Original subtitles

in today's session,

I talked to VJ and video artist Holly Danger about her practice,

how she creates work in the United States of America,

how she uses mad lapper.

She's got some great tips and tricks for you on.

We look at her work and we look at how she creates what she creates.

Let's have a quick look,

Holly's promo and then we'll jump straight into the interview.

-

There

we are high.

Oh,

doing all right.

I'm glad that our time I think it was able to sync up here.

Yeah,

absolutely.

I did have a mild panic.

I had a power cook today and knocked all of my into out.

So when you message me,

I was frantically kind of turning the route around enough.

Now I understand.

I actually we do a livestream show out of my gallery space here every couple of every few

days.

And last night that the Internet was completely down.

We had to cancel the show,

and it was just like,

Oh,

God,

I saw I still got a workout.

It's it's better today.

But it was just so slow that we couldn't get it up and running.

You know,

we're using like,

Oh,

be yes,

to do like a full production.

And it was just not having it last night.

Oh,

yeah?

Well,

I mean,

his clippers is We can get with technology.

We're still at the behest of the five,

the cables and so on.

I know it is.

It's so frustrating.

Uh,

yeah.

So thank you for joining me today.

I'm excited to chat with you.

Oh,

no,

me too.

I was I was so kind of overwhelmed when people start message in some I'm really pleased.

So,

um,

I guess and so I I know a little bit about you because I've been internet stalking you

today.

Gonna put on your website.

And so,

um,

but could you tell me,

could you tell?

Tell us a little bit about kind of what you do on why you do it?

Sure.

Um So my name is Holly Danger.

I'm a video artists and a live performance VJ.

Um and ah,

gosh,

I've been doing I've been teaching for a little over 12 years at this point,

and I would say a kind of a video artist for about 20 years.

All of them.

I have a background in Ah,

just traditional video production postproduction.

I've been a video editor,

started as a graphic designer,

developed into a being a motion graphic designer.

And,

um,

you know,

but having those jobs,

you kind of always are somebody who sits in a dark edit room by yourself,

and it's very isolated type of position.

And,

um,

you know,

that wasn't enough for me.

And so I would I would leave my day job,

you know,

which is normally working in,

like,

advertising.

Ah,

or corporate video production.

And I live about an hour outside of Manhattan,

So I would drive down to New York City.

I'm kind of like in the suburbs,

so there's not a lot of,

like art and culture and music around here,

so I have to,

like,

go out of my way to find it.

And so I would drive down in Manhattan like five nights a week in search of that kind of

culture and inspiration.

And in doing that,

I came around,

I came across,

um,

large scale installations at the MoMA,

and I would go toe underground art parties where they're doing video projection,

you know,

VJ ing and all that stuff and I said,

I kind of made that connection between,

you know,

the type of creative work that I was doing and the creative work that they were doing.

And I just said,

Okay,

this is definitely the path that I need to go down,

and so that kind of completely pivoted my life path.

And,

um,

you know,

but but for the last,

for the last,

like,

12 years,

I've been working in corporate video production and kind of keeping my art life and video

projection and all that kind of stuff on the side.

Uh,

not not actually thinking I could make a living doing this.

Um,

And then in the last year,

I kind of had a change of heart.

And I said,

You know what?

You only have one life,

and I completely fell in love with the the medium of projection are creating installations

and live performance that,

um I quipped day of and for the last well over a year now,

I'm full time video artist,

um,

where I create Ah,

immersive installations and I perform ah,

audio visual shows.

I have Ah,

I'm actually sitting in the danger gallery right now,

which is an immersive,

um,

art space I created out here in the suburbs where,

like I said,

this type of work doesn't exist around here,

and I wanted to bring it to this community.

And so I've been full,

full force doing this now for about a year,

but,

you know,

and now covered change the game again Now,

Charlie.

Right.

So,

you know,

you were always constantly pivoting,

but that's just like a short,

short history.

So you have your you have your digital practice.

But you also have gallery as well.

Yes,

I dio Yes.

Um,

and it started.

Sorry,

my phone keeps ringing.

Let me just turn it off.

Okay.

Um so So I do have my tradition.

My at my own practice.

Um,

and I have my I have this gallery here.

It started out as a little bit more of a traditional gallery where I was bringing in local

artists.

And then,

um,

and then I kind of realized like I really wanted to focus on my own work for a while,

and so,

um,

I've just kind of been using the space as,

like,

a showcase room to kind of educate people around here.

How they can use projection.

