Entering any relationship—especially romantic ones—is always a leap of faith. At first, there’s an inevitable sense of anxiety: what if the other person doesn’t feel the same? In this budding romance, the narrator isn’t sure if he’s being strung along. He searches for signs in the girl he’s fallen for, but today, “something is different”—perhaps it’s the real thing. Listeners will sigh with relief alongside Spano, reveling in the joy of a newly solidified love. An air of romance seeps through the chorus as the steady drums and melodic guitar lift the weight of uncertainty off their chests. Spano’s soulful vocals deliver astounding authenticity, unsurprisingly, since this story is rooted in personal experience. The song carries a timeless quality—one could hear it on the radio in 2003 or tomorrow, and it would still radiate the same youthful spirit. With its relatable themes and heartfelt delivery, this track is destined to uplift listeners—it’s nearly impossible to resist the joy sparked by a love story as triumphant as this one.

The accompanying lyric video perfectly brings the elation and sentimentality of the story to life on screen. Produced in collaboration with Michael Kundrath at HIP Video Productions, it features vignettes of happy couples, never far from each other’s sides—brilliantly capturing the exhilarating vastness of a bright future unfolding. The visuals have a distinct graininess—a film-like quality that delightfully mirrors Spano’s early 2000s style and aesthetic. They’re soft, comforting, and nostalgic—evoking a sense of reflection and relief. Every shot carries an emotional weight, allowing viewers to feel deep in their hearts that everything has changed for the better. As an anthem of celebration, viewers will feel more than compelled to sing along, following the journey of this blossoming romance that’s truly been a “Long Time Comin’.” As Spano’s first video release for an original song, this mesmerizing visual offers an exciting glimpse into his creative world, setting the stage for what’s to come for this emerging force of vibrant artistry.

M. Spano gave some insight on the song and it’s meaning

Could you talk to us a little bit about the writing and recording process for “Long Time Comin’”? Do you always follow the same process or does it vary from song to song?

I generally always start writing on a guitar. The chords for “Long Time Comin’” came pretty intuitively. The progression itself is nothing special, but I tuned my guitar differently to get a specific sound for the progression that I was hearing. I wrote the lyrics and melody humming over the recorded progression on an iPhone speaker at work. When inspiration strikes, you have to take advantage of it any way you can. As for the recording process, the song was recorded at RAW recording studios in Patterson, NY.

What encouraged you to write a song that follows a triumphant, blossoming love story? Is the story based on a personal experience or relationship?

The song is based on a personal experience. I find that my best writing comes from personal experience. It allows me to be connected to the song in the most authentic way possible, making it easier to convey the emotion that I feel all music should have.

In what ways does your music refresh a pop-rock 2000’s sound for a new audience?

I think my music will always be rooted in that classic pop-rock 2000s sound. The guitars, melodies, and my voice seem to consistently resonate with that period and music scene. However, I have been influenced by so many different genres over the years, that I know there is a refreshing modern twist blended with that classic sound. The ambient feel of the verses, along with some of the samples used in “Long Time Comin’” I think are good examples of that. Modern music lovers and listeners who cherish that 2000s pop-rock sound can both find something refreshing in a song like “Long Time Comin’”

How important is visual storytelling when presenting your music? How did you decide on the visual concept for the “Long Time Comin’” lyric video?

Visual storytelling is SO important. Anytime I fall in love with a song, I almost immediately head to YouTube and find the music video for it. It’s such an important part of emphasizing the feeling and emotion that a song is intended to create. The visual concept for the “Long Time Comin’” lyric video was easy to create. The song is about newfound love and a whole new world to enjoy that love in. HIP video hit the nail on the head with a moody visual that depicts couples and starry nights that feel just as vast as the endless possibilities the song is articulating.

“Long Time Comin’” is an uplifting, happy track—why is it important for you to spread positivity in your music?

There’s already so much negativity in the world. People have a lot going on in their lives, particularly a lot that may not “feel very good.” If listening to “Long Time Comin’” can take them away from whatever may be going on, and make them realize that even after “feeling lost and hopeless” things can turn around for the better, then the song has done its job.

As a celebratory track, is there a central theme or message that you hope audiences take away from the song?

I think the central message of the song was touched on in the last question, in that things can always turn around for the better even when it may not feel that way. But to add to it, the central message can also be interpreted in the reverse. When things do turn around for the better, enjoy it. Cherish those times and the moments within them. Without the hard times, we wouldn’t know how great the good times feel. That “good” feeling, is how the song is intended to make the listener feel.

Is there anything audiences should know about you that they might not already know?

I guess to get off of the music a little, I love the outdoors. I am an avid skier and hiker and will take the mountains and the wilderness over city lights any day.

In what ways does “Long Time Comin’” represent where you want to go musically moving forward? Can fans look forward to more songs like “Long Time Comin’” in the future?

I think when you focus on writing authentically and true to the heart, it’s impossible to get too far away from the sound of past songs. “Long Time Comin’” represents a message, mood, and feel that will certainly be embedded in my work in the future.

Follow M.Spano

https://www.instagram.com/mspanomusic/

https://www.facebook.com/mspanomusic/

https://www.tiktok.com/@mspanomusic?lang=en

https://open.spotify.com/artist/7mcUs8Mk1efeX84nvlY8O9?si=suKXHH8GSKadSG_vZoLnvg

The post M. Spano Speaks on Why This Hit’s Been a “Long Time Comin'” appeared first on The Hype Magazine.

Ian went on to study music and theater at the University of Miami and Berklee College of Music, immersing himself in the arts to pursue his dreams. Ian’s commanding performances and soulful voice have garnered critical acclaim from Broadway to national stages and even international productions. Entertainment Weekly lauds his “…powerful belt and soulful voice…,” matched only by his natural charisma and earnestness.

Now, Ian is channeling his energy into his original music, crafting genre-bending tracks that reflect personal growth, vivid storytelling, and unique instrumentation. His songs evoke a deep sense of time and place while resonating with universal themes. With a fresh perspective and an eye toward the future, Ian is set to take center stage on Season 23 of American Idol this March, proving that his star is only continuing to rise.

“One Shot” is an anthem of hope, love, and living boldly. The song captures young lovers’ universal struggle between following their hearts and chasing their dreams. Ian reflects on a love he once had, realizing that there’s “…no time to wait…” Fueled by a newfound clarity and confidence, he decides to pursue his love without hesitation.

The track’s infectious rhythm and vibrant melody are reminiscent of early 2010s love-story icons like Jason Mraz and Bruno Mars. Its uplifting pop-rock energy and heartfelt lyrics inspire listeners to take risks and seize the moment. At its core, “One Shot” reminds us that life is fleeting—and we only get one chance to follow our hearts and write a meaningful story courtesy of Ian Ward.

Directed by Simon Kienitz Kincade in collaboration with Mutual Street Entertainment, the music video for “One Shot” is as breathtaking as the song itself; the DP did their thing! Against the iconic backdrop of Los Angeles, Ian takes viewers on a heartfelt journey of love and longing. From the star-studded sidewalks of the Hollywood Walk of Fame to the vibrant glow of the Santa Monica Pier and the stunning views from Griffith Observatory, the video celebrates the City of Angels in all its radiant beauty.

The director of photography was on their A-Game, and these visuals are a feast for the eyes and a reflection of resilience. Following the devastating wildfires that scarred the city, the video’s hopeful imagery of towering palm trees, hazy skies, and glowing sunsets reinforces the story’s themes of renewal and perseverance.

Ian Ward Weighs in on the song’s journey and creative process

With Ian’s acoustic guitar in hand and his soulful voice leading the way, the video masterfully blends the personal and the universal. It’s a love story set against LA’s timeless charm, offering inspiration to anyone searching for connection and reminding us of the enduring magic of chasing our dreams.

You started your musical career in theater, landing roles on Broadway and in international productions, so how does “One Shot” fit into your musical journey thus far?

What’s the story behind “One Shot?” Was it based on a real-life experience?

The post Ian Ward Talks About His “One Shot” appeared first on The Hype Magazine.

Ben takes his influences from Jay Z, Snoop Dogg, Wu-Tang, Biggie Smalls, Mobb Deep, and a host of others. Occasionally suffering from depression and anxiety, Ben discovered that when he did music his symptoms subsided. He figured his music sounded good so why not pursue this adventure? Thus, his first EP entitled “Prescription to Rap” is a gritty, hard-hitting manifesto of lyrics and beats New York City is known for it and it’s inspired by the sounds of the ’60s and ’80s with influences from artists including Queen, Madonna, Beck, and Duran Duran. With over 100 recorded songs, some featuring Queens legends Pelle, Royal Flush, and Boots on vocals, Ben hopes that even a small few will make the cut for the world to celebrate.

His heart, mind, and soul are in this for keeps. On the side he enjoys engaging in his thriving appraisal business, however, he has begun to concentrate and focus on his singing career while dedicating his life to his family and his two children. “Life Again” is a powerful and hard-driving rap with an urban beat and meaningful lyrics.” But that’s only the beginning for Ben. Watch him quickly become a force to talk about….

Pre-Save Ben Bacardi’s new single “Life Again” featuring Pelle and H. here

Follow Ben Bacardi on the web:

Instagram: @ben_bacardi

TikTok: @bacardiizhere2024

The post Ben Bacardi: Rapper With A New York Soul appeared first on The Hype Magazine.

As a standout track nestled in the narrative of The Catacombs, “Some Kind of Purgatory” lives up to its name—delivering a sound and style untethered to anything in particular—constantly surprising the listener. Working alongside Grammy-winning producer and engineer Fernando Lodeiro, Mark explores how heartbreak can transform a relationship once considered “some kind of wonderful” into an unsettling purgatory. The song’s narrator finds himself in a chaotic limbo, grappling with a labyrinth of nuanced and occasionally absurd emotions—from detachment to disappointment, to even obsession—reminiscent of the stages of grief. Scarred by the loss of his dreams with another, he wrestles with facing his reality “stalling just short of imagined glory.” Layered with grumbling alt-rock guitars, disorderly piano chords, charismatic vocals, and whimsical flourishes, the track is a compelling earworm that reveals Mark’s skillfulness in crafting music as sensitive as it is delicious. Despite the turmoil, the narrator holds on to the hope that he “surely will be okay” once the dust settles—channeling a desperate yet unshakable resolve through the noise.

New York’s iconic Coney Island is usually alive with the sounds and sights of carefree fun—neon lights glowing, laughter echoing, and the salty air buzzing with excitement. But the Coney Island Mark visits feels like another dimension, shrouded in an aura of eeriness and desolation. On a chilly morning, he finds himself alone in a place usually bustling with cheerful beachgoers. The empty boardwalk stretches before him as he meanders aimlessly, searching for something elusive—perhaps a one-way ticket out of this isolating limbo in which he’s trapped. With an anxious, unsteady touch, the camera seems to stalk him, following up close, then trailing behind, disjointedly tracking his movements. Crafted in a collaborative effort between Mark and filmmaker Tyler Ward of Diagonal Media, the video’s creative and haunting visual effects evoke a sense of chaotic desperation. Yet, the narrator’s pain feels distinctly human and deeply relatable against the backdrop of a place designed to elicit joy. Playful touches, like Mark’s impossible-to-miss bright pink suit, contrast the heaviness of the narrative—perhaps this is a place for fun after fall. It draws viewers into the shadowy depths of isolation while hinting at resilience—a poignant, cathartic, and bittersweet exploration of the complexity of human relationships, and how they shape us for better or for worse.

Talk to us a little bit about your journey as a musician up to this point. What motivates you to make music?

Right out of the gate and you’re asking the questions my therapist asks! The short answer is, I’m not sure. I’ve been writing, producing, and performing music in one form or another for 30 years and it’s the most consistently gratifying aspect of my life. I’m often tricking myself. Writing music and recording bare-bones demos is pure joy: the performances do not need to be good, there are no rules as I’m making up words and music out of thin air, and when they are completed, I’m left with the anxiety and responsibility of arranging, recording, mixing and mastering the songs until they reach their final state. I’m motivated first by the fun of that initial creativity, and then by a sense of obligation to do right by the song. With “Some Kind of Purgatory” and the album The Catacombs (coming next month), I certainly went through the cycle of writing 50 songs over six months, and then spending a year in a near-constant state of anxiety about making the best album possible from the raw materials of those initial demos.

“Some Kind of Purgatory” explores the nuances of relationships, acting almost as a “post-breakup” song—what inspired you to write about relationships from this perspective?

There are great break-up songs that hit on the sadness or the anger that often comes from the end of a relationship. But I don’t think that’s a particularly honest way of describing that type of experience, at least not for me. The way I see it, anger, sadness, regret, self-loathing, depression, gratitude, love, hate, and many other feelings are all jostling for position when someone meaningful is removed from a person’s life. I tried to capture that in the lyrics of “Some Kind of Purgatory” and the sound of the record as well.

During your production process, was there a specific sound you were hoping to achieve? What distinctive elements did you incorporate into its soundscape?

Definitely. I wanted the song to have very distinctive sections and for very few sections to sound alike. So, each section has a slightly different sonic quality. For example, I wanted to give the second verse a circus-like feeling with very little structure and I recorded some synth parts before we entered the studio, and the band seized on those parts and played around them. Overall, the whole song succeeds or fails on whether it sounds like it might come off the rails during the verses before it hits the anthemic choruses, and I think we got there, thanks to a truly fabulous group of musicians that I’m lucky enough to make music with: Kirk Schoenherr, Grant Zubritsky, Jon Smith, and Jeni Magana.

What encouraged you to work with filmmaker Tyler Ward and Diagonal Media on this project? What was your collaboration process like?

