Podcast appearances and mentions of mitch podolak

In this week's episode of ReFolkUs, we chat with Leonard Podolak, the Co-Artistic/Executive Director of Home Routes/Chemin Chez Nous, Canada's pioneering house concert circuit.In this episode, Leonard delves into the origins of Home Routes, sharing how the concept came to life. He explores the unique charm of house concerts, highlighting their ability to provide artists with intimate access to audiences and how they bring incredible music to culturally underserved communities. Leonard also gives us a glimpse into what it's like to host a show through Home Routes as well as the experience from the artist's perspective. Additionally, he discusses the organization's pivot during the pandemic and what is on the horizon for the future of Home Routes.Interested in hosting a show through Home Routes? Fill out the form here.Apply to perform on a Home Routes tour here.Find Home Routes/Chemin Chez Nous online:InstagramWebsiteAbout Leonard PodolakLeonard Podolak has been working in the folk music business since 1995. With his bands, Scruj MacDuhk and The Duhks, he is a 5 time Juno and 2 time Grammy nominee, taking home each trophy once. He is known for his melodic but very rhythmic style of playing clawhammer banjo. Since 2016 he has been the Co-Executive Director of Home Routes/Chemin Chez Nous, Canada's pioneering House Concert Circuit. This organization is a part of a group of Organizations founded by his parents, the late Mitch Podolak and Ava Kobrinsky. These include The West End Cultural Centre, The Winnipeg International Children's Festival, and the Folk Festivals in Winnipeg, Vancouver, Calgary, Edmonton, and The Stan Rogers Folk Festival in Canso NS. Leonard along with Co-ED/AD Cathy Crawford, who is also the operations manager of the mission folk festival  are bringing new energy with the aim of taking Home Routes out of the woodwork and into the mainstream. ______________Tune in to the latest episodes of the ReFolkUs Podcast, featuring the latest releases from Folk Music Ontario members as well as some of our special guests, now broadcasting on CKCU FM 93.1. Presented by Folk Music OntarioHosted by Rosalyn DennettProduced by Kayla Nezon and Rosalyn DennettMixed by Jordan Moore of The Pod CabinTheme music “Amsterdam” by King CardiacArtwork by Jaymie Karn

Full-disclosure, Kaia and I don't get to talking about Composing for Film and Television until about 20 minutes into this conversation. We start by discussing the early stages of her career learning clawhammer banjo from the legendary Mitch Podolak, attending various Old-Time music camps in West Virginia, and growing up in Canada's Folk Festival scene. Then, in 2018 after 2 years of extensive touring, Kaia suffered a panic attack mid-show and came to the realization that she needed to make a change.  After attending some community classes on how to use Ableton, the freedom of self-producing and composing opened up a new world, and she began to explore opportunities in Film and TV, putting her career on a whole new path. Fast-forward to today, Kaia has just been nominated for a Canadian Screen Award for ‘Best Original Song' for the series 'The Porter'. She is a Juno Award-nominated and Polaris Prize-longlisted songwriter of Grenadian-Canadian heritage. Her voice and deft songcraft have garnered acclaim from CBC, BBC Music and Rolling Stone. Her recent film work includes the CBC/BET+ TV Emmy-nominated series 'The Porter', and she has had a song placed on Global TV's Mary Kills People. Kaia has toured internationally, including notable performances at NPR Tiny Desk Concerts and Carnegie Hall. In 2021, Kaia took part in the Slaight Music Residency at the Canadian Film Center and released a new single ("Parallels"). She is currently working on a full length album for release in 2023.Links from the show : Kaia Kater's Website@KaiaKater on all socialsPurchase her albums direct from her websiteStream on SpotifyLinktreeThe Swannanoa Gathering SOCAN Foundation : Equity X Production Mentorship ProgramSlate Family Music LabRSVP for the Export-Ready Webinar Series Here______________Presented by Folk Music OntarioHosted by Rosalyn DennettProduced by Kayla Nezon (Folk Music Ontario), Rosalyn Dennett (Folk Music Ontario), Tim Fraser + Tanya Chopp (Murdoch Entertainment)Recorded by Kayla Nezon, and Jordan Moore of The Pod CabinEdited by Jordan Moore of The Pod CabinTheme music “Amsterdam” by King CardiacArtwork by Jaymie KarnThe ReFolkUs Project is made possible through the generous support of the Department of Canadian Heritage

Erin and Jen reflect on the loss of Mitch Podolak, co-founder of the Winnipeg Folk Festival and the West End Cultural Centre. They also chat about inappropriate live music spaces and why they do musicians a disservice, as well as how hard it is to establish and hold on to routines. Erin has an update about The Other Erin. Jen buys an alarm clock. BREAKING NEWS: Bury the Lede is now on Spotify!

