UM Frost School of Music partners with We Belong Here for 2027 return

Gabriel Mena
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UM Frost School of Music partners with We Belong Here for 2027 return

The iconic festival We Belong Here is already looking ahead to its next chapter. It will return to Virginia Key Beach Park from Feb. 26–28, 2027, but this early announcement comes with something bigger than dates alone — a new partnership with the University of Miami’s Frost School of Music aimed at expanding access to music education across the city.

The collaboration is set to build out Miami’s first K-12 music pathway, connecting Pine Villa Elementary, a Title 1 school, with Arthur & Polly Mays Conservatory of the Arts. Through it, We Belong Here will help fund new choral and string programs at the elementary level, giving students a real chance to stay connected to music all the way from early childhood through high school. It’s the kind of long-term investment that actually sticks.

For a festival that has always leaned into community and connection, this move feels pretty on brand. Co-founder Justin Dauman pointed out that growth for We Belong Here has always been tied to impact, with the idea that every ticket sold should translate into something meaningful beyond just the weekend itself. 

“As We Belong Here continues to grow with intention, we are thrilled to create more opportunities to give back and empower the next generation of creativity,” said Dauman.

It also deepens the relationship between the festival and the University of Miami. Frost is not just being brought in as a name partner — it’s being positioned as part of the ecosystem, helping shape how music education and live culture intersect in the city. For students, especially, that connection feels real.

This announcement comes off the back of a big 2026 edition, where the festival expanded to three days for the first time and brought tens of thousands out to Virginia Key. At the same time, it kept leaning into sustainability and community efforts, including a post-festival beach cleanup with HumanityCares.

Over the years, We Belong Here has grown from a smaller, more intimate gathering into one of Miami’s more distinct electronic festivals. The waterfront setting, the sunset sets and the overall focus on atmosphere over excess are still very much at the center of the festival. That part has never changed.
Announcing 2027 this early shows confidence in where things are heading and gives people the chance to start planning ahead. Loyalty presale tickets are set to drop this week, opening the door for returning attendees to lock in their spot for year six.

As We Belong Here continues to expand, the Frost partnership offers a glimpse into what that growth could look like — not just bigger crowds or longer lineups, but deeper roots in the city itself.

Dean Shelton “Shelly” Berg Waves Goodbye

Alejandra Chavez
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Dean Shelton “Shelly” Berg Waves Goodbye

For nearly two decades, Shelton “Shelly” Berg has helped redefine what it means to study music.

Now, the five-time Grammy-nominated musician and longtime dean of the Frost School of Music is stepping away.

Berg will retire this spring after 19 years leading Frost School of Music. He leaves behind a legacy not just of growth, but of transformation that reshaped how young musicians are trained for an industry that no longer fits into a single lane.

“We really have changed the conversation, the landscape about what a music school can and should do,” Berg said. “More importantly, it’s helped our students feel better prepared for the world.”

When Berg arrived in 2007, music education largely followed a traditional model focused on specialization and performance. But the industry was already shifting, and Berg saw what was coming.

The result was the Frost Method, also known as the Experimental Music Curriculum, which prioritizes hands-on, experiential learning over traditional lecture-based instruction.

“We’re giving students the skills rather than just the theoretical knowledge,” Berg said. “The Frost Method is all about being well-rounded, being good in more than just the thing you came here to do.”

The approach reflects a broader shift in the music industry, where musicians are expected to understand not only performance, but also business, technology and communication. Under Berg’s leadership, students are trained to market themselves, collaborate across genres and adapt to evolving demands.

Despite these achievements, Berg emphasized that the school’s success was built through collaboration.

“No dean makes something happen. Everything is a collaborative effort,” Berg said. “The end result might not be exactly what I would have done, but I have to trust that it’s better in some way because more smart people were involved.”

It was a shift that mirrored Berg’s own career.

A classically trained pianist who began playing at age four and performed professionally by 13, Berg built a life in music that never stayed confined to one genre. That same versatility became the foundation of his vision for Frost, where students leave not just as musicians, but as adaptable artists ready for a constantly evolving industry.

Berg said his decision to step down comes at a natural turning point, both personally and professionally. At 70 years old, he hopes to dedicate more time to music and his family.

