by Emeline Vidal
Hosted by: Emeline Vidal
Stories by: Emeline Vidal, Julian McKenzie, Catlin Spencer
Produced by: Emeline Vidal
I'm the Metal Director at CJLO, so you might be asking what I'd be doing reviewing a Counting Crows show. Well, long story short, my friend asked the Magazine Editor if they could get tickets, and they ended up not being able to go, so I had to take the tickets from him. It really doesn't matter who this friend was—we'll call him "A. Wieler"... wait, no, let me try again... "Andrew W"—suffice it to say that it wasn't me who asked for these tickets, because that would be lame, and as Metal Director I couldn't very well ask for tickets to go see a '90s radio-friendly close to adult contemporary band like the Counting Crows, even if their first album, August and Everything After, was great. Even if two albums later, for This Desert Life, they made another fantastic record, and even if the new album, Somewhere Under Wonderland, is pretty solid for the first half or so. So, to be incredibly clear, I did not intentionally ask for tickets to see this band mere days after it being announced.
Editor's Note: Andrew did in fact ask for tickets the week after this concert was announced.
So now that this bit of unpleasantness and clarification is out of the way, let's talk about this show, which again, I was forced to go to.
I arrived at the show at 8:15. The show was set to start at 8, so I thought I'd have ample time to walk up to the balcony at Metropolis and enjoy some good old fashioned sittin'. However, to my wonder and amazement the place was PACKED. Upstairs, downstairs, it didn't matter. There were people everywhere, which I couldn't fathom based on the fact that a) tickets to the show were 60 goddamn dollars, and b) this band was very popular in the '90s. It became clear that most of these people were probably going to their "one show a year" that I suppose everyone who used to see bands gets to at some point in their life based on the fact that no one really seemed clear as to how to act at a concert. For instance, you don't just shove your way through people like you're a bulldozer; you're supposed to use a bit of courtesy, whether it's to move slowly or, heaven forbid, politely ask someone to move.
Anyway... the first band, Twin Forks, are a folk band from Boca Raton, Florida. If you like Mumford and Sons, you would probably like this. What I didn't realize about this band was that the lead singer is Chris Carrabba from Dashboard Confessional. Of course, *scoff* I don't like that band either because all the music I like is totally legit and a guy with a guitar that sings about heartbreak is so totally not something I would listen to. My thoughts watching the band went in this order: "this is what The Gaslight Anthem would sound like if they lost they're balls," followed by, "Where are all the mason jars full of vegetables they decided to pickle to go along with the rest of their hipster lifestyle?" I guess looking back it makes sense (in the form of inoffensive folk that they make) that they'd look like they did, and musically they seemed to know how to handle their instruments, but ultimately it left a lot to be desired.
Also, the crowd, who again had no idea how to act, literally had hundreds of conversations over the band while they tried to play. They were basically a glorified bar band for their set, which they took amazingly in stride, and I respect them greatly for.
After that, the Counting Crows came on stage. Adam Duritz came out and started chewing one of five sticks of gum that he'd continually be chomping on through the whole show. They played the biggest hits, including "Mr. Jones", relatively early I might add, and "A Long December", as well as a huge amount off of the new album, Somewhere Under Wonderland. What I failed to realize is how hard Adam makes it to sing along to songs, you know, if you're not someone totally legit and cool like me who would never know all the words to "Mr. Jones" since that would be totally lame. He sings all of the songs differently than on the albums, which I guess to be fair, if you had to sing "A Long December" every tour date since it hit big in 1996, wouldn't you want to do something to make it somewhat interesting?
All in all, between seven band members, nine different instruments, and two hours of solid songs, the show was pretty good. I left feeling pretty happy that I had requested ticket... I mean that my friend couldn't go or whatever I previously said above. Anyway, if it comes by you, I can't tell you if it's 60 dollars good, but it's not not 60 dollars good either.
--Andrew Wieler's friend hosts Grade A Explosives, every Sunday at 4 PM on CJLO. You should tune in, because, let's face it, what else is there to do?
Tune in to Champions of the Local Scene on Wednesday, May 20th at 6 PM for a live in-studio session and interview with the Boy Friends! Hear brand new tracks and their new single "Finer Points". Stick around until the very end when we get Men & Volts on the line to talk about their album Tramps in Bloom.
Photo by: Lesya Nakoneczny instagram.com/lesyanak
Montreal has no shortage of festivals. There are so many in fact that some might not even land on your radar screen. Don't let that be the case with the upcoming Montreal Sketchfest! From May 21st to the 30th, Le Nouveau International is producing the 10th Anniversary of Montreal Sketchfest at Theatre St. Catherine (264 Sainte-Catherine E.) and the Montreal Improv Theatre (3697 Saint-Laurent). For those of you who are not familiar with sketch comedy, think Saturday Night Live or This Hour Has 22 Minutes – short vignettes of crazy characters, designed for maximum laughs in quick succession. Sketch comedy is always zany, high energy, and lots of fun!
