Suicide is Painless... or is it

For all of those who have experienced the loss of a loved one, or who have tried to understand the effects of suicide, check out this video. I am a bit biased to the videographer, but nonetheless, it carries a powerful message. Click on the title, "Suicide is Painless" to view the video.

A Biography of Curly Howard By: Shane Christensen

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Curly Howard Image from: www.art.com

Most people on the street would probably have no idea who Curly Howard was. But if you were able to impersonate his "nyuk-nyuk-nyuk" or "woo-woo-woo" sounds, a smile would immediately come across all the faces as they answered in unison, "oh, that Stooges guy." And a true measure of how much of a comedic icon he really was is that fact that people today still recognize him but his zany and totally one-of-a-kind antics.

There is little argument that Curly was the fan favourite of that hilarious comedic troupe known as The Three Stooges. And although he was a source of constant hilarity on the screen, Curly never had too much to laugh about during the last years of a life which was filled with serious health problems that were a result of a wild and excessive lifestyle that rivaled some of the rock stars of the 1960's

But it wasn't always like that, because Curly was born Jerome Horwitz, the youngest of a family of five boys, into a nice Jewish home in turn-of-the-century New York City. His early life was a fun-filled exercise of having his older brothers, who nicknamed him Babe, include him in their small comedy productions that they put on for the neighbourhood kids, charging a couple of pennies for admission. Babe was only 4 years old when he made his first stage appearance, and there's no doubt that the experience had a lasting effect on the young child who would live his entire childhood in show business, up until he was no longer physically able to do so.

Some of "Jerry's" greatest loves as a young man, and later as an adult, were music, musicals, and comedy. Most people were shocked to hear years after he died that he actually had a beautiful singing voice and that he was an accomplished ballroom dancer . He also loved nothing more than to watch and hang around his older brothers Moe and Shemp, who were a part of a vaudeville act that was gaining quite the following. This act was led by a brash and alcoholic Ted Healey, and included another stooge named Larry Fine.

Because Jerry was a constant fixture at Healey's shows, he was entirely familiar with the entire skit and was a natural to replace his brother Shemp, who had decided to pursue a solo acting career. The only requirement was that Jerry had to shave his curly locks and mustache for greater comedic effect, but this caused him great distress as he felt he was no longer attractive to the opposite sex.

But Curly never lacked for the love of the fairer sex, as he would end up being married a total of 4 times in less than 20 years, and also had quite the reputation as a womanizer and carouser. This behaviour only intensified after celebrity fame and fortune entered his life, and he began a steady and vicious physical slide that was exasperated by smoking, heavy drinking, and living the wild life.

As lovable as Curly was on the big screen, in real life he was reckless, spontaneous, and financially irresponsible to the point that older brother Moe eventually took authority over his spending because he was incapable of any type of control. By the time he hit his forties, his body would begin to suffer the effects of a lifestyle that was almost suicidal in nature.

A succession of strokes affected all areas of Curly's life, and eventually he suffered one that was big enough to physically disable him. By this time he had met and married his fourth and final wife, Valerie Newman, who would go on to become the mother of his daughter and loyal nurturer in his final hellish years.

Jerome Horwitz eventually succumbed to his physical deterioration in January '52 after suffering a massive brain hemorrhage while in hospital, at the relatively young age of 48. By this time his brother Shemp had returned to replace him in the Stooges, who would go on entertaining millions for many more years.

But it was never the same without Curly, and Moe was always the first to admit it. Because Curly had the rare ability of encompassing all aspects of comedy (including physical slapstick), and his nonsensical sounds and actions, such as spinning around the floor or going "woo-woo-woo", still make millions laugh to this day.

It's just very sad and tragic that a man who entertained millions and put smiles across all of our faces (and continues to do so) had to die in such a horrible and hellish fashion. Rest in peace Curly, and thanks for the years of laughter.

Who are the All-Time Top N.H.L. Players By Shane Christensen

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The names of the top N.H.L. goal scorers of all time looks like a list of hockey royalty as it is filled with some of the greatest players who ever played the game. It includes those from an earlier era with names such as Howe, Mikita, Richard, Beliveau, and Hull, who were responsible for much of the popularity of professional hockey in North America.

This allowed the league to expand and players' salaries to increase substantially, so that most players could earn a respectable income and not have to work during the off-season, as was the case in earlier times when the original six teams first started out.The top goal scorers from this era were as follows: Gordie Howe 801, Bobby Hull 610, Johnny Bucyk 556, Maurice Richard 554, Stan Makita 541, Frank Mahovolich 533, Jean Beliveau 507, Jean Ratelle 491, and Norm Ullman 490.

The next generation of players included the names of LaFleur, Esposito, Bossy, McDonald, and Perrault, and they can be thanked for taking the league to the next level as some played for expansion teams that would go on to become Stanley Cup champs, or finalists. This further cemented the leagues' status as the number one professional ice hockey organization in the world, and allowed for even further growth and expansion.

The top goal scorers from this era were as follows: Marcel Dionne 731, Phil Esposito 717, Mike Bossy 573, Guy Lafleur 560, Michel Goulet 548, Bryan Trottier 524, Gilbert Perrault 512, Lanny McDonald 500, Darryl Sittler 484, and Denis Savard 473.

When the next generation of great players came around, the league would see a huge increase in both popularity, franchise appreciation (value), and further expansion into non-traditional hockey markets in the southern United States. The names include Gretzky, Lemieux, Messier, Andreychuk, Yzerman, to name a few.

The top goal scorers from this era are: Wayne Gretzky 894, Brett Hull 741, Mike Gartner 708, Mark Messier 694, Steve Yzerman 692, Mario Lemieux 690, Luc Robitaille 668, Dave Andreychuk 640, Jarri Kurri 601, Ron Francis 549, Bryan Trottier 524, Pat Verbeek/Mark Recchi 522, Dale Hawerchuk 518, and Pierre Turgeon 515.

And finally, there is a group of active players that have amassed a number of goals that puts them in this elite group. The names include the likes of Jagr, Sakic, Shanahan, and Sundin, and these individuals are ensuring the popularity and viability of the league remains. With a new crop of future record holding players such as Crosby, Ovechkin, and Malkin currently racing up the goal scoring charts, it will only be a matter of time until their names are put in the same category as their predecessors.

The top goal scorers on this list are: Brendan Shanahan 650, Jarmomir Jagr 646, Joe Sakic 623, Mats Sundin 555, Teemu Selanne 552, Mike Modano 528, Jeremy Roenick 509, and Keith Tkachuk 500.

The one ingredient that all these amazing players possessed was the will to be the very best, and never settle for second place. All great players possess comparable skill levels such as skating and passing, but those who truly stood out amongst the crowd did so because they gave that little extra that enabled them to score when other mortals would have not even had a chance at a goal.

It's therefore no surprise that of the top goal scorers in the N.H.L., most have played on either Stanley Cup champions or finalists as the greatest goal scorers are usually the franchise players whom the team can build around to create a champion.

Brett Hull Image from: rangers.lohudblogs.com

Speculating what songs would have been on the Beatles next album By: Shane Christensen

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It is actually pretty easy to figure out what songs could have been on the Beatles next album, simply by looking at the solo work and songs that came out immediately after their acrimonious breakup in 1970.

The biggest surprise of this album would be the fact that John Lennon and Paul McCartney would have probably played a lesser role in the songwriting department, as George Harrison had been stockpiling a number of heavyweight tunes that had previously been denied a place on a Beatles record.

But that all changed during the recording (and subsequent release) of their final studio album, Abbey Road. The first single was Here Comes The Sun, followed by one of the greatest love songs ever written (so says Frank Sinatra - and who's going to argue with him?) Something.

It was during these sessions that the band also experimented with a prophetic, beautiful tune called All Things Must Pass. Anyone who's heard the Beatles’ version would probably agree that this song would have been a standout tune, especially with the lovely vocal harmonizing between George and Paul during the chorus. Unfortunately, their relationship was strained to the point that the last thing George wanted to hear was Paul singing alongside him.

Another surprise on this album would be the inclusion of other non-Beatles musicians participating in its making, which they had done previously on Let It Be (Billy Preston) and the White Album (Eric Clapton). With all the interpersonal tensions in the band, the members actually enjoyed having "neutral" players break the ice so that everyone could actually have fun and enjoy themselves again. It was akin to a marriage that had soured, and having friends over for drinks and a BBQ was all that is needed.

So, in saying that, I would speculate that Bob Dylan would guest on this album and offer a tune he gave to George for his first solo album. If Not For You is a mellow love song that would chart as a "new country" tune today. I think it would have been amazing to listen to Dylan playing on the next album of a band who simply idolized him years before, and who he influenced greatly (remember Rubber Soul)?

Paul had a few songs that had been bumped from earlier albums which I feel would finally surface on this latest album. The tunes Junk and Teddy Boy had both been written in India, but were cut from Abbey Road and Let It Be respectively. Now, with a little reworking, these songs would make it on this new album, along with the classic Maybe I'm Amazed. This tune was the stand-out track on McCartney's first solo release, and the Beatles version would have been far superior with the participation of the other top-quality musicians as well as with the production of George Martin to do it justice.