“I don’t want to just take it for granted,” he said. “I want to dedicate my primary energy to music, the thing I’ve always made secondary.”

He also acknowledged that the future of music education will bring new challenges, particularly with the rise of artificial intelligence.

“AI is upending the way we live,” Berg said. “But I believe new things expand opportunities. They do not contract them.”

Looking ahead, Berg hopes to spend more time practicing, composing and performing, and less time in meetings.

“I’m not going to say I wish I had been in a thousand more meetings,” he said. “But I hope I’ll say we had some great times.”

For students, his advice is simple.

“Say yes,” Berg said. “Who you will be is a result of the acceptance and rejection of influences. Either it opens a new pathway or shows you what you do not want. Either way, it shapes your future.”

Though he is stepping down, Berg’s impact –  on Frost students and on future generations of musicians – will last long after his retirement.

 

‘Merrily We Roll Along’ was Sondheim’s greatest failure; posthumously it’s his greatest success

Ariana Glaser
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‘Merrily We Roll Along’ was Sondheim’s greatest failure; posthumously it’s his greatest success

Filmed live from Broadway’s Hudson Theatre, the late Stephen Sondheim’s “Merrily We Roll Along” takes audiences backward through a 20-year-long friendship – all the way from its end to its beginning. 

In 2023, a star-studded cast led by Jonathan Groff (“Frozen” films, “Hamilton,” “Glee”), Daniel Radcliffe (“Harry Potter” films, “How to Succeed in Business Without Really Trying,” “Equus”) and Lindsay Mendez (“Grease,” “Dogfight,” “35MM”) brought new life to what was once considered Sondheim’s most notorious flop. 

The original 1981 production closed after only 16 performances and 52 previews; no one could have predicted the 2023 revival would go on to break the Hudson Theatre’s house record in its first week of previews, win four Tony Awards including Best Revival of a Musical and be named the highest-grossing Sondheim musical in Broadway history.

“Merrily” was ahead of its time — that much is clear. It defied every convention of the musical theatre genre. Franklin Shephard (Groff), our protagonist, may be the antagonist in his own story, but there is not one character in the main cast that isn’t deeply flawed. There isn’t a typical “love story,” but we find ourselves experiencing heartbreak several times over, nonetheless. 

Of course, the story is told in reverse-chronological order. We see a friendship once it’s already fallen apart. Then we first meet Frank, he’s seemingly at the top of the world as he celebrates the success of his latest film. 

In the first 20 minutes of the production, however, we learn Frank is not nearly as happy as he appears. His best friend, Mary Flynn (Mendez), has grown into a cynical alcoholic after watching Frank give up his dreams of composing musical theatre in exchange for the more lucrative filmmaking industry. 

We also learn Frank is cheating on his second wife with the young star of his film, and he no longer speaks to Charles Kringus (Radcliffe) — the man he grew up with and the playwright for his earliest successes. 

Telling the story reverse-chronologically was a risky device, as clear in its original failure, but it’s hard to imagine “Merrily We Roll Along” being told any other way. 

Sondheim relies on dramatic irony to keep the audience engaged: As we travel back in time through failed marriages, betrayals between friends and career wins and losses, we watch with bated breath knowing what the characters do not. 

Act I, for example, is tracked by tragedy after tragedy, while Act II finds our trio at their most hopeful, by which point we as an audience are utterly hopeless. 

After two hours of heartache and humor, we finally reach the finale. “Our Time” is an uplifting, starry-eyed track sung by best friends Charles and Frank on the rooftop of their post-college apartment when they first decide to become a composer/writer duo. 

There, they meet Mary, and the three watch Sputnik pass and conclude that anything could happen, deeming the world their oyster.  

It’s one of those musicals that you just want to watch again and again, because “Merrily” rewards its rewatchers. Several times while watching the pro-shot — and even while I was sitting in the Hudson Theatre back in March of 2024 — you can hear audiences gasp when an 11th-hour turn of phrase plucks at a heartstring. 

Now with the Netflix film right at my fingertips, I can watch the production again and again, and I find something new every time — a clue of what’s to come, mirrored lyrics between acts or an emotional beat.

