‘Hotel Artemis’ star Jodie Foster takes the WIRED Autocomplete Interview and answers the internet’s most searched questions about herself. How old was Jodie when she filmed ‘Taxi Driver’? Is she married to Mel Gibson? How many Oscars does she have? Does she have children? An accent? Siblings? Is she vegan? Is she a genius? What’s her IQ? Was she ever on the show ‘Bonanza’? What about “Gunsmoke”? How about “Bad News Bears”? Wasn’t she on “Seinfeld”? What’s her real name?
Canada’s Walk of Fame launches the RBC Emerging Musician Program
Canada’s Walk of Fame announces the launch of its sixth annual RBC Emerging Musician Program (formerly the Emerging Artist Music Mentorship Program, supported by RBC), one of Canada’s most successful programs supporting aspiring Canadian musical artists. Valued at more than $100,000, this program provides musicians with the tools needed to take their careers to the next level including private studio time at the prestigious Metalworks Studios, introductions to renowned artists, access to music industry influencers, exposure to audiences and media, as well as artist development and funding. Submissions will be accepted starting today through to Sunday, July 15, 2018 at 11:59 pm ET.
Since its inception in 2013, the RBC Emerging Musician Program has ignited the careers of its Grand Prize Winners including last year’s recipient, Jaryd Stanley, who spoke of the impact the program has had on his budding career in the last six months. “The money I received from the 2017 Grand Prize has allowed me to record and distribute music at major label quality studios, opportunities to perform live at top venues, and most importantly, time to create new music. All the things I need to take my career to the next level. I will always be thankful for such an amazing program,” Stanley said.
Other past Grand Prize winners include 2015’s Ivory Hours who have embarked on three national tours since their win, and NEFE, who opened for Canadian icon Burton Cummings in 2014 during his Canada’s Walk of Fame Festival performance at Massey Hall and went on to sign a recording contract with Universal Music Canada. The inaugural Grand Prize Winner Taylor Kurta performed for Canadian musical heavyweights such as Bob Ezrin, David Foster, and Carly Rae Jepsen as part of her prizing.
“We’re so proud of the RBC Emerging Musician Program and the impact it’s already had on the Canadian songwriters and musicians who have participated over the last five years,” said Jeffrey Latimer, CEO, Canada’s Walk of Fame. “We’ve seen a steady increase in submissions year-over-year and in 2018 we’re especially excited to open the program up to residents of Quebec for the first time! Canada’s Walk of Fame is undergoing a transformation to build a broader national platform that allows Canadians across the country to benefit from programs such as the RBC Emerging Musician Program.”
The Grand Prize Winner will receive a cash prize of $20,000, private studio recording time, an introduction to at least one established music artist, introductions to music industry executives, a public performance opportunity at a Canada’s Walk of Fame event, album cover artwork design and an invitation to attend the 2018 Canada’s Walk of Fame Gala.
Four additional winners will also be chosen. Their prizes will include a cash prize of $6,000 for the Second Prize Winner, a cash prize of $4,000 each for three additional winners and a public performance opportunity at a Canada’s Walk of Fame event later this year.
All winners will also participate in private music industry career development mentorship sessions with A&R professionals, a music agent, and an established artist.
Visit www.canadaswalkoffame.com for details on eligibility and submission requirements.
The winners will be chosen by a selection committee comprised of music industry experts, and will be announced this summer.
Jordana Talsky Performs Alanis Morissette’s “You Oughta Know”
Canadian jazz/pop singer/songwriter Jordana Talsky rose up the ranks in CBCMusic.ca’s 2018 SEARCHLIGHT competition, and out of 100 artists to make the initial cut, Jordana and her quirky, harmony-propelled a cappella hit “Run” landed in the Top 10, and was one of just five homegrown talents to be hand-picked by CBC’s judges was the only jazz entry remaining.
Watch the video for “Run” on YouTube below, and check out her witty and wry rendition of Alanis Morissette’s “You Oughta Know” in celebration of Alanis’ birthday this weekend.
