Hosted by: Ellen Smallwood
Stories by: Pauline Nesbitt, Alexa Everett, Patricia Petit Laing
Prodiced by Emeline Vidal
by Pauline Nesbitt
The City of Montreal announced a new city wide snow removal policy that guarantees that the same service will be delivered in all boroughs, on Thursday.
According to CBC News, Montreal will order the start of snow clearing operations after ten centimetres of accumulation and gives the boroughs 36 hours to clear all main arteries.
Anie Samson, the city’s executive committee member responsible for snow removal operations, said boroughs that do not comply with this ruling will face budget cuts.
In addition, improvements in its Info-Neige and Vélo 4 Saisons applications were announced.
Municipal governments are scrambling for money to accommodate the housing needs of incoming refugees.
Republican presidential candidate Donald Trump has been offered sensitivity training after mocking a disabled reporter.
According to the Globe and Mail, Trump mocked a congenital condition affecting reporter Serge Kovaleski’s mobility.
The presidential candidate also claimed that Kovaleski had once reported that thousands of Muslims were celebrating the 9-11 attacks in New Jersey.
However, Kovaleski had originally written in 2001 that there were “a number of people who were allegedly seen celebrating the attacks.”
Trump stated that he did not remember his previous statements regarding the attacks.
Coming up today on Dirty Work, we will chat with L.A Foster at 5pm! L.A. Foster will launch her debut EP "SAUDADE" this Saturday at The Emerald / bar sans nom (5295 Parc)- with special friends John Shape (Beaver Sheppard), dancer Sabine Lawless, and Toronto's Scott Hardware (fka KEN PARK). This show is an L.A. Foster / Beaver Sheppard/ Pop Montreal co-presentation! Admission is $10 which includes a pending postcard, coming soon to your inbox with a digital download code for the new EP!
This night will double as L.A Foster's Goodbye Montreal party: "In my ten years here, I have partied, loved, lost, studied, worked, failed and ultimately succeeded, all that leading me to create L.A. FOSTER. It's now time for me to move on and in hopes of returning and showing the city how I've grown from all the real love and wisdom it's imparted on me." -L.A. Foster
Tune into hear from L.A Foster herself and to hear some tracks from her EP "SAUDADE", all going down today at 5pm! Dirty Work kicks off at 4pm and is your weekly destination for great tunes and entertainment, featuring brand new and classic jams! Blogger Paul Lafond from A Good Day For Airplay will join in studio, and keep the party going for Hooked on Sonics- 4-8pm friends!
By Saturn De Los Angeles
Ubisoft is launching a program to encourage young people to stay in school.
According to the Montreal Gazette, the widely acclaimed video game maker known for series such as Assassins Creed will be spending 8 million dollars over five years to spark interest in learning technology and video game development.
The plan includes pairing at-risk youth with game developers, launching internships, working with non-profit organizations, and encouraging competition among gaming labs.
The plan is also intended to help fix Quebec's high school drop out rate, which is currently around 15 per cent.
According to CTV News, Manitoba has had the highest homicide rate for 8 consecutive years, while Thunder Bay, Ont. is considered Canada's "murder capital".
Though they only comprise 5 per cent of the population, Aboriginals made up one-quarter of homicide victims in 2014, and were found to be 6 to 7 times more likely to be victims of violence than non-aboriginal people.
This is the first time Statistics Canada has reported all Aboriginal identity data.
Hosted by: Catlin Spencer
Stories by: Saturn De Los Angeles, Emeline Vidal & Julia Bryant
Produced by: Julia Bryant
-3 DAYS LEFT to apply-
We are currently looking for WORLD MUSIC Artists!
Under the guidance of our CJLO team, you and your band will have the opportunity to record and produce an EP in CJLO's studio / host a radio special, and organize / promote a show. The residency will also offer various workshops related to the fundamentals of "behind-the-scenes" within the music industry, such as PR, Management and Touring, to name a few.
