Category: Women Who Rock

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Victoria Morsell Hemingson Discusses 30th Anniversary of ‘Phantasmagoria,’ Writing

Widely regarded as one of the most successful and controversial computer video games of its time, Phantasmagoria wowed gamers when it was released in the summer of 1995.

The interactive point-and-click horror adventure created by Sierra Online, one of the first games for both MS-DOS and Windows, spanned seven discs and grossed more than $12 million dollars on its opening weekend, easily becoming one of the year’s best-selling games.

The hugely detailed 550-page script developed by Roberta Williams told the story of Adrienne Delaney (portrayed by actress Victoria Morsell Hemingson), a writer who moves into a remote mansion only to find herself terrorized by supernatural forces. The game featured both live action and cinematic footage mixed within a three-dimensionally rendered environment.

Despite the buzz and high demand it generated, Phantasmagoria was also considered controversial upon its release in 1995, with several major retailers refusing to even stock the game because of content they considered to contain “highly realistic violence.” Something that seems trivial in comparison to the games currently occupying store shelves three decades later.

Although the game was hugely successful, Victoria Morsell Hemingson decided to switch gears from acting in order to pursue a career in writing shortly after the release of Phantasmagoria, as well as to concentrate on marriage and raising a family. In 2021 she was awarded the grand prize in the Mystery/Thriller category in Book Pipeline Unpublished for her novel, “Awful Necessary Things.”

Today, she’s concentrating on several different writing projects, including novels as well as a powerfully written and personal non-fiction piece about a difficult time in her life. She’s also had the opportunity to actually play Phantasmagoria herself for the very first time on the Conversations with Curtis YouTube channel.

I recently spoke with Hemingson about Phantasmagoria’s 30th anniversary and its impact, her writing and more in this new interview.

It’s been thirty years since the release of Phantasmagoria. When you look back now with so much perspective what thoughts come to mind?

Victoria Morsell Hemingson: I remember it was actually really fun to make. We had such a great time because it was like a dream job. They put us up in cabins and we all got to stay by a lake. We were a tight knit group and it was nice to have something steady for a few months. If you follow Conversations With Curtis on YouTube, that was the first time I ever actually played the game. I remember when I was hired I really didn’t know very much about computer video games but I was told it was a new kind of game that was cutting edge. I had originally auditioned for the director for another project. He had seen me act before and knew I’d be right for the part in Phantasmagoria.

Did you know what you were getting into with this game?

Hemingson: It was hard to envision exactly what it was going to look like at first. It was a gigantic script and there was a lot we didn’t understand going in. For example, the set was in front of a blue screen and was completely empty. There was no furniture; just boxes for steps, beds and chairs. I remember we had to stand facing a monitor and could see the animation that they already had done on the TV and where we were going to be in relation to the game while we were doing it. It took a while to get used to how to move and be in the right place on screen. As an actor it was a bit of a challenge not knowing how big or small to go. We were all figuring it out as we went along.

What was it like learning the story and what were some of the little nuances in the 500+ page script?

Hemingson: Roberta Williams told me the story. The script itself was all in order but it contained everything, like first I would have to open a drawer to find the matches. Then I would open the drawer to see the matches, then open the drawer and not see the matches. Each of those kinds of variations was part of the script. I remember when we filmed we were there for a few months and then brought back in a few months later to shoot for a final few weeks.

What made you decide to make the transition from acting to writing?

Hemingson: I always wrote when I was a kid and a lot of the acting I was starting to do wasn’t as satisfying or fulfilling. I wanted to do something I was really proud of. I still remember the exact moment I realized that I was done acting. I had gone on an audition for a play and they kept everyone waiting around for hours and hours. Then when it was finally my turn to audition it was like a split second. It just felt like it wasn’t worth it. So I decided to go back to school and got a master’s in writing. The writing was something I always wanted to do.

What’s your writing process like?

Hemingson: It can be difficult trying to get into the groove but I try to write in the morning and then later on in the afternoon, Of course, it’s different when I’m revising. When I was in school I was a little more efficient with my time working and writing.

What are some of the projects you’re currently working on?

Hemingson: I recently wrote a personal non-fiction piece for Hippocampus Magazine. I used to work as a receptionist when I was younger and had an eating disorder. It was during this time that I started seeing this actor, whose name I won’t reveal.

