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Monday marked the beginning of the end for Halifax-based Canadian music blog herohill. Bryan “Ack” Acker’s morning post detailed with thoughtful retrospection why the prolific blog would be shutting down after 10 years of reviewing and reflecting on music. Acker, who along with Shane “Naedoo” Nadeau ran the site for a decade, announced the swan song, declaring that the coming weeks will feature 10 essays, one for “each of the records that really impacted my life.”
It’s a positive way to say goodbye, but the decision was made after the bloom of reviewing music had gone off the rose. Acker writes: “Writing about music is more of an obligation than anything else. I can’t pinpoint when I stopped enjoying writing about bands, I just know it happened, and no matter what I’ve tried the joy I took from writing is gone.” He continues, “When I first thought about writing this post, I wanted to start naming names. I wanted to call out the shitty publicists, the lazy bloggers and the entitled, arrogant musicians that treated herohill like an unpaid employee.”
Instead, he took the high road and focused on the opportunities that developed for himself and Nadeau. He admits herohill didn’t offer much in the way of compensation, and was an awfully demanding second shift, but in a climate of rapidly shrinking print inches, their long form reviews were a rarity. Contacted after his goodbye post, Acker says, “I will say, when I hit submit, I felt a weight come off my shoulders, but as more and more people reached out ... it was hard not to be sad when we said goodbye.”
Acker and Nadeau are open to other projects, and there’s some melancholy about leaving music behind for now. But herohill couldn’t abide the shift to a click-baited format. “I've given a lot of time thinking about what's next for blogs. Most of the old dogs are retiring, and now, the model is crumbling. With soundcloud and twitter, everyone has instantaneous access to every song that is released,” says Acker. “Music sites should try control the flow coming from the fire hose. Instead of posting every new song you get from PR folks and labels, think about the songs that you really think people should hear, or put time into describing the songs with passionate words.”
“We've moved to a model where people either gush or just shit all over a band. There is almost no middle ground, which is too bad because most bands are average. That's fine for fans, but I'm not sure bloggers are willing to actually go back and learn about the influences that form today's sound or can speak intelligently about it. I get it, it's hard to randomly pick a point and go back, especially when no one getting paid to review music anymore, but I just wished people cared more.
“I think that's the why I can't keep going. I want people to read our reviews and feel like they got new insight into how the songs can make you feel, but most people just want the link.”
Multi-task and watch two new videos from the local artists in one go. Think of the time saved!
Here they are separately, if you're some kind of purist.
Like A Motorcycle's video for new single, following up their #Motorpool EP, features a frank look at tour life, corndogs and Coast alumna Alison Lang.
Jay Mayne's "My Addiction" is the first single off his latest mixtape F*kiT and depicts a lovely pastoral scene.
Amidst the printed images, sculptures and flashing screens that fill the Saint Mary’s University Gallery, an inkjet print of Marshall McLuhan’s “A Note of Obsolescence” offers up a hint of what Robert Bean and Ilan Sandler’s Obsolescence and Inscription expresses: “Obsolescence is a very large and mysterious subject which has had very little attention in relation to its importance.” The result of a Social Sciences and Humanities Research Council grant, Bean and Sandler’s collaborative exhibit takes on the notions and expressions of obsolescence from multiple angles.
A conversation between objects and ideas, between language and modes of expression is demonstrated through Bean’s photographs of long-rejected communication devices like an Enigma machine and an IBM Computer Card Punch. Sandler’s magnified images of diatoms, projected in video and imprinted onto glass make enormous and immediate the minutiae of the organic, expressible only through inscription. Inscription and obsolescence bump up against each other: simple images of fragments of typewriters sit alongside a hypnotizing photomontage displayed on monitors mounted as though to mimic an open book. An embodiment of the final lines of McLuhan’s “Note”, Obsolescence and Inscription sparks an “awareness of the role of obsolescence in sparking creativity and the invention of new order.”
How many pairs of shoes does it take to make a dress? Art, fashion and sculpture collide in the powerful exhibit FLESH at Mount Saint Vincent University Art Gallery. Arianne Pollet-Brannen’s display of work stays true to the artist’s creative leanings with plenty of unique shapes, colours and textures in her garment-sculptures. The exhibit features 21 pieces of clothing made from old shoes, discarded fabric and cotton. Many are recent creations within the last couple of years and build upon the artist’s signature look of recycled, feminist art.