You know,

you know,

whether it's an immersive environment or,

you know,

backdrop for a concert or ah,

drive in theater or something like that.

Um,

I've just kind of been using the space to kind of create my own work documented and share

it into the universe.

And that's kind of how I've been able to develop a business.

That's amazing.

That is amazing.

So in terms of,

in terms of of your projection,

map it then.

So what kind of stuff do you map?

Mostly,

I would say,

mostly room installations.

That's kind of been something I've been very excited about.

Ah,

something that kind of I've really enjoyed creating,

kind of like sanctuary spaces,

spaces that feel very meditative,

Um,

spaces that kind of just completely envelope you in all of the senses.

You know,

we're even just like the scent in the air has like it,

you know,

a texture to it or,

you know,

something that just evokes some sort of emotion.

And,

um and so the mapping that I'm doing mostly is is in my gallery space here.

And then as I get hired,

I'll be mapping projection walls like,

um sorry.

Like street like out out in the street.

I'll do like street murals.

Um,

pretty much I mean anywhere.

Ah,

a lot of gala events will hire me,

you know?

And they'll say,

Hey,

we've got this wall over here.

What can you do with it?

And,

um,

you know,

and what's so wonderful about mapping is that,

you know,

you can really just kind of put it anywhere and just develop.

You know what?

How you want to transform the space?

Absolutely.

Absolutely.

And so what kit do you use when you're method?

So I'm using Mad mapper primarily.

And,

um,

I actually use it in tandem with my VJ software.

I used v DMX,

and,

um,

I've actually found that mad mapper,

especially if you have,

like,

really large files ago.

If I'm doing a full room,

um,

sometimes I'll actually,

instead of breaking it up in Madame Apple,

have,

like,

one huge template.

Um,

if that makes any sense,

and it's all actually run it through v.

DMX because I've had trouble with audio issues going directly into mad mappers.

But if you if you play it through video mix,

that's actually fixed on my problems Really?

Yes.

I also have have had audio issues with mad matter,

right?

So I don't know why that works,

but it does.

And it has completely saved me in terms of ah being,

you know,

having public installations.

I had I had one where I played everything through Mad mapper directly and the music kept

skipping like every I may be the file was to hear,

you know,

I I compressed it to 1/2 Kodak,

which is what you're supposed to do.

Ah,

you know,

supposed to run more smoothly.

Um,

but yeah,

I kept getting a skip,

and I was like,

I felt like I had apologized to people come into the room and they're like,

we don't even hear what you're talking about,

you know?

But it drove me.

It drove me nuts.

And then I talked to other video artist friends,

and they were they were,

like,

Try it,

try it through your VJ software and that that solved the problem.

Wow,

I will.

I'm actually gonna try that.

Actually,

I'm gonna do some testing this weekend.

Summer tried.

So?

So I also used MADD rapper on because I've designed is like a beginner's guide to mad

mapper.

So what are your top tips from mad?

Oh,

my goodness.

Top tips or mad mapper I G's.

I don't know if I have any.

I'm still like I've actually been using bad mapper for about three years,

but I still feel like I've only kind of cracked the basics of it.

Um,

I feel like if I gave any advice,

it would really be too.

You know,

anyone can learn software,

but I would say to really focus on the content and,

you know,

like my main business is working in after effects developing the content,

developing the designs.

And I feel like that's where I would I would tell most people to focus their energies.

Um,

because you can always you can always use the software and,

you know,

it is it's pretty easy once you start using it.

Um,

you know,

So I I honestly,

I feel like the biggest advice I could say is get really messy with using after effects,

you know,

and also to make a ton more work than you would ever expect.

I started a daily practice last year,

uh,

putting work up on instagram.

I called it garbage art.

And what I would do is I would make a,

um,

give myself 30 minutes to make 30 seconds of animation.

Ah,

and I would post daily whether I liked it or not,

which is really difficult thing to do,

especially as someone as someone who considers himself an artist,

you're like,

OK,

I only want to put things out that are beautiful,

that I feel like my high standards.

But I got into this habit of just doing it every day and putting it out there and a lot of

the work that I didn't think I liked.

Once I projected it in the room,

it became something completely different,

and I looked at it in a different way,

and it became installations that I was able to use in later work.

So,

yeah,

if I want to say anything,

I I wish I had tips for mad mapper.

I don't think I really do.

I really think it's about put your energy into the work because that that's what's going to

speak.

But you know,

the most.

