Teenland

After dinner at Ryoji, I wandered over to Revival Bar for a book launch. Recent Toronto transplant Jillian Tamaki was releasing SuperMutant Magic Academy. This was originally a long-running web comic on tumblr. Previously, she had drawn two award-winning graphic novels with her cousin.

Before her interview with Anna Fitzpatrick, a writer for Rookie Mag and other on-line publications, Tamaki did a short presentation. Sketches, inspired by tweets from teenagers, were shown while she read the tweets. They were greeted with hilarity because people can't help but shake their head over how intense everything seems at this age including boycotting overpriced cafeteria cookies, pining after crushes, and the myriad injustices in the world. The "feels" as the kids may say ... or not.

Though it might seemed like a good segue, Tamaki admitted that the comic wasn't really about the teenage experiences of its cast of characters because she was decades removed from that scene. She accidentally proved that point when her 90s references in her answers, such as the 1992 Degrassi movie School's Out, got no recognition from the crowd of 20-somethings.

The strip was a way for Tamaki to spontaneously work through some recent or past issue. Yet she noticed that once the strips were gathered in book form, themes did emerge. The rougher, "simpler" style also allowed her freedom from the meticulous and detailed work of not only her previous graphic novels but also her job as a commercial illustrator.

Tamaki was an engaging and honest interviewee. She got a lot of laughter from her anecdotes and asides, especially her on-going buttered tart quest with a fellow comic artist.

Return To Ryoji

I attended the opening night Ryoji Ramen on College St.  It was a mistake with rushed and slow service. But now that things have settled down, I decided to give it another go on Tuesday. The Japanese restaurants here don't seem to be as busy as in other parts of town, but at least it means you get attentive service.

I ordered a seasonal Okinawan tofu dish ($5) to start. It was a mixture of raw mackerel and green onions sitting on top of firm tofu. It was nice balance between the mild and dense tofu with the sharper fish. It was a bit too salty but a good dish. Then it was on to “Nanaban” Fried Chicken ($12). This southern Japanese dish had a very interesting batter, soft and flavourful. The soy always went great with the tartar sauce. It wasn't too greasy and stuffed with tender chicken.
My main was a mini spicy miso ramen bowl ($8). At first, I was taken aback with the large dollop of chili. It turned out to be a pile of ground pork mixed with some spicy condiment. It was a rich broth with tasty chasu pork slices. The noodles was a bit disappointing, too thin to really give that great chew. For dessert it was Sata Andagi ($6). These Okinawan doughnuts came out sliced in two accompanied by vanilla ice-cream. They tasted like a cross between a timbit and a cakey cookie. The dessert wasn't too sweet which was a bonus.

Clit-Kicker

Though it was a late show on Sunday, I decided to head to The Dakota for some week-end rock and roll. The head-liner Sate did an early and late set, so I was pleasantly surprised to get a chance to hear them. I have seen Saida Baba Talibah before helping on back-up vocals with other groups, but I wasn't sure what to expect with her new band.

What a shock! It turned out they played heavy, hard rock full of chunky chords, loud drums, and frenetic bass. Whether it was numbers like Try or their radio release Warrior, it was in-your-face music. And no one was doing that more than Talibah. She often jumped onto the stage riser to roar into their crowd with her huge vocals. Even blues song My Babe (Little Walter) got the power treatment. It was quite a sweaty performance but Talibah pointed out that you've got to "grab life by the clit."

Hill (Kourkotis) and The Sky Heroes did the middle set as a duo, with some backing tracks. But since Talibah used to sing with her, it was no surprise that she came back to help out on funky rock tunes: The Moon and Doctor, Doctor. Kourkotis took a 2-year hiatus (which included touring with Serena Ryder) and her new music has become, in her words,  "more dance-pop". So we got new songs like slow-vibe Feel It or the four-on-the-floor The Flame. Ryder was seen in the crowd singing and dancing along to the latter. But it wasn't such a surprising evolution; turn down her wah-wah guitar, turn up the beat and bass and you could draw a line from one to the other.

Two exciting performers made for a great night of music. Unfortunately,  I couldn't stay for Sate's second set. But the rest of the packed crowd didn't seem to be in any hurry to go home.

