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30 episodes with cmj
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4 episodes with cmj
2 episodes with cmj
2 episodes with cmj
2 episodes with cmj
2 episodes with cmj
On today's edition of the cast, we look over some of the early stars that dominated in the early years of Billboard's Modern Rock Tracks chart, including The Psychedelic Furs and Siouxsie & The Banshees, and discuss how foreign born musicians dominated the early years of the chart, which speaks volumes about how much more talent and influence they had over their American counterparts. We also talk about how big of a role college radio had to do with the start of this chart in the first place, and how other upstart charts like The Hard Report and CMJ strived to highlight alternative artists that weren't getting any love or notice from mainstream radio. We also take a look at some of the local artists that got a lot of visibility on the chart, including Boston's own The Lemonheads and their cover of Simon & Garfunkel's "Mrs. Robinson" which I play towards the end of the cast.
Mike Greenhaus, a writer, blogger, and self-described "live music geek", is the Editor-in-Chief of Relix Magazine and Co-Founder of Relix Media Group. He also hosts the bi-monthly Friday Night Jam, a speaking series that takes place at New York's LPR and Rockwood Music Hall. A former college radio DJ, he has spoken on panels at the South by Southwest and CMJ music conferences, written for outlets including Spin and American Songwriter, and serves on the Young Patrons Board for City Parks Foundation. A native New Yorker and Skidmore College graduate, Mike makes his home in New York City with his wife and their two sons.
Ray and Jill from the Churches Ministry to Jewish People, CMJ, visited us.
Chucky Pellerino, Stéphane Leroux et - pour une première fois à DST, sa progéniture! - Jasmin Leroux débarquent en studio pour la merveilleuse tradition du temps des fêtes qu'est notre Spécial CMJ! David revient d'abord sur l'élimination rapide en quart de finale du Canada l'année dernière, alors que Stéphane nous dévoile certaines raisons méconnues qui expliqueraient en partie le résultat décevant. Les gars se penchent bien évidemment avec passion sur les alignements des équipes du tournoi, à commencer par le Canada qui compte dans ses rangs les phénoménaux prodiges Gavin McKenna et Matthew Schaeffer! On aborde également les impacts du changement du fameux règlement entre la LCH et la NCAA! Et finalement, on a droit à une belle incursion dans la dynamique père-fils de Stéphane et Jasmin, et le rôle que joue le CMJ dans leur relation touchante! Viens voir le premier one-man-show de David intitulé SUPER NORMAL qui est officiellement lancé le 26 mars au Club Soda à Montréal ! Parce que de parler dans le même souffle du Hooters, du « group chat » familial et de Hitler, pour David, c'est … Super Normal. Pour toutes les dates, procure-toi tes billets au davidbeaucage.com !Pour t'habiller en DST et voir notre toute nouvelle boutique, rien de plus facile, tu n'as qu'à cliquer ici : v-nation.ca/categorie-produit/votre-equipe/dst/ Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
In this episode of the Braun Performance & Rehab Podcast, Dan is joined by Cat Moss to discuss force plate considerations and applications, in particular of the countermovement jump (CMJ), countermovement rebound (CMJRe) & Squat jump. Cat Moss is a former Strength and Conditioning Coach and spent time at Colby College, Umass Lowell, & UNH. At Hawkin Dynamics, she works in customer support, event coordination, and sales/marketing. At Hawkin, Cat helps to provide top notch customer support through onboarding and continuous support to all Hawkin Customers. She also works to organize and manage all events attended by or run by Hawkin Dynamics. This includes simple bookings to coordinating with various vendors, speakers, and more. This role also involved management of finances within the Event budget. As a member of the marketing team, Cat aids in creating content for Instagram and other platforms. As a sales rep I help to povide new customers with information. For more on Cat, be sure to follow @the.coach.cat on Instagram. For more on Hawkin Dynamics, be sure to follow @hawkindynamics *SEASON 5 of the Braun Performance & Rehab Podcast is brought to you by Isophit. For more on Isophit, please check out isophit.com and @isophit -BE SURE to use coupon code BraunPR25% to save 25% on your Isophit order! **Season 5 of the Braun Performance & Rehab Podcast is also brought to you by Oro Muscles. For more on Oro, please check out www.oromuscles.com Episode Affiliates: MoboBoard: BRAWNBODY10 saves 10% at checkout!AliRx: DBraunRx = 20% off at checkout! https://alirx.health/MedBridge: https://www.medbridgeeducation.com/brawn-body-training or Coupon Code "BRAWN" for 40% off your annual subscription! CTM Band: https://ctm.band/collections/ctm-band coupon code "BRAWN10" = 10% off! Ice shaker affiliate link: https://www.iceshaker.com?sca_ref=1520881.zOJLysQzKeMake sure you SHARE this episode with a friend who could benefit from the information we shared! Check out everything Dan is up to by clicking here: https://linktr.ee/braun_prLiked this episode? Leave a 5-star review on your favorite podcast platform --- Support this podcast: https://podcasters.spotify.com/pod/show/daniel-braun/support
It's been a long time coming and finally this week we deliver! It's another Shoulda Been Huge episode that has been promised since the show's first year. We had to go big with this one, so please welcome to the show, Mr. “Perfectly Rated” himself, BAKKO from the Cobras & Fire Podcast to discuss a classic punk & alternative band from his town: HÜSKER DÜ. Join us as we take you on their journey from hardcore punk to alternative rock. If you're new to this band open your mind and prepare for a zen-like experience! Like Bakko says, they Shoulda Been Huge!!!This episode is rooted in our Should Have Been category. This is a band that we mentioned before on the show and one that both hosts are very familiar with. We wanted to talk in-depth with another fellow podcaster who's a fan and intimately aware of the Twin City scene that came from, so enter Bakko! Do yourself a favor and check them out! We Hüsker, Dü Ü?Songs this week include:Hüsker Dü - “Everything Falls Apart” from Everything Falls Apart (1983)Hüsker Dü - “Pink Turns To Blue” from Zen Arcade (1984)Hüsker Dü - “New Day Rising” from New Day Rising (1985)Hüsker Dü - “Every Everything” from Flip Your Wig (1985)Hüsker Dü - “Hardly Getting Over It” from Candy Apple Grey (1986)Hüsker Dü - “Don't Want To Know If You Are Lonely” from Candy Apple Grey (1986)Hüsker Dü - “Ice Cold Ice” from Warehouse: Songs And Stories (1987)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://x.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/
Hoy tenemos el honor de contar con una de las mentes más innovadoras en el mundo de la ciencia del deporte y la tecnología aplicada al rendimiento: Carlos Balsalobre. Carlos ha sido pionero en el desarrollo de herramientas como MyJumpLab, que ha revolucionado el modo en que los deportistas y entrenadores miden y optimizan el rendimiento en tiempo real. Su enfoque en el Entrenamiento Basado en la Velocidad (VBT) y su habilidad para integrar ciencia y tecnología en aplicaciones accesibles para todos, lo han convertido en una referencia para atletas y entrenadores de élite en todo el mundo. 1) Utilidad velocidad de ejecución al entreno de fuerza, pulsómetro al entreo de resistencia… q diferencia hay entre un levantamiento a 0,5 o a 0, 9 m por segundo 2) Relación con RM, no se mide , se estima 3) Dispositivos de VBT: encoder, kinovea , aceleroemtro, plataformas de fuerza y tu app, ventajas y problemas de cada uno??? método de entrenamiento o herramienta? 4) Salto Vertical … my jump 1 a 3 a My jump Lab… por que el SV ¿? Agudo (15-20%) y a largo plazo medir a las mismas condiciones SV… marca personal mejor el 10% ? 5) SJ, CMJ, Drop Jump… fatiga? Cargado? 6) Saltos repetidos 6) Descompensacion, asimetria, salida, despegue, geno valgo 7) Perfil fuerza – velocidad… 7) Salto Horizontal 8) Velocidad concéntrica del levantamiento… 3 x 6 o 3 x 0,9 metros por segundo? Para hipertrofia? Para potencia? Para fuerza? Perdemos un 20%? Quedarre con sesnaciones en PSESee omnystudio.com/listener for privacy information.
Send us a textMatt Krahula is a multi-instrumentalist, singer-songwriter, producer, currently based out of Honolulu, HI. He is the bassist for Grammy Nominated artist Henry Kapono, lead singer of The Nightmare River Band and one half of the Chamber Folk duo, Beyond Hope, with Canadian Singer Fiddler, Sierra Noble. After years of touring the mainland and bouncing around the vibrant New York City music scene, Krahula uplifted his roots and decided to take his talents to sunny Waikiki. Since 2018, he has established himself as one of the most in demand artists in Hawaii, with residencies at some of Oahu's most popular bars and clubs, and opening slots for major artists such as Silver Sun Pickups, Frank Turner, Mike Love, Jerry Santos, and Keola Beamer. Krahula started his musical career at the Purchase Conservatory of Music, earning a Bachelor Degree in Classical Music Performance on Upright Bass. He has spent the last 15 years touring, writing and recording, playing over 500 shows with his band, and sharing the stage with acts such as Old Man Markley, The Last Bandoleros, Boy and Bear, Matt Simons, Tokyo Police Club, and Robert Ellis. He has previously been nominated for an Independent Music Award for Best Alt-Folk song of the Year and has performed at Summerfest, SXSW, and CMJ to name a few. His music has been featured in 9-1-1 on Fox, American Pickers, Showtime's Gigolo's, Comedy Bang! Bang!, NHL Broadcasts, as well as several commercial campaigns.Since relocating to Hawaii, Matt has developed a reputation as one of the most dependable sidemen in the scene. He is a full time member of Henry Kapono's legendary Dukes on Sunday Band, upright bassist for Hawaii's premier bluegrass band, Hook & Line, as well as bassist for the indie rockers, 7 Pairs of Iron Shoes. He has also found himself playing with the likes of Sistah Robi Kahakalau (Grammy Nominee), Tavana, Josh Tatofi (Hoku Award Winner), Kimie Miner (Grammy Nominee), Alx Kawakami, John Cruz, Keola Beamer, and Brother Noland (Pineapple Express).Matt Krahula WebsiteOskar Cartaya - Latin Bass Workshophttps://www.thebassshedacademy.org/events/latin-bass-workshop-october-26Barry Green - The Inner Game of Music Workshophttps://www.thebassshedacademy.org/events/barry-green-the-inner-game-of-musicBarry Green- Four Elementshttps://www.thebassshedacademy.org/events/barry-green-four-elementsConnectInstagram: Instagram.com/The_Bass_ShedYouTube: https://www.youtube.com/@TheBassShedThreads: https://www.threads.net/@the_bass_shedTwitter (X): https://x.com/bassshedFacebook: https://www.facebook.com/The.Bass.Shed.official/Podcast Directory/Subscribe: https://thebassshedpodcast.buzzsprout.com/followBass Shed Academy: https://www.thebassshedacademy.orgGet Featured: https://www.thebassshed.com/featureSupport the showInstagram / Twitter / Youtube / Website / BSA / View More Episodes
El Área de Juventud del Ayuntamiento de Rincón de la Victoria llevará a cabo una nueva edición del programa gratuito “Andalucía Joven Emprende” destinado a los jóvenes desempleados del municipio entre los 16 y los 29 años. Tal y como ha informado la edil, Belén Gutiérrez (PP), la formación se llevará a cabo entre los días 30 de septiembre y 11 de octubre, aunque la preinscripción podrá realizarse desde el próximo lunes 16 de este mes. “El programa está destinado a jóvenes menores de 30 años, inscritos en el Sistema Nacional de Garantía Juvenil y Demanda de Empleo, preferentemente empadronados en el municipio de Rincón de la Victoria, a los que facilitaremos los medios para lograr la inserción laboral”, explicó Gutiérrez. En este sentido, el alcalde de Rincón de la Victoria, Francisco Salado (PP), destacó la oportunidad que este programa abre para mejorar la empleabilidad entre un colectivo con enormes dificultades en este sentido. “Es una formación gratuita y muy específica que ayudará a los jóvenes a potenciar sus habilidades sociales, a mejorar sus oportunidades de inserción laboral, a impulsar el talento, y a motivarlos con claves específicas”. El programa, diseñado por la Fundación Incide, cuenta con talleres presenciales, formación online y orientación laboral personalizada. La formación presencial se llevará a cabo en el Centro Municipal Juvenil de Rincón de la Victoria. El cronograma del mismo será el siguiente: Las preinscripciones estarán abiertas del 16 al 20 de septiembre, día que se llevará a cabo la charla informativa en el CMJ a las 10.00 horas. La primera fase del programa, la de adhesión y acogida, será del 23 al 27 de septiembre, mientras que la fase 2, la del desarrollo del itinerario formativo será del 30 al 11 de octubre. Las últimas tres fases del programa, que ya son opcionales, se llevarán a cabo desde el 23 de septiembre al 18 de octubre. Éstas son: Asesoramiento personalizado en la elaboración de un Plan de Negocio, Sesiones individuales de Mentoring y Networking e Inserción por cuenta propia o ajena. Esta acción formativa está cofinanciada por el Fondo Social Europeo (FSE+) que aporta el 85% y no tendrá un coste adicional para el Ayuntamiento tras la firma del convenio con Acción Laboral, la agencia que coordina este programa y que cofinancia el otro 15% restante. Acción Laboral es una Agencia de Colocación sin ánimo de lucro reconocida por el Servicio Público de Empleo (SEPE) como entidad de intermediación laboral. Para ampliar la información puedes dirigirte al CMJ, situado en Calle Oleaje, en los bajos del Pabellón Cubierto Rubén Ruzafa de Torre de Benagalbón, llamar al 952 006 032 o al 695 089 373. También puedes escribir al IG de Juventud: @juventudrinconv Desarrollo del programa: FASE 1. Adhesión y acogida Duración: 2 horas (entrevista inicial) + 2 horas (seguimiento). -Inscripción en el programa de las personas interesadas. Realización de una entrevista de orientación inicial y otra de seguimiento antes de finalizar el programa. -Documentación a aportar para formalizar la inscripción: -Ficha de inscripción al programa. -Documentación personal a aportar: DNI o NIE. -Demanda de Empleo -Certificado de inscripción al Sistema Nacional de Garantía Juvenil. -Currículum actualizado FASE 2. Desarrollo de itinerario formativo (Fase Obligatoria). Formación grupal presencial. Formación en: actitud emprendedora y oportunidades de negocio, habilidades sociales, búsqueda de empleo, etc. (El contenido de la formación se adaptará a las características del grupo). Duración de la actividad: 40 horas. Asistencia mínima de al menos 80% de las horas: 32 horas. Formación online. Formación en: el proceso de emprender, plan de empresa, apoyo al emprendedor, etc. Duración de la actividad: 30 horas. Formación individual presencial. Formación en mejora de la empleabilidad, emprendimiento e inserción laboral. Descripción: paralelamente a la impartición grupal, cada participante recibirá una formación individual teniendo en cuenta sus necesidades. Duración de la actividad: 6 horas. (Importante: el día que comienza la formación, las personas participantes deberán ser beneficiarias del Sistema Nacional de Garantía Juvenil). FASE 3. Asesoramiento personalizado en la elaboración de un Plan de Negocio (FASE OPCIONAL) El docente asesorará de forma individualizada al participante en la creación de su propio Plan de negocio. Duración de la actividad de asesoramiento: 20 horas/participante. FASE 4. Sesiones individuales de Mentoring y Networking (FASE OPCIONAL) Acciones complementarias de apoyo al programa, teniendo en cuenta el perfil del alumnado. Duración de la actividad: 4 horas/participante. FASE 5. Inserción por cuenta propia o ajena Existe un compromiso mínimo de inserción ya sea por cuenta propia o ajena. (Importante: Sólo se tendrán en cuenta el alumnado que cumpla con la asistencia obligatoria en la fase 2 (80% formación grupal y 100% de las horas de formación individual).
Season 2/Episode 1: What can you do to stay resilient and how can shoes improve performance with Jay Dicharry – Physical Therapist, Oregon State University-Cascades, MOBO, Founder, author of Running RewiredKinematics and Kinetics of Gait: From Lab to Clinic – We can measure things very precisely in the laboratory from the forces in 3 dimensions at 2kHz to the kinematics at 200 Hz. How has he translated this to the clinic and working with athletes when you do not have all of these tools? Does he find this scary or challenging to make some of the assumptions to make changes?Alternative upper configurations – joint publication where we found different footwear uppers can significantly alter the performance (part 1) and the biomechanics (part 2) for athletes doing agility movements. 5 movements (single leg landings, triangle, AP, CMJ, skater). Faster on/off, greater rate of force development during propulsion, more efficient movements. Where could that efficiency come from? How is this related to the efficiency he sees in the clinic in coaching athletes?Running RewiredMoBo BoardJay's Website Hosted on Acast. See acast.com/privacy for more information.
El Área de Juventud del Ayuntamiento de Rincón de la Victoria llevará a cabo una nueva edición del programa gratuito “Andalucía Joven Emprende” destinado a los jóvenes desempleados del municipio entre los 16 y los 29 años. Tal y como ha informado la edil, Belén Gutiérrez (PP), la formación se llevará a cabo entre los días 30 de septiembre y 11 de octubre, aunque la preinscripción podrá realizarse desde el próximo lunes 16 de este mes. “El programa está destinado a jóvenes menores de 30 años, inscritos en el Sistema Nacional de Garantía Juvenil y Demanda de Empleo, preferentemente empadronados en el municipio de Rincón de la Victoria, a los que facilitaremos los medios para lograr la inserción laboral”, explicó Gutiérrez. En este sentido, el alcalde de Rincón de la Victoria, Francisco Salado (PP), destacó la oportunidad que este programa abre para mejorar la empleabilidad entre un colectivo con enormes dificultades en este sentido. “Es una formación gratuita y muy específica que ayudará a los jóvenes a potenciar sus habilidades sociales, a mejorar sus oportunidades de inserción laboral, a impulsar el talento, y a motivarlos con claves específicas”. El programa, diseñado por la Fundación Incide, cuenta con talleres presenciales, formación online y orientación laboral personalizada. La formación presencial se llevará a cabo en el Centro Municipal Juvenil de Rincón de la Victoria. El cronograma del mismo será el siguiente: Las preinscripciones estarán abiertas del 16 al 20 de septiembre, día que se llevará a cabo la charla informativa en el CMJ a las 10.00 horas. La primera fase del programa, la de adhesión y acogida, será del 23 al 27 de septiembre, mientras que la fase 2, la del desarrollo del itinerario formativo será del 30 al 11 de octubre. Las últimas tres fases del programa, que ya son opcionales, se llevarán a cabo desde el 23 de septiembre al 18 de octubre. Éstas son: Asesoramiento personalizado en la elaboración de un Plan de Negocio, Sesiones individuales de Mentoring y Networking e Inserción por cuenta propia o ajena. Esta acción formativa está cofinanciada por el Fondo Social Europeo (FSE+) que aporta el 85% y no tendrá un coste adicional para el Ayuntamiento tras la firma del convenio con Acción Laboral, la agencia que coordina este programa y que cofinancia el otro 15% restante. Acción Laboral es una Agencia de Colocación sin ánimo de lucro reconocida por el Servicio Público de Empleo (SEPE) como entidad de intermediación laboral. Para ampliar la información puedes dirigirte al CMJ, situado en Calle Oleaje, en los bajos del Pabellón Cubierto Rubén Ruzafa de Torre de Benagalbón, llamar al 952 006 032 o al 695 089 373. También puedes escribir al IG de Juventud: @juventudrinconv Desarrollo del programa: FASE 1. Adhesión y acogida Duración: 2 horas (entrevista inicial) + 2 horas (seguimiento). -Inscripción en el programa de las personas interesadas. Realización de una entrevista de orientación inicial y otra de seguimiento antes de finalizar el programa. -Documentación a aportar para formalizar la inscripción: -Ficha de inscripción al programa. -Documentación personal a aportar: DNI o NIE. -Demanda de Empleo -Certificado de inscripción al Sistema Nacional de Garantía Juvenil. -Currículum actualizado FASE 2. Desarrollo de itinerario formativo (Fase Obligatoria). Formación grupal presencial. Formación en: actitud emprendedora y oportunidades de negocio, habilidades sociales, búsqueda de empleo, etc. (El contenido de la formación se adaptará a las características del grupo). Duración de la actividad: 40 horas. Asistencia mínima de al menos 80% de las horas: 32 horas. Formación online. Formación en: el proceso de emprender, plan de empresa, apoyo al emprendedor, etc. Duración de la actividad: 30 horas. Formación individual presencial. Formación en mejora de la empleabilidad, emprendimiento e inserción laboral. Descripción: paralelamente a la impartición grupal, cada participante recibirá una formación individual teniendo en cuenta sus necesidades. Duración de la actividad: 6 horas. (Importante: el día que comienza la formación, las personas participantes deberán ser beneficiarias del Sistema Nacional de Garantía Juvenil). FASE 3. Asesoramiento personalizado en la elaboración de un Plan de Negocio (FASE OPCIONAL) El docente asesorará de forma individualizada al participante en la creación de su propio Plan de negocio. Duración de la actividad de asesoramiento: 20 horas/participante. FASE 4. Sesiones individuales de Mentoring y Networking (FASE OPCIONAL) Acciones complementarias de apoyo al programa, teniendo en cuenta el perfil del alumnado. Duración de la actividad: 4 horas/participante. FASE 5. Inserción por cuenta propia o ajena Existe un compromiso mínimo de inserción ya sea por cuenta propia o ajena. (Importante: Sólo se tendrán en cuenta el alumnado que cumpla con la asistencia obligatoria en la fase 2 (80% formación grupal y 100% de las horas de formación individual).
