Cassandra and Debbie Reynolds launched into a dance routine in time to the music. Halfway through the song, four other dogs and their handlers (all female, fortyish) took over and did a synchronized version of the same. After a few more numbers with different dog/handler pairs, Cassandra returned for an encore, with another one of her golden retrievers, this one named Bob Fosse. (Being owned by Cassandra is apparently as surefire a ticket into show business as being born a Baldwin.)

Every routine ended with treats for the dogs, and so they executed their choreography with tails wagging, jaws hanging open and dripping with saliva. Pavlov rang a bell; he probably wasn't much of a dancer.

Cassandra Hartman (proprietress of Cassandra's Canines, a dog training school in Caledonia, Ont.), with Bob Fosse.

In the world of dog shows, dog dancing is known as "freestyle." The announcer during the event explained it as combining "moves and skills from many different dog sports." At the fourth annual Purina National Dog Show, freestyle wasn't part of the official competition; it was being staged purely for entertainment during the intermission between the morning and afternoon rounds of judging―intense bouts of scrutiny that were going to decide which dogs, of the roughly 1,100 entrants, would ultimately earn, for their owners, portions of the show's allotment of prize money. At forty thousand dollars, Purina National's purse is the largest currently offered by any Canadian dog show.

Because of the relatively large amount of money at stake (the Best in Show winner took six thousand dollars), the Purina National, a co-production of Purina and the Canadian Kennel Club, bills itself as the "Canada's most prestigious dog show." It took place this year from Friday, March 12 to Sunday, March 14, at building five of Mississauga's International Centre, which is essentially a collection of giant, aircraft hangar–sized buildings with concrete floors. The Purina National occupied about half of one.

The judging areas, a series of seven rectangular, red-carpeted "rings," occupied most of the centre of the hangar. Some rings were being used for what are known as "confirmation trials," which are preliminary rounds in the main competition, that culminate in Best of Breed and then Best of Show. Other rings were devoted to "obedience" and "rally obedience" competitions, in which dogs are judged for their ability to obey commands and perform slight physical challenges, such as jumps and serpentine walking. Around the perimeter of the rings were booths belonging to merchants and breeder's associations. The Purina National was also kind of a trade show.

Karin Bull, a Pickering woman who sells natural pet care supplies by mail-order from her website, Bio Paw, was manning a booth full of her products. She was a short, polite lady, with curly brown hair and glasses―basically the last person on earth you'd expect to possess a glass jar full of dried, severed bull penises.

"It's good for them," she said, meaning not bulls, but dogs. Rawhide, she explained, is dangerous, because it can lodge in canine digestive tracts and cause blockage. Dehydrated meats, like chicken breast, tripe, and, apparently, "beef pizzles" (as they are known), make better chew toys, because they're fully digestible and nutritious.

Elsewhere in the hangar was an area with tables, where owners were grooming their dogs. Maria Mastorianni, from Kettleby, was there. She showed off her Black Russian Terrier, a shaggy dog about the size of a riding mower, whose fur she was combing fondly. What makes a champion dog? "It first of all comes from good food," she said.

Richard Paquette, head organizer of this year's Purina National and a director at the Canadian Kennel Club, was an genial man, who, with his close-cropped goatee and his crisp beige blazer, was as immaculately groomed as any purebred. He got his start as a dog show competitor, he said, when a total stranger noticed him walking his pet Samoyed at a mall. The stranger was so taken with the quality of Paquette's dog that he offered to pay for Paquette to take the dog to a show. Paquette's dog ("my family pet!") took Best of Breed.

After that, Paquette embarked on a career as a breeder, and, eventually, became a professional handler, and then a dog show judge. (Professional dog show handlers earn up to one hundred dollars per dog, per day, and often handle several dogs at once, so it can be lucrative.) Paquette's main breed, now, is Shih Tzu. "Canada has the best Shih Tzus in the world," he said.

But seriously, we asked him, would you consider this a sport?

"Oh yeah," he said, without a moment's hesitation. "The sport of dogs."

Photos by Nancy Paiva/Torontoist.

Joe Fieri, host of Minute To Win It, depicted in the only method simplistic enough to do him justice. Illustration by Brett Lamb/Torontoist.

Monday

One of TVO's recent BBC pickups is Lost Kingdoms of Africa, a four-part doc series about African history, which can best be described as a tangled mess that anthropologists and archeologists are still trying to unravel. Last week's episode about Nubia was interesting, and this week's episode, focusing on the history of the Ethiopian Orthodox Church, looks to be even more fascinating. Highly recommended if you like your history television to involve more than just Nazis. (10 p.m.)

Hey, does anybody remember when Winona Ryder was the it-girl of the moment and when Ethan Hawke was still widely regarded as a vulnerable artistic type rather than the dude who took down Denzel Washington in Training Day? And hey, how about when Ben Stiller was still considered comedically edgy rather than the guy who wears a silly costume every year at the Oscars? Man, Reality Bites isn't just a mediocre relationships movie; it's a frigging time capsule. (CHCH, 9 p.m.)

Tuesday

The Kids In The Hall: Death Comes To Town concludes (as does our series of interviews with all of the Kids), and although the quality of this miniseries has not quite been on par with the classic series and has been somewhat hit-or-miss with its gags, it's still been pretty entertaining television, all things considered. Really, given that Televisualist was one of the six people who felt that Brain Candy was actually not half bad, we were fairly sure we would like this. And we did. (CBC, 9 p.m.)

The men's NCAA basketball tournament doesn't actually begin for real until Thursday, but there's a single-game playoff to determine whether Arkansas-Pine Bluff or Winthrop is the school that will get trounced to fuck and back by #1 seed Duke in the opening round of the southern regional bracket. Do you like college basketball enough to watch this? Maybe you do! (The Score, 8 p.m.)

Wednesday

Human Edge this week considers the lawsuits arising over Borat, officially making Human Edge current for 2006. (TVO, 10 p.m.)

Scrubs airs its ninth-season finale, having survived a rocky creative experience in rejiggering the show to become effectively a brand new show that happens to still have Turk and Dr. Cox and sometimes Dr. Kelso on it. NuScrubs hasn't been bad: Dave Franco (James Franco's little brother) has been a comedic standout as the douchebaggerific Cole, and Eliza Coupe's Dr. Mahoney is nihilistically funny. But it's still uneven, and Kerry Bishe standing in as "the new J.D." just doesn't work very well. Ratings have been pretty bad, but the show is cheap to produce so there may be a tenth season yet. (ABC, 8 p.m.)

Thursday

The men's NCAA basketball tournament kicks off for real today, now that everybody knows whether Arkansas-Pine Bluff or Winthrop is the fourth sacrificial lamb (joining Lehigh, Vermont, and East Tennessee State, who will lose to Kansas, Syracuse, and Kentucky, respectively). Really, as fun as it is to see schools you've never heard of competing–like Sam Houston State, Old Dominion, and Wofford–the lowest seed to ever win an NCAA tournament is eighth (Villanova in 1985). So as much as we'd all like to see the University of Montana go on an improbable run and then all get movie deals, realistically it's going to be Kansas, Syracuse, Kentucky, or Duke, or maybe a #2 or #3 seed sneaks into the top four and pulls off an upset. But it's still college basketball, the most entertaining form of the game known to man. So that's not nothing. (all day on The Score and CBS)

The Simpsons rerun of the week: "Itchy and Scratchy Land," one of the most berserk episodes ever written. When the hordes of attack robots charge, you'll think you're watching a Halloween episode, but you aren't! "I've already planned our vacation for this year. We're going to the Highway 9 Bird Sanctuary. I understand they've installed a new bird feeder this year. It's shaped like a diner! And it's on this really tall pole!" (Comedy Network, 9 p.m.)

A very special two-hour episode of FlashForward, if you're still watching that. Is anybody watching this show? I mean, I like lots of the actors on this show. I just can't get excited to watch it. Can't really say why. I suspect most people share my opinion, given the show's ratings. (A-Channel, 8 p.m.)

Friday

Hey, are you sad that the Olympics are over? Then Thin Ice is for you! It's like Olympic figure skating, except for money rather than medals! The hosts are notable figure skating legend Kurt Browning and notable idiot Elisabeth Hasselbeck of The View, and we're sure the two of them will have tons to talk about. Just heaps. (ABC, 8 p.m.)

CHCH commits a movie sin by airing Crocodile Dundee and then Crocodile Dundee in Los Angeles but skipping over Crocodile Dundee 2! Why would you do that to us, CHCH? WHYYYYYYYYY? (7 p.m. and 9 p.m., respectively)

The Weekend

The finale of Thin Ice! More Browning! More Hasselbeck! More...all that stuff! (ABC, 8 p.m.)

Minute to Win It is NBC's new game show where people get one minute to do increasingly more difficult tasks as they gamble their winnings à la who Wants To Be A Millionaire: pulling all the tissues out of a box one-handed, lifting paper bags from the floor using only their teeth without falling over, and so forth. Basically this is a show for people who felt that Millionaire was a little bit too intellectual for them, and host Joe Fieri certainly does his utmost to cater to that vibe. (NBC, 8 p.m.)

And for your troubles, you were rewarded with: 1. An amusing and offensive keynote speaker; 2. Indie Awards that actually recognized legit talent; 3. A tear-jerking Platinum Blonde reunion (hey, don't hate!); and 4. CMW's most expansive, heavy-as-fuck offering of hardcore/metal acts ever.

So, overall, we'd say you're up. Now, as you sit there nursing your sore back and post-CMW hangover, we invite you to reminisce about last week's crazy exploits while skimming through these photos of the Indies, the Canadian Music and Business Industry Awards, and various rock n' roll gallivantings. Oh, and knowing what you know now, remind yourself next year not to venture into CMW without: 1. A poncho; and 2. Dr. Scholl's cushioned insoles.

Illustration by Sasha Plotnikova/Torontoist.

Ask any Kids in the Hall fan and they’ll tell you: Dave Foley makes the prettiest lady. Appropriate then that Foley’s banner character in Death Comes to Town sees him donning drag again. But maybe “drag” is the wrong word. After all, for all their cross-dressing shenanigans, the Kids never seemed as if they were caricaturing women. Where the gents in Monty Python played the fairer sex as either high-strung housewives or barking crones, subbing in Carol Cleveland when they needed a “real” lady, the Kids never seemed to regard gender as a matter of cartoony costuming. For the most part, they tried their darndest to pass as women, not just men-dressed-as-women.

Marilyn Bowman, the soused Mayor of Shucktown in Death Comes to Town may seem plenty goofy (what with quadruple martinis and Lady Macbeth–styled political ambitions), but within the show’s larger comic operations, she fits in perfectly. As played by Foley, Marilyn is backwater Ontario’s answer to Sarah Palin: all pantsuits, thin smiles, and profound sadness. It's also appropriate that we wrap our series of Kids in the Hall profiles with Foley, since this week's series finale brings Marilyn to centre-stage, organizing an overly extravagant public execution where the series' many murder-mystery threads come together (some convincingly, others not so much).

Death Comes to Town also sees Foley trotting out his time-tested straight-man persona as Levon Blanchard, the unflappably disheartened director of a local news team, and snagging a few of the show’s riskier laughs as Doc Porterhouse, a jovial abortionist who hands out kittens with every operation. Considering Foley’s relative celebrity in the U.S.—after Kids in the Hall wrapped, Foley moved on to sitcom stardom as the cucumber-cool lead of NBC’s NewsRadio, where he spent five seasons reacting to the collected silliness of Phil Hartman, Andy Dick, Joe Rogan, and Jon Lovitz—it’s especially nice to see him back with the Kids in the Hall, freed from the purgatory of Celebrity Poker Showdown.

