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Guitar Center Is Hosting Its First-Ever Industry Expo and Nashville Is the Perfect Place for It

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Guitar Center has spent more than 60 years as the country’s leading musical instrument retailer. On April 9, the company takes a significant step into new territory. Resonate, Guitar Center Business Solutions’ inaugural industry expo, opens at Nashville’s Music City Center, a free one-day event built around the accelerating convergence of pro audio, commercial AV, control systems, and enterprise technology.

The event runs 10 a.m. to 6 p.m. CDT and targets a wide cross-section of the industry, including AV and IT leaders, integrators, consultants, studio owners, educators, venue operators, and decision-makers across corporate, healthcare, worship, hospitality, and live entertainment sectors. Hands-on demos and expert-led sessions cover networked audio, collaboration platforms, video and LED display, control and automation, and integrated distribution workflows. Platinum sponsors Shure, QSC, Logitech, DVS LED Systems, and Electro-Voice anchor the expo floor.

The programming goes beyond gear. Keynote speaker Micheal Burt, founder of The Greatness Factory and an international speaker and best-selling author, opens the day with a focus on leadership and performance, framing the human side of technology implementation. A Custom House Songwriter’s Round features Nashville hitmakers including Josh Phillips, the writer behind Cody Johnson’s 2025 ACM Song of the Year “Dirt Cheap,” and Brock Berryhill, a co-writer behind Jelly Roll’s 2025 ACM Album of the Year nomination.

“We created Resonate as systems are converging faster than organizations can adapt, and the industry needs clearer leadership around how everything connects,” said Curtis Heath, president of Guitar Center Business Solutions. Resonate is the public face of that leadership, and its Nashville location is no accident. The city represents exactly the kind of creative-meets-commercial intersection Guitar Center Business Solutions was built to serve. Registration is free and space is limited.

Country Legend Ty Herndon Holds Nothing Back in Powerful New Memoir ‘What Mattered Most’

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Ty Herndon has carried a lot of weight over a long career, and ‘What Mattered Most’ puts all of it on the table. The legendary country singer, known for his hits “Living in a Moment” and “It Must Be Love,” has released his memoir in full, written alongside celebrated biographer David Ritz, whose credits include Marvin Gaye, Janet Jackson, and Willie Nelson. In a new interview with GLAAD’s Anthony Allen Ramos, Herndon opens up about why telling this story on his own terms was the only way it could be told.

The memoir covers territory Herndon kept private for decades. Living as a gay man in secret through the height of his career. A traumatic 1995 encounter with an unidentified police officer that lasted seven hours. Sexual assault he was told never to speak of, and carried alone until the age of 57. “To get into that space, and the breath that I took, the exhale that I took when I finally got to speak of it,” Herndon said in the interview. The book does not shy away from any of it.

Herndon speaks with particular clarity about why he chose to come forward as a male survivor of sexual assault. “We’ve seen so many brave women who’ve come forward and changed the world with their stories, but there’s still a massive silence around men, and I wanted to break that glass,” he said. The memoir is not about naming names or seeking forgiveness. It is about reclaiming integrity, and Herndon makes that distinction with real force.

The personal passages carry equal weight. Herndon reflects on a past relationship he calls one of the great loves of his life, on reconnecting with his late father, and on his mother Mama Peggy, who read the book and met him for coffee afterward with a single question: “Son, I love you. How does redemption feel?” He also speaks about his husband, Alex Schwartz, with warmth and relief. ‘What Mattered Most’ is the account of a man who found his way back to himself. It is essential reading.

French Rock Duo Chevreuil Unveil “Ordrus” Video as Comeback Double Album ‘Stadium’ Arrives April 24

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Chevreuil have been building sonic architecture since 1998, and their return is anything but quiet. The French rock duo of Julien F. and Tony C., who met at art school in 1995 and have treated the concept of a band as a performative installation ever since, unveil “Ordrus” today, the third single from their forthcoming comeback double album ‘Stadium,’ arriving April 24 through Computer Students.

“Ordrus” opens with martial, deep drumming before fracturing into layered guitar textures that feel simultaneously disorienting and inevitable. It functions as both standalone interlude and connective tissue, a compressed, haiku-like moment that captures the larger motion of ‘Stadium’ in miniature. The track is a precise entry point into what the full record promises: a listening experience that operates more like an environment than a sequence of songs.