I absolutely agree with you don't I mean mad map is so powerful and like you,

I've been using it for about three years,

actually,

and I still feel like I'm just scratching the surface of me.

Absolutely,

I'll be I'll be in.

My assets are being in a cult summer and all right,

click and I go.

What's this?

Where did that could probably?

Um right,

Yeah,

it's interesting,

but no,

I completely agree with you like it's got some great kind of stock assets building,

but at a job,

and that's good for learning and play in absolutely kind of develop your own assets.

Use those kind of after effects or resolve or trip or whatever is Teoh because that was

really kind of started to bring your artwork to life.

And I will.

I've also found that as well,

kind of.

When I'm when I'm designing stuff to project,

I always have to recheck.

When I put on the surface,

I go,

Oh,

I need to adjust the contrast.

Yes,

yes,

and it's definitely learning curve all the different types of places that you could put it

,

Actually.

For example,

I just did a event over the weekend,

was my first live in person event since since opens up for the like three months.

Um,

but the Ah,

the location of my projection got changed last minute and all of a sudden I was on the side

of a barn that,

like,

half of the barn was brown.

Half of the barn was red,

you know,

and then and people are just like,

Oh,

yeah,

just do your projection over there,

But they don't realize how much that changes things.

And then I wasn't.

I wasn't in control of the equipment they had hired somebody else to get the equipment so

that when you don't have control over that,

then you know it's an under powered projector and,

you know,

and you know,

so absorbing the color,

right?

And some of the end of the day,

I was just like,

Oh,

this could have been so much better But most people don't know that,

So I feel like there I'm so glad that you're doing these video,

of course,

is because we need to talk about these things.

We need to have a community,

and we need to educate on all the different There's so many little deep tales that we need

to think about.

Yeah,

absolutely.

And,

you know,

I I stalled putting out for so long because I was so nervous ago.

But I'm not an expert because I'm still learning.

Yes,

it was a friend of mine That just kind of you be talking about this for a year.

Just play out in the world but will be will be on.

I have to say I put it on that on the forum where we met on Facebook.

Really kind of tentatively.

And the response has been wonderful,

like like like I've been having chats with people itself.

But right now,

this is great about everybody.

Like we had our first everybody go.

But I'm not really hardcore,

because I I do this version and everybody said that to me.

And I think that's really interested about about kind of what we do,

because we all think somebody else's is more hardcore than we are.

All right.

That was actually my first reaction to you.

I was like,

Oh,

I hope you're not looking for one of those guys.

We're doing those enormous setups because I'm not doing that.

I'm really using mad mapper for just the basics,

you know,

fitting it in,

choose the space and then really caring about this story and the concept and the content

and,

you know,

the visuals and and and and everything.

We were just I'm really glad that you pointed that out.

Yeah,

I think it's a different man.

Like we have this check before by my come from a film background.

So for me,

I use a lot of tobacco,

and I actually I actually come from a dance background originally and then second film.

So I do a lot of installations with dances.

I use it kind of so I'll might films a movement in another space and then that gets

projected within a show.

Are it becomes interactive with with life content?

Yeah.

So,

one week I might be doing that in the next week.

Um,

I be digital billboard in somewhere and,

you know,

and the realities of the world is sometimes I'm stood out in the rain for three hours going

like this,

Right?

Right.

Oh,

my gosh.

Well,

it's funny you say dancers to because I've gotten a couple of calls in the last.

Probably like over the last few months of more and more dancers that want to work with me.

I haven't done any of the interactive stuff yet.

I think that's kind of on my,

you know,

next to learn.

So you want to put out another course about interactivity,

touch designer and stuff like that?

You let me know.

Yeah,

well,

I'm literally learning pictures under at the moment,

actually.

And I spoke.

Teoh guy called Jess Spell in the form.

Who uses church designer just in Jasper in Australia,

You know,

just in.

And Amsterdam Jaspers,

Jaspers.

Not so common names s.

So I just assumed that,

you know?

Well,

6000.

Well,

I mean,

you know,

I've been around for for over a decade in that community,

so I do know a lot of these names,

but that when I interviewed,

yes,

but who was It was very,

very,

very lovely like yourself.

A very kind of open to sharing,

but his cell behind him.

I was just trying.

This is insane.

That so is insane.

What is it?

Oh,

yeah,

I know.

It's just might settle.

Org is okay.

I have two projectors.

Ah,

a laptop software.

Sure.

Sure.

Sure.

Yeah.

I have personally spent all of my paychecks over the years on on equipment.