Kaia Kater was born into the folk music scene. Her mother is a festival director and she learned to play clawhammer banjo at age 11 from Mitch Podolak (founder of the Winnipeg Folk Festival). Now, the Canadian native is studying the Appalachian folk traditions in West Virginia and connecting with the work of a range of artists - from old-time musician Dom Flemons to hitmaker Kendrick Lemar. A star in the making, Kaia stopped by the studios of Beehive Productions in Saranac Lake, New York to play a few songs from her debut release, 'Sorrow Bound.'

(Session originally published in September, 2015) Born in Quebec of mixed Afro-Caribbean ancestry, Kaia Kater, resides in Toronto and spends extensive time in West Virginia, where she ardently studies balladry and traditional dance. As an original songwriter, she works to incorporate her perspective as one of the few people of color in roots music into the complex racial history of the traditions themselves. Her music combines beautifully subtle old-time banjo with soft sensibilities, mixing elements of both Canadian and American historical traditions with a decidedly modern sound.Kaia was born into the folk music scene. Her mother is a festival director and she learned to play clawhammer banjo at age 11 from Mitch Podolak (founder of the Winnipeg Folk Festival). Now, the Canadian native is studying the Appalachian folk traditions in West Virginia and connecting with the work of a range of artists - from old-time musician Dom Flemons to hitmaker Kendrick Lemar. A star in the making, Kaia stopped by the studios of Beehive Productions in Saranac Lake, New York to play a few songs from her debut release, 'Sorrow Bound.'

(Session originally published in September, 2015) Born in Quebec of mixed Afro-Caribbean ancestry, Kaia Kater, resides in Toronto and spends extensive time in West Virginia, where she ardently studies balladry and traditional dance. As an original songwriter, she works to incorporate her perspective as one of the few people of color in roots music into the complex racial history of the traditions themselves. Her music combines beautifully subtle old-time banjo with soft sensibilities, mixing elements of both Canadian and American historical traditions with a decidedly modern sound.Kaia was born into the folk music scene. Her mother is a festival director and she learned to play clawhammer banjo at age 11 from Mitch Podolak (founder of the Winnipeg Folk Festival). Now, the Canadian native is studying the Appalachian folk traditions in West Virginia and connecting with the work of a range of artists - from old-time musician Dom Flemons to hitmaker Kendrick Lemar. A star in the making, Kaia stopped by the studios of Beehive Productions in Saranac Lake, New York to play a few songs from her debut release, 'Sorrow Bound.'

(Session originally published in September, 2015) Born in Quebec of mixed Afro-Caribbean ancestry, Kaia Kater, resides in Toronto and spends extensive time in West Virginia, where she ardently studies balladry and traditional dance. As an original songwriter, she works to incorporate her perspective as one of the few people of color in roots music into the complex racial history of the traditions themselves. Her music combines beautifully subtle old-time banjo with soft sensibilities, mixing elements of both Canadian and American historical traditions with a decidedly modern sound.Kaia was born into the folk music scene. Her mother is a festival director and she learned to play clawhammer banjo at age 11 from Mitch Podolak (founder of the Winnipeg Folk Festival). Now, the Canadian native is studying the Appalachian folk traditions in West Virginia and connecting with the work of a range of artists - from old-time musician Dom Flemons to hitmaker Kendrick Lemar. A star in the making, Kaia stopped by the studios of Beehive Productions in Saranac Lake, New York to play a few songs from her debut release, 'Sorrow Bound.'

(Session originally published in September, 2015) Born in Quebec of mixed Afro-Caribbean ancestry, Kaia Kater, resides in Toronto and spends extensive time in West Virginia, where she ardently studies balladry and traditional dance. As an original songwriter, she works to incorporate her perspective as one of the few people of color in roots music into the complex racial history of the traditions themselves. Her music combines beautifully subtle old-time banjo with soft sensibilities, mixing elements of both Canadian and American historical traditions with a decidedly modern sound.Kaia was born into the folk music scene. Her mother is a festival director and she learned to play clawhammer banjo at age 11 from Mitch Podolak (founder of the Winnipeg Folk Festival). Now, the Canadian native is studying the Appalachian folk traditions in West Virginia and connecting with the work of a range of artists - from old-time musician Dom Flemons to hitmaker Kendrick Lemar. A star in the making, Kaia stopped by the studios of Beehive Productions in Saranac Lake, New York to play a few songs from her debut release, 'Sorrow Bound.'