I used to make music with one of the founders of the company, Blake Drummond (who incidentally, is a very talented person and a great guy). He and his colleagues have built a really wonderful video production company and they were willing to make the video with me. I had never met Tyler, but they linked the two of us up, and it was a great creative match. Tyler and I were very much on the same wavelength about the tone and direction of the video and we had a blast filming it out on Coney Island. I selected the location and had the idea to film at a time when no one would be on the boardwalk. Having the camera stalk me in an eerie setting conjures purgatory in my mind, or at least, some sense of dread despite the traditional markers of joy like the beach and the amusement park. Tyler added so much to the idea throughout the shoot and in the editing process, suggesting different shots and stills. He really took my bare idea and made something compelling.

In what ways do the visuals in the music video help to elicit the feeling of chaos or desperation from the song?

 I think the juxtaposition of the beach, amusement park, and clear sky, against the desolation of the beach and the voyeuristic way the camera films me strikes a very eerie tone. Also, the shots are fast and seem almost out of order — I’m up close and the camera is shaky, but the next second, I’m 20 feet away and the camera is steady, and then you’re just looking at a fake palm tree. That seems chaotic and disorienting to me in a way that matches the feeling of the song.

What was the most rewarding part of bringing this story to life? Did you face any unexpected challenges or surprises along the way?

As much as the music-making process brings me anxiety, as I said earlier, it is also euphoric to hear a song come alive in the studio. I can’t really say this song presented many challenges. It came together rather quickly, and the band understood where I was heading with it. The production process is always filled with wonderful surprises because I will spend months contemplating the arrangements for songs, which is necessary so that the band goes in with some direction. But then they, and my engineer and co-producer Fernando Lodeiro, bring so much of their own expression to the recordings, and my job as the producer and artist is to be flexible and open enough to accept their contributions as the gifts that they are.

What feedback or reactions from listeners have been the most meaningful to you?

 I love this question. In one sense, I’m just happy folks are listening and I’m grateful for anyone who takes three and a half minutes to hear my song. But what I’m seeing with this particular song is that listeners are not only enjoying it, but understanding exactly what the song is trying to do. I feel like I’ve communicated something clearly to some listeners, and that’s sort of wonderful.

What can fans look forward to from you in the future?

 I’ve got a new album coming out on February 21 called The Catacombs. “Some Kind of Purgatory” is one of the tracks and I think listeners are really going to enjoy the album. After that, I’ll be heading into the studio later this year to record another one. I feel like I’m on a creative hot streak and like a pitcher adopting superstitious routines to maintain performance, I’m trying to record as often as I can to make sure I’m capturing the moment!

Follow Mark Ciani

https://markcianimusic.com/

https://www.youtube.com/@markcianimusic

https://www.instagram.com/markcianimusic/

https://www.tiktok.com/@markcianimusic

The post Mark Ciani on Being in “Some Kind Of Purgatory” appeared first on The Hype Magazine.

After a successful collaboration with veteran rapper Knoc-turn’al on his debut album, his upcoming project Never Judge a Book by Its Cover delivers an ultra-relevant reminder: no person has the right to judge another. Appearances can be deceiving, and assumptions can harm those most vulnerable. Yet, he believes that each of us has the power to manifest our dreams and break free from the chains that bind us. Q. Ali Bey is a resonant voice for his community and all of America—proudly representing those who refuse to let prejudice stand in the way of a brighter future.

When Q. Ali Bey crafts an anthem of resilience, it becomes supercharged—his dreamy, bass-driven West-Coast hip-hop resonates deeply, offering both wisdom and solidarity to a community burdened by systems of oppression. Familiar voices bolster the track’s evocative verses, as Wu-Tang Clan-affiliated Soloman Childs and Killah Priest share their perspectives, words of encouragement, and wisdom. At the heart of the track soar the angelic, comforting vocals of The Official Krystal Klear, carrying the poignant message—when one feels utterly overwhelmed by circumstance, like they are “about to drown,” one must “hold it down,” because everyone has just one life to live. In the face of darkness and tumult, Q. Ali Bey courageously illuminates a path forward, urging his community to “speak loud,” “stand tall,” and live with integrity and purpose. A rallying cry and a beacon of hope—” Never Judge a Book” spotlights the enduring strength and unity of those determined to thrive against all odds.

Q. Ali Bey has a spirit of honesty extends into his visual storytelling, opting for a down-to-earth, grounded aesthetic that veers from the hip-hop status quo. Filmed in one of LA’s most vibrant cultural hubs, Leimert Park, the video captures the essence of community, solidarity, and resistance. Against the backdrop of this historic neighborhood, Q. Ali Bey showcases the rich culture of this bustling community, using his art as a powerful medium to advocate for peace and liberation. Here, the song truly takes flight—uplifting the people and the spirit that inspired the track. Here, he and his crew stand united—embodying the collective strength that the song champions. And it’s here, that Q. Ali Bey sets the groundwork for lasting change—urging others to speak their truth with pride and purpose.

As a multi-faceted artist and activist, what inspires you to make music that tackles pertinent social issues?

My inspiration comes from our day-to-day issues in our local communities. When I served honorably in the US Navy from 2001 through 2004 during Operation Iraqi Freedom and Enduring Freedom I was under the impression that I was doing something positive in the world. When I became a civilian again I noticed that didn’t mean much to local law enforcement and Court as much as I would have imagined. To the point where I realized the negative things this Country has done to my people and essentially to everyone living in poverty is no different than 60 to 100 years ago. Some of my people are still expecting an apology for what was done in the past but not cognitive to see that it’s still happening to them today.

What makes “Never Judge A Book” stand out from other songs Q. Ali Bey has made in the past or other songs on your new album?

Several things make “Never Judge a Book” stand out over my other projects. The title and content of the music speaks for itself. Killah Priest and Solomon Childs (Wu-Tang Affiliates) bring their conscious element to the track. Last but not least, Krystal Clear and her melodic voice give the song the feminine touch it needs to complete the song.

You worked with many renowned artists on this project—what was your collaboration process like for this song?

The collaboration process was really pain-free and I’m grateful to Juicedawitchdocta aka Noble Jean Phoenix Legrand for introducing me to DJ J-Ronin and Solomon Childs and Krystal Klear. DJ J-Ronin plugged me in with Killah Priest and the rest is history.

Talk to us briefly about the music video’s production process. How did you and your director bring this video to life?

Shout out to the Director and Martial Arts legend Robert Parham of Meyham Films. We actually shot two videos that weekend: The first being Discipline Your Disappointments on Saturday, Nov. 2nd, 2024, and Never Judge a Book the following day Sunday, Nov. 3rd, 2024. I put a lot of emphasis on the first shoot and for the second shoot,t I just wanted to be in a culturally sound environment with Leimert Park, in Los Angeles, California being the perfect fit for Never Judge a Book. The Director used his vision and created a wonderful visual.

What is your favorite scene or visual element from the music video? What makes it stand out to you?

Though the entire shoot was an experience all in itself I would say standing in the circle of drummers as they were performing. Feeling the drums with the vibe of the people around was epic.

Do you think audiences will resonate with the messages in “Never Judge A Book?” Do the messages resonate with you personally?

I know that the message will resonate because we all have fallen victim to prejudgments and prejudices to some degree in our lives. It’s important to address these issues and put them at the forefront of our minds so that we can learn from them and move forward so you choose.

What motivates you to keep positive even in tough situations? Why is it important for you to spread positivity in your music?

I was raised to stay positive, find a remedy, and treat people the way you want to be treated. Those values my mother instilled in me will always remain within me. Music in general is missing positivity in the mainstream. I’m doing my part to resurrect mainstream consciousness music of all genres.

How does “Never Judge A Book” represent your future musical aspirations? Do you plan to explore similar themes in future?

The song Never Judge a Book is the single to my new album coming out this spring entitled “Never Judge A Book By Its Cover.” This project will kick off a series of campaigns to follow dealing with serious topics such as Police Brutality, Kidnapping, Racism, to name a few. As long as there is my people face injustice with no consequence I will have more than enough fuel to create similar projects such as this one

You can follow Q.Ali Bey at

https://www.facebook.com/QALIBEY1

https://www.instagram.com/q_ali_bey/

https://www.tiktok.com/@q_ali_bey?lang=en

The post Q. Ali Bey on His ‘Never Judge A Book’ Philosophy appeared first on The Hype Magazine.

Incredibly, the impact of Terry’s “never give up” mindset extends far beyond his music. Through his innovative entertainment company, 100 Trillion Entertainment, he aims to uplift fellow artists and creators. Its unique name is inspired by the 50-120 trillion cells in the human body, symbolizing the limitless potential and extraordinary power one carries within. As a firm believer in the tremendous capability of the mind and body, Terry leads by example in his ventures, encouraging others as a dedicated martial arts instructor at his gym, Warrior Garden Combat, and founder of the plant-based food provider Winner Winner Vegan. Whether through his expertly crafted hip-hop tracks, his entrepreneurial pursuits, or his work as a mentor and instructor, Terry Milla is a consistent, clever, and creative champion of empowerment.

Immersed in the Hip Hop scene from a young age, Terry Milla refuses to let his years of expertise sideline him. Instead, he offers the community—and listeners from all walks of life—a glimpse into the paths that led him to stability and success. Playing on the southern slang often used by figures of authority, Terry plans to teach listeners a lesson—straight from a rapper who was rapping “before OutKast came out.” That is—a powerful lesson in resilience and determination. Set against a booming trap beat and dark, twisted melody, “Learn Ya Bout Me” carries an unexpected sense of vulnerability while staying true to his authentic Atlanta sound as he recounts the struggles that inspired him to live a more holistic lifestyle and connect with his passions on a deeper level. By diving into his origins and setbacks—Terry spins the negative into the positive, reminding listeners that this OG rapper “can only go hard.” Having beaten “impossible odds,” Terry continues to prevail and defy expectations—proving that the door never really closes for a veteran artist with determination and talent like Terry.

The visuals in the “Learn Ya Bout Me” music video masterfully weave a triumphant narrative that brings the intensity and authenticity of Terry’s story to life on screen. Immediately, viewers are immersed in Terry’s world—finding him first in a familiar setting—rapping in the neon, ultraviolet wonderland of Mudnoc Studios. Beyond showcasing his lyrical prowess, this video reveals the depth and dimension of Terry as a multifaceted artist and person. The narrative effortlessly transitions from the studio to one of Terry’s other spheres: the martial arts gym. The scenes of Terry mentoring and practicing almost take on a “Rocky” -like feel, visually symbolizing Terry’s journey of perseverance and gradual climb towards healing. Eye-catching visual filters and flashes of x-rays and album covers add a layer of nostalgia and emotional resonance—creating a captivating timeline of the challenges he has faced and conquered. As a vivid, personal backdrop, the video invites viewers to step into Terry’s shoes—and feel both the weight of his journey and the joy of his accomplishments. In every frame, his unwavering determination shines through, making it impossible not to root for him as he continues to rise above adversity and redefine the measures of success in the music world and beyond.

You have been rapping for a few decades now—what inspires Terry Milla to keep making music today?

 Music is therapy for me. It’s one of my passions. My man Slappy from the band Entropy said, “music is what I love and I want to keep what I love in my life”. I love that concept. I had to get out of the mindset that everything has to have an immediate financial benefit for me to do it. The irony is that now that I do it because I love it, it’s making me money. We treat things differently when we love them, and I’m bringing that energy to everything I do.

“Learn Ya Bout Me” is an anthem of resilience inspired by your own life experiences. Can you tell us a little bit about your story and what motivated you to share your experiences in this track?  

Life can hit hard and when it does we always have the option to let it beat us or to rise above the circumstances. For me, it was a defining moment that I chose to use as motivation. I told myself I wasn’t going to let this or anything else beat me and I pushed forward. I like artists that share their real life story in their music. Over the years, I had plenty of “opportunities” to “sell out” or compromise the integrity of the music but I chose not to. I think it’s like everything else, you get better at it the more you do it. Since I started down this road as “Terry Milla”, I defined the type of artist that I would be and I just continued down that path.

How has your sound and Terry Milla signature style evolved since first making music? In what ways does this song showcase your evolution as an artist? 

When I first started, I was trying to find myself and my sound. I listened to the greats like Rakim, Chuck D., Ice Cube, Kool G. Rap, RUN DMC, Tupac, and others and studied their bars. I was influenced by them and more but I wanted to be original. That was a time when music had a message and I was dropping gems in my verses. Artists like E-40 inspired me to make my own slang and be different. In today’s music, the streets run the game. I came up on Boulevard (4th Ward) and the S.W.A.T.S in ATL. We used to be outcheer wilin’ for real. We did it all and didn’t realize that our actions had consequences. At that time, that lifestyle influenced me and my music. But as I evolved, I started to see that the street life only leads to prison, death, addiction, & bad habits. I watched my homies die, go to prison, or end up junkies. I made it out of this hell by the grace of God literally. Now I’ve come back to my musical roots so to speak. This song comes from where I am now. I always aim to evolve so my new songs will come from that place.

Who could you NOT have done the “Learn Ya Bout Me” music video without? What was your collaboration process like?

I’m grateful for my students Shane and Kani, my cousin Carolyn, and my potnas Mudnoc, Dejuan, Mic Chamberz, and Joe Black for helping to bring this vision to life. Our collaboration was basically what we do every day anyway. We train, do music, and eat vegan food, lol, so it was like always. I’m glad they were available on the days we were filming so we could get it done.

Do you have any interesting or fun stories about Terry Milla from the filming process you can share? 

The food scene was actually supposed to be filmed at my potna Black’s backyard. He has a food trailer and we were going to show me serving food in the video. His dog’s did their business all over the yard though and we weren’t able to get it cleaned in time. We had to improvise and that’s what we shot. 

You infuse a lot of your personality and interests into this visual—how important is it for you as an artist to share music that feels authentic?

