Latest news with #BeKind
Otago Daily Times
02-07-2025
- Politics
- Otago Daily Times
Taylor to Ardern: Not the first letter, by far the most difficult
OPINION: Sir Ian Taylor has penned a letter to Jacinda Ardern. Dear Jacinda, This is not the first open letter I have written to you. You may recall there were many during the covid pandemic. This, however, is by far the most difficult. I recently appeared before the Royal Commission charged with looking into the handling of the covid pandemic in 2021-22. It was an opportunity to revisit all the correspondence I shared with you, and government ministers, at the time. I also re-read the many emails and letters I had received from people who found themselves locked on the wrong side of 'Be Kind', cast adrift from the 'Waka' we were all meant to be on board. The Commission will deliver its report, undoubtedly with the benefit of a lot more evidence than I shared, and that's as it should be. But, as I passed through Auckland airport this week on my way to Europe, your memoir A Different Kind of Power was front and centre. The twenty-two-hour flight seemed the perfect time to address the personal dilemma I am faced with, every time I see the cover of that memoir. In March 2019, when you stood before the world following the Christchurch Mosque attacks, wearing a headscarf and offering the words "They are us," I believed I was witnessing something extraordinary. A leader who not only spoke with compassion, but who seemed to embody it. The world noticed too. In Dubai, your image, projected onto the world's tallest building, went viral. It sent a remarkable message to the world. Here was a woman, a working mum, a world leader, our Prime Minister, being honoured in a way few other world leaders had ever been. It was here that the 'Jacinda' brand was born. 'They are us.' Just three words, but the world took note. I was travelling a lot at the time, covid still lay in wait in a place called Wuhan. I had never been prouder to claim I was a kiwi. Where once the questions were about the All Blacks, Lord of the Rings, or how many sheep we had, now all anyone wanted to know about was our Jacinda. You had become a symbol of enlightened leadership and, I confess, I basked unashamedly in the glow of that recognition. You were us. My belief, my pride, held strong through the early months of the covid pandemic. Your calm demeanour, the repeated calls to "Be Kind" reassured a nation facing the unknown. When you told us we were "a team of five million," and that 'He Waka Eke Noa', we were all in this together, I trusted you. I believed you. And that's how we went into our first lockdown, one of the strictest in the world and, at the time, arguably one of the most effective. For a short period of time we reconnected, not just with each other but with the world around us. The sound of early morning traffic replaced by the sound of tui and bell birds. Strolling down streets, greeting neighbours, a simple act we had forgotten how to do. Now we took the time to notice each other, respectfully distanced of course. We came out of that first lockdown the envy of the world. As pictures of the America's Cup in Auckland were beamed to almost a billion people globally, I was inundated with messages from international colleagues asking if they could have 'Jacinda' come take care of them. My response was always one of pride. 'Nah mate – she's ours.!' But as time passed, the reality began to fray around the edges. The PR slogans 'be kind' and 'we're all in this together', felt increasingly hollow as divisions deepened and the promises faded into spin. My first open letter to you was an urgent plea. We had done incredibly well, but now was the time to move the focus from saving lives to saving lives and livelihoods. It was not a matter of if, but when, the coronavirus would break through our seriously flawed MIQ blockade. We had the skills, we had the knowledge, we had the opportunity to really lead the world when that happened. People put politics aside and tried to help. Offering real solutions, safe, proven ways to save both lives and livelihoods. Business-led initiatives, technology-enabled tracking, controlled pilot programs. These were not abstract ideas. They were tested, they were ready, and they were offered in good faith. But they were dismissed. Not because they didn't work, but because they didn't fit the narrative. That was the moment I realised, this wasn't leadership anymore. It was brand management. The turning point came for me on the day you featured on the cover of the New Zealand Woman's Weekly, in designer clothes, smiling, styled, and celebrated. On that same day I received a heart-wrenching email from a father who had yet to meet his 7-month-old son. He had been brought to New Zealand to contribute his much-needed technical expertise in challenging times for Aotearoa, but the border closed