Vaughn Lowery is a native of Detroit and the youngest of five siblings, a graduate of Cornell University's ILR School. Core duties: global diversification strategy, production management, and ecological implementation. The grandson of the late civil rights defender and recipient of the presidential medal of freedom, Joseph Lowery. Lastly, a distinguished member of the Alpha Phi Alphi Fraternity, Incorporated (Alpha Chapter).
NEW CUTTING EDGE CAMPAIGN REDEFINES CULTURE-DEFINING INNOVATION STANDARDS AND REESTABLISH OAKLEY AS AN MX INDUSTRY LEADER
Oakley’s motocross goggles have become a symbol of style and performance, reflecting the brand’s commitment to pushing boundaries and redefining industry standards…again. Loyal to motorsports, the brand is committed to pushing the sport for future generations and is setting the stage for the next 50 years of innovation. Our Origins Ride With Us.
Together we have created a new vision for the future of MX while paying homage to the brand’s two-wheeled past. The film opens teasing a set of Oakley MX Grips, the first milestone in Oakley’s motocross history and a groundbreaking product that proved the brand’s prowess in developing high-performance accessories. The story continues with the introduction of an undeniable mark on the sport with its commitment to innovation and cutting-edge product design.
The introduction of Oakley MX goggles into the space signified a pivotal moment in the motocross world, as Oakley began its dedicated journey enhancing the performance and safety of riders while also being a staple for style. Oakley’s goggles have graced the faces of motocross legends such as Jeff Ward, Ricky Carmichael, Johnny “O’Show” O’Mara, James “Bubba” Stewart to current and future legends like Eli Tomac and Chase Sexton, earning a reputation for being the goggle of choice for those who require nothing but the best.
To this day, Oakley continues to commit to meeting the specific needs of riders, while setting a new standard in goggle performance with the Airbrake MX. Featuring Prizm Lens Technology, Triple-Layer face foam for comfort, ventilation to avoid fog, switchlock technology and more, these goggles allow athletes enhanced vision and optimized performance.
Our Origins Ride With Us can be viewed on Oakley’s YouTube channel or @OakleyMotorSports on Instagram beginning Saturday, January 27th, 2024.
The campaign video, filmed and produced by Tyler Ravelle, is officially available on Oakley’s YouTube channel, HERE. The film pays homage to Oakley’s two-wheeled past, opening up by teasing a set of Oakley MX Grips, the first milestone in Oakley’s motocross history and a groundbreaking product for both the brand and the MX industry.
Global superstar, producer, and DJ Kygo joins forces with acclaimed pop artist Ava Max for their new single, “Whatever,” out now via RCA Records.
A playful take on Shakira’s multi-platinum smash hit “Whenever, Wherever,” “Whatever” starts with a rush of guitar strums and Ava’s powerhouse vocals as she reckons with the end of a relationship. As she finds the strength to move forward, the instantly iconic chorus kicks in, ushered by a flurry of synths and house-infused production.
Accompanying the single is its music video, directed by Dano Cerny (The Chainsmokers, Halsey, Elle King). Introducing the first chapter of visuals to come from Kygo this year, the “Whatever” video follows Ava Max across a desolate desert highway.
His first release of 2024, “Whatever” follows Kygo’s official remake of Paul McCartney and Michael Jackson’s legendary chart-topping song “Say Say Say” last year, as well as the release of his fourth studio album, Thrill Of The Chase, in 2022, which featured collaborations with X Ambassadors, DNCE, Lukas Graham, Gryffin, Sam Feldt, Dean Lewis, and more.
Learn what’s to come this April in EDGE OF SPIDER- VERSE, the hit series that introduces new web-slingers and catches up with fan favorite Spideys from the Marvel Multiverse.
EDGE OF SPIDER-VERSE, the now perennial Spider-Hit, is back and more monumental than ever! Launching in February, the series will take readers to the bleeding edge of the Spider-Verse once more, reacquainting you with old favorites and introducing you to some of the most important web-slinging heroes you haven’t met yet, all leading up towards the next big Spider-Verse epic—SPIDER SOCIETY! But before further details are unveiled about that, discover what awaits in EDGE OF SPIDER-VERSE #3, on sale in April.
After EDGE OF SPIDER-VERSE #1 kicks things off with the first appearance of WEAPON VIII and the exciting comeback of the tech-savvy SPIDER-BYTE and EDGE OF SPIDER-VERSE #2 introduces the terrifying new SPOOKY-MAN and brings back 90s’ badass CYBORG SPIDER-MAN, here’s what awaits in EDGE OF SPIDER-VERSE #3:
· Your neighborhood can be a few blocks long, or it can be the size of an entire space station. STAR-SPIDER slings through the stars in her Silk ship, helping those in need, thwipping through alien cityscapes. Meet the coolest new Spider-hero to grace the comics page in a story by writer Justina Ireland and artist Pete Woods!