Ringo Starr's contribution would be the song from his first solo release; one which many speculated was actually written by George or John due to its intricate level of songwriting, It Don't Come Easy. Ringo’s song was a number one hit for him, and there's no doubt the Beatles’ version would have done equally well, if not better. John Lennon was the most dominant member of the Beatles up until Sgt. Peppers, and then a number of factors precipitated his decline as the acknowledged leader. Meeting Yoko, experimenting with heroin, and losing Brian Epstein all affected John's attitude towards being a Beatle, and it was he (not Paul) who first suggested the dissolution of the band in 1969.

After the break-up, many people were shocked at the lack of quality in Lennon’s material, and it would take him over a year to produce anything comparable to Beatles’ caliber. This finally came with the release of the song Imagine. Perhaps Instant Karma and Working Class Hero; his solo songs released in 69/70, could have been offered up for a new Beatles’ project (which would have guaranteed quality production and effort).

Of course the one song that would definitely be on this album, and which would also be its title, is the anti-war anthem Give Peace A Chance. This song sums up the passion and ideology of the man, and the Beatles as a whole, and it would be reflective of an entire generation who grew up loving the Beatles, their music, and their message of love and peace.

Give Peace A Chance, would have been the next album by the greatest musical group in the entire world, The Beatles.

Marq DeSouza Swanktrendz CD Review By: Shane Christensen

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Category: Vancouver/Canadian Indie Music

Living a few thousands miles east of Vancouver guaranteed that I had never heard of local musician (of ten years) Marq DeSouza. And after listening to his very ambitious, fourteen-song, self-titled CD over the last week, I'm realizing what a shame that is.

For one, I could tell immediately upon the first few listens that this guy is a true, musical journeyman both as a songwriter and recording artist. Even if a specific song didn't do it for me; after the first couple of plays, I could hear the genius in the details which, I've learned as a seasoned listener, separates the men from the boys, so to speak.

And there are a lot of details in the song's respective locations, aptly complementing the individual track they're enhancing, instead of taking away. A good example is on the catchy You Haven't Changed At All, where there is a continuous guitar solo throughout a portion of the track. Yet the song is mixed at just the right level so that it doesn't become a distraction. And just as the song is nearing its end, a great layer of harmonica and gentle picking of the guitar strings subtlety trail off in a sonic dance of bliss. This song is one of the standouts on the disc and reminds me of a cross between Blue Rodeo, Tom Cochrane, and Lynyrd Skynyrd. The real beauty is that it's all pulled off without sounding derivative.

But make no mistake, this album will conjure up comparisons to a whole whack of rockers from bygone days. As well as the before-mentioned acts, I'm constantly amazed at how closely Marq's voice resembles that of a young Mick Jagger from the Let It Bleed era (but only on certain songs when he accesses his lower vocal range.

This leads me into my one critique of this effort, which lies with in the apparent production inconsistencies which crop up now and again, negatively impacting the overall sound. It is most apparent on the hard rocking All You Had To Say Was Hi!, which is a song that has grown on me despite my initial confusion as to why both back up singers' (Amanda Sonic Guests) appear to rock in a lower register than their natural range would indicate.

I also found that track one's Prey Becomes Predator, appears to be unlikely slagging fodder for some pundits who feel this thrash metal tune just doesn't "fit" with the rest of the disc. This song is one of my favorites, in no small part due to the fantastic guitar layering and the solos that leave me shaking my head in respectful awe. Fair enough, the vocals appear recorded and/or mixed in a way that just isn't congruent with the quality on the rest of the disc. This is unfortunate, because you know DeSouza's instincts are too aware for him not to have known that.

There's definitely not a lack of vocal ability with Marq, as DeSouza's pipes prove to be first rate, most notably on the cuts You Haven't Changed, Glimpse of Her, and the kick-ass Some $, Somehow. This track is an impressive offering of balls-to-the-wall rock of the Cougar/Hip/Stones/Skynyrd calibre, and it would be an injustice if this song doesn't crack Canadian radio soon as this tune should be topping the summer charts across the entire country.

Following behind is the trackRazorburn which is another Skynyrd sounding tune, especially during the latter half of the song which graces us with some of the most impressive guitar manipulation I've heard since Slash was in the Gunners.

This musical skill is what impresses me the most after listening to, and getting addicted to, this disc. Despite being an independent release, the quality of songwriting and musicianship on this album is comparable to some of the best records released, which is a testament to DeSouza's: talents; abilities; staying-power, and the-all-important-gift - instincts. Marq could steal Springsteen's tag of hardest-working-man-in-rock music with his two-year labour of love, which does not disappoint.

I don't usually rate the albums I review, but I need to give this disc a nine out of ten, 9/10

and I hope Marq DeSouza's Self-Titled CD generates enough critical and commercial buzz. that his follow-up attempt will get the financial backing it deserves (ahem...Bob Rock as producer)?

But if an offering of funding and production assistance is not forthcoming, I am sure Marq will still deliver top quality music on a working man's budget.

Great work, man. You have yourself a new fan in the Eastern part of the country who can't wait to see what the future holds for you.

Check out Marq's sites and see for yourself!

Visit Marq

Marq's Myspace

Album Track Listing

Prey Becomes Predator


Daddy Doom


You Haven't Changed At All


When I Was A Child


Bulletproof


Glimpse Of Her


Some $, Somehow


Razorburn


All You Had To Say Was Hi


A Lucky Man


Some Guy


Where Did You Wit Go?


The Monologue Is All That Remains


Divided Highway

MudSun Mine The Gap - CD Review By Shane Christensen

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Fans of Baba Brinkman will be pleased to discover his new five song EP that includes U.K. rapper Dizraeli, as well as a typically impressive offering from up and coming Vancouver star Aaron Nazrul, who is proving to be a musical jack of all trades.

The collaborative effort goes by the name of MudSun, and this latest production continues to mix intelligence with humour and sarcasm, and also includes relevant political and/or social commentary at the same time.

My musical sensibilities are all over the place, but hard rock and alternative would undeniably be considered my favourite genre. But in saying that, I’m not one of those rockers who loathes or belittles rap. In fact, I tip my hat to some of the rock bands in the past who have included snippets of this musical genre in their productions, because it shows an appreciation for other artists and their craft. And make no mistake my fellow rocker friends, rap can be a craft as far as I’m concerned, as long as it’s done in a manner that is not offensive to any particular group, specifically women.

And because I find this type of mutual respect collaboration interesting and even cool, it is the fusionary rock/rap song Fried Rice that is my favourite offering on this disc. I have the upmost respect for Aaron Nazrul’s musical abilities, and he only reinforces these feelings with this hard rocking/rapping gem that literally throbs through your speakers and subwoofer. Without a doubt, this is the gem on the disc and it’s one of those songs that makes you want to go out and buy the album without even hearing any of the other songs.

But in this case, you won’t be disappointed with the rest of the offerings that include the title track Mine The Gap, which is a perfect example of the before-mentioned art of mixing humour and sarcasm with social commentary, as it muses poetically about the state of the British publics' attitudes towards contemporary Islam and the threat of homegrown terrorism.

How It Is , Tongue N Groove, and Louder are the other songs on a disc filled with a sincere energy and enthusiasm that is obvious to the listener.

So if you’d like to sample a bit of MudSun for yourself, you can see what I’m talking about by checking out their myspace site at the following link, where all five songs from this impressive EP are featured.

Visit Mudsun

American Idol Ugandan Style ... War/Dance Documentary By Shane Chritensen

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This world is filled with remarkable people and inspiring tales which you can find all around you, if you look hard enough. Sure, there’s a lot of negativity and depressing stuff in the news most of the time, but today I got lucky when I came across an article that is both unique and uplifting.

I’m referring to the story of a fascinating new film called War/Dance, which was the winner of the 2007 Sundance Documentary Directing Award, and which is already getting serious media attention due to its subject matter.

War/Dance is an inspirational tale of a group of children from the Patongo Primary School in Uganda, who are overcoming great personal pain and trauma as survivors of civil war, and who are now given the opportunity to take part in an American-Idol styled contest in their country.

To say that this is a 'big deal' to these kids and their experiences is a huge understatement. This movie proves, beyond a doubt, that children are the same all around the world in that they need to have the chance to be kids and have fun.

The film's directors are a husband and wife team, Sean Fine and his wife Andrea Nix Fine, and they were recently blessed with the birth of their first child. But instead of letting their newest addition deter them from this undertaking, Sean continued on to the refugee camp and stayed for the duration of filming; communicating daily with Andrea, who remained at home in the U.S. while providing him ideas and suggestions from afar.

One of the most profound approaches the Andrea suggested was to have the children look directly into the camera as they spoke about the atrocities they had endured. Earlier attempts to simply interview them failed. These children are similar to other war survivors in that they seldom speak amongst themselves about the evils they’ve witnessed and experienced. However, by speaking directly to the camera the children felt like they were telling the world about their ordeal, and the childrens’ memories’ floodgates opened.

Another of Andrea’s ideas was to focus on existing beauty. That beauty could be seen in the natural surroundings of a gorgeous part of the world which has suffered terribly due to internal conflict. Because of this conflict, often the natural beauty of the country is overlooked. Equally poignant is the beauty of the youth who make up the story, and how they are captured on film as they’re “making the journey to a peaceful place”, as Sean puts it.

