Khalani Simon
We’re very happy to have some time today with acclaimed and multi-talented young actress Khalani Simon; welcome to Vents Magazine, Khalani! Before we dive into the Q&A rabbit hole, how is 2024 treating you and yours?
2024 has been so amazing already. I debuted my book “Shy Girl.” I had been working on it for nearly a year prior to its release so I’m very proud of myself for that.
Major congratulations on all of your recent successes, including your 2023 debut as a novelist for your beautiful story Shy Girl! For anyone reading this that may not be familiar with it, can you tell us a little about what Shy Girl deals with?
Of course, Shy Girls is about a girl who is going through the difficult trials of high school all while dealing with the trauma of her dad mission in action in the Military. It focuses on the process of her pulling through her pain and believing in herself again.
What inspired you to write Shy Girl and might we see more books from you in the future?
I was inspired by my Uncle who’s in the military and how every time he has to leave his family to protect our country, so I just started brainstorming and came up with a really good story line. I definitely enjoyed writing this book and the learning process of how to put a book together. It’s not as simple as I thought. But Ioved it. I am already in the process of writing a children’s book.
Along with being a talented author, you’re also a critically acclaimed actress! What do you enjoy the most about acting?
What do you enjoy the least? Yes, I love acting! What I enjoy most is playing different characters. It’s so much fun being able to dive into different roles. I look at it like I get to experience different lives lol. What I enjoy the least is absolutely nothing. The passion and love I have for acting is totally umatched.
You delivered a star turn performance in an episode of Caught Up where you played the character of Lil Brenda; congrats! What was that experience like for you?
The Caught Up set was amazing! Yes, I played Lil Brenda who was fierce and sassy. I enjoyed playing that role. I had to go through a little bit of stunt training so I could properly beat up the boys on camera lol, it was so much fun!
You made your acting debut in a 2019 episode of Black Lightning. Any special memories of that freshman production?
Yes, Black Lightning was my very first role. I was only 4 years old when that was filmed. I played a young China McClain so that was awesome! It was my very first time
on set so I had no clue what to do but I remember the crew being so nice and all cameras, I just fell in love. I wasn’t shy at all.
You have made a huge splash in the vaunted world of YouTube. Boasting over two million followers. How important has YouTube been in sort of spreading the word on your acting abilities?
YouTube has been great! Most people don’t know but I create my own skits. I come up with the ideas and story lines. I direct and my mom records lol. We make a great time. It definitely strengthens my acting skills and has built so much confidence in me. I really enjoy it.
When you’re not acting or writing, what do you enjoy doing in your down-time?
In my down time I absolutely love dancing! I love making dance TikTok’s its so much fun!
Can you give our ever-inquisitive readers a hint or three as to what you have coming up in the near future?
I have landed a great movie role that I can’t wait to share more about soon!
How does your family feel about your success?
I have an extremely supportive family. They are 100% all in even when I have the craziest ideas lol. I absolutely love that about them and could not have come this far without such a great support system.
You’re an ambassador for Fashion Nova Kids; congrats again! How did you wind up connecting with Fashion Nova Kids?
I have been an ambassador for Fashion Nova kids since they first debuted their children’s line. A rep for Fashion Nova Kids reached out and stated they loved my style and social media presence and wanted me to become an ambassador for them. I love it! I love fashion and styling clothes it’s so much fun for me.
You had a hit single in 2019 with the catchy tune I Like You. Any plans to perhaps one day put out an album of music?
I definitely have a good time making music! You can expect an album later on this year. I’ve already started working on it.
Any final thoughts you might like to leave readers with regarding all of your upcoming activities?
Yes! Thank you to all of your readers, and my fans for all their support. Stay tuned for more projects from me. You won’t be disappointed!
Adam Fox
We’re very happy to have some time today with acclaimed actor and writer Adam Fox; greetings and salutations Adam and welcome to Vents Magazine! Before we meander down the proverbial Q&A celluloid pathway, how is 2024 treating you and yours?
Thank you for having me! Sadly there is no your and yours, just me and me, [laughs], though I am hoping to change that this year. So far, it’s been a bit of a unique year. I did a lot of incredible traveling last Fall and coming back to Pacific Northwest gray winter was a bit of a challenge for me, but I think what was great about that was it gave me a lower point to start this year from, therefore a lot more room to soar, and more to gain. In a lot of ways, I think it was a catalyst for a lot of growth, and I can start to see the objects of my manifestation and hard-work begin to come to fruition, which feels rewarding.
Major congratulations on your bravura turn in the new sophomore season of the hit OutTV series Sugar Highs! For anyone not in the know, can you tell us what Sugar Highs is about and how your character of Bud figures into the proceedings?
Had to look up ‘bravura turn’ and now I have learned a new expression, so thank you for that! Absolutely. Sugar Highs is about a group of three young men, struggling to pay rent in modern day San Francisco, and resorting to becoming sugar babies to pay the bills. My character, Bud, is the head honcho and mastermind, organizing the dates and demanding his roommates follow through with them. He goes on some of his own, too, but seems to be a little more focused this season on real love, outside the sugar daddy realm, and if you watch you can see how that goes.
Did you know when that first script for Sugar Highs crossed your desk that this was a production you wanted to be a part of?
Yes I did! Truthfully, I get invested in nearly everything I audition for, partly because I believe it’s fundamental to doing a good audition, but also because I do like to be swept away by a story. However, there was a sixth sense when I did the audition for Sugar Highs. At the time, I was feeling good about a lot of my auditions but some were a little hit and miss, but there was something about this dialogue and character that came so naturally to me, as if he existed somewhere in my body already. I remember telling a friend a couple days later, ‘if the right eyes see my tape, I think I might book it,’ and I was right. I often love to put that into the universe now, as I think it’s often a matter of who gets to see what you’ve done, in addition to what you’ve done.
What’s it been like collaborating with Sugar Highs world builder, writer and director Thom Fitzgerald?
Thom is great. Something about him felt very familiar to me from the get-go, and again, that might be why I booked it. Thom is very creative, intelligent, funny, and generous. He’s worked with Oscar winning actors so I appreciate the attention and care he takes to developing actors such as myself, or those with less of a resume. I felt by working with him I gained a lot of experience and insight, and really grew as an artist. I also consider him a friend, and that’s meaningful to me, as well.
Speaking of collaborations, what’s it like exercising your own considerable acting chops in Sugar Highs alongside your amazingly talented fellow co-stars Samuel Davison and Joey Beni?
Sam and Joey are great. It’s funny how well we know each other. I think one thing I enjoy about our dynamic, that translates well on the show, is how close we are and how well we get along in spite of being all fairly different, just like a lot of people who start out as roommates and it turns into friendship and chosen family. To me, friendships and relationships where the people are contrasting are so much more interesting than those who are homogenous. They are both so lovable and kind, I smile when I think of them and feel a sense of relief at their presence. We have spent hours and hours on set together, and seen each other through highs and lows, and even seen each other naked (watch the show!). I love them both dearly.
Tonally, how is season 2 of Sugar Highs similar to the first season? How is it different?
I would say Season 2 is different in that it’s funnier, sexier, and more provocative. Even though I read the script, I found myself gasping or
covering my mouth in surprise as I watched the episodes, particularly the ones I was not in. There are more types of relationships and arrangements addressed in this season, and it’s honestly quite cool and exciting to watch. I love season 1 as there was a purity to it, as each character tried to figure themselves out and how to navigate the life of a sugar baby, and living in San Francisco, and all the tricks and turns that ensued. Season 2, it feels like we’ve all grown up a bit, and are all ready to rumble.
Will fans have a third season of Sugar Highs to look forward to? Is this something very much in the planning stages?
I am not sure, honestly, though I would love to do a third season. There are just so many directions this show could go, it’s kind of endless.
Acting-wise, who inspires you?
I love female performers and I always have. Based on my watching history, I seem to love Nicole Kidman, and I think that’s partly because of her performances and partly the projects she chooses. Expats is my favorite show of recent times. I’m also really inspired by the sort of reality-tv-loving cohort of SNL adjacent comedians/comedic actors like Casey Wilson, Danielle Schneider, Matt Rogers, Bowen Yang, etc… They all just make me laugh so hard and I love what they have done with their careers.
I also recently have had a lot of interest in romantic work, and have a strong desire to play a role in a tumultuous type of love affair. I absolutely adored Jonathan Bailey and Matt Bomer in Fellow Travelers, their chemistry was incredible, and of course, I cried many tears during ‘The Idea of You,’ as many probably did, and I would argue is the best romantic comedy movie I have seen in a long time. I really, really, would love to manifest a romantic role this year (on and off screen!).
Aside from Sugar Highs, what else can fans look forward to seeing you in as 2024 marches on?
At the moment just Sugar Highs! However, if you want to watch other recent work, I did ‘The Holiday Shift’ last year which came out around Christmas and is available on Roku. And for any bilingual/French speaking readers, I did an episode of ‘Le Monde de Gabrielle Roy,’ my first bilingual role.
Your first credited on-screen work came in the form of 2013’s Best of Luck. Any special memories of that freshman production?
