Flirting with the arts

Last weekend we attended a KW Symphony concert called Sound in Motion: Music and the Body. This was part of the Intersections series, where the orchestra combines with something; this time, with a yoga instructor or “mindfulness educator”. The evening began with only her, actually, leading us through some breathing and stretching exercises. Of course, we were in street clothes and sitting in concert seats, so we weren’t exactly doing downward facing dog, but she adapted to the space we had and the fact that we could stand up.

During the first few pieces the symphony played, she continued to interact with us in various ways, leading us through movements and breathing in conjunction with the music. We weren’t to clap between pieces, but to just keep focusing inward.

For the last two pieces all was quiet, though, as we were to try to stay mindful as we just listened to the music (which were a couple of more modern classical music pieces). It was amazing how well that worked at quelling the problem one usually has at classical concerts, that the mind has a tendency to start wandering off at certain points. Maybe, if you can manage to go right from yoga class to a classical concert, you’ll get more out of it.

int2-600x400

That was Friday. On Sunday I was registered into this program called Flirting with the Arts. It offered 12 half-hour arts-related sessions, of which you selected 6, to give you just a taste of what they’re like. It was held at a volunteer-run coffee shop in downtown Kitchener (itself an interesting place).

Although I thought I’d allowed myself sufficient time to get there for the 10:00 start, I was wrong. Between snow making the drive slower and the nearest parking lot being full, I arrived at about 9:59. Thanks to some jogging to get there.

My first session was by an art therapist, so focused on creating really personal art, not intended for display to others. It was interesting, but not ideal as my first one, as I was still stressed from the lateness and had trouble getting my heart rate back down to normal enough to really focus, as was the point here.

The second was on slide guitar playing. I quite like the idea of playing guitar, as it’s so much more portable than piano, and some songs I like simply sound better on guitar than piano. But I don’t know that I like the idea enough to spend the time it would take to learn.

Slide guitar playing means, basically, putting a tube on your finger and sliding that down the strings to play, rather than pressing the strings down at certain positions to strum chords. In a half hour, we just got the basics of what you can do with that sliding technique. I didn’t seem to be a natural, so I think the instructor was just being polite when he said my first efforts sounded great. But I did get better by the end.

Bonnie Raitt playing slide guitar
Not destined to be the next Bonnie Raitt—note the tube on her finger, here?

Next up was acting. The lesson here was that you don’t inject emotion into words when acting; you feel emotion and project that outward, regardless of the actual words. This was explored in exercises where you had to convey a message using gibberish, and another where you had to convey an emotional backstory into truly prosaic dialogue. It was a cool session with a very enthusiastic instructor (a playwright).

We had lunch break then, which Jean came to join me for. (We went to another little restaurant rather than eat this cafe.) Then he ran away and I continued with afternoon sessions.

The first was landscape painting, and the idea was to try to paint the outline of a landscape you were imagining. My main problem was I’m not any kind of good at just imagining a landscape, so was never really sure where I was trying to go in that half hour. The results were therefore less than impressive.

Next up was portrait painting. We were instructed to bring a photo of ourselves to work from. It was the fifth time of day this artist had been teaching amateurs, and she was getting good at helping us avoid the pitfalls. It was all step by step: the head shape, eye position, and nose position in pencil outline; colour in the shadows of the face using various shades of some kind of pencil; don’t spend too long on the eyes, and don’t draw them too big (though I still did); and then take wet brush to the color and bring it life.

It was surprising how well that turned in just a half hour. Mine actually looked like me.

Finally, I had a writing session. That one was right in my comfort zone, so wasn’t as enlightening. But it was fun, especially the session in which we had to create stories by adding a sentence to what other people. One turned out quite hilarious.

So not sure if any of these flirtations will turn into longer-term relationships, but it was certainly an interesting Sunday.

Feeling angsty? Need some power?

iTunes Genius playlist feature, whereby iTunes create a playlist for you based on a particular song, often isn’t nearly as smart as its name would lead you to believe. Sometimes the results are simply odd, and the songs don’t seem to go together at all. Often they are obvious in a boring way, such as combining a Lowest of the Low song with music by other Canadian band, as though Canadian-ness rather than lyrical intelligence, passionate delivery, and great melody were the key features of their sound.

