Booing Justin Bieber, Seriously?

Yesterday, Nov. 25, was the 100th anniversary of the Grey Cup game. It was a classic east meets west matchup with the Calgary Stampeders versus the Toronto Argonauts. As usual, the halftime show was all glitz and splendour featuring Canadian icon Gordon Lightfoot, newcomers Mariana's Trench, and pop stars Carly Rae Jeppson, and Justin Bieber. And as usual, the performers sang live while the backing tracks were synced by the musicians on stage. Hilariously, Carly Rae Jeppson had a guitar player in her band despite the fact there was no guitar in the songs she performed. Token guitar player I guess.

The most troubling thing about the halftime performances was the response Justin Bieber received. He was vigorously booed before, during, and after his performance. Seriously? Football fans are giant douchebags that have to boo a pop star? Was it because his music isn't "manly" enough for a football game? Was it his hair? What ever it was, it was ignorant and uncalled for. Sure Bieber's music is not exactly the cup of tea of 95% of the fans at the game, but it doesn't mean he has to be booed. He's a Canadian cultural ambassador that has sold a gazillion albums and is popular worldwide. He does more for Canada than the CFL, yet the ignorant fans at the game decided to boo him simply because he's Justin Bieber. 

Granted this year's halftime show was one of the worst. Whose brilliant idea was it to have CBC's Brian Williams emcee the show? Here's a scoop, no one cares. The faces of the fans surrounding Williams were testament to that. Gordon Lightfoot's performance of "The Canadian Railroad Trilogy," while being truncated, seemed wildly out of place compared to the moptops that followed. All alone on stage, he looked stark and vulnerable, yet at the same time, he commanded the respect granted the grand old statesman of Canadian song. Jeppson's performance was lacklustre, as if she was going through the motions. Mariana's Trench were likable enough, playing a forgettable pop tune that instantly went out of my head. I vaguely remember how it goes. What I do remember was the glitter in the hair of the lead singer. Not a good sign if you're trying to be a pop star. 

Having said that, if any of the fans at the game on Sunday can write and perform better songs that are more popular than Bieber, I'd love to hear them. Until that happens, you sports fans should keep your opinions to yourself when it comes to cultural matters. Obviously your taste is in your shoe, and public decorum and manners mean nothing. 

Besides, Bieber wasn't that bad. In fact, he was pretty good. He's a bonafide, international Canadian star we can all be proud of.

A Prayer For Whitney...Seriously?

It has happened again. Another female singer has died too soon. Whitney Houston died on Saturday, February 11, the day before the Grammy Awards. The collective outpouring of grief has been overwhelming. Obviously she was loved and liked. And, just like the response to the death of Michael Jackson, Whitney's albums and songs have sold like gang-busters over the last few days. More Whitney product has been sold since her death than in the previous two years combined.

Last July Amy Winehouse died. Some grieved for her, some thought she got what she deserved. What is curious though, is the difference between the public's response. Both singers led controversial lives replete with drug abuse, relationship problems, and career difficulties. Both singers died under similar circumstances. Both singers were on a "comeback" of sorts.

Yet, Whitey's death provoked something rarely, if ever, seen during the Grammy Awards. Every year the Grammys remember and memorialize those in the music industry that passed away during the year, but at this year's show in addition to the usual tribute, Whitney was prayed for before the show began. Host LL Cool J led the Grammy audience and the millions of viewers in a prayer for Whitney, live and in HD, so to speak.

In contrast, Amy's death provoked nothing even close. No one prayed for Amy at the British Music Awards, and it is doubtful that even if she died the day before the show, she still would not have been prayed for. In fact, there has not been one famous musician that has died and then been prayed for during a nationally/globally televised award show. So why is Whitney different?

Reasons for Whitney's prayer range from the legitimacy of her pedigree, she's the daughter of gospel singer Cissy Houston, cousin of Dionne Warwick and Darlene Love, and Aretha Franklin is her godmother; to the fact she was allegedly deeply religious and spiritual. But, John Lennon and Michael Jackson were both spiritual and I don't remember a prayer said for them at the Grammy Awards.

My argument is that her success both pre- and posthumously is largely due to the song "I Will Always Love You." Whitney has sold in the neighbourhood of 22 million albums over her career, half of those were the soundtrack to The Bodyguard which contained the song; however, I'm not sure that's reason enough to warrant a prayer at the Grammys. Now granted Whitney has recorded more albums and sold more product than Amy, but Amy was half Whitney's age. Would Amy be prayed for if she had an "I Will Always Love You" and four more albums? My guess is no.

And that's the curious thing. Despite the fact numerous famous and influential musicians have died too early, only Whitney gets prayed for at the Grammy Awards.

Frankly, I found the prayer for Whitney out of place. There are other venues appropriate for such a display other than a nationally/globally televised awards show. There already were tributes to Whitney in the program. But after a small cursory review of this with people I know, I'm apparently alone in my view. Having said that, I recognize Whitney's success, her contribution to music history, her influence on subsequent singers, and her talent; but I question her prayerworthyness above others.

