Media News Digest: KIC Country licence renewed, Mulcair in and Farber out at CJAD, Tenneriello leaves City

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TTP Media’s CFNV 940 plans to change format as it seeks licence renewal

CFNV 940 logo

The process to launch TTP Media’s talk radio stations in Montreal has taken so long that they’re now in the process of getting their licences renewed after the end of their initial seven-year term. And the publication of the application for the first of those stations suggests that the company may be moving away from its proposed news-talk format and toward health and wellness, which sounds like the kind of thing that has been tried on other AM stations in the market.

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How to binge Just For Laughs on a budget (2018 edition)

Just For Laughs time is upon us. Or as I like to call it: Summer Christmas. (I’m lying. I would never give this such a lame name.) The English shows start tonight, but I’ve been going to French shows in the companion Zoofest festival for two weeks now, and I’ve already seen more than a dozen shows and booked three more for tonight and three for tomorrow for a grand total of $90 plus tax.

Two years ago I explained how to maximize the quantity (if not always the quality) of the JFL/JPR experience with the use of passes. But things have changed a bit since then so it’s time for an update. Here’s how things work in 2018:

"Ultra Zoøff" Zoofest pass

“Ultra Zoøff” Zoofest pass

The Zoofest pass

Start by getting one of these. The Zoofest passes (ZOØFF, as they call them) cover shows that are part of the Zoofest and OFF-JFL series at Just For Laughs. These shows are mostly an hour long, and normally go for $20 to $25 apiece. They feature up-and-coming comedians, some right out of Quebec’s comedy school, those testing out materials for bigger one-man/woman shows (en rodage, as they say in French) and more experimental shows like theatre and improv, so going to these involves taking more of a risk than going to a gala at Place des Arts or seeing Kevin Hart at the Bell Centre.

The Ultra pass is the highest level of this pass. It costs $120 (or the equivalent of about six Zoofest/OFF-JFL shows) and will let you book six shows during the festival. But its real power is that for many Zoofest/OFF-JFL shows, you can get a ticket for free 48 hours in advance. And you can do this for three one-hour shows a night. (The first shows generally begin at 7pm and the last ones at midnight. So it’s easy to do three in a night. I’ve done four in the past — 7, 8:30, 10 and midnight.)

The pass applies to both English-language OFF-JFL shows and French-language Zoofest shows. If you don’t care what language it’s in, that’s up to three and a half weeks of shows.

Not every show will be available this way. Some shows are popular and seats available for pass holders can be gobbled up in minutes. Others aren’t available to pass holders at all. A show can be out of free daily pass tickets but still have tickets available for the retail price. Most of the English OFF-JFL shows during the peak week of the festival have this issue, making the value of the pass diminished slightly (and turning you into a paranoid junkie constantly refreshing the free tickets page hoping to get it just after a new block is opened.) On the other hand, there are sometimes special offers, like tickets to a gala made available to Zoofest pass holders, so that compensates quite a bit.

If you don’t have time for three shows a night, you can get the lowest-level pass for $50. It’ll let you in one free show a night (booked 24 hours in advance), plus three reserved shows during the festival.

If you get any of the passes, there’s a 15% discount for the 2018 edition with the promo code PASSE15. That covers the equivalent of taxes, so you get the pass for about $120 total. If you’re looking at buying one for next year, keep an eye out around Christmas for an offer to buy the Ultra pass for $90, which I took advantage of.

You can’t use these passes to get tickets to Just For Laughs galas or the big solo shows (except for special one-time offers), but they’re good for a lot of shows that have big-name comics. You can see a full list of the OFF-JFL shows here. Some worth noting:

  • Midnight Surprise, midnights. The ultimate risk-taking show, you won’t know who’s in it until they perform. This could mean a comic you’ve never heard of, but some big-name comedians have shown up here and done surprise sets, including Dave Chappelle, Louis CK and Kevin Hart. At worst, you get a mediocre one-hour show. At best, you get to tell everyone you saw an A-list comedian do a secret show in a 100-seat venue.
  • The Alternative Show, midnights. The name might put you off, but this is actually pretty mainstream. Hosted by Andy Kindler, this show features a lineup of comedians doing 10-minute sets. Because a lot of the travelling comedians want to get in as much on-stage time as possible during the festival, you’ll often see them doing a solo show, a gala appearance and a set here all in the same night.
  • Best of the Fest (Newspeak) and Fest at the Nest (Comedy Nest). It shouldn’t surprise you that actual comedy clubs are also busy during the festival. Often, big-name comics will stop by the comedy clubs before one of their big shows and test out material on a smaller audience. Maybe some jokes will flop, but you might have more fun here than at a gala, and for a much lower price. (The Best of the Fest show used to be at Comedyworks, but with that venue still closed because of a fire, it has moved to Newspeak for this year.)