behind him, stranding his pregnant wife overseas. In the same week I had another message from a son trying to leave MIQ to be with his dying father. He had tested clear three times. The system still said no. And these weren't isolated stories. They were everywhere, if you took the time to listen. People reaching out for someone, anyone, to hear their call. Someone to be kind. These were New Zealanders, or people who had made this country their home, asking only for the chance to be with their families. To do what any of us would hope to do in a time of crisis. Their pain was real, and avoidable. But we were no longer all in the waka together. Thousands had been cast adrift. Fathers kept from the birth of their children. Dying loved ones left without final goodbyes. Families cruelly separated by a system that, even when shown better ways to operate, refused to budge. The brand that was so carefully nurtured at those 1pm 'single source of truth' press conferences, reinforced internationally by features like your Vogue cover story, had matured into a global product, ready for sale. Reports say you received over a million dollars in advance for your memoir, A Different Kind of Power . It's a striking figure, especially for someone who once made child poverty her personal mission. You didn't just speak about it, you took on the portfolio yourself, armed with the unprecedented power of a parliamentary majority and the goodwill of a nation ready for change. You had the platform. You had the mandate. And yet today, child poverty remains largely unchanged. The Capital Gains Tax was another moment you could have seized with that majority. But the brand shifted and, somewhere along the way, so too had the ideals that once gave me hope. Children are still suffering from poverty, guns remain in the hands of those who used them to cause the most harm. The Christchurch Call has failed to limit on-line violence and hate, and Brian Tamaki and his Destiny Church still feel free to march in Aotearoa spewing their anti-immigrant vitriol. 'They are us' has disappeared down the same dark hole as 'be kind', 'the team of 5 million' and 'he wake eke noa – we are all in the waka together.' Now only brand Jacinda remains, and you are back on the cover of those lifestyle magazines, interviews on radio and tv, and there - that image that has weighed on me over the past few weeks. The cover of A Different Kind of Power . 'He waka mō Ko tahi'. The journey is complete. The waka is now the waka for one.
Toronto Star
07-06-2025
- Entertainment
- Toronto Star
‘After the Rain': This new Canadian musical strikes gold in song, but falls flat in its story
After the Rain 2.5 stars (out of 4) Music and lyrics by Suzy Wilde, book by Rose Napoli, directed by Marie Farsi. Until June 22 at the Tarragon Theatre Mainspace, 30 Bridgman Ave. or 416-531-1827 When 'After the Rain' breaks into song, it strikes gold. Nay, perhaps even platinum. That's not altogether surprising. After all, this new musical, which opened Wednesday at Tarragon Theatre, is about a fictional, 'Canada famous' band, the Evans Stone. And its folk-rock score is written by none other than Suzy Wilde, one of Toronto's most talented yet underrated composers, who's already made a mark with shows like 'Be Kind, Rewind' and 'The Carrette Sisters.' Unfortunately, the rest of 'After the Rain' isn't nearly as sterling — hampered by Rose Napoli's awkward book and some ineffectual direction by Marie Farsi. ARTICLE CONTINUES BELOW The musical's story, inspired by true events (its lead character is based on Wilde herself), recalls other shows in the small but growing genre of fictional bands. Its behind-the-scenes drama is reminiscent of the acclaimed Broadway play 'Stereophonic,' about a rock group on the cusp of superstardom. And its sweet, coming-of-age tale mines similar thematic territory as the 2016 film 'Sing Street.' But the intimate narrative of 'After the Rain' remains frustratingly hazy, never managing to emerge from the shadow of Wilde's galvanizing music. At its centre is Suzie (Annika Tupper), the 20-something daughter of Ashley Evans (Andrew Penner) and Jean Stone (Deborah Hay), the two core members of the Evans Stone band. Andrew Penner and Deborah Hay in 'After the Rain.' Dahlia Katz/Tarragon Theatre The trio aren't necessarily a dysfunctional family, but a sense of dysfunctional ennui permeates their lives. As they prepare to head out on a new tour, Ashley and Jean are at loggerheads about how they can replicate the band's success from the '90s. Ashley wants to stick with what's tried and true; Jean feels their only path forward is to write new songs and innovate. Meanwhile, Suzie, who narrates the show, doesn't know where she belongs — or if that's even in the band. But she finds clarity when she unexpectedly agrees to take on one of her father's piano students, Jean (also played by Hay), a complete beginner who only wants to master one song: Erik Satie's wistful 'Gymnopédie No. 1.' Wilde's songs do much of the heavy lifting throughout the musical. Many are full-fledged bangers — with rousing choruses, soaring harmonies and virtuosic instrumentals. (Can we get a cast recording, please?) ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW Her lyrics are startling as well. Deeply suggestive, they set the mood for the rest of the show, hinting at the melancholy, hope and frustration of each of the characters. The music in 'After the Rain,' however, is unlike that of a traditional musical, in which spoken dialogue seamlessly transitions into song, with the characters unaware that they're singing. Here, the score is almost entirely diegetic, originating within the world of the show. The numbers are meant to be songs that the characters have written. They're mostly performed by the band in concert or in rehearsal — and when they're sung, there's a sense of self-awareness. Shaemus Swets and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre In that way, 'After the Rain' could be considered more of a play with music than a standard musical, because the songs can't completely probe the inner thoughts and emotions of each character. Instead, it's up to the dialogue to do that. But Napoli's book scenes, linking the musical numbers together, aren't up to that task and largely disappoint. While she does a compelling job early on of establishing the high strung atmosphere in the band's rehearsal room, it comes at the expense of developing the musical's characters, along with the key conflicts among them. The tension in the first act almost entirely hinges on the reveal of why Jean only wants to learn one song. Other supporting characters (such as the rest of the band members, played by Joe 'Jojo' Bowden on drums and Brandon McGibbon on bass guitar) are introduced then entirely forgotten. Suzie, too, remains an indistinct protagonist. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW The second half of 'After the Rain' is the stronger act. But still, important emotional beats rarely land with the impact that they could have, because they lack the necessary foregrounding earlier in the musical. By far the most underdeveloped relationship: the one between Suzie and her mother. What's not in short supply in this show, however, is audience participation. (If you're sitting anywhere in the first row: beware.) But all of it, though charming at first, feels misplaced, and mostly distracts from the story. Farsi's direction also mostly misses. She's completely transformed the Tarragon Theatre Mainspace for this production. Gone is the normal proscenium setting. In its place is a traverse stage, with the audience sitting on opposite sides of the action. From left: Joe 'Jojo' Bowden, Brandon McGibbon, Deborah Hay, Andrew Penner and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre David Boechler's set features a raised platform at its centre, which neatly transforms into a grand piano when the action shifts to Jean's home. It's an innovative setup, but also results in some cumbersome staging. Particularly when there's only one character on that raised platform, Farsi has them constantly turning back and forth between the two sets of audiences. The cast make the most of their underwritten roles. Tupper possesses a shimmering voice; Hay accentuates the contrasts between her two characters; and Penner, with his distinctively husky voice and a chain necklace around his neck (the costumes are by Ming Wong), leans into Ashley's full rocker persona. But together, when they sing, the music-making is glorious. Close your eyes, and you'll be transported.
Toronto Star
06-06-2025
- Entertainment
- Toronto Star
‘After the Rain' review: This new Canadian musical strikes gold in song, but falls flat in its story
After the Rain 2.5 stars (out of 4) Music and lyrics by Suzy Wilde, book by Rose Napoli, directed by Marie Farsi. Until June 22 at the Tarragon Theatre Mainspace, 30 Bridgman Ave. or 416-531-1827 When 'After the Rain' breaks into song, it strikes gold. Nay, perhaps even platinum. That's not altogether surprising. After all, this new musical, which opened Wednesday at Tarragon Theatre, is about a fictional, 'Canada famous' band, the Evans Stone. And its folk-rock score is written by none other than Suzy Wilde, one of Toronto's most talented yet underrated composers, who's already made a mark with shows like 'Be Kind, Rewind' and 'The Carrette Sisters.' Unfortunately, the rest of 'After the Rain' isn't nearly as sterling — hampered by Rose Napoli's awkward book and some ineffectual direction by Marie Farsi. ARTICLE CONTINUES BELOW The musical's story, inspired by true events (its lead character is based on Wilde herself), recalls other shows in the small but growing genre of fictional bands. Its behind-the-scenes drama is reminiscent