The Sad Death of Amy Winehouse

Amy Winehouse is dead. The news flashed around the world by tweet before it hit the major networks. The inevitable jokes ensued, but the saddest thing about this is that no one was shocked by her death. Surprised, perhaps, that her death occurred so young but not surprised at all that she died. It's as if the world was waiting for the other Amy Winehouse shoe to drop.

She lived a troubled life, not uncommon for young celebrities, but her fame was coupled with addiction that virtually paved the way for her demise. She was, by all accounts, a full blown alcoholic and drug addict. And she appeared defiant and in denial. Even her hit "Rehab" with its chorus of "They tried to make me go to rehab and I said no, no, no" said Amy was not willing to accept that she was an addict and the song was a musical flip of the bird of sorts to all that suggested she was. Remember, though, she did not set out to be an addict. Addiction creeps up unexpectedly, tells you it's your friend, and then destroys your life. Throw in celebrity life and you have a volatile cocktail waiting to explode. And explode it did.

Her music lives on and it's the music that should be remembered. Amy was an addict, so what. She was a talented singer and the tragedy is that we will never know what she could have accomplished. She enters the pantheon of rock stars that have died young -- Jimi Hendrix, Janis Joplin, Jim Morrison, Gram Parsons, Kurt Cobain, to name a few. And guess what? They were addicts too, with the exception of Cobain who committed suicide. But we remember them for their music not for how they died.

We should remember Amy Winehouse the same way.

The 2011 Juno Awards: You've Come A Long Way Baby

The 2011 Juno Awards were broadcast March 27. The top Canadian popular music artists were lauded at the annual event that garners millions of viewers every year. And while last night's show was by far the best one yet, it has not always been that way.

Prior to the 1960s, the Canadian star system was regional with no recognition beyond audience size and airplay. Local acts could become quite popular within their own geographic area, but given the size of Canada and the expense of touring across the country, many acts that were popular in Toronto never played in Vancouver. Before 1964 there was no national music chart either. Most local radio stations had their own chart of what was popular but as far as a national chart or rating, that was non-existent.

In December 1964 the recording industry trade magazine RPM Weekly initiated a reader’s poll. Readers were asked to vote for the artists they felt were the most popular. There was no big television show, no big production, instead just an informative and interesting final result with the winners and their categories printed on the front page of the magazine. This small poll started Canadians thinking that they had an industry of their own and after publishing the Reader’s Poll from 1964 to 1969, RPM went one step further. On February 23, 1970, St. Lawrence Hall in Toronto became the first setting for the RPM Gold Leaf Awards. Industry response was lukewarm and no one foresaw the potential for holding such an event. In 1971 the Gold Leaf Awards were renamed the Juno Awards after then-Canadian Radio-television Telecommunications Commission (CRTC) chairman Pierre Juneau.

It was February 1971 when the first Juno Awards were held; again St. Lawrence Hall was the setting. They continued annually in this venue until they were televised nationally for the first time on CBC television in 1975. An advisory group was formed to assist RPM Weekly with the organization and production of the early Juno telecasts. The Canadian Music Awards Association (CMAA) was comprised of a group of record companies and industry individuals. Initially intended as advisors to the Juno Awards, the CMAA was renamed the Canadian Academy of Recording Arts and Sciences (CARAS) and, after the first two Juno telecasts, took control of the awards show.

Early Juno telecasts were haphazard and somewhat facile events that garnered little if any interest from the general public. Perceived as a poor copy of the U.S. Grammy Awards, they were often ignored by the public, criticized for substandard production values, and it was alleged that the winners’ lists were suspect. Rumours flew that a well-placed bribe could get an artist a Juno. The allegations of fixing the Juno Award results were more industry grumblings than a serious attempt at proving malfeasance. RPM Weekly and its editors Walt Grealis and Stan Klees were continually under suspicion, largely due to their antagonistic stance against the broadcasters and because they were instrumental in having the Canadian Content Regulations legislated in January of 1971. Still smarting from Cancon, the broadcasters would seize any opportunity to decry RPM Weekly, its business practices, and its editors. Moreover, Grealis and Klees never received any remuneration for the co-opting of the Junos by CARAS. They were promised payment but it never emerged. Control of the awards was essentially wrested from their hands.

Over the years, public awareness and acceptance grew and slowly a Canadian star system developed. The print media began to feature stories about the nominations and cross-marketing promotions with potato chip and soft drink companies added much needed financial support, all the while helping to raise public consciousness. Artists began to take the Junos seriously, realizing that winning Best Group or Best Artist was beneficial to their careers.

Seeing the value of keeping the Junos in the public eye between telecasts, CARAS released several CDs that commemorate the awards. The first one released in 1996 is a four-CD box set titled Oh What A Feeling: A Collection of Canadian Music that commemorated the twenty-fifth anniversary of the awards (also collections for the thirtieth and thirty-fifth anniversaries) and annual CD compilations since then that highlight the year’s most popular artists.