A 10th Anniversary is kind of a big deal, and Le Nouveau International seems to have pulled out all the stops to bring Montreal a top-notch line up. This year the festival includes 60 local and out-of-town improv troupes from Toronto, Vancouver, New York, and Philadelphia, spread out over 10 days of laughter. Some highlights to look forward to include the award-winning, Toronto-based Falcon Powder, who count among their achievements a Canadian Comedy Award, as well as Best of the Fest in Toronto Sketchfest and LA Sketchfest. Also on the line-up, Peter n' Chris, a three-time Canadian Comedy Award winning sketch troupe from Vancouver BC who have contributed to The Irrelevant Show, CBC Punchline, and CollegeHumor, plus The Dead Dads Club from the highly-acclaimed UCB Theatre in New York.
This edition of Sketchfest will also include a special Women in Comedy Panel co-presented by Sketchfest, No More Radio, and Women In Comedy Montreal. The panel will be held at 3 p.m. May 23rd, and that evening of Sketchfest will be dedicated to ladies' sketch troupes. The panel will not only be featuring performers such as Chantale Renée, Kristen Bartlett, and Dawn Ford, but also comedy producers such as Sasha Manoli from The Brunch Club and Dave Sawyer, Associate Producer of the Boston Women in Comedy Festival.
All in all, there really promises to be something for everyone at Montreal Sketchfest, including a Franco show on Friday May 22nd. The festivities open on May 21st at Theatre St. Catherine with a dynamite line up hosted by Chris Sandiford and Daniel Carin, also known as Ladies & Gentlemen, and the winners of last year's Sketchfest. Opening night also features not one, but two CJLO hosts performing as a part of Sketchfest! Jacob Greco from Don't Mess This Up Jacob (Thursdays 1 p.m.) will be performing with the his troupe HOT RAW FIRE, and Sarah Stupar from Best of the West (Thursdays 2 p.m.) will be performing with the troupe Swamp Mouth. A festival pass is available for $50, good for unlimited sketch shows for 10 nights. Each night features a few separate blocks of sketch, and double feature tickets can be purchased at the door for $20, or $12 for individual shows.
The final night on the 30th will feature awards, and a Best of the Fest presentation. For tickets and more information visit http://montrealsketchfest.com!
by Emeline Vidal
Montreal will be seeing electric busses on it's streets next fall.
The B.C. government is under scrutiny after a report revealed that it failed to provide proper assistance to a distressed First Nations teenager.
According to CBC News, children’s rights advocate Mary Ellen Turpel-Lafond urged for accountability and reform for the well-being of aboriginal youth in downtown Vancouver.
A report shows that a blind teen known as “Paige” died due to a combination of extreme substance overdose and dangerous living conditions.
Despite reaching out for help, her case was underreported and was not given the proper care.
Turpel-Lafond says that Paige’s tragic death is one of more than one hundred similar cases on file.
The European Union is planning to launch a mission next month to destroy people-smuggling boats operating out of Libya.
According to BBC News, the plan is in response to the vast amount of illegal migrants crossing the Mediterranean Sea from Africa and the Middle East to reach Europe.
In addition to disrupting smuggling networks, the European Commission is also urging the EU to adopt quotas for housing migrants and to ease pressure on Italy, Greece and Malta.
This year alone, more than 1,800 migrants have died in the Mediterranean.
The Southern Tablelands region of Australia experienced some rather peculiar weather is month- as millions of baby spiders rained down from the sky.
According to NBC news, the phenomenon known as “spider rain” or “angel hair” is actually not all that uncommon.
Baby spiders naturally use wind currents to travel, using their spider silk as parachutes.
Unfortunately in this case, a change in wind currents caused the spiders to fall en-masse on the rural countryside.
Hosted by: Caitlin Spencer
Stories by: Caitlin Spencer, Saturn de Los Angeles
Produced by: Emeline Vidal
Disclaimer: The opinions expressed in this article are that of the author's and do not reflect the views of CJLO 1690AM, CJLO's editorial board, or our partners and affiliates.
By now some of you may be familiar with the FHRITP debacle unravelling in Toronto. This is a trend that began in the United States with some hoax videos involving bystanders screaming "F**k Her Right In The P***y" during 'live' broadcasts. Unfortunately for humanity this 'prank' caught on, and now some people apparently make it their life's mission to hunt down news cameras and scream the very same slogan during reports. It happened recently to Shauna Hunt, a CityNews reporter while she was interviewing soccer fans at a game in Toronto. Hunt decided to confront some men before they were able to pull the same stunt and the segment was later aired. Sadly, according to Hunt, many reporters deal with this on a daily basis. In the fallout from that segment, the men who were identifiable will be subject to a one year ban from games of the Toronto Football Club, the Toronto Maple Leafs and the Toronto Raptors, who are all owned by Maple Leafs Sports and Entertainment. One man, identified by was identified as Hydro One employee Shawn Simoes actually was fired from his job over the incident.