So when I did that movie I was not really an actor yet, I was a model and was looking for occasional acting auditions with literally zero idea of how to act. In truth, my first acting opportunity was in 2013 when I was doing a modeling contract overseas in Bangkok and it was a commercial for ‘Set Wet Deodorant Spray’ which was similar to Axe – and I was so nervous and awkward and terrible they basically cut me out of the commercial. What I will say, that I kind of appreciated in hindsight, even though it likely made me feel even more awkward at the time, was that in the commercial we were meant to be making animal sounds at the women as they passed by, and the director, to help me break out of my shell, encouraged me to think of whatever would excite me, of any gender, which I thought was progressive for the time and part of the world, given how straight and traditional of a vibe the commercial and the rest of the cast was.
Any final thoughts you might like to share with our ever-inquisitive readers regarding one of the very best television series on the air in ‘24, Sugar Highs?
Watch it!! Tell your friends about it! Enjoy it!
Final - SILLY! - Question: Favorite movie about the making of movies - Living In Oblivion, Once Upon A Time In Hollywood, Barton Fink, The Player or Ed Wood?
Sadly, I have not watched any of these.. I am not sure if it counts, but it in some way does tell the story of movie-making, but I really LOVED Babylon even though it got mixed reactions. I love seeing Margot Robbie go for it.
Alicia Robbins
We’re very happy to have some time today with acclaimed Director of Photography Alicia Robbins; greetings and salutations, Alicia and welcome to Vents Magazine! Before we meander down the proverbial Q&A celluloid pathway, how is the freshly-minted New Year treating you and yours?
Well, I need you to hear my giggle at this question because 2024 has already been testing my inner strength so far! I was definitely lucky to have been working right before and after the writer’s/SAG strike, but our industry has not picked up the way I think we had all hoped it would. But, I’m happy to use this time speaking with magazines such as this one! So, in spite of the slow go of 2024, I’m well!
Major congratulations on your stellar work in the upcoming Season 3 of the wildly popular Netflix series Bridgerton which is set to premiere its first batch of new episodes on May 16, followed by the second batch on June 13! Can you talk a little about the pathway which led you to Season 3 of Bridgerton as one of its Cinematographers?
I broke into the Shondaland world back in 2018 when I was asked to be the C camera operator/additional DP on the show For The People for ABC. From there, Grey’s Anatomy, Shondaland’s flagship and very first show, reached out to me and hired me to shoot a couple of their stand alone episodes for them on season 15. They liked the work I did on those episodes and asked me back full time for both Seasons 16 and 17. And since I was proving myself as a reliable and good DP, when the opportunity opened up on Bridgerton, they called me up to ask if I would be interested in shooting four of the eight episodes for season 3. Of course I was interested! So, then I was off to London for about
seven months to work on the show!
Did you know as soon as the opportunity arose for you to lend your creative energy to Bridgerton that this was a production you wanted to be a part of?
Oh, absolutely. I remember when I first saw Season 1 of Bridgerton, I actually told my husband, “Now that’s a show I’d love to shoot!” Everything is so big and stylized. It looks like a fairytale. I knew that I would be able to really stretch my ability to create beautiful and artistic frames on a show like that.
Tom Verica and Tricia Brock split the difference, directing-wise, with this season of Bridgerton, each tackling their respective lot of episodes. What was it like collaborating with these two wildly creative visionaries?
(Note: A bit of a correction. Tricia shot the first block, then Andrew Ahndid the second block, then Bille Woodruff did the 3rd block with me, and then finally, Tom Verica did the last block with Jeff Jur, ASC as his DP. So, I worked with Tricia Brock and Bille Woodruff. But, I will tell a story about Tom, etc. But you may need to re-word the question to help accommodate my answer here).
Funny thing is, Tom Verica was my very first director I got to work with when I finally shot a full day on a big TV show as the Director of Photography! This was when I was doing For The People, and my first day came up to do the double up day as the DP. Tom Verica was my director, so I knew I was in good hands. But I do think that is where
our relationship solidified from there. I think he saw that I could do this stuff. So, to go from For the People, then to working with him on Bridgerton was a dream come true! However, Tom did a different block than me. He did the final block with Jeff Jur, ASC, but he was our producing Director, so I still indirectly got to work with him. I worked with Tricia Brock and Bille Woodruff for blocks 1 and 3. Both very different directors! But that is the nature of television. Even for streaming television. You gotta know how to adjust for both. Tricia and I liked creating shot lists and overhead maps from start to finish for our two episodes. Bille and I liked flying a little more improv style. We would figure out the basic blocking and have an idea of coverage for some of the larger scenes and where the people “pods” were, but for the most part, we’d design a lot of the shots on the day. Both systems worked incredibly well. But this is definitely part of a DP’s job, to adjust per director’s style to make the work seamless and efficient. That being said, Tricia and I had some VERY large scenes that needed a crazy amount of coordination. So having those shot lists and overhead diagrams on hand were very helpful for making our days. In case you are wondering what I mean by people “pods,” when we are putting large ballroom scenes together, you can’t shoot all the cast at the same time. You figure out where different groupings of people will be located and shoot within those groupings. Then you figure out creative shots and transitional pieces to get you from one grouping or “pod” to the next. This is how we get through 25 pages of ballroom scenes with over 20 actors!
Industry tongues are-a waggin’ over your exquisite first ballroom scene in episode one of the new season of Bridgerton - it looks right out of Scorsese by way of Edith Wharton but with your own indelible stamp; major kudos and accolades! Can you talk about how you went about achieving what is truly a visual centerpiece in that first new episode?
First, thank you! That was a very large undertaking and some big convincing to production to pay for a VERY large overhead lighting rig that I asked for. This ballroom was built on one of our stages at Uxbridge Studios. The trick with the room it was built in, was that the ceiling wouldn’t support any sort of rigging. So, the go to would be to fly balloon lighting in the space since we couldn’t hang anything from above. But the issue with balloon lighting is that it’s just a big, soft overhead source. I wanted to incorporate more backlight, contrast and shaping of the light. However, this would require us to build an overhead light rig that would need to be built from the ground up on a truss system. Not cheap. Not cheap at all. And here I am, the “new” DP coming in and requesting a very big ask. Luckily, I had Chief Lighting Technician, Andy Long, on this show with me. And him being a very seasoned UK gaffer, backed me up completely on this idea, helped seal the request to build the rig. So, from this rig, I was able to hang five 12x12 soft boxes with control grids that were all on motors. Therefore, I could angle them accordingly depending on which angle we were facing to get more edge on the lighting. The good thing was, this ballroom was used several times over the season for various other sets, so the lighting rig got used numerous times. But yes, that is why we had so much more control over the space in that opening ball scene. I also like to play everything at much lower lighting levels so that the candlelight really pops. I utilized the Sony Venice’s ability to shoot at 2500 ISO so I could keep all the lighting very low in the ballroom scenes. So then the candles really pop and add beautiful specular accents to the frame.
Bridgerton is obviously an unabashed period piece which resounds for modern day viewers. As a Director of Photography, what sort of challenges are you faced with in shooting a period piece versus something which is more contemporary?
There is no electricity in this era! Therefore, everything has to be lit by sun, fire, candles or the moon! Making this feel very natural but still having the right exposure on the actor’s faces is always the challenge. And even though Bridgerton is very much an augmented reality of the Regency period, I still wanted to base the lighting in realism. In contemporary shooting, you can have any color anywhere and justify it: the red neon is lighting the space, the sodium vapor is lighting the
street, the practical lamp has a blue bulb in it. You can get away with a massive amount of creative license once electricity has been invented. So, for a show like Bridgerton, it’s a matter of still keeping it real, but interesting. One of my favorite things to do in a typical daylight interior scene, is to find a spot where I can push a 5K Molebeam through a window and get a lovely, hard sun splash. This helps build contrast into what may normally be somewhat of a flatter looking scene. I would often start with all the main lighting, then the very last light would be the Molebeam that we’d add to the background to just give it a little oomf. And then as I mentioned before, for the night work, I would play the lights a lot lower in intensity and let the 2500 ISO work for me so that the candles and fire places would pop.
Speaking of collaborations, you have such an amazing ensemble of actors to train your camera lens on in this third season of Bridgerton. What was it like working with the likes of AdjoaAndoh, Simone Ashley, Harriet Cains, Bessie Carter and Jonathan Bailey?
The cast is unbelievable. They are all so willing to do whatever you need to make sure that the coverage and angles are what you are looking for. Whether that means running through several rehearsals with the crane or steadicam to get the blocking just right, they were all willing to go above and beyond to help. They knew how to find their light and sometimes that was tough when working in the lower lighting setups. But we’d talk through all the key spots as to where the lighting looked the best and they would nail the positions. Plus, their performances were always spot on. Absolute pros. I loved working with all of them.
Can you give our ever-inquisitive readers a hint or three as to what they can look forward to with this third season ofBridgerton?
Honestly, a bit more contrast. We deepened the contrast levels in lighting on this season. You’ll definitely see in the 2nd episode’s ball scene, how we played into the darkness and the romantic quality of what those deeper shadows can bring to a scene. And camera movement! The show has always had some really beautiful camera work on it, but this season, we incorporated a full time 17’ Scorpio crane into the mix. So, we had a telescoping crane daily which opened up the possibilities of some really interesting movement and framings for all the scenes.
Who are some of the Cinematographers who inspire your own work?
