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ALINA Drops Scathing New Single ‘look bad’ via Columbia Records

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Nineteen-year-old singer-songwriter ALINA is not afraid to go full scorched-earth when the mood strikes. Today, she returns with her fearless new single, “look bad” – out now via Columbia Records.

Made for a full-volume crash out, the track is a direct and cutting anthem about a situationship gone wrong. The song arrives with an animated lyric video, inspired by the artwork that ALINA herself handmade.

Blending biting lyricism, raw emotion, and confessional wit, “look bad” is ALINA at her sharpest. She sings, “I don’t have to make you look bad, you do that all on your own,” unsubscribing from the pity party and stepping into her power.

“You’re so cool,” the song opens, and you can practically hear the eyeroll. “look bad” is, in her own words, “kind of a diss track.” It was her first time writing out of spite, she says, and it was cathartic. The song balances venom and levity in a way that only someone who’s cried and then laughed about it could pull off. “It ended up being really evil,” she quips – and fun.

The single builds on the momentum of her recently released fan favorites like “get a grip” and her viral hit “I Know, I Know, I Know,” which together have amassed nearly 10 million streams and sparked a huge wave of TikTok fan edits.

With “look bad,” ALINA cements her reputation for turning journal entries and emotional chaos into pop anthems – and she’s only getting louder.

Craft Recordings Marks 50 Years of ‘J.D. Crowe & The New South’ With Expanded Remastered Reissue

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Craft Recordings proudly celebrates the 50th anniversary of J.D. Crowe & The New South’s self-titled album—a landmark collection that helped shape the future of contemporary bluegrass—with an expanded reissue on CD and hi-res/standard digital formats. Long revered by musicians, fans and the press, J.D. Crowe & The New South (or, “Rounder 0044,” as it is lovingly referred to), which was recently inducted into the GRAMMY Hall of Fame and added to the Library of Congress’ National Recording Registry features such classic tracks as “Old Home Place,” “Cryin’ Holy” and “Rock Salt & Nails.” The lineup of musicians on the album brought Crowe and his longtime bassist Bobby Slone together with three young players who were on their way to becoming bluegrass legends: Tony Rice, Jerry Douglas and Ricky Skaggs.

Arriving September 12th, J.D. Crowe & The New South sounds better than ever, thanks to newly remastered audio from its original analog tapes. The CD edition features the album’s 1975 liner notes by John Hartford and Jack Tottle, along with an essay by Rounder co-founder Bill Nowlin—first published in the 40th-anniversary, vinyl-only reissue. This release also includes two rare bonus tracks, both making their CD and digital debuts: an alternate take of the gospel favorite “Cryin’ Holy,” featuring vocals by the legendary singer-songwriter Emmylou Harris and “Why Don’t You Tell Me So,” a track from the album’s sessions that didn’t appear on the original LP. “Why Don’t You Tell Me So” will be available to stream beginning August 29. Click here to pre-order the album.

Esteemed banjo player and bandleader J.D. Crowe (1937–2021) was a pivotal figure in bluegrass music, who was instrumental in shaping the genre’s contemporary sound during his nearly 60-year career. Born and raised in Lexington, KY, Crowe first made a name for himself performing alongside bluegrass great Jimmy Martin before forming his own band in the early ’60s. Originally called The Kentucky Mountain Boys, the band evolved throughout the decade, both in lineup and musical style. By the early ’70s, reflecting his broad musical interests and a shifting cultural landscape, Crowe was eager for a rebrand. 

“To me, the Kentucky Mountain Boys kind of labels you to one style of music,” he told The Bluegrass Situation. “I wanted to change it to something that wouldn’t label you—to a name that you could play whatever kind of music you wanted, and the name would still fit.”

And so, The New South was born, while Crowe’s forward-thinking vision was poised to transform the traditionally rooted genre. The banjoist was joined by his longtime bassist, Bobby Slone, as well as a who’s who of rising Bluegrass stars, including 23-year-old Tony Rice (guitar, lead vocals), 18-year-old Jerry Douglas (Dobro) and 20-year-old Ricky Skaggs (fiddle, viola, mandolin). As the band developed its repertoire, the younger players introduced Crowe to their favorite contemporary folk artists, while Crowe, in turn, began weaving elements of rock and R&B into his arrangements.

