Philippe McKenzie (1953-2024)

Juno Awards 2023: IN LOVING MEMORY (Gordon Dick Sr.)

Gordon Dick Sr. (1952-2022)

I just received news from the family that singer-songwriter and guitarist Gordon Dick Sr., a featured artist on the Grammy-nominated Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 compilation, has passed on. 

Gordon was born on his grandfather’s land in the Mount Currie region as a member of the Lil’wat Nation in 1952 and raised in a music loving family. As a youth, Dick was sent to the Sechelt Indian Residential School, 194 km/121 miles southwest from Mount Currie, where a classmate taught him a few basic guitar chords, as well as how to tune the instrument. From there he attended Carson Graham Secondary School in North Vancouver. Because of the distance from Mount Currie, the teenager was billeted with a local family. At 17, Dick began playing cabarets gigs at the Pemberton, B.C., Legion with a group called the Road Runners, which featured Indigenous players from the nearby Squamish Nation. From there, he formed Siwash Rock, which included family members, and later, Sound Tribe, Eagle Claw, and Baby Fats Blues Band. 

During summers in the early 1970s, Gordon worked at Mt. Currie Summer Camp, where he would take groups of children camping in the mountainous woods—with a gun for protection from cougars and bears—they would also go horseback riding and sing campfire songs. It was also when National Film Board director, writer, and singer Alanis Obomsawin (OC) visited the Mount Currie region for the first time, shooting both film and still photographs for an upcoming project on community life. Needing a soundtrack for her pictures of children playing at the camp, she asked band office staff to recommend a local player who could record some appropriate music at a Vancouver studio. Dick was handpicked for the job and ventured to the city’s Yaletown area to lay down two original compositions: “Going Home” (which speaks to his residential school experience) and “Siwash Rock.” An LP was pressed featuring the songs as part of an educational kit for classrooms. “Siwash Rock,” can be heard on 2014’s Native North America (Vol. 1). 

Gordon will always remain an important family and community member: Son, brother, cousin, father, uncle, grandfather, and a friend to many. His presence at the Mission Friendship Centre created joy, humour, laughter, and music, often alongside Uncle Herman. Gordon continued to perform at a wide range of venues up until his passing. His participation at Native North America Gatherings (Vancouver Folk Festival, Spirit Child reissue album launch, 2 Rivers Remix Festival) filled audiences with love, laughter, and inspiration. It’s a gift that we will never forget. Thank you Gordon Dick Sr., as you were known to say: “ROCK ON!” 

 – Kevin Howes (Voluntary In Nature)

  

  

Nardwuar vs. Jagmeet Singh (2021)

No Depression (Ghosts, Fall 2021)

 

*More info/available... HERE!!! PEACE

Theory Of Ice — with Leanne Betasamosake Simpson

Below the Radar · Theory Of Ice — with Leanne Betasamosake Simpson

CREATION NEVER SLEEPS, CREATION NEVER DIES: THE WILLIE DUNN ANTHOLOGY and NATIVE NORTH AMERICA (VOL. 1) PRESS RELEASE

*More info/pre-order HERE and HERE! PEACE

ERIC LANDRY in conversation w/ Kevin Howes for EVERYSEEKER

EVERYSEEKER · Eric Landry In Conversation with Kevin Howes

NOW: Decade in review: 50 things that defined Toronto in the 2010s

Thanks for the Native North America and Native North America Gatherings mention in your Decade in review: 50 things that defined Toronto in the 2010s NOW... PEACE

