After decompressing at my rental after my trip, I headed to Parkdale for dinner and a show. Every now and then I have come to the area for a concert, Caribbean food, or momos and other Tibetan fare. But the visits were few and sporadic so I don't really consider the neighbourhood to be part of my Toronto foot-print. Its most significant impact on my life was that a decade ago, I accepted a job offer at my company over some beer.
Parkdale wasn't too busy on a Wednesday night. Despite gentrification, there were still a good number of local stores. Dinner was a slice of vegetarian pizza ($5.31) and a root beer ($1.63) from Cici's Pizza & Wings. I saw on social media that this take-out was profiled by the local newspaper because a young lady took over her parent's business to preserve a neighbourhood institution. I was hoping that since they were Vietnamese it was Toronto-style pizza (invented by Vietnamese folks) such as at Fresca. But it was your average soft-crust pie found at other old-timer places like Bitondo.
Next door was a small bar called Three Dollar Bill. There was a trio of performers for a PWYC Queer Folk Night. First up was Eli Howey although his set wasn't really folk. He mostly adapted songs from his punk band Little Window for the night. There were some sad lyrics but things really got depressing when Jordaan Mason came on. Shocked by the sudden death of an ex (of a decade ago), they poured all their ruminations and feelings into what were barely songs. I simply mean that lyrics were closer to a torrent of free verse and the chords were there to provide just the outline of some structure.
Tireless Foliage was the trio of Jiaqing Wilson-Yang, Germaine Liu, and Karen Ng. Wilson-Yang has written songs to process the death of her friend Richard Laviolette. The lyrics were more straightforward but each number evoked striking images. Perhaps the most potent was the closer "Chorus of Mothers". The idea that Laviolette was not only beloved by his friends but also by their parents such that they'd sing him to his final rest got a few eyes teary. Restricted by the tiny stage, Liu somehow generated a wide variety of percussion sounds with just a tom, a snare, and a cymbal sitting precariously either on top of the tom or in her hand. Ng provided expressive sax runs that interweaved with Wilson-Yang's delicate guitar picking. This was wonderful, cathartic music and I'm glad Wilson-Yang was in the process of recording these songs.










