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Former Supersuckers guitarist Ron ‘Rontrose’ Heathman has died.
The news was confirmed by The Supersuckers on Facebook, who simply said: “Rest in peace, brother Ron. We’ll post more once we process this.”
Heathman was part of the classic Supersuckers lineup and appeared on their first two albums: 1992’s The Smoke Of Hell and 1994’s La Mano Cornuda.
He left the band in 1995 and was replaced by Rick Sims, but returned the fold for 1997’s Must Have Been High and remained in the lineup for 1999’s The Evil Powers Of Rock’N’Roll, 2003’s Motherfuckers Be Trippin’, 2006’s Paid and Get It Together in 2008.
Following the release of Get It Together, the band went on hiatus, with Heathman replaced by Marty Chandler for their comeback album Get The Hell in 2014.
Michael Monroe guitarist Rich Jones was one of the first to pay tribute to Heathman, saying: “Ah man, really sad to hear about the passing of Ron Heathman. We played a lot of shows with Supersuckers back in the day and Ron was always a really sweet guy and a hell of a player. RIP Rontrose.”
Photographer Harmony Gerber added: “Damn. I hate writing these posts, but this one’s too close to home. A dear friend of mine, Ron Heathman from the rock band The Supersuckers has passed away. I had an endearing relationship with this band for many, many years – and still do. This truly breaks my heart.
“In my eyes, Ron was a quiet man, but when we did get a chance to chat, he was a clever, quick-witted guy. He had so much passion for playing music, and knew everything under the sun about his guitars, motorcycles… and he could brew the best damn cup of coffee on Earth. I’ll miss you, buddy.”
No cause of death has yet been made public.
Ah man, really sad to hear about the passing of Ron Heathman. We played a lot of shows with Supersuckers back in the day and Ron was always a really sweet guy and a hell of a player. RIP RontroseAugust 19, 2020
A photo posted by @photo_grafitti on Aug 18, 2020 at 9:19pm PDT
On making the album, Andy Cato said: “During those studio days, the rest of the world shuts down. There’s an intensity, anyone looking in might say madness , that kicks in when we’re totally lost amongst the instruments , synths and records day and night. But that shared , unspoken feeling that comes when we both know we’ve got it right cuts through as clear as ever.”
‘Edge Of The Horizon’ is their first album since ‘Black Light’ which was released in 2010.
Listen to ‘Lover 4 Now’ with Todd Edwards and check out the album tracklist below. Pre-order the album here.
It’s likely that social distancing and increased safety measures will have to be put in place at music venues from Saturday, much like in restaurants, pubs and other public meeting places that have been able to reopen.
Taylor Swift’s ‘Folklore’ Holds No. 1 Spot On Billboard 200 For Third Week
By Sarah Curran.
Taylor Swift made history with the release of her new album, Folklore.
The record debuted at number one on the Billboard Top 200, making her the only artist ever to have seven albums sell half a million copies in a week.
Furthermore, the record’s lead single “Cardigan” has now also debuted at number one on the Billboard Top 200.
Swift is the first artist to ever debut at number one on both of these charts.
“Cardigan” sold 71,000 copies in its first week and was streamed 34 million times.
The track is Swift’s second song to debut at number one following 2014′s “Shake It Off.”
Folklore was the top selling album of 2020 with global sales of over 2 million worldwide and over half a billion total streams on audio and video in just one week.
The record is the biggest album debut by an artist since Swift released the award-winning Lover 11 months ago.
The album is her highest rated critically acclaimed record on Metacritic, currently ranked 96.5.
The Grammy winners album release came as a surprise.
“I’ll be releasing my entire brand new album of songs I’ve poured all of my whims, dreams, fears, and musings into,” she wrote on social media hours before its launch. “I wrote and recorded this music in isolation but got to collaborate with some musical heroes of mine.”
GM Guest Mix #133 comes from new comer Mxshi Mo (AKA Nkanyiso Shoba). Hailing from Pietermaritzburg, South Africa, he highlights his unique take on The Gqom and Sghubu sounds with a mix of all his own tracks, including new and unreleased material. His most recent EP was released by the prolific More Time label and he continues to create at a feverish pace.
Track listing :
1. Mxshi Mo – Washa
2. Mxshi Mo – Cyber Kidz
3. Mxshi Mo – Slum Boy
4. Mxshi Mo – Sumerian
5. Mxshi Mo – Ghetto Trance
6. Mxshi Mo – Tech Wars
7. Mxshi Mo – Space Zulu
8. Mxshi Mo – Deda feat. Sykes
9. Mxshi Mo – Atonal Atmospheres
Roommates, while everyone is entitled to their own opinions and critiques, Fat Joe’s recent comments about Drake in comparison to the iconic Michael Jackson are definitely not sitting well with many music fans. During a recent conversation with Rick Ross on Instagram live, Fat Joe confidently stated that Drake is the new Michael Jackson.
We know there is only one King of Pop—but if you ask Fat Joe, Drake is now capable of going by the title that is reserved for Michael Jackson. Following the latest Verzuz battle with 2 Chainz and Rick Ross, Fat Joe recently had an IG conversation with Rozay and his frequent collaborations with Drake came up.
That discussion eventually evolved into Fat Joe proudly proclaiming that Drake is “the Michael Jackson of his time.” His full comments were as follows:
“What’s this relationship between you and Drake? Lemme finish… Drake is possibly the hardest person to get in touch with and let’s be clear, every song he does goes No. 1 and he’s just like, the Michael Jackson of this time.”
As expected and right on cue, Michael Jackson fans were absolutely not having it and took to social media to slam Fat Joe’s comments. Many referred to his comments as “disrespectful,” “delusional” and “reaching.”
This is not the first time that music fans have called foul when an entertainer is called the new Michael Jackson—the same thing happened just a few months ago with comparisons involving Chris Brown.
Trini Lopez, a singer and guitarist who gained fame for his versions of “Lemon Tree” and “If I Had a Hammer” in the 1960s and took his talents to Hollywood, died Tuesday. He was 83.
Filmmaker P. David Ebersole, who just finished shooting a documentary on Lopez with Todd Hughes, confirmed that Lopez died from complications of COVID-19 at Desert Regional Medical Center in Palm Springs, California.
Mentored by Buddy Holly and Frank Sinatra, Lopez became an international star while performing in English and Spanish. Unlike Mexican American singers such as Ritchie Valens, Lopez rejected advice to change his name and openly embraced his Mexican American heritage despite warnings it would hurt his career.