of the acclaimed Broadway play 'Stereophonic,' about a rock group on the cusp of superstardom. And its sweet, coming-of-age tale mines similar thematic territory as the 2016 film 'Sing Street.' But the intimate narrative of 'After the Rain' remains frustratingly hazy, never managing to emerge from the shadow of Wilde's galvanizing music. At its centre is Suzie (Annika Tupper), the 20-something daughter of Ashley Evans (Andrew Penner) and Jean Stone (Deborah Hay), the two core members of the Evans Stone band. Andrew Penner and Deborah Hay in 'After the Rain.' Dahlia Katz/Tarragon Theatre The trio aren't necessarily a dysfunctional family, but a sense of dysfunctional ennui permeates their lives. As they prepare to head out on a new tour, Ashley and Jean are at loggerheads about how they can replicate the band's success from the '90s. Ashley wants to stick with what's tried and true; Jean feels their only path forward is to write new songs and innovate. Meanwhile, Suzie, who narrates the show, doesn't know where she belongs — or if that's even in the band. But she finds clarity when she unexpectedly agrees to take on one of her father's piano students, Jean (also played by Hay), a complete beginner who only wants to master one song: Erik Satie's wistful 'Gymnopédie No. 1.' Wilde's songs do much of the heavy lifting throughout the musical. Many are full-fledged bangers — with rousing choruses, soaring harmonies and virtuosic instrumentals. (Can we get a cast recording, please?) ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW Her lyrics are startling as well. Deeply suggestive, they set the mood for the rest of the show, hinting at the melancholy, hope and frustration of each of the characters. The music in 'After the Rain,' however, is unlike that of a traditional musical, in which spoken dialogue seamlessly transitions into song, with the characters unaware that they're singing. Here, the score is almost entirely diegetic, originating within the world of the show. The numbers are meant to be songs that the characters have written. They're mostly performed by the band in concert or in rehearsal — and when they're sung, there's a sense of self-awareness. Shaemus Swets and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre In that way, 'After the Rain' could be considered more of a play with music than a standard musical, because the songs can't completely probe the inner thoughts and emotions of each character. Instead, it's up to the dialogue to do that. But Napoli's book scenes, linking the musical numbers together, aren't up to that task and largely disappoint. While she does a compelling job early on of establishing the high strung atmosphere in the band's rehearsal room, it comes at the expense of developing the musical's characters, along with the key conflicts among them. The tension in the first act almost entirely hinges on the reveal of why Jean only wants to learn one song. Other supporting characters (such as the rest of the band members, played by Joe 'Jojo' Bowden on drums and Brandon McGibbon on bass guitar) are introduced then entirely forgotten. Suzie, too, remains an indistinct protagonist. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW The second half of 'After the Rain' is the stronger act. But still, important emotional beats rarely land with the impact that they could have, because they lack the necessary foregrounding earlier in the musical. By far the most underdeveloped relationship: the one between Suzie and her mother. What's not in short supply in this show, however, is audience participation. (If you're sitting anywhere in the first row: beware.) But all of it, though charming at first, feels misplaced, and mostly distracts from the story. Farsi's direction also mostly misses. She's completely transformed the Tarragon Theatre Mainspace for this production. Gone is the normal proscenium setting. In its place is a traverse stage, with the audience sitting on opposite sides of the action. From left: Joe 'Jojo' Bowden, Brandon McGibbon, Deborah Hay, Andrew Penner and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre David Boechler's set features a raised platform at its centre, which neatly transforms into a grand piano when the action shifts to Jean's home. It's an innovative setup, but also results in some cumbersome staging. Particularly when there's only one character on that raised platform, Farsi has them constantly turning back and forth between the two sets of audiences. The cast make the most of their underwritten roles. Tupper possesses a shimmering voice; Hay accentuates the contrasts between her two characters; and Penner, with his distinctively husky voice and a chain necklace around his neck (the costumes are by Ming Wong), leans into Ashley's full rocker persona. But together, when they sing, the music-making is glorious. Close your eyes, and you'll be transported.
