THE MAGAZINE TEAM
EDITOR-IN-CHIEF
GIA KRUPENS
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ART DIRECTOR CAROLINE
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PAYTON SMITH
BAE
ALANA LOINAZ
NAPOLITANI
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Gia Krupens, Editor-in-Chief gkrupens22westmedia.com
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Gerricka Dacpano, Illustrator @gekafaye
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Disclaimer and Publication Information: 22 West Magazine is published using ad money and partial funding provided by the Associated Students, Inc. All Editorials are the opinions of their individual authors, not the magazine, ASI nor LBSU. All students are welcome and encouraged to be a part of the staff. All letters to the editor will be considered for publication. However, LBSU students will have precedence. Please include name and major for all submissions. They are subject to editing and will not be returned. Letters may or may not be edited for grammar, spelling, punctuation, and length. 22 West Magazine will publish anonymous letters, articles, editorials, and illustrations, but must have your name and information attached for our records. Letters to the editor should be no longer than 500 words. 22 West Magazine assumes no responsibility, nor is it liable, for claims of its advertisers. Grievance procedures are available in the Associated Students business office.
LETTER FROM AN EDITOR
In my opinion, music is the most authentic channel for human connection. It unites all of us, regardless of generation, culture, or background. It’s everyone at the club dancing to the same song. It’s complimenting a classmate’s band tee even if you’ve never spoken to them before. And it’s how my entire family sings along to “(Rock) Superstar (Feat. Chino Moreno & Everlast)” by Cypress Hill in the car on road trips together.
That’s why 22 West Magazine is thrilled to present: THE MUSIC ISSUE. This issue is very special to me and I’m so proud of the work our volunteers did in this one. There are pieces about eclectic Spotify playlists, the importance of Brazilian funk to the favelas, and the music communities surrounding us right here on campus.
So thanks for picking up this super special issue! Do me a favor: go find somewhere nice to sit, turn on your favorite playlist, and immerse yourself in the music between these pages. Enjoy!
GIA KRUPENS EDITOR-IN-CHIEF
CONTRIBUTORS
Wanna be on this list? )––
Ashley Tanha, Writer
August Berrios, Writer
Brianna Ortiz, Writer
Eric Ceja Ruiz, Writer
Jason Green, Writer
Karen Lopez, Writer
Adrian Calderon, Photographer & Writer
Elizabeth Anthony, Artist & Writer
Gerricka Dacpano, Artist & Writer
Alana Yu, Artist
Alex Acevedo, Artist
Ariadne Avila, Artist
Calvin Nguyen, Artist
Jo Lin, Artist
Menghao Lee, Artist
Moonie Vergara, Artist
Serena Logan, Artist
Tina Hung, Artist
THE REALITY OF MUSIC IN THE FAVELAS FUNK YOUR WAY TO
WRITTEN BY ALANA LOINAZ
ILLUSTRATION BY SERENA LOGAN
Brazilian funk is more than just a genre of music; it is a cultural and social phenomenon deeply embedded in the fabric of the favelas. By definition, the favelas are “informal settlements or shantytowns located within or on the outskirts of large cities in Brazil, often characterized by substandard housing and squalor.” They are formed when people occupy vacant land at the edge of a city and construct makeshift housing from salvaged materials. People in the favelas are usually the most exploited social class, ranging from low-income worker families to citizens that use the situation to sell drugs.
often incorporates beats, rhythms, and lyrics that reflect the day-to-day struggles and aspirations of favela residents. The music is raw, energetic, and deeply rooted in storytelling, making it an authentic representation of the social environment in which it thrives.
“Censoring funk does not address the root issues of poverty and inequality but instead silences a form of expression that brings visibility to these struggles.”
Originating from Rio de Janeiro in the 1970s, Brazilian funk has served as a powerful form of expression for marginalized communities, providing a voice for the youth and reflecting the realities of life in the favelas. Despite its controversial reputation, often linked to sex and violence, funk has become an essential part of Brazilian identity, contributing to economic opportunities, social movements, and the broader global music scene. Brazilian funk emerged as a musical response to the hardships and resilience of life in the favelas. The genre developed a unique sound that resonates with the local communities. Funk music
For many young people in the favelas, funk is a medium of self-expression. The lyrics frequently address themes such as poverty, police violence, sexual experiences, social inequality, and the desire for a better life. By putting their realities into music, artists give voice to a community that is often overlooked or misrepresented in mainstream media. Funk artists, known as “MCs,” become cultural icons, embodying the aspirations and struggles of their listeners. In this way, funk acts as a melodic mirror of society, reflecting the triumphs and tribulations of the marginalized. There is a lot of judgement involving the sexual lyrics that are often present in funk. Teenagers there often get caught up in violence due to drugs and face exposure to a sexualized environment very early on. What people do not understand is that the lyrics are truly a reflection of reality for people in the favelas, rather than a cause of social problems. Authorities in Brazil have attempted to
suppress funk music by cracking down on baile funks, citing concerns about crime and public safety. However, censoring funk does not address the root issues of poverty and inequality, but instead silences a form of expression that brings visibility to these struggles. Efforts to regulate and ban funk have been met with resistance, as artists and activists fight for the right to artistic freedom and cultural representation.
Funk music has a profound social impact, fostering a sense of community and solidarity among favela residents. One of the most significant manifestations of this is the “baile funk,” largescale dance parties that take place in the favelas. These events bring people together, creating a space where individuals can escape the difficulties of daily life and celebrate their culture through music and dance.
Baile funks are not only places for entertainment but also serve as a platform for emerging artists to showcase their talents.
For many young people, these parties are their first exposure to live performances and the creative possibilities within the music industry. Through funk, individuals find opportunities to engage in music production, DJing, and dance, opening doors to careers in entertainment that might otherwise be inaccessible due to economic constraints.
resistance and advocacy.
Beyond its cultural and social significance, funk music provides economic opportunities for many favela residents. The music industry surrounding funk creates jobs and generates income for artists, producers, dancers, event organizers, and sound engineers. In an environment where economic opportunities are scarce, funk offers a path for upward mobility, allowing talented individuals to escape poverty and build sustainable careers.
Many MCs and producers have risen from
music styles across the world. Global pop stars, such as Drake and Major Lazer, have incorporated elements of funk into their music, bringing greater visibility to the genre. The viral success of songs like “Vai Malandra” by Anitta and “Bum Bum Tam Tam” by MC Fioti has introduced funk to audiences beyond Brazil, proving its appeal on a global scale.
This international recognition has not only elevated the genre but has also contributed to a shift in perceptions about the favelas. As Brazilian funk reaches new audiences, it challenges negative stereotypes and highlights the rich cultural contributions of favela communities. The genre’s success serves as a testament to the creativity and resilience of those who have long been marginalized, proving that their voices and stories matter on a global stage.
