Snotty Nose Rez Kids, Josh Ross, Nemahsis and more to perform at 2025 Juno Awards
The Canadian Academy of Recording Arts and Sciences announced a new slate of performers for the 2025 Juno Awards, to join host Michael Bublé and Hall of Fame inductees Sum 41.
Haisla rappers Snotty Nose Rez Kids, country singer Josh Ross, pop singer-songwriter Nemahsis, R&B singer Aqyila and singer-songwriter Tia Wood will all perform on March 30 in Vancouver. It marks the first time that both Nemahsis and Tia Wood will perform on the awards stage, and they are also first-time nominees.
The 54th Juno Awards are heading to Vancouver on March 30, hosted by Bublé. The show will be broadcast and streamed live across Canada from 5 p.m. PT/8 p.m. ET/9 p.m. AT on CBC-TV, CBC Gem, CBC Radio One, CBC Music, CBC Listen and globally at CBCMusic.ca/junos and on CBC Music's YouTube page.
All the nominees were announced on Feb. 11, and Ross leads the nominations alongside pop star Tate McRae with five a piece. Grammy-winning Toronto producer Boi-1da will be receiving the International Achievement Award at this year's ceremony, and Juno-winning singer-songwriter Sarah Harmer will receive the Humanitarian Award.
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CBC
12 hours ago
- CBC
4 songs you need to hear to celebrate Indigenous History Month
To kick off Indigenous History Month, we're devoting this week's edition of Songs you need to hear to new tracks from exciting Indigenous musicians. Never Come Down, Tia Wood Tia Wood is back with her first new single since releasing her debut EP, Pretty Red Bird, in late September. It's been a whirlwind two years for Wood after launching her solo career, and her new song, Never Come Back, is a look into her mind as the changes in her life hit her all at once. Wood previously sang with her father and other family members in Juno-winning powwow group Northern Cree, and since striking out on her own she's signed to a major label (Sony Music Canada), been nominated for and performed at the Juno Awards, and toured across North America. "The last two years have been filled with so many amazing opportunities and ups and downs as I got my bearings in this new world. I'm always thinking and dreaming about the future and creating, and making music, but with that comes a sort of bittersweet feeling because it means I have to spend time missing many of the people and things I love the most," she shared in a press release. Wood co-wrote Never Come Back in Los Angeles with Bailey Bryan (Noah Cyrus, Shaboozey), Casey Mattson (Oliver Tree) and Joe Pepe (iann dior, Kiana Ledé). As she continues to spread her wings, performing on stages in Toronto and L.A., far from her home of Saddle Lake Cree Nation, Wood hopes that those she had to leave behind will remain in her life. It's hard to pursue your dreams, and even harder when they take you away from the ones you hold dearest. Acoustic guitar flows like a babbling brook, as her voice embraces a warm melancholy, simultaneously wistful and resonant on the chorus: "Am I gonna lose you? Where are you now?/ Will you still be there if I never come down?" — Kelsey Adams Mahaha: Tickling Demon, Piqsiq Inuit throat-singing duo Tiffany Ayalik and Inuksuk Mackay, a.k.a. Piqsiq, are expert world builders, and their latest album, Legends, immerses listeners in traditional Inuit stories. "This album feels like the purest synthesis of who we are as artists, because it brings us full circle in drawing on the stories that shaped us as children and reimagining them through the lens of our lives today," Mackay said via press release. "By reconnecting with that sense of wonder, play and cultural memory, we were able to create something deeply honest and rooted in who we are." Mahaha: Tickling Demon is straightforwardly titled, but not all fun and games: "If you are found frozen with a smile on your face, it was likely the work of Mahaha," the duo described, of the demon who tickles people to death. Ayalik and Mackay's voices twine with an ominous drum beat, a far-off caw dropping in to signal Mahaha's impending arrival. It's deliciously sinister, and a mood-perfect theme song for White Lotus, Season 4. (We hear Mike White's looking.) — Holly Gordon Off Rez, Ribbon Skirt Montreal post-punk rockers Ribbon Skirt, fronted by Anishinaabe singer Tashiina Buswa, let it rip on Off Rez, a cheeky yet piercing song from their sizzling debut album, Bite Down. Unleashing riotous energy on the first verse, Buswa's vocals buzz as she sings about colonialism's enduring grip: "They want 2000's Buffy Marie/ they want my status but they're getting my teeth." Off Rez is an exciting sonic mish-mash: it wails with shoegaze-inspired guitars and hums with a churning, low bassline. Buswa's brooding delivery combined with reverb-y guitars also nod to Joy Division and Fontaines D.C., creating a sound that's familiar enough for post-punk listeners to appreciate, yet still experimental and lyrically compelling enough for fans to find something new to chew on. Near the 3:06 mark, Buswa's voice blurs into an