Anthony Bryan is Living His Best Life

Anthony Bryan and I are sitting across from each other in Sir James Dunn Hall. The Black Box Theatre is right above us.

I ask him about the first time he performed stand-up comedy. The question takes Bryan back home to Trinidad and Tobago. His first try at stand up comedy happened at a school talent show.

“I forgot all my jokes,” Bryan says. “I cried. It was bad. I didn’t stop going up on stage, but I did stop doing stand up for awhile.”

Thankfully, Bryan’s journey to becoming a stand-up comic didn’t start and end there. His second try at stand-up would happen years later and far away from any stage in Trinidad.

We fast forward to the fall of 2016, Bryan is in his final year at St. Thomas University.

Comedian Sabrina Jalees has just finished an event for Welcome Week. At the end of it, she asks if anyone in the crowd is interested in doing comedy. Bryan shoots his hand up, no hesitation. Jalees asks Bryan if he would like five minutes before her show later. “Everyone turned and looked at me.” Bryan was not expecting that.

In his mind, Bryan thought Jalees was going to give a workshop or put him in contact with someone.

“I couldn’t say no. I had to say yes. Otherwise, it wouldn’t make for a very interesting story,” Bryan says. “I’m glad I said yes. I had a hell of a time. It was a lot of fun.”

For Bryan, moving to Canada was “intense” and “a big departure” from everything he knew.

“When I moved to Fredericton, I knew nothing about it,” Bryan says. “I didn’t know the population size. I didn’t know what the school looked like. I didn’t what the winters were like. I knew nothing about New Brunswick.”

“I was at a point in my life where I wanted to get out, so I just sort of did it. I went in blind. Everything surprised me.”

These days, Bryan takes more time looking into the things he wants to do and how best to pursue them. Still, there is a part of him that enjoys taking risks.

“Honestly, I don’t usually share my material with people. It’s very uncommon,” Bryan says. “I kind of go for broke. I trust myself to take that risk sometimes. It’s a lot of fun that way. Nothing beats writing a joke and wondering if people are going to laugh.”

Bryan tells me that in his stand-up, one of the things he likes to talk about is his identity as a black person. “I like throwing race things in there. It’s different for Fredericton. It’s also an interesting identity to go into and really explore. How do I view myself as a black person? How do I view myself as a member of the black community?”

We share our experiences as people of colour. I tell him about growing up as a visible minority in Fredericton, and how effective humour can be for fitting in. Major air quotes on that last part.

“If I know anything about doing comedy, nowhere is as progressive as they think they are, “ Bryan says. “People aren’t as progressive as they think they are. I can also be unaware and disrespectful, but one of the cool things about comedy is you can bring that to people’s attention.

“Obviously, it doesn’t work all the time. I did a show once, and I was talking about how excited white people get to say the N-word. This girl comes up to me after my set and says ‘you’re right, white people should say nigger more’. I was like, that’s not at all what my set was about. But I know somebody, there’s got to be one person there who saw it and was like yeah, maybe I should stop saying that.”

I met Bryan last month at the Wilser’s Room. The venue is home to a monthly open mic night that Bryan has been organizing since January. We spoke after the last of eleven comedians performed their set.

“That one was a bit of a stacked show,” Bryan says. “I probably will never do a show with eleven comedians again. That was a learning experience for me.”

Our conversation turns to something Bryan mentioned at the open mic. In 2017, Bryan came close to being deported. The bureaucratic nightmare began with Bryan’s new study permit.

“I would be on the phone for hours waiting for this thing,” Bryan says. “They didn’t know what was happening. I was not a person in Canada. It’s scary to almost not be able to come back, especially when I laid out all these plans.”

I ask Bryan about the future.

“I want to do cool stuff with the room,” Bryan says. “I want to see how much you can do with stand-up comedy. I love big cabaret shows, bringing that to the show would be a ton of fun.”

When Bryan is not performing stand-up, he is busy writing scripts. His first play I Love This City premiered last year at Theatre St. Thomas’ festival of new plays, What’s Next? He hopes to continue writing. He has a script for a short film that he would like to see picked up by the local film community.

I tell Bryan that it sounds like he’s living his best life.

“I am. It took me awhile to get here,” Bryan says. “I’ve wanted to live like this for a long time. It’s fun to finally be here.”


Open Mic Comedy at the Wilser’s Room runs the first Thursday of every month. The next event is scheduled for April 4th. The show starts at 7:30pm. No cover, but donations are welcome.

