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2x JUNO Winner Steve Marriner Adds Analog Grease and Blues Swagger to Genesis Classic “I Can’t Dance”

Eric Alper
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2x JUNO Winner Steve Marriner Adds Analog Grease and Blues Swagger to Genesis Classic “I Can’t Dance”

From harmonica to baritone guitar, from frontman to producer, Steve Marriner has spent over two decades shaping the sound of modern blues. With two JUNO Awards for his work with MonkeyJunk, a career spent touring with Colin James, and collaborations with Buddy Guy, Jimmie Vaughan, and Blue Rodeo, Marriner has become one of Canada’s most versatile and respected musicians. Now, he’s taking a Genesis song that’s lived “rent-free” in his head for years and giving it the treatment it deserves.

“I Can’t Dance,” Marriner’s latest single, out now via Cordova Bay Records, kicking off a new chapter in his ever-evolving career. “I love a strong chorus, and this is one of the best—a classic bluesy melody with a catchy pop sensibility,” he says. “While I appreciate the early ’90s production of the original, I always felt that the lyric demanded a lot of swagger and wondered what it would sound like with a bit more analog grease on it.”

That analog grease is all over Marriner’s version, swapping out the polished edges of the original for a gritty, deep-pocketed groove that leans into his blues roots. This isn’t just a cover—it’s a reinvention. His soulful, road-worn voice delivers every line with a knowing smirk, while smoky guitar licks and a tight rhythm section transform the track into something that wouldn’t be out of place in a backroom bar filled with whiskey-soaked jukebox favorites.

Marriner’s approach to blending blues, rock, and roots music has made him a sought-after collaborator and a formidable solo artist. His last album, Hope Dies Last, earned a 2022 JUNO nomination, and his production work on Big Dave McLean’s This Old Life and David Gogo’s YEAH! has both been nominated for 2025 JUNOs. With Hear My Heart, his upcoming full-length album, Marriner continues to push boundaries, proving that the blues isn’t just tradition—it’s alive, electric, and constantly evolving.

The release of “I Can’t Dance” marks the first step in a packed 2025, leading up to the full album drop in June.

For a musician who’s spent his life on the road, playing everywhere from Massey Hall to The Ryman Auditorium, this single is yet another mile marker. Whether performing alongside Harry Manx, Sue Foley or Randy Bachman, or stepping into the spotlight with his own brand of soul-drenched, hard-driving blues, Marriner remains one of the most exciting voices in roots music today.

With “I Can’t Dance,” he’s taken an earworm and turned it into a slow-burning, blues-soaked anthem—proof that even a song about standing still can still move.

‘Play It Loud! How Toronto Got Soul’ Receives 2025 Golden Sheaf Award Nomination for Best Documentary in Arts & Culture

Eric Alper
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‘Play It Loud! How Toronto Got Soul’ Receives 2025 Golden Sheaf Award Nomination for Best Documentary in Arts & Culture

The Yorkton Film Festival has announced the first round of nominees for the 2025 Golden Sheaf Awards, with Ultramagnetic Productions’ new documentary Play it Loud! How Toronto Got Soul earning a nomination for Best Arts/Culture Film.

The TVO Original doc reveals the vibrant but largely ignored Toronto Jamaican music scene from the 1960’s to the ‘90’s, through the life and music of the legendary Jay Douglas. The teenaged Douglas moved to Toronto to join his mother in 1963 and was quickly initiated into a thriving, underground Black music scene. As the lead singer of The Cougars, a group that included local legends Jackie Richardson, Jo Jo Bennett and Everton “Pablo” Paul, Douglas broke into the competitive Yonge Street music scene as one of only two bands to play at the storied Le Coq d’Or. The other group was Ronnie Hawkins’ Hawks, precursor to The Band.

Directed by Graeme Mathieson, produced by Andrew Munger with Clement Virgo as EP, Play it Loud! has been enjoying a surprisingly successful theatrical run with sold out screenings in Toronto (re-opening the Hot Docs Ted Rogers Theatre), Vancouver, Hamilton, Waterloo and Whitehorse.

Producer Andrew Munger attributes the success in engaging audiences, especially in the dead of the coldest winter in decades, to the strategy of making every screening an “event” featuring lively post screening conversations with the filmmakers and cast, often concluding with a Bob Marley singalong led by the film’s star Jay Douglas.