The one ingredient of this film which captured my interest immediately after I first read about it, was the importance and impact that music holds in the movie. Many of these children had never played an instrument of any kind before, but that did not deter their enthusiasm for learning in the slightest way, shape, or form. Throughout the documentary, music is the one constant that offers hope for the future and gives the participants an opportunity, they would have never have been previously allowed, to share their experiences under war conditions they’ve had to endure the majority of their young lives.

The film is the work of a non-profit production company, Shine Global, which is donating seventy per cent of the project’s profits to various Ugandan agencies which help these kids in a number of ways, including nutritional and scholarship programs for the children. There has also been an outpouring of generosity from other charitable groups after learning of War/Dance’s efforts, which has resulted in bikes and musical instruments going to Patonga, where the Fines are headed in February to debut this film to the children it stars.

War/Dance has been nominated for an Oscar, and is currently available in limited release throughout the United States, with foreign markets hopefully to follow as this is one film I am anxiously awaiting. Many people will want to see this film because it is a truly uplifting presentation; done exceptionally well judging by the acclaim it has already received.

The Fines have made a impressive name for themselves in the making of War/Dance, and have been offered the next task of producing and directing a feature documentary on the effects of addiction in the U.S., in collaboration with Joseph Califano Jr. of Columbia University. I don’t know if they can succeed in turning this story into a ‘feel-good’ film, but it will serve as a relevant and important piece to many people and to society in general.

I’m not a big watcher of awards shows, but I will definitely be rooting for Sean and Andrea on Oscar night. I hope that they achieve further and future success with their talents and abilities, which they apply in a very positive and uplifting way. As a result of Sean and Andrea’s efforts, this world is becoming a better place in the process; a noble and commendable ideal that we’d all like to ascribe to.

The Top Canadian Acts of all Time By: Shane Christensen

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As in the case of my previous Top Ten Album article, I felt it was necessary to follow my Top Ten Rock Acts choices with a Top Ten Canadian Rock Acts submission. This country of ours has produced an enormous amount of the world’s top musical entertainers, and it’s only fair to give them the acknowledgement they truly deserve.

The criteria to make this list will be as follows:

1.) Their popularity was truly phenomenal
2.) Their success had staying power- no flavour of the month
3.) Trailblazers for the Canadian music scene
4.) Reached an inclusion

As with my previous article, trailblazers in the industry are held in high regard, and that is reflected in this list. I’d also like to note that album sales do factor in, which results in the exclusion of some groups (most notably The Band) which were critically acclaimed, yet only enjoyed moderate commercial success compared to the other acts on this list.

My choices for the Top Ten Canadian Rock Acts of all time are:

1.) Neil Young

There could be no possible excuse not to have Neil as my top choice, and the reasons are plentiful and have been listed before. But simply, he has been one of the most creative and authentically original acts in the world, and still maintains his Canadian demeanour. And that is so typical of this truly amazing performer that embodies all of our national character and ideals, and has had a career that is as diverse and successful as any of the top rock acts in history.

2.) Rush

Rush has always been one of those bands that you either love or hate. But enough people love them to the extent that they are the top selling rock band to come out of Canada, with over 40 million albums sold. Their career is still going strong after 34 years, with no sign of it disappearing anytime soon, and includes a handful of albums that are hard rock classics and which showcase the individual musicianship of the three members that put them in a league of their own.

3.) Bryan Adams

I was surprised in doing the research for this article just how successful Mr. Adams actually was, as he is currently second on the list of top selling Canadian acts, with only Celine Dion placing above his impressive tally of 75 million sales. But when you consider how many hit singles the guy has had throughout the years, it definitely makes sense as he had a great run of hits through the ‘80s and ‘90s, including his biggest hit Everything I Do (I Do It For You). A class act all the way, and he still maintains his nice guy personality regardless of his accomplishments

4.)Tragically Hip

The Hip is unique in Canadian music as they are undeniably one of our top rock acts, yet they have never realized any substantial international acclaim. And in some respects, that makes them even sweeter to a great number of their homegrown fan base because they still seem like they’re the same guys they were twenty years ago when they were just starting out. They have the distinction of being the top selling Canadian artist for sales in Canada, with over 25 million albums sold domestically, and they’re still going strong as they continue to release new material and remain one of the top concert draws in the country.

5.) The Guess Who

This band is definitely one of the trailblazers for the Canadian music industry as they were the first band out of the Great White North to have a number one hit in the U.S. with American Woman in 1970, and had an impressive number of top hits within their ten year run including six top ten songs. They single-handedly proved to the world that this country possessed world class talent that could compete with the successful international acts of the day from Britain and the U.S., and by doing so opened the door for all the Canadian artists that would follow in their footsteps.

6.) Shania Twain

Although Shania started off as a country act, she had undeniably crossed over into mainstream pop by the time her third album was released and started to chart impressively on the pop as well as country charts. Come On Over is the top selling album released by a female artist, and is the ninth best selling album of all time in the entire world. Twain is also one of the top selling Canadian artists of all time thanks to the success of three hugely received albums: The Woman In Me, Come On Over, and Up. Her producer/ collaborator/ husband, Robert “Mutt” Lange was already one of the most successful producers before he began to transform Shania, and their professional union would propel both of them to staggering heights that will probably never be duplicated again.

7.) Bachman Turner Overdrive

Randy Bachman would strike gold twice in his musical career after BTO caught on big time in ’74 with the success of two hit singles. Takin’ Care of Business was a top ten hit that is famous for being fanatically loved by Elvis, and You Ain’t Seen Nothing Yet became their first number 1 hit in the U.S. and in most other countries around the world.

The band would chart three top ten albums in less than two years, and have a number of hits in Canada and internationally which would cement their status as one of the top Canadian bands ever.

8.) Joni Mitchell

Definitely an artist whose influence spreads throughout the musical world and transcends all genres, Joni would be an inspiration to many young women (including Madonna) who dreamed of one day performing themselves. She had a string of eight hit albums from ’69 to ’76, which is pretty well unheard of in today’s era, in any genre. She still remains one of the most influential performers in history, and recently won a Grammy for Best Instrumental Pop Performance for the song One Week Last Summer from her latest Starbuck’s offering, Shine.

9.) Gordon Lightfoot

Another performer who crosses musical genres successfully and has maintained a strong and loyal fan base, especially at home. Gord has written some of the most beautiful songs to ever have been recorded anytime/anywhere, and even had such notables as Bob Dylan refer to him as “Canada’s greatest natural resource.”
He is a very well respected member of Canada’s music royalty, and has the rare distinction of being made a Companion for The Order of Canada in 1993.

10.) Nickelback

I was flirting with the idea of not including this band on the list, basically because of the abuse I suffer at the hands of musical “associates” who bristle at my affection for them. But again, in doing the research for this article, there was no way I couldn’t include them. They’ve already sold more records than the Hip, but in less time, and their latest album is still on a record breaking charting course nearly three years after its release. They’ve had three top five albums within a five year period, and a number of top singles to boot. They’ve also won a number of awards both at home and internationally, so their success is a real and substantial one that deserves recognition and support…especially from home where it is lacking a lot of the times.

The Greatest Song of All Time By Shane Christensen

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Recently I had compiled lists of my top ten rock albums and Canadian rock albums of all time, and had the thought of doing the same for the top songs of all time. This could appear to be an almost impossible task given the multitude of great work that has been produced throughout the rock era, and what made it harder for me was that my favourite song of all time is not even in the rock genre, but is actually a classical piece that most of us have heard in various films or television shows, ranging from Platoon to the Simpsons.

The life of the composer of the movement Adagio For Strings is just as incredible as the composition for which he is most famously known. For one, Samuel Barber might be described as a child musical prodigy since he had completed his first composition by the age of seven, and attempted to write his first opera when he was only ten years old. The young lad was worried about the effects of this obvious musical destiny on his beloved mother, and implored her in a letter not to worry, and don’t ask me to forget this unpleasant thing and go play football. One can only imagine how proud and touched she would have been to hear the absolute beauty of her son’s creative genius years down the road.

By the time he was in his late teens, he had already won an award from Columbia University for his Violin Sonata, so obviously this young man had truly exceptional musical talents. It was around this time that Samuel met Italian composer Gian Carlo Menotti at Philadelphia’s Curtis Institute of music, and the two men forged a musical and personal relationship that spanned over forty years, with their most notable musical collaborative work being the operas Vanessa and Antony and Cleopatra, although the latter work was one of his rare ‘failures’ as the opera was universally panned, although musically it was known as some of his finest work.

He composed Adagio For Strings when he was 28, and there’s a story regarding the composition that I found interesting, and which speaks volumes about the song’s incredible effect on the listener. Barber had sent Adagio to the noted Italian conductor Arturo Toscanini, who subsequently sent it back to him without commenting on the piece. Although this was interpreted as a slight and annoyed Barber immensely, in reality Toscanini was so impressed with the work that he memorized the entire piece and did not have to look at the written music until the day before he premiered it with the NBC Symphony Orchestra for a radio broadcast on November 5, 1938. This version is so impressive that it was selected for permanent preservation in the Library Of Congress’s National Recording Registry in 2005.

