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Stories: Luca Caruso Moro

Reporter: Shanellie Marie 

Atlantic bubble booms with travellers

The so-called Atlantic Bubble rules have arrived, allowing people in the eastern provinces to travel freely throughout the region without self-isolating. 

Travel has been heavy across provincial borders, with reports of extended wait times between checkpoints. 

But, since the travelling restrictions lifted, PEI has reported three new cases, the first cases of infection since late april. 

Experts concerned with incoming flu season

In other coronavirus news, 

Quebec health authorities have ordered 400 thousand extra flu vaccines to combat a potential collision between Covid and Influenza. 

Experts say they’re nervous the flu season could crowd much needed hospital space. 

People with compromised immune systems could face even higher risks of infection as the Coronavirus continues to smoulder through the city. 

Sex workers demand consideration during COVID

In our final story,

Sex work advocates are calling on the governement to put a moratorium on prostitution laws during the pandemic. 

They say sex work is exempt from other labour protocols put in place because of the coronavirus.

This includes access to personal protective equipment, and eligibility for CERB. 

In honour of tomorrow’s Canada Day 153 celebration, CJLO will be airing documentaries from the National Campus and Community Radio Association’s Resonating Reconciliation, a project that engages community radio to help reconcile all Canadians with the history of Indian Residential Schools. The broadcast will take place tomorrow, July 1st from 11 AM until 5 PM EST. The full schedule is posted below. 

“If you’re a conscious Canadian living in this country, you shouldn’t be supporting Canada [153]; you can be proud to be a Canadian and live in this country, but you have to acknowledge the present day plight of indigenous people – as well as the past history – and not just sweep it under the rug.” - Jay Soule

This audio was originally broadcast on CJLO on June 30th, 2017, in response to the Canada 150 Celebration.

11 AM - Law, Land, Language: Resonating Reconciliation in Secwepemculecw, produced by CFBX in Kamloops, British Columbia

In collaboration with Secwepemc Radio, this radio documentary focuses on the ways that law, land, and language have been impacted by the Indian Residential Schools.

12 PM - Adoption and the ’60s Scoop, produced by CFRC in Kingston, Ontario

This documentary follows the life of its producer and includes interviews with others on how the ‘60s scoop continues to impact families, communities, and individuals.

1 PM - What it means to be Indigenous in Canada today with the ongoing impact of Indian Residential Schools, produced by CJAM in Windsor, Ontario

This is an intimate documentary where the producer Andrea describes herself, her story, and the story of her family, friends and community.

1:30 PM - Why can't the past be the past? Produced by CiTR in Vancouver, British Columbia

This documentary aims to educate the listener (who is most likely not Indigenous) about common misconceptions and about the history of Indian Residential Schools not often taught in schools. This documentary provides a safe place for people to learn and find answers to their questions regarding Indian Residential Schools in an open and accessible way.

2 PM - Forgotten Voices, produced by CKUT in Montreal, Quebec

A collection of stories shared at the TRC event in Montréal, Québec.

2:30 PM - Healing through Art, produced by CKUT in Montreal, Quebec

This documentary highlights the effect art can have as it reflects the reality of Indigenous artists

3 PM - Education and Indian Residential Schools, produced by CJSW in Calgary, Alberta

This documentary focuses on education and its role in Indian Residential Schools, and its continuing impact on Indigenous people and Canadians. It also details how the education Jesse's father received in Indian Residential School has impacted his father's perspective towards education and how this has played a role in Jesse's life and family.

3:30 PM - Understanding Truth and Reconciliation: Exploring Reconciliation, Intergenerational Trauma and Indigenous Resistance, produced by CJSR in Edmonton, Alberta

Part one: Dr. James Daschuk talks about his research on the history of the health of indigenous peoples, particularly the effect of starvation. Dr. Ian Mosby continues the discussion by focusing on how starvation and medical experimentation were utilized at the residential school level to further colonial oppression.

Part two: TRC Commissioner Littlechild recounts his personal experience at a residential school in Ermineskin, Alberta.

