Tourisme Montréal released a new promotional video a few days ago. It features…no wait, summarizing it can’t really do it justice. Just watch it for yourself:
In general, response has ranged from “WTF was that?” to polite attempts to find something positive about it. Even Montreal Mayor Valérie Plante said “Huh. Okay, that’s interesting interesting,” before adding that at least it was getting people to talk.
But will that talk and the video it is about work? Well, I suspect it will work wonders for singer Mathieu Samson’s career.
Curious, I googled him and found another video he released, without Tourisme Montréal funding, but with the same cheesy 80s-inspired effects. He just got huge exposure doing something completely in keeping with the style he was already going for.
But will Tourisme Montréal achieve its goal with this video? The short answer is maybe. This becomes more apparent when you properly define what the goal of this particular video is.
The chorus of the song goes “Québec, Reviens-Moi” and the outdoor scenes are winter scenes. The goal clearly isn’t to bring people from Vancouver, the US and Europe here in June, but rather to suggest Montreal as a winter destination, possibly just a weekend destination, to people elsewhere in Quebec.
Understood as such, foregoing beauty shots of the city in favour of a giant, miniature and normal-sized Samson visiting places everyone in the intended audience already know about makes sense. They aren’t even going full cornball. If they were, there would have been a shot of our infamous “ugly”Christmas tree.
Instead, the cheap 80s effects are a fun way to remind Quebecers on a budget that an affordable and fun vacation is just a (relatively) short drive or bus ride away. Still, the video does drop the proverbial ball a few times.
It seems to harp, both lyrically and visually, a bit too much on the Ferris wheel in the Old Port. Sure, it’s open year round, but I live here and haven’t felt inclined to take a ride, can’t imagine it being as big a draw as they think it is.
Also, while the Habs are definitely a sellpoint for the city in general, bringing up the fact that we still have pro hockey here, as the video does in one verse, may hit a bit of a sore spot for people in Quebec City. Plus, do we really need the Big O to make an appearance?
While some might see this as akin to the National Anthem for the Rivière-des-Prairies–Pointe-aux-Trembles Borough the previous Coderre Administration paid $50 000 for out of our 375th Anniversary funds, it’s not. Sure, both are cheesy and municipally funded, but that’s where the similarities end.
The RDP/PAT anthem used (way too much) public money destined to promote the city as a whole internationally to placate some people in one borough. This video is a targeted campaign to bring a specific set of potential tourists to the city.
It may or may not work, but it’s not the vapid piece of hipster irony it comes across as to many, including me at first. Honestly, now after writing about it, I kinda like this video.
The Mountains We Climb By Accident, the first novel by Montreal writer, poet and occasoional FTB contributor Dawn McSweeney, is a real treat of a book. It would make a great last-minute Christmas gift for someone who likes well-told stories and supporting local talent.
Full disclosure, I’m not just a reader, I was also the book’s editor. So while I may be a biased reviewer, I’m mainly biased because not only is it written by someone local, it’s also unabashedly set in Montreal.
This city serves as a backdrop for our protagonist Talia’s life story, or rather early to almost mid-life story. We jump back and forth with her, landing on key experiences and staying with them a bit, sometimes returning, sometimes not.
This non-chronological narrative approach has an internal logic based on how and when a person remembers certain events. McSweeney explained it to me when I interviewed her a few months ago.
It really works here. The writing is sharp and fast-moving, the characters are believable and you don’t know what’s going to happen next.
I generally look for political intrigue or outright sci fi or fantasy when it comes to the fiction I consume and that’s not what this novel offers. The focus here is on Talia’s relationships with romantic partners, family and friends.
Thanks, though, to McSweeney’s storytelling, it kept me interested from start to finish. I can only imagine it will do the same for people who are fans of the genre already.
Dawn McSweeney’s The Mountains We Climb By Accident is solid Montreal-based storytelling and a great first novel-length offering by a local author.
The prospect of Major League Baseball returning to Montreal has gone from one out and two strikes in the bottom of the ninth to runners on first and second, but a rookie coming up to bat. If I bungled that baseball metaphor, it’s because I haven’t really watched that much baseball since the Montreal Expos left town in 2004.
Now, though, the prospect of them returning seems to have shifted into the realm of possibility, though it remains a longshot. Here’s where we are:
Toronto Blue Jays pre-season games played in our Olympic Stadium continue to draw a crowd.
Stephen Bronfman met with Quebec Premier François Legault to pitch the idea. Legault tweeted about the meeting and also told Bronfman that provincial investment in a new ballpark was possible if accompanied by private money.
While clearly not as gung-ho as her predecessor, Montreal Mayor Valérie Plante has said she is enthusiastic about the idea and was happy about the results of the report, but she also reiterated her campaign promise that she would put any investment of municipal funds in a new stadium up to a referendum.
The Tampa Bay Rays are running into a bit of trouble and may leave a spot open in the American League East.
The last point may be the most significant. Montreal would need to be in the same division as the New York Yankees, Boston and Toronto to make it work.
Bronfman and company are pushing the idea that a local audience could support a team if they didn’t have to travel to the East End to catch games. That’s only half true, we would need the baseball tourists, too.
I can easily see Yankee, Red Sox and even Blue Jays fans regularly making the trek to Montreal to catch their team play ours, especially when the tickets are cheaper and easier to get. People from Atlanta, not so much.
Come to think of it, if the problem with the Expos the first time was really that we were in the National League and not the commute, why not use the Big O for a new team? Are you telling me that a Yankee fan who regularly travels to the Bronx to catch games would come to Montreal but balk at a trip on the Green Line?
OK, I know that’s not going to happen, MLB would never buy that argument. Just thought I would throw it out there. Moving on…
If We Build It, Will They Come?
Last time Montreal built a stadium, it was for the Olympics. We already had a pro baseball team at the time, and moving them into the new digs just made sense.
This time, we don’t have a team and have no other reason to build a new stadium but to host one. If we do decide to build, I seriously hope, at the very least, that it is with a team confirmed.
We don’t want a repeat of Quebec City building a new arena for the Nordiques and then not getting a team. If we do get a team and the new stadium isn’t ready, they can play in the Big O until it is.
