Issue VIII: Culture Shift

Issue VIII, 2019

CENTER STAGE Music Center Corp.

“Culture Shift”

Kat Cunning

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A2nelito

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Kali Wilde

THE TEAM EDITOR IN CHIEF Angela Munro MANAGING DIRECTOR Veronica McCormick CREATIVE DIRECTOR & HEAD DESIGNER Christiana Kaimis

CONTRIBUTORS A2nelito Kat Cunning Kali Wilde Stephanie McKenna Vincent Muscarella

www.CenterStageMusicCenter.com If you would like to place an advertisement in Center Stage Mag please contact angela@CenterStageMusicCenter.com

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CONTENTS

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Letter From the Editor

What is Good Music?

Photo by: AJ Valcin

Photo by: Melaine Ramos

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Kat Cunning

A Kind of Magic

17 Sit Down Session With…A2nelito

Photo by: Emma Mead

Photo by: Chaun Davis

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Emerging Artist: Kali Wilde

The Future is Female Playlist

Photo by: Nathan Langford

Art by: Regan Lee

Cover photo by: Emma Mead

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LETTER FROM THE EDITOR

L

ately, we have been experiencing a resurgence of long lost fashion, music and even technological trends. Kids are rockin’ 90s’ grunge fashion, buying cassette tape players, and singing along to Queen. It seems as though things we had thought of as outdated have bridged the generational gap, and have shifted into today’s culture. In this issue, we explore what has made the band Queen so iconic. This issue also features an exclusive interview with Kat Cunning, an electrifying singer/songwriter, choreographer and actor. We meet an emerging artist, Kali Wilde, and we also take a look at how people of different ages and backgrounds answer the question: What is good music?

Enjoy, Angela Lee Editor & Author

Photo by: AJ Valcin

ABOUT CENTER STAGE Center Stage Magazine is a branch of Center Stage Music Center, a teaching studio in Westbury, New York. Since opening our doors in 2011, our goal has always been to create a comprehensive learning experience beyond what is taught in the classroom.

This magazine is a natural extension of that goal and aims to provide an even greater array of musical knowledge for general readership and the budding musician. Written by musicians for music lovers, our desire is to bring all the diamonds in the rough to the masses and to inspire the next generation of artists, musicians, and listeners.

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OLLIE BLOXHAM

@HAMBLOX CENTER STAGE

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I’M NOT GONNA WRITE YOU A LOVE SONG! What is good music?

We’ve asked people of all ages to tell us what they consider “good music” to be. Here are the 7 most common answers:

All music is good. It depends on the mood, situation and time of your life.

Queen/ Nirvana/ Kenny G. Male, 41 y/o

Something that speaks to me, whether instrumentally or vocally.

Tori Kelly/ Elevation Worship/ Lauren Daigle

Rock music is the best!

Female, 26 y/o

Metallica/ Queen/ Aerosmith Male, 10 y/o

Music that has a good beat.

Marshmallow/ Cardi B/ Bastille Female, 8 y/o

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Music with great harmonies & musicianship.

Music that tells a story.

Carrie Underwood/ Brett Eldredge/ Keith Urban

Billy Joel/ Pantera/ Alice in Chains Male, 29 y/o

Female, 13 y/o

Are We Really So Different?

It’s nearly impossible to put a definition on what “good” music is. When we asked people of all different ages and cultural backgrounds what they considered to be good music, it was clear they all had one thing in common… They championed the music that spoke to THEM. To say that music is personal can be cliché. But the thing about clichés is that they have a degree of time-tested truth to them. Genres are judged with different spectrums by listeners simply because of the way they grew up, what era they grew up in, where they are in life, their mood and their environment. Whether you hate rap, you love rock, or you think the ‘90s was the be-all-end-all music generation, the common thread linking all of us together is that music makes us feel something. The beats of pop and electronic music make us want to dance. The stories spun by country singers can touch our hearts. The shredding guitar solos of rock songs make us feel alive. The crooning singer of a love ballad can bring us to tears.

With so much cultural distinction in this small world, I don’t think we could ever put a first prize medal on any particular genre. So, what makes music good? It’s up to you.

