Podcasts about Thousand Islands

Since Donald Trump launched his tariff attack, towns and cities along the border between Canada and the United States have faced enormous economic and political challenges. Just how are the leaders of those communities dealing with the pressure of being on the frontlines of a trade war? Matthew Shoemaker, mayor of Sault Ste. Marie; Drew Dilkens, mayor of Windsor; Corinna Smith-Gatcke, mayor of the Township of Leeds and the Thousand Islands; and Jim Diodati, mayor of Niagara Falls, join Jeyan Jeganathan to discuss what they are seeing in their communities.See omnystudio.com/listener for privacy information.

(Feb 11, 2025) Albany Democrats are pumping the brakes on a bill that could have kept Republican Elise Stefanik's congressional seat vacant until November; a new report from the Prison Policy Initiative looks at disciplinary systems in prisons around the country; and a dog musher in the Thousand Islands is hosting a meet-and-greet this weekend.

(Jan 29, 2025) A St. Lawrence River community in the Thousand Islands may have an ally in the Trump Administration as a fight over a proposed border facility continues into 2025; in today's North Country at Work story, a Glens Falls bookstore owner tells us why it's important to see yourself in the books you read; and the steady cold is setting up the best ice fishing season in a few winters, so the folks at Beaver Camp are hosting a non-competitive derby, where every fisherman gets a prize.

On this episode of Destination on the Left, I'm sharing the first of a two-part series from the OMCA Marketplace that was held in Windsor, Ontario, Canada. I know you'll find the wisdom these eight influential industry professionals offer invaluable. We dig into the recent tour and travel trends, including cross-border travel and the importance of connections for business success. My guests also explore key themes such as a shift towards smaller and specialized group travel and the rise of the Fully Independent Traveler (FIT) and how these types of small group offerings cater to niche interests, allowing travelers to enjoy intimate, customized, and immersive experiences that larger groups might miss out on. Our discussions also cover why networking is key in creating new cross-border itineraries and enriching multi-destination travel experiences. In this episode, you'll hear from these industry leaders: Ryan Robutka: https://www.linkedin.com/in/ryan-robutka-b6b1927/ Diane Meglino: https://www.linkedin.com/in/diane-meglino-ctis-67585523/ Cheryl Rash: https://www.linkedin.com/in/cheryl-rash-1078917/ Shawn Geary: https://www.linkedin.com/in/shawn-geary-13003127/ Todd Stallbaumer: https://www.linkedin.com/in/todd-stallbaumer-3650295/ Tillie Youngs: https://www.linkedin.com/in/tillieyoungs/ Elaine Moulder: https://www.linkedin.com/in/elainemoulder/ Steve Vance: https://www.linkedin.com/in/steve-vance-66949422/ Ryan Robutka, Senior Manager For Market Development With Via Rail Canada I love Ryan's insights on why travelers are looking for more personalized experiences that give them access to off-the-beaten-path destinations. He shares why train travel is the perfect opportunity to go offline and experience different parts of Canada that they wouldn't have considered before the pandemic. Ryan's word for the OMCA Marketplace is “partnership” because the experience is about strengthening partnerships, meeting new people, and building relationships. Diane Meglino, Business Development Managers For Premier Travel Media Diane discusses the trends she is seeing coming for 2025/2026, including the America 250th anniversary, and why it's such a great opportunity to promote destinations all across the East Coast area. She also shares some creative ideas, such as mystery tours, sports tours, military reunions, and girlfriend getaways that involve fun, hands-on activities such as cooking or painting classes. Cheryl Rash, Business Development Managers For Premier Travel Media In Cheryl's experience, there's nothing better than meeting face-to-face to really make connections. The tourism industry, in general, is such a family-connected industry where we can build friendships and relationships and coming to events such as the OMCA Marketplace is a great way to catch up with peers in person. Diane and Cheryl's words for the event are “connections” and “beneficial,” and I couldn't agree more! Shawn Geary, Mccoy Bus Service And Mccoy Getaways The trend that Shawn is seeing is that people want to go further afield. The popular destinations these days are within a couple of days travel rather than day trips, as people are prepared to spend a little longer on a bus now than they were before. This has been made much easier by a more streamlined experience going through international borders where passengers are quickly and efficiently screened, allowing them to continue their trip with as little friction as possible. Shawn notes that the connections you make at OMCA Marketplace are so important when it comes to planning tours to new destinations. Todd Stallbaumer, Consumer And Trade Marketing Director At Oklahoma Tourism And Recreation Department Right now, Todd is seeing lots of interest in multigenerational travel, especially grandparents and grandchildren traveling together and engaging in their tour. Todd shares that immersion and cultural tourism activities are very popular right now, including experiences such as getting to know the Vietnamese community in Oklahoma City. He also shares more about current multi-state collaborations that his organization is involved in. What Todd loves about the OMCA Marketplace is all the ways you can incorporate knowledge and experience with others in the travel and tourism space. Tillie Youngs, Sales Director With Thousand Islands International Tourism Council Tillie Youngs shares more about the experiences her groups most want right now, including getting out on the Saint Lawrence River to see the Thousand Islands from a different vantage point. We discuss the rise in popularity of smaller group travel and how that creates opportunities for personalized experiences in the region, such as diving to see the shipwrecks or enjoying kayaking or canoe excursions. Tillie loves attending in-person events such as the OMCA Marketplace to build those relationships with tour operators as clients and partners. Elaine Moulder, Founder and CEO Of Brilliant Edventures Elaine and I chatted about the cross-border travel changes, and she shares why it's starting to come back in 2024/2025. Many Brilliant Edventures' clients coming up to Michigan or New York are extending their trips into Canada, too. We also dig into why connections are of the utmost importance in the travel and tourism industry and why it truly feels like one big family. We all want the people who travel to have an impeccable experience, and when you build relationships with people, you can count on them. Creating trust is paramount, so Elaine describes the OMCA Marketplace as “welcoming.” Steve Vance, Director Of Sales And Marketing From The Grand Adirondack Hotel As a hotelier, one of the most exciting things Steve is seeing for 2025 is that groups are a foundation of business. Steve says it's pure joy for his team to see the enjoyment of the authentic, unique Adirondack experience that their carefully curated itineraries bring. His one word for the OMCA Marketplace is “vital,” and he emphasizes that it's absolutely critical to have the opportunity to have candid conversations about how you can improve your offer, and create potential collaborations to make traveler experiences even better. We value your thoughts and feedback and would love to hear from you. Leave us a review on your favorite streaming platform to let us know what you want to hear more o​f. Here is a quick tutorial on how to leave us a rating and review on iTunes!

500 miles in an open 24 foot center console two years in a row? In 2022 Jeff and his son traveled the coast of New Jersey, into New York Harbor, up the Hudson, through the New York State Barge Canal System to Lake Ontario, across an inland sea to the Saint Lawrence River.  In 2023, they started at the intersection of the Mohawk and Hudson Rivers and went through Lake Champlain into Quebec, up the Saint Lawrence to Montreal, through the massive commercial locks to the Thousand Islands.  Epic adventures, and way more accessible than you think.  Email us at theboatyshow@gmail.com, follow on Instagram, Facebook, and Youtube @theboatyshow, leave a comment on Spotify. Thanks for listening! 

MAUREEN JOHNSON'S first stand-alone mystery in many years, DEATH AT MORNING HOUSE, features Marlowe Wexler, a queer teen who unlike Stevie, is no detective. Heartbroken after a disastrous date, she finds herself in a summer job working at a grand but dilapidated house in the Thousand Islands region of northern New York at the Canadian border. It's there she stumbles upon two mysteries—one in the present day and one kept concealed since the 1930s. The novel begins with a fire, though it wasn't Marlowe's fault. But she's sure that Akilah, the girl Marlowe has been in love with for years, will never go out with her again. No one dates an accidental arsonist. With her house-sitting career up in flames, Marlowe ends up as a tour guide at Morning House, a mansion built by Dr. Phillip Ralston, where he once lived with his wife, six adopted children, and young son. Marlowe uncovers a series of clues that lead her to the dreadful realization that the grounds of Morning House are hiding a horrific secret.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

In today's special episode, we're sitting down with #1 New York Times & USA Today Bestselling author, Maureen Johnson, to discuss her latest book, Death at Morning House!The fire wasn't Marlowe Wexler's fault. Dates should be hot, but not hot enough to warrant literal firefighters. Akilah, the girl Marlowe has been in love with for years, will never go out with her again. No one dates an accidental arsonist.With her house-sitting career up in flames, it seems the universe owes Marlowe a new summer job, and that's how she ends up at Morning House, a mansion built on an island in the 1920s and abandoned shortly thereafter. It's easy enough, giving tours. Low risk of fire. High chance of getting bored talking about stained glass and nut cutlets and Prohibition.Oh, and the deaths. Did anyone mention the deaths?---Missed our episode on Maureen Johnson's Truly Devious? Check it out on Apple Podcasts or Spotify!---Socials:Tiktok: @bringyourownbookpodcastInstagram: @byobookpodcastFacebook: @byobookpodcastYoutube: @bringyourownbookpodcastSend Nikki & Kelly a message! :)

(Aug 30, 2024) A Thousand Islands' man keeping the nautical heritage of wooden boats alive; the annual lighting of Adirondack fire towers; United Helpers has purchased a restaurant in Ogdensburg; Tourism to the North Country grew modestly last year; a preview of the Northern Current Music Festival in Saranac Lake.

(Aug 30, 2024) Wooden boats are an essential part of the Thousand Islands' nautical heritage. We meet a man who is keeping that passion alive as an antique boat craftsman. Also: Democrat Paula Collins stopped in Plattsburgh this week in her longshot campaign to defeat Congresswoman Elise Stefanik in November.

Presley hosts us at the remarkable Thousand Islands Boat Museum in Gananoque, Ontario.  Go check it out!  Very grateful to her and the entire team for inviting us to record aboard WASHINGTONIAN, a beautiful John Trumpy-designed yacht, tied up in the HUGE boathouse sheltering an entirely in-water exhibit.  Presley's extensive knowledge of the boats in the collection as well as local history means you're in for a treat.  We discuss and pick a Boat Of The Week from the floating collection around us, and have our first fight.  Email is back up - get in touch at theboatyshow@gmail.com, follow us on Instagram and Facebook @theboatyshow, new episode every Wednesday, thanks so much for listening!

MAUREEN JOHNSON'S first stand-alone mystery in many years, DEATH AT MORNING HOUSE, features Marlowe Wexler, a queer teen who unlike Stevie, is no detective. Heartbroken after a disastrous date, she finds herself in a summer job working at a grand but dilapidated house in the Thousand Islands region of northern New York at the Canadian border. It's there she stumbles upon two mysteries—one in the present day and one kept concealed since the 1930s. The novel begins with a fire, though it wasn't Marlowe's fault. But she's sure that Akilah, the girl Marlowe has been in love with for years, will never go out with her again. No one dates an accidental arsonist. With her house-sitting career up in flames, Marlowe ends up as a tour guide at Morning House, a mansion built by Dr. Phillip Ralston, where he once lived with his wife, six adopted children, and young son. Marlowe uncovers a series of clues that lead her to the dreadful realization that the grounds of Morning House are hiding a horrific secret.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

In this episode, we sit down for an interview with Maureen Johnson, the mastermind behind the best-selling Truly Devious series. We explore her latest YA mystery, Death at Morning House, set in the picturesque Thousand Islands of upstate New York. Maureen's signature wit and complex storytelling shine through in this novel, especially with Marlowe Wexler, the protagonist who has quickly won our hearts. We dive into Marlowe's endearing awkwardness, her romantic mishaps, and the intriguing blend of history and mystery that ties together the chilling secrets of Morning House. Plus, we discuss Maureen's passionate advocacy against book banning and why it's more important than ever.  Death at Morning House is out now wherever books are sold. Where to find Maureen Johnson https://www.maureenjohnsonbooks.com/ https://www.instagram.com/maureenjohnsonbooks https://www.tiktok.com/@maureenjohnsonbooks  https://x.com/maureenjohnson Follow To All the YA on Instagram www.instagram.com/toalltheya Theme Music “Brat Pack” https://get.slip.stream/cI6gXL

It's the most wonderful time of the year: 1000 Islands Scavenger Hunt!  Oh what a day what a glorious day. We recap from Steph's houseboat joined by Jay, Julia, and the Hot Admin. More on the 1981 Cobalt (hint: she's a runner) including first impressions of driving this 24 degree deep vee 80's smoke show in some sloppy conditions. After a brief intermission due to the dock breaking a shackle on a mooring chain Boat Of The Week returns from a one week hiatus  Email is still down so please reach out via Instagram @theboatyshow, new show every Wednesday. Thanks so much for listening.    

After spending time in the Australian military, Marius Boirayan decided it was time for a change and moved to The Solomons. He created an intricate life for himself there, integrating fully into the island culture of Guadalcanal and Malaita. He quickly learned the secrets the islands held in the form of Dragon-Snakes, Reptoids, Giants, and the hybridized Ramo-Men. In the final chapter of the Solomon Islands mini-series, Joel unravels Boirayan's journey to find the ritual burial site of a mythical Ramo-Giant all under the guise of gem hunting. During this trek, Marius also discovers the mysterious Ramo-Men, a supernaturally powered warrior with traits that seem to lead to a road of DNA manipulation. Joel wraps up his thoughts on Marius Boirayan's theories, which are built on his experiences and global political history connected to the Thousand Islands. Website: https://linktr.ee/joelthomasmedia Follow: Instagram | X | Facebook Watch: YouTube | Rumble Music: YouTube | Spotify | Apple Music Films: merkelfilms.com Email: freetherabbitspodcast@gmail.com Distributed by: merkel.media Produced by: @jack_theproducer OUTRO MUSIC Joel Thomas - Adiós YouTube | Apple | Spotify

Port Dunsel Yacht Club hosts The Boaty Show!  Pictures, links in episode notes at www.theboatyshow.com.  Peak geek week as we delve deep into metallurgy, marine gas, propeller design, two stroke vs four stroke motors, and metal machining.  Steph drops chemistry knowledge, Jeff nearly strokes out from laughing, Kim gives a lesson on the Cow Tunnels of Tennis Island (dead ass), and Patrick is field-promoted from Rear Admiral For The Day to Honorary Co-Host.  We hit Boat Of The Week hard with five submissions, including from our youngest ever.  All that and more on this week's Boaty Show!  Listen every Wednesday, email your BOTW submission and recommendations for an editing intern to theboatyshow@gmail.com. Thanks so much for listening, following, sharing with a friend!   Notes: Boston Whaler Menemsha: Link to Lankford Bay Marina for E-Tec rebuilds https://www.lankfordbaymarina.com Bad fuel filth muck: Bombardier SeaDoo Switch mini jet pontoon boat Chris Craft XK-19 Grumman Canoe Chris Craft Sportsman Kawasaki Super Chicken Porsche Speedboat Montauk 17 

Kick off Summer 2024 on the deck of Steph's houseboat! Two boat reviews - Regulator and Ski Nautique.  Osprey, ducks, caspian terns interrrupt discussion of wake boat propeller innovation and Steph's Amish boat canvas maker neighbor. We meander into old business with San Francisco Bay open water swimming and getting passed by a one-legged cyclist. A truly innovative Boat Of The Week segment surprises all with a contender we've never seen before but hope to see again. New show every Wednesday! Email your Boat Of The Week to theboatyshow@gmail.com, like, leave a review, and follow @theboatyshow on facebook and instagram.  Thanks for listening! Mary Mattingly's work from Paul S:  Swale: https://marymattingly.com/blogs/portfolio/swale-2016-ongoing. Waterpod: https://marymattingly.com/blogs/portfolio/2009-waterpod A random red Donzi 22 with a 454 (Capt. David's NH Craigslist ad expired) https://www.yachtworld.com/yacht/1989-donzi-22-classic-9000798/ Float Of The Week from Patrick M https://www.costco.com/california-boat-company-inflatable-water-lounge%2C-11.5%27.product.4000237700.html  

(Jun 26, 2024) The Thousand Islands community showed their opposition at a public meeting with U.S. Customs and Border Protection in Clayton last night; the state Board of Regents is moving towards a plan to change graduation requirements, including no longer requiring the standardized Regents tests for graduation; and, This month, there were two fatal farm accidents in upstate New York. In St. Lawrence County, a dairy farm worker was tending a newborn calf when a cow charged her, killing her. Then, in central New York, two men died when they fell into a manure tanker. We'll talk with Kitty O'Neil of the Cornell Cooperative Extension about the inherent risks of farm work and measures to keep workers safe.

(Jun 21, 2024) The controversy over a small, largely undeveloped bay in the Thousand Islands comes to a head next week. U.S. Customs and Border Protection wants to build a new facility there. Local residents, politicians, and environmentalists want to stop them. Also: The Adirondack Park Agency approved the use of a chemical herbicide to kill an invasive plant in Lake George against objections from green groups.

Steph and Jeff break down five floaty toys, three boat reviews, two mink stories, and one geeked out discussion of thermoclines. George Clooney and Sophia Loren join our imaginations from Lake Como, boats made in Idaho have heaters who knew, and we're psyched that this'll be our last remote recording for a while.  Listen every Wednesday and sometimes other days, email us your high score in Balls and your boat of the week submissions at theboatyshow@gmail.com, Thanks so much for listening! Boat Of The Week links: https://stancraftboats.com/inventory/2013-360-rivelle/ https://www.reddit.com/r/oddlysatisfying/s/3Yh8rjyTl1 https://vessel.yachtbroker.org/pdf2/export.php?id=80985&key=d8f017722f0cd268115defe6e212a594745f4f06&vessel=2810816&browser=true https://www.instagram.com/reel/C76558-odiZ/?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==  

This weeks guests are Cayley Balint and Sarah Sanders who join us from Kingston, Ontario. Cayley is the Head Chef and Sarah is the Head Bartender at The Frontenac Club in Kingston - a cocktail bar and gastropub located inside a historic 180 year old building which also functions as an upscale boutique hotel. Sarah and Cayley are responsible for serving up craft cocktails and a curated wine list along with preparing globally and locally inspired dishes. Cayley Balint started her cooking career in 2008 at Atomica, making gourmet pizzas whilst being apprenticed under the head chef next door at Le Chein Noir. Cayley attended culinary school at St. Lawrence, and used her summer co-op placement to travel to Banff, Alberta where she worked at Buffalo Mountain Lodge, part of Canadian Rocky Mountain resorts. This is where she obtained her love and inspirations for Canadian and global style cuisine. Upon arriving back in Ontario, Cayley got a job as a line cook at Aquaterra restaurant. Over the next decade she would work her way up to become the Catering and Banquet Chef of Aquaterra and the Delta hotel, which the restaurant resides within. Cayley joined The Frontenac Club team in August of 2020. Sarah Sanders has been in the service industry for twenty-one years and behind the bar for eleven. Sarah is originally from Kingston, Ontario, raised in the Thousand Islands and surrounding area. Sarah attended Sheridan College, where she studied several aspects of Art and Design. Sarah's majors were Fine Art and Textile Design. Sarah started working in restaurants in college, as a nights and weekend job, first in BOH. Years and a few restaurants later moved to FOH, then eventually bartending. And a big thank you to this weeks sponsors - Civil Pours and Elora Distilling Company. Civil Pours is a ready to pour, premium cocktail program that blends the highest quality, proprietary ingredients into shelf stable, top selling cocktails delivered to you in draft-ready kegs. All you do is pour, serve, and savour a seamless experience designed to captivate your customer and smooth your service. To get in touch contact sales@civilpours.com or check the website civilpours.com Elora Distilling Company produces handcrafted, premium products in a grain to grass distillery and the grains are sourced from local farms in Waterloo and Wellington counties. There are over 25 products on the Elora Distilling company's roster including gins, vodkas, rums, whiskeys, liquors and pre-mixed products. All products are available for wholesale to restaurants and bars. Follow them @eloradistillingco or check out EloraDistillingCompany.com Links: @chefcayleybalint @baronessvondilligaf @frontenacclub @thebank.gastrobar @sugarrunbar @babylonsistersbar @the_industry_podcast email us: info@theindustrypodcast.club Podcast Artwork by Zak Hannah zakhannah.co

Tired of visiting destinations where you are 1 of thousands of other tourists?Are you looking to travel to places that are a bit off the main tourist track?Then you'll want to tune into this episode. I'm talking to Andrew Nelson, author of the book Here Not There.Andrew has written an incredible book filled with alternative ideas of places to travel to so you can avoid some of the over touristed spots and enjoy destinations that are similar, just as amazing but with fewer people.We discuss the state of travel today, how to be a traveler no matter your age or your budget and yes, we talk about some awesome destinations.Want to chat more about travel?Send me an email at Lynne@WanderYourWay.com In this episode:0:59: Intro2:08:  Introducing Andrew Nelson3:19: Becoming an explorer & considering impact8:39: Book Categories14:30: Romania18:01: Lecce & Ischia & Ostia Antica27:59: Avebury & Manchester33:00: Nimes Arena & Coliseums36:36: Montenegro 38:10: Adamello Brenta41:19: Islands: Isles of Scilly, St. Michael's Mount, Corfu45:29: Andrew's Picks: Lecce, Ostia, Budapest, Thousand Islands, Santa Barbara49:41: A bit more about Andrew's book51:20: Traveling to lesser touristed destinations 52:33: Wrapping upImportant links:Andrew Nelson on InstagramAndrew NelsonHere Not ThereWhich Is Better? Stonehenge or Avebury?Overtourism: Are We Loving Some Places to Death?Support the Show.Thanks to Callisa Mickle who edits the audio.Follow Wander Your Way:InstagramFacebookPinterest

I chatted with Melanie Dobson a few weeks ago, and boy was it a wonderful time of talking about my favorite books of hers and her latest release, The Wings of Poppy Pendleton. Listen in to the heartwrenching story that sparked the idea for the book and the delicious (and fascinating) research she did to write it! Note: links may be affiliate links that provide me with a small commission at no extra expense to you. How a Family Mystery Sparked the Idea for a Beautiful Story The Wings of Poppy Pendleton takes place during the dichotomous Gilded Age among New York's famous Thousand Islands.  Combining a family mystery with that era, Melanie Dobson creates a wonderful story that echoes the tumultuous time at the turn of the 20th century. We chatted about the research involved--both for Melanie's family mystery of a missing child who was in a photo but no one knew who she was and for the era and area as well.  I loved hearing how her mother got involved in trying to discover what happened to... was it Marjorie?  I think.  And, of course, how that helped shape the story of this book. The Wings of Poppy Pendleton by Melanie Dobson In this compelling new time-slip mystery, a little girl goes missing from her family's castle in the Thousand Islands of New York. Eighty-five years later, a journalist teams up with a woman living on Koster Isle to find out what happened to Poppy, once and for all. 1907. On the eve of her fifth birthday, Poppy Pendleton is tucked safely in her bed, listening to her parents entertain New York's gilded society in their Thousand Islands castle; the next morning, she is gone, and her father is found dead in his smoking room. 1992. Though Chloe Ridell lives in the shadows of Poppy's castle, now in ruins, she has little interest in the mystery that still captivates tourists and locals alike. She is focused on preserving the island she inherited from her grandparents and reviving their vintage candy shop. Until the day a girl named Emma shows up on Chloe's doorstep, with few possessions, save a tattered scrapbook that connects her to the Pendleton family. When a reporter arrives at Chloe's store, asking questions about her grandfather, Chloe decides to help him dig into a past she'd thought best left buried. The haunting truth about Poppy, they soon discover, could save Emma's life, so Chloe and Logan must work together to investigate exactly what happened long ago on Koster Isle. You can learn more about Melanie Dobson on her WEBSITE.  Also follow her on GoodReads and BookBub. Like to listen on the go? You can find Because Fiction Podcast at: Apple  Castbox  Google Play Libsyn  RSS Spotify Amazon and more!

