In light of the video going viral of Juliano Gray being brutally beaten by STM security at Villa Maria metro, the STM announced their plan to set up a committee to investigate complaints their security. As one of the witnesses to come forward about the Villa Maria incident, I have a unique perspective on their actions and I am here to share them.
A lot has happened since the incident on March 7, 2019. I’ve been on the news a few times, I’ve spoken to a city counselor, and I’ve had people point at me and say they saw me on the news. I’ve seen a copy of the STM’s report about the incident, forwarded to me by City Councilor Marvin Rotrand, and it reminded me of a quote from the comedian Groucho Marx:
“Who you gonna believe?! Me or your own eyes?!”
Though the report claims that they investigated the incident, not ONCE did the STM reach out to ask me about it, despite the fact that everyone from CTV to TVA somehow got my phone number. I am certain that the level of violence to which Mr. Gray was treated with had everything to do with his race.
In response to the notion that Gray was racially profiled, the STM’s report boasted of the ethnic diversity of their employees and the fact that they hardly get any complaints of racial profiling anymore, to which I say the following:
Having people of colour working for you does not mean that your white employees aren’t racist.
Montreal’s black community no longer bothers to file complaints of harassment and racial profiling by security with the STM anymore, because the STM almost always sides with their people. Instead, they tend to go directly to the Quebec Human Rights Commission, where they have a better chance of having their complaints taken seriously and treated fairly.
That said, the STM had better think REAL hard about how this committee will be set up, who it will be made up of, and who will be in charge of oversight.
If the STM is really determined to fix relations between their security and the public with this committee, the first act of good faith would be to ensure that they are NOT the ones in charge of overseeing it. If they are truly committed to showing that their security is there to help not harass, they need to make sure the committee is diverse. That means a committee that is made up of representatives of groups who feel they’ve been targeted in the past and is diverse in terms of ethnicities, faiths, ages, and genders.
It also means that the STM should not be paying the salaries of committee members, so members don’t feel that their paychecks are reliant on pleasing the STM. If they are truly committed to social justice, they need to make sure that the committee’s recommendations and decisions have teeth, so that any legitimate complaints against security result in actual suspensions and dismissals.
Many groups, including the Center for Research Action on Race Relations, a Montreal-based non-profit civil rights organization, have called for an external, independent complaints examination system to investigate complaints against STM security and they are right to do so. As long as the STM is handling complaints against their own people, there will never be justice for those harassed, assaulted, endangered or otherwise abused by their security.
Montreal police have informed me of what powers STM security guards actually have and the answer will shock you. They have as much police-like power as you or me, meaning that they can make a citizen’s arrest and detain anyone committing a crime.
The second the real cops arrive, they are legally bound to hand over the suspect. People have been highly critical of the STM’s demands to give their security more police-like powers, but at the same time people want STM security to be subject to the Code of Ethics of Quebec Police Officers.
Unfortunately, only those considered peace officers under the law can be held accountable under the Code, so we can either have STM security recognized as peace officers so they can be subject to the Code, or we can keep using other laws to hold them to account for their actions.
The STM is claiming that they are determined to improve relations between their people and the public.
I say: prove it.
Hand the establishment and oversight of this committee to people who will treat it as a real tool for social justice and not just as a pathetically meaningless PR move.
Luc Ferrandez, Borough Mayor of Plateau Mont-Royal since 2009, former interim leader of Projet Montréal and more recently the Executive Committee member responsible for Montreal’s large parks, is out. He announced that he is leaving politics in a Facebook post earlier today. He has already submitted his resignation and it goes into effect in June.
Frequently controversial and never afraid to say exactly what was on his mind, sometimes to a fault, his departure announcement was very on-brand:
He didn’t give a benign reason (spending time with his family, etc.) and then follow it up with a bunch of thank-yous to his colleagues like a typical politician would. Instead he attacked the Plante Administration’s environmental bona fides and then followed it up with a bunch of thank-yous to his colleagues in that same administration as only Luc Ferrandez would.
