05-15-2013, 06:34 PM
05-16-2013, 08:03 PM
The excerpt on the website is awesome! Best of luck with this project!
05-22-2013, 04:34 PM
Another update, all. We've finalized June 24 as the date of the launch and it'll all go down at Supermarket in Kensington Market, Toronto. We've booked the talented Jennifer Castle to perform. If you're unfamiliar, she has an incredible record out on Flemish Eye, and she's sung with Bry Webb and Fucked Up. A taste: http://www.youtube.com/watch?v=TAoZTOx4fVM
The book will be available for order the second week of June. Again, if anyone in Toronto wants their copy delivered or anything, I'm up for that. It should also be available at Soundscapes. Links for purchase online will soon follow. If you guys could find us on Facebook (Eternal Cavalier Press) or on Twitter (@eternalcavpress) and give us a like/follow, well that'd make our day.
I've also got another excerpt for you guys. This is one of the longer excerpts, and it details my experience at the Dec.23, 2000 ACC show. This is from early on in the book, where my desire to move beyond the cheap seats is still very strong. Watch out for the beer. Hope you like it.
-
My first two Hip gigs were eye opening experiences. I had been exposed to the world of Hip fans, albeit from the cheap seats. To a seventeen year old who was attracted to bands that played arenas instead of clubs, those two nights were journeys into the great unknown and I came out alive at the other end.
It was once very easy to get excited about arena gigs. The buzz inside is not organic; from the moment the doors open, the smell of stale arena food and frothy beer fill the air. Inside an arena normally reserved for competition, everyone in a concert crowd is a winner simply for buying a ticket. There is a hum of pre-set expectations from new fans and the calming confidence of the old-timers alike, which set these grand old barns on fire. Rock and roll fans rent the room for one night and try to cull every victory granted to its usual inhabitants, hoping that this benevolence will lead to a night they’ll never forget. Arena gigs are big, but only because they have to be: the expectations are just that large.
At past arena shows, I roared along to the hits, stood at attention in the encore breaks, agonizing over what they might play when they reappeared. After studying dozens of set lists fervently, I began to have an idea. Not just about encore tunes, but about how to best take in a show of this grandeur.
Now, I couldn’t really see the band during those first two gigs. Given the depth of my passion, I tried not to look at the large video screens side-stage. I thought it was cheating. Somehow, squinting seemed more in line with the experience I thought fans like me should be having.
On December 23rd, perhaps because I’d gotten my tickets the day before, I was granted my first good seats to a gig. Twelfth row, stage left. As me and Payne-O, my bassist friend of three years, were shown down the aisle towards our seats, I felt every tiny hair on my tiny teenage frame rise to attention. We weren’t just close to the action, we had created our own vibe.
Music At Work was an expansive, eclectic record. The band replicated that sound onstage during the tour. They brought keyboardist Chris Brown and vocalist Kate Fenner to accompany them onstage throughout their set. They dove deep into their back catalogue and didn’t look back. What’s more, The Hip had no opening act for these gigs. For years, opening for The Hip had been one of the biggest Catch 22’s in Canadian rock and roll.
From the moment they come onstage, people subject the opening act to a demoralizing and horribly uninventive chant.
“HIP! HIP! HIP!”
Moments before The Hip actually do appear, it can be a rousing call to arms. But to disrespect opening bands with a “HIP!” chant during their set is just plain rude. I have seen opening bands booed off the stage before the Hip have appeared, and I have seen the audience applaud much too loudly when the openers have told the crowd, “This is our last song.” (As happened to the wonderful Julie Doiron during my first Hip gig.)
Perhaps sensing that their fame was going south, the band had decided that this tour was going to be all about them. With seven full-length studio records, they had more than enough material to work with. Fans who had been clamouring for rarely heard tracks were forming personal checklists. With the band playing over thirty songs a night on the tour, everything (even your favourite, never-heard song) seemed possible. I chanted “Hip!” along with everyone else.
In our seats Payne-O and I were gripped by the significance of the situation. Seated around us were no drunken louts. Young families and elderly alike took their seats calmly, with a sense of pride and honour. I felt the same way, but as a seventeen-year-old fan, I wasn’t nearly as dignified.
I ducked out for a pretzel. On the way back, I asked the usher if there was anything special about the section we were in.
