How I Got Here: Dean Jones (Laurie Anderson: Mister Heartbreak)

Dean Jones is the mad genius behind Dog on Fleas and, as an in-demand producer, about a quarter of ​the kindie albums you'll hear in 2013.

​With the upcoming release of his latest solo album, When the World Was New​, on May 14, Jones authored the latest in the "How I Got Here" series, featuring kindie musicians talking about albums influencing them as musicians.

Dean's piece on composer/musician/performance artist Laurie Anderson's ​mid-'80s album Mister Heartbreak​ is a little bit like the album itself -- you can focus on the words and get some meaning, but you can also just focus on the sounds, the contour of the piece, and get a pretty good sense of its influence on him.

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Laurie Anderson's 1984 album Mister Heartbreak is one of my all time favorite records.

It's a little hard for me to talk about music.  (Kind of like dancing about architecture.)  But this album is more than just music to me.  It's a sculpture.  It's stories.  Sound.  Color.   It puts me in a mood.  I can't describe the mood that very well.  Open.  Playful.  Thoughtful.   Meditative.  

This album certainly changed the way I hear music.  And it really clarified for me the fact that I'm as much in love with SOUND as I am with music.  Is there really a difference?  I think so.  I know that I have fallen in love with the sounds on the Beatles records.  And Tom Waits records.  And I have always been drawn to certain sounds, like the Indonesian gamelon instruments, and  the various one and two-stringed fiddle type instruments found in various societies as far from each other as Mongolia and Mali.  I also like the sound of all kinds of birds.  Is it their song or just the tone and timbre of their voices?  I like the sound of footsteps, grass rustling, breathing, trees rubbing up against each other.... the list goes on and on.  Tongues touching teeth.  

Somehow this album made it quite clear to me that one could make music that could be closer to sculpture than to any traditional song form.  The sounds evoke images in my mind of elephants, sunrises, movement, and space.  Wonder, and longing.  All kinds of feelings come up.  The sounds are sometimes like a world of their own.  I could live in them.  

"He was an ugly guy.  With an ugly face. An also-ran in the human race.  And even God got sad just looking at him.  And at his funeral all his friends stood around looking sad.  But they were really thinking of all the ham and cheese sandwiches in the next room."

Laurie Anderson is a master of language.  An amazing storyteller and poet.  She loves to look at big things like humanity and love, and stories like Adam and Eve, and rethink them from her unique perspective.   And her delivery, mostly spoken, not sung, is so much more musical to me than most singers are.  The nuance of her rhythm and phrasing is incredible.  I love to listen to music, whether it's instrumental, sung in English, or any other language, and I often just tune out the words.  It's just how I listen.  Sometimes I tune into lyrics, but often it's just a texture.  And with Laurie Anderson's voice I am happy to just let the lyrics ebb and flow in and out of my conscious listening.  But I can listen to this record twice back to back and allow myself to follow her stories more on the second listen.

Here's a bit of her Adam and Eve retelling:

"And the woman liked the snake very much.  Because when he talked he made little noises with his tongue, and his long tongue was lightly licking about his lips.  Like there was a little fire inside his mouth and the flame would come dancing out of his mouth.  And the woman liked this very much.  And after that she was bored with the man.  Because no matter what happened, he was always as happy as a clam."

Maybe I'm seduced by the sound of Laurie Anderson's voice, but I think her writing is genius.  

Something that sound sculpture like this allows for -- words don't have to rhyme.  You don't have to have everything be totally divisible by 4 or 8.  You can, but you don't have to.  The words can fit into spaces.  You can leave spaces.  Or not.   Even the music doesn't always have to be divisible by 4.  It can be in no time signature.  

So, what are the sounds on this record?  Well the guitars don't often sound like guitars.  And I still don't know who's making what sounds most of the time.  The sounds are hypnotic and magnetic.  Laurie sometimes puts her voice through a vocoder, which was a pretty new thing at the time, well before it became a Top 40 gimmick.  Some of the instruments listed:  plywood, kayagum, electronic conches, iya and ikonkolo, bamboo, gato, Synclavier, bowls.  Adrien Belew plays some of the greatest guitar you will ever hear.  Peter Gabriel, Nile Rodgers, Bill Laswell, and William Burroughs are heavily featured.   

I was thinking about my latest album, When the World Was New, and realized what a debt I owe to Laurie Anderson, lyrically and musically.  It may not sound at all like her, but she's in there for sure.