· The runway-strutting Web-Weaver is back, back, back again! Don’t miss one of the coolest new characters of the Spider-Verse kicking butt, taking names and looking good while doing it in a new adventure written by the character’s co-creator Steve Foxe!
“Getting to work on anything Spider-Verse is awesome and getting the chance to create a new Spider is bananapants awesome,” Ireland said. “Star-Spider is an homage to everything I loved as a kid: sci-fi, awkward characters, and super heroes! She’s smart and silly and a bit out of her depth, but also tenacious and I hope everyone loves her as much as I do.”
“Getting to work with Justina creating a new hero in the Spider-Verse is a once-in-a-lifetime treat,” Woods added. “The design for Star-Spider and her corner of the universe is a colorful mashup of everything I love about comics, film, and animation. Justina’s story is a fun ride and a perfect introduction to Star-Spider’s world and its vibrant characters.”
On writing the next chapter of his Spider-Verse creation, Steve Foxe shared, “Getting the opportunity to return to Web-Weaver’s world in this new anthology has been such a (web-) blast. When we originally conceived of Cooper Coen and his supporting cast, we knew there were no limits to the stories we could tell with him, especially because each new installment lets us play with all-new versions of familiar Spider-faces!”
Previous installments of EDGE OF SPIDER-VERSE saw all-star creators introduce the world to the likes of Spider-Gwen, Spider-Rex, and more. It also revealed secrets behind Spider-Boy’s origins and laid the groundwork for new eras of icons Spider-Man India and Araña. You won’t believe how the Web of Life and Destiny impacts Spider-Man storytelling this time as the possibilities of the Spider-Verse are unleashed in full! See Star-Spider for the first time on Chad Hardin’s cover below and pick up EDGE OF SPIDER-VERSE #1 on February 22 and EDGE OF SPIDER-VERSE #3 this April! For more information, visit Marvel.com.
Romer Hell’s Kitchen [RHK] is an architectural gem nestled in the theater district of Manhattan. Designed by Goodrich, with interiors by Islyn Studio. A mixture of vintage and vibrant. With 295 keys, this is an excellent property for someone who wants to be in close proximity to some of the best dive bars, restaurants, and plays.
As a boutique, it features an eclectic colorway of coral, sea moss, sage, bone, and scarlet, mimicking the award-winning Mad Men series on AMC. Throughout the lobby and common areas, there is a strong presence of muted hues, textures, and wood. Unlike its rivals in the area, RHK is illuminated with amber ambient lighting. Every inch is infused with modern prints and contemporary abstract paintings. The delicate decor deepens as you enter the building.
Unlike kitsch, the deep blue hallways transition into nostalgic units that bring back memories of the past. The spaciousness of our deluxe corner suite with king bed was remarkable. Inside, the olive velour chaise was paired with an overhanging lamp and adjacent fixtures, which at times felt regal. An inviting atmosphere for a staycation or a business trip with a hint of spontaneity. The environment is conducive to meeting people from all walks of life. Nevertheless, the entire community has a handful of jazz lounges for music lovers and LGBTQIA lounges for the free-spirited.
In case you’re looking for recommendations, just scan the QR code on the back of your room key. A web-based application is linked to it, which informs about local events, specialized eateries, and intriguing activities, including free bike rentals for a ride in Central Park. Although there is no on-site fitness facility, you will find a day pass to one or more exercise institutions within walking distance. And if all else fails, simply visit the front desk for off-the-beaten-track options.
Nevertheless, be sure to check out the cufflinks on the lower levels of the Corner Store and the piano bar, which hosts a happy hour on certain days.
In short, Romer Hell’s Kitchen is a *pet-friendly pathway for those who possess style, confidence, and wish to camouflage into the concrete. After all, it’s a destination that heavily impacts parochial partnerships and enterprises.
*50lb weight limit, $100 per stay,OR $150 with the package purchase, includes pet-specific welcome amenities and exclusive neighborhood pet-friendly perks.
OAKLEY FUSES FANTASY WITH SCIENCE WITH 13.11 EYEWEAR
NEW STYLE BOLDLY REMIXES THE ICONIC PRO M FRAME WITH UNMISTAKABLE KATO LENS SHAPE
13:11, Oakley’s forthcoming eyewear represents what it means to reimagine everything. Part fantasy, part science, its design boldly reinvents the icon Pro M Frame® with Oakley Kato™ lenses.
