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[youtube]23O-0WjD9_E[/youtube]


EMINEM'S FURY OVER BRUNO PRANK
The Sun <!-- w --><a class="postlink" href="http://www.thesun.co.uk">www.thesun.co.uk</a><!-- w -->
by Tim Nixon

EMINEM stormed out of the MTV Movie Awards last night - after SACHA BARON COHEN landed on his face.

The rapper was in the audience at the star-studded US event when Cohen - in the guise of gay Austrian fashionista Bruno - was lowered on a harness directly onto him.

Debate is currently raging on message boards around the world over whether Eminem was in on the prank.

Wearing angel wings and a thong that revealed more than it concealed, Bruno took flight in the auditorium before the ropes holding him aloft began to give way.

Stars such as CAMERON DIAZ and Star Trek's ZACHARY QUINTO laughed in amazement when Cohen's hapless catwalk commentator singled out Eminem for treatment.

Bruno was heard screaming "Aarh! My kugelsack! My kugelsack!" as he slowly dropped headfirst towards the Lose Yourself star.

He further screamed in feigned agony: "Help me! Let me down! One of the wires is trapped around my kugelsack!"

As Bruno straddled the appalled rapper in a position commonly practiced by lovers in the bedroom, he said simply: "Eminem, nice to meet you."

But the rapper apparently didn't see the funny side - and neither did his chunky friends.

He screamed for Bruno to get off him - shouting "Are you serious? Are you f***ing serious?" - as he pushed his head back to avoid contact with Cohen's naked bottom.

Even the no-nonsense attempts by Eminem's minders to free their boss didn't stop Bruno's jibes.

He said: "Hey, don't touch me guys! I already have a boyfriend. Hey guys, let's continue this in my hotel room."

Once freed, Eminem and his entourage stood up in fury and stormed out of the arena.

But as the rapper shot to his feet, it was Bruno who had the final word, quipping: "Is the real Slim Shady about to stand up?"

Click on the video link, above right, to see Bruno working the red carpet as he arrived at the event in leopard-print pants.

Each Tuesday, more than 7,000 Starbucks company-operated locations in the US will stock a new Pick of the Week download card redeemable on the iTunes Store (<!-- w --><a class="postlink" href="http://www.itunes.com">www.itunes.com</a><!-- w -->) for a complimentary song or music video hand-picked by the Starbucks Entertainment team and iTunes.
Last week was Coffee girl by The Tragically Hip

can pick up anywhere between albany and toronto
thanks

email: <!-- e --><a href="mailto:adriansmith24@gmail.com">adriansmith24@gmail.com</a><!-- e -->

For all you WATS fans out there who agrees that Honey Please is a stellar tune? Personally i think its the best hip tune in ten years. Gords vocals, and lyrics are terrific to say the least. Feedback!!
cheers guys

I have two tickets for sale, row 10 on the floor... only problem, i've lost the tickets and am waiting for the replacements. Let me know if you're interested.

...with more dates to be added in the fall.

July
7/17 Vancouver, BC @ Vancouver Folk Festival
7/18 Seattle, WA @ Neumo's
7/20 Santa Cruz, CA @ The Crepe Place
7/21 San Louis Obispo, CA @ The Downtown Brew
7/22 Los Angeles, CA @ The Roxy
7/23 San Francisco, CA @ Great American Music Hall
7/24 Eugene, OR @ WOW
7/25 Portland, OR @ Aladdin Theatre
7/26 Nelson, BC @ Spirit Bar

September
9/15 Hamilton, ON @ Casbah
9/16 Boston, MA @ Paradise
9/17 Brooklyn, NY @ Williamsburg Music Hall
9/18 NYC, NY @ Bowery Ball Room
9/19 Washington, DC @ 9:30 Club
9/20 Philadelphia, PA @ World Café Live
9/22 TBA
9/23 Toronto, ON @ Mod Club
9/24 Detroit, MI @ Magic Stick
9/25 Chicago,IL @ Bottom Lounge
9/26 Minneapolis, MN @ Triple Rock
9/27 Madison, WS @ High Noon
9/28 Waterloo, ON @ Starlight Lounge

I'll also have the 24bit copies of both night ready soon if anybody wants 'em.
http://bt.etree.org/details.php?id=525489
The Tragically Hip
May 30, 2009
Fillmore Detroit
Detroit, Mi

Source: Schoeps mk41 > kc-5 > cmc-6xt > 722@24/96
Location: Sbd, ~10ft DIN
Transfer: 722 > MacBook > Wave Editor 1.4.4 (normalize, dither, resample) > xACT 1.64 > FLAC

