Entertainment

Gavin Rossdale’s Music Has Always Political — And He Has No Plan to Stop Now on September 21, 2023 at 5:48 pm Us Weekly

Published

3 years ago

September 21, 2023

Gavin Rossdale Jason LaVeris/FilmMagic

Getting involved with Artist for Action and Sandy Hook Promise makes sense to Gavin Rossdale as much as America’s epidemic of gun violence does not.

“It doesn’t make sense to me that 400 times this year, someone’s gone into a school and shoot more than four people,” Rossdale said while speaking with Us Weekly ahead of Bush‘s show at New York City’s Irving Plaza benefiting the anti-gun violence initiatives. “This doesn’t f—king make sense. You can’t rationalize it. It doesn’t make sense.”

Rossdale, 57, and his band Bush aren’t generally thought of as a socially-conscious rock band, but as he explains to Us, he has always been aware of what’s happening around him.

“I’m always being quite political and particularly underrated for it because I do it in a way that’s always been on the personal politics,” he says. “On the first record [Sixteen Stone], the song ‘Bomb’ is about growing up in the shadow of the IRA and the Protestants, the Orange Parade march, and things. Where I grew up in North London, there were these bombed shopping centers and buses, and people died, and it was the real thing.”

He continued: “The hunger strikes, and [IRA member] Bobby Sands and all that stuff, I grew up with that as the backdrop. And where I lived, my area was next to Kilburn. It’s where I played football for an Irish team. I went to all the Irish pubs on Quicks Road. I was really in it.”

“I’ve been quite heavily into that stuff without ever being flag bearing, just conscious of it,” he adds, “and aware of it as a human being, as anyone would be.”

Rossdale will utilize his awareness and voice on Friday, September 22, when Bush takes the stage at Irving Plaza for a show billed as “a celebration of unity in the fight against gun violence.” It’s also the first in a series of national events held by Artist For Action, a coalition of musicians working to end the epidemic of gun violence in America.

However, even Rossdale knows it’s an uphill battle. “My son [Zuma Rossdale] is a country guy. He has a whole life over there with this other side, where they’re shooting, hunting. It’s their culture,” says Rossdale, who shares 15-year-old Zuma, Kingston, and Apollo with his ex-wife, Gwen Stefani. Stefani, 53, married country star Blake Shelton in 2021 after six years of dating.

“You’re never going to take guns out of America. Never, never, never. So it’s a moot point,” explains Rossdale. “But I suppose, the [assault] rifles, to me, it’s got to be more about, how does someone in a community get so isolated?”

Rossdale — who changed his citizenship because of his love of America, and three of his four children were born in the country – sees the epidemic of shootings as not necessarily being about the actual gun. “What about the person? What about the community support, the people losing their minds, the lone wolves? How are teachers not recognizing those kids in the class?”

Rossdale wants to highlight how “the mental aspect” of this highly-politicized issue is “the most open to change.”

“How do you stop these people going so far out?” he asks.

Even Rossdale knows that it’s going to take a lot for Artist For Action and Sandy Hook Promise to end the endless shootings in America. “It’s an uphill struggle to change gun culture,” he says, “but it’s less of a struggle to try raise support for people who are driven [to violence]. Because I think, ‘Are there 400 inherently bad people, or there are 400 people that are driven beyond something?’ It is terrifying, as well.”

Rossdale says that the issue of gun violence can’t be reduced to a simple fix. “It’s not as basic as, “Oh, hello, I’m nuts, I’m going to go and kill people,’” he says. “It cannot be that basic. It has to be a culture of alienation, a culture of disconnect, a culture of a lack of support that allows these people to turn into psychotic killers. And I think that’s a huge area.”

“I’m just saying, isn’t that part of it?” he says. “It’s not just like, ‘oh, access to guns.’ What about the people pulling the f—king triggers?”

The Artist for Action show will kick off a busy season for Rossdale and Bush. His band will release a career-spanning greatest hits compilation – Loaded: The Greatest Hits 1994-2023 – on November 10 via Round Hill Records. Rossdale wrote and released a new song, “Nowhere to Go But Everywhere,” the namesake of the upcoming North American tour to commemorate the project.

“I’ve always had a weird relationship with [the collection],” Rossdale tells Us. “I’ve never wanted to do a greatest hits. It’s almost like a ‘sayonara.’ I [have always been] more interested in writing new stuff. Obviously, I did write a new song for [Loaded], but yeah. Greatest Hits.”