To promote the film, Munger used his learnings from producing the music docs Once Were Brothers: Robbie Robertson and the Band and Buffy Sainte-Marie: Carry it On. A music documentary, especially one celebrating a great artist or culture, presents many opportunities for cross promotion. He partnered with Exclaim Magazine and Austin’s Light in the Attic Records for record and ticket giveaways, created an in-store event featuring Jay Douglas live at Sonic Boom Records (Toronto’s leading independent record store), and presented Jay live in performance at the Drake Hotel with Lula World Promotions and Jeff Rogers’ Handsome Boy Records. The producers also worked with Jamaican Canadian personality and influencer Danae Peart (CBC Commotion and Vibe105 FM) to engage with Jamaican and Caribbean communities. Play it Loud!’s theatrical release was supported by Ontario Creates and Telefilm Canada’s Marketing and Distribution funds, in concert with domestic distributer White Pine Pictures.

Play it Loud! was developed in collaboration with TVO Docs and further supported by the CMF, Telefilm Canada, Ontario Creates, Rogers Documentary Fund, Slaight Hot Docs Music Fund and federal and provincial tax credits. Play It Loud! is currently streaming on TVO (TVO Docs YouTube channel, TVO.org and Smart TV app) and Knowledge Network.

Big Dave McLean Wins His First JUNO Award for ‘This Old Life’

Eric Alper
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Big Dave McLean Wins His First JUNO Award for ‘This Old Life’

Legendary Canadian bluesman Big Dave McLean has been honoured with a 2025 JUNO Award 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 first win from six JUNO nomination, further cementing his legacy as one of the most influential figures in Canadian blues. Additionally, this marks the first win for the legendary Cordova Bay Records.

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 Beat Behind the Mic – 10 Great Songs Sung By Drummers

Eric Alper
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The Beat Behind the Mic – 10 Great Songs Sung By Drummers

Drummers—often the backbone of the band—are the heart and pulse of music. But every once in a while, they step out from behind the kit, grab the mic, and show us they’re more than rhythmic geniuses; they’re vocal powerhouses too. There’s something undeniably cool about a drummer who can command a crowd with their voice while keeping time for the band. It’s the ultimate multitasking!

Phil Collins – In the Air Tonight
While technically no longer “behind the kit” when performing this one live, Phil Collins started out as Genesis’s drummer before his rise to solo stardom. This song’s iconic drum break and haunting vocals make it unforgettable.

Don Henley – Hotel California
The Eagles’ drummer, Don Henley, doesn’t just keep the band in time—he’s the voice behind this legendary classic. The blend of his soothing vocals and poignant lyrics has etched “Hotel California” into rock history.

Ringo Starr – With a Little Help from My Friends
The Fab Four’s beloved drummer might not have the vocal range of McCartney or Lennon, but his charming, friendly delivery on this Beatles track made it a favorite.

Karen Carpenter – Close to You
Karen Carpenter wasn’t just a stunning drummer—her voice is one of the most angelic in music history. On “Close to You,” her vocal performance makes it a timeless classic. It’s easy to forget she was such a gifted percussionist.

Levon Helm – The Weight
From The Band, Levon Helm brought a Southern flavor to his vocal performances. His voice, full of soul, beautifully complements the heartfelt storytelling in “The Weight.”

Taylor Hawkins – Cold Day in the Sun
Foo Fighters’ drummer Taylor Hawkins stepped out from behind the drums to showcase his powerful voice on this acoustic-driven track. His vocal delivery adds depth and emotion to the song.

Sheila E. – The Glamorous Life
Not just a drumming powerhouse, Sheila E. proved she was a triple threat with her vocals, percussion skills, and stage presence on this pop-funk masterpiece. Her vocal style is as dazzling as her drum solos.

Dave Grohl – Marigold
Before he was the frontman of Foo Fighters, Dave Grohl sang and drummed for Nirvana on “Marigold,” showing early glimpses of the star he’d become. A hauntingly beautiful song made even more special by Grohl’s raw vocals.

Micky Dolenz – I’m a Believer
The Monkees’ drummer wasn’t just keeping rhythm; he was the voice behind some of their biggest hits. “I’m a Believer” became a cultural phenomenon, partly thanks to Dolenz’s energetic vocal performance.

Peter Criss – Beth
In this tender ballad, KISS drummer Peter Criss ditched the band’s hard rock persona to deliver a soulful, heartfelt vocal performance that warmed fans worldwide.

