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Photo by David Vangrov The red carpet was rolled out in Santa Monica this past Thursday as Lionsgate hosted the official Los Angeles screening of DIABLO , the explosive new action film starring Scott Adkins, Marko Zaror, Juan Camilo Castillo, and Alanna De La Rossa. The event marked a major cultural moment, uniting legacy Hollywood, rising Latino talent, and creator-led innovation under one roof. Held on June 13 at Lionsgate Studios, the premiere was co-hosted by Grindstone Entertainment Group and Highlightstar, the trailblazing social media-driven production company led by Bill Shadorf and Francisco “CiscoKid” Carrillo, who also makes his Executive Producer debut on DIABLO. The film is now officially available in select theatres and streaming on Amazon and Apple iTunes. The reception ahead of the screening was as bold as the film itself, with curated bites from TOMA Empanadas by Sofia and Manolo Vergara, and viral-favorite Wavers from David Dobrik’s The Original Doughbrik's Snacks. It was a night that perfectly blended cinematic tradition with creator economy clout. Photo by David Vangrov - DIABLO Cast 2025 DIABLO, directed by Ernesto Diaz Espinoza, is a sleek, hard-hitting action thriller helmed by a cast that delivers full-force performances. Executive producers CiscoKid and Bill Shadorf teamed with Grindstone’s Stan Wertlieb, producer Clay Epstein, and co-producers Jason Gurvitz, Craig Baumgarten, and Alvaro Gutierrez to bring this vision to life. Photo by David Vangrov In attendance were lead actors Marko Zaror and Alanna De La Rossa, director Espinoza, and dozens of notables across film, TV, and digital media including Laysla De Oliveira (Lioness), Jonathan Keltz, Callie Rose Deets (Griselda), DJ Steven Franz, Nick Nayersina, and Michelangelo Falcon, among many others. Bill Shadorf, CEO of Highlightstar, spoke to the future-forward nature of the project:"DIABLO is proof that the Creator Economy can redefine how stories are made and marketed. Cisco brought a fresh, disruptive vision to the table, and it shows in every frame.” Stan Wertlieb of Grindstone added, “With powerhouse performances from Scott, Marko, and Alanna, and Highlightstar's digital reach, DIABLO is built for global impact.” Director Ernesto Diaz Espinoza Now available for streaming and in theatres, DIABLO is already making waves with fans of high-intensity cinema and digital-native audiences alike. With CiscoKid stepping into his new role as an executive producer, and with Highlightstar continuing to bridge digital influence with film production, DIABLO is more than just a movie premiere. It’s the next chapter in the evolution of entertainment.

That was never a shallow conversation. To talk about “drummers who forged their generation’s sound” means drummers whose innovative techniques, unique grooves, and profound musicality didn't merely accompany their time’s music, but actively shaped and defined it. But who are these talented musicians? Let’s take a look: 1. Ringo Starr of The Beatles, the Master of Song-Serving Drumming In the whirlwind of the British Invasion, Ringo Starr of  The Beatles  proved that drumming didn't need flashy technique to be revolutionary. Often underestimated for his lack of overt technical fireworks, Ringo was a master of song-serving drumming.  His unique feel, iconic, often deceptively simple fills, and uncanny ability to craft the perfect drum part for every single song made him the ideal rhythmic anchor for The Beatles' groundbreaking sound. Ringo's grooves are instantly recognizable and perfectly fit the band's revolutionary songwriting, proving that taste, musicality, and restraint could trump showmanship.  2. The Big Band Virtuoso, Buddy Rich Undisputed as a titan of the big band era, Buddy Rich   epitomized drumming virtuosity. His breathtaking speed, surgical precision, and electrifying showmanship set a standard that remains a benchmark for drummers worldwide. Rich's ability to seamlessly integrate complex, explosive solos with an unwavering, driving swing elevated the drummer from an accompanist to a central, awe-inspiring figure.  He commanded the stage with an almost intimidating mastery, making every fill and every beat a statement of technical brilliance. For aspiring jazz and big band drummers, his meticulous rudimental control and innate musicality offer endless lessons in how to drive an entire orchestra with flair and power.  3. The Original ‘Drum God,’ Gene Krupa Gene Krupa   wasn't just a drummer; he was a phenomenon. Often credited as the first true "drum god," Krupa's powerful playing, dynamic solos, and charismatic stage presence brought the drums to the forefront of popular music in a way no one had before.  For instance, his iconic performance on "Sing, Sing, Sing" with Benny Goodman's Orchestra is a timeless testament to his ability to craft instantly recognizable and exhilarating drum parts, driving the entire ensemble with an infectious, almost primal energy. He made drumming cool, inspiring countless to pick up sticks and explore the rhythmic possibilities. 