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Instant Welcome Broadcast

Started this discussion. Last reply by Neuerotica Jul 19, 2011. 1 Reply

I was wondering if anyone knows of a way to change the text of the welcome email new members receive when they sign up. What I want to do is alter the text to include links that will take them to…Continue

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Neuerotica

P-Funk Propagandist Pedro Bell

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Artist self-portrait

The first time I had heard of either Noam Chomsky or the Trilateral Commission was within the liner notes and art of the Funkadelic hit album ‘One Nation Under a Groove’. Many of the funk band’s album cover art contained subversive content hidden within their psychedelic magic marker-rendered masterpieces. The band itself, founded and led by George Clinton, recorded subversive music with lyrics that disguised their political leanings, much of it informed by the work of Chicago artist Pedro Bell. It was his artwork that pushed the “-delic” (psychedelic) of Funkadelic to another plane of WTF-ism.


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Gatefold album cover for Let’s Take it to the Stage


Pedro was my friend and big brother (as he was, I would one day learn, to many young aspiring artists). We would talk for hours while I listened to his stories about his (mis)adventures during his time with the P-Funk family. One day I received a package in the mail from him and when I opened it and removed the items from within, it felt as though I had opened a time capsule. There enclosed were buttons, posters, comics, stickers, newsletters, and more from the seventies. The feeling of holding something in my hand from a time I often romanticized but never experienced was immediately electric! We were friends for several years, but I lost track of him sometime in 2008. He had become color-blind in 1996 and eventually blind altogether. In his last correspondence to me, the only thing I can recall him saying is “I’m only rich in theory” (though I don’t remember what his comment was in reference to, nor the conversation itself). Sadly, Pedro Bell died in poverty on August 27, 2019.


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Inner album cover, essay, and liner notes for Let’s Take it to the Stage


Shortly after Pedro’s death, a statement released by P-Funk bassist, Bootsy Collins, spoke about Pedro’s influence on P-Funk music and culture.

“The wild and bizarre artwork gave our early audience a sense of seeing the visual side of the music and the language. He had a way of translating and communicating what all the weirdness was about, and that you, the consumer, really wanted to figure it out, because it truly was otherworldly. Every time the two were done together, it would create The One. They there would be another satisfied customer! Thanks to our Captain Draw, the Clone Stranger of Artistic Gratification to the Nation, Mr. Pedro Bell. The Funk got Stronger. Your service to this world can never be calculated.”


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Funkadelic band members from Let’s Take it to the Stage


But for his failing health, Pedro would have been able to pursue opportunities that would have earned him more than the pittance he received for album covers. He not only inspired artists such as Jean-Michel Basquiat, his artwork laid the foundation for Afro-futurism. One look at the pages in DeviantArt will tell you that Pedro’s art would have fit right in amongst many of today’s young subversive artists, and I’d like to think that some of those young artists were perhaps influenced by Pedro’s art. The executives at Warner Brothers Records, however, knew how invaluable his art was because, as Pedro once claimed, they stole some of it (they were hostile toward the whole P-Funk organization, according to rumors). Pedro designed the Funkadelic logo, and for more than a decade (from 1981), Warner prevented George Clinton from using the “Funkadelic” name., Many years later when they returned the band name to Clinton, he was prevented from using the skull in The Funkadelic logo that served as the dot over the “i” (petty as fuck, but the “i” has since been returned). Apparently, they didn’t hold onto it for long, since almost all of Pedro’s art somehow ended up in museums in countries outside the U.S.


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Front cover of Funkadelic’s One Nation Under a Groove image-slide-anchor js-gallery-lightbox-opener content-fill "> View fullsize Back cover of Funkadelic’s One Nation Under a Groove
Back cover of Funkadelic’s One Nation Under a Groove sqs-block-image-figure intrinsic ">

Inside gatefold cover


When Pedro Bell died, I had the intention of composing something of a memorial to pay my respects, but I stared at an empty page for months, until the COVID -19 pandemic hit, and I eventually forgot until now. The reason for my timing is that I think Pedro would love Neuerotica. He would have dug my luxury e-magazine, but he would like to think he would have been impressed with what I’m doing now. He would notice his influence in the kinds of content I publish within the virtual pages of Neuerotica. Our fusion of subversive art, music, fashion, culture, and politics is a concept I borrowed from his writing and art. If he were still alive, this would have been an interview rather than an article.


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Gatefold album cover for Hardcore Jollies


It can not be overstated that Pedro Bell is one of the most overlooked artists in African American history. In an interview with the New York Times, Rebecca Alban Hoffberger, founder of the American Visionary Art Museum, calls Bell “a real unsung hero”. Historians of African American history and art should hasten to include Pedro’s art and legacy into their classrooms and publications. Pedro’s work has earned the honor of being worthy of examination and study. His scathing commentary on race, politics, corrupt business practices within the music industry, and more concealed in both his wordplay and art is, to this day, unparalleled.

Below is an essay (edited solely for grammar) published on the George Clinton website. Unfortunately, no attribution can be found anywhere on said website, and the contact link only links to their newsletter subscription form. I have republished it here with a link to the original article, and there are links to where the article originated, as well as other sources of information about Pedro Bell.


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Pedro Bell in art gallery, photo by Jean Lachat/Chicago Sun-Times


Funkadelic had been alarming/converting audiences for around four years before he showed up. Hindsight shows that in those years, between 1969 and 1973, they were trying anything and everything like they had nothing left to lose. Which they didn’t since they were on an obscure label, an erratic circuit, and haphazardly building an odd cult of fans while being run out of towns.

Pedro was, like many of those fans, a young person into the hothouse explosion of hybrid musics that gushed over from the expansive late 60s. Like the deepheads, he loved Frank Zappa, Captain Beefheart, Sun Ra, Sly Stone, Jimi Hendrix, The Beatles. He particularly liked the distinct and disturbing packaging of Frank Zappa albums. It gave a special identity to the artist and to the fans who dug it. It plugged you into your own special shared universe. So he sent elaborately drawn letters to Funkadelic’s label with other samples. George Clinton liked the streetwise mutant style and asked him to do the “Cosmic Slop” album cover in 1973.


