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Car Accident Injury Claims: Beyond Medical Bills—What You Can Recover in the USA

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By Mitch Rice

The screech of tires, a jarring thud—then silence as your world tilts sideways. A car accident doesn’t just bruise your body; it unravels your life in ways you don’t expect. You might tally doctor bills first, but in the USA, recovery reaches deeper—lost paychecks, sleepless nights, a future quietly altered. This isn’t about settling a tab; it’s about piecing together what’s been torn apart. 

Most stop at the obvious, missing the full scope of what’s owed. Knowing your rights transforms chaos into a chance to reclaim everything the crash took. Here’s how to claim more than just medical costs and rebuild stronger.

The Immediate Costs: Medical Expenses

Medical bills launch every claim, and their scope surprises many. Ambulance rides sweep you from the wreckage, while emergency room teams stitch cuts or brace fractures. Surgeries tackle severe harm—a shattered knee or torn ligament—demanding days in recovery. Prescriptions soothe pain, and tests like MRIs or X-rays reveal concussions or internal bruising masked by adrenaline. 

Hospital stays add up quickly, especially for intensive care or long-term monitoring, while follow-up visits ensure recovery stays on track. Each procedure or test brings its own cost, which compounds over time, often turning an initial injury into an ongoing financial burden.

Physical therapy restores mobility, critical for strained backs or shoulders. Future care looms if injuries persist, like injections for a chronic disc issue. Every receipt is a personal account of the crash’s physical toll, forming your claim’s bedrock. Keep them safe; they’re your starting point to justice. Even seemingly minor injuries can add up, with ongoing treatments and regular doctor visits that escalate costs. 

Emergency room visits might be just the beginning of the process, with follow-up care, consultations with specialists, and ongoing prescriptions. When the pain lingers, the financial burden stretches even further. Over time, these medical costs compound, intensifying the challenge of recovery both physically and financially.

The Income Gap: Recovering Lost Wages

Injuries halt more than your car—they freeze your income. Lost wages reclaim every missed dollar, whether you’re hourly and lose shifts or salaried and miss quotas. Part-time work counts too; a weekend gig sidelined by a sprain matters. A cracked rib might mean days off, while a broken arm could stretch to months. Self-employed drivers or freelancers use tax returns or client records to prove the dip.

This isn’t a favor—it’s restitution for the crash’s theft of your livelihood. Employers can confirm your absence, bolstering your case. It keeps bills paid as you stitch your routine back together. 

For those whose jobs require physical labor, the road to recovery may involve missing significant time, leaving them vulnerable to long-term financial gaps. In many cases, long-term disability claims may come into play, requiring additional documentation and validation of the injury’s long-lasting effects.

Legal Leverage: The Lawyer’s Role in Maximizing Your Claim

Car accident claims twist into mazes, and a personal injury lawyer lights the way. They scour police reports, medical files, and witness testimonies, pinning down fault when it’s murky. Insurance adjusters dangle quick, skimpy settlements, betting you’ll sign before tallying all losses. A lawyer pushes back, adding up every dime—hospital stays, paychecks, distress—and negotiating fiercely or taking it to trial. 

Call one if injuries derail your life or the other driver ducks responsibility; free consultations sketch your roadmap. Their expertise snags what you deserve, turning a stressful tangle into a steady victory you can lean on. A car accident lawyer’s advice can help ensure that nothing is overlooked in your compensation, from immediate hospital costs to long-term psychological trauma, and work tirelessly to secure the full settlement you deserve.

The Silent Toll: Pain and Suffering Explained

Pain and suffering reach past the physical, tracing the crash’s hidden scars. Chronic aches—like neck stiffness from a rear-end hit—qualify, but so does the emotional fallout. Nightmares jolt you awake, or highways spark dread, eroding calm. Missing soccer games or hikes with family cuts deep. 

Courts listen to your account: how pain lingers at night, how anxiety grips every drive. Major injuries, like a permanent tremor, hike the value. Journal entries or counselor visits document this burden, proving it’s real. This isn’t embellishment; it’s honoring the life you had, now reshaped by someone’s error.

The Future Impact: Long-Term Losses in Focus

Some crashes cast long shadows, and fighting for insurance claims can catch that cost. If injuries sap your trade—say, a mechanic can’t grip tools after a wrist break—future earnings fade. Medical needs to extend, too, like therapy for nerve pain or braces for a weakened knee. Dependents miss your care, from bedtime stories to school runs, a loss courts weigh. 