I have,

like,

I think I have six old projectors in my storage unit answers.

But they're all four by three.

And,

like,

really old resolution.

Like,

what do I do with these things?

Do I Do I make some old retro insulation and,

like,

just use all of them?

Or do I scrapped the mall and buy new laser projector?

Chris?

Yeah,

absolutely.

Just Daisy chained together in a tower.

Right,

Right,

right.

So I don't know.

I keep I keep that stuff around cause you're like,

maybe I'll use it one day,

But that's probably just a waste of space.

No,

I do the same.

I do the same.

I've got an 18 k projector,

which will The minute is passing.

It's just doing what it needs to do.

But I'm looking at everybody.

It's like this big.

Yeah,

heavy,

right?

Yeah.

Yeah.

I'm looking at the new ones that I'm lying,

but I just can't quite justify especially really got operation.

I would kill for an 18 k projector.

You're kidding.

Yeah.

I mean,

I share it with a friend.

It's not my mind.

Yeah,

I think so.

So,

in terms,

in terms of them kind of your mad,

mocking journey do you use any of the other peripheral separate matter like the mini model

,

the model E D's.

Oh,

um,

I did by the mini mad.

I've used it for maybe two projects so far.

I feel like I need more of them,

right,

because that's like one.

And it's like one per projector,

right?

It's like,

you know?

Yeah.

So I someone gave it to me as a gift.

I used it,

Yeah,

used it once to set it,

but I haven't really used it again,

so I can't really say I think it's a great idea.

I don't know why I'm not using it more.

Well,

I have the same.

I absolutely drived one,

and I brought on a win because I was doing I was doing an installation in ah Gallery on,

but it was that is that one of the good?

But there's no security that,

but I can't leave a laptop there for exactly right side.

But will how am I gonna get round it?

It was a static installation,

so I bought the mini mad and we did it and it was great and it works,

and I've never used it since.

So I do need to use it.

It's a great idea.

I agree with you.

I don't want to leave my laptop out anywhere.

But I guess you know a lot of the shows and gigs that I do are pretty much like one off

shows like either I'm there with the equipment or,

you know,

it's just a few hours and we leave,

you know?

So I actually haven't had any long term projects.

Um,

and the ones that are in my gallery,

everything's just set up and I'm I'm here and I do shows,

You know,

I'm hosting.

I'm setting everything up I'm hosting and it's all my equipment that's just permanently

installed here.

Um,

so it's interesting.

I'm glad you brought it up,

though.

I feel like I should find ways to use it more.

Well,

I'm looking.

I'm looking to get in them the mud led kit lighting kit because I've just started diving

into light installation.

So I did wrong,

which is very simple,

kind of DMX control turn lights on enough with dancers,

and it was it was ridiculously simple,

but it was so effective that I thought I might invest in this a little bit more in terms of

on.

That's what I love about.

That's what I love about manufacturing.

You could projection up,

but you can also designed light installations.

Yes,

Yes,

I did.

I did take one class on exactly what you're talking about.

Because I was very lucky.

I personally learned,

Or at least I have traditionally learned more from people being present,

you know,

shared experience.

Kind of versus the tutorial.

Unless you find really good tutorials.

Eso I'm excited to watch yours,

but,

um but but there's Ah,

there's Ah,

there's this one place in New York City.

I had mentioned it to you.

It's called culture Hub,

and they occasionally have all sorts of visiting artists in there.

And there was one artist named Chica.

You could probably check her out.

I think she's part of those VJ union Facebook groups and stuff like that.

But anyway,

I learned a class I learned mad mapper from taking it from her.

And then I came back,

like,

a few months later,

and I took it from a lighting perspective.

I found that to be harder for me to wrap my brain around,

um,

for stuff,

for some reason,

maybe because I'm more of a visual.

I don't know.

I guess I've just been so deep,

like,

enveloped in,

like,

content and visual,

like animation and things like that.

That the lighting was just a very far out idea for me.

But I enjoyed it.

Yeah,

no.

Yes.

Setting same for me.

And I think,

really,

for me,

it's it's doing these courses has really kind of re ignited my passion to learn more.

Yeah,

so I think that that's kind of where my brains up.

So then what is the project?

You're most passionate or proud off the one I the one I havent done yet whatever the next

one is No.

Okay,

So,

uh,

because you know,

it's funny,

I latch onto these projects because they take so long to make and there's well,

so much trouble shooting that goes into things.

And,

like,

I just feel like people don't even realize how much it takes to produce these things.