5 Surprising Facts About The Chicks’ ‘Taking the Long Way’

Eric Alper
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5 Surprising Facts About The Chicks’ ‘Taking the Long Way’

The Chicks (formerly known as the Dixie Chicks) dropped a cultural reckoning with Taking the Long Way. It’s a record that bridged country music with personal and political defiance, wrapped in Grammy-winning songwriting and raw honesty. Here are five lesser-known facts that prove just how daring and masterfully crafted this album really was.

1. “Not Ready to Make Nice” Was Almost Too Personal to Write
Writing the band’s most iconic post-controversy anthem took days of talking and therapy-level processing before a single lyric was written. The stakes were sky-high. Emily Robison called it “the song we had to get right.” Natalie Maines refused to sugarcoat it—when co-writer Dan Wilson offered a more conciliatory lyric, she replied, “Nope, I can’t say that.” This wasn’t a political statement dressed up in metaphor. It was a manifesto from three women who were tired of being told to shut up and sing.

2. “I Hope” Was First Played on a Hurricane Katrina Telethon
Before it became the emotional closer on Taking the Long Way, “I Hope” debuted on Shelter from the Storm, the televised benefit concert for Hurricane Katrina. Co-written with Keb’ Mo’ (Kevin Moore), the song was recorded and released as a charity single months ahead of the album. The song is a plea for decency, hope, and leadership. And if that’s not enough, it features a stunning guitar solo by none other than John Mayer.

3. The Album Was Recorded With a Sound Wallop from Sheryl Crow and Linda Perry
Beyond the trio’s already solid writing, Taking the Long Way quietly features co-writes with two titans of songwriting: Sheryl Crow and Linda Perry. “Favorite Year” has Crow’s melodic fingerprints all over it, while Perry co-wrote the emotionally gutted “Voice Inside My Head.” These collaborations helped elevate the record beyond country radio’s comfort zone, leaning into lush arrangements and storytelling that crossed genre lines without apology.

4. “Lullaby” Found a Second Life on Network TV
Before streaming playlists ruled the world, landing your song on a primetime drama meant real visibility. The gentle, haunting “Lullaby” appeared on the season finale of Medium the night Taking the Long Way dropped. It was a bold move: launching an album born from outrage with a song that radiated tenderness. It reminded everyone that The Chicks were more than defiant—they were dynamic.

5. The Album’s Tour Had More Canada Than Nashville
In the U.S., country radio stations had all but blacklisted the band. So The Chicks took Taking the Long Way north. Their Accidents & Accusations Tour included a record-breaking number of Canadian stops. And you know what? The fans showed up. In droves. It was a moment that flipped the script on the idea that the band had been “canceled.” Turns out, when you bet on truth and talent, you might lose a chart position—but you gain a legacy.

If country music had a Hall of Courage, Taking the Long Way would be bronzed in it. The Chicks survived the backlash and made the most defiant, graceful, and decorated comeback in country music history. And they did it all on their own terms. That’s the kind of outlaw energy even Willie would tip his hat to.

5 Surprising Facts About John Lennon’s ‘Imagine’

Eric Alper
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5 Surprising Facts About John Lennon’s ‘Imagine’

“Imagine” is a cultural landmark. And the album it opens is one of John Lennon’s most important works, a bridge between the raw honesty of Plastic Ono Band and the lush production of his later solo years. While it’s been analyzed and praised for decades, here are five surprising facts about Imagine that reveal the depth, complexity, and contradictions behind the classic.

1. “Jealous Guy” Was Born in India—Sort Of
Before it was Jealous Guy, it was Child of Nature—a song Lennon wrote in 1968 after a lecture by the Maharishi Mahesh Yogi during the Beatles’ stay in Rishikesh. It was demoed at George Harrison’s home and nearly made it onto The White Album. But while Paul’s Mother Nature’s Son got the nod, John shelved the song—until he rewrote the lyrics into the deeply vulnerable Jealous Guy for Imagine. The melody survived intact, but the message changed from spiritual to self-reflective. It’s one of Lennon’s most emotionally naked moments—and it started with a mountain metaphor.

