Tag: Detroit

Music Mavens — Katherine Yeske Taylor’s “She’s a Badass” Book Features Conversations with 20 Women Rockers About Feminism and the Music Industry

Katherine Yeske Taylor. Photo – Karen Stackpole

When I was a kid, I used to watch Happy Days.

I remember coming home from elementary school and watching reruns of the show, which featured several episodes of Suzi Quatro playing a musician named Leather Tuscadero.

There was something cool about Leather and the way she carried herself. I liked the idea of a woman fronting her own band, and in this case, it was Leather and the Suedes.

By the time I was nine, I started fronting my own imaginary band called Lori and The Red Hearts. It was inspired by women rockers like Suzi Quatro and Joan Jett.

While Lori and The Red Hearts never came to fruition, I learned later on that Quatro grew up in Detroit and is proud to be from there.

“It’s just a special city. You’ve got your Black and white completely coming together. Musically, it’s joined somehow. You’ve got your energy level. You’ve got your edge. You’ve got this almost desperation. It’s one of the best music cities, if not the best music city, in the world,” said Quatro in an interview with author-music journalist Katherine Yeske Taylor for the book, She’s a Badass: Women in Rock Shaping Feminism.

While she appreciates her hometown, Quatro also said she’s always been a square peg in a round hole and has forged her own musical path in life.

“From the time I started to play bass in a band, I was aware that I didn’t have my own niche in which to fit. It did not exist, so I created my own,” she said.

Quatro is one of 20 women rockers featured in Yeske Taylor’s book, which takes an in-depth look at the talent, determination, and humor they needed to succeed in their music careers. She’s a Badass also profiles Heart’s Ann Wilson, X’s Exene Cervenka, The Go-Go’s Gina Shock, Suzanne Vega, L7’s Donita Sparks, Indigo Girls’ Amy Ray, Paula Cole, and more.

“As I interviewed the women for this book, many of them proudly proclaimed themselves to be feminists—but several others had various reasons to reject that label. In either case, the way these artists have led their lives has turned them into role models (whether they actually intended to be or not), thereby promoting gender equality in the music business—and, arguably, in society overall,” writes Yeske Taylor in the book’s introduction.

To learn more, I spoke to Yeske Taylor about her background, music journalism career, and latest book.

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From Lyric to Lore — Metro Detroit’s Nick Juno Finds His Folk Through Timeless Stories and Songs

Nick Juno stands in front of a Wayne Kramer mural at Detroit’s Lager House. Mural by Eric Patrick Kelly. 

Nick Juno knows how to tell a powerful story.

The folk singer-songwriter, historian, and storyteller is driven by curiosity and a desire to understand, express, and connect with listeners.

“I want to know something,” said Juno, who lives in Metro Detroit. “I want to say something; I want to feel something. And I want the listener to feel something, too.”

Whether he’s writing and singing about women working in cigar factories or calling for the release of a wrongly imprisoned activist, Juno’s songs hit an emotional and thoughtful mark.

“I’m a topical folk singer with songs often inspired by front-page headlines, historical events, museums, or personal stories shared by everyday people,” he said.

“My music, whether personal or historical, aims to honor the power of storytelling and connect people to both the past and present.”

His engaging stories and songs are best heard in intimate settings, like coffeehouses, taverns, small theaters, and house concerts.

“House concerts are a favorite setting at this stage of my career,” said Juno, who hails from Flint and has been writing and performing since the early ‘80s.

“Intimate and conversational spaces allow me to set up songs, tell their stories, and create memorable, meaningful events with listeners up close.”

I recently spoke with Juno about select songs from his catalog and his upcoming plans.

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From Now On — Detroit’s Mike Ward Looks to the Future on “The Time That Remains” Album

Mike Ward embraces the future on “The Time That Remains” album. Photo – Steven Glynn

Mike Ward lives each day to the fullest.

The Detroit singer-songwriter and guitarist reconciles the past and embraces the future on The Time That Remains.

“I feel like I know these songs the best,” said Ward about his new folk album. “When I released The Darkness and The Light, most of those songs I knew as well as these. I feel like these songs are a lot closer to me than anything I’ve done.”

