AUTHENTICITY RULES WITH JEFF BLUE

We took some to catch up with multi-platinum record producer, A&R executive, songwriter and lawyer, Jeff Blue. He is known for his work being integral in the careers of Linkin Park, Macy Gray, Korn, Limp Bizkit and more. He shares how he got into the industry, how he works with his artists, the importance of an iconic voice and his upcoming projects!

ATHLEISURE MAG: Before we get into talking about your career, what role did music play in your life from day to day before going into the industry?

JEFF BLUE: Music was always a fantasy to me because we didn’t have enough money to actually buy records. So my mom would drop me off at the drugstore and at the market near the magazine rack and I would just gaze through the magazines and it would seem surreal. I’d hear the music on the bus when I was going to school and it was really the way that I connected with I guess the drama and the trauma that I was going through as a kid with a father that had committed suicide. It was hard on me growing up and music was my way of coping and grounding myself. Looking back when I was in college, I felt that the music was literally the soundtrack of my life. I could literally think of any memory that was good or bad and even walking down the street or taking a test, there was a song on my head. That was something that I carry with me forever, because I know that music had the biggest impact on me as opposed to anything else in my life. I knew I wanted to do something with music in my future.

AM: What was your first job in the industry?

JB: Well I had internships. First job – like that I got paid to do?

AM: Well, whatever you felt was a job. Even an internship for some people, that could be like the first position to them that let them know that they were aligned to be in that field.

JB: My first internship dictated to me that I would never be in the music business because my boss hated me ha!

AM: Fair!

JB: The second internship that I had, aligned me with what I wanted to do in A&R and my first real paying job was something that I learned through the second internship where you had to be indispensable and I realized that the only way I was going to get noticed was that I would have to become a journalist and get my name in print to have credibility and a reason for people to listen to what I said. That was as a journalist and I had no experience as a journalist. I called every publication known to man or woman and was rejected by everybody until there was someone that I thoroughly confused into thinking that I was a real writer and hired me to cover a show that she needed coverage of and that was at Music Connection Magazine. From that moment, that night, I wrote about a band that I ended up managing, producing and being the drummer and signing as my first artist at Zomba Music Publishing. So my first paying gig was $10/article at Music Connection Magazine.

AM: It’s always interesting to hear stories like that because a lot of people don’t understand how someone progressed through their career. We see you now, but we don’t know all the things that kind of came together. Just the depth of things that you have done in terms of your roles like you went to law school and you’re a lawyer. How does that help you in the industry?

JB: I think that law school really more than anything helped me with my analytical mind. Being able to separate concepts independent from one another so I can separate facets of something which really helped me with journalism. Being able to discuss performance, crossed with the production, crossed with star power you know as opposed to hit songs and break-ing down the songs into literally the verses, pre-choruses, intros, bridges and break it down to almost an OCD point where you can analyze the drums, the guitars, the vocals and the harmonies. So law school to me, has allowed me to dissect things which is really what the law is – it’s dissecting arguments and points in order to build a case. That was actually the biggest asset that got me into the music business but it had nothing to do with the actual law itself.

AM: I can appreciate that. Our Co-Founder also went to law school and practiced law and he’s the Publisher, has shot our celebrity covers, is instrumental in our biz dev and is also my boyfriend. So seeing his skills and how he draws from them is interesting. Whereas, I sit as the other Co-Founder and focus on the style direction and other areas. So it’s interesting to see how all these things come together and we've both been involved in other music entities and my great uncle was Joe Henderson and I have styled a number of EDM artists so being able to see the music business in so many levels, talking with you who has been in the role of being a publisher, being in a band as you mentioned, the journalism, being a producer, A&R and songwriter, what are your favorite projects to take on as you really do have a 360 of the business?

JB: I like to take anything on that inspires me. I love all genres of music and if you’re talking about music, I happen to love R&B, Hip-Hop, Hard Rock, Rock, Pop and Country. The biggest inspirational moment that I remember ever having and I still talk to this guy. He has to be 80 now and we worked together for the Small Business Administration during the 90s in the earthquake and we worked together as lawyers. It was a horrible job where we made like $6 or $10 bucks an hour – it was 6 days a week. We had a very horrible and rigorous schedule for lunch so we had to run out to get a sandwich and we used to go to Chatsworth Hills and just hang out and this guy was 30 years older than me. He was a nice guy and he was like, “I know you’re a rock and roll guy, but you should listen to this CD.” Because I had my band that I was already talking about and the CD he had was Nina Simone and he put it in the CD player. He was like, “you’re going to hate it, but I’m sick of listening to your rock band when we’re eating our lunch!” I was like, this is amazing and it changed my life. That’s what inspired me in relation to my own band which was progressive alternative rock and just the textures and the sound and when I heard Macy Gray for the first time which doesn’t sound like anything that her music sounds like now for the record that we did –

AM: Really?

JB: Yeah. She was more like a Black Janis Joplin. When I heard her voice, it took me back to that moment eating a horrible sandwich, in a rush, sitting outside in my 4Runner in Chatsworth Hills with this older guy listening to Nina Simone and I immediately lost my mind and I felt that that was the moment and the reason why that guy played me that music. Changed my life!

AM: Speaking of Macy Gray, I remember being in college when it came out and I loved hearing 'I Try' as I was in my freshman year and I went to Indiana University and that song played everywhere! I had never heard a voice like hers and how everything came together. I heard 'Still' and of course I had an epic breakout in college that I thought was the end of the world – it was not, but I literally played that song 55 times in a row crying it out. What was that like finding her, getting her, how was it like working with her and I know you co-wrote Still.

