Bureaucracy run amok

And from the files of the most recent example of reactionary politics and the elected leader of our country…

While I admit that our opinions sometimes differ, Alan Cross has had an undeniable impact on radio and music appreciation in my part of the globe.  And his mind works similarly to mine.  His Ongoing History of New Music and The Secret History of Rock link together music/musicians and the context and history in which they were writing.  During his tenure at CFNY the station was cutting edge in its programming and support of the music industry in Toronto.

Gotta give the guy his props.

I saw something about this particular situation last week and, while my original impulse was one of outrage, I set it aside to explore more thoroughly when I had a bit more time.  Alan has done a very good job of gathering the deets on his blog and explaining some of the whys and wherefores behind this ridiculous decision.

As he notes, while the Harper government has certainly not been shown to be a great friend of the development and preservation of programs meant to enhance the arts and culture, this ridiculous new fee that is to be levied on foreign musicians who wish to perform in Canada is actually collateral damage from a scandal that came to light last spring.

RBC- the largest financial institution in Canada- was taken to task (rightfully) for laying off Canadian workers and replacing them with foreign contract workers.  This resulted in the expected amount of backlash in the media, from Canadian labour groups and from the opposition parties in the House of Commons.

The Harper government’s response was that they were ‘working on’ the problems with the Temporary Foreign Workers Program.  Result?  This new $275 application for offshore workers who wish to apply for jobs in Canada.  And that Canadian workers MUST be offered the positions first.  All fine, on the face of it.

But, as Alan notes, whoever wrote this addendum to the Program rules did not think about the specific needs/realities of the music industry.  Alan is a music industry insider, and, as such, can (and does) speak far more clearly about the ramifications of this fee for bands (from other countries) who are signed to Canadian labels and other such intricacies.

I am pissed about what it will do to the diversity and availability of bands that come through this town o’ mine on a regular basis.  One of the things I love most about this city is the number of smaller venues that offer exposure to both local and touring bands that are not regularly found on the radio stations that are run by the huge, corporate and impersonal media conglomerates.

I love perusing the tickets lists on the sites run by independent record stores like Soundscapes or Rotate This.  For a few bucks you can see new music- or old favourites- at all kinds of cool joints around town.  Some of these bands are just starting out- and working hard to garner followings and gain some exposure.

I have been lucky enough to see a whole lot of hard working musicians in these small clubs, bars and taverns over my lifetime- sometimes little bands who later went on to command stadium crowds (and ticket prices).

But more often I tend to gravitate to those singer-songwriters who have made working careers of writing and playing their own music in dive bars and concert halls- touring for the love of the music and the interaction with the appreciative ears in their audiences.

These are not necessarily musicians who are likely to make it to the stadium level or regular airplay on local radio station morning drive times.  But the rapport with the audience and the pure energy that is generated with a smaller crowd in a smaller venue is something that should be experienced- and it is that which is threatened by this reactionary and unexamined application of a rule meant to crack down on the bad publicity that arose with the RBC situation.

The Legendary Horseshoe Tavern is one of my favourite music venues in town (seriously, check out the ‘History’ section on their website.  There’s some pretty cool stories in there).  In addition to the annual Skydiggers Christmas show (which is a holiday tradition with some of my peeps), I have seen an number of great bands there over the years.

Almost exactly three years ago I had the opportunity to first see this guy live:

It was during TIFF.  The Boss was in town in support of “The Promise: The Making of Darkness on the Edge of Town”, so there was a whole lot of speculation about whether or not he might put in an appearance at Jesse’s show at the Horseshoe.

Largely because of this:

Tickets, that I had bought at Soundscapes for $14, started selling for crazy prices on Craig’s List and Kijiji.  My friend, who first introduced me to Jesse, is also the biggest Springsteen fan I’ve ever known, so there was a fairly high level of hope and anticipation (though he was convinced that it wasn’t to be) in the air as we showed up for the gig.

The Horseshoe was PACKED.  Like I’ve never seen it before.  And it was filled mainly with film industry douches who were there only on the off-chance that Bruce would stop by for a set.  When Jesse and the band took the stage, I set aside my frustration that a large percentage of the audience was there only to be seen and/or in case of a Bruce appearance (they continued to talk on phones- and occasionally to each other- as the band began their set.  Honestly.  The rudeness.  Put the damn phones away and give the BAND your attention and respect) and let the music flow.

Jesse and the band were electric- and full of personality that would have been lost in a less-intimate setting.  At one point Jesse climbed across the heads of the crowd to the bar to grab a tequila shot from the incomparable Teddy Fury.

All things considered, the band handled the gig with grace and respect- for those true fans who were there to see THEM (Bruce never did show- to the surprise of almost no one who was actually there to see Jesse and the St. Mark’s Social).

I’ve since seen him twice- both times back at the ‘Shoe- and both times with a more modestly-sized audience (one was a January show and it was so freakin cold outside that I could hardly blame people for not coming out).  Though there might have been fewer of us, the enthusiasm (of the audience and the band) was engaged and completely together.  At one point Jesse had us all sitting in a circle on the dance floor singing along to his great cover of the Replacements’ Bastards of Young.  It was like a camp out.  In the Horseshoe.  With Jesse Malin.

