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Keivu Knox: First things first. Congratulations on your most recent release, the award-winning album “The Promise”. Do you recall what you were thinking about as you were constructing the album?

Dee Daniels: The songs actually came to me while undergoing treatment for breast cancer. After the surgery which also included reconstruction, I began meditating. Through meditation I had some incredible visual experiences that are still as vivid today as they were in the moment they occurred. They were extremely instrumental in creating a healing state of mind. There were hundreds of people, family, friends, and fans, who prayed for me.  Often they would encourage and show support by reminding me that God would see me through. They’d tell me to think about all the songs I would write about it as a result of the experience. As I sat in the chemo suite being infused I thought “What the heck are they talking about – write songs?” Alas, they were right. Through meditation, the songs started coming and did so frequently. As a matter of fact, they were coming so rapidly that I had to turn on my phone’s voice memo to be sure I remembered all of the lyrics and melodies. After the meditation I would immediately sit down at my piano to start figuring out chords and structure. By the time I had completed the cancer treatment I had a lot of new material. At that point I knew I had to do something with it all. Those songs were inspired by the cancer experience, and that included the strengthening and expansion of my faith. My desired goal was to record them with the hope the content would inspire others.

Keivu Knox: It is definitely an inspirational project, and knowing what you’ve been through gives the album more depth. The song “Healed” has a double entendre, not only referencing the spiritual healing, but a physical one. Was that your plan for that song?

Dee Daniels: That is interesting that you mention that particular song, because “Healed” was the first song that came to me during my initial meditations. I think it was two weeks after I arrived home from the hospital. In my mind, or in my imagination if you will, I heard that word very faintly like a whisper. I realized that the word was in past tense – “healed”.  It was already done. I thought of growing up in church when the elders would talk about hearing the word of God sounding like a “still small voice”. For me it was emanating from just above and behind my right ear. Daily it continued to say “healed”. As days and months passed, it progressively got louder and louder to the point where I began to recognize and understand it as being a message from God, Source, the Universe… or my spiritual self. To me this was not about religion but rather about one’s intuition, spirit, or gut feeling and my gut feeling was saying I was already healed. Because I’d never had this kind of experience before I was still hesitant to believe 100%. Two days before radiation treatment was to begin I had a spiritual experience that provided me with conclusive evidence that I was indeed already healed. I was on the phone with a very intuitive friend who had been lending spiritual support and guidance throughout the cancer treatment. While on the phone call with her I told her that I know I’m already healed. I said I could feel it deep in my soul, so maybe having breast cancer was a test of my faith. At that moment, with closed eyes I saw an image in my mind where I was in a small room with dimensions of about 10×10 feet. Three of the walls were medium gray. The wall on my right side was only about an inch away from touching my right arm. Its consistency was that of a very dense liquid golden light. In my mind it seemed as though it was alive with millions of the minutest sparklers. As I’m seeing this image in my mind, my intuitive friend is experiencing it energetically. I appeared to have been in my light or spirit body. Suddenly I felt myself effortlessly gliding to my right. In my mind, my body began moving into the wall of living light. Instantaneously I had such an overwhelming feeling of love that tears began streaming down my face… for real! I said to my friend, “Oh My God”, and described the vision. There are no words that can come near to describing how loving that feeling of being immersed in that light was. As I stood in it I watched my “light” body dissolve and realized it had the exact same composition as the light I was standing in. With tears of joy still streaming down my face I told my friend that if this experience wasn’t a clear indication that I am healed, then God doesn’t exist! The next day I called and canceled the radiation and all other treatment. A few months later when I had a CT scan, the doctors told me that they could not find any traces of cancer!

Keivu Knox: How has that experience impacted your faith, and how has it impacted your career and music since then?

Dee Daniels: That’s a very good question. It has definitely impacted my faith for the better. It was already strong but once I began meditating I realized my bout with breast cancer had created an opportunity to put my faith into action. It was certainly an opportunity for me because several years prior to having breast cancer, I had ovarian cancer. The experience between the two cancers was completely different. I was very lucky that the ovarian cancer required no further treatment after surgery. The takeaway for me was understanding the importance of living in the moment for it’s in the moment where our power resides… it is there where our God-self abides. Six years later, I had a third bout with cancer. This time it was in my liver! Amazingly I was able to realize from the beginning that I had a mission to complete. Here was an opportunity to accomplish what I wasn’t able to accomplish with breast cancer – to heal myself without any treatment. An eleven centimeter tumor was removed from my liver on June 1, 2020. I was told that all traces of cancer were successfully removed. In December of 2020, a follow-up CT scan was taken that showed the cancer had metastasized and was at stage four and terminal. I was given the choice of a new trial drug that could prolong my life for an average of fifteen months, or the conventional chemo that could prolong life for an average of eleven months, or do nothing for an average of eight months. I would be on any drugs until they didn’t work anymore or until they killed me. After very little consideration, I saw this as an opportunity to wholly use my faith. However, when I told my husband of my decision, of course he was upset because he wanted me to do anything and everything to stay alive for as long as I could. For his sake I opted for the trial though I really wanted to go on faith alone. After the second infusion I developed intense hepatitis and had to stop the chemo immediately. Once it was under control I was presented with the same options again. I knew that God was telling me to follow my spirit, to use my faith and trust that I can heal myself. That was two years ago, and today I am cancer free and healthy.