The result is a legend of the past merged with state-of-the-art advancements in eyewear technology, that upholds Oakley’s legacy of delivering cutting-edge products. A simple equation resulted in its quirky moniker, adding the ‘M’ for M Frame to the ‘K’ for Kato, the 13th and 11th letters of the alphabet.
13.11 boasts a unique brow design that makes a powerful statement, featuring strong aesthetics that will enhance the wearer’s world like no other. Crafted for any exploration ahead, the design combines a Kato-inspired lens shape with a singular piece and hingeless frame inspired by the Pro M Frame, which made its original debut in 1996. 13.11 showcases sculpted surfaces crafted from durable and flexible O-Matter™ material, complemented by Unobtanium® ear socks and nose pads for a secure grip. Complete with Oakley Prizm™ Lens Technology, see colors and contrast like never before. Housed in a custom form-fitting hard case, the packaging is inspired by the creation of the eyewear, sparking a new design narrative.
Starting January 18th, Oakley 13.11 will be available on Oakley.com as well as in selected Oakley stores and partners worldwide.
It’s a story of joy of life, of passion, of humanity, of people, of real life, of irreverent glamour, of provocation, of confidence, of simplicity, of immediate feelings and emotions, of a specific type of art, of words – words in artworks, words in pictures, words in spaces, just words. A story of richness and lust/desire, of red but also blue and green, of flash, of spontaneity, of light, of a party at the first light of day, it’s an unhidden story, one that’s proud, it is manifest and not taboo although it might look like it should be, it is completely free and filled with euphoria. It is a story of fabulous, diverse people; it’s Getty images of cool people of all ages, and it’s inclusive as in everyone is welcomed. It’s a story of movies, of my beloved Italy, of intellectuals and travels around the world but still feeling at home wherever you are. A story of objects – shiny, tactile, and cold to the touch but warm to the heart and soul, these are desirable to collect, not for a museum but to enrich everyday life. It’s a story of music and nights out of sweat, dancing, and singing. It’s a story of family, of kissing, lots and lots of kisses. It’s a story of everything, again, but this time expressed through joy.
Sabato
CREDITS
HAIR DUFFY – STREETERS MAKE UP THOMAS DE KLUYVER – ART PARTNER NAILS JENNY LONGWORTH – STREETERS
EXITS56 NUMBER OF MODELS56
EXCLUSIVE MODELS
JOEL ORTIZ @CREW MARTIN MILLER @FRANCINA MATEO RUIZ @INDEPENDENT EMILIO CILIA @MORFOSI MODOU WADE @NEXT DIAO MINGHUI @SELECT
LIVE MUSIC
Music Directed & Mixed by Mark Ronson
Mark Ronson – Late Night Prelude Romy – Love Her Lucky Love – Masculinity Mark Ronson – Late Night Feelings ft. Lykke Li Mina – Ancora ancora ancora (Mark Ronson remix)
A unique Super SUV equipped for police service unveiled at the Dubai Airshow
The Lamborghini Dubai dealership continues its successful collaboration with Dubai Police, delivering an Urus Performante before the end of 2023, the year that marked its 60th anniversary.
At a special ceremony held at Dubai Airshow 2023, Paolo Sartori, Regional Head, Automobili Lamborghini Middle East and Africa, handed over the keys to the marque’s Super SUV to Major General Ahmed Mohammed bin Thani, acting commander-in-chief of Dubai Police. Paolo Sartori, added: “We are delighted to continue our collaboration with Dubai Police, supporting them in their crucial public safety mission. Following our delivery of an Urus to the force in 2022, this new Urus Performante edition will be used to carry out a range of public duties and, above all, will help enhance the city’s security and safety, with this initiative further demonstrating our brand’s longstanding presence here in the UAE.”
Equipped with a twin-turbo V8 engine delivering 666 CV of power and 850 Nm of torque at engine speeds from 2,300 to 4,500 rpm, the Urus Performante guarantees 0 to 100 km/h (ca. 60mph) acceleration in just 3.3 seconds and a top speed of 306 km/h (ca. 190 mph).
Adapted to the needs of the police force, the Urus Performante entered service with the Dubai Police after a period of preparation and modifications of the car to adapt it to the work requirements of the police force.
The livery combines the classic colour green with white, with details on the bonnet and side doors featuring the police logo. The rear spoiler is fitted with a blue 360° LED light bar combined with an electric siren. The passenger compartment, on the other hand, has been customised with various essentials for the Dubai Police, including an armoured gun box, a fold-down message display, a special compartment in the boot for storing service equipment and a defibrillator for first aid response.
