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Celebrate the Season with Sonny & Cher’s Rare 1972 Christmas Special

Eric Alper
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Celebrate the Season with Sonny & Cher’s Rare 1972 Christmas Special

Step into the festive nostalgia with Sonny & Cher’s rare 1972 Christmas show, featuring Cher’s heartfelt performances of “Gift of Song” and “O Holy Night,” and a stunning guest appearance by William Conrad delivering a powerful rendition of “The First Noel.”

Aloe Blacc Announces Special Fundraising Performance During Forthcoming Blue Note NYC Residency to Support Families Affected by Recent LA Fires

Eric Alper
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Aloe Blacc Announces Special Fundraising Performance During Forthcoming Blue Note NYC Residency to Support Families Affected by Recent LA Fires

Grammy-nominated artist Aloe Blacc is adding a special philanthropic touch to his forthcoming three-night residency at the iconic Blue Note Jazz Club in New York City from January 24-26, 2025, with two performances each night at 8PM and 10:30PM local time.

On Sunday, January 26, Aloe will dedicate the final performance of his residency (10:30PM) to raising funds and support for families affected by the recent devastating wildfires in Los Angeles, which have also impacted his own home and community. The evening will include Aloe’s signature mix of soulful classics like “Wake Me Up” and “I Need a Dollar,” along with songs from his forthcoming album, Stand Together (out February 28).

Proceeds from ticket sales, merchandise, and on-site donations collected during the Sunday show will go directly to families in need within the Altadena community, with a focus on vulnerable Black and Latino families identified by Aloe and his wife, Maya Jupiter. The couple has long been committed to using their platform to uplift underrepresented communities and felt a personal responsibility to extend support during this time of recovery.

Audience members will also have the option to contribute additional donations on-site during the event, and merchandise sales will further benefit the cause. This fundraising performance highlights Aloe’s ongoing commitment to blending his artistry with activism, using music as a force for good.

A limited number of tickets remain for Aloe’s performances for Sunday’s fundraiser, plus Saturday’s 10:30 PM performances. All other performances are SOLD OUT. Ticket information can be found HERE.

Aloe recently performed his inspiring single “Shine” on Good Morning America as part of the #SoCalStrong special, which raised over $8.5 million for wildfire recovery efforts in Southern California. Speaking passionately about the resilience of the LA community, Aloe’s performance highlighted his deep connection to his hometown and his commitment to supporting those in need. Experience the performance here

flipturn Kick Off A Transformative 2025 With New Album ‘Burnout Days’ + National TV Debut On Jimmy Kimmel Live

Eric Alper
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flipturn Kick Off A Transformative 2025 With New Album ‘Burnout Days’ + National TV Debut On Jimmy Kimmel Live

flipturn, “one of the most innovative bands out now” (Ones To Watch), have unveiled their new album Burnout Days via Dualtone Records. The 12 song collection finds the indie-rock powerhouse returning as sonic architects, harnessing their impressive knack for hooks, shimmering soundscapes and “nostalgia-inducing lyrical delivery” (Uproxx). Born from years on the road together, flipturn arrives with more grit, craft and vulnerability than ever before – a clear evolution in the band’s sound, and one that reflects their growth as musicians and individuals. The album has been lauded for its “rays of optimism” (SPIN), “irresistible hooks” (Consequence) and “infectious energy” (Luna Collective) via advance tracks and videos “Rodeo Clown,” “Juno” and “Sunlight.”

Featuring some of their most intimate and cathartic songs to date, Burnout Days recounts hours spent in vans, green rooms, and onstage, all while navigating life in their mid-20s and the constant twists and turns of an industry that can be far from compassionate. As SPIN Magazine puts it, the album is “shining a light on a personal subject.” Lead singer Dillon Basse’s story – from growing up immersed in Celtic folk, by way of his mother, to supporting her through a sobriety journey – is one theme at the heart of the collection. Read Dillon’s conversation with SPIN here:

“‘Burnout Days’ feels like a further push into what our sound can be, whilst also staying familiar to our roots.” says Basse. “Some themes that are explored that I find new for flipturn are toxic positivity, burnout, and acceptance of constant change…It’s the most honest we’ve been to our audience about what life has looked like for us the last few years.”