Corp Rock

Corp Rock is usually an epithet, denoting soul-less music. But the folks of Blimp Rock embrace that "moniker", if only ironically. And enough people like their brand of smart-assed music that they held a CD release show at The Dakota for their 2nd album (Sophomore Slump). It was a bonus that it was at an early time slot on Saturday.

Their bassist took to the stage first as solo project "Tyson's Casio Fiasco". Although it was true that he backed himself with typical synth-generated beats and strings, his main effort was ping-ponging between various guitar effects. Overall, the set didn't work for me. You need some great arrangements to overcome those cliché accompaniments. Furthermore, the abrupt guitar changes seemed clumsy.

There was a full crowd there, who was more than happy to chant "profit, profit", to cheer on the 15-minute PowerPoint presented by the CEO of Blimp Rock Enterprises. The gist: they need about $700,000 to host the world's only music festival held inside a blimp (with cover bands and sophisticated mixed drinks). The 1st CD only made $80 in profit, so this was another crack at it. Amazingly, the "marketing team" comprised of some great musicians. So we got the wry Sophomore Slump ("My first crush didn't talk to me"), sweet Sensitive Boys, and a genuine dance-floor hit Let's All Stay In Tonight. The audience also cheered for old numbers like Lake Ontario Lifeguards and The Love That Treats You Right. Some who were new seemed a bit confused: the whole thing is a joke, but the music is good. Blimp Rock probably didn't raise $850,000 tonight, even with funny accounting. But they are developing an appreciative fan-base.

Sealed With A Kick

On Friday, I went to the Fleck Theatre to see Letters From Spain presented by Esmerelda Enrique Spanish Dance Company. Their choreography is based in traditional flamenco so it was interesting to compare and contrast with last week's Ballet Creole. In this case, there was no hint of contemporary or other dance forms, but they were still able to tell a range of stories.

The 1st half gave us Poeta which told of the exile and return of poet Rafael Alberti. The soft arm gestures and distinctive wrist action conveyed the ocean's embrace. Swishes and flips of long blue trains on dresses evoked waves and tides. And the thunderous flamenco stomps highlighted the jack-booted horrors of war.

The 2nd half had several short pieces backed by live musicians and singers. It was eclectic and vibrant from busy city streets (Descenquentros), to a tribute to the masculine aesthetic of Carmen Amaya (La Capitana), to a street festival and a game of musical chairs in Cadiz (Pueblo). The band also had a chance to shine in several numbers. It was a fun evening of dance, especially at curtain call when everyone came to the front of the stage for some impromptu solos. I noticed that almost all of the dancers were older. Though there was no denying their experience and craft, I wondered about the next generation of Spanish dancers.

Tales From The Pantry

On Wednesday, I stopped off at The Well, a bar near Dundas and Ossington. I wasn't there for a beer, but I heard that they had teamed up with North Of Brooklyn, a pizzeria joint located on Queen St. W. Stepping inside, a younger me would have loved the set-up. At the front, a large bar area for booze. There's a back lounge area with 80s arcade cabinets and pinball machines. The pizzeria is sort of its own thing in the back with the kitchen. The older me wished there was more formal seating, though I did appreciate the fun vibe.

A full pie was too much for 1 person, it's both larger and more expensive than Libretto's down the street. I settled for 2 slices that ran about $4/each: a traditional margherita, and a kale and bacon. But pre-made pizza doesn't work well for thin-slice crust. I could taste the fresh tomato sauce, rich cheese, and smoky bacon. But the dough suffered. The relatively new margherita was limp, and the kale was crunchy like crackers. Next time, I'll join the steady stream of take-out orders.

I didn't see any free-to-play games but there were at least 2 exceptions: a shoot-em-up, complete with machine-gun control, had a free button that gave you credits; and the classic 4-player TMNT fighting game allowed you to have as many lives as you wanted on one quarter just by repeatedly hitting the start button. Sadly, I did not finish the game even with 40 lives. In my defense, player one's jump button didn't work, making certain parts harder than usual. Secondly, I had to leave for an event next door.

416 Dating Stories was being held at The Garrison. In honour of Earth Day, all ticket sales went to Citizens' Climate Lobby. It was a fun show but I felt that there wasn't much story-telling, despite its claim otherwise. The closest piece was a spoken-word poem about Chewbacca from a hair fetishist. The comics were very funny, but they were obviously bits. The rest reminded me of kvetching gossip from friends. I suppose I was expecting stories that had more structure and craft: somewhere between a book reading and a theatrical monologue.