Today

*NNA V1 was released five years ago from today... LOVE

Orange Shirt Day

*More information at http://www.orangeshirtday.org PEACE

Alanis Obomsawin - Bush Lady LP reissue

As a Canadian citizen and person of settler and immigrant heritage, I feel that it is my responsibility to learn more about the land that I was born on. During my Catholic and public school experiences in the 1970s/80s or even at Simon Fraser University in the early 1990s I was rarely taught about the true history of Canada nor was I conscious enough to seek it out beyond any surface awareness. I'm happy to report that this has changed. In my travels across Canada throughout the first decade of the 2000s,  I began to learn more about First Nations, Métis, and Inuit expression from a selection of hand-picked vintage vinyl records. I will never forget the kindness and generosity of the people who created these recordings, some of the most talented singers, songwriters, poets, artists, writers, and filmmakers that I've ever known. It made me happy to learn that many of these artists were still being celebrated in Native communities across Turtle Island (and beyond), yet for others, music took a back seat to the unfolding of life, as it so often does for independent artists, especially when facing a lack of opportunities to make any sort of sustainable living pursuing their craft or calling. Racism, systematic oppression, and white supremacy also played a part, but we must also remember that not all music is made for or aimed at the charts or social media statistics. Bar some longstanding and outspoken voices like Brian Wright-McLeod (The Encyclopedia of Native Music) who has been giving the necessary thanks and acknowledgements to these artists and their gifts for decades, I was appalled to realize how off-the-grid many of these songs were, though as a professional, non-academic, street level music researcher, writer, DJ, and reissue producer for many years, sadly not surprised.

For example, did you know that Mi'gmaq folk singer Willie Dunn wrote and released a devastating song about Chanie Wenjack called "Charlie" at the turn of the 1970s and was involved in a truly radical feature length film about the residential school system called Cold Journey, over forty years before Gord Downie's much talked about Secret Path project? With all due respect and love to Gord (RIP) for his immense contributions, it was maddening, disappointing, and offensive to see a virtual absence any meaningful recognition for Dunn, who passed on to the spirit world in 2013, during the Secret Path's colonial mass media storm. What gives? Do journalists no longer dig beyond press releases? Did they ever?  In 1971, Dunn released a masterpiece that should be known by every single Canadian living on stolen land. Land where acts of genocide are still being acted out on Indigenous peoples. Land that is being abused by the government for profit. Our media and music business professionals of all backgrounds need to step it up in 2018 and truly earn their keep and make it known. Yes, there will be mistakes along the journey and we all come to music when we do (no judgement there), but it's our responsibility as settlers and immigrants to make the meaningful effort. The bar has been set. We must catch up, now! Listen... Learn... And Share...

Released by Seattle and Los Angeles-based Light In The Attic Records in 2014, Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 was my personal love letter to a selection of trailblazers who affected and continue to affect my life in a positive and meaningful way. The 24 artists and groups featured made me reach beyond my comfort zone, taught me things that I never learned in school, and gave me their blessing to work w/ their monumental creations, an honour that I will carry in my heart and soul for eternity. While preparing for the compilation's release, there was only one artist that we were unfortunately not able to collaborate with, Abenaki singer, songwriter, veteran Nation Film Board of Canada filmmaker, and force of nature, Alanis Obomsawin.  Five years into production and pressure mounting, her musical absence brought me to tears, but for no reason other than I understood the incredible feeling and weight of her poetry and songs as well as her deep connection to longtime friends and peers like Dunn, Shingoose, and Duke Redbird whom she supported over the years as curator of the Indigenous stages at the Mariposa Folk Festival and her work at the NFB. With plans of her own, the timing wasn't right for her involvement. I both understood and appreciated her honesty and integrity.

Needless to say, it was beyond humbling to work with Alanis (and her musical ally, Fred Savard) on the recent Native North America Gathering at the National Arts Centre in Ottawa (as part of the annual MEGAPHONO Festival). It was such an honour to hear her share her musical voice w/ an open and loving audience of Indigenous and non-Indigenous people. I was also thrilled to learn that Bush Lady was going to be re-released in its entirety via Montreal's stellar Constellation Records. I can't recommend this album enough...

To celebrate Bush Lady's re-release, I've created a Spotify playlist for my original "vision" version of NNA V1 (designed to be listened to from beginning to end), with Alanis' "Of The Earth And Of The Sea" poem at the top and introspectively winding down with another of her original compositions, "Odana" at the tail, before the spiritual and hypnotic chant/drum/guitar beat of Willie Dunn and Jerry Saddleback's "Peruvian Dream (Part 2)." I still feel that this sequence is the best way to enjoy the album (preferably with friends and family).





I dedicate this playlist to Alanis and to the Indigenous artists who have strengthened their people and have made this world a better place for everyone... Thank you!