Disc 1:
01. intro
02. Love is a First
03. The Drop Off
04. Fifty Mission Cap
05. Now the Struggle has a Name
06. intro >
07. Daredevil
08. Yer Not the Ocean
09. Frozen in Your Tracks
10. Morning Moon
11. Three Pistols
12. Eldorado
13. Country Day
14. Escape is at Hand for the Traveling Man

Disc 2:
01. intro
02. Coffee Girl +
03. New Orleans is Beat +
04. Bobcaygeon +
05. Depression Suite
06. Fireworks
07. Queen of the Furrows
08. Poets
09. Fully Completely
10. The Last Recluse
11. Family Band
12. Locked in the Trunk of a Car
13. encore
14. It's a Good Life if You Don't Weaken
15. Blow at High Dough

Notes:
+ acoustic
* sounds very good, enjoy

I just got my hands on a photography book that a friend gave me for my b-day. It's by a Canadian guy who's living in Spain right now. Some real nice original pics. Anyways, just thought I would share my find with you all. Here's the link.

<!-- m --><a class="postlink" href="http://www.blurb.com/bookstore/invited/496487/d80aeaa8d1811cc1879382d27af286a9">http://www.blurb.com/bookstore/invited/ ... d27af286a9</a><!-- m -->
:jump

<!-- m --><a class="postlink" href="http://www.buffalonews.com/entertainment/story/688070.html">http://www.buffalonews.com/entertainmen ... 88070.html</a><!-- m -->


SERVING THE SONG
AS THE TRAGICALLY HIP GETS READY FOR A FOUR-NIGHT STAND AT ARTPARK THIS WEEK, SINGER GORDON DOWNIE TALKS ABOUT THE HISTORY OF THE BAND AND HOW ITS SOUND HAS EVOLVED OVER THE YEARS
By Jeff Miers
NEWS POP MUSIC CRITIC


TORONTO –The Tragically Hip’s lead singer Gordon Downie walks into a dressing room deep inside Toronto’s fa-bled Massey Hall and instantly things become notably intense.

While obviously a warm and friendly man, Downie still gives off an air of otherness, as if he’s spent a fair amount of time contemplating things that never occurred to you.

For a quarter century fronting the Tragically Hip, Downie’s fierce intellect has served him well, aiding him in the creation of a collection of song lyrics blending stream of consciousness observations, a lithe, rhythmic feel for language, and an ability to observe and report in a dialect that is both wholly unique and emotionally disarming.

His work, if you’ve delved into it and dwelled there a while, is abundantly impressive.

If all of this is on your mind when you sit down across the table from Downie, and then you realize that he is listening to everything you say intently while staring you directly in the eyes –it’s easy to feel intimidated.

As soon as he speaks, though, you realize you’ve gotten yourself all worked up for nothing. Downie takes the Hip and his place within its community incredibly seriously, but this has not led in any way to a sense of self-importance on his part.

Despite having earned the significance in Canada that U2 has in Ireland; despite having constructed an international audience brick by brick, selling millions of records in the process; despite induction into the Canadian Music Hall of Fame, and a collective mantelpiece housing more than a dozen Juno awards –despite all of this, Downie and the rest of the Tragically Hip are far from content to rest on their laurels. They’ve still got work to do.

“We move slowly, we move as a group, and we’re really only trying to push the margins out a bit,” Downie says. “If that can be our only goal…we’re not trying to reinvent, or be something else, but just making sure we’re pushing the margins out, exploring the dynamics of what it is that we do.”

Prior to the Hip’s four-day tour stop at Artpark in Lewiston, which begins Tuesday, Downie discussed with The Buffalo News his thoughts on the band’s new album, a new member, an evolving sound and the influence of his four young children on his songwriting.

Success comes quickly

Formed in 1983 in Kingston, Ont., the Hip arrived fully actualized. The band had then and still has today a visceral blend of Rolling Stones-like guitar interplay and a supple rhythm section, both of which contrast in a marked fashion with Downie’s literate observations, emotive, low tenor and tendency toward free-form, near-surrealistic improvisation on stage.

All five members –Downie, guitarists Rob Baker and Paul Langlois, bassist Gord Sinclair and drummer Johnny Fay –have been there from the beginning.

Success at home came rather quickly, and with it, the emergence of a restless creative spirit that meant no two Hip albums were the same. That this musical wanderlust was not off-putting to the band’s ever-expanding audience can probably be credited to the consistency of voice each album presented.

By the mid-’90s, the Hip was a stadium band at home, equally adored in border towns like Buffalo, and responsible for the building of an intensely devout cult audience around the world. The group continued to challenge itself and its audience with each subsequent release. The Tragically Hip could have then settled into its status comfortably.

Why, then, have the band’s last two albums –the 2006 release “World Container,” and its follow-up, the new “We Are the Same” –virtually redefined the Hip’s sound with deepened hues of both the musical and emotional variety, and in essence, refused to cash in on well-earned past glories?