Rossdale doesn’t want Loaded to be the closing of his career. The group released its ninth studio album, The Art of Survival, in 2022. For new fans, Loaded will be a perfect introduction to the

“We literally [included] songs chronologically,” says Rossdale. The track list includes 90s alternative radio staples like “Everything Zen,” “Comedown,” “Machinehead,” “Swallowed” and “Glycerine.” Latter hits like “More Than Machines” and “Bullet Holes” are included, as well as a formal recording of the band’s version of The Beatles’ “Come Together.”

“There were 26 Top 40 hits, but we could only put 22 on there or something,” said Rossdale. “So there were four that didn’t make it, which is a bit of a shame, but they said, ‘We ran out of vinyl.’”

For Rossdale, Loaded is exciting because he collaborated with Chris Ashworth, graphic designer and former art director of alt-rock magazine Ray Gun: “On my first record, Sixteen Stone, I got [Ray Gun graphic designer] Dave Carson [to design the artwork].”

“When I signed a deal [with Interscope], they asked me what I would like, and I said, ‘Ray Gun is the greatest magazine there is. Can we try and contact them?’ So they contacted Dave Carson, and Dave did a fantastic job. We loved it. It had my dog on the album, jumping in Regents Park,” says Rossdale. “We had just his artwork, and it was the sensibility that I loved. And weirdly enough, then full circle, how life is, what, 30 years later, I ended up doing a piece for Marvin Magazine, [owned by] Martin Garret, who used to own Ray Gun. He even had Nylon, and now he has Marvin, and he’s like, ‘I owned Ray Gun.’”

“I said, ‘Oh, my God, I love Dave Carson.’ He goes, ‘Oh yeah, Dave’s an interesting character, but Chris Ashworth is really the guy,’” he explains.

Stephen J. Cohen/Getty Images

From there, Rossdale began to follow Ashworth on Instagram, who subsequently followed the Bush singer back. The two were in each other’s orbit when it came time to do Loaded. “I thought it’d be cool to come full circle and get Chris to do the artwork for the greatest hits,” says Rossdale. “And Chris’s work is just gorgeous, and it was such a thrill to work with him. I’ve worked with a lot of great artists. It’s such an excuse to collaborate with great people, whether it’s videos or photographers. Yesterday, I worked with Sante D’Orazio, doing the best pictures, and it was just incredible,” he adds. “I love all that stuff. So yeah, I’m so thrilled. The most exciting thing of the record, to me, is the artwork.”

Rossdale explained that during Bush’s tenure, he’s “always chosen the songs on the records, but I’ve never chosen the singles because I’m not the one who has to go and work them.” As a self-professed believer of “people staying in their lanes,” he says, Rossdale hasn’t tried to micromanage his career down to the smallest detail.

“I thought if I try to dictate what things should be, to that degree, even drifting into someone else’s job of knowing what radio wants or what’s happening? That stuff is just not my jam,” he says. “So, I’ve never chosen the singles.”

“I’ve never been surprised or disappointed, like ‘don’t bring the ballad out!’” he adds. “I deliver a record, and they tell me which song they’re excited about. And the label I have now, Round Hill, is great.”

Rossdale’s creative ambitions have seen him expand beyond music. He dabbled in acting, appearing alongside Keanu Reeves in 2005’s Constantine, in 2004’s Mayor of the Sunset Strip, and The Bling Ring in 2013. He launched the Sea of Sound fashion line and hopes to launch a cooking/interview show, spotlighting both his love of food and company.

“I have a Nutrition Facts thing, which is a guide to humanity, and it incorporates food,” Rossdale says of one of the standout pieces in Sea of Sound. “It’s kind of cool because we have labels on the back of food. I did that for fashion and humanity, a good way of living.”

Rossdale hopes to translate that passion for the culinary arts into a new venture, as he’s been working on a potential cooking/interview show. He says that he’s close now to getting it made since the WGA/SAG-AFTRA strike has resulted in studios who “turned [him] down last year” to reconsider it.

“I just always loved food,” he tells Us. “I’ve always really enjoyed it. I just found a knack, I think – I just found a connection to it, a natural ability to time things, a natural ability to flavor things, so things taste good.”

He went on to reference his seven-year split from Stefani. “When I got divorced, I thought, OK, new life, how can I do this?’” he continues. “Whenever I cook for people, people will always be a bit surprised. It’s an anomaly. I have people come to my house in LA and say, ‘Well, no one’s ever cooked for me at a house before.’ Very strange. So I just got into it.”

