Tuesday, July 06, 2004

See The Sites

"Nickelback, you lazy, talentless bunch of wankers. What, did you think nobody would notice that you're recycling your hideous dirge and selling it all over again to your deluded fan base? You bastards, you're taking advantage of those tone deaf MTV brainwashed twats who are too thick to notice you're releasing songs that are EXACTLY THE SAME as ones you recorded earlier. And here's the proof, people. Listen to their first godawful hit, played through the left speaker. At the same time, an equally shite single (released two years later) will be played through the right speaker. Can you spot the difference?"

Nickelback To Back is pure genius. Wish I'd thought of/noticed/done that.

This and a whole bunch of other cool and fun things in the latest installment of WFMU's Sites For Sore Eyes.

I especially liked this, which provided some much-needed stress release.

And the ASCII Rock...well, rocks!

Sunday, July 04, 2004

New Arrival

I'm happy to announce the arrival of a new member of the family. (More detailed info here.)

She joins her much older (23) acoustic 6-string brother, and 2-year-old sibling "Dot"--all from the same Epiphone family.

I call her Stella, because I got her on the day Marlon Brando died ("Hey STELLA!"), and also because the musician her kind is most associated with--Paul McCartney--has a fashion-designer daughter by that name.

Macca's famous "Beatle bass" was actually a Hofner, but it's the same idea. Besides, Hofners sell for about $2000, and the Epiphone comes a lot cheaper.

Why are all my guitars Epiphones? Well, for someone who grew up listening to The Beatles, Epi's were the guitars the Fab Four had a big hand in making famous. Vintage Epi's go for thousands of dollars, of course, but the Korean-made reissues from the late '90s onward are very good quality instruments at affordable prices. For someone like me who's not a full-time recording/touring musician, they're a very cost-effective alternative, which still play and sound great.

I actually wasn't necessarily looking for another Epiphone, to "keep it in the family", as it were. I saw some Fender Precision and Jazz basses which were very nice, of course (hard to go wrong with a Fender bass), but the ones I liked were $900 and up, and seeing as the bass isn't even my main instrument, that's a bit of a steep price tag for my budget.

I picked up the Viola bass in the store, and just loved the way it felt. It's hollow, so it's incredibly light, and that also gives it a very cool tone; very "bloompy", although it's also quite versatile. It has a short-scale neck, with the frets closer together and the neck narrower than most basses, which makes it very playable, and very comfortable for guitar players.

I played bass very briefly and very, uh, unintensively, when I was about 15, before switching over to the guitar, so it's interesting getting back into the groove. I may actually go out and get one of those "Bass For Dummies" books so I can restart on the right foot.

So welcome Stella!

Saturday, July 03, 2004

Wandering Acres

Just a brief note to say that I spent a lovely, warm and sunny Canada day Thursday with Dean and Debra, as they made a Toronto stop on the Slipping Acres East Coast Tour 2004. They took the new ferry over from Rochester, NY (which, they told me, for some reason hugs the shore of the lake for the entire journey. Someone should explain to the captain that cutting straight across the lake would make for a speedier journey. Are they not teaching physics in high school any more?).

We took a stroll down Queen Street West, saw a movie being filmed at the old Bay building where they had turned one side of it into Madison Square Garden circa the 1920s/30s, complete with replica marquee advertising a boxing match. Then we got high...did the CN Tower trip. They didn't enjoy the glass floor as much as I did. Then we went down to harbourfront where we chilled and enjoyed some refreshments, and later caught some reggae and a set from the Rheostatics. Saw a glimpse of some fireworks. Even got to sing O Canada!

A very enjoyable day with some fine folks. Next time guys, come for a few days and we'll do the town up right!

Thursday, June 24, 2004

Thank Dog

A very bizarre local news story that took place in my hood.

All I can say is, thank god for friendly dogs. Amazing how the fates of so many people were decided by a good ol' gregarious pooch.

And whaddya make of Mr. travelling gun club? He gets a hankerin' to off some people, but folks in New Brunswick are too nice (see? it does pay to be nice!), so he loads up the car with rifles, knives and over 6,000 rounds of ammo, and heads down the road to Toronto, 'cos, y'know, they're all cold-hearted meanies in The Big Smoke. The bubble burst on that stereotype just in time!

Yes, lots of lessons to be learned here. Not the least of which is...
Guns don't kill people... because friendly dogs won't let them!

Sunday, June 20, 2004

Come Together

... And speaking of father's day, the offspring of two famous rock fathers appear to be stepping out.

I dunno. Sean's looking a little too much like his dad there. The glasses. The beard. Boy, you're gonna carry that weight.

So, Mick was after Yoko? What was that all about?


Grasping The Obvious

Each morning on the way to work, part of my transit takes me from Kennedy subway station on the RT into Scarborough Town Centre, where around the terminal, two or three large buildings are under construction, condos probably. On one site, I always take note of the signs halfway up the towers on the two large construction cranes.

On one crane, the sign says: Crane 1.
On the other, the sign says: Crane 2.

Now, I can well understand the need to label the cranes. If, say, you're given the task of taking something up to one of the crane operators, the foreman can say, "take this to Crane 1". And since both cranes look fairly similar, and it can get a bit disorienting on a construction site, it's useful to have that distinction, that label. And it makes more sense than calling them by non-numerical names, like Betty or Dave. Names can be easily forgotten.

But I wonder about the necessity of labelling them *CRANE* 1 and *CRANE* 2. Is there perhaps a danger some worker will confuse them with, say, BROOM 1 and 2, or SHOVEL 1 and 2?

I think perhaps labelling these monster cranes with signs that say simply "1" and "2" would suffice; the word "crane" on the sign being somewhat superfluous, methinks.

Yes, these are the kinds of things I think about when I'm half awake in the morning and the coffee hasn't kicked in yet.

Thursday, June 17, 2004

Mary

A photo of a family. I think this would be somewhere around 1924 or 1925. These are the Grants, sitting in front of the farmhouse "down home" in Millview, P.E.I.

Grants

From left to right: Art, Vic, Anne, Ethel, Reta, Mary, Ruth, Doreen (the baby), Walter, Rose, "Pop" (Vince), "Mom" (Winnie, nee Brown), Frank.

Eleven kids. Now there remains only one: Doreen. The baby. My mother.

She phoned me Tuesday night, and right from the greeting I knew, betrayed by the slight rasp in her voice (from being tired and from talking to too many people), that Aunt Mary had died. Mary was Mom's last remaining sibling; her last sister.

I can't say it came as a surprise. Mary was 90, and she had been going downhill rather steadily over the past couple of years. Pretty frail already, she had been hit by a malfunctioning automatic door at a supermarket, and had broken her hip. Then some time later, in her room at the senior's residence just up the street from my parents' house, she had taken a fall. She wasn't using her walker, as she was supposed to do, and she took a dizzy spell and fell to the floor, putting her in the hospital.

I visited her there when I was home last summer, and she barely made an impression under the bedcovers, just skin over bones. When I said goodbye, I glanced back from the doorway, and I remember thinking it might be the last time I see her. Turns out it was. But she held out for quite a while. She would take bad spells, and they would fear the worst, then she would bounce back. She said she wanted to make it to 100! But a few weeks ago, she suffered a mild heart attack, and that was the beginning of the end.

My sister Anne, a nurse, happened to be home visiting from LA, and she was with her when she died. My mom had been doing yeoman's duty over the last 10 years or so, looking after Mary and taking her around town, running errands for her. Mom is almost 80 (hard to believe!), and I know it's taken its toll on her. I could hear the weariness in her voice, but maybe now she'll be able to relax a little more. No more worries for Mary.

Mary MacInnis. She and Uncle John (deceased 15 years ago) had no children of their own, so they took special interest in their many nieces and nephews. They lived in the States for many years, in the Boston area where her brother Frank and sister Ethel had also relocated, and then for their latter years they wintered in Florida and came home to P.E.I. in the summers. They lived in a little cottage in Bedeque, just past Summerside, my hometown. We spent quite a bit of time out there in the summers when I was growing up. Their cottage had a large patch of lawn that ran up to a cliffside, not many trees to speak of, pretty open, and then there was a set of creaky wooden stairs that led down to the shore. They were on the Dunk river (The Dunk!), and there was a fairly decent beach for swimming. A bit stony, but the water was usually nice. The water is always warmer on the south side of the Island.

Yep, many summers spent out at Mary and John's cottage. And it was a cottage, not a house. A little, quaint, cosy, cottage. Screen door, porch, kettle, mac-tac-ed cupboards, moths. At nights we'd play cards at the kitchen table--Kings in the Corner, Crazy Eights--while Uncle John constantly patrolled for mosquitoes, fly-swatter in hand. "Cheesus Mary, they're bigger this year than effer." To look at him, Uncle John was the gruffest man ever created, but once he laughed, there was no one jollier. I loved going outside there at night. The darkness would envelope you, feeling dangerous (how far is that cliff?) but strangely safe. The warm wind blowing the tall grass, the salt in the air, the sound of the waves on the shore, sounds from across the way seeming so near. The stars.

When I think of Aunt Mary, I think of iced tea in the summer. She introduced me to iced tea. I'd always have a glass when we visited them. When I was a teenager, I developed a weird liking for it. I'd have to have a can of powdered Nestea mix in the house, and when I came in at night, I'd fix my traditional triple-decker peanut-butter and strawberry jam sandwich and mix a tall glass of iced tea. No ice. Then go downstairs and watch SNL or Friday Night Videos.

