Tag: paul simon

GLOW Artist Joy Oladokun Embraces the Beauty in the Unexpected

April 25, 2023

Joy Oladokun is one of those self-proclaimed “rare birds” who didn’t set out to become a professional musician. The fact that Joy now gets to write, record, and perform music for themself and other Black queers like them is still nothing less than magic. “Maybe it’s my religious trauma, but I feel this responsibility as an artist—and not in a heavy way, in a truthful way—that if I’m going to ask people to listen to me, I want to say things that matter,” the 31-year-old, Nashville-based songwriter told For the Record. “I want to make work that builds a bridge.”

While living in LA after college, Joy found a job singing background vocals for a rock artist, and from there began to write music for low-budget videographers. The work snowballed into a viral gig, and eventually, a publishing deal. A few albums, plenty of singles, and an enviable number of high profile collaborations later, Joy is now preparing to release a new album and then go on tour with collaborator Noah Kahan. To top it off, she was just named Spotify’s latest GLOW artist. 

GLOW is our global music program celebrating and amplifying LGBTQIA+ artists and creators. We’ll support Joy on-platform with a dedicated hub and flagship GLOW playlist, and off-platform via billboards and other takeovers. The visibility, to her, is crucial—online as well as in real life. 

“Nashville reminds me of the small town that I grew up in, in rural Arizona. And it’s really interesting being so Black and so queer in a place that, at least on the outside, wants to pretend that you don’t exist. I think that there’s this real ownership and identity for me that has happened here. Yes, it’s a country music town, and I’m not a country musician, but I feel just as at home writing songs and making music here.”

Joy always believed in the power of storytelling and songwriting, and now, they have the opportunity and the audience to tell their own stories. 

“As a songwriter, I got to a place where I could have written a song for an Ariana Grande or a Carrie Underwood and that could have been gratifying. But I also was looking around the playing field and not seeing anybody like me and not seeing anybody telling stories like mine in a way that I resonated with,” they said. “There are obviously queer artists, there are obviously Black queer artists—thank God for Lil Nas X—but I think for the kids who grew up watching too much Star Wars and listening to Paul Simon and geeking out to the harmonies in Crosby, Stills, and Nash records, and also lying on the floor and listening to Linkin Park’s Meteora because it’s the best thing ever, I think I fill that gap. And I get to remind people that Blackness and queerness and womanhood and gender are not monoliths.”

Listen to her tracks “sunday” or “jordan” and you might just hear a 21st-century Tracy Chapman with hints of Bob Marley, Phil Collins, and Peter Gabriel. “They used a lot of West African music and rhythms in what they did. My family is from Nigeria and West Africa, and their music feels like home. They reached out and created a bridge, musically, between a synth and a talking drum.” 

Jimi Hendrix, Green Day, Nirvana, Paramore, and Metallica also made a big impact on the artist as a young person. “Music is the weirdest thing we do. We just make noise out into the void, hoping it connects with somebody. I can listen to a Johnny Cash record and be like, ‘I relate to this.’ But if Johnny Cash and I sat down to dinner, it would just be awkward.” 

Maybe, but there’s also a broad range of artists Joy has already been able to work and record with, including Manchester Orchestra, Mt. Joy, Noah Kahan, and Chris Stapleton. “When Chris said he would sing ‘Sweet Symphony’ with me, I think I said, ‘Are you sure?’” Joy has a photo of herself crying after listening to their track together for the first time. “Everyone has been so cool and so open to this sort of weird world that I’m building.” 

Joy refers to their work and live shows as a sandbox at a playground—a place where lesbians dressed like truck drivers stand and sing their songs next to actual truck drivers. But it’s not always a day in the sun. “I did this benefit concert in Tennessee because there’s been a lot of anti-LGBTQ legislation here. And we were like, ‘Hey, queer people live here! Imagine.’” One of the songs on the new record is about how nobody came to Joy’s eighth birthday party, but when it comes to the mood, “It sounds as if Radiohead and the Beach Boys had a baby. So I have a serious, innate desire to make beauty out of difficulty.”

Joy aims to keep her diverse fan base in mind and deeply values creating art that allows anyone to come to the table to find themselves. 

“I want queer people to listen to my music and feel empowered to take up all the space that God made them to take up,” they said. “I want people to feel like they can be sad or frustrated at the state of the world, or the way they’re spoken to, and feel like they still have people who care about them and advocate for them. And I think music does that.” 

Listen to the singles from Joy’s upcoming album, Proof of Life, and look out for the release on April 28.

A Guide to Kids’ Music Made by Grown-up Stars

June 13, 2019

Even for rock stars, having a child changes things. Suddenly, everything’s all about shaping a tiny human’s future. Certainly that was the case for Walter Martin, who, after his wife became pregnant, went from one of the most respected indie bands in New York City, The Walkmen, to a solo album of all-ages songs with names like “If I Were a Tiger.”