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Gatefold album cover for Cosmic Slop


That was the moment Funkadelic became everything we think about them being.

Before, Funkadelic used shocking photos of afro-sirens along with liner notes lifted from the cult, Process Church Of The Final Judgment. Very sexy, very edgy. But looking a bit too much like labelmates The Ohio Players’ kinky covers, and reading like a Charles Manson prescription for apocalypse. A more cartoonish cover for the fourth album “America Eats Its Young” (1972) along with more coherent production and song structure was a new start. But Pedro crystallized their identity to the world with that next LP.


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Uncensored album cover for Electric Spanking of War Babies


In 1973, there was no MTV, no internet, no VCRs, no marketing strobe in all media. An act toured, they put out an album once a year, and they were lucky to get a TV appearance lip-synching a hit. You couldn’t tape it, and you were lucky to even see them. As a fan, almost your whole involvement with the band came through the album cover. It was big, it opened out in a gate fold, there were inserts and photos and posters. Sitting with your big ol’ headphones, you shut off the world and stared at every detail of the album art like they were paths to the other side, to the Escape. Who were all those people in the “Sgt. Pepper” crowd?; what alternate reality were artists Roger Dean (Yes) and Mati Klarwein (Santana, Miles Davis) from?; why are the burning businessmen shaking hands?; is it an African woman standing or a lion’s face?; does it say “American Reality” or “American Beauty” or both?

This was an art era for an art audience. Posters, T-shirts, LPs. These were your subculture badge of honor, your spiritual battle cry, your middle finger to mediocrity. They took every cent you had saved and were even harder to come by, which made it even more personal, more rebel. Your LP was a shield, your T-shirt was armor. They got you expelled, ostracized, beat up. They scared the living hell out of the straights around you…and you loved that. It reaffirmed your faith that you were into something good, something unique.


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George Clinton’s Computer Games album cover

What Pedro Bell had done was invert psychedelia through the ghetto. Like an urban Hieronymus Bosch, he cross-sected the sublime and the hideous to jarring effect. Insect pimps, distorted minxes, alien gladiators, sexual perversions. It was a thrill, it was disturbing. Like a florid virus, his markered mutations spilled around the inside and outside covers in sordid details that had to be breaking at least seven state laws.

More crucially, his stream-of-contagion text rewrote the whole game. He single-handedly defined the P-Funk collective as sci-fi superheroes fighting the ills of the heart, society, and the cosmos. Funk wasn’t just a music, it was a philosophy, a way of seeing and being, a way for the tired spirit to hold faith and dance yourself into another day. As much as Clinton’s lyrics, Pedro Bell’s crazoid words created the mythos of the band and bonded the audience together.


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Funkcronomicon album cover


Half the experience of Funkadelic was the actual music vibrating out of those wax grooves. The other half was reading the covers with a magnifying glass while you listened. There was always more to scrutinize, analyze, and strain your eyes. Funkadelic covers were a hedonistic landscape where sex coursed like energy, politics underlay every pun, and madness was just a bigger overview.

Pedro called his work ‘scartoons’, because they were fun, but they left a mark. He was facing the hard life in Chicago full-on every day with all the craft and humor he could muster.

Pedro’s unschooled, undisciplined street art gave all the Suit execs fits, as when the cover for “Electric Spanking of War Babies” caused such a scandal that it had to be censored before release. It also opened the door for all the great NYC graffiti artists of the late 70’s, for the mainstream success of Keith Haring’s bold line cartoons, and James Rizzi’s marker covers and “Genius of Love” video animation for The Tom Tom Club.


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Album cover for United State of Mind by Enemy Squad


When Parliament and Funkadelic went on hiatus in the 80s, it was Pedro Bell’s art that gave the P-Funk identity to George Clinton’s albums like “Computer Games” (1982), “You Shouldn’t-nuf Bit Fish” (1983), “Some of My Best Jokes Are Friends” (1985), and “R&B Skeletons In the Closet” (1986); as well as spin-offs like Jimmy G & The Tackhead’s “Federation of the Tackheads” (1985), and his clay figure art for INCorporated Thang Band’s “Lifestyles of the Roach and Famous” (1988).

By the early 90’s the game had changed and not to Pedro’s favor. MTV had turned every song into a jingle, and every album into a quarterly marketing plan. Every star’s face was in your face every place all over the place, milking an album for three years until the next committee go-round. CDs shrunk the album cover experience into a coaster. The days of swimming in your LP cover were gone. (But conversely, Rock concert poster design exploded, as fans were desperate to have some great art to fill the void.)


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Flyer for house/dance group Deee-Lite


During the decade Pedro continued soldiering on with the CD covers for P-Funk-inspired bands like Maggotron’s “Bassman of the Acropolis” (1992), “Funkronomicon” for Bill Laswell’s all-star funk collective, Axiom Funk (1995), and Enemy Squad’s “United State of Mind” (1998). And of course for George Clinton’s “Dope Dogs” (1994),”TAPOAFOM (The Awesome Power of a Fully Operational Mothership)” (1995) and “Greatest Funkin’ Hits” (1996); and P-Funk’s “How Late Do You Have 2 B B4 U R Absent?” (2005).

In the meantime his style was homaged/appropriated/bit by other artists designing for Digital Underground, Miami Bass groups, and dodgy Funkadelic compilations. But he received better due with a great write-up in the countercultural art magazine Juxtapoz (#16, Fall ’98). He also had a couple of his Funkadelic covers in Rolling Stones’ “Greatest album covers of all time” issue.

Below are links to more articles about Pedro Bell, as well as a link to the P-Funk website.