Host Alex Pierson speaks with Michael Barrett, Conservative MP for Leeds, Grenville, Thousand Islands and Rideau Lakes and Shadow Minister Of Ethics and Accountable Government. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since joining the New York State Tourism Industry Association (NYSTIA) as President & CEO in September of 2018, Bob has focused on NYSTIA's programming, marketing & data analytics, advocacy efforts, and destination stewardship strategies. He has enhanced member communications and collaborative initiatives, facilitated rebranding, and the restatement of vision and purpose for the organization. He worked hand-in-hand with tourism industry members across the state and leadership in Washington, DC, and Albany to coordinate response and recovery efforts during and following the pandemic. Post-pandemic initiatives include the creation of member task force teams on sustainability, workforce development, and higher education. Today, the New York State Tourism Industry Association (NYSTIA) is a nonprofit, member-driven organization at the vanguard of tourism destination stewardship and long-term strategic planning. Tourism is not a goal; it is a means to an end, states Bob. Tourism is a tool to power economic growth, job creation, small business success, community revitalization, increased local and state tax revenues, improved standard of living and quality of life, and pride of place. NYSTIAs membership includes the leadership of New York State County Tourism Promotion Agencies (TPAs), major urban and remote/rural Destination Marketing Organizations (DMOs), key executives from major attractions (e.g., LEGOLAND NY), museums (e.g., Baseball Hall of Fame, Corning Museum of Glass, Strong Museum of Play), resort hotels and major marketing firms from across the U.S and Canada. Born in Bayshore, Long Island, Bob Provost LOVES NY, vacationing everywhere from Boldt Castle in the Thousand Islands to New York City, Lake Placid to Corning, with stops everywhere in between. He resides with his wife, Pam, just outside Albany, NY, on a rural property in Rensselaer County. On this episode of Destination on the Left, I talk with Bob Provost, who shares why he sees the travel and tourism industry as a stimulant for change. We discuss transformational development, stewardship, and the importance of long-term strategic thinking for DMOs. Bob also shares how the New York State Tourism Industry Association is facilitating the discussion around best practices in DEI. What You Will Learn in this Episode: How creating a bundle of attractions and destinations helped the New York State Tourism Industry Association's recovery and resurgence Defining leadership versus management and the importance of both qualities for organizational success The importance of long-term strategic thinking and vision as a DMO How the New York State Tourism Industry Association utilizes tourism as a tool to achieve economic growth, job creation, and community revitalization Outcomes and best practices discussed during the panel on Diversity in Action Transformational Development In our conversation Bob emphasizes the role of tourism as a catalyst for change, transforming stagnant markets and revitalizing communities. He describes why their focus is not just on short-term goals but also on long-term strategic thinking, envisioning a future state and working collaboratively to achieve it. Through various projects such as building arenas, developing destination marketing organizations, and creating vibrant tourism assets like the National Museum of Play, communities experience lasting positive impact. Collaboration is at the heart of Bob Provost's approach and he describes how by bringing together diverse industry professionals, sharing expertise, and working towards a common vision, the association has been successful in implementing initiatives that have had a positive effect on the community as a whole. Stewardship and Long-Term Thinking We discuss the significance of stewardship in destination management and why DMOs have a . responsibility to preserve and enhance both natural and cultural resources, ensuring their sustainable use for future generations. Bob discusses the domino effect, and encourages leaders to exercise vision and work towards shared goals, aligning the interests of all stakeholders. Diversity, Equity, and Inclusion Recognizing the importance of diversity within the tourism industry, the New York State Tourism Industry Association's focus has shifted to diversifying supply chains, reaching out to different demographic groups, and promoting diversity within communities and organizations. Bob discusses the well-received panel on Diversity in Action and describes how the association is facilitating the discussion, highlighting positive outcomes and signposting to best practices in DEI. Resources: Website: https://www.nystia.org/ LinkedIn Personal: https://www.linkedin.com/in/bobprovost/ LinkedIn Business: https://www.linkedin.com/company/nystia/ Facebook: https://www.facebook.com/NYSTIA Instagram: https://www.instagram.com/nystia Bob's Previous DOTL Episode: https://breaktheicemedia.com/podcasts/bob-provost/

Pauly talks about his first trip to The Thousand Islands for a wedding, the new naming rights sponsor of the Auditorium Theater, the passing of Bray Wyatt, and more.

In this episode of the I Can't Sleep Podcast, fall asleep learning about Brockville, Ontario, Canada. While it sounds like a great place to live or vacation; and yes, many famous people have come from there; learning about it in a slow, insipid manner will surely knock you out tonight. Happy sleeping! Ad-Free Episodes Want an ad-free experience? Follow this link to support the podcast and get episodes with no ads: https://icantsleep.supportingcast.fm/ Jupiter CBD Oil Save 20% off your first purchase by entering GETSLEEP upon checkout, or click here: https://www.getjupiter.com/share/icantsleep SleepPhones Follow this affiliate link to purchase headphones you can fall asleep with: https://www.sleepphones.com/?aff=793 then enter the code ICANTSLEEP10 at checkout to receive a discount. This content is derived from the Wikipedia article Brockville, available under the Creative Commons Attribution-ShareAlike (CC BY-SA) license. The article can be accessed at https://en.m.wikipedia.org/wiki/Brockville and https://en.m.wikipedia.org/wiki/Thousand_Islands. Learn more about your ad choices. Visit megaphone.fm/adchoices

