Nashville singer-songwriter Natalie Schlabs made one of my favorite records in 2020, Don’t Look Too Close, a collection of intimate synth-pop and alt-country tunes infused with gorgeous, sublime vocals (I’ve listened to the soaring, melancholy “Eye of the Storm” on repeat this week). We caught up with the indie artist to find out what’s next for 2021, in motherhood and music and beyond.
Rockmommy: For those who might not be familiar with your music, how would you describe your sound?
Natalie Schlabs: I like to say that I’m a blend between singer-songwriter, Americana, and Indie. At the heart, I value the lyricism and story that is true to form for most singer-songwriters. I love the timelessness and deep roots and the wide umbrella of Americana music. And more recently, I have been inspired by the interesting sounds and quirks of indie music.
Rockmommy: What were the biggest challenges you encountered in the last 12 months?
Natalie Schlabs: I am trying to stick to a schedule, but with the pandemic and limited childcare, it’s tough. Raising a child is such a ride. So much mystery and exploration every day. But finding time for self can be a huge challenge that I would like to find more time for.
Rockmommy: How did 2020 influence your music and creative process?
Natalie Schlabs: I have learned a lot more about Pro Tools and producing my own music in 2020, which has been really interesting and fun. I didn’t think that was something I wanted to learn, but now I am fantasizing about producing someone else’s record one day. I think it has made me feel more capable and informed as an artist. Even if I don’t record my own record, I think I can take that knowledge with me into the studio.
Rockmommy: Any recent or upcoming projects you’d like to share?
Natalie Schlabs: I’m hoping to get into the studio in the near year to record some singles or a small EP. I haven’t decided how I’ll release it, but I’m really looking forward to getting back into the studio. 2019 was the last time I was working on my own music in the studio!
Rockmommy: What advice do you have on balancing parenthood with creative life?
Natalie Schlabs: This is SO hard, but I think it’s been helpful to remember that I can make a decision now and then change it later. I can decide something for my music or family life and then change when it’s no longer working. This can keep me from freezing up or feeling stuck. If something isn’t working, you can change it. Or, you can make a decision now, and then make a different decision later.
Marisa Torrieri Bloom is the editor and founder of Rockmommy.
We often hear women speak of ‘having it all.’ But what does that really mean? What is “all”? Perhaps the definition of “all” changes as your ability to expand your heart evolves.
In the many years before I became a mother my “all” (aside from the given: the health and happiness of my loved ones) was freedom — freedom to move where, when, as much as I wanted to. Freedom that allowed a song junkie like me to stop everything at any given moment and write (yet) another song.
In 1997 I penned the female empowerment anthem “Bitch” with Meredith Brooks — destination #2 on the Billboard Hot 100 and a Best Rock Song Nomination in the 40th GRAMMY Awards. I was pregnant with my daughter at the time.
When my daughter arrived the sound of my “all” shifting was like the screech of a car’s tires coming to a halt. Finally, after years of trying to forge relationships with A-list songwriters, I was the new it-girl. Everyone wanted to work with me. But the thing is if I didn’t want to miss the first raspberry, the first “mama,” the first step, I wasn’t going to be able to take on all those collaborations. It was a rude awakening. I don’t know what had me thinking it might be otherwise. Yet, something kicked in.
I became a pro at the breast pump and learned to quickly trim the fat on lyrics I knew didn’t cut it instead of taking a week to kill my darlings.
My film composer husband and I hired a nanny on a part time basis — 3 days a week from 9am-4pm. I’d only collaborate with those who could accommodate that window, fully aware I’d be passing up opportunities that would lead to a monster smash for someone else. Fortunately, I went to a session that gave birth to Christina Aguilera’s “What A Girl Wants.” It would become the first #1 song of the century. I learned of this mitzvah via a phone call at Layla’s bedtime. I made it quick because Pooh was about to stick his hand into the honey jar. I kept my enthusiasm under control but when she was finally asleep, I burst into a silent scream while jumping pogo-stick-style up and down the hallway.
My it-girl status was extended and the search for balance between rocking the mommy and rocking the music continued. I chaperoned an elementary school class trip on a Monday and was in the studio with Britney Spears on a Tuesday. There were times I had to cancel a co-write because my girl had a fever and other times, I had to tell her couldn’t take her shopping for a prom dress because I had an opportunity that I simply didn’t want to turn down. Seesaw, seesaw.
