Emerging Los Angeles Artist Kaia King-Hall on Creativity and Empowerment

And welcome to the Truth in Us Art, your source of conversations at the intersection of arts, culture, and community. I am your host, Rob Lee. Thank you for joining me. Today, I am super excited to welcome my next guest, an emerging artist majoring in art at the University of California, Irvine. Her work has been featured in exhibitions like Are You Seen at Byrd Art Gallery and the show that she curated as well as shown work in, Spring Chickens, which was in Venice.

Please welcome Kaia King Hall. Welcome to the podcast.

Thank you for having me.

Thank you for coming on. You your your hair, right, I gotta start right there. Your hair has me jealous because, 1, I don't have hair, and 2, the color is is great, and so so shout out to you on that.

Thank you. Thank you. Appreciate it.

And, before we get into sort of the the big crux and the main points of of the podcast and this this rousing conversation we're gonna have, I wanna give you the space to to introduce yourself in your own words. I I've noticed, right, over 100 of interviews at this point that I'll have folks this is, like, the first time that they've come on, and they're like, I'm gonna say the real thing. This is who I am. Or there are folks who haven't had that opportunity to really, you know, you know, dictate and present who they are, like, authentically. So I'm gonna give you that space.

Awesome. Yeah. I, I'm 22 years old. I was born and raised in Jacksonville, Florida, but I've lived in Los Angeles for the past 4 years, and I am a student at UC Irvine for fine art. And I'm just kinda trying to figure out my way with my art and the art world and all of that.

But I'm really interested in making art that speaks to women's issues and what it's like to be a girl my age.

Thank you. And, I'm getting you early. Early in the game, like, you know, when reading the bio, when you when I see a 2, right, and a 0, and then other numbers after, it just makes me feel more like a wine, more mature, what have you. But, you know, and I think the sort of, like, journey or the creative journey that one has can move at a really fast pace. So getting you at a very, you know, early and interesting stage, you know, before it's just like, oh, you're too good for a little podcast like this.

It's gonna be it's gonna be really cool. Yeah. So yeah. So one of the things I like to get a sense of is sort of those those early experiences. Right?

Is there one that comes to mind that left a mark on you, like like early on, like, you know, that could be 2 weeks ago. But early on where it's just like, oh, yeah, I went to this museum or I saw this street art or I saw a book that had some really dope art in there and maybe it shows up later, maybe it shows up in sort of how you approach your work today. Is there one that comes to mind?

I don't know if it's so much a specific, like, thing that I saw or, like, something that I was exposed to, but I went to an arts high school for a couple of years, for my freshman through the middle of my junior year. And I left because the teachers were really mean. And, I think that like them being so hard on me, it was obviously too much. I think it was really unfair, but it also lit a fire under my ass to get good.

Yeah.

And I think that is always still in the back of my head somewhere being like, oh, no. I need to get better. Like, I need to practice more. Like, you know, that kind of thing.

That that makes sense. I have had this question that I I ask people in terms of, and it's a new question relatively where, like, those creative resources, like, I work off of spite and pettiness so much. So hearing, like, I wanna get good because I I didn't like that experience. I wanna get I I I feel you. I feel you on that.

And, you know, sometimes it's this notion and then definitely going back in, but sometimes it's this notion of what this is and in doing this and having these conversations, you know, you'd be surprised. And well, maybe not you because, you know, we we're gonna talk about it a little bit later, but, you know, folks will take shots and say weird things. And it's like the intent of doing this is artistic. Unfunded form to have folks come on and share their authentic story. And people are unkind in those emails and DMs behind the scenes, and it's just like, oh, yeah.

Sure. I'm gonna have you come on here for an hour and talk about your work, but you're gonna be a dick to me. It's weird. It's very weird. So out of spite and pettiness, I just keep it rocking and rolling.

I was like, I'm gonna get bigger and better guests.

Yeah. Good for you.

Shout out there. So talk a bit about your work because, yeah, I was very, like, vague in the intro, about what your work is. But could you, you know, give us an overview of your work and the influences that, you know, that that give direction, you know, that that in in towards your art?

