Port of Montreal dockworkers begin three-day strike at two terminals

TORONTO – As Sarah McLachlan, Tom Cochrane and members of Blue Rodeo were ushered into the Canadian Songwriters Hall of Fame on Saturday, each took a moment to recognize that writing great music usually comes with incredible struggle.

“Writing is often a lonely, isolating business,” McLachlan told the audience at Toronto’s Massey Hall in her speech.

“But for me, it’s also extremely cathartic.”

Her feelings were shared by Cochrane, who acknowledged that songwriting steals precious years away from the people around its creators. He thanked his daughters for their patience with him.

But the “Life is a Highway” writer suggested the creation process often leads to miracles.

“Songs have a beginning and an end – like lives,” he said. “And like the people we love, we don’t forget them.”

All of the inductees’ famous tunes punctuated an evening show that saw fans dancing from their seats as Sam Roberts, Metric and Lights joined others in tributes that spanned the emotions.

Husband-and-wife duo Whitehorse delivered a sombre acoustic-electric take on McLachlan’s “Sweet Surrender” while a barefoot Brett Emmons of the Glorious Sons threw his voice into a wailing version of Cochrane’s “Big League.”

Nelly Furtado shared how McLachlan inspired her early in her career as they wound through one of the Lilith Fair tours. She also praised McLachlan’s tireless efforts in raising funds for various charities.

The two finished by performing a harmonious duet of Angel with Furtado standing near McLachlan’s piano.

Aside from the deeper reflections on the struggle of creation, the night offered a good share of humour, particularly when it came to the induction of Blue Rodeo songwriters Jim Cuddy and Greg Keelor.

Ed Robertson of Barenaked Ladies, appearing in a video message, likened the pair to being as inseparable as maple syrup and pancakes.

Keelor kept the jokes flowing when he stepped up to the podium with a thick notepad of his handwritten speech. He assured the crowd it wasn’t as long as it looked.

Shortly after, he pointed out McLachlan as she watched from the crowd beside her daughter Taja.

“I once said, way back, that when I die, I want Sarah McLachlan to sing at my grave,” he said.

“So I think I will die in my seat tonight.”

Country artists Tim Hicks and Tenille Townes gave a colourful tribute to Blue Rodeo that was quite literal.

When they hit the stage to sing a growling take on “Til I Am Myself Again,” both were dressed in blue – Hicks in a blue jean jacket and Townes in blue leather pants.

Toronto singer Ahi toasted the country-rock band with a bluesy take on “Try” that earned the praise of Cuddy as he kicked off his induction speech.

The Blue Rodeo frontman said all of the celebration was overwhelming in some ways. He thanked his wife, actress Rena Polley, for her unwavering support.

“Every time we go to a concert, or every time I play her a record, I’m just still surprised by all her enthusiasm, I think really after 40 years? That’s amazing,” he said.

Other highlights of the evening included French-Canadian chanteuse La Zara, who represented France at the 2023 Eurovision Song Contest. She was among the performers who toasted Quebec singer Diane Tell with a sizzling rendition of her 1981 song “Si J’etais un Homme,” which translates as “If I Were a Man.”

Accepting her honour, Tell recalled how she penned around 50 songs while barely a teenager and would sing them “for anyone who cared to listen.”

She said songwriting was invaluable to her life, and the words she wrote were so important to her that even in her early days she had an “urge to own my music and protect it from the industry.”

“Those songs they are my anchor,” she added.

Gary LeVox of the Nashville band Rascal Flatts closed the evening by joining a harmonica-clutching Cochrane on “Life is a Highway.” Partway through the song, all of the evening’s performers returned to the stage to rock out together.

“You just always hope and pray that one of your songs is timeless,” LeVox said of showing up for Cochrane’s induction.

“And great songs like that just get rewarded.”

This report by The Canadian Press was first published Sept. 28, 2024.

PARIS (AP) — Alessandro Michele’s eagerly awaited ready-to-wear Paris Fashion Week debut at Valentino was unveiled in a setting that hinted at a transformation— a living room in flux. Stools, ladders, and lamps shrouded beneath white blankets evoked a house renovation, signaling not just change, but a conscious revival of past glories. The scene, poetic and subdued, perfectly set the stage for a “maximalist-lite” spectacle that was equally haunted by history and illuminated by Michele’s unique flair.

