Frances England’s New Single ‘Glue’ Celebrates the Silver Linings of Constant Togetherness

by Marisa Torrieri Bloom 

It’s been quite a year, and if you’re a mom, dad, or kid, you’ve likely experienced a level of family bonding you never thought possible. Frances England, mom of two teenage sons, gets it. Her latest tune, ‘Glue,’ out today is inspired by the intimacy of living in a coronavirus pod, for better and worse. 

Frances England (Photo Credit: Margaret Preble)

But the song is also a welcome respite from the severity of the pandemic in our everyday lives. 

We recently caught up with her to talk about the new tune, the first single off her forthcoming album, ‘Honey,’ out November 16. 

Rockmommy: What inspired the song, “Glue?” 

Frances England: The idea for “Glue” came from the CoronaCoaster we’ve all been riding since March of this year. I was just thinking about how our worlds got so small when we were suddenly only allowed to be with a very limited group of people — our immediate families, our partners, our pets. “Glue” is a song about appreciating the people you’ve been stuck with 🙂 

Rockmommy: What messages do you hope to impart in your music? 

Frances England: For kids, I try and subtly weave in messages about being compassionate, empathetic, a curious observer, animal protectors, good stewards of the earth. For parents, I try to create songs that speak to how wondrous and magical the ordinary is when you have young children. My kids are older now, but I remember how stressful and exhausting it can be to parent young kids. It’s also the most special space in time and I hope my songs capture a little bit of that. 

Rockmommy: What are you most looking forward to, over the next few weeks, during these crazy times? 

Frances England: COVID +  the California fires + our country’s political reality have made for a hyper stressful time, and to be honest, I have been feeling anxious about pretty much everything. During the next few weeks I’m hoping to balance all those externals with some quiet things that calm me down and fill me up: songwriting, family bike rides, experimenting with a new camera. I also manage a community park in my neighborhood so that keeps me busy in all sorts of interesting ways. 

Marisa Torrieri Bloom is the editor in chief of Rockmommy.

NYC’s Val Kinzler Reflects and Rocks On

Playing rock n’ roll requires a lot of stamina. So does motherhood. This month, Rockmommy correspondent Rew Starr talks to NYC rocker mom Val Kinzler — a self-described cross between “Janis Joplin & Karen O” — about life, music and finding balance in a crazy world. 

Rew Starr: Hows it going? What have you been doing these days?

Val Kinzler: I’m still adjusting to the aftermath of the COVID-19 lockdown. Living on the Lower East Side in NYC with my son and two pugs. I’ve been teaching music virtually — which still feels kind of strange — and hosting songwriting webinars. I work with an LBGTQ non-profit record label. 

Val Kinzler (Photo: Donna Malech, Parkside Lounge, NYC) 

I also participated in a successful livestream fundraising effort to help save The Bitter End venue on Bleecker Street, which was produced by Room Full Of Music and Off Stage Tunes,  and another livestream benefit for the NAACP via Tune Hatch.

Beyond that, I’ve been cooking, cleaning, eating, taking 8- to 10-mile walks with my son to avoid public transportation and trying to squeeze back into my skinny jeans!

RS: How is this different than pre-pandemic life? 

VK: Prior to the pandemic, I co-curated a week long NYC Women Who Rock Fest in conjunction with Mike McHugh and New Century Booking that featured some awesome, 

power house women artists including you! I’m amazed that we were able to complete all of the fest dates just before the lockdown!

RS: What about the kids? What does going back to school look like?

VK: Jesse is thirteen and actually did great with Google Classroom, and is still participating in online distance learning. Recently he informed me that after taking a “mental age calculation test” he is actually 27! So, I kind of feel like I have a “QuaranTEEN” and an adult child rolled into one!

RS: So tell us about your life. So how many bands have you been in? Is it more than boys you have been with or less? (laughs)

VK: This is a loaded question. I dissected and re-assembled the trajectory of my varied band experiences and realized there’s got to be a book penned by me eventually called “Road Kill!”

My earliest girl band was The Sirens, which played classic rock and Grateful Dead covers at Long Island colleges and bars, with a born-gain Christian manager who desperately wanted to “get to know us better,” and I went from there to my excuse for dropping out of college: a punk-pop all girl band called The Technical Virgins (i just received newly rendered live and studio tracks and a pending script/screen play for the “TV’s” that the singer/songwriter/bassist/flute player Susan Neuffer wrote). The TV’s played in the 1980’s at A7, with Marilyn and The Movie Stars and The Bad Brains, at Maxwells in Hoboken, CBGB’s on Valentine’s Day (we opened for the Sick F*cks) and at Queens College (on the bill with ISM) and other rock n roll joints that are long gone. 

Val Kinzler (photo by Alan Rand; The Red Lion, NYC)

We had interest from the Go Go’s producer and I met with Sid Bernstein several times. Sid wanted to change our name. The founding TV’s said no. I still miss him, though. 

After playing piano exclusively for years, I picked up the guitar because, I was moving from squat to squat on the Lower East Side, sometimes sleeping under a friend’s kitchen table.

I had to sell my piano and started writing a lot more on the guitar which proved to be a blessing because, with my limited chops, I was forced to keep my writing simple and more intuitive rather than getting sidetracked by riffing on the keys.

I joined open blues jams at places like Dan Lynch on Second Avenue between 13th and 14th Street where the Holmes Brothers, Joan Osborne, Jon Paris, Grant Green Jr., Harry Holt and others packed the joint. I also backed up some groups as a keyboard player — most notably, The Jive Five, which was really cool because, we’d play the oldies shows with Little Anthony, The Dixie Cups, Ronnie Spector and these singers and their tunes still remain timeless!

Valkyrie and The Vikabillys was my first all original band. But, I was still doing back-up gigs, singer-songwriter open mics and blues jams. 

I played The Lone Star, Bitter End, Village Gate, Kenny’s Castaways, and after recording two projects, one with Popa Chubby (I still love those tracks!) and my debut East Third Street record produced by Genya Raven who also sang backgrounds with me. 

Hilly Crystal (CBGB’s) came in to the studio to lay down the voiceover of the sanitation worker in “Alleyways Of Love,” a song I wrote about a hooker and a garbage man who fall in love when he spots her as he’s picking up the trash. That record landed me some cool gigs, I opened  solo in California for Marty Balin and Chuck Negron at a show where Joe Walsh and Clapton were also booked.

After joining a heavy metal band called ICU (Intensive Care Unit) for a brief time, I then joined Blue Lagoon, a hard-hitting blues rock band, as their lead singer.