I had a variation of this happen to me about two months ago. I was participating as a panellist on a comedy panel show here in Montreal. The panel, made up of four comedians, debates certain issues and, hopefully, makes hilarious jokes about them. The last time I participated in the show, our first topic was the FHRITP phenomenon. We talked about it, made jokes, and generally dismissed all those who participated as morons. About 15 minutes later we had moved onto another subject and as I was doing my best to crack jokes about Austerity Measures, a man in the audience, probably in his late 40's, stood up and yelled "F**k her right in the ass!" Being far less cool than Shauna Hunt, my immediate reaction was to try and fight the guy. The man was shocked by my behaviour and actually backed down, saying "No, I wasn't talking about you!" I couldn't fist fight a man backing away with his hands in the air so I had to let it slide. After the show he came up to me and apologized, saying that he hadn't meant to offend me. It was a very surreal moment. I felt the man was genuine, and it was hard for me to understand how he really didn't think beforehand that what he was doing was offensive.
This sentiment is echoed by the men Ms. Hunt speaks to in the video. One of them keeps repeating that FHRITP is not about her, that they are not talking to her, or about her, and thus they have no comprehension of she would be angry. This is a problem. These individuals at this point cannot understand that regardless of their intentions, this act is demeaning and cruel to the reporter. Their reactions illustrate that we live in a society with over-arching power structures that condone and reproduce misogyny, but is targeting individuals the most effective was to combat this power imbalance? Should misogyny be a fireable offence?
Subjecting these men to a year long ban from all Maple Leaf sports is a justified response. Public naming and shaming is certainly deserved, and hopefully will lead to more open discussions about why this type of behaviour is not OK. Criminal mischief charges could be an effective tool to protect reporters from continued harassment. But a man losing his job? What purpose does this serve? He was acting as an individual, not on behalf of his company. It's not that I have sympathy for this man, I'm just concerned that such an action is worse, in the long run, for society. Instead of just dealing with a public naming and shaming (which is more likely lead to behavioural changes) this man will instead feel justified in increased hatred and aggression towards women due to what he undoubtedly believes is wrongful termination (the labour board will most likely agree, assuming there is not a stipulation in their contract about statements made outside of work environment or something similar). Combating misogyny in society is a serious task and it needs a serious plan of action. I'm not convinced that turning individuals into sacrificial lambs is the best one. Punishment is not a substitute for education. Fines and educational classes may have rehabilitated this man, instead we end up with an angry sexist on welfare. Problem solved?
--Sarah Stupar hosts Best Of The West every Wednesday at 9 AM, only on CJLO 1690AM. Follow Sarah on Twitter and Instagram @somegirl514.
Op-ed pieces on CJLO.com are not the opinion of CJLO 1690 AM, but only of the author.
The audience was immediately swept into a world of mystery. Was it a dream, or was it a strange, fantastical reality? Perhaps it was both?
Berlin artists Fons Schiedon, Philippe Lambert, and Benjamin Schreuder have devoted the past two years to this outstanding project, based on the desire to find ways of bringing classical and operatic music to younger generations. The project was based on the famous Mozart opera, The Magic Flute. The music is heavily inspired by the opera itself, and the story is an adaptation of the libretto written by Emanuel Schikaneder. The festival presented a short film/motion comic based on their interactive graphic novel.
For those who are unfamiliar with motion comics as an artistic medium, it is essentially short film presented in the form of a graphic novel. Comic strip panels are turned to animated scenes, often with music, voice acting, and other audio elements found in film. This particular work had no spoken word and the folly was seamlessly incorporated into the live, electro-acoustic accompaniment. The result was an immersive viewing masterpiece that put the viewer at the heart of innovative storytelling. One can only imagine how much more entrancing the full work must be.
In its short film form, the piece was wholly mesmeric. It began by washing the audience in ambient music that was kept alive buy subtle changes that helped tell the wordless story. When the scenes depicted water, the ambiance had the persistence of waves eternally kissing a shore. When the characters journeyed through a forest, the music was alive with the buzz of insects and wild grasses teeming with life. There was a great comfort to familiar sounds in an alien world.
Visually alluring, the transitions between scenes were slow and hypnotic. With moments of pure black, nothing but the entrancing ambient music was there to foreshadow the beauty that the audience was enveloped in. When the art reappeared, it granted its audience abundant time to absorb every detail and mesmerizing movement. Each gesture on every panel ebbed and flowed with the musical backdrop as the story unfolded. The simplicity was powerful.
The characters and scenes were crafted with their own musical layers and themes. As images overlapped and played with one another in a firework of calculated chaos, their accompanying themes would imbricate and tessellate, sending chills through the audience, herding us to teeter on the edge of tears.
Journeys this compelling are rare. Do not miss the chance to embark on this profound, emotional odyssey, available at The Land of the Magic Flute - The Motion Graphic Novel.