Doctors detail the prognosis, while economists project income drops, grounding your claim in facts. This isn’t wishful thinking; it’s locking in support for years ahead. Every limitation noted builds a shield against the wreck’s lasting reach. Vocational experts might assess how skills erode, like a teacher struggling with focus after a head injury. 

Lifelong medication or adaptive equipment—like a wheelchair for paralysis—add layers to the claim. Courts also consider diminished life expectancy in severe cases, valuing years lost. These projections ensure you’re not left vulnerable, securing stability for a life reshaped by the crash.

Conclusion: Claiming the Full Picture of Recovery

A car accident claim in the USA is more than just a bill. The process undoubtedly can be bothersome, but fight for yourself. Medical costs spark it, but lost wages, legal muscle, pain, and future shifts flesh it out. Many grab the first offer, blind to the bigger prize. You can do better—hoard receipts, log struggles, and let a lawyer chase every dollar. 

The crash stole plenty; don’t let it rob your future too. Move now: get treated, collect evidence, and demand your due. Recovery’s more than patching wounds—it’s seizing your worth and riding forward with confidence.

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

Canada’s Economic Future Starts at Hudson Bay: A New Port Nelson Hub to Drive Northern Security and Sovereignty

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From Tom Jackson, Companion of the Order of Canada and Senior Vice President of NeeStaNan:

Canada stands at a crossroads in global trade, Arctic sovereignty, and economic resilience. With the development of a deep-water port, railway, and airport at Hudson Bay’s Port Nelson (NeeStaNan), Canada has the opportunity to redefine its economic independence, secure vital supply chains, and strengthen its role on the world stage. This game-changing infrastructure project would connect Canada’s landlocked resources to global markets, offering an alternative to U.S. trade dependence and mitigating the effects of tariffs, while fostering sustainability and Indigenous economic partnerships.

More than just a port, this initiative is Canada’s Declaration of Independence—a strategic move to diversify exports, bolster Arctic security, and position the nation as a critical player in international logistics. With a direct impact on industries ranging from pharmaceuticals to natural resources like nickel, potash, and uranium, the Hudson Bay corridor would attract new markets, reinforce Canada’s presence in the Arctic, and contribute to global peace and stability. Now is the time to act—this is not about legacy, it’s about the future.

A deep-water port, airport, and railway at Hudson Bay would transform northern Canada into a global logistics and trade hub, fostering economic growth, strengthening Arctic sovereignty, and driving innovation. This infrastructure would not only connect Canada to global markets but also support environmental sustainability, local communities, and national resilience.

The development of transportation and port infrastructure at Port Nelson would help Canada mitigate the effects of U.S. tariffs by providing alternative trade routes. While this wouldn’t directly eliminate the 25% tariff, it could make Canadian industries less vulnerable to U.S. trade policies and potentially pressure the U.S. to revise tariffs in response to shifting trade patterns, protecting Canada from similar actions in the future. Canada needs to have other options … 

Pass on the hype and get to it. Take the cap out of your hand and put it on your head!!! Let’s get to work! 

This will diversify our market for pharmaceuticals and forest products.  Our natural resources are landlocked and need to get to tidewater. NSN would attract other markets for nickel, potash, uranium, aluminum for Ontario’s “Ring of Fire” 

This is Canada’s Declaration of Independence! 

Here are eleven reasons why our country needs a Port Nelson  (NeeStaNan) transportation hub:

  1. We are directly impacted by the U.S. 25% tariff, with alternative export routes possibly reducing reliance on U.S. buyers.
  2. We will provide new shipping options for Canadian LNG, and refined products to Europe and Asia. 
  3. Grain, beef, and other exports could find shorter, cost-effective routes to international markets.
  4. Northern Canada is rich in minerals; a Port Nelson port could open global markets more efficiently.
  5. Impact on supply chains for vehicles, machinery, and parts.
  6. A Hudson Bay port would allow Canada to compete with other nations by offering quicker and cost-effective routes to Europe and Asia.
  7. The railway and airport would link isolated northern communities to vital services, including healthcare, education, and commerce.
  8. Indigenous communities would benefit from partnerships, employment, and investment in local businesses. The infrastructure would be designed to integrate sustainable practices, such as renewable energy-powered facilities and electric rail systems. The port could serve as a hub for managing climate challenges, such as monitoring Arctic ice and supporting global climate research. 
  9. Arctic sovereignty: Enhanced infrastructure solidifies Canada’s presence in the Arctic, reinforcing territorial claims and enabling better monitoring of northern regions. An area of increasing global interest and competition 

10.Security and defense: A port and airport would strengthen Canada’s ability to respond to emergencies, monitor activity and defense of Canada’s northern borders, including maritime and airspace activities. 