Shelly Peiken and her daughter Layla
My daughter Layla graduated from college last year and moved to NYC. As I write this, she’s sheltering in place in the epicenter of a global health pandemic. I can’t imagine being the mother of small children right now — having to deny them playdates and pre-school for who-knows-how-long — or a parent of hormonal teenagers who can’t leave the house to exercise those hormones. That said I can assure you that although I now reside in an empty nest and have my previous version of freedom back the worry I’m experiencing because Layla is in the hot zone of the pandemic ain’t no picnic either.
Last night, in order to take my mind off that worry I did what many musicians are doing to stay sane — I livestreamed a concert from my home. Gratefully, hundreds of people “tuned in,” later letting me know that it was a lovely way to spend a Saturday evening, pandemic or not. My worry disappeared while I was singing. I felt reconnected to humanity, to music and to my daughter who texted hearts and emojis of clapping hands. Music is medicine. So are daughters.
On the day Layla was born I started documenting anecdotes in a journal — cute little stories about things she did and words she commingled: eucalipstick, hangburger, beffkist. I wrote about the day she came home from school to find her favorite TV star, Hannah Montana (Miley Cyrus) in her living room. I wrote about her first kiss. Her disappointments. I’m certain I’d have forgotten a lot of the detail had I not picked up a pen. Middle-aged hard drives get full and memory fades.
A few years ago, while spending a semester abroad Layla FaceTimed me and said she kept dreaming I was dying. I promised her I was more alive than ever but being the songwriter that I am, and because I could once again drop everything, I began a song that started with these words:
My daughter keeps on dreaming that I’m dying
Nothing could be further from the truth
I tell her not to worry
I’m in no hurry
That’s the last thing on this earth I’m gonna do
I called the song “Notebook.” The refrain lets her know where that journal is (on a table next to my bed) so that should something ever separate us she can find it and hear my voice in the pages.
I don’t know what I’d do without her. The umbilical cord is never severed. And as for music — once you’re under its spell it never lets you go. That’s my balance. All the rest — travel, sushi, mani-pedis, cool clothes, weight control, retail therapy, social media following, quality problems…it’s all gravy.
In honor of mother-and-child unions everywhere, I’d like to share “Notebook”the new single from my forthcoming album 2.0 etc…. I wish all the rockmommies of the world the happiest of Mother’s Days. May the balance be with you.
As a former Brooklynite, I thought I knew Joanie Leeds. When I interviewed the singer and performer in 2017, chatting about raising a tiny person in a busy but super-creative borough, I thought to myself, “yes! That’s my girl. She’s bright, happy, and living the mom life I would’ve lived if I hadn’t transplanted to the suburbs of Connecticut.”
I also thought I knew her music — wonderful, insightful, high-energy kindie rock with a touch of sass — that was perfect for dance parties with my toddlers (who are now 6 & 7). Adorable songs like “I love New York,” made complete with fun, colorful videos.
So when I heard that Joanie had spent the last two years channeling her emotions (and some life hard experiences) into a record that celebrates women’s empowerment — and features women instrumentalists — I was pleasantly surprised. At the same time, it made total sense. Based on Joanie’s previous work, it’s pretty clear she’s a creative, multifaceted rocker mama — a lyrical badass who writes songs that are universally catchy and relevant.
Joanie’s latest record isn’t just fronted by a female singer. It’s infused with ladies, and all about the #girlsplayinstruments movement. An added bonus: Today, April 3, she is part of an hours-long, all-women Facebook Live show (12:30 to 4 pm EST on the @alltheladiesmusicfestival page on Facebook). As such, her record is created for women by women.
We recently caught up with her to talk about her new album “All the Ladies,” motherhood, life in New York and everything else.
Rockmommy: I love the concept of “All the Ladies.” Was this inspired by the 2016 election turnout, or the #metoo movement, in addition to a desire for true equality in the music industry?
Joanie Leeds: Thank you. Actually the idea came to me as I was sitting in audience of the 2018 Grammys Awards. I had just separated from my husband about three months prior and felt a rush of creativity flood within me ignited by my newfound freedom. At the ceremony however, I felt enraged by the underrepresentation of women at the Ceremony and those nominated. While it may have bothered me a little bit before that night I felt the need to take action. I took out my phone and started typing all of these ideas about an all-female performed, produced, engineered, mixed and mastered album. I even starting making a list of women I wanted to work with right there, at Madison Square Garden.