“The metaphor I’ve used,” says Downie, “is ‘World Container’ set the table, and ‘We Are the Same’ is the meal.”

With “We Are the Same,” the band continues its relationship with Bob Rock, producer of “World Container” and previously renowned for his work with Metallica.

“The first time you work with someone, there’s a lot of blind faith involved. The second time, you take the ‘blind’ part out of it,” Downie says. “So I have absolute faith in Bob. He has something that we lack, which is singular vision.

“When I say that we don’t premeditate much, that doesn’t make us a heck of a band or anything –we’re a democracy, a collective, and I’ve heard it said that any art created by a collective is mere blind luck, when it’s successful. ... When you’re in the studio, it really is about decision after decision, jumping from lily pad to lily pad, as one decision begets five more. And if you’re not really making those decisions, if you’re avoiding them in favor of absolute consensus, then you’re not really challenging yourself, and hence, you’re missing opportunities.

“Bob has the singular vision, as a person, a musician, a writer, an engineer, a producer –you can absolutely put your trust in him.”

The Hip did just that, and emerged from the studio with an unqualified masterpiece, the band’s most lush, ornate, detailed and deeply musical effort to date. Found among the album’s broad expanse is the sound of a group of committed musicians pushing the envelope and finding palpable joy in the act of redefining.

“The Depression Suite,” a mini-epic that melds three separate pieces of music and lyrics together in service of an evocative, cinematic hybrid, is emblematic of the ethos presented by “We Are the Same.” But many of the album’s revelations are of the more subtle variety –an understated and effective string arrangement here, a delightfully unexpected fluegelhorn figure there, a heart-rending vocal harmony arriving to herald a musical stretch toward the heavens.

“We Are the Same” is the kind of album that demands repeated, close study. It asks for your attention.

Are we the same?

The album’s title itself seems both defiant and hopeful, an argument for the existence of human solidarity where empirical evidence strongly suggests otherwise.

“I’m still sort of exploring what it means,” says Downie of the album’s title. “I’m still finding that it can mean something on a few levels. I like ‘hopeful and defiant.’ It’s also perhaps something you might say to a rioting crowd to calm them down; it’s the thing we’re all hoping to hear – ‘We are the same, you and I.’ But it’s also something that you don’t want to hear at all: ‘No, we’re not the same!’ ”

Downie describes the album as being “full of conversations between two people. And in all of those conversations, that’s what somebody is trying to say, and that’s what somebody is trying to hear: ‘We are the same. It’s going to be OK.’ ”

As always, Downie’s lyrics are more evocative than explicit in their intention, in their choice of imagery, in the often languid, dreamlike atmospheres they summon. It’s to the band’s credit that lyric and musical bed so lithely intermingle and complement each other.

Married with four children ranging in age from 3 to 13, Downie appears to enjoy digging around in the twilight world of his childhood memories, which have provided him with some of his most enduring, transcendent images. Is he, on occasion, channeling childhood?

“Sure. It’s in there, certainly. The great thing about being a parent is that you get a second chance at learning. A second chance, period –to improve yourself, to change, to modify the idea of yourself, who it is that you project, what you want to project. Because these kids are watching, and they’re watching closely.

“I’ve learned an awful lot from my kids. They are a constant source of entertainment –a tragi-comedy every half-hour. Tears, laughter, every single day. And it’s all real. So if you’re a writer bent on noticing things, and trying to find connections between things, from even the most mundane and cliche to the so-called profound –well, then you’ll pay attention to these things. Only a fool thinks he can do it alone.”

Stretching the canvas

The added colors in the Hip’s palate, as represented by “We Are the Same’s” new adventures in tone, tune and texture, have made the musicians reconsider their approach to the concert stage. For the first time, the band has taken a new member into the fold for a tour –keyboardist/ vocalist Jim Bryson. The Ottawa native is handling string and piano

parts for the new material, and according to Downie, helping the group find new approaches to older songs.

The new dynamic on stage is reflected in the Hip’s modified approach – throughout the tour, the band is dividing its shows into two sets, allowing for more variety in song selection, and a broader canvas for the painting. More time on stage has urged the band to draw liberally from all phases and eras of its work. The new mix has given life to songs that have been played often over the years.

But at the heart of the show is the “We Are the Same” material.

“The songs are trying to be of comfort. And maybe they’re failing, maybe they’re succeeding. But at least they’re trying.”

And even though Downie has been fronting the Tragically Hip for more than a quarter century, he admits that he still approaches the concert stage from a philosophical standpoint, a mode of thought that centers around the concept of living in the moment. Though ego and confidence are projected in Downie’s unique stage presence, he says he tries to get out of the way of the music, letting its essence shine through.