All the while, the scene changes are bookmarked by ensemble-led transitions, where the cast asks the pivotal question, “How did you get to be here?” all while warning, “Dreams don’t die, so keep an eye on your dream.” 

It’s through these repeated phrases that we realize what Sondheim is asking us to consider as the musical’s theme: When you abandon your dream, you abandon yourself. 

The filmed adaptation additionally offers closeups that allow viewers an intimate taste of the leads’ true starpower. Groff and Radcliffe both won Tony Awards — Best Performance By a Leading Actor in a Musical and Best Performance By a Featured Actor in a Musical, respectively — for their work in the performance, and it’s clear to see why. 

Radcliffe in particular accomplishes the difficult feat of hitting his emotional peak only 30 minutes into the musical. He makes his grand entrance in the second scene, jumping right into an impossibly fast explanatory track (“Franklin Shephard, Inc.”) where he directly confronts the failing friendship between himself and Frank. 

Through the performance, Radcliffe teaches a masterclass in acting through the song. He never loses the pace or momentum even while having an emotional breakdown. 

Then, the scene ends and within seconds, he must transport himself to the Charles of yesteryear, the Charles who has not yet reached the point of no return with his best friend, the Charles who still believes they might prevail. 

Groff and Mendez aren’t off the hook either. Their task is less immediate but equally demanding. They work backwards from characters that are, by the end of their arcs, essentially shells of themselves. 

There’s Frank — who has reached the top, but left everything that mattered at the bottom — who must return to a youthful, sentimental visionary. He’s complemented by Mary —  a heartbroken misanthrope who achieved her dream of being a writer, but watched her friends crumble and thus turned to alcohol — who must return to a naive, awkward young woman who’s slowly falling in love with the man we know will never grow to love her back.

“Merrily We Roll Along” will go down in history as theatre’s greatest comeback. When considering why it failed so miserably at first, it’s important to consider the nearly 50-year gap between productions. 

Modern audiences are far more comfortable with antiheroes, and nonlinear storytelling is slowly transcending into the mainstream. The central cynicism surrounding success in the arts resonates in today’s society. 

And the time for “Merrily” is just beginning. Director Richard Linklater is producing a highly ambitious retelling starring Paul Mescal, Ben Platt and Beanie Feldstein. Production began in 2019, though scenes will be filmed intermittently over 20 years to capture the characters aging authentically. 

Ultimately, the musical didn’t change — the audience did. “Merrily” simply needed to bide its time, ironically reflecting the main storyline to a tee.

The penultimate number entitled “Opening Doors” follows the trio through various failures in their respective careers, all while they remain defiantly dedicated: “We’re banging on doors, shouting, ‘Here again!’ / We’re risking it all on a dime / That faraway shore’s looking near again.”

Just as Frank, Charles and Mary promise to push forward past rejection, “Merrily” did the same, though, thankfully, with better luck than its characters. It waited its turn and didn’t take no for an answer. 

Something is stirring, shifting ground. For “Merrily,” it’s just begun. 

Time Warp makes history in Miami with a night Factory Town will not forget 

Gabriel Mena
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Time Warp makes history in Miami with a night Factory Town will not forget 

Look up. 

That’s the first thing you did inside the Infinity Room on Saturday night, and it was the right instinct. 

A grid of elongated lights stretched above the crowd in segmented lines, running the length of the room like ribs of a living structure, each one flanked by spotlights calibrated to the music — expanding, pulsing, freezing — physically tracing the architecture of sound in the air. 

It was the first time production was built over the Infinity Room dance floor, and it set the tone for what Time Warp’s Miami debut actually was: a statement.

Time Warp doesn’t just show up anywhere. Since 1994, the German institution has built its reputation as one of the most respected techno brands on the planet, first expanding across Europe, then to New York via Teksupport after some convincing.and now, for only the second time in the United States, to Miami via Insomniac. 

Choosing Factory Town for this debut says something about where the Hialeah venue stands globally. A former mattress factory turned underground playground, Factory Town has quietly become one of the most credible electronic music destinations in the country. Time Warp’s arrival is a validation that few venues in the world receive.

Three rooms ran the night: Infinity Room, Warehouse and Chain Room, while the Park and Cypress End stayed dark, keeping the energy concentrated and intentional. The programming matched that focus. 

