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  U2's 3rd Leg of The Vertigo Tour announced.

Posted by: prz
03-06-2005, 08:05 PM
Forum: Non Tragically Hip Discussion
- Replies (25)

Well so far there are a total of 4 Canadian Dates thus far. Two Toronto shows to start but I have heard there might even be a total of 4 Toronto Shows. Looking at the dates, it could be quite possible.


12th September Toronto - Air Canada Centre
14th September Toronto - Air Canada Centre
20th September Chicago - United Center
21st September Chicago - United Center
23rd September Minneapolis - Target Center
25th September Milwaukee - Bradley Center

03rd October Boston - Fleet Center
04th October Boston - Fleet Center
07th October New York - Madison Square Garden
08th October New York - Madison Square Garden
10th October New York - Madison Square Garden
16th October Philadelphia - Wachovia Center
17th October Philadelphia - Wachovia Center
19th October Washington - DC MCI Center
20th October Washington - DC MCI Center
22nd October Pittsburgh - Mellon Arena
24th October Detroit - Palace of Auburn Hills
28th October Houston - Toyota Center
29th October Dallas - American Airlines Arena

01st November Los Angeles - Staples Center
02nd November Los Angeles - Staples Center
13th November Miami - American Airlines Arena
16th November Tampa - St. Pete Times Forum
18th November Atlanta - Philips Arena
25th November Ottawa - Corel Centre
26th November Montreal - Bell Centre

07th December Hartford - Civic Center
09th December Buffalo - HSBC Arena
10th December Cleveland - Gund Arena
14th December St. Louis - Savvis Center
15th December Omaha - Qwest Center
17th December Salt Lake City - Delta Center
19th December Portland - Rose Garden

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  Video & Audio Editing Software? (help please)

Posted by: hipfan39
03-06-2005, 01:44 PM
Forum: Non Tragically Hip Discussion
- Replies (17)

I am seeking some good software that will let me use my video from my camera, and let me edit the audio from my MD-Recorder (instead of the audio of the camera).
I have a PC!

So anybody out there help me please.................



thanks
Chris

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  Indie Awards

Posted by: Dr. J
03-06-2005, 11:25 AM
Forum: Non Tragically Hip Discussion
- Replies (5)

Help me out. Came across the list of winners for the "Indie Awards" presented during Canadian Music Week http://www.cmw.net/indies.htm They included Thornley, The Trews, Sum41, Randy Bachman, Metric etc. These artists certainly deserve recognition, but what exactly are they independent of? Most, if not all of them, have a management firm, an entertainment lawyer, a promotion team, a distribution deal and a record label. To say they are "indie" because they are not signed to a major label is simply semantics since most so-called independent labels in Canada are now connected to or controlled by a major.

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  I was in cuba, did I miss anything

Posted by: Cpt. Trips
03-06-2005, 10:19 AM
Forum: Tragically Hip Discussion
- Replies (7)

Word up ya'll, just came back from cayayayay coco,

any big news I should immediately know about?

Apparently Cubans have never heard of the Hip....man, a whole week without one song is enough to make anyone go mental....So remember always bring a cd...

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  I have nose hair

Posted by: Stephen Dame
03-06-2005, 02:03 AM
Forum: Non Tragically Hip Discussion
- Replies (36)

I turned 25 this March the 6th... mom gave birth at 2:02am so riiiiight NOW! And I've got nose hair's that I'm just starting to notice.

Any other guys have this uh, nasal issue?

Any ladies find it an uncontrollable, unquenchable turn on?

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  same clock on the wall

Posted by: Kevala
03-06-2005, 01:18 AM
Forum: Non Tragically Hip Discussion
- Replies (2)

well...its great to be back....I see alot of the same people here as I did about a year ago. Right on! That's a great thing about bein' a hip fan...not a stranger for long...pretty welcoming bunch. Cause we all hear the truth in Gords words. and we all live by going straight towards, and stickin' with, what we love.
Nothing but evolving souls here that like to have a good time and share truths of our own! What makes us laugh and cry...mad...happy etc...

A little more of my world opens up every day...thanks to you all for providing such truthfully powerful contrast.