I’ve also written a fiction piece for South Carolina Review about a woman in Los Angeles who’s trying to get off a cycle of bad choices and am working on a new novel.

What are you most looking forward to about this next phase of your career?

Hemingson: I guess it would have to be completing these new projects. I’m excited about working on them. I need to get them out of me. I may also be collaborating with my husband on something which will be fun. He’s a screenwriter who wrote the film, “The Holdovers.”

A Conversation With, Entertainment, Interview, Morning Call, Music, Women Who Rock

Pentatonix singer on group’s origins and its Allentown Fair show

Since their emergence in 2011, Pentatonix has become one of most innovative vocal groups of all time and redefined what a cappella is all about.

The three-time Grammy winning vocal quintet, which features Scott Hoying, Mitch Grassi, Kirstin Maldonado, Kevin Olusola and Matt Sallee, have sold more than 10 million albums and performed everywhere from The White House to The Hollywood Bowl. Last year the group completed their biggest Christmas tour to date by selling more than 200,000 tickets in support of their Greatest Christmas Hits album.

This weekend, the group is bringing its ubiquitous vocal talent and high energy to the Allentown Fair for a performance on Saturday, with special guest and “American Idol” alum David Archuleta. It’s a show that promises both a healthy dose of classic Pentatonix material as well as new songs along with a few surprises.

I recently spoke with vocalist Kirstin Maldonado about Pentatonix’s Allentown Fair show and more in this new interview.

Q. What can Pentatonix fans expect from your Allentown Fair performance?

Kirstin Maldonado: We’re really looking forward to the show. It will be fun and different. Last year we were touring constantly and this year we had a lot had time off to be able to work on new music and we’re also bringing back some oldies and classics. We always try to include the songs everyone wants to hear.

You can read the rest of my Morning Call interview with Kristin Maldonado by Clicking Here.

A Conversation With, Entertainment, Interview, Morning Call, Music, Women Who Rock

Meet her on Broadway: Bethlehem native Lilly Moss talks about her singing career, her new album and that time she met Taylor Swift

Rising country artist Lilly Moss has roots that run deep through the Lehigh Valley. Born and raised in Bethlehem, the talented singer-songwriter is making a name for herself by combining her uniquely ubiquitous voice with a good measure of poetic storytelling.

This year, Moss performed for a sold-out crowd at the Pediatric Cancer Foundation’s Hearts of Gold Gala, where her mosaic artwork brought a winning bid of $20,000 for the foundation. She also performed at the Sherman Theater Showcase as a special guest of Hayes Warner, who was named one of People’s “Emerging Artists to Watch 2023.”

Moss’ second single, “Heartbreak Summer,” will be released Friday; the release date of her album will be announced soon. The title-track, “Meet Me on Broadway,” is an energetic tribute to Moss’ dream of a Nashville happily ever after and was produced by Grammy-nominated producer Dan Malsch of Soundmine Studios in Stroudsburg.

Moss’ summer schedule is shaping up nicely and includes both band and solo (guitarist-accompanied) performances, including a Musikfest appearance at Lyrikplatz on Monday, Aug. 5. On Monday, July 22, she’ll appear with her full band, The Steel Ponies, at the Williams Township 75th Country Fair. Her performance starts at 7 p.m.

You can find out more about Lilly Moss on her website: www.lillymoss.com. I recently spoke with Lilly Moss about her music in this new interview.

Q. Did you always know music was going to be your calling?

Lilly Moss: I like to say that I grew into it. I started voice lessons in sixth grade and took them up until I left high school but never really thought about performing because I was self-conscious of my voice and its tone. I wasn’t confident enough to put myself out there until I realized that’s what set me apart. I performed for the first time back in 2021 and remember never wanting to get off the stage. It was then that I thought, ‘OK, let’s do this for real.’

You can read the rest of my Morning Call interview with Lilly Moss by Clicking Here.

1980's, A Conversation With, Books, Entertainment, Interview, Medium, Music, Women Who Rock

‘True Tale of Mista Bone’: Author K.L. Doty Previews New Jack Russell Autobiography

In her new book, “The True Tale of Mista Bone: A Rock and Roll Narrative,” Author K.L. Doty unveils the long-awaited story of the life of vocalist Jack Russell. From his early years as the original front man for American rock band Great White to the band’s subsequent success with its million-selling album, Once Bitten as well as thesubsequent follow-up, Twice Shy, and their infectious cover of the Ian Hunter song, “Once Bitten, Twice Shy,” Russell gives readers an inside look into the glory days and debauchery of eighties hard rock.