Eventually, my music evolved when I met Joe Vasta, who also became my romantic partner. Joe and I originally connected through Thommy Price, who I’d worked with in the 1990s.

My main band now is the Val Kinzler Band. David White whom I met and played with in King Bee and The Stingers, Joe Vasta, and Jon Ihle. We recorded our debut record “Nothing Sacred About Hatred” in Oklahoma for a Christian label. The label’s owner was busted for embezzlement but, we got a great record and two videos out of the deal! I refer to VKB as my grown-up band because we’ve all been there, and are done with “THAT!” I’ve also joined several other all-female groups.

Val Kinzler Band

RS: We met in the Dirty Mothers. You had a newborn. How were you so able to try anything even at that vulnerable state?

VK: Yes! I also remember Joey Zero years earlier when I was playing at Sun Mountain in the West Village insisting that I must meet his friend REW!

Joey booked us both at The Continental and after seeing you perform for the very first time, I totally understood why Joey wanted us to coordinate!  I was totally psyched to learn that Kelly Britton and you had teamed up! Jesse was under a year old. I was not yet healed after having a cesarean section. But, it sure was a blast and I loved playing all of our original songs.  We each had a slightly different style but the vibe was in sync. I had no immediate family to help me with Jesse when he was an infant. Also, took me two years to get back into shape physically because I gave birth at 46!

I used to take Jesse to rehearsals and wherever I needed to be. But, there were times when I had to pull out of gigs because I didn’t have a sitter or money to pay for child care and it became really strenuous carrying my guitar on my back and the diaper bag while having the baby harnessed to my chest using public transportation.

There were also rehearsals when Jesse was sleeping in the harness on my back and we’d turn down low to keep rehearsing. I literally couldn’t put him down at times or he’d fuss. I think he wanted to be close to the music! Luckily, certain musicians (like you and Kelly) were also parents and were cool with me having to bring my baby! 

RS: I love your twist words. When did this start? Ever think of making a Val dictionary?

VK: I think my “oops” with words comes from a learning disability known as dyscalculia and perhaps a touch of dyslexia. I used to write everything backwards in elementary school out of boredom I thought but, as the years progressed, I began to reverse how I saw numerical equations and it’s become such a part of me that I simply create new words automatically.

I read signs in reverse and it can really screw me up at times if I’m not concentrating.

Like, if the teacher gave an exercise with two rows of words, and instructed me to take one word from each column to fuse together sensibly, I’d write “road rail” and incorporate it into a sentence rather than “rail road.” 

Songwriting for me is challenging because it’s like inventing and solving a crossword puzzle simultaneously.

RS: Are you making any new music?

VK: My most recent single “Some Bitch” is on Spotify and desperately needs a video! 

It’s a quirky tune about cyber cheating. “Some Bitch is dancing topless on your lap top, I can smell her perfume from out here… etc.”  I also wrote a quartan-tune inspired song called “In the Rain” and am still catching up on half completed songs my band was working on for our forthcoming record.

RS: What about playing out? have there been opportunities?

The only live show I did recently was in Tompkins Square Park for the anniversary of the riots. 

It held meaning to me due to the history of The Lower East Side, the squatters, the musicians and artists and Monika Beerle, who became my muse in “Broken Ballerina.” Also, it is so important to join other musicians and artists right now as these are uncertain times and music is the universal language of healing and inspiration!

I am scheduled to play at Porch Stomp, 2020 as part of Kat Minogue’s Stage on Governor’s Island on October 10th. Violizzy, Rigel Mary and Jesse will probably join me.

RS: What’s the greatest part about being a rockmommy?

VK: All of my personal achievements can now be applied to reinforcing life skills in my own child and the students I teach. 

To me, being a rockmommy means dissecting and recycling stressful moments creatively by incorporating my love for music! Jesse and I always turn on the radio in the morning and wind up dancing to our favorite tunes. Pain in life is inevitable, remaining stagnant is no longer an option. 

I’m grateful that my son is tenacious and driven. We both use music, dance and exercise to keep a positive mental attitude. I love my close relationship with Jesse especially when we have opportunity to jam together. Taking him to rehearsals, gigs and not sheltering him from my artsy friends has lost me some people along the way. I was definitely mis-judged as being reckless at times.But, interestingly, those particular ex-friends never had children of their own. 

Rock n’ Roll is all encompassing and celebrates uniqueness and survival!

I’m definitely a survivor and passionate about inspiring hope in Jesse and others.

Rew Starr is an actor, musician and rockmommy who lives in New York City.

H.E.R.’s New Signature Guitar with Fender is All I Want to Think About

by Marisa Torrieri Bloom

It’s been a busy few days without the added stress of life under our current administration/COVID and I’ve had precious little time with my beloved guitars — my Fender Strat, Gibson SG, and Yamaha acoustic (of course, I have 7 others, but these are my three favorites).

As my eyes glazed over news headlines this morning, I caught a glimpse of a video from the artist H.E.R., playing guitar like a bandit.

In September, H.E.R. became the first black female artist with a signature guitar, a gorgeous Fender Stratocaster that’s as jaw dropping as an Oscars gown.

I’d never heard of H.E.R. before the announcement, but her music — rock meets soul meets R&B meets reggae — is pretty awesome. She’s so badass — I wish I had that kind of presence and confidence at 23.

The guitar, Fender, and H.E.R. give me hope during these dark days. No one loves seeing young women play instruments more than me. I just wish I had the space for all of them, but my basement, where most instruments reside, is currently a sea of Legos. Anyway, Happy Wednesday! Enjoy the video.

Mimsey Mack, Mom of 6, Proves that Making Music is the Best Antidote to Life’s Hard Turns

by Rew Starr & Marisa Torrieri Bloom

Mimsey Mack is one mysterious, guitar-wielding lady. Between the thousands of likes on her “Facebook” page, inspiring 80s-rocker fashion getups and bluesy tunes, you’d think she started playing music in her tween years. But not so. As it turns out, the self-described “indie-funk-punk rock” artist only picked up her first electric guitar in 2012, well after her kids passed middle school. 

Today, the mom of six — yes, six! — adult children is brimming with ideas and songs, proving once again that age is just a number (and sometimes an excuse). 

Mimsey Mack (Photo Credit: Chuck Thomas)

We asked the one-and-only NYC songstress (and fellow rockmommy) Rew Starr to sit down and chat with Mimsey about life post-COVID and navigating new opportunities in these challenging time. 

Rew Starr: How’s it going? What have you been doing these days?