As of this year, the Zoofest pass isn’t actually a physical pass unless you pay extra. Instead, you’re emailed a bar code that you can print or keep on your phone. It’s scanned by a volunteer holding a smartphone at the entrance to the venue. For Ultra Zoøff pass holders, tickets become available at 6pm ET two nights before the show. For the other passes, it’s 6pm the night before.

You book shows by going to a website that’s emailed to you (and is linked to from the Zoofest app), punching in a pass number and PIN, and selecting shows one at a time.

Also new this year is a punishment system for ticket hoarders who book shows using the pass but don’t show up to them. After three no-shows using the free tickets, your pass is suspended for 72 hours (the three or six booked tickets still work). After another three no-shows, the privilege is revoked. (Keep an eye on the website: if your ticket doesn’t scan properly — and almost every time it takes a couple of tries — you could end up listed as a no-show even if you were there. If that happens, email JFL’s ticket office and they’ll fix it for you.)

You have until noon the day of the show to cancel a free ticket without penalty. If you do, you can use that pick for another available show. And you have until the actual showtime to select a ticket, if you want to go really last-minute. But show up on time, because your free ticket isn’t guaranteed after the show starts, and could be given to someone else.

The JFL pass

Just For Laughs also has passes, that work in a kind of similar way. The cheapest pass is two shows for $100, but with that you also get a free ticket every night at the height of the festival, which can be used on the big shows — galas, club shows like the Nasty Show and Ethnic Show, or solo shows by big comedians.

But the free tickets are subject to availability. If there’s a must-see show in town with only one or two showings, there might not be tickets available on the pass. Like with the Zoofest pass, you have to be pretty flexible in what you’re willing to see.

Use the last-minute ticket booth

At the corner of Jeanne-Mance and Ste-Catherine Sts., inside a tent that sells merch, is the festival’s last-minute ticket booth. Shows that aren’t selling well get deeply discounted here in the hours before they start, and you can find some sweet deals if you’re flexible with your plans.

So head here and find out what kind of deals can be had for shows where the supply is exceeding the demand.

Follow the action on social media

So much of what happens at the festival happens at the last minute. A comedian might be in town completely unannounced and decide to perform a show. Maybe something that’s selling well gets dates added. Or maybe for some entirely different reason things are added or special deals announced during the festival itself.

In 2015, Just For Laughs announced on Twitter with less than three hours of notice that Aziz Ansari was doing a show, and tickets would be $20 at the door. People who didn’t follow JFL on Twitter might have missed a great chance there.

So add these to your follows and likes:

Also, download the Zoofest and JFL apps. Each has push notifications that will alert you to last-minute changes.

Be flexible

The passes, the last-minute ticket booth and special deals announced on social media have one thing in common: They mean you’re not going to know more than a day or two in advance where you’re spending your evening. That might work for some people more than others. If you’re with a group of friends, it might not be practical. But if you’re like me and have no friends and no life, you can surf this wave of improbability for savings.

Always have a backup plan until you have tickets in your hand. Better yet, have two. If a Zoofest/OFF-JFL show you planned to use your pass for gets sold out quickly, you won’t get any free tickets. (In fact, the show doesn’t even need to be completely sold out for your pass to not work this way.) The risk inherent in operating this way is you might not get to see the show everyone’s talking about.

Remember some times are more popular than others

Friday and Saturday night shows are actually slightly more expensive than shows on other nights, because of how much more popular those nights are for people casually heading out. Despite the price difference, and the large number of available shows, the last Friday and Saturday of the festival are the busiest and that means you’re less likely to be able to get access to shows using your pass.

So how do you deal with this? Well, if a popular show is playing throughout the week, go to a weeknight show instead. And if there’s a Friday or Saturday night show you want to go to, use one of your included tickets to book it well in advance rather than waiting and trying to use the pass. Otherwise, keep in mind that your ability to be flexible on these nights will be tested more than other days.

