Entertainment

Ed Morales dives deep into Urban Americana music with his new record RESCUE

By Bobby Martin

Texas based singer/songwriter Ed Morales has a knack for transcending genres to create a unique brand of music that he dubs “Urban Americana.” This sound is ever apparent on his newest record RESCUE, available on all major platforms.

“I have a little bit of that slick, city feel, but there are definitely roots in the music when you hear it,” saying that his style blends elements of rock, R&B and pop.

Morales grew up in the border town of Laredo near San Antonio, and has spent most of his life there immersing himself into the world of rock and roll and Texas country. He started playing music as a teenager and was signed to a label called Target Entertainment out of Los Angeles in the ‘80s, where he achieved success in the Lone Star state. After his band broke up he went solo and moved to Austin.

Later, he moved to Nashville and ended up finding his day job in the IT world. Music remained his passion, however, and he has been playing professionally for the past three decades.

Morales was exposed to the singer/songwriters of the ‘60s like the Beatles, but also was big into the pop rock world of the ‘80s with the likes of Bruce Springsteen. The music has created a confluence that helped form his style of music that you can hear to this day.

One of the songs on the album is called “Greetings From Asbury Park,” which is a direct homage to Springsteen.

“That was one of those albums that was inspirational to me,” he said. “That was kind of my appreciation for him and his style of writing.”

He is inspired by his favorite musicians, but he also takes things from life and what he is interested in. An example is the single “Little Sugar,” and he said this is derived from when he was watching The Food Network and Giada was making a puff pastry. He noticed that some of what she was saying could be taken as being suggestive, and it inspired him to write the tune.

“I downloaded the recipe and kind of played with it,” he said. “There are some euphemisms in there.”

In the ‘70s there were rhythmic dance songs that usually had a bass, drum and a guitar, so this song basically follows this formula, mixed with bit of saxophone and percussion.

“I was really drawing on a lot of that early dance influence,” he said. “There’s even a little touch of Duran Duran in there with that saxophone. That right there is part of the confluence of R&B and what was considered early MTV dance and new wave music. It seems to have resonated with folks who are way younger than I am, but also people my age. It was a little bit of a departure, but a fun song.”

Another song is “Texas Lady,” which was inspired by having to switch his Texas driver’s license when he moved to Nashville, saying it felt like he was betraying his home state. He said it was like a metaphor, as it was also related to the lady he was seeing at the time. This album is like a composite of different snapshots of aspects of his life.

“When I build songs it is usually a montage of different things that have happened to me along the way,” Morales said.

He worked with producer Mike Morales (not related) on making RESCUE, who is a Grammy winner and had a top 10 hit in the ‘80s. He brought Mike about 20 songs that he had written over the years, and they went through and narrowed it down to 10 selections. They approached them one by one and expanded upon them over an 18 month period to polish them up and get the songs recorded. They then worked on adding instruments like saxophone and violin to various tracks.

“We kept on tweaking things until we found the right combination,” Morales said. “Like I really wanted to add saxophone to “Little Sugar” and “Greetings from Asbury Park,” and when we did that it elevated it to the next level.”

The album has 10 original tracks, but also one cover: “Sandman” by America. The 1971 tune is one he has been playing since he was 16, and it is the first time he has ever had a cover song on an album.

“It really seems to fit with the whole theme of the whole album,” he said.

RESCUE was recorded in San Antonio by Michael and Ron Morales, and then mastered at Abbey Road Studios by award winning engineer Frank Arkwright.

The order of the album is also very prescriptive, saying that it is much like the albums that he grew up with where it is a complete experience from top to bottom. In the style of vinyl, the idea is to draw you in with the first couple of songs. It finishes strong in a side A, moves onto a strong beginning of side B, and then finishing out with “Rescue.” He said this has elements of Pink Floyd’s style, and is an anthemic song that that “takes you home.”

“There was a lot of thought in the design of the album to give the listener an experience through the various styles and song,” said Morales. “When you listen to the album and go through the different themes, it is really about celebrating life’s ups and downs.

Be sure to check out the music of Ed Morales including his brand new album RESCUE available on all major platforms.

Entertainment

Speaking Volumes Without a Word: How Parinas Esmailsadeh Captured a Best Actress Win in Silence

Acting without the safety net of dialogue is a cinematic tightrope walk. When Parinas Esmailsadeh decided to step behind the camera for her directorial debut, she didn’t just write and direct the project she cast herself in the lead role of a completely silent film. It was a massive creative gamble, and it paid off brilliantly.