  1. By nature of the presence of an alternative supply chain in Europe, NSN would promote peace and influence the war between Russia and Ukraine. 

To those who lead 41 Million people. Let us help you do what you want to do. This will rescue families and will help people on all shores.

And remember; this is our home and native land. 

This is not about a legacy, it’s about a future.

Have Canada leverage this pivotal moment to make the world better. 

Calgary’s Ollee Owens Wins First Place in the Women’s Freedom Song Contest for Lyrics/Poetry with ‘Still in Pieces’

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The results are in, and Ollee Owens has taken home First Place in the Lyrics/Poetry category at the Women’s Freedom Song Contest for her powerful piece, “Still in Pieces.”

The Women’s Freedom Song Contest is an annual celebration of music and poetry that amplifies female voices and stories. With a mission to find the next great “female anthem,” the contest seeks works that inspire, empower, and speak to the heart of the female experience. Open to songwriters, poets, and video creators worldwide, the competition attracts artists from diverse backgrounds who have something meaningful to say.

Ollee Owens’ “Still in Pieces” stood out among the competition for its raw emotion, poignant storytelling, and evocative lyrical depth. Her winning piece resonated with the esteemed panel of judges, which includes industry veterans such as Brent Backhus (engineer for John Lee Hooker, Solomon Burke), Ruth McCartney (media entrepreneur), Karen Bliss (freelance journalist), David Eaton (Polyphonic Spree producer), and Diana Williamson (Billboard-charting songwriter).

With the album, Nowhere to Hide, spending 13 consecutive weeks in the Roots Music Report’s Canadian Top 10 and her previous video, “Shivers and Butterflies,” racking up nearly 800,000 views in just one month, Owens is proving that blues still has a powerful story to tell.

With this latest recognition, Owens continues to cement her reputation as a formidable artist whose work transcends genres and touches hearts. “Still in Pieces” is a testament to resilience, personal struggle, and the strength that emerges from vulnerability—making it a deserving winner in a competition designed to highlight impactful storytelling.

Big Dave McLean Receives 2025 JUNO Award Nomination for ‘This Old Life’

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Legendary Canadian bluesman Big Dave McLean has been honored with a 2025 JUNO Award nomination for Blues Album of the Year for his latest album, This Old Life released on Victoria-based indie label Cordova Bay Records. This marks McLean’s sixth JUNO nomination, further cementing his legacy as one of the most influential figures in Canadian blues.

McLean’s latest recognition adds to an already impressive history of JUNO nods, including a 2020 nomination for Pocket Full of Nothin’, a 2018 nomination for Better the Devil You Know, and a 2016 nod for Faded But Not Gone. His first nomination came in 2009, and he won a JUNO Award for Saturday Night Blues in 1992.

Over five decades, McLean has been a cornerstone of the Canadian blues scene, earning accolades that include a Western Canadian Music Award, a Prairie Music Award, a Great Canadian Blues Award, and a Lifetime Achievement Award from the Toronto Blues Society. In 2019, he was inducted into the Order of Canada, a rare honor for a blues musician, recognizing his contributions to the genre and his mentorship of younger artists such as Colin James, Shaun Verreault, and Luke Doucet.

On This Old Life, McLean delivers an unfiltered, deeply personal take on the blues, seamlessly blending classic blues covers from Muddy Waters, Willie Dixon, and Little Walter with his own masterful originals.

The album’s lead track, “Well, I Done Got Over It”, originally recorded by Guitar Slim in 1953, showcases McLean’s signature gravelly vocals and impeccable slide guitar work, setting the tone for a record steeped in authenticity.

Recorded in just four days at The Ganaraska Recording Company in Cobourg, Ontario, This Old Life was captured live off the floor with no overdubs or studio tricks—just raw, timeless blues. Co-produced by Steve Marriner and Jimmy Bowskill, both JUNO-winning musicians, the album embraces classic blues traditions while showcasing McLean’s unwavering musical integrity.

“He is as genuine a bluesman as it gets, and I’ve been dying to capture Dave and present him to the rest of the world in the way I’ve always heard him: raw and real,” says Marriner.

Born in Yorkton, Saskatchewan, and based in Winnipeg, Manitoba, McLean’s career was shaped by a chance encounter with blues icon John Hammond, who gave him his first guitar lesson in 1969. This set McLean on a path that led him to friendships with legends like Muddy Waters, inspiring his debut album, Muddy Waters for President.

Despite his profound influence on Canadian blues, McLean has often remained a hidden gem, a reality he addresses in This Old Life, a record that may finally bring him the mainstream recognition he deserves.

