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5 Surprising Facts About Janet Jackson’s ‘Rhythm Nation 1814’

Eric Alper
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5 Surprising Facts About Janet Jackson’s ‘Rhythm Nation 1814’

In 1989, Janet Jackson stood at the height of her power — and chose a path paved not only with hooks and heat, but with hope. Rhythm Nation 1814 arrived like a declaration: militant style, industrial sounds, socially conscious lyrics, and choreography sharp enough to cut through apathy. With Jimmy Jam and Terry Lewis at her side, Janet created a concept album that danced with purpose and spoke to an entire generation.

1. The “1814” in the Title? That’s a Triple-Barreled Symbol
Most fans know “1814” marks the year The Star-Spangled Banner was written, aligning with Janet’s vision of a new kind of patriotic anthem. But dig deeper: “R” and “N” — the initials for “Rhythm Nation” — are the 18th and 14th letters of the alphabet. That alignment was a happy accident, according to Jackson, but it’s too poetic to ignore. And get this: Janet once described her crew of working-class friends as their own little nation — roller rink guards, waitresses, bike messengers — all bound together by music. Rhythm Nation 1814 became a soundtrack for those communities, too.

2. “Black Cat” Was Written Solely by Janet
Janet built “Black Cat” from the ground up. No Jam. No Lewis. This hard rock scorcher was all Jackson. She produced it with Jellybean Johnson and brought in guitarists Dave Barry and Vernon Reid to give it that nuclear jolt. The amps? A blend of Rockman and Marshall for that heavy-metal sizzle. “Black Cat” became her third Hot 100 #1 and snagged a Grammy nom for Best Female Rock Vocal — a category few expected her to touch, let alone dominate. It was proof that Janet owned crossing genres.

3. The Chair Dance in “Miss You Much” Sparked a Choreography Movement
The moment those chairs hit the floor in the “Miss You Much” video, pop choreography entered a new era. Co-created with Anthony Thomas and Terry Bixler, the routine became a blueprint for future icons. The precision, balance, and swagger of that dance inspired countless artists — from Britney Spears to Usher — to incorporate chair routines in their videos and tours. It opened the Rhythm Nation 1814 visual project and instantly claimed space as one of the most iconic performances in music video history.

4. “Alright” Was the Bridge Between Generations of Black Entertainment
This one’s deep cut meets deep roots. The video for “Alright” was an homage to Hollywood’s golden era — reimagined through a Black lens. Directed by Julien Temple, it featured Cab Calloway, Cyd Charisse, and the legendary Nicholas Brothers. It was bright, broadway, and brimming with joy. Jackson and rapper Heavy D made an extended remix that linked swing, soul, and hip hop in one funky handshake. The result? A joyful time machine — with Janet as the pilot — that honored the past while flipping it forward.

5. The Album Was Recorded in Total Isolation From the Label
A&M Records didn’t get a single listen during the making of Rhythm Nation 1814. That’s not a metaphor — they literally weren’t invited to Flyte Tyme Studios. Janet, Jam, and Lewis built the entire album in seven months of uninterrupted creativity. The isolation was intentional: no suits, no distractions, no compromises. Jam later said if they’d gone the “safer” route — leading with ballads, glam shots, or lighter themes — the album might’ve been big. But it wouldn’t have changed lives. That’s the difference when artists are allowed to protect the process.

Rhythm Nation 1814 didn’t follow trends — it carved new ones. With choreography that echoed through generations, lyrics that called for change, and beats that moved more than bodies, Janet Jackson built something permanent. This album formed a bridge between pop and protest, between style and substance. In every uniform, in every chant, in every beat, the nation still marches. Salute to the Rhythm Nation. Long may it reign.

Guitarist Matt Sellick Blends Flamenco and Symphony on New Album ‘Watching The Sky’

Eric Alper
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Guitarist Matt Sellick Blends Flamenco and Symphony on New Album ‘Watching The Sky’

With the release of his ambitious new album Watching the Sky, Toronto flamenco guitarist and composer Matt Sellick is bringing a decade-long dream to life. Known for his evocative fingerstyle work and deep love of Spanish music, Sellick boldly bridges genres by orchestrating his solo guitar compositions for a full symphony orchestra — the Thunder Bay Symphony Orchestra, conducted by Evan Mitchell — while retaining the soul of flamenco and the intimacy of his roots in Thunder Bay.

At the heart of Watching the Sky is a story of transformation: of place, of memory, and of music itself. Sellick, who studied flamenco extensively in Spain and began his career performing in Northwestern Ontario, has spent the last ten years developing these orchestral versions of his compositions. The result is a sonic landscape that is both sweeping and intimate, grounded in tradition but unafraid of innovation.

The album opens with “A Beautiful Day,” a lyrical celebration of renewal composed by Sellick and brought to life by his agile guitar work, the colorful depth of the TBSO, and the expressive percussion of longtime collaborator Marito Marques. The track feels like sunlight stretching over a horizon — a fitting start to an album that evokes nature and emotion in equal measure.