But I thought this particular one, built around Tracy Bonham’s “Mother Mother”, was pretty good. The songs did seem to work together, and yet I doubt I would have thought of combining them myself.

[To people viewing this in email: There are a couple videos in linked in this post. They may be visible only in the browser, not in the email message.]

I call it “Empowered angst”. Partner acting like a crazy person? Propose to her! (Anything, Anything) Being teased cause you don’t drink, you don’t smoke? Own it! (Goody Two Shoes) Being cheated on (Bring Me Some Water)? Let them know what they’re missing! (Like the Way I Do).

Song

Artist

Mother Mother

Tracy Bonham

Blood Makes Noise

Suzanne Vega

What I Am

Edie Brickell & New Bohemians

Dear God

Sarah McLachlan featuring XTC

Fall Down

Toad the Wet Sprocket

Anything, Anything

Dramarama

Wild Horses

The Sundays

Fuck And Run

Liz Phair

New

No Doubt

Sweet Jane

Cowboy Junkies

Voices Carry (Single Mix)

‘Til Tuesday

Pretty In Pink

The Psychedelic Furs

Goody Two Shoes

Adam Ant

Crush With Eyeliner

R.E.M.

Crazy Baby

Joan Osborne

Bring Me Some Water

Melissa Etheridge

I’m Afraid Of Americans (V1)

David Bowie

The Emperor’s New Clothes

Sinéad O’Connor

Middle Of The Road

The Pretenders

Follow You Down

Gin Blossoms

Temptation Waits

Garbage

Excuse Me Mr.

No Doubt

Like the Way I Do

Melissa Etheridge

Possession

Sarah McLachlan

Bang And Blame

R.E.M.

Hey, remember this video? Aimee Mann being stifled by her jerk of a boyfriend?

Women on the brink: “20 Feet from Stardom” and “Game Change”

Comments on two films I recently watched, sans Jean…

Poster: 20 Feet from Stardom20 Feet from Stardom is a documentary profiling backup singers, a group of people I hadn’t given much thought to before—which is what made it interesting. Though a few male backup singers are interviewed, most of the time is devoted to the women who dominate this profession.

What they all have in common is talent. No “weak but interesting” voices here; they all sing with range, power, pitch, and control. So the question is, why are they just supporting the stars?

The answers vary. Darlene Love was long cheated out of stardom by producer Phil Spector, who would not release her performances under her name. The incredible Lisa Fischer had a successful record—even won a Grammy—but ultimately decided she was frankly happier in a supporting role. Many others tried and failed, because of having the wrong look, poor material, lack of promotion… Or just because.

Through their stories, we get the history background singing in pop music from the subdued style of the 1950s to the increasingly expressive 1960s and 1970s (“rock’n’roll saved us”) to its diminishing popularity in more recent years. It’s a reminder of how important those backup vocals are to many of the songs we love, like “Walk on the Wild Side”, “Thriller”, “Young Americans”, “A Little Help from my Friends” (Joe Cocker), and “Gimme Shelter”. (I had the lines “Rape! Murder!” in my head for days afterward, which was somewhat disturbing.)

Stars are also interviewed in the film, including Sting, Bruce Springsteen, and Mick Jagger. But it’s nice to see the spotlight finally turned on the talented performers behind them.

This movie received a 99% positive rating on Rotten Tomatoes.

Poster for Game ChangeI finally got my hands on Game Change, the HBO docu-drama about Sarah Palin’s campaign for the vice-presidency, starring Julianna Moore. It’s somewhat old news now, but maybe it’s best to watch it when Palin is at a low point in her political popularity, because man…Otherwise it would be terrifying.

Admittedly, some scenes may have been slightly exaggerated for dramatic effect, but I did some research, and the essence of what was presented is true. The depth of this woman’s ignorance about the world was astonishing, as though she’d had no historical or geographic education whatsoever.

It’s not an entirely unsympathetic portrayal, either. You do kind of, sometimes, feel bad for her as she struggles to cram in mass numbers of facts in a very limited and very high-pressure time, while being made fun of on SNL. I did find myself rooting for her in the Vice-Presidential debate (which was certainly not the case at the time).