“I insisted on keeping my name Lopez,” he told The Dallas Morning News in 2017. “I’m proud to be a Lopez. I’m proud to be a Mexicano.”
Sinatra signed Lopez to his Reprise Records label after seeing him perform at a West Hollywood nightclub. They became friends and were spotted together regularly in social circles in Las Vegas and Palm Springs, California.
Lopez also appeared in the film classic “The Dirty Dozen” and the comedy “The Phynx.”
Born Trinidad Lopez III to immigrants from Guanajuato, Mexico, Lopez grew up in Dallas’ poor Little Mexico neighborhood. The family’s dire economic situation forced Lopez to drop out of high school and work.
His life changed after his father bought him a $12 black Gibson acoustic guitar from a pawn shop. His father taught him how to play the instrument, which led the young Lopez to perform at Dallas nightclubs that didn’t allow Mexican American patrons.
Buddy Holly saw Lopez at a small nightclub in Wichita Falls, Texas, and introduced him to Norman Petty, his record producer in Clovis, New Mexico. Holly died in a plane crash six months later, and Lopez briefly replaced him as lead singer of The Crickets.
Lopez moved to Southern California and got a regular gig at P.J.’s Night Club in West Hollywood. Sinatra saw him perform and offered him a contract with his new record label, Reprise, where Lopez got his first major hit with “If I Had A Hammer.” It went to No. 1 in nearly 40 countries.
He later helped develop a string of original Gibson Trini Lopez signature guitars from 1964 to 1971.
Ebersole and Hughes recently finished shooting a documentary on Lopez called “My Name is Lopez.”
Legendary radio personality Bruce Morrow is coming back to 77WABC, the station where he first introduced fans to The Beatles, Motown, 60s soul, surf music, and more. From 6 to 9 pm ET every Saturday night, beginning September 5, Cousin Brucie’s Saturday Night Rock & Roll Party will return to the airwaves at the station he helped build decades ago.
He will also be heard live on 77WABC, New York, sister station WLIR-FM 107.9, Hampton Bays, NY.
“Cousins, this is literally one of the most exciting projects of my life,” said Morrow. “It completes a circle… a career circle. It all started at WABC, and here we are all these years later, and the magic is still here. And what magic we’re going to make!”
Both radio stations and their digital platforms are owned by John Catsimatidis’ Red Apple Media. “Brucie is a national treasure and talent. Listeners everywhere can now hear this radio icon and their favorite music from the early days of rock and roll on our radio stations and streaming on our digital platforms,” commented Catsimatidis. “Red Apple Media is about bringing the best in information and entertainment to New York and all of America however they want to listen… on their phone, radio, smart speaker or computer.”
Turns out, the whole thing was shot on a green screen with the main song playing in the background. It’s funny though … Cardi was singing the lyrics to Normani’s own song, “Motivation,” over the ‘WAP’ beat — giving her a little extra juice/hype for the performance.
Normani also posted incredible photo stills from the shoot — and naturally, her fans (and her contemporaries) loved it. Her cameo was definitely one of the more notable standouts, according to Twitter anyway. Other appearances weren’t as well-received, unfortunately.
Regardless of how some folks felt about each and every face that showed up, the video has proven to be a smash hit. It’s got 42 million-plus views already, and it’s steady climbing.
Slipknot and Stone Sour frontman Corey Taylor has sent a message to people who refuse to wear a mask when shopping amid the coronavirus pandemic – and he didn’t pull any punches.
Taylor was a guest on Triple M Rock Interviews when he was asked if, as one of the world’s most famous mask-wearers, he had a message to those who are not following the rules in Victoria, Australia. The state recently declared a state of disaster after a surge of new infections.
Taylor replied: “Yeah, stop whining and put your god damn mask on. This isn’t an isolated incident. My country’s loaded with these dumbasses that think it is some sort of political standpoint or some sort of partisan garbage.
“And I’m just like, ‘Are you serious?’ Just because you haven’t had anyone in your life affected by it doesn’t mean that it’s not a real thing.”
He added: “I once had to wear a full head mask for eight hours while doing Slipknot press. Eight hours straight – didn’t take it off, but these people are going to bitch and moan about wearing it for 10 minutes at the market? Get over yourselves.”
Singer-songwriter Michael Smith, who composed the score, performing in the Victory Gardens Theater’s musical “The Snow Queen,” which debuted in 2006. | Liz Lauren
Beside writing songs including ‘The Dutchman,’ the Chicago folk music pillar wrote stage scores including Steppenwolf’s ‘The Grapes of Wrath’ and Victory Gardens’ ‘The Snow Queen.’
When Michael Smith strummed the guitar and sang his songs, a church-like hush would fill the clubs and coffeehouses where he played.
A star of Chicago’s folk scene and an award-winning composer who toured the United States and Canada for more than half a century, Mr. Smith died Monday at 78 of colon cancer, according to his friend, singer Jamie O’Reilly.
His songs — alternately bittersweet, haunting and wry — have been covered by performers including Suzy Bogguss, David Allan Coe, the Four Freshmen, the New Kingston Trio, David Soul and Spanky and Our Gang. Jimmy Buffett recorded his “Elvis Imitators.” Bonnie Koloc did “Crazy Mary.”
“The Dutchman” — about an elderly man and “dear Margaret,” who does his remembering for him — was one of his most popular compositions. It’s been covered by performers including Steve Goodman, Liam Clancy, Jerry Jeff Walker, Celtic Thunder and Trout Fishing in America. Goodman also recorded his “Spoon River,” inspired by Edgar Lee Masters’ “Spoon River Anthology.”
Mr. Smith didn’t want a funeral or any online RIPs. All he wanted, O’Reilly — his agent and a frequent musical collaborator — said he told her, was this: “If people sing my songs after I’m gone, they need to get the chords right.”
Bill FitzGerald, former owner of FitzGerald’s music club in Berwyn, called Mr. Smith’s music “enchanting” and “a sonic pleasure.”
“When he was onstage, it was Mike’s place,” FitzGerald said. “He would just completely capture the club, and it would get very quiet and very beautiful.”
“Goodman absolutely adored him,” longtime Chicago folksinger and former club owner Ed Holstein said. “He was a really unique writer with lyrics and music.”
Mr. Smith read constantly. The 500 or so songs he wrote reflected his love of literature and poetry.
“He was one of the most literate of guitar players,” Holstein said.
He said that when he was running the Chicago music club Holstein’s, “I just gave him any night I could give him.”
Speaking on his art in the 2016 book Mr. Smith said, “There’s a child inside you, and that child has to be very, very reassured before it can come out. The world doesn’t want the child to come out. The world wants you to pay the bills.”