JB: Macy was a demo tape that a woman came into my office with but she was pitching another band with a huge buzz that everyone was trying to sign as a publisher. They were signed with Interscope, but they were looking for a publishing deal. I didn’t like the band and I just said, you're in my office do you have anything else? This is what everyone says because when you’re shopping something, you’re always supposed to have something else. She said, not really, but she goes into her purse and she pulls out this tape. She said I was going to hate it. She said that her publisher, her record label and her manager dropped her. She no longer worked with her anymore. But she said I wouldn’t like it and it was just a reason for her to hang out in my office because I said, I didn’t like her band. I stuck it in the tape deck and my mouth dropped open. She was like, “you hate it right?” But at that moment, I was like this is one of the most awesome things that I had ever heard, but I didn’t want her to know that. So I told her I didn’t like it and asked if I could keep the tape and she said I could. I spent 3 months trying to track her down and the woman didn’t even have her phone number because Macy had gone and left LA because she was having another baby. I didn’t want to ask for her number because I didn’t want to tip my hat that I was going to try and sign her because the price would go up.

So I spent 3 months looking for her and I met her in NY. My boss didn’t want to sign her, but I was convinced. She came back to LA, we started working on new music with a producer named Daryll Swann and this guy Jeremy Ruzumna who is now in Fitz and the Tantrums. We really put it together and literally the label that dropped her, I sent a tape to them and they couldn’t stand her. I had to change the name because Macy Gray didn’t work and everyone hated the music. We changed her name to Mushroom and fooled everybody and we literally had Clive Davis, Jimmy Iovine, Paul Anthony and Atlantic Records whose founder, Ahmet Ertegun who called me personally and said that the Mushroom tape was amazing. It went from being no one wanting to hear to having a bidding war. I was responsible for changing the name, working with her and I was asked to manage her which I should have. All the labels wanted me to manage her and I didn’t think that I had the experience to do that. I was able to get her a deal.

AM: Wow! That’s a story.

Well, Linkin Park is another band that the minute I heard them, I was obsessed with them and I loved their sound and energy. What were you involved with in terms of them and I know that you were connected with Chester Bennington and you brought him into the group. What really sparked your interest with the group?

JB: First of all, I was there again at the inception of that band. The guitar player, I had actually lectured for UCLA last night in a class called Comm 185. It’s the internship class for Comm students at UCLA which I was an alumni of. I lectured every other quarter basically. There was this kid called Brad Delson who was in the class, he infused himself into my life and became my intern. I talk about this in my book and he told me that he had a band that was going to be better than what I had which was Limp Bizkit and Korn. I also had Matchbox 20 plaques up because I didn’t sign them but I tried really hard and I helped them get their deal and they literally gave me their Diamond Plaques and I’m very close with Rob Thomas and Brad looked at everything and said that his band was going to be better than any of those bands on my wall. I hired him as my intern, signed them off of their first show that they had ever played. So one show and they got their first publishing deal and I shopped them for 2 years until we realized that the lead singer needed to be changed. I found Chester Bennington after not being able to get anybody at all to even want to audition for the band because we had played so many showcases and had been rejected so many times that there was a huge stink on the band from a reputation standpoint. It was called Xero at that time. I convinced this kid from Phoenix as a fluke to leave his birthday party and to record a demo based off the instrumentals that I had my assistant send him. I talked with him while I was at SXSW and by the time I got home, he sent me a demo tape so he left his 23rd birthday and recorded the demo and I was blown away. I literally told the band that this was their singer and it took them 6 weeks to get to know him and they kept wanting to audition other singers and I said that this kid had everything that they could have ever imagined with the voice and the persona – super authentic. They eventually had him join the band. Then my involvement was being their music publisher, their quasi-manager – we didn’t have a manager but I functioned as such and I got them their deal at Warner and they were along with my employment contract because I believed in them so much. Still, no record label wanted them even with Chester and they were rejected 44 times. I made them a part of my employment contract and went in as their A&R person and executive produced the album.

AM: As stated before, the credits that you have are insane. Because it seems that you’re so involved with your artists, do you ever have a cap on how many people or projects that you’re working with because it seems so immersive?

JB: Good question. Music is part of my being and so are all creative projects. I always find time to do everything. I don’t have any kids so that leaves a lot of space. I figure that in life, anything that is a passion you make a priority for. I’m always very busy, but I never have a problem getting everything in.

AM: What is your creative process like and does it differ depending on what the project is whether you’re leaning into the A&R side, you’re producing or songwriting?

JB: I don’t necessarily have any process. I just go with the flow wherever the inspiration takes me. To be honest with you, there’s no set way of doing any project that I follow in terms of a regimen. I have tried that where I thought that something worked in the past could be applied and I have found that each project is its own entity and requires its own care and just like in life, any given second of your day will change the trajectory that will maneuver you in that day. So having a schedule that is set and laid out to do a project that is laid out for me will not work for me because I am so integrated into so many different things that different elements will come into play that will change what I would do. That’s one of the things that make me successful in what I do.

AM: Tell me about your new book, One Step Closer: From Zero to #1: Becoming Linkin Park and why you wanted to write this?

JB: Well the book was something that I was asked to write back in 2007 as a counterpart to Donald Passman’s All You Need to Know about the Music Business, but in a story form based on Linkin Park and it was extremely difficult and I gave up which is something that I never do. I just felt that it was exhausting. When Chester passed, it really affected me. I had written a small piece for Billboard Magazine and they were one of the people that had given me a chance early on – Melinda Newman who gave me a job as a writer for Continental Drift which is what gave me my job at Zomba Music Publishing with the credibility of Billboard. So I wrote a small piece for Chester in Billboard and the band’s manager said that he was moved by the article and I went back and looked up through the boxes – about 10 boxes of faxes, CDs, emails, notebooks, hand-written notes and I couldn’t put down my journals. So I thought in this traumatic experience that everyone has dreams and you set out to achieve them. Those that do, most give up after a few rejections and this band and I went through 44 of them. You’re not good enough, it’s career suicide, let it go and through the perseverance of overcoming adversity and being authentic, we followed our true vision and listened to our gut, true talent won out. You can be anything that you want to achieve in life. You just have to really be authentic and persevere. That was a story to me that was inspirational not just for a Linkin Park fan but to any human being.

AM: You have a number of projects coming up that you’re working on from your docuseries, iHeart Radio podcast and your screenplay that’s in development. What can you tell us about these so that we can keep an eye out for them?

