LOCAL WOLVES // ISSUE 62 - KAITI YOO

WELCOME TO THE 62nd issue of Local Wolves. As you’re reading this, LW turned 11 years old and it still feels like we published our first issue yesterday– all thanks to the early days of the magazine when I manually designed each page before I discovered Adobe InDesign, the ultimate gamechanger. This brought me to the theme of this issue of Connection. I started Local Wolves as a passion project because at the time, I couldn’t find a magazine that compassed all of the things I loved or inspired me. For the past few years, I’ve learned to reconnect with my own culture from family recipes to rediscovering how art made a huge impact in my life at a young age– watercoloring, cooking, journaling, film photography and reading books that I adore. Our cover star, Kaiti Yoo is down to earth and personal especially through her shower thoughts on Instagram Reels and radiates her comforting energy to the world. Along with other incredible features and perspectives– we are celebrating Asian American Pacific Islander month, mental health awareness and Pride Month. To my team and fellow contributors, this issue wouldn’t have been possible without your creative minds, ongoing support and patience throughout this entire process. I hope this issue inspires you and helps you discover your own sense of connection.

Take Care, Cathrine

Khom

For the past few years, I’ve learned to reconnect with my own culture from family recipes to rediscovering how art made a huge impact in my life at a young age...

ISSUE 62: KAITI YOO

Local Wolves is an independent digital and print magazine driven by the passion of storytelling for creative minds from diverse fields of work.

CONTACT

General: info@localwolves.com

Press: press@localwolves.com

Advertising: advertising@localwolves.com

Get Involved: community@localwolves.com

MAGAZINE TEAM

Founder & Editor-in-Chief: Cathrine Khom

Copy Editor: Sophia Khom

Social Media Coordinators: Jessica Spiers, Olivia Pannu, Tatiana Diaz de Leon

Designers: Lisa Lok, Yoolim Moon, Ridwana Rahman

Contributing Writers: Ang Cruz, Ariella Nikita Lai, Avery Nowicki, Esther Kim, Hazel Rain, Mara Go, Mun AM

Contributing Photographers: Ana Oquendo, Annie Bolin, Carolyn Wang, Esther Kim, Harvest Keeney, Sravya Balasa, Tiffany Phung

Logo: Lisa Lok & Fiona Yeung

MANY THANKS

Cover Feature: Kaiti Yoo

Classics Features: Avery Nowicki, Cathrine Khom, Claudia Turmo, Vanessa Le

Editorial Features: Broderick Jones, EARTHLY For The Planet, Jordan

Pietrafitta, GEMINI, Hetero (Cast + Crew): Adriane Watson, Bentley

Eldridge, Claire Mattingly, Eden Blanford, Gemma Cross, Jonah Blue, Jubilee Lopez, KJ Kieras, Lew Walker, McKensie Shea, Nia/Leo Fletcher, Sabina Buensuceso, Samara Lennoxx, Sofia Valenta, Soleil Cowan-Quan, Land to Sea, Emily Shum, Eva Zhou, Little Image, Wallice

Perspectives Features: Esther Kim, Felicity Zhang, Georgina Berbari, Victoria Nguyen and Vivian Jameson

Wolfie Submissions: Avalon Combs, Cassandra Lynn Miller, Dasha Semyonova, Diana Alexandria

Ricciardi, Emma Devereaux, Emma Nguyen, Halle Catherine Banks, Jenna Lael, Kayla Lankford, Kenisha Widya, Mirko Clarke, Sanjay Swamy, Shimika Basuroy, Tammy Hua, Tanya Geggie

ON THE COVER

Cover: Kaiti Yoo

Writer: Ariella Nikita Lai

Photographer: Sravya Balasa

Photo/Lighting Assistants: Dillon

Matthew, Esther Kim, Hyning Gan

Hair Stylist: Caylen Cara

Makeup Artist: Hannah Lauren

Stylist: Sravya Balasa

Florist : Ellie Siegel

Videographer: Misha Patel

CONNECTION

Goin’ Good! Grade School

Archie, Marry Me

Alvvays

Across the Universe

Fiona Apple

Sarah Alex G

PLAYLIST CURATED BY AVERY NOWICKI

Birds Dont Sing

TV Girl

Outside with the Cuties

Frankie Cosmos

Let the Sun In Wallows

Tommy’s Party Peach Pit

Everyone Adores You (at least I do)

Matt Maltese

Her Bookclub

ASTURIAS, SPAIN

WORDS BY CLAUDIA TURMO

PHOTOGRAPHY BY CLAUDIA TURMO

It was an unexpected trip. We decided we would go four days and we would forget the meaning of maps. For obvious reasons that was not the case, we had a cabin rented and we had to get there. Likewise, we let ourselves get lost in the streets, the mountains, and we managed to find a little bit of snow. And although in the photos it seems that there is a lot, really there was only a small piece.

The atmosphere we breathed in the streets brought us to the village. My partner is from Barcelona, he doesn’t quite understand that feeling, being at peace, without cars and the swallows singing.

All full of green: trees, shrubs, small herbs. People showed us secret and hidden passages, where the only guardians of the roads were the cows. Very friendly but they are bigger than one might think.

The landscapes were beautiful. I appreciated having taken three cameras, I did not bring enough film. I didn’t think I would take so many photos in so little time, even my partner took some.

The cabin prepared us for what came next. It was beautiful, during the day it was heated by the sun. But when night came it was really cold, it was the perfect excuse to go to bed early and snuggle between the covers.

And then the snow. I am from a village in Aragon, in the north of Spain, it doesn’t snow there, and in Barcelona even less. Seeing the snow is like being eleven again.

We agreed to return next year. I’ll bring twice as many film.

WOLFIE SUBMISSIONS CONNECTION

For Local Wolves’ 62nd issue, we’d like to hear your perspective about CONNECTION . In a world where it’s so easy to feel alone, let’s revisit how you connect to yourself through self-care and hobbies, how you deepen connections with your friends or family, and even how you connect with your culture and background. This issue is dedicated to exploring the highs and lows of this daunting question: How do you fit into the world around you?

SANJAY SWAMY TORONTO, ONTARIO, CANADA

Model: Ying Wu

PORTRAIT OF MY GREAT-GRANDMOTHER AS A NEWLYWED, C. 1930

Your face has mottled and faded, slowly rubbed away by Time’s forlorn, lingering fingers, but I can make out your eyes, dark and mournful, peering out from underneath the veil you cling to

with a child’s delicate hand. You look back at your past, a girlhood sacrificed by a priest’s fire. You see into your future, a womanhood bled dry by a war-halved country and an overtaxed womb,

but your clairvoyance has its limits, for you do not see me. I imagine myself slipping into the black-and-white, prying your fingers loose from the veil, cradling your palm and gently tracing the line etched across the middle,

urging you to feel it, this line carved by the jagged shards of your shattered dreams and tempered with the gold you’d handed down to three generations of daughters, pulling taut between you and me. Three generations were born with your swallowed rage

and unshed tears bubbling in their throats and coating their tongues, but look, they now burst past my lips with the force of a river finally undammed. See me, a girl who has not suffocated. See me, and mourn no longer.

ALONG THE WAY

In the confines of each other we blossom and wilt. An orchestration within ourselves. You propel me to grow, And I encourage you to find yourself…again.

Never-ending, it seems, This “becoming,” that is.

And who would we be without the other’s influence, presence or demeanor?

I would like to think we’d be somewhat of the same.

It’s a long-shot though

Because how much of you is in me?

Can I examine the parts? The pieces?

Place them on a platter to understand the ways that I’ve been touched?

And how much of me is in you?

Can I take those fragments back, just for a moment, please?

I want to know what was lost along the way.

— CASSANDRA LYNN MILLER / LOS ANGELES, CA

— SHIMIKA BASUROY / SACRAMENTO, CA

— TAMMY HUA / WESTMINSTER, CA

— Model: Joey Quian

— MIRKO CLARKE / SEATTLE, WA

— Model: Nawal Dahir

— AVALON COMBS / NORTHRIDGE, CA Model: Coco

It took having to start over after losing everything I thought I wanted to return to myself.

I was a year out of high school. The dawn of my formative adult years was a miserable time. The transition from high school to post-secondary was sharp and unforgiving. Back in those days, I didn’t know how to take time to process big feelings. I was told to focus on an education I had no passion for. Meanwhile, the world as I knew it was crumbling. Not only had I been thrust into adulthood under the guise of what I “should” be doing, but I was also dealing with a significant familial loss for the first time, on top of heartwrenching breakups (romantic and friendship), all of which occurred within two months of each other. I was forced to look at the ashes left by those lost connections. All were found on the ground before me; some burned beyond saving, and some crumbled when I tried picking them up to get a better look—a better understanding. I was left alone with the debris to make sense of what to do next.

I begged for an answer. A path to follow. A place to go. None of those things came.

The truth is that I wish I could say I picked myself up immediately and continued my life- but I didn’t. I grieved. Those connections shaped me into who I was, and I felt empty.

My first real experiences with loss taught me a brutal lesson.

I undervalued my sense of self to the degree that had me feeling as though I was nothing without what I had lost. I didn’t understand that I could love myself as much as I loved my friends, family, partner etc. I didn’t understand what I do now, which is that I could love myself and love others. It didn’t have to occur one before the other.

I then realized that to reconnect with myself, I had to get to know myself. Something I hadn’t done before.