Additionally, funk has played a role in social activism. Many artists use their platform to raise awareness about pressing social issues, such as police brutality, racism, and lack of public services in the favelas. Funk songs often serve as a critique of government policies that neglect marginalized communities, transforming music into a tool for
the favelas to national and international fame, using their success to invest in their communities. Artists like MC Kevinho, Anitta, and MC Bin Laden have brought Brazilian funk to global audiences, proving that the genre has the potential to transcend socioeconomic barriers. As funk gains recognition worldwide, it attracts more investment and creates new avenues for economic growth within the favelas.
In recent years, Brazilian funk has gained international recognition, influencing artists and
Brazilian funk is an essential cultural force in the favelas, providing a platform for self-expression, community building, economic empowerment, and social activism. Despite facing criticism and challenges, the genre continues to thrive, reflecting the resilience and creativity of the people who create it. As funk gains international recognition, it has the potential to reshape perceptions of the favelas, highlighting the strength and vibrancy of these communities. Ultimately, Brazilian funk is more than just music—it is a movement that amplifies voices, fosters unity, and drives social change, proving its lasting importance in both Brazilian society and the global music landscape.
The do-it-yourself music scene in the Los Angeles and Orange County areas has produced some of the most influential bands in today’s contemporary music culture. Bands like Black Flag, Sublime, Agent Orange, and The Garden are all examples of influential figures that all had their start in these local music scenes. These bands’ outreach on different scenes in OC and LA remains prevalent in today’s DIY music
subculture. Yet from a contemporary perspective, the bands that carve a path of their own throughout their local scenes, shoving aside the commercial aspect of music and truly connecting with their audience, are the figures that keep local hardcore scenes alive. Bands like God Bless America (GBA), Automatic Loverz, No Current, and The Chapel are just a few of the acts that keep the vibrant local music culture alive.
Pros & Cons
No matter how a band defines the music they create, the beauty of the local scenes in OC and LA county is that there’s a lot of mixing between different musical subcultures and identities. Reilly Miranda, lead guitarist in Redback Widow and Phobia said, “Being somewhere where everyone’s united by music really makes me feel a special sense of connectedness.”
WRITTEN BY AUGUST BERRIOS
ILLUSTRATION BY MOONIE VERGARA
“We are all about bringing back the old school sound to the kids and having the most fun we can possibly have while doing it.”
Jack Goble, drummer of the aforementioned bands corroborates Miranda’s sentiments as well, “The scene itself creates a community of people built around loving music and also a competitive drive for musicians to improve themselves and show up to a band practice or even just a show.”
Attitudes like these mirror why the local music scene is so diverse, not just in music taste but the overarching culture that people subscribe themselves to.
Furthermore, Johnny Mac, the vocalist of the band No Current said, “A pro of the scene that I have noticed is that all the kids that go to shows seem to have a blast no matter who they are seeing or even if it’s their first show. Some people have hit us up after shows and tell us that [it] was a really cool first show experience seeing us play.” Experiences like the one laid out by Mac display how even newcomers to the scene can create a sentimental bond within the culture created by these local bands.
The landscape of the DIY music scene is beautiful, but like any subculture, there will always be drawbacks. Such limitations may affect members of a band or the audience that the scene creates. One gripe that can be seen from the lens of music creation is the idea of too much repetition. Although many subsections of music attain a cultlike following, in some contexts it can be seen as trend hopping.
Charlie, the bassist from Automatic Loverz, uses grindcore as an example stating, “When people see other bands playing like that, they just want to hop on.” This is not a diss towards grind bands or the people who play that type of music. However, the
idea Charlie stamps in with her example shows the importance of prioritizing passion over whatever is big at that given moment. Other members of Automatic Loverz echo this idea. Nate, the vocalist of the band said, “They start bands just to say they are in a band.” Once again, Nate’s sentiments over the topic are not digs at certain bands or musicians. His statement acts as a tell-tale sign that, to get fulfillment from being in a band, musicians should align themselves with whatever it is that they make.
Although it is easy to see cons in any music-related culture from the lens of the music that is curated, there can also be certain drawbacks from the scene itself. Goble said on the matter, “Community can turn into cliques… friendly competitiveness, can turn into aggression or disputes.” These issues mentioned by Goble could be found within anyone in the local music scene. Yet, it acts as a reminder that one of the local music scene’s biggest strengths is to bring people back together which could mend and unite anyone. Other issues within the scene can also be seen as very contextual based on the crowd that could come to any show. Mac said, “Sometimes kids go to shows just to party and do drugs and not even care about the music which sucks because the scene is about the bands playing music and having fun.” Problems like these, as mentioned previously, require a lot of context to the situation but are a factor that could be advocated more often within the scene. Even with these cons, the beauty of local music scenes will always shine bright. The music, the ideas, and the culture that these bands add to the scene are the overpowering factors that aim the local music scenes in the OC and LA areas in a positive direction.
What Bands Add to the Local Music Scene
With an incredibly diverse and united culture, local music scenes in the OC and LA areas carve out beautiful communities. But, the cherry on top is the bands that encompass the vast nature of DIY music. Kobe, guitarist of the Automatic Loverz commented on the hardcore nature of the DIY scene, “It’s super cool but, this is why I love rock ‘n’ roll, and I’m happy we can put people onto that.” Kobe’s reflection of the band highlights the beauty of the musical diversity within the scene. It allows
the creative minds behind Automatic Loverz to fully embrace the unique identity they create with their music.
Tonez, drummer for the band, added onto Kobe’s statement when he said, “We bring a sense of freshness when we play.” This freshness being their remarkable sound and stage presence every time they play. Tomas Wold, drummer of The Chapel, had similar sentiments when he said, “I think The Chapel adds a rock ‘n’ roll sound that’s been lost over time.” This rock ‘n’ roll influence Wold mentions adds even more beauty in a sea of more hardcore style music.
Additionally, the diversity of the DIY music scene doesn’t just add a sense of freshness to shows but also allows bands to rejuvenate old-school aspects of local music that have made the scene exciting and invigorating over the years. Mac said, “I feel like we add an old school sound to the scene with lots of fun and energy. We are all about bringing back the old school sound to the kids and having the most fun we can possibly have while doing it.” Revitalizing what could be considered “old school” can have a humongous impact on the scene. No Current does an amazing job in this regard, allowing newcomers to the scene to appreciate past influences and see how they add their creative twist to it in the modern realm of DIY music.
Conclusion
The DIY music scene in the OC and LA county areas is getting back to the liveliness seen in the 80’s and 90’s. Even with its issues, the culture being built by the bands, crowds, and venues creates a sense of diversity that glues everyone together.
If you want to catch any of these bands live, they play all around the LA and OC area in a vast variety of venues. The Automatic Loverz have an eight track EP coming soon on top of a new music video that just dropped titled “UNIFORMS.” No Current is also set to release a new EP soon, along with their new single on Spotify, “Free The Youth.”
If you can’t make it to a show, these bands have a lot of their live sets uploaded onto Youtube and Instagram.