Mimsey Mack: Thanks so much for the interview, Rew! It’s been a challenging time for us musicians, but I’ve been keeping busy. I started massage therapy School right when Covid happened and will graduate in August. I’m excited about integrating that into my career. I also took an online music therapy course to better equip me to perform at psychiatric centers, domestic violence centers and other locations, specifically for individuals who have been struggling and need hope and a new direction in life. Other than that, I have been playing lots of drums, guitar and even a little bass guitar.

Rew: You making any new music?

Mimsey: Yes! After a long hiatus, I am thrilled to be producing music again. I started writing songs again during the first week of the pandemic. I write songs about my life so sometimes it’s a little weird to sing new songs to others, especially the first time. But I am quickly reminded that we are all songbirds with a special song to sing.

Rew: What about playing out? Have there been opportunities?

Mimsey: I have been performing livestream shows and also performing as a guest on your amazing Renegade Show as often as possible. I am currently living in Virginia, a state that has been a hotspot recently, so I have not been performing live yet.

[RELATED: NYC Rockmommy Rew Starr Proves it’s Never Too Late to Take on a Brave New Role]

Rew: Tell us something we don’t know about you.

Mimsey: I like to tattoo myself. I use a single needle. I have given myself over about 10 tattoos. I’m working on two new ones now.

Rew: What’s the greatest part about being a rockmommy? 

Mimsey: The greatest part of being a rock mommy is sharing the love of the music and performing with my kids. All of my kids picked up music in their teen years. When they were younger, I was very conservative socially, homeschooled my kids and loved traditions. We listened to Classical and Christian music. After my divorce, things changed drastically. When I decided on a whim to take electric guitar lessons in 2012, and discovered I learned fast and could play, sing and perform, music brought a fresh new meaning to life. It’s funny when kids introduce me as their Rockstar Mom, because I think they are the rockstars.

Rew: Have you written anything new during the last six months?

Mimsey: One very exciting accomplishment during COVID was finishing the filming for my upcoming music video, “Redemption.” Thank you, Rew, for performing in it! It’s gonna be great! It’s a song I wrote a few years ago that expressed my transition from domestic violence survivor to overcomer. I am looking forward to writing songs about my new chapter in life, filled with hope and love. 

Marisa Torrieri Bloom is the editor and founder of Rockmommy. 

Rew Starr is an actor, musician and performer who lives in New York City. 

Making Summer Sing: When COVID Killed Camp, I got Creative with my Kids

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by Marisa Torrieri Bloom

As summer 2020 comes to a close, I’m feeling all kinds of emotions. I’m sad, mostly, but not just because I love this season, but because COVID-19 and other events of the world have created a dystopian-like existence I thought was years away from materializing. 

There were definitely many bright moments. But above all else, I’m grateful for the time I had with my kids.

When my sons’ day camp was cancelled, my mama friend Steph and I created “Camp OB” on a lark — named after Oyster Bay (the wine, not the town). Together, we envisioned a summer of activities like playing tennis, doing obstacle courses, crafting, going to the beach, and taking field trips. We planned s’mores by the fire pit and paddle boarding by the Long Island Sound. 

I’m incredibly grateful to say that WE DID IT! ALL OF IT (aside from camping outside — I didn’t feel like shelling out for a tent).

The boys of summer 2020 doing their thing

But still. With a little creativity and ingenuity, we managed to pack a summer full of activities. Our kids somehow forgot that they were supposed to be in fun camps for 9 weeks, six hours a day (although they did half-day camps for three weeks). And we somehow managed to (almost) forget we’re living in the era of COVID (and racial injustice). 

Our final big event of the summer, the Camp OB Talent Show, was appropriately fitting. While I could post a review of my own, my father in law wrote an amazing one already, which I’ll post below: 

A Concert for the Ages 

by Stuart Bloom

The Camp OB Fairstock Summer Music Festival kicked off Friday morning on the Bloom Tuller Farm grounds. After a riffin’ guitar intro by Marisa, Logan opened the show with a rousing performance of Beethoven’s Fifth Symphony piped in from the enigmatic and reclusive artist’s home studio.  

Once the crowd settled in, the roadies, Alex and Zack – who doubled as bongo backups on many of the concert numbers — took over the stage to set up for an amazing display on the drums by Declan, who pounded the skins with the raucous enthusiasm of the great rock drummers.

Nathan brought the crowd to its feet with a down and dirty gravel voiced cover of the Scorpions’ Rock Me Like a Hurricane, accompanied by the slashing Marisa on guitar.

Then it was time to change it up, from metal to hip hop as Kellan took the stage and burst through the fog showing all kinds of ink to shout out NF’s The Search that had the crowd dancing in the aisles.

Stephanie brought the festivities to a close with a haunting rendition of A. Corelli’s Allegro.

This was a concert for the ages, and we may never again see the likes of such talent gathered together on one stage. Here’s hoping the live album isn’t too far behind.

Suzanne Jamieson & The Pop Ups’ Buoyant New Record is the Antidote to Late Summer Doldrums

By Marisa Torrieri Bloom

Summer 2020 will go down as the most unexpected one of my life, between navigating the cancellation of camps to surviving a tornado. And I know many moms — even those who didn’t survive tornados — are on the same page as me. Who knew vacations would only work if our kids would willingly #maskup, or that we’d be preparing for a school year where most student-teacher interaction will take place in the virtual realm?

Musician, yoga therapist and mama Suzanne Jamieson can relate. Carving out time for creativity is difficult enough with two young children, but with 2020 layered on top, it can feel downright impossible. Yet it is this struggle within such this crazy year that makes her new family album Bounce so refreshing.

Bounce Cover sm

Suzanne Jamieson

Released on July 17, Bounce is an 11-track, pop/New Wave record cowritten with children’s band The Pop Ups. The common thread: Every song is infused with joy and positivity: The single “Lemonade” is all about making the best of a situation while “Luna” recognizes the scary feelings that can come at night.

We recently caught up with Jamieson to talk about her music, motherhood, and how she’s finding joy this summer.

Rockmommy: Can you tell us about your new record? Was it created in reaction to recent events?  