2. George Harrison’s Guitar Work on “Gimme Some Truth” Was Reluctantly Iconic
George Harrison’s blistering slide guitar on Gimme Some Truth cuts through the track like a musical truth serum. But George himself wasn’t entirely satisfied with it. Lennon, however, loved it. The solo’s sharpness and urgency echoed the song’s Vietnam-era political frustration. George had originally jammed on the tune during the Let It Be sessions, and years later, that frustration had only intensified. Ironically, his discomfort with the solo is part of what makes it so perfect: it’s raw, imperfect, and honest—much like the song itself.

3. “How Do You Sleep?” Is Less a Diss Track Than a Catharsis
Much has been made of How Do You Sleep?, Lennon’s scathing response to Paul McCartney’s digs on Ram. But in 1980, Lennon admitted the track was more about channeling his own bitterness than attacking Paul. It was, as he put it, “a song of resentment,” not hatred. The irony? George Harrison—Paul’s old mate—plays that gorgeous slide guitar on it. And the cinematic string arrangement? That’s Phil Spector, turning spite into sonic beauty. Decades later, it reads less like a feud and more like therapy set to music.

4. “Oh Yoko!” Was Almost a Single—But Lennon Thought It Was Too Catchy
EMI begged Lennon to release Oh Yoko! as a single. With its infectious melody, joyous vocals, and raw affection for Yoko Ono, it seemed like a surefire hit. But Lennon refused—he thought it was too pop. Ironically, it’s now one of his most beloved solo songs. It also marked one of the rare times Lennon let himself be completely unguarded on tape, embracing pop sentimentality without a hint of irony. Sometimes, the simplest love songs are the most enduring.

5. The Album’s Cover Was Shot on a Polaroid, Not by Andy Warhol
For years, fans believed the dreamy cover image of Lennon bathed in soft light was shot by Andy Warhol. Makes sense, right? It had that aesthetic. But in truth, the photo was snapped by Yoko Ono using a Polaroid camera. The back cover even features a quote from Ono’s Grapefruit—the same book that inspired much of Imagine’s philosophy. It’s another reminder that Ono wasn’t just a muse or partner; she was a collaborator, quietly shaping Lennon’s most enduring solo statement.

Imagine remains a musical and emotional touchstone, a work of disarming clarity wrapped in lush arrangements. These lesser-known details only deepen its legacy and remind us: the more we dig into Lennon’s post-Beatles world, the more we find ourselves staring back at our own. Imagine that.

Ice T Joins American Greetings with Hilarious SmashUp Birthday Ecard as “Nice T”

Eric Alper
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Ice T Joins American Greetings with Hilarious SmashUp Birthday Ecard as “Nice T”

With a career spanning decades, multi-talented rapper, actor, writer and producer Ice T brings his legendary charisma to a brand-new SmashUp video ecard from American Greetings. Available through the American Greetings and Blue Mountain websites, as well as the corresponding ecard apps for iPhone and Android, the customizable Ice T video ecard will bring birthday joy to all who receive it.

Inspired by the long running Mister Rogers’ Neighborhood television show, Ice T has fun turning from “Ice T” to “Nice T” in this festive birthday greeting. Taking off his signature leather jacket and putting on a bright purple cardigan once he steps through the infamous door, Ice T transforms into the ultimate party planner, Nice T. From frosting cupcakes, playing the clarinet and wrapping presents, to blowing up balloons and chiseling away at an ice-sculpture, Nice T knows exactly what is needed for a joyous birthday celebration. At the end of the card, he brings together an adorable group of puppies for the cutest celebration before putting back on his leather jacket and getting back to business.

“Ice T has been a superstar since day one with his iconic music and his popular television roles,” said Rob Matousek, Executive Director, Direct to Consumer Business at American Greetings. “We are excited to welcome him to our neighborhood and know this new card will bring happiness to fans of all ages.”

“Birthdays have always been a reflective time for me,” said Ice T. “I appreciate every day throughout the year but hearing from so many friends and family on my birthday reminds me of just how lucky I am. Knowing I can now be a small part of someone’s birthday celebration is truly a gift.”

SmashUps are available on www.americangreetings.com, www.bluemountain.com, and on the SmashUps, American Greetings and Blue Mountain ecard apps for iPhone and Android. They can be shared via email, text, or on social media. Users can sign up for a monthly, yearly, or two-year American Greetings account to have the ability to send an unlimited number of SmashUps —as well as all American Greetings digital offerings—over the course of their membership period. Membership costs range from $6.99–$39.99, depending on the length of membership.