Ilove going to concerts. The whole plan of it. Getting excited to buy the tickets, planning who you are going with, freaking out over what you are going to wear, counting down the days, and then finally seeing the artist. It’s such an adrenaline rush that I wouldn’t mind reliving the feeling over and over again.
However, out of everything, what I love most is the outfit choice. Do I want to correlate with my friend? Maybe do a solo act? How much do I want to stick with the theme? The whole process of it is exciting and so much fun. My friend and I always express our excitement through our outfits by asking questions like, “What do you think the theme will be?” and “What do you think people will wear?” With this thought process, I always wonder how people coordinate themes in terms of outfits. It seems like everyone is telepathic and has a similar understanding, yet at the same time tries to outdo each other.
“It’s literally ‘Dress to Impress’ in real life,” Jaime Rodriguez, an avid concert-goer and junior here at Long Beach State, said. He uses the famous Roblox game as an analogy to explain the reality of the outfit-choosing experience that goes into a concert. Within the game, a theme is generated and you have about four minutes to create a look that best supports it. Then, it is announced to the judges and you wait to get your ratings. It’s similar to the real life concert experience, where thousands of fans get ready to generate the best outfits to showcase at the concert.
TikTok and Instagram are also used to display the looks put together by fans, allowing the rest of the world to comment on it. A recent concert that has showcased this “themed” phenomenon is the Taylor Swift Eras Tour, where fans dressed up from an era of their choosing. I’ve seen girls go full out, with some wearing prom dresses, which was a fun sight. Fans use these opportunities to showcase their fashion creativity and express their personalities and connections to the artists they are seeing. Even though concert attendees go with a specific theme in mind, I’ve noticed that they also add their own spark to the trend. At a Billie Eilish show, for example, since she is known for street clothing, fans will wear simple jorts or baggy pants and a crop top, but in contrast, make their hair look very feminine and cool.
Remembering back to when I was 11, I remember people just caring about being in the moment and freaking out about how close they were to the artist in a show. It feels like worlds apart from today since the media has been at play. People now care about how they dress and look, as well as the number of likes they receive due to their outfits alone. With this being said, I can’t say that I’m not a victim of this aspect of concert culture. Just like in the game, Dress to Impress, I always try to stay on theme when I go to a concert as it makes me feel more put together and included in the experience.
Sticking with the themes helps me out with artists that I’ve never seen live before, like Conan
“Concerts have evolved from simply coming together as one to enjoying music in a social event where people express their understanding and love for artists through their clothing.”
Gray. I had no idea of what to expect going in, so I relied on ideas and suggestions online of what to wear to his concert. To help my dilemma, I used TikTok to my advantage and started researching on what to wear and I noticed girls wearing cowboy hats. I’m not sure what the significance of that was, but my friend and I went out and bought ourselves a cowboy hat. It was later addressed that fans throw these hats to him as a sign of appreciation for his music and a thank you for coming to their city. Even though I didn’t have the chance to do that, I still received so many compliments on the hat, more than I did on the outfit itself; which helped me feel like I actually belonged in that setting.
Similar to my experience, people across the world use TikTok as a way to find information, as it has become a crucial platform for fans to share
their predictions and outfit ideas for concerts. One memory of this was at Olivia Rodrigo’s GUTS Tour. Before the United States tour dates were announced, fans became detectives and tried to pinpoint what the theme might be based on the album cover alone. This not only brings fans together by sparking huge discussions about what to expect, but also helps build excitement about the concert. Later on, Rodrigo debuted a more grunge look by wearing fishnets and tight bodysuits. So to incorporate this look, fans did the same. They dressed up in purple (symbolic of the album cover), platform boots, and black tops. Some poked fun by wearing a glittery skirt paired with an “I love me” t-shirt.
Seeing countless videos about “What I wore to my Billie Eilish concert” has set an unspoken expectation of having to show up to a concert in “uniform;” a set of clothing that best fits the theme. For those who want to take an easier route, many people end up wearing merch for their concerts, like I did with the Kendrick Lamar concert.
Concerts have evolved from simply coming together as one to enjoying music in a social event where people express their understanding and love for artists through their clothing. This has brought thousands of music enthusiasts together by allowing communication on platforms like TikTok and Instagram to be used as fashion inspiration for the next concert goer. Over time, this experience has been linked to the famous “Dress to Impress” Roblox game, illustrating how concerts have turned into reallife fashion shows with prizes for best outfits, which just like the game, is to receive compliments and likes.
Concerts are not only a place to have fun and build memories with your friends and family but also to exhibit your identity and foster a sense of belonging within the artist’s community. By dressing grunge to match Olivia, alt to match Arctic Monkeys, and street wear to match Billie Eilish, fans used concerts as a place for expression, which is a pretty cool thing to be a part of.
come as you are!
(but make sure to fit in.)
WRITTEN
BY
ASHLEY TANHA
ILLUSTRATION
BY
ALANA YU
Eurovision:
MAKING EUROPE DANCE AND SING FOR OVER A CENTURY
“United By Music” became Eurovision’s permanent slogan in 2023; however, the most watched non-sporting event per year, the Eurovision Song Contest, has brought countries in Europe and beyond together in song for more than half a century.
Created by the European Broadcasting Union (EBU), from its inaugural competition in 1956, the Eurovision Song Contest has fostered a sense of peace through music annually for 69 years. The 69th contest is poised to be held this May in Basel, Switzerland, as the Swiss singer Nemo won
in 2024. The event last year amassed over 100 million viewers.
Eurovision organizes its setup by having countries hold a national competition or an internal selection for their representative artist or group with one original song. Around 35 or more countries participate each year.
Once countries select their pick, the participating countries are split and placed into one of two semi-finals on two separate days. Five artists are eliminated for each semi-final. To determine which countries are set to perform in one of the semi-fi-
nals, they are selected through a lottery system.
The public votes for which artist will enter the Grand Final. The audience in participating countries cannot vote for their own country.
After Australia joined in 2015, they opened voting to countries outside of Europe. In 2023, Eurovision opened the world vote in which anyone in non-participating countries can vote.
One unique aspect of this contest is that there are a total of five countries, known as the “Big Five,” that automatically head to the Grand Final: France, Germany, Italy, Spain, and the United Kingdom.
They are granted this privilege because they are the biggest financial contributors to the singing contest. A sixth country is included which is that year’s host country.
At the Grand Final, the voting system is split into two systems. Audiences vote again in deciding who wins the competition, but alongside a committee of judges from various participating countries. There is a show before the Grand Final where acts perform in front of the jury. Here, the jury casts their vote and the jury scores are announced at the Grand Final. In both systems, countries can give scores ranging from one to eight points on the songs they like, as well as 10 and 12, with 12 being the highest.
Whoever has the highest combined score wins the competition with a glass microphone-shaped trophy representing the grandness of Eurovision. The winning country hosts Eurovision the year after.