La participation citoyenne des jeunes est de plus en plus encouragée en France. Les conseils municipaux des jeunes (CMJ) apparaissent comme une solution ou un outil pour les impliquer dans la vie publique locale. Une manière de leur offrir une opportunité de s'exprimer, d'influencer les décisions locales et de contribuer activement à l'amélioration de leur environnement. Avec : - Aleksandra Szrajber, chargée de la participation des jeunes à la ville de Schiltigheim (67) - Paul Gensel, élu délégué à la jeunesse et à la citoyenneté à la mairie de Privas (07) - Karine Trouvat, animatrice du conseil communal des jeunes et du bureau des jeunes à Poitiers (86)
Send us a Text Message.Matt Krahula is a versatile multi-instrumentalist, singer-songwriter, and producer based in Honolulu, HI. He currently plays bass for Grammy-nominated artist Henry Kapono, fronts The Nightmare River Band, and is one half of the chamber folk duo Beyond Hope with Canadian singer-fiddler Sierra Noble. After years of touring the mainland and immersing himself in the vibrant New York City music scene, Krahula relocated to sunny Waikiki. Since 2018, he has become one of Hawaii's most sought-after artists, holding residencies at some of Oahu's top bars and clubs, and opening for major acts like Silver Sun Pickups, Frank Turner, Mike Love, Jerry Santos, and Keola Beamer.Krahula began his musical journey at the Purchase Conservatory of Music, earning a Bachelor's degree in Classical Music Performance on Upright Bass. Over the past 15 years, he has toured extensively, written, and recorded music, performing over 500 shows with his band and sharing the stage with acts such as Old Man Markley, The Last Bandoleros, Boy and Bear, Matt Simons, Tokyo Police Club, and Robert Ellis. He has been nominated for an Independent Music Award for Best Alt-Folk Song of the Year and has performed at renowned festivals like Summerfest, SXSW, and CMJ. His music has been featured in TV shows such as "9-1-1" on Fox, "American Pickers," Showtime's "Gigolos," "Comedy Bang! Bang!," and NHL broadcasts, as well as several commercial campaigns. Since moving to Hawaii, Matt has earned a reputation as one of the most reliable sidemen in the scene. He is a full-time member of Henry Kapono's legendary Dukes on Sunday Band, the upright bassist for Hawaii's premier bluegrass band Hook & Line, and the bassist for indie rockers 7 Pairs of Iron Shoes. He has also performed with Grammy nominee Sistah Robi Kahakalau, Tavana, Hoku Award winner Josh Tatofi, Grammy nominee Kimie Miner, Alx Kawakami, John Cruz, Keola Beamer, and Brother Noland of Pineapple Express.https://www.krahula.com/Support the Show.Thanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/
In the span of their career, Black Note Graffiti have produced several albums, appeared on internationally distributed compilations and have been placed in national TV shows and films. This can be attributed to their infectious appeal and years of consistent touring from Hollywood to New York City. With the release of FALL/RISE (Volume III) in 2020, Black Note Graffiti has finalized new material for their upcoming release in 2024, with the new track "Place You Lie."Black Note Graffiti musicians have collaborated with three time grammy nominated producer Brad Gilderman. They have also collaborated with vocalist/producer, Vinn-E Dombroski, from the rock band Sponge, Chuck Alkazian at Pearl Studio (BNG Volume II), and renowned producer, mixer, and engineer, Al Sutton, who has worked with artists, such as Tom Petty, Kid Rock, Brian Wilson, Michael Jackson, and Detroit Cobras. Black Note Graffiti fuses progressive metal with melodic alternative rock for a sound that is the pulse of today's music.Volume III was produced by Grammy Award winning Producer/Engineer Chuck Alkazian (Pop Evil, Soundgarden, Tantric) at legendary Pearl Sound Studios (Asking Alexandria, Eminem, Filter). Black Note Graffiti musicians have had material air on Spike TV, MTV, On Demand Cable, TLC, charted on CMJ, and aired on Sirius radio.Slated to release a new LP this year with renowned Rock producer Josh Schroeder, Black Note Graffiti is currently seeking to tour events that resonate with their progressive vibe and fierce hard-rock sound. Having performed at Upheaval Festival in Grand Rapids, Michigan in 2023, with acts like Lamb of God and Falling Reverse, BNG employs a message of hope and resilience within their latest album “Rise” and “Fall” Volume III.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.
Episode 52 is a round table considering the impact of Ernest Hemingway's writing on the works of Cormac McCarthy. Joining us for this discussion are Dr. Olivia Carr Edenfield, Professor of English at Georgia Southern University. She is a founding member of the Society for the Study of the American Short Story and Director of the American Literature Association. She has recently published a defense of the mother in The Road in the CMJ. Dr. Brent Cline is an associate professor of English at Hillsdale College. He has published articles and chapters involving disability on Walker Percy, James Agee, and Daniel Keyes. His review of The Passenger/Stella Maris was published with The University Bookman. His article on The Mexican Revolution and All the Pretty Horses was just published in the CMJ. Dr. Bryan Giemza is an Associate Professor of Humanities and Literature in the Honors College at Texas Tech University. He is author or editor of numerous books on American literary and cultural history, ten book chapters, and more than thirty published articles and reviews. His books include Irish Catholic Writers and the Invention of the American South, and more recently Science and Literature in Cormac McCarthy's Expanding Worlds (2023), and the forthcoming Across the Canyons: Transdisciplinary Approaches to Divisive Communications in West Texas and Beyond, Texas Tech UP. Dr. Allen Josephs joined us for a discussion of All the Pretty Horses. A past president of the Ernest Hemingway Foundation and Society and the South Atlantic Modern Language Association in 2008, where he was awarded the continuing honorary membership. He is the author of some 15 books, including On Hemingway and Spain: Essays and Reviews 1979 – 2013; White Wall of Spain: The Mysteries of Andalusian Culture; and For Whom the Bell Tolls: Ernest Hemingway's Undiscovered Country. He is the author of four critical editions of the poetry of Federico García Lorca and a book of translations of Lorca's poetry and prose, Only Mystery: Federico García Lorca's Poetry in Word and Image. . His book On Cormac McCarthy: Essays on Mexico, Crime, Hemingway and God, was published in 2016. Dr. Josephs is professor emeritus from the University of West Florida where has taught for more than five decades and now resides in Spain. As always, readers are warned: there be spoilers here. Thanks to Thomas Frye, who composed, performed, and produced the music for READING MCCARTHY. The views of the host and his guests do not necessarily reflect the views of their home institutions or the Cormac McCarthy Society, although in our hearts we hope they'll someday see the light. If you enjoy this podcast you may also enjoy the GREAT AMERICAN PODCAST, hosted by myself and Kirk Curnutt. To contact me, please reach out to readingmccarthy(@)gmail.com. Despite the evening redness in the west Reading McCarthy is nominally still on Twitter/X. The website is at readingmccarthy.buzzsprout.com.Support the Show.Starting in spring of 2023, the podcast will accept minor sponsorship offers to offset the costs of the podcast. This may cause a mild disconnect in earlier podcasts where the host asks for patrons in lieu of sponsorships. But if we compare it to a very large and naked bald man in the middle of the desert who leads you to an extinct volcano to create gunpowder, it seems pretty minor...
In the span of their career, Black Note Graffiti have produced several albums, appeared on internationally distributed compilations and have been placed in national TV shows and films. This can be attributed to their infectious appeal and years of consistent touring from Hollywood to New York City. With the release of FALL/RISE (Volume III) in 2020, Black Note Graffiti has finalized new material for their upcoming release in 2024, with the new track "Place You Lie."Black Note Graffiti musicians have collaborated with three time grammy nominated producer Brad Gilderman. They have also collaborated with vocalist/producer, Vinn-E Dombroski, from the rock band Sponge, Chuck Alkazian at Pearl Studio (BNG Volume II), and renowned producer, mixer, and engineer, Al Sutton, who has worked with artists, such as Tom Petty, Kid Rock, Brian Wilson, Michael Jackson, and Detroit Cobras. Black Note Graffiti fuses progressive metal with melodic alternative rock for a sound that is the pulse of today's music.Volume III was produced by Grammy Award winning Producer/Engineer Chuck Alkazian (Pop Evil, Soundgarden, Tantric) at legendary Pearl Sound Studios (Asking Alexandria, Eminem, Filter). Black Note Graffiti musicians have had material air on Spike TV, MTV, On Demand Cable, TLC, charted on CMJ, and aired on Sirius radio.Slated to release a new LP this year with renowned Rock producer Josh Schroeder, Black Note Graffiti is currently seeking to tour events that resonate with their progressive vibe and fierce hard-rock sound. Having performed at Upheaval Festival in Grand Rapids, Michigan in 2023, with acts like Lamb of God and Falling Reverse, BNG employs a message of hope and resilience within their latest album “Rise” and “Fall” Volume III.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.
linkshttps://edmorales.com/bioYoutube https://www.facebook.com/edmoralestxA good song may not always be defined by a single genre. If the music and lyrics combined can transcend a categorical box connecting then evoking feelings and memories in the listener, an artist has succeeded. Texas singer/songwriter Ed Morales does just this. His music is a diverse confluence of Rock, Pop, R&B, and Americana into what some call “Urban Americana”. Bringing a deep musical integrity to his lyrics - connecting directly with his listeners on journeys to their first love and first heartbreak, of joyful open road freedoms and inner contemplations, of soulful awakenings or crossroad deliberations.With a long and rich history in the music, Ed Morales has experienced a career as both a label and as an independent recording artist dovetailing into songwriting and publishing. Gifted in the art of capturing live performance, his musicality, harmony, and emotive lyrics point back to earlier influences such as Jackson Browne, Don Henley and Tom Petty. His seemingly carefree though thoughtful musical arrangements, however, put him in a class all his own. Valuing simplicity and integrity over temporal solos or complex story songs, Morales organic/pure approach creates a deep, lasting connection with his listeners.Morales realized initial success in the 1980's when labels still ran on music publication announcements, independent radio playlists and live shows. “The first time my career really started to take off was in the 80's I record a few songs at UAR studios in San Antonio, Texas. One song entitled “Will You Be There”, caught the attention of A/R rep at a then local record label called Teardrop Records. They liked it and pressed a couple hundred copies and it wound up on Billboard. Received a couple of great reviews, a lot of radio play and live shows. We went from local to regional act later getting signed to a label out of LA called Target Entertainment. Again, the album received a great deal of critical-acclaim at the time being touted by CMJ as “the best thing to come out of Texas since ZZ Top”. Of course we had a lot of fun, as nineteen-year-old kids, doing that. Most importantly, it validated to me that something in the music was connecting. That meant a great deal and why I continue to write today.”Morales and his original band separated. Life happened and he gained a very successful career in the corporate sector - though he never stopped writing. He continued to release music in other bands and as a solo artist - reaping success with both mainstream and Christian music. With a strong regional following in San Antonio and Central Texas, Morales continues to write and perform today.Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
Chris Molanphy from Slate's Hit Parade joins us to discuss the Big 5 and Sweden's entries for Eurovision 2024. How do the entries from France, Spain, Italy, Germany, the UK, and Sweden stack up to current US Billboard chart sensibilities? Are there any bangers in the mix? About Chris Molanphy Chris Molanphy is a chart analyst and pop critic who writes about the intersection of culture and commerce in popular music. For Slate, he created and hosts the Hit Parade podcast (https://slate.com/podcasts/hit-parade) and writes their “Why Is This Song No. 1?” series (https://slate.com/tag/why-is-this-songno1). His most recent book is Old Town Road (DUP, 2023), about the Lil Nas X song of the same name and the chart history and race/genre intersections that led to its record-setting chart run. Chris's work has also appeared in Rolling Stone, Pitchfork, Vulture, NPR Music's The Record, The Village Voice, Billboard _and _CMJ. Chris has also been a frequent guest on National Public Radio (All Things Considered, On the Media, Planet Money, Soundcheck), on SiriusXM and on numerous podcasts including the Culture Gabfest and the New York Times Popcast. "Authenticity" Summary Welcome, Chris Molanphy! (0:46)
Nathan Spencer is an innovative and passionate practitioner with over 10 years experience developing and coordinating cutting edge strength and conditioning, sports science support and end stage rehabilitation service to elite athletes across the world at the professional level. Currently the Strength & Power Coach at the St. George Illawarra Dragons in the NRL, Nathan has worked extensively in both rugby league and basketball both domestically and internationally. Nathan has held roles at the Wests Tigers, Illawarra Hawks, New South Wales Institute of Sport and Orlando Magic. QUOTES “It was an epiphany moment when you think back to what we are taught and it is a bit more old school periodization; whereas the influence of CBAs, 3 games a week, TV deals etc, our ability to make decisions on training periodization are dictated by schedule which is dictated by money” “In the professional basketball environment, frequency of strength and power work wins out so the initial method was to try and get 2 sessions in a week in season” “The luggage crews with the airlines did not like us when we would travel with around 400kg of weight and bars when we went on the road” “We used CMJ eccentric peak velocity as a marker of whether the athletes were putting in and jumping with intent” “When you are measuring things with force plates, you always stick to the source of truth which is force and time” “Most of us would assume that after an activity that is high intensity in nature, it is fatiguing, not potentiating, but the fatiguing response typically occurs a day or two later so how you capitalise on that potentiation is the next question” SHOWNOTES 1) Nathan's journey from UNSW undergrad to the NBA and back to professional rugby league 2) Strength and power periodization and programming in a heavily congested competition schedule 3) What to focus on after games in NBA for strength and power work and what these sessions would look like at the Orlando Magic 4) Monitoring neuromuscular responses to games from a CMJ and how these responses changed strength & power prescription 5) The metrics to focus on when using the CMJ and force plates to monitor neuromuscular response 6) The differences between pushing isometrics (overcoming) and holding isometrics (yielding) and their use in the NBA strength & power work 7) Adapting and taking what worked in the NBA to an different sport like Waterpolo 8) How to make this model work of monitoring responses and adapting strength & power work for athletes if you do not have force plates PEOPLE MENTIONED Alex Natera Julian Jones Beau Ryan Caitlin Foord Terence Ross Aaron Gordon
For well over a year before it came out, Jacques has been following on social media, the process and progress of author Katherine Rye Jewell while writing: LIVE From The Underground – A History Of College Radio. As Katherine would unearth believe to be lost treasures (like CMJ charts, schools play list from 1978, articles in favor of censorship for a college radio station from the same colleges student new paper) she'd post these finds and allow you to ride shotgun through every step of the way. Being a tiny world, Katherine is a professor at Fitchburg State … The same Fitchburg State (somehow) Jacques graduated from AND where he was a DJ on their station WXPL (which is where he met his bandmate/brother John. And either John or friend of podcast Professor Chris Cook brought Katherine to Jacques' radar!) This is a DEEP dive into the over-all history of college radio – how senate land grand acts of the 1930s… led to Pixies and Mission Of Burma becoming college music darlings despite EVERYTHING working against college radio from existing – unsupportive school administrations AND student organizations, record companies not seeing them as worth sending free records to … to Tipper Gore – Parent Music Council and the Batman-forsaken FCC! GET THIS BOOK and get it on Audible too! Follow Katherine on Twitter @Katisjewell, Biff on Twitter is @BiffPlaysHockey Joe on Twitter is: @Optigrabber Jacques on Twitter is @CarnivalPodcast and FB @JacquesLambert Opening: Gomer by Beyond Id (from The Stovin Years on Spotify) Closing Song: Other Break by Beyond Id (from The Stovin Years on Spotify)
El área de Juventud del Ayuntamiento de Rincón de la Victoria refuerza el funcionamiento del Centro Municipal de Juventud al trasladar su oficina a su sede ubicada en los bajos del Pabellón Cubierto Municipal `Rubén Ruzafa´ de Torre de Benagalbón. La edil, Belén Gutiérrez, ha explicado que, “el cambio de oficina, que hasta el momento se encontraba en las instalaciones de la antigua Estación de Ferrocarril de Rincón de la Victoria, tiene como objetivo integrar y mejorar todos y cada uno de los servicios de interés para los jóvenes, potenciando el uso del propio CMJ con su apertura durante todo el día”. El alcalde de Rincón de la Victoria, Francisco Salado, ha destacado la importancia de “dar respuesta a nuestros jóvenes desde un equipamiento tan innovador como es el Centro Municipal Juvenil, donde pueden conocer la oferta formativa, actividades dinamizadoras, talleres y servicios que se prestan, y la posibilidad de hacer uso de las instalaciones con zonas de ensayos de música y ocio de forma gratuita”. El Centro Municipal Juvenil (CMJ) ofrece los servicios de la oficina de Juventud, Información y asesoramiento juvenil general (CIJ) reconocido por el Instituto Andaluz de la Juventud (IAJ), expedición de Carnet Joven Europeo, participación juvenil a través de los corresponsales juveniles, programación de actividades de ocio, formación y tiempo libre, etc. Además, los grupos de música joven pueden acceder de forma gratuita, salas de ensayo y estudio de grabación adecuada acústicamente para su uso. También, los jóvenes pueden disfrutar de la zona de ocio del CMJ, equipada con juegos de mesa, futbolín, dardos, TV, zona WIFI, etc. además de una programación de cursos de formación y talleres para los jóvenes. “Y próximamente contaremos con un ordenador de uso público gratuito para realizar consultas y trámites de interés para ellos”, añade la concejala. El horario de la oficina de Juventud es de 10:00 a 14:00 horas, y las salas de ensayo y ocio estarán disponibles de 17:00 a 22:00 horas. Para más información pueden contactar a través de los números de teléfono: 952006032 (oficina de Juventud) y 670440333-649662899 (salas de ensayo). Para seguir toda la información y actividad organizada desde Centro Municipal Juvenil puedes seguir la página de Instagram: @juventudrinconv
Today we are joined by Erin, the soulful and extremely talented vocalist from RVA's Erin & The Wildfire. The band started out as four college friends in Charlottesville, VA making music just for the fun of it. Today they have grown into a flourishing decade long musical experience with an idie-pop flair with influences from Emily King, D'Angelo, YEBBA, Vulfpeck, and Donny Hathaway. The band also includes Ryan Lipps on guitar, Nick Quillen on drums, Matt Woods on bass and Stephen Roach on keys.Erin & The Wildfire create their own music with deeply personal lyrics that mainly focus on Erin's journey with struggles with body acceptance and self-love but also touch on climate change, fighting the patriarchy and more. The band strives to make their shows a safe space for all ages and kinds of people.Their second full-length album, Touchy Feely was released April 1, 2022 and recorded in the Summer of 2021, after nearly a year and a half of virtual songwriting and collaboration during the global pandemic. The new release, named one of Style Weekly's most-anticipated local albums of 2022, was produced by acclaimed songwriter and producer Matthew E. White (Natalie Prass). The meticulous production, impeccable songwriting, and sensual vocals are present as ever on an album that polishes the signature style introduced by their popular single “Shape” in 2020.E&TW have also made appearances at some of the largest festivals on the East Coast including Suwannee Rising, LOCKN', FloydFest, CMJ, RoosterWalk, and more.Support Erin & The Wildfire:https://www.erinandthewildfire.com/https://www.instagram.com/erinandthewildfire/https://www.facebook.com/ErinandtheWildfire/https://twitter.com/ErinAndWildfirehttps://www.youtube.com/channel/UCA8j8JBYzPOKZrrB7xwweRQhttps://music.apple.com/us/artist/erin-the-wildfire/727140636https://soundcloud.com/erinandthewildfirehttps://www.tiktok.com/@erinandthewildfirehttps://open.spotify.com/artist/03NHhY1mdWC3Hf9uJEnomj?si=W34dC8EkR0uy3YYgGx2z3QOur sponsor:Maya's Belly Dancing
KNOSAGE & Novek welcome Adam (Advizer) and Roberto (Cybervato)!Roberto (El Cybervato) is an interdisciplinary performance artist and educator. Sifuente's projects include: #exsanguination, a collaboration with new media artist jonCates and Aram Han Sifuentes (2016-2019); “Reculmulations: Digital Avatars and Performance objects,” a collaboration with digital artist Claudia Hart and composer Edmund Campion (Black and White Gallery NYC).As co-founder of the San Francisco based performance troupe La Pocha Nostra, he has performed and conducted workshops with La Pocha across the US, Canada, Europe and Latin America. Sifuentes has co-authored two books with Guilermo Gomez-Peña; most recently “Exercises for Rebel Artists: Radical Performance Pedagogy” Routledge 2011. As a performance pedagogue, he has been Artistic Director of the Trinity College/La MaMa Performing Arts Program NYC. Sifuentes is currently Professor of performance at the School of the Art Institute of Chicago.The 1990s saw hip-hop's influence extend well beyond the confines of the traditional large metropolitan areas (New York, Los Angeles, Houston, Atlanta, et al.), initially spreading into the suburbs, where it infiltrated every socio-economic strata and crossed every cultural boundary, then ultimately found its way into smaller regional niches, such as, in the case of the progressive rap combo Oddjobs, Minneapolis and St. Paul. With the equally forward-looking artists of the Rhymesayers Entertainment enterprise, the group not only helped to put Minnesota on the hip-hop map but, inspired by previous mavericks like De La Soul, the Beastie Boys, Hieroglyphics, and Freestyle Fellowship, also helped to tie rap's coastal-based, old-school past with its visionary, postmodern, untethered future.The individuals who would eventually form the official Oddjobs lineup originally came together in 1996 as members of the 30-odd-strong Cases of Mistaken Identity (CMI) collective, a rotating cadre of rappers, DJs, b-boys, and graffiti writers drawn mostly from a pair of local high schools. By 1998, Minneapolis MCs Advizer (Adam Waytz) and Crescent Moon (Alexei Casselle), and St. Paul producers/DJs Anatomy (Stephen Lewis) and Deetalx (Devon Callahan), had gravitated toward one another and began performing together at all-ages venues as Oddjobs, occasionally backed live by local band Heiruspecs. Not long thereafter, the group released its first tape, Case Studies, with CMI and began to earn a measure of local exposure. The foursome's entrée into more widespread underground circles came the next year with its debut indie full-length, Conflict and Compromise. They attracted even more notice within the hip-hop community after Crescent Moon's strong showing at the battle competition of the 1999 Scribble Jam, and via his frequent spot as an auxiliary MC for Eyedea + Abilities of Rhymesayers fame. Advizer and Deetalx made the move to Brooklyn in the fall of that year to attend college, but the members kept Oddjobs alive via tapes, telephone calls, and commutes, resulting in the 2000 EP Absorbing Playtime. At around the same time, the Funboy EP was pressed in a limited edition of 5000 and officially released only in Japan. (It quickly began making the rounds in the United States as a bootleg.) Across the Tracks, a Deetalx mix CD, and Live at the Bryant Lake Bowl, with Chicago's Typical Cats and Heiruspecs, both appeared in 2001.The full CMI crew -- by that time down to Oddjobs and MCs Nomi and Naimles -- had planned to follow with a full-length project. Instead Nomi (Mario Demira) joined as an official member (CMI Productions became the business front for the group), and the three remaining Minnesotans made the final move to New York the following autumn. Success and respect came surprisingly quickly for the quintet in the Big Apple. Its 12" single "Blue Collar Holler" rose to the sixth spot on the CMJ college radio chart. (A subsequent remix of the song attracted guest appearances from Aesop Rock and Vast of Cannibal Ox.) Oddjobs shared stages with or opened for De La Soul, DJ Shadow, Blackalicious, El-P, and Atmosphere, among others. In 2002 the crew released its first nationally distributed full-length, Drums, on its own indie startup label Third Earth Music. The album was lauded by fans, fellow rappers, and critics alike. They briefly partnered with Eyedea for the extremely rare toss-off cassette Whereabouts of Hidden Bridges. The collaboration also accounted for a track on the next official Oddjobs recording, the six-song The Shopkeeper's Wife EP, released in the spring of 2003. ~ Stanton Swihart
Drake Berberet - VP of Performance for Hawkins Dynamics - joins us for the 26th episode of MTN. This episode is a little different from ones we have done in the past. After going into some conversation around RSI v. CMJ rebound, gameday jumps for basketball, etc. We take a look at some force plate graphs and have Drake break them down for us. Head over to our social media on twitter or instagram @mtn_perform to see the graphs that we talk about. Graphs 1 & 2 are both CMJ. Graph 3 is a depth drop/landing. Make sure to follow Drake on Instagram @strength2.speed and Twitter @dberb23 Follow MTN on social media @mtn_perform and check back each Wednesday for a new episode! Big Thanks to our Sponsor, Lumin Sports: Lumin Sports is your digital HQ for athletic performance. The Australian-made platform centralises athlete management, team communications, scheduling, data visualisations, and features third party integrations to save valuable time and elevate decision making. Trusted by pro-sport teams, colleges, high schools, and high-performance centres, Lumin is an affordable solution that seamlessly connects coaches, athletes, medical staff, and operations teams. With the belief that data-driven decisions power human potential, Lumin exists to improve performance and give time back to those who need it most. Download a free demo today to find out why teams around the world choose Lumin Sports.
