Podcasts about toronto island

April Engelberg, Toronto lawyer and former city council candidate, joins Greg to talk about alternative ways to get to Toronto Island, the city's coyote problem and more Learn more about your ad choices. Visit megaphone.fm/adchoices

April Engelberg, Toronto lawyer and former city council candidate, joins Greg to talk about alternative ways to get to Toronto Island, the city's coyote problem and more Learn more about your ad choices. Visit megaphone.fm/adchoices

Last year, Greg Rhyno won my heart forever with his (unlicensed) PI Dame Polara, reluctantly solving crimes in an evocatively rendered Toronto. Even better? Who By Fire was the first in a series, which Rhyno has followed up a year later with the just-as-excellent Who By Water, in which the reader finds Dame now as a besotted single mother toting around a two-year-old, which makes moonlighting as a sleuth even more inconvenient than ever. But Dame has no choice once her ex-husband turns up head and it turns out that Dame herself is being framed for his murder. In our conversation, we talk about how the project of the Dame Polara Mystery series began, what it was like to create a character whose life was so different from his own, his more aspirational (snobby?) influences as a younger writer, and the writers that showed him how to come into a voice that was all his own. We also talk about Rhyno's affection for postmodern literature and how, via Paul Auster, he fell backward into loving dective fiction, which would bring him to create Dame and her literary world. After barely surviving her last case, Dame Polara trades her part-time detective gig for the safer — though no less chaotic — life of a single, working mother, picking up toys instead of picking locks, chasing after her two-year-old instead of chasing crooks.But when her ex-husband inexplicably drowns, and Dame becomes the prime suspect in his murder investigation, she must work alongside the woman who ruined her marriage to unravel the mystery of the man they both loved.Dame's sleuthing takes her to dive bars, industrial ports, and eventually, Toronto Island, where her ex spent his final days with a community of secretive and temperamental artists.As she comes closer to the complicated truth, Dame realizes that in order to clear her name and protect her family, she'll have to re-examine everything she thought she knew about the people she loved and left behind.Greg Rhyno is the author of the Dame Polara mystery series from Cormorant Books, including Who by Fire, which was nominated for a Crime Writers of Canada Award of Excellence. His debut novel, To Me You Seem Giant (NeWest Press), was nominated for a ReLit Award and an Alberta Book Publishing Award. He completed an MFA at the University of Guelph and lives with his family in Guelph, Ontario. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit kerryreads.substack.com/subscribe

The province’s medical and political leaders talk with Deb Plus – Are we getting a gondola to Toronto Island?! GUESTS: Dr. Kieran Moore - Chief Medical Officer of Health of Ontario Marit Stiles - leader of the Ontario NDP

Richard Clarke was raised on Toronto Island and first sailed at 4 years old. An impressive performance with Canadian Youth sailing led him to compete in the Finn Class in four consecutive Olympic Games with Team Canada. This opened the door to a wildly successful professional sailing career. Richard was part of a winning Volvo Round the World crew, has broken the 24-hour sailing distance record four times, holds both the Transatlantic and the Transpac records – his accolades are jaw dropping, and these are only a handful. Richard is a great storyteller, so I'm sure you are going to love this episode, full to the brim with stories – insightful and entertaining. -- This season of ON THE WIND is sponsored by Weather Routing Inc., aka 'WRI', 59º North's longtime weather routing & forecasting friends. To learn more and sign up for WRI, go to wriwx.com and tell them that 59º North sent you.  -- This season of ON THE WIND is also sponsored by Boat How To, an educational website co-founded by longtime friend of the pod & sailing tech guru Nigel Calder. Check out the courses at BoatHowTo.com.

This is about Progressives who attack long-standing, important institutions. For Example - the Airport on Toronto Island. Some silly politicians wish to convert this important piece of infrastructure into a park. Beneath the surface there is a larger discussion about how stupid some rules are … and how they are to change. Several years ago there was a movement to extend the runway at this airport so it could service planes with longer range - this was met with fierce resistance. Now the Feds are forcing airports to have longer runways in the name of safety … what nonsense. Brian Lilley is a columnist with the Toronto Sun - he joins Stephen LeDrew for Three Minutes. Hosted on Acast. See acast.com/privacy for more information.