Order Bush Lady HERE

PEACE

Elisapie - Wolves Don't Live by the Rules (Willie Thrasher)

The Light in the Attic re-release of Inuvialuit singer-songwriter Willie Thrasher's Spirit Child album (originally issued by the CBC in 1981), along with the Grammy-nominated Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1984 compilation from 2014 has seen Willie's music reach a new global audience. The expanded awareness has lead to concerts all over Turtle Island for the veteran performer, who currently sings with his partner Linda Saddleback and is writing some the best songs of his life, like the soon to be released "The Sacred Fire Of Peace."

Producing these reissue projects and working directly with Willie has been such a gift and for that I give thanks. There have been so many incredible moments along the way, but hearing from various First Nations, Métis, and Inuit peoples about their experiences with these powerful songs, as well as from the artists themselves, has been the most meaningful, especially as a person of settler heritage. Willie's music, and that of his peers like the late great Willie Dunn and the Sikumiut band, were embraced and celebrated by Indigenous peoples across the land during their time of release and continue to hold a precious place for those lucky enough to have heard them. They have the potential to create community and change lives through positive connection.

One person who was blessed to be raised with Spirit Child from an early age was Inuk folk-pop singer and songwriter Elisapie Isaac from Salluit, Nunavik, who performs under the name Elisapie and is related to the Sugluk band's George Kakayuk (also featured on Native North America). It was so exciting to hear Elisapie speak of her interaction with Willie Thrasher's music growing up in a northern community and what it meant to her personally. Going one step beyond in her inspiration, Elisapie recorded two of Willie's songs for her most recent project. Generations, (northern) cultures, and eras of technology coming together. Today, Elisapie's interpretation of "Wolves Don't Live by the Rules" (Featuring Joe Grass) has been released into the world. If you're not in the loop, now is the time!!!

SUPPORT ELISAPIE!!!

SUPPORT WILLIE!!!

And don't forget to spread the word... PEACE

Native North America Gathering x CBC broadcast

The Native North America Gathering in Toronto this past August (the third there thus far and the largest to date) was an event that I will never forget and for many reasons. The most important was the selfless generosity of the trailblazing artists who travelled from communities near and far (the furthest being John Angaiak, who flew in all the way from Alaska), along w/ MC/host Brian Wright-McLeod (Encyclopedia of Native Music) to celebrate the here and now. I'd also like to shout out David McLeod (NCI) from Winnipeg who helped to bring Ernest Monias over to the Big Smoke from Cross Lake, MB, Steven Lambke who provided the necessary spark from Sackville, NB, and Matt Sullivan, co-owner and founder of Light in the Attic Records. Rich Taylor (Gladeye) secured Trinity-St. Paul's, set up the ticket sales, coordinated a catered meal before hand w/ NishDish, organized the live sound, rustled merch table workers and door people, and managed the stage. Jarrett Martineau of RPM Records helped raise awareness via his various channels and offered a speech to set up the CBC broadcast recording. Rhek designed the amazing poster while Jenna Rogers helped to get the t-shirts for the artists made. Troublelight films were on hand to document the proceedings. A BIG thanks to everyone (and I mean, everyone) involved!

For me, this grassroots gathering was a great learning experience. I was humbled to see so many supportive faces in the audience, friends, family, and people that I hold dear, and to meet some of the artists like Ernest, Lawrence Martin, and Leland Bell for the first time (and for the artists to reconnect or meet each other as well). To hear those assembled respond with standing ovations after each set warmed my heart as I scurried around the venue, knowing that these important voices, like that of Lloyd and Vern Cheechoo, were being heard loud and clear. After the concert ended, I received an embrace by the family of the late, great, Willie Dunn whom we had paid tribute to earlier in the evening (along w/ Morley Loon and those who could not be w/ us) with a screening of his crucial The Ballad of Crowfoot, a NFB production from 1968. "You did a good job," they said, and I was humbled yet again. Afterwards, we took it to the streets and the music of Willy Mitchell, Willie Thrasher and Linda Saddleback, Leland Bell, and Eric Landry played on well into the night...