JB: The docuseries is called,Unsung Heroes and it’s like my book but takes you on a journey through the decades from the 60’s forward of all genres of music and the socio-political elements that go into the decades and focuses on the A&Rpeople and those putting their careers on the line to discover these artists. It looks at the passion of the A&R execs through the decades of these people that no one wanted to sign. A lot like what I did with Linkin Park is carrying a vision with the artists to affect the world in a positive way. Whether it’s the transition from Disco to Rock and Punk or the transition from Heavy Metal/Hair Bands into Grunge and the rise of Hip-Hop. This is told through those decades and that’s what the docuseries is about.

The podcast is along those lines too. Telling the stories of A&R people and sharing their experiences.

My screenplay is a psychological thriller/horror movie that is about 5 celebrities that find themselves in rehab all with intertwining pasts and each one is facing their own demons, but there is a killer in the rehab facility and it is kind of a combination with Saw X Scream X The Breakfast Club. So it’s very character-driven and it’s all diversity. It goes into diversity issues, #MeToo movement, cultural issues and also deals with depression and the pressures of being a celebrity which is why they are in rehab. The effects of what stardom makes us do and how to keep that stardom so they go on that killing spree.

AM: What led you to wanting to create this kind of screenplay?

JB: Actually, it came out of the book. I had basically finished the outline to One Step Closer and I was dealing with the thoughts of Chester, depression and rehab and substance abuse. How people are dealing with it and how it affects everybody. It’s interesting that you’re making me think about this because I was on a softball team with a guy and the sponsor was a re-hab clinic in Malibu. I just got to thinking that it would be really cool if there was a psychological thriller about these celebrities in rehab and them killing each other and that’s the truth! I wanted to make it a super whodunnit and I love it. I’ve got hopefully, several stars attached and 1 really huge star that I am hoping to get.

AM: Is there a difference for you when you’re working with an artist on their album versus a soundtrack for a film?

JB: When you’re working with one artist on their album, that is a cohesive vision and it’s all supposed to sound like one journey. When you’re on a soundtrack, it’s inspired by the diverse moments in that film. You’re working with several artists. The songs can be inspired by, written for or existing songs that you can choose to emphasize moments in that film.

AM: What is your creative process in writing a song versus being an A&R and then as a producer?

JB: My creative process in writing a song depends on whether I’m writing with another writer or I’m writing with the artist as it matters entirely on the voice and the experience of the artists that are performing it. You want to make it authentic to that artist. I think it’s ideal when it’s co-written by the artist because it’s more true and authentic to them. As anA&R person, the A&R overseas and isn’t as present in the actual writing process. But they oversee the vision and the A&R person works that vision through the record label and to the public as opposed to a producer who is guiding in the studio, getting the right performances, making suggestions on sound, songs and they also oversee and help create the vision. All three are different roles.

I’ve done for example, I had a band that I had known as The Last Good Night, where I played the drums, co-wrote all the songs, A&R’d it, produced it and published it. That was very rewarding because I won a BMI Award as one of top songwriters fora song called Pictures of You and literally that was hands in every role that there possibly is. So rewarding and each role was different. In doing that, it takes a lot of trust from the artist.

AM: You have your entertainment firm, Century Park Entertainment, tell me more about this and what do you offer there?

JB: Century Park Entertainment is where we manage – I have 3 different artists right now who are a variety of DJ, performers, musical artists and songwriters, produce, we have the docuseries, the screenplay and the book. So it houses literary, television, film and music.

AM: How do you define an iconic voice? What does that mean to you and what does it trigger when you hear it?

JB: An iconic voice is an identifiable and unique sound or tone. That could be in a voice. I discovered Daniel Powter who sang, Bad Day, he had a very iconic voice. The same is true for Jonathan Davis, Ches-ter, Fred Durst and Macy Gracy. I think that when you hear a song and it’s playing on the radio and you hear it within 3 notes whether it’s the bass line, guitar line, drumbeat or a vocal and you know who the artists is – that’s iconic.

One thing I always listen to for me, Queen is the epitome of that – when you hear Brian May’s guitar’s tone, Freddie with his voice obviously and the sound that I really believe is Roy Thomas Baker his production on the snare of the snare drum for the percussion is iconic. It’s this mixture of a snare with the high hat and I just love it! Anyone of those things, you can immediately tell who these artists are whether it’s ACDC, Led Zeppelin or whatever. Often the things I look for is authenticity and for the artists to be able to speak their truth and for it to be believable as if you’re speaking towards a friend. On top of that, you need star power, the ability to engage and connect with the listeners, hit songs and above all the quality that a great artist and great songs make you feel like you belong. At the end of the day, we’re all outsiders but at the end of the day, great artists make us feel like we’re not alone.

AM: We always ask our trailblazers who we find to be inspiring, who are 3 people whether personally or professionally that you know or follow that have inspired you to be where you are now?

JB: One I would say is Jason Flom. He’s an A&R executive who started when he was 18 and I just love his passion and immediate belief in artists. He was one of the first people that I met and was really impressed with because he’s authentic and he’s remained a great friend and I have actually worked with him at Virgin. He hired me and that’s where I got The Good Night and where I earned the BMI Award for.

The people that I have encountered in my life – one was Harvey Levin which sounds horrible but I interned for him when he was a legal reporter at KCBS-TV news during college. He took me along on the ride-alongs to the courts. The other assistants rebelled and said I should be licking envelopes. I was an actor during college to get me through and my commercials were playing at the time in the newsroom and Harvey stood up for me and took me with him and said that I should be a legal reporter. He felt I was creative and good on camera. He said go to law school because I didn’t want to just be an actor. I thought it was really cool that he had me interact with him and I learned from that. He inspired me enough to go to law school which was horrible and I modeled my ability to mentor people like Brad Delson from Linkin Park and other people. Almost all of my interns and assistants have all gone on to be millionaires and major senior level executives in the music business. Brad, I took under my wing and his band obviously became Linkin Park and I included him in every single meeting and phone calls, talking to him about the music business and we had synergy with what I was learning because I was a new executive and I allowed him to experience what I experienced and I think that that is extremely important. My last intern helped me guide my book a little bit, he was a UCLA intern and he ended up after I showed him my screenplay, he helped give me some ideas and I gave him writing credit on it. I really believe in interacting with people.

