popwreckoning

When I first saw the Kurt Cobain avatar “featured” on the new Guitar Hero 5, my gut reaction was to pause it after fifteen seconds and to gasp loud enough that it made those around me come running to the rescue. I was found with my hands covering my mouth, paralyzed. I’m not being dramatic, it’s that bad. Go ahead and have a look at the damage:

and please for the love of God, tell me I’m wrong. Tell me Courtney hasn’t completely sold Kurt out while taking boudoir photos with her pet turtles in bed. This is fact and there are TwitPics to prove it.

In the video, a clip of which has gone viral on YouTube this week, Kurt is a sort of ringmaster/karaoke clown who is lip-singing alongside cartoon skeletons and anime vixens to Bon Jovi’s “You Give Love a Bad Name” and introducing the game with an amped-up homeboy bravado that blurts: “…let’s show them that we can do this…like we always do this…turn it up…Yeah Boyeeeeeee!” a la Vanilla Ice? The image of Kurt is a much loved and familiar one from the “Smells like Teen Spirit” era, showcasing his signature blonde shag and the pilled Seattle weather-worn brown cardigan that spawned a thousand, an image which Tim Riley of Activision, the makers of GH5, told Rolling Stone Courtney styled herself for the game. Despite the virtual likeness, this is a horrifying image of Kurt, one that bears no true resemblance to the artist who spent his entire career combating the media’s misrepresentation of him and Nirvana.

Love has apparently spent the past few days blasting, via Twitter, Activision as well as Novoselic and Grohl for the Avatar fiasco and says that she plans to sue. Activision released a subsequent statement confirming that Guitar Hero did indeed secure the proper rights, signed by Love, to use Cobain’s likeness as a “fully playable character in Guitar Hero 5.”

In a statement made by Grohl and Novoselic, the remaining members of Nirvana assure fans, despite love’s rusty battle-axe, that they didn’t have any hand in creating cartoon Kurt and that they don’t legally control the image of Cobain. “We want people to know that we are dismayed and very disappointed in the way a facsimile of Kurt is used in the Guitar Hero game. The name and likeness of Kurt Cobain are the sole property of his estate – we have no control whatsoever in that area.”

Novoselic and Grohl are urging Activision to “re-lock” the character so it can only be played with the Nirvana songs that were licensed.

“While we were aware of Kurt’s image being used with two Nirvana songs, we didn’t know players have the ability to unlock the character. This feature allows the character to be used with any kind of song the player wants. We urge Activision to do the right thing in “re-locking” Kurt’s character so that this won’t continue in the future.

It’s hard to watch an image of Kurt pantomiming other artists’ music alongside cartoon characters. Kurt Cobain wrote songs that hold a lot of meaning to people all over the world. We feel he deserves better.”

Let’s remember the real thing.

Guitar Hero: website

Okay, so I may have gone a little crazy.  I may have found myself in four different states in as many days.  Both my body and wallet definitely still hurt from the excursion.  You know what, though?  I’m an unabashed fangirl, and this happens every time Tori Amos goes on tour.  It’s like clockwork.  Every two years or so, the world loses me to the redheaded siren with the Bosendorfer.  It could be worse, I guess.  I could be a Daughtry fan.

I left work early the day of the local show at Radio City Music Hall, like my first day of “Tori Tour” was some special holiday.  As I sat in the Russian Vodka Room during Attitude Adjustment Hour considering the spiciness of my Bloody Mary, I was surprised at just how excited I’d become.  In the past, a live Tori show was the pinnacle of all musical experiences for me, but when the new album (Abnormally Attracted to Sin)  came out and I hated it, I figured the shows I attended would be a sort of swan song; a goodbye to my angsty, tear-filled days worshiping at the altar of the faerie goddess or whatever.  Unlike my other intensely devoted fan friends, I’d come to realize that Tori is not infallible, and it was a shock to my system.  Either way, four shows later, I’m feeling better about the whole thing and I’ve called the divorce off.  I still can’t find my faerie wings, though.

The setlist for each show is written day-of and could be based on local themes, current events, or requests from fans during pre-show meet and greets, but does have a structural base.  She opens with “Give” from Abnormally Attracted to Sin.  The third song is the old standard, “Cornflake Girl.”  Somewhere in the middle of the set is a two-song solo mini-set, dubbed “Lizard Lounge.”  After that, the band (Jon Evans on bass/guitars and Matt Chamberlain on drums) returns for a few more songs, and they close out the set with another new/old pairing: “Precious Things” and “Strong Black Vine.”   This tour sees one encore, with two to three songs, typically involving “Big Wheel” and “Raspberry Swirl.”