But when on more of an upswing, oh my God, she comes across as arrogant and self-centered and just… entitled and horrible. The way the woman herself often strikes me.

John McCain, by contrast, is given a very sympathetic portrayal throughout. But it’s not really his story anyway.

No longer a current event, but this is still fascinating and well-scripted biopic with a great cast. You get behind the scenes to understand how this could have happened: How someone so unqualified was running to be a heartbeat away from the most powerful office in the world. It’s not the easiest thing for the HBO-less to get, but well worth tracking down.

Going local: Buskers opener and Solé summer dishes

This region has a Twitter hashtag, #kwawesome, that seems a little needy to me. Places that are truly awesome don’t need to proclaim that fact.

Still, they truly do some things well. The initial, widespread criticism over uptown Waterloo’s public square has long since died down. While certainly not as pretty as downtown Kitchener’s City Hall site, it has proven itself as a great location to hold a wide variety of public events that do bring uptown. This weekend, it’s the Waterloo Buskers Festival.

It’s the 25th year of the event, so the city sponsored a special opening event: a free concert by Steven Page, formerly of the Barenaked Ladies. I got on the iExpress right from my office door to uptown (you see I was determined to fully partake of regional services) to take it in, on what turned into a beautiful summer day.

Steven Page at Waterloo Buskers

Mr Page played with one other musician, a cellist who also sang backup. He naturally did some of his solo material, which I admit I didn’t know, but that did demonstrate he hasn’t lost his ability to write catchy songs with clever lyrics. But he also offered a generous dose of Barenaked Ladies material as well, including “The Old Apartment”, “Enid”, “What a Good Boy”, “Jane”, “It’s All Been Done”, and of course, “Brian Wilson”, the closer (before an encore). In between, he offered amusing commentary. He played for about an hour, which is quite reasonable for a free show!

Why Steven Page, a Toronto guy, for this? Because—and while I think I’ve heard this before, I’d forgotten—the Barenaked Ladies played at the Waterloo Buskers Festival way back in 1990, when no one knew who they were. Not only that, but while they arrived a trio, they left a quartet, because they met drummer Tyler Stewart at the Festival. Unlike Page, he remains in the band to this day.

Jean joined me for only the last part of the show (work!), then we walked over to Solé Restaurant to try this year’s Summer Dishes menu: three courses for $33, using local ingredients.

There was no going wrong with the first course: Tomatoes and feta with olive oil, balsamic vinegar, and fresh basil. Lovely. For the main, I talked Jean into taking the pork with apple and sausage stuffing, sweet potato mash, and sugar snap peas, while I stuck with the trout with potatoes and corn that we’d both been eying at first. Lucky for him, as that turned out to be the better offering—really delicious all around. As for the trout, it was nicely cooked, corn is amazing this time of year, and potatoes are pretty decent, too. The problem, to me, was the remoulade on the fish, which just seemed too heavy, disguising the fish too much.

Main courses at Sole

They weren’t offering wine pairings this year, so we figured it out ourselves. I started with a glass of Cave Spring rosé (local, local!), while Jean had a French sparkling of Blanquette (not Champagne). For the main, we shared a half bottle of Tawse 2010 Pinot Noir. It wasn’t as rich as we thought it might be, given that 2010 was a pretty warm summer, but it was still a nice wine.

For dessert, we both opted for blueberry yogurt from Whole Lot-A Gelata, another local restaurant, and it was just delicious. (Maybe even awesome.)

Top 10 Canadian albums (with some extras)

CBC recently put out a list of the 100 greatest Canadian albums, which was then discussed on CBC Radio Kitchener. “I don’t anyone can argue with Neil Young’s Harvest being number 1”, said the host. Well…

Look, I own Harvest, I like Harvest. I’m not going to deny that it’s a great collection of songs. It’s certainly your go-to for great Canadian albums, as befitting its also being number 1 in the 2007 book The Top 100 Canadian Albums.