Newborn: Bears and Lions

There are lots of words and pictures to share from Kindiefest 2013, and I'll be doing that shortly.  But I didn't want too much time to pass by before sharing the music from Bears and Lions, a new band from Hollywood, South Carolina.

I think there were other sets that were more popular and frankly better at the industry showcase on Saturday night.  But I'm pretty sure if I polled those of us huddled stage right, the set that had us laughing the most and saying something like, "I have no idea what that was, but it might have been brilliant" was from this duo of two guys dressed up as a bear and a lion wearing basketball uniforms and strumming guitars, telling the story in song of a bear and a lion who... oh, what does it matter?  They played a song called "Mediocre Kid" which might just be an anthem -- yes, it's about an average -- maybe even mediocre -- kid, but the song somehow manages to be inspirational.  For the song "Good Boy," they managed to get Recess Monkey's Drew Holloway to act like a dog.  It was just a loopy, occasionally surreal performance that resulted in people loudly shouting "Pancake Sweepstakes!" in unison.

​A lot of people were reminded of The Telephone Company, and I totally get that (duo? check; surreal? check), but the first band that came to my mind was The Thinkers (duo? check; surreal? check).  There's even a touch of the late, lamented Quiet Two in there, at least if they had been influenced by Southern rock rather than the British Invasion.  [Edit: Not to mention, of course, fellow showcaser Ratboy Jr., though their songs are more whimsical than Bears and Lions'.]

So I haven't quite made up my mind yet about them, but I can't wait until they're ready to unleash an entire album onto the world.  Listen to 5 songs below plus watch a couple live videos (not from Kindiefest), and pick up a free track here.

Weekly Summary (4/22/13 - 4/28/13)

I am recovering from my yearly Kindiefest escapade (though "escapade" doesn't sound quite right), but even though I didn't post anything on the main site, there were a handful of posts on the rest of the site.

Blog:  This upcoming week, I promise.

Videos: "Hangin' Around" - Debbie and Friends

Listen to Music: Good Morning, My Love (Sampler) - Vered

Free Music:  "Rock Melon" - Gustafer Yellowgold

Kids Music Reviews: None this week...

Upcoming Releases: Expect some updates to the page very shortly.  Lots of new stuff announced.

Kindie Week in Review: Episode 13: Center of the Kindieverse / One Big Clip

My Other Other Gig: Not this time around...

Weekly Summary (4/15/12 - 4/21/12)

I'll be making my way to Kindiefest later this week, and as I'm prepping my presentation for Saturday afternoon, time to post here will be at a minimum.  Still, I added quite a bit of stuff over the last 7 days...

Blog: ​ Pointed Man Band Kickstarts Itself / Video: "Bunny in the Moon" - DidiPop / Interview: C.J. Pizarro (Mista Cookie Jar)

Videos: "Jackie Robinson" - Ellis Paul / "Whistling Song" (Live) - Cat Doorman / "Banana on the Head!" - The Flannery Brothers / "Rocketbox" - Umigo (feat. Bootsy Collins)

Listen to Music: "Kevin from the Internet and Lady Tomato" - Chicken Weebus / Chocolalala - Mister G

Free Music:  None this week...

Kids Music Reviews: None this week...

Upcoming Releases: You should be eager for late spring / early summer

Kindie Week in Review: Episode 12: Kindie on Ice

My Other Other Gig​: Hello, iTunes!

Interview: C.J. Pizarro (Mista Cookie Jar)

C.J. Pizarro ​-- AKA Mista Cookie Jar -- has a musical style that is as brightly multi-layered as the outfits and sets of his many videos.  It stands out and while positivity is in no way in short supply on the kindie scene, the way MCJ weaves that into his entire musical philosophy is stronger than most.

In the interview below, Pizarro talks about his many childhood memories (musical and otherwise), how his career as Mista Cookie Jar and the Chocolate Chips has evolved, and news of lots of new projects from him.​

Zooglobble: What are your first musical memories?

C.J. Pizarro: My very first musical memory is singing "Tomorrow" from Annie into my sister's hairbrush in the mirror as she recorded me on the family dictaphone. I was 3 or 4. The proof is around somewhere in one of my parents' drawers today. 

I could kill hours with that dictaphone just recording myself goofing of, interviewing my family, or even just [recording] sounds around the house. I'd even record parts of TV shows as I watched them -- Pinwheel, DuckTales, Gummy Bears, Growing Pains, Press Your Luck, You Can't Do That on Television… Playing it back was like examining a bag of treasure. Noises like music to my ears. 