Mary was always a very generous soul, and very kind to me over the years. She'd send me a card and slip in a $20 or $10 bill, sometimes more. What a dear. And she'd be so pleased when she received my thank-you card. She was always telling people about her nephews and nieces.

Sad that she's gone. Sad for my mom, that of all those 11 kids, she's the only one left. I'm the youngest of her eight kids, and I guess maybe there'll come a day when I'm the last of our brood--if things unfold as they should. If I'm lucky. Lucky! heh.

It would be nice if I could fly down for Mary's funeral, but I just can't swing it. I know she would understand. "Oh, don't be crazy! God, no," she'd say. I think, in a way, we kind of said our goodbyes when I saw her in the hospital last summer.

But that's not how I'll remember her. I'll remember the cottage, the warm breeze, the kitchen table at night, the iced tea, the kindness.

Summer's here. I think I'll go have a glass of iced tea.


Mary


Monday, June 14, 2004

About The Last Night

Gotta be off to bed soon, but some quick notes about the final night of NxNE before I turn in.

The last night of the festival started off great. Caught a wonderful set at The Rivoli by Vancouver Island troubadour/cyclist Jeremy Fisher. He had come highly recommended by my friend Howard, who had written Jeremy up in his online column a while back. I worked my way to the very front of the standing, capacity crowd to find Howard and wife Beverly boogying on down to this young man's music, at least as far as one can boogie down to folk music with an acoustic guitar and harmonica -- but you can, and they weren't the only ones.

It was a great performance. This young guy really does have an old soul. The hair and the voice and the music certainly do bring to mind a young Dylan, or John Prine, but I also detected a bit of Paul Simon's touch in some of his phrasing and singing. He's playing tomorrow night at Holy Joe's, an even smaller room with vintage couches for pews. If I don't walk out of there with a copy of his CD, it'll be only because they've sold out. You can hear some clips of his songs here.

Then we zipped up to the Tranzac Club to see someone I had written up: Joe Fournier. Joe performed up on the 17-foot high stage (at least it seems that high) of the old Legion-like Aussie-Kiwi club, accompanied only by a young guy on bass. Wasn't sure what to expect, since I didn't know what kind of a live performer he was, but he was great. Such a clever songwriter, sometimes outright humourous. But each song is grounded in a solid kernel of an idea, and I really respect that kind of songwriting. Like, you're driving along the road into town, and you see someome has spray-painted a marriage proposal on the overpass, and you wonder what happened, when was it written, did she say yes, where are they now? And then you have a song called "Susan Will You Marry Me Love Jake". You can hear some clips of Joe's song's here.

It was nice to be able to get a chance to chat with Joe afterwards. He's been doing pretty well over in Europe, spending several months a year playing there. They love rootsy music and country music in Europe. I think it's a cyclicle backlash to all of that Euro-pop and electro machine music that they've been pumping out over the past 20 years or so. Anyway, seems that my write-up of Joe has been getting lots of mileage over there, with people pulling quotes for posters and other kinds of promotional devices, so that makes me feel good that I was able to help further the cause of some music that I think is worthy.

Ideally, I would have loved to go see the Trews' 12am, 2-hour set at the Rivoli. But there was no way in hell we were going to get back in there. When I left there after Jeremy Fisher's show, at 10 o'clock, the lineup was already half way down the block. Probably as many people in line as would fit in the room. So instead, the plan was to see the Golden Dogs' 10pm set at the El Mo. But when we got there, they were already at capacity. So the fall-back was to see Raising The Fawn at Healey's. They started the night by receiving a $3,000 cheque as the Galaxy Rising Stars award winners. Not a bad way to start your set. They were quite interesting. Kind of moody, atmospheric rock. The singer/guitarist has a bit of a Jeff Buckley thing. Good pipes.

Then it was off to the Horseshoe for Ian Blurton's latest rock incarnation, C'mon, a power, hard-rock trio with a banshee vixen bass player. They were loud and raucous and they rocked the place. I wasn't sure if I was in the mood for a hard rock set, but they just overpowered me. Good way to end the festival.

Too bad I missed White Cowbell Oklahoma at the El Mo. From what I hear (see the comments from the preceeding post), they gave new meaning to "Free Bird".

G'night!

Saturday, June 12, 2004

Dashed Plans & Detours

Well, last night at the festival didn't quite turn out as I had planned, but sometimes that's all right. I arrived at the Black Bull in time to catch the last few songs of Heather's set. The Black Bull is not a great venue for live music. A long room with a bar at one end, a pool table in the middle and then a section of booths leading up to the stage at the street end of the room. So if it's well-attended, people end up jammed into the aisle between the booths, and spilling out into the other areas, which are not spacious and are subject to a high cross-traffic of people trying to get to the restrooms and waitstaff ferrying food and drinks the other way out to the patio.

Not great sound (as Greg pointed out, the sound guy is situated behind and to the side of the stage monitors). Probably sounded good on stage, but it was pretty muddy out in the room. But Heather and company performed well, and were being filmed by someone, don't know who or why. Thought I saw one of the major Canadian label (Warners? Universal?) A&R guys sitting over to the side, enjoying the show and clapping enthusiastically. Not sure if it was the guy I think it was though.

From there I decided to head for the Reverb, an full hour ahead of Feist's set. I assumed it would be packed, and it might be prudent to get there early to make sure I got in. I assumed correctly. There was a pretty hefty line-up on the sidewalk. I waited for a while, amused by the couple in front of me who accosted the girl from the festival when she came down the line to check if there were people with festival badges, because they have priority over those of us with $22 wristbands. The guy was arguing with the festival girl, saying that there are people who get their badges for free, so why should they get in before people like him who "work hard" to pay the $22 for the wristband. The girl was explaining that badges are given priority because companies pay $300+ for the festival/conference badges, and they should therefore get in to festival gigs first. The guy didn't seem to understand that people don't get these badges for free -- well, maybe some people do; media and artists, perhaps -- but I know from first-hand experience, having had to fill out the application forms and requisition the cheques from work, that companies pay $300 for their employees to attend the conference/festival. The passes don't just fall out of the sky.

And it's pissed me off when I've had a badge in years past, and I show up at a festival gig, only to find that I have to line up with people who are just paying the one-off $10-$20 ticket price, and they could get in before me, when my employer has shelled out $300 up front for the badge. Only makes sense that people who pay that kind of money into the festival's coffers should get preference. I was going to explain it to Mr. Complainer, but I couldn't be bothered.

Anyway, it was looking like I wasn't going to get in to see Feist, so instead of wasting time standing in line, I bailed and went to the El Mo to see The Premiums (read my story on them for SOCAN here. They rocked quite righteously. The room was virtually empty before they started. I went up near the front to get a good look-see. When the first song was over, I turned around to find a mass of people had filled the space behind me. It was a good show.

From there, I scooted around the corner to see NYCsmoke at Rancho Relaxo. This guy is apparently a friend of Phillip Glass. But it was just him with a telecaster, tattooed arms (picture Mike Ness from Social Distortion) and a woman accompanying on cello. Interesting. Probably a good show under other circumstances, but the only place to stand was back by the bar, and there were too many people yapping back there. Pitfalls of festival shows.

So I cut out of there after a downed my pint of Rickard's Red. Tried the Oasis a few doors down where a band called Bakersfield was playing. Gotta be good with a name like that. It was four ultra-ordinary-looking guys, one with a backwards baseball cap, playing very straightforward but very uninspired roots rock. Nothing special was going to erupt from them anytime soon, so I hit the exit. I decided to follow my music festival Rule #1.

When all else fails, go to the Horseshoe.

"Special Guests" were slotted to play there. But I read somewhere that it was to be The Lowest Of The Low. Another of their special reunion gigs. What's this, the 14th special reunion gig in the last two years? For a band that's supposed to be broken up, they seem to be busier than a one-legged man at a butt-kicking contest.

But they are a good band, and it was not an unenjoyable way to end the night. Said hi to Alan Pigguns and saw a sweaty-headed Danny Michel trying to wedge his way to the bar to get a beer.

The streetcar ride home provided some amusement, with an old codger yelling obscenities at people on the street with his head stuck out the window ("take 'er home and get 'er into bed!"). A couple of young guys on the streetcar finally told him to shut up, and he threatened to take care of them, but didn't. Then he got off a few blocks before McCaul Street, mumbling to the driver about cleaning those kids' collective clocks. He was an old man, probably in his 60s at least, but he was at least 6'4" and rather hefty looking. He was carrying a cane that was too short to actually reach the ground, and when he got off the street car, he RAN across Queen Street to the north side! Didn't seem to need or use the cane at all.

When the streetcar reached McCaul, there was a bus-car incident blocking the tracks. We sat there for about 5 minutes, before the driver received instructions to detour north on McCaul, which fortunately has streetcar tracks, and take Dundas to get around the accident. So we turn north and start to lumber up McCaul. At the first stop, who should get back on again but the old man with the vestigial cane, who sat down in the same seat and picked up where he left off, periodically tossing comments at passersby, his head thrust fully out the window. I just had to chuckle.

There was also a gaggle of easily confused foreign club girls who didn't know where they were going, only that they needed to get to Yonge Street. They were completely thrown when the streetcar had to detour. They looked like a bunch of young fawns who had suddenly lost their mother. But a scrawny, young East Indian guy bravely volunteered to steer them right, so everything was okay. He got off with them when we reached Yonge Street, ever the helpful guide. I think maybe he thought he might get a "reward". Who knows. Seems like anything's possible at 2:30 a.m. on the Queen streetcar.

"Will I see you tonight, on a downtown tram..."