At times it gets kind of tragic, seeing Foley toss out half-assed poker puns or slip out his dick in Uwe Boll films. But like all the Kids, he's at his finest when working with the troupe. He's a little pudgier perhaps, but he still makes a pretty believable woman.

Mayor Marilyn Bowman (Foley) interviews her husband's condemned killer (Scott Thompson).

Torontoist: So I guess let’s start at the beginning. You founded the Kids in the Hall, in its original incarnation, right?

David Foley: It started when I met Kevin McDonald at a Second City workshop. And he asked me to join his Theatresports group, which at the time was Kevin and Luciano Casimiri. That became the original Kids in the Hall, the three of us.

How’d you like working at Second City?

Back then, we had a really good teacher. I liked it because I met Kevin there and Kevin made me laugh. It was mostly a place to get over stage fright. Mike Myers had just left the course and had joined the theatre company when I started doing workshops.

Your partnership with Kevin continued into the series. There are a lot of sketches with the two of you and it’s easy to imagine you writing in Second City workshops.

We worked together for a while before the two troupes merged. Kevin and I were writing partners, and definitely performing partners, within the troupe. To this day, there’s still usually a couple of Kevin and Dave sketches. A couple of two-handers.

What do you owe that dynamic to? What about Kevin have you always found so fun to work with?

We have a really good sense of each other’s rhythm. We always knew what the other guy was going to do on stage at any time. We could always get inside each other’s rhythm, where if you had somebody else do it, the sketch would just bomb.

Is it the kind of thing that can only come from working together for such a long time?

There’s that. But it was also there the first day we met each other. There was a kinship. We both knew what was funny about the other guy.

When it comes to stuff the two of you did together, is there anything you think worked particularly well, that you remember as classic Dave and Kevin?

Oh gosh. I guess Simon and Hecubus. There was other stuff I liked doing. There was this one about an escapist. I only did it once.

The bad Houdini-type guy who can’t follow through with the escape?

Yeah, he can’t get out of his straitjacket. I liked that a lot. And the “King of Empty Promises” sketch I did with Kevin. I liked those characters a lot.

You’ve also managed to achieve the most visibility after The Kids in the Hall ended. What was it like to move into something like NewsRadio, where it seems like they took your persona from the Kids in the Hall and built a whole series around it?

Well, that’s exactly what happened, really. [NewsRadio creator] Paul Simms really liked the Chicken Lady sketch. He was impressed by the fact that I was getting a lot of the laughs as the straight man in that scene. He wanted that for his show. He wanted a guy who could get laughs even though he’s not the guy dressed as the chicken.

Did it ever get stifling, always having to play this one type of character?

No it wasn’t really. I mean it’s a great role to have in a sitcom. Every sitcom needs that figure. And I did have some episodes where I had to be a little odder. It’s basically what Bob Newhart did on The Newhart Show or Jack Benny on The Jack Benny Show: surrounded by crazy characters who were always wisecracking. And the role of the straight man there is just to set things up, and keep it real.

So why’d you guys decide to do another television series, as opposed to a movie or just keep touring.

Well, we knew we didn’t want to do another sketch series.

Why not?

Well, we didn’t want to have to compete with a younger version of ourselves. And we were talking about movies, but this idea of Death Comes to Town came up and Kevin and Bruce thought it would make a better TV series, because it could expand. It was also something we’d never done, a narrative TV series.

Given the troupe’s success, and yours especially in the United States, why’d you decide to bring the show to the CBC?

Largely it was an emotional decision because that’s where we started. It was also a creative decision, in that we knew we’d have much more freedom to do what we wanted to do. It was all predicated on the idea of us wanting to write together, and we wanted to go where we could write what we want without getting a whole bunch of notes from producers. We wanted to get as far away from the experience of Brain Candy as we could get.

Well, you probably wouldn’t get away with the idea of Doc Porterhouse, Town Abortionist on many U.S. networks.

No! No, we probably wouldn’t. But now that it’s done, hopefully we can sell it in the States. But the main thing was that if we were going to be back together, we wanted to do whatever we wanted to do, with as little interference as possible.

Foley as Doc Porterhouse, the folksy Shucktown abortionist.

So what kinds of stuff did you bring to the writing process, to developing the show? Did you write your main characters, like Marilyn of Levon? Or were these roles just assigned?

It was a mix of both. We wrote scenes and we divvied up who would play who. And then at some point in the production schedule we made some switches. I think originally Kevin was going to be Levon. I also loved the idea of a jolly old town abortionist, so we wrote that up. We wrote Marilyn without any idea of who would play her. With Marilyn, and the mayor, and couple of others, there was no clear sense of who was going to play them.

Well, Kids in the Hall fans always say that you made the prettiest woman, so I guess it would make sense that you play Marilyn.

It’s true. Though I’m not as pretty as I used to be.

She’s great too. The way she gets her son to blow into the breathalyser so she can start her car. It really makes the audience have nothing but contempt for her.

Oh she’s horrible. One of the things I argued with the troupe about was making Marilyn just as horrible as Larry.

You also kind of set it up that it’s Marilyn who kills Larry. But you probably can’t give it away.

No. I’d like to. I don’t think we’re going to attract the P.D. James crowd. It’s not a great mystery, but we use it as a device to keep the show rolling. But we still have to set everything up and have a payoff in some way. Maybe not in a satisfying way. But in some way.

What other stuff have you got on the burner at the moment?

Actually Kevin and I are writing a pilot for Canadian TV right now. It’s for CanWest, I forget who the outlet is. I think Showcase. The premise is that Kevin and I were in a Tears For Fears–style band in the ‘80s, but we’ve hated each other for years. Our career ended when Nirvana came out and Kevin’s character, who wrote all the songs, has lots of money and lives well, and I’m broke and divorced several times. A bit of a middle-aged womanizer. But anyways, we decide to get back together and cash in on the nostalgia craze.

Anything planned for the whole troupe?

Well, I hope people like Death Comes to Town. We talked a bit about how if people like it, maybe we’ll do a movie together or do another mini-series with a different storyline. It all depends on if people like this series.

Well, you’ve got a ton of fans. A friend from Chicago recently taught me a Kids in the Hall drinking game. Which despite being Canadian I had never heard about.

I’ve never played a Kids in the Hall drinking game. How does it work?

You just watch the show and drink every time all five of you are on screen, or if there’s a man in a dress. Stuff like that. Every time there’s a business man you have to yell “A business man! A business man!” and take a drink.

Wow. The dress thing alone must get you pretty loaded.

Stills from Death Comes to Town courtesy of Suzanne Cheriton.

Patricia Storms, a long-time illustrator, has branched out into her first ever children’s book with the adventure tale The Pirate and the Penguin. Loosely based on Mark Twain’s The Prince and the Pauper, the book tells the story of Penguin, who wants to see the world, and a pirate who just wants to find a place to call home. Patricia will be performing a play based on her book at Small Print’s Fantastic Journeys Day, an all-day event taking place this Wednesday at the Gladstone Hotel. If you need something to do with your little one this week, head over there for some author readings, activities, and a show by folk band Bellwoods Trinity.

MORE AT BOOKS.TORONTOIST.COM >

If you thought finding a five dollar bill in your spring jacket was nice, imagine how David Miller felt when he found an extra $100 million in the city's surplus. Miller pledged last Wednesday he would dedicate most of the money to reducing property tax increases, a notion that was swiftly passed by the budget committee after a vote on Friday, along with providing additional funding for libraries, public recreational activities, the arts, and daycare. But it's still a mad, mad, mad, mad world at City Hall as councillors await their turn to tackle the budget in April. Many aren't pleased they weren't briefed about plans for the new money before the announcement, and some are still wondering how in the world you miss $100 million in the first place.

Nearly every GO Transit user is in for some changes to their daily commute, as the transit system is revamping the schedules for forty routes, to take effect April 3. Changes also include additional trips on the Lakeshore East line, and six off-peak train cuts.

When the star of The Lost Boys, Corey Haim, died last Wednesday, Torontonians mourned one of our own. Now, we may be mourning our tax dollars, which are covering the cost of his funeral, Corey's mother, Judy, told Access Hollywood. Suffering from cancer, she was living with her son in Burbank, Calif., when he died, which rumours say was the result of a drug overdose. The two were apparently broke, about two hundred thousand dollars behind in taxes. But with main sources from TMZ, People, and Gawker, the one thing that is for sure is that the City of Toronto isn't sure it will be covering these costs, though it does have a program to do so. Luckily, Councillor Rob Ford (Ward 2, Etobicoke North) has said he is "more than happy to look into it."

The a la Cart street food vendors are rolling out once again for the second summer of Toronto's three-year pilot program. Not because last year was successful, but because many vendors are so much in debt that they can't afford not to. Expensive and ill-designed carts, poorly chosen locations, and miles of red tape left even the most successful vendor, Nancy Senawong, about thirty-five thousand dollars in the hole.

Using social media to reach the masses is the latest trend in politics. The TTC did it through Twitter, and now Stephen Harper is getting grilled via YouTube. The next step? A "pie-in-the-face" option on Facebook.

And congratulations to Fin, winner of the Best in Show title at Saturday's Purina National Dog Show! The Kerry Blue terrier apparently clinched the title in the question/answer round: "Some dogs in our nation don't have Purina, and in other nations like South Africa and the Iraq, everywhere, like, such as..." More to come on the dog show later today.

Finally, great news for Toronto's syrup-suckers! After a brief scare, urban tree-tapping is a go! The Not Far From the Tree program had its first urban maple syrup tasting at Dufferin Grove Park this Sunday.

Camouflage by Karen Kawarsky.

ART: Karen Kawarsky's “Symbiotic Natures” is a green-conscious art exhibit in three stages that explores the balance between society and nature. The first stage, "Camouflage," uses a green and earthy colour scheme to represent a peaceful co-existence between society and nature. The second, "Construction," uses soft textures and hard lines to simulate our living and work spaces mixed with the natural landscape. The last, “Red,” shows the dramatic impact that an imbalance between society and nature has on our environment. The show opens today, but the reception is this Wednesday night, in case you want to meet Kawarsky and discuss her work. Art Square Gallery (334 Dundas Street West), 10 a.m.–10 p.m., FREE.

KIDS: The kids have the week off from school; they're screaming, they're eating all your food, and they're frightening the dog—what do you do? Thankfully Toronto has you covered with dozens of day camps and other daily events to keep the kids busy. Torontoist already recommended some old-timey fun at the Black Creek Pioneer Village, and today we recommend spending time with our hero, the Toronto Public Library. It has a lineup of March break events happening at different branches all this week, so you should check out the website to see what's happening at your local branch. Some of today's highlights include a magic show with Vincent Lem at the Riverdale Branch, music from Ken Whiteley Musical Mystery Machines at the Forest Hill Branch, and Mystic Drumz telling the Legend of Marshmallow Island at the Beaches Branch. Toronto Public Library (multiple branches), 10:30 a.m. and 2 p.m., FREE.

MUSIC: The ukulele is quite possibly the cutest stringed instrument around. Cujam West (a sister event to the Corktown Ukulele Jam) invites anyone with a ukulele to show off their adorable mini Hawaiian guitar skills on stage at the Lula Lounge or join in for group playing sessions. If you're new to the uke, this weekly gathering will help you learn how to play and give you the chance to meet other uke enthusiasts. At the end of each night there are ten open-mic slots, so sign up early online if you want to perform. Lula Lounge (1585 Dundas Street West), 7:30 p.m., $3.