Given that, the Radio City show was a slow start to things, as the fleshy bits of the set left something to be desired.  There were bright spots, though, and they were almost blinding in their brilliance.  There was “Space Dog,” a track which finds itself in my all-time top five, and which I only saw live for the first time during the 2007 tour.  There was “Jamaica Inn,” a song I’ve never loved, but the live version of which is sad and sweet and perfect.  Then there was “Lizard Lounge”, and Tori blew some minds with her cover of Nirvana‘s “Smells Like Teen Spirit,” which I’ve heard plenty of bootleg versions of, but had never heard with mine own ears.  And then there was “Winter,” and I officially lost my shit, which became something of a trend.  Mostly, the show seemed full of safe bets.

That’s okay, though, because risks are the polar opposites of safe bets, and the show the next night at Count Basie Theatre in Red Bank, New Jersey was chock full of the most amazing musical risks I’ve ever been privy to–well, for Tori.  I’ve seen her live 16 times now, and this show was, far and wide, the best.

But briefly, let me back up to that afternoon when I stood in line for the meet and greet with a bunch of other fanatics of varying degrees.  The compulsion to have a relationship with your idol is an interesting one, and this becomes apparent with “Toriphiles.”  I know the catalog, own plenty of bootlegs, and can discern differences in edits of live versions of songs from tour to tour, but sometimes fandom gets out of hand, and I have to say it: I don’t like other Tori fans.  This could be a self-loathing thing, but probably not.  The superfans are obnoxious, socially awkward, pushy, and a lot of them have a false sense of entitlement.

For example, I’d like to briefly consider the very difficult life of Superfan X. Before I do that, though, I’d like to note that I’m not being hyperbolic. I could rattle off a list of at least ten people I’ve met who do this every time Tori tours. Anyway, Superfan X finds him/herself voluntarily jobless for three months every two years and has seen Tori 200 times in x number of states and countries. Superfan X doesn’t feel this is the slightest bit excessive.  Good for them.  Here’s where other people see a problem: Superfan X only ever buys tickets day of, if at all, and can be seen chasing down the tour manager before every show, looking for ticket upgrades. Somehow, there’s the expectation that Tori and her people are indebted and must give front row seats to the biggest, best, most visible fans. Interesting logic. Thing is, I always buy my tickets in advance and I’d like to check out a show from the front row sometime, too.  And I’d like to do it without making a total ass of myself in the process.

These people give a bad face to fans and to what passion and joy there is to be found in loving music that grows with you over time.  Regardless, friend Mitch wanted to meet the redhead, so we forged on and persisted in the heat with the others.  I didn’t mind having the chance to say hello and request that she play my favorite song in the entire world, either.

So, let’s fast forward past the meet and greet, the vodka, the food, the Nag Champa incense I bought for my girlfriend (which smells of hippies and dirt) in some silly pagan shop, and the quaint small-town feel of Red Bank.  Count Basie Theatre?  It’s perfect.  It’s small and intimate and the sound is wonderful.  The first two-thirds of the set were intense, but I had no trouble rolling with the punches for awhile.  There was “Beauty of Speed,” “Horses,” and “Siren,” a selection of songs which spans her entire discography.  And every set is like this.  The focus is sprawling and doesn’t just lie with the newest work; it’s favored only slightly, which I can get down with.

Here’s the sucker punch: “Tear in Your Hand,” the song I requested.  I’d watched her write it on a notepad with a silver Sharpie.  There are so many requests per day that, when you actually hear yours, it can be overwhelming, especially if you have an emotional attachment to the song.  This is where the tears started to flow in these surprising, giant sobs.  And they didn’t stop, because then she played “Doughnut Song,” “Taxi Ride” and Carly Simon’s “Boys in the Trees” solo, and then “Josephine.”  Everything else fell by the wayside after that, which gave me a chance to breathe.