“I’m playing around with different things,” says Pollet-Brannen, artist-in-residence at Mount Saint Vincent University. “I was interested the history of shoes related to women. It’s really shocking how women hurt themselves in the past by binding their feet and today with 21st century high heels. I’m using objects that were previously considered garbage and deconstructing shoes.”
The dresses cover a wide range of styles and play off the conventional ideas of haute couture fashion. Hanging on a diverse array of mannequins, the viewer has the opportunity to examine the details of each piece. Many of the works are have symmetrical shapes like Selfportrait (2012-2013), where the distinctive pieces of leather from the shoes are clearly visible. Sneakers and high heels are a perfect match in High Mid Low Tops (2013), a rugged top with clean symmetrical lines. All elements of the shoe are used in Shoeliner, where shoe linings and discarded pieces of fabric are used to create an eclectic garment.
“I let the shoes guide me,” says Pollet-Brannen. “I let them be what they are. I use everything, even the nails from the shoes. By keeping the shoe’s shape, I keep the decisions made by the original creator.”
The beauty of the exhibit is the variety. Where else would you see cute polka dots with a colourful, beautiful mish-mash of leather on top? Pieces like Cincinnati Day Dress (2012) bring together the elements of colour, expression, deconstruction and femininity. The pieces from 2011 NSCAD Wearable Art show, the five-piece ensemble of the 12th century allegory Ordo Vitutum are also part of the exhibit.
Pollet-Brannen will be wrapping up her five-week stint as artist-in-residence at MSVU in early December. She hopes to bring her pieces to life again through a short video showcasing her work.
“I usually have two performers at the opening but I’d like to have all the pieces worn,” says Pollet-Brannen. “It’s hard to see the architecture at a show but a video would allow you to see all the details.”
There are certainly pieces that would be appreciated through performance. Who wouldn’t want to see The Soul (Bustle Dress) come alive?
FLESH runs until December 15 at the Mount Saint Vincent University Art Gallery, 166 Bedford Highway.
“…just take the perspective you get from being one person alone in one head and feel the effects of it./ Take silence and respect it.”
The first incarnation of “How to Be Alone” was a collaborative video by two Haligonian artists: musician and former poet laureate Tanya Davis, and filmmaker/illustrator Andrea Dorfman. After the video was first released in 2010, it went viral. (At the time of this printing, it had over six million views.) In 2011 Davis released her first book of poetry, At First, Lonely, with PEI’s Acorn Press, but it is this one poem in its first incarnation that continues to garner attention for these two artists. This month, a gorgeous, illustrated version of the poem, How to Be Alone, was released by HarperCollins.
Initially, the poem was just intended to live inside the video. “We thought that was that,” explains Davis. “The rest is just a continuing bonus…. I feel grateful and fortunate…the poem keeps on living. People spread it [and] it keeps going.”
As Davis explains, because of the poem’s first “life” on the Internet, it has created a sort of community, which, in its own beautiful way, conquers the very fear of aloneness the poem encourages the reader to rise above. It has also provided Davis and Dorfman a direct line with an appreciative audience. “Getting feedback has been invaluable; a way to connect,” says Davis. “People have taught me things in a way I can’t measure. Part of that, ironically, is to not feel alone.”
And things haven’t slowed down since the video was first posted. “I still get emails from strangers several days a week,” Davis continues. “I feel connected and like I’m doing work that has a place…all we really want to do is to make art to give it away.”
Fans of the video will notice similar imagery in the book—it was Dorfman’s illustrations that graced the video—with a vibrant, cheerful palette that is equal parts whimsy and continuity. “Andrea did so much work,” Davis says. “I love the art that she makes and I trust her immensely.” Surprisingly, according to Davis, this is Dorfman’s first time illustrating a book. “I’m really happy for her, [and] for people who like the poem it’s like a souvenir.”
“Poetry is not considered the most accessible medium,” she continues, explaining how unusual it is that the poem “could be transcribed because the video was successful.” But perhaps it is the topic of How to Be Alone that is the great equalizer.
The launch for How to Be Alone, featuring original artwork, will be held on Saturday, November 23 at ((Parentheses)) Gallery from 7 to 10pm. You can count on being “surrounded, if you need it.”
Just like the headline says, the men of Black Sabbath, Ozzy, Tony and Geezer are going to be sniffing lines of ants all over this piece (the Halifax Metro Centre) April 3. This makes me feel very very like this:
Here is your ticket info, get on it.