On today's show, guitar legend G.E. Smith and his multi-talented musician wife Taylor Barton discuss songwriting, censorship, divisive politics, gratitude and more; and G.E. shares a funny never-before-told anecdote involving David Bowie. Also, G.E. and Taylor play live versions of 'Crown of Thorns' (produced by Joseph) and 'What if everybody is wrong?' (unreleased) GUEST 1 OVERVIEW: One of the busiest and best-respected guitarists in the music business, G.E. Smith rarely works as a headliner, but as a session musician, sideman, and musical director, he's worked with some of the most prestigious artists in rock and blues - best known for fronting the Saturday Night Live Band from 1985 to 1995; touring with Daryl Hall & John Oates and Bob Dylan (among others); and playing on sessions for artists such as David Bowie, Tom Waits, and Mick Jagger. https://gesmithmusic.com/ GUEST 2 OVERVIEW: Taylor Barton is a multi-talented, singer-songwriter, writer, playwright, poet, dancer, and producer. She has spent over three decades traversing the arts and culminated into a 21st century Renaissance woman. Taylor has performed on Conan, Saturday Night Live, VH1, Bravo's Broadway's Best, After Breakfast, Mountain Stage, BET, World Cafe, Acoustic Cafe, WoodSongs, Westwood One Radio, House of Blues Radio, and ABC radio, WFUV, and more. She was a featured artist at the R & R AAA Summit, as well as the CMJ and Gavin conventions. https://taylorbarton.com/
Martin Popoff joins Bakko to discuss his latest book, KISS At 50. They talk all things KISS including the announcement of Avatar KISS seconds after their last show ever. They wrap it all up with their own rankings of every KISS album. Martin Popoff is the author of 115-ish books on hard rock, heavy metal, prog rock, punk and record collecting, plus work for Banger Films and writing for Goldmine and bravewords.com Past Work: Amazon.com, musicmusicmusic.com, hmv.com, metalshop.com, CMJ, Chart, chartattack.com, Outsider, VH1.com, Glass Eye, Maximum Guitar, Guitar World, Lollipop, Record Collector, Revolver, Live Wire, Enrage, Radio M.O.I..com, Juggernaut, Classic Rock, bwbk.com, lollipop.com, seaoftranquility.com, interview radio show called BraveWords Radio at internet station VirtuallyCanadian ‘96 - ‘98, BBC doc on heavy metal, longrm reviews and features for special edition Metal Hammer mags on AC/DC, Motörhead and Iron Maiden, work for some Spanish, Australian and Brazilian mags, Foreword in Neil Daniels' book, All Pens Blazing: A Heavy Metal Writers Handbook, a couple other things for Neil as well as Greg Prato, Brave Words & Bloody Knuckles (‘94 – ‘08): Editor in Chief and Writer, Rush: Beyond the Lighted Stage feature film and DVD – Researcher, Metal Evolution (11-episode series on metal genres for VH1 Classic), a Sam Dunn and Scot McFadyen production – Researcher, Rock Icons – Researcher, transcribing work on Hip Hop Evolution, additional work on docs on ZZ Top, Alice Cooper, Triumph and Satan. Welcome to Martin Popoff dot com Pantheon Podcasts Reach out to us! Rate, review and subscribe at Apple Podcasts: Cobras & Fire: Comedy / Rock Talk Show on Apple Podcasts Join our fanpage on Facebook: (2) Cobras ON Fire: Private Group | Facebook Click like and follow on Facebook: (2) Cobras & Fire: Rock Podcast | Chicago IL | Facebook Follow us on Twitter: Best Hard Rock & Metal Podcast (@CobrasFire) / Twitter Subscribe to our YouTube channel: Cobras & Fire Rock Podcast - YouTube Email us: Buy a shirt!:"Cobras and Fire Podcast" T-shirt for Sale by CobrasandFire | Redbubble | cobras and fire t-shirts - cobras fire t-shirts Stitcher: Cobras & Fire: Comedy / Rock Talk Show on Stitcher Spreaker: Cobras & Fire: Comedy / Rock Talk Show | Listen to Podcasts On Demand Free | TuneIn Find it all here: Cobras and Fire Podcast - Comedy Rock Talk Show Learn more about your ad choices. Visit megaphone.fm/adchoices
Martin Popoff joins Bakko to discuss his latest book, KISS At 50. They talk all things KISS including the announcement of Avatar KISS seconds after their last show ever. They wrap it all up with their own rankings of every KISS album. Martin Popoff is the author of 115-ish books on hard rock, heavy metal, prog rock, punk and record collecting, plus work for Banger Films and writing for Goldmine and bravewords.com Past Work: Amazon.com, musicmusicmusic.com, hmv.com, metalshop.com, CMJ, Chart, chartattack.com, Outsider, VH1.com, Glass Eye, Maximum Guitar, Guitar World, Lollipop, Record Collector, Revolver, Live Wire, Enrage, Radio M.O.I..com, Juggernaut, Classic Rock, bwbk.com, lollipop.com, seaoftranquility.com, interview radio show called BraveWords Radio at internet station VirtuallyCanadian ‘96 - ‘98, BBC doc on heavy metal, longrm reviews and features for special edition Metal Hammer mags on AC/DC, Motörhead and Iron Maiden, work for some Spanish, Australian and Brazilian mags, Foreword in Neil Daniels' book, All Pens Blazing: A Heavy Metal Writers Handbook, a couple other things for Neil as well as Greg Prato, Brave Words & Bloody Knuckles (‘94 – ‘08): Editor in Chief and Writer, Rush: Beyond the Lighted Stage feature film and DVD – Researcher, Metal Evolution (11-episode series on metal genres for VH1 Classic), a Sam Dunn and Scot McFadyen production – Researcher, Rock Icons – Researcher, transcribing work on Hip Hop Evolution, additional work on docs on ZZ Top, Alice Cooper, Triumph and Satan. Welcome to Martin Popoff dot com Pantheon Podcasts Reach out to us! Rate, review and subscribe at Apple Podcasts: Cobras & Fire: Comedy / Rock Talk Show on Apple Podcasts Join our fanpage on Facebook: (2) Cobras ON Fire: Private Group | Facebook Click like and follow on Facebook: (2) Cobras & Fire: Rock Podcast | Chicago IL | Facebook Follow us on Twitter: Best Hard Rock & Metal Podcast (@CobrasFire) / Twitter Subscribe to our YouTube channel: Cobras & Fire Rock Podcast - YouTube Email us: Buy a shirt!:"Cobras and Fire Podcast" T-shirt for Sale by CobrasandFire | Redbubble | cobras and fire t-shirts - cobras fire t-shirts Stitcher: Cobras & Fire: Comedy / Rock Talk Show on Stitcher Spreaker: Cobras & Fire: Comedy / Rock Talk Show | Listen to Podcasts On Demand Free | TuneIn Find it all here: Cobras and Fire Podcast - Comedy Rock Talk Show Learn more about your ad choices. Visit megaphone.fm/adchoices
本週末就是年度賽事「第一屆台灣大力士比賽」 在大力士比賽前夕來聊聊「力量」是什麼⋯⋯ 12/1-12/3歡迎來台大體育館三樓參觀！ (00:00:40) 感謝施主布施 (00:06:30) 11/26台南牛肉湯節 (00:25:30) 過往關於「力量」留下的謎團 (00:28:30) 速度—力量曲線是什麼 (00:38:00) 2022這篇澳洲文獻到底說了什麼 (00:51:00) 何謂SSC伸展收縮短循環 (01:00:00) 從《減法訓練》看這篇澳洲文獻 (01:12:30) 本集小結 本集勘誤： (01:01:00) 處反向跳(CMJ)和蹲踞跳(SJ)若差距過大代表「短時間發力的能力不足」，因為蹲踞跳必須在極短時間內，在沒有反向動作加持下進行跳躍動作，跟短時間內進行發力的發力率(RFD)較有關係 本集專有名詞與圖片整理 功率Power=力量Force x 速度Velocity VBT=Velocity Based Training 速度依循訓練 RFD=Rate of Force Development 發力率 SSC=Stretch-Shortening Cycle 伸展收縮短循環 RM=Repetition Maximum 最大反覆次數 CMJ=Countermovement jump 反向跳 SJ=Squat Jump 蹲踞跳 何謂速度力量曲線 https://reurl.cc/8Ng0zR 澳洲文獻的五大分類圖 https://imgur.com/02StEp4 留言告訴我你對這一集的想法 https://open.firstory.me/user/ckq13nna83ymm08728t6ae1ie/comments 請HY教練喝杯咖啡吧！ https://reurl.cc/n5aeZ1 訂閱HY教練的電子報 https://reurl.cc/Rbkz0g 任何想詢問的大小疑難雜症或意見回饋歡迎來信 sccoachhy@gmail.com ——— FB: https://www.facebook.com/coach.hy IG: https://www.instagram.com/coach.hy Web: https://coachhy.com ——— For Mimi by Twin Musicom Creative Commons — Attribution 4.0 International — CC BY 4.0 Free Download / Stream Powered by Firstory Hosting
Las salas de ensayo del Centro Municipal Juvenil de Rincón de la Victoria han registrado una alta ocupación desde su puesta en funcionamiento en marzo de 2019. La concejala de Juventud, Belén Gutiérrez (PP), ha informado que “más de 40 grupos de música han pasado por la instalaciones que ofrecen seis salas de ensayo, y un estudio de grabación adecuados acústicamente para su uso y de forma gratuita”. Además, las propias instalaciones del CMJ ofrecen actividades dinamizadoras con programas de ocio, deporte, torneos de juegos de mesa, dardos y futbolín destinados a los jóvenes a partir de los 14 años, y oferta formativa sobre empleabilidad juvenil, talleres de conversión en inglés, etc. “Se trata de una espacio de esparcimiento abierto al público donde los jóvenes puedan desarrollar su creatividad, intercambiar opiniones y participar en iniciativas de formación”, indica la edil. El alcalde de Rincón de la Victoria, Francisco Salado (PP), ha mostrado su satisfacción “por la magnífica respuesta del Centro Municipal Juvenil, tan necesario y a la vez demandado por jóvenes y agrupaciones musicales, con la que cumplimos con nuestro compromiso y apuesta por la cultura, el ocio y la música para los jóvenes”. “Estos equipamientos son una activación de las expresiones artísticas, y uno de los principales objetivos de hacer de la cultura una fuente de emprendimiento y generación de empleo y dinamización empresarial”, añade el regidor. También, la concejala ha incidido en la importancia de la apertura de este centro que ha permitió que la Banda Municipal de Música obtuviera por primera vez de una sede oficial de 150 metros cuadrados de superficie insonorizado donde realizar sus ensayos, dando estabilidad a la agrupación tras décadas de trabajo”, señala el edil. En cuanto a mejoras realizadas en el centro, se ha instalado un sistema de videovigilancia, y se ha puesto en marcha unas normas de uso de las salas de ensayo a través de una plataforma de reserva online para que sean los propios usuarios los que gestionen el espacio. Para disfrutar de este servicio es necesario realizar de forma previa un formulario de inscripción. El Centro Municipal Juvenil, que abrió sus puertas en marzo de 2019, ofrece unas dependencias de casi 500 metros cuadrados que se distribuyen en tres zonas diferenciadas: la zona general de locales de ensayo con uno principal de 50 metros cuadrados destinado para grupos más amplios o sala de formación, otra sala que corresponde a la Banda Municipal de Música de Rincón de la Victoria, y el resto de locales equipados con mesa de mezcla y una batería para los grupos que quieran hacer uso de esos locales. También existe una zona de ocio con futbolín, diana y mobiliario para el descanso, ordenadores, juegos de mesa y televisión. La actuación se enmarca dentro de la EDUSI “Rincón es Vida”, cofinanciada en un 80% por el Fondo Europeo de Desarrollo Regional (FEDER) en el marco del Programa Operativo Plurirregional de España (POPE) 2014-2020.
On today's show, rock and roll biographical writer Madeline Bocaro shares some of the details and themes covered in her highly acclaimed book IN YOUR MIND - THE INFINITE UNIVERSE OF YOKO ONO and comments on a handful of rock music industry anecdotes and stories involving David Bowie, The Rolling Stones, Iggy Pop, Lou Reed and more. GUEST OVERVIEW: Madeline Bocaro is a New York author and journalist, specializing in rock and roll. She is the author of IN YOUR MIND: THE INFINITE UNIVERSE OF YOKO ONO. Madeline has contributed to books and documentaries about music including Stardust: The David Bowie Story (1985), The Wild One – The Story of Iggy Pop (1988), Mick Ronson: The Spider with the Platinum Hair (2003) and The Nomi Song (Klaus Nomi documentary, 2005). Madeline was a staff writer at CMJ from its inception in 1978. She has contributed to a variety of magazines including Mojo, Dazed & Confused, and Goldmine. Bocaro is a passionate fan of rock and roll, and her work is informed by her deep knowledge of the genre. She is a gifted writer, whose books and articles are informative and entertaining. She is a respected author in the rock and roll world. Her work is widely read and admired. She is a passionate advocate for the genre, and her writing helps to keep its history and legacy alive. https://madelinex.com/ https://inyourmindbook.com/
This week, on The Conscious Consultant Hour, Sam is pleased to welcome Artist Development Speaker, Producer, Coach and Trauma Informed Psychedelic Integration Specialist, Emileena Pedigo.Emileena entered the NYC Arts scene producing an international theater festival, working with artists from around the world hungry to get their art into the theatre capital of the world. Emileena went on to work at Tribeca International Film Festival, the Hampton International Film Festival, CMJ music festival, and even the World Science Festival. As a tour- and stage-manager, Emileena toured theaters, arenas, and schools across the USA, working with artists from all artistic disciplines. Emileena assisted 5-time Tony Award-winning producer Stewart F. Lane on 4 Broadway productions, including the Broadway to Off-Broadway transfer of The 39 Steps. After launching TSGO in 2011, her work began to focus on emerging trends in entertainment. There she found herself stuck inside a self-perpetuating system of exploitation, witnessing many artists losing the fight.She would have been lost too if not for an excursion to an ayahuasca retreat in the Peruvian mountains. Upon her return, she found a solution she feels belongs to the world: a paradigm shift that starts one artist at a time. She calls it The Sustainability Cycle.She co-founded ARTSLAB, an incubator program that cultivates #ArtsMeetsBiz, and served on the board of Conscious Capitalism NYC. Her work helped build Arts programming within the Chelsea Greenwich Village Chelsea Chamber of Commerce.Tune in and join the conversation as Sam and Emileena discuss all about art, transformation and integration! Please comment on our YouTube channel, Facebook Page, LinkedIn Page, and even our Twitter feed. Join in and ask your questions live!www.showgoesonproductions.comTune in for this enlightening conversation at TalkRadio.nycSupport this podcast at — https://redcircle.com/the-conscious-consultant-hour8505/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Dr. Jack Wells - The Associations between Clubhead Velocity and Kinetic Variables during Vertical Jumps and an Isometric Mid-thigh Pull in GolfersTrainfuly Inner Circle: https://trainfuly.mn.co/Thomas Malchow's Instagram: https://www.instagram.com/elasticgolfer/Trainfuly Website: https://trainfuly.com/Trainfuly YouTube Channel: https://www.youtube.com/trainfuly
Today's podcast is with athletic performance coaches Hunter Eisenhower and Mike Sullivan. Hunter Eisenhower is the head of men's basketball performance at Arizona State University, previously spent time with the Sacramento Kings, and has worked in several NCAA S&C departments. Hunter played college basketball for four seasons at Seattle Pacific University. Mike Sullivan is a speed and performance coach at TCBoost Sports Performance in Chicago, IL. At TCBoost, Mike works with a wide variety of athletes, from youth to professional, and transitioned to the private sector after time in collegiate strength and conditioning. Most recently, Mike was at UC Davis and spent time at Illinois State, Notre Dame, and Texas. For a long time in sports performance, weight room strength has been considered the top priority and method of measuring strength and power outputs. At the same time, bodies in motion produce incredibly high forces in jumping, sprinting, and landing (eccentric and reactive forces). Understanding the nature of elasticity and reactivity, and how to measure and train it in greater detail is a must-know for anyone looking to improve athletic abilities. If you were to list three of my favorite sports and human performance topics, they would be: Play, Jumping, and Sprint Development. Today's show will be getting into these topics, primarily digging into key markers that highlight usable athletic force production, centering around altitude drops onto force plates. We'll also cover aspects of sprint training from a standpoint of observation and technique, relative to technology readouts, as well as overspeed methods. Finally, we'll get into Hunter and Mike's use of play, games, and “aliveness” in their warmups. This was a fun and practical episode from which a wide range of coaches and athletes can find new and valuable ideas. Today's episode is brought to you by Lost Empire Herbs, TeamBuildr and the Plyomat. For 15% off your Lost Empire Herbs order, head to lostempireherbs.com/justfly. To try Pine Pollen for free (just pay for shipping), head to: justflypinepollen.com. The Plyomat is a functional, intuitive, and affordable contact mat for jump and plyometric training and testing. Check out the Plyomat at www.plyomat.net TeamBuildr is an online software for coaches and trainers. I've continued to hear great things about the Teambuildr platform, and whether you are looking for an in-house training portal or an online training hub, be sure to check out Teambuildr training software. For 15% off of Exogen Wearable resistance, follow this link to lilateam.com or use code: jfs2023 at checkout. View more podcast episodes at the podcast homepage. Timestamps and Main Points 2:31 – Discussing the UC Davis “Strength and Conditioning Decathlon” 6:37 – Maximal elasticity and reactivity as a function of team sport play, versus training without the athleticism that comes from well-rounded play and elastic activities 9:48 – Discussing scoring systems for power and reactivity 16:14 – Key elasticity metrics for athletes, and key reactivity and elastic metrics based on force plate rate of force development readings 29:52 – Measuring force production through the realm of single leg reactive strength values, as well as thoughts on single leg hops for speed 39:42 – Programing implications based on muscular or elastic abilities 45:49 – Overlaying sprint kinetics via technology (such as a 1080 sprint) relative to observation, and athlete feeling of the effort 53:27 – Overspeed work, and giving sprinting a sense of “ease” 1:00:41 – How Hunter and Mike have put “aliveness” and play in their programming 1:07:37 – Risk/Reward assessment in terms of using a more alive, play based warmup or training approach with a group of athletes Hunter Eisenhower and Mike Sullivan Quotes “Just that little framework of me creating a 50 (centimeter CMJ jump) club drives intent so much more.
