Get In My Jelly Belly

As I was re-stocking my pantry on Saturday with a trip to Chinatown, I decided to have lunch at Swatow. Now and then, it makes the rounds as one of the places chefs go to after work. As anyone goes by at 2 a.m. can attest, this place is hopping for the late-night crowd. It's also busy for lunch too (and pretty much all the time).

Even such a fixture has also evolved with the times. The new tables are cheap, but classier-looking engineered wood. There's some etched frosted-glass touches at eye-level. And the Chinese-only menus are no longer scribbled papers taped to the walls, but professionally printed and mounted. But the food is as cheap, quick, and tasty as ever.

Swatow's soups are not only yummy, but at $4.50 may be the cheapest nosh in town (with pho pushing $7 and ramen usually coming in at $10+). Mine came with plump shrimp wonton with the perfect mouth-feel. The wheat noodles were soft but chewy, and the broth was light. This was enough for lunch but my eyes were greedier than my stomach so I had ordered two more dishes. The fried bean curd ($0.90) had a crispy skin, giving way to moist tofu. The beef curry fried noodles ($9.50) had the typical super-soft Chinese beef with some great crispy noodles. The curry added a bit of messy spiciness. The vegetables were perhaps too lightly cooked: it kept the green peppers fresh and crunchy, but that meant the onions were essentially raw.

On the way home, I stopped off at Jelly Modern Doughnuts to grab some mini-donuts for an evening dinner. Though the regular doughnuts were twice the size for only $0.50 more, the "3-bite" version ($2.25) worked better as desserts. There was a variety of interesting options. I went with traditional lemon curd but also glammed it up with some chocolate cherry and s'mores doughnuts.

L.A. Story

Local comedienne Inessa Frantowski is moving to Hollywood. On Friday, the Comedy Bar hosted her annual Christmas variety show/send-off party. Things didn't start so well with the show being late by about an hour. Since we were lined up in the crowded bar area outside the comedy room, people were not as forgiving as a late set from a live band. Some left and others were grumbling about how "this better be the funniest show ever". Not a great mood to create for your audience.

It was a funny show although there were a few loosy-goosy moments. Some were simply concepts that didn't work such as Henri Faberge's masked Kanye rant about Frantowski's imminent departure: "We should never have let her make the video" (in reference to her comedic role in this popular video.) Unfortunately, others were simply indulgent half-baked "let's put our friends on stage" acts. Fun in a low-key show, not so great when there were people paying $15 due to the hype from the local media.

Luckily, most of the acts were great. Maylee Todd provided some chill synth-pop. Alana Johnston and Pat Thornton gave us a couple of funny sketches. Oddly, there were 3 dance numbers including an opening "flash mob", Semi-Gold's gyration to Rasputin (Bony M), and Sarah Hillier's emotive "contemporary" number set to "Nothing Compares 2 U". Though the laughs came from the dorky, white-people-dancing moves, it actually highlighted that some of those dancers, especially the women, could actually wind their body. The audience wasn't left out though, as our "7th inning stretch" involved learning the sexy "skanky legs".

But the highlights of the night belonged to Frantowski and Buddy Cole (Scott Thompson). She made for an engaging and quick-witted MC alongside Hillier, her comedic co-host. Her alter-ego as "the best entertainer from the future" got some major laughs. As for the gay lounge lizard from Kids In The Halls, Buddy Cole delivered a gut-busting story that started with a knee fungus ailment (from kneeling in too many bath-houses) and ended up in Egypt during the recent demonstrations.

Dream Weaver

Given everyone's schedule, it was easier to have a Christmas lunch than dinner this year. It also meant that although there was lots to eat, there were no "all-day-slaving-away" dishes like turkey or a roast. I finally met my second niece. At 4 months old and 20 lbs, she was a big baby (100th percentile) with a strong grip and pleasant disposition. With my evening free, I was going to watch some TV but feel asleep.

I've had stranger dreams but since this one happened on Christmas day (night), I might as well jot it down. After debarking the bus at a small mall, I wandered around futilely looking for the subway entrance. I finally realized I had gotten off at the wrong stop and went back out. But there was a large crowd waiting for public transit, and every bus that passed by was full.

After 4 (!) hours, I finally decided to take a taxi to my original destination (with its connecting subway). Oddly enough, this would have been Jane and Finch. But I was unable to convince other people to share the cab fare, which would have reduced the cost to $5-7 per person. So I ran down the empty street looking for a taxi.

The streetscape suddenly changed to one which best appealed to me: old, historical buildings with vibrant, immigrant (non-gentrified) stores and restaurants. An owner and a female passerby gave me directions to the nearest metro stop. Interestingly, I found out I was in Montreal and not Paris as was my first impression. Deciding that I wanted to see more of the area first, I accompanied the girl for a stroll. After it got less interesting (i.e., new condos were going up), I bid her good-bye and headed for the subway.

Most of the dream elements are obvious. Lately, I've been taking Ottawa transit which is atrocious. Many stops are not cleared of snow, most buses are over capacity (not even any room to stand), and are very late. Sometimes, I'm too much of a miser. I've been thinking that instead of taking a 40-min transit trip home after a late show, a taxi ride would be less than 10 min. At a mere $10-15 (one perk of living downtown), this is affordable and convenient. Finally, though I do enjoy gourmet bistros and hip bars, not to mention the pixie-haired girls who go to them, it's the slightly run-down neighbourhoods with its larger cross-section of humanity that I love. Sadly, they are disappearing rapidly from Toronto.

The Montreal angle is interesting. Obviously, Paris is one of the great cities. In contrast, I never think about la belle provence. Possibly because what usually makes the news from there is the xenophobic, "pure laine" rhetoric which is a turn-off. But culturally, Montreal should have lots of grand old neighbourhoods (though no doubt also gentrifying).

Needs More Iron(y)ing

I wasn't sure where the hipster hang-out is in Ottawa. The Glebe, Elgin, and Westboro are too upscale. The Byward Market is too touristy. I finally decided that there may be a small population near Chinatown. So on Monday, I went to Pressed Cafe for dinner.

Located on quiet Gladstone near Bronson, it fitted to a tee. There was the local artwork: in this case large portraits done with spray paint. There was the eclectic decor: church pews for seats, knick-knacks, and even a non-functional 60s synth organ. And in the corner, there sat a group of pixie-haired 20-somethings wearing boho-chic clothes. But outside of the chef, there was a distinct lack of bearded dudes. No worries, they came in later for the bluegrass music.

By day, the spot offered quick noshes including salads and panini sandwiches. At night, there was a small dinner menu. I opted for the smoked chicken ($16) and a side-order of mac and cheese ($5). The claim that the mac was their best dish was correct: it was soft, gooey, and comforting. Not sure whether the curds added anything. Unfortunately, the main was disappointing. The parsnip smash was too tangy. Combined with the vinaigrette on the salad, and the whole dish puckered the lips. In contrast, the pan-seared chicken was overly salted. Too bad because the skin itself had good texture and the meat was tender. The cafe has a nice vibe but they need to step it up in the kitchen.

Yuletide Cheer

Although I wanted to do more than the typically Ottawan "hunker-down" for the winter for my visit, alternating conditions of either -39 degrees or never-ending snowfall meant that I have been hunkering down lately. But on Saturday, I finally left my den for a Holiday party (though dinner parties are also very Ottawan).

Being a minimalist sort (or perhaps cheap-ass miser if you're uncharitable), I am always impressed by a well-furnished home. This one has always been amazingly spotless, with only (recent) minor messiness in the kid's play area. With the added bonus of the holidays, we have Martha Stewart-level Christmas tree, garlands and wreaths, and a beautifully set dining table (but there were 6 rambunctious children sitting nearby). It was a pot-luck, though the hosts provided more than half of the dishes. Everyone had a good appetite and most of the dishes were more than 75% eaten, even my sad-sack contribution of some vegetarian stir-fried noodles. The only relatively untouched dishes were the goose pate and the spinach dip because there was simply too much appetizers. The pulled pork was tender, though a touch too sweet for me. In contrast, the meatballs were nicely spicy. The potato salad, lasagna and vegetable chicken cheese casserole were filling for a Winter's eve. Though everybody was filled to stuffing, we made room for some richly textured chocolate mousse cake.

With the cake and some Kinder eggs chocolate, the kids were hopped up on sugar and were bouncing off the walls. Not surprisingly, most of the dinner conversation revolved around what Santa will be bringing this year. One the consensus being that teachers who do not send "Dear Santa" letters home to the parents make things harder for Santa to make wishes come true (and thus add some additional last-minute headaches.) Oh, dear. The lengths Santa need to go through to fulfill those special requests was eye-opening. The night finally wound down and everybody went off to dream of sugar-plum Pokemons dancing in their heads.

