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Miss Boardwalk and Miss Boardwalk at large presents:

Prelims to Miss Florida 2017, and Miss Florida at large 2017 pageants.

$1000.00 prize package per pageant. 



Hosted By: Boardwalk
Monday, February 27, 2017   09:00 PM

Fort Lauderdale Pride is an annual event held this year on Sunday February 26th 2017 for the first time on Fort Lauderdale Beach. The festival includes world renowned entertainers, local & national exhibitors, food court and of course the world-class beaches of Fort Lauderdale. Additionally, 2017 will bring our most diverse and inclusive Pride ever including a family area, sporting area, History of Pride educational area, Senior Chill Zone, Sober Zone and a new VIP area. Our goal is to create a world-class Pride for our world-class city.

Pride Fort Lauderdale will take place for the first time at Fort Lauderdale Beach Park South adjacent to the B Ocean Hotel & Resort.

12:00 - DJ Wendy Hunt

 2:00 - DJ AJ Reddy

 4:00 - Ty Herndon

 4:15 - DJ Joe Gauthreaux

 6:00 - Brian Justin Crum

 6:15 - Latrice Royale

 7:00 - Jazz Jennings 

And stop by Manor for the After Party 



Sunday, February 26, 2017   12:00 PM

Featuring a Tribute to the 10th Anniversary of Robert Seeley’s Groundbreaking Work, Songs of My Family.  This touching and upbeat exploration of home and family will fill your spring with hope and harmony.



Friday, March 24, 2017   08:00 PM
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One of my favorite lines in the movie Sordid Lives comes from one of the main characters, being treated by a therapist to “cure” him of his homosexuality.  Brother Boy, while combing out his Tammy Wynette wig and wearing a pink nightgown and pink slippers, asks the therapist how long the process will take, as it had already been 28 years of intense therapy.  The therapist states that her goal is to cure Brother Boy of his “homosexual tendencies,” so that she can write a book and “get on Oprah” and become famous!  The turning point in the movie happens when Brother Boy tells the therapist that she needs a “life-time” of therapy herself!  

The church has a long record of therapists.  The King of All Therapy (Jesus) came along a little over 2,000 years ago and delivered some intense therapy which resulted in a major life change for the church.  Jesus gave humanity an example and a new way to love and to live. He taught us the most important two rules - love God and love our neighbors.  ALL our neighbors!  When we do, we are then on the right track.

In many ways, the church has again become a seriously dysfunctional family, needing to make an appointment to book some therapy sessions.  We have the brothers and sisters in the family who are conservative.  And then those who are liberal.  There is often so much animosity among our family that we most often cannot even share a meal together (yes, that is a reference to communion). Our institution as a whole, can’t decide who should be invited and who is welcome at our family functions. The environment often is so hostile we don’t speak to one another at a family dinner.  We may even avoid getting together as family, even though we live right down the street from one another.  These are just some of the serious issues and will require more than one therapy session.

Why is attendance in many religious faiths failing?  We don’t get to choose our biological family, but we do get to choose our family of faith.  Why would anyone choose to be a part of a dysfunctional family?  Why would anyone seek to be a part of an organization that has over 40,000 splits globally?  Why would anyone want to be a part of a lineage who can’t share a meal together?  Why would anyone choose to be a part of an ancestry that is filled with people who judge other family members and can’t see their own faults themselves?  Who would choose to be part of a family that teaches love, yet their actions don’t reflect their beliefs even among other family members?

But Dr. Jesus tried to make it easy for us.  During a very memorable counseling session, he gave us the “Quick Guide to Love” and distinct instruction on how to be a functional family.  So that we would not get confused, He shared the two most important rules. “‘You shall love the Lord your God with all your heart, and with all your soul, and with all your mind.’  This is the greatest and first commandment.  And a second is like it: ‘You shall love your neighbor as yourself.’ On these two commandments hang all the law and the prophets.”

Maybe we should consider booking more counseling sessions to learn “how” to improve on the second rule.  And by improving on the second rule, we accomplish the first rule.  I like The Great Counselor - he makes us think!  Every new year brings the opportunity for new beginnings.  Just maybe, this year will be the year.  God believes we can get this right. There is a cure, and that cure is to love one another.



Reverend Patrick Rogers, MDiv., is the Senior Pastor at United Church of Christ in Fort Lauderdale, FL.