So, let’s say that there is a team on its way and we are building a stadium in the Peel Basin, just across the canal from Griffintown, which seems to be the site of choice. The area isn’t residential, so we’re not looking at mass expropriations, which is good.
It is closer to downtown than the Olympic Stadium, but while the Big O is connected to Pie IX Metro, this is roughly a 20 minute walk from Bonaventure. There’s supposed to be an REM stop there, though, plus buses, you can bike to it, probably decent for driving, and if Plante gets the Pink Line off the ground, maybe a closer metro stop.
But what about when there’s no baseball game? Well, the Alouettes could use it in place of Percival Molson Stadium for regular season games, though they kinda have a good thing going there. The Impact could use it instead of Saputo Stadium, though that’s unlikely given how much money went into making them a permanent, soccer-specific home.
That leaves concerts and other non-regular events that require a large venue. Assuming we’re not going to try for another retractable roof, it would be either closed, in which case these events could happen year-round, or open-air, meaning they would be seasonal.
So, basically, the new baseball team would have to pack the place or at least come close for most of their season for a new stadium downtown to be feasible. They can’t rely on other organizations and events to make the enterprise worthwhile.
While Bronfman may have done a survey and produced a report, he obviously was hoping for certain results, and he got them. I’m sure his process was accurate, but why not get a second opinion from different people with (presumably) different questions and no desired result on our part.
With that in mind, here are seven quick questions and a spot to add your comments. You can also add your comments in the comments below.
We will publish the results when we have enough responses to get an accurate picture. It takes less than a minute, less than a Buzzfeed quiz. Have your say on everything but the team name, because we all know it should/will be the Montreal Expos:
Featured image by Eric Molina via WikiMedia Commons
Usine 106U is not like other art galleries. It’s not immaculately clean or impeccably organized, and its outer mural is as colourful and eccentric as the art you’ll find within.
Located in the Plateau next to the iconic Else’s Pub, the gallery attracts everyone from painters to sculptors to dollmakers and photographers. The gallery’s openings on the first Thursday of every month feature works that range from the classic to the extreme and the atmosphere is one of an eccentric family reunion rather than a formal affair.
While most galleries in Montreal charge huge commissions and exhibiting fees, Usine 106U takes fifty dollars a month and ten percent commission on any sales. In exchange, every artist gets four by five feet of space to show their work to passersby and regular visitors. Artists who volunteer their time running the place get all fees and commissions waved.
A Concept that Grew Over a Decade
The official caretaker of the gallery is Eric Braün, a multidisciplinary artist known for his acrylic paintings of creatures. His style for me is reminiscent of Bosch and Dali, with a hit of Nightmare Before Christmas thrown in.
Usine 106U has been around for 12 years. In the beginning, it was just a show of the same name.
A guy from Paul’s Boutique record store lent Eric and other artists a paddock with the goal of creating art on the spot, filling the walls as they went. The show lasted one week and was hugely successful, with the media and others coming in to wait, ready to buy the works in progress once they were finished. Almost everything was sold.
The show’s success led to an offer to continue it through to the end of the month, followed by an offer to rent the space on a monthly basis. From there came the idea of artists sharing the cost and management of the place and the rest is history.
When I asked Eric about the name, he explained that it was a French play on words.
“If you pronounce in French the number ‘cent six’ – one zero six – and the letter u it makes ‘sans issu’ and ‘sans issu’ sounds like ‘sans issue’ which means ‘no way out’ and that was the title of my anthology cause I used to do comics so it was always a collective. But back then it was international and silent so it could be distributed in many different countries without having to translate.”
In addition to Eric’s paintings, he also has copies of his comic books and sculptures for sale at the gallery. When I asked what kind of artists he feels the gallery attracts, Braün spoke of people who do very intense personal work, “outsider art” that doesn’t fit current fashion, and some old style abstract pieces.
Open But Selective
Eric is discriminating in his choice of artists who get to show there: “If someone does some really bad copies of some photos that you see on the internet I tell them they should work more on their stuff and come back later,” he said.
When looking for artists to admit to the gallery, he’s not looking for perfection but originality and honesty in the work. Currently there are 40 different artists showing their work with the common thread being that:
“Everything is figurative, there’s a narrative, there’s a story being told and everything is kind of explorative. People take chances, they develop their own language, they go into their own world, and they keep working at it to create something that is original and unique.”
If there is a word to describe the art at Usine 106U, unique is certainly it. Whether it’s the hyperdoodled paintings and guitars of artist John Lanthier, Jean Martin Raven’s sculptures, or the realistic yet wonderfully eerie paintings of Xavier Landry.
Much of the art is not for the faint of heart, with art depicting graphic nudity, sex and violence displayed alongside cutesy hand knitted dolls. That said, Usine 106U is more than a gallery.
Home Away From Home
For artist John Lanthier, it’s a home away from home. He’s been showing his work at Usine since 2015 and like many artists, he volunteers his time in exchange for showing there:
“I enjoy making art in the environment here and appreciate having a permanent gallery space where my psychedelic paintings, sculptures and custom guitars can feel at home amongst the many diverse local artworks that cover the walls. Thanks to Eric Braun I’ve also had my Hyperdoodling paintings and Guitart instruments featured in the last nine magazines…which is pretty cool.”
The magazine in question was created following Eric Braün’s failed attempts to get his work in a local art magazine which was poorly managed and written. So like any pioneer, Braün decided to publish his own, and Usine106Us quarterly free magazine features work from a variety of artists showing at the gallery.
As a working artist, Usine 106U saved me from a dark time in my life. Their collective welcomed me with open arms, a tale shared by many who come to the gallery hoping for an affordable space to show their work. In addition to the monthly vernissages, they also do free collage workshops (bring your own glue).
When I asked Eric Braun what advice he had for aspiring artists, he was very pragmatic:
“Get a job to pay your bills and then do art with your needs taken care of or you’ll go crazy.”
The gallery is located at 160 Roy East and is open every day from noon to 6pm. Check it out.
Hedwig and the Angry Inch is one of those shows with a cult following. Devotees of Rocky Horror and other Angry Inch fans (called “HedHeads”) love Hedwig for its nods to drag, gender bent characters, humor, queerness and glam rock. The story is at once heart wrenching and inspirational, with catchy tunes that make you want to dance in your seat and sing along.