We typically think of “dad rock” as the tragically unhip music our fathers love, but what happens when the artists themselves become fathers or mothers, or start making songs meant for toddlers to hear? Do they lose their edge, or just find new angles for innovation? After giving Martin’s an album a listen and scouring our catalog for other albums of kids’ songs by musicians not known for family fare, we’re certain it’s the latter.

For one, sociopolitical uncertainty can be a serious motivator when it comes to passing values to the next generation. That was as true in 1959—when Pete Seeger released Folk Songs for Young People, full of lovely proletariat ditties like “The Farmer Is the Man (Who Feeds Us All)”—as it is in 2019. On July 12, Backstreet Boy Howie D drops Which One Am I?, a family album with songs (“No Hablo Español”) inspired by the identity politics of growing up mixed race in America. Of course, self-acceptance and love for humankind aren’t unusual themes in grown-up music either. You could easily mistake Ziggy Marley’s 2007 album Family Time, with social justice-minded songs featuring Paul Simon and Willie Nelson, for just another solid reggae release—except it’s set to kid-friendly melodies.

Far less likely to appear on an album meant for adults? A guide to the alphabet. Marley has one of those songs on his album too, but in 2009, They Might Be Giants raised the stakes by making an entire LP called Here Come the ABCs—complete with a cut called “Flying V”—devoted to the subject. The annals of kids’ tunes made by major musicians are full of educational anthems. For arithmetic, consider the eerie rasp of Johnny Cash, whose “One and One Make Two” (on 1975’s The Johnny Cash Children’s Album) offers double entendre for parents. For more fundamentals, 2012’s OzoKidz by Ozomatli packs mini lessons on subjects like “Germs,” “Trees,” and “Water” into nutritious Latin rock-rap nuggets.

But no childhood is complete without a healthy dose of absurdity. Enter Kimya Dawson (of Juno soundtrack fame), whose penchant for primitive folk jams and scatalogical humor makes her exactly the right artist to deliver a family album all about farts and poop—2008’s Alphabutt. A year prior, Barenaked Ladies covered the other end of that equation with Snacktime!, which includes a high-concept song trilogy where Canadian celebrities like Jason Priestley list their favorite munchies. Meanwhile, The Presidents of the United States of America front man Chris Ballew built a post-grunge career as Caspar Babypants, author of such silliness as “Bubble Rap,” where he voices a rapping bubble on his 15th kids’ LP Keep It Real! (2018).

Story songs are common too, especially from stars already known for spinning yarns, like Jerry Garcia, who teamed with bluegrass guru David Grisman to record a bunch of ancient hillbilly tales (like “A Horse Named Bill”) for 1993’s Not for Kids Only. Or Jewel, who sings about characters like “Bucky the Bull” and “Sara Swan Sleepy Head” on 2011’s The Merry Goes ’Round. Concept albums aren’t off-limits either. In 2008, hip-hop legend Prince Paul assembled The Dino-5—members of Jurassic 5, The Roots, and Digable Planets—for a song cycle about creative struggle and a misunderstood T. rex whose best friend is a bunny.

Plenty of familiar artists use the medium to foster appreciation for music that’s come before. In 1996, Linda Ronstadt recast hits by Queen and The Beach Boys as lullabies on Dedicated To The One I Love. In 2009, Los Lobos totally remade the Disney songbook (their “Heigh-Ho” is a Tex-Mex cowpunk riot). And 2016’s Beat Bugs soundtrack is hardly the first compilation to feature youthful takes on The Beatles—in this case by Eddie Vedder, The Shins, P!nk, and more. Walter Martin took a different tack on his folky 2014 all-ages debut, We’re All Young Together. His song “The Beatles (When Ringo Shook His Mop)” offers a lovely primer on the Fab Four: “John’s songs are dark and pretty, Paul’s songs are sweet little ditties,” he sings.

Finally, there’s the lullaby, the most vital piece of music in a parent’s arsenal. With his mellow vibe, Jack Johnson was a perfect fit to oversee 2006’s Curious George soundtrack, and his duet with Ben Harper, “With My Own Two Hands,” is a soothing way to end any day. Fittingly, dream-pop band The Innocence Mission released a mighty sleep aid in 2004, Now the Day Is Over—gossamer original “My Love Goes With You” ought to be canonized alongside “Twinkle Twinkle Little Star” as an essential inclusion in the lullaby oeuvre. But Lisa Loeb’s Catch the Moon (2007) might be the tenderest of all. Her rendition of “Fais Do Do” is sweet, heartfelt, and evocative enough to send even stress-ridden adults into blissful slumber. Forget the kids—add this to your personal sleep playlist now.

For more family-friendly jams, stream Spotify’s Toddler Tunes now.