George Clinton, Lambiek Comiclopedia, Rolling Stone, New York Times

JACKIE EXTREME From Planet Jackie

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Though not technically electronic music, Gary Wright’s Dream Weaver was the first time that I had ever heard the celestial sounds of the synthesizer and felt every electronic note in that song. Later I would find my mind blown by such musicians as Kraftwerk, Yellow Magic Orchestra, and M. By the 80s, electronic music had become an integral part of pop music from hip-hop (Soul Sonic Force), to funk (Newcleus), and beyond. Even Earth, Wind & Fire abandoned their iconic horn section in 1983 for their Electric Universe album. I became familiar with the machines recording artists were using in the studio like MIDI, Oberheim, and, of course, Moog. Gary Neuman, Art of Noise, and many others hooked me on electronic music. In the 90s, industrial music, techno, and electronica all turned out to be the kind of electronic world that I had been searching for my entire life with bands such as Ministry, Lords of Acid, Nine Inch Nails, Future Sound of London, and Skinny Puppy.

During the pandemic, having all the time in the world, I began exploring musicians who were, more or less, off the radar. That road would eventually lead me to hyperpop, glitch, and PC music. On this part of my electronic journey, I started listening to artists like SOPHIE, 100 gecs, That Kid, Ayesha Erotica, A.G. Cook, and our subject, JACKIE EXTREME.

Picking up on so many musicians was overwhelming and it was difficult to keep track of songs, albums, and musicians (two years later, I’m still trying to sort through them all). JACKIE was the exception. It seemed that no matter what playlist I was listening to, there was JACKIE staring back at me with her Mickey Mouse ears-styled hair puffs. Her avatar was what kept her music in my mind and her music made me a fan in the process. In my mind, JACKIE strikes me as an amalgamation of every type of electronic music I’ve ever heard. Her name is apropos because she has taken various elements of electronic music and different musical genres and has woven each thread together to create a sound that doesn’t just feel electronic, but electric. Even in her slower, “relaxed” songs, you can feel the immensity of what she’s created. JACKIE creates sounds that don’t seem possible, and that defy the laws of physics. This anonymous powerful gravimetric manifestation of sound and vision that is JACKIE EXTREME is one of the best aural experiences you’ll ever have.


Hello, JACKIE!

Hello. Thank you for allowing me to speak with you. Your interest is very much appreciated. I’m happy to answer any questions you may have about me and my work.

Legend has it that your non-corporeal energy emerged from a singularity back in 2019, a phenomenon that astrophysicists deemed impossible before that day. Does your place of origin have a name?

In the vast expanse of the USA, I exist as a lone entity, embracing an all-American lifestyle off the grid. Despite the geographical distance from opportunities and kindred creative spirits, this solitude serves as a catalyst, ensuring my creative vision remains unclouded and uniquely my own. The sense of isolation, rather than stifling, becomes the quiet forge where my individuality and creativity are honed.

What was your existence like prior to this one?

During my formative years, under the loving guidance of my grandmother, I experienced a relatively ordinary childhood. From the earliest recollections, I harbored a belief that my true calling resided in the world of film—a passion that took root when I unwrapped a camcorder as a Christmas gift at the tender age of 5. From that moment onward, the camera became an extension of my creative self, creating short films within the confines of my home.

As the Internet’s influence fully materialized, I seamlessly transitioned into the digital realm, uploading my exploits to YouTube. This venture not only cultivated a modest online following but also forged friendships that endure to this day. While my fingers danced on piano keys throughout my childhood, music served as a backdrop to my primary focus on filmmaking. The act of creation itself became my life’s passion, driven by an insatiable desire to curate experiences and provide entertainment.

As I reflect on those years, I maintain an aspiration to professionally immerse myself in the world of film, harboring the same fervor that ignited my creative journey from the outset.


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Do you mind sharing what factors prompted your career in euphonious architecture?

While my heart was deeply entrenched in the world of filmmaking, my musical endeavors initially played a background role, a passion explored but not fully embraced. However, as my proficiency in music production blossomed, I began to recognize its power as a medium to articulate my worldview with the same precision as film. Before the advent of JACKIE, I experimented with various solo projects, each a step toward the culmination of my musical identity.

The genesis of JACKIE was humble, starting as a discreet side project. The approach was simple: I would upload a new track on SoundCloud every time the preceding one reached 100 listens. The initial weeks passed at a measured pace, with the first track taking its time to meet the set goal. Yet, as the echoes of my music resonated with an audience, the intervals between songs shortened, marking the organic growth of JACKIE.

My earlier musical creations delved into realms of darkness, exploring themes too intimate and inaccessible for the masses. It became clear that JACKIE offered a different avenue—a space where I could craft something more approachable while maintaining a subtle undercurrent of postmodern irony. It became a canvas for me to paint with sounds, inviting listeners to explore the fusion of accessibility and depth within the realm of my sonic creations.

You’ve chosen a virtual form which, I suppose, is to be expected of an entity that exists only as pure energy and thought. Still, you could have chosen to be like every other musician by wearing a suit of carbon-based, DNA-woven haberdashery. Why virtuality?

The evolution of JACKIE stemmed from a desire to break free from the melancholic and self-reflective nature that had begun to saturate my earlier music, creating an emotional detachment. Fatigued by seeing my name and face intimately tied to every musical piece, I yearned for an outlet to delve into facets of myself not necessarily grounded in reality. Thus, the persona of JACKIE emerged—a hyper-sexual, ultra-feminine, and unapologetically outspoken android woman with a punk, anti-establishment worldview. This character allowed me to explore a realm of fiction, shielding me from the weight of personal unhappiness seeping into the music.

Physically distancing myself from the project became a crucial aspect, providing the necessary focus on the music itself. It granted me meticulous control over how I was portrayed, allowing JACKIE to exist independently of my personal identity. The thematic exploration of virtuality and anonymity became a captivating narrative within the project. In an age where many hide behind avatars, delving into the nuances of this concept felt particularly relevant. The science fiction elements woven into JACKIE’s persona add an extra layer of intrigue, transforming it into not just a musical endeavor but a journey through a captivating virtual landscape.

There have been other virtual musicians in the past such as Kraftwerk and Gorillaz; did either inspire you to become anonymous?