JUNO Nominee Alison Young on So Here We Are and Learning to Let Go of Perfection

 

Alison Young, saxophonist.

Alison Young’s So Here We Are is up for Jazz Album of the Year: Solo at the 2019 JUNO Awards. Photo Credit: Lisa MacIntosh Photography.

In January, saxophonist Alison Young earned a JUNO nomination for her debut album So Here We Are. The album is up for Jazz Album of the Year: Solo at the 2019 JUNO Awards. The Toronto-based jazz artist remembers feeling shocked when the news broke.

“Initially I thought, that’s got to be a mistake,” Young said. “It’s my first album, and that it got nominated is a big deal for me. The recognition is so meaningful to me. It feels really important to be acknowledged like that.”

“You never know if you are going in the right direction or if people like what you are doing. You feel heard.”

The Ottawa native has been active in Toronto’s jazz scene since the early 2000s. She studied music at the University of Toronto, and since then has toured across North America, Europe, and South America.

Young describes So Here We Are as a “musical hello” and an amalgamation of all the music she likes to play.

“I’ve been wanting to put out an album for years,” Young said. “I’ve been trying to talk myself into it for five or six years. It’s easy to get distracted from my own projects.”

Movement on the album began when recording engineer Jeremy Darby of Canterbury Music Company offered Young studio time.

“The way it happened was Jeremy Darby gives away a day of free recording time to people he thinks deserves it, “ Young said. “It was a real push, him awarding that to me. That really forced me to get the band together and actually lay it down.”

“I felt like I wasn’t ready. I felt stressed out. It was hard to make decisions about how the songs should be presented,” Young said about recording the album. “By the time we did the second session, it was a lot more fun and cool and not as stressful.”

Young recorded the album with her band the Alison Young Quintet. The band has played together since 2012. “We are all friends and have played together in various bands and also as a band. It’s a good hang. It’s good musical chemistry there.”

Young has learned many things over the years as a jazz artist, but perhaps the most important lesson she has learned is to let go of perfection.

“I actually quit playing after going to university, because I over thought everything so much. I thought I needed to make music more complicated than it needed to be.”

“You just have to start. You’re always going to learn as you go. Let go of the idea of ever attaining any kind of perfection,” Young said. “The more you know, the more you don’t know. Be okay with it always having to be a learning process. That’s the thing about music, it’s really beautiful and daunting, but you never get there.”

What’s next for Young after the JUNO Awards? In June, Young is going on the road with Corey Hart, the latest inductee into the Canadian Music Hall of Fame. After the tour, Young says she hopes to play music festivals with her band.


The 2019 JUNO Awards will be live from Budweiser Gardens in London, ON on Sunday, March 17 at 8 PM ET and broadcast live on CBC, CBC Radio One, CBC Music, the free CBC Gem streaming service, and globally at cbcmusic.ca/junos.

Learn more about Alison Young at alisonyoungmusic.com

Follow Alison on Facebook and Instagram.

 

Meet Laura-Beth Bird, Founder and Producer of Grey Rabbit Theatre Co.

In 2018, Laura-Beth Bird left her job at a local restaurant to pursue her dream of starting a theatre company. The 24-year-old theatre artist had a plan and the savings to start her first show. Then, reality hit.

“I ended up having to use that money to live for two months, which kinda threw a wrench in the whole system,” Bird said. “So, I had to go back to the drawing board.”

Born in Shropshire, England, Bird’s family moved to Canada when she was 10-years-old. Her family settled first in Saskatoon, Saskatchewan, then later Saint John, New Brunswick. Bird relocated to Fredericton to study at St. Thomas University, where she graduated from in 2017.

When her plans went awry, Bird began to wonder if her theatre company would become something that only happened on weekends.

“I was miserable in the job I was in. Anyone who saw me knew it,” Bird said. “I was panicking thinking that I would have to go back to that. I was going to be forty…doing my art on the weekends because that’s maybe when I could get the days off. I didn’t want that life.”

The “kick in the butt” motivated Bird to apply for Planet Hatch’s ARTtrepenur-in-Residence program. Bird was accepted into the program and started her three-month residency in June. The residency ended with an evening of new play readings. It was the first public event hosted by Fredericton’s newest theatre company, Grey Rabbit Theatre Co.

“Planet Hatch helped me network with larger business communities in the region,” Bird said. “That in turn helped me with strategic funding and planning for five, ten years down the road.”

In the fall, Bird participated in ArtsLink NB’s CATAPULT Arts Accelerator.

