Last year, as Jason Mraz celebrated the 15th anniversary of his Platinum-certified debut album Waiting For My Rocket To Come, he began to ponder the meaning of his time in the spotlight since getting his start in coffeehouses in San Diego. While amassing a global fan base for his positive message and soulful, folk-pop sound, Mraz has earned numerous diamond and platinum certifications for his various releases, including his classic singles “I Won’t Give Up,” “Lucky,” and the record-breaking “I’m Yours.” He has won two Grammy Awards, received the prestigious Songwriter Hall of Fame Hal David Award, and sold out such fabled venues as The Hollywood Bowl, Madison Square Garden, and London’s O2 Arena.
“As I thought about the next chapter, what kept occurring to me was the idea of being a songwriter in service,” he says. “I feel like I’ve been awakened to a higher purpose with my music. At some point, you get all your bills paid. You get the girl. What's motivating you? What's driving you? Is it to get more money? To get a yacht or fancy cars? For some people, maybe so. For me, I want to help people tap into their feelings. I know there are people out there who are using my music for some version of love, whether it’s a song for the first dance at their wedding or one that helps them through heartbreak. The song is the glue that plays an important role in someone's togetherness. I love when it's parents and their kids. They’ll write me and say, ‘You're the only thing we can agree on to listen to in the car.’ I love that. I love imagining a dad and some soccer kids in the back all singing along.”
It's a testament to the generosity of spirit in Mraz’s music that so many people have chosen his songs as the soundtrack to major moments in their lives, and new memories are certain to be made with the songs on his upcoming sixth album, Know. Prior to this title, which serves as a nod to his 2014 LP “YES!,” the working name came from an excerpt of one of the album’s tracks.
“In 2016, I wrote ‘Love Is Still The Answer,’ with Dan Wilson, which included the original working title for the record – “‘MASTER PEACE as in ‘MASTER PEACE,’ which I think is really what we’re here to do,” Mraz says. “The song asks the question, ‘Are we here to master war or master peace?’ I don't know the answer, but I ask, ‘What would love do?’ Maybe whatever it is we're after, love is the answer. If we all could live by that, we might all be in service and we might actually transform the world or experience peace within. Nothing makes you feel love like giving it to somebody. So, love is still the answer.”
Mraz introduced the album’s theme with its first single “Have It All,” which was inspired by his 2012 visit to the Southeast Asian country of Myanmar. “The common greeting there was ‘Tashi Delek,’ which was translated to me to mean ‘May you have auspiciousness and causes of success,’” Mraz says. “I love that salutation and I took to my journal and tried to clone that line over and over again in rhyme scheme on the airplane ride home. Several months later, I found myself banging through some ideas in a songwriting session and I pulled out these verses and the song was born.”
Other notable songs include “Making It Up” — a collaboration with his songwriter friend Bob Schneider about how anything is possible, we’re just making life up, so why don’t we make it up to be something great, and “Better With You,” which was inspired by his marriage. “Marriage is about asking someone to help you heal your wounds and hold space for you,” he says. “You are going to make each other crazy, but it’s about realizing, ‘Okay, I know why I married this person.’”
One of Mraz’s favorite album tracks is “Unlonely,” which hearkens back to some of his early, beloved songs. “When I first started writing, I would make up words or do anything that was required to get the laugh,” he says. “‘Unlonely’ took me back to that energy and spirit and I enjoyed it. The second verse is a throwback to my old, humorous rap sensibility that I began my career with and I think the fans are really going to like it.” They’ll also be pleased to see the inclusion of “Sleeping to Dream,” a live fan favorite Mraz wrote in 1999 that has never been recorded in a studio. “People shout for it at shows, so it’s finally going to have a home on an album,” he says.
Know. was produced by Andrew Wells, who brings an organic and groovy feel to the album’s classic, acoustic rock sound. “I see it as a sonic evolution from my last album, YES!” Mraz says. “It’s just got a bit more caffeine, whereas my last album was a bit more herbal tea.” Know. reteams Mraz with his longtime collaborators, Raining Jane. “We thought it’d be fun to make ‘No’ as the follow-up to YES!, but instead of ‘N-O,’ the negative, it’d be the positive, ‘K-N-O-W.’”
