TORONTO – JUNE 17 2014 – Entertainment One (eOne) and Begin Again are on the search for Canada’s top undiscovered music talent! Just steps away from their Big Break, Canadian singers and bands can upload their original works to a new YouTube contest ( to be entered for a chance to win a musical recording session at Metalworks Studios and a Digital Distribution opportunity from eOne Music, the #1 independent music distributor in North America, worth up to $10,000!

Contestants must rally their friends, fans and followers to vote for their original work to avoid elimination. Only the top four artists make it through to the final round.  Canadian Recording Artist and Winner of Canadian Idol Eva Avila is joined by Eric Alper (Director of Media Relations at eOne Music and Host of ThatEricAlper’s Show on SiriusXM), Nathan Quinn (A&R and Label Acquisitions at eOne Music) and Kevin Dietz of Metalworks Studios in judging the four finalists and selecting the winning song.

image_242471_4“This inspiring film is set in NYC, and in a lot of ways, YouTube has the same huge caliber of undiscovered talent. Musicians can approach this like an open mic opportunity and do an original song to get heard by hundreds of thousands of music lovers,” explains Kai Exos, Creative Director at SPOKE and musician in his own right.

Begin Again is a soul-stirring comedy about what happens when lost souls meet and make beautiful music together. Gretta (Keira Knightley) and her long-time boyfriend Dave (Adam Levine) are college sweethearts and songwriting partners who decamp for New York when he lands a deal with a major label. But the trappings of his new-found fame soon tempt Dave to stray, and a reeling, lovelorn Gretta is left on her own. Her world takes a turn for the better when Dan (Mark Ruffalo), a disgraced record-label exec, stumbles upon her performing on an East Village stage and is immediately captivated by her raw talent. From this chance encounter emerges an enchanting portrait of a mutually transformative collaboration, set to the soundtrack of a summer in New York City. 

“eOne Music Canada’s mission is to discover Canada’s next big star and showcase their stunning talent to listeners here, and around the world,” says Eric Alper, Director of Media Relations for eOne Music Canada. “We’re thrilled to be part of the Begin Again YouTube contest, so get your best song ready!”

The campaign, developed by creative agency, SPOKE, lives on YouTube and is powered by a custom YouTube contesting engine. The launch is supported by a heavy Social Media buy on YouTube, Facebook and Twitter as well as in-store POS at HMV, that forms part of eOne’s broader wide-release Media campaign, which also includes broadcast, digital, social, print, radio and Out of Home.

eOne opens Begin Again in theatres across Canada on July 11.




Jamaica 50 Celebration Inc. & Jamaican Canadian Association 

Enter now for your chance to win two tickets to the “Jamaica Land We Love” Gala, contest rules are below.


All entrants must be 18 years of age and a legal resident of Canada at time of entry. All entrants are to answer the skill testing question below correctly to claim the prize. First person to email with correct answer to skill testing question wins and will be notified via email. ENTER NOW –>

Skill-testing question: When and where is the Jamaica Land We Love Gala?

Contest closes at 11:59pm on Wednesday August 8th. Tickets include the Gala’s second presentation of The ’62 Reception, and for show-only Jamaica Jubilee and The After Party, 9 p.m. door – with a value of $75 per ticket.

Dress Code in effect – no jeans, baseball caps, runners or jerseys.

What:        A star-studded celebration of the historic milestone of Jamaica’s 50th anniversary of independence

Where:      Metro Toronto Convention Centre (South building), 255 Front Street West

Date:          Saturday, August 11

Time:         5:30 p.m. (show-only 9 p.m.)

Tickets:    $175, $350, $500

Jamaica Jubilee & The After Party show-only $75

Tickets are on sale now. To purchase tickets online, please visit or visit for more information.

– An evening dedicated to the splendour, rhythms, heart and soul that is Jamaica. Toasting Jamaica and honouring great Canadian-Jamaican achievements.

– Hosted by CBC Television’s Dwight Drummond and Anne-Marie Mediwake.

– The spectacular, four-part evening includes The ’62 Reception, Dinner in Hope Gardens, Jamaica Jubilee and The After Party.

Jamaica Jubilee: A jaw-dropping cast of Jamaican and Canadian artists and personalities will be part of a multi-media showcase of visuals, music, dance, comedy and spoken word.

Performances and appearances by: Jay Douglas with the All-Stars Orchestra, Derrick Harriott, Leroy Gibbons, Kreesha Turner, Steele, Nana McLean, Ammoye, Blakka Ellis, DJ Eugene Chang, Dwayne Morgan, Heritage Singers, Iyah Yant Drummers, Kafaye Rose, KasheDance, Letna Allen, Rachael-Lea Rikards, Robert Owen, Stephen Lewis & the KCC Choir, Wire,and Miss Universe Jamaica 2012 Chantal Zaky.