I sat on the concept for a year because I just started a grown-up music project Joanie & Matt (coincidentally, music from THAT project was inspired by the #MeToo movement). In March of 2019, I had lunch with Lucy Kalantari and whispered my idea for an all-female album for kids and she said she was actually looking to produce someone and liked the idea. It was the meal that changed everything. With that conversation I went home and over the next three months wrote all the songs from the album. In July, we started recording at her studio. Often, I would walk directly out of the court house during my divorce trial and head over to Lucy’s to record. The entire process was emotional and cathartic all at the same time.
Rockmommy: The last time we chatted you had a kids’/family record! Is ‘All the Ladies’ for the mamas (or can kiddos listen along too)?
Joanie Leeds:For the past 10 years I have written kids songs focusing on the 2- to 5-year-old audience. While my own 4-year-old loves all the songs from “All the Ladies”as well as many other under 5’s who have heard the tunes, I really wrote these tunes with older kids in mind. While the album non-apologetically carries themes of feminism through out, it is not just for young girls and women. It’s for every age and all gender identities. Someone once asked me, “What about the boys? I answered, “Anyone who has ever had a mother, sister, grandmother, aunt or a daughter will find value and joy in songs that honor and respect their family.”
Rockmommy: You relied on other females to make your record. I gotta say, even in NYC, it is damn hard to find women (other than singers and guitarists) for the purposes of collaboration. Why was that so important to you?
Joanie Leeds: EXACTLY! I wanted to challenge myself and I couldn’t do it alone. Lucy put all of the instrumentalists together. I had a list of singers in mind but she did an incredible job finding string players (Nelly Rocha, Libby Weitnauer) a bass player (Caylen Bryant), percussionists/drummer (Rosa Avila, Lisette Santiago, etc)… I had been playing with an all-male band for 10 years and whenever one of them couldn’t play a show and I needed a sub, I would ask for their short list — it would ALWAYS be ALL men. I was just sick of it. The only way to bring women into the room and into the conversation is by making change, shaking things up. I say this with my own band in mind but it’s true of ANY profession, at any level.
Rockmommy: Can you tell us more about the virtual live show on Friday?
Joanie Leeds: One of the singers on the album, Tina Kenny Jones, reached out to me after my album launch concert (and entire tour) was canceled due to COVID-19 and suggested I hold an online music festival. I called up my publicist right away and was like ‘Do you think it will work?’ After I heard a big yes, I asked all of the singers on the album and they were all in too! It’s been a wonderful thing for me to throw myself in to help take my mind off the crisis here in NYC. I need to stay busy. Between creating all the artwork, media, taking zoom tutorials and all the logistics of producing an online festival, and telling the world about it, it’s been quite a ride already. It will be Friday April 3, featuring all the incredibly talented ladies below: 12:30-4 pm EST on the @alltheladiesmusicfestival page on Facebook.
Rockmommy: How are you making time for music with the kids home?
Joanie Leeds: It is NOT easy. With deadlines looming and online concerts to prepare for and perform each day, every moment of each day is a balance. The day usually starts out with ‘school’ and playing in ‘centers’ and then eventually I have to get work done. Sometimes that is an epic failure and the iPad comes on so I can practice or hold an online show and sometimes, my daughter surprises me by building or playing solo with toys in her room. It’s not easy being one on one but we have a lot of fun with daily dance parties (tonight was Phish, last night was Tom Petty, most nights it’s Brandi Carlile. We love screaming and playing cowbell out the window at 7 PM to send love to the first responders.
Rockmommy: What words of advice or inspiration can you offer to your fans and rocker mamas in NYC and beyond?
Joanie Leeds: Maybe this comes with age but to the all the amaaaazing rocker mamas, I am most recently living in a constant state of NOT GIVE ANY *&^%s. I don’t know if it’s being in your 40s and finally knowing who you really are or if it’s being a mother, but I couldn’t care less about what anyone thinks of me and at the same time, I have never been as comfortable in my own skin as I have been over the past few years, gray hairs, readers and all.
For the kids: When I was in middle school, the kids gave me a very hard time at school as well as my sleep away camp. As a result, I had little confidence and was filled with anxiety about just showing up at school or entering a room. I know it’s cliche to say but it does get better. To all the kids struggling, there are many things I would to say. First, believing in yourself can only come from within so find the things you love about yourself and share those things with the world. Do your best not to compare and despair. Elevate your friends by cheering on their accomplishments and always try your best to make everyone feel included, even when it’s not the popular thing to do. As it relates to the album, I want to see young girls putting themselves out there more with the confidence that you can be ANYTHING — raise your hands and help each other out. It’s important to stick together.