The third person, there’s this guy Richard Blackstone who was my boss at Zomba Music Publishing and he was supportive with my vision even when he didn’t quite understand it. After I became successful, he told me that he always told me no and that he knew he should let me sign some-thing when I kept pushing after a month or two. He trusted my judgment and knew that the stuff that I cared about, I would keep pushing for. It also made me realize that I shouldn’t just jump on a reaction because interesting fades over time. But when he could imagine me jumping on my desk over something, then he could see me signing it. He ended up running Warner Chappell Music and BMG after awhile too.

IG @JeffBlueMusic

PHOTOS COURTESY | Jeff Blue

Hear multi-platinum record producer, A&R executive, songwriter and lawyer Jeff Blue on an upcoming episode of our show, #TRIBEGOALS - which is a part of Athleisure Studio, our multimedia companion podcast network! Subscribe to be notified when the episode drops. Listen on iHeart Radio, Spotify, Apple Podcasts, Amazon Music, Google Podcasts or wherever you enjoy your podcasts.

Read the Feb Issue #62 of Athleisure Mag and see Authenticity Rules with Jeff Blue in mag.

MAKING MAGIC WITH ANABEL ENGLUND

We caught up with Anabel Englund who recently launched her debut album, Messing with Magic. This singer/songwriter and DJ has collaborated with a number of artists including MK and Hot Natured. We wanted to find out more about how she got into the industry, her creative process and also what it was like to release her debut album during a pandemic.

ATHLEISURE MAG: You’ve been in the music industry for a number of years. Tell us how you got into the industry.

ANABEL ENGLUND: Well, I grew up around people playing music all the time. It is like second nature in my family so when I was introduced to certain people it was easy to feel comfortable & like I belonged. I moved to LA proper when I was 18 & immediately dove into club & party life. I was infatuated with the underground scene & needed to know more.I moved to LA proper when I was 18 &immediately dove into club & party life. I was infatuated with the underground scene & needed to know more.

AM: What was the moment when you decided that you wanted to be in the house/dance genre in music?

AE: When I heard more & more house music when I moved to LA. It was love at first sound. I remember hearing someone sing on a track & I thought,“ I can do this...& I can do it better” I felt like. I knew in my heart I was going to sing over house music & that’s exactly what happened.

AM: As a DJ, singer, and songwriter how is it to be able to navigate these areas as you create your music?AE: Singing & songwriting is my number 1. Writing & singing the music always comes first. Then when I have music I love that I’ve made its amazing to play that music out.

AM: How would you define your sound?

AE: Sexy, light, rewarding, authentic, indie, electro, house.

AM: What’s your process like when you are creating music in general and how was it for your debut album?

AE: It is always the same. I don’t think much about it until I’m in the session. Unless I all of a sudden have a song title idea in the shower or just walking down the street. But when I’m in the session with a producer I like to let my subconscious take the lead. I start with the melody &whatever the melody words sound like Isound it out & then I think AH! Okay So we need to write a saying goodbye song to-day or an I love you song today...I let the space guide me if that makes sense.

AM: We had the pleasure of seeing you on Zoom when you released your album, what was the thought behind this body of work?

AE: It was kind of just a domino effect. It didn’t start with a plan to make an album it all just came together as such & it turned out beautifully! I really do feel like the first chapter of my artistry is Messing With Magic. Every song is about growth or love in one way or another & I’ve found who I am as an artist through making it &releasing it to the world. I am very proud of her.

AM: How was it to release it at the end of last year?

AE: To me it felt perfect. It was the best way to conclude a crazy year with so many releases & a great way to start a new year with music out that people can listen to. Music that is taking root.

AM: How do you stay inspired?

AE: Through staying sober. Being alive & awake to experience every aspect of my life, the good & the bad. You can write a song about anything. Sometime the smallest little interactions are the most important songs.

AM: Have you started making plans in terms of events that you may be involved in this year whether in person or virtually?

AE: I have some festivals booked but I don’t know what the future looks like with COVID running rampant...

AM: What have your days been like in general in 2020 in terms of prepping for the album, releasing it, navigating a quarantine etc?

AE: Wow it was crazy! I thought how are we going to get all of these things done? So many interviews, visuals needed for approval, mixing, mastering, music videos. I didn’t know it was all possible & yet it was. It was an incredible growing experience.

AM: Who are 3 people that you have yet to work with, but is on your list to do so?

AE:Black Coffee, Max Martin or his camp and Sza.

AM: How do you take time for yourself whether it’s meditating, taking baths, going out for a walk, cooking etc?

AE: Haha all of the above. I feel good when my space is clean & things are organized & put away. I don’t do well in clutter AT ALL. Meditating helped me survive 2020 100%. Taking baths with a ton of epsom salt & essential oils has been a saving grace. Journaling is also very important to me & having a few people who I can confide in to just get some advice or share my stress with. It’s important to have good true people in your life.

IG @AnabelEnglund

PHOTO CREDITS | Paige Strabala

Read the Jan Issue #61 of Athleisure Mag and see Making Magic with Anabel Englund in mag.

NERVO YORK

We end our year the way we began it - with NERVO, but this time, in addition to our interview, we hung out with them right before their Lavo NYC show to shoot the International EDM DJ duo. Liv and Mim have been traveling, DJing around the world, releasing new  music and continuing to connect with their fans.

We brought them to Grammy winner and music icon, Desmond Child's home (we have an exclusive interview with Desmond following this interview), which was the perfect location for this shoot. We talked with them about what they're up to, who they've been working with, where they'd like to perform, their upcoming show for NYE at the W in Miami and what festivals you'll see them in during 2018.

ATHLEISURE MAG: We kicked off the year with an interview with you ladies and it's only fitting that we close it with you as well as you're gracing our Dec cover - what has been a snapshot of this year from what you were up to personally, musically, - whatever you wish to share.

NERVO: We have had a year of absolute madness. Lots of great things going on that we just need to pinch ourselves sometimes. We also are just doing our best to keep our heads above water and enjoy the little moments you know… We think all touring artists or just busy people, in general, are the same. There’s a lot of pressure mixed with a lot of adrenaline filled moments. It can be a lot sometimes!

