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Film Director John Waters to Receive Mendez Maryland International Film Festival-Hagerstown Award on March 20, 2025

Eric Alper
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Film Director John Waters to Receive Mendez Maryland International Film Festival-Hagerstown Award on March 20, 2025

Well known ground-breaking film director John Waters will be receiving the prestigious Mendez Award at the opening night of the Maryland International Film Festival-Hagerstown, on Thursday March 20th. The award will be presented at the historic Maryland Theatre in Downtown Hagerstown.

John Waters, Director (photo credit: Greg Gorman)
John Waters, Director (photo credit: Greg Gorman)

Film Festival Board of Directors President Nicole Houser said, “The Mendez Award is awarded to someone who has succeeded and made a positive impact in the Television, Film, and Broadcast Industries, or has supported film and television and has given back to the community. Director John Waters has been a vociferous champion for Maryland filmmaking and is always known as one of the most ‘adventuresome’ directors in the nation.” Houser pointed out that Waters wrote and directed such films as “Hairspray” and “Pink Flamingos,” and both have been named to the U.S. Library of Congress’ National Film Registry.

John Waters will be appearing at the Maryland Theatre via video, accepting the award. He has a prior commitment on the other side of the country.

Waters is the author of ten books: Shock Value, Crackpot, Pink Flamingos and Other Trash, Hairspray, Female Trouble and Multiple Maniacs, Art: A Sex Book (co-written with Bruce Hainley), Role Models, Carsick, Make Trouble, Mr. Know-It-All, and in May, 2022 his first novel, Liarmouth: A Feel Bad Romance. In 2022 Liarmouth was optioned by Village Roadshow Pictures for John to write and direct the movie.

Two music compilation CDs have been released by New Line Records, “A John Waters Christmas” (2004) followed up by “A Date with John Waters” (2007). In 2017 Third Man Records released a 7″ EP of Waters reading “Make Trouble” and in 2021 Sub Pop records distributed his “Prayer to Pasolini” as part of its Singles Club. John’s audiobooks “Carsick” and “Mr. Know-It-All” were both nominated for Grammy Awards in the Best-Spoken Word Album category. Sub Pop Records released the 7″ single, “It’s in the Book,” in 2022, which is Waters’ cover of a 1952 hit comedy recording by Johnny Standley. Sub Pop released a new 7″ single, “John Waters Covers ‘The Singing Dogs’ “Jingle Bells'” b/w “It’s a Punk Rock Christmas,” in November 2024.

John Waters is a member of The Academy of Motion Picture, Arts and Sciences and the National Academy of Recording Arts and Sciences. Additionally, he is a past member of the Andy Warhol Foundation Board and the Wexner Center International Arts Advisory Council. He is currently on the Board of Trustees for the Baltimore Museum of Art as well as the Maryland Film Festival Board and has been a key advisor to the Provincetown International Film Festival since it began in 1999, the same year Waters was honored as the first recipient of PIFF’s “Filmmaker on the Edge” award.

In September 2014 Film Society of Lincoln Center honored John Waters’ filmmaking with a 10- day celebration entitled “Fifty Years of John Waters: How Much Can You Take?” featuring a complete retrospective of his work. The next year the British Film Institute also honored John’s contribution to cinema. In 2015, Waters was awarded an Honorary Doctorate of Fine Arts from the Rhode Island School of Design (RISD) and the same by the Maryland Institute College of Arts (MICA) in May 2016, as well as two by School of Visual Arts (SVA), in 2020 and 2022. The French Minister of Culture bestowed the rank of Officer in the Order of Arts and Letters to Mr. Waters in 2015. In February 2017 John Waters was honored with the Writers Guild of America East’s Ian McLellan Hunter Award for his body of work as a writer in motion pictures. In September 2023, the Academy Museum of Motion Pictures opened “John Waters: Pope of Trash,” the first comprehensive exhibition dedicated to John Waters’ contributions to cinema, and he was awarded a star on the Hollywood Walk of Fame. American Cinema Editors selected Waters to receive the ACE Golden Eddie Filmmaker of the Year Award in 2024.

Waters is a photographer whose work has been shown in galleries all over the world. In 2011 he was selected as a juror for the Venice Biennale. He’s performed his one man spoken-word lectures entitled “End of the World”, “This Filthy World”, “False Negative”, “Naked Truth” or “Make Trouble” and his annual Christmas show, “A John Waters Christmas”, at colleges, museums, film festivals and comedy clubs around the world. Waters appeared in many motion pictures and television shows including Jonathan Demme’s Something Wild, Woody Allen’s Sweet and Lowdown, Seed of Chucky, Alvin and the Chipmunks: The Road Chip. The Simpsons, Ryan Murphy’s Feud, The Blacklist, Law & Order: Special Victims Unit, The Marvelous Mrs. Maisel, Search Party and the Chucky TV Series. He also was one of the faces of a Nike campaign in 2019 and the Saint Laurent fall/winter 2020 menswear campaign in both 2020 and 2024, and John Waters was featured with Mink Stole in the 2022 Calvin Klein Pride campaign.