I had the privilege of speaking to producer of the current Montreal run and the show’s Yitzhak Noelle Hannibal by email. Originally from Los Angeles, she made her theatrical debut playing Chrissy in Hair and her film and television credits include Star Trek: First Contact, Buffy the Vampire Slayer, Star Trek: Voyager and Cracker: Mind Over Murder.
Hannibal has had a love affair with Hedwig since she saw her friend Michael Cerveris assume the role from its creator John Cameron Mitchell in the late nineties. There had only been one or two productions in Montreal over the years and it had always been in the back of her mind as something she wanted to do.
Composer and lyricist for the original show Stephen Trask was present for opening night to do a post-show Q&A. He said that originally the show didn’t have a script, only John Cameron Mitchell’s idea to do a show about himself and a request that Trask adapt a story from Plato’s Symposium. That said, I asked Hannibal if they had an actual script to work with for the Montreal show.
“When the show was produced off-broadway in 1998, there was a fully realized script. That is the version we used,” she said, ” prior to that production, it was developed in bars and at parties, beginning with Hedwig’s debut at Squeezebox, a drag bar where Stephen was the music director. When the Broadway version was produced in 2014, there were many differences. In order to create a bigger show more fitting for a large Broadway house like the Belasco Theatre, there was additional dialogue and an added song.”
Hannibal also told me that she was in contact with Stephen Trask throughout the rehearsal process as it was important to her that they present his preferred version of the songs given the differences between those in the film, the off-Broadway version, and the Broadway version. He provided one or two notes after their dress rehearsal.
There has been a lot of controversy in the media recently with regards to cis actors being cast in transgender roles. Given that Andrew Morrissey, who is a cis male, is playing Hedwig, I asked Hannibal if she considered casting a transgender actor and she provided an important clarification with regards to the character’s gender identity:
“John Cameron Mitchell describes Hedwig as genderqueer and not trans. As she has had genital reconstruction surgery because of circumstance, I think it is important to mention. We auditioned every actor and non-actor who submitted and cast the best person for the role.”
The band is quite important to the show given how they interact with Hedwig and Yitzhak. I wondered if they cast musicians with acting experience or actors who could play.
“With the exception of Kevin Bourne (guitar), who came highly recommended by a couple of friends, I have worked with both Stephen Menold (bass) and Sebastian Balk-Forcione (drums) on other productions,” Hannibal answered, “I prefer working with people over and over. There is an established trust. I am fully confident they will be able to handle anything we throw at them, including snazzy costumes, eyeliner and hair colour!”
As a huge fan of the movie, I noticed that this show focused a lot more on the abusive relationship between Hedwig and her husband, Yitzhak, something that was minimized in the film. Hannibal said that John Cameron Mitchell wrote the book with detailed stage directions and notes and they decided to stay true to his vision. With regards to Yitzhak’s character, Hannibal points out that the film doesn’t give him any back story whereas the stage script does. In the stage script, Yitzhak is described as the most famous drag queen in Zagreb.
With regards to the show’s animations, most were done by their director and choreographer Nadia Verrucci. For The Origin of Love Animation, Hannibal found it on YouTube and reached out to the artist to get permission to use it in the show.
For all those who have seen the movie and not the show, and to those that had never seen the show or film before, Hannibal said to come in with an open mind. I say do that, and come with an open heart as well. The story is at once funny, sad, and uplifting.
On a chilly night in November at Cabaret Mado in Montreal’s Gay Village, a band takes the stage. At a microphone on one side is a drag king, looking somber and sad as a solitary figure in a cloak covered in stars and stripes walks on stage to the tune of America The Beautiful.
Suddenly the figure, seemingly a blonde woman glamorously made up, turns, grabs the central mic and breaks into her number Tear Me Down. It’s the opening of In the Wings Promotions production of Hedwig and the Angry Inch, and its title character, Hedwig, has just taken the stage.
This is not your typical play. Based on the so-called “off off off off-Broadway show” and film by John Cameron Mitchell and composer and lyricist Stephen Trask who was present during opening night for a post-performance Q&A). It’s the tale of a “slip of a girly boy from communist East Berlin” who gets a sex change in order to marry an American soldier and cross over to the ally-controlled Western side of the city at a time when the Soviet Union restricted access.
It is not a play featuring many characters played by many actors, nor are there elaborate scene changes. The story is told almost entirely by Hedwig while she and her band, the Angry Inch, and her husband Yitzhak, perform across from a venue where her last spurned love, the star Tommy Gnosis, is playing to crowds of adoring fans. Her storytelling is interrupted by the show’s numerous songs, including the famous sing-along Wig in a Box.
Andrew Morrissey plays Hedwig. He does a fine job showing her struggles with her sexual identity, finding love, and peace with herself in America. His makeup, wigs, and costumes, done by Jess Beyer and Sig Moser, are faithful recreations of what people have come to expect of the character: black leather, denim, and studs that are staples of eighties and nineties rock outfits, Hedwig’s blonde curls with their signature center part, and the garish blue eye shadow, penciled eyebrows, and red lipstick.
Morrissey is unsteady in his high heels at times and his singing is occasionally pitchy, his German accent ranging from pronounced to non-existent. That said, he has the stage presence and the emotion the character requires. In the parts where Hedwig is coming unglued, you never doubt the sincerity of it.
It is not, however, Hedwig that steals the show in this production, but rather her second husband, Yitzhak, played by producer Noelle Hannibal. Clad in the beard and shapeless clothing of a drag king, her portrayal conveys the depression, fear, and passive aggressiveness of someone in an abusive relationship.
You feel it in every gesture, in every insult muttered under his breath, and in every passive reaction to Hedwig yanking the microphone from his hand when his powerful feminine voice breaks through hers. While Morrissey’s performance was very true to form, it is Hannibal’s portrayal that I remember the most clearly from that night.
The band, known as The Angry Inch never misses a beat (despite some issues with the sound system that night). Though they are clearly musicians first, they do have some acting talent and interact with Hedwig and Yitzhak throughout the show.
