Interview and Photos By Sarah Hyun | September 28, 2025 @sarahhyun.jpeg Oliver Crosby | Interview & Photos by Sarah Hyun for HAZZE MEDIA When you think of a college dorm, the last thing that likely comes to mind is analog tape machines, vintage synthesizers, or tube TVs. For producer and University of Southern California student Oliver Crosby, transforming his freshman year dorm into a studio — complete with a drum kit, various basses, guitars, and keyboards, along with his own personal touch for decoration — was an uncompromisable project. Also known by his solo project ANDRS, the 20-year-old has been rapidly gaining online traction with his unique approach to music production, amassing nearly 200,000 followers on Instagram. His unique POV-style videos, which seamlessly combine jazz-fusion and jungle beats, coupled with his innovative blend of a digital audio workstation (DAW) with the warm, oversaturated tones of analog tape, captivated audiences in the similar music realms of Deaton Chris Anthony and PinkPantheress. Between launching his own plugin company and sharing the stage with artists like Chappell Roan and Kaytranada, Crosby is proving that a music career is more achievable than ever with the right mindset and hard work. Q: How did you first get into music? Was there a specific moment or person that inspired you, or did it come naturally from growing up in a musical family? Crosby : The first origin of it was basically my parents jamming me in piano lessons when I was a kid. So I started taking lessons when I was maybe seven or eight. I remember being in elementary school and discovering old music like The Beatles, the Eagles and The Doobie Brothers and being like, "Whoa, this is so cool. It sounds a lot different than the pop on the radio.”  I started playing more, playing what I wanted. I never wanted to learn sheet music or theory or anything. So every time I sat at the piano, I kind of just played what I wanted, which I think has now helped me feel really comfortable with writing and just playing what I want instead of other people's songs.  And then from there into actual music production. When I was 12, I discovered this dude Andrew Huang on YouTube and started watching his music production videos. And at the time, I had messed around a little bit in GarageBand on my computer, but I saw him using Ableton and making these sick videos where he was sampling stuff. I was like, "This looks sick,” so I begged my dad to buy me Ableton, and the rest is kinda history. Q: Your freshman dorm studio was quite unique — how did creating music in that environment influence your creative process? Crosby : It was interesting. Unfortunately for me, the dorm studio was kind of a downgrade from the setup I had before. Towards the end of COVID, when my family did not have any guests, I stole our guest bedroom and just built a completely free-range studio. I had no [constraints] really, so I just put all my equipment in there.  But then when I came to the dorm, I had to kind of be considerate about other people's space. I was sharing that room with two other guys. Thankfully, they were both in music - both jazz bass players - which is probably about as chill as you can get. But it was really fun. I think just the social aspect of the dorm meant that there were always people coming in and out, so it was a very lively place. There was always energy, always good vibes around.  I'd say the big downside was bringing artists in. When I came to LA as a music producer, I wanted to work with people from LA and just get into the scene. I would bring singers and songwriters and producers and whoever to the dorm. It was always such a weird vibe when I was guesting them in.  We'd go up the elevator and have to walk past the communal bathrooms, and there was always a fight happening or people shouting. So, it was kind of not a very professional environment, but it was very fun and cool to have probably the most unique dorm I've ever seen. Q: Out of all the instruments and equipment you own, which is your favorite, and why? Does it have a story behind it? Crosby : I probably have to go with my Rhodes, just because it's the first real, cool analog thing I got. I got it when I was 14, and I had found it kind of right before the prices started going insane on them. I just remember being so excited. I'd been playing Rhodes at that vintage shop in Seattle for a long time, and I scrounged together all the money I had saved in my whole life.  To that point, I was like, “I need this Rhodes.” So it came from a studio, and I brought it back home. I played that thing nonstop for months, and I still play it all the time. It just has such a good feel to it, and it inspires so many people [who] come in here too.  This is kind of a random tangent, but a big job of a producer is to curate a vibe in a room and make sure that people are really excited to make music and feel good about it. And 99 percent of the time that I bring keyboard players in here, the first thing they do is run over to the Rhodes like, “Turn this on, turn this on.” And that's how so many ideas have started. It's just a very inspiring instrument and it sounds beautiful. It's really fun to play. I don't see myself selling it, so shoutout to my 14-year-old self for locking in and making that happen. Q: Who have been your favorite guests that you’ve brought to the studio? Crosby : I met Blue DeTiger for the first time, and I've known about her for a long time. She's so badass. She came with her brother here. We filmed some stuff coming soon in the next couple [of] weeks.  She's actually just the coolest person ever.  We ended up doing two sessions, almost back-to-back. That's my older sister right there. She calls me little bro. I call her older sis. She's super cool, very talented, and we were making some cool stuff. Q: Do you have any dream guests that you'd love to bring to the studio? Crosby : Oh my god, so many. I think that's kind of the job of a producer. I really want to start working with the artists that I look up to. PinkPantheress is probably my dream person to produce for.  She's super sick and I love jungle music. A lot of my videos are very jungle and drum and bass focused, and I feel like her music is so unique. She's the only one out there as big as she is doing that and crossing pop with jungle, so I love that. Q: You're only 20, but you've already accomplished so much — touring with Cherry Ferrari, working on your solo project ANDRS, starting your own plugin company, and more. What has been the most rewarding and the most challenging part of navigating the music industry at such a young age? Crosby : First of all, thank you. I'd say most rewarding, probably being able to play shows, which I unfortunately haven't really been able to do for about a year now. I miss it so much. It's so rewarding because performing is just something I've always loved to do. Being able to meet the people after is probably my favorite part.  