On Thursday night, July 30th, at the Gladstone, there will be a show to celebrate the re-release of Bob Wiseman's first album, In Her Dream. The album first came out 20 years ago, now the Blocks Recording Club is giving it back to the world with songs that had previously been censored. As part of the festivities, a long list of musicians will be performing songs from In Her Dream, including Final Fantasy and Mary Margaret O'Hara. We will be covering 'Gamma Ray Man,' which is right up our alley, theme-wise.
Bob is a generous and gifted songwriter, a perceptive and hilarious storyteller, and artistically he is a key contributor to a strong collective spirit in the Toronto music community. We are excited to see the show, take part, and celebrate Bob's work.
Hope to see you there,
xoxo
BB
Wednesday, July 29, 2009
Friday, July 10, 2009
We really are devo now
A moment ago I had a great chat with Alex who works at Ella's Uncle, that great cafe on Dundas West. We were talking about our respective Kathleen Hanna encounters, and how lucky we were to come of age at a time when there were so many strong role models in music (e.g. L7, Salt N' Pepa, continuing torch-bearer Kim Gordon). Does anyone remember seeing Michelle Shocked and her hairy legs in Rolling Stone magazine in 1989? That makes an impression on a kid. These days Rolling Stone describes Lady Gaga as having an unconventional kind of beauty and an "ethnic" nose. Say what? I would hardly call Lady Gaga's physique unconventional. And what is meant by an "ethnic" nose, exactly?
Presently we are witnessing the devolution of values that were at the forefront not so long ago, values that were propelled in part by Riot Grrl, queercore, Guerrilla Girls, and other activist art movements. What's so funny about peace, love, respect and equality? Yes, great strides have been made in some areas- marriage equality for instance- but until I see Beth Ditto replacing the tweeny bop singers in young girls magazines, I'm not going to feel that the Western devolution to a pre-90's sensibility has lost momentum, let alone stopped.
For instance, consider the prevalence of the saying "That's so gay." This phrase gets tossed around all the time by people who don't consider themselves homophobic, who don't actually want to insult gay people, right alongside "those people" who take pride in their homophobia.
In light of this issue, I humbly propose a language action. Instead of saying "That's so gay" try using the phrase "that is delightfully homosexual," and only for things that are indeed delightful. Using homosexuality as a pejorative is ugly, regardless of intent.
What could be described as delightfully homosexual, then? Here are some examples:
"I watched Queen's 'I Want To Break Free' video last night. It's so delightfully homosexual!!"
"Oh my God, you like Klaus Nomi? He's so delightfully homosexual."
"I went to Hot Nuts at the Beaver last night. It was delightfully homosexual."
On that note, happy belated Pride Week, and thanks for stopping by.
Respect,
B.B.
Presently we are witnessing the devolution of values that were at the forefront not so long ago, values that were propelled in part by Riot Grrl, queercore, Guerrilla Girls, and other activist art movements. What's so funny about peace, love, respect and equality? Yes, great strides have been made in some areas- marriage equality for instance- but until I see Beth Ditto replacing the tweeny bop singers in young girls magazines, I'm not going to feel that the Western devolution to a pre-90's sensibility has lost momentum, let alone stopped.
For instance, consider the prevalence of the saying "That's so gay." This phrase gets tossed around all the time by people who don't consider themselves homophobic, who don't actually want to insult gay people, right alongside "those people" who take pride in their homophobia.
In light of this issue, I humbly propose a language action. Instead of saying "That's so gay" try using the phrase "that is delightfully homosexual," and only for things that are indeed delightful. Using homosexuality as a pejorative is ugly, regardless of intent.
What could be described as delightfully homosexual, then? Here are some examples:
"I watched Queen's 'I Want To Break Free' video last night. It's so delightfully homosexual!!"
"Oh my God, you like Klaus Nomi? He's so delightfully homosexual."
"I went to Hot Nuts at the Beaver last night. It was delightfully homosexual."
On that note, happy belated Pride Week, and thanks for stopping by.
Respect,
B.B.