Chevreuil’s approach has always been structural. Tony’s guitar runs through four amplifiers arranged in a quadraphonic field around Julien’s unamplified 1976 Ludwig kit, the same year both musicians were born. No bassist, no fixed venue requirements, just one outlet and the physics of sound moving through space. ‘Stadium’ preserves those core conditions while expanding the conceptual frame, drawing on the music of the spheres, magnetism, radioactivity, barometric oscillations, astrometry, and magic as lenses for vibration and transformation.

The double LP is organized into two four-piece sequences per side, structured to function as parallel albums or a single continuum. Every variation across the sixteen tracks arises purely from performance, with identical recording settings maintained from tracking through mastering. The physical release arrives as a 180-gram, 33rpm double 12″ in a reverse-board gatefold. A deluxe edition adds a 12-page codex documenting the band’s full recording configuration, housed in Computer Students’ sealed aluminum sleeve. A limited colored-vinyl edition is available exclusively through the Computer Students website. CD, cassette, and digital formats are also available.

‘Stadium’ Tracklist:

Alliage

Tartarus

Aria

Ordrus

Plexus

Theorus Macrocosmus

Mortalis

Hypnosis

Magnus

Corpus

Quantum

Sanctus

Profundis

Cerberus

Opus

Atoll II

Masked Canadian Math Rock Duo Angine de Poitrine Bring ‘Vol. II’ and a Full EU and UK Tour This Fall

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Angine de Poitrine have earned their moment, and they are moving fast to meet it. The masked Canadian math rock duo, known to the world as Khn de Poitrine on microtonal guitars and vocals and Klek de Poitrine on percussion and vocals, have announced a full EU and UK tour this October, following a sold-out UK run next month and festival appearances through the summer. The demand is real and the momentum is undeniable.

The October run opens October 13 in Bristol and moves through Glasgow, Dublin, Leeds, and London before crossing into France, Belgium, Germany, and the Netherlands. The stretch closes November 1 in Groningen at VERA, with a festival appearance at Amsterdam’s London Calling Festival on October 31. Twelve dates across two continents worth of venues that, based on recent history, may not stay available for long.

Driving all of it is ‘Vol. II,’ the duo’s second studio album, released April 2 through Spectacles Bonzaï. It follows their 2024 debut, ‘Angine De Poitrine Vol. 1,’ and arrives with serious context behind it. Their Live At KEXP session on YouTube has surpassed 6.2 million views, an extraordinary number for an instrumental math rock act and a testament to how viscerally their music translates on screen.

Angine de Poitrine play with a precision and physicality that rewards both the close listener and the first-time viewer. ‘Vol. II’ gives a new entry point to an act that has already converted millions from casual clicks into genuine devotion. The tour is the live argument for everything the record makes on record.

Angine de Poitrine EU and UK Tour Dates:

Oct 13: Bristol, UK, Prospect Building

Oct 14: Glasgow, UK, SWG3 Galvanizers

Oct 16: Dublin, UK, Opium

Oct 18: Leeds, UK, Project House

Oct 19: London, UK, Troxy

Oct 21: Paris, FRA, Elysee Montmarte

Oct 24: Lyon, FRA, L’Épicerie Moderne

Oct 25: Antwerp, BEL, Trix

Oct 27: Berlin, GER, Festsaal Kreuzberg

Oct 28: Hamburg, GER, Molotow

Oct 29: Heidelberg, GER, Metropolink

Oct 31: Amsterdam, NED, London Calling Festival

Nov 1: Groningen, NED, VERA

Florida Swamp Rockers Gunshine Drop “Single Looks Good On You” With Album ‘Grand Rising’ Due This Summer

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Gunshine are building real momentum heading into summer. The Pensacola, Florida rockers have released their third single, “Single Looks Good On You,” a gulf coast-soaked anthem built for warm weather and wide-open spaces. It carries the band’s signature swamp rock sound, hooky and immediate, with the kind of melodic instinct that sticks well after the first spin. Listen here.

The track was recorded in Vancouver at The Armoury with producer Brian Howes, whose credits include Nickelback, Skillet, Hinder, and Simple Plan, and mixed and mastered by Chris Collier, who has worked with Korn, Mick Mars, and Whitesnake. That production pedigree comes through in the track’s sonic punch. “Single Looks Good On You” hits with the polish of a band that knows exactly what it wants to sound like.