While writing the album, Mraz took a break to star in Sara Bareilles’ Broadway show Waitress. “The performance art aspect of it was a thrill,” he says. “It stoked me more creatively than anything I have done in years. I felt transformed by it.” He has also continued his philanthropy, including the Jason Mraz Foundation, which aims to uplift humanity through arts education and the advancement of equality, and serving as a sponsor and program advisor for the School of the Performing Arts (SPARC) in his home state of Virginia.
For Mraz, music has served as a way to draw attention to the things he cares about, including farming. For years, he has grown organic avocados at his own Mraz Family Farms in Oceanside, Calif., and coffee trees were planted in 2015. He attends city council meetings and is a driving force behind inspiring other local farmers to convert to regenerative agriculture and preserve land. “My wife jokes about how some people collect cars, we collect trees,” he says. “Originally, I wanted to live out in the country so I could make loud music and not have to worry about a neighbor behind me. I didn’t know I was going to be doing this with my life, but I do it because now it’s something I get to grow old doing and it feels good.”
“I like the analogy of the farm because it has taught me so much,” he continues. “When I’m on tour, I spend a lot of time on airplanes, but when I’m home, I can literally put my hands in the earth. It doesn't get any more grounding than that. Songwriting, like growing food and trees, is a game of patience. It’s a game of respect and one that's quite sacred. If you screw it up, you can really screw it up. But if you work with it and you listen, it can provide a lot of good for a lot of people.”
Robert Alan Krieger, born January 8, 1946, in Los Angeles, is a musical performer and The Doors guitarist. He attended UCLA. “The first music I heard that I liked was Peter and the Wolf. I accidentally sat and broke the record (I was about seven). Then I listened to rock ‘n’ roll – I listened to the radio a lot – Fats Domino, Elvis, The Platters.
“I started surfing at fourteen. There was lots of classical music in my house. My father liked march music. There was a piano at home. I studied trumpet at ten, but nothing came of it. Then I started playing blues on the piano—no lessons though. When I was seventeen, I started playing guitar. I used my friend’s guitar. I didn’t get my own until I was eighteen. It was a Mexican flamenco guitar. I took flamenco lessons for a few months. I switched around from folk to flamenco to blues to rock ‘n’ roll.
“Records got me into the blues. Some of the newer rock ‘n’ roll, such as the Paul Butterfield Blues Band. If it hadn’t been for Butterfield going electric, I probably wouldn’t have gone rock ‘n’ roll. I didn’t plan on rock ‘n’ roll. I wanted to learn jazz; I got to know some people doing rock ‘n’ roll with jazz, and I thought I could make money playing music. In rock ‘n’ roll you can realize anything that you can in jazz or anything. There’s no limitation other than the beat. You have more freedom than you do in anything except jazz – which is dying – as far as making any money is concerned.
“In The Doors we have both musicians and poets, and both know of each other’s art, so we can effect a synthesis. In the case of Tim Buckley or Dylan you have one man’s ideas. Most groups today aren’t groups. In a true group all the members create the arrangements among themselves.”
“I play the drums,” says John Densmore, with tangible pride. He may be belaboring the obvious, considering that, as the rhythmic engine of The Doors, he’s responsible for some of the most famous beats in rock history. But Densmore still bristles at what he calls the “dumb drummer” stereotype.
“The drum was the first fucking instrument,” he declares. “The reason people move and dance is that they’re trying to get back to that heartbeat. It’s the heartbeat you hear in the womb that started the whole deal. An orchestra, a four-piece rock band, whatever it is, they’re trying to get back to that heartbeat.”
The universal, ancient call of this heartbeat has been Densmore’s obsession since his childhood in Southern California.
“I took piano when I was eight, and I loved it,” he recalls. “I liked improvising on songs I had learned, rather than learning new ones. I got turned on by the piano. My teacher would give me songs to play, simplified classical and pop, and I got off on it.”
Eager to try his hand at another instrument, young John at first fixated on the clarinet. His orthodontist, however, strictly forbade him to wrap his wired mouth around any reed instruments. The world has this medical professional to thank, then, for the fact that John Densmore headed for the drums.
“I was in the orchestra and the marching band with those stupid uniforms,” Densmore recollects. “I got a rush from playing with 40 musicians, no matter how amateurish–there’s power in a marching band.”
He became enamored, in his teens, with jazz–and particularly with the playing of drummer Elvin Jones, whose evocative, muscular grooves with John Coltrane’s band influenced a multitude of rock musicians. He also became a habitué of the L.A. club scene, where bands like The Byrds and Love were a foretaste of things to come.