On the last train home, I encountered a stranger who’d been at the show.  We got to talking, and she asked if I’d be going to Boston to see the last show of the tour.  I shook my head no.  I didn’t have a ticket, I had to go to work, and my girlfriend’s patience was waning.  Stranger said, “Well, I have an extra ticket and it’s yours if you want it.”  I gave no definitive answer, and soon after she’d given me her information, she got off the train (at the wrong stop). I got lost in my own thoughts about the possibility of seeing the Boston show, which is, apparently, always awesome.  Then I found myself somewhere in the Bronx at 3AM, and it took another hour to set that mistake right.  Oops.

To Be Continued…

Photos by Dese’Rae Stage.

As much as I love music, sun and Chicago, it is a very fortunate thing that Lollapalooza is only a weekend long. Next year I am wearing a pedometer just so I can see how much I walked, although I’m not sure why this festival was so much more brutal when I have survived SXSW, Bonnaroo and even Lollapalooza before.

Though it was early in the morning and the final day, a large crowd had already amassed for Sam Roberts Band. Canadian flags with pot leaves in place of the maple were in no shortage as the jam rockers played their songs. While I doubt that I’d go out of my way to buy an album, it was fun to pick up on the choruses and singalong.

Friendly Fires was next on my agenda and I must say that the Brits (oh Los Campesinos, why couldn’t you play every day?) and all the other European bands that crossed the great pond for this fest owned it. Friendly Fires didn’t have that large of a crowd, but they had everybody dancing as they sang “Jump into the Pool” and other tunes. It was difficult to pull away from their set, but I knew my beloved string players in Ra Ra Riot had started their set at the opposite end of the festival.

Usually when watching Ra Ra Riot, I geek out over the strings, but today I finally saw how talented of a performer singer Wes Miles is as he was practically skipping about then even ran out to sing as close to the crowd as he could get from the barricade. Even though lyrically they can be a downer band, I was beaming as I watched his glee at performing at Lollapalooza.

Bat for Lashes tried to mystify with ethereal vocals, creepy angel dolls and shiny spandex.  The only thing I was really mystified by was why she played the piano by just poking it with her pointer fingers. I mean even if that’s all the song needs, the norm is to record the pattern then let it loop. It was just confusing. But she does have a great Bjork voice. I do think their stage show just might fit a little better in a foggy club than the bright outdoors.

I really wanted to see Cage the Elephant after Joshua told me their Bonnaroo made him think they were the next Nirvana. Not only were they late to the stage, but it was just a messy performance. I couldn’t even force myself long enough to hear the radio tune “Ain’t No Rest for the Wicked”.

Severely disappointed, I went to the Airborne Toxic Event, whom have always impressed me in the past. The sound seemed off and I was in need of some more tunage that wasn’t so nostalgic, so I again band jumped to the Kaiser Chiefs.

I had an interview scheduled far too many blocks away, so I missed the next few acts, which was a bummer because I couldn’t even find the band I was supposed to interview and by this point, all the walking was making me feel like I would never move again (I later learned that my body aches were a bit more severe than I thought and not quite from the walking, but other problems. Eeks!).

The Raveonettes greeted me as I walked back into the fest. Finally, a band that was worth the hype! The vocals were amazingly powerful and I immediately was bummed that I didn’t run to see them in their entirety. Alas! Perhaps in the future, they’ll swing through my neck of the woods.

Preppy indie darlings Vampire Weekend came out in thick shades and brightly colored shorts in contrast to their usual khakis and cardigans. A more appropriate dress choice in the unbearable heat. They started off with a new number, but one I had heard before and as Ezra led the crowd through his little yelps and he rocked up on his toes, there was one clear thought I had about this band: they have the most tone deaf fans ever. The audience tries really hard to singalong with this band. They try really, really, really hard, but they are awful. At least the band is good. I know that it is just as popular to hate on this band as it is to love them. I happen to love them and find them and their tunes absolutely adorable (plus I’m a communications major and let’s be real–who gives a fuck about an oxford comma?).

The next bit of the festival is a bit of a blur as severe dehydration started to set in, my leg problem worsened and Ezra’s brilliant idea to make the crowd dance turned into a mosh pit that caused me to get pushed all the way to the front of what would later be a 200,000 person crowd. Exciting, but scary. To be honest, I wasn’t sure how I felt about my new spot by the barricade. On one hand it was exciting. On the other, it was sad because there was no way I could get back through the crowd and see bands on other stages.

I did get to hear Cold War Kids and Silversun Pickups, but I couldn’t really see them. It was hella fun to be stared down by Snoop Dogg‘s guards on stage and be able to see his phenomenal drummer. I have to hand it to Snoop, he really knows how to work up a crowd (especially considering everybody up front seemed to be waiting for the Killers.