Suzanne Jamieson: While I hope that this album brings some positivity in this trying COVID situation, it was not born in quarantine. I actually came up with the concept of this album five years ago, when I was in a bit of a postpartum funk after the birth of my second child. I noticed that my thinking patterns had been swaying toward the negative, which is not like me at all. I said to myself, “Whenever I notice this kind of thinking, I’m just going to say ‘Om.’ Then, I thought of a song…. ‘I’m just gonna say Om. I’m just gonna say Om Om Om Shanti Om…” and I thought, “Hey! That’s a kids’ song!” The idea was born… .I would take all of my knowledge of yoga philosophy and positive psychology and write an album of songs for my kids. That’s what we’ve done with Bounce…and ‘Om Shanti’ is on the album. Ultimately, my kids love it and have taken away some really positive lessons from it, but I really benefitted the most, I think. It gave me a positive focus and the creative process is so healing. I collaborated with some amazing artists. I co-wrote the album with The Pop Ups, and had guests artists Patti Murin and the Alphabet Rockers lend their talents to it as well. It’s been an incredibly satisfying and inspiring journey and I am super proud of what we created in the end.

SuzanneJamieson_@jennicamaephoto_JennicaAbrams2020-2

Suzanne Jamieson’s new record “Bounce” has us jumping for joy. Literally!

Rockmommy: I’m digging the vibe. It’s refreshing to hear great new wave children’s music. Why isn’t there more of it?

Suzanne Jamieson: Thank you!! It’s the best to hear that. It was my number one goal when I started recording children’s music, that I was recording music that the grown-ups would like as much as their kids. That’s why I sought out The Pop Ups…I would sometimes leave their music on even after I dropped my kids off at school. The Pop Ups and I write in a way that really tries to respect that kids are just small human beings. They have full depth of emotions, awareness of their surroundings, and capacity for humor as much as anyone else. That coupled with Jason Rabinowitz’s musical sensibilities with the 80’s vibes and the sort of retro-meets-modern feel of the tunes, and you end up with what I think is a really relevant, fun album.

Rockmommy: I really like “Grateful” — how did the collaboration with the Alphabet Rockers happen? 

Suzanne Jamieson: So glad to hear it! I agree, it’s one of my favorites on the album. I met the Alphabet Rockers a couple years ago at the Childrens’ Music Luncheon that happens in Los Angeles Grammy weekend every year….actually I met the Pop Ups that day too! (I basically had to sing “Brave” to myself to walk in to that luncheon alone and go up to all these strangers to introduce myself!!) Then when the Pop Ups and I saw them again at the 2019 luncheon (as they were nominated for another Grammy), I mentioned to Tommy how much I admire what they’re doing with their music. They’ve been singing about social justice all along…teaching kids about about anti-racism, teaching about gender and inclusivity….etc…and we asked if they might like to collaborate on this album. “Grateful” is what came of that chat…and they really added so much to the song. Their lyrics and voices add depth and profundity…and ultimately that is what we are teaching….we can be grateful for everything….from the small things like “that narwhals are a thing!” to the deep, “Gratified, By the things that you say, Telling me I’m perfect, Letting me find a way.”

[SEE RELATED: Alphabet Rockers’ Kaitlin McGaw on Motherhood, Music and Celebrating Diversity with The LOVE]

Rockmommy: What do you hope that young listeners will get out of this record? 

Suzanne Jamieson: Well, my hope is that they’ll take away all these positive life skills without even knowing they’re learning them. These songs teach about optimism, resilience, grit, bravery, thought-stopping, making the best of things, gratitude, community, and friendship. Research says if we focus on “being happy,” we are actually less happy. But if we get really good at these life skills, the result is a happier, more satisfying life.
Rockmommy: You recently turned 40. Is there something awesome, and celebratory, about the fact that so many women are making music well past their 20s?

Suzanne Jamieson: I was just thinking about this idea of 40 being considered ‘old’ to do something….that’s just crazy! Literally it’s only like 2 decades into being an adult! I sure hope I have a lot of years left, and I sure plan to make the most of them by creating and growing more and more every year. It doesn’t surprise me at all, though, that women in their 30’s and 40’s are getting attention for their work. Women are doing so much nowadays, and have so much to offer. Every mom  I know is a freaking powerhouse—literally all of my friends are doing amazing, interesting things and are also great, present moms. I also think there is just this general sea change in a woman’s late 30’s/40’s when it’s like, “OK. I am done trying to be what anyone else wants me to be. Here’s me….” and that is incredibly powerful.

Rockmommy: You became a mom in 2012 (me too!) What’s it like balancing parenthood and music/creative life? What challenges did you not anticipate? 

Suzanne Jamieson: Eight years ago… what a trip! Time flies. I think the reason it took me so long to write and record this album from start to finish is that I really needed hours alone with no distractions to write music… and when do moms get that?! I would do it in airplanes, or when I got a solo night in a hotel here and there over the years. I think it can be more challenging to carve out time to work when the work is creative… there is the challenge of it not being My Boss Assigns Thing + I Do Said Thing= $$$ that can make creative types undervalue the necessity for their time and work. But I will say that when I make it very clear to my family that Mommy is taking a voice lesson or Mommy is practicing or writing or whatever, that I felt fulfilled. And as I did that more often, this album really took off.

Rockmommy: Any advice for other rockmommies like yourself, who are trying to carve out a little time to make music? 

Suzanne Jamieson: Yeah, write it in the calendar. Invite your husband or get a caretaker (obviously if that’s safe…it’s a weird time…)  or get the iPads  and let the kids know that you are unavailable during this time. What would the world be without music??? There is great value in art, and never ever forget that or devalue your own contribution.

Rockmommy: School is upon us, and most of the country is virtual or remote. Kids are scared. What is your greatest hope for your kids and humanity right now? 

Suzanne Jamieson: Great question. The answer that comes up for me is “Reprioritization.” I think COVID has taught many of us about what is—and isn’t— important. Our relationships are important. Our health is important. Our making this country safe for everyone is important. I hope that we all can tap into those lessons and—even after things re-open—and remember what we’ve been taught by 2020. Tell each other how we feel. Breathe. Stand up for what’s right. Spend time together as families or friends. My hope is we don’t forget, and that this can be a sort of spiritual catapult to a better world for us all. Oh, and keep making sourdough. 🙂

Marisa Torrieri Bloom is the editor and founder of Rockmommy.