This composition, which has been described as both simple and beautiful by notables such as Toscanini, evokes a response from listeners that most works from any musical genre seldom achieve. It’s no surprise that it was chosen to be played live at a ceremony at Ground Zero in New York City to commemorate the victims of the 9/11 terrorist attacks, as there is no other song in existence that stirs the emotional senses in the way this masterpiece does.

Incidentally, it was voted the saddest classical piece ever by the listeners of the BBC’s Today programme and has been one of the top selling classical downloads on iTunes. It has been included in at least eight Hollywood films including Lorenzo’s Oil, The Elephant Man, and the earlier mentioned Platoon, and is used recurrently on the Simpsons, which guarantees that a whole new generation will be exposed to this extraordinary musical work.

As a lifelong lover of music, I hold a deep reverence for those artists that have been blessed with the ability to create the extraordinary, and there is no doubt that Samuel Barber achieved this with his splendid composition Adagio For Strings, my choice for the greatest ‘song’ of all time.

R.O.C.K. in the A.C.C. By: Shane Christensen Tom Cochrane, John Mellencamp

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To say I was excited about the Tom Cochrane/John Mellencamp show at the Air Canada Centre in Toronto would be a big understatement. I’ve been a huge fan of both these guys for at least twenty-five years now, and I knew that it would be one of the best concerts I would ever have the privilege of attending.

To make things even more enticing, the seats I’d ordered online ended up being the best I’ve ever had for any large venue show, and I wouldn’t appreciate how good they were until we actually sat down in them and felt the adrenaline pumping.

Mind you, that could have had a bit to do with the fact we even MADE it to the show in the first place, because all of Southern Ontario had been weathering a severe snow storm for at least twenty-four hours. Then we heard through a friend that a concert had been cancelled, and didn’t know until twenty minutes later it wasn’t ours. Whew! That was a close call.

It wasn’t until we were walking from our parking space to the venue that I realized a few things. Number one is that I can’t remember ever going to a concert during a blizzard. Two is that we can get an awful lot of snow in Toronto, and in a short period of time. And last but not least, this snow does absolutely nothing to stop people from going to major sporting and/or entertainment events because we Canadians (ahem, Central Canadians) are a very hardy and slightly strange breed of animal. And both Tom and John would mention that a number of times during the night, to the crowds obvious delight.

Image from : tomcochrane.info/ main.php

As the opening sounds of Ken Greer’s pedal steel guitar eerily filled the arena, the crowd (at least those that had made it on time) stood on their feet and gave Red Rider a thunderous hometown welcome. Human Race was a perfect start to the evening, because it was one of those strange nights all around, mostly due to the terrible conditions outside.

As Tom was introducing the second song, he made his comment about how hardy we were for actually showing up at all, and then the band broke into another early hit, Lunatic Fringe, which was also well received by an audience that was overwhelmingly baby boomers.

The opening songs would be followed by eight more classics including his biggest hits Life Is A Highway, Big League, No Regrets, and the band’s first hit, White Hot. The energy level during the playing of these crowd pleasers was phenomenal, and we had already forgotten about the mess outside.

But for some strange reason, both Tom Cochrane, and later John Mellencamp, decided to have a bit of the campfire sing-a-long kind of thing, and it sucked the energy right out of the storm battered crowd that was still pouring in an hour after the show started. One of my favourite tunes from Cochrane has always been The Untouchable One, but I like to hear it the way it was originally recorded. A fast-driving Beatlesque rocker. The version he played live included Greer on pedal steel, piano, and guitar, and himself on acoustic, and it didn’t do it for me as I felt it was lacking the intensity of the original version.

The song Good Times followed, and it was more conducive to that type of vibe as it was an acoustic tune originally, but Tom kept it going a bit too long as he insisted on getting the entire crowd to sing the chorus for a minute or two. By the time the band starting rocking again with No Regrets, Life Is A Highway, and the amazing encore (extended rendition) of Boy Inside The Man, the whole crowd was dancing and singing; because they wanted to. They didn’t have to be coaxed or prodded, and the energy level and crowd interaction was natural and sincere. Tom Cochrane and Red Rider are still a great band and live show, but if I could make a respectful suggestion as a music FAN, it would be to forget the acoustic set as all it does is deflate the crowd’s enthusiasm and give us an excuse to run to the washroom and pick up a couple more beers. Yeah, yeah. I know! Drinking while doing a review! Believe me, if any of you Westerners were here for this show, you’d still be drinking you’d be so traumatized by the wintry conditions.

John Mellencamp opened up his show perfectly, playing everyone’s personal favourite (judging by the reaction), as the opening guitar strums of Pink Houses sent the entire crowd to its’ feet. Talk about a natural and sincere interaction, as the whole building resonated with the voices of thousands singing Ain’t That America. And we didn’t have to be coaxed or directed to do it! All you bands and entertainers out there, take a note of that because it’s not just this guy who feels that way, believe me. And I’ll expand on that a bit later.

Johnny is a real showman who loves to joke and “chat” with the crowd, and he frequently speckles his talks with a lot of words you can’t say on television, or in the company of minors. But as I said earlier, that wouldn’t be a cause for concern here as it was by far the “oldest” crowd I’d ever seen at any concert I’ve been to in my life. And even Mellencamp addressed that as he asked if any of the audience was under thirty, and a huge roar went up. I think most people misheard and thought he said over thirty, because I only spotted a handful of whipper snappers in the building and they worked the concession stands.

Like Cochrane before him, Mellencamp decided that after playing his first five “lively” tunes, he too would give the band a break and perform a three song acoustic set that had the same effect on the crowd. A lot of us went to the washroom and picked up some more “refreshments”. Hey, I wasn’t driving! Plus if I’m going to sit through a camp fire sing-a-long, I’m gonna need some alcohol, believe me.

So just as I was zoning out and contemplating our treacherous journey home through the ice and the snow, the guitar intro to Rain On The Scarecrow rang out and we were all back on our feet again and reenergized as if we had fallen into a life-restoring oasis. That was followed by another band effort which (the title escapes me) was also a rocker that I'd never heard before, and then for some strange reason he went back to the acoustic format for a couple of tunes that were not well received by the crowd at all. It also didn’t help that John can get a wee bit preachy and even political at times, and his “discussion” about the Jenna 6 incident in the Southern U.S. received an indifferent reaction from the crowd that really just showed up to rock, especially considering how hard it was to get there. We all just wanted to have some fun John, and I know most of the crowd felt that the politics could have waited for a better time and a more appropriate place. Just ask Bono and he’ll vouch for it … even your hardcore fan base can erode real quickly if you spend too much time preaching/ranting, and not enough time doing what the people paid for you to do. Sing!

And the proof is in the pudding so to speak, ‘cause as soon as he returned to his rockin’ ways with Human Wheels, the reaction was instantaneous and profound as the whole crowd was up dancing and singing. Again!

He followed that with four songs that were absolutely incredible and full of all the energy you want and expect from a guy like Mellencamp. R.O.C.K. in the U.S.A., Crumblin’ Down, Jack and Diane, and the encore Authority Song had all of us dancing and singing, and sufficiently warmed up to leave the arena to march and slog our ways back to our buried cars for the treacherous drive home.

And I think that in many ways the severe weather can affect your mood so that all you want to do is have some fun and rock your brains out, so that you can escape from the reality of living in a part of the country that actually experiences these severe storms.

And having an early February campfire sing-a-long just doesn’t work for either the artist or the crowd they’re trying to entertain. Because in both these cases I would rate the “rock” part of the evening as absolutely perfect, and the acoustic sets as absolutely awful.

And I feel terrible for saying that because I respect and admire both of these acts immensely. But I also feel that as a paying member of the audience that drove through the conditions we did, the least any artist can do is give the people want they want. And it was clearly obvious that the crowd at the Air Canada Centre on Tuesday, February 6 just wanted to R.O.C.K. in the A.C.C.

If I was to rate both acts, I would give them a five out of five for the rock sets, and a one out of 5 for the acoustic sets that only served to deflate an otherwise energetic and entertaining set list. And that’s too bad, because they’re both extremely talented entertainers that should be experienced enough to know what works and what doesn’t.

Besides, if I want to spend my time drinking and using the washrooms at the ACC, I’ll just go to a hockey game where that’s about the most excitement you can possibly get lately. Ouch!!!

Photo from Starpulse.com

Toronto Needs a Miracle (Toronto's Year of the Gun?) By: Shane Christensen

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(Image: Toronto's latest gun victim)

The year 2005 is remembered as Toronto’s Year of the Gun, thanks to the high number of homicides (78) and injuries that resulted from random gunfire. And as a final despicable act to rub salt in the wound of an embattled city, a beautiful young girl named Jane Creba was shot and killed while out shopping with her mom across from the Eaton’s Centre on Boxing Day. That story was on the front pages of every notable newspaper across the province and was the major story on all news broadcasts for days, if not weeks. The young victim’s name is a household word in Toronto and most of the country, and her face is now one of the most recognizable out of the millions who live in the Greater Toronto Area.

That senseless crime brought an outpouring of shock, grief, and anger, which culminated in the media demanding that something “had to be done”. But sadly, apart from the usual media ‘routine’ that follows one of these senseless acts, nothing of any substantive level IS being done. Because in the year 2007, there were actually more homicides (82) than in the ‘year of the gun’, and 2008 is already starting out in a similar manner as two innocent bystanders have been gunned down in the last couple of weeks.

