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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.

What Labels Are Really Looking For in New Artists Right Now

Let me tell you something that most artists don’t want to hear.

The demo is not the door anymore.

For decades, the dream was simple: record something great, get it to an A&R rep, and wait for the phone to ring. That world is gone. The labels haven’t disappeared — far from it — but the rules of engagement have changed so completely that artists who are still playing by the old playbook are essentially showing up to a digital knife fight with a cassette tape.

So what are labels actually looking for in 2026 and beyond? I’ve been in this business for 30 years. I’ve talked to the people who make these decisions. Here’s the honest truth.

The audience has already voted. That’s what A&R is looking for now.

Pete Ganbarg spent 16 years as President of A&R at Atlantic Records. He signed twenty one pilots. He signed Halestorm. He A&R’d Hamilton. When someone like that talks, you listen.

“Anyone can release music at any point and have it be available to anyone in the world. If people are doing that without any backing, label or production company, and the audience is connecting with it, that’s all I need. My opinion doesn’t matter. The audience has already voted.”

— Pete Ganbarg, former President of A&R, Atlantic Records

Read that again. The audience has already voted. That is the single most important sentence in the music industry right now. Labels are not in the business of discovering potential anymore. They are in the business of amplifying proof.

The data is the demo now.

Modern A&R teams are spending as much time inside Chartmetric and Spotify for Artists dashboards as they are at showcases. According to the 2024 IFPI Global Music Report, streaming now accounts for nearly 67% of total recorded music revenues globally. That digital footprint is everything. According to 2024 Warner Music scout reports, TikTok virality — defined by over one million video uses — outweighs raw follower counts in artist discovery. It’s not about how many people follow you. It’s about how many people are actively doing something with your music.

Getting signed is no longer about creative potential alone — it is about proving you are a sound financial investment. A&R scouts don’t ask “Is this music good?” They ask “Is this artist a good investment?” A 2024 ORCA report revealed that nine top independent labels — including Ninja Tune, XL Recordings, and Secretly Group — invested an average of $236,197 per artist. That’s not a hobby. That’s venture capital thinking applied to music. Labels want to know their bet is as safe as it can be before they write that cheque.

Social media is now a signing criterion. Not a marketing tool. A signing criterion.

The A&R playbook has been rewritten. Social metrics are no longer just a marketing tool — they are a signing criterion. Chelsea Shear, Lead A&R at Monstercat, puts it plainly: she looks for music that aligns with what the label is releasing, what’s current in dance music — and then asks whether the artist and the label can genuinely support each other. It’s a partnership conversation, not an audition.

And the engagement question is crucial. An artist with 150,000 followers and a 9% engagement rate is a fundamentally different proposition than one with 1.5 million followers and 0.4% engagement. The first has a community. The second has an audience that has largely tuned out. Labels know the difference. Don’t think for a second they don’t.

But here’s the thing about great music — it still has to be great.

All the data in the world won’t save a mediocre song. As Ganbarg put it: “The key to success is to have an incredible song performed by an unbelievable artist.” The numbers get you in the room. The music keeps you there. Labels reject 80% of demos due to amateur production — professional standards now require -10 LUFS loudness and 90%+ spectral balance per 2024 AES standards. That’s the bar. Your home studio output needs to sound like it was made for the world, because in 2026, it very well might be.

Genre-blending is not a trend. It’s the strategy.

A&R scouts prioritize artists with distinctive sonic identities that stand out in crowded genres. Genre-blending tracks garnered 28% more streams than pure-genre counterparts, according to the 2024 IFPI Global Music Report — proving labels chase this edge for viral potential. Think about how Tems fused Afrobeats with soulful R&B. Think about what Olivia Rodrigo did blending pop-punk into her debut. The artists breaking through right now are the ones who refuse to stay in one lane — and whose refusal turns out to be exactly what an algorithm rewards.

And don’t forget: you still have to be able to play live.

Ice Spice’s 2024 festival run reportedly helped seal her deal with Capitol despite modest early streaming numbers. Music A&Rs prioritize live performance ability as the ultimate test of artist potential — digital metrics alone fall short. Touring is how labels recoup. It’s how artists build real fans. A great TikTok account that can’t hold a crowd of 500 people is a problem waiting to happen.

The bottom line? Labels are not your launch pad anymore. They’re your accelerant.