It's still crazy to me that people will drive and pay money to come see me play music. I love meeting the people [who] like the music and having conversations with them. Even just through the ANDRS stuff, I've met some people in real life who are fans of the videos, and that always reminds me that it's real, you know?  Sometimes I forget, I'm just kinda like sitting in my room and I'm posting from behind my phone and like, it doesn't really feel like anything real until you go in the world and you meet someone who knows it. And that kind of makes it tangible in a way.  And then for challenging, I have a hard time trying to balance working in music and doing what I know I should be doing. Like I love doing music, but you know, it's still work and I have to dedicate a lot of time and I struggle with sacrificing other things for that. I'm not very good at drawing the line between being like, “Should I go hang out with friends or should I go do this and this and this?” I kind of have a wide variety of interests that kind of take away from music.  So for me, I know I need to manage my time a little bit better. People are always in my comments section like, “Yo, when's new music coming?” And I keep saying, “Soon, soon, soon.” But I haven't released a song since January. So, I know I need to lock in, but sometimes it's hard because I'm having a lot of fun doing other stuff and trying to live the college experience a little bit.  Q: I understand that your most recent release with Cherry Ferrari is “Better When Ur High.” What was it like working on this song, given that you're a bi-coastal band during the school year? Crosby : It's incredibly hard having a band that is across the country. [Emma and I] used to live within walking distance from each other. It would take like 30 seconds in a car to get to her house (‘Emma’ refers to Oliver’s bandmate and the lead singer in Cherry Ferrari). So in high school, we were just hanging out all the time.  It makes it easy to balance having fun and doing work because we'd be like, “All right, today's a content day. Today's a studio day. Today is just a have-fun-in-Seattle day.” We had a good balance of all that, but now that we're bi-coastal, it's almost impossible to write music because we're never sitting next to each other.  It’s really hard to make content 'cause we're across the country from each other. Whenever she comes to visit, or whenever I visit her, which is kind of like, two or three times a year, we just wanna hang out instead of actually working on music. So she was here like a month and a half ago, only for like three or four days, and we were like, “All right, we're gonna do some content.” I think we filmed like two videos and just hung out the whole time. 'Cause it's just more important for us, I guess, to hang out and stay close.  But that song, thankfully, is actually very old. A lot of the Cherry Ferrari songs sit in the files for a long time before they get released. That song was fully written, produced, and mixed at some point in the middle of senior year of high school. But now we're reaching the point where we know we wanna drop something else this fall, and we're gonna have to make content and lock in and finish a song.  Q: What's next for both projects, Cherry Ferrari and ANDRS? Do you have any new music, tours, or other surprises coming up? Crosby : Cherry Ferrari, we wanna release a song this fall. We have like a couple [of] contenders that we know we could drop. It's just kind of about getting distribution stuff ready and some content stuff ready. ANDRS' new music is definitely coming soon. I took a big break over the summer, stopped posting, but, as of this last Thursday, I am back on the weekly posting schedule.  So a lot of more content from the new studio is coming out. There's gonna be definitely more singles this fall. And then for the Oliver Crosby jazz stuff I'm working on, [I have] some ideas [for] like a little jazz fusion EP maybe for this winter or in the spring that I would love to do, maybe play with an actual live band.  I started working on some merch stuff for ANDRS. I might just do some limited runs of it, but I used to screen print everything for Cherry Ferrari, so I'm gonna start screen printing here at the crib and make some ANDRS Merch, and we'll see what happens. Q: What has been the most surprising or unexpected lesson you've learned throughout your musical journey? Crosby : That's a really good question. I think it took me a little while to realize, so much of music is having good connections as opposed to even being a very good musician in the first place. If you have the right friends and you meet the right people and you know, you show face and you’re in the scene, then that is how you'll do like 90 percent of the cool stuff that you end up doing. It’s all about those chance encounters and meeting the cool people and being friendly.  You know, being a good hang. You have to be as much of a good hang as you are a good producer or a good instrumentalist of any kind. Even if you might not stack up in whatever room you're in, like, if I find myself in a room with Grammy-winning producers, I'm just trying to be cool. Even if I'm not doing that much, or contributing that much to the song, more like observing, it's always better to just be a good hang.  Because then those are the people that you'll stay connected with. If they think you're cool, they'll have you around. So I think that's something that I've started to learn now that I've been in LA. I like the vibe of LA too. A lot of people are very open to just hang and make music and see where it goes. It's a great way of creating. Yeah, I'd say be a good hang. At just twenty years old, Oliver Crosby has already accomplished more than most musicians who are twice his age. Discovering his passion for music at an early age, he has toured with his band across the United States, worked on multiple artist projects of varying genres, and found himself sharing the studio with highly respected producers. Yet if there’s one lesson to take away from this interview, it’s that music is just as much about the people as it is about the sound. In an industry that appears daunting and oftentimes unnavigable, Crosby has proven that having a good attitude gets you far — on the stage, on a tour, and even in the studio with Blu DeTiger. Be a good hang, and the rest will surely follow.

By Allison Cho | 09/27/2025 LMU Lions versus UCLA Bruins Water Polo Matchup Photos by Allison Cho for HAZZE MEDIA The LMU Lions  hosted the UCLA Bruins   on Saturday, September 27, at Burns Aquatics Center in a competitive non-conference matchup. UCLA’s fast-paced attack and defensive control helped them maintain the advantage, while LMU battled hard to create scoring opportunities but couldn’t break through the Bruins’ pressure. LMU Lions versus UCLA Bruins Water Polo Matchup Photos by Allison Cho for HAZZE MEDIA These for Hazze Sports are owned by HAZZE MEDIA, LLC and may not be redistributed, sold, or used for commercial purposes without explicit permission.