“Every night before I go on stage, I just repeat to myself, ‘Sing the words, serve the song…sing the words, serve the song,’ ” says Downie. “This is my goal. The rest is fine, as long as I’m doing that first.”

Looking back on the considerable body of the Hip’s previous work, Downie is again both humble and philosophical:

“You know, I really want to get these words out [during the concerts]. I’ve written a lot of them over the years, and I welcome the opportunity to rediscover them myself, and reconnect with them, to see if they work against the backdrop of these times we’re in right now.”

Concert Preview

The Tragically Hip

8 p. m. Tuesday, Thursday, Friday and Saturday. Artpark, 450 S. Fourth St., Lewiston Lawn seats available for Friday show.

<!-- e --><a href="mailto:jmiers@buffnews.com">jmiers@buffnews.com</a><!-- e -->





SIDE BAR TO THE STORY:
<!-- m --><a class="postlink" href="http://www.buffalonews.com/entertainment/music/story/688073.html">http://www.buffalonews.com/entertainmen ... 88073.html</a><!-- m -->
The border mystery


For years, the perception that the Tragically Hip’s popularity is an exclusively Canadian phenomenon – that somehow, the group’s success vanishes in an imaginary “dead zone” that begins 50 miles from the Canada-U. S. border – has reared its head in most Hip-related press, both Canadian and American.

For fans, it’s perhaps a way to cling to and protect their love for the band – a way of stating, “We get this, but all these other idiots don’t.” For those who don’t care for the band, the mantra is “That’s just a Canadian thing, I guess.”

It’s more than understandable that, over time, the reoccurrence of this idea in the press has crawled beneath the skin of Tragically Hip manager Bernie Breen. The whole “south of the border dead zone” idea is, according to Breen, exaggerated.

It’s true, however, that while the band can quickly fill huge stadiums all over Canada and didn’t have any trouble selling out its four upcoming shows at Artpark and in other border towns, the band’s forays deeper into the American musical landscape have not been as successful. In fact, in a recent article in the Wall Street Journal, lead singer Gordon Downie was quoted as saying, “We can’t draw flies in the States.”

Breen’s argument, though, is that while it’s different and not as overwhelming, the Hip’s reputation and following in America is just fine, thanks.

“It’s funny, because in truth, the Hip plays the same rooms as, say, a Steve Earle or a Wilco,” says Breen. “Over the past 15 years, the band has sold a million records in America, it continues to build its fan-base in the States, and it plays sold-out shows in 2,500-seat venues in major markets from Los Angeles to Boston. In fact, it has been doing exactly that for a decade.”

Breen also says that the band was invited to be on Jay Leno’s “Tonight Show” the last time they were touring, but had to refuse because of prior commitments appearing with none other than the Who.

Breen points to recent high-profile gigs in New York City’s Nokia Theatre and Boston’s House of Blues – both of which were completely sold out – as ample evidence of the band’s status in the United States.

“Both of those shows were packed with fans who knew all the music and were completely into it,” Breen says. “And these were not flag-waving Canadians who’d traveled to the shows, or anything like that. Both New York and Boston were filled with local fans, people who live in these cities, and follow the band.”

— Jeff Miers





The Tragically Hip Revealed:
Video Interview:
Part #1: <!-- m --><a class="postlink" href="http://video.buffalonews.com/player/?id=220">http://video.buffalonews.com/player/?id=220</a><!-- m -->
Part #2: <!-- m --><a class="postlink" href="http://video.buffalonews.com/player/?id=221">http://video.buffalonews.com/player/?id=221</a><!-- m -->
Part #3: <!-- m --><a class="postlink" href="http://video.buffalonews.com/player/?id=224">http://video.buffalonews.com/player/?id=224</a><!-- m -->
It is embedded:
<!-- m --><a class="postlink" href="http://video.buffalonews.com/053109Hip1.flv">http://video.buffalonews.com/053109Hip1.flv</a><!-- m -->
<!-- m --><a class="postlink" href="http://video.buffalonews.com/060109Hip2.flv">http://video.buffalonews.com/060109Hip2.flv</a><!-- m -->
<!-- m --><a class="postlink" href="http://video.buffalonews.com/060209HIP3.flv">http://video.buffalonews.com/060209HIP3.flv</a><!-- m -->
<!-- m --><a class="postlink" href="http://www.buffalonews.com/entertainment/story/688070.html">http://www.buffalonews.com/entertainmen ... 88070.html</a><!-- m -->

I have a spare pair of tickets for this show. Can meet at the venue. email me at <!-- e --><a href="mailto:psychadelic_ramblings@hotmail.com">psychadelic_ramblings@hotmail.com</a><!-- e --> if you are interested.