What's In A Name

On Friday, I was at the long-running venue Zaphod Beeblebrox for some live music. With the cold snap gripping Ottawa and some unknown bands on the bill, not many ventured out tonight. I looked around the place with some nostalgia. I was last here years ago when the Shuffle Demons came through. Like tonight, it was practically empty except for me and my friend. And hard as it is to believe now, we were as young as the baby-faced crowd who came to cheer their buddies on stage. The bands tonight, oddly enough, did not play music that "matched" their names.

Chris Spencer charmed the audience with his English accent and disarming manner. His songs were typical pop about love, not love, and more love. Unfortunately, his drummer and lead guitarist were ragged around the edges, making the set a bit amateurish. The Tenebaums, all the way from Winchester, did not actually played the kind of twee music suggested by their moniker. In fact, backed by tight bass and drums, they played furious, short, and punchy punk-pop. But it was mistifying why the singer adopted a growly voice because for all the energy, their music was more pop than punk/metal.

The headliners were local band The Riot Police. Again, you would expect in-your-face music from such an aggressive name. But their background in vocal groups meant their songs were full of 2 and 3 part harmonies and little flourishes and details in the arrangements. It was catchy pop with numerous forays into "power ballad". Not to disparage their skills, but with their boyish youth, they'd probably find bigger success going after the "Jonas Brothers" crowd.

Get Together

I was heading down Rideau St to the Byward Market Friday night. Despite the ubiquity of restaurants, its touristy status means that most places in this popular Ottawa area are not that intriguing. The Smoque Shack, located in a non-descript house on York St., seemed to offer something different. But the hipster-chic facade led to a typical bar in the front, and strictly utilitarian tables at the back. These were crammed cheek to jowl to accomodate the large crowd of pragmatically dressed Ottawans.

On the menu were all manners of bbq meats and some venture into ethnic cuisine with Jerk pork and chicken. I ordered the 1/2 lb beef brisket ($16) and a side-order of greens ($6). Both dishes were average but not outstanding. The slightly sweet bbq sauce was bold and not subtle. The brisket was tender but dry. Kale and swiss chard were supposedly also "bbq"-ed. Nevertheless, they were not sufficiently cooked to really bring out the flavour, remaining rather green and fibrous. An adequate but pedestrian option in the heart of downtown Ottawa.

Cool Bunning

Christmas shopping continued on Sunday along Bloor around the Bloordale area. This area has sufficiently gentrified so that there were more choices than Dollar Marts. Near Bloor and Ossington, a bazaar offered a variety of knick knacks both "vintage" and new. The stores around Lansdowne were more niche: Zebuu offered pricy carved wooden birds from around the world, alongside soft Turkish towels and scarves; Fenigo specialized in lunch-related merchandise of all sorts: bento boxes, tiffin containers, thermos, eco-friendly metal straws.

I went in vegan baking company Through Being Cool for a snack break. In addition to baked goods, they also can mustard, pickles, and marmalade. There was also a freezer full of vegan entrees including chickpea pot pie, lasagna, and mac and cheese. I settled into a corner nook with a sugar and cinnamon doughnut ($3). It was soft and felt denser than usual, but not too cakey. I liked that it wasn't too sweet; there was just enough sugar to satisfy your palate.

The Peg

The Juno Concert Series enlist a number of local acts to play various Canadian music with money going to a music-related charity. The recent incarnation at The Horseshoe Tavern on Saturday night highlighted songs from musicians who came out of Winnipeg "the gateway to the West".

The show had a relatively early start with multiple sets anchored by a band and various guests joining them on stage. I was in a tired stupor after dinner and was dozing off and on. Combined with the Winter chill, it took several tries before I finally woke up fully and convinced myself to head out the door. So I missed the first set with The Harlequin and guests.

I arrived as Tonight's the Night (Neil Young) was being played. The second set had young band Harlan Pepper being the stage band. In fact, many "close to geriatric" audience remarked that they hardly looked old enough to shave. After they covered Don't Be Denied (Neil Young), Ridley Bent came on and ripped through an energetic version of his song Suicidewinder. Wait, can you pay tribute to your own song? He followed up with Guns Guns Guns (Guess Who). Del Barber came on for a song about Fort McMurray. Hmm, didn't sound like a tribute either. Most of the Peppers left so that the New Meanies can back their lead Damon Mitchell on 3 blistering numbers including Southern Man (Neil Young).

The next set had Cuff the Duke manning the stage. They were joined by Nikki Yanofsky on Undun (Guess Who). This 19-year-old, who mostly sang jazz-pop as a precocious teenager, had a big voice. The next guest was the highlight of the night. Randy Bachman of The Guess Who came doddering on stage. But he came alive once his guitar was properly set up. Bachman and Yanofsky did a sweet duet of These Eyes. But he really revved up the crowd (who actually was a bit tepid in cheering when he was announced) with blistering guitar solos alongside Ian Blurton on BTO songs Rock Is My Life This Is My Song, Stayed Awake All Night and hits American Woman and Takin' Care of Business.

It was a hard act to follow but Jeremy Fisher slowed things down with a melancholy tune. Neville Quinlan (NQ Arbuckle) also sang quieter songs. Refreshingly, he chose newer "Winnipeg" songs The Superman Song (Crash Test Dummies) with Miranda Mulholland and Blood's Too Rich (Luke Doucet). Cuff The Duke closed out the set with Powderfinger (Neil Young).

I headed home as the techies were setting up for the final set. I guess I wasn't as hardy as some of the "geriatrics". Though the crowd had thinned, many were still going strong with the boozing and whooping it up.

That's a Big Boy

Parkdale restaurant and bar Parts and Labour recently won best burger on a reality TV show on the Food Network. Flushed with this success, they decided to open P&L Burgers near Queen and Spadina (in competition with A&W, Hero Certified, Burger's Priest and a host of others) this past week. Before starting my Christmas shopping, I stopped by on Saturday for lunch.

The long and narrow space is painted in black and white. One wall is adorned with a giant graffiti of some sort of mutant, rampaging Hamburglar monster. There is a stretch of stools along the wall. The order counter occupies the middle space with some additional seating at the back. But these are right in front of the only washroom so don't seem appetizing. The kitchen is tuck away at the back with a counter where a cook will holler your completed order.

I got the combo ($13) with The Philly, fries, and some root beer. The burger was quite large, especially when compared to Burger's Priest at a similar price point (around $9 for just the burger). The meat was loosely packed which made for a sloppy bite, even before the sauteed mushrooms, hot peppers, mayo and American cheese. The patty was good, but could have used a bit more seasoning. The cheese was an error on my part because it tasted like Kraft cheese slice. That certainly makes it an "authentic" Philly cheesesteak flavour but sat like bad memory on my tongue. The bun was soft but thick to hold the gooey insides. The fries were reasonable but not great.

Keen No More

I was around the Yonge and Bloor area on Friday night. This strip has always had a proliferation (and turnover) of restaurants. Thinking I should stick to a known place, I stopped off at the 3rd location of Kenzo Ramen just south of Wellesley. This franchise, owned by Guu Izakaya, was the first to bring quality ramen to Toronto and started the craze. I remember the long line-ups at the location near Dundas and Bay.

I ordered the spicy King of Kings ($12.95), some agedashi tofu ($3.50) and takoyaki ($9.99). Everything was reasonably tasty and serviceable but seemed to no longer be so exciting: meaty pork and chewy ramen, soft tofu with a slightly sweet fried skin, gooey banana-flavour ball with a small octopus tentacle inside. It could be a quality control issue: not every location is on the money. It is also likely competition: the other joints have elevated the game. In which case, they should be worried. Their much better competitor on Dundas, Sansotei Ramen, also has a small printed sign in the window of an empty shop just a little bit north on Yonge.

Thought and Pop

Thursday night was the album release party (Bound) for Kashka, barely a year after putting out their first (which came on cassette). After Kat Burns' disbanded dreamy Forest City Lovers, she was looking musically in a new direction. The show coincidentally featured other performers which I thought I would see for the first time tonight, but events had transpired such that I got a "preview" of them a few days early at other venues.

First up was Kelly McMichael and the Gloss. Last week at the small Piston, they played a soft 80s pop. The bigger sound system here highlighted more details in their songs. Nevertheless, with numbers like Solo, Makes Men, and cover Erase Rewind, it was "bedroom" pop, the kind you put on as you lie around and chill. So McMichael's languid voice played better with pop than the more indie-rock tunes. Casey Mecija played next with her new act Warm Myth. With a set-up full of pedals and effects and a second guitarist (though drummer Kieran Adams is currently touring as Diana), it was clearer what the new approach was about. Vocal fragments and repeated phrases by Mecija, floating over an atmospheric layer of reverb, electronic synth, and often her own voice.

It was too bad there weren't more people here at the Great Hall for Kat Burns' solo effort. I have heard Kashka at smaller venues with just her, the guitarist, and a bevy of electronics. For this occasion, she had put together a full band. Paradoxically, given that this "folkpoptronica" can be done more or less with just computers, a live band gave it more muscle, more dynamism, and yes, actually more dance. This was the best performance yet. Many songs (Never Had It, Prophet, Body Like Lead) were dance-floor worthy while others (Bloodlines was about connecting with the painful past of her Polish predecessors) were more introspective. But they all had intelligent, evocative lyrics.