The inaugural contest was held incidentally in Luno, Switzerland in 1956. It was won by Swiss singer Lys Assia with her song “Refrain”.
The difference between the first edition and modern version of Eurovision was that in the first edition there were no semi-finals and judges solely voted behind closed doors with no public vote.
As successful years passed, a growing audience and traction with more country participation, iconic and legendary singers took to the world-watching stage.
One of the most famous winners was ABBA, representing Sweden with their song “Waterloo” in the 19th edition of the contest in 1974, bringing them international attention and launching their legendary band into stardom.
In recent memory, Swedish singer Loreen is considered one of the greatest artists to perform on the Eurovision stage by winning the contest twice. She won in 2012 with her pop hit “Euphoria.” Eleven years later she won again with “Tattoo” in 2023, contributing to Sweden’s tied record of the most wins with Ireland in Eurovision, which is seven. The only other singer to win twice was Ireland’s Johnny Logan in the years 1980 and 1987.
While there are countries that are passionate and dedicated to putting on a spectacular display, many such as Iceland, Armenia, and Croatia have never won the contest. Fans argue that Iceland
would have won Eurovision in 2020 with Daði Freyr’s “Think About Things,” but Covid-19 struck the world and constituted a lockdown.
The highest score in Eurovision goes to Salvador Sobral of Portugal in 2017. His song “Amar Pelos Dois” (easily placed in my top 10 favorite Eurovision songs) not only gained Portugal’s first ever win, but also received 758 points. To put this into perspective, that same year, Bulgaria placed second with 615 points and Moldova placed third with 374 points. Even more, 2024’s winner, Nemo, received 591 points.
Sobral won with a mic and lighting, no extreme graphics or dances. His voice was enough to perform a strong ballad.
While many Americans have little to no knowledge of Eurovision, there are a plethora of mainstream songs that originate from the contest.
“I believe Eurovision is like magic when done right.”
“Arcade” by Duncan Laurence was nearly impossible to ignore on TikTok in 2020-2021. Laurence won Eurovision in 2019, gaining over one billion streams on Spotify by August 2023, making it the most streamed Eurovision song in history.
Unfortunately, for some countries, money becomes an issue. Countries like Romania and Luxemburg discontinued their participation due to financial hardship. Luxemburg returned in 2024 after 31 years. Romania withdrew their participation in 2024 and this year as well. Bulgaria is also in the same boat as Romania, as they ended their acts at the contest after 2022. Turkey dropped their participation partly due to dissatisfaction of LGBTQ+ representation in the competition. Turkey has not competed since 2012.
This leads into the frustrating and problematic aspect of Eurovision: the attempt at non-political politics. It goes beyond fan uproar over their favorite artist not winning.
Russia was banned from participating in the singing contest after the Ukraine-Russia conflict commenced in 2022 because it goes against the values of Eurovision, but fans have found that to be hypocritical. As the conflict between Israel and
Palestine peaked, Israel was still allowed to participate in 2024 with their selected artist, Eden Golan. Her song, “Hurricane” was originally named “October Rain” but the EBU found it unacceptable.
The EBU still let Israel compete after many artists signed a petition to ban them. The fans’ rage was palpable at the 2024 grand final in Malmö, Sweden. They shouted loud boos towards Eurovision executive, Martin Österdahl, when he appeared.
On a non-political level, fans were angered when fan-favorite, Joost Klien, was unrightfully disqualified after an altercation with a member of the press. Outside of the stadium, there was a protest as well. It is fair to say that 2024 was not the best year for Eurovision.
Hopefully 2025 will be a peaceful one, but there is already a controversy. Miriana Conte of Malta was forced to change the name and some lyrics of her song “Kant” to “Serving” due to its similarity to a well-known slur.
While Eurovision has been having a rocky relationship with fans, as someone who is not from Europe, I believe that Eurovision can readily bolster the theme of peace and celebration.
I believe Eurovision is like magic when done right. Let the fans be mad that their favorite singer lost and not be mad over politics. I will continue to watch Eurovision yearly. My dream is to see the contest in person and not have to stream it. Music is a language in itself and its language unites us all.
WRITTEN BY JASON GREEN
ILLUSTRATION BY ARIADNE AVILA
WRITTEN BY
GIA KRUPENS
ILLUSTRATION BY
behind the board
TINA HUNG
When you go out to a bar, there is usually one defining thing about the night that you remember the next day. Maybe it was a really good drink or an awkward encounter with a stranger. For Havni Rami, it’s always the music.
Rami is a 21-year-old criminal justice major here at LBSU, but not only that, she’s also a defining element at many of the on-campus events. She’s the music.
As the Student Music Director at 22 West Radio, more often than not, Rami is the person behind the sound you hear at events like Week of Welcome, Smorgasport, and Speed Friending. Unknown to most students, she is the one mixing the music that you’re dancing to between classes.
“I used to go out to downtown Fullerton and there was a bar that we went to called Hopscotch,” she recalled. “We went just to chill and it ended up being a party because of the DJ and I was like ‘Wow, he turned the whole night out.’ Just because of him it switched the whole entire vibe and I think that’s when I really started considering it.”
When she started college in Fall 2021, Rami had no DJ experience besides a casual love for music and her inspiration from watching previous DJs during her nights out. She got involved with 22 West Media as a volunteer, hosting her own radio show, “Havin’ a Word with Havni.” It was there that she connected with the Music Director at the time, Salvador Villanueva Ramirez, who encouraged her to start mixing music.
“He was never judgemental,” Rami said. “He taught me at the level I was at and it was really easy to try new things. I remember one time I came in and I had a flash drive full of Middle Eastern music and I was like ‘I want to start mixing this,’ and he helped.”
It was that support that helped Rami grow as a DJ and see mixing as something she could realistically do. She continued to practice with Villanueva and tried mixes until she got it right. Eventually, her practice paid off when she was hired as a Performance DJ with 22 West Radio in January 2023.
“One of my first gigs on campus was Week of Welcome,” Rami says. “It was hard because I didn’t want to let Sal down because he believed in
me enough to hire me. My brother had come, my sister who doesn’t even go here had come… it was nerve-wracking, but after I was like ‘Ok, I can do this. I like it, I enjoy it. This is fun.’”
Rami continued to only grow from there. In August 2024, Rami was promoted to Music Director at 22 West Radio and took over most of the gigs. She became the face behind the board at tons of on-campus events. She has played at every Week of Welcome for the past two years, hosted 22 West Nights at The Nugget, and worked more events in the USU Ballrooms than she can count.
Playing on campus gave Rami the tools to succeed, but where she really thrives is the personal gigs she does off-campus. Since turning 21 last April, Rami has played in a few local bars around Long Beach, including The Bungalow, Port City Tavern, and Legends Sports Bar.
“She works off the crowd to build the vibe of the night, gets to experiment more with certain songs, and immerses herself in the people around her.”