Watch flipturn make their national TV debut on Jimmy Kimmel Live!, performing “Rodeo Clown” here:

The band have also released a new music video for title track “Burnout Days” – a montage capturing the livewire, cathartic energy present throughout the album – here:

Formed in the small coastal town of Fernandina Beach, FL, flipturn first came together in high school, where they worked passionately to turn garage meet-ups into playing college house shows into headlining sold-out dates for thousands, performing across continents to their rapidly-expanding and deeply-dedicated fanbase. This year, flipturn will bring Burnout Days across the US, headlining their largest rooms yet, with stops including Terminal 5 in NYC, The Novo in LA, The Anthem in D.C., The Salt Shed in Chicago and more. They’ve also announced their return to Bonnaroo in 2025 on one of the festival’s main stages, after playing one of the earliest sets of the day in 2022. Just last week, the band curated and hosted Gainesville’s Playground Music Festival to a sold-out crowd, uplifting the local Florida music scene where they themselves got their start. A full list of dates below and at https://flipturn.komi.io.

Burnout Days Tracklist:
1. Juno
2. Rodeo Clown
3. Inner Wave
4. Sunlight
5. Moon Rocks
6. Right?
7. Window
8. Swim Between Trees
9. Tides
10. Reason to Pretend
11. If It Is
12. Burnout Days

flipturn Tour Dates:
February 26 – White Oak Music Hall – Houston, TX
February 27 – The Factory in Deep Ellum – Dallas, TX
February 28 – Stubbs Amphitheater – Austin, TX
March 1 – Tower Theatre – Oklahoma City, OK
March 5 – The Van Buren – Phoenix, AZ
March 6 – The Sound – Del Mar, CA
March 7 – The Novo – Los Angeles, CA
March 8 – The Fox – Oakland, CA
March 9 – Crystal Ballroom – Portland, OR
March 11 – Showbox SoDo – Seattle, WA
March 13 – The Complex – Salt Lake City, UT
March 15 – Mission Ballroom – Denver, CO
March 18 – The Truman – Kansas City, MO
March 19 – The Hawthorn – St. Louis, MO
March 21 – The Salt Shed – Chicago, IL
March 22 – The Palace Theatre – Minneapolis, MN
March 23 – Val Air – Des Moines, IA
March 26 – Egyptian Room – Indianapolis, IN
March 27 – KEMBA live! – Columbus, OH
March 28 – Royal Oak Music Theatre – Detroit, MI
March 29 – Danforth Music Hall – Toronto, ON
March 30 – Beanfield Theatre – Montreal, QB
April 2 – Higher Ground – Burlington, VT
April 4 – Terminal 5 – New York, NY
April 5 – Roadrunner – Boston, MA
April 9 – MEGACORP – Newport, KY
April 10 – Stage AE – Pittsburgh, PA
April 11 – Franklin Music Hall – Philadelphia, PA
April 12 – The Anthem – Washington, D.C.
April 16 – Avondale Brewing – Birmingham, AL
April 17 – Georgia Theatre – Athens, GA
April 18 – HOB Orlando – Orlando, FL
April 27 – High Water Festival – North Charleston, SC
June 13 – Bonnaroo – Manchester, TN
November 14 – O2 Forum Kentish Town – London, England

Analogue Productions Announces Second Round of Historic Pablo Reissues “The Pablo Series” Includes Titles by Duke Ellington, Ella Fitzgerald, Count Basie, Sarah Vaughan

Eric Alper
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Virtually to the end, Count Basie was at the piano in front of the band that was his natural environment for more than half a century, inspiring music that defined the verb “to swing.” In this collection recorded a little more than a year before he died, Basie divided the performances between the big band and a small group. In his last couple of decades, Basie went into the Pablo studios frequently with combos ranging in size from two (the pianist and Zoot Sims) to the octet heard here.

In this case, the small group came out of the big band and featured the bright young trumpeter Bob Summers along with veteran trombonist Booty Wood and saxophonists Eric Dixon and Chris Woods. In large group or small, Basie and guitarist Freddie Green were at the heart of the rhythm, lifting the proceedings to a rarified plane of swing never to be duplicated after they were gone.

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With Count Basie, Cleanhead Vinson, and Willie Cook all gone, there is cause for gratitude that Norman Granz thought in 1981 to bring them together with a great rhythm section. The result was one of the happiest of Basie’s celebrated “Kansas City” sessions for Pablo. Cook and Vinson, marvelous soloists who deserved wider fame, were both great bebop players able to tailor their work to Basie’s more elemental requirements without condescending or losing anything essential.

 

Additionally, as he demonstrates to a fare-thee-well on “Wee Baby,” Vinson was a terrific blues shouter. In his small groups, Basie the pianist was on more prominent display than in the big band, and there are plenty of reminders here that his keyboard talent encompassed much more than wryness and subtlety.

