Jaimoe

The last half of that article is band-on regarding the Leafs.

From today's Toronto Star. Sometimes I really like Rosie: Classless Leafs don't deserve Mats by Rosie DiManno Doug Gilmour. Wendel Clark. Rob Ramage. Rick Vaive. Darryl Sittler. Dave Keon. All were Toronto Maple Leaf captains. And none retired from hockey in that capacity. Mats Sundin intends to do so, damn it. He is a man of his word, even if the franchise that employs him is not as equally steadfast. But they shoot captains in this town. Some go tearfully, some plead to be released from bondage, some never forgive. As one potential successor to Sundin said in the dressing room the other night when it was suggested he may inherit the captaincy: "How do you politely say no?'' Sundin had been politely saying no – or variations thereof, minimally qualified – to trade overtures for weeks on end. Although the formal invitation to consider relocation was extended by interim general manager Cliff Fletcher only a few days ago, and Sundin's input sought on preferred destinations, the answer that came back last night was as always stated. Not going. Not waiving. Can't make me. Now we can all get back to the business of autopsying another lost season and apportioning blame. Sundin took it upon himself yesterday to deny, as was written here, that he has ever blamed GM passim John Ferguson for either the club's troubles or his own predicament as reluctant trade bait and putative corrective, via prospects obtained in return. "It's not true,'' Sundin insists. "I've never said that. I don't blame other people for what's going on. I would never blame John Ferguson for the whole situation in Toronto.'' Ferguson isn't the only villain of the piece, obviously. But his mishandling of long-term contracts lumbered with no-trade caveats and his poor assessment of talent has left the Leafs in a terrible fix, and the pressure mounted on Sundin to fix it by departing. What Sundin may or may not be saying privately to friends is a fart in a mitten. What he has said repeatedly, and asserted through a released statement after speaking with Fletcher last night, is that he remains, however unfathomably, devoted to this club, to his teammates. But there is a recurring theme here in the melodramas of Maple Leaf Land. This is an organization without class and without conscience. Was a time that could be attributed to the deranged persona of Harold Ballard, a bully and misanthrope who abused staff, shamed players and held fans in contempt. But at least there was a face to put to the bungle and a desk where the buck stopped. If you were to call the Leafs' front office today and ask to speak with the person in charge, who in the world might that be? It's a board of directors accountable to no one except shareholders and immune from scandal. A few years back, the Leafs announced things were going to be done different. Alumni were welcomed back, the diaspora of beloved ex-Leafs embraced, vows of integrity expressed. In practice, little has changed. It remains a franchise without a soul, for all its iconic stature, thoughtless and disloyal. Can you imagine the Detroit Red Wings treating Steve Yzerman, when in the eclipse of his career, as the Leafs are treating Sundin, even as respectful as Fletcher has attempted to be? Or the Montreal Canadiens similarly rushing Bob Gainey – his sweater retired on Saturday – out the door, with a slam-bang-thank-you capitaine? The public has grown weary of sports idols who swap loyalties for the green, and rosier environments. Would serve the Leafs right if, denied a deal for Sundin at the deadline, he refuses to re-sign here now. But he won't. The guy's only crime is that he's not a mercenary, that he's true. All else is false.

As my good friend Jeff said and which I repeated saying to Jim McKenny: "I have a white-hot hatred for Damien Cox". McKenny: "He's a no everything no nothing".

Sundin is a class act. He's always hated the rent-a-player philosophy and Ray Bourque, so I'm not surprised he's staying. JFJ screwed this team by awarding so many stupid no trade contracts.

COWBOY JUNKIES @ MASSEY HALL: Saturday February 23/08 Review by David Ball I felt like telling the woman sitting behind me to fuÇk-off after she whined, "the only reason I'm here is to see Ryan Adams." Really? If you can't sit back and enjoy a concert celebrating the 20th anniversary of the masterpiece The Trinity Session album by the band that created it - sans a sick and disappointingly absent Ryan Adams - then get the fuÇk out of Massey Hall. Afterall, The Trinity Session helped direct a snot-nosed Adams and others of his ilk into alt-country in the first place 20 years ago. The Hall was at a near-capacity as The Cowboy Junkies played the album straight through with some slight arrangement variations. Some worked, some did not like a sped-up and melody-tweaked version of "Sweet Jane". But the disappointment of the "miss" experimental pieces like "Jane" did not dampen the band's mellow, but excellent live form. The Junkies don't countrify blues, folk and rock; I think it's the other way around: they bluesify everything. As the night's set wore on it dawned on me that the Junkies are one of the least celebrated but best blues bands in Canada. All their songs dripped of murky, muddy blues, especially the celebrated covers like their hypnotic rewrite of the Hank Willims classic "I'm So Lonesome I Could Cry", the traditional "Working on a Building" and the album and concert opener, "Mining for Gold", the latter resembling a plantation holler. Sideman Jeff Bird's harmonica had lots to say too on the blues tunes. His blasts sounded like they came from the southside of Chicago. Margo Timmins is just plain lovely. Her voice hasn't changed one bit over the years and with the tastefully lit purple and red gelled lights, you'd swear she looks the same as she did the very day the when The Trinity Session was released. Margo's brother, guitarist and main songwriter Michael Timmins doesn't get his due in the guitar-geek world or as celebrated songwriter and arranger, but he's certainly one of this country's most underrated talents - maybe because he quietly sits in a chair and lets his guitar do the talking; and talk it does. His guitar screamed and wailed, tearing through spellbinding solo after solo; his original "Postcard Blues" and Patsy Cline's "Walkin' After Midnight" were particular guitar highlights. I know I harp on my love of underground 70's band Television, but man, Michael sounds like a bluesier version of Television guitarists Tom Verlaine and Richard Lloyd mashed with a hyper Neil Young. For the encore, doing a version of the often-covered "Powderfinger" proves that the Junkies continue to rewrite iconic songs, but can still make them their own. Covers, originals, it doesn't matter. We can hope that Margo sticks to her word and they stick around "for another 20 years." *** 1/2 (out of 5) February 24/08

They won and the performance was stellar. Waiting on the soundtrack in the mail. Have you seen the movie then? If not, do not listen to the soundtrack until you see the movie. The impact of the songs will lessen if you listen to the soundtrack first.