Every Rose Has Its Thorn

On Tuesday, I headed to The Horseshoe Tavern for Whitney Rose's album release. It was her sophomore effort courtesy of Cameron House Records. As such, another label-mate provided the opening set. At first, Devin Cuddy seemed to be in the same vein. Laying down honky-tonk and other country-tinged chords, he sang with an early Presley-ish tone. But whether his own material or covers like Pancho and Lefty (Townes Van Zandt), there was a by-the-number to both his piano-playing and his singing. It didn't work for me especially on the blues songs. His attempt to sang satire, Randy Newman's Political Science and Short People, also left a lot of heads scratching.

Whitney Rose is known for her white shift dresses. So it was no surprise when the slender singer/guitarist came on stage in a mini-version with dark spiral prints. Starting with At The Do-Si-Do from her 1st album, she emphatically declared her allegiance to that old country sound, sometimes with a touch of early rock-and-roll. Over the course of 1 hour, she had plenty of time to showcase new songs too: from the heart-breaking Last Party to the cheeky The Devil Borrowed My Boots. Speaking of heart-break, the slow-burn Heartbreaker of the Year (also the new album's name) was explosive. There were forays into pop when she channeled Lesley Gore (You Don't Own Me) and Nancy Sinatra (These Boots Are Made For Walking). Throughout the night, lead guitarist Nichol Robertson and the rest of the band provided wonderfully dynamic and layered support. After ending with a boot-stomping My First Rodeo, Rose came back for a 2-song encore: Coat of Many Color (Dolly Parton), a tribute to her family who drove in from PEI; and a rocking Swinging Doors (Merle Haggard), to send the crowd home happy.

Water Everywhere

It was the 25th anniversary of Ballet Creole and its "Caribbean Contemporary". Though I have seen snippets of performances at various Toronto street festivals over the years, I have never seen a full show. So on Friday, I decided to attend their dance recital at the Harbourfront Theatre Centre.

The 1st half comprised solely of Agua Como Vida (2015). As per the title, it was a meditation on our relationship with water done through dance, spoken word poetry, and music. Now and then, projections of water along lakeshores, streams, and beaches illuminated the stage. Sometimes, the dancers moved with undulating limbs to evoke water's flow. Other times, they played at skipping along a rocky shoreline. Their costumes, tight black shorts and loose suit jackets, seemed odd until you hear conversational fragments spoken on stage: of leaving and escape. It's true. Water figures prominently in fantasies about cottage life and tropical paradise. It was an interesting piece but overlong.

The 2nd half was much more enjoyable for me. First up was Fete (1990), the 1st production for Ballet Creole. In a way, it was stereotypical of what someone may think of as "Caribbean dance" as the piece drew heavily on traditional sources for its choreography and costumes. But with catchy steel-pan drums and Latin rhythms, and attractive men and women at some "market place" or town square, flirting and showing off their youth and vigour via exuberant dancing, it was both universal and exciting.

The Myth Atlantis (2015) returned to the theme of water. With dancers draped in thin, diaphanous blue garments, this piece showed the vitality of multiple influences: contemporary, Caribbean, and so on. "Ethnic dancing" doesn't always equate to some frozen-in-time folk dance. My favourite movement was the multiple spins, done not with the typical ballet whips or straight-leg extensions, but with knees bent at 90 degrees.

Refleksyon (2015) was time for the elder statesmen of the troupe, Patrick Parson and Ronald Taylor, to reflect on Ballet Creole's history. It was nostalgic in spirit and got a bit self-indulgent. But it was saved at the end when the entire troupe, now in colourful street clothes, joined them for some fun choreography and improvisation. A young boy of 6 or 7, obviously related to one of the dancers, followed them around on stage, attempting to copy their moves. This delighted the crowd and served to remind everybody that the way forward is always toward the future.

Pedal Gear Solid

On Tuesday, I stopped off at The Dakota for some folk/country. Unfortunately, there were some late starts, even for a weekday. So I ended up only staying for Terra Lightfoot, a singer who has lived in both Toronto and Hamilton. As such, her friends in the crowd was a mixture from both cities. It was the CD release of her sophomore album.