Tickets for the Halifax show go on sale Saturday, November 23 at 10am. Tickets will be available at the Ticket Atlantic box office at the Halifax Metro Centre, at participating Atlantic Superstore outlets, by calling (902) 451-1221 and online at ticketatlantic.com, evenko.ca and livenation.com
Beginning today, fans can visit (http://bit.ly/RSVPBlackSabbath) to RSVP for early access to presale tickets available Wednesday, November 20.
Monday, November 18 marks day one of CKDU 88.1FM’s annual funding drive, a week packed with events and a constant (reassuring?) on-air pledge-a-thon in support of the campus community station.
Why should you fork it over? Get this: CKDU is open to all, with free monthly orientations for students and community members and over 100 broadcasters speaking in 10 different languages, from ages 15 to 75, showcasing local and alternative perspectives and music to all that have a radio and/or computer. The station is looking to raise $25,000 this funding drive to go toward upgrading equipment, transferring shows from tape to digital and generally continuing to be rad. Without the funding drive, the station would be hard-pressed to continue on the current funding of student levies from Dal and King’s students.
But don’t do it for the good reasons, do it for the selfish ones. Radio shows will be offering prizes and incentives, including a grand prize of a trip for two to NYC with Porter Airlines. And a week full of events, like ‘80s cover band Hungry Eyes, DJ Jeff Lawton and The Reference Desk at Gus’ Pub (Friday, November 15), or the Youth Now! showcase at Speak! (Thursday, November 21, 8pm at the Company House) keep you entertained and soaking in the good karma. To donate call 902-49-HAPPY from November 18-24 or visit www.ckdu.ca.
Filmed over five brisk fall weeks in Halifax, Emmy-nominated director Andrea Dorfman’s (Parsley Days, Love That Boy) newest film, Heartbeat wrapped last week, to be released by Mongrel Media in 2014. I had the good fortune of being a part of it—full disclosure, I play a small role as a musician in the film—and having never been a part of a film before, I am currently under the impression that all movies are this magical. Don’t correct me if I’m wrong. If my involvement wasn’t already an indicator, Dorfman cast many non-actors, made up of musicians and artists, to create what she calls a “kind of musical.”
Heartbeat serves as a prequel to Dorfman’s viral video, How to be Alone, her collaboration with poet and musician Tanya Davis. Davis plays the lead, a romantic comedy hero on an emotional journey. Though this is Davis’ first feature film project, the cast isn’t all newbies. Kristin Langille (There Are Monsters), Glen Matthews (Hobo with a Shotgun), Mary Fay Coady (Trailer Park Boys), Jackie Torrens (There’s Been a Terrible Mistake), Stewart Legere (Zuppa Theatre Company) and musician Stephanie Clattenburg star as well as cameos by Rich Aucoin, April Wine’s Jim Henman and Margot Durling.
Produced by Bill Niven and Jay Dahl with cinematography from Stéphanie Weber Biron (yes, there were three Stephanies on set. Fun!), Dorfman says of the film: “it was an absolute joy to wake up everyday and work alongside such creatively strong folks. And frankly, I’m amazed by what I’m seeing in the dailies—not just in the authenticity of the performances but in the detail and beauty of the design. This is going to be a gorgeous film.”
Long lines, dozens of Doctor Who costumed fans and one funny Billy Dee Williams. Hal-Con was a maddening convention that was the most successful in the city’s history. More than 10,000 attendees, mostly dressed in costume, stood in long lines to meet their heroes. Volunteers and staff were overwhelmed as large crowds were forced to wait for hours in a line stretching to Brunswick Street.
Beyond the big crowds, there were plenty of great panels and Q&A sessions with sci-fi legends. Peter Davison, who played Doctor Who in the early 1980s, made his first trip to Halifax with included the usual tourist visit to Peggy’s Cove and watching RED at the Neptune Theatre. He gave his seal of approval for the new Doctor Who, Peter Capaldi. The show is enjoying newfound popularity with the 50th anniversary. “He’s a good choice and terrific lover of Doctor Who,” says Davison. “The show appeals to different people with artistic merit. We have people who grew up with the show how are now a part of it.”
Hal-Con showcased the creativity of the fans through the art form of costume making. Niki Warien looked magnificent in her Valkyrie Harpy costume.
Nathan Brown from Greenwood, NS made his Spartan Halo costume from paper and took 18 months to complete.
Andrew Daigle from Fredericton became working on his costume in June. His Alphonse Elric costume from the Fullmetal Alchemist is quite impressive.
