INTERVIEW: DECOUPLR
DECOUPLR
The Photo Ladies Interview - by Emily May
With a unique blend of electronica and trip hop, Philadelphia duo DECOUPLR, comprised of Bailey Walker and Adam Laub, recently released their first single "Cold Sweat", a track that aims to convey their message of a technology driven lifestyle. “I used mellotron flute samples to create the main synth line mixed in with 808 drums and other digital sounds to give the modern electronic sound a vintage feel,” says Laub. “The tape hiss cutting in and out over the track with the sub drop of the kick drum also serves to create the dissonance between electronic and physical.” “I thought about the concept of distance in a modern technological world," explains Walker. “To me, "Cold Sweat" is an intersection of the whirling uncertainties of this year colliding with a desire to be vulnerable with our closest friends.” The duo have announced the release of their debut album, DIGITAL BONFIRE, in February. Formed in West Philadelphia in 2019, DECOUPLR blends Walker's long history of live vocal performance and Laub's experience with electronic sounds to create their own unique sound. A staple in the Philadelphia music scene, Laub met Walker when she moved to West Philadelphia from Savannah, GA and they connected musically in a surprising way that led them to collaborate. With influences ranging from Trent Reznor, Sylvan Esso, and Flying Lotus, their music contains a mix of dreamy & sweet and punchy & playful sounds. Although people are more connected than ever in this modern digital age, DIGITAL BONFIRE explores the increasing feelings of loneliness that have ensued. You can connect with DECOUPLR via the following links and stay up-to-date on all upcoming album news.
Website | Facebook | Instagram | Twitter | YouTube | SoundCloud | Bandcamp
Adam- You have been an integral part of the local Philly scene for years, having played in several bands that encompass pop, electronic, trip-hop, and ambient sounds. Bailey- You began making music in Savannah, GA, later moving to Philly to play with the neo-soul group Likebirds. Did you always know that you wanted to have careers in music? What can you tell me about your musical backgrounds?
Bailey: Until a couple of years ago, I was really shy and not particularly interested in making music though it had been a big part of my life. I grew up singing in church, took some piano lessons here and there, and played saxophone throughout high school, but was only ready to step out on my own in late 2017. I was invited to practice with a group in Savannah who perform as Rich Animals, which is an experimental indie rock project. They are dedicated to creating space for new artists in town to grow and helped me over some creative hurdles. They encouraged me to pick up several instruments, I mostly sang and played saxophone. While in Savannah I met Sean and Brendan Kelly, members of A Fragile Tomorrow and recent project So Sure, and became friends over shared musical taste and a passion for social work specifically in the disabilities community. I recorded my first EP at their studio, Low Watt, shortly before making the jump to Philadelphia.
I didn't know music would be a career path for me. I have seen the groundwork, vulnerability, and dedication this craft takes and would often be overwhelmed at the thought of stepping into my own! Moving to Philadelphia brought a different attitude, though. In my first year here, I spent some time taking myself to open mics and finding shows at local venues to just get an idea of what was happening around town. I am still completely floored by the talent in this city, I am humbled to make music here and continue to meet new people.
Adam: I knew that I wanted to have a music-related career from when I was about 14 years old. I did live sound for my high school theater and got a cheap interface and mic set for my birthday. From then I started recording my friend’s bands in my parent’s basement much to the chagrin of my mother. She was very patient and let me play loud drums and guitars in our basement for hours on the weekends. From there I ended up going to Drexel for Audio Engineering and opened a studio with some of my classmates called Sleepless Sound Studio.
What can the two of you tell me about your childhoods and how they shaped your respective love for music?
Bailey: My parents were touring musicians for most of my childhood, so I became familiar with everything ranging from doing homework on the road to learning how to complete a proper soundcheck before I even made it to middle school. I was taught to be a curious listener, identifying parts of songs or albums that I liked and why. i.e. What instrument is being used and what is its history? What is making me connect to this piece of art and how did this art reflect the time? It's always been a part of me, I love interacting with music because of how expansive it is. There's always an opportunity to learn something.
Adam: My family is from the NY/NJ area so Billy Joel and Bruce Springsteen were always on heavy rotation with my dad. My mom tended to listen to more of the 80s pop hits as they graduated high school in 1985 and were very immersed in that culture. I started piano lessons when I was 9 years old and maintained a pretty rigorous competitive performance schedule throughout my childhood into high school. In high school, I switched teachers and moved away from the classical training and got a teacher that taught me blues scales, jazz chords, rock piano improv, and all of the fun stuff that they won’t teach you with a classical teacher. At the same time, I was getting very into digital production and learning Logic and Reason. I still use Reason for all of my music production.
How did the two of you meet and what led you to decide to form DECOUPLR? What can you tell me about your sound, which merges the intricate digital elements of trip-hop and electronica with the live elements of soul music and vocal performance?
Adam: We met each other after Bailey moved to West Philadelphia from Savannah, Georgia and after I heard her vocal style, I knew that she would be the right fit for some of the beats I had been working on for years. We got into the studio and laid down some rough vocals over the demo of Cold Sweat and a couple of other songs that ended up on the record and from there it all flowed naturally. I always had a cold sounding electronic production style and blending in Bailey’s vocals bridged that connection from the electronic to the live in a way that I wasn’t expecting.
Bailey: Growing up as a saxophone player, I tend to lean toward warm vocals and strong melodies. Adam brought a few ideas to me that were previously written with a rapper in mind, the beats were well constructed and could stand on their own. I felt that my task was to provide vocals that supported the framework he had built and add an emotional component. Sade is an artist I drew inspiration from, in the way that she brings a warm, thoughtful vocal and is not limited to a specific genre.
You recently released "Cold Sweat", the first single from your upcoming debut album DIGITAL BONFIRE, which explores the concept of distance in a technological world. What can you tell me about the song, as well as your use of music/sound to mimic the stacking emotions of a dissociated anxiousness?
Bailey: The original track for Cold Sweat was a project that Adam had worked on previously, there was a vocal sample on the track that kind of led me to the melody. The song was introspective and complex, each phrase beginning is accompanied by a sub drop followed by arpeggiated bells. This wave-like, contemplative sound reminded me of uncertainty, which is what I tried to explore in the lyrics. As the idea formed, we began stacking sounds with an intent to accentuate the dizzying concept.
Adam: DIGITAL BONFIRE is 11 tracks, of those 11 tracks, 5 were beats that I had made in the past with no specific purpose. I had released trip-hop and experimental electronic music under the name <radioaddict> in the past and didn’t feel that these tracks were right for that project. In fact, most of the tracks that we used from my archives were meant to have a rapper on them and there are demos of the tracks with rappers on them that didn’t turn out the way I wanted them to. After we started working on DECOUPLR, I saw a new perspective on the potential for some of these beats after getting Bailey’s vocals on it. From there we wrote Cold Sweat, which is all about the loneliness of the digital age and the rest of the songs followed suit with similar themes.