For me, authenticity is everything. I can only be me and I shouldn’t have to pretend or glamorize something that isn’t authentic. I was at Pay Attention Productions studio with DJ Tim a while ago and there was a kid in there rapping bout all these drugs and how he’s trapping all the time. I was still smoking at that time so I asked him if I could buy some weed from him. He said, “oh I was just rapping about that. I don’t sell anything or do anything at all”. I just shook my head. I think that’s one of the main things wrong with the game. Many people feel compelled to make songs about crime, drug life, violence, etc. that’s “what’s hot in the streets”. We secretly are afraid to be ourselves because we think our real selves won’t be accepted. I denounce all that and just do me.

As a “champion of empowerment,” how do you hope your music inspires others? What do you hope audiences take away from the track and music video? 

I hope that this song and my other music will inspire others to persevere through their challenges in life. I felt and still feel like I got hit by a ton of bricks but I know that I will never quit. People may say you’re too old or too different but if you truly believe that it’s worth it, then you must continue. My ex made a post that said “if you’re over 40 and still rapping you need to start a blues band ha ha ha lol lol lol”. Hip hop just turned 50 and I’m younger than hip hop so how am I too old? When I teach my classes, I have some teenagers that can’t keep up with me. There is chronological age and biological age. My chronological age is 49 but my biological age is probably in my late twenties. I take care of my health, and exercise regularly, and my mindset is that anything is possible. I’m not “too old” to do anything. Pretty soon, I’m going back to do parkour, please believe it. I’m already jumping off the walls but I’m going to a whole new level. So never give up.  If I can do it, you can do it. The same naysayers that said it wasn’t possible will witness you do the impossible. 

What can fans look forward to from you next—in your musical career or otherwise?

This song is one of 3 singles from the upcoming album, “Off Tha Leash”. “Off Tha Leash” means that I’m unrestrained, unchained, and doing me to the fullest. That will be released after the singles drop. My plant based foods company, Winner Winner Vegan, will have retail food and beverage products on the shelves soon. The “Tea of Immortality” and “Bliss Brownies” are being packaged and will be manufactured for placement in more stores. You can now place large/ catering orders on our website, winnerwinnervegan.com also. The Warrior Garden Combat and Fitness classes are being recorded and are going to be offered live and through video on demand. Sekm Maa (“True Power”) Warrior Arts, the system that I founded, has several drills and techniques that will be offered as video based training. More info on the classes and video training at warriorgarden.net. Other things will follow but I’m just taking it one step at a time.

Follow Terry Milla

https://100trill.com/

http://youtube.com/therealterrymilla

http://facebook.com/terrymillamusic

http://instagram.com/terrymilla

http://tiktok.com/@terrymillamusic

The post Terry Milla Explains His ‘Learn Ya Bout Me’ Journey appeared first on The Hype Magazine.

The Philly-born-and-raised rapper grew up immersed in the music world, looking up to his father—DJ and TV music show host Ronnie Ron. Being surrounded by musical legends from an early age gave him a unique perspective that catapulted his artistic path. Having grown up in the musical sphere, it was only natural that Young Hitta embarked on his rap journey as a young teenager—adopting a tunnel vision mentality that channels his boundless energy and relentless drive into his craft. The result? Fiery, passionate tracks with deliciously smooth flow—filled with booming bass, melodic riffs, and resonant lyricism. Guided by the mentors who stood in his corner in his own career, Young Hitta is dedicated to passing along his wisdom and mentorship. Playing many roles—producer, engineer, manager, cheerleader, and more—he lends his talents to up-and-coming artists with promise. Believing that each person is a “star in their own way,” he aims to inspire listeners to persevere through challenges and embrace their potential. With exciting new projects on the horizon for this twenty-six-year-old in the coming months, old and new fans are eagerly awaiting Young Hitta’s most dynamic and expressive display of artistry yet.

Written, produced, and engineered entirely by Young Hitta, “Letter 2 My Folks” is an emotionally charged, deeply moving track rooted in his personal experiences with loss. Dedicated to his mother and grandmother, whom he lost in 2023 and 2020, respectively, the song takes the form of an intimate letter. Through raw and honest lyricism, Young Hitta expresses deep gratitude for the sacrifices made by his family and mentors while acknowledging the struggles and triumphs that have shaped his journey. The song’s dynamic production features a dominating, almost haunting beat backed by melodic riffs and steady bass lines, dripping with Young Hitta’s signature fiery sound. Young Hitta’s silky-smooth flow weaves seamlessly through the music, infusing the track with an electrifying jolt of energy. Yet, his sincerity seeps into every verse—more than just a personal tribute, “Letter 2 My Folks” is a source of solace and encouragement for anyone grappling with enormous challenges. Recognizing the profound loneliness and darkness that often accompanies grief, Young Hitta courageously extends a hand to listeners—reminding them they are not alone and urging them to follow in his footsteps toward finding strength within themselves.

The “Letter 2 My Folks” music video is a visually stunning, unexpectedly vulnerable portrayal of loss, love, and resilience. Directed in collaboration with Mirzy Productions (@1mirs), Young Hitta crafts a muted atmosphere of reflection and reverence infused with an unmistakable Philly grit. Every frame feels authentically Young Hitta as he brings his lyrical letter to life on screen. Dynamic, quick cuts and exhilarating flashes breathe life and energy into each shot as Young Hitta delivers his verses with a commanding presence. Yet, amidst the vibrant visuals, two important objects quietly steal the spotlight: glittering pendants bearing pictures of his mother and grandmother that never leave Young Hitta’s side. These cherished photos remain close to his heart, symbolizing his dedication to their memory and gratitude for their impact on his life. Rich with personal touches, “Letter 2 My Folks” is more like a visual diary, serving not only as a heartfelt tribute to his lost loved ones but also as an invitation for viewers to share in his experience of healing, gratitude, and perseverance.

How did growing up watching your father in the music industry influence your artistic path? Did you always know you wanted to be a musician?

It influenced me 100% because I was around mega stars at a very early age while I was still in school, so that turned me into a popular kid. At the time I was interested in basketball but the music was a way for me to express myself so I fell in love with it. Yes, I always knew I would make music since I did the POG freestyle when I was 6 years old my dad heard me rapping and that’s when we knew

Did you draw inspiration from any particular musical influences for this track? How would you describe your signature sound?

Yeah, over the years of me making music people have compared me to Kendrick Lamar , Kur or some say I don’t sound like I’m from Philly. It was just the influence of losing my mom. It was a very tough time for me. I didn’t even write a letter to my folks. I built my studio ground up, got the beat & just started rapping how I felt at that moment.

Talk to us a little bit about your writing process for this tribute to your mother and grandmother. Are there any lines or themes that stand out to you?

 The writing process for me can go 1 of 2 ways, either I’m finishing some I have been writing or I’m just going off the top which is another one of my best attributes. I have sat down and written a couple of great songs. Like one of my most popular songs to this day “Ocean”, the lines that stand out for me is when I said “College party the last time I saw Mike my friend Mike was killed when he was 18 he showed me love sandbox type work we were at a Lincoln university college party one of the best times I had with bro a couple of days later he got killed in a robbery going wrong” another line for me is “2y he one of a kind 2nd rich in my family I just might”t .. talking about nick cannon which is my real cousin. One more line that sticks out to me is when I said “he back popping them xans he bugging out I told Brodie to chill he said he stopped used to stop by the crib check on my pop when I heard that you checked my heart dropped talking about”, my bro young who I was closed to passed away from a overdose after getting clean and coming to see me saying he was done

Who did you collaborate with for the creation of the “Letter 2 My Folks” music video? What was the filming process like?

I shot with 1mirs / Mirzy probably one of my favorite videographers. Good dude make sure y’all tap in with him when y’all are all in the city but making the video was a very fun process for me. Working with 1 Mirs because he liked the song so he came up with ideas, I put mine in and the video came out fire.

What was your favorite part of creating the song and the music video? Do you have a favorite scene or visual element?

I just wanted to let people know that other people is going through a tough time dealing with the loss of somebody really close. It’s a crazy world, we deal with death every second but when you lose certain people it can do something to you. I had people reach out and let me know they were with me and they told me they appreciate “Letter 2 My Folks” they said It gets them through tough times

What emotions are you hoping to stir in your audience with this song? Do you hope the song inspires others?

I just want them to know I’m more than an artist, reach out to me. I’m a very good dude and I just wanna see people win. Ever since I was a kid  I always was a helper & a team player. Me & my pop Ronnie Ron air 247 reach out to us we support and I just love the music man.

What music do you hope to make next? Do you have any projects in the works?

Yeah, I got some more videos coming soon. I have like 14 unreleased songs right now I’m bout to get back to my side of it but yeah a lot of music coming in 2025 -2026

You can follow Young Hitta on IG @2yhitta.ygb

The post Young Hitta Discusses His “Letter 2 My Folks” appeared first on The Hype Magazine.

Defeat and failure are essential to life—they push people to reevaluate their choices and adapt to change. But what happens when things never go according to plan? May Fall might know a thing or two as he takes listeners through the winding, grueling stages of losing hope from the first setback to the final straw. Without listening to the lyrics, one might mistakenly consider the song upbeat—even joyful—brimming with infectious synths that would fit perfectly in a retro or contemporary disco. But there is no need to worry; though this masterpiece isn’t joyful, it doesn’t mean it isn’t fun. May Fall takes this opportunity to showcase his prowess as a songwriter, impressively blending wit and humor into an existential narrative that explores what happens when one feels like they’ve run out of options. When plans A, B, and C fail – there’s only one way out – Plan D (E-A-T-H). With this release, May Fall captivates and reaches new artistic heights, delivering what is undeniably his most compelling songcraft yet. This track exemplifies May Fall’s talent for crafting tracks with the perfect balance and emotional depth blend, solidifying his place as a fearless, brilliant voice in synth-driven music.

Following a successful collaborative effort on the captivating “Sleep” music video released earlier this year, May Fall rejoins forces with Greece-based director Thanos Kallianiotis, who courageously takes on the role of master manipulator for the “Plan D” music video. Despite facing numerous challenges in the planning and production process, including a period of mandatory emergency reserve duty, May Fall possessed an ironclad will to bring his unique, precise vision to life exactly as he had imagined. Therefore, this duo turned to “out of the box” alternatives—utilizing creative experimentation and technical prowess to direct and shoot original footage and then manipulate it with cutting-edge artificial intelligence technologies. These technologies are so fresh that this team is practically forging a new path in the music world—daring to push the limits of visual artistry in the musical arena. Resourcefully adapting to far less than ideal conditions May Fall managed to shoot footage of himself single-handedly using his cell phone —sometimes in unexpected locations—all to provide an ideal foundation to build the scenes and story on the computer. The result is a mesmerizing visual that exquisitely matches the ominous, urgent tone of the song, evoking a sense of dissociation and panic. As the pinnacle of May Fall’s work thus far, it’s a thrilling look into the boundless nature of May Fall’s artistry, cementing his place as a visionary talent with much more on the horizon.

In what ways do you resonate with the story told in “Plan D?” Is the concept rooted in a personal experience or memory?

“Plan D” is a personal story and also a universal one. It’s a blueprint of a downhill life path that every person can find themselves in. It starts with Plan A when you try to make your dream come true, then you most likely fail and switch to Plan B, which is a more realistic alternative. Then things may go wrong in unexpected ways, which may force you into Plan C where you’re in a sort of survival mode. Then, when you’re on the edge, it might take another push or a few ones to make you lose all hope, and resort to Plan D that ends it all. The concept comes from a theory I came up with, that every person, when pushed to a dark enough place, whether it is through despair, shame, guilt or anger, is capable of killing themselves or someone else. The Plan A to Plan D path is very simplified of course, people can jump back and forth between these stages, and change their perspective regarding their situations and aspirations. But as a general idea, I believe that many people would be able to relate to it. On the personal level, quite a few years ago I went from Plan A to Plan B, gave up my dream to become a rockstar, and started a career in law practice, which was kind of a life crisis I’m not sure I ever fully recovered from. At times I felt I was on my way to Plan C, and had the vision of Plan D waiting for me down the road. I’m not there yet, but knowing it’s there definitely affects my perspective and inspires my writing. That’s what “Plan D” is all about.

During your production process, was there a specific sound you were hoping to achieve? What distinctive elements did you incorporate into this song?

Sound-wise I generally aim to achieve something that mixes the vintage with the contemporary. It will probably be no surprise that I’m a big fan of the 80’s synth-centered music, so you can find traces of Duran Duran, The Human League, Nik Kershaw, Depeche Mode, and others. I love these warm, punchy, analog synth landscapes. Like in a few of my other songs, you will find in “Plan D” the fat funky synth bassline, brassy poly synth stabs, and the underlying Nick Rhodes-esque synth arpeggiator. In the drums section, you have a slap-to-the-face sounding snare that reminds me a bit of Fine Young Cannibals’ “She Drives Me Crazy” and congas like in Spandau Ballet’s “Gold”. These vintage vibes are interfered with in the Plan C part where I mess with a bunch of samples and synth tweaking to create an alarming feeling, and then in the chorus, it’s back to straightforward funky vibes.

What makes “Plan D” stand apart from other songs in the alternative/indie genre?

I think that the song’s theme is what makes it stand apart the most. I don’t recall ever listening to a song that explores the path of one’s decline from their dream plan to ultimate despair, surely not in such an analytic, structured fashion. While the music video tells a specific story that is very inspired by my own, the song itself deliberately avoids referring to specific manifestations of each plan, which keeps it applicable to each listener and their own plans A, B and C. Eventually, in plan D, we all end up in the same place.

What motivated you and your director Thanos Kallianiotis to utilize artificial intelligence technologies to put together the “Plan D” music video? Did you face any challenges or surprises in your production process?