The After Party: The thunderous energy and electric colours of Jamaica’s nightclubs today – partiers dance the night away – with set performances by featured artists – old and nu-skool.


Celebrating Jamaica’s 50th Year of Independence JAMAICA 50 CELEBRATION INC. presents


Thursday, June 28, 2012 – 7:30 p.m. 

Jamaican Rhythms, June 28, 7:30 p.m., is a three-hour, LIVE “Rocumentary” about Jamaica’s music, words and dance – a tribute to Jamaica’s 50th Anniversary of Independence.

This celebration assembles international, Grammy, and 2012 JUNO Award-nominated reggae artists from each decade, linked with music, dance and talk from 1962 to 2012. JAMAICAN RHYTHMS: ROOTS, ROCK, REGGAE!

‘60s: Iconic Fab 5 Band – paying tribute to SKA

‘70s: Classic John Holt

‘80s: Magnificent Marcia Griffiths

‘90s: Fantastic Yellow Man

2000: Grammy Award-winner Maxi Priest

2010: King of the Dancehall, Grammy Award-winner Beenie Man

2011: Exco Levi backed by Mountain Edge – 2012 Juno Award-winner/Can Con

Jay Douglas – Juno Awards’ nominee/ Can Con

Steele – Juno Awards’ nominee/ Can Con

Tickets for Jamaican Rhythms are available from the Sony Centre For The Performing Artsin person at the Sony Centre box office, by calling 1.855.872.SONY (7669) or online at, as well as JAMAICA 50 and Community outlets: $35, $50, $75. VIP tickets are $150 and include pre-show cocktails, meet and greet with the stars, leaders and icons.

Presented by JAMAICA 50 Celebration Inc. and produced by Jones & Jones Productions – under the auspices of Jamaica’s High Commissioner to Canada Sheila Sealy Monteith, Jamaica’s Consul General to Toronto Seth George Ramocan, Canadian Senator The Honourable Reverend Don Meredith, The Honourable Margarett Best and Councillor Michael Thompson.

KRS-One “THE BDP ALBUM” Review and DJ Kenny Parker Interview!




By: Fridae Mattas

This album review is the first of 2012, I have made record reviews a part of my 2012 resolution list because I normally don’t do that many. Personally, I don’t like crushing people’s spirits by trashing their artwork but many often misunderstand my intentions. I am different than most critics because I myself am an artist, I speak truth to help guide and refine a talent. Honesty is one of the finest qualities any person can have and I appreciate KRS-One’s opinion because he doesn’t run with the wolves, he herds them. This record is pure truth from the intro to the end and then you’re like wait a minute that’s it and you play it again. The BDP Album is available on CD, iTunes or on limited edition white vinyl at the 6.8.2 Records website.

Photography By: Fridae Mattas

KRS-ONE is a legend; he is one of the very few Emcees’ still alive who can claim credit for the birth and creation of Hip Hop and its culture. Lawrence Krisna Parker is known for bringing his Jamaican Boom Bap flavor to his enigmatic yet straight forward rhymes. Born in Flatbush, Brooklyn he moved to the South Bronx as a teenager to pursue his dreams of being a Rapper. It wasn’t until he lived in the Bronx that he adopted the moniker KRS-One which is an acronym for (Knowledge Reigns Supreme Over Nearly Everyone). On this record KRS-One brings in the “Teacha” to school these new kids about what real Hip Hop is. As the “Blastmaster” Kris furiously spits his valid opinion on tracks like “Tote Gunz” (This track is one of three chosen by the fans), “2012” and the current single “Times Up” featuring Jessie West (Another track chosen by the fans and one of my favorites.). This record like every KRS album was overseen by DJ Scott La Rock who was murdered back in 1987, this is Parker’s way of paying tribute to his fallen friend until the end.

DJ Kenny Parker brought the old school Boom Bap beats back, varied with these relaxing yet motivational new school sounds taking me on a journey back to when music was good and inspiring. Smooth and solid, each song having a different personality and message. The production for the most part is fantastic but does need work on the mixing for a few tunes, vocals are much louder than the beat and it sounds a little off not blending as intended. It is one thing to make a hot club banger but nobody sticks with the reruns, that is why loyalty has diminished because records these days lack the quality of the past and are easily forgettable. The media, the radio, the labels we are all at fault for promoting and signing less than stellar under par artists. I believe people deserve the best and I try to filter the content on this site accordingly to give people quality entertainment. Eminem is probably the only new school mainstream rapper who brought some much needed life into the mainstream Hip Hop world after Pac and Biggie’s untimely deaths. Now auto-tune has taken over and every tone deaf fame monger is trying to be a rapper or a singer.