ominous, almost indiscernible echo over a clanging tambourine as she repeats: "Snakes in the bath, do you want that? Snakes in the crowd that you walk past," as the guitars growl, becoming more and more distorted. Bite Down got rave reviews from Stereogum and Pitchfork (it earned a 7.7, which, funnily enough, is the same score as Fontaines D.C.'s Romance) and is already a contender for one of the best albums of the year. — Natalie Harmsen Home, Aysanabee Aysanabee's upcoming album, Edge of the Earth (out June 20), explores a transitional time in the musician's life. That theme can be felt in his latest single, Home, an anthemic journey from heartbreak to acceptance. "If home is where the heart is/ then we must be heartsick," Aysanabee sings in the pre-chorus, admitting that "we can't go back," but swerving into the chorus with open-armed optimism: "And honey, I'm OK with that." While sorrow peeks through as he repeats the refrain, "We used to sing like home," the track's revved-up riffs soundtrack someone learning to move on and take a leap of faith into the unknowns that lie ahead. By the end of Home, Aysanabee sounds ready to tackle whatever comes his way next. — Melody Lau
Winnipeg Free Press
a day ago
- Winnipeg Free Press
How groundbreaking gay author Edmund White paved the way for other writers
NEW YORK (AP) — Andrew Sean Greer, a Pulitzer Prize-winning novelist, remembers the first time he read Edmund White. It was the summer of 1989, he was beginning his second year at Brown University and he had just come out. Having learned that White would be teaching at Brown, he found a copy of White's celebrated coming-of-age novel, 'A Boy's Own Story.' 'I'd never read anything like it — nobody had — and what strikes me looking back is the lack of shame or self-hatred or misery that imbued so many other gay male works of fiction of that time,' says Greer, whose 'Less' won the Pulitzer for fiction in 2018. 'I, of course, did not know then I was reading a truly important literary work. All I knew is I wanted to read more. 'Reading was all we had in those days — the private, unshared experience that could help you explore your private life,' he said. 'Ed invented so many of us.' White, a pioneer of contemporary gay literature, died this week at age 85. He left behind such widely read works as 'A Boy's Own Story' and 'The Beautiful Room Is Empty' and a gift to countless younger writers: Validation of their lives, the discovery of themselves through the stories of others. Greer and other authors speak of White's work as more than just an influence, but as a rite of passage: 'How a queer man might begin to question all of the deeply held, deeply religious, deeply American assumptions about desire, love, and sex — who is entitled to have it, how it must be had, what it looks like,' says Robert Jones Jr., whose novel above love between two enslaved men, ' The Prophets,' was a National Book Award finalist in 2021. Jones remembers being a teenager in the 1980s when he read 'A Boy's Own Story.' He found the book at a store in a gay neighborhood in Manhattan's Greenwich Village, 'the safest place for a person to be openly queer in New York City,' he said. 'It was a scary time for me because all the news stories about queer men revolved around AIDS and dying, and how the disease was the Christian god's vengeance against the 'sin of homosexuality,'' Jones added. 'It was the first time that I had come across any literature that confirmed that queer men have a childhood; that my own desires were not, in fact, some aberration, but were natural; and that any suffering and loneliness I was experiencing wasn't divine retribution, but was the intention of a human-made bigotry that could be, if I had the courage and the community, confronted and perhaps defeated,' he said. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. Starting in the 1970s, White published more than 25 books, including novels, memoirs, plays, biographies and 'The Joy of Gay Sex,' a response to the 1970s bestseller 'The Joy of Sex.' He held the rare stature for a living author of having a prize named for him, the Edmund White Award for Debut Fiction, as presented by the Publishing Triangle. 'White was very supportive of young writers, encouraging them to explore and expand new and individual visions,' said Carol Rosenfeld, chair of the Triangle. The award was 'one way of honoring that support.' Winners such the prize was founded, in 2006, have included 'The Prophets,' Myriam Gurba 's 'Dahlia Season' and Joe Okonkwo's 'Jazz Moon.' Earlier this year, the award was given to Jiaming Tang's ' Cinema Love,' a story of gay men in rural China. Tang remembered reading 'A Boy's Own Story' in his early 20s, and said that both the book and White were 'essential touchpoints in my gay coming-of-age.' 'He writes with intimate specificity and humor, and no other writer has captured the electric excitement and crushing loneliness that gay men experience as they come of age,' Tang said. 'He's a towering figure. There'd be no gay literature in America without Edmund White.'