“John Waters is one of the best-known film directors who came from Maryland. He has a star on the Hollywood Walk of Fame,” said Maryland International Film Festival-Hagerstown co-founder Tom Riford. “John Waters has testified in favor of State of Maryland assistance for filmmaking. He is one of the most recognized independent filmmakers in the nation.” Riford also praised John Water’s dedication to helping the arts. “We also want to thank the Mendez Family for being such steadfast supporters of the film festival, and for continually presenting the annual award.” Former CIA agent and award-winning author Jonna Mendez will be presenting this year’s award.

The first official Mendez Award was named for and was awarded in 2013 to Antonio “Tony” Mendez, CIA Master of Disguise, Founder of the Spy Museum, and Award-Winning Author and Painter. The award was given one month after “ARGO” won the Best Picture Academy Award. On stage that night, to help accept the first Mendez Award included wife of Tony Mendez, Jonna Mendez.

Other award recipients have included: in 2014, Joe Carnahan, Film Director and Producer, known as one of the most prolific filmmakers in Hollywood, and for his ongoing support of MIFF-H as the volunteer Creative Director.

In 2015, Nora Roberts, Author and Entrepreneur, known as the world’s most famous Romance Writer, best-selling author, and contributor for Washington County’s economic development and tourism. Many of her books have been turned into films and television movies.

In 2016, then-Frederick County Councilman Billy Shreve, known for his advocacy in supporting film in Maryland, and for being the driving force behind Classmates4Life (an anti-drug film festival for all school students in Frederick County, beginning a state-wide pilot program). The contest received national recognition for its public awareness campaign.

In 2017, Kerry Cahill, award-winning actress from AMC’s The Walking Dead. Cahill was also a supporting actress in the Oscar nominated film Mudbound (2017). She was also recognized for her work with veterans’ organizations.

In 2018, Amir Arison, an award-winning actor, from NBC’s The Blacklist. Arison was recognized for his ongoing support for Arts nonprofits, and for his work supporting treatment and help for people with mental illness and his passion for helping animal rescue and animal adoption.

In 2019, then-Maryland Governor Larry Hogan was recognized for his leadership in assisting the film industry in Maryland. Governor Hogan was also recognized for his efforts in supporting the Historic Maryland Theatre expansion, the expansion of the Barbara Ingram School for the Arts, and the expansion of the University System of Maryland Hagerstown. He signed into law the Maryland Film Incentive Program, which helps independent filmmaking, and provides increased tax incentives for the film industry. While being a national leader during the Covid Pandemic, Governor Larry Hogan is a humanitarian and additionally has helped many non-profit organizations.

Barry Ratcliffe, who received the award in 2021, was recognized for his work in film and television, and for his considerable nonprofit work. He is known as “Hollywood’s Auctioneer,” and has appeared in numerous films and television series. He is active in community drama and arts, volunteering to teach classes and does motivational talks. He is very active in drug-free programs and has been a national social issue spokesperson.

In 2022, Hollywood actress Ann Mahoney was recognized for her contributions to filmmaking and television, and for her women’s rights advocacy. She additionally was recognized for her work as a university professor of drama and acting.

The Mendez Award in 2023 was presented to Stephen Schupak, Maryland Public Television’s statewide network’s executive vice president and station manager. During his 20-plus year tenure at MPT, the network earned several television industry honors for productions including Star-Spangled Spectacular: The Bicentennial of our National Anthem and its long-running series MotorWeek, plus the two-part documentary Music of Ireland, Potomac by Air, annual Chesapeake Bay Week® programming, and popular weekly series Maryland Farm & Harvest. The National Academy of Television Arts & Sciences’ National Capital Chesapeake Bay Chapter inducted Schupak into its prestigious Silver Circle in 2020. Additionally, Schupak was honored for his community support and involvement in numerous issues.

In 2024, the Hall of Fame broadcaster Johnny Holliday was recognized with the Mendez Award. This was for his more than 50 years in radio, television, film and stage, and for his humanitarian work helping numerous nonprofits and charities.

For more information about the Maryland International Film Festival-Hagerstown, see: http://www.marylandiff.org.

The non-profit Maryland International Film Festival-Hagerstown partners with several local organizations, businesses, and individuals. The major sponsors include: the City of Hagerstown, Hagerstown-Washington County Convention and Visitors Bureau, the Maryland Film Office (a division of the Maryland Department of Commerce), Washington County Arts Council, Nora Roberts Foundation, Ed Lough and Northwestern Insurance, University System of Maryland Hagerstown, Washington County Free Library, Emmet and Mary Anne Burke, and Tom Riford.

Spiritune’s Peer-Reviewed Music and Mental Health Study Published in PLoS One

Eric Alper
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Spiritune’s Peer-Reviewed Music and Mental Health Study Published in PLoS One

Spiritune, a leading therapeutic music app, is proud to announce the publication of its research into the PLoS ONE scientific journal, marking a significant advancement in the field of music neuroscience and mental health. The peer-reviewed study adds to the growing body of evidence supporting music’s potential as a digital therapeutic for improving mental health outcomes.