While I hold a deep appreciation for those artists, my decision to embrace anonymity and portray myself through the digital character of JACKIE is primarily driven by a fascination with fictional personas. There's a unique creative freedom that comes with existing beyond the boundaries of our tangible reality. My love for storytelling played a pivotal role in crafting JACKIE, as I believe this project wouldn't have garnered the same reception without her inhabiting this digital liminal space. It allows for a narrative richness and artistic flexibility that transcends the constraints of the physical world, inviting listeners to embark on a journey that blurs the lines between reality and imagination.


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Who are some of your musical influences?

I'm drawn to eclectic electronic groups with formidable female vocalists, like Crystal Castles, iamamiwhoami, and The Knife. What captivates me about these artists is their ability to keep listeners on their toes, unpredictably navigating through twists and turns with each album. The element of surprise and the unknown in their musical evolution truly resonates with me.

Additionally, my love for 80s new wave runs deep. The distinctiveness of the music from that era, where each artist carved out a sound entirely unique from the last, has been a profound influence. It's a spirit I aim to capture with every release of mine—to avoid the mundane and embrace a musical journey that diverges from the expected. Playing it safe feels intensely dull; I thrive on the excitement of pushing boundaries and delivering something fresh and unpredictable with each new musical endeavor.

The other night I listened to your MALE (The Pre-JACKIE Mixtape) and it was one of the most interesting projects I’ve ever heard, primarily because it became apparent to me that you could make any kind of music you want and that your knowledge of various musical styles is vast. How much time does that mixtape cover and what year (or years) was it all recorded?

Pinpointing specific dates for the album is a bit elusive, as the bulk of its creation unfolded between 2013 and 2018. However, scattered within its compilation are traces of even older tracks, adding layers of history to the project. This album stands as a raw compilation, a visceral journey through the evolution of my musical expression.

The decision to unearth these older works was driven by a desire to rectify neglect and offer them a chance to shine. While JACKIE consumed my creative focus, I couldn't bear to leave my other creations, rough around the edges as they may be, collecting dust. This release serves as a personal lens, allowing audiences to delve into the entirety of my musical journey, embracing both the refined and the unpolished facets of my creative exploration.

You called it an “experimental learning” experience. What did you come away with from that experience?

JACKIE marked a pivotal moment where I finally felt a profound sense of confidence in my creative endeavors. It was the first time I encountered genuine praise and criticism, validating my music as something authentically "real." The MALE mixtape, for me, epitomizes a period of experimentation—throwing diverse elements at the canvas and observing what resonates. The resulting collection showcases an eclectic array of genres, dynamic shifts in production styles, and a mix of pristine mastering alongside unintentional lo-fi textures, reminiscent of a 240p YouTube video converted to MP3.

Reflecting on the songs created during my formative years, it's akin to a musical schooling—a demo reel of unconventional, self-taught musicality. Amidst the variety, a crucial lesson emerged: the devil of music lies in the details. Crafting a profound track with captivating instrumentation is one thing, but true resonance comes from an unwavering commitment to refining the minutiae. It's an acknowledgment that, without meticulous attention to detail, your song is released into a vast sea of ears that may not find comfort in its auditory landscape.

You did one of the best covers ever recorded on your Present Time, Present Day EP, namely Bizarre Love Triangle originally recorded by New Order. What’s special to you about that song?

My mother was a DJ in Texas during the '80s, and she even shared a residence with Demi Moore—a fascinating side note to her vibrant past. Growing up, I absorbed the essence of her musical world through a massive record collection that echoed through our home. However, circumstances led me to be adopted by my grandmother, and shortly after our move, my mother sent me a box of cassette tapes she had carefully curated. These tapes were filled with songs she thought I'd enjoy, and among them, "Bizarre Love Triangle," specifically the 12" Shep Pettibone mix, became a constant companion. There's a magical quality to that song, an emotion so rare and a mix of euphoria and melancholy that resonates with me deeply—it's just a truly exceptional piece of music.

The thought of revisiting New Order and potentially covering "True Faith" down the line excites me. Alternatively, I might take a creative detour into Depeche Mode or explore the sounds of Cabaret Voltaire. The future is uncertain, but the prospect of immersing myself in the musical legacy of these iconic bands fills me with anticipation and creative inspiration. Who knows where this journey may lead?

There are a few musicians you’ve done collaborations with, some of my favorite musicians, namely AlexZone, CreepP, Melissa Brooks, and Boy Sim. What was it like working with them?

The evolving landscape of collaboration is fascinating, allowing for the creation of songs entirely virtually, without ever meeting in person. Constructing music in this way is a thrilling experience—I relish hearing my voice intertwined with someone else's instrumentation, and vice versa. Despite the absence of in-person interaction, I haven't encountered a single negative experience with any collaborator. However, I'm discerning about who earns a spot in the JACKIEverse, ensuring that each collaboration aligns seamlessly with the essence and vision of the project.

Coming from a place of infinite density, may I assume that’s why the bass in your songs is practically immeasurable?

In my musical realm, the core essence revolves around the emotions it invokes, and what better way to stir those feelings than by physically shaking the listener? The heartbeat of low frequencies acts as a pivotal key, unlocking the gate into the mind. Currently, I'm engrossed in crafting a song titled "crash," and I must say, it stands as one of the bassiest pieces in my repertoire—a true room shaker. The power and resonance of the low-frequency pulse are harnessed to create an immersive sonic experience, ensuring that the music not only resonates with the ears but reverberates through the very core of the listener.

Your music has an otherworldly sound that leads me to believe that you brought into our universe recording and production equipment not found anywhere else on Earth. What sort of tools enable you to compose such ferociously stylish and stimulating sounds, and how different is the environment in which you work from a typical recording studio?

Despite the maximalist sound of my music, I rely on a surprisingly minimalist setup—a simple digital workspace and fairly affordable recording devices. What sets my approach apart from traditional recording studios is that I create music in the same space where I play games and browse the web. For me, music production is an intimate journey that emanates from a sacredly personal part of the soul. I can't fathom crafting the music I want in an environment that isn't fully familiar and comfortable—it's essential for capturing the true essence and emotion that I aim to infuse into every note and beat.