Basically,Ferrandez feels that the current city government isn’t doing all it can to protect the environment. He also feels that he is someone known for his commitment to protecting the environment. Therefore, as he explained, his continued presence in the administration maintained a “false image” that they were doing all they could.
For Ferrandez, all they could be doing is a pretty extensive list. It includes proposals Plateau residents might expect, like taxing all parking spaces, taxing all cars coming into downtown and increasing the size of green spaces. There are also proposed limits and taxes on petrol products coming through our port.
The most interesting part, though, is his plan to limit the height of buildings in certain areas, but increase the height of buildings near parks and Metro stations. Basically, it’s designed to limit the need for daily car travel, something that’s probably worth its own article, but not today.
A Double-Edged Sword for Plante
Now the focus is, has to be, on what his departure means for Mayor Valérie Plante and Projet Montréal. The next municipal election is still two years away, but running without Ferrandez on the ballot will definitely be a factor.
On one hand, this may help Plante city-wide. Last election, incumbent Mayor Denis Coderre made “in a Plante-Ferrandez administration” his go-to snide remark in debates, knowing that the Plateau Mayor’s reputation, bolstered by local corporate media, was something that could hurt his opponent in parts of the city that were markedly different than the Plateau.
In the Plateau, though, Plante’s party loses someone who was re-elected, along with his entire team of councillors, twice, each time a landslide victory. Replacing him won’t be the easiest task, and it’s one that Projet needs to accomplish soon, because when his resignation takes effect in June, they have a 120 day by-election campaign to retain control of the borough that has been at the core of the party for a decade.
For the 550 some-odd people who made their way downtown to Hotel Bonaventure last Sunday, there was no place they would rather be. Montreal’s first Cat Expo in here, and with special guest television star Jackson “Cat Daddy” Galaxy in town, the excitement is palpable.
The Cat Expo is the first of its kind in Montreal. Sponsored by Mondou and presented by Humane Canada and the Montreal SPCA, the unique exhibition brings together local and international humanitarian organizations, artists and vendors. Guaranteeing an evening of educational and entertaining activities, freebies and talks, the Cat Expo has it all. From adorable, adoptable kitties to a DIY catnip station, the Cat Expo has all of our cat needs covered.
I wish I had a cat, I really do, but a university lifestyle and two hesitant roommates means I may have to wait awhile. But I’m excited nonetheless – I’ve grown up with cats my whole life and love to cuddle with my childhood BFFS (best feline friends) whenever I stop by mom’s house for dinner and laundry. The Cat Expo marks an important day for me, too – I may have to pull myself back from making an impulsive decision (i.e.; rehoming one of the kittens the SPCA is bringing for adopting), but, alas. The things we do for passion.
I make my way into the exposition hall just as the vendors are preparing for the influx of people. Big, silver balloons at the back of the hall spell out the words “MEOW” and “CAT EXPO”. A charicature artist – who draws humans with cat features – sets up her station near the stage, where the events special guest is to perform later on in the evening. After scouting the room, I sit down to speak with Daniel Filion, founder of Educhateur (or Cateducator in English).
From peeing outside the litter box to excess nightly meowing, Educhateur is a local company that provides solutions for problems in cat behaviour. With a team of over 15 people at its Montreal location, the organization provides interventions for all types of feline behavioural issues. They’ll come to your house, come to meet your furry baby, and work with you and your household to figure out how to adapt your behaviour and your conditions to meet the cat’s needs. Whatever the problem may be, Phillion’s got a solution – but you’ve got to be willing to compromise.
He’s got a charismatic energy, a natural entertainer who is eager to share with me his knowledge and passion. “We believe in a day where a vast majority of people will understand their cats and their needs to live in harmony with them,” he says.
Phillion works hand in hand with local veterinarians, explaining that many feline behavioural problems often have some undiagnosed medical issue. He started the company by himself in 2007, after finding that there was an extreme lack of specialists in the industry in Quebec.
The first thing he did was to go see Diane Frank, the head of Universite de Montreal’s veterinary department. “There’s no school, there’s nothing that exists. It’s a very new profession,” he explains. “I asked her, what can I do to help? Cause there were only two cat behaviourlists at that time.”