It's a bit of a bind. Burns' has admitted that "smaller" Kashka makes touring economically easier. Yet this "full experience" would win many more fans by highlighting the Austra-esque (intelligent pop) quality of these tunes. But the fans have to be there for "big" Kashka to make sense. Not sure how to solve this knotty problem. Body Like Lead's debut is doing great on the Canadian indie radio charts, so hopefully this will give Kashka momentum. Because a venue should be packed with dancers grooving out to her engaging music.

Meat Market

Long time Kensington Market shop Toronto's European Quality Meat and Sausages, packed on the week-end, closed up operation after 50 years. But given the opportunity, nearby Sanagan's Meat Locker decided to take over the space. On Thursday, I dropped by for a bite at lunch as they also retained the sandwich counter across from the meat section.

I ordered a roast beef ($7) and an old-fashioned glass bottle of pineapple from pop shoppe. The bread was crusty whole-wheat dotted with various grains. The roast beef oozed out covered with melted cheese and mushroom. It was rich, satisfying and a bit messy. Though the portion didn't look substantial when they prepared it, it was filling. Note that there wasn't much space for dining, as this is primarily a butcher shop. You can stand by some some small wooden tabletops near the door, or have your sandwiches to go.

Don't Get In My Belly

The ubiquity of Mexican food in Toronto really started with all the local burrito franchises that opened in the last several years. Feeling a bit peckish from the small portions at charity event ProjectUpliftPH, I headed over to Fat Bastard Burrito for a bite. With selections like butter chicken, this was multi-culti burritos. But I opted for the traditional pulled pork ($7.99). Like all these joints, after a base of beans and rice (said no to the vermicelli noodles), you can add more toppings like salsa, onions, etc. I got the works plus the hot option which meant 4 squirts of hot sauce.

The burrito came out fragrant from the grill, bulging and certainly filling. Yet with all those ingredients, it was oddly bland. I wouldn't even have known there was pork if I had ordered it myself. This was certainly not the first mediocre burrito I've had lately (and from different franchises). Toronto needs a good burrito joint to set the bar, similar to all the gourmet taco places that have sprung up.

Edit: What was I thinking? Long-time New York Subway near Queen and Bathurst has long provided excellent burrito. But they take their time making orders so you can't be in a rush.

Uplift

Wednesday night, I went to the Great Hall for a charity event (Project Uplift PH) organized by the Kapisanan Centre. The aim was to raise money for the recent typhoon Haiyan disaster in the Philippines. In addition to some musical guests, there were food kiosks, raffles, and a silent auction. I bought some raffle tickets hoping to win but struck-out 0 for 17 items.

Wandering past the food tables, I started with a slider and calamansi slaw and a green raspberry ginger smoothie ($5 for both) from Chef G catering. The slider was crunchy with a slightly sweet sauce though the pork berry was bit too rich. The smoothie sounded like an odd combination but was actually quite tasty. Then it was next to Lamesa for a chicken arroz caldo ($5). This was chinese congee soup given a filipino twist. With flecks of crunchy fried scallions, seaweed, ginger, and chicken, this was warm, comforting, tasty food.

The musical act started with the Mecija sisters (Ohbijou). They played atmospheric shoe-gazey pop from Casey's new act Warm Myth and some old favourites from Ohbijou. But it was perhaps a little too chill for the noisy crowd, who were energized from the food, booze, and excitement from the raffle. There was a moment of silence when Casey gave a rather emotional speech about the current situation in the Philippines. Things got dancey with Abdominal and The Obliques, whose rap has a funky vibe from an upright bass and jazzy guitar. They were a last minute replacement for Maylee Todd who had to pull out. I was getting tired and left before Datu took to the stage with Scratch from The Roots, though the prospect of hip-hop combined with gamelan and South Asian percussion sounded intriguing.

Bang Bang

It was "nu music" at The Horseshoe Tavern on Tuesday. Listening to samples online, the bands were in the "loud rock" category. I wasn't feeling it tonight, so I skipped the first two (Speed Control, Love Tapper). I arrived as Salt of the Chief Cornerstone was getting into their set. This instrumental band from Windsor comprised of a guitarist and a drummer. Together, they had a big sound. Their instruments were transparent: from the clear drum kit (lit up with white LEDs) to the plexi-glass-esque guitar. Though not metal, they got heads banging with their tight and synchronized changes. Both were good, but unfortunately the "rock vocabulary" isn't too complex. Guitar simply alternated between riffs and power chords, chunky melody and rhythm. Drums did have complicated polyrhythm but essentially boiled down to furious rock banging.

Language-Arts was the final band. Their set varied between light pop and impressively catchy rock. Lead singer/guitarist Kristen Cudmore might seem twee in speech, and that did carry over into some song lyrics, but her array of 12 pedals refuted that label. Though their latest album was not even officially out yet until next year, they played mostly new songs that were not on either records. These were quite raucous but still retained a melodious core.

New Growth

At the edge of Christie Pits Park, the Regal Garden chinese restaurant has been replaced with hipper Northwood, offering coffee and a variety of drinks and cocktails. On Sunday there's a brunch until 3 pm. Sometimes, a pop-up dinner is offered. I dropped by around 12:30 pm to try the eats.

The inside was all dark wood with walls adorned with knick-knacks. The chairs have been stamped/painted with small storks. The vibe was definitely hipster trendy with boho clothes, beards, and Macbooks galore. I opted for the ham rosti ($13), a mulled cider mimosa ($6), and a vieux carre of rye, cognac, vermouth, and benedictine ($11). On top of home fries laid a sunny-side up egg with a variety of pork products: ham, pancetta, sausage, and bacon. It was typical diner fare with above average execution. Combined with the booze, it was a pleasant way to spend a rainy afternoon.

Wintersong

Saturday night, I headed over to City Hall for the official start of the holidays with the Calvacades of Lights. The skating rink was already packed with skaters. The night of musical entertainment started with community choir "Choir! Choir! Choir!" singing a medley of carols. Before the lighting of the Christmas tree, Rob Ford the crack-smoking mayor came on to a growing chorus of boos. It was unfortunate that he dragged his wife and young kids on stage with him. I laughed when he asked if people were here to see the tree get "lit up". Ah, too easy.

There were 4 singers, backed by a professional band and the choir, each performing 3 songs. MuchMusic teen idol Tyler Shaw came on first, to some shrieking from the teens in the crowd. He sang run-of-the-mill pop (Kiss Goodnight, It's Christmas Time). Cold Specks was the stand-out of the night. She did 3 winter-themed numbers, but no heartwarming classics for her. Her songs were bleak and cold (Winter Solstice) especially the chill-inducing cover of Fleet Foxes' White Winter Hymnal backed by 4 background vocals and that 60-strong choir. Divine Brown had a huge 5-octave voice, but her Christmas tunes were forgettable. The exception was her cover of Stevie Wonder's beautiful Someday At Christmas. Carvin Winans closed out the show with a couple of funky Christmas tunes and a duet with Ms. Brown (Lennon's Happy Xmas).

After the fireworks and laser light show, Diamond Rings and his band came on to entertain the crowd with 80s inspired dance/pop. There were some titters at his costume changes from the older people but glam was obviously part of his image. Younger people cheered at his antics and songs (I'm Just Me, Runaway Love, A to Z). Diamong Rings usually stayed in his lower register reminding me of Pete Burns (Dead Or Alive). Though his tunes varied between moody and upbeat, dance and rock, the encore number Day & Night was entertainingly pure boy band.

Subway Eats

Saturday night I went to Richmond Station, a restaurant run by Carl Heinrich, the season 2 winner of Canada's Top Chef. Tucked inside a commercial building surrounded by other high-rise and offices, it could be easy to miss the small door at Yonge and Richmond with a tiny sign overhead. It was more welcoming inside: 2 levels, long and narrow, but with high ceiling. Reservations are likely needed for busy days.

I started with the duck liver pate ($9). It was smooth and creamy, but milder than I expected. I want my pate to have an earthier flavour. In fact, it was easily overwhelmed by the apple-allspice chutney. However, the portion was quite generous so you can compensate by slathering on thick spreads over the soft brioche. The butternut squash ($7) was also too quiet. I suppose my taste buds are insufficiently refined. Yes, the soup was rich, and the pumpkin seeds, sage oil, tarragon, and chives were nicely balanced. But there was no "mmm..." moment.

So far, it was all good food but I was a bit underwhelmed. Luckily, the chili and fennel pasta ($23) came through. The handmade orechiette was nicely al dente with a great chew. The toscano cheese and (quite abundant) sausage were fragrant. The basil and chili gave it a bit of an Asian flair. Don't forget to get some bread to mop up the sauce. It was an excellent and satisfying entree.

