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.