The single is a preview of ‘Grand Rising,’ a 13-track full-length arriving digitally on July 24 through vnclm_ and Create Music Group. The album was largely tracked in Las Vegas with Collier, who has been working with guitarist and vocalist Austin Ingerman for close to nine years. “He’s incredibly talented, has a great ear, and adds a heavy hitting production value that makes the songs sonically translate very well,” Ingerman said. Physical copies on CD and double vinyl, along with exclusive merchandise, are available now at gunshine.diggers.store.

Gunshine have always operated at the intersection of raw rock attitude and sharp pop instinct, and ‘Grand Rising’ pushes that combination further than anything they’ve released before. Thirteen tracks, each one built to stand on its own. The album also features a guest appearance by Michael Starr on “Shark Lounge,” adding another high-wattage moment to an already loaded tracklist.

‘Grand Rising’ Tracklist:

Grand Rising

Finite

Goth Girl

Single Looks Good On You

My Oh Miley

Mystery

Man Down

Leave the Light On

I Know You Love Me

Capt’n Save a Hoe

Shark Lounge (feat. Michael Starr)

Valentine

Table Dancing

Tesla and W.A.S.P. Veterans Unite With Saliva’s Josey Scott to Launch Hard Rock Supergroup T3rminal

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T3rminal is a real band, and the roster demands attention. Brian Wheat and Tommy Skeoch, both veterans of Tesla, have joined with Josey Scott, the original voice of Saliva, and Chris Holmes, longtime guitarist of W.A.S.P., to form a new modern hard rock outfit built on decades of combined stage time and studio experience. This is not a reunion. This is something new.

Rounding out the lineup on drums for the studio recording is Sal Giancarelli of Staind, whose presence only deepens the collective firepower in the room. The band is currently in production on their debut full-length album, expected later this year. What’s taking shape is loud, heavy, and by all accounts uncompromising, with a bluesy undertow that gives the material some real range.

The chemistry already sounds like it goes beyond a curated lineup. The band has shared footage from the studio sessions, and it shows a group locked in and working with purpose. With players who have each spent careers in front of massive rock audiences, T3rminal enters the picture with zero learning curve.

Tour dates will follow the album’s release. Given who is involved, those announcements will move fast when they come. Keep this one on your radar.

Fresh Off His Fifth JUNO Win, Toronto Rapper TOBi Drops Jazz-Driven Live EP ‘For Good Measure’

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TOBi has had quite a week. The Nigerian-born, Brampton-raised rapper and singer arrives at April 1 with a fifth career JUNO Award in hand and a brand new project ready for the world. ‘For Good Measure,’ released today via ADA Canada, is a seven-track live EP that pulls from TOBi’s catalog and routes it through a jazz lens, capturing something rawer and more immediate than a conventional studio release. Listen here.

The project originated from a session last year in Toronto, where TOBi and producer Nick Ferraro started experimenting with a jazz-quartet reimagining of “Hoodwinked,” TOBi’s 2022 single. That single experiment opened into something larger. Over two days in September, TOBi, Ferraro, and musicians Jeremiah, Noam, and Julian recorded the entire EP live off the floor at Dreamhouse Studios. The result is unguarded and deeply musical, with TOBi’s vocal range and instincts front and center.

The EP’s lead track, “City Blues,” anchors the release with a live visual. It’s the kind of performance that reminds you how much space a great vocalist can fill without a single production trick. TOBi’s voice carries the weight of the whole set.

The timing of ‘For Good Measure’ lands with real momentum behind it. Last weekend, TOBi took home the JUNO Award for Rap Single of the Year alongside Canadian music legends Jully Black and Saukrates, adding to a run that includes a Best Rap Album win at the 2024 JUNOs for his critically praised album ‘PANIC.’ Billboard, Rolling Stone, Pitchfork, and COLORS have all taken notice. This is an artist operating at the height of his powers.

For Good Measure Tracklist:

Someone I Knew (at Dreamhouse Studios)

City Blues (at Dreamhouse Studios)

Hoodwinked (at Dreamhouse Studios)

Flowers (at Dreamhouse Studios)

Feel (voice memo)

Keep From Falling (at Dreamhouse Studios)

Shine (at Dreamhouse Studios)

SiriusXM Brings Masters Week to Life With Kevin Kisner, Jack Nicklaus and Deep Broadcast Lineup

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SiriusXM, the exclusive audio broadcaster of the Masters Tournament, today announced its comprehensive programming plans for Masters week, April 6-12, at storied Augusta National Golf Club in Augusta, GA.