The study revealed that Spiritune’s science-driven approach to music composition is 4 times more effective at reducing negative emotional states compared to other audio conditions, including mainstream music and playlists that claim cognitive benefits. It also demonstrated Spiritune’s unique ability to improve processing speed during listening – setting it apart as the only music intervention to achieve this outcome.

The findings highlight a crucial distinction: not all therapeutic music is created equal. While many playlists claim stress-relief or performance benefits, Spiritune’s study shows that music composed using principles from music neuroscience and music therapy yields measurable therapeutic outcomes.

“Music is powerful, but therapeutic outcomes require more than marketing promises,” said Jamie Pabst, Founder of Spiritune. “This study validates what we’ve always believed in: music needs to be intentionally created and scientifically grounded to truly impact mental health. Spiritune represents the next frontier in mental health by turning music into medicine.”

“This study validates the capacity of simple music listening during daily routines to effectively modulate core dimensions of mental health” said Daniel Bowling, a neuroscientist at Stanford and co-author on the paper. “It further shows that principles from music neuroscience and music therapy can be systematically applied to guide original compositions towards specific therapeutic goals in the general population.”

As mental health challenges continue to rise globally, this research emphasizes the potential of music to augment other forms of treatment, providing listeners with a safe way to feel better that is available on demand. Spiritune’s long-term commitment to scientific research and its mission to create and redefine music’s role in popular culture and the mental health ecosystem shine through this landmark achievement.

The study was recently published in PLoS One on February 12, 2025. It provides further details about Spiritune’s innovative approach to music creation and application, as well as methodology and results to drive further progress and understanding. While more remains to be done, Spiritune’s research offers actionable insights for mental health professionals and anyone seeking to integrate effective music-based therapies into daily life or health care practices.

Flerish Hydration Partners with Rolling Loud for the 2025 Festival

Eric Alper
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Flerish Hydration Partners with Rolling Loud for the 2025 Festival

Flerish Hydration, a new innovative player in the beverage industry, today announced its official partnership with Rolling Loud, the World’s Largest Hip-Hop Festival. Flerish will serve as the hydration partner for Rolling Loud Los Angeles 2025 from March 15 – 16, 2025.

Flerish will be available at concessions, offering samplings for fans, and activating backstage to provide tastings to artists and VIPs. Attendees can look forward to a weekend featuring top artists such as A$AP Rocky, Playboi Carti, Peso Pluma, YG, Quavo, BossMan Dlow, Sexyy Red, Ken Carson, and more performing throughout the festival.

Flerish is the only 35-calorie watermelon-based hydration drink that provides essential vitamins and electrolytes without artificial sweeteners. Designed for holistic hydration, it supports physical and mental wellness, embodying a complete lifestyle focused on enjoyment and well-being.

“At Rolling Loud, we are always reminding fans that staying hydrated is a must,” say co-founders Matt Zingler and Tariq Cherif. “So it only made sense to team up with Flerish Hydration to keep fans fueled all weekend long. It’s all about balancing the energy of the festival with taking care of yourself.”

Flerish differentiates itself with a low-sugar formulation using real cane sugar and a transparent ingredient list featuring L-Theanine, Magnesium, Zinc, and essential vitamins. This nutrient-dense drink supports bone and skin health, cognitive function, and immunity, redefining hydration with natural ingredients.

Flerish embodies the fearless and ambitious spirit of young people, inspiring them to pursue their goals. Founded by Avery Johnson Jr. and Nicholas Nevins, Flerish emerged from a passion for athletics and a desire to fill the gap in the hydration market for healthier options.

“We’re excited to partner with Rolling Loud,” says Flerish co-founders Avery Johnson Jr. and Nicholas Nevins. “With Flerish, fans can stay energized during remarkable performances, blending health and music seamlessly.”

Flerish is an enhanced hydration drink designed for the modern, health-conscious individual. Our mission is to empower you to thrive physically, mentally, and spiritually, supporting your journey toward achieving your goals. With essential vitamins and electrolytes, Flerish represents a holistic approach to wellness—living a complete and fulfilling life.

Founded in Dallas Texas, by former Alabama athlete Avery Johnson Jr. and Nicholas Nevins, son of the founder of Perrier North America, Flerish brings a fresh perspective to the hydration industry. Inspired by LA’s vibrant culture and diverse wellness practices, we crafted a multidimensional hydration solution that resonates with athletes, wellness enthusiasts, and the Gen Z and Alpha generations. Each bottle of Flerish embodies a commitment to physical vitality, mental clarity, and spiritual balance.

For more information, visit www.drinkflerish.com.

Founded in 2015 by childhood friends and Miami natives, Matt Zingler and Tariq Cherif (8x Billboard Hip-Hop Power Players), Rolling Loud was built out of a flourishing South Florida hip-hop community that the pair cultivated through years of concert promotions. In a time where live hip-hop entertainment wasn’t being taken seriously by the pop music machine, Rolling Loud shattered expectations from the jump – prompting them to expand at an unprecedented rate from Miami to Los Angeles, New York, San Francisco and Australia within 5 years and to Portugal, The Netherlands, Germany, Austria, Toronto and Thailand within 10 years. The festival not only brings hip-hop to fans around the world, it is where hip-hop history is made. From Lil Uzi Vert’s iconic stage dive in 2017 to Ice Spice’s first ever performance in 2022 to Future and Metro Boomin kicking off the Kendrick Lamar x Drake battle in 2024, the Rolling Loud stage is where it all goes down.