Mr. Smith also was an acclaimed theatrical composer and performer. His Appalachian-flavored score for Steppenwolf Theatre Company’s “The Grapes of Wrath” drew critical praise when it debuted in 1988. The play won two Tony awards, and its success inspired him to quit a day job at Time-Life Chicago.
“It was really a chance to write songs with John Steinbeck,” Mr. Smith told the Sun-Times in 1988. “What songwriter would refuse that?”
Frank Rich, a critic for The New York Times, singled out the music in a 1990 review of the Broadway production of the play, writing: “Equally astringent and evocative is Michael Smith’s score, which echoes Woody Guthrie and heartland musical forms and is played by a migrant band on such instruments as harmonica, Jew’s harp and banjo. Sometimes salted with descriptive lyrics from Steinbeck, the music becomes the thread that loosely binds a scattered society.”
“Michael, Margaret, Pat & Kate,” a 1994 play that Mr. Smith cowrote based on his Catholic youth in Little Falls, New Jersey, won four Joseph Jefferson Awards for Chicago theater. It touched on prepubescent crushes, a boyhood love of singing cowboys and his father’s death by suicide. It featured “Sister Clarissa,” a song about a nun with a strict classroom where, “Somehow you know summer’s over.” The play also showcased his sly wit in the song “Coffeehouse Days”:
George Carlin came to see me once
He said Michael outta sight
Richie Pryor said he liked me
Even though I was white
I hung out with Don DiMucci
Took lessons from Earl Klugh
Joni Mitchell ignored me
Hey she’d ignore you
At Victory Gardens Theater, he wrote the adaptation and songs for Hans Christian Andersen’s “The Snow Queen,” which premiered in 2006.
“Most memorable is Michael as a songsmith — tireless and prolific, crafting chords, melodies, harmonies, simply gorgeous,” said Jim Corti, the artistic director at the Paramount Theatre and a director–choreographer of “The Snow Queen.” “His wild wit and imagination riff on places (‘Lapland’) and characters (‘Love Letter on a Fish’) set to his wry, hilarious lyrics. I had never experienced anything like his genre of folk music storytelling — stifling laughing out loud so not to miss a word!”
Paying his dues in small clubs early on taught him “an audience is not easily deciphered,” Mr. Smith said in a 1994 Sun-Times interview. “But if you quietly believe in what you do and cling to the work — as opposed to yourself — then people come around.”
He said that, growing up, he listened to musicians as varied as Harry Belafonte, the Beatles, the Kingston Trio, Frankie Laine, Les Paul and Mary Ford, Phil Ochs, Cole Porter, Roy Rogers and doo-wop groups like the Penguins and the Five Satins.
“I was raised in a very rigid and accomplishment-oriented environment. I don’t mean my family,” he said in “I mean being Catholic and white and in America in the ’50s, when everybody had crew cuts. I think you have to get past that somehow.”
In college, he played some of his first gigs at the Hungry Brain coffeehouse in St. Petersburg, Florida, according to the Tampa Bay Times.
After Goodman recorded “The Dutchman” in the early 1970s, Mr. Smith and his wife, the singer Barbara Barrow, settled in Chicago and immersed themselves in the city’s thriving folk scene. They appeared at clubs including the Earl of Old Town, Holstein’s, No Exit Cafe, Orphans and Somebody Else’s Troubles.
They were together 52 years, until Barrow’s death in February from complications of Parkinson’s disease.
The Swedish music streaming and media services provider, Spotify, has been highly criticized by a growing number of artists for their royalty rates, including Radiohead frontman Thom Yorke, who once likened Spotify to “the last desperate fart of a dying corpse.” According to a recent report, a mid-sized indie label earned just $0.00348 per stream.
In a new Music Ally interview, Daniel Ek, the Spotify CEO addressed the controversy, stating that: “Even today on our marketplace, there’s literally millions and millions of artists. What tends to be reported are the people that are unhappy, but we very rarely see anyone who’s talking about… In the entire existence [of Spotify] I don’t think I’ve ever seen a single artist saying, “I’m happy with all the money I’m getting from streaming.” In private they have done that many times, but in public they have no incentive to do it. But unequivocally, from the data, there are more and more artists that are able to live off streaming income in itself.“
He continued: “You can’t record music once every three to four years and think that’s going to be enough,” Daniel Ek said. “The artists today that are making it realise that it’s about creating a continuous engagement with their fans. It is about putting the work in, about the storytelling around the album, and about keeping a continuous dialogue with your fans.”
It’s a well proven proverb that creativity and commercialism aren’t always the best bedfellows. Going out on a limb and sharing some inner truth isn’t necessarily appealing to the masses. So when Jimmy Yeary opted to record his upcoming debut album Left of Sinner and include songs written from a personal perspective, he was in fact detouring away from his earlier career as an ongoing Nashville presence, lead singer of the popular band Shenandoah and a singer/songwriter signed to various major labels. Most significantly, he had scored several country hits, including “I Drive Your Truck,” a Country Music Association and Academy of Country Music “Song of the Year,” and, more recently, the number one Kenny Chesney/David Lee Murphy collaboration “Everything’s Gonna Be Alright.”
Nevertheless, Yeary wasn’t satisfied. He wanted to tell his own story, warts and all, one that would share his downturns and disappointments, as well as the hopes, faith and aspirations that keep him moving forward.
That’s what attracted veteran producer/songwriter/record executive Marshall Altman to him when they first met as part of a three way co-writing collaboration with Tim Nichols in 2015. The record was never released, but regardless, Altman —whose past production projects include work with Amy Grant. Marc Broussard, Natasha Bedington, Gabe Dixon, and Tom Morello, among others — claims he was immediately impressed, not only by Yeary’s skill as both an artist and composer, but also by his unbridled optimism and insightful observations. Aside from the fact that the two became good friends, he also made it his mission to do an album with him at some point.
“Every time I saw the dude, it was like ‘Hey man, let’s make a record,’” Altman recalls.
“Marshall was so refreshing for me,” Yeary suggests. “I was writing things that I didn’t want to write, and after checking out his history, straight away it was obvious that Marshall wasn’t just about chasing down a hit. He wanted to feel something. And I was also starving to death to feel something again myself. So we just jumped into something that was real. I don’t care if anyone hears it. I just wanted to write it. I love his passion, his intelligence and he just seemed to get me immediately. It became really, really fun and I just wanted to do it as much as I could.”