KIDS: For those kids who just can't get enough of terrorizing their little sisters, today's reptile show at the Erin Mills Town Centre is another one of those fun activities during March break. This is the perfect chance to both pet and learn about Sulcata Tortoises, Ball Pythons, and Chinchillas (hopefully not at the same time). The show will be followed by a craft session and a chance to win a fifty-dollar gift card. Erin Mills Town Centre (5100 Erin Mills Parkway); 10 a.m., 11:30 a.m., 1 p.m., and 2:30 p.m.; $5 (email or call 905-569-1981 to register).

Bloor & Church Tilt Shift

Outside the Wal-Mart in Orland Hills, IL. Photo by Clean Wal-Mart.

• Chicagoist began a new series in their ongoing look at the battle to bring another Wal-Mart to the city, this time exploring what it's like to work at the store.
• Gothamist had its fill of salt-related news: There was "salty" Eric Massa's resignation and "snorkeling" allegations and then a NY lawmaker's proposal to ban salt.
• Bostonist spent the week pondering local challenges to Obama's health-care reform from both the right and the left.
• Seattlest went behind the scenes of much-lauded local pizza place Delancey.
• Shanghaiist found a cafe advertisement for Starfucks.
• LAist couldn't apply the brakes to the comments section on this post about a San Diego man's runaway Prius.
• Phillyist co-editor Jenn DiSanto and staff writer Leigh Simpson represented Philly at the Disney Princess Half Marathon...and made it to the finish line.
• SFist waited in line to visit the SF Underground Market.
• Houstonist pondered the addition of two minor-league baseball teams within its metroplex.
• Londonist walked along a creepy Victorian tunnel under the Thames, the first time this has been possible for 140 years. Naturally, they took their camera.

Snagging the critics’ pick for Best Revival Programming in NOW’s 2009 Best of T.O. round-up, the Revue Cinema’s suitably named Canadian Cinema in Revue program is bringing something different to Toronto’s typical rep cinema offerings. While you can usually count on the Bloor Cinema for second-run movies and a smattering of horror and cult films, and the Royal for more artful offerings (though their recent screenings of The Room, Tommy Wiseau’s so-bad-it’s-a-phenomenon flick, have endeared them to the midnight movie set in recent months), the Revue on Roncesvalles has often been left in the dust, too far west to capture an audience.

But Canadian Cinema in Revue may change that. Programmed by Alan Bacchus, who runs the film blogs Daily Film Dose and Canadian Film Dose, the Revue’s on-again, off-again series is providing a valuable civic duty: offering up underrated and unknown Canadian films for the niche audiences interested in such things. Previous screenings in the series have featured the 2003 Philip Seymour Hoffman vehicle Owning Mahoney and Vincenzo Natali’s geometry-nerd psychodrama Cube (well known to any Canadian kid who spent late nights watching Showcase, hoping to catch a curse word or some full-frontal nudity). This week sees Canadian Cinema in Revue breaking from their genre cinema holding pattern to offer up one of the most exceptional Canadian films of the decade.

Based on a novel by Fred Leebron, David Christensen’s Six Figures (2005) flew way under the radar when it premiered at TIFF, mostly banished to the unforgiving domain of Video On Demand, where it has steadily acquired a sub-cult following by anyone fortunate enough to have caught it. Set against the suburban boom in Calgary, Six Figures traces the strained marriage of two not-so-upwardly-mobile thirtysomethings, Warner (JR Bourne) and Claire (Caroline Crave), as they struggle to buy their dream home and give their life the false sense of sanctuary it desperately needs.

It may proceed from tropes of suburban ennui that have hung over everything from The Stepford Wives to the Talking Heads’ Stop Making Sense album, but Six Figures unmoors itself from its bourgeois trappings when Warner is accused of bludgeoning his wife in the back of the head with a hammer, sending her into a coma. House-hunting and careerism quickly take a backseat as the questions of whether or not Warner actually clubbed his wife, and whether or not she just claims not to be able to identify the assailant in order to salvage something like a normal life, evolve as the film’s central mysteries. With only one suspect, Six Figures isn't much of a caper. What it is, though, is a studied portrait of spousal abuse, the stresses of familial responsibility, and the stultifying boredom of everyday life. Warner’s temper may make him the prime suspect in his wife’s beating, but given his own family’s precipitating pathologies of violence, his guilt (or better, the measure of his guilt) remains hazy, presented to the peer-jury audience with nothing like bloody glove blatancy.

Alan Bacchus addresses a captive audience at Canadian Cinema in Review.

And though Christensen’s portrait of middle-class malaise and fractured family dynamics may smack superficially of films like Arcand’s L'âge des ténèbres (2007) or Egoyan’s Adoration (2008), his film has more in common with the intricate moral and aesthetic frameworks of Michael Haneke than any recent vintage Can Cin offerings (though it may make an interesting double-bill with another kind-of-Canadian film from 2005, Cronenberg’s more lurid and plainly allegorical A History of Violence). Granted, some of the supporting performances possess the stiffness many of us have come to expect (and even relish) in low-budget Canadian movies, but both Bourne and Cave are magnificent, delivering stellar turns that would have been career-making had anyone actually seen this film.

Chief amongst Six Figures' more staunch supporters is Adam Nayman, a film critic for Eye and Metro, who will be hosting a Q&A with director David Christensen after Tuesday's screening. It’s these sorts of flourishes—a programmer selecting from a wide range of Canadian features, bringing in critics to offer some perspective on the films, and hosting engaging conversations with the actual filmmakers—that make Canadian Cinema in Revue well-worthy of its “Best of T.O” honours. Now, with the help of Bacchus and Nayman, Six Figures may stand to gain similar accolades.

We spoke to Alan Bacchus about Canadian Cinema in Revue, Six Figures, and the difficulty of getting Canadian filmgoers to support Canadian films.

Torontoist: How long has Canadian Cinema in Revue been running?

Alan Bacchus: It’s been running since June of last year. We’ve done five events. I wanted to do one per month, but we avoided scheduling anything around TIFF, and in October my wife gave birth to our first child, which, of course, became my main priority. But now I’ve had some time to rekindle the flame and keep it going.

How has the response been so far?

We’re not a full house for the screenings, but the audiences for each screening have definitely been growing. We have limited marketing resources and so everything is done on a grassroots level. But we have a group of dedicated personnel at the Revue who do all that they can do spread the word. Toronto media has been receptive, and we’ve had most of the major outlets do pieces on the screenings over the last few months. So I think we’re doing something right.

Is it at all difficult trying to drum up interest for Canadian films, or do you find that there are enough people who will respond to the opportunities you’re facilitating to see Canadian shorts and features?

Toronto has a very knowledgeable and eager film-going audience, so it’s not hard to drum up interest. Anyone I talk to really, really wants Canadian films to succeed, but putting that attitude into practice can be hard. For each screening there will be a number of core people who a) might be connected to the film somehow b) are regular neighbourhood Revue patrons, c) are friends of mine, or the filmmakers who will come out. But it’s definitely difficult to bring audiences up to the next level, which is why we’ve been offering the value-added experience of the short film and Q&A afterwards—trying to make each screening special. And without a publicity budget it’s always difficult. But we all try our best.

You were awarded the Best Revival Programming nod from NOW recently. How did that feel?

I was so surprised, but graciously welcomed the honour. There’s a lot of good alternative programming being done by other theatres around town, and so recognizing us was a great boost to our collective self-esteem. I think I have Norman Wilner to thank for that. Thanks Norman!

There seems to have been a bit of a focus on cult or genre films (Cube, FIDO). How does Six Figures fit into that?

Yes, definitely. Really, the films I’ve chosen have been ones that I personally like. So the program started with my personal tastes. And I guess I lean toward genre. I was also trying to consciously stay away (for the moment) from those familiar Canadian titles, not because they’re not great, or I don’t like them, but because part of the mandate of the series is to rediscover films which many may have forgotten. Six Figures fits in as a "rediscovery." It’s definitely not a genre film. It’s the most challenging of the films screened so far. It’s not for broad tastes, but it’s a film which has the power to touch the emotions of anyone who watches it.

Warner (JR Bourne) and Claire (Caroline Cave) in Six Figures.

Considering that Six Figures practically disappeared after premiering at TIFF a few years back, how did you catch wind of it?

At the time (2005) I was working for Capri Films/Capri Releasing, who serviced the release of the film in English Canada. There was a DVD screener that happened to be lying around and so I just picked it up and watched it, not having any knowledge about it at all. And I loved it. It really got under my skin and it’s always stuck with me. I saw it a second time, years down the road and it held up as a great film.

Any plans to program "artier" films at Canadian Cinema in Revue? What's the future of the program more generally?

I’d call Six Figures "arty." It’s certainly the most arty we’ve screened so far. It’s psychologically complex and ambiguous, with an untraditional narrative structure and without traditional forms of resolution. But I guarantee it will have audiences buzzing and talking about it afterwards. I would compare it to a less-grisly Michael Haneke film. Adam Nayman (Eye Weekly) who has been a champion of the film as well, and who will be conducting the Q&A, makes a good point in an article he wrote about the film in Cinema Scope magazine. He says, if Six Figures had a more recognizable name as director listed on the credits it would be considered a masterpiece. Instead, it’s now perceived as just another Canadian film come and gone. It’s time to change that and recognize it.

As far as the future of the program, I will definitely mix in some arty stuff, but not for the sake of it. I’m just going to keep going through my personal list of great Canadian films, or underrated Canadian films, and if art house stuff falls in on occasion so be it. Next up is Project Grizzly, which is one of the more popular cult films to come out of Canada. That’s pretty mainstream.

Six Figures screens Tuesday March 16 at 7 p.m. at the Revue Cinema (400 Roncesvalles Avenue).

Photos and stills courtesy Alan Bacchus.

The Dillinger Escape Plan. Photo by Nirazilla from Flickr.

Well, it's the last day of CMW. Last night's Indie Awards really did us in and it's tough to will ourselves into getting soaked in the rain again for the (very few) remaining shows and showcases instead of just lazing this Sunday away. If you're joining us out there, here's what's potentially worth the trenchfoot.

If your concern is faux-undergroud hype (and who doesn't love that!), the show to see is Woods and Real Estate at the Horseshoe beginning at 9:20 p.m. Soft-and-hazy wallpaper psych-folk from all over the five boroughs; probably good content for your blog for another couple of months.

Parlovr, Young Rival, and Born Ruffians play the Phoenix starting at 8:00 p.m. For the nine-to-five crowd, this show is early and at a good-sized venue. If you're looking for a no-fuss indie-rock fix to cap off the weekend: bingo.

Other shows worth noting include math-metal pioneers The Dillinger Escape Plan at the Opera House (10:15 p.m.), playing songs from their latest weirdo metal opus, Option Paralysis.

Or, if you're jonesing for Hold Steady–approved hip-hop from Minneapolis, catch P.O.S. at Sneaky Dee's at midnight (he has a song about the film Predator, featuring Craig Finn, and that's good enough for us).

Full listings, set times, and ticket information here.

Photo by Matthew C. McAndrew from the Torontoist Flickr Pool.

Who: The Wooden Sky
From: Toronto, ON

Torontoist: Why should we see you at CMW?

The Wooden Sky: We've been on the road for the last seven weeks. Come and welcome us home.

What's your favourite Toronto venue, and why?

My favourite venue was the Bellwoods House. So comfortable and intimate and it could turn into a dance party on a dime. Now that it's gone I guess my living room...although my neighbours and the police may not necessarily agree.

What's your favourite Toronto band, and why?

Right now it's The Great Bloomers. We just came off tour with them and they were amazing every night. Also I'm still listening non-stop to the Evening Hymns record.

What are you excited about seeing and adamant about avoiding at CMW?

I'm excited to see Two Hours Traffic. We played a bunch of shows with them a few years ago and haven't really connected since, so it will be nice to see them again. I'll be avoiding "industry conferences" as adamantly as I can.