This week on the show jD welcomes Vish from his own Kreative Kontrol, if you haven't checked it out get after it!Vish discusses song 18 and shares his Pavement origin story.Transcript:Track 1:[0:00] Previously on the Pavement Top 50.Track 2:[0:02] This week we're going deep on Box Elder. How are you feeling about song number 19, Kyra, from the COWI? I fucking love Box Elder so much. It's a great song. It's one of the earlier Pavement songs. I think it's a very early Pavement song, which is cool. And it's one that really holds up.Track 1:[0:25] I think, too. you. Hey, this is Westy from the Rock and Roll Band Pavement, and you're listening to The Countdown.Track 3:[0:34] Hey, it's JD here, back for another episode of our Top 50 Countdown for Seminole Indie Rock Band Pavement. Week over week, we're going to count down the 50 essential pavement tracks that you selected with your very own top 20 ballads. I then tabulated the results using an abacus, a wet towel, and some scrawny kid from 10th grade gym class. How will your favorite songs fare in the rankings? You'll need to tune in to find out. So there's that. This week I'm joined by Pavement superfan Vish from Creative Control with Vish Khanna. Dude, thanks for taking some time to do this. It means a lot. How the hell are you doing? I'm well, JD. Thanks for having me on your show. How are you doing? I'm great today. It's a little overcast here, but it's about five degrees so i'm gonna go for a walk later and uh.Track 3:[1:24] And that's a, that's, those are good times for me. Very nice. That's good. Going outside. Can't beat it. Yeah. No, you can't at all. Well, let's not beat around the bush, speaking of beat it, and get right into your Pavement Origins story.Track 3:[1:38] Talk to me about that, Vish. Well, I was trying to, you know, I knew I was coming on your show, so I figured I should try to ponder this, you know, and I, I was trying to remember. Remember, I think I first came upon the band when I read about them in Spin Magazine, like, I think before Crooked Rain came out. And I don't know what it was about that piece. This is right around the time I started getting to go to record stores. You know, I'm, what would I have been then? I would have been 15, 16. Some of us were driving so we could leave Cambridge, Ontario, where I'm from, and we could go to Kitchener and Waterloo and Toronto. They had the cooler record stores those were like uh college university towns so then we started going to record stores and then you start talking to the record store people and they tell you what they like and you respect them because they're your surrogate parents so somebody somebody somewhere along the line told me about pavement i i'm pretty sure it was the spin magazine article that i was i started devouring more and more music journalism and i think it was that so i remember owning uh slanted and enchanted and also uh the record store had the trigger cut single so i think i bought both things and i'm fairly certain about both things and uh i will say that that first single got me completely obsessed with their singles um because i think they're.Track 3:[3:07] I don't know, they're one of the greatest treasure troves of any band I can think of. I know you've probably talked about this with others, but I really value Pavement B-Sides. Like, I wasn't that surprised. I mean, I was surprised that Harness Your Hopes went kind of bonkers recently, but like, I'm not surprised. Like, Pavement B-Sides, I know some of them better than I know the album songs, to be honest with you. I just became so obsessed with how great, like, the the quality of their B-sides really spoke to me. And then, yeah, that's one of the, and then I feel like that was a gateway into like, what is Silver Jews? Like, why is this, what is Silver Jews in the pavement section? What is it? Oh, it's a, it's a project. Oh, there's Bob and Steve on the back of the album covers. So they're in this, I guess. And so, yeah, the B-side alternate pavement universe if you will really spoke to me and still does uh i find myself uh kind of you know mumbling song lyrics and and tunes and melodies from you know humming them from from all the b-side so yeah i i would i would position myself that way as someone who i get a little obsessive so it wasn't just the album uh the albums it was like i want to get all the singles so i owned every single.Track 3:[4:24] On mostly on compact disc when i was coming up of age and now i've got them all on actually you know what i ordered i ordered that thing that you ordered the box that i ordered the singles box that i have a bunch of them but i was like what the hell i'm gonna do it so the book looks good yeah everything about it looks good i love pavement so uh i just thought i would get that too and uh yeah i think that's pretty much it that's where i discovered them and then of course they blew up uh you know they're one of those bands that all your cool uh heroes were talking talking about before you even heard them you know so you'd read a interview with somebody you liked and they'd mention pavements you're like what is this pavement so really have a time and place for me word of mouth and then actually digging in i have still a sense memory of playing slanted and enchanted and hearing summer babe and you're just like what the hell so yeah i'd say that's that that that's that's got to be it i think that's it and you got to be there for the release of watery then did you as somebody who was like sort of ep and single obsessed did you pick that up when it came out i did i did pick it up i don't know if i got it right when it came out i can't say that for sure because i feel like i still came to them a little bit later um because i'm sure they were that article was 93 like i don't think it was about slanted it was just mentioned so but i got it yeah and as you may have heard me talk about it's yeah it's my it's like my favorite thing, really, in some ways. I love, and yeah, I miss Gary Young.Track 3:[5:51] I never got to meet or talk to Gary Young, but yeah, the drumming as a drummer as well, as a budding drummer, like hearing Gary's playing, that had a huge influence on me too. So yeah, that era. Put your finger on what it is, isn't it?Track 3:[6:06] Like, what it is about Gary's drumming. I love Westy. I love him. He's a great guy, and he's a great drummer. But there's something about Gary. There's something about the looseness and the showmanship of people like Gary Young. I would say here in Canada, we have Mark Gaudette, who was in Eric's trip, and his drumming, too. Like, it's punk rock, but it's a bit more technical. And it's precise, but it's loose. And it just has it. He's making an instrument. you know they have their own voice i suppose as drummers they have their own like you hear it and you're like oh that's that's that's either gary or as i mentioned mark for two examples uh or it's someone copying them you know it's someone someone kind of ripping them off so i certainly was of this learning how to play the instrument and getting into some really amazing drummers at the time uh just because i didn't take drum lessons i would just listen to things or go see bands and And certain people and their drumming had a huge impact on me. And certainly early pavement drumming, you know, I think it's an underrated facet of that band. Did you get a chance to see the Gary Dock?Track 3:[7:18] No, you know what? I haven't seen that doc. That's a good call. I've been rather swamped of late and I need to do that. Have you seen it? Yeah, it's really, it's, it's pretty fabulous. Yeah, I can imagine. You're right. I should, I don't know. I'm at a thing where I got to do so much and I process so much information and music and I can't keep up with everything. So yeah, I saw it come through and I was like, yeah, I will watch that eventually. And then before you know it, I don't think I'm alone in this where there's just so much stuff to consume, but yeah, good Good call. Good call. I'll try to track it down on, I don't know if it's on a thing, a service or whatever, a streaming service, but I'll try and watch that. Yeah, I think it is because I don't know how I would have seen it. I forgot. Yeah. Um, when, when did you finally get to, uh, see them live or did you see them live in the original sort of run? I saw them for the first time in Barrie, Ontario at Lollapalooza in 1995. This was the. Wow. Lollapalooza curated by Sonic Youth.Track 3:[8:18] So also on the bill was, it was supposed to be Sinead, or sorry, it was supposed, yeah, it was supposed to be Sinead O'Connor, but I think I attended the first show that she couldn't play because she was pregnant. And so Elastica filled in, but the day was like a mighty, mighty Boston's first time I got to see the Jesus lizard. Blizzard, uh, uh, Pavement obviously played during the day, uh, Hole played. Beck was on the lineup too, wasn't he? Yeah, I saw Beck play two sets, one on the main stage, uh, this was just ahead, uh, ahead of Odile coming up, and, um, he also did a side stage, uh, performance where I actually spoke to him, he, he came down and, uh, signed autographs, so he signed, I don't know where it is but he signed my Lollapalooza ticket stub and I asked him I actually I think I, I tripped him out a little because I'd heard that he was going to be collaborating with a Toronto musician. And when I mentioned it, he was like, oh, yeah, we have been talking about that. Like he was I kind of nardwired him.Track 3:[9:23] I didn't mean it was just a rumor. I just said it. And he was like, oh, yeah, we were talking about that. So anyway. Yeah. So, yeah. And the Far Side played and Moby played and all sorts of amazing eclectic. Yeah. Yeah, Cypress Hill was one of the headliners. Bob Nastanovich, when he was on my show, I did a little documentary about Bright in the Corners. And he talked extensively about their experiences with some of the artists and their experiences playing Lollapalooza. And Bob's amazing innovation of suggesting that instead of getting a bus, they would each get minivans. He got a great deal in some rental minivans and that way they could play and then just drive ahead to the show and not worry about the gear and all that stuff and and and they could kind of travel at their leisure and uh yeah anyway so Lollapalooza 95 is the first show then I saw them at the Phoenix in Toronto for the Bright in the Corners tour and then I saw them play uh you remember the cool house and the, sorry, for those wondering in Toronto.Track 3:[10:33] There was a venue and it had two rooms. It was called the Warehouse. And then beside it was something called the Government, a smaller room. And then the Warehouse became, it was like the RPM Warehouse or something like that. That's right. And then it changed names. It was the Cool House, but I think the Government was still there. So for Terror Twilight, as I recall, Pavement played the Government. So the smaller room on that tour. So I saw them there. And then I saw them on Toronto Island on the first reunion tour with the Broken Social scene.Track 3:[11:08] And I think that's the last time I was invited or I was supposed to go see them in Austin, Texas. And Bob hooked me up. And I think I might have even been able to attend the Austin City Limits taping. But unfortunately, I couldn't make it at the last minute. So that was a bit of a bummer. But I regret it. But, you know, it was weird, still weird pandemic times then. And I, I think there was also other stuff going on. So I didn't get to see them on this current reunion, but it still seems to be going as we're speaking. So who knows?Track 3:[11:42] Maybe I can see them somehow. now yeah yeah and we are recording this in early april so yeah there's we're not uh that's not a scoop people just in case you're listening to this in october and you're like oh christ they're coming back um they may they very may well be i just edited the bob episode and you know i sort of teased him because he's like we're done after south america and i was like come on come on yeah i'll believe you're done when i when when you're done yeah but um enough about me back to you uh i'm curious about the lola performance like so you got to see them in a government isn't intimate but it's nice um and then you got to see them in um lollapalooza in front of a big crowd what do you think of the the festival version of pavement well i mean obviously it's well documented that they didn't have the best time on that tour on some level uh in slow century there's obviously the the fracas uh you know uh where people are throwing mud at them and all sorts of a rock at steven actually uh you know i i was a kid i mean that was sensory overload i i was just going to how old was I? So 95 I was had I even turned.Track 3:[13:08] Yeah, I was not even, what was I, seven, 16 or something like that? I don't know. I was not an old, I was young. You were 76? No, wait a minute. Yeah, I was 17. So I was born, no, I was born in 77. So I hadn't yet turned 18. So I was 17. And yeah, it was just, that was a bonkers year, to be honest with you. That summer, I went to everything. I went to so many festivals.Track 3:[13:31] For all my bellyaching about my parents not letting me do stuff, they let me do a lot of stuff that summer so uh yeah i don't i think i was just overwhelmed by how many people were surrounding me and and and i got up as close as i could for pavement um and we got up really close like seeing the jesus lizard was a bit i love the jesus lizard already at that point i just love them and to see them was like they were larger than life and you know yeah for those who've never seen them or footage of them at that point, Yao would come into the crowd, you know, he would leap off the stage and crowd surf and all that kind of stuff and sing while he was doing it. So it was very immersive. And then Pavement, relatively the opposite, you know, they're on stage and the songs are great and they played well, as I recall. But on some level, I remember just making a point of getting up as close as possible and trying not to, at the same time, you know, be conscious of not bothering people as you move your way up, you know, because I was kind of annoyed at everyone running around and pushing their way forward and all that stuff. So, uh... Never made sense to me. Yeah, it just... That's my main memory of just, like, trying to... I was probably... For the Jesus Lizard and Pavement, I was probably... That was the closest I was probably, uh, to the stage. And, uh... And then otherwise, yeah, I don't know. I mean, I have...Track 3:[14:57] I have a real sense memory of the Phoenix show for Bright in the Corners for a few reasons. And I've talked about them with Bob, at least.Track 3:[15:05] Bob did an interpolation of a Cool Keith song, which I just, I was like, oh, I didn't know people knew about Cool Keith. Like I had only started listening to Cool Keith at that time. And he did. I have no clue. blue cool keith is a a really uh innovative uh underground hip-hop superstar he was in a group called ultra magnetic mcs and then he went solo as dr octagon and as cool keith has all these pseudonyms and uh to be precise uh and oh yeah black elvis like he had all these cool names so to be precise i believe as i recall bob was quoting dr the dr octagon project and he just did it in the middle of a song and then also the other thing that occurred to me and it's sort of relevant to the song today is during uh stereo when steven malcolm is saying the lines about getty lee and his voice being so high he shot his voice up super high like a comically high effect how did it get so like just pitch perfect super high i think it's i think it's documented in a much music interview that they did that day or whatever, like while they were in town. And then obviously afterwards, they interspersed some live footage of the band playing.Track 3:[16:26] And Stephen singing, you know, on this song that we're here to talk about today is so remarkable to me. And I remember that I had this sense memory of him singing that and thinking it was very amusing. I thought it was more amusing than impressive at the time. but over over time as i um have come to value steven's singing voice and his range and his ability, And just instincts as a singer, I view it as more impressive now than, I still think it's funny because I think he's got a comical element to his choices and certainly live anything can happen, but they were just, I think that Bright in the Corner show is the, it's certainly one of the best shows I've ever seen. So I would also say it's one of the, if not the, it was the best time I saw Pavement probably. Oh, that's a great venue. That's what I, that's, I think the Phoenix is phenomenal. I don't want to discount the reunion show I saw because I think with age and time away from each other, they actually have, I don't know, I don't know how many reunion shows you've seen, but often I find that these bands that, particularly for us, you know, the bands around in the 90s, when they come back, they're better. Yeah. They seem more at ease with themselves as people and as players.Track 3:[17:45] And so the absence, I don't know what it is. They just seem more relaxed. And I think when you're more relaxed, you play better. I think 20-something angst, we'll call it. I think if you're not relaxed with each other, you don't play as well. You're just a little uptight. And then as you sort of resign yourself to, well, not resign yourself, but as you sort of get, yeah, you let go of things. I guess that is a way of putting it. You kind of let go of any little grudges and you don't have that angst, whether it's your own or whether it's about yourself or whether it's interpersonal. And I think you just play better. So when I saw the Jesus Lizard on the reunion tour, having seen them several times in the 90s, I just was like, I think they're better. You know, they might be better. better and pavement as i recall from the toronto island show it felt good they played so well you know together um but up until that point yeah i would say that bright in the corners show i saw at.Track 3:[18:46] The phoenix in toronto was just like they were just on fire it was brilliant so yeah cool yeah well before we get into song number 18 i gotta ask you as one of the only people i know that has interviewed Mark Eibold, the reclusive Mark Eibold, how the hell did you do it? And that interview, by the way, was phenomenal. It was great.Track 3:[19:09] Well, that's very kind of you to say. I have to draw back on my memory for this. So the occasion was the Terror Twilight reissue from a year or two or a couple of years ago, whenever it was. Yeah, who knows? And like you, I think my social entry point into this band is Bob Mstanovich.Track 3:[19:32] Absolutely. So Bob is, uh, I've gone on record saying this to others. I think I said it maybe to him during our terror twilight discussion. Bob is the greatest podcast guest of all time. You don't even have to ask him a question and he starts. He's so funny and he's so frank and he says things that I surprised he might say. I love him so much and he's been very kind to me over the years as well. I first spoke with Bob, uh around the time of that reunion uh tour um uh and so what was that 2009 10 thank you very much yeah sorry i think the jesus lizard was 2009 so yeah i spoke to bob around that period and then we've maintained contact basically ever since that was for my college radio show actually and then so that was here in toronto yes that's right yeah well i lived when i was living in ontario at at the time. Um, I had a college radio show and would play some pavement and Bob was a guest on that show. And he's, and I probably wrote a magazine article for exclaim magazine as well. That's what I do and used to do more often. Anyway. Um.Track 3:[20:43] Yeah. So the Tara Twilight thing came about by this point, Bob and I had, he'd been on my podcast a few times. And so I just, I'm sure I went through the proper channels to get, try to figure out the interview and get the music and the, and you know, all the assets and all that. But Bob, I think I was like, Bob, like, can we get everyone? Let's just get everyone on the show. Probably like you have done, like you just, you know, you're, you're trying to do this now. You're trying to talk to as many of the members as you possibly can. Absolutely. And in the loop. So, yeah, you know, I'm emailing Stephen and I think I texted Stephen because, you know, he wasn't responding.Track 3:[21:22] And so we sort of landed on Westy and Bob and Mark and then Jesper, who was involved in the reissue for Matador, was going to take part. And then at the day of, Mark couldn't do it. He was in transit. He couldn't join us for the group call. But yeah, Bob connected us over email, I believe, and maybe text, I don't recall. And so Mark and I, Mark felt, I think, kind of badly that he couldn't do it, like that he said he would do it and that he didn't end up doing it. And uh i i assume bob vouched for me you know um and so that was kind of it uh really we corresponded uh he felt badly that he couldn't make the group call we arranged a time we had a good talk you heard it uh and then i believe i put it out the right after i had put out that that group call uh so back to back it was like pavement week on my show for terror twilight light. Um, so, uh, yeah, I don't, can't recall cause I do so many of these, uh.Track 3:[22:37] Exactly what mark and i talked about i think we talked about some of his, radio listening habits you did yes he still uses a radio yeah you might actually have a better perspective on it than me at this point because i just don't remember uh you know i jd i'm sure you're familiar with this you do so many of them uh interviews uh episodes you're just like oh yeah, i forgot i had so and so on the show what the hell did we talk about again i that happens to me all the time when i edit i'll be listening and i'll be like it sounds like a conversation between somebody who doubles my voice and my guests because i don't recall virtually anything about what we talked about well i remember realizing it was um a real kind of rarity for mark to do such a thing i think at the time um a sonic youth uh archival compilation had had just come out that mark appeared on so there's just a fair amount to talk about it was a lot of memory jogging unfortunately for him like you know trying to remember the terror twilight sessions trying to remember playing with sonic youth like all about a decade out from doing it you know or more a decade or more 20 years um so uh yeah i i he was very lovely and uh and forthcoming and um.Track 3:[23:59] I really appreciate it. I think I've spoken to everyone but Gary, I suppose. I never got a chance to speak to Gary Young. But in terms of the, I guess, whatever, core or original lineup, yeah, I've talked to all of them at some points in my life. And I hope to talk to them again.Track 3:[24:20] Yeah, I do adore them. So it's, yeah. You can tell. You can really tell. And we should have said this off the top, but Viche is, Creative Control is a podcast, if you haven't listened to it, you should listen to it. If you like music, if you're maybe a bit obsessive about music, Viche does a really phenomenal job of, you know, conversations with famous people. People uh for people who listen to this show you might want to start with some of the david berman stuff because it's it's pretty spectacular and uh and then work your way through the pavement but it's all it's all good from the stuff that i've heard for sure well thank you for the kind words and for saying so yeah i uh i do love doing the show and uh it has uh you know it's granted me access and insight, uh, to, and from people I really, truly admire and adore. And, uh, yeah, I marvel at, uh, what I've been able to, uh, accomplish and get away with, uh, it is, it is, I don't really understand it, but certain people like Bob and others, uh, uh, have a fondness for me and return to the show and all that sort of stuff. And, uh, so yeah, it means a lot. Thanks for saying that. No, no, I should have said it off the top. but uh what do you say we talk about the the song this week song number 18 let's do it okay we'll be back right after this hey.Track 1:[25:48] This is bob mistanovich from pavement uh thanks for listening and now on with a countdown 18.Track 3:[29:27] So today we're talking all about song number 18 from the masterpiece Wowie Zowie. It's the absolutely gorgeous Father to a Sister of Thought. Vish, what are your initial thoughts about this song? Well, you know, I was so happy that we landed on this as a song to talk about because I do love Wowie Zowie. I have a sense memory of picking it up when it came out. I think the day it came out. um and um obviously a strange sort of a strange record uh an eclectic record uh and this is interesting it's a really fascinating song because in some ways it's super accessible uh musically it leans with the pedal steel and some of the other moves it leans towards country music.Track 3:[30:18] I will say, as I was pondering it, I mean, I know we are in a vacuum here of people who love Pavement and who love Stephen Malcomus, but as I was listening to this in preparation for our chat, I'm like, Malcomus is like an underrated everything. I really feel that way. And in particular, I think he's a remarkable singer. And, you know.Track 3:[30:51] And this song, I think, exemplifies that. He makes super fascinating choices with his phrasing, I think, and just the notes he's going to go for on words. Like, I don't know how to put it. I'm not super adept at maybe talking about music on that level. But it's just very dynamic, the way he shoots his voice up and sort of speaks, sings one line.Track 3:[31:17] And I think aside from missing his sort of grittiness, he also is a great screamer, great yeller. He really is. Like Paul McCartney level dynamic range, I think, with Steven when he wants to. Like he can sing. I don't know if that resonates with you. Like McCartney, to me, can sing anything. He can sing a ballad. He can sing like a Little Richard Rocker and sound like a punk. Like it's bonkers, that guy's vocal range. And I think Malcomus is in that, totally in that vein. So he's not yelling on this song but i think if anyone is interested like this song is a perfect showcase for what he can do as a vocalist and before i go much further jd does that resonate with you it certainly does i when i think of this song you know the word i used right off the bat was gorgeous uh and it's gorgeous in a number of ways the vocal the melody uh like his ability as a songwriter. I don't know how much of the arranging he did, or if it was Easley who said, let's use this pedal steel.Track 3:[32:25] But nevertheless, it just works so well with the timbre of his voice. And it all comes together in a really lovely ball.Track 3:[32:36] Yeah, and I think the little contrarian aspect to, or I don't know how to describe it, this little element of, yeah, it's a little contrary, I think, you know, I don't think I'm saying anything untoward where there's an element of self-sabotage sometimes in the pavement realm where everything's going fine, and then all of a sudden, let's pull the plug and do something wild and nuts or crazy, you know what I mean? And then yeah so this song has this really jaunty country vibe and then it ends with this like, minimalist noise rock stomp damn yeah yeah yeah like it gets it suddenly becomes a little more punk after the sort of so it's kind of this and it's all part of this it's that end it has nothing to do with anything else we've heard no instrumentally nothing but it works like it works so perfectly and i think it's a way of being like all right i think i think we're getting a little saccharin here it's too gentle or something let's end a little more raucous and uh so to me i hadn't really pondered it as such before but between malchumus i think singing his ass off and and really showing his range uh the band also ends up playing very dynamically and really beautifully and and also grit like as i say there's some grit towards the end so in a weird way.Track 3:[34:03] And again i hadn't thought of it like this was a single as i recall um like there was a video for it and whatnot and they're all dressed up in like country western garb and all these sorts of things, but uh no it's a nice exemplification like this is a pretty good gateway in the pavement if you were like yeah listen to this song again you never heard of this band try this song just try it it's got humor it's enigmatic lyrically the arrangement itself is beautiful but funny uh yeah i i really think uh 18 this should be in the top five it's really wonderful wow yeah i would have it in my top 10 yeah i know you top 10 sure i don't know what these ratings mean i don't believe in ratings and awards but it's water cooler talk no it's i'm just saying as i think about it more first of all uh anyone out there listening uh once i dig into a topic i get a little excitable. So, uh, you can make the argument like, what about these other 10 songs? And I'd be like, yeah, yeah, those are also great. But this, this to me, I think, as I say, it's got a nice balance of earnestness, irreverence, beautiful singing, wonderful playing. Uh, yeah, I just think all across the board, it's beautiful. Yeah. Uh, well said.Track 3:[35:20] When you think back to buying Wowie Zowie, you said you got it on the day it came out. First of all, that's very cool.Track 3:[35:29] And second of all, I wonder, just to go on a tangent for a moment.Track 3:[35:34] I wonder if your penchant for B-sides helped you with that record. Because it's almost constructed to me where there's like a song and then more of a b-side song than a song than more of a b-side song uh you know i'm thinking like brink's job and and and stuff like that um yeah you know so that that would have really helped but what were you thinking the first time and this is asking you to really stretch your brain i apologize but what were you thinking the first time you heard this song on this wicked roller coaster ride of a record you know what it's i know this song gets come or rather the album why always how he gets compared a lot to the white album sure by the beatles um who are from liverpool uh and are no longer around but they were uh that album was um i think it's rightly regarded as this uh odd pastiche niche of sounds and ideas and somehow it it only coheres because contextually they made it cohere like it doesn't really make a ton of sense as an album but it's one of those albums where like i couldn't tell you what the best song on it is because i almost view it conceptually as a whole Oh, wow. Wow. So, there's some of it, like, you can, there are singles from it and whatnot.Track 3:[37:01] But I have a weird, this is more about me, I suppose, JD, than maybe most people, but like, I'm an albums person. So, when an artist or a band puts out an album, I assume, rightly or wrongly, in some cases it's not the case, but I assume it's a unified statement that they're making of a time, of.Track 3:[37:25] Rolling Stones, certain bands, you'll be like, yeah, this album is actually like odds and sods from the previous couple of albums that they just reworked or whatever, revisited. Um, and they still count as albums, you know, certainly Stones in the seventies, you can make that argument. There's a few records where, yeah, like just what I'm describing, it's an album, but it's really like leftovers from some ideas they had. Um, I would put Wowie Zowie in that white album category of like, it's a whole thing. Like, the way it's sequenced, the way songs blend together.Track 3:[38:04] As soon as you hear an artist do that, where the songs kind of barely, there's barely any air between them. Right. That's a sequencing choice. That's a mastering choice. That's all sorts of choices they're making. but there's then tends to be this coherence between them this isn't the case all across wowie zowie but there are songs as you know where it's just the next one just starts you're just right into another song um so it becomes a sort of sweet like thing all this to say uh i might be stalling to answer your question because i haven't listened to the whole album in some time this is going to prompt me to i listened to this song on its own and i will say it was a bit weird.Track 3:[38:48] To hear it on its own because i don't listen to pavement sorry as i've tried to just maybe exemplify i generally don't listen to um bands i got a friend pointed out to me a few years ago he was we were in a band together and he said yeah you once said you don't like greatest hits compilations i said i said that said yeah we were driving we were listening to like acdc or something and you were just it came up in conversation and you said you don't like greatest hits compilations because the context of the music is all out of order and i said right that makes sense to me yeah you're i said yeah okay i don't remember saying that sometimes i say things and i don't remember that i said them and i said oh yeah well i mean i said i said it and it stuck with him like he said yeah i've started to listen that way now because you're right like the context of an album is so important to it so when you asked me to be on the show and and suggested uh you know that we were going to talk about this particular song i just listened to it on its own.Track 3:[39:52] Totally weird. Totally weird to hear it out of the album context. So I think going back to my sense memory, I don't know. I mean, it starts with We Dance, which is weird. And then you're right. Some of the songs seem, I mean, to some people, they would seem like half finished ideas. That's right. Right. Or just like little jabs of things, you know. So you're absolutely right too, like Serpentine Pad, Brink's Job, those sound like they could be B-sides, but I would argue that the pavement B-sides are never really, they don't feel like throwaways to me. I agree. Sometimes they're a little looser and more fun, like things happen and that you wouldn't really hear. No I don't even you know what I'm just going to retract that I think they are all fully.Track 3:[40:48] Realized songs that stand on their own but yeah Wowie Zowie I suppose might have been the first sort of inkling that this band could do anything and they weren't afraid to try anything, I'm sure some people were disappointed after Crooked Rain Crooked Rain to hear this, band be a little more punk but also as we're talking about a song that like I say who knows I don't know I I've not really thought about this in a long time but I'm sure making the construction of wowie zowie and the sequencing was potentially a reaction to how much success and how they broke through with crooked rain.Track 3:[41:34] Yeah, I can get behind that thought because, I mean, it's almost outlined in Cut Your Hair, right? Yeah. That's sort of the blueprint for Wowie Zowie in a way. Yeah, like not deliberately self-sabotaging themselves, but being like, we're maybe a little too big. Let's do something a little less accessible. Like, let's do something a little more. I just want to be clear. I think it's brilliant. I don't find it confusing. But if you got into Cut Your Hair or Gold Sounds or got into that band that you saw freak out on The Tonight Show, you know... And then listen to Pueblo. Yeah, yeah. I think you're kind of like... Yeah. You would just be like, as a band, I doubt it was even conscious, but maybe it was. Maybe we should do something that's a little more like wild. And if that was the case, I'm not sure it was, I'm sure there's literature and I should have maybe revisited some of the liner notes and reissues and things to read about where their mindset was at. But, you know, even describing father to a sister of thought, it has that mix of totally, totally accessible. I could play this for my country music loving grandfather, but then it ends with like, Hey, grandpa, we're still kind of a punk band. You know what I mean? Yeah. Yeah.Track 3:[43:02] Oh, that's great. Going back to the theory of potentially sabotaging themselves, which I'm with you, I don't think they did it on purpose.Track 3:[43:13] I almost think it's like a sound and style change. You're right, Crooked Rain, Crooked Rain was so accessible, and it had a familiar sound. It had sort of a California classic rock kind of vibe to it. It crooked rain is i will interject only to say that i think crooked rain is also super weird.Track 3:[43:35] It is it helped them break through but it is a weird album like it starts weird it has like a full studio sound like it sounds like i know that was made in a bit of a patchwork as well but like it sounds more like a studio record um sure they went they went to a place that that it wasn't going to be noisy and hissy and ambient even though it has elements of that like it has a warmth to it but it's a weird and wildly arranged album too but this is even well coming off a slant coming off a slanted though it seems it just seems more you know readily available i suppose to to a wider birth of people yeah but what i was going to say is it almost reminds me of what sm did when he went solo that first record is so accessible and so poppy and so hooky and so earwormy it's amazing and then he did piglib after that which i fucking adore but it's so off the wall compared to the self-titled debut yeah and if we're viewing malcolm as you know uh obviously obviously the main driver of of their songs then yeah it's it's his whims and it's his.Track 3:[44:50] His notions for a batch of songs like you know i think bright in the corners is uh on some level it's the cleanest sounding pavement album but it's also the most esoteric and and you know i the songs sprawl and they're all over the place as well but it's also somehow more coherent and contained than wowie zowie like but but the songs stretch out that's their what did we talk about with somebody recently uh maybe it was with the pavement guys uh grateful dead type stuff yeah sure yeah like it it has a it's it's a little more zen it's less frenetic even though the imagery and whatnot is pretty intense and some of the arrangements are too so yeah i think it's just modes again this goes back to my argument i love albums i love knowing that we're hearing where a band was at, at that given time. Uh, and, and that, that batch of songs, however, like wowie zowie, however disparate the songs might be from one another, that's what they were into. Like, that's what was going on with them at the time, whether it had anything to do with external considerations or perceptions about who they were, uh, how successful they wanted to be. Like Like, that might just be all bullshit I'm making up. It could just be that's just what he had, what Malcomus and what the band had going.Track 3:[46:18] And this is it. You know, why waste it? This is, it's all over the place. Let's put it out as one thing. The next album, a little, like, I think it's, it's fair to say, uh, Bright in the Corners. Well, you know, maybe it's not fair to say, I'll ask you. Bright in the Corners, probably safe to say a more coherent sounding album than Why We Sowie. Absolutely. Yeah. It's, it's a more album-y album. Right. In a sense. But I also think Slanton and Enchanted all sounds like it's from the same expression, too. Sure, I guess I mean album to album. I just love the way it opens. There's a middle, and then there's an end. There's a finite end with Finn. Yeah yeah well i mean maybe i don't know like we we mentioned lollapalooza uh there was something going on in the in the moment in the cultural moment where you it was really cool to be an open-ended music listener it was really cool to be like yes we're playing with a folk musician we're playing with shanae o'connor and cypress hill on the same day bonkers and the jesus lizard like on some level that is a culture saying everyone is welcome every sound has merit.Track 3:[47:34] We're sick of the orthodoxies we're sick of there being camps um and so maybe wowie zowie reflects that too uh on a musical level it can be noise damaged it can be a beautiful if strange folk song, it can be a country song, it can be a goddamn screamer where Malcolm clearly loses his voice you know, on Half a Canyon or whatever. Like, it's.Track 3:[48:01] Yeah, as we speak of it, I love that album. And like I say, though, I'm having trouble decontextualizing this song from the whole. Right. And that's more about me. But if we really dial into it, when I say this is a good exemplification of Pavement as a whole, maybe it's a good exemplification of Wowie Zowie as a whole. It has that beauty and thoughtful lyricism where you're like, what's he talking about? What's going on? this is really interesting imagery. Is he talking about Corpus Christi, Texas? Or is he talking about Corpus Christi, the kind of event? Like, I remember just thinking right away, why is he singing about Texas? Like, I have that sense memory. And I have this song and some, I'm just a man. Like, I have just little bits of lyrics that are just always with me that I just hum to myself. And yeah, I, this is one of those songs where I just have sort of mindlessly sung it out loud to myself as i'm sort of tooling around my my life you know i don't know if you have that where you just have these lyrical lyrical fragments but this is definitely one of those songs.Track 3:[49:08] And uh i think um yeah it exemplifies both the band and the album in a really fascinating way for me cool well is there anything you want to say uh more about father to a sister of thought or, well you know i'm a lyrics guy and we didn't uh have a chance to get too far into it but i also i know that i mean it's on the surface it seems to be about spirituality and uh people's relationships to that but with malcolm is also you never really know um on some level i think he's spoken about this song and whatnot but um no i don't know all i'll say is i marvel at the guy and i don't think uh he's one of these people i don't think we marvel at enough as a guitar player as a musician as a as a lyricist and particularly on this song as a singer and i hope uh this isn't uh some people don't find this to be a hyperbole but you know i think we take him for granted as He's a vocalist, and this is a great example of what he can do.Track 3:[50:15] Agreed. Well, Vish, it's been dynamite to talk to you today. We went off on a few different directions, and I'm glad we got to do that. Do you want to talk a little bit more about you and the podcast? And I want to say right off the bat that I said it earlier, Creative Control, it's with K's, Creative Control. So if you're searching for it on the Google, you're going to want to spell it correctly. Correctly well thank you thank visha style of correctly well i will uh immediately say that this is a reference to a hot snake song of the same name creative control um so that's why i didn't make up the case thing and now there's like a fashion company called creative control and i think someone like fashions themselves a rapper and they call themselves creative control but they kind of show up and they don't show up i don't know what's going on but anyway yeah that's my show i mean on the internet they'll be like tweeting ramp like rabidly and then they just disappear. And then I don't know what's going on. Anyway. Yeah. Nothing to do. I, Hey, I copped the name from a band I like, so I can't really complain. Complain spelled with a K by the way.Track 3:[51:23] So, uh, yeah, I have this podcast and as we're speaking, uh, you know, it's, it's still going, uh, and it's more important to me than ever because, uh, it is now my main, job at the moment as maybe by October it won't be, but, um.Track 3:[51:41] Yeah, so all I can say is if you support the work of people like me and JD and want to support podcasters, crowdfunding, I don't know about you, JD, and we don't have to talk too much shop, but the advertising revenue is very minimal and it's honestly a little gross. No offense to your sponsors.Track 3:[52:01] I'd rather just not have it. Yeah, I'd rather not have it. But yeah, the crowdfunding and the Patreon that I have is particularly important to me at the moment. So I have different incentives and different tiers and all that kind of stuff, like pay tiers, and it's flexible and monthly and all that kind of stuff. So sorry to make this about the money. We've already talked about some of the content or whatever, like the people I talked to. Yeah, I'm proud of it. It seems to be relentless. It's never going to stop unless I do and stop making it. That sounded morbid. uh by the way if i die the show will likely die too i i just want to be clear about that but no i i love doing the show it's afforded me um some wonderful experiences and both in the conversations and then just from people like you jd reaching out wanting to talk i mean it means a lot to me so thank you for giving me a time to some time to plug and thank you for having me on this wonderful show of yours and for the the lovely conversation it means a lot yeah for me Me too. Thank you so much. All right, everybody, that's what we've got today. So be cool. Make sure you're safe and wash your goddamn hands.Track 1:[53:15] Thanks for listening to Meeting Malcolmists, a pavement podcast where we count down the top 50 pavement tracks as selected by you. If you've got questions or concerns, please shoot me an email. JD at MeetingMalcolmists.com. You.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Mark interviews bestselling and award-winning author Dianne Scott about her Christine Lane Mystery series which is set on Toronto Island in the 1960s. Prior to the main content, Mark shares comments from a recent newsletter he sent out asking writers to share their thoughts on the collective noun for a group of editors, a personal update (including the launch of his new Kickstarter campaign), and a word from this episode's sponsor. This episode is sponsored by Cruising Writers. During their conversation Mark and Dianne talk about: How, after writing a creative writing piece in University that was supposed to be a research essay, Dianne's teacher suggested that she switch her major over to English The teaching that Dianne has done for the past 30+ years Other writing that Dianne has worked on and published Dianne learning from her father, how he, as a police officer, used to patrol Toronto Island, and the spark of that into some ideas for her novels Deciding to make her main character a female officer in that place in the 1960s Preparing the final and 5th book in the series, FINAL LOOK, for publication in June 2025 Pitching and submitting her work to various Canadian markets The innate conflict that was part of the first novel in Dianne's Christine Lane series The "old VS new" conflict that happens in the stories in this setting Dianne's first two years in self/indie publishing Some of the volunteer work that Dianne does within her realms of expertise The importance of literacy  The different types of creativity that can fulfill that internal desire Advice Dianne would give to other writers And more...   After the interview Mark reflects on the research Dianne had to do as well as the concept of being creative in different ways.   Links of Interest: Dianne Scott's Website Mark's Kickstarter for ONE HAND SCREAMING: 20 Haunting Years EP 374 - WMG Publishing Editor Round Table Mark's Stark Reflections on Writing & Publishing Newsletter (Signup) Cruising Writers Buy Mark a Coffee Patreon for Stark Reflections How to Access Patreon RSS Feeds An Author's Guide to Working With Bookstores and Libraries The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors An Author's Guide to Working with Libraries & Bookstores Wide for the Win Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon Hex and the City Only Monsters in the Building The Canadian Mounted: A Trivia Guide to Planes, Trains and Automobiles Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard   Dianne Scott lives a short ferry ride from Toronto Island, which is the setting of her mystery novels. She is the award-winning author of the Christine Lane Mystery series. The first book, Final Look, was a #1 Amazon bestseller, Kobo Emerging Writers Award nominee and winner of the Crime Writers of Canada Arthur Ellis Award. The second book, Missing, was a Finalist for the CWC Excellence in Writing Award. Lost and Found and Sabotage are the third and fourth books in the series. When Dianne is not writing, she is walking Toronto's neighborhoods, coffee klatching with friends and cuddling her Bichon Poodle. She also teaches literacy skills and is working on her Erne in pickleball. For more information about Dianne, visit her website at diannescottauthor.com   The introductory, end, and bumper music for this podcast (“Laser Groove”) was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0