Roger Deakins, Greg Fraser, and Mandy Walker especially. There are many that influence my work, but these three keep popping up for me for inspiration and especially for Bridgerton. Roger Deakins in his naturalistic approach to lighting, Greg Fraser in his contrast levels and working darker overall, and Mandy Walker’s lighting rigs directly inspired the overhead rig that we did for the ballroom!
Your first credited on screen work as a DP came in the form of the 2003 short film The Sunday Morning Stripper. Any special memories of that freshman production?
Oh man! That was my AFI thesis film! It was the first thesis film at AFI that was given permission to shoot with more than one camera. Given the size of our script and that we had over 100 background for our church scenes, I pleaded to the faculty that this had to be a two camera show. Normally, they do not want their DPs to work with two cameras on their films. But, we were given the go ahead and we shot on two Sony F900s, the rockstar digital cameras at the time. We could not have pulled it off without that second camera. The short was hugely successful and even got sold to Showtime.
Final - SILLY! - Question: Favorite movie about the making of movies - Living In Oblivion, The Player, Barton Fink, Once Upon A Time In Hollywood or Ed Wood?
Can I say one not on this list? Because it’s Bowfinger! I mean C’mon. Eddie Murphy and Steve Martin! You can’t go wrong! It’s so silly and ridiculous, but in many ways, that’s exactly how our industry is. So, there you go. My favorite movie about making movies is Bowfinger.
Kaitlyn Olson
Photo Credit: Joseph CanozaWe’re excited to have some time today with acclaimed pop artist Kaitlyn Olson; greetings and salutations Kaitlyn and welcome to Vents Magazine! Before we dive into the Q&A mosh-pit, how is 2024 treating you and yours?
Thank you! My 2024 is great so far, minus all the wars around the world!
Major kudos and accolades on your freshly-minted and beautiful new single “Winter’s Here” which is set to premiere this May 15! Starting at the top, can you talk about what inspired you to record one of the best new tunes of 2024?
Yes! My friend RMR and I talked about collaborating on something for a while. I had been writing a lot of uptempo dance songs for KPOP artists and we decided to create something that matches my personality better. Originally, I was just singing on it alone and RMR had sung a reference vocal that ended up becoming the second verse. I was excited he decided to stay on it!
“Winter’s Here” features a tour de force performance not just by you, but also with the incredible rap artist and singer RMR who also produced the song! What was it like collaborating with RMR on this gem of a ditty?
RMR is a really talented artist and writer. We finished the song and vocals from start to finish in a couple hours with co-producer Javi Marzella… It was really fun to make and this was when RMR was still wearing a mask everywhere and we had been friends for a while but I had never seen his face! Since the session was at my house, he showed up without a mask on because I guess he was worried my neighbors might get scared. Symbolically, going into a session with someone new feels sort of like taking off your mask because it’s such a vulnerable thing, so I guess we both took our masks off that day and out of it came this song!
Word ‘round the industry campfire has it that in the wake of the May 15 release of “Winter’s Here,” you have an EP entitled After The Rain, which is set to drop on June 14; congratulations! Can you give fans a hint or three as to what they can expect and look forward to with this upcoming EP?
Yes! This is the first full EP I’ve ever released. I’ve put out a bunch of one-off singles, but I’m excited to take listeners on a 5-song journey with me :)
Who inspires you, musically-speaking?
I’m really all over the place. My mom grew up in LA in the 60s, so I listen to a lot of music from that era, like Sam Cooke, Dionne Warwick, Brenda Lee, and Otis Redding… I wrote my thesis in college about girl groups and Phil Spector’s Wall of Sound and my heart is definitely in that sound, like the Ronettes and the Shangri Las. I also listen to a lot of girl music from the 90s and 00s like Shania Twain, Brandy, Selena (the original!)… Mariah Carey saved my life in 6th grade. She’s my queen.
With the release of so much tremendous music, can fans look forward to catching you on the touring/performing circuit in the coming weeks and months?
100%! I have some shows coming up in LA and I would love to go on tour!
As a singer and songwriter, which generally comes first for you: the lyrics or the music?
It’s always different, but this EP was written to pre-existing tracks and, when there’s a track, I usually start by laying down melodies first. Once I have a bunch of takes, I’ll pick through my favorite parts and sort of Frankenstein them together into a structure and then fill in the lyrics afterward. I feel perspective is as important as the lyrics and melodies, so I always try to bring the narrative back to something empowering or healing in some way.
As someone who made a tremendous impact with your work as a hit songwriter for other artists, has it been difficult to sort of step into your own as a singer?
From where we’re sitting, you haven’t missed a beat! Thank you! I was always focused on being a songwriter so a lot of songs I’ve released were written with other artists in mind. RMR really encouraged and pushed me to create something for myself. I took a long break from making music during COVID because everything at my label froze and I kind of became paralyzed creatively. I kind of had an existential crisis because I was sitting on a bunch of music ready to be released that didn’t feel authentic to my personality, so this was the first project after a long break that I decided to step into my own as an artist.
Any final thoughts you might like to share with readers about your upcoming new single “Winter’s Here” which is set for a May 15 release, and your new EP After The Rain which drops a month later on June 14?
I’m hoping to play some shows in LA soon and I’m excited to play my upcoming EP for people!
Aatmaa
We’re very happy to have some time today with rightly acclaimed alternative-rock outfit Aatmaa; greetings and salutations you two and welcome to Vents Magazine! Before we dive into the Q&A mosh-pit, could you both introduce yourselves to our ever-inquisitive readers?
Thank you so much for having us! We are really excited for this.
I’ll go first, my name is Shara Deepankar, I sing and write the vocal melodies for Aatmaa.
My name is Ashwin Deepankar, I’m the instrumentalist and engineer for the band Aatmaa. I play drums, synthesizer, rhythm guitar, bass and percussion for this band.
Major congratulations on the upcoming Aatmaa independent debut album Cataclysm which is set for a June 7 release! Ashwin, can you talk a little about all of the things which inspired this beautiful new LP?
Thank you, we’ve been working on this for quite some time and we are really happy to have it out in the world. This record is a statement of how Shara and I have felt over the last 4 years.
When I started working on this, I never really meant for it to be a record, but it was a way to cope through all of the emotions while being home for an extended period of time during COVID. Channeling into something creative was the only goal at that time. Very organically it became something that Shara and I
could work on together as husband and wife to get through those times. And from that came these collections of songs.
Shara, the amazing single “Hidden Bruises” off of the upcoming Cataclysm LP was the premiere piece of music to be released from the album. What made “Hidden Bruises” the perfect choice to kick off the march towards the album release? Do you feel that it tonally represents the new album?
I think it’s a perfect representation of this record. The song starts aggressively and ends very dynamic. We have a collection of songs that are both of those separately and this song showcased the range of the entire record.
I think it was very fitting because “Hidden Bruises” was the first song we wrote together. I love the idea of that being the first single because it’s where this whole project started. We also shot a music video for this song, which you can find on YouTube. Parts of the music video were shot in the room where the song was written and recorded, our second bedroom turned studio. And then the rest of the video we wanted to showcase our neighborhood in Chicago. We are very proud of the city we live in and the cold atmosphere during that time of year gave the song the tone that it needed.
Ashwin, Cataclysm was self-produced and self-recorded by both you and Shara. What are the advantages to serving as your own producer, versus outsourcing the task to someone else?
This record is a direct stream of consciousness from both of us without anyone filtering or guiding the direction. It’s as freeform as you can imagine. Most of this was written during the night when either of us felt like it was the right moment to write and record. It was extremely convenient to do that in our bedroom. That’s not something that could be done otherwise. I really like the idea of this first release being the two of us writing together, throwing everything against the wall, pulling back and then finding a song within that chaos. From there, we had friends come help add textures and instrumentation that we couldn’t do ourselves (lead guitar solos, baritone sax). Recording and producing this record myself was something I took on as an internal challenge for me personally. That’s not something I’ve ever done before but I really enjoyed the process.
Shara, in your humble opinion what differentiates Cataclysm from the distinguished competition on the 2024 music landscape?
I definitely had to work internally to give myself permission to take up space in this industry. We are surrounded by incredible musicians in Chicago. We were consuming so much art at the time and we still do. This album was a direct result of consuming that art. Are we doing anything different from anyone else? Probably not, but just the act of creating has been incredibly fulfilling and really we have focused so much time and energy into those moments which is really special to us. Releasing this into the world has been a lovely bonus. We don’t see anyone else releasing music as competition, but rather we see it as being part of a community. We are happy to be part of it.
A question for both of you: Who inspires you musically?
Shara: Oh man, where do I even start? First and foremost, the G.O.A.T. in the Chicago music scene, Jeff Tweedy. I could go on and on but I will keep it short. We have both been big Wilco fans for quite some time. I read his book, “How to Write One Song” multiple times as inspiration and overall help when I was feeling stuck. If any creative person hears or reads this, go read or listen to that book. It’s a quick read and if you’re an audiobook listener like myself, he reads it which is really lovely.
Jeff really woo’s his community in a way that almost requires a response because of how inviting and attainable he makes the creative process feel, especially for newbies like myself. This album would not be here without his writing, Wilco, and the pandemic favorite show, “The Tweedy Show”.