“You’re sitting in the same section as the members of The Hip’s family.”
It was all I could do not to piss my pants before telling Payne-O. We were among the elite.
Graduating from the cheap seats to the “we’re lucky we clicked the ‘purchase’ button on Ticketmaster at the exact moment we did” seats is a strange feeling. A sense of entitlement quickly swept over us, like teenagers who get into a bar or club for the first time. For all the pride we felt, we couldn’t help but be nervous. What if we didn’t act the part? Could they sniff out first-timers?
As the lights went down, I stared into a sea of possibility.
Even though it was only my third Hip gig, my level of anticipation and dedication (and knowledge of inane Hip trivia, like that Gord drinks blue Gatorade after a gig and that Paul’s favourite album is Exile on Main Street) was right up there with some of the longtime Hipheads. I also knew how often the band played “Three Pistols,” one of my top 3 tracks: only three times that tour and four long years before, during their last gig at the legendary Maple Leaf Gardens.
Where I had the old-timers beat was with my exuberance. I was young and didn’t give a shit about keeping my composure. Damned if I didn’t act the part; I wanted to be there.
I had never cared about keeping my cool when it came to The Hip. I’d leave the house with my Walkman, listening to bootlegs from the Trouble At The Henhouse tour and dance as I walked. “Three Pistols” was one of those tracks with an intrinsic power over me. Rousing and compelling, rarely does the song not grab me by the balls. I fear the day I’m at a funeral and someone has it programmed as their ringtone. I can only hope I don’t know the deceased that well.
I knew the band would take us on a ride that night, but was oblivious to the magnitude of that ride. Three songs in, Gord stepped up to the mic, began mumbling something about Quebec being “home to some of the world’s finest beers,” before telling the packed house: “Trois Pistols. This is ‘Three Pistols,’ ladies and gentlemen.”
I nearly fell onto someone seated in front of me. In the second before Paul’s intoxicating guitar intro, I let out a feverish “Yeaaahhh!” for the entire arena to hear. I’ve always wanted to bottle the emotion running through my veins that night, but it floated away like smoke in the air. (That is until I downloaded the bootleg a few months later. In the pause between Downie’s opener and Paul’s chugging riff to kick off the song, a voice is heard yelling at the top of his lungs. I am convinced that it is me, despite the razzing I get from friends whenever I play it. Maybe, just once, the smoke in the air has clung to something permanent)
Locked inside the arena, I stayed in my spot for two and a half hours. No piss breaks, no cigarettes. It probably wasn’t that tough to do back then, but now I realize what a feat it was.
The set that night was a wave. They dipped deep into their back catalogue, playing five tracks I haven’t heard live since. Through the barrage of new tunes, old favourites, and rarities that elated Hipheads, the band was testing the crowd’s patience and appreciation.
That tour was a snapshot of a band at the height of their popularity. Sure, the Trouble At The Henhouse tour was longer, and their previous record, Phantom Power, had spawned more singles. But on that night, just hours before Christmas Day, the band gave fans exactly what they wanted. A marathon of tunes and a lifetime of memories.
Some nights I’ve watched in awe at how easy The Hip make timeless rock look. What sets that night apart is how hard the band worked. So close to the holiday season, the band was able to shrug off whatever concerns they might have had, and left their souls on the stage. From slow, chugging numbers like “Yawning Or Snarling” to the intense second-set closer, “On The Verge,” their approach knew no boundaries.
The fans replied in kind. Toronto has always claimed the band as their own, and the band has played into this enthusiasm. Every time they play “Bobcaygeon” anywhere near Toronto, fans lose their collective shit. Sure enough, as the twenty-sixth (!) song of the night, the crowd responded to “Bobcaygeon” with a deafening roar. Someone seated behind me decided that his overpriced beer wasn’t worth drinking, and chucked it into the crowd. I was mid-roar when the beer drenched my brand-new Hip hockey jersey, a gift from my then-girlfriend. (Gracious as she was, she presented me with a size medium, despite my puny adolescent frame.) Payne-O responded with a shocked, conciliatory look, but I just smiled. I had a story to tell. I thought about all the beers I’d be able to treat recklessly at future Hip gigs, when I actually reached drinking age. The line “that Night in Toronto” might have seemed like grandstanding, but it now had a place in my concert memory.
