Follow this link to hear episode #1 of a new series
featuring hosts Alexander Buckiewicz-Smith and
Jay Watts III as they interviewing a list of musicians
gracing Montreal’s festival scene this summer. First
off will be a variety of acts part of Casa Del Popolo’s
By Martin Horn
2007
Originally broadcast on CBC Radio One’s “Definitely Not The Opera” (DNTO), this pieces explores the meaning and essence of that sitcom staple, the laugh track. It briefly explores the origins of the laugh track before examining the new crop of laugh track-less situation comedies emerging on the airwaves. The piece was written and performed by Martin Horn and produced at CBC studios in Montreal and Winnpeg. It features an interview with Ken Levine, a television writer with credits including Frasier, Cheers, and The Simpsons.
Death of the Laugh Track
October 25th, 2007
E-Art
Digital excursions
Ali Rahman
The Fondation Langlois makes the MMFA a site for e-adventures
I was 19 when I saw a Bill Viola retrospective at the Whitney in New York. Stoned, alone and young as I was, it represented the pinnacle of a pure aesthetic experience for me. I was not left with memories of the pieces, but impressions juxtaposed upon television reflections, scattered and meaningful white noise. Pieces of the pieces. All I remembered when I left was that, at the moment I was there, I understood something.
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November 1st, 2007
Wasted-Growing-Space
Civic Honda
Ali Rahman
Emi Honda’s post-urban intervention is no waste of space
Urban Detroit is overgrown. After decades of decay the inner city is experiencing something of an eco-renaissance. Vacant lots have been converted into community gardens, vines creep up through derelict buildings, small forests are pushing their way through deserted industrial parks. Artist Emi Honda would perhaps be at home in post-industrial Detroit.
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March 2nd, 2006
Art Matters
Putting the art in party
Ali Rahman
Midway through the preview screening of her video Probably Better Than Bonham, artist Bridget A. Moser pauses the tape and looks quizzically at the gathered few.
“Did I cut off a piece of my own hair and tape it to my face to make my handlebar moustache? Yes I did.”
The video pits the artist against the spirit of legendary Led Zeppelin drummer John Bonham as she attempts to prove that she is the superior musician. The piece fits uncomfortably in the tradition of early Dadaism, minus the conscious attack on the institution. When asked about her motives, the cryptic Moser offers: “I wanted a platform to showcase my preternatural talent. That is all.”
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