Some Figures From The Toronto Music Scene Pass On

Frankie Busseri of 1950's Toronto pop vocal group the Four Lads, the first Toronto group to score international hits ("Standing On The Corner", "No Not Much", "Moments To Remember", "Istanbul");

THE FOUR LADS ~ "STANDING ON THE CORNER";


THE FOUR LADS & FRANKIE LAINE;



Fred Keeler ~ Guitarist with 1960's Toronto band David Clayton Thomas & the Shays

DAVID CLAYTON THOMAS & THE SHAYS ~ "WALK THAT WALK";



Jackie Shane ~ 1960's Toronto R&B singer;

JACKIE SHANE ~ "WALKING THE DOG";



Joanne Brooks ~ 1970's R&B singer and later singer in New Wave band Rough Trade;

ROUGH TRADE ~ "BIRDS OF A FEATHER";


ROUGH TRADE ~ "BUTCH";



Johnny Lovesin ~ Rock & Roll singer/guitarist and a fixture on the Toronto scene from the late 70's onward including opening for the Ramones first Toronto gig;

JOHNNIE LOVESIN ~ "WORKING GIRL";


JOHNNIE LOVESIN ~ "BAD TALK";



Dave Bookman ~ Radio DJ from the 80's onward on CIUT, CFNY and INDIE 88m club booker and supporter of indie music, also singer in 80's for indie band The Bookmen;

VIDEO TRIBUTE FOR DAVE BOOKMAN;



Leon Redbone ~ Ragtime Folk Rocker from the 1970's and an influence on Tom Waits;

LEON REDBONE ~ "DIDDY WAH DIDDY";


LEON REDBONE ~ "SHINE ON HARVEST MOON";



Joe Hall ~ Artsy Folk-Rock and Comedy singer songwriter and another fixture on the Toronto club scene from the 1970's & 80's

JOE HALL & THE CONTINENTAL DRIFT ~ "SWEET GYPSY NOSE";


JOE HALL & THE CONTINENTAL DRIFT ~ "LOS HABLOS TELEPHONOS";



Ed Bickert ~ Jazz guitarist from the 1960's onward;

ED BICKERT ~ "JUMPIN' THE BLUES";



Mose Scarlett ~ Folk & Blues singer from the 1970's onward;

MOSE SCARLETT ~ "SWEET GEORGIA BROWN";



Herb Dale - Toronto Country singer/songwriter;

HERB DALE ~ "JUST LIKE GOOD OLD WILLIE NELSON";



Justin Haynes ~ Toronto guitarist & mandolinist;

JUSTIN HAYNES;



Brian LaHaie ~ Drummer for Toronto folk band the Donefors & Cindy Doire;

THE DONEFORS ~ "IN A CORNFIELD";

88.1fm UPDATE; Although Not Yet On-Air INDIE 88 Goes For A Signal Upgrade

As some of you may recall, last year the CRTC granted the 88.1fm frequency vacated by the CKLN's meltdown to a new station to be called INDIE 88, an independent group dedicated to Indie and Canadian music. And then...nothing...at least not in public. So what's been going on with that? Well here's a recent update sent out by INDIE 88 a while back;

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"* The Licence is confirmed!! Although the CRTC awarded us the licence, procedures allow for an appeal of the decision to Federal Cabinet. One applicant did appeal the decision, bringing us to a stand-still. Just before Christmas our decision was confirmed. Big collective “Whew!”

* We are starting to build our systems and put together technical plans for the studios, transmitter and antenna. It will take us several months to get all of this organized.

* We applied to the CRTC for approval to increase power- 88.1 coverage is limited due to other users of the frequency. We have negotiated cooperative agreements allowing us to increase power from 875 watts to 4,000 watts. This is a big deal for the station - as licensed our signal will be difficult to pick up in many parts of the City. With higher power we will reach most Toronto homes. You’ll also be able to hear us on car radios throughout the GTA. BUT, the power increase has to be approved by the CRTC.

Once again we need your help. You can help us get approval by sending another letter of support to the CRTC. If you’d like to help out, just reply back with an e-mail and we’ll pass along the details."
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A little back ground here; Firstly they don't say what group of entitled jerks actually tried to fight the granting of a license in court (with zero chance of success) but I can think of two possibilities. First there is Moses Znaimer who had also applied for the license and threw a public hissy fit and threatened a lawsuit (which I wrote about here) when they didn't get it. Then there was the CBC who also made a similar threat at the actual CRTC hearings which I was at. I have defended the CBC in the past but there is no excusing such arrogant behavior, assuming it was them.