I had to try new things, immerse myself within the community, experiment with my creative and physical expression, go out into the world and get to know what I wanted from love and friendship. Not what defines love and friendship. I did what I wanted and learned what I didn’t want. I had to live and learn. To try and to fail. To feel fear and joy. To create and dismantle. To love and to learn to love solitude. To understand and misunderstand.

I had to become okay with change and know it didn’t always mean loss. Change is a cycle from which beautiful things are born, no matter how long it may take to take this form. For me, it took facing loss head-on to realize that the world wasn’t out to get me. This complete loss of sense of self, a journey that started almost seven years ago, opened itself up to me as a redirection from what no longer benefited my well-being. I was so desperate for connection that the emptiness showed me how valuable the connection with myself was to nourish.

That connection with myself has helped me to accept the presence of change. It helped me recognize that I am an ever-changing being. I don’t want to stay the same all the time. I want to experience.

Evolve. Grow. Learn.

Reconnecting with myself helped me to strike a balance between experiencing community and solitude and, therefore, fit into the world.

I could be whole and hold my desire for connection close.

— DIANA ALEXANDRIA RICCIARDI / ETOBICOKE, ONTARIO, CANADA

— HALLE CATHERINE BANKS / SEATTLE, WA

— Photos: Jaclyn Robyn • Photo Assistant: Quavondo

— Models: Maisie Dennon, Madelyn Francesca

— Creative Director & MUA: Halle Catherine Banks

(MORE) ON INTIMACY

It seeps and spreads in the space in between, in the discursive ellipses of that which is ineffable. Legible, inexpressible.

An extension of being touched.

A shared longing. Mutual holding. A moment-to-moment practice of staying with. A familiarity, one that leaves a mark. An imprint, a thick presence.

It is an insistence on contradiction. Positioned in the middle of things. Simultaneously too close and not close enough. Perhaps stretching and straining are the same. Sympoiesis. Silence. Closeness without proximity. A wordless, multiple, diffuse touch. Gestures in suspension, an ongoing animation of the past.

An impact, a dilation drawn into form.

And I can’t stop thinking about this abiding, evanescent sensation. This spiraling force of longing without belonging. What it means to linger in this atmosphere, for it to subside in my body. I long for her, for her comfort. I find myself longing for her presence, yet together, we ache. There are bruises that ache. Bruises that are tender, who affirm not an explanation of their source, but merely the presence of a sore spot. A soft spot. So together, we ache. Ache from each other, but not with each other. We ache as a phenomenon of mutual-implication without mutuality. I sense that I have bruised her, and it leaves me raw and sore and aching in turn. I wonder if she feels the same. I suspect she does.

Together we ache. Apart, I feel her most strongly. Feel her as a feeling, as an absence. A yearning. Something of melancholy or nostalgia. A yearning. A yearning for my life source, for myself as Other. I crave the peace and solace of comfortable silence, of gentle touch. Of silent communication, of peaceful presence. Of trust and mutual understanding of our inextricability, our eternal connectivity. What affects you affects Her affects me. For I am Her and you are Me.

And I wonder how we can be held in this suspension, how to hold one another. Suspended, together. Can the air ever be cleared? Would we want it that way? Perhaps it is a question of how to adjust our breathing practices so as to better inhale. Inhale together, so we are neither subsuming the other, drawing her wholly into the lungs of our own, nor imposing so much distance that we feel our breath as distinct on each other’s faces, imposing so much distance that we forget that our breath belongs to both of our bodies, is shared. I want us to hold each other, to hold together. Find moments and movements within holdings.

— TANYA GEGGIE / LONDON, UK

CONNECTION: THROUGH THE EYES OF A GIRL

— JENNA LAEL / BROKEN ARROW, OK

— Written and directed by Jenna Lael • Co-written by Kenna Marshall

DAFFODILS

— EMMA NGUYEN / TULSA, OK

• Model: Emma Miller

— Photos: Jenna Lael • Models: Livia Cassie and Kenna Marshall

Lira Yee is my best friend.

We grew up together in the same busy city, trading book recommendations in recess, scurrying off to the local library, and copying each other’s homework. Our friendship spanned more than a decade, complete with our real-life hangouts, after-school specials, in addition to our mental health breaks. Lira Yee has seen me at my worst, and I have seen Lira Yee at her worst. Our bond of friendship, we believed, could never break.

Nothing feels like it really changed when Lira Yee and I decided to part ways for university. I moved to England, and she moved to the west coast of the United States. The distance of our separation was not felt at first–we sent daily texts, some TikToks and a few memes along the way, with the conversations scrolling over to the last time we really hung out together in person. We met up once before we parted ways, exchanging letters and notes and reminders, for the next time we were to see each other. There was no fight, no brawl, but two 17-year-old girls, a dyed redhead and the other bleached silver, crying over our separation in the bookstore cafe with cats around us.

Lira Yee and I still had hours-long conversations as I decorated my dorm room, and as she decorated hers. We shared our first university experiences–college parties, first friend groups, homesickness, and night-ins. In our first year of separation, Lira Yee and I would take turns calling every week, gossiping about our friends, our issues and our shared collective thoughts on movies and television series that we are excited for. Then it waned as time went on. I missed calls from Lira Yee. She talked less and less to me.

I, Francine Kusno, was to blame, perhaps. I sowed my seeds into other friendships and figuring out the best way to navigate my new life.

Perhaps, Lira Yee was also to blame. She has since devoted her time to creating art, films and adapting to her new environment.

It was to the point, in my first year of separation from Lira Yee, I only knew of her new self from the ambiance of my smartphone-from the backlogs of texts, receipts and memes that proves to each other that we were still friends, even with the growing painful distance between us, unbeknownst to each other, until we saw each other again the following year.

We were no longer the two girls who exchanged book recommendations in the public library. Lisa Yee was a changed person, and so have I, from the adventures that we had in our year-long separation. Yet, we still have a bond, unbreakable through distance and time. That day, back in the same cat cafe we separated from, something snapped us into realization. Lisa Yee and I are two wood pieces displaced in a 500-piece puzzle, unable to find each other again from this welding separation.

“Lira,” I whispered to her, “are we still best friends?”

“I don’t know, Francine,” she whispered back, a furry black cat crawling to her lap, “do you think we are?”

“I think we’re just finding our way back to each other,” I chose my words carefully, a wry smile appearing on my face.

She gave me a happy smile, so big it might have left her shiny face.

“Good, because I miss my best friend, Francine Kusno.”

— KENISHA WIDYA / LEEDS, UK

Dad

So many words to tell you

Oh, how easy it could be to prepare them on a plate and deliver it to you

Instead, I serve you the leftovers I didn’t want

You’ve been given them for years of your life, and for the entirety of mine I had given you my crumbs left in emotional distance, and my cold soup that spells “can’t talk now, maybe later?”

Little had I known it was you all along who had cleared my table when I needed it most to make my own food

Turning the barely touched, half microwaved food into reachable opportunities Maybe my words haven’t reached you yet, but I promise they will be repaid with my service to you

We can share a seat at our table,

At your favorite spot

Tell me all about how you’ve grown up, and don’t worry too much over the food I promise to take what you don’t finish

This time

Mom

My mother places her love in the food she makes. She expresses gratitude in her 3-hour home cooked meals that were prepped

early in the morning, finished during the early afternoon, and delivered before 5 to make sure they were still warm. A whole serving of eggrolls for anyone who was nice to her during the year. She was everyone’s mother.

She is mindful of everyone when she cooks. A 7/10 for the spicy lovers, and a special “no spicy” dish that was prepped entirely separate from the spicy dish.

She is impulsive about the amount of oyster sauce or vegetable oil that goes into her food, but is aware of keeping enough for next week’s dish.

She will outwardly tell you that you are eating your food wrong, or that you are forgetting the cilantro that goes on top. Let me eat in peace! I always thought to myself, and still sometimes say.

But this is her display of tenderness. She will not let you leave the dinner table without seeing you physically stuffed from food, and will silently drop off freshly cut fruits in your room. Food is the love language that my mother speaks, and is the language that I am slowly trying to pick up. It is how I feel closer to my mother, and how I am connected to her.

— KAYLA LANKFORD / SAN DIEGO, CA

GOOD REPUTATION

Music drives my life, as does it for many people. We as humans connect with music as a pastime, an art, a driver for emotion. In addition to this, I seek personal connections with musicians and other members of the music industry – it is such a positive influence on friendships and life to have these people in your world.

I met Ashley in passing, and learned that she played bass in the band Plush (@plushrocks) – an all-girl rock band that recently toured with Alice and Chains, as well as performing at every major hard rock and metal festival in the country. I was so happy to make this connection with her, which we funneled into this project.

We wanted to express all that we love about some of the greatest female icons in music history – Cherie Currie, Dolly Parton, Stevie Nicks. Each woman has created a connection that has remained for decades with other women entering the music industry, as well as countless numbers of fans across the globe.

— DASHA SEMYONOVA / SAN FRANCISCO, CA

— Model: Ashley Suppa • Hair & Makeup artist: Samson Smith

My name is Emma Devereaux and I’m a photographer based in NYC. For my submission, I decided to share the images of my friend Harper Barth’s art show I photographed back in September 2022. Through the painting, she showcases herself living in New York for one year.

A snapshot of my first year in the city, and how it felt. A lot of dualities of like divine feminine image/themes contrasted with the more masculine and brash background of NYC. Many of the paintings referenced pictures of strange things that I like and saw when I was exploring the city.