In January 1975, the New South entered the studio to record their debut for Rounder Records, then a fledgling roots label based outside of Boston. Captured in two sessions, the album featured a diverse selection of material, including folk songs by Gordon Lightfoot (“You Are What I Am,” “Ten Degrees (Getting Colder)”), Utah Phillips (“Rock Salt & Nails”) and Ian Tyson (“Summer Wages”). The quintet showcased their stunning vocal harmonies with a gospel staple, “Cryin’ Holy,” and put a bluegrass spin on the R&B classic “I’m Walkin’” (famously recorded by Fats Domino in 1957). Despite their progressive approach, the cross-generational band incorporated traditional bluegrass stylings into selections like “Sally Goodin’” and Earl Scruggs’ “Nashville Blues.” They also paid homage to the humble sounds of 1950s country with such songs as “Old Home Place,” “Same Old Day” and the Rodney Crowell-penned “Home Sweet Home Revisited.”

Released later that year, J.D. Crowe & The New South (often famously referred to by its catalog number, “Rounder 0044”) was vibrant, modern and disruptive. Despite sparking controversy among some traditionalists, the trailblazing album ushered in a new era of modern bluegrass, inspiring countless musicians to shift their approach to the genre and, in turn, expanding the reach of bluegrass to fresh audiences. While this incarnation of The New South would last less than a year (Skaggs, Rice, and Douglas would all pursue other projects soon after the album’s release), J.D. Crowe and the New South would live on as one of the most (if not the most) iconic bluegrass albums of all time.

Alison Krauss, a 27-time GRAMMY-winning bluegrass star, told Bluegrass Unlimited that the album “Influenced every bit of music I ever made, because it was what made me really want to play…. It was the beginning of me loving music.” Multiple IBMA Banjo Player of the Year winner Kristin Scott Benson echoed that sentiment in The Bluegrass Situation: “This particular band presented a tightness and a level of execution that was new—I don’t think there had been a bluegrass record up until that point that was so well done.” She added, “It’s impossible to overstate how good it is and how influential it is.”

50 years later, J.D. Crowe and the New South continues to be revered in the press. Among the highlights, Bluegrass Unlimited called Rounder 0044 “one of the most influential bluegrass albums of all time” with “one of—if not the—most talented band lineups in the history of bluegrass music.” Bluegrass Today noted, “The track list reads today like a greatest hits of contemporary bluegrass.” No Depression hailed it as “a historical ledger of some of bluegrass’ most virtuosic playing and exemplary harmonies,” while AllMusic declared it to be “one of the most…pioneering records in the history of bluegrass.” Last year, J.D. Crowe and the New South was preserved in the Library of Congress’ National Recording Registry for being “culturally, historically, or aesthetically significant,” while earlier this year, the album was inducted into the GRAMMY Hall of Fame.

Click here to pre-order or pre-save J.D. Crowe and the New South.

Tracklist (CD/Digital):

1. Old Home Place (2:45)

2. Some Old Day (2:25)

3. Rock Salt & Nails (2:58)

4. Sally Goodin (3:11)

5. Ten Degrees (2:13)

6. Nashville Blues (3:23)

7. You Are What I Am (2:17)

8. Summer Wages (4:21)

9. I’m Walkin’ (2:05)

10. Home Sweet Home Revisited (3:17)

11. Cryin’ Holy (2:19)

12. Why Don’t You Tell Me So (2:34)*

13. Cryin’ Holy – Version 2 (featuring Emmylou Harris) (2:17)*

*Digital/CD debut

Outermost Music Festival Returns Oct. 11–12 With Steel Pulse, G. Love & Special Sauce, Robert Randolph, and More

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The beloved Outermost Music Festival is returning to Cape Cod this fall, bringing two unforgettable days of roots, rock, and genre-blurring sounds to Orleans on October 11th and 12th, 2025. Anchored by a deep commitment to local talent and community spirit, this year’s festival features a powerhouse lineup of national headliners and rising regional stars, all set in the scenic coastal charm of Massachusetts’ Outer Cape.

Steel Pulse, the legendary British reggae band known for their socially conscious lyrics and global sound, will headline alongside two nights of G. Love & Special Sauce, with one night featuring the electrifying Robert Randolph. The weekend’s diverse lineup also includes fan favorites like Little Stranger, Mihali (of Twiddle), Cedric Burnside, and Ron Artis II, offering something for every lover of roots, blues, funk, and feel-good vibes.

“When we set out to curate Outermost Roots and Blues Festival, we always had in mind to bring an eclectic group of outstanding artists from all genres. This year are so proud to announce this lineup which encompasses Mississippi Hill, country, blues, roots reggae, hip-hop, sacred steel, funk, and rock ‘n’ roll in a seamless, energetic and joyful celebration of Friends, Family and our Cape Cod Community! We will see you at Nauset Beach!,” says Garrett Dutton (G. Love) of the eclectic lineup.

