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Archive for February, 2011


SOUNDTRACK
: THE TRAGICALLY HIP-Trouble at the Henhouse (1996).

After the major high of Day for Night, The Hip followed it up with Trouble in the Henhouse.

It opens with “Giftshop” which sounds like it could have come straight from Day for Night.  “Springtime in Vienna” is a marvel.  The opening is quiet with Downie’s almost whispered voice telling a compelling story until it blasts out with a wonderful chorus.  “Ahead by a Century” opens with a catchy acoustic intro.  Again, the harmony vocals add wonders to the verses.

But overall the album feels like the Hip exhausted their angst and anger on Day for Night and have chosen to go with a more mellow sound here.  It almost seems like Day for Lite.  Songs like the final track, “Put It Off” dabble with intensity, but have more atmospherics than powerful guitar and verses.  It’s like the come down after a big party.

The most peculiar song on the disc is “Butts Wigglin” which was used on the Kids in the Hall Brain Candy soundtrack.  It doesn’t really fit on this disc, but it’s such a great song that I understand them not leaving it off.  It’s very silly and musically groovy with  almost no guitars and all keyboards.  It’s a goof, but nice to see the lighter side of the band.

I find Trouble to be really enjoyable in itself, but it kind of pales in comparison to the previous two.  Nevertheless, these three albums are a wonderful trio of discs released by a great Canadian band.

They celebrated this era of the band with a live album the following year.

[READ: January 26, 2011] “An African Sermon”

Of all the stories in this Summer Reading Issue of The Walrus, this one was the most powerful.  (It wasn’t my favorite because it was rather distrubing) but it had a strong impact on me.

The bulk of the stoiry is set on a train in Africa.  Two white men introduce themselves to each other; the older one confides that he hopes no Blacks come into thier car.  Of course a Black does come into thier car and the younger man, who is a preacher, tries to embarass the racist man but immediately shaking the black man’s hand.

The black man is hostile to the young man’s advances, more or less shutting him out entirely.  Indeed, when the young man follows him to the dining car to talk (he is genuinely sympathetic to people, but he’s also very curious about the man and wants to pry a bit) the black man (whose name is Leonard Sagatwa) listens briefly and then, claiming a headche, returns to the cabin  room and goes to sleep.

During the night, the train stops because of a malfunction and it will be some time before it is fixed.  The priest goes out to the landing to find something to occupy himself when Leonard comes down.  He says to the priest that he wants to tell his story.  He wants to tell it once, to a complete stranger so that he can unburden himself and then be done with it.  The priest is tickled to hear the story.

But the story is one of Rwandan genocide:  Hutu vs Tutsi, brothers who turn  against each other; Leonard’s brother turning on him and his family.  Killing family members slowly, cruelly, calling them cockroaches.  It is harrowing and the priest is taken aback by the brutality.

But at the end of the story, the priest is resilient and insists that Leonard can forgive his brother.  Never, says Leonard.

The priest is able to use this story for his very first sermon in Africa.  He pretties up the story somewhat and makes it moral, and it works.  The new congregation accepts him and he feels welcomed to Africa.

When, several months later, the priest sees Leonard again, everything has been turned upside down.  And I’ll just leave it at that.

It is a great story.  Wonderfully powerful.

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SOUNDTRACK: THE TRAGICALLY HIP-Day for Night (1995).

This is the first Hip album that I bought.  In fact, I first learned about them when I saw a video for “Nautical Disaster” on Much Music when I lived in Boston.  That was my first exposure to The Hip–and to another cool Canadian band, The Tea Party–and I’ve loved Much Music ever since (even if I can’t get it anymore).

For me, Day for Night takes the greatness of Fully Completely and ramps it up a notch further.  In part this is probably because the album is almost 60 minutes long instead of just 40, but I think the intensity that The Hip found on Fully is fully matured all over this disc.

The album opens with a great bass intro on “Grace, Too.”  And with Downie’s intensity in the breakdown it’s an amazing opening to a great disc.  “Yawning or Snarling” has even more intensity, with practically snarled verses and a strangely catchy chorus (and great lyrics).  It’s followed by the blistering rocker “Fire in the Hole” which really captures the anger that seems to be brooding under the surface of this disc.

“Thugs” follows, it’s a catchy, quiet song; I love the chorus: “I do the rolling, you do the detail.”  ANd there’s another great opening , with an unexpected twist for “Inevitability of Death.”  Which is followed by “Scared,” another mellow, minor-chord song which is a great lead in to “An Itch an Hour.”