Take in the outdoor shows

Though much of the outdoor action during the JFL festival is more fun than funny, there are a few outdoor shows worth taking in, in both languages. The biggest ones begin around 9pm and end by 11. You certainly can’t beat the price: It’s free.

You can see the full lineup of outdoor shows here. And wander around the festival grounds during the day to see all the other stuff going on, from the labyrinth to the board games to the circus acts.

Other tips

Some other things to keep in mind about shows at Just For Laughs, OFF-JFL and Zoofest that don’t pertain specifically to saving money.

  • Be on time. If you arrive late to a show with assigned seating (like a gala), you end up disrupting a lot of people during the show and opening yourself up to ridicule. Don’t be that person. Some shows might even refuse you entry (it happened to me once when I was 10 minutes late, but fortunately I had a backup plan.)
  • Get there early. Aside from the galas and other shows at the Place des Arts theatre venues, most shows are general admission, so where you sit depends on how many people get in the venue before you. If you want to sit up front and risk being the victim of a crowd-working comedian, get there first.
  • Schedule travel time. Most Zoofest and OFF-JFL shows are about an hour long (gala-type shows and some midnight shows are exceptions and can go longer). But that doesn’t mean you can schedule a show at 7pm and another at 8. Give about 15 minutes of leeway in terms of the actual length of the show, and consider that you have to get from one venue to another between them. 75 minutes between show starts can work if the shows are in the same building (Monument National has four venues), 90 minutes if both shows are in the same neighbourhood, and give yourself more time if you have to get to a farther-away venue like Mainline Theatre or the Comedy Nest. For JFL shows, the Ethnic/Nasty Shows or big solo shows, the show length can be longer, as much as two hours. Err on the side of giving yourself an extra 20 minutes. (If you’re not sure how long a show is, the best indication is to look at when the next show at that venue begins. If it’s an hour and a half later, then expect an hour-long show. If the first show is at 7 and the next one at 9:45, then expect a show a bit longer than two hours.)
  • Don’t heckle. You’re not funnier than the people on stage, who have been working on material for a while in preparation for their shows. If a comedian asks a question to the audience, feel free to respond, but otherwise keep your mouth shut and avoid embarrassing yourself. Hold your solo performance for open mic nights if you don’t want to get thrown out of the venue.
  • Expect repetition. If you go to a lot of shows, particularly those with multiple comedians, you’re going to see several comedians more than once, doing the same jokes. You might even hear the exact same 10-minute set multiple times. You’re just going to have to deal with that possibility. Similarly, the pre-show videos (at least at the French-language Zoofest shows) are pretty repetitive.
  • Don’t take pictures or video. Each show will begin with this reminder (though there are some shows that actually allow taking pictures discreetly — they’ll make this clear in the pre-show announcement). You’re here to enjoy yourself, not film the show for later broadcast using your crappy cellphone camera. Getting caught filming a standup act is grounds for a quick ejection, aside from being distracting to the performer and the audience. Instead, take a picture of the venue before the show, or of your ticket (don’t show the bar code if you’re using a pass or posting to social media before the show begins). You’ll be able to see the gala performances and some other shows broadcast on CBC or Comedy Network or Netflix in a few months, recorded and edited by professionals.
  • Don’t use your cellphones at all. These venues are dark, and the bright light of a cellphone screen is very distracting. Wait until after the show to text your friends. And make sure the ringer is turned off. If you want to make note of a particularly great joke to tweet about it later, use a pen and paper (and be sure to credit the joke to the right comedian).
  • Spread the word about what you see. Help out those people looking for a good show, and the lesser-known comedians who are putting them on. If you liked something, write about it on Twitter or Facebook and spread the word. Use the hashtag #JPRMTL or #Zoofest (French) or #JFLMTL or #OFFJFL (English). A lot of these smaller shows don’t have big marketing budgets and rely on word of mouth more than anything else.
  • Respect your comedians. It doesn’t take a PhD in mathematics to conclude that a comedian doing a one-hour show in a 100-seat venue where most people paid between $25 and $0 to attend isn’t making that much money from it. Keep that in mind when you check out a show. They’re there for the love of the craft, one they spend a lot of time and effort honing. They might also be on their third show of the night. So show them some appreciation, even if it’s just telling them they did a great show, but make it brief because they’re probably way busier than you are.