4. Max Roach, the Bebop Architect As jazz evolved, Max Roach emerged as a profound innovator, particularly within the bebop movement. His drumming was characterized by polyrhythmic genius, a sophisticated melodic approach, and an intellectual depth that pushed the instrument's expressive capabilities.  He also elevated the drum set as a voice for sophisticated improvisation, often focusing on intricate cymbal work and a subtle yet profound rhythmic vocabulary. His meticulous precision and groundbreaking concepts continue to influence jazz drummers seeking to imbue their playing with both intellectual rigor and emotional resonance. 5. The Hard Rock Behemoth, John Bonham of Led Zeppelin Familiar with the Hard Rock Cafe? Bonham is the personification of the ambience here. No discussion of rock drumming is complete without the monolithic presence of John Bonham of Led Zeppelin. Bonham's playing was a primal force of nature: immense power, an unparalleled, distinctively "behind the beat" groove, and iconic, often sparse yet incredibly impactful fills.  His impact is immeasurable. His sound became synonymous with raw power and musicality. Tracks like "When the Levee Breaks," "Kashmir," and his legendary solo piece "Moby Dick" showcase his unique approach to setting up his  drum parts for acoustic drum kits , often employing minimal but incredibly impactful elements to create a truly colossal, booming sound. Photo by  Envato 6. The Explosive Showman, The Who’s Keith Moon Keith Moon of The Who was the embodiment of chaotic energy and explosive brilliance, often described as a force of nature behind the kit. Moon's drumming was a relentless, attacking style, characterized by spontaneous, often cascading fills and an almost orchestral approach to the entire drum set. He showcased that drumming could be wild, unpredictable, and yet still propel a song forward with incredible urgency and excitement.  Songs like "My Generation" and "Won't Get Fooled Again" are perfect examples of his untamed, yet perfectly fitting, percussive onslaught, which perfectly mirrored the band's rebellious spirit. 7. James Brown's Drummers, Clyde Stubblefield and Jabo Starks, the Funk Innovators There are two drummers tying here. It's impossible to discuss funk drumming without acknowledging the revolutionary contributions of Clyde Stubblefield and Jabo Starks, the rhythmic engine room for James Brown. Individually and collectively, these two drummers didn't just play funk; they invented it.  Their incredible pocket, intricate syncopation, and uncanny ability to emphasize "the one" laid the rhythmic foundation for funk, hip-hop, and countless other genres. Their genius created an entirely new rhythmic language, proving that groove could be a complex and deeply intellectual art form.  8. Billy Cobham, the Fusion Powerhouse Pushing the boundaries of instrumental complexity, Billy Cobham emerged as a seminal figure in fusion drumming. With immense power, blistering speed, and unparalleled technicality, Cobham introduced polyrhythmic mastery and a blend of jazz complexity with rock power to a wider audience.  He effectively redefined what was possible on the drum kit, demonstrating that the instrument could be a vehicle for highly intricate, yet undeniably impactful, musical statements. His tracks are still being studied by drummers for their innovation, virtuosity, and the sheer audacity of their rhythmic structures. 9. The Reggae-Rock Architect, Stewart Copeland of The Police) Stewart Copeland of The Police brought a distinctive, instantly recognizable reggae-infused rock drumming style to the forefront. His unique, often high-pitched cymbal work, energetic fills that danced around the beat, and melodic approach to the drum set defined the sound of new wave and post-punk.  Copeland's ability to craft incredibly original, yet perfectly catchy, rhythms made The Police's music stand out in a crowded landscape. 10. The Progressive Metal Titan, Tool’s Danny Carey In the realm of progressive metal, Danny Carey of Tool stands as a colossal and singular figure. His drumming is a mesmerizing blend of polyrhythms, incredibly complex odd time signatures, and powerful, almost tribal elements.  Carey's immense power, meticulous precision, and intellectual approach have redefined metal drumming, pushing technical and rhythmic boundaries to extreme levels. He often incorporates mathematical concepts and sacred geometry into his playing, creating drum parts that are both intellectually stimulating and viscerally impactful.   That was quite a slam book of the world’s most talented drummers who took the music scene to a whole new level, profiling their lives, achievements, and impact.  Without drums, there would be no  pop music . From the swinging showmanship of the jazz legends to the raw power of rock and the intricate grooves of funk and fusion, they represent the pinnacle of rhythmic innovation. They are the architects who didn't just play music but also helped build the very foundations of musical genres, inspiring countless musicians along the way. Be inspired by them.