What are the best and worst things about big, city-wide music festivals?

It certainly electrifies the city, which I love. Although it can make it tough to not go out every night. Especially with friends from all over the country only in town for those few days.

What's happening for you/the band after CMW?

We're getting back in the van and making the trek to Austin. After that we will hopefully have a few weeks to work on some new songs. We recently [only a few days ago] secured our first practice space in over two years, so we are excited to get back to working on new songs.

The Wooden Sky play The Horseshoe tonight, Saturday, March 13.

Photo by Scorchez from the Torontoist Flickr Pool.

Who: Spookey Ruben
From: Toronto, ON

(Extreme-excitement caps lock courtesy of Spookey Ruben.)

Torontoist: Why should we see you at CMW?

Spookey: LOTS OF SURPRISES! ONE NIGHT ONLY! O.T. BIGGS WILL BE THERE!

What's your favourite Toronto venue, and why?

RANCHO RELAXO AND THE BOVINE SEX CLUB. BOTH ARE INTIMATE (as in XXX) AND INTERACTIVE (as in mosh pit).

What's your favourite Toronto band, and why?

RUSH. THEY MAKE YOU WANNA PUT ON YOUR GRANDMOTHER'S BATHROBE AND DANCE AROUND THE KITCHEN.

What are you excited about seeing and adamant about avoiding at CMW?

EXCITED ABOUT SEEING ADAM ANT. ADAMANT ABOUT AVOIDING ANOTHER QUESTIONNAIRE.

What are the best and worst things about big, city-wide music festivals?

BANDS HAVE THE ILLUSION THAT SOMETHING SPECIAL WILL COME OUT OF IT. IT'S JUST ANOTHER GIG.

What's happening for you/the band after CMW?

PAAAARTAY OR BREAKING UP. YOUR GUESS IS AS GOOD AS MINE.

Spookey Ruben plays tonight, Saturday, March 13 at the Bovine Sex Club.

Photo by Matt Barnes.

Who: Moneen
From: Brampton, ON

Torontoist: Why should we see you at CMW?

Moneen: We will be playing a wonderful set of all old songs ranging from our first EP, Smaller Chairs, to our smash hit record The Red Tree ("smash hit" meaning, we think it's pretty good). We're going to have special guests and nice surprises, and the set has been picked from fan choices over Twitter. How could you even think of missing this? Also, I know where you live and you don't ever want to see me naked and angry.

What's your favourite Toronto venue, and why?

Mod Club has always been a favourite of mine. But this time I will say the Garrison...because this is where we will make history.

What's your favourite Toronto band, and why?

Tough, there are a lot. We are all friends in the city, so to pick favourites is kind of mean. So I will say...HUNTER. Might be my favourite band ever.

What are you excited about seeing and adamant about avoiding at CMW?

I will avoid parking. Coming into the city and finding parking makes me want to kill everything. I'm excited for CMW to find me a good parking spot the day of the show.

What are the best and worst things about big, city-wide music festivals?

Best would be the chance to see some great bands from all over in one place. I love stumbling upon a new band you have never heard of. That's what it is all about.

What's happening for the band after CMW?

We head over to Europe to start our Europe–U.K. tour with Emery. We are very excited to go back over there. But I am more excited for the CMW show. Less flying to play in Toronto.

Moneen play tonight, Saturday, March 13 at The Garrison. Go early, shout loud, mosh hard.

Photo by Mat Dunlap.

Who: The Meligrove Band
From: Toronto, ON

Torontoist: Why should we see you at CMW?

Meligrove Band: Because if you liked us before, our new songs are better than our old songs. And if you hated us before, again, our new songs are better than our old songs. Uh, we have a new album finished, and we're going to play its many new songs. Plus some old ones. The good old ones. You know which ones. Oh, and we won't play in Toronto again for a while. See you there!

What's your favourite Toronto venue, and why?

I think the Mod Club has the best sound (for bands and audiences) and the most fun stage lighting. Our band has had a lot of fun with their bubble machine. I've always liked Lee's Palace a lot, but I wish they'd rethink those ugly "Venue Name As Graffiti!" stage murals.

What's your favourite Toronto band, and why?

I can't pick just one. In high school my favourite Toronto bands were Grasshopper and Radioblaster. My entire bass sound is unintentionally based on those two bands. Later I was really into the Flashing Lights. Over the last few years I'd say the Bicycles and DD/MM/YYYY. Lately I've been listening to The Pinecones and Gentleman Reg a lot. Both released great albums this year. I just heard the upcoming Golden Dogs album and it was awesome. I'm really looking forward to the new Tokyo Police Club record. Though I'd say my all-time favourite Toronto band is Sheezer.

What are you excited about seeing and adamant about avoiding at CMW?

I'm excited about seeing Japanther. I'm always excited about Japanther. I don't really know who else is playing. I tend not to go to many CMW and NXNE shows. A lot of bands have this vibe like they feel like they're auditioning for something. Most are stuck using unfamiliar gear and getting hustled off stage early by eager volunteer "stage managers." It usually makes for not that great of a show. If I'm playing, I usually give my artist pass away once I'm out of the venue.

What are the best and worst things about big, city-wide music festivals?

It's fun to see friends in bands from far away who aren't in Toronto often. And, in general, the level of excitement about live music is higher around town. The !059 parties are always pretty super great. The worst thing is definitely the application fee that inexperienced artists pay to "apply," since the best they can hope for is being "accepted" to play on a lacklustre bill, in a weird venue, to not many people, for almost no money. It's hard not to think of that fee as kind of a scam.

What's happening for you/the band after CMW?

We're in Peterborough opening for Thrush Hermit the following week. All of our other plans are secret.

The Meligrove Band, conveniently, also play tonight play tonight at The Garrison. Let's hope for more real talk like this.

Constantines. Photo by Justin Cutler from the Torontoist Flickr pool.

So how many venues were you turned away from yesterday because they were at capacity? Yeah, us too. Tonight there aren't as many gigantor showcases worth making roots at all night so be prepared to bop around in the rain a bunch (and get turned away from even more venues). Don't let anyone tell you ponchos are uncool.

First up, there's the Indie Awards (featuring Plants and Animals/Rural Alberta Advantage/Great Lake Swimmers/Constantines) at the Royal York beginning at 8:50 p.m. We'll be there schmoozing with labels, hogging the good bands, and talking truths on @TOist Live. Come hang!

Or start your evening off right with darling-faced Joel Plaskett—opening the Sirius Songwriter's Cafe show at Mod Club (7:30 p.m.)—and then get the hell out of there before the three other mediocre Cancon fixtures start. What a show.

Sights and Sounds/Meligrove Band/Moneen at The Garrison (starting at 10 p.m.). Go bask in your own suburban-indie/punk nostalgia while these three kingpins show you why they still rule. Rumour has it that Moneen are only playing stuff off of their first couple of albums. Plus, there'll be special guests! We love special guests.

For those who like to indulge in popular music journalists' bands, here's one that's actually good: The Two Koreas. Playing at Velvet Underground at 10 p.m.

Though we may often be discouraged by crowd volume at Horseshoe festival showcases, The Wooden Sky is usually pretty worth it (11:10 p.m.). Get there early for Dakota Tavern superheroes The Beauties, or stick around after for P.E.I. power pop princes (alliteration overkill, enjoy it) Two Hours Traffic.

Dense, electric prog-party jams come tonight from Halifax's Rich Aucoin (10:30 p.m.). Chances are this guy will be featured at a sardined Horseshoe showcase next year.

Wildcard: Monster Truck at the El Mocambo (2 a.m., following Comeback Kid). Get in on this party before it's ironically cool to like this band in a few months.

Full listings, set times, and ticket information here.

Image of Frederick Barnard Fetherstonhaugh by Newton McConnell.

In 1905, a group of editorial cartoonists produced a volume of caricatures of the city's leading businessmen, politicians, and public servants. Torontonians As We See 'Em was published under the auspices of the Canada Newspaper Cartoonists' Association. The participating cartoonists were Elisha Newton (Newt) McConnell, J.W. Beatty, Newton McConnell, Victor C. Wright, John D. (Jack) Innes, and Jack Radford.

Building on the popularity of early cartoonists, such as J.W. Bengough, Canadian newspapers regularly featured editorial cartoons by the turn of the twentieth century. In the early twentieth century, newspaper cartoonists were rarely vicious towards their subjects, as noted by Peter Desbarats in The Hecklers (McClelland and Stewart, 1979). The caricaturists of Torontonians, the book's introduction stated, intended to picture each subject "with a penetrating yet a friendly eye."

A far cry from the acerbic wit Canadian caricaturists would become especially known for after the Second World War, those in Torontonians were depicted in a straight-forward manner, "emphasizing their most prominent characteristics." In an era when, as Desbarats put it, "even their victims generally applaud [the caricaturist's] work," the social and business elite would've been enthusiastic to subscribe to the publication and be immortalized among its pages for the benefit of posterity.

And so, Torontonians was more commemorative than cutting, and had much in common with the biographical dictionaries that became popular in the post-Confederation period, such as Henry James Morgan's The Canadian Men and Women of the Time, Second Edition (William Briggs, 1912).

The caricatures included in the Torontonians rogues gallery, as Robert Lanning said of biographical dictionaries in The National Album (Carleton University Press, 1996), say much "about the culture, time and place in which they were written [or, in this case, drawn], as well as about the particular social contexts of their subjects and the contributions they made to society." Torontonians is a time capsule of Toronto society at the turn of the twentieth century.

Image of John Macdonald by Jack Radford.

Born with all the advantages, the younger Macdonald grew up in "Oaklands," one of the city's finest mansions, at 116 Farnham Avenue, and was educated at Upper Canada College. Whether through lack of interest or the unbearable weight of expectations, Macdonald had a less successful career than his father. He was a director of Confederation Life and a member of the Board of Trade, as well as being involved with the British Empire League and the Caledonian Society, among other groups. But he made little attempt to diversify the company's interests. Under the younger Macdonald's tutelage, the dry goods firm's profitability dwindled until closing in the 1920s, surpassed by Eaton's more innovative business model.

Image of Albert Edward Kemp by J.W. Beatty.

Raised in the Eastern Townships of Quebec, Albert Edward Kemp had developed business and accounting acumen as a bookkeeper in a Montreal hardware store before opening his own shop at age twenty-one. Seeking to expand the business, he and his bride, Celia Watson, relocated to Toronto in 1885. Kemp and his brother eventually bought out partners and turned a struggling tin and stamping firm into Canada's largest manufacturers of graniteware and tinware. Buoyed by the tariff protection of the Conservative government's National Policy, the success of the Kemp Manufacturing Company spurred the establishment of branches in Winnipeg and Montreal.

"Canadian society has always been less egalitarian than that of the United States," Desbarats argued about the importance of "[b]irth, education and social connections" in this country's business and politics. Kemp understood this well and cultivated connections with the city's "cloistered, often smug business and political elites" through membership in the Sherbourne Street Methodist Church, and acting as president of the Canadian Manufacturing Association (CMA) in 1895–1896 and the Board of Trade in 1899–1900. Through these and other social clubs, Kemp became, according to the Dictionary of Canadian Biography (D.C.B.), "a recognized figure among the 'better elements' of Toronto society."

An avid Conservative, and a leading member of the Albany Club, Kemp's wealth and influence helped rebuild the Conservative Party, left tattered by the death of Sir John A. Macdonald. Kemp entered active politics himself in 1900 with election to the House of Commons, although he was seen as a bit of an elitist and cold to the common man. A close relationship with Robert Borden ensured Kemp a place in cabinet when Borden became prime minister in 1911. During the Great War, Kemp's business skill was essential in ensuring the efficient management of the war effort, and he would eventually be elevated to the Senate. Kemp was one of a handful of millionaires included in Torontonians.