It was another four years before that desire came to fruition, but in 2019, the new album was completed. Lacking major label assistance and the usual network of promoters, publicists and an extensive distribution network, the prospects for getting it out into the marketplace might seem gloomy at best. Nevertheless, their enthusiasm won out and both men are only too eager to tout their mutual accomplishment.
The first single was released last month with two others expected over the span of the summer. That initial offering is “Same Water, Different Boat,” a song that eschews the need for perseverance even in the face of overwhelming odds. The chorus rings with determined resilience:
“Yeah, we’re all just riding on this rock together We’re all just kinda learning as we go Trying to find a little break in stormy weather Just out here trying to keep this thing afloat Same water, different boat.”
Yeary notes that he had achieved earlier success, but he dismisses most of it as the product of someone who was really young and without a lot to say. “I just wanted to be famous,” he insists. “And that’s not a great combination. So where I am today, I do have something to say and I have a few wrinkles. I was just cutting what people wanted me to cut, saying what they wanted me to say, and I wasn’t enjoying it.”
As a result, Yeary considers Left of Sinner not only a reboot of his career, but also his first real solo set. He also credits Altman’s oversight with bringing it to fruition.
“Selfishly speaking, I really wanted to hear a record that was made for him as an artist and not tailored individually for each pitch for what his publisher was going after, “ Altman responds. “Our goal was to make a record that both of us loved and could proudly play to our wives. The clarity that Jimmy has now…it’s very rare, especially in Nashville where a lot of careers are built on doing what you’re told.”
“I knew these were songs that would never get cut, but they were songs I just had to write,” Yeary maintains. “This record has given me a chance to have freedom. I found such joy in it. I wrote the way I wanted to write. And I feel that people want to hear those kinds of songs again.”
Altman has his own words of acknowledgement. “There are plenty of good writers, and I’m not taking anything away from them,” he adds. “But the first time I met Jimmy, I felt like there was a great artist in there. To have him say, ‘Nobody’s going to cut these songs, but these are the things I’d like to say’ — that was inspiring to me as a record producer. I’m not a fool enough to think everything I do is going to make money, but I want to be inspired, because if it doesn’t inspire me, it’s not going to inspire anyone else.”
Altman explains that several of the songs were written before the album was conceived and the early intention was to send them to other artists. However Yeary maintains that he didn’t think that most, if not all of them would never get covered. They were, he declares, simply sentiments he wanted to express.
“I’ve been a drunk, I’ve been married three times, I’ve been an idiot, and I’ve done every conceivable drug you can think of,” he relates. “I’ve just come to a place of gratitude today. I just want to feel as much as I can so that other people can feel it too. I’ve seen the power that comes from that connection, and I just want to meet that internal need so we don’t all feel alone.”
“At the end of the day, my hope for this is that Jimmy gets to make another record,” Altman explains. “My belief is that this is a special record that could change the way people think about country music, which, in my humble opinion, has been suffering from its own hunger for the spotlight. It’s a rich and beautiful genre that has had a lot to say has been marginalized in a lot of ways, at least on the mainstream side. You can quote me on that. This is a record from a guy that’s received all these accolades and had number one hits, who should just be writing the most blatantly simple, commercial cuttable songs…only writing songs that people can run up the charts and have number ones.”
In that regard, Altman says that any commercial consideration takes second place to the conviction the two men imbued in its creation. “The thing that I love about this record is that it feels like what country music should be without the thirst for another number one or any kind of approval. That to me is the crux of this record. I believe that there’s a deeper calling, and this record represents that stance. I know that people that hear it, however many there are, will believe it. They’ll be moved by it. They’ll find hope and comfort and solace and joy in it.”
“I hope the whole world hears it but we did not make this record with that intention at all,” Yeary muses.
“We’re confident that the people that hear will actually hear it, will listen and that won’t be just another set of songs,” Altman suggests. “Sometimes you want to believe in what you’re making and hope that it sells. But you also want to fully believe in the music you’re making. Sometimes people want it to sell more than they want to believe in it. I’ve fallen prey to that myself. These songs truly move me. I don’t hear that that often, so that’s the defining thing about this album for me.”
Yeary has his own reason for wanting the songs to be successful. “I enjoy writing songs that really move me,” he says. “I hope they make me millions and millions of dollars, but if they don’t, that’s still a better choice for me than trying to cut the cookie the same way every time.”
Snoop added: “Jay-Z is a great writer to begin with for himself, so imagine him striking it for someone he truly loves and appreciates. He loves Dr. Dre and that’s what his pen showed you, that I can’t write for you if I don’t love you.”
“Eminem! ‘The Great White Hope’. White rappers had zero respect in rap. Let’s keep that one thou-wow,” Snoop said. “[Dre] has probably put Eminem in the position where he would be considered one of the top 10 rappers ever.
“I don’t think so, but the game feels like that he’s top 10 lyricists and all that that comes with it. That’s just because he’s with Dr. Dre. and Dr. Dre helped him find the best Eminem that he could find.”
Asked why Eminem doesn’t make his top 10 list, Snoop went on to list a number of rappers who he rates higher than the Detroit artist.
“There’s some n****s in the 80s that [Eminem] can’t fuck with,” Snoop continued. “Like Rakim, like Big Daddy Kane, like KRS-One, like LL Cool J … Like Ice Cube.”
He said “it is what it is”, but maintained that Eminem “did that to the fullest” and is still “one of my teammates, one of my brothers”.
“But when you’re talking about this hip-hop shit that I can’t live without, I can live without that.”
Beyonce’s new song ‘Already’, featuring Major Lazer and Ghana’s Shatta Wale is buzzing online following its recent release and a music video which contains amazing indigenous dance steps.
The talented songstress shared the clip via Instagram as she revealed that the shooting started in her backyard.
She also said that some scenes were shot in Shatta Wale’s hometown, Ghana.
The singer performed a number of Nigerian and African dances in the video, including the popular Leg work and Gbese dance moves.
In the music video, Beyoncé moves through number of locations, from one where she appears with body paint in a tree, to a warehouse where she’s flanked by dancers.
It also features scenes of dancers from around the world interwoven throughout the clip, highlighting the upcoming film’s inspiring celebration of being Black, from its elegant choreography and fashion to the global locations.
“I’m not just gonna put it out just because people are waiting,” the singer says.
Fans have been waiting four years now since Rihanna dropped her eighth album, “Anti.” In that time, she’s built and expanded her Savage X Fenty fashion empire and with every announcement, they ask her where “R9” is.
Now, as she prepares to expand the Fenty brand into skin care, Rihanna assured her fans that she hasn’t abandoned what first brought her to fame, despite what some of them might be thinking or saying about her recent brand moves.