High-Strung And Harpy: Lessons Learned While Trying to Pass on Guitar Skills to a Toddler During a Pandemic

by Jessica Delfino

I have a pretty vast amount of useless talents. I can throw food high up into the air and catch it in my mouth, like a seal. I can whip up a stunning batch of luxurious, golden pancakes from scratch. But not all of my useless talents are food-related. I can also play any instrument you can think of, with a passable skill level, even if I’ve never played it before. Though I’ve done every kind of performance from busking in the subway to playing my original comedic novelty jams on international television, it hasn’t amounted to what I might consider a useful life skill. Fun? Yep! Necessary in the event of an emergency? Perhaps more so than I had thought, prior to March 2020, but still, not so much.

harmonica2

The author Jessica Delfino jamming with her son in 2020

A sad, but well-loved guitar and a beat up, yet, used daily baby grand piano were some of my first toys, in an era when there weren’t a bajillion toy manufacturers on the market. I had some little plastic people, and the crusty acoustic six-stringed dreadnaught. I’m certain the thing was missing an E string. The little people lived in and on the guitar, and over time, I learned to pluck the strings and make music. At 14, I was playing “Old Man” by Neil Young and “Crazy on You” by Heart and by the time I was 23, I was writing and performing comedic dirty folk rock songs on stages up and down the East Coast and sometimes even on TV and the radio (mostly in the UK, because America hates women’s’ bodies). Today, I still perform, write and lately teach music from time to time. I’ve branched out from piano and guitar, and I can additionally play ukulele, sax, autoharp, singing saw, electric autoharp, banjo, dulcimer, the glockenspiel, a flute, a pan flute, heck, a skin flute. I am music’s annoying cousin who always wants to be all up in its business.

Now I have a 3-year-old son, and I’d love nothing more than to teach him to play ukulele and record a pandemic-inspired family band kid’s album. The ability to play an instrument is touted as being, essentially, a miracle drug. It develops young brains and fine motor skills, pushes back the progress of Alzheimer’s, improves math skills, memory, creativity and dexterity, benefits movement-related issues such as hand injuries, and it even lowers anxiety. Call my instruments my Xanax, massage therapist and meditation apps, all in one. Especially during this pandemic, more than anything else, my guitar and my ukulele, especially, have been what I reach for when I feel tense, bored or sad. Playing songs I know passes time.

Figuring out or writing new songs keeps my brain engaged. Trying to teach my son to play ukulele; well, that’s a lesson in patience and letting go. He wants to run his trains over the pretend rails of the neck of the thing, he wants to smash his fingers over the strings with the showmanship of Pete Townsend, he wants to put stickers on it or lay it down altogether and turn it into a home for little plastic people. His lack of interest allows days to slip by where I forget to encourage him to pick up the little four-stringed thing.

“The cobbler’s son wears no shoes” often comes to mind when I think about my inabilities to teach my own son to play an instrument. I scowl and fume as a universe of YouTube’s countless two-year-old’s pluck Bach out on their Lanakais. Then I am ashamed of myself. What do I care what these other kids can do? My kid is my kid, and I have everything — and nothing — to do with that.

But I did witness a magic moment and hope for his musical potential when I broke out my harmonica one night. As annoying as it is easy to play, my son was immediately drawn to it. He ran his little face up and down the harp, making all kinds of weird and wonderful sounds that I didn’t even know a harmonica could make. He was pleased with himself, and I felt like the mother of the year.

Maybe there’s hope for us as a future family band, after all.

Jessica Delfino is a comedian, musician, writer and mom who lives in NYC. Follow @JessicaDelfino on Twitter and Instagram.

A Masked Singer Dilemma: Is it Fair to Expose Fans To Your Possible COVID?

by Marisa Torrieri Bloom 

Singing with a mask on isn’t fun. To keep from passing out, one must pace themselves, carefully planning each whisper, hum, or caterwaul. It’s natural for the mask to slip down under the nose. If the singer is playing another instrument, like a guitar, he or she must find the right split second between measures to yank it back up, without missing a beat.

Singing with a mask on isn’t attractive. This is a problem, because we singers don’t like to feel unattractive. We’re the front women and front men in our bands, the Mick Jaggers who wield charisma and high energy as we move our bodies to the beat.

Singing with a mask on also muffles the sound of the singer’s voice — which is the biggest issue that I have with them. 

I know all these things because I sing while wearing a cloth mask. So badly do I want to yank it off during outdoor band practice, inhale the crisp air through my nostrils, hear the even crisper sound of consonants captured by my microphone. I want to enjoy the freedom of breathing, unencumbered, and exhaling sound without feeling like I’m trapped in a sauna. 

But I don’t because of COVID. 

I’m the lead singer of Trashing Violet, a hard rock band based in Fairfield County, Connecticut, and over the summer my bandmates and I have been practicing in each others’ backyards, in front of each others’ kids. I sing with my mask on for up to 90 minutes, taking occasional breaks to take a sip of a drink. Wearing a mask makes my lead guitarist, bassist, and drummer more comfortable. It makes their spouses and kids more comfortable. It makes me feel better because I know I’m doing everything possible — outside of quitting my band — to prevent the spread of COVID. 

While I’m fairly certain I don’t have the coronavirus, asymptomatic transmission is a real thing. And with singing, the consequences are potentially deadly. 

An April study published by the CDC noted that the “act of singing” in a March Seattle-area choir practice had likely contributed to 53 of 61 attendees getting sick with COVID-19 — and two dying. As the LA Times noted in an article on singing and COVID-19, reports have surfaced of other outbreaks after choir performances, including one in Amsterdam that claimed four lives.

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Trashing Violet plays Cafe 9 in New Haven, Conn., in January 2020

Yet these articles mainly address communal singing, and are primarily focused on indoor settings, such as churches. They don’t address the safety of singing outdoors when the singer isn’t wearing a mask.

This raises questions for rock bands like mine, with just one lead singer: If I have COVID-19, what are the chances I could infect someone several feet away (like a bandmate)? Have there been any outbreaks of COVID triggered by an infected singer? Is there any reason patrons in a restaurant need to worry about the outdoor live entertainment?

There are no definitive answers to these questions. We’re still learning more about COVID everyday. As one July study published in the peer-reviewed voice medicine publication J Voice noted, “there is a paucity of data about both how SARS-CoV-2 is transmitted by singing and how to bring communities of singers back together safely.”

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At band practice with Trashing Violet in June, wearing my cloth mask, ready to sing.

Fortunately, we know a few things. 

We know that outdoors is safer than indoors. In Connecticut, where I live, this is why we’re still in Phase 2 with reopening, which limits live entertainment to outdoor settings, and requires that entertainers stand 12 feet away from their audience — and each other. We also know with a pretty high degree of certainty that masks, coupled with social distancing, can help reduce the likelihood of virus transmission.

Meanwhile, in the two months since the NYC tristate area has reopened restaurants, singers and bands are playing everywhere they can. While a handful of musicians are wearing masks when they perform, many are not. When I was in visiting Narragansett last weekend, I saw a singer on the outdoor porch of a restaurant by the peer belting out rock covers, standing possibly less than 12 feet away from the nearest group of patrons. Sights like these are not uncommon. 