Those are the kinds of shows- and the type of venues for live music- that are threatened by the arbitrarily applied rule that has been put in effect by Harper’s Conservatives.

As Alan Cross points out, Canada is NOT closed for business and exposure to great, working musicians from all over the world.  While some people may be content with spending hundreds of dollars to see mainstream acts (I hesitate to call them all ‘artists’) at massive venues, I remain part of the music buying (and appreciating) public that likes to see new music in smaller places without having to take out a bank loan (likely negotiated by someone from overseas who was hired before the rule went into effect).

There are certainly bigger concerns in the world at the moment.  The issue of intervention or non-intervention in Syria tops the discussions that are happening in the rooms of power around the world.  I understand that.  It’s making both my heart and my brain hurt.

But this issue, close to my very soul since it is a big part of the soul of the town (and country) I love, is another example of programs/rules/procedures being instituted by a bureaucracy/government without analysis or insight into larger or longer-term consequences.

It’s Monday, and the week is likely to see some pretty big decisions that will have ramifications for us all.  I’ve already started my reading list with this and will continue on from there as I try to get a handle on the push for military intervention in Syria.  But I plan to ease back into the week.

Jesse puts it nicely in NY Nights:

“On my TV they’re still playing god.  I’m sick of politricks.”

Sigh.

But.  As I keep emphasizing, it is our responsibility to stay awake and aware of what our politicians are up to- and speak up when it isn’t acceptable in our reasoned assessment of the situation.  Whether the proposed actions are an attempt to halt thousands of people killing other people in the name of ideology and power, or a ridiculous surcharge for musicians who enrich the already rich life we are privileged to have here in Canada.

Proportion matters, but so does participation.

Songs that can change a life #2

I’m thinking that I just must have too much on the go of late (contrary to what some detractors I could name might have to say.  Self-employed does NOT mean UNemployed).

While perusing the drafts of posts that I have started and forgotten about lost my train of thought not yet completed I saw that title up there ^ ^^ and honestly couldn’t for the life of me remember just what that life-changing song (#2) might be.  Didn’t even remember starting the thing to be completely honest.  And certainly didn’t remember searching the YouTube and linking in this:

Methinks the Shuffle Daemon is now controlling me, as well as my iPod.  Haven’t heard that song in AGES.

So, hello Waterboys, how’ve you been?  C’mon in and grab a beer.  It’s been far too long since we spent some quality time together.

This song, their best-known and most commercially successful, was my first exposure to the Waterboys, but it definitely was not to be my last.  I was going through a folk-rock- type music phase at the time and their sound significantly resonated with that period in my life.

The Whole of the Moon is from the 1985 album This is the Sea and I distinctly remember rushing to Sam’s on Yonge Street to pick up the tape almost immediately after hearing the single on CFNY for the first time.  The album got tonnes of playtime on the ol’ Walkman, but The Whole of the Moon got more than the rest.  If I had instead bought the vinyl LP, the grooves would most certainly have been worn more deeply on that particular song.

Musically it is quite spectacular and theatrical- with its antiphonal trumpets, falsetto vocals and a sax solo near the end.  But, as always, it was the lyrics that really drew me in and wouldn’t let me go.  The referencing of legendary creatures and places- ‘every precious dream and vision underneath the stars’– made me want to become a person like the one in the song.

A person who sees not the smaller part of things, but the entirety, and who looks upon that whole with childlike wonder, even when in danger of climbing ‘too high too far too soon‘.  I still aspire to that goal.

The magic referenced in The Whole of the Moon was echoed on the Waterboys’ 1988 album, Fisherman’s Blues,  especially in the musical version of William Butler Yeats’ beautiful poem The Stolen Child.  The track is a combination of their usual dreamy music and Mike Scott’s vocals with the addition of the incredible recitation of the poem by the Irish sean-nós actor, singer, songwriter and poet Tomás Mac Eoin.

The traditionally Irish feel of the music behind the lyrics brings the poem to life in an incredible way.  Yeats is among my favourite poets.  His love and use of the myths of the Irish Twilight, as well as his recounting of the historical events that marked his time, are musical in their very language.

Hearing a native Irish speaker (and singer) recount the story of the human child, stolen from his familiar surroundings in order to dance with the faeries ‘far off by furthest Rosses’ because the ‘world’s more full of weeping than he can understand’ sparked something atavistic in me.

In part because of the cadence of the music in the Waterboys version, I have no trouble at all remembering every line of the beautiful poem.  Even single lines can still cause an incredible shiver to run the length of my spine.

I had read Yeats before hearing the Waterboys’ version, but I admit that I had never read Yeats.  The song- and this poem, followed by the rest of his collected works upon deeper examination- made me feel Yeats and the power of his poetry.  And that depth of feeling led to the discovery of a body of myths that had previously been somewhat outside of my wheelhouse.

I learned Irish so that I could read the traditional- and contemporary- words of the poets of that storied isle in the original language while hearing their music in my head.

The myths and songs of  the Celts speak to the world in so many iterations.  The Whole of the Moon was a catalyst that exposed me to the study and love of its cultural milieu and took me further down my road to discover and appreciate the mythologies of the world.  Life-changing indeed.  Thanks Lads.