He met guitarist Robby Krieger, and the two began writing and playing together in a band called Psychedelic Rangers. Densmore next hooked up with Chicago-bred keyboardist Ray Manzarek, who was then playing in a group known as Rick and the Ravens with his brothers and a shy Floridian named Jim Morrison, who knew Manzarek from UCLA film school.
Eventually, Manzarek’s brothers left the band, and Densmore brought Krieger in. The foursome gelled, despite lacking an element most bands took for granted. “We couldn’t find a bass player,” Densmore remembers. “We tried once or twice, but we sounded like the Stones. A white blues band. Who cares? We wanted to be different.”
Fitz and the Tantrums
Fitz and the Tantrums
There came a point, in the time following the release of “HandClap” — the biggest song of Fitz and the Tantrums’ career — when its ascent crossed the threshold of successful, zoomed past game-changer, to just plain, WTF?! The double-platinum, Top 5 smash - which racked up 1.5 billion streams in China alone - was synched on countless shows from American Idol to The Oscars. Fitz and the Tantrums were invited to perform for the masses on primetime television and such cultural institutions as Dick Clark’s New Year’s Rockin’ Eve, the Macy’s Thanksgiving Day Parade, and FOX’s Super Bowl preshow after “HandClap” become something of an unofficial theme song for the NFL. “I remember watching a football game and the Dallas Cowboys’ cheerleaders were doing a routine to it,” says the band’s co-vocalist and songwriter Michael “Fitz” Fitzpatrick with amusement.
Such mainstream looks felt a bit surreal for Fitz and the Tantrums, which also includes co-vocalist/co-writer Noelle Scaggs, saxophonist James King, keyboardist Jeremy Ruzumna, bassist Joseph Karnes, and drummer John Wicks. The Los Angeles-based band had been known for its platinum-selling, No. 1 Alternative radio hits “The Walker” and “Out Of My League” and were accustomed to performing roof-raising live shows, but not for pre-pubescents at the Radio Disney Music Awards. The song was literally everywhere. “I knew as soon as we wrote ‘HandClap’ that it was the one, but it made the intensity of having to deliver another album even greater,” says Fitz, who wrote 80 songs for the band’s upcoming new album, All The Feels.
“With every record, we want to go somewhere different,” says Fitz, who produced most of the songs on All The Feels on his own or with select collaborators including Tommy English, John Hill, and Andrew Wells. “Sometimes that vision is clear. Sometimes it's a process of discovery. I would say the first half of the writing process was us trying to give ourselves the freedom to do weird things and experiment. At the same time it was like a monkey on our backs having this song that was so massive. Quietly, in the back of our minds, ‘HandClap’ was the bar we would measure everything against and at a certain point, that became kind of suffocating. There were a lot of ups and downs for me personally, as an artist who is just trying to create something.”
But battling through the moments of self-doubt turned out to be a gift, in that they resulted in Fitz and the Tantrums’ most emotionally connected album to date. The title, All The Feels, reflects the bundle of emotions Fitz sat with during the writing process. “There is power in talking about these things that I felt and continue to feel, like anxiety, depression, and insecurity, but also hopefulness and wanting to be more present,” he says. “Keeping it on a personal level is not only truthful, it’s also what people are really going to connect with.”
“All The Feels” is not only the album’s “opus” (as Fitz puts it), the phrase also applies to “every single song on the record,” Noelle Scaggs says. “They’re all about dealing with certain circumstances and trying to overcome them by allowing your light to shine, having gratitude for every moment that you're breathing, and encouraging that in others.”
“It was my mission from the beginning to make an emotional record,” Fitz says. “Once I eliminated the songs that didn't meet that criteria, others rose to the surface — ‘123456,’ ‘All the Feels,’ ‘I Need Help,’ ‘I Just Want to Shine,’ ‘Don't Ever Let Em’ — and the title became obvious. ‘Here are all the feels, the good, the bad, and the ugly. We’re wearing them on our sleeves, showing you everything, warts and all.’” Adds Noelle Scaggs: “It’s definitely one of the most emotional records I’ve been a part of it. I feel like my heart and soul are in this album and I’m very proud of that real talk about working through your battles in life.”
