that “the organization was established to provide avenues for members to develop and excel in different competencies necessary to enter the local music scene.” AMP was often misunderstood as just an organization full of performers, but many of its members hoped to prove that so much effort, time, and energy go into the production of those live performances. AMP24 and AMP25 wanted to ensure that we remained committed to AMP’s core identity and purpose as a music organization. Making this transition was not the dazzling venture one might hope for it to be, but there were a lot of little victories to be celebrated with our exploration of a new working environment. The loss of organic spaces led to a need for structural changes accompanied by the utilization of online platforms. AMP24 and AMP25’s Executive Board members did what they could to ensure that systems were in place in order to better facilitate future projects. Online workspaces like Notion, Google Sheets, and even Discord were made to be visually appealing and organized. Archives and documents about the organization have been collated, and templates have been provided for future generations of members, both in the online and onsite setting. As observed with other student-led organizations, AMP addressed issues and the needs of affected members. The organization’s officers worked to create conducive spaces for creativity and social interaction amongst the members and empowered them to pursue their passions even in such a time of uncertainty. Each department had its own share of struggles. Event promoters, photographers, and videographers went from covering live events to relying on social media engagement to maintain a presence online. Jerome Cortez, the current Fundraising Deputy, says that it has been difficult to promote merchandise since “they are meant to tie the physical items to experiences that people did not have, leading to a decrease in sales.” Jacob Tambunting, the on-site writing deputy, says that while writers did not really shift
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