Written By Nina Kremer | Album Artwork By Lily Paris West “This is the weirdest show we’ve ever done,” laughed Stokes, the lead singer and songwriter of the Beths. What an understatement.  The Beths, an indie rock band from New Zealand, played an album release show for their fourth album “Straight Line was a Lie” on August 28, which was released the following day. The show took place at the Bob Baker Marionette Theater, a unique, to say the least, venue for the pop-up show. Upon entrance I was not sure whether I was still in L.A. or if I had been transported to some other realm where puppets reigned supreme. The theater is magical, and the curtains, chandeliers and red velvet stage create a truly grandiose yet whimsical atmosphere. In addition to bistro style seating areas and regular theater seats, guests have the option of sitting on the floor, which brought me back to my childhood days of going to the circus. Before the opener, the puppeteers came out and performed a touching rendition of “Don’t Rain On My Parade” from the musical Funny Girl, sung by a bright yellow cat.  Opening for The Beths was comedian Margaret Cho, who began by asking, “Is this twee?” In direct contrast to the childlike joy of the theater, Cho opened the show by cracking jokes about serious matters like the current state of the country, recent protests in L.A. and her experience with abortion. After she was done, as she said, "defiling" the theater, she introduced The Beths.  Jonathan Pearce (guitar), Benjamin Sinclair (bass) and Tristan Deck (drums) came out to teach the audience a song on the recorder. Every audience member was given a branded recorder at the start of the show and told that they would have the honor of performing alongside the group. The bandmates then attempted to train their very own “L.A. recorder orchestra,” as Sinclair said. Though one half of the theater was still somewhat flat, they were content with our progress, and brought out lead singer Stokes to jump into the show. They began with the title track of the album, “Straight Line was a Lie,” immediately reminding the audience why they are really here — not for a puppet show, but for a rock show. The acoustics of the venue were incredible. It felt almost like listening to the studio version of the album, because the mix was so well balanced and the band was so in sync. The puppets then came back to dance as the band transitioned into “No Joy,” a song about feeling apathetic which stood in direct contrast to the playful performance. A blue puppy came right up to the audience, sitting in audience members’ laps. The show suddenly felt like a rock ‘n’ roll episode of “Sesame Street” or a live music video. During the song it was time for the L.A. recorder orchestra to make their debut performance and the result was…flat. But that is okay, we tried our best. The band then went back in time, playing “Knees Deep” from their previous album “Expert In a Dying Field.” During the song, ducks in rain coats ran around the stage as I sat in awe of the consistent clarity of Stokes’ voice. They then came back to the new album with “Metal,” as robot puppets, fittingly, dramatically acted out the lyrics of the song.  The first new song off of the album which they had not released previously was called “Til My Heart Stops.” An uncharacteristically soft track, Stokes sang while the stage lights went down and fairy lights twinkled behind her. The puppets also continued to correspond to the lyrics as skeletons rode bikes around as Stokes sang, “I wanna ride my bike in the rain.” Between songs the band commented on their puppet co-stars.  “Those ducks, man. They know how to use those umbrellas…effectively,” Deck joked.  “Those robots have souls!” Pearce replied. The rest of the band then joined the audience in sitting on the floor as Stokes began singing a sincere rendition of “Mother Pray for Me.” The song’s repetitive melody added to the message of trying to connect with a loved one, as it felt as though she was desperately trying to get her point across. Afterwards, the band stood back up to perform an older song, “Happy Unhappy.” At several points in the show, I was admittedly surprised to find that some of the backing vocals — which I had assumed were Stokes’ vocals doubled — were actually Pearce. His higher register blended perfectly with Sinclair’s lower harmonies.  The second half of the set saw more favorites from previous albums like “When You Know You Know,” “Jump Rope Gazers,” “Little Death” and “Not Getting Excited,” mixed in with the latter half of the new album with “Mosquitos,” “Roundabout,” “Ark of the Covenant” and “Best Laid Plans.” There is an overarching romantic lightheartedness to the new album which was in keeping with their venue of choice.  Though I have seen The Beths perform before, I saw them in an entirely new light in this chaotic and cheerful space. This was not just any other show. This one truly felt like a joyous celebration of their new album. And The Beths are not just any band. They are true entertainers.

By Allison Cho | 9/28/25 CSUN VS UCR Women's Soccer Matchup Photos by Allison Cho for HAZZE MEDIA California State University, Northridge Women’s Soccer earned its third consecutive shutout on Sunday evening at Matador Soccer Field against the University of California, Riverside . The 2-0 victory made an impact on the team with a strong start to Big West play and demonstrated the team’s determination and focus throughout the match. The evening also held a special meaning as the Matadors hosted their Mental Health Awareness game, which highlighted the importance of one’s wellness both on and off the field. The players, coaches, and fans came together to support the theme night by wearing something green and to recognize the value of mental health. CSUN VS UCR Women's Soccer Matchup Photos by Allison Cho for HAZZE MEDIA CSUN VS UCR Women's Soccer Matchup Photos by Allison Cho for HAZZE MEDIA These for Hazze Sports are owned by HAZZE MEDIA, LLC and may not be redistributed, sold, or used for commercial purposes without explicit permission.

By Christina Winnegar | 09/26/2025 The Tampa Bay Lightning  defeated the Carolina Hurricanes  for their first home preseason game on Saturday night at Benchmark International Arena. Tampa Bay's balanced scoring and steady goaltending set the tone for their third exhibition game, first in front of their home crowd, while Carolina struggled to close the gap in the game until the third. The Tampa Bay Lightning  defeated the Carolina Hurricanes  for their first home preseason game on Saturday night at Benchmark International Arena. Photo by HAZZE Photographer: Christina Winnegar The Tampa Bay Lightning  defeated the Carolina Hurricanes  for their first home preseason game on Saturday night at Benchmark International Arena. Photo by HAZZE Photographer: Christina Winnegar These photos are owned by HAZZE MEDIA, LLC and the National Hockey League (NHL). They may not be redistributed, sold, or used for commercial purposes without explicit permission.