Building on its deep local roots, Outermost once again partners with Hog Island Beer Co., Orleans’ own award-winning craft brewery, to offer a full festival experience complete with locally brewed beers, artisanal food vendors, and an unmistakable Cape Cod vibe. The festival’s unique coastal setting—where salty air meets soaring melodies—has made it a favorite for both locals and visiting music lovers from across New England and beyond.

“Outermost has become one of the most anticipated events of the fall,” says Hog Island co-founder Mike McNamara. “It brings people together, showcases incredible talent, and gives us a chance to support the community we love through great music, food, and beer.”

Past editions of the festival have drawn praise for their laid-back atmosphere, strong production quality, and commitment to sustainability and local business partnerships. This year, organizers are doubling down on their community-first ethos, highlighting Cape Cod-based musicians and nonprofits as part of the weekend’s programming.

Tickets for the 2025 Outermost Music Festival are on sale now at www.outermostfestival.com. With limited capacity and rising demand, early purchase is strongly encouraged.

David Cultura to Release Debut Album Cultura on September 19 via Devon Allman’s Create Records

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David Cultura is thrilled to announce Cultura, his debut album, set for release on September 19 via Devon Allman’s Create Records. The first single, “Margarita,” dropped July 25 on all major DSPs. Breezy and rhythm-driven, “Margarita” conjures the warmth of a sun-soaked cocktail on a Caribbean shore, its pulsing beat guiding listeners effortlessly from golden hour into the heart of the night.

“I wanted to make an album that was centered around melody,” says David (pronounced da-VEED). “I wanted it to be a jazz record that was accessible, that brought people into the music.” True to intention, the Panamanian-born multi-instrumentalist and his ensemble have done just that; delivering a seven-song debut simply and aptly titled, Cultura is loaded with melodic hooks, taut musicianship, and infectious, insistent grooves begging for a dance partner.

Emanating from a literal crossroads, its canal welcoming a myriad of cultures and commerce, David grew up in Panama City, Panama, learning saxophone, guitar, flute, and percussion, first under the musical tutelage of his father, then accenting his natural abilities with formal training. He moved to the United States, settling in another gateway locale, St. Louis,  and performed with various bands, including Tonina, where he developed a friendship with guitarist Jackson Stokes.

Stokes would introduce David to Devon Allman, singer, songwriter, guitarist, producer, and founder of Create Records. Allman, whose trusted ear for burgeoning talent had been honed over decades as a bandleader with The Allman Betts Band, the Devon Allman Project, and Honeytribe, among others, invited David to join the Project in 2022. Two years later, David and his group would decamp to Sawhorse Studios and, with Allman as producer, track the lucky seven that comprise Cultura.

With a panoramic scope widely informed by Latin and Caribbean rhythms, the set opens with the title track. Ironically, not a representative of David’s home country, “Cultura” was written years ago in St. Louis, and is instead a breezy nod to Stevie Wonder, and to L.A. soul. “I’m always inspired by my surroundings,” says David, now a Southern California resident, having transplanted to San Diego. “My songwriting often reflects a place, or a moment in time.”

Next up is “Murga,” seducing with a smoldering sax intro, only to shift into a fifth gear of groove that bops away on a looping, relentless theme.  

On “Vidrio,” David’s flute rides the trade winds, dancing on delicate keyboard flourishes and a locked-in, percussive pendulum, while “Jefferson Gravois* takes us back to intersecting streets in St. Louis, alternating between angular jazz riffs and polyrhythmic stabs.

Closing out the album is a pair of odes ot love, coincidentally both initially composed on guitar. First, there’s the exotic swing of David’s homage to his daughter on “Mia’s Lulaby,” that begins as a bedtime ballad, only to morph quickly into an up-tempo swell of repeating figures and furious, resounding drums. The finale is “Ring,” drawing its motivation from the symbolic piece of jewelry, and marries the lilt of David’s nimble ensemble with a stretch of horn-work that crescendos as confidently and as buoyantly as anything on the set; a parting burst of expression before resolving, once more, in the melodic spirit that runs throughout Cultura.

Jonas Brothers Launch 20th Anniversary Tour With Star-Studded, Sold-Out Celebration at MetLife Stadium

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Sunday night, Jonas Brothers kicked off their highly anticipated JONAS20: Greetings From Your Hometown tour to a massive, sold-out crowd at MetLife Stadium. Last night marked a powerful, full-circle celebration of their 20-year journey from performing in malls to headlining the biggest stadiums and arenas in the world. Fittingly, the Jonas Brothers chose to begin this milestone tour in their home state of New Jersey, where it all began, transforming MetLife into a heartfelt tribute to two decades of music, growth, and connection with fans across generations.