The latest victim, 47-year-old Hou Chang Mao, was an immigrant from China who had worked ridiculously long hours at minimum wage, so that he could bring his wife to Canada to join him and their son and daughter in their adopted homeland; until he was killed while stocking an orange cart at the market where he worked. He was in the wrong place, at the wrong time, as rival gang bangers opened fire at each other.

The first victim of gunfire in 2008, 42-year-old John O’Keefe, died a week earlier while innocently passing a strip club on Yonge Street, which is arguably Canada’s busiest thoroughfare of pedestrian and vehicular activity, and is now getting the reputation of being one of the most dangerous spots for people in Toronto. He was at the wrong place at the wrong time as gang bangers tried to take out the bouncer of the club, but missed.

There are a number of other gun-related crimes that have evoked media and civic cries for something to be done. Rachel Alleyne was a 30-year-old mother of a 2-year-old boy, and she was cut down by gang bangers who crashed the housing complex where she was attending a child’s backyard birthday party on a summer afternoon.

Ephraim Brown was only 11 years old when he was cut down in a hauntingly similar fashion as he was atop a fence at a birthday party as gang bangers opened fire at each other in late 2007. The list could go on and on, and includes victims of all creeds and ethnicity, in a city that is known as possibly the most diverse in the entire world. The one constant is that all of these victims were in the wrong place and at the wrong time, so they needlessly lost their lives.

So what is the answer to reducing this problem that plagues Toronto and other large cities across North America and even the world for that matter? In a word, MIRACLE!

That’s right: We need a miracle. But not the biblical miracle of old when the seas parted or hordes of locusts rained down from the sky. I’m talking about a tried and proven method of dealing with the gangs that was initiated by the Boston Police and various community agencies, and which has been so successful that it is now heralded as the Boston Miracle.

This miracle was actually a multi-pronged, anti-gang initiative known as Operation Cease Fire that was launched in 1996, and worked first of all by addressing the root cause of the overall problem, which was primarily the easy availability of guns to these gangs. By aggressively tackling the supply problem by using community ‘intel,’ gangs could no longer arm themselves as quickly and readily as they did before the initiative. The crucial ingredient of this process is that the community, which for years was silent due to fear of reprisal, now actively worked with law enforcement to weed out the gun-runners and gang bangers who terrorized the entire community. So the bad guys no longer enjoyed the safe haven they had grown accustomed to for years and were now faced with the realization that both gang membership and any related activity had severe consequences for them.

A separate but equally important phase of the initiative relied on addressing “at risk” youth in the community, so that the police and social service agencies could “get to them” before the gangs did, and offer them necessities and other support (education, mentoring) to show them that there were other options available than being a gang member. Many of these “kids” came from either single or no-parent environments, and lacked a support structure of any kind. Community pastors and elders worked cohesively to fill this void to try to steer the youth in the proper direction.

The end result was a 70 per cent drop in firearms-related homicides and assaults in the first two years, which leaves no doubt at all that the model used in Boston should become a worldwide means of dealing with an issue in a pro-active and preventive manner to reduce this scourge that is prevalent in many of the globe’s major cities. In fact, jurisdictions as far away as Manchester, England are borrowing these same ideas and strategies as they try to wrestle their gang problems into submission, just as Boston has so impressively done.

So for those who think that it’s impossible to achieve any substantial headway against this modern urban dilemma, we now know that with the necessary funding, strategies, community involvement, and co-operative teamwork between various agencies, this problem can be greatly minimized so that everyday citizens can go to a birthday party and not worry about being killed. The city of Boston and its various agencies have proven this, beyond a doubt. Canada’s largest city and other equally affected urban centres such as Vancouver, should follow suit and do everything in their powers to duplicate this great success and achievement.

We owe this not only to the Jane Crebas and Rachel Alleynes of this world, but also to their loved ones who have to deal with their loss on a daily basis, and relive it every time another innocent is cut down in a senseless act of violence.

Because whether it’s on Yonge Street in the middle of a busy shopping day, or at a neighbourhood birthday party for a young child, no one should ever have to worry about being another statistic in Toronto’s continuing saga of the year of the gun.

Sylvia's Story By: Shane Christensen A Story of Inspiration

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There is a story circulating through various media lately that is such an inspiration that I'm sure a movie will be made to chronicle this incredible tale of human struggle and eventual triumph over adversity.

Sylvia Harris is a 40 year old African American jockey, who won her first race in December 2007. That is a rare feat in itself, but what makes this story truly remarkable is the journey along the way to realizing this achievement.

For starters, Sylvia was diagnosed as being bipolar at the age of 19, and her once stable life started to unravel shortly afterwards. Her condition would plague her throughout much of her adult life, and was debilitating to the point that she could not even care for her three children, resulting in her periodically losing custody. Occasionally she was hospitalized due to her condition, with various periods of stability following her psychotic or depressive episodes.

Obviously holding a job was difficult at best and impossible most of the time, and she ended up on welfare trying to support 3 kids as a single mom. As a final test of her will and spirit, she ended up homeless in 1999 and living in her car for a couple of months, relying on soup kitchens in order to stay alive. By this time she had given up custody of her children due to her condition, so she was completely alone and estranged from all her family as she struggled to survive.

Fortunately for her, life would turn around slowly, but she was still faced with many roadblocks and seemingly impossible odds of surviving, never mind succeeding in realizing her dream. When she was given an opportunity to work at a stable at the age of 35, she informed the owner of her desire to race. This gentleman and his wife took a chance on Sylvia and provided her the opportunity, but shortly thereafter both he and his wife passed away and the farm was shut down.

Following that setback, Sylvia ended up moving around various locations in the U.S., living wherever there was an opportunity for her to work with horses. She was fired after 3 days at one stable for not working fast enough, and laughed to herself at thinking that she was not even good enough to shovel horse manure.

But she struggled on and continued working odd jobs and travelling to where there was work, and even looked at coming to Canada for an opportunity to ride. As was typical in her unforgiving life, she encountered a roadblock due to paperwork not being filed and was turned back at the border.

A series of events led her to an opportunity to ride in Chicago on a horse that no other jockey wanted due to its arthritic knees, and this would prove to be the turning point in her riding career and life. Wildwood Pegasus would place third in the first race they ran, but ended up winning his next two after that, allowing Sylvia to realize a lifelong dream.

She is now in a place that at times seemed an impossibility, and a number of media outlets including the New York Times have run articles chronicling her incredible story, which is great to see.

Because Sylvia Harris is an inspiration and testament to the human spirit, and a person we can all be proud of, regardless of our race or gender. I cannot wait to see the movie!

SEX!!! By: Shane Christensen

Article Contains Graphic Sexual Content

AHA!!! Gotcha! You just proved a point that we’ve all known since time began. Nothing grabs peoples’ attention like the topic of SEX does. All you have to do is look around anywhere, and there is no escaping the constant barrage of media images that have some type of sex theme to them. Because it’s no secret that sex sells.

This article is actually my attempt to prove this, because I’m sure that by the end of the month, I’ll have my editor emailing me the site stats and this one will place in the top read articles list, simply because the title grabs peoples’ attention like nothing else. And if it doesn’t, I guess have some ‘splaining to do.

But enough of all that, as the real purpose of this article is to highlight a lady that has dedicated her professional life to the topic of sex and all it encompasses. No, it’s not a madam or lady of the night. I’m referring to , a registered nurse and of some 30 odd years, who has written 3 books on the topic as well as hosting a very popular radio sex show, and also a TV show that is aired here in Canada, and another one in the U.S.



This gal has even been a repeat fixture on Lettermen, and can brag that she’s one of the few people that has no problem at all getting Dave to blush.

And the reason for this is that Sue is a sweet looking older woman who reminds you of your mother or grandmother, depending on your age. And we don’t necessarily like to think of mom or grandma having ANYTHING at all to do with sex. But in Ms. Johansen’s case, she has created a virtual industry over the many years (decades) of providing a service that is obviously very much in demand, and of great interest to so many of us. In fact, Sue has been so successful, she actually received the Order of Canada in 2001, which speaks volumes about her many accomplishments.

And while the thought of a nice ol’ granny speaking graphically about sexual issues might seem comical and humorous, in reality her shows are so informative and insightful that she has garnered a huge loyal audience both here in Canada and now in the U.S. where she has a weekly audience of over 4 million viewers. A lot of this can be attributed to her personality and demeanour which is very laid back, and also because both shows offer the audience the chance to call in and ask questions or make comments. And there is no fear on the callers’ part, because Ms. Johansen is totally non-judgmental of anything and everything. She doesn’t scold viewers or belittle them for asking silly questions, because in regards to sex, there are no silly or wrong questions.

I think Sue Johansen has done an incredible job in bringing important information regarding birth control and sexually related topics to the living rooms of people in a manner that allows the viewer to get the pertinent information they desire, while being entertained at the same time. She is a true pioneer and innovator, and I’m delighted that she has received our country’s highest honour of personal achievement which she so obviously deserves.

