Paul David Aikenhead
“Playing live is cool because it’s two hours of twenty-four that I can think about nothing,” Gordon Downie revealed in an interview from June 1991, with his signature rasp. “I have no worries, no insecurities; everything flows. It’s therapeutic every day to jump through that hatch in the roof and howl at the moon.”[1] For the lead singer and enigmatic frontman of The Tragically Hip – an upwardly mobile blues-rock quintet hailing from Kingston, Ontario – getting on stage and performing for a crowd was a beneficial release. During the late 1980s and early 1990s, the band cemented its reputation in Canada as a righteous live act. Each show the group gave was a frenzied field of pleasure in and through which people could relish encountering liberation from the strains of life, if only fleetingly, while also enjoying the soothing confirmation of individuality. In essence, The Tragically Hip’s concerts were opportunities for both band and audience members to go beyond the ordinary limits of commonplace experiences, to enact their own brand of the rites of Dionysus.
The term “live” did not become a part of music appreciation vocabulary until the mid 1930s, nearly fifty years after the advent of viable commercial sound recording technologies. Continue reading




One of the things that I often joke about when talking about finding new historical material to study is that you can always revisit an old topic – after all, there’s a new book about the American Civil War published every hour. Of course that isn’t literally true, but there does always seem to be new material written about the Civil War. Given the vaunted place of the Civil War in American mythology, this is not surprising. Another reason for this, as explained by today’s guest, is that the Civil War produced a treasure trove of archival material that historians are still combing through 150 years later.