AM: You ladies are multiple threats as you're DJ's, producers, songwriters, composers, models, brand ambassadors, etc., so it was only fitting to have you shoot in Desmond Child's home
- can you share some of your projects that you did this year or next year?

N: Tell us about it - Desmond Child is a total legend. What an honour to be shooting in his home! Love how we decked his house out.

So… We released a bunch of music this year, including a few collabs - one with New York based band Sofi Tukker and some others with more dance artists like DVBBS and Danny Avila, Oh, and then there’s the collab we wrote with Cheif Keef which was pretty special! We have been touring mainly Europe for the summer, but we also have our residency at Omnia in Las Vegas, which gets us over to The USA about 16 times a year.

We have a bunch of new songs in the works which we are focusing in on now. Quarters 4 and 1 are always for making new music and that means touring a bit less.

AM: What's the process like when you're creating your music and how is it different when you're creating something for another artist?

N: We’re more relaxed when we make music for others or even for a collaboration. Something about it being less pressure. When it’s your own record suddenly you feel like people are going
to hate on you if they don’t like it. It’s a part time job blocking out that noise!

AM: How do you go about finding inspiration for upcoming projects?

N: We are constantly inspired. To be honest we don’t have enough time to not be inspired. We have so many unfinished ideas that we just need an extra 2 days a week to finish. We must be
ADHD or something.

AM: What is a NERVO Christmas like - do you make it home to Australia for the holiday, do you guys cook and what gifts are you looking for this year?

N: It’s pretty low key and is the same every year. We have a huge lunch in our family home in Melbourne, then we all go to our Aunty Mary and Uncle Max’s home for more food, and then we
eventually pass out around 10pm with belly’s so full that we couldn’t dream of eating dinner! Leftovers are eaten for the next 4 days or so. We are Italian/Australian so there’s always SO
much food!

AM: This NYE, where are you playing and what about 2018 makes you excited to ring it in?

N: We are playing Miamiiiiiii! At the W Hotel. We can’t wait!! Miami is just the best for New Year's Eve. We think we might hang around a few days and have some beach time and Cuban food.

AM: What's on your playlist at the moment that gets you up and moving?

N: Massively inspired by what Jax Jones is doing at the moment. Sampling Booka Shade and flipping it into a 2017 anthem! Go JJ!

AM: Where are some festivals/cities that you'll be hitting this year that we can expect to see you performing at?

N: We are playing Tomorrowland in Belgium again. Always a yearly highlight! We are also playing Creamfields in South America. And of course, everyone can catch us at Ushuaia in Ibiza and Omnia/Hakkassan in The USA for our residencies.

AM: What is a gig that you would like to do ie. Super Bowl Half Time show, that you have yet to be asked to do but want to check off your bucket list?

N: Probably Coachella. It’s such a great festival and one of the only ones we have never been asked to play at. We don't think they like us. ha! Maybe we're too bubbly or mainstream or
something... We dunno. But we have been to the festival and it's such a great vibe. Always perfect weather.

AM: You're rocking a lot of fun styles throughout our Dec cover shoot, but what is your personal style when you head out to play a set for NYE versus when you're hanging out?

N: We like to dress things up when we play a gig. We love body suits, lycra, face jewels, creepers, teased up hair, more is more. When we are hanging out we’re a lot more chilled and casual - for example we are loving the Fenty clothes that we wore in the shoot for our travel/studio days!

AM: You guys travel a lot, what are your 3 musts that you take with you no matter what city you're rocking in to feel like you're at home?

N: Iijin snake skin silver and gold shoes (for Liv), Hairspray (for Mim), and our laptops (for both of us).

AM: The Winter Olympics are coming up and we're fans of curling, what teams/sports are you cheering for?

N: Ooohh we’ll have to check it out!! We do love to ski so that’s something we would like to watch. Does Australia even have a team? If Australia is competing then we would have to go for
them but if they don’t then we would go for Italy because that is where our parents were born :).

NERVO YORK CREDITS

COVER + PG 14 | FENTY X PUMA Blocked Track Jacket + Blocked Taped Track Pant | OUTDOOR VOICES Sport Bra | FENTY X PUMA AnkleStrap Sneaker | FENTY X PUMA Monday Cap | FRAME Le Original Patch Jacket |

FENTY X PUMA Hooded Zip Front Leotard | FENTY X PUMA Printed Bra | RUBEN GALARRETA Legging Harness |

PG 16 | BLACK MILK Fatale Dress | LAGOS JEWELRY Black Beaded Caviar Bracelet | ARTISTS' OWN Wrapped Bracelet, Charm Bracelet, Watch + Hat |

PG 19 | MCM Shearling Bag | ARTISTS' OWN Bra, Shorts + Scarf |

PG 20 | SPLENDID Racerback Turtleneck Sport Bra | ELIZABETH ACKERMAN Palazzo Palm Pants | DIANA ROSH FUR Olive + Blue Fur Coat | LOVE KNITZ Hat |

PG 21 | DIANA ROSH FUR Multicolor Coat | HAT ATTACK Arm Warmers | MIRA RAE Velvet Leggings | MCM Shearling Hat |

PG 22 | ROMPLY Blush Wrap Romper | HAT ATTACK Hat | LAGOS JEWELRY Ring | ARTISTS' OWN Bra |

PG 25 | ROMPLY Navy/Gold Tapestry Romper | NINA JEWELRY Swarovski Bangle | MCM Polke Backpack in Starry Eyed Bunny | ARTISTS' OWN Marcher Jacket |

Athleisure Mag readers know that a number of our shoots take place in luxury apartments that have yet to be released to the public or are being sold. We tend to maintain the privacy of the homeowners; however, this shoot was perfectly aligned as it took place at Grammy-winning and Emmy-nominated songwriter/producer Desmond Child's home!

