07-14-2009, 03:45 PM
Anyone know where the best available parking is for this venue? I really can't seem to find any help on any website including the RBTL site.
RA CHA CHA
07-14-2009, 06:18 PM
no idea... i am going early to park and then walking to ten ugly men as it is close...
07-15-2009, 09:17 AM
I'm going with 3 other people.
Does anyone know anyone who would like to buy a pair? I have 2 extra.
Does anyone know anyone who would like to buy a pair? I have 2 extra.
07-15-2009, 10:22 AM
Bonnie23 Wrote:I'm going with 3 other people.My friends don't have tix yet, I'll pass along the info....
Does anyone know anyone who would like to buy a pair? I have 2 extra.
07-21-2009, 02:23 PM
Can't wait!7 of us are going,3 being newbies.I just wish there was some info on where to park "tailgate",what to bring,what not to bring.Maybe get there early to check it out.Anywhere close buy to hook up for a couple before the show?
07-21-2009, 02:40 PM
there is the Elmwood inn and another that was called the distillery but haven't lived there in a few years. they are on mt hope ave.
07-21-2009, 03:03 PM
Both the Elmwood Inn and the Distillery are in walking distance. Distillery is a local chain sports bar, does have good food. Down the hill from the venue (towards downtown) there are a couple of bars in the Southwedge, Lux, Caverly's, and the Tap and Mallet. The Tap and Mallet is a great bar with outstanding beer selection (and cask ales). Lux is a very unique place (I can't really describe it better than that). The Southwedge places are about 6 blocks away (you will have to walk up a hill on the way back for the lazy). Beale Street BBQ is also in the neighborhood. As far as parking, it is street parking mainly. Some local "entrepreneurs" will open mini pay lots, and they may open up the parking lot at the Highland Park festival site, 1 block away. Even when the Lilac Festival is going on (huge crowds) you are still able to find spots in the area, I don't think parking should be much of a problem. For anyone who wants more info on things in the area, http://www.rocwiki.org has a lot of info on bars, restaurants, etc. Hope this helps.
07-21-2009, 03:42 PM
hmmm cameras allowed?
and what's the scoop on credit cards? can we use them to buy merchandise?
I HOPE SO!!!
see you all there!
and what's the scoop on credit cards? can we use them to buy merchandise?
I HOPE SO!!!
see you all there!
07-22-2009, 01:38 AM
Just talked to my buddy who goes to Highland Park shows often. Apparently, the venue is great, wide open, and you can wander all around the surrounding field to get a great view of the tiny stage. He also said, every show he's been to, they've parked in a designated "field area" of Highland Park and everyone tailgates.. so pack a cooler. Drinking/BBQing is happening all over, and the park officials don't give you any trouble. Beer is served at most shows as well. He wasn't sure about paying for merch with credit cards though, so bring some cash. He also highly recommended the Distillery pub that is close by the park for pregaming before the show. Have a great time! We'll see ya there!
07-23-2009, 10:41 AM
<!-- m --><a class="postlink" href="http://rochestercitynewspaper.com/music/articles/2009/07/MUSIC-PREVIEW-The-Tragically-Hip/">http://rochestercitynewspaper.com/music ... cally-Hip/</a><!-- m -->
MUSIC PREVIEW: The Tragically Hip
The more things change...
By Saby Reyes-Kulkarni on July 22, 2009
The Tragically Hip have maintained the same line-up for 26 years by maintaining a democratic system of songwriting and credit sharing. PHOTO PROVIDED
"Steve Berlin said that working with us was like trying to work with the UN Security Council," says Tragically Hip guitarist Rob Baker.
Berlin, an acclaimed producer (and member of Los Lobos) who worked with the Tragically Hip on 1998's "Phantom Power" and 2000's "Music at Work," may have lamented the band's democratic structure, but it's obviously still working. Together for 26 years with its original line-up still intact, the Tragically Hip, now a Canadian institution, is living proof that inflated egos don't necessarily go hand in hand with success as a rock band. If the new album, "We Are the Same," with its songs populated by quote-unquote ordinary people, represents an overt attempt to relate to the audience's point of view, the bandmembers' working relationship with each other tells a much more convincing story about artists keeping their egos in check.