World Music? Music influenced by beats & roots from Africa, Asia, the Caribbean, Europe, Central/South America and First Nations.
Residency Schedule: 3-month band in-residency programs!
Recording Time: Must be available between 7-17 Dec & 6-16 Jan
Mixing and Mastering Time: 16 Jan - 16 Feb
Workshops: Jan, Feb. Date TBA.
Show Launch : Early to Mid March 2016
-Letter of Intent
-200 words Bio
-Demo or Releases / Live Video / Audio (SoundCloud, YouTube, Bandcamp)
-Photos or Posters
If you have any further questions feel free to contact: email@example.com. You will find the application forms and more information about the details of our residency below.
All this is possible thanks to the generosity of the Community Radio Fund of Canada's Radiometres grant!
Application Deadline: November 27th at 11:59pm
-Il ne reste que 3 JOURS pour postuler-
Nous somme présentement à la recherche d'Artistes des Musiques du Monde!
Durant l'année 2015/2016, CJLO accueillera dans le cadre d'un nouveau programme de résidences d'artistes, une multitude d'artistes de styles musicaux différents. Ces résidences sont un tremplin vers de nouvelles possibilités d'enregistrements et mentorats pour ceux qui seront sélectionnés.
Grâce à la générosité des Fonds canadien de la radio communautaire, CJLO 1690 à la possibilité d'enregistrer et de produire un Ep, et d'offire un service de duplication et pressage (100 CDs). Le tout sera envoyé à plusieurs stations de radio collégiales à travers le Canada. Le programme comprendra également divers ateliers traitant de l'importance des communications, des relations publiques, et de la gestion dans l'industrie de la musique. Finalement, chaque résidences se conclura avec un lancement officiel.
Musiques du Monde? Musique influencée par des sonorités venant de l'Afrique, de l'Asie, des Caraïbes, d'Europe, d'Amérique Centrale et du Sud et des Premières Nations.
Votre portfolio doit contenir
- Une lettre d'intention
- Bio (200 mots)
- Formulaires CJLO (enligne)
- Video / Audio / Demo (SoundCloud, YouTube, Bandcamp)
- Photos ou Posters
Si vous avez d'autres questions hésitez pas à contacter: firstname.lastname@example.org
Vous trouverez les formulaires et lignes directrices de notre programe ci-dessous.
Date limite: 27 novembre 2015 à 11:59pm
*Interested candidates should send all the required documents to onrotation (at) cjlo (dot) com.*
By Saturn De Los Angeles
According to CBC News, the 1700-page report confirms that organized crime has long been infiltrating the industry, and it is backed by testimony from almost 300 witnesses.
With over 60 recommendations that include protection for whistle-blowers, penalties for firms who break the law, and the creation of a neutral entity to oversee public contracts; Commissioner France Charbonneau points out that immediate action must be done to maintain the morality of the industry, or else it will suffer in the long term.
In response, Quebec Premier Philippe Couillard says his government will carefully study the recommendations.
He added that the construction problem goes way beyond his own political party, and that he will continue to fight corruption.
According to CTV News, the Liberals expect 10,00 refugees to arrive by December 31st and an additional 15,000 through January and February.
Immigration and Refugees Minister John McCallum says the delay is due to the time it takes to preform proper screening procedures- something many Canadians across the country have been asking for.
McCullum says the government will also encourage private sponsorship for at least 10,000 more refugees later in 2016.
According to BBC, the flaw could allow attackers access to personal data such as user names, passwords and bank details.
As of Tuesday Dell says it pushed a software update to check for the software and remove it, adding that the flawed certificate will be removed from future systems.
The company says the certificate was originally implemented as part of a support tool intended to make it faster and easier for customers to service their system.