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The essence of Kansas City wafts from the tracks of this album. How could it not, with Count Basie and Joe Turner in charge? The essence, of course, is the blues, and every man in the band is a master of that most basic and most demanding of forms. Their résumés cover every jazz environ from the 12th Street clubs where

 

Southwest swing matured to the Harlem hothouses that germinated bebop. The common language of the blues, and Basie’s catalytic keyboard, bind them tightly together in support of Big Joe Turner, a shouter, a smooth talker, a testifier to the power, tenderness, despair, and joy of the blues and of life, which are the same.

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A beautiful pairing of two legendary pianists — Count Basie and Oscar Peterson — heard late in Basie’s career, in a setting that lets both of them open up nicely! Basie also plays a bit of organ. Freddie Green, Basie’s longtime guitarist in his band — he stayed 50 years with Basie — cannot be missed on this recording. 10 track stereo LP.

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Dizzy Gillespie wrote his classic “A Night in Tunisia” in 1942 when he was working with Benny Carter. Thirty-four years later the two recorded it together for this album and gave it one of its most luminous performances. In this encounter, Carter, at 70, and Gillespie, at 60, were inspired to some of the best playing of what might be described as their later years if it weren’t for the fact that, at this writing, both were going strong into the 1990s.

 

Among the pieces are two less well-known masterpieces, Gillespie’s “Constantinople” and Carter’s “The Courtship.” Gillespie’s superb bassist of the great 1947-48 big band, Al McKibbon, is in the rhythm section with Tommy Flanagan, Joe Pass, and Mickey Roker.

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Benny Carter meets Oscar Peterson — two older giants from the Verve jazz scene of the 50s, recording here in loose quintet format three decades later! The album’s got a format that’s similar to some of the easy-flowing Verve dates from years back — no surprise, given that Norman Granz produced the set — and there’s plenty of room for Carter’s amazing tone on the alto to stretch out over mellow rhythms from Joe Pass on guitar, Dave Young on bass, and Martin Drew on drums. Titles include “Sweet Lorraine,” “Just Friends,” “Whispering,” “Some Kind Of Blues,” and “Baubles Bangles & Beads.”

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The three Ellington Suites in this release were recorded at different times along Ellington’s legendary and prolific arc: “The Queen’s Suite” in February and April 1959 (written for and dedicated to Queen Elizabeth II, but not widely released until 1970); “The Goutelas Suite” in April 1971; and “The Uwis Suite” in October 1972.

 

“Ellington would record his orchestra at his own expense, and then stockpile the recordings,” says Nick Phillips, Vice President, Catalog and Jazz A&R at Concord and producer of the Original Jazz Classics Remasters series. “These were recordings that were later sold to Norman Granz, who had the good sense in the ’70s to collect these then-unreleased suites on one album.”

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Step into the world of jazz like never before with Ella Fitzgerald — Fine And Mellow, a timeless masterpiece that captures the unparalleled artistry of Ella Fitzgerald, recorded live in a magic-filled moment. Released during the golden era of jazz in the early 1960s, this album is an audiophile’s dream, showcasing not just the vocal brilliance of Ella, but the sonic chemistry of a legendary ensemble of jazz titans.

 

The story behind Fine And Mellow begins with Ella Fitzgerald, often heralded as the “First Lady of Song,” collaborating with a distinguished group of musicians who were at the pinnacle of jazz innovation. Recorded at the famed Los Angeles Philharmonic Auditorium in 1962, this live session presents a rare and authentic glimpse into the improvisational magic of the era. The album is a veritable “who’s who” of jazz greats, chosen with a careful and deliberate focus on complementing Ella’s vocal style.

 

Ella’s smooth yet powerful voice effortlessly rides the waves of a setlist filled with timeless classics, most notably the title track, Fine And Mellow. The album features Ella at the height of her vocal prowess, with each note floating in the air with an almost tactile quality.

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Even with less than essential bonus material, Ella and Oscar — recorded May 19, 1975 — is a welcome reissue that warrants repeated listening. Bassist Ray Brown, closely associated to both artists, appears on four tracks, but this is a decidedly duo effort that focuses on two close friends who happened to be among jazz’s most historic figures.

 

To call this collection of Great American Songbook standards intimate would be an understatement. Ella and Oscar is a low-key album of small, quiet pleasures. Even during the second half where Brown’s bass provides additional rhythmic variety, the focus is squarely on voice and piano. Most of the album’s tracks are under five minutes in length. Only on the closing number, “April In Paris,” do they really stretch out significantly. Peterson delivers a relaxed but swinging solo. Fitzgerald follows suit with remarkably expressive scatting. Earlier on “When Your Lover Has Gone,” she and Peterson trades four bars solos in captivating exchange of melodic ideas.

