WINGS SPRING - 2026

CERRITOS COLLEGE MAGAZINE

W I PAGE 1 N COVER G S MUSIC & ARTS MUSIC & MUSIC & ARTS ARTS Spring 2026

WINGS STAFF Mariana Alonso

Dayanara Arroyo Emily Astudillo Shylah Featherstone Camila Funes Cerritos Jane Guadalupe Cisneros Marina Gutierrez Kassandra Lopez Alexa Lopez Ivan Llata Abigail Luna Crystal Maeng Ashley Melendez Elijah Menjivar Patricia Mercado Rose Nunez Paul Repreza Jhovani Rojas

“All that matters is that you are making something you love, to the best of your ability, here and now.” ― Rick Rubin, The Creative Act: A Way of Being

Ángel Sánchez Keahno Siqueiros Samantha Thompson Jenny Nicole Varela Christian Brown, Adviser

EDITOR’S NOTE

Alicia Edquist, Instructional Lab Tech

This issue of WINGS is a celebration of everything that inspires us music, art, inspirational stories and family. Music has this unique ability to bring people together, young and old, and this edition showcases just that. The WINGS editors and staff writers have worked to create something that takes you on a journey whether it’s learning new stories or discovering new artists that might inspire you to start creating.

We are especially grateful to our lab tech, Alicia Edquist, for helping us bring this vision to life. A special highlight of this issue is the exclusive poster included with our release, a stunning collaboration between two incredible artists, Aye Mitch and Gustavo Vargas.

My community means everything to me, and I’m deeply grateful for the opportunity to share a piece of that with you. Thank you for being part of this journey with us.

Editor in Chief Karina Soriano Wings Magazine is a publication of the Cerritos College Talon Marks.

It is produced entirely by the Journalism & Media Studies News Media Production Course. Wings Magazine is fully funded by the Miami Foundation via Press Forward.

Cerritos College 11110 Alondra Blvd.

Norwalk, CA 90650 editor@talonmarks.com www.talonmarks.com/wings-magazine Wings Magazine ©Copyright 2026

WINGS | 3

6

GRAVE SECRETS Lead vocalist and guitarist of Grave Secrets shares the journey from small shows to Vans Warped Tour.

14

SABURNIA An intimate conversation with the up and coming sibling duo that’s revolutionalizing modern music.

TABLE OF CONTENTS TABLE OF CONTENTS

16 9 10 11 20

BRAINSTORY Brainstory’s rise, how they continue to push themselves and continue to rise.

MUSIC IS POLITICAL By: Keahno Siqueiros

CHRIS O’ BANNON By: Marina Gutierrez

RECORD STORES By: Patricia Mercado & Camila Funes Cerritos

JAMOND MCCOY By: Kassandra Lopez, Jane Guadalupe Cisneros & Alexa Lopez

22 24 25 29

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BEAT JUNKIES - DJ RHETTMATIC Q & A with legendary hip-hop DJ, producer of the Beat Junkies, Rhettmatic.

SANTA FE SPRINGS SWAP MEET By: Rose Nunez & Jenny Nicole Varela

CLASSIC ROCK BANDS By: Ivan Llata

30 32

TIKTOK AND POP CULTURE By: Mariana Alonso & Shylah Featherstone

REVIVAL TRENDS By: Crystal Maeng & Samantha Thompson

FINE ARTS THEATER By: Abigail Bianca Luna & Emily Astudillo

MUSIC IS MENTAL THERAPY

Editor’s note: Look out for the Spotify Codes on every story’s page to hear music inspired by every feature and story as you read along!

By: Ashley Melendez & Dayanara Arroyo

WINGS | 5

GRAVE SECRETS

Karina Soriano and Paul Repreza Vinny Morales, lead vocalist and guitarist of Grave Secrets, opens up about his LA-based band, their journey from small shows to the Vans Warped Tour, and the raw emotions that fuel their music. With a sound that blends post-hardcore, punk and heavy emo rock, Grave Secrets has cultivated a loyal fanbase that feels more like family than followers.

For Vinny Morales, music isn’t just a passion, it’s a lifeline. As the frontman of Grave Secrets, an LA-based band with melodic punk & hardcore influences. Morales channels his life’s struggles and triumphs into raw, emotional songs that resonate with fans who feel like outsiders. From growing up cleaning on Saturday mornings while listening to Maná, to discovering rock legends like Metallica and Led Zeppelin, Morales’ journey to music was shaped by the highs and lows of his upbringing.

Grave Secrets has quickly made a name for itself. With their debut EP I Wish I Was Sorry, the band has gone from playing small shows to performing at the iconic Vans Warped Tour in Long Beach and Orlando. For Morales, this journey is about more than just music. It’s about creating a space where fans can feel seen, heard, and understood.

In this exclusive interview, Morales shares the story behind Grave Secrets, their creative process, and the moments that have defined their rise in the punk scene.

AN INTERVIEW with GRAVE SECRETS

Photos by eyesofnubz

WINGS | 7

Q&A with Vinny Morales of Grave Secrets What is Grave Secrets, and what does it represent?

Grave Secrets is a band, but it’s more than that, it’s a community.

It’s for everyone who’s ever felt like a loner, like they didn’t belong.

Whether you were the kid in high school who didn’t fit in or someone who’s experienced loss or grown up without a parent, this band is for you. I call it a cult, in the best way possible. We’re like a family at our shows, a group of people escaping the world together to feel, express, and connect.

How did your love for music begin?

Growing up, music was always a part of my life. My mom was a single mom, and every Saturday morning, she’d blast Spanish rock bands like Maná while we cleaned the house.

That was my first introduction to music. Later, I was introduced to bands like Metallica and Led Zeppelin, and that’s when I really fell in love with rock. I started writing acoustic songs in high school, but it wasn’t until COVID that I decided to fully commit to this dream.

How did Grave together?

Secrets

come

I met Kevin Gonzalez, our guitarist, at a show, and we clicked instantly. We bonded over our love for bands like Joyce Manor, Bayside, and Taking Back Sunday. Kevin had experience leading bands, and I had a ton of songs I’d been writing for years, so we decided to start playing shows together. Over time, we added Carlos Bayona, our bassist, and Dylan, who’s our new drummer and is insanely talented. It’s been a journey, but it’s amazing to see how far we’ve come.

How did it feel playing your EP I Wish I Was Sorry at the Vans Warped Tour?

It was surreal. Playing at Warped Tour felt like a once-in-a-lifetime opportunity, and then we got to GRAVE SECRETS

do it again in Orlando. The whole experience was insane. They treated us like headliners, with golf carts, trailers, carrying our instruments for us. I was so nervous, but the crowd was amazing. It’s something I’ll never forget, and I hope we get the chance to do it again.

What’s the creative process like for the band?

It usually starts with me at home, writing the foundation of a song. I can’t write unless I have something to say, whether it’s about relationships, my mom, my dad’s story, or just something I’m feeling. Once I have the lyrics and basic structure, I’ll bring them to the band. Kevin helps fine-tune the structure, and Carlos adds these amazing harmonies. It’s become more collaborative over time, but the songs always start with a story or emotion that I need to express.