November 21, 2015: I arrived at the Fairmount Theatre about thirty minutes before the show by bike. The trip was a lengthy one, and my ears were sore from the cold bike ride. I decided to kill some time and warm up a bit by dipping into the neighbouring grocery store in search of something to warm the blood. After buying some cheap gross box wine, I was lucky enough to find a nice little enclave between two adjoining apartment buildings close-by where I could down the stuff while listening to some of my favourite RJD2 tracks. I've been a fan of the man who started as an associated act of DJ Shadow for a long time, and he has since become a renowned DJ and producer the world over. Releasing nine studio albums, RJD2 is a force in underground hip hop, collaborating with many notable figures—including cats like MF Doom, Slug, and Aesop Rock—over a career that has spanned over two decades. The dude's made some good shit.
The event began at 10:00 PM with Montreal DJs Khalil and Don Mescal performing impressive sets before and after RJD2 took the stage. The openers brought with them an eclectic mix of hip hop-style sounds that complemented RJD2's very well, and set a good mood for the headliner when he took the stage. The venue was pretty tight too. The Fairmount is essentially a sprawling lounge that orbits around a medium-sized stage that backs onto a large projection screen and a light/video show to match.
The packed crowd was a mix of older and younger, with the former perhaps slightly outnumbering the latter. At any rate, the mood seemed one of loose inhibition. The drinks were flowing like the Nile, and those present appeared under the possession of miscellaneous forces, including the sonic elixir of pulse-setting sounds coming from the stage.
RJD2 made his way to the stage sometime between 12:30 and 1:00 AM and was greeted by a pulsating cheer from the excited crowd who were whipped into a dancing frenzy by the opening acts. I positioned myself to the side of the stage where I could really get a good look at the artist while he did his thing; and that thing was done with the use of three turntables, a stack of vinyl, an MPC, and a Maschine.
RJD2 kept the crowd moving through the entire set, while he himself seemed locked in a state of motion; going back and forth, almost frantically, between the MPC, turntables, and Maschine. Special cheers rose from the crowd when he performed classic hits like "Smoke and Mirrors" and "Ghostwriter".
Indeed the crowd was spellbound, and a circle of younger women formed around the platform trying to grasp the attention of the mix master, while around them grouped a semi-circle of creepy-looking men equally trying to grasp the attention of the women. Hedonism seemed to be the order of the night.
The set finished rather abruptly without much of an encore, but to the pleasure of the crowd the two DJs who opened the event took the stage once again and picked up where RJD2 left off. A cool Bruce Lee video montage appeared on the large screen behind the stage, which pleased me greatly, as I adore the late Kung Fu sage. Yeah, all and all it was a good show and I enjoyed himself.
by Pauline Nesbitt
Montreal’s Inspector-General issued a report on Monday confirming that corruption and collusion exists in the city's snow-clearing business.
According to the Montreal Gazette, Denis Gallant investigated the contracts awarded between 2002 and 2015 after the auditor general raised the alarm two years ago over price-fixing and elevated costs in the industry.
Gallant reports some contractors would not bid in sectors belonging to others due to fears of being attacked and possibly losing their own sectors in retaliation.
Belgian police have asked residents to not tweet about any police action they see in the streets while the city remains in lockdown.
According to the CBC, Belgians have tweeted photos and GIFs of cats sleeping, drinking beer, and being trapped in containers, as well as photoshopped in hats, cats as hovercrafts and Darth Vader, and as gunmen and bombers.
Some photos even reference Belgium surrealism, a cultural movement that has been in Belgium since the 1920s.
Hosted by Catlin Spencer
Stories by Pauline Nesbitt, Catlin Spencer and Julian McKenzie
Produced by Catlin Spencer and Pauline Nesbitt
Oh Glenn, why do you make it so hard to be fan?