“I am always working on music,” she told ET. “And when I am ready to put it out in the way that I feel fit, it’s gonna come out. And you’re not going to be disappointed when it happens. It’s going to be worth it.”
The 32-year-old icon also reminisced on her long career in the spotlight, beginning with “Pon de Replay” when she was just 17 years ago. It’s amazing to think that it’s been 15 years since she first hit the spotlight.
“I thought that was just a few years ago, now it’s like a decade plus,” she said of the early smash hits of her career. “But I’m also really grateful to still be here and being able to expand into other ventures. I’m grateful. It’s been fun and I can’t even complain.”
Her monumental success as a music artist has given her the flexibility to express her creativity in these other arenas, even if those self-same music fans are equally excited about all of her products, but impatiently anxious for new music.
But, Rihanna explains, “I’m not just gonna put it out just because people are waiting. It’s taken this long, I’m gonna make it worth it.”
She certainly can’t build the anticipation any higher. She also can’t tease her upcoming ninth album any harder. At this point, her fans are combing through every social media post to see if its a clue about a new single or about when the album might drop.
For now, though, they might just have to settle for great skin at an affordable price. “I want these things to be different from anything that is on the market,” she said of her newest product line, Fenty Skin.
“I want it to be simple. I want it to be accessible, but still with the high level of ingredients that some of these other brands do but they’re so expensive.”
So does this mean she’s working on a new single about a three-step skin care regimen? … What? Too big of a stretch?
“[Women] show up while you’re singing, running up to you as if you’re not,” he laughs when I ask him about his devoted female fans. “They’ve got old pictures in your face of when they were 18. They’ve got memorabilia that you’ve signed, all over the world.”
A few days after the show, Anka and I walked the hallways of a downtown Toronto photography studio. When I told him how much I enjoyed his concert, it struck me that he genuinely appeared to appreciate the sentiment — never mind that it was coming from someone too young to have heard his chart-topping singles when radio disc jockeys had them on heavy rotation. It mattered what this audience member thought. And that, I realized, is the key.
By the end of the show, Anka stands on stage, legs apart, fists firmly planted on his hips, soaking the adulation in. He evokes an image of Peter Pan: ageless and brimming with the joy of performing, having honed the tricks he learned from hanging with the pirates and lost boys of Las Vegas — the Never-Never Land where adults flee to feel like kids again.
At 15, he worked part-time at the local IGA when Campbell Soup Company promoted a contest awarding the person who collected the most soup can labels a recording session in New York City. Familiar with the customers who bought the brand, Anka cleverly arranged to collect all of their labels in addition to his own. He won.
The song he recorded wasn’t a hit, but it gave him that taste of showbiz he’d been salivating for. A year later, in 1957, he made his way back to the Big Apple to pitch another tune — one he wrote about a 19-year-old girl from church named Diana.
Paired with ABC-Paramount Records producer Don Costa — whose understanding of Anka’s brand of teenage ballad Dalton calls “a perfect match” — “Diana” shot to No. 1 in Canada, the U.S. and overseas, landing the 16-year-old on both Dick Clark’s American Bandstand and The Ed Sullivan Show that same year. He also went on the road, touring the U.S. with the likes of Chuck Berry, Fats Domino, the Everly Brothers and Buddy Holly.
He embarked on his first European tour in 1958 and, in June 1960, at the age of 18, he became the youngest performer to ever headline New York’s iconic Copacabana nightclub — made famous by his idols Frank Sinatra and the Rat Pack — lending him a measure of respect that proved crucial when he started playing Vegas shortly after.
After a string of chart-toppers in the late 1950s, his only top 10 hits on U.S. radio in the 1960s were “Puppy Love” (No. 2 in 1960) and “Dance On Little Girl” (No. 10 in 1961). By 1962, he’d switched record companies and, in a move that Dalton deems “absolutely revolutionary,” bought his entire catalogue back from ABC-Paramount.
“If you own the masters, you own those songs lock, stock and barrel. He made money every time somebody bought a record [or] played it … and I’m sure that sustained him through the shallow parts of his career.”
Whether headlining sold-out shows or partying with his Rat Pack pals and their high-rolling friends, Anka — one of the first pop stars to play Vegas — became a fixture in the town through until the 1980s. Yet, as popular as he was as a performer on the strip and abroad, he achieved a new level of fame by writing for others.
Anka’s resumé of more than 900 songs includes the theme to the 1962 film The Longest Day and an adapted version of his song “Toot Sweet,” now known as the iconic opening theme for The Tonight Show with Johnny Carson.
Buddy Holly’s final hit was an Anka tune — “It Doesn’t Matter Anymore” (1959) — though he never lived to see it, perishing in a plane crash before its release. Anka also wrote one of Tom Jones’ biggest singles, “She’s a Lady,” in 1971. While he composed music for Sonny & Cher, Connie Francis, the Doobie Brothers and others, the song Feldman calls “the pinnacle of [Anka’s] songwriting talent” remains “My Way.”
Of all the celebrities, royalty and heads of state that Paul Anka has rubbed shoulders with, it’s Frank Sinatra — the Chairman of the Board — people want to hear about. His antics, alone or alongside his Rat Pack buddies, are the stuff of show business lore.“There wasn’t enough room in the book,” he admits of his autobiography, “to tell them all.”
“When you write ‘My Way’ and you’re attached to Sinatra … [it’s] perception,” Anka explains, when discussing his success as a songwriter. “You pass a line where you become somebody who has substance. And [your audience] supports that.
“I subscribed to the fact that what I did back then [could] come back and haunt me,” Anka explains. “So I eat a certain way, I exercise, I don’t drink heavy liquor, I’m not a smoker. I rest my voice. Little things that enable me to over-punch my weight.”
Anka’s will to stay in tiptop shape serves him well both on stage and at home, where he’s got a little boy to chase after. While the singer’s first marriage produced five daughters and, ultimately, eight grandchildren, he and his girlfriend, Lisa, currently raise his only son, seven-year-old Ethan Paul, from his second marriage.
“The love and the focus is the same, the time consumption is probably different,” Anka says about the difference between raising his girls and his son. “Time, today, is very important to me. [It’s] my biggest asset.”
In his prime, Anka was on the road an estimated 230 dates a year. “He probably played as many nights a year as Bob Dylan — only on key,” Dalton quips. These days, the touring is pared back considerably, allowing Anka to bring Ethan to and from school and spend time together playing basketball or riding his motorcycle.