SiriusXM Canada’s coverage will feature new voices in the broadcast booth, exclusive commentary from legendary players, and extensive programming originating from Augusta National throughout Tournament week.

Four-time tour winner Kevin Kisner will be joining the SiriusXM team as one of the lead analysts alongside play-by-play voice Taylor Zarzour at Augusta National this spring. Kisner, who grew up in Aiken, SC, roughly 20 miles from Augusta, will serve as the analyst for SiriusXM’s coverage of the Saturday and Sunday Tournament rounds. Kisner played college golf at the University of Georgia and competed in eight Masters, finishing in the top 25 in 2019.

“Having grown up near Augusta on the Georgia/South Carolina state line, and then having the great privilege of competing in the Masters, the Tournament is incredibly special to me. There is truly nothing else like it, and I’m thrilled to join the SiriusXM broadcast team,” Kisner said. “Beyond competing, I genuinely love calling the game—breaking down and describing the play, the strategy, the unique pressure, everything that makes golf great. It will be a lot of fun bringing the experience of the Masters, one of the best events in all of sports, to golf fans across North America on SiriusXM.”

Brad Faxon, who competed in 12 Masters with two top-10 finishes (1993 and 2001), and Brendon de Jonge, who competed in the 2014 Masters, will serve as analysts for the Thursday and Friday rounds.

During Thursday’s first-round coverage, SiriusXM will feature a new sit-down interview with six-time Masters champion Jack Nicklaus, along with his son, Jack II. This year marks the 40th anniversary of Nicklaus winning his sixth Green Jacket—and the last of his record 18 professional major championship titles—in extraordinary fashion. With Jack II as Nicklaus’ caddie, his 1986 victory remains one of the most celebrated moments in golf history. 

SiriusXM’s live Tournament broadcast will air each day – Thursday, April 9, through Sunday, April 12 – starting at 2 pm ET and run through the completion of play. In addition to commentary from the experts in the booth, listeners will hear live commentary from the course from veteran broadcasters Emilia Doran, John Maginnes and Brian Katrek. 1982 Masters champion Craig Stadler will join the broadcast during Saturday’s round.

“Each year the Masters is one of the most anticipated events on the sports calendar, and each year our team meets the moment with a level of coverage you won’t find anywhere else,” said Scott Greenstein, SiriusXM’s President and Chief Content Officer. “From our live on-the-grounds coverage of this year’s Tournament to programming that celebrates the Masters’ rich history, we’re covering it all. No matter where you’re listening from, our voices will make you feel like you are on the iconic grounds of Augusta National.”

Each day before the official broadcast begins, SiriusXM will provide live look-in coverage of featured groups during its programming in the morning and early afternoon so listeners can get up-to-the-moment coverage of groups playing earlier in the day. This early coverage will feature commentary from Steve Melnyk, Carl Paulson, Drew Stoltz, Gary Williams, George Savaricas and David Marr III.

Masters Radio on SiriusXM will be available to SiriusXM listeners across North America in their cars (channel 92) and on the SiriusXM app.

Masters Radio on SiriusXM will also offer extensive programming beyond the live Tournament broadcasts. Listeners can tune in for coverage of other events from the week, including the final round of the Augusta National Women’s Amateur, and daily original programming. Highlights of the programming include:

  • Augusta National Women’s Amateur: Masters Radio on SiriusXM will offer live coverage of the final round of the Augusta National Women’s Amateur on Saturday, April 4 (noon – 3 pm ET). SiriusXM’s Chantel McCabe and Fred Albers will host the broadcast.
  • “Grand Slam Rors at Augusta:” Taylor Zarzour will narrate an hour-long special on Rory McIlroy one year after his enthralling Masters victory and the completion of his career Grand Slam. The program examines the arc of McIlroy’s career, from the high expectations that followed him from a young age, through the highlights, heartbreaks and perseverance that enabled him to ultimately join golf’s most exclusive group. The storytelling integrates original Masters Radio calls from last year’s Tournament, and reflections from broadcasters and journalists from the U.S. and abroad who have chronicled McIlroy’s career journey. The special debuts April 6 at 8 pm ET and will be available on demand on the SiriusXM app.
  • Honorary Starters Ceremony: On Thursday morning, April 9, SiriusXM will have live coverage of the Honorary Starters Ceremony and the opening tee shots of Jack Nicklaus, Gary Player and Tom Watson.