After the dust had settled, I delivered a large silk-screened poster to Duke Redbird on the subway, his face still gazing out from every nook and cranny of the city, alongside Jarrett Martineau, on the cover of NOW. After one more "Bye for now,"  I took a nostalgic walk down Yonge Street from Bloor and thought of how to reconcile my dreams and realities against the continual oppression of the corporatized music and marketing machine (I left those parts of the story out ; ). Answer? You don't. You simply play it how you see/hear and feel it, and to the great energy who truly knows, it shows. And that's all that matters! PEACE

For those who were there and to those unable to attend, CBC's Canada Live program is broadcasting portions of the August 8, 2017, Native North America Gathering this Friday, January 26th, at 2 pm on CBC Radio 1 and on Monday, January 29th at 7 pm on CBC Radio 2/CBC Music.

*The NNA Gathering Guardian review by Rebecca Bengal can be read here...

**The next Native North America Gathering is on February 9th as part of the MEGAPHONO festival in Ottawa. Link here...

NOW Magazine (Native North America Gathering)

So humbled to see my friend Elder Dr. Duke Redbird and the host of CBC's Reclaimed, Jarrett Martineau, on the cover of NOW Magazine Toronto in a feature on Indigenous creative expression and the upcoming Native North America Gathering on Tuesday, August 8th at Trinity St.-Paul's. Tickets still available at Soundscapes, Rotate This, and via Ticketfly. PEACE

Native North America Gathering 08-08-17

It's one week away from the most important day of my life... On August 8, 2017, twelve artists featured on the Grammy-nominated Native North America (Vol. 1) compilation will take to the stage at Trinity-St. Paul's in downtown Toronto for an evening of music, film, storytelling, poetry, and art. It's a celebration of Indigenous culture and one that will bridge generations, eras of technology, and connect people of different backgrounds from around the world. I am excited to report that CBC Music will be recording and broadcasting this event, but this is no substitute for those in the region or with the desire to travel. You will not be disappointed. The feeling in the room will be electric, undeniable, and full of emotion and positive energy. Do not miss this gathering!

We are honoured to have family members of the legendary Willie Dunn and Morley Loon in attendance and it is our duty to pay tribute to all of the trailblazing First Nations, Métis, and Inuit artists from the 1960s/70s/80s who played a key role in building the framework and creating potential for today's thriving Indigenous music scene. To provide further context and to share his encyclopedic knowledge of Native music, veteran broadcaster, writer, and educator Brian Wright-McLeod is our host and MC. The Native North America Gathering is a festival rolled into one very special evening, a truly grassroots affair with no corporate sponsorship or direct government grants, made possible through the efforts of the many selfless artists and families involved, Voluntary In Nature, Gladeye, Revolutions Per Minute (RPM.fm), and (most importantly) YOU! We are all very excited to meet friends old and new! Please help us to make it known!

PEACE

Native North America Gathering

Featuring live performances from...

Duke Redbird
Willie Thrasher and Linda Saddleback
Willy Mitchell
Shingoose
Lawrence Martin with Vern Cheechoo
Lloyd Cheechoo
Eric Landry
Leland Bell
Brian Davey
John Angaiak
Ernest Monias

Film:
The Ballad of Crowfoot (Willie Dunn)

Host/MC:
Brian Wright-McLeod

Tuesday, August 8, 2017
Trinity-St. Paul's
427 Bloor Street West, Toronto
Doors: 7pm, show 8 pm

Tickets available at Soundscapes, Rotate This or via Ticketfly

Native North America Gathering 08/08/17 (Toronto)

Featuring live performances from...

Duke Redbird

Willie Thrasher and Linda Saddleback

Willy Mitchell

Shingoose

Lawrence Martin with Vern Cheechoo

Lloyd Cheechoo

Eric Landry

Leland Bell

Brian Davey

John Angaiak

Alexis Utatnaq

With MC: 

Brian Wright-McLeod (The Encyclopedia of Native Music)

And film:

The Ballad of Crowfoot (Willie Dunn, NFB, 1968)

Date:

August 8, 2017

Time:

Doors 7 pm / Show 8 pm

Location:

Trinity-St. Paul’s (427 Bloor Street West, Toronto)