To answer the second part of your question in regards to my music, I have not been able to perform only jazz music in my concerts since everything happened. I have to include either some of my original inspirational music or music that I consider inspirational. I am driven to share music that is inspirational in nature with the hopes of empowering listeners.

Keivu Knox: Do you find yourself singing jazz songs differently now, with that in mind?

Dee Daniels: No, my health experiences haven’t impacted how I sing jazz. My goal remains to ground myself in the moment before attempting to interpret any song. Before stepping onto the stage I quiet myself and state my mantra, “I gladly, willingly, lovingly, joyfully, gratefully give myself to be used by Spirit to touch everybody in the room in ways only Spirit knows they need to be touched”. It’s a process that I’ve used for over thirty years that puts me in a state of mind that prepares me in every way to give the audience what they need or want.

Keivu Knox: Changing topics a bit, when you started your recording career in the early 80s, what were your initial goals?

Dee Daniels: Oh, I wanted to be a star! (laughs) Little did I know that my path would take me on such a journey that includes having cancer three times, but I wouldn’t change a thing because it has brought me to this moment. I love where I am in life. I’ve been blessed with incredible opportunities through my music. Most importantly to bring joy and inspiration to people around the world for five decades. I invite readers to visit my website to read about some of my “firsts” at deedaniels.com

Keivu Knox: Have you ever thought about writing a book?

Dee Daniels: Funny you should ask. I’m in the process of writing it now and I’m very excited!

Keivu Knox: How do you balance everything you do?

Dee Daniels: It’s easy for me. I think people sometimes think I’m busier than I really am. (laughs) But at this point in my life and career I feel I don’t have anything to prove. My life is about peace, joy, love, freedom, gratitude and what I can offer through my life and music to make the world a better place. I am so content with what I have accomplished.

Keivu Knox: Who are some of the highlights of the people you have worked with?

Dee Daniels: Sarah Vaughan is number one. When I first started listening to jazz, the style was predominately instrumental with artists who were on the old CTI label. Soon I expanded my listening to include mainstream jazz, and eventually to the singers. I remember when I first heard Sarah Vaughan, I fell in love with her voice. Her vocal range, texture, depth, control, and color were amazing. She was a trailblazer in jazz like Aretha Franklin was in soul music. The highlight occurred back in 1987 when I sang a blues tune with her during a concert in The Netherlands. I will never forget that moment. We hung out together during the course of that three-day event.

Other highlights include recording my second album (“The Music Made Me Sing It”) with the original Monty Alexander Trio, fronting a quartet comprised of legends Hank and Elvin Jones, Herb Ellis, and Ed Thigpen, performing and recording with Toots Thielemans, performing with Lionel Hampton, performing in concert with Joe Williams where we sang a song in duet that I co-wrote with John Clayton for the occasion, performing with the great Dorothy Donegan, and many, many more jazz legends, both past and present.

Keivu Knox: So with you doing so much all over the world, and living in different parts of the world, but born in the US, what do you think is the difference between audiences in the US and audiences outside of the US?

Dee Daniels: You know what a young child does when he or she first gets a toy for Christmas that they really wanted. They excitingly unwrap it and play with it nonstop for several days. The next thing you know the toy is put in a box, a drawer, the closet, or left in a room on the floor. They don’t look at it or play with it anymore. It’s old to them and they’re bored with it. This happens frequently with children in the US. In many poor countries abroad, a child the same age wants that same toy so bad they would do almost anything to have it. When they’re given access to it and allowed to play with it, they do so over, and over, and over again. They appreciate it. They cherish it. They take care of it and love it. In my estimation that is how audiences outside of the US regard jazz music. It is an American art form but they clearly treasure it and are grateful for it.

Keivu Knox: So with the new single, the cover of “Sometimes It Snows In April”, what prompted you to choose this song by Prince to take on?

