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    • I produced the track, and I made it for this particular project. I knew it was going to be one of the singles. It’s a pretty simple beat, and even though it is, it still packs a punch. The bass, the kick drums, it really stands out. We all wrote our verses in different spaces, I just threw out the concept of this is what I’m looking for, and then as everybody finished their verses, I sent everyone’s verses to all the artists so everyone could get a sense of how everyone sounds. So with all of the tracks, I did demo sessions, so we could get a feel for the sound or whatever. So we did that. And then the music video was awesome. We shot it an hour outside the city. We had the whole space to ourselves. It was a beautiful environment, it was so fun, it felt like friends making creative things together. We had makeup artists, stylists, our director Briana Clearly,  she was definitely our hype man throughout the whole thing, yelling YES YES! Directing us as she does. She kept the energy going. She had the personality where if something bad happens she wouldn’t back down. She was calm, cool, and collected. “The show must go on.” Instead of worrying, she was saying “We just gotta do this video.” This is why I asked her to do the second video, and we pretty much had the same crew for both videos. We switched out a few people for both videos, but I kept the same crew. It was a fun set. 

    • The track “Under Pressure” starts with a 1980s sounding synth sample and leads into a really thoughtful track about tackling challenges: mental health, financial problems, violence, family relationships.Fighting out against depression, every day is a new day. Can you share more context behind the scenes on the track?

    • Yes. With the songs, and this could pertain to all of the music, I didn’t have anything to do with the concepts. So Jade the Ivy kickstarted the concept for “Under Pressure,” and all I can remember was her saying “I want it to be like what if we were on a bridge where there’s fire underneath.” She recorded her demo. I had found some beats from women producers, so I had a catalog of instruments and beats, so I had each artist pick out the instrumental and beat they liked best for their “feature song.” So Jade the Ivy, she liked this particular track, “Under Pressure.” And the other artist featured, Sauda Muse, she liked several instrumentals, but this was another one she liked, so I felt that Sauda Muse and Jade the Ivy had a similar vibe. Their voices, very relaxed, laid back. And so I placed them together to work on the song together. So Jade the Ivy created the concept of being under pressure, on a bridge with fire underneath. It went from there, with Jade the Ivy writing out her part, presenting it to Sauda Muse. These artists had never worked with each other or met each other before, so I made sure they had time to write and meet. And Sauda Muse pretty much wrote her stuff on the spot. It took her a minute, but then we did the demo session that day, and that’s how it happened. We ended up re-recording it later on in the summertime. I pretty much provided the beat, and they just took it and made it how they wanted to make it. I didn’t necessarily have a plan on how people should conceptualize a song, as it was all a collaboration. I provided the beat, and they would go off how they wanted to go with it. 

    • As far as [F]Emcee interlude - a discussion of labels, of identity, of talent, of art - “People are trying to put you into a box… what is the result of that? The result is that we can’t share the space. The women who are MCs or writers are driven underground.” The interludes are so rich in social commentary. Was there more you wanted to include?

    • Well, how has being a woman emcee stifled you? Have you felt like you haven’t been granted the opportunities you want to get because you’re a woman? But I didn’t want to have too many interludes. Originally there were only supposed to be 3 but we ended up with 4, because one of them was the “No women = no hiphop” interlude. That interlude, and the person who was speaking was ang13, and the question I asked for everyone at the end was “What do you see for the future of women in hiphop?” And ang13 went into a whole tangent, she didn’t even want to say what she wanted to see for women in hiphop. She was saying if it wasn’t for women, there would BE no hiphop. I never knew that DJ Kool Herc’s sister was the reason that there’s hiphop. All of the women on the interludes, they are all artists that have been in the game for 20+ years. I learned a lot from just speaking with them. But especially for the “No women = no hiphop” interlude. It would have made the “Future is Female” interlude super long, so I had to make it by itself, because I felt like people HAD to hear this especially. It’s almost controversial, the way that she’s saying it! “We’ve been here, we raised them, and they still disrespect us.” SO powerful.

      I will say that a friend and I have kickstarted a documentary about Chicago women in hiphop. We’ve been compiling footage. I knew when my friend asked me to do this documentary with him, it was perfect timing, because I was already doing the Synergy album. So I asked them these questions that would be useful for the album and the documentary as well. So some of the things that you’ll hear in the interludes will be used in the documentary as well. It’s something we are putting together, we don’t have a release for it yet. We are collecting interviews.

    • What’s been the most rewarding thing about seeing Synergy out there and in the world? What kind of reactions have you received from fans?

    • Well, people have definitely been loving it. Even from doing the album release show, just hearing everyone’s chanting, and affirming YES, YES, that means a lot. When people are reacting to it, that shows the people love it, and the music is great. People can react to it, they can really think on it. I think the most rewarding is to give people a platform, to be able to give people opportunity to speak or express themselves in whatever creative form they contributed to. That’s the most rewarding, to be able to share the gift with other people. It’s not an easy process, because we’ve had a lot of people that joined, a lot of people that’s left, and the remaining people that stood with this project, and that tells me a lot, the people that were dedicated and thankful. I am always telling them “Thank you for being a part of Synergy” and they are saying thank you right back. It’s good to have people who will always appreciate each other. I just want us to keep skyrocketing. Last night I submitted the music videos to a few film festivals. I want this project to keep living. I don’t want this project to be released and that’s it. I want Missy Elliot to see it. I want Queen Latifah to see this. Because this has NEVER BEEN DONE. An all-women produced and perform hiphop album has not been done before. I want people to create dances to it, to implement it in their hiphop curriculum, to do workshops around it. I don’t want it to ever die down. 

      Photocredit: https://www.instagram.com/chicologi/

    • Anybody can follow me on social media through JLeslieMonique, especially Instagram, where they can stay up on the updated works. I also have a website, JovanLandry.com, and a monthly newsletter they can sign up to stay up to date. And as far as next steps? I want Synergy to keep going up, so just submitting it to some film festivals, and I would love to do more performances together, and doing my own thing aside from Synergy, some video work with this amazing project called Project Tool where I video and photo-document a group of dancers creating dance floors they make by hand.

      I’ve been added to do video documentation for the project, and they create their own dance floors as a way to call upon the ancestors who created their own things by hand, and also to provide a resource to other dancers, they can rent out these floors, have a mobile stage. You can have a dance floor anywhere, in the middle of the street. So we recently went to Haiti in December for the Black Arts Retreat, and we visited a carpenter, seeing how they create their own furniture.

      Starting next week, we will be in New Orleans for a residency with Dancing Grounds. So I’ll be there with them to document and be a part of the entire process. So that’s an ongoing project that I’ve been a part of and traveling with.