Tickets available at the following link http://www.ticketfly.com/event/1508435

We respectfully acknowledge that this event will take place on the traditional territory of the Wendat, Haudenosaunee, Anishinabek, and the Mississaugas of the New Credit First Nation

Presented by Gladeye, Voluntary In Nature, and Revolutions Per Minute (RPM.fm)

In second half of the 20th century, Indigenous musicians from across North America made their voices heard like never before. Inspired, informed, and contributing to the global explosion of youth culture, they combined words, poetry, art, film, and music to reflect a wide range of Native issues and experience: the balance and transition of traditional and modern life, language preservation, views on the land, family, love, spirituality, and the effects of colonialism. The disturbing events that unfolded at Wounded Knee in 1973 was one unfortunate catalyst for awareness, identity, protest, and change, but there was a new soundtrack coming from within the Indigenous communities during this era, provided by talented singer-songwriters like Buffy Sainte-Marie, Floyd Red Crow Westerman, Alanis Obomsawin, Willie Dunn, and their peers. These artists didn’t mince their words. They made their voices heard loud and clear: We are Native! We are Proud! These are our truths! The time is now! Their inspiration was monumental to those both inside and outside of the various Indigenous communities of Turtle Island.

Still, without industry or mass media support to help transmit these messages, a determined artist had to work extremely hard to have their songs recorded to tape. Fewer would have their recordings pressed to vinyl and distributed. Either self-released or with the assistance of an established label, cultural organization, or national broadcaster like the CBC, a number of long playing albums and seven inch singles did hit the marketplace. They were mostly sold off of the stage at gigs, in convenience stores or at Native friendship centers, and occasionally at the odd mom and pop record shop. Whether the artists were aware at the time, their music began to travel. Over the years, they provided an essential document of this decisive era to listeners lucky enough to hear them and laid the groundwork for today’s vital Indigenous music scene. Though initially marginalized through mainstream exclusion, regional focus, geographic isolation, racism, and music industry short-sightedness, these artists are now being heard by an expanded global audience in 2017.

Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 is a Grammy nominated 3-LP/2-CD/digital compilation of thirty-four landmark Indigenous recordings. Accompanied by an extensive liner notes book featuring biographies, archival images, and lyric transcriptions and translations, the collection was released by Seattle/Los Angeles-based Light in the Attic Records in November of 2014 after five years of production by music historian Kevin Howes (Voluntary In Nature). On Tuesday, August 8th, 2017, many of the box set’s veteran singers, songwriters, poets, musicians, and storytellers will gather from across Turtle Island for a once-in-a-lifetime concert celebration in cooperation with Gladeye, VIN, and RPM. Please help us to honour these legendary creators whose messages of love, awareness, and community have forever changed the musical landscape. Let’s continue to make it known!

Native North America Prime Minister reply and recognition

Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 was released by Seattle/Los Angeles-based Light In The Attic Records in late 2014 to much love around the world. Critically acclaimed, the compilation also garnered a 2016 Grammy nomination in the "Best Historical Recording" category. Most importantly, NNA V1 helped to share some of the most life-changing music and stories that you'll ever experience.

As I've stated many times before, it's been a massive honour to make connections with so many of my musical heroes during this journey and I hope that there are more ahead. Despite the project's success, there has also been struggle. Aiming high and pushing forward without a booking agent, official manager or slick PR campaign has posed its challenges in terms of inclusion or sustainability in the face of ever-increasing costs of living for artists, creators, producers, and technicians. We are clearly not alone in those regards. Life continues.

It should be known that NNA V1 has been a true labour of love for everyone involved. The multi-media events that have happened in its strong wake from coast-to-coast have been made possible and memorable by some very supportive and encouraging people and I'd like to thank you all very much. To Elder Dr. Duke Redbird, Willie Thrasher (and Linda Saddleback), Gordon Dick Sr., Shingoose, Eric Landry, John Angaiak, Willy Mitchell and the rest of the featured artists, I bow my head to you, your families, and communities. I will never forget the warm, open-minded, and diverse audiences that we've encountered. Here's to more gatherings ahead (think August)!