Normally a disc this long can’t hold the listener’s attention for the whole disc.  But the penultimate song, “Titanic Terrarium,” an atmospheric brooding song with a quirky verse melody draws you in to its claustrophobic subject of life in a biosphere.

The Hip had a minor buzz in America with this album and even played Saturday Night Live, where they shaved a minute off of Nautical Disaster, but keep all five minutes of “Grace Too.” Watch it here:

This is a great album, perennially one of my favorites.  It’s only a shame that it never broke through to U.S. audiences, leaving The Hip as one of Canada’s biggest cult bands (in the U.S.).

[READ: January 26, 2010] “Questions Surrounding My Disappearance”

This was the third flash fiction in this 2004 Summer Reading issue of The Walrus.  And of the four, this was my favorite.  It was weird and kind of silly but underneath it had some real angst.

The story opens with a kind of generic dismissal of the Canadian Film and Television Industry (“who should give a shit who wrote or lit or recorded the sound for a television show or a movie….”).  But nevertheless, he’s not too dismissive of it (“There have been…awards”).

As with the other flash fictions in the issue, the set-up is quite long, but unlike the other stories this sort of casual tone continues throughout the story.  And we learn a bit more and more about the narrator and about his opinions of the CBC.

The title obviously comes into play, as we soon learn that when he was, in fact, missing, very few people seemed to be up in arms about it (including his family).  Perhaps the most surprising aspect being that during the time he was reported missing he was interviewed on the radio (true, it was a program dedicated to the arts, but still). (more…)

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SOUNDTRACK: THE TRAGICALLY HIP-Fully Completely (1993).

Even thought Road Apples was good, Fully Completely is amazing.  The band has traded in some rawness for textural complexity and yet they haven’t lost the rocking groove of their earlier sound.

This album has some of my favorite Hip songs: “Courage” (the Sarah Polley cover in The Sweet Hereafter is also beautiful in a very different way). “At the Hundredth Meridian” (a title which should tell you that the lyrics of the song aren’t going to be typical rock fodder), and “Fifty Mission Cap.”   “Fifty Mission Cap” is about the fascinating story of Toronto Maple Leaf Bill Barilko, another atypical lyrical concept and an amazing song from start to finish (although, honestly the opening chords make it sound like it’s going to be a lame 80′ metal anthem…maturation as a band made this song brilliant instead).

The duel guitar opening of “Pigeon Camera” is also gorgeous, as are the wonderful vocal harmonies on the bridge.  And the rawness isn’t all gone either.  “Locked in the Trunk of a Car” rocks as hard as anything on Road Apples.  There’s also a mellow folk song in “Wheat Kings.”  It slows the disc down a bit after the intensity of the amazing “Fully Completely,” and “Fifty Mission Cap,” but the last two songs are a string ending to an already great disc.

Even though I think that Fully is an amazing record, I think that mostly it’s preparation for the even more amazing Day for Night which came out two years later.

[READ: January 26, 2011] “Platanus”

Anyone playing along might have noticed that February is Canada month here.  All of the authors this month have been from the Great White North.  This story breaks with that, but I feel that it still counts because it came in a Canadian magazine.  But Banana Yoshimoto is Japanese (no, really!).  With a name like “Banana” (which is a pseudonym), it’s hard to forget this author.  I even bought Kitchen (her first translated book) when it came out (although I haven’t read it yet).

This story is translated from the Japanese by Michael Emmerich.  It is set in Mexico, specifically in the village of Mendoza.  The narrator (aged 35) and her husband (aged 60) enjoy escaping Tokyo and spending time in this sleepy village.

The story provides some interesting familial background of the two characters (both of their families disapprove of the marriage) and the kinds of things that they get up to in Mendoza.  And really that’s all there is to the story. (more…)

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SOUNDTRACK: THE TRAGICALLY HIP-Road Apples (1991).

A cleverly designed cover signals an amazing album inside. After the vast improvements of Up to Here, Road Apples rocks and is the first of the Hip’s most great and cohesive records from this period.

The one-two punch of the opening rockers “Little Bones” and “Twist My Arm” is sublime.  And Downie has really found his voice at this point.  Those initial two songs show the kind of complexities the band will add on future discs.

The rest of the disc is really successful raw, bluesy rock.  The guitar solos are longer and more substantial (songs like “Bring It All Back” showcases Rob Baker soloing skills).  And the bulk of the rest are songs that could be staples of any classic rock station.