How does it feel knowing you’ve built such a loyal fanbase?

It’s incredible. I’m so grateful for everyone who supports us. I try to connect with every fan because everyone has a story, and you never know what someone is going through. I’ve had fans come up to me crying after shows or tell me how much the music means to them. One girl even got a tattoo of our song Till Your Lungs Fall Out on her. Moments like that remind me why we do this.

What’s next for Grave Secrets?

We’re playing California Chaos on April 11 at a new venue in Chinatown, and I’m stoked. Military Gun is playing, and I’m obsessed with them.

Honestly, I’ll probably be in the crowd for their set, front and center. Beyond that, we’re working on new music, and we’re hoping to keep playing shows and connecting with more people. This is just the beginning for Grave Secrets.

As Grave Secrets continues to carve out a place in the punk scene, their story is one of persistence and purpose.

“Music should bring people together, not tear them apart.”

THE ONLY THING MORE POWERFUL THAN HATE IS LOVE Keahno Siqueiros

Music has always been a part of politics in a real and authentic way. Even when it is meant to entertain, it often reflects the world around it. The music industry, however, is still a business. As Professor Maz, who teaches commercial music, explained, “If you look at the music industry as a business, then what they do is always going to be about the business.”

That means political music is sometimes supported, and sometimes ignored, depending on what sells.

The real question is not if music is political, but how it becomes political and what message it conveys.

Professor Maz noted that artists do not always set out to make statements. “I don’t imagine an artist is going to sit there and say, ‘I have a political statement to make.’ I think people write to share their stories.”

After slavery ended, Black Americans faced segregation, violence and poverty. Artists like Bessie Smith sang about survival, while Billie Holiday performed songs that confronted racial violence.

Their music reflected lived experiences.

As Professor Maz explained, music from marginalized communities “makes your voice heard. Whether it changes anything or not, I don’t know, we’re too close to it to really understand.”

Punk music later carried similar themes. Bands challenged authority, exposed inequality and created space for

marginalized voices.

Over time, music scenes became political whether artists intended them to be or not. Professor Maz emphasized that artists often tell personal stories, and those stories naturally reflect social conditions.

Today, social media has changed how audiences interact with artists.

“Listeners are more aware or feel more personally connected to the values of that artist,” Professor Maz said. When artists share political opinions, fans may support them or turn away. Cancel culture has also influenced careers.

“It’s a very toxic system,” Professor Maz explained, adding that artists can lose support quickly.

Music continues to reflect society, even when it is not intended to divide people. Professor Maz described music as “the victim,” noting that it is sometimes used for political agendas it was never meant to support.

Music remains powerful because it tells stories.

Whether those stories create change or simply spark conversation, they continue shaping culture today.

WINGS | 9

Chris O’Bannon Represents West Coast’s Musical Impact Marina Gutierrez

When 12-year-old Christian Thomas asked his dad to download a music producing program on his laptop, he had no idea that this would be the beginning of the successful, multi-faceted artistic career of “Chris O’Bannon.”

Growing up in a musically talented family inspired Christian to start composing hip hop beats.

By the age of 14 he released his first project “Spaz N Minds,” where he sang and rapped over beats he created, thus launching the career of Chris O’Bannon.

Los Angeles native Chris O’Bannon is a DJ, producer, guitarist, rapper and singer.

“My contribution to music is really just being versatile. What I’ve done so far in making my career, is leaning on the balance of all of it.

Making time to be able to produce and write and make my own music, is the way I continue to make an impact on the culture,” O’Bannon said.

Chris’ versatility has helped him make a major impact in the music industry. He is featured on rapper Kalan.FRFR’s hit song, “Right Wit THE CREATIVE: CHRIS O’BANNON

It,” which was performed during Kendrick Lamar’s 2024 Juneteenth concert, “The Pop Out: Ken and Friends.”

“During such a big moment in West Coast history, people were able to hear some of the music that I’ve worked on, that was one of my proudest moments,” Chris gushed.

He also has a passion for learning about other cultures, and has a love for Spanish music, which inspired him to learn the language. He said he started studying and engaging with more people who spoke Spanish and was eventually able to write and sing Spanish songs.

Chris then worked with Hispanic rapper, “That Mexican OT” and helped produce his hit single “Bario,” which got 40 million plays on Spotify.

Chris O’Bannon’s most recent project is his album, ”Hueman,” which was released on February 26, 2026, and is based on what fans perceive as the many different versions of him that are portrayed throughout his music.

“I thought about how I could really do all these types of genres

right, but they’re all different shades of me and different colors of me, as a human and in my experience. It’s not that they’re different versions of me, it’s really just a different hue.

And that in itself is human because we all have days where we feel differently. We might not be as up as we always are and we might not be down. There’s different colors that we experience in life,” O’Bannon said.

He used such colors to represent life concepts and included songs in various genres such as reggae, rock and a “west coast banger” for his fans.

O’Bannon’s journey to becoming such a powerful force in the music industry began at a Christian Baptist church in his hometown of Compton.

As 9-year-old Chris stood on stage singing in the church choir, he started falling in love with music.

At 10 years old his dad bought him his first guitar.

Where music still lives in crates “You can touch it.

Put it on the turntable.

And it gives you something back – sound, emotion,” Ray Limón said – in a music world driven by algorithms and instant recommendations, record stores hit differently.

Discovery is face-to-face through conversations, when someone behind the counter suggests something you didn’t know you needed.

Patricia C. Mercado and Camila Funes Cerritos

Why vinyl still matters in the age of streaming Inside High Fidelity, music doesn’t live in a cloud. It sits in crates. You flip through it, hold it in your hands and take it home with you.

“Records and vinyl still matter because it is something that you own,” said Raymond Limon, coowner of the store.

“Something you could hold, something you could look at even the smell of old records is very distinct.”

–Ownership. This is what keeps his store relevant in a digital world.

Raymond has been around records since he was 17. His sister helped him get a job at Aaron’s Records in Hollywood, and what started as an after-school job turned into a career.

“People played music all day.

There were rockers, punks, hip hoppers, goths — everybody was super cool,” he said. “Once I got into music and records, I never looked back.”

He and his partner, Stanley Swinger, have now spent about 20 years buying and selling vinyl.

When the original owner of

High Fidelity decided to retire, they chose to take over instead of finding new jobs.

At a time when streaming was already dominant, they doubled down on something physical.

It might seem risky. Most people listen through their phones.

Streaming is easy. It’s fast. It’s convenient –but it’s also fragile.

“No one can turn off a switch or decide they don’t want their album on the platform anymore,” Raymond said.

PATRICIA C. MERCADO

PATRICIA C. MERCADO

HIGH FIDELITY RECORDS

“You can touch it, put it on the turntable, and it gives you something back — sound, emotion,” he said.

For years, record collecting had a certain image. Raymond said most of his customers used to be men in their 30s to 50s, people with enough extra income to invest in speakers and turntables. That has changed.

“About half our customers are women now,” he said. “And maybe a quarter are under 30 years old.”

The shift signals vinyl is becoming more about culture and less niche than before.