FKA Twigs is a huge inspiration for me. She makes her own rules in both music and performance that is incredibly inspiring. I’m amazed at her vocal ability and the new heights and trills that she’s able to achieve. It’s a vocal workout singing along to her music.
I’m a big fan of Billie Eilish— she came out of nowhere for me and added depressing lyrics to pop music that were missing before her time. She is one who modeled whisper singing so well. I think I tend to “belt” and hearing her music gave me courage to sing more dynamically to make a statement. She is also authentically herself and I love that her and Finneas create in their home and showcase that so well. It gave me hope that what we were creating in our home was legit.
Ashwin: I second all of that. I take huge inspiration from Thom Yorke and Johnny Greenwood. Nick Cave and Warren Ellis. Durand Jones and the Indications, Grizzly Bear, Caroline Rose and Damien Jurado. All of these artists are self-recording to different extents and I take huge inspiration from them. All of these artists have been a great beacon of light for what Shara and I are creating. These artists are perfect examples of what it’s like to collaborate in tight groups but the outcome can sound larger than the sum of its pieces.
Ashwin, in the wake of the June 7 release of Aatmaa’s debut album, can fans look forward to catching the band on the
touring/performing circuit?
It is certainly on the table. I would love to put a band together and play some shows. I’m also very keen on listening to the universe on what the next steps are, whether that’s playing shows or starting record number 2. Or both. I’ll let Chicago speak for what’s next for the band’s future.
Shara, we’re big admirers of the tune “Low Lights” off of the Cataclysm LP! What’s the story behind this beautiful and mesmerizing gem?
Oh, I’m so glad to hear that. “Low Lights” was an early song for us so I’m glad it’s getting some love. “Low Lights” came to be days, maybe hours, after we heard the news that our favorite bar was closing permanently. For some context, this was April of 2020, all bars that did not serve food were not open. This was back when drinking outside at a bar wasn’t even allowed and in April, it was way too cold for that anyways. At this point in COVID, at least in Chicago, it was really eerie to even go to the grocery store. People would distance themselves from others, no one would look others in the eye, and most of our friends were washing every item they bought from the store. We only saw our friends and family on FaceTime. We got word that our bar was closing forever. This was our “Cheers” bar. Both of us worked there at some point with our friends. Our friend’s bands played there. We watched the Cubs win the World Series there, we saw historical elections there, our wedding afterparty was there… Any night of the week, this was the place to be, this is where our friends gathered. Having that taken away in a moment where we hadn’t seen our friends and we just wanted one moment of consistency, hit like a ton of bricks. It was probably the quickest song that I wrote lyrically on the album.
There are conflicting emotions thinking about this bar because while we both have incredible memories that we will cherish forever, this song also touches on the instability of long-term addiction. We were both drinking really heavily during our time there because it was the culture to do so. We were sad to see it go but damn, I don’t know if we would have survived if it was still open. We surely wouldn’t be where we are today. Ashwin is now 5 years sober and never looking back. I’m so proud of him. I can’t speak for him but for me, I’m not sober but definitely decreased my consumption immensely and I have so much more time added back to my life. I feel better both mentally and physically. I don’t know if I really processed all of that until we wrote this song together. “Low Lights” is incredibly special.
Ashwin, Aatmaa is based out of the beautiful city of Chicago, IL. How do those particular stomping grounds inform the energy and verve of the band?
Chicago can be a very energetic and lively city. It can also be a severely depressive place during the cold months. Most people in the Midwest can have a Vitamin D deficiency and we are one of the heaviest drinking cities in the country. All of that is a magnificent combination for art and music in general. Chicago’s music scene is like no other I’ve ever experienced. Chicago music fans are like none other - it doesn’t matter if it is 20 below or an absolute shitstorm of weather happening outside, people come out to see music that they love. I’ve lived that my whole life being from the Midwest and I’ve tried my best to channel that in this record.
Shara, any final thoughts you might like to share with readers about the upcoming June 7 Aatma independent debut album Cataclysm?
Just immense gratitude. Thank you for listening to our album and giving us space today. We really appreciate the thoughtful questions from you. We hope you all dig these sad ass tunes. Thank you!
Alexander Millar
Can you talk about what NEURONITE is all about and what ultimately inspired it?
NEURONITE is a part of the CA Creative Corps, which is generously supported by the California Arts Council and administered by Community Partners. This wouldn’t be happening without them. Basically what happened is I’ve been a professional musician playing in bands my whole life and never was taught or understood that things like academic grants and Rock ‘n Roll could mix, until my loving partner Kai Hazelwood was like “hey doofus, you could apply for this”. By the way, Kai is an amazing artist-agitator, you should check her out. Anyway, I applied and my proposal was one of the 33 selected out of like over 1k. To answer your actual question, I was inspired to create NEURONITE because every single show or concert I’ve ever played or attended solely caters to the needs of neurotypical folks.
Going into producing NEURONITE, were you surprised that Los Angeles had never before had a mini festival which was specifically designed around the needs of LGBTQ+ Neurodivergent and D/disabled community?
No, I wasn’t surprised. To my knowledge there is currently no event/festival/venue that even considers neurodivergence as a factor when it comes to the performers, let alone the attendees. (I say “to my knowledge” because I definitely don’t want to usurp credit from someone else if they’re already doing it, but I couldn’t find them if they exist. Also I don’t care about credit, I care about getting things done.) So yeah I wanted to help to make an awesome, exciting, and entertaining mini-festival experience that centered the needs of us neurodiverse folks, both on and off stage, right out of the gate, as opposed to every other event ever.
What sorts of challenges have you faced in the production of NEURONITE?
I can’t speak for everyone involved, but aside from the sort of mundane logistical details you might expect to navigate in producing an event, the biggest challenge for me personally is trying to decenter myself while also doing PR for an event that I am producing. When I was brainstorming what my title for this project should be, the first word that came to mind was “Founder”, which I hate. I hate that I thought that! Not only is it an overused Tech Bro word, assigning it to myself, especially as a white AMAB person, perpetuates the same toxic individuality that is a core tenet of the white supremacist system in which we all suffer under. You know, the “lone genius” narrative, which has never existed outside of American fiction. NEURONITE would not be happening without the involvement of each and every human that is a part of it. It’s also a double Catch 22 for me, because not only am I producing the event I’m performing at it and promoting my new single WEALTH (an anti-capitalist anthem) at the same time. Even in this paragraph I am struggling. I certainly don’t know the “right” way to do it. I do know that I made sure that every single person and entity involved with this event is being paid for their participation, at a rate that feels fair to them, with contracts in place that protect their rights. I know that I made it a priority to hire neurodivergent BIPOC both on and off stage. I know that I made it a priority to hire LGBTQIA2S+ folx on and off stage. I know that making the event accessible for D/disabled folx has been a priority. I dunno, aren’t those things kind of the bare minimum though? Anyway, the word I settled on for myself is “assembler”, because in reality that’s all that I have really done here; assembled a great team that’s making all this happen.
What have been some of the highs in producing NEURONITE?
Again, I can’t speak for everyone involved, but for me it’s been the combination of meeting so many fellow Neurosparkly folx and having the privilege of being able to be a part of creating a space where for at least one evening, we’re not thought of as a bunch of shitty movie tropes, you know? Like that’s the stereotype. Something in our brains is broken, as opposed to simply working differently. Of course, it’s all good, because in exchange we all have received some sort of near-superpower, you know what I mean? We’ve all seen it in movies and tv; the OCD character is quirky with meticulous rituals, which of course helps them to solve crimes! The ADHD character can’t concentrate in life but their ability to split their attention across 6 computer monitors makes them an expert hacker! The Autistic person can’t read social cues but is a genius at putting all the clues together! The Depressed character is the nihilisticcomic relief! Together they’ll have to team up as a rag-tag band of social misfits to defeat The Multiple Personality character who is of course a manipulative mastermind, along with his Psychopathic specialist assassin character! There will also be a B Story Arc with a Schizophrenic character who’s always unhoused and unstable, but definitely will have a crucial plot point to disclose if they can just remember it, which they can only do with the help of Detective PTSD and their Empathic Psychiatrist partner! THE ANTI-TYPICALS: Coming this Summer to Netflix. You take a multivitamin, they take SSRI’s.
NEURONITE will be taking place at Media Pollution in Los Angeles, Ca. What made Media Pollution the perfect spot to hold this mini festival?
Media Pollution is the perfect space for this event because it is a completely customizable space; right down to where the walls are. Or aren’t! Dan and his team over at MP have been very accommodating and helpful in working with our Neuro Designers and we really appreciate the fact that they’re game to try something new.
Can you describe the sorts of acts and entertainment which people attending NEURONITE will have the opportunity to enjoy and appreciate?
Absolutely! We have a great lineup of performers:
FRANKIE SIMONE, a queer trans afro indigenous polyamorous neurospicy artist, musician and content creator.
VATTICA(me!) an award-winning independent alternative rock project from Los Angeles with over 12M streams/views/ likes fronted by singer, multi-instrumentalist, songwriter and producer Alexander Millar (they/them), a white queer nonbinary neurodivergent artist-agitator.