Friday, June 11, 2004

Go North!

Yay! It's NxNE time! One of my favourite times of the year.

Last night was the first night of the music showcases. 400 bands spread around the downtown core of the city. I caught a splendid solo set by Winnipeg's Greg Macpherson, and had a chance to chat a bit afterwards and introduce myself (I had written him up in my Showcase page a few years ago). Then it was off to the Cameron House for Elliott Brood and Welcome Karma. The latter band fronted by a young guy who seemed as if it was the first time playing outside his parents' basement (I should have asked them, they were sitting next to me). Some awkwardness in his delivery, but there's potential there. A little over-serious, but he's young.

Ellliot Brood is a three-piece led by banjo, with lo-fi open-tuned guitar and a drummer who uses a hard-shelled suitcase as a kick drum. They were okay, but there were at least three of their tunes that sounded like the same song. Singer needs to get some more range and be a little more imaginative with the melodies.

Capped off the night with Pete Elkas at midnight at the Rivoli. Set started late, and it was pretty good, but I was getting tired by that point, so I had to bail and head home.

Tonight, I'm off to see my friend Heather and her Company of Men at The Black Bull. Later, I'll check out former By Divine Right-er and sometime Broken Social Scenester [Leslie] Feist at the Reverb. Speaking of invading France, she's suddenly bigger there than a Charles DeGaul booger. And she's become the talk of the town here. I'll be able to say I remember her when she had a first name.

The rest of the time slots are a bit of a crap shoot, but hopefully I'll follow my nose to something interesting.

Sunday, June 06, 2004

Doors To The Past

Believe it or not, this is about the 60th anniversary of D-Day. But it starts with a pet peeve. Bear with me.

You're coming through a doorway in a public space--a mall or a subway station or a store--and you notice there's someone coming behind you. You stop and hold the door briefly for them, just to make it easier for them. You do it because it's common courtesy, so the door won't hit them in the face as it swings back. And people will generally extend their hand to take the door from you. Sort of like passing on the open door from one to the next. But some people seem to think you're holding the door for them so they can walk through without having to exert any effort of their own. No attempt to take the door from you. No hand extended. They just breeze on through, like they're royalty or something, and you're their doorman.

I don't like it when that happens. There have been a couple of times when I've actually let go of the door when I saw the person I was holding it for wasn't going to put their hand out to take it from me. It sure as hell surprised them, I'll tell you that. I just walked on.

I'm not proud of that. But it does make me smirk a little.

Of course, when you're coming through a door in a public space, it's sometimes hard to know at what point you should stop to hold the door for the person coming behind you, and at what point it's okay to let it go. It's a fine line sometimes, and generally my rule of thumb is that if they're far enough away that the door would close fully before they reach it, then it's okay to let it go.

Exceptions should be made, though, for people who have their hands full, maybe carrying several shopping bags, for instance, or a clumsy cache of groceries, or for people pushing baby strollers and/or with small children in tow. Of course, when it comes to these kinds of social etiquette rules, elderly people are generally always deserving of special treatment.

For instance, last week I was heading into the Spadina subway station after having dined at a nearby Indian restaurant with some friends. As I passed through the street-level entrance, I noticed there was an old man coming in from the sidewalk behind me. He was moving slowly, shuffling along, age having taken its toll on his body. Legs didn't move the way they used to, the way he wanted them to. He was a small, shrunken man, slightly stooped. Though he was sufficiently far enough behind me that I could have justifiably kept going, I stopped and held the door and waited for him to catch up to it. When he reached the door, he took it in hand, and thanked me in a quiet, weak voice, seeming somewhat surprised, looking up at me through large, thick glasses. I continued on my way, gliding through the automatic turnstile with a swipe of my metropass. He was still in the foyer, fumbling through a change purse or something, trying to find a token I suppose. Just another nondescript old man coping with the tiny everyday struggles that come with old age. I felt good about holding the door for him, giving the extra effort, but that was about as much as I could do.

Fast forward to today, June 6, 2004. The 60th anniversary of the D-Day landings on the beaches of Normandy in WWII. I was watching the extensive coverage on CBC, and I was struck again by this fact: that the old men and women we pass by on the sidewalks without a second thought, the ones we are sometimes impatient with as they take their tottering old time getting on and off busses, or as they take forever to coax the correct change out of their pockets and purses in the supermarket lineups--these could very well be the same people who 60 years ago were fighting their way up a beach in Normandy, praying that this wasn't the day they die; watching friends and fellow young people--for they would have been in their late-teens or twenties--lose their lives in the brutality of war around them; tending to the wounded, the mangled; living each day knowing with a certainty that even if they lived through this thing, they would not do so unscarred. Loss was a given. Loss on a large scale. It was never far away.

And they did it with a purpose. They did it for a reason. War is always chaotic and insane and brutal. But they knew why they were there. They understood why sacrifices were necessary. And they went willingly. There was an old word they used, that decimated generation. A word we don't hear much anymore: duty.

How long ago that was, and how easy it is for those of us from successive generations to be disconnected from that reality, the reality they lived through.

Today's ceremonies and commemorations were all very impressive and moving. The Queen attended the Canadian ceremonies at Juno Beach, where the Canadian forces landed on D-Day. She and our Governor General Adrienne Clarkson (a former TV journalist) and our Prime Minister Paul Martin spoke of the sacrifices made, and of Canada's role. But for me, the most moving image was that of the dozens of octogenarian Canadian veterans in their blue, sometimes red blazers and berets, medals dangling from their chests, marching down to Juno Beach, and then walking along the beach. Their beach. Some with canes, limping, moving as best they could on bad knees and hips and aching joints. Pushing through the years. Just like the old man from the subway. Maybe he was among them.

Some walked in clusters together; some off alone, contemplating the sand and the pleasant waves greeting the shore. One old man was carrying something in a small plastic bag. He ambled to the edge of the beach and, rearing back his arm as best he could, tossed it as far as his old arm would allow into the surf. A private memorial of some sort. Ashes of a since-fallen comrade perhaps?

But all were doing one thing: remembering. I saw one leaving the beach, stopping to wipe his face, tears lingering in the wrinkled folds.

What did they do on that day? Sardined into metal landing craft in the pre-dawn darkness, sick to their stomachs, scared as hell (as one veteran said, if anyone tells you they weren't scared, they weren't there). And then the craft jolts to a stop, the door splashes open, the first of the bullets come whizzing in, ricocheting off the hull. The sickening thud as metal hits flesh and bone.

ping ping zip thud thud ping thud thud...

And there's just one imperative: Run. Forward. Keep moving. Reach that wall. Don't stop.

Don't stop. Even as you step over the bodies of your buddies, sometimes your best friends, men you've spent the past three years training with. (Men! Most were barely beyond boyhood!). Don't stop.

Don't stop till you're wounded, they were told. One of the lessons of Dieppe.

Unimaginable what carnage they must have witnessed on that beach 60 years ago. And what bravery they found within themselves to do what they had to do.

Could we do that today? Despite what I've heard some people say, I think we would. For a just war. Sure, it was a different time, a different generation. But it was a different war. That was no Vietnam. That was no Iraq. It was a war fought in black and white. It was the free world responding to a mad man, a certifiably insane tyrant who was in control of a highly industrialized nation which he had moved to a war economy, built what was the most modern and powerful military machine of its day, and was using it, and his despotic control over his nation to conquer an entire continent and kill millions and millions of people, including some through systematic extermination. Horrible experiments on children. A political policy of dehumanization.

It's almost hard to believe when you think about it in those terms. It almost sounds like a script for a bad sci-fi comic book. A murderous mad man trying to take over the world! People my age and younger have grown up in a world where those events had already happened and were over and done with. A chapter in the history books. An abstraction. Happy days were here again, and we had never known when they had been suspended for a time.

But for those old men walking on Juno Beach, it was no abstraction. For an entire generation, it was their problem to deal with. And they dealt with it. They sacrificed. Their bodies. Their youth. Their lives.

They were willing to give everything in one supreme effort. Willing to give everything, and ready to lose everything. And many did. And because of their efforts, an evil was brought to an end.

Thank you for your efforts. Thank you for holding the door for us.

No Reply

I received no reply from Blogger about the comments issue, so I reinstalled the old comments from YACCS.

Much better.

Friday, June 04, 2004

Have A Nice Cast

I just downloaded Nicecast. Looks pretty cool. Anyone been using it? Is it as easy as it looks? Will I be able to listen to my iTunes library while I'm at work?

Can I start Radio Jimbuck2?

Tuesday, June 01, 2004

Blog-Jammed or Ode To Comment Sense

It's come to my attention that in order for folks to leave a comment on my blog, they must be Blogger users and sign in with a username and password. I didn't realize that when I switched from my previous comments provider. I just saw that Blogger comments gave an option in the set-up for "anyone can post", and I assumed that meant... ANYONE!

That's just stupid. Very unlike the spirit of what blogging should be. Blogger has made some nice improvements since being bought by Google, but this is dumb. I'm gonna look into this, and if Blogger won't allow unrestricted commenting, I'll try to switch back to my previous comments supplier.

On that score, if anyone has any comments providers they might recommend (I was using YACCS), drop me a line. Click on my name in the "posted by" line below to send me an email.

Sorry for the inconvenience.

In the meantime, here's some fun and interesting stuff from WFMU's Sites For Sore Eyes. I especially enjoyed the VELVET UNDERGROUND 3D DEATH CHASE. Never managed to make it to the Bar Mitzvah without getting stoned by those roving members of the VU. Hate when that happens.

