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Do you like cyberpunk themes while you’re out late at night? Cause that’s what Meg Myers is all about. She opened up with a granular synth to cue the band to come on and played a set that hyped up the crowd for the ensuing acts of the night. Poppy then delivered on the heaviness, listening to their studio songs is nothing like hearing them on stage, they were tight, and they were polarizing. Her bubblegum pop voice (which bordered on extremely sultry) mixed with the abrasive big muff tone of the guitars and blast drums was everything that the crowd was looking for in an opening band. They ended off their set with her song  “I disagree”, which entailed the drummer Ralph Alexander increasing his blast speed twofold. 
 

Then Our Lady Peace took to the stage, opening with an ominous sequencer that filled the entire venue before “The Message” led the setlist.  They stopped in the middle of their second song to thank the crowd for having them on stage and thanked Smashing Pumpkins for the opportunity to play on their tour.  “Innocent” took the mantle of the third song. During the chorus you could hear the crowd on the floor singing “we are, we are all innocent” which took me on a trip down memory lane. After “Innocent,” the singer told a story to the crowd about how as a teenager he snuck into a venue to watch Jane's Addiction. He professed his admiration for them by announcing to the crowd that they would cover “Mountain Song'' from his idol band. “One Man Army” was a bit of a letdown because I was expecting the singer Raine Maida to be able to handle the high notes but he changed the majority of the chorus vocal melody. The band also made a slight slip up which is negligible but noticeable all the same. They played two songs from their more recent albums to stay current: the first one was “Wish You Well” which was from Spr, their most recent album, and the single that followed was “Drop Me in The Water” from Somethingness. 

Despite “Somewhere Out There” falling out of reach with its live expectations, many fans in the crowd could be seen waving their lighters to the beat of the ballad. 

Easily the most memorable songs (and least disappointing) from their set were “Clumsy” and “4am."  All in all I would’ve just liked to hear Maida’s voice more in the mix, but then again I think there was a reason for that as there had been many reports of him not being able to hit the high notes. Lastly, during “Starseed”, he barely sang the chorus sections and made the crowd do it; much to the our chagrin.

And then, everybody’s attention was diverted to the main attraction of Smashing Pumpkins. Do you like pad synths? Well then you would have loved the intro theme to the Smashing Pumpkins set. If I could describe it in one word?: symphonic. If you thought that the people were cheering for Our Lady Peace during their hits, you should’ve seen them during “Bullet With Butterfly Wings.” 

“Bonsoir Montréal, nous somme Smashing Pumpkins” in a shitty French accent right into “Today” which filled the venue with the sounds of teenage angst in a North American suburb. They have improved a lot since their last venture into Montreal in 2019. I remember Billy Corgan just playing the songs and barely interacting with the crowd. This couldn’t be further from the truth this time: he was dancing, pointing to random crowd members and interacting with them. Their set had just the right amount of heavy and soft songs; playing the softer tracks during moments where they felt people’s ears would tire out and they were spot on. Truly the mark of a seasoned band that has experienced many decades of touring.

One song from the setlist was a curveball in two ways: they took the song and turned it into their own, and the fact that they, Smashing Pumpkins, would dare stray from the 90s post-grunge that they were. That song was “Once in A Lifetime”, originally from the new wave band Talking Heads. They also didn’t hesitate to play their more recent songs, as “Solara,” “CYR,” and “Beguiled” made the set. Halfway through the show, Corgan and Iha struck up a conversation with each other, and thanked the crowd, remarking how “never in a million years could we imagine that we would be up here with you"; proceeding to perform the fan favorite Tonight, Tonight.

After “I of the Mourning” Iha introduced the band, playing up the banter levels again before starting the iconic “Cherub Rock.” What followed were some of the biggest hits in '90s post grunge history: after “Cherub Rock;” there came “Zero,” and then “1979.” I don’t know which of these received the loudest applause but Corgan, Iha, and Chamberlain, if you’re reading this, thank you for the memories. You made me cry. 

It's as if the night was a race for who was edgier: Poppy, Our Lady Peace, or Smashing Pumpkins? With Poppy/Myers’ sultry industrial sound and OLP having the monopoly on Canadian edginess, Smashing Pumpkins retained their first-place status as the “God is empty, just like me” persona. 10/10 would watch them again for the third time. 

British riff titans Conan opened their “Doom Over Canada” tour in Montreal on October 27 at Foufounes Electriques. The unique 10-stop jaunt will see the band grace Canada east to west with their blend of slow yet hard-hitting sludgey sonics - presumably ending in Vancouver on Nov. 6 (the location is to be confirmed, but it’s a logical point to end the tour).

Calgary’s Wilt and scene favourites, Dopethrone, opened the Montreal date. Dopethrone is a staple of the Montreal scene and they knocked their set out of the park as expected. Frontman Vincent Houde was really feeling his crazier stage persona, as he opened his eyes wide and scanned the crowd, eventually locking eyes with random audience members for uncomfortable amounts of time. This was of course when he wasn’t busy maniacally twitching and sliding his finger sideways across his neck while delivering lines to hit Dopethrone numbers.