Ice T, a pioneer of gangster rap and an icon of LA hip-hop, has built an influential career as an artist, actor, author, and cultural spokesman. His entertainment career began with a role in the film Breakin’, leading to his rise as rap’s original gangster with hits like “Six in the Mornin'” and “New Jack Hustler.” He later formed the thrash metal band Body Count, whose 2018 album Bloodlust earned a Grammy nomination, and their 2020 album Carnivore won a Grammy for “Bum Rush.” Ice T’s film and TV career flourished with roles in New Jack City, Ricochet, and Johnny Mnemonic. In 2012, he directed Something from Nothing: The Art of Rap. He stars as Detective Odafin Tutuola on NBC’s Law & Order: SVU, now in its 26th season.  An accomplished author, Ice has released four books, including The Ice Opinion (1994) and Split Decision (2022). As a cultural voice, he’s featured in major ad campaigns for Cheerios, Tide and Adidas. In 2023, he received a star on the Hollywood Walk of Fame.

Skywork AI Launches Mureka V6 & O1, World’s First Music Reasoning AI Models with Voice Customization and API Access

Eric Alper
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Skywork AI Launches Mureka V6 & O1, World’s First Music Reasoning AI Models with Voice Customization and API Access

On March 26th,  Skywork AI officially launches the Mureka O1 and Mureka V6 models. As the world’s first music reasoning large model, Mureka O1 outperforms Suno and achieves the State of the Art (SOTA).

In April 2024,  Mureka released the first-generation music model Mureka V1 (SkyMusic). It received an overwhelmingly positive market response.

Over the past year, our technology and product teams have been working hard to push the boundaries and refine Mureka’s capabilities. So far, users from more than 100 countries and regions around the world have accessed our AI music product—Mureka.

Mureka is a combination of “Music” and “Eureka.” Eureka is an exclamation from Greek, meaning “I have found it” or “I have discovered it,” often used to express moments of sudden inspiration. Mureka hopes that it can quickly capture people’s moments of musical inspiration and create songs in their own unique style.

Mureka V6 & O1 have been fully launched and support seamless switching

Mureka V6 is the current base model of Mureka, supporting pure music generation as well as AI music creation in ten languages, including English, Japanese, Korean, French, Spanish, Portuguese, German, Italian, Russian and Chinese. In Mureka V6, we have introduced our self-developed ICL (In-Context Learning) technology. This advancement brings several improvements: a more expansive soundscape, enhanced vocal texture, and improved mixing design.

The Mureka O1 model is an optimized version based on Mureka V6 and is the world’s first music model to introduce CoT (chain of thought). It incorporates thinking and self-criticism in the inference process, significantly improving music quality, music creation efficiency, and flexibility.

Both Mureka V6 and O1 models support a wide range of music styles and emotional expressions, which cover Jazz, Electronic, Pop, Country, R&B, Soul, Blues, Rock, Dance, and more. The emotional dimensions include happiness, indulgence, mystery, vitality, sadness, and various other emotional expressions.

In addition, Mureka also offers two unique music generation features:

  1. Music Reference Function: Using the music itself as a prompt, users can directly upload audio files or YouTube links as creative references.
  2. Vocal Function: Mureka is the world’s first AI music generation platform that allows users to choose the vocal timbre of the singer. Users can not only choose from a variety of official singer timbres but also upload their own voices for the AI to learn and replicate, accurately simulating the singer’s timbre and generating personalized exclusive works with a single click. The feature of customizing singer timbres heralds the arrival of the era where everyone can become an AI singer.

The launch of Mureka V6 and O1 represents a significant milestone in the technological advancement of the AI music industry. It also demonstrates the potential of AI in artistic creation and highlights the vast possibilities of continuously exploring new technological forms and artistic expressions.

Mureka O1 adopts the self-developed MusiCoT technology and achieves SOTA

Mureka O1 includes MusiCoT, Mureka’s latest innovative research in the field of music generation, which is technologically advanced and forward-looking. We found that there is very little algorithmic work in music, and only a few teams have made their work public. To address this,Mureka published the implementation principle of Mureka O1 in the form of a paper, and welcome the industry to make better work on this basis.

Mureka O1 incorporates the latest achievements in music generation from the Mureka team—MusiCoT. MusiCoT is a variant of the Chain-of-Thought (CoT) method tailored for music generation. Unlike traditional autoregressive models that generate audio step-by-step, MusiCoT pre-generates the overall music structure before finalizing the audio tokens for decoding. This approach significantly improves the structural coherence and instrumental arrangement of the generated music.