This is Bucket List Travel, a special series within the podcast Dr. Mary Travelbest Guide. This is Carolyn Ray, CEO and editor of JourneyWoman, a women's solo travel publication based in Toronto. I'm going to share some tips and advice about my hometown with you. I'm actually a sixth-generation Torontonian, and my daughter is a seventh-generation Torontonian.     So this is my hometown, and I can tell you, if you're looking for an exciting, vibrant city, Toronto is it. We are, you might be surprised, the fourth largest city in North America, and very easy to get to from just about anywhere in the world. Toronto is a great getaway for those living in Canada and a steal for women coming from other countries because of our Canadian dollar. So you'll find a lot of value coming here for your money,    I want to share with you a bit about how to get to Toronto, which may surprise you. Of course, you may know about Toronto Pearson Airport, our international airport, but we also have a smaller island airport called the Billy Bishop Toronto City Airport, which is right downtown. So if you can get a flight into Toronto Island, that's much easier.    But if you are flying into Toronto, Pearson, we have a wonderful train called the UP Express, which will get you downtown in about 25 minutes. If you are arriving at Union Station, you can get right on our subway system, the TTC, the Toronto Transit Commission. And it's very, very easy to get around on the TTC. It's a U-shaped route that goes north, just kind of starts at Union Station, and goes up both ways. And then there's an east, west route across the city at Bloor Street, which is B, L, O, O, R, we're building some more subways. You'll notice that when you're in town, and because of that, I just want to speak to a little bit about safety on the subways. Toronto is a very large city, and I just want to encourage you to be very aware. I know everyone thinks Canadians are very nice, but I also just want to remind you to be very self-aware when you're on the subways and on public transit.   For things to do in Toronto, my number one experience would be to go to Toronto Island. It's very easy to get there on a ferry, and you can take a ferry over for the day. You can ride a bike, enjoy the beaches, or even get on a boat.   If you are looking for a place to stay, there are many different kinds of hotels in Toronto, but I will say one of my favorites is the Fairmont Royal York, which is right across from Union Station. But I also like some of our boutique hotels, the Gladstone, the Drake, the Broadview Hotel. These are very lovely, locally owned hotels, creative, artsy, with really great rooftop restaurants and great views.   I'll end with some tips on places to eat that you may not know about. I really love Spanish food, so I wanted to recommend Madrina y tapas and Patria. Patria is on King West, which is a very popular place to go for bars and restaurants. The Distillery District is one of our historic areas in Toronto, it's a wonderful place to walk around and spend the day. And Madrina y tapas is one of my favorite restaurants there. There's also Yorkville, which is on at Bloor and Yonge Street. Kasa Moto is a Japanese restaurant that I would suggest there. And a secret you may not have heard of, this one is called Scaramouche, and it's a little bit farther north, but you can get wonderful views of the entire city. It's actually in a condominium, and you can see all of Toronto at night. It's lovely. And for those of us who like vegetarian food, it's Planta. There are two Planta locations in Toronto, maybe more now, great vegetarian menu. And of course, I must mention the St Lawrence Market, which has all, you know, all of the fresh food you could ever want. But also in the basement Manotas, which is a Spanish takeaway restaurant, and then also Busters, which is at the back of the St Lawrence Market, where you can get some wonderful seafood.   Whatever you're doing in Toronto, I hope you have a great time. There's so much to do. There's so much to see, and I look forward to seeing you there. And if there's more information need about Toronto, please visit JourneyWoman.com. We've got lots of articles about the city.  Thank you, Carolyn Ray and Journey Woman for this excellent episode. I love that you shared about Toronto on this one!  Connect with Dr. Travelbest 5 Steps to Solo Travel website Dr. Mary Travelbest X Dr. Mary Travelbest Facebook Page Dr. Mary Travelbest Facebook Group Dr. Mary Travelbest Instagram Dr. Mary Travelbest Podcast Dr. Travelbest on TikTok Dr.Travelbest onYouTube In the news  

Greg Brady (@GregBradyTO) focuses in on what it will take to beat Premier Doug Ford in the next election – and our friend and host of TVO's ‘The Agenda' Steve Paikin (@spaikin) – wrote about this – and has some sage advice for the other party leaders. Next is Cam Guthrie (@CamGuthrie), Mayor of Guelph, to talk about concerns with open drug use in our public spaces – and why the federal government and province needs to address the madness. Lastly, Eric Lombardi (@EricDLombardi), Founder of More Neighbours Toronto to talk about an idea he has floating around regarding housing on the Toronto Island… and the importance of making the island more accessible, better connecting the island to the mainland.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg Brady (@GregBradyTO) focuses in on what it will take to beat Premier Doug Ford in the next election – and our friend and host of TVO's ‘The Agenda' Steve Paikin (@spaikin) – wrote about this – and has some sage advice for the other party leaders. Next is Cam Guthrie (@CamGuthrie), Mayor of Guelph, to talk about concerns with open drug use in our public spaces – and why the federal government and province needs to address the madness. Lastly, Eric Lombardi (@EricDLombardi), Founder of More Neighbours Toronto to talk about an idea he has floating around regarding housing on the Toronto Island… and the importance of making the island more accessible, better connecting the island to the mainland.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg (@GregBradyTO) spoke with Tony Farebrother, Chair of The Toronto Island Community Association, for an islander's perspective on a potential pedestrian bridge connecting the island to the city's mainland. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg (@GregBradyTO) spoke with Tony Farebrother, Chair of The Toronto Island Community Association, for an islander's perspective on a potential pedestrian bridge connecting the island to the city's mainland. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jon Burnside joins the show to discuss the possibility of building a bridge to the island. 

Artist & illustrator Maurice Vellekoop joins the show to celebrate his amazing new graphic memoir, I'M SO GLAD WE HAD THIS TIME TOGETHER (Pantheon). We talk about the midlife crisis that led to the memoir (and the subsequent crisis that almost made him give up), the joy and pain of putting his life on the page, his process of self-discovery as a gay man and an artist, and why his mother hoped she wouldn't live to see the book come out. We get into his (editor) partner's sigh that told him the first draft needed a drastic rewrite, the role sublimation has played in his art & sex life, his accidental technique for drawing himself crying, how the AIDS crisis did & didn't affect his life, his decision on how to depict sex in the book, the incredible color palettes he uses throughout the work, and the realization that he had a 500-page book on his hands. We also discuss life on Toronto Island and what it was like during lockdown, why he'd like to try stage design (just once), his Pride tradition, why publishing a book of erotica was a great stepping-stone for making a memoir, and more! Follow Maurice on Instagram • More info at our site • Support The Virtual Memories Show via Patreon or Paypal and via our e-newsletter

Guest Host, Ben Mulroney (@BenMulroney) and the panel of: Kevin Vuong (@KevinVuongMP) , Independent M-P for Spadina - Fort York & Nokha Dakroub, former Peel District School Board trustee (@NokhaDakroub) discussed: 1 - Pro-Palestinian protesters leave UofT encampment ahead of court-ordered deadline 2 - LCBO says stock up on your drinks now ahead of Friday's potential strike 3 - Cost to buy 2 new Toronto Island ferries jumps to $92M  4 - Most Canadians think Trudeau will stay on to the next election: poll  5 - The "Perfect" Hot Dog Is Grilled and Has These Toppings. Learn more about your ad choices. Visit megaphone.fm/adchoices

Guest Host, Ben Mulroney (@BenMulroney) and the panel of: Kevin Vuong (@KevinVuongMP) , Independent M-P for Spadina - Fort York & Nokha Dakroub, former Peel District School Board trustee (@NokhaDakroub) discussed: 1 - Pro-Palestinian protesters leave UofT encampment ahead of court-ordered deadline 2 - LCBO says stock up on your drinks now ahead of Friday's potential strike 3 - Cost to buy 2 new Toronto Island ferries jumps to $92M  4 - Most Canadians think Trudeau will stay on to the next election: poll  5 - The "Perfect" Hot Dog Is Grilled and Has These Toppings. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg (@gregbradyTO) joined panelists: Chloe Brown (@chloebrown4TO), policy analyst and former Toronto mayoral candidate & Davelle Morrison (@DavelleMorrison), Broker with Bosley Real Estate Limited to discuss... 1 - 14 year old Boy, charged with murder after 2 killed in ‘mass shooting' outside Toronto school. 2 - Toronto—St. Paul's byelection a tight race as results delayed. 3 - Is it time for a bridge to Toronto Island? One councillor says so. 4 - City councillor asks Toronto to take over Ontario Science Centre. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg (@gregbradyTO) discussed the push for a bridge to the Toronto Island with Councillor Parthi Kandeval (@ParthiKandavel) & April Engelberg (@AprilEngelberg), who first floated the idea of the Island bridge when she ran for council in 2022. Lastly, we speak with YOU and we took your calls – got your reaction – to news of a 14-year-old Toronto BOY charged with murder following a mass shooting in Rexdale earlier this month. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg (@gregbradyTO) discussed the push for a bridge to the Toronto Island with Councillor Parthi Kandeval (@ParthiKandavel) & April Engelberg (@AprilEngelberg), who first floated the idea of the Island bridge when she ran for council in 2022. Lastly, we speak with YOU and we took your calls – got your reaction – to news of a 14-year-old Toronto BOY charged with murder following a mass shooting in Rexdale earlier this month. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg (@gregbradyTO) joined panelists: Chloe Brown (@chloebrown4TO), policy analyst and former Toronto mayoral candidate & Davelle Morrison (@DavelleMorrison), Broker with Bosley Real Estate Limited to discuss... 1 - 14 year old Boy, charged with murder after 2 killed in ‘mass shooting' outside Toronto school. 2 - Toronto—St. Paul's byelection a tight race as results delayed. 3 - Is it time for a bridge to Toronto Island? One councillor says so. 4 - City councillor asks Toronto to take over Ontario Science Centre. Learn more about your ad choices. Visit megaphone.fm/adchoices

Is the proposal for a bridge to the Toronto Island a serious one? The community association on the Island doesn't think so. The councillor bringing the proposal joins Jerry live.