Commenting at the ceremony, General Ahmed Mohammed bin Thani, acting commander-in-chief, of Dubai Police expressed his appreciation for the collaboration with Lamborghini Dubai. “The high-performance Super SUV was added as part of Dubai Police’s efforts to increase the number of patrol officers across Dubai. The new Lamborghini Urus Performante will support Dubai police in their commitment to better serve residents, maintain social safety and security, and provide services in popular tourist destinations.”
*Fuel consumption and emission values of Urus Performante; Fuel consumption combined: 14,1 l/100km (WLTP); CO₂-emissions combined: 320 g/km (WLTP)
In 2023, Rolls-Royce delivered 6,032 motor cars to clients across more than 50 countries worldwide. More than ever before in the marque’s 119-year history, the total number of commissions was in line with expectations of the luxury house. 2023 also saw a record level of Bespoke projects for the brand as all Rolls-Royce motor cars are hand-built at the marque’s home in Goodwood, UK. North America continued to deliver strong demand, not only in volume but more importantly in bespoke value. The United States remains the marque’s largest market.
Cullinan was the most commonly requested commission both in standard and Black Badge commissions for clients in North America and worldwide. Ghost remains popular and saw some of the most complex Bespoke and Collection projects ever, including Black Badge Ghost Ékleipsis. Phantom remains the pinnacle member of the Rolls-Royce family, also seeing record levels of bespoke value and continued strong demand. Phantom Syntopia, the most technically complex Bespoke project ever for Rolls-Royce, was delivered in 2023.
Rolls-Royce unveiled Spectre to the world in October 2022, with first cars deliveries to North American clients only weeks ago. The first all-electric series Rolls-Royce in history has attracted enormous interest worldwide, particularly among younger clients, setting a clear direction of travel and establishing a solid foundation for the marque’s bold electric future.
GLOBAL & REGIONAL SALES
Rolls-Royce reports sales growth in the majority of the markets in which it operates, with deliveries reaching new record levels in the Middle East, Asia-Pacific and Europe regions.
The USA was Rolls-Royce’s single largest market worldwide, while Greater China remained the marque’s second-largest market. Record sales were achieved in Europe, where the UK is the largest single market. Record annual sales and year-on-year growth in the Asia-Pacific region were fueled by a strong performance in Korea, whose dynamic, vibrant economy is reflected in a rapidly expanding luxury market.
BESPOKE: DEFINING THE BRAND
Every motor car hand-built at the Home of Rolls-Royce includes some element of Bespoke, the company’s unique program offering personalization possibilities which are limited only by the client’s imagination. In 2023, Bespoke commissions reached new record levels by both value and number; the technical innovations required to deliver specific projects saw Rolls-Royce file several new patents during the year.
Bespoke projects completed in 2023 included many ‘firsts’ for the marque that were also technical innovations. These included the scent-release mechanism concealed in the headrests of Phantom Syntopia, which incorporated technology originally developed for medical applications, while many Bespoke paint finishes achieved in 2023 required entirely new materials, techniques, and formulations to achieve.
The year’s commissions also created new opportunities in the use of rare and beautiful materials and intricate craft techniques. These included: exquisite mother-of-pearl inlays for ‘The Pearl Cullinan;’ hand-perforated leather seats for Black Badge Cullinan Blue Shadow; Starlight Headliners incorporating mesmerizing celestial animations for Black Badge Ghost Ékleipsis; and exquisite hand-painted Gallery artworks for Phantom ‘Inspired by Cinque Terre.’
BUILDING FOR THE FUTURE
In 2023, Rolls-Royce submitted plans for a major new investment to modernize and upgrade its manufacturing facilities. The plans will enhance and extend the marque’s Bespoke and Coachbuild capabilities as well as support production of its future all-electric product portfolio. This significant investment represents the single largest injection of new capital at the Home of Rolls-Royce since the site opened in 2003. This reflects the scale of the transformation in the company’s size, activities, commercial success, and global influence in the intervening two decades.
OUTLOOK
Rolls-Royce Motor Cars does not provide volume forecasts. According to Fritsches, “Rolls-Royce Motor Cars NA already has a strong level of orders for 2024 including many intricate and complex Bespoke projects we hope to deliver to our North American clients in the coming year. Our quest is for ever-increasing value, not volume, of Bespoke Rolls-Royce commissions.”
TWENTY-FIVE TIME GRAMMY® NOMINEE COMPOSER GORDON GOODWIN STRIKES GOLD AGAIN WITH THREE NEW GRAMMY® NOMINATIONS.
The 66th Grammy® Award Nominations were announced on November 10, 2023. The astonishing surprise was three new nominations for Multi Grammy® Emmy Winning Composer/Arranger, Jazz Veteran Gordon Goodwin.