Author: Rev. Patrick Rogers

House On Fire (BFD/Red), the first full-length album by gay country music artist Ty Herndon since he came out publicly in November 2014, is a sizzling set of tunes that is bound to please his fans, old and new. Faithful to his country roots, Herndon brings the heat from start to finish with 12 songs that reflect who he is today while also honoring the contemporary Nashville sound. “Sweet Way To Go,” for example, is as sexy as tight-fitting Wranglers on your favorite cowboy. “Just Friends” warmly celebrates making a commitment, while “Go” simmers with the release that comes from sending someone packing. I spoke with Ty about the new album and more shortly before the release of the new disc.

Gregg Shapiro: Ty, gay writer Jeff Mann recently had a novel published titled Country (Lethe Press, 2016) about a gay country artist’s coming out experience and one of the dedications reads, “For country music stars Ty Herndon, Chely Wright and Billy Gilman, who had the courage to come out.” What does hearing something like that mean to you?

Ty Herndon: Number one, I want to read the book. Number two, when anyone calls you out for something you have done in your life and you’re just on a journey to be authentic, to live in your own skin better, man, it makes you feel extremely special. I think that any time you’re making huge steps in your life – I always say I need lots of hugs to feel special [laughs]. Because when you’re out there on that journey and you feel like you’re alone, I don’t think you get as much done. Any kind of accolade like that, when somebody calls you out, it really touches my heart. It’s greatly appreciated.

GS: It’s been a couple of years since I first interviewed you. What has been the most significant event in your life since that time?

TH: Just feeling free to walk out on stage and be myself is pretty damn significant. And then having people show up from all walks of life. I call them my “Modern Family” shows; all kinds of folks and I meet all kinds of people. Being able to do that and continuing to be in a genre that I love and to be able to be myself. I’m in music, period, but being in country music is what I love. It’s who I am. Being able to be a gay man in country music and continue to break down walls and change hearts and minds has been really important to me. I’ve been able to do so much of that in the last two years. This new album (House On Fire) has been 18 months in the making. My writing has changed. I think that if I had had an album right off the bat (after coming out), it would have had less of my story in it. This album is just full of my journey, so I’m glad I waited.

GS: I’d like to begin talking about House On Fire from the outside in, if you don’t mind. First, what can you tell me about your ink which is prominently displayed on the cover?

TH: [Laughs] I call it my “Life In Full Bloom.” It’s an ongoing story; the two pieces on my arm right now are “Lies I told myself,” which is the beginning of me thinking about what this journey would look like. The flipside is “Journey on,” because I’m still on the journey. There’s a third piece going on and that will have to be a surprise [laughs]. Lastly, the watercolor will go on the piece and it will always represent the part of my journey that’s been so special to me.

GS: The album is titled House On Fire, which is the disc’s centerpiece and was co-written by you. Why was that song chosen to represent the record in that way?

TH: I wanted to make sure that people understood that as much as I love music, and as much fun as I’m having on this record, and as much love as there is on the record, there is also a journey of pain and sacrifice and survival. I had a lot of trouble placing the song. At that point in the album, you are starting to get a window into some of my past with my scars and my spiritual upbringing and my healing. You’re peeking at that point [laughs]. Then it gets a little deeper. By the end of it, we’re into changing hearts and minds and fighting for who you are.

GS: The dozen songs on the album are a mix of songs co-written by you and songs co-written by others. What was involved in the process of selecting the songs that weren’t written by you?

TH: We started out writing this album and I had no idea where I wanted to go with it. I knew I wanted to do two things. I wanted to tell the truth and I wanted to have some fun; because that’s what I was feeling in my life. We started by going to the 30A Song Festival in Panama City, Florida. I drove down seven hours with my producers and co-writers. We talked it out. We got to the beach. I’m scared to death of heights, but I was sitting on the 28th-floor balcony [laughs] and it was beautiful. Drew Davis said, “We should write a beach song!” I was like, “No way, I’m not writing a cheesy beach song. It’s not gonna happen.” Nevertheless, we did end up writing a beach song called “All Night Tonight.” It’s full of fun little melodies that I’ve not used before, really current, cool stuff, and that made it fun for me. We got two months into writing this album, having written everything from “All Night Tonight” to “House On Fire,” which might have been my song, but they also were connecting to it. It might have been the lyrics and depth of it. Halfway through, we realized we were going gender-free (in the lyrics). It was a sweet accident, simply because it’s important to me that people put their own lives and relationships into this music, their own joy and heartbreaks, and relate to the songs. Two months into it, everybody got busy. Drew went on the road. Erik (Halbig) was producing two more albums. I was touring, and we got delayed by about four months. I can’t be this busy and finish writing this record, so I need to dig deep into other people’s catalogs. I didn’t have to look any further than Drew and Erik’s. Then the songs came quickly. We took some songs that had already been written by these guys and tailored them for this record. It ended up being the right songs and, as they say in show-biz, we were able to “wrap it up [laughs]!”