Image of J.J. Wright by Newton McConnell.

In addition to the established merchant class, those involved in the development of new technologies figured prominently in Torontonians. An English-born machinist, John Joseph Wright became interested in the promise of electricity while visiting the Centennial Exhibition in Philadelphia in 1876. Entering the employ of Thomson and Houston, Wright helped install North America's first electric street light. Returning to Toronto, Wright opened the first commercial power station in 1882, using equipment provided by his former employers, and strung transmission wires across rooftops to power some electric arc lamps in downtown businesses. Having set up a demonstration track and train at the Industrial Exhibition in 1884, he was credited for constructing the first electric railway in Canada.

Wright's career as an entrepreneur came to an end in 1884, when he became superintendent and manager of the Toronto Electric Light Company and, after a merger, the Toronto Power Company Limited. Working in a field of such rapid technological development, the self-taught Wright seems to have struggled to keep up with advances. While others promoted long-distance transmission from Niagara, he continued to promote the usage of steam power and was left behind as hydro-electric power emerged. He died in 1922.

Image of Frederic Thomas Nicholls by Newton McConnell.

Other than being English-born and receiving some of his education in Stuttgart, Frederic Thomas Nicholls' origins are somewhat murky. But by 1880, the ambitious young businessman—by now relocated to Toronto—launched a business magazine that became the official publication of the Canadian Manufacturing Association, of which he was secretary between 1886 and 1891.

Acting as a bridge between finance and engineering, Nicholls used personal contacts at the CMA to develop a syndicate to invest in the growing electricity business. From 1889, the Toronto Incandescent Electric Light Company Limited used technology provided by proven American firms rather than developing proprietary technologies. As noted in the D.C.B., the company brought together "the three men who were to dominate the industry in the city for the next decade: Nicholls, [Henry Mill] Pellatt, and William Mackenzie." The three looked to develop hydro-electric power generation at Niagara, leading to a monopoly that, in turn, prompted calls for public ownership of utilities.

Nicholls later became instrumental in the management of Canadian General Electric, a conglomeration of the Canadian operations of at least five electrical and electric supply companies. As a result of his connection to Mackenzie, Nicholls was appointed as executive officer to no fewer than thirty companies by 1905, including a great number of Mackenzie's railway properties. He was a perfect example of the interlocking composition of the city's boardrooms.

Nicholls was not the only businessman who benefited from associating with Mackenzie, who was also depicted in Torontonians and had an indelible impact on Toronto business. Noel G.L. Marshall, manager of a coal company since 1879, took over the firm with Mackenzie's financial backing in 1893, renaming it the Standard Fuel Company. Now president of the new company, Marshall sat on the boards or was director for Sterling Bank, Title and Trust Company, Toronto Industrial Exhibition Association, Imperial Guarantee and Accident Company, and the Buffalo, Lockport & Rochester Railway. By 1911, he was considered a millionaire. In civic affairs, he sat on the board of education and Board of Trade, and was president of the National Club from 1903 to 1906. A sportsman, he was involved with the Ontario Motor League, Royal Canadian Yacht Club, Toronto Hunt Club, and the Ontario Jockey Club.

Image of Samuel Nordheimer by Newton McConnell.

Demonstrating another side of the city experience at the turn of the twentieth century, Samuel Nordheimer was included in Torontonians.
Born in Bavaria, of Jewish descent, Nordheimer and one of his brothers, Abraham, immigrated first to New York, and then to Kingston where they opened a music store. In 1844, the brothers relocated their store to Toronto. With Samuel as president from 1862 to 1912, the A & S Nordheimer Company specialized in the retail of music books, pianos, and sewing supplies. In 1890, they began manufacturing pianos of very high quality—producing more than twenty thousand pianos between 1890 and 1927.

The company began to publish sheet music, largely as a means of stimulating demand for their pianos, and enjoyed overwhelming success as exclusive copyright holders for the first edition of "The Maple Leaf Forever" (1871). Providing a distinct level of much-needed worldly refinement in post-Confederation Toronto, Nordheimer arranged shows by prominent foreign singing stars, such as Jenny Lind. He was, for many years, a director of the Toronto Philharmonic Society.

It was rare for an immigrant (from somewhere other than the British Isles) to rise to such prominence, but the Business Man's Magazine declared him to be: "More widely known than any other man in Toronto." Although listed as being of Jewish descent in The Canadian Men and Women of the Time, his religion was listed there as Anglican. He certainly ingratiated himself in Toronto society, marrying Edith Boulton, scion of one of the city's oldest families. As if imitating a Scottish laird, Nordheimer named his Davenport Hill manor Glenedyth.

Image of James E. Roberts by Victor C. Wright.

The book of caricatures also featured less well-known, middle-class characters, including James Edward Roberts, one of many engaged in the insurance business. Hailing from Nantwich, England, a seventeen-year-old Roberts came to Canada and found a job with the London Guarantee & Accident Company. He rose through the ranks from cashier to inspector, superintendent, and acting manager before becoming manager of Dominion of Canada Guarantee & Accident Insurance Company in 1897. Around the time Torontonians was published, he had risen again to become a managing director. "A quiet but able guide in insurance matters," according to the Toronto Globe, Roberts does not seem to have been very active in social or club life. If not for the caricature and a very brief entry in Morgan's tome, it is doubtful he'd be remembered beyond family and friends.

Others included in Torontonians were not deemed important enough for The Canadian Men and Women of the Time, which appeared at around the same time. Ironically, a number of the cartoonists themselves didn't merit inclusion.

Although editorial cartoons frequently require the news-of-the-day context to decode their symbolism and meaning, they remain accessible, decades later, as art. Although the people depicted would've been known publicly when Torontonians was first published, and therefore were presented with little explanation or commentary, combining these images with information from biographical dictionaries offers a glimpse into the varieties of experience in Toronto at the turn of the twentieth century.

Although having achieved a certain degree of success in a given field, most of those depicted in Torontonians were ordinary, middle-class (or upper-middle-class) citizens. Most would not have been fodder for the caricaturist on the newspaper page for anything short of outright scandal. "The cartoons often stay alive," Desbarats concludes, "long after the dense columns of print have lost their relevance for all but a few historians. The words fail, but the pictures still speak."

Ah, Canada Reads. The yearly debate wherein Jian Ghomeshi and five celebrity panelists decide which book should become this year’s best-selling smash. Canada Reads is our very own Oprah Book Club sticker. And this year, the honour goes to Nikolski. Written by Nicolas Dickner and translated by Lazer Lederhendler, Nikolski is a fragmented and funny romp that travels from a rural Quebec fishing village to South America and back again as three strange, loosely related characters try to figure out where they belong. There’s also post offices, a fish shop, archaeology, maps, computers, compasses, and garbage. Lots of garbage.

The best book won.

MORE AT BOOKS.TORONTOIST.COM >

Joanna Newsom plays Saturday night at the Phoenix Concert Theatre. Photo by Annabel Mehran.

MUSIC: Joanna Newsom has always walked the line between elfin forest child and sage old soul, and along with artists like Devendra Banhart, CocoRosie, and Sufjan Stevens, has become an icon of freak folk. Newsom's music—a polyrhythmic cacaphony of harps, pianos, and warbling tones—is both anachronistic and utterly distinctive, and whether or not you appreciate her high-pitched vocals, there's no denying that Newsom creates a world all her own. Tonight, she performs at the Phoenix Concert Theatre, hot off the release of Have One On Me, a sprawling three-disc album that's making all the critics swoon. Phoenix Concert Theatre (410 Sherbourne Street), Saturday 6 p.m., $28.

WHIMSY: Newmindspace is at it again. The interactive art collective committed to "urban bliss dissemination" has embarked on a new project that can only be described as a giant slumber party. In their Blanket Forts event this Saturday, Newmindspace will construct a maze of cozy forts in a private loft, where guests can enjoy hot cocoa, snacks, and snuggling. PJs, pillows, blankets, and teddy bears are welcome, but there's a catch—the event's location will only be made known to those who buy advance tickets, through an email they will receive after purchase. (Buy now, because tickets are limited to two hundred.) All proceeds will go to funding future Newmindspace shenanigans. Mystery location, Saturday 11 p.m.–6 a.m., $15 donation.

PHOTOGRAPHY: From Jeff on Today's Special to Kim Cattrall, mannequins' imitations of life have fascinated us for years. So self-absorbed is the human beast that we have created a plastic golem in our image and anthropomorphized it to sell goods and services. So what does the mannequin say about our society? In her new exhibit, "Behind Glass," Georgette Peters's photographs examine how mannequins function in our material world, from how they impact fashion to what they reveal about body image and commodity culture. The exhibit, which runs to April 29, is holding an opening reception this Sunday. Side Space Gallery (1080 St. Clair Avenue West), Sunday 2–5 p.m., FREE.

FILM: The University of Toronto Film Festival boasts an impressive pedigree—Canadian film royalty such as David Cronenberg, Atom Egoyan, and Don McKellar have all screened short films there in the past, and this year's lineup might also have some future star auteurs on the roster. The one-day festival will screen one hundred films in fifteen rooms, including shorts from Brazil, Israel, Denmark, and Poland. The bill also includes back-to-back screenings of two films from Babak Payami, who has been the subject of censorship in his native country, and who will be in attendance at the screenings. Hart House (7 Hart House Circle), Saturday 1 p.m.–12 a.m., FREE.

KIDS: SPRING BREAK! It's that wonderful time of year when kids are freed from the shackles of their desks and given a much-needed break from all that recess and long division. In order to prevent your child's brain from going to mush during its week off, Black Creek Pioneer Village is hosting fun and educational March Break festivities from Saturday until March 21. Activities will include a maple syrup festival, discovering local archaeology with a real archaeologist, learning about how furniture and toys were made in the days of the pioneers, and, the perennial favourite, horse-drawn carriage rides. Black Creek Pioneer Village (1000 Murray Ross Parkway); Saturday and Sunday (and every day until March 21) 10 a.m.–4:30 p.m.; $10/adults, students, and seniors, $7/kids ages 5–15, members and kids under 4 FREE.

THEATRE: Toronto is one of the world's hubs for dub poetry—we're home to the Dub Poets Collective, a group of internationally and nationally recognized dub artists devoted to promoting the form, and Canada has produced a number of leading dub artists, including Afua Cooper, Chet Singh, and ahdri zhina mandiela. Tonight, the Factory Theatre premieres mandiela's latest work, who new grannie: a dub aria, which tells, through performance poetry, dance, and music, the story of four cousins who return to Jamaica to bury their beloved grandmother and, on the way, rediscover their memories and each other in their homeland. The piece, which was also directed by mandiela, begins previews tonight and runs from March 18 to April 4. Factory Theatre (125 Bathurst Street); previews Saturday, Tuesday, and Wednesday 8 p.m., Sunday 7:30 p.m.; $15.

MUSIC: Canadian Music Week ends this Sunday. You can find all of Torontoist's coverage—daily previews, reviews, questionnaires, and more—right over here.

Oh, sorry. Right: this week's NOW cover feature pits the city east of Yonge against the city west of it, with two separate covers (the top two, at right). For the feature, NOW staged a tug of war between the two sides on Breakfast Television, because that whole idea makes a lot of sense. BlogTO wrote about the issue, noting that if there is "some deep-seated animosity...between the East and West," the division should be marked by the Bloor Viaduct instead, which, sure. Eye parodied the whole thing with a mini-feature pitting the city's north and south sides against one another, which is the closest anyone's gotten to pointing out yet that the whole premise is pretty goofy. (What are we, Berlin? People care about this, at all?)