The show also featured animations by flash animation artist, StickdudeSeven. While they lacked colour and were less stylized than the animation in the Hedwig and the Angry Inch movie, they did suit the material well. Unfortunately, the stage was not set up to truly do them or the projected lyrics for the sing-along justice. They were projected onto a screen at the back of the stage that was so low to the floor that Hedwig, standing in front of the stage, often obscured them. A set up that was higher or ever above the stage would have been easier to follow.
All that said, the play is a lot of fun. The story is sincere and relatable to anyone struggling with gender identity, domestic abuse, artistic expression, or just finding oneself. The music is catchy and uplifting with the occasional hint of guttural sex. Check it out.
* Hedwig and the Angry Inch plays Wednesday, November 21 and Thursday, November 22 at 8pm at Cabaret Mado, 1115 Ste-Catherine Est. Tickets available through In The Wings Promotions
After being infamously evicted from his St. Laurent Boulevard location by his landlord last October, Terry Westcott has re-opened his jewel of a bookstore, the Librairie T. Westcott.
The revived store is in the St. Hubert Plaza, a bustling shopping area that promises to provide a new community of devotees for the beloved old landmark. The address is 6792 St. Hubert, and its accessible location – halfway between the Jean-Talon and the Beaubien metro stations – makes it an easy destination for bibliophiles. (ED’s Note: Yes, we know the area is currently under construction, but even in Montreal, that won’t last forever)
“It’s a good location, it’s a nice long store,” Terry says, “and I have the same number of bookcases I had before.” The space is indeed long and narrow – actually quite a bit longer than the previous store – and perfect for housing Mr. Westcott’s extensive collection.
Not so long ago, on a bleak and rainy day, I’d been a grim witness to the effects of rising rents, as a chunk of the 20 000-volume Westcott collection was carted away by a 1-800-GOT-JUNK dump truck for recycling. I asked Terry how much of his collection he’d been able to save.
“There are certain sections I’ve had to rebuild – my Latin American history section, my Jewish History section, my travel books, my Chinese History, my Russian History.” But, after 25 years, he’s not starting over from scratch.
Most of his treasured collection survived the purge. Concerned about his wide-ranging science fiction section, I was relieved to discover it was intact, although still packed up.
Did he have any misgivings about opening an English bookstore in a largely francophone part of town?
“Oh, I looked around,” he explains. “The problem with NDG, for example on Monkland, or in Verdun – they’re busy on the weekends but they’re slow during the week because those are mostly residential areas. People are at work. Children are at school. So on weekdays it’s very quiet. But St Hubert Plaza is quite crowded, seven days a week. That’s what a bookshop needs to survive. And of course it’s much busier on the weekends.”
Terry adds: “There are a lot of people moving over to the Petit-Patrie from the Plateau. Everything’s so expensive over there and so things are shifting over here.”
I wonder how it seems to be working out so far, considering the preponderance of English in the store. Terry is upbeat.
“A lot of French people are glad to have an English bookshop [in the area],” he says. “There are two French book stores down the street – a Renaud-Bray and Librairie Raffin– and there’s also a second-hand bookshop, Parenthèse. Most people in the Montreal area that read are fluently bilingual. So they’re happy to get an English bookshop. This is their chance to get a lot of English books, and also publications like Indiana University Press or South Georgia University Press that are never going to be translated into French.”
As before, Terry will no doubt make use of every square foot in the store, where the books were organized by subject and piled almost to the ceiling. Finding what you wanted was sometimes a challenge, as well as a balancing act, but Terry seemed to always know what he had, or at least, where it was likely to be found if he had it.
I express my relief that he didn’t have to retire and spend his days watching golf on TV, something he’d contemplated during the demise of the old shop. Instead, he’s now looking forward to having his bookshop become a new community hub again, like it was in the old location on St. Laurent.
Then I notice a photo of an impressive feline on the wall. Terry denies that it’s there as a reminder of his previous cat companions Emma (as in Jane Austen) and Eliot (as in T.S.) who had the run of the place.
“It’s a Florida panther,” he explains, “and they’re endangered. So I leave it up there so people can see…. He’s got a very intelligent look on his face. No deception: ‘I am what I am.’”
Whether deliberate or not, there couldn’t be a more apt metaphor for Terry Westcott and his resilient bookstore. While some see bookstores as endangered, Terry is steadfast in his chosen occupation.
He is what he is – and so as long as there are people with a passion for books, Terry Westcott and his Librairie will serve a vibrant new community of readers.
Quebec City versus Ottawa. Quebec’s provincial government versus Canada’s federal one. It’s the sometimes amicable rivalry, sometimes bitter fight that has dominated our politics for the past fifty years or so.
Now, with the election of a Coalition Avenir du Québec (CAQ) government for the first time ever, it looks like things are going to change. While Prime Minister Justin Trudeau may have already called out new Premier François Legault a couple of times, there’s only so much he can do without risking federal over-reach, which is never a good ideal in Quebec. Plus he will soon be busy fighting to keep his own job.
It looks like the next great intergovernmental battle, at least for the next three or four years, will be the National Assembly versus Montreal City Hall. Legault versus Plante. Here’s why:
From Side-Pander to Not Necessary
Back in the day, from the late 1960s to a few weeks ago, power always shifted between Liberal (PLQ) and Parti Québécois (PQ) governments. Both parties understood that Montreal votes were important enough for them to pander to us a bit during during election campaigns but not as important as votes off-island and across the rest of Quebec, which most of their policies were crafted to deliver.
Now, the governing party has almost no representation in Quebec’s largest city. They won only two seats here, Bourget and Pointe-aux-Trembles, both on the island’s eastern extremities. Flip them to any other party and the CAQ still has a strong majority.
Legault has a mandate, but he didn’t get it from Montreal. He doesn’t even have to pretend to care about what Montrealers care about, he doesn’t need us to hold power. We’ve gone from a side-pander to not needed to win.
That doesn’t mean their policies won’t affect us. In fact, the most overtly reactionary will pretty much only affect us.
Montreal needs to stand up to the CAQ and, at least on a few issues, it looks like we already are or are prepared to.
Banning Religious Symbols
Legault has promised to strictly enforce Bill C-62 which bans those providing or using government services (teaching in a school or riding the metro, for example) from doing so while wearing religious symbols. He plans to use the Notwithstanding Clause if the courts stop him.