Bird has also received support from Fredericton’s theatre community.

“Everyone has been helpful about knowledge and experience,” Bird said. “If they know people, they will put me in contact with them. If we continue to create that sort of practice, it makes people more successful in the region.”

Bird realizes trying to launch a theatre career in Atlantic Canada is somewhat unorthodox.

“Many of the people my age are leaving to Toronto or New York because they feel like they have no opportunities left in Atlantic Canada to be artists,” Bird said. “In the last year, I have been researching ways to make this work. I don’t want to move right now to a big city where I will be a small fish in a big pond. I would rather be a medium fish in a medium pond.”

“That means I take scripts being created here — by emerging and professional artists — and help them reach either stages by myself producing them or matching them with other producers in the area.  If it doesn’t work for mine, it may work for Eastern Front or Neptune Theatre.”

Does Bird agree that Grey Rabbit could be considered both an incubator and a presenter?

“Kind of, yeah,” Bird said. “At this moment, I feel like as I’m learning these things, I am also sharing it with my artistic community, because I want my artistic community to thrive as well.”

In December, Grey Rabbit, in partnership with Theatre St. Thomas, held a workshop for artists seeking to professionalize their artistic practice.

Have all the developments of the past year changed how Bird views herself as an artist?

“I don’t really notice a difference. My friend does. She told me I look healthier and happier, which is hilarious for me. I’m not doing anything different,” Bird said. “I think I am more confident and much more ambitious than I was. I am not willing to let things go. I have to chase after it. If I don’t chase after it, it’s not going to happen. I am more tenacious and cognizant of the way the world views me because what I’m creating is an extension of myself.”

Bird’s idea of what it means to live as an artist has changed since starting on this path with Grey Rabbit. 

“I’m going to go work on my art which is my business,” Bird said. “ If I have a consistent income, I have more freedom to practice my art. Having a stable business gives me freedom to create. I don’t have to worry about if my power is going to be shut off.”

So far, Bird sees her time divided 60/40 between the business operations of Grey Rabbit and its artistic end. “I spend a lot more time filling out grant applications and writing than I do creating. It’s just the season that I’m in.”

This year, Grey Rabbit is launching The Vardi Puppet House. The children’s puppet theatre will tour Atlantic Canada in the summer.

A Vardi is a gypsy caravan that is pulled by horses. They were things I came across as a child, and I’ve always loved them,” Bird said. “The puppet house is designed to look like a gypsy caravan. It will be bright red, with wagon wheels. There will be windows that open on the side for the performance. It will have that classic painting technique used on most caravans, and I will use Punch and Judy stylized puppets.”

Bird describes the puppet house as a platform that “lends itself well to public events” and is ideal for helping grow a viewership base. 

Grey Rabbit is currently accepting new scripts for The Vardi Puppet House. The submission deadline is February 28th, 2019.  

Joyful Magpies’ Best of Fredericton Theatre 2018

Arrivals and Departures

In February, Theatre New Brunswick announced the departure of Artistic Director Thomas Morgan Jones. Natasha MacLellan was named TNB’s new artistic director in July. MacLellan is the former Artistic Producer of Ship’s Company Theatre.

Next Folding Theatre Company staged its final production in March, bringing an end to the company after eight years.

Grey Rabbit Theatre Co. is Fredericton’s newest theatre company. Theatre artist Laura-Beth Bird is the company’s founder and producer. Grey Rabbit held its first public event in August. The public was invited to an evening of play readings at Planet Hatch, where Bird was the ARTrepreneur-in-Residence.

Stay tuned for Joyful Magpies’ interview with Laura-Beth Bird.

Drumroll

Well, here we are. The end of 2018. Creating this list wasn’t easy. It was, however, really fun to write. What a blast to look back on the past year, and remember everyone who shared their talents with audiences in Fredericton.

See you in the new year!

Note: My review of Theatre St. Thomas’ A Life of Galileo is available here.