But they mix up the styles a bit as well.  “Cordelia” is a brooding, intense song, that builds from a quiet intro into a rocking chorus, the kind of song which later albums will showcase.  “Long Time Running” is a grooving ballad.   And “Fiddlers Green” is a pretty acoustic number.  The final track, “The Last of the Unplucked Gems” is another mellow acoustic track, but it foreshadows some of the great songs the band would write in the future.

Road Apples is a hugely successful disc, although for my tastes it’s on the next two albums that The Hip really hit their excellence.

[READ: January 26, 2011] “Not Enough Horses”

This second flash fiction of The Walrus’ 2004 Summer Reading Issue has a similar “problem” as the first one. It actually feels too long to be flash fiction.  True it is only one page and, since it is mostly conversation, it is very brief.  But the story is actually rather detailed, something which I feel doesn’t quite belong in flash fiction.

Indeed, it is a simple enough story:  a young man would like to marry a Native woman.  He goes to the woman’s father and begins offering him gifts for his blessing.  The father says that in the past the gift would have been horses, although the boy’s first gift is kittens. (more…)

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SOUNDTRACK: THE TRAGICALLY HIP-Up To Here (1989).

Up to Here is a pretty big leap from their first EP.  There’s more guitar soloing (not grandiose solos, just little guitar noodling in the songs “Blow at High Dough,” which was used wonderfully for the show Made in Canada (also known as The Industry).

Downie’s voice is more in keeping with what we’d come to know later, and lyrically the songs are esoteric and interesting.

“Blow at High Dough” opens the disc with a very cool guitar intro (“They shot a movie once, in my hometown”) “I Believe in You (Or I’ll Be Leaving You Tonight)” a not terribly good song has some proto-Downieisms: spoken passages, stories in a breakdown of the song, but the subject matter is not that exciting.  Of course, it’s hard to sound good when you’re followed by “New Orleans is Sinking” another fantastic song that still sounds great today (especially in their live versions).

“38 Years Old” is a surprisingly moving song with some slides guitars…a nod to their country/folk roots that they tend to bury under raw rock guitars.

But even some of the less memorable, less exciting songs have great aspects to them.  Songs like “She Didn’t Know” are pretty standard rock songs.  Better than average, but not exceptional.  But the band puts little things into them that bring them up from the mundane: the guitar licks, the backing vocals (slightly R.E.M.-ish).

Even “Boots to Hears” which sounds a bit too much like John Mellencamp in the intro really wins you over by the end (the lyrics are great).  For what really is a debut album, it’s solid and shows great songwriting skills and promise.

They still haven’t quite gotten the hang of cover art yet, though.

[READ: January 26, 2011] “You Go First”

This was the first of four flash fictions in this issue.  Flash fiction doesn’t really have a definition per se (except that it is very short).  There are some masters of flash fiction who can write very compelling stories with astonishing brevity.  These stories are all short (one magazine page a piece), but they feel kind of bloated compared to the writers like Lydia Davis.

Gibb’s story actually feels a lot longer than it is.  It opens with us meeting the narrator’s next door neighbors, Carl the cremator, his obese wife Brenda and their son Jason.  The narrator doesn’t really like Jason, but he’s the only person who will hang out her because he wasn’t around for her birthday party last year.  At that party, her hippie parents encouraged everyone to play a game called Getting to Know Our Bodies. (more…)

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SOUNDTRACK: THE TRAGICALLY HIP-The Tragically Hip (1987).

It’s not really fair to review a successful, long-lived band’s first album over 30 years after the fact.  I mean, Rush’s first album doesn’t show any of the prog tendencies they’d be known for (not to mention a different  drummer/lyricist).  In fact, virtually no bands come out fully formed, which is good for all fans.

Having said that, from this album, you’d have very little indication that the Hip would become as dynamic as they eventually did.

This is a 7 song EP full of rocking tracks with overlays of acoustic guitars.  Unlike later discs, there’s only a minor indication that they’re from Canada (“Last American Exit”) or overly literate.  Mostly they seem like a rocking bar band.  The songs are good, somewhat generic, but solid.  In fact, “Small Town Bringdown” is still played in concert from time to time.

The biggest surprise is Gord Downie’s voice.  By now his voice is pretty distinctive, but on this first disc it seems like he’s still trying to figure out what he’s doing.  On “Killing Time” he’s unrecognizable from the frontman of today.  He seems to be working in a much gruffer range than he would later use.  Lyrically, the songs are also tougher than they would eventually become.