Her self-produced independent short, “And Then There Was Nothing”, is currently making waves on the international festival circuit. Most notably, the deeply personal project recently earned Esmailsadeh the highly coveted Best Actress award at the Indian Independent Film Festival.

Taking home a Best Actress trophy is a major milestone for any performer, but winning one for a role entirely devoid of spoken lines is a testament to Esmailsadeh’s profound on-screen presence. Without a script to lean on, she had to carry the entire emotional weight of the film through her physical performance alone.

The film itself is a quiet, intensely cinematic exploration of grief, loss, and the sudden, jarring realization of human mortality. By deliberately stripping away spoken dialogue, Esmailsadeh forces the audience to sit in the heavy, uncomfortable spaces of her character’s internal landscape. Viewers are drawn directly into the atmosphere of the film, relying on the pacing, the framing, and, most importantly, Esmailsadeh’s raw facial expressions to guide them through the story.

So, how does an actor successfully carry an entire film without saying a word? For Esmailsadeh, the secret lies in a deeply physical approach to character work, forged long before she ever stepped onto a movie set.

Fluent in German, English, and Farsi, and trained at both Germany’s prestigious Folkwang University of the Arts and Hollywood’s American Academy of Dramatic Arts, Esmailsadeh has always understood how to navigate across cultural and linguistic lines. But it is her athletic background that truly informed her silent award-winning performance. Years spent as a competitive show jumper in Germany, combined with rigorous training in boxing and dance, taught her a fundamental truth: the body doesn’t lie.

She understands intuitively how human psychology is revealed through subtle physical movement. In a silent film, the way a character breathes, where they hold tension in their shoulders, or how they choose to stand still essentially becomes the dialogue. Esmailsadeh has always believed that the camera captures these microscopic physical truths, a philosophy that guided every choice she made while directing her own performance.

Of course, the transition from acting to taking full creative control didn’t happen overnight. Before stepping into the director’s chair for And Then There Was Nothing, Esmailsadeh began exploring narrative structure by writing and starring in another independent film, Tied Up. That experience gave her a vital, 360-degree perspective on character motivation, ultimately giving her the confidence to build a story from the ground up that could translate across any cultural or language barrier.

As “And Then There Was Nothing” continues its successful festival run, Esmailsadeh is showing no signs of slowing down. Even as she sweeps up accolades for her deeply personal indie projects, she maintains a firm foothold in the mainstream studio system. Up next, she will appear in David Lowery’s highly anticipated A24 feature, Mother Mary, sharing the screen with Academy Award winner Anne Hathaway.

Looking ahead, Esmailsadeh is actively developing a slate of new original projects. Whether she is orchestrating a story from the director’s chair, modeling in international fashion campaigns, or delivering an award-winning performance in front of the lens, one thing is clear: she is an artist fiercely dedicated to exploring the complexities of the human condition, with or without a script.

About Parinas Esmailsadeh

Parinas Esmailsadeh is a working actress, writer, and filmmaker based in Los Angeles. She is a graduate of the American Academy of Dramatic Arts, having studied at both the Hollywood and New York campuses. Her career spans independent cinema, major studio features, and international high fashion. She is currently developing her next original projects while continuing her work as an actor and model.

Connect & Discover More:

IMDb: Parinas Esmailsadeh

Instagram: @pxri.th

Written in partnership with Tom White

Entertainment

K-SWAB and ATL ONFIYA: Building an Independent Media Empire

ATL ONFIYA is more than entertainment; it represents independent ownership, creativity, networking, and perseverance. Founded by K-SWAB, the company is seeking to innovate in critical ways within the entertainment industry.

The entertainment industry has changed profoundly over the past few decades. What was once a well-established, rigorous system and pipeline has now given way to much greater leniency and personal autonomy in the wake of streaming services and social media platforms. The barrier to entry has been drastically reduced in the wake of these new technological tools. The power is now in the hands of individual artists to forge their own paths, and that is exactly what K-SWAB aims to do with ATL ONFIYA.

About K-SWAB

Ackeo Stevenson, professionally known as K-SWAB, is a self-taught producer, hip-hop artist, music engineer, videographer, photographer, graphic designer, radio host, and entrepreneur. During his career, he has garnered experience and built ATL ONFIYA into an independent multimedia platform. Focusing on everything from entertainment and music to radio, television, artist branding, interviews, event coverage, and independent media exposure, K-SWAB’s background spans music production, artist development, television production, digital broadcasting, and entrepreneurial leadership.

