Eli

Today on the pod we're joined by friend of the agency Courtni Poe. She is a multi hyphenate creative her work spans across curation, editorial, dance. She's also the founder and editor in chief of Gasp Zine. Fun fact, she plans on writing at least four books, one for each quarter of a century. Although she did mention she plans on being alive. By the time she's 200 as well. We dig a little bit into that. And by the time this goes out, you have open a gallery exhibit called What's So Cool About Flying A Kite? Yeah, it was a very wide ranging inspiring interview definitely put a lot of things into perspective, seeing as we're the same age and she has accomplished far, far more. But yeah, I don't know if you guys had an initial thoughts before we hand the reins over to her. But um,

Trey

No, it was really cool to see somebody so young, having accomplished so much she danced backup for Beyonce, she was a choreographer, still, is a choreographer, she's worked a lot with our client, Nike, on a lot of really cool projects. She has a mentor and David LaChapelle, the famous photographer, so I thought, you know, all of the things that she's kind of accomplished kind of through sheer force of will really, and talent and the ability to like kind of network and pull in kind of favors or contacts. Whatever she has, in her mind, it seems like she can pull it out and make it happen. So that was cool to see.

Clara

I agree. And I think the way that TierPoint she sort of evolved her career over the past few years was really interesting to hear about. And also sort of like the, you know, interrelationship that you know, all of her different, like skill sets, and like passion still have now I think she was talking about, like, thinking about, like choreography and stuff on set, too. And like sort of thinking and approaching creative, like as a dancer, I thought was really cool to hear about as well.

Eli

I agree. All right. Let's bring her in. Courtni Poe. Welcome to the pod. How are you doing today?

Courtni Poe

I'm good. I'm nervous.

Eli

No, don't be nervous. We're hopefully fairly casual and easy to talk to group, even though for those who can't see this and probably will never see this. There are three of us sitting in close quarters with a computer screen sitting a foot away with Courtni on it, but we're stoked to have you here.

Courtni Poe

Yeah, I wish you guys could see they all look just like so squatted up like three people and like the headphones. And I'm like, oh...

Eli

Yeah, I know, three years ago, this would not be okay. Perhaps to two for some but you know, whatever, whatever. We have good air filtration in here. So I don't mind. I don't mind. We're all good friends. But yeah, so I'm doing my preliminary research as one does for podcasts here on Day One FM. You have a gallery opening this weekend, right? Is that correct?

Courtni Poe

I do my first solo exhibition supported by Nike. It's kind of sick.

Eli

That is super exciting. So it's called What's So Cool About Flying A Kite? Could you tell us a little bit about that?

Courtni Poe

Yeah, I actually like all about it. Because by the time people hear this, the show's over.

Eli

Let's do it.

Courtni Poe

Cool. So yeah, I my dream for my life has been to only make like four books in my lifetime at 2550 75 and 100. And so this is like my first and I've had this like dream since I was like 10. And I'm 26 now so I'm a year late, but doesn't matter.

Eli

No one's tracking.

Courtni Poe

So yeah, I was like, just been creating so much imagery that's not commercial or client work. Kind of just to make it in a way that work has kind of helped me get more commercial work. I didn't have anywhere to put the photos. And it was like the first time I was like, feeling like I graduated from this type of photography I'd been doing for years. I was like, let's make a little archive out of it. And then I'm an Aries. So I was just like, how can we make this the most ridiculous thing imaginable. So yeah, the print is like a massive price 11 by 15. It's on a crazy gloss laminate paper. It's 200 spreads. So it's just like filled with all this photo and graphic work that kind of pertains to the work I've made over the last few years. And the show itself is like this extension of the book like everything is just the theme of everything is just really big. So the prints are printed at like six feet by five there's 30 of those and then the entire gallery is covered in turf. There's like live goldfish like live butterflies flying around. It's like a whole

Eli

Where did you where do you source the butterflies from?

Courtni Poe

I took a lot of research I found these guys in Yorba Linda and I have to go pick them up tonight from a freezer I guess and then yeah, I have to keep like 10 in the freezer until like an hour but it's a whole thing. I've learned a lot about how butterflies, I guess, I don't even know. I've learned a lot about butterflies in four days that this idea hit me. But yeah, so I picked them up in Yorba Linda tonight and it's just like a butterfly ranch. And they, like raise butterflies and sell them.

Eli

Yeah, I'm a butterfly rancher, are you get maybe like a moment of catharsis after the gallery. Are you going to release the butterflies? Is that a plan? Or?

Courtni Poe

Well, yeah, the butterflies are like flying around in the exhibition. So the whole like theme of it is like this whole play on my childhood. So the grass is like covered in like 90s Nostalgia toys, like there's kites just scattered all over the floor, the goldfish and there's just butterflies flying around. So that's the whole This makes no sense. Hopefully by then they'll see photos of it. I know. It sounds like what the hell is wrong with her.

Trey

So it sounds like you've like creative directed, basically, you know, your whole image output. And I'm just curious if we want to back up for a quick sec. Like, you are an image maker. How would you kind of like define what you do?

Courtni Poe

I really like the term multi hyphenate because I feel like I switch roles so much. But I love taking pictures. I love directing. I love choreography. I love coming up with ideas. I don't know, it just depends on the day.

Trey

Wow. And then. So when did you kind of what did you start with? I guess like, where did you start? And what was your first sort of notch on the belt so to speak?