The most memorable song is probably the most embarrassing: “I’m a Werewolf, Baby” is as silly as it sounds, but the riff is really great and it has staying power.  Shame about the lyrics.  This disc is probably not worth getting since “Small Town” is available on their Greatest Hits.  Although if you really want to hear “Werewolf” it’s only available here.

[READ: January 26, 2011] “Live Large”

Just as I settle into the idea of reading 25 back issues of The Walrus for all of the fiction contained therein, I get to this 2004 Summer Reading Issue which features seven stories!  Three of them are short stories and the other four are flash fiction.

This first story was my favorite of the bunch.  It is a fairly simple story about a down-and-out man who longs for one day of joy.  Billy Constable has slowly seen his money evaporate.  He has had to sell off a lot of his luxuries, including the membership  to the Fairview Golf Club.  He has also had a recent medical scare (a minor heart attack) which has made him go straight and clean: no booze or smokes.

Except that things have gotten really bad lately, and who can resist the slide back into temptation.  When he gets a call to play a round of golf, from the very man he sold his golf membership to, he is about to tell him where to go, until he realizes that the man is calling him because he genuinely wants him to play in their foursome.  He decides why the hell not. (more…)

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SOUNDTRACK: DAVID FRANCEY AND MIKE FORD-Seaway (2009).

Mike Ford introduced me to Louis Riel on his album Canada Needs You, Volume One.  The song “Louis & Gabriel” features the lyrics “Oh, Louis Reil, here comes your friend Gabriel” outrageously simplistic (it is for kids after all) but so incredibly catchy it’s in my head whenever I see this book.  This is Ford’s most recent album, a collection of songs by himself and David Francey–who I didn’t know before this disc.

Seaway is a collection of 16 songs which are in one way or another about the sea.  Two of the songs appear on Ford’s release Satellite Hotstove, but the rest are new.  I don’t know if Francey’s songs are new or not.  I’m also unclear from the credits if Ford and Francey worked on these songs together (the notes suggest they did) or if they were recorded separately and then compiled.

The songs are primarily folk–simple acoustic numbers, often solo guitar, but sometimes with accompaniment.  Mike Ford has a great, strong voice, and is capable of some interesting stylistic changes.  His songs are more vibrant on this disc.  Francey has a wonderful, almost whispered voice.  He has a gentle Scottish accent which is great for his storytelling songs.  Mostly he speak-sings, but on some tracks, like “The Unloading” he sings a full-bodied chorus.

But it’s Ford’s song that bring a lot of variety to the disc.  “There’s No Rush” has a sort of calypso feel to it and “When You’re the Skip” has a wonderfully dramatic sea-shanty/musical feel to it.   And “21st Century Great Lake Navigators” is a rap–Ford frequently raps a song on his various albums.  His voice is very well suited to it, and his rhymes are clever and often funny.

This is a charming disc.  I wouldn’t say it’s essential, but it’s a good introduction to both singers, and, of course .

[READ: January 26, 2010] Louis Riel & Gabriel Dumont

Of the six Extraordinary Canadians books, I was least excited to read this one.  I’m not sure why, but I wound up leaving it for last.  But lo and behold it was easily the most engaging and, dare I say, exciting story of the six.  I’m sure part of that is because I didn’t know the outcome (even if Gabriel was somewhat famous in the U.S., I still didn’t know what had happened to him or to Louis).  And by the end of the book, I absolutely couldn’t put it down.

Joseph Boyden is a Métis writer (who I’ve never read before).  It’s obvious from the get-go that he is sympathetic to Riel and Dumont (which is to be expected in a biography, I would think).  He gets a tad heavy-handed about John A. Macdonald, but it seems justified.  For really you can pretty much take only one of two points of view about Riel and Dumont: they are either rebel heroes, standing up for the oppressed Métis, or they are traitors, intent upon destroying Canada’s expansion.

Now, I admit that I don’t know much about Canada’s expansion.  The first prime minister, John A. Macdonald, was instrumental in Canadian Confederation and was the driving proponent for the completion of the Canadian Pacific Railway.   But as with American westward expansion, Native cultures are in the way of this expansion. (more…)

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SOUNDTRACK: JIAN-The First 6 Songs (2001).

