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Butterfly In The Sky: The Story of Reading Rainbow
The childhood trips with my family I remember the most were our annual summer outings to Cape Cod. One of the things that this provided me was access to American cable television which our family did not have back home. We were still with our old antenna, picking up signals and hoping for the best. Cable would only come to our household at the start of the millennium. One of the blocks of television that I watched in the afternoon was the PBS hour of kids programming. One of the shows that stuck out to me the most was Reading Rainbow hosted by LeVar Burton, with its catchy synth hook theme song open. Simply put, the show was promoting reading as a fun adventure that the reader takes upon reading a book, rather than seeing reading as an academic test to set standards. It showcased the importance and wonder that books hold. As well, it showed how book readers can connect through a shared interest, where kids were often featured recommending their book selections. When LeVar Burton spoke to the audience, normally children, he delivered his tone in a friendly manner that was direct and non-patronizing.
Promoting a reading show amongst children was what the Public Broadcasting Service was looking for in the 1980’s. Educators were tasked with developing a show that promoted reading as a fun activity that was also educational. The idea for Reading Rainbow was developed and LeVar Burton was tapped as the host, only his second role after his big break in the mini-series Roots as the character Kunta Knight. The standard format of the episode was simple, Burton would introduce a theme around the episode and that theme was adapted into an adventure outing that normally Burton would participate in. Nothing was off limits, besides the adventure in the Bat Cave that he passed on. Books would be selected around the theme or adventure of the day that was animated by animators and would have a guest voice actor to narrate the books. Some of these voice actors included Angelica Bassett, Regina King and Nathan Lane. There was even an instance when James Earl Jones came in to read, however, he apologized for being unprepared and asked if he could come back the day after when he got the essence of the book he was going to be narrating. As well, there would be a section of the episodes where kids were given the opportunity to promote a book that they read with their own review. The first send-off of the series was done next to a great calypso cover of the theme song in the Season 5 episode "My Little Island," as Burton would be going on to working on Star Trek The Next Generation.
There was still some more reading to do when the show relaunched in the late 80’s early 90’s. I would have tuned in around the mid to late 90’s when the opportunity was there. The premiere took place on the Star Trek Enterprise where Burton introduced the children to the television show he had been working on. The 90’s also saw the first wave and fight to keep Public Broadcasting Services alive through funding that the government wanted to cut. Burton even went to Congress himself to make statements on how it was important to keep PBS alive for future generations of children, including his own. The next adventures of Reading Rainbow in the series revival dealt more with the real world and more serious topics including birth (the episode would not air in one southern state), living with an incarcerated family member, homelessness and even a post-9/11 episode where Burton meet with a group of children at a school that was near the world trade center. What was most important was how Burton spoke about those themes and his style of caring about people’s emotions.
This is what made Reading Rainbow so special, like Mr. Rogers, the host LeVar Burton and how he communicated the ideas and themes for reading in a manner that was direct, honest, sincere and most importantly non-patronizing that the educational system was developing in contrast towards reading. He took a fun approach to the adventure but was never shy about talking about life, emotions or even death from a kid’s point of view. Later on in the 90’s there would be heavier topics but LeVar knew that listening held more power than speaking at important moments when it came to interacting with kids. He wanted to be the contrast to the educational system of conformity. Speaking about conformity he always changed his appearance as the seasons went on to reflect his identity, which did not sit well with the show's producers, but it represented his individuality. Some statistics showed that boys were reading less than girls, so developing a show that cast an African American male lead as a host would make reading appealing to the male demographic. Burton as the host left an everlasting impact as a role model for reading that Reading Rainbow led to a dramatic 800 percent rise in reading amongst youth. Every book publisher wanted their book selected for an episode of Reading Rainbow.
Even though Reading Rainbow is off the air, LeVar Burton is still working in the spotlight guest starring on an episode of Community where Troy (Donald Glover) is a huge fan and too starstruck to talk to him, or even hosting a podcast where he still reads books to his listeners. My love for reading is still there though my parents who encourage it, but also through my early years of watching Reading Rainbow. Most of the time, books had important messages of tolerance, fighting against injustice, or even being true to yourself. In today’s climate of censorship and book banning it’s important to remember the fundamentals that Reading Rainbow and host LeVar Burton championed while they were on the air.