— EMMA DEVEREAUX / NEW YORK, NY

•

Photos: Emma Devereaux

Words: Emma Devereaux and Harper Barth • Painter/Model: Harper Barth

BRODERICK JONES

WORDS BY AVERY NOWICKI

PHOTOGRAPHY BY ANNIE BOLIN ONSITE ASSISTANT — AMIE DAKORSON

As BRODERICK JONES , the Kansas City based pop artist prepares for his latest EP, he’s taken time to discuss his career with Local Wolves. Telling us about his first few years as a recording artist, and how that led to him competing in NBC’s American Song Contest , followed by the repercussions of that major accomplishment.

Broderick Jones released his first single “Cuddle” back in 2015, before taking a two year break which resulted in the release of his debut album, Me. This album contained a polished studio sound that solidified him into the sound of artists from that era. After the release of Me, Broderick put out over a dozen singles, an EP, and another album, leading him and his signature pop sound to reach a dedicated fan base of 50,000 monthly listeners. Broderick first gained interest in becoming a recording artist in 2007, after watching Season 6 of American Idol. Since then, he’s been dedicated to his dream, leading him to be cast on the NBC television show, American Song Contest in 2022. On ASC, he made it to the semifinals with his self-written song “Tell Me,” which has since become one of his most successful releases. The process on American Song Contest , led to him writing his most recent single, “What Do You Want.” When asked what inspired the song, Broderick shared that when he announced his appearance on the TV show, suddenly those he hadn’t been in contact with for years were in his DM’s and Broderick used the song to voice his emotions. He released “What Do You Want” with a mini movie to go along with it, and has seen wide success since its debut. When asked about the experience of filming the mini movie, “It was pretty amazing. Being my first fully directed film I see directors in a whole new light. I really didn’t know how difficult it was to direct let alone be in it as well. The mini movie was an outcome of true teamwork.”

Since then, Broderick has released a recent collaboration with LANDR with a Chromatic sample pack and has recorded plenty of acoustic covers spanning across his social media platforms. As of now, fans can anticipate a new EP from Broderick coming in May 2023, and new releases coming shortly after.

CROCHET & KNITS BY VIVIAN JAMESON & FENN BRUNS

MODELS — FENN BRUNS, KATYA TSIKINA

ENTWINED

PHOTOGRAPHY BY VIVIAN JAMESON

LITTLE Image

Formed nearly a decade ago, the Dallas alt-pop trio first met on instagram during the pre-DM days and have been a tight knit outfit since then. Consisting of Jackson Simmons (vocals/guitar), Brandon Walters (bass/synth) and Troy Bruner (drums), the band made its return and went on with their musical endeavors in 2020. With COVID-19 hitting the world and life being on pause, the trio was given the opportunity to puzzle out their creative direction.

Their journey has definitely been a riveting one. From opening for Panic! At The Disco back in 2022, headlining their own show at The Moroccan Lounge in Los Angeles to embarking on a U.S tour with Colony House as we speak, it’s safe to say that they’ll have boundless opportunities in the near future, especially with new upcoming projects they’ll share with the world. After much anticipation on this band’s activities, their debut album SELF TITLED is set out to be released on May 12. So, while you await this rousing album, read ahead our little chat with LITTLE IMAGE

How did you all meet? How did the band name come about?

Jack Simmons: We all met on Instagram, pre DM days. I had written some songs and wanted to start a band and I saw Troy and Brandon were killer musicians and I commented on their posts to get them on board. The name just describes how we look at the band and the music. We as the band are just a small part of something bigger, which to us is all the wonderful people who come into the journey along with us.

What kickstarted your music journey?

Jack: I remember vividly my dad owned a bakery when I was a kid and I would make drum sets out of the wheat buckets he had leftover. I would throw on VHS music video compilations and play along to my favorite songs. I always pretended to be in a band in my garage as a kid.

You made a comeback in 2020 when COVID-19 first started, did the pandemic have any effect on your music? What was that experience like?

Jack: It definitely had an effect on the music. In 2020, we thought we were ready to break out and release a bunch of music and do a long touring schedule, then the world shut down. As hard as it was to push through such a weird time as a band

in a world with no touring, it definitely gave us the opportunity to really sit down and dial in what we wanted to make. We refined some songs we thought were done, ditched some of them and made new ones, and just took time to figure out the concept for the album.

As compared to your EP OUT OF MY MIND, how different would you say this upcoming album is? Which song was the most fun to work on?

Jack: I would say there is a lot more depth for us on the full length. Some of the songs were written so long ago but have always been so special to us. I think the full album encapsulates the meaning of SELF TITLED so well when it’s listened to as a whole. My favorite song to work on was the final track on the album called “GLUE ” It has this Sigur Ros meets Toro y Moi vibe that just flows so easily and it was one of those open ended musical pieces that could go almost any direction.

Since you’ve been a band for about 8 years now, do you have any “one for the books” moments?

Jack: Our first time playing an arena with Panic! At The Disco was definitely one for the books. We had some serious technical difficulties during sound check and almost had to be fork lifted off the stage, but the moment everything worked we felt so relaxed and ready to play the biggest show of our lives so far.

As a band, how do you incorporate your ideas and differences into your music? What is that creative process like?

Jack: We use our differences to our benefit most of the time, we’ve learned to trust each other so much and realize that without that wild idea that maybe I wouldn’t personally come up with, the song wouldn’t be as special without it. The

songs never feel finished without everyone touching them, it’s such a group effort for us in the studio and in writing situations.

What’s one song you enjoy playing live the most?

Jack: The most recent song that came out called “BALLET” is our favorite to play currently. It has an easy to learn chorus where we’ve noticed people who have never heard it, learning it by the end of the song. It’s very anthemic and feels like a very culturally relevant song that I think we can all relate to.

You work with music a lot and constantly have to listen to it, do you deem music as an emotional outlet for yourself?

Jack: Most times, music is very emotional for me. Whether it’s hearing a song that speaks to me and tugs on the heart strings, or writing something that means a lot to me. Sometimes I’ll be writing something very simple that doesn’t even feel that emotional, and I’ll find myself crying in the middle of the process. It’s definitely an outlet but also draws out some emotions in me a lot of times.

What’s a favorite track of yours that will always hold a special place in your heart?

Jack: The track “NEW LOVERS” holds a very special place in my heart. My parents went through a pretty brutal divorce when I was 18 and I wrote many songs about that time, but “NEW LOVERS” was the one that felt right.

I know you’re about to embark on a North American tour with Colony House soon, what’s one thing you’re definitely going to bring on tour? What are you most looking forward to?

Jack: This sounds so silly, but our van tends to break down a lot on the road and I got myself a crazy impact drill for when we pop a tire. We’re like a full pit crew when it comes to van breakdowns, always gotta have some solid tools.

To conclude this interview, besides the release of your album, do you have any plans for this year? Any particular goals you want to achieve?

Jack: On the music front, lots of traveling/touring, we’d love to go overseas this year, we’ve never done that. On the personal front, I love riding dirt bikes and one of my goals is to do my first race this year– I have been training a lot with my father-inlaw who’s a legend.

RAPID FIRE QUESTIONS

Do you remember the first song you ever wrote? Where is that song now?

Jack: The first song I ever wrote was about my baby sister. It was very simple and never saw the light of day, but it was very special to me.

Do you think the music industry has changed over the past 8 years?

Jack: 100%. We started in the beginning stages of streaming so we aren’t unfamiliar with that, but we have still been getting used to the social media aspect of everything. It’s a very powerful tool that we are excited to continue to learn.

If you could only listen to one song per year, which song would it be?

Jack: It’s a tie between “U Got It Bad” by Usher and “Juicy” by Biggie.

“The songs never feel finished without everyone touching them.”

Wallice

Wallice Wallice Wallice Wallice Wallice

WORDS BY ANG CRUZ

PHOTOGRAPHY BY HARVEST KEENEY

In her hit song “23,” former jazz school drop-out now singer-songwriter WALLICE sings, “I’m terrified of the future, scared that I’ll still be a loser.” Now at 24 years old, with two EP’s and multiple singles under her belt, a record deal with Dirty Hit, and having opened for some of the biggest names in indie music along with headlining her own tour – it is clear Wallice has an exciting future ahead of her. While working on a new EP that she alludes to be her most “me-focused” release yet, Wallice took the time to speak with Local Wolves about her artistry, how her connection to her Asian identity inspired her latest single “Japan,” and the possible end of cowgirl Wallice.

YOU MAKE A LOT OF REFERENCES TO BEING A JAZZ SCHOOL DROP-OUT, HOW DO YOU THINK YOUR BACKGROUND IN JAZZ INSPIRES YOUR SOUND?

I only went to jazz school for a year, but I really loved studying jazz in high school. It’s funny because right now my whole band is all jazz musicians. My guitar player, who’s my boyfriend, is a studio jazz guitar graduate and my other two band members used to study jazz but graduated with other degrees. So I’m the only drop-out, but I’m still surrounded by it a lot.

I don’t know if you can necessarily hear it in the sound, but it’s more in the delivery. I think while writing music, studying jazz compared to pop involves more music theory and allows you to know what you’re writing a little better. Just following the strict rules and deviating from that to make something really unique.

YOU’VE BEEN TOURING A LOT RECENTLY, AND JUST FINISHED A HEADLINE TOUR. WHAT HAS BEEN YOUR BEST MEMORY WHILE TOURING?