Younger audiences are not just streaming music –they’re building collections.

Raymond is also a DJ, known as PayRay, whose background shapes how he sees the store’s role.

“Vinyl is the ultimate tool for DJing,” he said. “Vinyl bars and vinyl DJ sets are really popular now.”

Still, running an independent record store today isn’t simple.

Running a Record Store Today Limon says, new releases from popular artists bring customers in, but profit margins are slim.

Used vinyl, which once drove strong sales, has become harder to source as collecting grows more

Photo courtesy by HIGH FIDELITY

competitive.

“You have a lot of money going out, but not a lot of money going in,” Raymond said.

To survive, record stores have to offer more than inventory.

For High Fidelity, that means atmosphere.

Record store culture once carried a reputation for being intimidating.

If you didn’t know the difference between pressings or genres, you might feel judged.

Limon wants the opposite.

“We just want to help people find music they like,” he said. “We know everyone starts from somewhere.”

Whether someone walks in looking for a rare jazz pressing or their first Taylor Swift album, the goal is to make them feel welcome.

That mindset has helped turn High Fidelity into more than just a retail store.

Customers stop in to talk about music.

Local artists bring in their own vinyl.

Some people come just to browse and see what’s new.

Beyond the Record Store Another way Limon stays connected to music culture is through radio. He said co-hosting the monthly radio show “Nueve” with Wyldeflower gives him the freedom to explore different genres and play whatever he feels like at the moment.

“Radio is fun because I can play anything I want,” Limon said. “Folk music, soft rock - whatever I’m feeling.”

For him, radio works well in a digital format. Unlike vinyl, which requires a slower and more intentional listening experience, digital radio allows for quick transitions between songs.

Supporting local artists is another part of that community.

Limon said independent spaces often serve as early platforms where musicians can test their sound and see what resonates with audiences.

“So a lot of times, it’s not interesting for me personally, but every once in a while, let’s put them on and let’s get them on the show” said Limon.

“Supporting local artists is important because it’s really a starting point for these bands, where they get to see, kind of what their audience likes and what really connects with people.”

He said he has experienced both sides of that connection as a collaborator in the band Brainstory, watching artists perform and later hearing from fans who were

Photo courtesy by HIGH FIDELITY

inspired by the music.

“When I go see bands and I really enjoy them, I always tell them and on the Brainstory side, I see people into Brainstory and its influence on them. ” Limon said, “The support of the community going to shows is important because it’s an inspiration to the bands, and that’s the biggest thing you can have is inspiration.”

“If you get one person that comes up to you after the show,” he said. “You’re like –all right, there’s a reason why we’re doing this and it keeps you going.”

In a music world driven by algorithms and instant recommendations, record stores move differently.

Discovery happens face to face. It happens through conversation and when someone behind the counter suggests something you didn’t know you needed.

Streaming may dominate the industry.

But inside High Fidelity, music still has weight.

You can hold it. You can build a collection. And for many people, that still matters.

WINGS | 13

SABURNIA

Where family roots grow into an authentic sound Karina Soriano

Getting to catch up with Saburnia after their performance at After Dinner Records in Eagle Rock, felt like a rare opportunity. The venue was packed, buzzing with energy, and the brothers were still riding the high of their performance.

We managed to find a quiet corner in the back. Cameron Thistle, one half of Saburnia, lit up a cigarette, took a deep drag and joked, “It’s not all the time we get to have an interview while lighting up a cigarette in a corner.” Setting the tone for what would become a raw and intimate conversation.

The duo reflected on their journey so far, the meaning behind their music, and the connections they’ve built with their fans. “This is what it’s all about,” said Devin Thistle, gesturing to the crowd. “It’s not the streams, it’s not the numbers, it’s this. It’s seeing people show up, feeling what we’re feeling, and singing along to something we created in our little living room.”

Sibling duo, formerly known as the Thistle Brothers, rebranded themselves as Saburnia to reflect the artistic evolution. “At the core of it, it’s about art,” they explained. “Initially, we were thinking about the title, but then we looked at it as an artist name, and just how much more open-ended it felt.”

The name, however, carries a deeply personal meaning.

SABURNIA

Saburnia is their mother’s name, and it’s a tribute to the woman who raised them and inspired their journey. “It’s a way to honor her,” they said. “She’s always been our biggest supporter, and this music, this band, it’s as much hers as it is ours.”

This openness and authenticity are woven into every aspect of their music, from the creative process to live performances. Saburnia's shows pulse with this electric energy, transforming spaces from their home to backyards into sacred stages where musical imperfections aren’t just accepted, they’re celebrated.

“We want to bring something new to the song every single time we play it,” they said. “Our live shows are about creating an experience that feels real, raw, and different every time. It’s about connection. Music is the great connector.”

S

Saburnia’s approach to music-making is as daring as it is refreshing. In a bold departure from industry norms, the duo records without click tracks or digital grids, choosing instead to build songs from live takes captured during late-night sessions.

“We decided to do this whole album without a click track and based off of live takes,” they shared. “It feels scary because we want to be successful, but probably every song on the Billboard Top 100 was recorded to a click track. It’s a risk, but it’s been rewarding.”

That sense of risk-taking isn’t just limited to their recording process. They embrace every imperfection, both in the studio and on stage. “Every time we step on stage, we make mistakes,” they admitted. “But that’s the fun of it.

That’s what makes it great. It’s about being together, picking each other up when we fall, and creating something real.”

Their performances are known for their raw energy and unpredictability. “We don’t plan too much,” they admitted.

Through it all, the brothers remain grounded by their shared values and their love for what they do. “At the end of the day, it’s not about being perfect,” they said. “It’s about being real. That’s what people connect with, and that’s what we want to give them.”

In an increasingly digital world, Saburnia offers an essential reminder of what makes live music “We just go with the flow and let irreplaceable. the music take us where it wants to go. Some nights, we’ll jam out For music lovers craving genuine for 10 minutes on one song. Other connection, Saburnia is more than nights, we’ll strip it down and let a band, they are a family, and the lyrics do the talking. It’s always they’re inviting you to join in. different, and that’s what keeps it exciting for us and for the audience.”

Their sound is a blend of soulful harmonies, heartfelt lyrics, and a distinct homemade quality that they linked to comfort food. “It’s like mama’s chocolate chip banana bread, lightly undercooked but made with love,” they said with a laugh. “It’s Sunday dinner where some pieces of pasta are a little too al dente, but that 2026 has been a transformative doesn’t matter because we are year for Saburnia. Their track with all the people we care about.” “Even” went viral on TikTok, amassing over 587,800 and When asked about their most 438,800 views on two separate recent performance at After videos and continuing to grow, Dinner Records, the brothers while reaching over 1 million couldn’t help but smile. “It was streams on Spotify. wild,” they said. “We didn’t expect so many people to show up. We’re “It’s crazy to think how many not even that active on social people are discovering us through media, but the word just spread. that song,” they said. “We just It’s humbling, you know?” wanted to put something real out there and it’s amazing to see how The packed venue was a people are connecting to it.” testament to the magnetic pull of their live shows.