Doty’s book, which will be released this summer, also promises to reveal a deeper, more complex story of Russell’s life. One that offers readers a personal and eye-opening account of the singer’s rise, fall, and return to fame following the horrific events of The Station Nightclub fire in February of 2003. In it, Doty helps to uncover Russell’s creative and enduring spirit, one showcased both in and outside of the spotlight.

I recently spoke with K.L. Doty about Jack Russell’s upcoming autobiography and more in this new interview.

How did you and Jack Russell connect?

My husband, Chip Z’Nuff is in a band Enuff Z’Nuff. They’ve been around since the eighties and still actively tour. I helped sell merchandise on the road for Enuff Z’Nuff for a long time and Jack Russell’s Great White was one of the bands that Chip toured with. That’s how I met him.

How did this project come about?

I had been approached several times over the course of a few years by Robby Lochner, who is Jack’s guitarist. I said no every time because even then I knew how much work was going to be involved. Then In September of 2020 I was asked again. At the time, I had just finished almost two years of study to become a wardrobe stylist through the New York University of Art and Science. I still wasn’t interested in taking on so much work but went to bed and literally woke up in the middle of the night thinking, “I have to do this.” That’s how it all started.

What was the writing process like?

People often ask me what my biggest advice for writing a book is, and it’s always “Don’t do it!” [laughs]. You start off with stars in your eyes but the longer you go the stars can start to dim, because it’s a lot of information. And it’s not like I was writing some cute little fairy tale from my own brain. I was writing someone else’s story and it was all true. So if someone tells me something, even if it was just a single sentence that contained a few facts, I would have to go and fact check with multiple sources. It can be hard to corral the information and still create a cohesive story. I had to learn to be organized and do whatever I could to seek out the information I needed.

What were some of the other challenges you faced during?

I didn’t realize I would be giving up as much as I did, including spending time on the road with my husband. I was working with other people’s schedules and had to put personal relationships on hold because this book had to be first. The whole process took four years in total and I spent the first two years interviewing Jack a few times a week for about an hour and half. It was all recorded and there was so much to transcribe. My goal was to get the general idea of things and then make it sound the best that I could. I received the first copy recently. It didn’t become real until I actually held it in my hands. That’s when it sunk in that this heavy thing I was holding; something that you could open up and look through, actually existed!

Did Jack share any fun “rock and roll” stories with you?

Oh, he had a lot of those. Little anecdotes, like when he was on tour with Judas Priest and they trashed the hotel room and threw everything out into the pool. It was one of the first times the band had been on the road and they wound up having to pay out a lot of money.

K.L. Doty – Photo by Jamie Benjamin

Jack says “I’m sorry” quite a bit when discussing the events of The Station Nightclub fire. How did you approach talking to him about such a difficult subject?

It was a heavy thing to have myself go through as a writer and I was very cautious talking about certain things. Jack says “I’m sorry” in the book because, legally, he wasn’t allowed to say it during the trial, because doing so would be considered an admission of guilt. This is the first time he gets to speak out on that.

Can you tell me a little about your background and how it helped shape you into who you are today?

I come from a very whimsical family and grew up around a lot of influential people in rock and roll and Hollywood. Growing up, my grandmother would host these incredible parties where random celebrities would just show up. I knew one day I wanted to be just like that — to host parties with people like that. When I was sixteen, I’d lie to get out of going to school by telling them I was sick or on a family vacation, and then I’d tell my parents that I was going on a field trip. Then I’d go to venues with these rock bands where I would just be there and interview them. Times were different then, but I’d show up and say I was so and so and I was writing articles for this or that magazine. Being female, it was inevitable that I was going to be labeled a groupie, so people looked at it the wrong way. But my main goal was to learn more about the industry.

Are there any other projects you’re currently working on right now?

I have a record that should be coming out by the end of the year. If you ask me how I would describe it, I’d say it’s what would happen if Norah Jones were to do a record with Alice Cooper, Nine Inch Nails and Beethoven. I like to give the sound the imaginary title of phantasmagoric pop. I like very soft, ghostly elements but I don’t mind the industrial drive in the bass. I’m also focusing on boxing right now. It’s something I didn’t know was in me but I really don’t mind hitting hard. We’ll see where it takes me.