Marisa Torrieri Bloom is the editor and founder of Rockmommy.
In 1999, when I was an intern at a Maryland boating magazine, I’d crank WHFS as I cruised East on I-50, from College Park to Annapolis, singing along to whatever was playing. It was on one of those treks that I heard Mary Prankster for the first time, singing the chorus of “Mercyf*ck.” I was immediately gripped by the compulsion to pull over, so I could hear each and every lyric.
Later that day, I snatched up her CD, Blue Skies Over Dundalk, listened 50 times, and realized that Mary Prankster was my girl. My True North. My kind of songwriter. To this day, Blue Skies Over Dundalk, in its 20-minute brilliance, goes down as one of the best rock n’ roll albums ever created. (Roulette Girl and Tell Your Friends are also in my top 10, in no particular order.)
In 2005, when Mary announced she would retire after years of playing sold-out shows across the mid-Atlantic, Charm City fans were shocked, sad and baffled. But the timing was right. Mary Prankster (whose real name is different) believed the MP moniker would ride into the sunset, but the woman behind the persona would move onto other, more grown-up ventures — most notably, voiceover work.
“I’m retiring the character,” she told me over coffee in the Village Voice offices in New York, where I worked after relocating to Brooklyn that fall. “I’m not retiring from creative life.”
Later that day, Mary Prankster emailed me a photo of herself dressed like the Virgin Mary cradling a melting guitar. It was sad, but fitting.
Fast forward to 2019. Fourteen years is a lot of time — to contemplate life, make mistakes, settle down and look back and wonder if you left a crucial part of yourself behind when you turned 30. Around three or four years ago, Mary started hearing songs in her head that needed to get out into the open, as she told The Washington Post.
The result: Thickly Settled, Mary Prankster’s first album in more than a decade, is as beautiful, rich and complex as a bottle of good Cabernet.
The 10-track record blends multiple genres — often in the same song — like vintage rockabilly or bluegrass, frequently filled out by horns. “Local Honey” is bathed in smooth, trippy guitars and my favorite, “Sugar in the Raw,” is chock full of sex-bombshell-worthy, distortion-guitar riffs. While there are no pithy punk tracks in the vein of “Mac & Cheese” or “Tits and Whiskey,” there are cheeky moments throughout — little reminders that while you can take the girl out of rock n’ roll, you can’t take the rock n’ roll out of the girl.
Rockmommy recently caught up with Mary Prankster, who is playing her annual Pranksgiving Shows at The Ottobar on Friday, Nov. 29, and The Birchmere on Saturday, November 30.
Rockmommy: Thickly Settled is brilliant — and surprising. When you originally “retired” MP in 2005, did you think you had another record in you?
Mary Prankster: Thank you! And no, I didn’t. By the time I “retired” I hadn’t heard any new songs in my head for a few years. I was exhausted, and I figured, “Well, this is it — I’ve had a good run.” I’m delighted and grateful the songs came back and overjoyed with how the new album came out.
Rockmommy: Was there a moment when you decided you needed to get the songs onto an album?
Mary Prankster: I was living in Central Pennsylvania for a bit — one of my favorite regions of the country — and had an unexpected amount of unscheduled time crop up. I took the opportunity to make some audio sketches in GarageBand of what I was hearing in my head. Just doing that helped equalize the pressure a little bit — being able to hear the songs from the outside in — and then it became a matter of figuring out if it’d be possible to record them properly.
Rockmommy: I know you wanted a diverse group of musicians who were flexible with this record. How did you find your current roster?
Mary Prankster: Enter Steve Wright, genius producer/engineer and my bestie from way back. For the past 20 years he’s been honing his skills at Wright Way Studios in Baltimore, recording every genre of music with some seriously talented folks.We did an EXTENSIVE amount of preproduction together — demos, reference tracks, written descriptions of how I heard the tunes — strategizing what we’d need to pull it off.
From that, he had an idea of the depth of skill and versatility the musicians needed to have. Steve also has a really good sense of the psychology that goes into a session — how different personalities/approaches will interact.
Making an album is a terrifyingly intimate thing. You’ve got these songs that come out of intense feelings and you’re focused on making them the fullest expression of themselves so you’re just submerged in emotion for hours on end.