jD, Pete, and Tim welcome Paul Langlois to the show to talk about his new record Guess What.TracksWill to FightDesperation Calling638 MainGuess WhatTranscriptTrack 1:[0:03] Well, I would see him working away in Timothee's from time to time, like I would walk past Timothee's and there would be Gord Downie sitting there on a laptop and, you know,my reaction as a super fan is like, I got to go in and say hi. And then, and then as the same super fan, I'm like, what if he's writing? Well, what if he's writing the next fucking great song? And I'm the asshole who interrupts that, right? Track 6:[0:28] Well, he would have been writing something, but he kind of put the songs together after. Track 1:[0:35] Oh, gotcha. Okay. Okay, gotcha. Track 6:[0:38] So, how is my signal? Because I can hotspot. It could be better. Track 1:[0:41] No, this is good. You're coming through great. Track 4:[0:43] It's great. Track 5:[0:44] Okay. Track 1:[0:44] It looks like a nice day. Are you outside? Track 6:[0:47] I'm outside. Track 1:[0:49] That's great. Track 6:[0:49] These are my little sister's paintings. Yeah, I sort of had a thing built where I can live outside and just be Oh, man Shelter shelter up there, you know, yeah So I spend a lot of time outhere. So I'm in downtown Kingston ish like about five blocks from the center of downtown and Cool. Yeah, so I like it here. We've been here like five years ever since the kids left Nice, nice. Track 5:[1:23] Just the two you have? Sorry. Track 6:[1:26] Two girls, yeah. And they're both kind of making their way in Toronto, 27 and 23, and in their separate career paths. Track 5:[1:34] Okay. Track 6:[1:36] So they're kind of, you know. Fairly entry-level and where they're working, but Sure. All right, and we just thought we Give them a break and they pay us far less rent than they would have to pay. Track 5:[1:49] Yeah. Track 6:[1:49] No, that's good I said and we've actually used the place because I have to be in Toronto More than I ever thought I thought I was retired and now I have to be in Toronto all the timeand So we stay there every time Cool. Ah. Toronto hotels these days, you're saving 600 bucks every time. Track 1:[2:07] Toronto hotels are insane right now. They're totally insane. So the premise of this podcast was, I found these two friends of mine that are from different parts of the world, but they both grew up in Southern California, and they had not heard ofThe Hip. So this is getting hip to The Hip, where we're taking them from not having heard them, and We go through the discography and sort of get their reactions as to what they're hearing. Because you know, you guys are a cultural phenomenon and it's strange sometimes when you meet people who aren't aware of this thing that is like 11 million people watched the lastconcert. You know, that's staggering when people don't know. Track 6:[2:51] I've got to say, great concept for a podcast. I did notice the title and I didn't really catch, like I didn't really know what it meant. Yeah, I love it. I love it. Track 5:[3:03] We're of the we're of the same generation pretty much here And you know Pete and I grew up with Southern, California radio you know, that's what got us into music and You know80s 90s. Track 4:[3:15] Yeah the radio. Track 5:[3:16] Yeah, I was making mixtapes off the radio and Middle school and yeah, you know, we didn't we didn't have the the hit playing on 91x in San Diego No, not a lot of radio play inCalifornia. Track 6:[3:28] There's a San Francisco station, uh, K-Fog? I forget the name of it. That's not K-Fog. There was a San Francisco station that played us, which is why we were able to, you know, eventually play the film or, you know, a couple,couple of days in a row kind of thing and sell that out. But that, I think it's K-Fog, something like that. Track 1:[3:50] It sounds very San Francisco. Yeah. There you go, actually. Track 6:[3:55] Our radio play was random. Dallas, we got played in the early days, and Chicago, we got played. So all the non-border towns, like, you know, Buffalo, they have Canadian radio. So we're always, we ended up in arenas there. Seattle, not as much, but then it was just random. You know, we'd get play in some American cities and no play whatsoever in others. So it takes so much longer by word of mouth than it does if you've got a song on the radio. Track 4:[4:29] Sure, you know, so so so Paul, this is something that I are you guys recording, by the way? Track 1:[4:35] Sorry, recording? Yeah, it's right. Track 6:[4:37] Yeah, I just wanted to make sure you're not losing all the all the goal. Track 5:[4:42] Okay, so we pretty much hit go and do no, no. Track 4:[4:45] Um, because we're talking about this too. And this has come up a number of times on the podcast, right? And obviously, you just were talking about some radio stations, you got random and play in certain cities, this and that. And Tim and I grew up at a time prior to streaming. We saw that switch. So essentially, whatever we were listening to, unless you were in some like super niche underground group with the cool kids and shit, you were listening to what wasbeing played on the three main stations, right? And we saw all the takeover with Clear Channel. We saw all that shit happen. Yeah, us too. The thing that I noticed, and I'm not trying to blow smoke up your ass here, Paul, but I'm going to maybe do a little bit, so clench if you got to. [5:39] I thought about a lot over the nine months we've been recording this podcast, is that good music is good music, and there's probably so much shit that falls through the cracks. Here you got Tim and I, who never heard of the hit before. We both have a lot of similar bands in common that we like, but J.D. Put us on this mainline IV drip of the Tragically Hip since we started this, and at first it was a slow burn, but But now it's like, I cannot imagine my life without your guys' band. And again, I'm sorry to blow smoke at you. No, that's not. I'm not trying to do that. No, I love it. I love it. But it's just like, good music is good music. And I had a deep dive into Guess What too, and we'll talk about that, I'm sure. Yeah, just it's if you're not exposed to it, man, then you're not exposed to it. Track 6:[6:43] You know, I really appreciate that like it's it's like and And the slow burn part as well. Like I think It was a slow burn for many people just because I Don't think it was that obvious like, you know, the early days were kind of like Oh, it's kind of like more a barroom bumpkind of you know know, um, really kind of not boring, but, you know, simple. [7:15] And so, but I know that when we were writing and recording, When we were writing and recording, we meant to do that. For these songs, the songs that we chose for each record, we believe that they would stand the test of time, that you'd probably have to listen to it four, five, six times before you start to,before it starts to grow on you, as you said, slow burn. And I think that's better. I mean, there are certainly songs I love that immediately it's kind of like, wow, okay, that's a hit. But a lot of times there's, even back then, you know, in the 80s and 90s, sometimes it's kind of spoon-fed stuff. I mean, it smells like Team Spirit right away. I loved it. That's not spoon-fed. We're just doing this thing. They're doing their thing. But there's many more examples of where it's more spoon-fed, where it lasts about nine or 10 listens, and then it's like, okay, I've had enough of this. Track 4:[8:18] Moving on, when I do when I when I press play on in violet light, I remember and I told JD and Tim this I was like, dude, I'm not I this is not gonna work. This is gonna be a shittytwo weeks. We're listening. And then like it ends up like, I just it just starts. It's like a cicada man. It just burrowed its way into my head. And then, like, at some point a week and a half into it, I'm rolling down the highway here in Spain, just like fucking windows down just like what? Where have you been all my life? Track 6:[8:50] That starts with Use It Up, right? Oh yeah, Use It Up. Track 1:[8:54] Oh yeah, yeah. Track 4:[8:56] Oh dude, Use It Up. Oh fuck. Track 1:[8:57] That was the song he picked. Yeah. Because every album I make them pick a song and Use It Up was for that record. Track 6:[9:05] It's so funny because I didn't like that song at first. I was like... You didn't? Yeah. Now what? We're reaching here, it's no good. And then it grew on me as we were sort of all learning our parts and playing it together. It was like, oh, I get it now. Use it up. Yeah, this is the best thingfor later. But at first, I was just like, this is going to be a horrible record. Track 4:[9:31] Oh, dear. Track 5:[9:32] Well, I even said to my kid, I have a 21-year-old, I have 21 and 18-year-old sons, and my 21-year-old plays drums and an amazing drummer and he's getting into other stuff too. But I played him some of the, you know, I don't remember which album, but he looked at me and he's like, are you sure you can do this? What is this band? And the guy, does he sing weird? What are you doing? And I'm like, I hope so, bro. Let's see what happens. But no, since then, I've played in bits here and there. And my whole family, of course, has been subject to the hip. Yeah, same here. And they're now recognizing the hip when they come on. I haven't forced them to sit down and hear an album, but that'll happen eventually, I'm sure. But yeah, the slow burn has been awesome. And for you guys to accomplish that, I mean, you were in high school, right? When you... Shortly after high school? Track 6:[10:34] Just after, yep. So there's a university here, Queen's, so three of the guys were at Queen's. Johnny was still in high school, drummer. Okay, that's right. He was in grade 13, which they don't have grade 13 anymore, but... Yeah, so it was kind of Yeah, a long long time Yeah, I mean for that to happen. Track 5:[10:55] It's like you know I have a My brother-in-law told me at one point like what are you gonna? Do bro? You know you're 19 You're not doing anything is like I'm gonna be a pro skateboarder And I'm like dude you got a one and what 40 million shot to be a pro skater Yeah, come on.I mean, but you guys you guys were young and you kept at it, and you didn't go after careers I don't think I mean, I'm sure some of you held like part-time jobs or something But you guysjust kept going at it. Track 6:[11:24] We all had parents that were kind of like very supportive but at the same time everyone was in University and You know, what's the backup plan my dad said all the time and I'mlike no backup plan dad These guys because I joined a bit later like a year and a half in they were covered in And I love them and Gord Downer is my best friend and he asked me to joinbasically because I was Leaving. I mean I didn't think of it as a threat, but he thought it was a threat that I was just gonna go down Try my luck as a songwriter and He was like he didn't like that at all. And so that's the other And when I joined, my dad was like, yeah, but, um, you're going to go back to school and you'll have a backup plan. I'm like, I don't need one. Track 1:[12:20] And so I'm just going to ask you what's the moment, what the moment was where you knew you didn't need a backup plan. You knew that early on, like that it was like you guyshad lightning in a bottle. Track 6:[12:31] I knew when I joined, I went to all their gigs and, um, but whenever I could, like I I was driving cab, but Gord would always have me on the list. And they were just like small in-town gigs, either at the university or at a biker bar or whatever, a few bars that they were playing. And... I knew, like, and it wasn't just Gork. I knew that Robbie and Johnny and Sinclair, like, that they were just doing something different. Now, mostly they were playing covers, but they had songs that never made it even to our first baby record. Great songs, Heart Attack Love and Baby Blue Blood and, you know, all these songs were Reformed Baptist Blues, which was on Thaskadelphia, but surprising. [13:21] But it was just like, God, they know how to write songs. Gord is unbelievable. Nothing like the friend I had. Like as soon as he got up on stage, it was just kind of like, wow. And so I just felt like, you know, they have it. And word of mouth already just in Kingston. You know, they say you can't, if you're in a band and you can't draw a crowd in your hometown, then chances aren't great. [13:53] But if you can, you can take that. And so we just would just gradually take it to the next town over, Belleville or, you know, Brockville, then Cornwall and, you know, Oshawa, justsort of like just took it up and down the 401, which is a highway around here. And just, we relied on word of mouth. And then we started booking things that way. Let's do three nights. So we'll play Thursday, Friday, Saturday, and by Saturday we'll have it full because everyone's gonna be going home saying, okay, the singer's crazy and the band isheavy and tight. And so we built it up that way. I'm not sure if you could do it these days. I mean, there's still venues. So I think you actually could still do it our way. It was the only way we knew how to do it, but we always felt like, we were always like. We all had a couple of hundred bucks in general, you know, so it wasn't like, um, we were, we weren't, uh, not making money, you know, we were able to, and our parents weresupportive, you know, Gord's parents got us a van and et cetera. It just kind of, um, we knew very early on that we could just keep doing it. Let's just keep doing it until it goes south. And it never did. Track 1:[15:10] I guess not. Track 4:[15:11] Holy shit. Track 1:[15:11] Amazing. Track 4:[15:13] It's an understatement. Track 1:[15:14] Yeah. Track 4:[15:17] So I want to, I don't know if it's cool fellas, but I want to dig into the to guess what a little bit. Track 1:[15:23] Yeah, let's do it. Yeah, yeah, yeah. Track 4:[15:27] So first off, you guys recorded the bathhouse. Yeah, we talked to we talked to Gord. What was it like three months ago? We talked to Gord. Track 1:[15:35] Oh, yeah. Yeah. Track 5:[15:37] Let's go. Yeah. Track 1:[15:39] When his record dropped, he came on. Track 6:[15:41] Pardon me? Track 1:[15:41] When his record dropped, he came on. Track 6:[15:44] I really love that record. I've told him many times. He's so funny. You know, he's just like... He's such a sweet dude. Yeah, he is. And he's, you know, we complain mutually about having to be the singer and, you know, and just all the complications. But I love his record. I've told him all the time. It's just like, it's classic him. just such variety. But we're not talking about his record, I guess. Sorry. Track 4:[16:15] No, no. No, he kind of said some of the same stuff, but your vocals on, I love the vocals on it. And then I was kind of reading about what you did with the, in terms of choosing the band and what's his name? His name is, oh, Billy Anglin. That dude is a, he's a freak on the drums, man. Track 6:[16:45] Desperation calling oh yeah yeah when he does that yeah like what the hell is that he's a giant in real life I don't know if you knew that's crazy he's like I don't know I think he's sixfive Oh he's easily 250 must be I don't know how much away but well hey he's a giant and he was a kid that we heard about Johnny mentioned him to me. I remember back when we first started, Johnny was like, there's a kid over at Elsie, which was another high school. We were at Casey and they were at Elsie and there's a kid, Billy Anglin, and he's like five years younger than us. He's like, they had the same drum teacher and he's like, that kid's really good. And he played into his 20s and then he started a construction company and hadn't played for 20 some years. And another The other guy in the band, Joe Carscallon, is kind of like a family friend of his. And he was like, you know, Bill Anglin would do it if he asked and I'm like, seriously? And anyway, he is great. We just played a show just out of town. There's a little quaint little town, Guananacue. I'm not sure if you've been there, JD, but it's a beautiful little summer town, Thousand Islands. Track 1:[18:00] Okay. Track 6:[18:01] And we played a gig on Saturday night. And I was just like, for some reason, I was just kind of really focused on Bill and the stuff he was doing. I'm very lucky. And the same with everyone else in the band, of course. Oh yeah. He just hits them so hard and he's so big. And he has a huge drum kit too, like huge. Where it's like, oh my God. We pull into a little club a couple of weeks ago just to have a warmup show. Track 4:[18:32] And the club owner's like, You know, the drums basically took up the whole, it's like, is this a Russian, is this a Russian cover band? Is Neil Curtin? Yeah. Track 6:[18:43] Anyway, I'm going to tell Bill you mentioned him because he's amazing. Track 1:[18:49] The big toms at the beginning of Will to Fight as well. Track 6:[18:52] Right. That's what I thought. That's what I thought Pete was going to say. Track 1:[18:55] Those big toms right off the start, it's like, oh fuck, this song has a bone to pick with me. It's like, it's challenging me right now, this song, it's. Track 6:[19:09] We've been opening with that one. Oh yeah. And Bill loves it, you know, he's had a setlist. Track 5:[19:14] Cool. Track 6:[19:16] Oriented and I always put Will to fight first and he's quite happy with it, he loves starting. Like he is not short on confident. For a guy who hasn't played, he's played on his own but who hasn't played with anybody for 20 years, It's pretty amazing. Track 4:[19:31] That's crazy, man. You know, you, well, it's because we're talking about drums. This is something that's that came that came up a couple times in the podcast. I don't know what record it was that we're talking about. But I had mentioned and I said it and I said it exactly like this. I was like, Paul Langlois is a fucking drummer. Track 1:[19:52] Yes. Yeah. I remember you remember that? Track 4:[19:55] Yeah. And and I said that because I don't remember what song and what record it really hit me like a Like a freight train, man. Track 1:[20:02] It was in between evolution is what you said it. Was it? Track 4:[20:06] Was it in between evolution? Track 1:[20:07] Yeah. Track 4:[20:07] Yeah. Just your, the tone of that, bless Paul, and just the chunk, chunk, chunk that was, I can't remember the song that it was on where it hit me and I was like, dude, I don't knowwho's drumming here. Is it Paul or is it Johnny? Because I'm getting, because I've done that. I've done that thing where you listen to each member of a band individually. Like, I don't know if you've ever done that, like next time you, next time you want to have a good time listening to your, if you like Rush, I mean, I like Rush. Who doesn't? Track 6:[20:40] I love Rush. I love Rush. Track 4:[20:42] Take it, take a Rush tune or watch maybe a live, live recording and focus on one. Watch it three times and focus on one musician each time. And you'll just see something new every time. Track 6:[20:54] I love that idea. Yeah. I love that idea. And thanks for that. On my first solo record, because I always thought... I got a drum kit when I was 30 as a birthday present, and it was Johnny's kit. Well, he set it up. And so my wife got it for me, Joanne. And then, so I was just drumming secretly in the basement, just because I always wanted to try it. And so my very first record, Fix His Head, which was like, I don't know, 15 years ago or something. Track 1:[21:27] 2010, yeah. Track 6:[21:30] Yeah, so 13 years ago and... I was just on my own. It was just me. And really, I was in there, in our studio, just with the engineer. Like, it's quite awkward, really. Because it's just the two of us, you know? I'm like, Aaron, you go outside or go do what you're going to do. Just give me the song on a loop. And I'm just going to play the song. And if I get a good one, I'll run into into the control room and push the space bar and stop it. And so that's how I drummed, really, because I just didn't like him kind of just being bored in there, probably on his phone. Yeah. Track 5:[22:10] Hovering. Track 6:[22:11] So anyway, I did all the drumming on Fix His Head. And it's not stellar drumming, but I was happy enough with it that it passed. I mean, it would have been way, if Johnny or Billy Anglin was playing, obviously, it would have been way, way better. But I wanted it to be a private record. I didn't really want to put it out. Track 1:[22:33] That's crazy. That's so crazy. But it's interesting you say that. I have a question for you that's been bothering me since your new record came out. Your new record is called Guess What, and it's the Paul Langlois band. But I go back into my old records that I have. I have them in Apple, so they're digital. And they say, like, fix this head, says Paul Langelois band now on it. But wasn't it just Paul Langelois before? Track 6:[23:02] Yes. Track 1:[23:03] Oh, so I'm not going crazy. Track 6:[23:06] Yeah, no, you're not crazy. You're not going crazy. I mean, it drives me a bit crazy, really, the thought. And Joanne hates, hates Paul Langlois Band, hates that there's no the. Oh, really? Track 1:[23:19] She's like, Jake. Track 6:[23:22] Yeah, the hips are my manager. My manager is also the hips manager, Jake Gould. He does a great job, but he was kind of, he was very in favor of just Paul Langlois Band. And I'mlike, okay, that's awkward, though. Wouldn't you say the Paul Langlois band? Track 1:[23:39] Yeah. Track 6:[23:40] Two guys in the band, Greg Ball especially, was like, no, Paul Langlois. Don't say Paul Langlois band, your first two records were Paul Langlois, so just Paul Langlois. And through the agents and all the people booking and stuff, it's like, well, the Paul Langlois band would probably be more appealing as an act to book, because I was trying to playfestivals this summer. And so I was like, okay. And then it's like, oh, by the way, we gotta go back. And it's all because of Spotify. Everything's because of Spotify these days. Track 1:[24:15] Oh, God. Track 6:[24:17] You gotta go back and call your first two records Paul Langlois banned because if someone searches, I don't understand it, but the algorithm, whatever it is, if someone searches,guess what, Paul Langlois banned, my first two records aren't gonna come up. And so that convinced me. I'm like, I want my first workers to come up. Track 5:[24:36] It happens. Track 4:[24:37] But that's the same thing with Malcolmus and the Jicks. Do you guys, I don't know if you guys know that. He has the same, that's a weird thing on Spotify. They want it to come up. They wanted to come up the other records so everybody can access all the music. And I get it because you also want people to listen to your, you know, your other records. But it's also like that. Track 6:[24:59] Yeah, I would like that. But I get it. But I hate it. You know, it's, it's, it's silly. It's silly. Track 4:[25:04] Me too. Track 6:[25:05] Paul Langlois would come up. Just if I call this the Paul Langlois band, which is- Change the algorithm, man. Track 4:[25:13] Change the search bar. Like make them both come up. Track 1:[25:16] Jesus Christ. Track 5:[25:18] That's funny you mention that Paul, at one point during our discography review of you guys I said, yeah, I love this whole process but the hip has totally fucked up my algorithm inSpotify. Like every time I play something now it's like something associated with the hip. It's like all these other bands but I have discovered some other bands. Track 1:[25:39] We were talking one day, Tim and I were talking, I was out for a walk and he's like, you're going to get a kick out of this, Paul, cause he's like, who is April wine? Oh, really? And I was like, April wine is like a seminal Canadian. Track 5:[25:52] Absolutely. Many, many hits. Track 6:[25:53] Big band. Good hits. Good. Yeah. Track 5:[25:59] Yeah, they're, they're fucking cool. Like I would, that was a fun surprise for me. That was, you know, thanks to the algorithm. So, but that, but that was, that was one of those things, you know, So 10 years, 10 years between Not Guilty and Guess What? Track 1:[26:18] Yeah. Not Guilty was 2013. Obviously that was a fucking giant 10 years in your life. What changed singer-songwriter wise? What did you take from that 10 years of experience and put onto this record? Is there anything you can lay down for us? Track 6:[26:47] You know, I think I got the… Lyrics are my toughest. That's the toughest. It's like finishing the bathrooms, you run out of money. And so, oh yeah, let's go for the vinyl shower. And so that's what I would do with lyrics. I'd kind of almost get, I get somewhere, but then I just stop and I didn't know where to go. So I think time passing more than anything. Gord, Gord passing. Track 1:[27:18] Yeah, yeah, of course. Track 6:[27:19] Time passing, the way the tour was so special, such an achievement on all our parts, but especially for Gord. Of course. The achievement on his part was unbelievable. It was unbelievable to watch, like from the inside, just how hard he worked and how driven he was. Was, like he didn't stop. And so I think that kind of affected, that helped me just with lyrics. Time passing, the girls moving out, my daughters, you know. And you know, now it's like in my 50s. And it's kind of like, I think that sort of just came through in the songs, Will to Fight, you know, just anything, just kind of like. So there was that. I didn't think I would ever, like I just was not interested in songwriting until I got offered a gig. And it was a few months away. And Joanne said, well, you've got to do it. And I'm like, well, I've got to put a band together. I'm not fucking into that. Who would I get? [28:34] Anyway, so then I thought of they're all buddies, Kingston buddies, and musicians, but they all have other jobs. And, um... Yeah, and then we started rehearsing and playing and and It was fun and so I decided I had a couple of songs Okay, maybe I'll finish those and we'll have a couple of You know new recordsongs. I was just playing my first two records kind of thing and then that was the end of August last year and and I booked the studio for November 7th, I think or 8th and And so then I had adeadline, so in September and October, I just kept throwing songs at them and I kept writing. And so it was the first time I'd written anything in 10 years. Like I just, I hadn't written anything. And then it was like, oh, wow, this is fun. These guys are good. And so the whole record is live. I mean, I play guitar and at the same time, I didn't do anything except one scratchy vocal. I redid one vocal, but we're playing live and there were very little fixes and very little overdub. Joe overdubbed a couple of solos. [29:54] So it was just kind of exactly how I wanted it to be and it was very reminiscent of how the hit recorded. You know, we like to not make mistakes, go into the control room and be like, yeah, this is a one. Of course, we'd leave it mostly up to Johnny, because the drums have to be right. He would always pick the ones that we wanted, without even talking about it. Okay, we like take number three. That was a very similar process to recording in the hip or in the bathhouse, so it was all very inspiring. So I'm a new person, honestly. I really thought I was done. Gord died, I just thought, well, we had a good run. It's sad. Yeah. But it was like 32 naturally years actively together. It's been longer now, but you know, all of us together playing and it wasn't like a five-year run, you know? And so I just thought, okay, that's good. But you know, yeah, we did it. And I'm just going to move on and come up with other things. Track 4:[31:07] I just didn't come up with anything else. No, but 638 Main says, like, I got a window into the song where you were at with this record and what kind of the question that JD asked. Like that I was like, okay, I see kind of where Paul's Brain was at with this record and like that's fucking cool, man. I'm so happy for you, dude I don't know. I had the same shit too before we recorded like before I Jumped in with this band that I'm in man. I was just kind of like, all right, I'm done playing music and then you fall in and then you get a band together and then you're like Like, oh, this is fucking, this is fun, man. This is rightwhere it should be. Track 6:[31:52] Yeah, you forget how fun it is. I did. And it's funny you mentioned 638 Maine. Not many people, but I have a couple of quirky friends that are like 638 Maine, man. I love that one. Whereas most of my friends, I'm sure they've never mentioned that song. I don't think it's necessarily a skipper, but it's an odd one. Track 4:[32:14] And basically- That's what's cool about it. Track 6:[32:17] Yeah, it's, you know, to me, it's cool, because I made it up on the spot. I didn't have anything written down. And I just pictured myself. Track 1:[32:26] What? Track 6:[32:26] Like I'm talking about what it's like to be in a studio. And we were in there eight days. And Greg and I, those guys were going, like there's a firefighter, construction, a factory shiftworker. Greg's a waiter, so he took the eight days off. And I don't have another job, so I did too. So Greg and I were out there the whole time. And a couple of nights, it was late. They were all latenights. And I was just sitting there, just like, oh, it'd be good if I could set myself in a bar to describe what it's like being in a studio. I didn't know if it was Monday or Tuesday. It was kind of like, you're lost in the music. You're lost in the recording. So I thought, and we only had nine songs, or nine that I liked. And so I was like, I want to try this one. And I just made it up. I just like set myself on fire. And then I'm kind of chasing the song. You know, it's all turning out like it should or whatever the words are. Track 4:[33:29] But it paints the picture, man. There was a hip song like that too. Do you remember, Tim, the apartment where Gord was describing the apartment? You know what I'm talking about? Track 1:[33:40] Apartment song. Track 4:[33:40] But that 638, man, it paints the picture, man. Track 6:[33:44] Oh, well, thanks. Thanks. Yeah. I was, I was very, uh, very happy with that. And Greg and Joe were asleep on the couch in the control room. So it was just, I just laid it down on acoustic and then, um, and saying it. And... And Bill and Matt, drums and bass, they played. And Joe and Greg were kind of pissed off because I missed it. So I allowed them to add a guitar and backup vocal. Track 4:[34:23] So anyway, I'm glad you mentioned that. It's cool, man. It's a deep cut. Deep cut. Yeah, we're going to Kingston. And for the finale we're doing is September 1st, but I think the day before or the day after we're going to Kingston. Yeah, August 31st. Track 1:[34:41] We're doing it. They're flying in August 30th. And uh, we're doing a road trip to Kingston. Track 6:[34:48] You're kidding. Track 1:[34:50] No. Oh, yeah, we're gonna do it. Yeah. I've got it right. Track 4:[34:54] Like I mean, yeah, I'm gonna be so dragon ass, man. Track 5:[34:59] It's all part of this process. Track 6:[35:00] That's what are you? Are you kind of Just doing it for fun. I'll meet up with you either way whether you're recording something or not That would be amazing to buy you a beer yeah, yeah, that would be absolutely amazing Yeah, we check the redhouse. Just get in touch with me. Track 4:[35:19] All right Let's do it, man. Let's do it. Track 5:[35:22] Let's do it Yeah, we're flying into town and we have an event at the rec room in Toronto on September 1st. So that's that's like our Our grand finale of the pod is we're meeting up and there's a tribute band, 50 Mission, playing at the Rec Room and we're doing this fundraiser for the DanielWinsor Fund. Track 6:[35:45] Oh cool. And so are you going to be, is it an event where you're not sort of talking together or are you guys going to get up and sing? Track 1:[35:54] We're going to record the final episode of the podcast at this event. Track 6:[35:58] Oh cool. Track 1:[35:59] So they'll finally reveal whether or not they're hip bands, which they've done a poor job concealing it. It's so funny at the beginning, they would be like, Pete would be like, oh, yeah, there's this lick that the rhythm guitarist plays. And you know, then later on, it's like, Paul Langlois, am I saying his name right? And then later on, it's just Paul. You know what I mean? Track 4:[36:21] I had no concept of your existence, man. I mean, I was like, what's this guy's, who's this guy's name? Now it's like, everything's off the tongue, man, but I, by the way, I gotta ask you, and I know they're for different things, but what do you prefer about it? Do you like your telly or do you like the Les Paul? What's the, what's the one that you're, that you, if you die with the guitar in your hands, the one you want in the hands? Track 6:[36:45] I mean, it would kind of, it would have to be to tell you, I'm playing the telly on the solo band shows. Okay. So, I've gone back to the telly. I don't regret playing a Les Paul. I started Les Paul day for night on. And that was a black one, Black Beauty. But then I switched to a Sunburst, which I love that guitar. That's my second favorite. That's my second favorite. But the Tele for sure. That was the first electric I bought, like officially bought to play in the band. And I'm using it now. And yeah, it would be the Tele for sure. Track 4:[37:28] I never played a telly ever until about six months ago when I visit my family in California. I walked into a guitar center and I went into the expensive room that you're not supposedto go in. I sat and there was nobody there. It was just a ghost town. I sat with a telly for like an hour and I was like, jeez, man. I got it because I always played a Strat. I got a Jazzmaster, and an SG, but I never, and I've never played, I mean, I played a Les Paul once, twice, but I never owned a Les Paul. That's thenext on the list. But a Tele was, I liked it. Track 6:[38:05] Yeah, well, see, it's funny, because I find a Strat the most different guitar, and because Robbie played it already, and he was like, he had 15 years of experience on me, because Ididn't start playing until I was 19, and he started playing, he was small. And he was playing a Strat. And so I was like, I mean, I started out playing acoustic and after a while I was like, fuck this, I can't fucking hear. And I had a big train ramp and it was just like, it was impossible to, I'd turn it up to, and I got electrocuted all the time because it was a old shit. Well, I finally said, I'm playing electrocute It's a lot of telly and because I figured that telly is kind of the opposite of a strat almost and I've never really ever tried to play a strat, like Ireally honestly never have. Les Paul's and Telly's I find are way more similar. The Strat to me is a different one. It's super cool, but it's just not my thing. Track 4:[39:13] I just like the pickups, man, like that Steve Miller tone, that Buddy Holly, those 57s and those 59s, those pickups are just so tinny and, you know. I don't know, I like that. Yeah, no, it's amazing. Track 5:[39:31] So, when we were just getting into Saskadelphia, right, and I'm listening to Crack My Spine the other day with my headphones on, you know, because I want to hear everything, andyour guitar on that was just like, it kind of just sounded like, it reminded me of the Ramones, like you were just kind of playing some power chords through there. It just reminded me of like 80s kind of punk rock, you know, and I just, I just loved that about it and it's been such an interesting thing hearing you guys playing guitar because, you know,most bands you got bass and drums kind of linked up as the backbone and you might have a lead guitarist but you might not or a rhythm guitarist but you guys were just like playing guitardoing your thing and it works and I think that's just such a cool rare thing about a band that you guys pulled off. And then it's been so fun to then go on and listen to your solo stuff and hear your evolution too, because we don't get this opportunity with bands very often in general. Like how many bands are still around or guys still around? Well, that's so cool to hear. Track 6:[40:43] You know, what I would credit that the most, or whom I would credit, is Don Smith, who produced Up to Here and Road Apples, because he handled us, he hard panned us, left andright, Robbie and I. So listen, I listen to ACDC, and sorry, but Malcolm Young isn't loud enough. Like, it's like the guitars are like this. Track 5:[41:12] It's true. Track 6:[41:14] So Don panned us. And so then every producer after that, and our guy, Mark Breakin, who actually helped us produce our only record we did without a producer was Trouble at theHen House. And Mark Breakin still mixes, you know, he mixed Saskatoon, he's been our sound man and our live sound man for the whole time. Although he did leave to bigger and better things for a good chunk of 15 years or so, but he's back with us and he pans them too. So he, so you can hear one in one ear, one in the other. I'm deaf in my right ear, So I have to listen to it twice just to. You know, hear what Robbie's doing, the odd time I'm interested. [42:03] But I credit Don because Don did that and he was super cool and we were so, he was unbelievable and we couldn't believe we were working with him. He'd done Traveling Wilburys and he did everything and he was Mr. Cool and he was just like, you guys just do your thing. And this is when we were young, impressionable, you know, we wanted to do our thing, but we figured, you know, people are going to tell us, you know, you should be a bit more countryand people did, you know, a bit more country, maybe or something. Don was just like, just do your thing. And he panned the guitars. So basically, he, he, I credit him with my job. Because people can hear me if they want, you know, if they're taking a closer listen, and like you guys do, it's kind of like all my parts are just naked on one side. At one point though, I made a list, and it's an ongoing list of songs where I'm in the right speaker if you're looking at it. I'm always on the left, and Robbie's always on the right. Except more and more, I'll check it, and I have like a list of about 12 songs where I'm on the right and Robbie's on the left. My producer decided to switch it. Track 1:[43:20] Oh, funny. Track 6:[43:23] Which is curious to me. Because when I put on headphones, so I can only hear out of this ear, 100% deaf in this one. Wow. I always put the left ear, because that's me. Oh, shit. Track 4:[43:37] And then you go. Track 6:[43:39] And then the odd hit song I'll run into, and it's kind of like, that's not me. That's Robbie. Track 4:[43:44] Who's this shitty guitar player? Track 6:[43:46] We didn't listen to each other at all, by the way, not at all. Track 4:[43:53] It's funny, dude. Paul, when you guys did Trouble, man, and that was a record, I think Tim and I, I don't know, I'm speaking for Tim here, but for me, that was the record where I was like, it finally openedfor me. And I got everything prior to that too, but that record was like, okay, this band doesn't give a shit about what anybody thinks, man. Just gonna do their own thing. And that's where I was like, you guys grew into this just animal that nobody knew existed. I don't know, man, that was a that was a break. That was the record that JD when JD flew to Malaga for primavera sound last year, he brought a vinyl and this is me still not knowinganything about you guys. And he brought me trouble at the house. And I was like, Yeah, I do you remember? Track 1:[44:48] Do you remember I mailed you trouble at the hen house on CD. And you're like, I don't have a CD player. I was like, who doesn't have a CD player? Track 4:[44:56] We moved here and I and then yeah, because we moved from the state. Anyway. Yeah, yeah. Track 6:[45:07] It's it's funny. Just to add something, because I thought of it earlier, very early on this chat, you were saying something, Pete, that I thought of, and I'm like, oh, fuck, I thought ofsomething good to say, and I forgot, but now I remember. So there was this band, there's this, I don't know that they're a band anymore, they're from Philly, and they're called Marah, M-A-R-A-H. [45:36] And they're a couple of brothers. And anyway, out of the blue, the day after our last show, the singer writes Robbie a letter. And he's like, and he describes, the letter makes me cry. me cry like it he describes his life and you know they got signed to, Maybe Steve Earle had a label, someone like that. Oh, nice. Nashville person. So they had some success, but they just ruined everything all the time. That was just their nature. You have brothers, and any time things started to go well,they would kind of blow it up. And then he described, he goes on to describe, he was out in the country on a TV at a cabin he doesn't use, but he happened to throw on the TV, and the CBC covered that show live, youknow, so it was live on the air, and he describes, you know, watching the show and what's about to happen, and what was my point? Well, there's this thing in the doc that Robbie quotes him, like, what's going to happen here? You know, are they gonna all bands either explode on the way up or on the way down everything? [47:01] Burn out nothing works out and What are you telling me? These guys are gonna pull the he compared it to a You know an air balloon, whatever they're called parachute No, like a balloon, you know, oh, yeah hot air balloon what they're all gonnapull it down and and land safely, like win rock and roll or something. It's just kind of like, anyway, it was just an amazing letter years ago. And I've always had the intention to kind of reach out to him and say, fuck your letter, man. Cause he, it's way more than that. Another thing he said is he would try, cause this is quite like this podcast that you're doing JD. He would, he learned not to play the hip to people, to his friends, to anyone, various girlfriends. He was like, I'd never do it. If he found a real hip fan, he said, like because they're touring, right, in New York or London or wherever, as soon as he realized it's a real hip fan, they'd be at the back of the bar. He'd take them to the back of the bar, and they'd have pints, and they'd talk about all things hip. [48:18] And anyway, so he said, if someone came over to my house, and I trusted them enough to play the hip, And they started talking over the music. That's it. Christmas lights off. Everyone's going home. [48:34] He's an amazing writer. Track 4:[48:38] It's so true. I said that to JD a couple of weeks ago when I was in California this last time in May. We were driving to Joshua Tree. And I fucking hate when people put on music and they're like, listen to this band. You're going to love this band. And it's like, you build it up, right? I didn't do that. I grabbed my buddy's phone, we're driving down, I don't know, 64 or whatever it is, down in Joshua Tree, 29 Palms, and I just grabbed his phone and I put on Trouble atthe Inn House. Yeah. And he's like, who the fuck is this? Track 6:[49:10] That's how to do it. Yeah. Track 4:[49:12] That's all I did. I played a couple tunes and he's like, who's this band? I was like, oh, it's... And then, you know, cause you don't set the expectations. Yeah. Track 6:[49:23] Yeah, no, exactly. That's how to do it. That's the downy way, actually. Did Gord and all his brothers. You surprise somebody. If you give people warning, it's not the same, you know? Yeah. It's just like, no, no. Track 1:[49:38] Expectations. Track 6:[49:39] Yeah, and when Gord was sick. Track 5:[49:41] It's true, it's true. Track 6:[49:42] His brother was looking after him mainly, and I was mainly there to help Pat. Someone would be, I wanna come over and see Gord, you know, because there was no tour in the future. Like, we all just thought this is it. And I was like, oh, this guy wants to come by. And Pat's like, well, just don't tell Gord about it. Tell them to come but we won't tell them about it. It'll just get surprised. That's how the Downies do it. It's like, oh we're here. Track 5:[50:10] That's cool. Track 1:[50:15] Paul, I know we said 45 minutes and we're over so I'm sorry for taking more of your time than we should have. No problem. Track 6:[50:20] I still got seven minutes before the next one. Track 1:[50:26] Oh wow, you're on junket mode, eh? Track 6:[50:28] Yeah, three today. Track 1:[50:32] Oh wow. Well, any chance we'll see you on the road in the fall? Or is it just take it as it comes? Track 6:[50:43] Take it as it comes, yeah. Sort of trying to stick to festivals, but obviously they start disappearing when the fall comes. So, unknown. So, I've got two more gigs in August and like one in Windsor-ish, Kingsville, and one in Bath, where our studio is, and those are both in August. Track 1:[51:08] It's been great talking to you. So great. Track 6:[51:10] Yeah, great talking to you guys. It's nice to meet you too, as well. Track 4:[51:13] Nice to meet you, Paul. Thanks for your time, man. Track 6:[51:17] Hey, we'll talk again. Track 5:[51:18] Yeah. Track 6:[51:18] Good luck with everything. Track 5:[51:19] For sure. Track 4:[51:20] Take care. Track 5:[51:20] Thanks. Track 6:[51:21] OK. See you guys. Track 5:[51:22] All right. Cheers! Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Nick Love is a project manager and music industry veteran. He has held various positions throughout his career, including VP of Marketing and Promotions at CTE World, co-founder and general manager of Coalition DJs, and brand curator and co-creative director of Magic City. Currently, he is the project manager over Urban at ONErpm.No Labels Necessary is a Weekly Podcast hosted by Sean "BrandMan" Taylor and Jacorey "Kohrey" Barkley, unveiling the world of marketing from Indie Artists to Major Labels.Check out the Content Rollout Plan That Got Our Artist 1 Million Streams on His First Song Ever:http://www.nolabelsnecessary.com/Pre-Save Your Future Releases:http://www.foreverfanmusic.com/Topics covered:00:27 Intro04:00 Nick Love: My Job is More Than Hanging With Rappers and Going to Clubs05:23 Working at CTE, Coalition DJs, Tequila Avion, Magic City, Thousand Islands and ONErpm09:31 Beware of this When Working with Artists14:24 Falling out with Jeezy and rebuilding their relationship23:32 Magic City: Being the Brand Manager of The Most Prominent Strip Club in ATL33:40 Solving ASAP Twelvyy's Biggest Problem with ASAP MOB40:52 Artists Can't Last Without This48:20 Pay to Win Doesn't Exist in The Music Industry54:57 Tequila Avion: Growing a Liquor Brand with Jeezy01:00:37 Artists Who Last Are Selling This01:15:21 What is a Project Manager01:18:05 Timing Your Rollouts

Pamela and Tim dive into what the national parks in Ontario are all about, get sidetracked by bald eagles and a cool fact about Point Pelee National Park.https://parks.canada.ca/Support the showCONNECT WITH US AT SUPER GOOD CAMPING:EMAIL: hi@supergoodcamping.comWEBSITE: www.supergoodcamping.comYOUTUBE: https://www.youtube.com/channel/UCqFDJbFJyJ5Y-NHhFseENsQINSTAGRAM: https://www.instagram.com/super_good_camping/TWITTER: https://twitter.com/SuperGoodCampinFACEBOOK GROUP: https://www.facebook.com/groups/SuperGoodCamping/ Support the show

First, Maureen wants to talk about the terrible and entirely predictable story of the missing submarine. Maureen has been thinking a lot about things that go in the water as she has spent the weekend in the Thousand Islands. She suggests that SaysWhovia resettle there. It is peaceful and lush, with clear water and nice people who commute on jet skis and eat ice cream all day. Dan likes this idea, but has other things on his mind.  In a move that he takes as a personal attack, Trump's initial Florida trial date has been set for August, exactly when he has to take his son to college. It probably won't happen then, but who knows. Also, something something Hunter Biden. All of this leads to a larger discussion of what 2024 is *really* going to be like. Tl;dr: really weird! All the time.Then suddenly it's all about whales who wear hats—and Maureen bursts into song.All aboard, SayWhovia! Time to dive!