Bigger is better

Not sure which show to go to? Too lazy to check out comedians’ videos on YouTube or look for reviews? One way to gauge how big/popular a show is going to be is to look at what venue it’s in. Here’s a list of venues being used for the festival and their capacity in a theatre setup:

  • Bell Centre: 15,000
  • Salle Wilfrid-Pelletier (Place des Arts): 2,996
  • MTelus (formerly Metropolis): 2,300
  • Maison symphonique (Place des Arts): 2,100
  • Théâtre Maisonneuve (Place des Arts): 1,453
  • Olympia: 1,282
  • Théâtre Berri: 1,160
  • Salle Ludger Duvernay (Monument National): 804
  • Hyatt Grand Salon Opera: 800
  • Théâtre Jean-Duceppe (Place des Arts): 765
  • Club Soda: 530
  • Usine C: 472
  • Gesù: 425
  • Cinquième salle: 421
  • Maison Théâtre: 400
  • Phi Centre: 376
  • Hyatt Inspiration: 350
  • L’Astral: 320
  • Hyatt Ovation: 225
  • Comedy Nest: 160
  • Studio Hydro-Québec (Monument National): 150
  • Salle Claude-Léveillée (Place des Arts): 128
  • Katacombes: 120
  • Théâtre La Chapelle: 116
  • Mainline Theatre: 102
  • Café Cléopâtre: ~100
  • Cabaret du 4e (Monument National): ~100
  • Théâtre Ste-Catherine: ~100
  • Montreal Improv: ~75
  • Balustrade (Monument National): ~50

I probably forgot a few things. Hit me with questions in the comments. But don’t expect responses between 7pm and midnight, because I’ll be busy for the next week and a half.

Media News Digest: La Presse officially nonprofit, Comedy Gold sale approved, Globe hiring pot reporters

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Citytv to launch local evening newscasts in Montreal Sept. 3

More than a year after it was announced that Citytv is creating local evening newscasts in markets including Montreal, we finally have a launch date: Sept. 3.

On that date, CityNews launches newscasts at 6pm and 11pm in Montreal, Vancouver and Calgary.

Rogers has also announced staffing for those newscasts. In Montreal, the anchorless newscasts will be staffed by the following reporters (bios from the press release):

  • Akil Alleyne – Alleyne is a graduate of Princeton University and the Benjamin N. Cardozo School of Law, where he studied constitutional and international law. His previous experience includes stops at the Foundation for Individual Rights in Education (FIRE) as a Research and Program Associate; and CBC where he assisted with production, and writing.
  • Andrew Brennan – A newly-minted reporter with Breakfast Television Montreal, Brennan will continue to engage Montrealers with the local buzz on CityNews. For the last five years, Brennan has been a news anchor and reporter at CJAD 800. He graduated from Concordia University with a double-degree in Communication Studies and Journalism. (He announced his move last week.)
  • Emily Campbell – Campbell is an experienced video journalist, most recently having worked in reporting and as an anchor with CJAD 800 News and her work has appeared on CNN.
  • Giordano Cescutti – With a Bachelor of Arts in Journalism from Concordia University, Cescutti is a recipient of the Sportsnet Scholarship in Sports Journalism for excellence in journalism and sports reporting. His previous experience includes MAtv, Montreal Gazette and CJLO 1690AM, where he was co-host and producer of award-winning sports talk show The Starting Rotation.

They will work under Supervising Producer Melanie Porco, who has been with Citytv Montreal since its launch in 2013. Two people have also been hired to work behind the scenes with the newscast in Montreal, which will be directed out of a centralized control room in Vancouver.

Last fall, Citytv hired two reporters in Montreal in preparation for the new newscasts: Tina Tenneriello and Cora MacDonald. MacDonald left Citytv recently to join Global Montreal. (UPDATE July 20: Tenneriello is also gone. She’s leaving to host a web series about “inspiring people transforming their communities through social initiatives”)

As previously announced, the newscasts will be an hour long, at 6pm and 11pm, seven days a week.

When the announcement was made, the plan was to have the newscasts running in the winter. Rogers wouldn’t say what caused the delay, beyond this: “The fall launch is reflective of our commitment to ensuring we are delivering a gold standard of local news in these markets.”