The PLQ, who won the most seats in Montreal, are unlikely to fight against the implementation of a law they wrote and passed (sure, they probably thought they would get some votes on the right before the courts struck it down, but Legault won’t let the Canadian Charter stop him). Québec Solidaire (QS), who came in second here, may help fight this, but they only have ten seats in a Majority Government.
Montreal Mayor Valérie Plante, on the other hand, has said she has no problem with civil servants wearing religious symbols, including police officers. She opposed Bill 62 as a candidate and while she said she will wait and see what the CAQ plan looks like, opposing it would just make sense.
The Greater Montreal area and the Island of Montreal are the most ethnically and culturally diverse parts of Quebec. It’s also where most immigrants live. Here, a Muslim woman wearing a hijab or a Jewish man wearing a kippah is not a strange sight, it’s part of daily life. They are members of our community with the same right to provide or avail themselves of government services as the rest of us.
Of course it’s like that. Montreal is a metropolis. Cultural, religious and ethnic diversity are essential parts of being and staying a world-class city, as important as a large population and a decent public transit system.
Close to two million people live on the Island of Montreal and over four million in the Greater Montreal area. The CAQ wants us to look as white and Christian as, say, Trois-Rivières with a population under 150 000. While he claims to be a Quebec nationalist, Legault’s attitude towards Quebec’s officially designated metropolis is not only bigoted, it’s also quite, um, provincial.
If Plante does ultimately end up refusing to implement the new Quebec Government’s plan when it comes to Montreal employees and people receiving services from the city, I don’t know what Legault could do to make her. Things could get interesting.
Implementing Cannabis Legalization
When it comes to legal weed, Plante isn’t taking a wait and see approach. In Montreal, you can smoke your legal cannabis anywhere you can smoke tobacco or vape, but you can’t spark a joint near schools, on a terasse, in hospitals, on a bus, or basically anywhere you can’t smoke a cigarette.
Legault, on the other hand, is considering a province-wide ban on smoking pot in public, such as on sidewalks or in parks. Basically he’s treating it like booze, while conveniently forgetting that there are public places called bars where you can legally consume alcohol and if you bring a sandwich to a park along with a bottle of wine, it’s a picnic.
Five Montreal boroughs, all held by the opposition party Ensemble Montréal (formerly Équipe Denis Coderre), are planning similar bylaws. While it’s a really out-of-touch idea, I understand how a borough can make such a regulation, just as I understand how a city can make an opposing regulation.
What I don’t get is how a provincial government can pass what should be a municipal zoning regulation to supersede existing zoning regulations. Pot smokers aren’t criminals anymore, just people facing fines if they light up in the wrong place.
If Plante tells the Montreal Police (SPVM) not to enforce provincial ban on smoking cannabis in public, except in the boroughs where it was banned, and they listen, would Legault send in the SQ to enforce it? Could that even work?
And then there’s the Pink Line. A Plante campaign promise that would see a new metro line run from Montreal North through Rosemont, the Plateau, Downtown and NDG, all the way to Lachine.
As bold as that is and as pie in the sky as it may sound, Plante already got the Federal Government to sign off on investing money in it. While QS fully incorporated it into their transit proposal, Plante decided to have a photo-op during the campaign with Liberal Premier Philippe Couillard who had only said he would consider it.
It’s clear her transit plan caused her to have an unofficial ABC (Anyone But CAQ) approach during the campaign. And with good reason: Legault had said his administration would oppose the new metro line.
So, faced with the worst possible election outcome for the future of the project, Plante adopted a go big or go home approach and announced yesterday that she was moving ahead with the Pink Line and creating a project office to study the potential impact on urban development, mobility and socio-economic needs. This office will compliment studies the Société de transport de Montréal (STM) is already doing and have a budget of $1 Million.
Basically, if project office determines that the Pink Line is feasible and shows how it can be done right, and two thirds of the money is already there, Legault, who will probably be sitting on a pile of legal cannabis sale revenues and tax money by then, will be boxed into a corner. It’s a bold strategy and one that may pay off.
Whether it does or not, prepare for a fight. Maybe a slow-moving, incredibly polite and bureaucratic one, but a fight nonetheless. A political fight on three, maybe more, fronts. Montreal versus Quebec has just begun.
Rejoice indie music fans for today marks the beginning of this year’s installment of Pop Montreal! For those of you who suffer from option paralysis I give you my deepest sympathies because, as usual, there’s just so many shows to choose from.
Even just looking at their schedule can send shivers down the spine of someone who wants to see and do it all. Last week Stephanie Laughlin gave you her picks for what to see and this week it’s my turn.
In order to streamline my choices and prevent my head from exploding, I’ve narrowed it down to these four categories: The Hidden Gem, The Top Venue, The Top Headliner, Best Overall Show.
Keep in mind that this list is far from extensive, completely biased to my musical tastes and prepared without any thought for the logistics of how someone would attend shows that overlap with each other time-wise. This is just a jumping off point for five days of hipster heaven.
One of the many (many, many) hidden gems of Pop is POSTDATA, the solo project of East Coast indie rocker Paul Murphy more commonly known for his work in Wintersleep. They’ll be at O’ Patro Vys on Thursday to headline a show featuring Caveboy, Art D’Ecco and Strangerfamiliar.
This part-time project might not get big time attention but after listening to a few tracks I’m baffled as to why. The songs are well crafted, the lyrics are interesting and there’s an accessibility to the music that should interest people with different musical tastes.
POSTDATA perform with Art d’Ecco and Strangerfamiliar Thursday, September 27, 8:30pm at O Patro Vys, 356 Mont-Royal Est. Tickets are $13
With so many bands to choose from I knew I had to cheat and pick a whole venue. One of my highlights every year is heading over to my favorite dive Barfly to check out a bunch of bands that you probably don’t know and normally wouldn’t find there outside of POP.
Thursday, Friday and Saturday night they’ll be running shows there with packed lineups for only ten bucks. It’s a sma… urrr I mean “intimate” venue that always has a rock and roll vibe. I once saw a guy on stage there playing the cello and it still felt rock and roll for some reason.
To go with the low ticket price, it’s also got the most affordable drink prices of any of the venues in the fest. Add all that up and there’s a good chance it will be packed on all three nights so get there early if you can.