While animal behaviourists have been around for more than a few decades, Phillion addresses a important issue – we simply don’t know cats, or at least not as well as we should. “Even though [cats are] the most popular domestic animal in the world, people just don’t know what they need, don’t know how they are working. We need to inform people on this and we’re going to get better and better.”
Next I stop by the Paw Project, who have been advocating against declawing for close to 20 years. Members of the Paw Project have been fighting legislation from state to state in the United States, and members have even been the cause of Canadian legislation banning the practice here. I had the honour of meeting the organizations founder, Dr. Jennifer Conrad herself.
The declawing of a cat is more than just removal of the nails, it includes complete amputation of the last joint. Declawing may result in arthritis and other permanent disability and can thus become the cause of bad behaviour in cats. A declawed cat may refuse to use a litter box because of post-surgical pain, and with her primary defence taken away – her nails – she may even begin to bite, along with other aggressive behaviours. Declawing has already been banned in the UK and over twenty other countries in the world, but is still legal in many states and provinces in North America.
“[In] Nova Scotia and for Atlantic Canada, it’s illegal. A Paw Project director did that,” she tells me. “In BC and Alberta, the veterinarians have now voted to ban declawing, and that is because we have provided them with the information, and BCSPCA pushed because they’re like, look at all of this information.” Her efforts have even gone as far as VCA Canada, largest chain of veterinary hospitals in Canada. All 110 hospitals have stopped the practice of declawing.
She hands me a DVD from a stack – the 2013 film The Paw Project starring the Dr. Herself. This documentary follows Dr. Conrad in her campaign to ban declawing all around California and the rest of the United States.
“It started because I was repairing the claws on big cats,” she explains. “The policy has to change, or else you’re going to sit there and try to do individual after individual. And if the policy were changed, then you protect a whole population. That’s why it became a question of policy.”
I leave with a small pin that says “arretons le degriffage!” and dutifully attach it to my jacket. Feeling humbled by our conversation, I make my way back around to snap a few pics of the expo space.
In terms of vendors, there is everything from new cat technology (a cat-sized running wheel and a self-cleaning litter box are among some of my favorites) to local cat artists selling mugs with cute, cat-inspired designs. Mookie and Lulu Designs specializes in hand-made cat tipis, made “with love” and inspired by the founders own cats, who are named – surprise – Mookie and Lulu.
Inspired by her late cat, co-founder and creative Mya specializes in ‘cat tipis’, where a cat can spend her time grooming and chillaxing under the home-made canvas.
I asked her what inspired her most about her cats. “The love. Oh, the love,” she tells me, her eyes welling with tears. She is, admittedly, very happy to be here. “Oh my god, my life would be so empty [without them].”
Catorday is another favorite of the evening – designs include a cat in a Habs shirt skating down the rink, and the infamous We Can Do It poster, superimposed with the words “We Cat Do It”.
As seven o’clock rolls around, people begin taking their seats. The guest speaker is about to begin, and he is not to be missed. Flying in from Los Angeles for his very first time in Canada, Jackson Galaxy has been taming cats for over a decade.
His show My Cat From Hell, which just closed its 10th season, follows Galaxy as he tours around America to heal both cat and owner with his unmistakable empathy and talent. Loveable and quirky and definitely unique, Galaxy is the main reason many are here tonight.
Galaxy takes his audience on a ride, combining fact with humour and a lively and warm energy. It is not hard to understand how the man holds such power over cats.
His audience is entirely captivated, holding onto his every word. He delivers calmly, devotedly sharing advice on how to cat-proof your home, when to give treats and how to deal with even the unruliest of cats. I take notes to share with my friends.
The only room at the exhibition hall to feature actual, live cats is an adoption room set up by the SPCA. The room has been packed with people all night, but what else would you expect at a cat expo? While I wait my turn to get a glimpse at the sweet furry babies, I engage in a conversation with a member of the SPCA’ Trap-Neuter-Release-Maintain program.