I’m a massive Misfits fan; in fact they are my favourite band of all time. So much so that for the first few years of my radio show, I’d play a “Mandatory Misfits of the Week”. It was 1989 when I first heard a Misfits song, Metallica’s cover of “Last Caress/Green Hell”. It was “Last Caress” that made the impression, I mean, how could you not love that catchy little ditty about killing babies and raping mothers? I quickly bought any Misfits I could get my hands on, and at the time that meant buying ‘Collection’, ‘Legacy of Brutality’ and ‘Walk Among Us’, the only albums that were readily available. Part of the mystique of the Misfits at the time was not knowing anything about them; just the music, cover artwork and a few blurry photos includes in the liner notes. I just wish that mystique had remained as-is. With the explosion of the internet in early late 90s, and early web sites like Misfits Central, everything you wanted to know about the Misfits was immediately available, warts and all.
The Misfits broke up in 1983 and lead singer Glenn Danzig formed Samhain, who I like but never could get into as much as I did with the Misifts. Samhain morphed into Danzig in 1987, playing much more blues-based metal than his previous bands. Danzig reached the pinnacle of their popularity in 1993 when a live version of the song “Mother” became an unlikely hit. It was around this time that I first saw Danzig for the first time, playing at the Spectrum (R.I.P). The show was good, but it was not a sellout which prompted Danzig to skip Montreal for quite a few years.
Meanwhile, the popularity of The Misfits kept growing and after years of legal battles, brothers Jerry Only (bass) and Doyle (Guitar) settled their legal battle with Danzig over royalties and started playing and recording again as the Misfits with a new singer. I saw this version of the Misfits a few times over the years, each time being less fun than the previous time. While I can’t fault anyone for trying to make a living, they were somewhat killing the legacy of the Misfits in my mind.
Meanwhile, public perception of Danzig has not been overly positive for the last decade as videos of him being knocked out backstage with a single punch or stories of backstage surliness over lack of soup have somewhat tarnished his reputation. Last I heard, there was now a new lawsuit between Jerry Only and Danzig over Misfits merchandising deals that Jerry was making without Glenn’s knowledge. What I’m getting at with this long introduction is that I miss the days when I could unabashedly love the Misfits without knowing anything about the members.
The last time I saw Danzig was two years ago in New York at the now defunct Roseland Ballroom, and I figured I was done seeing Danzig. Doyle joined him for a memorable short set of Misfits songs, and I was happy with that as it was the closest I'd ever get to a Misfits reunion. So what brought me back? Prong.
I've been a Prong fan since 1990s "Beg to Differ" when I heard the title track on the CKUT show 'Cups and Cakes'. I tried to see them that year at Foufounes Electrique with opener Pantera (who had just put out "Cowboys From Hell") but was refused entry for being underage. Finally got to see them opening for White Zombie a few years later when they were touring the album “Cleansing”, which was great, but I’d never had a chance to see them headline a show. Finally though, Prong were scheduled to headline a show at Foufounes in November. However, my hopes were dashed when that show was cancelled and Prong were added to the Danzig ‘Blackest Of The Black’ Tour. Regardless, the chance to see Prong again was enough to draw me back to see Danzig again.
I arrived at the Metropolis just in time to catch Prong (missing the 1st band Witch Mountain). The crowd was sparse, especially in front of the stage, and the balcony was closed so this far from being a sellout show. Prong started with awkwardly arranged version of “Beg To Differ” that just didn’t have the same zip as the original version. They then played “Unconditional”, a new song called “Ultimate Authority”, “Doomsday” (Discharge cover), “Whose Fist is this Anyway?” and finally “Snap Your Fingers, Snap Your Neck”. That was it… six songs. Stage banter primarily consisted of the members of band trying to get the crowd in the back of the club to move towards the stage, and then them complaining about the lack of response from the crowd. Guitarist and lead singer Tommy victor tried his best to get the crowd going, but it just wasn't happening. A tiny mosh pit started for the Discharge cover, but it was only 3-4 people, and it just made the crowd in front of the stage disperse more.