ÉLISHIA SHARIE, the Neo Alternative Rock artist hailing from Los Angeles, CA, is a magnetic and electric force in the music scene. Her music embarks on a mesmerizing voyage across the dimensions of time and emotion, gracefully fusing the elements of classic 80’s rock, the edgy spirit of 90’s alternative, and the unfiltered vigor of punk rock, creating a harmonious blend of sounds that defy generational boundaries. Contrasting this sonic energy is her unapologetically soulful vocal, channeling the spirits of legends like Tina Turner and Betty Davis, making her artistry distinct and unforgettable.
CINNAMON BABE, a Nu Metal band created by actress and popular influencer Stormi Maya. Cinnamon Babe is based in Los Angeles, CA and their biggest musical influences are RATM, Linkin Park and Nine Inch Nails. CB has a very late 90s/early
2000s sound. CB covers dark and serious matters from child abuse, neglect, social injustice and mental health. As a black woman, Stormi Maya of Cinnamon Babe, represents POC that feel they don’t belong in the alternative community.
In addition to the performers, NEURONITE is 18+, free, will have vendors and merchants, and will have high quality N95 masks free for all who attend. In fact we’re gonna have the strictest COVID protocols of any festival that I’m aware of; masking will be required for all attendees, staff, merchants and performers* while inside our partner venue, Media Pollution, and strongly encouraged in their outside space. For folks who legitimately can’t mask for medical reasons or who might be bedridden, we will livestream the show via our official channels. Not boring streams either; we will have camera operators using steadicam rigs for the phones that are providing the streams, so they will be able to move around in the space.
*Performers won’t be masked during their own performances, but will be required to present a negative COVID test on the day of the show and wear masks the rest of the time
What do you feel makes you ideally suited to tackle the overall helming of NEURONITE?
As a queer nonbinary neurodivergent person with lifelong OCD (Obsessive Compulsive Disorder) that experienced a neardisabling resurgence in my symptoms once the pandemic began, I think that my intersecting identities help me to be uniquely positioned to serve the neurodivergent, queer and nonbinary communities, especially since representation is so important. There was nothing around like this when I was a kid. Yeah there were the rock and punk shows that I cut my teeth on, but even those were mostly cis-het and definitely neurotypical. It was also my experience that it wasn’t ok at all to be openly queer, especially as an AMAB person, at least in the scenes I was playing in, and I didn’t have any queer elders around to teach me about being GenderQueer, or Nonbinary, or any of the words we now have for the folx who I’ve learned have always existed in all societies since the beginning of humxnity! And there was no such thing as Neurodivergent back then either, just “mental disorder” or “crazy”. I spent the first half of my life trying to fit into a world that really didn’t want or understand me. And because I didn’t see myself reflected anywhere I really didn’t understand myself, either. I had to suppress a lot of parts of myself to get signed, some knowingly and some unknowingly, which ended up being part of the reason that I fought so hard to get out of my record contract. I just didn’t want to be what they wanted me to be, you know? (I’m only speaking for myself here, there were other people in the band at that time and they had their own experiences.) But for me….you know it’s funny, something I like to joke about is that Bros ruin everything. And wow is the Rock/Alt/Metal world teeming with bros. You’d think that it would be a really accepting place, but I swear that locked in a closet somewhere in the Viper Room is a graph with the horrible Venn diagram that scientifically proves the overlap between Rock Bros, Jock Bros, and Joe Rogan Bros. And it’s a circle. Does it smell like Ax Body Spray? Of course it smells like Ax Body Spray. That’s just a given. Does it pound Monster Energy drinks while wearing a TapOut tee? You know it brah! Don’t make eye contact with it or it’ll try to sell you horse tranquilizers and flat earth theories.
You’re collaborating with the CA Creative Corps, the California Arts Council and Community Partners in order to pull off NEURONITE. How has it been in working with these various outfits?
They have been nothing but supportive and helpful, as well as very accommodating and trusting. This wouldn’t be happening without their support.
For those that are reading this and would love to attend NEURONITE yet can’t make it to L.A. this year, is there any type of way for them to experience this event?
Absolutely! There will be a livestream of the whole event via the official NEURONITE Instagram @neuro.nite and I will also be streaming via my TikTok @vattica
Will NEURONITE be an annual event?
Gosh I sure hope so. This is our first one, so obviously we’re going to get some things wrong and some things right. However, if we’re able to pull it off then we’ll have a documented process of how to put it on anywhere, with the price tag of each thing that an organization would need to do it. That’s my overall goal; to expand NEURONITE as something that can be done anywhere in the world, whether or not I’m personally performing. Since this is our first one, and I’m the grant recipient, and I’ve not had a safe way to perform for 4 years, I am allowing myself the luxury of being one of the performers.
Any final thoughts you might like to share with readers about the upcoming July 26 NEURONITE mini festival?
A question I hear a lot is “what’s it like to be Neurodivergent in a world that isn’t built for you?” And I would answer that I can’t speak for all of us, but I can attest that having OCD doesn’t mean you’re a quirky detective. OCD changes “themes”, and since the pandemic began, for me my theme has been a classic one: germs. So, for me, having OCD means I’ve washed my hands so much that they bled. It means that my partner has had to watch the person they love be “gone” in the eyes; ruminating on endless obsessive thoughts. It means hyperfixating on researching obscure infectious diseases until 4 in the morning because I’m convinced I might have one. It means isolation. Loss of friends. Lots of other stuff I won’t get into cause I could just go on and on. I am very privileged and fortunate that I was able to assemble a great support team, both personal and professional, and worked really hard until I’m now at a place where I can function most days. But that doesn’t mean that I’m not cognizant of the fact that the world I live in is filthy. For example, did you know that the average gas pump handle has 10k more germs on it than the average toilet seat? That’s a real fact. (goes into Roy Batty from Blade Runner voice) I’ve seen things you wouldn’t believe... Lyft drivers asking why I’m wearing a mask while simultaneously coughing into the car off the shoulder of Hollywood Blvd... I’ve watched iPhones shine in the dark, put down on the sinks of club bathrooms and picked back up again. Baristas sneezing into drink orders and still serving them. All those moments stand out to me, like spikes on a porcupine... Time for E.R.P.
Host of the Month
HAYES WARNER
We’re very happy to have some time today with acclaimed singer and songwriter Hayes Warner; greetings and salutations, Hayes and welcome back to Vents Magazine! Before we start talking about all of the exciting stuff you have coming up, can you catch us all up-todate on everything that’s been going on with you since the last time we spoke?
I’ve had a really exciting few months - from finishing up my debut EP, working with collaborators that I really look up to, and planning a lot of touring. I also just announced that I’m performing at Lollapalooza in Chicago this summer, which is a dream come true for me. This morning, I found out that my latest single “Just A Girl” just hit the Top 40 on US Pop radio! It’s absolutely mind-blowing and so exciting. Overall with touring, creating and releasing new music, it’s making me super excited for the months to come.
You’ve been ascribed the moniker of a pop artist, but listening to your nuanced musical stylings, we pick up a beautiful mix of genres all intermingled in a successful cocktail! Having your druthers, would you label yourself as ‘pop’, or would you point to another genre altogether to hang your music on?
I honestly love the label of pop because pop is so multifaceted. Even though I draw inspiration from many genres - from punk to rock to pop to hyperpop - I gravitate towards the overarching genre of pop. And even though my favorite artists span a few different genres, I appreciate that the pop label implies widespread popularity. Ultimately, my aim is to create music that resonates with people.
Super-congrats and major kudos on your breakthrough smash single Just a Girl which is lighting up record charts even as we speak! What’s the origin story of one of the best new tunes of 2024?
Thank you! I’ve been inspired by No Doubt and Gwen Stefani my entire life. My goal of the interpretation was to pay homage to Gwen’s impact on me without altering the original meaning of the lyrics. I just wanted to express how much the 1995 version means to me and highlight that what Gwen wrote years ago is still iconic and totally relevant today. I loved the idea of having another female voice on the record too and I’ve always been a fan of Billy B who is an NYC-based rapper. I literally cold DM’d her, not expecting a response. But she responded saying she loved the track and we were in the studio recording together the next day. It all happened so fast but it was so exciting.
You work with critically acclaimed rapper Billy B and rightly lauded songwriter and producer (not to mention legendary guitarist!) Kevin Rudolf on Just a Girl! What was it like to exercise your own considerable music chops alongside these two accomplished figures in the world of music?
It was such a pinch-me-moment because I look up to both Billy B and Kevin Rudolf. We all got along so well but also have slightly different sounds so bringing them together really made the record special. Kevin is such an inspiration and I look up to him as a rock artist who has also influenced my style, so seeing what he did with the guitar lick and having him join the project was a dream come true. And the same thing goes for working together with Billy B! I’m a Billy B fan, so the whole experience was just magical.
Just a Girl has gone on since its March release on SiriusXM to
become the 8th most added song at pop radio. Have you been surprised by the overwhelmingly positive embracing of this gem of a ditty?
I definitely was nervous to see how it would do because Gwen and No Doubt are so iconic that a little part of me feared no one would like my rendition of it. I’m so glad with the response it’s been getting and hearing it on radio stations that I grew up listening to has been insane and a big milestone for me.
Word ‘round industry campfire has it that, on the heels of the smash success of Just a Girl, you’re prepping for a summer release of your debut EP; kudos and accolades! Can you give our ever-inquisitive readers a hint or three as to what they can expect with this premiere EP?