Is there a message you’d like people to take away from reading the book?

I want them to take away the beauty of words. The story aside, I wrote this book in such a way where, even under the most horrible of events or feelings, it makes you feel like you’re eating something delicious. Adjectives, synonyms and what have you, it’s a beautiful little puzzle piece. My goal was to take all of the best words and put them in the right order to make a true story taste as incredible as it sounds.

The True Tale of Mista Bone: A Rock + Roll Narrative will be released this summer.

A Conversation With, Entertainment, Guitar World Interviews, Interview, Music, Women Who Rock

Ann Wilson on enlisting Kenny Wayne Shepherd, Warren Haynes and Tom Bukovac for new solo album Fierce Bliss
Photo: Scott Dudelson/WireImage

Ann Wilson is one of the premier hard-rock vocalists of all time. Smashing boundaries with longstanding Seattle outfit Heart, she’s enjoyed a decades-long career resulting in more than 35 million albums sold and an induction into the Rock & Roll Hall of Fame.

Wilson recorded much of her new solo album, Fierce Bliss, at the legendary Muscle Shoals Sound Studio in Sheffield, Alabama, and enlisted the company of a trio of guitar powerhouses for good measure: co-producer Tom Bukovac, Warren Haynes and Kenny Wayne Shepherd.

Haynes, who last worked with Wilson on her Immortal solo release, returns for Fierce Bliss, bringing along Gov’t Mule for a pair of original songs: Gladiator and Angel’s Blues. 

Shepherd accompanies Wilson on two covers: a monstrous version of the Robin Trower classic, Bridge of Sighs, and an ambitious take on the Eurythmics’ hit, Missionary Man, the latter of which has Wilson backed by a 40-person gospel choir. 

An ethereal duet version of Queen classic Love of My Life with Vince Gill is also featured on the album, as well as fantasy art by Roger Dean, renowned for his work designing Yes’s sleeve artwork.

We spoke with Ann Wilson about Fierce Bliss, working with Kenny Wayne Shepherd and Warren Haynes and her favorite memories of Heart.

Was it your desire to create a guitar-driven album?

“Yeah, that’s what I’m comfortable with and what speaks to me. I was blessed to get into the company of Tom Bukovac, Kenny Wayne Shepherd and Warren Haynes. They’re great players who are also great humans. After we got vaccinated, we all put on masks and went to Muscle Shoals, where Tom had put together this band with Tony Lucido on bass and Sean Lane on drums.”

Read the rest of my

Interview with Ann Wilson by Clicking Here!

A Conversation With, Entertainment, Interview, Music, Women Who Rock

‘Showin’ Up’: Brooke Josephson Discusses Her Infectious New EP
Brooke Josephson

Known for her catchy pop tunes with a tongue-in-cheek take on domestic life, singer-songwriter and actress Brooke Josephson is showin’ up for another round of infectiously honest and hook-laden material. 

Josephson’s new EP, Showin’ Up, is the follow up to her acclaimed and female-empowered Sexy & Domesticated, and features introspective songs discussing the shifting energy and acceptance of who we are, the importance of the creative journey and making a difference, and the profoundness of lost relationship. 

Self-produced by Josephson, Showin’ Up was mixed and mastered by Grammy winning engineer, Brendan Dekora (Paul McCartney, Foo Fighters, Anita Baker) and features musicians like guitarists Chris Nordlinger, Tim Pierce (Goo Goo Dolls, Crowded House, Phil Collins) and drummer Seth Rausch (Keith Urban, Sheryl Crow, Little Big Town). The EP also includes Josephson’s spin on the Bonnie Raitt classic, “Love Me Like A Man,” and features a radio single as well as an extended jam. 

I recently spoke with Josephson about the new EP and more in this exclusive new interview.

How would you describe Showin’ Up in terms of its sound, and maybe how it relates to some of your previous work?

Josephson: I really leaned in with guitars on this one with Chris Nordlinger. When I think about the progression, both artistically and in my life, there’s been a lot of growth. This one definitely has more of a grounded, rock and roll sound.

What was the writing process like?

Josephson: I actually wrote all of the songs before the pandemic and was performing them live for about six months. It started with lyrics and then I put the music down in my home studio, gave it to my band, and the songs grew every time we played them live. Then we had our opening show at The Whisky in January of 2020 and everything came to a halt. I’ve been sitting with these songs for a bit, and they’ve taken on a whole new meaning from when they were first inspired.