For Rossdale, his creative exploits are all tied together with a similar philosophy. “I’ve always been into this idea of curation. A life well lived should be a life well curated,” he explains. With cooking, however, he adds that there was a more personal reason for him to pick up the whisk and ladle. “I was honestly just trying to get straightforward ways to stay home and not be leaving my boys, not have to go on tour.”

Though Rossdale will have to hit the road soon, he seems optimistic about the future – as much as a British man with a self-described “gallows’ humor” can be. “I do believe in an order, and an energy, and a connectivity to the universe, and a timing of things,” he says toward the end of the chat. “I really believe that.”

“So, I simply have had the opportunity to make those shows or to bring that clothing line out, where it’s sort of found a way,” he says with a smile. “Now, I feel that there’s a shift where I have set myself up with the greatest opportunity.”

Getting involved with Artist for Action and Sandy Hook Promise makes sense to Gavin Rossdale as much as America’s epidemic of gun violence does not. “It doesn’t make sense to me that 400 times this year, someone’s gone into a school and shoot more than four people,” Rossdale said while speaking with Us Weekly ahead

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Advice

Independent Film’s New Reality: 10 Brutal Truths You Have to Face in 2026

Published

1 week ago

May 25, 2026

Bolanle Media Staff

If you are still approaching independent film like it’s 2015, you are going to get crushed. The landscape that once rewarded a scrappy feature and a couple of festival laurels has become a crowded, algorithm‑driven marketplace where attention is the rarest currency. Recent industry analysis on “inflection points” for 2026 all say the same thing: the business model for independent film has changed, whether you like it or not.

1. You’re Competing With Everything

Your film is no longer just competing with other indie features. It is fighting for attention against TikTok clips, prestige series, and endless back catalog on every streaming platform. That means “pretty good” is invisible. You either have a sharp, specific audience and a clean logline, or you disappear into the scroll.

2. Festivals Are Not a Distribution Plan

A festival premiere and a few Q&As can help with credibility, but they are not a business strategy. Without a parallel plan—email list, community building, partnerships, and a clear path to paid viewers—you come home with a laurel and no deal. Even festival‑aligned organizations now frame their “don’t miss indies” coverage as part of a broader visibility and audience strategy, not a finish line.

3. The Middle Is Collapsing

Industry voices are blunt about it: micro‑budget genre films and clearly branded auteur work still find lanes, but the soft, mid‑budget drama with no hook is almost impossible to monetize. If your film cannot be pitched in one or two sentences to a specific audience, it will struggle regardless of how “good” it is.

4. You Are a Small Business, Not a Starving Artist

The indie filmmakers who will survive 2026 are treating their careers like businesses. Guides focused on creating a “film business turnaround” talk about lifetime value, repeat customers, multiple revenue streams, and audience retention—not just finishing one feature. Your filmography is a product line, not a lottery ticket.

5. SAG Is a Competitive Advantage

SAG actors and union rules are not your enemy; they are a way to level up. SAGindie and SAG‑AFTRA low‑budget agreements exist to help genuine independents hire professional talent and present themselves as serious, compliant productions. Understanding those tools gives you access to stronger cast, better reputations, and more credible pitches.

6. Streaming Is Not a Golden Ticket

Streaming is no longer the dream “one deal solves everything” outcome. The deals are leaner, the competition is brutal, and many filmmakers now make more by going direct‑to‑fan through TVOD, memberships, or niche platforms than by chasing a low‑MG all‑rights license. You need to know why you want a streamer—brand value, audience reach, or pure revenue—and plan accordingly.

7. Format Matters Less Than Relationship

Audiences care more about access than whether your project is a feature, series, or hybrid. If you give them a reason to show up repeatedly, they will follow you across formats. If you do not, a 90‑minute feature is just one more piece of content in an endless feed.elliotgrove.

8. Marketing Starts at Concept

Marketing is not something you “figure out later.” The most effective 2026 indies build their hook at the idea stage—title, poster, and logline are treated as core creative decisions, not afterthoughts. If you cannot imagine the trailer, one‑sheet, and social teaser while you are still outlining, that is a red flag.

9. Community Is Your Real Safety Net

Filmmakers who plug into networks, reading lists, and producer education hubs are adapting the fastest. They are not reinventing the wheel alone; they are leveraging shared knowledge, updated contracts, and peer feedback to make smarter decisions project by project.

