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We spent the past weekend at the Mariposa Folk Festival and saw the Bare Naked Ladies perform. Kevin Hearn, who plays keyboards and some guitar with them also works with Gord. I looked up his solo work and saw the cover of his most recent work "Days and Frames". It's the same beautiful portrait of a woman that hangs on the wall of the practice room/studio where Gord was for the Peter Mansbridge Interview.http://www.cbc.ca/news/thenational/gord-...-1.3804422.


Does anyone know anything about this portrait? I don't own a copy of Kevin Hearn's "Days of Frames" so no idea if he credits an artist/title/owner.
I wonder if it belongs to Kevin or Gord, or if the room that they used for the interview is Kevin's space.

Just curious : )

PS. the other painting hanging on the wall is a Norval Morrisseau

<!-- m --><a class="postlink" href="https://beta.theglobeandmail.com/arts/music/broken-social-scenes-kevin-drew-on-how-an-indie-rock-cornerstone-made-a-roaringcomeback/article35604550/?ref=https://www.theglobeandmail.com&service=mobile">https://beta.theglobeandmail.com/arts/m ... ice=mobile</a><!-- m -->

Lots of hip content in this, but they buried the lede a bit with Kevin drew talking about 'finishing a new gord album' that is a bunch of letters to his loved ones. Interesting.

The great Brooklyn band The National played a “living art” show at the Museum of Modern Art in New York City in 2013 called “A Lot of Sorrow” where they played their song “Sorrow” for 6 hours straight. Six f**king hours! That’s 105 times, never once veering from the set list. As the museum noted at the time, “…the artist continues his explorations into the potential of repetitive performance to produce sculptural presence within sound.”

The concept is absolutely ridiculous but I admire the band’s stamina in this mind-numbing pursuit. I was thinking about this performance in the context of the Hip and was wondering what I would have wanted them to play should I ever have had tickets to such a performance. I would not choose my favourite song as I would probably never want to hear it again after the event. I would want a song with a range of dynamics, a song that I have not over-played myself, and a song that I’ve heard very little in a live setting.

That song for me would be Put It Off. I has varying dynamics; the slow, burning intensity to open, the ferocious chorus, the blistering solo in the last third, followed by a soft close. It is the perfect album closer. It’s also the song I would chose for the Hip if they were faced with a 6 hour loop. I’ve only seen the song played once live (December 1996 on the TATH tour) and I personally haven’t overplayed it due to its placement at the end of an album. (I think all 10th, 11th, and 12th songs suffered some degree of neglect in my CD collection back in the day due to time constraints, a short attention span, or someone wanting to change up the music at a party. The highly underrated Put It Off was probably no different.)

If I keep the same parameters of a 6 hour show that would give time for 68 performances of Put It Off. I think I could make it through at least 3-4 hours, but I have serious doubts that I could make it the full 6 hours. Is there any Hip song you could listen to repetitively for 6 hours straight and not go insane?

Latest podcast episode is about the making of FC with interviews with Rob Baker.

Would someone be able to share a 320k rip of this?

Saw this a little while ago - had a HD crash and lost it was hoping some kind soul could put it on a google drive and share

Thanks, Tragically Hip, for being my inspiration to get on stage and play. We started playing in 1996-97. I was introduced to my two favorite bands at this time; the doors and the Tragically Hip. These two bands possessed me. I absorbed this energy and power. My desire manifested a new band for this earth.

Here are two of our original songs I had recorded in random bars in the U.S.

This song is called Gray Day. A perfect, subconscious, bar song where people can still talk and play pool while enjoying the music. <!-- m --><a class="postlink" href="https://youtu.be/qgUFssveKOA">https://youtu.be/qgUFssveKOA</a><!-- m -->

And this song is called Insecurity. I enjoyed playing the drums on both of these songs. They have lots of space for creative, improvisational drum playing which I take full advantage of. <!-- m --><a class="postlink" href="https://youtu.be/W41zEC9Au-0">https://youtu.be/W41zEC9Au-0</a><!-- m -->

Enjoy!!

So, as many of you know, my girlfriend and I had the chance to head up to Kingston and interview Rob at his house last winter.

We have finally had the chance to post it for all of you to listen..

He talks about his bands before the Hip was formed, early touring days, unreleased Hip music and his new favourite Canadian band... He also gives a hilarious response when asked what he is up to now days.

Hope you guys enjoy.