OK, one more! Picture this: It's the 80's. A Filipino family of 5 cruises the mall parking lot in a wooden panel station wagon, no air conditioning under a HOT Alabama sun. Out the 8-track car stereo we're bumpin' the Everly Brothers and the Beatles.  "Bird Dog," "All I Have to Do is Dream," "Hard Day's Night," "I Wanna Hold Your Hand."  Mama, Papa, and 3 kids in the back, all singing along. Precious memories, I tell ya!

What first made you think about making music for families?

Before I ventured into the world of kindie, I had been playing music for years at a convalescent hospital as a kind of "strolling minstrel" music therapist. The hospital was like a second home to me and the folks there were my family. In fact, it's where I met Aunt Carol from The Love Bubble. We had weekly patio concerts and I would stroll room to room with my guitar each day. I would rock a lot of classics -- Sam Cooke, Beatles, Harry Belafonte, Bob Marley, and a bunch of 50's stuff too. Performing day after day, I needed to expand my repertoire. I wanted to write something personal for them, something that was more directly an expression of me.

At the same time I had just ventured into the world of fatherhood. My step-kids were way into Dan Zanes. I'd never really heard any of his stuff since family life was new to me. But I fell in love instantly. A brand new world I never knew existed -- rooted in so much culture -- something entirely fresh and wholesome at once. It floored me when I first heard Father Goose. It was always the kids' favorite part of the albums. I thought, "Wow! This is magic." After some googling, I realized there was a much bigger movement out there called, "Kindie." I thought, man, I wanna be part of this world!

Inspired, our musical world, the Love Bubble, evolved quite naturally. It was the perfect way to connect my giant family.

Was Ava's (and Lucas' and the rest of the kids') participation part of your concept for Mista Cookie Jar from the beginning?

The kids were always involved but I could not predict their growth.  The Love Bubble was born from hanging out with Lucas and Ava, just having fun in our pretend world. We'd make up little jingles, poems and characters each day, not realizing we were creating a career.  "Joey" was Lucas's invention, a dog who could bark and talk. He just started barking, and we sang, "It's Joey the Dogg!" whenever he came into his character.

Ava always had a few rhymes up her sleeve, some playground rhymes like patty cake and personal ones too, probably influenced from her mother's roots in old school hip hop. I wrote a rap for her on our song "Circles" -- my favorite part of The Love Bubble. She was 7 at the time. It just blew me away how easy it was for her. Eventually, she learned the "guest" raps on the album. Her memory is crazy good, the best in our family. Our first few shows were with the kids -- Lucas was 4, Ava, 7, and their best friend Mikyla, 6. They were a huge hit with the crowd. Definitely had that cute factor going. 

As the kids grew, their roles got bigger. Our second album features Ava in nearly every song. I even wrote a little rap for Lucas, but I think he's more comfortable hamming it up in front of a camera. Now when we play a show, the audience is generally younger than they are. Ava is almost 12 and Lucas is 9 now. Their onstage persona has become more of the bigger brother/bigger sister role. They have a way with kids.

Where do you see your style of music -- sunny, funky, positive -- fitting into the broader kindie scene?  What do you think your particular niche is?

As a lover of music and the diversity of culture, I try to keep open to all kinds of genres. Though I have my roots in certain styles--hip hop, folk, reggae, 50's bubblegum--by nature I'm a chameleon. I see these styles infused and progressing into something different in the years to come. Who knows? The kindie scene seems like a natural fit. It's the kind of musical genre that is genre-less or all-genres. What draws people together is the idea of community and a culture which holds the child as numero uno.

It's hard for me to say without sounding pretentious, lol. You'd probably know best. I've heard  "Outkast for families" or "5 hour energy drink of the kindie world." I dig it, man, for sure. We have a soft side too. You could say we're a party band, but I'd like to think we bring a natural adrenaline rush, one that elevates and doesn't leave you burnt out and empty. Um, organic Red Bull? Hopefully, more like a full course meal.

We try to offer a variety of dimensions in our albums, something for everybody, at any age with any track. Each song has a unique life to it, its individual niche carved out for itself. While at the same time, I try to make each song accessible to all who want it. I guess you could say we have a cut and paste niche -- post-modern kindie? Ultimately, I just try to create something beautiful -- sonically, visually, and poetically. Something catchy and fun to immediately indulge in but with wonders to ponder as you grow with the music.