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Portraits of Duke Ellington is a 1975 album by jazz guitarist Joe Pass that pays tribute to the jazz legend Duke Ellington. The album was recorded just a month after Ellington’s death and reached No. 37 on the Jazz Albums Chart.

 

Featuring guitarist Joe Pass (just beginning to become famous), bassist Ray Brown, and drummer Bobby Durham, they are jamming on eight Ellington tunes and “Caravan” (which was penned by one of Duke’s key sidemen, Juan Tizol). AllMusic says “The interplay between the three musicians is quite impressive, and Pass’ mastery of the guitar is obvious (he didn’t really need the other sidemen). Highlights include “In a Mellow Tone,” “Don’t Get Around Much Anymore,” and “I Got It Bad (And That Ain’t Good).”

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Joe Pass observed in his notes for this album that when he was a young man he determined that his ideal tenor saxophone companion would have a rich tone, harmonic wisdom, respect of the melody, and the will to swing. That figures; Pass was describing his own qualities, and in 1982 when the time came for the guitarist and Zoot Sims to record as a duo, it became clear after about six bars that this was a perfect artistic match.

 

Pass was a supremely natural player whose solos swung from the first note. Sims was also in his later years a master of lyrical expression in ballads. His lyricism here, notably in “Remember,” is complemented by his relaxed urgency in the faster pieces. Pass accompanies Sims beautifully and solos with his customary ingenuity.

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Here is an album of Duke Ellington compositions arranged and conducted by Benny Carter, with Zoot Sims as principal soloist. Add those names to the list of musicians in the adjoining display and you get a total greater than the sum of its parts. Among the many albums Sims made for Pablo, the Ellington project was particularly close to his heart. The Ellington band of 1940 and ’41 was a formative influence on the young tenor man setting out on his career.

 

The great tenor saxophonist Ben Webster’s solos profoundly affected him. It is true that his tone was closer to Lester Young’s, but Webster’s conception was always a major component of Sims’s style, and toward the end of his life Zoot’s sound took on more of Webster’s heft and darkness. Fittingly, he and Webster’s favorite pianist, Jimmy Rowles, do Bojangles to a rare turn, and Sims gives an achingly beautiful reading of Duke’s “Your Love Has Faded.”

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Unlike many musicians who became stars in the Duke Ellington orchestra, Clark Terry became an even more commanding presence in the jazz world following his near-decade with the Duke. His Ellington memories are notable for a quintet that features Jos Pass’s eloquent guitar in place of a second horn, and a program including as many uncommon tune choices as familiar warhorses. Among the highlights are “Echoes of Harlem,” with Terry growling in the manner of the trumpeter first featured on the piece, Cootie Williams; “Sophisticated Lady,” which receives an unlikely Latin-hustle setting; and “Everything But You,” with Terry alternating between trumpet and flugelhorn in a patented conversation with himself.

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The Penguin Guide to Jazz Recordings considers Crazy and Mixed Up to be possibly Sarah Vaughan’s best album for the Pablo label. Vaughan was nominated for the Grammy Award for Best Jazz Vocal Performance, Female at the 26th Annual Grammy Awards for her performance. This release is an essential addition to any serious jazz collection, captivating audiophiles and music lovers alike.

 

This album blends her impeccable phrasing with inventive, boundary-pushing jazz arrangements, making it a must-have for those who appreciate vocal jazz that transcends the genre. Vaughan’s impeccable sense of timing and emotional depth, paired with the intricate instrumental backing, elevate these tracks into an extraordinary listening experience.

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Sarah Vaughan and her working trio team with the “no Count” Basie band for this 1981 collection — their first studio meeting in 20 years! They create a magical album that evokes the days when singer and orchestra shared the stage at the original Birdland. The program looks back even further in the Divine One’s career, with the inclusion of her early hit “If You Could See Me Now,” while also featuring one of her last signature songs in the title track. The entire program, arranged with flair by Sammy Nestico and Allyn Ferguson, is a tour de force that finds Vaughan letting all stops out in a setting that matches her sublime vocals

Doctor Spins Casino Free Spins: A Complete Guide

Eric Alper
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By Mitch Rice

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Joe Boyd Announces Paperback Edition Of New Book And ‘The Roots Of Rhythm Remain: A Journey Through Global Music’

Eric Alper
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Joe Boyd Announces Paperback Edition Of New Book And ‘The Roots Of Rhythm Remain: A Journey Through Global Music’

Today, ZE Books and legendary producer, author, and raconteur Joe Boyd have announced the first paperback edition of Boyd’s acclaimed new book And The Roots Of Rhythm Remain: A Journey Through Global Music. Informed by decades of travel, research, interviews, listening, and many years spent producing groundbreaking music around the globe, And The Roots Of Rhythm Remain has been praised as a staggering literary achievement and a vivid celebration of the music that shaped how our world sounds. The paperback edition will be available April 1 following two sold-out hardcover printings since the book’s September release.

