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By 1995, the band had fully cashed in on their image as insatiable freaks their third full-length album, The Show, The After-Party, The Hotel (a “groupie opera,” wrote the Washington Post), featured tracks such as “DJ Don Jeremy.” They appeared on the cover of VIBE magazine that year the article tagline: LIFESTYLES OF THE RICH AND SHAMELESS.
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When the band appeared on The Arsenio Hall Show in 1992, the first thing the host said was, “Somebody explain how your parents are affected by what you are doing.” On Martin Lawrence’s show the following year, the comedian parodically accompanied the band while blabbering and gyrating in a sleeveless undershirt to quasi-orgasmic denouement, an unfastened belt slackened from his sagging pants. (In the late nineties, Cedric and Joel began releasing music on their own as the adult-contemporary duo K-Ci and JoJo.) The DeGrate and the Hailey brothers were raised in Pentecostal and Holiness churches in which sacred music served as a primary vehicle for theology both of their families were nationally prominent on the gospel scene and were featured on the Billboard charts.īut as Jodeci, the DeGrate and the Hailey brothers fashioned themselves anew, epitomizing the sound and personae of the horny, slow-jammed nineties. Dalvin” DeGrate, and vocal powerhouses Cedric “K-Ci” and Joel “JoJo” Hailey, the band’s moniker a syllabic mélange of their names. “DeVante Swing” (the musical mastermind of the group) and his younger brother Dalvin “Mr. Jodeci comprised two sets of brothers raised in and around Charlotte, North Carolina: Don Jr. But none crossed over-from relative obscurity to celebrity and from gospel to secular-so boldly, indeed, so perversely as the hip-hop–driven soul band Jodeci, who released one platinum and two multiplatinum albums in just a four-year span from 1991 to 1995. When musicians begin to think on their own, they’re saying, ‘I don’t need a master,’” said Rhyant over the phone in September from Europe, where he was touring in a revue of the music of Sam Cooke, who encountered backlash after he went from performing songs like “Jesus Gave Me Water” to “She Was Only Sixteen.”Īmong the stars of American popular music, some of the brightest have been burnished in this crossover-Cooke, Pickett, Aretha Franklin, Otis Redding, Donny Hathaway, the Staple Singers, Ashford & Simpson, Whitney Houston. “The church brought a certain amount of control on the black folks, because the Bible told the slaves to love their masters. Thomas Rhyant Jr., a veteran gospel singer with the Fantastic Violinaires, a quartet once led by Wilson Pickett before he crossed over to secular. In African-American church families with roots stretching back to plantations, the choice to leave religious music behind may reanimate the historical traumas of slavery, said Rev. To one’s church family, the shift from sacred to secular may be interpreted as vain ambition, the prostitution of God’s gift to the devil, blasphemy. Musicians are accomplices, and often architects, of their own objectification.įor gospel artists who make it as secular musicians, the ordinary perversities of capitalism and celebrity tangle with the wounds of religious betrayal and abandonment. Newly minted celebrity musicians must also reckon with the hubris of their own perverse interest-namely their desire to be a salable commodity. The desire to counsel the industry-naïve as the dizzying cataclysm of fame hits is, even when cast in benevolent terms, good business. The particular perversion of music executives like Cohen is, of course, inextricable from capitalism. “You understand there are a lot of evil forces out here for young kids who have just got on.” “And I’ve seen it go so haywire so many times that I like to be there to help them understand what’s important,” added Cohen, who was former head of Def Jam Recordings and 300 Entertainment, the label that launched Young Thug, Migos, and Fetty Wap. My perverse interest all my life has been the moment an artist crosses that line from obscurity to celebrity,” said Lyor Cohen, global head of music at YouTube, on The Breakfast Club radio show in August.