Interestingly, I had the general storyline of “Plan D” in my mind long before I knew how it would be brought to life. At first, I thought this would be a great animation video and I started working with the very talented animator Tal Friedlander, who helped me develop the concept and storyline. However, it didn’t work out and I got to the conclusion that this music video needs to be based on real footage. It tells my personal story so I should be in it in the flesh. Around that time I met the awesome videographer Thanos Kallianiotis. We first produced the “Sleep” music video, with the plan of making “Plan D” shortly afterward. The more we discussed it we realized how complicated it’s going to be to shoot. It would require a full week of shooting in various locations and a complex pre production. Then, shortly after I released “Determinist”, the first single from my upcoming EP, came the horrendous October 7, 2023 terror attack and I was called to emergency duty for an indefinite time. It took me a few months to realize that under these circumstances we’re not going to shoot any video shortly. The AI revolution was evolving fast at the same time, and I learned that this technology can be utilized to make amazing music videos without requiring elaborate productions. I was led to the inevitable conclusion that the only way this music video is going to happen in these extreme circumstances is by taking advantage of this technology. By coincidence, it turned out that Thanos was experimenting with this technology himself in his art, so we decided to take a leap of faith and try producing a video in a way that neither of us had prior experience in. We already had the storyline, but we needed basic footage of me in each scene to work on, so in a true guerilla fashion I took shots of myself with my mobile phone singing in various locations, including while I was in duty, improvising location sets, outfits, and props. I sent the footage to Thanos, and then he worked his magic. He developed his unique workflow, editing the footage and manipulating it with various AI and non-AI tools, until he got to this crazy music video that exceeded my expectations and perfectly matched the song, bringing the story to life in a wonderfully brutal way.

How do the visuals in the “Plan D” music video reflect the unique style and flair of your musical identity?

The visuals in the music video express my musical identity by taking you through my journey, in particular through the earlier years when I hustled my way trying to make my dream to become a successful music artist come true. The first Plan A gig scene and the second verse in the record label office pay homage to my days with my band Rotev, which later became Road to Evenmind. We went through all that, the gigs, the album recording, getting refusals from record labels, so this is something that resonates with me on the deepest level. It feels like some kind of closure, putting my past failures out there, taking pride in them, and empowering other people that went or are going through the same process.

How important is it for you as an artist to share music that feels authentic? In what ways does this song showcase your drive for authenticity in your music?

I don’t think that authenticity is my main objective in my music, but it’s the result of my choosing to use my music to express things I authentically feel and think. I always write about the things that occupy me and trigger me the most, and these topics change throughout my life’s journey. A few years ago, I was really bothered by culture and religion-based conflicts, and how peoples’ views are easily manipulated by fake news and biased media (which bothers me these days too), so I wrote “Blind Zone” and “Same Code”. In recent years I became more focused on my own psychological and philosophical perceptions which sometimes take me to dark places, and that is what I felt compelled to express in my more recent writing. That’s the thread that ties all the songs in my new EP “Submerge” together. I think it should be very strongly felt in “Plan D”, which very authentically exposes my internal experience, pretty much putting my brain on a platter for everyone to see.

How do you feel now that the song and music video are released?

I feel mostly relieved. I never release new music according to the original schedule. I always find excuses to delay the release, but the late release of this one is not only my procrastination. The release of “Plan D”, as the last single in the new EP, was tied to the release date of the EP itself, so there was a lot at stake. The previous singles “Determinist”, “Sleep” and “Under Cover” were intended to build up toward this, but with everything that happened during the last year, I was forced to delay the EP release when the first singles were already out which I feared would impact the momentum that started to pile up. However, thanks to Thanos who managed to complete this incredible video lightning-fast after many sleepless nights, I got everything ready for release last December, which allowed me to release the EP in 2024 like I originally intended so I’m pretty happy it worked out.

How does “Plan D” reflect your musical direction and aspirations in the future? What projects do you hope to work on next?

I don’t have an idea at this stage how the next May Fall release will sound like and whether it will be anything like “Plan D”. Most likely I would want to try something new, and reinvent myself somehow, but I think that no matter how far I’ll try to go there’s an underlying signature style deeply embedded in my musical DNA that I’ll never be able to change. For sure, the new May Fall release will be packed with tons of synths, funky beats, and themes that unapologetically explore the dark side of humanity. But before that, I have a lot of unreleased music for Road to Evenmind and The May Fall Crew that has been sitting aside patiently for too long, so I would probably want to do something about it first.

Follow May Fall

https://www.youtube.com/channel/UC2eBQ5mbsup19ortRg2xDMg
https://facebook.com/mayfallmusic
https://twitter.com/mayfallmusic
https://www.instagram.com/mayfallmusic/
https://tiktok.com/mayfallmusic

The post May Fall Explains His “Plan D” Single appeared first on The Hype Magazine.

Q: You’ve accomplished so much at just 13 years old! How did you first get started in acting, and what keeps you motivated?

Jayd: I started in the industry when I was 4, but my mom wanted to make sure it was something I really wanted, so we waited a bit. When I was seven, I began dancing and singing to Michael Jackson. My mom’s friend saw me on Instagram and invited me to perform “Thriller” at a Halloween event. I said yes, and from there, things really took off!

One of the coolest moments was when my parents surprised me with tickets to see The Jacksons. During the show, Jermaine Jackson actually lifted me onto the stage, and I got to dance with them—it was unreal! Moments like that keep me motivated and remind me why I love what I do.

Q: Your roles span major platforms like Netflix, Amazon, and Lifetime. What has been your favorite character to portray so far, and why?

Jayd: My favorite character so far has to be Aiden Henley in I Woke Up a Vampire on Netflix. It was such a fun project! I put a lot of effort into Aiden’s character, and it was amazing working with other talented kids. Plus, the special effects made everything even cooler! Being a series regular on such a unique show was definitely a highlight for me.

Q: From I Woke Up a Vampire to Ruby & the Well, you’ve worked on diverse projects. How do you prepare for such different roles?

Jayd: I always follow my process, which I call PPP—Plan, Prepare, Produce. First, I study the character and figure out how they would act in different situations. For example, Aiden was a cool, gamer-type kid, so I had to bring out that vibe in my performance. Meanwhile, Jelani in Ruby & the Well was more emotional, so I had to approach that differently. Planning out the character really helps me deliver my best work.

Q: As a young actor, how do you balance school, acting, and your personal life?

Jayd: It’s definitely been a challenge, especially with how busy things have been. When I was in Joseph and the Amazing Technicolor Dreamcoat, I had rehearsals all day, and I’d record for animated series early in the morning before rehearsals started. Once the shows began, I was performing 8–9 shows a week while juggling school, voice roles, singing live, and auditions—it was a lot!

Last year, I switched to an online private school, which made balancing things easier, but now I’m back in person at a school that accommodates my schedule. Time management is key, and my mom makes sure I still get to do normal kid stuff whenever I can.

Q: You’ve voiced iconic characters like Super Why and Boomer in Paw Patrol. How do you bring animated characters to life?

Jayd: Bringing characters to life is so much fun! For Boomer in Paw Patrol, I worked with my amazing director, Steph Misayo Seki, to create the perfect villainous laugh and a “know-it-all” attitude. It’s all about finding that unique voice and personality to make the character stand out.

Q: What was it like voicing David in Barney’s World, especially with the musical elements involved?

Jayd: Voicing David in Barney’s World was awesome! He’s such a cute little character, and the stories are really meaningful for young viewers. Since I love singing, the musical parts were right up my alley. It’s been amazing to be part of a production with so much heart and music.

Q: You’ve portrayed historical icons like Jackie Robinson and Alvin Ailey in Xavier Riddle. How did you approach those roles?

Jayd: Honestly, it wasn’t challenging—it was more of an honor. Playing such incredible icons and sharing their stories made me feel really proud. It’s important to show the struggles they faced and the legacy they left behind.

Q: Your musical talents are extraordinary—playing multiple instruments and creating your own beats. How does music complement your acting career?

Jayd: Music helps in so many ways! A lot of roles ask for singing samples during auditions, so being a musician gives me an advantage. When I was filming A Christmas Serenade, the director, Roger Bobb, asked me to sing on the spot, and I was ready because of my background in music.

I started playing violin when I was three, which helped me learn other instruments. My older brother plays more than eight instruments, so I look up to him a lot. Music also helps with musical theater—I can’t say much yet, but there’s an upcoming production where I play an iconic character and sing four songs. I’m so excited for it to be released!

Q: Tell us about your upcoming debut EP and music video. What can fans expect?

Jayd: My first EP is going to be a mix of pop, 80s vibes, R&B, and a ballad. I’ve created about 38 beats so far, and I’m still exploring different genres. My goal is to make music that people can vibe to—whether it makes them dance, feel happy, or even shed a tear. I just want people to connect with it.

Q: Performing with The Jacksons and debuting at the London Palladium are incredible! What’s your most memorable moment from these experiences?

Jayd: Performing with The Jacksons was like a dream come true! I was seven, and when I got on stage with them, I felt like I was Michael Jackson. Marlon and I even spun around together—it was such an epic moment.

For the London Palladium production of Joseph and the Amazing Technicolor Dreamcoat, my solo, “Benjamin Calypso,” was my favorite moment. Performing live every day was such an amazing experience.

Q: With such a diverse portfolio, what’s a dream role or project you hope to tackle?

Jayd: My dream role would be playing a lead in a Marvel movie! I’d also love to keep producing music and eventually perform at my own concerts.

Q: Many of our readers are aspiring creatives. What advice would you give them?

Jayd: My advice is to work hard and never give up. It takes years of training and dedication. Do your research, get a good agent, and keep learning. Classes and training are super important, so keep pushing towards your goals!

Q: Lastly, what’s one fun fact about you that fans might not know?

Jayd: A fun fact is that I actually like cooking! It’s something I enjoy doing when I’m not working.

Jayd Deroché is a powerhouse of talent with a bright future ahead. From acting and voice work to music and live performances, he’s doing it all—and we can’t wait to see what he does next!

Follow Jayd on Instagram: @jayd.vaid

The post Exclusive HYPE Magazine Interview with Jayd Deroché – The Multi-Talented Teen Taking Over the Screen and Stage appeared first on The Hype Magazine.

Recorded at Lakehouse Recording Studios in Asbury Park, New Jersey, “It’s Not Your Life” tells a familiar story of succession, as MattO sings from the perspective of a child whose father passed along his profession without much choice in the matter. Jam-packed with soul and character, flowing with gentle guitar strums, funky piano chords, and laid-back vocals, “It’s Not Your Life” is a standout track. The melody may be simple, but those who resonate with this story know the feeling is anything but. The song’s meaning and impact will vary depending on who’s listening; for younger audiences, it’s likely to stir intense feelings of rebellion and freedom in those who’ve been told that their “destiny counts little” because they are “part of something much bigger.” In a contemporary world filled to the brim with choices and opportunities, who is to say what one can and cannot do? Yet, mature listeners will feel compelled to reminisce on a time when the choice was laid out for them. In a world of unlimited options, it’s easy to get overwhelmed by choice. Regardless of age or background, audiences will find comfort in MattO’s lyricism knowing they are not the first, nor the last to be told “it’s not their life.” It’s a stellar first single for the upcoming album, Drifting Down.

The “It’s Not Your Life” music video features a live acoustic version of the track—spotlighting the finesse acquired from decades of collaboration with renowned guitarist Luca Meneghello and percussionist Sandro de Bellis, both voted first-rate musicians in Italy. Shot in Milan, the stripped-back, intimate visuals complement the song, providing the ideal arena for MattO’s soul-stirring stories. The black-and-white, minimalistic shots keep the video grounded, yet evoke a raw, emotional experience as MattO and his band play with an effortless blend of passion, precision, and beauty. Similarly directed by Marcello Bumbica, this video mirrors the style of his previous video “I’m a Man,” further solidifying a unique artistic aesthetic that exquisitely complements his gripping sounds and stories. With his next album on the horizon, it’s one of many stunning visuals on the way set to show off MattO’s boundless artistry.

Talk to us a little bit about your writing process for this song—who or what sparked your inspiration?

I have carried the song’s topic with me for a long time. It was not inspired by a personal experience, but rather by the observation that each new generation starts from scratch and does not build on the experience of their parents or ancestors in general. So we all live for the first time and think everything is new and our experience is unique, it is “our life”, when really everyone who lived before us went through more or less the same process.

Why do you think this song will resonate deeply with listeners?

As a young adolescent I want to differentiate myself from my father or mother – I want to be someone in my own right. So when you are told what to do with your life you resist it. I think everyone can relate to that feeling as we all had to choose our own path, often against the will or the advice of our parents. That conflict and how you deal with it marks a young adult’s life.

What sets “It’s Not Your Life” apart from other music in the genre? What makes your sound unique?

I don’t really know. The music just comes out the way it does, I am not trying to sound unique. For this song, a light handed approach based on acoustic guitars seemed to create the right mood for the story.

How does your new album, Drifting Down, showcase your evolution as an artist since first reconnecting with music?

The songs of the album have been written over a period of about four years and have evolved in the process. They are carefully crafted and the arrangements are rather restrained. Compared to my past work, the album feels more homogenous and less experimental. I would say I found my comfort zone and the challenge will now be to not get stuck in there, but to keep pushing my limits.

Talk to us a little bit about the style of the music video—what motivated you to go for a “stripped back” approach for this track?

Black and white videos make you focus on the essentials – the musicians, the light, the lyrics and the music. The song is intimate – the songwriter’s reflection about growing up to become an adult. I think the stripped back version does justice to the song.

Follow MattO

https://www.facebook.com/mattomusicofficial
https://www.instagram.com/matthiasoertle
http://matto-music.com/

The post Singer Songwriter MattO Discusses Single “It’s Not Your Life” appeared first on The Hype Magazine.