Let’s discuss a few of the tracks, starting with “Rainbow.” What can you tell me about it?

Josephson: “Rainbow” was another one of those songs that was inspired by my daughter. I had picked her up from school one day and she seemed really upset. She put a smile on her face, but I could tell she wasn’t ok. It wasn’t until bedtime that she started crying and said that one of her closest friends had told her to find new friends. It was heartbreaking. So I told her the story of my brother who had a similar issue growing up. Then I remembered that Harry Chapin song, “Flowers Are Red,” and about owning your own color and what makes us special and unique. When she went to sleep I went in and started writing. I wrote it from that perspective and originally planned to release it in 2020. But then the George Floyd trial and Black Lives Matter happened. It was a dark time but there’s been a shift of energy, so when the single finally come out people were ready for something cathartic and bright. It’s a mindful awareness of the differences between us and the humanity that bonds us. 

“Showin’ Up.”

Josephson: I was at a songwriting conference and one of the inspirations was for us to think about writing a song to open our shows with. I thought about what makes doing a live show or going to a show so special, and it’s really all in the power of showin’ up. Not just the audience coming to be present but also as an artist. From the time you pick up your instrument for the first time or start wiring. Having to show up for yourself even when no one else is watching. It leads to the moment when everyone can come together. It’s another song that took on new meaning when I watched the heroes of the pandemic and the essential workers showing up to save lives while we were all stuck at home. It went from a performer’s point of view to something much bigger. 

“Don’t Say.”

Josephson: That was inspired after my parents divorced after thirty-five years of marriage. Even though I was an adult, it affected me profoundly. My brother and a few close friends also went through divorces well. It’s a song about change but still wanting to hold on to what was. It was my way of writing a song for them.

What made you decide to do a cover of “Love Me Like A Man?” 

Josephson: I’ve always been a fan of Bonnie Raitt. That song has so much grit and I’ve always performed it live. In my head I started hearing it with a different rhythm, sort of like the Nine Inch Nails song, “Closer.” We were having so much fun with it in the studio that I just let it keep running. That’s why there’s a radio version and an extended version on the EP. It wasn’t ego driven, we were all just in the groove. 

Are there any other projects you’re currently working on right now?

Josephson: In addition to being a mom I’ve been booking things around music and live shows, including acting opportunities that have been popping up. I’ll be in New York in March to film a thriller that centers around the murder of my character. I’ve also been doing the voice of a fairy in a Disney feature that I’ve recently recorded. 

Was there something you learned about yourself during lockdown, or a philosophy you’ve taken away from not being able to do the things you normally would?

Josephson: I’ve really had to recognize my struggle with perfectionism, and I didn’t realize how hard I was on myself. I like being productive but also had to be sensitive with two kids taking school on Zoom and my husband, who was also working from home. I’ve been leaning into self-compassions and, in doing so, I have more compassion for others. That was a big takeaway for me. 

Now that we’re starting to slowly come out of the pandemic what are you most looking forward to about the future?

Josephson: Collaborating. I still remember when I walked on set for the “Rainbow” music video and saw my band for the first time I was laughing and crying. We were all together making music in the same room again. I’d love to work with other artists, whether it’s writing with them or having other songwriters who are looking for an artist to record their song. I’m really looking forward to collaborating and just being with people. 

1980's, A Conversation With, Entertainment, Interview, Medium, Music, Women Who Rock

‘The Best Is Yet To Come’: Indomitable Songstress Bonnie Tyler Discusses Her Uplifting New Album

Photo: Tina Korhonen

Read the rest of my
Interview with Bonnie Tyler by Clicking Here.

A Conversation With, Entertainment, Interview, Music, Women Who Rock

Interview: Legendary Songwriter Holly Knight Discusses Her Upcoming Rock & Roll Fantasy Camp Master Class, Career

Holly Knight

Songwriter Holly Knight has been the vital force behind the sound of some of rock’s most powerful artists. Her resume includes monster hits by Tina Turner (“Better Be Good To Me,” “The Best”), Pat Benatar (“Love Is A Battlefield”), Patty Smyth (“The Warrior”), John Waite (“Change”), Aerosmith (“Rag Doll”), Heart (“Never”) and Rod Stewart (“Love Touch”).