Their set wasn’t all death stares however. Houde took a break between songs to ask fans to collectively wish his mother happy birthday, who he said was in the crowd that night. After a few more heavy-hitters, drummer Shawn Ellingham left his kit to tell the crowd that a dear friend of his, nicknamed “Princess Leia,” had passed that morning after battling cancer. The heartfelt confession was met with a warming applause from the audience. A real sense of togetherness was present amongst attendees from this point, as the phenomenal set-closer “Killdozer” turned the venue into complete pandemonium.

Conan went on to take the stage, exploding into their meandering mixture of heavy riffs and vocals that sound like some demon trying to communicate with you from beyond the grave. While the band’s stage presence was somewhat stiff, their music was altogether solid and well-arranged. Following slower, sludgier sections, the band would often break into something more fast and wild, riding catchier riffs and asking audience members to hop along with.

I also have to commend these Brits for taking on a Canada-specific tour. When I read the “Doom Over Canada” tour name I figured they were just going to hit the Canadian stops in one shot then dip to the denser dates down south where the money’s at. But no, they’re literally hopping across the pond just to play Canada east to west. I can only assume visa issues or something along those lines are the result, since it’s an interesting choice to play so many Canadian dates close to the border and not dip down to the States to at least play New York City, New Jersey, Philly, etc. Regardless of the backstory, props to Conan for being one of the few bands bold enough to tour Canada in one shot! They’re even playing Saskatoon!

Conan’s new full-length Evidence of Immortality is out now via Napalm Records.

We are well into October, and that means we’re about to kick off our annual Funding Drive! As we ramp up for that, here’s a quick overview of the incentive tiers from the station.

There are one-time donations ranging from $5-$250, and recurring donations ranging from $3/month-$25/month. You can find more information and donate here. (Check back for a list of show-specific donation incentives, coming soon!). 

We’re hoping to raise $1,200 before October 20th, which is when the Funding Drive officially starts.

The exciting events you can expect from this year's drive: 

Introduction to DJing for Gender Minorities 
“Learn the basics to DJing and get some hands-on experience spinning tracks with this in-person workshop. Open to women or anyone who identifies as a gender minority. Instructors Lady Oracle and Sugarface Belfo will be bringing their consoles and equipment, and each participant will be given time to experiment with music on their own.

When: Saturday October 22nd, 11am-4pm

Trivia Night 

“Show off your smarts as CJLO teams up with the Monday night trivia held every week at Ye Olde Orchard, to present a special edition for CJLO's Funding Drive. Form teams with up to 6 people and compete to win cool prizes, including passes to RIDM and Eastern Bloc, as well as vouchers for Chef On Call and Nilufar, and merch bundles from local record labels!”

When: Monday October 24th, 8:30pm

CJLO A-Goat-Goat Motown Night 

“Throw on your hottest '60s garb and get ready to dance the night away to the very best tunes from Hitsville, USA! CJLO 1690AM will be spinning Motown classics from the Supremes, the Temptations, Smokey Robinson, Marvin Gaye, Stevie Wonder, and many many more!”

When: Friday October 28th, 11pm-3am

Vinyl Fair 

“Calling all vinyl nerds! Dig into some crates and discover some gems, both new and classic, at the CJLO Vinyl Fair! Come on down to MB 9 (JMSB building) of the downtown campus of Concordia University! We'll have vendors selling classic rock, soul, country, blues, and even some folks selling CDs (calling all CD Guys! Your time has come!)

When: Saturday October 29th, 12-5pm

On top of all these events, there’s also the option to show support with CJLO exclusive merch showcasing this year’s Funding Drive theme of “Livin’ for the City”. T-shirts, tote bags, power banks and stickers, along with a limited edition patch, will all be available. Of course, we still have our classic CJLO mugs and hoodies as well.

Funding Drive runs from October 20th-October 31st. Thank you for all your continued support that helps allow campus radio, and community thrive!

CW: This article talks about sexual assault present in the film. 

Existing in the spotlight is very complicated and complex; even now, it is rare to come out unscathed—both in the public’s eye and in your own. This, if nothing else, is clear throughout Andrew Dominik’s Blonde (2022), the newly released Netflix film calling itself a fictional portrait of Marilyn Monroe and “the price she paid for fame.” 

Based on the critically acclaimed novel by Joyce Carol Oates, Blonde opens with Marilyn Monroe as a young Norma Jeane (Lily Fisher) constantly tormented by her mother Gladys (Julianne Nicholson), who believes Norma to be a child ‘accursed’. After Gladys tries to drown her in a scalding bath, Norma escapes to a nearby neighbour, at which point she is sent to an orphanage, and her mother is indefinitely institutionalized. Andrew Dominik juxtaposes two shots: the young Norma crying, and an older Marilyn (Ana de Amas) displayed, smiling, in an array of nude photos. This is followed almost immediately by her audition in front of a Hollywood mogul, which quickly turns into a rape scene. We watch as she lands roles and becomes successful, not based on talent, but on a combination of that first audition (her “start” in the business) and her heavy sex appeal. She struggles with, in Dominik’s words, wanting to “destroy her life,” navigating several relationships despite this—a long threesome with Charlie Chaplin Jr. and Edward G. Robinson Jr., two marriages, and a secret relationship with J.F.K, all before her suicide at the age of 36.