Mhmm. Yeah. So I'm I'm really inspired by the dichotomy that comes with being a young woman because on one hand, I'm, like, not really taken seriously, and I deal with a lot of misogyny and sexism and, you know, like being bothered on the street and, like, constantly being worried about my image and all of those things. But on the other hand, I can, like, totally abuse all of those things and like, you know, take advantage of the body that I'm in. And I think that like that experience is just really crazy and, just learning how to work through that.

Yeah. The older that I get is really interesting too. So that is like a huge source of inspiration for me. But also just working through things that I've gone through over the years, whether it be, like, relationships or friendships ending, anything like that.

And mention to us the the medium is what you're working on.

So right now, I mostly do drawing and painting. I've been airbrushing a lot with acrylic paint for about 2 years now. But I also I'm really interested in sculpture, and doing, like, large installation work and, like, taking over huge spaces. So that's what I'm, like, wanting to reach in the future.

Love it.

Mhmm.

So I I was mentioning a moment ago, and I was saying it in jest, but there's there's some truth to it. So that that pettiness driving what I do that that create a resource. The fuel tank is always full. There's no that line is never that number I read. And, you know, I when someone says something that I can't do or kinda diminishes what I do, I'm gonna do it twice just so they know who I am.

Right?

Mhmm.

What in that framework, right, what is your, like, most relied upon creative resource? I would imagine, you know, there are things you're out there being sort of, like, considered less than who you are and less than what you do or, you know, harassment, things of that nature, those those sucky things that are unfortunately a part of someone's life such as yourself. What what is that creative resource that you rely upon the most or you that you pull from the most and why?

I think it it's mostly anger. Like, whether it's, like, from an interaction that I have with a random person or someone that was like a very intimate part of my life for a long time. I think like I really like starting works with a phrase or some kind of saying in my head and I'll go from there. And it's really easy to come up with some raunchy or cocky something or other, and then, like, go off of that based off of, whatever it is that I'm, like, angry or sad about.

Yeah. Like like, using this. Right? Using this podcast, and thank you for sharing. Using using this podcast, and I always return back to it, the reasoning, right, where there's maybe someone who's a, a terrible individual that maybe was running this country at one point, said some ill things about the the city.

And I, you know, I have this thing where I read between what's what's really being said. And it's just like, you're not talking about the streets. You're not talking about the sidewalk. You're talking about the people here, and the people are in your constituency. And I my my anger was the fuel there.

It was the the accelerant to try to disprove it. Not, you know, a bunch of 4 letter words or what have you, but, you know, it starts off maybe with a 4 letter word, but it's like, nah, this person's wrong. Let's disproven how are we gonna do that? I think for me, being able to show stories of folks that maybe don't get their due and starting off in where I'm at Baltimore, but kinda extending out with that as sort of the the beacon of having folks come over here, share their story authentically, and it's just like, yeah, you probably didn't think this person's work mattered or this person's story mattered. Well, enjoy, because here's their story.

That's that's sort of what always drives it. And it was rooted in anger. It's rooted in told you so, you know, and that's I think that's really important.

Yeah. Yeah. Totally. There's so many people out there, like, especially people that are doing creative things that are doing incredible things and working on incredible projects and just aren't getting any recognition for it. So I think it's really awesome that you're doing this and going after the the smaller folk.

Well, thank you. Thank you. And, you know, I and I find, like, I'm able to use you guys to make me seem like I'm smarter and more interested than I am. I would be referencing you later. I'm sorry.

Awesome. So I I read that your work has been described as overtly sexual. Right? And at at times, and I'm getting a couple of things, and I was like, there's an in your face ness in there as well of, like, this is the message. Deal with it.

You know? And and I believe that that can be, you know, multiple responses to it from empowerment to shock, and I don't believe the shock, but even titillation or what have you. Can you share a response to your work as there's exhibitions in the in the West Coast in Cali that I'm seeing that, but a response that sticks out to you and, you know, could you describe maybe the work that it was related to?