Knight is one of only a handful of women to be inducted into the coveted Songwriters Hall of Fame, and her songwriting has earned numerous awards, including three Grammys and thirteen ASCAP Awards. The songs she’s written and co-written have appeared on records that total more than 300 million in sales.

Now this legendary artist is sharing her secrets in a special two-part, virtual Rock & Roll Fantasy Camp Master Class. In these exclusive sessions, you’ll have the chance to learn and interact with Knight as she shares her experiences writing for some of the biggest names in music. You’ll learn the secrets behind her craft as well as engage in songwriting exercises and learn the skills to creating a demo. Because the class is limited to twenty students, the experience will be even more intimate.

Holly Knight’s Live, Interactive Two-Part Songwriting Masterclass:

Part One will be Saturday, July 11 at 8 p.m. ET
Part Two will be Sunday, July 12 at 4 p.m. ET

Attendees will receive a Zoom link to the online sessions two days before class.

I recently spoke with Holly Knight about her upcoming two-part Rock & Roll Fantasy Camp Master Class and more in this new interview.

What can fans expect from your Rock & Roll Fantasy Camp Master Class?

Holly Knight: This is a two-part masterclass. The first session will cover my career, working with different artists like Pat Benatar and Tina Turner as well as the inspiration behind writing songs and lyrics. The second session will be an interactive songwriting workshop that will cover songwriting exercises and a basic overview of how to create a demo.

What’s the best bit of advice you can give to an aspiring songwriter?

HK: Write and keep on writing, and write because you have to. Take your time and don’t put anything out that you’ll go back later and feel embarrassed about. Have a strong constitution and expect to hear a lot of no’s before you hear a lot of yes. Always remember that it’s just their opinion. It doesn’t mean that it’s right. Believe in yourself because when it comes to art there’s no right or wrong.

Was a career in music something you always envisioned for yourself?

HK: Oh yeah. I started playing piano on a serious level when I was four and studied classical for ten years. My mother was grooming me to be a concert pianist but I was more interested in taking my skills and being in a rock band. Growing up it was always my dream to have the privilege of being in a band and making your own music and records. I didn’t want to be rich and famous. I just wanted to be in that private club of having respect among your peers and interacting and playing with them. I never knew I would do that through songwriting.  

What was the catalyst that made you want to focus more on songwriting?

HK: I had always dabbled in songwriting, but it wasn’t until my first band, Spider, had signed a record deal with Mike Chapman that I started taking it more seriously. The songs I wrote for the band during that time were turned in to the label along with everyone else’s, but we made sure to not tell them who wrote which song. That way there would be no bias. What happened was they would always pick my songs as the singles, which created a lot of tension within the band. I eventually decided to leave, but I still wanted to continue working with Mike. He and I had already written our first song together for the second Spider record, but months later the song wound up on Tina Turner’s album, Private Dancer [“Better Be Good To Me”]. That kicked things off. I moved to California to do more songwriting with him and other writers. There was something magical with the way it all lined up.

How does your writing process usually begin?

HK: Titles. For me, a really good title is the roadmap. Once I have the title I’ll pick up an instrument and start playing. If it’s a guitar it might be something like “Better Be Good To Me,” or “Obsession.” If it’s piano it might be something like “The Best.” Piano allows you to concentrate more on the melodies and chords.

Of all the highlights of your career what stands out to you as most memorable.

HK: I’ve worked with so many amazing people so there are so many moments. The evening of my induction into the Songwriters Hall of Fame was certainly one of them. That year was rocking because you had Steven Tyler, Joe Perry, Lou Gramm and Mick Jones. Elton John and Bernie Taupin were also there and I was the only woman. That was memorable for sure. I also remember when I met Tina [Turner] while working with her for the second Mad Max movie. I flew to Europe to meet with her and afterwards she invited to go on tour with her. Getting to sit on a road case on the side of the stage watching her do my song was definitely a highlight.

For more information on Holly Knight’s Two-Part Rock & Roll Fantasy Camp Songwriting Master Class Click Here.

A Conversation With, Entertainment, Horror, Interview, Movies and TV, Women Who Rock

‘Tea Time’: Writer/Director Tara Price Discusses Her Bloody New Short Film

Tara Price

During her afternoon tea party, a little girl — played by newcomer, Kennedy Barrie, loses her temper and things get…well, out of control.