The history of music production is one of constant evolution, driven by advances in technology that have transformed how music sounds and how it’s made. Each new tool and method has allowed for new styles, genres, and approaches to emerge, with the influence of top mix engineers, producers, and mixing engineers helping shape these shifts. Today, the studio is not only a creative space but also an electronic laboratory where science and artistry blend to bring groundbreaking sounds to life. This article traces the technological milestones in music production, highlighting the impact of innovation on popular music and how producers and engineers have adapted to these changes. Early Days of Music Production: The Analog Era The Analog Mixing Deck In the early days, analog mixing desks were the cornerstone of music production. Known for their warmth and organic sound, these consoles were essential for achieving a rich, layered sound. Producers and top mix engineers  would use analog desks to blend vocals, guitars, and drums, giving each element its own space in the mix. This process was highly tactile, involving manual adjustments that contributed to a track’s unique feel. Some of the most iconic rock bands—like Led Zeppelin and The Beatles—benefited from the analog aesthetic, creating signature sounds that continue to inspire musicians today. Tape Machines and Multi-Track Recording The introduction of tape machines and multi-track recording in the 1950s and 60s was a game-changer. These technologies allowed engineers to layer sounds, record separate parts, and revisit takes, revolutionizing the production process. For the first time, producers could experiment with overdubbing and layering instruments, creating more complex arrangements. The multi-track approach also gave artists like The Rolling Stones and Pink Floyd the freedom to explore and innovate, setting new standards for what rock music could sound like. The Shift to Digital: The Rise of Digital Audio Workstations (DAWs) The Transition from Analog to Digital In the 1980s and 90s, the shift from analog to digital production tools marked a major turning point. Digital Audio Workstations (DAWs) replaced traditional mixing desks, offering unparalleled flexibility, precision, and cost-effectiveness. With DAWs, engineers could edit, cut, and rearrange sounds with ease, opening up endless creative possibilities. The rise of DAWs enabled greater experimentation, allowing producers to manipulate sound in ways that weren’t possible with analog equipment. Key Figures in Digital Adoption Some of the most successful mixing engineers and producers were early adopters of DAWs, pushing the boundaries of what digital production could achieve. Quincy Jones, for example, brought digital innovation to pop music with his work on Michael Jackson’s Thriller , layering sounds in ways that had never been done before. These pioneers set the stage for future genres like hip-hop, where sampling and beat-making would become integral to the production process. Impact on Genres The flexibility of DAWs allowed for more complex arrangements and experimentation, transforming pop music and other genres. Producers could now layer electronic elements, sample existing music, and play with tempo and pitch, creating a more polished and versatile sound. This shift encouraged the development of subgenres and the fusion of styles, making it easier for producers to experiment with blending hip-hop, electronic, and pop sounds. The Role of the Audio Engineering Society (AES) in Standardizing Practices Setting Industry Standards As technology advanced, the Audio Engineering Society (AES) played a crucial role in standardizing practices across the industry. By establishing quality and consistency benchmarks, the AES helped shape music production into a more refined and reliable field. These standards ensured that engineers had a reliable foundation from which to work, enhancing the overall quality of music production globally. Educational and Research Contributions Beyond setting standards, AES contributed significantly to the education and development of new generations of audio engineers. The society has also been at the forefront of research, supporting innovations in both analog and digital tools. AES-backed research has led to advancements in sound quality and production techniques, benefiting both aspiring and professional engineers. Key Advancements in Music Production Technology Over the Decades Sampling and Synthesizers Sampling and synthesizers were pivotal in shaping the sounds of the 1980s and 90s, particularly in genres like hip-hop and electronic music. Sampling allowed producers to incorporate existing recordings into new tracks, while synthesizers created sounds that were impossible with traditional instruments. Hip-hop producers, for instance, used samples to craft beats and hooks, creating the genre’s signature sound. Auto-Tune and Vocal Processing Auto-Tune, introduced in the late 1990s, transformed vocal processing by allowing pitch correction and unique vocal effects. Artists like Cher and, later, T-Pain popularized Auto-Tune in pop and hip-hop, where it became a stylistic choice rather than a corrective tool. This technology has since become a staple in modern music, adding a polished, futuristic touch to vocal tracks. Automation and Effects Plugins Automation and plugins have further empowered mixing engineers, enabling complex effects and seamless transitions within a track. Plugins offer a vast array of tools for adding reverb, distortion, and delay, which can enhance a song’s atmosphere and depth. Automation, meanwhile, allows engineers to adjust volume, panning, and effects throughout the track, making the production process smoother and more dynamic. The Impact of Technology on Genre Development Rock and the Analog Aesthetic Analog technology was crucial to the gritty, raw sound of classic rock music. Bands like The Rolling Stones, Nirvana, and Metallica embraced analog equipment to achieve a warm, unpolished sound that embodied the rebellious spirit of rock. The transition to digital brought a cleaner, more polished aesthetic, contrasting with the analog character that defined rock music’s early years. Hip-Hop’s Rise with Sampling and Beat-Making Hip-hop’s development was closely tied to advancements in sampling and drum machines, which allowed producers to create loops and beats from scratch. The genre’s focus on rhythm and repetition benefited immensely from these tools, giving hip-hop its signature beat-driven style. Pioneering hip-hop producers like Dr. Dre and J Dilla used sampling to elevate hip-hop, creating tracks that continue to influence the genre. Pop Music’s Embrace of Digital Innovation Pop music has always embraced technological advancements, from synthesizers in the 80s to DAWs and Auto-Tune in the 2000s. Producers like Max Martin and David Guetta have used digital tools to produce chart-topping hits, crafting a polished sound that appeals to global audiences. Pop music continues to evolve alongside technology, incorporating new techniques and trends to stay fresh and innovative. The Role of Top Mix Engineers and Music Producers in Shaping Sound Signature Sound and Genre-Bending Top music producers  and mix engineers often create signature sounds that define genres and eras. For instance, Rick Rubin’s minimalist production style in hip-hop and rock gave artists like the Beastie Boys and Red Hot Chili Peppers a unique edge. These signature approaches inspire new generations of producers and help shape the evolution of music. The Studio as an Electronics Laboratory In many ways, a music studio resembles an electronics laboratory where producers and engineers experiment with sound. Here, they test frequencies and layer effects and craft unique sonic textures, blending science and artistry to create new musical landscapes. This experimental approach keeps music production at the cutting edge. Consider looking at a music production courses for additonal support. Modern Production Tools and Techniques Advanced DAWs and Software Plugins Modern DAWs like Logic Pro and Ableton Live have become essential tools, offering extensive control and creative possibilities. These platforms allow producers to layer sounds, automate effects, and manipulate audio with precision, enabling intricate production work that was previously unattainable. For those eager to master these skills, high-quality music production courses offer an inside look at how professionals build and refine industry-grade mixes . Cloud Collaboration and Remote Production Cloud-based tools have transformed collaboration in the music industry, allowing producers and engineers to work together from anywhere. This innovation has led to cross-continental collaborations, helping artists achieve a global reach and influence. Virtual Instruments and AI-Powered Tools Virtual instruments and AI-powered tools have made music production more accessible and experimental. With AI, producers can generate unique sounds, while virtual instruments allow them to experiment with orchestras, drums, and synthesizers, broadening their creative options. The Art and Science of Music Production Blending Artistry with Technology Music production is a delicate balance of technical skill and creative vision. Top producers and engineers rely on technology as a foundation but use it as a tool for expressing artistry. This blend allows for innovation while preserving each track’s emotional essence. Signature Sound in a Technologically Evolving Landscape Despite technological shifts, top music producers continue to craft unique, recognizable sounds. By combining traditional techniques with new tools, they maintain their distinctiveness while adapting to modern trends. In Conclusion Technology has reshaped the music production landscape, introducing new tools, genres, and possibilities. The continuous evolution of production technology allows for unprecedented creativity, enabling top mix engineers, producers, and engineers to push the boundaries of sound. As digital and analog tools converge, the future of music production promises even more innovation, bridging past and present to shape the music of tomorrow.