Blonde presents us with three unyielding, relentless truths about this version of Marilyn. First, that she is wholly and irredeemably fatherless, looking everywhere and never being wanted by him. Second, that, to undo the lack of love she received in her childhood, she is desperately and unsuccessfully trying to “give birth to herself [anew]” by having a child of her own; and third, that Marilyn Monroe is a character Norma Jeane puts on, at the advice of her male-led team: a ‘sexpot’ she is ashamed of, a ‘dirty slut’ she does not feel connected to—who prioritizes fame and money over Norma’s driving wish for a family, and can only be coaxed out through a combination of drugs and managerial pressure. 

Blonde is shot and scored well, if not sometimes heavy-handed and on-the-nose, which succeeds only in making it an aesthetic exploitation. The only two women with speaking roles who remain clothed are Marilyn’s childhood neighbour and the lady putting on her shapewear, both portrayed as helpful, contained, non-sexual maternal figures. If a woman in Blonde is enraged, in distress, abusive or abused—and, constantly tear-streaked, they almost always are—they are also at least partially naked. Marilyn herself is almost never shown happy, except for when she is fulfilling a man’s sexual or romantic fantasy, basking in the glow of male validation she never received from her father: calling her husbands ‘Daddy’ or asking if she is a good girl for finishing her mashed potatoes. All sexual scenes (which only happen outside of Marilyn’s marriages) are drawn-out and explicit, including her assaults; her audition rape is shown in detail, twice, and her coerced, forceful blowjob to J.F.K is painfully long and narrated, heavily alluding to a second rape once she passes out. 

Even when the sex is consensual (which only happens in the imaginary, often public, threesome), Dominik mirrors Marilyn’s face as she orgasms with her face as she is choked on film: a transparent reference to the tired, debunked notion that women experiencing climax look identical to women experiencing pain. This is one example of a larger problem: given the chance to imagine any alternative universe, Dominik chooses one where Marilyn Monroe had it even worse, time and time again. Similarly, though the film touches on Marilyn’s real miscarriages, her hopeless desire for a child is shown mainly through the fictitious addition of a forced abortion, where we see the inside view of Marilyn’s vagina being opened by a speculum and, later, hear a second fetus (pictured as a fully grown CGI baby, floating around in utero) asking, in a young girl’s voice, not to be discarded like the first.

One of the main producers of Blonde, a movie at least partly about Marilyn’s physical and emotional abuse, is Brad Pitt—recently accused of being a physical and emotional abuser. Whether Pitt also agrees with Dominik—that Marilyn played the part of a “well-dressed whore,” or “had to be a little baby [to be a sex symbol]”—is up for debate. There is, however, an obvious disconnect between how Dominik views his film, and how many film watchers have expressed they do; most notably, he describes a single “almost glossed over” rape scene and claims he does not see the film as anti-abortionist. After all, he wrote the film before Roe v Wade (when people began caring about abortion) to the standards of the 1950s (when fetuses used to resemble 9-month-old babies, shrouded in light). 

The events the movie omits, those it keeps, and those it adds, are all very telling. Though she references dead Russian novelists to the men she wants to impress, Marilyn is infantilized to the point of being surprised Italian people make spaghetti. Gone is everything that makes Marilyn a woman who did not live entirely for, through, and because of the men around her: her female friendships, her production company, her vocal opposition of both the 1950s House Un-American Activities Committee and African American segregation, her immense talent, wit and intelligence. In his interview with Sight and Sound, Dominik admits that this would have required “looking at it through a lens that’s not so interesting to [him].” We can gather quite easily what is interesting to him: all factual scenes of physical abuse on an adult but child-like, shirtless Marilyn; and all fictitious scenes of sexual abuse, exploitation and pre-marital dalliances of (again) an adult but child-like, shirtless Marilyn. Gone, too, is everything but the bare minimum needed for Marilyn’s childhood backstory—perhaps because, although tragic, the scenes cannot be played by a topless Ana de Amas. 

The resulting character is not complex, or multi-faceted; instead, as she is presented, interwoven between real events and iconic images, it is hard to imagine the real Marilyn as more than an overwhelmed pawn, a blow-up doll brought to life and told to balance Madonna and Child with Madonna and Whore. In the end, the film comes off as Andrew Dominik’s 3-hour “rescue fantasy,” portrayed through misery porn. But, in Dominik’s own words, “Why would [that] matter? It’s just a movie about Marilyn Monroe.” 

In the face of Marilyn’s filmography, her cultural impact, and her legacy, now 60 years in the making, he’s right—Blonde doesn’t matter; it fails wholly to offer any insightful, important perspective, or even to contribute anything new to the conversation.