Now for the more important issue; INDIE 88 originally applied for a signal at approx. 500watts. By comparison CKLN broadcasted at 250 watts, and when I worked there we had done some prepwork to upgrade to 1000 watts. So I was not surprised to hear that INDIE 88 was going for an upgrade, although making an application before even going on-air is a little odd. I guess the extra time left by the court challenge gave INDIE 88 time to kill. INDIE 88's application called for an almost hundred percent increase to 4000 watts. To keep that in perspective CIUT has 15,000 watts, CFNY (AKA The EDGE) has 35,000 watts, Q107 has 40,000 watts, BOOM 97 has 29,000 watts, KISS FM (formerly JACK FM) has 4,700 watts, FLOW has 1,170 watts, CKFG-FM (AKA CARN) has 446, CHRY has 150 watts and PROUD FM has 60 watts. Incidentally CARN and PROUD FM also applied for the 88.1fm signal. So 4,000 watts would make INDIE 88 competitive and allow them to compete with CFNY who are their obvious main competitor as well as enable them to reach the entire GTA with a good signal.



At any rate since I did intervene in support of the original INDIE 88 application with a fairly detailed 12 page submission I figured I might as well fire off another letter if support for the CRTC below; "Being a veteran of the Toronto music and radio scene as a DJ, Journalist and Show Promoter I wrote a letter of support of CIND's initial application and now wish to express my support for the proposed signal increase to 4000 watts. While the Commission's decision to grant a license to a radio station dedicated to an all-independent music station with a commitment to 40% Cancon is certainly a welcome step I am also aware that the current signal is not strong enough to adequately and consistently cover the ever growing Greater Toronto Area. The Independent music scene is not merely restricted to the downtown core but throughout the suburbs and surrounding communities. It is essential to encourage young musicians outside the downtown core with music that goes beyond that offered by the current commercial radio stations. Such a signal is also necessary enable CIND to appeal to advertisers needed to stay profitable. An upgrade capable of reaching not only the downtown core but also the suburbs is essential to enable CIND to meet it's desired mandate.

Furthermore I am aware as the Commission is that the proposal by CIND includes provisions to enable radio stations CHES and CFRH to increase and improve their signals as well along with financial support for these upgrades and would therefore have obvious benefits to the communities as well. This opportunity may not arise in the future and should naturally be taken advantage of. By it's willingness to work with and support these Community Stations I believe that CIND has shown it's willingness to be the "good corporate citizen" that any "Indie" oriented radio station must be in order to build a relationship with it's proposed audience and should be encouraged.

While I recognize that it is unusual for a radio station to ask for a signal upgrade before it has actually gone on the air I believe that the unusual challenges set by the unexpected opening of the 88.1FM frequency and the short deadlines for application made this unavoidable in this case. I have read the Supplementary Brief offered by the Applicant and I believe they have answered the concerns that the Commission may have concerning this issue. I therefore ask the Commission to approve the proposed signal upgrade.

(Signed) Daibhid James

The hearings will be sometime in April. They'll be in Ottawa so I won't be there however but I'll post the CRTC decison when it comes in.



~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

As I allude to in my support letter one of the byproducts of INDIE 88 applications is that it also allowed for signal upgrades for two other stations; CHES and CFRH. This is because they share the 88.1 frequency outside the GTA and therefore INDIE 88 had to get their permission to upgrade their signal since to do so would (or could) interfere with their signals. CHES is a small non-campus Community Station in the small town of Erin west of Toronto, CFRH is a French language community station in Penetanguishene. Both have been trying to get a signal upgrade for a few years now. To do so they would have needed the co-operation of the then holder of the 88.1fm frequency, CKLN. While I was working there back in 2008 there were working out a deal in which both CKLN and CHES and CFRH would be able to mutually support each other in getting signal upgrades for all of them. After the Ryerson Coup seized CKLN in 2009 the new supposedly community based leftist junta in charge of CKLN scuttled those agreements with two community stations in favour of a vague dream of getting a 1000 watt upgrade for themselves. Of course that was delusional since CKLN was at that point already busy being dragged in front of the CRTC hearings and have their license yanked.