Being American and apolitical in my youth, I had no idea who Pierre Trudeau was until about 2001.  And my first real introduction was through this album by Jian Ghomeshi.  Jian was one of the four guys in Moxy Früvous (and man has his career skyrocketed since then…watch his great interview show Q online–in particular, check out the crazily uncomfortable interview with Billy Bob Thornton or the wonderful hour long interview with Rush).

Moxy Früvous had just broken up and Jian, who was one of my faves in the band, put out the optimistically title The first 6 songs (no other songs have arrived yet).

Jian is a mostly folk rock album which features Jian’s gentle voice.  And gentleness is one of Jian’s trademarks, it would seem.  But more than gentleness, his songs are about accountability and justice.  And yet lyrically, he’s not naive or obvious.  “Quebec City” is about the Summit of the Americas in Quebec City in 2001 (“the whole world is watching”).

I’ve always felt connected to the last track, “Lousy Boy”:

“And a man Is a man If he’s got a gun in his hand
Well I never wanted to destroy I always made a lousy boy….  And I know guys who are just like me
They like hockey and poetry
I think in retrospect that we have won
I’m a full-grown man and I don’t own a gun.”

Früvous has similarly thoughtful lyrics but in addition to the lyrics, the music is always interesting.   So the unexpected chord changes in the bridge to “Astronaut” turn the song from a simple folk song into a moving rocker.  And “Baby Don’t Lie” is a 5 minute track that builds on a folk base and is a catchy sing along.

of course, this all leads to the song “Father (For Pierre Trudeau)” the song that first taught me a little bit about the Prime Minister.  The song covers a few moments of his media-saturated leadership.  But mostly it’s a reflection about Trudeau on the day of his death.  The personal touch of course is that Ghomeshi’s father wanted to meet him (as did Jian) but now they w0uld never get to.  It’s a very touching song, and I have a hard time imagining someone writing a similar song about a President.

It was this song that got me to investigate the life and leadership of Trudeau.  (I even wrote an email to Jian, to which he quickly responded…I only wish I still had that email account active).

[READ: January 12, 2011] Pierre Elliot Trudeau

This is one of the more exciting biographies that I’ve read.  Which is pretty great.  Although one of the reasons it is so exciting is because he presumes that the reader knows a lot about Trudeau already.  And to be fair, I assume most Canadians would know the global picture (and most of the details) about him already.  So, basically, you get a summary picture of Trudeau, but instead of a quick outline that glosses over details, we get a lot of details, but no gloss.

What I’m getting at is that there are a number of places where Ricci talks about events and movements as if we know them.  So this makes for incredible fluency even if the novice is left puzzling exactly what all the fuss was about.  In fairness, contextually it’s easy to figure out, it’s just a bit surprising.

Another fascinating thing: Ricci skips over Trudeau’s childhood pretty much completely.  The book opens with Ricci’s memory of seeing Trudeau in 1967 when he (Ricci) was a young boy and seeing the way his teachers an adults seemed mesmerized by him.

Nostalgia aside, Ricci quickly explains what a polarizing figure Trudeau has been.  Warmly loved by many and yet (according to Macleans) ranked 5th of all Canadian Prime Ministers (despite being re-elected several times).  Actually, the way that Ricci words it it sounds like he came much lower than that (he says “third tier” which seems much mower than 5th).  And, judging by comments on YouTube videos, utterly hated by others.

The next chapter continues in 1968 at the beginning of Trudeaumania. Treudeaumania sounds a lot like Obamamania–a young, relatively inexperienced politician makes some noise and is thrust into prominence.  (Of course, in 1968, Trudeau only ran for office for a month and a half before being elected–ah the bliss of a short campaign season).

A video of Trudeaumania shows people swooning over him.

The biography does cover some of Trudeau’s earlier years (taken largely from Young Trudeau by Max and Monique Nemni).  He was a somewhat rebellious youth and his teen behavior was full of the usual (and not so usual) rebellions.  But the thing with Trudeau is that it is never clear whether he seriously held certain beliefs or if he was just trying to get a reaction out of people.

He established a society called les X whose purpose was to create an independent Quebec (organized under fascist principles).  les X faded from Trudeau’s life and existence with very little fanfare, and evidently radical groups like that sprang up all the time in Quebec at that time.  Really, it seems to point to his growing bored at his school and with the provincialism of Quebec.

When he left Quebec for Harvard and later for Europe, his mind was expanded and his beliefs opened up accordingly.  He had written many anti-Semitic things in his Montreal youth but once he actually met some Jews, he quickly changed his tune. Indeed, Harvard seems to have really shaped his later outlook in life.  And his exposure to vastly different attitudes during his studying Paris and then later in London exposed him to so much more in the world.

