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Montreal’s Arcade Fire are an eclectic indie rock band with baroque and pop undertones. They are known for their expansive membership and almost orchestral instrumentation, serious lyrical and thematic concerns, an anthemic yet iconoclastic sound and dramatic build-ups to moments of catharsis. The band’s breakthrough debut album, Funeral (2004), is widely considered one of the best rock albums of the 21st century. Their third album, The Suburbs (2010), won Juno Awards, a Grammy Award and the Polaris Music Prize. Their theatrical, exuberant live shows have made them a popular touring act and enhanced their worldwide popularity. They have been nominated for nine Grammy Awards and more than two dozen Juno Awards, winning twice for Songwriter of the Year and three times each for Alternative Album of the Year and Album of the Year.
The Apprenticeship of Duddy Kravitz
The Apprenticeship of Duddy Kravitz is Mordecai Richler’s fourth and best-known novel. Published in 1959, it tells the story of a young Jewish man from Montreal who is obsessed with acquiring status, money and land. Bitingly satirical, it is a landmark Canadian novel. It established Richler as an international literary figure and sparked an interest in Canadian literature both at home and abroad. It also drew criticism from those who felt the main character embodied anti-Semitic stereotypes. Richler also received several awards and an Oscar nomination for his screenplay for the 1974 feature film adaptation, co-written with Lionel Chetwynd and directed by Ted Kotcheff.
Corridart dans la rue Sherbrooke was an exhibit of installation artworks organized by and commissioned for the in . The exhibit stretched for several kilometres along Sherbrooke Street. It comprised 16 major installations, about 80 minor installations, and several small performance venues and related projects. It was funded by the Quebec culture ministry and was intended as an international showcase for Quebec artists. But roughly a week after it was unveiled, Montreal mayor Jean Drapeau had the exhibit destroyed on the grounds that it was obscene. Most of the artists involved did not recover their works. Drapeau never apologized and subsequent legal actions dragged on for more than a decade. Given the size, scope and budget of the exhibit, the dismantling of Corridart might be the single largest example of arts censorship in Canadian history.