He is one of the most accomplished hit-makers, having written and produced more than eighty Billboard Top 40 hits spanning five decades including "Livin' On A Prayer”, “You Give Love A Bad Name”, “I Was Made For Lovin' You”, “Dude Looks Like A Lady”, “Livin’ La Vida Loca,” and “Waking Up In Vegas.” From Aerosmith to Zedd, his genre-defying collaborations also include Bon Jovi, KISS, Motley Crew, Joan Jett, Cher, Michael Bolton, Cyndi Lauper, Ricky Martin, Christina Aguilera, Kelly Clarkson, Carrie Underwood, Garth Brooks, Meat Loaf, Selena Gomez, Katy Perry, Sia, Mickey Mouse and Kermit the Frog, selling over 500 million records worldwide as well as downloads, YouTube views and streaming plays already in the billions. His upcoming autobiography LIVIN' ON A PRAYER: BIG SONGS BIG LIFE with David Ritz is scheduled for release the Fall 2018. Desmond Child was inducted into the Songwriters Hall of Fame in 2008 and serves on its Board of Directors as well as the Board of ASCAP. In 2012 he co-founded the Latin Songwriters Hall of Fame and serves as its Chairman/CEO. He is also Chairman of The Fountains of Musica Foundation, who’s mission is to complete Alan LeQuire's aquatic bronze masterpiece MUSICA located at the entrance to Nashville’s Music Row.

ATHLEISURE MAG: It was an honor to shoot in your beautiful home and NERVO was very excited to see that they were in your apartment. Please share with our readers about how you got into the music business and whom you have worked with.

DESMOND CHILD: My beautiful mother, the late Cuban poet and Bolero composer Elena Casals, was always writing her romantic and soulful songs at her old upright piano on the dairy farm in Hawthorn, Florida, where I was born in 1953. At that time, I didn’t know that most people don’t write songs as a natural expression of the ups and downs of ordinary life. I would sit on my mother's lap at the piano and bang out long unrepeatable classical sounding improvisations. As soon as I could sit upright, she would make me play for her bohemian friends sitting around on the floor smoking and drinking during the Mad Men era when that was actually still good for you.

Not being able to afford a gift, I wrote my first official pop song titled “Birthday Blues” at the age of 15 in 1968 as a birthday tribute to a beautiful girl I was trying to impress named Laura
Stern. After that, I never looked back and kept writing songs all the way into the Songwriters Hall of Fame, where I was inducted into in 2008. That only took 40 years. ;)

ATHLEISURE MAG: Your home is awesome and there were so many elements that were amazing, but we all enjoyed your piano - when did you decide that you would have these notable talents sign your piano, and are there signatures that you have yet to get, but still
want to have in there?

DC: It was a random day, and I was walking down 57th Street, and when I got to the Steinway showroom, I looked through the window and saw this gorgeous Steinway D lit up like it was on a stage. I went in, sat down at it, and it seemed to just play itself. I ended up buying it on the spot, but I had to put it in storage for 2 years while my apartment was being renovated. When the time finally came to move-in the piano, I had to hire a crane to lift it up on its side in a massive wooden crate and slip it through the living room window.

It was an incredible feat that tied up Fifth Avenue traffic and pissed-off a lot of people.

As soon as I started doing writing sessions with top stars or important visitors, I would ask them to write their names in the piano along with the date. It started to get crowded in there and some names are completely unrecognizable, so I guess I will have to create a map of the stars to keep track of them all.

These are the names I would love to have in the piano: Joni Mitchell, Sir Elton John, Aretha Franklin, Jennifer Hudson, Sade, Imogen Heap, Paul Stanley & Gene Simmons, Beyonce & Jay Z, Steven Tyler, and Joe Perry.

AM: Are there projects that you are working on that you can share with us?

DC: I am just putting the finishing touches on my auto-biography - LIVIN' ON A PRAYER: BIG SONGS BIG LIFE with David Ritz. I hope to release in the fall of 2018.

AM: What is currently on your playlist?

DC: I only play two records ever… AMOROSO by Jaoa Gilberto, produced by my dear late friend Tommy LiPuma, and Sade’s epic LOVE DELUX. Over the past 5 years I’ve added Concha Buika’s
rare but exquisite albums. Any other music I hear is by accident.

AM: With New Years Eve just around the corner, what's the perfect playlist that we should be creating to celebrate the end of 2017 and the start of 2018?

DC: Any of Amy Grants 5 Christmas albums. Amy is my husband Curtis’ favorite artist of all time…. It just ain’t Christmas without Amy Grant.

We enjoyed finding out more about Desmond Child and his home which is currently on the market. We sat down with Louise Phillips Forbes of Halstead properties to find out more about 1215 Fifth Avenue #8CD as well as the neighborhood it resides in.

ATHLEISURE MAG: There are so many great aspects to this apartment, from its layout to the INCREDIBLE views of Central Park - what can you tell us about this property?

LOUISE PHILIPS FORBES: What’s not to envy in this exceptional home?! It’s a full-floor combination apartment with panoramic views of Central Park that are breathtaking year-round, and an abundance of custom designer details like art-deco moldings and Venetian plaster walls. The grand and expansive formal living room is an entertainer’s dream with four large picture windows (manufactured by Hope's) facing west, high-beamed ceilings and a statuesque
wood-burning fireplace. Plus, the spectacular views carry through to the formal dining room. A peaceful retreat, the master suite also showcases the Central Park views and features superbly crafted built-ins and an oversized walk-in closet that resembles a luxury boutique. You can escape to the spa in the elegant Vitrolite tile and Terrazzo master bathroom with a deep soaking tub, double sink vanity, walk-in steam shower, and heated floors. But it's the park views that will transport you to another world. A culinary delight, the eat-in chef's kitchen is the heart of the home with an open design that includes a substantial casual dining/living and media area. Kitchen highlights are the sophisticated Terrazzo countertops, abundance of pantry storage cabinets, and high-end appliances. A coveted laundry room holds the side-by-side and full-size Miele washer and Asko dryer with a sink and storage. To top it off, there is a new state-of-the-art Lutron lighting system and Crestron integrated surround audio system with built-in
speakers all through the apartment. Two oversized bedrooms and a second full bathroom complete the home with through-wall AC's in every room and great closets throughout. It’s pretty close to perfect!

AM: What amenities are offered in this building for residents?