Today, Boyd has also announced the official release of the audiobook of And The Roots Of Rhythm Remain (narrated by Boyd himself), which is available on Audible and soon on other platforms.

A sweeping history celebrating the impact of the world’s musical traditions on Western popular culture, And The Roots Of Rhythm Remain has been internationally acclaimed by readers and critics alike and featured on numerous ‘Best of 2024’ lists. MOJO Magazine praised it as “The War and Peace of World Music” in a 5/5 star review, while The Guardian found Boyd’s “epic account of global music’s cross-pollination … an inspiring tale of seduction, expression and freedom from oppression.” and PBS NewsHour aired a primetime interview on the book and Boyd’s long career. Boyd also shared a special excerpt from the book with Vanity Fair in advance of publication and has recently discussed the book on WTF w/ Marc Maron, NPR’s Here & Now, and PRX’s The World, with additional interviews in the Washington Post, Aquarium Drunkard, the Record Store Day podcast, and many more.

Boyd is set to return to the US in March/April 2025, including a residency at the Big Ears Festival in Knoxville, TN. In addition to an on-stage Q&A with journalist and author Ann Powers, he will present a specially created audio-visual event celebrating the music and artists in his new book and will also introduce an exciting selection of films including his own productions (Aretha Franklin: Amazing Graceand Jimi Hendrix) and films linked to the book. Additional stops include Chicago’s Old Town School Of Folk Music on March 20th and The Local in Saugerties, NY on March 18th, with many more to be announced soon. This past fall, Boyd held book events across the U.S., including sold-out conversations with David Byrneand Joshua Jelly-Shapiro in NYC, Jerry Harrison (Talking Heads/Modern Lovers) in San Francisco, author Joe Nick Patoski in San Marcos, and Buddy Miller at Americanafest in Nashville. Boyd also celebrated the book’s UK release on stage with Brian Eno at Foyle’s in London.

Known to many as the legendary producer behind notable recordings from Nick Drake, Pink Floyd, R.E.M., Maria Muldaur, Toots and the Maytals, Fairport Convention, and many more, as well as the founder of London’s iconic UFO Club, Joe Boyd’s acclaimed memoir White Bicycles: Making Music In The 1960s was praised by the New York Times as “an irresistible tale” and chosen by Elton Johnas his favorite book about music.

Joe Boyd is a record producer and writer, known for his acclaimed memoir, White Bicycles. Artists he has produced include Nick Drake, R.E.M., Toots and the Maytals, Richard Thompson, Pink Floyd, Kate and Anna McGarrigle, and ¡Cubanismo! among many others over the course of a nearly sixty-year career.

After graduating from Harvard in 1964, he tour-managed Muddy Waters, Sister Rosetta Tharpe, Sonny Rollins, Stan Getz and Astrud Gilberto, and others before serving as production manager for the historic 1965 Newport Folk and Jazz Festivals. He then moved to London to open Elektra Records’ office and started the famous UFO club, which became the center of London’s psychedelic revolution. In 1979 he launched his own label, Hannibal Records, which was at the forefront of bringing global artists to western audiences. As a film producer, his credits include Amazing Grace, Scandal, and Jimi Hendrix. A gifted raconteur, he appears frequently on radio, podcasts and documentaries.

How Music Pulls You Into the Game World

Eric Alper
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By Mitch Rice

When we play video games, the music often blends into the background, and we don’t give it a second thought. That’s because most of us think of graphics and gameplay when we think of a good game. That doesn’t mean we don’t appreciate the music; it just may not be at the forefront of our minds. However, a soundtrack can make or break a game, adding a depth of emotion that the title would lack without it.

Games like The Last of Us, where composer Gustavo Santaolalla uses just the right melodies and tones to convey what’s going on in a particular scene, are examples of how music works when used correctly. In this game, as you wander around the post-apocalyptic, everything feels real, and a lot of that has to do with the game’s score. The adaptive music in Red Dead Redemption 2 does something similar as players make their way through the game’s huge open world. With all of that in mind, here we take a look at music’s role in pulling us into a game’s world.