Rock music with good lyrics and melody.

Paramore/ Imagine Dragons/ Alanis Morissette Female, 16 y/o

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Photo by: Emma Mead

Photo by: Estelle Massry Coucou Photography Written by: Ulises Amaya

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Photo by: Emma Mead

It was a warm September afternoon in 2017, as me and two friends made our way into the warehouse in Williamsburg, where Refinery 29 had transformed the large empty space into ‘29Rooms’ of interactive art installations. We wandered around the visual playground, snapping photos along with the crowd, and waiting in line for close to 30 minutes for some exhibits. Just as we were about to call it a day and grab lunch, we noticed a swarm of people exit a room. It seemed as though the next performance in said room was about to start, and there wasn’t a line. We shuffled our way into the dimly lit “Dream Room,” designed by artist Juno Calypso. There were twinkling lights all around as if the Milky Way had found its home in this small room. Small bistro tables, chairs, lamps and cushions adorned the space, making us feel as though we wandered into a Parisian lounge.

On a small stage stood Kat Cunning, in an ethereal pink dress. Her style and presence was reminiscent of old Hollywood glamour. She prompted us to write down our most vivid or reoccurring dreams on sheets of notepaper that were scattered on the tables. In real time, she began to improvise songs based on the dreams she collected from the room’s visitors. It was my favorite installation of the entire exhibit.

Kat Cunning is a singer/songwriter, actor and dancer/choreographer, originally from Oregon. She is in every sense of the phrase a “triple-threat.” Kat is an enchanting performer whose presence commands the stage. Her poetic lyrics and sultry voice marry perfectly together as time seems to transcend while listening to her songs. She is an artist who truly succeeds in taking her listeners on a journey to the most wild and sometimes hauntingly beautiful places with singles such as Wild Poppies, Baby, and Stay on the Line. Gaining her start into the entertainment business after college as a dancer & singer in Company XIV, Kat has gone on to perform in Broadway, Cirque Du Soleil, TV, and film. You may recognize her from her role as Christina Fuego on HBO’s The Deuce. She also has a big role in the upcoming Netflix series, Trinkets, which will air this spring. Make sure to check it out!

Last week I had the pleasure of sitting down with Kat for an exclusive interview on her background, inspirations, creative process and what we can expect to see/hear next from her:

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CS: I know you have a background as a trained dancer and also as an actress.

What first got you into music?

CS: So, you started poetry when you were younger and that transformed into becoming a lyricist and songwriter?

Kat: From my heart I always wanted to sing, but my parents used to tell me to keep my day job, which was dancing at the time. My first experience I really had singing in front of anybody was at college where I was dancing. Pete Malinverni, who is this really awesome jazz guy, ran a choir called Soul Voices Choir, and he let me be a part of it. It was such an awesome foray into music because it was all these blues and soul standards, beautifully arranged, and it was about feeling the music versus being a good singer. I sang my first solo in the choir, “Ain’t No Sunshine.”

Kat: Yeah, I mean I actually took poetry quite seriously. I pursued spoken word poetry and performed it. I even won competitions with it. Eventually, I realized that it sort of had a ceiling to it in terms of where I wanted to go with my craft. Basically, I lost a big competition that I really wanted to win and I was like “Oh man, you guys don’t get me…I’m going to put it into song!” Haha But it’s really cool and I’ve learned such a respect for the format and structure of pop music, because in a way it’s a kind of poem.

CS: So, you began to pursue music in college?

Kat: Actually, I didn’t really have any reason to pursue music until I graduated and got a dance job, where there were a lot of circus performers and people with multiple skills. At this point I really just wanted to keep the dance job so I told them I could sing.

They ended up giving me a solo and the NY Times reviewed my performance and said they couldn’t wait for my album to come out.

I was really lucky to have this external endorsement that everybody respected. I would have never thought I could have participated in music seriously until that happened. From there, people started reaching out to me to write with them.

CS: What is your songwriting process?