It’s just that I can think of a number of other Canadian albums I enjoy listening to more than Harvest. Such as…

Shakespeare my Butt cover1. Lowest of the Low – Shakespeare My Butt (1993)

(CBC unranked; book #84)

I’ve expounded on my love of this band and album before, but… I can’t see anyone not loving this album, unless they don’t like the genre of rock music itself. The songs are catchy and instantly likeable. On repeated listening, you realize they’re smart, too. And warm. And funny. The album is 20 years old, and the music doesn’t seem dated at all. It contains a hefty 17 songs—and there isn’t a single stinker among them.

Jagged Little Pill cover2. Alanis Morissette – Jagged Little Pill (1995)

(CBC #12, book #6)

This was something at the time, wasn’t it? So much fun to play loud and sing along to. Angrily. To me it still holds up, even if she didn’t know what “ironic” meant. It’s melodic grunge. It’s more than just angry—you also have forgiveness, and learning, and being head over feet in love. I’ve enjoyed Alanis’ subsequent albums, mostly (not so much the India one, and haven’t bothered with the motherhood one), but this one still seems her best.

Tradarnac cover3. Swing – Tradarnac (2008)

(CBC unranked, book n/a)

I discovered these guys on Canada Day at an electrifying performance in Gatineau, and I continue to love this album. They sing in very rapid franglais (French with a healthy dose of English: “Allo, CB buddy! J’tired de m’voir promener sur le highway” and such) over a mix of French folk, rap, and pop that results in music so lively you can’t help but dance to it. Even while sitting or driving. It sounds happy, but has a dark undercurrent in the lyrics, if you can understand them. To me, that just makes it better.

The Suburbs cover4. Arcade Fire – The Suburbs (2010)

(CBC #22; book n/a)

I am going to complain the CBC list now: No way that their Funeral album is better than this one. No way. Funeral is fine, but it is right that The Suburbs is the one that earned them the Juno, the Grammy, and the Polaris prize. It’s sort of great that someone made a deep, thematic, almost classical-sounding album—about the suburbs. I took to it really quickly and continue to peel away its layers, this album.

Everybody's Got a Story cover5. Amanda Marshall – Everybody’s Got a Story (2001)

(CBC unranked, book unranked)

I felt this album was unjustly overlooked when it came out, then nearly forgot to list it here myself… But it wouldn’t be denied, in the end. I just love listening to this. As befitting the title, most of the songs tell a story—of waking up with a stranger and a snake tatoo; of life as a blond mixed-race person (“a double-agent on my mama’s side”); of being a taxi driver with a PhD; and so on. The music is fun—more dancey, less bluesy than earlier album, but still showcasing her fantastic and powerful voice. I don’t know why it hasn’t’ gotten more love.

Cover of The Wonderful World of...6. Pursuit of Happiness – The Wonderful World of… (1997)

(CBC unranked ; book unranked (but Love Junk is at #84))

I believe I own every album this band has released, and I pretty much like them all. This one is far from their best known; I don’t think it contains any hit songs. But I list this one because it’s the most album-y of them all: its 15 songs all lead one into the other as though the whole thing were one big rock opera, or something. (Note the little Tommy homage between tracks 4 and 5.)

Now, it doesn’t actually have a continuing storyline, but more of a continuing theme (which is really the theme of every Pursuit of Happiness album) of the joy, frustration, and sheer messiness of love, sex, and relationships. Yet for all that, the songs also stand alone quite nicely. No mean feat. This is a small piece of pop art.

When I Was a Boy cover7. Jane Siberry – When I Was a Boy (1993)

(CBC unranked, book unranked)

I had to list Jane, but it was really a toss-up between this and her first, No Borders Here. I finally went with this more mature work. The opening track “Temple” sets the different tone: “You call that hard? You call that rough? Well, it’s not, rough enough.” Who would have expected that from the quirky singer of “Mimi on the Beach” (although the part of the song where she encourages Mimi to stand up on her surfboard, causing her to drown… Was maybe a clue.) Jane is a bit of an odd duck, but she can certainly put a tune together, and in this album she really seems to be more deeply expressing her soul.

Gordon cover8. Barenaked Ladies – Gordon (1992)

(CBC #25, book #27)

Yeah, they’re funny, but they’re also insanely talented, seemingly effortlessly putting together incredibly catchy pop. And the serious (and still tuneful) ballads like “Wrapped your arms around me” (“I put my hands around your neck)”, “The Flag”, and “Blame it on me” show that it’s not all fun and games, all the time, with this band.