Geez!..... I feel like Gus.....takin' a look at all the contrast out there....(except it's not stressen' me out as much as it did the bear...) not in this moment anyway...... :?

OK, enough of the intro....

Now, Where's my contrast?

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  Gord's ear things.

Posted by: Stephen Dame
03-06-2005, 01:17 AM
Forum: Tragically Hip Discussion
- Replies (22)

Ya know those yellow ear plugs on a string he wears? (You can see one of em in that photo in the Hipbase banner above)

What are they for? Are they to prevent our signing from throwing him off, some kinda monitor so he can hear the band, kick-ass cool fashion accessory? What?

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  Some stuff about Courage

Posted by: Stephen Dame
03-06-2005, 12:05 AM
Forum: Tragically Hip Discussion
- Replies (22)

Ya know, I think that Mr. Downie may have a knack for writing songs. I think he may even read a little in his spare time.

Here's my overeducated opinion of Courage, Coles Notes version first, (Since that was most popular with the Three Pistols chapter... and 'cause a "few" people complained the Nautical bit desperatly needed oneSmile ) followed by the whole freakin' chapter, just in case you feel like quitting your job and reading it.

Courage (For Hugh Maclennan)

Coles Notes:

...Maclennan would go on to write a book that rejects the idea of a greater plan or a human destiny that is plotted out like an itinerary from beyond. Maclennan based a central character on Dr. Bethune’s seemingly endless and unrewarded sacrifice. Courage takes it’s theme from “The Watch” and embraces its idea that life is a series of serendipitous events, opportunities gained or lost via examples of pure chance that appear before us... The theme of both book and song is that no matter what, no matter how disheartening or difficult the road, we must carry on at all costs.

Watch the band through a bunch of dancers.

Quickly, follow the unknown

with something more familiar.

Quickly, something familiar


Sleepwalk, so fast asleep in a motel

that has the lay of home.

And piss on all of your background.

And piss on all your surroundings

...Worn down by his writing and the demands brought about by his success, Hugh Maclennan’s personal plight arrived at the worse possible time. By 1957, Maclennan was often accused of selling-out to nationalists, of writing parochial Canadian stories for their commercial value at the expense of his own authenticity as a writer. This same criticism would eventually find The Hip, allowing Gord Downie to rightly dismiss it as the ironic tendency of insecure nationalists to “piss on” their local talent and history.

This ill conceived analysis stung Maclennan; he wrote to a friend that he felt exiled while at the same time expressing a gnawing human desire to belong. He added in his letter that “the trouble with writers is usually loneliness,” and lamented the public’s appetite for the familiar over the unique. He remarked that at this difficult moment in his life, he felt homesick even at home.

In his seminal work, Maclennan took great care to question modernity. He criticized modern man for being untrue to himself by keeping his “distance in fear of the excessively unfamiliar.” George Stewart, the protagonist of “The Watch,” –who bares many similarities to the author himself– explains that musicians were among the few artists who still spoke with conviction. “Go to the musicians,” Stewart says, “in the work of a few musicians you can hear every aspect of this conflict between light and dark within the soul.”

The opening verses of Courage may sketch a link between Maclennan’s conflicting disappointment and desires, with a band who can relate. The repetitive nature of daily concerts, hostile crowds awaiting the familiar headliner and demanding to hear more familiar songs, and the all too recognizable motel rooms can become as tiresome as the road itself. The fact that modern musical talent is often obscured by the shallow nature of its own industry may have also begun to weigh on The Hip. They themselves were initially expereincing fame and all it’s extra weight during 1991’s Road Apples tour. To escape, or more likely to kill traveling time, Downie read “The Watch That Ends The Night.”


Courage, my word, it didn’t come it doesn’t matter

Courage, it couldn’t come at a worse time

The chorus from Courage evokes praise for a dejected figure, probably Maclennan himself, who stared down and defeated the penultimate option. Courage exposes suicide as a selfish and impractical urge and expresses relief that our protagonist thought better of it.