On the media not reporting enough on his sobriety:

“It’s not talked about enough. The media has a bad habit when it comes to me, of always putting out the stuff I did  years ago, first, and not even mentioning that I’m 32 years sober. It’s making people feel like I’m just out there running amuck and I’m not. I’ve been sober for 32 years. The mistake I don’t make is relapsing. I won’t make that mistake again. Black actors and white actors are treated in two different ways. Charlie Sheen, he’s back on some TV show. And I’m like, ‘Wow, that’s crazy.’ I’m back on a show too (Comedy Central’s Everybody Still Hates Chris), but when they talk about Charlie Sheen, they don’t bring up his troubles, when they’re interviewing him. They first talk about what he’s accomplished. With me, they start off with the troubles before they bring up my accomplishments.”

On how he finally got sober three decades ago:

“I couldn’t be the same guy anymore. I got tired of doing the same thing over and over and expecting different results, and getting the same results. I remember when I was in the rehab program, and this light came over me and God said, ‘I’m going to put people in your path and you just listen to what they tell you, do what they tell you to do and don’t question it, and you will be sober for a long time.’ That’s exactly what happened and I finally got it. You have to surrender to win the program. That’s tough for people who don’t like to surrender.” 

“God healed my heart. He healed a lot of pain that I was going through, from being molested as a child and from having an alcoholic father, and from years of getting pulled over by the police every day when I was just going to work. When I moved to the San Fernando Valley, I’d be riding my bike with my white friends, and [the police] would pull me over and take my bike, and tell me that I stole my [own] bike. And if any kid there could afford his own bike, it was me! Going through all of that, I developed a chip on my shoulder and I became angry with everything around me, because I couldn’t believe how you could become so successful in this country and still be treated like dirt.”

On being a famous teenager in the 1980s:

“It was exciting, because you were well known. But then also you had a target on your back. And it was a lot different living in southern California then it was living in San Francisco. In San Francisco everyone got along and nobody cared what color you were. When I moved to Los Angeles, my first experience with racism was when we were buying a house in Culver City. My mom (the late actress, Betty Bridges) sounded like a white lady on the phone, so they were like, ‘Oh yes, Mrs. Bridges. Your credit checks out and you have the money. We have a house for you and it’s perfect.’ And we go there and they see all these Black people with big afros (laughs), and they were like, ‘Oh no, we don’t have any houses for sale here anymore.’ My mom got one of her white friends to go in, and they actually got the house for us. It was hard to handle as a kid, being famous and still dealing with that.”

On him an Gary Coleman fighting to get Black crew members on Diff’rent Strokes:

“Me and Gary Coleman were the only Black people on that show at that time, and we had no Black crew members. Then I started speaking up and they finally got Black crew members, and we got a Black director, finally. And that was making us feel a lot better, because we had people around us who looked like us.”

On pedophilia in Hollywood and surviving early sexual abuse:

“I was a victim of it. But I never witnessed it [with others]. It came from a good family friend who was my publicist. My mom didn’t want me to be alone with this guy, but my dad was like, ‘He’s fine. What’s wrong?’ And back then, mothers usually listened to what their husbands said. And that was the guy who did me wrong. It’s very important today that you watch who’s around your children. You don’t leave them alone with any strangers. It’s something I am very hyper-[vigilant] about, but it protected my kids. This is something that destroys kids. It took me years to get over that.”

“What they do is, they groom the mom to get to the kid. And usually, if the mom is greedy and also trying to get that life for herself, then that’s what’s going to happen. You’ve got to be there with your kid, and you have to watch people. You can’t leave them alone with anybody.”

On threatening to quit Diff’rent Strokes when producers wanted his character, Willis, to insult Muhammad Ali:

“One thing I will say about my mom is, I remember one time they wanted me to insult Muhammad Ali on an episode of Diff’rent Strokes, and that’s one of my idols. And I was like, ‘I’m not gonna say this. I’m not going to insult my hero.’ And [the producers] were like, ‘Well, then we’ll fire you.’ My mom said, ‘Go ahead and fire him for it. That’s fine. We don’t need this job that bad. I’m not going to mess up his integrity to insult somebody he loves.’ Then one of the other producers came over and said, ‘No, he doesn’t have to say it if he doesn’t want to say it.’ But you have to keep your integrity in a situation like that.”

On his late Diff’rent Strokes co-star Gary Coleman:

“[Gary Coleman’s parents] valued money more than Gary Coleman, and that’s what happened to him. They valued money way more. We all knew right away. Gary had a kidney transplant, and he was back at work two weeks later. It shouldn’t have been like that, and it was terrible. He was throwing up and all that. He was under so much stress that his body rejected the kidney. He shouldn’t have been at work at all. It was all about money. [His parents] both stopped working and they’re living off the kid. You can’t just give up your whole lives for your kid that’s in the business. My parents both had jobs. My mom was a big manager. She taught Nia Long, Regina King, Lamont Bentley, Sanaa Lathan. My mom trained all those people in her academy. She trained all those people and made them stars.”

On possibly rebooting Diff’rent Strokes:

“We’re trying to get that back to TV. We are working on something right now. There are no traditional families on TV right now. We’re trying to create that again, and I think we can. TV is a wonderful tool, and if you do the right show then parents can watch again with their kids. They can enjoy it and learn lessons, and then talk with their kids about the lessons. Right now there’s too much going on in shows; political… and that’s not what people want in shows. They want to watch shows to enjoy it and not for it to be politicized. It’s got to go back to the old style of television.”

On Diff’rent Strokes paving the way for others Black actors and television shows:

“It’s interesting, because sometimes they bring up Black shows and they don’t talk about Diff’rent Strokes. And I’m like, ‘How could you not talk about Diff’rent Strokes?’ That was a pivotal point for a lot of other shows to start happening. It paved the way for a lot of other Black actors to come into this business and to push further.”

About Journalist and Podcast Host Allison Kugel
Allison Kugel is a veteran entertainment journalist and host of the Allison Interviews podcast. Watch and embed the entire interview video with Todd Bridges @YouTube. Listen to the audio podcast on Apple Podcasts, Spotify. Follow Allison Kugel on Instagram @theallisonkugel and at AllisonInterviews.com.

NEWS SOURCE: ALLISON INTERVIEWS PODCAST

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“Boom Boom (Goes My Heart)” is a lively earworm from Toscano’s most recent album, X Marks the Spot. Reminiscent of the King of Pop, this upbeat pop hit features a bright electric guitar and an infectious funky beat that makes fans want to get up and dance.

Directed by Justin Guo, the accompanying music video is a vibrant visual journey through the city, featuring Xavier dancing atop skyscrapers, within larger-than-life animated billboards, and in an electrifying club setting. The choreography is dynamic, and the visuals reflect the song’s high energy. Xavier’s bold, spiky black jacket and reflective sunglasses add to the fun-loving, care-free spirit of the clip, which is a celebration of life, love, and the power of music to lift one’s mood. The video captures the song’s essence superbly and succinctly, with Xavier at the center of it all: dancing, living in the moment, and spreading pure joy. It’s the ultimate visual representation of a track made for dancing one’s heart out and a reminder that sometimes, all they need to do is let the sonic vibrations take over.

“The City Said” is a synth-driven electro-pop banger for those who long to be under neon strobe lights with their friends on the dance floor. Once again, Toscano is bringing unapologetic confidence with a flashy wardrobe and high-energy choreography. The song features Xavier dancing on a public art structure and near the water’s edge, creating a stunning contrast between the city and a serene backdrop. The choreography by JB Papas brings the track’s upbeat, electronic-infused sound to life, with Xavier’s performance mirroring the song’s message of lost love and moving on.

“Rain” is a testament to Toscano’s versatility with its unique electronic vocals and emotional depth blend. Whether fans listen to it on a rainy day or use it to power through their workout, “Rain” showcases Xavier’s ability to fuse genres into a song that speaks to both the heart and the feet. It’s a track that’s as much about energy as it is about introspection. The video for the track features a gorgeous introductory scene of Xavier walking along dark, wet streets and through shallow puddles. With a sepia golden hue, Xavier appears as only a silhouette before fully emerging on a colorful stage, singing into a mic in the rain. Throughout the video, we see vibrant lights and the contrast between fire and water, all rich images that perfectly pair with the inspiring lyrics of overcoming obstacles. With jazzy Rhodes, string-like synthesizers, and a groovy beat, “Rain” is perfect for windy drives and slow days at the gym.

Altogether, the “Boom Boom (Goes My Heart),” “The City Said,” and “Rain” videos highlight Xavier Toscano as an artist who knows how to create music that moves fans, both physically and emotionally. With his blend of inspiring pop hooks, dynamic choreography, and visually striking visuals, Xavier Toscano is poised to blow past the pain point and carry the torch of the new “Prince Of Pop!”

Xavier Toscano – Promo Shot

When and how did you begin your music journey?

All three songs, “Boom Boom (Goes My Heart),” “The City Said,” and “Rain,” are a part of a full length project, X Marks The Spot. What does this album mean to you?  What is the main message you want to convey to your fans?

This album represents a leveling-up, a more grown-up sound from my last project. While still true to my love of pop, I incorporated a more mature sound while keeping it true to my feel-good style. I think in this album, I went a little deeper to explore my inner self, whether it was to express myself about love, inspiration, a good time, or making love.

What part of this project is most special to you?

Making the music videos is when the songs come to life. It is also the hardest part of the process; so much more is involved. So many pieces and people have to come together to make it happen, but it is so exciting and energizing to be challenged that way. The only thing better than that is actually performing the songs live.

What was your songwriting process like for these songs? How was it similar or different each time?

I use the music to take me where I need to go. It always starts with a musical idea, then a track, then the lyrics. It goes like this 99% of the time.

What was your favorite part of creating these three music videos? Was there one in particular that resonated most with your album’s overall message?

I think my favorite part was creating music videos for very different songs! That was the challenge that I didn’t have an actual formula. It could be bad as far as branding, but I like the idea that you could watch all three videos in a row and not be bored by saying that they look and sound the same. I want to believe that the album is that same way, that it differs in terms of sound, song by song. That it will keep a listener interested without having a stagnant sound.

Who / what inspires your project(s)?

Pop music is my musical love. I like good hooks, snappy music, and elements of surprise, which is why I think pop music is best in terms of why it is so interesting. A good pop song surprises you and moves in directions that you didn’t quite expect. Whether it does that with clever lyrics or an interesting instrumentation and arrangement.

How did creating these music videos aid in your artistic growth?

I believe that in order to truly grow, you must push yourself very hard. Otherwise, you’re doing the same things over and over. I pushed myself to my limit regarding the visuals I wanted, and I took the time to think hard about costuming, scenes, lighting, etc. I tried to be overly detailed, and I believe that every video taught me something different about my craft. Therein lies the growth.

Can you explain some of your video concepts and how they were formed? How have fashion and pop culture impacted the Xavier Toscano videos?

For “Boom Boom…” and “The City Said”, I knew I wanted to highlight San Francisco, so I did that while also focusing on my sense of style. I like to think that I have a vibrant, confident, yet classic look regarding fashion. I like an urban, industrial, and elegant look, and I feel both of those videos reflect that. For “Rain,” I want to impress upon the viewers that you need to get lost in your own world, and that’s what you need to do to reach your goals.

Are there any favorite memories from your pre-production that made your shoot special?

It is so funny that you ask that. Every song concept seems to seep into the atmosphere of the shoot. It really does! For instance, with “The City Said”, we all had this somber, strong attitude, while with “Boom Boom…” we had a blast on set! “Rain” also had a very serious feel to it on set. Since “Boom Boom (Goes My Heart)” was a fun song, I had such a wonderful time with my dancers. I mean, we laughed and played like little kids. That was awesome!

What new relationships did you develop from this process (if any), and if not, perhaps was there a new relationship formed to yourself? Your music?

I think creating music, especially if you write your own lyrics and come up with your video concepts, means that you are giving up great parts of yourself for others to have. It really means that you make yourself vulnerable by presenting your baby to the world, and you’re gonna hear a lot of opinions about it. Internet criticism has only made me stronger. Of course, my relationships with my collaborators get stronger with each project, and the trust deepens. But my relationship with myself has evolved in that I have greater confidence, and I see the next new projects as things I can definitely accomplish. That said, I have to push myself even further on the next ones so I don’t feel bored!

Follow Xavier Toscano

https://www.youtube.com/user/XavierToscanoVEVO/videos
https://www.facebook.com/XToscano.music/
https://www.instagram.com/xtoscano/
https://www.tiktok.com/@xtoscanomusic

The post Xavier Toscano: The Layers of a Dance-Pop Influencer appeared first on The Hype Magazine.

Crafted as the title track for the award-winning film Blue Alliance, a police action comedy directed by Brian Pinkus, “I’m Outta Control” perfectly matches the vibe, exuding a “fast and furious” energy with a pop twist. Featuring guitarist Lorenz Kappeler, the song is an undeniable earworm, blending energetic pop beats with a touch of electronic flair. Despite what the title suggests, Mihiri’s dynamic vocals radiate confidence as Mihiri captures the thrill of breaking free from constraints, choosing instead to embrace chaos. Mihiri touches on the film’s themes of justice without taking it too seriously, giving the track the perfect balance of edge and excitement. Its dynamic tempo and bold instrumentation echo the tension of the film’s action-packed moments, while Mihiri’s vocals and lyricism reflect the charisma of the film’s characters. It’s an ideal companion to the film’s adrenaline-fueled narrative whilst also solidifying its place as a standout track in contemporary pop music.

