[potsie]

20 years ago this month the band was busy revving up the touring machine as they were about to embark on the highly successful Canadian leg of the Trouble at the Henhouse Tour. I had the pleasure of seeing them on that tour and, as many others on this form will attest to, the band was in peak musical form. This is evidenced on Live Between Us, birthed almost 20 years ago on November 23rd, 1996.

On November 5th, 1996, three days prior to the first show at Pacific Coliseum, the full band answered email questions pertaining to a wide variety of topics that had been submitted by fans through CANOE.ca. The recent post by member arewhyehen seeking questions for his upcoming Rob Baker interview got me thinking about asking the band questions 20 year ago, and while pondering this I decided to see if the article still existed somewhere on the internet. For those that are interested in occasionally looking back I’ve posted some of the more interesting questions and answers below. I’ve edited the session for brevity and will split the interview into seven posts (Lyrics, The Band, Influences, From the Bin, Music, Oh Canada and Live Shows) to make for easier reading.

LYRICS
Q. What is the significance of "water" in most of your songs? If you listen, you will hear the number of times water is mentioned.

A. "Water is stronger than rock." Water threatens to, at any time, flood in and obliterate the chalk drawing. We leave a temporary impression similar to that of a hull on the surface of the sea. I could go on and on. - GD

Q. Hello guys! My fave band, of course. I even have a signed "Day for Night" poster in my basement that I purchased at the Edmonton Bear Auction (FM 100.3). Anyways, here is my question: For many years I have been wondering what "Blow at High Dough" actually means. What does this title mean? Thanks a lot, and will be seeing you Wednesday, Nov. 13 at the Northlands Coliseum.

A. Blow At High Dough probably means going full out so to speak, burning up, too quickly, etc. - PL

Q. What is "Scared" really about?

A. Fear of obsolescence? Fear of Fraudulence? Fear of Fear? A fear-peddlar going door-to-door selling ... you guessed it ... Fear? - GD

Q. Who is Cordelia?

A. Cordelia was used as metaphor. I dunno, read King Lear - Shakespeare - GD

Q. Would you please explain the phrase "garbage bag trees". My stepson Graeme has noticed that this phrase appears in two of your songs. I apologize for not being able to recall which songs they are.

A. Graeme is a good boy - I don 't recall which songs they are either - but at the time, it was Winter heading into Spring when trees are without leaves and seem to attract garbage bags that roost in their branches. – GD

[potsie]

THE BAND
Q. I remember seeing an interview with The Hip on the New Music about 10 years ago when they were starting to make a name for themselves. John Roberts (formerly J.D. Roberts) asked Bobby Baker why he thinks The Hip will endure with so many other bands out there trying to make it big. Bobby responded by saying that the fact that the band were all such close friends and all so dedicated to making music for the rest of their lives gave them the advantage over other bands. I was wondering if he and the rest of the band are still that dedicated and optimistic?

A. I think we're always more inspired by the idea of an old blues man plying his trade in the club then the young pop sensation. I still hope to be that old guy sitting on the stool surrounded by friends. Friendship is still the oil that keeps the motor running. – RB

Q. How long has Gord D been playing guitar? Are Robby and Paul teaching him how to play? Do the other members of the band play any other instruments (piano, tuba, etc.)?

A. I've been playing guitar for ten years. Paul gave me his first guitar. I try to play percussively and usually try to occupy the space created when Johnny's high-hat opens. It's fun to commune on a different level with the boys. Paul could teach a chimp to be Pope, Gord Sinclair plays piano, banjo, bagpipes (to name a few), Robby plays mandolin, keyboard synth, etc, etc. Johnny is really an interesting finger-picking guitar player (it's his riff on Coconut Cream), Paul - piano, bass, etc. I'm learning the drums. – GD

Q. Good day there! This past summer I jumped on the Hip's bandwagon and followed them around the United States. After a couple of the shows I had the honor to meet and talk to the boys from Kingston. On both occasions, we would see Johnnie Fay come out of the venue and immediately take the other direction and scurry away. He would rush to the tour bus and not talk to anyone. I have spoken to other people and they have noticed this all summer too. What's up?

A. Yes it's true, I am the nasty one. I hate all men. In fact, a man in Winnipeg crushed my hand with a handshake. Now I shake with my left instead of my right. Have you ever tried shaking with your left?
Well, you know right after the show I like to spend a little quality time with myself - usually alone on the bus with nothing on but an apron, making peanut butter sandwiches. – JF

Q. Hi, my name is Heather and I am a Journalism student at Lethbridge Community College. My instructor posed a question to me this week, knowing I am a huge fan. What kind of dog does the lead singer have, and what is his name? I would greatly appreciate any assistance.