Concert Review and Photo Gallery: Def Leppard with Journey and Peter Frampton at Toronto’s Rogers Centre
All photos and concert review by Mini’s Memories. You can contact her at minismemories@hotmail.com
40,000+ people got rocked at the Rogers Centre in Toronto on Friday and couldn’t be happier about it. Fans of all ages flocked to the downtown core to see not one, not two, but, three iconic bands. Parents brought the new generation to bask in the glory of some hard rocking musicians that they grew up with while they reminisced about times past.
They best way to start this stadium run on a hot almost summers night was with Mr Peter Frampton. This 68 year old puts some musicians half his age to shame. Commanding the stage as his own he played all his “staple” songs as well as paid tribute to the one and only Chris Cornell. At the end of “Black Hole Sun” he raised his arm to the sky and paused for one brief moment as if Chris was looking down on him with approval. Peter we can’t wait for you to come back to Toronto.
Next up was Journey to hit the stage and the Rogers Centre was packed. I can only think of one word to accurately describe Arnel Pineda, “firecracker”. Running and jumping from one end of a massive stage to the other and still managing to sing is not an easy feat, yet Arnel seems to do this with ease.
Nothing but amazing nostalgic songs were performed throughout Journey’s set. Bringing back floods of memories for the thousands in attendance. The fans had no problems belting out the lyrics to quintessential songs like “Wheel In The Sky” or “Faithfully”.
Neal Schon’s ripping guitar solos echoed through the massive stadium, the stage, basking in glowing red lights as Neal’s guitar screamed. There is nothing quite like listening to “O’Canada” Neal style. This isn’t the first time I have seen Journey live and it won’t be my last.
Co-headliner Def Leppard’s massive count down clock slowly counted down the seconds on a screen in front of the stage and as it hit the 2 minute mark people rushed to their seats not wanting to miss a minute of the show. The guitars of “Rocket” started and the screaming audience lept to their feet and stayed that way for the rest of the night.
You sometimes forget how massive the Rogers Centre is until you are standing in the middle of the floor and look all around you at the thousands of people in the stands and Joe Elliott mentioned as much as he addressed the crowd “whoa this is something else ya know” as he looked around the sea of people “we have been coming here a long time but this place is a, this is the first time we have played here …”
The night was full of rock anthems from “Armageddon It” to “Love Bites” but I honestly thought my insides were going to rumble out of my body when they started “Rock On”, Rick Savage left no dust or cobwebs in the rafters at the Rogers Centre, they are now left lying comfortably on the floor.
The night was brought down a notch as the entire band walked down the catwalk and got as close as they could to the massive audience to perform “Two Steps Behind”. Joe asked if they brought their singing voices with them and the fans obliged and sang every word. It isn’t hard to know every word to every Def Leppard song as they have been around for decades.
I have been a long time fan of Def Leppard, longer than I care to admit for fear of aging myself but I hope they continue to rock the masses for a long time to come. If you have a chance to see any of the shows on this tour I highly suggest it, you won’t be disappointed! The fans left the stadium with smiles on their faces, singing into the night.
Once again thanks to the crew because without them there is no show!
Nick Hornby On What Vinyl Provides That Spotify Doesn’t
Nick Hornby, author of High Fidelity and About a Boy, both of which were adapted into feature films showing his protagonists touching upon music and sport. He recently sat down with the Reverb site to discuss vinyl records.
What does a record provide that other formats do not?
Nick Hornby: The reason I started buying vinyl again was that I didn’t think I was making enough of a commitment to music. I’m an enthusiastic user of Spotify, and I’m not enough of an audiophile to tell the difference between the music provided by a streaming service and a pair of good earphones, versus a vinyl record. When audiophiles talk about the obvious superiority of the latter, they forget that most people are not and have never been audiophiles, and that an iPhone and a pair of earbuds can provide better sound than the kind of crappy stereo systems we used to use.
But these things enabled me to pay less attention to the music itself. I skip tracks all the time, I listen to things for twenty seconds before deciding whether I like them, I don’t pay enough for the music I do appreciate. So I decided that whenever I fell in love with an artist or an album, I would do them the courtesy of spending some decent money on their work, sitting in a room and listening to it properly, over the course of twenty minutes or so. It’s stopped my endless skid over the surface of things.