The real breakthrough for Fitz came when he wrote “123456,” with fellow artist K.Flay, about the moment when you’re done feeling insecure, your confidence returns, and you want to celebrate and live in it for awhile. “It came out of one of the darkest moments, more than halfway through writing the album and not feeling like I had the song,” Fitz says. “I was lucky enough to work with K.Flay, as another artist who understands what it takes to make a body of work and the cycles you go through, she was such a light.”
If “123456” is about blossoming confidence, “Ready or Not” is “sort of this ’F you, I’m here to stay. I’m in it to win it’,” Fitz says. A close cousin is bold self-acceptance anthem “Ain’t Nobody But Me.” “I can be loving and I can be an asshole. I want to strive for greatness, but sometimes I come up short,” he says. “So it’s like, ‘Screw it, this is who I am. Take it or leave it.’” “Don’t Ever Let Em” is about recognizing that you might be good at giving others advice, but not taking it yourself. “It’s me giving myself a pep talk, and not giving up when I’m feeling down,” Fitz says. “I Just Wanna Shine” deals directly with stress, anxiety, and depression, while “I Need Help!” speaks to the value society places on being totally self-sufficient. “Asking for help is seen as a sign of weakness, especially for men,” Fitz says. “But it’s actually courageous to ask for help.” Even though she’s always embodied a strong female presence, Noelle Scaggs gets teary when talking about that song. “I have a hard time singing it, actually,” she says. “Not because it’s vocally challenging, but because the message really hits home. I’m one of those people who find it so hard to ask for help when I need it. So that song is challenging for me just even trying to show vulnerability because I’ve shelved it for so long.”
In many ways All The Feels — whose vibrant sonic palette draws from the band members’ diverse rock, alternative, dance, and hip-hop influences and leans in on their gutsier impulses — mirrors the duality of the human experience. The songs’ verses may be dark, but the choruses are about shining a light into those dark spaces. “How do you talk about these things in a way that still makes you want to dance?” Fitz says. By answering that question, the album affirms Fitz and the Tantrums’ longtime mission to uplift people and bring them together, especially through their live performances. “Our show is such a big part of who we are and has always been a joyful dance party,” Fitz says. “We get to work through stuff together through dance and sweat. There is solace in knowing that you’re not alone.”
He recalls the time a family asked to come backstage to meet the band. Their daughter had congestive heart failure and was likely not going to survive. “’HandClap’ was the mantra that kept her going, and they just wanted to say thank you. It almost makes me weep talking about it now,” he says. “As hard as writing an album like this, there is healing in there. When I let myself be present and vulnerable, those are the moments that make me well up with from the emotion of what it took to make the record. Having people tell you that your music got them through their worst times — that makes it all worth it.”
Ingrid Michaelson is best known for earworm, platinum-selling singles like "Girls Chase Boys" and "The Way I Am," but it's her focus on giving back that she's most proud of. Throughout her career, the singer, actress and humanitarian has supported a variety of worthy organizations including: The Trevor Project, She Should Run, Serious Fun, Project Sunshine, Multiple Myeloma Research Foundation,The Staten Island Museum, Musicians on Call and Stand Up 2 Cancer, among others.
In just the past two years, the artist has made her debut on stage, as Sonya in Natasha, Pierre, and The Great Comet of 1812, and on screen, in the feature film, Humor Me. In 2019, it was announced that Michaelson will write the music and lyrics for the upcoming Broadway adaptation of the best-selling novel, The Notebook. Beyond stage and screen, she continues to write and release her own music, most recently with last year's Stranger Songs, which the Sunday Times described as, "music of stark beauty."
Maddie Poppe is a twenty-one-year-old singer-songwriter from Clarksville, Iowa and Season 16 winner of American Idol. Maddie fell in love with music at a young age, learning to play guitar, ukulele and piano and in 2016, Maddie released her debut album, "Songs From The Basement," which she wrote, produced and recorded alongside her father, Trent. Maddie had been performing locally in Iowa for over five years when she decided to audition for American Idol which she calls her "saving grace." As she continued through the competition, she ultimately stole America's hearts and was crowned the winner, giving the audience an emotional, overjoyed, and tear-stained performance of her single, "Going Going Gone."
Since her Idol victory Maddie has been in high demand, appearing on multiple TV shows including Jimmy Kimmel Live, Live! with Kelly & Ryan, the 2018 Radio Disney Music Awards, and performing at the Hollywood Bowl in Los Angeles, Special Olympics and CMA Fest in Nashville. Maddie's debut album Whirlwind was #2 on the iTunes Pop charts and her hit single "Made You Miss" earned #19 on the Hot AC Radio charts.