As such, K-SWAB’s efforts uniquely combine multiple creative industries into a single cohesive ecosystem. Whereas others in the entertainment industry generally focus on a specific niche, K-SWAB is passionate about all these elements and seeks to bring them together into a unified front.

ATL ONFIYA is a distinctly modern platform, one that allows users to tap into entertainment across a wide range of media. K-SWAB’s perspective comes from being fully hands-on in every aspect of content creation and platform development while helping elevate independent creators and entrepreneurs.

The Inspiration Behind the Innovation

Through it all, K-SWAB’s personal story has remained rooted in self-development and persistence. Much of ATL ONFIYA was built independently through trial and error, creativity, and consistency. Early on, he learned how to engineer music, shoot visuals, edit content, and produce media without relying on large studios or investors. That independent mindset became the foundation of ATL ONFIYA’s growth, as he spearheaded every aspect of the project and remained deeply hands-on throughout its formation.

The lack of opportunities and exposure available to independent artists, creators, and entrepreneurs inspired K-SWAB. Rather than waiting for opportunities, he focused on building his own platform where creators could gain visibility, network, and grow their brands. ATL ONFIYA was created to bridge entertainment, business, culture, and media, helping independent talent gain real exposure.

Overcoming Obstacles

One of the main challenges was creating an independent media platform without support from large corporations. K-SWAB needed to acquire various skills on his own, including production, editing, engineering, branding, broadcasting, marketing, and business operations management.

Another difficulty was gaining recognition in highly competitive industries while maintaining independence. By staying consistent, networking, persevering, and self-educating, K-SWAB developed lasting media relationships and continued to grow the ATL ONFIYA brand.

A Brighter Future

Moving forward, K-SWAB is passionate about continuing to grow ATL ONFIYA, with ambitions to turn it into a nationally recognized multimedia network with expanded television distribution, larger artist development opportunities, major interviews, live productions, and broader international exposure.

He aspires to continue building platforms that help independent creators, entrepreneurs, and entertainers gain visibility. As the entertainment industry continues to shift in substantial ways, K-SWAB seeks to carve out his own path to success and invite other artists to join him on the journey.

Written in partnership with Tom White

Entertainment

Where to Watch Asian Cultural Films, TV Shows, and Award-Winning Talent This AAPI Heritage Month

If you’ve ever finished a show and thought, “I wish I had something new to watch that actually feels different,” AAPI Heritage Month is a great time to branch out.

Asian film and TV have quietly become some of the most exciting storytelling in entertainment right now, from emotionally layered dramas to high-energy anime and beautifully shot, slow-paced lifestyle series. The only real question is: where do you start?

Start with the names you already know (even if you don’t realize it)

You’ve probably already seen actors like Steven Yeun (Beef, The Walking Dead) or Song Kang-ho (Parasite), but their earlier work opens up an entirely different world of storytelling.

Films like Burning or A Taxi Driver hit differently. They’re slower, more character-driven, and often linger with you in a way that big Hollywood releases don’t always try to.

Then fall into the rabbit hole (you’ll probably stay there)

If you’ve never really gotten into anime or serialized Asian dramas, this is where things can get addictive fast.

Shows like Fullmetal Alchemist: Brotherhood and Demon Slayer – The Movie: Mugen Train aren’t just popular; they’re the kind of series people build routines around. One episode turns into three, and suddenly it’s a full weekend watch.

For something quieter, try watching how culture shows up in everyday life

Not everything has to be high stakes. Some of the most memorable content comes from shows that focus on food, travel, and routine.

The Solitary Gourmet and A Taste of Life in Kyoto are the kind of series you put on thinking you’ll casually watch, and end up getting completely absorbed in. They’re less about plot and more about atmosphere, tradition, and small moments that feel deeply personal.

Where to find all of this (without another subscription)

Let’s be honest, most people aren’t looking to add another streaming service right now.

That’s where free platforms like Amasian TV come in. It brings together a mix of films, dramas, anime, and live programming, including internationally acclaimed and award-winning titles, all in one place, with curated collections that make it easier to jump between genres depending on your mood.

Whether you’re in the mood for something emotional, something bingeable, or just something new, it’s an easy way to explore without overthinking it.

This isn’t just for AAPI Month

What’s changed in the last few years is how accessible these stories have become. You no longer need to go out of your way to find them; they’re part of the broader entertainment landscape now.

So if AAPI Heritage Month gives you a reason to start, there’s a good chance you won’t stop there.

Written in partnership with Tom White