JOYFUL MAGPIES’ BEST OF FREDERICTON THEATRE 2018

Best Actor

Hannah Blizzard – No Exit – Theatre UNB

Honorable Mentions:
Claudia Gutierrez-Perez – Any Given Moment – Theatre New Brunswick
Kira Chisholm – The Dangers of Geothermal Heating – NotaBle Acts Theatre Festival

Best Supporting Actor

Allison Basha – The Lion, The Witch, and The Wardrobe – Theatre New Brunswick

Honorable Mentions:
Jane Marney – The Real Inspector Hound – Theatre UNB
Sage Chisholm – A Life of Galileo – Theatre St. Thomas

Best Ensemble

The Dangers of Geothermal Heating – NotaBle Acts Theatre Festival

Honorable Mentions:
A Life of Galileo – Theatre St. Thomas
No Exit – Theatre UNB

Best Set Design

Andy Moro – Finding Wolastoq Voice – Theatre New Brunswick

Honorable Mentions:
Mike Johnston – The Dangers of Geothermal Heating – NotaBle Acts Theatre Festival

Robin Whittaker & Chris Saad – A Life of Galileo – Theatre St. Thomas

Best Lighting Design

Ingrid Risk – Any Given Moment – Theatre New Brunswick

Honorable Mentions:
Chris Saad – The Dangers of Geothermal Heating – NotaBle Acts Theatre Festival
Trent Logan  – A Record of Us – Solo Chicken Productions

Best Sound Design

Deanna H. Choi – The Lion, The Witch, and the Wardrobe – Theatre New Brunswick

Honorable Mentions:
Mike Johnston – The Dangers of Geothermal Heating – NotaBle Acts Theatre Festival
Aaron Collier – Any Given Moment – Theatre New Brunswick

Best Costume Design

Cathleen McCormack – Any Given Moment – Theatre New Brunswick

Honorable Mentions:
Kat Hall – Songs of the Seer – The Next Folding Theatre Company
Laura-Beth Bird – The Dangers of Geothermal Heating – NotaBle Acts Theatre Festival

Best Direction

Lisa Anne Ross – The Dangers of Geothermal Heating – Notable Acts Theatre Festival

Honorable Mentions:
Jean-Michel Cliche – Casualties – NotaBle Acts Theatre Festival
Len Falkenstein – No Exit – Theatre UNB

Magic Show Returning to Sussex After Festival Win

Sawyer Stanley knows a thing or two about turning the ordinary into the extraordinary.

“My mom used to leave chore lists out on the table,” said the 19-year-old magician from Sussex, New Brunswick. “The magic tricks were kind of way to get those chores done faster. They started out like life hacks almost, and then turned into magic.”

In those early days, Stanley was learning magic from YouTube videos. Among the magicians Stanley was watching on YouTube were Criss Angel, David Blaine, and Shin Lim (who won this year’s America’s Got Talent). Eventually, the young magician moved away from YouTube to books.

“You get so much from one book,” Stanley said about the transition. “Plus, it’s not as common. People aren’t learning tricks from books anymore. You’re learning things that aren’t out there.”

Stanley booked his first public performance last December at a local restaurant. He performed tableside magic for guests. “It went great. I went back a couple times to do it.”

At the start of 2018, Stanley’s mentor Tabraze Sheikh (of The Modern Mind Readers) encouraged him to apply for the Fundy Fringe Festival in Saint John.

“He said you should put your show in. I ended up being the fourth name drawn for the regional acts, so that was awesome”

That show was (Extra)Ordinary Day.

With help from his mentor, Stanley developed (Extra)Ordinary Day after reconsidering his approach to magic performance.

“I had to find a niche, that was the first thing,” said Stanley. “I was doing shows, but it was tricks thrown together.”

Stanley asked himself: “If I had magic powers for real, what would those powers entail?”

The answer? Practical magic.

“You’re never going to see something in the show and go, why did he do that?” Stanley said. “There’s no, why did he pull a bunny out of a hat?”

(Extra)Ordinary Day stages a day in the life of a magician. The show is a “mix between a magic show and a theatre show” where “every trick has its place” in the story.

Before its run at the Fundy Fringe Festival, (Extra)Ordinary Day premiered at home in Sussex. According to Stanley, the debut “didn’t go exactly as planned,” but he learned something valuable from the experience.

“I was kinda bummed about it after the show,” Stanley said. “Everyone still seemed to enjoy it. It was a big lesson in perspective.”

Undeterred, Stanley reworked the script and added a new routine to the show.

(Extra)Ordinary Day won the Fundy Fringe Festival’s Fan Favourite Award.

“It was incredibly flattering, “ Stanley said about accepting the award. “I had nothing [to say] because I didn’t expect anything, so I said thank you a bunch of times and sat back down.”

(Extra)Ordinary Day returns to Sussex on December 29th. The show will be presented at the All Seasons Inn and Restaurant (Banquet Room). Tickets are $12 or $10 with a non-perishable donation (in support of the Sussex Sharing Club).