By getting closer to the action, I had learnt just how big The Hip could be. Not just in sound, but in scope. I’ve seen many other bands more than three times, but it was that third gig that officially had me hooked. I was now attached on a personal level. I counted myself lucky, but I still wanted more. I was addicted, and if that gig taught me anything, it was that there was much more in which I could indulge.
My father picked us up afterwards and smelled the beer as soon as we got in the car. As goofy as his son was, he knew I wouldn’t have spilled a beer down my own back. I slept in my jersey that night and refused to wash it, until my mother hijacked it for a load of whites months later. I never wanted the smell of that night to disappear. In a way, it never did.
The book will be available for order the second week of June. Again, if anyone in Toronto wants their copy delivered or anything, I'm up for that. It should also be available at Soundscapes. Links for purchase online will soon follow. If you guys could find us on Facebook (Eternal Cavalier Press) or on Twitter (@eternalcavpress) and give us a like/follow, well that'd make our day.
I've also got another excerpt for you guys. This is one of the longer excerpts, and it details my experience at the Dec.23, 2000 ACC show. This is from early on in the book, where my desire to move beyond the cheap seats is still very strong. Watch out for the beer. Hope you like it.
-
My first two Hip gigs were eye opening experiences. I had been exposed to the world of Hip fans, albeit from the cheap seats. To a seventeen year old who was attracted to bands that played arenas instead of clubs, those two nights were journeys into the great unknown and I came out alive at the other end.
It was once very easy to get excited about arena gigs. The buzz inside is not organic; from the moment the doors open, the smell of stale arena food and frothy beer fill the air. Inside an arena normally reserved for competition, everyone in a concert crowd is a winner simply for buying a ticket. There is a hum of pre-set expectations from new fans and the calming confidence of the old-timers alike, which set these grand old barns on fire. Rock and roll fans rent the room for one night and try to cull every victory granted to its usual inhabitants, hoping that this benevolence will lead to a night they’ll never forget. Arena gigs are big, but only because they have to be: the expectations are just that large.
At past arena shows, I roared along to the hits, stood at attention in the encore breaks, agonizing over what they might play when they reappeared. After studying dozens of set lists fervently, I began to have an idea. Not just about encore tunes, but about how to best take in a show of this grandeur.
Now, I couldn’t really see the band during those first two gigs. Given the depth of my passion, I tried not to look at the large video screens side-stage. I thought it was cheating. Somehow, squinting seemed more in line with the experience I thought fans like me should be having.
On December 23rd, perhaps because I’d gotten my tickets the day before, I was granted my first good seats to a gig. Twelfth row, stage left. As me and Payne-O, my bassist friend of three years, were shown down the aisle towards our seats, I felt every tiny hair on my tiny teenage frame rise to attention. We weren’t just close to the action, we had created our own vibe.
Music At Work was an expansive, eclectic record. The band replicated that sound onstage during the tour. They brought keyboardist Chris Brown and vocalist Kate Fenner to accompany them onstage throughout their set. They dove deep into their back catalogue and didn’t look back. What’s more, The Hip had no opening act for these gigs. For years, opening for The Hip had been one of the biggest Catch 22’s in Canadian rock and roll.
From the moment they come onstage, people subject the opening act to a demoralizing and horribly uninventive chant.
“HIP! HIP! HIP!”
Moments before The Hip actually do appear, it can be a rousing call to arms. But to disrespect opening bands with a “HIP!” chant during their set is just plain rude. I have seen opening bands booed off the stage before the Hip have appeared, and I have seen the audience applaud much too loudly when the openers have told the crowd, “This is our last song.” (As happened to the wonderful Julie Doiron during my first Hip gig.)
Perhaps sensing that their fame was going south, the band had decided that this tour was going to be all about them. With seven full-length studio records, they had more than enough material to work with. Fans who had been clamouring for rarely heard tracks were forming personal checklists. With the band playing over thirty songs a night on the tour, everything (even your favourite, never-heard song) seemed possible. I chanted “Hip!” along with everyone else.
In our seats Payne-O and I were gripped by the significance of the situation. Seated around us were no drunken louts. Young families and elderly alike took their seats calmly, with a sense of pride and honour. I felt the same way, but as a seventeen-year-old fan, I wasn’t nearly as dignified.