Fumbling toward Ecstasy cover

9. Sarah McLaclachlan – Fumbling Toward Ecstasy (2003)

(CBC #20, book #25)

Sarah’s music sneaks up on me, randomly selected by my iPod, making me suddenly realize that I like it better than anything that was played before it. They’re mostly ballads; strong emotions expressed in a more subtle way—no screaming guitars, or any screaming, period. I guess it’s that haunting voice, or… I don’t know what. It’s not what I usually go for, but this is album is beautiful.

Don't Smoke in Bed10. Holly Cole Trio – Don’t Smoke in Bed (1993)

(CBC unranked, book unranked)

And, I’m not the big jazz girl, usually, but man, I’ve played this album a lot. Holly takes these lovely standards and performs in this slightly twisted, dark way that makes them way more interesting.

The extras…

Songs from the Road coverTop Live: Leonard Cohen – Songs from the Road (2010)

For a very long time I considered Leonard Cohen someone whose songs I loved—as long as someone else was singing them: Jennifer Warnes, KD Lang, Jeff Buckley… Then he started touring with this amazing band. And I began to love his own take on his great songs. This particular collection is his own selection of the best version of each song he did on this tour.

Highly recommended!

Gord's Gold coverTop Compilation: Gordon Lightfoot – Gord’s Gold (1987)

My Dad is a big fan, so I grew up with these songs. As a teenager, of course, I wasn’t going to admit to liking them, but now I can! While I can’t really see buying his individual albums, this “greatest hits” collection is fantastic: “If You Could Read My Mind”, “Sundown”, “Early Morning Rain”, “Canadian Railroad Trilogy”…

The only other thing you might want is Gord’s Gold 2 (for “Wreck of the Edmund Fitzgerald”, “Alberta Bound”, “Ghosts of Cape Horn”…).

From Here on Out coverTop Classical: KW Symphony – From Here Out (2011)

No dead composers here: This CD features classical compositions by Nico Muhly, Richard Reed Perry (of Arcade Fire), and Jonny Greenwood (of Radiohead). It’s not always comfortable listening, but it’s never boring, either.

The Who’s Tommy at Stratford

Seated in the third row of the Avon Theatre at Stratford, engrossed in our conversation, Jean and I were nearly jolted from our seats by the extremely loud opening chords of “The Overture”.

Judging by the nervous giggling all around us, we weren’t the only startled patrons. Welcome to The Who’s Tommy, live on stage at Stratford, Ontario.

The Who books in literary display, Stratford
Spot The Who amongst the literature at a Stratford bookstore

I enjoyed it very much, of course. Having seen it back in the 1990s in Toronto, I suspected I would. This version has more complex staging, more special effects. I couldn’t tell you what the differences are; I don’t remember well enough. But I can tell you this is one of the most elaborately staged musicals I’ve ever seen. There were always things to look at, all around the stage. (And from the third row, that sometimes made for a sore neck.)

So the one critique this production has received is that the effects and all are too much; that they overwhelm the excellent cast. Jean and I would disagree with that. Tommy is big rock musical with big themes. It and its cast are only enhanced by staging that matches those ambitions. And I, for one, did not find that it diminished the play’s emotional impact. I remain touched by Tommy’s situation.

As I know both the album and the movie inside and out, I found it interesting to see how the story was adapted for the stage.  I had recalled, from the Toronto production, that the story is somewhat softened from the movie version, both necessary (to not restrict the play to those 18 and over) and a relief, given that the Uncle Ernie, Cousin Kevin, and Acid Queen happen to the 10-year-old Tommy in the play, unlike the Daltrey-aged Tommy in the movie. (And no, little Tommy is not left alone with a hooker; his father merely toys with the idea before coming to his senses.)

But I had forgotten tons of things, like the interplay of Tommy at ages 4, 10, and 20something, which both dramatizes the character’s extreme self-imposed isolation, and allows us to enjoy the performance of lead actor Robert Marcus in the first half, before Tommy grows up; the very different handling of the Sally Simpson story (at least compared with the movie); and the much bigger role of Cousin Kevin—which is great, as he’s played by the wonderful Paul Nolan (Jesus in last year’s Jesus Christ Superstar).