Usually the bands aren’t as well known but if you’re feeling adventurous and want to explore some new music this is the best place to be. This year I’m looking forward to getting to know Toronto based indie rockers Goodbye Honolulu who are headlining on Thursday.
Barfly is at 4062A St-Laurent
While this is a highly unoriginal choice, I’ve decided to put Montreal indie rock royalty Wolf Parade on this list as the top act because of the sheer volume of shows they have in this year’s fest. They’ve taken up residence at Sala Rosa from Thursday to Sunday, so whichever night you plan on heading out, they’ll be waiting for you.
Sometimes picking between a bunch of bands you’re not super familiar with can be a bit tedious, if you just want to go out and be assured of a good time, this is the best option. They’re even hosting an after-party on Sunday the 30th at La Sottorenea for those of you who just don’t want the fest to end!
Another of the more established acts in this year’s fest is Blitzen Trapper who have been combining indie rock with country and folk influences since 2000, often to critical acclaim. The Portland-based quintet will be supported by three great local acts John Jacob Magistery, El Coyote and Corey Gulkin on Saturday night at Le Ministère: Salle St-Ambroise.
This is my vote for the show with the most solid lineup top to bottom. Event hopping at POP can be fun, especially on a Saturday night, but if you’re not in the mood for that, give this show some serious consideration.
Blitzen Trapper, John Jacob Magistery, El Coyote and Corey Gulkin perform Saturday, September 29, 9pm at Le Ministère – Salle St-Ambroise, 4521 St-Laurent. Tickets are $15
* Featured image from Goodbye Honolulu’s Typical video, via YouTube
On September 26th, Pop Montreal returns with another five days of music, film, panels, and visual arts. It’s been a few years since I’ve attended this very Plateau/Mile End festival, but I already know I’m going to have a good time. Because unlike other bigger festivals where you’re drawn to check out what you know, at Pop you’re guaranteed to discover a whole slew of new exciting artists you’ve never heard of before.
Here’s my list of what I’m most looking forward to checking out at Pop Montreal 2018:
Ever since I first heard the song I Love Rock n’ Roll as a teenager, I was drawn to the badass that is Joan Jett. This year as part of Film Pop, the festival will be screening a documentary by director Kevin Kerslake about the legendary feminist punk rocker. I’m also looking forward to attending the screening at the newly opened indie/art house movie theater Cinema Moderne on St-Laurent.
Wednesday, September 26, 8pm, Cinema Moderne, 5150 St-Laurent. Tickets $12
While rap music isn’t usually my thing, I was so drawn by the music video for Elegance by New York artist Kilo Kish that I officially have added her show to my must-see list. While researching Kish I discovered that Pitchfork recently dubbed Elegance one of the best songs of 2018, declaring “Building from the stream-of-consciousness style that characterizes most of her catalog, Kilo Kish turns her racing thoughts into crackling electricity.”
Wednesday, September 26, 11pm, Piccolo Rialto, 5723 Ave du Parc. Tickets $20
My favourite part of POP. The festival has these fairs year-round now (if you’re friends with a Plateau gal, you’ve undoubtedly been dragged to one of these events), but the biggest of them all is always during the main festival in September. For three glorious days, you can shop for prints, jewelry, food, makeup and clothing. So come watch hipsters gather in their natural habitat, and leave with a cute new print to hang on your wall!
September 28-30, Eglise St-Denis, 454 Laurier Est. Schedule
Molly Nilson is a Swedish pop singer that, according to Pitchfork “does ennui like no one else.” That combined with her 80s music sound has me excited to see what she does onstage. I would love to tell you more about her but she doesn’t have much of a social media presence… which kind of only makes me want to get to know this artist more.
Thursday, September 27, 8:30pm, Bar “le Ritz” P.D.B., 179 Jean-Talon Ouest. Tickets $16.50
In between film screenings and shows, I plan on checking out the many art shows that are also happening during Pop. Here’s just a sampling of the ones I’m most excited for:
OBORO and White Frame co-present Où sommes-nous, an exhibition by Judith Albert, Katrin Freisager, Dana Claxton, and Nik Forrest. These four established artists open and disrupt our knowledge of space and time, bringing into question the line between reality and illusion through poetry and resistance. (info)
Art POP is collaborating for the very first time with the Association of Visual and Media Arts Masters students (AEMAVM) of the Université du Québec à Montréal to co-present POP Pavillon, AEMAVM’s annual group exhibition showcasing the work of 11 exciting, emerging artists. (info)
Centre Clark presents a new exhibition by Shana Moulton, an artist who creates evocatively oblique narratives in her video and performance works. In Whispering Pines, the artist presents art pieces combining an unsettling, wry humor with a low-tech, pop sensibility.(info)
* POP Montreal 2018 runs September 26-30. Full schedule available at POPMontreal.com
** Featured Image: Screengrab from Kilo Kish’s Elegance video
Michelle Blanc won’t win in Mercier and Parti Québécois (PQ) Leader Jean-François Lisée knows it. Keeping her on the ballot is all about how removing her would play outside of Montreal.
Mercier, which includes a large chunk of the Plateau and Mile End, is Amir Khadir’s riding, or at least it will be until he is replaced in this year’s Quebec Election (he’s not running again). It’s the first riding Québec Solidaire (QS) won (they took it from the PQ) and it remains a stronghold for them.
The prospect of the PQ reclaiming Mercier from QS was a longshot to begin with, even with Khadir gone. Running Blanc, a trans woman, as the candidate, might have seemed to the PQ brass like a shot in the dark that might just get some progressive voters to flip back to them.
The problem is Blanc turned out to be quite the racist and overall problematic candidate.
“An employee insists on calling me ‘Sir’ because my voice is masculine. My response, your voice is African and I don’t call you my little (n-word).”
Lisée defended Blanc by arguing that she was a private citizen, not a candidate, when she wrote the tweet and we shouldn’t be judged by our past mistakes. The past, in this case, being six months earlier.
Around the same time, Blanc called philosophy professor and blogger Xavier Camus a pedophile in another tweet after Camus blogged about ties between the PQ and the far right. This time Blanc apologized herself and deleted the tweet after Camus filed a cease and desist order.