...Perhaps the most unique tribute came in the spring of 1992 when The Tragically Hip released Fully Completely. The lead single and opening track, Courage, was dedicated to Maclennan. The songs most poignant and earnest lyrics come straight form “The Watch That Ends The Night.” Every Hip fan knows the lyrics by heart. When the song is played live, the band falls silent, and Gord Downie draws from the genius of Hugh Maclennan:

“But that night as I drove back from Montreal, I at least discovered this: that there is no simple explanation for anything important any of us do, and that the human tragedy, or the human irony, consists in the necessity of living with the consequences of actions performed under the pressure of compulsions so obscure we do not and cannot understand them.” (274)

The stereotypes that surround rock musicians and their fans fall away during that affecting moment in Courage. It’s a collective, for some unknowing, moment of recognition for a man whose words ring true for a generation that can only know the anxieties and questions of the post modern world. While Courage can only reflect the contemplative, provocative and elevating concern of “The Watch,” the song reveres a man who is often underappreciated. Courage may have earned Maclennan some small measure of additional fame, but more than likely: it brought new eyes to a writer who had earned every inch of his reputation.

You're not still reading this are you? Wanna snack before continuing? COURAGE (For Hugh Maclennan) :

He was perhaps the most famous Canadian who ever lived. His convictions took him to the front lines of the Spanish civil war and made him a central figure in Mao’s revolution. His pioneering method of performing blood transfusions in the field saved thousands of lives, and to this day, his selflessness is idolized in the world’s largest nation. The same man who once taught art classes for children in his Montreal home, was mythologized by Chairman Mao as “noble minded and pure,” possessing a spirit that “inspires everyone.” A chronicle of his life was required reading for one billion Chinese.

First exposed to grave poverty in 1924, during the days of his initial medical practice in Detroit’s inner-city, Dr. Norman Bethune set about supporting any and all infantrymen and intellectuals who were willing to challenge the capitalist status quo. He lectured locally, acted globally and was known to share his food, clothes and blood with wounded soldiers in need. During May of 1938, while Mao’s forces waged a particularly gruelling and ferocious battle in the Chinese North, Bethune operated on 115 patients over sixty-four uninterrupted hours.

Before Spain, long before Yenan and shortly after Detroit, Bethune found himself practicing medicine at Montreal’s Royal Victoria Hospital. There, in Canada’s cultural Mecca, he met Hugh Maclennan, an emerging author who shared his political leanings.

Maclennan was an informed, widely educated and tolerant man. It was said that Maclennan’s good nature and decency were perceptible in his work. “The Watch That Ends The Night,” the work that inspired Courage, came from a much darker place. Created amidst Maclennan’s own depression, anxiety and reawakening, “The Watch” drew on the legend of Dr. Bethune while exploring modernity, existentialism and the unknown, unfair and unforgiving aspects of everyday life.

By 1957, any happiness Maclennan had earned after the enormous success of his first two novels, 1941’s “Barometer Rising” and 1945’s “Two Solitudes,” was quickly disappearing. Bethune was long dead, a tragic victim of blood poisoning while serving in China. The author’s wife, Dorothy, was slowly slipping from him after a long illness. As she died, Maclennan became clinically paranoid, deeply depressed, and began to question both his earthly abilities and his long held spiritual beliefs.

Maclennan would go on to write a book that rejects the idea of a greater plan or a human destiny that is plotted out like an itinerary from beyond. Maclennan based a central character on Dr. Bethune’s seemingly endless and unrewarded sacrifice. Courage takes it’s theme from “The Watch” and embraces its idea that life is a series of serendipitous events, opportunities gained or lost via examples of pure chance that appear before us each day. As we make our own path, we have to possess the fortitude to accept the twists and turns that result from our choices while adapting when the choices of others affect us. The theme of both book and song is that no matter what, no matter how disheartening or difficult the road, we must carry on at all costs.

Worn down by his writing and the demands brought about by his success, Hugh Maclennan’s personal plight arrived at the worse possible time. By 1957, Maclennan was often accused of selling-out to nationalists, of writing parochial Canadian stories for their commercial value at the expense of his own authenticity as a writer. This same criticism would eventually find The Hip, allowing Gord Downie to rightly dismiss it as the ironic tendency of insecure nationalists to “piss on” their local talent and history.

This ill conceived analysis stung Maclennan; he wrote to a friend that he felt exiled while at the same time expressing a gnawing human desire to belong. He added in his letter that “the trouble with writers is usually loneliness,” and lamented the public’s appetite for the familiar over the unique. He remarked that at this difficult moment in his life, he felt homesick even at home.