A. The lead singer has a dog named Magnet - GD

Q. Every band for the past 50 years breaks up, comes together, and breaks up again. This is attributed to creative differences. Do you honestly plan to make music for the next 10 years or so?

A. Yes, I think we probably do plan to make music for at least the next 10 years. Fortunately, we've been able to take things one day (week, month, year,) at a time. - PL

Q. My friends and I have, for quite some time, been quite curious about Gord Downie's hat. Which hat you say? Well there can be no confusion as to which hat, it is a big straw cowboyish number that has been seen worn by Gord or in his presence for years. It 'stars" in at least two videos -- Thugs and Gift Shop -- and is a regular attendee in backstage Hip interviews. So simply put
- Where did Gord get the hat?
- Do the other guys like the hat?
- Why the affinity for such obtuse headgear?

A. I got the hat when we were playing the High Sierra Music Festival up in the Mountains; Bear Valley, California. For five dollars. The other guys don't go out of their way to avoid the hat, and because it's an obtuse sun up there. - GD

[potsie]

INFLUENCES
Q. Which is your (Hip's) favourite album, lyrically, musically, most fun?

A. The latest record is my favorite, more for the way it was recorded than for anything else. We’re in a position now that we can produce ourselves in our own studio over a longer period of time, and all that allows for a more satisfying creative experience. I like all our records the same, they bring back a lot of memories and in each case I think they go a long way to reflect where we were at the time. It's like looking at old pictures of yourself, sometimes it's great, sometimes it's funny and sometimes you wonder what the hell you were thinking about at the time. – GS

Trouble At The Henhouse is my favorite in all three of those categories. – PL

The next one. - RB & GD

Q. Hey guys. What are some great books that you've read?

A. We have all read a lot of books. Books are good, television is bad. Among my personal faves are Bruce Chatwin's Songlines and Daniel Quinn's Ishmael. - GS

Whale Music, Being There, Armies of the Night. I don't know, lots. - PL

A River Sutra by Gita Mehta, The Golden Gate by Vikram Seth, Not Wanted on The Voyage by Timothy Findley, Narcissus and Goldmund by Herman Hesse - RB

Vladamir Nabakov - Laughter in the Dark - JF

Q. A lot of bands are doing covers. If you had to pick only three songs, which ones would you cover? Oh, and if you were going to cover an Elvis Costello song, which one would it be?

A. This is a really tough question to answer. We toy with the idea of pulling out cover songs every time we tour, but it's really tough to come up with a consensus within the band as to what we should play. Last summer we were doing Gordon Lightfoot's Summerside of Life because it felt so right. If the guys gave me the choice unilaterally, I'd love to play Iggy's Lust for Life (did you know that it came out prior to Trainspotting?) or something like Dead dog On The Highway or Circle Circle by the Sons Of Freedom. No reason, just really cool tunes that we could rip up live. I'd probably give you a different answer on any given day. Elvis Costello has written so many great songs it's tough for me to choose. I can't really hear us doing justice to anything he's written. - GS

If I knew, I'm sure we'd do a couple of covers. Love Elvis Costello, but again, don't know which tune we’d do. - PL

Black Day In July, Summerside Of Life & Endless Wire by Gordon Lightfoot and Almost Blue by Elvis Costello - RB

North Window - from It's Sydney or the Bush by the Inbreds, Tokyo - Bruce Cockburn, To Cry About from Miss America by Mary Margaret O Hara, It Wouldn't Make Any Difference from Something/Anything by Todd Rundgren - GD

One? No! - This Year's Girl from This Year's Model and Watch Your Step from Trust - GD

Q. Often, there is a comparison made between the Hip and R.E.M. in terms of similarities in music, lyrics, and attitude in the music world (both band's failure to "sell out"), and I wonder if the band has any comment on that - if they have been influenced at all by R.E.M., or see any similarities between what they do and what R.E.M., arguably the most influential American band around nowadays, do.
Specifically, I wonder if they realize the similarity between the name of the new album, Trouble At The Henhouse, and a song off R.E.M.'s 1987 album Document, "Disturbance at the Heron House".
As well, someone commented that "Electrolite", off of R.E.M.'s new album, sounds musically very much like the Hip, and that Michael Stipe sounds very much like Gord Downie is singing it - have they heard the song, and if so, do they agree with the comparison?