Outside of political ideology or perspective, it was very important for me to ensure that Canada's current Prime Minister, The Right Honourable Justin Trudeau, was fully aware about this trailblazing Indigenous history, still rocking and rolling in 2017. I sincerely appreciate his reply and personal recognition of this time sensitive project as well as my longtime work in sound heritage. Thank you!

During our current era of reconciliation, music is an extra special connector, teacher, and healer. My job as a Canadian music historian, producer, DJ, and writer is to help recognize, share, and celebrate the breadth of talent that exists here in this country and beyond, regardless of its commercial success, never a gauge for quality, substance or soul, corporate algorithms be damned!

As we know, music, feeling, culture, and true love transcends any border or sales chart. To reflect this understanding and passion, I am currently working hard at preparing the first set of archival music releases on the Voluntary In Nature label and look forward to sharing them with you in the not too distant future...

Ok, that's my speech for today. Am I starting to sound like a politician?

PEACE,
Kevin Howes (aka Sipreano)
VIN

The Spell of the Yukon

Words by Kevin Howes (aka Sipreano)

Photography by Amanda Leigh Smith

February 2-8, 2017

On one’s first trip to the Yukon, there are many special details that can make you fall under its spell. During Winter, it’s the crisp, clear, cold, snap, and crackle of air, snow, and ice, a brisk contrast to the open-armed warmth of its people: Indigenous, settler, immigrant, or passerby. There is also the active city life of Whitehorse (Ta’an Kwäch’än and Kwanlin Dün territories) as well as quiet, winding, rural routes which took us to the traditional lands of the Tr'ondëk Hwëch'in (later known as Dawson City) with veteran Inuvialuit singer-songwriter Willie Thrasher and his singing partner Linda Saddleback.  Dubbed “The Spirit of Skookum Jim” tour by Willie in honour of a trailblazing Tagish First Nation packer and prospector, Willie and Linda shared their musical gift along with storytelling, film, and archival presentations from the Grammy-nominated Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 compilation. Once again, we were blessed to travel with photographer Amanda Leigh Smith, on hand to help document the proceedings (*see/hear more from this trip at Amanda's blog). Each of us felt extremely honoured to experience a glimpse into the Yukon’s eclectic reality.

After getting acclimatized in Whitehorse, we had a variety of pre-scheduled media links to attend to. It was exciting to participate in a series interviews at the CBC, Canada’s national broadcaster, including a memorable segment translated into Inuktitut by journalist Dodie Lennie for northern transmission. There was also an old school "drive home" show hype up at CHON FM (Northern Native Broadcasting Yukon) squeezed in between a double-shot of tunes by 1970s/80s rock icons Styx. We were on hand to represent and promote Native North America: A Night of Music, Storytelling, and Film at the Yukon Beringia Interpretive Centre and the annual Skookum Jim Friendship Centre Folklore Show. At the CBC, we were also given the opportunity to dig through the remains of their once extensive vinyl library, a glimpse into the musical past. Fueled by a hearty meal at a busy Chinese restaurant, we were almost ready for our evening at the Beringia, a museum and theatre not far from the downtown core. The audience assembled there was diverse in age and background, which was very nice to see. As with most Native North America related events, we began with a screening of Willie Dunn’s 1968 National Film Board (NFB) short, The Ballad of Crowfoot, essential viewing for anyone who wants to know the truth about colonization from an Indigenous perspective.

Crowfoot was followed by a recent work from 2016, The Recording of Willie Thrasher, a 30-minute biographical documentary on Willie by director Adam O. Thomas and producer Am Johal via Simon Fraser University’s Vancity Office of Community Engagement. Still, the main attraction was yet to come, a live performance from Willie and Linda that featured even more stories and songs. Culminating in a lively call-and-response chant from all in attendance, the energy was flowing from everywhere in the room. In the theatre lobby, Willie and Linda connected with friends old and new and signed autographs on albums and t-shirts. 