(Session originally published in September, 2015) Born in Quebec of mixed Afro-Caribbean ancestry, Kaia Kater, resides in Toronto and spends extensive time in West Virginia, where she ardently studies balladry and traditional dance. As an original songwriter, she works to incorporate her perspective as one of the few people of color in roots music into the complex racial history of the traditions themselves. Her music combines beautifully subtle old-time banjo with soft sensibilities, mixing elements of both Canadian and American historical traditions with a decidedly modern sound.Kaia was born into the folk music scene. Her mother is a festival director and she learned to play clawhammer banjo at age 11 from Mitch Podolak (founder of the Winnipeg Folk Festival). Now, the Canadian native is studying the Appalachian folk traditions in West Virginia and connecting with the work of a range of artists - from old-time musician Dom Flemons to hitmaker Kendrick Lemar. A star in the making, Kaia stopped by the studios of Beehive Productions in Saranac Lake, New York to play a few songs from her debut release, 'Sorrow Bound.'

Canadian Dimension editors reflect on the critical developments in 2010 what happened and equally important, what did not happen; and look ahead to expectations for 2011. Mitch Podolak uncovers new political songs for Music is the Weapon.

Ian Angus, editor of the on line journal Climate and Capitalism and member of the Canadian Dimension collective talks about the outcome and the climate movement politics emerging out of The World People’s Conference on Climate Change and the Rights of Mother Earth convened by Bolivia’s President Evo Morales in Cochabamba. Clayton Thomas-Muller of the Indigenous Environmental Network (IEN) talks about the message he delivered to the UN Permanent Forum on Indigenous Issues last Saturday about the woeful example of First Nations rights in Alberta’s Tar Sands. Ron Mackay, spokesman for British MP George Galloway talks about why Canadian Immigration Minister Jason Kenny ordered Galloway banned from Canada. Elle Flanders, driving force behind Queers Against Israeli Apartheid, talks about the campaign to bar QAIA from this year’s Toronto Pride parade. Mitch Podolak brings songs of the environment to this week’s Music Is The Weapon.

Honduras-based Rights Action worker, Karen Spring, explains that because the current post military coup government is particularly friendly to Canada’s mining interests in Honduras that the Canadian government is blind to that country’s numerous human rights violations including those conducted by death squads. Richard Fidler talks about the life and thoughts of Quebec firebrand Michel Chartrand who passed away last week at the age of 93. Chris Webb describes the latest activities and campaigns of a new project called the Toronto Workers’ Assembly. For Music is the Weapon, Mitch Podolak plays a short list of some of the songs he has carried in his head since he was a kid.

Former Chief Arthur Manuel exposes what lies behind Tom Flanagan’s proposal to convert reserve lands to private property. Professor Darlene Juschka tells why she and 15 other University of Regina faculty members oppose the Project Hero program on their campus. John Clarke, organizer of the Ontario Coalition Against Poverty, explains how Ontario’s 2010 budget penalizes the poor. Mitch Podolak’s Music is the Weapon features songs of resistance that focus on Latin America and Iraq.

RebELLE spokesperson Barbara Legault talks about how Quebec feminists view Bill 94 which would refuse government services, public employment and most medical care to Muslim women whose face is covered by the niqab. She also describes the massive opposition to Quebec’s new budget that establishes a user fee on health care and increases fees on other government services. York University’s David Noble talks about the significance of his court victory requiring York University administrators to answer questions about an alleged pro-Israel orientation shared by members of a key governing body which he contends influences that university’s actions against him and others on campus who question Israeli policy in the Middle East. Steven Staples, President of the Rideau Institute argues that contrary to the request put by Hillary Clinton, Canada should quit Afghanistan now. He also explains that NATO has just about outlived its role in world affairs. Mitch Podolak’s Music is the Weapon is all about trains.

Professor Arthur Schafer, director of the Centre for Professional and Applied Ethics at the University of Manitoba, discusses issues of free speech and hate speech that arise from the cancellation of Ann Coulter¹s talk at the University of Ottawa. Art Sterrit, executive director of the Coastal First Nations describes the inevitable damages expected from the proposed Enbridge Norther pipeline and its supertankers that would penetrate into the heart of BC’s Great Bear Rainforest. Art outlines the campaign mounted by a coalition of 150 native bands, several environmental organizations and dozens of prominent individuals including Margaret Atwood, David Suzuki, Thomas Berger, Bruce Cockburn and ten Olympic athletes. Some are saying that the Enbridge dispute may be the defining battle for a new generation concerned about climate change and global dependence on oil. Mitch Podolak’s Music Is The Weapon this week is all about money!