Then, a 2007 blog post surfaced in which Blanc complained about members of the Hasidic Jewish community not saying hello to her and wished that they would just “diappear” from her sight. This time there would be no apology from either Blanc or Lisée, instead she offered “no comment” and her party leader started talking about free speech.
So why doesn’t Lisée just drop Blanc as a candidate? Or, at the very least, why doesn’t he urge her to re-think alienating the Hasidic community, which makes up part of the riding she is running to represent?
That would be an easy calculation to make if the PQ’s goal was, in fact, to take back Mercier. While it may have been that originally, now the party’s biggest concern is not alienating voters who agree with Blanc’s bigoted statements in ridings where the Coalition Avenir Québec (CAQ) is poised to win.
The PQ, over the past ten years at least, has really had two bases: progressive sovereignists in Montreal and Quebec City and right-leaning nationalists everywhere else. For the most part, they have managed to play to both of them, with a few notable exceptions like André Boisclair losing the right and Pauline Marois losing the left with her Charter debacle.
Now, a chief architect of the Charter is heading the party, looking at poll numbers and calculating that the only way the PQ can remain relevant is to give up on winning in Montreal and hope the right-leaning part of its base doesn’t think the party has turned its back on them. Keeping Blanc on the ticket in Mercier is a sure way to show them that they haven’t abandoned the bigots.
Blanc won’t re-take Mercier and Lisée may even lose his seat in Rosemont, but that doesn’t really matter to the PQ now
Montreal’s The Holds are a band inspired by the greats and their local contemporaries. Frontman Ryan Setton cites classic R&B artists like Otis Redding and Stevie Wonder, classic rock acts such as The Animals and Led Zeppelin and local acts like John Jacob Magistry and The Damn Truth among the band’s influences.
“When we approach what we do,” Setton said in a telephone interview, “we’re influenced by the past but we’re not thinking about it. We’re definitely in the moment of what’s going on now (on the Montreal scene). The result is The Holds.”
Setton feels that the scene that influences them is also one that gives back.
“Montreal’s always been a very supportive scene, a lot of people are supporting the bands,” he said, adding that “it can be tough, though, at the same time because there are a lot of bands. So it can be intimidating sometimes as an artist to find out just where you fit in.”
The Holds is Setton on vocals and guitar, Justin Wiley on drums and percussion, Eric Hein playing lead guitar and André Galamba on bass. That was the same lineup I caught at their EP launch two years ago, shortly after the band’s formation.
“We are lucky enough to have the same lineup for years,” Setton observed, “building chemistry and having a good band chemistry and interaction between the musicians is super important. With the first EP it was more like ‘Hey, let’s do this!’ We didn’t really know where it was going to go. But doing this second record it was clear we’re all on the same page…There’s no confusion as to what direction we’re headed in as a band.”
While The Holds are a band that sticks together, they also tried living together for four days in the country. This was in order to record their first full-length album Juke, featuring songs they had already written over the course of a year and a half.
“We had recorded many times in the city,” Setton remembered, “and at the end day everyone would go home and we’d have to come back in the morning and get back into the flow. That’s why I thought if I get everyone together, we’re in one place, we’re stuck there…and it was totally worth it because it all worked out for the best.”
You can hear for yourself this Saturday when The Holds play live and release Juke. In the meantime, enjoy this video from their first EP:
* The Holds Juke Album Launch with special guests Celina Wolfe and Lea Keeley is Satuday, August 25 at 9pm (doors 8pm) at le Petit Campus, 57 Prince Arthur Est. $10 (includes a dropcard with a download code for the album)
Dawn McSweeney has been writing for years: short stories, poetry, even some journalistic pieces for this very site. Now, she has finished and published her first novel, The Mountains We Climb By Accident.
“The story lent itself to the length of a novel,” McSweeney said in a phone interview, “I started writing it with the hopes that it would be a book, but I’ve done that before and they don’t always get there. This one did.”
McSweeney did try self-publishing once before, back in the early 2000s, which meant actually paying for paper and doing it yourself. She finds that now there is much more opportunity for authors to get their work our there, but, of course, there are limitations.
“There’s no support, there’s no net, there’s no person who is the expert who is guiding this whole ship, it’s kind of like ‘here are some words, I hope they stick’,” she observed, while also noting that her daughter’s friend got her book as an Amazon recommendation, so “maybe there is a fair shot to be had.”
Location may have played a part in that recommendation as McSweeney’s book is set in Montreal, which, as she puts it “not enough” are. This choice was, in part, because it’s what she knows, but also due to some of the unique aspects of life in our city.
“People tell me that in other places they don’t use parks the way that we do. We treat a park like a beach and lay out in a way that in other cities maybe they don’t,” the Montreal born and raised author observed, noting that “the things we take for granted and just process every day are actually flavourful experiences that are site-specific.”
McSweeney grew up thinking that if you set your story in Canada, it will be considered just a Canadian story, without the prospect of getting traction internationally. However, she now feels that a Montreal story is different.
“We’re OG hipster in that way,” she observes, “we have that caché of a very small space that we have injected so much personality into.”
Family relations also play a big part in her story, too. And one planned plot point was unexpectedly mirrored in McSweeney’s own life as she was completing the book.
“I didn’t plan for that to happen,” McSweeney observed, “and it was strange to be writing about that concurrently.”
The Mountains We Climb By Accident follows its central character Talia from the present day, to a few years prior, to her childhood, then back to a few years ago, then back to the present, then to her teenage years and so on. It reads like several short stories woven together thematically rather than chronologically.
McSweeney says she chose this structure to better emulate how a person actually thinks:
“We are just a collection of our disjointed experiences,” she explained, “they are all each a chapter and are all each a separate narrative. You can remember something from your childhood so poignantly and then completely forget a conversation you had last week. One becomes the afterthought and one becomes the centerpiece memory. Sometimes I struggle to write something in a straight line because that’s not how it feels when I experience it.”
You can experience this unique narrative structure and a story based in Montreal right now.
The History of Sexuality is a play that is going to make you uncomfortable, but the reasons it will are the very reasons why you should see it.
Following a successful run at the Mainline theater in September 2017, it was selected as part of Pride 2018’s programming. Playwright, director, and producer Dane Stewart set out to write a play about queerness and power dynamics and the result is a piece that is visceral, heartrending, intellectual, sexy, and authentic.