For his seventh release, Ward gets up close and personal about love, loss, and wisdom across the album’s dozen tracks. He spent considerable time fine-tuning the album’s evocative lyrics, heartfelt vocals, and earnest instrumentation before going into the studio last fall.

“This is unlike any album I’ve done because the songs have been performed out more than any of my other albums,” Ward said.

“When we recorded it, we produced 15 songs, but we trimmed it back because we felt these were the songs that hung together [the best]. At one point, we had a working title called Prayers, Parables, and Pet Peeves, and those are the buckets [the songs] fell into.”

I recently spoke with Ward about The Time That Remains ahead of an August 3 album release show in Ferndale, Michigan.

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The Message — 1980s Hip-Hop Through The Eyes of Local Media

Graphic by Nate Pocsi-Morrison.

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

In August 1983, 200 people entered a new dimension above the Heidelberg in Ann Arbor.

The clubgoers stepped into an unfamiliar yet fascinating music realm at the Big Beat Club, now known as Club Above, to dance the night away.

“Want to be on the cutting edge?” wrote Jim Boyd for The Michigan Daily on July 28, 1983. “New York, as usual, is the place to be, but this Friday you can save the plane fare by going to the Big Beat Club. There you will be able to experience the latest music/dance craze that is now surfacing in New York. It’s called ‘hip hop’ and its impact may prove to be culturally vast.”

The show was pushed back to August 5, 1983, but when the concert finally happened, curious viewers arrived to watch Harold “Whiz Kid” McGuire, a New York City DJ, spin and mix records in a “new” musical style known as “hip-hop.”

“There have been articles about ‘hip hop’ – which includes a style of manipulating turntables known as ‘scratching,’ for which the Whiz Kid is known, ‘break’ dancing, and ‘rapping’ – in such prestigious publications as Rolling Stone and the New Musical Express,” wrote Bill Brown in a July 23, 1983 article for The Ann Arbor News.

During Whiz Kid’s mesmerizing set, clubgoers watched his hands move as smoothly as a Kung Fu master while he played, mixed, and scratched records.

“The Whiz Kid’s ‘show’ consisted of a continuous, five-hour stream of heavily synthesized, emphatically rhythmic dance music,” wrote Brown in an August 12, 1983, review for The Ann Arbor News.

“At some points, especially when more people were watching him than dancing, he would play straight, uninterrupted records such as ‘Billie Jean.’ He would gradually throw in rhythmic accents that he either improvised on his electronic drum machine, created by manipulating the turntable’s needle, or snatched directly from other records.”

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Folk Storytellers — Kate Hinote Trio Shares Vivid and Emotional Tales on “Stowaways” Album

Kate Hinote, Matthew Parmenter, and David Johnson of the Kate Hinote Trio. Photo – Greg Aubry of Aubry Photo

Whether fact or fiction, the Kate Hinote Trio uncovers buried emotions on Stowaways.

The Metro Detroit group explores everything from longing to disappointment to grief on its latest indie-folk album.

“These songs came out less like poetry than my typical lyrics because I was very focused on telling a story each time,” said Hinote, the trio’s vocalist and one of its songwriters.

“We wanted each one of these songs to be like a window into another world. We wanted the stories to be clear, and I didn’t want to be too vague about what I was saying.”

The 10 new original tracks featured on Stowaways are anything but vague. Many of the tracks include a vivid storyline about a protagonist examining the purpose of a relationship and the intense feelings that accompany it.

“One of the big differences in writing this record with Matthew is that he’s also a songwriter who’s been composing his own songs on his own for decades,” said Hinote, who co-wrote six of the album’s tracks with violinist Matthew Parmenter and one with guitarist David Johnson.

“The lyrics and story are very important to him, and we always talk about ‘What’s the story here? What does the song mean? What will it mean to others when they hear it?’”

The trio’s lyrics range from fictional to personal and encourage listeners to process their relationships alongside them. Those sonic experiences are further heightened by Hinote’s enchanting vocals and Parmenter and Johnson’s vibrant acoustic instrumentation.