10. Accepting Reality Is Your Edge

Here is the real brutal truth: if you can accept all of this, you gain an edge. Most of the field is still clinging to old myths about discovery, “overnight” success, and festival miracles. If you are willing to treat your indie career as a living, evolving business—grounded in current data and audience behavior—2026 might be the moment where “truly independent” stops meaning powerless and starts meaning in control.

Entertainment

Ozempic Era: Beauty, Lizard Venom, Big Pharma

Published

1 week ago

May 24, 2026

Bolanle Media Staff

The film industry is entering a new body era, and this time, the co-star is a syringe.

GLP-1 drugs like Ozempic, Wegovy, and Mounjaro have moved from diabetes clinics into casting conversations, red carpets, and agency strategy. In the United States, roughly 1 in 8 adults report having used a GLP-1 drug, with about 6 to 12 percent actively using one today. Globally, usage has surged from approximately 4 million people in 2020 to around 30 million by 2026.

This is no longer a niche health trend. It is a structural shift—one that is reshaping how bodies are constructed, perceived, and rewarded on screen.

At a clinical level, the appeal is clear. In major obesity trials, semaglutide has produced average weight loss of 15 to 17 percent of total body weight over 68 to 104 weeks, with some regimens approaching 19 to 21 percent for sustained users. In an industry built on transformation, those numbers carry real influence.

But rapid transformation leaves a visible trace. The phenomenon often called “Ozempic face”—hollowed cheeks, looser skin, a subtly aged appearance—reflects how quickly fat loss can outpace the skin’s ability to adjust.

For filmmakers, this is not just aesthetic—it is cinematic. Performance lives in the face. Micro-expressions, softness, and facial volume shape how emotion reads on camera. A performer may reach an “ideal” body while losing something less measurable but equally important on screen.

Beneath this cultural shift lies an origin story that feels almost written for film.

In the 1990s, researchers studying the Gila monster isolated a peptide in its venom called exendin-4, which mimicked a human hormone involved in blood sugar regulation but lasted significantly longer in the body. That discovery led to early GLP-1 drugs such as exenatide, used by millions of patients worldwide, and eventually to semaglutide.

By mid-2025, semaglutide-based drugs (including Ozempic and Wegovy) generated approximately $16 to $17 billion in just six months, making it one of the highest-grossing drug classes globally. Analysts project the broader incretin market could reach $200 billion annually by 2030.

Inside those numbers is a more complex human story.

The benefits are well documented: improved blood sugar control, significant weight loss, and reduced cardiovascular risk. But as use expands, so does scrutiny. Researchers and regulators are tracking side effects ranging from severe gastrointestinal issues and gastroparesis to gallbladder disease and pancreatitis, as well as rarer concerns such as vision complications and potential neurological signals.

At the same time, adoption continues to accelerate. J.P. Morgan projects roughly 10 million Americans on GLP-1 drugs by 2025, rising toward 25 to 30 million by 2030. At that scale, usage becomes ambient—part of everyday life across industries, including film and television.

And yet the marketing tells a different story. Pharmaceutical campaigns rely on cinematic language—aspirational visuals, controlled lighting, emotional transformation arcs—while legally required risk disclosures recede into fine print.

For independent filmmakers, this moment opens several narrative lanes.

There is the body: performers navigating an industry where a once-niche diabetes drug has become a quiet career tool.

There is the machine: a pharmaceutical ecosystem where a single drug category generates tens of billions annually, rivaling major entertainment sectors.

And there is the myth: a culture increasingly turning to a hormone-based intervention—derived from venom biology—rather than addressing systemic issues like food access, stress, and inequality.

Technology intensifies all of it. Ultra-high-resolution cameras and HDR workflows capture every detail—skin texture, volume shifts, micro-expressions. As more on-screen talent uses the same class of drugs, a new visual baseline begins to form, often without audiences realizing why.

There is also a clear economic divide. GLP-1 drugs can cost $800 to $1,000 or more per month without insurance in the United States, and coverage remains inconsistent. Rising demand has led to shortages and a parallel market of compounded or unregulated alternatives.

The gap between who can access consistent, medically supervised treatment and who cannot is becoming part of the story itself.

For cinema, the imagery is already there: the Sonoran desert, a Gila monster, laboratory research, pharmaceutical earnings calls, red carpets, and transformation narratives.