Though Sellick has previously released several solo albums, Watching the Sky is his first recorded project with a full orchestra — and his first time recording live, with all players in the same room. “It was the complete opposite of how I’ve done things until now, and I just loved it,” says Sellick. “Everything about it felt so real, natural, and genuine.” The sessions took place in his beloved hometown venue, the Thunder Bay Community Auditorium, a room Sellick calls “absolutely top-notch.”

The pieces themselves are inspired by real places — Lake Superior’s rugged shorelines, quiet trails in Toronto, sunlit alleys in Spain — each track functioning as a tone poem for a memory. As Sellick revisited the landscapes that first inspired his music, he found himself reshaping and reorchestrating melodies to reflect how both he and those places have changed. The result is a rare fusion of reflection and forward motion.

Produced by Keith Horner and engineered by Dennis Patterson, the album features masterful playing by TBSO members and guest percussionist Marques, who contributed djembe, udu, and hand percussion on several tracks. Feature solos by bassist Martin Blanchet and pianist Paul Rodermond enrich the textures, while additional percussion was arranged by Marques on tracks 8 and 11.

Sellick, a graduate of Lakehead University and an active performer with artists such as Jesse Cook, has performed in over 20 U.S. states and 8 European countries. Yet, *Watching the Sky* remains a deeply personal work — a love letter to Thunder Bay, a tribute to musical collaboration, and an expression of his ever-evolving artistic identity.

The album’s credits read like a who’s who of orchestral talent: 40+ musicians fill out the ensemble, including principal players in strings, woodwinds, brass, and percussion. The liner notes include special thanks to the Canada Council for the Arts and the Ontario Arts Council, whose support helped bring the recording and orchestration to life.

Though grounded in flamenco, Sellick’s music is not bound by it. There are moments of classical serenity, cinematic swells, and playful rhythmic interplay that speak to his broader influences — from Vicente Amigo to Debussy to the Canadian landscapes that shaped his imagination.

For listeners new to flamenco or orchestral music, Watching the Sky is a radiant entry point. For longtime fans, it’s Matt Sellick at his boldest and most vulnerable. Either way, it’s not to be missed.

Andy Toomey New EP ‘Masterpiece’ With Markus Reuter And Zach Alford Now On DSPs

Eric Alper
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Andy Toomey New EP ‘Masterpiece’ With Markus Reuter And Zach Alford Now On DSPs

After last year’s successful sessions with Stick Men produced Andy Toomey’s bold prog EP ‘Perseus Calling,’ the Jacksonville, Florida songwriter was excited to continue the trend. This time, drummer extraordinaire Zach Alford (Bowie/NIN, B52’s, Psychedelic Furs & many more) stepped into the recording with Stick Men touch guitarist Markus Reuter and a plan was laid.

Due to the somewhat last-minute nature of the sessions the decision was taken to do virtually no prep work and write in the studio. Toomey says “This is something I’ve always wanted to do, but also WAY outside my comfort zone. Professional music production costs being what they are, coming in cold is an even more risky venture than usual. Thankfully, Markus is a consummate improviser, and his encouragement gave me the confidence to go with it. I’m so very glad I did!”

The resulting EP, Masterpiece, is another tour de force, coming across as both fearless and timeless. The backing tracks were cut on a Saturday in August with uber engineer Scott Petito (Scott Petito Productions), who provided a rough mix for Toomey to come up with lyrics, which they then recorded the next day. Mixed by Bassist/producer Fabio Trentini and Markus, the new EP crackles with life, evoking Pink Floyd and Nine Inch Nails, with a heaping helping of Toomey’s usual inventiveness.

Of the title Toomey says “Being somewhat self-effacing, I wasn’t too comfortable calling my own record a masterpiece. That just happened to be the title of one of the tracks, which unsurprisingly is about a woman, and a rather evil one at that. Once again Markus came to the rescue, saying “This actually tracks as a masterpiece and deserves the name.”

African Women Acting Announces 2025 Niagara Festival: Free Pan-African Art, Music & Culture Celebration August 16-17

Eric Alper
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African Women Acting Announces 2025 Niagara Festival: Free Pan-African Art, Music & Culture Celebration August 16-17

African Women Acting (AWA),  the leading pan-African not-for-profit organization, is thrilled to announce the return of the AWA Niagara Festival on August 16th and 17th, 2025, at the scenic City Hall grounds in Niagara Falls, Ontario.

The 2025 AWA Niagara Festival is a vibrant, two-day celebration featuring dynamic performances, engaging workshops, artisan vendors, and cultural experiences highlighting talents from Africa, the diaspora, and beyond. The festival expects to welcome over 6,000 attendees—including families, youth, adults, and visitors from diverse backgrounds—making it one of the region’s most anticipated multicultural events.