This is a bit of a revelation as live albums go:

I've been editing my review as I clean my place for my Oscar party, so if you choose to read the masterpiece again, it's a little different.

I thought of giving the show four stars, but I didn't like their reworked "Sweet Jane". It's too important to frig around with. And the last concert I went to, The Swell Season, was better and I gave that show four stars.

[blurb]COWBOY JUNKIES @ MASSEY HALL: Saturday February 23/08 Review by David Ball I felt like telling the woman sitting behind me to fuck-off after she whined, "the only reason I'm here is to see Ryan Adams." Really? If you can't sit back and enjoy a concert celebrating the 20th anniversary of the masterpiece The Trinity Session album by the band that created it - sans a sick and disappointingly absent Ryan Adams - then get the fuck out of Massey Hall. [/blurb]Afterall, The Trinity Session helped direct a snot-nosed Adams and others of his ilk into alt-country in the first place 20 years ago. The Hall was at a near-capacity as The Cowboy Junkies played the album straight through with some slight arrangement variations. Some worked, some did not like a sped-up and melody-tweaked version of "Sweet Jane". But the disappointment of the "miss" experimental pieces like "Jane" did not dampen the band's mellow, but excellent live form. The Junkies don't countrify blues, folk and rock; I think it's the other way around: they bluesify everything. As the night's set wore on it dawned on me that the Junkies are one of the least celebrated but best blues bands in Canada. All their songs dripped of murky, muddy blues, especially the celebrated covers like their hypnotic rewrite of the Hank Williams classic "I'm So Lonesome I Could Cry", the traditional "Working on a Building" and the album and concert opener, "Mining for Gold", the latter resembling a plantation holler. Sideman Jeff Bird's harmonica had lots to say too on the blues tunes. His blasts sounded like they came from the southside of Chicago. Margo Timmins is just plain lovely. Her voice hasn't changed one bit over the years and with the tastefully lit purple and red gelled lights, you'd swear she looks the same as she did the very day the when The Trinity Session was released. Margo's brother, guitarist and main songwriter Michael Timmins doesn't get his due in the guitar-geek world or as celebrated songwriter and arranger, but he's certainly one of this country's most underrated talents - maybe because he quietly sits in a chair and lets his guitar do the talking; and talk it does. His guitar screamed and wailed, tearing through spellbinding solo after solo; his original "Postcard Blues" and Patsy Cline's "Walkin' After Midnight" were particular guitar highlights. I know I harp on my love of underground 70's band Television, but man, Michael sounds like a bluesier version of Television guitarists Tom Verlaine and Richard Lloyd mashed with a hyper Neil Young. For the encore, doing a version of the often-covered "Powderfinger" proves that the Junkies continue to rewrite iconic songs, but can still make them their own. Covers, originals, it doesn't matter. We can hope that Margo sticks to her word and they stick around "for another 20 years." *** 1/2 (out of 5) February 24/08

I'm going to write an off-the-cuff blog/review in a little while. For now, it was a good show and low-key love-in.

I don't care for the new ROM extension. It looks cheap (although that photo does it justice). If it was all glass like it was proposed, then it would look really cool.

I agree with you AD. I like modern buildings. There have been some really nice new buildings being constructed in Toronto recently like two new ones at U of T, one is at the corner of University and College and other is two buildings west on College. Beautiful and imaginative. I also like what Frank Gehry is doing at the AGO. Nice work and it totally suits the area. Old meets the new at the Royal Conservatory works really well as does the retrofit seen with the MARS building on College Street at University. However, too many times buildings are torn down and a cheap eyesore goes up in its place.

I never read the faux Maxim review. Sorta ironic ain't it?

exactly' date=' so why force Duke's to do that? [/quote'] I'm not. I believe those buildings weren't made out of limestone either. They were Victorian brick buildings. It doesn't matter anyway, because the city reinforced just yesterday that whatever goes up has to adhere to the heritage design of the block. I'm assuming red brick buildings in a Victorian style will be built.

Wilco - Sky Blue Sky

Disgraceful, but I doubt Maxim is setting a precident. I'm sort of looking forward to the new Crowes album, although I've heard the lead-off single and I was underwhelmed.

Better suited and efficient? Of course they often are. Drab, dull and boring slabs of concrete and steel? You bet, more times than not. Oh, yes old buildings are astethically pleasing (not all of course, but you know what I mean), plus the materials used now are more times than not far cheaper and cheap looking - eg. it's just too expensive to contruct entire blocks filled with limestone buildings.

Hey, Glen and Markta will be performing at this Sunday's Oscars. Turn it up!

Leaf nation should be upset by Kaberle refusing to waive his NTC to Philly for Jeff Carter and a 1st rounder. It's a good deal for both teams.

It's a minor deal at best. It give the Raps 6 more fouls and another big body. It ain't no Cleveland deal.

I like the new colour.

I'm looking forward to this. Great Canadian rock band.

But your spelling is fantastic.