It’s a bit harder being an opener, you have to win over the audience every night. But it’s really nice. For example, in Seattle a couple of nights ago I played, and it was a really smooth show for once. A lot of people came up to me afterward and were like “Oh I didn’t know who you were, but I loved your show, and now I saved all your music on my Spotify.” But my favorite memory is at the LA show from my headline tour when people put up their phones with their flashlights on. It was the first time that had happened, and I started crying. It was really emotional and really cool.

YOU RELEASED A NEW EP WITH A SONG CALLED “FUNERAL.” IN THE MUSIC VIDEO, YOU DECLARED THE DEATH OF COWGIRL WALLICE. WHAT MADE YOU WANT TO END THIS ERA AND WILL WE EVER SEE THE RETURN OF COWGIRL WALLICE?

The cowboy aesthetic was really trendy for a long time, but I do think even before I had music out, I had cowgirl things. But looking back now, the first EP was very cowboy aesthetic. And we still kinda have it, like with “90’s American Superstar.” But this next EP is less character-driven but more me. But I’m sure when it comes to album time or future albums, the cowgirl aesthetic will come back in little bits but never full-on. Unless I do a country song, which would be really funny.

ON THE TOPIC OF YOUR PREVIOUS ALBUMS, WHAT INSPIRED YOU TO TAKE A MORE CHARACTER-DRIVEN APPROACH WITH YOUR LAST EP?

When writing songs I write a lot of them about friendships or things that happened, but I think it’s easier to sound more relatable that way. But with the last EP, we wrote it in a short amount of time so while I was going through it in my head I really liked albums and EP’s that have a central theme or something that makes it sound together rather than a bunch of random songs. And I don’t think anyone else other than Marinelli, my producer, or my managers were picking up on that like “Oh this is a story, now I see that.”

YOU SAID THIS NEXT EP IS MORE “YOU” FOCUSED. CAN YOU EXPLAIN WHAT YOU MEAN BY THAT?

It’s more about my experiences than character-based. It’s funny though because I’ve started a lot of songs with other people that aren’t just Marinelli, but he comes in at the end and makes it all sound better. There’s one song on it called “Quarterlife,” and it’s a song about me that I haven’t really had since “23.”

SPEAKING OF “23,” YOU HAVE A KNACK FOR TACKLING REALLY TOUGH TOPICS BUT MATCHING THEM WITH CATCHY BEATS. WHO DO YOU CONSIDER AN INFLUENCE ON YOUR SOUND?

I grew up listening to Radiohead, Weezer, and Lana del Rey. I don’t think I sound like them, but you can hear each of those references. More recently I love Japanese Breakfast and Mitski.

YOU’VE BEEN A PART OF THE DIY INDIE SCENE FOR A WHILE AND HAVE LIVED IN REALLY ART-HEAVY CITIES LIKE LA AND NEW YORK, HOW DO YOU FEEL THESE CREATIVE COMMUNITIES HAVE INFLUENCED YOU?

I met my producer Marinelli in sixth grade because we went to middle school together and we started working together when I was seventeen. He’s the first producer I’ve ever worked with and I’m really lucky to have found that connection because we work really well together. I met a lot of women I’ve worked with like spill tab and Maise Peters, we’re all small indie pop and different genre artists who came up together at the same time during the pandemic and have found an audience. I’m from LA, and I know how lucky it is to have been born and raised there and find a lot of artists that I can meet and work with compared to if I lived in a smaller town where it would be harder to find people to work with.

I WANTED TO TALK ABOUT “JAPAN,” BECAUSE IT TALKS A LOT ABOUT THE EXPERIENCES THAT A LOT OF ASIAN AMERICANS HAVE. WHAT WAS YOUR PROCESS FOR WRITING THE SONG AND FILMING THE MUSIC VIDEO?

I’ll talk about the video first, when I made the song I thought, “It has to be in Japan.” The border wasn’t open until the beginning of October, and I think the song was finished in late September and I was thinking, “We could go to Japan now!” So me and my tour photographer, Nicole Busch, went to film for five days on Super 8 and it was really special. It really captures the nostalgic feelings that I’m singing about.

I started writing it with a producer named Tommy English about a year before it came out. We worked on it for two days, and I just wrote it really quickly while he played something on the guitar he wrote during COVID lockdown that he kept coming back to. But I think a lot of children of immigrants can relate to having distance from their parents’ cultures and wanting to be closer, but not feeling a part of it. Being half Asian I’ve felt too white for my Asian side, and too Asian for my white side, and I think a lot of people can relate to that.

DID YOU ALWAYS PLAN ON HAVING THE MUSIC VIDEO FILMED IN JAPAN?

I was trying to think of ways around it just because the border was closed for so long. I was like “We can’t do green screen because Phoebe Bridgers wanted it for her song “Kyoto.” But it had to be, I couldn’t think of any other option. I’m so glad we were able to go.

YOU’VE COLLABORATED AND OPENED FOR A NUMBER OF MUSICIANS, WHO WOULD BE YOUR DREAM ARTIST TO COLLABORATE OR TOUR WITH?

We’re opening for The 1975 in Australia in April which is pretty crazy because that’s going to be in arenas that I’ve never played in before. But I’d love to open for Mitski or Japanese Breakfast. I’d also love to have a song with Joji.

I THINK THAT’D BE A GREAT COLLAB. MANIFESTING THAT HAPPENS. I think so too!

WHAT CAN FANS ANTICIPATE FROM YOU IN THE FUTURE?

We just did a video and photo shoot for a song called “Best Friend” the day before I left for tour, and it looked so cool. I’m excited to see that. The sets from the music video are so intricate and we just started working with a creative director, Wesley Goodrich, because I’ve been so busy planning for tours and working on EP’s. I’m a little nervous to let go of that control, but hiring a team has been really cool. Everything I’ve been imagining she’s been able to bring to life.

I REMEMBER READING SOMEWHERE AT THE BEGINNING OF YOUR CAREER YOU WERE DOING A LOT OF THAT WORK YOURSELF, PRODUCING YOUR OWN MUSIC VIDEOS AND FILMING THEM – HOW DOES IT FEEL TO WORK WITH A BIGGER TEAM? It is so cool. There are so many art department people like a stylist, a hair artist, a makeup artist. I would have to go to different vintage stores and source my outfits for videos and tours and do my own make-up and hair, so it’s so nice to sit down and have it done. I felt like such a pop star when I was on set.

LASTLY, WITH ALL OF YOUR SUCCESS, DO YOU THINK YOU’RE CLOSE TO MEETING “RICH WALLICE?”

Not quite. I always make a joke about it before I play that song where I go, “Hey guys, do you ever wish you had more money? Me too! That’s why you should buy my merch.” I don’t think I’m close, but I believe in myself, and I know I’ll get there one day.

LAND TO SEA

WORDS BY HAZEL RAIN

PHOTOGRAPHY BY ESTHER KIM

Meet LAND TO SEA , a cafe in Brooklyn that fosters community and creativity, founded by Emily Shum and Eva Zhou. This lovely shop serves locally roasted coffee, tea and Chinese pastries.

The process of bringing Land to Sea to life began in late 2020, “amidst the chaos of everything that happened that year, when self reflection was at the forefront of our thoughts. We felt scared about what the future entailed, which quickly transformed into motivation to live the way we wanted to, to do what we’ve always wanted to do – and that was to open our own business that represents our upbringing and heritage.” Many aspects of the cafe were inspired by Emily and Eva’s pasts growing up in their parents’ Chinese restaurants: “Emily in Brooklyn, Eva in the Midwest/South. That sense of entrepreneurship and hospitality was instilled in us from a very young age and we knew we wanted to continue this line of work in our own way.”

One special aspect to Land to Sea is the incredible drinks they offer, which would be hard to find anywhere else. The Spring menu includes the Rosewater Americano and the Lavender Peaflower Matcha. These specials are a result of staff brainstorms, and specific themes. Spring was garden-themed, and after trial and error and taste tests, these new drinks were born once the staff unanimously agreed they were delicious.

As they are constantly making high quality drinks, it was hard for them to choose a favorite. One that stood out during the Fall season was the Five Spice Mocha, a rich flavored drink made from a housemade mocha syrup infused with a Chinese 5-spice blend, giving it a simultaneously sweet and savory taste.

Emily and Eva chose to intertwine coffee and creativity in this community based space because of the ways in which coffee and tea foster togetherness. “The ideas that helped shape Land to Sea were shared over a cup of coffee at Win Son Bakery!” they say. “In its essence, one of the biggest parts of Land to Sea’s ethos is to be a hub for creativity, to build a community – a home away from home for folks from all walks of life. Coffee is one of the most consumed beverages in the world, and at the very least, we hope people can connect over a cup of delicious coffee.”

"That sense of entrepreneurship and hospitality was instilled in us from a very

young age and we knew we wanted to continue this line of work in our own way."

Along with unique coffee combinations, Land to Sea’s dedication to creativity stands out, featuring many exhibits and events. For April, the featured exhibit was Shapes of Identity, emphasizing the relationship between individual essence and physical environment. The artists Ashley Kim, Taj Francois, Mancie Rathod, Lauren Shin, Chang, Lex Nikol, and Kana Motojima created portraits that each uniquely explore identity and shared humanity. A new summer exhibition will follow in June.

Among many exciting events, “Loose Leaf” is the newest, a monthly open mic poetry series dedicated to mindful engagement and creativity, in collaboration with Tea Haus. In the future, Land to Sea is very interested in introducing private coffee tastings and cuppings as a new way of providing unique experiences to the community. For Emily and Eva, their favorite event they’ve put on so far was the first birthday of the cafe. “It was the first time we were able to see the fruits of our labor. It was a hugely challenging year, one filled with lots of blood, sweat and tears (literally), and to see so many folks come out to celebrate us was a beautiful experience. We’re honored to be surrounded by and supported by the community.”