Sure, hearing Anka sing Kurt Cobain’s “A mulatto, an albino, a mosquito, my libido” lyrics to a jazzed-up horn section takes some getting used to, but this is no humiliating William Shatner recites “Rocket Man” redux. The album went gold in a number of countries, followed by a star on Canada’s Walk of Fame, proving Anka’s musical instincts as sharp as ever.
Remarkably, there are still artists Anka hasn’t collaborated with but would like to, including Elton John, Beyoncé and John Mayer. In the last 12 months, he’s “written more than I have in years,” and his latest album, Duets, features artists as varied as Willie Nelson, Leon Russell and Michael Jackson.
“I harken back to Sinatra. He said, ‘Kid, I always get excited about putting a record out and having a hit.’ And I absolutely subscribe to that,” Anka says. “In my mind, I haven’t put my flag in the mountain. I do it to stay healthy and to stay aware and I don’t want to ever just sit back. It’s a great life. It’s a great occupation. I just want to stay on this journey.”
Jemaine and Bret have new material, which they’ll be showcasing on the road this summer. The “Flight of the Conchords Sing Flight of the Conchords” tour begins on June 11th in the great city of Cleveland, OH and ends July 27th in Los Angeles, CA. The tour will visit Philadelphia, San Francisco, Minneapolis, Seattle, Atlanta and many more. Highlight stops include, Red Rocks Amphitheater, Newport Folk Fest, and Central Park Summer Stage. This is the band’s first tour since going out on the first-ever “Oddball Comedy & Curiosity Tour” in 2014. Tickets go on sale this Friday March 4th at 10am here.
Jun. 11 – Cleveland, OH – State Theatre
Jun. 12 – Philadelphia, PA – Mann Center for Performing Arts
Jun. 13 – Washington, DC – Wolf Trap Filene Center
Jun. 14 – Columbus, OH – Palace Theatre
Jun. 16 – Detroit, MI – Fox Theatre
Jun. 17 – Minneapolis, MN – Orpheum
Jun. 18 – Milwaukee, WI – Riverside Theatre
Jun. 19 – Chicago, IL – Pritzker Pavilion
Jun. 22 – Redmond, WA – Marymoor Park
Jun. 23 – Vancouver, BC – Orpheum
Jun. 24 – Portland, OR – Keller Auditorium
Jun. 27 – San Francisco, CA – The Masonic
Jul. 01 – Santa Barbara, CA – Santa Barbara Bowl
Jul. 02 – San Diego, CA – Cal Coast Credit Union Open Air Theatre at SDSU
Jul. 03 – Phoenix, AZ Comerica Theatre
Jul. 05 – Morrison, CO – Red Rocks Amphitheatre
Jul. 07 – Kansas City, MO – Starlight Theatre
Jul. 09 – Austin, TX – Bass Hall
Jul. 11 – New Orleans, LA – Saenger Theatre
Jul. 12 – Atlanta, GA – Chastain Park Amphitheatre
Jul. 14 – Nashville, TN – Ascend Amphitheater
Jul. 16 – Boca Raton, FL – Mizner Park Amphitheatre
Jul. 17 – St. Augustine, FL – St. Augustine Amphitheatre
Jul. 18 – Cary, NC – Koka Booth Amphitheatre
Jul. 22 – Newport, RI – Newport Folk Festival 2016 (Fort Adams State Park)
Jul. 23 – Boston, MA – Blue Hills Bank Pavilion
Jul. 24 – New York, NY – Central Park SummerStage
Jul. 27 – Los Angeles, CA – Greek Theatre
I hope you and your loved ones are staying safe and well, wherever you may be, and my continued thanks to you all for bearing with us so patiently.
Due to the continuing health issues Worldwide around Covid-19 we regretfully inform you that Iron Maiden will now not be playing any concerts until June 2021.
However, we are now in a position to give you details of our touring plans in respect to those shows we had hoped to play this year.
Firstly, we are very pleased to tell you that we’ve managed to reschedule all our European own-shows on the Legacy Of The Beast tour for June/July 2021 with the exception of Moscow, St Petersburg, Weert and Zurich which unfortunately we have been unable to re-arrange in this period.
To consolidate the tour routing, as you can see, we have added 2 further shows in Arnhem and Antwerp.
We are in the process of inviting back all the Special Guests and supports who were due to play with us this year. Where any band is unable to commit to this due to their own rescheduling situations, we will look at finding other suitable acts of equivalent stature. The majority are already confirmed and can be found here.
Re-arranging the headline Festival dates has unfortunately not been possible. This is mainly because we already had an extremely busy year lined up for 2021 and, as I’m sure you can imagine, a great deal of forward planning has already gone on and there’s only so much we can do within the timeline and logistics already in place. The band enjoy playing at Festivals so please be assured we will get back to as many of these as we can at another time.
In respect of what should have been the opening leg of the 2020 tour starting on May 1 in Perth, Australia and visiting New Zealand, the Philippines, Japan, Dubai and Israel, we are currently working on a possible return to as many of these countries as we can, in some guise, in the first half of 2022, more news on that will follow at the appropriate time.
The band are all fine and send you guys their best wishes, they are very much looking forward to getting back on stage next year and seeing you all so, please, continue to take care of yourselves and stay SMART.
The 2021 schedule is:
Fri 11 – POL, Warsaw PGE Narodowy
Sun 13 – GER, Bremen Bürgerweide
Tue 15 – CZE, Prague Sinobo Stadium
Wed 16 – AUT, Wiener Neustadt Stadium Open Air
Sat 19 – SPA, Barcelona Olympic Stadium
Mon 21 – POR, Lisbon Estadio Nacional
Thu 24 – ITA, Bologna Sonic Park
Sat 26 – GER, Stuttgart Mercedes-Benz Arena (Stadium)
Sun 27 – BEL, Antwerps Sportpaleis
Wed 30 – GER, Berlin Waldbühne
Sat 3 – SWE, Gothenburg Ullevi Stadium
Thu 8 – GER, Cologne Rhein-Energie-Stadium
Sat 10 – HOL, Arnhem GelreDome
Sun 11- FRA, Paris La Defense Arena
When would you say South African Hip-Hop was in it’s prime? Would you say the culture still has the voice and influence it had at that time right now? Alarmed, rapper and hip hop pioneer, K.O, does not think so. Taking to twitter this morning, K.O has expressed his thoughts and feelings towards where the culture is right now, and the direction he sees it heading towards, with the constant decline of our impact as a fraternity being the major concern.