A. Comparisons are odious, but if you hear it or see it, fine. Influence is hard to measure, and inspiration comes in all shapes. I've always liked R.E.M. because, like so many things I like, they exude a warmth; I like to think that we do too. - GD

Q. How does The Tragically Hip feel about other bands playing their music? Some bands actually go as far as to dress up and act out similar on-stage personalities. In some ways it must be quite flattering that people enjoy the music that much as to go that far, but sometimes cover-bands just look like they are looking for an easy way to get well-known. Also was the Tragically Hip ever a cover-band. Rumour has it they were a "Doors" cover-band in the early Kingston days.

A. I don't really have a problem with bands covering our material at all. If it's done in moderation it can be flattering. However, I've never been a fan of the tribute band genre at all, let alone those who pin themselves down to doing exclusively Hip material.

When we first started playing in and around Kingston we did a broad spectrum of cover material, a lot of which was really obscure, so that we could re-interpret songs without the risk of getting compared unfavourably to the original. It worked well for us in that, over time, we were able to develop our own style. It also allowed us to slip in our original material under the guise of an obscure Stones B-side and not piss off the promoters. You have to remember that this was 1985/86, back when original material was anathema to the good tavern owners of South-Eastern Ontario.

These days, with the growth of the independent scene and the ever increasing number of great young bands, I can't imagine why anyone would want to stifle their own creativity by playing only one other band's material, our's or anyone else's. If it meant that an original band couldn't get a gig because the local Hip cover band drew more people and sold more beer, that would indeed be tragic. – GS

[potsie]

FROM THE BIN
Q. Who are some of the bands you guys like to listen to?

A. That's way too broad a question to answer. Every guy in the band has his faves, long term and those more of the flavour-of-the-week variety, and we're all very open-minded when it comes to music. Each of the other guys, in fact, has turned me on to great music of all different shapes and sizes. I listen to music every day. Right now I'm rediscovering The Cure, because I just saw them live for the first time this summer and I realised that in my mind I'd never given them the listen they deserve. I love Los Lobos' new record, Colossal Head. Turn off the TV and listen to more music, choose for yourself. – GS

Los Lobos, ODDS, Rheostatics, SOTW, the Inbreds, tonnes more. Anything good is the general rule. - PL
Old Faithfuls - Miles Davis, Bob Dylan, anything on Blue Note, Current Faves - Material, anything with Sly and Robbie, Lakshmi Ranganathan - RB

I won't commit the error of catalogues and lists, when it comes to music I'll leave that up to Maclean's Magazine. - GD

D David Bowie, G Gabriel, Z Zimmy – Zimmerman, D has already been taken, but Bob-O is great - Dylan
These artists are so mega in The Hip's mind that they have had their letters retired. Heavy plays on the bus. – JF

Q. Does Gordon Downie like the movie "Clockwork Orange"?

A. Not nearly as much as some other people in High School did. - GD

Q. Has Paul Langlois cut down on his smoking habits while on stage?

A. I guess I have, depending on whether my parents are in the crowd. - PL

Q. Does Bobby Baker ever plan on cutting his hair?

A. Come on Dad, give it up already. - RB

Q. Separating the Art from the Artist is something not many fans can do. Do the Tragically Hip have problems with over excessive (for lack of a better word) fans?

A. Timing and context are all important - if I'm playing with my son or having a date with my wife I may not want to conduct a full-fledged interview but almost everyone is very respectful of that. Most fans just want to say hi and show their appreciation for your work. That’s great. How can anyone have a problem with that? – RB

[potsie]

MUSIC
Q. I had the opportunity to hear a song called "Get Back Again", which I think was recorded at some CBC session. From what I've been told it was written by Gord Sinclair. Is this true? Also, what ever happened to this great song? Everyone I know who has heard it has fallen in love with it.

A. Get Back Again is a great song, and Paul and Gord recorded it at CBC with Murray McLauchlan and his band. I have always loved that song and have wanted to put it on a record for a long time. However, you probably like it because the other three of us are not on it. - JF

Q. This question is for anyone, but Paul L. and Bobby B. may be best to handle it. Let me just start off by saying I am huge fan (of course, why else would I be doing this). OK, now to the question. I play guitar, and in figuring out myself and from other people the Hip's music, I noticed that many of the songs from Up To Here all the way to Trouble At The Henhouse use the chords of B and A a lot. Is this just an unconscious selection of these chords, personal preferences (I like to use G and C a lot myself), or does Gord prefer to sing in the key of B and A a lot?