Part three: Different perspectives from an aboriginal and settler perspective about reconciliation and what the aboriginal-settler relationship means going into the future.

Part four: How indigenous peoples have resisted and survived over history, and identifies the cultural pillars that continue to ensure indigenous survival.

Welcome to Corona Confessions - a series written by CJLO community members. Join us on the journey as we recommend anything from healthy home-dweller habits to late night jams. Here’s resident movie expert Remi’s discussion on the new era of motion picture consumption - the digital age.

I used to live a life of going over to a friend's to binge watch the latest must-see series on Netflix or Amazon Prime. When the new seasons of Arrested Development started on Netflix I said it must be the changing times that I must now get with. However, I did not realize that we did not have the right internet set up for streaming, as well my parents were hesitant about living in the digital age and saw it as a waste of money that we would have to spend more money to upgrade our internet and pay for streaming services. We already had the PVR boxes with basic cable, HBO and the new Crave. Thankfully for those two channels alongside the FX and AMC network have provided the quality entertainment that primetime networks cannot match. We recently changed our internet package not to unlimited, but hopefully a better solution for a bit of streaming per day. As well our internet provider recently placed a non-data cap on our internet services for a while. I made the discovery of Crave online, in which I was able to lose myself with the help of Westworld and start the 11 seasons of Frasier. Three weeks later I decided I needed an endless supply of content if I was going to be self-isolating at the house for an indefinite period, I woke up at 6:00 AM in the morning thinking rationally without my morning cup of coffee and subscribed to Netflix and Amazon Prime including a Starz package.

Streaming services have offered some fresh and innovative series that sets them apart from traditional primetime networks. For one thing there are no commercials in between the story or the laughs. There are more liberties that shows can take with their content while keeping the voice of the creator of the series. Master of None from creator Aziz Ansari and this year's Ramy from creator Ramy Yussef are less than half-hour situational comdies that are not only innovative in the topics that they discuss, but there is more artistic vision quality behind the camera that most prime time comedies lack on a prime time network. There are some exceptions with the prime time comedies, but most find a second home on streaming services anyways like fan favourites Friends, Community, 30 Rock, The Office, and Parks and Recreation. With this new hosting method, they develop more of a cult status amongst loyal and new fans. This has given me a chance to catch up with Frasier and The Fresh Prince of Bel Air, some of the best '90s comedies that I never got around to finishing. The same innovation can be seen within the genre of drama, most of which I need to catch up on. However, I am happy to find the first three seasons of the FX series Fargo and the AMC classics including Breaking Bad and it’s prelude: Better Call Saul. Also, there is no excuse at all to get into some of the best HBO prime series including The Sopranos and The Wire with Crave offering an add-on for HBO content, a worthwhile investment in my book.

When it comes to the movies, I miss browsing the endless supplies of content at the local video store, soon to be an ancient relic, or the local public library with an extensive Criterion Collection. Known-name directors in the film industry have started having their films go on streaming networks. One of the downsides of this would be the fact that these are the directors that demand their films be viewed on the big screen. It has always been a struggle to see these films get a theatrical or a festival release. For now I am happy that Uncut Gems from the Safdie Brothers, my Scarface on-repeat film, can be streamed at my convenience on Netflix. As well as last year's success with The Irishman and Marriage Story as original Netflix films, I can’t wait to rewatch Roma with my parents that haven’t seen it. It also seems that with the world in a mandatory state of isolation, film directors and studios will have to rethink their approach to getting their films released to the audience, wherever that may be. With the movie theatres closed most have opted for what is known as a premium at-home rental, a theatre movie for rent at a higher rate than the standard rental.

In the times that we live in where isolation is strongly encouraged and strongly recommended, there is going to be a streaming service and platform for everyone, including the cinephile, drama, situational comedy or reality television audience. I have found that having two services can provide you the most options without it being too limiting. It's important to take breaks between films or episodes of the series, even though you can probably get through 10 episodes of a situational comedy easily with the platform loading the next episode as soon as the credits roll, or even asking you if you are still watching. There is still a lingering thought of "yes this is how I have chosen to spend my day" or "no maybe I should get up and do something while the sun outside gleams a shadow on the screen", but it's important to see daylight during these times. Take in some fresh air while respecting social distancing practices, read a book, and find an activity that you find both fulfilling in terms of time management and also rewarding. In closing, stay safe streaming at home and be safe.