I can’t help but wonder how many of these singers have children or live with older relatives. Just the thought of passing on the coronavirus to a dependent gives me the shivers. 

I understand why some singers might not even entertain the thought of singing while wearing a mask. They can feel suffocating, and may distort the vocal output. Working musicians are paid for the quality of their work, and if they can’t execute properly, it calls their professionalism into question.

I also understand that life isn’t fair. Working singers — those who need the $500 they make from a gig like a wedding to pay rent — are accustomed to playing in intimate settings, where the distance between the entertainer and patron is closer. 

 

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At least my eye makeup is awesome, right?

Unfortunately, the safest and best live opportunities for performers in the coronavirus era are inaccessible to most everyday working musicians: I’m talking mainly about the “drive in” outdoor music shows that are happening now, where an entertainer performs on a stage at least 20 feet away from the audience. In settings like these, which feature well-known, original music acts, the big concern isn’t whether the singer is wearing masks so much as the lack of social distance among concert-goers (just ask Chase Rice or the Chainsmokers).

To be fair, I must admit I am not a working singer who relies on $500 gigs to live. Though I make a little cash from playing out with my band and as a solo artist, my main sources of income come from writing and teaching guitar (which, right now, is 100 percent masked and social distanced in backyards).

Yet while I am sympathetic to the plight of all musicians — whether they are reliant on performance income or not — the fact remains no working singer can guarantee that he or she doesn’t have COVID-19 unless he or she is tested. 

While outdoors is safer than indoors, restaurants may want to consider requiring singers to wear masks in all settings when at least 12 feet of distance between performers and audiences cannot be guaranteed. If and when we move into Phase 3, which allows indoor live entertainment, I probably won’t go to a concert where masks aren’t required (unless, of course, we have a decent COVID-19 vaccine). 

And while I am sympathetic to musicians, I’m so sick of the whining about masks or face shields. Singing while wearing a mask is hard, it isn’t impossible. And as performers, it is our obligation to ensure our audience can safely enjoy themselves. 

One bright piece of news came across my radar recently is the patent-pending mask that singers can wear so they can more safely sing in groups. I am about to pre-order mine. I have to admit, it looks about as “natural” as condoms probably did in the 1970s, and there’s no doubt we’ll have complainers among us. But this is life. We must adapt to our circumstances (and as we learned in the sexually liberated ’60s and ’70s, asymptomatic individuals can transmit STDS).

Until we know more about COVID, we need to remember that our personal freedoms are less important than the collective good. If we have been gifted with beautiful voices and the opportunity to play outdoor shows, we need to be grateful to our audiences — and committed to protecting them. When I play my only outdoor gig this summer on August 7, I will most likely be wearing a mask or using a face shield/microphone shield.

Like all musicians, I cannot wait until the day when we can experience live music like it’s 2019, when drawing a large-enough audience for a Tuesday night show was my biggest concern. Until then, I will do whatever I need to do to play music and bring joy to others through playing music — even if the sound of my voice is a little more muffled.

Marisa Torrieri Bloom is the editor and founder of Rockmommy. 

Tanya Donelly Shares Her Postpartum Journey Through Music, Parenting, and a New Record with The Parkington Sisters

By Marisa Torrieri Bloom

When I call Tanya Donelly for our 2 p.m. interview in mid-June, I’m armed with questions — about her new record with the Parkington Sisters, her journey through motherhood, and her legacy as the lead singer of Belly, one of the most influential bands of my youth. But about 30 seconds into our call, she pauses to ask me a question. “So how are you doing with all this? What are you doing with your kids?”

I nearly drop the phone.

Is this Tanya Donelly, as in TANYA DONELLY, LEAD SINGER OF BELLY, asking me — little me — how I’m coping with everything going on right now?

I’ve interviewed dozens of rock stars, but rarely do any inquire about my children. This isn’t a big deal — yet it’s heartwarming that Tanya Donelly seems genuinely concerned.

Tanya Donelly Press Photo A Hi Res - Photo by Kelly Davidson

Tanya Donelly

That small exchange told me everything I needed to know about Tanya — a bright, twinkling, thoughtful voice that stood out in the angst-ridden, 1990s alternative-rock era. Even with decades of experience in one of the most hard-knocks industries on the planet, Tanya’s nurturing maternal instincts shine through every professional endeavor she pursues, as well as her personal roles as a wife (to bassist/producer Dean Fisher) and mom of two daughters (ages 21 and 14).

Tanya’s instinctual, intimate approach to songwriting and performance shines especially bright in her most recent, collaborative project: a covers album with the Parkington Sisters, a Boston-area siblings trio. The album, which comes out August 14, reimagines classic rock n’ roll tunes (from The Go-Gos, Leonard Cohen and others), through Sisters’ pretty, stringed arrangements and Tanya’s still-high-range, whispery vocals front and center. The common thread, or “connective tissue,” as Tanya puts it, is the Parkington Sisters’ beautiful music, flowing naturally from one song to the next.

The first single, a hauntingly cool cover of The Go-Gos’ “Automatic,” invokes a certain nostalgia for me — but not for the ’80s all-girl group so much as the sunny, summer day when I first heard Belly. 

It was the summer of 1993, and early July, when I headed to RFK Stadium for the HFSTival — an annual, all-day music event in my hometown of Washington, D.C. I remember showing up with a few friends, my nose freshly pierced, to hear Ned’s Atomic Dustbin, Bush or some other dude-infused grunge band I (still) can’t recall.

Yet the only memory that stands out after all these years involves Belly: We were walking along a corridor, when suddenly this piercingly sweet voice cut into the air. A surge of electric guitar noise and a thunderous drumbeat reverberated across the entire stadium and — heeding the Siren’s call — we rushed to our seats. On stage, Tanya Donelly with her blonde bobbed hair is armed with her guitar, belting out the verses to “Angel.”

“Wow,” I thought, as I stared at the stage. “That girl is so cool.”

Later that summer, I bought “Star,” Belly’s debut album, at Tower Records. But the cassette tape almost never left my Dodge Omni console. I’d mark my 20-minute trips to my then-boyfriend’s house — from Silver Spring to Lanham, Maryland — by singing the first side, which included hits “Slow Dog” and “Gepetto,” the freewheeling “Dusted,” and the eerie “Someone to Die For.” I’d take my time parallel parking so I could sing along to the sweeping choruses of “Low Red Moon,” which is still my favorite Belly song (closely followed by “Red” from the band’s 1995 follow-up record “King”).

Post-Belly, in the late 1990s, Tanya went solo with Loversongs for Underdogs. Her life’s journey led her to marriage and motherhood, and service work as a post-partum doula, and back to music again for various projects.