The Warehouse moved through a deeper, more hypnotic current: Nicole Gallamini opened with precision, PARAMIDA b2b tINI kept the room locked in and Chloé Caillet b2b DJ Tennis brought a warmth that cut through the industrial cold before Honey Dijon closed it out with the a  groove that reminds you house and techno share the same bloodline.

The Chain Room went darker. Elli Acula and Chlär built the tunnel slowly, Marcel Dettmann deepened it and Ben Klock joined him for a 4 a.m. b2b that stretched to 6 — two Berghain pillars, together at sunrise, in Miami’s rawest room. It was exactly the kind of moment Time Warp exists to create.

Back in the Infinity Room, the highly rated b2b world debut from Boys Noize and SPFDJ delivered the night’s most visceral stretch, trading blows across two hours, before handing the room to Klangkuenstler. They closed the flagship stage from 5 to 7 a.m. with the crowd still moving and the light channels overhead still chasing the kick.

Time Warp Miami was one night, but in the best way, it felt longer. And if Factory Town keeps earning rooms like this one, it won’t be the last.

“The Great Divide” is Noah Kahan at his most honest and poetic

Marissa Levinson
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“The Great Divide” is Noah Kahan at his most honest and poetic

Noah Kahan is a storyteller. His records aren’t just individual songs. Each one is a piece of a larger narrative — an indie-folktale about childhood, family, grief, sobriety, love, anger and everything in between. 

His fourth studio album, “The Great Divide,” added new perspectives to his ongoing story. The record was released on April 24 through Mercury Records with 17 songs, until he announced “The Last of the Bugs,” four additional tracks serving as the album’s encore. 

There’s two ways to listen to this album: in the background— maybe while getting work done at a coffee shop, its cohesive folk sound humming through a pair of headphones, or with full attention, blasting on a vinyl record at home, emphasizing its emotional story told through raw lyrics and crooning vocals.  

With strong production and lyrics, “The Great Divide” is bound to move any listener. Kahan contributed to every step of the creative process— not only as a vocalist, but also as a writer, instrumentalist (guitar, banjo, mandolin and piano) and  co-producer. He worked alongside Gabe Simon and Aaron Dessner, known for his work with Taylor Swift, particularly on “Folklore”. 

The result is an authentic record that makes him stand out as a well-rounded artist.

While many artists take advantage of a summer rollout to release a fun, pop, radio-ready hit, Kahan prepared fans differently.“2 weeks til ur sad I do not care about the weather you will be sad this summer” he wrote on X prior to the album’s release.

Although Kahan’s evolution from one record to the next isn’t very noticeable on the surface, he’s gradually leaned more into folk from album to album, the growth in his artistry is deeply personal. 

It’s not experimental, and it won’t sound unrecognizable next to his debut record, “Busyhead.” But pressing play on “The Great Divide” feels like returning home after taking some time to reflect, learn and grow. 


The title track, “The Great Divide,” along with “Porch Light,” paved the way as the album’s promotional singles. After a few years without a new project from Kahan, anticipation for this release has ran high. The two songs fit seamlessly into his discography. 

Opening track, “End of August” was quick to show that growth. “And I thought getting older meant knowing it’s too late to try/ And I tried getting sober/ I swear I did better this time” sets the tone for the album, with the help of a high-octave, gentle piano that sounds like it’s being played in an empty living room before amplifying into uplifting harmonies and an empowering message.

“Haircut,” “Dashboard,” “Porch Light,” “Deny, Deny, Deny” and “All Them Horses” are the album standouts. They’re the songs where Kahan truly nailed everything: storytelling and imagetic lyricism, a tune that gets stuck in your head and is contagious to the next person, a folktale, a production. While the entire album is worth a listen, it’s these five that hold it together. 

“At least I got soul still/ Even if I’m in a bad place,” a lyric from “Haircut,” feels like a trailer for the album in a single line. One of Kahan’s greatest strengths is finding inspiration in hardships, making his music honest, relatable and human — exactly what his fanbase seeks for comfort.