The opening verses of Courage sketch a link between Maclennan’s conflicting disappointment and desires, with a band who can relate. The repetitive nature of daily concerts, hostile crowds awaiting the familiar headliner and demanding to hear more familiar songs, and the all too recognizable motel rooms can become as tiresome as the road itself. The fact that modern musical talent is often obscured by the shallow nature of its own industry may have also begun to weigh on The Hip. They themselves were initially expereincing fame and all it’s extra weight during 1991’s Road Apples tour. To escape, or more likely to kill traveling time, Downie read “The Watch That Ends The Night.”

In his seminal work, Maclennan took great care to question modernity. He criticized modern man for being untrue to himself by keeping his “distance in fear of the excessively unfamiliar.” George Stewart, the protagonist of “The Watch,” –who bares many similarities to the author– explains that musicians were among the few artists who still spoke with conviction. “Go to the musicians,” Stewart says, “in the work of a few musicians you can hear every aspect of this conflict between light and dark within the soul.”

In fact, Maclennan considered “The Watch” a statement against modernity and all its trappings. He explored how modern man would justify his existence given the fact that previous generations had suffered and survived through two World Wars and a Great Depression. The novel was a post-modern attempt at explaining the mystery of life for those who had no clear path. Downie would succinctly sum up Maclennan’s critique on stage, ranting in 1996 that he “never fought for anything,” “was raised on TV” and had “nothing to live or die for, no religion too.”

A more in-depth study of “The Watch” concluded that Maclennan’s George Stewart character finds that modern man “has abandoned the masterworks celebrating the human spirit,” and “gone whoring after false Gods.” Stewart displays the same anxiety and self doubt that Maclennan both suffered through and found all too common in modern man. When asked why he didn’t propose to his lost love while he had the chance, Stewart replies: “No prospects, too much pride. The depression. But mostly, not enough courage.” (49)

Maclennan credited the emotional support of his protégé Marian Engle for his personal recovery. His newfound confidence and perspective allowed him to lay bare all that had been infecting him during the most troublesome point in his life. He would shed the nihilistic feelings that brought him to the brink, and embrace the mystery and uncertainty of life as an adventure worth living. Writing “The Watch” was a therapeutic experience, one that may have spared him of an all too common fate afflicting spent and lonely writers.

The chorus from Courage evokes praise for a dejected figure, probably Maclennan himself, who stared down and defeated the penultimate option. Courage exposes suicide as a selfish and impractical urge and expresses relief that our protagonist rejected it.

“Courage, my word, it didn’t come it doesn’t matter/Courage, it couldn’t come at a worse time.” These lyrics read like a personal nod of thanks from all those influenced and inspired by Maclennan’s greatest work, which in 1957, was still yet to come. It represents genuine appreciation for a life, sometimes in painful progress, that was allowed to continue, overcome, and produce lasting art.

Throughout “The Watch,” Maclennan’s characters retrace his personal steps into emotional bleakness. George Stewart remarks, “everything we have done, achieved, endured and been proud and ashamed of is nothing.” The author himself wrote that at first, the book was a “shedding of intellectual skin,” as he mourned both his wife and those like Bethune. It was “for one who I loved who had died,” he wrote, “but also for more: requiem for the idealists of the Thirties who had meant so well, tried so hard and went so wrong. Requiem also for their courage.”

As the book nears a climax, the characters reach their respective spiritual awakenings and come to accept the uncertainties of their existence. Maclennan’s message becomes clear: have the courage to embrace the unknown, accept change, leap at opportunities, and move undeterred through the happenstance of life. This post modern “Carpe Diem” begins to jump from the page:

“…the last possible harmony, the only one there can be, is a will to live, love, grow and be grateful, the determination to endure all things, hope all things, believe all things necessary for what our ancestors called the will of God. To struggle and work for that, at the end, is all there is left. In music, you can hear this kind of struggle… wash like the light of the world over the little external truths of science.” (344)

“It came to me that to be able to love the mystery surrounding us is the final and only sanction of human life.” (372)

Barbara Pell, an academic who studied Maclennan, felt that each character in “The Watch” came to represent a different example of daring and ordinary valour. She referenced Paul Tillich’s categories of courage and wrote that the Bethune character had “the courage to be as a part,” while the Maclennan protagonist had the “courage to be as ones self.” All characters in the book, like the author himself, were said to have turned towards Tillich’s post-modern theory of “the courage to be.” A theory best and briefly described as “the striving for union with ultimate reality.”