Special guests will include government dignitaries, corporate sponsors, CEOs, business owners, leaders of women’s and Indigenous organizations, artist collectives, community activists, and media personnel, all gathering to foster cross-cultural collaboration and dialogue.

Festival Performance Schedule

Saturday, August 16

  • 12:00pm – 12:30pm: African Dance Workshop (Candy Musiyoka & DJ Moussa) – Registration: $20 one day / $30 both days
  • 1:30pm – 2:00pm: African Dance Performance
  • 2:00pm – 3:55pm: DJ Moussa – Live DJ Set
  • 4:00pm – 5:00pm: Dahlia Anderson – Reggae Music
  • 5:15pm – 6:15pm: Infrared Music – Calypso Music
  • 6:00pm – 7:00pm: Lady Son – Afrobeat & Cuban Music
  • 8:00pm – 9:00pm: Amadou Kienou – West African Music
  • 9:15pm – 10:00pm: DJ Moussa – Global Music & Festival Closing Set

Sunday, August 17

  • 12:00pm – 12:30pm: African Dance Performance
  • 1:30pm – 2:00pm: African Dance & DJ Moussa – Collaborative Performance
  • 2:00pm – 3:55pm: DJ Moussa – Live DJ Set
  • 4:00pm – 5:00pm: Brandon Agnew and the Night Shadows – Live Band
  • 5:15pm – 6:15pm: Okay Camper – Live Band
  • 6:40pm – 7:40pm: Sillasky – Live Performance
  • 8:00pm – 9:00pm: Quincy Bullen – Live Performance
  • 9:15pm – 10:00pm: DJ Moussa – Closing Set & Festival Wrap-Up

Festival Highlights

  • Curated Craft Exhibition – Showcasing local artisans and unique creations.
  • Global Cuisine – Food vendors offering a taste of Africa and the world.
  • Community Booths – Local businesses, sponsors, and organizations.
  • Inclusive & Welcoming – Open to all ages, nationalities, and backgrounds.

“This festival is not just a celebration—it’s a platform for empowerment, creativity, and unity,” said Sonia Aimy, Executive Director of AWA. “We are proud to bring together artists, communities, and leaders to spotlight the talents of Black women and their counterparts, and to build bridges across cultures.”

The AWA Niagara Festival is especially dedicated to people of African descent, the Black community, the African Diaspora, and all who share an interest in African arts, music, and culture.

AWA is a pan-African not-for-profit organization promoting women’s empowerment, mentoring, and the preservation and presentation of African culture through the arts. AWA’s programs support artists across all genders and foster mentorship, innovation, and cultural exchange.

Folk Singer Aynsley Saxe Unveils Soulful New Single “Stranger to Myself” Ahead of Summer Shows and Fall Album

Eric Alper
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Folk Singer Aynsley Saxe Unveils Soulful New Single “Stranger to Myself” Ahead of Summer Shows and Fall Album

Aynsley Saxe’s music carries the warmth of home and the weight of change. With the release of her acoustic folk single “Stranger to Myself” on June 6, the Georgetown, Ontario-based singer-songwriter invites listeners into a quiet, intimate world shaped by heartbreak, resilience, and emotional clarity. The track is the first release from her upcoming sophomore album A Thousand Stars, due out in fall 2025.

Co-produced with Christian Turner at Mill Town Sound in Milton, ON, “Stranger to Myself” features just acoustic guitar, bass, and Saxe’s voice, creating a stripped-down atmosphere that draws the listener in. “I wanted it to feel like I was playing this song in my living room,” Saxe explains. “The production is intentionally sparse because the lyrics needed space. I was working through disorientation and trying to understand the version of myself that was left standing after everything changed.”

Saxe, who began playing piano at age six, brings years of songwriting and performance experience to this release. She wrote her first song at 18 while living on a farm in New Zealand. Since then, she’s written music that spans environmental engagement, jazz-tinged fun, and deeply personal reflection. Her 2019 duet “Beautiful Tomorrow (A Song for Our Planet)” was recorded with 20 local youth and co-funded by the Town of Halton Hills. Her debut single “Stop, Drop & Roll (The Fireman Song)” gained attention through a province-wide Saskatchewan Firefighters Calendar commercial.

“Stranger to Myself” highlights a shift in tone for Saxe. Built on themes of isolation and emotional survival, the song unfolds like a diary entry. “I’m trying out this new life, baby / Like a new pair of jeans that don’t feel right just yet,” she sings. Another lyric—“barbed wire love”—has struck a chord with live audiences, many of whom approach her after performances to share how it resonated.

Listeners have described the song as “haunting,” “beautiful,” “truthful,” and “powerful.” One wrote, “It’s revealing and speaks of a story that many of us can relate to.” The feedback affirms Saxe’s choice to let the rawness stay in focus. “I’m handing the world pieces of my heart and soul,” she says. “It feels more personal than comfortable.”