Ironically it turned out that CKLN's shutdown was good news for everyone since once INDIE 88 got their application they quickly set to work on an agreement with CHES and CFRH which involved not only license upgrades for the two smaller stations but also INDIE 88 giving a large sum of cash to enable CHES to afford a more powerful broadcast antenna. CFRH has not actually applied for an upgrade yet, although they will probably do so at some point. CHES on the other hand has hit the ground running and applied for a signal upgrade simultaneously with INDIE 88. So I figured I might as well fire off a short support letter for them as well.



See below;

"I am writing in support of CHES FM's application for a signal upgrade. Although I am a resident of Toronto I have many years of experience in Community Radio and am well aware of the importance of such a station to it's local community. I am also aware that CHES has struggled to reach much of it's surrounding area with it's current signal and the requested increase seems both necessary and appropriate to it's mandate. A signal increase which allows CHES to reach the entire area would obviously be of benefit to that community as well as allowing CHES an opportunity to reach potential advertisers. I am also aware of CHES's previous attempts to address this issue were opposed by the now defunct CKLN. Since that station has now been replaced by CIND, a station which shown a greater ability to work with it's neighbors. This has allowed both stations to come to an arrangement which allows both station's to increase their signals for the mutual benefit of both audiences. It would therefore be wise to take advantage of this arrangement and grant both applications and I ask the Commission to do so."
(signed) Daibhid James

There is no joy in Mudville tonight as INDIE 88 wins the old CKLN spot

As many may remember after CKLN got bounced off the air in 2010 the then vacant 88.1 fm frequency became open for anyone who wanted to make a play for it. Last year PROUD FM, an existing gay themed radio station which is currently at 103.9 fm made an application to move to 88.1 fm, which would have given them a more powerful signal than the 60 watts they then held. That application opened the floodgates for all other comers and a deluge of over 20 applicants followed. These included;

* A couple more requests to move frequencies (besides PROUD FM) from ZOOMER Radio, CARN FM and CHOQ, a small French language station.

* A number of various ethnic station applications including one from CHIN.

* A number of all news and talk formats including an all business station called BIZ 88

* A number of various easy listening stations with names like TOWER 88 and METRO 88

* Two French language applications including one from the CBC

There were also a few specific formats including an application for a Blues station, a Christian station and and application for a station focused on Independent Music called INDIE 88.

INDIE 88 PROMO


(Note that I have already written about these applications on this page)

Oh right; Then there was Ryerson's attempt to take back the license they lost when the CRTC deservedly shut down CKLN back in 2010. The Ryerson application (which I read along with each of the other applications) was a study in disingenuous evasion and denial of all of the basic requirements of a Community Station. Instead Ryerson offered up a sense that they were naturally entitled to a license. They were backed in this delusion by the National Campus Radio Association who should have known better, but where so desperate to get a Toronto station and to redo the "injustice" of the 2010 shutdown of CKLN.

I attended the CRTC hearings back in April and was frequently amazed by how clueless and unprepared the Ryerson group was, as well as their smug attitude. This perception was shared by some of the other participants and spectators I spoke to. The questions for the Ryerson applicants from the CRTC Commissioners at times seemed to catch Ryerson Radio's Station Manager Jacky Harrison completely off guard and as the days went on her attitude began to change from smug to confused.

I must say that besides enjoying watching the various Ryerson/Ex CKLN cronies getting clubbed like baby seals once again I also got directly involved in these hearings by filing an intervention of my own.

My brief was not primarily about Ryerson's application but rather a positive intervention in support of another applicant, namely INDIE 88.

INDIE 88's application was from a small group who own two other small town stations and was for an Independent music focused station which would seem to be roughly equivalent to the original CFNY back in the 1980's, you know before they started sucking. In my brief a explained in some detail the history of such a station and the role it played in supporting the local and national music scene as well as pointing out the benefits to the larger community. I also referenced an earlier set of CRTC hearings back in 1989 (when CFNY changed ownership) in which there was some debate over whether a Campus/Community station, like Ryerson's, could do as effective a job in supporting local and Canadian independent talent. I argued that it could not.

As part of the application process Rye-High was allowed a chance to respond to points in writing to their heart's content. Instead they decided to dismiss me with a couple of snide insults. To put things in perspective most public interventions are usually only a paragraph or two. By contrast mine was a twelve page analysis with sourced quotes from previous CRTC hearings as well as various media reports dating back to the early 1980's. At the risk of bragging my brief was much more detailed and heavily researched than is normally the case. And Rye-High's only response was a couple of throwaway cheap shots? Classy as always.