Beyond all the literary critiques and examinations, free from all the post-modern theory, remains an elegant, romantic and moving novel. Nearly a half century after it was published, “The Watch That Ends The Night” is still a genuine and stirring read. Hugh Maclennan won five Governor Generals awards and became a professor emeritus at McGill University. In 1987, he led an advocacy group that successfully stopped the demolition of the downtown apartment complex where he lived.

In November of 1990, Maclennan passed away at his Montreal home. Peter C. Newman said he mapped the country’s psyche. The Los Angeles Times called him one of Canada’s finest writers. The Globe and Mail called him an institution, and a dreamer of impossible dreams.

But perhaps the most unique tribute came in the spring of 1992 when The Tragically Hip released Fully Completely. The lead single and opening track, Courage, was dedicated to Maclennan. The songs most poignant and earnest lyrics come straight form “The Watch That Ends The Night.”

Every Hip fan knows the lyrics by heart. When the song is played live, the band falls silent, and Gord Downie draws from the genius of Hugh Maclennan:

“But that night as I drove back from Montreal, I at least discovered this: that there is no simple explanation for anything important any of us do, and that the human tragedy, or the human irony, consists in the necessity of living with the consequences of actions performed under the pressure of compulsions so obscure we do not and cannot understand them.” (274)

The stereotypes that surround rock musicians and their fans fall away during that affecting moment in Courage. It’s a collective, for some unknowing, moment of recognition for a man whose words ring true for a generation that can only know the anxieties and questions of the post modern world. While Courage can only reflect the contemplative, provocative and elevating concern of “The Watch,” the song reveres a man who is often underappreciated. Courage may have earned Maclennan some small measure of additional fame, but more than likely: it brought new eyes to a writer who had earned every inch of his reputation.


[Image: maclennan.jpg]
Hughy

[Image: Bethune.jpg]
Normy

----------------------------------------------------------------------------
----

[1] Douglas Gibson, Editing and publishing Hugh Maclennan in Hugh Maclennan, Tierney ed. Pg.18

[2] Ibid.

[3] Charles Foran, Straight From The Hip in Saturday Night, June, 1996.

[4] Christl Verduyn, "The Maclennan-Engel Correspondence" Pg. 38

[5] Elspeth Cameron, "Will The Real Hugh Maclennan Please Stand Up" Pg. 29

[6] Barclay et al. Have Not Been The Same: The Can-Rock Revolution. Pg. 631

[7] Francis Zichy, Maclennan and modernism in Hugh Maclennan, Tierney ed. Pg.158

[8] Francis Zichy, Maclennan and modernism in Hugh Maclennan, Tierney ed. Pg.171

[9] Robert D Chambers, Adam Blore's broken phonograph in Hugh Maclennan, Tierney ed. Pg.141

[10] Barbara Pell, "Maclennan's new Theology" Pg. 89

[11] Barbara Pell, "Maclennan's new Theology" Pg. 104

[12] Ibid.

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  Hey Sens fans.....what's Plan B?

Posted by: cferneyh
03-05-2005, 11:44 PM
Forum: Non Tragically Hip Discussion
- Replies (27)

Hasek to retire without CBA by summer

<!-- m --><a class="postlink" href="http://www.tsn.ca/nhl/news_story.asp?id=117196">http://www.tsn.ca/nhl/news_story.asp?id=117196</a><!-- m -->

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  Chart Magazine's top 50 Canadian albums of all time

Posted by: direwolf74
03-05-2005, 11:12 PM
Forum: Non Tragically Hip Discussion
- Replies (37)

Just picked up the latest issue of Chart. Every five years or so they do their top 50 list of Canadian albums and songs of all time, which is always a fun read. According to the mag, here's how they do the voting:

"Everyone actively participating in "the biz" were permitted to vote. Even drummers! Eventually 450 separate peeps ended up checking in to the polling station. Folks were allowed to nominate up to 10 albums and five songs, ranked in order. The songs and albums were then given point values based on their ranking, which would then get added together."