KRS-One is here to give everyone the knowledge of what Hip Hop really is and everyone who doesn’t already know, your ears need to perk up and pay attention to this record! Kris “KRS-One” Parker is Hip Hop! The United Nations recognizes his Temple of Hip Hop as a genuine political movement and culture that is also known as the Ministry, Archive, School and Society (M.A.S.S). KRS remains in the game because he is all truth without deception. I couldn’t stop laughing at some of his lines “My lyrics are tighter than a hipster’s jeans.” and another example  from the infectious track Time’s Up “Well, when it comes to DJ’s you got the has and the has not’s, some play records others play lap tops.” He basically shreds every glam rapper and fraudulent try hard DJ out there, you all know who you are.

I love hearing Toronto mentioned in songs, KRS-One gave us some love on the “Cypher Remix”. Parker is as real as they get and with The BDP crew KRS-One will forever continue to keep Hip Hop alive! After all, he did give birth to it and has the right to take it away if he wants. Enough of my opinions, you make the decision for yourself but before you do, read what DJ Kenny Parker has to say about the record and the state of Hip Hop in the interview below.


Fridae: If you could tell me and the world, who is DJ Kenny Parker?

Kenny:  I am the younger brother of KRS-One. I’ve been Deejaying for BDP since 1990 and I’ve been producing for Krs since 1992 starting with The Sex & Violence LP .

Fridae: Majority of the tracks on the new KRS-One record “The BDP Album” were produced by you, why did it take twenty years to make this album?

Kenny: Sex & Violence was the last BDP album. After that, the theme of the KRS-One solo albums have been Krs working with different producers. I’ve done remixes and some album cuts over the years and  I’ve co-produced some things with Krs over the years.  He and I haven’t sat down and got together on some music since Sex & Violence, I felt like now was a good time. I asked him and he said let’s do it, so we started recording.

Fridae: When you were creating the foundation did you have a certain direction in mind?

Kenny: Yes. I was trying to make music with a combination of elements that I liked  in the 90’s but also would sound relevant today. I wanted to have the boom bap but also show progression.

Fridae: What was the inspiration behind the music, where did you want to take the listener?

Kenny: I didn’t want the album to sound repetitive so I really tried to make tracks that would sound different from each other on the album but stay with the theme. I want to sound different from other producers as well. It’s not easy but that’s what I had in mind as I worked on the music.

Fridae: Where was the BDP album recorded and why was it titled The BDP Album?

Kenny: The BDP album was recorded in a few different studios over the course of about a year. We did like 3 or 4 songs at a time, at different times. I called it the BDP album because it was basically just Kris And I working just like old times. Like we did on Sex & Violence, the last BDP album.

Fridae: You and Kris have been in this industry for decades, in your eyes how is Hip Hop different today than it was back in the 80’s or 90’s?

Kenny: In the 80’s/early 90’s I felt like for the most part the people at the top of the rap game were actually the best rappers in the game. The top 10 hottest rappers in the game were actually the best rappers, it made sense to me. Nowadays I feel like the hottest rappers aren’t even close to the best in the world. If you look at those MTV 10 hottest rapper specials, do you really feel that this is the most talented rappers there are in America. I don’t, I get confused. The best should be the hottest in that order, it used to be like that, not anymore.

Fridae: Where do you think it went wrong for Hip Hop?

Kenny: A decision was made to make Hip hop more accessible to the mainstream audience by simplifying the rhyme flow, the music and the subject matter. The decision was made by record companies chasing radio play and video play. When the music was dumbed down the sales went through the roof. However, the creativity suffered. Artists were forced to either change there style or they were fazed out. Not right away but over a little time, like a slow bomb. New artists had to make commercial records or they wouldn’t get a deal. Fast forward a few short years and Hip Hop as we knew it was over.

Fridae: The BDP album has cuts that are classic Hip Hop, ”Tote Gunz” is the perfect example, a few people out there think old school Hip Hop is dated and this new ”Glam Rap” is the future. What are your thoughts?

Kenny: For the immediate future, glam rap is here to stay. The 21 & under crowd doesn’t even know how to react to the classic hip hop sound now. They never really heard it before as adults. Trends move in cycles though. I think it would take newer artists that are on the radio all day or some new incredible artist to make a classic sounding album for the youth to gravitate towards it. As for the 30 & over crew. If you don’t buy or support artists making classic hip hop. The labels won’t sign it and the radio won’t play it. It’s just dollars and cents to them. They don’t care what the music sounds like, they don’t even know the difference. Whatever sells is all they care about.

Fridae: Are there any songs on the album that have a specific meaning to you?

Kenny: “Tote Gunz”, I like when Kris goes in on MC’s. I like the solution a lot too! What he is saying is so on time right now, that song was recorded a while back but the message is timeless. If you listen to that song a few years from now it’s still gonna hit home. Check out the lyrics.