The career-spanning live show highlighted every chapter of the Jonas Brothers’ 20 year career and their evolution as a band, including solo projects like Nick Jonas & the Administration, Nick Jonas’ solo career, Joe Jonas’ solo career, DNCE, and more. Last night, the band opened the show to a thunderous reception with “Lovebug,” and went on to deliver fan favorites such as “S.O.S.,” “Burnin’ Up,” and “Sucker,” alongside new songs like “No Time to Talk” and “Love Me to Heaven” from their brand new album Greetings From Your Hometown. Additionally, Nick and Joe went head-to-head each taking turns revisiting their solo eras.

The Jonas Brothers were also joined by a few very special guests. The crowd erupted as Demi Lovato took the stage to perform Camp Rock classics including “This Is Me” and “Wouldn’t Change a Thing”. Also, in honor of their first tour, the brothers welcomed Jesse McCartney to the stage; a full-circle moment, as they had opened for him in 2005. Together, they performed “Beautiful Soul.” The night also featured surprise guest appearances including Switchfoot for a performance of “Meant to Live” and Dean Lewis for “Loved You Better” off of Greetings From Your Hometown. (Full setlist below.)

Earlier in the day, the brothers hosted a special Album Release Party at American Dream, which included a track-by-track Q&A about the album moderated by Julian Shapiro-Barnum from Recess Therapy. Fans also got to experience the first-ever JONASCON ON TOUR, which opened with doors at 6 p.m. and offered exclusive merchandise, fan moments, meet-and-greets with The All-American Rejects and Big Rob, and the chance to win amazing prizes.

The JONAS20: Greetings From Your Hometown tour will run through November across North America. Select dates will feature special guests Marshmello, The All-American Rejects, and Boys Like Girls, as well as special local JONASCON pop-up events for fans. See the full list of tour dates below, and tickets are available now at ticketmaster.com.

Fans can watch Jonas Brothers LIVE in concert on their Greetings From Your Hometown 20th anniversary tour exclusively on Samsung TV Plus. Five concerts from throughout the tour will air live to fans around the world on Samsung Television Network. Dates include New Jersey’s MetLife, Dallas, Houston, Orlando, and Buffalo, which will be streaming in 17 countries, including the US, Canada, UK, Korea, Brazil, France, India, and more.

“JONAS20: Greetings From MetLife Stadium” Setlist

  1. Lovebug
  2. Love Me To Heaven
  3. Only Human
  4. S.O.S.
  5. Sucker
  6. Meant to Live (with Switchfoot)
  7. Hold On
  8. Little Bird
  9. Summer Baby
  10. Still In Love With You
  11. I Can’t Lose
  12. Waffle House
  13. Beautiful Soul (with Jesse McCartney)
  14. Vacation Eyes
  15. Celebrate!
  16. No Time To Talk
  17. Cake By The Ocean
  18. Slow Motion (with Marshmello)
  19. Leave Before You Love Me (with Marshmello)
  20. Jealous
  21. What A Man Gotta Do
  22. Walls
  23. Loved You Better (with Dean Lewis)
  24. Versus Megamix
  25. Gotta Find You
  26. This Is Me (with Demi Lovato)
  27. Wouldn’t Change a Thing (with Demi Lovato)
  28. Year 3000
  29. Burnin’ Up
  30. Please Be Mine
  31. When You Look Me In The Eyes

JONAS BROTHERS: “JONAS20: Greetings From Your Hometown” TOUR DATES:

*With Marshmello
+With The All American Rejects
#With Boys Like Girls
^JONASCON On Tour

Sun Aug 10 – East Rutherford, NJ – MetLife Stadium*+^

Tue Aug 12 – Bristow, VA – Jiffy Lube Live*+^

Thu Aug 14 – Camden, NJ – Freedom Mortgage Pavilion*+^

Fri Aug 15 – Virginia Beach, VA – Veterans United Home Loans Amphitheater+

Sun Aug 17 – Hershey, PA – Hersheypark Stadium*+^

Mon Aug 18 – Bethel, NY – Bethel Woods Center for the Arts#

Tue Aug 19 – Syracuse, NY – Empower Federal Credit Union Amphitheater at Lakeview#