To learn more, I spoke with Hinote about the inspiration behind the trio’s latest album.

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Looking Inward — Night Sky Alumni Finds Gratitude and Growth on “Down the Rabbit Hole” EP

Night Sky Alumni’s Steve Lupinski, Al Ledford, Jason Longuski, and Joe Daksiewicz. Photo courtesy of the band.

Jason Longuski prefers to get personal with his songwriting.

The Night Sky Alumni frontman pulled from reflections, experiences, and relationships while penning tracks for the Metro Detroit band’s latest EP, Down the Rabbit Hole.

“It is a lot of personal experiences that led to those lyrics, the songs themselves, and the feeling behind them all,” said Longuski, Night Sky Alumni’s vocalist-guitarist. “There’s a story for every one of them and how they came to be.”

The EP’s six tracks serve as an introspective examination of gratitude, growth, and love for the indie-rock band. Longuski’s heartfelt lyrics document everything from valuable lessons to aspirational moments to newfound love.

“For a lot of my writing and lyrics, it could be something I flubbed on or a failure, or it could be something very happy that I started out with,” he said. “Even in the darkest of times or experiences, I’ve always had good people around me—my family, my friends, support groups—that have helped me get through some of the hardest moments of my life.”

On Down the Rabbit Hole, those moments not only soar lyrically but sonically as well. Night Sky Alumni bandmates Joe Daksiewicz (guitar, backing vocals), Steve Lupinski (bass), and Al Ledford (drums) bring fiery and upbeat instrumentation to their sophomore release.

“His lyrical content just complements the music I can write,” Daksiewicz said. “On ‘Let It Rip,’ there’s also an airplane noise, … and to me, it’s part of a story. I’m lucky these guys are willing to allow me to experiment. I feel like a mad scientist sometimes.”

To learn more, I spoke with Longuski and Daksiewicz about the band’s EP ahead of a June 20 release show at Parts and Labor Bar in Melvindale, Michigan.

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Speaking Up — Amrit Kohli Advocates for Resistance and Survival on “Mama! I Can’t Breathe” Album

Amrit Kohli confronts sociopolitical issues on “Mama! I Can’t Breathe.” Courtesy photo

One year ago, Amrit Kohli released a sociopolitical album reflecting on resistance and survival.

Known as Mama! I Can’t Breathe, the album’s dozen tracks span almost three decades of songwriting and explore oppression, resilience, Black liberation, and queer identity.

“It’s more than just an album,” said Kohli, a queer folk singer-songwriter and activist from Ferndale, Michigan. “At a time when the world still grapples with the repercussions of George Floyd’s tragic death, I transform pain into art, using music as both a tribute and call-to-action.”

Kohli examines those themes through improvisational lyrics, emotive vocals, and atmospheric instrumentation. On a deeper level, the album helps Kohli confront identity politics and find refuge in authenticity.

“I feel like an imposter in almost every community that I’m in because I’m outside [almost] all of them,” said Kohli, who has Kenyan and Indian heritage.

“I’m either an immigrant or I’m this or that. The queer community is pretty diverse and different, and the queer community I feel like I belong to. I think culturally, ethnically, and all of those things, there’s a lot of fragmentation in my identity that way.”

I recently spoke with Kohli about their latest album ahead of a Stop Starving Gaza benefit show on June 20 at the Ghost Light in Hamtramck, Michigan.

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Far and Away — Custard Flux Embraces New Worlds on “Enter Xenon” Album

Custard Flux’s Gregory Curvey, Timothy Prettyman, Nick Pruett, Andy Thompson, and Vito Greco. Courtesy photo

Custard Flux braves the elements and visits new worlds on Enter Xenon.

The Detroit band ventures to Arctic locales and distant fantasy realms on its latest prog-rock album.

“That’s what I like to create with my art,” said Gregory Curvey, Custard Flux’s vocalist, guitarist, and multi-instrumentalist. “I like everyone to look at it and see something different. I didn’t have anything in mind like that … but it all does flow that way artistically.”

Enter Xenon seamlessly flows through 10 tracks, which feature intriguing tales about aspiration, uncertainty, and loss alongside cinematic instrumentals.