“I would like to send out my deepest gratitude, respect, and admiration to all of the many people who have shared their incredible talents and have helped me present my interpretation of blues over the past fifty years or so,” McLean reflects.

With his sixth JUNO nomination, a career-defining album, and a tour lined up for 2025, Big Dave McLean is proving that the blues isn’t just music—it’s a way of life.

The JUNO Awards will take place on March 30, 2025, in Vancouver, British Columbia, where music fans and industry members will celebrate the best in Canadian music.

Celtic Icon Lucy MacNeil Announces Long-Awaited Solo Album and 2025 Tour Dates

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After 37 years of enchanting audiences worldwide as a member of the legendary Barra MacNeils, Lucy MacNeil is stepping into the spotlight with her highly anticipated solo album and a string of tour dates that will bring her rich, soul-stirring voice and deep-rooted Cape Breton traditions to audiences across Canada.

For more than three decades, Lucy has been a cornerstone of the Barra MacNeils, one of the most celebrated and enduring acts in Celtic music. With a career spanning continents—from the remote shores of Fogo Island, Newfoundland, to the historic halls of Europe—her music has been the soundtrack of generations. Alongside her brothers, she has shared the stage with icons like Celine Dion, Kenny Rogers, and Rita MacNeil, appearing on multiple national television specials and headlining premier festivals and concert halls across the globe.

Now, Lucy is carving a new path with a solo project that has been years in the making. Inspired by a lifetime immersed in the beauty and resilience of traditional music, her debut solo album is a heartfelt reflection of her deep connection to the Celtic heritage. It’s a collection of songs that honor the past while embracing the present—a musical legacy that will stand the test of time.

“During the quiet of the pandemic, I finally found the time to create something truly personal,” says Lucy. “This album is my love letter to the music that shaped me, and I can’t wait to share it with the world.”

To celebrate this milestone, Lucy MacNeil will embark on a national tour in March 2025, bringing her signature blend of evocative vocals, bodhrán, Celtic harp, fiddle, and step dancing to fans from Toronto to Vancouver. Audiences can expect an intimate, mesmerizing experience that showcases Lucy’s breathtaking artistry, honed over decades of live performances.

Lucy MacNeil 2025 Solo Tour Dates:
• March 7 – Hugh’s Room, Toronto, ON
• March 8 – Registry Theatre, Kitchener, ON
• March 9 – Aeolian Hall, London, ON
• March 10 – The Bassment, Saskatoon, SK
• March 12 – ArtsPlace Canmore, Canmore, AB
• March 13 – Festival Place, Sherwood Park, AB
• March 14 – Calgary Folk Club, Calgary, AB
• March 15 – Bailey Theatre, Camrose, AB
• March 16 – Grande Prairie Live Theatre, Grande Prairie, AB
• March 18 – Golden Civic Centre, Golden, BC
• March 19 – Langham Theatre, Kaslo, BC
• March 21 – Dream Café, Penticton, BC
• March 23 – Rogue Folk Club, Vancouver, BC

With an astonishing career that includes collaborations with symphony orchestras, headlining major international festivals, and leading artist-in-residence programs, Lucy MacNeil’s influence on Celtic music is undeniable. Her work with the Barra MacNeils has earned multiple awards, gold-certified albums, and international acclaim, making her one of Canada’s most cherished musical treasures.

This solo endeavor is more than just an album—it’s the next chapter in an extraordinary musical journey. And for those lucky enough to attend her upcoming tour, it’s an opportunity to witness a master at work, sharing the songs that have shaped her soul.

Sylvia Tyson Earns JUNO Nomination for Traditional Roots Album of the Year with ‘At The End of The Day’

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Canadian folk legend Sylvia Tyson has once again been recognized for her unparalleled contributions to music, earning a JUNO Award nomination for Traditional Roots Album of the Year for her latest and final studio album, At The End of The Day. A masterful collection of songs that reflect on a life well-lived, the album is a poignant swan song from one of Canada’s most revered songwriters.

Throughout her career, Tyson has shaped the folk and country landscape, influencing generations of musicians with her artistry and storytelling. Her song “You Were On My Mind” became an international hit, while her work with Ian Tyson as part of the seminal duo Ian & Sylvia helped define the folk era of the 1960s. With At The End of The Day, she continues this legacy, blending introspection with universal truths in a way that only a seasoned artist can.