Rolling Loud’s advancement is largely credited to its dedication to cultivating community in every market they touch, paving an opportunity for them to be revered as more than just a festival – it’s a lifestyle brand. With a booming fashion and merchandising business that outsells some of the biggest artists in the world, a thriving media and production arm that creates content for other world-renown brands, and an unprecedented web3 model that integrates experience with digital ownership, Rolling Loud has built a 360º brand that fans, brands, and artists alike respect for its ingenuity and authenticity. Rolling Loud is the World’s Largest Hip-Hop Festival, point blank period. Many have tried, but none have prevailed like Rolling Loud.

5 Surprising Facts About Creedence Clearwater Revival’s ‘Willy and the Poor Boys’

Eric Alper
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5 Surprising Facts About Creedence Clearwater Revival’s ‘Willy and the Poor Boys’

Willy and the Poor Boys, released in 1969, was Creedence Clearwater Revival at their peak, blending swampy Southern rock, protest anthems, and working-class storytelling into one unforgettable record. From the foot-stomping energy of “Down on the Corner” to the fiery rebellion of “Fortunate Son” and the eerie resignation of “Effigy,” every track carried a purpose, a mood, and a message. Here are five incredible facts that make Willy and the Poor Boys even more legendary than you thought.

1. The Album Was Almost a Full Concept Record

John Fogerty originally envisioned Willy and the Poor Boys as a full-on concept album, centering on a fictional jug band that played on street corners to spread joy. The album cover, featuring CCR in character outside Duck Kee Market in Oakland, was meant to reinforce the idea. While only a couple of tracks, “Down on the Corner” and “Poorboy Shuffle,” stuck with the theme, the spirit of the album still feels like a band of misfits bringing people together through music. In the end, it wasn’t just a concept—it was a feeling, and it resonated deeply.

2. “Fortunate Son” Was Written in Just 20 Minutes

“Fortunate Son” is one of the greatest protest songs in rock history, a fiery critique of privilege and the Vietnam War. But did you know it came together in less than 20 minutes? Fueled by his frustration with the draft and politicians’ kids avoiding war, Fogerty wrote the song in a single burst of inspiration. The urgency in its lyrics and guitar riffs wasn’t just performance—it was real, raw anger transformed into one of the most iconic anthems of rebellion ever recorded.

3. The Album Features Two Lead Belly Classics

John Fogerty’s deep love for folk and blues music shines through in Willy and the Poor Boys, especially with the inclusion of “Cotton Fields” and “The Midnight Special.” Both songs were originally popularized by blues legend Lead Belly, and CCR’s versions helped introduce a new generation to his music. “Lead Belly was a big influence,” Fogerty later said. “When you listen to those guys, you’re getting down to the root of the tree.” The band didn’t just borrow from history—they kept it alive.

4. “It Came Out of the Sky” Took a Swipe at Politicians

Buried among the album’s more well-known tracks is “It Came Out of the Sky,” a rocking, Chuck Berry-style tale of a farmer who stumbles upon a mysterious object that falls from the sky. But listen closely, and you’ll catch the biting satire: the song pokes fun at politicians, religious leaders, and the media, all scrambling to claim the discovery for their own benefit. Ronald Reagan, the Pope, and even Vice President Spiro Agnew all get called out. It was CCR’s way of showing how ridiculous power and greed could be—without losing their rock ‘n’ roll swagger.

5. “Effigy” Was Fogerty’s Final Blow to Nixon

The haunting closer to the album, “Effigy,” is one of CCR’s most underrated songs, but it carried some of the album’s sharpest political messages. Inspired by an incident where President Nixon dismissed anti-war protestors outside the White House, the song drips with frustration and cynicism. With its slow-burning intensity, “Effigy” felt like a funeral march for American idealism—Fogerty’s final shot at a leader he despised. It wasn’t just a song; it was a reckoning.

Why Willy and the Poor Boys Still Matters

Some albums are a time capsule, forever tied to the era they were born in. Others, like Willy and the Poor Boys, never stop being relevant. From the foot-stomping joy of “Down on the Corner” to the defiant rage of “Fortunate Son,” this album captured both the beauty and the unrest of America in the late ‘60s. And decades later, it still speaks loud and clear. So if you haven’t given it a spin lately, now’s the time—because the poor boys are still playing, and the message still matters.

5 Surprising Facts About The Who’s ‘Tommy’

Eric Alper
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5 Surprising Facts About The Who’s ‘Tommy’

Some albums redefine a band. Some redefine a genre. Tommy did both. Released in 1969, The Who’s ambitious double album was a rock opera, an audacious concept that changed music forever. Here are these five fascinating facts that make Tommy even more legendary than you thought.