The premise for award-winning writer/director Tara Price’sbloody new short comedy, “Tea Time,” can perhaps best be described as “Calvin and Hobbes meets Scarface.” A twisted mixture of childhood imagination and real-life consequence.

Ubiquitous in her storytelling, Price has an innate ability to weave a web of thrills and suspense while bringing out the best in her cast. No better example of this exists than the performance she yields from three-year-old Barrie, who is both insatiably cute and diabolically mean. Barrie’s real-life brother, Tripp, also appears in the film, giving even more visual impact to a short that already combines the best elements of comedy, horror and thrills.

Like her previous short film, “Earworm,” which featured Ernest Lee Thomas [“What’s Happening”], Price enlists the help of another beloved, multi-generational artist by involving wrestling legend Rob Van Dam to participate in a surprise twist.

“Tea Time” is already receiving buzz on the festival circuit, including being selected in the coveted 2020 Women In Comedy Festival presented by HBO. Proving that even though it’s only her sophomore directed film, Price’s star power continues to rise.

I recently spoke with Tara Price about “Tea Time” and more in this exclusive new interview.

What was the inspiration behind “Tea Time?”

Tara Price: I had been working on an outline for a feature about a child whose toys come to life in her dreams and wound up borrowing the idea to make something that was much more simple and fun. The overall idea of toys being alive in a child’s imagination isn’t new. I just ran with it in a weird direction. My one-sheet when I was seeking funding for “Tea Time” described it as “Calvin and Hobbes meets Scarface,” which amused me to pieces and I’ve since been told sums it up perfectly.

What’s your writing process like?

TP: When it comes to short films I have to know how it’s going to start and end before I even start fleshing out the idea. The ending doesn’t have to be tied up in a neat little bow but it has to have some kind of conclusion. I never write with a time frame in mind. I just want to write the idea and keep it interesting. Generally, you can estimate how many minutes the finished film will be based on the number of pages you write.

How did you discover Kennedy Barrie?

TP: Kennedy’s mom was actually a co-worker of mine. She’d recently moved to L.A. and had invited my husband and I to a housewarming party. When we arrived Kennedy answered the door all by herself, as if she were hosting the party. She gave us a tour of the home and by the end of the night she and her brother Tripp, who also appears in the film, were holding court. I was immediately taken with the dynamic between the two of them because that’s what I had written. I remember as we were leaving my husband turned to me and said, “I know what you’re thinking.” I laughed and said, “Is it that obvious?” The next day I brought the idea up to my co-worker and asked if she’d be ok with having her kids in the film. Luckily for me, it all worked out.

Read the rest of my
Interview with Tara Price by Clicking Here!

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Interview: Emma Taylor Defines Herself With Evocative New Single, ‘Made Your Bed’

Emma Taylor has never been one to follow formulaic trends when it comes to her craft. Although the L.A.-based songwriter’s haunting and ethereal music is drawn from personal inpsiration, it’s the conversational passion in her lyrics that truly defines her as an artist.

There’s a timeless curiosity about Taylor’s sound that not only resonates with the listener but also hearkens to the mid-70s singer-songwriter world of artists like Joni Mitchell, Carole King and James Taylor.

In her new single, “Made Your Bed,” Taylor showcases a new perspective in poetic subject matter. Where previous songs had discussed such topics as being stuck in pongnant, unhappy relationships, we now find the songstress learning to stand up for herself and not settling for anything less. Taylor’s infectious, evocative vocal and uniquely powerful production is a gentle reminder that true artistry still exists in a pablum-fueled world of status quo.

I recently spoke with Emma Taylor about “Made Your Bed” and more in this exclusive new interview.

The first thing I have to ask is how have you been dealing with the quarantine we all find ourselves in?

Emma Taylor: It’s definitely affected me. It’s crazy to not have the inspiration from social interaction but, right now, it’s a lifestyle change we all have to make. I do miss regular day to day things and conversations we all take for granted. As far as performing goes I’m not sure when that will happen again but when it does, it will most likely be different.

Can you give me a little backstory on your new track, “Made Your Bed?”

ET: Some of my previous songs have had an underlying theme of being stuck in a relationship. For this one I really wanted to flip the table and say, “Hey. You’re screwing up and I’m not going to allow it anymore.” It’s a song about taking responsibility for your actions and not letting someone you love get away with it.

Read the rest of my
Interview with Emma Taylor by Clicking Here.