LFP: A pre-war treasure, the Brisbane House at 1215 Fifth Avenue was developed and built in 1928 by distinguished journalist and columnist for Hearst newspapers, Arthur Brisbane, and designed by the renowned architectural firm Schultze & Weaver. The beautiful 16-story limestone-and-caramel-brick building boasts an elegant lobby and full-service amenities, including 24-hour doorman, live-in superintendent, private courtyard, fitness area, central
laundry room, personal storage, bike storage, and pet-friendly attitude.

AM: Tell us about the neighborhood that is directly around this building and what neighborhood is this considered?

LFP: A premier residence nestled near Carnegie Hill, this elegant gem is conveniently located across from Central Park and along Museum Mile with easy access to world-class exhibits at the Metropolitan Museum of Art, the Frank Lloyd Wright-designed Guggenheim Museum, and the Cooper Hewitt Smithsonian Design Museum, among others. Fifth Avenue and Madison Avenue
beckon with high-end boutique shopping and fine art galleries, plus there is an abundance of distinguished restaurants, charming cafes, gourmet grocers, supermarkets, Equinox Fitness
Club, the 92nd Street Y, and many popular retail destinations.

AM: For those that are interested in purchasing this unit, how can they find out more information?

LFP: It would be very easy to call this stunning apartment home given the grandeur of the rooms, designer details throughout, and abundance of Central Park views! To schedule an appointment, simply contact me directly and I will be happy to give you a private tour and discuss the purchasing details. You can reach me via email at lphillips@halstead.com or at 212-381-3329.

AM: Where can readers find out about additional properties that you represent?

LFP: Visit my website and click on the tab for “My Listings”. You can view pictures, 3D floor plans, and videos along with detailed descriptions of each property I’m working with from
downtown to uptown. The available homes range from a three-bedroom loft apartment in Tribeca to a 6-story grand townhouse on the Upper East Side.

Read more from the Dec Issue and see NERVO YORK in mag.

TURN ON THE LIGHTS

"You can't know where you are going, until you know where you have been." This quote always seems to take on more meeting when we find out the varied paths that people get to where they want to be. We sat down with Lights (Warner Bros Records) to find out how she got into the industry, her upcoming tour next year, her new Skin&Earth album, which also includes a series of comic books, her favorite travel destinations and how she defines balance as a songwriter, performer, wife and mother.

ATHLEISURE MAG: How did you get into the music industry – tell us a little bit about your journey.

LIGHTS: That’s a loaded question! I started out having no idea about how to get into the industry and I don’t think that anybody does. And there really isn’t one specific way to do it. I
think at the beginning, I had a pretty skewed view of how it was to be done and how it would pan out. I did music because I loved it and I started writing songs when I was 11 – I had my little
8-tracks and I started producing when I was 13. By the time I was 15, I had multiple albums of music and at that time, it was before MySpace, Peer Volume or YouTube and there was no place to put it. You actually did have to have a way in. So I enter contests like songwriting
contests, local singing contests and stuff – just to see what would happen.

Randomly, my way in came. My mom worked at Walmart. She was an employee, so you could be in the flyer. We took a picture which they selected and we had the opportunity to be in
the flyer. The photo I sent in had me with a guitar and they picked me. They came to my town and shot some pictures of me and a few other locals for the Walmart flyer. I got $30 and modeled their turtleneck – it was great. So the makeup artist said, “oh the picture that you sent in with you in the guitar – do you actually play?” I was like, “Yeah, I have a whole EP.” I was like 14 or 15 at the time. So he asked me to sing for them and I did a Mariah Carey song in the trailer and he asked me to bring the EP by his hotel, which I did and then he brought it to his friend who was in the industry that happened to be coming into the area later that summer for a
festival and he ended up becoming my manager. We worked on the music for a couple of years and then shopped it to the labels and then a couple of years later, I got a development deal with Sony and then I made some connections in the industry and 2 years after I was dropped from the development deal, I got signed to publishing which is songwriting for TV shows as well as working on my own music with sessions with other writers.

At this time MySpace came along and that’s when I was able to put my stuff up and everything changed. It wasn’t the label that launched my career but an online platform that allowed other
people to have access to me. Then Old Navy used a couple of my songs in their campaigns and that is when other people found out about me and then I got signed on from there at 19 with Warner – everything went from there!

AM: We never figured that Walmart would play into this story!

L: You never know where your break is going to come from! The most important thing is to do what you love and to take the opportunities that present themselves. You never know where it
will lead to! With that said, many people ask me what way they can get into the industry and I tell them that they have what they need right in front of them as the access is online to get your music out there!

AM: We’re beyond bummed that we missed your show here in NYC earlier this month, but what can we expect when we go to a Lights show and what kind of music is it that you are doing?

L: It’s really about putting my shows into a story arc and that’s even more imperative now with the comic that comes with the record as we will be implementing that into the next tour. It's an emotional journey and it starts out energetic as I want to make sure that everyone is comfortable and singing along. My favorite part is to see that in a show and then I like to break it down to more of an intimate tone and then end it on a high note. Set lists are always really well thought out. People should come ready to dance and ready to sing and of course there are cool lights – literally, which is really cool.

AM: What is your personal style in terms of dressing at your shows versus out and about with you and your family?

L: It’s interesting how I dress for a show isn’t too far from how I dress day to day, it’s just more amped up. It’s more extreme and over the years, I have come to know that how I dress really affects how I walk and how I am on stage. I need to feel empowered and I need to feel like a woman. It’s somewhere between Lara Croft from Tomb Raider with short shorts and big boots – I always wear big boots and big socks even in the summertime. I love a crop top that channels my whole Anime Manga face with the bright hair. I like a little spice of fantasy mixed in with a bit of a warrior.

AM: Obviously you are extremely talented, how did the comic book into this portion of your music as well?

L: I have always loved comics and have been reading them for years. I think that comics, like music is one of those forms of entertainment that all the fans want to become the creators.
Once you read comments you want to make it, you want to try it – to create the content. I have always wanted to do it and it has been a dream of mine for a long time. Part of that dream has
been wanting to see out in that world a music comic project, by a woman. It just didn’t exist and there were a few things here and there and even with dudes, it wasn’t that common. So I
wondered, when is a girl going to do this? One day I was like, “why can’t it be you – get to your computer girl!”