Do you ever feel like you're stuck in a never-ending game of putting out fires? If you're saying “heck yes, Jan!”, then this is an episode you're going to love. Get ready to level up your game because we're about to dive into setting you up to start thinking like a CEO instead of a chief everything officer. I couldn't be more thrilled to introduce my incredible guest, Diana Lidstone, a true powerhouse in the world of business consulting. With nearly four decades of experience and a global reach, Diana has empowered thousands of entrepreneurs and professionals to supercharge their growth and skyrocket their profits. She's all about that "work less, profit more" mentality, and boy, does it work!During our conversation, Diana challenged me to think differently, to think like a CEO. We explored the crucial traits and mindset shifts required to develop that CEO mindset. And let me tell you, she didn't hold back! She put me in the hot seat and pushed me to start strategically assessing where I invest my time. It was an eye-opening experience that I can't wait to share with you all!So whether you're a go-getting startup founder, a passionate small business owner, or an aspiring entrepreneur ready to take the world by storm, this episode is tailor-made for you. We're here to help you step into those CEO shoes, unlock your full potential, and lead your business to new heights.Get ready to unleash your inner CEO and revolutionize the way you think about your business! It's time to elevate your thinking, drive meaningful change, and embrace a whole new level of success.About Diana Lidstone...After almost four decades in business and working globally with coaches, consultants, and other service-based experts, Diana Lidstone has helped thousands of entrepreneurs and professionals accelerate growth and explode profits. Her work embodies #worklessprofitmore!She is a sought-after business and marketing strategist known for her straight talk, no BS approach and her clients results. She is a best-selling author, international speaker and podcast host. Her podcast, Work Less, PROFIT More contains business strategies & interviews to help lawyers, accountants, financial advisors and other experts find more joy, profit and free time.Diana and her husband love boating in the Thousand Islands, Canada. She is often found walking her dog and drinking champagne (not at the same time)! Find her on the web: https://dianalidstone.com/ Follow her on FB: https://www.facebook.com/TheEntrepreneursGPSListen to her Podcast: https://dianalidstone.com/blog/podcast/ Start thinking like a CEO book chapter: https://dianalidstone.com/emerge-think-like-a-ceo/

AGLCA's Director, Kim Russo, shares one of her favorite areas on the Great Loop, the Thousand Island. This area along the St Lawrence River near where it meets Lake Ontario straddles the U.S./Canada border and includes scenic cruising, quaint towns, and castles you can tour. Here are some additional resources about the Thousand Islands: Great Loop LIfestyle Video on the Thousand Islands: https://youtu.be/zd7nnNql_6Y Great Loop Cruising Info Video-Oswego, NY to Clayton, NY: https://youtu.be/K7WDyzsUDLw Great Loop Cruising Info Video-Clayton, NY to Wellesley Island, NY: https://youtu.be/MyZSdkvMcyk Great Loop Cruising Info Video-Welleslay Island, NY to Kingston, ON: https://youtu.be/cEgULevp7do The Great Loop is the boating adventure of a lifetime. Loopers follow the 6,000-mile route in their own boats, cruising up the east coast, into the Great Lakes, through the inland rivers, and through the Gulf of Mexico. Learn more at www.greatloop.org.

