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on, whose music wasn’t made to appeal to middle-of-the-road audiences. By the mid- to late ’90s, most of them —Fashion Replica Handbag  

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King Cobb Steelie, Change of Heart, the Inbreds, names familiar to anyone who listened to college radio then — had
retreated back into obscurity, their hopes of ever making it big crushed, their stories retold as cautionary tales
to the next generation of independent artists. Otherwise, they fled the country: Beck, for his part, decamped to
Europe with his friends Merrill Nisker (later Peaches) and, eventually, Leslie Feist (later Feist), reinventing
himself as Gonzales. As it turned out, obscurity was a better fit than the limelight. As Jordan toiled in the
mainstream, Canadian alternative musicians went it alone, in total freedom. “You weren’t going to sell a million
records in the States, so you didn’t even worry about it,” says James Keast, editor-in-chief of the independent
music monthly Exclaim! “It was like worrying about being gored by a unicorn on the way home. And since suddenly
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The big Canadian labels had always produced a lot of pap. As Stuart Berman writes in This Book Is Broken, his
oral history of Broken Social Scene, they were all branches of international companies, mandated to produce
blockbusters for export to their (mostly) Yankee masters. This left little room for the bands Jordan had grown up
on, whose music wasn’t made to appeal to middle-of-the-road audiences. By the mid- to late ’90s, most of them —
King Cobb Steelie, Change of Heart, the Inbreds, names familiar to anyone who listened to college radio then — had
retreated back into obscurity, their hopes of ever making it big crushed, their stories retold as cautionary tales
to the next generation of independent artists. Otherwise, they fled the country: Beck, for his part, decamped to
Europe with his friends Merrill Nisker (later Peaches) and, eventually, Leslie Feist (later Feist), reinventing
himself as Gonzales. As it turned out, obscurity was a better fit than the limelight. As Jordan toiled in the
mainstream, Canadian alternative musicians went it alone, in total freedom. “You weren’t going to sell a million
records in the States, so you didn’t even worry about it,” says James Keast, editor-in-chief of the independent
music monthly Exclaim! “It was like worrying about being gored by a unicorn on the way home. And since suddenly
your reasons for doing it were your own, it meant the music was good.”Wholesale Replica Hats
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just enough profit to finance a few more releases. Labels like Noise Factory, which issued albums by soon-to-be
members of Broken Social Scene, operated out of their owners’ apartments. To be a musician who tended bar or
peddled records to make ends meet was no longer a sign of failure; since sales were a pipe dream anyway, being part
of a creative clique was infinitely more gratifying than being signed to a major. So it seemed like poetic justice
when peer-to-peer file sharing, starting with Napster in 1999, began to flood the mainstream music market with free
goods. The indie labels, with their lean budgets, online cunning, manageable rosters, and devoted fan bases made up
of friends and friends of friends, flourished, while the majors staggered under the weight of their overheads.
They were more risk averse than ever by the time Three Gut Records, a label run by two friends out of Guelph,
released the debut album by the Constantines, a band hailed as punk rock’s answer to Bruce Springsteen. The
Canadian press loved it. The music website Pitchfork Media, oracle of all things independent, loved it. The
Constantines’ success, purely critical at the time, tipped off the public that something important was happening
in Canadian music. “I felt like I was in a position to potentially become involved and help exploit — well,
‘exploit’ is kind of a nasty word, but to help spread the love,” says Jordan. He tried but failed to secure a
Warner deal for his new favourites, but that was a clash of worlds, and it was increasingly unclear which one
Jordan belonged to. Later that year, he was fired.

Good music was disseminated independently, or through small labels that ran on shoestring budgets, generating
just enough profit to finance a few more releases. Labels like Noise Factory, which issued albums by soon-to-be
members of Broken Social Scene, operated out of their owners’ apartments. To be a musician who tended bar or
peddled records to make ends meet was no longer a sign of failure; since sales were a pipe dream anyway, being part
of a creative clique was infinitely more gratifying than being signed to a major. So it seemed like poetic justice
when peer-to-peer file sharing, starting with Napster in 1999, began to flood the mainstream music market with free
goods. The indie labels, with their lean budgets, online cunning, manageable rosters, and devoted fan bases made up
of friends and friends of friends, flourished, while the majors staggered under the weight of their overheads.
They were more risk averse than ever by the time Three Gut Records, a label run by two friends out of Guelph,
released the debut album by the Constantines, a band hailed as punk rock’s answer to Bruce Springsteen. The
Canadian press loved it. The music website Pitchfork Media, oracle of all things independent, loved it. The
Constantines’ success, purely critical at the time, tipped off the public that something important was happening
in Canadian music. “I felt like I was in a position to potentially become involved and help exploit — well,
‘exploit’ is kind of a nasty word, but to help spread the love,” says Jordan. He tried but failed to secure a
Warner deal for his new favourites, but that was a clash of worlds, and it was increasingly unclear which one
Jordan belonged to. Later that year, he was fired.

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Replica Designer Handbags Five cycles into the Polaris Music Prize (named after the North Star), “indie” has become shorthand for
“interesting” in musical parlance, and many bands who have made the Polaris short list have received the acclaim
they deserved. The Constantines’ tenth anniversary was commemorated in the Toronto Star. Broken Social Scene’s
fourth record debuted at number one on the Canadian charts. Feist’s albums now challenge Carole King’s for most
gifted on Mother’s Day. The winners, meanwhile, are beloved acts that haven’t quite broken big yet: Owen Pallett,
then known as Final Fantasy; Patrick Watson; Caribou; and Fucked Up, a band who, as the name suggests, came up in
the Toronto hardcore punk scene but had warmed to melody by the time their second full-length album, The Chemistry
of Common Life, won the prize in 2009.
As a tent for Canadian music scenes nationwide, Polaris served notice that Canada, on the strength of its
independent rock bands, is finally, inconceivably cool — disproving the cliché that, as Peaches once told an
interviewer for Canoe.ca, “You can’t become anything in Canada unless you leave Canada.” Its cachet is the
triumph of taste over consumption, independence over conglomeration. This, at least, is what you’ll read in the
press kits.

Five cycles into the Polaris Music Prize (named after the North Star), “indie” has become shorthand for
“interesting” in musical parlance, and many bands who have made the Polaris short list have received the acclaim
they deserved. The Constantines’ tenth anniversary was commemorated in the Toronto Star. Broken Social Scene’s
fourth record debuted at number one on the Canadian charts. Feist’s albums now challenge Carole King’s for most
gifted on Mother’s Day. The winners, meanwhile, are beloved acts that haven’t quite broken big yet: Owen Pallett,
then known as Final Fantasy; Patrick Watson; Caribou; and Fucked Up, a band who, as the name suggests, came up in
the Toronto hardcore punk scene but had warmed to melody by the time their second full-length album, The Chemistry
of Common Life, won the prize in 2009.
As a tent for Canadian music scenes nationwide, Polaris served notice that Canada, on the strength of its
independent rock bands, is finally, inconceivably cool — disproving the cliché that, as Peaches once told an
interviewer for Canoe.ca, “You can’t become anything in Canada unless you leave Canada.” Fashion Replica Handbag

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