Meanwhile, under the soaring ceilings of the École des Beaux Arts, overlooking the Seine, Sean McGirr’s sophomore ready-to-wear show for Alexander McQueen arrived with a palpable sense of relief. The shift in setting — from a bleak industrial warehouse outside Paris to this iconic venue — reflected a fresh start for McGirr, whose uncertain debut had left critics shivering, both literally and figuratively. Now, with the benefit of more time to prepare, McGirr appeared more at ease, though hints of his sometimes overly simplistic approach still lingered.

Here are some highlights of spring-summer 2025 ready-to-wear shows:

Michele’s Valentino’s debut

The mood was set with haunting music and the steady beat of a drum, creating an ambiance charged with drama and anticipation. Michele, who made headlines earlier this year after being named the new creative director of Valentino, following his successful reign at Gucci, brought with him much of his recognizable style. Yet there was a distinctive evolution in his vision — less overtly ostentatious, but still unmistakably eclectic.

Feathers floated on hats, soft and playful. Lingerie peeked through delicate layers. Flowers, fortune tellers’ hats, sparkling embellishments — all coalesced into an eclectic wardrobe that carried a vintage feel. Michele, it seemed, was teasing apart the DNA of both houses he knows intimately: the exuberance of Gucci and the ethereal heritage of Valentino.

Some of the pieces felt familiar to longtime Valentino admirers: the feminine nipped-waist dress, the floppy floral gown with its tiered skirt, and the iconic Valentino red that made its dramatic entrance. Yet in Michele’s hands, these classics were playfully twisted — feathers replaced fur on a billowing stole, and the result was a softer, more modern take that eschewed excessive luxury.

Jared Leto was among the VIPs who sat in the front row, a testament to Michele’s continued draw among Hollywood’s elite. The designer, who had risen to international recognition by infusing Gucci with his beloved “Geek-Chic” aesthetic, seemed to bring a similar ethos to Valentino, though filtered through a more graceful, couture lens.

Throughout his tenure at Gucci, Michele was celebrated for prioritizing his personal vision over the often suffocating codes of heritage houses, and Sunday’s show echoed that defiant spirit.

McGirr’s sophomore outing

The opening tailored suit, its lapels rolled as if to ward off an unexpected London downpour, seemed a pointed metaphor — perhaps a shield against the relentless skepticism that followed his first runway outing. This season, McGirr turned to a reference steeped in both his heritage and McQueen’s early days: the dark romance of the “Banshee” show. In doing so, he anchored his own identity more deeply in the label’s legacy, embracing a Gothic allure that was more commercially viable this time around.

It was a collection of contrasts. The precise tailoring echoed McQueen’s subversion of British suiting, twisting and clutching fabric in ways that seemed as though it had been caught in a sudden gust. However, this wasn’t always effective. One such example — a jagged, off-white tuxedo — felt more like a costume of restraint. This overly simplistic take on tailoring lacked the subtle layering and tension that distinguished Sarah Burton’s previous work for the house.

Where McGirr truly shone, however, was in his eveningwear — an area that has become increasingly vital in the era of celebrity-driven fashion. The shimmering embroideries and featherlight silks, frayed and distressed in lilac georgette, signaled his understanding of red carpet glamour. The brushed white chiffon minidress, paired with a gold beaded and sequined jacket, made a convincing case for the designer’s growing confidence. And when the silver chains traced the body’s lines, their intricate embroidery brought a level of audacity that was finally worthy of McQueen.

The night’s high point was a look of pure excess: an extreme gown embroidered with glistening silver chains that seemed to catch every glimmer of light in the venue. It was an ensemble that Daphne Guinness herself — who watched approvingly from the front row — might have worn in a heartbeat.

Despite his strides, McGirr’s sophomore effort still carried the weight of a designer learning the ropes of a storied brand.

Akris: Where utility meets minimalism

Akris’ Sunday collection had the audience leaning in, not for any over-the-top spectacle, but for the luxurious subtleties that Albert Kriemler so masterfully crafts. The designer, true to form, took the trench coat idea — a staple of the wardrobe — and transformed it into something distinctly Akris. With utilitarian detailing threaded through every seam, this was an exercise in functional luxury, the kind that Kriemler has long perfected. His designs don’t shout; they whisper.

The collection opened with takes on trenches, each reimagined to fuse practicality with fashion-forward flair. Minimalism, too, reigned supreme, with looks that kept embellishments at bay to let the craftsmanship shine. A flat, clean-cut fabric top paired with culottes nodded to the timeless Akris aesthetic — unfussy, luxurious, and quietly powerful. This was minimalism of the highest quality, a testament to Kriemler’s commitment to making clothes that defy the viral trend, focusing instead on timeless appeal.