“One of my first bar gigs was The Stache Bar,” Rami said. “I was like, ‘What am I getting myself into?’ I have to work prices, have to promote more, have to get a younger crowd . . . it was just a lot of work. You do all the work and get the reward at the end with everyone having fun.”
It’s those personal gigs that Rami gets to really have fun with. She works off the crowd to build the vibe of the night, gets to experiment more with certain songs, and immerses herself in the people around her.
“You’re reading body language,” she said. “Reading what they look like, looking at what they’re doing – if they’re dancing or bobbing their head. When the night first starts, it’s always ratioed old
people to young. When 10:30 kicks in, younger people are coming in, so now you start playing music that they’re going to dance to, which influences the older people to start dancing.”
She puts effort into making sure she’s providing the best atmosphere for everyone around her, but it’s not without the hard work and emotion behind the scenes. For Rami, it can still be nerve-wracking every time she does a gig, no matter how many successful ones she’s pulled off in the past.
“It’s like a birthday party,” she said. “Each gig is your birthday party and you hope someone shows up. I just want everyone to have fun at this party.”
All of it pays off for Rami when she sees the result of her hard work. The special moments are what makes DJing something she loves, like the girls who buy her shots during the night, the compliments from the bouncers on her way out, and the people that recognize her from gigs around town. It’s the small memories and connections that make all the other work worth it.
“I like having fun with people,” she said. “I think it’s really fun to be like the curator of the night. It’s just the connection with different people that I would never have met. Really random human interactions that would never happen.”
Rami gets to invest in those connections by continuing the legacy of Villanueva. Every Thursday she teaches DJ Class at 22 West Radio, the same place where she first got her start mixing. She works with students who were once just like her and gets to show them the ropes. It’s more than just part of the job description for Rami, it’s helping and connecting with the students that are in the same position she was once in.
“Seeing someone really get a mix down, that’s really fun. That’s the best part of it. They feel proud of themselves and I helped them do that,” she said.
Through all the best and worst gigs, the one constant for Rami is her passion for music. For her, recognizing the music is always what the gigs are about, and she hopes it’s the same for those listening.
“What makes a good gig? What makes it a good gig is people appreciating the music.”
MUSIC KATE BUSH
AND THE IMPORTANCE OF WEIRD GIRL
When I see Kate Bush, I think of the color red. Red boots. Red tights. Red nails. Brash, sensual, and smart. A red mouth contorting around a tale of desire, obsession, and possession.
Bush has had quite an impression on people, from her extensive fan club to other artists, all enthralled by her grasp on the intersection
between sound and emotion.
Bjork has praised Kate Bush, calling her a “genius” that she likes “very much.” Both Bjork and Bush, the former points out, wrote and produced their own material.
Tori Amos said Kate did “things that I’ve never heard anyone do,” St. Vincent mused that Kate “could soar so high into the ether and reach so
deep into your soul,” and Fiona Apple mentioned that “Kate’s music cheers her up when she’s sad.”
All of these women share a common trait of being alternative female musicians, going against the grain to create something interesting; and all have a connection to Bush.
So what made her music so damn cool?
Bush’s debut album, The Kick Inside (1978), is
composed of songs she wrote in her mid to late teens. Some standouts are “James and the Cold Gun,” the tale of a dejected gangster, and her breakout song, “Wuthering Heights,” in which she reaches a supernatural vocal range to channel the agony of Emily Bronte’s character Cathy in the novel of the same title.
Never For Ever (1980), is one of her best, in my opinion. She plunges her listener into the fractal sandstorms of Egypt, invokes a couple of revenge stories (including a conniving Russian wife and a murderous widow), and discusses an English writer’s syphilis. The entire record is a dreamy, windswept world, a diorama of trinkety nostalgic vignettes.
While her earlier albums are incredibly magical, The Dreaming (1982) is indubitably her magnum opus. For her first album with full production credits, she pulls out all the stops to curate an eclectic sonic ecosystem of fevered guerilla warfare, criminal underworlds, shadowy deception, and the relationship between love and fear.
The Dreaming opens with pounding drums and frantic layered protestations about ambition and knowledge on “Sat in Your Lap.” There’s a five minute track about the Vietnam War (“Pull Out the Pin”) scattered with an immersive medley of a fuzzy, mosquito-like ambience, humid guitar echoing in the distance, and the somber vocals of Pink Floyd guitarist, David Gilmour, shaping a sweaty and uncertain jungle filled with hidden soldiers. “There Goes a Tenner” is a track that suspends you in space, hovering over an old-timey Hollywood bank heist, insulated by drawn-out synthesizers.
Each song is a shadowbox: “Suspended in Gaffa” melds Catholic guilt to a jubilant piano melody; the title track illustrates the experience of Indigenous Australians using their traditional instruments; “Night of the Swallow” draws on traditional Celtic ballads to paint a picture of a woeful wife banning her husband from a velvety, crimefilled night; the grinding wails of “Houdini” characterize the woman behind the escape artist and her breathless, tense anxieties as he defies logic. The album ends with a song inspired by The Shining in which Bush once again pushes her voice to the limit to echo desperation and primal fear. Her later albums, including her famous Hounds of Love featuring the battering ram that is
“Running Up That Hill” and her agile, mature reflections in “The Sensual World” fill out her portfolio as a well-rounded, unique artist who transforms basic units of sound and voice and instrument into something completely unheard of. It’s no wonder she inspired and impressed so many innovative and powerful female artists.
Bush was encouraged by her label to fit into a certain standard of a sex symbol, yet she harnessed her appearance and public image with complete agency. Wearing long, bright red boots and saturated blue eyeliner to dance around on stage with the precision of a trained ballerina and the dramatics of an actress. Her performances, although they took the backseat as she gained more power over her music and retreated behind the scenes, were a spiritual experience characterized by the glitter and big hair of the day combined with 19th-century silk, headstones, pistols, and red tights. Going to see a Bush show or watching one of her music videos gave you Victorian vaudeville, a nymphomaniac symphony, or a Shakespearean bloodbath, depending on what song she performed.
Kate Bush is a woman who doesn’t shy away from any topic: crime, pregnancy, murder, suicide, and war are all fair game. She merges unique soundscapes, classic literature, world events, and a haunting storytelling voice to create entire universes within the confines of a single track. The unfurling of her many different and often subversive ideas and the meticulous method to their madness are what make her work unique. Only someone with an eye for precision and intense technical skills could write a song about the wife of a Maltese bird smuggler with the sound of Irish bagpipes in the background and make a great song. She develops these stories and executes them in a way no one else would have thought to make her stand out against the monotony that many women were forced into in the 70s.
And indeed, she stood out. Women didn’t typically write their own songs, let alone produce them. “Wuthering Heights,” which she wrote at 15, was the first number one UK single written by a woman, and this song was only the jumping off point of her career. Her steadfastness and confidence in her craft took her straight to the top, and her insistence on keeping “Wuthering Heights” rather than
“James and the Cold Gun” as the single was eventually a winning decision.