Finally, in 2018, Belly reunited for a tour and released their first new music in decades. I’m so bummed I missed it (my kids were 4 and 5, so I missed a lot of things). But had I known that 2020 would kill live music, I would have made more of an effort.

If this were normal times, Tanya and the Parkington Sisters would have spent the summer of 2020 playing shows in support of the new album.

But instead, the singer has spent the last several months shuttered in the home she shares with her husband, daughters, and dog, doing her part to #flattenthecurve. Days are spent caring for loved ones and doing her best to parent mindfully. In her spare time, she’s sitting in front of her Snowball microphone, home recording vocals on GarageBand for virtual projects with her musician friends, which are posted to her Bandcamp page.

She’s also spending her time trying to impart change (for example, by masking up and marching against racial injustice in June, and donating proceeds from Bandcamp sales to charities), while coping with cancelled tour plans.

But that’s just the beginning.

When Rockmommy caught up with Tanya last month, she shared some of her wisdom around parenting, why she’s still hopeful for the future of live music, and how she’s supporting social justice.

Rockmommy: Hi Tanya, how are you doing, right now?

Tanya Donelly: Like everyone, we’re coping. With our kids, you know, we’re finding ways for them to have some normalcies. Our youngest one is 14, and she’s the one we’re most focused on. My older one is 21 and is here with her partner and they have each other, and Dean [Fisher] and I are here, so we’re trying to focus on letting [our younger daughter] keep her friends … see some people at a distanced way. Fourteen is a tactile age too, they’re just hanging off each other all the time. I keep saying to her, ‘you are allowed to feel sorry for yourself.’ This is a safe, nonjudgmental place for you. We’ve been going to the protests, too, so there have been long conversations around that too. It brought up these whole other conversations because we unanimously decided to go to them but the logistics was challenging.”

Rockmommy: You recently covers album with the [siblings trio] Parkington Sisters. Can you tell us about how this record came about?

Tanya Donelly: So when Joe from American Laundromat approached me, in reaction to how well Juliana Hatfield’s cover albums are going with them …and asked if I wanted to do something like that, at first I felt like, ‘I don’t want to have a hodgepodge of songs, that are all sort of fragmented, sewn together, a Frankenstein sort of situation. But then, I thought of the Parkington Sisters. I’ve known them for years and I’ve always wanted to do some collaboration with them, and I just thought, ‘if it sounded like a Parkingtons album, I would be so excited to do this.’ I wanted all of the songs to feel like a real album, with cohesion and some connective tissue since it was such a mixed bag. They’re some of the most talented people I’ve played with so I knew that they would kill it. It was one of the few times, when I listened to it when we finished, I was like, ‘wow! It sounds like I thought it would.’

Tanya Donelly Press Photo B Hi Res - Photo by Kelly Davidson

Tanya Donelly

Rockmommy: How did the recording process go?

Tanya Donelly: The Parkington Sisters and I picked all the songs out, and we were all recording together. About 90 percent of this album was made in Brick Hill Studios in Orleans on the Cape. The sisters are from Well Sweep, and the guy who owns this studio is a former touring musician, who’s toured with Tori Amos, Paula Cole, and others. He opened this beautiful studio. It’s sunny, and there were cats and dogs running around … and there was a baby.

Rockmommy: How did you select the actual songs, though? Was that hard?

Tanya Donelly: These are just songs that run through my head all the time for whatever reason. They just are kind of on the playlist at all times, and I think part of that is because I’m attracted to a great or interesting vocal performance. Though, once we picked them, in my mind, I was like, ‘Oh my God, these are all songs that are perfectly sung,’ so I set myself up for an anxious experience. The Sisters are singing with me and they brought a newness with them.

Rockmommy: Your voice is unique in rock. So I have to ask: Do you have a secret low range you’re not letting out?

Tanya Donelly: ‘I have a new middle-age low range [laughs] that I’ve found. On the Belly reunion tour we had to drop a couple because I was not going to get there. It’s a tradeoff — for every high note, I’ve got nice, low raspy notes. My oldest daughter and I went to see Stevie Nicks and she doesn’t even try to hit those notes… she has backup singers, and she has this new timbre. It’s nice to see that embraced.

Rockmommy: Can you talk about early motherhood, and some of the work you do with other mothers, as a postpartum doula?

Tanya Donelly: Both of my kids had different postpartum experiences, and the second one, I felt like, ‘oh I got this — I did this,’ But it was a brand new experience. I hadn’t planned to use a doula or become a doula but as I started to talk to women who had and read a book my friend Rachel Zimmerman wrote about it, I became more interested in it. I also decided that I was a time in my life that I wanted to do something that wasn’t about me, aside from parenting. I wanted to be helpful and it fit the bill and it was good work in terms of my music and touring schedule. I’m a postpartum doula and I can work that around music work. Everything about it was so appealing and so I trained and started doing that, and slowly I became the ‘music themed’ doula. Most of my work’s been word of mouth.

Rockmommy: Do millennial moms know who you are?

Tanya Donelly: Most clients have no idea who I am, but I have had people who do. When I started ten-ish years ago, there were more people who knew, but now they don’t. I’m 54.

Rockmommy: They definitely need the support!

Tanya Donelly: They really do. As much as you can hear that it’s going to be a challenge, you don’t believe it will be until it happens. And both of my kids were different feeders, and I needed an LC for both of them. I’ve been with clients who will be talking about feeling isolated and not having support, and I will witness them turning help down. I don’t know if it’s a purely American cultural thing, but I do feel like there is a pervasive ‘I got this’ culture.

Rockmommy: What were some of the biggest challenges you faced in having a music career when you became a mom?

Tanya Donelly: Whenever I do talk about this, but I have to be clear that because my husband [Dean Fisher] is also in music, I have more support than others might. But when my children were little I had to make an effort to carve out the time to work, and the main thing was that an album that would have taken six months from writing to finished would take two years. I think the timing is what changed most radically for me… having come from years and years where the process of putting out an album might have taken a year — would suddenly take much longer. I had to reframe my expectations when I had [my first child] Gracie. And in some ways that really pulled me and grounded me. Some people are self-grounding and don’t need the birth of a child to get there, but her appearance on the scene brought me to my own life and my own skin and family.

The more profound changes in my life were not music related. I wouldn’t leave them to tour, but we took Gracie on the road when I would tour, but that was just kind of exhausting for three of us back then, and by the time Hattie [my second child] came along, we weren’t doing that kind world touring anymore.

Rockmommy: Are your kids into your music?