Fridae: You will be touring Australia with your Brother soon; please elaborate on this unique experience.

Kenny: I’ve been performing with Kris for so long that I have a real good understanding of what he’s trying to do on stage. People don’t realize how organic our show really is. Things change so much during the course of the show based on where Kris is trying to go with the audience. People don’t even realize how much improvising is going on during the course of the show. You would have to watch KRS three nights in a row to see how things can change from one night to the next. It’s areal challenge for me to keep up but I love it.

Fridae: There’s a track titled 2012 on the record, what does 2012 have in store for Boogie Down Production and KRS-One? Will there be any North American Tour Dates?

Kenny: That’s a good question LOL. You would have to ask KRS. I basically follow his lead.. There’s a couple of songs I want to remix and add new lyrics to. Maybe a BDP 2.0. who knows?!

Thank you so much for the real talk and taking the time to answer questions for the FridaeTV audience. I hope to see the BDP crew live in Toronto sometime soon!

COPYRIGHT © 2012 FRIDAE MATTAS. All Rights Reserved

COLLIE BUDDZ Live in TORONTO 2012 Editorial Review

All Photography By: Fridae Mattas




By: Fridae Mattas

It’s 2012 and the first coverage of the New Year was Sunday January 29th when Collie Buddz came around to Toronto’s Sound Academy. I could not ask for a better artist to set the tone for the new year but was not too thrilled about the venue. During the winter months that area has restricted public transportation and not everyone is willing to trek around in the cold to that obscure corner of the city. Always up for an adventure, to me everyday is a new escapade so of course I trekked it. I don’t like winter but the crazy Canadian weather doesn’t keep me from a good show.

Collie Buddz is a Modern Reggae Dance Hall Artist; born Colin Harper in New Orleans, Louisiana raised in Bermuda. Buddz first appeared on the music scene in 2006 and has been lighting up the charts and Womens hearts since. Harper’s most recent record is The Playback EP available for purchase on his website where you can find more information on Collie and the newest sounds like the fresh “I Feel So Good”.

Last April I saw Collie Buddz live for the first time at the Opera House, it was a scorching show with people being pulled out of the venue on gurneys upon arrival. This time it was a much more relaxed atmosphere with even more people, if this show was in the summer or at a venue just down the street there would have been more people guaranteed. It was a good sized crowd when I arrived, the door count was almost at 900 and people seemed to be having an exceptional time.

The show had similar components to last years, more specifically there was no media pit. We were told there would be a pit but it was non existent so once again we were thrown to the Lions but thankfully this crowd was much more understanding. Thank you to the Collie Buddz team, the amazing folks at LiveNation and all the Toronto fans who I came across for being so awesome! I handled it with ease this time but I don’t know about the two photographers from the other media outlets. Once I made my way through the ocean of people to the stage I didn’t see the photographers again that night. I planned to leave the front lines but was trapped in the crowd and a few fans looked like they were going to faint so I didn’t want to be in the direct ring of fire. I actually thought someone did pass out when DJ Peewee handed a bottle of water to a fan. Luckily the person ended up being okay, there was no need for gurneys at this show and despite being trapped again, this time I didn’t have to balance on a speaker for the whole set.

I missed the supporting acts (what else is new) and that really was too bad for me because I wanted to check out the New Kingston Band. The trio consists of two brothers and a family friend, Stephen Suckarie – Lead Vocals/Guitar, Tahir Panton – Keys/Vocals and Courtney M. Panton on the Drums (He is too sick with those sticks). In addition to New Kingston being the opening act they are also Collie’s live band keeping it in the family with the Panton’s Father; Courtney Panton Sr. on the Bass. I definitely need to see New Kingston perform because most of them put on commendable performance as backing musicians, there were a few timing issues but I am sure they are tighter with their own music. Buddz let Suckarie sing a little lead during the set and his voice sounded pretty good but needed a little more push, I think he was surprised and nervous to be put on the spot. As a guitarist he’s actually quite skilled and with a little more practice, he could probably give a few well known Axemasters a run for their money. Tahir on the Keys was boring to watch, he didn’t smile often nor did he change his facial expression. Lacking the enthusiasm, it seemed like he was not enjoying himself at all.

DJ Peewee introduced Buddz to the stage but before Buddz made his appearance, Peewee built the momentum by interacting with the audience like every good Hypeman should. The minute Collie popped out on stage the crowd erupted, he captivated Toronto instantly with his charisma and golden boy grin. Everyone who successfully managed to get their greenery into the building sparked their blunts! I was not surprised at all! A Collie Buddz show would not be complete without various types of herbal essence floating through the air. He should come and perform for the Toronto Freedom Festival, that would definitely be of epic proportions.