By: Allison Cho At the inaugural Las Vegas Prix on November 18, 2023, Sherry Ma stepped onto the busy, vibrant Strip in her custom-made moto jacket, turning everyone’s heads. Fans even stopped her every five minutes to ask her where she got her jacket, which got her thinking. What began as a playful joke questioning, “What if I start an Etsy shop?” on the drive back to Los Angeles turned into a bold decision within a week.  She created the Grandstand Project (GP), a motorsports apparel brand dedicated to empowering female fans and drivers with stylish and inclusive merchandise that goes beyond boring jerseys or generic team hats dominating the current scene.  Sherry, the founder and CEO of The Grandstand Project, isn’t a typical entrepreneur. After studying public relations and marketing at Emerson College, she aimed to create a mission to close the gap in motorsports culture, where women lacked merch that combined their sense of style with their fandom.  The idea to blend fashion, creativity, and advocacy was a way to make every female fan feel seen by bringing the glamour of the paddock to the grandstands. Turning the idea into reality, Sherry is fueled by resilience, community, and a love for racing, especially when she went from loving cars at a young age to being a trailblazer in a male-dominated industry. Photo by Metyen Oyebade Sherry’s journey to creating and building The Grandstand Project began with a childhood surrounded by the sounds of engines and under the influence of a fantastic role model. Sherry was raised by her mom’s passion for cars and motorcycles, as she grew up in Los Angeles.  “My mom… really loves cars, and she loves motorcycles, and I just always wanted to be like my mom,” she recalls. This early love for the community was intensified by her playful obsession with Pixar’s “Cars”, which she highly recommends watching when getting into motorsports.  However, as she grew into a teenager, the societal pressures began to get to her with a more traditional idea of “femininity,” leading her to stop following her passions. “I wanted to be as feminine as possible and as girly as possible, and what society deemed as such,” Ma shared, noting how she tried to separate herself from racing to fit in. During college, she rekindled her love for motorsports, as Netflix’s “Drive to Survive”   started igniting a cultural phenomenon in the United States. The documentary series opened up a new world for the community on social media, specifically TikTok, where she found a group of women embracing racing.  “Suddenly, my TikTok feed was all of these girls talking about racing and talking about cars, and it feels like this accepting community suddenly just opened up to me,” she said. This shift set the stage for Sherry, as she would take advantage of her love of the sport to change her journey. Photo by Griffin Riley Her journey really began in November 2023 during the inaugural Las Vegas Grand Prix, when she struggled to find merchandise that also matched Vegas's glamorous vibe. She wanted to showcase her love for the sport as she was planning outfits for the trip with her friends, who weren't necessarily racing fans, while also supporting her team with a sense of style.  “I didn’t really want to wear a hat or a jersey. I wanted something that I can wear into the clubs and the after parties, and then I can walk around the strip in Vegas and feel like I’m expressing myself creatively,” she explained. Her solution was to customize her own moto jacket that she bought online and transformed with her own patches to reflect her team spirit. The response was out of this world.  “I couldn’t go five minutes walking on the strip without someone stopping me and asking me where I got my jacket from,” she recounted. The question going through her mind became a light-hearted joke that quickly gained momentum amongst the group, asking, “It was kind of a joke, like I should start a shop or something and sell these jackets.” The drive back to Los Angeles from Las Vegas became a turning point for her. “I just couldn’t stop thinking about it,” Sherry stated. “And then a week later, I had a business plan, and then it wasn’t really a joke anymore.”  On a plane shortly afterwards, she had all of her ideas in her notes app, with a draft foundation for The Grandstand Project. She was determined to bring her vision to life, as she enrolled in a local community college for a semester of fashion merchandising in February 2024, just a few months after the Las Vegas Grand Prix. Enrolling was an adventurous step to equip herself with the necessary skills needed to navigate the industry.  Following her dreams, born from a single race weekend, her passions are an inspiration, redefining her path and connecting communities in unexpected ways.  Photo by Caroline Dame Her journey to create GP marked the beginning of Sherry’s entrepreneurial journey, blending her academic background with persistent self-education and real-world challenges. She set on a corporate path after graduating from Emerson College with a degree in public relations and triple minors in marketing communications, business studies, and nonprofit communication.  “I wanted to work in corporate PR. I wanted to work in the nonprofit sector. I had just wanted to go into marketing,” she shared. But after college, burnt out from corporate life during her internships and unsure of her next step, she decided to pivot toward her rekindled joy and passion for motorsports and fashion. “I was like, I think I’m going to take a year off and just finally relax after being in school for so long, be with my family, and kind of lean into my hobbies a bit more,” she said. Nothing left her more laser-focused. “I walked in there telling anyone and everyone that would listen that my goal is to walk out of the semester and be ready to start a clothing brand,” she explained. Sherry was always looking for advice and practical knowledge, asking, “What do I need to know to communicate with manufacturers in LA, like what do I need to know so that I can be in this space and actually have a successful brand?” It only took her one semester to land at the UCLA Anderson School of Management, as she launched GP in October 2024, driven by her vision. “I just couldn’t hold back. I left UCLA and we launched in October, and I’ve just been full send committed to Grandstand ever since,” she noted.  Building GP came with a few challenges, especially as a self-funded startup in the costly world of fashion. “Clothing takes a lot of money right now. Grandstand is entirely self-funded, which is a crazy journey,” Ma admitted. She faced the daunting tasks of navigating LA’s fashion district, learning to communicate with manufacturers, and managing finances. “How do I start a business? How do I manage a business? How do I keep Grandstand from going bankrupt within the first year?” she reflected.  Photo by Caroline Dame Sherry’s vision for GP thrives on her amazing support system and her commitment to amplifying women’s voices in motorsports. Her family played a pivotal role in her journey. “My mom specifically has been so supportive through everything that I’ve done, even though I know that she’s very worried,” Ma shared, acknowledging the risks of starting a business from scratch.  Her partner was also instrumental, as he stood by her side from the moment she filed for the LLC. “He’s been helping with Grandstand since the very, very beginning, like he was there when I started the LLC, filling out the application,” she noted.  Friends like Ananya, who assists with GP’s media, have also volunteered their time, forming a tight-knit community that Sherry credits for the brand’s early success. “I genuinely would not be able to do it without any [of them],” she said, emphasizing the emotional and practical support that fuels her to keep going. Her path wasn’t without skepticism because when she first shared her idea for GP, she encountered surprise and confusion, especially from people outside of motorsports. “I never thought about how there’s not much female merchandise in motor sports, or actually, maybe even sports in general,” she recalled.  Within the motorsports community, she found a lot of support, but online, she occasionally faced dismissive comments like, “Why are these girls touching the cars?” This led her to retort with, “The girls own those cars. They bought those cars, and they took care of those cars.” Her mission is highlighted by those moments, by challenging stereotypes and emphasizing the presence of women in the sport.  Representation lies at the heart of GP’s impact and social responsibility. Sherry believes the sports media space needs to have more conversations about women in motorsports, whether it’s with the drivers or fans. “I think just more conversations are lacking about women in motor sports and the female fan base in motor sports,” she stated.  