I was excited to release “Just a Girl” at the start of the year, especially since No Doubt has been a major inspiration for my upcoming EP. Overall, I think that song is a good little taste of what’s to come. In this EP, I’m exploring new sounds and embracing a high-energy, in-yourface vibe that I can’t wait to bring to life during live performances.
The good news just keeps on a’rollin’ for you! On top of the new single and the upcoming EP, you’ve been announced as being one of the performers at this year’s Lollapalooza in August - Wow and congrats! What does the addition of your name to the performing bill of the esteemed Lollapalooza show signify to you personally?
It means so much to me to be on this lineup. Playing at such an iconic festival has literally only been a dream and now it’s coming true and I’m so grateful that I get to do it this summer. It also means I get to connect with more fans and hopefully even make some new ones. I’m just really excited for it overall!
You’ve plied your craft for a variety of television clients such as Netflix and Paramount. Has this extra venue for your musical talent only served to expand your base of fans and admirers?
It’s super exciting to hear my music in films and television. It brings a whole new life to songs seeing it behind TV or movie scenes. I also love writing for film and TV because I get to be a different version of myself and get to push myself as a songwriter.
Outside of the major Lollapalooza gig, what else does your performing/touring dance card hold in store for you in 2024? Are you pretty booked out by this point in time?
I have a lot of exciting performances coming up that I’ll be announcing within the next month! I just opened for Neon Trees on the road this past weekend, and coming up I’ll be headlining Brooklyn Bowl on May 9th for an amazing organization called Women That Rock.
Any final thoughts you might like to share with fans and readers about your beautiful new single Just a Girl?
Just thank you guys for listening to the song, it’s really special and I’m so grateful for all the love! Also, as I was writing this interview I just noticed that Gwen Stefani commented on one of my TikToks showing love to our version of “Just A Girl.” I’m kind of in shock - but wanted to express how grateful I am for her music!
Claudia Ferri
We’re happy to have some time today with acclaimed and awardwinning actress Claudia Ferri; greetings and salutations Claudia and welcome to Vents Magazine! Before we dive into the celluloid Q&A rabbit hole, how is 2024 treating you and yours?
Hello to you, Vents Magazine, and hello readers! 2024 feels like Spring and its promise-filled potential while carrying over second harvests; fruits from past toils and tended gardens. Everyone is doing well. Thank you for asking.
Major congratulations for your bravura turn in the stellar new Apple TV series Palm Royale! For anyone not in the know, can you tell our readers what Palm Royale is about and how your character of Raquel figures into the proceedings?
Thank You! The Story is set in Palm Beach FL 1969. Our protagonist, Maxine Simmons (brilliantly portrayed by Kristen Wiig), is determined
to realize her lifelong dream to find her seat at the table, among the elite of the exclusive “Palm Royale club”. Maxine becomes obsessed with her goal and will stop at nothing. Yet, Kristen Wiig’s superpower as an actress is that, through it all, we feel her heart, her soul, and her character’s genuine longing for a better future for herself and the people she connects with. Raquel, my character, “a sugar heiress with 30 million to spare and married to a mobster” is already seated at the coveted table when Maxine enters that world. Vents Magazine Interview At first, Raquel, couldn’t care less about Maxine. But when Maxine finds herself in a most enviable place, Raquel becomes eager to know more about her. After all, just like the ladies of the club, Raquel’s primordial aim is to stay atop Palm Beach society.
Did you know as soon as the script for Palm Royale from creator Abe Sylvia crossed your desk that this was a production you wanted to be a part of?
I knew I wanted to be part of this production as early as when I received my audition sides. Just by the writing and the era, I knew this was a fit. Plus, it was for AppleTv+! However, things kept getting better and better, as I gradually learned who was involved with the production. First off, Laura Dern, whom I love since seeing her as Sandy Williams in Blue Velvet, Kristen Wiig - you serious?! Then, Abe Sylvia - What? No way! A close friend of mine had just turned me onto Dead To Me so it seemed surreal. Followed by Tate Taylor - I was a huge fan of The Help so the thrill really hit home at this point; it felt like an out-of-body experience… every few days, I would find out one more exhilarating news after another: The great Allison Janney, Ricky Martin, to name a few, but the cherry on the cake was to find out that Norma Dellacorte was going to be played by none other than the legendary Carol Burnett!
You work with an absolutely phenomenal ensemble of thespians in Palm Royale, including the likes of Kristen Wiig, Allison Janney, Carol Burnett, Ricky Martin, Laura Dern, Kaia Gerber, and Josh Lucas among many others! What was it like exercising your own considerable acting chops alongside this dream cast?
That’s very kindly put, thank you! It was like opening a door and stepping into my innermost aspirations. Not only are they phenomenal, but they are kind, genuine, forthcoming, and consummate professionals.
Speaking of talented, you have had the opportunity to be directed by some of the best directors in the business on Palm Royale! What’s it been like collaborating with the likes of Tate Taylor, Claire Scanlon, and Stephanie Laing on this show? Are they what some actors might call “an actor’s director”?
Working with Tate Taylor and Abe Silvia right out of the gate was certainly a source of anxiety because I wanted to do right by them and their experience in the industry. I wanted them to know that I was reliable and that I was able to bring tons more to the table if they wanted or needed it. I knew we had the best leaders at the helm of this big ship and I trusted them implicitly. I love it when a director makes adjustments or gives notes, even if seldom; that’s really when the magic of collaboration happens, giving way to new colors in my interpretation. Claire Scanlon and Stephanie Laing were impressive in their ability to land in the middle of this enormous production, be clear in all the technicalities of their shoot, AND fine-tune our performance where appropriate without missing a beat. As a viewer, I was in awe of Claire Scanlon’s direction and Todd McMullen’s cinematography of the scene between Maxine and Douglas (Josh Lucas) in front of the mirrored armoire in episode 9. Coming back to Bae and Tate, I absolutely loved how they gave us free rein and, from time to time but always brilliantly, would come and whisper just a few words that would magically tweak the performance and improve my game. But working with all of them combined confirmed my sense that the best thing you can do is come prepared and trust.
In your opinion, what sets Palm Royale apart from the Distinguished Competition on the current day television scene?
Palm Royale is in a class of its own visually and genre-wise. It’s a drama filled with moments that make you laugh out loud. It focuses on the elite and what may seem superficial, as we are reminded of the universals of human nature and the pursuit of happiness.
Who inspires you, acting-wise?
Meryl Streep was my first acting role model. Judy Dench, Viola Davis, Nathalie Portman, Gary Oldman, Jack Lemmon, Liv Ullman, Joachim Phenix, Olivia Coleman, Jody Foster, Robert De Niro, and so many more! When I’m on set, I’m inspired by the actress or actor in front of me. I love actors and the interaction between performers, what and how each person of the same craft brings to the table, and what we can concoct from the page and bring to life together.
Your first credited screenwork came in the form of a 1989 episode of MacGyver. Any special memories of that freshman production?
Ha! It was fun! 4 days up in a gondola on Vancouver’s Grouse Mountain. Mayim Bialik (The Big Bang Theory) was guest starring. It was my first American series EVER! Richard Dean Anderson was a sweetheart!
What else do you have coming up as far as acting goes? We’ve heard some buzz about a short film called Quantum Knights which you are featured in. What’s the scoop on this and other upcoming productions?
Cérébrum airing on Radio-Canada has a viewership of 1.2 viewers per episode. It was nice to reconnect with members of the crew I worked with when I shot The God Mother (La Marraine) in French some years back. Other projects are currently on the table here in LA but, as expected, everything is under wraps until official announcements are made.
Any final thoughts you might like to share with our everinquisitive readers about the brilliant Apple series Palm Royale?
There is a lot of talk about the series due to the long list of acclaimed talents on and off screen, and rightly so. Kristen Wiig’s unique performance has been one to write home about. And on set, despite the enormous workload she had, she remained ever so kind and real. She is a true inspiration and I’m honored to have worked with her. Ricky Martin’s charismatic portrayal of Robert is so endearing. I do a Rumba number where we talk and dance at the same time and I really had a ball! His mega popularity worldwide has clearly not gotten to his head. The costume designer, Alix Friedberg, and her team recreated such an awe-inspiring and colorful array of costumes that propels us into the world of Palm Beach 1969. The production designer, Jon Carlos is majorly impressive, so are the artistic direction and set decor team. Marie Delprete, my ultra-talented makeup ARTIST, and Cindra Dunn, who did most of my hair looks, both Emmy winners in their respective categories, were a true blessing. Finally, I do want to chime in on other talents that contribute to Palm Royale’s success and made my workdays special due to their wit, their humor, and the fact that they are wonderful humans: Julia Duffy, Amber Chardae, Roberto Sanchez (who played my husband Pinky), Dominic Burgess, Jason Canela, Rick Cosnett who all became friends effortlessly. Paul Sand, whom I worked with after meeting him on Palm Royale. We hit it off while in the Hair and Make-up trailer. He wrote and directed a play called The Pilot Who Crashed The Party. He suggested I try for the part of the neurotic Italian actress. After the read, he offered me the part. Kerry Barden, who cast me in Palm Royale came to see the play when we performed in Hollywood. Depending on how the chips fall, we may give it another go. As far as the Palm Royale plot is concerned, it only gets better and better!