So we will perhaps leave it at this, noted by a commenter on Eye's article: Time Out London has been doing more or less the exact same thing that NOW just did—splitting their city in half and letting each side battle it out—for a while, and Time Out London's May 7, 2009 cover sure looks an awful lot like NOW's covers this week—same concept and same execution, from the graffitied all-caps text on a wall, to the tagger mid-spray with their back turned to the camera.

It is times like this that we are reminded of Alien vs. Predator's tag line.

James Sturm is one of a handful of cartoonists who, in the 1990s, helped build the foundations of a system to support and grow a better cartoonist and, hopefully, a more appreciative comics-reading public. First Sturm founded the National Association of Comics Art Educators (NACAE) in order to help facilitate educators who wanted to teach comics as a legitimate art form in their classrooms or to use comics as a way to teach other studies. Then he co-founded the very successful Center for Cartoon Studies in White River Junction, Vermont (a short eight-hour drive from Toronto), a college for cartoonists to learn to express their graphic work in personal, innovative ways.

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Artist Unknown

Who knew that returning art supplies to Home Depot involves faking a marital breakdown?

Here at the "50 Light Fixtures from Home Depot" opening at Mercer Union, Toronto conceptual artists Daniel Young and Christian Giroux show a short film of a white room with light fixtures that change every few seconds and the different colours those fixtures cast on the walls.

Daniel was making a documentary abroad and couldn’t make the opening, but Christian shares a few of the excuses he invoked in the process of using the “generous Home Depot return policy,” as he calls it.

We also learn that curators always wear pointed heels, Mercer is no longer a party gallery, and that Richard Rhodes, the editor of Canadian Art (who hired ArtStars* host Nadja Sayej as an editorial intern back in the day), doesn’t want to be famous (or be interviewed). This is the second in the series of the Three Worst Episodes.

Who: Postdata (aka Paul Murphy, Wintersleep vocalist/guitarist, and his brother Michael).
From: Halifax, NS

Photo courtesy of Hand Drawn Dracula

Torontoist: Why should we see you at CMW?

Postdata: Because we're a couple of silly clowns and we like to have a good time.

What's your favourite Toronto venue, and why?

Lee's Palace and the Horseshoe.

What's your favourite Toronto band, and why?

Holy Fuck. I think they make great music, they are great people, they "bring it" live every time—or "give'r" as a true Nova Scotian might say. Half the band are east coasters who have migrated...we'll get them back someday!

What are you excited about seeing and adamant about avoiding at CMW?

Adamant about drinking beer at Ronnie's. Parking will suck probably. Plants and Animals are playing, right? That will be a great show.

What are the best and worst things about big, citywide music festivals?

I guess the hardest thing about them, the most challenging, is trying to see everything you'd like to see. With these sorts of festivals you basically just have to pick one thing you're doing that night and do it. Other than that, I love things like this. I've always had a lot of fun at CMW.

What's happening for you after CMW?

Ottawa, Quebec, Calgary, Edmonton, Vancouver, Montreal, Bremen, Montreal, Europe/UK tour (with Wintersleep), move to Halifax. Which brings me to May...

Postdata plays tonight, Friday, March 12, at the Music Gallery and Saturday, March 13 at the Rivoli.

"Practice." Photo courtesy of Metz.

Who: Metz
From: Toronto, ON

Oh hell yes, Metz. Bring your earplugs. Lose your mind.

Torontoist: Why should we see you at CMW?

Metz: Have you ever wondered what a pterodactyl mid-flight looks, smells, and sounds like?

What's your favourite Toronto venue, and why?

The ACC.

What's your favourite Toronto band, and why?

Anagram. They are the best live band in any situation.

What are you excited about seeing and adamant about avoiding at CMW?

Excited about Tropics [featuring Slim Twig], the second best band in Toronto. Avoiding fast food.

What are the best and worst things about big, citywide music festivals?

Best: hordes of hopeful youths determined to make it. Worst: backstage laminates.

What's happening for you/the band after CMW?

A new seven-inch, a full-length record, and some life on the road.

Metz play tonight, Friday, March 12, at the Garrison.

Handsome Furs. Photo by lenehan from Flickr.

Well, comrades, we're headed into weekend show territory now. If you thought the venue lineups were worth yapping about before, just wait until the CMW tourists are out in full force tonight. And for the remainder of the weekend. The best way to not come out of this totally disappointed is to choose your shows wisely (or just try not to flit over to the super marquee stuff last minute) and to try to stay put if you like what you see. Unless you're weaselly like us and know all the underground tunnel routes into all the best venues.

There are tons of shows happening tonight, and this is also the first day of CMW's freshly expanded film program, so get into it.

First up, there's Our Lady Peace at Massey Hall. Just kidding. Someone must be going to this though; it's a pretty big place.

Better yet, there's a band called Powerglove playing at the Opera House (9:20 p.m.). They're a metal band from Boston that does covers of NES theme songs. They also may or may not have swords available at their merch table (and they hope they can "see some at the shows, held high and proud"). Great! See you there! CLANK.

There are also some real shows happening. Like the Handsome Furs (Juno nominees?!)/Winter Gloves/Parlovr show at El Mocambo. Come fit in with us!

Or if you want to see Winter Gloves but none of those other jerk bands, you can also go fit in with everyone else and catch them earlier in the night opening for The Russian Futurists, The Acorn, Plants and Animals, and Think About Life. Co-presented by the ever-present (and ever-awesome) Chromewaves.

Flying under the radar, there's the Afterparty/Les Handclaps/Gobble Gobble/Fighter Lover show at Bread and Circus in Kensington Market. This'll be a sick synth-pop lineup featuring 100% less-bloated synth-pop hype.

If you want to see three of the best bands in the city, hit the D'Urbervilles/METZ/Soft Copy show at The Garrison. It doesn't matter if they play here all the time; you should see them everytime. Especially METZ (do you wish you were around when the Jesus Lizard was relevant and from your hometown? Yes? Go see METZ). And if you don't care about the D'Urbervilles by now, you probably never will.

METZ. Photo by moon angel from Flickr.

Then there's Brian Borcherdt and Postdata at the Music Gallery. Bring your tissue and your best behaviour for this quiet church show. And watch Wintersleep's frontman Paul Murphy as Postdata now, so in a year you can say, "I saw him before he went Polaris."

For those completely not down with indie rock but who love it when shit rules, hunker down at the Bovine for the Metal Blade Records/Exclaim! showcase. Bison b.c., Barn Burner, Titan, etc. This is where you go to thrash. Your mom said to bring ear plugs.

Bopping around with a pass or wristband? Check out Ian Blurton's Happy Endings (because Ian Blurton rules at everything always) at the Silver Dollar, 10 p.m., as part of Tim Perlich's big show. Or hit the Drake for Hannah Georgas at 10 p.m. (she's gonna be huge soon) and Brasstronaut (Japandroids labelmates) at 11 p.m.

Full listings, set times, and ticket information here.

Illustration by Kyra Kendall/Torontoist.

When James Frey’s A Million Little Pieces first hit bookstands, readers were led to believe that what Frey had written was “the truth.” And why should they think such a thing? Because the book’s dust-jacket told them so. Marketed as a memoir, A Million Little Pieces climbed to the top of the New York Times’s bestseller list, and Frey found his name, and his book, being bandied about in book clubs—including Oprah’s—all over the continent. But Frey’s credibility dissolved overnight; the Smoking Gun had investigated the author’s narrative claims, and found that portions of A Million Little Pieces had been fabricated. A tweak here, an embellishment there—and Frey was suddenly surrounded by a bunch of angry, angry readers (again, including Oprah).

Last week, the Globe and Mail informed us that Tim Hortons had kind of, sort of, pulled a James Frey (our exaggerated words, not theirs). Tim Hortons, via a seemingly innocuous one-liner—“Based on a true story”—told us that the tear-jerking scene featured in one of their commercials was “true.” Or, rather, that it was based on truth. As Globe reporter Dakshana Bascaramurty relayed, a spokesperson for Canada’s beloved “Timmys” said the commercial in question represented an “amalgamation of stories.”

Decades before Frey started “amalgamating” his stories, and long before we started believing that a doughnut shop was inextricably tied to our national identity, a handful of American journalists began toying with the boundaries of truth in their own narratives. Tired of the stiff, lifeless prose of their predecessors, writers like Hunter S. Thompson, Tom Wolfe, and Joan Didion began experimenting with unorthodox storytelling techniques. A favourite among these techniques was the use, or creation, of a “composite character.” That is, an amalgamated character. The rationale went something like this: if the general message you were trying to convey was, essentially, true, then maybe—just maybe—a few liberties could be taken with certain narrative details. After all, truth is subjective—right?

What happens to “truth” when you superimpose one story on top of another? When you combine one individual’s personality traits with those of an entirely different human being? In the case of A Million Little Pieces, the general consensus was that Frey had taken too many liberties; he had juxtaposed too many stretched truths to rightfully call his work “non-fiction.” Norman Mailer, Truman Capote, Gay Talese, and, of course, Hunter S. Thompson and Tom Wolfe managed—successfully—to walk that grey line between factual reporting, and fictional storytelling. Their stories, however finessed, were still deemed "true."

So how have Timmys’ truths stood the test of the Globe and Mail’s online commenters? “In this particular case, ‘based on a true story’ is an outright lie,” wrote “Raging Squirrel,” responding to Bascaramurty’s article. “prof116,” though, was of a different opinion: “Much ado about nothing. I love Tim's coffee and love this commercial too, even if it might be a bit sappy.” Another commenter, “Double D’s” asked: “Do we not have laws for false advertising in this country?” Of the two-hundred-and-sixty-odd comments this article inspired, Double D’s’ question seemed the most sensible; the last time we checked, there were certain regulations in place that prevented advertisers—and their clients—from making false claims.

Janet Feasby, vice president of Standards at Advertising Standards Canada, wasn’t able to comment on the specifics of the Tim Hortons ad in question. She was, however, able direct us to clause 1 of the Canadian Code of Advertising Standards. Herein, under the sub-heading of “Accuracy and Clarity,” we found the following statement:

(a) Advertisements must not contain inaccurate or deceptive claims, statements, illustrations or representations, either direct or implied, with regard to a product or service. In assessing the truthfulness and accuracy of a message, the concern is not with the intent of the sender or precise legality of the presentation. Rather, the focus is on the message as received or perceived, i.e. the general impression conveyed by the advertisement.

Of course, of course, of course; this clause’s scope is limited to “a product or service”—and neglects to mention “narrative” or “storyline.” True, there is another clause for “Testimonials,” but "testimonial" doesn’t really fit our ad’s description. In other words, in the eyes of Ad Standards Canada (or, at the very least, according to their code of ethics), Tim Hortons hasn’t really done anything wrong: we, as consumers, have not been misled about Tim Hortons’ "products" or "services."

Clause or no clause, though: there's no denying that Tim Hortons' liberal use of the line "Based on a true story" has caused a certain amount of discomfort with consumers. So why include this one-liner in the first place? Why not let the ad, or the ad's story, speak for itself? For the same reason Frey (or is that Frey's publisher?) marketed A Million Little Pieces as a work of nonfiction: there is no word more powerful, more poignant, and perhaps more deceiving in the various worlds of storytelling, than "true."

We posted, a little while ago, about the scale model of downtown Toronto, located in the rotunda at City Hall, which, with its thick layer of grime and its brown beverage stains, was maybe a little too realistic in its miniature portrayal (1:1250, precisely) of the downtown core. We now know that plans are underway to rehabilitate or replace the model―though it could be dismantled and never replaced without help from the public. We also know what caused the model's slide into decrepitude: Terrorists!