Courtni Poe

Yeah, make it so brief. But a lot of people don't know that I moved to LA as a professional dancer from Nashville. And I did that for two years, the toured I did the whole thing danced with all the artists I wanted to and then in the pandemic, I lost my job once you were so I had gone to this astrology reading and he was like, if you're an Aries, you need to publish something right now. And I was like, Oh, I've always wanted to make a book. This was like when I was like 22. But I was like, none of my friends are going to read a book because they're lazy as hell like what smaller than a book? A magazine. And throughout that time of being a dancer I was like making these like dance films inspired by like Louis Vuitton runway shows and stuff like that. But it was never something I knew was like a career. I was just like, messing around making films and taking photos but didn't take it seriously at all. And then yeah, I started my magazine gasp and there was like, all of a sudden I was like a director and photographer and graphic designer and bookmaker and it just was like not this intentional thing. It just happened because of the magazine. And yeah, we're here. But it all started from it. Like it all started from my dance career. And yeah...

Trey

Well, one thing that I often see on social media, which I'm curious, your take on is like, people who do things, like if you were to say what your idea was to a billionaire or whatever, and you're like, Oh, I'm going to start a business. They'd be like, Oh, sick, awesome. But whenever you say your idea to just like a friend or something and be like, Oh, I'm gonna start a business or like, good luck with that, like, you'll never do it. And I'm curious, you know, you've obviously started and, you know, successfully completed a lot of amazing work. How do you figure out how to start and like, stay motivated and push through all the challenges and keep going?

Courtni Poe

Yeah, I mean...

Eli

No pressure.

Courtni Poe

I feel like when I first was talking about the magazine, everyone was like, why are you going to stop dancing? This was so foolish like it like no one could understand it. And I couldn't either. And I think just seeing like, a whole new audience of people outside of what I knew and dance responding to what I was making was interesting to me. And then I don't even know I think I'm just extremely impulsive because I'm an Aries. But I have such like, deep intuition when it comes to my art that I've always had even when I was a dancer, so I just I'm like, I can't ignore that. Like if I have an idea to make something it's always been like, if you don't make this you're gonna die, which is so stupid. But no, actually, I have like such an a crazy fear of like dying before I make everything I want. And so it kind of I sound crazy. But yeah, it's just, it's just I have this like, inner thing that is just like so much louder than all the voices like, I don't know. I don't know, I'm just extremely intuitive and I can like feel and sense like when it's time to put something out and the type of thing I should put out and I think my clients also aligned with that in a nice way. Like I I like all my clients and all my clients align with the work I do. I know a lot of artists kind of end up in commercial work and they kind of take jobs they hate that what you have to do to make it happen. Yeah, it happens you know, but I feel like I've been so fortunate like I've yet you know, there's those few clients where I'm like, never again, but my most consistent clients like offer me full creative freedom and I I think that's like a symptom of the life I've built for myself. I think it's really cool that at this age, I'm building this like, rapport like trust with people creatively and yeah, so I think that intuition is what it's all about. I don't even know if I answered that right?

Trey

Well, yeah. I want to I want to put into context a bit like your success as a dancer. And going from that to a completely new venture. Because you said you danced for everyone you wanted to and you went on tour. Can you just like, give us a quick, you know, synopsis of like your dance career? And then because I think like, you know, when you're talking about starting a zine or like a new venture or something, and everyone's like, not only is this maybe sound foolish, but you are so successful doing what you're already doing. So why would you give that up?

Courtni Poe

Yeah, I mean, I kind of, in a way hate talking about the ads, because it's triggering for me in a weird way. My career was amazing. I mean, my dream was to dance for Beyonce, and I got to do that in Black is King movie. And then I did Lady Gaga, stupid love music video, which Lady Gaga was like my second dream. And then tour was on with Nickelodeon. And I literally won't tell people, the artists, I'll tell you guys after this podcast, because I will get so grilled. But I did a Nickelodeon tour. And before that, I just did a bunch of music videos with like, like, people like whatever, like, I'm not very celebrity fazed at all. So but with Beyonce and Lady Gaga, I was that was my...

Eli

That's acceptable. Yeah.

Courtni Poe

Yeah I know. But I remember after I did Beyonce, it was such a intense experience for me. And I remember we were driving back in the van, like back to LA because we shot it like, somewhere I still don't even know because they took our phones and just like, drove us all there. Doesn't matter. I remember thinking to myself, like, Oh, so that's it, like, Okay, I'm like, 22. And that's what I wanted for my entire life. That's really scary for me. Yeah. And at the time, I had no clue. And the pandemic literally was just like, it was so clear to me that it was time to shift. And it was so hard. Because the first year of having my magazine, I still was trying to pursue a career as a professional dancer. And every time I tried, it was just like, the magazine was just calling my attention so much more. So leaving dance was difficult. It's all I had done my entire life. And I was like, Okay, I'll just take the route of like, I'll dance until I can't, and then I'll choreograph. And that never ever felt like enough for me. But I didn't know that it would be something else. And I didn't know that. Like, what creative work is now is not what it was pre pandemic, you know, like, it wasn't in the way we see it. And so there was no thing where now if someone makes wants to make a zine, it's like, there's a clear path. There's people you can look at who are doing it. But pre pandemic, there really wasn't for me. And so for someone that was like a creative director, and it was like, trendy enough that I could find a video and understand, I don't know, I just felt like, to me, there was no out the magazine just like created this out for me. But, you know, that first year when I left dance, I felt like an idiot. I was like, oh my god, like, now I am truly freelance at its core. I was already freelance with dance, but that kind of creates its own flow. And then I was like, Oh, my God, like, I have no clients. Like I have nothing like I only have this magazine. And literally two weeks later, Nike hit me up for my first project. And that was my first commercial project ever. Yeah, and that's that's how everything happened was that Nike campaign.