And it's not just me either, three other members of the public sent in submissions that were specifically opposed to Ryerson's application (mine was actually in support of INDIE 88 but since it impacted Rye-High's application they were entitled to a response). These submissions were also lengthy and detailed critiques of Rye-High's application. They pointed out, among other things;

* That Rye-High's application did not have sufficient community involvement as required by the CRTC

* That Ryerson wildly exaggerated the extent of student support when the actual student referendum got only a ten percent turnout. And that was after extending voting hours and having Ryerson profs using class time to promote the cause.

* That the surveys submitted as part of the application, which were used to argue that there was an audience demand for such a radio station, were in fact sloppy, full of of blatant errors and not true audience polls.

* That the Rye-High application was in effect little more than a Trojan Horse to allow the disgraced CKLN die-hards back on the air.

As might be expected Rye-High's responses to these detailed critiques were evasive and disingenuous and relied on a dismissive attitude which they seemed to assume the CRTC would simply share. The replies often took refuge in simply saying that Rye-High's radio staff were "confused" and "mystified" and "at a loss to understand" what the problem was. Besides, they argued, the complainants were obviously biased so why should Rye-High even have to waste time on this petty nitpicking right? Wrong again. And keep in mind this was after witnessing the brutal ass-whipping handed out to CKLN last time, not to mention the beatdown recently handed out to KICK FM in Winnipeg which the NCRA at least should have been fully aware of.

Besides supporting the INDIE 88 application on it's own merits I think this was the best way to finally lance to the nagging CKLN sore that has been festering for so long. The fact that the CRTC granted the license to a small independent group rather than any of the various major corporate players who applied (including the CBC) pretty much destroys the narrative that the old leftist CKLN old guard have been spinning for years that they were the victims of a vast corporate conspiracy to seize control of the airways. Not that they won't keep spinning that whopper but to an ever smaller audience. In fact the online response has been so far quite positive.

Another thought; If the CRTC had granted the license to PROUD FM (or CARN) then they would have vacated their current signals thus allowing Rye-High/CKLN another chance at what would then be the last open signal left in Toronto. Now that door is finally closed for good. So at long last it's over. Stick a fork in 'em, they 're done. The mighty Rye-High has struck out again.

Toronto Radio; Out with the Old, In with the New

This spring Toronto had one radio station finally go off the air for good while another finally won it's battle to go on the air. Still another once proud radio icon engaged in yet another one of it's revolving door format changes.

First the deceased;



CKLN 88.1fm was a campus/community radio station based at Ryerson University since 1983, or earlier depending on who you ask. Over the years a lot of good programming went on there and the station was quite influential on the Toronto music scene. Some talented people got their start there, Handsome Ned, Mean Steve Piano, Sucking Chest Wound, Jill Heath, Brian Taylor, Bill Grove, David Scurr, James Bailey, Arnie Achtman, The Blue Demon, Mike Hanson, Gerry Belanger, Charles Watson, Jaymz Bee, DJ Barbie, Dave Neudorf, Michie Mee, Freedom in a Vacuum, The Tape Beatles, Chris Twoomey, Ian Danzig. A bunch of people who later went on to The Flow and CBC and Exclaim Magazine. Oh and I did a show there too for several years before moving to CIUT.

Unfortunately like a number of other campus/community radio stations in Canada CKLN was also full of professional DJ's and show promoters who used CKLN to make money on the side and also became a haven for a cadre of fanatical left wing activist types who engaged in their usual vicious sectarian infighting that inevitably tore the place apart. In 2008 the left wing groups staged coup to seize control of the station. After a year long campaign of harassment, slander, nuisance lawsuits, frivolous complaints to the CRTC, threats and occasional violence backed by the equally leftist Ryerson Student Union (RSU, who also withheld the station's funds to force it into bankruptcy) the leftists got their way. But only after the RSU actually seized the station itself, changing the locks and forcing it off the air for seven months. Unfortunately for them after getting the run of CKLN it turned out that left wing activists didn't know the first thing about running a radio station. So after several months of jaw dropping incompetence the CRTC finally called hearings to decide if the whole sorry embarrassing mess should be allowed to continue. The hearings happened in December 2010 and I testified as a witness. There is no room here to go into the hilarity of the proceedings and the awe inspiring ineptitude of the new CKLN management but suffice it to say the CRTC was not impressed and ordered the station shut down for good. CKLN tried to fight this shut down order in court and via a public campaign claiming "corporate censorship". To the surprise of absolutely nobody the court challenge failed and the public campaign fizzed out and CKLN finally went dark this April.