Yeah. I think, I think the thing that, like, surprises me the most is that, like, sometimes people are just, like, really confused by it. Like, they they just don't get what I'm trying to do or, express in any way, shape, or form. And, like, whether it'd be, like, I don't know, like, someone my age that's also a girl or, like, an older man that's, like, you know, like, totally separated from me in a lot of ways. Yeah.

That that just, like, always baffles me a little bit. Just, like, not being able to connect with it at all.

So do you do you feel that it's just not an attempt or because, I mean, like I said, I I'm I'm not really, but, you know, I'm I'm connecting with it. I see some of the messages in there. It's just like there there's feelings in there. There's experiences that artists has had. You've been artist that's had, and it's just like sharing that.

And you're, you know, also you're doing you're doing clothes. You're you have, like, the video pieces and, you know, there's been work out over the years during this time. So has there been someone that maybe fits in your same demo, if you will, that is just like, okay. I feel this. I feel like I've I've seen this.

So I've I've I've experienced this and maybe what that that look like.

Yeah. I think, like, you know, if you've experienced any kind of misogyny yourself or if you have, you know, a mom that's dealt with a lot of that or a little sister, Just like if you're close to any women, I'm sure you heard them talk about something along the lines of it. So, yeah, I think that's what I, like, want people to kind of ruminate on and think about and, like, you know, just have it more present in their their conscious.

Yeah. It's I think I think it's important, like, you know, obviously, having that out there, having sort of those stories and you're using your experiences, whether it be just as a person or even getting deeper into more personal ones, which goes into my my next question. But having that being being shared, there's a a vulnerability there. There's a, you know, sort of maybe a catharsis there of being able to to process it and and present it. And, you know, I I think sometimes, like, when I'm doing a podcast, right, you know, having a conversation, it's almost exercising a demon maybe at times of, like, I can't just keep this in here.

And, you know, in the last year, I've had the opportunity to do some education, to teach, at a college and at a high school. And I'm like, man, I got nothing to offer younger people, and turns out I do. And, I remember one example that that came up because there's a certain degree of attachment. I'm an Aquarius. We're always detached.

There's a certain degree of detachment, and when something gets really real because I try to keep things separate. This is me. This is honest, but I try to keep things somewhat separate that I try to be as neutral as possible unless there's something that really is, like, oh, okay. Yeah. That's that's, but I I remember doing an interview with a fellow Aquarius.

It was, like, a 2 hour joint, and we were talking about sort of, you know, we're we're both unmarried. We don't have any kids or anything along those lines, and kinda thinking, like, alright, getting older. How do you process these these things? And when it gets to that point where, you know, who's gonna be around for me? Mhmm.

And I was like, yo, this is the most vulnerable I've ever gotten in 15 years of doing podcasting, and it was a real thing. It was a real feeling. It was a real vibe, and that sticks out to me. That's I mean, that's you know, May is when I did it, but that sticks out to me of that's actually something I care about or think about or ruminate about a bit more than I thought. And I would imagine folks that are similar to me of, like, we're the millennials.

Right? And, you know, who knows millennials? But, you know, we're we're really thinking about that and, you know, kinda seeing that, especially with something creative, like, we're making our own lane. You wanna do security. You wanna make sure you have, like, a life that is secure enough in thinking of the future, but you have to think about the future in a sort of different way.

And it's like, what does that look like? Are you are

you asking me, like, how I look about or look at my future? Or

Oh, please. I I was just, you know, connecting and and sort of like

Oh, yeah.

Being vulnerable. But, yeah, please, if you want to. Sure.

Well, I mean, I feel the same way. That's obviously, like, a little bit further down the line for me. But, yeah, the world's weird right now.

It is. It oh my gosh. It is. And, you know, I look. I I do I've started the this.

I do, I'm a data analyst for my my day job, and I'm sitting there playing with things, running tests on, like, is this AI? Where where's where's the real? Where's the whole thing? I was like, this is really poorly. Robot wrote this.

I feel like we're gonna be in that trash planet and, like, WALL E and stuff. It's it just feel like it's coming.

Yeah. It feels that way. It does.