I ducked out for a pretzel. On the way back, I asked the usher if there was anything special about the section we were in.
“You’re sitting in the same section as the members of The Hip’s family.”
It was all I could do not to piss my pants before telling Payne-O. We were among the elite.
Graduating from the cheap seats to the “we’re lucky we clicked the ‘purchase’ button on Ticketmaster at the exact moment we did” seats is a strange feeling. A sense of entitlement quickly swept over us, like teenagers who get into a bar or club for the first time. For all the pride we felt, we couldn’t help but be nervous. What if we didn’t act the part? Could they sniff out first-timers?
As the lights went down, I stared into a sea of possibility.
Even though it was only my third Hip gig, my level of anticipation and dedication (and knowledge of inane Hip trivia, like that Gord drinks blue Gatorade after a gig and that Paul’s favourite album is Exile on Main Street) was right up there with some of the longtime Hipheads. I also knew how often the band played “Three Pistols,” one of my top 3 tracks: only three times that tour and four long years before, during their last gig at the legendary Maple Leaf Gardens.
Where I had the old-timers beat was with my exuberance. I was young and didn’t give a shit about keeping my composure. Damned if I didn’t act the part; I wanted to be there.
I had never cared about keeping my cool when it came to The Hip. I’d leave the house with my Walkman, listening to bootlegs from the Trouble At The Henhouse tour and dance as I walked. “Three Pistols” was one of those tracks with an intrinsic power over me. Rousing and compelling, rarely does the song not grab me by the balls. I fear the day I’m at a funeral and someone has it programmed as their ringtone. I can only hope I don’t know the deceased that well.
I knew the band would take us on a ride that night, but was oblivious to the magnitude of that ride. Three songs in, Gord stepped up to the mic, began mumbling something about Quebec being “home to some of the world’s finest beers,” before telling the packed house: “Trois Pistols. This is ‘Three Pistols,’ ladies and gentlemen.”
I nearly fell onto someone seated in front of me. In the second before Paul’s intoxicating guitar intro, I let out a feverish “Yeaaahhh!” for the entire arena to hear. I’ve always wanted to bottle the emotion running through my veins that night, but it floated away like smoke in the air. (That is until I downloaded the bootleg a few months later. In the pause between Downie’s opener and Paul’s chugging riff to kick off the song, a voice is heard yelling at the top of his lungs. I am convinced that it is me, despite the razzing I get from friends whenever I play it. Maybe, just once, the smoke in the air has clung to something permanent)
Locked inside the arena, I stayed in my spot for two and a half hours. No piss breaks, no cigarettes. It probably wasn’t that tough to do back then, but now I realize what a feat it was.
The set that night was a wave. They dipped deep into their back catalogue, playing five tracks I haven’t heard live since. Through the barrage of new tunes, old favourites, and rarities that elated Hipheads, the band was testing the crowd’s patience and appreciation.
That tour was a snapshot of a band at the height of their popularity. Sure, the Trouble At The Henhouse tour was longer, and their previous record, Phantom Power, had spawned more singles. But on that night, just hours before Christmas Day, the band gave fans exactly what they wanted. A marathon of tunes and a lifetime of memories.
Some nights I’ve watched in awe at how easy The Hip make timeless rock look. What sets that night apart is how hard the band worked. So close to the holiday season, the band was able to shrug off whatever concerns they might have had, and left their souls on the stage. From slow, chugging numbers like “Yawning Or Snarling” to the intense second-set closer, “On The Verge,” their approach knew no boundaries.
The fans replied in kind. Toronto has always claimed the band as their own, and the band has played into this enthusiasm. Every time they play “Bobcaygeon” anywhere near Toronto, fans lose their collective shit. Sure enough, as the twenty-sixth (!) song of the night, the crowd responded to “Bobcaygeon” with a deafening roar. Someone seated behind me decided that his overpriced beer wasn’t worth drinking, and chucked it into the crowd. I was mid-roar when the beer drenched my brand-new Hip hockey jersey, a gift from my then-girlfriend. (Gracious as she was, she presented me with a size medium, despite my puny adolescent frame.) Payne-O responded with a shocked, conciliatory look, but I just smiled. I had a story to tell. I thought about all the beers I’d be able to treat recklessly at future Hip gigs, when I actually reached drinking age. The line “that Night in Toronto” might have seemed like grandstanding, but it now had a place in my concert memory.