Photos by saburnia

Follow Saburnia: @saburniaaa WINGS | 15

BRAINSTORY BRAINSTORY BRAINSTORY BRAINSTORY

"IT WAS NEVER AN OPTION TO STOP."THE RISE OF BRAINSTORY Karina Soriano Even after years of interviewing artists, a certain level of professional detachment usually sets in. But as the clock neared 1 p.m. for my sit-down with Brainstory, the familiar hum of pre-interview nerves returned. For years, they have been a staple in my own soundscape a band rooted in tradition yet fearlessly untethered.

Meeting the trio brothers Kevin and Tony Martin and drummer Eric Hagstrom, it becomes clear that their impact isn’t just technical skill; it is a lifelong immersion of this shared sonic survival.

“Me and my brother come from a musical family,” Kevin Martin says, tracing a lineage of saxophone players and gospel singers. “We were around a lot of music, everything from Pentecostal gospel, Chicano doowop, Motown, War, Tierra.” Hagstrom shared a parallel upbringing, fueled by an audiophile father who traded “crazy” CDs with him from the age of eight.

This foundation led them to a collision point in 2008 while studying jazz at Riverside Community College.

But they didn’t want to play standards to empty rooms. They wanted to innovate. “The whole object was to put both of those worlds together,” Kevin explains.

“Playing jazz is an underappreciated art form. We wanted to almost trick audiences into listening to it through a band lens. A Trojan horse.”

Hailing from Rialto, the band credits the Inland Empire for their “incubative” sound a melting pot where punk, hip-hop legends like DJ Quik, and backyard “boogie” music collided. They describe a reality of going from playing in locations with “no grass in the backyard, maybe a chicken or two,” a very stark contrast to polished venues.

Their geographic soul eventually caught the ear of Leon Michels and Big Crown Records, propelling them into an era of “retro-soul” experimentation that feels less like a genre and more like this shared spiritual frequency.

Brainstory’s live performances are legendary for their spontaneity.

Tony Martin admits to reaching states on stage that transcend the physical. “I’ve hallucinated on stage just from the playing,” he says. “You need that high energy to tap into an unexplainable spiritual state of mind.”

For students in college, their advice is blunt: use the school, but

don’t let the institution crush your spark.

“Don’t leave it up to school to put you on a stage,” Hagstrom warns. “Go make a show happen. Successful bands have an aesthetic; you have to be part of a scene to learn that.”

Brainstory remains focused on the “special need” music fulfills.

When asked how they pushed through the moments of doubt that plague every artist, Eric Hagstrom’s answer was immediate: “It was never an option for me.

It’s just not.” It is that refusal to entertain a Plan B that keeps them moving. “Our role is to bring people this connection and spirituality,” Tony adds. “Those are things you can’t quantify in money. You just have to be true to yourself and keep going.”

Brainstory is proof that the most powerful things in life are the ones you refuse to let go of. The world might try to convince you that your dream is a ghost, but the brothers have built a fortress out of their own shared hallucination.

They didn’t wait for permission; they stayed in the spark until the world had no choice but to listen. The music isn’t just a performance; it’s the sound of three bandmates who have becom brothers, who refuse to wake up until the dream became a reality

Photos by Brainstory

WINGS | 17

RHETTMATIC’S RISE in the Golden Era of California Hip-Hop

Karina Soriano and Elijah Menjivar

A long time ago, hip-hop was changing lives in Cerritos. It brought a community together through music, dance and style.

At the center of that movement was a shy kid who drew comics, discovered graffiti and fell in love with the turntables.

DJ Rhettmatic, co-founding member of the Beat Junkies, grew up in one of the first Filipino families to settle in Cerritos.

The multicultural suburb became a melting pot where Black, Latino, Asian and white families lived side by side and where hip-hop culture took root in the early 1980s.

What started with a boombox at a junior high lunch circle became a lifelong calling.

BEAT JUNKIES

In an interview with Talon Marks, Rhettmatic reflected on his journey from Carmenita Junior High to the world stage and back home to Cerritos, where he now teaches the next generation.

How did you get into music and what sparked your passion for DJing?

It’s really because of hip-hop.

I was in 7th grade at Carmenita Junior High.

At lunchtime, a circle was forming and some kid broke out a boombox and started playing either “Planet Rock” or “Looking for the Perfect Beat.”

I didn’t even know what it was called, but they started popping.

I was like, what the hell is this?

My first love was drawing comics and anime.

Then seeing graffiti, I was like, oh, I can draw that too.

Eventually I fell in love with DJing.

I ended up doing three out of the four elements, because I can’t rap for shit.

Was there a moment you knew you’d made it?

In 1999, the Watermouth Tour Jurassic 5, Dilated Peoples and the Beat Junkies.

My parents had never seen me perform. I invited them to the House of Blues in Hollywood.

After that show, my dad started wearing Beat Junkie shirts. Someone at Home Depot asked him about it and he said, “Oh, I manage them.”

How did the Beat Junkies come together?

The vision is really J-Rocc’s. We call him the Funky President. Around ‘89, ‘90, the DJ was becoming a prop everyone stopped DJing.

We were the only ones still scratching. Curse, DJ What and myself are the OGs from Cerritos.

We met J-Rocc at the grand opening of Funky Town Records in Torrance.

He walked in, grabbed two records and started going off. We were like, oh shit. The meeting place was Curse’s garage that was ground zero.

J-Rocc had Green Lantern rings from a comic book shop. We’d wear them to every gig. People at battles were like, who are these guys?

What advice would you give aspiring DJs? Ask yourself why you’re doing this. Do you genuinely love it? There’s no shortcuts.

Greatness doesn’t come overnight. Stay humble and hungry. Your ego is not your amigo I learned that from jiu-jitsu. The mats don’t lie.

Just do what you love and be willing to learn.

You’re always a student.

Who were your local heroes growing up?

Arabian Knight, who became the MC Psycho from Insane Poetry. Scratch-OMatic I was kind of named after him. And DJ Curse.

He was half Filipino, half white. For me, to see someone that looks like me on the turntables he was my Q-Bert.

What role does the Beat Junkies Institute of Sound play in your life now?

The idea came from D-Styles.

At first we shot it down in hip-hop, you don’t share your secrets. But he kept saying, look at champion boxers. They retire and open a gym.

We opened in 2017. Becoming an instructor made me a student again. We tell every student: we don’t promise you a career, but we promise you a lifetime passion.

What advice would you give aspiring DJs? Ask yourself why you’re doing this. Do you genuinely love it?

There’s no shortcuts. Greatness doesn’t come overnight. Your ego is not your amigo I learned that from jiu-jitsu. The mats don’t lie.

Stay humble and hungry. You’re always a student.

From a boombox at Carmenita Junior High to stages around the world, Rhettmatic’s story is a testament to what happens when passion meets perseverance.

Nearly four decades later, he remains rooted in the city that raised him still spinning, still teaching, still proving that Cerritos has always had something in the water.

How has Cerritos shaped who you are?