Saturday, June 27, 2009
Honest error vs. icy perfections
Inspired by Charles Rennie Mackintosh's rendering of J.D. Sedding's epithet "There is hope in honest error: none in the icy perfections of the mere stylist" I've decided to restructure the look of the blog, despite my lack of design skills. My "if I were a real designer" fantasy is to synthesize elements of Arts and Crafts style with a dash of Peter Saville. Because I am the pen and paper type, and share only a name and no know-how with Mackintosh's life partner/artistic collaborator, that synthesis is not going to happen here. In my own low-tech way, I am pleased to share with you, the visitor, the above photo of old theatre posters hanging in the Folkets Park theatre at Huskvarna, Sweden.
Living in Canada, an administrative nation with a fading attachment to social democracy, I often find myself struggling with questions about the relationship between politics and art. The above posters represent state-sponsored entertainment, some of it the kind of light, cathartic entertainment that gives an audience a sense that things in the world are fine the way they are. But the same system also produced Ingmar Bergman, whose work, I would argue, can be more unsettling than Samuel Beckett's. This puts a pea under the mattress of settled thinking. The source of the work, the system that supports it financially, does not necessarily determine the form of the work, or its effect. With films like "Scenes from a Marriage" and 'Winterlight" Bergman demonstrates that realism can leave the audience with a sense of deep unease.
Cultural critic Theodor Adorno sometimes strikes me as a bit of a jerk (not of the Steve Martin variety), but in the essay "On Commitment" he has several moments of tenderness and clarity when contemplating political art. He writes: "It is not the office of art to spotlight alternatives, but to resist by its form alone the course of the world, which permanently puts a pistol to men's heads."* But to resist the course of the world, the form of a work doesn't have to be 'difficult,' obscure, or inaccessible. It doesn't have to feel bad to be good.
xoxo
B.B.
*Adorno in Arato and Gebhardt, Editors, Essential Frankfurt School Reader, New York: Urizen, 1978; p. 304
Living in Canada, an administrative nation with a fading attachment to social democracy, I often find myself struggling with questions about the relationship between politics and art. The above posters represent state-sponsored entertainment, some of it the kind of light, cathartic entertainment that gives an audience a sense that things in the world are fine the way they are. But the same system also produced Ingmar Bergman, whose work, I would argue, can be more unsettling than Samuel Beckett's. This puts a pea under the mattress of settled thinking. The source of the work, the system that supports it financially, does not necessarily determine the form of the work, or its effect. With films like "Scenes from a Marriage" and 'Winterlight" Bergman demonstrates that realism can leave the audience with a sense of deep unease.
Cultural critic Theodor Adorno sometimes strikes me as a bit of a jerk (not of the Steve Martin variety), but in the essay "On Commitment" he has several moments of tenderness and clarity when contemplating political art. He writes: "It is not the office of art to spotlight alternatives, but to resist by its form alone the course of the world, which permanently puts a pistol to men's heads."* But to resist the course of the world, the form of a work doesn't have to be 'difficult,' obscure, or inaccessible. It doesn't have to feel bad to be good.
xoxo
B.B.
*Adorno in Arato and Gebhardt, Editors, Essential Frankfurt School Reader, New York: Urizen, 1978; p. 304
Saturday, June 20, 2009
Over the Moon and back to Earth
To describe the happiness we felt on Thursday would be like drawing constellations on the night sky through the flickering dark of a thunderstorm, so a simple "thank you" will have to suffice. Thank you to everyone who attended, participated in, worked at, and helped out with last week's show.
Paul Mathew and Betty Burke (Holly Andruchuk, Shaun Brodie, Maggie MacDonald) did some songs as a warm up, then Stevie Jackson and Owen Pallett each played a solo set, followed by a set of Stevie's songs backed by the whole gang, including Sheila Sampath on keys and Stef Schneider on percussion. Eric from Distorsis did the sound, Sarianna Mileski and Ben Stimpson played "bad cop, bad cop" at the door.
At the end of the night, Owen and Stevie played an unrehearsed rendition of Rocket Man, securing a day pass from the underworld for Eurydice, and inspiring the audience to sing along spontaneously- feats of equal prowess in this polite Northern nation. Here is a youtube link to the performance.