Wales Online
12-05-2025
- Entertainment
- Wales Online
42-year-old dad started dating teenage Welsh girl and it caused such a stir they both quit their jobs
42-year-old dad started dating teenage Welsh girl and it caused such a stir they both quit their jobs Mark Hillary, 45, and Ellie Liptrot, 21, have been a couple for the past three years and say it 'wasn't a shock' to their friends and family when they got together Mark Hillary and Ellie Liptrot have been together for three years (Image: Instagram // Mark Hillary ) Mark Hillary, 45, and Ellie Liptrot, 21, are a couple making waves on TikTok with nearly 80,000 followers. Ellie, originally from Wales, and the father-of-two, have faced some criticism due to their 24-year age gap, but say they relish in the attention—especially from online trolls. The couple, known by their username 'It's The Hillary's', started their relationship when Mark was 42 and Ellie was just 18, after years of friendship, reports the Manchester Evening News. The two are now expecting their first child together. Mark explains, "The relationship grew naturally as we had known of each other for a while beforehand." He adds, "So people knew us as friends first before being together, so there wasn't a really shocking factor for our family and friends because they saw it happen naturally. Our friend groups have mixed for quite a while." Mark Hillary and Ellie Liptrot share their lives on TikTok (Image: Instagram // Mark Hillary ) Their rise to social media fame was unintentional. What began as simple posts of trendy videos and vlogs soon exploded into a full-time career, allowing them to leave their regular jobs behind. Ellie, who previously worked as a dental nurse, says, "We were just posting like everyone else, and it just blew up. We would always reply to comments with more videos, so it just kept going. It was by accident, really. What started as us posting about living our lives has turned into this." Article continues below Now, as full-time content creators, Ellie shares, "It grew so big that we were able to leave our jobs. We didn't really consider it a risk because at that point, we didn't have to worry about working because we already had that income." Despite their online success, they've continued to deal with the occasional rude comment, but the couple insists they are unbothered. Mark says, "We're very thick-skinned. If we weren't, we would never have started this and put ourselves out there on social media. "The rude comments don't really get to us. We have quite a laugh with it because it's usually people with #BeKind in their bio who have something hateful to write under our videos of us just being us." Ellie added: "If anything, we like the attention. We find it funny." For the latest TV and showbiz gossip sign up to our newsletter The dynamic duo has recently been nominated for the Best Family award at the National Influencer Awards, which will take place in Liverpool on May 16 at the Crowne Plaza Hotel. The event will celebrate digital influencers making a positive impact in fields like fashion, beauty, travel, fitness, technology, and lifestyle. The couple are now expecting their first child together (Image: Instagram // Mark Hillary ) Article continues below Speaking to the Liverpool Echo, Ellie expressed her surprise and excitement about the nomination. "It was a surprise to be nominated, but it's exciting at the same time," she shared. "We've never done anything like this before because it's all new to us." Looking to the future, Ellie revealed plans for the family to start producing YouTube-style vlogs, aiming to release a new episode every week after their first child arrives.
Los Angeles Times
30-04-2025
- Entertainment
- Los Angeles Times
Seven can't-miss newcomers keeping the spirit of jazz going
Herbie Hancock, who at 85 years young is one of the elder statesmen and authorities of jazz, says jazz is a spirit. Though traditions of the genre remain consistent through the decades, jazz has also historically been about expanding the genre. That remains very much the case in 2025. In the jazz up and comers of today, the hallmarks of improvisation, musicality, humanity and depth are very much present. But they're being presented by a new generation with vitality, freshness and innovation. Here are seven elite newcomers keeping the spirit of jazz alive at the top level. Annahstasia Annahstasia's stunning debut, 'Tether,' (out June 13) is a deceptively powerful record. Gentle, soft, elegant and graceful in a way that calls to mind a female Nick Drake, it is actually a bold statement to dare listeners to think and feel this much in these tumultuous times. 'With my record the important messages in it are our empathy, rest, kindness, slowness and intention, which I think in today's world we all need to take moments for,' the L.A.-based artist says of the magnificent 'Tether.' From the gorgeous opener, 'Be Kind,' to the uplifting closer, 'Believer,' this 11-song statement is as beautiful a record as you will hear this year and heralds the arrival of a major talent. Jazz influences: Billie Holiday, Alice Coltrane, John Coltrane, Carlos Nino, Laraaji Maya Delilah The 24-year-old Brit pulls off a pretty nifty trick on her superb debut, 'The Long Way Round.' The guitar prodigy, who says she grew up playing in a jazz band, has effectively captured nostalgia for a time she wasn't alive for. 