Hayden • Us Alone
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Hayden // the Place Where We Lived Press Catalogue // 2009 Press // Hayden // the Place Where We Lived
HAYDEN // THE PLACE WHERE WE LIVED PRESS CATALOGUE // 2009 PRESS // HAYDEN // THE PLACE WHERE WE LIVED THE GLOBE AND MAIL // MAY 26, 2009 May 26, 2009 HAYDEN // PRESSKIT // 2009 PRESS // HAYDEN // THE PLACE WHERE WE LIVED THE NATIONAL POST // MAY 25, 2009 May 25, 2009 Daily Disc: Hayden, The Place Where We Lived Posted: May 25, 2009, 11:30 AM by Ben Kaplan Shambolic tenderness runs through the ten songs on The Place Where We Lived, the sixth record from Canadian singer-songwriter Hayden, whose gone by only one name since he made his first album in 1994. Over a backdrop of Wurlitzer guitar, organs and the occassional flourish of trumpet and trombone, Hayden’s cracked Jeff Teedy-esque vocals reveal sad stories of Northern Ontario while an uptempo rhythm guitar places him above and beyond his navel-gazing peers. Some credit for tone must go to producer Howie Beck, whose most recent album sounded like Elvis Costello meets the Beach Boys. While Hayden has worked alone for the past eleven years, Beck’s contribu- tions lend many of the break-up songs a toe-tapping, jukebox appeal. It takes a special talent to sing about “filling a room with sadness,” in a voice which suggests a smile on the musician’s face. Hayden may be pissed-off and beaten, but he’s too wry to simply be sad. A third of the album has a pronounced country and western feel. Backed up on several tracks by members of Oshawa’s Cuff the Duke, saloon ballads like Never “Lonely” are given a kick in the torn denim pants thanks to steel guitars, keyboard and trombone. -
HOWIE BECK How to Fall Down in Public
HOWIE BECK How To Fall Down In Public Falling down in public doesn't have to be painful. It can be poetic and entertaining. On his 4th album, the intimacy of Howie’s music is dragged into public view. How To Fall Down In Public makes the case that modern melancholy is best understood through sheer sonic pleasure. In the past, some journalists tagged Howie as “The Woody Allen of Rock.” Perhaps not so much for his music, but for his public appearances; sometimes neurotic, sometimes creative, funny and outgoing. His response? “I’m telling you, that scene in Annie Hall where he’s in the hotel room and cancels his show? That is me.” Whatever the reason, reviews of Howie’s previous albums have been nothing short of glowing. And so, like Woody Allen, perhaps it is fitting that Howie has experienced some of his greatest success in Europe, as well as conceiving his latest album there. The album began a world away from Howie's Toronto roots. Some songwriters make a New York album- Howie made a Paris album. In July 2007, he touched down with only his proverbial guitar and a notepad, the first song he wrote being the appropriately-titled "If I Ever Come Home." Having toured in Europe and Scandinavia in 2006 opening first for Nada Surf, and then for Josh Rouse, Howie was eager to return. Temporary exile changed his approach; no longer confined to the bedroom as on his previous 3 albums, Howie's trademark introspection tilted outward. The music became more cinematic. -
A Big, Beautiful Mess”
“A BIG, BEAUTIFUL MESS”: COLLECTIVITY, CAPITALISM, ARTS & CRAFTS AND BROKEN SOCIAL SCENE by Ian Dahlman Bachelor of Arts (Hons.), Psychology and Comparative Literature & Culture University of Western Ontario, 2005 London, Ontario, Canada A thesis presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Communication and Culture Toronto, Ontario, Canada, 2009 © Ian Dahlman 2009 I hereby declare that I am the sole author of this thesis. I authorize Ryerson University and York University to lend this thesis to other institutions or individuals for the purpose of scholarly research. Ian Dahlman I further authorize Ryerson University and York University to reproduce this thesis or dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Ian Dahlman ii “A Big, Beautiful Mess”: Collectivity, Capitalism, Arts & Crafts and Broken Social Scene Ian Dahlman Master of Arts, Program in Communication and Culture Ryerson University and York University 2009 Abstract: The aim of this thesis is to critically examine the emergence of new forms of collectivity in Canadian independent popular music. A case study was conducted centring on the Toronto-based collective Broken Social Scene and its label Arts & Crafts, and original interviews were conducted with Stuart Berman, Charles Spearin, Jason Collett, Jeffrey Remedios, and Brendan Canning. An analysis of the major labels and a history of the sensibilities of independent artists establish the habitus of an independent artist at the end of the 1990s. -