The album’s standout track, “Sweet Agony,” showcases Tyson’s signature ability to weave bittersweet themes into timeless melodies. The song’s lyrics capture the delicate balance between love and loss:

Come to me, sweet agony
I am ready to fall in love again
If I can have that ecstasy
I’ll take my chances with the pain

Produced by longtime collaborator Danny Greenspoon and featuring an all-star lineup of musicians, At The End of The Day is a testament to Tyson’s enduring artistry. The album was recorded at Canterbury Music Company Studios in Toronto and features contributions from Davide DiRenzo (drums), Charles James (bass), Jason Fowler (guitar), John Sheard (piano), Drew Jurecka (violin, mandolin), and Denis Keldie & Mark Lalama (accordion, B3 organ).

Tyson’s nomination adds to an already storied career that includes inductions into the Canadian Country Music Hall of Fame (2003), the Canadian Songwriters Hall of Fame (2019), and the Canadian Music Hall of Fame (1992, alongside Ian Tyson). She is also a recipient of the Order of Canada (1994).
Tyson has been recognized multiple times at the JUNO Awards throughout her career, including nominations for:

  • 1993: Country Female Vocalist of the Year
  • 1991: Country Group or Duo of the Year (with Tom Russell)
  • 1990: Best Roots & Traditional Album (You Were On My Mind)
  • 1987: Country Female Vocalist of the Year
  • 1976: Country Female Vocalist of the Year
  • 1976: Female Vocalist of the Year
  • 1976: Most Promising Female Vocalist of the Year

Legendary artists and peers have shared their admiration for Tyson’s latest work:

Judy Collins: “There is the sunlight, there is the heartbreak, there is the voice that I’ve known since the beginning… Thank God for Sylvia Tyson.”

Linda Ronstadt: “Ian & Sylvia were a big influence on me in the early days of my career. Sylvia is still making meaningful music. I was knocked out by ‘I Never Got Over You,’ ‘Leaves in the Storm,’ and ‘Not Quite Rain.’”

Daniel Lanois: “Sylvia Tyson’s At The End of The Day is a fine collection of some of the most truthful and touching songs I’ve heard.”

Margaret Atwood: “She was gorgeous and had a beautiful voice… She has always maintained her high musical standards. Long may she sing!”

With At The End of The Day, Tyson cements her legacy as one of Canada’s most treasured songwriters. As she reflects on a lifetime of music, her latest nomination serves as a fitting tribute to a career that has shaped the very fabric of folk and roots music.

The JUNO Awards will take place on March 30, 2025, in Vancouver, British Columbia, where music fans and industry members will celebrate the best in Canadian music.

5 Surprising Facts About Leonard Cohen’s ‘Songs of Leonard Cohen’

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Leonard Cohen’s Songs of Leonard Cohen is a collection of hymns for the lost, a pilgrimage through love and longing, and a whispered conversation with the moon. Released in 1967, this debut solidified Cohen’s transition from poet to songwriter, a shift that would change the course of music history. But hidden within the minor chords and poetic verses are stories few have heard. Here are five secrets buried in Songs of Leonard Cohen that deserve to be sung.

1. A Woman Sleeps, a Song is Born: The True Story Behind ‘Sisters of Mercy’

Edmonton, a winter storm, two backpackers named Barbara and Lorraine. They had no place to go, and Cohen, the wandering bard, gave them shelter for the night. They curled into sleep as he sat awake in an armchair, watching over them, moved by something quiet and sacred. By dawn, Sisters of Mercy was written. When they woke, he played it for them—his offering, his benediction. It was not love in the way the world understands it, but it was love nonetheless.

2. A Room in the Chelsea Hotel, a Farewell That Was Never Meant to Be

“So long, Marianne.” It wasn’t always goodbye. In the beginning, it was Come on, Marianne. The song started in Montreal, on Aylmer Street, and was finished in the Chelsea Hotel in New York. Marianne Ihlen, the muse with sea-colored eyes, was the great love Cohen carried across continents. The lyrics were an elegy before their time, a prophesied parting long before their hands ever unclasped. Even in their last days, when Cohen wrote to her as she lay dying, he was still singing her name.

3. The Poet and the Mirror: Cohen’s Strange Studio Ritual

Leonard Cohen, meticulous and melancholy, insisted on a full-length mirror in the studio while recording Songs of Leonard Cohen. Not vanity—no, that wasn’t his way. He played his guitar while looking at himself, lost in a dialogue with his own reflection. Was it self-scrutiny? A poet’s compulsion to see himself as others did? Or was he simply trying to understand the man behind the words, the troubadour who had turned his poetry into song?