The bar opens at 6:30pm. Show starts at 7:30pm.
Tickets can be purchased at the door or in advance at the venue.

To learn more about Sawyer Stanley: https://www.facebook.com/sawyerstanleymagic/

Dr. Wendy Freeman Talks Conducting and Building Trust with the Ensemble

In her senior year of high school, in Grandville, Michigan, Dr. Wendy Freeman auditioned for the position of drum major. She won the position and enjoyed a successful year with the band, which performed all across the state of Michigan. While Freeman had always loved music, practicing flute from an early age and singing in the church choir, it was this leadership opportunity that sparked her interest in music as a conductor.

“I actually thought I was going to be an architectural engineer,” says Freeman, speaking on the phone from Westmount Charter School in Calgary. “After I realized how much I enjoyed being at the helm of the music, that sort of took over my scholarship applications and my dreams.”

Today, Freeman is the music director at Westmount, where she conducts students from grades 5 to 12. She is also an adjunct professor for the Werklund School of Education at the University of Calgary. (Freeman received a Master of Music in Conducting Performance from U of C.)

“I teach the undergraduate education students interdisciplinary learning,” says Freeman about her duties at the Werklund School. “I’m a field instructor, so I’ll watch the student teachers teach and give feedback on their lessons.”

And at the U of C’s School of Creative and Performing Arts, Freeman helps with the Music Education courses.

“I’m a pretty busy gal.”

“I decided early on that I didn’t want to just be a tenure track professor,” Freeman says. “I wanted to have a farther reach. Part of that for me is seeing young people grow their technical capacity and being able to influence future teachers.”

When I ask about the work that takes place before rehearsal, Freeman tells me there are two essential things that happen: “picking repertoire that suits the ensemble well” and rigorous score study.

“Before you can get on the podium and lead a group, you have to be able to sing every possible part,” Freeman says. “You have to know the music inside and out, and you have to have a vision for how you want it to go.”

Score study is important for building trust between the conductor and ensemble.

Respect is earned, says Freeman, when it is clear that a conductor has studied the score and they can deliver feedback that helps make the music sound better.

“I think in adults, anyway, it garners a certain amount of respect.”

With younger people, it’s more about “communicating effectively.” When a change is made, Freeman helps her ensemble to listen to the sound result. “We always refer back to, do we like that better? And if so, why?”

But building trust can also happen outside of rehearsal. “I try to know as much as I can about my musicians and who they are as people. I think it’s about caring for the whole person.”

“And when they do trust you and you have a journey in a concert that goes well, there’s also that sense of shared joy. If you can get to a place of shared joy, I think that’s really important.”

“And also [shared] disappointment. It’s how we handle the challenges that teaches others who we really are as people. You could be a crazy conductor with horrible stick technique, but if you are a lovely person who cares about the people in your ensemble and you can show empathy and you can be a kind person off the podium I think that goes a long way for adults and children.”

What advice does Freeman have for young conductors?

“Breathing with the musicians,” says Freeman about conducting orchestral and/or wind band musicians. “That’s really key for young conductors to remember, that they want to take the same breath with the musicians to start each phrase, to start each piece or to start each new entrance as they would use to play their own instrument.”

“If you breathe with the musicians, they will breathe with you. You will get a much more beautiful attack or start to the phrases. That’s something that young conductors often forget, to breathe with the musicians. It’s weird, because we don’t actually play. The baton isn’t making the music. We have to remember to breathe, because when we breathe with them they also take a nice breath.”

And practice self-assessment: “In my master’s journey, I videotaped every rehearsal.” Later, Freeman would go back and think about what gestures were helpful (or not) for musicians. She also considered the effectiveness of what was said to members of the ensemble.

Freeman also recommends watching videos of the great conductors and “going to a lot of symposia over the summertime.”

What does Freeman find rewarding about music?

“What I love about music is that it breeds a feeling of community and belonging. Whether you are in an orchestra or a wind band or a school band, you belong to something greater than yourself.”

“We always hope that the end performance will be the best time that we’ve ever run the work and we often do find that it is. To me, the hard work, the best work, and the most rewarding work is done in your eight rehearsals that led up to the concert. That’s where the team really grows.”

That brings Freeman to her last piece of advice for conductors.

“When you take a bow at the end of the concert, you are also doing that on behalf of the players that made the music. After the concert, I think it’s really important, no matter what age level, to say thank you.”