Nominations
• Best Jazz Vocal Album: Patti Austin Featuring Gordon Goodwin’s Big Phat Band – For Ella 2.
• Best Instrumental Composition: Quartet San Francisco Featuring Gordon Goodwin’s Big Phat Band – Cutey and The Dragon, Composed by Raymond Scott and Gordon Goodwin.
• Best Arrangement, Instruments, and Vocals: Patti Austin ft. Gordon Goodwin’s Big Phat Band – April in Paris, Arranged by Gordon Goodwin.
Gordon is delighted that his current projects have been considered once again by The Recording Academy. He says, “25, I look at that number and it shocks me every time. I still find it difficult to believe that the members of
the Recording Academy have given me 25 Grammy® nominations for my work. I don’t think you ever get used to it and the three most recent nominations seem somehow more precious than ever. I had the good fortune to be involved in two projects that were close to my heart in the past year, and happily, both were acknowledged by the Recording Academy.”
Gordon is grateful for being nominated twice for his collaboration with Jazz phenom Patti Austin. She is jazz royalty; Patti Austin’s keen interest in being a total entertainer likely started when she stepped onto the stage of the world-famous Apollo Theater in Harlem at the age of four at the urging of music legend Dinah Washington. After a series of much-acclaimed albums for CTI Records, she signed with her godfather Quincy Jones’ Qwest label and began achieving mainstream success on an international level thanks to the GRAMMY® nominated hit “Baby Come To Me,” her now classic duet with James Ingram and the follow-up duet, the Oscar-nominated “How Do You Keep the Music Playing?” as well as her appearance on albums with Jones on his best-selling album Stuff Like That, his GRAMMY®–winning classic The Dude, and later, his From Q With Love Vols. 1& 2. The GRAMMY® nominated For Ella album opened new doors for Patti as a performer and her embrace by the jazz world was further cemented with her Grammy winning classic CD “Avant Gershwin: Now, after more than two decades of touring, her take on the classic American Song Book has expanded Patti’s appeal and garnered standing ovations all over the USA and Europe. Patti continues her philanthropic work with her mentoring organization, “The Over My Shoulder Foundation” and with Covid hopefully winding down she has resumed her touring schedule to the delight of fans all around the world.
Gordon is pleased to receive his composition nomination for “Cutey and The Dragon,” from the album Raymond Scott Reimagined, featuring Quartet San Francisco, Take 6 and the Big Phat Band. Goodwin took the unfinished work by Raymond Scott and completed it in a manner that honors Scott’s sophisticated yet playful style. Raymond neither received nor was nominated for a Grammy during his lifetime; the awards were launched in 1958, by which time Scott had largely stopped issuing commercial recordings. Raymond Scott was a composer, inventor, visionary, pianist, engineer, electronic music pioneer, control freak.
Gordon Goodwin was born in Wichita, Kansas, and Goodwin’s parents moved to Southern California when Goodwin was four. After completing his formal music education at Cal State University-Northridge, Gordon began working as a live performer at Disneyland and after a few years, he was commissioned to work on a musical that featured past and present Mouseketeers (including Britney Spears and Christina Aguilera). That exposure led to studio work with the likes of Quincy Jones, Mel Tormé, Ray Charles and legendary vocalist Johnny Mathis.
In 1999, Gordon founded the Big Phat Band for what he thought would be a single performance at his alma mater Cal State at Northridge. Since then, the Big Phat Band has recorded 10 albums, and in the process received 25 Grammy® nominations. Goodwin won a Grammy® for ‘Best Instrumental Arrangement’ for “Incredits” for the film The Incredibles and has been honored with 3 Emmy awards for his work on the Steven Spielberg-produced shows Animaniacs and Pinky and the Brain. His work has been featured/utilized in more than 80 film & TV productions spanning the gamut of pop culture: amplifying the likes of National Treasure, Star Trek: Nemesis, Snakes on a Plane, Get Smart, Remember the Titans, The Sorcerer’s Apprentice, The Majestic (starring Jim Carrey), The Lion King, The Incredibles and Ratatouille.
Gordon has won four Grammy® Awards and three Daytime Emmy Awards and has received twenty-five Grammy® nominations for his compositions and arrangements.
Gordon’s discography includes Swinging For the Fences, XXL,
The Phat Pack, Act Your Age, That’s How We Roll, Life in the Bubble, Wrap This, A Big Phat Christmas, An Elusive Man, Joyful, The Gordian Knot, The Reset, Raymond Scott Reimagined, For Ella 2, w/Patti Austin, Music for Two Pianos (2024).