I guess I missed out on some excitement at the other end of the venue. Lou Reed went well over his set time, cutting into Band of Horses‘ set. A pissed off crowd apparently yelled “Fuck off, Lou” and “Boo,” but Band of Horses politely started their set and even kept playing after “The Funeral” ended and Jane’s Addiction started.

I doubt that anybody is surprised that I wanted to see the Killers over Jane’s Addiction and reports of crowd sizes between the two headlining stages make it sound like I was not in the minority. It also sounds like from other reports that I picked the better of the two shows. Perry may have started this festival, but it has outgrown him and his gaudy tactics.  A helicopter shined a spotlight on the audience, the band was joined by vaudevillian (cough prostitutes cough) characters and even invited Aerosmith‘s guitarist to join them for “Jane’s Says”. Yes, I am very glad I missed that abuse of music.

The Killers have a big stage show and lights, but at the heart of their performance, they don’t rely on the gimmicks that the night’s other headliner used. Their stage show was more so used to compliment the theme and vibe of the latest album. It enhanced the music instead of detracting. They had their palm trees and lights, and in the heat, it really did feel like the Killers transported all of us from Chicago to their home of Las Vegas.

The band has really grown into their element and while they have headlined countless European festivals, just this past year have they received that same honor in the States. I think this might have been their largest audience on U.S. soil.

As the Killers played, each song got better and bigger than the last. Singer Brandon Flowers seemed especially chatty and happy this night as he told the tale of how he and Dave Keuning first met and wrote “Mr. Brightside” (true story) to a mystical tale of the band’s travels to get to Lollapalooza (slightly exaggerated). Flowers’ extra happiness might be attributed to the fact that his second son was born the week prior to the festival.

Though I’ve seen this band many times before, they still brought out a few surprises like an extra verse addition to “Bling”, a song that was never a single, but has easily become one of their most popular live hits. And while there was no Lou Reed guest spot as many–myself included–speculated, this set still took Lollapalooza out with a a nice “twist with a shout.” Reference to obscure? Get yourself to an iPod or a Killers show asap.

Lollapalooza: Sunday in summary:
Best set of the day: We know I loved the Killers. What a great way to end the fest. I guess I’ll throw Friendly Fires a bone here, too.
Best surprises of the day: Aerosmith members during Jane’s is a surprise, but not a good one (please don’t let them headline 2010 like Perry joked). Band of Horses making up for Lou Reed stealing their set time and playing against Jane’s Addiction is pretty awesome.
Breakthrough of the day: Friendly Fires.
Biggest let downs of the day: Cage the Elephant. Ugh. Lou Reed. And no Lou Reed at the Killers, but my understanding is that again was Lou Reed’s fault and the Killers tried to get him to join them. Oh and that the root of my pain was not all the walking, but was a spider bite that has caused my leg to swell, turn red, give me a fever and is serious enough that I need to go the ER like asap.
Crazy crowd moment: Let’s just say that Snoop Dogg made some people who had just met feel extra close. I feel a bit scandalized.

Lollapalooza: website | schedule | set lists

Any wise alterna-rocker from the ‘90s knows Our Lady Peace. They’re currently touring in support of their 7th studio album, Burn Burn. Just hours before their sold-out show at the Troubadour in Los Angeles, Sara sat down and had a chat with drummer Jeremy Taggart, and here’s what he had to say about hard work, changes, and what John Candy and Ghandi have in common.

Sara Swiecki, PopWreckoning: I apologize in advance if you’ve answered these questions 8 million times and are totally sick of hearing them.
Jeremy Taggart, Our Lady Peace: Oh no. That’s fine.
PW: What would you say to people who have criticized your later releases such as Gravity and Healthy in Paranoid Times?
JT: Nothing.
PW: Nothing?
JT: Yeah. Why would I try and waste time changing the opinion of someone who’s not into something? I’ll always love what we do, and we make our records as honestly and as real as we can at the time that we make them, and I don’t think we have any regrets. But we just do what we do, and that’s all we can control.

PW: Yeah. But I’ve also heard that Raine (lead singer Maida) has criticized Healthy in Paranoid Times. Is that true?
JT: Well, I think it was just the experience that it was. It wasn’t the perfect situation. And a lot of other bands we know went through it. And we were lucky enough not to go through it. And I think we were just a little lost. That’s where some of the upset and the idea of bitterness comes in, and the unpleasantness of the experience, rather than we were doing something we didn’t want to do. We were just searching, and we may not have got where we wanted to be. But in that situation, you don’t always get what you want when you’re making a record, you know?