On Cold Sweat I used a Mellotron sampler that I have to create the flute sound and give it an organic feel. I really like this Mellotron sampler because it is made from extremely high-quality samples of a real Mellotron, which I feel give it much more authenticity in the sound than a lot of the other Mellotron samplers that I have played around with.
You have said that the digital age is a tether that keeps people connected no matter where they are. Your upcoming album explores the greater message of a technology-driven lifestyle and the ever-increasing feelings of loneliness associated with this new connection. Can you talk a bit about making the album and the broader message you are trying to convey? Why do you feel that people are feeling so lonely despite so many ways to connect?
Bailey: I noticed a pretty distinct learning curve with some technology in my personal relationships when COVID-19 began. We were experiencing an abrupt lifestyle change, processing fear, and trying to adjust. It takes a bit of effort to learn new forms of communication, and the frustration for some is very real. Most can accomplish check-ins or birthday parties via Zoom or FaceTime, as we all found out this year, but it is still isolating. This experience as a whole is like no other in history, and in a lot of ways we are collectively grieving a time when things were “normal.” There are still many unanswered questions, lost loved ones, and no clear idea of what our future looks like right now. Those of us who are not comfortable knocking out these topics over a Zoom call have a lot to sit with and sort through. How do we open up like we used to? What are the new routines that keep us in the community together? Connection and care are available to us right in our pockets, and a lot of us are learning as we go about how to wield that power.
Adam- You are an up-and-coming producer, songwriter and engineer who wants to develop smaller local acts. What can you tell me about Sleepless Sound Studio, the studio you started with other local producers? What led to your interest in production and engineering? What can you tell me about the local Philly music scene and your love for helping local artists?
Adam: In college, we all played together in a band called OhBree. OhBree is a large band with 8 members and a focus on getting literally as many tracks on the recording as possible. We would record 24+ horn tracks, 15 vocal tracks, piano, guitar doubles, bass, drums, synths, special effects, and more on one song. Working on OhBree in college with Bob and Luke (my two partners at Sleepless Sound) really helped us grind out our editing and mixing skills. After college, we all knew we wanted to continue working on production so the three of us got a plan together to open a small studio. We scraped together a modest starting budget with the help of family and friends and found a little spot out in Germantown where we started Sleepless Sound. The pandemic has affected our business dramatically as it is not really safe to have sessions in a small unventilated room with outsiders, but we have been running for close to 7 years now.
I love finding small artists and working with them to make their projects better than they thought it could be. I have always been of the school of thought that it is much better to take the time and care to edit and mix thoroughly and consider the artists’ taste than to have expensive equipment and push something out quickly. For years we did the editing for free because we wanted our artists’ work to shine no matter their budget. I know that a lot of studios can be cutthroat with pricing, and show off their flashy gear but in the end, they don’t always take the time to work with local artists who can’t necessarily afford the dozens of hours it takes to make a record sound professional. Our stance was to always try to help the musicians that came to us even if we didn’t necessarily profit from it.
In general, I love the Philly music scene. I have met so many loving and warm people who care deeply about even the smallest local act. I spent countless nights in basement shows that were packed out wall to wall with local fans. I feel like you don’t find that kind of accepting and engaging musical community everywhere and it was one of the things that drove me to continue working in the Philly music scene for so long.
What can you tell me about your musical projects you are involved with outside of DECOUPLR?
Bailey: I got my start singing with the local neo-soul darlings called Likebirds, they began writing and performing in 2017. They are a well-polished project that believes in equal contribution to the sound, they are true collaborators. Dani Gershkoff brings an impressive skill set both vocally and instrumentally, Joe Perullo is a multi-instrumentalist who writes, plays drums, and occasionally features on keys, and Christopher Thornton thoughtfully weaves between the band creating an atmosphere like no other. There are talks about a music release from them soon, so stay alert!
Adam: I have played drums and produced in OhBree, a wacky art-rock band that featured an 8-piece costumed band with a horn section, since 2011. OhBree has been a bit quiet in recent years but we still have some new material in the wings and someday we will return to the Philly music scene to play way too loudly for you in a small concrete basement.
I have played in a noise/ambient project called Tidal Archive with my close friend Tyler Mack who just released a solo EP under the name Samurai Mack that you should absolutely listen to if you like prog rock and trip-hop. Tidal Archive has released over a dozen ambient and noise records over the years and every year we do a live-streamed 24 hour-long noise and ambient performance where we get local experimental musicians to join us for blocks of the improvised performance. We have done the livestream for 7 years running; however, we will be skipping this year due to covid which certainly makes me sad. Hopefully next year we can come back strong and who knows, maybe we will force ourselves to do 48 hours to make up for the missed year! Tidal Archive has also scored postmodern dance pieces for the Temple Dance Masters Program as noise and ambient is the perfect backdrop for these kinds of performance art pieces.
I also have made electronic music and trip-hop beats under the name <radioaddict> and collaborated with the now-defunct Glitch Squad record label to release a few EPs and songs for compilations through them. <radioaddict> started as an electronic singer-songwriter project in the vein of Caribou or Panda Bear but over time moved towards the trip-hop instrumental style that we ended up using for DECOUPLR.
How have you been navigating the musical landscape as artists during the Covid pandemic? How has it altered the music scene in Philly? What do you think the music industry will look like on the other side of this?
Adam: The pandemic has essentially completely killed the local music scene in Philly. With so many venues shutting down forever like Voltage Lounge and Boot and Saddle along with many DIY house shows not able to operate, live music is basically gone from the city. If one good thing has come out of all of the venues closing and real-life interactions halting, it’s that it has forced a lot of the musicians I know to explore new directions for their music. I have seen a lot of friends making new projects at home in a different style. An artist that I work with at the studio frequently, Jameel Farruk, is taking the time to learn recording software at home and trying a new direction for his music and I have several other friends that are putting out some of their most unique work now that they have the time and focus to work on something different.
I hope that after covid is quelled, things will return to normal. I doubt that venues that have closed permanently will be able to re-open but I hope that the house show venues come back in full force and new venues open to replace the closed spaces. I am sure that once we all feel safe going back out into the world, there will be a huge demand for live music and concerts and I am hopeful that the passionate people in the Philly music scene will cause everything to bounce back stronger than ever.
Who are you listening to right now? Who are some of your favorite Philly artists?