The highlight of the convention by far was Billy Dee Williams. The coolest guy in the Star Wars franchise didn’t disappoint with one-line zingers and charming stories. What makes the legendary actor so funny? Is it the fact that he has an Ewok head mounted in his office or that he was afraid of a 10-year-old boy accusing him of betraying Han Solo while shopping at the grocery store? Perhaps it's his quick wit—when a fan commented on how she thought Williams’ character Lando should have ended up with Princess Leia, Williams smiled and said, “In some sense I did.” Lando’s still got it.
As Team Coast's official Cape Breton ambassador I stepped up to the plate to attend Nova Scotia Music Week— Music Nova Scotia's annual week of wonderment and sleep deprivation— this weekend in Sydney, my hometown. Mostly I felt the need to make an appearance to defend against any and all burns against Cape Bretoners, and make sure people knew where the cheap Chinese food and deep-fried pizza turnovers were. But bonus, the music was good too.
After an early Saturday morning haul from Halifax I tried to jam-pack as much as possible into my one-day NSMW experience, and still leave room for lounging at my parents' house. There was Dame Face, a feeling-provoking panel about women in the music biz (moderated by The Coast's own Tara "#dongcamp" Thorne) and killer sharwarma platters at The Lebanese Flower with said moderator and a Halifax contingent. Then I treated my ears to a quick dose of Quiet Parade at the hotel, reminisced my early 20s at the Capri while drinking gin and Tang and cheering on pals The Caravan and Dance Movie and watched Jennah Barry woo a small room of cross-legged-sitting folks at Governor's. It doesn't get much sweeter than her. 'Cause I'm a tool, my phone died at this point and so ended photo memories for the evening.
A late-night hunt for ponzos with Tara, Willie Stratton and In Flight Safety's John Mullane failed miserably (sorry guys, I finally got mine yesterday and it was EVERYTHING). Luckily things turned around though, I caught Heather Green on the late-night stage (and heard I was a fool for missing Sleepless Nights) and then wound up at a heritage home in north end Sydney where members of Gypsophilia had a causal jam that felt like it could have been a showcase of its own. A six dollar cab to my parents' house and it was officially a successful evening.
The righteous Cyndi Cain kicked off Sunday morning's packed awards brunch, dropping jaws with those pipes of hers and offering a better morning jolt than any cup of coffee could. Word around the Holiday Inn was that she also gave one of the best performances of the week on Friday night. The awards rolled out without many big surprises, but plenty of happy and deserved wins. Classified, Erin Costelo and Sonic Entertainment all took a pair of crystal trophies away from the meal, and Wendy MacIsaac won best acceptance speech of the morning pretty handily ("Mary Jane's in the drunk tank...").
I was lucky enough to be seated in a total winners' circle, praising bacon and composing theme music for when winners made their way to the stage alongside the crystal-winning Tom Fun Orchestra and Black Moor. Thanks for a fun breaky, guys and congrats!
Here's a full list of NSMW's Music & Industry brunch winners:
Alternative Recording of the Year, The Tom Fun Orchestra Earthworm Heart
Blues Recording of the Year, Thom Swift The Fortunate Few
Children's Recording of the Year, Little Miss Moffat Wild About Nature
Country/Bluegrass Recording of the Year, Ryan Cook Wrestling With Demons
DJ of the Year, Skratch Bastid
Digital Artist of the Year, Classified
Electronic Recording of the Year, Scientists of Sound Electric Scissors
Folk Recording of the Year, Dave Gunning No More Pennies and Old Man Luedecke, Tender Is the Night
Francophone Artist/Group Recording of the Year, Maxim Cormier Maxim Cormier
Hip Hop Recording of the Year, Classified Classified
Inspirational Recording of the Year, Elizabeth Deveau Everything's Changed
Jazz Recording of the Year, Swingology Taking a Chance
Loud Recording of the Year, Black Moor Lethal Waters
Musician of the Year, Erin Costelo
Pop Recording of the Year, Mo Kenney Mo Kenney
Rock Recording of the Year, Matt Mays Coyote
Traditional/Roots Recording of the Year, Mary Jane Lamond and Wendy MacIsaac Seinn
Booking Agent of the Year, Jason MacIsaac (JJ Bookings)
Community Presenter of the Year, Lunenburg Folk Harbour Society
Company of the Year, Sonic Entertainment Group
Corporate Sponsor of the Year, Casino Nova Scotia
Educator of the Year, Erin Costelo and Keith Mullins (tie)
Event of the Year, Halifax Pop Explosion
Industry Professional of the Year, Josh White (Halifax Pop Explosion)
Manager of the Year, Sheri Jones (Jones & Co.)