The play revolves around a Master’s seminar about Michel Foucault’s book, The History of Sexuality taught by Marie, played by Renée Hodgins. It is through this seminar that the stories of the professor and her students are tied together. Though they have their own lives and relationships with power dynamics and sexuality, they always end up in class to talk about Foucault.
Hodgins’ portrayal is partly of the stereotypical passionate university professor doing her best to make her students think, while at the same her character is given depth through her relationship with her long-term partner, Gayle, played by Haitian Canadian actress Melissa Toussaint.
Gayle is disabled and the struggles between her and Marie to maintain intimacy despite the disability are relatable and real. Toussaint’s Gayle is one of the most faithful representations of the struggle to live with disability I’ve ever seen on stage.
You feel her frustration as she struggles to find a job not only as a black woman, but as a disabled black woman, and you see the deflated look of depression so many disabled people have when Toussaint is on stage. It is a look similar to that of Madeleine, a black woman struggling with depression while doing her best to maintain her relationship with Alissa – played by Kayleigh Choiniere.
Madeleine – played by Jazmin Illidge – is a woman struggling to find her place in the world despite being a black lesbian with depression. You feel the listlessness in her portrayal and the impact on her relationship with Alissa, who works as a stripper. Alissa shares her struggles with being objectified in her work and her portrayal is a good demonstration of how ordinary and likeable strippers can be. In the play, Alissa is asked to introduce her classmate Talia (played by Katherine King) to stripping.
It is Talia and Darr, the play’s transgender character played by Darragh Mondoux, who are in one of the most important parts of the play. This section addresses sexual assault, and is overlaid with audio clips of an interview Dane Stewart did with an actual sexual assault survivor.
It mercilessly addresses the fact that it is the female victims’ accounts that are always put on trial and not men’s, and with every graphic detail, audiences are made profoundly aware that coercion or the simple violation of the accepted terms of a sexual encounter can turn a consensual encounter into a rape.
The play also includes an interview with a male self-professed perpetrator of sexual violence. It is an uncomfortable topic, but it’s an important one that we need to keep talking about.
The History of Sexuality also addresses kink, which is another topic that might make people uncomfortable. Craig – played by Trevor Barrette – is a student in Marie’s class, but he also works as a gay male escort, and is into puppy play. You see him being whipped by his master Martin, played by the Oliver Price who comes off a bit cold but well-suited to the part, as well as some simulated pee play that may make some people squirm.
That said, Barrette’s Craig is sweet and loveable and the relationship between Craig and Martin helps to demystify some aspects of kink. The portrayal also addresses the issue of emotional abuse while highlighting the power submissives have in BDSM relationships, a notion that is typically misunderstood. After Fifty Shades of Grey, we need more realistic portrayals of kink like this one and Stewart, Barrette, and Price certainly did it justice.
The History of Sexuality does have its flaws.
The portrayals of the characters in prostitution seem to minimize its dangers. The classroom scenes can get a bit boring and heavy with intellectual discussion, though they do succeed in addressing the viciousness with which some people on the Left speak to those with opposing views.
David Hudon is perfect as John, the stereotypical cis white male who is a slave to the gender binary and adheres to essentialist notions of differences between sexes. You feel John’s defensiveness constantly when he is on stage as well as how quick his non-gender conforming classmates are to attack him. Though the character has no backstory, Dane Stewart admitted in an earlier interview that the character is meant to represent the majority of men women and queer people have to deal with regularly.
The History of Sexuality is the kind of play we need more of. It’s not perfect, but it helps to demystify many aspects of sexuality many cis straight vanilla people would like to ignore but cannot. If you identify as queer, disabled, or trans, or a person of colour you will see aspects of yourself on stage and feel the power of being adequately represented. If you’re a woman who’s been victimized in the past, you will feel vindicated. If you’re cis and straight, the play will hopefully make you realize that people are people. For this reason alone, it’s worth seeing.
I had no idea what to expect when I entered the Mainline Theatre to see Brave New Productions’ staging of the Martin Sherman play Gently Down the Stream. I knew that the play was part history lesson, telling the history of the persecution of gays in the United States, but I had no idea what the format was going to be. As a reviewer, it’s often best to go into historical plays without any prep – a true test of how well the play tells the history without boring the viewer.
The play is set in the London flat of Beau, a gay pianist from New Orleans, whose claim to fame was being the accompanist to cabaret singer Mabel Mercer in the 40s, 50s, and 60s. The history of gays in the United States is told by Beau to his young English lover Rufus, who is fascinated with history and into older men.
Beau’s knowledge of the past is fragmented and Joe Dineen’s portrayal is at once sincere, funny, and heartrending as he describes losing a lover to the terrorist attack at the Upstairs Lounge in New Orleans, and another to the AIDS crisis. Dineen’s Beau comes off as veteran-like and sweetly grandmotherly.
It is not, however, the history lesson that sets this play apart. It’s the sincerity with which the relationships are portrayed. The age difference between Beau and Rufus – the former is in his late sixties, the latter in his late 20s – is a constant point of contention, as is Rufus’s mental illness. The on-stage kisses between the two men seem real, not forced, and you get a feel of genuine intimacy between all the characters and a sincere snapshot of gay male domestic life.
Sean Curley’s Rufus is one of the most realistic portrayals of Bipolar disorder I’ve seen on the stage. Montreal native Daniel James McFee is sweet and saucy as the tattooed performance artist, Harry.
Brave New Productions’ play is not perfect. Though he never breaks character, Joe Dineen seems to have trouble remembering his lines from time to time, though he does recover quickly enough. Sean Curley’s British accent slips here and there, and while his portrayal of depression is on point, it lacks the look of deflation depressed people usually have. People who aren’t into history or domestic scenes may find parts of the play boring, but they brought a tear to my eye.
If you want to laugh and cry, and learn a little and see scenes separated by beautiful old timey music, you need to check out Gently Down the Stream.
* Gently Down the Stream is playing at the Mainline Theatre from August 2 to 11th. Tickets and info through MainLineTheatre.ca
** Featured image by Donald Rees, courtesy of Brave New Productions