Greg (@gregbradyTO) spoke with April Engelberg (@AprilEngelberg), Toronto lawyer, former city council candidate, about the City of Toronto warning those thinking of visiting the Toronto Island about long delays at the ferry terminal. With 2 of the 5 ferries out of service, Engelberg's island bridge idea is more popular than ever! Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg (@gregbradyTO) spoke with April Engelberg (@AprilEngelberg), Toronto lawyer, former city council candidate, about the City of Toronto warning those thinking of visiting the Toronto Island about long delays at the ferry terminal. With 2 of the 5 ferries out of service, Engelberg's island bridge idea is more popular than ever! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on our Friday bonus episode the boys sit down with Josh Finlayson to pick his brain on working with Gord and creating the wonderful music they did together inside and outside the Country of Miracles.Transcript:Track 2:[0:17] Hey, it's JD here, and we're back again for a special bonus episode here on Discovering Downey. This is a really exciting one to share this week. It is with Josh Finlayson, who you've got to admit was one of Gord's shadows during his solo career and really extended that friendship onward into just a wonderful partnership. Partnership i won't waste too much of your time going into details because the boys craig justin and kirk are sitting around the table right now with mr finlayson and they are amped to get this interview into your ear holes i will say one more thing though we are getting very excited about our event july 19th tickets are on sale at discovering downy.com get them while you can they are 30 $30 for a ticket or $50 for a pair or hey, if you've got a group of friends that want to come out, you can save big bucks and get 10 tickets for $200. That's $20 a ticket or $10 off the single price. We've got some fantastic prizes that we are getting ready to announce for the silent auction. And of course, you'll see the almost hip and our special interview with Patrick Downey on the finale of Discovering Downey. Before we get into the interview, I'm going to spin a special track for you. This is the Sky Diggers, of which Josh Finlayson is in, along with Andy Mays and several others. They are going to get into some Sky Diggers talk in this conversation, no doubt. So let's listen to their version or rendition of Depression Suite before we head into the interview with Mr. Finlayson. See you on the other side.Track 7:[5:27] Welcome everyone to a very special episode of Discovering Downey. My name is Kirk Lane and I'm going to be here with our good buddies Justin St. Louis and Craig out in Vancouver. We're really excited today to have a very special guest, Mr. Josh Van Laysen from, well, from the Sky Diggers, I think is well most of you will know him from. But in regards to this adventure, Josh was very involved with several of Gord's solo albums that we have been discussing here on the pod. And uh we're just really excited to have him on board and just really talk about the his musical journey and and then obviously how it relates with his experience with with gourd solo projects not only with the recorded albums but also from a live perspective so um we've got lots of uh interesting topics and things we want to talk about and we're really thankful that he took took some time to join us today so welcome josh.Track 5:[6:28] Thank you thanks for having me yeah.Track 7:[6:31] I mean i guess i want to start with something that was recent and you had a pretty uh looked like a pretty good bill recently in a gig in toronto with uh with with your band the sky diggers and the sadies and paul and was band so i i think the group would love to hear a little bit about how that that went and and some of the other shows that you guys have been able to do together.Track 5:[6:54] Well we uh we um we played at a venue in toronto called the concert hall which is which is a venue that it's a it's actually a masonic hall and was built i'm not sure when i'm i'm assuming probably, late 1800s early 1900s it's right it's very close to young young and bluer um it's right downtown but it was used as a venue uh in the 60s um it was uh it wasn't the concert hall at that point it was called uh something else it just escapes me right now but i know led zeppelin played there like early days one of their first uh shows in toronto and many other acts you know like it's a pretty storied venue I saw I saw the stray cats there I saw it admit like that would have been 1982 Wow I know the the English beat played there the jam REM like tons of bands played there in the in the 80s and into the 90s there was the the hip did a.Track 5:[8:09] I think at the end of the Up to Here tour, they did a show there. And then they did three shows at the beginning of Road Apples. And I remember those shows. I was at at least two of them. And they were amazing shows, very memorable.Track 5:[8:30] And we actually had a show scheduled there in 1995 and had to postpone it. But it's a long story, but we had to reschedule it. And then it closed for a long time. It stopped. It was actually leased by a television station up here, and they filmed live television events there. So it stopped being a venue. And it just reopened, I think, in the fall of last year. And a friend of ours is booking the room. And so we thought it would be great to play there. It's about a 1,200-seat room. It's not huge, but it's a very cool room. And so we asked Paul Langlois, who we'd done four or five shows with in March and April of this year, shows that had been rescheduled in the fall. He fell and broke.Track 5:[9:28] A few ribs in the fall um and then we also asked the sadies to join us and the sadies are, uh old friends as well so it was a it was a very special night it's a great venue it was uh it's a lot of fun it's a great sounding venue it looks great and uh we did a bunch of collaborations as we had done with paul and uh i you know we've known the sadies for since they started actually Actually, I met Travis and got to know Travis when he was playing with his dad's band, the Good Brothers, in the early 90s. When this guy Deere started playing, we did some shows with the Good Brothers. And that's how I got to know Travis before he joined his brother Dallas in the 80s with Sean Dean and Mike Belitsky. And yeah, so that's kind of the background of that. I did lots of collaborations with the 80s and with Paul.Track 7:[10:22] We did.Track 5:[10:23] Some hip songs we uh did some covers uh yeah it was fun good night i.Track 7:[10:29] I really love seeing uh as we've gone through this like the connection that many of the canadian bands have and and the the gigs they do together and then the projects that they do together and and i that's been really great to me to see that community and uh i mean i guess you see it a little down down here in the States, but not to the extent that I think you guys have been doing it. And it's been really exciting to see all that and be a part of that. Let's go back to the beginning and you and your musical journey. If you wanna give us just a bit of a history, like when you started out, what really got you into music? And then talk to us a little bit about, as you'd mentioned, many of the other bands that you've been a part of, The Hip and Gord, and how that relationship formed.Track 5:[11:18] Um okay well i i was born and raised in toronto i'm the youngest of three boys um and everyone in my family played music uh and my i have two older brothers um my eldest brother's a music teacher he was a classical guitar player uh and my middle brother was uh he played piano at a pretty high level so i was and my mom played piano my dad played a little bit but had a very eclectic and very cool record collection uh so there's always music around and uh that was a big part of my uh you know i don't think i really understood at the time how enriching that experience was like it was just always around um and because my older brothers played i i just assume that anyone could play, you know what I mean? It was almost a strange thing. It's like sports a little bit. When you're the younger brother, you're always trying to keep up and, you know, you just, you think any idiot can do it because if they can do it, you can do it. So, um, I think I had this sense of, uh.Track 5:[12:30] There's a bit of fearlessness in it and it sort of coincided with an era of I'm 60 years old so you know I was in high school in the late 70s and finished high school in 1982 so I kind of came out up through that post-punk punk and post-punk era of music where it was all very DIY and people you know started bands as I did just joining them you You didn't have to play all that well.Track 5:[13:03] You just had to think you were playing well. And that was a good start. So, you know, I played in various outfits and eventually got recruited at the end of my high school year. At that time, Ontario still had a grade 13.Track 5:[13:24] And so in that year, a friend of mine, he was a musician that had played in a band that was kind of popular in our high school. And he had that band had uh uh ended and he kind of recruited me he said i want you to play bass in this band and uh i thought okay i mean i would i'd have just played guitar i'd never played bass but i thought sure i'll give it a whirl and that was sort of at the end of it was april of um, of the final year of school we started doing a bunch of gigs and kind of had this a bit of a built-in audience because he had he had been doing it for a while and we made a plan to the following fall of 1982 uh to uh move over to london england and you know have uh uh see what our uh see if we could find any luck doing that uh and uh and in fact i was just talking about at the concert hall we we did a show in the fall in i think october of 1982 which gave us the money to buy our plane texas to move over to uh to london and uh oh wow nice years and uh.Track 5:[14:41] You know that was an experience unto itself i said you know i was there for a couple of years it was you know like uh we ended up in brixton which was a which was a pretty uh rough part of town there have been a lot of riots there and race riots and um it was but over in the uk you can and a lot of europe you can squat which is basically paying no rent uh and uh so we did that we found a way to exist on very little money you know uh and stayed there and it was a great education you know i always refer to it as my university education really it was a good life education and a good musical one too um i lived it was all a lot of it was west indian uh and i lived above uh the squad i lived in was uh right above this great record store called desmond's hip city which ultimately became one of our our recordings and the song is about that not experienced living in Brixton with this band.Track 5:[15:49] And that sort of ran its course. When I moved back, I had heard about a mutual friend who I didn't know, but we had a mutual friend and this would have been 1985. He, was he was putting together his own home studio and in 1985 that was unusual you know like studios were still fairly um difficult to it was it was expensive to record it was uh but he had a he had an i think a half inch 16 track uh machine and he worked in a music store and he had he had a big uh you know a big plan to start a record label and it was all very cool and i thought well you know i'd like to do this i had done a bit of recording in the uk and um you know i knew that that was sort of the way forward with any anything so i i when i came back to canada to toronto i uh.Track 5:[16:50] Um you know i connected with him we rented a house and built a studio in the house and i mean And truthfully, we smoked a huge amount of marijuana, and I don't know, I spent a lot of time looking for the tape measure, as I recall. But we did, as a carpenter, I make a good musician, so I wouldn't be misleading you if I was trying to tell you that the studio we built had anything to do with me. But out of that experience, Andy Mays, who I grew up with, who's the singer and this guy, he and I reconnected. He had played in a band. He's a few years older than I am, but he played in a band and we had done some shows with him before we moved over to London. And we started hanging out and playing and playing with Wayne Stokes, who was the guy that owned the studio. Wayne drummed on our first couple of records before he left the band. And uh and that was really you know that was from sort of 86 to about uh 88 1988 we we started the band um and we did a residency in toronto a weekly monday night residency which eventually led to our, our first record deal with enigma records which was based in culver city in la just as It's, you know, part of L.A.Track 5:[18:18] And that record had a song on it called I Will Give You Everything, which kind of launched us into, you know, into having a career. And, you know, it's still a song that has been good to us. You know, like it's been used in lots of movies, and it's still a song people want to hear, and still a song I love playing. From there, when our first record came out, we did some shows with many bands, but one of which was The Hip.Track 5:[18:52] Uh we're i was just saying this the shows we did with paul we went back and forth introducing, paul's band and he would introduce us and uh and we were our last show with him was in ottawa, and uh our first show our first tour with the hip the first shows with the airport in montreal and Ottawa and that was 1990 1990 uh and that was 34 years ago and that was the first time we met and at that time uh Paul and Gord Downey were living in Toronto so you know they were they were just that was the tail end up to here and they were playing you know bigger rooms you know like and they had up to here sort of raised them up they often I think refer to that as their first record they had an EP before that.Track 5:[19:50] But that was I think they felt that was their first real offering as a recording and at the end of that tour we did with them they went in down to New Orleans and recorded.Track 5:[20:04] Road Apples and you know Gord and I at that, you know, and Paul, I mean, we all became friends and Gord and I in particular kind of hit it off and, you know, for whatever reason, as you do with, with friends and we, uh, you know, we kept in touch and those days we used to write letters to, uh, before email and, uh, texting. Um, and then Paul eventually a couple of years later moved back to Kingston and Gord stayed in Toronto and that was uh but we were both bands we were busy you know we were touring uh working musicians and not around a lot uh so you know our our time together was limited uh but but always uh great and and eventually led up to what became Coke Machine Shinglo, which, you know, there's sort of a story in that too. He, he wanted, we were looking to do, find a way to do a project together. Um, but the reality is that he, he had written a bunch of songs and the, and the hip, you know, they wrote as a collective, especially in those days. And, and that changed eventually Gord wrote more on his own and, um, and brought songs in and then he would write with them. It did evolve.Track 5:[21:27] And so he had written most of the songs from Coke Machine Glow he had written on his own. And eventually, he just decided, yeah, I should just make a record. And I think part of it was also.Track 5:[21:46] Besides myself, he didn't know a lot of musicians in Toronto, you know, because he was away a lot. He had a young family at that sort of by the mid, his daughter, Will, was born, I think around 96, 95. And so, you know, when he was home, you know, that was obviously a big part of his life. And I think he wanted to connect with the artistic community in Toronto. And Coke Machine Glow became the opportunity for him to do that. Which is why it's a pretty eclectic record eclectic musicians there's and he also wanted to explore the spoken word stuff which is a part of that record and and the uh uh and battle of the nudes as well it was sort of extended into that uh that record so um yeah i don't know that sort of gives you a bit of a an overview yeah.Track 7:[22:41] No we appreciate that and you know we just recently Obviously, having discussions on each of the albums, Coke Machine Glow specifically, it was such a discussion. We actually had to split up our discussion into two parts because there was so much to talk about. And again, because it was good for us to really take that in as that first offering from Gord and his solo effort. You have a producer credit on on that particular album and and the next one and then and then as mentioned I think as we go into the grand bounce that was Chris talk to us a little bit about that process and and and working with Gord and and how uh how that process went from either writing or recording or or things of that nature definitely we had our own discussions about it but it would It would be great to hear directly from the source on how some of that came about.Track 5:[23:41] Well... You know initially we were you know that we were trying to find a way into make a making a collaborative record but you know he had written these songs and um and at some point it was just like you know what like you should just do a solo record um because these.Track 5:[24:01] Songs he knew that uh they weren't going to be used in the in the hip and not because they weren't good songs but because their process was very much as a collective they would write songs together that was their that was how they did it gourd at that point uh gourd was pretty much writing all the words and uh um and they were they were you know playing they they would come up with the music and they that was just their process and um so you know we had these songs and and eventually it just became apparent that we should we should make uh the record and so we had he had had this cool little home studio set up you know this is 10 years after what i was talking about earlier and it was a like a digital i think it was a d80 da88 machine and a little board and so we were recording on that and um and then you know but realizing that neither of us were particularly good engineers and the hip had just mixed their record trouble at the hen house and I think Stephen Drake mixed that record and and he's a terrific talented mixer and a great musician and so Gord.Track 5:[25:24] Gord thought, you know, maybe we should get Stephen to engineer the session and the three of us will operate as co-producers.Track 5:[25:34] And which is what happened. So Stephen ended up coming and Gord really wanted to make the record in Toronto. Again, it was the sense of I'm living here. I've lived here for, I mean, at that point, it was probably over 10 years. Um and he had you know he had his his group of friends uh and artistic friends had grown just through meeting through you know through the hip but he thought you know if i if i do this project i can include them and i can uh um you know just sort of put down some roots in that in this community because at that point you know his creative outlet was the band and he would typically go to Kingston to to write songs and or to record and obviously all the road work they were doing so it was a you know at the time it was an attempt for him to put some roots down in in the city with other artists and other collaborators Gord was a very.Track 5:[26:44] Ambitious creatively is very ambitious and very always looking to evolve always looking to grow and and be influenced and inspired by other people so on that record you know we went in um you know the the idea was uh like initially it it uh the band was kevin hearn was there for kevin had just um he he just had leukemia and he had just he had like a bone marrow transplant and he was just in the recovering stage of that um and i'd met kevin before that but but you know um so but he was only available for a few days because he was going out with uh bare-necked ladies they were uh he was just joining back into the band and going out on tour um and uh.Track 5:[27:55] Don Kerr owned the studio with Dale Morningstar that we recorded at. It was called the gas station. And it was this cool old warehouse building down around King and Dufferin. It was on the top floor, all these open windows, really great view of the city. It's sort of looking south towards the lake through the exhibition in Toronto. And it just had a great vibe to it. And and don played a lot with ron sexsmith and ron was just about to make a record with steve earl in nashville his uh i think the record was blue boy and steve really wanted uh don to play on the record and to sing on it because he had seen don he's seen ron and don was playing with him and he loved their singing together and he loved his playing and a lot of ron's records at that point had been done in L.A.Track 5:[28:57] And their bands were put together for them. They're great sounding records, but Steve wanted Don to play on this record. So Don was only available the first couple of days, as was Kevin. And then Dave Clark, who at that point had played in the Rheostatics and left, was asked to come in and do the drumming. And Dale was just sort of around the studio to help as the assistant engineer, but he ended up playing on most of it. And then Julie Dwaran was asked to come and play on the record. She had sung on a number of hip songs and played in a band called Eric's Trip, who the hip had toured with.Track 5:[29:45] And then there was all these, like Travis Good played on the record. Travis at this point, I was talking about him. We had become good friends and he's a great musician and I thought, well, I want to invite Travis. And Gord, that's when he first met him. So this would have been 1999. As you know, the Sadies went on to make a record and do some touring with Gord as well. And they were very tight. And Travis played on Away Is Mine, the last record that Gord did that I, you know, we wrote together, um, and recorded at the bathhouse. Um, and so, and I, and then there was Adam McGaughan, who's a filmmaker who Gord had met, you know, really through the hip, but, you know, through, uh, maybe he used some hip song in a, in a movie. I can't remember the, uh, um, the connection, but he can.Track 4:[30:38] Yeah. Courage was used in the suite her after by Sarah Polly saying it.Track 5:[30:45] Right, okay. So, you know, he's another Toronto artist and Gord had met him. And so, you know, one of the, one of the, these sort of agendas of Coke Machine Glow and when it was trying to find a way to get into it because the, you know, Gord also released a book of poetry with Coke Machine Glow, but he wanted, he wanted to find a way to do spoken word stuff, which he had done. Yeah, you got it. He had done, you know, often at hip shows he was doing. He did a lot of those, like I know at Woodstock, someone was telling me all that was televised and he was reciting a lot of the Coke Machine Glow poems and a lot of the songs throughout pieces of, you know, instrumentals or whatever through that live show, as he was doing throughout that tour, I'm sure. And so he wanted to find a way to make the leap where he could do the spoken word stuff but you know of course the biggest potential obstacle was that it would be pretentious sounding so that was sort of the way that's that was this challenge.Track 5:[32:08] A couple of things ended up happening. One was that Adam Egoyan, who was a classical guitar player, when he grew up, he played classical guitar. So he brought down his classical guitar, and Gord asked him to just come up with some music, like pieces, little instrumental pieces. So he started playing, and the rest of us started improvising around those pieces. And Gord either would do the spoken word stuff.Track 5:[32:39] With us or we would find sort of this cool little section where it was it was just working and then he would use it and do do the spoken stuff the word stuff over that there was also a couple of there's a great I think it's I think it's the first first song on the record is accordion and pump organ and it's yarrow servinic who was the accordion player and the cowboy junkies and my neighbor uh at the time i invited him down and dale was playing the pump organ and um and it had it had this sort of uh, hinterlands who who kind of this funky weird kind of uh sound to it you know like it it uh and uh and it just somehow it worked you know like it was kind of charming and quirky and very much you know it was very much intended to be not it would have been a failure if it had been like a tragically hit record you know and you know because that would have you.Track 5:[33:52] They were doing that already, and Gord was doing that. This was an opportunity for him to expand his artistic palette, you know, and to challenge himself to be challenged, and challenge the other people around him. And so, you know, I think in that sense it was successful because it was very different. It was like a serious left turn. uh and i think you know from my memory people's reaction to it was like wow i didn't expect this and it's not it's not like the tragically hip which it wasn't and it wasn't meant to be um and i think it you know for a lot of hip fans it was like a real curiosity head scratcher and i think for people that weren't necessarily hip fans it was like wow i didn't expect this from gourd and it's cool and it's different and uh so you know it wasn't uh and really we just in the end we we uh we didn't we mostly toured in the states i think we maybe did one show in canada on that record um and uh and that was cool too because we were playing in a lot of smaller venues and it was a pretty eclectic band and it was a lot of fun.Track 5:[35:18] And it led in fairly quickly to what became, because he had written more songs, and a lot of those songs ended up on Battle of the Nudes. And at that point, the gas station had moved over to Toronto Island into this artscape, into this cool artistic community. Coke Machine Glow was the last record that was made at the Gas Nation. And I think it was 10 days that we made it in.Track 4:[35:50] I'm curious how different the two recording sessions were between Coke Machine Glow and Battle of the Nudes. Because in my mind, they sound very similar in that they sound like a band jamming, whereas the first one sounds like it's a little more acoustic, stick whereas the second one's like a full-on full-on band a little more you know experience under your belt was the actual were the actual sessions quite different.Track 5:[36:15] Um well uh one of the things that happened with uh so the gas station was uh it had you know it was a studio but um it didn't it had decent gear but it didn't have great gear and so what ended up happening was At that point, the hip had started to accumulate gear for the bathhouse, which was their studio in Bath, Ontario. And he brought up, there was a knave board and a bunch of microphones that he brought up and used it as, and we used his DA-88 machine I mentioned earlier. So it was eight tracks. We had eight tracks to use. so you know we could put as many mics into those eight tracks as we wanted it but and it was recorded live and it was acoustic and part of that was that you know when he and i were working on those songs initially before steven got involved it was typically two acoustic guitars and gordon had a very unique rhythm you know he always said he dropped he he played he strummed guitar like a drummer you know but his time was good you know he had great time uh he just did not strum like most guitar players he just you know it was not and i think part of that was singing and you know his phrasing was very unique too so there's a lot of syncopation going on.Track 5:[37:45] And um so initially that process was me kind of playing a more conventional rhythm which just gave the two acoustic guitars this fuller, kind of richer, solid bass. And then when Don and Dave drummed, that gave us another type of foundation. And then Steve and Drake played bass for most of that record. He played other things, too. And I think I played bass maybe on a song or two, but maybe Julie Dwarne played bass on something. But that was kind of the way it went and Stephen recorded it he had this nice gear and we used the DA-88 machine and we did a few overdubs like Paul Langlois came and sang on two or three songs and.Track 5:[38:41] And so that was an overdub. Travis Good was an overdub. Man, there was a couple of others, but I don't remember. But by the time we did Battle of the Nudes, we had done a lot of shows. And at that point, I was playing half the show on bass. Stephen didn't play in the live band.Track 5:[39:02] Partially because he was in Vancouver and he was doing other stuff. It was more of a practical decision than anything from my memory. And uh and i played guitar and julie and i and then at that point john press who's often referred to as dr p had also joined the band and those guys the dinner is around dale john press and dave clark and then myself and julie and uh and gordon uh and we did we did a couple festivals that summer we played like the edmonton folk festival but most of the shows were down in the in the states um and then when we went and recorded uh the gas station and moved to a portable on toronto island an old school uh school portable i don't know if you guys are familiar with with that phenomenon but in ontario they used to have their like boxes and they would be i guess it was It's just at schools, instead of adding, putting additions on schools, they'd have these boxes that would, you know, you'd walk out to your portable, your classroom. It was like a, it was like a cabin, you know, for lack of a better word. Obviously, it had electricity.Track 5:[40:18] But that's where the gas station moved into. And Dale recorded that. He recorded, I'd say, half of that record and mixed half of it or a third of it. And we also went to the bathhouse and recorded the bathhouse at that point. And a bunch of it was mixed there as well. Again, I'd have to look at the credits to sort of know what was done. And, you know, Gord was very taken with Dale. Dale was a very unconventional musician and very eclectic.Track 5:[41:00] And Gord loved that. You know, he loved that. He was just so outside. And Dave Clark is also a real free spirit. And John Pratt is an excellent, excellent musician, but also a free spirit, you know. So it was just it was a very different energy and even for me like it was like wow what a this is a total fucking trip you know this band can you know anything can happen at any point in time and i think gordon liked that you know like it was just it was um unpredictable and fun and uh, and yeah i think it was just and not to say that it wasn't fun in the hip it was just different and And it was exploring a different part of who he could be and his songs and his creative process. You know, that was a big part of it. So I don't know, Craig, if that answers your question, but...Track 4:[41:57] Yeah, yeah. And did you find your role in the band evolved over the years? Watching some of the live videos on doing our research, I noticed, you know, maybe a bit of a shift to playing some more bass near the end. How did you feel about your role and how it changed?Track 5:[42:15] I mean, it was really more the bass became, you know, I mean, I had played bass often on Scottie's records and the band I moved to England with, I played bass in that band. So it was not an instrument that I was unfamiliar with. And I was pretty comfortable on it. and uh and julie and i would swap uh run those first two tours and really even all the tours like she would play bass on certain songs i'd play uh guitar there's certain songs on that we toured with on coke machine glow like something like vancouver divorce i played always played acoustic as it was gore playing you know there's this cool uh interplay of the two acoustic guitars this sort of galloping feel, and Julie played this great solid bass part in that song, and Trick Rider, stuff like