So and this and this is sort of where I was going with this this next question. You know, reading that you are pulling from past experience, and you touched on a bit earlier, that gets pretty personal, pretty raw. How do you limit it? Because I I read that creativity art is a lot of times it's about sort of the the editing portion of it. Like, you know, you may be you're gonna restrict the colors that you use, the techniques that you use, the size of the canvas, or what have you, or even for musicians, which instruments are you gonna use.

So how do you, like, limit that and, you know, into which degree if you limit it at all? How personal really do you get when it comes to your work?

Yeah. I think, whenever I include writing in my work, I think I get pretty vulnerable with that. Like that is usually really honest. But at the same time, those pieces are usually self portraits and then I'm getting to choose how I want to be seen and how I'm going to draw myself or paint myself, which probably is like not very honest, like in terms of like how I'm choosing to present myself, like, next to whatever, like, that experience was or that emotion was. You know, it's like a prettier, more cleaned up, or more exaggerated version of it, you know.

When you're doing the exaggerated side of things, because I've I've I've seen it feels like I was like, what what does she look like? Yeah. Because, you know, you you touched on it in these reports. So when you're really getting out there and you're like, I'm just gonna be as exaggerated as possible in this in this visual, what what do you what do you aiming for to be, you know, the most exaggerated? Like, my hair is gonna be this way or I'm gonna make myself green or what have you as in, like, the the torso study number 3.

Yeah. I think, I think just making myself feel, like, larger than life, because there's a lot of, like, situations where I haven't reacted in the way that I wish I reacted. Like, I didn't, like, handle the situation with as much power as I wish I would have. So being able to, like, kind of reverse it a little bit and, like, go back and be like, no. Like, now I have, like, the power in the situation.

Like, I have, a few charcoal drawings of me, like, stomping all over downtown Los Angeles. I don't know if you've seen those. But, like, that's, like, a perfect example of that.

It's like attack of the 50 foot woman, 50 foot tall woman.

Yeah. Exactly.

And and I I feel that, like, there are times where when I'm I'm doing this, and I'm like, damn, I wish I asked a different version of that question. Or when you're in a real life when, you know, like, you're always looking for funding. You know, you're always looking for these different things, these different opportunities, and somebody might not pay the proper homage or give you the sort of sort of respect.

I'm like,

man, I wish I said this. It's almost like you had the perfect fuel for the argument later.

Yeah. Yeah. Exactly. When it comes around next time.

Yeah. It's like I'm gonna queue this up. Like, like, send myself, like, I put it in the email, right, and then snooze it. It was like, I got another meat. Let me send that to myself for later.

And you're ugly, you know? Yeah. So so so touching on exact because I'm kinda get getting that, you know, for a few things you'd mentioned earlier, and I must ask, what's the experience been like as, as a young emerging woman artist? What is how's that been? You know, just here you go.

Yeah. Well, since I've lived in LA, I I can't really complain about it. I was at Santa Monica Community College Sure. For 3 years, and that was just like the most incredible experience ever. Like the community there is so supportive, and the professors are really fantastic.

So that's been really amazing. The only thing that I've dealt with pretty regularly that I've found pretty annoying is that there's a lot of galleries and a lot of grants that say, that they're all about emerging artists. And it's really people that are 10 years deep into their career, and they're not actually emerging. They've just gone unnoticed for that long. So I think that's frustrating.

But besides that, I've had like a a great time here so far.

It's great. And, you know, moving from one sunny place to another sunny place. Oh, look at you.

I love the sunshine.

I hear you. Yeah. I I definitely relate to to that piece where and I think maybe nonprofits, maybe organizations that have a little scratch, a little scriella, a little couple of those greenbacks. Any of these references working for you? I I find that and I've encountered this a lot where, you know, trying to justify what this is.

Like, some pockets, you know, this is journalism. Some pockets, this is media arts. And it's funny when I reach out to 1, hey. You know, I do this media art project. No.

No. That's journalism. Alright. And we reach out to a journalism sort of grant. Oh, no.