For creatives interested in reaching out with a potential project, you can contact Land to Sea through their website with any ideas in mind. They have a platform dedicated to platforming independent AAPI and BIPOC creators, and are open to all projects. If you’re interested in helping to support Land to Sea outside of New York, tell your friends about this beautiful space! Additionally, try their coffee via their online store. A subscription plan for their coffee beans will be launched soon. Many people come from all over the world to participate in this coffee shop; it is a place anyone can enjoy.

Land to Sea has many exciting plans for continuing to engage with their community and serve their delicious beverages and pastries. “Land to Sea shows that there is more to home than the places we find ourselves in. We hope to continue sharing what home feels like to us, and how it connects us all.”

Yorae eht baR ti Y rae o t h e Ra bitYearo the Rab it Y ear o t h e aR tib

BY VICTORIA NGUYEN

This new year is not only the Rabbit year but also the year of the Golden Rabbit. Due to it being a leap year, the Lunar calendar recognizes this year as the Golden Rabbit because it signifies a momentous “two-time seasonal change” within the Lunar New Year calendar– a year that only happens once every 1000 years. This shoot is sentimental and nostalgic for me because I am the Year of the Rabbit! This brought back memories and nostalgia from my childhood.

DESIGNER/CAMPAIGN: MARY LO

STYLING: HUNTER CORDELL

MODEL — BECCA

ONSITE TEAM:

JOSEPH NGUYEN, PATRICK LE, JACOB TRAN, ISO400

Ka it i Yoo CONNECTIONS, CHANGES, AND CIRCLES: AN AFTERNOON WITH

WORDS BY ARIELLA NIKITA LAI, PHOTOGRAPHY BY SRAVYA BALASA

PHOTO/LIGHTING ASSISTANTS — HYNING GAN, ESTHER KIM, DILLON MATTHEW

HAIR BY CAYLEN CARA, MAKEUP BY HANNAH LAUREN

STYLING BY SRAVYA BALASA, FLORALS BY ELLIE SIEGEL VIDEOGRAPHY BY MISHA PATEL

Connections in a

digital space that’s ever-evolving is something that’s easy to be found but difficult to maintain. As content creation grows into something more one-sided, it’s easier to develop parasocial connections over real ones. However, 23-year-old KAITI YOO has challenged that belief, especially for those in her evergrowing community. Her rise to influencer-dom began from YouTube videos she posted during the 2020 pandemic as a way to cope with her existential crisis (her words, not mine!). Through her fast-paced videos and meme-saturated content, all notably very Gen-Z, she garnered almost 845K subscribers across platforms since she began in 2020.

“I’d say hi, my name is Kaiti Yoo.” Kaiti’s answer is interjected with a short laugh over the Zoom call as I asked her about how she’d introduce herself to someone new. In between her busy schedule, I had the chance to sit down with Kaiti over a Zoom call where she looked absolutely glowing with an infectiously bright energy. She often focuses on getting to know more about the other person first and to find if they have any connections. “That’s how I usually introduce myself to a new person and ask about them and then go from there to see what connections we have.” She concludes before diving into her identity and culture as aspects that define her and her journey in the digital space.

She reminisces about growing up as a young Korean-American who was brought up with access to the internet and that her growth in the digital space was also influenced by K-Pop, K-Dramas, and the early Asian-American YouTubers. “So it’s crazy to see how much of those details have accumulated when I was a kid and I didn’t even know that I was passionate about these things…” She highlighted, before crediting the digital space as being the place where she’s been exposed to a lot of people she would have otherwise not met.

From her days interning at A24 to her video diaries of her last days in Brown University, Kaiti’s fast evolution in the digital space is something that she considered a blessing and a curse. “I don’t want to use the word curse because I feel like that’s very extreme, but my fast growth is obviously something I’m very incredibly grateful for.” She likens her growth to the trees in Arizona where she grew up – growing quickly but lacking the roots to support it, causing them to topple over when a storm hits. As a result of her fast growth, issues such as writer’s blocks and other instances when things

don’t go according to plan, hit her hard because she didn’t face much hardship in the beginning. “Everything is double sided, everything evens out, I’m in the process of building that foundation.” She tells me it all led her to her upcoming era where she plans on prioritizing extending strong roots.

It took some time for Kaiti to find herself holding onto this mentality and realization as she navigates through the changes in her life. “There’s nothing more scary to a human than change, however there’s nothing as formative and essential to a human being as change, and that’s been something that I’ve really come face to face with in the recent years of my life.” She accredited the pandemic to being one of the greatest pushes of change in her life, as she took to the internet in the midst of it and she found it to be a source of comfort to her and others. However, in the latest stage of her life, she sees that she has to take a different approach in how she deals with change in her life, however she remains excited, “(...) I feel like change and pain are the chapters in your life where you’re growing the most and learning the most, like happy seasons are great but you’re not really learning much, and so I’m really excited to take the lessons that I learned from any period of intense change and bring this brand renewed mindset to my digital platform and my career.”

Kaiti also opened up about her latest mental health diagnosis and how it caused her to take a step back from her content creation and brand deals, as it began to feel more about deadlines and making third parties feel happy rather than her being able to be creative. Although it was her YouTube videos that helped her build her platform, Kaiti now chooses to create more through short form videos that combine fashion and her own thoughts and views on life. She’s been open about her struggle with remaining to stay in love with content creation, as well as her own attempts in trying to fall back in love with it. “They don’t feel intimidated.” Kaiti says when I ask her about her current preferred shorter videos, compared to the longer videos that she posted in her earlier days. Scripting for her videos is something she does every Tuesday and to keep herself grounded, she takes time to leave the house multiple times a day, especially since content creation is something that’s more localized inside her own home.

Ultimately, it was change that made Kaiti realize the importance of community, “(...) I feel like if you undergo intense change without a support system it could be very very hard so it’s reminded me how much I need to be mindful about the people I surround myself with.” She tells me, crediting her

“I feel like change and pain are the chapters in your life where you’re growing the most and learning the most.”

best friends from college to be the ones who can give her advice and call her out during moments of existential crisis and breakdowns. Her best friends kept her humble and accountable as she progressed on this journey. They were the ones who reigned her in when her head got too big (her words not mine!) and she once again pressed upon the importance of having an inner circle.

However, Kaiti’s views towards building connections and community haven't always been a priority. Kaiti admitted that growing up, connections was one of the last things on her mind and it was one of her last priorities in her life. Growing up, she was set on a mindset that she needs to save money and build security in her life. However, her mindset has shifted since then as she held onto the question of ‘What is the point of making money if you don’t give to make connections?’ and she realized that everything was to build connections. It’s what led her to the idea of sharing the money she makes with everyone, an idea that she translated into the scholarship fund to give back to her online community.

The scholarship fund was an idea that came to her from Christian faith and came to mind when she was praying. It took the help of her two best friends for her to sort through the numerous applicants when she first announced the scholarship. But even with the fund, Kaiti laments that sometimes she feels like it isn’t good enough and if anything, the applicants help her more than she helps them. In 2023, the scholarship fund took a new body as she asked for video essays so she could see the people who were applying for it.

Through her honesty and genuine nature, Kaiti is seen by many as a source of inspiration, be it as an individual or as a content creator. The platform she’s built was one that came together rapidly and reached heights that people would only dream about. From her days as a student in Brown University to being invited as a guest speaker in Harvard, her high-achieving nature became something that people found hard to match up. The reality of her situation is one that takes bravery for someone to open up about and she reminded me (and everyone) of one very important thing: “No one has it together.”

CAN I ASK YOO A QUESTION…?

with Kaiti Yoo

WHAT BOOK SHOULD EVERYONE READ? Atomic Habits - it’s full of wisdom

WHAT’S YOUR LATEST PURCHASE? Whipped cream cheese, I love it.

WHAT ITEM CAN’T YOU LIVE WITHOUT? My earplugs because NYC is very loud

WHAT’S YOUR BIGGEST HOPE FOR THIS YEAR? I can learn to fully trust

WHAT SONG CAN ALWAYS HYPE YOU UP? Shut Down by BLACKPINK

WHAT’S YOUR FAVORITE FASHION ACCESSORY? A nice fitting baseball cap

ON COURT THE

PHOTOGRAPHY BY FELICITY ZHANG

STYLING BY MORGAN HABERFIELD

MODELS — LENA MARIE & PJ

Gemini

WORDS BY AVERY NOWICKI

PHOTOGRAPHY BY HARVEST KEENEY

PHOTO ASSISTANT — VICTORIA LE HAIR & MAKEUP BY MINA AN

GEMINI is an artist known for his quick rise to stardom in Korean R&B. In the short three years he’s made music, he has already achieved mass success with dozens of singles charting as far as his song “Know Me” which hit No.1 in the Viral-50 Vietnam charts. His music career has also allowed for collaborations with brands like Heron Preston, the American streetwear designer and artist and Dazed Korea magazine. With the wrap of his recent ‘Still Blue’ North American tour, Gemini found time to discuss his career accolades with Local Wolves.