1. The Album’s Title Wasn’t Final Until the Last Minute

Before Tommy became Tommy, Pete Townshend and The Who cycled through several potential names. Early working titles included Deaf, Dumb, and Blind Boy, The Brain Opera, and Amazing Journey. Townshend eventually settled on Tommy because it was short, simple, and memorable. The name also nodded to the British soldiers of World War I, commonly referred to as “Tommies.” The decision proved to be a stroke of genius, making the album’s concept and character instantly recognizable worldwide.

2. Pinball Wizard Was Written as a Last-Minute Gimmick

It’s hard to imagine Tommy without “Pinball Wizard,” but believe it or not, the song was a late addition. Pete Townshend wrote it purely to impress rock critic Nik Cohn, a huge pinball fan, hoping for a better review. The gamble worked—Cohn called Tommy a masterpiece, and “Pinball Wizard” became one of The Who’s most iconic tracks. Not bad for what Townshend later called “the most clumsy piece of writing I’ve ever done.”

3. Keith Moon’s Drums Were Too Destructive for the Studio

Keith Moon’s drumming was legendary for its power and unpredictability—so much so that it caused problems during Tommy‘s recording. After Moon repeatedly destroyed drum kits, Premier Drums refused to lend him any more equipment. The solution? Roadie Tony Haslam lent Moon his own double bass drum kit. That thunderous sound you hear on Tommy? It was partly the result of a desperate attempt to keep the sessions going without breaking more gear.

4. The Acid Queen Was a Symbol of More Than Just Drugs

“The Acid Queen” stands out as one of Tommy’s most intense moments, but its meaning goes far beyond psychedelics. Pete Townshend saw the character as a representation of mindless self-indulgence, not just drug culture, but excess in all its forms—sex, alcohol, and hedonism. Over the years, the song has been powerfully covered by artists like Tina Turner, Patti LaBelle, and Bette Midler, proving its lasting impact beyond the album.

5. The Who Had to Tour Tommy to Stay Afloat

By 1968, The Who was in financial trouble. Their stage shows, including Pete Townshend’s signature guitar-smashing and Keith Moon’s drum destruction, had left them in deep debt. Tommy became their saving grace. The album’s success led to a relentless tour schedule, with groundbreaking performances at Woodstock, the Isle of Wight Festival, and even the Metropolitan Opera House. These shows cemented Tommy as not just an album but a live spectacle that pushed rock music into uncharted territory.

Tommy turned rock into theater, challenged the boundaries of storytelling in music, and inspired generations of artists to think bigger. From concept albums to rock operas to Broadway musicals, its influence is everywhere.

Tommy wasn’t just an album—it was a revolution. It turned rock into theater, challenged the boundaries of storytelling in music, and inspired generations of artists to think bigger. From concept albums to rock operas to Broadway musicals, its influence is everywhere

5 Surprising Facts About Sleater-Kinney’s ‘Dig Me Out’

Eric Alper
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5 Surprising Facts About Sleater-Kinney’s ‘Dig Me Out’

Some albums shake up a scene. Some kick the door down and demand attention. Dig Me Out did both. Sleater-Kinney’s 1997 breakthrough was was a full-throttle mission statement of feminist rage, blistering guitars, and raw emotion. But you already knew that. What you might not know are these five incredible facts that make Dig Me Out even more iconic than you thought.

1. The Album’s Title Wasn’t Just a Metaphor—It Was Reality

Recording Dig Me Out wasn’t just an emotional storm—it happened during an actual one. The band was hit by a brutal snowstorm in Seattle during recording sessions in December 1996. They literally had to dig out the studio just to get inside and record. That battle with nature became the perfect metaphor for the album’s themes of struggle, survival, and reinvention. It was a fight from the start, and you can hear it in every riff.

2. Janet Weiss’ Drumming Completed the Band’s Sound

Before Dig Me Out, Sleater-Kinney had cycled through a series of drummers, but Janet Weiss’ arrival changed everything. Corin Tucker and Carrie Brownstein have both said that Weiss was the missing piece, giving the band a more powerful backbone. Her style—rooted in classic rock influences like the Rolling Stones and The Kinks—brought a raw, propulsive energy that elevated every track. She wasn’t just keeping the beat; she was shaping the band’s future.

3. A Song That Transformed Pain Into Power

“One More Hour” isn’t just a breakup song—it’s a testament to emotional strength. Inspired by personal experiences, the track channels heartache into catharsis, proving that music can turn vulnerability into something powerful. The interplay between Tucker’s and Brownstein’s vocals adds intensity, creating a song that resonates far beyond its lyrics. It’s a moment of raw honesty, but also one of resilience—proof that from difficult times, great art can emerge.

4. The Album Was a Testament to Strength and Friendship

Despite the emotional weight behind Dig Me Out, the album stands as a testament to the band’s resilience and deep creative bond. Even with personal challenges, Tucker and Brownstein turned their experiences into music that resonated with thousands. Instead of falling apart, they grew stronger, channeling raw feelings into anthems of empowerment. The result? An album that continues to inspire musicians and fans alike with its fearless energy and uncompromising honesty.