The Torontoist had the best article about the CKLN debacle which I can't improve on so here it is;

"Timeline: Why CKLN Radio's Broadcast License Was Revoked
by Steve Kupferman on January 28, 2011 3:30 PM

Today the CRTC revoked the broadcasting license of radio station CKLN—an independent community-run radio station located in Ryerson University's campus (and largely funded by its student union) but not officially affiliated with that institution—citing the station's failure to comply with federal broadcasting regulations for the past three years. The decision document announcing the revocation is an epic catalogue of alleged violations, some of them outrageous in their negligence. But the document is long, and you have stuff to do. So we've boiled the whole thing down to a series of key points.

August 13, 2007: The CRTC renews CKLN's license for a term of seven years.

Between August 2007 and March 2009: CKLN is riven with internal disputes. The station fires staff and volunteers, and eventually elects competing boards of directors. (A case concerning the competing boards is currently underway at the Ontario Superior Court of Justice.)

The Palin Foundation, the building manager for Ryerson's Student Campus Centre (where CKLN has its studio), locks staff out from March 2009 until October the same year. During the lockout, rather than its usual programming, the station plays a recorded loop of a jazz program, complete with spoken commentary. CKLN is denied access to its transmitter at First Canadian Place, so broadcasts are intermittent.

July 2, 2009: After hearing complaints about CKLN's alleged "ongoing difficulties with its governance structure," CRTC staff sends a letter to CKLN requesting responses to the accusations.

September 14, 2009: CRTC staff members meet with representatives of CKLN to discuss the station's compliance difficulties. Face-to-face meetings of this kind are not something the CRTC typically does.

September 17, 2009: CRTC staff sends another letter to CKLN, requesting information on the station's operations and governance structure. The letter informs CKLN management that the station hasn't filed its required annual returns with the CRTC for the past two years.

October 6, 2009: CKLN files its response to the CRTC's letter of September 17. It promises to hire paid management staff and resolve its internal difficulties.

February 10, 2010: The CRTC sends CKLN a letter requesting tapes, logs, and program schedules relating to the week of January 10, 2010. CKLN sends the tapes on time, but files the schedules and logs almost two weeks late. The tapes are full of static, and they don't match the logs. Later, the CRTC reiterates an unfulfilled October, 2009 request for tapes and logs from June 2009 (which was during the lockout period) and again CKLN sends them after the deadline. When a CRTC staff member asks why the material is late, a CKLN representative says that the person responsible for sending the stuff was "in the Caribbean for a month.

March 1, 2010: In response to the CRTC's continued insistence on receiving those required annual returns, CKLN sends a letter saying that it has "no knowledge as to why the returns had not been filed," and that they'll be in the mail within a few days.

May 12, 2010: The CRTC adjourns a public hearing on CKLN's alleged regulatory violations, but requires CKLN to file monthly reports beginning June 14.

July 7, 2010: A scheduled host doesn't appear at the station for his or her show, and so a CKLN volunteer broadcasts the online stream of a Seattle, Washington, jazz radio show as a substitute. The CRTC takes this and other lapses as evidence that the station's infighting is ongoing. CKLN has not hired management staff and is still controlled by a "working board."

September 14, 2010: CKLN tries to file its annual return for the broadcast year of 2006/2007 with the CRTC, but sends in the wrong form.

October 13, 2010: CKLN tries to file four years' worth of annual returns with the CRTC, all at once. But the data for each year goes only until April 30—the CRTC requires data ending August 31. CKLN promises to file corrected returns within a month, then doesn't.

December 8, 2010: The CRTC reconvenes the previously adjourned public hearing on CKLN's alleged violations. Ron Nelson, head of the station's working board, tells the CRTC that the board has no experienced guidance. "We have never been a program director at a radio station before," he reportedly said. "So we had to do a lot of consulting with the NCRA and other radio stations and their program directors, such as CHRY and CIUT, to find out how to do our job properly."

January 28, 2011: The CRTC revokes CKLN's broadcast license, effective February 12."