Dee Daniels: If you’re going to tackle a Prince song, you might as well go for the gusto. Everyone knows “Purple Rain” and many of his other more commercial songs but I wanted to do a song that had a certain amount of obscurity – except to his hardcore fans. To them the song is an anthem. In my research of Prince material, I found that not many people have recorded covers of “Sometimes It Snows In April”. D’Angelo, Meshell Ndegeocello, and a handful of other singers have videos of live performances but no studio recordings. I’m a serious Prince fan and I wanted to do one of his songs that deeply resonated with me. I can relate to the story behind the song. Christopher Tracy (a character in the song) was one of the pseudonyms that Prince actually wrote under. My interpretation of the lyrics tells a story about the evolution of his life and career, allowing that phase of it to pass so he could continue evolving. I think about various phases in my own life that I had to release or intentionally let pass in order to keep growing as a person and as an artist. I hope that people will like and appreciate my version of the song, but I understand that it’s not for everyone.

Keivu Knox: Who would you say influences your melodic approach? There are a lot of strong melodies on “The Promise” and other songs you have done?

Dee Daniels: I would say a combination of people. Barbra Streisand in her early days for the purity in the sound of her voice and the simplicity of her melodic approach to songs. I loved the way she emoted without the need for vocal gymnastics. Aretha Franklin is another and for similar reasons as Streisand in terms of how she vocally emoted. Add to that her total abandon of being contained in her ability to express by taking us all to church. Carmen McRae was the queen of the intricate nuances of words. She could take a one-syllable word and turn it into ten syllables. Ernestine Anderson for her incredible back and forward phrasing ability. Other influences include Phyllis Hyman, Donny Hathaway, Dolly Parton, Billy Holiday, and Frank Sinatra.

Keivu Knox: So tell us about your forthcoming album, “Let It Shine! Let It Shine!”, which you’re releasing on February 3rd of next year.

Dee Daniels: Well this project is based on my work with a singer in Toronto, Canada, named Denzal Sinclaire. We have a Symphony Pops program that we’ve done since 2019 called “Unforgettable, 100 Years of Nat and Natalie Cole”. He is an exceptional singer and musician. The first time we performed this Pops program, we needed an encore. Unfortunately the creators of the program didn’t include a planned one. As the audience was giving us a stirring standing ovation, Denzal asked me if I knew an old Negro Spiritual called “Steal Away”, and I said yes. We went out on stage and sang it acappella. The audience went crazy with more applause and that night “Steal Away” became our encore piece going forward. A few concerts later, Denzal had the idea of us creating a new Pops program based on hymns and spirituals. I talked about the idea with Cellar Music, my record label, and they loved the idea so much they decided to record an album of hymns and spirituals. With the exception of “Sometimes It Snows In April” and one of Denzal’s solo songs, we found some well-known hymns, spirituals, and other songs that are more obscure and reimagined them. We called on four incredible musicians that we knew could relate to this special music and record with us. They are John Clayton, Herlin Riley, Bobby Floyd, and Isiah J. Thompson. We added some sweetening with a four piece horn section, a guitar, and the synth orchestration genius of Dave Pierce. We all hope that this project will be hailed as one that promotes and inspires peace, love, and compassion because the world needs these qualities right now!

 
Interview conducted by Keivu Knox for Pop Magazine

Keivu is a native of Detroit, Michigan, and he is a critical music writer for multiple online music publications. A graduate from the University of Michigan, he currently resides in Charlotte, NC, with his wife and children.

Photo by Shimon

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Sean Pino: Your album was recorded with live tracking to get a sound that’s more authentic. How many takes did this require and did either of you have previous experience recording in this manner?

Shane Henry: We did around 5-7 takes per song with everyone tracking at the same time. We’ve both always wanted to record this way but never had the opportunity to do so until this project. It was a very smooth process due to the musicians being so skilled and experienced. There was always something magical about the first few takes – and those were often the takes we went with – because the song was so fresh at that point and we were all deeply listening to each other.

Sean Pino: “There Will Come A Day” resonates with listeners as a song about persevering in the midst of trials. Can you expand upon the inspiration for writing this song? I cannot help but think that the lyric, “It’s all in our heads, see the light”, was influenced by your faith, like many other lyrics on the record.

Maggie McClure: Many of our songs are inspired by encountering and overcoming obstacles. “There Will Come A Day” came from a place of knowing that in the future, things wouldn’t be so hard. When we wrote this, we were reminding ourselves that we were going through a refining process, that it may be difficult and painful now, but we will be stronger and wiser in the end. That line “It’s all in our heads, see the light” was definitely influenced by our faith, as many of our songs are. Although things may seem like they don’t make sense sometimes, we are grateful to know deep down that God is looking out for us and everything will ultimately be okay and work out as it was always meant to.