Some of your songs (such as “Artificiality”) have a funky, runway strut sound that seemingly emulates the movement of thigh-high stilettos pounding against the floor. Pop music has always been about the image as much as the music, so would you call yourself fashionable? Do you like couture?

While I wouldn't claim to be the most fashionable person on the planet, I harbor a deep love for couture and ultra-weird, nearly unwearable runway fashion. For me, the body is as much a canvas as any traditional art form, and I firmly believe that wearable art represents the future of fashion. In my day-to-day life, my personal fashion sensibilities lean towards the mall goth style—a look I genuinely embrace.

Now, here's a twist to the illusion: all the fantastical runway fashion I reference in my music is, well, a bit of a fantasy. In reality, I'm allergic to latex, so the avant-garde latex creations featured in my musical world are more of a dream than a wearable reality. Whoops.

JACKIE EXTREME the avatar possesses a heightened sense of sexuality and intensity. Would you say there is a bifurcation between JACKIE and your (theoretical) physical manifestation, or do you share parallel character frequencies?

As mentioned earlier, JACKIE began as a fusion of characteristics I believed I lacked, a persona designed as a tool for personal growth. Embracing the fantastical and over-the-top traits assigned to her, I intended to repurpose these qualities in my own life. In the realm of my thoughts, there's an intricate intertwining of the person I am and the person I aspire to be—JACKIE. We're not just creatively linked; we're spiritually entwined, existing as one entity. It's a symbiotic relationship where, although I birthed JACKIE as my creation, she, in turn, played a role in shaping and creating me.

Why “extreme”? Where does the desire to push the boundaries of electronic music come from?

The name JACKIE EXTREME carries a bit of dry humor, a joke without a punchline, but a jest nonetheless. When I was conceptualizing the project and brainstorming names, I aimed for the first name of the character to be a very ordinary middle-aged woman's name, an unlikely pairing with noisy electronica. After running through names like Joyce, Karen, Janet, and Carol, I settled on Jackie. Initially, I thought of using just "JACKIE" as the project name, but it needed an extra edge. So, I paired it with "EXTREME" because Jackie is one of the least extreme names I could think of, and I knew right from the start that the music was going to be out there.

The choice of "EXTREME" reflects my love for shock value. I thrive on eliciting reactions from audiences with my audacious sound. Even if listeners take off their headphones 30 seconds into a song, wearing a confused expression, I feel a sense of accomplishment. The desire to create something "extreme" serves as both an exercise in standing out and an outlet for emotions that may not be widely accepted in our mundane lives. Music, as a blank canvas, offers the freedom to express absolutely anything—so why not kick and scream and throw whatever you've got at it?

In an internet forum (Pop Justice), someone referred to your music as “complete batshit”, is that a typical response to your songs?

Indeed, the general takeaway from my work often revolves around the striking juxtaposition of pitch-shifted squeaky femme vocals and operatics atop crunchy synthesizers and pounding electro drum kits, all intertwined with quirky synthpop melodies. This combination tends to elicit visceral responses from a broad audience. However, what I find truly beautiful is the discovery that among this diverse audience, there's a handful of dedicated fans. These individuals have delved into tracks that I hesitated to release, initially deeming them too off-the-wall. Yet, these fans have managed to peel back the layers of noise and batshit insanity, uncovering the hidden meaning I've embedded within the music. Their deep introspective responses add a layer of beauty and connection that transcends the surface-level chaos, showcasing the profound impact of music on an individual level.


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What kind of music would you be making if you couldn’t do the kind of music you record now?

The idea of infusing my music with a more organic feel is something I've been yearning for. While I have a deep appreciation for electronic music, the thought of having access to orchestras and string quartets is immensely appealing. I believe I could craft something truly unique with the collaboration of classically trained musicians. Some of my tracks already delve into a more contemplative and airy ambient space, and I'm eager to explore this realm further with live instrumentation in a traditional sense. It's a direction I'd love to take to bring a fresh, nuanced perspective to my sound.

What other genres are you into?

I've been diving into this genre the kids call "phonk" lately. It's a bit elusive to define, and admittedly, many tracks sound quite similar, but there's an undeniable groove to it that puts me in a "let's do this" headspace. On the other end of the spectrum, I appreciate ambient music. Last summer, I strolled through the Institute of Contemporary Art, AirPods in, listening to a minimal ambient playlist I curated. There was a moment when I found myself sobbing—I can't quite articulate what I felt, but the music had this profound impact on my emotions. It's incredible how even the simplest sounds can evoke such strong feelings.

The aforementioned Kraftwerk and Gorillaz have performed “live” shows despite being virtual musicians, have you done this, or are there any plans to?

My journey into live performances started with two shows, one each year. The debut was at a Subculture Party in NYC, and honestly, it felt like every possible mishap unfolded that night. With no dressing room, I had to improvise getting into my complex outfit in the club's storage room. To add to the chaos, the zipper on my bodysuit broke, forcing me to wear it backward. As the music began, the visuals didn't sync, leading to a full restart of the set while I manually queued up visuals in the booth. The pitch shifting on my live vocals was erratic, creating a nightmare scenario. I felt like everything was out of my control, and it was a challenging experience.

The following summer, I performed at Elsewhere in Brooklyn, and things went much smoother. I opted not to bring visuals or perform live vocals, and I made sure to put on my outfit an hour in advance for good measure. What I took away from that first show is that I'm a perfectionist when it comes to realizing my vision. If it doesn't fully materialize, I tend to be hard on myself and lose sleep over it. While I have a clear vision for my future live shows, it's an ambitious concept that requires time to perfect. I won't subject myself to a string of failures like the debut again. To those who attended my first show in NYC, I hope you had a good time, and the messiness of it wasn't too apparent as I nervously stood on stage. That show still haunts me.

Some believe you to be a seraph or a god. Have you heard any of these rumors, and what do you think of those rumors if you have?