Music in Sports Games

While music doesn’t come to mind when we think about video games with sports themes, it plays an important role in setting the mood in many of these games. If you think about it, live sporting events almost always feature some kind of music, and it’s the same in the virtual world of sports games. The right soundtrack can energize players and simulate the environment of stadiums and arenas in the real world.

It adds to the interactivity of these titles and makes players feel like they’re really a part of the gaming world. As sports betting has become more popular among fans as a way to engage in the world of sports from afar, online sportsbooks like Wildz Sports offer them an array of opportunities to place wagers on their favorite teams and events. In the same way that music draws players into the virtual sports world, wagering adds another layer of excitement to the sports experience.

The Emotional Connection Between Music and Gameplay

If you’ve ever felt a special connection to a character in a game or become deeply invested in their fate, the title’s music probably helped you form that virtual bond. When composers put together a game’s soundtrack, they often set out to guide our emotional responses and even influence the decisions we make.

You can see this explicitly in horror games, where the music is designed to keep us on edge and thinking carefully about every decision we make. In contrast, in action-adventure titles, the soundtrack is usually upbeat, matching the tone of the game. A game’s music has the power to make us feel all sorts of emotions, including sadness, joy, and tension. In the game Undertale, the music shifts as the story develops, which helps players feel a deep connection to the story and its characters.

Memorable Game Soundtracks That Define Worlds

Some gaming soundtracks are so powerful they’ve had an impact far beyond their virtual worlds.

Composers like Nobuo Uematsu and Koji Kondo have had an immeasurable impact on the gaming industry, and the scores they’ve produced are immediately recognizable to millions of gamers around the world.

When talking about iconic gaming soundtracks, the Final Fantasy franchise is one of the first to come to mind. Uematsu’s masterful work on this soundtrack shines through, as does Kondo’s compositions for Super Mario Bros. and The Legend of Zelda. These soundtracks are so good they’ve become synonymous with the games themselves. If you’ve played one of these titles, there’s a good chance the score left a lasting impression on you. Although many of the titles in these franchises are now classics, their music remains popular to this day.

Chance the Rapper Drops New Single “Quiet Storm,” Honors Black Radio Legacy and Explores Power, Love, and Resistance

Eric Alper
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Chance the Rapper Drops New Single “Quiet Storm,” Honors Black Radio Legacy and Explores Power, Love, and Resistance

rammy-winning artist Chance the Rapper has unveiled his latest single, “Quiet Storm,” a thought-provoking ode to the iconic radio format pioneered by Black DJs in Washington, D.C., during the late 1970s. Released on Inauguration Day, the track delves into themes of love, power, and identity, weaving a narrative that transforms a seemingly personal relationship into a broader reflection on the lingering effects of colonial oppression. With its rich storytelling and layered soundscape, “Quiet Storm” continues Chance’s tradition of pushing boundaries and sparking conversation through his music.

“Quiet Storm” takes listeners on a lyrical journey as Chance describes his complicated relationship with a mysterious special someone. As the song progresses, this figure begins to take the shape of something much larger—a representation of oppressive colonial powers and the western governments that have long impacted marginalized communities. The track’s storytelling mirrors its evocative soundscape, creating a sensory experience that resonates deeply with its themes of love, identity, and resistance.

Released on Inauguration Day, “Quiet Storm” feels especially timely, aligning with Chance’s ongoing exploration of sociopolitical themes through his interdisciplinary Star Line project. The single continues the project’s mission of connecting art, music, and Black history, offering a bold, poetic perspective that challenges listeners to reflect on their own relationships with power and heritage. Check out “Quiet Storm” HERE

Chance recently achieved an extraordinary milestone with the Diamond certification of “I’m the One,” his 2017 collaboration with DJ Khaled, Quavo, Justin Bieber, and Lil Wayne. Certified by the Recording Industry Association of America (RIAA), this honor signifies over 10 million sales and stream equivalents in the U.S., making Chance the first independent solo act to reach this achievement. A pioneer in the independent music scene, Chance has built his career on groundbreaking achievements that defy traditional industry norms. He was the first independent artist to win multiple Grammy Awards, including three wins for his streaming-only mixtape Coloring Book, and the first to host and perform on Saturday Night Live without a traditional record deal. From his viral debut mixtape 10 Day to the critically acclaimed Acid Rap, which charted despite being a free release, Chance continues to redefine the possibilities for independent artists and remains a trailblazer in the modern music industry.