Adam: As far as Philly staples, I have always loved The Extraordinaires and Man Man. I also love Kyle Press’s solo work that you can find on Bandcamp at kylepress.bandcamp.com. He is an amazing saxophonist and multi-instrumentalist that you should definitely check out. Also, I love Vince Tampio’s solo music and the band he plays in, You Do You.
Outside of local music, I have been listening to a lot of modern classical like Nilhs Frahm and Ólafur Arnalds. Also, I love Bonobo, DJ Shadow, Tyler the Creator, and I have had the new Sylvan Esso record on repeat since it came out a few weeks ago.
Bailey: Some of my favorite Philly artists are Rosalie Swana, Werwe, Likebirds, Upholstery, Sam Rise, Martronimous, Suzanne Sheer, Taylor Kelly, Sleepmonster, Secret Nudist Friends & Lauren Scott. I love this city.
What's next for you?
We have a music video for Cold Sweat coming out from Drew Mercadante and Matt Keppler over at SUPERVOIDtv. They are amazing visual artists and I am so excited to share the work that they have done on this music video. After that, we have a couple more singles, some more videos, and a full-length album coming in February 2021!
IN FOCUS: Drummers
In focus: Drummers
We’re kicking off our new In Focus series by putting drummers in the spotlight for a change, with a selection of our community’s all-time favorite drummers photos
Cover photos by (left to right): Dana Jacobs, Jenn Devereaux, Elizabeth Friar, Victoria Ford, Victoria Sanders
In Focus is a new Photo Ladies collaborative photo series which showcases TPL members’ favorite photos, focusing on a different subject each time.
As concert photographers, one of our more challenging tasks is often taking a great photo of the drummer. Whilst they’re absolutely critical for the success of a good show, drummers are often hidden by their massive drum kits, tucked away at the very back of the stage or don’t get enough stage lights on them.
We decided to kick off our In Focus series by putting drummers in the spotlight for a change, with a selection of our community’s all-time favorite drummers photos.
INTERVIEW: The High Plains Drifters
The High Plains Drifters
The Photo Ladies Interview - by Emily May
Lawyer turned musician Larry Studnicky never pursued music growing up. A self-proclaimed nerd in high school, it was during that time that songs started writing themselves in his head. In the 1990s, he started working with recording artists, songwriters, record producers, labels, and music publishers, which gave him a deep appreciation for the hard work that goes into making it in the music industry, especially for older artists. A bit deterred to take the leap into music himself, in order to prove to himself that the songs he had been writing were good, he ultimately decided to go for it. As the lawyer who, at the turn of the millennium, structured and closed the landmark label and publisher deals that ushered in the world of digital interactive radio (enjoyed today by listeners of Pandora, Spotify, etc.), he made the decision to pursue his true passion: music, thus forming his band The High Plains Drifters. His band is comprised of veteran musicians Charles Czarnecki (producer/songwriter, keyboards, lead & backup vocals), John Macom (rhythm & electric guitars, lead & backup vocals), Mike DoCampo (rhythm & electric guitars, backup vocals), Kyle Cassel (drums, backup vocals), and Dave Richards (bass, backup vocals), most of whom are lifelong friends. Before coming together as The High Plains Drifters, the group's members worked alongside an array of legendary acts and artists including Pete Townsend, Brian May & Roger Taylor of Queen, Suge Knight of Death Row Records, Fred Schneider of the B-52’s, and Mickey Dolenz of The Monkees. John Macom’s music has been showcased in indie movies and TV shows, including Dawson’s Creek, Party of Five, and Felicity. Last year saw the release of the band's debut self-titled album, which takes the listener through various genres, such as pop-punk, mainstream rock, and ballads, conceptualizing a listening experience of a sonic road trip across the country. The band has most recently released their latest single, "Santa! Bring My Girlfriend Back!", a precursor to their sophomore album to be released in 2021. Produced by Greg Cohen (Robin Thicke, Nile Rodgers), the track tells the story of a distraught man who seeks solace in drinking after having his girlfriend stolen by Santa Claus and blends traditional and contemporary sounds such as marimbas, acoustic guitar chords, and horns. The band also released an accompanying animated lyric video to go along with the song. With the song's release, the band hopes to bring some much-needed Christmas cheer to a world that has been beaten down by crazy events. With a new album to be released next year, you can connect with the band via the following links to stay up-to-date with all upcoming news.
Facebook | Instagram | Twitter | Spotify | iTunes/Apple Music | YouTube
You are a lawyer who has built a career in the music and entertainment industry. What can you tell me about your decision to pursue your love of music and how has being a part of the music/entertainment industry for so many years helped you as a musician?
The decision to pursue music later in life grew out of the desire to prove to myself whether the songs that I'd been writing for years (mostly unbeknownst to my family, friends, and work colleagues) were any good. It took a large chunk of my life to believe that my songs were good enough to be on the radio. I didn’t grow up with music lessons and never learned to play an instrument, not even later on. I was very much a nerd in high school, which was when the music started writing itself in my head. I can state categorically that I’d have been voted the least likely guy in my graduating class to front a rock band. It was the 1990’s when I was working with recording artists, songwriters, record producers, labels, and music publishers. It helped me to appreciate just how hard it is for anyone, no matter how allegedly talented, to break through all the clutter and get their works noticed. If anything, that realization probably deterred me a bit from jumping into the artist world. Why would anybody pay attention to someone arguably over-the-hill? The music industry is about as kind to older artists as Hollywood is to older actresses. But it came back to wanting to prove something to myself. I knew that the odds sucked and success was improbable. But I felt compelled to do it and see what would happen. The first song that we recorded and released (the single “Get Me Home By Christmas Eve”) made it to radio and, about 9 months after the Christmas it was being played, I received my first tiny royalty check. It was barely enough to buy the band a few rounds of drinks. Yet that was enough...more than enough to motivate me and the rest of the group to keep going.
What can you tell me about your bandmates, who are all veteran musicians, and how you all came together to form The High Plains Drifters?