Butterfly in The Sky is currently streaming on Netflix. As much as Remi is an avid reader and movie watcher, he hosts At The Movies (With Iconic Sounds) alongside co-host Danny Aubry every Tuesday Morning from 8-9 AM only on CJLO 1690 AM.
Shazamfest 2024 Preview
as edited from press release
ShazamFest, the much-beloved carnival of music, circus and burlesque returns for the nineteenth year, hosted in an angelic site nestled in Quebec’s Eastern townships that’s set in and around lush riverside woods and a natural amphitheatre. From July 11-14th the sleepy town of Barnston West will be hopping.
ShazamFest’s four official stages (which are all hand-built from recycled or reclaimed materials found on the site) the Shazam Stage, the Amphitheatre, Small Stage and the Temple – will host outdoor music, burlesque, comedy, circus, dance and wrestling. The weekend kicks off in raucous style with pounding punk from DVTR, who are, “up and coming superstars in the Quebec scene,” according to festival director Ziv Przytyk. The Francouvertes winning neo-soul duo Rau-Ze and Brooklyn’s finest, That Handsome Devil, whose melange of styles ranges from rock, jazz, blues, surf, to creepy hip-hop. Closing Saturday’s festivities are multi-instrumentalists Kamendja who fuse polka, klezmer, tango and electro. Other highlights of the weekend include Kirá Chao the son of Brazilian superstar Manu, who is forging his own manguebeat identity. Sherbrooke’s Rotin and the Princes with their ‘80s-themed rock-kitsch repertoire are not to be missed. As well as ShazamFest’s three Battle of the Bands winners: Moronic Inferno, a punk trio from Montreal with a Hendrix and hip-hop twist.
For those who prefer to trance out, hot vinyl will be provided by a host of DJs including Da Joint Doctor (connected to ShazamFarm since the ‘80s), reggae maestro DJ Morzion, holistic DJ Prana Papa (primal soundscapes, with a serving of twisted hot yoga!) and wacky electronic duo Pain Naan. Montreal hip-hop godfather Will E. Skandalz makes a welcome return to ShazamFest, as do groovy big band Plomberie, who join forces with Townships trad folksters Excavation & Poésie for the final show of the fest. Together, they'll present Rénoviction: an epic musical spectacular and a protest against Quebec’s tenant-abusing Bill 31. Says Ziv, “A lot of our friends have been renovicted since the new law passed. We’re going to raise some money to help the cause and for anybody who’s been wrongfully evicted.”
Aside from the music on the main stage, Saturday night brings the festival’s famous neo-vaudeville/sideshow/circus. This year’s highlights include ShazamFest burlesque veteran Bonbon Bombay, Bibi Lolo Bangbang, Mania (“the Iron Jaw”) Knox, world renown strongman The Mighty Leviticus and sword-swallower extraordinaire Daddy Red.
Since its inception in 2006, ShazamFest has been a proudly diverse, cutting-edge and family-friendly event. This year the organizers are going all-out to make families feel extra-welcome with the festival’s specially-devised outdoor space KidzZone. Which this year includes a wealth of workshops and activities – circus skills, hula-hoops and inflatable costumes. Over at the Temple of Doom, Doctor Doktorâh’s Laboratory will keep the kids entertained with its mixture of mad scientists, strange musical instruments and mind-challenging games, while the mysterious Malicio (of Sherbrookes’s premier clown collective Les SomnamBulles) will enthrall young and old with his amazing giant bubbles. This year, for the first time, a free round-trip shuttle service is being laid on on Sunday, bringing in festival-goers from Sherbrooke-Waterville-Compton-Coaticook and taking them home at night.
Clifton Hanger is the host of Brave New Jams, Saturdays 10PM-Midnight on CJLO
A Dreamy Sunday Evening with Airiel at Bar Le Ritz
Much was happening in the city the weekend Airiel came to Montreal for the first time. From St. Jean Baptiste Day, to the closing of Suoni Per Il Popolo and Francos de Montréal festival, it felt like Montreal’s classically music-filled summer was finally in swing. Despite the many options for entertainment, dream pop fans across ages and demographics arrived at Bar Le Ritz PDB last Sunday to experience the cult-favourite band in the intimate Little Italy venue.