Sean Pino: “Walking On A Wire” is one of the most popular tracks on the album. The song tells an enthralling story of a tightrope walk above crashing waves, symbolizing the struggle to make ends meet through music. The most powerful lyric in this song is the repetition of “We can make it, make it to the other side”. Having seen the success of your album, do you feel that you have, indeed, made it?

Maggie McClure: We are so proud of the album and its success so far. We want to extend a heartfelt thank you to everyone who has supported it and us so far in whatever way they have, whether it was contributing to our Kickstarter campaign, supporting our live stream shows during Covid, streaming the album, buying physical merchandise through our website, etc. I think we’ll always feel like there’s more to do and accomplish. That’s just part of the human spirit. “Making it” to us at this point means to be doing what we love (music), sharing it with each other and the world, making a positive impact, and being able to make ends meet. It’s a constant pursuit and we are thankful to be where we are today and for all that lies ahead.

Sean Pino: Artists and fans alike are happy that live concerts are possible again. The Imaginaries are playing at Edmond’s Heard on Hurd street festival in June. Can fans also expect a tour for the debut album anytime soon?

Shane Henry: We are so excited that live shows are coming back! We’re looking forward to our full band headlining show this Saturday at Edmond’s Heard on Hurd. We do have some shows that we’ll be announcing soon and are booking more dates in the meantime. We’re actively looking to get on a tour opening for a larger act in 2021/2022 but regardless we will definitely be playing shows and touring to support the release of the debut album.

Sean Pino: What’s next for you? Any solo projects in the making or a sophomore album from The Imaginaries?

Maggie McClure: We just wrapped production on a feature film called “A Cowgirl’s Song” starring Cheryl Ladd, Savannah Lee May, and Darci Lynne Farmer in Oklahoma. This is a very exciting project for us as we are co-producers, co-starring in it, and doing all the music for it. We expect it to be released sometime in 2022. In the meantime we plan to get back into the studio to record/release some new music – both, solo projects and new music from The Imaginaries. Stay tuned for sure!

 
Interview conducted by Sean Joseph Pino for Pop Magazine

Sean is a writer of poetry, prose, and essays from Los Angeles, California. As a current medical student, his fascination with the human condition inspires much of his work. He loves pressing into the emotions and cognitions that unite us. His poetry and novels can be found on the following website: seanjpinowrites.wordpress.com

Photo by Reagan Elkins

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Jae B: How would you describe your latest album, “Character”, and what do you hope for listeners to take away from this record?

Rachael Sage: My new album “Character” is the first album of new material I worked on since my 2018 cancer diagnosis. Going into this process of creating music as a survivor, I was necessarily focused on gratitude from every angle, and on deconstructing the concept of what comprises human character, both positive and negative. I explore themes including mindfulness, forgiveness, vulnerability, resilience, authenticity, integrity, as well as issues surrounding codependence. Inevitably these themes also cross into socio-political realms, especially with the title track.

What I hope listeners take away is that for as much as we don’t have the ability to control everything in this life, we absolutely have control foremost over how we treat ourselves, and others. During my health crisis I witnessed the kind of mental and physical fortitude that can’t help but inspire perspective. I also had to face the very real fact that as a person in a leadership position – running a company as well as various other creative projects – that there was much room for improvement for how I can personally balance my life, create boundaries and respect my own life choices.

Cancer has a way of very quickly highlighting what is toxic versus what is healthy and positive in one’s life, but no one should ever have to wait until that kind of life crisis to start doing the important work of consciously curating the energy in one’s life, as much as possible. I think in many ways Covid-19 has inevitably pressed each of us to search inward to define what is most precious, and hopefully that kind of inventory-taking can be a silver lining now, and in the days ahead.

Jae B: Which song from the album was the most difficult for you to write and why?

Rachael Sage: “Bravery’s On Fire”, which speaks to the idea of finding strength in vulnerability, was definitely the most challenging song for me to compose for this album. I wrote it when I was doing my best to navigate my way out of the misperception that because I am naturally a leader type, and someone who’s typically very much in control of my life and my business, that I somehow was any better-equipped to handle the overwhelm of cancer treatment than anyone else might be.

It was difficult to write, because I was in a very unhealthy, codependent relationship when I was diagnosed, and for a variety of reasons I am now better able to understand, I was faced with the dual problem of taking care of myself but also constantly consoling and comforting this other person through my illness, and it ultimately became too much. That song was my white flag expressing that I was “not ok”, and after I wrote it I felt a huge weight lifted that enabled me to let go of a lot of emotional anxiety, and finally turn the focus entirely to taking care of myself, at a time when self-care was literally vital to my recovery.