Linger on...

Test

This is a test. Do not be alarmed. Go about your business. This is a test.

Friday, May 28, 2004

The Font Fix

Blogger Support fixed the problem with my fonts. You may have noticed that after I switched the comments, all the posts after the current one were suddenly in UPPERCASE! Looks much better now.

Thanks Blogger Support!

Off to see My Morning Jacket tonight at the Opera House, a fairly short streetcar ride down Queen Street East. Woo!

Wednesday, May 26, 2004

Ch-ch-ch-ch-Changes

You may notice some changes to the ol' bloggaroo these days. Seems Blogger has made some rather significant upgrades for a major relaunch, which includes--finally--supporting Blogger-resident comments. So, I've fired my old third-party comment service and enabled the new Blogger comments. Hopefully it'll fire up A-OK, but be prepared for some tinkering and false starts over the next little while.

Fingers crossed.

Tuesday, May 25, 2004

Wired For Sound

Hope all my fellow canucks had a happy Victoria Day long weekend. Long may Queen Vicky continue to bless us with meaningless but greatly appreciated holidays! Hip hip, and all that.

Back to work tomorrow.

Most people go away on the "May Two-Four" long weekend, to mark the unofficial beginning of summer by opening up their cottages or some such activity. I barely left the house. But it was fun and productive all the same. Still work to do around the ol' new apartment, and I got some more things organized. It's getting there. Still nothing on the walls and no window blinds, but all in good time.

Friday night I went over to my friend Larry's place to partake of rum and Garageband. What a nifty little app. Within minutes, and using only a little mini midi keyboard not unlike this one, I laid down a moving Speilbergian soundtrack piece worthy of any closing credits. Just laid down some grand piano, then a couple of tracks of sentimental hollywood strings, and some slightly wah-tweaked classical guitar. Piece of cake! Okay, maybe it wasn't quite ready for prime time, but it sounded pretty cool. The audio modeling is very good.

And now that I've upgraded myself to Mac OS X Panther (thanks Larry!), I'm wondering if I can load it on my iMac. I have the requisite 600mhz CPU on my G3, but they recommend that the Garageband instruments need a G4 or better. Hmmm. I wonder if that's a hard and fast requirement, or could I make do with my G3?

Panther's pretty cool, and that's how I've spent a lot of the past day or so; just trying to familiarize myself with the new OS, tweaking settings on my apps, etc.

I also spent some time wanking on the gee-tar. Now that I have my little studio unit in the same room as my stereo, I realized that I could run the output from my studio into the mix mic input of my stereo, and that would not only allow me to play through the stereo, using its speakers as monitors, buy I could also turn on the radio or play a CD, and play along with either audio source... and my guitar comes through as if it was in the mix with the CD or the radio! This is brilliant!

So if I want to play along wth a song, I don't have to blast the stereo at high volume to be heard above the sound of my guitar amp (which has to be at a certain volume level, or it doesn't sound right). And I can run it all through my headphones (a nice pair of Audio Technica studio cans I picked up a few months ago) and jam away to my heart's content without bothering my neighbours. I mean, it's fine to just play the guitar on its own as a means of practicing, but I find I learn more and play better when I have a song to play along with.

And as if these technological advances weren't enough, I also did a load of laundry and washed the dishes!

Yup. Hear me roar.

Thursday, May 20, 2004

Bob's Yer Jersey

Here's something for the lady Dylan fan in your life:

The I'll Be Your Baby Tonight Football Jersey.

Fun with merch! I like it!

Wednesday, May 19, 2004

Apt News

Not a lot of exciting news on the new apartment front. I bought a Swiffer Wetjet. Is that exciting? Sadly, yes.

I've really been taking my sweet time getting things set up. But it's almost a done deal. Got the books in the bookcases. I'm leaving the CDs till last. I need to get a new CD rack, maybe two. I've needed a new one for some time. Had an overflow of probably at least 100-150 CDs stacked in various places around my old house, and my crappy little wooden rack had fallen apart on me twice, before finally meeting its demise during the move. I was holding off buying a new one because I knew I was looking to move, and there was no point going to all the trouble to completely reorganize my CD collection, only to pack it all away again and move it.

Gotta hit the Kitchen Stuff Plus store this weekend. They have lots of neat stuff at pretty reasonable prices. I just need a few extra gizmos for the kitchen and bathroom, etc.

Speaking of kitchen stuff, here's a question: Does anyone make a can lid puncher that doesn't rust? They can put a rover on Mars, but...

Still need to get the blinds and the area rug...but all in good time.

In other news, I needed some subway reading, so I picked up Kurt Vonnegut's TimeQuake. I love reading Vonnegut. Makes me feel sane. And the fact that it makes me chuckle to myself on the subway, keeps the weirdos at bay.

Sunday, May 09, 2004

Napkin Please

Don't really know if there's anything I can say as a preface for Nardwuar the Human Serviette. Maybe this article.

He has become a Canadian media icon. Check out his website for some video of his interviews. The one with Snoop Dogg is pretty good, as are the ones with Henry Rollins and Michael Moore. Rollins shows no sense of humour whatsoever as he gulps his giant Starbucks coffee. Lighten up Henry. And is it just me, or is anyone else really annoyed at Michael Moore's continued obsession with portraying Canada and Canadians in only the most broadest of brushstrokes?

I also like the way Nardwuar makes Kelly Osborne run screaming into the arms of her handlers. This is what Reality TV should be.

Moving Right Along

The adventure continues in the Land of Relocation. I've got a lot of boxes unpacked, and I've taken all the boxes of CDs, books and DVDs and stacked them into one big pyramid of readable media that I can ignore for the time being while I focus on more important tasks. It also allows me to move larger objects around with less box clutter. Kind of like shepherding cardboard icebergs off to the side so I can manoeuver the "large boats" of furniture into place. If you will.

The desk is now set up in the corner of the living room, which is a much better place for it. Previously I had it sitting against the wall between the livingroom and the diningroom/kitchen area, but it just didn't feel right sitting so close to the kitchen. Where it is now, it's blocking half the heating radiator, but I won't be needing that in the summertime anyway. Its present location also allows the desk's side table to multi-function as a kind of end table for the couch, which sort of meets the desk in the corner. I was worried that it might make the livingroom seem too crowded, but I don't think that'll be a problem. I'm going to move one of my large shelving units to where the desk was, and the other one can probably go in the bedroom, where there's lots of room. I'm not even sure if I'll need both of them, but I suppose there's always something I can use them for. So that will free up space along one wall of the livingroom where I can put my smaller brown bookshelf and set up my guitars and some smaller items.

Still surprised by how much space there is in the livingroom and the bedroom. I'm likin' it.

The diningroom/kitchen table and chairs are set up, although I'm going to look at a table and chairs set tonight in The Beaches that was for sale on the craigslist. Might be a little nicer. I've had this table since university; a castaway of my mother's. The table's actually okay, but the chairs have seen better days.

Almost had a line on an area rug for the livingroom (which I'll need to cover up the phone line and possibly other wires running across the floor) also from craigslist, but the seller (a Kelly Hogan, but not the singer) had already sold it by the time I contacted her.

If anyone has any other strategies for running wires and phone lines and extension cords across a room, feel free to drop me a note.

Shower curtain makes showering much easier.

Wednesday, May 05, 2004

Radio Redhead

Got this note from my friend and former bandmate Heather. Seems she's making her (first?) appearance on web radio!

Howdy All,

Just a note to tell you about Heather Morgan & The Company Of Men being featured for the next few weeks on Rismix Live internet radio.

It is a segment they have called "RML BOARD ROOM" featuring live performances in all their rough raw glory! This performance of ours was from a show we did at C'est What last Sept.

The program plays 11PM EST Mondays, Wednesdays, and Fridays.

Here is the link with details:
www.rismixlive.com/schedule.asp

Ciao for now!

Heather
www.heathermorgan.ca
=====

I checked it out on Monday night and it sounded great! Congrats Heather!

Exposure! Exposure! Exposure!

Tune in, drop by and rock on!

Some Assembly Required

Well, I'm all landed at my new place. Still tripping through cardboard canyons and piece-by-piecing together the jigsaw elements of my domestic life. Lovin' it though. It's sooooo nice to have my own place again. Still in a bit of Spartan survival mode--i.e., contents of the fridge: water, milk, pizza, beer, opened cat food tin, margarine, parmesan cheese, champagne.

(The champagne is for later, when everything is set up and functional.)

Spent the first couple of days with no shower curtain, which presents certain challenges. But all the important stuff is up and running--bed, clothes, couch, cable TV, phone, computer. Yesterday I finally found the box with the silverware in it. Makes eating cereal in the morning a whole lot easier, let me tell you.

My goal is to have the kitchen fully functional by the weekend, so I can have a nice relaxing omellette for breakfast. I got a new coffee maker today, programmable and all that, so that'll be nice to wake up to.

More later.

Wednesday, April 28, 2004

I'm About A Mover

Things will be quiet around here for a while. I'm moving this weekend. I have tomorrow and Friday off. Tomorrow will be the main packing day (though I've started some things already), Friday I'm renting a van, and I'll be moving some stuff on my ownósmall, one-person stuff. My new place isn't very far away from my present abode--probably a 5-10 minute drive--so I don't care if it takes several trips.

Then Saturday I'm renting a different van (they're in short supply this weekend), and with some help from friends and my brother, I'll move the heavier, two-person stuff: bed, couch, etc. Should go all right I think.