PW: Yeah. Mike Turner’s departure, how did that affect things?
JT: Not at all.
PW: Really?!?
JT: No. Not at all.
PW: Well, he was one of the founding members, yes?
JT: Yeah, he was.
PW: And it didn’t affect anything?
JT: Nope.
PW: Ok, then!
JT: No, because, I mean, we were already in a position where the creative….the music that was getting done at the time….that’s the reason why we parted ways. Mike, he was slowly, more and more going his way and we were going our way. That’s just the way it is. Sometimes when those things happen, it makes things slow down until that happens. And then things go along, generally….I mean, for us, things went along swimmingly (chuckles).

PW: Right on. Raine is known for his vocals, particularly his trademark falsetto. And with the exception of a couple of tracks on Gravity and with Healthy in Paranoid Times, that’s kind of disappeared. But recently, it’s started to come back. What happened there? Was there a reason that he got rid of it for awhile?
JT: I think if someone asked us before our 2nd record, they wouldn’t have said he had a signature falsetto, until Clumsy. That was just kind of a thing that we went into, and it wasn’t like, “Oh yeah! And I sing like this, too!” It was kind of affected by some of the music we were listening to at the time, like Jeff Buckley and Shudder to Think. A lot of those bands were using falsettos and it really created kind of a cool darkness to have that texture. And I think that was more the reason, that it went along with the decision-making process to do that. And songs like “Car Crash” and even “Clumsy” just had a element of all those kinds of bands. And that’s just the way it is, you know? Bands like Garbage or Portishead, those kind of records were the ones we were listening to at the time. They all kind of had an eerie quality that we kind of took the mindset of.

PW: Ok, um…You guys have been out there for quite a long time now, not stoppin’. So you kind of have to think about it. You know, Neil Young said it, Kurt Cobain made it famous….is it better to burn out or fade away?
JT: Well there’s two examples. One’s still burning and the other one burnt out (chuckles). I mean Neil Young is a good example of if you’re creative and you keep that creative fire going, then you’ll be happy in life. And obviously Kurt Cobain lost that. He had it early in his life, and making music to him helped him escape the problems and the thoughts that were making him feel depressed. And I think that once Nirvana found success, he probably lost that and tried to get it back. And he couldn’t find it in a relationship, and he couldn’t find it in making another record with the band. And who knows? It had nothing to do with the BIG picture, which is inner thoughts of a human being. That doesn’t really have anything to do with Nirvana or success or all that stuff. It has more to do with someone who grows up and what they go through, and their connection to reality, and their connection to the earth and life. And he obviously felt really very terrified. And that’s something that I’m glad I don’t know what that feels like.

PW: Nice. Where do we get the name Our Lady Peace from?
JT: It’s from a poem by a man named Mark van Doren, who was a poet and a literary professor at Columbia University in the ‘50s, I think. He was kind of an early visionary for people like Allen Ginsberg and Jack Kerouac. Kind of a straighter version of that. You know, the outspoken, creative poet. And that poem, “Our Lady Peace,” just kind of had a quality that we all kind of dug.

PW: Out of your guys’ best known songs…you know, your hits and everything. If you had to pick one that best defines your band, what would it be?
JT: I don’t know. I think when we play anything our sound happens. When we play any song in our set, it’s us. So it’s hard to pick one to say that is us the most. Like “this is me more than this is me.” It’s hard to judge that. But I feel what you’re saying.
PW: Like if you were to–for somebody that has no idea who you are–hat one song would you pick for them to hear and know this is Our Lady Peace?
JT: Um, well, I don’t know. Because I can’t say, “This is us.” But you can just hopefully pick something that people would have known the most. Songs that are singles and ones that are more specifically musical songs….I don’t know. I’m not sure. Maybe “Superman’s Dead” or “One Man Army” or something like that. I don’t know.

PW: How have you guys noticed your career change as the industry has been shifting?
JT: How has our position changed?
PW: Yes.
JT: Well, now that we’re kind of independent purveyors of our own music, that’s kind of cool. That’s amazing. And it’s great to have a transparency to the business side of things. To know where all our hard earned dollars are going when we’re trying to put a record together, and all that stuff. You know? The cost of putting an album together and all those things you don’t generally have to think about when you’re on a major label. But in the big picture, it’s important to know about that stuff.