that. I always played acoustic on those songs, but then from Battle of the Nudes, and certainly when we did the Grand Bounce, I played almost, I think I played only bass. I don't know that I played any guitar, except for maybe, uh, uh, hello again, my friend. I'm to see you again. The East wind.Track 4:[43:37] So speaking of that song, from what I can tell, I believe there's like five guitars on that track. Does that sound right?Track 5:[43:44] If not more. You know, like it was, yeah, when the band kicks in, yeah, it was like a guitar orchestra, as I recall. It was a ton of good. I think Gord had his kids in there playing acoustic guitar. Yeah, that was for sure. Sure. And when we did it live too, I think I started playing acoustic and then it was like the guy and Rick Nielsen and Cheap Trick, you know, started playing acoustic at the beginning and then I'd, you know, Billy Ray would grab the guitar and I'd start playing bass. It was a bit silly, really.Track 5:[44:24] So I think it did just sort of evolve, Greg, I guess, really. But, you know, um dr pete was a great place bass player julie was a great bass player it was really not you know it wasn't like i'm the bass player and you know like no one else could play it was just the way it i love playing bass with dave clark drumming like he was dave is he's got a great command of many feels and uh and it was a you know the band really evolved too and and you know When you talk about the production stuff, it was also a natural. When we started, it was really Gord and I and then bringing Stephen in. But it was all very collaborative. There was no one saying, you have to do this. Gord was not that type of person. I mean, he would like something or not like it. But he was not the kind of person that would say, we're doing it this way. That was not really his MO you know like he was more into discovering what something could be rather than laying out like.Track 5:[45:36] Here's the here's where you're doing that it wasn't it wasn't like that at all rarely i mean he might have an idea that he wants to chase down you would try and do that which is of course cool but he was very open to suggestions and pursuing things and uh um and the more outside often the better he was attracted to often the diamond in the rough too you know he could see something in an idea i often couldn't you know which i always admired you know like you could see there was something there and he would keep he would keep pursuing it um and he he was very dogged that way and very persistent so.Track 6:[46:19] It seemed like you know you keep mentioning evolution and the band and um it seemed like the band took on a more significant role than just gourd downy this This is Gord Downie's band. And the name changed from The Goddamn Band to Country of Miracles. And then that even became more prevalent with The Grand Bounce. So did you guys bring songs to him? Or was it?Track 5:[46:45] Well, certainly, again, the spoken word pieces were often collaborative pieces. But the bulk of the songs were his songs. He and I maybe worked on some stuff. and I might suggest stuff in other situations. Maybe there would have been a co-writing. But for me, it was just like, these are your songs. You should, you know, like, I don't.Track 5:[47:11] You know like the uh they're great you know and you it was it you know he was at that point he was saying okay i'm putting my name on this i'm doing this book of poetry it was you know of course like any solo thing any songwriter any book of poetry there's there's a certain.Track 5:[47:31] Audacity to it all too right like it's uh and um there were collaborations on especially the first two records but by the by the time we did the grand bounce gordon had written these songs and that and there was you know it had been like four or five years before in between the grand bounce and um the battle of the nudes so he had collected more songs and i was aware of all these songs because we would still hang out and i'd come over we'd record them maybe but he had they were pretty finished songs and that you know he had gained a lot of confidence from making those first two records and he the story my my memory of um the chris walla connection was that the hip did a um there in pemberton just north ukraine there was a big festival there it would have been probably 2008 or 9 and i think tom patty was on the bill death cap for cutie were definitely on the bill because Chris sought out Gord they were on the bill he sought Gord out and said I'm a huge fan but I.Track 5:[48:42] Love your solo records, he knew them he had, Gord I think was a bit taken back and he thought wow this guy this is cool and he just as Gord did he was great at, you know, connecting with people and, um, and staying in touch with them. And, and I think in the back of his mind, he thought, man, you know, it'd be cool if, you know, cause at that point, I think Chris was just about to leave Death Cab for Cutie and he wanted to, he wanted to be a producer and kind of strike out on his own.Track 5:[49:15] And, uh, Gord thought, well, maybe it'd be cool to get him to produce the record and we'll do it at the bathhouse, which is what we did in 2010, I think.Track 5:[49:25] 2009 i can't remember the year now uh we spent you know it was august we spent i think three weeks at the bathhouse like the prime time of the year to be in southern ontario you know beautiful weather all the um the bounty of the you know the farming uh all the fruits and vegetables are coming uh and you know we spent and it was it was an amazing that was such a fun record not that the other records were not fun to make but you know we would start gordon had you know i think there's 12 14 songs on the record and we would do one song a day and we'd get up and he'd teach it to us and we start playing it and you know you know we get up around 10 in the morning and uh you know eventually you start working on the stuff and it would just the song would evolve all chris would make suggestions as we did it and then by the end of the day we'd find a um you know we it might be quick it might be a bit slower and take a few uh twists and turns but every day we got something cool down every day we got something that ended up on the record there's maybe one or two songs that didn't end up on the record but it was that was a you know i thought chris was amazing with everyone, because everyone, you know.Track 5:[50:48] Had made a lot of records at that point. And, you know, Dale produced records.Track 5:[50:55] But Gord was really good at, you know, Even choosing Chris, Chris sort of recognized everyone's strengths and their weaknesses and really empowered everyone into that. I just thought he was really great.Track 5:[51:14] That record I also love. It's a very different record. It was nice. I was mostly just a bass player on that record, but I love that.Track 5:[51:24] The opportunity to do that. And it was, again, you know, it wasn't his advice, but it was advice that I got from somewhere else. But, you know, the advice was play the gig you're playing, not the gig you think you should be playing. Just do what people are asking you to do and be the best version of that person you can be. And that was always a great thing about working with gourd like he he totally empowered you to be yourself and you know if he didn't like it or he didn't get it he would say but it wouldn't be like that sucks and i hate it and uh it would be you know we just find another way uh to, wherever that would be. It would just evolve. That was, again, a really great quality. And again, I think Chris Walla deserves a lot of credit for that record because he really kind of recognized everything. He was kind of the puppet master to a certain degree as well, really making sure that sorry.Track 7:[52:44] To interrupt yeah i just we had when we had our discussion about that about the grand bounce it was uh it was really felt like a band album and i think after i would imagine after you guys had done not only the two albums prior but you know playing together live and then having someone come in and being able to kind of shepherd that it it really came through i i think for me and i I think for us as a group, when we discussed it and, and it was, it was, I think we even talked about it when we, when we went over that particular album, like we were kind of bummed that we wanted the next, the fourth album. And I wonder if you could talk a little bit about that. Like what, what was that? Uh, was there discussions about that or?Track 5:[53:31] Yes um you know they're they're um so we we made i think it was 2010 we made the record in 2011 we toured we did a we did a bunch of summer shows um and we did some shows in the states but this that tour the grand bounce tour was almost exclusively canadian and um, And we did a bunch of summer festivals. And then we did a cross-country. We went coast to coast. So it was a pretty ambitious undertaking. It was not, you know, because Gord hadn't toured a lot as a solo act. It wasn't, you know, he hadn't really developed the, it wasn't the hip, right? And so it wasn't unsuccessful.Track 5:[54:17] But it's an expensive thing. You've got a tour bus. You've got a band. And, you know, it's expensive to, you know, with the hip, it was a different thing.Track 5:[54:27] And they could charge a different amount of money and it was just more established.Track 5:[54:32] So I think, I don't think the record was a disappointment for Gord. But I think the reality of taking a band out and touring and the costs of that were, I think that was maybe a bit sobering. I don't think he was unhappy with the you know the way the band played or or even the attendance or any of that i just think it was like you know it's it's not uh it's it it's it's more of an investment and i think it was like okay well where where do i go what do i do with this do i mean do i make another record like this and i you know he wasn't someone to repeat a process right that's the other thing like it was you know i can't say enough about working with chris was great and i thought he really brought out the best in everyone there he's really positive guy really understood everyone's kind of quirkiness and strengths and uh but so you know what happened was i think gourd we made that record and then was now for plan a that came next and then but but then what I what I remember because he he sent me we were talking about the songs from the secret path so the secret path was recorded in 2013 and.Track 5:[55:58] He had finished it and mixed it at that point. So he had this idea, and I think you probably know the story of this. So his brother Mike had found this CBC radio interview that was talking about a Maclean's article from 1966 that talked about Shani Wenjack.Track 5:[56:19] And Gord heard the documentary on the CBC and read the the mclean's article and sort of got very drawn to the story and you know he ended up writing you know again if you've watched any of the secret path stuff uh you know he wrote 10 poems and uh and that became the 10 songs for the secret path you know he ended up going there uh because he had a place just on in prince prince edward county just it was about a half hour's drive from the bathhouse and um he would come to the bathhouse and kevin drew from broken social scene where he was making a lot of records there and he kind of got to know kevin a bit and kevin said kevin uh was very much involved with arts and crafts he helped establish that label and i think he said well let's make a record and gourd had these songs and that's how that record was made so he finished it but i don't think gourd really knew what to do with the record and and my memory is more from nile spencer who was the engineer the house engineer at uh at the bathhouse i don't think gourd was i don't think he really talked about what that record was about out to any great extent i mean it was clearly a record.Track 5:[57:44] That was about a very heavy subject and he would have made rough you know he.Track 5:[57:51] Would have had some explanations for it but i don't i think he was very mindful about you know i'm not sure this is my story to tell um and uh.Track 5:[58:03] And I remember him sending it to me. They mixed it in like December of 2013. And he sent it to me early in January and just said, yeah, I did this. And I want you to hear it. And it's cool. And then he sat on it. He didn't know what to do with it. He had also been writing and recording songs with Pop Rock.Track 5:[58:32] Uh, since, um, after we are the same the hip record which led into uh the grand bounce and then you know spilled over into um the time that he he recorded um the secret path so he was doing a lot of stuff so when you say you know like it would have been cool to do another uh record uh with with the uh the country miracles and in that sense i i think it would have been but it wasn't like he was uh not doing it he was busy doing a lot of different things and and and that was very much you know he was loving all of that it wasn't like he wasn't saying oh i i will never do this again i you know but i think there's a lot of things going on and uh and and he was still being very productive and very creative. And then he got sick towards the end of 2015.Track 5:[59:33] At that point, you know, I mean, you know the story. I don't need to go through it. But, you know, he knew that he wanted, obviously, to do the last hip tour, but he knew he wanted to get the Secret Path record out. It was finished. But the graphic novel was another opportunity to provide an educational tour or for what the residential schools were in Canada. And, you know, these were things, I mean, these were things that we, Gordon and I, talked about a lot. I mean, we grew up being so ignorant of what had really happened in this country. And this was an opportunity to kind of pull the lid back a little bit and to have a discussion about that.Track 5:[1:00:22] And, you know, it's amazing. You know, like it just, you know, his illness and the attention that was brought to the hip tour and then consequently to the secret path project was kind of overwhelming, you know, like it was quite incredible to be in that sort of in the center of that, to be around him and to see the impact that it's had all of it. You know I mean like even with the hip tour you know like if you were in this country if you were if you were not a tragically hip fan you would you'd be touched by that story I mean who hasn't been uh impacted by a family member a friend who's had cancer and the story was just so incredibly touching and moving you didn't have to be a fan to be touched or moved by that story And then, you know, and then to carry on to do the, you know, the shows that he did for The Secret Path was, you know, that was amazing. I know I'm sort of going on to another subject now.Track 5:[1:01:29] Um, so just, yeah, I'm just kind of trying to bridge that time, time gap, you know, there was a, there was a lot going on for him. And, um, and you know, I think if the opportunity, if he had, if he hadn't gotten sick, I'm sure we would have made another recording, you know, I'm sure that would have happened. Maybe it would have been a different producer. Maybe it would have been something different, you know, like me was, uh, he was constantly doing things, you know, he was always working. Like he was, that was, you know, he was like a shark that way. He was always moving, you know, like he, very much part of his makeup, his DNA.Track 4:[1:02:11] So you were a part of the Secret Path live band.Track 5:[1:02:14] Yeah.Track 4:[1:02:15] And what was the lead up to that? Like, like the rehearsals, I know it seemed maybe Gord was, you know, he was quite sick at that time. were you guys you know were you ever worried that it it wouldn't work out or was there any hesitation.Track 5:[1:02:33] Well i think you know i even with the hip tour like i think you know when i mean i saw gourd all three you know from when he got sick and which was like november late october early November of 2015, he had his first operation, I think it was November, mid-November that year, and then it was a long recovery, and then he ended up having a second operation, and then, you know, went through radiation, and, you know, all the treatment that he did, so you know i saw him through a lot of that you know i you know i'd go over on a regular basis there's a time when the treatments were so he was sleeping a lot because you know they fucking kicked the shit out of you you know when he decided he wanted to do the the hip tour and you know i mean i think everyone i i mean there's it's all documented and you know in that uh show I mean, of course, everyone was concerned, could he do it? But, you know, man, the guy was a fucking force. Like, he was so strong physically and mentally. Like, he just, he was so determined to do it. And it was incredible, you know. I'm sure, Craig, you saw one of those shows, or, you know, like, it was a remarkable.Track 4:[1:04:00] I was at the two Vancouver shows. Justin was at the Ottawa show, actually, the second last one.Track 5:[1:04:06] Um, yeah, I mean, it, it, uh, I mean, to answer your question, was there concern for sure, especially for the secret past stuff, because he had never sung it beyond the recordings that he had done and when he wrote them. So as opposed to the, you know, the hip stuff where, you know, there's sort of a motor, uh, memory muscle that, you know, it's just, uh, but, you know, it's amazing like the brain is an incredible thing and you know gourd's short-term memory was impacted there were certain things that he struggled with but you know the music was it was pretty amazing what he was and he definitely made mistakes he definitely you know and it would could be counting in or waiting in it sir but we found out ways to make use or accommodate that and i I mean, it was amazing.Track 5:[1:04:58] Yes, there was concern that maybe it won't work, but it did, you know. And, you know, also, you know, Gord was not like, he could come in early on a verse when he was perfectly well. I mean, he was not a, those imperfections he often made work. You know, he adopted this philosophy, but, you know, what he used to say for a show to be interesting something something has to happen that neither the audience or the performer expects so a mistake can turn into a um an opportunity yeah and he often uh something happens and it's like okay here's my opportunity to make something of it not like not fucking freak out or fall apart and i mean that's a you know if you're a a seasoned performer, you understand that, you know, yeah, you don't have, I mean, everyone fucks up. I mean, that happens. So, yeah, I mean, it was... For all the shows we did with the secret pass stuff, there were very few mistakes. I don't think he made any more mistakes than anyone else made. Let me put it that way.Track 4:[1:06:14] Yeah, I know the show that's online is incredible. It is one of the best concerts that I've seen. I've actually made Kirk and Justin promise not to watch it yet. So we're going to watch it together one day online, I think. and it's so good. Yeah.Track 7:[1:06:35] Thank you, Justin. That's been something especially after we did the episode about the secret path and all the research we did. So yeah, when we had our recording of the secret path, that was one thing we had to make a little pack that we were going to wait. We're going to try and do a live stream of it, but it's been very difficult. Obviously watching some of the great documentary pieces that were done about the entire secret path project. And as you mentioned um you know where that kind of came in the timeline and and then obviously the it was recorded and then there was a few years break i think before it was released but um yeah we're we're very excited about seeing that that particular show and craig has has talked very highly of it so we're pretty excited to see that for sure yeah.Track 5:[1:07:23] Well it's very heavy you know it's It's not a, you know, and as it's meant to be, you know, it's a very heavy story. There's a lot to it. And it's being delivered by a guy that is well aware of his timeline, you know. And this was a part of his legacy that he was very aware that he he could have a positive impact you know any I think you personally really changed the conversation in this country and and I still see it you know I'm still very, I'm still involved with the Danny Wenjack fund and I'm actually doing a school event out of Vancouver next week next.Track 4:[1:08:17] Are you serious craig oh man craig's a teacher i'm a teacher i use it every year um, and uh i yeah so i watch that show every no no no go ahead i alternate between i'm sorry i was just gonna say i i go through every song with with the class and you know we talk and it's amazing every year there's like another another layer something else that someone will will see and we we talk a little bit about this artistic representation of this, of this boy's story and how it, it relates to the much larger, you know, issues that go back, you know, the things that we weren't taught when we were in school and it's, it's been really eyeopening and, and every year it's just a highlight of, of, of the year. A lot of students remember it years later. It's been really impactful and it's a way for me to dig into this topic that I, you know as a middle-aged white guy don't have a you know a personal connection to it gives me a way to sort of dive into this difficult material in a genuine way and students really appreciate that that um they can tell i mean i know i.Track 5:[1:09:28] Know it's in over 6300 classrooms across canada, the secret path and i know over 8 000 teachers are teaching that and i think really what's happening now is that they need to expand on the curriculum they need to build on it like the secret path has been a great introduction of course and it's a great tool but you can't teach the same thing over and over again you can't read the same book and expect you know so i think that's partially where they're at with it uh and that's a good problem to have.Track 5:[1:10:02] But you know it's it's just learning a truth that is important and a part of our history in this country that's important because you know as a canadian who spent a lot of time in the states you know i find that we are very we can be very sanctimonious and self-righteous about how fucking awesome we are and how our shit doesn't smell but you know and and you know.Track 5:[1:10:28] Canadians are the first to look down south and say well you know at least we're not fucked up like they are look at their medical system look at look at whatever you know like it's you know and and you know our shit stinks too and we you know we i just think this has been such an amazing opportunity to see how impactful uh this is and you know what's so interesting is that it's really ultimately not about gourd like and that was sort of his that was what was so incredible about this like he knew that he's he's telling the story and his illness and his celebrity and the connection to the hip were leveraging the the attention towards this but he knew that this was much bigger than him you know i i was just talking to the the guy that's organizing the uh event i'm doing out in uh in vancouver and he was saying yeah he's a huge hit fan big music fan and he's saying you know like a lot of these young kids don't know who the tragically hip are and it sort of breaks his heart you know because uh or doesn't they don't know who gourd downey is but they know the secret path and it's so interesting and truthfully it's really what it is the important part of the story is the truth of why that story had to be told and And I think Gord would be kind of smiling about that right now.Track 5:[1:11:54] I know with the graphic novel, I recall vividly him saying, in his mind...Track 5:[1:12:02] The graphic novel and the music could be played for grade fives. You know, that was sort of his target audience. That's good age. This could have a good impact. I mean, I think it's become much broader than that. And as you said, Craig, it became, you know, there are many layers to it and there's a lot to it. You know, with a lot of Gord stuff, it's very interpretive and very, you know you can really peel back the layers on it so i think that makes them happy and i know for me on a personal level to be able to they these are uh called uh artist ambassador that's part of the downey one jack artist ambassador program so i go i go into the schools and i'm introduced and i'm you know i knew gourd and i talk a little bit about my uh relationship with him and the connection to the secret path and i go around and i look at the work that the students do and i talk to them and i just it you know it fills my heart to know that i'm still connected to gourd through this project and all the other stuff i did but this was this was a special opportunity for him to leave his own legacy but not about him but the legacy of something that he felt.Track 5:[1:13:26] He felt like it's a story that needed to be told and it's a conversation that needed to be had.Track 7:[1:13:32] One thing that I was able to share with the guys yesterday, my middle daughter graduated from a local university out here, Cal State University, Northridge. And before the ceremony began, they actually had a recorded message from the indigenous tribe from the area saying, prior to the university being built. And they had partnered with them. And the leadership of the tribe actually sent out a blessing as well as a song to the university and to the graduates and to those of us that were there. And I was there with my mom, my 81 year old mom. And I'd been sharing a lot of the secret path story with her and, you know, gave her the graphic novel to read. And we talk about it because I go over and visit quite regularly. And we both were so taken aback as Americans, because we're aware of our ugly past, and we're aware how bad we stink down here. And too often, we don't get the opportunity to really recognize it and bring it to the forefront as much as we could. And for us, that was fantastic, especially after our discussion with this group about secret path to see something in the United States. And I've been to many graduations, and I've been to many events and whatnot. And that was quite literally the first time I had ever seen anything like that done in the recognition.Track 7:[1:14:50] And it really, it, it warmed our heart that it was, it's about time, of course, but it's going to take those like Gord and that project and what you guys did, um, obviously in what you're continuing to do to, to bring that recognition. So that was just, it was really great and timely. And I know Justin has spent some time i'm doing some research as well about about uh um some of the indigenous issues in the history and whatnot and it's been great for us as you know americans to have that open discussion as well and uh so we really appreciate you sharing that with us because that that was uh it was definitely emotional for us going through the secret path and having that discussion and and as as craig had mentioned you know us middle-aged white guys you know trying to pretend for a second that we We know what happened and what they're going through. The awareness, I think, was really important for us and to be able to discuss that. So definitely appreciate you sharing that with us.Track 5:[1:15:51] Yeah, yeah. I mean, I just read something or saw an interview recently and just talking about colonialism. And, you know, like, you know, our history is that is kind of the history of the world. I mean, it's not any more North American than it is. It happened in China 7,000 years ago. It continues that. You know, you can't change what has happened, but you can acknowledge what's happened. And, you know, what's amazing is, you know, I know, I mean, my mom is almost 94. for. You know, a lot of the discussions with her and people of her generation about First Nations people here was that, oh, you know, we give them so much and we give them money and they you know, there's all these sort of false narratives about.Track 5:[1:16:45] And, you know, she's just repeating things that she's hearing, right? So this is what happens. Like, you hear something enough, and it becomes the truth. You know, like, you know, and I mean, that's sort of the sad reality of politics these days as well. You get a message just fucking repeatedly all the time. And then before you know it, you're saying it yourself somehow. You're believing it. It's so weird. It's so fucked up. The truth is often difficult to accept and to acknowledge, and it's not just about being white and privileged.Track 5:[1:17:24] Which of course we are, or I am, I won't speak for you guys, but it's about being honest about what has happened. And the history is not as it often is. It's told through the eyes of the people that have been the beneficiaries of it. And this has been an amazing journey for me. I've ended up doing many different projects. And that's what I was doing with Kevin Hearn today. We do this collaboration with Chief Stacey LaForme, who's just retired, but was the elected chief of the Mississaugas of the First Credit. And he's a poet as well. And we did a collaboration with him when the 615 bodies were discovered in Kamloops. He wrote a poem and Kevin and I put some music to it and inserted his voice through that as well. I'll send it to you, Kirk. It's a very, very powerful thing. And we've done a bunch of performances with him and we're doing something with him in June again.Track 5:[1:18:36] And it's, you know, again, it's like it's just this ongoing dialogue and this process of, you know, realizing that people are people, you know. And it's very powerful to share these collaborations and these stories. And, you know, I mean, Greg, you're seeing it every day. I see it every once in a while when I go into these schools. But these young kids are hearing these stories. So they're not, they're not, they're hearing these stories firsthand. They acknowledge and accept what happened. So they're not denying it. They're not pretending it didn't happen. They weren't, as what was Gore's line, trained to ignore it.Track 5:[1:19:22] It's such a fucking good line. And that was, again, that's sort of the righteousness of our thing is, you know, if you just put it out of your mind, well, then you don't have, and you don't think about it, then it's not your problem.Track 5:[1:19:36] And, you know, lo and behold, it was, you know, like there's a very dark history to our relationship with the First Nations people in this country. And you know what's amazing is i remember travis good talking about this when he was touring with his dad's band the good brothers in the 80s and early 90s late you know mid to late 80s he'd go over to holland and they would be saying you know what's up with your country you fucking treat the natives like shit what's with the residential schools he had no idea you know like me he was sort of you know and he learned about it from another country you know like it's always amazing how you know where we can be so uh oblivious and ignorant of our own truth i know i i did i'm kind of on a bit of a rant but it was a very and still is a very moving part of uh that relationship uh with gourd and and very one i'm so i'm just so i'm so proud of him for finding the creative courage to to to make that record and then you know like just so blown away by his courage for sure but his tenacity to get it out there and to go out and do those shows that was uh that was a.Track 5:[1:20:59] Remarkable thing including the hip tour i don't i don't they're not one i don't see one is more exclusive than the other i just think.Track 5:[1:21:09] It was a remarkable feat to watch him go through that.Track 7:[1:21:12] Absolutely and and uh you know this whole project as we'd mentioned has been great for us as as tragically hip fans and already having an appreciation and a love for gordon and what he's done and the band had done and a