Canada Standard
2 days ago
- Canada Standard
Studio Ghibli marks 40 years, but future looks uncertain
Japan's Studio Ghibli turns 40 this month with two Oscars and legions of fans young and old won over by its complex plots and fantastical hand-drawn animation. But the future is uncertain, with latest hit "The Boy and the Heron" likely -- but not certainly -- the final feature from celebrated co-founder Hayao Miyazaki, now 84. The studio behind the Oscar-winning "Spirited Away" has become a cultural phenomenon since Miyazaki and the late Isao Takahata established it in 1985. Its popularity has been fuelled of late by a second Academy Award in 2024 for "The Boy and the Heron", starring Robert Pattinson, and by Netflix streaming Ghibli movies around the world. In March, the internet was flooded with pictures in its distinctively nostalgic style after the release of OpenAI's newest image generator -- raising questions over copyright. The newly opened Ghibli Park has also become a major tourist draw for central Japan's Aichi region. Julia Santilli, a 26-year-old from Britain living in northern Japan, "fell in love with Ghibli" after watching the 2001 classic "Spirited Away" as a child. "I started collecting all the DVDs," she told AFP. Ghibli stories are "very engaging and the artwork is stunning", said another fan, Margot Divall, 26. "I probably watch 'Spirited Away' about 10 times a year still." 'Whiff of death' Before Ghibli, most cartoons in Japan -- known as anime -- were made for children. But Miyazaki and Takahata, both from "the generation that knew war", included darker elements that appeal to adults, Miyazaki's son Goro told AFP. "It's not all sweet -- there's also a bitterness and things like that which are beautifully intertwined in the work," he said, describing a "whiff of death" in the films. For younger people who grew up in peacetime, "it is impossible to create something with the same sense, approach and attitude", Goro said. Even "My Neighbor Totoro", with its cuddly forest creatures, is in some ways a "scary" movie that explores the fear of losing a sick mother, he explained. Susan Napier, a professor at Tufts University in the United States and author of "Miyazakiworld: A Life in Art", agrees. "In Ghibli, you have ambiguity, complexity and also a willingness to see that the darkness and light often go together" unlike good-versus-evil US cartoons, she said. The post-apocalyptic "Nausicaa of the Valley of the Wind" -- considered the first Ghibli film despite its release in 1984 -- has no obvious villain, for example. The movie featuring an independent princess curious about giant insects and a poisonous forest felt "so fresh" and a change from "a passive woman... having to be rescued", Napier said. Natural world Studio Ghibli films also depict a universe where humans connect deeply with nature and the spirit world. A case in point was 1997's "Princess Mononoke", distributed internationally by Disney. The tale of a girl raised by a wolf goddess in a forest threatened by humans is "a masterpiece -- but a hard movie", Napier said. It's a "serious, dark and violent" film appreciated more by adults, which "was not what US audiences had anticipated with a movie about a princess". Ghibli films "have an environmentalist and animistic side, which I think is very appropriate for the contemporary world with climate change", she added. Miyuki Yonemura, a professor at Japan's Senshu University who studies cultural theories on animation, said watching Ghibli movies is like reading literature. "That's why some children watch Totoro 40 times," she said, adding that audiences "discover something new every time". French connection Miyazaki and Takahata -- who died in 2018 -- could create imaginative worlds because of their openness to other cultures, Yonemura said. Foreign influences included writer Antoine de Saint-Exupery and animator Paul Grimault, both French, and Canadian artist Frederic Back, who won an Oscar for his animation "The Man Who Planted Trees". Takahata studying French literature at university "was a big factor", Yonemura said. "Both Miyazaki and Takahata read a lot," she said. "That's a big reason why they excel at writing scripts and creating stories." Miyazaki has said he was inspired by several books for "Nausicaa", including the 12th-century Japanese tale "The Lady who Loved Insects", and Greek mythology. Studio Ghibli will not be the same after Miyazaki stops creating animation, "unless similar talent emerges", Yonemura said. Miyazaki is "a fantastic artist with such a visual imagination" while both he and Takahata were "politically progressive", Napier said. "The more I study, the more I realise this was a unique cultural moment," she said. "It's so widely loved that I think it will carry on," said Ghibli fan Divall. "As long as it doesn't lose its beauty, as long as it carries on the amount of effort, care and love," she said. Originally published on France24