Saxe’s upcoming album A Thousand Stars will continue this thread. Its songs explore emotional rebuilding, romantic longing, spiritual growth, and moments of reflection. With an English and Film degree from Western University, and creative past lives as a professional clown, Reiki Master, and ski instructor, Saxe approaches songwriting with a wide lens and a deep well of experience.

Her hometown roots run deep—she still lives in Georgetown and frequently performs throughout the Halton Hills region. She’s slated to appear at several local shows this summer, offering audiences a preview of her new material.

Upcoming Show Dates:

  • June 14, 2025 – 3 PM – Terra Cotta Local Musicians Event
  • July 3, 2025 – 4 PM to 7 PM – Acton Outdoor Market
  • July 5, 2025 – 1 PM to 3 PM – Halton Hills Helson Gallery
  • July 11, 2025 – 5 PM to 10 PM (exact time TBA) – Palooza, Main Street Festival, Georgetown, ON
  • July 17, 2025 – 4 PM to 7 PM – Acton Outdoor Market
  • August 11, 2025 – Acton Leathertown Festival (time TBA) – Acton, ON 
  • August 14, 2025 – 4 PM to 7 PM – Acton Outdoor Market
  • September 11, 2025 – 4 PM to 7 PM – Acton Outdoor Market
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Aynsley Saxe’s voice is often called healing, and her songs offer comfort and connection. With “Stranger to Myself,” she continues to give listeners space to feel seen and heard.

The Heavyweights Brass Band Announce New Album ‘Knockout’ And Deliver A “Splacka” Punch Of Funk And Soul

Eric Alper
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The Heavyweights Brass Band Announce New Album ‘Knockout’ And Deliver A “Splacka” Punch Of Funk And Soul

After 15 years of bringing the party wherever they play, The Heavyweights Brass Band are ready to make you dance, strut, and testify with their fifth full-length album, Knockout, dropping June 27, 2025. With a sound steeped in New Orleans brass traditions, Toronto’s reigning brass band champions fuse jazz, funk, and soul into a heady, horn-heavy celebration of everything that makes music joyful and alive.

Their lead single “Carnicero,” arrived April 25 and nods to their roots and their future. Written by sousaphone sensation Nolan Murphy, the track is a Latin-influenced shout-out to the band’s co-founder Christopher Butcher, who now calls New Orleans home. Think street parades, steamy late-night clubs, and a trumpet line that makes your heart do backflips. This is the kind of song that makes you want to dance in traffic.

Follow-up single “Splacka,” out today, and you’ll know why they call it that as soon as the drums kick in. “It’s funk from the jump,” says trombonist RJ Satchithananthan, who composed the track. “The name ‘Splacka’ is literally the sound of the beat.” The track’s got that classic sitcom-style band intro energy — full of swagger, horn call-and-response, and a groove so deep you’ll need a passport.

And just when you think you’ve caught your breath, the album closer “Greater Good” (out June 27 with the album) brings it all back to the bayou. “It’s our love letter to New Orleans brass bands,” the group says, name-checking heroes like Rebirth, Dirty Dozen, and Hot 8. “This is who we are, and who we’ve always aspired to be.”

Knockout was recorded over two days at Taurus Studios, with the entire band playing together in one room. That energy — that sweat-on-the-walls, live-off-the-floor magic — is the soul of the album. With 11 songs and contributions from a new generation of jazz trailblazers like Kae Murphy (trumpet) and Nolan Murphy (tuba), the album is both a celebration and a passing of the torch. “The Toronto brass scene has grown so much,” the band says. “Including younger musicians who are pushing boundaries was vital for this project.”

In their own words, “The Heavyweights Brass Band is a flag planted in the middle of the dancefloor. We hit hard with groove, energy, and originality. We’ve always believed in putting our personalities in the music, from gritty funk to bold soul to pure brass band joy. This record shows where we’ve been — and where we’re going.”

Formed in 2010, HWBB has carved out a unique place in Canadian music. From sweaty club gigs to festival stages, they’ve opened for The Roots, jammed with Trombone Shorty, and recorded with everyone from Giovanni Hidalgo to Joe Lastie of Preservation Hall. They’ve earned standing ovations from the Toronto Jazz Festival to hometown bars and built a catalogue of genre-bending originals and electrifying covers.

To celebrate the release of Knockout, the band will appear in Niagara Falls, Toronto, and Montreal. Expect two trumpets, a sousaphone, a drum kit, and enough brass swagger to power a second line through downtown traffic.

