If you’ve been to Boston Common or Copley Square in the last few weeks, you’ve no doubt noticed the giant decorated globes adorning Boylston and Tremont Street Boston is the latest stop on the tour for Cool Globes: Hot Ideas for a Cooler Planet. These life-sized works of art were designed by a variety of artists using different mediums, each with a specific point to make, indicated by plaques paired with each globe. (more…)
The following originally appeared as my third post for AlefNEXT and also appeared on Hazon’s blog. I spend a lot of time thinking about how Judaism frames and guides all of my decisions, how the physical connects with the spiritual (however defined), and how I like to both pat myself on the back when I’m living my values, and call myself out publicly when I’m not.
When did bike-riding as an adult become a “thing?” One moment I was riding around the suburban Connecticut neighborhood where I grew up, the next moment I was old enough to drive, and my bike was rust. Now that I’m in my late 20s, it’s a “thing.” I don’t necessarily mean a thing as in a trend (though it’s clearly trendy in some spheres). I had to get a bike, a helmet, get a lock–because how is it ever going to fit in my tiny Brooklyn apartment–and learn to ride in traffic–to work! Let’s not forget that I was not even a particularly athletic kid to start. Energy and endurance are at a premium now.
And what’s so Jewish about biking? (more…)
Via the about page:
Q. What is Alef? A. Alef: The NEXT Conversation, is a web-zine which explores Jewish identity. From memoirs on “Why I Eat What I Eat” to a soul-searching narrative on serving jury duty during the High Holidays, to a travel piece on a Passover Seder in Ghana, Alef showcases the diversity of Jewish identity through stories, pictures, poems, music, and more. Alef is published by Birthright Israel NEXT.
My blog entry was part of a series of what it means to be Jewish and growing up in an interfaith family during the holiday season. One of the other blogs that I really enjoyed was “Kosher For Christmas,” it’s a great read. Those looking to contribute to this blog should read this.
Originally printed in the June 2006 issues of The Upbeat Ska Zine.
Johnny Too Bad and the Strikeouts: 100% Pure CT Mod Ska
By Jacob Wake-Up!
They released a full length album on Moon Records, shared the stage with the Skatalites, opened for the Mighty Mighty Bosstones, toured as far as New Orleans, and headlined shows in Boston. Not a bad resume for a three-year run. Johnny Too Bad and the Strikeouts did more in three years than many Connecticut bands ever have or will ever get the chance to do. They may not be the most obvious CT name drop, but that doesn’t mean that they didn’t leave a lasting mark in the CT ska scene. We had a chance to talk to Rodger Phillips, the lead singer of JTB, about what they meant to the scene and what the scene meant to them.
Forming in 1995, JTB was started by Scott Neilson on trumpet, keys, and farfisa, Jay Adelburg on drums, and Rodger when they had left another band. Scott Neilson would prove to be a mainstay. Nick Kain, influenced strongly by bands such as the Pogues, joined originally as a temporary guitarist coming direct from guitar and vocal duties for The Spicy Gribblets, but ended staying long term and became the most important part of their musical direction. His credits include “Cider Song,” the ska punk sing-a-long to end all sing-a-longs from their 1997 release Patchwork Girl. This album was only preceded by two demo tapes and an independently released 7” vinyl. Recorded locally in Cheshire, CT, Patchwork Girl was released on Ska Satellite Records (Edna’s Goldfish and the Strangeways also had releases on the label), owned by Moon Ska Records, showing the serious attention JTB had received.
Nick Kain left and was later replaced by Anthony Rossomando, a Hamden native, as the band headed in a more rock and power-pop direction (the Hippos anyone?). Jay Adelburg left while they were on tour in Louisiana after a fistfight with Scott, and was soon replaced by Mike Gill. This would prove to be a turning point, as Jay was important to the dynamic within the band, holding people together. Other members include Matt Jones on bari sax and guitar, Rob Nolan on bass, and Dan Delacruz on tenor sax.