Gordon is also the host of the popular long-running radio program, “Phat Tracks with Gordon Goodwin,” airing for 5 years on KJAZZ, America’s jazz and blues station, and finishing its 2nd year broadcasting and streaming from its new home on San Diego’s Jazz 88.3 FM (KSDS). The weekly 2-hour show is a mix of music and stories and commentary.
Pianist, saxophonist, composer, arranger, and conductor – whatever it is Gordon Goodwin touches, it’s all about his love of music. The accolades and awards come, but for Gordon the feeling of gratitude for his life in music is strong, and he wouldn’t want it any other way.
“Listening to Gordon Goodwin’s Big Phat Band, I was immediately taken by Gordon’s contemporary musical viewpoint, the dynamics of his “Big Phat Band,” its bevy of superb soloists, and the exhilaration of its sound.” – Quincy Jones.
Upcoming Shows
Jan 25 – Winter NAMM Show Concert, Anaheim, CA.
Jan 29 – Catalina Jazz Club Patti Austin/BPB Grammy Celebration Concert, Hollywood, CA.
March 2 – Studio Channel Islands Art Center, Camarillo, CA.
March 16 – Bonita Center For the Arts, La Verne, CA.
April 27 – Thousand Oaks Performing Arts Center, Thousand Oaks, CA.
May 4 – The Grape, Ventura, CA.
June 1 – International Trumpet Guild Concert, Anaheim, CA.
June 7 – SF Jazz Concert, San Francisco, CA.
July 30 – Redlands Bowl, Redlands, CA.
August – Blue Note Tokyo.
Patti Austin Album
Music video for Cutey and the Dragon
360 Magazine – Q & A
1. How has your family inspired you as a musician?
Gordon: My parents insisted that I take piano lessons as a little kid and that piano teacher was the first person to suggest I could write music myself. My first compositions, as lame as they were, were produced when I was in first grade. I owe that to my mom and dad, who nudged me in that direction very early.
2. What do the next 5 years look like musically?
Gordon: For me? I’ll just keep growing, keep playing and composing. If you do that, the rest follows.
3. Talk about any producer you have worked with.
Gordon: I have worked with some of the best, including Quincy Jones, David Foster and Phil Ramon, and have learned a lot from them all. I produce most of my own records, but have also used Gregg Field and Lee Ritenour as producers, and both of those guys have great chops and great taste.
4. Where do you get your ideas for subject matter for your project development?
Gordon: I mostly get inspired by other people’s efforts, which somehow triggers the urge to sit down and create. I hear someone’s song or symphony or read somebody’s book, or watch somebody’s movie and that inspires me. Creation requires effort – rarely is there a bolt out of the blue with that perfectly formed idea. It usually is a result of hours of craft.
5. What charities are you aligned with and why?
Gordon: I like to contribute to St. Jude’s because the idea of little kids with cancer really offends me. I also admire Doctors Without Borders and Habitat for Humanity.
6. What music projects will you be involved with in the future?
Gordon: I have a new record coming out next year called “Music For Two Pianos.” It’s a piano duet record where I play both parts. I created ten original pieces for this record, and the style is a jazz and classical hybrid. It was a blast to do and I enjoyed getting a stronger connection to the piano in the process. Other than that, I am working on a record for my wife Vangie Gunn, with mostly original tunes, I have a film I am scoring and have a new Big Phat Band record to compose and produce. It’s going to be another busy year!
7. Who are your biggest influences?
Gordon: There are way too many to mention. I believe in exposing yourself to as many people as you possibly can in order to widen your musical worldview. But if I had to make a short list, let’s go with Chick Corea, Michael Brecker, Cannonball Adderley, Bill Evans, John Williams, Igor Stravinsky, Claude Debussy and… this is too hard! Sorry for all of the incredible geniuses I just left out!
8. What advice would you give to a recording artist starting out?
Gordon: Practice your craft every day, even if it’s only for a short time. Commit to improving and know that it’s a long slow climb. Forget about overnight success. If you are serious about your music, you will realize that it’s a lifetime commitment.
No way can you figure it all out in your 20s, unless your music is based on youth, celebrity, and looks. One thing’s for sure: Mine isn’t!
9. Talk about your training in your early career, who have you trained with and why?
Gordon: I studied music in college where I learned orchestration, counterpoint, music history, conducting, things like that. But I also played in the jazz band and had a gig at a club every night where we played the music of Stevie Wonder, Earth, Wind and Fire, and other Top 40 stuff. So, I got my education in the classroom and on the bandstand. I believe you need both of those elements. You play music with your brain and also your heart.