To my own surprise, I learn that the Montreal SPCA offers a street cat sterilization clinic that is open all over the island. Aiming to keep the number of street cats down, the SPCA has inaugurated a system that involves trapping, sterilizing, vaccinating and deworming adult cats before either adopting them out to a new forever home, or releasing them back onto the streets if they are too aggressive or wild. Since its inauguration in 2010, the TNRM program has sterilized nearly 7000 street cats, contributing to lower levels of kitten homelessness.
The program works with the help of citizens like us, the representative tells me. A quick phone call to the programs’ lead department will provide you with more information on how to get started in your own community.
I stop by the adoptable kittens again, trying not to poke my fingers through their cages to stroke their soft, soft skin. Through a chorus of coos, caws and meows, I manage to snap a few pics of the little poofs and wish them luck in their search for a forever home, though I know I’d make a better cat mom than anyone there. Obviously.
As the night comes to a close, I do my rounds and thank all of the vendors. The Mondou booth hands me a free catnip plant, and I stuff a few packs of Temptations in my back pocket for my friends cats – I’ll be the fairy catmother this week, blessing friends with all the free treats and cat toys. I feel complete, equipped with a mind full of knowledge and an intense urge to fight for animal advocacy.
There’s nothing more I want to do now than snuggle in bed with a cat on my legs, forcing me to keep as still as humanly possible. Maybe I’ll visit my mom more often, or offer to catsit for my friend on her monthly trips to Toronto, or even consider fostering a cat with the SPCA.
I would call this edition of Montreal’s Cat Expo a success. A purr-fect balance of inspiration, passion and activism, the Cat Expo has so, so much to offer.
I would recommend this event to every and any cat lover and to anybody interested and invested in animal rights activism. This event has been so very long-awaited by so many people, and now that it’s’ here, I am paw-sitive it is only going to get better and better.
The only thing we can do is hope for a better future – for our cats and us, their human counterparts. Here’s to many more like one, and for a fur-midable first in-cat-ation.
James Mullinger has a very interesting story to say the least. A few years ago, he was living a celebrity-filled life in London, England as an editor for GQ. Now, he lives in New Brunswick and is building a name for himself on the standup comedy circuit.
FTB’s Hannah Besseau had a chance to speak with him before his Almost Canadian Tour arrives at Montreal’s Theatre Sainte-Catherine this Wednesday:
James Mullinger will perform Almost Canadian this Wednesday, April 24 at 7:30pm at Theatre Sainte-Catherine, 264 rue Ste-Catherine Est. To win a pair of tickets, simply comment on this post, or on FTB’s Facebook share with your favourite city or town in New Brunswick. You can also tweet your favourite city or town in New Brunswick to @forgetthebox
We’ll randomly draw the winner from the entries we receive and announce who gets the tickets Wednesday morning. If you don’t win, you can buy tickets through ThePointOfSale.com.
Anyone who grew up in Canada in the 70s and 80s grew up with the songs of Raffi. An Armenian born in Egypt whose family immigrated to Canada in 1958, he became a household name following the release of his first album in 1975.
He was in Montreal on Sunday to do a couple of performances at Theatre Maisonneuve and he did not disappoint. All proceeds went to the Raffi Foundation, a group that commits to helping the most vulnerable and recognizes that : “Every girl and boy is entitled to love, to dream and belong to a loving village and to pursue a life of purpose.”
The stage was set with an easy chair, a guitar stand, and a rug, giving audiences the impression that we were visiting him at home and not seeing a legend. He bounded on stage with a spring in his step, radiating more life at age 70 than most of us do at 30.
Though his beard and receding hair are now salt and pepper gray and he’s swapped his Hawaiian shirt for a long sleeved plaid one, his voice rings clear and true as it did 40 years ago and radiates the same level of warmth Gen Xers and Yers have grown to know and love.
His audience was comprised of parents who bought his albums in the decades ago and people who grew up with him, some with kids so small their feet barely reached the edge of their seats, some without kids who are there because they crave the kind of loving comfort he offers in an economy that won’t pay fair wages and is systemically trying to strip our rights away. I was of the latter group, and as he began to play I found myself singing and clapping along as I did at the age of five in my pajamas while my parents played his albums on vinyl.