Built on the CLAP model, MusiCoT achieves high scalability without requiring manual annotations. It not only enhances the analyzability and quality of generated music, but also paves a new path for high-fidelity music generation. With MusiCoT, we usher in an era of structured music creation using AI, offering exceptional possibilities for musicians and producers.

Given to the introduction of Chain-of-Thought (CoT) technology and the upgrade of the algorithm framework, Mureka O1 not only maintains low-latency music generation but also significantly improves the lyrics accuracy, singing accuracy, and production quality. It surpassed Suno V4 in multiple metrics.

Music isn’t math. Ultimately, it’s all about what sounds good to the ear. That’s why both subjective evaluation and objective metrics are crucial. Under this philosophy, Mureka O1 excels across various aspects in our subjective assessment and ranks among the top-tier models in this category，including Mixing, Vocal Texture and Background Music Texture.

Mureka offers API service and model fine-tuning function

Mureka is the world’s first high-quality AI music generation platform with open API services. Both developers and music platforms can now seamlessly integrate Mureka’s music generation capabilities into their own products or platforms, making it easier to extend their business value with AI music capabilities.

In addition to opening up API services for the first time worldwide, Mureka synchronously opens up model fine-tuning services based on Mureka V6. Become the world’s first AI music generation platform with open model fine-tuning function.

This feature makes AI music creation more personalized, providing customized AI music solutions for musicians, producers, and even brands and game developers.In the future, the Mureka team will continue to invest in model capabilities to keep our music model in the top tier in the world, while developing more music creation functions on top of the base model, such as secondary editing of music generation, song creation, and so on.

Users around the world are welcome to log on to Mureka (www.mureka.ai) to experience the new V6&O1 model, explore the infinite possibilities of music creation with AI music creators around the world, and build an AI music developer ecosystem.

Music Nation and SoundExchange Partner to Power Neighboring Rights Collection in the UAE

Eric Alper
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Music Nation and SoundExchange Partner to Power Neighboring Rights Collection in the UAE

Music Nation Copyrights Management (Music Nation), a pioneer in music rights management in the United Arab Emirates, announces a ground-breaking partnership with SoundExchange, the recording industry’s top digital global collective management organization, to enable the collection and distribution of neighboring rights in the UAE.

Under the agreement, Music Nation will leverage SoundExchange’s technology, data and extensive industry experience to collect neighboring rights, the royalties paid to sound recording owners, producers and recording artists for the public performance of their music.

With best-in-class tools, technology and industry partnerships, Music Nation will provide music rightsholders with the industry’s first rights management organization capable of offering a single solution for collecting performance, mechanical and neighboring rights.

Rasha Khalifa Al Mubarak, Chairwoman of Music Nation, said, “We are thrilled to partner with SoundExchange to begin collecting neighboring rights on behalf of our affiliates. This partnership marks a significant milestone for recording artists and sound recording rights holders in the UAE and globally. By comprehensively and accurately collecting and distributing neighboring rights royalties, Music Nation will help ensure the continued growth of the region’s vibrant music ecosystem.”

Michael Huppe, President and CEO of SoundExchange, said, “We are honored to put our extensive neighboring rights management experience and state of the art systems to work in the UAE. Our in-depth administration expertise, proven record on rate settings, and premiere distribution processes for international creators will provide capabilities to propel the emerging UAE market. SoundExchange is proud to partner with Music Nation on this exciting project, and to help the Emirati creator community realize the true power and value of their music.”

Combined with Music Nation’s previously announced partnership with BMI, the largest performing rights organization in the world, Music Nation will ensure local and international songwriters, composers, publishers, record labels, performing artists, producers and other rightsholders are fully compensated for the use of their work in the UAE. The scale of that opportunity only continues to expand, with the IFPI reporting that global recorded music revenue in 2024 experienced a remarkable growth for a tenth consecutive year, including a 22.8% increase in MENA, the fastest growing region in the world.

Music Nation, a pioneer in music rights management in the UAE, licenses the rights of authors, publishers, sound recording owners and performers throughout the United Arab Emirates (UAE). These rights are referred to as neighboring rights (for sound recordings), public performance rights (for musical compositions) and mechanical reproduction rights (also for musical compositions). With world-class partnerships and technology, Music Nation is helping implement the UAE’s vision for the protection and enforcement of musical copyrights by developing a world-class music licensing and royalty distribution infrastructure. Music Nation, with its partners BMI and SoundExchange, will help ensure that music creators and rights holders are fully and fairly compensated for the use of their work. For more information, visit https://www.wearemusicnation.ae.