Most especially, I’d forgotten that lyrical changes that turned “We’re Not Gonna Take It” into Tommy’s refusal to lead his followers into his world of isolation, whereas both album and movie had Tommy trying to do just that, and them rebelling. (Of course, the followers reject him here as well—only for a completely opposite reason.)

There are many other lyrical changes (for example, “21” refers to the mother’s age rather than the year), but only one new song appears in this production: “I Believe My Own Eyes”, which provides the segue into “Smash the Mirror” (without any need of the movie’s baked beans and melted chocolate). It’s very much a Broadway song, more so than a Who tune, but having bought the soundtrack, I do find myself humming it at times, which is interesting.

As I’ve already suggested, I thought the cast was very good, and on a shallow note, I found young Mr. Marcus very attractive, looking rather better on that stage than he did in his publicity photos. Jean was similarly struck by the lovely Kira Guloien as Mrs. Walker.

Gotta say that one thing really lost in the stage version is the power and potency of the “Listening to You” final chorus that you get from hearing The Who play that live.  But a play is a different animal than a rock concert. And this one is also worth experiencing, in my opinion.

Select quotes

“At least now I know why Tommy was deaf, dumb, and blind. I never understood that before.” — Jean

“I was hoping that I would know at least one song. Just one. But I didn’t recognize any of them.” — My Mom

“Oh my God. The music is by Pete Townshend? Of The Who? Oh my God. This is terrible!” — Lady sitting behind me

Après theatre dining

If you do go to Stratford, for Tommy or other, I might suggest dinner or lunch at La Taverna, which is a new section of Pazzo restaurant, as we very much enjoyed our meal there. It’s pretty small, but a pleasant room, with a comfortable feel. Sound level would have been fine, except we had a big Italian family dining next to us! 🙂 And the service was very good.

Oysters at La Taverna
Appetizer

We started by sharing oysters, and a bocconcini bruschetta with figs and prosciutto (not pictured, but very nice).

Gnocchi and fish
Main course

Jean had a very nice gnocchi dish as his main, while I went with the fish special of the day.

Rice pudding and baked vesuvius
Dessert

And we concluded with an arborio rice pudding for Jean and a “baked vesuvius” for me, that being a limoncello-soaked cake with lemon gelato and cardomom meringue. Delish.

Sting live. In Kitchener?

Stars of Sting’s stature don’t normally play Kitchener, as it’s only about an hour and a half from the much bigger, more lucrative market of Toronto. But this Back to Bass tour of his, Wikipedia informs me, has been going on for ages—since 2011! As he’s already hit all the obvious cities (like Toronto), I guess he’s working through another tier. Along with Kitchener, this leg of the tour around includes oddities like Kingston, Ontario; Bangor, Maine; Summerside, PEI; and Arras, France.

I am a Sting fan, but not a major, major one, and I’ve seen him in concert twice already—though that was decades ago. But given the combination of the show being right in town, at a reasonably small venue and price, and having friends who wanted to go, it was basically a no-brainer to attend.

As Sting does not have a new album to plug at the moment, the show was chock-a-block full of hits. Admittedly, a few of the songs I didn’t know—I have lost the thread of his solo career periodically—but mostly, the songs were ones I could sing along to. Possibly my fave, “Englishman in New York”, was third in the line-up, and prompted a rapturous response that the artist seemed to appreciate, saying that made his first visit to Kitchener seem worthwhile.

Continue reading “Sting live. In Kitchener?”

Who I Am

No, this won’t be a philosophical statement of my essence; it’s just my reaction to Pete Townshend’s 500-page autobiography, Who I Am (now out in paperback).

Who I Am book coverI read a lot of reviews of this, both before and while reading it. And clearly a number were disappointed to find out what a flawed human being this very talented artist is.