Kat: My songs are usually super truthful and come from my life, so I think that step number one would be: be willing to tune into what your feeling, and be willing to go through stuff. That’s if you want to write personally, but I don’t know any other way to write. Most importantly, I need a guiding concept. I love to milk a metaphor and the concept needs to be super strong. Once it is, the song kind of writes itself. I tend to spit out what rhymes and then edit it so that I care about what I’m saying. I’ve learned that songs are not like poems because they have to come out of your mouth well. So the third step is seeing what words are getting stuck in my mouth and doesn’t feel good rhythmically, and then trying to find what works.

My songs are usually done in a day. I usually record the vocals in a day too because I get in my head after that and do a bunch of weird stuff haha.

CS: Ah yes, overthinking haha Kat: Yes! Don’t overthink it. Don’t get in your own way!

And actually, I wouldn’t have felt like I had any business writing at all if I didn’t have a background in writing poetry. I think I would have felt really overwhelmed and even might not have pursued music, because I hadn’t played any instruments. But because I have been writing poetry since I was a kid, I felt like “Okay, if you guys got the music, I’ve got the lyrics.” And over time I’ve grown more comfortable with melodies and finding my own voice when it comes to my songs.

CS: Definitely! Everything is related. Your dance background teaches musicality and spoken word poetry has such a rhythm to it. Even in the new song I just heard you recording, it has such a great beat. Would you consider your music to be pop?

Kat: Yeah, I always lean into saying that my music is pop. I think a lot of the music we call something else, because we think it’s aesthetically “cooler” than pop, is still in it’s heart a pop song.

I would call anything with a pop structure, a pop song.

CS: Your music videos are very creative & theatrical. They give the viewer a real sense that they have been transported into a fairy tale. What inspires the ideas behind them?

Kat: The two big music videos I have out have very different approaches. “Wild Poppies” was a long time coming. I was obsessed with The Wizard of Oz as a little kid. I had the script last revised in 1939, and I memorized it. I’ve made a bunch of work in the various crafts I thought I would pursue about it, so “Wild Poppies” was a really easy song to write. The choreography was based on another work that I made in college that was loosely based on The Wizard of Oz and another story I love, Harrison Bergeron. So, this music video was basically a thesis statement of so many things I believe in, and it was really easy to create. It also has this stark apocalyptic feel to it, which sets the scene for something epic, kind of dark, and kind of arousing. It’s sort of my dance representation of what it felt like to come to NY and find my community, and have my own adult awakening. As for the fantastical element, I want to take people to other places, and I want a Lady Gaga budget. It wouldn’t be me if I just showed up in overalls, singing an indie song. I want to take people away.

The other video I have out right now is for “Stay on the Line,” and it’s really tongue in cheek. It has a lot of erotic imagery in the verses, so I didn’t want to lay on the sexiness in the video. I wanted it to feel really playful. It’s about discovering romance and love, and the joy of articulating sensuality to somebody over the phone, which is such a particular moment of being young.

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CS: Are you a New York native?

Kat: I’m from Oregon. I moved here to go to the Dance Conservatory at SUNY Purchase, and I’ve been here ever since. Recently, I just went back to Oregon for two months to film a Netflix series, Trinkets, which will be coming out in the spring. It’s actually the longest I’ve been home since I graduated and it was cool to go back and remember Oregon, because it’s such a special place… a little break from NY. KAT WILL HAVE A BIG ROLE, STARRING ALONGSIDE BRIANNA HILDEBRAND, IN THE UPCOMING NETFLIX SERIES, TRINKETS, COMING OUT THIS SPRING. @trinkets Trinkets

CS: As someone who has lived here my whole life, sometimes I feel like there is so much going on you can almost get lost in the hustle of trying to make it here. Do you feel like moving/living here is beneficial to someone trying to make it in the entertainment industry? Do you have any advice for people living here?

Kat: For me, NY was a necessity. There are truly so many more people here doing what I want to do. And you depend on people to make art, you depend on people to come to the shows, and you depend on people to be in the shows.

I definitely have found what I need as an artist here. That being said, I need to find ways to get out of here sometimes because it is really easy to get caught up in surviving. One of the ways I do that is by having a balance between acting and singing. Being able to tell other peoples stories and also my own. I also try to get into nature as much as I can. I really think the thing that people lack in NY is space and air quality, and I need space to think sometimes. It’s really important to make sure that whatever your hustle is, you build breaks into it.