Her passions aren’t only in fashion and creating merch, but it is also about giving women the recognition they deserve, noting that “there are a lot of women working in motor sports... that, again, they’re just not getting their flowers.”  She also challenges the derogatory use of “fan girls,” arguing that they are the driving force behind the sport’s growth, whether men like it or not. “They’re such a catalyst for all of it, because they’ve been the ones spreading that joy of loving the sport,” she emphasized, stressing their role in creating an inclusive community. Photo by Metyen Oyebade Initially, GP aimed to create track-specific collections tailored to the unique vibe for each race: elegant like Monaco, party-ready like Vegas, cowboy-themed like Austin. “I really just wanted to make a collection for every single track, so that people have things to plan outfits with so that they can support their drivers, their teams,” Sherry said.  However, conversations with female drivers discussed a more profound need: better merchandise for women. Whether they are drivers wanting better merchandise for their fans or female fans looking for more fashionable representation, women want different kinds of merchandise than men.  Many female drivers don’t necessarily have the time to immerse themselves in the fashion industry and tailor their merchandise beyond the usual industry standards, she explained. Female drivers focused on racing, often being forced to settle for basic merch like generic jerseys and hats. This conversation shifted where GP was heading, collaborating directly with drivers like Zoey to create custom pieces, such as tank tops featuring her number and autograph that sold out at Long Beach. “We made those tank tops for her in a month... and we completely sold out,” Ma shared proudly. “Finally, the little girls, her fans that are little girls, were able to buy something that they could wear.” The name “The Grandstand Project” encapsulates this very mission. “I love the idea of GP, and then being similar to Grand Prix... and we have so much inspiration from the WAGs in the paddock. The goal is really to try to take that culture and just bring it out so that the rest of the fans can participate,” Ma explained, aiming to normalize paddock-style fashion for everyday fans.  Sherry’s values of inclusivity, creativity, and female empowerment all stem from her own journey of reconnecting with her tomboy-like roots and finding a community that embraced her passions. She isn’t just building a brand but fostering a space where women in motorsports feel seen. Photo by C athrine Renee Sherry’s journey with The Grandstand Project is nowhere near its end. With plans to expand track-specific collections, deepen collaborations with female drivers, and continue advocating for women in motorsports, she is set to define the sport’s fashion landscape.  “I never thought I would ever be in motor sports professionally at all. So it’s just been a wild journey,” she reflected, capturing the journey of her dreams from early passion to CEO. From the initial spark of her custom jacket at the 2023 Las Vegas Grand Prix to the thriving brand she launched in October 2024, her story is truly an inspiration of resilience and reinvention.  Her story inspired not just motorsports fans but anyone daring to chase a passion against their odds. Sherry managed to blend her love for racing, fashion, and community, creating a platform that empowers women to express their fandom boldly and authentically. As she continues to break barriers, her work reminds everyone that every race, every outfit, and every story can bring us closer to a more inclusive and empathetic world. Disclaimer: The thoughts, experiences, and opinions shared in this article are solely those of Sherry Ma  and are based on her personal journey. They do not necessarily reflect the views of any organizations, sponsors, or institutions with which Sherry  may be associated with. To ensure accuracy and maintain context, Sherry Ma and The Grandstand Project  reviewed this article before publication. Unauthorized reproduction or distribution of this material is strictly prohibited. For any inquiries or concerns regarding this article, please contact info@hazzemedia.com

Written By: Camila Molina | Interview By: Camila Molina | Photos By: Camila Molina, Kai Ortiz, & Galib Rahman After the COVID-19 pandemic, a long-standing issue has become more apparent, especially among Generation Z: the struggle to stay present. We are losing our ability to stay grounded in the world around us. While technology often gets the blame for this, for many youth, the real issue lies in the fear, anxiety and pressure that young people face today.  Many have turned to a nihilistic outlook or a "floating rock" mindset, helping them through this disconnected feeling. Rising indie pop artist, Juliet Ivy, expressed this widely shared sentiment in her hit song, “we’re all eating each other.” She sat down with HAZZE Magazine to discuss how her home and philosophy has contributed to the world she’s building through music as well as what’s next for her rising career. Growing up in New York City, Ivy was exposed to many opportunities to watch and feel connected to her community. As a Queens native and former student at New York University’s Clive Davis Institute of Recorded Music, she says she has spent countless hours sitting on the seats of the city’s public transit system. For Ivy, this seemingly ordinary daily task is actually the source of inspiration for a lot of her personal revelations and lyrics. Being around so many people and watching them come and go, she realized she was part of something much greater.   “A lot of my lyrics are inspired by the human experience and what it means to be a human, feeling like a small part of a bigger thing,” said Ivy. “Being in a city like New York really makes you feel like that.” Due to TikTok, artists have more of an opportunity to share their craft online doing their own marketing, and that’s exactly what Ivy does to share her message. The song “we're all eating each other” from her 2023 EP “playpen” rapidly started gaining attention on the platform. Several videos  of Ivy promoting the song — with her signature butterfly guitar in hand — have amassed over 250 thousand views to date.  To her surprise, not only did viewers enjoy her dreamy musical style and aesthetic, but they related with her personal feelings about the world shared throughout the songs — even the philosophical aspects pulled from existentialism and nihilism that she was unsure would resonate with so many other people. The chorus of “we’re all eating each other” goes: “ but we're all gonna die, decompose into daffodils and dandelions/ The bees will use our flowers for whatever they like/ Make the honey that our grandkids will put inside their morning tea/ It's the thing of life .” “I really love how that's how the music is perceived, because that's also how I feel about it. And  it's also just what my personality is. I've always had those kind of deep thoughts and questions about what it means to exist and be a human and be alive and what all of this means,” says Ivy. “And I feel like a lot of people [or] everyone can relate to it, but maybe it's just not explored in music as much as [love songs are]. Um, but I'm so happy that people have really connected to [it] because I was not sure if people would. Um, and the whole summer-y and light thing is also kind of [like] my personality.” Ivy is also proud to share how not only her NYC experience has shaped her as a musician, but her Columbian-Chinese heritage — having her loved ones embrace both of those aspects of her identity encouraged Ivy to allow her authenticity to thrive. “Growing up in that super diverse household with the two sides of my family that are so different and really identifying with both sides has just helped me have that attitude to kind of, like, embrace all that makes me, me," said Ivy.  Moving forward, Ivy continues to write music exploring her feelings about herself and the world with her recent EP, “tiny but scary,” regarding the complicated relationship with herself and “girlhood.” On her Instagram , she shares her hopes for the lyrics to resonate with other women, revealing parts of the song's lyrics such as, “my best friend is my intuition/ she’s always right and I love to listen. They say weakness is falling to pieces, but I find strength in getting up…”  “I feel really grateful and excited that there are people who are excited to hear the new music, and that's all I could ever ask for. It feels so special to release music knowing that there are now people I can give it to once it's out," said Ivy. Now more than ever, she is diving into what she knows best — examining her relationship with the world in profound ways. “I started realizing that what inspires me most are these deeper or  weirder kinds of thoughts that I just have.” Ivy embraces her inner turmoil, even in the face of audiences across the country, expressing the importance of human connection both on the stage and through her recorded music.

