The synthesizer has become so ubiquitous that you can download them as apps, but in the mid-sixties, less than thirty people owned one. One of them was a pioneering electronic composer named Mort Garson, who used it to soundtrack the CBS live broadcast of the Apollo 11 moon landing.
In this episode, we look at the electronic musicians who used early analog synthesizers to construct what the future sounds like.
Listen with headphones, this one's a trip.
In 2002, a low budget mockumentary about two headbangers from Alberta premiered at Sundance. That film was FUBAR, and it became an instant classic. But these beer-swilling simpletons weren't the only hoser characters to achieve cult status in Canadian film and TV history.
In this episode, we talk to the people behind FUBAR—and their fans— to figure out what makes these kinds of characters so seductive.
Watch the new Viceland series, FUBAR: Age of Computer or peruse The Dictionary of Canadianisms on Historical Principles.
A vague email from a Yahoo user leads to a budding mentorship with one of Canada's most beloved comedians, Aliya performs her first 5-minute set, and the woman who helped propel Toronto's alternative comedy scene into the mainstream gives Aliya some tough love.
Alanis Obomsawin is an Abenaki filmmaker who's been challenging Canada's image of itself for the last 50 years. And she got funding from the National Film Board to do it.
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At the end of this season, Aliya will do a live comedy set onstage at Second City.
But first—she needs to learn how to tell a joke.
On the first episode of this harrowing journey, Aliya recalls the 1968 comedy that ruined laughter for her, phones her dad up to talk about brownface, and goes to standup school.
Operatic tenor Jeremy Dutcher takes turn-of-the-century field recordings out of the museum and back to their original community by fusing them with new, avant-garde compositions.
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A DJ goes crate digging unearths a trove of rare Indigenous music folk, rock and country music. The re-issue Native North America Volume 1 turns the spotlight back on trailblazing musicians from across the continent. But it also raises questions about when music is considered art and when it becomes an artifact.
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In the new season of The Heart podcast, Kaitlin Prest gets men to open up about that time when they didn't get consent, but did it anyway. We ask how she pulled it off.
TRIGGER WARNING: This episode contains discussions and depictions of sexual abuse
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From experimental DJs to punk bands and soul singers, a surge of artists are creating modern, groundbreaking Indigenous music.
Ziibiwan is an experimental electronic producer living in Toronto. He breaks down his Time Limits EP.
Jarrett Martineau talks about how Revolutions Per Minute (RPM) evolved from an online community to a cutting-edge record label. He and his skeleton crew are working to bring modern, experimental Indigenous music to a wide audience. Go to RPM's website for news, interviews, podcasts and more information about the label. Jarrett will be hosting the show Reclaimed on CBC starting July 4th.
This show also featured clips from the songs:
"If Only" by Teeks, "Stadium Pow Wow" by A Tribe Called Red, feat. Black Bear, "The Carny" by William Prince, "How to Steal a Canoe" by Leanne Betasamosake Simpson, "Glenn" by Uyarakq and "Don't Tell Me" by WEEDRAT
Charles Officer has been chronicling Black Canadian stories in documentaries like The Skin We're In and Unarmed Verses, which just won the best Canadian Feature Documentary award at Hot Docs. But when he started out, he just wanted to make fiction. And he still can't get those projects funded.