Ryan and Gabby

<!-- m --><a class="postlink" href="https://hippiehistorian.com/2017/06/30/rob-baker-on-the-tragically-hip-memory-and-the-canadian-sound/">https://hippiehistorian.com/2017/06/30/ ... ian-sound/</a><!-- m -->

Posted on cbc.ca on June 28:

<!-- m --><a class="postlink" href="http://www.cbc.ca/beta/news/indigenous/gord-downie-let-us-speak-for-ourselves-1.4179478">http://www.cbc.ca/beta/news/indigenous/ ... -1.4179478</a><!-- m -->

Gord Downie, when it comes to collective Indigenous resilience, let us speak for ourselves
In order to be truly effective, Indigenous allies must not take up space meant for our own front-line voices

by Clayton Thomas-Müller · for CBC News

Canadian icon Gord Downie was handed the Order of Canada last week, one of the country's highest honours, in recognition of his work on Indigenous issues. Along with 28 First Nations, Métis and Inuit leaders, including activist Sylvia Maracle and NHL star Jordin Tootoo, the Tragically Hip frontman was honoured for raising awareness about the history of Canada's residential school policy and for "moving the country along the path to reconciliation."

Like many First Nations people, I appreciate our allies in the entertainment industry lending their fame in order to elevate First Nations' voices. This kind of activism has a rich history, such as when Marlon Brando refused his Oscar for The Godfather via Sacheen Littlefeather's iconic speech at the 1973 Academy Awards. Or more recently, during Canadian director James Cameron tour of Canada's controversial oilsands, when he lifted up the perspectives of First Nations fighting its expansion and the health impacts faced by Cree and Dene peoples.

But there are also countless examples where the voices of the very communities these celebrities are trying to support are drowned out, if not left out completely. When it comes to this kind of solidarity, we must understand that these front-line voices must be prioritized. At the Governor General's ceremony, I saw a white man honouring another white man. One was the official spokesperson of the Queen of England. The other was being honoured for his work on Indigenous issues in a space meant for our residential school survivors and the very best of our Indigenous leaders. To top it off, in this 150th year of Britain's colonization of our peoples' collective lands, the Governor General referred to Indigenous peoples as "immigrants." Hours later, on CBC's Power & Politics, host Rosemary Barton had four white men dissecting the incident — with no First Nations' perspective.

Indigenous people do not need white interpreters for the world to understand our stories, our traditional knowledge or its value. The attention given to such grassroots movements as Idle No More and more recently Standing Rock has shown us this. Settler allies can do effective work when teaching others how to increase understanding toward reconciliation and reparations with Indigenous peoples. But these allies must not take up space meant for our own front-line voices.

The Secret Path, Gord Downie's album and graphic novel about an Ojibwa boy escaping from an Indian residential school, is a powerful and tragic story about one of the thousands of our children that never made it home. My challenge to Mr. Downie is to have him push forward the stories of our living survivors: Let us speak for ourselves about our collective resilience. Today, in this era of reconciliation, it is time for the push for social change to come from within. Our communities need inspiration and hope that comes from the narratives of other Indigenous people, in order to mobilize the rest of our population into taking mass political action.

In order to be a truly effective ally, Downie needs to widen his circle of consult on First Nations matters to be more representative than government-dependent, arm's length institutions like the Assembly of First Nations. (These institutions tend to be much less confrontational and more pragmatic in their approach, because any national chief who has stood up to the government has had their funding slashed.)

My second challenge for Mr. Downie is centred on accountability. At the final Tragically Hip concert in Kingston, Ont., last year, when Downie patted our Prime Minister on the back and proclaimed to all of Canada that Trudeau was the man to lead the country to reconciliation, I reeled. The photo-op was completely disconnected from the reality of so many First Nations who feel betrayed by Trudeau's charms. Virtually every big promise the prime minister made to First Nations on the election trail just two years ago is in shambles or broken. Trudeau has proven so far to be nothing more than a handsome Harper when it comes to equalizing circumstances between First Nations and Canadians. The latest Liberal debacle is proof of this. The Trudeau government is countersuing the Canadian Human Rights Commission's ruling in favour of the iconic First Nations child advocate Cindy Blackstock, who successfully argued that the federal government was, in part, responsible for the suicide epidemic of First Nations children living in care because of chronic underfunding.

Ultimately, I write these words from a place of respect and admiration for Mr. Downie's contributions to the reconciliation discourse. I encourage him to continue doing this hard work, including building up the capacity of The Gord Downie & Chanie Wenjack Fund, which directly supports residential school survivors. But it's also important to remember the difference between intention and perception; any star principally working on the issue of reconciliation as it relates to Indian residential schools must always be pushing Indigenous voices toward the microphone instead of themselves. To my fellow Indigenous peoples, perhaps Arthur Manuel, the late Secwepemc chief and founder of the Indigenous Network on Economies and Trade, said it best: "You have to stop crying on the shoulder of the guy who stole your land."

... for the first time since August. Extremely emotional. I wanted to watch again on my pvr previously but couldn't bring myself to do it. This is hard.