It was a simple stage show that felt more like a huge house jam and kept the same vibe throughout the entire performance. Harper banged out most of his hit singles like the track he recorded in Toronto “Come Around” (He didn’t even need to sing, the crowd sang it word for word.), “Sensimillia”, “Tomorrow’s Another Day” and “Mamacita”. Collie is a very unique performer, a Singjay similar to Sean Paul but has a different delivery style. He Raps and Sings with island flavor, has great range and when he needs to bring the vocals to a more solid gritty tone he does so with ease, passion and fervor. You can tell he loves to perform but still seemed a little reserved and shy.

During “Mamacita” there was a little dance break where Blacka Di Danca (A Choreographer/Dancer) flew out like a fluid stage glider ready to teach some dancing. At the Opera House show it was Collie who broke it down but this time he volunteered Peewee to do the honors for Toronto. Obviously he didn’t have the skill Blacka does but he didn’t do too bad at all. It’s always a good show when the artist and the team make the audience feel like family and at a venue of this size you have the capabilities to do that on a more intimate level than if it were an arena show. Next time I think two fans should be brought on stage and have Blacka teach them a few steps with Peewee and Collie.

I noticed Collie took his sunglasses off more than usual or it could be that I actually had a chance to be more observant because I wasn’t focused on how much face-diving into the crowd would hurt if I lost balance on the speaker. The venue it self has great sound and lighting with such a beautiful space. They even minimized the use of red in the lights alternating between the primary and secondary colours more often.

Among the all male crew in Harper’s stage entourage, there is a female but only one, Lady Alexis. She is Collie’s sultry back up singer and has an incredibly sweet tone in her voice but needs a little more confidence, let it go girl you can sing. When it was her solo she sang an Adele tune dedicated to the females in the audience and sang it very well but I could tell she was nervous. It was more evident during “No Woman No Cry” likely due to the fact she was placed centre stage after Collie gave his respects and reminded the people that Bob Marley will always be the King of Reggae. I would love to hear Lady Alexis’ original material and see what she can do as a soloist because she does have the vocal talent. I finally manged to find a path to escape the front lines when the crowd calmed down for a few seconds before ‘Blind To You’, one of the last songs in the set and a definite crowd favorite. Collie Buddz and his team gave a very entertaining performance, I did not hear one fan complain except outside a few guys were dancing around and one said “I wish the show wasn’t over!” which is a compliment. Next time Collie Buddz come around I want to film a tune, until then you can find more photos of the show on FridaeTV Facebook. If you like quality entertainment from a true artist, you need to experience the Collie Buddz electricity live for yourself.

COPYRIGHT © 2012 FRIDAE MATTAS. All Rights Reserved.

All Photography By: Fridae Mattas

CANADIAN ARTISTS – Globalize Your Musical Reach with TUNECORE For $4.99!

TuneCore Announces New $4.99 a Month Album Distribution Pricing.

(Jan. 17, 2012) – TuneCore, the world’s largest music distribution company, has announced a new pricing option. Albums can now be distributed to iTunes, Spotify, AmazonMP3 and all other digital stores and services TuneCore works with for a flat CDN$4.99 a month. 

This flat fee is a monthly recurring charge and can be canceled at any time. This is in addition to the existing pricing of CDN$49.99 a year per album and CDN$9.99 a year for a single release.

TuneCore launched its music industry changing flat fee, keep all your rights, get 100% of the revenues global music distribution service in Canada on Jan. 10, 2012.

Using TuneCore’s new Canadian site (, all Canadian artists can get their music to fans worldwide via distribution into numerous digital stores and services. The Canadian site is available exclusively to Canadian artists.

About TuneCore:

TuneCore is the largest distributor and has one of the highest revenue-generating music catalogs in the world: In the past two years TuneCore Artists have sold over 500 million units and generated over $250 million dollars in gross music sales and songwriter revenue. 

TuneCore is a low, flat fee service that distributes music to iTunes, Spotify, eMusic, AmazonMP3, Nokia and many other major download and streaming sites while taking no rights and no revenue from the sale of the music. Artists are building careers, selling significant volumes of music and generating revenue through TuneCore. Since its launch in 2006, TuneCore has more than 700,000 account holders, including Grammy winners and unsigned artists alike.  TuneCore artists include Drake, Beck, Lil’ Wayne, Jay-Z, Aretha Franklin, Keith Richards, Public Enemy, Nine Inch Nails, Ricky Skaggs, Paul Westerberg, The Civil Wars, Willie Nelson, They Might Be Giants, Donna Summer, MGM Studios, Warren G, Bjork, Moby, High School Musical cast members, Girl Talk, Brian Eno, Starbucks and hundreds of thousands more.