Starring Mihiri Silva and Brian Pinkus, director and co-star of Blue Alliance, the “I’m Outta Control” music video allows Mihiri to take center stage, telling a story of justice and control (or a lack of it) in a fun and fresh way. After being stopped and arrested by the police, Mihiri takes on a captivating persona—she does not break even while being ruthlessly interrogated. This “outta control” version of Mihiri is strong-willed, stoic and unafraid to take on anything or anyone standing in her way. Having studied fashion design, Mihiri takes the opportunity to showcase her talents—infusing the video with vibrant, bold, and chaotic colors that aid in selling Mihiri’s unruly character. Since its release, the music video has generated buzz, earning around a dozen award wins from various film festivals and organizations, including “Best Music Video” from the LA Film Awards, the Mokkho International Film Festival, and more. “It’s a dream come true,” says Mihiri, honored to be recognized and hoping to inspire others with her music and story. The music video is a stellar addition to Mihiri’s expanding repertoire as she continues to solidify her place among the fashionable pop icons that inspire her.

Mihiri Silva – Press Photo

Talk to us a little bit about your musical origins. Did your father or other family musicians influence your musical journey?

I was born into a musical family. My grandma was a singer, then my dad followed her footsteps and became a guitarist and singer. Everything I am today is because of them.

You grew up in Sri Lanka but moved to Switzerland as a teenager—in what ways, if any, do you infuse your upbringing and heritage into your music?

Growing up in Sri Lanka, I learned all the basics shaping my musical path. When I came to Switzerland to perform with my dad he taught me everything he knew about music. That’s where I got the opportunity to become a professional musician and follow my dream.

What does the title phrase “I’m Outta Control” mean to you? In what ways do you play with this theme in the song?

Originally the song would’ve been called “Bang Bang”, however that song title already existed. Then comparing the movie with the lyrics, “I’m Outta Control” had the proper meaning fitting to the film and the song.

Talk to us a little bit about the filming and production process for the music video.

I’ve been working with the production company, Light Flash Productions for a long time and we bring our ideas together and try to make something special and unique. It was very easy working with the wonderful cast and crew because we understood each other and harmonized very well. It was like working with a family.

What was it like to collaborate with “Blue Alliance” director and actor Brian Pinkus and other creatives on this project?

Collaborating with Brian Pinkus and the rest of the crew and cast was a wonderful experience because Brian and his crew made my visions a reality. Everyone brought their ideas and talents to the table and helped me turn this project from theory into reality.

What message in “I’m Outta Control” do you hope impacts your audience the most?

I’m sure a lot of people feel like they don’t have control of their lives and can relate to the title “I’m Outta Control,” and no matter how outta control they are, they can get through anything if they stay strong and fight for what they believe in. There also is a lot of violence and bad stuff happening in the world today, and sometimes “justice just is a fantasy,” as I sang in the song. I’m certain a lot of listeners can relate to this.

What would you tell young, aspiring musical artists looking for advice?

Don’t let anything stop your dreams. Work hard, and each day, you’ll get closer to reaching your ultimate goal. Making it through hard times makes the good times so much sweeter.

What is your next goal for your career as a musical artist?

My goal as a musician is to be heard and seen and reach the hearts and souls of as many people as possible. I want to perform my music for a bigger audience and hope to get an agent and be heard by a label.

Follow Mihiri Silva

https://www.mihirisilva.com
https://www.youtube.com/@mihiri_silva
https://www.facebook.com/mihirisilva.music/
https://www.instagram.com/mihirisilva_official
https://www.tiktok.com/mihirisilva

The post Mihiri Silva Says “I’m Outta Control” appeared first on The Hype Magazine.

However, Sukalp’s work extends beyond simply celebrating the past. She blends traditional handmade techniques with modern innovation, reflecting her belief in fashion as a means to tell stories that bridge time and place.

Born in Delhi and now based in New York, Sukalp’s connection to textiles is deeply personal. Her fascination with Indian textiles began in childhood, admiring the vibrant colors, intricate patterns, and shiny embroidery that defined traditional South Asian garments. At 11, her family’s abrupt move to the United States intensified her longing to connect with her heritage, inspiring her to express her cultural identity through her art and aesthetic choices.

“Sukushine is about more than just fashion,” Sukalp explains. “It’s about storytelling—stories of craft, culture, and the artisans who keep these traditions alive.”

Rooted in Heritage, Empowering Women

Sukalp’s passion for textiles grew as she pursued a bachelor’s degree in Fiber/Textile Arts at the Maryland Institute College of Art and a Master’s degree in Strategic Design & Management at Parsons School of Design. These experiences shaped her design philosophy, combining artistic vision with entrepreneurial strategy.

Sukushine reflects this philosophy by partnering exclusively with women-led, small-batch manufacturers in India. These artisans print the textiles, sew the garments, and collaborate throughout the design process. “Our mission is to empower women and provide a space for them to shine,” Sukalp emphasizes. “It’s reflected in our customers and workers, who are strong women.”

Each piece from Sukushine tells a story of heritage, nostalgia, and sustainability. The garments are created through slow, deliberate processes that prioritize quality and ethics over speed and mass production. Sukalp also highlights the role of these artisans in keeping traditional techniques alive, ensuring they are compensated fairly.

The Challenges of Cultural Expression

As Sukalp strives to modernize South Asian textiles, she has faced challenges, particularly pushback from audiences who view the designs as “too ethnic” or “too colorful.” “Indian culture by definition is maximalist,” Sukalp notes. “The pushback of appearing ‘too ethnic’ can be discouraging, but I hope to connect with people who value vibrant complexity and appreciate the story behind our work.”

Despite this, Sukalp remains committed to showcasing her heritage authentically. “Self-expression through clothing is a great way to connect, build community, and feel a sense of togetherness,” she says.

Melding Tradition with Modern Innovation

While rooted in tradition, Sukushine is far from purist. The brand modernizes traditional textiles by blending old techniques with contemporary aesthetics. Handcrafted elements are reimagined through digital design tools, resulting in unique collections that resonate with today’s consumers.

Sukalp’s innovative approach extends beyond her brand’s visual identity. As a former co-founder of PhygiLab, she explored the intersection of luxury fashion and Web 3.0, integrating blockchain technology and virtual fashion worlds. “We wanted to create a seamless experience where physical and digital worlds coexisted,” she reflects.

Sustainability as a Guiding Principle

The global fashion industry is responsible for nearly 10% of carbon emissions, making Sukalp’s commitment to sustainability both timely and vital. For her, sustainability goes beyond eco-friendly materials; it encompasses a holistic system that respects people, the planet, and the craft.

Sukushine’s collections emphasize longevity, timeless design, and eco-conscious materials such as organic cotton, silk, and linen. The brand minimizes waste in production, opting for small-batch manufacturing to ensure no resources are squandered. “We need to value the hands that make our clothes,” Sukalp asserts.

A Global Perspective with Deep Roots

Sukushine’s ability to navigate both Eastern and Western markets has been key to its success. The label’s bold designs, rooted in South Asian culture, resonate with fashion-forward consumers in New York while appealing to those seeking meaningful connections through their clothing. In 2023, Sukushine’s Rangeen Collection earned critical acclaim at New York Fashion Week for its bold reinterpretation of traditional textiles.

Collaborations and notable appearances further underscore Sukalp’s global reach. Sukushine has dressed celebrities like musicians Rajakumari and Raghav and been featured at New York Fashion Week.

Looking Ahead

Sukalp envisions a bright future for Sukushine and sustainable fashion. She plans to expand her focus on designing textiles and prints for larger brands while continuing to spotlight the artistry of South Asian women artisans.

“The future of fashion is sustainable and personal,” she says. “People want to feel connected to what they’re wearing and know their choices are making a positive impact.”

Through Sukushine, Sukalp Bhatija is doing more than creating clothes—she’s crafting a movement that celebrates tradition while embracing innovation, ensuring the stories of South Asian textiles continue to inspire generations to come.

The post Sukalp Bhatija Blends Ancient Craft with Contemporary Design Innovation in Sustainable Fashion appeared first on The Hype Magazine.

Taking a break to hone his craft, Funk began to embark on his entrepreneurial pursuits alongside releasing music, starting his own production company, Rocktown Entertainment, at just 19. Today, ambitious Funk is the CEO of Real Street Enterprises, an umbrella company comprising a publishing house, record label, and more, actualized from the visions of Funk and his cousin. If that wasn’t enough, Funk is back to share new music, planning to release a fresh album, “Vindicated” next year. Certainly, Funk’s immersion in the industry has provided him with an incredibly solid foundation to propel his authentic tracks to greatness. Combined with his never-give-up mindset and rap prowess, CONTAGEOUS FUNK delivers the ultimate musical experience.

“By Any Means” is what some might call a “hustler song,” embodying the spirit of hustle culture. In some ways, it’s a double-edged sword. On one hand, Funk strives to turn the negative stereotypes of hustle culture on its head—celebrating those who work hard to turn their money into more money. However, it also highlights the struggle of working tirelessly just to get by, revolving everything around making money because one has no other choice. As a self-made entrepreneur, the story resonates with Funk deeply. “There’s no second chances, no time to slip,” sings Funk, “So by any means imma double up and flip.” The track carries Funk’s signature sound—perfectly balancing old-school funk rhythms with a bouncing trap beat and impressively fluid flow. Despite its complex commentary on grind culture, Funk orients listeners toward the positive—emphasizing one’s ability to take control of their destiny and empower oneself, just as Funk has done. Upon listening, audiences will be more than happy to turn up the volume and follow in Funk’s footsteps.

The “BY ANY MEANS” music video is quintessentially CONTAGEOUS FUNK. Shot in his hometown of Nyack, New York, this brainchild of director Andrew G and Funk infuses elements of his personality and upbringing into the story—showcasing his beginnings with local scenes. What better place to play with the idea of a money-making cycle than a laundromat? And no, this does not represent money laundering as the metaphor may suggest, but rather, it’s the epitome of entrepreneurialism. Funk throws his bills into the washer to reap more returns, hanging the hundreds individually with clothespins. But Funk also stresses the importance of enjoying the money one makes by infusing scenes of a neon-lit club throughout the video. Funk’s authenticity is evident in every frame as his gritty yet striking visuals reflect his unshakable drive for success and desire to embrace a “by any means necessary” mentality. Despite facing numerous challenges throughout his life, Contageous Funk has been a consistent force of resilience simply by being himself, encouraging audiences to push through any obstacle they may face and work hard toward triumph.

What motivated you to write “BY ANY MEANS?” Was there a specific moment or experience that inspired you to release this song?

I was at a point where nothing was going my way, felt like the odds were stacked against me and felt like quitting all my endeavors but that was not in my dna,. so I wrote the song to remind myself not to give up and maintain my resilience. 

What does the title phrase “BY ANY MEANS” mean to you? How does it reflect the message of the song?

It means, do what you have to do to get to where you have to get to, similar to the phrase “when the going gets tough the tough get going” weathering the storm on the road to success.

What kind of energy are you hoping to convey with the production of “BY ANY MEANS?” How would you describe your sound?

I’m tapping into the energy that keeps them moving and paying attention. My production varies, but by any means I wanted it to be motivational and inspirational.

In what ways does your musical and personal identity shine through in “BY ANY MEANS?”

It ties to the hustle of life. it manifesses my  daily life through words and music. The hustlers spirit, not waiting for anything to come to you, having the drive and energy to go get it yourself.

How did you and your team bring this music video to life? Talk to us a little bit about your creative vision and production process?

It was easy to work on this video because the song basically laid down the groundwork for the treatment. the idea of flipping money, clean money is exemplified in the laundromat scene. It also shows that you can have fun while you grind balancing your life with some fun which is what the club scene represents.

Who did you collaborate with during the production process for both the song and the music video? What do you like about collaborating with these professionals? What do you hope audiences take away from “BY ANY MEANS?” What message are you hoping to share?

The song had no collaboration, It was written on one of my frustrated days. I just locked in and started writing, as soon as the production was done I laid down my verse.  Both the music and the words were created with that same energy.

What’s next for you as a musical artist?

I am currently in the studio working on my 7th studio album which will be titled vindicated. we will be releasing some sigles within a couple of months with a new video.

Follow CONTAGEOUS FUNK

https://www.contageousfunk.com/

https://www.youtube.com/funktageous

https://www.facebook.com/contageousfunk

https://x.com/contageous

https://www.instagram.com/contageous_funk/

https://www.tiktok.com/@contageous_funk

The post Contageous Funk on Getting it “By Any Means” appeared first on The Hype Magazine.

Naturally, being surrounded by the picturesque, rugged NorCal landscape inspired him to embrace a more reflective, down-to-earth style—encouraging him to take on a folk and Americana sound. And fans will be glad he did—his smooth, gently rasped voice and contemplative melodies fit in the genre like a glove. Embracing his new musical identity, Jaeger is busy charming the guests of vineyards, breweries, and private events, and is beyond thrilled to release a new album, Wander a twist of folk exploring self-discovery, spirituality, and connection that is thoughtfully introspective, tenderly uplifting, and bright as the California sunshine.

Though Jaeger was never able to meet his grandfather face-to-face, in “Grandpa’s Ghost” he explores the relationship he would have had with his grandfather had he not passed away from smoking-related lung cancer before Jaeger was born. The emotional new track asks the question “What advice would he have given me if we had met?” Jaeger’s gentle acoustic strums and soft haunting vocals give the song an ethereal quality as it builds a sense of both nostalgia and longing. Jaeger wishes he could hear the sage wisdom of his grandfather, but instead, he must settle for imagination. “I think he’d look me straight in the eye and say, ‘My boy I know what it’s like,’” sings Jaeger, “you can gain the whole world with a hole in your chest.” Thoughtfully illuminating the power of legacy, Jaeger reveals to listeners that familial ties reach beyond the physical world, rather, they run through the blood and pass down through love and great care. “Grandpa’s Ghost” will linger not only in listeners’ heads but in their minds—encouraging them to reflect upon the “invisible” familial relationships that guide them knowingly and unknowingly and drive them to be a better person.