First up on the bill was the local band Bodywash. I’ve had the pleasure of seeing the dream pop duo of Rosie Long Decter and Chris Steward a few times, most recently at Tiny Fest this past fall, and they always promise a great show. Long Decter has keys and Steward guitar, sharing vocal duties, while accompanied by drums and bass, the entire band felt in sync Sunday night, even so close to the end of their tour. The set started with some of their dreamier tunes and got heavier as it went on, focussing on songs from their latest record I Held the Shape While I Could. At times, the band (minus Long Decter) would turn away from the audience to shred facing into the drum kit, which heightened the intensity and showed the musicians’ chemistry with one another. Since Bodywash is now done supporting Airiel, be sure to check out their next hometown show.
Next to the stage was the Austin, Texas double husband-and-wife-duo band Blushing. Coming off the release of their latest album Sugarcoat just last month, Blushing performed a high-energy shoegazy rock set. Frontwomen Christina Carmona and Michelle Soto played off each other well, even both falling to their knees to shred on the floor facing each other by the end of their set.
After a brief pause between sets, which inexplicably included “A Thousand Miles” by Vanessa Carlton being played over the speakers, Airiel entered the stage. The band jumped into “Liquid Paper,” the opening track to their Winks & Kisses EP which just celebrated its 20th anniversary. The band was incredibly tight for their first-ever show in Montreal, with the main duo of Jeremy Wrenn and Andrew Marrah feeling completely in sync.
While the crowd was not as tightly packed as many Bar Le Ritz shows, those who were there brought high energy to Airiel’s dreamy yet danceable music, with a few of the older attendees dancing and jumping right at the lip of the stage. Many more concertgoers were at the stage’s edge to get a better look at Wrenn and Marrah’s giant Frankensteined guitar pedal boards.
The band played broadly through their discography, from the various Winks EPs to newer songs off of 2017’s Molton Young Lovers. The audience was unsurprisingly the most excited to hear Airiel’s most iconic song “In Your Room,” and with good reason, as, in my opinion, this is a perfect song. Despite the vocals feeling much farther back than on the recording, the duo’s performance of the song was romantic and loud but somehow still gentle.
Airiel played a fairy-trim set of eight songs before returning for an encore. The band ended their show out with “The Painkillers,” the closing track to Molton Young Lovers. The song quickly devolved into a delicious wall of noise as Marrah thrashed around with this guitar, shaking it upside down, and holding it up to the amp behind him to create harsh feedback on top of the duo’s already extensive pedal use. The unrelenting noise of Airiel’s final song still had an element of joy and whimsy to it, as it was obvious through the whole set how much fun the band has playing together and how happy the Bar Le Ritz crowd was to zone into their meditative tunes on this dreary Sunday night.
Aviva Majerczyk is the magazine editor at CJLO 1690AM. She is also the host of The Alley, a folk-rock show airing Fridays at 11:00 AM.
A Rockin’ Summer Solstice Night at L’Hemisphere Gauche
While Summer has announced itself to Montrealers through its many heat waves, the four-bill Summer Solstice show at L’Hemisphere Gauche on Beaubien kicked off the official first day of Summer with live performances from local bands, as well as those from Ottawa and Toronto. The Ottawa three-piece band Backstreet Dragon opened the night with songs from the latest album Kick Rocks and gave the crowd a sneak peek at some soon-to-be released summer tunes. Followed by Joey Bird and the Toronto band Roach, the night ended with a vibrant performance by the Montreal group Societal Siege.
The ambiance fostered throughout the night at l’Hemisphere Gauche was similar to that of a house show. Indeed, despite being in a room full of strangers, a sense of familiarity and comfort radiated from both the stage and crowd. Small shows like these not only allow people to discover talent in their “own backyard,” but also help further create and cement the feeling of community within a busy city, such as Montreal.
While Backstreet Dragon has previously performed shows in Montreal, it was Roach’s first time in the city. An important milestone for the Toronto band, their show in Montreal was also a celebration of their latest single “Everything or Nothing.” With the crowd yelling “one more song,” Societal Siege also had the chance to perform to a live audience some new material that the lead singer admitted that the band had only practiced a few times. Each one of the four bands brought to the stage a unique sound and character to their performance, truly treating the audience to an array of exciting sounds.