Media Professional of the Year, Stephen Cooke (The Chronicle Herald)
Promoter of the Year, Mike Campbell (The Carleton Music Bar & Grill)
Producer of the Year, Daniel Ledwell
Production Company of the Year, GroundSound
Publicist of the Year, Matt Charlton (Pigeon Row)
Radio Program of the Year, Halifax Is Burning (CKDU 88.1 FM)
Radio Station of the Year, CBC Radio
Recording Studio of the Year, The Sonic Temple
Studio Engineer of the Year, Charles Austin (The Echo Chamber)
Technician of the Year, Stephen "Snickers" Smith
Venue of the Year, The Company House
Visual Artist of the Year, Mat Dunlap
Volunteer of the Year, Dana Beeler
And here's who took home the gold from the Gala Awards Show at the Big Fiddle.
New Artist Recording of the Year, Mo Kenney Mo Kenney
Music Video of the Year, Classified, Inner Ninja
Male Artist Recording of the Year, Matt Mays, Coyote
Female Artist Recording of the Year, Mo Kenney, Mo Kenney
SOCAN Songwriter of the Year, Classified, Inner Ninja (Written by Luke Boyd, Mike Boyd, David Myles, Mark Pellizzer)
Group Recording of the Year, The Stanfields, Death & Taxes
Recording of the Year, Matt Mays, Coyote
Music Nova Scotia Entertainer of the Year, The Stanfields
Congrats to all the winners, showcasers and other survivors of another Nova Scotia Music Week and remember everyone:
Live Art Dance’s latest production, Danse Lhasa Danse is a multi-discipline tribute to platinum award-winning songwriter and performer Lhasa de Sela. More of a music show than a dance performance, and slightly out of the ordinary compared to Live Art’s regular fare, Danse Lhasa Danse features vocalists Alejandra Ribeira, Karen Young, Bïa and Alexandre Désilets and choreography from Montreal’s Myriam Allard, Hélène Blackburn, Pierre Lecours, Pierre-Paul Savoie, Edgar Zendejas, David Rancourt and Roger Sinha with the talented performers of PPS Danse. It’s one night only, so don’t hit snooze. Friday, November 8, 8pm, Rebecca Cohn Auditorium, 6101 University Ave, $25-$40.
Acclaimed Argentinian filmmaker Santiago Giralt will be in Halifax for a month starting Thursday, November 7, and if you don’t make the most of it, may god have mercy on your filmmaking (and/or film-loving) soul.
The lauded independent filmmaker, actor, playwright and novelist was invited by AFCOOP and Saint Mary’s University Art Gallery to share his expertise, host screenings, while here Giralt will also begin shooting a new feature film, Lucy.
Giralt’s films—UPA! An Argentinean Movie, The L. Sisters, All The Lonely People, Before Opening Night and Anagrams—have drawn comparisons to those of Spanish director Pedro Almodóvar, because of their similar focus on relationships and intensity. “Since I was a child, I found in movies and books a way to live alternate realities and understand people and situations that are different from me. Movies and books have always been a way to understand others. As an artist I find an idea or a character that will follow me for weeks or months as I daydream. It is those ideas and characters that drive me to write a book or make a movie,” says Giralt. “I have many influences: Yasujiro Ozu, David Lynch, Gus Van Sant, Woody Allen, John Cassavettes, Pedro Almodóvar—to name a few. But at the time of shooting my influences are inside of me, I look for my own vision. And when I see myself in a new way through my work I know I have succeeded.”
Pick Giralt’s brain at the following events this month. UPA! An Argentinian Film screening and Q&A (Friday, November 8, 7pm, free) at AFCOOP, 5663 Cornwallis Street, Suite 101. Giralt’s two-day workshop, DIY Feature Filmmaking Masterclass (November 9-10, 10am-5pm, $40/$50, at AFCOOP) and a screening of Before Opening Night (Antes del Estreno) (Thursday, December 5, 7pm, Saint Mary’s University Art Gallery, free), reception to follow.
Be prepared for a scary dose of magic. An official Harry Houdini séance will be held in the Garrison Room on Citadel Hill on October 31 (7pm, $45).
The death of Houdini still mystifies fans. Houdini died on October 31, 1926 from appendicitis, which may or may not have been caused by two McGill University students hitting him in the stomach. Before his death, he promised his wife Bess that we would try to communicate from the afterlife. Since 1947, a small, loyal group of believers have held the official séance each year on the anniversary of Houdini's death.
