Simple Plan documentary is an emotional look at Montreal band's rise to the top
Chuck Comeau is sitting in the cafeteria at the Maison de Radio-Canada marvelling at the good fortune of his band Simple Plan.
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Comeau and his bandmates don't take anything for granted, which is something all of them underline in the new Amazon Prime documentary on them, Simple Plan: The Kids in the Crowd. When they founded the band 25 years ago, they were a gang of teenage French-Canadian punk-rockers from Laval and the West Island whose ambitions were greater than their musical chops.
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Comeau in particular wanted to be a rock star and it was almost like he was going to will it to happen if need be. But he and the others — singer Pierre Bouvier, and guitarists Jeff Stinco and Sébastien Lefebvre — never forgot where they came from. A quarter century later, they've sold millions of albums, partly because when they started out selling albums was still a thing (it isn't any more in this age of streaming), and if anything they're becoming more popular now, thanks to a surprising renewal of interest in the punk-pop movement of the late '90s and early 2000s that they were part of.
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Simple Plan just played a show on the Plains of Abraham last Friday night along with Avril Lavigne, another bright light of that same punk-pop wave, as part of a joint North American tour. The Montreal band also recently wrapped a jaunt in Australia and Japan with The Offspring, another throwback band from that era, and now Simple Plan embark on their 25 th anniversary tour in the U.S.
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'We feel remarkably grateful for the fact that we're still here,' said Comeau. 'Being able to have that kind of longevity in a career, it's what you dream of or hope for.'
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Their current renaissance was aided in part by a TikTok phenomenon in the thick of the COVID crisis in 2020 when people all over the world posted photos of themselves or their family as kids and then recreated the scene as adults, all to the soundtrack of the song I'm Just a Kid from Simple Plan's 2002 debut album, No Pads, No Helmets… Just Balls. Suddenly Simple Plan were TikTok stars, through no work of their own.
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'It landed on our laps without trying,' said Comeau.
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'People are reconnecting with the band, they're rediscovering the music,' said Comeau. 'Maybe they were fans of the band in the early 2000s and all of a sudden they want to relive these teenage memories of our music being part of their lives. So all these people are coming back.
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CBC
28 minutes ago
- CBC
Money problems forcing N.L. Folks Arts Society, annual festival to likely shutter
Due to financial strain, the upcoming Newfoundland and Labrador Folk Festival will likely be the last, says board president Julie Vogt. (Mark Cumby/CBC) After nearly 50 years of highlighting the arts, along with traditional and folk music, the Newfoundland and Labrador Folk Festival could be taking its final bow — along with the folk arts society that runs it. Newfoundland and Labrador Folk Arts Society board president Julie Vogt told CBC News financial constraints continue to hamper the effort this summer, and it's looking likely that year's festival will be the final one, and the society itself will also shutter. "I encourage everyone to allow us to go out with grace, get your tickets for this last folk festival. Remember all the wonderful feels that you've ever had and come celebrate with us because that's what it's going to be — a celebration," she told CBC News on Monday. The tipping point was missing out on a multi-year ArtsNL grant that the society had hoped to land to sustain its operation. In an email to members on Friday, Vogt wrote the new board found it highly unlikely it could raise an additional $75,000 to fill the gap left behind from the ArtsNL money. The board also assessed an "extremely low" probability that ticket sales for this year's festival would meet even a "modest budget." But this summer's event will go ahead as planned, running from July 11 to July 13 in Bannerman Park in downtown St. John's. Vogt said the society had a $140,000 fundraising goal, and landed just $8,000 short. "We were that close," she said. The festival itself costs about $192,000 to pull off. That's before a ticket is sold or performers are paid. The Newfoundland and Labrador Folk Arts Society could likely shut down after this year's festival. (Submitted by Alick Tsui) Vogt said she's disappointed the festival couldn't reach its 50th year, and big plans were in the making. "It's gut-wrenching, but we are going to give you the best folk festival we can with the small number of people that we have to do it," she said. Vogt also offered reassurance that performers scheduled to perform will be paid and the festival will be the same festival people are familiar with. As for the future, Vogt said there would need to be a miracle to keep the society and festival going, such as an angel investor and support from the public. While small donations are welcomed, she encouraged people to buy tickets for this year's event, too. It's not the first time the society and its festival have been on shaky ground. In January, then-president Deborah Coombs announced temporary layoffs of five staffers due to rising costs having an impact on the bottom line. Members of the Salt Beef Junkies are hoping enough people buy tickets to keep the festival alive. (CBC) Then, Vogt revealed in March, the festival was in danger of closing due to heavy financial strain, as the 2024 event left the society with over $100,000 in debt . In response, the society appealed to the public to help raise funds, and launched a "Save our Festival" campaign. In April Vogt said $23,000 was raised, the 2025 event would go