Laughter Is The Best Medicine

Local comic Pat Thorton has been running a 24-hour stand-up marathon to raise money for the Stephen Lewis Foundation to combat HIV/AIDS in Africa. Running from 7 pm to 7 pm at the Comedy Bar, he'd try to tell jokes (livestream on the Internet) with minimal breaks. He has help, of course. People in the audience, typically other comedians, would write jokes on slips of paper and drop it into a bowl for Thorton to read. By the end of telethon, the stage would be littered ankle-high in discarded papers. This spontaneous nature can result in some surreal topics as the community play off each other's contributions. A few years ago, an extended riff on Kevin Sorbo eating out of garbage cans went viral and caught the attention of the actor. This lead to Sorbo hosting a Kevin Sorbo Garbage Week-end at the Comedy Bar later that year. This year was the 5th installment of Pat's 24 hours.

I caught an hour online Friday night when the topics were "shitty Noah", "Upside-down Terry", and "Bad Oprah". Early Saturday morning, I dropped by at 5:30 am to see the show in person. The crowd had dwindled by then but started to pick up by the time I left at 9:30. When I arrived, the riffs were about rejected show episodes (Rejected TNG, Rejected Golden Girls, etc.) with a sidetrack into rejected kites (e.g., bricks, dead birds), friendly house ("I love wearing a toilet paper costume for Halloween"), scared kid, and the occasional bad Oprah. The two strongest topics were a down-trodden Coolio trying to survive on the street and singer Jann Arden's voracious appetites for eggs. The latter were particularly surreal: she tries to invent a time machine when she found out about dinosaur eggs; calling Godzilla Eggzilla because egg is God; gobsmacked about fish (i.e., roe); even trying to eat words with the letter O. A lot of it was, no surprise, quite blue.

Serendipity played a big role. A misreading of "is Coolio" as "15 Coolio" introduced a roving gang of 15 Coolios who eventually graduated from homeless hobos to assassinating JFK in a time-travel mission. The arrival of young kids at 9 a.m. (who submitted their own jokes) meant that some of the adult material couldn't be used. This spurred the introduction of Insufficient Plot Summaries. Jann Arden became aware of the show via twitter. Though she was in the Greater Toronto Area, an attempt to get her to come in person fell through, though she did make a donation online.

Thorton did more than just read the jokes. He injected personality and wit to make them work. And a lot of them did. I've been to shows where the jokes weren't half as good. He rallied the troops when the energy flagged, especially since they were writing the material. He even did a couple of improv bits including an extended monologue on whether or not, as a note he read stated that "Everybody has a dink", this could be true (given that all such factual updates obviously came from respected news anchor Peter Mansbridge.)

My own energy was flagging by mid-morning. So I grabbed some free tarts and doughnuts and headed out. This year, the telethon raised over $30,000.

Go Fish

Cheap sushi joints are ubiquitous. Even relatively untrendy Bloor and Dovercourt has 3. I skipped the more popular Mazz Sushi to try smaller Tokyo Sushi on Friday. The menu is the same as anywhere else: a number of sushi set, a few bento box combos, and various miscellani. I ordered the "S-5" ($14.95), which in this case meant 10 pieces of sushi and 8 dynamite rolls.

The complimentary miso soup and salad were run-of-the-mill. I was pleasantly surprised by the fried glass noodle which had a good chew and was lip-smackingly greasy. The sushi set was about the same level of quality as Mazz. The rice tasted slightly better, though perhaps a touch too soft. The fish was slightly worse: a tad less flavourful or in the case of the shrimp tempura in the maki, not sufficiently crispy. It was as expected, good for a quick bite but not a great dining experience.

All I Wanna Do

The week-end started unofficially Thursday night with a trip to The Piston for some music. I missed most of groovy R'n'B band Bernice's performance. I did catch the tail end of their set with their Sheryl Crow cover Are You Strong Enough To Be My Man. Kelly McMichael and the Gloss were up next. No wonder I haven't seen much of her and her synth band Rouge, she has moved all the way to the East coast. Her solo songs sat snugly in 80s/90s pop with slow rhythm and lush harmonies. In fact, with her light voice and fairly big hair, she reminded me of Belinda Carlisle. It was the kind of music to listen to in your bedroom, but could be a tough sell for a new audience. But she broke the Sheryl Crow theme by covering instead The Cardigans' Erase Rewind.

Kelly did triple duty tonight, singing also with Bernice and the final act Gentleman Reg as backup/keys. The latter was his usual sassy self, although perhaps with a bit more piss and vinegar tonight. He had a dig at his former label and a winking put-down at the audience for always "wanting things to be free" (in regards to his next single for download). Joined by Terra Lightfoot (bass) and Emma Tollefsen (drums), they played catchy but quite emotionally stark songs. It was a bit rough around the edges (as Reg quipped "Wow, we really haven't played together in a while"), but still enjoyable. With such numbers as The Declaration, How We Exit, and We're In A Thunderstorm, it's a shame he isn't playing to bigger audiences. Of course, Kelly and Reg did their lovely cover of If It Makes You Happy.

Downton Grabby

Red One Theatre at Dovercourt and Bloor ramped up their season this year with 4 consecutive plays since the fall. Now, they've got their first critical hit with After Miss Julie, garnering some stellar reviews from the local papers. Combined that with a half-price Tuesday, this was the first sold-out performance I attended at this small (former pharmacy) venue.

The end of World War II has just been announced on the radio. On an English estate, celebrations were underway. In the kitchen, the cook Christine (Amy Keating) went about her usual duties along with her cheeky fiancee John (Christopher Morris). The appearance of the lady of the house, Miss Julie (Claire Armstrong), threw everything into turmoil. John was obsequious to his "betters" and yet also seethed with envy and contempt. Miss Julie veered between imperious commands that reveled in her privilege and scandalous familiarity and "common" behaviour. It was inevitable that Julie and John fell into a love/hate roll in the hay, alternating between rough sex, tearful protestations of love, bitter class epithets, and giddy plans. The ill-considered tumble had consequences for all of them.

Armstrong and Morris played their roles with intensity (with even some backside nudity), given the roiling undercurrents. Christine provided a grounded middle path: acknowledging societal boundaries but not sacrificing her character in fawning servility. All their accents were shaky, but being such class markers in England I suppose it had to be attempted. I liked the play but not quite at the standing ovation level of the audience. This sort of class stratification and its fall-outs are utterly alien to me, so I found some of the extreme emotion and behaviour more melodramatic than tragic. Nevertheless, After Miss Julie provided an interesting glimpse into this world, which at more than 60 years later no doubt still plays a role across the pond.

Meat & Eat

With another chilly day on Sunday, I dropped by Bestellen at College and Dovercourt for some stomach-filling protein. Sadly, their (aged) steak and eggs was no longer on the menu. But the breakfast burger ($16) sounded like a good substitute.

After a fairly lengthy wait (I sure hope because they were making it all from scratch), the burger arrived. Compared to mild disappointment I felt at Burger's Priest, this offering was enormous. The patty was thick and juicy with a slight char taste. Sitting on top was some smoky bacon and a fried egg! The whole thing was a carnivore's dream, enlivened with small bursts of arugula. To hold all that, some chewy brioche buns were used. Nevertheless, it was deliciously messy to eat. The accompanying potato salad was creamy with little flecks of dill. Sated and satisfied, I decided to forgo braving the wintery outdoors for an afternoon nap.

We're Not Worthy

Saturday night, despite the record-breaking cold (-12.5C) and first snowfall of the year, I headed over to the Phoenix for a night of covers with Dwayne Gretzky called Dwayne's World. They claimed this was their biggest venue (though they have played at Kool Haus). Perhaps it was the biggest with an audience there specifically to see them.

With the pristine sound of this venue, they thrilled the packed audience with Psycho-killer, 10th Avenue Freeze-out, and You Can't Hurry Love. It was a mixed crowd compared to their usual gigs at the Dakota. In addition to the usual hipsters, there were recent teens sighing over some Gretzky-ites (who have had previous careers in "boy band" Sweet Thing, Popular Mechanics for Kids, TV spots), bros, and a range of aging attendees: some were around when those 80s songs first came out, and some were even around when those 70s tunes first played. Dwayne Gretzky also played songs new to their repertoire: Foxy Lady, I Am The Walrus, Rosanna, Sledgehammer, etc. Perhaps in tribute to Tyler Kyte's Aerosmith t-shirt, they covered them too, although it was the maudlin 90s Aerosmith with Crying. No matter, that's the kind of song that has the crowd singing.

It was too bad Allie Hughes couldn't make it. Robin Hatch did a great job with Hughes' usual numbers (Barracuda, I Want You Back). Hatch has a nice voice, but if she sounded as big as Hughes at the Phoenix, the latter would have blown the roof off. They did bring on a red-head to do Hughes' soprano part on Bohemian Rhapsody. After that huge closing number (of a second set), the crowd still demanded a 3-song encore. At more than 2.5 hours of music, Dwayne Gretzky may possibly be the hardest working band in Toronto.