Trey

Oh, amazing. Okay, so when you started Gasp zine, which is your magazine? What was the impetus? Like what was not existing in the world that you felt you had to bring?

Eli

And as the name supposed to conjure, like a reaction? Or?

Courtni Poe

Well, I can tell you the full story, everyone's gonna want to know the story for so long. It was called Gap. And then I did a magazine with David LaChapelle. And he was like, I can't do this with Kanye had just done his like, Gap collab. And I can't tell all the details of why we couldn't do it. But we had to change the name in like 24 hours. And we tried everything I tried Gap backwards, like calling it page, and everyone kept calling it Pag. And I was like, What the hell? Then I was like, just 24 hours just up. And we went back to the studio the next day, and me and my team and David, we couldn't think of anything. And I finally was just like, What about gasp? It just came out. And David was like, oh, I love that. You should take maga off magazine, like just call it gasp zine. And I was just like, whatever. Like, I hate the name, but change it before I changed my mind. And right then my designer, like helped me make a new logo. And then I was like, Oh, well, it kind of works. Because like, that's how I reacted when I found out I had to change the name. So then that became the running joke of like, also, like our audience freaked out. They were like, Why? Because we had changed the name like four times in 24 hours, like, people were just like, what is happening? And then, yes, that's why the name changed. It was called gap because my gap was my biggest insecurity and I made the magazine in the pandemic, my best friends and they're just like, why don't you call it gap is like a screw you to everybody? And I was like, Okay, I don't like naming things. It stresses me out. Like the one thing about my creative work that I hate is like putting a title on something. So names have always kind of sucked and I feel like when a name hits and everyone else likes it, I'm like, run with it.

Trey

Like let's just wrap it up.

Courtni Poe

Now I'm like, wrap it up, because otherwise I'm gonna think about 1000 other things. Um, but yeah, I mean, what I think I didn't see was like, I genuinely didn't see zine culture in the way I do now. Like, I think before gasp I was very like, I didn't have much knowledge except for like I grew up on like 17 Magazine and like, you know, Thrasher, so I was just pulling inspo from skate zines, and like the girliest team zines imaginable. And but I didn't have like, I don't know, like the sneeze magazines and like those cool zines that really gave me this, like, Intro to like this underground. I don't know, art scene. And I also feel like there's not many women that run publications like I mean, there's so few and far between, I think it's growing, but especially black women, it's not common, and it wasn't. And so, yeah, I think with gasp, it was like, Okay, well, I guess I'll step into this space and see how I can contribute my dance knowledge to creating this zine. And my dance knowledge is all I needed to make the zine. It's so weird. It's like, something you would never expect. But if the dance education I had is what created all the creative behind the zine, and yeah.

Trey

Isn't it kind of freaky when you know, you do something and all those skills are directly transferable to something that completely unrelated.

Courtni Poe

Especially movement. Because it's like, how the hell would dance translate tp print? And it's, it was very interesting. I knew nothing about Photoshop, Illustrator, I had to learn all those things. I didn't learn them till a year after we started. And when I had my best friend who was just like a technical editor, like I would draw everything on a dry erase board, because I could see it, but I didn't know how to create it. And I couldn't learn and so when she would be typing something, I'd be like, I would like literally be moving like in front of her. I'd be like, Oh, could you like, could it feel like this? And she would understand it was the weirdest thing. And it was also a very stressful process. I finally was just like, I gotta bite the bullet and learn this. And then I learned in two days, and now we're chilling, but I expressed so much of how the creative look by moving my body and it was weird, but it made sense. Or like, I'd be like, Oh, can we like slap this graphic like this? And I would like, I would like literally design it with my arms and on a dry erase board. It was so fucking weird, but it worked. And, yeah..

Clara

I'm just gonna ask, you mentioned David LaChapelle. And I was just curious, like, how did that relationship come about? And like, what has it been like sort of working with him through this process with Gasp? Maybe with other things, too?

Courtni Poe

Yeah. I mean, he's like my number one mentor, I grew up obsessed with David LaChapelle, like, like, he was like my Beyonce, like, I had like the Britney Spears, Telly Tubby cover. Like, I got in so much trouble when I was little, I had it on my wall. Like her in the bra, everything. I was so obsessed with that image. I had never seen anything so crazy. And I got in so much trouble. I have so many vivid memories of my childhood, just like looking at his work and getting in trouble because it was like, you know, back in the 90s it was so like, I was yeah, I was so obsessed with the color. And so, anyways, I always had this weird thought when I started the magazine that like one day, I'm gonna get the balls to reach out to David LaChapelle. And I made issue seven and I pulled all the inspo for that magazine from Hotel LaChapelle his book, and whatever. I've had to have his books for so long before I had met him. And I just DM him on Instagram. I don't know, I been commenting on his Instagram for a while. And then I commented like, hey, I make this zine like my most recent one was inspo from Hotel LaChapelle, I'd love to mail you a copy. And like literally within 10 minutes, his studio account had messaged the Gasp account, which wasn't even mine. I said it were my accounts, they went to gas. And we're like, hey, this sounds interesting. You should send it to us. I tried sending it to them like four times and it kept getting sent back to me. This was like from October all the way to February. And I kind of forgot about it. When they finally got it. I was just like, no chance in hell, I'm gonna hear anything back. I just want them to look at it. And then randomly, I'm on a zoom call with my team and I saw I had so many voicemails from this number. And I never checked voicemails because it was 2021 at the time. Like do you also check voicemails? I don't. I literally don't because I'm like, that's a scam account. But anyways, I saw I had a voicemail from him. So I'm listening to these voicemails while we're working on a call and I'm like, hey guys, whatever. And we're recording the call. So I literally have my reaction. But I listen. It's like, hey, Courtni this is, David LaChapelle calling. I'm in LA looking at your magazine, so beautiful. It's like a minute and a half of him just like rambling about like, this is so awesome. You should call me back like and I literally, like I have a full video of me just like, shocked. I was like, There's no way. So then I realized it was like 10 days later when I saw his voicemail, so I was like, so then I called him first thing next morning like 8am and I'm from Nashville and I haven't changed the area code on my phone. So I call and I'm like shaking. I'm like, Oh my God. There's no way he's gonna answer. He's so busy. I called him and I was like, hello. And he's like, Who is this? And I was like, Oh, this is Courtni from the magazine. He's like, Dolly. And I was like, Dolly? Is this Dolly? And I was like, No, it's Courtni. And he was like, Oh, I thought you were Dolly Parton calling me back. Like you have a Nashville area code.