This weeks guest is Michael Tedder Michael Tedder has written about music, film, the entertainment industry, television, health, and masculinity for Esquire, Playboy, Money, The Street, the New Republic, Stereogum, Vulture, Variety, the Daily Beast, The Ringer, the Village Voice, and MEL. He is the former managing editor of the music magazine CMJ and the pop culture magazine Paper, and was a founding editor of the critical discussion website The Talkhouse. He cofounded the New York–based music critic reading series and podcast Words and Guitars. He lives in the New York metro area. Check out Michael web page right here And buy the book here --- Support this podcast: https://podcasters.spotify.com/pod/show/somethingsomethingpodcast/support
Arwen Lewis welcomes the incredible rock band FireBug! FireBug blends the 60's Woodstock era, Delta Blues, New Orleans, and Desert Noir—brilliant and timeless songs, adorned with lysergic vibes. They have shared the stage with Iggy Pop, The Cult, Tom Morello (Rage Against The Machine), Donovan, Dave Catching (Queens Of The Stone Age), and many other known acts. Their signature sound blends 60's Woodstock era vibes with a New Orleans influence mixed with modern folk and blues. Joshua Tree recording artist FireBug has captivated audiences at music venues and festivals across the globe. Performances include appearances at SXSW, CMJ, Firelight Festival, French Quarter Festival, and many others. In Europe, FireBug toured the UK with a memorable performance at the sold-out Sonisphere Festival Knebworth and at famous venues including London's Dublin Castle and The Halfmoon. The latest full-length release "No Return" has been getting a lot of attention with its original take on a classic sound: "Creating something “new” in rock is becoming more and more difficult, however, what they've accomplished here is nothing short of impressive in every definition of the word. " -YMX London https://firebugmusic.com On Instagram - @firebugmusic J O S H U A T R E E Label - @momusiclabel 7/21 - @corazontopanga @hiwattofficial @puresalemguitars @moody_leathe For Booking Contact: smartfeverbooking@gmail.com The Arwen Lewis Show Host | Arwen Lewis Executive Producer | Jeremiah D. Higgins Producer - Sound Engineer - Richard “Dr. D” Dugan https://arwenlewismusic.com/ www.thejeremiahshow.com @jeremiahdhiggins https://linktr.ee/jeremiahdhiggins
Ever find yourself reminiscing about the good old days when tunes from The Tragically Hip filled the airwaves? My pals, Tim and Pete, and I sure did, as we took a deep dive into their 6th studio album, Phantom Power. We discovered that our own past experiences and relationships managed to shape our views on this collection of radio hits, which seemed like a pivotal moment for the band. We weren't just content with superficially jamming out to the music. We dissected the unique sound and lyrical themes, compared them to previous Hip releases, and found ourselves swapping stories from past concerts. One standout memory was Tim being recognized by lead vocalist Gord Downie backstage. We also discussed the historical context of the album, like how its recording coincided with a major ice storm and a surprise tour that benefited a children's cancer camp. Stick around as we analyze some standout tunes like 'Poets' and its references to Gwen Jacobs' fight for women's equality. We also shared our thoughts on 'Fireworks' and how it reminded us of Canada's victory in the hockey series against Russia in 1972. So, whether you're a die-hard Hip fan or just love a good music chat, this episode is for you!TranscriptSpeaker 1 It's June of 1998 and I'm done with York University. To celebrate, my friends and I embarked on a camping trip to the Pinary Provincial Park just down the road from Grand Bend. It was just outside the liquor store in town that I heard a finished version of Pullets for the first time. Gord had long been one of my favorite Pullets, so to me this song resonated in a way that I can't quite describe. It was a feeling of euphoria and relief. This new record was going to be just fine, i thought to myself. Little did I know that several tracks on this record would stand the test of time and join the pantheon of great hip songs I still enjoy to this day, from the meandering escape is at hand to the traveling man, to the exquisite Bob Cajun and the downright delicious Emperor Penguin. Phantom power was right in the pocket, coming off of the exceptional trouble at the henhouse. As I got inside the truck to head back to the campsite I turned the volume up and just let Pullets sink into my brain. This was living. Today. We're going to hear from our friends Pete and Tim to check out what they think of Phantom power. Will it stack up? Find out today. On Getting Hip to the Hip. 0:01:41 - Speaker 2 Long sliced brewery presents Getting Hip to the Hip Hey it's JD here. 0:01:58 - Speaker 1 Welcome back to Getting Hip to the Hip. This week we are talking about Phantom Power, the sixth studio record by Seminole Canadian rock band, the Tragically Hip. I'm joined this week, as always, by my pals Tim and Pete Fellas. how are you doing? 0:02:19 - Speaker 3 Hey guys, hey guys, hey guys, glad to be here. Good to see you, i'm ecstatic to be here. 0:02:26 - Speaker 4 I'm ecstatic to be here right now. 0:02:27 - Speaker 1 Oh, I love it. 0:02:28 - Speaker 4 I love the energy This is happier than a pig and shit. 0:02:31 - Speaker 1 Oh boy, oh boy, that's pretty happy. I've seen some, some porcine creatures rolling in fecal matter and they sure love it. Okay, so if you are wanting to experience The Tragically Hip's music for the first time, tim and Pete are your avatars this week because they got to experience the record Phantom Power, which again is the sixth record produced by Steve Berlin, first record on Universal. But I guess I should tell you guys both. I guess I should say this to you both as honorary Canadians. Now, happy Canada Day. It's almost the 4th of July. It's July 3rd today, but it's July 4th tomorrow for you, but July 1st for us is Canada Day. So happy Canada Day, folks. 0:03:20 - Speaker 4 Wow, Yeah, Very close to the other 4th of July, which is America's Independence Day. In the UK they call that Thanksgiving. No, No, I had a. I took a flight one time on some shitty airline and the pilot was British and it was on the 4th of July and he was like so I just want to say you know, that's my shitty British accent Happy 4th of July was we call it. We're on from Thanksgiving. Enjoy Whatever. 0:03:57 - Speaker 1 That's great. Oh, anytime you can burn an American a little bit, it's. you know there's some fun. There's some fun there because you guys are so goddamn good at this shit, you know Anyway let's get into the record as a whole. Before we go into the song by song segment, let's just talk about this record, produced, like I said, by Steve Berlin. Five singles come from this record. All music rates at a three out of five Three. So there's that. What did you guys think? I want to know where you listen to it, how you listen to it and what your initial thoughts were, and you know, maybe, what they percolated up to. What do you say there, tim? 0:04:45 - Speaker 3 Well, there's a pause. I thought it was a three star album, kind of like all music I felt wasn't really sure. it felt a little bit deluded in a way. to me It felt a little bit, a little bit more generic from what I've heard in the past. But it also felt kind of expected for the whole catalog of albums this band has produced and the timeline going into the late 90s. You know this album felt like full of radio hits but at the same time I was missing a little bit of that raw kind of hip feeling. You know, i was wondering like, should I be okay with this album just being kind of fine? This was the turning point for me. I was really not sure. When I read kind of some reviews about it, i think there was some sentiment, some shared sentiment, and also some people were like it's my favorite album and some hip fans said it's their least favorite album. So this one's kind of a gray area for me. 0:06:00 - Speaker 1 It's funny. Well, I'll get into my, you know, sort of backgrounder on this for you guys after we hear from Pete. Pete, what did you think? 0:06:09 - Speaker 4 I hear you on the gray area, because I could totally see that. I could totally see how some hip fans are like this is the best album they did. Or this is not my favorite album. For me I listen to it everywhere. I listen to it in my office, so for my computer, with some some decent cans, i took it out running a lot. Probably. I think maybe the first time I listened to it was that took it in the car. It sounded great. The thing I found like I would say 3.5 for me, tim, instead of a 3. But you know I feel you on that My initial thoughts were that a lot of rawness of the hip was gone from this. In the first couple of listens it sounded very watered down. It was like somebody pulled Gord Downey aside and said Hey man, can we just like, kind of like the dude, can you, can, you fucking can you take it easy, man, you know, just like. Told him to just like chill out a little bit, and I don't know. The more I listen to it though, the more I dug into it and see how much work maybe not production, but just from the band themselves went into this record maybe changed my tune a lot Like I dig it. And Phantom Power, that was the coolest thing in the 90s, man Like because sometimes you didn't know what it was. If you never heard of Phantom Power before, it has a fucking cool name. If you had a guy that had like a condenser mic or something with Phantom Power, you're like dude, yeah, he's got a mic, that's got a Phantom Power. It was just like fucking. You were 17 and you heard that it was fucking cool. 0:08:00 - Speaker 3 Yeah, you know, i went and looked at a number of albums sold by a bunch of different bands, including the hip, and I was trying to kind of have this try to find this correlation of how many albums sold from the band start to like 10 years later, or 10 albums later, something like that. And I compared the hip with a bunch of bands And it's, it's. It's really all apples, oranges, of course, but when you look at how many albums they've sold and how they, you know, started off selling a ton and then just kind of went down to this million album mark. And then when I heard this album and I like UP, i listened to it all over the place. I listened to it on the plane I traveled, listened to it in the car, listened to it at home with the cans on. I mean I listened to it in more places than past listens because I was really trying to give it a go. I mean, it was the first time, upon first listened, that there were a couple songs where I was like okay, get it, i'm going to go to the next one, like I had not fast forwarded songs, you had her skipped ahead. So this, yeah, but but one of those songs that I skipped ahead on, sorry hip fans. You know I came back to and it's might be one of my most favorite on the album, so this this one like yeah, this one, this one to me like didn't grab me right away. Maybe it will more over time, maybe it's one of those types of albums, but well, i'll tell you what this record has. 0:09:36 - Speaker 1 An interesting, an interesting story, i think, and it it's my own headcanon This is. This is not like actual fact by any stretch, but in my opinion, trouble at the Henhouse, which is one of my absolute favorite records by the Tragically Hip or or or any other band, is, was maligned Like it, it, it, it, it both it and day for night didn't perform as well as fully, completely, and fully completely was very, if you recall, it was very polished, it was very produced. You know they went to London to record it. It was like a big deal. And then, following that, the next two records, they were sort of self-produced, with Mark Vreakin and Mark Howard on day for night and just Vreakin on fully, on Trouble at the Henhouse, and those records are sparse and they are. The core energy is, is there, it's, it's. It's like boiling hot magma, you know, and they're and they're forming these songs that are just age old now and and just wonderful, and then phantom power comes out and phantom power goes back to the like. To me it's sort of back to the back, to the basics. It's like back to really structured songs, really produced, and, like I always said, that this record was the baby of day for night and fully and completely, fully, completely, rather not fully and completely fully. It's sort of the baby of those two records. It's got the, it's got the production values, but it's still got songs. So I'll challenge you guys on that, because I think this record has songs and I think it has songs for days. You know what? 0:11:40 - Speaker 4 you are JD, let me tell you who you are. So when I was like 19 or 18, working with the movie theater, i dated this girl that that worked at the calendar place across the way And I just kind of went out with her because I was like really stoked. She gave me your number But I really wasn't that into her and all my friends were like, dude, she's really hot man, she's really amazing, and I just didn't see it. And so then like I stopped going out with her. We only went out a couple of times and that was that. And then I saw her again. I was like, damn, i really screwed that one up And that's kind of felt with this record, but I didn't want to like make that same mistake again. So like I, i'm sticking with it. I'm sticking with this being a solid album. Yeah, you know, yeah Masked it for, you know, a third and fourth date. 0:12:26 - Speaker 1 Yeah, i think, and I think three out of five stars is fair Like it's not it's not one of my. it's not my favorite record, but it's a lot of hit pants favorite record It's a lot Yeah, yeah. 0:12:39 - Speaker 3 That's that's what I found in my research. The covers are awesome. The covers are great. 0:12:43 - Speaker 1 They have that They actually have that panel in in their studio and bath, which is really cool. Yeah, so that's, you know this is. I want to say this is the second record they recorded at their studio. So they didn't go anywhere, you know, adventurous or anything like that, but they were at home. And what happened in 1998, i don't know if it made news anywhere else but Quebec and Ontario there was a major ice storm, yeah, major ice storm, and in Ontario it, like it absolutely shut down the city of Toronto. It shut down, you know, major thoroughfares. It was like devastating this ice storm. And we'll get into that a little bit more as we talk about the songs. But you know, they bring Berlin in and they're sort of trapped in the studio. You know like during during this, so really fascinating I think. 0:13:43 - Speaker 3 But yeah, it's a go ahead. Did you see this tour? Did you see them play on this tour? You want to hear a story Now? 0:13:52 - Speaker 1 people who listen to the movie and completely heard this. But the hip announced five secret shows that they were going to do, and all proceeds from these shows were going to go to a charity I forget which charity now at the oh, it was Camp Trillium. Camp Trillium, which is a camp for children with cancer, children that have cancer, and there's a location of that is near where I grew up And I'll show you when we, when you're in town for the finale. My friend's parents were on the committee for the cancer camp in our community, and so my friend Heather had intel and she she knew that they were going to go on sale at this time in this place in Hamilton, which is about an hour outside of Toronto, when traffic's good, and so we ended up getting third row center seats Wow, in this small theater in Hamilton, like 2000 people, and they blew the roof off the place. And a band called oh my goodness. They sang, come for a ride. Open for them, and they were tremendous as well. I forget the bands right now who open for them, but if you know it, send me an email. Jd at getting hip to the hipcom. So we're third row center. We watched the show, But the kicker here is is that Heather has got gifts to give the band And it's been arranged with the stage manager that we're going to go backstage afterwards to give. She's going to go backstage afterwards to give these gifts And she ended up inviting me along And so we got to go backstage and I introduced her to the tragic lab. So this was like this was like full circle for the two of us And it was just a wonderful experience. We went backstage after the show and they were all there and Gord had a. Gord Downey had a soccer ball And he was doing that thing where you flip it out, catch it and roll it back in your arms. Flip it out, catch it, roll it back in your arms And he just kept doing that And I remember at one point I must have looked silly or something, because somebody said and maybe it was Gord Downey said is everything all right? And I said, oh, everything is fucking perfect. I could go outside and get hit by a bus right now And it just wouldn't matter. And Gord Downey looked at me and he goes Oh, don't do that, jane. He called me Jane, only my mom calls me Jane. Like it was so cool It was cool. 0:16:37 - Speaker 4 How did I not know the story? How did I not know that you had interactions with Jesus? 0:16:44 - Speaker 1 Yeah, yeah, how was this? 0:16:45 - Speaker 4 coming up in episode. What fucking episode are we on. 0:16:48 - Speaker 1 Well, it was Tim asked me the question, yeah. 0:16:50 - Speaker 3 I don't know. We're like 15 minutes in. I think we could just call it. That was good enough. 0:16:55 - Speaker 1 Well, here's the kicker. Here's the kicker. I don't think I told this part on fully and completely, but the kicker is I had been dating a girl all through university and I broke up with her the summer of 98 and sewed my wild oats And this was all toward the end of the summer of 98. And she was in Hamilton to meet me after the show. So I'm backstage with the hip and they go Okay, well, we're going to go to the after party now in the next room over, because this was in the green room or whatever And we're going to go in the after party room and drink some beers. Do you guys want to join us? And I had to say no. I had to say no because my girlfriend was waiting outside for me. Now, in hindsight, what a boner move I made, because I wanted to get back together with her. Totally. It only lasted another two years after that, like I then absolutely blew up, but it was those. Those final two years were awful anyway, like they just weren't, you know, like both of us would agree to that now I'm sure the university years were wonderful, they were, they were great, but those those two years after our break up we're not so good And I blew a chance to go party with the hip. 0:18:15 - Speaker 3 You had a Davis Manning moment. 0:18:18 - Speaker 1 Yes, Yeah, yeah, absolutely. 0:18:22 - Speaker 3 He chose the girl over your fandom. 0:18:25 - Speaker 1 The hip lived between us. 0:18:27 - Speaker 3 They totally lived between you. They might still sorry, sorry, jess. 0:18:38 - Speaker 1 Well, folks, should we go song by song? 0:18:41 - Speaker 3 Yeah, let's do it, let's do it. 0:18:44 - Speaker 4 So I really liked this song. I really liked poets. This is probably the song I would say I have the least to say about. I really like the verse phrasing. I think it's probably the best part of this song, the way he phrases the verses. There's a part where the lines of a verse he kind of like carries into the next measure. It's really weird, like, like, like the mind, you think, okay, you sing the verse, then it's the next measure, but like he sings that verse over there Because it's when you look at it it's a complete line. I can't remember the line specifically, but it was. It was cool man. It's a hard thing to pull off man, but like that guy just does. It was so much, so much finesse. I liked the layered guitars in it, yeah. But I think, going back to what we're saying sort of at the beginning of the top of the show, it was, this song didn't punch me in the face Like right when I, right when I started listening, i dug it. I it was a soft open, it was a soft open. 0:19:59 - Speaker 1 All right, how'd you feel, tim? 0:20:01 - Speaker 3 I felt it was a harder open. I thought it was it. You know this. Like we've talked about before the cadence of songs and track orders. You know the first one I expect to really get me, bring me in, and this one did it. I thought it was pretty good. There's a fun kind of change over into the chorus It again I spoke about this a little bit before, but the kind of remind me of REM in REM's, like first half of the 90's albums, like they come on with like a punch of a song and then, like the cadence of the album kind of goes soft and then gets whoa, got a little dirty there, gets a little bit harder as time evolves. But yeah, this I thought this was a good start off. The themes you know I looked into a little bit of the song's meaning regarding lyrics and you know just talk about agriculture and super farms and like I don't know, ultimately fresh vegetables versus buying frozen and what that means. And this, this is the song that references Gwen Jacobs. Right, you know the story about her JD, and she was this woman who walked into town I think in Ontario topless and it created this whole. I don't have to look into this more, but I'm pretty sure this was the song about the Gwen Jacobs case. So Gwen was a woman who walked through town topless and was arrested and started this whole kind of woman's lib. You know movement with. You know making it okay to cut your lawn without a shirt on, just like the men do. That's kind of where the line in here from Gord comes from. It's a let's see. 0:22:02 - Speaker 1 Oh, that's great Lawn caught by breasted women. 0:22:04 - Speaker 3 Yeah, it's kind of this comment on pushing for women's equality and gender rights. So I thought that was fucking cool And that, to me also, is like really appropriate for the 90s or late 90s, you know it was. we were kind of circling back to, of course, some things we've had in North America before and prior decades. So I thought this song was cool. Again, it really reminded me of REM. I kind of went back and started looking at some of REM's albums and I wish, again, i wish I could know what the band listened to when they were traveling Me too. You know what they were sharing, what albums they were digging. you know if any of them were like Oh my God, did you hear REM's new one? We're going to put it in the the the buses stereo or whatever. Like I wish I could know what was influencing them, because I'm hearing, i'm hearing some some themes for sure. 0:22:57 - Speaker 1 Okay, earlier I was telling you about the ice storm. The next track, something on, was recorded and they literally were trapped in the studio. They were, you know, they couldn't leave the bath house, they couldn't leave the studio in bath. So they did what they do best They wrote a song and there's some lyrical content in there about the ice storm even And I think it's really wonderful lyricism. What did you guys think of something on? 0:23:33 - Speaker 3 I felt like, okay, i read about it, i read about this and I read about the ice storm and you know sounded awful. And for I hate to say this, but to go get stuck in a studio, for me that'd be like the time to really fuck things up, like really experiment. You know, you know, just hopefully somebody shows up with a huge bag of weed and somebody shows up with a bunch of acid and somebody shows up with a shit ton of beer and like this is when you like really go to town to experiment and what do we got out of it? We got like kind of a radio hit. So it was a little surprise to kind of hear the whole story and it just made me realize that maybe for this era, the guys were really I mean, they were at a point to where they could bust out a really good album, you know, and what, for me, that really good album is? like you go to a restaurant and it's like yo, that was a good meal. You know, everything was like satisfactory. 0:24:37 - Speaker 1 Well, yeah, it's a blooming onion man. 0:24:38 - Speaker 3 It's a blooming onion, Yeah, but to get stuck in a studio and ice storm, it's like I personally would want to just start going places. I haven't been before with my band, but you know this one's interesting take. Yeah, this one felt. This one felt a little radio felt a little you too, dave Matthews like splash of John Cougar melon camp or something like I don't know. Man, it felt, i know. I know, i know, i know. 0:25:10 - Speaker 1 And I was a big melon camp guy at one point. 0:25:13 - Speaker 4 But Dave, Matthews are regular. 0:25:16 - Speaker 1 Cougar and regular. 0:25:18 - Speaker 3 Yeah, like I couldn't get overly excited about this one. Well, again. 0:25:26 - Speaker 1 I think you were waiting for the follow up from the follow up to trouble at the house, and this isn't the follow up that you're expecting on a trajectory perspective. You know no no, i agree. 0:25:44 - Speaker 4 It's funny. You talk about getting trapped in the studio, like I mean, i don't know if I'd go like full steely Dan when they recorded the Albuquerque show, where, like you know, there maybe was not that much cocaine around, but I still agree with him, i would. I'd get really spacey, and I think they do it on a couple songs that we'll get into, but first time I heard this song got some heavy Jim Blossom's feels. Yeah yeah, Yes that's the first thing that hit me and I couldn't think of any of the band that it was like a buddy of mine used to play the band that they open for them a ton, and I was like the first band that came to mind like this Oh, and it was really poppy. And okay, my notes. Once you get past the repeated cheesiness of the chord progression and the vocal melody, it's not a bad song. 0:26:40 - Speaker 1 Oh dammit, with faint praise here. No, no, no, it's not a bad song. 0:26:44 - Speaker 4 I think it's a good song, but you know it's a good song. If, like you, take this song and go, is this a good song? Anybody will say it's a good song, but like you, said to me compared to the follow up of what you really wanted after trouble. Then else, and this was a song where I feel like Gord sounded a bit like he was put in the cage Like whoever was a universal when this record was getting recorded, put baby in the corner. And this is a song where really I feel like you know he's, he wants to be himself, but somebody's like, hey, man, just could you like you don't have to do it all the songs, but like at least on this one could you just, fucking, you know, tone it down a little bit. And I was just like, ah, where's my fucking, where's my lead singer. 0:27:33 - Speaker 3 Yeah, I totally agree, Because you know it's still a good song, because it's still all the guys and it still has themes, because it's Gord, you know you're still going to get one liners that are amazing. I feel like probably no matter what in any hip song there's going to be some standout lyric to me, some standout part like to the core fan. That's. That's really what I'm imagining. The line that stood out in this one for me was your imaginations having puppies, I mean yeah, yeah. I've had so many letters of puppies, you guys. It's like I'm just, i've got puppies all over the place. It's like. 0:28:11 - Speaker 4 I was a cool. I really like that one. Yeah, like that, like that video for new recruits or something. 0:28:17 - Speaker 3 Yeah, so I like identified in it. You know, at that personal level, which I think they're able to do just about on any song which is fucking amazing for a band to do, because I could probably name 10 bands right now. What that does not happen to me, yeah, so you know. So, in that regard, like hip fans, you know I'm, i'm I'm not really trying not to be the bad guy here, but we this, this, this just made this song, just made me keep going So into save the planet. I mean, i got to this one, arrived at this one, and I was like, is this the band's fucking Earth Day song? or stretch their reach to get on the farm aid bill, like what is going on here? I felt like I don't know, there's a flute in there. Who's playing the flute? 0:29:09 - Speaker 1 Who plays the flute? You know, i don't. I don't have the liner notes handy And on the wiki page it is remarkably barren in terms of additional players. Yeah, it doesn't, it doesn't have them, so I need people to write in. 0:29:25 - Speaker 3 If people know, let us know, because there's some flute in there And it made me wonder like what else? 0:29:31 - Speaker 1 there's keys all over this record. 