When asked about the tour experience, he recalled the overall exhaustive nature of hitting 10 cities in 11 days, saying “I tried my best to give my all during the one-hour span of all my shows. Seeing all my fans was so inspiring and rewarding.” Before hitting North America, he’d completed a 3-day European tour in May of 2022 spanning from Amsterdam to Paris, where he toured with Mirani under ‘Cult of Ya’. During his North American tour, he further implemented his unique and designer clothing style into the theme of the tour, he told us: “For styling, my main goal was to create a look under the tour name “Still Blue”. I think my vibe is very different depending on my wardrobe so I also try to play with that in different locations I go to.” We see his frequent interactions with high-end streetwear brands crossing into his music with the dozens of designer brands like Off White, Diesel, and Palm Angels often endorsed on his social media platforms. Gemini even modeled for Calvin Klein in October of 2022, when asked about the experience, he said “For this campaign with Calvin Klein, I got to work with photographers that I always wanted to work with. It was an honor and I really respect their work.” He’s also been experimenting with stripping back his music in a recent acoustic medley with his producer Kwaca, where fans were able to hear a raw and honest voice coming to the songs they love so dearly. When asked about the origins of this piece, he was quick to credit his close friend Hwimin, the CEO of GroovyRoom and his record label At Area. When asked about the project, Gemini told us: “He directed the whole piece and after looking at the final product, I was thrilled. I was amazed by his scope of work and his capabilities in directing. If I were to do another acoustic medley like this, I’m thinking of maybe doing a cover medley on some of my favorite songs now.” We also took some time to discuss skateboarding, a secret hobby of his that fans can find in his video for his recent song “She Lives in Paris.” When asked about skateboarding, it is something he’s enjoyed for years. “I’m not great at it but I originally started it because I have so much respect for the culture. In my eyes, the culture is not about showcasing tricks and looking cool, but it is about overcoming your obstacles, falling but never ceasing to face your limits. I love the outlook and perspective on that.”

Finally, we took a moment to reflect on Gemini’s latest release, the EP Still Blue. He told us how the EP originally came about, in that the idea was first created in a slew of long conversations with Kwaca, his producer and frequent collaborator. “When we meet for a session, we start by talking for hours. It’s a casual conversation at first and we pull ideas from that. Conversations, my thoughts, and my interaction with Kwaca are all roots of my album.” He shared that his favorite track off the EP was “Love is Banned,” telling us “Kwaca sent me an idea for this track a year ago. I honestly forgot about it but one day, I was going through different files on my laptop and found it. I worked on it right away and loved my theme and title.” According to Gemini, his next album is already underway.

JACKET/PANTS: MICHAEL JAEJOON KIM

FACING Our FACES

PHOTOGRAPHY BY GEORGINA BERBARI MODEL — MINAMI ANDO

HETERO

WORDS BY ANG CRUZ

CREATIVE DIRECTION BY TIFFANY PHUNG

STYLING BY GEMMA CROSS

SAN FRANCISCO

PHOTOGRAPHER BY CAROLYN WANG

LEAD COSTUME DESIGNER — CLAIRE MATTINGLY CO-DIRECTOR/WRITER — KJ KIERAS

SEATTLE

PHOTOGRAPHY BY TIFFANY PHUNG

LEAD (ZEL) — ADRIANE WATSON

LEAD (MICKEY) — EDEN BLANFORD

LEAD (QUINN) — SABINA BUENSUCESO

CO-DIRECTOR — BENTLEY ELDRIDGE

MUSIC SUPERVISOR/STYLING — GEMMA CROSS

ART DIRECTOR — LEW WALKER

ASSISTANT COSTUME DESIGNER — NIA/LEO FLETCHER

COMPOSER — SAMARA LENNOXX

SET DESIGNER — SOFIA VALENTA

BOOM OPERATOR/SOUND MIXER — SOLEIL COWAN-QUAN

LOS ANGELES

PHOTOGRAPHY BY ANA OQUENDO

LEAD (COHEN) — JONAH BLUE

CAST (SARAI) — JUBILEE LOPEZ

LEAD (OLIVIA) — MCKENSIE SHEA

HETERO focuses on a group of friends who aim to save their high school’s gay-straight alliance, thus building a community. This arc parallels the story of Third Charm Films, a production company of young LGBTQ+ artists who came together to film this passion project inspired by co-director KJ Kieras’ own experiences attending a Catholic high school. Balancing comedy and realism, while also approaching serious topics, the show has amassed nearly 315,000+ views on YouTube and millions of views on TikTok with its first season. What began as a small group of zealous creatives, has turned into a community who resonates with Hetero’s story.

With a potential festival run and second season in the works, Local Wolves spoke to Hetero co-directors, KJ Kieras and Bentley Eldridge and set designer, Sofia Valenta to tell us more about how this production came to be.

CAN YOU DESCRIBE THE MOMENT YOU BOTH DECIDED TO PURSUE THIS PROJECT?

KJ: I started writing this a long time before anything else happened. I was in my freshman year of high school sitting in English class and we were reading this story and I was zoning off and thinking about turning it into a story and that’s where it started.

BENTLEY: I remember the very moment that I saw the story on KJ’s friend’s Instagram Story. It was the Fall of my junior year, and I had been sitting alone getting food in a grocery store when I saw they were looking for someone to help them make their script into a mini-series and so I immediately responded. That was the first pre-interaction I had with KJ.

DID YOU TWO KNOW EACH OTHER BEFORE THAT?

KJ: We didn’t. I had the script written and my best friend is kinda an influencer who has a big following and posted it on their story being like ‘Is there a queer filmmaker in Seattle who wants to make this script happen?’ And Bentley responded.

BENTLEY: Yeah, and at that point in time I wasn’t out and I didn’t even know necessarily whether I was bi at the time. But basically what happened was that KJ sent me the script and I read it, and something clicked in me because I never had the friend group that they were writing about. I realized it was the friend group I wished that I had, so that was the biggest draw.

KJ, I KNOW YOUR REAL LIFE EXPERIENCES INSPIRED YOU TO WRITE THE SHOW – WHAT CONNECTIONS DO YOU BOTH HAVE WITH THE SHOW?

KJ: Just different places I drew inspiration from. I led my GSA in high school and we were always on the verge of collapsing and we had to deal with a lot of institutional boundaries and because of that, it was always a precarious situation. It never felt like we were being celebrated or attended, it was always, ‘Oh we’re going to be shut

down!’ And a lot of the characters and the way they talk to each other was taken from my own life and my own queer friend group. I don’t want anyone to think there’s characters that are directly taken from people walking around and everything is their experiences because obviously that’s not true, but I think in each of the characters there’s a little bits and pieces of people I’ve known and loved and that’s really tender for me and close to my heart.

BENTLEY: I see a lot of myself in Quinn, the lead, although I myself aren’t a non-binary lesbian. But Quinn resonates really strongly with me as a person and it feels more like a subconscious thing than a physical thing. I didn’t really find solace in my friend groups in high school, they weren’t queer friend groups or anything like that, and so I maybe didn’t recognize what I was missing until I found it. I can’t point at all my connections. I was just following my gut because I didn’t know what I was getting into when I was reaching out to KJ. I didn’t know it would be a multi-year journey but it’s been one of the few things I’ve wanted to commit to for multiple years. I’ve never had that before with any project I’ve done.

ALONG WITH BEING CO-DIRECTORS, YOU BOTH ALSO WEAR MULTIPLE HATS. HOW DO YOU JUGGLE THE RESPONSIBILITIES OF ALL OF THESE ROLES?

KJ: I feel like I didn’t. (laughs) I definitely didn’t realize how stressful it is to put on a film production. Unlike big studios that have all this money and resources, we had to teach ourselves a lot – especially me, because I had not worked on a film set before. And most of the crew were people I knew from theater stuff and high school performing things, so doing film was all super new. There was also this aspect of me trying to be emotionally there for everyone in the stress of production because this story is really tender to people and was hard to film at times, so making myself there physically and emotionally was definitely hard. I also think the pandemic helped because there wasn’t anything else going on and now, I’ve learned how to not take so much on and to sit back and give things to other people as well. It has definitely been intense in good and bad ways.

BENTLEY: Yeah, I’m not sure if it would come together the same way if the pandemic hadn’t happened. I know we were originally going to film on weekends in the Spring of 2020, and what we ended up doing was filming in the summer when there really isn’t anything to do. So, I wonder if there had been a little bit more in everybody’s lives if it would have fallen apart. Like KJ was saying, there’s a lot that got cancelled for safety and we ourselves were worried that there was a chance someone could get COVID and we wouldn’t be able to finish.

KJ: COVID just derailed everything because we were supposed to start filming. We had to rewrite a ton of stuff,

like if there were group scenes we’d have to write everyone outside or if there were scenes with just two people they’d be spaced apart. Luckily no one got COVID, but we were also testing and masking and all that good stuff. But it was definitely a curveball.

WHAT DID YOU LEARN FROM THIS EXPERIENCE, ESPECIALLY SINCE IT WAS YOUR FIRST TIME ON SET?

KJ: I learned so much. I heard this thing from someone, “You can only know what you don’t know once.” And I think the ambition I had and the willingness to take this all on is something I don’t have now as a semi-adult, but was something I had as a teenager. I definitely learned a lot about the technical skills of being on a set and how to deal with people and make a big creative project happen and put all the parts together. There are a lot of parts I would’ve done differently, and looking back on it if we go through the show right now there’d be a million spots where I’d think ‘I would’ve directed this scene differently or written that joke differently.’ But I do think it’s a time capsule for a moment where I had this really ambitious, over-the-top thing that I wanted to happen but I didn’t have the reality check I do now about how the real film world works. I didn’t have the reality check I do now, which was cool in a lot of ways.