Personally, I had never looked up to him as a personal hero in that sense, so I wouldn’t say I was disappointed in him. But I was very struck by his extremes, by how he would so frequently repeat destructive patterns of addiction, overwork, isolation, speaking out unwisely. In one chapter he would be mourning the loneliness of being the only band member trying to stay monogamous; a few later, he would be brazenly chasing younger women, even in front of his daughters. Here he’s giving up drinking, then he’s drinking daily, possibly with a side of cocaine. Then sober again, then taking a test drink.

You’re getting the idea. My most frequent synopsis, after finishing another section, was “Wow. Pete is really messed up.” I ended up straggling the reading of this over a number of months, as his life wasn’ always the happiest one to travel through.

So if you needed more proof that genius, creativity, success, and money doesn’t always bring inner peace and satisfaction, here it is.

While some biographies have wide appeal, I do think this one requires a pre-standing interest in the man, in his band, or at least in the music of that time. Though it should be noted that often doesn’t spend a lot of time on some of the best-known events of the band’s history, only mentioning these perfunctorily, as though obliged, sometimes with reference to websites for more information. This would be true, for example, of their literally explosive appearance on the Smothers Brothers; details of the creative process behind Tommy; the incident where Roger knocked him out cold at Quadrophenia rehearsals; the death of 11 fans in Cincinnati… Even Keith Moon and John Entwistle’s deaths don’t take as many pages as you might think. In some cases, I can see why he might feel he’s already said enough about that elsewhere. In others, I think he may just have been unwilling to delve too deeply into it.

Naturally, I had a particular eye out for what he’d have to say about Roger Daltrey. And mostly, it was positive, complimentary stuff. Some of the many personal conflicts they’ve had through the years are mentioned, but definitely downplayed. Despite the self-censorship, I did learn some things:

  • While I knew that originally Pete was supposed to sing much more of Tommy than he did, I didn’t realize the breakthrough came because Roger deliberately worked very hard to develop that beautiful, high, falsetto tone that we hear in “See me, feel me”. [Both Pete and I are relieved that he did.]
  • The usual story of the Who By Numbers album is that Pete wrote a bunch of really personal songs that Roger had to be persuaded to sing, indeed refusing to in some cases. Here Pete writes that he actually had many songs available for that album, and it was Roger who personally picked out those more personal and bleak ones. [Hmm.]
  • Becoming a bigger star in his own right, Roger started showing up at band events in his personal helicopter, which Pete found weird and which made Keith Moon very jealous. [That’s just funny.]
  • Pete thinks that Roger’s vocal performances  on the little-known (but lovely) “One Life’s Enough”, from It’s Hard, is one of his best. [I agree. Listen for yourself.]
  • Pete says wrote “After the Fire” (1985) about South Africa, and that it’s Roger’s interpretation that turned into a dirge for their lost youth of being rock stars [the latter, I admit, is how I’ve always interpreted that song!]
  • Pete hesitated to appear at Roger’s Daltrey Sings Townshend concert (1994), not, he says, because he was angry about the whole idea (as had been reported), but because he was afraid that performing again would threaten his newfound sobriety. [I love Pete’s appearance, and indeed that whole concert. Glad he did it.]
  • There was a lot of pressure on him to make his Iron Man solo album a Who album, but he was sure Roger would hate singing these songs. So sure, I guess, that he has completely forgotten that Roger did sing “Dig” on that album. It’s never mentioned. (Only, in passing, that he did have Roger sing and John Entwistle play on a cover version of “Fire” on that record.)

Video proof of something Pete has apparently forgotten ever happened…

As for the whole child pornography investigation, it’s a bit amazing that it’s received so much attention in book reviews and interviews, as it, appropriately, makes up so little of the book itself. Pete did nothing wrong. Can we move on now?

But it was nice to hear that he received many letters of support related to that and that he even made an effort to respond to many. And that he does seem happier as an older man than he was a younger. As an appendix, he includes a fan letter from 1967. He comments how he realizes now, as he couldn’t then, that this fan, his fans, love him in a genuine. And thinks how different his life would have been if he could only have learned to see and accept love earlier.

Can a discount orchestra save the electric series at Centre in the Square?

This tweet was the first I’d heard about the KW Symphony being dropped from the Jeans’n’Classics series of concerts, which struck me as very strange, since the whole point of those concerts was marrying rock band with symphony.