5. The Album Cover Is a Homage to Rock Royalty

Look at Dig Me Out’s album cover, then take a look at The Kink Kontroversy by The Kinks. Notice anything? That’s right—Sleater-Kinney’s cover is a direct tribute to the 1965 classic, swapping in their own faces and guitars. The nod wasn’t just about aesthetics; it was a statement that Sleater-Kinney saw themselves as part of rock’s lineage. They weren’t just indie upstarts—they were making music worthy of standing alongside the greats.

Dig Me Out  redefined what punk could sound like, what an all-women rock band could achieve, and how raw emotions could be turned into fire. More than 25 years later, it still punches you in the gut with every drum hit, every tangled guitar riff, every wail from Corin Tucker. If you haven’t listened in a while, consider this your invitation to turn it up loud—because some records never lose their power.

5 Surprising Facts About T. Rex’s ‘Electric Warrior’

Eric Alper
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5 Surprising Facts About T. Rex’s ‘Electric Warrior’

Some albums define a genre. Some redefine an era. And then there’s Electric Warrior, the 1971 masterpiece by T. Rex, which did both. Marc Bolan was reshaping rock, injecting glam, swagger, and a touch of the surreal into every groove. But you already knew that. What you might not know are these five mind-blowing facts about the album that put glitter on rock’s leather jacket.

1. The Album Was Almost a Double LP

Believe it or not, Electric Warrior started as a far bigger beast than what eventually hit record stores. Marc Bolan and producer Tony Visconti had enough material to release a double album, thanks to marathon sessions in London, Hollywood, and New York. Outtakes like “Raw Ramp” and “There Was A Time” ended up as B-sides, while other songs were left in the vaults entirely. Bolan was known for moving fast—his philosophy was to keep writing and never look back—which meant that some of the discarded tracks might have been hits in another timeline.

2. A Future Prog Rock Titan Played on It

Rick Wakeman—yes, the Rick Wakeman from Yes—laid down the piano part on “Get It On.” At the time, he was still a session musician, playing on everything from Bowie’s Hunky Dory to Elton John’s early work. Wakeman later admitted that he got paid in beer for his Electric Warrior contribution, but there’s no bitterness—he always recognized that Bolan had an uncanny ability to make even the simplest rock and roll sound revolutionary.

3. Marc Bolan Had a Love-Hate Relationship With His Own Success

By the time Electric Warrior hit number one in the UK, Bolan had already begun to feel the weight of fame. He famously told a journalist that he didn’t want to be “the biggest thing in the world”—he just wanted to be big enough to keep making music on his terms. Ironically, the more he tried to stay grounded, the more extravagant his performances became. His glittering, otherworldly stage presence wasn’t just a persona—it was his armor against the pressures of being a rock icon.

4. The Cover Art Was Inspired by a Happening Moment

That striking black-and-gold cover of Electric Warrior wasn’t some carefully staged studio shoot. It was snapped by photographer Kieron “Spud” Murphy during a live gig in Nottingham on May 14, 1971. The image captured Bolan in his full glam glory, mid-performance, completely lost in the music. The raw power of that moment made it the perfect visual for an album that was all about turning rock ‘n’ roll into something magical.

5. It Influenced More Than Just Rock Music

Glam rock wasn’t the only movement to take notes from Electric Warrior. French electronic duo Justice credited the album’s artwork as a direct inspiration for their 2007 debut, †. That towering silhouette of Marc Bolan with his Les Paul became a blueprint for how to mix raw power with mystique. Even decades later, Bolan’s ability to fuse simplicity with spectacle continues to ripple through music and design.

Fifty years later, Electric Warrior still stands as a shimmering beacon of what rock and roll can be—playful, seductive, larger than life. Marc Bolan didn’t just make music; he made moments. And every time you drop the needle on this album, you’re stepping into one. So go ahead, turn it up, and let the boogie take over. Because as Bolan himself once said, “Whatever happened to the teenage dream?” It never ended. It just put on more glitter.

March is Music Therapy Month – An Urgent Call to Support Music Therapy for Canada’s Aging Population

Eric Alper
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March is Music Therapy Awareness Month, a time to recognize the life-changing impact of music therapy on people of all ages. This year, the Canadian Music Therapy Fund (CMTF) is calling for urgent support to ensure that older adults, particularly those with dementia and cognitive challenges, can continue to access this essential care.

For 31 years, CMTF has worked to make music therapy accessible to those who need it most—children with autism, people experiencing mental health challenges and older adults facing cognitive decline. As one of the only non-profits in Canada providing subsidized music therapy services, CMTF has seen firsthand how music connects, heals, and restores dignity when words are no longer enough.

Canada’s aging population is growing at an unprecedented rate. By 2030, seniors will make up nearly a quarter of the population, with many experiencing isolation, depression, or neurodegenerative diseases like Alzheimer’s. Research has shown that music therapy can reconnect individuals with their memories, reduce anxiety, improve mood, —yet funding for these programs remains critically low.

