Throwback: Happy 63rd Birthday, George Micheal!

JOVM’s William Ruben Helms celebrates the 63rd anniversary of the birth of George Michael.

New Video: King Black Acid Shares Trippy and Groovy “Dialing 911”

Daniel Riddle is Portland, OR-based is a singer/songwriter and musician, who has written and recorded music under the moniker King Black Acid since the late 1980s, while spending time as a member of industrial outfit Hitting Birth. Since the early 90s, Riddle has led a number of different collectives and projects that have toured and shared stages with Elliott SmithNirvanaLowMobySonic YouthThe Dandy WarholsFaith No MoreDead Moon, MenomenaThe FugeesArctic MonkeysSpacemen 3DanzigNine Inch Nails and more. 

Throughout his career, Riddle’s music has been featured on CSI: MiamiBuffy the Vampire SlayerUnderworld: Rise of the LycansThe Mothman PropheciesWitchbladeDream With FishesDo Me a Favor and CNN Sports, as well as ad campaigns for Nike, Reebok, Tiger Woods Golf, CNN, Coca-Cola, Abercrombie and Fitch, Gap and The Olympics. 

Riddle’s latest King Black Acid effort, Telling Secrets in a Crowded Room is slated for an August 21, 2026 release through Cavity Search Records/Mazinga Records. The album reportedly features 10 cinematic and anthemic songs that “embrace total and subversive emotional anarchy.”

Telling Secrets in a Crowded Room‘s latest single “Dialing 911” is a sleek and mind-bending synthesis of Madchester-era sound, Evil Heat-era Primal Scream and Echoes-era The Rapture dance punk that showcases the collaborators uncanny ability to craft a remarkably catchy hook.

“Fierce stoner pop that explores the fragile human psyche in the modern digital thought prison,” the band says of the new single.

KThe accompanying music video by Kat Perkins and Daniel Riddle features a mix of collage-driven animation reminiscent of The BeatlesYellow Submarine and the intro to Monty Python with strobe lit, monochrome footage of Riddle and dancing and instrument playing humanoid rabbits. Trippy, indeed.

New Video: Diary Shares Madchester-like “Keep Comin’ Up”

Brooklyn-based quintet Diary — longtime friends and co-founders Kevin Bendis (vocals) and Chris Croarkin (guitar), along with Adam Sachs (drums), High Waisted‘s Jessica Dye (vocals, guitar), and Two Man Giant Squids Yan Kogan (bass) — have released two critically applauded EPs, 2024’s Speedboat and 2022’s The Cutting Garden and a list of singles, which they’ve supported with touring on both sides of the pond.

The local outfit’s highly-anticipated full-length debut, Spiral Bound is slated for a September 4, 2026 release through their longtime label home, Kanine Records. The album’s overall sound sees the quintet incorporating elements of jangle pop, psychedelia, dream pop and Brit Pop to firmly establish a hook and groove-driven, genre-defying sound.

Spiral Bound‘s first single, the Ben Hozie-produced “Keep Comin’ Up” draws from Happy Mondays-era Madchester scene, late 80s and early 90s shoegaze and 60s psych rock, while showcasing the band’s unerring knack for mind-bending, euphoric grooves and catchy hooks.

Directed by Sam Blieden, the accompanying video for “Keep Comin’ Up” draws from the 1960s art scene — and in particular, nods to Andy Warhol‘s Silver Factory and footage of The Velvet Underground. It captures a scene of folks, who are simply put, cooler and more interesting than you are.

I started this site 16 years ago today. That’s a long time to do just about anything, really.

As I’ve said many times here: When I started JOVM, I believed (rightfully) that I probably wouldn’t get a fair shot to do what I’ve done with this site on another outlet. And with even fewer publications out there, this work seems — to me, at least — to be more important than ever.

Music media and the media world generally are incredibly homogeneous spaces. And as a result, the coverage you see as a consumer, reader and fan comes from a remarkably similar perspective, and usually is driven by the same motivations and concerns. Go and look at the editorial staff of your favorite music magazine or website or the news outlet you regularly consume. Then tell me what you see.

When you do see some degree of diversity, it’s usually in an extremely limited fashion, And I guarantee you that it took years of fighting, complaining, cajoling and embarrassment to get one or two folks of color on the editorial staff. Add age and things take a very odd turn.