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On another note, not an entire radio station but rather the last remaining shred of a once respected radio station's glory years. In the 1980's CFNY was Toronto's Alternative, Toronto's New Wave. Then at some point in the late 1990's they changed formats, substituting new wave for Madonna and (gasp) Phil Collins. There were protests, mass firings and resignations, an ownership change and CRTC hearings, which I also testified at come to think of it. The new owners promised to bring back the old format and foster new talent. Instead there were more mass firings and a re-branding as "The Edge 102.4" whatever that means. One of those few from the glory days who managed to survive was DJ Alan Cross. But only just. In 1992 he was given the choice of doing a new project of doing a historical retrospective show called "The Ongoing History of New Music" which would give The Edge some CFNY gravitas. Or Cross could dust off his resume. He reluctantly chose to do the show and given his deep musical knowledge and research skills honed when he had earned a history degree he was able to turn it into a much respected show. Recently he was unceremoniously dumped off the Edge who have long ago learned that gravitas doesn't sell nearly as well as marketing. Sometime this year CFNY also closed their street level audience friendly studios at the Eaton Center. Speaking of which this year Q107 also closed their street level studios across the street at the Hard Rock Cafe. Why in an age when radio is under challenge from newer user friendly media forms these corporate geniuses would want to isolate themselves from the public I'm sure I don't know. But then again I also couldn't for the life of me figure out why CKLN's far-leftist fanatics wanted to turn that place into an insular sectarian cult either. Hey how did that turn out again? Oh right.

Alan Cross in action;





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Now for the new;

The Caribbean Radio Network (or CARN) has been pushing laboriously for a license since 2002 and after having been shot down a few times finally got permission from the CRTC to broadcast at 98.7fm in June. CARN Had to get past objections from the CBC (because of their fears that CARN's 98.7fm signal would interfere with the CBC's 99.1fm signal) as well as unrelated objections from Rogers, Astral and CTV (because they're dicks). Also Ron Nelson from the soon-to-be corpse of CKLN also complained on the air calling CARN "vultures" for having the temerity to claim that CARN would be "The Voice of the Black and Caribbean Communities in Toronto" a role that CKLN had claimed. It has been noted that once upon a time The Flow made the same claim only to abandon that role to become a more mainstream (and more profitable) station. For that matter the same has been said about CFNY and Proud fm so we shall see. CARN is not actually on air yet and there will be a delay while they get ready, they will also probably have different call letters.

On another note there is the never ending saga of 1050 CHUM am. Once the powerhouse of Toronto rock radio from the 1950's to the early 1980's. CHUM ruled the roost in Toronto for twenty years presenting everyone from Elvis to the Beatles and could claim the title of "The Voice of Young Toronto". The CHUM Top 30 charts became a fixture and eventually branched on to a television version as well. The owners of CHUM Group also started a CHUM FM sister station as well. I have fond childhood memories of all of it. However times were changing as AM lost ground to FM and top forty lost ground to more specialized rivals like the avowedly hard rock Q107, the new wave CFNY and more eclectic campus/community stations like CKLN and CIUT. CHUM seemed not to notice times were changing until suddenly in the mid eighties it's ratings finally tumbled dramatically. In 1986 they switched from Top Forty to Adult Contemporary Soft Rock and Pop, then in 1989 they went to Golden Oldies. When that didn't work they suddenly gave up on music entirely in 2001 to become an all sports station, ignoring the fact that Toronto already had an all sports station. That turned into a disaster and the ratings cratered completely so they desperately switched back to golden oldies only a year later.

They never recovered from this debacle and in 2007 when the network was sold the new owners, CTV, abruptly switched formats again to a 24 Hour news station, once again ignoring that Toronto already had such a station. This time it was widely assumed that the new CHUM was just making time by running a shell station since there was no actual programming at all, just a direct feed from the Cable Pulse 24 television channel, which led to some odd moments when the television announcers referred to video images that the radio audience (assuming there was one) could not see and long unexplained silences. This year brought another change back to...wait for it...another all sports station. This time they took the time to plan it out and got a fair amount of press attention for the big switch over to what they are now calling TSN Sports Radio. Whether there is still any point to having another sports station in Toronto remains to be seen. At any rate the long winding road of CHUM and CKLN is a unique one in the history of Canadian radio for better or (eventually) worse.

The unspoken legacy of Much Music

2009 marks the 25th anniversary of Much Music, Canada's answer to MTV and oddly nobody seems to have noticed, including Much itself which has chosen to downplay this event for some unknown reason. Perhaps they fear their core audience of fifteen year-olds will be creeped out by old footage of Terry David Mulligan or Kim Clark Champnis interviewing Bryan Adams in 1985, I know I am. Perhaps they know that anyone who was a fan back in the day (as I was) stopped watching Much over a decade ago and could not possibly care less if the station was there or not anymore.