TORONTO – Rapper and record exec Kardinal Offishall spoke about the importance of building a foundation for future generations during a heartfelt speech at the Legacy Awards on Sunday, as the fate of future telecasts hung in the balance.

The Juno Award-winning Offishall accepted the Icon Award for his decades of service as Canada’s hip-hop ambassador to the world.

“Anybody who’s ever spent time with me knows that my legacy is about one thing: the decision to build or destroy. Do you have a legacy of tearing others down or building them up, building up their self-esteem, their knowledge of self, their understanding of what it means to be part of a community?” Offishall asked a rapt crowd at Toronto’s History, where the third edition of the event was held.

“So, I say to everybody that sees this and hears this, are you on the side that will continue to build legacies or work to destroy them?”

Offishall was among several honourees at the awards bash hosted by “Bel-Air” star Adrian Holmes celebrating the accomplishments of Black Canadians in film, television, music, sports and culture.

Sunday’s bash concluded a three-year agreement between The Black Academy and CBC to broadcast the awards.

Before the show, Legacy Awards founders Shamier Anderson and Stephan James said they don’t yet know what the future of the show will be.

“We’re hoping that CBC continues to do this because in our community, virtue signaling is a real thing,” Anderson said on the “black carpet.”

“People come in when it’s topical and I think the community is hoping and making sure that the powers that be really keep this going and really put the gas behind it.”

The Toronto actors and brothers opened the lively gala by congratulating local restaurant Randy’s Patties for reopening — a callback to last year’s show when they brought the eatery back for one night. It ended with them handing patties out to the crowd, with Anderson calling himself “the Jamaican Oprah.”

Toronto International Film Festival CEO Cameron Bailey was presented with the Visionary Award for amplifying Black filmmakers and leading a major international arts institution.

Bailey told the crowd he was proud of how much Canada’s Black creative community has grown over the years, shouting out everyone from Drake to filmmaker R.T. Thorne.

“How can we put all this Black, beautiful energy into growing more together? Something bigger than each one of us, together. What we have to do is grow that rollcall. That is the assignment,” Bailey said.

Soulpepper Theatre’s artistic director Weyni Mengesha pocketed the Trailblazer Award for creating inclusive cultural spaces.

During her speech, Mengesha noted that her team refused to take no for an answer when skeptics doubted her critically acclaimed 2001 play “Da kink in my hair” had commercial potential.

“When we couldn’t find a path, we cut our own. And thank you for everybody who joined us on that journey,” she said.

“If any of you storytellers need fuel for your own fight, just remember that we are part of a lineage of Black theatre that goes back to the 1800s.”

Rapper PartyNextDoor, born Jahron Anthony Braithwaite, was named Artist of the Year. He wasn’t able to attend the gala but thanked his team, peers and fans in a video message.

Meanwhile, Ottillia Giralico, known as OT the OG, was named winner of the Fan Choice Digital Content Creator Award.

The gala also paid tribute to several Olympic gold medallists, including hammer throw champion Camryn Rogers and the men’s 4×100 metre relay team of Aaron Brown, Andre De Grasse, Brendon Rodney and Jerome Blake.

Toronto rappers SadBoi and Smiley were among the standout performers of the evening, igniting the stage with an electric performance of their single “Fashion Week.”

Also gracing the stage were Jamaican-Canadian poet d’bi.young, Alberta soprano Neema Bickersteth and Ontario singer-songwriter Morgan-Paige Melbourne.

Anderson and James founded the event in 2021 to shine a spotlight on exceptional Black Canadians.

Before the show, R&B singer Jully Black, who presented Offishall with the Icon Award, said a show like the Legacy Awards is especially important in Canada at a time when the reggae and gospel categories were nearly removed from the Juno Awards before being reinstated after blowback from the music community.

“When I hear gospel and reggae, I hear Black and Black people. So, I don’t even think it’s a question as to why (the Legacy Awards) should stay. That’s just ludicrous. It needs to be here,” she said.

“It’s not like America that has the NAACP Awards, the Soul Train Awards, the BET Awards, the list goes on. We already understand that ‘Junos so white.’ So, ‘Legacy so Black’ is necessary. Period.”

This report by The Canadian Press was first published Sept. 29, 2024.