Some songs stay surface-level. Dry Land does not. With haunting vocals, vivid metaphors, and a raw emotional undercurrent,  Songbird’s latest single “ Dry Land ” doesn’t just make a splash; it pulls you under and doesn’t let go until the final note. The 25-year-old pop singer/songwriter from Brick, New Jersey, is no stranger to storytelling, and this release proves she’s swimming in deeper waters than most of her peers. Written around the concept of sharks, yes, sharks, “Dry Land” uses the ocean predator as a metaphor for toxic relationships, intrusive thoughts, or anything in life that drags you below the surface. But what makes the song so special is its ambiguity. Some fans interpret it as a breakup anthem. Others see it as a battle with inner demons. For Songbird, that’s exactly the point. “No matter what is pulling you underwater, one day you’ll find dry land. I hope people understand their worth—learning to love themselves and grow.” Produced with a cinematic sheen and recorded in Nashville with a seasoned team, “Dry Land” blends moody piano chords with pop-driven hooks that crescendo into something cathartic. It’s got that classic pop ballad power, but with a unique edge, emotionally honest, thematically daring, and vocally mesmerizing. There’s something timeless in the way Songbird delivers her truth. She doesn’t just wear her heart on her sleeve; she writes it into every bar. And while the track dives into pain, confusion, and survival, it ultimately surfaces with a message of hope and strength. “Dry Land” feels like the kind of song you stumble on during a dark night and end up playing on repeat until the sun rises. It’s for anyone who’s ever felt like they were drowning and needed a reminder that land is closer than they think. You mentioned sharks were the original inspiration for "Dry Land." What drew you to that image, and how did it evolve into something so personal? I'm obsessed with sharks! They're the coolest creatures; I even have a shark tattoo and way too many plushies on my couch. When I went to Nashville, I co-wrote the song with Austin Heller and Jake Neumar. I told them all this, and we landed on writing about a toxic ex. More towards the behavior of a great white shark because they're my favorite! (The behavior says predatory hunting, curiosity, and much more that we used for the song).  The song has connected with people on many levels: breakups, mental health, and self-worth. Did you expect it to have that kind of emotional versatility? Honestly, no, but I'm glad it did. I wasn't too sure how people would take it again since sharks were the first main focus. When I showed it to my friends, they asked if it was based on inner demons. I was shocked and confused at first. Then I came to realize why I love music so much. Anyone can relate in any way. There are times I listen to a song and think it's one thing, but in reality, it's about something else. I love that you can interpret a song in any way you'd like. And I'm happy to see my song doing that for others. What was your experience like recording in Nashville? How did working with that team elevate the track? Recording in Nashville is my all-time preferred way of working on music. So far, all my music as Songbird has been recorded and co-written there (besides my song "All The Way" for a movie! I recorded in Nashville, but wrote it all myself). Before I was Songbird, I recorded in my home state, New Jersey. Don't get me wrong, recording music is the best no matter where, but Nashville is special. This song, specifically I, was in Austin's home studio. We co-wrote and recorded there, and it was so chill. I never felt any pressure; I felt like myself. I feel I'm able to get more done and have more creativity flowing. It's honestly the best, and I crave to do it more. How do your influences like Sara Bareilles, Adele, and Lana Del Rey shape your writing or vocal style? All of those artists have helped me grow as a singer. When I was in competition singing groups, I would perform solos as well. Most of the songs I was introduced to were by that artist. Once I found out about their music, I couldn't stop listening to their styles. Sara Bareilles, I would say, has the bigger impact. I won a competition back in 2015 with her song "Gravity," and that song has been a staple for me to perform since. Adele, the first song I learned to sing and play on the piano, was her song "Someone Like You." Lana Del Rey, the first song I sang was "Young And Beautiful"; it was at my 8th-grade chorus concert. It was also the night my fiancé asked me to be his girlfriend! They've all been very impactful in my life.  What message or feeling do you hope listeners carry with them after hearing "Dry Land"? After hearing "Dry Land," I hope my listeners realize they deserve happiness. To realize that whatever is dragging them underwater needs to be stopped. Everyone deserves to be themselves and not have to apologize for it. Be you, be happy, and find your own dry land.