In 2026, record labels are far more cautious because they prioritize artists who have already gained traction rather than taking a gamble on raw, unproven talent. Labels don’t just sign talent. They sign relationships. They’re looking for people who are already building momentum, showing up consistently, and treating their career like something real.

Build the audience first. Make the music undeniable. Let the data tell the story.

Then let them come to you.

Video: Bob Dylan’s Shadow Kingdom Brings an Intimate Early Catalog Performance to Digital

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Shadow Kingdom, the 2021 concert film billed as “The Early Songs of Bob Dylan,” is now available on digital via Sony Pictures, and it remains one of the most quietly extraordinary things Dylan has put his name to in years. Filmed in an intimate setting with a small ensemble, the performance strips back decades of mythology to focus purely on the songs, including “Forever Young,” “I’ll Be Your Baby Tonight,” and “It’s All Over Now, Baby Blue,” delivered with the kind of unhurried authority that only comes from an artist who has been living inside this material for sixty-plus years.

Video: The Last Time Pink Floyd Was Complete: David Gilmour, Roger Waters, Nick Mason, and Richard Wright at Live 8 in 2005

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On July 2, 2005, Pink Floyd took the stage at the Live 8 concert in London for what would become one of the most significant moments in rock history. It was the first time the classic quartet of David Gilmour, Roger Waters, Nick Mason, and Richard Wright had performed together in over 24 years, their last show with Waters having been at Earls Court on June 17, 1981. They played four songs, “Speak to Me/Breathe/Breathe (Reprise),” “Money,” “Wish You Were Here,” and “Comfortably Numb,” and the weight of the reunion was felt in every note. Richard Wright passed away in 2008, making this performance the last time all four original members shared a stage. The full concert remains one of the most watched live music documents on YouTube.


Mammoth Deliver a Captivating Live Performance of “The Spell” on The Zane Lowe Show on Apple Music Radio

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Mammoth, the band led by Grammy-nominated songwriter, vocalist, multi-instrumentalist, and producer Wolfgang Van Halen, stopped by The Zane Lowe Show on Apple Music Radio to deliver an acoustic performance of “The Spell,” and it is exactly as compelling as you would expect from a track that just earned the band their fourth number 1 on the Billboard Mainstream Rock Airplay chart. Wolfgang leads on acoustic guitar and vocals while bassist Ronnie Ficarro holds it down on a Music Man, the contrast between the light, open guitars and the depth of the bass making for a performance that feels relaxed but tight. “The Spell” comes from Mammoth’s third album ‘The End’, released in October 2025 via BMG, recorded by Wolfgang operating in one-man band mode, playing every instrument and singing every vocal himself.

The band has toured globally with Metallica and Pantera, supported Foo Fighters in North America, and appeared on Jimmy Kimmel Live! and at the MusiCares 2024 gala honoring Jon Bon Jovi. This acoustic session is a reminder that the songs hold up in any setting.

Gotye and Kimbra Deliver a Stunning Live Rendition of “Somebody That I Used To Know” at You Oughta Know

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Gotye and Kimbra reunited on stage at You Oughta Know to perform “Somebody That I Used To Know,” and the live version is every bit as powerful as the recording that became one of the most streamed songs of its era. The clip has accumulated nearly 32 million views and serves as a reminder of just how extraordinary this song remains in any setting.

Musician Opportunity: VIA Rail Canada Launches Artists on Board Program for Summer 2026

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Calling all Canadian musicians, this is your ticket to take your music across the country.

VIA Rail Canada has officially opened applications for its Artists on Board program for summer 2026, offering artists a one-of-a-kind opportunity to perform while travelling through some of Canada’s most breathtaking landscapes.

Selected musicians will perform onboard two of VIA Rail’s most iconic routes, The Canadian and The Ocean, sharing their music with passengers from coast to coast. In return, artists receive complimentary or reduced fare travel, making this as much an adventure as it is a performance opportunity.

It’s a rare chance to trade traditional venues for panoramic views, connect with new audiences, and experience Canada in motion, all while doing what you love.

Applications are open now through April 30, 2026.