In Vancouver, the staff is:

  • Ashley Burr, formerly of CKPG in Prince George, Alta.
  • Kyle Donaldson, producer and on-air personality with Breakfast Television Vancouver
  • Travis Prasad, formerly a news writer at CTV Vancouver
  • Isabelle Raghem, formerly of CHEK News and CHCH
  • Tom Walsh, Breakfast Television reporter since 2017
  • David Zura, formerly of Roundhouse Radio in Vancouver
  • Mary Cranston, Thor Diakow and Greg Harper, existing Breakfast Television Vancouver reporters

In Calgary, the newly announced staff is:

  • Kristen Fong, formerly of Global News Radio
  • Kendra Fowler, formerly of 660 News
  • Crystal Laderas, formerly of 660 News.
  • Michael Lumsden, reporter for Breakfast Television Calgary since 2017
  • Jonathan Mumam, formerly of 660 News
  • Brittany Rosen, formerly of CTV Regina

CityNews launched in Edmonton and Winnipeg last fall (those stations had dropped their Breakfast Television programs, so launching newscasts became a requirement to meet new local news quotas). Once the new newscasts are running, City will be able to meet its local programming and local news conditions of licence with just the evening newscasts, meaning Breakfast Television will no longer be required.

“There will be no changes to BT as a result of the launch of CityNews Montreal,” Rogers spokesperson Michelle Lomack tells me, repeating what has been said previously. But that could always change as the decline of ad revenue puts more pressure to cut costs.

Four years later, from Toronto, it’s Parc Avenue Tonight Season 2

This post has been corrected.

Dimitrios Koussioulas interviews comedian DeAnne Smith during the CBC taping of Parc Avenue Tonight in 2013.

Remember Dimitrios Koussioulas? He was a flash in the pan around 2013. He had a web series called Parc Avenue Tonight, in which he interviewed locals late-night-talk-show style in his apartment, and CBC Montreal created a one-hour TV special out of that. That same summer, City TV aired a local lifestyle series called Only in Montreal in which he was one of three hosts.

And then, nothing. A second season of his show was filmed in 2014, but never got released. Only in Montreal was never renewed (though its timeless episodes spent a long time in reruns). And Koussioulas seemed to move on with his life.

And then, last Friday, this:

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What black people think of SLAV

It’s a Jazz Festival show in which white people sing black slave songs. What could possibly go wrong?

That’s an oversimplification, but it’s what’s at the core of criticism about SLAV, a musical theatre production directed by Robert Lepage and performed by Betty Bonifassi, which was the subject of protests last week claiming it was cultural appropriation.

Whether white people can do things is a popular topic of discussion among white people in the media, so this controversy sparked quite a bit of commentary. Unfortunately, because there aren’t a lot of dark-skinned opinion leaders in this country or this province, we didn’t get to hear much in the mainstream press from people whose personal experiences might give them more nuanced views about this topic.

We’re getting better, though, both because there are more media sources out there and because existing ones are starting to acknowledge their lack of diversity. So here I’ve compiled links to local black commentators who offer their opinions on the subject. And those opinions aren’t all the same.