SoundExchange is the recording industry’s top digital global collective management organization, bringing exceptional sound recording administration and neighboring rights administration experience. SoundExchange collects and distributes digital performance royalties on behalf of over 700,000 music creators, managing over 140 million sound recordings. SoundExchange has distributed more than $12 billion to creators and rights holders since its inception in 2003 and will provide the UAE with technology-forward, ruthlessly efficient and secure operations uniquely suited to navigating the complex royalties landscape.

JxJ Unveils Full Lineup for 2025 Jewish Film & Music Festival Featuring Global Premieres and Acclaimed Artists

Eric Alper
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JxJ Unveils Full Lineup for 2025 Jewish Film & Music Festival Featuring Global Premieres and Acclaimed Artists

JxJ: DC Jewish Film & Music (JxJ), a leader of Jewish cultural arts in the DC, Maryland, and Virginia region, unveiled its full line up for the 2025 JxJ Festival. Presented by the Edlavitch DC Jewish Community Center (EDCJCC), the JxJ Festival is the capstone on a full year of film and music programs.

Running from May 8-18, 2025, the festival will feature 25+ international screenings and concerts. Screenings will take place at the EDCJCC’s two state-of-the-art theaters, Landmark’s Bethesda Row Cinema in Maryland, and Cinema Arts Theatre in Fairfax, Virginia. The full Festival program and online ticket purchases are available now at www.jxjdc.org.

“Film and music have the power to nourish the soul and lift the spirit,” says Edlavitch DCJCC CEO Jen Zwilling. “This year’s festival, which celebrates Jewish joy and resilience within our community, feels more vital than ever and is core to the mission and values of the EDCJCC.”

“As one of the last remaining independent movie theaters in DC, we are thrilled to present our 35th edition of the JxJ: DC Jewish Film & Music Festival,” says Artistic Director Yael Luttwak. “The films and shorts we’ll screen this year, along with our incredible lineup of dynamic concerts, celebrate the universal themes of love and joy; the forces that bind us as humans and transcend all boundaries.”

A new addition to the festival for 2025 is the premiere of two short films made possible by the Matthew Harris Ornstein JxJ Short Film Fund. The first of its kind in North America, this fund creates new opportunities for filmmakers to tell stories that provide unique angles into Jewish life, history, and culture.

The Festival’s Opening Night on Thursday, May 8 at the EDCJCC’s Goldman Theater will feature BAD SHABBOS, winner of the 2024 Audience Award for Narrative at the Tribeca Film Festival, by director Daniel Robbins. Hailed by Variety as a film with “a strong ensemble cast [that] nails the tasty dialogue and increasingly frantic action without falling into shtick,” Bad Shabbos is a wild ride.

MATCHMAKING 2, a romantic comedy from Israeli director Erez Tadmor, will close the festival on Sunday, May 18 in the Goldman Theater. This emotional roller coaster of a film is “endlessly witty, visually rapturous, and sweetly romantic,” – The Miami Jewish Film Festival.

The closing weekend will also highlight an exciting lineup of concerts, including Gili Yalo, one of the most captivating artists on the Israeli music scene, whose concert on Saturday, May 17 will celebrate 2025 World Pride. Additional artists include Grammy Award-nominated clarinetist and saxophonist Anat Cohen; swing, jazz, and klezmer king Seth Kibel performing Gershwin; and multi-talented a cappella group The Maccabeats. Rounding out the closing festivities will be screenings from the third annual Richard Solloway JxJ Teen Film Contest winners – short films submitted by high-school aged students from all areas of the DMV, answering the question, “What does identity mean to me?”

OPENING NIGHT

BAD SHABBOS, Dir. Daniel Robbins
Thursday, May 8, 7:30 PM | EDCJCC | Goldman Theater
David and his fiancée Meg expect a quiet Shabbat dinner with his family on New York’s Upper West Side—but when an accidental death (or murder?) derails the evening, chaos ensues. With Meg’s Catholic parents about to meet David’s Jewish family, the night quickly spirals into a comedy of biblical proportions.

The Opening Night reception will immediately follow the screening at 9 PM on May 8th.