SiriusXM’s daily schedule of programming, hosted by a roster of players, instructors and other experts, will keep listeners up to date on all the latest news throughout Masters week. For more on SiriusXM’s golf programming and a schedule of shows, click here.

Jessie Jones Made the World Laugh. That Was Always the Plan.

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Jessie Jones didn’t just write comedy. She lived it. From a tiny town in the Texas Panhandle, through the living rooms of Hollywood, to stages in every U.S. state and more than 25 countries, Jones spent her 75 years making people laugh — professionally, joyfully, and on a scale that staggers the imagination. She died on March 20, 2026, after a long illness. Her writing partner Jamie Wooten confirmed the news.

Born August 21, 1950 — the middle of three sisters, “the blonde one” — Jones studied theater at the University of Texas at Austin and famously financed her entire move to New York City by baking and delivering homemade cheesecakes with her future collaborator Nicholas Hope. Business boomed. It was a preview of everything she’d do next.

From the late 1980s through the early 2000s, Jones was a fixture in American living rooms. She guested on Night Court, Newhart, Designing Women, Who’s the Boss?, Perfect Strangers, Grace Under Fire, Melrose Place, Judging Amy and Cold Case, among others. Her most beloved TV moment came on the Season 3 premiere of Murphy Brown, where she played Mrs. Betty Hooley — a woman pulled at random from the phone book to be interviewed on-air who turns out to be an unabashed bigot, sending the whole segment spectacularly sideways. Jones played it opposite Candice Bergen with fearless comedic precision. It is, as her own obituary instructs, well worth looking up.

By the mid-2000s, Jones had pivoted to playwriting full-time — and the results were extraordinary. Alongside Nicholas Hope and Jamie Wooten, she formed Jones Hope Wooten, a trio that became one of the most produced writing partnerships in American theater history. Their Southern funeral comedy Dearly Departed toured nationally for decades and was adapted into the 2001 Fox Searchlight film Kingdom Come, starring Whoopi Goldberg and LL Cool J. Their full catalogue — more than two dozen warm, witty plays including The Sweet Delilah Swim Club and The Savannah Sipping Society — has been performed over 100,000 times worldwide. Jessie Jones was, simply put, the most-produced female playwright in America.

In the spaces between all that creative output, Jones attended culinary school, taught salsa dancing, and traveled to everywhere from the Galapagos to Easter Island. She was, as Wooten wrote, “the very definition of the word vivacious.” Her final word was reported to be simply: “beautiful.” It couldn’t have been more apt. At her own request, there will be no formal memorial — Jones felt that every performance of one of her plays was already a celebration. She is survived by her sisters Ellen and Laura, and by the laughter of every audience that ever filled a theater to see her work.

Nobody Knows How April Fools’ Day Started. And That’s Kind of Perfect.

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Happy April Fools’ Day.

Now. Quick question. Do you actually know where this day came from?

Because here’s the punchline: nobody does. Not really. Historians have been arguing about it for over a century. Folklorists have filled entire books trying to pin it down. And the best answer anyone can give you is basically a shrug followed by “probably France? Maybe Rome? Could be a rooster.”

Which, honestly, feels exactly right for a holiday built around confusion.

Let’s go through the theories. Because they’re all great.

Theory #1: France changed its calendar and nobody got the memo.

This is the big one. The one most historians lean toward, even if they’ll quietly admit it’s not airtight.

Here’s the setup. In 1564, King Charles IX of France signed the Edict of Roussillon, officially moving the start of the new year from April 1 to January 1. France had been celebrating New Year’s Day around the spring equinox — right around the end of March and into April — for centuries. Under the old Julian calendar, established by Julius Caesar, that’s just how things worked. Spring meant new year. Parties, feasts, celebrations.

But now? January 1. Done. Move on. Happy new year, everyone.

Except news traveled by horse in 1564. And not everyone got the memo. Or refused to accept it. So some people kept right on celebrating in the spring — and those people became the butt of everyone else’s jokes. They were mocked. Pranked. Had fake gifts left at their doors. Called “April Fools.”

“Those who were slow to get the news or failed to recognize that the start of the new year had moved to January 1 and continued to celebrate it during the last week of March through April 1 became the butt of jokes and hoaxes.”

— History.com, tracing the French calendar theory

There’s just one problem with this theory. A Flemish poet named Eduard de Dene wrote a comic poem in 1561 — three years before the Edict of Roussillon — about a nobleman who sent his servant on ridiculous, pointless errands on April 1. The servant’s whole complaint? That he was being made a fool. Sound familiar? That’s April Fools’ Day in black and white, predating the calendar change that’s supposed to explain it.