Maddie is currently supporting Ingrid Michaelson on The Dramatic Tour and working on new music.
Since releasing his five-times-platinum debut single "Home" in spring 2012, Phillip Phillips has released two chart-topping albums and taken his expansive brand of earthy, guitar-fueled rock to stages across the globe. With his soulful vocals and ruggedly warm sensibilities, the Georgia-bred 26-year-old saw his first full-length effort, The World from the Side of the Moon, go platinum after debuting at #4 on the Billboard Top 200. In 2014 his second album, Behind the Light, offered up the lead anthemic folk-rock radio hit "Raging Fire." Phillips released “Miles” in the summer of 2017 as he toured North America with the Goo Goo Dolls, as a precursor to his recent and highly anticipated third full-length, Collateral. Collateral also includes the single, “Into The Wild” and fan favorite, “Magnetic."
On his debut album Exit Form, Scarypoolparty shares the contrast between beauty and brutality while effortlessly moving across genres. The music takes the listener on a sonic journey from the opening epic "Black Cross" to the soaring acoustic guitar mastery showcased on the closing "Out Loud". Written and produced mainly by Alejandro Aranda(Scarypoolparty) & TJ Routon(Sawyr), Exit Form illuminates his undeniable originality on songs like "Millennial Love", a relatable song that delves deep into the psyche of the dominance of social media and smart phones in our society. Another highlight is "Tonight" written and produced by Aranda & George Lewis Jr (Twin Shadow), a ballad that begins in hushed piano tones before shifting into much darker textures with elegant vocal work. That high-impact contrast also infuses "Cholo Love," a pop track that merges Sawyr's warped beats with Scarypoolparty's sweeping piano work and soulful vocals.
Beginning with the 6 plus minute "Black Cross", Scarypoolparty brings the listener in with a beautiful intro before heading into heavier territory with layered soundscapes and coming full circle in the outro. Drawing influence from Nine Inch Nails & Ministry, "Diamonds" hits full throttle with industrial tones and intense vocals. Exit Form begins to veer into electronic territory with "Dance The Night Away" featuring some amazing high-energy synth and production precision layered with Darren King's rhythm. "Vampire Shade" & "Beneath The Skin" both feature first class musicianship coupled with incredible melodic classical soundscapes, soaring vocals and pulsing bass from Maxx Diaz. King's drumming and Aranda's synth work highlight "True Religion" before the album begins to sway into the mid-tempo burner "Heartstorm". "10 Years" is the first song ever written by Aranda, and illuminates his immediate songwriting ability with complex lyrical content about relationships. The album wraps with the viral hit "Out Loud" with just Aranda and his acoustic guitar showcasing his otherworldly guitar playing and heartfelt vocals.
His influences & eclectic musical palette includes everything from Frank Zappa to The Deftones, and Nick Cave to classical masters such as Chopin. Aranda is self-taught guitar & piano player, developing his unforgettably distinct style over the past few years. As he expanded his guitar skills, Aranda taught himself music production and began exploring his vocal talents. By the time he was 22, Aranda had begun busking all around LA County and playing backyard parties where the name Scarypoolparty emerged. After auditioning for American Idol, his video of "Out Loud" became a viral sensation growing to over 15 million views. He continued to showcase original material, amassing a passionate fanbase that now includes over 700k Instagram followers. Scarypoolparty has performed on the main stages at Lollapalooza(marking his first ever band show), Austin City Limits, and Life Is Beautiful Festival to rave reviews from music critics far and wide including the Chicago Tribune, Ones To Watch, and Grammy.com. He has also been named one of 10 Artists to Watch in 2020 by Ticketmaster UK.
No matter the genre he is drawing from, much of Scarypoolparty's material comes to life in complete isolation, a deliberate retreat from the noise of everyday life. "I feel most inspired when I'm alone, away from my phone and from everything," says Aranda.
A skilled and impassioned performer who puts his heart and soul into every show, Scarypoolparty has already sold out his first-ever acoustic tour and is wrapping up another nearly sold out U.S. 30-city full band headline tour this fall before heading to the UK for 2 debut sold out solo acoustic shows in London.