Final - SILLY! - Question: Favorite movie about the making of movies - Living In Oblivion, The Player, Barton Fink, or Once Upon A Time In Hollywood?
I have to wonder why you asked about these movies in particular but, in good sportsmanship, I went ahead and reviewed them all. Movies are often an escape from ourselves that circles right around to take us back to ourselves, to what is relatable but put in different genres, forms, or premises. We want to be moved, to vibrate this way or that, to be entertained and, yes, taken for a ride; quasi-all creative means are good as long as it stirs our intellect, our heart, or, even just the nervous system - fear, thrill, suspense! We want to feel something, preferably that stays. Whether on a spaceship, through the maze of a corky writer’s mind, or via a director’s brilliant storytelling to change history and offer a happier ending to a horrific real-life event, movies are a powerful means to travel. That’s the long answer to say, I am an excellent public. I love almost every genre. As long as it is convincing and I can be immersed in the story, I’m in for the ride!
Kurt Sterling
We’re very happy to have some time today with acclaimed and award-nominated stand-up comedian Kurt Sterling; greetings and salutations Kurt and welcome to our humble pages! Before we skid down the proverbial Q&A funny trail, how is 2024 treating you and yours?
It’s been a great start to the year. Things got into full swing pretty early with Adelaide Fringe Festival in February and I’ve since been to Melbourne and Sydney Comedy Festivals. This year has been very busy but I’m enjoying every minute of it.
Major congratulations on your upcoming debut turn at the vaunted Edinburgh Fringe 2024! Starting at the tip-top, how does it feel to you both professionally and personally to be a part of something which is so well thought of and eagerly anticipated every year?
It’s huge. Edinburgh Fringe is one of the most respected festival’s in the world and to be part of it is a huge step professionally and a great opportunity to bring the show to a wider group of people. On a personal front the opportunity to meet and connect with so many comedy fans and artists all in one place is something I’m really looking forward to.
Your debut at Ed Fringe will highlight your stellar show Corporate Chronicles from August 1-25 at The Common Room, Cabaret Voltaire - Kudos! What are the origins of this show and how steeped are those roots in your own history?
The show tells my own personal story of coming from a working class family in small-town Australia, to the top of the corporate world, and back again.
I grew up in a place where no one ever leaves, but through hard work at school I ended up landing a dream job at a tier 1 management consulting firm. I spent my 20’s travelling the world advising CEO’s and Government Ministers and living a life I could never have dreamed was possible.
The show tells this story and how ultimately this life was a lot less fulfilling than it seems on the surface. The show takes down the corporate world and shows the shortcomings of pursuing that kind of life.
Has Corporate Chronicles been a long-time in gestating? From beginning to end, how long has it taken you to work up this uproarious show?
The show started as an experiment. Previously I had never shared anything about the office or my previous life on stage.
I decided to write the show and test it at Adelaide Fringe Festival in February this year and see how it went. The response to the show was overwhelmingly positive and I was really blown away at how many people could connect to the story.
Many people came up to me after the show to share their own story and through talking with them I realised that the feelings of being overworked and unfulfilled is universal. Regardless of their occupation everyone can find some inspiration to make changes in their life.
Has the material in Corporate Chronicles sort of morphed and evolved as you’ve tried it out on people? How different is it now versus when you first conceived it?
It is a comedy show so I’m constantly improving the jokes and finding ways for the laughs to hit harder.
The actual story and underlying material though has hardly changed. It is simply a true story that is being retold while pointing out the funny things along the way.
At the end of the day, what do you hope attendees at the Ed Fringe 2024 take away from your Corporate Chronicles show?
I hope at a minimum I can give some comic relief for those who work in an office environment by pointing out how absurd the whole thing is. There is something therapeutic about sharing a laugh over something we have all noticed but never said out loud.
I also hope that those who come along can find something in the story that connects with them and helps give them clarity in their own life.
Is it difficult to be a comedian in an era where there’s a perception by many that PC has sort of run amok?
My duty to my audience is to make them laugh and help them leave the show feeling better than when they walked in. That’s what matters to me.
I don’t care about being PC, only about making my audience feel good.
Who are the comedians who have inspired you and the material which you write?
I am a huge fan of Sacha Baron Cohen and I love the method of using clowning to point out how absurd things are. I have been studying at the Philippe Gaulierschool of clowning in France and I bring some of this to the show to point out the absurdity of office life.
Closer to home Tim Ferguson (a name older UK audiences might be familiar with) has been a great mentor to me in Australia helping me learn the art of crafting a joke.
Where do you go with Corporate Chronicles after Ed Fringe 2024? Are there plans afoot for a live album or a comedy tour?
The beauty of the show is that the office experience is universal around the world. I will be taking Corporate Chronicles to the big festivals in Australia after Edinburgh and would love to take it to the US at some point too.
You’re based out of Sydney. How do those particular stomping grounds inform you as a comedian?
Sydney is a thriving hub of comedy at the moment. The scene is really flourishing and we have a great mix of local talent and big international acts coming through.
Any final thoughts you might like to share with our ever-inquisitive readers about your upcoming Corporate Chronicles show at the 2024 Edinburgh Fringe?
If you or your partner have ever worked in an office, this is the show for you!
Kurt Sterling will be at Ed Fringe 1st - 25th August (excludes 12th), 8pm at The Common Room, Cabaret Voltaire (part of Just The Tonic)
Tickets:
https://tickets.edfringe.com/whats-on/kurt-sterling-corporatechronicles
Shiqi Luo
Can you introduce yourself to our audience?
I am delighted to introduce myself to the readers and audience of “Events” magazine. I am Shiqi Luo, a young violinist actively performing on the international stage. I have a profound love for my career as a violinist, and each performance is a heartfelt connection with the audience.
In addition to my solo performance career, this year, I have taken on a new role as the founder of the Sunway Music Foundation. Creating this platform aims to promote and organize various types of live music experiences, allowing people of different backgrounds and ages to enjoy the joy and solace that music brings. Our goal is to connect hearts through music. Whether it’s through my performances on stage or through the activities of the Sunway Music Foundation, I hope to touch the hearts of more people and make music a bridge across cultural boundaries.
I hope that the readers and audience of “Events” magazine will support our activities and join us in witnessing and participating in this wonderful musical journey.
CAN YOU SHARE WHAT INITIALLY DREW YOU TO THE VIOLIN AND AT WHAT AGE YOU BEGAN YOUR MUSICAL JOURNEY?
When I was four years old, I embarked on my musical journey, and learning the violin became an inseparable part of my life. Two individuals have been pivotal in my artistic career: my mother and Professor Yu Lina. At the age of ten, I began studying the violin with Professor Yu at the Shanghai Conservatory of Music. Throughout my growth, she not only imparted to me the skills of playing the violin but also taught me valuable lessons in interacting with others.
At the age of eleven, I had the opportunity to stand on the stage of the Shanghai Grand Theatre alongside my teacher and perform “Butterfly Lovers” with many talented senior students. That moment marked the beginning of my love affair with the stage, planting the seed of a desire to live on stage deep within my heart.
As for my mother, despite not having a background in classical music, she developed a deep passion for the violin during her youth. Throughout my journey, she stood by me, spending countless hours recording lessons from class and helping me review them diligently. Her unwavering support helped me navigate through numerous challenges. The violin not only became an instrument I cherished but also a companion and a friend.
HOW HAS YOUR CULTURAL BACKGROUND INFLUENCED YOUR APPROACH TO MUSIC AND YOUR CAREER AS A VIOLINIST?
In my approach to music, I adhere to two core principles: sincerity and authenticity. In the world of classical music, each piece carries the composer’s profound emotions and unique thoughts. My goal is not only to accurately interpret the musical language the composer intended to convey but more importantly, to infuse each performance with my own genuine emotions and understanding.
I deeply believe that every note has its own life, and every piece has its soul. I strive to engage in a profound dialogue with the music through my performances, exploring and presenting the emotions and stories hidden between the musical scores. I am dedicated to bridging the gap between the audience and the music through my performances, allowing them to feel the emotional resonance that transcends time and space.
In my performances, my utmost priority is to maintain respect for the music and sincerity in my playing. I strive to be faithful to the original work while also showcasing my unique artistic style. This balance is not only a tribute to the traditions of classical music but also a reflection of my artistic pursuits. In every performance, I wholeheartedly immerse myself, hoping that through my music, the audience can feel the emotions emanating from within me and let the power of music touch their souls. In conclusion, for me, music is not just a display of skills, but a conveyance of emotions and thoughts from the depths of the soul. In my artistic pursuits, I am constantly dedicated to achieving a profound and sincere expression of music.
In addition to performing, do you have any other passions within the music industry, such as composing, teaching, or something else?
I usually teach, but I don’t see it as just a fun activity; rather, it’s a way for me to re-examine my own learning and growth process. In addition to teaching, I also enjoy visiting museums and exhibitions. Living in New York City, I am fortunate to have access to a variety of rich artistic resources. Whether it’s exploring modern art exhibitions or admiring the paintings and sculptures from different periods at the Metropolitan Museum of Art, I find immense inspiration. These works of art not only enhance my musical performances but also prompt me to reflect on my own journey of learning and growth. This interdisciplinary experience fills me with excitement and satisfaction, and I look forward to continuing to discover more inspiration and creativity along the way.