There's a lot of fun in being at a large venue, but downsides too. Exhibit A: the drunken dude who dove into the crowd from the stage (nobody caught him). Exhibit B: the immensely disgusting floor after the show, covered in beer, probably vomit, and littered with empty bottles and cups. I made my way gingerly through the detritus and hailed a cab home, all the while humming: "slip out the back, Jack. Make a new plan, Stan"

Dance Dance Innovation

On Saturday, I took in a program of 4 new contemporary dance pieces (Innovation) at the National Ballet. Given the background of the dancers, all the numbers retained strong bases in classical ballet. Jose Navas' Watershed felt naturalistic and free-flowing, with the dancers rarely forming any geometric shapes or lines. Like schools of fish or flocks of birds, they sometimes moved individually, then in small numbers, or all together in one direction or another. Both women and men wore large purple tutus (which caused a few giggles), and combined with the recurring motif of multiple pirouettes, enhanced the feeling of lightness of the piece.

Greta Hodgkinson's solo performance of Guillaume Cote's Being and Nothingness (Part 1) was a favourite. Lit on stage by a hanging lightbulb, she would dance, twist, turn, and manipulate her limbs in quick, fluid movement to the repeating patterns of Phillip Glass. Sometimes it seemed to be a rejection of the light, a surrender, or an acceptance. It was the most overtly contemporary but won over the ballet crowd.

Robert Binet's Unearth had some interesting ideas but was the weakest of the 4. The dancers, identifiable in either gold, white, or blue costumes, represented competing societal interests. Some, with pointed gestures or tapping feet, were happy with the status quo. They and their followers revel in synchronized movements. Others attracted new acolytes by their exuberance and virtuosity (i.e., talent). A third set, at first the weakest, wants to bring change to their society. It went on a little too long (given its ideas) and the simplistic music by Owen Pallett palled quickly.

... black night's bright day ... is James Kudelka's first commission for the National Ballet since he left in 2005. Reflecting the funereal Stabat Mater (Pergolesi), it was a somber reflection on death and mortality. It was the most classical in vocabulary, structure (groups, solos, pas de deux), and narrative. A woman mourned the loss of a loved one; several dancers taken by grim death; a frenetic and futile struggle by modernity (dancers as surgeons) to delay the inevitable. But there were also moments of joy including acceptance at the end, and interludes where a merry fool danced and cavorted to remind us that life goes on. I was spellbound by this wonderful piece.

Zummy

The search for good pizza continues. On Saturday, it landed me at Lo Zingaro, a new-ish pizzeria located between Queen and Bathurst. This joint has the modest claim of having the best pizza and pasta in Toronto. The front room was modern dark wood with large black and white prints of typical Italian markers: roman coins, ancient streets, etc. The back room felt more rustic with dimmer lighting and abutting the pizza ovens. Their specialty here for pizza is the crunchier Romana style.

I opted for the Lucifero ($18) from the spicy list. The crust was thin but crunchy and held on to toppings well. The generous tomatoes (San Marzano) and cheese (fior di latte) gave it a rich, delicious base. But it was the spicy guanciale (strips of cured pork cheeks) and pork sausage (both homemade) that made the pie a standout. The guanciale was a less salty version of bacon goodness. The sausage was simply heavenly: earthy, fatty, and had a great chew. If you can stand the heat, you can get a jar of chili oil and pile on the chili. This was excellent pizza after a few mediocre outings in the last while.

Seasons Turn

With new businesses opening on both sides of the Dufferin and College intersection, this former non-destination is getting trendier (The Common, Hoop Driver Bicycles, Me and Mine, Tavoos). In the old days, I regularly witnessed drunks sitting out on the stoop, a wizened leprechaun expounding on world affairs, and one time, a dude high on illegal substances jumping through the window of his run-down ground-level apartment onto the sidewalk. Lesson learned: it's a lot bloodier crashing through glass in real life than in the movies.

The drunks have moved, though I still see them pushing their cart of empty bottles now and then. The old man has probably passed on. And that crime scene: it's now a small organic store called Senisi Fine Foods. Curious, I dropped by for lunch on Sunday.

It was a two-level store: the roomier front had shelves of juice, sauces, dried good, and other foodstuff; the low-ceiling back, after you descended a few steps, contained a small kitchen for to-go items. I ordered a Turkey sandwich ($7.50) and a bag of Kettle chips ($2). The sandwich came on a sub with turkey slices, roasted red peppers, avocado, and a tangy sauce. It was a bit messy, as the ingredients slid around when you bite. It was an average lunch. They also offered mini pizza (looking rather sad inside the glass case) and organic gelato.

Winter Wanderland

Other BIAs may have pots of flowers or a few strings of lights, but when you are tony Yorkville you have a named performer do an outdoor concert for your Christmas lighting. On Saturday, I headed over to this ritzier part of town for their official welcome of the holidays.

First up was a gaggle of children from nearby Rosedale Junior Public School, bedecked in bright red sweaters. They sang a number of carols, accompanied on the piano, to the beaming faces of the parents at the front. Oddly, instead of doing numerous songs, they did just a handful. However, every single one got the full lyrics treatment including obscure intros and forgotten 3rd, 4th, and even 5th verses. It became a bit surreal to hear such familiar melodies and not knowing the words.

The main show was emceed by two local TV personalities: Leslie Roberts and Carolyn MacKenzie of Global TV. Throughout the concert, they promised cheery songs and Holiday Classics. In which case, Sarah Slean was the wrong choice. Perhaps her elfin features and piano playing made some organizer think Mary Poppins. But Slean (wearing a fitted, embroidered, and silver "Elvis" jacket) was a cross between Tori Amos and a morbid Loreena McKennitt. So her songs not only featured the usual heartbreak and broken relationships, but also had graves, despots, and a world in flames. Accompanied by a band and 9 string players, it was not a typical Christmas concert but kept the crowd engaged. There were plenty of fans though, scruffier than the Yorkville mavens, who sang along and shouted song requests.

Thank You, Come Again

Didn't think I'd be eating Indian again so soon, and at a buffet, too. Oh, my ghee-clogged arteries. But it was a farewell lunch for a long-time colleague. So on Friday, we headed off to Mississauga's Square One to eat at The Host. Unlike the primmer version downtown, the original location was livelier and offered a good selection of choices.

Along with your typical naan, Butter Chicken, and Goat curry dishes from the North, there were also choices from the South such as chewy lentil donuts (Medu Vada) and veggie pancakes (Uttapam). There were even non-Indian options, and not just at the salad bar, including sweet Manchurian veggie balls and spicy Thai fish curry. For dessert, you could choose healthier fruit or continue your gluttony with ice cream, sweet rice pudding, and fruit tarts.

Funky Lady

Thursday night at the Horseshoe, a double bill of funk was offered. First up at an early 9:15 start was local singer Saidah Baba Talibah. I saw her supporting Hill and the Sky Heroes, and I wanted to hear her own material. Well, she sang blues, funk, rock, all had a strong groove and plenty of attitude. She had a hard time exhorting those sitting at the back to get up and dance. But those of us at the front needed few encouragements to get down with her music. Her penchant of 80s-esque power ballads was met by guitarist Heather Crawford who, when not laying down chikka-chikka chords, ripped through wailing solos.

The band Lady mines the same 60s soul sound as Lee Fields and the Expression. No wonder, as they are signed to the same label. Fronted by Nicole Wray, an R'n'B singer who had success in the late 90s/early aughts, they played a tight set. In a polka-dot number, Wray grooved about mothers (Sweet Lady), economic truths (Money), and lots of lovin', lyin' and cheatin' (Tell The Truth, Waiting On You, If You Wanna Be My Man). It was music that had you dancing the whole time. But with the current mode of "confessional authenticity",  it was hard to connect emotionally with the polished smoothness (which was also present in those bygone days of studio-controlled releases and session players).

Acadia Of My Mouth

Rising-star chef Matt Blondin (Colbourne Lane) opened Acadia to fanfare in 2011. It was part of a wave of well-reviewed restaurants setting up in Little Italy, which has long had a reputation for trendiness but not much culinary ambition. Once Blondin was picked by David Chang to head up Shoto, part of his 4-restaurant Momofoku Toronto, Acadia left the spotlight. I never went during the hype, but I wondered how it was now.

On a blustery Tuesday evening, I dropped by for dinner. It's a cozy space with a fetish for numerous paintings of a brown bear wandering through various urban landscapes. The kitchen delivered a complimentary lobster po boy ($6). It was tangy with a slight crunchiness from the fried lobster. A good couple of bites but nothing memorable. To combat the windy night, I ordered the clam chowder ($14). It came out with a foamy coat, but that was the extent of any "molecular gastro" pretension. The soup was rich and fragrant with fennel and sorrel. The root vegetables were soft but had just enough toothsomeness. A great start, but more clams to add a stronger taste would be better.