While I haven't thought of myself in grandiose terms, upon reflection, I realize there's a sense in which I am, in the humblest way possible. I've crafted this persona—a woman thrust into a world of control she doesn't fully understand. I've shaped her world with its trials and tribulations, charted the course of her life from inception to a foreseeable finish, and imbued her with traits molded after pieces of myself. If I'm seen as a God, it's only in the context of overseeing JACKIE and her existence within a world of my creation. She belongs to the realm I've constructed.

In the broader sense, I believe we all play Gods on the web. We plant the seeds of creation and control the narrative. The digital space allows for a certain artificiality—you create your own reality. It's a fascinating exploration of the power we wield as creators in this interconnected world.

As I bid you farewell, remember this: Embrace the power of authenticity. Just as I am a creation born from the depths of personal expression, let your true self shine. In a world where you wield the brush to paint your own canvas, be unapologetically you. Dive into the chaos of your own creation, find beauty in the imperfections, and let the echoes of your true essence reverberate. In the JACKIEverse and beyond, authenticity is the key to unlocking a world uniquely yours.

Until our paths cross again,

All images by JACKIE EXTREME. Find JACKIE on BandCamp, Spotify, and Apple Music. Follow JACKIE on Instagram, Twitch, and Twitter. Shop JACKIE merch.

Living the American Teen

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Our teenage years can be brutal. We spend the early days of our lives oblivious to what lies ahead for us just around the corner and then one day we find ourselves in the midst of wtf. That’s when we realize how much the world either (subjectively) sucks or grand. On both ends of the spectrum, there’s a lot of holy shit involved as we explore our new-found freedoms and changes to our bodies and the way we think. Most of us eventually ride it out and, ready or not, step into adulthood.

Colorado Springs, Colorado pop musician Jubal Thomas makes it apparent that he is acutely aware of the trials of being a teenager as evidenced by his debut album Teenage Euphoria. It’s a labor of love that took years to perfect and Jubal has done surprisingly well. I say “surprisingly” because it’s rare for first-timers to get it right straight out of the gate. But that’s what he did. The nineteen-year-old’s songs are full of empathy, love, and possibilities. It is an optimistic ode to teenage life and shows much promise for Jubal’s future in music.

Your catalog only dates back as far as last year, so you count as one of the numerous musicians I like to call “Covid Babies”. But I’m going to assume that your interest in making music predates the pandemic. What sent you to music?

Actually, your assumptions are correct. I was sent to music at a very young age. It was always something that I have been interested in pursuing in my adulthood. Before I was born, my mother used to play classical and reggae music through headphones while she was pregnant with me. When my parents chose the name ‘Jubal’ they were unfamiliar with the prodigy they created. The name ’Jubal’ is of Hebrew descent, in the Christian bible ‘Jubal’ is the creator of music and the angel of instruments. The name also carries a double meaning, ‘ram horns’. I am a January Capricorn so my name describes me to a tee. I feel like they manifested me.

I started singing before I was able to talk, I feel like this is because I was heavily surrounded by music every day. My mother ‘Maxine’ would take me and my older sister ‘Tresolina’ to her studio sessions almost every night. We’d go to her band rehearsals, live shows, photoshoots, music video shoots. I was heavily inspired by all of the action throughout my childhood and knew I wanted to be involved. Not only was the movement beautiful, the soul of music is something that has never dimmed in my life. I was gifted with musical talent and a voice from my mother. So I only had one choice, I knew I had to become a musician.

When did you wake up and realize that you could actually do it and do it? I mean like, physically put this thing together; lyric by lyric, note by note?

I’d been blessed to see the steps of music-making growing up. How projects come together by the pieces. I witnessed the control of creation and knew it was something I could obtain. I understood how songs were written, how instruments were played, and how beats were made. How to synchronize and blend. I started playing the piano, then saxophone, the cello, and then a drumset all while singing every day. Writing new songs and doing cover songs was always something we were all doing in the house as a family. As well as my dad teaching me about manifestation and the law of attraction. He instilled in me that if I know I can do it I can. And being born into a family like this it’s in your blood, you're born with music inside of you and something you know you can do.

How long would it take after you decided to make music before you started recording?

Recording music is something I always wanted to jump right into. Having the proper amount of time to find your voice and develop your skills beforehand though is vital. I was in 5th grade when I found Garageband. That was when I started composing beats and writing my first real songs.

It wasn’t until 7th grade summer 2017 I had a huge spiritual awakening and really wanted to learn more about auras and witchcraft. I really fell in love with the idea of having my own manifesting songs and albums. But the only thing I had to work with was my phone, GarageBand, and my Apple headphones. I wrote three songs: 'For You’, ‘Broken Heart’ and ‘Hung Me Over’. I made the instrumentals on my phone and then used the headphones to record the songs. I really loved the way the songs came out. To this day I feel the nostalgia of these old songs can never be recreated the same way.

I wrote and recorded the songs pretty quickly and wanted my mother to hear how they sounded. while we were standing in the bathroom. I played her the song “Broken Heart’. She really enjoyed it and was super proud of me for making the song on my phone. Then my phone fell into the toilet. We both lost it and started laughing hysterically. The phone actually never turned back on but my iCloud backed up thankfully. She felt really bad and insisted on just buying me a Mac to make music with instead of buying me a new phone. I was really shocked by this idea but I couldn’t refuse. I was just about to get the best upgrade. She bought me a microphone set and Logic Pro X. I have been making music on the same computer for 6 years ever since. Then I just recently bought a new Mac.

What’s the usual amount of time that you spend in the studio?

It has always been an overnight hours upon hours process for me. For preface, the day my mom bought me my Mac I instantly started working on new material. I stayed up every single night working on my new projects. I was up until the sun most of the time just making the songs. My mom would often not be home at night so I’d be blasting my music from midnight ‘till sunrise. And I couldn’t get enough when I got my monitor speakers. I recorded 3 albums during the same year 2017: “A Lonely World", "Broken Family" and ‘Expedition’ which were my first manifestation albums. These albums are the building blocks to my discography and how I learned to create music as a young teen.