0:29:33 - Speaker 3 Yeah, what else have I been missing in the background that maybe other people are participating in? But I felt, like you know this song, in the placement we were, we were filling, we were filling in the gaps on the menu And you're like, no, I had a burger yesterday. No, I'm not in the mood for that. Oh, I could really use some lasagna. Here we go. That's that's how Save the Planet felt, felt very time appropriate. This is, like you know, the millennial song. 0:30:02 - Speaker 1 Okay. 0:30:03 - Speaker 4 All right. So if anybody's got a line on the flute player, email Tim getting hip to the hip, talk there you go. Right, i copy Pete at getting hip Yeah. Save the Planet. I thought it was a banger. I really dug it. I at first I saw that too, but then I kind of look past the name of it And just look at the song itself. There's a. There's two references in this album to Crossing the Street, to pedestrian crossings. Yes, i'll point out the other one. This is the first one Fucking solo bangs in this. I thought the flute at the end was cool because it was so random. 0:30:47 - Speaker 3 I was like well, what the fuck is that? Yeah? 0:30:50 - Speaker 4 Same. 0:30:52 - Speaker 1 There's. You just can't imagine listening to road apples and having a flute right Like. It's just not part of this band. You know like and and and it works It works well, no, right? 0:31:05 - Speaker 4 Yeah, you know, if they went into that I'd be like, well, what the fuck's going on? 0:31:10 - Speaker 3 But I'll just quickly, quickly add that I'm okay with the flute. Like sometimes, the flute really is awesome. Oh, i think it's great. So you know, like some people like hear the flute and they're like oh why You know, but it works. 0:31:24 - Speaker 4 No, i dug it And this is again. This is not the first song, or not the only song in this record where I got some heavy Alanis vibes. The phrasing on if the bathwater is clear and my ears underwater, it's a tolerant hum from the core. Carry the water Like that the way he phrases that shit, it's just. I don't know if I see because it's a Canadian band, if I see everything through the lens of like Canadian pop artists. But like it's just the vibe I got from this and it's a great tune to get out and move your feet to get running. It's a fucking cool song to run. 0:32:09 - Speaker 3 All right, i'll put it on my point first I hear your Alanis vibes marry and up with my Michael Stipe vibes. I think those are in sync for sure, for sure. 0:32:20 - Speaker 1 I think there's a nice correlation between the hip and REM, like I think you're right, like they both have that enigmatic front man, you know, who is really literate and really interesting in the way they sort of phrase things and put things together. 0:32:39 - Speaker 4 They both went bold too, halfway through the careers, that's right, that's a fair point. 0:32:45 - Speaker 1 Fair point, fair point, all right, we're getting in the car right now and we are cruising northeast of here and we're going to Bob Cajun. I left your house this morning. 0:33:40 - Speaker 7 It was quarter after nine. I left your house this morning. I left your house this morning. I drove back to town this morning This morning with working on my mind, i thought I'd maybe try to leave an ear behind. I went back to bed this morning and it's time pulling down the blind. Yeah, the sky was dull, it was high but never come. And morning went down at a time that night in Toronto And I was jacking boardboards, riding on horseback and keeping order restored. Tell the men they couldn't hide. Step to the mic and sign and their voices rang with the area of time. To your house this morning. It was quarter after nine. In the middle of that riot I couldn't get you off of my mind. To your house this morning. It was just a little hour tonight Cause it was in my page on the rossard and constellation, but they themselves won't starve at time. To your house this morning It's a little after nine Cause it was in my page on the rossard and constellation, but they themselves won't starve at time. 0:37:32 - Speaker 5 Tell the men they couldn't hide, they didn't choose your bones and bones. They're all south of the wind and down the lawn to the lake For as long as it takes. 0:38:05 - Speaker 7 I don't want to be a hill of the birds last hour. I don't want the last words out of my mouth to be stained Out of my way. 0:38:16 - Speaker 4 Okay, I fucking love this tune. I got some heavy and Tim, yes or yes. If I hear no, I'm just I'm off this podcast Got some really strong G love special sauce vibes from this. Yes, Just the way they owe up. Am I my GD? 0:38:42 - Speaker 1 I don't know, i think I think I'm very familiar. 0:38:46 - Speaker 3 I did not go there, but I will Okay. 0:38:51 - Speaker 4 Right, i mean the. there's a oh dude that it could have been Willie, could have been the wine. I heard that song. The first time I heard that song I was. I took it out for a run and I came home and I like I listened to it again because I just thought it was such a good fucking song, because it's a weed. reference to may not necessarily be about them listening to Willie Nelson. It's like they were smoking weed or they were drinking wine, absolutely Yeah. The opening, like spacey guitar licks The dobro which I think he's playing. there's a dobro in there that he's playing which kind of gets sort of like a banjo slash guitar vibe. Oh God, just. 0:39:40 - Speaker 1 I feel like that lyric that you just quoted, though, could have been the Willie Nelson, could have been the wine. That's like one, like when he wrote that he should have just put the book down, put on a fedora, long overcoat, grabbed his briefcase, just went home for the day, that's. That's the days. That's the day at the office, that's a fucking. Exactly. 0:40:00 - Speaker 4 That's just a great lyric Exactly dude, no, 100%, it's so good. I was like you know. You know, a line is a good line when you hear it and it's so good you think you've heard it before. Meaning like I'm like right, i mean because it just sounds like it belongs on this in the history of life, Like like someone has, like if someone hadn't said it, they sure as shit should have said it. Does that make sense? Yeah, you know, it sounds like it's just. It's a great fucking line. I thought I maybe quit that line. It's just. It's really the part of this song where Gord starts coming out of the cage. On this record, i feel like that was the moment Somebody gave, somebody unlocked the door of the cage and he's starting to come out, and then the song ends on a random minor chord, which is so weird, it's such a happy, spacey song that ends on this minor chord. 0:41:09 - Speaker 3 I loved that. I loved that about it. So for me this one it felt a little Out of the gates. I need to listen to the beginning of it to see your G-Love reference. But out of the gates. It felt to me a little bit country and a little bit like are we reaching again for some crossover fans Along? the southern belt of the US. Like where are we? What's happening here? You know there's some slide guitar, but is it a song about lost love? You know looking up at the stars waiting for a reveal. You know there's synth work in here again, so there's some sort of keyboard happening, which is fucking cool. And to me, the first lesson I had all those kind of questions going through my head And then I thought at one moment like this is actually a fucking beautiful song. Like it's a little bit of an odd man out on the album, but it's actually a beautiful song. There's this long ending with no singing. It's just mysterious. Like you said, pete, the last five seconds or so, or this just bizarre tune out. It's like I found one quote when Gord was asked about this song. He said this was an interview in 2004,. He said this one asks the question evil in the open or evil just below the surface? That was his comment about this song. So it's like this song to me was super mysterious Yeah, super mysterious song which I fucking love, like I don't need literal storytelling every single song you know. Social themes, i don't know all these different things, i don't need that. Every single song I love you know kind of the knuckleball that comes in. You're like whoa okay, this is reeling me back in to the album in a good way, a way that I'm looking for, you know, i'm hoping for, but still, again, this one felt a little bit odd, man, just the way it fits into the album. They've done this before. They've gotten. 0:43:15 - Speaker 4 They lose green man. 0:43:16 - Speaker 3 Yeah, they've gone on this path of like okay, this one, now we're going to turn off the highway and head down this two-lane road and we're going to stop at this farm and we're going to have an afternoon barbecue with this family, and you know, i don't know, like it's just this one's off the highway. 0:43:35 - Speaker 1 Cool. What do you guys think of the bridge? It makes my arm hair stand up That night in Toronto with the checkerboard floors. There's a bar in Toronto that's famous legendary in fact called the Horseshoe and that references the Horseshoe, the checkerboard floors. Oh shit, that's one of the first big gigs they played in Toronto. 0:43:55 - Speaker 4 Can I get taken to that bar when I come visit Toronto? 0:43:57 - Speaker 1 Absolutely. Let's do it. Sure shit hopes so man. 0:44:00 - Speaker 4 That would be cool. This song is actually the most listened to hip song on Spotify. 0:44:07 - Speaker 1 Oh, wow Yeah. 0:44:09 - Speaker 3 Surpasses. I read something about that as well. 0:44:13 - Speaker 4 What was the one that it surpassed? 0:44:16 - Speaker 1 I can't remember Anyway yeah Well, so it's a hit all around Pop Cage. 0:44:21 - Speaker 3 Yeah, it was a fucking interesting song, right? This is. 0:44:25 - Speaker 1 So we shift gears now in a well, not in a huge way, because this is sort of low tempo or slower tempo. We go to Thompson Girl and you're both hesitating to start Thompson Girl. 0:44:41 - Speaker 4 Go ahead Tim. 0:44:42 - Speaker 3 Yeah, well, you know what's the story about here. I don't know. It's the story potentially about where is it here, This town in Manitoba, thompson, yeah, or it's. You know it's potentially about a nickel mining company up there. You know it's got this kind of sweet, forlorn grunt work somewhere between dream and duty, poking through with all them shoots of beauty. I mean, what is that about? You know, this is kind of a cute, in a way stripped down acoustic song. There's some banjo in there. You know, i've kind of been waiting for, I had been waiting for this type of stripped down, simpler song that you know it's kind of this forlorn, sad song to me at the same time. 0:45:42 - Speaker 1 Probably Pete. 0:45:44 - Speaker 4 I loved it. I thought it was cool. I think I don't know if it's consistent with you and I, tim, but like I really try not to look too deep into the lyrics because oftentimes I'm disappointed, that's why I don't do it. I know you do it a lot more than I do I totally do. 0:46:03 - Speaker 3 I mean it's because of Gord, like Gord Gord. for me, gord merits it. 0:46:09 - Speaker 4 I get intrigued though, but like dude so does. I mentioned Celie Daner earlier. Like Donald Fagan's lyrics are notoriously cool as fuck. But have you ever asked that guy like what he you know what's, what's the meaning of? you know Dr Woo or whatever, like he'll be, like I don't know man, we're on so much cocaine. Back in the day I was just getting shipped to prime or whatever you know like, and I know that's not really the case here. But that line, the way he goes up so high with grunt work, i can't. I'm not even gonna fucking try lest I fucking destroy your listener base JD by singing that line. But when he goes grunt work time between dream and duty the melody is so fucking good It's then there's a part. Um, i don't know if it's like, i don't know, i wouldn't call it the bridge, but it is a bit of a some sort of key change to the regular chord progression. When he goes really high and then the mandolin starts to come in fucking dug that. And then the piano kind of comes in at the end as well, it's fucking cool. I really dig it. Yeah, i liked it First. I didn't like it. I didn't like the chord progression. It just seemed to like, like you said, tim, acoustic. It's sending, like it was like this should be an acoustic song. 0:47:30 - Speaker 3 Keep it that way. Yeah, yeah. But then it grew on me real quick, which is maybe something I would potentially envision. From a stuck in the studio couple days, you know, you'd get to a point to where everybody's kind of burned out and you pick up the acoustic and somebody says to the piano and you talk about is it INCO, inco and the fucking nickel mining, and I, you know, i looked at it a little bit into that in Manitoba and was like, oh geez, here's, here's a historical. You know, just rabbit hole that I can't go down right now. But it just this, to me, is just one of those, one of those songs that fits in well with this whole album And it's something we haven't really had in the past. So it's kind of happy to hear it. Next one membership Who's who's singing backups Somebody found, is it Gord Is? 0:48:28 - Speaker 1 it Gord over. Usually it's Paul Angla, usually Well. 0:48:32 - Speaker 3 I don't think it's Paul. It might be doubled. If you, if you go in and listen again, check out membership and listen to the backups, because it sounds like a woman to me and it sounds really familiar, like I've heard this voice before And I've looked and looked and looked but I can't find anything. It might be one of the guys, just you know, editing it in post or something, i don't know. But there's, there's some beautiful backup happening. This one, though you know it's wasn't my favorite on the album, i'm not going to put it on the playlist There's kind of a big change after the three minute mark with, like this new chorus. Of course it has my fade out at the end. You know there's there's kind of this bigger start to the song, but it's kind of slow in a way. I don't know. It's maybe about addiction, it's kind of a ballad. you know this, this one, it just felt like it didn't really fit in, didn't really wasn't really sure how it was working and it it made me consider you know I've done this a few times that it made me consider the band and what they were feeling you know they're coming in on 2000 here What they were feeling after 10 years, which is long for any band to retain some amount of success 10 years of playing and predominantly being popular in their home country and not even gaining a huge you know the level they deserved in the neighboring USA. So this this kind of made me think about all those things. I just didn't know if it was like about power abuse of power addiction or longing loss, i don't know. This song was kind of all over the map for me, but ultimately the chorus bugged me and it stuck in my head for a little while. I was like, oh, i need, i need some other, i need some other hip song stuck in my head and that's kind of where, honestly, that's where, like blow a high dough, just comes and takes over my brain. So that's what happened. 0:50:50 - Speaker 4 on membership, I you know I have a ton to say about this song. It's kind of like I put in the same categories Poets. It wasn't my favorite song in the record. I liked it, felt it like it was a very drone rock with a chord progression. It's the way it sounded. I love the harmonies. Tim mentioned the harmonies being drawn along by it. Like that line with the harmonies come in The middle, guitar solo where they kind of tease you with the guitar solo helps build the song kind of cool. But then, yeah, the fade out at the end is just like to me. It felt like they maybe didn't have, they didn't nail everything down with this one. That's all I'll say, you know, but yeah we can move on if you want, let's slide over to fireworks. 0:51:46 - Speaker 7 You like fireworks? Yeah, me neither. The frustrating part Never back in old 72 Without school, just a gun, without a gun or trigger. I don't remember a reason. Set me sight of you. You said I couldn't get a fuck about the party. Never heard something true back before You held my hand. We were on the long way Loosing in my grip on Bobby Moore. Never heard anything wrong before I blushed. When these ever sensations get in your way, no doubt this shit me spurred right now By your shoulder, and that an amazing what you can't accomplish now I'm not together every single moment. That's what we thought. We'd be married. We both do deep with the grip of art, of fish chaos, believing in the country, me and you. Christ has a faith in Christ, the sinner cramming Yeah, we've heard all this before It's winter time. The house is solid to the bones, loosing in our grip on this fake cold war. Is it an amazing and a better accomplish When we don't let no nation get in our way? No doubt this shit me spurred right now By your shoulder, and that an amazing what you can't accomplish now, next to your comrades in the nation of fitness, the program regarding some eternal past time, clopping to the mind in a fit of laughter, showing no patience, no tolerance, no respect By your words, next to the distance, contemplating towering, towering star By your words. And in late, never, till there are no stars anymore By your words. And in, straight in heaven, contemplating towering, towering star, till there are no stars shining up in heaven, till there are no stars anymore. Isn't it an amazing and a better accomplish When we don't let no nation get in our way? No doubt this shit me spurred right now By your brand of error, shining up in heaven, contemplating towering, towering star. I think this one thing never goes away And this ones thing's always supposed to stop. Oh, this funny thing doesn't have to go away, and I'm gonna lie. 0:55:41 - Speaker 4 Oh fuck, How much time you got, then Fucking song, this song, i just have the word. It's this fucking rush, rush, rush, rush, rush. Just so much rush in this song. Really, there's a couple of rush references on this record and this is number one. I would say that is it. Gord Sinclair, yeah, so like and I think he would agree with me, because I don't know that I don't know any bass player in Canada, let alone the entire world, would put them up against Geddy Lee. So I can't like, true, Like. I don't think the bass in this song was supremely rushed, but the chord progression, the structure of the song, the lyrics, isn't it amazing? anything's accomplished Is fucking. It's so fucking dude, it's fucking rush, completely Fucking. It's like they should have just made a record with one song on it and sent it to Rush and been like this is for you guys, we love you guys. And dude, i'm not saying anything remotely like they jocked anything. It's an homage in the sweetest sense. It's fucking beautiful. I fucking listened to the song so many times. There's I don't know if he's playing a Les Paul or a Hamer Rob Baker, but it's got some hollow tone electric guitar. There's a line in there Christ in the Kremlin. I'm fucking. The words in this song are fucking spectacular. I bet it just destroyed. Destroyed. The crowd live Like. I mean if they played this fucking live you'd have to close with this or I don't know what you'd play with this. I mean it's just fuck. What's the other line Next year? comrades in the National Fitness Program caught in some external flex arm hang dropping the mat. Dude the lot. This that the way he speeds up that verse and fits all those fucking words into that, and then he goes back to the normal cadence, like when I say cadence I mean like the tempo, not a modal cadence, but like tempo. He goes back to that. I just bet when they, when they all listened to this track after it was mixed, or they all recorded everything, they all just fucking high-fived and hugged each other and had a big old fucking circle 100% Yeah. Dude, it's a fucking. It's one of my favorite fucking hip songs period. 0:58:23 - Speaker 3 Oh, you know what they. You know what they said after they recorded this. They were like this is going to be an every jukebox across Canada. I mean, it's a jukebox song. I mean, really, this is like play something by the tragically hip. Okay, i'm at the jukebox. Stick in a quarter. Oh, here's fireworks. Everybody loves this song. You know, that's that's. I couldn't agree more, pete. I just felt like this could be put on a seven inch only and out in the world. You know it was one of the first songs in a while where, like, i immediately just started snapping my fingers. It was like, okay, this, this song's, this song's moving. I completely agree with the rush references I love. I so identified with this girl. There was actually a girl who said she didn't give a fuck about hockey. I never heard a girl swear and I've never heard someone say that before. It was like there was some whole other world out there which is hard to fathom at times. I don't follow hockey. I totally identify with this. When I go on Facebook and it's like near the weekend it's mostly fucking NFL comments from people I know in Southern California. It's like, god damn, i wish I had a sports filter on my life because I don't really follow any sports. So the hockey the hockey comment, i was like yes, i, i want to hang out with you, let's go drink beers. You know, i probably follow that. It's whatever I just I just identify with that part, it's. You know this, though, you're right, pete, isn't it amazing you could do anything when the notion isn't in your way, believing in the country of me, and you, ah, you know, it's just, it's, it's, this is, it's more. It's more than an anthem. 1:00:17 - Speaker 4 You know, the crazy is so it's so, Getty Lee, though man. 1:00:21 - Speaker 1 Yeah, yeah, for sure, for sure. What's? 1:00:24 - Speaker 4 this, it's, it's spirit of the radio. Okay. That's the song thing you have in so many ways. Yeah, i mean, and I don't think any musician in the band would say like they can you know drum? like Neil Pert? I think the guitar is pretty. It's got some solid Alex life and vibes. like you could fucking compare that guitar wise. but like bass and drums, you can't fucking come close to those, like it's just. but sorry, tim, i didn't mean to interrupt you, but it's just a fucking. 1:00:55 - Speaker 3 That's good. Good, it's such a JD. What JD, what? what were your thoughts on the song? Do you have, do you have memories of hearing the song, or anything, or like? 1:01:03 - Speaker 1 I think it's, I think it's a romantic song, Like. I think it's like the firework of like meeting somebody that is just, you know, absolutely the sparkle of your eye, you know, sort of thing. The context, to give you some context, the goal that he's talking about, the goal that everyone remembers, is when Canada beat the Soviets in 1972. And that was, that was during the Cold War. So it was a big deal, that series, Canada playing hockey against Russia. you know a few games here in Canada and a few games in Moscow. It was a big deal, Like for these Canadian hockey players to go to Russia. Like at that time Russia was so mysterious And there was a very famous goal that won the series by Paul Henderson that everyone remembers. It's one of those moments in Canada, the, if you're of the right age or generation I'm not, I'm born in 74. So it's over my head, But if you were there then it's one of those like you know where you were moments. you know what I mean. 1:02:10 - Speaker 3 It's huge huge moment in sports history. 1:02:13 - Speaker 1 So for him to be just blown away. Like you know, loosening my grip on Bobby Orr, like I just picture, the 16 year old who's in love with Bobby Orr has the hockey cards on the wall, you know, he's just tremendous and all of a sudden he just oh, there's girls out there. Oh, and there's this particular girl who doesn't give a fuck about what, like whoa fireworks, you know. 1:02:40 - Speaker 3 Yeah, great song, Great song. This. yeah, I could have had this song, you know, and had a satisfied meal and went to bed. 1:02:49 - Speaker 1 You and your food All right. Go next to vapor trails. 1:02:58 - Speaker 3 So vapor trails, like I started this one and paused and had to come back to it, i didn't keep going like this, this, this, this was one of the breaks. And now for me, where I was like, okay, i'm not, either not in it enough or not focused enough, let's come back to it and didn't hold your attention. He would not not at the get go, but eventually it did. Oh, eventually it did bring me in. It totally was one of those songs that I wasn't so sure about, but over time was like humming it while walking around the house. You know, there's just to me it has some mysticism to it. There's this mysterious not to say it again but backup singer, whoever is in there. I mean there's some really good backup singing happening, but I just love some of the lyrics. There's nothing uglier than a man hitting a stride. 1:04:00 - Speaker 1 What a great lyric, right Dude And just the way he says it as well. There's nothing uglier than a man hitting a stride, yeah. 1:04:09 - Speaker 3 I can't wait to use that some point in life. You know, watching something happen, yeah, chords, use that line, throw away the rudder, float away, like they portrayals. You know, i get this. It's like, it's this feeling of like giving up. You know, at some point we all, everyone, i think everyone has contemplated, you know, life being different or serious change, or giving up, or you know, we've all had these heavy times in our lives and maybe the song kind of hits on that. There's amazing guitar riffing just towards four minute mark. It felt, you know, just to kind of wrap it up. For me it felt like a produced ending. You know, the fade out was like it wasn't just let's wrap the song up, let's just fade it out, it was like let's produce the fade out. So it was a little, i don't know a little more, a little more orchestrated. But yeah, it's, this song is. This song was a banger. I think it was really good for the spot in the album. I think it was like really fitting. 1:05:27 - Speaker 1 Yeah, because we're well into the second side now. Yeah yeah. Second track, second side, if you're playing by those roles, It has a good place, good place in the album. What do you think of APR Trail's Pete? 1:05:39 - Speaker 4 Well, this is the other thing that I thought was it's not. It's not a Rush reference, but I actually think there's a possibility that Rush's 2001 record Vapor 12, vapor Trails was perhaps, maybe, an homage to Tragically Hip. Wow, i don't know, that's my, that's my in my dream world. I don't know if that's really true, but and I saw them on that tour and they were fucking just amazing. Saw them at the Irvine Meadows man. 1:06:18 - Speaker 1 Such a great show. 1:06:19 - Speaker 4 Never saw. 1:06:20 - Speaker 1 Rush. I was supposed to see Rush on a tour in 93 and guess who was opening for them? Who, tragically Hip Jesus Christ. Wow, on Road Apples. Yeah, dude. 1:06:30 - Speaker 4 I don't know what's a bigger fail That or not partying with them. 1:06:34 - Speaker 1 Oh God, it's the, that's the, that's the fail. 1:06:36 - Speaker 3 They're close. Not partying, I think. 1:06:39 - Speaker 4 Well, we, let's put it this way, we, we, we showed to that concert, i think, and they were they, we were at that time. It's strange, real quick, because I know. but during that time, because 2001 was coming out of the Napster years and years, right And into, like I think it was right where the iPods came out, um, so people started buying music online again, sort of. So bands didn't have money to pay for opening bands during that time, so a lot of bands would tour and be like who's opening? And like there's nobody opening. So we assumed that somebody was opening, for Rush happened to me with pavement one time, but that's another story Um, and we walked, we're, we're racing through the parking lot Because we hear a spirit of the radio, but right into Red Bar Chat after that and just fucking made my, made my life. But to the song. Paper Trails. Um, the fucking vocal melody in the opening verse same. I got the same cadence, Tim. I don't know if you mentioned this as Thompson girl. Um, but the song I loved it. I imagine when they sung this song live, that when Gord sings the line you can throw away the rudder. He probably blows out either part of the low end or part of the mid end frequencies in the fucking speakers at this this, this house, his voice is just at that frequency where, if he really punches it like he could, he could break. He could break some fucking windows, because it's, it's just fucking just the way he delivers that shit. Throw away the rudder, um, uh, what else? Yeah, just that line to me was worth buying the fucking record. Pulled the car over. There's nothing uglier. Yeah. Then a man hitting his stride. Yeah, there's a transition from the bridge back to the chord progression. That's super abrupt And it's so cool because there's no transition. It's just like boom, boom, they go right back into the chord progression and it's fucking cool. I'm not, can't think of any band that I've heard do that. And then the last thing is the line, and it's it's. It's maybe Rob Baker, i don't know who's singing the backup, but Mexicans dressed in beige shirts Crazy line, yeah. 1:09:16 - Speaker 1 Yeah, I've never heard that Mexicans dressed in beige shirts. 