'When making this record I was referring to a lot of records I grew up on such as 'Tapestry,' Carole King; 'Blue,' Joni Mitchell; 'Bryter Layter,' Nick Drake — so for me this record feels very nostalgic. I really hope it has the essence of nostalgia for others too,' Delilah says. Indeed, much of the album has a laidback '70s vibe, punctuated by Delilah's scintillating guitar work. But given Delilah's age it all comes with a contemporary feel. Combined, it makes for a timeless and gorgeous introduction. Jazz influences: Herbie Hancock, Kamasi Washington, Norah Jones, Keith Jarrett Ashley Henry With Henry, a vocalist/pianist/band leader primarily pounding away on the keys at the piano, this masterful album mostly carries the feel of a traditional jazz ensemble. But the multitalented British artist consistently transcends one genre, like on the song 'Take Me Higher,' which has a strong '70s disco/funk vibe. 'Each of these songs holds an attempt to understand and strive for liberation or collective possibility,' Henry says of the 14 songs on his 2024 album 'Who We Are,' written to provide a respite from 'these times we find ourselves in.' There is a soaring quality to much of the album, particularly the aptly named 'Fly Away,' featuring Aja Monet. Jazz influences: Patrice Rushen, George Benson, Geri Allen, Jackie Mittoo Sage Bava Bava's deeply soulful forthcoming debut, 'In Whose Eyes' (produced by four-time Grammy winner Larry Klein and featuring appearances by Christian McBride and L.A.'s Braxton Cook), is rooted in her jazz upbringing. 'I grew up on a farm, listening almost exclusively to legends like Ella Fitzgerald, Judy Garland, Billie Holiday, Mel Tormé and Duke Ellington,' she says. But her musically adventurous and curious mind melds those classic influences with a decidedly 21st century bent, resulting in multiple industry comparisons to Fiona Apple. Bava, who is at her best when she lets her beautiful vocals shine through on songs like 'Slow' and 'Love and Control,' also taps into her strong connection to nature. The result is a thoughtful and introspective personal collection. Jazz influences: Esperanza Spalding, Melody Gardot, Antônio Carlos Jobim and Thelonious Monk Brandon Woody Baltimore trumpeter Woody brings a quiet resolve and elegance to his excellent debut 'For the Love of It All' (out May 9). On a track like 'Wisdom: Terrace on St. Paul St.' that elegance and resolve is underscored by a steely grit. 'I want folks to take away a feeling of the journey me and my collective have had. The feeling of the perseverance we've had to take to get where we are now, the feeling of my city Baltimore,' Woody says. 'This album is a presentation of us being us, with no glamour but in the most raw honest and natural way we can.' That honesty is felt throughout every note of these six songs. Jazz influences: Theljon Allen, Craig Alston, Tim Green, Marc Cary, Quincy Phillips, Gary Thomas, Rodney James, Troy Long, Michael Saunders. 'My friends are my biggest influences. All of my favorite musicians come out of the Baltimore area,' he says. Milena Casado Like Annahstasia and Bava's exceptional debuts, New York-based trumpeter/producer Casado's engrossing 'Reflections of Another Self' (out May 16) is a gorgeous collection that comes from deep within. Infusing mostly rich, ethereal instrumentals with the music of her Spanish roots and Brazilian vibes, Casado, born in Spain, creates an intoxicating space to dwell and think. 'This is a really personal record, going through a journey of introspection, and acceptance, and finally, self-love. What I want is to be able to inspire people to go through that journey with me,' she says. Jazz influences: Wayne Shorter, whose sample vocals you can actually hear in there. Miles Davis, Thelonious Monk, Ornette Coleman Aron! A few decades earlier and Aron! (born Aron Stornaiuolo) would have been playing in the background in a Woody Allen film set in the '40s or in a jazz cafe. On his oh-so-enjoyable EP 'Cozy You (and Other Nice Songs)' (out June 6), the young crooner transports us to a bygone era where love is everywhere. 'I'd love for this EP to be the soundtrack to simple moments in people's lives. Whether you're driving, cooking, cleaning, reading, studying — really any kind of -ing — there's beauty in these ordinary moments, because it's a gateway to presence,' he says. He takes the simple beauty and elegance of Laufey back to its more traditional roots and just like she did, watch for him to blow up among Gen Z. Jazz: influences: 'The songwriters from the Great American Songbook era,' he says. 'Writers like Cole Porter, Johnny Mercer, Billy Strayhorn and Matt Dennis — those guys had such a beautiful way of expressing timeless emotions through melody and lyric. I've been obsessed with arrangers like Axel Stordahl and Nelson Riddle since I was 10. I remember laying in my bed at night as a kid and getting emotional because I could feel what they were trying to do, and I wanted to do it too. When it comes to straight-ahead jazz (because I consider a lot of Sinatra's stuff more pop than jazz), I've really been getting into Bud Powell, Duke Ellington's suites and 'Birth of the Cool' — I just can't get over that one.'