I hope you enjoyed the night as much as we did, and if you weren't there, I hope you enjoy the link.
Thanks for everything,
xoxo
B.B.
Paul Mathew and Betty Burke (Holly Andruchuk, Shaun Brodie, Maggie MacDonald) did some songs as a warm up, then Stevie Jackson and Owen Pallett each played a solo set, followed by a set of Stevie's songs backed by the whole gang, including Sheila Sampath on keys and Stef Schneider on percussion. Eric from Distorsis did the sound, Sarianna Mileski and Ben Stimpson played "bad cop, bad cop" at the door.
At the end of the night, Owen and Stevie played an unrehearsed rendition of Rocket Man, securing a day pass from the underworld for Eurydice, and inspiring the audience to sing along spontaneously- feats of equal prowess in this polite Northern nation. Here is a youtube link to the performance.
I hope you enjoyed the night as much as we did, and if you weren't there, I hope you enjoy the link.
Thanks for everything,
xoxo
B.B.
Saturday, June 6, 2009
Tales of the Warm and Cozy with Stevie Jackson (Belle and Sebastian), Owen Pallett (Final Fantasy) and friends
On Thursday, there will be an extra-special little gig at the Imperial Pub. After the 'Tales of the Uncanny' screening with Owen Pallett (Final Fantasy), Do Make Say Think and Robert Lippok in Dundas Square, cross the street to 54 Dundas Street East, Toronto, for a night of singsong with Stevie Jackson of Belle Sebastian, a special visit from Owen Pallett, and friends Paul Mathew (Hidden Cameras, Tuxedo, The Low Notes), Sheila Sampath (The Airfields, CN Power), and Betty Burke (members of The Hidden Cameras, and Holly Andruchuk.)
Stevie Jackson will be in town briefly for the Neil Young tribute at Massey Hall, and we're delighted that he will take the time to swing by The Imperial to share his songs with us before returning to misty Glasgow.
The Imperial Pub is one of my favourite Toronto venues. Opened in 1944, the rustic, cozy feeling between its brick walls brings the warmth of old Toronto, with a welcoming, "steady as she goes" approach that contrasts the high heels and rising prices of the West End.
The Buffalo Builders played a string of Thursdays at the Imperial last year. When I entered the backroom to see them play, I was instantly transported to a roadside venue far from town. Behind the upright piano there is a porthole to the Ottawa Valley, and all airs are dropped. There aren't any baskets of blueberries for sale outside, but there is a late night menu, and a wide range of beverages on hand.
Caveat emptor: this will be a late night event. We will light the candles and open the curtains to the backroom at 10:30 pm, but Stevie will only be ushered onstage when the last Uncanny Tale has been told.
We hope to see you at the Imperial.
xoxo
B.B.
Stevie Jackson will be in town briefly for the Neil Young tribute at Massey Hall, and we're delighted that he will take the time to swing by The Imperial to share his songs with us before returning to misty Glasgow.
The Imperial Pub is one of my favourite Toronto venues. Opened in 1944, the rustic, cozy feeling between its brick walls brings the warmth of old Toronto, with a welcoming, "steady as she goes" approach that contrasts the high heels and rising prices of the West End.
The Buffalo Builders played a string of Thursdays at the Imperial last year. When I entered the backroom to see them play, I was instantly transported to a roadside venue far from town. Behind the upright piano there is a porthole to the Ottawa Valley, and all airs are dropped. There aren't any baskets of blueberries for sale outside, but there is a late night menu, and a wide range of beverages on hand.
Caveat emptor: this will be a late night event. We will light the candles and open the curtains to the backroom at 10:30 pm, but Stevie will only be ushered onstage when the last Uncanny Tale has been told.
We hope to see you at the Imperial.
xoxo
B.B.