Lightfoot loved her guitars: there were 4 electric and 1 acoustic loaded up on stage. But starting off in the folk/country vein on songs like All Alone and No Hurry, she didn't indulge in much pyrotechnics. It was all about rhythm from chords, with some riffs thrown in for atmosphere. Her songs included her experiences in both cities with some delicate finger work on NFB (National Film Board). She was quite a tall and imposing figure on stage. So when she finally let her freak flag fly on her "soul song" Home to You and two powerful and heavy covers: Running on Empty (Jackson Browne) and Where Did You Sleep Last Night? (Nirvana), you feared that she might knock out her other band members. Her repertoire does include some rock songs but given her performance on those covers, there might by a metal/blues goddess inside her waiting to take over.

Sung-day

With the week-end winding down, I stopped by The Dakota for the 2nd Dark Day Review. Fiddler Miranda Mulholland was hosting 3 weekly shows where she invited any singers/musicians to take the stage. As the evening progressed, most of the players (and audience) turned out to be local musicians or from theatrical productions including the cast of Once.

Mulholland and her Belle Starr band-mate Stephanie Cadman started with some fun fiddling tunes with Cadman also showing her East Coast step dance prowess. After that, it was a procession of singers on stage, with others jumping in to help out and improvise on guitar, piano, fiddle, cello, bass, and even cajon (drum box). The repertoire was eclectic: everything from Bob Dylan (Girl of North Country) to Michael Jackson (Billie Jean), Joni Mitchell (Case of You) and Taylor Swift (Shake It Off). There were quite a few "white man screaming" singers but surprisingly no musical theatre numbers. Two highlights for me: Mulholland and company improvising mad solos on Isn't That So ("It's in A minor and then D") and Saidah Baba Talibah showing how it's done on Ain't No Sunshine. The evening ended with all musicians grabbing an instrument and everybody (audience included) joining in on Neil Young's Helpless.

Soft ... then Loud

After returning from an out-of-town trip on Saturday, I thought to check out some bands at the Silver Dollar after a quick pizza dinner. Unfortunately, with sets running late I only saw the first two bands. Marine Dreams started the night with a quiet set. Armed with just a guitar and an earnest demeanour, Ian Kehoe led us through songs full of unusual chords and idiosyncratic lyrics. With wandering melodic lines and oddly phrased verses, his music is perhaps best enjoyed at home in quiet surroundings.

In contrast, Stella Ella Ola played upbeat, catchy pop songs full of summery vibes. Appropriately enough, one of their tunes is entitled Summerette. But this set wasn't as good as their last outing at The Piston. The sound guy had itchy fingers. The levels jumped all over the place and the volume was much too loud for the venue size.

These Foolish Sings

On April 1st instead of pranks I headed to the Tranzac club for a night of intimate music. Four local singers, sans their band, played four enjoyable sets. Because it was a low-key affair, they tried out lots of new material. Alyson McNamara had a folk sound with a tinge of country (Tuck and Roll) although there was some detour including an ode to robo-romance with Wired To Love. She ended with a driving bluesy number called After Hours. Sandy Martin (Jackets) offered up country/rock/americana with quiet and bleak stories of prairie towns of cold wind and regret. He left the toe tapping to covers such as Monkey and the Engineer.

Kim Manning started on the piano. There, with a big voice and some deft playing, there was R&B in songs like Stay. But perhaps because of her formal music education, bits of musical theatre and other styles could also be heard. On guitar, with help from Emilie Mover and Martin, it was more straight-forward blues/rock and even some blue-grass on new tune My Home; perhaps the only song she has written while in a happy state, Manning admitted. This made Mover quipped that all her songs will be downers.

And she was right. But her melancholic songs was perfect to wind down the night as we crept past midnight. I'm always struck by her lyrical skill: concise phrasing and simple rhymes that can evoke scenes and feelings with such economy. I enjoyed sneaking glances at the listeners' faces as they feel the full impact of her verses a split second later. She might sing sad songs but as a performer, Mover was sly and funny, and just a touch perverse. And she may "really like E" (musical key), but all the jazz chords she throws in change the feel of each song. The only problem with a Mover set is that you immediately want a recording of her new stuff.