Jae B: How has your cancer recovery journey influenced how you interpret and seek to make music today?

Rachael Sage: I think being a cancer survivor has given me a lot more perspective on why I do what I do. I always knew I loved making music and that in effect, touring and recording were my “religion”. The elements of adventure, of genuine spiritual connection with audiences, of cultural education and simply the opportunity to look at things from other points of view were a lot of what comprised my desire to have the career I have developed. But having now gone through cancer and faced the reality that mortality is no longer abstract versus something I have some say in – by virtue of how kindly I treat myself and take care of my own health – I think I have more appreciation for the minutia of what goes into actually playing and singing, and feeling soul-connected to the work.

I understand myself more and have spent more time forgiving myself for past mistakes and cheerleading for my best efforts… so I don’t get as hung up over wrong notes, whether I’m playing them or someone else is. I am more about the vibe and the feeling behind the performance, and more attuned to positive versus negative energies and how they impact performance. I suppose I only want to surround myself with positive, open and loving creative individuals. Life is too short not to make sure the process is at least as satisfying as the result!

Jae B: During the lockdown period of this pandemic, you launched “Stay In With Sage”, a weekly Facebook Livestream session, seeking to benefit a number of charities. What prompted you to do this?

Rachael Sage: My favorite thing to do is perform live, it’s part of my DNA at this point… it’s who I am and how my craft evolves. I knew within days of lockdown that if I didn’t establish some kind of regular routine where I was bound to “show up” not only for me but for my listeners, that beautiful, magical thread of connection with my audience that is so precious to me, might be lost. The idea to have the streams benefit local NYC charities was also pretty immediate. I love NYC so much, and seeing the brave people on the frontlines who are helping to protect and provide essential services for other New Yorkers has been humbling and inspiring. I love my hometown, and music is always a great way to rally more people behind a positive cause.

Jae B: You recently tweeted that when you can’t sleep or when you’re at a loss for words, you make art. What is this process like for you?

Rachael Sage: Making art is one of the most relaxing and healing things I can ever do for myself. I should really do it more! I have a pretty stressful schedule, even in these times of isolation, just helping run my label MPress Records and interacting with all our other artists and label staff who are constantly running questions by me and making sure I weigh in on any/all aspects of our various projects. Sometimes it begins to feel like the pressures of fielding so many requests for my time and energy become unmanageable while I’m also trying to create new work, ongoing. It absolutely affects my sleep, which can become frustrating as we all know how important sleep is for good health. As a cancer survivor I am especially aware of this. But when I pick up a paintbrush and start to create something new from my imagination, in a purely subconscious way, I find that it’s literally impossible to hold on to stress. Painting is like my mental yoga! You can see examples of my artwork on my website (rachaelsage.com/artwork). It’s something that gives me a lot of joy, and I always feel better and more balanced, after I make art.

Jae B: You’ve recently released a figure-skating-themed music video for your single “Blue Sky Days”. What was the inspiration behind this concept?

Rachael Sage: I have always loved figure-skating, and had dreams of doing a skating collaboration for many years. My college friend’s daughter showed up one day on Facebook performing with her adorable young figure-skating troupe. They were all fabulous, but Morgan – our video étoile – jumped out to me, and her smile was absolutely infectious. I was already thinking about skating for the video because it was a song I wrote about the freedom that comes from practicing gratitude, even in the midst of chaos. The imagery was inspired by the Headspace meditation app, which talks about the blue sky always being behind the clouds, and never moving – even if sometimes it’s entirely obscured. Morgan’s sheer love for what she does and her ability to lose herself in it completely caught my attention, and within a matter of days we were planning and then shooting the clip for “Blue Sky Days”. It was a dream come true, and a truly wonderful creative experience!

 
Interview conducted by Jae B.

Jae is a travel enthusiast and avid volunteer. She enjoys nature, museums, live music, and the chemistry of cooking. Though she was born on the lush island that brought the world Bob Marley and plenty of other reggae stars, her taste in music is exceptionally eclectic. Jae’s ultimate playlist features Aerosmith, Frank Sinatra, Sevana, Lisa Ono, Donnie McClurkin, Etta James, and Louis Armstrong.

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Jae B: One year ago, you released your debut LP, “Golden Days”. Which song from this album is your favorite and why?

Haley Johnsen: My favorite song from “Golden Days” is “Cinderella”. It is the song that came out most naturally and without much effort. It was written in the midst of raw genuine emotion, and was also written on piano, which is not an instrument I write on often. I feel like it speaks to everyone who is struggling to keep up in life and remain proud of themselves. I want to just tell everyone, “Hey, you’re doing a great job!”