Trey

Calling me back. Like expecting a call from Dolly Parton.

Courtni Poe

I was also like shaking because Dolly Parton is like a National Girls president. You knows I'm like, not only am I on the phone with David LaChapelle at 8am 10 days later, but like, he thought I was Dolly Parton calling back. So I was just freaking out. We talked for like two hours on the phone. And he was just like, Yeah, I mean, I'll make a magazine with you. And I was like, that's crazy. And he was like, come to my studio, went to the studio. The next day got there at 11am. We went and got dinner at his house right after with his whole team. And it was I was there to like nine o'clock at night. It was crazy. And that was like the start of like the rest of our whatever we have now, which is just like such deep mentorship and collaboration. And he's like, my go to for everything. If I'm making something, I go to him first. Like, if he's working on a project, I worked with him like he's just the greatest mentor and friend I could ever have. And he's been a huge funnel for like, obviously, why my work looks the way it does. And, you know, but I mean, He's amazing. He's the best ever. I love them so much.

Eli

So if you ever have you ever hesitant to press send on that DM now, you know what the answer is.

Courtni Poe

No, shoot your shot. Yeah, a lot of great things have come out of DMS for me, I've gotten very lucky. Like I feel like people think no one's ever gonna see it. But everyone thinks that so that's why you should send the DM because you're probably the only one that's gonna send it. You know,

Trey

What also is like as the resident older person here, I just feel like before you never had the opportunity to like, see if someone read your thing. And now it's literally you can DM somebody it's like, even if you're left on read at least it's like seen like, Oh my God, even if their assistant looked at it, like somebody's seen it.

Courtni Poe

Yeah, I was freaking out. I mean, when I, when I saw they saw it and the CEO reached out. I was like, Ah, it's like that thing you think could never happen in a million years. And then it does. And it's like, it's like breaking the fourth wall kind of it's like, okay, this is a real person and a real thing that I want. That's now here, you know.

Trey

Yeah. So tell us how you went from that to to Nike reaching out and working a bit with Nike. What kind of stuff have you done for them and curious to hear?

Courtni Poe

Yeah, me and Nikes relationship is like one of the most special to me, because I've been with them now like three years and they were the first people reach out to me before David, this was an issue. Six we did an issue our neighbor skate shop and Sky Paul has like no following on no posts or No, like big following on Instagram, kind of like a low key account. It was like, Yo, I want to talk with you more about the magazine. And after that skate zine with neighbors, it was like everybody was reaching out. So we were just talking to a bunch of people. I was like, I don't know who this is, we're gonna take the call. And then I took the call. And I saw the big Nike in the background. And I was like, There's no way like, there's no way this is like someone at Nike. And it was he was just like, what you're doing is sick. I don't really know where we could place it right now. But we're really interested. And it was kind of just like them sending me shoes for a few months. And I was like, this is cool. Like, if you guys want to make something, let me know. And like, then in December, they had this dance campaign for raked the floor. And it was like Nike really introducing dance to the brand, I guess. And they're like, Yeah, we just thought you'd be perfect to photograph it. Mind you. I had never done anything commercially ever. Like, I didn't even have my own like good camera. I had to borrow a friend's like, I just literally like I was like, Yeah, sure. Let's do it. Like, charge them like damn near $0 to do this global campaign. And I was clueless. And then they were like, Oh, don't you need photo assistance? And I was like, Oh.. Oh yes, right, good reminder. Yeah, for sure. I'll get back to you. And yeah, at that time, David was like, hey, I'll have my agent take care of you. So David agent was really helpful. I know. And Steven still helps me love Steven, but he was like, so how does this rate sound to you? And it was like, I think like $1,200. I was like, oh my god, I'm rich, like, dollars for a day. And this was like three years ago. And I was like, Oh, we're so up like, like, sick PA rates. And we were all like, oh my god, this is how much money you can make, like $1,200 a day, that was three years ago, you know, I knew nothing. And then went on set with like, five photo assistants, which was way too many. I didn't need all of them there. And like, I was like, they're like, oh, you need a digi-tech? I'm like, What's a digi-tech and I'm like, trying to Google these things. And there's not much information and I was like, I do need a digi-tech. So I'm just putting on my Instagram like, who's a digi-tech? I'm spelling digi with two G's like I was clueless. But I got on set and I was so like naturalizers was like, I shooting dance, which I know dance so well. And I was like, I mean hopefully they like it. It was also like a five day shoot. So imagine your first job is just like that many days back to back like the pressure was so on. And they were also doing video. It was a lot and I honestly just had like my fingers crossed the whole time. Like when I tell y'all I was like, shooting on automatic, like I had no clue. And yeah, and then they were like these photos, like, do more for us. And then yeah, just kept doing more for them. Obviously, knowing more after that experience and talking more with my agent at that time, he was just like, alright, let's tighten this up. Like, it seems like you're gonna be working this running gun doesn't work here. Like, okay, and yeah, I mean, like, it's just been that. I mean, there's been so many things, I can't remember them all. They just feature me for this really cool Nike women thing that hasn't come out yet. But it's cool. It's kind of a lot of them like supporting Gasp, hiring me as a photographer, or director or like featuring me, which is so sick, and I appreciate them so much. I just feel like they've really allowed me to be my multi hyphenate self with the brand. And that's cool. So love Nike shout to y'all.