Raffi announced that there would be singing, guitar, “and a lot of bad jokes.”
“It wouldn’t be Raffi without Dad jokes,” smiled fellow concert goer Sarah Anderson.
Raffi started with the classic tunes he’s known for, including Six Little Ducks, Tingalayo, and his version of the Jamaican folk song Day O. True to form, he always let the audience know when they should participate with strategically timed claps, call lines, or sound effects.
He played the annoyingly catchy Banana Phone song with a few ad-libbed lines, including, when singing about all the people he would call with said phone: “I’ll call the White House and have a chat!” It was a line that prompted cheers from the adults in the crowd but was undoubtedly lost on the children.
Though Raffi played tunes from his newest album, Dog on the Floor, he played up to what he affectionately refers to as the Baby Beluga Grads, people like myself who grew up with his music.
I was happy to see him play my favorite of his songs, Down by the Bay, a song that features a lot of silly animal rhymes and wordplay and leaves room for ad libs. When I was a kid in the 80s and 90s dabbling in poetry, I used to try and come up with my own lines for the song, and Raffi did not disappoint that inner child.
He jokingly attempted lines he knew wouldn’t work, causing older audience members to bust out laughing before he finally concluded with: “Did you ever have a time…When you couldn’t make a rhyme?!”
As he guided the audience, he chuckled, giving you the vibe of a favorite uncle or long lost grandfather. Though the concert was only about an hour long – a choice undoubtedly mindful of the limited attention spans of younger audience members – he packed as much as possible into that hour, playing two medleys of his classic tunes.
He often concluded a song by turning to the side, guitar handle out, back arched, in a nod to heavy metal and rock stars. Though most audience members were as well-behaved as could be given the young age of many, there were unfortunately at least two jerks who kept yelling demands for the song Baby Beluga, the Raffi concert equivalent of yelling “Do Stairway!” at a rock concert. Fortunately, Raffi remained unfazed and continued on with a smile, playing the requested song only when he was ready.
When the concert ended Raffi got a standing ovation that was well-deserved. Just as we thought it was over, he bounded back on stage to treat us all with an encore, including a new verse he wrote for Baby Beluga to address all his fans that have since grown up. In it was a call to action, telling us that we were the future, and to fight for social justice, equality, and against climate change. It was this final gesture that brought a tear to my eye and had me sniffling a bit as I left the concert hall.
Last week we learned that Montreal’s transit authority, the STM, wants its security guards to have more “police-like powers” (whatever that means) despite recent incidents like the assault on a commuter at Villa Maria metro. The STM claims that this won’t involve arming the officers who patrol the Montreal Metro and STM buses with more than the nightsticks they already, have but it will come with additional training.
The people currently working security for the STM definitely do need to be re-trained, though not in the way I suspect the STM wants to do it. The first lesson in my school, after mandatory classes against racial profiling, would be called something like You’re a Security Guard, Not a Fare Collector!
That’s sadly not the mentality the STM has. You only need to look at the statements STM officials made while pitching the upgrade for their cops to see how they really don’t get what kind of organization they are running.
With countless references to “customers” and “customer experience” you’d think they were at the helm of a for-profit business instead of a public service. Doctors have patients, public transit organizations have commuters or passengers, hell, transit users would even work, but not customers.
The latest PR nightmare for the STM involves a woman who missed the last metro, where she could have paid to ride, because the out-of-town bus she was on arrived late. She couldn’t find any stores that were open to make change, so she boarded a night bus, explained her situation to the driver and asked if she could ride without paying. He said yes.
Two stops later, STM cops gave her a $222 fine and kicked her off the bus in the middle of nowhere with no way to get home. They kicked a woman travelling alone at night off the night bus in the middle of nowhere because she didn’t have the change handy to buy a ticket despite the fact that she had asked permission to ride for free given the circumstances.