I moved back in 2010 after my father passed. I’m a full-time caregiver for my mom now. I’ve been curating “Something in the Water” at the Cerritos Library it’s the history of Cerritos hip-hop. We’ve covered DJs, dancers, and this year we’re doing graffiti art.

Photos by Rhettmatic

WINGS | 19

Jamond McCoy: Building good humans with music Kassandra López Jane Guadalupe Cisneros Alexa López

“My purpose is to build good humans -confident and competenthumans.”

BUILDING GOOD HUMANS WITH MUSIC

FROM “BAD PIANO PLAYER” TO PROFESSIONAL EAR

HUMANS OVER TITLES

Jamond McCoy’s musical education was not found in a textbook; it was forged in a struggle. “I played really badly until I played really well,” he says, recalling his early days at the piano.

That persistence birthed a superpower: a sharp musical ear that allows him to look far beyond the ink on a page.

Back in middle school, McCoy played the trombone strictly by instinct. He would lean into the sound of the players around him to find his notes, a skill that gave him an advantage over his peers who relied on their sheet music.

His teacher noticed the “prop” on his music stand was rarely used, but because McCoy hit every mark with precision, he let it slide.

Today, McCoy challenges his students to stop being passive listeners. He warns that the “Spotify and Apple Music” habit has made listening too easy. For a true musician, intentional, active listening is the ultimate weapon.

McCoy is not interested in the prestige of a title.

Whether he is leading a small group or a massive choir, he wants his students to see his heart before they see his title.

This dedication comes from a place of scarcity; McCoy did not have a mentor to guide him. Starting, he had to navigate the industry without a map. That void made him determined to be the bridge for someone else.

A rehearsal might start with vocal technique, but it often pivots into a “therapy session” about life.

For McCoy, the person will always matter more than the performance.

A FOUNDATION OF RHYTHM McCoy is the director of the Cerritos College Gospel Choir, but he is much more than a man teaching music in a classroom.

While he carries the spirit of a Long Beach native, his story is a map of the region, moving through Cerritos, Norwalk, and Garden Grove to stay ahead of the gang activity that shadowed the streets decades ago.

He once believed he did not come from a musical family, but he now sees the rhythm that was always there: a powerhouse singer for a mother, a rapper for a father, a poet sister and a writer brother.

The church was his first experience in music. By age six, he was at the piano in the pews of his father’s church.

His mother provided the final polish to his confidence, pushing him to sing for strangers in grocery store aisles; a “trial by fire” that killed his stage fright before it could even take root.

THE RHYTHM OF THE HUSTLE Life outside the choir room is a beautiful, chaotic symphony. McCoy balances his demanding roles across multiple schools and a private coaching business with a home life anchored by his wife and two young daughters.

He is the first to admit the schedule is grueling, with early mornings and late-night rehearsals.

But he has a perspective that keeps the exhaustion at bay: “I’m realizing that my girls don’t really count minutes; they count moments,” McCoy says.

He treats this high-energy season as a finite investment. These “hustle years” are the heavy lifting required to build a future where he can eventually slow down.

McCoy’s impact at Cerritos College is not measured in notes, but in the mentorship he provides, ensuring every student leaves his choir a more “competent human” than when they first found their voice.

DEFENDING THE SOUL OF GOSPEL At Cerritos College, McCoy views gospel as an art form under siege. “Everything is being labeled as gospel now,” he explains, frustrated by how streaming algorithms lump traditional roots in with generic “gospel-adjacent” pop.

His mission is a balancing act: preserving the gritty, traditional soul of the genre while keeping the doors wide open. His choir is a living tapestry of the community; a mix of young, old, Black, white, Asian and Hispanic voices. He does not just dictate the songs; he listens to the room. When he realized half his choir was Hispanic, he instinctively shifted the program to include songs like “Nadie Como Tú.”

“I wanna make sure that we all preserve the gospel,” McCoy says, “but also share the gospel.”

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Rose Nunez and Jenny Nicole Varela

The swap meet grove: Music, culture, and community

T

he Santa Fe Springs Swap Meet is one of the most active and friendly music spots in the southeastern part of Los Angeles County. When attendees walk in, they notice loud music playing attracting them to the main stage in the center of the venue. As attendees walk closer they pass food stands, small shops, bright lights and families moving through the aisles.

When they reach the stage area attendees find long rows of benches set up under a large black tent giving everyone a shaded place to sit and enjoy the show. On the weekends the stage fills with bands, dancers and performers playing everything from cumbia to oldschool rock. The crowd is a mix of teens, families, friend groups, couples and seniors.

Which are all sitting or dancing enjoying the music.

It feels lively, welcoming and warm for all. The music, food and friendly atmosphere blend together to create a space that feels safe and familiar especially for Hispanic families who see their culture represented on stage and in the crowd.

The Swap meet didn’t begin as a music venue. In the 1940’s it started SFS SWAP MEET

as a drive-in theater then later involved into a flea market. In the 90s many swap meets were transformed into music venues for local bands. A simple outdoor market where local families could shop for clothes, tools, toys, and everyday items.

Affordable music all weekend Over time, live music brought more people in and made the space feel more like a community gathering spot than just a place to shop. Instead of raising prices like many venues do, they kept the entry fee low so families could visit often. From Tuesday to Thursday the admission is free admission for all.

On the weekends there is free live entertainment with paid admission.

Friday being $4, Saturday $2.50 and Sunday being $3.00. This choice helped shape the swap meet into one of the most affordable places for live music in the area. People didn’t need expensive tickets or fancy seats.

They could just walk in, find a bench, and enjoy the show.

As the years passed, the stage became one of the main reasons people visited. Local bands, tribute groups, and cultural performers all found a place to share their music.

The audience found a place where they could enjoy live shows without worrying about money or safety.

What began as a small neighborhood market grew into a well‑known music spot that still keeps its prices low and its doors open to everyone.

Ricardo Flores, 19, said he grew up visiting the swap meet with his family.

“I have a lot of nice memories of coming here with family and friends when I was younger,” Flores said.

“Now I come with my girlfriend to enjoy music, get good food and enjoy the culture around me for an affordable price.”

Bryan Martinez, 27, said he attends the swap meet about six times a year for the atmosphere and live music.

“We grew up on Spanish rock music,” Martinez said. “When I found out this tribute band would be playing Caifanes, I knew I had to come.”

Martinez said he believes the swap meet should remain separate from politics, referencing recent activity

by U.S. Immigration and Customs Enforcement.

“Amarme tanto, eres mi religion” - Mana

“For me, it’s sad to see ICE come in and take people’s businesses away,” he said. “I think this swap meet is not a place for politics.”

Mike Reyes, 27, echoed that sentiment.

“ICE is not welcomed here. This is our land. This is home of the Latinos, and this swap meet is for everybody,” Reyes said.

In the summer of 2025, agents from U.S. Immigration and Customs Enforcement conducted a raid at the swap meet, detaining attendees and vendors.

Following the incident, Santa Fe Springs Swap Meet released a statement saying it did not consent to the agency’s presence at the venue and did not cooperate with the operation.

The raid left many attendees, vendors and community members

fearful. Attendance declined in the weeks that followed, as some visitors were concerned about possible detentions. Several vendors chose not to set up booths, while others reported a loss of business.