My high-speed will be down from Friday until probably sometime later next week. So talk amongst yerselves. I'll even give you a topic: The Holy Roman Empire was neither holy nor Roman. Discuss.

Next time you hear from me I'll be in my new digs! Woo!

And tonight, will I be packing and fretting and planning? HELL NO! I'm going to the Horseshoe to see Neko Case! Hee hee!

Monday, April 26, 2004

Word

Word of the Day for Monday April 26, 2004

lucubration \loo-kyoo-BRAY-shun; loo-kuh-\, noun:
1. The act of studying by candlelight; nocturnal study;
meditation.
2. That which is composed by night; that which is produced by
meditation in retirement; hence (loosely) any literary
composition.

A point of information for those with time on their hands:
if you were to read 135 books a day, every day, for a year,
you wouldn't finish all the books published annually in the
United States. Now add to this figure, which is upward of
50,000, the 100 or so literary magazines; the scholarly,
political and scientific journals (there are 142 devoted to
sociology alone), as well as the glossy magazines, of which
bigger and shinier versions are now spawning, and you'll
appreciate the amount of lucubration that finds its way
into print.
--Arthur Krystal, "On Writing: Let There Be Less," [1]New
York Times, March 26, 1989

One of his characters is given to lucubration. "Things die
on us," he reflects as he lies in bed, "we die on each
other, we die of ourselves."
--"Books of The Times," [2]New York Times, February 7, 1981

Naturally, these fictions ran the risk of tumbling down the
formalist hill and ending up at the bottom without readers
-- except the heroic students of Roland Barthes or Umberto
Eco, professors whose lucubrations were much more
interesting than the books about which they theorized.
--[3]Mario Vargas Llosa, "Thugs Who Know Their Greek,"
[4]New York Times, September 7, 1986


Lucubration comes from Latin lucubratus, past participle of
lucubrare, "to work by night, composed at night (as by
candlelight)," ultimately connected with lux, "light." Hence
it is related to lucent, "shining, bright," and lucid,
"clear." The verb form is lucubrate.

Sunday, April 25, 2004

Glenn, Live It

Faithful readers may recall this blog entry from almost exactly two years ago, from when I saw Glenn Tilbrook play at the Horseshoe. It was a fantastic experience, especially with the "walkabout" we took outside.
We got to the end of the block, just past the Bamboo and before the Black Swan, hung a left through a parking lot, where Tilbrook finished "Goodbye Girl" and started the Squeeze classic "Pulling Mussels From The Shell", to wild applause. We then turned west and the merry music mob started down the small one-way street that runs behind the Horsehoe ñ more like an alley, almost ñ Tilbrook still walking backwards as he sang and played... and we all sang along, our voices slapping off of the valley of apartment buildings and clubs ... "behind the chalet, my holiday's complete, and I feel like William Tell, Maid Marian on her tip-toed feet, pulling mussels from a shell..."

And that's when we notice the police car approaching from the opposite direction.

As it draws near, Tilbrook, still singing, approaches the driver's side window as the merry mob flows on either side of the car, like an amoeba around a foreign particle. The cop rolls down the window... and he's singing the song!! He knows the words! Tilbrook sits up on the hood of the cop car, leaning back to look at the cop while he sings, the cop turns on the flashing lights, and we all finish the song together, bathed in the red and blue, and the warm glow of that "this-is-just-too-cool-to-be-real" feeling. We all break into a huge cheer, thank the officer, and file back in through the rear entrance of the Horseshoe.

Just in case you thought I shittiní ya, it seems the blessed event was actually captured on film.

The scene appears toward the end of this trailer for the upcoming Glenn movie. [large 5.4mb video file - those without highspeed proceed with caution...and patience]

Cool or what?

Sunday, April 18, 2004

The Wild, The Innocent, And The Queen Street Shuffle

Seems I'm becoming something of a fixture on the stage at The Horseshoe. I think I may have to ask for my own dressing room and parking space.

I kid, of course. But this past Thursday night, I played the Horseshoe again; the second time in less than a month. My friend Boag (who faithful readers will remember from the St. Paddy's Day Massacre (In Three-part Harmony) blog entry, had organized a Bruce Springsteen tribute night at The 'Shoe and asked me and our campadre Tim to once again back him up on guitar. Proceeds were to benefit a Parkdale outreach centre, St. Francis Table. So we practiced two songs: ìThe Feverî and ìRed Headed Womanî. I played lead guitar. Tim played acoustic rhythm.

It was billed as "The Wild, the Innocent, and the Queen Street Shuffle", and it turned out to be a very good night. As always, there were a few last-minute snafus or near-snafus. Just as I was leaving work, I got an email from Boag saying he'd decided that he'd start the show himself, and did I know any of these songs well enough to back him up: "Born To Run", "Backstreets", "Racing In The Streets", "Growin' Up", and one other I can't recall. I figured the only one I could do adequately on short notice was "Growin' Up", so when I got home, I ran through it a bit on my acoustic, and figured it out.

When I got to the 'Shoe, I met up with Boag, and we went across the street to Steve's Music to rent the drum kit, guitar amp and other accoutrements for the stage. (Later on, it was discovered that the drum kit was missing a hi-hat stand, resulting in a mad pre-show scramble by Jay Clark Reid of Jay Clark & The Jones, who heroically raced in their van out to Parkdale to get a replacement.) Had a bit of a problem finding a cab so we could transport the gear, but after two bailed on us, we found one guy that begrudgingly ferried us and the gear around the corner. Back at the 'Shoe, we huddled with Tim and ran through our two songs just to refresh our memories and do a little last-minute fine-tuning. I ran through "Growin' Up" with Boag, and it seemed to be all right. Then it was just a matter of waiting for show time.

I was definitely harbouring a few butterflies in my stomach, but I wasn't quite as nervous as I was before the St. Patrick's Day show, mostly because I felt I knew these songs better, thanks to the rehearsal we'd had the previous Sunday. (By the way, ìThe Feverî is a tricky little song, if you've ever tried to learn it. Not that the chords are difficult, but the way Bruce does it, there are sections that seem to straddle a line between a verse and a bridge, and sections that share the same lyrics as the first verse, but aren't structurally the same as the verse, just slightly different. Sneaky.)

When 10pm rolled around, Boag took to the stage and said a few words about St. Francis Table and ran through the line-up for the evening. Then I joined him and strapped on Tim's acoustic for "Growin' Up". I eschewed the picking pattern that Bruce does, and some of the finer points of his guitar playing on the song, in favour of a simpler approach that relied more on vigorous, rhythmic strumming. Keep it simple. It seemed to go pretty well. Good song to start the night with. And it was good for me to get up there early and get my feet wet, so to speak. Let loose some of those butterflies. For the next hour or so I just sat back and enjoyed the show. And it was a very good show, with all-round enjoyable performances; some absolutely stellar.

Dan Kershaw - I Wish I†Were Blind, Bobby Jean
(Our friend) Heather Morgan & The Company Of Men - Dancing In The Dark
Michelle Rumball - Across The Border
John Borra & Colleen Hodgson - 10th Ave Freezout,†Because The Night, Dead Man Walking (Colleen vocals)
Tim Armour - Nebraska
Cindy Archer & Co. - Dry Lightning
Pete Elkas and band - Darkness On The Edge Of Town, Streets Of Fire/Hungry Heart
Paul Emery & The Dickens - Prove It All Night
Jonah Ward & Tina Martinez - State Trooper

Not to mention the one and only Ron Sexsmith, who graced us with three or four songs, including "I Wanna Marry You" and "Factory".

As for our time on stage--under the name Boag And His Band And Street Choir--it went really well, helped in no small part by Don Kerr sitting in with us on drums, and Kenny Yoshioka ("The Japanese Torpedo") from Jay Clark & The Jones joining in on harmonica. It was very cool to play with Don, as I'd admired his playing for quite some time, with Ron Sexsmith and with The Rheostatics. Boag really let go on "The Fever", throwing himself into it, body and soul, and everyone seemed to be diggin' it, so he came over to me during my solo and yelled to stretch it out longer and keep it going. Felt pretty good. And "Red Headed Woman" went pretty well too. We had rehearsed it as sort of a rockabilly version, using Elvis' "That's Alright Mama" as a template, which is not that far removed from Bruce's solo acoustic version (it appears on the MTV XXPlugged album). But with the drums and harp and the energy on the stage, it seemed to emerge more like something from Dylan's Highway 61 Revisited (think Tombstone Blues). Perhaps not surprising since I had envisioned my role as more of a Mike Bloomfield/Robbie Robertson part. I'm afraid the fancy James Burton stuff just ain't my forte. I didn't seem to be hitting the notes as solidly as I wanted to during my solos, but people told me afterwards that it sounded all right. I guess there's something to be said for the transfer of energy over the accuracy of picking.

So it was a very satisfying night. And we raised about $300 for St. Francis Table.

Here's a pic from my friend Larry's photo-phone. Poor quality, I'm afraid.

L-R: Boag, a barely visible Don Kerr, unknown mic stand,
me, torso and legs of the Japanese Torpedo


I don't think I'm close to ditching the writing gig for a life making music, as much as that would be sweet as honey, but it's sure good to get out and play. Scary and nerve-wracking, but the more I do it, the more comfortable it gets. Nice when it goes well and you get some positive feedback, too. And, again, to play the Horseshoe is a thrill. I suppose I was standing in the same spot on stage where Keith Richards would have stood. Maybe I absorbed some residual energy?

And it may not be the last time, as there's talk of maybe starting a series to benefit St. Francis Table. Next up: A tribute to The Band.