She set the stage for an entire generation of “weird girls” as alternative became its own, clearly defined genre. She proved that being unusual and being yourself could coexist, even under the glaring limelight. The feminine perspective of many
“She proved that being unusual and being yourself could coexist, even under the glaring limelight.”
of her stories has helped her to curate a fiercely feminine identity that’s a little rough around the edges but also twinkling with esoteric magic.
Kate Bush is a true artist. Her influences range from Stephen King to Victorian novels to old technicolor musicals to strange short stories that don’t age well. She has both stage presence and an uncanny ability to pull the strings of the show herself. Her dedication is clear, from the studious songwriting of her teenage years to the extreme lengths taken to alter her voice in the making of The Dreaming to her retrospective fastidiousness in “The Sensual World.” She had the ability to transform herself into a thousand different women, each one pushing the limits more and more until the limits evaporated.
“The more I work on an album the more I think it’s almost a process for me to try and heal myself, have a look at myself. Do you know what I mean? Actually a very selfish thing in a way, but I think art is. I do think what artistic people are trying to do is work through their problems through their art – look at themselves, confront all these things.”
Kate Bush
WRITTEN AND ILLUSTRATED BY ELIZABETH ANTHONY
RIDE OR DIE:
GROWING UP WITH TWENTY ONE PILOTS
On February 11, 2017, at the age of 12, I went to my very first concert. It was the Emotional Roadshow at the Golden 1 Center in Sacramento and I was seeing my favorite band, Twenty One Pilots. I’d heard that they were good performers, but I didn’t know exactly what to expect. What I definitely didn’t expect, however, was to walk out of that show with a completely different perspective on music and the power of an incredible live show.
I can’t even think of any words to describe how good that concert was. It was far more than just a concert, it was an experience! The band played Mario Kart against a fan on stage and climbed into inflatable hamster balls, rolling across the general admission crowd. They finished off the show by drumming on platforms held up by the crowd as confetti cannons showered the arena in bright red confetti, themed for the Blurryface era. I’ll never forget the look on my dad’s face as the lights came on, when he told me, “I’ve seen a lot of shows, Payton. And I’ll tell you right now, that was the best concert I’ve ever seen in my entire life.”
As the crowd began to shuffle out of the arena, I noticed fans on the floor scooping up handfuls of confetti from the floor. My dad and I were in the seats and the confetti just hadn’t quite reached us. He saw me looking at some girls on the floor, and pushed me to go try to ask if they would scoop up a bit of confetti for me. To my absolute joy, they agreed, and placed a few pieces into my hand. It made the day even more special, and I held them gently in my hands as my dad and I left the arena, blabbering to one another about how unforgettable this night would be.
From that day on, I knew that this band would be my band. I knew it was only the start of something amazing, and I was more right than I could’ve ever imagined.
I’ve since seen three new album cycles and six more concerts from Twenty One Pilots, totaling my show count at seven Twenty One Pilots concerts (so far). I have traveled hundreds of miles, even crossing state lines, to see them perform. Tyler Joseph, the singer of the band, has welcomed three children with his wife, Jenna; while Josh Dun, the drummer, has gotten married and become a pet parent with his wife, Debby (yes, Debby Ryan, who I have also since met at a Twenty
One Pilots show). I’ve watched my band grow and blossom into something unforgettable as the years went by.
Since Emotional Roadshow, I’ve achieved a lot too. I started high school as the Trench album cycle began in 2018 and saw my band two more times. I graduated high school during the Scaled and Icy era in 2022. I moved from Northern California to Long Beach, started college, and was able to navigate new beginnings and lots of change with help from my favorite songs and the story told by Twenty One Pilots. At “The Icy Tour” in 2022, I camped out in the rain for over 12 hours to hold my place in line, and caught Josh’s drumstick! I moved out of the dorms and into my apartment last year, and learned independence and patience along
“I’ve seen a lot of shows, Payton. And I’ll tell you right now, that was the best concert I’ve ever seen in my entire life.”
the way. Clancy was released last May and helped me figure out how to live on my own. At the 2024 “Clancy Tour” in Phoenix, I even had the once-in-alifetime opportunity to meet Joseph and Dun and tell them in person how much Twenty One Pilots means to me, which I’d been dreaming of since I was 11. It was absolutely unforgettable, and I will always cherish the lovely conversation I had with my heroes that day. I’ve battled my own mental health struggles and overcome my hardest days, and having Twenty One Pilots to turn to has guided me through it all to where I am today.
This past August I found myself back in the Golden 1 Center for another Twenty One Pilots concert, this time at the place in the arena that
I’ve since gotten comfortable calling home: the general admission pit. As Joseph and Dun brought out their drums for the confetti finale, I couldn’t help but reflect on the full-circle moment I was experiencing. After almost a decade of growth and change, I was back in the arena where it all began, but this time, I was the one scooping bright red Clancy-themed confetti up off of the floor.
As I was leaving, I held my confetti tightly between my palms, careful to not drop a single piece. I chatted with my friend Sam, who’s been my concert buddy for five of our shows, about how it truly just never gets old when all of a sudden two young girls ran up to us. One of them looked at my confetti and then back at me as she said, “Excuse me, we were in the seats and couldn’t get any confetti. Could I possibly have a couple of pieces?”
To be in a position to give someone else the same extra special souvenir in the exact place it was once given to me was a memory I will always hold close to my heart. In any other fanbase, people might be jealous or selfish when it comes to getting the best views or experiences at a show, but I can say confidently and proudly that people will always show you kindness at my band’s shows.
I know that my band is most people’s “middle school interest” band, but Twenty One Pilots has always been so much more to me. Especially in a world where new music comes and goes in the blink of an eye, my experience as a Twenty One Pilots fan has been so wonderfully strong and sturdy over the years, and it’s been so rewarding to grow up alongside the band that’s helped me through growing up. I can’t wait to keep singing, dancing, and sharing confetti with my Twenty One Pilots family forever.
WRITTEN BY PAYTON SMITH
in the keylifeof
A WINDOW INTO THE MUSICIAN’S WORLD
PHOTO ESSAY BY ADRIAN CALDERON
Music is one of many channels connecting us through cultures, time, and the passage of peaceful places in our everyday lives. It is a compulsion that brings in the essence of human understanding, where stories intertwined with personal life transform into widespread harmonies. Passing through the artistic ability of three musicians at the Bob Cole Conservatory of Music– Keely, Arturo, and Sean— we get a perspective of the commitment, culture, and uniqueness that gives rise to music.
Keely: A Pianist and Opera Singer’s Dual Artistry
Keely is an artist whose skills expand in two different but expressive formats of music: opera and piano. For a moment, she is placed in front of her Baldwin upright piano, her tattooed arm relaxing while her fingers touch the keys. She then ejects her voice so powerfully it fills the room and channels emotion in the depths of opera. For Keely, music is not just a singular instrument or style– it is a conversational, symphonic dialogue between one another through the meaningful narration of her voice.