The mix of local and out-of-province bands performing at L’Hemisphere Gauche not only allowed the crowd to enjoy the talents that have emerged within Montreal but also gave Montrealers a look into the various music scenes outside of the city and province. Indeed, Montreal continues to be a mandatory stop for many out-of-province bands, as both music lovers and musicians alike are spoiled with the number of local venues the city has to offer. It is no surprise that Montreal has been able to and continues to foster a vibrant community of local musicians, as well as attract talent from near and far. In fact, located just north of some of Montreal’s most iconic venues, the Beaubien bar and music venue prides itself in being a place for local and alternative artists to showcase their talent on stage.
There truly is no better way to start the summer than listening to some hometown bands, as well as discovering new music in the process. The Summer Solstice show at L’Hemisphere Gauche leaves you chasing that post-concert high and making you wish the night never ended. Luckily enough, in a city such as Montreal, there is never a shortage of good music.
Ceylan is the host of Northern Stagelights, a weekly show putting the spotlight on mainly indie/alt rock bands from across Canada, Sundays 1PM-2PM
Master Boot Record Review: What's the Future of Live Video Game Music?
Andrew is CJLO 1690AM's Metal Music Director and the host of Grade A Explosives, Sundays 4PM-6PM
Protomartyr @ La Tulipe
The post-punk genre has seen a notable resurgence in recent years, with bands like Fontaines D.C. and Dry Cleaning breathing new life into the sound and captivating a whole new generation of music lovers. Among these acts are Detroit rockers Protomartyr, who have solidified their place in this revival over their 10+ years in the scene, amassing a considerable following along the way.
These devoted fans stormed La Tulipe in droves Sunday night, eager to see the band perform tracks off their latest album, Formal Growth in the Desert, which dropped just days prior.
As the venue began to fill, the excitement was palpable. Some concertgoers exchanged nostalgic stories of past Protomartyr shows, while others shared their enthusiasm for the new album. No matter the topic of discussion, there was a noticeable sense of camaraderie and collective anticipation in the air.
Soon, opening act Sunforger took the stage and kicked things off with their distinctly melancholic brand of post-punk, perfectly setting the mood for the rest of the evening. Their debut album, which was released just a year ago, provided the basis for their set (and which some might recall from their live session on a certain CJLO show). Their performance was electrifying and hypnotic, undoubtedly winning over new fans among those in attendance.
Once Sunforger wrapped up their set, a brief intermission followed, and soon, the lights dimmed. Excitable shouts rang out through the darkened concert hall, and from the side stage emerged our headlining act. The band dove headfirst into "Maidenhead," a moody track (and a personal favourite of mine) from their third album, which acted as my introduction to the band many years ago.
The band was in the element up on stage, its setup sparse and minimalistic and mirroring the musicians’ nonchalant demeanour. Frontman Joe Casey, beer in hand, delivered powerful and emotionally charged vocals, seamlessly navigating through the band’s extensive catalogue. The setlist was incredibly varied, featuring songs from nearly all their releases, ensuring that no one went home without hearing their favourite track.
As the show neared its end, Casey announced they had a few more songs left, much to the crowd’s disappointment. When the final note was played and the band left the stage, the audience erupted into the familiar chant of “Ole,” rhythmically stomping their feet to demand an encore.
The band soon obliged and returned to the stage after Casey playfully feigned reluctance. Fans were treated to a few more songs, including favourites “Ain’t so Simple” and “I Forgive You” and as the band jumped into their final song, The Agent Intellect track “Why Does it Shake?” a disco ball lit up, casting shimmering lights across the room and creating one hell of a memorable finale.
Protomartyr’s performance at La Tulipe was a testament to their enduring appeal and the passionate community they have built over the years. If ever you get the opportunity to see them perform live, a terrific night is all but guaranteed.
Cole is a co-host of In The Garage, Mondays 8PM-9PM.
Ivytide Release portable darkroom at Theatre Fairmount
With plastic ivy, photo negatives and polaroids dangling from the ceiling, Ivytide hit the stage at Theatre Fairmount on Saturday to an adoring home crowd. Celebrating the release of their latest album, portable darkroom, the room was in ultra-high spirits with groups of young girls erupting in screams whenever singer, Nathan Gagné, directed his flirtatious lyrics to their filming phones.