4. A Song Sold, a Regret That Echoed for Years

Cohen wrote Suzanne, and then he lost it. Not the melody, not the meaning, but the rights to his own song. In the tangled dealings of the music industry, Suzanne, Stranger Song, and Dress Rehearsal Rag slipped from his hands and into the pockets of another. For years, he watched his most intimate words belong to someone else. When he finally regained them, they were bruised with time, but still, they were his. The poet had reclaimed his poetry.

5. The Spirit in Chains: The Album’s Hidden Religious Symbolism

The back cover of Songs of Leonard Cohen features an image of Anima Sola, a Mexican religious icon—a woman bound in flames, breaking free. Cohen found her in a botánica near the Chelsea Hotel, drawn to the way she seemed both suffering and transcendent. Was she Suzanne? Marianne? The sisters of mercy? Or was she Leonard himself, struggling against the weight of longing, burning with poetry, searching for something holy in the wreckage of love?

Leonard Cohen’s debut is a collection of rooms, of moments frozen in amber, of letters never sent but always received. Each song is a story, and each story is a doorway into the heart of a poet who never stopped searching.

And now, the music plays on.

5 Surprising Facts About Michael Jackson’s ‘Bad’

Michael Jackson’s Bad was the moment the King of Pop fully took the reins of his artistic destiny. Thriller might have been planned to be the biggest album of all time, but come on, when plans like this really do happen, there’s nowhere to go but down. Or you stay at the top, which is what Michael aimed to do – and succeeded. But beneath the platinum records, world tours, and gravity-defying dance moves, there are some truly wild facts that even die-hard fans might not know. Let’s moonwalk into some deep cuts about Bad that’ll make you appreciate it even more.

1. Prince Almost Took Over ‘Bad’—Until One Line Ruined It

It was supposed to be the greatest duet of the 1980s: Michael Jackson and Prince, going head-to-head on Bad. Quincy Jones pitched it. Michael was on board. Prince was this close to saying yes. But then he heard the first lyric: “Your butt is mine.” And just like that, the Purple One was out. According to Prince himself, there was no way he was going to sing that—or let MJ sing it to him. Instead, Prince offered up Wouldn’t You Love to Love Me, but Jackson passed. Imagine a world where this collab actually happened. The universe might have imploded from sheer musical genius.

2. The ‘Smooth Criminal’ Hook Came From CPR Training

If you’ve ever taken a CPR class, you’ve probably practiced on a Resusci Anne mannequin. And when instructors teach chest compressions, they say, “Annie, are you okay?”—the exact phrase that became the hook for Smooth Criminal. Michael was fascinated by the question, found it haunting, and built one of his most iconic songs around it. Suddenly, a simple CPR training phrase became an unforgettable piece of pop music history.

3. ‘Dirty Diana’ Was Not About Diana Ross (Or Princess Diana)

When Dirty Diana dropped, speculation ran wild. Was Michael calling out his longtime friend and mentor Diana Ross? Was it a secret love letter to Princess Diana? The answer: neither. Michael confirmed in multiple interviews that Dirty Diana was actually about groupies—those persistent superfans who followed rock stars (and, apparently, pop stars) everywhere. Princess Diana, however, loved the song and told MJ it was one of her favorites. The irony!

4. The Bad Tour Set a World Record That Lasted for Years

When Michael Jackson hit the road for the Bad World Tour, it wasn’t just another series of concerts—it was a phenomenon. By the time it wrapped, he had played 123 shows across 15 countries, raking in $125 million, making it the highest-grossing tour of all time at that point. And the record-breaking didn’t stop there: his seven-night residency at London’s Wembley Stadium drew over 504,000 people, a feat that remained unbeaten for over 25 years.

5. Michael Wrote 60 Songs for the Album—And Wanted to Release All of Them

Jackson didn’t just write a handful of songs and call it a day—he lived in the studio. For Bad, he wrote a staggering 60 songs and recorded 30 of them, initially planning to release a triple album. Quincy Jones, in his infinite wisdom, told Michael to scale it down to 10 tracks. The result? A no-filler, hit-packed album that still stands as one of the best-selling records of all time. But imagine what Bad could have been if MJ had won that argument. A Bad triple album? Mind-blowing.

Michael Jackson’s Bad was the moment he fully embraced his artistic control, pushed the boundaries of pop, and made himself something more than just a megastar. He was a legend.

So next time you hear Bad, just remember: Prince could have been there, a CPR dummy gave us Smooth Criminal, and the King of Pop almost dropped a 30-track opus. What a time to be alive in 1987.