Many view “Dashboard” as more of a callout than a comfort, however, as Kahan blames a loved one for leaving. Although laced with resentment, it still comes from a place of love. Just when the song seems to end, an instrumental break begins – a cherry on top that gives an already perfect song that signature Noah Kahan touch. 

A prominent electric guitar and a catchy, repetitive hook give “Deny, Deny, Deny” a country-rock edge, feeling more like Zach Bryan than Noah Kahan at first listen. The slight pivot provides a welcomed variation, especially as some songs can begin to blend toegther. 

Although the intent to grow is present from the first song, the entire album simmers in these revelations until the true epiphany arrives near the end with “All Them Horses.” This song marks a turning point as Kahan develops a more positive outlook on the grievances he explored throughout the album. 

He sings, “Some things live forever even when they die”  his voice transcends into a falsetto as he recognizes that he feels like he’s on a high— or maybe he just understands everything better now. 

“Headed North” is also worth mentioning, taking listeners outside of the studio for a stripped ambience that feels like sitting by a campfire alongside the crickets and grasshoppers chirping in the background. 

The atmospheric noise ties directly into the song’s theme, as Kahan yearns for a lost lover and a simpler life away from chaos, perfection and, more specifically, Cybertrucks, which he humorously complains about. 

The slight cracks in his voice and scratch strumming of his acoustic guitar remind listeners that the moment is imperfect — and that’s the point.

Before the addition of “The Last of the Bugs” edition, the album totaled one hour and 17 minutes. Kahan put quality in the quantity, and the four new songs deliver even more. 

“Lighthouse,” “Staying Still,” “A Few of Your Own” and “Oribiter” join the record on this unexpected version, touching on an aspect of life not previously prominent: romance. They round out his story.  

“The Great Divide” feels like a page out of Noah Kahan’s journal. It’s self-aware and apologetic, it’s honest and accountable— it’s human. 

It’s some of the most organic and authentic music released this year, as his work always is. The album delivers everything expected and, of course, a little bit more. 

Kahan is expected to perform many of these songs on his upcoming tour next month. Until then, fans can grab a box of tissues, sit around a campfire and cherish— and complain about— life as they listen.

Murder retrial of former UM football player pushed to September amid social media allegations

Bella Armstrong
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Murder retrial of former UM football player pushed to September amid social media allegations

The retrial of former University of Miami football player Rashaun Jones — accused of killing teammate Bryan Pata in 2006 — has been delayed until September. 

This delay comes after Jones’ defense attorneys claimed Miami-Dade detective Juan Segovia operated an anonymous Instagram account that posted comments claiming Jones was “guilty” during the February trial. 

Miami-Dade Circuit Judge Cristina Miranda postponed the retrial on Thursday, May 7 from May 18 to Sept. 14 after defense attorneys filed multiple motions citing an internal affairs investigation into Segovia, as well renewed disputes over a jailhouse informant and alleged prosecutorial misconduct. 

Pata, a standout defensive lineman for Miami, was shot and killed outside his Kendall apartment in November 2006, just weeks before he was expected to enter the NFL Draft. The case remained open for more than 15 years before Jones was arrested in 2021. 

Jones, 40, has been in custody since 2021 and was first tried in February 2026. At that time, a jury failed to reach a unanimous verdict — resulting in a mistrial. 

Defense attorney Sara Alvarez argued in court filings that the Instagram comments raise concerns about Segovia’s bias and credibility as the lead detective and a key witness for the prosecution. As stated in the filings, the account commented on local media coverage of the trial with statements including “GUILTY” and “He’s guilty as sin.”

According to ESPN, a spokesperson for the Miami-Dade Sheriff’s Office confirmed that Segovia is currently the subject of an internal affairs investigation. The office declined further comment ahead of the pending trial.

Defense attorneys also challenged the reintroduction of jailhouse informant George Jones after prosecutors previously agreed to remove him from the witness list last summer.

Court filings state George Jones claimed Rashaun Jones confessed to killing Pata while the two were held at the Miami-Dade Metro West Detention Center in 2021. Prosecutors removed Jones from the witness list in 2025 after Assistant State Attorney Cristina Diamond said he sent “threatening emails” to the state attorney’s office. 