I'm I'm always like,

you know,

I feel like I go through something with each one and,

ah,

and and the one that I make like the each each one gets better than the next.

I mean,

as it's supposed to write um,

but so the last one that I did was one of my favorites.

Um,

it's Ah,

room installation called lead and Let go.

And I made it to be shown at in Miami.

Ah,

during art Basel wasn't at the main our basil.

It was in one of those,

like spinoff called Satellite Art Fair.

And they'd given me this Coworking space.

It was defunct Coworking Space,

Three walls,

white walls.

And then one was glass.

And it was,

I think,

15 feet by,

15 feet square.

And,

um so the It's funny because I mentioned earlier that I developed like an instagram,

like a daily practice.

And so when it came time to do this art fair,

I'm like,

OK,

I actually have developed this,

you know,

a bank of like,

165 days worth of material,

you know,

some good,

some bad.

But I was able to look through all of it,

kind of see the patterns and things that related to each other.

And,

um,

I actually started turning this into the insulation for that art fair.

And I ended up buying three short throw Optima projectors.

You know,

each of them were about were under under $1000.

Um,

so not not too much of,

Ah,

you know,

an investment,

but enough.

It was brandy equipment.

But you needed that for,

like,

a 15 but by 15 foot room,

you know,

you really needed So I wanted to cover it from from Florida ceiling to really get that

immersive experience.

Um,

and so I just created it.

Ah,

kind of with,

just,

like,

very slow like that.

Visuals that kind of go a little bit past your attention span.

So kind of holds you and the space is so small that it only fit about 15 people at a time.

Um and so I put white rugs and pillows and things on the floor so people could kind of come

in and lounge and just became this very intimate space.

You know,

people were having some,

like,

nice,

intimate conversations back and forth,

and,

um,

I swear it was like the most engaged piece I have ever made.

If you ever been to art Basil,

like people in the main convention hall,

like people go in,

they see a painting on the wall for like,

a minute,

you know,

not even like I said I watched people look at things for,

like,

eight seconds and walk away.

There wasn't There was no connection there.

Um and so But in my space,

I had created a 20 minute audiovisual loop.

I'd worked with a musician that created by Norrell beats,

um something that said that,

like,

you know,

different frequencies in each year.

You know,

it kind of brings it to a kind of a meditative space.

And so I kind of pared those those sounds with my visuals and people just stayed in my

space for like an hour.

And it was just so lovely I to kick them out at the end of the night.

Wow.

But it was It was like a really lovely experience.

I feel like I got to have very meaningful conversations with people from around the world,

and it was just like such a fulfilling experience for me that I said,

OK,

this is what I want to keep doing.

You know,

it was just so lovely and it just everybody thanked me.

They said,

You know,

it's so crazy out there going to these conferences and running around all these different

events and parties and You know,

everybody is always so busy,

right?

And so this is the opposite of all of that.

And it just kind of shut the world out and give you,

like,

a quiet space.

So anywhere.

This is an area that I want to keep exploring,

like the sensory experience,

Immersive,

but like an emotional kind of quiet space.

So I really enjoyed that.

I think I'm gonna keep kind of pushing into that.

See what?

See what happens.

I've got a project coming up,

which is working within a massive dome.

Um Who?

I've wanted to do that for a while now.

Well,

that let near near where I am in the UK.

That sort of investment to an immersive dome training park.

Not the It's not MSG sphere,

is it?

I don't know.

It may be.

Actually,

it Maybe it's out in Leeds.

I mean the Okay.

Okay,

okay.

Okay.

I think this one's in London.

Right?

May maybe the same complete.

It's branched out across across,

actually,

because part of big university investment,

um and I just I just met,

met the woman yesterday and she went If I gave you an immersive space,

would you be interested in sight.

When can I do it with?

Wow,

that sounds amazing.

I know,

right?

So,

yeah,

it was really interesting.

So what is What's the space that you ideally want to project them.

So if I said to you now,

you can project on anything,

any space you want.

What is it?

Wow.

Nobody's ever asked me that.

Um good.

This.

Ah,

Wow.

Maybe like an airplane hangar,

I think I would like to take over an entire airplane hangar.

I don't know what I would do with it yet,

but thank you for giving me that idea.

I also like I live on the Long Island sound out here.

You know,

it's just,

like,

very quiet.

And there's a lot of both.

It's and I've seen some people project on sales,

like sailboats and things like that.

That that's also been something kind of interesting.

Like having a moving,

um,

projection on the water with the reflections and things like that.