A departure from the abstract literary subject matter that lyricist/frontman Gordon Downie is known (and somewhat notorious) for, "We Are the Same" otherwise follows the trajectory of the band's 11 previous studio albums. Which is to say that it sounds different than all of them, yet somehow falls within the same general ballpark - meat-and-potatoes rock with a twist. And once again, The Tragically Hip manages to put a fresh twist on the twist. Baker insists that he and his bandmates have "never made a deliberate direction change," but the fact that they've changed direction so reliably over the years is undoubtedly a big part of what has kept fans coming back for more.
The driving force behind this wily, unpredictable nature is, of course, the band's writing process. Tragically Hip songs - the majority of which could pop up in the setlist at any given show, including deep cuts - usually start from an individual band member's idea, but almost always take shape in the crucible of group collaboration. Naturally, this working method isn't the speediest, and friction comes with the territory.
"Democracy," Baker says, "is not easy - not on any level. But at the end of the day, I would hope that we're an example that you can be a songwriting collective. It doesn't have to be that every record has two of my ideas, or two of everyone's ideas. It shouldn't matter who the songs come from. But, as a songwriter, I want to be encouraged. I want to have a crack at it, to have input. No one's in this to be a sideman. We all need to have a vested stake in what's happening on record and onstage."
Affording each member that stake, says Baker, has been the key to the band's longevity, which flies in the face of the enduring truism that equal partnerships can't work in music.
"Keeping the same line-up," he says, "hasn't been difficult at all. We solved that pretty early on. When we made the decision that we were going to share all the profit and songwriting credit five ways, it thwarted a lot of problems. Fighting over who wrote what on a song, and whose song is going to get chosen as a single, and if that song takes off, while one guy buys himself a BMW and everyone else is taking the bus... those are the things that kill bands. I've heard that argument that every band has to have a leader or two songwriting partners, but I don't know. There aren't many bands that have survived that way, either."
If it seems like a stretch to attribute this all-for-one attitude to some intangible aspect of the Canadian mindset, CBC morning talk show host Jian Ghomeshi recently spoke of the band as "defining [Canada], in a way." Unlike other Canadian artists like Neil Young and Joni Mitchell, whose cultural perspective doesn't exactly jump out of their work, there is something unmistakably north-of-the-border about the Hip that goes beyond Downie's frequent references to Canadian geography. And, from the vantage point of its paradoxical status as a household-name cult act in the United States, the Hip is perhaps uniquely positioned to show American audiences a thing or two about ourselves that we just can't get from our own homegrown acts.
Baker doesn't necessarily agree.
"I don't see differences, for the most part," he says. "I think the differences are political. On the whole, Americans are the friendliest, most open people on the planet one-on-one. As a collective, though, they can be quite frightening. I don't mean that the wrong way, but America wields a lot of power, and that makes a lot of people nervous. But you'll never meet friendlier people anywhere - much more so than Canadians. I think Canadians are quite reserved and even cold. But very, very polite!"
Interestingly, Baker points to "New Orleans Is Sinking" (which Downie wrote in 1984) as a kind of signature song.
"In some weird way," he muses, "that song is emblematic of what the band is. It has all these poetic images flying through it that are based in a real place, yet are also a metaphor for a state of mind - all over a really straightforward, blues-based, heavy rock beat. There's a dichotomy between those two things. It's a strange marriage between an intelligent, poetic lyric and something that's aimed at your groin or your abdomen."
The Tragically Hip
Saturday, July 25
Highland Bowl, off South Ave.
MUSIC PREVIEW: The Tragically Hip
The more things change...
By Saby Reyes-Kulkarni on July 22, 2009
The Tragically Hip have maintained the same line-up for 26 years by maintaining a democratic system of songwriting and credit sharing. PHOTO PROVIDED
"Steve Berlin said that working with us was like trying to work with the UN Security Council," says Tragically Hip guitarist Rob Baker.