Let's not take up time stating the obvious, Much is manifestly superior to MTV in every conceivable way. Actually let's take some time on this because Much in fact played an important role (along with some other factors) in the way that the Canadian music scene evolved in the 1980's and 90's in ways that Canadians barely notice.

EXHIBIT A: THE SHADOWY MEN;




We all should know by now about the role that CanCon played in fostering a serious domestic music industry in the 1970's by literally forcing radio to play Canadian music, which in turn made homegrown record labels a viable concern. Positive as these steps were this was only a step (or two) in the journey. In spite of what the CBC's various worship-full documentaries say, and with all due respect to some notable exceptions, much of the music put out by Canadians in the 1970's were bland, derivative versions of American AM radio fare. What was still lacking was the kind of variety that would require a nationwide underground, eclectic, alternative scene that could go in a dozen directions at once while still holding the center in a country that is fiendishly difficult to tour in ways that British or even Americans can hardly understand. This would also require an openness to the new sounds coming out of England and the USA.

It is with this last point that Much Music proved it's worth from the start, inheriting the tradition already set by "The New Music", a groundbreaking music news show also owned by City TV (who owned Much) which had been going for a few years already, and who would share many hosts and VJ's in the early years, Much started out with a very different mindset than the American MTV.

EXHIBIT B: THE GRUESOMES;



MTV was built on the vomit-inducing model of American top forty radio, "All the hits, all the time", with vapid VJ's bantering meaninglessly in between short sets of video clips which came from a limited playlist. Nothing surprising, nothing off-center, nothing new, nothing that might offend the folks in Utah. And in the beginning, absolutely nothing black, at all, literally, until Micheal Jackson's clout forced them to open up ever so slightly.

"The New Music" was the first attempt at creating a music magazine like Rolling Stone for T.V. And it happened in Canada. America had MTV and before that, lip-synched performance shows like "Solid Gold" and "Midnight Special" along with Casey Kassem's "America's Top 40". Britain had their own performance shows like "Top of The Pops" and "The Old Grey Whistle Test". These all were just variations on the templates laid down by Dick Clark in the fifties, and by the punk and post punk era they were dangerously out of touch and as credible as the "Muppet Show", and not nearly as funny. But we had "The New Music" which did serious and semi-serious interviews with artists and entire genres that would never be heard elsewhere; New Wave, Post-Punk and Metal bands from England, Roots Rock, Hardcore and Thrash bands from America, Euro-techno and Industrial from Germany, Reggae, World Beat and later Hip-Hop as well.

EXHIBIT C: SLOW;





Both "The New Music" and "Much Music" were owned by CITY TV/CHUM Radio and therefore Much could build on the foundations laid down by New Music. So right from the start Much was far more eclectic than MTV ever would be, playing the whole variety of musics that New Music had already blazed a path for. Much also followed the same CanCon regs that radio had to follow, but unlike commercial radio they were not satisfied to simply play the token top forty CanCon hits, Much even had the "Indie Street" show to focus on low budget indie videos by unsigned Canadian bands. The cause of indie and alternative CanCon was helped by the support of Video Fact grants that help fund the making of low budget videos that could actually have a chance to get played thanks to Much and New Music. There was simply no equivalence to this on MTV or BBC, still isn't actually. This meant that bands like Deja Voodoo, The Gruesomes, Slow, Ray Condo, Blue Rodeo, The Razorbacks, 54-40, The Grapes of Wrath, Skinny Puppy, Change of Heart, The Shadowy Men, Martha & The Muffins, Breeding Ground, The Payolas, Sturm Group, Death Sentence and Voivod could get their videos, which ranged from the fairly cheap to the laughably cheap played as if they were almost as important as top 40 fare. And clearly way more cool.

CHANGE OF HEART ~ "TEN MILES AWAY";


Remember the cheapo videos like The Shadowy Men's puppet shows? Or Ray Condo's cartoons? Or Sturm Group running around the Scarborough bluffs waving swords looking like a pasty Conan The Barbarian? Or Skinny Puppy's morbid super 8 performance art bloodfests? They must have cost all of two hundred dollars to make, not counting the pizzas and beer. Then there was the ultimate in clueless Canadiana; April Wine's video for "I like to rock" in which our boys take time out from a busy day in the studio to play some tabletop hockey and brew some coffee. Only in Canada you say? Pity. God how I miss them all.