Um,

but I haven't done anything like that yet.

Yeah,

sure,

sure.

I wouldn't have any airport hangar.

Now.

Let's do it.

Absolutely.

Absolutely.

So I guess Finally,

then how can people connect with you on How could people find you?

Sure.

So,

like I said,

my name is Holly Danger.

And so I have kind of taken over all of the social channels with that names.

You can find me anywhere.

And Holly Danger or my work is all on holly danger dot com on your website is phenomenal,

by the way.

Thank you.

Still working on it.

Just developed a YouTube YouTube channel.

I should also say that twice a week,

Wednesdays and Saturday nights.

I do alive VJ performance.

Like actually an audiovisual.

Since since Covic,

I'm not working with external like musicians.

I've started doing it myself.

So D j B J session Ah,

twice a week,

Wednesdays and Saturday nights,

nine PM Eastern time.

Um and they can find that on YouTube at Holly Danger,

but we're having a lot of fun with it.

We're actually gonna be doing our 30th show since quarantine this Saturday.

What times?

At 9 p.m. Eastern time,

9 p.m. Eastern time.

So I'll make sure that we put that on reaching out.

I do have one final question.

Should I forgot rescue,

of course.

What?

What hardware do you integrate into your workflow Um what hard?

Where do I integrate?

Gosh,

you're asking me some techie questions.

I mean,

I just Honestly,

I run everything off of my Mac book pro.

So,

like,

I you know,

I don't really do anything crazy.

I really just run everything off a laptop and that's been fined for me so far.

That's absolutely perfect answer,

because part of the whole my whole ethos is that actually,

this is should this,

you should be limited by budgets and kind of big tech.

So I dio I do lots of kind of domestic work,

and I just used to Ben Q short throw projectors about $800 each.

And they're great.

They're absolutely brilliant.

I mean,

obviously,

I wouldn't take them onto a building book.

Then my night when I'm inside,

I could just daisy chain them together,

and I've got this really kind of white camel.

And what you could control the light.

Yes.

God,

Uh,

it becomes a really interesting kind of financially viable kind of way to do it for me.

Yes.

Yes.

And,

um yeah,

I guess for me personally,

when I do outdoor projections,

I budget rental into the cost and actually in the last year.

I said,

You know what?

I don't really want to do this set up anymore.

So I'm actually working with events companies to take care of,

you know,

setting up the trusts and letting all that.

Obviously,

that's a particular client that can pay for that type of work in order to be able to do

that.

Um,

but all I do a lot more indoor work than outdoors these days.

Men.

Maybe that's maybe that his budget related,

Um,

but I've totally fallen in love with um and Ivan.

Any see laser.

That's I think it's a five K laser,

but it is bright.

And if you do join us on our live stream show,

I used that.

One laser takes over like the entire gallery,

and my space is not to.

It's not too big.

I mean,

it's 700 square feet.

Ah,

but it is powerful and bright and colorful,

and I mean,

with lasers there said to you know,

I don't have to.

I don't have to change a bulb or anything.

It's like supposed to last for 10 years,

so I feel like moving forward.

If I can just collect laser projectors.

That's my That's my goal.

Yeah.

No,

I get that.

I've been looking places this morning,

actually,

for another potential project.

So as my new passion,

Yes,

yes.

Well,

let let's keep in touch about all this stuff.

Thank you so much for your time.

Holy.

It's been absolutely so nice to chat with you.

You have talking other video artists,

you know?

I know,

I know.

Well,

so,

actually,

whilst wants for that whilst were you Who's your inspiration?

Wayne Coyne of the Flaming Lips?

No hesitation.

Have you ever have you ever seen a flaming lips show?

I haven't.

No.

Oh,

my gosh.

Well,

I'll have to send you some videos,

but they don't They don't really.

I haven't seen them do projection necessary that they do wild stuff with led lights.

That is just this,

like,

psychedelic experience.

And it's just so fun and so electric.

And every song has just,

like something surprising.

I love the surprising element of it.

I love the color,

and the message is just like love and connection.

It is it's just such a beautiful experience.

Um,

and I got the pleasure of meeting Wayne last year at one of his shows.

I actually made a video for him,

and I gave it to him.

And we have this whole conversation about video are everything.

And it was just,

like,

incredible human being and I just like I was very inspired.

That's the great place to finish on being inside.

Carly.

Thank you so much.

Have a wonderful evening.

Thank you.

You too.

I want to speak to you very soon.

All right,

Take care.

Thank you.