In this special episode of the podcast jD, Pete, and Tim sit down with Gord Sinclair for a broad conversation about touring with the Hip, the future of Rock music, and his new record In Continental Divide. Stay tuned for the big announcement following this episode. If you know you know. RateThisPodcast.com/ghtthTranscript0:00:00 - Speaker 1Well, we're really, really thrilled that you could take some time with us today. This is a pretty exciting And this is my pleasure. 0:00:07 - Speaker 2I appreciate it I. 0:00:09 - Speaker 1Don't know if you know what the premise of our podcast is, but I want to give you a. Snip it so you get a. You get an understanding of who these two gentlemen that you're, that you're with, are sure. 0:00:21 - Speaker 3Maybe you should tell them at the end JD, let's get the Way. 0:00:28 - Speaker 1No way, no way, i'm sorry out. So I did a podcast called meeting Malcolm s and it was about pavement and I met these two guys in Europe last year Going to see pavement a bunch of times and we got talking about music And I really love the way they talk about music, the thoughtfulness and the way they understand it and so, naturally me being a very big, tragically hip fan your, your name came up and Them being from Southern California, one by way of Malaga, spain, and one by way of Portland, portland, oregon. Now They hadn't, they hadn't had much experience with you. So I thought, dreamt up this idea of the podcast taking them through your discography, one record at a time, so that The listeners can experience, can experience what it's like to hear your music for the first time. Again, cool. 0:01:27 - Speaker 3It's been. It's been a journey man, it's been really. 0:01:31 - Speaker 2What do you guys up to now like record-wise? is it still work in progress or we have just released up to here. 0:01:39 - Speaker 1So Okay. Here's a fun fact for you. Did you know that if you take your entire catalog and Release them, starting on May 2 4 weekend, and release one a week for the summer, it ends on Labor Day? 0:01:58 - Speaker 2Oh, no, I didn't know that you're your catalog. 0:02:01 - Speaker 1Your catalog is perfect for the summer man. 0:02:03 - Speaker 2Okay, great, well, that's, that is kind of appropriate. For sure We're, you know, sir It. We're unlike Southern California. We kind of lived for the for the three or four months where You can actually sit outside and play guitar with it, your fingers falling off, you know. 0:02:21 - Speaker 4That's, that's definitely me. in Portland, oregon, we had the the soggy a spring I could remember in my 22 years here. 0:02:28 - Speaker 2Yeah, yeah, that's a great town. We we played Portland a bunch, the Aladdin theater, remember that place. 0:02:36 - Speaker 4Yeah, it's an awesome theater. 0:02:37 - Speaker 2Yeah, it's great Yeah. 0:02:39 - Speaker 4Yeah, it was. It was a cool room. It was fun to play that. We'd love to have you back there with your your current gig. So it would be yeah well, it would be great. 0:02:48 - Speaker 2It would be great. Things have changed for the live music business. Unfortunately, Do it for the most true. 0:02:56 - Speaker 1Yeah, so for now, the tour, the tour that you're doing In Toronto and like Southern Ontario, yeah, is that? is that what we're expecting to see for now, or will there be more dates in the future? 0:03:10 - Speaker 2I mean it's still. It's still up in the air. I I'm certainly not averse to doing more dates, but we, you know, yeah, but, but we'll, but we'll wait and see. You know it's it's it's not an easy proposition. Taking the show on the road, i mean the expenses are kind of through the roof from, just in terms of putting the boys up. That's why we're staying pretty close to home. To start, not only on my band leader now, but I'm also a father. My, my youngest son, is Playing bass in the group and he's got a day job, so I got to get him back. It would be irresponsible for for me to have him run away to the circus like I did, you know. But what it needs to be seen, you know it remains to be seen. 0:04:03 - Speaker 1So how is that turn? turning around to your left or right and seeing your son, you know, in your familiar spot? 0:04:08 - Speaker 2It's, it's, it's, it's pretty great, i gotta say it's pretty great. He's a On his own. He is an amazing musician. All my, all my kids can play, but but he, this one's got a particular Ear and talent Guitar and piano or his principal instruments. He's not really a bass player But he can play just about anything. He's just one of these kids that can hear a melody on the radio or on record and sit down the piano and play it back to you. So, on that regard, it's really, really great to see him actually playing the. The flip side of it is as a He's a singer, songwriter in his own right and it's in the process of finishing a record that he did while he was at university, mcgill. And it's tough, you know, it's tough for young kids starting out today to get that, to get that leg up. You know that opportunity to that a group like ours had, you know where we, you know We were able to start playing gigs while we were in school, you know, and and kind of built it up from there very, very, very organically. We got better as we played more and and and as we played more, more people came and Then we got more gigs and it sort of snowballed from there and, like we like most, we started as a cover band And, crazily enough, like back in the 80s when we were playing, they didn't really want original artists in the clubs in Canada. So we would, you know, we would we were playing mostly kind of B sides of old stone songs and pre things and Kinks and stuff like that and then thrown in on, and so when we played at our song we said, oh that's, you know, that's from an old Damn record from from 1967, just absolutely bullshitting our way because there's some clubs that you had to write down your set list, make sure you weren't playing original material, bizarre. So. So now it's yeah, it's just a different scene. I'd love to see him working and playing, making it, taking a go at it. 0:06:18 - Speaker 4Yeah, i kind of feel like this day and age to Make it in a band and get on an actual tour That's further away than your closest region, it's like, it's almost like becoming a professional athlete. Yeah, you know, it's just like your chance. Yeah, getting that notoriety and getting embraced and carried through it, it's, it's just tougher. I have a close, close cousin of mine is in a band here in Portland and They're going at it so hard and you know they're lucky to get, i don't know, the six, six or eight West Coast swing. Yeah, and happy about it, but I tell you the cost for them and all that. Just like you said, it's, it's, it's, it's a tough, that's a tough go. 0:06:58 - Speaker 2Yeah, it's, it's. It's very much the same here. It's like anything, you know it, that You put a group together, you just, you get that, jones, you know, you do it for the love of it, and if you see a little glimpse of light at the end of the tunnel, it's enough to keep you going. Right, the one gig leads to the next, the next, but, but, boy, if you get continued roadblocks thrown up against you, it's a little demoralizing. And certainly up in Canada the live music scene Was in a tough spot even before COVID, and COVID really, just, you know, cut the head off the vampire It was. It was just made it so, so difficult, particularly at the at the early stage gigs, like in most downtown cores They've been. You know, the small rooms where it would be your first gig when you came to Winnipeg, or your first gig when you came to London, ontario, those rooms don't exist anymore. Yeah, you know, in fact I was talking to my agent a little while ago and Again, it's been a while since I've been out to Western Canada But he was saying that there's not really a gig in Vancouver and Calgary, you know, you know, in a 500 seat capacity and that's, and that's tough when you're just coming through town for the first time. I mean it's tough is on a regional level. If you're a young band story or a colonial, let alone From Kingston, ontario, you know, which is a real shame. I mean, the great thing about being from Canada, you know I The biggest obstacle to touring in this country Is actually our greatest assets, the sheer size of the country. You know, once you, once you kind of break out of your region and play in the crap little clubs around your hometown, then you've got eight, ten, twelve hours in some cases driving in between The, the gigs and you learn really early and really really quickly How to play. You know an empty room on a Tuesday night and a shithole on a Wednesday night With the object of getting to a win, a peg, you know, for Friday and Saturday night and maybe selling some tickets. You either You either fall in love with the lifestyle and the guys in your group or the gals in your group is the case. Maybe you're you bust up before you get you out of our problem, yeah, ontario. And so you get a lot of hearty souls that are doing it and then in the meantime, during all the traveling, you just develop this rapport with your bandmates and if you're a composer at all, it's great. You have so much time sitting in the band or sitting hotel room. You, just you're right, shoot the shit and Become what you become. It's true for musicians, it's true for crew people in this country as well. You know, you look at any international group and their crews are populated by Canadians. Because they have that experience, you learn how to travel. You know, get along with people in a confined space of a Band or tour bus, and it's a real asset that we have. The, fortunately, is getting more and more difficult. 0:10:17 - Speaker 3It's a bummer, because I love you guys you guys own your, i mean, and I we know this. I know this because We've pretty much gone through the, the majority of the discography, at least for the hip, and You guys really honed your skills of those Tuesday, wednesday night shittles, yeah, that you're playing To get you know, you can either take those is like Oh man, there's, there's five people here. What do we do? Like let's, let's, let's, let's treat it like a really tight rehearsal. Yeah, you know, whatever, and it it shows, at least from my perspective, on those records, those early records, and like to you guys just peak and just, you know, coast at 35,000 feet, so to speak. But it's funny you mentioned about the touring scene because I live in Malaga, i grew up in Southern California but I live in Malaga, spain and I We had a record come out last year and we're getting ready to do a second record And it's in the city center. They don't want anything original, they want stones, beatles, you know, maybe a couple Zeppelin tunes thrown in. They don't, they don't want they, they want cover bands, that's all they want. 0:11:39 - Speaker 2Yeah yeah, it's, it's tough, it's, it's a funny time And in a lot of ways I think it's a kind of a dangerous time from a cultural perspective. I mean, i, i'm a Stones fan and I'm a Beatles fan and I'm Zeppelin fan, you know, got it second hand from older brothers and sisters, you know. But but I, honestly, you know, i honestly believe that every generation needs their own stones. They need their. They need, like I grew up on the clash, right, you know, and the jam and and that was I was able to define Myself away from older brothers and sisters because of the tunes that I was like. And then, you know, and I've been Quite honestly, i've been waiting around for the next Nirvana and honest believing in my heart that's somewhere in the world, in some mom and dad's basement, there is the next Nirvana, working it and learning how to do it. I just, i really honestly believe it. I mean, again, i we're very fortunate Over the course of our career, touring, you know, we have Mums and dads that are bringing their kids to the, to our shows, and now those kids are, you know, so great, right, stealing to the hip and stuff, which is awesome. But but I worry, we're For Canada anyway, where that next hip is actually gonna come from. You know, and it's again, i think it's a cultural thing and, and you know, into your point about the Learning how to play the empty rooms, i mean That's what allowed us to. We were back and forth across Canada a number of times before we got the opportunity to Make that left turn and British Columbia and start playing in the United States, and it was literally like starting over. So by that point we were playing like larger clubs and doing really, really well. And then You know, you go down to Seattle and you're back to, you know, 20 to 50 people and and It's actually it's really informed our career. You know, we learned really early on to play to each other, it totally, and and how to play on stage and we always had this mantra we learned to play The hockey rinks like they were clubs and we learned to play the clubs like they were hockey rinks. You know, and Cool, cool. 0:14:08 - Speaker 4I love it. 0:14:08 - Speaker 2And we were really. We were also really really fortunate that we would go to a region like the Pacific Northwest In the States and, you know, at the club live and you could look out and you could see familiar faces, the folks that were really into it, like maybe it actually bought the records and you can see them in the first couple rows and and It was the same when we started in Canada. So we would change up the set every night. You know, try to throw in as many different tunes and we wouldn't open with the same tune, we wouldn't close with the same tune and to make it look like we were Not even look like we were trying, we were really trying to entertain these folks. You know, and you guys are all music fans and there's nothing worse than you know, you catch an act and you catch the, the acclater and the tour and it's like Hello Cleveland on the teleprompter. You know yes, agreed, agreed 100% and it's kind of like If you avoid phoning it in, consciously avoid phoning it in, then you're not phoning it in and You're not thinking about your laundry or the fight you just had with your partner. While you're out on the road You're actually engaged with your fellow musicians and particularly with the crowd. And, yeah, it's important to me as a music fan, you know, i just think it's really when there's still groups out there, you know, at the rink level, that do that, you know. 0:15:29 - Speaker 4Yeah, yeah, to comment quickly about your, your wish for the new Nirvana, like I think it's happening in in these sub capsules, like these regional areas. You know, i, i, i hear about bands doing a West Coast tour and doing in small clubs, smallish clubs, but also doing house parties along the way. And When I first heard this one band, i followed when I first heard they were doing, you know, in between, let's say, san Francisco and Eugene, they're doing house parties in Arcada, california, or Eugene, you know, south of Eugene or in Ashland is like. So they're doing house parties, like people are showing up and getting shit-faced and rocking out and in. To me It was kind of brilliant. It was very old-school feeling like you know, i remember stuff like this happening in the 80s, but at the same time I'm like, Well, if that's a way to hustle and get more fans to support you know, your, your venue climb, then that's that's just amazing. So I think it's happening with, you know, some of these kind of post-punk, kind of yeah, yeah, art rock bands. You know it's, it's happening, but it's it's so, it's so capsule-based, yeah. 0:16:45 - Speaker 2Yeah. 0:16:46 - Speaker 4So to break out of that, it's pretty tough. 0:16:48 - Speaker 2Yeah, i mean that that's my understanding of it as well that the first show I've got is part of a festival in our hometown called Spring Reverb and we again, it's a very, very local promoter who who's, you know? God bless them there. They're all in on live performance and they're they're they're like the Don Quixote's of music in this particular region And they'll do whatever it takes and there's tons of groups on the bill That I haven't heard before. It's and it's an exciting, you know, and it's a. It's a really, really good thing. But I think for your average music consumer, my age, it's like No one's trying to Pitch new music to me in any way. You know which is a real kind of drag. I, i have the dough to buy the records, but I don't know which ones to buy. You know, and it's I Still it's a. It's a bit of a problem. 0:17:47 - Speaker 4I'd love to send you a list. I'm bugging these two guys all the time. Hey, you gotta. You know. I told these guys all the time Hey, please, listen to this. There's one band in particular. I told them three times listen to it. Just make me a playlist. Maybe I'll listen to it later. 0:18:02 - Speaker 2And it's cool. It's never been easier to produce a record, like again when I started. Recording was expensive and you had to have a deal to do it and Someone had to invest the money in it, which, again, was maybe part of the advantage that we had that we did have some resources behind us with our first, even with our first DP, private resources and but you know that that patronage system is, i mean, kind of goes back to the Mozart days where you know folks that had the resources were able to Have house concerts, just happened to be in Palaces, right, right, but right, it's a good thing. I mean. I think you know the kids will find a way. It's just, it's just how, how to take it to the next level. I mean we, when we first started touring the States You know it was still regional radio was a real big deal. It was just before Ronald Reagan and the clear channel days kind of ruined it so many ways where you And it's a real shame as a music fan and as an artist you know you could be stiffen in one market, but then you go to like Austin, texas, for us it's like holy crap, where did all these people come from? And then you find out that a local DJ's got an affection for the band and they're kind of, they're kind of paving the road for you in advance And it was such a great. It was a great time. It was a great time for music. 0:19:48 - Speaker 3It's about what's played to you, gord, because I mean I just want to you talk. You mentioned the Clear Channel thing, but it's about what you're exposed to. Like you said, the DJ, that it's got a, that's got a. You know, it's got an affinity for your band. I know, joke. I'm in California right now because I'm visiting family out here And I saw two of my best friends. One flew out from Texas, the other one lives out and he's got to play some Mexico but he works the train. And so we all met up and on separate occasions I told him about this podcast and we listened to, to some hip tunes and they're like who the fuck are these guys? And and like immediate fans. Strangely enough, and because we have the same like taste in music, the three of us we grew up we played in bands the others were five, but never, never were exposed to it. Yeah, Yeah. Never had it. 0:20:44 - Speaker 2Yeah, we would get that a lot over the course of our career. You know, we've always benefited from really passionate fans that that they would, they would get it, and just the old fashioned word of mouth thing, you know, we would come back through town like 18 months later and they, they would have brought all their friends and maybe got turned into some more corded music, but then they would see the band play live and it would all make sense Like live music is supposed to. It's just like, oh, i didn't even think of that song on the record, but when they play it it's like, ah, you know, that's my new favorite song. And then it grew just really, really organically. You know, we, we never really had the benefit in the United States of a single that was big enough to open up like a national type of market, but we, we, we maintained this ability to tour around this, the circumference of the country, you know, and, um, yeah, and you know, wherever they had a professional hockey team, we would do pretty good, you know, right? 0:21:56 - Speaker 4So And I will say, though, i read, i read, i read you know something about you guys playing the, the Fillmore in the nineties in San Francisco, and there was some comment. It was like, yeah, they always do, they always have a big crowd here because every Canadian in California comes to the show, you know. so it's, it's hard to, it was hard to get tickets because all the Canadians would show up. So, you know, i love, i love the story of how everything happened organically and you guys kind of started from playing small clubs and what have you, and cover songs and how it. that rise is just totally remarkable And it's, you know, it's obviously worthy of of sharing, which we're we're doing now. I I gotta fast forward and ask about this. this uh, air stream, though, and you guys recording and you tell us about that. So cool. We have our own fantasy in our minds right now. Well, it was really it was a. 0:22:54 - Speaker 2Again, it's a kind of a a, a, a, a, a, a, a, a, a, a, a. It's a COVID based reality that that I faced, sure, the group myself, we, we own a recording studio in in Bath, ontario. It's a residential studio. So, um, COVID, it was really super busy because you know, artists, musicians, could, you could test up and and you'd live there. You didn't have to go anywhere and and as long as our, our engineer, um, you know, was safe. It was, so I I couldn't get into it, you know, like I just couldn't. It was booked out and and, um, i had, uh, you know, i'd I'd put out a record called taxi dancers previously And it's one of those things like I had tunes left over from writing with the hip and stuff. She got years and years to do that and then. But COVID was great for me as a, as a songwriter. I was locked down in my home with my family and um, and I was writing and using the guitar and and and writing lyrics as my means of journalism journaling really And I wrote this record fairly quickly. My buddy James, who played with me a bunch, i produced a bunch of records for his band, uh, peterborough, called the Spades, and so we've just always had a really close relationship, And he is an engineer and producer in Peterborough, um, and had this great idea this summer, before COVID, and he bought up an Airstream trailer And he rigged it up so that he was able to strip down his gear from his studio space and transplant everything into the airstream and go completely mobile So he could record live shows and, you know, any sort of situational stuff which I thought was a genius idea. And then COVID hit and it kind of you know, it kind of went on the back burner and then we got talking and said, you know I got enough tunes for a record And you know he played with me on the first one and engineered, so we want to try to do it again. And so he literally recorded it in my house. We parked the airstream in the driveway and ran a snake underneath my garage door and plugged in And it was kind of great. I hoofed my family out and it was just. It was just James and Jeff Housechuck and I are a drummer And we kind of stripped things down. We learned all the songs as a three piece, you know, with me playing the bass and then and then tracked kind of pretty much live And Jeff and I would play together and put the bed tracks down to like a scratch guitar, scratch, vocal and kind of did it like that. It was really kind of wicked and and not only in office is recording is, you know. We learned the songs and we kind of had all the beds done in like three, four days. It was just bang bang bang, kind of like that It was. It was a lot of fun, like kind of old school recording. You know We trying to almost emulate it doing its 16 track. You know, really minimal overdubs and just to get that sound. You know we spent the majority of our time miking up the drum kit, you know, so that we could. You know the Jeff Housechuck the drummer is just a fantastic player, jazz guy, and he decided to slum it with us rock and rollers And he brought that, that complexity and the touch where you could actually hear the notes on the drums. 0:26:48 - Speaker 4Yeah, yeah. 0:26:49 - Speaker 2I could hear it. That's great. We actually ran into him. Ironically, james and I were supporting the group classic Canadian story. but our very first show of the tour that we were doing supporting the troops got snowed out. We got to the bottom of George and Bay and the road was closed. It was drifted in. and so we drove back down to Toronto and went to this great club called the Rex Jazz Club And and Jeff was playing with this organ trio you know like real kind of like just fantastic player and had a couple beers with him after and said, hey, do you want to want to do this If I ever make another record? he said yeah, tommy, and the rest is kind of his. Yeah, it's wicked, yeah actually the phone. 0:27:34 - Speaker 3Yeah, Yeah, No, like, for example, the song over and over. I think it is Yeah. Yeah you can tell. I mean you can tell throughout the record, but like that one in particular. Like, however, because once you lay down your initial, you know your drums and bass, your guitar, your bones you start playing with arrangements. And that I was wondering, like thinking about your process, you know how you go about recording and once you get stuff down, but the way you explain the Airstream that had to have promoted like some level of like creativity, like where you see something you're like let's do this, let's try this, because you're not sitting in a traditional studio, yeah, you know, with four walls, yeah, and a window and like do you know what I'm saying? Does that? Yeah? 0:28:29 - Speaker 2no, 100% That's. That's exactly what we were able to do, you know, within the confines of the house, like I have a small home studio, i have an open house, so I got curtains everywhere to kind of allow, you know, for not only privacy but to kind of the dead and the sound and stuff. We had to be creative with what we were doing and trying to figure out where we're going to put drums and what we're going to do with bass. And it was literally because of the way Jeff played And my natural affinity for records that were done in the 70s that we wanted to, instead of getting the big, boomy Bob Rock kind of like we're going to play in the cabin, smash, smash, smash drum kit, we wanted to, like Jeff plays with jazz sticks, that's, you know it's with. Well, let's put them in this curtained off room where everything's totally dead and and do the do the Jeff Emmerich, you know and kind of play and play and play and move the mic and move the stand until we got the kit sounding perfectly. And then in the meantime, you know, we're rehearsing And James is playing with us, and then we, you know, we get tempos down and stuff and, and you know, do a scratch acoustic guitar and vocal. So we know the arrangement And then Jeff or James would go out into the air stream and we counted off and Jeff and I would play together, you know. And the bass amp is elsewhere in the house So there's no chance of it bleeding in, but we didn't have walls or rooms or anything like that. And again, it was the same process. Most of the bass is not DI, it's, it's. I've got an old, you know, portaflex B15 from 1965, the James Jamerson right And it was kind of like you stick the right mic in front of it And it sounds like, it sounds like Motown, you know, and and that's that's kind of the way we get it And obviously I knew the tunes real well And Jeff is just such a good enough player. That was like, oh, you know, you kind of get it in one or two takes and go out and listen to it. And then again is a cool thing that we go to the driveway, to the air stream, which was really our control room, and you listen to it all stripped away or it's just bass and drums And it's kind of like, oh, it's got even without a lyric and without a guitar or even a music Or even a melody. It's like, oh, this sounds pretty wicked. It's kind of the inverse of being a songwriter where I've always believed if you can sing a song around a campfire, and it can, and it can exist on that level and subsist on that level. And it's like, oh, okay, this is a decent song. And we kind of combined those two ethos and to make this record And it was again, it was just because of the circumstances of making it that you know, we all had to be tested up And we, you know, it was just the three of us and we were also living together and eating together and drinking beer together and playing pool pool table in one part of my house And it was great. It's like it's the band camp, you know it's the hardest way to kill time 0:31:49 - Speaker 1you know, sure, gord, i have a question from somebody on Twitter. We let them know that we were meeting with you And he said it's Craig Rogers from Twitter. And he said, curious if he curious of Gord finds himself writing on guitar or bass more often, or a mixture both with this album and when he wrote for the hip. His bass playing is very melodic, so does he have a chord progression in mind first and then works out a baseline, or does the bass melody come first? 0:32:17 - Speaker 2I primarily write on on guitar, for sure, you know, certainly with the hit, even the songs I would bring to the hip, i would have written riffs and started out on acoustic guitar, not all the time Like they were. on occasion I would try to do something on bass. Bass is kind of tough to sit around on your own. Keep yourself entertained. You know you can play along and stuff. But certainly like my main contributions writing with the hip because we had developed that cooperative songwriting style where you know no one in the group would bring a finished idea to the band. You know we would basically throw out a riff, be it a guitar riff, in some cases a bass riff, and we would start playing together And Gord would start putting a melody on top and a lyric on top And it was great that way. As the bass player you'd like oh here are all these holes all like add melody in here. Or in a lot of cases it was from the middle of songs while you were jamming or sound checks. You know we were always playing And but yeah, it was great fun. I miss making music with those guys big time because it was as a songwriter. It's different now, like you, never when you're, when I was in the hip, you never had to finish an idea And even if you had writers, if you were stuck with something, we would get together frequently And someone always had something new and fresh And that would, you know, cause a light bulb to come on And it would suggest a change that maybe the guy that brought the briefing hadn't thought of it Meanwhile, gord just being Gord, he would be riffing on top and his melody would suggest a change that he would make. And it was great. I loved being in that band And I miss it because it's like you know, like, yeah, you start, i still start the same way, i start with the riff, but man, it takes a lot longer, you know, to come up with complimentary parts and the lyrics and stuff. And again, i credit Gord. I really, you know, i tried to bring some heft to the lyrics that I was writing for this project and my previous one as well, cause he's, you know, he set a pretty high bar as a songwriter you know and can't really you can't really put out a solo record I've said this a few times, but it's absolutely true Like you can't write. Yummy, yummy, yummy. I've got love in my tummy, you know, and feel good about yourself with some of the lyrics that Gord has, Yeah. So yeah, the writing's a, it's a. It's a, it's a fun, it's a fun process. I'm not a sit down and write every day kind of guy. I don't do the Stephen King and lock myself in my studio for 2,500 words a day. You know, I kind of sit around and watch hockey playoffs or baseball playoffs and with the guitar in my lap and noodling all the while, and then you're like, oh, and The cascade begins from there. You know, kind of not really paying attention to either, and It's amazing if you're receptive to the idea, It'll come from somewhere. It's, it's great fun, It's great fun. 0:35:47 - Speaker 1Gordon, i'm so thrilled that you laid down in 2020, you laid down get back again. Yeah, so it was. So we have a like a proper studio version of that song, because I gotta tell you, that was one of the hip songs that I came to early on and in my young hip career, and I was like whoa, this is something that's not on the record. It's like this is like a bootleg, or this is so cool And I gotta I gotta wonder, though, how did it never end up on a record like that? It's such a phenomenal song. 0:36:17 - Speaker 2It's, it's a funny one. I mean that it was That's. It's an old song. I mean that was back from the day when we were we were kind of clubbing it, he just kind of in southeastern Ontario and and we were all learning how to write and we were Writing a little bit together. You know Gord Downey and I would and Paul were living together at a student house But yeah, and it it was kind of a mainstay when we would play live and it was in the running, you know for for up to here for sure as a song. But interestingly enough we We recorded a demo version of it. That was just dynamite. Like You know, the performance across the board is great, particularly by Gord, like he just sang the song beautifully. And it was one of those circumstances where the The, the guy that was helping us the demo, said, oh, that was really really great, one more time just like that and we'll run tape. And we're like, oh, what do you mean? you weren't running tape? and oh, tried it again and collectively we were so disappointed. You know that I don't know we never, we never seemed to Capture that vibe that we had on this unrecorded Demo. You know this is again, we were really young, we were still learning how to play in the studio where it sounded like us and Again it sounds old-fashioned and everything, but it was back in the day We recorded live like we would, you know, put the bass somewhere and you know, drums are in a booth and gorge in a booth And we were learning how to do it, but still get that feeling like with headphones on that, we know, you know It sounds like awesome. We're listening to each other Again and then, yeah, it just never. It just never made the cut. After that, i guess I mean there is a version of it somewhere, at least I thought we had reported it for up to here There is some kind of version of it somewhere. We're finding it Odd with. We've always been signed to Universal in various shapes or forms. We were signed to MCA back in the day. But the tracking down on old tapes, a little demo stuff And studio stuff, is proving very, very challenging from an archival point of view. Like stuff is You'd think it'd be, you know, t, hip or Or it would be alphabetized or the Dewey decimal system or something, but it seems pretty random and stuff is in different storage area Areas and our drummer John has just been. He's just been like a dog on a bone tracking down Material and just relentless trying to find stuff. We kind of process kind of started for us with Road apples and but we were still. We were only able to manage to find Two-thirds of the tapes. You'd think they'd all be somewhere together. You know, when we heard about that fire on the universal lot we hit the panic button like right. You know, wow is our? do you think some our stuff is in there? and then read the list in the paper and there was our name. You know, in between Mel Torme and the down Trop family singers, you know it's like oh crap, i hope we do, because that, that, because, to your point, that's exactly the kind of stuff that we were looking for. Turns out there were dupes and some of its backup in Canada. Definitely Yeah, it's a. 0:40:11 - Speaker 3I just I'd be remiss if I didn't ask a gear question What, what, what, what, what? what type of guitar do you do you like to sit in? Because when you're sitting watching a ball game and you're just noodling or you're just whatever like what's your go-to? 0:40:26 - Speaker 2I, honestly, i've got a. I've got a few favorites, in fact, like there's a song on this, this latest record called change your mind, i I bought a. I bought an old Martin D18, saw it. I bought it sight unseen because it's just always wandered one and down. I Picked it up and Literally pulled it out of the case and it became my main guitar for about a week and that was that that. I Written that song on it within Got probably a day or two, you know it. Just it felt right, sounded right. 0:41:08 - Speaker 1What's that? there's sort of like a dreamy stony sound on that song. 0:41:11 - Speaker 2Yeah, and I would credit the guitar. You know, i guess I I Have a lot of, i've got a lot of instruments laying around the house and I will, you know, i will, i'll trick myself and I'll keep one guitar With a capo on the second fret, you know, and thereby changing the key of the song. But you just, in certain cases, different chord shapes and different you know, composite chords, like you know, a D over G or whatever to sound different in a different key or it'll trigger something melodically and then that will Send it in a different direction. So I I kind of rotate them in and out. You know I I Got an old the first kind of cool guitar about was an old J 160, you know mid 50s old beaver of a guitar, and it's always out on a stand somewhere and I'll Pick it up and I'm playing. Right now I'm going out and playing this old, the ES 125, like a, like a hollow-bodied arched top, electric and And it's been laying around and it's just, you know It sounds kind of got a little more sound to it. Yeah, i just kind of believe in the magic of it. You know that it's just like oh, this, you know it's rules right and sounds right in the. The tones of these older instruments, to my ear anyway, are so nuanced that that each one has a different character and Suggests different things, you know, and some chords sound better on them than others. And yeah, it's so, so it's cool. I like I say, i trick myself and I mix it up. 0:42:50 - Speaker 3That's the per. That's the perfect answer. Had you said this is the guitar, that's trick Bs and me bulls it me right on that school Yeah my question was more what kind of beer we were you drinking where you were recording and the Not as young as I used to be, so I. 0:43:13 - Speaker 2There's always a case of the in this kicking around here, for sure, but I'm more of a light beer guy now. Unfortunately, i just I can't afford to Drink the loaf of bread like I used to when I was a young man. Live to tell it. 0:43:29 - Speaker 4I'm right there with you. Yeah, i'm right there with you, gord. 0:43:33 - Speaker 2Yeah, I'm pretty much a logger and a Guinness guy. 0:43:36 - Speaker 4Yeah, sorry. 0:43:49 - Speaker 1Well, I'd love to talk more about the. I'd love to talk more about the. The record sure. You gotta ask the video to man and we haven't touched. We haven't even touched on the video. 0:43:59 - Speaker 2Yeah, I'm glad you like it. I, i yeah, that's a friend of my, my youngest son's It's aspiring filmmaker and videographer and, obviously, videos on what there used to be. I'm like I'm a survivor of the MTV era where You just saw your recoupable account go up and up and up with your record company because you'd spend more money making videos And you would make the record. But it's. But he's a creative young guy having feral is his name and I I Was reading the newspaper And there was an article I can't think this one Facebook change just named in Metta, and Mr Zuckerberg had proclaimed that the future of the world, the future of reality, is going to be virtual reality. And They ran a little clip of the journalists were testing it out with the, with those goggles or that, whatever that is. I said, wow, this is the future of reality. The graphics are kind of shitty, you know, and and And I bounced it off heaven and I want to make this video about these tech guys that are kind of changing the way we interact with each other and getting rich in the process. And could we make a virtual reality kind of video for this song about kind of love in the VR world? and and man he ran with it. He was like I know exactly what you're talking about. 0:45:34 - Speaker 3And it's clear who everybody is. It's very clear who everybody is. 0:45:37 - Speaker 2He ran into a little problem with the record. Here it was, it was clear, still in the legal department And hit the panic button real quick. But we just, i think. 0:45:52 - Speaker 4You know, it's a good thing when that happens And it was fun. 0:45:55 - Speaker 2The song I think Google Guy has a bit of a sense of humor to it And yeah, i got when all that stuff was going on, when they were talking about how their algorithm there were purports to bring people together was actually the algorithm itself was based on making people butt heads, because there was more engagement when the conversation was contentious, as opposed to fluffy, puffy stuff. And that young woman, francis Hogan, really kind of went official with it. She kind of blew the whistle on these, these guys, and I thought right away to myself like oh, what would what would Joe Strummer do with a concept like this? You know, like you wouldn't know all have very much and try to call the guy out. And it was actually the last song I wrote for the record And it came real, real quick because I kind of got my dander up just a little bit. I'm not a social media guy. I understand how people do it. It's a great way to stay in touch with friends all over the world and stuff, and I get it. But God, imagine if you're Instagramming or Facebooking with your pals. But there was a artificial intelligence kind of trying to get you guys to fight about something you may have said to each other in high school and dragging that your relationship through them. 0:47:21 - Speaker 3I'm sure it's already there. 0:47:22 - Speaker 2Exactly, you know. I mean, i'm in a. I was in a band with my high school friends and, oh my God, we fought about crap that was 35 years old. You know, sometimes it was kind of anyway, yeah, so I yeah anyway, i glad you liked the video. It was fun to do. I'm going to do a follow up. He's one of them for call Yeah, but I don't know, i haven't seen it, yet I'm dying. He's okay. I'll be anxious to check that out. 0:47:56 - Speaker 4I enjoyed the video and the song and the song. Honestly it brought me. There's this kind of 80s feel to it, like it's it's interesting kind of the juxtaposition of I don't know had money for nothing Yeah yeah, and then what? Yeah, I'm not, i'm not sure, yeah it's. Yeah, it's reminded me of I don't know a couple of things, but anyways, the the video is great, and it was just I love the personification of the characters, and it's just. I just really related it. I was, i was in, i was in Italy recently. We were staying with family and I'm kind of a handy guy, so I was helping them do some stuff and I said, well, can you work and we get this? you know, we needed something in particular. My aunt there says, well, we could just order it on Amazon, and sure enough it was there the next day. And I'm like I mean Italy and Jeff, jeff, still knocking on the front door delivering, yeah yeah, it's not so I conveniently unbelievable. 0:48:57 - Speaker 2I totally understood. And obviously the pandemic Unbelievable fall for those companies because all the stores are closed, you know, but Massive. You know I'm from a small, small ish city. You know we got 150,000, 200,000 people here. You know, if the if you don't support your local hardware store owner, who may very well be your neighbor down the street, you know it's, it's kind of like the kind of the 100 mile Right Diet approach to living. You know where you live in a community and if you got a couple Extra bucks for things like I get it like people go to the big box stores to buy 10,000 rolls of toilet paper and junk like that. But but you know I go to the local record store and my local stereo shop and my local guitar store and we shop at a small little market And it's important, you know it's. It's important if, if the pandemic taught us anything, it was to kind of value community Because we would support each other more. And meanwhile, that's what I love to do. Devon's portrayal of the of. They call themselves founders. I understand the founders in the orbiting space station above, above the world, that slowly falling apart. And frankly, that's what I try to articulate in the, in the lyric of the songs, that we all know the reason, and the reason is really us. It's up to us, you know, to build community and to support community And and everyone wants to save a buck. I understand that stuff, but at what cost, you know. And what cost? Yeah, in many cases, like mm. Hmm, there's a lot of each cylinder vans all over North America as we speak, idling in people's driveways dropping off stuff that they ordered on Amazon last night, you know, and there's a cost to that, ever, you know. And that's what I was trying to articulate anyway, yeah, yeah. 0:51:21 - Speaker 4What I notice nowadays on, i mean, i'm in Portland, we're in the city, you know, downtown Portland is about three miles away, and what I notice is, when we don't have any deliveries, like, i'll just stop, i'm mostly home. I'll stop in the house and think, boy, it's actually been quiet today. You know it's. You have to wait for the white, the white noise to go away in order to I have a Kingston question for you. 0:51:45 - Speaker 1These gentlemen we are recording, we're doing a live finale for this podcast in Toronto on September 1st. So Pete is coming from Spain and Tim is coming from Portland and we're doing it at the rec room in Toronto. We're doing like a live podcast. There's going to be a standup comedian, There's going to be a hip tribute band, et cetera. But as part of their coming to Toronto, I've booked us a day in Kingston and I booked an Airbnb just yesterday. What are some? what are some hip, hip must see spots, Some you mentioned a record store earlier, a guitar store. What are some cool spots that we should go when we're? Yeah, I got to hit the store. 0:52:29 - Speaker 2You know what there's there's. so there's so many of it like this. First off, about Kingston. You know I'm born and bred and raised here. I went to university here and you know, like most young men, like Rob Baker and I, grew up across the street from each other And all through high school together and you know, gordon, Paul and I lived together in university And John was a little bit younger than us behind us, but all went to the same high school Parents, on to each other, and nonetheless, like most young men, we couldn't wait to shape the dust off this one horse town off our boots. You know, move on, or big city, and as it turned out, you know, our career took this home, over Europe and North America and traveling all the time And we kept coming back home And because it was home, you kind of learn to fall in love with where you're from By leaving it, you know, and you kind of realize, oh, there's no better place to come back to. And it still is a really, it's a really special place. Even even with the, the dearth of of live music venues and various cities and stuff, we still have five, six places in town that run live entertainment nightly. You know, and I think that's a big reason Kingston is as it is is produce so many great recording artists, you know Sarah Harmer, headstones and the Glorious Suns, and because they all came up the way I came up, you know, you kind of start playing in downtown Kingston and you play the bigger bar and the bigger bar after that. So there's, there's some great live music venues. The place I'm playing in town is called the, called the the Brune factory, which is kind of a multi multimedia approach to live. It's a film place, it's comedy, it's an office building for the local promoter during the day And it's, it's great. It's very DIY in town, you know it's. Also Kingston is an interesting place because it's a university town, a very large, very good university here. So we kind of punch above our weight for for restaurants and actually activities to do. We have a local symphony orchestra to symphony halls. You know it's just there's, it's a, it's a really special place And it's also it's right at the confluence of Lake Ontario and the St Lawrence River. So it's where the Great Lakes kind of funnel all down and the area just east of us is the start of the Thousand Islands, which is again it's we kind of take it for granted. But you guys coming from out of town, you know it's worth jumping on a, on a boat, and you've never seen anything like it. It's, it's just absolutely spectacular, you know, and it's, yeah, it's just really, really cool. There's so many great rooms. You know, the club that we played our first gig was called the the toucan, but it still exists, you know, and it's still still there. It's not a great place to see music or play music, but it's still running live. It's pretty wicked. There's another place called the mansion. That that they're again. They're fighting the good fight. They're trying to bring acts in all the time and get people a place to play. You know, and it's in, it's kind of great. It's kind of a great place to be. I feel very comfortable here. You guys are like it. 0:56:15 - Speaker 3If people, if they have places to play there and there's places that they make available, i mean there's. there's no doubt that's why the city thrives. 0:56:25 - Speaker 2I really think so as well, because people, obviously they people get used to live music being a viable option. You know, that was something that we experienced as young musicians First time we went to Europe. You know, it was again like starting over. But we got to the Netherlands And it was like that was. It was the case of like, where are all these people come from? how do they? but it's because the the nature of the culture and it was back in the CD days, when they were Ridiculously expensive, you know. So you'd have to pony up whatever 30, 40 Gelder's they were called back then so people would literally would go see a band play live before they would pull me up for the record, which was perfect for a group like us, because you know they huh, there are all these Magnificently tall people standing there and all speaking English, hang them boards, every word, yeah, it was great. It's all like. That's all about the amazing thing. I am such a such a believer. It's just so important. 0:57:36 - Speaker 1I I totally feel the song sometimes. Yeah, did you write that? like thinking, live in mind, like, like that feels like a live song. 0:57:46 - Speaker 2Yeah, i Did it's, it's, It's for sure, it's. There's an anger to it for sure, and it's it's not the easiest thing when you're sitting by yourself in a pandemic to To write an uptempo song. But like I, like I was seeing earlier, i was using that experience, i would close the sliding doors of our family room and, and, like everybody, there were moments during when I was locked down or where I was Wasn't quite myself. You know I was feeling. You know, being locked down in the middle of the winter in Canada is You get some dark days for sure, not only Physically dark days, but but the mood kind of translates on you and that's that's really what that song's about. And and I Attempted to turn that frown upside down and kind of went back to the old punk rock me, and It's basically like a confessional more than anything, because it was true, sometimes I felt like I was losing my mind, you know, and and sometimes you know, weed, weeds legal up here and and and so maybe sometimes I'm they've, you know, smoked a bomber a little too early in the day, you know, or maybe a little Bailey's in my morning coffee just to take the edge off. Even quite confessional about that as well. Much sugar in, yeah. 0:59:23 - Speaker 3That's really cool of you sharing my songs with us Share. 0:59:28 - Speaker 1I mean, for me it's been. It's been 38 years of you sharing songs with me, so I really appreciate that and Love that you made time for us today, well. 0:59:39 - Speaker 2I appreciate that. I appreciate that I'm a music fan as well and I and I I Made music with guys I know really well, guys I love, you know, and and We always took it really, really seriously and we always never took whatever success we may have achieved, we never took that for granted, you know, and we knew it was because of the people that liked our music and that supported the group and we, you know, with the past, you know Gordon Lightfoot. It was also such a huge believer in live performance and the love and respect for his audience. you know We came up, you know, very much the same way, just like getting our getting in front of people and, you know, and thanking them. You know, and being truly grateful and trying to allow the music to reflect our growth as people and but our commitment to making really good music and you know I'm I Love it I'm still trying to do it on my own. You know, i'd give anything to have gourd still here and be working my, my normal day job, you know. But but In no small way he still is. You know, he wouldn't have wanted any of us to stop playing, you know, and to stop making music and Yeah, and so I'm kind of doing it to honor him, but it's also it's because it's the only thing I know how to do. I kind of They caught into my, it's my, my yearly cycle of like, oh I'm, you should be making a record soon. I think the song start pouring out. Anyway, i'd go on, but I appreciate you guys for doing this and listening as it is intently, as I Listen to music like that's the way I listen to it too, you know I turn it up. 1:01:31 - Speaker 3Yeah, pleasure's our pleasure We've. 1:01:34 - Speaker 4we've got great time, so thank you so much. 1:01:37 - Speaker 2I'll get a list of places to see in Kingston, and there's some that would be great. It's a pretty, it's a pretty special. It's a pretty special little town. You'll, you'll get the vibe right away. You know, september is a great time of year. Kids are just coming back to school and the and the sailors are still hanging around. It's a touristy town. So there's a. There's a good, it's a good vibe here. It's a nice place to visit. I can't wait. Yeah, i can't wait awesome, awesome. 1:02:02 - Speaker 1Well, thank you so much Thanks for a pleasure, guys. 1:02:06 - Speaker 2I really really appreciate your time. It's fun. 1:02:08 - Speaker 3Yeah, thank you boys. 1:02:10 - Speaker 2Okay, take care, we'll see you real soon. Yeah, thank you. Support this podcast at — https://redcircle.com/fully-and-completely/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this special episode of the podcast jD, Pete, and Tim sit down with Gord Sinclair for a broad conversation about touring with the Hip, the future of Rock music, and his new record In Continental Divide. Stay tuned for the big announcement following this episode. If you know you know. RateThisPodcast.com/ghtthTranscript0:00:00 - Speaker 1Well, we're really, really thrilled that you could take some time with us today. This is a pretty exciting And this is my pleasure. 