A. A song's key is often a matter of accommodating the vocals and instrumental ranges. Till the 60's, B flat and E flat were the common keys (to accommodate the horn and wind instruments). Guitarists tend to favour keys which use open strings (for their particular timbre) as well as their potential as drones.
Your question made me look back at our oeuvre to see if B and A are very prominent. It didn't strike me that way. I was more surprised by the number of C sharp and F sharp songs. – RB

Q. Many bands these days have changed their sound drastically. Two acts, both large influences on the "Alternative" scene - U2 and REM - have both put out albums (Achtung Baby and Zooropa respectively) in which the sound of the music is a definitive change from previous work. The often heard complaint about the Tragically Hip is that they do not seem to progress from album to album, keeping the same sound and not progressing musically (note, I am referring simply to the music, NOT the lyrics). Has the band ever thought of drastically changing their sound?

A. Like I wrote earlier, we've always approached things one song at a time, trying to write and record music that reflects where we're at as people and musicians. It has to move us and, hopefully, will reflect our natural growth as songwriters. We've never consciously written with any other motivation.
Now that we have more time to devote to recording and writing there are greater opportunities for experimentation, but it all comes back to what the individual song requires to move us. That's the basic approach.

For every person that says our sound has stayed the same over the years there will be another who finds the evolution of the band from album to album unsettling. It's all a matter of personal taste, the response that your music evokes. How do you attempt to anticipate such a personal thing? You just try to let the music reflect where you are at and hope that it means something to those outside the group as well. Thanks for listening, though. - GS

Q. The Hip once played a tune that I think was called "Past." Has this song ever gone past the jam stages?

A. I think I know the tune you are referring to. It didn't really become a song - yet. - PL

Q. How would you (the Hip) explain the style of music that you all play. Some say that it's a touch of jazz blues with rock.

A. I'd say we’re a peppy little five piece combo of eclectic/post - modern/experimental traditionalists, or maybe a jazz/blues/raga/roots/rock band with a heavy metal/folk/rap sensibility. - RB

[potsie]

Oh Canada
Q. You guys are like a lightning rod for some people's patriotism. How do you feel about fans who identify you and your music so closely with some sort of essential Canadian-ness? Are you proud of that, or is it just an unnecessary pressure that detracts from the music?

A. We've never consciously tried to elicit a patriotic response from our fans, nor have we tried to embody that in our lyrics. Speaking for GD, I can tell you that we've never tried to edit ourselves in any way. You write about what you know, stories that move you in some way, or about themes you want to explore. Over the years, we have written some songs that refer to Canadian events specifically, and others that reflect our response as Canadians to other themes and issues, because of who we are and how we've been raised. That's where it begins and ends for us. We'd never write a song because it was Canadian, nor would we avoid it.

If some of our fans can only identify with us on a nationalistic level, instead of a musical one, then I think that reflects more on them than it does on us. Travelling abroad as much as we do has led us to appreciate where we live and who we are and I think our work reflects that; but we have definitely learned that there is no one distinct Canadian voice. All perspectives are valid, so we feel no pressure at all. - GS

Q. When Sault Ste. Marie, Ontario, passed a bylaw stating the official language of the city would be English only, the Hip vowed never to play in the Northern Ontario town again. They even wrote a song about the lame-brains of my home town. Yet, when the courts repealed the bylaw, stating that the city did not have the right, the Hip did play in the echo chamber of the Memorial Gardens.
Considering it was the high courts which said the city bylaw was not legal, and the city still operates in an English-only manner, why did the Hip agree to play at that venue?
Are the city's principals -- as racist Anglophones -- not what angered the band in the first place?

A. A classic case in point of the pitfalls of being pigeon-holed lyrically and thematically. Born In The Water was written some five or six years ago as a response to a specific event. The bylaw issue seemed really dumb to us so we wrote about it. Period. To suggest that we were attacking the good people of the Sault as racists, fuelled by anger, is really over-stepping the mark. To further suggest that we should boycott the city or would allow this one event to permanently colour our feelings towards the people there is as stupid and intolerant as the event which prompted the song. - GS
Q. Do you ever grow tired of the flag-bearing patriotism displayed by your loyal Canadians following you down south? Do you view the pilgrimmage made by your loyal followers some 1,000 miles to see "their" band in a small club in the States as a sort of rite of passage?