Ivytide formed after Gagné sought out guitarist Jamie Synette, and bassist Kyle Ruggiero, to be in his live band following the release of a solo EP in 2017. With vocals reminiscent of Still Woozy and Frank Ocean, and indie pop/R&B inspired instrumentation, Ivytide’s steady flow of singles and album releases have earned them a growing following locally as well as internationally. On their latest album, portable darkroom, the songwriting is reflective, nostalgic, and grapples with themes of transition, loss, instability, carrying relationship baggage, and growing older. The album has a 90’s/2000’s feel with its opening track “vacant” setting the tone of the album with a moody guitar part comfortingly evocative of Samantha Ronson’s Mean Girls hit “Built This Way.”
At Theatre Fairmount, Gagné and Ruggiero were outfitted in matching pink jumpsuits covered in autographs and messages from their fans, which they offered to the merch table for further signatures at the end of the show. Their stage presence mirrored the audience’s excitement and glee as they bounced around the stage, encouraged loud singing, and taught the crowd vocal parts to sing along to many of their songs. Before launching into “détours,” Gagné, Synette, and Ruggiero performed coordinated, robotic movements along to a background video of street signs while a track emulating the voice of a GPS rerouting someone through traffic played over the speakers to the great entertainment of their fans. Midway through their set, Gagné invited their opening act, Anna Justen, back on stage to perform a song they said they had just rehearsed backstage. Her angelic voice complimented Gagné’s in such a beautiful way that afterwards several voices in the crowd cried out for them to sing it again.
Throughout their show, the crowd dutifully sang the words to their songs, most notably during “moving song” where the audience’s singing was an accompaniment to Gagné’s throughout. If the ecstatic energy of Ivytide’s hometown release show for portable darkroom was any indicator of where their new album will take them, their show at Theatre Fairmount captured a potent snapshot of the tide of acclaim headed their way.
Angela is the host of The Spacious Astrology Playlist, a weekly playlist of music inspired by the current astrology transits, Fridays 4PM-5PM
Death Brought to All at Théâtre Beanfield
Death to All. A field of beans. Thousands of screeching fans throw the hammer down as the world’s best Chuck Schuldiner lookalike assumes the position. Wild.
Tribute bands are horrible. The kind of people who choose to dress up as famous musicians just because they’re bored of pulling 40 hours a week in a stained office chair make me sick. I mean sure, who doesn’t look in the mirror and look back at themselves with a stiff Jim Morrison face every once in a while, but there really are a lot of perverts out there.
Chuck Schuldiner gifted death metal upon this world with his band’s 1987 debut album Scream Bloody Gore. If Mary Elizabeth “Tipper” Gore and her posse of brainwashed PMRC nutjobs got so worked up over AC/DC and Madonna, one can only imagine how much Schuldiner’s sick riffs would have riled her up. Classic early Death cuts like “Zombie Ritual” and “Pull the Plug” laid a new foundation for mulleted jean-jacketed teens looking for the next sick thing, and Death went on to prove their worth throughout the ‘90s by pushing their music further into the technical and experimental ends of the metal genre. To this day, when pimple-faced 15-year-olds flip their calloused hands through record bins, Death albums are still the cream of the crop.
Sadly, Schuldiner passed away back in 2001 at the age of 34 after losing a battle with an aggressive type of cancer. Ever since, Schuldiner’s legacy in the music world has only multiplied, earning him the nickname “The Godfather of Death Metal.”
So you got all these kids still soaking up Death’s records, but the project’s main creative force has big shoes to fill. For more than a decade, Death’s music was relegated to turntables and sound systems, away from live audiences. To fill this gap, a group called Death to All popped up in 2012, which consisted of former Death members who had played on the band’s previous albums. Tribute band - yes, but at least the people on stage were in Schuldiner’s close circle, and had played Death’s music live with him in the past.
In 2024, Death to All have cemented themselves as an established touring act - consisting of drummer Gene Hoglan, bassist Steve DiGiorgio, guitarist Bobby Koelble, and singer/guitarist Max Phelps. While Phelps is essentially Chuck 2.0, sporting very similar physical features and vocal chops, all other members have been involved with the original band at various points in the past. That’s what makes this group hit ten times harder than your local corner tribute act.
And man do they put on a fierce show. Opening with none other than “Leprosy” last Tuesday at the Beanfield Theatre, Death to All proved a sonic tour de force, setting the audience ablaze with infernal cuts like “Mutilation”, “Born Dead”, and “Open Casket”. Phelps’ rendition of Schuldiner’s material is also incredibly well executed. If you close your eyes at a Death to All concert, it’s not hard to hear Schuldiner’s iconic screams echoing through the venue.