How does that make anyone safer? It doesn’t. Actually, it’s the opposite. If the STM “security” (or Rambo ticket takers) hadn’t boarded that particular night bus, one woman’s ride home would have been a helluva lot safer.
Just as Juliano Gray, the victim of the assault at Villa Maria Metro, would have been safer if STM officers had not held him on the ground with his head dangerously close to the tracks. These are two recent incidents where the biggest threat to commuter safety turned out to be those charged, at least officially, with protecting it.
In the immediate aftermath of what happened at Villa, even before Gray came forward, STM spokesperson Philippe Dery was trying to defend the officers’ actions in an email exchange with CTV Montreal and failing miserably. Then, according to CTV he added: “In addition, the person did not have a ticket in his possession and refused to cooperate with our inspectors.”
His Hail Mary defense of brutality caught on video was to tell everyone that the victim probably didn’t pay for a ticket. Not only is it not justification for assault, it’s something that very few care about outside of the STM bubble.
There are real, honest to goodness, problems in the metro and on the bus. Harassment, creepy behaviour and worse. These are issues transit security should deal with. Fare jumping doesn’t even merit a blip on the radar, but it seems to be security threat number one for the STM.
Sure, this public service has a fee, one that most of us pay. While I believe public transit should be free, I know that not everyone is on board with that yet, but at the very least we can get on board with the idea that fare collection should not be the primary concern of those charged with protecting passengers and that we are passengers, not customers.
A safe commute is knowing that the person next to you won’t do you any harm, not that they paid for a ticket or pass. The STM brass needs to realize that fact and instill it in their security guards before trying to give them more power.
If there was ever a slice of stereotypical Americana to come to Canada, it was Monster Spectacular XXV. Set in Montreal’s controversial Olympic Stadium, scores of mostly white people, some with kids, some without, filed in wearing variations of denim and camo to see what was supposed to be “a three-hour show with no time-outs and non-stop high-speed breathtaking action!”
The reality was very different. Those filing into the stadium saw the field scattered with dirt, ramps, and old cars for the trucks to crush.
Within minutes the air was filled with the deafening roar of motors and a slew of monster trucks with fancy names like Backdraft, Overkill Evolution, and Bucking Bronco revved their engines and did a lap around the stadium to kick up some dust and show off their machines. Anyone with a lick of common sense was wearing earplugs, while most parents had their kids in sound muffling headphones.
The emcee for the night was a bilingual bald fellow in a black suit, white shirt, and red bowtie. If they’d added glasses to his ensemble he’d be a dead ringer for the dancing old man in the Six Flags commercials.
He announced that the event would be a competition between the drivers and their trucks, though there were no scores on the stadium’s many scoreboards. Instead audiences were treated to a slew of ads by purveyors of car parts.
The stunts were ok, with trucks going up ramps, doing low jumps, and even occasionally resting on their two back wheels. Despite the emcee’s best attempts at revving up enthusiasm, audiences only expressed any excitement when something broke or someone was at risk of getting seriously hurt, undoubtedly a throwback to the days when public floggings and executions were considered family outings.
In addition to the monster trucks, the show featured Tuff Trucks Buggies, which are basically souped up dune buggies, as well as an aerial show by some dirt bikers. The buggies were boring; aside from a couple of jumps, it was as exciting as watching kids go-carting, and the latter would probably be cheaper and more fun.
The true stars were the dirt bikers, who not only featured the only female driver, but also did dazzling jumps off a high ramp, throwing their limbs in midair before landing seamlessly. The audience loved it.
Aerial bikers aside, the show was a total bore. After the first series of jumps, the monster truck displays got repetitious. Only the sight of possibly injured drivers emerging triumphant from their damaged vehicles could summon any enthusiasm from the audience.
Even those who remembered loving shows like these as kids were disappointed. As for the children in attendance, it was hard to say, though a couple of kids a few rows down from us found it more fun to toss popcorn in the air to try and catch it in their mouths rather than take in the show.
Maybe these kinds of events are more fun when you’re drunk.