0:00:07 - Speaker 2I appreciate it I. 0:00:09 - Speaker 1Don't know if you know what the premise of our podcast is, but I want to give you a. Snip it so you get a. You get an understanding of who these two gentlemen that you're, that you're with, are sure. 0:00:21 - Speaker 3Maybe you should tell them at the end JD, let's get the Way. 0:00:28 - Speaker 1No way, no way, i'm sorry out. So I did a podcast called meeting Malcolm s and it was about pavement and I met these two guys in Europe last year Going to see pavement a bunch of times and we got talking about music And I really love the way they talk about music, the thoughtfulness and the way they understand it and so, naturally me being a very big, tragically hip fan your, your name came up and Them being from Southern California, one by way of Malaga, spain, and one by way of Portland, portland, oregon. Now They hadn't, they hadn't had much experience with you. So I thought, dreamt up this idea of the podcast taking them through your discography, one record at a time, so that The listeners can experience, can experience what it's like to hear your music for the first time. Again, cool. 0:01:27 - Speaker 3It's been. It's been a journey man, it's been really. 0:01:31 - Speaker 2What do you guys up to now like record-wise? is it still work in progress or we have just released up to here. 0:01:39 - Speaker 1So Okay. Here's a fun fact for you. Did you know that if you take your entire catalog and Release them, starting on May 2 4 weekend, and release one a week for the summer, it ends on Labor Day? 0:01:58 - Speaker 2Oh, no, I didn't know that you're your catalog. 0:02:01 - Speaker 1Your catalog is perfect for the summer man. 0:02:03 - Speaker 2Okay, great, well, that's, that is kind of appropriate. For sure We're, you know, sir It. We're unlike Southern California. We kind of lived for the for the three or four months where You can actually sit outside and play guitar with it, your fingers falling off, you know. 0:02:21 - Speaker 4That's, that's definitely me. in Portland, oregon, we had the the soggy a spring I could remember in my 22 years here. 0:02:28 - Speaker 2Yeah, yeah, that's a great town. We we played Portland a bunch, the Aladdin theater, remember that place. 0:02:36 - Speaker 4Yeah, it's an awesome theater. 0:02:37 - Speaker 2Yeah, it's great Yeah. 0:02:39 - Speaker 4Yeah, it was. It was a cool room. It was fun to play that. We'd love to have you back there with your your current gig. So it would be yeah well, it would be great. 0:02:48 - Speaker 2It would be great. Things have changed for the live music business. Unfortunately, Do it for the most true. 0:02:56 - Speaker 1Yeah, so for now, the tour, the tour that you're doing In Toronto and like Southern Ontario, yeah, is that? is that what we're expecting to see for now, or will there be more dates in the future? 0:03:10 - Speaker 2I mean it's still. It's still up in the air. I I'm certainly not averse to doing more dates, but we, you know, yeah, but, but we'll, but we'll wait and see. You know it's it's it's not an easy proposition. Taking the show on the road, i mean the expenses are kind of through the roof from, just in terms of putting the boys up. That's why we're staying pretty close to home. To start, not only on my band leader now, but I'm also a father. My, my youngest son, is Playing bass in the group and he's got a day job, so I got to get him back. It would be irresponsible for for me to have him run away to the circus like I did, you know. But what it needs to be seen, you know it remains to be seen. 0:04:03 - Speaker 1So how is that turn? turning around to your left or right and seeing your son, you know, in your familiar spot? 0:04:08 - Speaker 2It's, it's, it's, it's pretty great, i gotta say it's pretty great. He's a On his own. He is an amazing musician. All my, all my kids can play, but but he, this one's got a particular Ear and talent Guitar and piano or his principal instruments. He's not really a bass player But he can play just about anything. He's just one of these kids that can hear a melody on the radio or on record and sit down the piano and play it back to you. So, on that regard, it's really, really great to see him actually playing the. The flip side of it is as a He's a singer, songwriter in his own right and it's in the process of finishing a record that he did while he was at university, mcgill. And it's tough, you know, it's tough for young kids starting out today to get that, to get that leg up. You know that opportunity to that a group like ours had, you know where we, you know We were able to start playing gigs while we were in school, you know, and and kind of built it up from there very, very, very organically. We got better as we played more and and and as we played more, more people came and Then we got more gigs and it sort of snowballed from there and, like we like most, we started as a cover band And, crazily enough, like back in the 80s when we were playing, they didn't really want original artists in the clubs in Canada. So we would, you know, we would we were playing mostly kind of B sides of old stone songs and pre things and Kinks and stuff like that and then thrown in on, and so when we played at our song we said, oh that's, you know, that's from an old Damn record from from 1967, just absolutely bullshitting our way because there's some clubs that you had to write down your set list, make sure you weren't playing original material, bizarre. So. So now it's yeah, it's just a different scene. I'd love to see him working and playing, making it, taking a go at it. 0:06:18 - Speaker 4Yeah, i kind of feel like this day and age to Make it in a band and get on an actual tour That's further away than your closest region, it's like, it's almost like becoming a professional athlete. Yeah, you know, it's just like your chance. Yeah, getting that notoriety and getting embraced and carried through it, it's, it's just tougher. I have a close, close cousin of mine is in a band here in Portland and They're going at it so hard and you know they're lucky to get, i don't know, the six, six or eight West Coast swing. Yeah, and happy about it, but I tell you the cost for them and all that. Just like you said, it's, it's, it's, it's a tough, that's a tough go. 0:06:58 - Speaker 2Yeah, it's, it's. It's very much the same here. It's like anything, you know it, that You put a group together, you just, you get that, jones, you know, you do it for the love of it, and if you see a little glimpse of light at the end of the tunnel, it's enough to keep you going. Right, the one gig leads to the next, the next, but, but, boy, if you get continued roadblocks thrown up against you, it's a little demoralizing. And certainly up in Canada the live music scene Was in a tough spot even before COVID, and COVID really, just, you know, cut the head off the vampire It was. It was just made it so, so difficult, particularly at the at the early stage gigs, like in most downtown cores They've been. You know, the small rooms where it would be your first gig when you came to Winnipeg, or your first gig when you came to London, ontario, those rooms don't exist anymore. Yeah, you know, in fact I was talking to my agent a little while ago and Again, it's been a while since I've been out to Western Canada But he was saying that there's not really a gig in Vancouver and Calgary, you know, you know, in a 500 seat capacity and that's, and that's tough when you're just coming through town for the first time. I mean it's tough is on a regional level. If you're a young band story or a colonial, let alone From Kingston, ontario, you know, which is a real shame. I mean, the great thing about being from Canada, you know I The biggest obstacle to touring in this country Is actually our greatest assets, the sheer size of the country. You know, once you, once you kind of break out of your region and play in the crap little clubs around your hometown, then you've got eight, ten, twelve hours in some cases driving in between The, the gigs and you learn really early and really really quickly How to play. You know an empty room on a Tuesday night and a shithole on a Wednesday night With the object of getting to a win, a peg, you know, for Friday and Saturday night and maybe selling some tickets. You either You either fall in love with the lifestyle and the guys in your group or the gals in your group is the case. Maybe you're you bust up before you get you out of our problem, yeah, ontario. And so you get a lot of hearty souls that are doing it and then in the meantime, during all the traveling, you just develop this rapport with your bandmates and if you're a composer at all, it's great. You have so much time sitting in the band or sitting hotel room. You, just you're right, shoot the shit and Become what you become. It's true for musicians, it's true for crew people in this country as well. You know, you look at any international group and their crews are populated by Canadians. Because they have that experience, you learn how to travel. You know, get along with people in a confined space of a Band or tour bus, and it's a real asset that we have. The, fortunately, is getting more and more difficult. 0:10:17 - Speaker 3It's a bummer, because I love you guys you guys own your, i mean, and I we know this. I know this because We've pretty much gone through the, the majority of the discography, at least for the hip, and You guys really honed your skills of those Tuesday, wednesday night shittles, yeah, that you're playing To get you know, you can either take those is like Oh man, there's, there's five people here. What do we do? Like let's, let's, let's, let's treat it like a really tight rehearsal. Yeah, you know, whatever, and it it shows, at least from my perspective, on those records, those early records, and like to you guys just peak and just, you know, coast at 35,000 feet, so to speak. But it's funny you mentioned about the touring scene because I live in Malaga, i grew up in Southern California but I live in Malaga, spain and I We had a record come out last year and we're getting ready to do a second record And it's in the city center. They don't want anything original, they want stones, beatles, you know, maybe a couple Zeppelin tunes thrown in. They don't, they don't want they, they want cover bands, that's all they want. 0:11:39 - Speaker 2Yeah yeah, it's, it's tough, it's, it's a funny time And in a lot of ways I think it's a kind of a dangerous time from a cultural perspective. I mean, i, i'm a Stones fan and I'm a Beatles fan and I'm Zeppelin fan, you know, got it second hand from older brothers and sisters, you know. But but I, honestly, you know, i honestly believe that every generation needs their own stones. They need their. They need, like I grew up on the clash, right, you know, and the jam and and that was I was able to define Myself away from older brothers and sisters because of the tunes that I was like. And then, you know, and I've been Quite honestly, i've been waiting around for the next Nirvana and honest believing in my heart that's somewhere in the world, in some mom and dad's basement, there is the next Nirvana, working it and learning how to do it. I just, i really honestly believe it. I mean, again, i we're very fortunate Over the course of our career, touring, you know, we have Mums and dads that are bringing their kids to the, to our shows, and now those kids are, you know, so great, right, stealing to the hip and stuff, which is awesome. But but I worry, we're For Canada anyway, where that next hip is actually gonna come from. You know, and it's again, i think it's a cultural thing and, and you know, into your point about the Learning how to play the empty rooms, i mean That's what allowed us to. We were back and forth across Canada a number of times before we got the opportunity to Make that left turn and British Columbia and start playing in the United States, and it was literally like starting over. So by that point we were playing like larger clubs and doing really, really well. And then You know, you go down to Seattle and you're back to, you know, 20 to 50 people and and It's actually it's really informed our career. You know, we learned really early on to play to each other, it totally, and and how to play on stage and we always had this mantra we learned to play The hockey rinks like they were clubs and we learned to play the clubs like they were hockey rinks. You know, and Cool, cool. 0:14:08 - Speaker 4I love it. 0:14:08 - Speaker 2And we were really. We were also really really fortunate that we would go to a region like the Pacific Northwest In the States and, you know, at the club live and you could look out and you could see familiar faces, the folks that were really into it, like maybe it actually bought the records and you can see them in the first couple rows and and It was the same when we started in Canada. So we would change up the set every night. You know, try to throw in as many different tunes and we wouldn't open with the same tune, we wouldn't close with the same tune and to make it look like we were Not even look like we were trying, we were really trying to entertain these folks. You know, and you guys are all music fans and there's nothing worse than you know, you catch an act and you catch the, the acclater and the tour and it's like Hello Cleveland on the teleprompter. You know yes, agreed, agreed 100% and it's kind of like If you avoid phoning it in, consciously avoid phoning it in, then you're not phoning it in and You're not thinking about your laundry or the fight you just had with your partner. While you're out on the road You're actually engaged with your fellow musicians and particularly with the crowd. And, yeah, it's important to me as a music fan, you know, i just think it's really when there's still groups out there, you know, at the rink level, that do that, you know. 0:15:29 - Speaker 4Yeah, yeah, to comment quickly about your, your wish for the new Nirvana, like I think it's happening in in these sub capsules, like these regional areas. You know, i, i, i hear about bands doing a West Coast tour and doing in small clubs, smallish clubs, but also doing house parties along the way. And When I first heard this one band, i followed when I first heard they were doing, you know, in between, let's say, san Francisco and Eugene, they're doing house parties in Arcada, california, or Eugene, you know, south of Eugene or in Ashland is like. So they're doing house parties, like people are showing up and getting shit-faced and rocking out and in. To me It was kind of brilliant. It was very old-school feeling like you know, i remember stuff like this happening in the 80s, but at the same time I'm like, Well, if that's a way to hustle and get more fans to support you know, your, your venue climb, then that's that's just amazing. So I think it's happening with, you know, some of these kind of post-punk, kind of yeah, yeah, art rock bands. You know it's, it's happening, but it's it's so, it's so capsule-based, yeah. 0:16:45 - Speaker 2Yeah. 0:16:46 - Speaker 4So to break out of that, it's pretty tough. 0:16:48 - Speaker 2Yeah, i mean that that's my understanding of it as well that the first show I've got is part of a festival in our hometown called Spring Reverb and we again, it's a very, very local promoter who who's, you know? God bless them there. They're all in on live performance and they're they're they're like the Don Quixote's of music in this particular region And they'll do whatever it takes and there's tons of groups on the bill That I haven't heard before. It's and it's an exciting, you know, and it's a. It's a really, really good thing. But I think for your average music consumer, my age, it's like No one's trying to Pitch new music to me in any way. You know which is a real kind of drag. I, i have the dough to buy the records, but I don't know which ones to buy. You know, and it's I Still it's a. It's a bit of a problem. 0:17:47 - Speaker 4I'd love to send you a list. I'm bugging these two guys all the time. Hey, you gotta. You know. I told these guys all the time Hey, please, listen to this. There's one band in particular. I told them three times listen to it. Just make me a playlist. Maybe I'll listen to it later. 0:18:02 - Speaker 2And it's cool. It's never been easier to produce a record, like again when I started. Recording was expensive and you had to have a deal to do it and Someone had to invest the money in it, which, again, was maybe part of the advantage that we had that we did have some resources behind us with our first, even with our first DP, private resources and but you know that that patronage system is, i mean, kind of goes back to the Mozart days where you know folks that had the resources were able to Have house concerts, just happened to be in Palaces, right, right, but right, it's a good thing. I mean. I think you know the kids will find a way. It's just, it's just how, how to take it to the next level. I mean we, when we first started touring the States You know it was still regional radio was a real big deal. It was just before Ronald Reagan and the clear channel days kind of ruined it so many ways where you And it's a real shame as a music fan and as an artist you know you could be stiffen in one market, but then you go to like Austin, texas, for us it's like holy crap, where did all these people come from? And then you find out that a local DJ's got an affection for the band and they're kind of, they're kind of paving the road for you in advance And it was such a great. It was a great time. It was a great time for music. 0:19:48 - Speaker 3It's about what's played to you, gord, because I mean I just want to you talk. You mentioned the Clear Channel thing, but it's about what you're exposed to. Like you said, the DJ, that it's got a, that's got a. You know, it's got an affinity for your band. I know, joke. I'm in California right now because I'm visiting family out here And I saw two of my best friends. One flew out from Texas, the other one lives out and he's got to play some Mexico but he works the train. And so we all met up and on separate occasions I told him about this podcast and we listened to, to some hip tunes and they're like who the fuck are these guys? And and like immediate fans. Strangely enough, and because we have the same like taste in music, the three of us we grew up we played in bands the others were five, but never, never were exposed to it. Yeah, Yeah. Never had it. 0:20:44 - Speaker 2Yeah, we would get that a lot over the course of our career. You know, we've always benefited from really passionate fans that that they would, they would get it, and just the old fashioned word of mouth thing, you know, we would come back through town like 18 months later and they, they would have brought all their friends and maybe got turned into some more corded music, but then they would see the band play live and it would all make sense Like live music is supposed to. It's just like, oh, i didn't even think of that song on the record, but when they play it it's like, ah, you know, that's my new favorite song. And then it grew just really, really organically. You know, we, we never really had the benefit in the United States of a single that was big enough to open up like a national type of market, but we, we, we maintained this ability to tour around this, the circumference of the country, you know, and, um, yeah, and you know, wherever they had a professional hockey team, we would do pretty good, you know, right? 0:21:56 - Speaker 4So And I will say, though, i read, i read, i read you know something about you guys playing the, the Fillmore in the nineties in San Francisco, and there was some comment. It was like, yeah, they always do, they always have a big crowd here because every Canadian in California comes to the show, you know. so it's, it's hard to, it was hard to get tickets because all the Canadians would show up. So, you know, i love, i love the story of how everything happened organically and you guys kind of started from playing small clubs and what have you, and cover songs and how it. that rise is just totally remarkable And it's, you know, it's obviously worthy of of sharing, which we're we're doing now. I I gotta fast forward and ask about this. this uh, air stream, though, and you guys recording and you tell us about that. So cool. We have our own fantasy in our minds right now. Well, it was really it was a. 0:22:54 - Speaker 2Again, it's a kind of a a, a, a, a, a, a, a, a, a, a, a. It's a COVID based reality that that I faced, sure, the group myself, we, we own a recording studio in in Bath, ontario. It's a residential studio. So, um, COVID, it was really super busy because you know, artists, musicians, could, you could test up and and you'd live there. You didn't have to go anywhere and and as long as our, our engineer, um, you know, was safe. It was, so I I couldn't get into it, you know, like I just couldn't. It was booked out and and, um, i had, uh, you know, i'd I'd put out a record called taxi dancers previously And it's one of those things like I had tunes left over from writing with the hip and stuff. She got years and years to do that and then. But COVID was great for me as a, as a songwriter. I was locked down in my home with my family and um, and I was writing and using the guitar and and and writing lyrics as my means of journalism journaling really And I wrote this record fairly quickly. My buddy James, who played with me a bunch, i produced a bunch of records for his band, uh, peterborough, called the Spades, and so we've just always had a really close relationship, And he is an engineer and producer in Peterborough, um, and had this great idea this summer, before COVID, and he bought up an Airstream trailer And he rigged it up so that he was able to strip down his gear from his studio space and transplant everything into the airstream and go completely mobile So he could record live shows and, you know, any sort of situational stuff which I thought was a genius idea. And then COVID hit and it kind of you know, it kind of went on the back burner and then we got talking and said, you know I got enough tunes for a record And you know he played with me on the first one and engineered, so we want to try to do it again. And so he literally recorded it in my house. We parked the airstream in the driveway and ran a snake underneath my garage door and plugged in And it was kind of great. I hoofed my family out and it was just. It was just James and Jeff Housechuck and I are a drummer And we kind of stripped things down. We learned all the songs as a three piece, you know, with me playing the bass and then and then tracked kind of pretty much live And Jeff and I would play together and put the bed tracks down to like a scratch guitar, scratch, vocal and kind of did it like that. It was really kind of wicked and and not only in office is recording is, you know. We learned the songs and we kind of had all the beds done in like three, four days. It was just bang bang bang, kind of like that It was. It was a lot of fun, like kind of old school recording. You know We trying to almost emulate it doing its 16 track. You know, really minimal overdubs and just to get that sound. You know we spent the majority of our time miking up the drum kit, you know, so that we could. You know the Jeff Housechuck the drummer is just a fantastic player, jazz guy, and he decided to slum it with us rock and rollers And he brought that, that complexity and the touch where you could actually hear the notes on the drums. 0:26:48 - Speaker 4Yeah, yeah. 0:26:49 - Speaker 2I could hear it. That's great. We actually ran into him. Ironically, james and I were supporting the group classic Canadian story. but our very first show of the tour that we were doing supporting the troops got snowed out. We got to the bottom of George and Bay and the road was closed. It was drifted in. and so we drove back down to Toronto and went to this great club called the Rex Jazz Club And and Jeff was playing with this organ trio you know like real kind of like just fantastic player and had a couple beers with him after and said, hey, do you want to want to do this If I ever make another record? he said yeah, tommy, and the rest is kind of his. Yeah, it's wicked, yeah actually the phone. 0:27:34 - Speaker 3Yeah, Yeah, No, like, for example, the song over and over. I think it is Yeah. Yeah you can tell. I mean you can tell throughout the record, but like that one in particular. Like, however, because once you lay down your initial, you know your drums and bass, your guitar, your bones you start playing with arrangements. And that I was wondering, like thinking about your process, you know how you go about recording and once you get stuff down, but the way you explain the Airstream that had to have promoted like some level of like creativity, like where you see something you're like let's do this, let's try this, because you're not sitting in a traditional studio, yeah, you know, with four walls, yeah, and a window and like do you know what I'm saying? Does that? Yeah? 0:28:29 - Speaker 2no, 100% That's. That's exactly what we were able to do, you know, within the confines of the house, like I have a small home studio, i have an open house, so I got curtains everywhere to kind of allow, you know, for not only privacy but to kind of the dead and the sound and stuff. We had to be creative with what we were doing and trying to figure out where we're going to put drums and what we're going to do with bass. And it was literally because of the way Jeff played And my natural affinity for records that were done in the 70s that we wanted to, instead of getting the big, boomy Bob Rock kind of like we're going to play in the cabin, smash, smash, smash drum kit, we wanted to, like Jeff plays with jazz sticks, that's, you know it's with. Well, let's put them in this curtained off room where everything's totally dead and and do the do the Jeff Emmerich, you know and kind of play and play and play and move the mic and move the stand until we got the kit sounding perfectly. And then in the meantime, you know, we're rehearsing And James is playing with us, and then we, you know, we get tempos down and stuff and, and you know, do a scratch acoustic guitar and vocal. So we know the arrangement And then Jeff or James would go out into the air stream and we counted off and Jeff and I would play together, you know. And the bass amp is elsewhere in the house So there's no chance of it bleeding in, but we didn't have walls or rooms or anything like that. And again, it was the same process. Most of the bass is not DI, it's, it's. I've got an old, you know, portaflex B15 from 1965, the James Jamerson right And it was kind of like you stick the right mic in front of it And it sounds like, it sounds like Motown, you know, and and that's that's kind of the way we get it And obviously I knew the tunes real well And Jeff is just such a good enough player. That was like, oh, you know, you kind of get it in one or two takes and go out and listen to it. And then again is a cool thing that we go to the driveway, to the air stream, which was really our control room, and you listen to it all stripped away or it's just bass and drums And it's kind of like, oh, it's got even without a lyric and without a guitar or even a music Or even a melody. It's like, oh, this sounds pretty wicked. It's kind of the inverse of being a songwriter where I've always believed if you can sing a song around a campfire, and it can, and it can exist on that level and subsist on that level. And it's like, oh, okay, this is a decent song. And we kind of combined those two ethos and to make this record And it was again, it was just because of the circumstances of making it that you know, we all had to be tested up And we, you know, it was just the three of us and we were also living together and eating together and drinking beer together and playing pool pool table in one part of my house And it was great. It's like it's the band camp, you know it's the hardest way to kill time 0:31:49 - Speaker 1you know, sure, gord, i have a question from somebody on Twitter. We let them know that we were meeting with you And he said it's Craig Rogers from Twitter. And he said, curious if he curious of Gord finds himself writing on guitar or bass more often, or a mixture both with this album and when he wrote for the hip. His bass playing is very melodic, so does he have a chord progression in mind first and then works out a baseline, or does the bass melody come first? 0:32:17 - Speaker 2I primarily write on on guitar, for sure, you know, certainly with the hit, even the songs I would bring to the hip, i would have written riffs and started out on acoustic guitar, not all the time Like they were. on occasion I would try to do something on bass. Bass is kind of tough to sit around on your own. Keep yourself entertained. You know you can play along and stuff. But certainly like my main contributions writing with the hip because we had developed that cooperative songwriting style where you know no one in the group would bring a finished idea to the band. You know we would basically throw out a riff, be it a guitar riff, in some cases a bass riff, and we would start playing together And Gord would start putting a melody on top and a lyric on top And it was great that way. As the bass player you'd like oh here are all these holes all like add melody in here. Or in a lot of cases it was from the middle of songs while you were jamming or sound checks. You know we were always playing And but yeah, it was great fun. I miss making music with those guys big time because it was as a songwriter. It's different now, like you, never when you're, when I was in the hip, you never had to finish an idea And even if you had writers, if you were stuck with something, we would get together frequently And someone always had something new and fresh And that would, you know, cause a light bulb to come on And it would suggest a change that maybe the guy that brought the briefing hadn't thought of it Meanwhile, gord just being Gord, he would be riffing on top and his melody would suggest a change that he would make. And it was great. I loved being in that band And I miss it because it's like you know, like, yeah, you start, i still start the same way, i start with the riff, but man, it takes a lot longer, you know, to come up with complimentary parts and the lyrics and stuff. And again, i credit Gord. I really, you know, i tried to bring some heft to the lyrics that I was writing for this project and my previous one as well, cause he's, you know, he set a pretty high bar as a songwriter you know and can't really you can't really put out a solo record I've said this a few times, but it's absolutely true Like you can't write. Yummy, yummy, yummy. I've got love in my tummy, you know, and feel good about yourself with some of the lyrics that Gord has, Yeah. So yeah, the writing's a, it's a. It's a, it's a fun, it's a fun process. I'm not a sit down and write every day kind of guy. I don't do the Stephen King and lock myself in my studio for 2,500 words a day. You know, I kind of sit around and watch hockey playoffs or baseball playoffs and with the guitar in my lap and noodling all the while, and then you're like, oh, and The cascade begins from there. You know, kind of not really paying attention to either, and It's amazing if you're receptive to the idea, It'll come from somewhere. It's, it's great fun, It's great fun. 0:35:47 - Speaker 1Gordon, i'm so thrilled that you laid down in 2020, you laid down get back again. Yeah, so it was. So we have a like a proper studio version of that song, because I gotta tell you, that was one of the hip songs that I came to early on and in my young hip career, and I was like whoa, this is something that's not on the record. It's like this is like a bootleg, or this is so cool And I gotta I gotta wonder, though, how did it never end up on a record like that? It's such a phenomenal song. 0:36:17 - Speaker 2It's, it's a funny one. I mean that it was That's. It's an old song. I mean that was back from the day when we were we were kind of clubbing it, he just kind of in southeastern Ontario and and we were all learning how to write and we were Writing a little bit together. You know Gord Downey and I would and Paul were living together at a student house But yeah, and it it was kind of a mainstay when we would play live and it was in the running, you know for for up to here for sure as a song. But interestingly enough we We recorded a demo version of it. That was just dynamite. Like You know, the performance across the board is great, particularly by Gord, like he just sang the song beautifully. And it was one of those circumstances where the The, the guy that was helping us the demo, said, oh, that was really really great, one more time just like that and we'll run tape. And we're like, oh, what do you mean? you weren't running tape? and oh, tried it again and collectively we were so disappointed. You know that I don't know we never, we never seemed to Capture that vibe that we had on this unrecorded Demo. You know this is again, we were really young, we were still learning how to play in the studio where it sounded like us and Again it sounds old-fashioned and everything, but it was back in the day We recorded live like we would, you know, put the bass somewhere and you know, drums are in a booth and gorge in a booth And we were learning how to do it, but still get that feeling like with headphones on that, we know, you know It sounds like awesome. We're listening to each other Again and then, yeah, it just never. It just never made the cut. After that, i guess I mean there is a version of it somewhere, at least I thought we had reported it for up to here There is some kind of version of it somewhere. We're finding it Odd with. We've always been signed to Universal in various shapes or forms. We were signed to MCA back in the day. But the tracking down on old tapes, a little demo stuff And studio stuff, is proving very, very challenging from an archival point of view. Like stuff is You'd think it'd be, you know, t, hip or Or it would be alphabetized or the Dewey decimal system or something, but it seems pretty random and stuff is in different storage area Areas and our drummer John has just been. He's just been like a dog on a bone tracking down Material and just relentless trying to find stuff. We kind of process kind of started for us with Road apples and but we were still. We were only able to manage to find Two-thirds of the tapes. You'd think they'd all be somewhere together. You know, when we heard about that fire on the universal lot we hit the panic button like right. You know, wow is our? do you think some our stuff is in there? and then read the list in the paper and there was our name. You know, in between Mel Torme and the down Trop family singers, you know it's like oh crap, i hope we do, because that, that, because, to your point, that's exactly the kind of stuff that we were looking for. Turns out there were dupes and some of its backup in Canada. Definitely Yeah, it's a. 0:40:11 - Speaker 3I just I'd be remiss if I didn't ask a gear question What, what, what, what, what? what type of guitar do you do you like to sit in? Because when you're sitting watching a ball game and you're just noodling or you're just whatever like what's your go-to? 0:40:26 - Speaker 2I, honestly, i've got a. I've got a few favorites, in fact, like there's a song on this, this latest record called change your mind, i I bought a. I bought an old Martin D18, saw it. I bought it sight unseen because it's just always wandered one and down. I Picked it up and Literally pulled it out of the case and it became my main guitar for about a week and that was that that. I Written that song on it within Got probably a day or two, you know it. Just it felt right, sounded right. 0:41:08 - Speaker 1What's that? there's sort of like a dreamy stony sound on that song. 0:41:11 - Speaker 2Yeah, and I would credit the guitar. You know, i guess I I Have a lot of, i've got a lot of instruments laying around the house and I will, you know, i will, i'll trick myself and I'll keep one guitar With a capo on the second fret, you know, and thereby changing the key of the song. But you just, in certain cases, different chord shapes and different you know, composite chords, like you know, a D over G or whatever to sound different in a different key or it'll trigger something melodically and then that will Send it in a different direction. So I I kind of rotate them in and out. You know I I Got an old the first kind of cool guitar about was an old J 160, you know mid 50s old beaver of a guitar, and it's always out on a stand somewhere and I'll Pick it up and I'm playing. Right now I'm going out and playing this old, the ES 125, like a, like a hollow-bodied arched top, electric and And it's been laying around and it's just, you know It sounds kind of got a little more sound to it. Yeah, i just kind of believe in the magic of it. You know that it's just like oh, this, you know it's rules right and sounds right in the. The tones of these older instruments, to my ear anyway, are so nuanced that that each one has a different character and Suggests different things, you know, and some chords sound better on them than others. And yeah, it's so, so it's cool. I like I say, i trick myself and I mix it up. 0:42:50 - Speaker 3That's the per. That's the perfect answer. Had you said this is the guitar, that's trick Bs and me bulls it me right on that school Yeah my question was more what kind of beer we were you drinking where you were recording and the Not as young as I used to be, so I. 0:43:13 - Speaker 2There's always a case of the in this kicking around here, for sure, but I'm more of a light beer guy now. Unfortunately, i just I can't afford to Drink the loaf of bread like I used to when I was a young man. Live to tell it. 0:43:29 - Speaker 4I'm right there with you. Yeah, i'm right there with you, gord. 0:43:33 - Speaker 2Yeah, I'm pretty much a logger and a Guinness guy. 0:43:36 - Speaker 4Yeah, sorry. 0:43:49 - Speaker 1Well, I'd love to talk more about the. I'd love to talk more about the. The record sure. You gotta ask the video to man and we haven't touched. We haven't even touched on the video. 0:43:59 - Speaker 2Yeah, I'm glad you like it. I, i yeah, that's a friend of my, my youngest son's It's aspiring filmmaker and videographer and, obviously, videos on what there used to be. I'm like I'm a survivor of the MTV era where You just saw your recoupable account go up and up and up with your record company because you'd spend more money making videos And you would make the record. But it's. But he's a creative young guy having feral is his name and I I Was reading the newspaper And there was an article I can't think this one Facebook change just named in Metta, and Mr Zuckerberg had proclaimed that the future of the world, the future of reality, is going to be virtual reality. And They ran a little clip of the journalists were testing it out with the, with those goggles or that, whatever that is. I said, wow, this is the future of reality. The graphics are kind of shitty, you know, and and And I bounced it off heaven and I want to make this video about these tech guys that are kind of changing the way we interact with each other and getting rich in the process. And could we make a virtual reality kind of video for this song about kind of love in the VR world? and and man he ran with it. He was like I know exactly what you're talking about. 0:45:34 - Speaker 3And it's clear who everybody is. It's very clear who everybody is. 0:45:37 - Speaker 2He ran into a little problem with the record. Here it was, it was clear, still in the legal department And hit the panic button real quick. But we just, i think. 0:45:52 - Speaker 4You know, it's a good thing when that happens And it was fun. 0:45:55 - Speaker 2The song I think Google Guy has a bit of a sense of humor to it And yeah, i got when all that stuff was going on, when they were talking about how their algorithm there were purports to bring people together was actually the algorithm itself was based on making people butt heads, because there was more engagement when the conversation was contentious, as opposed to fluffy, puffy stuff. And that young woman, francis Hogan, really kind of went official with it. She kind of blew the whistle on these, these guys, and I thought right away to myself like oh, what would what would Joe Strummer do with a concept like this? You know, like you wouldn't know all have very much and try to call the guy out. And it was actually the last song I wrote for the record And it came real, real quick because I kind of got my dander up just a little bit. I'm not a social media guy. I understand how people do it. It's a great way to stay in touch with friends all over the world and stuff, and I get it. But God, imagine if you're Instagramming or Facebooking with your pals. But there was a artificial intelligence kind of trying to get you guys to fight about something you may have said to each other in high school and dragging that your relationship through them. 0:47:21 - Speaker 3I'm sure it's already there. 0:47:22 - Speaker 2Exactly, you know. I mean, i'm in a. I was in a band with my high school friends and, oh my God, we fought about crap that was 35 years old. You know, sometimes it was kind of anyway, yeah, so I yeah anyway, i glad you liked the video. It was fun to do. I'm going to do a follow up. He's one of them for call Yeah, but I don't know, i haven't seen it, yet I'm dying. He's okay. I'll be anxious to check that out. 0:47:56 - Speaker 4I enjoyed the video and the song and the song. Honestly it brought me. There's this kind of 80s feel to it, like it's it's interesting kind of the juxtaposition of I don't know had money for nothing Yeah yeah, and then what? Yeah, I'm not, i'm not sure, yeah it's. Yeah, it's reminded me of I don't know a couple of things, but anyways, the the video is great, and it was just I love the personification of the characters, and it's just. I just really related it. I was, i was in, i was in Italy recently. We were staying with family and I'm kind of a handy guy, so I was helping them do some stuff and I said, well, can you work and we get this? you know, we needed something in particular. My aunt there says, well, we could just order it on Amazon, and sure enough it was there the next day. And I'm like I mean Italy and Jeff, jeff, still knocking on the front door delivering, yeah yeah, it's not so I conveniently unbelievable. 0:48:57 - Speaker 2I totally understood. And obviously the pandemic Unbelievable fall for those companies because all the stores are closed, you know, but Massive. You know I'm from a small, small ish city. You know we got 150,000, 200,000 people here. You know, if the if you don't support your local hardware store owner, who may very well be your neighbor down the street, you know it's, it's kind of like the kind of the 100 mile Right Diet approach to living. You know where you live in a community and if you got a couple Extra bucks for things like I get it like people go to the big box stores to buy 10,000 rolls of toilet paper and junk like that. But but you know I go to the local record store and my local stereo shop and my local guitar store and we shop at a small little market And it's important, you know it's. It's important if, if the pandemic taught us anything, it was to kind of value community Because we would support each other more. And meanwhile, that's what I love to do. Devon's portrayal of the of. They call themselves founders. I understand the founders in the orbiting space station above, above the world, that slowly falling apart. And frankly, that's what I try to articulate in the, in the lyric of the songs, that we all know the reason, and the reason is really us. It's up to us, you know, to build community and to support community And and everyone wants to save a buck. I understand that stuff, but at what cost, you know. And what cost? Yeah, in many cases, like mm. Hmm, there's a lot of each cylinder vans all over North America as we speak, idling in people's driveways dropping off stuff that they ordered on Amazon last night, you know, and there's a cost to that, ever, you know. And that's what I was trying to articulate anyway, yeah, yeah. 0:51:21 - Speaker 4What I notice nowadays on, i mean, i'm in Portland, we're in the city, you know, downtown Portland is about three miles away, and what I notice is, when we don't have any deliveries, like, i'll just stop, i'm mostly home. I'll stop in the house and think, boy, it's actually been quiet today. You know it's. You have to wait for the white, the white noise to go away in order to I have a Kingston question for you. 0:51:45 - Speaker 1These gentlemen we are recording, we're doing a live finale for this podcast in Toronto on September 1st. So Pete is coming from Spain and Tim is coming from Portland and we're doing it at the rec room in Toronto. We're doing like a live podcast. There's going to be a standup comedian, There's going to be a hip tribute band, et cetera. But as part of their coming to Toronto, I've booked us a day in Kingston and I booked an Airbnb just yesterday. What are some? what are some hip, hip must see spots, Some you mentioned a record store earlier, a guitar store. What are some cool spots that we should go when we're? Yeah, I got to hit the store. 0:52:29 - Speaker 2You know what there's there's. so there's so many of it like this. First off, about Kingston. You know I'm born and bred and raised here. I went to university here and you know, like most young men, like Rob Baker and I, grew up across the street from each other And all through high school together and you know, gordon, Paul and I lived together in university And John was a little bit younger than us behind us, but all went to the same high school Parents, on to each other, and nonetheless, like most young men, we couldn't wait to shape the dust off this one horse town off our boots. You know, move on, or big city, and as it turned out, you know, our career took this home, over Europe and North America and traveling all the time And we kept coming back home And because it was home, you kind of learn to fall in love with where you're from By leaving it, you know, and you kind of realize, oh, there's no better place to come back to. And it still is a really, it's a really special place. Even even with the, the dearth of of live music venues and various cities and stuff, we still have five, six places in town that run live entertainment nightly. You know, and I think that's a big reason Kingston is as it is is produce so many great recording artists, you know Sarah Harmer, headstones and the Glorious Suns, and because they all came up the way I came up, you know, you kind of start playing in downtown Kingston and you play the bigger bar and the bigger bar after that. So there's, there's some great live music venues. The place I'm playing in town is called the, called the the Brune factory, which is kind of a multi multimedia approach to live. It's a film place, it's comedy, it's an office building for the local promoter during the day And it's, it's great. It's very DIY in town, you know it's. Also Kingston is an interesting place because it's a university town, a very large, very good university here. So we kind of punch above our weight for for restaurants and actually activities to do. We have a local symphony orchestra to symphony halls. You know it's just there's, it's a, it's a really special place And it's also it's right at the confluence of Lake Ontario and the St Lawrence River. So it's where the Great Lakes kind of funnel all down and the area just east of us is the start of the Thousand Islands, which is again it's we kind of take it for granted. But you guys coming from out of town, you know it's worth jumping on a, on a boat, and you've never seen anything like it. It's, it's just absolutely spectacular, you know, and it's, yeah, it's just really, really cool. There's so many great rooms. You know, the club that we played our first gig was called the the toucan, but it still exists, you know, and it's still still there. It's not a great place to see music or play music, but it's still running live. It's pretty wicked. There's another place called the mansion. That that they're again. They're fighting the good fight. They're trying to bring acts in all the time and get people a place to play. You know, and it's in, it's kind of great. It's kind of a great place to be. I feel very comfortable here. You guys are like it. 0:56:15 - Speaker 3If people, if they have places to play there and there's places that they make available, i mean there's. there's no doubt that's why the city thrives. 0:56:25 - Speaker 2I really think so as well, because people, obviously they people get used to live music being a viable option. You know, that was something that we experienced as young musicians First time we went to Europe. You know, it was again like starting over. But we got to the Netherlands And it was like that was. It was the case of like, where are all these people come from? how do they? but it's because the the nature of the culture and it was back in the CD days, when they were Ridiculously expensive, you know. So you'd have to pony up whatever 30, 40 Gelder's they were called back then so people would literally would go see a band play live before they would pull me up for the record, which was perfect for a group like us, because you know they huh, there are all these Magnificently tall people standing there and all speaking English, hang them boards, every word, yeah, it was great. It's all like. That's all about the amazing thing. I am such a such a believer. It's just so important. 0:57:36 - Speaker 1I I totally feel the song sometimes. Yeah, did you write that? like thinking, live in mind, like, like that feels like a live song. 0:57:46 - Speaker 2Yeah, i Did it's, it's, It's for sure, it's. There's an anger to it for sure, and it's it's not the easiest thing when you're sitting by yourself in a pandemic to To write an uptempo song. But like I, like I was seeing earlier, i was using that experience, i would close the sliding doors of our family room and, and, like everybody, there were moments during when I was locked down or where I was Wasn't quite myself. You know I was feeling. You know, being locked down in the middle of the winter in Canada is You get some dark days for sure, not only Physically dark days, but but the mood kind of translates on you and that's that's really what that song's about. And and I Attempted to turn that frown upside down and kind of went back to the old punk rock me, and It's basically like a confessional more than anything, because it was true, sometimes I felt like I was losing my mind, you know, and and sometimes you know, weed, weeds legal up here and and and so maybe sometimes I'm they've, you know, smoked a bomber a little too early in the day, you know, or maybe a little Bailey's in my morning coffee just to take the edge off. Even quite confessional about that as well. Much sugar in, yeah. 0:59:23 - Speaker 3That's really cool of you sharing my songs with us Share. 0:59:28 - Speaker 1I mean, for me it's been. It's been 38 years of you sharing songs with me, so I really appreciate that and Love that you made time for us today, well. 0:59:39 - Speaker 2I appreciate that. I appreciate that I'm a music fan as well and I and I I Made music with guys I know really well, guys I love, you know, and and We always took it really, really seriously and we always never took whatever success we may have achieved, we never took that for granted, you know, and we knew it was because of the people that liked our music and that supported the group and we, you know, with the past, you know Gordon Lightfoot. It was also such a huge believer in live performance and the love and respect for his audience. you know We came up, you know, very much the same way, just like getting our getting in front of people and, you know, and thanking them. You know, and being truly grateful and trying to allow the music to reflect our growth as people and but our commitment to making really good music and you know I'm I Love it I'm still trying to do it on my own. You know, i'd give anything to have gourd still here and be working my, my normal day job, you know. But but In no small way he still is. You know, he wouldn't have wanted any of us to stop playing, you know, and to stop making music and Yeah, and so I'm kind of doing it to honor him, but it's also it's because it's the only thing I know how to do. I kind of They caught into my, it's my, my yearly cycle of like, oh I'm, you should be making a record soon. I think the song start pouring out. Anyway, i'd go on, but I appreciate you guys for doing this and listening as it is intently, as I Listen to music like that's the way I listen to it too, you know I turn it up. 1:01:31 - Speaker 3Yeah, pleasure's our pleasure We've. 1:01:34 - Speaker 4we've got great time, so thank you so much. 1:01:37 - Speaker 2I'll get a list of places to see in Kingston, and there's some that would be great. It's a pretty, it's a pretty special. It's a pretty special little town. You'll, you'll get the vibe right away. You know, september is a great time of year. Kids are just coming back to school and the and the sailors are still hanging around. It's a touristy town. So there's a. There's a good, it's a good vibe here. It's a nice place to visit. I can't wait. Yeah, i can't wait awesome, awesome. 1:02:02 - Speaker 1Well, thank you so much Thanks for a pleasure, guys. 1:02:06 - Speaker 2I really really appreciate your time. It's fun. 1:02:08 - Speaker 3Yeah, thank you boys. 1:02:10 - Speaker 2Okay, take care, we'll see you real soon. Yeah, thank you. Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Last year the Township of Leeds and the Thousand Islands spent nearly a million dollars on paramedic services and it wasn't even for their own residents - they were responding to calls from Ottawa. The Mayor of the Township joined usr to explain how it happened and what the town is planning to do. As the war wages on, Ukrainians have been fleeing the country for safe grounds, but some are headed over there. We met a Peterborouogh woman who recently returned from her third volunteer trip to Ukraine. The world lost an icon this week when Gordon Lightfoot passed away. We spoke with a city councilor from his hometown in Orillia, where thousands are expected to gather this weekend to remember and celebrate the legendary singer On the eve of the coronation of King Charles, we reconnected with a royal watcher in Peterborough to see what her plans are for the big day.