10. How do you take care of yourself, your health regime?
Gordon: Vangie and I walk almost every night. We try to go between 3-4 miles each night, depending on our schedule. Other than that, I do a fair amount of stretching and live a pretty clean life – no drinking, smoking or drugs. I never much liked or needed that stuff.
11. What is it about Raymond Scott that got you to do this current project?
Gordon: In the 90s I worked for Warner Brothers Animation and, at that time, I took a deep dive into the music of Raymond Scott and Carl Stalling, two compositional legends whose music really informed the style of Bugs Bunny and Daffy Duck Cartoons. So, when Jeremy Cohen offered me the opportunity to revisit this music on the Raymond Scott Reimagined project, I jumped.
12. What musician did you admire as a child?
Gordon: My first musical hero was Herb Alpert. I loved the Tijuana Brass! I even had my own Tijuana Brass band when I was in 4th grade. And now as an adult, I find myself being friends with Herb and recently wrote some charts for a new record he is releasing. Life is funny that way, and I am amazed when I get a call from this amazing man, knowing that he was such an influence for me at a formidable time in my life.
13. What do you do to relax?
Gordon: I love Hawaii and try to get there each year or so. I love to read and lately have been digging into podcasts.
14. What other business strategies do you plan on starting to promote your brand?
Gordon: There’s a tough one. The music business is in terrible shape and when I started the Big Phat Band in 2000, I thought it was bad THEN! Little did we know that almost every category of the music business would continue to degrade. I am less and less optimistic about the future of music in our country because, since consumers have decided, they shouldn’t have to pay for it, there is little reason for people to dedicate their lives to something that will not allow them to make a living and raise a family. We have some serious catching up to do, and it all starts with arts education in the schools, which is on the cutting block in many institutions.
15. What’s the one thing you think everyone could do to make the world a more positive place?
Gordon: I believe it starts with building empathy for others, and the best way to develop empathy is to gain an understanding of the arts. Music – at least music of content – teaches us how to empathize. Other than that, make it a point to find the good in the world, to find your sense of gratitude for what you have and to do something nice for someone else each day. Pretty simple, as it turns out.
16. What would you be doing if you were not a musician?
Gordon: I have no earthly idea. I have no other skill set! I do have a pretty good understanding of human behavior, but the thought of not getting up each day and engaging with music? Nope. No way.
17. What was your first memory of hearing great music?
Gordon: I remember watching The Mickey Mouse Club television program as a really young kid, and that theme song may have been the first time I was aware of a thing called music. After that, probably the Bugs Bunny and Tom and Jerry cartoons I would watch had some amazing music.
18. What do you want to leave as your legacy?
Gordon: Some projects I do for money. Some projects I do for musical satisfaction. Sometimes those things intersect, but either way, I go in all the way and commit to making the music the best it can be. Sometimes the music is pretty easy to play, other times it is really challenging to play, but I just go where the music demands. I hope people remember my music as being informed by a positive and optimistic worldview.
19. How do you overcome challenges in your career?
Gordon: It can be frustrating at times, but I remember that I am a lucky man and have had extremely good fortune to have music in my life. On my worst day, when I am composing music that I may dislike, just because a producer or director wants it, I remember that a million people would trade places with me in an instant. Hang on to your gratitude, things always work out!
20. Is there anything in your careers that you wish you could do again?
Gordon: I never consider this question, except to remember to learn from each experience.
21. What is the best thing about being nominated for another Grammy?
Gordon: Grammy Nominations are awesome and really gratifying! It is thrilling to see your name on that list! But the truth is that you probably won’t sell more records with a Grammy win, never mind after a nomination. It doesn’t make your music any better, nor does NOT being nominated make your music any worse. But what it can sometimes do, is enable you the chance to keep doing what you are doing – writing more songs, recording more music, doing more gigs. That is the true value of the Grammy experience.
22. What was it like working with Patti Austin?
Gordon: Patti is a living legend. She is more than a really good singer; she is an extraordinary musician. I have never once seen her get stumped by a musical problem. Plus, she is absolutely hilarious! A real joy to work with and it is one of the great honors of my life that she chose to work with me on “For Ella 2.”
23. What’s it’s like to work with The Big Phat Band?
Gordon: I started the Big Phat Band in 2000, and since that time, it has brought balance to my life. Having musicians of that quality is a great luxury for a composer, and there has been nothing, not anything at all in 23 years – that they haven’t nailed on the first take. Many of them are lifelong friends and it is a privilege to take the stage with them.
As of late, Vaughn Lowery has had a sit-down with prolific personality and uber talented musician Hayes Warner. After a turbulent year filled with provocative single releases and achievements, she elaborates on her whirlwind.