GS: The play on words in the song “If You” makes it one of the edgier tunes you’ve recorded. What can you tell me about it?

TH: I can tell you this, I played it for my very Southern mother, in her house, and she did not quite get the play on words. I said, “Mom, listen again.” Then you saw the lightbulb come on and she said, “Very clever, son [laughs].” I had been so positive and upbeat and full of love for the world, but I never got to write and record anything about the ones that didn’t work out, the ones that got away, the ones that might have broken my heart. That’s a little anthem to anyone out there – kind of like Toby Keith’s “How Do You Like Me Now?”

GS: I think my favorite track is the love song “Stick With What I Know.” What can you tell me about the inspiration for that one?

TH: It was real simple. The inspiration for “Stick With What I Know” is that I know I’ve got a lot fans out there that have all 12 of my albums. Reba McEntire told me this a long time ago – “You’re going to have moments where you have to reinvent yourself. You’re going to do it over and over again. There always has to be an element of you in that reinvention.” “Stick With What I Know” is my throwback to something that I think you would have heard on the radio in the early 2000s; something very familiar.

GS: The album closes with the song “Fighter,” which is one of the most perfect finales I’ve ever heard on an album. 

TH: [Laughs] Thank you!

GS: What does that song mean to you?

TH: I will tell you this. It was the first song we cut for the album almost two years ago. We wanted to hurry and put out a single right after I came out. It didn’t work out that way because we had so many problems with it. We wrestled with it and finally I just threw up my hands and said, “This song will find its place, just not right now.” It sat there and got dust on it until we finished this album. I said, “Ladies and gentlemen, it’s time to place “Fighter” and it goes at the end of this record.” We went back in added that big, crazy piece towards the end. I like to say there was just a little bit of heaven in that song because I had to fight tooth and nail to stay in an industry where I had a lot of problems. I’ve gone through a lot in my life and have somehow managed by my faith and some great people around me to continue on this journey where I’m at today. “Fighter” was written by my dear friend Annie Bosko and she sings on it with me. It’s an anthem for everyone to hang on, hang in there, stay strong, your life will happen.

GS: Finally, after what you’ve been through, what advice would you offer to other LGBT country artists who might be thinking about coming out?

TH: The first thing that happened to me – I walked out on stage about five days after the big announcement was made in People Magazine and on Entertainment Tonight, the story was trending everywhere. Then Billy (Gilman) came out and it was a glorious time. I walked out on stage to 3,000 people and a standing ovation. God kind of gave me the answer that I was right where I needed to be, and to keep singing. On that same night, these parents were there with their 17-year-old son. They said, “Our son just came out to us about a week ago. He wants to be in country music.” I looked at the parents and I was very emotional, all I had to say at that moment was, “You know what? This is the first step. You guys are so accepting of this kid. You’re supporting him. You brought him here tonight, and that’s awesome. I commend you.” I looked at the kid and said, “Dude, okay, so you’re gay. You may consider that to be different, but you’re not different. You have two jobs. You have to go out there and be the best artist that you can be. You’ve got to go out there and be the best songwriter that you can be. You simply have to be great at what you do and then your dreams will fall into place. Who you are is just a part of that dream, a part of your story.” I wish somebody had told me that at 17 years old. It’s really quite simple. It shouldn’t matter what your sexual orientation is, you just need to be great at what you do. If you’re an artist, be a great artist.


Ty Herndon will be performing at Pride Fort Lauderdale on Sunday, February 26, 2017.