By Christina Winnegar Photos Provided By Jonny Lazarus There's an indescribable energy, one so unique when walking into Madison Square Garden as a young kid full of dreams. This aura weaves itself into your identity in a way that never really leaves. For Jonny Lazarus, this was never just a feeling; it was an epiphany, one that had embedded itself into his very existence. The sharp cracks of the blades edging into the ice, the motions of bodies crashing into the boards, the roar of the "hey…hey…hey, hey, hey!" chant after endless time passing by, the puck buries itself into the net, the passionate roar of the fans, it wasn't just noise, for him, it was all possibility. The theatrics of hockey were unmatched; no other sport could match what hockey did for him. Not knowing his path wouldn't follow the way he imagined, that the NHL wouldn't come with a locker with laced skates hanging up, but rather a seat at the table, with a microphone and connection underneath the surface begging to be had. From that first game in the Garden to the press rows he now occupies, his story was defined by the reigns of resilience and reinvention. Jonny, once a kid who lived for the chaos of the game in the stands, has now made a career out of capturing it, and in many ways, that journey began when he fell in love with the theatrics beyond the twine.  Photos Provided By Jonny Lazarus Sports were always a common find in Jonny's childhood, but the passion for hockey wasn't inherited. Baseball was short-lived, and basketball filled that space instead. "I remember my dad always said I would go home, put on my Stefan Marbury jersey and my Knicks shorts, and go downstairs, and shoot hoops. I was just obsessed with Marbury specifically." While basketball gave him vision, the ability to see the game three steps ahead, to anticipate movement, hockey was different. The love wasn't written in the Lazarus family script; it was a love that was discovered. The Garden was a stage, with the deafening sounds of the crowd, the chaos of chasing a goal, and the moments of elation where everyone came together, feeling cathartic. Growing up on Rangers and Islanders games as a kid, he was drawn in by not only the goals but the beauty of the theatrics beyond the blue line. At a youth camp, standing in front of no other than Adam Graves, he bravely asked about the experience of returning to Madison Square Garden following a trade. An unusually insightful question for a fifth grader, but the beginning of taking a shot early on, unknowingly tapping into identity later on. What left a lasting impression was the pull of the game itself. Hockey wasn't just something to pass the time; it wasn't just entertainment. It was a purpose. A simple promise, all he wanted was to be in the NHL, and it was going to make it happen.  Photos Provided By Jonny Lazarus Chasing that dream meant leaving the comfort of the city behind. Moving to Wichita Falls, Texas, became the first real encounter with doubt in the dream. Jonny wasn't racking up ice time, often scratched, or buried on the third or fourth line. The nights of questioning stretched long in Texas, while watching friends from home celebrating in crowded fraternity houses.  The contrast of his path stung. Friends were living the typical college dream, meanwhile, he felt stuck, thinking, "F— my life. Like, why did I not do this?"   The path he had taken felt isolating, and in that very moment, he questioned if hockey was worth the price he had to pay. But beneath the frustration, the game still had its claws in him. Even when his role on the ice was smaller than expected, even when doubts crept in, he kept pushing. The chapter in Wichita Falls became less about glory when the jersey was on and more about learning the demands of the game. Facing the ultimate question, how much was he willing to sacrifice to keep the dream alive? Photos Provided By Jonny Lazarus Earning a spot at UMASS felt like a turning point, proof that the sacrifices were worth it. Jonny felt pride as he laced up his skates and stepped onto the ice, knowing he had achieved what many said he couldn't. And in his freshman year, he delivered. "I had nine points freshman year, it's not anything crazy, but it's not nothing, just felt like a drug, I just wanted that success so bad,” he explained. But as quickly as the journey started to progress, it unraveled. Sophomore year came after a summer of relentless training, and expectations to perform felt heavier. Instead of building on the momentum, Jonny found himself benched almost every game.  The shift cut a little deeper this time; it changed his entire perspective on and off the ice. Confidence faded, social world shrank, and the game that once brought a sense of home became a source of constant headaches. It became no longer just something he did; it became who he was. "All I wanted to do was play hockey, like I did not care about anything else," he recalled.  Jonny had to face the possibility that the hunger behind wanting it might not be enough. Photos Provided By Jonny Lazarus Taking another shot at the game, he made the tough decision to transfer midseason. The transfer came packaged with its own struggles; it meant sitting out the rest of the year, facing another kind of isolation. As an athlete already questioning where he was meant to fit in the game, the weight of being scratched again, this time by NCAA rules, could have been derailing.  But instead of letting time pass him by, Jonny built something new. "So when I got to Mercyhurst, they didn't have anything like that. There was no talk show at the time, and content wasn't even a word then. So I pitched the idea to them, and started doing this talk show called The Laker Effect ," he remembered. What began as a project to fill the gap between time not spent on the ice sparked a new passion. Hosting interviews, challenging teammates in their own sports, and putting a spot on athletes around his campus, he discovered that his love for the game could take a different form. The same energy once poured into chasing ice time and burying the puck into twine was redirected into a different world: the theatrics of storytelling and connection.  Photos Provided By Jonny Lazarus It wasn't the NHL dream he had imagined, watching legends on the ice at the Garden, but it marked the start of something he hadn't realized he was quietly building: the foundation of a hockey career that wasn't defined by playing. By the time Jonny reached his senior year, wrapping up that chapter, he was no longer a player clinging onto minutes that earlier shaped his identity; he was switching lanes, searching for a new chance to score. That's when he received the piece of advice that reshaped his approach: "Find the company you want to work for and tomorrow pretend that you do," he expressed. It wasn't just about waiting for permission; it was about acting like you already belonged in the space, allowing yourself to create the kind of work that would make others believe it, too.  