Her innovative expanse, ornamented with sheet music and personal style, mirrors her selfhood and spirit. The striped shirt that she is wearing and the vitality of her efforts speak to her liveliness, as the
“It is a conversational, symphonic dialogue between one another through the meaningful narration of her voice.”
piano assists as both a basis for her art and an ally in her expedition. Keely’s paired talents are a demonstration of the extensive prospects of musical expression, where every note and phrase blare with distinctive meaning.
Arturo: The Trombonist Bridging Tradition and Modernity
Arturo, seen in a moment of concentration, inhales life into the continual sounds of the trombone. While his body is against a backdrop of teal walls, he positions his instrument with relaxation resulting from intense hours of practice and immeasurable correlation to his craft. The trombone itself, with its lavish brass tone, conveys an outcome of tradition– specifically one that Arturo maintains as he imbues his own current sensitiveness.
The smartwatch and organized sheet music that is near gives a glimpse at his expertise to combine old and new. In Arturo’s hands, the trombone transforms into something more than just a tool–it also acts as a voice, a visual medium for narration that dignifies the past as it welcomes the
present. His nerveless stance and concentrated stare bring to light the nature of a musician who is both established in principles and is well prepared to innovate.
Sean: The Trumpeter’s Bold Expression
Sean’s story is revealed across the striking, ringing tones of the trumpet. Also against a teal-hued backdrop, he perches with an unaffected confidence, assured to transform inhalation to a tune. The trumpet is an instrument of accuracy and a place for passionate creativity. Sean’s efforts mirror his dedication to getting the hang of this balance, fusing technological skills with distinctive verbalization.
Just like Arturo, Sean leads his current personal flair to an elegant instrument. His surroundings work as a physical medium through the presence of a music stand and the quiet hum of the enclosed area ready to be heard. The lavish, golden brass of his trumpet gleams as a symbol of effort, an impression of the thriving voice he conveys to his instrument. Sean’s expedition is a remem-
brance of the power of music’s ability to engage and encourage.
Music as a Reflection of Life
Through Arturo, Keely, and Sean, we can see three extraordinary viewpoints on the meaning of being a musician. In their own way, each of them makes a craft that is valuable, yet completely vibrant. Whether across the multilayered rhythms of opera and piano, the leveled ability on the trombone, or the clear range of the trumpet, their art is a reminder that music is not just an act of entertainment– it’s an act of existing.
A Timeless Melody
In these photographs, our attention is brought to the reminder of music’s ability to unite, restore, and modify. For Arturo, Keely, and Sean, music is a timeless discussion with one’s self and the world. Their stories motivate us to tune in more closely, to have a deeper understanding, and to search for balance in ourselves.
“Their art is a reminder that music is not just an act of entertainment– it’s an act of existing.”
Unmask the Music of our Masquerade
WRITTEN
BY
GERRICKA DACPANO & BRIANNA ORTIZ
ILLUSTRATION BY
MENGHAO LEE
When you think of a gallery, you may picture an isolated room surrounded by white walls with various artwork strung about. The floor is either hardwood or concrete, and the guests are probably rich elites and art connoisseurs mingling with wine and crackers in their hands. Of course, this is the more stereotypical scenario that most people imagine.
And then there’s the music. Most likely it is either classical or jazz instrumentals, maybe even opera if you are fancy enough. But what if it was something less conventional, like punk, rock, or rap? How would music affect the way people see the art? What role does it play in shaping the gallery show altogether? With this in mind, we interviewed members of the Spring 2025 Illustration BFA Senior Show “Unmasked” on how they’ve utilized music to promote their gallery, and how they’re planning to use it in their upcoming showcase.
Q: To start, who are you and what is your role in the gallery group (aside from artist)?
G: I’m Ethan Galvez, head of the social media committee.
R: I’m Michelle Ramos, head of gallery and clean-up.
K: I’m Natalia Kim! I’m one of the co-chairs.
Q: In what ways did you utilize music to promote the show?
R: The social media team added background music to the artist spotlights. We’re also planning on having ambient music during the gallery exhibition, both to match the theme of the exhibition and also just for general ambiance.
G: “Unmasked” heavily plays into the concepts of mystery and celebration. Music was the foundation that helped establish these concepts and evoke feelings when promoting the show. Jazz was the best choice since our visual theme pulled much of its inspiration from the era of Art Deco and Film Noir. When we first started promoting the show, we went with “Sing, Sing, Sing” by Benny Goodman as our main theme because it was able to build up feelings of curiosity and transition into something more upbeat and celebratory. We continued to incorporate Swing Jazz into our promotional trailers with the addition of Dark Jazz to further build on the mystery aspect of our show.
Q: What was the purpose of having each artist choose their own song for their artist spotlight? And how do you think the songs influenced the way people view the artist?
G: The artist spotlights not only introduced each artist participating in the show but also provided them with a platform to express their true selves to an audience they may not have had access to before. With that in mind, I wanted to give the artists as much creative control over what they wanted to include, including the music that played in the background. Believe it or not, a person’s music selection reveals a lot about them: their personality traits, emotional state, values, aesthetic preferences, identity, and even their creative expression. I hope audiences use this opportunity to learn more about our artists and maybe even start associating them with the songs they’ve picked, the same way superheroes have
their own theme music!
K: I think that choosing a song to play for the artist spotlight lets the audience know how we are as a person. Not only do they get a snippet of our art, but they also get what we probably listen to while we make the art!
Q: What type of music do you think fits the theme of the gallery show?
K: A mysterious or elegant vibe, we are trying to go for a dream masquerade!
R: Something smooth and jazzy. Our theme is “Masquerade,” so a style of music you would see at a masquerade event would be good.
Q: Were there any songs that helped inspire or set the mood for the gallery’s theme?
G: While there wasn’t a single song that directly inspired the gallery’s theme, many artists felt strongly about the video game “Persona 5” which
“Believe it or not, a person’s music selection reveals a lot about them.”
ultimately influenced the theme during the show’s development. “Beneath the Mask,” one of the overworld themes from the game by Lyn Inaizumi and Shoji Meguro, best embodies our theme with its symbolism around self-identity and the mystery it evokes. “Sing, Sing, Sing” by Benny Goodman also elicits a response that I feel perfectly fits the show; while some aspects of the song build up anticipation and curiosity, the overall energy makes you want to dance and celebrate!
Q: Will there be a playlist planned for the opening reception? What songs do you want to be played and why?
R: We still have to discuss the playlist itself, but having a playlist planned ahead of time is definitely something we’ll do. I don’t really have any songs off the top of my head, but I think something purely instrumental would be for the best.
G: I would love for “Beneath the Mask” and “No More What Ifs” from “Persona 5” to be played
throughout the gallery space. There’s a soft and peaceful feeling conveyed in both songs that I feel pairs perfectly with walking through a gallery. Additionally, the lyrics and symbolism align with the theme of the gallery.