PW: You guys have a sold-out show tonight. Does that still feel really good after all these years?
JT: Oh yeah! Yeah! I mean, it’s great to have people come out. I think, for us, to play these songs is the exciting thing. To be playing at The Troubadour again….I think we played here in ’95. So, that’s kind of cool to be back here and to be in such a historic place. But in terms of playing and selling out or whatever, that’s just….that’s our creativity at work in a sense (laughs). People are lining up! They’re lining up outside to watch us play! That’s a good feeling.

PW: Cool! Back to when you guys were first getting started, what did it take and how hard was it to bridge the gap from just playing local clubs and little hole-in-the-walls to getting signed and picking up?
JT: Yeah. To paying rent and eating!
PW: Yeah (laughs)!
JT: It’s hard, you know? It was difficult, but we were prepared. We didn’t have anything to do but the music and we were on tour for 9, 10 months of the year, we were making an album when we weren’t on tour. You kinda have to give 100% of your life to give yourself a chance…to get to make a career out of music. It was easier then, because there were more bars to play. There were more live venues that were there for bands to develop. The labels had more money to pay for tour support, and stuff like that to keep the band on the road. Now, it’s more, you have to scale everything down, and it’s more….it’s about performance. And that hasn’t changed. I think if you’re a good live band, and your songs have a feeling that people can get when you play them, then you’ll have a chance. And that’s it. You just have to keep performing and practicing and you’ll be alright. I think for us, our success has always been based on one day at a time in terms of the shows. And when we’re in the studio, we don’t get precious with our ideas, and we record as much as we can, and we try and write as much as we can while we’re making a record. And we don’t really feel we’ve finished a record until it tells us. And that’s it. Anything other than that, you can’t control. People will say what they want, or try and get into our head space, or try and explain why we don’t sound like we do, or we do sound like we used to or whatever.
Man Outside: FUCK YOU!
(both laugh)
PW: Welcome to LA!
JT: That’s how I feel sometimes. When people tell you how life is supposed to be through rose-colored glasses. We’ve just been super cautious to be really simple. And all our mindset has been is just to sell some records in order to make another one. Not a lot. Not to fill a gap. It’s only about performing at a level that we feel is exciting to us musically. And making records that we like to add to our body of work.

PW: You were talking about not necessarily wanting to fill a gap. But going from a band that was just recognized in Canada to being recognized in the US, was that something you guys were shooting for? Something you were pushed towards? Was it difficult or hard? Did it just happen?
JT: Well, we’re at our best when we’re just trying to write, and everything comes from that. Whether we’re trying to make it through a performance, or trying to write a song, we follow….the only formula is just kind of mining an idea, and whether that be just trying to make something tighter, or trying to create an actual song. The only way to get through it is hard work. Again, it’s the only thing we want to do…we’re not interested in trying to do anything other than that.

PW: Alright. So I’m sure you guys get sick of being asked the same questions over and over.
JT: (Sarcastically) Oh, it’s totally a pain. (laughs)
PW: (Laughing) Well, where I’m going with that is there anything that nobody ever asks you that you’d love to talk about?
JT: Oh no, never. I think people that are like, waiting for a certain question, like wanting someone to ask…like, that’s fucked up. (laughs)
PW: (Laughing) Like did you ever see Kanye that year at the Grammys on the red carpet? He was dying for Kathy Griffin to say something about his outfit and they were only asking about his music and he was pissed.
JT: Yeah, I’m not a big fan of setting up things. No, I think the best interviews are slightly conversation-based. That way, they can be anything, like someone on the street. I don’t expect anything from anyone.
PW: I agree. Totally. So, nothing special you want to say at all?
JT: Well, no. That’s not what I meant by that! (both laugh)
PW: That’s basically what I was getting at. Is there anything that you want to say? That you want to tell people?
JT: I just want people to like me.
PW: (Laughing) Don’t we all?
JT: That’s it. That’s what John Candy said, and that’s a pretty good way to live. He was a pretty loved guy, so… John Candy is Canada’s Gandhi.
PW: That’s epic. Thank you for that quote. And for everything!
JT: No problem! Enjoy the show!

Our Lady Peace: website | myspace

Photo  by: Christopher Hickson