Stas Mari' s new album 'Beyond the Sky' is not just a collection of songs; it is a living, breathing archive of emotion, ancestry, and place. With a voice that feels like both a whisper and a wave, Mari invites listeners to step into a deeply personal sonic world shaped by the California coast, motherhood, migration, and memory. The result is a rich, genre-blending folk fusion project that is as intimate as it is expansive. Co-produced by world-renowned musician Ricky Fataar (Bonnie Raitt, The Beach Boys), Beyond the Sky took over a decade to complete. Recorded between life's milestones, marriage, childbirth, a move from San Francisco to Big Sur, and the pandemic—the album carries the weight of lived experience in every note. And yet, it never feels heavy. Instead, it shimmers with light, honesty, and warmth. The album drifts effortlessly between moods and styles. There's the poetic and percussive "Pacaypallá," inspired by Pablo Neruda. The sweeping, heartbreaking "Rain On Me" was written in memory of a lost child. The haunting "The Steppe" honors Mari's Ukrainian great-grandmother. And the tender love song "Stories," a quiet celebration of a lifelong partnership. Each track carries its own emotional pulse, stitched together by Mari's captivating vocals and lyrical storytelling. What sets Beyond the Sky apart is its sense of sacred timing. It was not rushed. It simmered. It grew with her children and was uplifted by friends, including one who posthumously gifted Mari the means to finish the album. That generosity, like the songs themselves, adds a spiritual resonance that lingers long after the final track fades. This is music for kitchen tables, for morning drives, for grief, and for celebration. Stas Mari has crafted a timeless, soul-deep album that asks us to remember, reflect, and stay connected to our roots, to our loved ones, and to the quiet beauty beyond the sky. 'Beyond the Sky' took over a decade to complete. How did the passage of time and major life changes shape the way the album came together? We started recording the album when I still lived in San Francisco and when time felt limitless (becoming a mother teaches you that time is very precious!) I was in the midst of completing my Waldorf teacher training, surfing at Ocean Beach, and teaching gardening classes at a local school when the music came. It was a moment of inspiration. Whenever Ricky (my producer) was available, we'd gather in his home studio and collaborate on the songs. The process was casual and organic, and we didn't feel rushed. Later on, the logistics and realities of life were the reasons for the album's long simmer. Moving to Big Sur from San Francisco, isolating during the pandemic, and then becoming a mother of two boys put this music project on hold. It has felt like a huge feat to release this album as a "stay-at-home mom" when life is constantly interrupted by the needs of the little ones. Prioritizing time for creative expression is essential for my well-being. Hearing the songs that were recorded years before their release conjures up nostalgia... "Beyond the Sky" has become a time capsule and an era of my life. What was it like working with Ricky Fataar on such a profoundly personal project? When Ricky first pitched the idea of doing an album together, I was excited, honored, and also a bit intimidated. He has so much musical talent and experience, but as our friendship grew, I realized that this project was not only nourishing but also fun for both of us. He has become like an uncle figure to me and always puts me at ease when I bring a new song or idea to the table. Our studio sessions were productive, but they were always filled with quality heart-to-hearts in between the music. When he returned home from long tours with Bonnie Raitt, he appreciated diving into something completely different, where he had the creative license to bring each track to life. His home studio was an inspiring place to spend time-- filled with instruments from all over the world, each one with a story.  I feel like Ricky saw me grow into my adult self... getting married to my husband Ben and building my own family... he was a part of these big milestones. Each track on the album feels like a story. How do you decide which memories or moments become songs? Yes, there is a story in each track! Some are playful reflections of my life and my childhood, and others are about loss, coming of age, and matters of the heart. I am an empath, and sometimes, when I feel deeply moved by what I witness in the world, I express myself most effectively through song.  It's hard to say if there's a decisive moment when I choose to make a memory or moment into a song... sometimes the music comes first, and when I sense the mood or spirit of the song forming, the story or memory emerges. Songwriting hasn't come with a consistent formula for me. There are times, though, when a song must be written. With all the turmoil in Ukraine over the last decade, I learned more about my Ukrainian great-grandmother, a subsistence farmer and weaver who endured great hardship. Her resourcefulness and resilience have always moved me, and I wrote "The Steppe" in her voice. Another example of a song that I wrote without hesitation was "Fire," after the Soberanes Fire burned through my family's property in Big Sur. As Californians, we are no strangers to fire... when we are close to these forces of nature, we are humbled by their power. Your multicultural roots and time spent abroad clearly influence your sound. How do you approach blending different genres and cultural elements into your music? Whenever people ask, "What's your genre of music?" I have a tough time answering that question. My travels to South America and Mexico have brought so much rhythm and beauty to my life that I sometimes can't help but bring some of that flavor into my songs. There are words or phrases that sound less cliché when they're in another language and certain beats that instantly lift the spirit. When we traveled to Brazil for our honeymoon, I brought my guitar with me and learned chords and rhythms from whoever had the patience to teach me.  When I was reading from my favorite Pablo Neruda poetry book, I could hear music in the words of "Pacaypallá." They took me back to the months I spent living in Chile. And then there's something about writing a country folk tune with three or four chords... the satisfying and somewhat predictable way to tell a story that hopefully brings the listener ease and comfort. ("Country Down the Road" was that track for me). When I hear music that touches me, I sometimes say to myself, "I'd like to write a song like that." So why not? If listeners could walk away from this album holding one feeling or memory, what would you hope it is? I hope listeners feel like they have just sat around the kitchen table, sharing stories by candlelight. Sharing memories and telling stories can help us find wholeness and a sense of belonging. While our ancestry, paths, and experiences are different, we are never alone.