Mezzano returns for “Granpa’s Ghost”, and once again Jaeger’s visuals are cinematic treats for the eyes. He joins his grandfather for a ride down dusty backroads—metaphorically and literally separated by the bed of an old red pickup truck. Smoking a cigarette, and keeping an eye on the truck bed, his grandfather guides him through the bumpy road without ever saying a word. As the sun begins to fall from the sky, the pair travels together for the final time as Jaeger pours his heart into the song. When the video comes to a close, the story cleverly comes full circle as the red pickup truck pulls into the driveway, and Jaeger’s own young grandson hops in to join a much older and wiser Jaeger for a ride. “84 years is a long, long time, but it seems so short when you’re on this side,” expresses Jaeger, stepping into his grandfather’s shoes to pass his wisdom onto the next generation.

Can you tell us about the time you have been a musical artist from the beginning? 

Oh wow! Well, it started at 13. I saw the Newsboys live in concert and then asked for a guitar for Christmas. I started writing songs, played in a couple bands in middle school and high school, then started playing as a solo artist right around 17. And I’ve never stopped. 

Did any figure or musical artist in particular inspire you to write a song like “Grandpa’s Ghost”? 

In preparation for this album I started digging into folk artists such as James Taylor, Drew Holcomb, and Gregory Alan Isakov. I don’t know that any of them inspired the songwriting, but they definitely contributed to the sound of the record. 

How has your personality been translated into “Grandpa’s Ghost”? 

I’m very introspective by nature, and the first verse of the song is a specific nod to that introspection. I desire to live well, to live fully, to hold my grandchildren someday and impart wisdom to them. 

What has it been like building up your audience?

A lot of my audience building has come from playing small shows all over the country, over many years. It has been a slow build. One thing I’ve been fascinated with concerning “Grandpa’s Ghost” has been the audience shift – it seems to be appealing much more to men, whereas in the past my online audience has skewed female. It feels appropriate though, as with this album I wanted to write into themes of manhood. I think many men think about their grandfathers and where they’ve come from. 

How have you seen your art evolve and change over the years? 

In high school I played in a band that was influenced by everything from Jars of Clay to Creed, and I tried to sing with a very hard rock voice. Once I discovered Jeff Buckley and Coldplay I softened out, trying to find a place in the world of pop/rock/alternative. My latest stuff really leans heavily into the songwriting and storytelling, and fits much better into the Folk/Americana genres. 

What is your favorite visual element of the “Grandpa’s Ghost” music video? 

I love the final verse of the song where it changes to me as an old man picking up my grandson. It’s a visual statement of me giving my grandson what my grandfather was unable to give me – time together. 

What message in “Grandpa’s Ghost” do you hope impacts your audience the most? 

Live life with wisdom so that you may pass on a legacy to your descendants. 

What project are you most excited for following the release of “Grandpa’s Ghost”? 

“Grandpa’s Ghost” is the first single from the “Wander” album. I’m thrilled to put this album out – it will release in 2025, 7 years after my last full project. I think it’s the best batch of songs I’ve ever put together.

Follow Roger Jaeger

http://www.youtube.com/@rogerjaegermusic

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The post Roger Jaeger on “Grandpa’s Ghost”: Peeling Away the Layers appeared first on The Hype Magazine.

These are some of the problems biomedical startups are trying to solve. Without adequate funding, however, these startups will run out of cash and be forced to shut down. The world will never know if their solutions could have worked, and patients will never benefit from their next-generation cancer-fighting treatments.

That’s why Dr. Mona Jhaveri, a former cancer researcher, founded her nonprofit Music Beats Cancer, which has successfully raised hundreds of thousands of dollars for biomedical startups working on cancer-fighting solutions. Her latest initiative, a series of entertaining YouTube videos called “After School Tech Talks,” inspires audiences with innovative ideas for fighting cancer.

The Importance of public awareness for cancer-fighting research

Dr. Jhaveri knows how disappointing it can be when real solutions for fighting cancer disappear due to lack of funding. Her own potential treatment for ovarian cancer, an extremely deadly disease for women, met that fate. 

“As a postdoctoral fellow at the National Cancer Institute in Bethesda, Maryland, my lab had discovered a novel DNA therapy that could potentially be used for the treatment of certain cancers,” Dr. Jhaveri shares. “To advance the innovation, I decided to launch a startup in hopes that this innovation would make it to cancer patients one day. In that journey, I realized just how difficult it is to translate science from a discovery to a real, life-saving solution. One of the biggest hurdles is simply raising enough money to prove principle, and that’s where my startup fell apart.”

Dr. Jhaveri has rededicated her life to raising funds for other biomedical startups working on promising cancer treatments. “Thousands of startups like mine fall apart every year,” she says. “There’s no shortage of great ideas, but there is a shortage of funding required to test the validity of these new discoveries. I started Music Beats Cancer to create an untapped funding stream for great ideas for fighting cancer.”

While Music Beats Cancer’s unique peer-to-peer model has proven itself over the years, Dr. Jhaveri faced a lot of skepticism in the beginning. Critics maintained the public wasn’t capable of understanding the science behind these innovations and, therefore, wouldn’t provide financial support.

Dr. Jhaveri disagreed. “The big question is: is it possible for regular people who are not academics to understand a new DNA treatment, a new cell therapy, or a new diagnostic and find it compelling enough to support?” she says. “I said yes, and the industry and others said no.”

According to Dr. Jhaveri, people do not need to understand the scientific minutia to grasp an innovation’s promise to benefit patients. To make it even easier for non-scientists to engage with these exciting ideas, Music Beats Cancer has launched “After School Tech Talks” on YouTube.

Music Beats Cancer’s “After School Tech Talks”

Seeking new ways to raise the public’s consciousness of cancer-fighting research and development, Dr. Jhaveri turned to a friend in marketing who suggested she host a question-and-answer session with the innovators.

“I thought, ‘A Q&A is a great idea,’” Dr. Jhaveri says, “except talking to scientific innovators tends to be boring. They speak monotonously about the details of their science. But what if the people asking the questions were kids? Kids are unfiltered, so this would force a more engaging and fun conversation. Plus, if kids understand the science underpinning the technology, then everyone will understand it. This would inspire the public to learn more and participate in the innovation process — something that has never been done before.”

The initial spark for “After School Tech Talks” had been lit. To date, Music Beats Cancer has released two piloted episodes of the show, which is hosted by comedian and former science teacher Chris Grant.

“The kids judge the scientist’s answer with a thumbs up or a thumbs down,” Dr. Jhaveri explains. “If the innovator gets at least five thumbs up, then Music Beats Cancer donates $5,000 to their campaign.”

If that wasn’t enough, each episode of “After School Tech Talks” ends with a surprise visit from a popular influencer. “They pop into the live stream to encourage the kids to keep getting involved, asking hard questions, and fighting cancer,” Dr. Jhaveri explains. “This is a great way to reach thousands of young people because the influencers post about the show and give their followers a chance to become student judges on it themselves.”

In addition to the two episodes currently available on YouTube, Dr. Jhaveri will add a new episode each month of the academic year starting in January 2025.

“After School Tech Talks” educate as they entertain

Music Beats Cancer’s “After School Tech Talks” provides an entertaining way for kids, parents, and the public to learn about cutting-edge biotechnology in the anti-cancer space. It also gives kids an unprecedented level of agency to question scientific innovators. Moreover, this free STEM experience can potentially reach thousands of young people, inspiring the next generation of anti-cancer pioneers.

Someday, cancer patients could actually take advantage of the effective new treatments and technologies that Music Beats Cancer’s campaigns support. If so, “After School Tech Talks” will be a large part of why.

The post Music Beats Cancer Shines Spotlight on New Cancer-Fighting Technologies in “After School Tech Talks” appeared first on The Hype Magazine.

The Honey Cone was spawned in 1968 by lead singer the late Edna Wright, (sister of Darlene Love), Carolyn Willis and former Ikette Shelly Clark. The faction is best known for their monster hit “Want Ads.” In 2014 Shelly Clark along with Kathy Merrick and Wendy Smith-Bruné re-established the iconic group whose recent success included sold out performances in LA and New York.

Co-founder of the faction Shelly Clark has had an exalting career since the age of 6, performing on Broadway “House of Flowers” with Pearl Bailey and Diahann Carroll. She and her brother were signed later to Columbia Records and at age 9 she was cast as part of the Cotton Club review with Cab Calloway. She later became an Ikette and toured with Ike and Tina Turner. She also danced for the Little Richard Revue and recorded with Dusty Springfield and Bill Medley. After becoming a regular on the Jim Nabor’s Hour, the Honey Cone’s song “Want Ads” became number 1 on the charts and by 1973 The group has 4 top 40 hits. She is currently about to celebrate 44 years of marriage to Verdine White, bassist of Earth, Wind & Fire.

In the words of Clark “we are excited to release the first song in 50 years. We hope the audience takes away a true European flavor, as it’s a Eurythmics cover, but can also feel the Honey Cone vibration on top. We are known for our dynamic harmonies, and it’s a thrill to continue making timeless music.”

Honey Cone: Shelly Clark Kathy Merrick & Wendy Smith-Bruné – Courtesy of Honey Cone

So, first of all, I love that song “Here Comes The Rain Again”. I have always loved that song. I loved it when the Eurythmics did it.

Wow, because I thought our producer had lost his mind when he asked us to do it.

That was my first question. Why did you decide to do it?

He said when I think of the Honey Cone, I think Global. I think International. I have a song that I think is going to be great for you but it’s not the normal of what you all have done in the past. So, I’m hoping that you accept my idea. And I said well, is there any other song that you’re thinking about? He said no. This is the song that keeps playing over and over. And he is a seven-time Grammy winner. We didn’t want to argue with him. He’s got a good ear. He’s up for his 8th Grammy whenever the Grammys come up this year. I am pretty sure he’s going to have eight under his belt.

I saw the Youtube video. It’s beautiful. It really is.

It turned out nice. Actually, our husbands produced it with him. You know my husband is Earth Wind and Fire and so is Kathy’s.  Her husband is the drummer and my husband is the co-founder and bassist.

I actually interviewed your husband a while ago.

Oh really?

It was a while ago. I don’t remember. But he was on my partners show The Jimmy Star Show with Ron Russell.

Oh Jimmy Star. Did they do baby grand or granddaughter?

Yes, and they would like to do you on December 11th.

I love it. Tell them absolutely.

Okay good. December 11th at 1:10 PM  PT. And I will hook you up with Jimmy after this phone call. I also interviewed Annie Lennox.

You know what when I posted it  she put a like on it. So, I know we got her approval.

Well, the song is amazing and my next question is how did you find Kathy and Wendy?

That is something in itself. I was looking to recreate the group as we had lost our lead singer Edna Wright. And Carolyn Willis retired. The chemistry of that core was gone. Even though Edna tried to put the group back together with her daughter and some other singers that she found. Even with me. I did the Soul Train Cruise with them in 2014. But moving forward I figured that I had to have some wonderful girls who were young enough and pretty enough and could sing their butts off. So I prayed. And Verdine reminded me that the drummer had a wife that was touring with the Sounds of the Supremes. They came back and I gave Verdine a dinner party for his birthday. And I made sure John and Kathy were on the list because I had every intention of approaching her that night. And I did.

 I sat down by her and I said Kathy I have this wild idea. What do you think about recreating The Honey Cone? She said oh my God that’s fabulous! And I said well, there’s a catch, you have to find me a third girl. And she did. It happened to be a bandmate of hers throughout life. They would switch off one would leave a job and ask the other to replace them. So, she found Wendy and contacted her. Wendy happened to be the only black woman to ever tour with the legendary Glenn Miller Orchestra. So, both of these girls have a wonderful history. And Wendy said she would love to meet and talk about it. So, when she came back from her tour we got together at the King’s Cafe right there on Melrose. We sat down and we started talking and do you know that one person passed by and said you girls are gorgeous are you a singing group?

I love it. That had to be a sign. 

Like The Blues Brothers it was a sign from God. So anyway, we got together and started singing. We saw we had a good blend. And the rest is sort of history. I had a girlfriend that was a big CEO of a company back then. And she started booking us. Those were our first corporate dates. On cruises, we performed for Magic Johnson in hotel settings. People started seeing us and they started booking us and that’s how we got together.

Honey Cone: Shelly Clark Kathy Merrick & Wendy Smith-Briné – Courtesy of Honey Cone

That is so cool. Now you have had the most amazing career thus far. Starring on Broadway, Tina Turner, Jim Neighbors, Little Richard, I mean I could name them all, but we would be here all day. So, here’s my question have you had your ultimate stage fantasy or are you still looking for it?

Still looking. Well, the fantasy would be to open for my husband’s band Earth, Wind and Fire. The most that we have been able to do is get them on stage with us. We got five members of Earth, Wind and Fire on stage with us at Vibratos where we had a 90-minute concert. We have actually done that three times in a row. We try to book ourselves when they know that they are off. So, I have to bribe the booking agent to not book anything on certain days for nights. So, I believe the ultimate fantasy is still looking towards us.

What is it like to be married to someone in the same business as you? I ask you that for a reason I’ll tell you the reason after.

Okay. Listen to this. We are married almost 45 years. On stage I have a joke that I tell. We are both Leos. We have vibrant personalities. We fight almost every day. Mostly over the mirror.

Hahaha who wins?

Right? He does. You can’t out shop this guy either. He’s one of those husbands that never says honey can we go home now. He’s more like hey we got 2 hours let’s try some more stores.

Now the reason I asked you this is because Jimmy and I have a PR Company as well. One of our clients happens to be a composer named Randy Edelman. You probably don’t know him.

I do know him.

Well, his wife is Jackie DeShannon. And she had to retire. They could not live in the same house. She was very good friends with Jim Neighbors and I’m wondering if you ever ran into her?