Carolyn Humphreys, a manager in the Urban Design section of Toronto's department of City Planning, wrote, in an email, that the model was originally constructed to assist planners with drafting the 1991 official plan for the former City of Toronto, and was installed in the rotunda for visitors to view sometime in the mid-nineties. It was originally split into several four-by-four-foot sections, all of which were positioned on a plywood table. The table was surrounded by a floor-length cloth skirt. This arrangement was relatively easy to disassemble, make modifications to, and clean.

Then, 9/11 happened, and it was determined by one functionary or another that the area under the skirted table was a potential hiding place for evildoers. The model was affixed, in one piece, to a solid surface, and the area underneath it was drywalled off. Ever since then, the model has been difficult to maintain.

Tiny Toronto was left to accumulate dust and dirt until a few weeks after our original writeup, when it was cordoned off with a blue curtain (pictured above), to which a note had been attached, asking anyone interested in sponsoring the model's renewal to call or email the Toronto Office of Partnerships.

Terrorists (and lack of a scale-model maintenance budget) are destroying our miniature city.

"We have a real desire to either fix it up or replace it, and the issue right now is funding," said Robert Freedman, director of Urban Design for the City. The model hasn't been changed substantially since the mid-nineties, so revamping it would entail bringing it up to date.

Urban Design, Freedman said, is investigating replacing the model with a newer, more technologically sophisticated one, with buttons and display panels ("Where you could actually have people interact."). They might also retrofit the existing one. But since they don't yet have a source of funding, it's not certain that any of this will happen.

At the moment, the model is in limbo. Unless Urban Design finds a cleaning company with the skills to restore Tiny Toronto to its original glory, they're going dismantle it and begin contemplating starting from scratch. Do you own or work for a cleaning company with model-cleaning capability? This is your opportunity. Urban Design is looking for two quotes: one for business hours cleaning, one for after-hours cleaning. Applicants should also provide a description of what, precisely, they would do in order to clean the model. If this sounds appealing, get in touch with Urban Design and make us all prouder of our city―and our other, tinier city.

And if you do score the contract, maybe let us know?

(Or, if you or your company would like to sponsor the model's restoration, send an email to the Toronto Office of Partnerships.)

Photos by Joel Charlebois/Torontoist.

Councillor Michael Walker (Ward 22, St. Paul's) plans on retiring this November, saying that, after twenty-eight years, it was "time to pass the torch" to a new councillor. One reason why, according to Walker, is that there is now a good candidate to replace him. Surely he didn't mean Josh Matlow, the often controversial TDSB trustee who has mounted a challenge for Walker's seat? Ah, no he was referring to his executive assistant, Chris Sellors, who took the opportunity to step up and declare his support for an Eglinton subway line.

When Google Maps opened a section devoted entirely to bike routes in a large selection of (so far) U.S. cities, Toronto cyclists felt a little left out. It's pretty safe to assume that Google Bike will reach Toronto sooner or later, but in the meantime, Toronto has an online bike trip planner that sports a few options Google Bike doesn't. Ride The City uses cycling-specific road-and-trail information to pick out routes for you. It offers users the somewhat alarming choice between "safe," "safer," and "direct" bike paths. We like to read these as "easy," "very easy," and "challenging"! Users with an account can also rate the routes.

And now a word on the never-ending quest for the perfect tree house. Sooner or later (often it is "sooner"), most people realize that everything they want out of life is right in their own backyard, in a tree, with ladders, and only their friends are allowed in. Globe columnist Dave LeBlanc found himself unexpectedly thrust into the role of tree house guy when his plan to find the best tree in Toronto and pair it with an outstanding, if hypothetical, structure as a "gift to the city" metamorphosed into a mad dad scheme to build his eight-year-old son a clubhouse for the ages. LeBlanc has challenged three of his favourite architectural firms to design the ultimate home-very-close-to-home. Specs call for ninety-nine square feet of floorspace or less, no rope ladders, and extra points if it's "held [up] by cables of some sort." Also: should be appropriate for thinking about flying saucers.

Toronto will soon have an official process for banning abusive individuals from public parks and other city property. If that sounds a little overbearing, consider that the new, central protocol is being devised largely to make it hard to impose bans and to allow people to appeal them. After the city's ombudsman published a report criticizing a decision to ban an unnamed man from all 1,473 city parks permanently, future bans are expected to be time-limited and require approval from Parks and Rec General Manager Brenda Patterson. Once an offender's "sentence" is up, though, they will have to go through a "re-entry" interview. But that should be a walk in the park, eh? Eh?

You know what sucks? West Toronto. No, wait, East Toronto. Well, they're always getting faced off against one another, so one of them must suck, right? Hard-hitting stuff. NOW Magazine set aside one week, starting yesterday, to put this question to rest for good, laying out the case for East (pedestrian space, "divine neglect") and West (cool shoes, night life). Then they get down to brass tacks and try to sort out which side has the best of what, from politics, to ice cream, to reinvented space, to "unidentifiable Italian restos." The stuff they didn't teach you in urban studies. The stuff that matters? Each camp spends about as much time slagging the other side of the city as they do promoting their own, so we won't bother to ask if we can all just get along. Oh, and since they're being democratic about it, if you vote for just one river today, vote Don. I mean, come on, we might feel badly for the Humber, but we're just never going to get excited about it. And that's how it is.

Call Girl (detail), mixed media on paper, Kim Krans. Photo courtesy of the artist.

ART: In "Diamonds," her first solo show in three years, Brooklyn artist Kim Krans presents a collection of collage pieces, as well as a new sculpture. Krans uses found images, paper, and paint, along with 3D materials like plaster and clay, to evoke a dreamlike sensibility that veins through the mostly black-and-white pieces. Since her last show in NYC, Krans has shifted over to music/songwriting and other projects, and she'll be in attendance tonight if you're curious about how these ventures have influenced her recent work. Hunter and Cook gallery (15 Ossington Avenue), 7–10 p.m., FREE.

CONFERENCE: Organized by U of T's Sexual Diversity Studies Student Union, the third annual "Porn Reborn" explores new movements and markets in the vast and expanding pornography industry. The keynote speaker at this year's event is Tristan Taormino, award-winning author (of some tantalizing titles, including The Big Book of Sex Toys and Down and Dirty Sex Secrets), sex educator, and feminist pornographer. Joining her is Toronto's own Bruce LaBruce, as well as other special guests. The conference aims to debunk myths about the industry while educating people about its myriad nuances and open up a dialogue about topics that are, surprisingly, still taboo. 1 King's College Circle, 7–10 p.m., U of T students FREE, other students $15, $25 (tickets include after party).

ANIMALS: If you've seen the movie Best in Show, you know how obsessive people can get about their dogs. Experience this devotion and dedication first-hand at the Purina National Dog Show. Competing for the coveted "best in show" accolade, dogs from around the world will be primped to perfection to strut their stuff. Watch the various competitions, meet your best match in the Breeders' Village, or browse through a huge selection of doggie products. This is a great family event, especially if you have little animal lovers in your brood. International Centre (6900 Airport Road), doors 9 a.m. (runs all weekend), $6 children under eight, $10 adults, $25 family pass (go online for tickets).

RELATIONSHIPS: My Mother's Lesbian Jewish Wiccan Wedding began in a small theatre in Kensington Market during 2009's Fringe Festival and has since stormed the large stage by way of Mirvish Productions, in a record-breaking run now extended until April 4. In keeping with its inclusive and loving spirit, the homegrown comedy-musical is offering commitment ceremonies to all audience members—regardless of creed or orientation—after the show tonight and all weekend. Whether it's your first time, or you want to renew your vows, say "I do" in a ceremony performed by cast members. Panasonic Theatre (651 Yonge Street), 8 p.m., $45 and $60.

HEALTH: "Our health, our planet" is the theme for the thirty-third annual Total Health Show. Combining discussions and demos on traditional healing and farming methods, the event promotes biodiversity and encourages eco-based communities that preserve a healthy environment for future generations. For a mere ten dollars you can sample organic delights and the latest in natural body care, massage, and other spa-like treatments. North Building, Metro Toronto Convention Centre (255 Front Street West), 6–10 p.m., $10, lecture pass $15, full weekend $50.

FASHION: Drinking while shopping? Does it get any better? "Rock 'n' Rogue," a vintage menswear pop-up shop, launches (with license) tonight in conjunction with CMW. Featuring vintage clothing and accessories from the 69 Vintage Collective (comprised of lost+found and Stacked), all the unique, high-quality pieces for sale were handpicked for their style and relevance. Cream Tangerine Gallery and Cafe (1087 Queen Street West), 8–11 p.m., FREE.

MUSIC: Canadian Music Week continues today. You can find all of Torontoist's coverage—daily previews, reviews, questionnaires, and more—right over here.

hallway of ghosts - CAMH

You could fill a book with what most of us don’t know about the Toronto Public Library, but Catherine Raine is one Torontonian who wouldn't need it. Raine has become a bit of an expert on the subject through her self-defined “library quest”: a mission to visit every single one of the system's ninety-nine branches. She has documented her progress and each of her library visits on her blog, and we decided to learn more about her bibliophilic adventures.

Making it to this many locations would be an ambitious goal for a native Torontonian and it is even more so for Raine, who immigrated to Toronto from Scotland with her husband in 2002 and embarked on this project only two years ago. Originally from the U.S., Raine and her partner arrived in Toronto with few connections and no secure employment. She currently works part-time as an ESL teacher and stumbled upon the idea for the project while at a branch with some of her students, whom she had taken to sign up for library cards. “I saw a map with all of the ninety-nine branches, and I thought, this would be kind of a nerdy challenge,” she says.

Travelling to the far-flung branches allowed Raine to get to know Toronto better. “Because I wasn’t from Toronto, I wanted to venture out of my enclave. Sometimes you hear Toronto people say things like, ‘Oh I never go east of there,’ but I wanted to see all the parts of the city,” Raine says. “[Through the libraries], I found a point of community and contact for myself. Going to the library is an important part of becoming a citizen of Toronto, of Canada.”

Raine began by visiting the libraries in closest proximity to her job and her home. “The first one was the Deer Park branch at St. Claire and Yonge, and then I did the ones that I lived and worked near—so it was mostly in the Don Valley area and Scarborough.”

Raine admits that she was initially apprehensive about the expansive nature of her goal. “It’s overwhelming; when you think that there are actually ninety-nine branches, it’s like, whoa. And when my husband suggested I should write a blog about the project, I said, ‘Who would want to read that?’” But as Raine continued to write about her excursions readers flocked to her blog, and she was the subject of a feature on libraries in the Toronto Star not too long ago.

While Raine has covered up to five libraries in one day when necessary, she still enjoys researching and discovering each location. “Each branch has its own distinctive personality and history,” she maintains. Her personal favourite is the Humberwood branch in northwestern Toronto, where she was charmed by the natural surroundings. “It’s in the suburbs but it feels rural,” she says. “There are these beautiful tall grasses and a wooden footbridge. It’s not big and grand but it is very homey.”

Tall, wild grasses surround Humberwood, Raine's favourite branch. Photo by Stewart Russell.

When pressed, Raine admits that there are a few locations that could use a little work. She mentions that both the Brookbanks and Palmerston branches are pretty battered, with people actually reading on the ground for lack of adequate seating. (She was glad to learn that the Palmerston branch just started to undergo renovations.) The money the City puts towards funding libraries is both essential and well spent, she argues; after her local branch, Kennedy/Eglinton, completed renovations, it became busier and more vibrant.