The first thing I say about my bandmates is that each is an amazingly talented musician, and most are also great singers. I am incredibly lucky to work with them. Most of us have known one another, in varying combinations, for decades. I met guitarist John Macom at a business meeting in the ’90s at a record distribution company. John worked there. I learned that he was an indie recording artist (and he still is, under the group name BINGE and under his own name). I listened to and loved the material he had put out. I helped him place some of his tunes on popular TV shows of that era (Dawson’s Creek, Party Of Five, and others). We’ve remained friends since then. Kyle initially was our recording engineer on the debut album. We learned that he was also a drummer. I asked him to take over on drums when it became clear that our original rhythm section (including the bass player) wouldn’t be available to us often enough. At that time, they were in the band of the JERSEY BOYS musical. Kyle and our bassist, Dave Richards, were longtime buddies. Kyle invited Dave into the group. Guitarist Mike DoCampo (“Doc”) and I met in the ’90s on my first music project (where I was involved as a songwriter). Mike’s band was doing an album, and I contributed 5 songs. It was an insanely fun experience, worthy of a book or movie. For one thing, we were recording at a mob-owned studio (at the outset, we didn’t know, but it became clear very quickly). It was the same mob family that was the basis for The Sopranos. I can tell you this (and I’m half Italian): you have not eaten in an Italian restaurant until you’ve gone to one with a Capo in a Mafia family. Keyboardist Charles Czarnecki was introduced to me by my late law partner Alan Bomser, who called Charles the most brilliant musician he had met in a career in music spanning over 50 years. Charles produced the first half of our debut album before moving to Berlin after getting married. But he still works with us remotely.
You have said that your first foray into the recorded music industry ended in a financial disaster, but you gained the perspective that if you persevere and play your cards right and have some luck you can get a second chance. What can you tell me about your self-titled debut album being your "second bite of the apple"? What fueled your perseverance? In your experience in the industry, how often do second chances occur?
Yeah, that first foray was in the Mafia studio — very costly but extraordinarily fun. And maybe that’s a good summary of how one should weigh any new project in the arts: You’ll probably go broke, but it’ll be a hoot doing so. Ha. Anyway, as I mentioned, I was very hesitant to dip my toes into the artist world. Initially, I asked John and Charles to work with me on just that first single, “Get Me Home By Christmas Eve”. I told my wife that I’d not be stupid, saying, “It’ll just be one song.” Then I added the caveat, “Unless the song gets on the radio. If that happens, we’ll keep recording.” It was a lot of fun when I announced to her, “You are screwed now baby! Our first single is on radio, and now we’re going to do an album.” She just rolled her eyes, but she didn’t try to dissuade me. The thing that fueled my perseverance was really nothing more than this attitude: “Screw it, I have nothing to lose except maybe some people will think I’ve gone nuts. And they can all go pound sand.” My late dad raised me with the firm belief that you never succeed by worrying about what people will think of you if you fail. So, I’ve never worried about failing. As to second chances coming around, in the music industry, you have to make your own second chances. Heck, I had a client whose indie label released what ended up being the final album of Carl Perkins’ career. I met Carl several times during that process. He was warm and humble, yet also charismatic — and damn could he put on a great live show at age 65! But when I met Carl Perkins, he had been without a record deal for years. I was dumbfounded. You’d think the industry would take care of, at a minimum, the few people who gave birth to rock-n-roll. Nope. So, you can’t rest on your laurels (not that Carl did).
Being over 50 years of age, you have said that some of your peers think you are nuts to pursue music at this late stage of your life. What has the experience been like for you, to pursue music as a passion rather than a career?
I am having a blast. I love working with this band, and I’d probably keep doing so even if our songs weren’t getting noticed. I have a ton more songs that I want to get out of my head if only to see how much better they become once these amazing musicians put their magic on them. Plus, doing this lets me torture my almost-14-year old daughter when we’re playing music in the car. We’re always listening to tunes — sometimes it’s what she’s playing from the playlists on her iPhone; sometimes what I’ve chosen from SiriusXM or Pandora or Spotify or — more recently — my new favorite streaming radio station for rock: the NewHD app. Everyone should go download it. They’re playing great rock from all eras. Back to torturing my daughter. I love saying stuff like this to her: “Hey Anne, was that Ariana Grande we just heard on the radio? And isn’t Amazon Music’s Digster Christmas playlist featuring not just Ariana’s Christmas tune but also the new one from The High Plains Drifters?” She never responds. She just rolls her eyes. For decades now, women have been rolling their eyes at me. I’m immune to it.
You have said that in the studio, some songs take on a life of their own and dictate the musical genre, even if you originally heard it differently in your head. How often has this happened to you in the studio?
It happened more on our debut album than it’s happening on the current 2nd one. For instance, let’s go back to our first song, “Get Me Home By Christmas Eve”. It ended up with a very Country-leaning sound. Only later did I learn that the American radio industry calls the genre “Americana”. It didn’t have to end up with that sound. It could’ve leaned more rock. But, at some point during the early recording process, I turned to Charles Czarnecki and said, “I think I hear a pedal steel guitar on this song.” Charles miraculously found, in Connecticut of all places, a pedal steel guy who had recorded and toured with Willie Nelson, Hank Williams, Jr., and other huge country acts. That one instrument almost alone cemented the direction of the song. On the 2nd album, we’re taking more time doing fleshed out demos of the songs. To some extent, that’s going to result in a more sonically unified album. Even so, surprises happen. We’ve just recorded the basic tracks for my song “Ruby, Run Away With Me”. This tune was written last summer and was inspired, in part, by the passing of Kenny Rogers. When he was with the First Edition, Kenny recorded and sang the great Mel Tillis song “Ruby, Don’t Take Your Love to Town”. In my head, the original version of my song sounded like something Johnny Cash might’ve done. Mike DoCampo, upon first hearing the raw vocals, said the same. But then, Mike and I and producer Greg Cohen, working together in Greg’s studio, threw out the arrangement and guitars that were pulling the song in the Cash direction. It’s very different now.
You have said that the lyrics to your songs take a lot of hard work with a lot of re-writing. Do you ever get writer's block and if so, how do you work through a tough songwriting session?
When I get writer’s block, I drink like a fish for days on end, until I forget that I had writer’s block. Seriously, I am lucky not to suffer from much writer’s block where my lyrics are concerned. Sometimes, when working on a song, you just need to take a break from it. I try to get it out of the forefront of my brain, in the hopes that my subconscious will keep working on it. That sometimes works: I hop in the car with the intention of seeing what lyrics come to me as I’m driving around doing errands or whatever. Where I can get stuck, however, is in the writing of a chorus. Some of my songs form themselves in my brain with just the lyrics and melody for one or more verses but no chorus. “Ruby, Run Away With Me” was one of these. I probably wrote and presented three or four crappy choruses to Greg during the writing process. He was clear in telling me that none was good enough. Then inspiration struck, like lightning, during a mid-November conference call with the team at Universal Music Distribution who gave us a distribution deal for “Santa! Bring My Girlfriend Back!” Valentine’s Day was mentioned as the first post-Christmas holiday that we should be targeting for a single release. A light went off in my head, “Valentine’s Day. Huh. I can use that somehow in the Ruby song.” The very next day, as I drove to Greg’s Manhattan studio (to work on a different song), the chorus came to me — almost word-for-word and note-for-note what you’ll hear on the album. It came mystically, starting with this first line: “Tomorrow babe is Valentine’s Day, don’t leave your love behind.” It’s a miracle that I don’t crash my car when this stuff happens. It’s just so cool that it’s tough to say focused on driving.