Except for this one, though, Twitter—often a great source for finding things out—was annoyingly silent on the subject. Finally I had to go old tech: I emailed Centre in the Square to ask them about the tweet. The fact that they didn’t quickly reply made me think it was probably true.

And indeed, the email response that eventually arrived confirmed it, saying that the KW Symphony would be replaced with session musicians: “the size and make-up of the orchestra will be tailored to meet the artistic and stylistic demands of each Jeans ‘n Classics production”.

The community discussion I’d been craving kind of broke out in the pages of the Waterloo Region Record, who ran a story about this on May 31. That was followed by various letters to the editor, then a very critical commentary piece by a member of the Symphony board , followed by a defense by a member of the Centre in the Square board.

Nobody seems very happy about this change, but what strikes me in particular is that first article claims that lower production costs were not the main reason here, but an artistic need for revitalization. The last article frankly states they couldn’t afford the series any longer in this form—which at least makes more sense of the whole thing.

They both agree, though, that they want a bigger audience. Got to wonder if they’re going to achieve it. I’m afraid that I, for one, won’t be helping them out with that.

At the third concert this season, they had us vote on which three concerts we wanted to see the following year (out of six choices). I thought that wasn’t a bad idea, but note that everything they selected was a reprise of a previously done show. If I go next year, I’ll be seeing three similar concerts again, only with a smaller, less talented orchestra. The promised “better staging and lighting” won’t make up for the diminished music.

When it works, it’s a fantastic sound, it really is. The sound of an orchestra when it’s playing with a rock band well… It makes every hair on your body stand on end. It’s incredibly powerful.

– Roger Daltrey (The Who), 1994

I’d know what I was missing. So after about 10 years of great seats, I’m out.

And I know I’m not the only one. So to get their bigger audience, they not only have to add people, they have to replace the ones lost to this decision.

But you know, I do wish them well. I love Centre in the Square. It’s a fantastic hall. It’s incredible that a smallish place like Kitchener-Waterloo has one of the two or three best concert halls in the whole country. More people should go experience the sound there. It’s unfortunate it’s somehow developed a bit of a “stodgy” reputation. Some things do need to change. They do need better acts, more acts, even gimmicks to drawn more people in.

I’m not sure this particular series change will work out for them. But I sure hope something their Strategic Plan does.

And it’s not like I’m abandoning the place. I’m already signed up for six KW Symphony concerts there next year (to go along with my three at the Conrad Centre). And with some dates now opened up by not going to the Jeans’n’Classics series any more, I’ll probably add a few more.

Tell me, who are you? (My parents encounter Pete Townshend)

My parents went to see the Stratford production of Tommy last week. I was wondering what they’d think of it, given its somewhat dark subject matter and the fact that they aren’t especially fans of The Who’s music.

But they came back with good reviews of the effects-laden production. Mom reported that director Des McAnuff had been at this preview performance, promising the audience that he would paper over any glitches as needed, but I guess none were apparent, anyway.

The next day, I read that not only had McAnuff been in attendance, but Mr. Pete Townshend himself had appeared to take a curtain call that night.

When I asked my parents about it later, Dad said, “You know, I wondered if that guy on stage at the end was Pete Townshend!”

“He asked me if that’s who it was,” confirmed Mom. “I said, ‘How the heck would I know?’’’

“He sure got a lot of applause, though,” she added. “So we just applauded, too.”

So that was kind of funny. (And a generational note that, in fact, my parents are much closer in age to Mr. Townshend than I am. But they are on the older side of him, and I am on the younger, and in popular music, that’s usually a big divide.)

Pete Townshend seems to be making a bit of the rounds of Canadian media, appearing on Q with Jian Ghomeshi yesterday (as were McAnuff and some of the cast), and having a big interview in the Toronto Star today. Townshend’s own review of the Tommy revival is as follows:

They’re an extraordinary company. They certainly know how to rock. The technology is great. The show looks great. I’m in a sense still reeling from the impact of it. It’s quite a journey.

I have my own tickets to the show for July, and I’m quite looking forward to it, even though I won’t be getting any rock star appearances, as The Who will be touring Europe at that point.