ahead and they were pursuing more corporate sponsorships. Youth programming impacted The society also has youth programs that support young people interested in traditional music. Those include members of the musical trio the Salt Beef Junkies, who learned to play from older mentors through the society's Young Folk at the Hall program. "That's the sad part about this news, about today, is that well, it's been our childhood," Ty Simms told CBC News on Monday. "That's how a lot of young musicians get their first big gig in Newfoundland." The trio is opening up the festival on the main stage this year, and are hoping they can draw enough people to keep the society alive. "Hopefully more funding does come, because the Folk Festival is probably one of the best festivals in the province," said accordion player Luke Mercer. Simms said the festival helps keep young people interested in Newfoundland music. "If you have kids, if you have even teenagers, who are looking into new music or even just want to come hear in Newfoundland music … go support the Newfoundland Folk Festival." Download our free CBC News app to sign up for push alerts for CBC Newfoundland and Labrador. Sign up for our daily headlines newsletter here. Click here to visit our landing page
CBC
29 minutes ago
- CBC
Looming fate of troubled N.L. Folk Festival is 'disappointing,' says tourism minister
As the Newfoundland and Labrador Folk Festival faces what could be its last season, the province's tourism minister says he's willing to work with organizers to see if there is a way forward to save it. Last week, Newfoundland and Labrador Folk Arts Society board president Julie Vogt said financial constraints and missed core funding meant it was likely this year's festival would be the last, and the society itself would also shutter. The festival runs from Friday to Sunday at Bannerman Park in St. John's. Tourism Minister Fred Hutton called the situation "disappointing." "At the end of the day, while it is a, you know, sort of a staple, if you will, in the music industry in the province and has been for 49 years … we were dealing with tax dollars here," Hutton told CBC Radio's Weekend AM. "I've told others we're willing to work with them to see if we can get through this." Prior to taking over his current portfolio, he said the Crown corporation Celebrate N.L., which is overseen by the tourism department, gave the Folk Arts Society $100,000 so the festival could go ahead. Since 2022, he said, the department has given the Folk Arts Society approximately $475,000. Hutton said he's meeting with the society and ArtsNL sometime this week to discuss the problem "to try to find a path forward." "We don't want to see this go away. We want to work with them to see if there's some solution to save it and to keep this, you know, this almost 50-year-old event going," he said. Hutton said the province has many festivals and groups who request funding from the government, adding it was similar to his previous post as minister of transportation and infrastructure. "We would need trillions of dollars to do everything that would be asked for. And maybe that's a bit of an exaggeration, but [it's] a lot more than we actually have to allocate each year," he said. "We operate within a certain amount of money and we got to make sure that what we're spending is in the best interest of the taxpayers who are footing the bill." Hutton said he needs to see a more "viable" structure in place at the Folk Arts Society, and that Vogt has said the society doesn't have that in place at the moment.
Canada Standard
an hour ago
- Canada Standard
Cancellations at Canadian film festivals raise questions about accountability
Film festivals are unique cultural institutions, spaces to see diverse films by local and global filmmakers and an important market for distributors. These films are often difficult to see, or even know about, outside of festival circuits. Festivals are also answerable to funders and to different stakeholders' interests. Cancellations of planned films raise questions about festivals' roles and accountability to community groups who find certain films objectionable, the wider public, politicians, festival sponsors, audiences, filmmakers and the films themselves. In September 2024, The Toronto International Film Festival (TIFF) faced a backlash from pro-Ukrainian groups - and former deputy prime minister Chrystia Freeland, who is of Ukrainian descent - when the documentary Russians at War was included in the program. Read more: 'Russians at War' documentary: From the Crimean to the Iraq War, soldier images pose questions about propaganda The Ukrainian Canadian Congress and other advocates called on TIFF to cancel the film, directed by Russian Canadian Anastasia Trofimova, which they accused of being Russian propaganda. TIFF did cancel festival screenings after it was "made aware of significant threats to festival operations and public safety," but once the festival was over, showed Russians at the TIFF Lightbox Theatre. In November, the Montreal International Documentary Festival (RIDM) cancelled the Canadian premiere of Rule of Stone , directed by Israeli Canadian director Danae Elon. As a film and media professor, I supervised Elon's research for the film while she pursued a master's degree at Queen's University. RIDM acknowledged Elon's "personal commitment to criticizing and questioning the state of Israel" through her story about the stone that, by Israeli law, has to be used on the exterior of every new building in Jerusalem. In the film, Elon examines how, in post-1967 Jerusalem, "architecture and stone are the main weapons in a silent, but extraordinarily effective colonization and dispossession process" of Palestinians. As a documentarist and a researcher in Israeli and Palestinian media representations of fighters, I have analyzed both films and followed the controversies. Each focuses on contemporary political issues relevant to our understanding of current affairs. While the reasons for the cancellations are different, in both cases the festivals responded to pressures from