Q: Outside of the gallery show, if your artwork had a personal theme to accompany it, what type of genre/which songs would it be? How do you think that would affect the way people look at your art?
K: I think definitely something similar to Charli xcx’s “Von dutch” or popular Kesha songs. I love that vibe for me!
R: I think for my personal artwork, the genre of music that would accompany it is video game soundtracks. It’s the kind of music I often listen to while drawing and it’s the perfect blend of engaging and unobtrusive.
G: I don’t believe there is a specific song or genre of music that best encapsulates my current artwork, given how different each piece is. If I were to choose music to accompany my art, it would be a song that represents me as an individual. “Crazy” by LE SSERAFIM, “Sugarcoat (NATTY SOLO)” by KISS OF LIFE, and “Whiplash” by aespa would be the contenders. At the end of the day, everything relates back to the self. I want people to look at the art I create or listen to the music I choose and see and think of me.
As you can see, music is a form of artistic expression that is being carefully considered by members of the upcoming gallery show. These artists know that music can help create a narrative, provide inspiration, and add to the overall emotions of the event. It is more than likely that the playlist chosen will play an important role in how they want to be remembered. The sounds of the night will be just another element to look forward to as the opening reception for the Illustration Senior Show: “Unmasked” will take place on Sunday, April 13, from 5-7 p.m. at the Gatov Galleries on campus. You won’t want to miss it!
WRITTEN BY KAREN LOPEZ
Awhat’s in my spotify?
t one point, strangers progress from acquaintance to friendship. Those friendships influence not only your future but also your music choices. I never really thought much of music besides accepting recommendations from those around me. As I rediscovered old songs, I remembered that some music was there for me when I was not strong enough to uphold and care for myself. It was my safe haven and a way to express myself without needing to say anything.
From elementary to middle school, I listened to pop artists like Avril Lavigne, and Melanie Martinez. In middle school, I used to listen to One Direction, Little Mix, and 5SOS. My favorite singer in 5SOS was Luke Hemmings, and I remember he was obsessed with penguins. If not for my close friend AC, I would’ve never known about alternative and pop rock. She first introduced me to Twenty One Pilots. I continue to listen to them because of how unique they are to me from their songs “Ride,” “Lane Boy,” “Heathens,” and more. They never disappointed me. I also like Green Day, Pvris, and Fall Out Boy. Overall, a great way to start my adventure in music.
I want to express my gratitude to someone from high school who has always been there for me from evening to morning conversations. I also want to thank them for introducing me to Indie music. To this day, I listen to it and reminisce about the times
“I remembered that some music was there for me when I was not strong enough to uphold and care for myself.”
we would hang out or the conversations we would have. Phum Viphurit was a good choice and that is what led me to listen to NIKI and 88Rising. I have no regrets.
As for ending my high school journey as a senior, I can only thank one man who probably will never know who I am. As an avid fan, I want to visit his country one day to pay my respects to his culture after seeing his acting career project over time. His name is Vachirawit Chivaare, also known as Bright. He mentioned in one of his interviews a song by RINI called “Aphrodite.” RINI’s music is like a slow-burn and golden ticket to R&B soul, if anyone gives it a chance. I will say the percussion and his soothing voice invite listeners to enjoy and vibe with RINI’s songs. His music from “Aphrodite” is also romantic, so if anyone is looking for similar recommendations, I suggest “Out of the Blue,” “Meet Me in Amsterdam,” and “My Favourite Clothes.” Within R&B and soul, I also listen to Dhruv and RealestK with his song, “One 4 U.”
At the beginning of community college, I listened to motivating music that lasted about a semester. It was short-lived, but it got me through the first semester.
If anyone ever wants to feel motivated, I recommend “Hall of Fame” from The Script. Sometimes the only way to move forward is not to expect that people will be there to motivate you, but to start doing whatever you want. You need to be your biggest supporter when others can’t. In life, we only regret chances we do not take and the opportunities we miss. I also enjoyed listening to, of course, Eminem. I vibe with “Lose Myself,” “Not Afraid,” and “Till I Collapse.”
During high school and the continuation of my community college, I listened to Korean pop (K-pop). I feel it’s a genre that has become
ILLUSTRATION BY CALVIN NGUYEN
broad nowadays because most people start off with mainstream K-pop. I listen to popular artists including BTS, SEVENTEEN, Stray Kids, and more. I also like listening to individual artists within K-pop like IU, AKMU, CL, and more. Most of the time I listen to songs of artists I connect to, but not to their full album. Since there are always new songs released by new idol groups, I gave up on trying to keep up with the next generation of K-Pop. Nothing can go wrong with listening to BTS. I know it’s cliche to say all of their songs are good, but I rest my case with “Proof.” For an emotional mood, I recommend “We are BulletProof: The Eternal,” “Intro: Serendipity,” and if you want more recommendations, let me know. I could go on about BTS. For CL, “Wish You Were Here,” is a tribute to her mother outside of her usual genre, but I think she made it with genuine raw emotion.
Spanish music recommendations are difficult for me because I grew up listening to Selena Quintanilla-Perez, Prince Royce, and regional Mexican music. “Creo en Mi (Believe in myself)” is one of the few songs I would say that I discovered on my own.
As for what I am currently listening to, it’s Keshi, Chase Atlantic, and Selena Gomez & The Scene. Going through my playlist from top to bottom made me reminisce and rediscover songs that were outside of the genres I previously mentioned. Examples are songs like “War of Hearts” by Ruelle, “Odo” by Ado, “When I grow up” by NF, and “I’m ready” by Jaden.
For more recommendations out of genres listed above, I would check these songs: “Pocket Locket” by Alaina Castillo, “Fake Protagonist” by Gestsunova, or “Qian Si Xi” by Aki.
I want to thank you for listening to my rant on my Spotify playlist. Hopefully you try to listen to new songs and expand your music genre too.
ILLUSTRATION BY JO
LIN
Moving through the dark, Skating past midnight, We’re not really thinking twice, When the moon is shining bright.
We were just 17, Our getaways were always clean. Nights skating in the dark, Taking hits at the park. Now our legs are all bruised up, But I haven’t had enough.
Running to the house up the hill, Where we jump through your windowsill.
POEM BY ERIC CEJA RUIZ
Melodies filling the dim room, As the needle on your record player pokes in between the grooves. We became stars who began to bloom.
You grab your guitar and strum your strings. Your shadow is all I can see As the sun rises for the spring.
You started singing about all the things That ever made us loving beings.
I borrowed your melody, you borrowed my pen. We were creating worlds with a piano and pen from the side of your bed.
You turned your riffs blue as I wrote poems for you.
We became our own stars, But even the brightest burn apart.
Seems like a night later, we turned 19. I was ready to perform my piece, But you were nowhere to be found. You were gone, and I had to come to peace.
I spend my nights skating alone Past midnight, hoping you come back home.