Trey

That's so good. I just I want to know, too, because it seems like you run with everything. And a lot of people, probably like 99% of people would be like, this is a cool opportunity. That's come my way. But I don't know if I can do it. I feel defeated. Or like, I don't know what a digi-tech is I'm pulling out or, you know, like, I don't know, there's probably no magic answer. But how do you? How do you say yes, I guess how are you like, unafraid?

Courtni Poe

I'm gonna keep it. So a book that first year, I was like, I will do anything to make this magazine like, so to me. I'm like, okay, the magazine, I was using my unemployment to make the magazine the entire time, like 0% of my unemployment went to me surviving. But when I got a job like that, for Nike, I was like, as scared as I am. The magazine can't exist without this job. And so I just started just saying yes to everything that has fully changed for me now, as it's been three years. But at the time, I was just like, if I want to, like the commercial work is sick, and I'm thankful for it. But I'm like, I'm an artist. And so I need to do whatever means necessary to like, create my work that gives me like this book and show that we have you know, so it's like, I feel like for me, it was always like, Okay, who are people I can work with that don't make me feel like I'm working in places where my art is also evolving, and I'm learning and growing. But also like, am I going to just sit here and be afraid and then not support the artists that I knew I am at my core to like, be able to have the flexibility and financial stability to create whenever I want. Like, I think that's every artists goal, you know, is just to be able to make stuff that's not always client work. And so for me, it was just like, you know, it's like a coin. It's like, either you take this job and not know anything, and you ask people who are way better than you to help you understand and you just, you know, release the shame and embarrassment about that, which was hard, you know, because it's like, it's awkward being like, I just got this huge campaign, what's a digi-tech, you know, it's like embarrassing, but it's also like, I was like, the ladder is way worse, like me not having the flexibility to continue to create this like, magazine that supports my community so much, and people who benefit from it. It's like, there's a huge sacrifice. And like me just putting my ego aside and just being like, hey, I don't know what this is, can you teach me? And I think now I'm not scared at all. Like, I'll still do jobs, and I don't know what they're talking about. And then I'll be like, hey, so like referring back? Like, what does this mean? I'm just not scared of not knowing? And I don't know, I think that's the key probably. I don't know.

Eli

I mean, in market. Yeah. And marketing is also a whole bunch of buzzwords that no one really knows what they mean.

Courtni Poe

Oh my god, don't even get me started the corporate jargon. Yeah, dude, I Yeah.

Clara

But I do think it's interesting. I mean, to your point, and I agree, like it is such a strength to be able to, like ask those questions, because I think something that, like, I've noticed, generally, too, is that like, once you start asking questions, like you realize how many people also don't know the same thing. And it's like, how have you been doing it this long, and you don't know what it is. And I think that it's also sort of like in those moments to that I feel like can be very sort of like reinforcing of like, oh, like, I can actually do this, like, this person doesn't even know what it is. And they've been doing it for like five years or whatever, you know.

Courtni Poe

Yeah. I mean, even with David like, we'll have a client call and be like, so what did they just say? And we're all just like, I don't know. Even David just he doesn't know. And like I'm like, Okay, if someone is level still doesn't know, like, I think though, that the industry will make you feel like there's this inner dialogue and language that you just missed out on. And so I always just try to kind of lower the veil on everything and be like, guys, I don't know, do you? And then it's like, oh, boy, we all get to this place of like everyone being like, actually, we have no clue and then there's real things that happen but there's also those jobs as you know, where it's like everyone's talking with certain way and I'm like...

Trey

They don't know either they don't know what they don't know what they're asking for.

Courtni Poe

Exactly. And so it's just it's tricky. But yeah, I just, I'm just like, listen, I don't know, I can make you a great product, but I want to understand, so help me understand so we can make a great product.

Trey

And you're like, if you don't tell me exactly what you want, I'll make one I want on your dime.

Courtni Poe

Very much that because one thing about me is I will.

Trey

Exactly. I'm just looking at the trailer, I guess, for what your solo show is about. And it includes like claymation and you know, like, different. How do you what is that about?

Courtni Poe

Yeah, I mean, I have been in a very rigorous therapy all year that brought up a lot for me about like my childhood and childhood trauma and all the things and the whole book and shows theme is just like the most like little version of Courtney like what would she create right now? And this show and book is that like, the animation and stuff is like how I imagined my childhood self and like all those weird animations and characters and scenarios. There's a whole film for it at the show but yeah, it's just like this little world that I feel like the childhood version of Courtney has created that that's what the show is yeah.

Trey

Wow it's it's actually quite impressive and I you know, wouldn't put it past you if like you made this claymation.

Courtni Poe

I just directed it you know, I just wrote down all the concepts and worked on it but Jovi Bergen insane animator, he's next. He's massive. Like, he like he's next. He's crazy. But working with him was like a joy. He just gets me and I was just like, the bubble animation. I don't know if you saw it, but it's just me and he's like blowing bubbles of me and his face changes. And I'm like, I just texted Jovi. Like, what if he just reaches his arm back super far and like, bends it and dips it in the bubble, and Jovi's like, and so I'm like, sending him like the ugliest sketches literally like a stickman with his like that. And Jovi's like, got it and he just, he just gets it and it's like, the weirdest concepts that you know, couldn't be storyboarded really, but he's just like, I got you. I think to that, like, when I'm collaborating with people, if I'm hiring them, I'm kinda like, here's what I want but do your thing like I don't I'm not very picky. So I really just let Jovi be kind to create and then like gave small bits of input but I really wanted it to feel so unique to his craft because that's what he's good at. Yeah, he's crazy Jovi is great.

