Actress, singer, entrepreneur and reality TV star, Christina Milian first tore up the charts in the early 2000s with songs like like “AM to PM” and “Dip it Low”. But in 2016, she wears many hats.
Today, the “mom” hat takes precedence. She’ll have to drop off her daughter Violet’s homework at school because they forgot it at home, she says, over the phone from L.A. It’s a gorgeous March day and Milian’s enjoying this brief home stint between rehearsing and shooting in Toronto for Kenny Ortega’s remake of The Rocky Horror Picture Show, in which she plays Magenta, a domestic. Ortega threw his net wide for his cast, finding performers from Britain, the U.S. and Canada.
“I guess they couldn’t find a Magenta,” says Milian. “The dancers suggested to him that he should check me out. From there, I got a phone call asking if I would even be interested – I’ve always been a fan of Rocky Horror. After that, it was just talking about getting into this character, but [Ortega] was just really free about it and creative, and I got to come right on-board and start working on it directly. It’s been fun learning my character along the way because I was really hopping from one project to the next.”
In fact, just days before flying to Toronto, she wrapped up the first season of Fox’s Grandfathered – a John Stamos sitcom in which she plays the mother of the grand-daughter Stamos just learned he had. At least that show – which she calls “super sweet and quirky” – films in Los Angeles.
So does her reality show – Christina Milian Turned Up – which, co-starring her mother and two sisters, allows for some unlikely quality family time. “It’s actually cool because it forces us to spend more time together,” says Milian. “We’re a really tight family. As women, we endure a lot and are able to overcome a lot. I think there’s that understanding we can learn through each other or be there for each other and no matter what, we care about each other.”
But Milian’s first and enduring love is music. And an era that places less emphasis on complete albums, and allows for artists to express themselves through EPs and singles at their leisure, is perfect for a renaissance woman’s schedule. Her latest EP, 4U, was released in December, and features Lil Wayne and Snoop Dogg.
“I love putting out music and it really doesn’t have to be a giant body of work. There are no rules these days,” she says. “Like, let’s express ourselves! Let’s get creative! There are too many creative people in the world. If you’re creative, you don’t want to be bored. You will do anything to give out your creative flow and eventually, if you believe it, it will become something.”
Milian more than practices what she preaches. A couple of things she believes in? Her women’s and kids’ clothing line, We Are Pop Culture, which has grown from t-shirts to full collections and a store on Melrose (“Now we’re hiring designers, I’m hiring marketing people, it’s more than three people running the company,” she says); and a wine company, Viva Diva Wines, which she bought a year and a half ago (“I’m rebranding it and I’m going to give it a whole new look and let it emulate my lifestyle a lot more.”).
But aside from a glass of Viva Diva’s Moscato, which Milian says is doing particularly well, how does one stay sane while multi-tasking at such a high level?
“Actually, it’s a lot of fun. It’s not stressful,” she says, with breezy (and convincing) conviction.
“The only thing that I stress out about is, how am I going to make sure that I balance out my time for motherhood? How am I going to make this work? Because my daughter – that time means everything to her and to us. She’s all I got. We could work really hard but we could watch time fly, you know? Tomorrow’s not promised.”
The meaning of Jazz Cartier’s Fleurever is rooted in duality. In the two years since his sophomore mixtape, Hotel Paranoia, the artist has had to “[battle] the balances of love and money, risks and rewards, right and wrong, or living and dying”, alongside coming to terms with the throes of wealth and fame. Subsequently Fleurever—or, as he calls it, his “third project”—explores Cartier’s personal growth in the years following. With his newfound maturity in tow, Toronto’s rising rap star is on course to start a music revolution—well, that’s the idea anyway. Georgie caught up with Cartier to talk about gratitude, the rapper’s personal transformation, and the driving force behind Fleurever. G—Can you tell us a bit about your latest album Fleurever and the inspiration behind it? JC—Most of the inspiration came from growth, and a bit from my departure from Toronto. A lot of the record was made in my last days in Toronto, and just having that cloud over my head and knowing that I’d be leaving soon—it was more so showing my affection for the city that pretty much shaped my sound. G—Did you have a vision in mind when you started writing this album? JC—For the most part Fleurever is just myself and my
When asked to describe herself in three words, Nina Nesbitt didn’t hesitate. “Introverted, creative, and driven”. While you wouldn’t guess the former from her edgy, empowering tracks—her latest single “Loyal To Me” is a girl-power anthem, rallying women to ditch their unfaithful partners—the latter two can’t be questioned. In the six years since she was discovered in an unplanned encounter with Ed Sheeran, Nesbitt has released three EPs and one full length album; toured with Sheeran, Justin Bieber, and U.K rapper Example; and carved her way into the alt-pop scene with a harmonious blend of groove and grit. Earlier this year, the Edinborough-native was one of three emerging female artists chosen to partake in Spotify’s “Louder Together” initiative, recording the first collaborative Spotify single (“Psychopath”) with Sasha Sloan and Charlotte Lawrence, and showcasing her signature style of thoughtful messages pulsating atop hook-driven melodies. With her sophomore album ready to drop, Georgie spoke with Nesbitt about her experience being thrust into the spotlight and maintaining her creative independence throughout it all. G—You’ve been touring a lot this year, specifically in North America. How have your North American audiences been receiving your shows? Is it different than performing for UK audiences?
Named for the Toronto area they grew up in, The Beaches are a far cry from a placid day on the lake. Led by singer/bassist Jordan Miller—with her sister and guitarist Kylie Miller, guitarist/keyboardist Leandra Earl and drummer Eliza Enman-McDaniel—the Canadian four-piece burst out of Toronto with their 2018 debut, Late Show, and have since built up an aura of dissident swagger. Taking home this year’s Juno for Breakthrough Group of the Year, the all-fem rock quartet is bringing grunge, gloss, and 70s glamour to a predominantly male genre. Georgie caught up with Leandra to talk about the band’s latest music video, taking charge of their music, and three simple ways to keep women in the industry. G—Did you grow up together in Toronto? LE—Yeah, I met the girls in high school. Jordan and Kylie are sisters, so they’ve known each other a bit longer, but they grew up with Eliza in Toronto’s Beaches area. G—What kind of music were you listening to at that time? LE—We grew up listening to all of the music our parents listened to. That definitely influenced us while writing our debut album since we drew from a lot of the 70’s music that our