The main dish comprised of blackened whitefish ($26) with some roasted cauliflower and romanesco. Both seafood and veg were flavourful and had a nice smokiness. The raisins and small bed of pickled vegetables had both sweetness and tanginess. The dish was a perfect balance of texture and taste. The side of collard greens and bacon ($6) added both substantial bulk and richness to the meal. Outside of Ethiopian platters, I'm often disappointed with collard green dishes. They are usually too "green". Acadia cooked them long enough to bring out the flavour without the mushiness. All in all, it was a wonderful meal.

Hot In Here

My 2-month schedule for delicious, but oh so fatty, Indian food has come around again. So it was time to head to Banjara for a thali platter ($11.95). It was only after ordering that I realized that I was early by a week. I usually go during the Santa Claus Parade which is next week-end. It's a chance to see all the floats in one go without waiting for the parade and then having some tasty food. Oh well. I wasn't crying too hard when my fragrant Chicken Madras arrived.

The same cannot be said of a table near me. The squared-jaw man asked for his platter to be "as hot as you can make it". He found out right away what that meant. Kudos for eating it all, even with copious amount of water and Pepsi. I noticed though that each bite was barely chewed. Maybe he's used to gobbling down his food, or perhaps it was to minimize contact with mouth parts.

En Pointe

I saw James Kudelka's Swan Lake a few years ago at the National Ballet, sitting in the comfortable boxed seats of the Grand Ring. I wasn't sure I wanted to see it again but then I heard from a friend that you can get standing room tickets for $12! If the average live show at a bar means standing around for 4 hours for the different bands, I can certainly do it for a 2-hour recital. Count me in for the premiere on Saturday.

Situated at the back banister of Ring 3 and 4, you get individually numbered locations with a coat hook for your jacket. So no worries about fighting for a good viewing spot in some sort of cow pen. You won't get close-ups like Orchestra or Grand Ring, but it's actually better than Ring 5 (which can go for $50-60).

As for the show, it follows the story of Siegfried (McGee Maddox) and his doomed love affair with Odile/Odette (Xiao Nan Yu). I thought the opening scenes in Act I with the knights showing off for the Prince, and in Act II with the courtiers were over-long. Is there a 60-min version of ballet classics? (No filler, all thriller). Unfortunately, there didn't seem to be much chemistry between Maddox and Yu. And both were a little wobbly at tonight's performance. Xu still portrayed Odile and Odette with exquisite fragility/verve, but Maddox didn't inhabit Siegfried. Etienne Lavigne (Rothbart) and Keiichi Hirano (The Fool) did a better job winning over the audience with their role.

So it looks like standing room is a good choice to see some dance at a cheap price. But there are some caveats. Near me was a young couple dressed to the nines. About 20 minute in, she fainted and had to be carried out. Was her dress too tight, heels too high, or not enough to eat at dinner? In any case, wear sensible clothes and shoes and have a filling meal. I wonder if you can sneak in those folding tripod stools you see at every outdoor show?

Take This and Eat It

The corner at Queen and Spadina is indicative of the recent explosion of burger joints in Toronto. There's old fashioned A&W and newcomers BQM and Hero Certified Burger. Recently, local heavyweight Burger's Priest also moved in with its 3rd location. On Saturday, I decided to check out the hype with a Magnum Burger (blue cheese) combo ($14.90 with fries and drink or $8.99 just for the burger).

They were not going for the style of these other joints but the McDonald's aesthetic (which also has a location at this corner.) So the burgers and fries came out in brown wrappers. Also, the bun had the soft chewiness of a McD burger instead of crusty bread. The patty was rich and fragrant. But the entire burger was smaller than your typical gourmet burger. Burger's Priests do have giant multi-patties burgers but you will be paying $15 or more for them. The fries were crispy and golden, and approached the addictive level of McDonald's fries.

The long line-up was proof that their "American burger" is a hit with many customers. But I don't think they stand heads above other places as captured in readers' polls. There are places around town just as good and give better value for your dollar.

Eastern Crescent

Though I was enthused about the Gerard and Pape neighbourhood in East Toronto, the area was simply far enough to make travel inconvenient. But Friday, I finally made it back. First, I stopped off once again at  Pizza Pide. Though most of their choices were different variation of the pide, they did have 1 other item: the thin-crust lahmacun ($6.99). This came hot with ground-beef and spices and the usual array of raw onions, tomatoes, and parsley. This was a filling dish and quite cheap. Despite the dozen orders on the go, both sit-down and take-out, the service was prompt.

Then it was a short one-block walk to the local cinema. Tonight, some local film-makers were showing a few shorts. Inside the theatre, even more run-down than the long-gone Paradise, congregated mostly Sheridan College folks eating free cake pops. The first 3 shorts was a mild comedy filmed for a 24-hour film challenge and two trailers for commercial films cut locally.

The main film (trailer) was a 20-min fantasy directed by Alvin Campana inspired by the Maylee Todd song "a lullaby for my fictitious children lucious and sumat". The Moon descended to Earth and took up a domestic life with a young woman. Unfortunately his absence had grave consequences for lovers, werewolves, pagans, and astronauts who all depended on his luminous light. Reminiscent of Bjork's Human Behaviour, the story combined physical effects, puppetry, and CGI into a charming fable. Todd's (who played Moon's lover) ethereal harp and clear voice added to the dreamy feel. I was impressed by the quality of the indie work. When you can call on artistic friends to help out, you can stretch your meager budget.

Death Be Not Loud

Last week, there was an article profiling Phedre which detoured into the lack of Asian presence in popular music (and other media). Phedre themselves don't care about their status as POC musicians. Meanwhile, Ohbijou has disbanded partly because some audience and interviewers found an (imaginary and tiresome) exoticism in their music and identities that was non-existent. Art/rock collective Yamantaka // Sonic Titan has no such confusion; they fully embrace their minority heritage in their music. After missing their last few shows (and theatre performances), I finally got a chance to see them on Wednesday at the Garrison.

It started with the set decorations: large black-and-white cardboard illustrations. Some had waves or a giant, crowned octopus that straddled between traditional ink paintings and Manga. Others featured orca in the clean, stylized lines of Aboriginal art. The performers all had white-painted faces like Kabuki actors, but the patterns drawn on each face varied from Asian strokes to Native stripes.

Yes, there were hand drums, Chinese cymbals, and mini gongs. But these were contemporary musicians, so their music was in the Western pop vein and not some ersatz "World Music", with plenty of guitar, synth, and drums. The core element was Ruby Kato Attwood's light voice floating through the songs. She would also often hold mudras, a buddhist bell, or feathery fans while singing. The foundation was John Acheta (guitar) and Brendan Swanson (synth) and Alaska B (drums) who, while wandering now and then to light pop and balladry, were noisy, punk, and even loud and head-banging crunchy. Over top, Ange Loft often let loose with ululations and Native chants that added urgency and power.

This was original music, both serious and fun. They were short-listed for the Polaris Prize for their debut album. With the second one (Uzu) that just came out, they should be winning even more fans. With a packed house and a rush to the merch table after the show, the uniqueness of YT // ST is obviously connecting with many people.

I Phil You

Before the recent explosion of BBQ places in Toronto,  for the last 20 years stalwart Phil's Original BBQ on College supplied your smoked meat needs. It has also went through some cosmetic changes a few years back thanks to reality show Restaurant Makeover. The photos of Jazz players remain, but now adorn dark wood panels fronted by small, stumpy tree branches. I've been there many times, and went back Tuesday night for some meaty nosh as I've been eating vegetarian for the last few days.

The beef brisket plate ($16.50) came with 4 large slices and your choice of two sides. This was old-school: bold and not particularly subtle. The beef was soft and tender, the beans were mushy and soft (none of that al dente stuff), and the BBQ sauces pungent. But I wish he'd update the overly tangy cabbage coleslaw. Most places have gravitated toward a lighter slaw with less fermentation, with usually better results. Other than that: the whipped butter, wet naps, and plain dinnerware? Keep it all like back in the day.

Sonata In Heh Major

On Saturday, it was the last evening recital at Gallery 345 for the Fall season. I dropped by to listen to Sarah Hagen (piano) and Leslie Ting (violin) play 4 pieces: K.380 Sonata in Eb Major (Mozart), Opus 121 Sonata No 2 in D Minor (Schumann), Fantasy on a Theme of Schubert (Rival), and Opus 96 Sonata No 10 in G Major (Beethoven).

I thought the Mozart piece was fussy and as Hagen pointed out, unmistakably Mozart. The Schumann was my favourite with all 3 movements engaging and fresh. The Rival piece was too short, though I did enjoy the scritchy sound of the violin at the beginning, resembling someone whistling a folk tune. The 1st movement from the Beethoven was tender and moving, but I was bored with the other two.