If you have not had the pleasure of either listening to or watching one of Sue’s programs, I would definitely suggest you check out the Sunday Night Sex Show on the Women’s Television Network or Sex TV. In the U.S., Talk Sex with Sue Johansen can be viewed on the Oxygen Network. Sue also writes a weekly column that can be found in the health section of the Toronto Star, Canada’s biggest daily newspaper, and as I mentioned earlier she occasionally hangs with Lettermen, and that’s ALWAYS a sight to behold.

If you’d like to find out more information about Sue Johansen and/or her shows, books, or even sex toys, simply google her name and you’ll be amazed at everything this true original has accomplished. Way to go Sue!

Danny Echo By: Shane Christensen

Upon the initial few seconds of listening to up and coming Vancouver powerpop/alt-rock band Danny Echo, I was immediately struck by the amazing vocal similarities to a young McCartney, or even Glenn Tilbrook of Squeeze fame.

And in many respects that should come as no surprise really, as the band unashamedly lists their musical influences from that great era when the classic Brit bands of the day, from the Beatles to the Stones and everything in between, were ruling the musical world.

And you can hear a lot of these influences on the Danny Echo myspace site that contains the five songs from their current E.P., soon to be followed by a full length c.d.

My personal favourite is the song Things I Never Had, which includes a killer horn section and a groove that takes the listener back to the Brown Sugar/ Sticky Fingers period when Mick and the boys were at the top of their game. Ah, those were the days.

So if your musical tastes are similar to mine, but you want to hear a fresh and energetic NEW band as opposed to the same old stuff you’ve been listening to for…how long now? Am I really that old?

Check out Danny Echo’s myspace site at:

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=29572171

Oh, and Danny? Great pipes man!!!

Review of the Movie Sicko by Shane Christensen

The other night I sat down to watch Michael Moore’s latest documentary SICKO, which takes a look at the American health care system and compares it to other socialized systems in France, Cuba, and right here in Canada.

It is a typical Moore production that mixes disturbing reality with doses of humour and American self-contemplation. But like a lot of Moore’s previous endeavours, he doesn’t hide his disgust at the state of affairs in his country in which too many times the average person gets the shaft from a cold and heartless system; usually the result of unbridled corporate greed.

He documents this with heart wrenching clarity at the beginning of the film as he introduces the audience to a once typical middle class couple that was living the American dream. They had a nice home and comfortable lifestyle, and raised a few kids along the way. But then they both got sick and ended up losing everything in the process of trying to stay alive, and are forced to move into a small room in their daughter’s home; hence even losing their dignity. And the most shocking thing was that this couple had health insurance!

And in my humble opinion, that is the beauty of this film. I was expecting to see a number of cases relating to poor and destitute Americans who could not afford private medical insurance and therefore suffered because of this. But Moore is a master at knowing how to get the maximum effect from his work and he gets a much bigger bang for the buck by documenting a number of cases of middle-class Americans that do have health insurance coverage, but end up getting swindled by heartless and manipulative insurance corporations that will stop at nothing to save a buck, even if it means that people have to die in the process.



And as is typical in all of his previous movies, Moore takes aim at a number of politicians from both parties that sell their constituents out to the highest bidder, as they line up behind a variety of corporations that are affiliated with, or make their millions from the American health care system. Even though I consider myself a realistic kind of guy, I was shocked by the number of elected officials from both parties that line up behind these corporations to do their bidding. All for the sake of generation campaign contributions.

The saddest and most ironic part of the movie deals with the cases of a group of individuals that worked at ground zero after the 9/11 attacks. While officially there were promises that any person who suffered illness as a result of the after-effects of working in this potentially hazardous environment would be looked after, the reality was that many people were abandoned and simply discarded as they failed to qualify for treatment due to a number of technicalities of one kind or another. So being the showman that he is, Moore charters a boat and sails from Florida to the American base at Guantanamo Bay Cuba with this group of heroes, to try to get the same state of the art medical care for them that the terrorists being housed at the facility get.

Of course there was no way that that was going to happen, but in a further display of irony, his group receives free medical treatment and medicine from the Cuban health care system. The same treatment that was denied at home because these patriotic men and women who gave so graciously to their country at one of it’s darkest moments, didn’t qualify for any number of reasons.

Another typical trait of Moore’s movies is his obvious respect for Canada and our way of doing things in a much more humane way than that in America. He quickly introduces you to a few individuals who receive treatment in our health care system; a system which gets a fair deal of negative press in certain circles over wait times for operations and treatment itself. But after Moore’s examination and comparison of the two different systems, you’re left with absolutely no doubt as to which is the better of the two.

But by the time he goes to France to explore their system, I was actually getting angered and irritated by the blatant disparity that exists between what Americans receive from their health care system as compared to a number of other countries. And I felt this way because there is a lot about America that I admire and respect, and it really bothers me to see innocent people exploited in the name of a dollar, especially when it doesn’t have to be that way. And Moore proves this clearly and graphically in SICKO, while still presenting us with a film that is entertaining and even humourous at times.

But it is also very sad, because it’s obvious that Moore is a proud American who is trying to bring about real and constructive change for the betterment of the American people and nation as a whole, because he believes in the ideals that his nation was founded upon and which propelled it to the stature of world leader. And he should be praised and commended for what he does because there is nothing un-American about that at all, even if he happens to offend many of his fellow citizens by exposing blatant flaws and inequities that exist in the U.S.A.

As a footnote, I’d like to offer my thanks to Swanktrendz editor Terry Lowe who steered this writer straight about some fundamentals of writing. I submitted an initial review that was written immediately after watching this film, and the anger and emotion was still very fresh and more than obvious in the original draft. And the end result was something more of a personal rant than that of a movie review and commentary. So a lesson has been learned; DON’T WRITE MAD! Or at least make sure it's a good read if you do!

Top ten Canadian Albums of all Time by Shane Christensen

Read More of Shane’s Article Here.

Recently, I compiled my choices for the Top Ten Best Rock Albums of all Time, Article can be read here , and unfortunately there were no Canadian artists present. Being the true patriot that I am, I decided that that just wasn’t going to work, and felt I should do a follow up piece which would profile my top ten Canadian Rock albums of all time.

In my earliest childhood recollections, music played a pivotal part in my upbringing and would truly define my very being. And a good part of this music was homegrown, because this country has produced a great abundance of local musical talent.

Some of my earliest musical memories included artists like: Gordon Lightfoot, Joni Mitchell, Neil Young, and of course the Guess Who, as these acts were frequently played on my favourite radio station of legendary status in Toronto, 1050 CHUM. And it wasn’t fan appreciated because of Canadian Content Regulations either, as all of these acts enjoyed huge international success, especially south of the border.

And the one thing I found while writing this article, is that this list was a lot harder to compile than my previous one, and I think the reason is because I do feel a deep attachment/loyalty to our homegrown acts. I am unashamedly proud of the following artists along with those who have furthered followed in their predecessor’s footsteps, and have proven to the entire world that my Canada cradles an abundance of creativity and talent.

As in my previous article (see link above), the criterion remains the same for an album to make my Swanktrendz list.

And this is as follows:

1.) Album must have been critically and/or commercially successful

2.) Must have innovative qualities that changed the production/approach of popular music

3.) Muscian and technical work is so good, it can not possibly be denied as being exceptional

But the difference in this list is that I’m going to add a fourth criteria, as follows:

4.) Noted album must have had a profound impact on the Canadian music industry

My choices for the top ten Canadian albums of all time are:

1.) Harvest Neil Young



Neil had already achieved notable success in the U.S. with Buffalo Springfield and CSNY, but this album was an enormous critical and commercial success that put him on the map as a solo artist, and as being uniquely Canadian, at that. I always felt that our music is a reflection of our national conscience, heart, and soul. Neil embodies all of that - and so throughly, he continues this Canadiana embodiment right through to the present day. He is our national treasure of whom we are all proud.


2.) Court and Spark Joni Mitchell



Many fans and critics would have picked the album Blue, but I’ve always preferred this offering. With smash hits such as Help Me and Free Man In Paris, this work firmly entrenched Joni as one of the greatest musical acts of the day. Even Jimi Page and Robert Plant were huge fans, and their classic song Going To California is believed to be penned for or about her. Not bad for a beautiful lady from Saskatchewan. Her innovation and originality, as well as the fact that she was a great inspiration to a whole generation of young women, provides more than enough reason to place this album so high on my list.
(Editor’s note - I agree! Same for Town & Country)
3.) Moving Pictures Rush

Although they had achieved a fair amount of international success, it wasn’t until this album came out that Rush was looked at with the level of respect that they truly deserved. Musically, they took it to a whole new level with songs like Tom Sawyer and Red Barchetta which propelled the band’s sales to dizzying heights, especially south of the border. Without a doubt, these guys are the best technical musicians this country has ever produced, and the work on Moving Pictures was second to none.

4.) Road Apples Tragically Hip


I can still remember the first time I heard a couple of tunes off this album in a Belleville, Ontario, bar; waiting to go on with the band I was in at the time. During the intro tunes, I rushed over to the deejay to inquire, “Who the hell is that?”, then immediately went out and bought the disc the following morning. I didn’t stop listening to it for months, and it’s still in regular rotation in my house and car. Quite simply, a great album from start to finish.

