Dystopian Dance Party

Tag: charlie wilson

  • Jheri Curl June: Pebbles’ “Mercedes Boy”

    We’ve spoken briefly about Perri “Pebbles” Reid before, in the context of our 2016 profile of her ex-husband and producer, L.A. Reid, as well as our 2018 profile on André Cymone, who co-wrote her contribution to the Beverly Hills Cop II soundtrack, “Love/Hate.” But part of the point of Jheri Curl June Ladies’ Week is to give the women of Jheri Curl Music a chance to step out from their male producers’ shadows and get their own turn in the spotlight; and besides, Pebbles’ 1987 debut album–and the Number 1 R&B hit “Mercedes Boy” in particular–is just too damn good to ignore.

    Written by Pebbles herself and co-produced with Charlie Wilson (yes, that Charlie Wilson), “Mercedes Boy” is vintage late-era JCM, with a freestyle-inspired programmed bassline and a positively dripping guitar solo. The music video, released in March of 1988, might try to fool us with its close-cropped male dancer; but we all know the hairstyle the boy of Pebbles’ dreams is really rocking, and let’s just say her Mercedes had better have some plastic headrest covers.

    Sadly, that wraps up Ladies’ Week for this year; but Jheri Curl June still has a week and a half left to go! Until then, check out those growing Spotify and YouTube playlists below:

    https://open.spotify.com/playlist/4DHwfbLgF2W2Xp2ZpqcDdg?si=42ca01490739433f

  • Jheri Curl June: The Gap Band’s “Disrespect”

    Last Thursday, June 7, would have been Prince’s 60th birthday had he: a) not passed away in April 2016, and b) believed in concepts as prosaic as “birthdays” and “years.” Last week also happened to mark the underwhelming conclusion of the beef between rappers Pusha T and Drake, which just a few short weeks ago felt like the only thing anyone on the Internet was talking about. So, I thought, why not make today’s Jheri Curl June post a diss track about Prince?

    Released on Gap Band VI (actually, confusingly, the eighth album by Tulsa, Oklahoma’s Gap Band) in December 1984, there’s nothing about “Disrespect” that directly implicates Prince–except, of course, for the sound, which pairs Minneapolis-style sustained synth chords and a “Controversy”-esque bassline with call and response right out of the P-Funk playbook. The lyrics, by Gap Band frontman Charlie Wilson, are aggrieved but non-specific, excoriating some unfortunate “sucka” who “had the chance” but “disrespected” him.

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  • Dystopian New Year’s Party Podcast: Our Favorite Songs of 2015

    Well, here we are, at the cusp of the New Year: that sacred time when bloggers from all over congregate for one last chance to opine about the pop culture year that was. And we’re no exception–even though, as we note in the introduction, we’re barely up for the task, having spent most of 2015 listening to the same Ying Yang Twins records we’d been listening to since 2005. But what is pop-culture blogging, anyway, if not the chance to exercise one’s self-appointed, mostly illusory authority on an unwilling and mostly uncaring audience?

    I originally wanted this inaugural year-in-review podcast to include multiple forms of media, but quite frankly we’re even worse at keeping up with film, television, et. al. than we are at keeping up with music; and besides, seeing as music is 90% of what we write about on Dystopian Dance Party, it kind of makes more sense this way. So here, without further ado, are our favorite songs of 2015. Settle in, because this one’s gonna be even longer and more self-indulgent than usual!

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    Podcast: Play in new window | Download

  • Introduction to Jheri Curl June 2: Electric Boogaloo

    That’s right, folks, it’s finally here: Jheri Curl June has returned, and this year it’s going to be even better than before. For those of you new to the party, I wrote an introduction last year that I highly recommend, as it provides a definition and brief history of the genre we like to call Jheri Curl Music. In brief, though, JCM is R&B music, primarily from the early-to-mid-1980s, that “embodies the properties of the jheri curl itself.” It’s “an intrinsically hybrid style: somewhere between Black and white, kinky and straight, silky and dry. It’s fussy and high-maintenance. And, like the Jheri curl parody ‘Soul Glo‘ in John Landis’ 1988 comedy Coming to America, it leaves a greasy residue on everything it touches.”

    This year’s Jheri Curl June will follow the same basic format as last year’s: every weekday, we’ll update with a brief post highlighting a classic JCM cut, which we’ll also add to a growing Spotify playlist to be found at the bottom of each post. We’ll always try to provide something visual along with the music–jheri curl is, after all, a profoundly visual genre–but this time around we’re going to be a little less dependent on video clips, as there’s a lot of great jheri curl music that isn’t on YouTube (there’s a lot that isn’t on Spotify, too, but that’s a separate issue). Every week, probably on Fridays, we’ll also have a special feature post that goes into greater depth on a particular artist, album, or film. That’s right, I said film…look forward to a more in-depth discussion of Jheri Curl Cinema next week.

    Right now, though, I want to get right to the festivities. So join me after the jump, and find out who’s kicking off the second annual Jheri Curl June.

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