Chance has been carefully curating all aspects of his Star Line project, alongside its interdisciplinary companion, Star Line Gallery. This unique project seamlessly blends the realms of art, music, and cinematography, presenting a collection of collaborative works with esteemed fine artists from The Continent and The Diaspora. The resulting pieces redefine the notion of ‘album art’ and are compelling conversations and meditations on Black life. Star Line Gallery works “Child of God” (collaboration with Gabonese artist and painter Naïla Opiangah), “A Bar About A Bar” (collaboration with Chicago-based painter Nikko Washington and filmmaker Troy Gueno), “The Highs & The Lows” feat. Joey Bada$$ (collaboration with Gabonese photographer Yannis Davy Guibinga), “YAH Know” (collaboration with Chicago-based visual artist Mía Lee), and “Together” (collaboration with graffiti artist Slang) have been showcased at art institutions around the world including Expo Chicago, Art Basel, Chicago’s Museum of Contemporary Art (MCA), The Art Institute of Chicago, and Los Angeles’ Museum Of Contemporary Art (MOCA).

On Air Fest 2025 Unveils Schedule: Anderson Cooper, Lonnie Ali, Rosie Perez, Penn Badgley, Daniel Lanois, Jemele Hill, NASA Sonic Renderings, and More in Its Biggest Lineup Yet

Eric Alper
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On Air Fest 2025 Unveils Schedule: Anderson Cooper, Lonnie Ali, Rosie Perez, Penn Badgley, Daniel Lanois, Jemele Hill, NASA Sonic Renderings, and More in Its Biggest Lineup Yet

From February 19-21, 2025, On Air Fest brings the intersection of media, technology and culture to venues across Brooklyn and beyond. For the most dramatic expansion in the event’s eight-year history, the premier showcase of sound and storytelling will welcome thousands of creators and creative professionals working in audio, video and new media. Over the course of three days and four nights, 200+ artists, producers, publishers, writers, industry leaders and influential voices will present 80+ performances, podcast tapings, panel conversations, art exhibits, experiences and interactive workshops, all asking and answering some of the moment’s most important questions.

Today, in addition to announcing its third wave of featured talent, On Air Fest has revealed the daily schedule of sessions that will take place at the Wythe Hotel, and first-time festival locations like Creator Hall at XXV, iHeartPodcasts’ Party at 74 Wythe, National Sawdust, Dolby88 Atmos Theater and KCRWWW, the livestream internet radio cafe on February 19th, 20th and 21st. Alongside Hysterical, Taylor Lorenz, SubwayTakes’ Kareem Rahma, SNL‘s James Austin Johnson & Jokermen, The Kid Mero, laughter meditation with Laraaji, Lemme Say This with Peyton Dix & Hunter Harris, Death, Sex & Money, Design Matters, Radiolab creator Jad Abumrad and more, On Air Fest’s 2025 Lineupnow includes Anderson Cooper breaking down his CNN Audio original podcast All There Is, as well as a special panel on the making of the Audible Original Ali in Me, exploring Muhammad Ali’s life and legacy with Muhammad’s widow Lonnie Ali, close friend, confidant and award-winning broadcaster John Ramsey, and Oscar-nominated actress and long-time boxing fan Rosie Perez. Also added are live editions of How Long Gone, Hearing Things’ Waste or Taste, Transom’s Sound School, Good Boys, The Puzzler live with host A.J. Jacobs and guest Mo Rocca, Elon, Inc. from Bloomberg, and KQED’s Close All Tabs, discussing AI and internet literacy.

Furthermore, Penn Badgley will sit down with Modern Love host Anna Martin, acclaimed record producer and musician Daniel Lanois will bring a performance and conversation to National Sawdust in partnership with Reflections, The Atlantic and Spolitics Podcast’s Jemele Hill will look at how women are rewriting narratives in sports, Feed Me’s Emily Sundberg will unpack the state of newsletters, Fresh Air and She Has a Name’s Tonya Mosley will discuss the genre of family mystery podcasts with Inconceivable Truth’s Matt Katz and more, and Normal Gossip host Rachelle Hampton will talk with Chris Duffy, of TED’s How to Be a Better Human. On Air’s “Hear The Universe” session will feature a performance of NASA‘s “sonic renderings” – which make music from space data – followed by a conversation with astronaut Matthew Dominick and special guests.