John Legend Announces ‘Get Lifted’ 20th Anniversary World Tour

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John Legend today announced the “Get Lifted 20th Anniversary World Tour,” bringing his acclaimed debut album back to the stage. Kicking off May 27th at OVO Hydro in Glasgow, UK-with select dates produced by Live Nation-the tour will visit over 40 cities across the UK, Europe, and North America, including stops at The O2 in London, Ziggo Dome in Amsterdam, Accor Arena in Paris, Hollywood Bowl in Los Angeles, and Barclays Center in New York, with additional dates to be announced soon. See full tour routing below.

Presales for UK/EU dates begin Wednesday, March 19, with general on-sale starting Friday, March 21. North America presales begin Wednesday, March 26, followed by general on-sale Friday, March 28.

Backed by his full band, Legend’s “Get Lifted 20th Anniversary World Tour” will showcase a set list celebrating the entirety of Get Lifted, which garnered eight nominations and won three Grammy Awards at the 48th Annual Grammy Awards, including Best Male R&B Vocal Performance for “Ordinary People,” Best R&B Album for Get Lifted, and Best New Artist. Each night, Legend will deliver a mix of deep cuts, fan favorites, and fresh renditions of the album’s beloved tracks like the Grammy-winning “Ordinary People” (his breakout hit that reached the Billboard Top 40 and the UK R&B Singles chart), “Used to Love U,” “Number One,” and “So High.” In addition to honoring Get Lifted, the live show will feature Legend’s other career-spanning hits, showcasing the musical depth and storytelling that have been hallmarks of his artistry for the past two decades.

To celebrate the tour announcement, Legend will stop by The Tonight Show Starring Jimmy Fallon this evening where he’ll appear as both a talk and musical guest, performing “Used to Love U” alongside Black Thought, backed by The Roots. Bringing a fresh take to one of the album’s essential tracks, Black Thought is featured on the remixed version of “Used 2 Love U,” which appears on the digital deluxe and 3LP vinyl editions of Get Lifted (20th Anniversary), out now. In addition to Black Thought, the celebratory release features new contributions from other guest artists including Tems, Killer Mike, Lil Wayne, and Simi. Expanding the original album with 11 bonus tracks, Get Lifted (20th Anniversary) includes eight brand-new remixes, rare B-sides, and two previously unreleased studio performances recorded during the original Get Lifted sessions.

Recorded in a variety of studios across the U.S. from 2001-2004, Get Lifted was originally released in the United States through GOOD Music, Sony Urban Music and Columbia Records on December 28, 2004 (Legend’s 26th birthday). The album’s uncanny melodic blend of R&B, neo-soul, hip-hop, cosmopolitan sophistication, and sly street smarts signaled the arrival of a new major artist with deep musical roots, an affinity for pop music, and a plan for the future.

With all songs written or co-written by Legend, who also served as co-producer on much of the album, Get Lifted introduced him to the world as a top-tier tunesmith with a lyrical sensibility that captured the full spectrum and emotional reality of human affairs, from the raunchy to the sublime.

A prodigious musical talent, singer/songwriter/pianist Legend had already made his mark on hit records before writing and recording Get Lifted. A sought-after behind-the-scenes talent, he played piano on Lauryn Hill’s Everything Is Everything and sang backup vocals for Jay-Z and Alicia Keys. As the first artist to sign with Kanye West’s GOOD Music, Legend quickly made his mark, breaking into the Billboard 200 Top 10 (#4) with Get Lifted, which also reached #1 on the Billboard Top R&B/Hip-Hop Albums chart. The album entered the Billboard 200 at #7, selling 116,000 copies in its first week-his first Top 10 debut. Legend didn’t just cross over from R&B and hip-hop to pop; he both bridged and defied genres.

The Recording Industry Association of America (RIAA) has since certified Get Lifted as Double Platinum, with “Ordinary People” also earning Double Platinum status as a single.