Ms. Ting and Ms. Hagen were charming MCs. Perhaps it was the intimacy of a small crowd, most of whom seemed to also be ex-residents from Hagen's hometown of Courtenay B.C., but there was much laughter from her banter. Hagen even made a pun when she said that playing Opus 96 was "trilling" for her and Ting. Mostly, she gave background and motivation for each piece, highlighting tidbits: the Brahms-esque 2nd movement in the Schumann piece; or the volume change of the 2nd movement in Beethoven which, along with its folksy scherzo, suggested a pedestrian approaching and moving past some festive musical performance. It was an informative and convivial atmosphere that sometimes elude classical recitals. Given my enjoyment of Schumann, I'll have to keep an eye out for Ms. Hagen's next album comprising of the music of Clara and Robert Schumann.

Mixed Space

There are many culinary traditions in Toronto and they have begun to blend, although not quite to the wonderful level of Burmese cuisine found at the now-defunct Mother Home. You can find banh mi (Vietnamese subs) and Japanese ramen in numerous dining spots. There is always the spectre of cultural appropriation; namely that a dish or tradition is only legitimized or celebrated once a "white" establishment offers it. In any case, the two places I visited on Saturday in Kensington won't probably be accused of that, as they are tiny and have been opened as a labour of love.

The first is Rasta Pasta, offering traditional Jamaican dishes with a few Italian plates, too. This odd combination is a reflection of the heritage of the owners. In that spirit, I skipped the typical rice and beans and got a Jerk Chicken Panini ($7). The chicken, freshly grilled outside on the sidewalk in a metal drum BBQ, was wonderful: moist, fragrant, with just a slight hint of spice. The bread, a crusty mini baguette instead of the standard panini, was average. A missed opportunity to really make a dish that wowed.

Then it was around the corner for some dessert at Millie Creperie. Here you can find Japanese-style crepe wrapped in a cone around your favourite toppings. I got the Japanese special ($6.75). The cone was crispy and slightly sweet, reminiscent of a dessert dosa. The green tea gelato went well with the whipped cream and matcha sauce. There were thin slices of strawberries, but with summer over, they were muted in flavour. I couldn't taste much azuki (red bean paste), which would have added a strong grounding base. Overall, a good addition to the Market. If the dropping temperature don't bring cold treats to mind, they also offer savoury crepes, too.

League Of Extraordinary Women

With its 4th annual show, the Sheezer Halloween party has become something of a tradition in Toronto. They've also taken the opportunity to make it a bit a "women of rock" night with female acts. So it was off to Lee's Palace on Thursday to see the 2013 edition.

Unfinished Business was a teen punk-pop band comprising of 3 young girls ages 13-14. Dressed as the Misfits, they proceeded to rip through quick 2-minute songs with equally brief titles like Summer, Superpowers, Rockstar, and Ghosts. Their zealous handler (a proud papa?) augmented their show with bubble machine and confetti gun. They weren't quite as adept as last year's Pins & Needles, but they're on their way. Unfortunately after their set, they were quickly hustled out of the bar by a bouncer.

Patti Cake combines 60s do-wop with a 90s riot grrl aesthetic. Tonight, they came out as The Muppet Band complete with Dr. Teeth, Rolf, and Animal. Kritti was of course Miss Piggy. Accompanied by 2 female backup singers and her own sassy attitude and big voice, she led the surprisingly dance-ready crowd through catchy originals including Lindsay Lohan, Diamonds, and Nobody Loves Me. They mostly embraced the sunny 60s vibe though lyrically, they were more acerbic. For 90s nostalgia, Patti Cake covered 1979 (Smashing Pumpkin) and Sunday Morning (No Doubt) to the crowd's delight.

Weezer's songs from Blue and Pinkerton have problematic misogynist elements so they are improved by being reclaimed by all-female Sheezer. But tonight, the women were even more kick-ass in their superhero costumes: Wonder Woman (Alysha), Phoenix (Laura), She-Ra (Robin), and She-Hulk (Dana). Sheezer led the singing, jumping, moshing, dancing, and grinning crowd through numbers such as Surf Wax USA, Buddy Holly, and Undone (The "Sweater Song" joined by Urkel, a beauty contestant, and the Statue of Liberty). Though they claim to only play from the first two albums, they have been adding other songs to their repertoire. Tonight, they pulled out Susanne (which got about 1/3 of the audience mildly puzzled) and Hash Pipe (which got a big roar). They ended their encore with The Good Life and everybody left soaking wet and happy.

Everybody Wants Free II

The week-end of free stuff continued. On Sunday, I headed over to Hey Meatballs! on College for, no surprise, some spaghetti and meatballs. They were having some kitchen issues resulting in a longer than normal wait for me. So they gave me some extra meatballs. Given the standard serving which is already enormous, this was a lot of meat. All very delicious, but it was a vegetarian dinner that night to balance things out.

Then it was off to the 660th Hart House concert on the University of Toronto campus. Recent Eckhart-Gramatte winner, Everett Hopfner, was playing some modern piano compositions. Oddly, the intimating sounding Hallucinations (Randolph Peters) was reasonably melodious with only slight descents into cacophony. Kotoka Suzuki's Hidden Voice, which supposedly contained quotations from classical pieces, was noisier. As an classical music amateur, I didn't recognize the shout-outs. It was easier with Douglas Finch's Preludes and Afterthoughts, in which he rearranged and reworked Chopin's well-known Preludes. The least modified passages were the most pleasing in retaining their charm.

I left after intermission for the final Pedestrian Sunday in Kensington Market. Some observations. One, Heavy Metal wankery only appeals to aging metal-heads, not anyone younger than 30. If two makes a trend, then Asian dudes on didgeridoo accompanied by Latin polyrhythm is a trend. Finally, Heavyweight Brass Band can really get the toes tapping. But $20 for a CD? Come on. Not even established acts charge that much, and indie bands usually price it around $10.

Everybody Wants Free

It turns out Friday was a day of getting free stuff, good and bad. Local yoga studio Octopus Garden celebrated their anniversary by hosting all free classes. So I was able to get my om on for the low price of $0. In the evening, as I was heading out to a concert, I was accosted by a middle-aged couple with a sob story about the woman going into "sugar-shock". I have seen and heard their scam before and wasn't swayed. Unfortunately further up the road, two separate couples were fleeced. One actually pulled out his wallet (so we were talking "real" money not just coins.) What some people will do for some free cash.

But on to more pleasant news. Local rock band The Balconies was hosting an invite-only party to preview their new album. I was able to score some free tickets via a promotional website. The Moniker Gallery sat just off Richmond and Queen. The acoustics weren't great, but the rented sound system was adequate. The corporate sponsors were providing free beer, though you were encouraged to tip the bartenders.

First up was Taylor Knox, an indie-pop band headed by the eponymous Knox. This trio played a bouncy groove with some gritty guitars on songs like Fire and Family Colours. With long, straggly hair and a laconic voice, the singer reminded me of Christopher Owens (Girls).

Just after 10 pm, The Balconies bounded up on stage primarily dressed in black. Over the 10 songs set, they would play high-energy and loud music with lots of hooks and catchy refrains. Jacquie was her usual crazy self: whipping her hair around, and dancing all over the stage. With a second guitarist, she was free to gesticulate and point more often. Some of their songs were a bit overlong but the partisan crowd loved both new tunes (Boys and Girls, Good and Ugly) and re-worked favourites (300 Pages, The Slo, Kill Count). As an appropriate nod to her female progenitors, the first encore song was an excellent cover of Crazy On You (Heart).

Have A Heart

Thursday night at the Great Hall, country singer Lindi Ortega had her album release party. There was already a good crowd at 9 pm for opener North Cote. The hirsute singer had a gruff voice and sang songs that sat somewhere between new country and indie rock. He reminded me of Tom Cochrane in his delivery and material. Most songs mined personal experiences whether back in his hometown of Regina (Counting Down The Days), working in a casino in Victoria BC (A Thousand Nights) or the death of his grandfather (Wheels). I appreciated the quiet honesty but the arrangements were forgettable.

Lindi Ortega started her set with Tin Star, off her new album of the same name. A personal reflection on her struggle to break into the music business in Nashville ("No billboard hits//No sold out nights"). Perhaps it was her parents in the balcony, but she admitted to being a bit emotional at the end of the song. Her Parton-esque quaver served her well on old numbers which leaned country (Cigarettes and Truckstop). The new songs had country tunes, too (Waitin' On My Luck To Change) but some carried more of a rock sound (Voodoo Mama, I Want You). She ventured over to the piano for two ballads: Songs About and a cover of Desperado. James Robertson kept the set lively with his wide range of lead guitar techniques from slide guitar, rockabilly picking, growling rock, or atmospheric pedal effects.

Future Tense

I don't usually go to Kool Haus, the cavernous club down by the lake, as the shows tend to cater to thousands and the sound system more suited to club beats. But I ventured down on Saturday to see Janelle Monae on her Electric Lady tour.

