On a recent date, a potential beau kept referring to himself as a “boy,” which turned her off. JoJo has seen her taste in men and what she’s willing to put up with evolve as she nears 30, she says. “Until I find somebody who compliments what I’m bringing to the table, I’ve got the table covered,” JoJo says of the track. The mid-tempo song "Man" is a great standalone where JoJo declares that she needs a partner who can love her just as fervently as she loves herself. The first single from Good to Know comes midway through the album. “I’m going to continue and take a step forward and then a step back. “I haven’t arrived at a place of self-love,” she says. If there’s one thing she stresses, is that she’s still a work in progress. The work continues and will continue - in fact, she promises that there will be even more new music later this year. What comes through from JoJo’s new album is that the process of healing is a marathon, too. “In retrospect, I’m grateful that because of what I went through, there is a standard set, and people can be encouraged to change their situation.” She saved well and maintained a living, though she didn’t see an end to her legal troubles until 2014. During her label-imposed hiatus from releasing music, she lived on money made from appearances and performances, royalties from her two albums, and appearances in films. JoJo came from “humble beginnings,” and had nothing to fall back on: All she had known was this industry and her voice. “I felt like I might need to give up at many points,” she adds. At the nadir of JoJo’s legal turmoil, she admits she felt “pretty alone.” A single Notes app statement from Taylor can shift the music industry and garner her tons of support from artists and fans. JoJo’s years-long fight for her masters differed from someone like Taylor’s in many ways. Kesha navigated years of contract disputes, prompting her fans to start a #FreeKesha campaign to allow the singer to release music untethered to her former label. Taylor Swift intends to re-record her masters in order to retain rights to her voice and lyrics. In March, rapper Megan Thee Stallion sued her record label to release her latest project, Suga.
#JOJO THE HIGH ROAD ALBUM COVER TRIAL#
There are all things I’ve learned on my own: trial by fire, I guess.”Ĭurrently, the entire industry is embroiled in a conversation about artist exploitation, ownership, and entrapment. I wasn’t taught a standard I should hold myself to. I felt like, ‘Well, I already did a bad thing, so I’m just going to keep going out and continuing.’” Even that wound, which is a few years back in JoJo’s past, harkens to a problem that she’s now only addressing. “I didn’t feel worthy of that type of love. Both served as distractions from dealing with the fallout from a failed relationship that ended when she cheated on her partner. The first leg of the album’s journey includes songs like “Pedialyte” and “Bad Habits,” two tracks where JoJo reflects on self-soothing through substances and partying. However, much of Good to Know examines highly-personal relationships from JoJo’s own love life. It was related to people’s approval of me and feeling respected, appreciated - feeling seen. The singer spent a lot of time comparing herself to other young women in the public spotlight, questioning whether she measured up in terms of talent, beauty, and mainstream appeal. “Having such immense success at a young age, it set a real precedent for, ‘If I’m not the most famous person in the room, who am I?',” she says. There’s no guidebook to fame, even less so for young women thrust into the national spotlight with a No.
#JOJO THE HIGH ROAD ALBUM COVER PROFESSIONAL#
All of a sudden, the Foxborough, Massachusetts, native had to navigate personal and professional pressures. Some of them stem from her earliest days of fame when 13-year-old Joanna Noelle Levesque catapulted to international fame off of two hit songs and accompanying hit albums, 2004’s JoJo and 2006’s The High Road. The wounds that JoJo heals on Good to Know go back a long time.
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