  • Aly Ndiaye, aka Webster: “Like it or not, the question of race is at the very heart of the American slave system. It was purged from the piece. We cannot talk about slavery in the Americas without addressing this issue.”
  • Fabrice Vil, Le Devoir: “Il n’est pas question de censurer la démarche artistique. Mais comme l’a suggéré Nathalie Bondil, les artistes devraient éviter de pécher par arrogance ou indifférence. La voie qu’elle propose est celle de la conversation, ce à quoi les créateurs, ici, ferment la porte.”
  • Vanessa Destiné, Tabloïd: “J’étais beaucoup sur mes gardes en arrivant dans la salle, mais j’en suis sortie agréablement surprise. Je n’ai pas été émue, ni renversée, mais sachez que la souffrance des esclaves n’est pas minimisée, le rôle des Blancs n’est pas excusé et je n’ai pas non plus senti qu’on cherchait à s’approprier quoi que ce soit. Il y a des passages qui m’ont fait tiquer parce que l’équipe n’a pas su éviter le piège des clichés, mais bon, je vais survivre et vous aussi.”
  • Marilou Craft, Urbania: “À mes yeux, toute œuvre forme un discours qui s’inscrit dans un dialogue plus large : une œuvre reflète la société où elle s’inscrit autant qu’elle l’éclaire. L’analyser, ce n’est donc pas seulement mieux la comprendre, mais aussi mieux se comprendre.” (This post, published in December, proceeds to interview Bonifassi.)
  • Craft, again: “Il se trouve que j’ai vu le spectacle. Et non seulement mes questions initiales quant au processus de création demeurent-elles entières, mais elles se superposent maintenant à davantage de réserves quant à certains choix artistiques.”
  • Émilie Nicolas, Québec inclusif (via a Radio-Canada interview): “Certaines personnes décident de reproduire cette culture, sans donner de crédit ou de récompense financière aux gens qui l’ont créée. Ça reproduit les dynamiques de vol et de pillage qui font partie de la colonisation. Quand on parle d’appropriation culturelle, fondamentalement, c’est ancré dans des rapports de pouvoir inégalitaires dans une histoire très précise. C’est profondément blessant pour les gens de voir encore une fois ce qu’ils créent être pris, sans que rien leur reste en retour.”
  • Frédéric Pierre, actor: “L’appropriation académique de l’histoire des « Noirs » ou des « Peuples des premières nations » me préoccupe et je serai toujours le premier à militer pour que les livres d’histoire soient ré-écrits avec l’accord et la collaboration de ces dites communautés. Mais laissons les artistes tranquilles. Laissons des artistes « Blancs » être touchés et émus par cette histoire et ses chants qu’elle a générés…même si c’est une compréhension différente. Le fond demeure le même.”

Media News Digest: Postmedia cuts again, journalists allowed to block on Twitter, StarMetro lays off 21

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Media News Digest: More repeats on CBC News Network, QCNA Awards, new editors at Toronto Star and Le Devoir

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At the CRTC

  • The commission held a hearing this week where four radio stations begged for their lives, err, I mean explained their chronic issues with licence compliance — CKMN-FM Rimouski, CHOC-FM Saint-Rémi, CKWR-FM Kitchener and CKUN-FM Christian Island. The transcript is here.
  • A commission letter to the Bell Fund, an independent production fund set up by Bell to dole out some of its mandatory contributions to Canadian content, says that its board makeup appears to be insufficiently independent of Bell. This is part of a complaint by several broadcasting groups that a new program set up by the fund unfairly discriminates against smaller broadcasters.
  • RNC Media has asked the CRTC to maintain its Independent Local News Fund allocation despite having shut down TV station CKRN-DT in Abitibi. RNC says it has moved all CKRN’s news resources to CFVS (its V affiliate) and produces the same amount of local news in the market as before.
  • Colba.Net has thrown in the towel on a TV distribution service in Ontario, and handed its licence back to the commission.
  • Native radio station CKOK-FM Nain, N.L., has been told it can’t be exempt from the national public alerting system, despite the argument that such a regulation is at odds with UNESCO’s Convention on the Protection and Promotion of the Diversity of Cultural Expressions.
  • Licence renewals for Pattison-owned radio stations CKWD-FM (Wild 95.3) Calgary and CKNO-FM (102.3 NOW!) Edmonton

Ethical reviews

TV

Radio

Print

  • The Quebec Community Newspaper Association awards winners list has been posted. In the overall newspaper category, first place goes to Kahnawake’s Eastern Door, and second and third place to two editions of The Suburban.

Online

Corporate

News about people

Obituaries

Good reads

Jobs

Adieu MR-63: A bit of Montreal history goes off the rails

That’s it, it’s done. After almost 52 years, the last train of the model that launched the Montreal métro system — including the first cars ever built and delivered — were pulled out of service at 6:51pm on Thursday, June 21, 2018, at the Saint-Michel station on the blue line, to applause from chairperson Philippe Schnobb and a few dozen transit enthusiasts. The video above shows its last in-service stop.

The MR-63, the model number reflecting the year in which they were designed and ordered from Canadian Vickers in advance of the 1966 opening of the system, wasn’t the world’s best-designed vehicle. It had a lot of faults that were quickly rectified after the opening, most famously a problem with temperature control. Engineers greatly underestimated how hot the cars would get, and built a heating system that was never used. The driver’s cabin got so hot that a driver fainted, so the motor cars were retrofitted with an air conditioning unit replacing one of the seats in the passenger cabin. New fans were also installed in the ceiling, and one door in each car had its glass window replaced with a grill.

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Media News Digest: Influence questioned, Rogers cuts 75, Fazioli out at City

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