By getting closer to the action, I had learnt just how big The Hip could be. Not just in sound, but in scope. I’ve seen many other bands more than three times, but it was that third gig that officially had me hooked. I was now attached on a personal level. I counted myself lucky, but I still wanted more. I was addicted, and if that gig taught me anything, it was that there was much more in which I could indulge.
My father picked us up afterwards and smelled the beer as soon as we got in the car. As goofy as his son was, he knew I wouldn’t have spilled a beer down my own back. I slept in my jersey that night and refused to wash it, until my mother hijacked it for a load of whites months later. I never wanted the smell of that night to disappear. In a way, it never did.
05-29-2013, 02:14 PM
We're getting very close to the release of the book, hope you guys are getting excited. If you've got a minute, don't forget to like us on Facebook or follow us on Twitter, because I hear that's important.
Aside from the foreword Alan Cross wrote, we've been getting support from lots of members of Canada's music and literary community. We were happy to have Jason Schneider, co-author of Have Not Been The Same (The Canrock bible I'm sure many of you have read) write something for the back cover, which I wanted to share with you here:
“The mark of a truly great rock and roll band is how big of a role it plays in creating an identity for its fans. A generation of Canadians had its identity shaped by The Tragically Hip, and Joshua Kloke’s Escape Is At Hand is a breathlessly vibrant and illuminating memoir of how and why that occurred not only within him, but for the many other fans of all stripes he has encountered throughout his travels seeing The Hip live. Crammed with stories that are by turns hilarious and heartbreaking, this is a book that is sure to heighten anyone’s appreciation of Canada’s most important and cherished contribution to rock music.”
- Jason Schneider, author of Whispering Pines: the Northern Roots of American Music, and co-author of Have Not Been The Same: the CanRock Renaissance 1985-1995
The book will be available for order very soon, and if you're in the GTA, don't forget to come down on June 24 to the launch at Supermarket in Kensington, with Jennifer Castle performing!
Aside from the foreword Alan Cross wrote, we've been getting support from lots of members of Canada's music and literary community. We were happy to have Jason Schneider, co-author of Have Not Been The Same (The Canrock bible I'm sure many of you have read) write something for the back cover, which I wanted to share with you here:
“The mark of a truly great rock and roll band is how big of a role it plays in creating an identity for its fans. A generation of Canadians had its identity shaped by The Tragically Hip, and Joshua Kloke’s Escape Is At Hand is a breathlessly vibrant and illuminating memoir of how and why that occurred not only within him, but for the many other fans of all stripes he has encountered throughout his travels seeing The Hip live. Crammed with stories that are by turns hilarious and heartbreaking, this is a book that is sure to heighten anyone’s appreciation of Canada’s most important and cherished contribution to rock music.”
- Jason Schneider, author of Whispering Pines: the Northern Roots of American Music, and co-author of Have Not Been The Same: the CanRock Renaissance 1985-1995
The book will be available for order very soon, and if you're in the GTA, don't forget to come down on June 24 to the launch at Supermarket in Kensington, with Jennifer Castle performing!
06-04-2013, 01:16 PM
I know I've been amping this up 'til no end, but just sent out the press release for this, thought I'd share it here. Books will be available in the next week or two and if you're in Toronto, please come on out to the launch party!
-
Eternal Cavalier Press proudly presents Escape Is At Hand
The first book in print dedicated to The Tragically Hip
Eternal Cavalier Press, a new independent publishing house located in Toronto is launching their first title, Escape Is At Hand-Tales of a Boy and a Band by Toronto-based music journalist and teacher, Joshua Kloke.
Escape Is At Hand tells the story of a young man’s journey around the world to follow. With a foreword written by legendary radio broadcaster Alan Cross, Escape Is At Hand details how one of Canada’s musical institutions not only shaped one boy’s journey into adulthood, but how the band has shaped a generation of Canadian music fans. Across two continents, Kloke forgoes formal education and risks the love of friends and family (and even personal safety) for his dedication to a rock and roll dream he grows up with. His journey across sweaty clubs, packed arenas and lonely bedrooms illustrates startling revelations about the way we consume music and exactly how it can consume us.