Houdini's connection with Halifax runs deep. He performed in the city in 1896 as a young performer. "Houdini had his first headline performance in Dartmouth," says Bruce MacNab, event organizer and author of The Metamorphosis: The Apprenticeship of Harry Houdini. "We chose the Citadel because it's such an iconic place in Halifax."
Opening entertainment includes performances by New York-based magician Margaret Steele, local magician Mister J—who wooed the investors from Dragons' Den—and illusionist Lucas Wilson, who holds three Guinness Book of World Records for speediest straitjacket escape. Singer Laura Smith will sing Paul Dresser’s 1893 song, “Rosie, Sweet Rosabel,” a song of special significance to Houdini, and Alan Hatfield, a veteran medium from Pictou County First Nation, will lead the séance.
Whether Houdini decides to re-visit Halifax or not, MacNab believes the event will be a scary and entertaining thrill. "Houdini spent his whole life discrediting fake mediums but he believed in the afterlife," says MacNab. "If anyone could communicate from the afterlife, it would be him."
I didn’t think that there would be any way to top last year’s rockin’ Creative Nova Scotia Awards event, but it happened.
Original Species (Art. Official. Selection), held at the Nova Scotia Museum of Natural History last Friday night, was presented by the Creative Nova Scotia Leadership Council and Arts Nova Scotia with artistic direction from Ann-Marie Kerr and Anthony Black of 2b theatre. It showcased talent in music, dance, visual arts, theatre and film in a delightfully immersive atmosphere.
The museum was transformed into a series of arts spaces. The “globe room” became a choral chamber for the gorgeous sound of Xara Choral Theatre Ensemble and a venue for the dance piece Motion Activated created by Veronique MacKenzie, Susan Tooke and Lukas Pearse. A stairwell resounded with passion and pathos as soprano Janice Jackson previewed a snippet from Simon Docking’s opera Escape to Freedom.
Other art exhibits were scattered throughout the museum, including captivating “performance painting” by Bobby Nock, a sensual and sensuous dance piece called Falling Off the Page by Jacinte Armstrong and Susanne Chui, Chambered Nautilus, a gorgeous musical fantastical voyage into the heart of a shell with Ann Denny, Ryan Veltmeyer and John Snow and—my personal favourite—the highly original and deeply moving video projection performance (We) Are Here by Dustin Harvey.
Besides art-viewing, wine-drinking and general merriment, the evening included the presentation of awards to a wide variety of artists, including the $25,000 Lieutenant Governor of Nova Scotia Masterworks Award which went to sculptor Steven Higgins.
A complete list of the evening’s winners can be found at http://creative.novascotia.ca/2013-Recipients.
I live right around the corner from the Atlantica (AKA the HPX box office) and I really got to get right into the Halloween-for-adults-feeling of everyone running in to the hotel to get their passes last night. My first question to anyone reading this is what to do with my bracelet. Or rather, my arm inside my bracelet. I have it on my wrist, like you do. But I'm one of those that can't wear bracelets or rings so this is a real test of my endurance. Please pray (FYI, this is not a real problem and I know that). Despite that issue, I am super happy to have this week in my life.
We (not the royal we, I went with friends, because I have those) got to Reflections in time for Jon Mick and Brian Posehn. Jon Mick joked about how he's lame now because his idea of a fun night is baking a potato, but he made it sound pretty appealing. Brian Posehn told a joke about the sarlacc that made me snort-laugh. There were a lot of jokes about farts, sweat, balls and the like. It was great.
Gus' was next on the bill, with The Reference Desk, Tough Age, Quivers and Obits. It was packed. On a Tuesday. It was so refreshing! The Reference Desk killed it, I can't stop humming "Norwich Cave" even now. One note about this evening: I feel as an audience we maybe didn't give it all we could. There's a few reasons for this. It was Tuesday, after all. Also the first day of a festival that will demand a lot of you, music-wise. Could be people were conserving energy. Tough Age played hard, told many hilarious jokes but wasn't met with a whole lot of energy on our part. But it was clear it wasn't from lack of appreciation. We love you Tough Age. Maybe we just weren't ready for the quality of stage banter you delivered. I am sending mental Red Bulls to everyone venturing out tonight. I know you can do it! HPX comes but once a year!
Judging by the scarcity of lower bowl pre-sales tickets already I would guess this will…
Can't wait to paint in Saint John! I am gearing up by lifting more brushes…