5.) Self Titled Tom Cochrane and Red Rider



The first song I heard from this album was Ocean Blue, and it immediately blew me away. But shortly after hearing The Untouchable One and Boy Inside The Man, I was again off to the record store and was thrilled to find out that this was indeed one of those special albums. One of the ironies of life is that while this very strong album did well, his ’91 release Mad Mad World would garner unprecedented critical and commercial success due to the popularity of the lead single, Life Is A Highway. And it couldn’t have happened to a nicer guy. Of special note is Ken Greer’s contribution both to this band and Canadian music in general with his help in launching that band out of Kingston way back in ‘87.

6.) Fully Completely The Tragically Hip



The Hip had achieved a fair amount of success by the time their third full length album was released in ’92, and Fully Completely would propel them to their present status as probably THE number one Canadian band of all time, although many Rush fans would obviously disagree. But the Hip did what Rush never could, and that was to place itself firmly in the Canadian psyche of an unprecedented number of fans, so much so that they have undoubtedly become indelibly connected with all things Canadian.



And on Fully Completely , songs like Wheat Kings and Fifty Mission Cap brought the music production industry to a whole new level, and there it has stayed since this album’s release.

7.) American Woman The Guess Who


Driven by the huge commercial success of the title track, this album solidified The Guess Who’s position as the top Canadian band of the time. In many respects this also marked the pinnacle for the band, as although they still enjoyed commercial success after Randy Bachman’s departure, the critical and commercial level of success was never duplicated to the level they attained upon the release of this, their third album. But these guys were definitely trailblazers for Canadian music, as they paved the way for all the other Canadian acts who followed in their footsteps.

8.) Reckless Bryan Adams

Mr. Adams became a household name in Canada after the release and phenomenal success of this album back in ’84. It spawned a total of six hit singles, and included the raunchy It’s Only Love duet with the best legs on the planet, Tina Turner. He would go on to have more record breaking success in the early ‘90s with one of the biggest singles of all time, (Everything I Do) I Do It For You , which spent an astounding 4 months at #1 on the UK record charts. And he’s still maintained his nice guy personality through all the fame and fortune, which just makes it extra sweet. I guess nice guys can finish first after all. Way to go Bryan! You da man!

9.) Come On Over Shania Twain

I know some of you are immediately asking yourselves, “Isn’t this suppose to be the top Canuck rock albums list?” And that is one of the reasons for this albums placing in the top ten. Sure it’s sold over 35 million copies worldwide, and that qualifies as the biggest seller album ever by a member of the fairer sex. But when you look at the track listing, you have to really question how much of this record is country at all. Like a lot of great artists, Shania is capable of bridging and fusing musical styles and genres from song to song, and that’s a major reason for her massive appeal and success. If I ever come across a genie in a bottle, my only wish is that I should be turned into Robert “Mutt” Lange immediately. The luckiest guy on the whole planet!

10.) All The Right Reasons Nickelback

I know there is a lunatic fringe that exists that hates anything or anyone that is super-successful, regardless of whether they deserve this success or not. And Nickelback seems to be one of those bands that just doesn’t get the critical respect they deserve.

Case in point; This album has sold over 6.5 million copies in the U.S. alone, and has never been below #30 on the Billboard Top 200 for over 103 weeks. Only Shania’s Come On Over has a longer run that high on the charts, as it stayed over 123 weeks in the top 30. And it’s kind of funny that both artists get slagged or disrespected by some because of…what? I don’t understand it, ‘cause in my mind they are both great artists that have produced top quality music that millions of people enjoy. And I’m sure they both take great pleasure in that fact, and it helps to drown out the sounds of the naysayers who take ‘offense’ from their enormous accomplishments.

I happen to be very proud of what Nickelback has done as they’ve proven to Canada and rest of the world that great things come from the smallest of places…even Hanna, Alberta (population 2500). Well Done!

Interview With Seether (Dec 11/07) Part TWO By: Shane Christensen

Interview With Seether (Dec 11/07): John Humphrey Drummer Part TWO

By: Shane Christensen

If Zeppelin goes on tour I’d give my right arm to play a show and open for them. John Humphrey

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Due to the length of my interview with John Humphreys, this is the second of two parts.

The first part can be found at Seether Part One

Seether is already famous for a few non-musical items that I won’t go into because it’s been written to death, but this band could rival Def Leppard for surviving personal pain and calamity amongst its members, and for this they have my admiration and respect.

A special Swanktrendz thank you goes out to Lisa Pieterse at WindUp Records Canada, for her efforts in organizing this phone interview with Seether.

Swanktrendz,ST-

ST- Would you say the band members share a similar taste in music, or is there a wide divergence of music that you’re into?

John Humphreys, JH- I think there’s a little bit of a divergence there. I appreciate the Seattle sound with bands like Soundgarden and Nirvana, but I was more of an ‘80s kid. By the time those bands were out, I was already with the Nixons and those guys were more like my peers as I was trying to do albums and records and compete with the quality of those bands, or along those lines. My influences go further back to bands like Led Zeppelin, Van Halen, or Motley Crue and I was into that style and flash which I hoped I’d bring to the band. I also appreciate the early ‘90s which was when Shaun actually picked up the guitar, and I had already been playing about 10 years by then.

ST- How did you find working with Howard Benson as a producer?

JH- Magnificent. He’s a great guy and he was about the quality of songs. Shaun wrote a lot of material - close to 60 songs - and everybody had their input. Then we helped narrow the 60 songs to 15, and 12 ended up on the CD. Howard really brought out a lot in us and helped us to trim the fat, shape the songs, and arrange the result. Some of the songs, arrangement wise, were recorded completely different and then changed in post production. He (Howard) also added keyboards and a lot of ‘colour’ to the CD. A song like Breakdown had Howard adding a keyboard line to; he also suggested Shaun play sitar on the song Don’t Believe. He brought an interesting dimension to the band and helped us grow a lot. I really appreciate his ability as a songsmith and I feel he brought the ability to our project.

ST- Do you have any personal favourites on the album?

JH- I do. It changes from day to day sometimes as I really like the whole album, but Walk Away From The Sun is one of my favourites as well as Eyes Of The Devil, which actually was one of the first songs written as the band was playing. Shaun started playing the riff and Dale and I just sort of jumped in, whereas with other songs Shaun would have a demo with a drum machine on it and give it to us. Then Dale and I put it through our ‘filter’ (along with Shaun) and ‘out comes’ the song with a Seether feel. Eyes Of The Devil was completely organic. It is an interesting song because it occurred during a natural process of literally playing/jamming and the music just evolved into a song - that same day.

ST- As a drummer in the studio, do you have a lot of musical input as far as the songwriting goes? I know Shaun writes the lyrics, but is it a band effort for the music?

JH- Musically, Shaun is very open-minded and I, as the drummer, can have carte blanc to do anything I want. I just keep it tasteful and, like earlier when I was talking about Dave Grohl, importantly - I try to support the song. The role of a drummer in rock music is laying back and supporting, and carrying the song to make it flow and provide the tempo and feel that is very important. But it’s not about flash or ‘pulling off your cool fill’ of the week. It’s about supporting your song and making it the best it can be. I’d like to think I’ve been a part of a lot of great songs during my career.

ST- I agree. When you can find the balance of drums, guitar, or any instrument - and someone like Jimi Page or...? Led Zeppelin did it well- that is the goal of any great band. Seetherdoes this well, and in listening to your last album, I hear a diversity that joins songs with a harder edge such as No Jesus Christ and Don’t Believe, with radio-friendly songs like Breakdown or Rise Above This and they’re all great songs.

JH- Believe it or not, it wasn’t premeditated. I mean it wasn’t like we needed so many singles or anything. Again, I have to credit Howard as it was just choosing the ‘best’ songs, regardless of whether they’re heavy or mid-tempo, just as long as they’re ‘great songs’. And I’m really proud that we do have some good songs here.

ST- Even though I’m not a big fan of reviews, while researching Seether I came across a Rolling Stone review… Are you aware of it?

JH- I am, I am.

ST- When you or the band sees or reads something like that, what is your reaction? Do you just kind of let it roll off your backs, or does it piss you off?

JH- I think it’s a bit of a thorn in your side, and it sucks. I mean, let’s be honest, we’re human and that kind of thing sucks, but it’s kind of weird ‘cause what other business
can you pour your heart and soul into a project to complete an album and have it critiqued by the world?. I appreciate all the opinions, but there’s a million different people, with that many different views. I can’t hold too much faith in that magazine, sometimes.

ST- I question his actually listening to the CD as there’s no merit in what he’s saying. He was writing anything because your CD is a is a full album, with no filler tracks at all.

JH- I agree, not to sound arrogant, but I feel strongly about our CD, even though Rolling Stone begs to differ. I’ve written songs and I’m a big music fan myself. We’re hardest of all on ourselves; as musicians and artists. We will not turn out something that wasn’t the best work we felt we’d done at the time.I don’t sit around. listening to my Seether, patting myself on the back, but I am proud of this CD. I can go to bed at night saying we did a really good job.

ST- I totally agree . My final query, John,is a question that Swanktrendz asks all successful artists - such as yourself: ... Are there any lesser known bands that you enjoy and appreciate, bands you’d like to mention them so they may receive better audience awareness?