Remi is the host of At The Movies which features everything new and noteworthy in the world of cinema. The show goes live every Tuesday at 8:00 AM.

At only 21 years-old, Michael Haze has already had quite a novel path. He was introduced to music through his church choir at a young age, and learned to play multiple instruments throughout his youth. Haze grew up everywhere, and living in countries across the globe created a rich backdrop for his music. Now based in Montreal, Haze’s debut EP MICKEY is an ode to R&B and an introduction to the artist’s music and life. The five-track release is built upon honesty; honesty about infidelity, shame, self-discovery, and the healing that comes with introspection. Written, recorded and produced entirely by Haze, MICKEY is a true account of the artist’s self-discovery. CJLO caught up with Haze to talk about the EP, being a night-owl, and “mosh pit sad music.”

The songs on MICKEY were all written, recorded, and produced in the early hours of the morning, which you’ve said was vital to the EP’s creation.  What is it about the late night hours that inspires you creatively?

This is a really cool question given that MICKEY was recorded in the early morning as a result of all the commitments I had going on that time. School, extra-curriculars, learning more about music - all these things were eating up my time during the day, so I really only had time late at night/early in the morning.  I thought that I only did this out of necessity, but as I’ve been working on my debut album, I’m realizing I really just gravitate towards working on music at these hours regardless. I have ADHD, and I think there's something about the early morning that is innately peaceful, quiet. Past midnight, the distractions are limited, the general hustle and bustle of the city is limited; it helps me focus better. I’ve realized I just love working at night, especially if it is creative.

Songs of yours like “3AM” have a melancholic quality, but are still high-energy, which makes sense because you’ve said “My dream would be to have people mosh pitting to the saddest song ever […] Just to show it’s okay to be sad or upset.”  What are your favourite sad bangers that you think best represent the form?

Good question! I think when I said that it was a bit out of frustration, as many of my favourite artists don’t attempt high-energy sad songs.  A lot of times, high-energy tracks may have superficial meaning and be melancholic, or sadder songs remain downtempo in their nature. Unfortunately, if I listened to more rock I’m sure I could find such tracks. Nonetheless, I’ve definitely made it a goal of mine to create more of a space for what I like to call “mosh pit sad music.” That said, “XO TOUR Llif3” by Lil Uzi Vert is the prototypical “mosh pit sad” song in my opinion. “Infamy” by Che Ecru & “Eventually” by Tame Impala are a few of my favourite songs ever. Ouri bridges the gap between downtempo and dance music super impressively (“Wild Mother”, “Escape”) and ODIE intertwines uptempo and strong subject matter very well on his album Analogue.  Another artist I love is Don Toliver.  I hope I’m able to one day change how people view R&B.

You have a few collaborators on the EP, including T-Bone, Obie Iyoha, and Shenny.  How did they come into your orbit?  Considering the personal nature of the EP’s lyrics, what did you want your collaborators to say that you couldn’t on its songs?

All of those collaborations came about naturally. T-Bone and Shenny are both friends of mine personally that just happened to be around while I was creating. T-Bone really added a raw dimension to “3AM” that I didn’t think I could deliver. Shenny is a poet with words and I had finished “PHONEY”, but it didn’t feel complete yet. I really wanted some sort of spoken word, almost as if I was directly speaking with a significant other. I explained the ethos of the track to him and he immediately understood, his verse speaks for itself in that regard.

Given that I’m friends with both these artists, the personal nature of the EP was easily extended to their features. MICKEY is about Michael Haze’s journey, and they’re both part of that journey. Obie was the only feature where I didn’t personally direct or give any instructions in terms of the content of his lyrics. I met him online and we connected over both being Nigerian. I sent him the song with an open slot and he produced a wondrous feature. I’m glad all three of them were a part of the project, sometimes it takes multiple people to give more weight to a story.