As of now, ICE has not returned to the swap meet, and attendance has gradually increased as community members continue to come back.

Where music brings everyone together Today, the Santa Fe Springs Swap Meet continues to stand as more than a marketplace or music venue.

It remains a gathering space where families return week after week, where young couples create new memories and where longtime visitors reconnect with their roots.

Despite the uncertainty that

followed last summer’s raid by U.S. Immigration and Customs Enforcement, the swap meet has regained its rhythm. The benches fill again on weekends. Vendors reopen their stands. Bands take the stage under the black tent as children dance in front of it.

For many in the community, the swap meet represents affordability, culture and belonging. A place where music drowns out fear and where tradition is passed down through shared songs and shared space.

What began decades ago as a drive in theater has evolved into something far more meaningful: a symbol of resilience and a reminder that community, once built, is difficult to erase.

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Why classic rock bands are still popular IVAN LLATA We heard a lot of great new bands over the years The Killers, Trapped Five Finger Death Punch and many more, However, music from bands from the late 1970’s-1990’s such as Black Sabbath, Led Zeppelin, AC/ DC, Guns& Roses Motley Crue and Metallica remain just as popular.

Today’s bands such as Airborne, Black Stone Cherry, Hardcore Superstar, Avenged Sevenfold and more of today’s Hard Rock/ Heavy Metal bands were heavily influenced by the classic bands.

Many of the classic bands still perform in front of sell out crowds or coming close to doing so. Metallica set an attendance record at SOFI stadium of 78-80,000 people each of the two nights in August of 2023. AC/ DC performed in front of a crowd of approximately 90,000 people at the Rose Bowl in Pasadena in April of 2025.

For the record, AC/DC’s recent studio album Powerup which was released in November of 2020 debuted number one on the billboard 200. Although to be fair, the world was still going through the Covid 19 pandemic.

The Hard Rock/Heavy Metal genre doesn’t come without controversy, politicians such as Tipper Gore thought that the music was poisoning America’s youth during the 1980’s saying it drove kids towards violence and Satanism The United States government placed a Parental Advisory sticker on every Hard Rock/Heavy Metal album hoping it decreased record sales it CLASSIC ROCK

ended up having the opposite effect.

The artists themselves aren’t without controversy, Ozzy Osbourne bit the head off a bat while

p e r fo r m i n g one of his concerts, he had to get a rabies shot.

Another incident occurred during a record release party for his solo album “Blizzard of Ozz” where a dove landed on him and he bit the head off that as well.

Instead of criticizing and ridiculing the music, parents and politicians should take the time to actually listen to the music, the lyrics are very informative with songs such as, “War Pigs” by Black Sabbath “Generals gathered in their messes just like witches at black masses, the lyrics continue with “Politicians hide themselves away, they only started the war. Why should they go out to fight? They leave that all to the poor. Ozzy Osbourne’s “Crazy Train” contains lyrics such as, “Maybe, it’s not too late to learn how to love and forget how to hate” Metallica’s “One” and “Unforgiven” and Guns & Roses “Civil War” are more examples of incite full and meaningful lyrics.

Bands such as AC/DC and Motley Crue write lyrics about life as rock stars.

Though their lyrics are a bit raunchy, parents need to be parents and tell their children not to do everything the artist does or says.

Unfortunately, in today’s society most parents don’t have any idea what their kids are doing or worse don’t care at all. Skid Row’s song “18 and life reflects this. AC/DC lyrics are about having a good time and enjoying life. Motley Crue’s songs are about growing up in the rough parts of Los Angeles.

Heavy Metal music has left its cultural impact the music was mainly played during the original launch of MTV. The TV show “Headbangers Ball” was a huge hit for the network.

The animated TV show “Beavis and Butthead” was credited with saving the career of Rob Zombie while the two characters were reviewing the video “Thunderkiss 65”.

The reason this music is still popular is because it helps express people’s frustrations with the “Stick it to the man” type mentality about what’s going on in society today.

It also brings a sense of social togetherness, fans gather at arenas and stadiums to sing the songs and hum along to the guitar riffs. Fans still look forward to seeing solos from the drummer or guitarists. Ozzy Osbourne’s final performance “Back to the beginning” concert had 4045000 fans last year, he passed away later that week.

Today’s Heavy Metal scene may not be as popular so older fans pass along their favorite bands to their children and grandchildren also, coverbands such as Damage Inc and Thunderstruck are quite popular.

The art of production Abigail Bianca Luna Emily Astudillo

Exploring how a performance is made through the eyes of four productions by the Fine Arts department at Cerritos College.

Art rarely begins with applause. It starts in the quiet spaces behind closed doors that audiences rarely get the opportunity to witness. In the weeks of the Spring 2026 semester, four very different productions across campus are inching toward their moment in the light.

The theater department has all hands on deck as they manage the final casting list and begin their rehearsals while commencing the early stages of production for their upcoming musical, “Zombie Prom”, which showcases from May 7 through May 10.

The ceramics department, taught by Professor Donna Robinson, had gone underway with their preparation for the 39th Annual California Conference for the Advancement of Ceramic Art which took place from April 23 to April 25 at UC Davis.

Dancers and choreographers from the dance department have adjusted last minute routines, lighting cues and costumes during their final dress rehearsal the day before the opening night of the Spring 2026 Dance Concert which took place from April 2 to April 4.

Musicians from the college’s community concert band have performed their concert that took place on March 31. while balancing individual practice with ensemble run‑throughs as they finalize their program.

Each project follows a different timeline and set of challenges, but all rely on students, faculty and staff coordinating schedules, budgets and creative decisions to bring their events to completion.

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Zombie Prom A campy, rock ‘n’ roll musical is hitting the stage at Cerritos College Performing Arts Center as the theater department brings “Zombie Prom” to life, scheduled to run from May 7-10.

Director Jerry Prell, part-time faculty at Cerritos College initially proposed the idea of “Zombie Prom” to the college theatre department in 2015, but it was ultimately canceled due to a low number of student auditions.

Displaying much passion and enthusiasm for the musical, Prell gave an insight to the role directors play in a musical production.

He and his team started the pre-production process with visuals. Prell highlighted the importance of getting visual ideas for the musical stage, seeing how it flows together and getting a feel for the movement, choreography and the staging which was fueled by listening to the music of “Zombie Prom.”

The decision for the script was made about a year ago, using those same visuals to sit down with the script and block everything out based upon the floor plans that you’ve worked on the scenic designer with.

The cast list was finalized in early March after weeks of auditions, allowing rehearsals to begin as the crew begin the early stages of production.

Isaac Wilcox, who is a theatre arts major, had auditioned for the role of Jonny Warner and after two days of callbacks, landed it.

“There’s a lot of singing with about 70 percent of the dialogue in the show which has been a new experience for me,” he said. “But it has been fun to work with Akira as she’s extremely energetic and also keeps morale up.”

Akira Dalley, another theatre arts major, landed the role of Toffee and said that the musical has been such a fun and exciting experience.