You have called living in New York City a maddening experience but that there's no place like it. What do you find to be the most maddening and challenging aspect of living in NYC and what do you find the most inspiring?
Two things above all have consistently been maddening: The traffic and the super-high cost of living. You have to be thick-skinned to deal with those hassles. The most inspiring thing about NYC is the high energy and high spirits of its people. There are people who really do come to NYC for exactly the reason that Sinatra sings in “New York, New York”: “If I can make it there, I’ll make it anywhere.” That attitude attracts, overwhelmingly, people who yearn to be winners and who WORK HARD to be winners (they don’t just dream about it). People like that bring a palpable energy to the streets of New York City. You really do feel it. And it’s really cool.
With regards to your single "Virginia", you have stated that the verse and chorus date back to your single years in pre-social media Manhattan of the early and mid-80s. What can you tell me about that era of living in NYC and why you feel it was such a magical time? How has the city changed since then?
It was magical indeed. Everyone we knew, male and female, was working hard and playing hard. You could go out one night and get put down by several super-models in succession, and then find yourself at brunch the next day (nursing a hangover) sitting next to Billy Joel and Christie Brinkley (That really happened). It was a riot. I feel sorry for today’s youth — from teenagers through their 30’s. Too many have helicopter parents who can and do, with today’s technology, check in on them every damn day. And their every little mistake (whether of action or speech) is put under some online microscope and subjected to ridiculous parsing of meaning and intent. It’s an insane way to live. My generation moved to the City and hardly ever called home. Shoot, back then, calling home (unless it was from Manhattan to the Bronx) meant paying stupid amounts of money to the telephone monopolies for long-distance calling. And when we screwed up, it wasn’t caught on tape or film and broadcast to the world. I think that we grew up faster and better — more self-sufficient. More forgiving of the mistakes of others. Younger people need more privacy to screw up than they have in today’s world. Half the fun of being young is screwing up — and getting away with it! My favorite positive changes that I’ve experienced in the City have been the long overdue, fabulous development of all the riverfront spaces and — at least until the current Mayor came along — the long-term reduction in crime. New York City, under several competent mayoral administrations preceding the current one, became the safest big city in America. That was a huge transformation from the City that I encountered on a trip here at the end of my junior year of college when two hookers accosted me and some buddies in Times Square. One tried to distract my buddies and me, while the other failed in applying her pickpocket skills. Even so, I kind of miss some of the seediness of the old Times Square.
You guys recently released your holiday track "Santa Bring My Girlfriend Back". What can you tell me about the track and the inspiration behind it? What inspired you to write an original holiday track, as opposed to doing a cover, and what can you tell me about the different instrumentation used on the track? Do you have any special holiday traditions?
It never occurred to me to do a cover. I couldn’t touch anything that guys like Frank Sinatra or Dean Martin did or that women like Ella Fitzgerald or Mariah Carey did. I don’t fear failure, but neither do I go out of my way to embarrass myself. As to the “inspiration” behind the Santa song, that’s the wrong word. The tune was more “provoked” than inspired. Here’s the story. Two Christmases ago (2018), I was hosting part of my family (the Studnicky family) at my home. On the afternoon of Christmas Day, after much alcohol had been imbibed, there was a bit of family drama — it was like a hurricane hit. I don’t want to go into details. I was the first one awake on December 26th. I was a bit hungover. I was making the coffee and thinking about how such a magical holiday had gone so terribly wrong. This song came to me in a flash — at least, the first few lines did (the lyrics with the melody together): “I’ve been drinking way too much this Christmas. My friends all wanna know the reason why. I’ve been drinking like a fish all Christmas. Well at Thanksgiving my love told me goodbye.” I liked what was in my head. I instantly sang it into my iPhone (Apple should be paying me for saying this!). But I wasn’t immediately sure WHY the narrator’s girlfriend had dumped him and driven him to the bottle. Then inspiration actually did hit: Santa stole the singer’s girlfriend. Once I had that organizing concept, the rest of the song’s lyrics and melody flowed almost as easily as had the booze on Xmas day. The instrumentation on the song is phenomenal, right? John Macom came up with the marimba parts and also plays acoustic guitar (a Gibson J-100). Mike DoCampo played a Gretsch White Falcon. Kyle Cassel handled the drums and the jingle bells. Dave Richards anchored everything with his electric bass guitar. After those basic tracks were done, Charles Czarnecki added some incredible keyboards ear-candy from his Berlin studio. I had written (and Greg Cohen had programmed) some horn parts for Verse 1. We sent the rough-mixed song to two guys in Los Angeles (Michael Cordone and Jessy McGinty, who call themselves The 305 Horns). We told them to play live the programmed horns on Verse 1, and then do whatever made sense to them. This part was a true Christmas miracle: They killed it! Their horn parts put this song over the top. I can’t tell you how many people say how they love love LOVE the horns.
What can you tell me about the animated lyric video that was just released?
Hmm . . . . I don’t look like the guy who’s drinking himself to death in that video? He’s a blond. My hair is a very graying brown. It’s a cute video. I enjoy it. That said, in a perfect world (and this only makes sense if you’ve listened to our entire debut album), with an unlimited video budget, I’d have starred in the video (as the drunk) alongside Ms. Jennifer Aniston (as my ex-girlfriend) with Brad Pitt playing the Santa role. At least Jennifer would be smiling in that video . . .
You will be releasing your sophomore album in 2021! Your first album was a blend of many different genres. What can listeners expect from the next album?
Listeners to our 2nd album can expect that there won’t be quite so many genres. As a band, on that album, we indulged ourselves in terms of allowing a lot of our respective musical influences to shine through. On the plus side, for an unknown, unsigned band of mostly older dudes, we got a lot of very favorable press, praising such things as the quality of the musicianship and the band’s versatility. Shockingly, we were compared to everyone from Johnny Cash, George Jones, and Carl Perkins to Simon & Garfunkel (in “their glory days” no less!). On the negative side, the many genres made it harder for that record to find its proper slot at radio stations. One reviewer labeled as “genre-bending”, and the label has stuck. We don’t want to disappoint entirely our fans who enjoy the variety on an album. I mean, after all, we are not like the very young Green Day or The Ramones — too unskilled, or too unsure of themselves, or too enslaved to some label A&R executive, to play more than one type of music. This 2nd album will be more “of a kind” sonically. But there will be few outliers on it. We just finished recording the basic tracks for one song that (per Greg Cohen’s suggestion) was produced as a bossa nova tune. It’s called “How Did I Write This Song”. I could have never in a million years envisioned it as a bossa nova tune. But it’s a gorgeous one. And, once Greg made that call, I managed somehow, in one try, to write a bossa nova chorus. And Greg didn’t tell me to throw it out. It was a keeper.