CLOSING NIGHT

THE MACCABEATS
Sunday, May 18, 1:30 PM | EDCJCC | Goldman Theater
Often traveling with little more than shirts on their backs and the ties around their necks, the Maccabeats have wowed audiences across the globe from Alabama to New Zealand and everywhere in between. Blending sharp harmonies, a polished style, and a dose of Jewish humor, this dynamic a cappella group creates an unforgettable experience that resonates with fans of all ages and backgrounds.

ANAT COHEN JAZZ DUET
Sunday, May 18, 4:00 PM | EDCJCC | Goldman Theater
Charismatic, prolific, and endlessly inspired, Grammy Award-nominated clarinetist and saxophonist Anat Cohen has captured the hearts of audiences worldwide with her expressive virtuosity and captivating stage presence. The New York Times raves, “Ms. Cohen on the clarinet was a revelation. In her upper register, she evoked pure joy; in the lower, a soulful melancholy.”

MATCHMAKING 2, Dir. Erez Tadmor
Sunday, May 18, 7:30 PM | EDCJCC | Goldman Theater
Saturday, May 17, 7:30 PM | Cinema Arts Theatre
Baruch, a Yeshiva man past his prime for marriage, is tasked with picking up Shira from the airport. When a flight delay traps them in the airport over Shabbat, Baruch falls for her despite knowing he has no chance. An emotional rollercoaster forces him to confront his past and open his heart to the love he never expected.

The festival’s Closing Reception will precede the screening at 6:30 PM.

ADDITIONAL SELECTED PROGRAMMING AND EMBASSY PARTNERSHIPS

In the emotional drama COME CLOSER, directed by Tom Nesher and winner of the Tribeca Film Festival’s 2024 Viewpoint Award, Eden’s world is turned upside down after the tragic death of her beloved younger brother. Devastated by grief, she spirals into increasingly desperate actions to cope with her loss. A conversation with Tom Nesher – one of Variety’s ’10 directors to watch in 2025′ – will follow all three screenings.

In partnership with the Embassy of Germany, THE ZWEIFLERS, a fantastic dramatic comedy set in a Jewish deli in Frankfurt Germany, will be shown in two parts. Directed by David Hadda, and Winner of Best Series and Best Music at the prestigious Canneseries festival, The Zweiflers follows family patriarch Symcha Zweifler (Mike Burstyn) who wants to sell his delicatessen empire when he is suddenly confronted with his past in Frankfurt’s red-light district.

THE TRUE STORY OF TAMARA DE LEMPICKA & THE ART OF SURVIVAL by director Julie Rubio will screen at the festival in partnership with the Embassy of Poland. A visually stunning and sweeping feature documentary, the film traces the life and survival of the renowned painter through her powerful paintings. A conversation with Rubio will follow the screening on May 11th at the EDCJCC.

MAZEL TOV, a drama from acclaimed Argentinian actor and director Adrián Suar, showcases the heartfelt hand humorously touching tale of family, forgiveness, and the ties that bring us back home. Screened in partnership with the Embassy of Argentina, Mazel Tov captures the strength it takes to forgive, let go, and find joy amid the tears.

For the full 2025 JxJ: DC Jewish Film & Music Festival, please visit www.jxjdc.org

To view the 2025 JxJ festival trailer, please visit JxJDC Youtube

Presented by the Edlavitch DCJCC, JxJ: DC Jewish Film and Music is the leader of Jewish film and music cultural arts in the DC, Maryland, and Virginia region, with a state-of-the-art venue at the Edlavitch DCJCC. Between the Festival and year-round programming, JxJ gives exposure to independent filmmakers and musical artists working in the Jewish and/or Israeli space. It annually attracts 30,000 patrons across 180+ events and has been an arts hub in the DC area for over 30 years.

JxJ encompasses the Washington Jewish Film Festival (WJFF) and the Washington Jewish Music Festival (WJMF). The lead sponsor of the WJMF is the Howard and Geraldine Polinger Family Foundation.

Guided by Jewish values and heritage, the Edlavitch DC Jewish Community Center engages individuals and families through its cultural, recreational, educational, and social justice programs by welcoming people of all backgrounds to connect, learn, serve, and be entertained together in ways that reflect the unique role of the Center in the nation’s capital.

The Edlavitch DCJCC is located at 1529 Sixteenth Street, NW in Washington, DC, 4 blocks east of Dupont Circle.

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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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