Thursday, May 21, 2009
Faith Renewed
Last night, after laying low for a few months, the Kids On TV emerged from their haunted house jam space, dressed as Hibiscus of the Cockettes (featuring sequined eyebrows applied by Margot Keith), to perform two new songs and a Kate Bush "Cloudbusting" tribute at Buddies in Bad Times Theatre. The show, which also featured Gentleman Reg and a new be-wigged Eurosongstress, was a party for the sold out Inside Out screening of "Hogtown Homos," featuring videos by Final Fantasy, Reg, The Hidden Cameras, and shorts by local artists.
The Kids On TV "Cloudbusting" tribute featured arrangements by Katie Stelmanis and a choir that included members of The Pining- a fantastic new local band that plays stripped down songs in a country vein.
But it wasn't only the Kate Bush choir singing: The Kids On TV have become more melodic and tuneful of late, and with "That Man is Just a Man," it seems they have a new song that is every bit as good as Breakdance Hunx, AKA the song we all know the words to. Shout it with me now, from your office, or the cafe where you surf the web: "YOU THINK SO? I KNOW SO!"
That the Kids re-emerged with even more glitter than ever is symbolic of the state of the West end's artistic imagination. For a brief period in the early 00s, Toronto bands and artists were winning hearts and minds around the world, and local labels and collectives were popping up like spring gophers. But it seemed like that scene had sort of fizzled, which anything does as soon as it is called a 'scene.' It is true that Canada's increasingly administrative culture, which prioritizes "mainstream" thinkers (see this Toronto Star article for more info about what counts as "mainstream" in the PMO's office), and general economic malaise have been like carbon monoxide to artists.
But, if the fiery golden glitter in the Kids On TVs' molten beards is any indication, the artistic imagination will not be kept down, nor confined to a past moment that casts occlusive shadows on the future by means of the false light of nostalgia. Like the moon, nostalgia's glow is merely a pale reflection of the future's brilliant possibilities.
Love,
BB
The Kids On TV "Cloudbusting" tribute featured arrangements by Katie Stelmanis and a choir that included members of The Pining- a fantastic new local band that plays stripped down songs in a country vein.
But it wasn't only the Kate Bush choir singing: The Kids On TV have become more melodic and tuneful of late, and with "That Man is Just a Man," it seems they have a new song that is every bit as good as Breakdance Hunx, AKA the song we all know the words to. Shout it with me now, from your office, or the cafe where you surf the web: "YOU THINK SO? I KNOW SO!"
That the Kids re-emerged with even more glitter than ever is symbolic of the state of the West end's artistic imagination. For a brief period in the early 00s, Toronto bands and artists were winning hearts and minds around the world, and local labels and collectives were popping up like spring gophers. But it seemed like that scene had sort of fizzled, which anything does as soon as it is called a 'scene.' It is true that Canada's increasingly administrative culture, which prioritizes "mainstream" thinkers (see this Toronto Star article for more info about what counts as "mainstream" in the PMO's office), and general economic malaise have been like carbon monoxide to artists.
But, if the fiery golden glitter in the Kids On TVs' molten beards is any indication, the artistic imagination will not be kept down, nor confined to a past moment that casts occlusive shadows on the future by means of the false light of nostalgia. Like the moon, nostalgia's glow is merely a pale reflection of the future's brilliant possibilities.
Love,
BB
Tuesday, May 5, 2009
Sneaky Peek
Thank you for a lovely little evening last week. We had a great time at This Ain't The Rosedale Library, and we loved Brian's reading.
There were no microphones. The only thing plugged in was a tiny Squire amp for Shaun's keys. While it was great to walk to the gig with all of our gear in hand, we won't always have such a small set-up. But we do appreciate the Billy Bragg comparisons that resulted from our recent stripped-down renditions of the stories we sing.
A Canadian music blog has posted a little clip from the show, so have a peek if you are curious.
Best wishes,
xoxo
BB
There were no microphones. The only thing plugged in was a tiny Squire amp for Shaun's keys. While it was great to walk to the gig with all of our gear in hand, we won't always have such a small set-up. But we do appreciate the Billy Bragg comparisons that resulted from our recent stripped-down renditions of the stories we sing.
A Canadian music blog has posted a little clip from the show, so have a peek if you are curious.
Best wishes,
xoxo
BB
Subscribe to:
Posts (Atom)