Berlin, an acclaimed producer (and member of Los Lobos) who worked with the Tragically Hip on 1998's "Phantom Power" and 2000's "Music at Work," may have lamented the band's democratic structure, but it's obviously still working. Together for 26 years with its original line-up still intact, the Tragically Hip, now a Canadian institution, is living proof that inflated egos don't necessarily go hand in hand with success as a rock band. If the new album, "We Are the Same," with its songs populated by quote-unquote ordinary people, represents an overt attempt to relate to the audience's point of view, the bandmembers' working relationship with each other tells a much more convincing story about artists keeping their egos in check.
A departure from the abstract literary subject matter that lyricist/frontman Gordon Downie is known (and somewhat notorious) for, "We Are the Same" otherwise follows the trajectory of the band's 11 previous studio albums. Which is to say that it sounds different than all of them, yet somehow falls within the same general ballpark - meat-and-potatoes rock with a twist. And once again, The Tragically Hip manages to put a fresh twist on the twist. Baker insists that he and his bandmates have "never made a deliberate direction change," but the fact that they've changed direction so reliably over the years is undoubtedly a big part of what has kept fans coming back for more.
The driving force behind this wily, unpredictable nature is, of course, the band's writing process. Tragically Hip songs - the majority of which could pop up in the setlist at any given show, including deep cuts - usually start from an individual band member's idea, but almost always take shape in the crucible of group collaboration. Naturally, this working method isn't the speediest, and friction comes with the territory.
"Democracy," Baker says, "is not easy - not on any level. But at the end of the day, I would hope that we're an example that you can be a songwriting collective. It doesn't have to be that every record has two of my ideas, or two of everyone's ideas. It shouldn't matter who the songs come from. But, as a songwriter, I want to be encouraged. I want to have a crack at it, to have input. No one's in this to be a sideman. We all need to have a vested stake in what's happening on record and onstage."
Affording each member that stake, says Baker, has been the key to the band's longevity, which flies in the face of the enduring truism that equal partnerships can't work in music.
"Keeping the same line-up," he says, "hasn't been difficult at all. We solved that pretty early on. When we made the decision that we were going to share all the profit and songwriting credit five ways, it thwarted a lot of problems. Fighting over who wrote what on a song, and whose song is going to get chosen as a single, and if that song takes off, while one guy buys himself a BMW and everyone else is taking the bus... those are the things that kill bands. I've heard that argument that every band has to have a leader or two songwriting partners, but I don't know. There aren't many bands that have survived that way, either."
If it seems like a stretch to attribute this all-for-one attitude to some intangible aspect of the Canadian mindset, CBC morning talk show host Jian Ghomeshi recently spoke of the band as "defining [Canada], in a way." Unlike other Canadian artists like Neil Young and Joni Mitchell, whose cultural perspective doesn't exactly jump out of their work, there is something unmistakably north-of-the-border about the Hip that goes beyond Downie's frequent references to Canadian geography. And, from the vantage point of its paradoxical status as a household-name cult act in the United States, the Hip is perhaps uniquely positioned to show American audiences a thing or two about ourselves that we just can't get from our own homegrown acts.
Baker doesn't necessarily agree.
"I don't see differences, for the most part," he says. "I think the differences are political. On the whole, Americans are the friendliest, most open people on the planet one-on-one. As a collective, though, they can be quite frightening. I don't mean that the wrong way, but America wields a lot of power, and that makes a lot of people nervous. But you'll never meet friendlier people anywhere - much more so than Canadians. I think Canadians are quite reserved and even cold. But very, very polite!"
Interestingly, Baker points to "New Orleans Is Sinking" (which Downie wrote in 1984) as a kind of signature song.
"In some weird way," he muses, "that song is emblematic of what the band is. It has all these poetic images flying through it that are based in a real place, yet are also a metaphor for a state of mind - all over a really straightforward, blues-based, heavy rock beat. There's a dichotomy between those two things. It's a strange marriage between an intelligent, poetic lyric and something that's aimed at your groin or your abdomen."
The Tragically Hip
Saturday, July 25
Highland Bowl, off South Ave.
"We're forced to bed, but we're free to dream"
Dana
07-24-2009, 10:36 AM
trying to plan for tomorrow.......What time does the band go on? :jump
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