Learn more and apply here: https://corpo.viarail.ca/en/community-engagement/artists

Morrissey and The Smashing Pumpkins to Headline Darker Waves 2026

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Morrissey and The Smashing Pumpkins will headline Darker Waves Festival on November 14, 2026 in Huntington Beach, CA. Returning to Huntington Beach City Beach at Huntington Street and Pacific Coast Highway, the ocean-side festival will feature legendary performances from over 35 artists across three stages including Simple Minds, Bad Religion, Adam Ant, The Psychedelic Furs, Soft Cell, The Damned, Manic Street Preachers, Gary Numan, Silversun Pickups, Buzzcocks, EMF, Circle Jerks, Spacehog, Marky Ramone and more. Fans can sign up now for the festival SMS list at DarkerWavesFest.com to receive a passcode to the presale beginning Thursday, April 2 at 10am PT with access to the lowest-priced GA tickets from 10am to 11am PT. GA, GA+, VIP, and Ultimate VIP Tickets will be available, with layaway payment plans starting at $19.99 down. Any remaining tickets will go on sale to the public following the presale.

GA+ tickets include access to the exclusive GA+ Lounge with shaded seating and air-conditioned restrooms, plus a dedicated entry lane at the festival main entrance, and more. VIP tickets include unlimited entry into the VIP Lounge with preferred viewing area by the main stage, charging stations, air-conditioned restrooms, dedicated entry lane at the festival main entrance and more. Ultimate VIP tickets feature all amenities of VIP, plus access to elevated and unobstructed views of both main stages with shaded open lounge seating, dedicated VIP concierge team, a complimentary locker to store personal items, three complimentary drinks including choice of craft cocktails, beer, wine or non-alcoholic beverages, a complimentary meal redeemable for exclusive food options in the VIP Lounge and more.

Official Darker Waves vacation packages from Jampack pair GA, GA+, or VIP tickets with beachfront stays at the Hyatt Regency Huntington Beach Resort & Spa or The Waterfront Beach Resort, a Hilton Hotel, and more. Bundles include a dedicated entrance, re-entry access, and commemorative merch.

For tickets and the full list of amenities available in each ticket package, please visit DarkerWavesFest.com.

Christopher North, Founding Keyboardist of Ambrosia and ‘Hammond B3 King,’ Dead at 75

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Christopher North, the founding keyboardist of Grammy-nominated rock band Ambrosia and the sonic architect behind some of the most distinctive progressive and soft rock of the 1970s and 1980s, has died. He was 75. The band announced his passing on their Facebook page on March 30. No official cause of death has been confirmed, though North had survived a battle with throat cancer in 2025, was struck by a speeding vehicle outside a Santa Monica restaurant in October of that year, and subsequently developed pneumonia. Bandmate David Pack addressed it directly in his own tribute: “It took him being hit by a car full speed while simply walking into his favorite restaurant in Santa Monica to finally take him out.”

North was born in San Francisco in 1951 and was playing in bands by the age of 13. He co-founded Ambrosia in 1970 alongside Pack, bassist Joe Puerta, and drummer Burleigh Drummond. The discovery story is one of rock’s better ones. Puerta recalled stumbling across North in a backyard shed: “There was a coffin with speakers in it. And at the end of the room, Chris was there, playing the organ with a bottle of wine on the top, smoking a cigarette, and there was a girl massaging his shoulders as he played. So I go, ‘We gotta get this guy in the band.'” Pack put it more succinctly: “He was dark, mysterious, played the hell out of a Hammond B3, and was a bluesman who liked to rock.”

Ambrosia’s self-titled debut arrived in 1975, notable for including “Nice, Nice, Very Nice,” which set a Kurt Vonnegut poem from Cat’s Cradle to music. The band went on to score five Top 40 singles between 1975 and 1980, including “Holdin’ On to Yesterday,” “How Much I Feel,” “Biggest Part of Me,” and “You’re the Only Woman (You & I).” North briefly left the group in 1977 over what Pack described as “serious mental and physical problems,” but returned for the band’s most commercially successful period. All four original members also contributed to The Alan Parsons Project’s landmark debut ‘Tales of Mystery and Imagination’ in 1976. North continued touring with Ambrosia into the 2020s, remaining a ferocious and commanding live presence right to the end. “Most nights he’d bloody his hands on the B3 or break off keys,” Pack said. “Ferocious is an understatement.”

The band’s tribute captured him completely: “A founding member since 1970, he was a keyboard wizard who brought an unmatched intensity and emotional depth to every performance. Christopher North’s work did more than just fill airwaves; it created ‘aural landscapes’ that balanced virtuosity with soulful, radio-friendly hooks. He was truly one of a kind.” He is survived by his brother Richard, son Reed, and daughter Crystal.