As much a critical analysis of The Tragically Hip’s career as it is the memoir of a self-confessed fan, Escape Is At Hand is an honest, hilarious and ultimately heart-warming page-turner that is for every music fan, young and old alike.
“The mark of a truly great rock and roll band is how big of a role it plays in creating an identity for its fans,” writes Jason Schneider, co-author of Have Not Been The Same: the CanRock Renaissance 1985-1995 of Escape Is At Hand. “A generation of Canadians had its identity shaped by The Tragically Hip, and Joshua Kloke's Escape Is At Hand is a breathlessly vibrant and illuminating memoir…Crammed with stories that are by turns hilarious and heartbreaking, this is a book that is sure to heighten anyone's appreciation of Canada's most important and cherished contribution to rock music.”
To celebrate Escape Is At Hand, Eternal Cavalier Press will be presenting a launch on Monday, June 24th hosted by Vish Khanna (CBC, Exclaim!) at Supermarket in Toronto with a special performance from Jennifer Castle. Castlemusic, (Flemish Eye) her 2011 full-length was hailed by NOW Magazine as “…at once direct and confessional” and that Castle “deserves a place alongside Canada’s great, unique singer/songwriters.” Joshua Kloke will also be reading from Escape Is At Hand. Copies of Escape Is At Hand will be available at the launch, from online retailers as well as from select shops in Toronto.
Joshua Kloke has contributed to the Vancouver Sun, Exclaim!, Time Out, Popmatters and Beat Magazine. (Melbourne) He served as the music editor at Beatroute Magazine from 2009-2011. Escape Is At Hand is his first book.
“Joshua Kloke translates super-fan shorthand for the rest of us while giving deep insight as to what drives fans of the Hip - or any object of affection for that matter - through his own experiences" (Ian Gormely, music director at CHRY, Toronto)
“…this honest and comedic coming-of-age tale by a confident and unapologetic fan will be sure to recharge the youthful sense of vigour brooding deep inside the core of every music lover." (Glenn Alderson, editor, Beatroute Magazine)
Eternal Cavalier Press aims to be an alternative to mass-market publishing by offer music-related books exclusively by Canadian authors, telling the stories often overlooked with an emphasis on artistic quality.
-
Eternal Cavalier Press proudly presents Escape Is At Hand
The first book in print dedicated to The Tragically Hip
Eternal Cavalier Press, a new independent publishing house located in Toronto is launching their first title, Escape Is At Hand-Tales of a Boy and a Band by Toronto-based music journalist and teacher, Joshua Kloke.
Escape Is At Hand tells the story of a young man’s journey around the world to follow. With a foreword written by legendary radio broadcaster Alan Cross, Escape Is At Hand details how one of Canada’s musical institutions not only shaped one boy’s journey into adulthood, but how the band has shaped a generation of Canadian music fans. Across two continents, Kloke forgoes formal education and risks the love of friends and family (and even personal safety) for his dedication to a rock and roll dream he grows up with. His journey across sweaty clubs, packed arenas and lonely bedrooms illustrates startling revelations about the way we consume music and exactly how it can consume us.
As much a critical analysis of The Tragically Hip’s career as it is the memoir of a self-confessed fan, Escape Is At Hand is an honest, hilarious and ultimately heart-warming page-turner that is for every music fan, young and old alike.
“The mark of a truly great rock and roll band is how big of a role it plays in creating an identity for its fans,” writes Jason Schneider, co-author of Have Not Been The Same: the CanRock Renaissance 1985-1995 of Escape Is At Hand. “A generation of Canadians had its identity shaped by The Tragically Hip, and Joshua Kloke's Escape Is At Hand is a breathlessly vibrant and illuminating memoir…Crammed with stories that are by turns hilarious and heartbreaking, this is a book that is sure to heighten anyone's appreciation of Canada's most important and cherished contribution to rock music.”
To celebrate Escape Is At Hand, Eternal Cavalier Press will be presenting a launch on Monday, June 24th hosted by Vish Khanna (CBC, Exclaim!) at Supermarket in Toronto with a special performance from Jennifer Castle. Castlemusic, (Flemish Eye) her 2011 full-length was hailed by NOW Magazine as “…at once direct and confessional” and that Castle “deserves a place alongside Canada’s great, unique singer/songwriters.” Joshua Kloke will also be reading from Escape Is At Hand. Copies of Escape Is At Hand will be available at the launch, from online retailers as well as from select shops in Toronto.