The Calgary Wind Symphony will be presenting Starry, Starry Night on Sunday, December 16th at 2:30PM. The concert will be held at the Eckhardt-Gramatte Hall (Rozsa Centre, University of Calgary). 

About Starry, Starry Night: “A collection of music to highlight the best parts of a Canadian winter, including the endless night sky.”

Dr. Wendy Freeman, an associate musical director with the CWS, will be conducting part of the concert.

Tickets are $20 (12 & under free) and can be purchased online.

Meet Nora, One of Canada’s Most Creative ASMRtists

Although you may have never heard of ASMR before, it’s possible you have experienced it at some point in your life. ASMR stands for autonomous sensory meridian response, and it’s often explained as a tingling sensation caused by specific sounds and visuals. Some common ASMR triggers include page-turning, soft speaking, and tapping. One important thing to know about ASMR is triggers are not universal, meaning what may trigger ASMR for you may not do the same for someone else.

In recent years, ASMR has become an internet phenomenon. Search ‘ASMR’ on YouTube, and you’ll find a lot of people, known as ASMRtists, creating ASMR videos. And it’s not just individual creators producing ASMR content, but also major businesses like IKEA and W Magazine. Since 2016, W Magazine has been inviting celebrities like Alessia Cara and Salma Hayek to experiment with ASMR on their YouTube channel. Yes, ASMR has come a long way from the small corner of YouTube it once occupied.

Even if you don’t experience ASMR, watching ASMR videos on YouTube is still really interesting. ASMRtists regularly find new creative ways to create ASMR videos. One such way is the integration of ASMR with storytelling.

Which is something that Seafoam Kitten’s ASMR does very well.

“I was a viewer myself for years,” says Nora, the Nova Scotian ASMRtist behind Seafoam Kitten’s ASMR. “I would watch it every night before bed and sometimes just during the day to chill out.”

“I’ve always been someone who is super shy and I was embarrassed by my own voice too, but by 2016 I had grown a lot more confident and I realized those ASMR people are just like me. I could totally try doing it too!”

The positive feedback Nora received on her first video made her feel “really excited” and motivated to continue making videos. Since uploading her first video in 2016, Nora’s YouTube channel has garnered almost 100 thousand subscribers and nearly 20 million total views.

“I’m so happy my viewership has grown, and people actually like my content,” Nora says. “It feels so good to know that I’m helping people. It gives me something to look forward to every day, and I’ve made so many amazing friends through this. I love it!”

For people unfamiliar with ASMR, Nora explains it as “a lovely feeling that induces relaxation.”

“ASMR videos can make you really sleepy, and it also helps to reduce stress, anxiety, insomnia, or just get a nice tingly feeling!”

Nora’s character roleplay videos are popular with viewers. In these videos, Nora plays different characters  — which have so far included an alien, a dragon, a vampire, and even the viewer’s phone — in a variety of situations. “A big inspiration for my characters is just character tropes in anime.”

“So basically take a monster/animal/object, turn it into a girl and hurray you have a weird and interesting (and sometimes funny) character,” Nora says. “I’m also really inspired by internet culture, memes, and the horror/mystery genre.”

To help bring her characters to life, Nora spends time “[messing] around with makeup and props.”

“I just do what I think will suit the character,” Nora says. “The great thing about YouTube is that you don’t have to buy or make a full costume because it’s mostly just your shoulders and face that are shown!”

Among the things Nora has learned since she began creating ASMR videos has been managing her taxes as a full-time, self-employed ASMRtist. “It’s more complicated than when you work for a company.”

“Also since I do character roleplays and stuff, I learned SO much about video editing and filming/audio equipment, it’s always so fun to try new things,” says Nora.

And while the work that goes on behind the scenes can be “time consuming,” Nora says none of that matters when “it’s something you love to do.”

“I guess one thing about making ASMR videos,” Nora says, “is that it’s a very personal and intimate experience, so it’s really common to get viewers who become a little too involved.”

“I’ve…learned that there are a LOT of troubled people out there, and they choose to express themselves in different ways. Some just watch and let it make them feel better, some message me about all their troubles like a diary, some become too emotionally attached and say gross creepy things, some express anger and resentment.”

“Most are good people though, so if you can give them some patience and kindness it will likely be worth it in the end,” Nora says. “I learned patience, understanding and keeping a cool head is one of the most important things in the world, to me at least.”

When Nora is not creating ASMR videos, she can be found making digital art for fun and taking her dog to the park.


Seafoam Kitten’s ASMR | YouTube