Get Lifted 20th Anniversary World Tour Dates:
05/27/25 @ OVO Hydro in Glasgow, UK^
05/29/25 @ Co-op Live in Manchester, UK
05/30/25 @ Utilita Arena Birmingham in Birmingham, UK^
06/01/25 @ The O2 in London, UK^
06/02/25 @ Ziggo Dome in Amsterdam, NL^
06/05/25 @ Accor Arena in Paris, FR
06/07/25 @ Olympiahalle in Munich, DE
06/12/25 @ Heartland Festival in Kværndrup, DK
06/14/25 @ Vaulen Open Air Festival in Stavanger, NO
08/23/25 @ Ravinia in Highland Park, IL
08/24/25 @ Ravinia in Highland Park, IL
09/02/25 @ Wolf Trap in Vienna, VA
09/03/25 @ Wolf Trap in Vienna, VA
09/28/25 @ Hollywood Bowl in Los Angeles, CA
10/18/25 @ The Pavilion at Toyota Music Factory in Dallas, TX^
10/19/25 @ Smart Financial Centre at Sugar Land in Houston, TX^
10/21/25 @ Zoo Amphitheatre in Oklahoma City, OK
10/23/25 @ Saenger Theatre in New Orleans, LA
10/24/25 @ Synovus Bank Amphitheatre at Chastain Park in Atlanta, GA^
10/26/25 @ Hard Rock Live in Hollywood, FL^
10/28/25 @ St. Augustine Amphitheatre in St. Augustine, FL^
10/29/25 @ Live Oak Bank Pavilion in Wilmington, NC^
10/30/25 @ Red Hat Amphitheatre in Raleigh, NC^
11/04/25 @ Barclays Center in New York, NY^
11/05/25 @ The Met in Philadelphia, PA^
11/07/25 @ MGM Music Hall at Fenway in Boston, MA^
11/08/25 @ Foxwoods Resort Casino in Mashantucket, CT
11/10/25 @ Schottenstein Center in Columbus, OH^
11/11/25 @ Fox Theatre in Detroit, MI^
11/13/25 @ Fallsview Casino in Niagara Falls, ON
11/14/25 @ Place Bell in Montreal, QC
11/16/25 @ Fishers Event Center in Indianapolis, IN^
11/17/25 @ The Factory in St. Louis, MO
11/19/25 @ Paramount Theatre in Denver, CO^
11/20/25 @ Maverik Center in Salt Lake City, UT^
11/22/25 @ Thunder Valley Casino in Lincoln, CA
11/23/25 @ The Rady Shell at Jacobs Park in San Diego, CA^
12/03/25 @ Rogers Arena in Vancouver, BC^
12/05/25 @ WAMU Theater in Seattle, WA^
12/07/25 @ Theater of the Clouds in Portland, OR^
12/09/25 @ Paramount Theatre in Oakland, CA^
^Live Nation Date

The Warning Announces ‘Keep Me Fed’ U.S. Headline Tour And Dates Supporting Halsey

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Rock sister-trio from Monterrey, Mexico, The Warning announce their much anticipated return to the states with a headline tour. The Keep Me Fed US tour kicks off on July 5th in Milwaukee, making stops in Atlanta, Nashville, New York, and more, concluding in Minneapolis on July 23rd. Presales start at 10am Local on Thursday and General Onsale on Friday at 10am Local.

The Warning will also be opening for select dates on Halsey’s For My Last Trick US tour. Their latest offering, Keep Me Fed, has amassed over 155 million streams globally, landing them #1 on Billboard’s Emerging Artist chart, and cemented the band as the biggest album debut for an all-female rock group in the 2020s.

The Warning had an incredible year in 2024, receiving nominations at the Latin GRAMMYs, VMA and EMAs. They also lit up television screens across the country with performances on Jimmy Kimmel LIVE! and The Kelly Clarkson show.

Halsey US Support Tour
May 10 – Toyota Pavilion – Concord, CA
May 12 – Talking Stick Resort Amphitheatre – Phoenix, AZ
May 14 – Hollywood Bowl – Los Angeles, CA
May 17 – Dos Equis Pavilion – Dallas, TX
May 18 – Choctaw Grand Theater – Durant, OR
May 19 – Walmart Amphitheatre – Rogers, AR
May 21 – Ascend Amphitheater – Nashville, TN
May 22 – Ameris Bank Amphitheatre – Alpharetta, GA
May 24 – Midflorida Credit Union Amphitheatre – Tampa, FL
May 25 – Hard Rock Live – Hollywood, FL

The Warning US Headline Tour
July 5 – Summerfest – Milwaukee, WI
July 6 – The Factory – St. Louis, MO
July 8 – Aztec – San Antonio, TX
July 9 – Warehouse Live – Houston, TX
July 11 – House of Blues – Orlando, FL
July 12 – The Masquerade – Atlanta, GA (previously rescheduled*)
July 13 – The Basement East – Nashville, TN (previously rescheduled*)
July 15 – The Ritz – Raleigh, NC
July 16 – The Fillmore – Silver Spring, MD
July 18 – Palladium – New York City, NY
July 19 – Union Transfer – Philadelphia, PA
July 20 – Kemba Live – Columbus, OH
July 22 – Riviera Theatre – Chicago, IL
July 23 – The Fillmore – Minneapolis, MN