They say that a person really secedes from human cannon when their name is spoken for the last time. Come on, you watched Coco. In 34 years, Schuldiner did much to ensure that his legacy would live on, but the incredible people involved with Death to All are extending Chuck’s voice further into eternity every time they get on stage.
Death is one of my favourite bands of all time, and being able to see their music in a live setting and honoured properly by former band members is truly one of life’s true pleasures. Looking at faces at the show, it’s evident that many others feel the same. Catch Death to All if you can - the material is fantastic, as are the performances.
RIP Chuck.
CJLO Takes Austin: Hip Hop Recap
SXSW had a different feeling this year as artists pulled out of the festival in support of Palestine; Raytheon, a weapons company, had events at the festival, and though the rest of the artists came because of the opportunity SXSW provides them, some expressed that they do not support the US providing weapons to Israel and demanded a cease fire.
We landed in Austin Wednesday. The first event we attended was a networking event hosted by M for Montreal. Whenever M for Montreal hosts an event outside of the city they always have some Canadian treat for those in attendance and this year they did not disappoint, with Beavers Tails for dessert! Right after I went to the Pop for Montreal showcase which was adjacent to the event. There I discovered Montreal artist Hanorah who has a soulful sound and put on a beautiful performance. I couldn’t believe I never heard of her! Next was indie group Sorry Girls. The last performance I watched, and the reason I went to the showcase, was to see Janette King, a friend of The Limelight. It was so good to see a familiar face in a different city. She set the stage with roses and dim lights and began her performance which was soulful, sensual, she performed her newest track Nah Mek Me Fall which has a Caribbean dance feel to it.
Thursday I went to see The Beatbox collective from the UK. This is a crew that beatboxes sounds, beats and sketches. Each Beatboxer, Bass 6, Ball-Zee, Hobbit and MC Zani bring their own sound from Hip Hop, House and Pop. It was an amazing show, my mind was blown!
Friday I went to see Ho99o9, a group that Andrew our metal director and Allison our station manager attended. They mentioned that they blend punk with hip hop so I wanted to see what they were about. When they got on stage there was who looked witchy and a little scary and one dressed in a suit. Their sound had a heavy punk sound that they sung and rhymed over. It was a different sound for me but I got into it. What got me during the performance was that in between songs they would play classic tracks from Frank Sinatra to Crystal Waters, almost as if it was to balance the craziness of their performance. I found out later that a few of my friends know Ho99o9 so I felt good knowing I got to experience these artists and their unique style.
Later, I went to BBC Presenting, a UK showcase at The British Music Embassy held at the Sheraton where was two stages were set up outside. It was one of my favourite venues at the festival. Once again I was joined by our metal director Andrew to see Crae Wolf. She is described as rock and fantasy meets drill. Crae Wolf came off stage, told us her name and that when she says Crae, we say Wolf making it sound like Woof! The crowd loved it. She told us that she loved vampires and werewolves and you can tell by her goth style. She put on a great show, rapping singing over drill and rock beats. I had the pleasure of meeting her after her performance, not only is she a great performer and cool artists, she is very down to earth and humble.
Next I watched SANITY known for encapsulating a distinctive blend of Hip Hop and jazz. Her flow was smooth and her story telling was flawless. This was my favourite performance and discovery of the festival. She is now an artist in rotation on my show.
Overall the festival had so many artists to discover, I enjoyed that there were shows where the genres crossed meaning I got the see some of them with other MDs on the trip.
Amrew Weekes aka Lady Oracle is a co-host of The Limelight, Saturdays 6-8 p.m.
Girlschool @ Foufounes Electriques
Live music is a strange form of entertainment, if you really stop to consider it. As an audience member, yes, you pay for the privilege of being entertained by a band or performer whose works you enjoy, and yes, ideally, these performers earn something in exchange for that work. But to get on stage and run through your most known songs, night after night for months, sometimes year after year, is a strange desire. It would seem to me that for most musicians, for whom private jets and sold out stadiums aren't the norm, the promise of payment isn't generally enough -- as cliche as it sounds, you really have to do it for the love.
Angelica hosts BVST every Wednesday at 7 - 9 PM on CJLO. Tune in for the best (& worst) rock'n'roll, country, punk & metal!
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