June 20, 2025 – Niagara Jazz Festival: Summer Mardi Gras
Oakes Garden Theatre
5825 River Rd, Niagara Falls, ON

June 28, 2025 – Album Release Show
Toronto Jazz Festival – Village Stage
Village of Yorkville Park
115 Cumberland St, Toronto, ON M5R 1A6
8:30 PM – 9:45 PM
Free Admission

July 2, 3 & 4, 2025 – Montreal Jazz Festival
6:00pm @ Le Cabaret Loto-Québec Stage of the Quartier Des Spectacles
Montreal, QC
Festival details at: montrealjazzfest.com

Jazz Powerhouse Code Quartet Returns with New CODE RED Album

Eric Alper
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Jazz Powerhouse Code Quartet Returns with New CODE RED Album

Code Quartet, the powerhouse ensemble of Canadian jazz innovators, proudly announces the release of their highly anticipated second album, CODE RED. Following the critical acclaim of their 2021 debut Genealogy, the group returns with a dynamic and expressive new recording that reflects their continued evolution as one of Canada’s most compelling modern jazz collectives.

Comprised of Lex French (trumpet), Christine Jensen (alto and soprano saxophones), Adrian Vedady (bass), and Jim Doxas (drums), Code Quartet unites four of the country’s leading jazz improvisers and composers. Known for their telepathic interplay and bold musical storytelling, the group delivers an exciting and diverse soundscape on CODE RED—leaning into blues, swing, and intricate modern forms while showcasing each member’s distinct voice.

The eight-track album features original compositions by French, Jensen, and Vedady, with Doxas providing vibrant rhythmic framing throughout. The music was largely developed during a winter residency in the Laurentians in 2022, supported by the Canada Council for the Arts. In that isolated, snowbound setting, the quartet honed their creative vision—resulting in a body of work that’s rich in emotional depth and musical cohesion.

Jensen, a multi-JUNO Award winner, continues to cement her legacy as one of Canada’s leading jazz composers. Vedady and Doxas bring decades of experience performing with jazz greats such as Carla Bley, Dave Douglas, Oliver Jones, and Marc Copland. French, a rising force in Canadian jazz after an acclaimed career in New Zealand, adds a bold and lyrical voice to the ensemble.

CODE RED is a testament to the quartet’s collective strength—melding diverse musical identities into a unified sound marked by passion, precision, and freedom.

“…lively but firm interaction…complementing elaborations that soar in harmony rather than antagonism….fierce explosion of turnarounds, fanfare and subsequently rushing swing…” — Friedrich Kunzmann, All About Jazz

Following the success of Genealogy, Code Quartet has performed at prestigious festivals including the Montreal International Jazz Festival, Wellington Jazz Festival (New Zealand), and JazzAhead in Bremen, while also touring across Canada in 2022. CODE RED continues the group’s journey, offering listeners a bold new chapter in their collaborative story.

Code quartet are planning a European tour in September of 2026 with stops in London, Paris, Barcelona, Rome and Berlin. In December of 2026 they will glide down the North American Pacific coast with stops in Vancouver, Seattle, Portland, Oakland, Los Angeles and Santa Diego.

Marie-Véronique Bourque and Christine Tassan Celebrate the Sounds of Nature on New Album ‘Bruissement boréal’

Eric Alper
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Marie-Véronique Bourque and Christine Tassan Celebrate the Sounds of Nature on New Album ‘Bruissement boréal’

When two of Canada’s most accomplished jazz artists—flutist Marie-Véronique Bourque and guitarist Christine Tassan—joined creative forces across nearly 3,000 kilometers of forest, plain, and screen time, the result was more than music. It was a shared call and response with nature itself. Their collaborative album Bruissement boréal (“Northern Rustle”), out now is an ambitious 13-track journey inspired by the natural soundscapes of Quebec and Saskatchewan, blending jazz, Latin, classical, folk and ambient textures with the rustle of leaves, frog croaks, and the faint chirps of grasshoppers.

Joined by double bassist David Meunier-Roy and drummer/percussionist Olivier Bussières, the quartet captures the quiet power of a northern breeze and the rhythmic chatter of prairie creatures in a project that is equal parts jazz record and ecological tribute. The album’s first single “Bruissements” was released April 17, and its lyrical, sonic sibling “Là où les vagues sont d’or” followed on May 2, with the full album launched live May 16 at Le Ministère in Montreal.

Bruissement boréal began as a three-day daring challenge: five original compositions written in five hours by each artist, done simultaneously but remotely, with only the natural sound recordings they collected as creative prompts. “We’d each capture bird calls, rustling trees, frogs or waves with just a phone, and then compose from that moment of listening,” says Bourque. “That’s how you get a track like ‘Le train de la première heure’—where the flute literally mimics a prairie train whistle—or ‘Dialogue entre sauterelles’ where the grasshoppers seem to chirp in harmony with the melody.”

The duo’s chemistry emerged long before the first track was recorded. Introduced by folk legend Michel Lalonde of Garolou, the pair bonded over a shared musical sensibility and love of nature. “After a show in Regina, I invited Marie-Véronique onstage,” recalls Tassan. “Backstage I said, ‘We really should do something together.’ A few months

later, we were already dreaming up Bruissement boréal”.