When he returned home to Quebec he found everything small and narrow (which is exactly how it (and he) was when he left it).  And he quickly finds himself embroiled in politics with the Asbestos Strike of 1949.  He took a position (and offered free legal assistance to anyone striking) which raised his profile and quickly made him persona non grata in his province.

This led him to leave for Ottawa, where he was less known and (since his credentials were great) where he could easily get a low position in politics and establish his career.  The main thing he learned, though, was that Ottawa was not the enemy (as is generally held to be true in Quebec).

Trudeau eventually returned to Quebec for Cité libre.  This is one of the things that Ricci glosses over…I’m still not exactly sure what Cité libre is (okay, an influential political journal), but I’m well aware of Trudeau’s involvement in it.  And how it helped him to state his principles and beliefs.

There’s a lengthy passage where Ricci explains how Trudeau’s federalism came to blossom so powerfully for him.  And this argument is one of the reasons why I am in the camp of Trudeau, because even though his piece is meant to be just about Quebec, I find it holds true for the U.S. as well (substitute out Quebec for any special interest).

The sort of independent Quebec he had dreamed of as a young man, he saw now, would only have given greater rein to the ruling elites to exploit nationalism for their own end, as Duplessis has done. In a Quebec obsessed with the survival of French-Canadian culture it was too easy for leaders to manipulate the electorate by promoting vague ideological goals rather than more practical ones, such as those providing infrastructure and employment (103).

Trudeaumania quickly swept him into office, but he was most reviled by his home province which felt betrayed by his turning his back on separatism.  He was the target of an attack by the FLQ, which captured and killed Trudeau’s friend and cabinet minister Pierre Laport. This was known as the October Crisis.  Trudeau’s reaction was swift and hard, he called for martial law (and the Mounties certainly abused their rights). But when questioned about whether he should or could step so hard on a province his answer was “Just watch me”

Now, it turns out that that quote comes at the end of a lengthy interview and makes for a glib soundbite when in fact Trudeau was anything but glib.

The next big moment of excitement for Trudeaumania was when he married Margaret Sinclair.  For a brief time, they were the it couple.  He was 51, she was just 22, and she was beautiful.  Trudeau seemed to be a confirmed bachelor or at least a consummate playboy, so to have him settled down was quite a story.  But how hard must it have been to be a young woman suddenly thrust into the political spotlight.

Naturally, cracks would surface in their marriage.  In fact, in 1977, Maggie decided to party with The Rolling Stones rather than attend her sixth wedding anniversary party (read the wonderful article in People about it–I love the tsk tsk tone!).

But the penultimate chapter is, mostly, about Trudeau’s disappointments.  He had taken office in a hail of excitement but really had not a lot to show for it.  He was even set for retirement, until he was drawn back in.  And in this final term, he was finally able to achieve his legacy.  And this legacy seems to be summarized by two words: federalism and patriation.  (With the downside being summed up in the word “notwithstanding”).  Now, this is obviously something that Canadians know all about, and it seems foolish to summarize what this meant for readers who lived it.  But for me, who knows precious little about the mechanics of Canadian politics, I was a little lost in the details.

I got the Federalism thing, but the constitution is a bit confusing.  And the whole notwithstanding clause really kind of lost me.  Nevertheless, the chapter that covered this was rather exciting because Ricci writes as if there is one man whose mission is to see him fail.  And this nemesis is Rene Lévesque.  It’s a classic mano a mano battle between two Quebeckers and it’s really rather exciting (especially if you didn’t know the results).

The final chapter talks of Trudeau’s legacy.  And in this chapter Ricci seems to side with Trudeau.  He cites specific examples of being the best man at a same-sex wedding ceremony, something that would not be possible without Trudeau (even though Trudeau never envisioned it).  Indeed, there’s a comment that:

during the 1968 leaders’ debate, Réal Caouette, leader of the Ralliement créditistes, joked that Trudeau’s Criminal Code amendments might lead to a situation where “a man, a mature man, could in the future marry another mature man” Caouette had his joke while Trudeau, awaiting his response time, smiled civilly and held his tongue.