1:09:19 - Speaker 4 It's. It's like almost whispered. 1:09:25 - Speaker 3 Wow references you know references, folks who spend their life picking the strawberries and raspberries. 1:09:31 - Speaker 1 We, i believe, Yeah, I would guess so. 1:09:37 - Speaker 3 I believe it does So yeah. 1:09:39 - Speaker 4 Are we going to? 1:09:40 - Speaker 1 rules. You got it, dude. 1:09:48 - Speaker 4 I love the song. It was so fucking cool and so chill. This starts out with those huge cymbal crashes in the beginning. This is the second song in the record that references a pedestrian crossing, talks about a crossing guard not doing their job. 1:10:04 - Speaker 1 So yeah, it's really reference of and the second reference of super farmer. Uh-huh Right. 1:10:11 - Speaker 3 In that same in that same Stan's line. Got some agricultural themes happening. Probably the third agricultural theme. 1:10:21 - Speaker 4 Yeah, I don't know I just the phrasing was beautiful. I'm wondering what a bard is. B-a-r-d. 1:10:28 - Speaker 3 There's a couple of references with that. One is it has to do with a Shakespeare reference. 1:10:35 - Speaker 1 That's what I thought, yeah. 1:10:36 - Speaker 3 Yeah, and then the other one is I'm not going to butcher it, the other one has to do with fighting. I have to look it up. 1:10:46 - Speaker 1 Let's just go with Shakespeare. 1:10:48 - Speaker 3 Yeah, it's some Shakespeare reference. 1:10:52 - Speaker 4 And then to the line about the vacuum's got a guarantee. I just that line hooked me in so much because it was so random that I was like really in just pay super close attention to what he said. And the next line that he delivers, which is it could suck a virus, an ancient virus from the sea, is like what the like again put on the hat, put on your jacket, close the briefcase. Fucking. Done your job today. 1:11:23 - Speaker 1 Leave the office, gordon, that's right Punch out or whatever. 1:11:27 - Speaker 4 The whole, that whole stand is fucking amazing. There's a table slide And then oh, by the way, this song, and fuck, there was one other song. God damn this song. and one other song at the record. on the record It's earlier. I want to say it may be something on or say the planet. at the very end of it You hear the word somebody in the studio is cool. Yeah, so it doesn't feel so and there was one other two, one other song on the record that they did, so I was like they did that twice. 1:12:05 - Speaker 1 That's cool. I'm going to need access to your premium sound system. 1:12:10 - Speaker 4 Well, I mean GD, that's. We know this is not stuff we just hand on. It's kind of like you know top secret Clarence, There's a lot involved, A lot of screaming All right, all right, all right. 1:12:22 - Speaker 3 He passed. He's done it. Yes, true, yes, we're adjourning my current, for he's had it. Yeah, i heard the song and I thought Pete loves this song so much And when we come talk about it on the pod it's going to be all Pete. 1:12:43 - Speaker 1 You know how much to say. 1:12:44 - Speaker 3 I thought it was kind of a yonder. I got you know some, some from it, But you know I was like this. The song isn't for me. I thought it was kind of a yonder. I was going to leave it to Pete. 1:12:58 - Speaker 1 We're going to come back in a year because it's going to be a grower for you. I guarantee this song will be a grower for you. 1:13:04 - Speaker 3 If it's not, you guys both have to buy me beers. I can live with that, Yeah, yeah. 1:13:11 - Speaker 1 Okay. Well then let's slide into Sugar and Falls Ohio. 1:13:15 - Speaker 4 Take it Timbo. 1:13:17 - Speaker 3 Yeah, so Sugar and Falls. So this song I thought was basically a huge fuck off to corporate man, to the man. I thought this is like. This song is driving some culture into the fan base. It's probably, you know, was played a lot on the radio. I thought this one you know I could be wrong, but this song to me felt like on the verge of angry a little bit more than usual. I'd maybe really wonder about it live, if this got more raucous, if it got a little bit more I don't know violent feeling. And I think it's because it thematically, which is where I'm going to go, not so much with music on this one, but thematically it Sugar and Falls, in my research. That's the headquarters of Clear Channel, which at the time Clear Channel Corporation was slowly taking over media, especially North America. Yeah, so that's a lot of the references to Grand Falls. You know where the unknown won't even go. Because at this point I mean that line to me says if you're an artist and you're trying to make it like, avoid your Grand Falls, avoid Clear Channel, you know, be careful with what radio you're sending your tapes to your CDs to like this. This is that song that is kind of the band's shout to the world of, you know, corporate media is taking over the airwaves, you know, be aware So that that to me the song has like a mission. It felt like the first time I listened to it. When I got to you know, three quarters, two thirds of the way through, i thought is this song like over five minutes? you know it felt long, but it didn't feel long in a bad way, like it felt like a good, just a really well written song. Like I was kind of digging through Grand Falls, it felt like a five minute song, but it's not a five minute song. I didn't look up live versions of it but I definitely want to find something. 1:15:47 - Speaker 1 Yeah, get the answers to your questions. I can't, unfortunately, answer because I saw them on that tour and I don't remember if they played it, but I can't. 1:15:57 - Speaker 3 It was somewhat rare. I feel like it was probably going to be a rare rarely. 1:16:01 - Speaker 1 Yeah, it would be one that would be, you know, gosh. Well, let me just quickly look up how many times they played it. 1:16:09 - Speaker 3 I mean for people that don't know, Clear Channel took over corporate. I mean took over FM radio. Over time, like so many stations became Clear Channel stations and became programmed. And I remember hearing the transition because, as a big radio listener, being bored in 71, you know, i listened to radio for like 20 years, 15 at least, 20 years and they just completely took over And I remember hearing DJs demeanor changing from independent radio station to now being put into this box And I feel like that's what the band is trying to talk about in this song And I think it's their fuck you to this corporate system of being in a band and trying to make it and just to inspire people to be independently minded. 1:17:08 - Speaker 4 Yeah, it's funny you mentioned Clear Channel only because I want to talk about the song, because I feel a little bit different about the song in some ways than you do, tim, and it's funny, like Tim, i didn't do fucking a pubic here. The research you did for this fucking song. I had to look up where Chagrin Falls was but, and I dug it. But yeah, that's when there used to be a great station in classic rock station in LA called Arrow 93. And they went over to that Jack. You know that Jack format Jack FM, which is just, it's just a guy who like record something and it's like a cheesy line and he
Ever find yourself reminiscing about the good old days when tunes from The Tragically Hip filled the airwaves? My pals, Tim and Pete, and I sure did, as we took a deep dive into their 6th studio album, Phantom Power. We discovered that our own past experiences and relationships managed to shape our views on this collection of radio hits, which seemed like a pivotal moment for the band. We weren't just content with superficially jamming out to the music. We dissected the unique sound and lyrical themes, compared them to previous Hip releases, and found ourselves swapping stories from past concerts. One standout memory was Tim being recognized by lead vocalist Gord Downie backstage. We also discussed the historical context of the album, like how its recording coincided with a major ice storm and a surprise tour that benefited a children's cancer camp. Stick around as we analyze some standout tunes like 'Poets' and its references to Gwen Jacobs' fight for women's equality. We also shared our thoughts on 'Fireworks' and how it reminded us of Canada's victory in the hockey series against Russia in 1972. So, whether you're a die-hard Hip fan or just love a good music chat, this episode is for you!TranscriptSpeaker 1 It's June of 1998 and I'm done with York University. To celebrate, my friends and I embarked on a camping trip to the Pinary Provincial Park just down the road from Grand Bend. It was just outside the liquor store in town that I heard a finished version of Pullets for the first time. Gord had long been one of my favorite Pullets, so to me this song resonated in a way that I can't quite describe. It was a feeling of euphoria and relief. This new record was going to be just fine, i thought to myself. Little did I know that several tracks on this record would stand the test of time and join the pantheon of great hip songs I still enjoy to this day, from the meandering escape is at hand to the traveling man, to the exquisite Bob Cajun and the downright delicious Emperor Penguin. Phantom power was right in the pocket, coming off of the exceptional trouble at the henhouse. As I got inside the truck to head back to the campsite I turned the volume up and just let Pullets sink into my brain. This was living. Today. We're going to hear from our friends Pete and Tim to check out what they think of Phantom power. Will it stack up? Find out today. On Getting Hip to the Hip. 0:01:41 - Speaker 2 Long sliced brewery presents Getting Hip to the Hip Hey it's JD here. 0:01:58 - Speaker 1 Welcome back to Getting Hip to the Hip. This week we are talking about Phantom Power, the sixth studio record by Seminole Canadian rock band, the Tragically Hip. I'm joined this week, as always, by my pals Tim and Pete Fellas. how are you doing? 0:02:19 - Speaker 3 Hey guys, hey guys, hey guys, glad to be here. Good to see you, i'm ecstatic to be here. 0:02:26 - Speaker 4 I'm ecstatic to be here right now. 0:02:27 - Speaker 1 Oh, I love it. 0:02:28 - Speaker 4 I love the energy This is happier than a pig and shit. 0:02:31 - Speaker 1 Oh boy, oh boy, that's pretty happy. I've seen some, some porcine creatures rolling in fecal matter and they sure love it. Okay, so if you are wanting to experience The Tragically Hip's music for the first time, tim and Pete are your avatars this week because they got to experience the record Phantom Power, which again is the sixth record produced by Steve Berlin, first record on Universal. But I guess I should tell you guys both. I guess I should say this to you both as honorary Canadians. Now, happy Canada Day. It's almost the 4th of July. It's July 3rd today, but it's July 4th tomorrow for you, but July 1st for us is Canada Day. So happy Canada Day, folks. 0:03:20 - Speaker 4 Wow, Yeah, Very close to the other 4th of July, which is America's Independence Day. In the UK they call that Thanksgiving. No, No, I had a. I took a flight one time on some shitty airline and the pilot was British and it was on the 4th of July and he was like so I just want to say you know, that's my shitty British accent Happy 4th of July was we call it. We're on from Thanksgiving. Enjoy Whatever. 0:03:57 - Speaker 1 That's great. Oh, anytime you can burn an American a little bit, it's. you know there's some fun. There's some fun there because you guys are so goddamn good at this shit, you know Anyway let's get into the record as a whole. Before we go into the song by song segment, let's just talk about this record, produced, like I said, by Steve Berlin. Five singles come from this record. All music rates at a three out of five Three. So there's that. What did you guys think? I want to know where you listen to it, how you listen to it and what your initial thoughts were, and you know, maybe, what they percolated up to. What do you say there, tim? 0:04:45 - Speaker 3 Well, there's a pause. I thought it was a three star album, kind of like all music I felt wasn't really sure. it felt a little bit deluded in a way. to me It felt a little bit, a little bit more generic from what I've heard in the past. But it also felt kind of expected for the whole catalog of albums this band has produced and the timeline going into the late 90s. You know this album felt like full of radio hits but at the same time I was missing a little bit of that raw kind of hip feeling. You know, i was wondering like, should I be okay with this album just being kind of fine? This was the turning point for me. I was really not sure. When I read kind of some reviews about it, i think there was some sentiment, some shared sentiment, and also some people were like it's my favorite album and some hip fans said it's their least favorite album. So this one's kind of a gray area for me. 0:06:00 - Speaker 1 It's funny. Well, I'll get into my, you know, sort of backgrounder on this for you guys after we hear from Pete. Pete, what did you think? 0:06:09 - Speaker 4 I hear you on the gray area, because I could totally see that. I could totally see how some hip fans are like this is the best album they did. Or this is not my favorite album. For me I listen to it everywhere. I listen to it in my office, so for my computer, with some some decent cans, i took it out running a lot. Probably. I think maybe the first time I listened to it was that took it in the car. It sounded great. The thing I found like I would say 3.5 for me, tim, instead of a 3. But you know I feel you on that My initial thoughts were that a lot of rawness of the hip was gone from this. In the first couple of listens it sounded very watered down. It was like somebody pulled Gord Downey aside and said Hey man, can we just like, kind of like the dude, can you, can, you fucking can you take it easy, man, you know, just like. Told him to just like chill out a little bit, and I don't know. The more I listen to it though, the more I dug into it and see how much work maybe not production, but just from the band themselves went into this record maybe changed my tune a lot Like I dig it. And Phantom Power, that was the coolest thing in the 90s, man Like because sometimes you didn't know what it was. If you never heard of Phantom Power before, it has a fucking cool name. If you had a guy that had like a condenser mic or something with Phantom Power, you're like dude, yeah, he's got a mic, that's got a Phantom Power. It was just like fucking. You were 17 and you heard that it was fucking cool. 0:08:00 - Speaker 3 Yeah, you know, i went and looked at a number of albums sold by a bunch of different bands, including the hip, and I was trying to kind of have this try to find this correlation of how many albums sold from the band start to like 10 years later, or 10 albums later, something like that. And I compared the hip with a bunch of bands And it's, it's. It's really all apples, oranges, of course, but when you look at how many albums they've sold and how they, you know, started off selling a ton and then just kind of went down to this million album mark. And then when I heard this album and I like UP, i listened to it all over the place. I listened to it on the plane I traveled, listened to it in the car, listened to it at home with the cans on. I mean I listened to it in more places than past listens because I was really trying to give it a go. I mean, it was the first time, upon first listened, that there were a couple songs where I was like okay, get it, i'm going to go to the next one, like I had not fast forwarded songs, you had her skipped ahead. So this, yeah, but but one of those songs that I skipped ahead on, sorry hip fans. You know I came back to and it's might be one of my most favorite on the album, so this this one like yeah, this one, this one to me like didn't grab me right away. Maybe it will more over time, maybe it's one of those types of albums, but well, i'll tell you what this record has. 0:09:36 - Speaker 1 An interesting, an interesting story, i think, and it it's my own headcanon This is. This is not like actual fact by any stretch, but in my opinion, trouble at the Henhouse, which is one of my absolute favorite records by the Tragically Hip or or or any other band, is, was maligned Like it, it, it, it, it both it and day for night didn't perform as well as fully, completely, and fully completely was very, if you recall, it was very polished, it was very produced. You know they went to London to record it. It was like a big deal. And then, following that, the next two records, they were sort of self-produced, with Mark Vreakin and Mark Howard on day for night and just Vreakin on fully, on Trouble at the Henhouse, and those records are sparse and they are. The core energy is, is there, it's, it's. It's like boiling hot magma, you know, and they're and they're forming these songs that are just age old now and and just wonderful, and then phantom power comes out and phantom power goes back to the like. To me it's sort of back to the back, to the basics. It's like back to really structured songs, really produced, and, like I always said, that this record was the baby of day for night and fully and completely, fully, completely, rather not fully and completely fully. It's sort of the baby of those two records. It's got the, it's got the production values, but it's still got songs. So I'll challenge you guys on that, because I think this record has songs and I think it has songs for days. You know what? 0:11:40 - Speaker 4 you are JD, let me tell you who you are. So when I was like 19 or 18, working with the movie theater, i dated this girl that that worked at the calendar place across the way And I just kind of went out with her because I was like really stoked. She gave me your number But I really wasn't that into her and all my friends were like, dude, she's really hot man, she's really amazing, and I just didn't see it. And so then like I stopped going out with her. We only went out a couple of times and that was that. And then I saw her again. I was like, damn, i really screwed that one up And that's kind of felt with this record, but I didn't want to like make that same mistake again. So like I, i'm sticking with it. I'm sticking with this being a solid album. Yeah, you know, yeah Masked it for, you know, a third and fourth date. 0:12:26 - Speaker 1 Yeah, i think, and I think three out of five stars is fair Like it's not it's not one of my. it's not my favorite record, but it's a lot of hit pants favorite record It's a lot Yeah, yeah. 0:12:39 - Speaker 3 That's that's what I found in my research. The covers are awesome. The covers are great. 0:12:43 - Speaker 1 They have that They actually have that panel in in their studio and bath, which is really cool. Yeah, so that's, you know this is. I want to say this is the second record they recorded at their studio. So they didn't go anywhere, you know, adventurous or anything like that, but they were at home. And what happened in 1998, i don't know if it made news anywhere else but Quebec and Ontario there was a major ice storm, yeah, major ice storm, and in Ontario it, like it absolutely shut down the city of Toronto. It shut down, you know, major thoroughfares. It was like devastating this ice storm. And we'll get into that a little bit more as we talk about the songs. But you know, they bring Berlin in and they're sort of trapped in the studio. You know like during during this, so really fascinating I think. 0:13:43 - Speaker 3 But yeah, it's a go ahead. Did you see this tour? Did you see them play on this tour? You want to hear a story Now? 0:13:52 - Speaker 1 people who listen to the movie and completely heard this. But the hip announced five secret shows that they were going to do, and all proceeds from these shows were going to go to a charity I forget which charity now at the oh, it was Camp Trillium. Camp Trillium, which is a camp for children with cancer, children that have cancer, and there's a location of that is near where I grew up And I'll show you when we, when you're in town for the finale. My friend's parents were on the committee for the cancer camp in our community, and so my friend Heather had intel and she she knew that they were going to go on sale at this time in this place in Hamilton, which is about an hour outside of Toronto, when traffic's good, and so we ended up getting third row center seats Wow, in this small theater in Hamilton, like 2000 people, and they blew the roof off the place. And a band called oh my goodness. They sang, come for a ride. Open for them, and they were tremendous as well. I forget the bands right now who open for them, but if you know it, send me an email. Jd at getting hip to the hipcom. So we're third row center. We watched the show, But the kicker here is is that Heather has got gifts to give the band And it's been arranged with the stage manager that we're going to go backstage afterwards to give. She's going to go backstage afterwards to give these gifts And she ended up inviting me along And so we got to go backstage and I introduced her to the tragic lab. So this was like this was like full circle for the two of us And it was just a wonderful experience. We went backstage after the show and they were all there and Gord had a. Gord Downey had a soccer ball And he was doing that thing where you flip it out, catch it and roll it back in your arms. Flip it out, catch it, roll it back in your arms And he just kept doing that And I remember at one point I must have looked silly or something, because somebody said and maybe it was Gord Downey said is everything all right? And I said, oh, everything is fucking perfect. I could go outside and get hit by a bus right now And it just wouldn't matter. And Gord Downey looked at me and he goes Oh, don't do that, jane. He called me Jane, only my mom calls me Jane. Like it was so cool It was cool. 0:16:37 - Speaker 4 How did I not know the story? How did I not know that you had interactions with Jesus? 0:16:44 - Speaker 1 Yeah, yeah, how was this? 0:16:45 - Speaker 4 coming up in episode. What fucking episode are we on. 0:16:48 - Speaker 1 Well, it was Tim asked me the question, yeah. 0:16:50 - Speaker 3 I don't know. We're like 15 minutes in. I think we could just call it. That was good enough. 0:16:55 - Speaker 1 Well, here's the kicker. Here's the kicker. I don't think I told this part on fully and completely, but the kicker is I had been dating a girl all through university and I broke up with her the summer of 98 and sewed my wild oats And this was all toward the end of the summer of 98. And she was in Hamilton to meet me after the show. So I'm backstage with the hip and they go Okay, well, we're going to go to the after party now in the next room over, because this was in the green room or whatever And we're going to go in the after party room and drink some beers. Do you guys want to join us? And I had to say no. I had to say no because my girlfriend was waiting outside for me. Now, in hindsight, what a boner move I made, because I wanted to get back together with her. Totally. It only lasted another two years after that, like I then absolutely blew up, but it was those. Those final two years were awful anyway, like they just weren't, you know, like both of us would agree to that now I'm sure the university years were wonderful, they were, they were great, but those those two years after our break up we're not so good And I blew a chance to go party with the hip. 0:18:15 - Speaker 3 You had a Davis Manning moment. 0:18:18 - Speaker 1 Yes, Yeah, yeah, absolutely. 0:18:22 - Speaker 3 He chose the girl over your fandom. 0:18:25 - Speaker 1 The hip lived between us. 0:18:27 - Speaker 3 They totally lived between you. They might still sorry, sorry, jess. 0:18:38 - Speaker 1 Well, folks, should we go song by song? 0:18:41 - Speaker 3 Yeah, let's do it, let's do it. 0:18:44 - Speaker 4 So I really liked this song. I really liked poets. This is probably the song I would say I have the least to say about. I really like the verse phrasing. I think it's probably the best part of this song, the way he phrases the verses. There's a part where the lines of a verse he kind of like carries into the next measure. It's really weird, like, like, like the mind, you think, okay, you sing the verse, then it's the next measure, but like he sings that verse over there Because it's when you look at it it's a complete line. I can't remember the line specifically, but it was. It was cool man. It's a hard thing to pull off man, but like that guy just does. It was so much, so much finesse. I liked the layered guitars in it, yeah. But I think, going back to what we're saying sort of at the beginning of the top of the show, it was, this song didn't punch me in the face Like right when I, right when I started listening, i dug it. I it was a soft open, it was a soft open. 0:19:59 - Speaker 1 All right, how'd you feel, tim? 0:20:01 - Speaker 3 I felt it was a harder open. I thought it was it. You know this. Like we've talked about before the cadence of songs and track orders. You know the first one I expect to really get me, bring me in, and this one did it. I thought it was pretty good. There's a fun kind of change over into the chorus It again I spoke about this a little bit before, but the kind of remind me of REM in REM's, like first half of the 90's albums, like they come on with like a punch of a song and then, like the cadence of the album kind of goes soft and then gets whoa, got a little dirty there, gets a little bit harder as time evolves. But yeah, this I thought this was a good start off. The themes you know I looked into a little bit of the song's meaning regarding lyrics and you know just talk about agriculture and super farms and like I don't know, ultimately fresh vegetables versus buying frozen and what that means. And this, this is the song that references Gwen Jacobs. Right, you know the story about her JD, and she was this woman who walked into town I think in Ontario topless and it created this whole. I don't have to look into this more, but I'm pretty sure this was the song about the Gwen Jacobs case. So Gwen was a woman who walked through town topless and was arrested and started this whole kind of woman's lib. You know movement with. You know making it okay to cut your lawn without a shirt on, just like the men do. That's kind of where the line in here from Gord comes from. It's a let's see. 0:22:02 - Speaker 1 Oh, that's great Lawn caught by breasted women. 0:22:04 - Speaker 3 Yeah, it's kind of this comment on pushing for women's equality and gender rights. So I thought that was fucking cool And that, to me also, is like really appropriate for the 90s or late 90s, you know it was. we were kind of circling back to, of course, some things we've had in North America before and prior decades. So I thought this song was cool. Again, it really reminded me of REM. I kind of went back and started looking at some of REM's albums and I wish, again, i wish I could know what the band listened to when they were traveling Me too. You know what they were sharing, what albums they were digging. you know if any of them were like Oh my God, did you hear REM's new one? We're going to put it in the the the buses stereo or whatever. Like I wish I could know what was influencing them, because I'm hearing, i'm hearing some some themes for sure. 0:22:57 - Speaker 1 Okay, earlier I was telling you about the ice storm. The next track, something on, was recorded and they literally were trapped in the studio. They were, you know, they couldn't leave the bath house, they couldn't leave the studio in bath. So they did what they do best They wrote a song and there's some lyrical content in there about the ice storm even And I think it's really wonderful lyricism. What did you guys think of something on? 0:23:33 - Speaker 3 I felt like, okay, i read about it, i read about this and I read about the ice storm and you know sounded awful. And for I hate to say this, but to go get stuck in a studio, for me that'd be like the time to really fuck things up, like really experiment. You know, you know, just hopefully somebody shows up with a huge bag of weed and somebody shows up with a bunch of acid and somebody shows up with a shit ton of beer and like this is when you like really go to town to experiment and what do we got out of it? We got like kind of a radio hit. So it was a little surprise to kind of hear the whole story and it just made me realize that maybe for this era, the guys were really I mean, they were at a point to where they could bust out a really good album, you know, and what, for me, that really good album is? like you go to a restaurant and it's like yo, that was a good meal. You know, everything was like satisfactory. 