Speaking of age, about a decade ago, I remember hearing that some well-known site was hiring a new editor. Some folks in the industry were referring to him as old. This editor was around 36. I was about 38. It struck me as being very odd. Since when is 36 old? Hell, at 47, I don’t feel old. My knees and my back occasionally remind me that I’m not as young as I used to be; but still, I’m not old.

With JOVM I’ve managed to carve out a unique path for my myself — and in the media world. But it hasn’t been easy. Last year, I announced that JOVM had to go on a forced, indefinite hiatus. For a significant portion of the year before the hiatus, it had been extremely difficult to keep things going. Right before, the hiatus over a decade of music, arts and culture coverage were lost in the either because I couldn’t afford to pay the various subscriptions and fees that pop up across the month. Thankfully, through a mix of luck and the kind support of a very dear friend, who will remain anonymous upon their request, the hiatus was short-lived.

This site has long a testament to stubborn, determined tenacity and drive. But I’ll be honest here: All work — especially creative work — is impossible without money. We all know the cliched adages that time is money and that effort is money. But guess what? You need money to try to make money! And if you don’t have much money or any money, you find yourself in a vicious cycle centered around how do you get the money. It’s a miserable, stressful way to live, let alone to do anything. Believe me, I would know! That’s been the case with JOVM for the past 17 months.

This site has been fiercely independent and defiantly D.I.Y. And over the course of JOVM’s 16 year history, I’ve covered music, art and culture with an eclectic, globally-informed perspective informed by growing up in Corona, Queens — and from my own life.

To that end, I could use your support to keep this site and this work alive.

First, if you’re able to, a donation of any amount is greatly appreciated. Every single penny, every single dollar helps keeps this site going.

Or Venmo, if that’s more your style: https://venmo.com/u/William-Helms

Much like countless other folks out there, I’ve had a difficult time landing any kind of work in well over a year — this includes freelance work. If you have any leads for full-time, part-time, temporary or even project-based editorial, writing or photography work, please reach out. Work here in the five boroughs of NYC — or remote work would be ideal. So if you follow me on the various social media platforms, you can shoot me a DM. And if you know me IRL, feel free to send a text or an email or something.

The other way you can help is tell your music loving friends, family and associates about this page. Share posts on social. Every eyeball means something.

You can also support my following me on the following platforms:

Instagram: https://www.instagram.com/william_ruben_helms 

Twitter: https://www.twitter.com/yankee32879 and https://www.twitter.com/joyofviolent 

Bluesky: https://bsky.app/profile/williamrubenhelms.bsky.social

Facebook: https://www.facebook.com/TheJoyofViolentMovement

Threads: https://www.threads.com/@william_ruben_helms

Mastodon: https://mastodon.social/@william_ruben_helms328

There are some folks I need to thank — as I always do — for their support:

  • Sash
  • Alice Northover
  • Bella Fox
  • Jenny MacRostie
  • Janene Otten 
  • Melanie Rodriguez 
  • Kitty
  • Megan Marshall
  • Velatine 
  • Modern Ideas

The helpful, hardworking and deeply dedicated folks at Creatives Rebuild New York. I’m humbled and proud to have been included in their 18-month Guaranteed Income for Artists program. Understandably, being included was also deeply vindicating. Someone out there thought my work — this very work! — was worth supporting financially. Obviously, the funds from it have managed to keep this labor of love going during one of the most uncertain periods in recent human history, while lessening some of the normal financial pressures of being an American artist, creator and journalist. 

I also found out about Asian Arts Initiative’s Sound Type Workshop through Creatives Rebuild New York. So, I just can’t thank those folks enough. And I’ll forever be in their debt. 

I must thank the folks at the Asian Arts Initiative in Philadelphia for selecting me for the Sound Type Music Writer Workshop. Being a part of the inaugural cohort was an honor. 

I must thank my pal and colleague Adam Bernard for chatting with me about JOVM and the site’s hiatus. You can check out the interview, in which I talk about how important it is to support independent journalists here: https://adambernard.blogspot.com/2025/09/saving-one-mans-movement-convo-with.html

I also have to thank my man John Morrison, Philly’s preeminent music journalist for the support and encouragement when I needed it most.

Happy birthday, JOVM! May there be 16 or 20 or 38 more of these!