Jimmy Fallon, Camila Cabello, and The Roots Play ‘Havana’ With Classroom Instruments
Camila Cabello joins Jimmy Fallon and The Roots in the Tonight Show Music Room to perform her international hit “Havana” with classroom instruments.
https://youtu.be/P6K9Y6FWo74
David Bowie’s Press Conference Promoting 1. Outside, London, 1995
1. Outside is a concept album first released in September, 1995 by David Bowie and was his reunion with Brian Eno, whom Bowie had worked with on his Berlin Trilogy in the 1970s. Subtitled “The Nathan Adler Diaries: A Hyper-cycle”, Outside centres on the characters of a dystopian world on the eve of the 21st century. The album put Bowie back into the mainstream scene of rock music with its singles “The Hearts Filthy Lesson”, “Strangers When We Meet”, and “Hallo Spaceboy” (remixed by the Pet Shop Boys).
This press conference features a bit of insight into the making of the record, as Bowie and Eno visited the Gugging psychiatric hospital near Vienna, Austria in early 1994 and interviewed and photographed its patients, who were famous for their “Outsider art”. Bowie and Eno brought some of that art back with them into the studio as they worked together in March 1994, coming up with a three-hour piece that was mostly dialogue. Late in 1994, Q magazine asked Bowie to write a diary for 10 days (to later be published in the magazine), but Bowie, fearful his diary would be boring (“…going to a studio, coming home and going to bed”), instead wrote a diary for one of the fictional characters (Nathan Adler) from his earlier improvisation with Eno. Bowie said “Rather than 10 days, it became 15 years in his life!”, and became the basis for the story of 1. Outside.
https://youtu.be/cL23CRklTi0
Pat Boone, Richard Pryor, Ray Charles, The Beach Boys And More Discuss Psychedelia On CBC TV Show, 1968.
The CBC television series Let’s Go was filmed in Vancouver and aired from 1964 to 1968 aimed at teens. The program mainly shows performances and interviews with musicians. This episode looks at the psychedelic hippie culture in the city, and is hosted by a 22-year-old Bill Good
People interviewed include Pat Boone, Richard Pryor, Everly Brothers, Little Richard, Timothy Leary, Ray Charles, Maharishi Mahesh Yogi, and The Beach Boys.
How Much Money Would It Take To Get R.E.M. To Reform? Ummm…
REM announced their end in 2011, and this was one of three previously unheard tracks that featured on a compilation that tied in with their split. Michael Stipe says, “We had fulfilled our contract and it had become evident to us that it was time to either let it devolve into silliness, which none of us wanted, or make the difficult decision of walking away from it on our own terms and let that be that. And then spend the rest of our lives saying, ‘No, we are not going to reform, no, there’s not going to be a return concert or a tour.’ Some guy said to me last night at a cocktail party: ‘I book things for private parties. How much money would it take to put the band together for three songs? No one would ever know about it.’ I said: ‘There’s not enough money in the world.’ And he said: ‘Thank you – I’m a huge fan, and I wanted to know you couldn’t be bought.’ And I thought, that’s cool, and that’s manipulative, and fuck you. As much as we love each other and love what we did, it just shouldn’t happen.”
How INXS’ Michael Hutchence Inspired R.E.M.’s Michael Stipe
R.E.M.’s Strange Currencies, found on their Monster album came from Stipe’s ascension into rock royalty: it was inspired by Michael Hutchence of INXS. “He raised the bar for both myself and Bono. The middle eight of that is completely taken from INXS and from Michael. He was such an amazing rock star. I’m really a little embarrassed by the term rock star. When I met Andy Warhol, he called me a pop star. I said: ‘No I’m the singer in a band.’ He said: ‘No, you’re a pop star.’ ‘No, I’m not.’ OK, well, he won. As it turned out, I’m a pretty good pop star. I’m not a very good rock star – I don’t have the voice for it. I think it’s an odd thing to reach for, to be a rock star.”