No Quiet Revolution: Studies in the Sonic History of Montréal, 1965

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No Quiet Revolution: Studies in the Sonic History of Montréal, 1965 No Quiet Revolution: Studies in the Sonic History of Montréal, 1965-1975 By S. D. Jowett A thesis submitted to the Department of History in conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada September 2014 © S. D. Jowett, 2014 No Quiet Revolution: Studies in the Sonic History of Montréal 1965-1975 Abstract: Listening for sound and noise in Montréal during the late 1960s and early 1970s, this dissertation adds a sonic perspective to historical understanding of the later years of Québec’s “Quiet Revolution.” Guided by aurality rather than visuality, and arguing implicitly for the inclusion of sound in historical methodology, this project puts noise and silence – both literal and figurative – at the centre of the question: What does it mean to call the great transformation of Québec from 1965 to 1975 a “Quiet Revolution”? Exploring the auditory atmosphere of what was a cacophonous and dissonant decade, this thesis analyses Montréal’s urban soundscape, music, language, and acts of silencing. Taking an interdisciplinary approach, the work is informed by theories culled from existing works on sense history, sound studies, and Québec and Canadian historiography. Via the practice of “agile listening,” the dissertation seeks to re-create a sense of Montréal’s sonic environment between 1965 and 1975. ii Acknowledgements Someone once told me that writing a PhD dissertation is a lot like running a marathon: it is a long, plodding, tiring and painful exercise. Sometimes the route is not very well marked, and there is no crowd on the sidelines to cheer on the athletes. Luckily there were many people running alongside me, and others cheering me on during this lengthy process, without whom I would never have reached the finish line. The research for this thesis was supported by a Canada Graduate Scholarship from the Social Sciences and Humanities Research Council of Canada (SSHRC), an R.S. McLaughlin fellowship from Queen’s University, as well as a Donald S. Rickerd Fellowship in Canadian-American Studies. My supervisory committee helped guide this thesis through some fairly radical transformations. I consider myself extraordinarily privileged for having had the opportunity to work with my supervisor, Ian McKay, whose kindness and generosity is matched only by his voluminous historical knowledge. Karen Dubinsky was enormously encouraging, and her suggestion that I delve deeper into the history of music led me down the path towards sound-studies. I am thankful for her keen intuition. Thanks to Susan Lord, who believed in the interdisciplinarity of this project when others fretted that it strayed too far from ‘traditional’ histories; Jeffrey Brison, whose humility and gentleness offered refreshing relief from the stressful competition of graduate studies; and Jonathan Sterne whose friendliness and extensive knowledge of sound studies proved most helpful. Shout out to Rosanne iii Currarino, who let me play the 13th Floor Elevators in her classroom, and extra special thanks to Geoff Smith for being Geoff Smith. No historical study would be complete without spending some time in the archives. Nancy Marrelli offered many creative suggestions during my work at the Concordia University Archives, as well as conversations about her own experience of Montréal’s 1960s and ’70s. The professionalism and bonhomie of the staff at the Service des archives et gestion des documents at l’Université du Québec à Montréal made my work there a most pleasurable experience. Thanks also to Klaus Fiedler who provided occasional technical assistance with the temperamental microfilm machines at McGill University. Conversations with fellow scholars over the years helped to sharpen some of the ideas present in this thesis. Thanks especially to Paul Hébert, who generously shared his research notes on the Sir George Williams Affair; to Matthew Barlow, who offered commentary on various drafts here and there; to Sean Mills, a fellow- traveller in the land of Montréal history; Stuart Henderson, who turned me on to Logos and the Drapeau assassination spoof; and Sara Spike, who helped keep me abreast of sound-related events in Montréal and elsewhere. Thanks also to Mark M. Smith for reminding me that Canadians have always been at the forefront of sound studies. My fellow graduate students provided indispensable comradeship, and I’d like to say thanks to my fellow marathoners Claire Cookson-Hills & Rob Engen, Josh Cole, Kyle franz, Hayley Crooks, Pamela Peacock, and Marisha Caswell. A heartfelt thanks to Caralee Daigle for being a rock during some particularly stormy weather iv and to Marty Clark for being an exceptionally well-tempered roommate and friend. Thank