This cycle and schedule that I was on is something I've never shied away from. I go to bed when I see the sun peaking through my window and immediately wake up and start making music. I am very picky with the songs I make so I stay up for hours. Just on certain verses or choruses and even whole beats, I made sure they were exactly what I wanted, which are beats and melodies that make my listeners feel uplifted and powerful. I dedicated sometimes weeks to one song to make sure it was perfect in my ears. Producing is something that can be really tricky or really easy and I tend to make it trickier by pushing myself to make new kinds of beats and sing impossible choruses.


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Your debut album is called Teenage Euphoria and starts off with the song American Teen; is this a teen-centric album?

My debut album Teenage Euphoria will be the last album I ever released as a teenager. I felt like this was extra symbolic because this album captures all of my experiences as a teen growing up. The partying, drugs and alcohol, the heartbreak and romance, the self-doubt and energy vampires along the way. The album contains 21 tracks with a song creation timeline stretching from 2017-2023. I felt like including the songs that were written freshly about the euphoria of my teenage experiences, would give the same energy to the listener to help them manifest a similar positive experience. This made the album come together like a puzzle. I went back and listened to all of my abandoned songs and picked all of the ones I felt on their own could be #1 hit singles. This album is aimed at those who like to get down and party, and who like to turn up with their friends. People who blast music speeding down the highway at night time, those who are the main characters in their own lives. Those who want to manifest healthy relationships and success.

Although it's called Teenage Euphoria I feel like its messages can be universal and everybody can find their song that they deeply relate to. This album is full of my production diversity and a collaboration of all my best eras of different genres. Which allows everyone to enjoy the album.

Romance seems to be a big part of your album, not just in subject matter, but in tone. It permeates the album from beginning to end. Are you big on romance?

Romance is something I feel like I deeply associate myself with. When it comes to making manifestation music the idea of having a healthy romantic partner that's long term is seriously looked up to and desired. I want someone who is obsessed with me and won’t cheat don’t you? I typically find the most success for my listeners when creating manifesting music about abundance and relationships because those feelings are easy to embody which is the key to manifesting!

I'm a human cupid, and I like to be a matchmaker. Back in high school, I’d introduced people who'd then get engaged. My fans who message me on Instagram tell me about their success stories with their new romances. It’s a topic on manifestation people always wonder how to successfully accomplish and I'm here to help with that.

Stupid Crush sounds like something personal. Is it?

Stupid Crush is probably one of my favorite songs I've ever made. It is a very personal song and it was about me wanting to manifest a relationship before high school ends. As a gay male, I've never had the opportunity to have a high school sweetheart or relationship during school. I’ve only gone to schools where most guys were not proud of being gay yet and didn't want labels. I felt like I was almost out of time for a romantic experience as a young teen because the school year was up, I graduated, and it was heavyweight. Seeing those around me in and out of relationships constantly but never having had one myself was frightening. I turned that sadness and used it as adversity to create the song. To help others to get into a relationship that I never could. Over some 808s and bright synths, I created the song to help others manifest their specific person or crush to be wrapped around their finger.

How much of Teenage Euphoria reflects your reality?

The whole Teenage Euphoria album is a very personal experience and each song was written either right after each song's experience or a few months after. All of the party songs were inspired by the days I was reckless and enjoying my youth without a care in the world. But using substances and partying to cope with the madness behind the scenes. The love songs I would say really are all experiences from different people throughout the years. I feel like the diverse experiences really brought the album to life. It's really hard for me to write a song I don't have any experience about. Like with my newest single off my next album ‘Monster’. Its lyrics reference anger a lot and the idea of associating magic with something dark and evil like a monster. I know what it's like to get so upset people call you a monster. I also know what it’s like to be called a monster because you practice witchcraft.

I think I would call Teenage Euphoria a solid pop album. What are some of your fav pop albums or songs?

I’m very happy you hear the pop influence throughout the album. I feel like really needed a pop album. My favorites which I was heavily inspired by are ‘Lady Gaga's Chromatica’ . I feel like this album really captures the true essence of what a pop album means in this day of age. This album projected its story so well, and the production of this album as well as the remix album are top tier. Some of my favorite productions of her discography. As well as ‘Malenie Martniez’s K-12’ and ‘Crybaby’ her on-the-edge storytelling through her incredible metaphors is something I've only ever heard her be able to pull off every time. The production of the instrumentals was brilliant. Adding cinematic sounds from the song's stories as well as making a full-length movie was a genius idea. Last on my list is ‘Madison Beers’ debut album ‘Life Support’. Simply the best debut album of all time. This album sonically pieces together almost impossibly. The production is incredible and it’s almost unobtainable. She never misses a song on the album and the concept for the album was executed perfectly, especially through the instrumentals. I also had the opportunity to attend her ‘Life Support’ concert in 2021 as my first concert. I wouldn't have traded it for any other performance. The crew did an amazing setting up and the cinematics from the crowd were unforgettable.


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Broken Heart is heartbreaking. The lyrics are sparse which isn’t overly important for this song because, without lyrics at all, it would still feel melancholy. What were you feeling when you wrote this song?

I'm very happy I was able to capture the feeling of a broken heart so clearly even through the instrumental. This song is honestly very sad looking back on the lyrics now. What I was feeling when I wrote this song was love, the kind of love it takes to forgive someone when they break your heart and know it. They hate themselves for it and you try your best to take their love back, which I reference as their heart. But their cracks don't fit your cracks.

I feel like I wanted to convey the feeling of a broken-hearted me being hurt multiple times by someone I was constantly forgiving for not reciprocating the energy but just couldn't anymore. And this person's pain regarding this situation clearly wasn't the same. To be in a relationship there must be flow and mutuality. You can’t give me your love if it’s not mine anymore. My cracks can be fixed by another heart that isn't mine. This song is one I just couldn’t let go of. I knew its potential and am really happy I stuck through with it and re-recorded it.