Collaboration is a significant aspect of musical performance. Can you talk about a memorable collaboration you’ve had and what made it special?
At a performance in 2018, I had the pleasure of playing the winter movement from Vivaldi’s The Four Seasons. The beautiful melody and profound connotation of this work deeply captivated me, and the process of collaborating with the band felt precious. The performance was recorded live and released on a record, becoming a cherished memory in my music career.
Reflecting on that wonderful experience fills me with longing and excitement for the future. I eagerly anticipate more opportunities to perform the complete “Four Seasons” and to render this classic piece even more perfectly and movingly. My dream is to be invited by a prestigious symphony orchestra to perform this timeless work together and to showcase the cadenza I composed.
How do you select the pieces you perform, and is there a particular piece or composer that resonates with you more deeply than others?
In each performance, in addition to the repertoire I frequently play, I also consider selecting pieces that align with the theme of the event. For example, at a concert last April at the American Classical Musician Association, I chose Beethoven’s “Spring Sonata,” which beautifully complemented the season at that time. I often find myself recalling a specific melody in certain settings, such as the word “Petrichor,” which refers to the fresh, crisp scent of soil after rain, especially in the summer when the earth and plants release a unique fragrance. In such moments, Dvořák’s Romance in F minor evokes a particularly fitting ambiance.
Your performance of “La Ronde des Lutins” by Bazzini at Carnegie Hall was highlighted for its emotional depth and technical prowess. Can you share what personal significance this piece holds for you and any challenges you faced while preparing for it?
Performing this piece at Carnegie Hall wasn’t my first public rendition of it. I first encountered this piece when I was very young, but it wasn’t until I was 15 that I had the opportunity to perform it in person. The slow melody in this piece touched me deeply, akin to a spiritual chant echoing from a distant valley. It moved me to tears, and I found myself completely immersed in its beauty.
This melody resonated profoundly within me. Interestingly, it wasn’t until I was 15 that I truly fell in love with the violin. When I discovered this piece and performed it myself, my life underwent a significant transformation. That year, my academic performance suddenly soared from the bottom to the top. This experience taught me the profound power of love. It not only improved my academic achievements but also deepened my understanding that true love for music is more than just pursuing flawless performance— it’s a spiritual connection and transcendence.
This experience inspired me to continue moving forward, using the power of music to create more beautiful moments in life.
How do you approach bridging technical mastery with emotional expression in your performances?
Integrating technical mastery with emotional expression in performance is a crucial aspect of my music playing. I firmly believe that technique and emotional expression are complementary, and only when combined can they achieve truly profound musical expression.
Firstly, I ensure that I accurately interpret the composer’s intentions through rigorous technical training and a deep understanding of the musical pieces. Mastery of technique enables me to express subtle changes and emotional nuances in the music effortlessly, rendering it more vivid and rich.
Secondly, I strive to infuse genuine emotions and personal understanding into my performances. I delve into the emotions and narratives behind each piece, seeking to understand the composer’s intentions and blending my own emotions with them. During the performance, I immerse myself completely, allowing my inner emotions to flow freely and using the music as a conduit for my feelings.
By combining technical mastery with emotional expression, my goal is to achieve authentic and profound musical expression, enabling the audience to feel the emotions and stories conveyed by the music. I firmly believe that music can only resonate with listeners through the perfect fusion of technique and emotion, creating a beautiful and impactful experience.
The role of organizations like the American Classical Musicians Association in promoting classical music and supporting artists is crucial. How has their support impacted your career, and what do you think is the importance of such platforms for classical musicians today?
The American Classical Musician Association has been instrumental in shaping my artistic career, providing numerous opportunities for growth and exposure. Serving as a platform for both professional musicians and music enthusiasts, it offers a stage for individuals to showcase their talent and passion for music. Such music platforms hold a significant social responsibility in promoting the preservation and continuation of classical music traditions. They play a crucial role in nurturing and advancing classical music, fostering creativity, and inspiring the next generation of musicians to carry forward the rich legacy of classical music.
The music industry is constantly evolving. How do you stay relevant and continue to engage your audience in this digital age?
In the digital age, rapid iteration and updates are commonplace. By organizing themed music events, we can attract young people to participate actively. Introducing more interactive music experiences such as virtual reality music performances, music games, or holographic concerts can deeply immerse audiences in the experience, increasing engagement and enjoyment. Innovating music performance formats by experimenting with new forms like improvisational performances, musical theater, or combining modern dance with music can disrupt traditional performance norms, offering young audiences a multi-sensory experience beyond auditory stimulation alone, incorporating visual and tactile elements. Additionally, the integration of music AI with classical music will be a developing area in the future.
Looking back on your career so far, what would you consider your most defining moment or performance?
For me, my artistic career has just begun. When I decided to establish a music foundation in 2023, I embraced an additional role that I am very much looking forward to and excited about. Transitioning from a solo performer to the founder of a music foundation has opened up new opportunities for me. I now have the chance to participate in behind-the-scenes production of concerts and events, collaborate with more like-minded young musicians on the same stage, and explore new forms of performance.
What advice would you give to young musicians who aspire to a career in classical music?
The path to a career in classical art is undeniably challenging. What keeps me motivated is love—more than 100% firm love. The journey of learning classical music often involves delayed gratification, requiring dedication and persistence. I encourage everyone to stick to their passion despite the difficulties.
Michael Webster
Hi guys, welcome to VENTS! How have you been?
All good, lots going on lately with all the music - thanks for having me!
What can you tell us about the title and meaning behind your most recent release?
My latest release is called “a northern perspective” - it’s a collection of very personal songs, written over the past few years reflecting my experiences, living in Manchester, in the North of England. There’s a real community here, and there’s a real expression of character from people around here - I feel like a part of it every day!
How was the recording and writing process?
I recorded it all myself, in my studio - producing each song to the point where I felt happy with them; it’s one of my most accomplished works and I’m very proud of how each of the songs sound. They range from more indie-rock tracks, to grungier, darker toned songs, to more singer-songwriter elements; a culmination of all of my inspirations! I’ve been sat on a lot of these songs for a long time and I really felt they fit together superbly.
Where did you guys find the inspiration for the song and lyrics?
Lots of the tracks are written from my own personal experiences and reflections on my opinions and that which surrounds me. For example, “future sight” is a track comparing the balance of living in a busy city to my quiet hometown, “waterlines” is more of a track about indecision; there’s a lot of socio-political influence in each of these tracks as well!
Will you be hitting the road this year?
I’ve got a bunch of gigs booked in, and hosting loads of great bands through my label Bread Records - lots going on, all the time! You can find it all on our website at www.breadrecords. co.uk
What else is happening next in your world?
I’ve been recording some new artists for the label, I’ve got a load of songs myself to record.. there’s a lot of stuff in the works! It’s gonna be great!
Little King
Hi guys, welcome to VENTS! How have you been?
Hello again! Great to talk with you once more...we appreciate your support over the years so much. Helping us get the word out about art we truly believe in is a noble pursuit...at least to me it is. So thanks for always having an interest in Little King.
We’ve been on a little creative trip, actually. After our shows last October, we scattered and tended to our lives. Manny (Tejeda, bass) has a new baby girl and a 3 year old at home, so his wife Valeria is happy to have him home working and diapering. Manny is a great dad for sure and his kiddos are precious. Scott went back to his wife in North Carolina as well and has been working on his paintings. He is massively talented at many things, and his visual art is stunning.
For me, I have been back in the desert parenting, son’ing, and working on new songs. So far, I have 5 that are in varying stages of completion. They are quite a departure from the usual, so far. At least my mixing engineer Daniel thinks so!
What can you tell us about the title and meaning behind your most recent release?
I can’t really say just yet! I will say that this is a concept album and it is based on the confluence of 3 cultures coming together in the desert in the 1700’s. It’s a parable of current relevance. I play and work in downtown Tucson, and the shards of our “broken” immigration litter my doorstep every day.
There’s so little permanence in life and certainly in land ownership. This area of the world was passed around between the native population, the Spanish, and then the United States. I walk these paths through a downtown Tucson area called the Presidio daily, and I have imagined a story that will work like a dramatic opera. Or play. Or movie. Haven’t quite fleshed it all out yet, really. It’s a love story, too.
I can’t imagine having my land, my culture, and my family erased. But that’s exactly what happened to the native populations all around the United States. How would I react? Would I try and make peace with the usurpers or would I rebel violently? It all has a place in the discourse of 2024…
Will you be hitting the road this year?
We are! Little King is currently myself (Ryan) on guitar and vocals, Manny on bass, Scott on drums, and we also have invited a couple special guests for these shows! We are proud to welcome Christina Thompson on Horns and vocals and Kris Whitenack on keys. We have toured with strings in the past, but I wanted to try a different vibe and arrangement, so here we are.
Scott and Manny are east coasters, as I mentioned, so it’s only fair to play their hometowns this time around. Yeah, we still say we are from El Paso, and Scott was born and raised there, but truly, we are bi-coastal. It’s pretty exciting to play some new places in North Carolina and Delaware and to collaborate with some new folks. I can’t wait to see how it all turns out!