Ideally they should have been later in the bill, but with Tommy Victor performing double duty as the guitarist for Danzig, I assume this was done for logistical reasons. After seeing this short set and the muted crowd response, my fear was that Prong would not likely come back to Montreal, but happily a headlining show at Foufounes was recently announced for May 2016 in support of a new album.
By the time Chicago deathcore band Veil of Maya came on, the crowd had started to get bigger. Not really my type of metal, but I was impressed with lead singer Lukas Magyar and his ability to switch between from clean vocals, hardcore squeals and death metal growls.
Phil Anselmo's newly resuscitated Superjoint were up next and were pretty damn entertaining. Formerly known as Superjoint Ritual (name changed for legal reasons), this was their first appearance in Montreal since forming in the early 90s. I had never heard Superjoint Ritual so I wasn’t quite sure what to expect, but was pleasantly surprised by their effective mix of sludge metal and hardcore. I’d also never seen Phil Anselmo sing live, but I’d read stories of his surliness (including one well documented incident that occurred in Montreal in 1995. However, on this night, he was a great front man with great audience rapport (although I’m not quite sure why a crowd in Montreal would take part in a “Texas!” chant, but I digress). When the set was done, he lingered for quite a while to interact with the crowd.
Finally, with “Overture of the Rebel Angels” from his classical album “Black Aria” playing in the background, it was time for Danzig. Glenn walked on stage, threw up the horns, and kicked into “Skincarver”, and any regrets I had melted away. Regardless of my misgivings, I still get a kick seeing Danzig, the lead singer of my favourite band of all time, perform live.
The band proceeded with a solid set of songs from throughout their discography, with the exception of the 2 industrial-tinged albums “Blackacidevil” and “Satan’s Child”, the low-water mark of the Danzig discography. For me though, the highlight were the three cover songs from the upcoming “Skeletons” album: Elvis Presley’s “Let Yourself Go”, David Allan & The Arrows’s “Devil’s Angels” and Black Sabbath’s “N.I.B.”. Of the three, I was most impressed with “Devil’s Angels”, but that was because it was the most punk-tinged song. This is not surprising since it was arranged by Danzig in the late 70s while he was in the Misfits.
The current lineup for the band is probably the best they’ve had since the original lineup from the first 4 albums. Tommy Victor (Prong) on guitar, Johnny Kelly (Type O Negative) on Drums and Steve Zing (Samhain) on Bass.
About halfway through the set something happened that I’ve never seen before. I looked over to my right and there was a guy in a wheelchair crowdsurfing! I wasn’t the only one amazed by this as the members of the band started motioning to it and started laughing. When the song ended, Danzig commented on it and called it one of the craziest things he’s ever seen.
All in all, I would have considered this the most pleasant performance I’d seen Danzig do. He was in a great mood and had good banter with the crowd who was eating it all up. Song selection was great too. However, as the show went on, I was becoming more and more aware of the overzealous security team who’d confront anyone they thought were trying to take a picture of Danzig. One thing about Danzig shows is that there’s always a strict ‘No Camera’ rule but I’m fairly sure that in some cases, the person was not trying to take a picture but were instead just checking their phone. Happily no one confronted me as I was using my phone all night to type out notes for this show. Things came to a head near the end of the show when someone near the front supposedly took a picture and Danzig called him out and threatened to break his neck. I was near the back of the venue at this point of the show, so I didn’t see exactly what happened to he guy, but the rest of the story has gone viral. I leave it to you read the accounts and online arguments and make up your own mind as to what happened.
However, this incident was the tipping point of the concert for me, where it went from being a good show to yet another event to further corrode my love of his musical legacy. In a recent interview, Glenn Danzig has stated that he’s likely retiring from touring, and I’ll be honest, I felt a bit of relief when I read that. I can now safely say that this was the last time I’ll ever see Danzig again. Unless of course he reunites with the Misfits, which is incredibly unlikely right now. But oh what a beautiful train wreck and final nail in the coffin that would be.
For more punk and stuff, listen in to Matt's show Thursdays from 8 - 9PM.