Thu Aug 21 – Toronto, ON – Rogers Centre*#^

Sat Aug 23 – Boston, MA – Fenway Park*#^

Sun Aug 24 – Saratoga Springs, NY – Broadview Stage at SPAC#

Tue Aug 26 – Tinley Park, IL – Credit Union 1 Amphitheatre*#^

Thu Aug 28 – Detroit, MI – Little Caesars Arena*#^

Sat Aug 30 – Rogers, AR – Walmart AMP#

Sun Aug 31 – Dallas, TX – Dos Equis Pavilion*#^

Thu Sep 04 – Chula Vista, CA – North Island Credit Union Amphitheatre#

Sat Sep 06 – Los Angeles, CA – Intuit Dome#^

Sat Sep 13 – Salt Lake City, UT – Utah First Credit Union Amphitheatre#

Thu Sep 18 – Vancouver, BC – Rogers Arena#

Sat Sep 20 – Portland, OR – Moda Center#

Mon Sep 22 – Seattle, WA – Climate Pledge Arena#

Thu Sep 25 – San Francisco, CA – Chase Center#

Fri Sep 26 – Sacramento, CA – Golden 1 Center#

Sat Sep 27 – Anaheim, CA – Honda Center#

Sun Sep 28 – Phoenix, AZ – PHX Arena (Formerly Footprint Center)#

Tue Sep 30 – Albuquerque, NM – Isleta Amphitheater#

Thu Oct 02 – Denver, CO – Ball Arena#

Sun Oct 05 – Des Moines, IA – Wells Fargo Arena#

Mon Oct 06 – Omaha, NE – CHI Health Center#

Tue Oct 07 – Kansas City, MO – T-Mobile Center+

Wed Oct 08 – St. Louis, MO – Enterprise Center+

Fri Oct 10 – St. Paul, MN – Xcel Energy Center+

Sun Oct 12 – Milwaukee, WI – Fiserv Forum+

Tue Oct 14 – Nashville, TN – Bridgestone Arena+

Thu Oct 16 – Tulsa, OK – BOK Center+

Fri Oct 17 – Austin, TX – Moody Center+

Sat Oct 18 – San Antonio, TX – Frost Bank Center+

Sun Oct 19 – Houston, TX – Toyota Center+

Wed Oct 22 – Tampa, FL – Amalie Arena+

Fri Oct 24 – Sunrise, FL – Amerant Bank Arena+

Sun Oct 26 – Orlando, FL – Kia Center+

Tue Oct 28 – Atlanta, GA – State Farm Arena

Wed Oct 29 – Raleigh, NC – Lenovo Center+

Sat Nov 01 – Lexington, KY – Rupp Arena+

Sun Nov 02 – Indianapolis, IN – Gainbridge Fieldhouse+

Tue Nov 04 – Knoxville, TN – Thompson-Boling Arena at Food City Center+

Wed Nov 05 – Charlotte, NC – Spectrum Center+

Thu Nov 06 – Columbia, SC – Colonial Life Arena+

Sat Nov 08 – Columbus, OH – Schottenstein Center+

Sun Nov 09 – Buffalo, NY – KeyBank Center+

Tue Nov 11 – Cleveland, OH – Rocket Arena+

Wed Nov 12 – Pittsburgh, PA – PPG Paints Arena+

Fri Nov 14 – Uncasville, CT – Mohegan Sun Arena+

15 Classic Songs That Barely Charted Back in the Day

Some songs climb the charts, disappear, and never return. Others barely make a dent in the Billboard Hot 100 when they’re released, only to become cultural fixtures years later thanks to movies, commercials, sports events, or viral moments. Here’s a look at 15 tracks that missed the Top 40 but now feel impossible to escape — the ones you hear in grocery store aisles, at weddings, and on every nostalgic playlist.

The Romantics – “What I Like About You”
Peaked at #49 on the Billboard Hot 100 in 1980. Its real fame came later through Budweiser commercials, sports arenas, and heavy oldies radio play.

Modern English – “I Melt with You”
Reached just #78 in 1983. It became an enduring ’80s staple after appearing in Valley Girl and receiving strong MTV rotation.

Lindsey Buckingham – “Holiday Road”
Charted at #82 in 1983. Forever linked to National Lampoon’s Vacation, it resurfaces with each new sequel and in various pop culture nods.

Elton John – “Tiny Dancer”
Peaked at #41 in 1972. It achieved iconic status decades later, especially after its prominent use in Almost Famous.

The Clash – “Should I Stay or Should I Go”
Initially hit #45 in 1982 and #50 on a 1983 re-entry. A Levi’s commercial in the ’90s and recurring soundtrack placements fueled its second life.

Isley Brothers – “Shout (Part 1)”
Reached #47 in 1959 and #94 in 1962. Over time, it became a standard at weddings, sporting events, and in countless films.

Pixies – “Where Is My Mind?”
Never charted significantly on the Hot 100, but exploded in popularity after closing out Fight Club and becoming a sync favorite.

Seal – “Kiss from a Rose”
Initially made little impact before being featured in Batman Forever. It went on to spend multiple weeks at #1 in 1995.

The Cardigans – “Lovefool”
Underperformed at first, then took off worldwide after its inclusion in Baz Luhrmann’s Romeo + Juliet soundtrack.