So the calendar theory might be wrong. Or it might be one piece of a much bigger, messier puzzle.

Theory #2: Ancient Rome was already doing this.

Historians have also traced April Fools’ back to Hilaria — a Roman spring festival celebrated at the end of March in honour of the goddess Cybele. Described as a “masked carnival marked by licentious behaviour,” Hilaria was essentially a day when Romans dressed in disguises, imitated other people, and mocked anyone who walked by — including magistrates. Nobody was safe. The whole point was joyful chaos.

The idea that April 1 carries an echo of ancient Roman mischief? That’s not a stretch. Spring has always been the season when human beings feel like acting up. It’s warmer, it’s bright, and after months of winter, people collectively lose their minds a little bit.

Even Mother Nature gets in on it. Some historians point out that the unpredictability of early spring weather — snow one day, sunshine the next — could itself be the original joke. Nature is fooling you. You’re the April fish.

Theory #3: Geoffrey Chaucer wrote about it. Probably. Maybe.

In The Canterbury Tales, published around 1392, Chaucer’s “Nun’s Priest’s Tale” tells the story of Chanticleer — a rooster who dreams he’ll be attacked by a fox, gets talked out of trusting his dream by a hen, and then gets grabbed by the neck by that exact fox while mid-song. The rooster eventually outwits the fox. Nobody comes out looking great.

The poem places these events “thirty-two days after March began.” Thirty-two days from March 1 is April 1. April Fools’ Day in verse, 600 years ago. Case closed!

Except no. Scholars think a medieval scribe may have introduced a typo. Other lines in the poem suggest the date is actually early May. So either Chaucer invented April Fools’ Day or he didn’t, and we’ll never know for certain. Which is very on-brand for this holiday.

France gave us the paper fish. And it’s the best thing.

Whatever its origins, France took the holiday and ran with it. The French tradition is called Poisson d’Avril — “April Fish.” One of the first known references appears in a 1508 poem by Eloy d’Amerval. The prank? Sneak up behind someone and stick a paper fish on their back without them noticing. Then yell “Poisson d’Avril!” The idea is that a young fish in spring is naive and easily caught. You, the person with a fish on your back, are that naive young fish.

France, Belgium, Italy, and French-speaking Switzerland still do this today. Right now. This morning. Someone is getting a paper fish stuck to their back in Lyon and has absolutely no idea.

Scotland made it a two-day event. Because of course they did.

Leave it to Scotland to decide one day of foolishness wasn’t enough. The Scottish tradition started with Huntigowk Day — “hunting the gowk,” where a gowk is a cuckoo bird, which is a symbol of a fool. The prank was elegant: you’d give someone a sealed letter to deliver, supposedly asking for urgent help. When the recipient opened it, they’d find a message inside that said simply: “Send the fool further.” So they’d send the messenger on to the next person. Who’d open the letter. Who’d send them on again. This could go on all day.

Day two was called Tailie Day. The entire point was pinning things to people’s backsides without them noticing. Fake tails. “Kick me” signs. Scotland invented the “kick me” sign. This is historical fact and it’s wonderful.

So. Where did it really come from?

Here’s the honest answer. We don’t know. As folklorist Alan Dundes wrote back in 1988: “More than one hundred years of scholarship has unfortunately added very little to our knowledge and understanding of this curious custom.” And that was almost 40 years ago. We’re no closer.

What we do know is that spring has always made human beings want to be ridiculous. The Romans did it. Medieval Europe did it. The French, the Scots, the Dutch — who apparently still fling herring at their neighbours and yell “haringgek” (“herring fool”) — all of them found ways to mark the season with sanctioned nonsense.

The first clear mention of the holiday in English comes from antiquarian John Aubrey in 1686, who called it simply “Fooles Holy Day” and noted that it was observed everywhere in Germany too. And even by 1760, nobody could explain it. Poor Robin’s Almanac that year printed these lines:

“The First of April some do say / Is set apart for all Fool’s Day / But why the people call it so / Nor I nor they themselves do know.”

— Poor Robin’s Almanac, 1760

In 1760, nobody knew. In 2026, nobody knows. The holiday has outlasted every attempt to explain it.

Which makes April Fools’ Day the longest-running joke in human history.

And the best part? The joke is on anyone who tries too hard to figure it out.

Happy April 1st. Watch your back. Literally.