Photography By: Fridae Mattas



TORONTO – January 12, 2012 – The Canadian Radio Music Awards is pleased to announce the nominations for the 15th Annual edition. The awards, celebrating first-time top charting Canadian artists, will honour nominees across eight distinct categories during a gala luncheon at the Fairmont Royal York Hotel in Toronto on Friday, March 23, 2012, 12:30pm. Hosted by radio personality Jay “Mad Dog” Michaels, the CRMAs will feature performances by nominees Alyssa Reid, Dragonette, Fefe Dobson, Kira Isabella, Neverest, Raghav and The Sheepdogs.

Alyssa Reid and Martin Solveig & Dragonette lead this year’s nominations with 5 nods apiece including SOCAN Song of the Year for their respective titles “Alone Again” and  “Hello”. Other multiple nominations include: Kristina Maria (3), Neverest (2), Raghav (2), and Fefe Dobson (2). The complete list of nominees is printed below.

This year’s music categories include: Mainstream AC, Hot AC, Rock, CHR, Dance/Urban/Rhythmic, and Country. Nominees comprise artists who have hit the Canadian charts for the first time and who have achieved top airplay in different formats based on radio “spins”, as recorded by Nielsen Broadcast Data Systems (BDS) in 2011. Votes cast by program directors, music directors, and on-air personalities determine the winners.


Again this year, the CRMA Fans’ Choice Award will be presented. Radio listeners from across the country can vote online for their favourite radio artist at

Two additional non-voting awards will also be presented at this year’s ceremony: the FACTOR Breakthrough Award for top airplay for a new FACTOR supported artist; and the Chart Topper Award for top overall airplay.

And the nominees are…





















































Songwriters: Alyssa Reid / Jamie Appleby / Raynford Humphrey / Thomas Kelly / Billy Steinberg Recorded by: Alyssa Reid



Songwriters: Martin Solveig / Martina Sorbara

Recorded by: Martin Solveig & Dragonette



Songwriters: Pierre Bouvier / Chuck Comeau / Beatrice Martin / Ryan Petersen / Nolan Sipe

Recorded by: Simple Plan



Songwriters: Kristina Maria / Negin Djafari / Kristian Lundin

Recorded by: Kristina Maria



Songwriters: Fefe Dobson / Claude Kelly / Michael Mentore / Jonathan Rotem

Recorded by: Fefe Dobson

Tickets for the Canadian Radio Music Awards luncheon are available for purchase at

About Slacker Canadian Music Week

Celebrating 30 years, Canadian Music Week is Canada’s leading annual entertainment event dedicated to the expression and growth of the country’s music, media and entertainment industries.  Combining four information-intensive conferences; a trade exposition; a film festival; a comedy festival; four awards shows and the nation’s largest New Music Festival – Canadian Music Fest – CMW spans a five-day period from March 21 to March 25, 2012 at the Fairmont Royal York Hotel and over 60 various downtown Toronto venues, attracting participants from across the globe.  For more information, visit


TuneCore Expands into Canada: Canadian Artists Gain Global Access to iTunes and Many More Services

Brooklyn, NY (Jan. 10, 2012) – Today TuneCore launched its industry changing flat fee, keep all your rights, get 100% of the revenues global music distribution service in Canada.

Using TuneCore’s new Canadian site (, all Canadian artists can get their music to fans worldwide via distribution into iTunes, Amazon, Spotify and more. The Canadian site, which is available exclusively to Canadian artists, is priced in domestic currency and features no currency conversion on domestic sales.

TuneCore is now the world’s largest music distributor, placing more music into iTunes and other global music services in one month than Sony, Universal, Warner and EMI combined in a year.

TuneCore Artists include legends such as Aretha Franklin, Nine Inch Nails, Jay Z, Joan Jett, Beck, Cheap Trick, Moby, Frank Zappa, and newer and emerging artists like Blood On The Dance Floor, Girl Talk, Drake, Boyce Avenue and many more.

These and other TuneCore Artists represent over 60 percent of all new, non-“catalogue” music sales in the US. Their annual gross revenue in music sales has grown from $7 million in 2007 to over $100 million in 2011.

Access to the World

With TuneCore, getting music on digital download and streaming sites worldwide is easy and inexpensive. Artists simply upload their music and art to, pick their stores and pay an annual flat fee of CDN$9.99 per single. For albums, they can choose to pay CDN$49.99 annually or CDN$4.99 a month.

“There has never been a record label where an artist can make 70 cents per track sold,” says Juno award-winning Canadian singer, songwriter and actress Melanie Doane. “Tunecore has enabled me to sell my music in Canada and international markets while retaining 100% of my rights and royalties.”

