John "Jellybean" Benitez

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John "Jellybean" Benitez

Mosh, De Lux

Fri, April 27, 2018

Doors: 7:00 pm / Show: 8:00 pm

The Glass House

Pomona, CA



This event is all ages

John "Jellybean" Benitez
John "Jellybean" Benitez
As a teenager, John “Jellybean” Benitez was already a noted overachiever as one of the youngest of in-demand New York disc-jockeys at the peak of the disco era. Shortly thereafter, as a twenty-something, his career matched [and largely triggered] the improbable renaissance and cultural takeover of dance music in its successor forms of hip-hop, freestyle and house, blazing an unprecedented trail beyond the DJ’s turntables to creative and executive roles as music producer, composer, performer, film producer, label executive and industry mogul. His decades-long career in assembling the first multimedia empire based on early DJ success, bespeaks his other remarkable talents: innovation, imagination, entrpreneurship, adaptability and durability.

Jellybean has unerringly fused youth culture’s cutting edge to mass appeal, from his breakthrough days as an idolized master-mix DJ on New York radio and in Manhattan’s hottest clubs -- drawing thousands of music-obsessed young and leaving them sweat-drenched on the massive dancefloor of the west side’s Fun House, feeling brand-new and ecstatically chanting, “Jellybean, rock the house!” — to the recording studio where he has produced musical newcomers, classic vocalists and superstars of the last three decades, to the composition of themes for hit television shows, to musical scores for Hollywood films—to the creation of his own publishing and production companies and record labels. This stellar and uniquely prolific catalog of achievement spans decades of artistic and technological change, since helping usher in the era of hip-hop with his remix work in “Planet Rock” by Afrika Bambaataa & Soul Sonic Force and “Action” by Orange Krush, shortly thereafter producing and publishing Madonna’s first pop crossover hit, “Holiday,” also co-producing and remixing the second, “Borderline,” as well as the third, “Lucky Star.”

Since moving with assurance between the DJ booth and studio console in the early 1980s, Benitez has produced and/or remixed over one hundred charted Top 10 pop hits and more than thirty-five #1 records, A glance at the credits listed under Jellybean Productions (launched in 1983) reveals a veritable “Who’s Who” of diverse musical talent that includes music legends of all genres such as Madonna, Michael Jackson, Whitney Houston, Santana, Sting, Shakira, Barbra Streisand, Paul McCartney, Marc Anthony and Billy Joel.

Building on his game-changing impact as a studio producer, Benitez also won acclaim and further personal fame as a performer with his debut artist album Wotupski?! (EMI, 1984), which generated two number one dance hits, “The Mexican,” a classic revival from the birth of dance culture, and the newly-written “Sidewalk Talk” (which also charted in the top 10 of the Billboard 100 charts). Additional personal efforts included Spillin’ The Beans on Atlantic (1991) and the platinum selling 1987 international smash, Just Visiting The Planet, on Chrysalis, which launched four tracks into the U.K national singles chart and the U.S. Billboard Hot 100, as well as the #1 Billboard Dance Single “Who Found Who” .

Through the mentorship and counsel of such friends and heroes of 20th Century pop music as Quincy Jones, Clive Davis, David Geffen and Jerry Wexler, among others, Benitez was prepared when his leadership of youth culture led repeatedly to diversifications of his business pursuits, as music proved itself a lynchpin element in lifestyle group identity, [and, eventually, global marketplace branding]. His music publishing company, Jellybean Music Group, was founded in 1984, and its song catalog now hits by such era- and genre-defining artists as Madonna, Michael Jackson, Beyoncé, Whitney Houston, Celine Dion, Mariah Carey, Jennifer Lopez, Boyz II Men, Mary J. Blige, Jill Scott, Notorious B.I.G., Nas, LL Cool J, Snap! And Black Eyed Peas, as well as the multi-platinum soundtracks of the top-grossing films Men In Black and Space Jam. Jellybean Music Publishing has to date achieved over 200 Top 100 hits and 4 Grammy Awards, its repertoire selling in excess of 80 million singles and albums, and these stats continue to grow by the year.

Benitez took his talent and business vision from the urban dance floor to the Hollywood soundstage, composing themes for hit TV programs including The Ricki Lake Show and PBS program American Family, and serving as music supervisor on a number of successful films such as Carlito’s Way and Species. Other film projects of note have included credits as music supervisor/composer and/or associate producer for such films as the sci-fi spoof and later-day collegiate fave Spaceballs! (Brooksfilms/M-G-M, 1987), Angel Eyes (Warner Bros., 2001, starring Jennifer Lopez), and Get Carter (Franchise/Warner Bros., starring Sylvester Stallone). He was executive producer, with long-time friend and collaborator John Leguizamo, of the Cinemax documentary Nuyorican Dream.He was also executive producer for the HBO Films 2001 biographical drama The Arturo Sandoval Story, depicting the life of the renowned Cuban trumpet player who defected to the United States and won music stardom. It earned a Golden Globe, four Emmy nominations, and a best producer Alma Award for Benitez.