0:24:37 - Speaker 1 Well, yeah, it's a blooming onion man. 0:24:38 - Speaker 3 It's a blooming onion, Yeah, but to get stuck in a studio and ice storm, it's like I personally would want to just start going places. I haven't been before with my band, but you know this one's interesting take. Yeah, this one felt. This one felt a little radio felt a little you too, dave Matthews like splash of John Cougar melon camp or something like I don't know. Man, it felt, i know. I know, i know, i know. 0:25:10 - Speaker 1 And I was a big melon camp guy at one point. 0:25:13 - Speaker 4 But Dave, Matthews are regular. 0:25:16 - Speaker 1 Cougar and regular. 0:25:18 - Speaker 3 Yeah, like I couldn't get overly excited about this one. Well, again. 0:25:26 - Speaker 1 I think you were waiting for the follow up from the follow up to trouble at the house, and this isn't the follow up that you're expecting on a trajectory perspective. You know no no, i agree. 0:25:44 - Speaker 4 It's funny. You talk about getting trapped in the studio, like I mean, i don't know if I'd go like full steely Dan when they recorded the Albuquerque show, where, like you know, there maybe was not that much cocaine around, but I still agree with him, i would. I'd get really spacey, and I think they do it on a couple songs that we'll get into, but first time I heard this song got some heavy Jim Blossom's feels. Yeah yeah, Yes that's the first thing that hit me and I couldn't think of any of the band that it was like a buddy of mine used to play the band that they open for them a ton, and I was like the first band that came to mind like this Oh, and it was really poppy. And okay, my notes. Once you get past the repeated cheesiness of the chord progression and the vocal melody, it's not a bad song. 0:26:40 - Speaker 1 Oh dammit, with faint praise here. No, no, no, it's not a bad song. 0:26:44 - Speaker 4 I think it's a good song, but you know it's a good song. If, like you, take this song and go, is this a good song? Anybody will say it's a good song, but like you, said to me compared to the follow up of what you really wanted after trouble. Then else, and this was a song where I feel like Gord sounded a bit like he was put in the cage Like whoever was a universal when this record was getting recorded, put baby in the corner. And this is a song where really I feel like you know he's, he wants to be himself, but somebody's like, hey, man, just could you like you don't have to do it all the songs, but like at least on this one could you just, fucking, you know, tone it down a little bit. And I was just like, ah, where's my fucking, where's my lead singer. 0:27:33 - Speaker 3 Yeah, I totally agree, Because you know it's still a good song, because it's still all the guys and it still has themes, because it's Gord, you know you're still going to get one liners that are amazing. I feel like probably no matter what in any hip song there's going to be some standout lyric to me, some standout part like to the core fan. That's. That's really what I'm imagining. The line that stood out in this one for me was your imaginations having puppies, I mean yeah, yeah. I've had so many letters of puppies, you guys. It's like I'm just, i've got puppies all over the place. It's like. 0:28:11 - Speaker 4 I was a cool. I really like that one. Yeah, like that, like that video for new recruits or something. 0:28:17 - Speaker 3 Yeah, so I like identified in it. You know, at that personal level, which I think they're able to do just about on any song which is fucking amazing for a band to do, because I could probably name 10 bands right now. What that does not happen to me, yeah, so you know. So, in that regard, like hip fans, you know I'm, i'm I'm not really trying not to be the bad guy here, but we this, this, this just made this song, just made me keep going So into save the planet. I mean, i got to this one, arrived at this one, and I was like, is this the band's fucking Earth Day song? or stretch their reach to get on the farm aid bill, like what is going on here? I felt like I don't know, there's a flute in there. Who's playing the flute? 0:29:09 - Speaker 1 Who plays the flute? You know, i don't. I don't have the liner notes handy And on the wiki page it is remarkably barren in terms of additional players. Yeah, it doesn't, it doesn't have them, so I need people to write in. 0:29:25 - Speaker 3 If people know, let us know, because there's some flute in there And it made me wonder like what else? 0:29:31 - Speaker 1 there's keys all over this record. 0:29:33 - Speaker 3 Yeah, what else have I been missing in the background that maybe other people are participating in? But I felt, like you know this song, in the placement we were, we were filling, we were filling in the gaps on the menu And you're like, no, I had a burger yesterday. No, I'm not in the mood for that. Oh, I could really use some lasagna. Here we go. That's that's how Save the Planet felt, felt very time appropriate. This is, like you know, the millennial song. 0:30:02 - Speaker 1 Okay. 0:30:03 - Speaker 4 All right. So if anybody's got a line on the flute player, email Tim getting hip to the hip, talk there you go. Right, i copy Pete at getting hip Yeah. Save the Planet. I thought it was a banger. I really dug it. I at first I saw that too, but then I kind of look past the name of it And just look at the song itself. There's a. There's two references in this album to Crossing the Street, to pedestrian crossings. Yes, i'll point out the other one. This is the first one Fucking solo bangs in this. I thought the flute at the end was cool because it was so random. 0:30:47 - Speaker 3 I was like well, what the fuck is that? Yeah? 0:30:50 - Speaker 4 Same. 0:30:52 - Speaker 1 There's. You just can't imagine listening to road apples and having a flute right Like. It's just not part of this band. You know like and and and it works It works well, no, right? 0:31:05 - Speaker 4 Yeah, you know, if they went into that I'd be like, well, what the fuck's going on? 0:31:10 - Speaker 3 But I'll just quickly, quickly add that I'm okay with the flute. Like sometimes, the flute really is awesome. Oh, i think it's great. So you know, like some people like hear the flute and they're like oh why You know, but it works. 0:31:24 - Speaker 4 No, i dug it And this is again. This is not the first song, or not the only song in this record where I got some heavy Alanis vibes. The phrasing on if the bathwater is clear and my ears underwater, it's a tolerant hum from the core. Carry the water Like that the way he phrases that shit, it's just. I don't know if I see because it's a Canadian band, if I see everything through the lens of like Canadian pop artists. But like it's just the vibe I got from this and it's a great tune to get out and move your feet to get running. It's a fucking cool song to run. 0:32:09 - Speaker 3 All right, i'll put it on my point first I hear your Alanis vibes marry and up with my Michael Stipe vibes. I think those are in sync for sure, for sure. 0:32:20 - Speaker 1 I think there's a nice correlation between the hip and REM, like I think you're right, like they both have that enigmatic front man, you know, who is really literate and really interesting in the way they sort of phrase things and put things together. 0:32:39 - Speaker 4 They both went bold too, halfway through the careers, that's right, that's a fair point. 0:32:45 - Speaker 1 Fair point, fair point, all right, we're getting in the car right now and we are cruising northeast of here and we're going to Bob Cajun. I left your house this morning. 0:33:40 - Speaker 7 It was quarter after nine. I left your house this morning. I left your house this morning. I drove back to town this morning This morning with working on my mind, i thought I'd maybe try to leave an ear behind. I went back to bed this morning and it's time pulling down the blind. Yeah, the sky was dull, it was high but never come. And morning went down at a time that night in Toronto And I was jacking boardboards, riding on horseback and keeping order restored. Tell the men they couldn't hide. Step to the mic and sign and their voices rang with the area of time. To your house this morning. It was quarter after nine. In the middle of that riot I couldn't get you off of my mind. To your house this morning. It was just a little hour tonight Cause it was in my page on the rossard and constellation, but they themselves won't starve at time. To your house this morning It's a little after nine Cause it was in my page on the rossard and constellation, but they themselves won't starve at time. 0:37:32 - Speaker 5 Tell the men they couldn't hide, they didn't choose your bones and bones. They're all south of the wind and down the lawn to the lake For as long as it takes. 0:38:05 - Speaker 7 I don't want to be a hill of the birds last hour. I don't want the last words out of my mouth to be stained Out of my way. 0:38:16 - Speaker 4 Okay, I fucking love this tune. I got some heavy and Tim, yes or yes. If I hear no, I'm just I'm off this podcast Got some really strong G love special sauce vibes from this. Yes, Just the way they owe up. Am I my GD? 0:38:42 - Speaker 1 I don't know, i think I think I'm very familiar. 0:38:46 - Speaker 3 I did not go there, but I will Okay. 0:38:51 - Speaker 4 Right, i mean the. there's a oh dude that it could have been Willie, could have been the wine. I heard that song. The first time I heard that song I was. I took it out for a run and I came home and I like I listened to it again because I just thought it was such a good fucking song, because it's a weed. reference to may not necessarily be about them listening to Willie Nelson. It's like they were smoking weed or they were drinking wine, absolutely Yeah. The opening, like spacey guitar licks The dobro which I think he's playing. there's a dobro in there that he's playing which kind of gets sort of like a banjo slash guitar vibe. Oh God, just. 0:39:40 - Speaker 1 I feel like that lyric that you just quoted, though, could have been the Willie Nelson, could have been the wine. That's like one, like when he wrote that he should have just put the book down, put on a fedora, long overcoat, grabbed his briefcase, just went home for the day, that's. That's the days. That's the day at the office, that's a fucking. Exactly. 0:40:00 - Speaker 4 That's just a great lyric Exactly dude, no, 100%, it's so good. I was like you know. You know, a line is a good line when you hear it and it's so good you think you've heard it before. Meaning like I'm like right, i mean because it just sounds like it belongs on this in the history of life, Like like someone has, like if someone hadn't said it, they sure as shit should have said it. Does that make sense? Yeah, you know, it sounds like it's just. It's a great fucking line. I thought I maybe quit that line. It's just. It's really the part of this song where Gord starts coming out of the cage. On this record, i feel like that was the moment Somebody gave, somebody unlocked the door of the cage and he's starting to come out, and then the song ends on a random minor chord, which is so weird, it's such a happy, spacey song that ends on this minor chord. 0:41:09 - Speaker 3 I loved that. I loved that about it. So for me this one it felt a little Out of the gates. I need to listen to the beginning of it to see your G-Love reference. But out of the gates. It felt to me a little bit country and a little bit like are we reaching again for some crossover fans Along? the southern belt of the US. Like where are we? What's happening here? You know there's some slide guitar, but is it a song about lost love? You know looking up at the stars waiting for a reveal. You know there's synth work in here again, so there's some sort of keyboard happening, which is fucking cool. And to me, the first lesson I had all those kind of questions going through my head And then I thought at one moment like this is actually a fucking beautiful song. Like it's a little bit of an odd man out on the album, but it's actually a beautiful song. There's this long ending with no singing. It's just mysterious. Like you said, pete, the last five seconds or so, or this just bizarre tune out. It's like I found one quote when Gord was asked about this song. He said this was an interview in 2004,. He said this one asks the question evil in the open or evil just below the surface? That was his comment about this song. So it's like this song to me was super mysterious Yeah, super mysterious song which I fucking love, like I don't need literal storytelling every single song you know. Social themes, i don't know all these different things, i don't need that. Every single song I love you know kind of the knuckleball that comes in. You're like whoa okay, this is reeling me back in to the album in a good way, a way that I'm looking for, you know, i'm hoping for, but still, again, this one felt a little bit odd, man, just the way it fits into the album. They've done this before. They've gotten. 0:43:15 - Speaker 4 They lose green man. 0:43:16 - Speaker 3 Yeah, they've gone on this path of like okay, this one, now we're going to turn off the highway and head down this two-lane road and we're going to stop at this farm and we're going to have an afternoon barbecue with this family, and you know, i don't know, like it's just this one's off the highway. 0:43:35 - Speaker 1 Cool. What do you guys think of the bridge? It makes my arm hair stand up That night in Toronto with the checkerboard floors. There's a bar in Toronto that's famous legendary in fact called the Horseshoe and that references the Horseshoe, the checkerboard floors. Oh shit, that's one of the first big gigs they played in Toronto. 0:43:55 - Speaker 4 Can I get taken to that bar when I come visit Toronto? 0:43:57 - Speaker 1 Absolutely. Let's do it. Sure shit hopes so man. 0:44:00 - Speaker 4 That would be cool. This song is actually the most listened to hip song on Spotify. 0:44:07 - Speaker 1 Oh, wow Yeah. 0:44:09 - Speaker 3 Surpasses. I read something about that as well. 0:44:13 - Speaker 4 What was the one that it surpassed? 0:44:16 - Speaker 1 I can't remember Anyway yeah Well, so it's a hit all around Pop Cage. 0:44:21 - Speaker 3 Yeah, it was a fucking interesting song, right? This is. 0:44:25 - Speaker 1 So we shift gears now in a well, not in a huge way, because this is sort of low tempo or slower tempo. We go to Thompson Girl and you're both hesitating to start Thompson Girl. 0:44:41 - Speaker 4 Go ahead Tim. 0:44:42 - Speaker 3 Yeah, well, you know what's the story about here. I don't know. It's the story potentially about where is it here, This town in Manitoba, thompson, yeah, or it's. You know it's potentially about a nickel mining company up there. You know it's got this kind of sweet, forlorn grunt work somewhere between dream and duty, poking through with all them shoots of beauty. I mean, what is that about? You know, this is kind of a cute, in a way stripped down acoustic song. There's some banjo in there. You know, i've kind of been waiting for, I had been waiting for this type of stripped down, simpler song that you know it's kind of this forlorn, sad song to me at the same time. 0:45:42 - Speaker 1 Probably Pete. 0:45:44 - Speaker 4 I loved it. I thought it was cool. I think I don't know if it's consistent with you and I, tim, but like I really try not to look too deep into the lyrics because oftentimes I'm disappointed, that's why I don't do it. I know you do it a lot more than I do I totally do. 0:46:03 - Speaker 3 I mean it's because of Gord, like Gord Gord. for me, gord merits it. 0:46:09 - Speaker 4 I get intrigued though, but like dude so does. I mentioned Celie Daner earlier. Like Donald Fagan's lyrics are notoriously cool as fuck. But have you ever asked that guy like what he you know what's, what's the meaning of? you know Dr Woo or whatever, like he'll be, like I don't know man, we're on so much cocaine. Back in the day I was just getting shipped to prime or whatever you know like, and I know that's not really the case here. But that line, the way he goes up so high with grunt work, i can't. I'm not even gonna fucking try lest I fucking destroy your listener base JD by singing that line. But when he goes grunt work time between dream and duty the melody is so fucking good It's then there's a part. Um, i don't know if it's like, i don't know, i wouldn't call it the bridge, but it is a bit of a some sort of key change to the regular chord progression. When he goes really high and then the mandolin starts to come in fucking dug that. And then the piano kind of comes in at the end as well, it's fucking cool. I really dig it. Yeah, i liked it First. I didn't like it. I didn't like the chord progression. It just seemed to like, like you said, tim, acoustic. It's sending, like it was like this should be an acoustic song. 0:47:30 - Speaker 3 Keep it that way. Yeah, yeah. But then it grew on me real quick, which is maybe something I would potentially envision. From a stuck in the studio couple days, you know, you'd get to a point to where everybody's kind of burned out and you pick up the acoustic and somebody says to the piano and you talk about is it INCO, inco and the fucking nickel mining, and I, you know, i looked at it a little bit into that in Manitoba and was like, oh geez, here's, here's a historical. You know, just rabbit hole that I can't go down right now. But it just this, to me, is just one of those, one of those songs that fits in well with this whole album And it's something we haven't really had in the past. So it's kind of happy to hear it. Next one membership Who's who's singing backups Somebody found, is it Gord Is? 0:48:28 - Speaker 1 it Gord over. Usually it's Paul Angla, usually Well. 0:48:32 - Speaker 3 I don't think it's Paul. It might be doubled. If you, if you go in and listen again, check out membership and listen to the backups, because it sounds like a woman to me and it sounds really familiar, like I've heard this voice before And I've looked and looked and looked but I can't find anything. It might be one of the guys, just you know, editing it in post or something, i don't know. But there's, there's some beautiful backup happening. This one, though you know it's wasn't my favorite on the album, i'm not going to put it on the playlist There's kind of a big change after the three minute mark with, like this new chorus. Of course it has my fade out at the end. You know there's there's kind of this bigger start to the song, but it's kind of slow in a way. I don't know. It's maybe about addiction, it's kind of a ballad. you know this, this one, it just felt like it didn't really fit in, didn't really wasn't really sure how it was working and it it made me consider you know I've done this a few times that it made me consider the band and what they were feeling you know they're coming in on 2000 here What they were feeling after 10 years, which is long for any band to retain some amount of success 10 years of playing and predominantly being popular in their home country and not even gaining a huge you know the level they deserved in the neighboring USA. So this this kind of made me think about all those things. I just didn't know if it was like about power abuse of power addiction or longing loss, i don't know. This song was kind of all over the map for me, but ultimately the chorus bugged me and it stuck in my head for a little while. I was like, oh, i need, i need some other, i need some other hip song stuck in my head and that's kind of where, honestly, that's where, like blow a high dough, just comes and takes over my brain. So that's what happened. 0:50:50 - Speaker 4 on membership, I you know I have a ton to say about this song. It's kind of like I put in the same categories Poets. It wasn't my favorite song in the record. I liked it, felt it like it was a very drone rock with a chord progression. It's the way it sounded. I love the harmonies. Tim mentioned the harmonies being drawn along by it. Like that line with the harmonies come in The middle, guitar solo where they kind of tease you with the guitar solo helps build the song kind of cool. But then, yeah, the fade out at the end is just like to me. It felt like they maybe didn't have, they didn't nail everything down with this one. That's all I'll say, you know, but yeah we can move on if you want, let's slide over to fireworks. 0:51:46 - Speaker 7 You like fireworks? Yeah, me neither. The frustrating part Never back in old 72 Without school, just a gun, without a gun or trigger. I don't remember a reason. Set me sight of you. You said I couldn't get a fuck about the party. Never heard something true back before You held my hand. We were on the long way Loosing in my grip on Bobby Moore. Never heard anything wrong before I blushed. When these ever sensations get in your way, no doubt this shit me spurred right now By your shoulder, and that an amazing what you can't accomplish now I'm not together every single moment. That's what we thought. We'd be married. We both do deep with the grip of art, of fish chaos, believing in the country, me and you. Christ has a faith in Christ, the sinner cramming Yeah, we've heard all this before It's winter time. The house is solid to the bones, loosing in our grip on this fake cold war. Is it an amazing and a better accomplish When we don't let no nation get in our way? No doubt this shit me spurred right now By your shoulder, and that an amazing what you can't accomplish now, next to your comrades in the nation of fitness, the program regarding some eternal past time, clopping to the mind in a fit of laughter, showing no patience, no tolerance, no respect By your words, next to the distance, contemplating towering, towering star By your words. And in late, never, till there are no stars anymore By your words. And in, straight in heaven, contemplating towering, towering star, till there are no stars shining up in heaven, till there are no stars anymore. Isn't it an amazing and a better accomplish When we don't let no nation get in our way? No doubt this shit me spurred right now By your brand of error, shining up in heaven, contemplating towering, towering star. I think this one thing never goes away And this ones thing's always supposed to stop. Oh, this funny thing doesn't have to go away, and I'm gonna lie. 0:55:41 - Speaker 4 Oh fuck, How much time you got, then Fucking song, this song, i just have the word. It's this fucking rush, rush, rush, rush, rush. Just so much rush in this song. Really, there's a couple of rush references on this record and this is number one. I would say that is it. Gord Sinclair, yeah, so like and I think he would agree with me, because I don't know that I don't know any bass player in Canada, let alone the entire world, would put them up against Geddy Lee. So I can't like, true, Like. I don't think the bass in this song was supremely rushed, but the chord progression, the structure of the song, the lyrics, isn't it amazing? anything's accomplished Is fucking. It's so fucking dude, it's fucking rush, completely Fucking. It's like they should have just made a record with one song on it and sent it to Rush and been like this is for you guys, we love you guys. And dude, i'm not saying anything remotely like they jocked anything. It's an homage in the sweetest sense. It's fucking beautiful. I fucking listened to the song so many times. There's I don't know if he's playing a Les Paul or a Hamer Rob Baker, but it's got some hollow tone electric guitar. There's a line in there Christ in the Kremlin. I'm fucking. The words in this song are fucking spectacular. I bet it just destroyed. Destroyed. The crowd live Like. I mean if they played this fucking live you'd have to close with this or I don't know what you'd play with this. I mean it's just fuck. What's the other line Next year? comrades in the National Fitness Program caught in some external flex arm hang dropping the mat. Dude the lot. This that the way he speeds up that verse and fits all those fucking words into that, and then he goes back to the normal cadence, like when I say cadence I mean like the tempo, not a modal cadence, but like tempo. He goes back to that. I just bet when they, when they all listened to this track after it was mixed, or they all recorded everything, they all just fucking high-fived and hugged each other and had a big old fucking circle 100% Yeah. Dude, it's a fucking. It's one of my favorite fucking hip songs period. 0:58:23 - Speaker 3 Oh, you know what they. You know what they said after they recorded this. They were like this is going to be an every jukebox across Canada. I mean, it's a jukebox song. I mean, really, this is like play something by the tragically hip. Okay, i'm at the jukebox. Stick in a quarter. Oh, here's fireworks. Everybody loves this song. You know, that's that's. I couldn't agree more, pete. I just felt like this could be put on a seven inch only and out in the world. You know it was one of the first songs in a while where, like, i immediately just started snapping my fingers. It was like, okay, this, this song's, this song's moving. I completely agree with the rush references I love. I so identified with this girl. There was actually a girl who said she didn't give a fuck about hockey. I never heard a girl swear and I've never heard someone say that before. It was like there was some whole other world out there which is hard to fathom at times. I don't follow hockey. I totally identify with this. When I go on Facebook and it's like near the weekend it's mostly fucking NFL comments from people I know in Southern California. It's like, god damn, i wish I had a sports filter on my life because I don't really follow any sports. So the hockey the hockey comment, i was like yes, i, i want to hang out with you, let's go drink beers. You know, i probably follow that. It's whatever I just I just identify with that part, it's. You know this, though, you're right, pete, isn't it amazing you could do anything when the notion isn't in your way, believing in the country of me, and you, ah, you know, it's just, it's, it's, this is, it's more. It's more than an anthem. 1:00:17 - Speaker 4 You know, the crazy is so it's so, Getty Lee, though man. 1:00:21 - Speaker 1 Yeah, yeah, for sure, for sure. What's? 1:00:24 - Speaker 4 this, it's, it's spirit of the radio. Okay. That's the song thing you have in so many ways. Yeah, i mean, and I don't think any musician in the band would say like they can you know drum? like Neil Pert? I think the guitar is pretty. It's got some solid Alex life and vibes. like you could fucking compare that guitar wise. but like bass and drums, you can't fucking come close to those, like it's just. but sorry, tim, i didn't mean to interrupt you, but it's just a fucking. 1:00:55 - Speaker 3 That's good. Good, it's such a JD. What JD, what? what were your thoughts on the song? Do you have, do you have memories of hearing the song, or anything, or like? 1:01:03 - Speaker 1 I think it's, I think it's a romantic song, Like. I think it's like the firework of like meeting somebody that is just, you know, absolutely the sparkle of your eye, you know, sort of thing. The context, to give you some context, the goal that he's talking about, the goal that everyone remembers, is when Canada beat the Soviets in 1972. And that was, that was during the Cold War. So it was a big deal, that series, Canada playing hockey against Russia. you know a few games here in Canada and a few games in Moscow. It was a big deal, Like for these Canadian hockey players to go to Russia. Like at that time Russia was so mysterious And there was a very famous goal that won the series by Paul Henderson that everyone remembers. It's one of those moments in Canada, the, if you're of the right age or generation I'm not, I'm born in 74. So it's over my head, But if you were there then it's one of those like you know where you were moments. you know what I mean. 1:02:10 - Speaker 3 It's huge huge moment in sports history. 