BENTLEY: I knew we were probably putting way too much into it as people– that is not sustainable. Not that I wouldn’t want to go through this process again, or that it

was a bad experience, but it was an extreme amount of learning. There were a lot of different factors and logistics that were all these situations we may not have been prepared for as a handful of people trying to tackle what a serious production is supposed to have dozens upon thousands of people handling.

DO YOU HAVE ANY WORDS OF ADVICE YOU WOULD GIVE YOURSELF NOW FOR WHEN YOU FIRST STARTED FILMING?

KJ: Don’t be afraid to ask for help. That people really respect you to voice the things you’re struggling with even if there’s a lot of pressure to be a perfect version of yourself. Be upfront and honest in the places you’re lacking in.

BENTLEY: I’d say don’t be afraid to slow down. Something we did, even as we did fast filming, was that we took week-long breaks every two weeks during a span of six weeks. We were not filming as long as large productions, but most days we were getting to locations at 8 or 9 and leaving around 6, with a lunch break – and even that was difficult because none of us were used to that kind of endurance. So yeah, I’d tell myself for us to slow down even more because we shouldn’t hold ourselves to the standards of what is supposed to be but instead create a set of what we are capable of and take it one day at a time.

THE REPRESENTATION ON YOUR SHOW FEELS REALLY INTENTIONALLY DIVERSE, CAN YOU EXPLAIN THE PROCESS YOU BOTH WENT THROUGH IN CREATING THE CHARACTERS AND STORY ARCS?

KJ: I had this goal with Hetero of representing a queer friend group in a way that it hasn’t been represented before. I wanted to be intentional with how the group looked like and make sure the group was diverse with trans identities, different kinds of queer identity, and people of color to model what my friend group looked like. There’s things that if I went back on that I wish I was more intentional, like I would have sought out a writer’s room instead of writing things myself to make sure I was really doing justice to these characters. But in terms of crafting their story arcs, I wanted to be realistic with things I saw people around me going through and not have the whole story feel super traumatic and keep in grounded in connection and community like I saw in my own life.

BENTLEY: I have a memory when we were casting. There was me, KJ, our Art Director Lew, and Daisy – and actors were coming in to read the roles. Some of the identities changed a bit from how they were in the script to accommodate who we saw gave amazing performances.

YOU MENTIONED THAT SEASON 1 FOCUSES ON GAY PRIDE, AND SEASON 2 FOCUSES ON GAY WRATH – CAN YOU EXPLAIN WHY YOU CHOSE THESE TWO TOPICS?

SEATTLE GROUP

KJ: So, Season 2 is not being made yet. I hope someone gives us the resources and space to make it. But I wanted to write an arc for Season 2 that was super fun and revenge-based and the main story of Season 2 is someone comes back to school from the first GSA and wants to seek revenge on all the people who wronged her. It’s all super fun and I hope someone gives us the resources to make it.

DO YOU HAVE A CHARACTER OR CHARACTERS YOU RELATE TO MOST?

BENTLEY: Definitely Quinn. I would definitely want to be friends with Quinn first and foremost. I’m an extroverted person on the outside who tries to be social and corral people, which Quinn does in GSA. But inside, I’m a much more quiet and shy person. So when Quinn isn’t speaking and they’re just present and listening that may be some of the most I relate to one of the characters on screen. But I love all the characters. I like the energy of Mickey, the sassiness of Cohen, Sarai is really quippy, Zel keeps everyone in check in a better way than Quinn, and Olivia is coming at it where she thinks she’s straight but realizing she’s not and that’s something I literally dealt with because that was my journey with the show.

KJ: Me in high school was definitely Quinn, and in terms of identities Quinn lines up with me the most. The way they’re super outgoing but also super awkward, and wants to be loved by people but doesn’t know how to say it was very much me in high school so much that sometimes I want to cringe when I’m watching what they’re doing. But now in my current version I’m a lot more like Zel because they’re a lot more reserved and coming from a place wanting everyone around them to be okay. Also, dealing with anxiety struggles and feeling like an outsider in certain spaces and those are things I relate to more now.

FOR NEW AND RETURNING FANS, HOW CAN WE CONTINUE TO SUPPORT HETERO?

KJ: Follow us on social media.

BENTLEY: I think a real world thing would be to tell your friends about Hetero. You know a show is working when you want to tell your friends about and the first thing they should tell their friends is to follow Hetero and Third Charm Films on social media. It’s really up to the course to which destiny propels us. We would really like more opportunities for us to tell our story.

KJ: Oh, also if you’re a nepo baby and your uncle is like Mr. Paramount tell him to email us.

BENTLEY: (laughs) Yeah, production@thirdcharmfilms.com.

CAN YOU PLEASE SAY YOUR NAME AND WHAT YOU DO ON THE SHOW?

SOFIA: I’m Sofia and I was the set designer on Hetero.

HOW DID YOU GET INVOLVED WITH HETERO?

SOFIA: I’m friends with Lew Walker, who is the art director and got connected to the show. We’ve been friends since high school.

HOW HAS THE EXPERIENCE DIFFERED FROM WHAT YOU INITIALLY EXPECTED?

SOFIA: I definitely didn’t expect the audience we got. It was also really fun seeing things come together as we envisioned it. I was a part of bringing things to set and location scouting, and seeing the ending come together was super cool.

WHAT DOES A TYPICAL DAY ON SET LOOK LIKE FOR YOU?

SOFIA: It really involved me grabbing buckets of stuff from my house filled with props and costumes, loading it into Lou’s car, and throwing it into a room. If I were to ever rewatch Hetero I’d be like ‘Oh that’s my jacket. That’s my inflatable dolphin.’ It was really about making the characters alive. It was also about turning places into sets. We also couldn’t film at schools because of the pandemic, so we had to turn a community center into a classroom.

SEATTLE GROUP

WHAT WERE YOUR INTENTIONS AND VISIONS FOR THE SET DESIGN AND CREATING THE WORLD OF HETERO?

SOFIA: I will say that is more art direction than set design. I was more involved in the execution. One of the things that was definitely me was the rooms. I did Mickey, Zel, and Quinn’s rooms. It was really having to know the character and figuring out what they would have in their rooms. Like for Mickey it was a lot of hip-hop and trans pride. For Zel, it was very calm, plant mom type stuff. And for Quinn it was very GSA gay. I would say the inspirations, like Euphoria, came in lighting and promotional stuff and the things people directed me to do.

WHAT HAS BEEN YOUR FAVORITE MEMORY SO FAR SINCE FILMING?

SOFIA: It was really fun to film on Bainbridge Island. Taking the ferry was a big part of it. It’s super pretty there and there weren't a ton of people and we got to film at Bentley’s family friend’s house. They had this gorgeous property that was so stunning with a beautiful garden, and we got to set up blankets there while they filmed inside. Just getting to hang out with everyone and chatting with people, which happened a lot. It’s nice to go back to those memories.

THE SHOW HAS GOTTEN REALLY POPULAR, ESPECIALLY ON SOCIAL MEDIA, WHAT PARTS OF HETERO DO YOU THINK RESONATES WITH A WIDER AUDIENCE?

SOFIA: It’s a show created by queer people for queer people. Everyone in their life was a queer teen at some point. Personally, I feel like this would have been good to watch in middle school and I’m very envious of all the people in middle school who get to consume this.

WHICH CHARACTER DO YOU RELATE TO MOST?

SOFIA: My favorite character is Sarai, but I don’t think I relate to them the most because I’ve been lucky enough to not have to deal with a fear of coming out to my family as much which is something they struggle with. Maybe Cohen. I’m sure there’s a reason, but I’m going off vibes.

FOR ANYONE CONSIDERING WATCHING HETERO, WHAT WOULD YOU SAY TO CONVINCE THEM TO GIVE IT A CHANCE?

SOFIA: It’s a really fun show, and it deals with serious topics in a way that I feel is really important. At the end of the day, it’s a really fun show with an important message.

SF GROUP

EARTHLY For The Planet

WORDS BY MARA GO PHOTOGRAPHY BY SRAVYA BALASA MODEL — JORDAN PIETRAFITTA

Everyone has the power to change the world — at least that is what many inspiring personalities have said. In the grand scheme of things, there is a sneaky optimism in the thought of being a part of creating a positive impact and turning an optimistic vision into reality. Perhaps it's our yearning for a sense of meaning in life or our fascination for noble ventures. Either way, one’s contribution can make a big leap for humanity.

Jordan Pietrafitta would agree. Her passion for fashion and sustainability led her to pursue her senior honor thesis into a full-time clothing brand that is in service for the people and for the planet.

“I noticed that although there are a ton of fashion brands, there aren’t many that do diversity, inclusion, and sustainability really well,” she reminisced about the humble beginnings of EARTHLY For The Planet . “I based my entire thesis and the concept on filling the gap in the fashion industry, and then when I decided I wanted to make it a real brand, I used my research on the industry and my plan for EARTHLY and turned it into a concrete brand.”

And now, Jordan Pietrafitta is making a more innovative approach to fashion with her diverse, inclusive, and sustainable brand made entirely from secondhand materials that are mostly donated by customers. “I wanted to create a brand that purposely closes the clothing loop and keeps textile waste out of landfills, and that’s what I did,” she shared. “My first collection was mostly upcycled from my unwanted items and my aunt’s pieces which she donated to me, but since then, the collections, audience, and donations have grown so much, way more than I could’ve ever hoped for in under three years. More people started donating their unwanted items to me, which helped me grow my stock, so I could make and execute more design concepts and collections.”