SA hiphop I hope we’re all cognizant and taking notes from the constant decline of our impact as a fraternity – coz I am ????????♂️. Amapiano still moving things, Gqom and House are reserging. We’re not a threat to no one cos our sound/attitude doesn’t resonate anymore…
— K.O (@MrCashtime)
Couple of INDIVIDUALS from hiphop are obviously still doing their thing but it’s the contrary for hiphop as a fraternity/culture. The overall Top 100 iTunes chart says it all. It’s our job to fix this! Let’s make music with our people & their stories in mind again. REPRESENT! ????????
— K.O (@MrCashtime)
I don’t condone beef but it exists in other genres as well. I swear I’ve seen some type of smoke between Phori & kaybee. My view is solely based on how SA hiphop sounds nothing else https://t.co/UsXLF2moLH
— K.O (@MrCashtime)
Passing the torch in my view is the numerous artists I’ve signed and introduced to the scene. I hope you don’t mean established artists must stop making music so new guys can be noticed https://t.co/0Hh1xFWNqO
What is that new SA hiphop sound? Please teach me fam. If we’re talking about opening up the industry I’m signing artists, even at a time when majors aren’t looking at taking the risk https://t.co/xOvxmiGe67
Is Taylor Swift queer? The singer’s new album — and particularly one song titled “betty” — are making fans think that she may have just come out as bisexual.
The song follows a relationship that lasted through a summer — though not much longer. “I thought of you all summer long,” croons the track, which describes the regret over infidelity and how their relationship came to an end. While there’s no official break down of the song from Swift’s team, it seems pretty obvious that the song is from the point of view of a guy, named James (who is named in the song). Some are suggesting it’s part of a larger arc, with “cardigan” being from Betty’s point of view, “illicit affairs” being about the cheating and subsequent relationship breakdown, and “betty” being from the man’s perspective.
However, for LGBTQ+ fans of the singer, that explanation doesn’t fly. Instead, the queer girls are going crazy on social media over a theory that Swift isn’t singing as a man on ‘betty’ but as herself, meaning this is her (subtle) way of coming out.
Swift put out the album as a surprise drop, announcing its release only hours before in an Instagram post. “folklore” is the artist’s eighth studio album, and Swift says she never thought it would be released during the pandemic.
“Most of the things I had planned this summer didn’t end up happening, but there is something I hadn’t planned on that DID happen. And that thing is my 8th studio album, folklore,” wrote Swift in the caption of a recent Instagram post. “Surprise Tonight at midnight I’ll be releasing my entire brand new album of songs I’ve poured all of my whims, dreams, fears, and musings into. I wrote and recorded this music in isolation but got to collaborate with some musical heroes of mine. … The times we’re living in keep reminding me that nothing is guaranteed. My gut is telling me that if you make something you love, you should just put it out into the world.”
Surprise! Taylor Swift announces new album, ‘Folklore,’ will release at midnight
Hannah YasharoffUSA TODAY
Published 8:56 AM EDT Jul 23, 2020
Less than a year after the release of her album “Lover,” Taylor Swift surprised fans Thursday with an announcement that her eighth studio album, “Folklore,” will be released at midnight EDT.
“Most of the things I had planned this summer didn’t end up happening, but there is something I hadn’t planned on that DID happen,” Swift, 30, wrote in a series of Instagram posts Thursday morning. “And that thing is my 8th studio album, folklore. Surprise”
Swift fans are used to the singer dropping clues up to months in advance about her next musical endeavor, but she did away with the long buildup this time. Instead, the hints took place over the course of less than 10 minutes Thursday morning, while Swift posted nine separate Instagram photos to create a mosaic image of herself isolated in the woods before the album reveal came.
The entire 16-song album was written “in isolation,” she said, describing it as a project she “poured all of my whims, dreams, fears, and musings into.”
More Taylor Swift: A definitive ranking of her 30 best lyrics
A music video for the song “Cardigan” will release at the same time. Amid coronavirus shutdowns in the United States, Swift noted that the “entire shoot was overseen by a medical inspector, everyone wore masks, stayed away from each other, and I even did my own hair, makeup, and styling.”
Swift’s self-titled debut album was released nearly 14 years ago. Since then, fans have followed the singer from a country music newbie to a world-famous pop star, averaging about one album every two years.
Her latest album, 2019’s “Lover,” ushered in a new era of calm for Swift, who had dealt with a tumultuous past few years with tabloid headlines, record label dramas and other personal challenges that played out on the public stage. Her teases for “Folklore” hint at a similarly quiet, zen vibe.
Taylor Swift’s ‘Lover’ Easter eggs: Which fan theories were right and which were way off?
“Before this year I probably would’ve overthought when to release this music at the ‘perfect’ time, but the times we’re living in keep reminding me that nothing is guaranteed,” Swift wrote. “My gut is telling me that if you make something you love, you should just put it out into the world. That’s the side of uncertainty I can get on board with.”
Canada’s punk scene is mourning one of its legends with the death of legendary SNFU lead singer Mr. Chi Pig aged 57 June 16.
Kendall Stephen Chinn was an enigmatic musician and artist known for higher-than- high-octane performances with the hardcore punk band formed in 1981 in Edmonton, relocating to Vancouver in 1992.
Social media reaction to news of Chi Pig’s passing was fast.
“He was a true f**king East Van Bohemian & Punk Rock Queen in the very best sense of those words,” wrote Anna Stewart on Facebook. “I’ll never forget his live performances at the Smilin’ Buddha and other Vancouver spots, his blistering energy and dope style.”
Chinn was born on Oct. 19, 1962 to a German mother and Chinese father, both now dead. He was the second-youngest of 12 children.
He met brothers Marc and Brent Belke through skateboarding in Edmonton in 1981 and formed the band Live Sex Show. The short-lived group soon transformed into Society’s No F**king Use or SNFU. Chinn was a lyricist and a charismatic frontman, frequently incorporating masks, puppets and other props into shows. A prolific artist, he also created much cover art.
The hardcore punk band became a burgeoning skatepunk subculture mainstay.
Between 1985 and 2013, the band released eight albums as well as one live and one compilation release. Almost 30 members have come and gone through the band through the years but Chinn remained the centrepiece.
While the band’s success began to mount, Chinn began a long battle with hard drugs.
He also began open identification as a homosexual. His early life was marked with trauma and later received a diagnosis of schizophrenia.
He’d been given a month to live in late 2019, a diagnosis that shook him somewhat, but did not preclude fleeing hospital earlier this year for a run to his East Vancouver haunts.
Long-time friend Chris Walter has documented much of Canada’s punk scene in his books, including ‘SNFU . . . What No One Else Wanted to Say.’