JTB was a product of their environment, playing music that was a mixed result of what was in their tape decks. As self-proclaimed “ska geeks,” the result was inevitable. Locally, they were influenced by JC Superska, the Spicy Gribblets, Nigel Six, and of course, Spring Heeled Jack. On the national level, they looked to Mephiskapheles, the Pietasters, and the Bluebeats. As fans of traditional ska and skinhead reggae in the beginning of their career, they had the personal pleasure of opening for the Skatalites and Desmond Dekker. Their popularity grew as they shared the stage with the Mighty Mighty Bosstones, Big D and the Kids Table, the Planet Smashers, Skavoovie and the Epitones, Pilfers, The Slackers, and the Scofflaws.
The band moved to Boston, but by 1998, they found themselves in debt, their van was towed from unpaid parking tickets, and enthusiasm had waned. JTB played a show in Boston that would prove to be their last, and they simply disappeared. Kain is now in the Tampoffs, Delacruz plays in reggae/funk band John’s Brown Body, and Mike Gill is playing in the Murder Mile with Ron Ragona, former member of SHJ and current vocalist for Lost City Angels. Adelburg has played with the Queers, Forklift, and is currently and executive at Hot Topic. Rossomando played in the Libertines for Pete Doherty, is now playing in the Dirty Pretty Things, and according to Rodger, living the rock star lifestyle. Scott Nielson started the Johnny Too Bad Roots band after the break up, which has since turned in the Soul Merchants, who serves up some of the finer reggae/soul/ska in the state.
Rodger told us about his thoughts on the 90s ska scene, which he feels cannot be duplicated, but admits there were lots of petty moments, and that audiences and people change and grow. He sees the current scene as fantastic, with some pretty good bands to keep us going. Rodger has been lucky even to be contacted by people telling him how much JTB meant to them. Their posthumous MySpace site (http://www.myspace.com/andthestrikeouts) is filled with comments from past fans, revealing just how JTB reached individuals. Many were thrilled and then disappointed as the possibility of a reunion was teased. Rodger commented that this spring was the first time a reunion was proposed, but it didn’t work out due to member availability. Fans will lament to hear that a reunion probably won’t happen. For those who have not had the pleasure of seeing Johnny Too Bad and the Strikeouts live, their LP is available on Interpunk, songs from their demo tapes are posted on Purevolume, and there is a mix of live and studio recordings on their MySpace. Check them out and immerse yourself in a wealth of influential CT ska past.
This articles was written based on an interview conducted by CT Ska Garty.
Originally printed in the May 2006 Issue of The Upbeat Ska Zine.
Hometown Heroes: Spring Heeled Jack USA
By Jacob Wake-Up!
I have a confession to make. I’ve only seen Spring Heeled Jack USA once. I was a sophomore in high school and had only heard two songs, “Jolene” and “Waiting, Watching,” both from their 1998 release Songs From Suburbia. Wait, it gets better. The only reason I knew who they were was because I had a friend with a t-shirt featuring the album cover artwork from Songs From Suburbia, and because I saw them on the cover of the New Haven Advocate. I didn’t even hear their music until I caught the video for “Jolene” on MTV2. I had only been to one or two shows before this one, and was hardly the loyal ska scenester.
Forming in 1991 in the New Haven area, Spring Heeled Jack USA (not to be confused with British electronic band Spring Heel Jack, the reason the New Haven outfit appended USA to their name) was started by singer and guitarist Ron Ragona, and drummer Dave Karcich. The band released a demo entitled “CT Ska” in 1993, and in 1996 released Static World View on Moon Ska Records, the label owned by the Robert “Bucket” Hingley of The Toasters. By the release of SWV, the band completed their most recognizable line up of Ron Ragona (now vocalist for Boston rock/punk band Lost City Angels), guitarist Mike Pellegrino (now guitarist for Cenzo featuring Vinny Nobile of Bim Skala Bim and Pilfers fame), bassist Rick Omonte (does booking for a nightclub, BAR, in New Haven), sax player Pete “RePete” Wasilewski (now the sax player known as “JR” for Less Than Jake, appearing on their album “Anthem”), trombone player Chris Rhodes (who had a stint with The Mighty Mighty Bosstones, appearing on their last release “Jackknife to a Swan,” and can currently be seen playing with The Toasters), and Tyler Jones (who had a shorter stint with Reel Big Fish, appearing on their album “Cheer Up,” and rumor has it he can be sighted in and around New Haven, possibly starting fights at BAR). RePete has been seen at Krauser’s in Hamden, and according to rumors, still lives at his mother’s house in Wallingford. I’ve personally had the pleasure of talking to Chris Rhodes at Lost City Angels’ shows and various other ska shows at the Webster in Hartford when I could distract him from his PSP long enough for a conversation.