The early 1970's saw the start of the medical specialty we now know as oncology. How does one create standards and practices for patient care during that time? Dr. John Glick is a pioneer during the dawn of oncology. He says that early work involved humanity, optimism, and compassion, all of which were the foundation of his career. Dr Glick describes the clinical experiences that drove him to oncology (4:28), his rapport with patients, which was portrayed in Stewart Alsop's book Stay of Execution (9:21), and his groundbreaking work developing the medical oncology program at the University of Pennsylvania (12:22). Speaker Disclosures Dr. David Johnson: Consulting or Advisory Role – Merck, Pfizer, Aileron Therapeutics, Boston University Dr. Patrick Loehrer: Research Funding – Novartis, Lilly Foundation, Taiho Pharmaceutical Dr. John Glick: None More Podcasts with Oncology Leaders    Oncology, Etc. – In Conversation with Dr. Richard Pazdur (Part 1) Oncology, Etc. – HPV Vaccine Pioneer Dr. Douglas Lowy (Part 1) Oncology, Etc. – Rediscovering the Joy in Medicine with Dr. Deborah Schrag (Part 1)  If you liked this episode, please follow the show. To explore other educational content, including courses, visit education.asco.org. Contact us at education@asco.org.   TRANSCRIPT Disclosures for this podcast are listed in the podcast page. Pat Loehrer: Welcome to Oncology, Etc. This is an ASCO education podcast. I'm Pat Loehrer, Director of Global Oncology and Health Equity at Indiana University. Dave Johnson: And I'm Dave Johnson, a medical oncologist at the University of Texas Southwestern in Dallas, Texas. If you're a regular listener to our podcast, welcome back. If you're new to Oncology, Etc., the purpose of our podcast is to introduce listeners to interesting people and topics in and outside the world of oncology. Today's guest is someone well-known to the oncology community. Dr. John Glick is undoubtedly one of oncology's most highly respected clinicians, researchers, and mentors. I've always viewed John as the quintessential role model. I will add that for me, he proved to be a role model even before I met him, which hopefully we'll talk about a little bit later.   To attempt to summarize John's career in a paragraph or two is really impossible. Suffice it to say, he is to the University of Pennsylvania Cancer Center what water is to Niagara Falls. You can't have one without the other. After completing his fellowship at NCI in Stanford, John joined the Penn faculty in 1974 as the Ann B. Young Assistant Professor. Some five decades later, he retired as the director of one of the most highly respected comprehensive cancer centers in the nation. Among his many notable accomplishments, I will comment on just a few. He established the Medical Oncology program at Penn and subsequently directed the Abramson Cancer Center from 1985 to 2006. Interestingly, he established the Penn Medicine Academy of Master Clinicians to promote clinical excellence in all subspecialties across the health system. He's been a driving force in philanthropy at Penn Medicine, culminating in his role as Vice President Associate Dean for Resource Development.  Over the past several decades, he has helped raise over half a billion dollars for Penn Med. We need you on our team, John. As a clinician scholar, John's research has helped shape standards of care for both breast cancer and lymphomas. For example, he pioneered the integration of adjuvant chemotherapy and definitive breast irradiation for early-stage breast cancer. In 1985, he chaired the pivotal NCI Consensus Conference on adjuvant chemotherapy for breast cancer. He also was a driving force in a clinical landmark study published in The New England Journal some 20 or so years ago about the role of bone marrow transplant for advanced breast cancer. Most impressive of all, in my opinion, is John's legacy as a mentor to multiple generations of medical students, residents, and fellows.   So, John, we want to thank you for joining us and welcome. Thought we might start by having you tell us a little about your early life, your family, your parents, where you grew up, and how you got into medicine. Dr. John Glick: Well, thank you for having me on the podcast, Pat and David, it's always a pleasure to be with you and with ASCO. I grew up in New York City in Manhattan. My father was a well-known dermatologist. He was my role model. And from the age of eight, I knew I wanted to be a doctor. Nothing else ever crossed my mind. But having seen my father's many interests outside of medicine, I realized from very early that there was much more to medicine than just science. And that really induced me, when I went to college, to major in the humanities, in history, art history, and I actually took the minimum number of science courses to get into medical school. That probably wouldn't work today, but it was the start of my interest in humanism, humanities, and dealing with people outside of the quantitative sciences.  Dave Johnson: So that's reflected in how we all view you, John. You're one of the most humanistic physicians that I know personally. I wonder if you could tell us about your interest in medical oncology, and in particular, as one of the pioneers in the field. I mean, there wasn't really even a specialty of medical oncology until the early 1970s. So, how in the world did you get interested in oncology and what drew you to that specialty? Dr. John Glick: Well, I had two clinical experiences that drove me into oncology. The first, when I was a third year medical student at Columbia PNS, my first clinical rotation in internal medicine, I was assigned a 20-year-old who had acute leukemia, except he was not told his diagnosis. He was told he had aplastic anemia, receiving blood and platelets, and some form of chemotherapy. And I spent a lot of time just talking to him as an individual, not just taking care of him. And we became friends. And he was then discharged, only to be readmitted about two weeks later. And in the elevator, the medical assistant had his admission sheet, and unfortunately, it was facing the patient, and it had his diagnosis, acute leukemia. So he came into the ward and he confronted me. "Why didn't you tell me I had acute leukemia?" Well, I couldn't say the attendees forbade me to do that. So I took what today we would call ‘the hit', and apologized. But it stimulated me to reflect that honesty with patients was extremely important, and that oncology was just in its infancy. We knew nothing about it. It was not considered even a specialty. I don't think we used the word "oncology."  But that inspired me to take an elective in my fourth year at PNS, at an indigent cancer hospital called the Francis Delafield Hospital. It only took care of indigent cancer patients, and there were wards, twelve patients in a ward, six on each side, and nobody would go see the patients. It was almost as if they were afraid that if they were to touch the patient, they would get cancer. And I started talking to the patients, and they were human beings, but nobody had told them their diagnosis. Nobody had told them if they were terminal. And there were a few patients who were getting a new drug at that time for multiple myeloma called melphalan, and they actually had relief of some of the symptoms, of their bone pain. But I realized that there was a huge void in medicine that I could possibly help to fill.  And that was the era of Vietnam, and so I applied to the National Cancer Institute to become a commissioned officer in the Public Health Service to avoid the draft, to be on a service with, at that time, some very notable oncologists Vince DeVita, Ed Henderson, Paul Carbone. I had read some of their papers, and I was lucky to be accepted. And I was a clinical associate at the National Cancer Institute. And that was life-changing because there every patient was considered to be potentially curable. The advances at that time using MOPP for Hodgkin's disease, C-MOPP for lymphoma, some treatments for leukemia. George Canellos pioneered the use of CMF for metastatic breast cancer. It was an amazing, amazing experience. That was in 1971 to ‘73. Oncology did not become a true specialty till ‘73, but my two years at NCI were formative.  However, I realized that there was something missing in my training. Everybody was considered curable, but I had never seen a patient with metastatic colon cancer, metastatic lung cancer. The radiotherapists there did not like to teach clinical associates, and I knew that there was a place called Stanford. And Stanford had Saul Rosenberg in medical oncology for lymphomas and Henry Kaplan in radiotherapy. So, everybody was going to California, and my wife and I packed up and went to California and spent a year at Stanford, which, combined with my training at the NCI, led me to the principles that guided my career in oncology; humanity, optimism, reality, compassion, and a love for clinical trials.  I was very, very fortunate to be there at the dawn of medical oncology shortly after I decided to go to Penn, which at that time did not have a medical oncologist. In fact, I was the only medical oncologist at Penn for four years and did every consult in the hospital for four years, much to the chagrin of my wife. But I was fortunate to have great mentors in my career: Paul Carbone, Vince DeVita, Saul Rosenberg, Henry Kaplan, among many, many others. And that impressed me about the importance of mentorship because my career would never have been where it was or is without these mentors. Pat Loehrer: John, just to echo what Dave said, you've been such a tremendous mentor for us. Dave and I particularly, you took us under your wings when you didn't know who we were. We were people in the Midwest. We weren't from any place shiny, but we really appreciate that. Dave Johnson: So, John, I mentioned at the very beginning that I met you before I met you, and the way I met you was through Stewart Alsop's book, Stay of Execution. He portrayed you as an extraordinarily caring individual, and it tremendously impacted me. It was one of the reasons why I chose oncology as a specialty. I realize it's been 50 or more years ago and most of our listeners will have no idea who Stewart Alsop was. And I wonder if you might share with us a little bit of that experience interacting with someone who was particularly well-known in that time as a columnist for The New York Times.  Dr. John Glick: His brother Joe Alsop and Stu Alsop were two of the most famous columnists at that time. Joe Alsop was a hawk right-winger who lived in the Vietnam War. Stewart was charming, was a centrist Democrat, wrote the back page for Newsweek for years. He and I had very similar educational backgrounds and interests. And we functioned on two different levels—one as a physician-patient, and then we became friends. And he and his wife adopted us into the Georgetown set.  And I received a lot of criticism for socializing with a patient. But over the years, I've been able to become friends with many of my patients, and I've been able to compartmentalize their medical care from our friendship. And I use the analogy if I was a doctor in a small town and I was the only doctor,  I'd be friends with people in town, with the pastor and likely the mayor. But I have always believed that patients can become your friends if they want it and if they initiated it.   Taking care of Stewart Alsop was an amazing, amazing experience. We didn't know what he had. People initially thought he had acute leukemia. In reality, he had myelodysplastic syndrome, but that hadn't been described yet. He had a spontaneous remission, which I rarely see, probably due to interferon released from a febrile episode, all his blasts went away in his marrow. One of my children's middle name is Stewart. But professionally and personally, it was an incredible experience. It taught me the importance of being available to patients. They had my home phone number. We didn't have cell phone numbers in those days. We had beepers, but they didn't work. And from that point on, I gave my home phone number to patients, and I actually trained my children how to answer the phone. “This is Katie Glick. How can I help you? My father's not home. You need my father? Can I have your phone number? I'll find him and he'll call you back.” Patients still remember my children and their way of answering the phone. Pat Loehrer: One of the things you did do is create this medical oncology program at Penn, which has graduated some incredible fellows that have become outstanding leaders in our field. But can you reflect a little bit about the process of creating something that was never created before, like a medical oncology program? Dr. John Glick: Well, I came to Penn, my first day. Person who recruited me was on sabbatical. I asked where my office was and there was no office. There was an exam room. There was a clinic for indigent patients which we scrubbed by hand. There was another office for patients who paid. Within two months, I had abolished that. We had one– I hate to use the word clinic, people still use the word clinic today, but one office that took care of all patients, irregardless of means.   I saw every oncology consult in the hospital for four years. But I had a mentor, not only Buz Cooper, but fortunately, Jonathan Rhoads was Chairman of Surgery, and he was also Chairman of the President's Cancer panel. And what he said at Penn in surgery became the law. And then when we introduced lumpectomy for breast cancer and radiotherapy, he endorsed it immediately. All the other surgeons followed suit. I don't think there's any hospital in the country that adopted lumpectomy and radiotherapy for breast cancer as quickly. And the surgeons were instrumental in my career.  Now, I was taking care of gliomas, head and neck cancers, and it was difficult. If I had a colorectal patient, I'd call Charles Moertel at Mayo Clinic and say, “What do I do?” I was there when Larry Einhorn in 1975 presented his data on testicular cancer with the platinum. Unbelievably inspiring, transformational. It also showed the importance of single-arm studies. You didn't have to do randomized studies because the results were so outstanding. And so in my career, I did both single-arm studies, proof of principle studies, and then many randomized trials through the cooperative groups.  But the first four years were very difficult. I didn't know what the word ‘work-life balance' meant in those days. If somebody was sick, I stayed and saw them. It was difficult introducing new principles. When I first mentioned platinum after Larry's presentation, I was laughed out of the room because this was a heavy metal. When patients were dying, they died in the hospital, and I wanted to hang up morphine to assist them. The nurses reported me to the administration. I had to fight to get the vending machines for cigarettes out of the hospital. So there were a lot of victories along the way and a lot of setbacks.  It took me several years to have an oncology unit of six beds, and now I think we have 150 or 160 beds and need more. So it was an interesting and, in retrospective, a wonderful experience, but I didn't know any better. Fortunately, I had a great wife who was working at Penn and then at Medical College of Pennsylvania, and she was incredibly understanding, never complained. And I think my kids knew that on Tuesdays and Thursdays, don't bring up anything difficult with dad because he's had a really tough day in clinic. Dave Johnson: We were not in that era, but we were very close. And many of the struggles that you had were beginning to dissipate by the time we were completing our training. But it was still a challenge. I mean, all those things. I gave my own chemotherapy for the first few years I was in practice. I don't know that our colleagues today who have trained in the last, say, 10 or 15 years, actually realize that that was what we did. Most of the chemo was given in the hospital. It was not uncommon in the early days to have 20, 30, 40 inpatients that you would round on because there just wasn't an outpatient facility. But the corporate mind made a big difference, allowing us to give drugs like platinum in the outpatient arena. You span all of that era, and so you've seen the whole panoply of change that has taken place.  John, the other thing you did that has impressed me, in part because of my time as a Chair of Medicine, is you created this Academy of Master Clinicians. Can you tell us a bit about that and what was the motivation behind that?  Dr. John Glick: Ben had a strategic plan, and one of the pillars was talking about valuing clinical medicine and clinical excellence. But there was no implementation plan. It was sort of just words and left in the air. And I was no longer director of the cancer center, and I realized we had a lot of awards for research, awards for education, and no awards for clinical excellence. So I created the idea of having an academy and master clinician spend six months talking to all constituencies, chairs of various departments, directors of centers to get a buy-in. Wrote a three-page white paper for the dean, who approved it immediately. And then, as typical at Penn, I raised all the money for it. I went to one of my patients who was an executive at Blue Cross. I said I need $500,000 to start this program. And then subsequently, I raised $4 million to endow it. Today, it is the highest honor that a Penn clinician can receive.  You could be on any one of our multiple tracks. You have to see patients at least 60% of the time. You not only have to be a great doctor, you have to be a humanist. So the world's best thoracic surgeon who has a demeanor in the operating room that is not conducive to working with a nurse as a team doesn't get in. We emphasize professionalism, mentorship, citizenship, teaching, national reputation, local reputation, and clinical excellence. And so we've elected over 100 people, maybe 3% of the Penn faculty. We give an honorarium. We have monthly meetings now by Zoom. We have monthly meetings on various topics. We never have a problem getting any dean or CEO to come talk to us.  We were the first to do Penn's professionalism statement. The school subsequently adopted, and it's become the highest honor for a Penn clinician. It's very competitive. It's peer-reviewed. The dean has no influence. And we're very proud that 40% of the members of the academy are women. We have a high percentage of diversity compared to the numbers on our faculty, but you really have to be elected on merit, and some people that you might expected to be members of the academy aren't. It's one of the things I'm proudest of. It will go on in perpetuity because of the money we've raised. I think many of my accomplishments as a researcher will fade, as they typically do, but I'm very proud of the Academy, and I'm very proud of the people that I've mentored. Dave Johnson: It speaks to your values, John, and I think it's one of the reasons why you're so widely admired. Thank you for creating that. It proved to be a model for other institutions. I know that for a fact. One would think that valuing clinical care would be preeminent in medical schools, but in fact, it's often ignored. So again, I know that your colleagues at Penn appreciate your efforts in that regard.  Tell us a little about your term as ASCO president. What are you most proud about and what were your most difficult challenges? Dr. John Glick: Well, the most difficult challenge was that ASCO was in transition. I had to fire the company that ran the meeting. We had to decide that ASCO was going to hire a CEO. We hired John Durant, made a small headquarters, tiny staff, and did a lot of the work as being chief operating officer myself. It was the year that email was just getting started, and ASCO wasn't using it. So every Saturday from 8:00 to 6:00, I came into the office and my secretary wrote letters inviting people to be on the program committee or various committees. But it was a society in transition. The growth of membership was huge. The meeting sites had to be changed. We emphasized science. Some of the things that we did are still in existence today.  We formed the ASCO ACR Clinical Research Methods course. It's still given. That's one of our real highlights. We forged relationships with other societies, the National Coalition for Survivorship. We made the ASCO guidelines much more prominent. And I remember that we were going to publish the first guidelines on genetic testing for breast cancer, and the MCI went up in absolute arms, so I arranged a meeting. I was at the head of the table. On my right were Francis Collins, Richard Klausner, Bob Wittes, and a few other people. Then the ASCO people who wrote the guideline were on the left, and they didn't want us to publish it. They thought it was premature to have a guideline about genetic testing. And what I learned from that meeting is that you can agree to disagree with even the most prominent people in oncology and still maintain those relationships. But we did what's right, and we published a guideline on the JCO. There were so many wonderful things that happened at ASCO that I can hardly restate all that happened I guess 27 years later. It was exciting. ASCO was still young. There was a lot we had to do, and we could do it. You could just go ahead and do it. It was exciting. It was gratifying. It was one of the most fun years of my life. Dave Johnson: I mean, that transition from an outside company in many respects, controlling the premier activity of ASCO, its annual meeting to ASCO, taking that on, that defined ASCO, and that's what I remember most about your time as president. It was a bold move, and the hiring of John Durant was brilliant. I mean, he was such an incredible individual, and it was great that you guys were able to pull that off. Pat Loehrer: Thank you for what you've done.  You've had a number of your mentees if you will, and colleagues that have gone on to prominent positions, including, I think, at least three directors of NCI Cancer Centers. Can you just talk briefly how you would describe your mentoring style because you've been so successful? Dr. John Glick: First, there are two aspects. One is when people come to you, and then when you go to people, you sense they're in need. The key aspect of mentoring is listening. Not talking, listening. Looking for the hidden meanings behind what they're saying, not telling them what to do, presenting options, perhaps giving them clues on how to weigh those options in pros and cons, being available for follow-up. Mentoring is never a one-time exercise. Not criticizing their decisions. You may disagree with their decision, but it's their decision, especially if they've considered it. Being proud of the mentee, being proud of their accomplishments, following them over the years. And when they've gotten in trouble or failed to get the job that they wanted, always be there for them, not just in the good times, but in the times that are difficult for them professionally. I think that's one of the most important things.  Even today, I mentor three or four clinical department chairmen, and people ranging from full professors to newly appointed assistant professors. Now that I'm retired, mentoring is the one activity that I've really retained. It's extraordinarily satisfying, and I'm proud of the people that I've mentored. But it's their accomplishments, and the key aspect of mentoring is never to take credit. Dave Johnson: I'll give you credit for mentoring me, and I appreciate it. You were very instrumental at a very decisive point in my career when the old Southeast Cancer Group disbanded, and we were looking for a new cooperative group home. And you were instrumental in helping my institution come into the ECOG fold, and not just as a very junior member, but really as a player. And I'll never forget that, and we'll always appreciate that very much. Pat Loehrer: Ditto on my side, too. Dave Johnson: John, you mentioned that you're retired. What do you like to do in your "free time” if you're not mentoring? Dr. John Glick: Life is good. My daughter says I have a disease, O-L-D. My grandson says, “He's not old; he's almost 80. Look how well he's done.” “Here's $20.” I'm having fun. We are fortunate to have homes in different places. We spend the summer up in the Thousand Islands on the St. Lawrence River, spring and fall down in Charleston, then lots of time in Philadelphia. We travel. I play golf poorly. I'm getting a chance to read history again, go back to one of my great loves. I'm with my children and grandchildren more. I lost my first wife. I've been remarried for about twelve years, and I'm enjoying every moment of that. I'm not bored, but I do wake up in the morning with no anxiety, no realization that I have to herd sheep or herd cats. I have no metrics, I have no RVUs,  not behind of the EMR.  Dave Johnson: You're making it sound too good, John.  Dr. John Glick: We're having fun. And I have not been bored. I've not been down in the dumps. Each day brings a different aspect. We see a lot more of our friends. I exercise. I deal with the health problems that people get when they get older, and I have plenty of those. Seeing doctors takes a lot of time, but I'm grateful that I'm having these few years of retirement. I'm one of the people who is most fortunate to have attained everything they wanted to do in their professional life, and now I'm trying to do some of the same in my personal life. Dave Johnson: John, Pat and I both love to read. We love history. You mentioned that you're reading some history. Is there a book that you've read recently that you might recommend to us? Dr. John Glick: “the Last of the Breed” {With the Old Breed} It's about a private in the Pacific campaign who was not a commissioned officer; it's just a grunt on the ground. It brings the horrors of the Pacific island campaigns to life. But there's a huge number of books, some historical fiction. I'm a great fan of Bernard Cornwell, who's written about the Medieval times, Azincourt, 1356. I'll read two or three books a week. I'm devoted to my Kindle. Dave Johnson: If you could go back in time and give your younger self a piece of advice, what would that advice be?   Dr. John Glick: Try and achieve more of a work-life balance. I didn't have any choice. If I didn't do the consult, it didn't get done. That's not the situation today. But I have a second piece of advice, don't treat medicine as a 9 to 5 job. If a patient is sick, stay with the patient. Give the patient your home or cell phone number. Remember, medicine is not just a profession, but it can be a calling. Too few of our physicians today regard medicine as a calling. And even if you're employed, as most of us are by an academic or other institution, do what's right for the patient, not just what's right for your timesheet or the EMR. Remember that the patient is at the center of all we do and that medicine is a calling for some people, as it was for me. Dave Johnson: Great advice, John. Great advice.  Well, I want to thank Dr. Glick for joining Pat and me. This has been a delight. You're one of our role models and heroes.  I want to thank all of our listeners of Oncology, Etc., which is an ASCO educational podcast where we will talk about oncology medicine and other topics. If you have an idea for a topic or a guest you'd like us to interview, please email us at education@asco.org. To stay up to date with the latest episodes and explore other educational content of ASCO, please visit education.asco.org. Thanks again. Pat, before we go, I've got an important question for you. I've been trying to school you recently, and you've failed miserably. So I'm going to ask you, why is it that McDonald's doesn't serve escargot? Pat Loehrer: I can't do it. I don't know. I give up.  Dave Johnson: It's not fast food. Pat Loehrer: I like that. It's good.  The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions.   Guests on this podcast express their own opinions, experiences, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement.    