I shrugged off the fears of not knowing how to do it as I think that is one of the major factors that holds us back from doing what we want to do because we feel that we don’t know how
to do it. I just taught myself how to do it! I did the research, I got the books - went online and watched webinars and tutorials and I just had to start from somewhere. I have seen my dreams come true in putting this together over the last year. It’s just been amazing. I did a lot of work – I write it, draw it, render it, color it, package it and ship it! I send it to the publisher and it’s from my heart and mind and it’s so cool to see it all come together!

AM: That is so cool so do you go to Comic Con with this?

L: Yeah! I have always gone to Con as a fan and last year I was at Toronto Fan X which I have gone to for 10 years as a fan. This year, I was there as a guest with a professional pass and people were CosPlaying as my character! It was so awesome!

AM: This is so inspiring and once again, we’re bummed that we didn’t see you tour!

L: Well, when we came through the fall last year, it was a shorter set as we were supporting Paris but next Feb/March when we come through, it will be a full production experience and a
full set! It will be directly related to the comic.

AM: Obviously you travel a lot, what are some of your favorite places that you love going to?

L: Oh one of my favorite cities to go to is Amsterdam! Everywhere you look is an Instagram shot – it’s so scenic and there are flowers all over the place. It’s gorgeous and I have even more of an appreciation for it especially doing the comics – as an artist now. You have to do studies and backgrounds in art and lighting. I’ve noticed things in the environment that I would have never noticed before like the way a shadow falls – so you notice your surroundings more and Amsterdam is one of those cities that everywhere you look it’s picturesque and inspiring. Another area is Mexico – I love the beaches and it's one of my favorite places in the world.
I grew up traveling and last year, my husband and I went to Thailand and explored the jungles and then we went to Tokyo – that trip itself was a bit of a catalyst that made me really want to
do the comic and a month later I was drawing!

AM: We love Tokyo, being there really changed the way we looked at things for sure!

L: I know – when I got there I was like, “I want to do music and have it played here – how can I make this happen?” So, we have Giants in four different languages and Japanese is one of them!

AM: This holiday season, are you doing a lot of performances, will you be doing festivals for 2018?

L: Yeah it’s going to be a festival summer this year I think and our tour is 2.5 months in the spring with the festivals in the summer and then touring in the fall. The final issue of the comic comes out next month and then we will be packaging it into a graphic novel and then will tour on that in comic shops which will be some pretty cool stuff on that as well.

AM: Clearly your busy, how do you take time for yourself – are you a yogi – what do you do?

L: I do a bit of that. It’s all just balance. I’ve learned a lot over the years and still have a lot to learn about getting work done and taking time. I mean it’s not about saying I’m going to work here this week and then take time out here on this day. There was a time in my life, that I thought that was the way to do it. Instead it’s more like, today I am going to work 4-5 hours and then have dinner with my kid or spend some time tonight to do whatever. Everyday is in
front of you so you need to take the time daily you need to do the work but you need to take the time. I mean life moves and we spend so much of our time waiting for life to happen and
it’s right now and we need to enjoy it while getting stuff done.

AM: What would you like to share with Athleisure Mag’s readers that you may not have been able to share?

L: I’d say check out the album …… it’s my Opus and the greatest thing that I have done so far and I’m proud of it. Listen to the music on its own, read the comic on it’s own and then do so
together – it’s a totally augmented experience and check out the Instagram page @SkinAndEarthWorld – it’s a map of the world from within the comic and its interactive - click through the various accounts and explore the world and go to different locations and find hidden song clips. It’s just a fun way to experience the world without having to pay for anything right now.

A CHAT WITH HARRISON

The UK 23-year old hybrid DJ, Harrison, is truly a man who can do it all as he can play a DJ set, produce the tracks, write his own songs and perform them all during his live sets! His energy is boundless, which is felt within his shows (and we felt it when we interviewed him at his studio via Skype). Harrison has collaborated with a who's who of an array of DJs which has included David Guetta (and his breakthrough track, 'Ain't A Party' in 2013), Steve Aoki, Dannic, Vinai, Laidback Luke, and Hardwell (which he notes is one of his favorite people to work with). As someone who has exploded into the EDM and progressive house charts, he has performed alongside these greats at a dizzying pace, produced tracks and is now focused on doing his solo projects to further his musical fingerprint. By working with so many notables, he was able to garner visibility to wide fan base that allowed him to excel quickly in notability.

Without a doubt, it is his uniqueness that skyrocketed his success and keeps him as a coveted DJ. This past summer has been a whirlwind of activities that included video releases (such as 'LA Girls') and playing a number of stages in Europe and Asia. With all of his collaborations and travels, he honors the process of being able to step back to ensure that his work receives the time needed to continue to engage his fans. His mastery of various genres of music keeps them guessing on what to expect next while also enjoying what is becoming the Harrison sound. When chatting with him about his influences he had an array of artists that included Sting, Phil Collins, Eminem and more. In addition, when we noted that our Style Director had worked with Nile Rodgers, his face lit up in appreciation of the iconic music producer and guitarist. His respect for the industry and its musical nuances is clear when speaking with him.

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You get the sense that what you see is what you get when you're talking with Harrison. When asked about his personal style via his DJ style, he noted that, "at the end of the day, I like to wear dope shit and it's the same whether I'm on stage or just hanging out." He was so excited that he had to share a recent jacket that he purchased which included zipper detailing and straps. We wanted to know if he had a workout routine that we may need to know about and he laughed as his attention to his brand and craft is so attuned that when he's not on stage, he's in the studio and it's essential that he gives of himself in this way to produce the best music possible.

With the end of the year quickly approaching, we can't wait to see additional music that he is working on between collabs as well as his own and we'll keep an eye out for where we can see him next. We'll keep our fingers crossed that one of those tour dates will find its way to the states and right here in NYC of course!

Pictures courtesy of Harrison

See more from the Sept Issue.