Author: Gregg Shapiro


Celebrated vocal group The Manhattan Transfer has had our attention for more than 40 years. Combining thrilling harmonies, eclectic song selections, and even dressing up for the part, The Manhattan Transfer has always been a treat for the ears and the eyes. Over the course of the vocal group’s existence, it has left its mark on songs from the Great American Songbook, jazz standards, and pop tunes throughout the mid-to-late 20th century and into the 21st, collecting Grammy Awards and other accolades as it went along. The Manhattan Transfer even had the distinction of having its own summer replacement variety show on CBS in 1975. Janis Siegel, the only original female member still singing with the group, was kind enough to answer a few questions in advance of the group’s 2017 concert tour.

Gregg Shapiro: Janis, you also have a long history, 50 or so years, of being a collaborator, as a member of the girl group The Young Generation to your years as a member of The Manhattan Transfer. What is it about your personality that makes you someone who plays well with others?

Janis Siegel: [Laughs] That’s an excellent question. I think you have to have a personality for it. I think you must be a compromiser and a realist, in a way. Also, I think there has to be an essential fairness in your world view. “I’ll compromise with you. But when you see that there’s an idea that I really love, you’ll go with me.” It’s also an experience of, many times, the finished product is better than the original. It’s a combination of all different kinds of points of view that maybe I or someone else didn’t think of. Many times the whole thing is better than the parts.

GS: Since the beginning of your career, you have established yourself as a first-rate interpreter of other people’s songs – starting with the Richard Perry-penned number you sang in The Young Generation to the countless tunes you’ve sung as a member of The Manhattan Transfer and as a solo artist. Can you please say something about the responsibilities that come with being an interpreter of other writers’ songs?

JS: At the core there has to be an inherent respect for the original song. My first job, where I’m learning something, is to learn melody. Especially with The Great American Songbook interpretation. I feel that a composer deserves that respect. To at least know what he or she was thinking with the melody. Then, as a jazz singer, I often times interpolate it or reharmonize it, add my own personal experience to it.

GS: As a way to make it your own.

JS: Yes! Or else why bother [laughs]?

GS: Leon Russell, who passed in late 2016, is someone that you covered on your 1982 solo debut album Experiment In White. Did you ever have a chance to meet Russell?

JS: No I didn’t. That’s too bad because he wrote some great songs. He not only wrote “Back to the Island,” but also “This Masquerade,” for instance, which got covered a lot in the jazz world.

GS: How did you know that 1982 was the right time to release the first of your solo recordings?

JS: I had been doing solo performances by then. My very first solo performances were both in California. One was at a tiny club in Venice and my band was Dave Frishberg, Putter Smith, and Nick Ceroli. That gave me a taste for solo work. I think I had another one in San Diego. It was just intoxicating. Being able to pick my own material, that fit me personally, and not have to think about other people for a minute. I could explore my own vision which, I think, in retrospect makes you stronger in the group situations. You come in and you have confidence and you know what you want. By this time I have worked with so many different people and gotten involved with so many different methods of working that I have a wide palette when it comes to bringing in ideas and techniques to The (Manhattan) Transfer.

GS: I’m glad you mentioned that palette because as an artist who has performed music from a wide variety of musical periods, what is your favorite era and why?

JS: I really do appreciate every period for the treasure that it brings. But I have to say that I love the music of the `30s and `40s. There was an innocence and humor about it. The music reflects the times.

GS: Hopefully we’ll find some humor for these times.

JS: Oh, my God! Oh, my God! Oh, my God! Don’t get me started.

GS: Is there a musical genre you have yet to explore that you look forward to delving into someday – say country music or dance?

JS: Right before I joined the Transfer, the outgrowth of The Young Generation was a group called Laurel Canyon. We spent time in Nashville. We collaborated and sang with a wonderful singer named Dianne Davidson, who is still performing down there. We met a lot of singer/songwriters there and we sang on Dianne’s record. We met Tracy Nelson and that group of wonderful singers. I still would love to do a country record, honestly. I occasionally do performances with my friend Amy Cervini who is with a group called Duchess. Very close to my heart – a three-part woman vocal harmony group. We do a show called Jazz Country which is her concept. We’re doing one here in March at 55 Bar here in New York. We do Dolly Parton and Brandi Carlile and then we throw in Louis Armstrong and whatever we feel like.

GS: Since we’ve talked about some things from the past, please say something about how you became a member of The Manhattan Transfer.