Three new music labels, Fuego Media, Jellybean Recordings and H.O.L.A. Associates, and subsidiary imprints such as Fuego, H.O.L.A., Jellybean Soul, Don Juan Media, and Devotion, all have continued Benitez’s string of #1 and top 10 Hits, blazing a new multicultural trail in the digital sales market. Underscoring the organic and still-brewing ferment of his decades-long musical path, Jellybean’s continuing slate of projects looks both backward and forward. He has kept the torch of authentic dance music burning in the new media space , drawing over 138K followers on Twitter, and co-launched in 2011, as an on-air DJ and executive producer, the “Studio 54” channel on the 21-million subscriber Sirius XM satellite radio network. He still DJs club gigs regularly, and his weekly syndicated mix show is broadcast and webcast on over 30 internet and satellite radio stations around the globe. To the present day,Jellybean continues to host and play to a rammed dance floor at the members-only monthly themed gathering , AIN’T NUTHIN’ BUT A HOUSE PARTY, in New York, Toronto, Los Angeles and St. Barths, now approaching its tenth anniversary.

Giving back to his industry and community since his early days of success, Benitez has served on the Board of Directors of the Archive of Contemporary Music, and as a trustee of the New York Chapter of NARAS, all for multiple years.
De Lux
De Lux
After establishing a sound on their debut Voyage and then establishing an identity with the revelatory Generation, L.A. disco-not-disco duo De Lux took a moment to re-center and come back leaner, sharper, clearer and deeper on their new album More Disco Songs About Love. Now that co-founders Sean Guerin and Isaac Franco know how to play and what to say, they’re ready to just get lost in the music. As the band puts it: “We like to say Voyage was our baby, Generation was our baby all grown up and More Disco Songs About Love thinks growing up sucks and just wants to party smart.”

They started in 2013 with a happy accident called “Better At Making Time,” the lead track of their 2014 debut Voyage and an unexpected practice-space jam session that crystallized a sound, a philosophy and a future direction all at once. In that sudden moment DeLux snapped into focus as an outfit matching post-punk sentiment and the-sociopolitical-is-personal perspective to joyfully indulgent analog synthesizer soundscapes and a deliriously transportive musical joy. And the press was ready to take the ride, with the Guardian calling Voyage “intricate, witty, inventive, dazzling in its detail” and Billboard celebrating its “lush, eclectic dance music.”

On their 2015 sophomore album Generation—a title activating every sense of the word—De Lux added a new almost-documentary aspect to their dance music, delivering clearly personal stories of anxiety and hopeful aspiration from the place where IRL L.A. exhaustion collides with a digital city that never sleeps. (As Guerin sang: “All of these things that they put us through / I’m writing it down / I’m writing it down.”) And they were growing up in other ways, too: 2015 saw their first major festival appearance at Bonnaroo, where they delivered the first of many stand-out big-show performances. Then in 2016, they made a hotly tipped Coachella debut and shared a bill with Arcade Fire at New York City’s Panorama fest. And then at the end of that summer, they started the very first experiments that would lead to their new album.

Like Voyage, More Disco Songs About Love starts with the song that made everything clear: “875 Dollars,” a song (in part) about losing the place you’ve always called home. From there it’s a stream-of-consciousness tour through De Lux’s reality, from the family and friends who helped focus the sound of the album to everyday L.A. experiences, including but not limited to elections, evictions, even porn—although in the context you’d least expect, of course. New York City dance-punk legend Sal P. of Liquid Liquid—who did a De Lux remix on their first-ever release—takes featured vocals on the relentless “Smarter Harder Darker” and the Pop Group’s maniacal Mark Stewart pushes “Stratosphere Girl” into interstellar overdrive. (Plus Guerin’s mother Marie helps out with some very French examination of crepe preferences on “Music Snob,” mutant sibling to Generation’s surreal “Oh Man The Future.”)

And even though the title might seem like some kind of clever reference to something, it’s really just as simple and direct as it seems. The disco is the sound—in the most innovative way, of course—and the love is the sentiment: “‘875’ is love for a house,” they say. “‘These Are Some Of The Things That I Think About’ is love for thought. ‘Keyboards Cause We're Black and White’ is our love for a friend. ‘Writing Music For Money, To Write More Music’ is love for music—or money. It's all literal to us but we realize that it might not be for others. We like the idea of giving listeners something to question and wonder about. But there's love in there.”

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Venue Information:
The Glass House
200 W. Second St
Pomona, CA, 91766