Jae B: You have mentioned that you are a perfectionist. How did this impact the recording and production of the album?

Haley Johnsen: I had to let go of a lot of my perfectionism in the studio because I really wanted it to sound authentic and live. I was pretty strong-willed about wanting to have all my vocals done in one take. Most songs just needed a few overdubs and editing, but I wanted to make sure I was singing with emotion rather than trying to sing perfectly.

Jae B: You have toured a lot over the years. What important lessons have you learned from being on the road that have stayed with you?

Haley Johnsen: I sure have! I have learned to enjoy the grind of getting up and doing it all over again. I try and remember to not get discouraged if I have a show where I didn’t play as well as I’d liked or the audience wasn’t super responsive. I realize that I am only human, and they are only human, and sometimes it’s ok to not always have the best show of my life. I have learned to stay positive and not take things personally either. Also, eating healthy and getting enough sleep is so important!

Jae B: You recently released an acoustic album recorded at the historic Abbey Road Studios. When recording “Feel The Water”, you requested that the lights be turned off. Why?

Haley Johnsen: When I am recording, it is super important that I create a sacred space for myself. I am very sensitive to lighting, and sometimes the dark helps me focus a lot more on what I’m doing. It helps me sink into the emotion of the song. For “Feel The Water” I felt most pressure to nail it because the song means so much to me and my fans. I wanted to do it justice.

Jae B: Throughout the current lockdown period, you have been sharing a lot of positive thoughts and music with fans via social media. What was the inspiration behind this?

Haley Johnsen: I feel like if I stay inspired, it will keep my fans inspired as well. I have definitely been struggling and have been open about that on social media as well, but that’s because I don’t want people to feel alone in their struggles. I want to continue to create music and share it, because that is what gives me purpose in life. I think we are all holding on tight to what our purpose is right now.

Jae B: It has been said that despite your love and passion for music, you have been afraid to sing most of your life. Why is that?

Haley Johnsen: When I was a child, I was very shy and insecure. I guess I was afraid of attention. I was afraid I would be judged. Singing is an incredibly vulnerable thing, and if you’re not someone who comes out of the womb singing and dancing and putting on shows for your family, it can take many years to break out of that natural self-consciousness. I am very happy that I have put myself in enough heart-racing situations over the years to no longer be afraid to share my gifts with the world.

Jae B: How would you describe your growth as an artist from your time on American Idol to who you are today?

Haley Johnsen: I feel like I have become a lot more aware of who I am and what I want to say. I have taken music much more seriously, challenged myself, jumped outside my comfort zone, and never given up. I think that says a lot. I have had people tell me they are surprised that I just keep going despite how hard this industry is. But you know what, I will fight forever to share my music, grow my fan base, and play my music all over the world for people to hear. It is my way of honoring my purpose in life, and giving hope to others.

 
Interview conducted by Jae B.

Jae is a travel enthusiast and avid volunteer. She enjoys nature, museums, live music, and the chemistry of cooking. Though she was born on the lush island that brought the world Bob Marley and plenty of other reggae stars, her taste in music is exceptionally eclectic. Jae’s ultimate playlist features Aerosmith, Frank Sinatra, Sevana, Lisa Ono, Donnie McClurkin, Etta James, and Louis Armstrong.

Mai Perkins: The success of your groundbreaking debut album “Stereotype” likely generated new, unforeseen opportunities as an indie artist. How has this created inroads for Blitz, the artist and entrepreneur, in leading to your current position on the global hip-hop landscape?

Blitz The Ambassador: When we were coming out with “Stereotype”, which I believe was 2009, the environment for hip-hop, and specifically African hip-hop, was very different. There was very little understanding of continental Africans, and we hadn’t yet made much impact, in terms of global popular culture. Even though so much was happening on the Continent, very little of it was being seen and heard outside of our borders. So we were, you know… I remember myself, K’Naan and Nneka, very few of us making some strong, bold moves at the time. Whether it was in terms of our music or our aesthetic, we had chosen a really, really difficult path that, obviously in hindsight, I can see has helped grow our presence globally and at home. And I think that for me personally, it was the bootcamp that I needed to expand specifically into cinema now where so much of what I did as a musician was pioneering work. I have maintained the same ethos because cinema is pretty much where music was ten years ago, as it relates to the continent of Africa. So, we’re pretty much doing the same thing, yet again, with very little understanding of “Africanness” in its global context. And it feels like it’s starting all over again. However, the environment has changed significantly because of access and social media, and several things have made it a lot easier for us to connect with one another. So, much has been gained, both personally and professionally, through that foray and through global hip-hop. And I’m one of the fortunate ones to still be practicing, but also to expand the pallet into other mediums.