Additionally, the defense team requested records connected to former prosecutor Michael Von Zamft — who is currently facing a Florida Bar complaint alleging professional misconduct in an unrelated murder case. Jones’ attorneys argued these allegations are relevant because they involve claims of undisclosed cooperation with witnesses and failures to provide information to the defense.

Following Thursday’s hearing, Alvarez said Jones agreed to remain in custody longer in order to preserve his legal rights and pursue the new developments that have arisen in the case.Meanwhile, Edwin Pata — Bryan Pata’s brother — expressed frustration with the delay, telling ESPN that the defense team was showing “lack [of] respect for the courts.”

Little Jam Fest returns to UM, building community through music

Arianna Philip
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Little Jam Fest returns to UM, building community through music

Little Jam Fest, a family-focused music festival, returns to the University of Miami for its third year on May 16 at the Student Center Complex. 

What started as a local event has quickly grown into a tradition for South Florida families, blending music, creativity and community into a full-day experience.

Created by Miami-based children’s entertainment company, Jam with Jamie, Little Jam Fest has steadily expanded in both size and impact. Each year, it draws over 1,000 attendees. 

The festival is centered around live music and interactive programming, but its appeal goes beyond entertainment. It offers a space where families can spend time together in an engaging and creative way, intentionally designed for both children and parents.

This year, the festival introduces a new initiative, the “Empowering Young Voices” contest, in partnership with The Miami Foundation. The program invites children across South Florida to submit musical performances for a chance to win $250 and perform live on the festival’s main stage. 

Three young performers will be selected, each presenting an original song and a cover. The addition of this contest reflects a broader focus on giving young performers a platform to share their creative talents in a supportive environment.

Founder Jamie Kolnick, whose company has spent nearly two decades creating music experiences for children, sees the festival as more meaningful than a typical family event.

“Music has a way of building community in the most natural way,” Kolnick said. “When families are singing and moving together, something meaningful happens.”

That sense of connection is what sets Little Jam Fest apart. While many children’s events are designed primarily for passive entertainment, this festival encourages participation. 

Parents are not just there to supervise, they are part of the experience. From singing along during performances to joining in on interactive activities, the event is structured to create shared moments, not separate ones.

The festival will feature a wide range of programs designed to appeal to different age groups and interests. Attendees can expect live musical performances, interactive jam sessions, sensory-friendly play zones and creative craft stations throughout the day. Local and national brand activations, along with food and beverage options available also contribute to the event’s well-roundedness. 

Since its launch, Little Jam Fest has continued to grow across South Florida, expanding both its reach and its partnerships. In 2025, the festival was recognized by the City of Miami Beach with an official proclamation declaring “Little Jam Fest Day,” highlighting its increasing cultural presence in the community. 

Past events have also partnered with organizations such as Baptist Health, Nicklaus Children’s Hospital, and the Miami Children’s Museum, strengthening its connection to the local community.

As the festival continues to expand, it shifts from being  a simple event to something more that fosters connection, creativity, and community across South Florida.

Bringing Little Jam Fest to campus creates a stronger connection between the university and the surrounding community, positioning UM as a place where local initiatives can thrive. For students, it’s a reminder that the campus can serve as more than an academic space, it can also be a hub for creative and community-driven experiences.

 

One final chant: Senior Sebastian prepares to unmask

Hannah Valdivia and Daniella Krasney
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One final chant: Senior Sebastian prepares to unmask

Whether you’re lounging by Lake Osceola, cheering in the stands at Hard Rock Stadium or grabbing lunch in the dining hall, chances are you’ve seen Sebastian the Ibis rallying the University of Miami community. 

As a 2025 inductee into the Mascot Hall of Fame, Sebastian has become an unmistakable symbol of Hurricanes spirit — but the students behind the beak remain unknown. 

The students selected to wear the suit work in complete secrecy — balancing classes, friendships and campus life while keeping their identity hidden from nearly everyone around them. It isn’t until graduation that the mask finally comes off.

This semester, the senior Sebastian will walk the Watsco Center graduation stage, revealing themselves for the first time and passing the role to the next generation.

“You feel like a rock star, you have an entire stadium there in front of you. Then you go from that to, okay, I’m myself again,” said the graduating Ibis.