Today, the Plante Administration announced that after City Hall renovations are complete, they won’t put the crucifix back in the City Council chambers. Yes, this move is about secularism of the state, as the Mayor made clear:
“The crucifix is an important part of Montreal’s heritage and history, but as a symbol, it does not reflect the modern reality of secularism in democratic institutions.”
Montreal Mayor Valérie Plante at a press conference on March 20, 2019
Plante also reiterated that she still opposes Quebec Premier François Legault’s plan to ban public sector employees from wearing religious symbols like kippahs and hijabs. The state, for her, and for me, and for anyone who really thinks it through, is the democratic institutions, like the City Council. chambers and not the wardrobe of teachers and bus drivers who work for the government.
Or, to put it in other words, a council member wearing a crucifix and, say, a security guard wearing a turban in the council chamber are just two people expressing their personal beliefs through what they wear. A religious symbol on the wall, though, is the state aligning with the particular religion the symbol comes from.
Not everyone sees it this way. I’ve already seen quite a few internet comments decrying the move as an attack on our traditions and I’m sure there will be talking heads on TV tonight and columnists in Quebec’s dailies tomorrow pissed off about what Plante did as well.
I’m sure that a good chunk, if not most, of the people coming out in opposition to removing the crucifix today will turn out to be the same people who were screaming religious neutrality of the state when the topic was Legault’s plan. I’ve already seen some commenters try and spin it that Plante is just anti-Christian and pro-Muslim.
While few will be that openly bigoted, those that previously supported the religious symbol ban and now oppose the move to remove the crucifix should admit that it isn’t about secularism at all, but about assimilation. They just lost any progressive secularist cover they may have enjoyed until now.
Those that support Plante’s move, want to get rid of the crucifix in Quebec’s National Assembly as well and support Legault’s ban, well, at least you’re consistent. Those that oppose both the symbol ban and removing the cross, you’re consistent as well.
Those like me, and now Montreal’s mayor, who don’t want the state to dictate what teachers can wear and think a government chamber is no place for a religious symbol, our logic makes perfect sense.
Those who think we should ban all religious symbols but the Christian ones, you’re not secularists, you’re cultural fundamentalists. And you just lost your political cover.
In the premier episode of the all-new FTB Podcast, hosts Jason C. McLean and Dawn McSweeney talk about the Outremont by-election and Canadian politics with special guest Niall Ricardo and we feature an interview with NDP candidate Julia Sanchez.
Also: News Roundup, Survey Says (Should Major League Baseball return to Montreal?), Dear FTB, Things You Did Not Know (Maybe) and Predictions!
January in Montreal means many things: frigid weather, atrocious driving, and from a commercial perspective, Valentine’s day prep. There is no clearer demonstration of this than at the annual Salon de l’Amour et de la Seduction.
Sponsored by MyFreeCams.com, it’s held every year towards the end of January and is a massive combination of trade show, educational conference, and performance festival. The rules are that it’s eighteen plus, you must be respectful and mindful of consent, and though you’re welcome to dress to impress, you must keep your genitals covered at all times. Inclusion and open minded-ness are the name of the game, and the Salon does a lot to make sure its disabled attendees are comfortable, with ramps and seating areas for those with visible and invisible illnesses.
As a reporter who’s had the honor of covering the event every year, the differences between this year and last year’s Salon did not go unnoticed. One of the biggest changes was clearly due to Canada’s recent legalization of recreational marijuana.
Though in previous years, vendors of bongs and pipes had one or two tiny booths, this year their presence was much grander. One massive booth offered pipes, vapes, and bongs in a variety of materials and price points. Another booth was devoted to HighonLove.ca, a Canadian company that makes hemp-based massage and bath oils, lubricants, and even chocolate body paint.
Though their products seem sound, their prices are quite high, with a bottle of massage oil going for as much as sixty bucks. The representative I spoke to said that this was because the product contained no fillers, though it is clear that their prices are also driven up by their fancy packaging, which gives it the appearance of a luxury brand.