That's media art. It's like, what what are we doing? And it and and also what I've been told is, like, oh, what you do is art criticism. We don't fund that. I was like, I don't tell anyone their lines are crooked.

I I I don't do the it's and then and then it's funny when I talk to, like, artists, you know, and and folks that are kinda get it. They're like, what you're doing is closer to anthropology than anything else. You're you're you're documenting what folks are doing, and it's literally it's it's conversations. You're documenting a scene and it's the time caps, all these different stuff. And you start looking at or I start looking at these these grants and how these applications are written out, that that game is played as well.

You know, like, you can't be 10 you can't be emerging in 10 years now. It's like you're a few years in. You know, that's emerging. Or, you know, this is whatever this is, but I find, like, people try to put what one's creative expression is into buckets to find a way not to fund it.

Yeah. That's a great way to explain that and describe it. And then

I also finally you know, I was I was reading something about, like, what NEA. Like, they're, they've gotten, like, no funding. You know, it's like that slash slash slash. And so with it, it's folks are a bit more critical as to whose work is gonna get funded and which makes that to 2 by your home or something like this that much more valuable. And, you know, I I I try to encounter it and, like, again, this is mostly nonfunded or very underfunded.

And I I do it because it makes sense. It's important to do. And and I think a lot of folks, they're not getting those opportunities or even making those sort of, concessions for for funding. For instance, there's a couple years ago, I was doing ghost podcasting where I wouldn't put my name on there, but I was like, I'll be your host. But I don't you're not you're not getting rapid fire questions on here.

You're getting all of the signature stuff. And it was done purely to bring in some extra funds to cover editing, cover website and hosting fees, and all of that stuff. So for you, let's say someone reaches out, and and and maybe this is just maybe this doesn't fit, but someone reaches out, like, sort of what are your considerations when it comes to certain opportunities? Like, I touched on that, you know, of kinda sold out a little bit, you know, but I did I had limits to if I wanted to put my name on it. I won't do that anymore.

That's not, you know, it's just like I'll figure it out. For you, like, sort of what are your limitations? Like, someone reaches out like a nice funder and it's like, yeah, you need to do this with your work. What is your sort of, nah, I can't do that?

Yeah. I think, like at this point in my life, I, I don't really want to be tampered with by anything like that. Like, I'm, I'm not like desperate enough for it to have someone with money, like, sway the path that I'm gonna take or like what I'm gonna make. So like, if it if it feels inauthentic to me in like any way, shape or form, I don't wanna do it for as long as I don't have to. And, like, I think I I've done a lot of, like, big commission work or I used to.

Sure. And, it's just so depressing. Like, I would rather I would rather not do it and, like, get a regular job, and, like, do something completely different than art. Than, like, take, something that I, like, really love and have practiced for a really long time and, twist it into something else Yeah. That isn't pink.

So

Yeah. I was looking at this video earlier from, like like, Rick Rubin, and he was talking about sort of splitting those things of, like not to say that you shouldn't, you know, do a job that's in the industry, but it shouldn't necessarily be the job. You know, it's like you're not you shouldn't necessarily be doing this for money. You should get money from it, but it sort of make the main thing the main thing. And, you know, using that, like, I've tried many a times to try to make this into the thing that drives the funding, that drives the opportunities in that way, and it gets burned.

And I think that's the universe telling me, like, no. You should keep doing your podcast. You know, stay true. Stay true to how you're doing it, whatever your creative process is, and maybe find something that's associated with it. Case in point, that the teaching job I referenced earlier, that's a direct line there.

But it's not like, oh, I'm now a podcast teacher. It's like, I do that in addition to podcasting, but the podcasting is, like, separate from it. And I love what you said there. It's just refreshing to hear that because there are times I listen to younger artists. Yeah, man.

Whatever it is to get the bag. Like, oof. Sure.

Yeah. I was like, I can't. But art art just means too much to me and is like it's always been such a personal thing. So to make it not personal, it's just really painful to me. But I respect people that do that too that are just, like, you know, like, just good at painting, and they're like, yeah.

I'll paint. Yeah. Whatever. Just, like, sell it. Like, that's that's cool too.