community groups, placing the public right to a robust debate at the festival and beyond as secondary. Director Anastasia Trifamova embedded herself in a Russian supply unit, and later a medical team, eventually making her way to the front lines in occupied Ukraine. Trifamova comes across as a naive filmmaker, using an observational, non-judgmental form of filmmaking common in 21st-century war documentaries, as seen in films like Armadillo and Restrepo (respectively following Danish and U.S. troops in Afghanistan). As noted by TIFF, Russians was "an official Canada-France co-production with funding from several Canadian agencies," and Trifamova said she did not seek or receive official permission from the Russian army to film. The film documents the machination of war, where soldiers are both perpetrators of violence and its victims. It humanizes the soldiers, which understandably can be upsetting to Ukrainian and pro-Ukrainian publics. But should emotions of one group, outraged and incensed as they may be, prevent the public from having the difficult conversations promoted by the film? Early in the film, Trifamova confronts the soldiers about why they are fighting and they respond with Russian propaganda (fighting Nazism, defending the borders). Later, soldiers approach Trifamova - on camera - to express doubts about the justification of the war and their presence in Ukraine. The film provides an unflattering view of Russia's attack on Ukraine, emphasizing the futility of the war and the incredible toll on soldiers and civilians (including some Ukrainian civilians). Russian troops appear untrained and poorly equipped to fight in chaotically managed battles. Like Armadillo and Restrepo , Russians at War represents the soldiers without judgment and contributes to necessary conversations about war. In my analysis, while Trifamova refrains - in her sporadic voice-over - from condemning the war outright, it is difficult to read the film as Russian propaganda. While TIFF cited security concerns as the reason for cancellation, security was in place for another film that attracted controversy, Bliss . A cancellation from such an established festival likely has an effect on how a film is able to circulate. For example, TVO, one of the funders of Russians at War , cancelled its scheduled broadcast days after the TIFF cancellation. Rule of Stone , as noted by RDIM, "critically examines the colonialist project of East Jerusalem following its conquest by Israeli forces in 1967." The title references a colonial bylaw to clad building with stone, first introduced by the British, which still exists today. The film, which examines architecture's role in creating modern Jerusalem, is led by Elon's voice-over. It mixes her memories of growing up in 1970s Jerusalem and her reckoning with the "frenzy of building," which included projects by architect Moshe Safdie, a citizen of Israel, Canada and the United States. Elon recounts that her father, journalist and author Amos Elon, was a close friend of Safdie, as well as legendary Jerusalem mayor Teddy Kolek. Safdie is among the Israeli architects, architectural historians and planners who Elon interviews. The expansion of Jewish neighbourhoods is contrasted with the restrictions on and disposession of Palestinians in Jerusalem. Multiple scenes show the demolition of Palestinian homes or the aftermath. In intervwoven segments, Izzat Ziadah, a Palestinian stonemason who lives in a stone quarry, gives a tour of what is left of his destroyed home. Viewers hear how the planning, expansion and building of Jewish neighbourhoods, post-1967, were designed to evoke biblical times. As architectural historian Zvi Efrat notes, the new neighbourhoods look like, or attempt to look like, they were there forever. As reported by La Presse , the RIDM cancellation came after the festival received information about the documentary's partial Israeli financing, something that "embarrassed" them with some of the festival's partners. Funding for the development of the film came from the Makor Foundation for Israeli Films, which receives support from Israel's Ministry of Culture and Sport. Two organizations, the Palestinian Film Institute and Regards Palestiniens, opposed the film's showing on the basis of their commitment to the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI). In the organizations' logic, Israel state funding means a film should be subject to boycott as "PACBI specifically targets Israeli institutional funding in the arts which serves to culturally whitewash and legitimize the Israeli state." In my view, this position differs from the PACBI guidelines, which state: "As a general overriding rule, Israeli cultural institutions, unless proven otherwise, are complicit in maintaining the Israeli occupation and denial of basic Palestinian rights, whether through their silence or actual involvement in justifying, whitewashing or otherwise deliberately diverting attention from Israel's violations of international law and human rights." Makor should be exempted since it regularly funds films that draw attention to Israel's violations of Palestinian human rights. In 2024 alone, the list includes The Governor , The Village League and Death in Um al hiran . RIDM's website does not disclose support for a boycott. In the end, RIDM announced that Elon withdrew her film. She stated: "Screening my film at RIDM does not serve the long-term purpose of the festival, nor is it possible now to address the nuances in our common fight for justice for Palestine. I am deeply saddened and distressed by [what] has brought it to this point." To date, the film has not found a cinema in Montreal willing to screen it. The two festivals' mission statements promise high-quality films that transform or renew audiences' relationships to the world. It is clear why programmers chose both films, since they're cinematically innovative and provoke important conversations. However, both festivals silenced these films and signalled to other filmmakers that these festivals are not brave spaces to have difficult and necessary conversations.