Joshua Kloke has contributed to the Vancouver Sun, Exclaim!, Time Out, Popmatters and Beat Magazine. (Melbourne) He served as the music editor at Beatroute Magazine from 2009-2011. Escape Is At Hand is his first book.
“Joshua Kloke translates super-fan shorthand for the rest of us while giving deep insight as to what drives fans of the Hip - or any object of affection for that matter - through his own experiences" (Ian Gormely, music director at CHRY, Toronto)
“…this honest and comedic coming-of-age tale by a confident and unapologetic fan will be sure to recharge the youthful sense of vigour brooding deep inside the core of every music lover." (Glenn Alderson, editor, Beatroute Magazine)
Eternal Cavalier Press aims to be an alternative to mass-market publishing by offer music-related books exclusively by Canadian authors, telling the stories often overlooked with an emphasis on artistic quality.
06-04-2013, 09:39 PM
Congratulations on the release of your book! I'm definitely ordering one of these as soon as they become available.
06-07-2013, 05:24 AM
<!-- m --><a class="postlink" href="http://www.alancross.ca/a-journal-of-musical-things/2013/6/5/if-youre-a-fan-of-the-tragically-hip-then-this-book-is-for-y.html">http://www.alancross.ca/a-journal-of-mu ... for-y.html</a><!-- m -->
06-12-2013, 12:31 PM
Alan Cross had me on his podcast, Geeks and Beats, to talk the book, The Hip's legacy and the realities of starting your own publishing company. They debate the true meaning of 50 Mission Cap beforehand, even giving a shoutout to the most honourable Stephen. Give it a listen:
http://www.geeksandbeats.com/2013/06/s01e13/
http://www.geeksandbeats.com/2013/06/s01e13/
06-13-2013, 12:53 PM
Congrats again Josh! I'm very glad this is working out for you. Will mail order be available for those of us in NB?
Dave
Dave
06-14-2013, 06:18 AM
ikky99 Wrote:Congrats again Josh! I'm very glad this is working out for you. Will mail order be available for those of us in NB?
Dave
Of course! Mail order will be available for everyone starting next week.
06-14-2013, 11:26 AM
Just heard you on geeks and beats, great job. Want to do a interview on the hipbase podcast?
06-14-2013, 12:13 PM
mrlayance Wrote:Just heard you on geeks and beats, great job. Want to do a interview on the hipbase podcast?
Of course! PM me, we'll work something out.
06-18-2013, 03:09 PM
Proud to announce that Escape is at Hand is now available for purchase! We can ship anywhere!
Eternal Cavalier Press has done a limited run of 250 for the book, so don't hesitate to get a copy now. All copies can be autographed if you'd like.
I want to thank the Hipbase for their support, including the members of the 'base who play a role in the book itself, Lance, who interviewed me the other day and everyone who offered kind words about the excerpts I posted.
Also, reminder for those in the GTA, I'd really appreciate it if you could come out to the launch on Monday, June 24 at Supermarket in Kensington, Toronto. I'll be reading, Vish Khanna and I will be having a chat on The Hip and Jennifer Castle will be performing.
http://eternalcavalierpress.com/purchase/
Eternal Cavalier Press has done a limited run of 250 for the book, so don't hesitate to get a copy now. All copies can be autographed if you'd like.
I want to thank the Hipbase for their support, including the members of the 'base who play a role in the book itself, Lance, who interviewed me the other day and everyone who offered kind words about the excerpts I posted.
Also, reminder for those in the GTA, I'd really appreciate it if you could come out to the launch on Monday, June 24 at Supermarket in Kensington, Toronto. I'll be reading, Vish Khanna and I will be having a chat on The Hip and Jennifer Castle will be performing.
http://eternalcavalierpress.com/purchase/
06-18-2013, 03:17 PM
Great news Josh! Should I buy from the site or can I pick one up on Monday at the launch?
06-18-2013, 03:22 PM
chris Wrote:Great news Josh! Should I buy from the site or can I pick one up on Monday at the launch?
Might as well pick one up at the launch. Thanks Chris!