Tracks like “Ça croasse en masse,” with its funky frog solos, and “Les rayons de l’automne,” a reggae-swing ode to a sun-dappled forest bike ride, showcase the group’s playful sophistication. Though both “Rainettes dans la nuit” and “Aurore boréale” are inspired by the night, they diverge completely in tone and style. “Aurore boréale” is a meditative piece, evoking the vast, silent beauty of northern skies. In contrast, “Rainettes dans la nuit” is a joyful samba, representing a groovy reunion of frogs at a pond under the stars—where rhythm and celebration take center stage.

Recorded at Studios Opus and engineered by Steeve St-Pierre, the album glistens with clarity and nuance. “We had to battle a 70 cm snowstorm to even get to the studio,” Bourque laughs, “but the vibe inside was pure creative flow. Steeve didn’t just engineer—he shaped the album’s sonic signature.” The album’s visual design was created by Bourque and Marc Guevarra, with photography by Sylviane Robini, completing the immersive aesthetic.

Marie-Véronique Bourque, a semifinalist in the 2024 International Songwriting Competition, brings her textured flute tones and nuanced vocals to the forefront. Christine Tassan, a genre-defying guitarist with Juno, ADISQ, and OPUS nominations, counters with a melodic clarity honed from years leading her Gypsy jazz band Christine Tassan et les Imposteures. Together, they honor the quiet drama of their landscapes—and remind us of our place within them.

Upcoming Tour Dates

  • June 19, 2025 – La Brassée, Montreal, QC
  • July 11, 2025 – Dièse Onze, Montreal, QC
  • July 17, 2025 – Centre d’art Diane Dufresne, Repentigny, QC

40 Songs Inspired by Books (And We’re Totally Judging Them by Their Covers)

Eric Alper
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40 Songs Inspired by Books (And We’re Totally Judging Them by Their Covers)

You know what they say—never judge a book by its cover. Unless, of course, that cover has a guitar solo, a killer chorus, and maybe a ghost or two. Books have long been best friends with music, whispering storylines and dramatic declarations into the ears of songwriters everywhere. From Brontë to Bradbury, these pages turned into playlists faster than you can say “Once upon a time…”

Here are 30 songs that owe their magic to the written word—alphabetized for your inner librarian’s delight.

“1984” by David Bowie
George Orwell’s dystopia meets Bowie’s disco-noir flair. Originally meant for a musical, this track transforms thoughtcrime into a groove you can dance to—under surveillance, of course.

“Annabel Lee” by Stevie Nicks
Edgar Allan Poe’s gothic poem about eternal love finds a soulmate in Stevie Nicks. Written when she was 17, released when she was 63—it’s haunting, heartfelt, and beautifully windswept.

“Are ‘Friends’ Electric?” by Gary Numan
Inspired by Do Androids Dream of Electric Sheep?, this synth-powered anthem imagines a future where loneliness is mechanical. Deckard might not approve, but the robots sure will.

“Atticus” by The Noisettes
Inspired by the quiet strength of Atticus Finch from To Kill a Mockingbird, this track gives voice to courage with a soulful stomp. It’s justice, jazzed up with a little rock swagger.

“Brave New World” by Iron Maiden
Aldous Huxley’s dystopian classic becomes a metal-laced warning about trading freedom for comfort. The guitars scream what the citizens can’t.

“Cassandra” by ABBA
With echoes of The Iliad, ABBA channels the seer doomed never to be believed. It’s tragedy wrapped in pop perfection—like a disco ball in a thunderstorm.

“Chak De India” from Chak De! soundtrack
This motivational anthem channels The Golden Hat Trick by Balbir Singh, showing that literature and field hockey go together better than you’d think.

“Charlotte Sometimes” by The Cure
Inspired by Penelope Farmer’s time-traveling schoolgirl, Robert Smith weaves melancholy magic. This song is perfect for brooding under a tree with a paperback in hand.

“Colony” by Joy Division
Ian Curtis channeled Franz Kafka’s In the Penal Colony for this bleak and brilliant track. Bureaucracy, brutality, and existential dread never sounded so rhythmic.

“Disappear” by Motion City Soundtrack
Echoes of The Catcher in the Rye flicker through this emotionally charged track. It’s Holden Caulfield with a pop-punk heart and a caffeine habit.

“Don’t Stand So Close to Me” by The Police
Sting was once a teacher—and he never forgot Lolita. This pop-police anthem drops Nabokov’s name while capturing the unease of a student-teacher crush set to a catchy chorus.

“Fitzpleasure” by alt-J
Based on Hubert Selby Jr.’s Last Exit to Brooklyn, this glitchy, intense song turns dark literature into avant-pop. The backing chant of “Tralala” chills more than it soothes.

“House at Pooh Corner” by Kenny Loggins
A.A. Milne’s beloved characters come to life in a gentle tune about growing up. Say goodbye to Hundred Acre Woods—but not to the memories.