Among the sex educators present this year was Morgan Thorne, author of A Guide to Classic Discipline, Exploring BDSM: A Workbook for Couples and Medical Aseptic Technique for BDSM. Thorne is not only a sex educator who runs BDSM workshops and offers Couples Education and Coaching both in person and online, but she is also one of the only visibly disabled exhibitors present at the Salon.
She spoke to me in depth from her wheelchair as I leaned on my cane about the difficulties disabled women face getting treatment for pain issues. The impression she gives off is one of empathy and open-mindedness and also has free BDSM educational videos.
Among the many sex toy vendors at the Salon this year was Bliss, which had a second booth for their other company Spank Toys. Of all the vendors at the Salon, their prices for vibrators were some of the most reasonable, with a decent model going for as little as thirty dollars.
I noticed upon arrival that there were fewer exhibitors this year. A representative of the company named Jeff told me that this was because the cost of exhibiting at the Montreal show – the Salon also has events in Las Vegas, Vancouver, Calgary, Edmonton, Regina, Red Deer, and Toronto – was particularly high this year. Despite the high cost, some smaller vendors were also at the Salon to showcase their works.
One such vendor is DicksWithWicks.com, which sells penis-shaped candles. I asked their representative whether her products were modeled on a real penis and she told an amazing story. She was on social media one day when a man sent her an unsolicited dick pic. Her horror and sense of violation quickly turned to empowerment.
She asked him for more photos of his junk from different angles, which he freely and willingly provided. The photos were then used to make the mold for the candles. When the man in question saw the products, he demanded a share of profits, to which she rightfully replied that he sent the images freely and with no presumption of privacy and she therefore owed him nothing. In the era of #MeToo, we need stories like hers more than ever, and it is companies like these that we need to support.
Another small vendor present was Exotique Spa Candles, a company that makes blacklight sensitive candles for sex play. Designed to not burn you when the wax is poured on your skin, the proceeds of their products go to the Alberta sex positive education and community center, a sex ed group that gives courses and workshops on consent and sexual health.
Their representative spoke to me in depth about how there is still a lot of shame tied to sex and sexuality in Canada and that the shame keeps people from having healthy discussions about it. A lack of discussion and health education has led to such problems as the increasing rates of gonorrhea and syphilis among people over the age of fifty. Information about their non-profit can be found at Aspecc.ca.
In addition to vibrators, dildos, candles, and lingerie, the Salon features the latest sex toy tech. La Marquise Sex Toys had a lifelike sex doll on display. Their rep said the entire doll costs around ten thousand dollars, but they also had lifelike hips with vagina and anus built in for four hundred dollars.
.Another company, Robot Sex Machine, had two machines in operation, demonstrating how their technology could be used to rhythmically move dildos and pocket pussies.
One of the biggest disappointments of the Salon this year was their kink corner. Though in the past the kink section had ambient lighting and tamer displays of kink, this year was a demonstration of mismanagement and a lack of discussion about what should be shown.
When I arrived the kink corner on Saturday around 2 pm, the area was impossibly dark due to a lighting issue that had never been resolved, and the displays of kink were too hardcore even for this crowd.
Many who come to the Salon and check out the kink corner are not kinky themselves, but curious and perhaps tempted to try it. That means that what they see should not be overly shocking, and should certainly represent healthy BDSM relationships to dispel myths resulting from the Jian Ghomeshi trials and the abuse portrayed in Fifty Shades of Grey.
Unfortunately, while one section showed a tame display of rope play, a kinkster in another section was furiously spanking and whipping a sub with few check-ins or after care. It was a display that turned the stomach of my friends, some of whom are kinky themselves.
It was the kind of display that would scare some off and give others the impression that abuse is acceptable if you call it BDSM. That said, I know the kink community can do better, and here’s hoping they do so next year.
The Salon de l’Amour is a lot of fun. Not only can you get quality sex toys and lingerie at discount prices, but you’ll also see great shows, see innovations in sex toy tech, and learn about sexual techniques, identities, and kinks. Your ticket also has the benefit of helping small businesses and educational groups that in the era of #Metoo need our support more than ever.
Check it out, have a blast, and leave your judgments and biases at the door.
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