As a teen, he raised a raccoon and reunited with it years later when it recognized a song he sang -- now his wildlife control methods have changed the industry; Toronto Island landmark mourned.

For 150 years, the Toronto Islands have been everybody's favourite place to get away from it all. But they're not just a vacation spot. They were the site of Babe Ruth's first professional home run. They are the home of Toronto's oldest ghost story. In fact, the weirdest fact about Toronto Island is that until 1852, it wasn't even an island. This week on Muddy York, learn more about the best urban park in Canada. Happy Holidays! We'll see you in the new year. You can follow Muddy York on Twitter: ⁠⁠⁠⁠⁠⁠Toronto_History⁠⁠⁠⁠⁠⁠ and Facebook: ⁠⁠⁠⁠⁠https://www.facebook.com/muddyyorkhistory/⁠⁠⁠⁠ Music: The Westerlies - The Dover The Westerlies - Hard Times Come Again No More  The Westerlies - The Light Within  Aaron Kenny - Gaiety in the Golden Age Jesse Gallagher - Divine Life Society  Jimena Contreras - Frightmare Jimena Contreras - Fruits of Life  The Whole Other - Stark Goes Dark Doug Maxwell - Sing Swing Badabing 

An imaginary friend is poorly named. Cause, what if they're not imagination at all. How one young lady brought peace to her tortured aunt, by talking with her little friend Michael. Turned out to be the ghost of her cousin! Then, Toronto Island's Lighthouse is the second oldest still standing in Canada. And the only one with an infamous legend. Was the Keeper murdered? The dark history behind the legend. A real trial and amazing newspaper quote from the time. Daniel separates truth from legend before talking ghosts! --- Get the inside scoop @ghostguidedaniel on Facebook & Instagram

As we approach Remembrance Day, November 11th, here in Canada, we are called upon to acknowledge and honour the years of service our veterans have afforded this country and the sacrifices they made, often with their lives, to fulfill their mission of securing our borders and safety around the world.But it's also an opportunity to celebrate the rich history of this country that has informed and shaped our culture, our national identity and our place in the world.In this special SSN series, we endeavor to explore some of the stories that are uniquely rooted in the history of the Royal Canadian Air Force and Canadian aviation.Welcome to Pathway to the Stars….We all know Billy Bishop, the Toronto Island airport is named after him! So why don't we know about William Barker? Barker was Bishop's best friend and colleague, the most decorated serviceman in Commonwealth history and, to this date, his funeral was the largest ever to be held in Toronto.Featured voices in this episode:Jason Wilson, Professor of History, University of GuelphJohn Wright, Executive Vice President of Maru Public Opinion, serves as Honorary Colonel for the Chief of the Defence Staff Office and Chair of the RCAF Foundation.Rod Black, Sports BroadcasterRCAF Scholarship recipeient Evan SchonfeldtPathway to the Stars is made possible by the Royal Canadian Air Force Foundation.Find out more about them at rcaffoundation.ca Please share about this special series. If you do, tag both Story Studio Network and the RCAF Foundation to help spread the word.Instagram:@storystudionetwork@rcaf_foundationFacebook:https://www.facebook.com/storystudionetwork/https://www.facebook.com/rcaffoundationTwitter:twitter.com/storystudionet twitter.com/davetrafford twitter.com/rcaf_foundation LinkedIn:linkedin.com/company/story-studio-network linkedin.com/company/rcaf-foundation Credits:Executive Producer & Host - Dave TraffordHost & Promotions - Erin TraffordChase Producer - Becky Coles

Artist, Mother & Author Brandi Hofer shares so many nuggets of wisdom in this inspirational episode. From raising three kids while furthering her art career, to opening an art program for students in her local school district, Brandi's passion for creativity is contagious. Here's what we discuss: Brandi's journey as an artist and mother, and the shift she experienced in her practice once she invited her children to paint with her. The ways in which Brandi's approach to creativity pushes long-standing boundaries in the art world and ultimately shows mother artists what's possible. Advice for making art when you're running on a tight schedule and have limited time to create. (Hint: yes, it's still possible!) What inspired Brandi to write her new book, Colour Me Happy! See your everyday ordinary as extraordinary, and the message she hopes to communicate to artists and mothers around the world. About BrandiBrandi Hofer is an artist, muralist, author, and educator. Hofer is most well known for being a successful collected Canadian Artist, exhibiting internationally and across North America. In 2021 she was featured by Create Magazine in their article 28 Contemporary Artists You Need To Know About. Her podcast Colour Me Happy! Has garnered attention as one of the best art podcasts to binge this season by Create Magazine! She will head to New York September 2022 with PXP Contemporary Gallery to the Affordable Art Fair with work from her Taylor Collection inspired and based off of the photography work by photographer Taylor Lorenz.Hofer's first book Colour Me Happy! See your everyday ordinary as extraordinary is set to come out October 2022. She has some upcoming big, literally BIG,  announcements and projects happening in the next couple of years.She recently founded an Art Academy partnering with LPSD Lloydminster for students in her local public school district. Aiding in the creative learning in her community.Her artwork has been featured on national television and can be found in international publications. She has experience in creating custom artworks for designers and translates her artwork into large-scale murals. Some of her collectors include Jillian Harris, Sarah Baeumler, Andrew Salgado, Jann Arden, and Sarah Nicole Landry (thebbirdspapaya).Hofer has attended creative residencies at Red Deer College, Toronto Island, the Marnay Art Centre outside of Paris France, and in Montreal, Quebec. Her work has appeared in HGTV's House of Bryan as well as Island of Brian, and featured in a General Motors commercial. Most recently herself and her family at their in-home art studio for an international commercial for Walmart.IG: @brandihoferstudiosWebsite: https://www.brandihofer.ca/bhstudiosVisit our website: www.visionaryartcollective.comJoin our newsletter: www.visionaryartcollective.com/newsletterFollow us on Instagram: @visionaryartcollective + @newvisionarymag

Jerry tells you why it's a daft idea to criticize Pierre Poilievre for promising that Canada can be the freest country in the world, Canadian Military expert Christian Leuprecht give an update on Russia's losses in their war on Ukraine PLUS Jerry explains that he's all for a constructing a bridge to Toronto Island as long as you pay for it. All that AND Jerry caused a car accident!   