Aside from a new album, what's next for you?
Ha! I’m going to Disney World! Seriously. As soon as this COVID lunacy is over and we can travel safely again, I am heading south with my family for a well-needed vacation in the sun and so that my daughter can see the new Harry Potter additions to Universal Studios Orlando. And Disney World! Because, on our first trip there, I developed a wee crush on Cinderella.
PLAYLIST: Best of 2020 + Albums Favs
We couldn’t finish out the year without highlighting some of our favorite tracks of the year. This has obviously been a tough year for everyone but we like to think that music got us through most of it. Here’s our last playlist of 2020 and scroll down for a little bonus content to see what some of our favorite albums of this year were.
With 100 founding members, and over 1000 Photo Ladies part of our community, we all have a huge variety of musical tastes, and we plan to showcase them each month through our upcoming playlists. Full playlist below, along with some Photo Lady blurbs behind the choices.
“Since I spent most of 2020 alone, this has been a bit of a theme song for me and one that I play when I’m feeling a little extra lonely. And it reminds me that things will be OK. ”
“Taylor Momsen’s voice on this song is so beyond good. Ive always been impressed by what a great singer and songwriter she is but this song really showcases her range. I’m very excited for the new album Death By Rock and Roll to be released.”
“A musical response to Max Porter's novel with the same name. This is a beautiful and mesmerizing EP that provides a sonic journey into the state of grief and explores the worlds beyond it. Worth a listen ( on repeat ) for a cathartic experience or just to be felt understood”. - Claudia Innes | @Jarethsgirl // Submission: Will White - BlancGrief Is The Thing Feathers - EP
“This has been my favorite song this entire year, I just want to sing so loudly and dance when it comes on. Although this song is about feeling ready within yourself to let new people in after a break up, the song is so catchy and upbeat and still makes me excited and happy when I listen to it.” - Amanda Huerta | @PandaH___ // Submission: Hayley Williams - “Pure Love”
“This song was on constant repeat since June, it's infectious beat and Pharrell's voice made this a total bop. Trust me, its a feel good song.” - Victoria Ford | @sneakshotphotography // Submission: Buju Banton feat. Pharrell Williams - “Cherry Pie”
“Mara changed my year. I was in and out of a pretty intense relationship in the beginning of 2020 and that was when the song was released - I fell in and out of love to the song. It feels half like a sad song and half like a dance track and I’m so grateful for that so that my relationship with it can evolve. You have to reclaim songs for yourself even if they remind you of certain memories. Mara hits home so hard for me and I hope people can associate memories with it.” - Carter Howe | @carterkhowe // Submission: Jack Garratt - “Mara”
“So shiny and nostalgic, it will make you forget 2020 ever happened.” - Sasha | @sashamaesephotography // Submission: Dummy - “Angel's Gear”
“MisterWives released their triumphant third LP this year, culminating with the titular “SUPERBLOOM”—a song about having hit rock bottom and surviving to see the other side, and having self-love to congratulate yourself for all you’ve been through. Let’s just say this song has greatly helped me get through 2020 and I’m sure has caused annoyance to my downstairs neighbors for how crazily I dance along to it every. single. time.”
“I was so excited to get a new Strokes album in 2020, and it came at the perfect time. The album was released on one of the first nice days we had in the middle of quarantine, and I remember driving around with my windows open blasting this album and just being so happy for the first time in months. The opening track will always remind me of the true happiness I felt in that moment. ”
“This track completely changed when reworked with strings! It sounds like a dramatic movie scene of a funeral and I love it.” - Sophia Ragomo | @sophiaragomo // Submission: Phoebe Bridgers - “Kyoto"
“I’ve become a sucker for pop music this year. I’ve been loving the LANY Mama’s Boy album. ‘bad news’ was a standout track for me. It’s a perfect rundown of what dating someone in music is like. I always love the way Paul Klein (and ultimately Sasha Sloan) are able to write honest pop music that can be upbeat and heartbreaking at the same time.” -Carolyn Lederach | @cled1024 | Submission: LANY - ‘bad news’
“If anyone ever asks me for a music recommendation, I always say PARCELS. Based in Berlin, these Australian legends are incredibly disciplined musicians. The song Gamesofluck is technically from 2017; HOWEVER, the guys released a live album this year that included a slight revamp of the original studio track. It’s groovy and it always hits the spot. Take a sonically pleasing cruise and listen to this song and this entire live album if you get a chance.” - Jen Machuca | IG: @jen_machuca // Submission: Parcels - “Gamesofluck- from Hansa Studios, Berlin”
“Chris' EP was an absolute delight to have this year but THIS song slaps! Love the opening of beautiful Italian verses accompanied by some great dance music. Can we also please mention that the music video is perfection?!” - Kris Lori | @kris_lori // Submission: Christine and the Queens - “La Vita Nuova” ft. Caroline Polachek
“Open Mike Eagle had a bad year. His television show with comedian Baron Vaughn, ("The New Negroes") was cancelled by Comedy Central. His marriage also ended. The song from his 2020 album "Anime, Trauma and Divorce" called "The Black Mirror Episode" places the blame on an episode of the television show created by Charlie Brooker. The circumstances that generated the song is pretty awful but I dare you to try to not sing "The Black Mirror Episode ruined my marriage" and not try to guess which episode it was (he'll never tell).” - Edwina Hay | @arenotphotos // Submission: Open Mike Eagle- “The Black Mirror Episode”
“Really this could be any song off of Fiona Apple’s brilliant ‘Fetch the Bolt Cutters,’ which is my pick for Album of the Year. I’ve had a moment with each of these powerhouse songs since its release, and their underlying strength and grit have fortified me with resolve in what has been a very difficult year. ”
“When I first heard Murderer, it was in the car, it was late. We were driving over 8 hours and it had just been a really rough day. When I heard this song, I honestly just felt okay, but in a weird, this song is pretty disturbing and crazy, in a really cool way. The lead singer of Hippo Campus, Lupin’s side project is a lot more electronic and different, balancing different key and time signatures, ultimately earning my #1 song of the year.”
Bonus content…Our Favorite Albums of 2020!