“This is my third time working with Isaac and each time, it’s been a pleasure,” she said. “Everyone has been so supportive and encouraging while rehearsing. It’s been weird for me to rewire my brain to fit the role because I’m not used to playing such a sweet character, but it’s been fun trying something new.”

As the musical moved from casting into early rehearsals, other departments were entering the middle of their process.

THE ART OF PRODUCTION

Ceramics Students in the ceramics department prepared for the 39th Annual California Conference for the Advancement of Ceramic Art, held April 23–25 at UC Davis.

At the center of the department’s conference preparation was Professor Donna Robinson, who oversaw the entire process and advised students during the preparation phase.

Robinson, who has taught ceramics at Cerritos College for 10 years, said the middle stage of the process is the most demanding, as revisions often require remaking pieces from scratch.

“There’s a lot of things to consider when making a piece, especially for something like the conference,” Robinson said. “I’m here to help my students while giving critique to help improve their work.”

For the conference, only a selection of 10 students will be able to attend.

“There’s only a limited number of students that are attending,” Robinson said. “I’m trying to encourage those who are unable to attend to still submit pieces.”

Several students spent the semester developing work for consideration while others began working on their pieces that would be exhibited.

Studio arts major Katie Castillo said she planned her projects weeks in advance.

“It’s exciting to put some of my work in the show,” she said. “I’ve already just been mentally preparing, planning out my weeks trying to see what projects I can come up with to present.”

Ceramics major Ximena Hernandez Limon, who previously attended the conference, said the event offers a chance to see work from across the region.

“For this conference, I’m redoing three of my high school teapots and fixing the imperfections,” she said. “Its fun to see how much I’ve improved.”

While ceramics students refined their work, the dance department was approaching its most demanding stage: dress rehearsal.

Dance The dance department held its Spring 2026 Dance Concert from April 2–4, following a final dress rehearsal that allowed performers and technicians to resolve last‑minute adjustments. Dancers ran warm‑ups while audio and lighting crews checked cues and timing.

Christine Gregory, chair of the dance department, said dress rehearsal is often the most demanding part of the process because it brings together choreography, costumes, lighting and sound for the first time.

“Though rehearsal is a week-long process, dress rehearsal is where everything comes together,” she said. “We practice like it’s the show. We go all the way through, trying not to stop as much as possible.”

As the rehearsal moved from technical adjustments to full performance mode, student dancers described how the run‑through shaped their preparation for dress rehearsal.

Diane Lozano Ortiz, a theater arts major, is a student choreographer for the concert and was able to see her work in its entirety for the first time during dress rehearsal.

“I started to feel so nervous, not because I thought my dancers were doing a bad job,” she said, “but because I had that exact thought of ‘oh, people are going to watch this.’”

Isabella Bustamante, a dancer who will perform in two different studentchoreographed pieces, said that prep starts at home.

“I have a checklist of things I do before I actually arrive at dress rehearsal,” she said. “I do my makeup and make sure my costume is together, while making sure not to forget to bring tape for my feet or other items beforehand.”

Upon arriving at the theater, Bustamante makes sure to warm up her body, running through stretches to make sure she’s physically ready for the night.

“Its quite a lot of nerves to get through once you’re on stage and I try to use this chance to get all the nerves out,” Bustamante said. “But I feel very confident that the show is gonna go so well. We worked really hard throughout this entire semester, so it just kind of feels like we’re finally able to show our hard work.”

As dancers completed their final run‑through, one production on campus had already reached its end result.

Community Band The Cerritos College Community Band performed its Spring Exchange Concert on March 31 at the student center, featuring musicians from a range of backgrounds and experience levels.

Before the concert began, band members tuned their instruments and reviewed last‑minute notes as chairs, stands and percussion equipment were arranged across the stage.

Director David Bencourt has been working at Cerritos College for over 27 years and was in charge of putting on the two-hour long concert.

“With performance night, you’re able to see the passion the community band has for music when they play,” he said. “Witnessing the audience’s reaction, you get to hear the result of that.”

One of the songs called “Before the Mountains Were Born” was composed by Stephen Hill, a Cerritos College alum and current band member. The ensemble prepared the work throughout the semester, giving Hill the opportunity to hear his composition performed live.

Clarinetist Evan Rathe, who has played the instrument since fifth grade and now teaches elementary band in the Bellflower Unified School District, has been part of the community band for three years.

She said performing with the ensemble offers a chance to connect with musicians from different stages of life.

“Performing in front of an audience brings me fully into the moment,” she said. “My focus sharpened and everything else fades away. There’s a sense of energy and clarity that’s hard to replicate anywhere else.”

After the final piece, musicians packed up their instruments and spoke with audience members, closing out the concert that served as one of many final stages of their semester‑long preparation.

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The Cerritos College Department of Theatre Arts and the ASCC present:

May 7-10 | Evenings @ 8PM / Sunday Matinee @ 2PM Scan QR Code to Purchase Tickets to Zombie Prom Today!

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THE PERFORMING ARTS CENTER AT CERRITOS COLLEGE

Music as mental therapy Roxana’s story reveals how music can tranform a patient’s emotional experience during hospitaliztion Dayanara Arroyo and Ashley Melendez

Adults receiving musical therapy from local hospitals reducing their stress significantly.

Music has emerged as a powerful therapeutic tool in medical environments, especially for patients who endure long periods of hospitalization. One example is 20-year-old Roxana Maestre, diagnosed with sarcoma at age 16 and recently hospitalized for two months due to a lung infection.

With limited mobility, no distractions, and only her mother by her side, she found in music an emotional refuge.

“After God, music has been a hiding place, a haven. My body connects with it, and my anxieties disappear; it’s like therapy for my mind,” she said.

Her physician encouraged her to listen to music to ease the psychological strain of confinement and reduce the risk of depression.

Scientific research supports these experiences. Studies show that music can lower cortisol levels, especially in surgical settings, and reduce the perception of pain.

The American Psychological Association notes that while some individuals—particularly males—may react aggressively to certain genres, music generally benefits people of all ages by easing distress and improving emotional regulation.

Vibrations produced by music help calm the body, making it a natural aid for mental and physical well-being.

Music therapy encompasses multiple approaches tailored to each person’s needs.

According to the Cleveland Clinic, it is widely used in schools, hospitals, nursing homes, mental health centers, outpatient clinics, and even correctional facilities.

Therapists often prioritize acoustic instruments because in-person interaction with sound vibrations creates a deeper impact.

Chase Masoni, an associate marriage and family therapist, explains that experiencing instruments live is more powerful than listening through headphones, which is why many therapists encourage patients to write lyrics or play instruments.

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HOW TIKTOK IS REWRITING THE RULES OF POP STARDOM Mariana Alonso and Shylah Featherstone

Brandon Del Amo

In dorm rooms, cars and late-night scrolling sessions, TikTok has become an unlikely tastemaker, transforming 15-second clips into chart-topping hits and unknown artists into household names. TikTok has transformed the discovery of music from gatekeepers to music saturation.

Interviews were conducted around Cerritos College to collect intel on Gen Z students’ thoughts on how TikTok has impacted music.