My other advice for people trying to make it in NY is, it really does depend on who you know, and I don’t mean that in a networking way. I mean that in a “who helps you feel like you are being creative” way. For me, I’m writing and performing songs and I am the star of my own show right? So, I wouldn’t survive with a bunch of friends who thought I was being extra. I have to find other people who are extra in their own way, and who don’t have an issue with celebrating themselves. Make sure that the people you gravitate towards feed you in whatever your dream is.

CS: How did you get into acting?

I just always knew I wanted to. But, I was hardcore pursuing dance when I was younger to have time for anything else. And the acting program at my school wasn’t awesome (sorry Centennial haha). I was never presented with an opportunity to learn acting in a high quality way I could afford until college. I actually auditioned for the acting school there and didn’t get in. But, acting was always a main part of the dance roles I would get. I’m not as strong of a dancer as so many dancers I know, however I have a lot of heart and a lot of presence, and I always kinda knew that was the actor in me. I just rock n’ rolled, and tried to get into some short films through small back stage auditions. My first TV role happened this year, and I think it was because it was the right role for me.

Christina Fuego on The Deuce is SO my girly side, and I have lots of research in the nightlife world. I was really excited to bring authenticity to her character, and not make her a ditz.

Besides the Netflix show coming out, which is me in so many ways and such a f***ing cool role, my other acting credit was lucky. I was in the Broadway play Les Liaisons Dangereuses, with Liev Schreiber and Janet McTeer. It was a really perfect fit. I had just come from dancing in Company XIV, where everything was French Couture and drama. I just knew how to play that role. That’s why my other piece of advice that I always give people is, if you are in any way unique…follow that.

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Click to watch Kat Cunning’s music video for Wild Poppies.

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CS: Now I feel like I got to experience something even more special! What do you feel like the connection between your music and your film career is? Do you plan to pursue one more than the other?

Kat: I really, really, really need for them both to work. Like I said, I think they kinda keep me sane and balanced. I love acting, but I also need to make my own work. I don’t see any reason why they can’t go together.

Honestly, TV and movies take a specific amount of time to make, and I can spend the rest of the time making my music. Music is my business and I feel like I spend more time on music, but I would still consider acting and music equal. I also hope that the people who want to work with me as an actor, get more information about me from my work as a musician.

I intentionally have my name the same in both contexts. I’m making stuff from my heart, I’m telling stories from my life. It’s kind of like the most in depth headshot I can give you. Haha

CS: What are you currently listening to?

Who are your influences?

Kat: I really love King Princess right now. I love the song Holy. It’s such a beautiful song and I’m very excited by religious aesthetic right now.

I’m not religious, but I’m religious for like…Madonna. Madonna is my God and rock n’ roll is my religion.

Photo by: Ben Trivett

I’m also really enjoying Julia Michaels. The song “Heaven” is such a beautifully concepted song, also in the religious aesthetic. On the R&B side, I’m amazed by Nstasia. She has a sort of Tracy Chapman voice and her songwriting is like hood romance. It’s the most detail of a place and so minimalistic, but so beautiful. Also, I somehow just discovered Ella Mai, and I’m obsessed with her latest song “Shot Clock.” She’s great.

CS: As I mentioned, I first saw you perform in the “Dream Room” at Refinery 29’s ‘29 Rooms’.

Was the performance piece your idea?

Refinery 29 is usually way more visually driven, but they came to me and told me they have this amazing artist Juno Calypso (that’s the person who designed the room). They said “The room is about her, but also it would be great if you sang, and we want you to sing people’s dreams.” So I thought “okay, well we need a guitarist (Rob Mastrianni) so we can do this the right way.” Essentially, the part of it that was a musical test of improvising song was my idea. And it was so fun because I love improvising lyrics and I got to flex that muscle from my poetry days. Also, being with that many people all day was a really cool performance art exercise.