Ferries & FairiesOn today's sleep cast our hosts discuss Ferries they have taken and Fairies from stories and lore. They also take us on a journey to the Toronto Islands and Amanda reveals which is her favourite fairy. A Sneak Peak:Marco and Amanda discuss the names of the fairies in CinderellaAmanda and Marco talk about their ferry ride to the Toronto IslandsThe people you see on the ferryAmanda explains what each Toronto Island is known forThe hosts discuss other ferries they have been onAmanda tells the tale of getting on a ferry without her walletMarco tells a Babe Ruth island fact.Fairy doors explainedThe Petit Souris is discussedResources Link:Disfigured by Amanda LeducConnect with us on:Twitter: @listenandsleepInstagram: @theinsomniaprojectweb: theinsomniaproject.comPatreon: www.patreon.com/theinsomniaprojectEmail: drumcastproductions@gmail.com Become a member at https://plus.acast.com/s/the-insomnia-project. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

The Sunday edition of the Best of Fight Back, from the week that was, with Jane Brown Interviews with: -Charles Sousa, Lisa Raitt, Cheri DiNovo discuss the new Bill 7 at Queen

Host:  Pina Crispo // https://www.instagram.com/chic_mamma  https://chicmamma.ca/ Guest: Yashy // www.parentingtogo.ca Solmaz // www.thecuriouscreature.com This week on the parenting show Pina and guests talk about all the summer fun you can have with the few short weeks left before the kids go back to school! Everything from Toronto Island, Canada's Wonderland and the CNE!

Janet and Carmen discuss what they learned from a recent mushroom trip on Toronto Island. The transformative power of psychedelics. The phases of a trip. The oneness. Self discovery. How a trip can rearrange perspectives. Beauty overload. Gateway to your psyche. Melting anxiety. Building confidence after addiction. We're all afraid and confused. Hallucinations. Self-imposed limitations. (Recorded on July 29, 2022)

Welcome to the Juras-Sick Park-Cast podcast, the Jurassic Park podcast about Michael Crichton's 1990 novel Jurassic Park, and also not about that, too.  Find the episode webpage at: Episode 14 - Target of Opportunity In this episode, my terrific guest Steve Bull chats with me about:  The Toronto Raptors playoff run, boating, mornings, setting alarms, sleeping through alarms, Jurassic Park, Aliens, The Dark Knight and the Batman voice, The DaVinci Code, Stephen King, Dan Brown, Michael Crichton, pop culture, Harry Potter, Black Eyed Peas, Jurassic World, Blue, compromising on screen time with kids, scary movie moments, appealing to the masses, Billy and the Clone-a-saurus, Brides Maids, comedy, Office Space, Second City, Evan Carter, stand-up comedy, boating, Power Boat TV, Toronto Island, how to get guests to Isla Nublar, Safehaven Marine, Harambe, Teenage Mutant Ninja Turtles, Pee Wee's Big Adventure, Disney movies, Back to the Future, Days of Thunder, quotting movies and songs, having chats with your boys, swear jars, and more! Plus dinosaur news about: Evidence of proteins, chromosomes and chemical markers of DNA in exceptionally preserved dinosaur cartilage Fossilized nuclei and chromosomes reveal 180 million yearsof genomic stasis in royal ferns  Featuring the music of Snale https://snalerock.bandcamp.com/releases  Intro: Death of a Dream. Outro: Sleepyhead. The Text: This week's text is Target of Opportunity, spanning from page 64 – 68. Biosyn's board of directors wait impatiently and irritably for a final member to make their emergency meeting, the first they've ever called, so they can reach quorum, and therefore, they must be discussing something very important.  Discussions surround: World building and cloning dinosaurs in technical literature, How old are the dinosaurs on the island, Dinosaurs in Jurassic Park, Prequels, Quorom, Directors' duties, responsibility and safety, never helping mankind, ecological criticism, Building a Mystery and more! Side effects: may cause wandering eye syndrome. Find it on iTunes, on Spotify (click here!) or on Podbean (click here). Thank you! The Jura-Sick Park-cast is a part of the Spring Chickens banner of amateur intellectual properties including the Spring Chickens funny pages, Tomb of the Undead graphic novel, the Second Lapse graphic novelettes, The Infantry, and the worst of it all, the King St. Capers. You can find links to all that baggage in the show notes, or by visiting the schickens.blogpost.com or finding us on Facebook, at Facebook.com/SpringChickenCapers or me, I'm on twitter at @RogersRyan22 or email me at ryansrogers-at-gmail.com.  Thank you, dearly, for tuning in to the Juras-Sick Park-Cast, the Jurassic Park podcast where we talk about the novel Jurassic Park, and also not that, too. Until next time!  #JurassicPark #MichaelCrichton

Steven W. Beattie hosts a conversation with Giller Prize nominee Sharon English about Night in the World , a tender ensemble novel about coming home to oneself and one's family through the beauty and soulfulness of Earth, even in an age of unravelling. Brothers Justin and Oliver have never been close. Justin owns an iconic Toronto restaurant and lives with his wife and daughter in Baby Point. Oliver, a former environmental reporter, does admin for a local gym and rents an attic apartment. Yet both men know their worlds stand on the brink. With their mother's abrupt death, each sets out to set things right: Oliver to reclaim a beloved home, Justin to save one that's falling apart. Intersecting Justin's and Oliver's journeys is Gabe: a budding biologist enchanted by the underappreciated beauty of moths, and conflicted by the demands of scientific scrutiny. As the brothers' pursuits take them from Toronto Island to the Humber River, from drugs and transgressive art to meetings with imperiled activists, Gabe stakes everything on a glimpse of a new possibility. Sharon English has penned a tender and powerful novel about the claims places make on our hearts, and how journeys into darkness are sometimes necessary to see through catastrophe. Night in the World explores the need to end our separations from each other and from nature -- coming home, at last, to a beleaguered yet still beautiful world. Books are available from our friends at Perfect Books. The Ottawa International Writers Festival is supported by generous individuals like you. Please consider subscribing to our newsletter and making a donation to support our programming and children's literacy initiatives.

We're in Toronto, Canada, with Brandon Miller of MySecondPassport.CA. We talk about visiting the Toronto Christmas Market, taking a ferry to Toronto Island, and the Flatiron Building. Show notes are at https://WeTravelThere.com/toronto Acorns invests your spare change automatically on every purchase. Plus, you can earn Found Money by shopping at participating retailers. It's a great way to build up your travel fund. For a limited time, sign up at wetravelthere.com/acorns and we'll both earn $5.

Dylan calls a mysterious number, takes a trip to Toronto Island, and has a life changing conversation in the dark. Episode 05: October 18, 2021 Instagram: @rlaseries Twitter: @rlaseries Facebook: @rlaseries Patreon: RLAseries Site: The Sonar Network Email: rlaseries@gmail.com Bring someone on this journey with you by sharing this podcast with them. Cast in eps: Chris Cavener Sarah Camacho Heath V. Salazar Mara Lazaris Aris Tyros Sean Colby Brought to you By: The Sonar Network

This is Part 2 of my conversation with Ken Tizzard. Ken is a musician, folk artist and bass player for the alternative rock band The Watchmen, Ken has generously spent some of their time to talk to me about living on a boat on Toronto Island, growing up in Newfoundland and we bond over our own journey's as care persons. You can follow Ken here: Kentizzard.com IG:@ktizzard Twitter: @ktizzard https://www.youtube.com/user/ktizzard Subscribe to automatically get Ken's episode and more episodes of Social Animals. Tell your friends, comment below and enjoy the stories! Thanks for listening!

Ken is a musician, folk artist and bass player for the alternative rock band The Watchmen, Ken has generously spent some of his time to talk to me about living on a boat on Toronto Island, growing up in Newfoundland and we bond over our own journey's as care persons. You can follow Ken here: Kentizzard.com IG:@ktizzard Twitter: @ktizzard https://www.youtube.com/user/ktizzard Subscribe to automatically get Ken's episode and more episodes of Social Animals. Tell your friends, comment below and enjoy the stories! Thanks for listening!

Share and Listen: https://podlink.to/topicforever Hello! welcome to Episode 25 of Topic Forever! Oscar has not been here the past few episodes, but he will be here next week! Listen to this episode to hear about The Olympics beginning, taking Toronto Island photos, And WAY More! (Matteo's Photo: https://fanlink.to/torontosky)

The team are joined by Nick Sutrich and check out Android 12 Beta 3, fresh rumors about Pixel 6, Z Fold 3, OnePlus Nord 3, Google fines in France, and more. Links: Android 12 Beta 3 hands on: Game and swatch | Android Central Latest Google Pixel 6 XL leak hints at a 5X 'ultra tele' camera | Android Central Premature Samsung Galaxy Watch 4 Amazon listing reveals key specs and pricing | Android Central Exclusive: Galaxy Watch 4's new Exynos W920 chip boasts major gains - SamMobile FCC filing reveals the Galaxy Z Fold 3 will support the upcoming S Pen Pro | Android Central The OnePlus Nord 2 could come with a pretty impressive camera upgrade | Android Central OPPO Reno 6 Pro review: A great mid-ranger with a big problem | Android Central If you're looking for the cheaper OnePlus 9 Pro in the US, you may be out of luck | Android Central Google has been secretly trying to preserve your Pixel's battery health | Android Central Google launches Workspace Individual tier as one-hour limit returns to Google Meet | Android Central Twitter admits Fleets didn't work, decides to pull the plug | Android Central Google's TikTok rival YouTube Shorts is now rolling out worldwide | Android Central French authorities slap $593 million fine on Google over news copyright row | Android Central Sponsors: Hello Fresh: With HelloFresh, you get fresh, pre-measured ingredients and mouthwatering seasonal recipes delivered right to your door. Go to HelloFresh.com/14acp and use code 14acp for 14 free meals, including free shipping!

The Empire Club of Canada Presents: The Role of the Aviation Sector on Toronto's Economic Recovery This virtual discussion focused on the critical economic impact of the Toronto Island airport to the successful restart of Ontario's urban visitor economy. The event featured Neil Pakey, CEO of Nieuport Aviation, owner and operator of the passenger terminal at Billy Bishop Toronto City Airport; John Thomas, CEO of Connect Airlines, a planned new airline entrant to Canada via the Toronto City Airport; and Scott Beck, President and CEO of Destination Toronto. Farah Mohamed, long-time community resident, business leader, and social profit entrepreneur is the moderator. The panel explored the critical role of this airport in the urban visitor economy, its unique role in connecting Canada's financial sector with our largest global trading partner, the United States, and discussed how strategic infrastructure investments are necessary for it to continue to evolve as a key urban gateway and tourism hub. They also explored why U.S. carrier Connect Airlines has its eyes on Toronto City Airport as a new hub offering travelers more choice to key American cities. Moderator: Farah Mohamed, Social Entrepreneur & Former CEO, Malala Fund Panelists: Neil Pakey, CEO Nieuport Aviation John Thomas, CEO Connect Airlines Scott Beck, President & CEO Destination Toronto *The content presented is free of charge but please note that the Empire Club of Canada retains copyright. Neither the speeches themselves nor any part of their content may be used for any purpose other than personal interest or research without the explicit permission of the Empire Club of Canada.* *Views and Opinions Expressed Disclaimer: The views and opinions expressed by the speakers or panelists are those of the speakers or panelists and do not necessarily reflect or represent the official views and opinions, policy or position held by The Empire Club of Canada.*

Nick talks about his week on Toronto Island, his fear of disembodied voices and answers listener Fiona's question about the female musicians who first influenced him :) Write NFW with questions at weaklypodcast@gmail.com Support NFW at www.ko-fi.com/nickflanagan

Nick's in a good mood, thanks to the half-moon and earlier vaccination dates, but mostly because he's staying at Artscape Gibraltar Point on Toronto Island again. Contact NFW at weaklypodcast@gmail.com Support NFW at www.ko-fi.com/nickflanagan

Accused London, Ont. killer appears in court, Ontario speeds up second doses of COVID-19 vaccines in high-risk areas PLUS man assaulted in homophobic attack  on Toronto Island speaks out.

Thank you for listening to our filler show last week. I was very sick, but it's okay. I'm feeling much better now and things are Lookin' Up, as all 4 of us are back together to discuss this recent single release.  Video by Matt Hollumbde  Acoustic  Selfie-Cam Jam  Appearance  Making of “Toronto Island” video 

In 2017, water levels in Lake Ontario were at their highest recorded level in more than 100 years. And on May 27th, they reached that peak, a level that was recorded at 75.93m on this day in weather history.

Recorded April 26, 2021 - Alon Ozery and Liza chat about why Alon wanted to start a podcast and how his sabbatical from Ozery Bakery has allowed him new ways to express his creativity, particularly when they defy logic. He shares the importance of investing in a brand and giving back and the importance of living an authentic life. We decided to turn the tables here at Upfront Toronto and provide a bit of insight into who we are. We take a closer look at Alon Ozery, using the same interview style we use with our guests. As Liza speaks with Alon, we learn about the importance of creativity in growing his business and how he feels the element of creativity diminishes as a business grows. We discuss why he wanted to start a podcast and how his sabbatical from Ozery Bakery has allowed him new ways to express his creativity, particularly when they defy logic. He shares how his love of food began as a child, with his grandmother and aunt making fresh pita in Israel. Family would gather and the sharing of food was a memorable experience. Those memories eventually sparked the idea for Pita Break, now known as Ozery Bakery, and eventually Parallel Brothers (of which he is a co-founder with his two brothers, Guy and Aharon). Parallel specializes in making sesame butter, AND they have a restaurant that showcases the sesame butter in all of their dishes. Alongside his brothers, these outlets allow Alon to share his love of food and hosting, while watching the enjoyment food brings to the people around him and beyond. He shares the importance of investing in a brand and giving back and the importance of living an authentic life. He takes us through the trajectory of his life, how he realized that after a certain age that life doesn't continue forever, at which point he began to question ‘what else?'. His desire to connect includes a vision to link the city and Toronto Island with a pedestrian bridge and in the not-so-distant future he hopes to play host to a F*CK Covid street party, on Geary Avenue, with the businesses in the area. Enjoy!  

Since becoming a mother in 2014 Hofer has been involving her children in her painting process, creating a 44-piece series with her first son and will soon be launching a new collection with her other 2 children in fall 2021. Brandi continues to be extremely prolific with her 3 little boys at her in-home studio, creating several bodies of self-motivated artwork, custom commissioned pieces, stunning large-scale interior/exterior murals, prints, custom artwork, & working with designers. Tiny hands play a role in all that she creates! Hofer is a well collected Canadian Artist, exhibiting internationally and across North America. Her main focus is figurative, abstract and portraiture painting, she explores themes of empowerment, positivity, love, and inclusion. Her work has been featured on national television and can be found in international publications. She has experience in creating custom artworks for designers and translates her artwork into large-scale murals. Hofer has attended residencies at Red Deer College, Toronto Island, the Marnay Art Centre outside of Paris France, and Montreal, Quebec. You can listen to her interviews about her life and process on several podcast platforms. Her work has appeared in HGTV’s House of Bryan, and featured in a General Motors commercial. Most recently herself and her family have partnered with a HUGE brand for an international commercial, but shhh we can't share just yet!! Stay tuned! Brandi Hofer's studio where she works and creates is located in the Canadian prairies. Hofer studied in Red Deer, Alberta, at Red Deer College from 2004 - 2006 before transferring to the Nova Scotia College of Art & Design in Halifax, where she completed her Bachelor of Fine Arts in 2008.She has been ambitiously pursuing her career upon attaining her BFA degree. You can find all of our studio adventures on Instagram! There you will find our podcast features, live interviews, and new collection releases.   TAKEAWAYS FROM THIS EPISODE:   -Choosing to move closer to family -How personal loss can open your eyes -Melting together family and art work -Post Partum Depression and the NICU -Spending time with kids in the studio -E-book she released -Pennyland Shen -Burn out and recovery -Mentoring People -Having goals -Getting Outside to Fight Burnout -Self-care -Deciding what you can and can’t do - Words of advice to moms who want to be an entrepreneur -Finding role models -Don’t get on a path that makes you miserable -Work together -Everyone starts somewhere   LINKS:  @brandihoferartist https://www.brandihofer.ca   I Like Your Work Links:   I Like Your Work Podcast Studio Planner Instagram Submit Work Observations on Applying to Juried Shows

Although April Hickox may not be an environmentalist, in the traditional definition of the word, she is very much of her environment. April is completely engaged with the place where she lives, the people that are part of her community and what is happening around her. She is an observer; a thinker; storyteller and her photographs bring you into her world. I feel like every moment inspires her by what she is seeing and experiencing around her – and she stays engaged constantly creating, interacting with others in the community, observing and thinking. It was such a pleasure to talk to April about living on Toronto Island, her involvement in the Toronto artistic community and how she stays engaged.

If you are an artist, or someone who loves diving into the intricacies and connection points of the creative process, then this episode is for you. Honestly, it’s challenging for me to create a neat and tidy summary for this episode because our conversation covers so much ground! I experienced it as an odyssey of exploration of our inner and outer worlds and the connection between art and mindfulness. Nicole Kagan is a visual artist, born in South Africa who emigrated to Canada with her family at the age of 7. Her work is strongly influenced by nature, in large thanks to her mother who may or may not have named the trees in her backyard growing up. A super expressive kid, Nicole recounts how she has always looked for “other ways in” and a more expansive view on connecting with our inner being and resources. As part of this journey, she has come to see art as a powerful point of connection which can force presence and thus her workshop was born. In The Moment, creates an opening for you to enrich your senses, calm your mind and appreciate the beauty around you by exploring the naturally existing intersection between mindfulness and creative expression. Nicole’s latest series, Meditative Muses, is also intended to calm and inspire through a series of limited-edition prints, artist prints, the seeds of which, were sown in a beautiful week on Toronto Island immersed in her creative process. Meditative Muses is a collection of 6 symbols which act as powerful visual cues to remind us of our inner resources. Perfect for these challenging times, you can learn more about this series and about Nicole herself by visiting her website https://www.nicolekagan.com/ and following her on Instagram @: nicolekagan_art. I reached Nicole at her home in Toronto.