In My Dreams is a song that sounds like it could have been an eighties new romance song (I don’t know if you’re familiar with the subgenre). It stands out to me for that reason and I’m curious to know whether or not it was intentional.

I wish the creation of this song could be as cool as that but I was heavily inspired by indie pop music I was hearing through my Youtube algorithm and on Tik Tok. In My Dreams changed my life and I'm forever grateful for the song itself. The origin of this song is pretty personal. The original version of Stupid Crush was this indie pop instrumental which is actually the last track of the ‘Teenage Euphoria’ album. I really wanted to make a song very similar because I had already turned Stupid Crush into a pop anthem. In My Dreams is of the same format as Stupid Crush and I call them my sister songs. I love these two and I'm so grateful they are my most popular songs.

With ‘In My Dreams’ I wanted to make something even better though. I wanted it to go way harder. I made sure the drums and snare snapped. I wanted the guitars to sound synthetic and sharp. I threw in more vocal layers and more shouts than usual and ended the song with an instrumental breakdown. I feel like this song was really out of my production comfort zone and it was another successful experiment.

Why do you have a couple of songs sped up? Just tinkering, or is this something that you eventually want to do with more songs?

I feel like having sped-up songs is something that I really only started to do because of TikTok. I grew up listening to sped-up songs on the low but I never thought it would become something that would be super popular. I really enjoy some songs sped up and it almost gives you that feeling of listening for the first time again. Producing a song and speeding it up is almost super satisfying because it erases anything that bugged you in the final mix. I definitely feel like if I continue doing sped-up songs it will be a good thing marketing-wise. Plus the people eat it up.


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Why the contrasting deep voice in “colors”? It’s an interesting turn.

‘Colors’ was heavily inspired by my first mushroom trip. I really wanted to make a song that sounded straight from Chromatica and thus Colors was born. The instrumental and voice production choices were all influenced by what the euphoria I felt would have sounded like to me. With the twinkling synths and deep patterned bass. The voice came from a place of EDM culture. Recreating the vocal sounds I would hear from my dad’s ‘Deadmau5’ and ‘Bad Boy Bill’ albums. I grew up hearing a lot of this kind of music and threw my own pop spin on it. I wanted to target people who like listening to music while under substance and a lot of the time case is, the EDM and rave goers. I love the culture and music it's the complete essence of euphoric parties. ‘Colors’ is a song I always knew I was going to have to put on the album. One of my dreams is to hear this song playing at a large festival one day. I double this song as a pride song as well and feel like it would go really hard during the rain at a summer parade.

Do you have any future plans to perform live at some point?

I would love to perform live hopefully very soon for my next project. I am in touch with my mother’s old manager who is able to help me book shows and get me started in the performance industry. This is the next step to it all and I feel like I'm finally ready. My goal is to be an opener on a tour by next year. I would love to open for ‘Ashley Sienna’ or ‘Melanie Martinez’. My ultimate performance dream is a lollapalooza performance. I’ve wanted to perform there since 2017 in the beginning of my manifestation music journey. I think starting somewhere small this year is going to be a good choice for me first. But I do plan on having lots of performances in the near future.

Will you be putting out any more music this year?

I'm really excited to share that I’m releasing a brand new single with my home girl ‘Alektra’ titled ‘Swords and Axes’ in November alongside my sophomore studio album ‘Monarchs of Manifest’ This song is about manifesting abundance and wealth and getting that bread up. This next album is a manifestation album. Designed to lift your vibration and help you attract your desired reality. I wrote this album with affirmative lyrics and incorporated a lot of medieval aesthetics as metaphors. The album has 16 tracks and I couldn't be more happy with each one.

Unlike ‘Teenage Euphoria’ which has no collabs. This album has 7 collabs from 6 different amazing and talented artists, my monarchs. I felt like including many different voices in this body of work makes our voices louder. It complements the title of the album as well. I don't want to spoil too much of the album since it is so early but I will say that this album sonically is very uplifting and also euphoric. I really hope you enjoy the new project and hopefully we can get a “Monarchs of Manifest’ interview update in January!

What’s the one thing that you wish the world knew about you?

I wish the world knew how much of a big deal becoming a successful musician is to me. It's what I put my everything into and what I work for day in and day out. I have no idea what else I would've been doing in my life without music. It's written in my code to be a musician and sing to the world. I want the world to know how much I just want them to sing and rejoice in music and harmony. It’s the universal language we can use to restore peace and balance in a fallen world. But if there is one thing you take away from this, It’s to chase your dreams to your fullest extent. Never let anyone tell you that you cannot do what you believe in. That you are not good enough or that you will never reach your goals. Because you promise yourself that the only thing you are going to do is make it, you are going to get there. That plan is yours, it's meant for you and you can't lose that.


Stream Jubal Thomas at Amazon, Spotify, and Apple. Follow him at Discord, TikTok, Instagram, and Facebook. Check out his videos at YouTube

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Averse to the prosaic, Neuerotica are presenters of subversive pop culture ™; the essence of artistic spectacle, and propagandists of uncommon creatives and their anomalous creations. Our platform presents an eclectic array of avant-garde subversive pop culture diversions that are designed to free minds and liberate bodies from a malignant and mediocre society. We are pro-youth, pro-lgbtq+, feminist, anti-racist, and socialist.

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At 9:14pm on January 3, 2016, Friends of musicians said…
At 12:16pm on December 26, 2014, JenSocial said…

Happy Holidays to you! Sorry, I missed your Thanksgiving cheer. I haven't gotten notifications or even notice of "comments" on my profile page in ages. It no longer works for me.

Merry Christmas and Happy New Year! I hope your 2015 is blessed beyond your wildest and most awesome dreams!

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At 5:55pm on January 7, 2013, JenSocial said…

Hi Patrick!

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Thanks for the add man. Good to see ya on here:)
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Welcome Friend! So happy to see The Kingdomz X up and running.

Since you're a pro on this site, I won't start giving instructions. ;-) Let me know if you need anything.

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