Because I’m not part of the culture, I don’t know to read Ricci’s take on the man.  He is not afraid to show off all of Trudeau’s faults.  In fact, in many instances he rather highlights them.  For instance, the debt under Trudeau expanded exponentially.  When Trudeau took office in 1968 Canada had a debt of $18 billion; when he left office in 1984, that debt stood at $200 billion, an increase of 83% in real terms.  And yet at the end of a nasty passage he will present some evidence which ameliorates Trudeau either in whole or (more typically) in part.

I guess in that sense it is an excellent primer on Trudeau’s political life.  But it’s also personal enough that you can see how one man impacted people.  Not citizens, but people.  And when he describes the people lined up for Trudeau’s funeral it ties right back to Jian’s song.  It really shows the impact that one person can have on the lives of so many.

And, here’s a shameless plug to the folks at Penguin Canada–I will absolutely post about all of the books in this series if you want to send me the rest of them.  I don’t know how much attention these titles will get outside of Canada, but I am quite interested in a number of the subjects, and will happily read all of the books if you want to send them to me.  Just contact me here!

For ease of searching I include: Fruvous, creditistes, Real Caouette, Rene Levesque, Cite libre

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SOUNDTRACK: SARAH HARMER-Oh Little Fire (2010).

I found Sarah Harmer when she had a left field hit (“Basement Apt”) in the states.  I went back and discovered her band Weeping Tile (who are quite good and recorded a version of the song on their EP Eepee) and have been following her continued solo career.

Since that first record, she released a killer second disc, followed by a re-release of an intimate 1999 record she made for her dad which let her revel in her country roots.  She followed this up with I’m a Mountain, a very country, but very catchy album.  Finally, four years later, she put out Oh Little Fire.

Although she hasn’t lost her country roots, this album returns to more of the rock sound that first attracted me to her.  It’s not hard or heavy by any stretch, but it’s moved beyond the country of I’m a Mountain.

Sarah and I listened to this album a lot at night when it first came out, and it slowly seeped into my system.  I had kind of forgotten about it for a while, and upon rediscovering it I was delighted to hear that the melodies were fresh and still with me.  The album seems like a simple indie folk or the work of an adult alternative singer songwriter, but the thing with Harmer is that she has that wonderful background with Weeping Tile, a band that was always slightly off-center.  So, she writes beautiful melodies but puts little grace notes into them to keep them from being disposable.  And yet they are still super catchy.

The only hard thing about this disc is wondering which song will be stuck in your head after listening to it.

[READ: January 7, 2011] L. M. Montgomery

I’ve never read any L. M. Montgomery (although I’ve seen the miniseries of Anne of Green Gables) and I’ve never read any Jane Urquhart (but I love her name!).

This biography is so radically different from the other three I’ve read so far.  I wondered immediately if it was because Montgomery (and Urquhart) are women.  It deals with subjects that the other books didn’t at all: lost loves, mental incapacitation, family crises.  But it becomes clear through the book that these issues were THE issues that a woman at Montgomery’s time would have dealt with.  Unlike the men in the other books, Montgomery did not have a professional life (outside of being an author, which she did at home).  She was hardly a public figure, and since she was a woman, she was always in danger of losing what she had.

This biography is also vastly different from the others in the way it is constructed.  You can tell by some of the chapter headings: Her Death (the first chapter), Orphan, Sorrow, Madness.  You can also tell by these chapter titles that Montgomery did not have a happy life.

Indeed, between a husband who believed he was destined for Hell (he was a preacher!) and children whose life choices she disapproved of, not to mention terrible insomnia coupled with nightmares, her late adult life was nothing but torment.  But, sadly for her, her early life was nothing but torment either.  Her mother died when she was two, she was sent to live with her aunt and uncle (which was never a happy place).  But the most depressing of all of these events is when she lost her dearest friend at a terribly young age, a death she never really recovered from.

So how is it possible that Montgomery wrote such charming stories?

The answer to that (and the basis for most of this biography) is in her diaries.  Montgomery kept meticulous diaries (which she wrote and rewrote and then rewrote with posterity in mind).  She wrote about her childhood and her life as (sort of) an orphan.  She wrote about the places where she lived and the beautiful outdoors which impressed her.  She wrote about the sadness and the happiness.  Nothing was lost on her, and she saved it all (she also took photos of everything she loved, which are a beautiful and sometimes contradictory records of her diaries), and there are many published volumes that we can read to learn even more about her.

To me, the most fascinating (and horrible) part of the story was when she finally had Anne of Green Gables published.  The publishers took complete advantage of her.  They forced her to write sequels that she didn’t want to (although they are still quite good) and even compiled a final book from castoffs of the previous books (Return to Avonlea) that they published in her name.  Eventually the case was settled in her favor, phew, and she was able to write new characters that inspired her.