The Wannadies – “You and Me Song”
Barely noticed upon release, but gained international recognition through the Romeo + Juliet soundtrack.

Billy Vera & The Beaters – “At This Moment”
Peaked at #79 in 1981 before a Family Ties storyline sent it to #1 in 1987.

Violent Femmes – “Blister in the Sun”
Did not chart in 1983 but became a cult classic after features in Grosse Pointe Blank and other films.

Queen – “Don’t Stop Me Now”
Not a major US chart success on release, but achieved global recognition after Shaun of the Dead and years of sports and advertising use.

Phil Collins – “In the Air Tonight”
While it charted modestly in 1981, its appearance on Miami Vice cemented its place as one of Collins’s defining songs.

Kate Bush – “Running Up That Hill”
Peaked at #30 in 1985 before a massive resurgence in 2022 thanks to Stranger Things, sending it back into the Top 10 globally.

Chart numbers aren’t always the best measure of a song’s staying power. These tracks show how cultural moments, media placement, and decades of re-discovery can transform modest hits — or outright chart flops — into timeless anthems. Sometimes, the real success story doesn’t start until years after release.

The Secret History of Auto-Tune

It started as a joke. In 1996, Andy Hildebrand, a former oil industry engineer turned music tech innovator, was told by a colleague’s wife she wished there was a way to sing perfectly in tune. Hildebrand, who knew his way around some heavy-duty math, went to work — and a year later, on September 19, 1997, Auto-Tune was born. Instead of a clunky vocoder or talk box, it used a smart autocorrelation algorithm to nudge wayward notes to the nearest perfect pitch. Studios loved it because it could quietly clean up vocal takes. Singers loved it because they could hit “record” without fearing that one bad note would ruin the magic.

But then came Cher. In 1998, she took a subtle studio tool and turned it into a pop culture earthquake. On “Believe,” producers cranked Auto-Tune’s retune speed to the max, slicing away all the natural slides between notes. The result? A robotic, futuristic vocal that sounded like nothing else on the radio. Fans thought it was a vocoder. Producers smirked. Labels panicked. Cher didn’t care — she told them they could take it out “over her dead body.” And so, the “Cher effect” was born.

From there, Auto-Tune became a part of the studio. Daft Punk made it sleek and shiny on “One More Time.” Radiohead made it eerie and alien on Amnesiac. Eiffel 65 rapped through it. Suddenly, the question wasn’t who used Auto-Tune — it was how they’d twist it next.

Enter T-Pain. By the mid-2000s, the Florida singer/rapper had taken Auto-Tune and wrapped an entire career around it. To him, it was an instrument. His voice became the hook, the melody, the glue that held songs like “Buy U a Drank” together. Everyone wanted the sound. Lil Wayne grabbed it for “Lollipop,” Snoop Dogg slid it into “Sexual Eruption,” Kanye West built a whole album (808s & Heartbreak) around it.

By the time the Black Eyed Peas hit #1 with “Boom Boom Pow” in 2009, Auto-Tune was the sound of the charts. Pop, hip-hop, R&B, country, raï, trap — every genre found a way to make it their own. Faith Hill, Shania Twain, and Tim McGraw quietly kept it in their live toolkit. Vince Gill, Trisha Yearwood, and Martina McBride proudly left it at home.

And it didn’t stop. Future and Young Thug bent Auto-Tune into the wavy, melodic heart of modern trap. Travis Scott, Lil Uzi Vert, and Playboi Carti followed, pushing it into stranger and more atmospheric territory. In North Africa, raï singers fused it with traditional rhythms. In clubs, DJs snapped it onto voices like another synth line.

Today, Auto-Tune is everywhere — and almost invisible. It’s in stadium anthems and bedroom demos, Grammy winners and TikTok hits. It’s still a safety net. It’s still a paintbrush. And, more than 25 years later, it’s still making people argue about whether it “ruined music” or just changed it forever. Andy Hildebrand probably just smiles. After all, it only took a math problem and a good joke to change the sound of the world.

What Is Virtual IOP? How It Works and Who It Helps

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By Mitch Rice

Questions Answered in This Article:

  • How Virtual IOP Works in Practice
  • How Effective Is Virtual IOP Compared to In-Person?
  • How Long Should Virtual IOP Be?

If you’ve been searching for flexible, effective mental health or addiction treatment options, you may have come across the term virtual IOP. But what is virtual IOP, and how does it compare to traditional in-person care?

A Virtual Intensive Outpatient Program (IOP) is a structured form of treatment delivered entirely online, designed for people who need more than standard outpatient therapy but don’t require inpatient or residential care. Using secure video conferencing, virtual IOP programs bring therapy sessions, group support, and individualized care directly to your home.