Added to that was how incredibly vulnerable I felt recording my first studio album in over a decade and a half. Whoever was going to make this record with me also had to be — just as a person — kind.
So Steve went through his roster of twenty years worth of crackerjack musicians and personally selected the most skilled, most versatile, and most kind. And here we are.
Rockmommy: What’s it like making music now, as opposed to your 20s, when you were recording and touring nonstop?
Mary Prankster: The technology available now is miraculous. Being able to do multi-track demos with a laptop and a midi-controller and emailing them with song notes — that right there is amazing. So is pulling reference tracks for different sound approaches from the infinite music library that’s available online. After the initial sessions I had another guitar idea and Bryan and I were able to work out a solo over FaceTime. Remote mixing in real time with an ethernet cable and SourceConnect. We took advantage of all these different digital tools and it was invaluable in terms of time and cost.
Interestingly enough, the SPIRIT of the album — just the sheer joy in making it — reminded me of making Blue Skies Over Dundalk. When Steve and I made that one together, there were no preconceptions or expectations, we were just totally focused on the songs and getting them right and it was so much FUN. I felt very strongly then that if it was the only album I ever made — and there was no reason at the time to believe it wouldn’t be – that I wanted to make the absolute best album I could – hold nothing back and just go for it.
With Thickly Settled — again, there was no REASON to make it, aside from the overpowering desire to hear these songs out in the world, so we had the same kind of giddy joy of discovery and creation. There was a lightness and playfulness to the sessions — 16 hours would pass and the only way we knew it was time to call it a day was that we’d be physically trembling from exhaustion. It was glorious.
Rockmommy: OK, Thickly Settled. How’d you come up with that album title (which, from the perspective of a 40-ish rocker mom, feels so relevant).
Mary Prankster: In New England you’ll see road signs that read “THICKLY SETTLED” in residential neighborhoods — translated, it means “High Population Density — Drive With Caution.” Metaphorically, as a 44-year-old woman smack dab in the middle of midlife, I’m also “Thickly Settled.” By this age, you’re living your life (as opposed to preparing for it) and starting to see how some of your earlier plot lines have turned out.
Rockmommy: Any plans to tour again, besides the Baltimore-DC-NOVA shows every Thanksgiving?
Mary Prankster: None at the moment, though certainly open to it if there’s demand/it makes sense.
Rockmommy: Would you consider playing my 5-year-old’s birthday party? 😉
Mary Prankster: We can park the horn section by the bouncy house.
Moana is one of my favorite movies to watch with my kids — and, heck, even other peoples’ kids. A big part of that is the soundtrack, full of singalong tracks written the brilliant Lin-Manuel Miranda of Hamilton fame.
The crab Tamatoa, as seen in the 2016 Disney film “Moana” (aka, the greatest Disney movie ever made).
I spent a good part of last summer playing the soundtrack in my car on repeat, and me and the little men would belt out the songs.
Our favorite, by far, was “Shiny” — the anthem sung by the scary crab Tamatoa.
The best part about this song is that it’s not too hard to learn — the chords are simple and pretty much anyone who knows how to play basic open chords (and a few power chords) can play along. And so I’ve created a short video tutorial here for Rockmommy readers. Enjoy!
PS: Chords and lyrics below the video. Warning: Chord formatting will vary by device, so listen to the song to get the timing right.
SHINY (written by Lin-Manuel Miranda for the 2016 Disney film “Moana”)
Em / Am / Em /
Tamatoa hasn’t always been this glam
Am / Em /
I was a drab little crab once
Am / C /
Now I know I can be happy as a clam
D / Em /
Because I’m beautiful, baby
Am / Em /
Did your granny say listen to your heart
Am / Em /
Be who you are on the inside
Am / C /
I need three words to tear her argument apart
Your granny lied! I’d rather be…
C / G /
Like a treasure from a sunken pirate wreck
Scrub the deck and make it look…
C / Am /
I will sparkle like a wealthy woman’s neck
Just a sec! Don’t you know
Em / C
Fish are dumb, dumb, dumb
/ Em / C /
They chase anything that glitters (beginners!)
Em / C
And here they come, come, come
/ Am /
To the brightest thing that glitters
Mmm, fish dinners
I just love free food
And you look like seafood (seafood)
Well, well, well
Am / Em /
Little Maui’s having trouble with his look
You little semi-demi-mini-god
Em / Am /
Ouch! What a terrible performance
Get the hook (get it?)