Canadian and International Artists Using TuneCore

Hundreds of Canadian artists already use TuneCore, either via the U.S. site or the new Canadian site. In addition to Melanie Doane, they include Drake (distributed the single “Best I Ever Had” through TuneCore), Barenaked Ladies, Martha Wainwright, Joel Plaskett, Kate & Anna McGarrigle and David Usher (of Moist).

Worldwide, TuneCore has more than 700,000 account holders, including Grammy winning artists, record labels and others.

“As an artist on independent label Sounds+Sights, we love the freedom that TuneCore gives us to sell our music around the world with minimal overhead,” says Canadian guitarist Parker Lauzon, a member of alternative rock band Evans Blue.

  • New model allows all artists global distribution into iTunes, Spotify and more while keeping all their rights and getting 100% of the revenues paid from sales of their music
  • 2011 digital music sales topped physical sales in the US; TuneCore Artists represent over 60% of all new artist sales in the US, selling over half a billion songs and earning over US$250,000,000 in 3.5 years
  • TuneCore is now the world’s largest music distribution company


All Photography By: Fridae Mattas

Sudbury Ontario based record label releasing albums by world renowned artists including KRS-One


Canada, May 30, 2011 – Sudbury, Ontario based record label, 6.8.2 Records, is gearing up for a very busy summer and a groundbreaking year. “It’s been a steady progression the last couple of years to get to this point. It’s hard to believe that we are finally readying ourselves to release some amazing new music onto the world” says Lynn Johnston Vice-President of the burgeoning label. You wouldn’t know that 6.8.2 Records has only been around for a few years, nor would you think an indie label with such a high calibre of artists would be based in Northern Ontario. With veteran artists like Boogie Down Productions, KRS-One & Bumpy Knuckles & Grand Puba releasing albums through 6.8.2 in 2011 it proves that this label is looking to make as much noise as it can right out of the gate. In fact, the first release from the label comes from KRS-One & Bumpy Knuckles on Tuesday May 31st, 2011. The album is called Royalty Check and it will be the first of many rolling out of the halls of 6.8.2 Records this year with the next album launch coming from Boogie Down Productions on June 28th. The Grand Puba album alone, produced by the Hit Squad from Bad Boy Entertainment, is a proverbial who’s who of the urban music scene with the likes of Snoop Dogg, Mary J. Blige, Q-Tip, Busta Rhymes and P. Diddy making guest appearances on many of the tracks. This album is still in production so no confirmed release date has been set as of yet. The label isn’t just about releasing records from artists who already have a track record. They are also interested in artist development. “This city (Sudbury, Ontario) has some amazing talent” says Trevor Johnston CEO. “We just happen to be lucky enough to have one of the most talented local artists of the bunch (Michael O’Brien: Kill The Autocrat) signed to our label.”

Kill The Autocrat (KTA) is the first artist to be brought up through the development division. This specific project not only features Michael O’Brien as the principal songwriter and rapper, it also features the CEO of the label himself on drums and musical collaborator Scott Swain another Sudbury born artist most known for his work in the bands Far From Heroes and The Black Maria. Kill The Autocrat has also caught the attention of the Boogie Down Productions crew. Enough so that KRS-One will be collaborating with Michael O’Brien of KTA on a future track and legendary DJ Kenny Parker called the music of KTA “revolutionary” and stepped up to do all of the scratches for the album. The first release by KTA called “New World Disorder” will be unleashed to the world on July 5th, 2011.

The label 6.8.2 was started by Trevor and Lynn and Sudbury is their base of operations. Both are Northern Ontarians through and through. With Sudbury’s close proximity to Toronto it gives the label the opportunity to conduct business with clients based there easily yet the low overhead costs available in Sudbury helps them to stretch their dollars and cents allowing the 6.8.2 in house studio and development department to flourish. 2011 is a pivotal year for the label with summer releases coming from every artist on their roster, a 45 day North American tour showcasing all of their artists slated to start in mid July and extensive marketing and promotion initiatives supporting all of their artists. The music industry in the US and Canada is a buzz anticipating the release of many of the fledgling label’s artists. 6.8.2. Records’ goal is to provide honest music that has integrity to anyone who wants to listen and services that artists working in the modern era of the music industry will find to be fair and just. But don’t let the labels nicety’s fool you. They are all business and plan on making 6.8.2 Records one of the most successful indie labels in the world.  For more information visit 



Ever year I cover the Toronto Freedom Festival and this year was no different or was it? Saturday May 7th 2011 was completely different! Not a drop of rain to be found, it was absolute sunshine and there were no kids falling out of trees. About 35,000 plus people gathered at Toronto’s Queens Park to protest and speak their minds in regards to legalization of Marijuana. I always  miss the  Global Marijuana March but 20,000 other people made it out to march along the usual route of across Bloor to Yonge down and across to Wellesley ending back at the base Queens Park North.