When COVID shut the world down, that advice had space to take root in his story. A friend, Justin “Kappy” Kapelmaster, pitched him an idea: a podcast for Jewish athletes. At first, it seemed preposterous, Jonny laughed. How many could there be? But he leaned in anyway,  and it became his first real project. His crack to get his foot in the door in the world of connections. The podcast quickly grew, branching out to include not only athletes but also media personalities and entertainers. Over a hundred episodes followed, but what resonated the most was the ability to connect with those he spoke to, leaving a lasting impact. Photos Provided By Jonny Lazarus Reflecting on it, the show became more than just content; it gave him a way to lean into his identity, using it as a bridge. Almost everyone he reached out to had some shared background or one-degree connection, which made conversations feel natural, like catching up with an old friend. That early level of learned comfort unknowingly shaped the way Jonny would continue to approach interviewing throughout his career—all with the underlying goal of building not just content, but connection. The confidence of having a place in the game carried over into the next chapter, one that was more personal, as he created content for the New York Rangers on his own. Following Large's advice from Barstool, Jonny started appearing online as if he were already part of the Rangers' media world.   Every day, he recorded clips breaking down games, reacting to storylines, and doing something new, putting his face coupled with the analysis. It wasn't anything polished at first, but it was consistent. The traction that began to grow allowed the audience to attach the content to the name, to the face, with time, building the community Jonny has today. It was always more than content; it was a shift in his identity. It was the first time his playing career ended that he felt like it was his time in the NHL, blending the knowledge of the player he once was with the lifetime of learning that had grown his love for the game, all within the very home where the Rangers began. It formed the storyteller he was becoming. Photos Provided By Jonny Lazarus That willingness to put himself out there, to be seen regardless of the size of his audience, became a strength. It taught him that progress wasn't always a straig ht line. So w hen the next opportunity was presented, one far outside his comfort zone, he embraced it with an open mind. When Jonny made the move to Los Angeles, it wasn't with a clear path or much stability, but rather more as a chance to be in a new environment and to see what could come from a simple yes.  He had eight weeks to live in a world far different from college hockey rinks or local rinks, Bob Menery's. LA forced him to adapt to the demanding lifestyle. However, similar to his New York roots, it allowed him to navigate new personalities and learn to carry himself in unfamiliar spaces.  Most importantly, came the connection with the NHL's Chief Content Officer, Steve Mayer. At the time, it was just an introduction, but Jonny nonetheless capitalized on the connection. Not realizing how pivotal that connection would become. Months later, when an opportunity within the NHL surfaced, it was Steve's name that reappeared. Proof that the shot you take isn't always the value, but the door it quietly opens.  That lesson stayed with Jonny when he returned home—trusting that the connections he was making and the content he was creating were quietly building his foundation more and more each time. Then, everything changed. In 2022, disaster struck. A fire that ruined his family's home, leaving him with nothing. For two weeks, he was completely shut down, unsure how to move forward from such a tragedy when even the basics were gone. But even in the middle of such a loss, the root of what Jonny loved at his core kept him grounded: hockey.  The Rangers' show continued to build momentum, and every episode became an escape, a glimpse of normalcy during the unknown. It was a way for him to pour energy into his own cup when life was unsure around him. "The only thing I really had going was the Ranger show. It was the only thing where my brain could go to just not think about what I didn't have," he expressed.  The show wasn't just another form of content for Jonny; it became a community he had been slowly building throughout his other chapters. Listeners began to interact, friends amplified his work, and slowly his voice began to project further. They saw the person behind the work, the consistency, passion, and the different and fresh perspective he brought to covering the Rangers. Behind the scenes, it was an escape. In the public eye, it was the foundation of his credibility.  A show that had started as a passion project, a way to remain connected to the game that weaved its way into Jonny's existence, turned into the most incredible gig in the sky.  Photos Provided By Jonny Lazarus Out of the blue in 2022, he received the message that changed everything: an email from Paul Vinciguerra, traced directly back to the time he spent in LA. "Hey Jonny, Steve Mayer gave me your name and suggested I reach out. I'm producing a live show during the conference finals, and I wanted to see if you have an interest in being a part of it," he read.  A single message that validated all of the risks, all of the pivots, all of the reinventions. Jonny immediately said yes. The timing of the opportunity couldn't have been more surreal. The Eastern Conference Final featured the New York Rangers, the team that Jonny felt tied to his entire life, and that brought him his community during each chapter. He spent months building his credibility through breakdowns and fan-driven coverage of the Rangers' season. Then, he was on The Third Period Live  panel, analyzing the same playoff matchups he had once covered online, now being live underneath the NHL banner. Each night, he sat alongside Julie Stewart-Binks and Jillian Sakovitz, going live as the games unfolded. For Jonny, it wasn't just another show he was featured on. It was the first time the team he had built his voice around was intertwined with the league he had always dreamed of being part of.  Momentum coming off The Third Period Live , Jonny took the next step in his journey, covering the Rangers through The Hockey News at Madison Square Garden during that same playoff run. The same seats, fan culture, and ice he looked upon as a kid in the stands, he now viewed from above, in the press box. The theatrics that once had him wide-eyed as a fan now became what he reported on in his workplace. He was now the voice telling the story.  However, the reality was that there were still bills to pay, and the role wasn't full-time. He balanced his work at The Hockey News with a daytime job. Mornings were spent on uninspiring assignments, while nights and weekends were dedicated to hockey coverage, the one thing that ignited his passion. It was exhausting, but it became proof of how badly he wanted to make the dream his.  Photos Provided By Jonny Lazarus When the NHL called again in 2023, Jonny was still splitting his time. He returned for  Stanley Cup Live Central , traveling with the show deep into the playoffs. To continue covering, he had to go all in, sacrificing his PTO to fulfill every hockey lover's dream. The time spent in Vegas was the final pivotal turning point in his career. After standing with Jack Eichel and the Vegas Golden Knights as they lifted the Stanley Cup, he knew there was no going back. "I realized, I can't do this halfway. I can't sit at a desk and then pretend this isn't who I am," he expressed. He made the decision that changed it all. He quit his daytime career and went all in. "I was like, I'm not doing this anymore. I'm gonna just bet on myself. I don't care if I'm broke – I'm going all in on hockey," Jonny recalled. Leading him into the next chapter.  