If you’ve ever found yourself longing for a version of the past that no longer exists, or wondering if you even appreciated it enough when it was happening, Maggie MacKenzie ’s debut EP, another time , is for you. The pop-folk singer-songwriter, fresh off her graduation from Berklee College of Music, wastes no time establishing herself as an emotionally attuned storyteller. With poetic lyricism, warm vocals, and minimalistic production that lets the emotion breathe, Maggie turns introspection into connection. Every track on another time feels like flipping through a diary you didn’t realize you were writing until the moment was already gone. The three-song project floats between memories and missed moments, with themes of homesickness, burnout, and heartbreak weaving a quiet but powerful thread. “Seven Again” taps into childhood nostalgia and the ache of growing up. The title track, “Another Time,” sits in the space between what was and what could’ve been. And “Black and White” unpacks heartbreak in grayscale, capturing the emotional fog of something ending before you’re ready to accept it. “This EP tells different stories, all with a common theme of being nostalgic for another point in time,” Maggie shares. “I hope people can see themselves in these songs and process emotions they maybe weren’t actively registering on their own.” Produced by fellow Berklee grad Jake Arnowitz, another time is as much a personal milestone as it is a shared experience. The EP reflects the intimacy of collaboration, pulling from honest conversations, late-night writing sessions, and a mutual love for storytelling through sound. There’s no overproduction here, no filters over the feeling. It's simply honest songwriting that makes space for listeners to remember their own “another time.” And in that space, Maggie MacKenzie finds her voice, one that resonates not just because it’s beautiful but because it’s real. Each song on this EP feels deeply specific. Was there a particular memory that sparked the idea for the overarching theme of “another time”? I believe the memory that gave rise to this overarching theme emerged while writing “Seven Again.” That was the first song on this EP that I wrote, and it set the tone of nostalgia and this longing to transport back to a previous moment in time. The memory that initially came to mind when writing “seven again” was getting picked up from school and driving around in my mom’s Toyota Sienna, running errands together, and singing along to the radio. This moment stood out as an example of how simple and carefree life can feel while still being joyful. Upon fully developing and realizing the other songs for this EP, it became clear to me that all of these songs shared the same sentiment of wanting to be back in another moment in time. I love how all these songs can feel different and distinct from one another, yet still share this sentiment. How did your time at Berklee influence the emotional and sonic choices you made on this project? My time at Berklee had a very strong influence on my songwriting style, not only from the classes I was in but from being inspired by so many incredible people around me. This time definitely influenced me to make bolder melodic and harmonic choices and to not hold back when fleshing out the lyrical content of my songs. I realized that if you lead with your own honest experience when songwriting, people will be able to find themselves in that music because of your openness. Berklee taught me and allowed me to evolve so much, and I’m so grateful to continue growing as a songwriter. “Seven Again” stands out as a reflection on childhood. What does that age symbolize for you in the context of the EP? Seven sticks out in my head as this perfect age - you’re old enough to have fully vivid memories of what day-to-day life was like, and you’re starting to develop your sense of self and identity, but you’re still spared from a lot of the external stressors. Things still felt light and a bit carefree, and that ease means more in hindsight because that age is such a turning point in our personal development. I think it symbolizes this idealized moment in time that people overlook, missing and having that sentimental attachment to. You’ve said you hope people process emotions they hadn’t registered yet; what emotion surprised you the most while writing this EP? I think the relief is what surprised me most while writing this EP! I knew that diving into these emotions would bring up some heavier emotions that I hadn’t fully processed. Upon getting to write about these feelings, though, I felt a sense of relief that I could find a way to verbalize and express these pent-up feelings. It was a very therapeutic experience, which I really didn’t expect to find during this writing process!  If you could go back to “another time” yourself, what moment would you choose, and what would you do differently, if anything? I love this question; choosing just one is tricky! I have some family in Wisconsin who have a lake house, and one summer, when I was 8, almost all of my extended family went to that lake to be together and share in that experience.  I would love to get to relive that time, to get to be back in such a special place with my family there! My mom is one of 10 kids, so we have a huge extended family. I’d love the chance to have that experience together again!