The students voiced their discontent on the decline of the music industry as a whole and how it personally impacts the way we conduct ourselves socially by following trends instead of having a sense of originality.

Some creators that have risen from this platform are Addison Rae and Alex Warren. The question is whether or not these new artists deserve the fame and recognition.

“I feel like a lot of popular songs now are because they have become TikTok sounds that have gone viral,” said Jasmin Sanchez, 23.

While Sanchez appreciates the exposure the platform gives artists, Sanchez expressed the pressure to like what is trending can feel forced.

“I can’t really resent something that is a method of sharing music,” Sanchez said, “But I feel like some feel like they’re obligated to listen to certain music because it is popular.”

“One of the biggest things with TikTok is the oversaturation of some music,” David Bonilla, 18, Cerritos College student.

TIKTOK

Stateside (with Zara Larsson) PinkPantheress

Babydoll Dominic Fike

Critics have long argued that commercial success often comes at the expense of artistic integrity, a debate that predates social media by decades.

As radio once dictated hits and MTV later shaped image driven stardom, each era introduced new anxieties about what it meant to be “real”in pop.

As a society we have moved on from trends a lot faster as we are exposed to a lot of new artists, music and all the other means of entertainment that we try to keep up with in order to be up to date.

Music has changed not only the way that it is found but also valued and promoted. Pop singers and other artists do not stay relevant for too long, it feels as if they lack substance.

Now, artists are developed and signed to major labels due to their popularity on TikTok and for that one viral moment making them lack depth and personality music artists once possessed.

Others argue the platform expands opportunity rather than limits it. One student credited TikTok with introducing him to Malcolm Todd, while another said trending sounds featuring Beyonce remain favorites.

“It gave people more space to explore music and feel free to share their music,” Cathy Brown, 19 Cerritos College student said. “If the song is good, then I don’t think anyone can ruin it,” said Brown.

Industry analysts note that record labels now strategically craft “hookable” song segments designed for looping videos.

Artists tease unreleased tracks to test viral potential.

In some cases, chart success follows digital momentum rather than radio play.

Yet, the fleeting nature of trends raises questions about longevity.

Midnight Sun Zara Larsson

Fever Dream Alex Warren

Shylah Featherstone

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Nostalgia from the 2000s Crystal Maeng and Samantha Thompson

The TikTok effect Social media platforms, especially TikTok, have helped reintroduce older tracks to Gen Z listeners.

A short audio clip can quickly turn a song from 2003 into a viral sound in 2026.

Hip hop and R& B artists such as 50 Cent and Beyonce are also resurfacing in edits and party playlists.

Pop groups like The Black Eyed Peas are once again part of campus speaker rotations.

Students say the music feels different from today’s sound.

“There was a lot more confidence in it,” Mancia said. “It was bold and dramatic. You could dance at a club without overthinking.”

Pop stars and models frequently incorporate Y2K-inspired pieces into their wardrobes, reintroducing the aesthetic to millions of followers. Archival red carpet looks once worn by figures such as Paris Hilton and Britney Spears circulate widely online, serving as inspiration for contemporary styling.

Kailah Usi, a 21 year old TikTok and Instagram influencer, shared her thoughts on the resurgence of 2000s fashion trends.

Usi is partnered with the brand Peppermayo. They feature several collections inspired by early 2000s fashion. She said many of Peppermayo’s pieces reflect the bold colors, fitted silhouettes and playful designs that defined the era.

Usi said many styles from the early 2000s which include lowrise jeans, baby tees and kitten heels, are becoming popular again, especially among younger audiences on social media.

TikTok influencers say the appeal of 2000s trends lies in their boldness and individuality. Several content creators on TikTok, who regularly post “Y2K outfit inspo” videos and thrift hauls, describe the era as experimental and expressive.

Influencers also acknowledged criticism surrounding body image and exclusivity but said today’s styling focuses more on inclusivity and confidence than strict trend rules.

NOSTALGIA FROM THE 2000s

For college student playlists in 2026, the soundtrack often sounds like 2003.

Songs that once played on iPods and burned CDs are trending again on streaming platforms and TikTok, introducing a new generation to artists like Britney Spears, Usher and Avril Lavigne.

At the same time, early 2000s fashion is returning to campuses across the country. Low rise jeans, bedazzled tops and velour tracksuits are reappearing in malls and on social media feeds as students recreate the style of a generation they were too young to remember For many college students, early 2000s music and fashion represent more than a trend. They offer comfort, nostalgia and a chance to reconnect with childhood memories while discovering an era that shaped pop culture “I grew up hearing these songs in the car with my family,” said Kristy Mancia, 22, a psychology major.

“Now they are all over my playlists again. It feels full circle.”

Super Bowl spotlight The resurgence of 2000s music reached one of the biggest stages in the country this year.

Rock band Green Day performed during Super Bowl LX, bringing early 2000s punk rock back into national attention.

Known for hits like “American Idiot” and “Boulevard of Broken Dreams,” the band’s appearance introduced their music to younger viewers while reminding longtime fans of the era’s impact.

“It was crazy seeing Green Day perform at the Super Bowl,” said Marvin Davila, 22, a consumer affairs major. “It shows that 2000s music is not just a trend online. It is still relevant after many years.”

More than nostalgia The return of 2000s music mirrors larger fashion and media trends. Y2K inspired outfits, glossy makeup and throwback digital cameras have all reappeared on social media feeds.

At colleges, where many students were born in the early 2000s, the era represents childhood memories and a new form of self expression.

Styles popularized in the 2000s are being rediscovered by a generation that was either too young to participate in them or yet to be born. Between classes in the quad and study sessions in the library, 2000s hits continue to play through headphones and portable speakers.

Brands like Peppermayo, which was earlier mentioned, are helping bring Y2K fashion back to mainstream audiences by blending nostalgic styles with modern trends, as several other popular influencers shop there and other similar places.

“I honestly wish I was born sooner,” Usi had stated, “low rise jeans are something I wear every day, I don’t know why people ever thought they weren’t cool.”

As playlists mix throwbacks with current releases, one thing is clear.

Thrift culture has further accelerated the movement. Secondhand platforms and vintage stores have become go-to sources for authentic early 2000s pieces. The sustainability conversation has also intersected with the trend, as shoppers seek to recycle older garments rather than purchase newly manufactured replicas.

The 2000s are not just a memory, they live on through low rise jeans, baby tees and the songs blasting from our speakers.

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WINGS STAFF

Front row: Christian Brown, Jane Guadalupe Cisneros, Paul Repreza, Alexa Lopez, Mariana Alonso, Jenny Nicole Varela, Shylah Featherstone, Karina Soriano, Camila Funes Cerritos, Angel Sanchez, Marina Gutierrez, Elijah Menjivar and Ivan Llata. Back row: Jhovani Rojas, Kassandra Lopez, Emily Astudillo, Patricia Mercado, Abigail Bianca Luna and Ashley Melendez. Not pictured: Dayanara Arroyo, Crystal Maeng, Rose Nunez, Keahno Siqueiros, Samantha Thompson and Alicia Edquist