Movements - No Good Left To Give
“It’s safe to say that 2020 has thrown the music industry into a whirlwind. Tours got cancelled and thousands of people were forced into unemployment, but our favorite artists still delivered despite the setbacks. My favorite album release of 2020 is Movements’ No Good Left To Give. The Californian band has always provided its listeners with thoughtful and expressive lyrics. My personal favorite off of the album is “Moonlight Lines.” The track embodies feelings of desire for physical connection while still offering an energetic vibe. Transparency in a time where the entire world is vulnerable means more than ever.”
Orion Sun - Hold Space For Me
“I may be a little bias as Orion Sun is a Philly artist...but I truly have come to love this album this year. ‘Hold Space For Me’ is just a super poetic and cohesive album for me and I really love it. Something that goes into a favorite album for me is a cohesiveness that you enjoy throughout, it has ups and downs but everything flows perfectly. It’s the perfect album to find some peace in. ”
Dua Lipa - Future Nostalgia
“The more I read about, listen to, or watch Dua Lipa, the more I fall in love with her. Future Nostalgia is a charming follow up to Dua’s debut album back in 2017, and embodies all the danceable beats and relatable lyrics you didn’t know you needed just as 2020 began to fall apart. Dua experiments with disco, funk and basic pop beats that create the radio hit ‘Don’t Start Now’, and channels classic 80s synths in the Olivia Newton-John-inspired ‘Physical’. This album has lifted my spirits during such strange times, and will hold a special place in my heart. ”
The Strokes - The New Abnormal
“In a year of uncertainty, music became a guiding light for people around the world. No matter what happened in their lives (see: Global Pandemic, historic unemployment numbers), their favorite artist was there to help. Enter: The Strokes. Their latest album, The New Abnormal allowed listeners to remember the days of outdoor music festivals, getting smashed into someone you’ve never met in a hazy smoke-filled music venue and driving along the beach at night. The standout track, “Bad Decisions,” encapsulated every bit of The Strokes signature sound with a roaring drumbeat and Julia Casablancas’ voice bringing nostalgia to every piece of their sound. With tour plans for most of the world still in flux, The New Abnormal is clearly representative of the world we live in, not normal.”
QUARANTINE PROFILE: DEYO
We’ve launch a profile series to highlight how artists are spending their time during quarantine. Several times a week we’ll highlight a new artist across the globe and see how they’re keeping busy during COVID-19 lockdowns.
Today we celebrate the 50TH QUARANTINE PROFILE! Thanks so much for following along with us on this lockdown journey and continuing to explore how artists are keeping sane during these crazy times. We’re all in this together and we’re here to highlight it all.
With all that said, super excited to bring you this latest piece featuring Brooklyn Indie artist DEYO (aka Christopher Deyo Braun). He released his debut self-titled album DEYO last year and we’ve been hooked ever since. DEYO brings a lot of different elements of sound to his album, there’s soul, there’s synth, there’s some poppiness… what more could you ask for? We got to chat with DEYO to see what he’s been up to during quarantine, his handy new hardware skills and what’s next for him. Give DEYO a listen below and read on…
Photographer and stylist: Courtney Spitznagel @CourtneySpitz | shot on 35mm film.
Where have you been spending your quarantine?
When the full shutdown happened in March, my girlfriend and I left Brooklyn to spend time with family in Connecticut. We moved back to Brooklyn in May after finding a COVID deal on an art loft that we couldn’t pass up.
How have you been staying busy during quarantine?
The place that I moved into was pretty bare, so I have spent most of the quarantine making it into a home. There have been about 350 trips to the hardware store, so it’d be hard to classify it as an actual quarantine.
Anything new you’ve learned?
I basically became a handyman/carpenter. With the help of the great YouTube library of DIY tutorials, I ended up building a mezzanine bedroom, stairs, shelves, rewired a lot of lighting, added a mini-stage and brought a beautiful old 1940’s stove back to life.
Song (or album) you’ve had on repeat:
I had a good 2-month streak where I was listening to the Dominic Fike album a few times a day. Arthur Russell’s album Iowa Dream has been steadily repeating for the whole year as well.
Something keeping DEYO sane right now: I built a home for my record player and record collection underneath my staircase. It really warms up the space and makes me feel grounded when I drop the needle on a good record
What is keeping you happy?
I’m playing a lot of music and practicing a lot, which always kinda puts my mind at ease. It feels good when you realize that you are getting better at something, even if the change is marginal. In my book, it still counts as leveling up.
What’s the best advice you’ve received during this time?
I made my own deck of Brian Eno’s Oblique Strategies during quarantine using an old label maker. I think my favorite one is "Discover your formulas and abandon them."
What do you hope we take away from this?
I hope that this time helps make our world more conscientious about what we are eating. We’d have a much easier time battling this virus as a species if we ate less food that came wrapped in plastic full of chemicals that we can’t pronounce.
Anything new we should know about that you’re working on?
I’m in the process of writing material for a new album. I have a solid back-catalog of songs, but right now I am just working on a new idea everyday and eventually I’ll come to the realization that there’s a cohesive group of songs in there that I can zone in on and start fine tuning them.
QUARANTINE PROFILE: Airpark
We’ve launch a profile series to highlight how artists are spending their time during quarantine. Several times a week we’ll highlight a new artist across the globe and see how they’re keeping busy during COVID-19 lockdowns.
Nashville brothers Michael and Ben Ford continue to make some of the most thoughtfully written tunes via their project Airpark. The latest track, “D Y W” is a collab with the equally amazing St. Lucia and leading up to their upcoming EP, Quiet Type: an Intimate Collection of New & Old, which we are anxiously waiting for in early 2021. In the meantime we see what the guys have been up to during quarantine in Nashville.
Airpark Online: Facebook | Twitter | Website | Bandcamp | Instagram
Photo: Melissa Madison Fuller
Where have you been spending your quarantine?
We’ve been spending most of our time at our rehearsal space, Eugenia Hall. In addition to rehearsing there, it’s also where we do a good bit of our writing and recording. It’s a place we can camp out at for long periods of time and feel pretty content.
How have you been staying busy during quarantine?
We’ve been staying surprisingly busy behind the scenes working on new releases….really excited that our new single ‘D Y W’ is out in the world. We had a blast making it with Jean from St. Lucia. We also have a new EP due out early next year that features a bunch of artists we really admire. Excited to share more soon….
Something new you’ve done:
There are some pretty incredible waterfalls in TN - over the summer I went to one that I had never been to before and it was incredible. It was probably 150 ft tall and it had just rained so it was really coming down. Looked like something out of Jurassic Park.
What’s something new you’ve cooked/baked?
I don’t do a ton of cooking but I have been exploring some new found, delicious vegetarian items (especially Quorn’s meatless nuggets).