Montgomery had a rough life, and as her diaries come to an end, she stopped writing about things.   It’s hard to know exactly what she went through towards the end, but it doesn’t seem very positive.  And yet for all of her disappointments in life, she left us with some engaging and memorable stories.

The last chapter is a fascinating personal account of how Montgomery’s stories impacted Urquhart’s family.  It was incredibly touching and convinced me that Urquhart’s fiction would be enjoyable too.  Some day, some day.

This was a really enjoyable (but major downer) biography.  And, more than anything it has really inspired me to read Montgomery’s stories (and even one or two or Urquhart’s).

And, here’s a shameless plug to the folks at Penguin Canada–I will absolutely post about all of the books in this series if you want to send me the rest of them.  I don’t know how much attention these titles will get outside of Canada, but I am quite interested in a number of the subjects, and will happily read all of the books if you want to send them to me.  Just contact me here!

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SOUNDTRACK: THE WEAKERTHANS-Live at the Burton Cummings Theatre (2010).

I’ve enjoyed The Weakerthans for a few years now, so I was pretty excited to see they had a live album out.

This live album works like a greatest hits.  All of the songs are great catchy pop songs–why aren’t The Weakerthans huge?  Maybe because their songs are literate and clever (and have weird titles (like “Our Retired Explorer (Dines with Michel Foucault in Paris, 1961)”).  In fact that song is one of only two songs that I know of that mention Jacques Derrida (the second being Scritti Politti’s “Jacques Derrida”).

Admittedly, The Weakerthan’s songs are simple and catchy and these live versions aren’t radically different from the originals.  There’s no extended jams or maniacal freak outs or anything.  But the album is very charming (John Samson is unfailingly polite) and the one big surprise is quite a surprise!

On the track “Wellington’s Wednesdays” Samson introduces a guy: “This is Ernesto.  He’s from Mexico.  He’s going to play a guitar solo.”  While listening to the disc I couldn’t imagine this peculiar introduction for a band member.  My version of the disc comes with a concert DVD of the show.  I didn’t get to watch the DVD until recently and… mystery solved:  Ernesto is a fan in the front row.  Samson talks to him mid-song, pulls him up on stage, introduces him and gives him his guitar to play the solo!  Then Samson jumps into the front row to watch.   How cool is that?

The video doesn’t deviate from the audio, except for leaving in a few moments of patter from Samson. In fact, I found the video to be somewhat choppily edited.  When Samson plays “One Great City!” (solo…which wasn’t obvious from the audio.  I mean, you can tell he’s solo, but it’s much more dramatic in the video) at the finish of the song, it immediately cuts to the next full band song, rather diminishing the return of the band.  (Although I do like the jump cuts to the audience which reveal what appears to be a room full of teenagers–it’s adorable!)

The other confusing thing is that the recording notes say that it was recorded over two days, and yet the video appears to be one night’s show. And the audio matches it, so who knows.

But those are little quibbles.  The music is great, the sound quality is fantastic and the song choices are great.  There are some cool surprises on the disc (like the horns and violin), but mostly what you get is an enjoyable evening at a small hometown concert with fans who love to sing along to the chorus of “One Great City:” “I hate Winnipeg!”

[READ: December 18, 2010] Stephen Leacock

What I’ve really been enjoying about this series of Extraordinary Canadians is how the writers of the books (at least the three I’ve read so far) are writing in such very different styles.  Obviously Coupland did his own thing.  Vissanji is a novelist, and he wrote his in a more novelistic way (its not like a novel at all, but it’s constructed in a kind of narrative style).  Macmillian is a historian, and I suppose for that reason, this biography feels more like a history (of Leacock, but also of economics) than a simple biography.

The strangest thing about this book is that although MacMillan obviously likes and respects Leacock, a surprising amount of the book is taken up with her talking about things he either said or did wrong or about his books that really aren’t that funny.  This is surprising because Leacock is a noted humorist. (In 1947, the Stephen Leacock Award was created to recognize the best in Canadian literary humour).

This biography looks at his life, but mostly it focuses on his academic and humorous works.  Leacock was an economist although he seems to generally disapprove of economists.  He had begun by teaching high school but found it incredibly stifling.  Eventually he found his niche at McGill University where he was well-respected and highly regarded by students and faculty alike. (more…)

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