“I’m not trying to guide anyone anywhere, but I’m working with themes,” Curvey said. “I’m putting together things that are cohesive. I’m not necessarily making a concept album with a thought-out story. I’ve always loved how Richard Butler and The Psychedelic Furs use the same lyrics in different songs, so I’m kinda doing that.”

For its sixth studio album, Custard Flux also seeks inspiration from the element xenon and the 1980 sci-fi pinball game Xenon.

“All of the albums, except for Echo, have been named after elements,” Curvey said. “I was gonna use xenon because I thought it was cool. In the pinball game, a female voice says, ‘Enter Xenon.’ Back then, my friends and I would go to the arcade and blow all of our money. I wanted to make it my own thing.”

To learn more, I spoke with Curvey about his background and the inspiration behind the album.

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True Identity — The Idiot Kids Reject Dichotomy, Embrace Authenticity on “Zeroes & Ones” Single

Jon-Mikal Bartee of The Idiot Kids. Courtesy photo

Jon-Mikal Bartee refuses to adopt a dichotomous mindset.

The Detroit vocalist, multi-instrumentalist, and producer dismisses society’s “us-versus-them” ideology and embraces their authentic self on “Zeroes & Ones.”

“I think there are people who can relate to this feeling,” said Bartee, who performs as The Idiot Kids, about their new garage-punk single. “I mean, releasing it during Pride Month definitely was not an accident. I know many other queer people who feel similar. Ultimately, I hope this track might act as a conduit for others to express how they may be feeling.”

While it’s an empowering queer anthem, “Zeroes & Ones” also takes inspiration from binary code and features defiant vocals and fiery instrumentation.

Bartee sings, “I’m not the either or / Not neither nor / Rigid dichotomy’s a bore / Or in other words / I’m not the this or that / I am a winding path / I write my odyssey / My score.”

“I liked the imagery of binary code and the fact that we use it every day in our digital lives,” they said. “Without realizing that we need both to communicate anything, I’ve always been frustrated by the lack of nuance in modern-day discourse. People seem to pick sides, stick to their guns, and do not want to engage with anything that may challenge what they already believe. Whether that’s politically, socially, or dealing with our own identities.”

I recently spoke with Bartee about The Idiot Kids’ single ahead of a June 7 show at Bell’s Back Room Kalamazoo, Michigan.

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Spring Breakthrough — The 3148s Ditch the Michigan Winter Blues on “Cabin Fever” Single

Jason Seifert, Greg Jones, Tom Jones, and Ian Coote of The 3148s. Courtesy photo

Greg Jones wants to spring into action.

The Metro Detroit vocalist-guitarist is ditching the winter blues after being indoors all season.

“I find, for whatever reason, it feels like it gets worse every year,” said Jones, who performs in The 3148s. “When I was younger, I’d look at snowbirds and think, “That seems like a lot of travel and a lot of hassle.”

While he’s not headed south this time, Jones channels that pent-up frustration, misery, and restlessness on “Cabin Fever,” the energetic, hardcore-inspired single from The 3148s.

Along with bandmates Ian Coote (guitar, keys, mandocello, vocals), Jason Seifert (bass), and brother Tom Jones (drums), he sings: “Sunlight deprived and locked inside / All alone in a crowded house / Grinding my teeth, grinning in agony / Self-loathing in sheep’s clothing / As all the walls keep closing / In on me and my sweet sanity.”

“And now I say, ‘Let’s get these kids to graduate so that I can buy a house in Florida and live there for six months out of the year,’” Jones said. “You feel trapped, and it’s like the walls are closing in by the time you get to this time of year. I just wanna be outside, and I wanna be warm and comfortable. I haven’t seen the sun, and yeah, it drags.”

The adrenalized alt-rock-meets-punk instrumentation on “Cabin Fever” does anything but drag. The band’s fearless electric guitar, thumping bass, and charging drums pulsate alongside Jones’ angry vocals.

To learn more, I spoke with The 3148s about its latest releases and background ahead of an April 5 show at New Dodge Lounge in Hamtramck, Michigan.

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