Mai Perkins: Given the trajectory of your career over the last ten years and the open doors you’ve encountered, what struggles do you continue to experience as this African hip-hop artist/entrepreneur/filmmaker? Where do you still feel the very real struggle?

Blitz The Ambassador: The struggle… Part of it is financial. We’re dealing in a space where folks still cannot see or aren’t willing to compensate us properly for our work. And I don’t think that is unique to African artists, but I think that we suffer quite a significant piece of that. Because, again, our markets haven’t been quantified well enough to understand that we do and can reach the same audience that anybody else can. I think the other challenge is that we have made improvements, yes, in terms of our global understanding of the continent of Africa, and I do credit so many of us who did that early work through the ‘90s and through the early 2000s. But the world is still very ill-educated about such a significant number of people. I mean, we are close to one third of this planet and yet still, so little is known about us on the continent and across the diaspora. Of course, some of our [people of the] diaspora, especially in the Americas have made much better inroads in affirming who they are in this planet. But I think that the continent is still lagging behind significantly in the world understanding us. And then partially, us understanding ourselves in the first place. So that’s been a huge thing that is still problematic. And I think that our work really is to keep pressing on and keep putting out the information. And keep making the work that will allow people to see us as whole. First of all, see ourselves as whole. Then I think the rest of the world will have to do the same.

Mai Perkins: Two of your successful LPs are entitled “Afropolitan Dreams” and “Diasporadical”. Both deal with themes of the African diaspora: authentic identity, political awareness, and the upward mobility therein. As notions of the American Dream have begun to dissolve for many living within and outside of the US, particularly with the current political climate, do you consider the Afropolitan Dream an alternative to American idealism?

Blitz The Ambassador: That’s an interesting question. You know, as a Black person on this planet, I don’t think that you are, nor should be, beholden to this American Dream. I really think that what they don’t tell you is that that dream is truly a White Protestant male dream. And then everybody kind of gets to either benefit from a derivative or a trickle down of that, or suffers the nightmare as a consequence. You know what I mean? And so I’ve felt that this is just a facade that some of us have pretended to believe in for temporary upward mobility, but I think the real win is in looking at our diaspora as the goal, and more from a broader perspective. Because it’s not just about a residual success, it’s about spiritual success, it’s about an emotional success. I see some people who do gain that American Dream, but what do they sacrifice in the process? So the clarity, in my opinion, is that it’s not a holistic approach. I think that… and I don’t even know if I still believe in the Afropolitan Dream as the answer. However, I do think that the more we look to each other globally, the better we become in understanding and defining. I think the key word is defining our own ideas of what success looks like so that it’s not a derivative. It’s not something that is passed down from others and then we try to hold on to it. But it is in fact something that is innate, and that is actually attainable because it’s within our reach.

Mai Perkins: How can you tie Ghana’s current “Year of Return” initiative for 2019 into what you’re describing?

Blitz The Ambassador: I think it’s extremely significant and I really hope that it is more than just a theme and a slogan. I really hope that it beckons our diaspora in a tangible way to participate and properly invest, both economically and emotionally, into the continent. And the continent becoming ready to reciprocate. And do what it takes to make sure that our diaspora truly has a home. That’s my hope, that it’s not just a slogan. And it also shouldn’t be limited to a year. I mean, I understand the numerical significance of what this means as it relates to the first slaves leaving the continent. But, I really think that the continent has and should play a more specific, significant role in giving solace to our diaspora, not from an event perspective, but from a tangible, long-term program that allows our diaspora to invest properly and make sure that those investments are protected. Make sure that we set up systems that benefit locals as much as it benefits the diaspora. Because, again, it makes absolutely no sense that there is no real continental bureau that supports this very tangible program of divesting out of the United States and investing into the continent. So many African Americans who have the resources just have no means of connecting properly. But, it also means that the continent has to function on a level that is adequate so that I don’t put my money or my efforts, and my talent, and my emotion into a space that isn’t consistent. Those things are important. I think we need to fix home, and we need to simultaneously create ways in which our diaspora can connect properly.

Mai Perkins: You have toured the world as a hip-hop artist and filmmaker, including between 15 to 20 African nations. What are some essential and critical insights you’ve gained from traveling throughout Africa, being Ghanaian-born and having spent so many years in the US?