It's just a different artist.

Yeah. And it's and it's no it's no shots to it. It's it's it's definitely one of those things. It depends on, like, you like, you're touching on, like, the the artist and maybe what the work is about. Like, if someone is doing yeah.

I got this really aggressive political work sponsored by Target. It's like, cool. You got

it. Yeah.

I wanna move into I got, like, 2 real questions left, and, I wanna get a little bit about, like, sort of process when it comes to spring chickens. I I read a little bit there, and I see that not only curating, but having work in it. So talk a bit about sort of that, the the process of of curating, of making work and in that framework. And, I have a second part to the question, but I wanna give you that first.

So Spring Chickens was a show that I had in May. It was a pop up show in Venice here in California, and, I had 2 of my really good friends in it from school and a few pieces of my work. But I just really wanted to, like, practice putting on an event and, like, putting together a space. And my friends, Willow Vergara and Lucas Rosales, they're both incredible artists and I really wanted to give them a platform too. So yeah, I just I found a space and got it got it going on, and we did it.

It was just a 1 night show, but it was great.

That's that's that's dope. And were there and since it's 1 night show, were there any sort of challenges, lessons, or rewards, and and kind of, like, putting that together? Because I thought I'd diminish it. You know, you put together a show. That's one of those things, like

Yeah. No. It was a thing. A little over 2 years ago, I was in a show that my friend was having, and it was a similar situation. Like, she just ran into space for a night, and there was a lot of things that went really wrong before the show.

Yeah. And so, like, that was a really good learning experience for me. But I think the the biggest hurdle with spring chickens was that my friend Willow's work is these, like, really large scale ceramic pieces. Yeah. And, just getting that, like, to and from the space and then setting it up was, like, a little bit challenging.

But besides that, it it went really smoothly. So, yeah, I'm, like, super proud of how I executed it and all.

Dope. Mhmm. And the the feelings leading leading up to, like, to it, I did that differ as, like, this is an exhibition showing your work, like, let's say, in in other exhibitions or versus, hey, I kinda put this together with those feelings sort of sort of different. And I asked that because I think when we get a shift in perspective at times, you know, sometimes we can overthink it. But other times, it's just like, man, it's all the same.

I'm just doing this piece of it as well. So what was that like?

I think having my work in it was like the least of my worries. I just really wanted to, like, have it be a a positive experience for my friends and, like something for my school to kinda like rally behind. Like, that's that's what I really wanted to come out of it.

That's great. And sounds like it sounds like it was a big win, so I I love to hear that. And, it carries over. So when we talk back to you in, like, 2 years, you're like, yeah. So when I did spring chickens, you know what?

I I I said this was really good, but this is also what happened. I'm so much better now.

Yeah. That's that's what I'm hoping for. I I really wanna curate more shows in the future.

I love that. I love that for you. Lastly, gotta ask this one. So while you're, like, super early in your career, what have you, but you've been doing it for a while. Like, you know, you might be one of those 10 year marks too, you know, emerging artists.

But, you know, those those periods, they can move really quickly. The years can move really quickly or have you, and I think it's important to have those moments to reflect. I met up with, you know, an artist I interviewed, like, last year, earlier today. And, and I was talking with her, and she was like, so how long you've been doing this particular podcast? I was like, I just hit 5 years last month.

And she was like, it's been 5 years you've been doing this? I was like, in 15 overall. And she was like, I feel like you just started this podcast. Like, it's been 5. So what has been your favorite time?

And again again, I know it's super early, but what has been your favorite time as an artist? Most challenging period, most enriching.

This year has definitely been the most enriching. I also got to do an internship for a gallery at the start of the year and that was just like a really amazing experience. But I think I've also just come into more of my own as an artist within the past 6 months or so. Yeah. I think the most challenging was just, like, building my skill set.

He's I'm not one of those people that, like, was born, and I was like, oh, she can draw. Like, it it wasn't like that for me at all. Like, I've, like, really, really, really worked on building my skills. So that used to be, like, extremely frustrating for me when I wasn't, like, where I'm at now. But, yeah, this year has been awesome for me.