The Miami Hurricane agreed to withhold the student’s identity until he is publicly revealed at graduation.

The student athlete’s “double life” has defined his time at UM. Besides cheering on the ‘Canes at sporting events, Sebastian can be booked for weddings, birthday parties and even corporate meetings during the week.

The student described how he often entered an event as the center of attention, then returned to class as a regular UM student without any of his classmates realizing the mascot sat among them.

“There are times I’ve had an hour between class because I have to do an event in Shalala, for example, and then get back to class [very sweaty],” said Sebastian. “In the last month, I’ve put up 22 appearances and I love it.” 

This student grew up “bleeding orange and green.” Now, he is the captain of the squad of Sebastians, supervising and mentoring each student who dons the mask, supporting the next generation of “hatchlings.”

“It was not something I even thought was possible or a journey I saw myself going on,” Sebastian said. “Now, it’s the only thing I’ve done in college because I give my life to that, and that’s what I’ve done for years.”

Sebastian added that he was not originally in the physical shape needed for the job, but the hiring team felt his passion and determination was deserving of the coveted role.

“I showed up, and they told me when they hired me that I needed to gain fifteen pounds,” Sebastian said. “I know I didn’t get the job based on anything physical, but I had the heart, and I love it.”

Sebastian said that his friends encouraged him to try out because he thought his personality and character were perfect for the job. 

“I kind of just tried out on a whim,” Sebastian said. “I was never one to enjoy the spotlight or being the center of attention, but since then it’s become something I absolutely love.” 

Like many university mascots, the students behind Sebastian remain anonymous until graduation, a tradition that protects the illusion and complicates their everyday lives. To maintain that secrecy, the students often go to great lengths.

“I’ve never been so manipulative in my life,” Sebastian said. “Literally last night, I had to make up the craziest excuse to kick my friend out of my apartment.”

For him, the challenge is not being able to share defining experiences of his college career. 

“[Lying] does honestly suck because it’s such a big part of our lives that I want to tell people about it.” 

Each student-athlete puts in rigorous training to withstand the heat that comes with cheering at football games and outdoor events, even hydrating four days before the game. 

Sebastian shared that he did not take this hydration policy seriously, and he passed out in the football locker room following their first appearance in the costume. He emphasized that the physical toll can be intense, but it’s the emotional payoff that keeps him showing up. 

“All the smiles you put on people’s faces and the experiences we’ve had so far outweigh any negative things associated with this job,” Sebastian said. “It’s not even close.” 

He described the Ibis as the “Mickey Mouse of South Florida”, a character whose vibrant energy electrifies crowds and ignites joy in fans. He explained that this connection is not just felt by the crowd, but by the person behind the mask.

“Just seeing the way that you can bring positive change in other people’s lives brings me up as well,” Sebastian said. “And so it’s been absolutely phenomenal to just see how I can have that impact on people and to bring people together like that.”

The student described his role as “the peak of my life.” He says that he’s learned a lesson of positivity that he will bring with him even after he walks the graduation stage.

“Sebastian brings people together. He brings people joy regardless of their age,” he said. “[I want to] be that person who brings people joy, that people want to be around.” 

As UM’s senior Sebastian walks the stage, his time, talent and heart will shine through as he wears the costume one more time and delivers the final chant: C-A-N-E-S.

Sosa’s two homer afternoon powers Miami past Louisville 10-8

Zach Cohen
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Sosa’s two homer afternoon powers Miami past Louisville 10-8

Playing its final home game of the season at Mark Light Field, the Hurricanes relied on determination and grit to deliver one last victory in front of the Miami faithful, winning 10-8 over Louisville.

Making his first start at first base this season, junior Alex Sosa crushed a 388-foot two-run homer over the right field wall in the bottom of the first inning, giving Miami a 2-1 lead.

Sosa’s home run was his first of four hits amidst a scorching 4-for-5 day at the plate.

He followed up his two-run home run with another in the third inning to deep center field, landing 417 feet away from home plate.

Down 8-7 in the sixth inning, Miami was able to fight back with a three spot in the button of the frame.

Freshman Gabriel Milano roped a base hit to shallow left center to begin the inning. The third baseman has been dazzling offensively in the absence of Daniel Cuvet, hitting .300 and going 5-for-13 over the weekend.