In this guide, we’ll explore what makes IOP virtual program so effective, how long they typically last, and whether they can truly be as impactful as in-person treatment. You’ll also discover what to expect, common conditions treated, and how to find virtual IOP programs near you.

How Virtual IOP Works in Practice

A virtual intensive outpatient program functions much like an in-person IOP, but without the need to travel to a facility. Participants typically log in to a secure platform several days per week for multiple hours per session.

Here’s what a typical week in virtual IOP might include:

  • Group therapy sessions focused on building coping skills, communication, and peer support.
  • Individual therapy to address personal challenges such as anxiety, depression, or substance use.
  • Psychoeducation classes on topics like relapse prevention, emotional regulation, and healthy relationships.
  • Family therapy to strengthen support systems and address interpersonal issues.

Because these services are delivered through virtual care, people can access evidence-based treatment programs without disrupting their work, school, or family responsibilities.

How Effective Is Virtual IOP Compared to In-Person?

One of the biggest questions people have is: “Is virtual IOP effective as in person?”

Research suggests that the effectiveness of virtual IOP can be comparable to, and in some cases even better than, in-person programs—particularly for individuals who thrive with flexibility and fewer logistical barriers. Here’s why:

  • Consistent Attendance: Without commuting, people are less likely to miss treatment sessions.
  • Comfortable Environment: Being in a familiar space can make it easier to open up during therapy.
  • Access to Specialists: You can connect with licensed professionals regardless of geographic location.

Of course, every person’s needs are different. For some, in-person connection is vital. But for many, virtual treatment meets the same levels of care as traditional IOP while offering more convenience.

How Long Should Virtual IOP Be?

The length of a virtual intensive outpatient program depends on your individual treatment plan, diagnosis, and progress. Most virtual IOP programs last between 6 and 12 weeks, with sessions held 3–5 days per week for 2–4 hours each day.

Factors that can influence duration include:

  • Severity of mental health conditions or substance use challenges
  • Progress toward treatment goals
  • Recommendations from your treatment center team

Some people step down from IOP to a lower outpatient treatment level after completion, while others may need extended support to ensure long-term stability.

Conditions and Challenges Treated in Virtual IOP

Virtual IOPs are not just for substance use recovery—they can address a wide range of mental health challenges.

Common concerns addressed include:

  • Anxiety and depression
  • Bipolar disorder
  • Trauma and PTSD
  • Substance use disorders
  • Co-occurring disorders (mental health + addiction)

Because these programs are evidence-based and led by licensed clinicians, you can expect a high standard of intensive treatment tailored to your unique needs.

Advantages of Virtual IOP You Might Not Expect

You might already see the obvious benefits—like convenience—but there are other, less obvious perks to virtual intensive outpatient programming:

  • Privacy and discretion: No one sees you walking into a clinic.
  • Personalized care: Access to niche specialists who may not be available locally.
  • Continuity of care: Easier transitions from inpatient or partial hospitalization to outpatient care.
  • Cost savings: No travel or relocation expenses.

If you’re considering virtual IOP programs near me, ask the provider whether they offer hybrid options—allowing you to mix virtual and occasional in-person visits. This can combine the best of both worlds.

Choosing the Right Virtual IOP Program

Not all treatment centers offering virtual care are the same. When evaluating your options, consider:

  • Licensing and accreditation of the program
  • Experience in treating your specific condition
  • Whether they use evidence-based therapeutic methods
  • The quality of technology and privacy safeguards
  • Availability of ongoing support after completion

Example: At Cornerstone Healing Center, programs are designed to blend clinical expertise with personalized attention, ensuring that every participant receives comprehensive, compassionate care—no matter where they log in from.

Virtual IOP vs. Other Levels of Care

It’s important to know where virtual IOP fits among other treatment options:

  • Outpatient treatment: 1–2 sessions per week, less intensive
  • Intensive outpatient programming (IOP): Multiple sessions weekly, high engagement
  • Partial hospitalization program (PHP): Full-day programming, 5+ days per week
  • Inpatient/residential: 24/7 care for acute stabilization

If you’re asking, “Is IOP better than PHP?”—it’s not a matter of better or worse. It’s about matching the level of care to your needs. Virtual IOP is ideal if you require intensive treatment but still want to live at home.