You’re signed to Make It Rain Records, the label started by Dead Obies producer VNCE.  How has working with an established artist as VNCE helped guide you in your musical trajectory?  Has he provided advice about your work?

Working with VNCE has been a blessing. MICKEY doesn’t exist or sound the same without his help. Even Michael Haze probably doesn’t exist in the same way without VNCE’s guidance, I’m forever grateful for the opportunity and help he and Make It Rain have provided. As for advice, VNCE has acted as a kickstarter for virtually every Make It Rain Records signing, but he very much lets me pursue my journey on my own. While he gave me a shot, it's more vital that I seize the opportunity and run with it. I’ve really tried to focus on my craft, keeping the production, writing, and recording to under a handful of people. VNCE is only a guide and I’ll need to put in the hard hours to get where I want to be. That said, I know if I ever need anything, all I need to do is reach out to him.

As someone who has grown up around the world, what are your thoughts on the Montreal music scene, and how has it helped foster your identity as an artist?

Montreal is very much the embodiment of my childhood experience, a melting pot of diversity and various cultures. I revel in the variety that we, as Montrealers are privileged to enjoy - in one weekend I can rave at any number of electronic venues, see a hip-hop concert, a rock show and maybe squeeze in the Montreal Symphony Orchestra. And it’s year round, from Osheaga to Piknic to Igloofest to Santa Teresa, POP Montreal and countless other major festivals. My identity is cornered on diversity, and as an artist I think that will be evident in my future projects. My music is rooted in the various backdrops Montreal has to offer and if it isn’t clear right now, it soon will be. Specifically, the exposure to live events as well as Montreal’s electronic music scene have served to mold the way I create.

What are your thoughts on Spotify and the age of streaming, not just as a new artist, but also as a fan and consumer of music?

Spotify and the age of streaming are both a blessing and a curse. I remember as a kid I either had to purchase songs that I liked for two dollars each or go through the lengthy process of illegally downloading them (please don’t arrest me). Thus, every song in my library was incredibly valuable to me. Nowadays, the music is so accessible I download whole albums before I’ve even listened, I sometimes never get around to listening to them. I get lost in the constant stream of new music that's available everyday. On the other hand, it's amazing that artists are so freely able to distribute their works and, as a fan, it’s as cheap as I could ever have imagined to be a music fan today. Spotify acts as a marketplace, curator, and a creative centre for artists and fans alike. The power that playlists and algorithms hold frightens me as much as it encourages me. I’m rambling at this point, but the crux of the matter is there’s a good and a bad to it all, we just need to recognize that.

You’re relatively quiet on social media, a rarity these days, with just an Instagram account without too many posts.  Is it to create mystique, or are you just not much of a fan of social media?

I think the music has to come first. Right now, I’m working on the music and when it’s ready I’ll expand my social media presence. Further, I try to stay away from too much social media in all honesty and I do like the idea of an aura of mystique. The harsh truth is that social media has become a huge part of the music industry nowadays, so the challenge will be to find a balance between being present and aloof at the same time.  I’ll figure it out, all in due time...

MICKEY came out not too long before public gatherings were banned in order to curb the spread of COVID-19, which hurt young artists like yourself, as your EP’s launch show had to be postponed. How do you keep yourself positive during all of this? What plans did you have for 2020 that were upended due to the virus?

Social distancing and quarantine measures coincided with the work I’ve been doing on my debut album, as well as a couple other projects I’m working on. As a result, it hasn’t been too hard to stay positive during it all. Sadly, the EP launch did have to be cancelled, but I see it all as a blessing in disguise - when I do eventually perform the set live, the show and the venue might be ten times better. Although I did have plans to be in L.A. and New York City this fall, if anything, social distancing measures have helped me lock in to my next ventures and projects.

MICKEY is out now (Make It Rain Records)

Alex Viger-Collins is the host of Ashes to Ashes, your weekly dose of modern pop, every Tuesday at 8:00 PM EST.