JH- Actually, there’s a brand new band that’s from Oklahoma, where I hail from, and I’m going to start producing them. They’re on my friends list on Myspace. They’re a great bunch of guys, called Stone Cold Sober. They’re an unsigned band with pretty good songs, and I’m going to try to help out with a little of my experience so that they don’t have to make the mistakes I did. I always like being able to help, and this is a band that I think is pretty cool.

ST- Excellent. We’ll provide a link to Stone Cold Sober.

Visit Stone Cold Sober

Also, I appreciate, and want to thank you for your time, John, as I know you’re a busy fellow. Enjoy the rest of the tour, and I look forward to seeing Seether in Oshawa in January.

(Shane's Note:) As a footnote to this piece, I’d just like to say that there’s a perception in certain circles that rock artists (especially hard rock) are lazy, not too intelligent, and often self medicated, while writers are the complete opposite of the work ethic spectrum. John Humphrey and the other members of Seether are reasons why such generalizations are unfair. Seether works harder than most ‘working people’ would ever dream of. On the other hand, Brian Hiatt’s Rolling Stone review of Seether’s recent album is an embarrassment to music reviewers, fans, and musicians. Yet the Seether article is not alone, too many times I have wondered the reasoning behind similar articles that were off the mark. I suppose The Rolling Stone is no longer a member of the school of responsible journalism, choosing self importance/promotion over musical inquiry and substance. A new affiliate for the grocery store tabloids.

Photo from http://www.glam-metal.com/seetherint.html

Back to Seether Part One

Interview With Seether (Dec 11/07): Part I By Shane Christensen

Interview With Seether (Dec 11/07): John Humphrey Drummer Part One

By: Shane Christensen

Behind every great drummer is an awesome mom, and an awesome wife. John Humphrey

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This Article is written in two Parts, the second part can be found here Seether Part Two

I used to be a faithful reader of Rolling Stone back in the ‘70s because the magazine was cutting edge and very relevant at that time for those of us whose musical palette ran the entire spectrum, including fringe or obscure acts. But even then, I noticed there was an elitist and snobbish tendency in reviewing albums, especially if the band in question did not fall into their idea of the cool or politically appealing acts like Springsteen or U2. ( My idea of any fair review is to give the disc a day's worth of listening, even if it kills you.)

Image from www.glam-metal.com

So as I did my research for a Seether phoner interview with their drummer John Humphrey, I wasn’t surprised at what a terribly biting and unflattering review their new release, Finding Beauty In Negative Spaces, received from the rag/mag. And as an ongoing supporter of the underdog, I was truly hoping that I would (at the very least) like something about their new album. I have always felt bad reviews can be a result of ulterior prejudice/motives or even the jealousy of a fellow musician who just didn’t make it; who hates anybody who is on their way to fame and fortune.

I was pleasantly surprised upon the initial few listens, realizing this would be an album that wouldn’t kill me to listen to, which makes the whole process a lot more enjoyable.In fact, I like their music very much. I state this based entirely upon their most recent release, Finding Beauty In Negative Spaces, and the previous album Karma and Effect. I have only heard a couple of cuts from their first release Disclaimer, but something tells me it will be under the Christmas tree.

Seether is already famous for a few non-musical items that I won’t go into because it’s been written to death, but this band could rival Def Leppard for surviving personal pain and calamity amongst its members, and for this they have my admiration and respect.

Heading into the interview, I have to admit I was excited because I’m a drummer and I think John is incredible at his craft. I would compare his talents to those of one of his predecessors in Seether, Josh Freese, (one of my all time favourites in his work with A Perfect Circle.)

In speaking with John, it was evident that he is a true rock journeyman; dedicated member of the band, who enjoys the current ride Seether is on with the hit songFake It and album.

Due to the length of my interview with John Humphreys, this article will be read in two parts. As well, A special Swanktrendz thank you goes out to Lisa Pieterse at WindUp Records Canada, for her generosity and effort in organizing this phone interview.

Swanktrendz,ST- Thanks for taking the time out of your very busy schedule to speak with Swanktrendz, John. It is appreciated. How is the tour going for you?

John Humphrey, JH- It’s going great. We started back in August, about 3 months prior to the release of the album in the States, supporting Breaking Benjamin and Three Days Grace. We had been off the road and away from touring for about a year and we just wanted to get out and play, and that support position seemed like a great opportunity to get in front of some people who are also our fan base, as well. Those bands were a great match with good crowds to play to. That tour ended November 19th, and now we’re headlining our own shows here in the States. We’ll break for the holidays, and then we’ll be up in Canada with Three Days Grace starting in January.

ST- Are you looking forward to a month off?

JH- Yeah, absolutely. We’ve been hitting it hard for five months and a three week break is a well deserved break and holiday which gives us the chance to go home and see our families.

ST- I had read on the internet that you toured with the Nixons (previous band) upwards of 300 shows a year?

JH- Yeah. That was kind of my foyer into the music industry, my baby years, you know? I really cut my teeth with that band. I joined the Nixons in ’92 and was with them 8 years through to 2000. They were similar to Seether as far as the music genre but we lived the work ethic of a road band who lived out of our suitcases, and who played 200 to 300 shows a year. It’s the same effort with Seether, you know? So I was used to the work ethic when I came to this band.

ST- Was that one of the things that Seether was looking for when you came on? That commitment to the road?

JH- Absolutely. They want not only a qualified musician, but someone who was compatible with the mentality that Seether is a road beast that lives out of suitcases. We like being in the studio and making albums, but our thing is taking it to the people, living on the bus, and hitting the road. I think that’s a constant philosophy throughout my early life and background, and I think that attitude helped, along with my ‘around the block’ experiences. Having to speak a couple of times, kind of helped my position, too. Some musicians are a little green and haven’t done this type of questioning and really aren’t used to the rigours of it all.

ST- On a personal level, how does being in such a hard working band affect a marriage? Or do you have a very understanding woman?

JH- (Laughing) Yeah, absolutely, man. Behind every great drummer is an awesome mom, and an awesome wife. My mom put up with the ‘wood shed’ years with my rehearsals in the shed and the garage, and my wife is absolutely supportive. She knows that music is a big part of me as a person, and my kids are my biggest fans, and biggest fans of this band. They’re wonderful to have and are very supportive as well.

ST- Do you find during the shows now, because of the success of the single Fake It,there’s a reaction from the fans?

View Seether Video here courtesy of WindUp Records Canada

Watch' Seether's Fake It Video

JH- You mean an immediate reaction as we’re playing it live?

ST- Yes, exactly.

JH- Yeah, definitely. When we started in August, the song was obviously just starting in radio, so it’s been interesting to watch the evolution and familiarity of the song as it becomes a high point for the fans. Now when we kick off that bass line, it’s immediately recognized and there’s that instant crowd response. Back in August, the response was a little slower, but now it’s definitely the show stealer and it’s been great to really watch that song grow up.

ST- I guess it’s picking up steam the longer the song and video are charting?

JH- Yeah, absolutely. It’s done well and I’m really proud of it as I think we’ve done a video that fits the song really well. I think it’s the first time that a song and video have come together like that for us and where the interpretation for that song is put into the video. I think fans and people have really responded positively to both the song itself and the video that provides the perfect meshing. I think the song has triggered something.

ST- How has the band dynamic changed playing live, now that you’re a 3 piece? Is there a big difference?

JH- Yeah, it’s a lot of fun, and I think it sounds great. There’s not a lot of 3 piece bands out there, so I think it’s interesting. We go back and forth about bringing on a guitar player, but we’re having a lot of fun being a 3 piece so we’re not too sure if we’re going to do that or not.

ST- I had read recently that Shaun was considering adding a second guitarist for the live shows. Are there any concrete plans to do so right now?

JH- No, not concrete. But we’ve definitely kicked it around and there’s guys out there we’re considering. In fact, we’re going to be talking about it tomorrow at a band meeting, and figure out what we’re going to do.

ST- Is there a chance that Pat Callahan might return to the band?

JH- I don’t think so. I think he is much happier now.

ST- I’d like to talk about your drumming influences going back to when you first started playing. Who would you say were the guys that inspired you to drum?

JH- I was definitely influenced by the ‘80s era of music and concerts back then. I really dug the big shows and presentations that had the drummers that you could see visually all the way to the back of the arena. It’s drummers like Tommy Lee, and I love guys like Tommy Aldridge that I saw way back when with Whitesnake. *I really love Dave Grohl, but it took me to when he started playing with Queens of the Stone Age on the album Songs for the Deaf to really appreciate him as a drummer. I do understand that as a drummer he was supporting the music, playing great fills, driving the great melodies and songs that Cobain was writing. When he did the Queens of the Stone Age album, he kind of went off a little bit and showed his skills and abilities, and I became a fan of his.

ST- Along those lines, have you been following any of the Zeppelin clips that were on YouTube today?

JH- (laughing) I haven’t, but I’m a huge fan of Jason Bonham. In fact, back in the Nixon days I was fortunate enough to do a few shows with him as he had a band that was doing Zeppelin covers and stuff, so seeing him doing that, it’s really amazing. I hope they follow it up with a tour ‘cause somebody asked me the other day What would be your dream tour? and I never thought I’d have the chance to say it, but if Zeppelin goes on tour I’d give my right arm to play a show and open for them. Although I’m sure they have enough material that they could probably handle the whole night all by themselves.

the second part can be found here Seether Part Two