JS: It came through meeting (the late) Tim Hauser. He’s the start of the whole thing. I met him through his cab [laughs]. He was driving a cab in Manhattan and I was singing with Laurel Canyon with Dianne Davidson. We were tearing it up at a club and we were having an end of the tour party at a hotel somewhere in Midtown. Our conga player hailed down a cab and it was him. Phillip put his drums in the backseat and got into the front seat with Tim. They started talking. “I’m a musician.” “So am I! I’m doing a demo next week. I want to get a record deal myself.” Phillip said, “I’m with a whole bunch of singers right now. You should come up to the party.” Tim parked his cab and came up and stayed a while. He took our numbers because we were based in New York. Dori (Miles) and I showed up at Tim’s session and that’s where I met (original Manhattan Transfer member) Laurel Massé. For his solo project, Tim did “Minnie The Moocher’s Wedding Day” and some bluegrass. It was right up my alley. But I loved the ‘40s jazz that he was referencing. Tim and I became very close and we started to hang out. He sat in with my group because he played five-string banjo. He started to play records for me. His whole apartment was furnished with 78s.  I was a jazz fan, but as a listener exclusively. I liked John Coltrane and Pharoah Sanders, but I never heard what came before. When I heard four-part-harmony I went out of my mind. Tim and Laurel and I started hanging out and said, “Let’s start a four-part-harmony vocal group, two men and two women. That’s when Alan (Paul) came in. The beginning really was Tim and Laurel and me.

GS: More than 40 years after becoming a member of The Manhattan Transfer, what would you say is the secret to the group’s longevity?

JS: I think there are a couple of factors. The basic eclecticism of the concept. Originally, we said, “Let’s not be a jazz vocal group. Let’s not be a pop vocal group. Let’s not label ourselves, because then people can dismiss us when the trend is over [laughs]. Let’s explore different facets of harmony.” Mostly American, with a brief foray into Brazilian pop. But still that was through an American lens. We only sang Portuguese on one tune and we didn’t do any bossa nova. It really was an American pop record. As a matter of fact, it won the Grammy that year for Best Pop Performance (by a Duo or Group with Vocals). We explored these different styles. Our signature sound is close-voice four-part-harmony. It makes sense also. There were a lot of groups that had only one gender. Our group was mixed gender and the voices are close together in proximity and it gives a creamy, almost geometric sound. We also explored doo-wop singing and some of the harmonies of the `30s and pop music. We experimented with bringing the four-part-harmony sound into pop music.

GS: The combination of The Manhattan Transfer’s early fashion esthetic and the group’s musical style assured them a gay following right from the start. Is that something of which you were aware of as both a member of the group and as a solo artist?

JS: Yes, I am aware of it. When we first started, we decided to perform, we decided to dress up, we decided to evoke the era. We had some help in the fashion department from Tim’s sister Fayette Hauser who was an original member of The Cockettes.

GS: From San Francisco!

JS: Yes, yes! Our original costumes were absolutely wild and surreal. But we played in gay discos, gay clubs. And it was also the beginning of glitter rock.

GS: Bette Midler was also doing some of that period material.

JS: And Dan Hicks and the Hot Licks and The Pointer Sisters. We were all mining that same musical lode.


The Manhattan Transfer performs on Feb. 21 at the Broward Center - Parker Playhouse in Fort Lauderdale and Feb. 22 at Kravis Center for the Performing Arts in West Palm Beach.


Author: Gregg Shapiro

There is nothing small about Steve Grand.


Whether it comes to his talent as a musician, his following on social media, the love for his family, or his dreams and aspirations - Grand goes big. The out and proud singer-songwriter made waves with the 2013 release of his love story, anthem “All-American Boy.” Since then, he has released a 13-track album, appeared on Out magazine’s list of top 100 LGBT leaders, performed on Good Morning America, and traveled across the country bringing his music to fans and new followers all over.


While he was in town last month for a performance at the Sunshine Cathedral, we had the opportunity to explore the luxe grounds of The Grand Resort and Spa with the buff Illinois native. How fitting is that? Grand at The Grand Resort - a perfect combination.

During our hour-long chat, he opened up to us about a recent lost, his year in review, what’s next, and why his sobriety isn’t the only thing that matters.




As you reflect on the year you have just had, what did you learn?


2016 has been a great year for me in a lot of ways. This has been my most productive year. A year where I really got myself together in a lot of ways - behind the scenes professionally and personally. I am feeling good and really healthy.  And I am I feeling like I can take on the world.