What did you learn about making music for families -- as a band, as opposed to playing in classrooms -- between the first and second albums?

The first album was conceived with many of our extended family involved. I was reaching out to discover what the vibe was, what my peeps were all about. I'd co-write a lot of the songs and get as many artists, friends and family across the U.S. in on it as possible. It made for an album dear to our hearts. But we had to rework the songs to figure out how to play them live.  Also, branding-wise, we weren't too sure of my look. On the album cover, I'm wearing fairy wings and a woman's muumuu from Goodwill. Pretty hilarious. We hadn't even come up with the name Chocolate Chips yet. I think we called the kids "Tha Big Seeds" at our first show, lol. Didn't really stick.

After years of touring The Love Bubble, Ava and I grew more of a dynamic on stage. We had a distinct sound that evolved from the first record. Eventually, I would write more songs to really hone in on this. She got so good I wanted to give her much more of the spotlight. It grew into much of what's on our second album, Ultramagnetic Universal Love Revolution. 

What is your favorite part of the music-making process -- the writing, recording, or playing live?

As a process, writing and recording are the same for me because I do them at the same time. I enjoy it the most. It's a thrill to start with nothing and by the end of the session you might have just reinvented the the song of life. I love it. Making videos too, it's the same feelings all over again and then some when we release them to the public. 

Playing live to me can be stressful sometimes. But I have to say, connecting with the audience is the BEST feeling in the world. I'm always so happy after a good show. It's basically the same feelings of writing, recording and making videos, but then some. It's triple the pleasure hearing praise for the Chocolate Chips. This enormous proud feeling comes over me and I want to take everyone out to eat even when it pinches my pocket just a little too much.

You're part of a Kindiefest panel on self-management.  Without stealing your thunder from the panel, what's the most important thing you've learned over the past couple years about managing your work, family, creative, and personal life?

It's a tightrope act for sure. Part of the allure of this business is being able to integrate my family life with my artistic passions. I'm an obsessive artist by nature. What keeps me grounded is my family, my friends, and the community. When there's love in my heart with what I do and how I live, I feel I can fly anywhere and dream as big as I want to. Everything else naturally falls into place. 

Also, always backup your hard drive!

What's next for you?

We're working on a stop motion animation/green screen video for "Call Me Mista Cookie Jar." It's kind of a period piece, maybe a hundred years ago or so--but in a magical realm. Kind of like Wizard of Oz. I'm just psyched because I get to turn one of my fedoras into a Buster Keaton hat. We're getting together and having craft dates with some friends. It's a slow, meticulous process but we love it. Our new favorite thing. I'm absolutely psyched to finish the project. Visually, some exciting new territory. Inspired by Terry Gilliam and the amazing "Inspiration" video by Cat Doorman. Hopefully, we can do the medium justice. But you can bet we'll give it our all.

Also got a project with Todd McHatton. I think we're calling it, "Todd & Cookie." We've got about 2 songs now. I think the term, "Cheech and Chong for kids" was thrown out. But that just sounds wrong.

It's been so cool working with him though. All Postal Service style, that is to say, we haven't worked on it in person once yet. Just Dropbox. It's freeing working with Todd. We're unlocking some mad id in ourselves while at the same time he's such a sweet, talented guy with such a tender writing voice. But I do have to say, the Underbirds will be a tough act to follow! They're awesome!

New album in the works too. Should be interesting, the kids have grown so much since the last batch of ditties. I was worried for a bit they might not be into it anymore. For a minute it seemed like Minecraft and Bieber fever was getting the best of them, but they always come back around. The music is so integrated in our lives, we'll just have to let it grow up with them. So far, we've got a bit of Motown, a bit of old Americana, ska, & some trap music influences. I don't know, that's seriously what I'm working with at the moment…?!

Mista Cookie Jar photo by Andrew Cho; Ava Flava and Lucas photos by Market Street Productions

Video: "Bunny in the Moon" - DidiPop

DidiPop's latest album Bunny in the Moon​ is released today, and as part of the hoopla (if one call it that for what is basically a lullaby album), she's commissioned a video for the title track.  The title track is one of the album's highlights, and by enlisting Jon Izen, who previously also animated Renee & Jeremy's take on Coldplay's "Yellow," she got some animation worthy of the tune.  Very sweet.

DidiPop - "Bunny in the Moon" [YouTube]​