D / Em /
You don’t swing it like you used to, man
Am / Em /
Yet I have to give you credit for my start
Am / Em /
And your tattoos on the outside
Am / C /
For just like you I made myself a work of art
I’ll never hide; I can’t, I’m too…
C / G /
Watch me dazzle like a diamond in the rough
Strut my stuff; my stuff is so…
C / Am /
Send your armies but they’ll never be enough
My shell’s too tough, Maui man,
Em / C
you could try, try, try
/ Em /
But you can’t expect a demi-god
To beat a decapod (look it up)
Em / C /
You will die, die, die
/ Am /
Now it’s time for me to take apart
Your aching heart
Eb Bb Eb Bb
Far from the ones who abandoned you Chasing
the love of these humans
Who made you feel wanted
You tried to be tough
But your armour’s just not hard enough
Now it’s time to kick your hiney, ever seen someone so…
C / G /
Soak it in ’cause it’s the last you’ll ever see
C’est la vie mon ami, I’m so…
C / Am /
Now I’ll eat you, so prepare your final plea
Just for me
You’ll never be quite as shiny
You wish you were nice and…
By necessity — for lack of time and resources — I’ve defaulted to the category of “solo” artist. And in November, I’ll bring my one-woman act (Marisa Mini) to two venues: Branded Saloon in Brooklyn, and The Lumberyard in Redding, CT.
In some ways, this is a blessing. It’s also the way I started, and the way many (if not most) of us start playing music. Flying solo, I have the ultimate flexibility in my set list: If I feel like playing an old tune from 2003, I can pay it. If I want to play the tune with a cool reverb effect, I don’t have to run this by anyone. Ultimately, it’s my decision to go with the reverb. Or with the flanger, etc.
I have complete creative control over wardrobe, too: I can’t tell a bassist to wear a sexy leotard (I wouldn’t do that anyway, but still!). If I’m feeling like a leotard, I’ll put one on. Or if I’m just in an Vans-and-jeans mood, that works, too.
Yet as thrilling as it is to play a set that I control, there’s something lonely about the prospect of playing a solo show. Especially because I know how wonderful and fun it is to collaborate with other musicians.
If I have more time by myself, I can get into a self-critical mode, second guessing my song choices or even whether or not I can hit notes in my head voice. Also, without the live sounding board of a band, I don’t know if the set arrangement I’ve considered represents the right choice.
The vibe of a solo show is different from the vibe of a full-band show — and this kind of sucks sometimes. I don’t want to be a “coffeehouse girl” — I want to be a full-fledged rock and roller! But the sole act of playing guitar all by myself, only accompanied by a microphone and an amp, screams “coffeehouse girl.”
There’s also something terrifying too. When you’re playing with a band, the entire team shares the blame when a mistake is made. Because if you sound shitty, it doesn’t matter if it’s because the guitar is out of tune or the drums are ill-timed with the bass.
When you’re solo, you are the one who is credited for your amazing pipes or clever lyrics. But you’re also the one who is frowned upon when you play the wrong note.
I can no longer blame “the drummer” if there isn’t a drummer to blame!
The bottom line is that I simply don’t have time for anything else but a solo show. I don’t have time to search high and low for musicians, or to even drive to a rehearsal space that’s more than 10 miles in from my home. I don’t have time to argue with bandmates about how a set should or shouldn’t be arranged. I only have time to finesse my guitar chops in the comfort of my own home, and to sing when no one is listening.
But I can promise you this: I play an engaging and sonically inspiring set at both my Brooklyn and Redding shows this month. I know this because I’m practicing my tail off, sneaking in guitar-fingering exercises ever hour or so, while my kids are in preschool.
You probably already know how great lunges are for toning your legs and improving your endurance. But did you know they can also improve stability, core strength, and balance, too? If time is a problem (and it probably is, if you’re a parent), our resident rock mama and Brooklyn, N.Y.-based personal trainer Sharissa Reichert, who sings and plays washboard for Milf & Dilf, has you covered.
This month’s three-minute video, named in honor of the Lollapalooza music festival that began in the early 1990s and recently celebrated its 25th anniversary, is all you need to strengthen those quads and work on your core. The best part? You can do anytime (like when your kid naps) and pretty much anywhere. Also, in case you missed it, check out her 5-minute ab workout, featured last month on Rockmommy.
Disclaimer: These exercises are not intended to replace the guidance of your physician or healthcare provider. If you’re starting a new exercise program, be sure to consult your doctor first.