So here's the official results. Not a bad list if you ask me. My only complaint is that it's a little too Sloan-heavy. Nothing against Sloan of course. I think they're a great band, but 4 albums in the top 50?? Gimme a break.

Albums:

1. Sloan- Twice Removed
2. Neil Young- Harvest
3. Joni Mitchell- Blue
4. Broken Social Scene- You Forgot it in People
5. Neil Young- After the Gold Rush
6. The Weakerthans- Left & Leaving
7. The Lowest of the Low- Shakespeare, My Butt
8. The Tragically Hip- Fully Completely
9. The Band- The Band
10. Rheostatics- Whale Music
11. K-OS- Joyful Rebellion
12. The New Pornographers- Mass Romantic
13. Sloan- One Chord to Another
14. The Band- Music From Big Pink
15. Rush- 2112
16. Sloan- Smeared
17. Arcade Fire- Funeral
18. Rush- Moving Pictures
19. Sarah McLachlan- Fumbling Towards Ecstasy
20. Leonard Cohen- Songs of Love and Hate
21. The Tragically Hip- Day for Night
22. Blue Rodeo- Five Days in July
23. Hayden- Everything I Long For
24. Neil Young- Everybody Knows This is Nowhere
25. Metric- Old World Underground, Where Are You Now?
26. Eric's Trip- Love Tara
27. The Constantines- Shine a Light
28. The Guess Who- American Woman
29. Neil Young- Rust Never Sleeps
30. The Constantines- The Constantines
31. Thrush Hermit- Clayton Park
32. The Tragically Hip- Up to Here
33. Superfriendz- Mock Up Scale Down
34. NomeansNo- Wrong
35. Sarah Harmer- You Were Here
36. Blue Rodeo- Outskirts
37. Sam Roberts- We Were Born in a Flame
38. Billy Talent- Billy Talent
39. Neil Young- Tonight's the Night
40. Bryan Adams- Reckless
41. Sloan- Navy Blues
42. Leonard Cohen- Songs of Leonard Cohen
43. Feist- Let it Die
44. Rheostatics- Melville
45. Rufus Wainright- Rufus Wainright
46. Cowboy Junkies- The Trinity Session
47. Alanis Morissette- Jagged Little Pill
48. Death From Above 1979- You're a Woman, I'm a Machine
49. Our Lady Peace- Clumsy
50. Matthew Good Band- Beautiful Midnight


Ok, I'm getting tired of typing, so I'll just give ya the top 20 songs:

1. The Guess Who- American Woman
2. Sloan- Underwhelmed
3. Neil Young- The Needle and the Damage Done
4. Gordon Lightfoot- Wreck of the Edmund Fitzgerald
5. Bryan Adams- Summer of '69
6. Rush- Tom Sawyer
7. The Band- The Weight
8. Neil Young- Cortez the Killer
9. Neil Young- Heart of Gold
10. Leonard Cohen- Hallelujah
11. Neil Young- Rockin' in the Free World
12. Maestro Fresh Wes- Let Your Backbone Slide
13. Gordon Lightfoot- If You Could Read My Mind
14. The Tragically Hip- New Orleans is Sinking
15. Payolas- Eyes of a Stranger
16. Neil Young- Cinnamon Girl
17. Joni Mitchell- A Case of You
18. Leonard Cohen- Suzanne
19. The Weakerthans- Left and Leaving
20. Sloan- Coax Me

Amazingly the Hip only have one song in the top 50, while the aforementioned Sloan have 5, reinforcing my opinion that there's way too much Sloan on these lists. A few other bands they missed: Headstones, The Watchmen, Junkhouse, Weeping Tile, The Pursuit of Happiness, Change of Heart, The Northern Pikes, Kathleen Edwards, Skydiggers, The Bourbon Tabernacle Choir, and Ron Sexsmith. Each and every one of these bands has released at least one amazing album worthy of being on this list. Strange how after polling 450 people these bands were somehow left out.

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