On turning a senior honor thesis into a full-time sustainable brand “To be honest, COVID played a huge part in me deciding to turn EARTHLY into a full business,” Jordan Pietrafitta easily recalled the moment that made her commit to turning her made-up brand into a full business. “When I graduated college in May 2020, it was at the start of the pandemic, and with my majors being Liberal Arts and Communications degrees, there was no way I was going to find a job. As devastating as COVID is, it gave me the opportunity to take the time to do other things before finding a job, and with the entirety of EARTHLY’s business plan and campaign structure already finished from my thesis, I decided that it was time to make EARTHLY For The Planet a real business. I launched the first collection in July 2020, and here we are.”

However, it hasn’t always been easy for Jordan Pietrafitta. “When I first started EARTHLY, the biggest thing I needed to figure out was how to sew. I had some basic skills but hadn’t made a ton of items yet, so I was constantly on YouTube watching tutorials and teaching myself how to sew,” she said.” Now that I actually know how to sew, the biggest struggle is managing my time. Throughout this process, I’ve been forced to learn how to balance running a business and creating handmade pieces while also living my life and taking care of myself. A good work-life balance has always been difficult for me to maintain, but with the number of things I constantly have to think about, especially with EARTHLY, I have to take care of myself or I’ll go crazy.”

But it appears that the sustainable clothing brand is on the right track. Jordan Pietrafitta's passion, hard work, and sincerity for her craft made the brand a success. “I moved to New York City after a year and a half of working on EARTHLY from my childhood bedroom in Pennsylvania and have gotten to experience some amazing things here,” she shared. “I’m a vendor at the Grand Bazaar, the biggest flea market in the city, I’ve shown a collection in New York Fashion Week, I’ve had one of my designs featured in a Pandora Jewelry campaign, I’ve probably created a few hundred custom orders for customers, and now I’m working on a bunch of really awesome Earth Month events and activities. It’s been a crazy three years!”

ON THE TRUE STATUS OF SUSTAINABILITY IN THE INDUSTRY

As the conversation continued, we couldn’t help but look back on the true status of sustainability and ruminate about greenwashing. “Greenwashing has been around for a while and just continues to grow and grow. Fast fashion brands creating “sustainable collections” but continuing to produce thousands upon thousands of new styles every month while paying their garment workers next to nothing drive me absolutely bonkers,” she pointed out. “The problems of the fashion industry are truly caused by these larger corporations that are in it for the money and the money only. Yes, overconsumption is a thing, but the media puts so much focus on consumer behavior while erasing the responsibility that these larger brands need to have, and it’s incredibly frustrating.”

Jordan Pietrafitta did not miss acknowledging that the term sustainability can mean a lot of things. “So many elements go into the process of sustainability that it’s really difficult, for me at least, to come up with a fully solid definition for sustainability, but I’ll do my best,”

she punctuated. “I think sustainability, to me, means that as a brand or individual, you’re actively working on reducing your impact on the planet. With EARTHLY, we purposely don’t create new materials to make our pieces; we work with materials that already exist and actively keep these textiles and any textile waste from the upcycling process out of landfills. If brands and individuals are able to minimize their impact on the environment in similar ways and can produce things with as little damage to the planet as possible, then it’s sustainable.”

Despite the challenges, Jordan Pietrafitta is still hopeful for the future. “I think the rise of secondhand shopping among younger age groups is already making such a huge difference, and it’s something I really really love to see,” she stated. “On an individual level, I think that if we collectively try to be more conscious about how much clothing we buy, especially brand new items, we can definitely make a difference. Our consumption culture, impulse buying especially, promotes an unhealthy idea of needing cool new things immediately, which really isn’t ideal for the environment, and it’s definitely something that I fall into the trap of sometimes.”

She added “Ultimately though I think what would make the biggest difference would be getting the major fast fashion brands to cut back. If they could scale back their production even a little bit, that would still make a world of difference. That’s probably the obvious answer and the most unlikely to happen, but that would truly be the best step to take to make a difference.”

ON PURSUING A SUSTAINABLE APPROACH

The notion of sustainability has long been synonymous with the fashion industry. But what makes Jordan Pietrafitta and EARTHLY For The Planet a true game changer is their genuine mission to do it right. “From a sustainability standpoint, I love being able to see the impact I’m having on keeping waste out of landfills with tangible numbers,” Pietrafitta answered when asked what’s the best thing about pursuing a sustainable fashion label. “From a personal standpoint, it’s ex-

tremely rewarding to hear from happy customers who truly love and wear the pieces I’ve made. It’s truly an indescribable feeling to know that someone out there in the world is happily and proudly wearing something you’ve made, and then they go out of their way to tell you how much they love it. I couldn’t ask for anything more.”

ON CREATING A POSITIVE DIFFERENCE

With a clear mission to create a sustainable brand for the planet and for the people, one can learn a lot from EARTHLY For The Planet. “I think the industry as a whole could learn to actually make things out of materials that already exist,” Jordan Pietrafitta shared. “There are plenty of fast fashion brands that pretend to take back items to reuse them and just dump them in landfills because it’s more cost-effective.” As the case may be, it’s one of the biggest gaps in the fashion sphere that needs to be filled – the industry needs more brands who genuinely care about making a positive difference like EARTHLY For The Planet.

“As a brand, EARTHLY For The Planet puts both people and the planet at the forefront of its mission, so we care about saving the planet but we also want to help people,” Jordan Pietrafitta showcased. “We donate 10% of our profit each month to social justice and environmental organizations as a way that we can further our impact. We recognize that EARTHLY is a smaller brand, so we try to do as much as we can with the resources we have. We just want our audience to know that when it comes to helping people and the planet, no action is too small. We all have to start somewhere, and as long as you’re being genuine in your desire to make a change, that’s really what matters most.”

ON WHAT IS NEXT FOR THE BRAND

Jordan Pietrafitta’s heart is in the right place as she envisions her plans for the brand: “Right now, I’m just trying to take as many opportunities that I can to get EARTHLY For The Planet’s name out there and in front of as many people as possible,” she shared. “I have a few pop-ups coming up in the next few months, I’ve been working with a lot of amazing people on custom orders, and I’ve been trying to create as much content as possible so social media algorithms might pick up on it and boost it to a wider audience. Hopefully, we’ll be back at NYFW again this Fall too. And of course, being here in Local Wolves is a dream come true, I’m honored to be here. Honestly, though I don’t have a defined plan of action for what’s next for EARTHLY, I’m just going with the flow and enjoying the ride.”

ON HER PIECE OF ADVICE

As we concluded our meaningful conversation, Jordan Pietrafitta shared an impactful message for young creatives who want to create a positive change in the environment. “I know sometimes it can feel really daunting to try and make a positive change for the environment when everything seems like it’s crumbling around you, but I know you can do it,” she began. “The younger generation is already kicking ass when it comes to saving the environment, so I would say just to get out there and do whatever it is you want to do to help. Taking that first step is usually the hardest part, but with the sustainability community at your side (and super active on social media), you already have such an amazing support system at your fingertips. I’m also always here to help if you need a resource. As I mentioned earlier, no action is too small. You’ve got this.”

CREATIVE DIRECTION/PRODUCTION ASSISTANT — ANDREA

STYLING — ALICE NAMGOONG

HAIR & MAKEUP — MICHELLE KANG

DUAL

WORDS AND PHOTOGRAPHY BY ESTHER KIM

KIM

PHOTO ASSISTANT — STEVEN LA

MODEL — SUE PARK

The concept for this photo set came about as my friends Andrea, Michelle, Alice, and I were simply reflecting on the blessings we have experienced amidst the tensions of growing up in between two cultures. Growing up as Korean-Americans, my friends and I have grown accustomed to these dual-culture experiences that we live through on the daily. Things that once made us feel uncomfortable and out-of-place, have eventually become the norm for us— as we’ve matured, we have begun to proudly embrace the unique life we are blessed to live as both Koreans and Americans, something I once did not know how to love.

Most naturally, we turned to food as a means of expressing this duality. In Korean culture, as well as in many other Asian cultures, food is synonymous with love, and the dinner table is where we learned to receive love from and express love to our families. However, food was sometimes what made us feel the most out-of-place when away from the comfort of our homes. Reflecting on the experiences, emotions, and memories surrounding food + our Korean-American identity as we put together this shoot was such a sweet time for us.

Dual Satiety is just the first part of what we hope will become a multi-part photo series as we continue to create and express ourselves as a group of friends navigating our cultural heritage.

SATIETY

Good Trouble on Hulu

On Earth We’re Briefly

Gorgeous by Ocean Vuong

Delilah (pull me out of this) by Fred again..

I’ve been fixing up my thrifted clothing pieces to fit my body and upcycling old pieces to make new outfits!

Vanessa Le she/her New York, NY

Photographer

@vnessavle

vanessavle.com

Mera Mera Dip Soba from Cocoron

iced matcha latte with oat milk and honey

Wake up, make my iced matcha oat milk latte, take a pilates class, and eat brunch.

Go thrifting for a few hours, take a nice walk around the neighborhood/go to the park with my boyfriend Eugene, and watch the sunset.

Make dinner with Eugene, sip on a nice homemade cocktails/take an edible, find a movie to watch and do face masks together.

Everything is double sided, everything evens out,

I’m in the process of building that foundation.