Eli

What's your like? I'm sure it changes depending on the project, but like, what's your creative ideation process? Like, which I know is also very marketing heavy term, but like, you know, we've talked about interpretive dance on the on the pod so far, we've talked about like sketches like, Are you someone who just like, turns a blank page will write down whatever sketch like napkin math type of thing or jump on a call need a bunch of people in a room to banter does it? Does it not matter? No.

Courtni Poe

I hate my creative process, because it is. So here. Everyone who sees me just knows that like, I'm not someone that like, planned anything out, like this show has not been sketched ever. Like the whole the way the show looks or anything. I'm literally just like, driving listening to music, or I'm in my shower. And then it's like, you should fill the entire gallery with 1800 square feet of turf, and I'm like, sick, hey, we need to call it. Like, that's literally how it works. It's so up here. And like, every I think the hardest thing about working with me and my people will tell you is like you just have to trust Courtni. Because it's like, I see it all. And I can't explain it to you. I'm just like, This is what we need. And just let me build it out. And I have great people around me that support that process, which I know is very stressful. It gets really hard for me when I have clients and they're like, so can we get a deck and I'm like, and I'm like trying so hard to just be as clear. But when it's on my own terms, it's all right here like the show, I can see it so fully. And we haven't built it out at all yet. We do it tomorrow. But I can see it and everyone else is just like, how is this gonna work? I'm just like, don't worry about it. Like, it's all right here.

Eli

I hear you. I mean, I think like much to the chagrin of other people I work with somewhat the same way I'm like, I just I don't know, I can see it. And I know what I want in my head but I might not be able to articulate it as well. We're on very different creative levels. So you're much higher than I am.

Courtni Poe

No. I should get better. I know that comes with maturing as an artist maybe but I'm also kind of like nah it's worked this long.

Clara

It's like an interesting thing that like creative process and like talking about your creative process with other people is like obviously so tied in with collaboration and like what you're doing is so multimedia, but it's like you'd think like oh, I'm a creative person. Like I can communicate creative concepts but like, the reality is those things could not be further apart like because there are people that we also like work with who I feel like are really good names now, but like there are some people out there I'm sure somewhere that are good at like creating sort of like I don't know, or at least communicating a clear vision but I feel like no matter what you're talking about, whether it's like you're working with someone, like on our team or or like for me, for instance, I'm working with someone on our team or I'm like working with someone on a client team, like, just trying to accurately relay like, what's in my head to someone else is like such a challenge.

Courtni Poe

Oh, yeah. I mean, copywriters deserve a raise, because oh my god, copywriters are like superheroes. What I will say is like, over the last six months, I've really tried to study like anyone who's building a deck for me, in the way they handle it. And I've just learned, it's all about adjectives. Like, that's probably so bad to say out loud.

Eli

You see right through us.

Courtni Poe

While just like they're gonna say dynamic, engaging, social first, like, so you just take note and like, you're like, the fox will jump, you're like, the fox will jump to create engaging, dynamic, you know, I that's, that's kind of been my finesse with the deck building because I can't articulate it, but I can, I can tell you, the fox is going to jump. But in order for you to believe it's going to jump, well, I'll just put some adjectives in there.

Eli

It's gonna jump well and bold.

Clara

Very bold. What is interesting, and like, maybe we'll have to take this out. But like, one of the one of like, the tips that I remember getting was that, like, people love to hear their own words said back to them, too. So like, if you get a briefing, it's like, we want dynamic, bold, like, how might we create a dynamic, bold and like, this dynamic, bold campaign. And it's always enough. They're like, wow, I mean, we asked for dynamic and bolt. And this is just one of the most dynamic and bold things we've ever seen. And it becomes like a parody of itself. Definitely. And like, that's a huge exaggeration, but there's like, I think there is some truth to that as well.

Eli

So in the beginning of the pod, you talked about writing four books, one for a quarter century each. Are you for the 50th. Like, is that process starting now? Or you know, you're just gonna wait until you get there and at 49? Like, fuck, I gotta write this book.

Courtni Poe

It's totally I mean, I think, yeah, the, that's kinda how I think it'll go I think, too, for like, I'll probably live to be like, 200. So I'm thinking like, 100 will start at 99. Like, I'm not like a big book planner. I feel like it's such a muscle. Now with the magazine. I'm like, I can make a book and days, like, you know, so I think I'm excited for that though. After seeing this, I'm like, oh, man, like, you know, I think David's archives have been a big inspiration. Just seeing how its books have just grown over the years. And like, man, I bet 50 is gonna be crazy, you know?

Trey

Yeah, it won't be like, what will make the book. It'd be like, What do I fit into the book?

Courtni Poe

Exactly. I'm like, that's in 25 years. You know, it's crazy. Okay, give me one second. I just got a call because they're delivering something at the gallery. Can I take one quick pause? Okay, one second.

HAL from Space Odyssey

A few moments later.

Courtni Poe

So sorry, guys. We have like 1800 square feet of turf getting delivered. And I had to have a Task Rabbit do it. And it's chaos.

Eli

Wait, what are the I mean, recording starting again, but what are the job requirements for a Task Rabbit to unravel 1800 square feet of turf.