I would say one of my early influences would have to be Fiona Apple, because she really follows her nutty brain. Also, I started in this dance company by covering Lana Del Ray songs. So, she definitely influenced me in terms of not feeling like I always have to sing big as a pop singer.

CS: What new music can we expect to hear from you?

Kat: I have a new single coming out this month, and that is surrounding the release of Trinkets. I also have more singles that I will be releasing in the coming months. I have a lot of great music I am really excited about.

www.katcunning.com @katcunningmusic @katcunning

CS: Would you consider ever doing a performance piece like that again in the future?

Kat: I’ve had some people ask me if I would do it again. I’m leaning towards saying it was a one-time thing. Maybe I’ll revive it again for a special occasion, but for now I’m just focusing on doing my music, and doing it right.

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Make sure that the people you gravitate towards feed you in whatever your dream is.

Photo by: Emma Mead

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A KIND OF MAGIC:

The Legacy and Resurgence of Queen in Modern Culture Written by Vincent Muscarella

The 1970s were a prosperous time for innovation and sophistication in rock music. Coming off the heels of groundbreaking mid to late ‘60s masterpieces such as Sgt. Pepper’s Lonely Hearts Club Band by The Beatles and Pet Sounds by The Beach Boys, the 1970s saw new ways of producing and engineering records, as well as an increased complexity of song form and style that paved the way for the eclectic music that would come to define the decade. One of the most prominent bands that encapsulated the zeitgeist of ‘70s rock music is Queen. Queen was one of those bands that broke all of the proverbial “rules” of music and created a legacy, which made them as iconic as they are today.

There are two factors in which I believe make Queen one of the greatest bands of all time. The first is the quartets ability to manipulate sound during the recording process with never before seen or heard engineering techniques. Two songs that represent this idea of sound manipulation are both from the bands 1975 legendary album, A Night at the Opera. These songs are “The Prophets Song” and “Good Company.” In “The Prophet’s Song,” singer Freddie Mercury creates a new way of recording the voice with multiple microphones feeding back into each other to produce natural delay so that he may harmonize with his own vocals. In “Good Company,” guitarist Brian May uses an unheard of amount of guitar tracks during his solo to emulate the instruments of a full Dixieland jazz ensemble.

The second factor involves the group’s ability to create songs in different genres and styles, and make them just as good (or better) than bands that specialized in those styles themselves. For example, “Another One Bites The Dust” is a brilliant satire on the simplicity of disco music. However, Queen composed the song so well that it made the disco top 100 chart and has become a staple of television, radio, cover bands, and dance clubs to this day.

In present times, Queen’s music has made a resurgence in the lives of the older listeners who grew up with the music, as well as in the lives of a newer, younger audience who seem to relate to the refined sound of the band’s hits and deep cuts. This unearthing of the Queen catalog is attributed in large part to the 2018 film Bohemian Rhapsody, staring Remy Malik as Freddie Mercury. The film follows the band’s career, from their humble beginnings as college students in England, through the turmoil and triumph dealing with the recording business and touring life. Younger audiences have become fascinated with the almost mythologized life of Freddie Mercury, from aspects of his personal life to his larger than life onstage persona. Kids, especially aspiring musicians, are captivated by each band members command over their respective instruments. As documented in the film mentioned above, all four members of the group perform with virtuosic ability, which inspires developing musicians to strive for excellence on their chosen instrument or voice type. More and more schools are incorporating Queen’s music into their rock band programs and performing ensembles. This use of Queen’s music is a testament to the educational value in which Queen’s music provides, and to the masterful songwriting of all four musicians.

The legacy of Queen cannot be defined in words, but one can instead hear it in the music that they have created throughout a lengthy and diverse career. The far-reaching music of Queen will continue to live on through the new generation of listeners and performers who have come to respect and digest every delicate detail of the profound music of rock legends.

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SIT DOWN SESSION WITH...

A2nelito

Everyone has their method of best communicating thoughts and ideas. For A2nelito, expression is best communicated through the piano and its 88 keys. With the help of modern tools, he has created unique and eclectic soundscapes, in which he calls “sonic storytelling.” The term “sonic storytelling” is a title used to preface EP’s that he has released for a film series. A2nelito’s goal is to present the listener with a cinematic experience that has no visual component.