Tanya Donelly: They’re curious about it. Because every project I’m doing is different, they’re curious as to what the new thing will be. They were definitely excited to come to the Belly tour [a few years ago] so they could come to London and Paris. But if we’re playing in Boston or doing a local tour, they’re not usually there — they have musical interests but they’re very different than mine. They’re both theatrical … and they dabble in instruments, but they’re not interested in being [professional] musicians.

Rockmommy: When you say you had to ‘carve out time’ for creativity, what does that mean?

Tanya Donelly: I’ve always had a relatively blue collar approach to music work … obviously when a song comes to you, it comes to you whether you are sitting down with a guitar or breastfeeding… but once the inspiration piece has been filtered, then I had to be much more ‘9 to 5’ about working, and how that fit into the kids’ scheduling. Dean was working and touring, too. As a parent, he’s very hands on. With any solo work that I’ve done, he’s in that band, so that’s how we made it work for a while — we’d both be making the same record and touring the same tour. And then as he started playing with other people again, by then the kids were old enough that I could handle working from home and taking care of them. Also, if I go on tour with Belly, he’s here with them fulltime. Or if he goes on the road with Juliana [Hatfield], I’ll be here.Cover Art - 3600 x 3600

Rockmommy: Speaking of touring …

Tanya Donelly: Yeah, we just rolled out the reopening phases here [in Mass.] and entertainment, you could barely see it. Like, you need binoculars to see it. I’m so deep-tissue worried about this. Behind the scenes, musicians are having these conversations like, ‘oh we can play in a park or on the wharf, but I also want to support the clubs, and say, ‘when you open I will be there.’

Rockmommy: Let’s talk about recording. What are you using?

Tanya Donelly: I play guitar through an interface directly into a laptop. And a Blue Snowball. I love that thing and it sounds amazing.  That company in general — I’m a big Blue fan. Just for home recording, it’s ridiculous how good those things sound. I’m doing everything on GarageBand with my laptop and my Blue Snowball and the simplest possible interface and it’s pretty much that simple for everyone I’m working with too! Everyone’s got a disclaimer attached to their part. Mine is, ‘you can hear my dog on every vocal I do. She’s either sighing, or she’s barking she’s on my lap.

The proceeds of the songs we’re releasing are going to different charities, like the NAACP Legal Defense Fund.

The more pressing loss right now is that I love being in a room making music. I love bringing new ears into the system. It’s an invaluable relationship and it’s hard to replace that, but the DIY piece has been great.

So is there any hope for a show in the next few months?

Tanya Donelly: That’s something the Parkingtons and I were talking about because we had to cancel everything we had planned, but we had been talking about the possibility of doing something on the Cape. But I think everybody is still in the stage of waiting and seeing, with some firmly held hope that by Fall some modified version of a show can happen.

Marisa Torrieri Bloom is a the founder and editor of Rockmommy.

Jazzy Ash’s Festive New Tune Reminds Us to ’Be Outside’ on Independence Day, Even if We Need to Mask Up

by Marisa Torrieri Bloom

While Americans entered the most uncertain spring in modern history, Jazzy Ash was on fire with creativity. In June, the New Orleans-bred, LA-based musician and Black mother of 2 boys released her first new track/video in three years — “Teddy Bear” — with her band, complete with a video featuring families at home showing off dance moves. 

And she was only getting started.

Today, on July 4, 2020, she debuts “Be Outside,” a song and video that is exactly what the world needs right now — especially on Independence Day.

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Jazzy Ash

Loaded with funky beats, horns, keys, strings and Jazzy’s rich, soulful vocals, “Be Outside” is pure, instant happiness. When I heard the song, which she says is inspired by daily walks with her dog, Retro, my heart swelled with joy. My sons literally ran upstairs into my office, asking, “who’s that, mommy?” They, too, felt the urge to move. And for a moment, we were no longer sheltered in our homes, riding out the coronavirus pandemic. We were just family, enjoying the present moment.

We recently caught up with Jazzy Ash (aka Ashli St. Armant), to chat about her forthcoming collection of soulful new songs, making time for music, and coping with the state of the world during these challenging times. 

Rockmommy: Ash, I just listened to “Be Outside” and felt an instant surge of happiness. How did that track come about?

Jazzy Ash: I’m so glad this resonated with you! I actually wrote this song a year ago! Whenever I’d get ready to walk my dog, he’d get super excited and I’d chant this phrase to him. “You wanna go outside? I’ll take you outside!” Eventually I heard melody, and I thought, “this is catchy!” So we ended up recording it the next time we were in the studio. If you listen carefully you can hear dog chains in the recording…

Now here we are a year later, and I had no idea how significant the idea of going outside would be. Who knew we were taking that for granted? The song has definitely taken on new meaning.

Rockmommy: I also loved “Teddy Bear.” Can you tell me more about your music — do you write songs with families/children in mind, or play music with a ‘vibe’ in mind?

Jazzy Ash: Both. I have projects in music, literature, and theater, and I almost always have a young audience in mind when I write. And, depending on the project, I always think about what I want the music style to be. For this upcoming EP, which includes “Teddy Bear” and “Be Outside”, I’m definitely paying homage to mid-century Soul and Doo-wop music.

Rockmommy: How are you and your musician friends getting through these tough times?

Jazzy Ash: I know that right now, musicians and artists everywhere are leaning into our craft in an intimate way, in order to cope. It’s really been tough not to preform for audiences, but it’s also been really special to play for ourselves, with no expectations — just for the love of it. That’s been really therapeutic.

Rockmommy: How are you doing, personally? What’s it been like for you, as a mom, coping with everything going on in the world?

Jazzy Ash: I have a friend who referred to the feeling as “wavy”, and I can really identify with that — a lot of highs and a lot of lows. A black person, a queer person, and a mother of two black teenage boys who look like men, I’ve felt a heaviness I can’t describe. But this season has also brought some really joyful and exciting things to my life. So yeah, all the feels!

Rockmommy: What are you and your family doing to get through it?

Jazzy Ash: Meditation, nature walks, and planned family time have all become super important for us. I’ve done a lot of writing, including music. And I’ve also taken up pottery!

Rockmommy: Where is the first place you want to play music again, once it’s safe?

Jazzy Ash: I’ve been fantasizing about performing in big, open spaces like The Getty Center in California or Levitt Pavilion in Connecticut. There’s something so magical about gathering in a beautiful, natural setting and letting my voice go as far as the wind will carry it — like a kite. That’s the best feeling in the world.

Marisa Torrieri Bloom is the editor and founder of Rockmommy.