Nick goes over the love he's feeling on his return to Toronto Island. Is it rambly and sleepy? You be the judge. December 3rd is #bandcampfriday and Nick's first comedy album I'm Here All Weak is being re-released with a bonus track exclusive to Bandcamp! Go to www.nickflanagan.bandcamp.com to check it out. Write the pod at weaklypodcast@gmail.com Support NFW monthly at www.ko-fi.com/nickflanagan or www.patreon.com/nickflanagan

Nick discusses Trump. Will he leave the White House? Nick's staying on Toronto Island again and is adjusting to a quiet, wintery time. He also asks that you reexamine your social media criticism of young ladies trying to be funny. Email weaklypodcast@gmail.com Support NFW at www.ko-fi.com/nickflanagan or www.patreon.com/nickflanagan

Special guest actor Oscar Moreno joins DYQWIQ to promote his new film “Stage Mother.” Oscar talks his experience on set, his career as an actor in Toronto, and his call to save Hanlan’s beach. Thom and Elliott celebrate DYQWIQ’s 3rd birthday by questioning Erin O’Toole’s campaign to “Take Canada Back” Rent Stage Mother here: https://youtu.be/NGyyZb7vuW8 Follow this link to complete the Toronto Island survey: https://s.cotsurvey.chkmkt.com/?e=204924&h=EF4707640BF0719&l=en    

What's better than one spooky location? Two! This week the girls are going to Toronto to chat about the Mackenzie House and Gribaltar Point Lighthouse, located on Toronto Island. From toilets flushing themselves, ghostly face slaps to a ghostly voice that doesn't want you to leave - these two stories will provide spooks you want! Need a distraction? We got you.  Podcast promo: Curious Nyxsins Podcast – Check them out! Listener discretion is advised. Have a story recommendation or want to provide feedback? Please email: weirddistractionspodcast@outlook.com. If you're listening on Apple Podcasts, please consider rating & reviewing!

WHAT GOES UP A New Canadian musical by Colleen Dauncey (music), Akiva Romer-Segal (lyrics) and Ellen Denny (book). Starring: Brandon Antonio, Michael De Rose, Kaylee Harwood & Kelsey Verzotti. Prompted by major breaking news and surprising niche headlines, Canada’s most exciting musical minds have created an imaginative triptych of short original musicals inspired by the archives at The Globe and Mail. REPRINT was the inaugural production of Launch Pad, a ground-breaking musical development residency from The Musical Stage Company and Yonge Street Theatricals. This innovative program offers a 10-month residency in which musical theatre creators and artistic teams navigate a full developmental process, shepherding 30-minute musicals from conception to production, with guidance from internationally renowned mentors. "On a nice day in Toronto’s Trinity Bellwoods Park, it’s easy to find folks tossing a disc. Without realizing, you may even be watching national and world champions in the little known sport of flying disc freestyle: a dance-meets-acrobatics frisbee fantasia played to music. Thanks to vibrant archival photos of Toronto Island and Paul McGrath’s article ‘The Frisbee and the Soul’, we were introduced to the Canadian Open Frisbee Championships, held on the Island from 1975-85. In its prime, companies like Labatt, Air Canada and Orange Crush took notice of the youth disc craze and began to sponsor tournaments, as well as frisbee teams who would tour shows across the country. For up-and-coming freestyle stars, a dream was emerging - to turn their passion for disc into a professional career... All of this was set against the new era of electronic music and corporate greed in 1980s Toronto. On behalf of the writing team, we would like to thank the many members of the international ‘jamily’ (freestyle frisbee community) who shared their stories with us for this project. Spread the jam! — Ellen Denny, Akiva Romer-Segal, and Colleen Dauncey Additional Credits: Director: Lezlie Wade Music Director & Supervisor: Shelley Hanson Program Directors: Robert McQueen & Lynne Shankel Accompanist/Copyist: Jonathan Corkal Stage Manager: Dustyn Wales Apprentice Stage Manager: Hannah MacMillan Production Manager Andrei Mazuruc Production Designer: Brandon Kleiman Costumes Provided by: Alex Amini Audio Recording & Mix: Earl McCluskie, Chestnut Hall Music

Chris Tyler drops in to the Gateway to discuss the first album that he ever purchased, "Achtung Baby" by U2. Chris describes his childhood growing up listening to his father's "World Music" on Toronto Island and the shift that he experienced when he found his own private music. Howard and Chris talk about the band's creative method and how it is similar to the improv method that they use to create music together in musical improv. They also talk about the power of U2 as a live band. Link to "From The Sky Down" the "Achtung Baby" documentary referenced in the episode: https://youtu.be/soSCN6cGMxE Podcasts about "Achtung Baby" referenced in the episode from "U Talkin' U2 To Me" https://www.omnycontent.com/d/playlist/aaea4e69-af51-495e-afc9-a9760146922b/98421899-6b38-430e-bf91-aa3200e14c3d/5de40ad4-b937-494d-940b-aa3200e14c3d/podcast.rss https://www.omnycontent.com/d/playlist/aaea4e69-af51-495e-afc9-a9760146922b/98421899-6b38-430e-bf91-aa3200e14c3d/5de40ad4-b937-494d-940b-aa3200e14c3d/podcast.rss Spotify Playlist of songs referenced or played on the episode: https://open.spotify.com/playlist/6rG4wXD7226dKDMLqZkjar?si=g-xk2QJDR5-PZ1Sj7QQV9w You can also access this podcast on Spotify, Stitcher and all other platforms that peddle podcasts. If you have an apple product you can access the show on iTunes/Apple Podcasts at: https://podcasts.apple.com/ca/podcast/gateway-music/id1456290890 Facebook: https://www.facebook.com/Gatewaymusicpodcast/

Welcome back Dr Tracey Teasdale ND Lise and Dr Tracey talk about the role of hormones play in athletes, in particular the distance athlete.  You can work your way through a short workout anytime of the month. Tracking your cycle will help you get in tune with your body and how your body responds. Garmin has a great tracking app. Fitbit and Apple watches also have them.  There are other apps that you can purchase of find for free.  P Tracker is the one that Dr Tracey uses.  You can also track the severity of your symptoms as well. A calendar and day planner will work as well if you are not into tech. Lise's goal race is IM Muskoka 70.3.  What are things that we can look at to optimize performance on race day. Your cycle is broken up in two phases. The first half and the second half. The first seven days we are lower in estrogen and progesterone.  Some say we are more like men because we don't have as much of these hormones that affect how we cool ourselves, how our fuel utilization is and how we recover.    That is usually when we feel the worst.  We have fewer hormones floating around, but it's usually the time when we are feeling crams, lethargic or nauseous.  Just knowing where you are in your cycle is important.   There are things a naturopath can help with, from a hormone perspective.   In training you can flip things around, but you can't do that on race day. Having an idea of where you are in your cycle and how your body will respond to the conditions is really beneficial to your performance on race day. The second half you get a peak in estrogen, then you drop off, you ovulate.  Then you another peak of estrogen progesterone that s the area when ere progesterone is a biggie.  That its when we get all of the PMS symptoms.  Not enough estrogen will do the same.  A naturopath can help balance those. In terms of endurance, Progesterone is important for distance athletes.  It delays the sweat response.  If you are working out in the heat. IM Muskoka 70.3, mid July in Muskoka Ontario, it will certainly be hot.  You don't sweat as much and the sweat response is delayed which makes it harder to cool so it means your hydration practices have to be spot on. Your plasma volume also drops so you don't have as much blood pumping around.  It also changes the electrolyte balance.  That information impacts the fueling and hydration status in plan for a race.  Lise could have used that information at the Barrelman 70.3.  Dr Tracey also ran a half marathon on Toronto Island on that unseasonably hot day. If women are on birth control or have an IUD, it's still beneficial to track, but the shifts won't be the same as someone naturally having their period. Women are more sensitive to daily changes in nutrition, fasting and not eating regularly.  We are also more sensitive to nutrient timing window after a workout.  Getting the fuel in right away helps setting you up for the next workout. Most female athletes that Dr Tracey has met are looking at weight loss.  While some caloric restriction is ok, but in the long run there can lead to the female triad.  We need to fuel for performance. Should Lise start trying with a base cycle.  This is the off season for most triathletes.  Weight loss is best done at this time. Lise attended "The Art of Optimal Sports Performance" workshop hosted by Dr Tracey Teasdale, ND. and realized that while she eats healthy and over the course of the week, gets all of her nutrients in, that day, she did not get enough protein. Generally, endurance athletes don't get enough protein or water.  Those are usually the first things to address to start performing better and weight loss. We can also track your nutrition as well to get a  snap shot to see if your fueling needs are met.  Getting enough sleep is also important.  Routine is important.  Going to bed and waking up at the same time is always important.  There are also sleep trackers as well. The hours before midnight are critical. The recovery hormones that float around are at their peak before midnight, so if we don't get enough sleep, then we are not recovering as well. Shift workers can benefit from doing the heaviest training when they are off or when they are on days.  There are also tricks that Dr Tracey can provide in office. Facebook: Absolute Athlete Care Dr Tracey Teasdale ND Facebook group:  Kick some Ashphalt Instagram: Dr Tracey ND All of the music in the intro and outro is by Grant Boyer.  Be sure to check him out on Facebook at @grantboyermusic. If you like our show, please help spread the word and tell 3 friends, like us on Facebook or follow me on Instagram. If you would like to be a guest on the show or you would like to send your audio race report, send them to trichatlg@gmail.com.  Be sure to include GUEST or Race Report in the subject like so your email does not get lost. Till next time, have a great active week. Bye!

Beverley Cheng is a health and fitness entrepreneur.  She is also the founder, writer, videographer, and fitness guru of Born To Sweat blog.  She truly believes that if you have a body, then your health and fitness goals can be limitless.  Beverley is an advocate for the health and fitness lifestyle, because she has experienced first hand the positive effect it can have on a person. That being said, she is also an advocate for balance, and she will never turn down a pizza or a beer because she considered it ‘cheating.’ Aside from working out outside, in the summer you can find her exploring Toronto on her bike, watching a Jays game, or throwing a football around on Toronto Island. Beverley had a challenging time growing up but a moment in University gave her the courage to showcase her true self to live the life that she has today.  Check out her episode to listen to her story. Check out https://thetaoofselfconfidence.com for show notes of Beverley's episode, Beverley's website, resources, gifts and so much more.

Welcome to our very first episode! We are very excited to kick this podcast off. In this episode we will discuss: The Screaming Tunnel in Niagara Falls, Gibraltar Point Lighthouse on Toronto Island, Old Fort Erie in Fort Erie. Enjoy! 

In Part 1 of this 2 part episode, Trevor (wedding planner) welcomes newlyweds Zoë & Daniel who confess about how their relationship survived Zoë proposing and Daniel saying no, how they planned a wedding while one of them lived in Los Angeles for 6 months, why they wanted to get married on the Toronto Island, the importance of Sumo wrestling at their wedding and what we did when we found out the venue we booked closed down due to flooding 3 weeks before the wedding! www.trevents.ca To see pictures of the wedding: https://www.instagram.com/p/B0zQ3Schh6f/

Does the ghost of a former lighthouse keeper still roam the grounds of Toronto Island lighthouse? Discover Ontario's own Stonehenge and the mysterious rocks that surround it. Listen to find out if its history or is it haunted? 

Kelly talks to city spokesman Brad Ross.

Richard and Adam are joined by Shakaira John, a recent Osgoode Hall Law School graduate. She’s currently a 2nd year associate at Aird & Berlis Law Firm. Richard and Adam take the podcast on the road, recording from a boardroom overlooking Toronto Island.   Shak outlines her long-game plans to become an islander, while Adam finds out that Toronto has an island. Richard confesses that he is guilty of bringing his own work home with him. The group discusses how to distance themselves from the stressors of a life in law.   Required Readings:    None. This episode was recorded over Christmas break! Thank god.    Questions?:   Call 681-443-7763 and leave a voicemail. Our resident "Hick from the North" will offer his worldly insights.   Music Attribution:    "Tina Turner - What's Love Got To Do With It?" Cover by "The Scissors" @ https://www.youtube.com/watch?v=MPoArsw1XXY www.thescissors.com

In this episode Trevor (wedding planner) and his guest co-host Kristina (photographer) talk about the rain and how it has affected weddings that they have been a part of (poor Grandma). They are joined by Brian & Dallas who confess about their “beach chic” Toronto Island wedding, family fist fights, how they incorporated their dog, how Madonna brings people together and how difficult it was to create a soundtrack to their wedding. www.trevents.ca www.pearstudios.ca Pictures of Brian & Dallas’ wedding: http://trevents.ca/brian-dallas/

We are going to dive into two specific age groups today, that typically earn a bad rep. Teenagers vs. threenagers. We will chat similarities and differences and everything in-between in hopes to empower mamas who are maybe struggling with the drama of it all. Our two amazing Mama guests today are in the thick of it with each of these age groups. Sarah Rosensweet is a certified Peaceful Parenting Coach. She lives on Toronto Island with her husband and three “big” kids. Sarah helps parents become the parents they want to be, with a non-punitive, connection-based approach that that feels good and works too. We also have Laura Williams, a Calgary based Mama of four children who is passionate about healthy living and raising independent children. Laura knows threenagers well, as three of her four children are three-year-old natural-born triplets. We start by getting into the nitty-gritty of brain development, Sarah gives it to us layman terms. The reason why threenagers and teenagers are so similar is that both age groups are in a really similar place both psychologically & emotionally. They are both moving out within the world and their family, testing their independent wings. Brain development wise, there is a renovation that happens with the amygdala and the limbic system at both ages. This is the more emotional side of the brain where all of the “big feelings” happen. It takes a few years for the prefrontal cortex (the reasoning side of the brain) to catch up. So you get high emotions with both age groups and a lot of very unreasonable reactions. Laura agrees, we as Mamas need to remind ourselves that it's all relative, their anger is the way they are feeling their anger, whether it is over juice cup colors or jeans that are in the laundry. They are defining who they are, impulsiveness and irrationality is something they both share. We need to remember that the drama is real for them. They both give us some us some techniques on how to deal with these age groups. Sarah remarks that with teenagers, the only thing you to have to influence them with is your relationship. In terms of discipline, you can't physically stop them anymore. You're really relying on your connection with them and your relationship with them. “Having teenagers is like closing your eyes and stepping off the edge of a cliff and hoping that it's not too high...you really just have to take this leap into the dark and hope that everything you've done in the first twelve or thirteen years has put them in a position that they'll make good choices” Sarah claims. “Having teenagers is like closing your eyes and stepping off the edge of a cliff and hoping that it's not too high...you really just have to take this leap into the dark and hope that everything you've done in the first twelve or thirteen years has put them in a position that they'll make good choices” ~ Sarah Rosensweet Laura agrees that building the relationship through the threenagers years is so key. Respect your teenagers or threenagers. Start honesty from the get-go. In terms of discipline and consequences both our Mamas claim that you need to look at the repair within the child themselves. How can you as a parent help empower them to maneuver solutions and not fix it for them? Sarah encourages our Mamas, that everyone is doing the best they can, both as parents and kids. Generally, our kiddos really want to be good, if they're not being good, then there's a reason for it. It may be that they are tired, hungry, feeling disconnected or they're going through a leap in brain development but they are not just trying to be difficult. She affirms, that if we can remember that as parents, we can come from a more patient place. Both guests agree you need to focus on self-regulation & self-care when dealing with threenagers and teenagers.

Young couples are being encouraged to apply to the waiting list of home on Toronto island due to the aging population and demographic change.   Martin Mittelstaedt, a resident of Toronto Island, joins Chris Chreston to talk about the future of the Island. 

Flying turboprops in Canada can be an exciting and rewarding career path. To continue our real world pilot series we chat with Q400 FO, Duncan Gillespie.

Sue-Ann Levy reports on the rage displayed by Toronto Island residents at City Hall with regards to water taxis and the visiting public.

The Toronto Sun's Sue-Ann Levy believes that President Obama has helped to increase ISIS' influence around the world; a Hillary Clinton presidency would only exacerbate the situation. Also, the public's enjoyment of Toronto Island has angered some of the paradise's residents!

Etiquette is a wonderfully haunting, groove and ambient-rich pop band started by real-life couple Julie Fader and Holy Fuck’s Graham Walsh in their homebase of Toronto, ON. This past March, they released Reminisce, their debut album, which is out via Hand Drawn Dracula and they’re playing Camp Wavelength on Toronto Island this Saturday August 29 at […]

Near Toronto's Danforth, Colin Marshall talks to Dylan Reid, senior editor at Spacing magazine, former co-chair of the Toronto Pedestrian Committee, and co-founder of Walk Toronto. They discuss whether the term "pedestrianism" has become as unappealing as the term "classical music"; the nature of the Danforth and its Greek roots; spatial ways to think about one's walks; the quintessentially Torontonian things he's noticed only while walking; the controversial practice of "façadism" and what it offers the city; the slow process by which Toronto offers up its joys, none of which seem apparent across the rest of Canada; what someone eager to grasp Toronto will find when they open Spacing; how to photoblog in a "not obviously beautiful" city; how he got to know Toronto by talking group walks by night, seeing such sights as a still-active slaughterhouse; how the city represents, in some form or another, every current of the modern conversation about developed-world urbanism; how Spacing got its start in the argument around an anti-postering bylaw; walking as the fabric that connects all modes of transportation; what Toronto's lately ever-more-robust downtown population has meant of walking; what makes him ask "Why is this here?" and who he asks for the answer; the fifty objects that symbolize Toronto; the city's relative lack of empty spaces and "dead zones"; what walk to take that can help you most quickly understand Toronto; and why one might visit Toronto Island.