A compound derived from venom becomes a global product that reshapes not only bodies, but expectations.

Perhaps the most uncomfortable layer is the industry’s own role. Casting preferences, transformation culture, and unspoken aesthetic standards reinforce a pharmacological look without ever naming it.

No one explicitly instructs performers to take these drugs. The system simply rewards the results.

This is not a distant trend. It is a present-tense shift.

The numbers are rising. The images are changing. The influence is expanding.

The question is whether independent cinema will define this moment while it is still unfolding—or whether the story will once again be shaped by the industries profiting most from it.

Advice

How to Find Your Voice as a Filmmaker

Published

2 weeks ago

May 19, 2026

Bolanle Media Staff

Every filmmaker aspires to create projects that are not only memorable but also uniquely their own. Finding your creative voice is a journey that requires self-reflection, bold choices, and an unwavering commitment to your vision. Here’s how to uncover your style, take risks, and craft original work that stands out.

1. Discovering Your Voice: Understanding Your Influences

Your unique voice begins with recognizing what inspires you.

Step 1: Reflect on the themes, genres, or emotions that consistently draw your interest. Are you inspired by human resilience, surreal worlds, or untold histories?
Step 2: Study the work of filmmakers you admire. Analyze what resonates with you—their use of color, pacing, or narrative techniques.

Tip: Combine what you love with your personal experiences to create a lens that only you can offer.

Example: Wes Anderson’s whimsical, symmetrical worlds stem from his love of classic storytelling and his unique visual style.

Takeaway: Start with what moves you, then add your personal touch.

2. Taking Creative Risks: Experiment and Evolve

To stand out, you must be willing to challenge conventions and explore new territory.

Experimentation: Try unusual storytelling structures, such as non-linear timelines or silent sequences.
Collaboration: Work with people outside your usual circle to gain fresh perspectives.
Feedback: Screen your projects for trusted peers and be open to constructive criticism.

Example: Jordan Peele blended horror with social commentary in Get Out, creating a genre-defying film that captivated audiences.

Takeaway: Risks are an opportunity for growth, even if they don’t always succeed.

3. Telling Original Stories: Start with Authenticity

Original projects resonate when they stem from a place of truth.

Draw from Experience: Incorporate elements of your own life, culture, or worldview into your stories.
Explore the “Why”: Ask yourself why this story matters to you and how it connects with your audience.
Avoid Trends: Focus on timeless narratives rather than chasing current fads.

Example: Greta Gerwig’s Lady Bird was deeply personal, based on her experiences growing up in Sacramento. The film’s authenticity made it universally relatable.

Takeaway: The more personal the story, the more it resonates.

4. Developing Your Style: Consistency Meets Creativity

Style is not just about visuals—it’s how you tell a story across all elements of filmmaking.

Visual Language: Experiment with colors, lighting, and framing to create a distinct aesthetic.
Narrative Voice: Develop consistent themes or motifs across your projects.
Sound Design: Use music, sound effects, and silence to evoke specific emotions.

Example: Quentin Tarantino’s use of dialogue, pop culture references, and bold music choices makes his work instantly recognizable.

Takeaway: Your style should be intentional, evolving as you grow but always recognizable as yours.

5. Staying True to Yourself: Building Confidence in Your Vision

The filmmaking process is full of challenges, but staying true to your voice is essential.

Stay Authentic: Trust your instincts, even if your ideas seem unconventional.
Adapt Without Compromise: Be open to feedback but maintain your core vision.
Celebrate Your Growth: View every project, successful or not, as a stepping stone in your creative journey.

Example: Ava DuVernay shifted from public relations to filmmaking, staying true to her voice in films like Selma and 13th, which focus on social justice.

Takeaway: Your voice evolves with every project, so embrace the process.

Conclusion: From Idea to Screen, Your Voice is Your Superpower

Finding your voice as a filmmaker takes time, courage, and commitment. By exploring your influences, taking risks, and staying true to your perspective, you’ll craft stories that not only stand out but also resonate deeply with your audience.

Bolanle Media is excited to announce our partnership with The Newbie Film Academy to offer comprehensive courses designed specifically for aspiring screenwriters. Whether you’re just starting out or looking to enhance your skills, our resources will provide you with the tools and knowledge needed to succeed in the competitive world of screenwriting. Join us today to unlock your creative potential and take your first steps toward crafting compelling stories that resonate with audiences. Let’s turn your ideas into impactful scripts together!