The next morning, we were able to catch the start of the legendary annual Yukon Quest, a 1,000-mile dog sled race which brought hundreds of people from around the world to Whitehorse. Willie and Linda took plenty of pictures for their friends and family back home. After a quick bite to eat we were ready to head over to the Yukon Arts Centre for the evening’s gathering. The annual Folklore variety show has been going on since 1973, a celebration of First Nations talent, both locally and beyond. The evening, hosted by Grandma Susie (Sharon Shorty) and Cache Creek Charlie (Duane Ghastant’ Aucoin), was comprised of a fashion show, Keish Elder and youth recognition awards, Dené hand games, and live music from Kiera-Dawn Kolson, Ed Peekeekoot, the Women of Wisdom Drummers, and a finale from Willie and Linda. The stage was decorated with a vintage t-shirt teepee made by designer Nic Netro-Hendrie, an impressive backdrop to the action. As an outsider, I was tremendously humbled to take a supportive part in this special event and it was great to connect with residential school survivor Larry Smarch who told me about his powerful story of activism and awareness raising. Early to arrive, our crew was the last to leave. On the road and feeling alive, we were already thinking about our next event.

In the morning, we picked up a rental car, some food, and hit the Klondike Highway to Dawson City, a seven-hour adventure through the breadth of nature’s beauty. There were mountains, hills, lakes, and rivers to the left and to the right for as far as the eye could see. The Winter roads were open and drivable, but we had to proceed with caution through the snow, ice, and bright sun. Stopping for gas in the village of Carmacks we joked about finding Willie’s missing finger, which he lost nearby, fighting fires in the early 1970s. After another scenic stop in Pelly Crossing, we made it to Dawson and checked in at the historical Downtown Hotel. For those who haven’t been lucky enough to visit, Dawson City is a heritage town that has preserved elements of its Gold Rush history, a time warp indeed. A regional Indigenous presence and perspective both past and present can be felt at the Dänojà Zho Cultural Centre. The Centre sits next to the Yukon River, south of the adjacent Moosehide community, and would be home for our next two gatherings.

On our first evening, we hosted a screening of The Recording of Willie Thrasher followed by a question and answer with Willie, Linda, and myself. It was great to connect with the locals, share our experiences in music, and learn a bit more about the Tr'ondëk Hwëch'in (that translates into English as “People of the River”) First Nation. The next morning, we returned to Dänojà Zho and presented a workshop for Robert Service School’s Secondary students. We started with The Ballad of Crowfoot, which rolled into an amazing storytelling session from Willie about a young Inuvialuit hunter trying to feed his family. With a handful of aspiring musicians in the room, a short set of songs by Willie and Linda rounded out the morning. Once again, this ended in chanting and clapping from all in attendance. We later connected with teacher Peter Menzies at the one room CFYT radio station, a terrific resource and outlet for the area.

Next, we walked over to the Art & Margaret Fry Recreation Centre concession for a lovely lunch. With fresh juices and home-cooked food on the rotating menu, it was a far cry from standard deep fried hockey rink fare and just what we needed. Despite the frigid weather, we cherished the afternoon off to explore the city and take photographs of the land, buildings, and even a crew of horses discovered on the edge of town. The evening’s concert was hosted at the Klondike Institute of Arts and Culture (KIAC) and once again it was incredible to see people responding to Willie and Linda’s music and stories from the road. One gentleman even brought an original copy of Spirit Child to sign, an album gifted to his sister by Willie in Northern Ontario back in the day. It was mind blowing to witness this heartwarming example of how music, feeling, and positive energy can travel throughout the years. It felt good, but a little sad to think that our short Yukon tour was now over.

We headed over to the Westminster Tavern and Lounge for a celebratory drink and disco dance at the Pit, which was filmed by Willie on his phone to much laughter. It was also cool to see some photos of Willie Gordon at the bar, a celebrated local musician and old friend of Thrasher's from Aklavik who passed away in 2012. Stepping out into the cold, clean air, we cast our gaze to the sky in search of the magical Aurora Borealis, but to no avail. Hidden on previous trips with Willie and Linda across the Northwest Territories, the elusive lights had escaped us on yet another northern journey. We will clearly have to return.

Love and much appreciation to the Skookum Jim Friendship Centre and the Klondike Institute of Arts and Culture for making these Native North America events possible. And to all of the inspiring people that we met along the way... Thanks for the support!

More information can be found at http://lightintheattic.net/releases/1332-native-north-america-vol-1-aboriginal-folk-rock-and-country-1966-1985

PEACE