Not all performers viewed the Junos as something beneficial to their careers. Stompin’ Tom Connors, by far one of the most nationalistic performers in Canada, returned his Juno awards in 1978 because he felt the recording industry had become, in his words, “too Americanized.” Anne Murray, Canada's first international female superstar, boycotted the Junos for almost ten years refusing to participate until the production was improved. When she finally returned fans overlooked her boycott and she was met with a standing ovation.

Presently the Juno Awards are taken much more seriously than previous years. Production values have refined to the point that viewers no longer consider the show inferior when compared to American productions. Last night's telecast proved that conclusively. The Junos have become a viable and coveted means of determining an artist's popularity and Canadians can be proud of current groups such as Arcade Fire that have won Grammy Awards and British Music Awards, pop sensation Justin Beiber, and veterans such as Neil Young, Joni Mitchell, and The Band.

Juno Awards 2011: Live Blog

The 40th Juno Awards.

8:00
The introduction: Drake in the dressing room. Now, he's talking to Lloyd Robertson who wants to play COD.
Oh, Justin Beiber on Skype. How appropriate. So far, not funny. Got some bromance going on, they're singing "I Will Remember You."

Down With Webster. Horn section with bondage masks. WTF?

The set looks like the Toronto city hall.

Drake starts his emceeing. He singles out Neil Young in the audience. A coup for the Junos for sure. The usual suspects in the audience, Bryan Adams, Sarah McLachlan, etc.

Drake says  hip hop is taking over the evening. Rapping to the Hockey Night in Canada theme.
Hip hop with a grand piano. Somehow doesn't work.

8:15
First presenters. Deadmau5 and Buck 65 for Group of the Year award.
And of course Arcade Fire wins. No surprise there.

8:20
Royal Wood and Keisha Shante introduce Sarah McLachlan.
Sarah performs. An uptempo song from Sarah. Really? Good song.

Second presenters: Great Big Sea and Meisha
Fan Choice Award. Justin Beiber wins. No surprise there.

8:30
Drake's back and introduces K'naan.
K'naan presents Songwriter of the Year.
And the winner is Arcade Fire. No surprise there. The entire band is Songwriter of the Year. Methinks they're going to clean up.

Maestro Fresh Wes and Classified. Lots of hip hop artists on this year's show.
They introduce Hedley. A ballad. The grand piano looks like it has bullet holes. Not a bad tune though. Different than the usual Hedley fare.

8:40
Bryan Adams does a tribute to Shania Twain, Canadian Music Hall of Fame inductee.
She still looks good. She takes her time getting to the stage and causes a bit of hiccup in the walk-up music.
She reaffirms the fact that we do have good musicians and songwriters in this country. Patriotism run amok and now she dishes on Bryan Adams. She also loves the Canadian bush, as do we all.

8:55
Drake introduces Robbie Robertson.
Robbie does a tribute to Toronto and Yonge Street and the early days of Canadian rock and roll.
All star band performs a tribute to Canadian artists.
Jim Cuddy in a suit. That's worth the price of admission.
An excellent segment.

9:15
Buffy Saint-Marie and Shawne present New Artist of the Year.
Megan Smith wins.

Drake's back. He likes rock bands.
Tokyo Police Club performs. Not a bad tune. Interesting sounds.

Ben Mulroney reviews the awards given out on Saturday night. He wants to be as cool as Jim Cuddy.

9:30
Barenaked Ladies present Single of the Year.
Waving Flag or K'naan wins.

Charles Kelly from Lady Antebellum introduces Johnny Reid.
Johnny Reid performs. Canadian country music has come a long way. Not the greatest tune though.

Drake on tape doing a segment with senior citizens."Old money," quite amusing.
Drake's back on stage now and the seniors from the clip are in the audience.

Billy Talent segment on music education. Short and sweet.

 9:45
Yoko on tape talking about the Bed-In for Peace in Montreal.

Emily Haynes and Jimmy Shaw introduce Broken Social Scene.Guitar players galore and two drummers.

Melanie Fiona and Dan Hill present Pop Album of the Year.
Justin Bieber wins. No surprise there.

10:00
Drake's back and flubs the intro. He introduces Daniel Lanois.
Lanois presents Humanitarian Award.
Tribute to Neil Young. Neil wins the Allan Waters Humanitarian Award.
Neil's the best.

10:15
Feist introduces Arcade Fire.
Biggest band yet. Strings section even and two drummers and a harpsichord.

Randy Bachman presents Artist of the Year.
Neil Young wins. Awesome.

10:25
Drake's back and introduces Chromio. Very cool.

Geddy Lee and Alex Lifeson present Album of the Year.
Arcade Fire wins. No surprise there. And they did clean up.

Drake's back. And that's the end of the show.

The best Junos yet. An excellent show.