Aaron Sand, his dog Harvey, and Sandy Cohen at Stella Flame Gallery for Sandy Cohen’s “Boys Wanna Get With me, Girls Wanna Get With Me” art show - June 7th, 2025 - Photographer: Vital Agibalow  Singer-songwriter Aaron Sand made a polished appearance this past Saturday at renowned artist Sandy Cohen’s latest gallery show in The Hamptons, held at the elegant Stella Flame Gallery. The evening marked the debut of Cohen’s newest body of work, provocatively titled “Boys Wanna Get With Me, Girls Wanna Get With Me.” Known globally for her vibrant, unapologetic pieces, many of which reside in celebrity homes, Cohen continues to captivate with collections that challenge gender narratives and explore identity through bold, emotionally charged visuals. Running from 5 p.m. to 7 p.m. on June 7th, the event drew a full house. The gallery was buzzing with art collectors, creatives, and notable figures from the Hamptons’ elite social scene, as well as fans of both Sandy and Aaron who came out in full force to support. Aaron Sand, who promoted his attendance in a collaborative post with Cohen ahead of the show, turned heads with a carefully curated ensemble. He opted for a dark blue Michael Kors collared shirt, paired with white Michael Kors pants and sky blue Tommy Hilfiger dress shoes. His look was topped off with classic Michael Kors aviators and a New York Mets baseball cap, effortlessly blending upscale Hamptons elegance with laid-back, youthful charm. Aaron Sand, his dog Harvey, and Sandy Cohen at Stella Flame Gallery for Sandy Cohen’s “Boys Wanna Get With me, Girls Wanna Get With Me” art show - June 7th, 2025 - Photographer: Vital Agibalow / Raphael Avigdor  While fashion insiders noted that Sand has been spotted in several of these pieces before, he continues to be praised for his ability to restyle familiar items with fresh perspective. His intentional approach to fashion speaks to both sustainability and self-expression. “What’s the point in buying clothing if you’re only going to wear it once?” Sand said in a previous interview. “I’m very blessed to be able to pay good money for designer clothing, and I’m not gonna take that for granted. I love and cherish every piece that I have, and I rock them as much as I can. I also love fashion, so I enjoy mixing things up and seeing what outfits I can put together.” Aaron Sand and his dog Harvey at Stella Flame Gallery for Sandy Cohen’s “Boys Wanna Get With me, Girls Wanna Get With Me” art show - June 7th, 2025 - Photographer: Raphael Avigdor  Press photos from the night show Aaron and Sandy deep in conversation and posing together against the backdrop of Cohen’s newest works—an embodiment of the evening’s creative synergy. Aaron Sand, his dog Harvey, and Sandy Cohen at Stella Flame Gallery for Sandy Cohen’s “Boys Wanna Get With me, Girls Wanna Get With Me” art show - June 7th, 2025 - Photographer: Raphael Avigdor  Sandy Cohen's outfit: a fedora by NTTE Hats, shirt from her own collection (Fame by Sandy Cohen Art) pants by OAK, shoes by Allbirds , was the undeniable star of the show, as collectors and attendees filled the gallery to capacity. With multiple sales made and glowing feedback from the crowd, “Boys Wanna Get With Me, Girls Wanna Get With Me” marked yet another successful chapter in Cohen’s celebrated career.

You follow them for the fit checks. The perfectly worded captions. The edgy-but-safe takes. Maybe you even repost their tour promo or drop a fire emoji under their latest post. But ask yourself, when was the last time you actually listened to their music... more than once? We’re in an era where artist branding is tighter than ever, and the music? Sometimes, it’s just the background noise. The PR Machine Is Now the Main Act Let’s be honest: half the artists going viral right now don’t have a breakout song, they have a breakout narrative. A mental health journey. A DIY origin story. A curated alt-girl aesthetic or mysterious sadboy vibe. And that’s not shade, it’s strategy. Branding sells. The problem? PR has become more captivating than the actual sound. You’re not falling for the hook, you’re falling for the press release. Not Every Artist Is the One Running the Account We forget this too often: most artists at a certain level have teams running the show. That perfectly timed tweet? Scheduled. That vulnerable IG caption? Edited. That “spontaneous” TikTok moment? Strategized. You’re not just engaging with an artist, you’re engaging with an algorithm-informed brand identity built for maximum appeal. And there’s nothing wrong with that… until it starts to replace the art. The Music Doesn’t Always Match the Hype We’ve all done it. Hyped someone up based on aesthetics and “vibes” alone, only to finally listen to the EP and think… damn, this is mid. But by then, it’s too late. The narrative has taken over. And if the music isn’t hitting? You’re gaslit into thinking maybe you just don’t “get it.” Spoiler: it’s okay to say a perfectly marketed artist makes forgettable music. It doesn’t make you a hater, it makes you honest. PR-Driven Careers Aren’t Always Built to Last You can’t tour a backstory. You can’t sell out shows based on curated mystery. Eventually, the music has to hold weight. The artists who last are the ones who can strip the narrative away and still hit you in the chest with a lyric, a melody, a live set that actually moves you. We’ve seen careers built off vibes fizzle fast. That’s because PR can open the door, but the music still has to keep people in the room. So… What’s the Fix? It’s not about rejecting branding or story. Artists are human. They’re layered. They deserve compelling narratives. But as fans, we need to listen deeper. Ask questions. Are you replaying the song, or just reposting the mood board? As artists, we need to lead with the art. Make music that can exist without a viral rollout. Music that can hit just as hard in a quiet room as it does in a high-concept visualizer. PR isn’t the enemy. But when the polish becomes louder than the performance, we lose what music’s really about: connection. So next time you hit repost, ask yourself, do I love the artist?