Courtni Poe

Yeah, I mean, he's, yeah, it's not right. It's not right. It's been a mess all day. But um, we're gonna they're gonna just leave it on the sidewalk at the gallery, and I'm gonna have some boys come with me, to it's 15 feet long, apparently. And like 200lbs, which I didn't know. There's just a lot but it's gonna be great show. It's fine.

Eli

Where do you even get that Home Depot?

Courtni Poe

Oh, no, I was Oh my god. I was like, researching for like, a few days and found a wholesale spot and this random guy in Highland Park. And he was like, what? You're not gonna use it forever. I was like, No, he was like, well, you're gonna have to keep it because I don't rent it. And I'm like, okay.

Trey

Rent turf.

Courtni Poe

I'm really just gonna have 1500 or 1800 square feet of turf in my backyard till indefinite.

Eli

I guess in LA it makes sense. Because you can't, are you like not allowed to water your grass or whatever. Or no.

Courtni Poe

I mean, I think it's a big deal here. Yeah, cuz it's like so no, I don't even know

Eli

Based on the water crisis going on. I know. That's where my head went yeah sorry.

Courtni Poe

This was one of my worst ideas ever. I didn't think about the execution, but it's gonna be great. And it's gonna be good.

Eli

I think it's fun. Is it a shoe off gallery situation? Or no you could walk around with shoes?

Courtni Poe

No you walk around with your shoes on. Yeah, the point is that, like they walk in, it's just like grass everywhere.

Trey

So I want to circle back. Oh god, I hate myself for saying that.

Courtni Poe

No let's circle back.

Eli

Let's circle back. I just want to piggyback off the circle back.

Trey

We were I want to know more about Gasp and what kind of features are in there? What kind of creatives are in there? Do you have contributors? Is it bimonthly? Like what's the what's the deal?

Courtni Poe

So Gasp is awesome. It's the whole point of Gasp was to just be like a no filter platform for artists and people to share and educate with like no filter. So whatever people say in it, we print doesn't matter what obviously we don't stand for racism, homophobia or any of that bullshit. But it's really a it's a nofilter platform. And I think that's important for artists because I think artists are so fit in this box about the way they should speak and talk about things. And they literally can just hop on and be like, what's up? I'm so and so. And that's it, it doesn't matter. So yeah, it's kind of just this space for creatives to be seen, I guess it's also always evolving. So it changes all the time. But I think it's that and also a way for us to like kind of educate Gen Z on iconic artists, because I'm a big art history person. I went to art school, in high school. And art history is like the core of me in so many ways. And so I just wanted to bring that education in a cool, fresh way to Gen Z, because I feel like so many Gen Z artists now don't know about like David LaChapelle, or Vanessa Beecroft, they're, you know, icons, and that's that. So that's our whole thing. Yeah, and the gallery exist is just like an extension of the magazine. It's like, we'll come see this in person. And it's, that's that yeah, not my show. But the Gasp gallery.

Eli

When you say no filter, are there. Does anyone ever put anything in there when you're like, Huh? Or like, you know, like, do you have total? Not like creative control. But like, Are you like vetting some things? Or is that kind of the antithesis of the point? You're just put it on there? I guess my question is, are you ever like, nah, sorry, that's a terrible take? Or like, I'm not doing that. Yeah,

Courtni Poe

For sure. I think like, like, you could say, whatever. But if it doesn't make it to the print, you know, you can say whatever. What are you going to say? I don't think we deal with many people. Like, you screwing around, I think, really, like, you know, serious when they speak about whatever. And, you know, it's just fun. I think it's just an easy way for people to like release the whole, like, nervousness, just knowing, like, whatever, and we're gonna support it. And obviously, I go through and do my editor job. But yeah, it's there. It's really it's just, I don't know, people say great things, though. And they know, they don't have to show up in this professional way. I don't know.

Eli

No, I totally agree. That makes sense.

Clara

And I think what you were like to go back to something else you said, I think just the point around education and like teaching Gen Z about these artists and like the impact and influence of those people. I feel like we've been talking about that a bit here just like here in terms of the podcast as well. Just around like curation and sort of like the lack thereof on social media and also like, the lack of attribution of like, even like moodboard images where like, I don't know, like, if you're like scrolling on, like one of the like curation accounts, like you might see a David LaChapelle image, but like, not know that it's him or like, not see the type of artists tag. And so I was just curious, like, how much was that sort of also, like a foundational piece of like, the founding of Gasp, and then also kind of like, what do you make of curation? And like the maybe lack of education that some Gen Zers have?

Courtni Poe

Yeah, I mean, for sure. I think that's Gasp whole point is like, this is extremely curated. That's like in our mission statement, like we curate this for you to get like, the clearest, like education possible. And just like, I don't know, that's the whole goal is like the curation is the most critical part of gas. I think also, like, we've built such a great audience of people that really listen, like when we have something to say, or something we want to teach people about. They like really take it. And so I think our curation is important, because it's like a new, it's a trusted source. It's like a, I don't know, it's like a, I'm trying to think of the right way. I don't know. It's just like a trusted source for like, art not sick. And I feel like that's a big responsibility, and Gen Z, because like you said, it's like, I can't imagine like a young photographer out there that sees the David LaChapelle image and thinks nothing of it, like doesn't even know the impact of David. And so I think our job is to kind of come in and be like, I know, art history sounds like it's boring, and it sucks. But we've curated this to get the coolest experience for you and offline, which is so important to us. Like I'm so about, like, physicality and in person interaction and gas was like that, you know, and so it's like, here's the zine, you can read about it. And then you can meet people who are like minded. And then you can meet artists who are doing what you want to do. Or you could just do it. You know, the cool thing about Gasp too it's a lot of people's first, it's like their first magazine feature, their first gallery exhibition, their first art purchase, you know, or someone buys their artwork. And that's like, like, we take our role at gas really seriously, as far as Gen Z is concerned, and like, we care so much about just like, doing the right thing, and being a space for artists to kind of learn all the things that you wouldn't learn and, and then like, help push them out to other people.