Go to quarantine snack:
Peanut butter & banana - so damn good.
Song you’ve had on repeat:
Lady HD - “Whatever Comes Next”. Unstoppable song.
What’s a song that is your go to comfort jam?
Fiona Apple’s cover of “Across The Universe” - obsessed with everything about it and it always brings me a lot of comfort.
Something keeping Airpark sane: This is a photo of the waterfall we went to over the Summer - one of the many in TN. That’s Ben in the bottom left of the photo for scale.
If you could only watch one film for the rest of time what would it be?
The Fifth Element. It’s probably my favorite movie. Love the storyline and how much personality the characters have.
What is keeping you happy?
Getting outside for a run/walk has been a real lifesaver during this time. I always come back with more clarity and a renewed sense of optimism after I give myself a chance to get out for a minute.
What’s the best advice you’ve received during this time?
Go easy on yourself and let go of the expectations that you had going into this year or new ones you made at the beginning of quarantine.
What’s something you miss the most right now?
By now I know it may be somewhat cliche to say but it’s just true - I miss being able to hug friends.
Are there any livestream concerts/events you’ve really been inspired by or enjoying right now?
Really loved watching our buds Young The Giant play their debut album front to back on its 10 year anniversary. We met those guys on tour right when that album came out and it’s been incredible to see what they’ve accomplished over the last ten years. Great band and dudes.
What do you hope we take away from this?
One thing it's made me realize is how fast things can drastically change even when everything feels constant - trying to work on being mindful and grateful in the moment.
REVIEW: Pantaya Premieres CELEBREMOS: ETERNA NAVIDAD
Pantaya Gifts New Latinx Holiday Special
The Photo Ladies Review - by: Stephanie Augello
Colombian musician and activist Juanes has cut through the mire of 2020 to bring audiences some peace and hope in the waning days of this tumultuous year. The two-time Grammy winner, along with his wife Karen Martinez, hosts the Christmas special “Celebremos: Eterna Navidad,” which premieres on Lionsgate’s new Latinx streaming platform Pantaya on December 4th. Pantaya is the first-ever premium steaming destination for world-class movies and series in Spanish, offering the largest selection of the biggest blockbusters and critically acclaimed films from Latin America and the US as well as bold never before-seen original series.
For the special, Juanes has assembled a star-studded cast which includes Aislinn Derbez, Ana De La Reguera, Sebastian Zurita, Ricardo O'Farrill, as well as musical performances by Alejandro Fernández & América Fernández & Camila Fernández, Valentina Fernández, Juanes & Jay De La Cueva, Los Tigres Del Norte, Manuel Carrasco, Banda El Recodo, Morat & Danna Paola, Gloria Trevi, Edith Márquez & Luciano Pereyra, Paty Cantú, Kurt, La Adictiva Banda San José De Mesillas.
The storyline revolves around Juanes and Karen preparing for their holiday gathering. They’ve enlisted the cooking prowess of Chef Benito Molina and Chef Solange Muris, with the two offering lessons to the audience as they build dishes such as Mexican-style risotto and Maine lobster tacos. We’re further treated to often comedic anecdotes and heart-warming moments in between scenes, as the cast members reflect upon the Christmas season by sharing their memories, favorites dishes, and notions of what the holiday means to them. Musical interludes are woven throughout the special featuring songs such as “Los Peces en el Rio,” “Diciembre,” “Dulce Navidad,” and “Lleguemos a Tiempo,” and “El Niño del Tambor.” Not to be overlooked is the absolutely delightful comedy of Ricardo O’Farrill, whose superb timing and delivery truly augment this piece.
Soft lighting effects, Christmas sweater style graphics, and familiar holiday melodies complement the positive message of the special, making “Celebremos: Eterna Navidad” a bright spot in a dreary year.
QUARANTINE PROFILE: Laura Lizcano
We’ve launch a profile series to highlight how artists are spending their time during quarantine. Several times a week we’ll highlight a new artist across the globe and see how they’re keeping busy during COVID-19 lockdowns.
Laura Lizcano is another Philly gem we’ve been keeping an eye on this year. She just released her debut album Heart last month and it’s definitely a refreshing album for this year. Laura is a Colombia born singer-songwriter now living in Philadelphia. She’s a seasoned jazz vocalist with eclectic songs in Spanish and English featured on Heart. We highly recommend giving the album a spin (below) while you check out what Laura has been up to during quarantine.
Laura Lizcano Online: Spotify | Instagram | Twitter | Facebook | Website | Bandcamp
Me living by best summer quarantine life and embracing covid fashion.
How have you been staying busy during quarantine?
I'm very grateful that a lot of my work has come back online. So, mostly working. But I'm also dedicating a lot of time to fun creative things I haven't really done before: collaging, writing poems, and overall just getting in touch with my creative side more.
Anything new you’ve learned? / Something new you’ve done:
I took a writing workshop with Magdalene San Millan over Zoom! It was soooooo much fun, and I highly recommend it to EVERYONE. Magda's prompts are super fun and carefully crafted. It was also soooo nice to do something creative and share *virtual* space with other folks.
Go to quarantine snack: Veggie Strawwwwws!
What’s your go to song to make you feel less alone? / What’s a song that is your go to comfort jam?
I have a couple of these:
‘Extraordinary Machine’ - Fiona Apple, ‘Satisfied’ - The Wood Brothers & ‘Green and Blue’ - Jennah Bell
"Citrus Dreams" A Collage I made not too long ago.
What is keeping you happy?
Doing things I like and not feeling guilty about it! In pre-covid times I was running around and telling myself that I should be dedicated to the "hustle" 99% of the time. So when I did things that were just fun for me, I felt bad that I wasn't working or whatever. I'm a much happier person now that I make time for the things that bring me joy.
What’s something you miss the most right now?Going to the movies and going to shows and hearing my friends make beautiful sounds. I can't wait to be in a tiny little crowded bar on a Friday night, smushed together with a bunch of people and listening to live music. I can't wait to see Martha Graham Cracker live again, too! I miss that so much!
Are there any livestream concerts/events you’ve really been inspired by or enjoying right now?Early on in the quarantine, I saw Cecile McLorin Salvant doing a duo show from her house. It was magical. Her voice is just so beautiful.
What do you hope we take away from this?I hope that we can remember to appreciate the little things: hugging our friends, celebrating with loved ones, and even just like going to the grocery store. Everything is so different now, and nothing will ever be the same after this. I think that wishing that things will "go back to normal" is just not going to happen. But I also see that as an opportunity for us to be more mindful of each other and to hopefully become of a more compassionate community.