“I Am the Walrus” by The Beatles
John Lennon reached into Through the Looking-Glass for this surrealist anthem. Carroll’s walrus meets LSD-fueled radio static—goo goo g’joob, indeed.

“Kabira” from Yeh Jawaani Hai Deewani
Rooted in the spirit of Kabir’s poetry, as explored in The Kabir Project, this song weaves philosophy into melody. A spiritual hug in musical form.

“Lolita” by The Veronicas
Vladimir Nabokov’s controversial novel gets a bubblegum-pop transformation. It’s bold, brash, and catchy—with just a whisper of literary scandal.

“Love Story” by Taylor Swift
Taylor takes Shakespeare’s tragedy and turns it into a fairytale. Instead of poison, there’s a proposal. Juliet’s finally getting the ending she deserves.

“MONTERO (Call Me By Your Name)” by Lil Nas X
Inspired by André Aciman’s novel, this track is a celebration of queer desire and first love. Somewhere, Elio is dancing in short shorts and tears.

“Narcissist” by The Libertines
Oscar Wilde’s Dorian Gray would feel right at home in this punky tune about vanity and youth. The portrait may age, but the guitar riffs stay forever young.

“One” by Metallica
Rooted in Johnny Got His Gun and echoing themes of 1984, this track is a gut-punch about war and isolation. It doesn’t just play—it haunts.

“Paperback Writer” by The Beatles
McCartney’s plea to become a novelist—1000 words, very clean—is a cheeky nod to Edward Lear. It’s the only job application that hits #1 on the charts.

“Pet Sematary” by Ramones
Stephen King’s spooky story becomes a punky plea for peace in the afterlife. Who knew horror and headbanging made such good neighbors?

“Ramble On” by Led Zeppelin
J.R.R. Tolkien’s Lord of the Rings finds a home in this hard-rocking travelogue. Mordor’s mentioned, Gollum steals the girl, and the road goes ever on—with a killer riff.

“Rocket Man” by Elton John
Inspired by Ray Bradbury’s short story in The Illustrated Man, this space ballad is loneliness in orbit. Mars may be cold, but this song warms the soul.

“Romeo and Juliet” by Dire Straits
Mark Knopfler rewrites Shakespeare as a rock-and-roll heartbreak. There’s no poison here—just missed calls and long stares out the window.

“Samson” by Regina Spektor
This stripped-down ballad reimagines the biblical hero with tenderness and grace. Delilah’s betrayal becomes a soft ache rather than a sharp cut.

“Soma” by The Strokes
A nod to Huxley’s Brave New World, this indie classic makes emotional numbness sound surprisingly danceable. Big feelings in tight jeans.

“Song for Clay (Disappear Here)” by Bloc Party
Inspired by Bret Easton Ellis’s Less Than Zero, this is LA ennui set to a post-punk beat. The “Disappear Here” billboard never sounded so emotional.

“Sympathy for the Devil” by The Rolling Stones
Mick Jagger tips his hat to The Master and Margarita, giving the Devil a starring role in history’s messiest moments. Charmingly wicked—like any good novel.

“Tales of Brave Ulysses” by Cream
Homer’s hero gets a 1960s makeover in this swirling psychedelic trip. Ulysses meets wah-wah pedal, and it’s a mythological jam for the ages.

“The Call of Ktulu” by Metallica
Metallica dives into Lovecraft’s monstrous mind for this brooding instrumental. It’s doom in drop-D, with tentacles.

“The Ghost of Tom Joad” by Bruce Springsteen
John Steinbeck’s voice lives on in this haunting ode to social justice. Whether it’s the Dust Bowl or downtown L.A., Tom’s still walking the road.

“Thieves in the Night” by Black Star
Toni Morrison’s The Bluest Eye inspired this stunning reflection on internalized struggle and self-worth. Mos Def and Talib Kweli turn literature into lyrical lightning.

“Tom Sawyer” by Rush
Rush’s take on Twain’s trickster paints him as a modern-day rebel with a synthesizer. A river raft wouldn’t survive this solo.

“Venus in Furs” by The Velvet Underground
Lou Reed adapts Leopold von Sacher-Masoch’s novel into a sensual swirl of velvet and chains. The birth of glam, bondage, and book club all in one.

“White Rabbit” by Jefferson Airplane
Lewis Carroll’s Wonderland gets psychedelic with this surreal anthem. “Feed your head,” Grace Slick commands—and who are we to argue?

“Willie Burke Sherwood” by Killer Mike
Referencing Lord of the Flies, Mike pays tribute to his grandfather and survival through smarts. It’s literature, legacy, and lyrical fire.

“Wuthering Heights” by Kate Bush
Emily Brontë’s ghost story dances through the moors with Kate’s iconic soprano. Cathy’s back—and she brought fog machines.

“Young and Beautiful” by Lana Del Rey
Inspired by The Great Gatsby, Lana voices Daisy’s haunting question: “Will you still love me when I’m no longer young and beautiful?” Gatsby’s dream, reimagined in cinematic slow motion.