“This is about more than just music,” says Anna Kajtár, Executive Director of CMTF. “It’s about dignity, connection, and ensuring that people don’t spend their final years feeling lost and disconnected. Music therapy has been proven to change lives, but without support, these essential services are at risk of disappearing.”

Last year, thanks to donor support, CMTF helped bring music therapy to seniors facing cognitive challenges. In 2025, we aim to expand access for even more Canadians—children, adults, and older adults alike—who rely on music therapy for emotional and cognitive well-being.

This Music Therapy Awareness Month, CMTF invites the public to take action:

Music therapy is not a luxury—it is a vital form of care. This March let’s make sure no one is left without it.

“Atomic Reaction” Wins Best Local Feature at Belleville Downtown DocFest International Documentary Film Festival 2025

Eric Alper
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“Atomic Reaction” Wins Best Local Feature at Belleville Downtown DocFest International Documentary Film Festival 2025

The groundbreaking documentary Atomic Reaction, directed by the acclaimed Michèle Hozer, has been awarded Best Local Feature at the 2025 Belleville Downtown DocFest International Documentary Film Festival. This powerful film, which delves into Canada’s role in the Manhattan Project and its lasting nuclear legacy, continues to captivate audiences with its gripping storytelling and unflinching historical revelations.

The film has already earned widespread acclaim, including a stellar A rating review from Original Cin, where critic Liz Braun describes it as “a quietly gripping documentary… This is a strange and sorry chapter in our history.” Braun further emphasizes the film’s lasting impact: “As the film makes clear, ongoing radioactive contamination from radium and uranium mining/refining makes it an unfinished chapter — nothing about this story can be safely relegated to the past.”

With meticulous research and striking archival footage, Atomic Reaction brings to light Canada’s pivotal role in the development of the atomic bomb—an often-overlooked narrative in global history. The film details the discovery of uranium in Canada by Gilbert LaBine, the environmental and human consequences of uranium mining, and the connection between Canadian industry and the devastating bombings of Hiroshima and Nagasaki. It also underscores the ongoing struggle of Indigenous communities who have faced the long-term health impacts of radiation exposure.

“We are thrilled and honored to receive this recognition at Belleville Downtown DocFest,” said Bernie Finkelstein, one of the film’s producers. “Atomic Reaction is an essential story about Canada’s involvement in nuclear history, and we hope this award helps bring even more attention to these important conversations.”

The film is co-produced by David Hatch, a veteran documentarian known for his investigative storytelling, alongside Hozer, whose award-winning career has shaped some of Canada’s most compelling documentary narratives. Their collaboration has resulted in a film that is both visually stunning and deeply informative, shining a light on the haunting legacy of nuclear development in Canada.

“Winning Best Local Feature is a testament to the importance of this story and the incredible response from audiences,” added Hozer. “Canada’s nuclear history isn’t just about the past—it continues to affect lives today. We hope Atomic Reaction encourages further dialogue.”

The movie lays out these momentous and sometimes horrific events with a full flair for drama and a journalistic commitment to the truth. Audiences will have a chance to see for themselves when Atomic Reaction is currently airing on the CBC Documentary Channel and on CBC GEM starting January 10, 2025.

Those three creative principals come to Atomic Reaction bearing a wealth of entertainment-media credentials. Finkelstein is a music-industry legend whose self-founded indie label True North Records has logged 500 releases (40 of them gold and platinum) and netted 40 JUNO Awards, its roster boasting A-list names like Bruce Cockburn, Randy Bachman, Rough Trade, Murray McLauchlan, Lenny Breau and Lighthouse. As an artist manager, he’s handled the likes of Cockburn, Dan Hill, The Paupers, Barney Bentall, and Blackie & The Rodeo Kings. Related ventures have included The True North Publishing Group, which guarded the rights to a library of works by pop songwriters and composers for films and TV. Finkelstein has served as chairman of the Ontario Film Development Corporation and sat on the board of that organization and numerous others, including the Canadian Independent Record Production Association (CIRPA, which he co-founded and is now known as CIMA), the Canadian Association Of Recording Arts and Sciences (CARAS) and the Toronto Arts Awards. He is a member of the Canadian Music Hall Of Fame and the Order of Canada, and has received both the Queen’s Diamond Jubilee medal and the JUNOs’ Walt Grealis Special Achievement Award, the highest honour given to a non-musician by the Canadian music industry. His work on Atomic Reaction adds to a film résumé that includes the 2012 Cockburn documentary Pacing The Cage, which debuted on Vision TV.

Hatch is the founder of WhistleStop Productions Inc., which since its founding in 1989 has produced 60 original network television series and numerous one-off, multicamera, live event productions for broadcast. With a focus on cutting-edge sports, magazine and documentary programming, the company has generated 23 original series for Netflix, Discovery Velocity, the Smithsonian Channel and others. Its documentary arm has dug deep into subjects ranging from professional auto racing to Canadian warships’ hunt for terrorists in the Persian Gulf to a 70-year-old man’s dream to set the world land-speed record on the Bonneville Salt Flats. In addition to his work with WhistleStop Productions, Hatch’s extensive programming résumé has included over 500 hours of original, broadcast network programming for Bell Media and ESPN Inc. and 180 hours of television for Blue Ant Media. A lifelong music devotee (and a guitarist in his own right), he’s shepherded documentaries on superstars like Rush and Lyle Lovett, and his six-hour blues docuseries, Cities in Blue (created for HIFI HD and Smithsonian), was nominated for a Canadian Screen Award.