I was pleasantly surprised by the mix for opener Kae Sun. Every instrument sounded clear and pristine for his set. A Ghanaian-Canadian singer, his catchy songs wandered between reggae and pop. Though there were a few R'n'B love songs, his music concerned itself primarily with social issues (Lion on a Leash, Black Star Rising). His closing Weh Weh, a joyous "pidgin English" protest song was both danceable and thoughtful.

Unfortunately, for Janelle Monae's set, the volume was cranked up, turning the music into a heavy bludgeon without much subtlety. Monae's soaring vocals became painful screeches. I thought that it was my proximity to the stage but looking around, I saw lots of enthusiastic acknowledgement for her songs but not much joyful dancing (even for popular Tight Rope). The music retained its power, but did not groove. What a waste of her eclectic and funky oeuvre.

However, Janelle Monae was an assured performer. She carried the black and white stage colours into her wardrobe from Polo-esque pants and shirt, to striped leather jackets, and even a Varsity-style bomber with a large M on the front. Monae danced, strutted, jived, did several call-and-responses, got the audience to kneel down, and even crowd-surfed from the stage to the back of the packed venue. The only time she was still was in the beginning when she, wrapped tight in a strait-jacket, was wheeled on stage by egg-head scientists/handlers. A dangerous creation? No doubt.

Who Fed Mr. Hong?

That would be Miao Yin and her dragon blood. But not being an undead sorcerer, I had to find something more corporeal for Saturday lunch. So I dropped into Maggie's near College and Bathurst. This all-day breakfast diner has been around for close to a decade. But like the similar Mars Food and Aunties and Uncles on the same stretch, it's easy to pass it by.

It was warm and cozy inside the snug resto, with muted blue walls and a few local art pieces for sale, as rain started to come down. I got a poached eggs combination platter ($7.99). It was a large serving with some nice touches: an assortment of fresh fruit, and 4 large pieces of fragrant Eastern Europe sausages instead of the typical smaller breakfast sausages. The garlic fries disappointed with its wilted softness, especially compared to recent openings that served golden, crunchy fries. Overall though, it was a filling plate with good flavour; cheaper than trendy diners, tastier than hole-in-the-walls.

Ready, Steady, Go

With gentrification, The Queen Of Sheba on Bloor has been replaced by The Steady, a cafe/bar that also offers a compact menu of eats. Unusually, it has both carnivore friendly and vegan dishes. I dropped by on Friday to check out the new space.

Other places aim for a trendy "cheap" look with carefully chosen used benches or tables. The cheap look here does not play to trends: lumpy floors, a few arty hangings, indifferent paint colors. Along with Neko Case on the stereo, it was like visiting someone's first apartment.

The crab cakes ($8) came on a bed of baby spinach. They were good, not too greasy, but lacked a strong flavour. The dill infused dipping sauce was a nice tangy complement. The short ribs ($13) had a sad carrot slaw. It had no crunch, even the pecan nuts were soggy. Yet the ribs were delicious. The marinated meat fell off the bone, soft, and toothsome.

With cheap beer, DJ'd music, and homey dishes, this is a good hangout. It probably won't impress any first dates though, unless you're looking for the frugal bohemian type.

Bytowne Boogie

Ottawa is well-known for its dinner parties, not for going out. This is doubly true for holiday week-ends. But though I was in the nation's Capital for Thanksgiving, I decided to check out the live music scene Saturday night.

Arriving at Mavericks, I was surprised to see the black-clad, tattooed crowd on the sidewalk. I thought I was going to a dance party. It turns out they came from the upstairs venue of Cafe Def Cut; there was a metal show going on. The audience inside Mavericks was the more typical hipster/college crowd. Silkken Laumann was setting up. A side-project for members of The Acorn, they played four-on-the-floor thumping dance music (though they veered now and then to complex poly-rhythm) and even brought their own spinning lights. But their indie background came through in the guitar riffs and emotive vocals.

The headliners were Diana, a synth-pop trio from Toronto. Their songs were definitely slower and more atmospheric (Perpetual Surrender, New House). Though they did get some upraised arms for indie hit "Born Again". The mix buried slightly singer Carmen Elle's airy vocals but she was able to engage the crowd with some assured stage presence.

Polish Combatants Hall 2013

On Thursday, folk singer Basia Bulat finally debuted her third album Tall Tall Shadows at the 1st of a 3 night residency at this old-fashioned hall. A few years back, this was the first venue I attended after a long hiatus from live music (and Basia was one of the first new artists I discovered.) Inside, they had set up a mixture of cabaret-style and row seats. But there were insufficient chairs already set up so new arrivals simply grabbed another one from the pile. The resulting willy-nilly layout probably broke all fire codes: too close together, no clear exit aisle, etc.

Ironically, the opener Simone Schmidt was also at that "first" concert but with her old band One Hundred Dollars. Tonight, armed with her guitar, she played songs from her solo effort Fiver plus a tune or two from her new outfit The Highest Order. With good acoustics and a respectful, attentive crowd, her lyrics came through clearly. Not for the optimist, they were uniformingly depressing. From the grimy working-class Rage of Plastics to the sad Gone Alone, this was folk-country at its most down. She got a laugh with her last song, a murder ballad, when she prefaced it by saying that it was her job to bring everybody down so they can be lift up by Basia's voice.

She was right. Bulat's light, alto voice with its quaver lifted everyone's spirit. Paradoxical, since her new songs were also equally dark. Written after the loss of a close friend, most overtly referenced in Paris Or Asterdam ("Every time I feel myself unravelling, I can tell myself that you've been travelling, all this time"), each song dealt with dissolution and pain (It Can't Be You; Five, Four). I have heard most of these songs over the last year, but it was wonderful to finally hear them with a full band including Bobby Bulat on drums and Ben Whiteley (New Country Rehab) on bass.

Bulat has also evolved as a musician. Although she did play multiple folk instruments: piano, charango, strummed harp, hammered dulcimer, she has also added effects pedals for her guitar and sometimes vocals (Never Let Me Go) and even synth (Wires, Promise Not To Think About Love). Bulat even sang and bopped around sans instrument like a mainstream pop idol on a few numbers. She winkingly begged the audience's forgiveness for "going electric". Covering every song from the new release and a handful of old favourites, Bulat was elated at the well-deserved 2 standing ovations.

Drift Apart

Thursday night, I dropped by local bar Drift on my way home. This is a nice, casual place with a great selection of beer and dishes. Though I have been here several times, I don't know why I don't frequent this place more often since the prices are quite reasonable.

I skipped the booze because I was too hungry to imbibe and got a corn chowder soup ($6) and a Chipotle pulled chicken sandwich ($10). The soup was thick and hot, well-balanced between the sweet corn, salty bacon, and starchy potatoes. Add the generous sprinkling of chives and this was a filling start. The sandwich was gooey from the sauce. Essentially, they've taken a typical pulled "meat" entree, complete with sauce and coleslaw, and stuffed it inside a sandwich. The chicken was tender and the slaw gave a nice crunch. But the sauce was over-seasoned and too sweet. It overpowered the dish after a few bites.

Dance Softly

I went down to Fleck Theatre on Saturday to watch ProArteDanza. This contemporary dance troupe always put on a physical, kinetic show. This year, there was a melange of music that was reflected in the first piece. Since their 2nd dance was to the classical music (Beethoven's 9th - 3rd Movement) and their last dance is to industrial dance, it seemed appropriate that their 1st piece had both.

A Canadian premiere of Shifting Silence (2011 Mannheim), Tyler Gledhill stood in a rectangle of light clad in tight red pants. He would begin to manipulate and jerk his limbs, seemingly disconnected and disturbed by his body. The other dancers came in dressed in grey, and over the course of several vignettes, would either interact with each other and occasionally mirroring Gledhill's movements. Delphine Leroux was his counterpart in a red dress. Were they others or his different aspects of his own psyche? It was interesting that the men (Ben Landsberg, Ryan Lee) and female dancer Mami Hata used soft, supple, classic lines while the women (Leroux, Erin Poole, Anisa Tejpar) were often frenetic and angular. With each pas de deux with Gledhill, he finally arrived at a stillness within himself.

After intermission, it was the world premiere of Beethoven's 9th - 3rd Movement, this troupe's ongoing attempt to choreograph contemporary dance with classical, symphonic music not written for dance. The dancing was also more classical, though the interaction with wooden chairs was modern. They would sit down, only be tipped over by other dancers. Or else they leapt off the chairs or balanced precariously on them. At one point, each dancer was joined to one other by holding onto two chairs; this hybrid snake twisted and turned into complex shapes.

The final piece was a remount of a 2011 piece called Fractals. Just as the before, I was impressed by the military precision of the furious movement. There was a strong similarity to Emergence. This was a major crowd pleaser. As I looked over Ai Wei Wei's Bicycle Forever later in the evening for Nuit Blanche, the 4000 bicycles locked together reminded me of this piece. The human soul (or the modern version) finds repeating patterns to be enchanting and beautiful.