From Vinyl to Virtual: Exploring the Intersection of Music and Esports Betting

Eric Alper
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By Mitch Rice

The thumping bass of a festival anthem, the roar of a stadium crowd, the focused silence of a high-stakes poker game, and the click-clack of keys in a championship esports match. At first glance, the worlds of music and esports betting might seem to occupy entirely different universes. One is built on melody and rhythm, the other on digital skill and calculated risk. Yet, dig a little deeper, and you’ll find a fascinating and rapidly evolving intersection where these vibrant industries are starting to harmonize, creating new experiences for fans and fresh opportunities for an ever-expanding market.

https://pixabay.com/photos/plate-vinyl-record-records-vinyl-4725349

The Soundtrack of Competition

Music has long been an intrinsic part of the esports experience, much like in traditional sports. From the iconic orchestral scores of game soundtracks that build immersive worlds, to the high-energy tracks that accompany tournament broadcasts and player walkouts, music sets the tone and amplifies the excitement. Major esports events often feature live performances from renowned artists, transforming competitions into multi-faceted entertainment spectacles that rival music festivals. Game developers like Riot Games, the creators of League of Legends, have even pioneered creating their own in-game virtual pop groups, like K/DA, whose songs become global hits and integral parts of the esports cultural fabric. These anthems and performances aren’t just background noise; they are carefully curated to energize players and engage millions of viewers worldwide, creating an emotional connection to the games and the teams.

Setting the Betting Atmosphere

The influence of music on mood and behavior is a well-documented phenomenon, particularly in environments associated with chance and excitement. Casinos, for example, have meticulously used music for decades to shape the player experience. Up-tempo music can energize players and potentially lead to faster betting, while smoother, more relaxed tunes might encourage longer play sessions. This psychological aspect of music is not lost on the burgeoning online esports betting world. While the flashing lights and distinct sounds of slot machines create a specific casino soundscape, online betting platforms can also leverage music to create an engaging atmosphere for users placing wagers on their favorite esports teams or players using an expert recommended site. The right soundtrack can heighten the thrill of a live bet or create a more focused environment for pre-match analysis.

Esports Betting: A New Arena for Entertainment

The esports betting market is experiencing explosive growth. What was once a niche interest has blossomed into a multi-billion-dollar industry, attracting both seasoned gamblers and a new generation of gaming enthusiasts. The increasing professionalization of esports, with structured leagues, major tournaments, and substantial prize pools, has legitimized competitive gaming as a spectator sport and, consequently, a viable betting market. Streaming platforms like Twitch and YouTube have made esports more accessible than ever, allowing fans to watch and engage with competitions globally, further fueling the betting surge.

Crossover Appeal: Stars and Promotions

The lines between music and esports are further blurred by the increasing number of musicians investing in and collaborating with esports organizations. High-profile artists like Drake, The Weeknd, Post Malone, and Steve Aoki have all made significant investments in esports teams or related ventures. These partnerships often lead to cross-promotional activities, where music and gaming cultures merge. This can extend to the betting sphere, with potential for themed bets around celebrity-backed teams or special promotions linked to music events within the esports calendar. The shared demographics of younger, tech-savvy audiences for both modern music genres (like EDM and hip-hop) and esports create a fertile ground for such crossovers.

The Rise of Virtual Concerts and In-Game Events

A particularly exciting development is the proliferation of virtual concerts and music events within gaming platforms. Artists like Travis Scott and Ariana Grande have held massive concerts in games like Fortnite, attracting millions of attendees in a virtual space. These events transform games into social entertainment hubs, offering unique interactive experiences. While direct betting on the outcome of a virtual concert might seem far-fetched now, the increasing integration of such events into the gaming ecosystem opens up imaginative possibilities for future betting markets – perhaps wagering on surprise guest appearances, song choices, or virtual merchandise sales records. These virtual stages represent a new frontier for both music and gaming, and by extension, the betting landscape that accompanies them.

Shared Demographics and Enhanced Fan Engagement

The synergy between music and esports betting is significantly amplified by their overlapping demographics. Both esports and many contemporary music genres attract a younger, digitally native audience that is highly engaged with online content and communities. This audience is comfortable with digital transactions and seeks interactive entertainment experiences. For betting operators, this means that content and promotions that blend musical elements with esports wagering can resonate strongly. Music can be a powerful tool to enhance fan engagement, making the betting experience more immersive and culturally relevant.

The Future: A Harmonized Entertainment Ecosystem

The intersection of music and esports betting is still in its early stages, but the potential for deeper integration is immense. We may see more music-themed esports tournaments, betting markets specifically tied to musical performances during esports events, or even collaborations where betting platforms sponsor virtual concerts. As technology continues to evolve, particularly in areas like VR and AR, the ways in which fans experience both music and esports – and how they choose to engage with betting around them – will undoubtedly become more intertwined.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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