“SNFU did not seem like obvious candidates for punk rock stardom—yet by combining the flamboyant stage antics and political lyricism of singer Chi Pig with the infectious guitar attack of Marc and Brent Belke, SNFU rose up to take not just Edmonton but the entire world by storm,” reads the back cover of a re-release memorial edition due out in several weeks.
Chi Pig was not a stage presence, Walter said. Chi Pig and Chinn were one and the same.
“He was 100% Chi Pig and zero percent anyone else,” Walter said. “He just absolutely had a desire to create and an urge to create.”
But, he was happiest on stage, Walter said.
“That’s where he belonged.”
“He was a total pro.”
Walter said his friend was frequently a mystery to him and many others.
Sometimes, Walter would be observing the singer creating art. “I’d be watching him and wondering ‘where did he come up with that?’ It was hard to fathom. He had an active imagination.”
And that fertile mind translated to the lyric process as well. Walter said Chinn would take fragments of ideas, concepts he’d noted in his scrapbook and create from there.
“He assembled his songs like Frankenstein’s monster,” Walter said.
It was this enigmatic presence that attracted people to the singer, Walter said.
“He’s generally just different from everyone else,” Walter said. “He’s just kind of a mystery. He was so weird, they just wanted to get to know him.”
But, woe to the fan who pushed him or invaded his personal space.
“If you pushed him too far, he’d lose it,” Walter said. “His bandmates kept overzealous fans away.”
No specific cause of death has been released. “He had a lot of medical issues,” Walter said. “It wasn’t COVID.”
He often held court at Vancouver’s Pub 340 or perhaps The Cambie Pub, liked steak tartare, loved to travel, and had read chef Anthony Bourdain’s Kitchen Confidential repeatedly.
Chinn was the subject of a 2010 documentary entitled Open Your Mouth and Say…Mr. Chi Pig produced by Prairie Coast Films and directed by Sean Patrick Shaul. It featured such punk luminaries as Jello Biafra of the Dead Kennedys, Brendan Canning of Broken Social Scene and now Burnaby city councillor Joey Keithley of D.O.A.
Rod Bernard, Swamp Pop musician and broadcaster, dies at 79
Victoria DodgeLafayette Daily Advertiser
Published 6:36 PM EDT Jul 13, 2020
Swamp pop musician and broadcaster Rod Bernard died Sunday at 79 years old. Born on August 12, 1940, to French-speaking Cajuns parents, Bernard learned to play guitar, sing, and yodel from a young age. At 10 years old, Opelousas-born Bernard joined the Cajun country-western group The Blue Room Gang.
Swamp pop musician and broadcaster Rod Bernard died Sunday. He was 79 years old.
Born to French-speaking Cajun parents, Bernard learned to play guitar, sing and yodel from a young age. By age 10, Opelousas-born Bernard joined the Cajun country-western group The Blue Room Gang.
With the band, he toured outside of Louisiana, visiting the Grand Ole Opry in Nashville, and it was during this tour he recorded his first song — Hank Williams Sr.’s “Jambalaya.”
In high school, Bernard switched to the new rock ’n’ roll sound. He created a band called Rod Bernard and the Twisters. In 1958, the ground covered King Karl & Guitar Gable’s song “This Should Go On Forever” with a swamp pop twist, quickly becoming popular along the Gulf Coast.
The record soon propelled Bernard to national recognition. The Louisiana teen was featured on Alan Freed’s rock ‘n’ roll show and Dick Clark’s “American Bandstand.” Bernard also had concerts and tours with Chuck Berry, Jerry Lee Lewis, B. B. King, Duane Eddy, Roy Orbison and Frankie Avalon, among others.
Shane Bernard, Rod’s son, said it was interesting to see his father play because his whole demeanor would change on stage.
Swamp pop musician and broadcaster Rod Bernard died Sunday at 79 years old. Born on August 12, 1940, to French-speaking Cajuns parents, Bernard learned to play guitar, sing, and yodel from a young age. At 10 years old, Opelousas-born Bernard joined the Cajun country-western group The Blue Room Gang.
“At home he was quiet, didn’t talk much, very introverted, didn’t want to be center of attention,” Shane said. “But he became a different person on stage.”
Bernard’s grandchildren were able to see him perform “in his natural habitat,” both deriving musical talent from their grandfather. As little as two weeks ago, Bernard and his grandson would lock themselves in a room and jam out to swamp pop and old blues. He taught his grandson Bill Doggett’s “Honky Tonk Part One and Two.”
In the 60s, Bernard released many regional hits that today remain swamp pop classics, including “Congratulations to you Darling,” “Fais Do-Do,” and his own bilingual version of the Cajun classic “Colinda.”
From 1962 to 1968, he served in the U.S. Marine Corps Reserve, attaining the rank of sergeant.
In 1976, he teamed up with fellow Opelousas native, zydeco legend Clifton Chenier, to record the album “Boogie In Black & White” — a groundbreaking collaboration between Black and white musicians. He performed at various times with other swamp pop musicians, including Warren Storm and Skip Stewart.
Shane Bernard remembers watching Storm, Stewart and his dad practice in the living room of their home. Growing up, Shane quickly got used to his dad being recognized in the grocery store or at his Cub Scout meetings.
In addition to his music career, Bernard worked in radio and television. He landed his first radio program on KSLO around age 10, and for many years in the 1960s he deejayed, sold airtime, and served as a program director at KVOL radio in Lafayette.
Swamp pop musician and broadcaster Rod Bernard died Sunday at 79 years old. In the early 2000s, Shane, his son, joined his father in the studio for the first time. Bernard was recording his last LP and this is when Shane realized his father is a perfectionist when recording, insisting on redoing songs until they met his standard.
Bernard was instrumental in hiring Lafayette’s first Black deejay, Paul Thibeaux, who joined KVOL in 1965. Around 1970, Bernard switched to a career in television and for nearly 30 years worked as an advertising executive and on-air talent for Lafayette’s KLFY-TV 10, where he previously hosted his Saturday Hop live dance program.
In the early 2000s, Shane joined his father in the studio for the first time. Bernard was recording his last LP and this is when Shane realized his father is a perfectionist when recording, insisting on redoing songs until they met his standard.
Although 2016 was Bernard’s last performance, he would frequent local nursing homes to play live music but he “didn’t make a big deal of it” Shane said.
The Bernard family asks that donations be made to the U.S. Marines’ Toys for Tots campaign at www.toysfortots.org. At Bernard’s request, no funeral will be observed.
Contact Victoria Dodge at email@example.com or on Twitter @Victoria_Dodge