Trey

How do you make them care?

Courtni Poe

Yeah, I mean, I think if people see you care about something and you care about it consistently, they'll start to be curious. I think people are just so curious about it. And I think people are curious about us at Gasp in a way because we're all young and like, like probably like why do we care so much about art I don't know. But I think it's we just got lucky that people are curious. And I think to the gallery has really done us good because it's like, you bring in 30 artists, those 30 artists are gonna bring in 10 friends, and then they're 10 friends are gonna be like, Whoa, I've never seen your work like this. What is this? And then something we always hear as feedback from the galleries is like, everyone's so cool. Everyone's so nice. I just collaborated with someone I met at Gasp gallery, and everyone's extremely attractive. So I feel like no, really, that's been like our running theme with Gasp gallery. The big component, though, is that people are collaborating with each other, they meet at Gasp Gallery, and then I see them on set together or they're making something that's been the coolest part. So I think that's how people are caring. I don't think they cared so much at first, but I do think now it's like, well, like people know what Gasp Is, and they want to be a part and that's so cool.

Eli

You spoken about so we have the zine, the gallery, you're kind of building this universe around Gasp as a whole. And you've already done so much. But like, Do you have a vision for what other type of medium that gasp might touch in the future?

Courtni Poe

Yeah, I mean, right now we're building a video game. We've been working on that for a long time. It's my dream project is to like make a video game and literally translate to like a Gameboy. So we've been working on that for a while. I think we're really interested in like the animation. XR VR space. Not was like, what were they selling? What are those things? NFT's we're not that's so weird. Maybe we're missing out on a huge market, but I think it's what we're just Yeah, it's like that was so tech bro 2021. Anyways, but yeah, I think we're interested in like animation right now my goal is to open up a gallery in LA, New York, and Nashville where I'm from, because I don't think people realize how difficult it is to get an exhibition, like a show as a new artist, like, I'm so fortunate. Like, I know great curators like Jeffrey Deitch is really supportive of Gasp, and so many people who I know but it's it's difficult getting those curators to trust that like a young artist has the potential to have a successful exhibition. And I think that's where we're so good at that, like we bring in so many artists, and then curators come to our show. And they're like, Oh my God, where did you find these people? And I think for me, my long term goal is just to have that space where there's like an 18 year old who literally has just been making art their whole life, but like, doesn't even think an exhibition is possible. And I'm like, I can make this possible. I can have our buyers buy this and I can get people to engage. I think that's just our goal is to be like the space for the underdogs and like make them, you know, big if we can and I think our gallery would serve as an awesome space for that. And yeah, I mean, we also want to do like a production studio, maybe in like three or five years like milk studios, but it's Gasp and it's just like, you know, like a membership situation where people can just pull up and do productions in there have a film lab, we really want to do a film lab. We also want to be like a print house. That's a big goal of ours. Hopefully within the next year, we have this thing called powered by Gasp, where we like make books for other clients. Yeah, so that's, those are our goals. Other than that, I think we have everything we want. We're so blessed. We have the people and yeah, I don't know I'm, we're good. I'm so happy. I love Gasp.

Trey

That's so good. Should we come work for you?

Courtni Poe

Yeah, it's so much fun. Our Gasp girls are the most fun ever. Like we are all female team. We work with male collaborators per project. But for me, it was important that like, women feel a safe space with work and they can be their most authentic self. It's really fun.

Clara

Well, I'll see you later guys. Yeah.

Courtni Poe

That'd be so fun coming anytime.

Clara

Oh my gosh, maybe I will.

Eli

You got the deck writing down.

Trey

If you can do one thing, it's decks.

Eli

Bold and dynamic.

Clara

Anytime you need something bold or dynamic.

Courtni Poe

Oh my gosh, we will gladly take you. Our Gasp girls are often just like an extension of me in so many ways. They're so energetic. They're so excited. Like, they just love Gasp like it's awesome. I feel like we just attract so many people that are just excited about what we're doing and that's a blessing.

Eli

That is. What happened to Clara? She's a Gasp girl now. We lost her.

Courtni Poe

Yeah, we'll get you the merch and we'll get you the stickers.

Clara

Oh my gosh, I'm so excited.

Eli

She's gonna be your Digitech

Courtni Poe

Be my Digitech. Easily. I'm not kidding.

Eli

Courtni thank you so much for coming on the pod today. I know you have a jam packed schedule talking about rolling out turf right in the middle. So really appreciate you taking some time where can our listeners find you on social, .com e comm, whatever.

Courtni Poe

Yeah, okay, so Courtni, it's c o u r t and I instead of ey and Poe like Edgar Allan Courtnipoe.com. Instagram Courtni Poe. I don't have TikTok but Gasp has TikTok Gasp zine at Gasp zine, Gasp zine.com It's easy z i n e.com and just check out Jovi Bergen he's like the coolest animator ever like those that's my artist shout out for this right now

Eli

Yeah shout out Jovi Bergen.

Courtni Poe

Yeah he's epic. And I love Day One.

Eli

We didn't tell her to say that. Cool thank you so much we appreciate it. Yo, thanks for tuning in. Stay up to date with all things Day One FM by subscribing to our page on Spotify, following us on Instagram @d1a and staying up to date with