Photos Provided By Jonny Lazarus In January 2024, Jonny joined Daily Faceoff , one of the fastest-growing digital outlets in hockey media. For the first time, he wasn't experimenting with content or stepping in for a temporary role; he had a platform with reach, structure, and a following audience that expected him to continue delivering the same level of expertise and insight he had always provided independently.  Daily Faceoff  quickly became another opportunity to prove himself. It allowed him to grow his voice, to cover the league on a broader scale, and work alongside respected analysts. Each story, each step, each connection continued to propel his personality forward into the media, making him stand apart on the national stage. It became one of the pillars of his career, alongside new opportunities with BR Open Ice, which led to the creation of the Open Skate opportunity. For the first time, everything was going in the same direction, and that direction was up. Photos Provided By Jonny Lazarus Jonny had stepped into a new lane with BR Open Ice, Bleacher Report's digital-first hockey brand, aimed at younger audiences within the sport. That platform gave him access to some of the most surreal moments yet, including skating with legendary players like Sidney Crosby, which he called one of the craziest experiences of his life, and building friendships with legends in the making, such as Jack and Quinn Hughes. Even filming an on-ice episode with Anthony Duclair during the Stanley Cup Final in Florida, accidentally cutting across a drill in practice. "I was terrified…like, holy s—, I just screwed this whole thing up. But it ended up being hilarious and such a cool moment," he remembered.  Photos Provided By Jonny Lazarus With Open Skate , Jonny leaned even further into personality-driven coverage, utilizing the knowledge he had gained from forging these connections to make conversations more natural, as he had done in his days with The Latke Room . These experiences drove him further to the parts of hockey people often don't see, the kind of coverage that bridges the gaps between athletes, interviewers, and the audience.  Together, these three platforms formed the backbone of his career after he broke into the NHL. They shaped the feeling that everything was aligned, and he was meant to have a seat at the table. When asked what he'd tell someone who wanted to follow in his path, those who look at all of his accomplishments as motivations, Jonny kept it simple: "Put yourself out there. That's all I did. If you want to start a podcast, just do it – it gives you a reason to reach out to people, and you'll be surprised how many say yes." Photos Provided By Jonny Lazarus And if there's one lesson he's carried with him through all of the chapters, it's not to take himself too seriously. "You've got to laugh at yourself in this business," he shared, thinking of the moments where things didn't go according to plan, but he still pushed forward.  Jonny's path is proof that resilience and reinvention aren't just words to describe a redemption arc in a story; they're skills, traits that define his character. From the pressures of being scratched from games on the bench to champagne showers in Vegas, his story is less about the doors that closed but more so a testimony to the ones he forced open.  The future he envisioned as a kid, sitting in Madison Square Garden, wanting more than anything to play in the NHL, may not have been mapped out. However, the spirit, the heart, and the connection to one another that Jonny brings into every new opportunity allowed that dream to prosper anyway. Regardless of the struggle, one thing remained true: he was never scared to bet on himself, because at the end of the day, "You miss 100% of the shots you don't take" - Wayne Gretzky.  Photos Provided By Jonny Lazarus Disclaimer: The thoughts, experiences, and opinions shared in this article are solely those of Jonny Lazarus  and are based on his personal journey. They do not necessarily reflect the views of any organizations, sponsors, or institutions with which Jonny  may be associated with. To ensure accuracy and maintain context, Jonny Lazarus reviewed this article before publication. Unauthorized reproduction or distribution of this material is strictly prohibited. For any inquiries or concerns regarding this article, please contact info@hazzemedia.com

Photos By: Chirag Bachani | October 4, 2024

Photos By: Caitlin Woods | October 24, 2023

Photos by: C aitlin Woods | February 22, 2023 | Center Stage in Atlanta, GA

Photos by: Andy Barron | Written by: Orchee Sorker | February 13, 2025 FINNEAS kicked off his highly anticipated 'CRYING OUT LOUD' North American Tour with a sold-out performance in Music City. From start to finish, the evening was an immersive experience, blending heartfelt storytelling, masterful musicianship, and a few surprises along the way. Kicking off the night was indie-rock Bad Suns, who delivered a fiery ten-song set that had the crowd on their feet from the start. Their infectious energy set the perfect tone for the evening, with standout performances of fan-favorite hits like *Daft Pretty Boys*, *Life Was Easier When I Only Cared About Me*, and their breakthrough single, *Cardiac Arrest*. The band’s dynamic stage presence and anthemic sound ensured that the audience was fully engaged, eagerly anticipating what was to come. As the lights dimmed and the opening notes of Star ****** rang through the iconic venue, a wave of anticipation swept through the crowd. From that moment on, FINNEAS took fans on a 90-minute journey, performing 20 songs that showcased his signature blend of introspective lyricism, rich melodies, and raw emotion. The setlist spanned his career, offering everything from fan favorites like *The Kids Are All Dying* and *Let’s Fall in Love for the Night* to deeper cuts such as *Cleats* and *Sweet Cherries*. The night wasn’t just about the music; FINNEAS took time to engage with the audience, seamlessly blending brief conversations with his performances. His charisma and authenticity made the night feel personal. Towards the end of the night, the crowd erupted in cheers. FINNEAS welcomed Nashville’s own Hayley Williams to the stage for a rendition of Paramore’s *crushcrushcrush*. The surprise collaboration was an unforgettable moment, as Williams’ commanding vocals blended effortlessly with FINNEAS’ performance. FINNEAS left the audience in awe, proving once again why he is one of the most compelling artists of this generation. His ability to craft an experience that is both deeply personal and universally resonant is a testament to his artistry. As the 'CRYING OUT LOUD' Tour kicks off, fans across North America are in for an unforgettable ride.

Photos by: Katie Romo | August 11, 2025

By Camila Molina

Photographer: Maegan Grendell December 1, 2022 | Salt Lake City, Utah