Explore Your Virtual IOP Treatment Options Now

What is virtual IOP if not an opportunity to receive high-quality, evidence-based care from the comfort of home? Whether you’re facing anxiety, depression, addiction, or a combination of challenges, virtual intensive outpatient programs offer flexibility, accessibility, and proven effectiveness.If you’re ready to explore whether virtual IOP is right for you, Cornerstone Healing Center can guide you every step of the way. Call (480) 863-0241 today to speak with our admissions team and discover the treatment path that meets your needs—wherever you are.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

Immersive Design: How Puzzles and Props Transform Escape Rooms into Unforgettable Experiences

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By Mitch Rice

Escape rooms have evolved from simple puzzle boxes into fully immersive narrative adventures. At the heart of this transformation lies thoughtful design — where architecture, storytelling, and interactive elements blend seamlessly.

The most successful escape rooms don’t just challenge players; they transport them to another world. And the key to achieving this? Exceptional escape room puzzles and props that engage the senses and spark curiosity.

For designers, architects, and creative minds, escape rooms offer a unique playground where spatial design meets interactive storytelling. Let’s explore how innovative puzzles and meticulously crafted props elevate these experiences from ordinary to extraordinary.

The Psychology of Escape Room Design

A well-designed escape room is more than just a locked door and a timer — it’s a carefully constructed environment that plays with perception, logic, and emotion.

Studies show that immersive spaces activate memory and problem-solving skills more effectively than traditional games.

  • Spatial storytelling — The layout guides players through a narrative, with each puzzle acting as a plot point.
  • Cognitive flow — Challenges should escalate in difficulty, keeping players engaged but not frustrated.
  • Sensory engagement — Textures, sounds, and even smells deepen immersion.

Architects and designers can borrow principles from theater, game design, and even theme parks to create spaces that feel alive.

Puzzles That Tell a Story

The best escape rooms integrate puzzles so naturally that solving them feels like uncovering secrets rather than cracking codes. Here’s how:

1. Environment-Integrated Puzzles

Instead of padlocks and riddles on paper, modern escape rooms use physical interactions — rotating mechanisms, hidden compartments, or even augmented reality elements. For example:

  • A bookshelf that slides open when the right books are arranged.
  • A vintage radio that transmits clues when tuned correctly.

These puzzles don’t just challenge the mind — they make players feel like they’re part of the story.

2. Multi-Stage Challenges

Linear puzzles can feel predictable. Instead, designers are using nonlinear, layered puzzles where solving one element reveals another. This creates a sense of discovery and teamwork.

For instance:

  • A map with invisible ink that only appears under UV light.
  • A music box that plays a tune, which then becomes the code for a safe.

3. Tech-Enhanced Interactions

From motion sensors to RFID-triggered events, technology allows for puzzles that react to players’ actions in real time. Imagine:

  • A portrait whose eyes follow movement, hinting at a hidden switch.
  • A door that unlocks only when all players stand in the right positions.

These innovations make the space feel dynamic and responsive.

Props That Bring the World to Life

Puzzles alone aren’t enough — props sell the illusion. The difference between a generic “spy mission” and a Cold War-era bunker lies in the details:

1. Authentic Materials

  • Weathered wood, aged metal, and hand-written notes add realism.
  • Replica artifacts (like an “ancient” diary or a “classified” dossier) deepen immersion.

2. Functional Aesthetics

Every prop should feel like it belongs — not just as decoration, but as something players can interact with. A few standout examples:

  • A grandfather clock with a secret compartment.
  • A “broken” phone that, when repaired, plays a crucial message.

3. Lighting and Sound Design

  • Flickering lanterns, distant whispers, or sudden blackouts heighten tension.
  • Directional audio can guide players without breaking immersion.

The Future of Escape Room Design

As escape rooms grow more sophisticated, we’re seeing trends like:

  • Hybrid physical-digital experiences (projection mapping, AR puzzles).
  • Adaptive difficulty (AI adjusting puzzles based on player performance).
  • Multi-room narratives (expanding beyond 60-minute games).

For designers, the challenge is balancing innovation with intuitive gameplay — so that even the most elaborate setups remain solvable (and fun).

Why This Matters for Architects and Designers

Escape rooms are a testament to how environment shapes experience. The same principles apply to retail spaces, museums, and even offices — where interactivity and storytelling can transform user engagement.

For those looking to explore cutting-edge escape room puzzles and props, the intersection of design and gameplay offers endless inspiration. The most memorable spaces aren’t just seen; they’re experienced.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

Rihanna’s Isolated Vocals For “American Oxygen”

“American Oxygen,” released by Rihanna in 2015, is a patriotic-themed track reflecting on the American dream and a changing nation. Written with Alex da Kid, Candice Pillay, and Sam Harris — it drew inspiration from Bruce Springsteen’s “Born in the U.S.A.” First streamed on Tidal and later released on iTunes, the song blends social commentary with anthemic production.