As a filmmaker and editor, Hozer has been making a significant contribution to the Canadian cultural landscape since 1987. Her documentary Shake Hands with The Devil: The Journey of Roméo Dallaire won the 2007 Emmy for Best Documentary and the Audience Award at the 2005 Sundance Film Festival. Her co-directorial debut with Peter Raymont, Genius Within: The Inner Life of Glenn Gould, earned a coveted spot on the Academy Award shortlist and a Gemini Award for Best Biography. In 2012, Hozer and her team received the Allan King Award for Excellence in Documentary by The Director’s Guild of Canada (DGC) for their work on West Wind: The Vision of Tom Thomson. Other awards on her mantel include the Canadian Screen Awards’ Donald Brittain Award for her self-directed, -edited and -produced documentary Sugar Coated, and the Picture This Film Festival’s Dodie Spittal Award for her short The Barber of Augusta. More recently, she’s acted as both writer and editor on The Reckoning: Hollywood’s Worst Kept Secret and as an editor on the Frontline special In the Age of AI.

Atomic Reaction is already proving a more-than-worthy addition to this highly accomplished trio’s collective pedigree: The doc received an Honorable Mention at the 2024 International Uranium Film Festival, an event dedicated to nuclear issues that’s been presented since 2011 in Rio de Janeiro. With the film about to go before several entirely new sets of eyes, its own half-life seems to be nowhere near the horizon.

Louis Emory and The Reckless Few Deliver Anthemic Americana Rock with “Prophets Said” from Upcoming EP The Siege

Eric Alper
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Louis Emory and The Reckless Few Deliver Anthemic Americana Rock with “Prophets Said” from Upcoming EP The Siege

There are songs that come and go, and then there are songs that stay with you, lingering like the echoes of a classic rock radio station fading into the night. “Prophets Said”, the latest single from Louis Emory and The Reckless Few, is exactly that—a modern rock anthem with the heart and soul of a ‘70s classic, taken straight from the vault of the greats.

Emory, a Troy, NY-based singer-songwriter with a knack for storytelling that rivals his heroes Tom Petty, Bob Dylan, and George Harrison, channels an electrifying mix of grit, melody, and raw emotion into “Prophets Said.” The track, recorded with longtime collaborators Tim Lynch and Bob Boyer at The Recording Company and mixed by Shelly Yakus (John Lennon, The Band, Tom Petty), showcases the kind of rock ‘n’ roll that doesn’t just demand to be heard—it demands to be felt.

Lyrically, “Prophets Said” is a heart-wrenching yet hopeful look at love that has run its course. With lines like “We were just ships passing in the night / Flames dancing in eternal vibes”, Emory captures the bittersweet realization that some relationships are fated to end—but that doesn’t make them any less meaningful.

“I’ve always been into history and the idea of prophets or oracles. But in this song, the ‘prophets’ are the good friends who tell you when something’s over, even when you don’t want to hear it.” — Louis Emory

The song’s driving electric guitars, haunting organ swells, and Emory’s smoky, Petty-esque vocals create a dynamic blend of classic rock energy and modern storytelling—a sound that has drawn praise from industry veterans:

“Louis Emory is writing top-shelf, catchy, meaningful rock and roll songs at a time when this type of music that champions perseverance, positivity, and the human spirit is sorely lacking. He’s right up there with the best of them. Prophets Said is a prime example.” — Greg Richling, Former Grammy-winning bassist for The Wallflowers

“Louis Emory has the melody, the words, and is now! I believe he is one of the most promising unsigned artists of our time.” — Shelly Yakus, Former Chief Engineer and VP of A&M Records
“Nice cut! Solid production.” Larry Ratso Sloman – Author, former writer for CREEM, Rolling Stone Magazine, and Crawdaddy

“What I love: The Tom Petty (“Won’t Back Down”) sound. The gritty, smoky vocals. The track’s lyrical depth and haunting/heavy emotion. The return to form — good ol’ fashioned rock n’ roll. The lonely roads, desert-y mood.” – Amanda Peukert, Culture Journalist, SPIN Magazine

“Prophets Said” is the lead single from Emory’s upcoming EP, The Siege, a collection of songs that further cement his signature fusion of timeless rock, heartfelt lyrics, and stadium-sized hooks.

The song’s music video, shot in the ancient ruins of Ostia Antica, Italy, reflects the song’s themes of loss, resilience, and reflection. The cover art, captured at the same location, paints a moody yet hopeful scene—Emory standing among volcanic black bricks, caught between darkness and light, much like the song’s emotional pull.

Emory and The Reckless Few aren’t just making music—they’re reviving the spirit of rock and roll, one melody at a time. For fans of Petty, Dylan, and classic Americana storytelling, The Siege is a must-listen.

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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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