EXHIBIT D: APRIL WINE;




They were also helped by the fact that the established acts like Rush, Triumph,Trooper, not to mention earlier dinosaurs like Burton Cummings and Gino Vanelli at first refused to make videos at all, and later only grudgingly and poorly. The same thing was happening in the USA with the likes of Journey and Boston sulking on the sidelines as New Wave and New Romantics bands breezed by them. Some American critics are still bitter about this. It is a fact that relatively fewer American bands of the early eighties bothered to make videos at all, they were too expensive to make if they weren't going to get played on MTV anyway. And there were no Videofact grants for them. The lack of videos from this era is actually a real loss American music, although there were a few exceptions. The Ramones, Fleshtones, Blondie, Cramps, Lords of The New Church, Long Ryders, Iggy Pop, Motels, Talking Heads, Joan Jett and a few others did make some videos as did the Stray Cats after they moved to England, which doesn't count. However for the most part they were ignored by MTV and only got played on Much anyway. The lack of videos of the likes of The Gun Club, Jason and the Scorchers, Mission of Burma, Replacements, Rank and File, Blasters and even early REM is inexcusable and it's MTV's fault. If it weren't for "The Decline of Western Civilization" and "Suburbia" we wouldn't have X, TSOL, Black Flag, Circle Jerks, The Germs and D.I. footage either. In Canada or even Britain and Australia they all would have made videos as a matter of course, and they would have been played too.

EXHIBIT E: RAY CONDO;





Of course Much was hardly alone here. CBC joined in with "Brave New Waves" and a network of campus and community radio stations would grow up including CKLN and CIUT (both of which I worked at) in Toronto. Ironically even though the Chum/City group also owned the most powerful radio stations in Toronto (and a number of other cities), they kept those operations separate from Much and New Music which left an opening for upstart CFNY to fill. There would also be a network of magazines like Nerve, Reargarde (which I wrote for), What Wave and Graffitti and weekly papers like Now Magazine (in Toronto) and in most other Canadian cities. But Much was in the unique position to act as a nationwide unifier and by and large they did.

VITAL SINES ~ "COLLAGE";


This openness to music beyond the mainstream meant that most of the Post Punk and New Wave sounds coming out of Britain now actually came to Toronto first to break into North America where they would have once treated Canada as a backwater of the USA. This meant that British bands like U2, Simple Minds, The Cult, The Cure, OMD, the Banshees, Jesus and Mary Chain and virtually every other contemporary hit here first, Aussies like Midnight Oil and INXS would follow as would reggae and world beat. You could even occasionally see the likes of serious weirdos like Cabaret Voltaire, the Severed Heads, The Virgin Prunes, Laurie Anderson and SPK who probably couldn't even spell MTV. It actually got to the point where even some American bands were actually more popular here than they were at home, including REM and Steve Earle.

EXHIBIT F: SKINNY PUPPY;



The spinoffs this had for enriching the scene in Canada are impossible to measure. Once upon a time Canada was a backwater known for crappy cover bands where anyone with real talent and ambition had to go to New York or L.A. to get signed. And where international bands largely ignored or treated as a stopover on their way to New York. That is no longer true at all. Much played a big role in this evolution, they weren't the only player, but they were vital in pulling local scenes together and one shouldn't forget that.

EXHIBIT G: BLUE PETER;




It's true that in the past decade or more Much has become bland, glitzy, commercial and predictable, so has CFNY. Graffiti, Nerve and Reargarde magazines are long dead and were replaced by Exclaim and Chart which in turn also became more commercial and bland. "Indie Street" is long gone and when New Music finally gave up the ghost a couple of years ago few noticed or cared. But it also true that MTV has declined even more to the extent that even the mention of MTV as playing videos at all is considered a punchline. Much branched off into various specialty channels for punk & metal, hip hop, retro 80's, country, latin and french which segregated the audiences and diluted the variety and unpredictability of the original. While Much may be a pale shadow of it's former greatness one shouldn't totally forget that greatness once existed, even if Much seams not to care. Those who grew up with Much can take a minute to reflect on memories that go beyond mere misty eyed nostalgia. Sometimes the old days really were better. So thank you Much Music, glitzy warts and all.

EXHIBIT H: THE NILS;



P.S. I planned on including the videos for Sturm Group's "Twenty" but it's not on youtube damn it. However by way of bonus we have this Indie Street segment from 1983;