Count me in!

Thursday, April 08, 2004

Case Of Redemption

The most bothersome thing about the Phoney Neighbour Scammer wasn't so much the money, as it was the disappointment. Disappointment in me, that I could have made such an error in judgement, that my instincts had served me so poorly. And a general disappointment that my faith in human goodness was left bruised and battered.

I don't mean to overstate it. I'm sure if I had spent time in Rwanda 10 years ago, I'd be talking about a whole other level of faith in human goodness being destroyed. But still, I felt disappointed that I had decided to put my trust in this person, and I got burned.

But as much as that kind of let down is a fact of life, and a constant that runs through the human experience, we have to remember that redemption is always just around the corner. Or in this case, waiting to meet me at the corner.

It was a dark and rainy night... Well, it was!... Okay, okay. Last Saturday night, I ventured out into the steady rain to go see Neko Case and The Sadies at Lee's Palace. We were having quite a good little downpour, and I was waiting at the corner for the bus, umbrella sheltering me from the rain. Car pulls up and the driver, a 30-ish guy of vaguely Middle Eastern appearance, motions me over. I thought maybe he was looking for directions. Then I see him toss a pizza warming bag into the back seat. He leans over, opens the passenger door and asks me if I would like a ride to the subway station. I say sure, and hop in. Turns out he's a delivery driver for Pizza Hut, just on his way home, and he thought he'd give me a lift and save me from standing in the rain for maybe 10-15 minutes waiting for the bus.

What a nice guy! So he dropped me off a the Pape subway station, and I thanked him very much.

The karmic wheel must have been turning in my favour that night, because when I got to Lee's Palace, hoping that maybe there might be some tickets at the door for Neko's sold-out show, alas, the doorman said there was none...at the moment. I asked him what he meant, and he said, "Well, sometimes if you stand right over there and wait, somebody might come by with an extra ticket they're looking to sell." No sooner had the words left his mouth than the guy standing behind me, who had overheard our exchange, says he has an extra ticket he's looking to sell. Tickets were $18.50. I gave him $20 and I was in!

It was a fantastic show! They were recording both that night's show and Sunday night's show for a future live album. Video cameras were there too, for a future DVD I assume. The opening act was Jim And Jennie And The Pinetops, and they were very good bluegrassers, joined by Carolyn Mark for an opening set.

But Neko just blew the place away. She started with "Favorite" from the Canadian Amp EP. Oh man, there's a part in that song where the band falls away, and she sings "But I know that I-hiiiiiiiiy'm your favorite/And I say amen". On that "I-hiiiiiiiiiy'm" part, she just sang that so perfectly. 24 Karat twang. The whole show was marvelous. There were moments that were simply spellbinding. Even when they re-did several songs after the main set, the magic was still there.

She did mostly new songs that they were recording specifically for the live album. Kind of like Neko's Time Fades Away.

The Sadies were her backup band, along with John Rauhouse on steel guitar. Carolyn Mark and Kelly Hogan were her backup singers, both dressed in green blazers which they probably found in some menswear store's bargain bin.

But does Neko have the most wonderful voice in the world? I think maybe she does.

And they're doing it again tomorrow night and Saturday at the infamous after-hours bar The Matador. Should be a good 'n' wild one. Then she's back on the 28th at the Horseshoe. Woo!! April is Neko Month here in Toronto!

Sunday, April 04, 2004

Pontificating

Today's headline:
Pope tells flock not to worship materialism

"The Pope, who appeared in good spirits and spoke in a relatively strong voice, directed his homily to young Christians, saying "Certainly the message that the Cross communicates isn't easy to understand in our era, in which material well-being and convenience are proposed and sought after as priority values."

He then retired behind the gold-lined doors of the Vatican where he had a nap on a Louis XIV divan underneath a priceless da Vinci painting.

Sunday, March 28, 2004

Love and Theft

I started out my "playing at the Horseshoe" entry by saying that it had been an interesting week. That was only part of the story.

That weekend, Bob Dylan was playing three gigs here in Toronto: Friday night at the Ricoh Auditorium, Saturday night at the Phoenix night club and Sunday night at Kool Haus night club. I had a ticket for the Phoenix show. But Friday night, blues guitarist Paul James added a late-announced gig at Cadillacs, out in Parkdale. Significance? The last couple of times Dylan played here, Paul James joined him on a few songs at Dylan's show, and Bob returned the favour, showing up unannounced and jamming with James at his club gig.

You didn't need to be a super-sleuth to surmise that Bob might show up at James' gig at Caddilacs, which is a short limo ride away from Bob's concert that night. Adding fuel to the fire was the fact that James was guesting with a band called The Catfish Blues Band, which neither myself nor any of my friends had heard of before. And Bob-philes know that Dylan has an obscure bluesy song called "Catfish" on his Bootleg Series: Vol.1-3 boxed set.

So, Friday night, after a delicious meal at Mitzi's Sister, I scooted over to Caddy's. Sign on the door said $8 cover, $6 with ticket stub from the Dylan show. Hmmm, interesting. Were they hinting, were they milking the rumours, or was the owner a big Dylan fan? First thing I heard when I entered the room was a Dylan song being played over the sound system. Hmmmmx2. I managed to find a spot at the bar near the stage. Good thing I got there when I did, because the place started filling up fast. Apparently a lot of other people had the same idea.

So, the Catfish Blues band plays a short set, and then Paul James gets up and plays a set on his own, mostly with acoustic guitar and harmonica. He plays a whole series of Dylan songs. And I'm thinking that's probably not such a good sign. Either way, I found it kind of tacky. James is a hell of a guitar player, but a bit too much of an "entertainer" for my liking. He has schtick. Plays the guitar with his teeth, behind his back, etc. Mugs for the crowd. Just a bit too much for my taste.

But between him and the Catfish band (who were quite good) and the palpable sense of anticipation in the sardined crowd, the place was rockin'! It was quite exciting, in fact. People were really having a good time (including my friend Boag's pal John/Jack, who got turfed by the doorman). But alas, closing time came, and no Bob.

So Saturday night I met up with Boag and John/Jack before the Phoenix show for a few beers at the wonderfully dive-y '70s-era Imperial Tavern on Dundas Street East, a drunk's stumble from the Eaton's Centre. We compared notes about the previous evening's proceedings at Caddy's. They had been at the Dylan show, so had begun The Celebration much earlier than me, so I was able to clear up some of their foggy memories. We cabbed it over to the Phoenix (treated to some killer church gospel on a tape the cabbie was playing) and found a spot near the back of the room, just behind the soundboard, and within easy striking distance of one of the smaller and not-too-crowded bars.

Dylan and his band came on a few minutes after we arrived, and started into their set (archived here for those of you who care to follow such things). Very nice version of "To Be Alone With You", and I was very happy to hear "I'll Be Your Baby Tonight". It was also cool to see him do "If You See Her, Say Hello". Bob stayed on piano all night, playing a keyboard that was set up stage left, dressed in his Cowboy Bob suit. Great band, as usual. He only used one drummer for this gig, I guess because the stage wouldn't fit the two kits used on this tour. Fine by me, since I think with the possible exception of Yes, or some other prog rock monsters, no band needs two drummers. Not for this kind of music, anyway.

I ventured up to the front a couple of times just to get a better look, but mostly I stayed back by the soundboard and took in the scene and the sounds from there. I can't say it was an amazing concert--I enjoyed his show at the ACC two years ago much more--but it was good, and it was cool to see Dylan in such a small venue.

After the show, I lost Boag and John/Jack, so I headed out to Mitzi's again, where local alt-country lads Jay Clark And The Jones were playing. A very good evening there. Jay and the boys sounded great, and Jay passed me a copy of their new CD, which is a very fine piece of work. Lots of good songs and a fuller, warmer production than their debut. Kudos to the boys.

Okay, I'm tired typing and I need to get ready for bed. But there's more to say about the events of last week. I'll continue with the "theft" portion of this topic at a later date.

[ooh, a cliffhanger!]

Saturday, March 27, 2004

Careful With That Axiom, Eugene

Just this morning, while making my breakfast, I came up with a new axiom. Or maybe it's a maxim. Or an adage. Yes, I think it's more proper to call it an adage. I'm not changing the title of this entry though. Shame to waste a good pun. Anyway... it is this:
The finest bread will not always make the best toast.
Please discuss in terms of appropriate usage or possible ways of fine-tuning the verbiage. And please feel free to start dropping it into your conversations. Remember to adopt the proper sagely tone, like this: "Ah yes, but remember [here you can raise an index finger for effect]: The finest bread will not always make the best toast." Yes, that should do it.

Let's see if this baby finds its way into the popular consciousness. It's like dropping an 'adage in a bottle' into the ocean of language. heh heh. Let's see where it ends up.

Friday, March 26, 2004

Whoa, Nellie!

I saw Nellie McKay (web pages here and here) last night at the El Mocambo. Wow! I love this girl! What an amazing, unique talent. She's been getting rave reviews for her album Get Away From Me, and you can believe the hype.

It's like the ghosts of George and Ira Gershwin inhabited the body of a 19-year-old misfit chick from New York City who was raised by a bohemian mom. Or maybe it's Cole Porter meets Phoebe Buffet? Nah, that's not fair, because she's not a comedy act, although she is very funny, but also incredibly witty, incisive, poignant and lots of other wonderful things. Wait, I know who she is! She's the love child that Elvis Costello and Diana Krall haven't had yet!

Check out some MP3s for David and Inner Peace and videos here.

Her electronic press kit is here

Go Nellie!