A. I can think of a few good reasons to wave the Canadian flag and a few good reasons not to wave any flag. None of them have anything to do with The Hip. If people travel our country and other countries, they would see that there are so many reasons to be proud as Canadians (in a reserved unflag-waving sort of way). - RB
Q. Do you see it as your role or responsibility as public figures to be political? I remember seeing you at Molson Park in Barrie on Canada Day and Gord D. spoke bitterly about "Canada Day" and what we were celebrating that day.

What do you think about what is happening to the poor, marginalized and vulnerable people in our province and this country? Be interested in any thoughts.

A. I see our role or responsibility as musicians to be musical. We were a little uncomfortable with the way other musicians on the bill were treated. After an Evian bottle of urine was hurled at the stage it became a little difficult to go along with the whole fraternal brotherhood thing. Probably a minority, but we had invited all those people as our guests, and we felt that we had assembled a cool and interesting day of music. It was that day that I began to think that booze together with Nationalism or Patriotism was a very dangerous mixture. Ultimately, I believe everything would have been way better if we'd done the whole thing on July 2nd - we could have celebrated the Canada of the Self and not the Canada that is sold to us. – GD

[potsie]

LIVE SHOWS
Q. Are you going to play a return date in Kingston, Ontario?

A. Never

Yes - when they fire Greg Burliak, Chief Musical know-it-all of the Kingston Whig Standard.

Yes - when they demolish the Memorial Centre - the worst acoustical experience of my life. – JF

Q. From which do you derive more pleasure: playing in a small club-type setting similar to the majority of your shows in the US, playing in arenas like Maple Leaf Gardens or playing in outdoor festivals such as this year's Edenfest?

A. Clubs and arenas seem to be more enjoyable as far as connecting to the crowd, but a gig's a gig and we wouldn't do it if we didn't enjoy it. - PL

Q. Would you ever consider a collaborative effort with the Rheostatics? I can't imagine anything better than both bands teaming up for an encore. Gordie wailing on "Record Body Count" or Martin adding his atmospheric guitar to a song like "Thugs" would blow more than a few minds. How about it guys?

A. Nice idea. - RB

Q. I think the most dangerous thing for a live band is to get too comfortable. How do you keep your live shows fresh when you've been touring for six months or more (besides changing your set)?
A. We've always been really conscious of keeping the show fresh and invigorating for ourselves, first and foremost. There is always a danger of letting things become stale. Because we have a lot of albums worth of songs to draw from, it's actually gotten easier for us over the years.

If a song is not moving us while we're performing it, chances are that will be translated to the audience. So we give it a rest, sometimes for years. Other songs of ours have spaces written in that allow for improvisation on stage. That forces us to play off of each other and jam, keeping it different every night and making each show special, not only for the audience but for ourselves. - GS

Q. Lookin' forward to the show in Buffalo: Can you tell me what really happened at the show here in '93 at the U. of Buffalo? (Sorry you had to meet the ass----s here.)
And, if at all possible, could you do "The-Killer-Whale-Tank" during New Orleans? Thanks.

A. Someone threw a shoe and it hit Gord so we left a song or two early, and it wasn't sounding good on stage.
No, we can't - PL

Q. What did performing on SNL really do for you?

A. We had fun doing it and it was a great experience. - Band

Q. Hi! I'm interested to know how big the band is in the United States and even if the Hip want to be big in the States. It's such a Canadian sound that I can't imagine Americans really understand it or like it.

A. Depends on the city, how often we've played there, etc. Being big is the last thing on our minds. - PL

Q. Hey guys! I've been reading that you are gaining quite a following in Australia. Have your friends Midnight Oil helped at all by having you along for shows and appearances? Or have you just been plugging away working some seedy joints where Paul Hogan wannabe's work the door? How's the overall international market looking for you? Thanks from a fellow St. Lawrence Seaway resident (Brockville)!

A. Well my friend, there are two urban myths afloat in Canada: That we are big in Australia or anywhere for that matter; and that Brock Vegas is a happening place to hang out. - JF

Q. There is no doubt that the Hip is, and always will be, a big band in Canada. I'm curious, if they never reach huge stardom in the States, will they still be satisfied with all their accomplishments in Canada?

A. We've always approached things one step at a time, one song at a time. Making music that continues to move us is our biggest motivator. After that, whatever happens will happen. We've been really fortunate that we've been able to evolve naturally and slowly over the years and that our fans have come along with us and have continued to support us, album after album.
We approach the U.S. the same way. Each time we put out a record or tour down there our audience has continued to grow. To us, that's being successful.