Dj Spooky Is Articulate, Articulates
DJ SPOOKY IS ARTICULATE, OR IS IT BETTER TO SAY THAT HE ARTICULATES'? HE EXPRESSES HIMSELF WITH HIS MIXES AND WRITTEN THE PROCESS, WORKS; IN a COMMON SENSE CHARACTERIZING OF GIDDY CONFUSION AND EXCITEMENT WITH THE CONDITIONS OF CONTEMPORARY LIFE, WHILE DISPLAYING AN INFORMED, HISTORICALLY LOCATED, SENSE OF PLACE AKin ...^p ALSO: OLIVIA TREMOR CONTROL, |Hfc UULUHIHlb,30 SECOND MOTION PICTURE, SPEEDBUGGY, THE ELECTROSONICS, KANEVA AND SPACEKID. PLUS: SAVE THE CBCI .O \, 1176 GRANVILLE ST, G08-GATK APRIL 1997 ISSUE *171 APRIL CALENDAR FRI. 4th SAT. 5X1-1 BRICKHOUSE FEATURES WITH GUESTS BALL II THE ATROCITY EXHIBITION SAVE THE CBC 7 ONS SCANTY WEAR FASHION SHOW/ FRI. nth THE SADDLESORES 30 SECOND MOTION PICTURE 10 VANCOUVER POLK KIOSKS. TAROT. PERFORMERS OIIVIA TREMOR CONTROL 13 MUSIC FESTIVAL ^m^m^m^m^m^m^m^m^m^tm PRESENTS FROM ELEOROSONICS/SPACEKID/KANEVA/SPEEDBUGGY 14 SATr I2t SALNN FRANCISCFRANCISCOO I rSEL DJ SPOOKY 16 ELE MUSIC WASTE DBLE CO RE LI * i___fi2 ZOLTY CRACKEI THE COLORIFICS 20 ETS: -nCktfMASTER. If I W SMAK MHiHV#t, 11/ HOMECOMING SHOW BLACK SWAM I W I ' :'•' . I- *P—mmmml Columns FRI, iQth COWSHEAD CHRONICLES NOISE _ SATtJ9th VANCOUVER SPECIAL THERAPY | COLORIFICS DIARY of JONNIE LOAF BOY WITH QUEAZY 4fe INTERVIEW HELL GUESTS SUBCULT. GASIVI editrix BASSLINES 19 miko hoHman SA^, 2*9th PRINTED MATTERS 19 ort director •ea«(_©i_«*£K c«-c«_i<_ fcgo^ai kenny paul SEVEN INCH 21 FROM SAN FRANCISCO ad rep BETWEEN THE LINES 21 FRI, 25th kevin pendergraft TEMPEST UNDER REVIEW 22 production manager 24 MUSCLE barb yamazakf REAL LIVE ACTION BITCHE CHARTS 27 graphic design/layout WITH | STONY PLAIN RECORDING ARTISTS tania alekson, atomos, erin ON THE DIAL 29 hodge, ken paul, GUESTS. -
National Archives National Personnel Records Center (NPRC) VIP List, 2009
Description of document: National Archives National Personnel Records Center (NPRC) VIP list, 2009 Requested date: December 2007 Released date: March 2008 Posted date: 04-January-2010 Updated 19-March-2010 (release letter added to file) Source of document: National Personnel Records Center Military Personnel Records 9700 Page Avenue St. Louis, MO 63132-5100 Note: NPRC staff has compiled a list of prominent persons whose military records files they hold. They call this their VIP Listing. You can ask for a copy of any of these files simply by submitting a Freedom of Information Act request to the address above. The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. -
Annual Report for the Fiscal Year Ending March 31, 2010
20ANNUA0L REPOR9 T FOR TH-E FIS2CAL YEAR0 ENDIN1 G MARC0H 31, 2010 2009 - 2010 ANNUAL REPORT FOR THE FISCAL YEAR ENDING MARCH 31, 2010 TABLE OF CONTENTS 4 BOARD OF DIRECTORS 5 MESSAGE FROM THE CHAIR 6 MESSAGE FROM THE PRESIDENT & CEO 7 FINANCIAL RESULTS 7 Comparative and Cumulative Results 8 Funds Expended 8 PRIVATE RADIO CONTRIBUTIONS 10 LOAN REPAYMENTS 12 INDUSTRY DEVELOPMENT 12 ADMINISTRATION 13 DISTRIBUTION OF FUNDS 13 CULTURAL DIVERSITY 14 PROJECT REQUESTS AND FUNDING COMMITMENT COMPARATIVE ANALYSES 14 Comparative Analysis of all Applications Submitted and Approved – Past three years 15 Comparative Analysis of all Funds Requested and Offered – Past three years 16 Comparative Analysis of all Applications Submitted and Approved by Province/Territory – Past three years 16 Comparative Analysis of all Funds Requested and Offered by Province/Territory – Past three years 18 Comparative Analysis of all Applications Submitted and Approved by Musical Genre – Past three years 19 Comparative Analysis of all Funds Requested and Offered by Musical Genre – Past three years 20 PROGRAMS & FUNDING PROVIDED 20 Sound Recording 24 Video Grants 25 Marketing & Promotion Sound Recordings 26 Touring & Showcasing 28 Marketing Support for Businesses 30 Collective Initiatives 31 OUTSTANDING COMMITMENTS AS OF MARCH 31, 2009 32 PROJECT EVALUATION PROCESS 33 REGIONAL REPRESENTATION 35 NATIONAL ADVISORY BOARD 36 SUCCESS STORIES 46 AUDITOR’S REPORT 47 STATEMENT OF FINANCIAL POSITION 48 STATEMENT OF OPERATIONS 49 STATEMENT OF CHANGES IN NET ASSETS 49 STATEMENT OF CASH FLOWS 50 NOTES TO FINANCIAL STATEMENTS We acknowledge the financial support of the Government through the Canada Music Fund. 53 SCHEDULE OF REVENUE We also acknowledge the financial support 53 SCHEDULE OF LOANS AND AWARDS provided by Canada’s Private Radio Broadcasters.