Monday, March 22, 2004

It's Not Easy Being Green

Been an interesting week. On Monday, my friend Stephen "Boag" O'Grady--a fine, soulful singer with a fine Irish name--emailed to ask me if I was interested in backing him up on guitar when he takes to the stage of the Lengendary Horseshoe Tavern to perform a few songs at the annual Martian Awareness Ball. The "Ball" is held every St. Patrick's Day, hosted by the one and only Mary Margaret O'Hara. For the past couple of Balls, Boag has hopped onstage to sing a few songs.

He told me he wanted to do Van Morrison's "Tupelo Honey" and also Van's arrangement of "Tura-Lura-Lural (That's An Irish Lullaby)" from The Last Waltz. Short notice, but I went to work learning the songs. "Tupelo" is pretty straightforward, so I worked out some lead guitar riffs I could throw in, and the link on The Band's site gave me the chords to that arrangement of "Tura-Lura-Lural".

We met at the íShoe at about 9pm and found the little rehearsal room in the basement was unused, so we huddled to go through the tunes, joined by Boag's friend Tim, who had played guitar with Boag last year. We decided he'd play on our songs and we'd play on his selection, "She's A Mystery To Me" which Bono and The Edge had written for Roy Orbison.

We ran through the songs a couple of times and worked out what we were going to do. However, the more I play in public (and this is perhaps only the sixth or seventh time I've played on stage at a real music venue) the more I realize that I need to rehearse a lot so I can really internalize the songs, so I don't have to think about what I'm playing. Just play it, feel it, remain more open and aware of what's happening on the stage and with the other musicians. So I was quite nervous, because even though I knew how the songs went, I didn't really have them down as much as I would have liked. While waiting around for things to get started, I was running through the chords in my head, and thinking about the general approach I was planning for the riffs and solos. Plus it was rather intimidating to be playing the stage at the Horseshoe, a venerable live music venue, and perhaps the most famous stage for rock and roots music in Toronto, as well as being my favourite live music venue in the city. At the same time, I was also quite excited to be playing on the same stage that has seen The Rolling Stones, The Tragically Hip, The Police and countless others. So all of that is going through my head as we're watching the strange spectacle of The Kings (you know, of "Switching To Glide" fame?) run through their pre-Ball opening set of five or six songs. (Still not sure what to make of that, but they were a little too heavy with the "let's-get-the-crowd-going" schtick. Had the feeling of has-beens trying to rekindle their career. Of course, coming from a "never was" like me, maybe that's a bit harsh. They at least had one pretty good hit song. That's one more than I have.)

Now, the thing about the Martian Awareness Ball is that it tends to be a little chaotic. It is St. Patrick's Day afterall. And it is a fairly zany event. But on top of that, there is very little in the way of stage management. I met and chatted with Mary Margaret beforehand, and she seems very sweet, but she tends to just let things run of their own accord. So even after she called us to come to the stage, it was about another 40 minutes until we finally got up there. And we had no sound check, and very little direction about what to do, so as the guitarist for the house band was leaving the stage, I had to ask him where I could plug in my guitar and my pedal board. I had never dealt with a stage with monitors and all that, so I just plugged in and hoped everything sounded okay. It sounded fine on the stage. The house band played with us--drummer, bass player and keyboard player, all very good players, so I told them what songs we were going to do and what keys they were in, and off we went! We also had a very good sax player named Richard Underhill play with us. He had performed just before us, so Boag asked him to stay on and honk along. "Tupelo Honey" went all right, I think. As I said, I had to really concentrate on my playing, and I was fairly nervous, so I had "stage blinders" on; not really very aware of what was going on around me. Mary Margaret joined in with us, I do know that.

Next we backed Tim on his song, "She's A Mystery To Me", which went all right, as far as I could tell, except I think I forgot what the proper chords were for the bridge, so I had to just sort of fake my way through that part, chopping at damped strings. Then we did "Tura-Lura-Lural"... and that's where everything went off the rails.

I wasn't really very aware of what was transpiring, but talking to Boag and others afterwards, it seems that at some point, this guy who was sort of emceeing the night joined in at the other microphone, I think maybe rapping or doing some sort of spoken word ad libs. Apparently that wasn't too bad, but then some other guy got up onstage and started yapping about something and just causing a lot of chaos, throwing everybody off. The song came crashing to a halt in confusion and bewilderment. Boag had to tell the guy to knock it off, and I think it was at that point that I had to actually re-start the song. We went through another go-round and then we brought it all home with the big ending, where I decided to just give 'er and started chopping out the closing chords with, as they say, extreme prejudice. Actually busted my D string in the process, which being the 4th from the bottom and not one of the smaller strings, takes a bit of doing. Rock íní†roll, baby!

Overall, I can't say I felt very good about my performance, and the chaotic closing number left a bad taste in my mouth, so I just wanted to get the hell out of there. Plus by that point it was going on 12:30 and I had work the next day. So I just packed up my stuff as quickly as I could and scampered off. As I was gathering up my gear, Mary Margaret gave me a pat on the back and said "good job", or something. That was nice of her. Perhaps she was just being kind, I dunno. However, it probably wasn't as bad as I thought, and it was certainly a thrill to play the Horseshoe.

Maybe next year we'll work out something that'll really bring down the house--in a good way. And if I get enough rehearsal in, I'll be able to keep my wits about me, and be ready to swing my guitar at the head of any goof who tries to hijack our gig.

Wednesday, March 10, 2004

Deep Thought For Today

'Scared' is simply a typo of 'sacred'.

Sunday, March 07, 2004

Dodging A Bullet

The big news here last week was the three shootings in Scarborough in the space of a few hours Wednesday night. It was all the talk at the office too, because one of the shootings happened right outside our doors. (That's our building in the background of the picture in the linked article.)

When I stepped off the bus Thursday morning, there was a CITY-TV cameraman filming the intersection. As I hadn't heard any news that morning, I didn't know why he was there. But that's where the drive-by shooting occurred, where a man was shot dead. In my morning pre-coffee stupor I probably walked right by the blood stains without noticing.

The shooting had happened right at the intersection at about 5:20pm Wednesday evening. That's roughly the time I would normally be waiting for the bus at that corner, or, indeed, crossing the crosswalk to get to the bus stop. Not to make it overly dramatic, because there were other people standing at the bus stop--a couple of people from the office, in fact--and they weren't directly in danger's way, but under normal circumstances I would have been in the vicinity of the shooting, and...well, who knows what would have happened. Bullets can ricochet. Instead, I ended up getting a drive downtown at 4:30 with a colleague to pick up the Canadian Music Week pass and "swag" bag.

And they say music can't save your life!

Saturday, February 21, 2004

Monday, February 16, 2004

Traffic Was Crazy!

Some interesting results from my Sitemeter weekly report:

4 weeks ago:
Average per Day .................. 5
Average Visit Length .......... 0:06
This Week ....................... 38

3 weeks ago:
Average per Day .................. 6
Average Visit Length .......... 0:09
This Week ....................... 41

2 week ago:
Average per Day .................. 7
Average Visit Length .......... 2:13
This Week ....................... 47

Last week:
Average per Day ................ 116
Average Visit Length .......... 0:24
This Week ...................... 812

[screeeeech]

812!
Eight-hundred and frickin' twelve!

So much for my small but dedicated cult following.

Hmmm. An average of 116 visits per day. Average visit length of only 24 seconds. I'm wondering if it was the Jessica Simpson thing?

Checking the more detailed stats, it looks like a lot of people found their way here entering search terms for spongemonkeys, but traffic also peaked on Wednesday, when I posted about that "Jessica" song. [shrug]

Friday, February 13, 2004

Classified Ad Of The Week

This ad for THE WORLD'S UGLIEST COUCH definitely puts the 'class' in classifieds.

Courtesy of Craigslist.

Wednesday, February 11, 2004

Song Of The Week

This week's Song Of The Week goes to...

Adam Green for "Jessica".
(Quicktime required to view video)

This clip also wins the award for Best Use Of Ping-Pong In A Music Video.

Saturday, February 07, 2004

Spongemonkey Sandwich

Our pal Vern brings this rather interesting development to our attention. Seems the people at the Quiznos sandwich chain have recruited our much beloved spongemonkeys for a web promotion.

We're not sure how to feel about this. It's often disturbing to see a favoured expression of wacked creativity from the margins get appropriated by large-scale commercial interests. On the other hand, begrudging kudos must go to Quiznos' marketing/ad people for daring to use the spongemonkeys, and for generally having the, uh, "quiznos", for such a strategy. There aren't many marketing strategies out there that are willing to recognize the role of web culture in the popular consciousness.

Either way, we here at jimbuck2 heartily applaud any punnerific use of the word 'buck', especially as used in the 'buck off' header on the promotion's web page.

It's also worth a trip over to rathergood.com to check out some of the new installments. We especially liked "When Biscuits Go Wrong" and The Zoology Dragon.

"COW! CUBE! COWUUUBE!"

Tuesday, January 27, 2004

Steely Definitions

I've been re-listening to Steely Dan lately. Quite an amazing band, of course. Lots of musical currents flowing in there. Jazz, pop, R&B, rock, funk. Great songwriters. "Peg", "Reeling In The Years", "Do It Again", "Dirty Work" (which I hadn't even realized was their song--sung by the guy who left after their first album), "Babylon Sisters", "Hey Nineteen", "FM". Albums populated with fine musicians. Only in the '70s would such a band as Steely Dan find success on mainstream radio. One more reason why I prefer the '7Os to this retched '80s nostalgia kick we're now suffering through. Ugh.