Stardom and celebrity are meaningless words to us. They have little to do with music and much more to do with the culture we live in. For a lot of groups over the years, stardom has been a heavy weight to shake off and has shortened a lot of promising careers for some decent songwriters. - GS

Q. It really is amazing to see you guys tour in the U.S. Please, don't ever stop visiting. Just wanted to ask if you guys like the smaller, less stress, less organization, that is needed for you to tour in the U. S. compared to the large deal of touring in Canada? It seems to me that there are advantages to both. Which do you guys prefer and why?

A. I really enjoy the difference in venue sizes. It makes it hard to establish a routine, which I see as a good thing. When you can smell the audience's collective breathe or see someone at the back yawning, it really forces you to be at the top of your game. As for preference, I would go for the Great Canadian Compromises - somewhere in the middle of 1,500 to 3,000 seats. – RB

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[Tthip]

Still a great read. Thanks.

[Scotty12]

Fantastic interview. Maybe their best ever?

Would love to read any others that approach or exceed this quality.

[cochise]

Q. Has Paul Langlois cut down on his smoking habits while on stage?

A. I guess I have, depending on whether my parents are in the crowd. - PL


That's too funny. During the Fully Completely tour, we had seats beside the family members at Massey Hall. I was sitting right beside Paul's parents and I clearly remember his mom complaining about him smoking on stage to his dad. The other thing I remember was someone in the balcony directly above us dropped their binoculars and nailed his dad right in the knee cap.

[ashtrayrock]

great read. TY

Q. How would you (the Hip) explain the style of music that you all play. Some say that it's a touch of jazz blues with rock.
A. I'd say we’re a peppy little five piece combo of eclectic/post - modern/experimental traditionalists, or maybe a jazz/blues/raga/roots/rock band with a heavy metal/folk/rap sensibility. - RB

:lol: :lol: :lol:

[direwolf74]

For those who are from Kingston or grew up there, can you explain the Greg Burliuk thing? There seems to have been quite a feud with this guy at that time. I recently watched a youtube clip from a '93 Kingston show where Gord talks about Burliak's "bad vibes". I'm assuming he was a local critic who talked sh** about the band?

[edgoffin]

For those who are from Kingston or grew up there, can you explain the Greg Burliuk thing? There seems to have been quite a feud with this guy at that time. I recently watched a youtube clip from a '93 Kingston show where Gord talks about Burliak's "bad vibes". I'm assuming he was a local critic who talked sh** about the band?

I lived in Kingston, Day for Night years. Burliak was just a blow entertainment hard writer for the Whig. I don't recall anything he wrote about the Hip, likely would have predated my time there, but did not find him to be a great supporter of the local music scene at the time I lived there. There was a lot of good music in the city , and a few good live venues, that rarely for any support from him in the Whig.

[Rye]

I used to love the features on Canoe when it was record release or tour time for The Hip.

Today is the 20th anniversary of my first Hip show, 13 years old at the old Winnipeg Arena.

[potsie]

For those who are from Kingston or grew up there, can you explain the Greg Burliuk thing? There seems to have been quite a feud with this guy at that time. I recently watched a youtube clip from a '93 Kingston show where Gord talks about Burliak's "bad vibes". I'm assuming he was a local critic who talked sh** about the band?

I lived in Kingston, Day for Night years. Burliak was just a blow entertainment hard writer for the Whig. I don't recall anything he wrote about the Hip, likely would have predated my time there, but did not find him to be a great supporter of the local music scene at the time I lived there. There was a lot of good music in the city , and a few good live venues, that rarely for any support from him in the Whig.

From a CBC article:
While the town never wavered in its support for the band, Burliuk said his own relationship with the Hip cooled after they took exception to a line in a review of their concert at Fort Henry in 1991.

"[It was] their first big concert and the only comment I made was: 'You're not in a bar anymore, so when you're playing in a concert you have to face the people."

"That was it. I was persona non grata. They would sometimes talk, when it was kind of convenient. But at first they wouldn't talk to me at all."
'The golden boys and rightfully so'

Eventually, Burliuk said tensions with the band thawed, and he developed a pretty good relationship with Langlois, who did charity work with Burliuk's wife and Baker, with whom he shared a chiropractor.

He said the band deserves all the praise and support it gets from Kingston, citing the charity work they do around the city.

"They've always been the golden boys and rightfully so," he said.

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