Thomas Woodley, president of Canadians for Justice & Peace in the Middle East talks about how the Harper government forced the cancellation of the CJPME-sponsored Canadian tour of 2010 Nobel prize nominee and Palestinian leader Dr. Mustafa Barghouti. Graham Saul, executive director of Climate Action Network Canada talks about a recently released study showing the consequences of the Harper government¹s policy of muzzling government climate change experts. Professor Jeffrey Webber of the University of Regina talks about Canada¹s interests in Honduras and in Latin America in general and how this is shaping Canadian policy in supporting right-wing governments in the region, most recently that of Honduras. Mitch Podolak introduces new blues and folk music on Music is the Weapon.

Macdonald Stainsby, a creator of savegreenpeace.org, talks about why the appointment of Tzeporah Berman as director of Greenpeace International global climate and energy campaign has caused such an uproar within the Canadian ranks of Greenpeace. Stainsby also talks about the growing tendency of environmental groups to take money from the world’s biggest polluters. Sid Shniad of Independent Jewish Voices is one of the 8800 Jewish Canadians and Americans named in this year’s Self-Hating Israel-Threatening (S.H.I.T.) list. He talks about the list and what its creators intend by it. Devlin Kuyek of Grain describes the amazing global land grab as vast portions of the most fertile lands of Africa are being bought off or leased by multinational companies. Mitch Podolak devotes Music is the Weapon to fallen comrade Liz Barkley.

Sarah Granke of FemRev talks about the new generation of feminists in Canada. Mordecai Briemberg explains why there is such a strong campaign, now reaching into the Ontario Legislature and the Parliament of Canada, to criminalize critics of the Israeli state. Mitch Podolak reaches back into the music of the civil rights movement.

Will Copenhagen Produce Anything Positive? Dale Marshall of the David Suzuki Foundation says “Yes”. Joel Kovel, author of The Enemy of Nature says “No”. Malalai Joya, Afghanistan’s youngest member of parliament, talks openly about the Karzai government and the occupation. Mitch Podolak introduces Canadian folk songs of conflict and rebellion.

Shelly Melanson, Chair of Ontario Federation of Students and Jonny Sopotiuk of the Manitoba CFS explain why CFS Day of Action this year focused on ending poverty and not merely ending tuition hikes. Native Studies professor and noted author Peter Kulchyski explains the proposal extended by the Gitxsan people of northwest British Columbia to extinguish their status in the Indian Act in exchange for full rights to their traditional lands and to its resources. Mitch Podolak introduces music from the Spanish Civil War.

The Pembina Institute defends its GHG emission plan in response to Federal environmental minister Jim Prentice. Why ending drug prohibition works to reduce addiction and drug crime with Jack Coles, president of LEAP. UC Berkley students revolt against California tuition hikes and cutbacks. MItch Podolak with ‘Music is the Weapon’.

Raj Patel on Food Week and Global Hunger; Mike Hudema on how Greenpeace Invaded the Tar Sands; Mitch Podolak on Music is the weapon.

David Jacks of the Canadian Federation of Students discusses the importance of public water campaigns and the developments to manage Winnipeg’s water department. Herman Rosenfeld reviews a recent ‘Workers Assembly’ in Toronto, held to develop partnerships in the labour activist community. DAM (Da Arabian MCs), a Palestinian rap group fresh off a recent Canadian tour, discuss their influences and their politics. Mitch Podolak uses ‘Music is the Weapon’ to explore the music of floods and hurricanes (trust us, it works).

Canada’s Plan to Bury Carbon Emissions Sheer Folly. Graham Thomson, author of a new 63 page report, discusses the risks in building a system to capture and store carbon dioxide underground. Saul Landau, just returned from his 50th visit to Cuba, talks about his interviews of Fidel and Raul Castro and compares their startlingly different governing styles. Ingo Schmidt talks about new right-wing coalition government that emerged from last week’s German elections. Mitch Podolak with Music Is The Weapon.

Alert opens a new season with CAW economist Jim Stanford, who says says the economic recovery is only temporary. In the wake of the 8th anniversary of 9/11, author and film maker Saul Landau shows how the futile war against terrorism carries on in the age of Obama. CD collective member Angela Day argues that Canada’s immigration problems with Mexico begin with NAFTA. Founder of the Winnipeg Folk Festival, Mitch Podolak, introduces a new season of Music is the Weapon.