I have actually stayed more out of the spotlight. I made an effort to work more on myself. Obviously, not completely, because I still need to do my shows and some work, but I feel like it really has been a year where some things really clicked in me. I have been able to be more productive and happy with my productivity than ever before.


In December 2015, you went public with your decision to become sober. How has that decision impacted your journey?


I didn't really want this article to be about all of that, because I want to stick with it more before I make a thing of it. But what I will say, is that it has definitely been a very important decision to me.  My decision to stay sober is something that I feel very good about. Importantly, because I am around alcohol so much through my profession. People are always saying to me, “Well isn’t that so hard? How are you around it all the time?” Well, I feel like not drinking is an active choice. I don't look at it as abstaining from something. I look at it like I am taking part in something else.  A different activity, something that involves not drinking. This makes me feel like I am doing something that is healthy for me. An end result which is good for my mind, my body, and my spirit.  You know, doing one good thing for yourself, or making one healthy choice, I find it helps to be the catalyst to make other healthy choices. Maybe you are not staying out as late. Get better sleep. Feel better about yourself and go to the gym. Or for me, writing more music. Whatever it is, making one healthy choice can be the catalyst to making other healthy choices. I found this to be very true in my situation.


That is incredible. Tell me a little bit about your collaboration with out musician Eli Lieb. Your video with him for the song, “Look Away,” got more than 1,000,000 views on YouTube this year. How did that come about?


I loved working with Eli. He is a wonderful guy, an incredible talent, and an amazing songwriter, producer, and musician. He just as wonderful as a person. I love that we had the opportunity to work together, especially because of how we started. In 2013, we both released songs and music videos that people saw a lot of similarities between, because they both portrayed same sex love stories. And, both came out around the fourth of July. I even had a few interviews in which the interviewer would sort of try to pit him or me against each other, which the media sometimes tries to do. But we never really fell into that. I had not gotten to meet him until the day we finally worked together. I sent him a message telling him I was coming to Los Angles. I asked him if he wanted to write together, and he said, sure. We popped out that song right away and recorded it the same day.


Who are some of the artists or musical acts who inspired you when you were younger or today?


Well, I am inspired by the artists I grew up with sonically, especially The Beatles, with how they kept changing over time, and they had their unique eras. They weren't afraid to grow and they weren't afraid of what their core audience would think. I look up to people who are leaders in their industry, like Steve Jobs, or really anyone who has carved a unique path for themselves against any and all odds. I love a good success story.  That is something I have in common with my father. My dad is - I love the guy, but he can be a bit of a meathead. He is not overly emotional, but he will get teared up talking about Thomas Edison and his success story. That [kind of thinking] is very much in my DNA. I come from a family that really values people who really work hard to make their dreams come true. And people who believe in social change or who create great art or technology. I really draw from innovation.


I feel very lucky to come from a big, loving family. Things obviously haven't been perfect for us. We recently dealt with a tremendous loss. We lost my aunt and my godmother, almost unexpectedly. She was really the leader of our family. She was a very outspoken and strong woman, intelligent, creative, and full of life. But she died rather unexpectedly.


Is she the portrait on the table in the family photo you posted over Thanksgiving?


Yes, that is Diane. So her death has also shaken my perspective over this last year and a half. Realizing life changes in an instant, I watched my mom lose her very best friend in this world. I feel like I have mourned for my mother more than I mourned for myself. But what I realized was that with all of what I am dealing with, I still have all of these people around me I love that need me to be strong, too. It has put me into a position where regardless of where I am and what I am struggling with, I need to step it up and be there for my family. It is growing up, and it’s life, and it is very real. Loss is something we all have to deal with at some point or another.


What about new music? When can your fans expect another album?


Originally, I intended to put out another album either in the summer or the fall of 2017, but that didn’t happen.  I was just telling my mom recently I am glad that it didn’t. I feel like the album I would have made would have been angry and I don’t feel so angry anymore. I feel like I have overcome a lot within myself over these past few years. It has been a couple of years of working through my inner demons and what holds me back inside. I feel like I am in a much better place to reflect on these fears now that I am out of the thick of it. I think the record that I am making right now is coming from more of a place of acceptance, and more of a place of making peace with myself.  I think people, especially my fans, are really going to like it.


I think there is a lot of anger and tension within our society right now for a lot of reasons. I think people are looking for something that has a stillness to it. That is what I am currently working on and I can’t wait to share it.



Author: Alexander Kacala
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