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‘“Bad news travels like the plague. Good news doesn’t travel well”’. While this epigram might have appeared in an advertising or marketing textbook, they were the words a Canadian politician chose to explain why the federal government sponsored a Toronto rock concert in the summer of 2003. As the Senator stated, 3.5 million dollars was a small price to pay for an event held to restore confidence in a city struck by SARS. The virus — first diagnosed in Toronto in March 2003 — had already claimed 42 lives; international media coverage of the outbreak had strangled the economy. While public health officials imposed quarantine and isolation measures to combat the spread of SARS bureaucrats and business leaders were equally active, treating the virus as an economic crisis caused by negative publicity. ‘SARSstock’, as locals dubbed the concert, was one of many events prescribed to repair and revitalize the city’s image post-SARS. By drawing close to half a million fans with big name musicians, including The Rolling Stones, it provided Canadian and US newspapers and television outlets with a splashy ‘good news’ item. Local media commented that the concert gave Torontonians a much-needed tonic. As the Toronto Star declared, it proved to the world that ‘life and business here rock on’.1

Postcard from Plaguetown: SARS and the Exoticization of Toronto