1:02:13 - Speaker 1 So for him to be just blown away. Like you know, loosening my grip on Bobby Orr, like I just picture, the 16 year old who's in love with Bobby Orr has the hockey cards on the wall, you know, he's just tremendous and all of a sudden he just oh, there's girls out there. Oh, and there's this particular girl who doesn't give a fuck about what, like whoa fireworks, you know. 1:02:40 - Speaker 3 Yeah, great song, Great song. This. yeah, I could have had this song, you know, and had a satisfied meal and went to bed. 1:02:49 - Speaker 1 You and your food All right. Go next to vapor trails. 1:02:58 - Speaker 3 So vapor trails, like I started this one and paused and had to come back to it, i didn't keep going like this, this, this, this was one of the breaks. And now for me, where I was like, okay, i'm not, either not in it enough or not focused enough, let's come back to it and didn't hold your attention. He would not not at the get go, but eventually it did. Oh, eventually it did bring me in. It totally was one of those songs that I wasn't so sure about, but over time was like humming it while walking around the house. You know, there's just to me it has some mysticism to it. There's this mysterious not to say it again but backup singer, whoever is in there. I mean there's some really good backup singing happening, but I just love some of the lyrics. There's nothing uglier than a man hitting a stride. 1:04:00 - Speaker 1 What a great lyric, right Dude And just the way he says it as well. There's nothing uglier than a man hitting a stride, yeah. 1:04:09 - Speaker 3 I can't wait to use that some point in life. You know, watching something happen, yeah, chords, use that line, throw away the rudder, float away, like they portrayals. You know, i get this. It's like, it's this feeling of like giving up. You know, at some point we all, everyone, i think everyone has contemplated, you know, life being different or serious change, or giving up, or you know, we've all had these heavy times in our lives and maybe the song kind of hits on that. There's amazing guitar riffing just towards four minute mark. It felt, you know, just to kind of wrap it up. For me it felt like a produced ending. You know, the fade out was like it wasn't just let's wrap the song up, let's just fade it out, it was like let's produce the fade out. So it was a little, i don't know a little more, a little more orchestrated. But yeah, it's, this song is. This song was a banger. I think it was really good for the spot in the album. I think it was like really fitting. 1:05:27 - Speaker 1 Yeah, because we're well into the second side now. Yeah yeah. Second track, second side, if you're playing by those roles, It has a good place, good place in the album. What do you think of APR Trail's Pete? 1:05:39 - Speaker 4 Well, this is the other thing that I thought was it's not. It's not a Rush reference, but I actually think there's a possibility that Rush's 2001 record Vapor 12, vapor Trails was perhaps, maybe, an homage to Tragically Hip. Wow, i don't know, that's my, that's my in my dream world. I don't know if that's really true, but and I saw them on that tour and they were fucking just amazing. Saw them at the Irvine Meadows man. 1:06:18 - Speaker 1 Such a great show. 1:06:19 - Speaker 4 Never saw. 1:06:20 - Speaker 1 Rush. I was supposed to see Rush on a tour in 93 and guess who was opening for them? Who, tragically Hip Jesus Christ. Wow, on Road Apples. Yeah, dude. 1:06:30 - Speaker 4 I don't know what's a bigger fail That or not partying with them. 1:06:34 - Speaker 1 Oh God, it's the, that's the, that's the fail. 1:06:36 - Speaker 3 They're close. Not partying, I think. 1:06:39 - Speaker 4 Well, we, let's put it this way, we, we, we showed to that concert, i think, and they were they, we were at that time. It's strange, real quick, because I know. but during that time, because 2001 was coming out of the Napster years and years, right And into, like I think it was right where the iPods came out, um, so people started buying music online again, sort of. So bands didn't have money to pay for opening bands during that time, so a lot of bands would tour and be like who's opening? And like there's nobody opening. So we assumed that somebody was opening, for Rush happened to me with pavement one time, but that's another story Um, and we walked, we're, we're racing through the parking lot Because we hear a spirit of the radio, but right into Red Bar Chat after that and just fucking made my, made my life. But to the song. Paper Trails. Um, the fucking vocal melody in the opening verse same. I got the same cadence, Tim. I don't know if you mentioned this as Thompson girl. Um, but the song I loved it. I imagine when they sung this song live, that when Gord sings the line you can throw away the rudder. He probably blows out either part of the low end or part of the mid end frequencies in the fucking speakers at this this, this house, his voice is just at that frequency where, if he really punches it like he could, he could break. He could break some fucking windows, because it's, it's just fucking just the way he delivers that shit. Throw away the rudder, um, uh, what else? Yeah, just that line to me was worth buying the fucking record. Pulled the car over. There's nothing uglier. Yeah. Then a man hitting his stride. Yeah, there's a transition from the bridge back to the chord progression. That's super abrupt And it's so cool because there's no transition. It's just like boom, boom, they go right back into the chord progression and it's fucking cool. I'm not, can't think of any band that I've heard do that. And then the last thing is the line, and it's it's. It's maybe Rob Baker, i don't know who's singing the backup, but Mexicans dressed in beige shirts Crazy line, yeah. 1:09:16 - Speaker 1 Yeah, I've never heard that Mexicans dressed in beige shirts. 1:09:19 - Speaker 4 It's. It's like almost whispered. 1:09:25 - Speaker 3 Wow references you know references, folks who spend their life picking the strawberries and raspberries. 1:09:31 - Speaker 1 We, i believe, Yeah, I would guess so. 1:09:37 - Speaker 3 I believe it does So yeah. 1:09:39 - Speaker 4 Are we going to? 1:09:40 - Speaker 1 rules. You got it, dude. 1:09:48 - Speaker 4 I love the song. It was so fucking cool and so chill. This starts out with those huge cymbal crashes in the beginning. This is the second song in the record that references a pedestrian crossing, talks about a crossing guard not doing their job. 1:10:04 - Speaker 1 So yeah, it's really reference of and the second reference of super farmer. Uh-huh Right. 1:10:11 - Speaker 3 In that same in that same Stan's line. Got some agricultural themes happening. Probably the third agricultural theme. 1:10:21 - Speaker 4 Yeah, I don't know I just the phrasing was beautiful. I'm wondering what a bard is. B-a-r-d. 1:10:28 - Speaker 3 There's a couple of references with that. One is it has to do with a Shakespeare reference. 1:10:35 - Speaker 1 That's what I thought, yeah. 1:10:36 - Speaker 3 Yeah, and then the other one is I'm not going to butcher it, the other one has to do with fighting. I have to look it up. 1:10:46 - Speaker 1 Let's just go with Shakespeare. 1:10:48 - Speaker 3 Yeah, it's some Shakespeare reference. 1:10:52 - Speaker 4 And then to the line about the vacuum's got a guarantee. I just that line hooked me in so much because it was so random that I was like really in just pay super close attention to what he said. And the next line that he delivers, which is it could suck a virus, an ancient virus from the sea, is like what the like again put on the hat, put on your jacket, close the briefcase. Fucking. Done your job today. 1:11:23 - Speaker 1 Leave the office, gordon, that's right Punch out or whatever. 1:11:27 - Speaker 4 The whole, that whole stand is fucking amazing. There's a table slide And then oh, by the way, this song, and fuck, there was one other song. God damn this song. and one other song at the record. on the record It's earlier. I want to say it may be something on or say the planet. at the very end of it You hear the word somebody in the studio is cool. Yeah, so it doesn't feel so and there was one other two, one other song on the record that they did, so I was like they did that twice. 1:12:05 - Speaker 1 That's cool. I'm going to need access to your premium sound system. 1:12:10 - Speaker 4 Well, I mean GD, that's. We know this is not stuff we just hand on. It's kind of like you know top secret Clarence, There's a lot involved, A lot of screaming All right, all right, all right. 1:12:22 - Speaker 3 He passed. He's done it. Yes, true, yes, we're adjourning my current, for he's had it. Yeah, i heard the song and I thought Pete loves this song so much And when we come talk about it on the pod it's going to be all Pete. 1:12:43 - Speaker 1 You know how much to say. 1:12:44 - Speaker 3 I thought it was kind of a yonder. I got you know some, some from it, But you know I was like this. The song isn't for me. I thought it was kind of a yonder. I was going to leave it to Pete. 1:12:58 - Speaker 1 We're going to come back in a year because it's going to be a grower for you. I guarantee this song will be a grower for you. 1:13:04 - Speaker 3 If it's not, you guys both have to buy me beers. I can live with that, Yeah, yeah. 1:13:11 - Speaker 1 Okay. Well then let's slide into Sugar and Falls Ohio. 1:13:15 - Speaker 4 Take it Timbo. 1:13:17 - Speaker 3 Yeah, so Sugar and Falls. So this song I thought was basically a huge fuck off to corporate man, to the man. I thought this is like. This song is driving some culture into the fan base. It's probably, you know, was played a lot on the radio. I thought this one you know I could be wrong, but this song to me felt like on the verge of angry a little bit more than usual. I'd maybe really wonder about it live, if this got more raucous, if it got a little bit more I don't know violent feeling. And I think it's because it thematically, which is where I'm going to go, not so much with music on this one, but thematically it Sugar and Falls, in my research. That's the headquarters of Clear Channel, which at the time Clear Channel Corporation was slowly taking over media, especially North America. Yeah, so that's a lot of the references to Grand Falls. You know where the unknown won't even go. Because at this point I mean that line to me says if you're an artist and you're trying to make it like, avoid your Grand Falls, avoid Clear Channel, you know, be careful with what radio you're sending your tapes to your CDs to like this. This is that song that is kind of the band's shout to the world of, you know, corporate media is taking over the airwaves, you know, be aware So that that to me the song has like a mission. It felt like the first time I listened to it. When I got to you know, three quarters, two thirds of the way through, i thought is this song like over five minutes? you know it felt long, but it didn't feel long in a bad way, like it felt like a good, just a really well written song. Like I was kind of digging through Grand Falls, it felt like a five minute song, but it's not a five minute song. I didn't look up live versions of it but I definitely want to find something. 1:15:47 - Speaker 1 Yeah, get the answers to your questions. I can't, unfortunately, answer because I saw them on that tour and I don't remember if they played it, but I can't. 1:15:57 - Speaker 3 It was somewhat rare. I feel like it was probably going to be a rare rarely. 1:16:01 - Speaker 1 Yeah, it would be one that would be, you know, gosh. Well, let me just quickly look up how many times they played it. 1:16:09 - Speaker 3 I mean for people that don't know, Clear Channel took over corporate. I mean took over FM radio. Over time, like so many stations became Clear Channel stations and became programmed. And I remember hearing the transition because, as a big radio listener, being bored in 71, you know, i listened to radio for like 20 years, 15 at least, 20 years and they just completely took over And I remember hearing DJs demeanor changing from independent radio station to now being put into this box And I feel like that's what the band is trying to talk about in this song And I think it's their fuck you to this corporate system of being in a band and trying to make it and just to inspire people to be independently minded. 1:17:08 - Speaker 4 Yeah, it's funny you mentioned Clear Channel only because I want to talk about the song, because I feel a little bit different about the song in some ways than you do, tim, and it's funny, like Tim, i didn't do fucking a pubic here. The research you did for this fucking song. I had to look up where Chagrin Falls was but, and I dug it. But yeah, that's when there used to be a great station in classic rock station in LA called Arrow 93. And they went over to that Jack. You know that Jack format Jack FM, which is just, it's just a guy who like record something and it's like a cheesy line and he
100 Sanford breaks down the domino impact of Dylan Raiola committing to the Dawgs. How does this change the trajectory of the 24' class. The fellas then head to the hardwood, where they are joined by special guest and DGD, Charles Mann Jr, UGA Director of Recruiting. CMJ breaks down the changes in the Mike White era, the incoming roster and future of the Dawgs Basketball program.
La campaña para la Alcaldía de Medellín está apenas arrancando, pero tiene particularidades que otras capitales no tienen. El ejemplo más claro es que el actual mandatario, Daniel Quintero, tiene tres amigos aspirando a sucederlo. Al mismo tiempo, su movimiento, Independientes, tiene una clara estrategia de crecimiento en otras regiones. Y el Medellín político espera por la decisión de Federico “Fico” Gutiérrez de lanzarse. Una apuesta que, dicen sus allegados, está tomada, pero que él —ex alcalde y ex candidato presidencial— tiene el lujo de tomarse su tiempo para anunciarlo.Hoy con los periodistas Vanesa Restrepo y Juan David Ortiz de El Armadillo, hablamos de los aspirantes, la maquinaria y la narrativa que se moverá en la segunda ciudad más importante del país.Para saber más puede leer:Los chats de cómo la Alcaldía de Quintero le hace campaña a Corredor“Fico” alinea todo para lanzarse y paraliza la campaña en MedellínLas presiones con las que un edil de la comuna 13 le hace campaña la exsecretaria de Salud de Quintero. Investigación de El Armadillo.Denuncian irregularidades para la elección de CMJ en Medellín. Nota de Caracol RadioViva en primera fila nuestro periodismo con una membresía a los SuperAmigos de La Silla. Puede ser parte de nuestra comunidad acá Producción: Fernando Cruz y Rafael Benabdelmoumene, periodistas de La Silla Vacía.Chequeo de datos: Tatiana Duque, coordinadora de podcast de La Silla Vacía.
Comic, actor, writer and podcast host (Bananas) Kurt Braunohler is back and he has a new special out called Perfectly Stupid which I loved. Also the New York Times loved it. We discuss this along with an array of other topics big and small including Shel Silverstein, CMJ, overalls, the afterlife, losing a parent, parenthood, relationships, television, New York and more. Plus Just Me Or Everyone and HGFY. Products I Use/Recommend/Love: http://amazon.com/shop/alisonrosen Check us out on Patreon: http://patreon.com/alisonrosen This episode is brought to you by: SKYLIGHT FRAME: http://skylightframe.com (promo code Alison) Buy Alison's Book: Tropical Attire Encouraged (and Other Phrases That Scare Me) https://amzn.to/2JuOqcd You probably need to buy the HGFY ringtone! https://www.alisonrosen.com/store/ Try Amazon Prime Free 30 Day Trial
微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1.CMJ - 她眉宇之间的温柔；2.Shizuko Mori - 기억의 상실이 더 따뜻하다；3.Shizuko Mori - 달이 지던 밤；4.K kure - Cumulus。
Jing Gao, Founder and CEO of Fly by Jing, swings by the show to celebrate the launch of their Chili Crisp Vinaigrette. She shares the story of the search for her culinary roots, the launch of Fly by Jing and how she keeps pushing the company in new, delicious directions. Then we dig deep, way deep, into the archives for a legendary performance from We Are Augustines, who stopped by the studio to celebrate CMJ in 2011. Snacky Tunes: Music is the Main Ingredient, Chefs and Their Music (Phaidon), is now on shelves at bookstores around the world. It features 77 of the world's top chefs who share personal stories of how music has been an important, integral force in their lives. The chefs also give personal recipes and curated playlists too. It's an anthology of memories, meals and mixtapes. Pick up your copy by ordering directly from Phaidon, or by visiting your local independent bookstore. Visit our site, www.snackytunes.com for more info.Heritage Radio Network is a listener supported nonprofit podcast network. Support Snacky Tunes by becoming a member!Snacky Tunes is Powered by Simplecast.
TIMO ELLIS is a musician, composer, and producer. He lives and works in New York City, where he was born and raised. A vocalist and multi-instrumentalist, Ellis has appeared on almost 100 albums in total over the past twenty years. He has recorded and toured with such artists as Yoko Ono, Sean Lennon, Cibo Matto, Joan As Police Woman, and Spacehog, and has variously performed and collaborated with Mark Ronson, John Zorn, The Melvins, Ween, The Lemonheads, Money Mark, and Gibby Haynes. Ellis' extreme versatility has placed him in the company of musical greats of several genres – within his solo work exists an equally vast range of styles. Since the early 2000's, he has composed and recorded more than thirty solo albums under his own name and with his main band, Netherlands. Traversing the realms of rock, punk, metal, soul, lo-fi, folk/ country, electronics, and beyond, Ellis' diverse music is unified by a few constants: impeccable songcraft, blazing technique, quirky experimentalism, and sheer intensity. His solo works have been described with phrases like “an absolute, burning blur of a song” (CMJ), “overridden-in-the-red propulsion” (Noisey), and “gritty, high energy… rambunctious” (BrooklynVegan).
Larry Crane is the editor and founder of Tape Op Magazine (est.1996), owner of Portland's Jackpot! Recording Studio (est.1997), a freelance producer/engineer/mixer who has worked internationally, and archivist for the Estate of Elliott Smith. He's worked with artists like Sleater-Kinney, The Decemberists, Jenny Lewis, M. Ward, The Go-Betweens, Elliott Smith, Stephen Malkmus, Wooden Shjips, Quasi, David J, She & Him, Richmond Fontaine, and more. His music recording courses at Linkedin Learning feature over 12 hours of real recording tips and tricks. He's spoken on and moderated panels about recording for TapeOpCon, SXSW, NXNW, NARAS, AES, and CMJ. He has worked in the past as a record label owner, radio station music director, DJ, record distributor sales, freelance music journalist, and bass player (in bands since 1984, including Elephant Factory, Vomit Launch, and the Sunbirds). In 2019 he was inducted into the Oregon Music Hall of Fame. IN THIS EPISODE, YOU'LL LEARN ABOUT: Adapting to new technologies Amp Sims vs real amps Creative ways of finding your unique sound Imitation vs originality: How they affect your productions Avoiding the trap of constantly wanting to experiment Why the simple approach is often best when recording and mixing Setting expectations for your sessions How to make your sessions faster To learn more about Larry Crane, visit: https://larry-crane.com/ To learn more about Jackpot Recording, visit: http://jackpotrecording.com/ To learn more about TapeOp, visit: https://tapeop.com/ To learn more tips on how to improve your mixes, visit https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of the #1 Amazon bestselling book, The Mixing Mindset – The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Join the FREE MasterYourMix Facebook community: https://links.masteryourmix.com/community To make sure that you don't miss an episode, make sure to subscribe to the podcast on iTunes or on Android. Have your questions answered on the show. Send them to questions@masteryourmix.com Thanks for listening! Please leave a rating and review on iTunes!
Welcome to Life Transformation Radio! We are very excited to bring you a very special episode, you gain an all-access pass to PODROCK! Today we are featuring the one and only Kosha Dillz. Independent workhorse and lyricist Kosha Dillz has found a way to entertain the entire world. Having toured the entire world with everyone from Matisyahu to Rza of the Wu-Tang Clan and more, he has become a mainstay in the Hip Hop World and beyond, playing Paid Dues festival, BK Hip Hop Festival, SXSW, CMJ, Rock The Bells, and Vans Warped Tour and BottleRock where Rob had a chance to sit down and talk. Find more about Kosha Dillz by visiting: https://www.koshadillzworld.com
Welcome to Life Transformation Radio! We are very excited to bring you a very special episode, you gain an all-access pass to PODROCK! Today we are featuring the one and only Kosha Dillz. Independent workhorse and lyricist Kosha Dillz has found a way to entertain the entire world. Having toured the entire world with everyone from Matisyahu to Rza of the Wu-Tang Clan and more, he has become a mainstay in the Hip Hop World and beyond, playing Paid Dues festival, BK Hip Hop Festival, SXSW, CMJ, Rock The Bells, and Vans Warped Tour and BottleRock where Rob had a chance to sit down and talk. Find more about Kosha Dillz by visiting: https://www.koshadillzworld.com
Man! This weeks episode is fire. I had the honor and the pleasure of chopping it up with a dude who has been deep behind the scenes in Austin and Texas hip hop and more. DJ Protege has been rocking crowds and producing records for a good while now. On this episode we talk about his early days as a DJ and a producer, recording and producing artists like Trae tha Truth, Z-Ro and ESG in his studio in South Austin as well as Austin legends like Dok Holiday and Set 4 Life, Mike & Ike and way more. We talk about the days of DJ Nick Nack's company Gigacrate and his collaborations with so many dope DJ's and artists. And we can't forget about the legendary DJ mixers he would help throw at SXSW and CMJ. The mans resume is endless! Nowadays he is a part owner of SLAB Barbecue in Austin and they have grown to five locations and is a must try if you are ever out here in our city. The story and the talk is real. Settle in for another edition of Talk So Real with Matt Sonzala and tell a friend to tell a friend to tune in! Also like, subscribe, share, all that stuff. Love, matt
Meet Joe Piket, twice entertainer of the year on Long Island. He has much to offer! We have an intriguing conversation about the music scene and business. Join us for some great music and instights. Joe has an extensive diverse background in music. A multi-instrumentalist with a focus on piano/keyboard and guitar. We explore Joe's development as a singer/songwriter and band leader and the art of songwriting. JOE PIKET (ASCAP), two-time finalist in the Long Island Music Festival and winner of the Best of Long island poll in the category of Piano Entertainer two years running.Contact Joe via PDT Entertainment & (Patty Dodge)Joe has appeared with such diverse artists as Chuck Berry, Leon Russell, Jason Bonham, Dee Snider, Johnny Maestro, Renaissance, Alive and Kicking, Randy Jackson, Damon Johnson, and even TV personality/performer “Uncle” Floyd Vivino. Rave reviews for Joe's CDs have appeared in Newsday, Good Times, and other print publications, as well as many online publications. Some of those reviews are included in this press kit. You can also see and hear Joe perform his music on youtube. https://m.youtube.com/results?search_query=Joe+piketJOE PIKET AND THE STORM's first CD, TEMPEST, charted well on CMJ, including # 1 on many college radio stations in the tri-state area and nationally. Their next CD, THE WATERS OF LETHE (on Elijah Records), featured the 14-minute epic title track, which was favorably compared to the music of King Crimson, Yes, and Queen, receiving airplay on over 300 college radio stations around the country. Joe began writing new material, drawing on observations of, conversations with, and childhood memories rekindled by, his children. FATHER TIME (also on Elijah Records), is a collection of songs about relationships between family members. In 2017, Joe released EVERYTHING IS DIFFERENT on his own label, FREDSSON RECORDS, a compilation of originals and (two) covers that cover many different genres, including doo-wop, reggae, Americana, prog rock, and jazz standards.Joe's latest CD is SONGWRITER, Volume 1, a collection of songs he wrote between the ages of 13 and his early twenties, recorded during the Summer of 2019. Connect with The Long Island Sound Podcast:Website: Https://GigDestiny.com/podcast Follow Steve Yusko, GigDestiny.com, and his adventures: Website: https://www.GigDestiny.com Twitter, Instagram, YouTube,The growth of The Long Island Sound Podcast has been exponential. Help us grow the show!Subscribe to the GigDestiny.com Site here for bonus contentSubscribe to our YouTube ChannelCall the Listener Line & leave your comments: (631) 800-3579 Remember to Rate & Review the show! Help us keep the conversation going with your donation - Click Right Here or go to GigDestiny.com Buzzsprout - Let's get your podcast launched! Start for FREE
Christine Werthman is the managing editor at Billboard. She has been an editor since 2006 and previously worked for Complex, XXL and CMJ. She has a B.S. in magazine journalism from Syracuse University, an M.A. in music, media and cultural studies from New York University and knows the best spot for a good sightline at most concert venues in New York City.Connect with ChristineTwitter: @cwerthman Portfolio site: christinewerthman.comConnect with Jane Z.Instagram: @insideoutwithjaneWebsite: www.insideoutwithjane.com Email: hello@insideoutwithjane.com
Jazmine Valencia is the President of JV Agency. Prior to starting her own agency, she worked at Island Def Jam as Head of Digital. Jaz has handled over 2000+ musician projects and advanced the careers of top-selling artists likeThe Killers, Fall Out Boy, Avicii, American Authors, and Shawn Mendes. Jazmine is a speaker on various subjects such as Digital Marketing, Social Media, Influencer Marketing, and Women's Empowerment. She has previously spoken at Harvard University, George Washington University, SXSW, CMJ, and at “Dialog Konferansen” - the largest and most famous conference on digital marketing in Scandinavia. Jazmine Valencia is the President of JV Agency. Prior to starting her own agency, she worked at Island Def Jam as Head of Digital. Jaz has handled over 2000+ musician projects and advanced the careers of top-selling artists like The Killers, Fall Out Boy, Avicii, American Authors, and Shawn Mendes. -- Crafting an Ideal Timeline Changing Plans & Staying within Budget First Steps for a Release Goal Setting for Musicians A Musician's Role during a Rollout How to Plan Budgets Prioritizing Channels for Promotion Communication is Key -- Create a website with Bandzoogle.com! Share your music, merch, videos, and bio with anyone with one link. Try it free for 30 days with an exclusive promo code “thesetup” to get 15% off the first year of any subscription. (That is less than $11/month.) -- If you enjoy the podcast, would you please consider leaving a 5 star review on Apple Podcasts/iTunes? It takes less than 30 seconds, and it really makes a difference in helping to convince hard-to-get guests. I also love reading the reviews! -- For show notes and past guests, please visit thesetupseries.com Want to meet our guests? Join our community (“Set Up Set List") at thesetupseries.com/community --- Send in a voice message: https://anchor.fm/thesetupseries/message Support this podcast: https://anchor.fm/thesetupseries/support
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