Acclaimed songwriter, musician, and Eurythmics co-founder Dave Stewart is recognized as one of the most respected and accomplished talents in the music industry with a career spanning four decades and over 100 million album sales. Stewart co-wrote and produced each Eurythmics album in his world-famous duo with Annie Lennox, and has also produced albums and co-written songs with Mick Jagger, Tom Petty, Bob Dylan, Gwen Stefani, Jon Bon Jovi, Stevie Nicks, Bryan Ferry, Katy Perry, Sinead O'Connor, Joss Stone, and many others.
Along the way, his work has garnered numerous awards, including 4 x UK Best Songwriter, 4 x UK best Producer, Golden Globes, Grammy Awards and UK Hall of Fame. Stewart also created and co-founded hClub, a highly successful multimedia creative center and private members club in London and Los Angeles. hClub offers the creative industries the environment and facilities it needs to create, connect, and collaborate. Now, Stewart is the co-creator and executive producer of NBC's hit Songwriting Competition show Songland.
KAYA STEWART, the soulful UK-born pop singer, is back with a new collaborative project/album LIYA. The project grew out of Nashville, TN with UK producer Jamie Lidell. The duo premiered this August with the smooth new single "California' packed with synth, attitude and chill visuals. The music video premiered as a Billboard exclusive, boosting Stewart's 1.5+ Million views and over 5 Million streams combined even higher. Stewart's next single "So Good" also from her LIYA project, releases October 19th.
Previously, Stewart released an EP and full album with singles including, "I'm In Love With A Boy", and "Sleepover". She supported The Go-Go's on their Farewell Tour as well as Van's Warped tour.
She's had campaigns with brands including Steve Madden and Bose as well as recognition from Teen Vogue, FADER, Billboard and more.
After releasing his evocative debut album vitalin May 2018, morgxn found himself experiencing a reaction he’d never anticipated. “All of a sudden, there are so many people connecting with who I am and what I’m saying and what I’m going through. I’m not alone,” recalls the Los Angeles-based musician.
2018 brought a series of new milestones for morgxn, all in quick succession. He found himself at Lollapalooza, peering out at the throngs of fans who had packed in to catch his afternoon set where he duetted with Walk the Moon frontman Nicholas Petricca on a new rendition of his rafters-reaching song “home.” The two re-recorded the track and released a video in September, sending the song into the top 10 at alternative radio and adult alternative while accruing upwards of over 25 million combined global streams. This past January, morgxn made his late-night TV debut performing “home” on Jimmy Kimmel Live and Last Call with Carson Daly.
Still experiencing feelings of loss, as well as bouts of anxiety , morgxn realized that he needed to cast off these shadows by creating new music. “Vitaljust sat in my heart like a weight and then releasing that,” he recalls, “I wanted to find a new way forward. And the only way to do that was keep moving forward blindly, and make music.”
The songs that followed capture an artist coming to terms with who he is as a person, and how he hopes to navigate life. In late March, he released the deeply visceral “Holy Water,” a plea to release him from the burdens that he found himself saddled with. “Holy water falling, falling down on me / Take the load off, take it all from me,” he sings, his tender falsetto ricocheting against the stomping percussion and bleary synthesizers.
If “Holy Water” was an attempt to shed his skin, “A New Way” strikes a more optimistic tone, dreaming of a path that exists out of anxiety. The song plays as an uplifting meditation on the possibility of where life can take you. “I want to do things in a different way,” he says of the inspiration that struck him while recording it. “I want to make music that is real and have that be enough. Have it not be about how hot you are, how cool you are or how much of an asshole you are. What about somebody’s heart and that being art — and that being enough?”
morgxn’s main focus now is moving on from the past, and allowing life to lead him where it will. “‘home’ was this big moment where a lot of big things happened, and it comes with pressure of where do you go next?” he says. “Rather than letting that question eat me alive, I just dove off the nearest cliff. Released all pressure. All I did was make new music and now I can’t wait to see where it takes me.”
Voices Of Our City Choir
Voices Of Our City Choir
Voices of Our City Choir is a nonprofit organization based in Southern California with one goal in mind: Transform the perception and experience of homelessness through the healing power of the arts. Since 2016, the choir has become an in-demand performance ensemble, with as many as 15 performances in a single month. The choir has been featured in a documentary, The Homeless Chorus Speaks, by filmmaker Susan Polis Schutz, which has aired on PBS over 1,500 times since its release date. One of the organizations greatest accomplishments to date is that it has helped 48 of their unsheltered members get off the streets and into safe shelter/housing.