The Radio Boys in the Thousand Islands Or, The Yankee-Canadian Wireless Trail

(Dec 27, 2022) New York State has been operating short-handed on snow removal, even before this weekend's powerful storm. The state is trying hard to fill more than 500 vacant jobs for snowplow drivers and supervisors. Also: The western part of the North Country is digging out from the weekend's storm that hit Watertown and the Thousand Islands especially hard.

(Oct 31, 2022) With just over a week before Election Day, the state of the race in the North Country's matchup for Congress between Republican Congresswoman Elise Stefanik and Democratic challenger Matt Castelli. Also: Watertown and the Thousand Islands are in a different congressional district now, so we sample a debate between Republican Claudia Tenney and Democrat Steven Holden.

QUIETUS: final settlement (as of a debt). "Glacial Lake Iroquois was a prehistoric proglacial lake that existed at the end of the last ice age approximately 13,000 years ago. The lake was essentially an enlargement of the present Lake Ontario that formed because the St. Lawrence River downstream from the lake was blocked by the ice sheet near the present Thousand Islands. The level of the lake was approximately 30 m (~100 ft) above the present level of Lake Ontario. The subsequent melting of the ice dam resulted in a sudden lowering of the lake to its present level [...]. Two ancient shorelines in the Toronto area mark the existence of former glacial lakes. About 2 km inland from the shore, a ridge known as the Iroquois Shoreline can be discerned. The old shoreline runs west-east, running roughly parallel to Davenport Road just south of St. Clair Avenue West. Further east, the Scarborough Bluffs also formed part of the shoreline of the ancient lake." (Wikipedia)Remember your past. Walk until your legs give out, head out to where the shore used to be and wait by the edge. Watch the city lights under darkness. Think about what is to come. Remember where the water once was.How do you prepare for the end?Featuring the voices of: Emily Kellogg as ClaireAlex Nursall as JudithIan Boddy as OwenJocelyn Dotta as LydiaAmy Bowman as TabithaKat Letwin as Anneand Harlan Guthrie as The GhostCONTENT WARNINGS: Ghosts/the occult, alcohol, violence (described), deathParkdale Haunt is an original podcast Created and written by Alex Nursall and Emily KelloggDirected and produced by Alex Nursall Engineering and sound design by Ian BoddyTheme music by Phil WrightRecorded at Pirate Toronto Distributed by the Rogers Frequency Podcast NetworkYou can find us on Twitter and Instagram @parkdalehauntSupport us on Patreon at patreon.com/parkdalehauntGet merch at teepublic.com/user/parkdale-hauntLinks, transcripts, and more are available at parkdalehaunt.com

Most of us aren't likely before Halloween to make it to Transylvania to visit one of the most spookiest castles, and most well known, Bran Castle. However, I did find some equally eerie and possibly haunted castles right here in the United States that promise to be quite spirited. Find out why the Hearst Castle in California is filled with such mystery surrounding the millionaire. Hear about the eerie hauntings of Galveston, Texas following the Great Storm of 1900 and how Bishop Palace became one of Galveston's most haunted destination. Take a boat ride to Heart Island in the Thousand Islands in upstate New York to hear the heartbreaking story of Boldt Castle and why a lonely bride still wonders the island. [TRIGGER WARNINGS: slight mention of alcohol, use of the word "mistress" once]

Pick up the Zines here: https://athousandthousandislands.com Calls from: Karl: The GMologist Presents: https://anchor.fm/karl-rodriguez Jason: The Nerd's RPG Variety Cast: https://anchor.fm/jason376 Join my Discord Server: https://discord.gg/pDyA2jYvSx Support me on Patreon: https://www.patreon.com/banditskeep Check out these other great Podcasts that are contributing Down in a Heap: https://anchor.fm/rob-c The Nerd's RPG Variety Cast: https://anchor.fm/jason376 The Redcaps Podcast: https://anchor.fm/theredcaps Cleric's Wear Ringmail: https://anchor.fm/clerics-wear-ringmail Phantom Thoughts: https://anchor.fm/the-pink-phantom Minions and Musings: https://anchor.fm/eviljeff

The name of Thousand Island dressing was inspired by an archipelago of 1,864 islands that are in both Canada and the United States. Legends surrounding the creation of the dressing are interesting, but even more intriguing are the stories of hauntings connected to the islands. These islands are dotted with villages, forts and castles making them the perfect setting for ghost stories and legends. Join us as we look at the history and hauntings of some of these locations in the 1000 Islands! The Moment in Oddity features the Black Heron's hunting trick and This Month in History features Elvis Presley's first appearance on the Ed Sullivan Show. Our location was suggested by Amy Johnson. Our sponsor this episode is Sunbright Realty! Check then out at sunbrightrealty.com Check out the website: http://historygoesbump.com   Show notes can be found here: https://historygoesbump.blogspot.com/2022/09/hgb-ep-451-thousand-islands.html     Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode:  Main Theme: Lurking in the Dark by Muse Music with Groove Studios (Moment in Oddity) Vanishing by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4578-vanishing License: https://filmmusic.io/standard-license (This Month in History) In Your Arms by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3906-in-your-arms License: https://filmmusic.io/standard-license Outro Music: Happy Fun Punk by Muse Music with Groove Studios And https://www.purple-planet.com/ Travel Documentary Evil Around

(Aug 29, 2022) Susie Smith has chronicled life along the St. Lawrence River as a journalist and editor for decades. The story behind Thousand Islands Life magazine. Also: Pioneering Adirondack conservationist Timothy Barnett has died at 82.

(Aug 16, 2022) This year, lots of outdoor summer festivals and events are back after being canceled for two years because of the coronavirus pandemic. Today we'll visit the Glengarry Highland Games in Ontario. Also, a remembrance of Thousand Islands sculptor Will Salisbury who died last week.

Meet Diana Lidstone, the GROW master. She's coaching entrepreneurs to accelerate growth and increase profits while freeing up more time for the things they love. She's also a Best-selling author, speaker, and podcast host of the G+R+O=W Podcast. Diana transforms frazzled, overworked business owners into profitable, overjoyed CEOs. Don't miss: How did Diana come across the GROW meter or GROW equation. G - Get Known - Get known as the undeniable authority in your field.  R - Ramping up your profits.  O - Optimizing your resources.  G+R+O=W - Work Less, Earn More. The Magic Rule of One and its 5 parts. Big mistakes that entrepreneurs do - Overcomplicating their business and Being Scattered. About Diana Lidstone After almost four decades in business and working globally with coaches, consultants, and other service-based experts, Diana Lidstone has gathered rock-solid wisdom and advice that has helped thousands of entrepreneurs and professionals accelerate growth and explode profits. Her work embodies #worklessearnmore! As the creator of the Grow-meter and The GROW Equation Calculator, and as best-selling author of Shift into Rich: Navigate the 9 Roadblocks to Small Business Success, Diana's signature The GROW Equation transforms frazzled, overworked business owners into profitable, overjoyed CEOs. Her new podcast, The GROW Equation Business Podcast, contains tips, strategies & interviews to help you grow your profits, your free time and your joy! Diana and her husband love boating in the Thousand Islands, Canada. She is often found walking her dog and drinking champagne (not at the same time)! Website: https://dianalidstone.com/ (https://dianalidstone.com/) About About the Host: Michelle Abraham - Podcast Producer, Host and International Speaker. Michelle was speaking on stages about podcasting before most people knew what they were, she started a Vancouver based Podcasting Group in 2012 and has learned the ins and outs of the industry. Michelle helped create and launched over 30 Podcasts in 2018 and has gone on to launch over 200 shows in the last few years, She wants to launch YOURS in 2022! 14 years as an Entrepreneur and 8 years as a Mom has led her to a lifestyle shift, spending more time with family while running location independent online digital marketing business for the last 9 years. Michelle and her family have been living completely off the grid lakeside boat access for the last 4 years! Check Us Out on: Join our facebook group: https://www.facebook.com/groups/MyPodcastCoach (https://www.facebook.com/groups/MyPodcastCoach) Facebook:https://www.facebook.com/AMPLIFYOU.ca/ ( https://www.facebook.com/AMPLIFYOU.ca/) Twitter:https://twitter.com/YouAmplif ( https://twitter.com/YouAmplif) Instagram:https://www.instagram.com/amplifyou.ca/ ( https://www.instagram.com/amplifyou.ca/) To Join our FREE Podcasters Tool Kit:https://bit.ly/PodcastToolKit ( https://bit.ly/PodcastToolKit) For More Podcast Training -http://www.mypodcastcoach.com/ ( )http://amplifyounetwork.com/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a note in the comment section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe from the podcast app on your mobile device. Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. 

We're in Cocoa Beach, Florida, with my new friend Nate Beck of Nate-Beck.com. We talk about watching rocket launches at Cape Canaveral, taking a kayak tour through the Thousand Islands mangrove tunnels, and sampling gator bites at Sandbar. Show notes are at https://WeTravelThere.com/cocoabeach Miles and points make travel affordable, but tracking them is difficult. That's why I use AwardWallet to monitor my rewards, reservations, and free night certificates. Sign up for free at WeTravelThere.com/awardwallet.

Matt talks summer, Mac Studio, Samsung M8 Monitor, computer setups, entrepreneurship and family, career aspirations, childcare, vacationing in the Thousand Islands, Kevin Durant and the Brooklyn Nets, and so much more.

(Jun 6, 2022) Tourism season is gearing up across the North Country, but many places are struggling to find enough workers and affordable housing for them to live in. Amy Feireisel reports from the Thousand Islands. Also: New York and Vermont signed onto a new plan to clean up Lake Champlain.