Blitz The Ambassador: It’s a global outlook. I think that my traveling has been super advantageous because it’s given me a bird’s eye view as it relates to our diaspora. I really think that so much of my work, which has been diaspora-related, has allowed me to see the similarities, and also the differences, in our struggles no matter where we find it ourselves. So, that bird’s eye view has informed my work, it has informed my art, and it’s also helped me bring together the very fragmented diaspora through this work. Whether it’s my work in Brazil, whether it’s my work in the US, whether it’s my work on the continent, I’ve been very intentional about creating some really tangible inroads where all these people can intersect through my work. And that’s been something that I’ve worked at consistently for over a decade. And the travel has helped me experience some of this stuff in a tangible way. Not just vicariously but, in fact, showing up personally and understanding the parts in which we differ and the parts in which we are alike. Then bridging the gap.

Mai Perkins: Your first feature film, “The Burial Of Kojo”, debuted on Netflix on March 31st. Producing a movie is conceivably more challenging than producing an album, or even music videos for the album. During this learning experience, which part of the filmmaking process did you feel challenged or overwhelmed by? Which parts came naturally to you?

Blitz The Ambassador: All of it was challenging, honestly. I mean, it was a new experience. And even with the music, which I was thinking was going to be easier, it ended up being extremely difficult because it was unlike any music that I had done. Creating music for film isn’t the same as creating music for an album. So, everything was difficult. Everything was new for me. Just the physical and mental strength of making work that you don’t even know if it’s going to reach the people. Thankfully, Ava DuVernay has played a significant role in the path and trajectory of the film in getting it to Netflix, and that’s a huge thing. But when we were making it, none of that existed. So, it took great courage for us to figure that out. And now we are super thankful that we’ve been able to achieve that. It’s huge. And I’m really thankful that we survived such a challenging process. But, it’s typical of trying to tell an African story in a world that is very Africa-adversed. I expected it, but I didn’t expect it to be as difficult. Thankfully, we triumphed.

Mai Perkins: Last year you recorded the film score for “The Burial Of Kojo” in Paris. Tell me about creating the soundscape for this magical realism narrative in comparison to your studio albums?

Blitz The Ambassador: This is very different, very different in terms of the fact that we are bound by narrative. I never made an album where the narrative was preconceived. I was always free to expand and experiment as I went along. This was not the case. In this case I had to literally just watch the film and figure out what sound was adequate for it. So, as you can image, that was quite a challenge. In making an album, all I need is the concept and then I feel like I just kind of grow the idea from that concept. This was directly sound-to-music, so it was a challenge. Also, another thing is figuring out where African melodies and orchestral Western sounds intersect. Because in some ways it was necessary to build a soundscape using Western orchestral sounds, and in some ways it was important to maintain the traditional African melodies and rhythms and pacing that was necessary for the film. So, yeah man! It was a very interesting dynamic but I’m glad that I was able to figure that jigsaw puzzle out. But, it was a very different process from making any of the other albums I’ve made, for sure.

Mai Perkins: Can you talk about how making “The Burial Of Kojo” adds to your legacy, and if faith ties into this whole expansion into becoming a feature-length filmmaker?

Blitz The Ambassador: I think that it adds to my personal canon of work. But it also adds significantly to the continental cinematic canon. What “The Burial Of Kojo” did was add vocabulary to a pre-existing cinematic language that was started by people like Ousmane Sembene, Djibril Diop Mambety, and Haile Gerima. You know, that language already exists. All we were doing was just adding vocabulary. So this film definitely expands what I begun working on in music, and absolutely, faith is a core idea in this kind of work. Faith is critical because so much of who we are isn’t affirmed. So, how do we then figure out… how do we communicate when so little of us is affirmed? You almost have to believe past what you see. And knowing how critical it is that we own our image and own our narrative, faith is your only ally. You go into any of this stuff blindly, not knowing if it will work, because in fact, it is pioneering work. So, faith is your only ally until it’s done. And then when the world rallies around it you’re vindicated. But all in all, I think all of that works together in just asking myself, Am I creating truthful moments? Through my music I’ve tried to do that as consistently as possible and now film is just an expansion of that medium in which my goal is creating truthful moments and allowing the world to see us as whole. And ultimately allowing us to see ourselves as whole.

 
Interview conducted by Mai Perkins

A Cali girl in a Bed-Stuy world with global bon vivant flair, Mai has several blogs under her belt, including MaiOnTheMove.com and Uberlicious.nyc. Completing an MFA in Creative Writing from Sarah Lawrence College, and an MA in International Affairs from The New School, she reps her beloved alma mater Howard University with great pride and swag. Her first manuscript, “The Walking Nerve-Ending”, is now available through IG: @flymai16