Kind of makes me wonder what kind of musical beast would have resulted had the Steely Dan bus collided with The Band's bus on some supernatural bayou highway in 1974, and when they emerged from the mystic bog, the two groups had been transmorgrified into one entity distilling the essence of each. A melting pot of Becker and Danko and Helm, with an easily imagined amalgam of Fagen/Manuel singing at the piano. And into that broth, throw in Garth Hudson! Oy!

What a cauldron of music! Imagine! The mind reels [in the years, Jim?]!

So Anyway.

I think partly I was inspired to re-dig the Dan by listening to Wilco's cover version of "Any Major Dude Will Tell You". A fine song and a fine cover version (perhaps a pale hint of what the abovementioned transmorgrified beast from the mystical bog might possibly sound like?). But this line in that song always intrigued me:
Have you ever seen a squonk's tears?
Well look at mine
Which obviously led me to ask "What the hell is a squonk?"

And, of course, to answer such questions, there's only one place to turn:
The Steely Dan Dictionary!

According to the good Dan book, a squonk is: A mythical woodland creature, originating in Pennsylvania. Squonks spend much of their time crying due to their ugliness, and when captured, will dissolve into a puddle of tears. Also the subject of a song on the 1976 Genesis album A Trick of The Tail.

Although I rather prefer the definition I found through a google search (dig the Latin name):

squonk n :
Lacrimacorpus dissolvens. A warty, loose-skinned, butt-ugly (and hence wretchedly shy) creature of the northern Pennsylvania hemlock forests, that when sought plays possum by dissolving in a surfeit of melancholy.

So, mystery solved.

For more on the Squonk, look here.

Monday, January 26, 2004

Spuff

The story of the huge marijuana "factory" found north of here a few weeks ago has spawned this little jewel from spoof-meister Rick Mercer, riffing off an old rah-rah jingle for Ontario from many moons ago.

Not much growing out there tonight in this weather, except snow drifts and winter weariness.

And while I'm drawing on the CBC's info well, I'll give a shout-out to their quite cool web site for CBC Radio 3.

Sunday, January 25, 2004

Tuesday, January 20, 2004

Hep C-ats Sing For The Big E

This looks like it might be an interesting tribute album. Certainly for a good cause.

And file this under "I Didn't Know That": Sheila E is Alejandro's niece?

Saturday, January 03, 2004

Top 10 Or So CDs of 2003

Okay, here's the damn list. As usual, there were many acclaimed CDs this year that I just didn't get around to hearing. Here, in no particular order, are the ones I did hear.

Two-Minute Miracles - Vol III: "The Silence Of Animals"
My Morning Jacket - It Still Moves
Jim Bryson - The North Side Benches
The Weakerthans - Reconstruction Site
Paul Westerberg - Come Feel Me Tremble
Fountains Of Wayne - Welcome Interstate Managers
The Jayhawks - Rainy Day Music
Daniel Lanois - Shine
Lucinda Williams - World Without Tears
Stars - Heart
Buck 65 - Talkin' Honky Blues

Reissues:
Neil Young - American Stars 'n' Bars; On The Beach
The Beatles - Let It Be... Naked

Monday, December 29, 2003

Making Tracks

I don't like to waste money. So since I didn't spend any money on air fare this holiday season, I decided I'd better put the money I saved to good use. That makes sense, doesn't it?

So I went out this past weekend and picked me up a cool new toy.

Been looking to get something like this for a little while now, and I figured now is the time. I'm just starting to work my way through the manual, and it's pretty damn cool. Seems very user-friendly. It's really geared towards guitar players; just plug straight in and play. It's got tons of pre-set amp modeling patches and other cool effects. And of course, you can create your own sound, from choosing the virtual amp (Fender Twin? Matchless? Marshall Stack?) to setting the distance the virtual microphone is from the virtual amp's speaker. Amazing.

There are several bass simulation patches, so you can lay down bass tracks using an electric 6-string. There's also an input for a microphone and a line-in for other devices such as keyboards. And the drum machine sounds quite good, fairly realistic.

I did quite a bit of research on the web before deciding on this particular model. It got very good reviews, and there's even a Yahoo Group dedicated to it (nobody there seemed to be having any major problems with it, and most seemed to like it a lot). It uses a CompactFlash media card, comes with a 128MB card but accepts cards up to 1GB. I like the fact that it has a USB port, so I can dump my finished tracks on my computer, convert them to MP3s and burn them to CD (why pay twice as much for a model with the same features that also has a hard drive and a CD burner on board, when I already have those things on my iMac?). The USB connection also allows you to import sounds for making loops and to import extra rhythm sounds to customize drum sounds, such as a different snare sound, for instance. It really seems to give the most bang for the buck.

Guess what I'll be doing while I'm off work for the next week?

Sunday, December 28, 2003

God R Us

Hello and happy holidays! It's been way too long between blog posts. Sorry for the delay. Just been busy with all the seasonal stuff. I hope you're all enjoying this most wonderful time of the year.*

I usually go home for the holidays, but this year I didn't have enough vacation days coming to me to warrant a trip out east, so I stayed around Toronto. Had a nice time getting together with friends and making music. Also took in the Kensington Market Festival of Lights procession, which has become something of a holiday tradition for me. This was my third.

It's a procession that takes place on the solstice to celebrate the return of light to the Earth (i.e., the days get longer after the solstice). People join in the procession--some carrying home-made lamps, candles and other forms of light, some dressed up in elaborate costumes--as it winds its way through the streets of Kensington Market. Along the way we are treated to fire-breathers, costumed characters on stilts, and various kinds of tableaux (some up on the rooftops and balconies), depicting a variety of things, from Asian tales to Aboriginal myths to some that are just plain... interesting. It all ends in a small city park where a huge papier machÈ icon of some sort (last year it was a phoenix; this year it was the sun) is burned in a bonfire, while the various costumed and stilt-wearing characters dance and a rag-tag band of Salvation Army deserters plays joyfully.

Here are some photos from previous years.

Christmas eve, I went to a church service/caroling night at Roy Thompson Hall. This was held by the Metropolitan Community Church Of Toronto, primarily known as a gay-positive church, so there was a nice feeling of inclusiveness in the air. My friend Sue and her family have been going to this Christmas eve service for a few years, and she graciously invited me to join them. The service featured a 50-person choir, a band with a small string section and a few horns, drums, bass, piano, organ. It was quite kick-ass. Lots of singing. Joy To The World, O Come All Ye Faithful, etc.

Now, it's been years since I stopped attending church. Recovering Catholic, don't you know. But I've always considered myself spiritual to some degree, more so in recent years. What do I believe? Well, although it's likely that my spiritual views will keep evolving throughout my life, at present they go something like this: There is no God, in the sense of a bearded man sitting on a throne in the clouds, directing things, handing out punishments and rewards. But "God" as the eternal, the divine? Maybe. Probably. If so, if there is "something out there", some energy or power, I believe it resides not "out there" at all, but in all of us, not as something external to us, which we then assign as the source of good (God) or evil (The Devil). The spiritual buck stops here. It is what we do in the world that causes good or evil.

And maybe not only does it (give "it" the name "God" if you want, or any of the many other names) reside in each of us, but in all living things. Maybe "it", "god" the "universal energy", whatever, is the sum total of all souls that have existed or will exist, or something, is some dimension of collective spiritual existence that we in this dimension can't begin to understand. Maybe. I haven't quite figured out this "unknowable" bit yet. I'm working on it.

It's closer to a neo-Pagan idea, I suppose. (see Festival Of Lights, above.) And I like that. Thinking that there is something beyond (further along, as the song says), that we rejoin after we leave this mortal plane. But not something foreign. A one-ness. Unity. Eternal. Not blessed or damned, divine or evil, just...everything. Peace. Eternal Composure.

The sea refuses no river.

Anyway, I say all that because the sermon at this service, delivered by the church's pastor, Reverend Brent Hawkes, marked the first time that a preacher actually made the Christmas message sound like something real and meaningful to me. He said he wanted to stress a different aspect of the Christmas message; that Jesus in the manger represents God becoming human, yes, but put another way, God in human form. God as us. God in us. And he ended by saying, imagine when the God in me encounters the God in you... imagine what we could accomplish.

Here was a minister from one of the world's major religions--the very ones that I'd largely written off years ago--presenting the concept of the Christmas story to me in a way that fit quite nicely into my current relatively alternative spirtual beliefs.

Another Christmas miracle!

After years of Catholic sermons that seemed lost in their own dogmatism and stale rhetoric, smothered in a fog of incense and ceremony, this was like a breath of fresh air. I never truly felt anything about the Christmas story held any relevance in my own life. I suppose since I never quite accepted the idea that we are all branded as "sinners" from birth, the idea that Jesus was sent to save us...well, as a message, it always struck me about as relevent as the pitch from those people who phone me up to sell me carpet cleaners for my hardwood floors. Yes, I'm sure it's a fine product, but y'see...

But now, here was a way for me to conceive of the Christmas message as a metaphor (as all good religious messages should be taken) that I could finally internalize: God is us.

Not that I have any plans to start attending church services again, but at least in years to come, whenever I see a nativity scene or a silver star atop a tree, I'll see not a stale icon I've long disconnected from, but rather a representation of the light that shines within us and amongst us.

That's a good message.

Peace, out.



* level of wonderfulness experienced may vary.

Thursday, December 18, 2003

Time Is A Jet Plane

Oh, what's this? A free moment to update my blog!

...oops, there it goes...

[sigh]