you Scott Rutherford, Sayyida Jaffer, and the wonderful folks at CfRC, for introducing me to the wild world of community radio broadcasting. Special thanks to Gloria Lipski, Pouya Hamidi, Michael Palumbo and other members of the short- lived Montréal Sound Studies Group, who provided many stimulating conversations about sound and music. Also Léonie M. Jetten, who kept me well caffeinated during writing sessions and who provided occasional help with translations; as well as Bob & Claudia Adamowski, Donnie McDonough, Sarah Engelsburg, Ken Thorpe, and Bruce Murdoch, who shared their personal stories of Montréal’s 1960s and ‘70s. Thanks also to Nate Fuks, the folks at Queer McGill, and my drag king brothers past and present, The Dukes of Drag and The Bromantics. My partner, Jessica Wurster, understands just how grueling the PhD process can be, and her encouragement kept me going on days I wanted to give up. Finally, to my sister, my mom and my dad, whose love and support through this long journey was invaluable. It is with heartfelt gratitude and great love that I dedicate this thesis to them. v Table of Contents Abstract ……………………………………………………………………………………………………………ii Acknowledgements ………………………………………………………………………………………….iii Table of Contents ……………………………………………………………………………………………..vi List of Figures …………………………………………………………………………………………………vii Abbreviations ………………………………………………………………………………………………...viii Chapter 1 Introduction………………….…………………………………………………………………………………..1 Chapter 2 “A Symphony of Progress”: Montréal’s Changing Urban Soundscape………………….60 Chapter 3 The Ubiquitous Soundtrack: Music and “The Sixties”……………………………………….116 Chapter 4 Discordant Tongues: Voice and Language in Montréal…………………………………….180 Chapter 5 Silent Majorities and the Peaceable Kingdom: Silencing Montréal’s Not-So-Quiet Revolution………………………………………………...229 Chapter 6 Sound/Silence, Québec/Kébek………………………………………………………………………315 Chapter 7 Conclusion……………………………………………………………………………………………………332 Bibliography…………………………………………………………………………………………………341 vi List of Figures Figure 1: “Un monde de silence”: advertisement………………………………..84 Figure 2: “Noise abatement”: editorial cartoon…………………………………..93 Figure 3: A binary model of 1960s Québécois popular music……………121 Figure 4: “Nègle Dlade D’Amé-Rique”: image…………………………………...161 Figures 5 & 6: Students at l'Université de Montréal's language lab: photographs…………………………………………………………………….206 Figure 7: “When adults don’t know the answer they just yell louder”: editorial cartoon………………………………………………………………226 vii Abbreviations BBC British Broadcasting Corporation BNA British North America Act BOAC British Overseas Air Carrier CBC Canadian Broadcasting Corporation CCLA Canadian Civil Liberties Association CDDP Comité pour la défense des droits démocratiques du peuple CEGEP Collège d’enseignement général et professionnel CEQ Corporation des enseignants du Québec CN Canadian National CPR Canadian Pacific Railway CRTC Canadian Radio-television and Communications Commission CSN Confédération des syndicats nationaux CYC Company of Young Canadians FFQ fédération des femmes du Québec FLF Front de libération des femmes FLQ Front de libération du Québec fRAP Front d’action politique FTQ Fédération des travailleurs du Québec LIS Ligue pour l’intégration scholaire MLQ Mouvement de libération du Québec MP Member of Parliament MSO Montréal Symphony Orchestra NATO North American Treaty Organization NDP New Democratic Party NFB National film Board of Canada ONf Office national du film du Canada PQ Parti Québécois QJLQ Quatuor de Jazz Libre du Québec QPP Quebec Provincial Police RCMP Royal Canadian Mounted Police RIN Rassemblement pour l’indépendance nationale SDS Students for a Democratic Society SQ Sureté de Québec SST Super Sonic Transport STOP Society To Overcome Pollution SUPA Student Union for Peace Action UQAM Université du Québec à Montréal VOW Voice of Women WMA War Measures Act viii Chapter 1 Introduction In this study of Montréal in an era of transformation, from 1965 to 1975, I seek to achieve a new understanding of Québec’s largest city in a crucial moment of its history. I also seek to demonstrate the possibilities of a new approach to the understanding of the past – one particularly attuned to an appreciation and critical analysis of changing patterns of sound in the city. In focusing on the aural rather than the visual, this study situates itself within a new trajectory in historical studies, one that has acquired stature throughout much of the western world but which has been slow to develop in Canada – the history of the senses. With the exception of music history, historians of Canada and Québec have only just begun to explore sound in history. However, Canadians outside the discipline of history have pioneered two relatively young fields of inquiry: sensory history and sound studies.
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