He started learning the piano at age 4, and hasn’t stopped since. The piano series entitled “How I Speak” reflects the more raw presentation of where his mind is, where his thoughts lie, and what his heart desires. At his current juncture with music composition, he is most comfortable in the instrumental realm. Music speaks when words can’t, and his diverse sound is meant for eliciting a broad set of reactions for all who stop to listen.

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SONGWRITING TIPS

In This Sit Down Session…

A2nelito shares his songwriting process with 10 helpful tips. From which equipment to buy, to choosing chords, to honing in on your “sound,” these 10 steps are invaluable for anyone looking to write music.

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EMERGING ARTIST: KALI WILDE A refreshing new pop artist has just emerged from Los Angeles with her single “I Can’t Adult Today,” which dropped in January 2019, and we’re here for it. For Kali Wilde, music has always been a big part of her life. “I began playing piano as a kid, and right away started singing and writing my own songs. I veered into the classical world in Middle School, performing in choir and things like that. But as soon as I graduated, I went back into the songwriting world because that’s truly where I felt my calling was.”

Music has always been a part of her soul, despite her being the lone wolf musician in her family. But, if it wasn’t for her dad exposing her to classic rock tunes and pop icons from a young age, Kali may not have taken the path to becoming a musician. “My dad bought me a Celine Dion CD when I was 5 years old, and I think that was the first music that felt like mine. That’s how I learned how to sing, haha, jamming out to my Celine Dion CD!”

Photo by: Nathan Langford

Kali has been honing her songwriting skills for the past 15 years, and we’re excited that she has finally released her music for the world to hear. About two years ago, she teamed up with Nathan Langford and former Center Stage instructor, Jackson Hunt, of Future Town Music Group to begin working on the music we are hearing today. “I started off collaborating with them on some projects, and through that we organically started working on some of the songs I was writing for myself.

I was really resonating with their musical styles, and that opened up the opportunity to have what we have today. About 2 years ago is also when I really dove into the pop music world. It’s been a lot of work, but I’m excited to be in a place where I have songs that I’m really proud of.”

Follow Kali Wilde for more music and updates: @Kali.Wilde @Kali_Wilde www.Kaliwilde.com Photo by: Nathan Langford

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Her single, “I Can’t Adult Today,” is the culmination of all those feels we get when the day just isn’t going our way. The catchy electro-pop track, along with her playful lyrics, makes it a song you just have to listen to over and over. The message is rather tongue-in-cheek; we’ve all had days where coffee spills on our clothes and we’ve hit the snooze button 10 times...but it’s okay to not feel like a functioning adult every day. “I’m trying to emphasize that it’s okay to feel this way, and we’ve all felt this way. It’s completely okay to not have it all together and to not know what your doing. And it’s okay to talk about it and laugh about it, rather than trying to put on a facade.”

Kali has mastered the art of taking real like experiences and molding them into song. She writes from her heart and from her personal life.

“I’ve found a way of expressing a positivity and a boldness in my music that really helps me overcome any insecurities and any other things I’ve dealt with in the past. I’ve let music become my outlet to express and empower myself.”

With her catchy, relatable songs and positive messages, Kali is well on the way to becoming a prominent voice of the millennial generation, and we can’t wait to hear more from her!

“I’VE LET MUSIC BECOME MY OUTLET TO EXPRESS AND EMPOWER MYSELF.” Photo by: Nathan Langford

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OLLIE BLOXHAM

@HAMBLOX 20

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THE FUTURE IS FEMALE Spiderwebs No Doubt

Bad Girls MIA

Be Still The Dead Weather

Tennis Court Lorde

Gigantic The Pixies

Los Ageless St. Vincent

Oh Yeah The Subways

My Boy Billie Eilish

Only Happy When It Rains Garbage

Stay on the Line Kat Cunning

Heads Will Roll The Yeah Yeah Yeah’s

What’s Wrong With Me Skela

Cool Kids Echosmith

Call Me Blondie

Disparate Youth Santigold CENTER STAGE

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