CMD+JAZMINE and Fil Corbitt‘s “Retracks” will deliver a night of audio storytelling cover performances, and Peabody-winner Sonja D. Williams (Howard University), the award-winning Kalli Anderson (CUNY Newmark) and Harvard Nieman Fellow Julia Barton will host “Radio Thrifting,” a selection of vintage radio pieces from the 1930s-1970s. Other new sessions include a live rendition of Mehdi Hasan‘s We’re Not Kidding, Miss Peria in an exclusive interview and live performance (the trailblazing artist credited with founding Roblox music as a genre), and Diana Regan, the digital creator behind @CitiesByDiana, on their creative journey.

Learn more about On Air Fest 2025, and find tickets here: https://www.onairfest.com   

From deep listening techniques to new innovations in technology and culture, On Air Fest’s 2025 programming is demonstrating how audio has transformed into a phenomenon that we can see, hear, touch, taste and smell. Overarching themes like community-building, industry evolution, social impact, sustainability and independence will guide the event and its attendees, emphasizing the ways in which sound and creative storytelling are shaping the mainstream, growing brands and influencing the future. It all begins February 19th with the On Air Fest Podcast Business Summit, co-presented by Bloomberg and reporter Ashley Carman. The invite-only gathering of business, tech, advertising and publishing executives will explore the latest trends, challenges and opportunities, before On Air Fest opens to the public and dives even deeper.

See On Air Fest’s Daily Schedule Here

Carole King and Maurice Sendak’s ‘Really Rosie’ Celebrates 50th Anniversary with Vinyl Reissue

Eric Alper
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Carole King and Maurice Sendak’s ‘Really Rosie’ Celebrates 50th Anniversary with Vinyl Reissue

Carole King’s beloved, whimsical collaboration with Maurice Sendak, Really Rosie, celebrates its 50th anniversary with a vinyl reissue from Legacy Recordings, the catalog division of Sony Music Entertainment. Available February 28th on vinyl for the first time since 1975, the release features 11 original soundtrack recordings composed and performed by Carole King, with story and lyrics by the legendary Sendak. The album was produced by King’s longtime collaborator Lou Adler, the man behind the board on her 1971 smash-hit album Tapestry.

First premiered as a CBS animated special in February 1975, Really Rosietells the story of an ambitious and imaginative girl from Brooklyn who decides to stage a musical about her life and her quirky neighborhood friends. Set to the vibrant and poignant music of Carole King, paired with Sendak’s delightfully subversive lyrics, the songs explore themes of childhood whimsy, creativity, and self-discovery.

King had a deep connection to the material. Recognizing echoes of her own Brooklyn childhood in Sendak’s work, she brought her signature style and warmth to Really Rosie, voicing the title character and infusing each track with her unmistakable charm. Songs like the cheeky “Pierre” and the bittersweet “The Ballad of Chicken Soup” highlight Sendak’s mix of playfulness and darker humor, all buoyed by King’s effervescent music and performance.

Over the past five decades, Really Rosie has remained a treasured classic, a staple for children’s theater groups, and a gateway to musical discovery for families. Its educational and entertaining elements have transcended generations, cementing its status as a cultural touchstone.

The 50th-anniversary edition of Really Rosie will be reissued worldwide on 1-LP standard-weight black vinyl in a gatefold sleeve through Legacy Recordings and is available for pre-order now.

Pre-order the vinyl here.

Carole King is the most successful female songwriter of the 20th century pop music era, with 118 Billboard chart hits. Tapestry, King’s 1971 solo album, took her to the pinnacle as a singer/songwriter with four Grammy Awards®. Tapestry, certified 14 x Platinum and with 30 million worldwide sales, remained the best-selling album by a female artist for a quarter century.

King went on to amass three other platinum and eight gold albums. Her awards and honors include Songwriters Hall of Fame, BMI Icon Award, The Gershwin Prize for Popular Song, MusiCares Person of the Year and Kennedy Center Honoree. She was inducted into the Rock & Roll Hall of Fame for a second time in 2021 by Taylor Swift and is the only person inducted into the Rock Hall as both a non-performer (songwriter) with the Ahmet Ertegun Award and also as a performer. King has written a New York Times bestselling memoir while Beautiful, the musical about her life, became one of the top grossing Broadway musicals of all time. In addition to her continuously evolving musical career, King is actively involved with environmental organizations in support of wilderness preservation.

Carole King – Really Rosie
1. Really Rosie
2. One Was Johnny
3. Alligators All Around
4. Pierre
5. Screaming and Yelling
6. The Ballad of Chicken Coup
7. Chicken Soup with Rice

1. Avenue P
2. My Simple Humble Neighborhood
3. The Awful Truth
4. Such Sufferin
5. Really Rosie (Reprise)

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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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