2023 was a big year with a lot of fun releases including your latest “Worst Time or Year.” What are you the most proud of and what are you looking forward to in 2024?
2023 has been an amazing year for me since I’ve gotten to really focus on making music. I’ve spent a lot of time in the studio putting finishing touches on my debut EP that I’ll be releasing this year. I’m definitely most proud of this upcoming music because I think the whole project really reflects who I am – there’s a lot of sarcastic humor, sprinkled in with some light-hearted sassiness, but also there are some really vulnerable songs on there. I think each song kind of dives into different sides of my personality.
In terms of what I’m looking forward for 2024, I am SO excited to get out on the road and perform these new songs. I’ve secured some super exciting show dates that I can’t wait to announce.
Speaking of “Worst Time or Year” I feel like a lot of people can really relate to that sentiment in relation to the holidays. Can you tell us a bit about your personal inspiration for that song?
I wrote “Worst Time of Year” after a series of failed attempts at creating a typical Christmas song. I gave the cheerful, jingle-bell rock anthems a shot, but the lyrics felt super forced and stupid. So “Worst Time a Year ” came about when I started writing my honest feelings about the holidays. The holidays can be a real struggle for people with weird family situations, and this song delves into what that experience looks like for me. There’s this strange societal expectation to seem perfect during the Holidays, especially when it comes to spending time with family. With “Worst Time of Year” I had a lot of fun lightheartedly making fun of that fake perfection. Obviously no judgment to people who love the holidays, I just love that “Worst Time of Year” lets me be sassy about my anti-holiday spirit :).
From whom or from where did you gain your musicality from? Who are some of your musical inspirations?
I think New York has really instilled a go-getter energy in me, and that fast-paced mentality has definitely influenced my songwriting. Growing up, I honestly used to stupidly strut around the city aimlessly with my headphones in and write lyrics to my next song. So New York is really ingrained in my music, and I think the rapid energy of the city translates into my songs.
Also growing up, I was a HUGE fan of P!nk, Avril Lavigne, Kes$ha, Joan Jette, and other Pop and Punk-Rock musicians. I’m really inspired by the no-nonsense attitude of their music – it’s like ear candy with a side of deep wisdom.
You started writing music at such a young age. Can you tell us a bit about how you got started and your process?
Growing up, I always listened to music as a way to cope with feelings, and so I think that writing songs was just the natural next step to dealing with emotions. I had this tiny keyboard in my room during middle school, and that’s where I kicked off my songwriting journey, even if those early songs were cringe-worthy at best. I became obsessed with songwriting, and still can’t believe I get to do it as a job now.
My writing process is pretty flexible and depends on the song and my mood. There are moments when a killer concept or lyric strikes, and I immediately jot it down in my notes app. Alternatively, I might spontaneously record a melody on my voice memos app – some of these morph into full-fledged songs, while others are just shower thoughts. Or, I’ll sit at the piano, tinkering with chords until I find something that sticks. In those instances, the melody takes the lead, and the lyrics follow suit.
We saw you recently worked with Loren Gray on your song “Breadcrumbs.” What was that like?
Working with Loren was the best. She’s so funny, and we have the best time joking around, but she’s also so professional. I really think we nailed a balance between having fun and getting things done. The whole process of making Breadcrumbs was by far my favorite project ever, and we’ve become super close friends through collaborating.
Loren and I met when we both found out we were unknowingly being cheated on by the same person. So, we turned that wild situation into “Breadcrumbs.” What I love about the song is that the whole playful vibe we had making the song totally shines through. It’s like our fun energy got baked right into the track.
Can you mention a few artists on your wishlist to work with in the near future?
I have been obsessed with Chappell Roan’s newest album, The Rise and Fall of A Midwest Princess. I would LOVE to collaborate with her. I would also die to collaborate with Hayley Williams and Paramore. I’m absolutely obsessed with her energy on stage. She has such a powerful voice, and is able to belt out crazy notes while bopping around the stage with so much energy.
Is there any words of encouragement or advice you can offer an aspiring recording artist?
I think the best advice that people gave me when I first started releasing music was to stop caring about other peoples’ judgements. Self-criticism is already on autopilot, and stressing over opinions can straight-up paralyze you. At the end of the day, what matters is making music that’s authentic to you. Sure, not everyone might jump on your vibe when you drop a song, but the right audience will find it if it’s authentically you. Letting go of people’s opinions is so much easier said than done. I mean, I’ve stumbled upon a few nasty comments on my TikTok that definitely took me back. But being a recording artist has become so much more fun the second I let go of other people’s opinions and became more of myself!