I have not. But I credit Jim and Dusty Springfield both of them for being one of the first gays to be open. Dusty traveled with her wife, and she dared anyone to say anything about it. It was so just politically not correct then. But back then you had those people to open the doors. Jim Neighbors had the most beautiful black husband that used to come to all of the rehearsals and shows and he was not afraid especially during that time. It was so bold and outrageous. I just love and credit them for being great talents and fighting the system in that way.

You know I do too. I still credit people for that. It’s still difficult. As stupid as that is. Is there a moment that you can recall that changed the whole trajectory of your life?

Even though I was 18 or 19 I loved touring. I learned so much being around Tina Turner. She was so electrifying. I think I learned a lot watching her sing and dance as only James Brown was doing in those days. She learned a lot from the artists that went before her. Back in the 50s there was one woman who is doing this way ahead of everyone else. I was on a show with her because I toured with the Cab Calloway Cotton Club review and her name was Sally Blair. Sadly, she passed before she turned 50 years old, but she was the first electrifying artist,  she was the first Beyonce. She was called the black blonde bombshell. I guess as a child I looked at her and said oh my God I want to be like her when I grow up. She left men drooling in the aisles. And she never took one piece of clothing off. But she did kick her shoes off during her performance. I got to spend two weeks with her, living with her while I was touring. So, I would have to say that maybe that changed my life in a way that I knew that you just can’t perform. You just can’t sing. You just can’t record. You have to be a well-rounded great stage artist. You have to put on a wonderful show. And I think that’s what I love about Earth, Wind and Fire. They are all great singers and great musicians, but they have a great show. They keep you engaged from the beginning to the end. People walk out of there thinking they had a religious experience.

I saw Earth, Wind & Fire at NAMM. A couple of years ago. I was representing someone from Pink Floyd. Leland Sklar who everyone knows.

Did you know that Leland and Verdine are in a base playing documentary together? It’s not out yet but I will send you the trailer.

Cool. But in any case, that’s how I saw them I was kind of following them around and Earth, Wind and Fire were up there, and I was like wow.

But you know what that was just a shadow of their show if it was at NAMM. You would have to see them in concert. Now are you from New York because I used to talk like you?

I am. I’m from Brooklyn. Born and raised.

Me too. I used to talk like you.

When is the next time you are going to be in

New York? I would like to put you on a television show. Profiles with Mickey Burns. You would love it.

I already love it. We were there in July. We did three shows. But I got to tell you if you are thinking about TV that is great. Dustin will get us back there.

It’s been a while since you’ve done Want Ads. The music industry has changed drastically. Do you like it better or worse? For you personally?

For me personally I have to say I’m having the time of my life. It’s so funny you should mention it. I went to a show last night at the Catalina Bar and Grill here in Hollywood. I had to go because the person they invited was my producer Holland Dozier Holland. It was Brian Holland. It brought back a flood of memories that when we signed with them in 1968 we had no control over anything. We didn’t own the name, we didn’t own the rights. The music. We had no input. We arranged our own background vocals, but we had to fight Lamont Dozier a lot because he wanted the control of that too.

So, I remember back in the 60s 70s none of the artists that were signed to a major label owned anything.  It was horrible because first of all I didn’t want to join The Honey Cones. I stayed missing in action and the girls came looking for me saying where are you we are supposed to go sign. I was traveling in Europe and didn’t want to come back. Because of those reasons. I felt that we were not able to have any say so in our career or our songs. But they wore me down. I think it’s called stalking. When I finally went and signed I just said I’ll take one for the team. As it turned out the girls, Carolyn she’s still alive but she is retired. She called me and said I can’t take this anymore I’m quitting. And it was for all the reasons that I just cited. We are broke. We don’t have control. I am tired. There are no royalties. So, she quit. And I wanted to say I told you so. But I was kind and did not. I tried to recreate the group with the third girl. It seemed like the chemistry was gone. Not only that Holland Dozier the company was going bankrupt. It was at an end. And it was 1973.

From 68 to 73. And I say all that to say you put out this new record and we had all of the control. We could pick our own artwork. We picked our own platforms. I had Rhonda, an Italian girl who speaks French working the record along with Dustin. We got to pick our team. That would have been unheard of a long time ago. So, the answer to that question is maybe we are not really in control and don’t know how many downloads we are getting and that respect that is kind of crappy, but I will take this era over the last one. Any day.

One last question and then I’ll let you go. If you could have me ask you any question on the planet what would it be? Something maybe that no one’s ever asked you, something that you’ve always wanted to talk about,any question what would that be?

It would probably be what you asked me how does a power couple in this industry get along? How does that work? Because it is something that should be more talked about. He’s traveling. I’m traveling. We sometimes don’t see eye-to-eye on a lot of things. A couple in an industry like that it could be very challenging. I didn’t want to retire. Although I have to say I do dummy down a little bit because I want him to shine as the husband whatever it is. He’s got the brighter career.

And he’s a man and they are more childish so there you go LOL.

Yes exactly. He’s a triple Leo. All of his planets are in Leo. I’ve never heard of such a thing. But you can imagine what a challenge that is day to day. But we managed to work it out. When I first met him in 1978, we worked on music and there was nothing sexual for about a year. I got to know him as a person and a musician and a songwriter and that laid the basis for our relationship. That we could always go back to the friendship when things didn’t go well. So, I guess that part.

Watch the “Here Comes The Rain Again” music video by The Honey Cone here:

https://youtu.be/hiMlFpQTLNk?si=0Qij1lgZVxzu85Fp

Interview by Eileen Shapiro

The post Shelly Clark: “Here Comes the Rain Again” the First Honey Cone First Release in 50 Years appeared first on The Hype Magazine.

Rooted in the infectiously jazzy, rhythmic melody of Sting’s “Englishman In New York,” Davis offers his honest perspective as an “American Boy” who found a second home in London. Innovatively, Davis plays on the concept by reversing the roles—infusing a contemporary, catchy “oomph” that propels the song from 1988 right into 2024. As soon as the bumping bassline hits, listeners will be drawn in by Davis’ thrillingly smooth, vibrant vocals that wind through melodic choruses and genre-bending rap verses. Without taking itself too seriously, “American Boy in London” brings up significant feelings that often arise when assimilating into a newfound home. As a North Hollywood native, Davis reflects on the allure and illusion of LA’s “glitz and glamour,” taking a dig at his hometown’s “clout-chasing” culture. He points out that “the grass is always greener on the other side” and adds, “Bright Hollywood dreams can turn into dark nightmares,” revealing a sharp awareness of the contrasts between his two homes. Now living in London, he uses his music to bridge his past with his present, reinterpreting his American roots with new insight and maturity.

In the “American Boy in London” music video, Davis takes viewers on a bi-coastal adventure—but not the typical one. Taking a guerrilla-style approach, Davis takes viewers on a personal tour of his hometown of LA and “across the pond” to his newfound home of London. As Davis takes to the streets around Big Ben, the London Eye, and even under the streets on the Tube, he is unafraid to let the world know how he feels. As the shots flip between London and LA, Davis cleverly plays with the juxtaposition between the two cities’ sounds, sights, and even tastes, further emphasizing the dissimilarity between his LA and London experiences. Despite his criticisms, Davis makes it clear that his American heritage will always be important to him. Posing on the top of a parking garage in downtown LA, Davis wraps an American flag over his shoulders, singing proudly. The lively, authentic visuals, centered by Davis’ energetic star quality, will leave listeners shaking their hips and raising their hands as they are called to reflect upon the unique places they call home.

What life events inspired you to write a song based on the message in American Boy In London?

I had been living in London for over eight years when I flew back to LA to visit my family for Christmas. Sting’s Englishman in New York was on a compilation CD I found in my car (yes, I still have a CD player in my old car) and I just started singing new lyrics over it. Being back in LA was a bit of culture shock, and the lyrics just poured out of me.

What parts of your own personality and outlook on life are found in American Boy In London?

Pretty much the whole song! ABIL is entirely my perspective on life on both sides of the pond. Sure, I’m stereotyping a bit, but it’s all in good fun. You have to be able to laugh at yourself and life.

What do you hope your audience takes away from the American Boy In London song and video?

I hope they’ll bop their heads to the beat and maybe laugh or chuckle at the lyrics. ABIL is meant to be a fun pop song—lighthearted and entertaining.

What part of production for the American Boy In London was the most fun? Most challenging?

The most challenging part was singing and performing on the Tube (London’s subway). London is NOT like New York—you don’t see street performers on the trains, and people barely talk to each other. I was hoping to film the guerrilla-style scenes with no one around, but the train actually broke down. We ended up stuck for over 30 minutes, so we started filming, and even the driver encouraged me to keep going. A video of this went viral on Secret London’s Instagram page.

What is the earliest memory you have of wanting to become a musical artist?

Since I was a kid. I grew up watching Kids Incorporated on the Disney Channel in the ’90s (Fergie was on it!). I didn’t know I wanted to be a “musical artist” exactly, but I loved singing, dancing, and being on stage like the kids on that show.

Who could you not have done the American Boy In London music video without?

My English mate Guy Prall. He’s got a podcast called The Otherside coming out soon. He was in LA over the summer when we shot the video and was a huge help behind the scenes.

What is your next goal for your career as a musical artist?

I want to start performing at festivals and reaching new audiences the old-fashioned way. I’ve been a working musician singing at weddings and corporate events for years—I still do that to pay the bills—but I’m ready to share my original songs on stage. That’s the next step for me.

What would you tell young, aspiring musical artists looking for advice?

Find every way you can to be creative and make money doing music. No stage is too small and never give up! I used to think singing at weddings was cheesy, but it’s all valuable experience. When I perform my original songs, my stage presence comes from those 10,000 hours singing at weddings, bar mitzvahs, and corporate events.

Follow Ben E. Davis

https://www.benedavis.com
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https://www.facebook.com/benedavismusic/
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https://www.tiktok.com/@americanboyben?_t=8jphyO7wOEz&_r=1

The post Ben E. Davis: “American Boy In London” appeared first on The Hype Magazine.

Your latest single has been making waves. Can you tell us what inspired the track and what message you hope listeners take away from it?

Jerzey Julz: My single “Til the Casket Drop” is a certified HIT! I wanted to create a song that made people want to dance and live life. I’m from Jersey, and we love club music, so it was only right that I tapped into my Jersey roots and showed love to the Jersey culture as well.

How does this single differ from your previous releases in terms of style and sound?

Jerzey Julz: I’ve never really tapped into the Jersey club sound before, but I always knew I could because I’m very versatile musically. I didn’t want to force a track, so I let the track come to me—and it finally came with “Til The Casket Drop.”

What was the creative process like for this song? Were there any challenges you faced while recording it?

Jerzey Julz: I was in an “I feel good” moment at the time. When I was presented with the beat, I just went with it and created the energy. It was all about catching the right vibe.

Do you have any upcoming collaborations or projects tied to this new single that fans should be excited about?

Jerzey Julz: Definitely! I have a hit single I’m featured on with G6 called “Speed Off,” which is out now on all platforms with his new album “Wilson Place 2”. The video is set to premiere on 11/22/2024. This record is going to shake the Hip Hop world, like how Pop Smoke’s “Dior” hit. Watch out for it!

There’s been a lot of buzz around the P Diddy scandal lately. What are your thoughts on the situation, and how do you feel it impacts the music industry?

Jerzey Julz: I’m not going to pretend that I know Diddy because I’m relatively new on the major scene, but the allegations he’s facing are VERY serious. I personally don’t condone the actions or behaviors he’s accused of. My prayers go out to all the victims and families affected by this situation.

You’ve built a successful radio show alongside your music career. What has been the most rewarding part of connecting with listeners in this way?

Jerzey Julz: The most rewarding part is the whole process of creating a radio station, hosting a show, and learning along the way. I’m always a student of the game, and I love being able to share knowledge and learn from others. Radio allows me to do all that while still being myself

How do you balance your music career with your radio show? Are there ever any challenges in managing both?

Jerzey Julz: The hardest part is finding the time to do it all, but my determination fuels me. Doing radio enhances my music career because I control the playlist. When people want to know more about me as a radio host, they naturally discover my music too—it all works together.

Given your 12+ years of military service, what are your thoughts on the current situation between Iran and Israel? Do you think your experience gives you a unique perspective on the conflict?

Jerzey Julz: Yeah, man! I served 13 years in the Air Force as a firefighter. I think the current situation boils down to world politics—the want for power and control. Both countries want to be respected, and resources might play a part too. It’s a serious situation that deserves closer attention because other countries involved could pose a danger to us all.

How does your time in the military influence your music and the way you approach difficult topics in your work?

Jerzey Julz: My military experience helped me see other points of view and experience things most people don’t. I combine that with my life experiences to stay well-rounded. Music, military, firefighting—it’s all who I am. I’ll never box myself in. They always say, “You can do whatever you put your mind to,” and I’m proof of that.

Stay tuned for the premiere of “Speed Off” and catch more from Jerzey Julz on his radio show. His story is one of determination, versatility, and a true love for music and culture.

Instagram:

https://www.instagram.com/jerzey_julz/profilecard/?igsh=MWlwdnVxZWIyZWNrYg==

Facebook:

https://www.facebook.com/profile.php?id=61552498983814&mibextid=LQQJ4d

Website:

https://linktr.ee/JerzeyJulz?utm_source=linktree_profile_share<sid=1970e9b3-e90a-4e0a-bc36-04a115e3e2eb

YouTube:

https://youtube.com/@silentgrindproductions?si=_4Q2g_UP3CEE6isU

SoundCloud:

https://on.soundcloud.com/z1fscUbDXDEER7ng9

The post Jerzey Julz – Artist, Radio Host, and Former Air Force Firefighter appeared first on The Hype Magazine.