Milano’s single was followed by another two-run home run, this time off the bat of shortstop Vance Sheahan.

With two outs and Max Galvin standing on second, Sosa had his fourth hit of the night, a base knock to right field to extend Miami’s lead 10-8.

David Lebowitz, Photo Editor/ Sophomore Right-handed Pitcher AJ Ciscar watches his pitch on Friday, February 13, 2026.

After a disastrous Saturday night from the Hurricanes bullpen in the game two loss, they were able to bounce back to pick up the series win, stepping up after Sunday starter AJ Ciscar gave up six runs in 2.2 innings. Ciscar has now allowed six runs in three of his last four starts.

Freshman left-hander Sebastian Santos-Olson delivered 2.1 scoreless innings, giving Miami’s offense the opportunity to rally for the comeback victory

Jack Durso and Lyndon Glidewell each threw one inning of no hit baseball to close out the game.

The 6-foot-2 right-hander, Glidewell, painted the corners in the ninth inning, striking out three consecutive batters looking.

Neither starting pitcher had their best outing, as Louisville’s Colton Hartman surrendered six runs on five hits in 2.1 innings. The Cardinals used five pitchers in the losing effort.

Miami hit four home runs off Louisville pitching that included a 427-foot homer from freshman Dylan Dubovik in the bottom of the third inning. Dubovik shined, going 2-for-4.

The Hurricanes’ defense, which has been a cause for concern all season, faltered once in the first inning as Ciscar had a throwing error.

Louisville’s Zion Rose remained hot against Miami pitching, securing two hits including a lead off double which he scored on.

Miami (35-15, 15-12 ACC) outhit Louisville (27-25, 11-16 ACC) 13-10 in Sunday’s slugfest, while Hurricanes pitchers combined to strike out 14 Cardinal batters.

The Hurricanes head to Tallahassee for a three-game series against Florida State beginning Thursday in their final regular-season series of the year. 

With plenty on the line, the matchup between the bitter rivals promises to be must-see baseball. 

First pitch on Thursday is scheduled for 6 p.m.

Five-star cornerback Donte Wright flips commitment from Georgia to Miami

Sebastian Font and Jayden Gonzalez
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Five-star cornerback Donte Wright flips commitment from Georgia to Miami

The Miami Hurricanes have made a major splash at the cornerback position for the class of 2027, flipping five-star Donte Wright from Georgia. 

Wright’s commitment to Miami marks the program’s highest rated cornerback in the modern recruiting ranking era (2000).

Touted as an elite defensive back who has all the tools to be special at the next level, Wright is considered one of the consensus top cornerbacks in the 2027 class across all recruiting platforms — ranked as the No.2 cornerback according to 247Sports.

A 6-foot-1, 170-pound corner, Wright excels in man coverage, completely taking away an opposing team’s number one option. His high school stats reflect that, with very little attempts going his way as he puts receivers on an island in one-on-one scenarios.

The California native sticks to receivers with impressive footwork, matching routes well as he fluidly moves his hips across the field to pair with his speed, as he ran a 10.6 100-yard dash time.

His commitment comes days after the Canes finalized their secondary staff for the 2026 season, following former secondary coach Zac Etheridge’s departure for the Arizona Cardinals in February. On May 6, the program announced the promotion of Terry Jefferson as corners coach and the elevation of Will Harris as secondary coach.

Wright was previously committed to UGA since last summer, but other schools such as Miami, Oregon and UCLA remained squarely in the mix for the Long Beach Poly product. 

The Hurricanes began to surge following his weekend visit in March, where Wright left impressed, citing his fit within Miami’s overall defensive scheme.

He emphasized how UM met all of his expectations upon his visit, hinting at how the Canes were at the top of his list despite the uncertainty with the staff at the time of his visit.

With the staff set, the five-star wasted no time in flipping to Miami, becoming the Hurricanes eleventh commit in the 2027 class, joining local talents Sherrod Gourdine and Jaylyn Jones in the secondary. 

He is also Miami’s third five-star recruit to commit to Miami, joining quarterback Israel Abrams and local wide receiver Nick Lennear.

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