The band was signed to Ignition Records, a subsidiary of major label Tommy Boy Records, and in 1998 released their most popular album, Songs From Suburbia, featuring the single “Jolene.” The band started to receive recognition from dates on the 1998 Warped Tour and various minor TV promotions. All was going well until Tommy Boy Records decided to disband Ignition Records, effectively dropping Spring Heeled Jack USA. During my senior year of high school, I had the luck of tuning into “One Step Beyond,” a Long Island ska-themed radio show, the night they were interviewing Ron and other members of Spring Heeled Jack USA. What little of the interview I caught was in regards to their unsuccessful talks with record labels. Ron claimed that labels were uninterested in signing a band with a horn section, even though, as he said, they were moving in the direction of playing more pop/rock (though I find it hard to believe they would ever be able to separate themselves from their ska influences). Things proceeded in this direction, and SHJ announced that they were going on hiatus, playing their final show in May of 2001 at Toad’s Place in New Haven. The possibility of reunion shows and reforming were lost when in April of 2002, Dave Karcich died of a sudden brain aneurysm. That December, a tribute show (that I will never forgive myself for missing), was held at Toad’s Place, featuring various guest drummers playing in Karcich’s place, as well as Pilfers, Avoid One Thing (the band Karcich was playing with at the time of his death), Lost City Angels, and Big Mistake (whose “Pop Song (Green)” SHJ covered on Songs From Suburbia). The legendary show raised over $8,000 for a scholarship in Karcich’s name.
The question remains, why is Spring Heeled Jack such a big deal? What did they do that was so special? Their discography only contains a modest two releases in addition to a demo tape, though it should be noted that they have appeared on countless compilations, local and otherwise. Of their two music videos, only one received significant airtime, and only on MTV2 (when it still featured music videos). The fact of that matter is, as far as we are concerned, they did make it. They were from our humble state of Connecticut, and they made it. Ask a hardcore fan how they feel about Hatebreed, a band from Connecticut that tours nationally, moved up the ranks from Victory Records to Universal Records, and held CD release parties at the El N Gee in New London right up until the day it closed. Ask any student at E.O. Smith High School in Storrs, CT about their connection to alumnus Rivers Cuomo. It’s more than a claim to fame; it’s pride. For every member of a local ska band, Spring Heeled Jack USA is proof that it can be done. For every scenester, it is evidence of staying power, and consistency in the scene that they believe in. I had a conversation with another scene elder who claimed that the scene died when SHJUSA and Johnny Too Bad and Strikeouts broke up, and I proudly commented that the scene had not died. One could argue it had taken a hit, but is as strong as ever, and that the bands he thought he lost were proof that we are in a battle worth fighting. Spring Heeled Jack USA appears in countless local MySpace profiles as band influences and fan tastes, regardless of whether or not they were able to enjoy the band when they were active. Current local favorites, Stealing From Peter, have been known to pull out a cover of “Jolene,” a rare treat these days. SFP even had the opportunity for Mike Pellegrino, writer of the song, to join them on stage for a performance of it this past March at the Webster Underground. I had the personal pleasure of playing bass for them that night, and I assure you I was smiling for weeks after. I also had the pleasure of watching Mike absolutely raid the CT Ska merchandise table when he played in Windsor with Cenzo. It is safe to say the scene still means something to him, as he talked about how happy he was that it was still thriving. The Connecticut ska scene still has a part in Mike’s heart, and I think it is safe to say that he knows that Spring Heeled Jack USA has a special part in the heart of the Connecticut ska scene.