There were smokers everywhere, but not as many police officers compared to the first year I covered TFF, I am glad because there is no need to have them everywhere, everyone is just chilling, smoking, eating, dancing, singing, drumming and learning but don’t get me wrong they were there but just a little more discreet with their Popo Horses, Bikes, Cars and Motorcycles. What is a festival without music and plenty of it from Rebel Emergency, KO, Daniel Wesley, iLL Scarlett, House of David Gang and DJ Sneak. The band members may seem familiar in every shot, that is because Rebel Emergency played until iLL Scarlett hit the stage but switched singers so it was more like a sneak peek of the Joint Venture show with Rebel Emergency, KO and Daniel Wesley that took place at the MOD club later that evening.  The bands were amazing Rebel, KO and Daniel Wesley didn’t play a full set but Ill Scarlett was on the stage for quite a while. You will be able to find videos of the performances I managed to film very soon, until then enjoy the photos in a slide show at the end of this jibber. I couldn’t stay for the whole festival I did however donate at one of the many donation stations even though I was covering the event because the city needs festivals like these to keep the arts culture alive regardless of the reason which is a very good one, the legalization of Marijuana deserves a chance, it costs a lot of money to put on this one day “Freedom” festival everyone in attendance should donate. It’s not just another day in the park catching a few bands and DJ’s. So many events I had to choose from it was Saturday always a crazy day, if I could I wanted to catch Nikki Sixx signing copies of his new book ‘This Is Gonna Hurt‘ for all the fans that search him every day but we shall discuss that adventure after a few photos from the 2011 Toronto Freedom Festival.

Next stop was Nikki Sixx at the Chapters on John and Richmond, I wasn’t going to go because I thought it would be extremely too chaotic and my issues being in crowds would amplify but I went anyway didn’t think I would make it because it started at 7pm and I was just walking towards the bookstore which was about fifteen blocks away form where I ended up after I migrated from the Toronto Freedom Festival. Lucky for me when I arrived at about 7:20ish he still had yet to pop out and sign, his people were still waiting. I took some shots of everyone, so many people and that is a huge bookstore, you could not get an autograph if you didn’t have the book ‘This Is Gonna Hurt‘ that only makes sense because it is a book tour session not a regular autograph session. I have yet to buy it but I will! Skimming through it for a minute as I wandered around and I have to say as a photographer myself some of the photographs are too amazing! When it comes to photography many people are so technical about it and lose perspective of the art because the hunger for money and material riches blinds the creativity of the photographers eye. You can know every detail of your cameras functions and the lighting techniques but that doesn’t mean you can take a good picture. I have seen photographers with top of the line equipment but the photograph is flat and muted, it’s all about how you see it through your eyes and making that picture speak those thousands of words to everyone else like a photograph is meant to, Sixx is a natural!

The reason for my delayed purchase, is I don’t have much time to read, the last book I read was  Marilyn Monroe – The Biography By: Donald Spoto that I borrowed from my cousin because she has two copies…Obsessed much? And that book took me over a year to read, that reminds me I should give it back to her and just buy my own. I am too busy filming music, shooting and writing everything including my own books, films and sonatas that will eventually come out when they are ready. The fans were screaming, cheering and yelling his name,  I thought I was fucked for real because there were so many people all of those rows of books in the photographs were filled with people lined up in and around all of the top floor but it didn’t end there more people were downstairs wrapping the whole bottom floor. I did not see a media area and then a super nice security guy asked me if I was media, I’m surprised he didn’t ask me if I worked for Much Music like most of them do and guided me to the media area which was a little corner among the bookshelves. Not that many media people about a handful of us but you can always spot a Stalkerazzo! There he was all unnecessarily aggressive because you could tell those dollar bills in his eyes were gleaming  and totally ruined every single one of my shots! I tried so hard to get a clean photograph you can tell the difference by comparison to my other photographs, this guy was big and large I ducked under him tried to move to the left and the right, his big body and arms were all up in my lens and almost elbowed me in the face and boobs,  I was about to snap, the ghetto girl was shortly to make an appearance my mouth getting ready to start cussing in Greek but I kept my cool. Its a miracle a few shots were decent enough to publish. Huge thanks to Sixx for posing a little longer with book in hand, Shania Twain should have held her book when she did her camera call but she didn’t. Toronto! No worries dry your eye, Nikki Sixx will be back all of you Mötley fans with his Crüe and a few friends June 28th at the Molson Canadian Amphitheater buy tickets HERE.

There you have it my friends, mellow times with The Toronto Freedom Festival and some craziness with Nikki Sixx’s book singing all in a single day before sunset, Toronto always has so much to do and that is why I love my city.

COPYRIGHT ©2011 FRIDAE MATTAS. All Rights Reserved

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