Love it. Mhmm. I love to hear that. I love to hear big years. I mean, more curation coming for you, more work coming for you, more life.

Yes. Hopefully.

So and also being out there in in in sunny Cali, I'm a little jealous. There's beaches there. So I I I wanna move into the rapid fire portion, and, I got 3 rapid fire questions for you. Okay. You know?

So don't overthink these. You're you're very laid back individual. I gotta I gotta find things that kinda shock the system. So here's the here's the first one for you. Creatively, what is your your first love?

And I I asked that in this way. For me, I wanted to be an illustrator when I was younger, and I thought that was gonna be the path. I was gonna go into comics. I'm here with a microphone in front of me, and I haven't drawn in years. So for you, what is your first love?

Was it, you know, illustration? Was it was it your your current work? What was it?

No. It was music. I've I really love electronic music. I'm still, like, super passionate about it. And, up until I was about, like, 14, it was, like, my dream to be a DJ.

Okay. Yeah. Which is still something that I, like, consider doing now and again. So maybe that'll be a part of it.

So when I reach back out to you, I'm like, so you've had work in the show. You curated it, and you provided the sounds. Talk about that.

Yeah. That's, like, that's, like, the ideal ideal scenario for me for sure. Love it.

I'm curious. These next 2, I'm very curious about just the habits, the life habits, right, of artists. And I said that really way of artists. Life habits. So what did you have for breakfast today?

I'm very curious about this.

I had a slice of toast, with cottage cheese and avocado on it.

It's a very West Coast thing you just described there.

It's it's super West Coast.

I had sun as well. I was like, alright. Cool. You Yeah. And this is the last one.

And I know for me is poor. It's like, I looked at this week. I had my Apple Watch on. It was, like, 5a half, 6. How many hours of sleep do you get on average?

Between, like, 68. I wanna say I'm pretty good about my sleep schedule, because I really like waking up early. That's, like, a big thing for me. So, yeah, I'm pretty adamant about, like, being in bed at a certain time. And, like, if if I'm going out late, it's, like, for a good good reason.

Mhmm.

I heard of this. There's there's these different alarms that one has. Like, you get this it's this guy I follow on Instagram, and he's talking about sort of the social clock, your social bedtime, and your real bedtime. He's like, social bedtime is like I wake up the phone. It's like I'm about to go to bed.

You don't go to bed for, like, 2 hours later. It's like, it's done talking. So I I have those alarms in my phone. It's like, you need to be somewhere. It's like, I do.

My bed.

Yeah. It's important. I think people a lot most people my age too, like, really underestimate, like, how much of a difference that can make to, like yeah. If I'm not up and, like, out of bed by, like, 7, I feel like shit. I'm, like, like, days around.

So Yeah.

As a as a person that's up at, like, 5:30, I I feel you. Like, I need to get things done while your average person is still in the bed, and it might be working on questions. Like, these questions for you. I was working on them on a train to go to see a wrestling show in DC, and I was just like, I gotta make sure these questions are decent. I gotta write these.

Yeah. 5:30 is, like, my ideal time. Okay. Yeah. Yeah.

Mhmm.

So that's kinda it for the podcast and and the questions. This has been, a treat to talk to you today. And, there are 2 things I wanna do as I wrap up here. Mhmm. 1, I wanna thank you for coming on and spending some time with me.

Absolutely. Thank you for having me. I appreciate yeah.

And 2, I wanna invite and encourage you to share with the listeners where they can check you out, social media, website, all of that good stuff. The floor is yours.

So all of my social media is King Kong, Kaia, and my website is just my name, Kaia King Hall. But, yeah, that's all.

King Kong Kaia sounds great. That's that is fire. I need to steal that.

The the middle school nickname.

Because you you're probably tall then. That's probably what's going on. Yeah. I'm tall. Yeah.

I do. And there you have it, folks. I wanna again thank Kaia King Hall for coming on to the podcast and spending some time and sharing a bit of her story with us. And I'm Rob Lee saying that there's art, culture, and community in and around your neck of the woods. You just gotta look for it.