The crowd. The stage. The sweaty green room selfies. The “I can’t believe I’m doing this” tour montage set to a moody track on Instagram. We’ve been sold a dream: Touring = success. But behind that dream? Burnout. Debt. Panic attacks in Motel 6 bathrooms. A gnawing sense of disconnection. And barely enough gas money to get to the next venue. Touring is the music industry’s favorite fantasy. And it’s time we admit, it’s killing artists. It’s Financially Wrecking Indie Artists Let’s start with the obvious. Touring is expensive as hell. Van rentals. Gas. Hotels. Food. Merch production. Paying your band or crew. Even for a DIY run, the numbers often don’t add up. You play five shows for $300 guarantees and maybe walk away with a few hundred in profit, if you’re lucky. And that’s before taxes and breakdowns (of the van and the mental kind). The truth is, many artists are losing money on tour. But they keep doing it. Why? Because the industry says this is how you make it. Everyone’s Burned Out, But Faking the Hustle Touring is physically brutal. The sleep deprivation. The loading in and out. The back-to-back emotional vulnerability on stage, night after night, while your body’s begging for rest. It’s also lonely. You’re disconnected from your home, your people, your routines. You’re expected to be “on” all the time, for fans, for press, for the algorithm. It’s isolating, exhausting, and totally normalized. And if you complain? You’re told to be grateful. Because this is “the dream,” right? Labels Push Touring Because It Benefits Them Let’s be real. The people who push artists to tour the hardest are often the ones not on the road. Labels want tour exposure to sell more records. Agents want their cut. Promoters want ticket sales. But if you drop out from exhaustion? If you get sick? If your mental health collapses mid-tour? You're the one who pays for it, financially and emotionally. There’s no safety net. No wellness support. No acknowledgment that the system is broken. Just more pressure to push through. You’re the product. The tour is the packaging. Social Media Only Shows the Highlight Reel Touring content gets likes. Fans eat it up. But let’s be clear: those vibey recap videos are edited. The in-between moments, crying in truck stop parking lots, anxiety spirals, wondering if it’s even worth it, don’t fit the feed. So we curate. We show the stage lights, not the stomach ulcers. And the cycle continues: Pretend you’re thriving, even when you’re barely holding on. There Has to Be Another Way We’re not saying touring should disappear. For some artists, it’s a lifeline. But for many, it’s unsustainable, especially in a post-pandemic economy where venues are fragile, expenses are up, and safety nets don’t exist. There needs to be room for alternative paths to success. Digital performances. Localized fan-building. Community-based models. Merch collabs. Licensing. Residencies. Artists shouldn’t have to sacrifice their health for credibility. We love the road warriors. But we refuse to romanticize the grind when it’s clearly breaking people. Touring is hard. Touring is risky. Touring is not always the best path, and that’s okay. Artists deserve better. More options. More support. More truth. Because surviving tour life shouldn’t be the requirement for being seen as legit. Your worth isn’t measured in mileage.

The most dangerous thing you can be in this industry? Honest. Say too much, and suddenly you’re “ungrateful.” Ask too many questions, and now you’re “difficult to work with.” Speak out, and you’ll watch people who once applauded your vulnerability fall completely silent. The system that claims to love authenticity is often the first to punish it. Let’s be real: the music industry doesn’t just exploit artists, it gaslights them. Step 1: Pretend You’re Family It always starts the same. A label, a manager, a “creative partner” says: We believe in you. We’re family. You’re safe here. And for a moment, you believe it. Until the contracts don’t match the promises. Until your ideas are watered down for “marketability.” Until you’re told to be more brandable, less emotional, and a little more palatable for radio. But when you question it? You’re the problem. Not the system. Not the exploitation. You. That’s gaslighting 101. Step 2: Isolate and Control A lot of artists don’t realize they’re being manipulated until it’s too late. The people around them start managing more than their career; they manage their narrative. What you post. Who you talk to. How you feel. Suddenly, you’re not sure what’s real anymore. You stop trusting your gut. You second-guess every song, every lyric, every truth that once made you powerful. And that’s the point. The industry doesn’t just want your talent, it wants your silence. Step 3: Punish Honesty and Praise Obedience Ever notice how artists who speak up about injustice, abuse, or mental health often get blacklisted? Meanwhile, those who stay quiet and play nice get the fast track, even if their art has no soul. That’s not an accident. It’s a strategy. The system rewards obedience, not originality. And when you step outside that mold, they hit you with: “Don’t air dirty laundry.” “You’re being dramatic.” “Maybe you’re just too sensitive.” Nah. Maybe we’re just done playing the game. Truth Is the Most Punk Thing You Can Do This industry feeds off your insecurity. It needs you to doubt yourself, so you’ll sign away your rights, your time, your art. But here’s the truth: your voice is your leverage. And your truth is what keeps this whole thing alive. So if you’re an artist reading this, and you’re tired of being told to “tone it down” or “be easier to work with," you’re not crazy. You’re being controlled. And breaking free starts with naming it. We’re not here to play nice with gatekeepers. We’re here to protect artists, challenge bullshit, and amplify voices the industry wants to quiet. The louder you get, the more scared they become. So keep creating. Keep questioning. And above all, don’t shut up.