In the age of e-books and Kindle, Raine maintains that libraries have achieved relevance beyond simply housing books. “I think libraries have become more viable by not just being silent mausoleums where you sit and read,” she says. “I don’t think anything can replace the unique aspect of home that a library has; whatever you are doing, even if you aren’t talking, you are still a part of something when you are there.”

Raine also acknowledges that the people who could most benefit from a library system, such as students or those with lower incomes, often don’t know much about it. “I ask my [ESL] students if they have library cards, and many of them say no,” she says. “While it’s not hard to get, many people don’t really know about it…the library system could maybe benefit from more education [about it], more outreach.”

At this point, Raine is as knowledgeable about the Toronto Public Library system as you can get: she has currently managed to visit ninety-eight branches. The project remains just shy of completion due to renovations at the final location, Thorncliffe, but she has word from the staff that she will be allowed in sometime this spring. “It’s been kind of a library overload, but when I get to a new branch, I get excited,” she laughs. “It’s like an adventure!”

Thanks to Joe Clark for the tip.

Ten Editions Bookstore occupies the corner of Spadina and Sussex in the Annex and has done so now for fifteen years. The pedestrian traffic outside is steady but in the rush to get to work or classes at the nearby U of T, many pass the store daily without a thought. It’s their loss, for the store boasts an impressive stash that lovers of books and memorabilia would be hard pressed to find anywhere else in the city.

MORE AT BOOKS.TORONTOIST.COM >

Photo of Dan Werb and his little skull pal by Nicole Kibert.

Who: Woodhands
From: Toronto, ON

Woodhands is electrifying and hypnotizing and even if you can't get down with their particular brand of electro-thrash, they will woo you with their funny-guy charms. Watch.

Torontoist: Why should we see you at CMW?

Woodhands: Because we'll touch you.

What's your favourite Toronto venue, and why?

Shows at the Music Gallery always feel pretty special. I like that the venue can impact a show so deeply.

What's your favourite Toronto band, and why?

Hooded Fang writes the catchiest songs in the world.

What are you excited about seeing and adamant about avoiding at CMW?

I'm excited to see the Constantines at the Indie Awards; I've never seen them live before. I'm avoiding the LAME-Os.

What are the best and worst things about big, city-wide music festivals?

The best thing is that there's something awesome happening every single minute. The worst thing is that you'll probably miss a lot of it no matter what.

What's happening for the group after CMW?

SXSW!

Woodhands play tonight, Thursday, March 11 at the Opera House with Saukrates and K-OS.

The Darcys get spooky. Photo courtesy of The Darcys.

Who: The Darcys
From: Toronto, ON

The Darcys might be your new favourite nu-gazers, you just don't know it yet.

Torontoist: Why should we see you at CMW?

The Darcys (drummer Wes Marskell): Because we are boozy, barefaced, and fortissimo.

What's your favourite Toronto venue, and why?

I really do like the El Mocambo, and not just because we are playing there [tonight]. It is a great size of room and we seem to always be blessed with a good sound guy when we play there. That said, we are playing Lee’s Palace for the first time [soon] and that could very well change everything.

What's your favourite Toronto band, and why?

Do Make Say Think. Growing up in Toronto, and forming a Toronto-based band, I think no other single band has had a larger effect on us musically. For a group of ten-plus members, they still somehow manage to convey a formidable dynamic and groove both live and on record. They can be as quiet as a whisper or earth-shatteringly loud.

What are you excited about seeing and adamant about avoiding at CMW?

I think with the lineup shift, and each member's newly acquired responsibilities [vocalist Kirby Best is no longer with the band, and guitarist Jason Couse is now up front], we are trying to avoid any major hiccups; our Audioblood showcase is the first live set we will be playing as the new band. It is an unveiling of sorts. I have a lot of confidence in our ability, but there are always the introductory nerves that come with new endeavors and the ten minutes it takes to shake them off. I think I am going to buy a bottle of Jameson to help curb anxiety.

What are the best and worst things about big, city-wide music festivals?

I think both the best and worst thing about city-wide festivals is the sheer number of people that can show up at any given venue. There's nothing better than playing to a full house, but sometimes that means people that make a special trip to your showcase don’t get in. Or core fans line up and end up missing some of your show. I remember playing a set in the washroom of the Calgary legion because a group of people that drove an hour to see us at Sled Island couldn’t get into the venue. That said, I think Canada’s many city-wide festivals do a world of good for music-goers and performers. It allows bands to play to new audiences and music-goers to expand their horizons with bands they may otherwise not have seen.

What's happening for the band after CMW?

CMW is really the beginning of a lot of things for us. We are gearing up for a coast-to-coast tour that spans the entire month of May, which means working out the kinks of the new lineup. We have also started work on what I am affectionately calling a “Video EP.” But most of our efforts are currently focused on the release of our new album, Young Believers, which was produced by Murray Lightburn of The Dears.

The Darcys play The Elmocambo tonight, Thursday March 11, and at Sneaky Dee's on Saturday, March 13.

Hey, it's Japanther. Aren't those guys playing an anti-CMW show in a fort tonight? Burn. Photo by BraunImaging from Flickr.

Here we have a day that begins, like all good days, with Slash doling out morning wisdom at the Fairmont Royal York (11:15 a.m. in the Ballroom). This is also the day when all things CMW/CMF actually get moving. Wednesday eased us in with a modest offering of good shows, and in comes Thursday for the kill, making us wish we had avatars to run around to competing shows for us (does that even make sense? Is that what happens in the movie?).

Anyhow, all that means is that we aren't tired yet and can really make use of our bikes' spring tune-ups today, if the rain quits being such a debbie downer. Let's start with some showcases.

First up in the indie rock onslaught, we've got the Chartattack showcase at the Horseshoe featuring all your favourite buzz bands: Great Bloomers, Arietta, The Besnard Lakes, Hollerado, Green Go, Amos the Transparent, and Magneta Lane. We won't be there, but tell us how good (and how sweatballs rammed) it is. Because it will be.

Then, from opposite ends of the singer/songwriter spectrum, two of Canada's most currently hyped troubadours—Dan Mangan and Timber Timbre—get down at The Great Hall. Bonus points for this show not going until dawn.

Stay static for a couple of hours as the Drake hosts some of the city's most meticulously made and seemingly effortless indie pop: Digits, Forest City Lovers, and Hooded Fang. Pure craft geekery and totally praise-worthy.

If by now you've overdosed on mid-tempo indie rock, the antidote comes from Athens, GA, in the form of slow-and-sludgy Melvins-esque gut-rockers, Harvey Milk... at the Annex Wreckroom. Just ignore that you're at the Annex Wreckroom. Stick around afterward for on-again off-again metalcore legends Coalesce (from Kansas City, MO), and their long-awaited return to Toronto.

Finally, there's the Eye Weekly showcase at the Garrison featuring the unstoppably rad Cadence Weapon, Fields of Fur (Brian Borcherdt from Holy Fuck's latest band), Diamond Rings (The D'Urbervilles' John O'Regan's side project), and First Rate People (currently riding the wave of some recent Pitchfork head-patting). Bit of an all-over-the-place show, but super buzzville.

If you're darting around town with a wristband, no-fail drop-ins include Woodhands at the Opera House at 10:15 p.m., RJD2 at the Mod Club at 11 p.m., or if you lean more toward thoughtful indie than Def Jux party jams, The Darcys at the El Mocambo (also in the 11 p.m. time slot).

The wildcard for the evening would have to be Halifax's The Rhythm Method at Rancho Relaxo at 10 p.m. Last time this "all-female, all-pale, hip-hop extravaganza group"—who are apparently "back from a 'finding themselves' hiatus"—played Toronto, their set turned into a massive dance-off that lasted until everyone had to be politely booted out of the bar at close.

Full listings and ticket information here.

It's been a busy—if not slightly unnerving—week for Chad Comfort, owner of Sky Blue Sky Sandwich Company, the cozy, Wilco-themed comfort-food hangout in the Annex. "For the past few weeks, people were walking in, two or three a day, and asking how long we'd been here. I didn't even know the review was happening, but then after it did, things really picked up, and people who dropped by out of curiosity kept coming back." The review in question, a favourable one on blogTO, picked up a considerable amount of steam after Wilco themselves Tweeted it and Pitchfork ran a tip from a Torontonian two days later. Before Comfort could blink, the Chicago Tribune had him on the phone for a chat about their hometown heroes' new fixture in Toronto. "I started to get so nervous [with the attention]; I was out of sorts. One day, I was just dropping everything and knocked everything off of a table. People were telling me, 'you went viral!' I had no idea what viral even meant."

Opened last October, Sky Blue Sky had a slow start, and at times Comfort wondered if his soups alone were what kept it open in the winter months, but he's glad the attention didn't come too fast and furious; hailing from the Niagara region and with a previous background in not-for-profit, it took a while for the amateur restaurant owner to settle in. "I've always liked to cook, but the opportunity just came up. It took us a while to find our feet, and the feedback might not have been as good in those first few months if we had that attention." Ready to open, and wanting to align it with the music he loved, Comfort (and his wife, Robin, who doesn't work in the shop but shares the music and business decisions), settled on Wilco for a couple of reasons. "When it comes down to it, Wilco really is my favourite band. We thought, 'should we pick someone Canadian?' Like, I really like Great Lake Swimmers and toyed with Great Lake Sandwiches, but that was just me. My wife didn't like that one so much," he chuckles. "I really just wanted somewhere friendly that people could feel relaxed, and when I think of how someone would describe Wilco, I think, 'unpretentious.'"

Comfort's own disarming down-to-earth demeanour is built into every part of Sky Blue Sky, from the warm and simple decor to the homemade soups, bread, and baked goods. A regular customer in his early twenties, gym-bag slung over shoulder, comes in to get the soup of the day on his way home and Comfort—his own four-year-old son, waiting for his mom to get back from some errands, quietly playing his Nintendo DS in one of the booths—knowingly asks him about his family and roommates. A table of three talkative fast-fashion frosh girls get up to leave and make a point of thanking him, and he makes a point of asking how everything was. "One time, there was a table of university-aged guys here, and I wanted to have some fun and test them. So I brought over a plate of pumpkin cookies and said if they could guess which artist was playing on the speakers, they could have some. I was nicely surprised when one immediately answered, 'Ryan Adams.'"

Other artists you can expect to hear in the shop include The National, Radiohead, Jenny Lewis, Fleet Foxes, and, well, yeah, Wilco. A true music fan, Comfort is clearly eager to chat about music; knowledgeable and politely reserved, highly curious and receptive, his ear has even recently been turning to the sounds of his new home, Toronto. "I've been finding more out about the Wooden Sky online. I think they have parts of all my favourite bands and write such great songs. Everybody I mention them to tell me they're the best band in Toronto right now; I'd love to see them live."

Of course the burning question on every Wilco diehard's mind—what does Wilco think? "I've talked to their management, and they knew what we were doing," he says "It's in honour of the band more than anything. I don't want it to be cheesy, or gimmicky." And Jeff Tweedy's son, Spencer, might even be providing some custom artwork for the place. "We're doing a sandwich of the day with different bands, where they send us a sandwich recipe and a picture, but the one band I didn't even ask was Wilco. I didn't want to feel like I was bothering them! But I thought it was pretty stupid of me," Comfort admits, "so I ended up contacting them, and Spencer, through his blog—I really love his pictures—so [if it happens], he's willing to do the photos."

“We’re nerds,” Comfort concludes. “This place is for nerds. Music nerds, book nerds...Wilco fans. People can come here and be united by one thing. Besides, you know, the sandwiches.”

Sky Blue Sky Sandwich Company is located at 605 Bloor Street West (just west of Bathurst).

Photos by Eugen Sakhnenko/Torontoist.

You really need to see the plans for Waterfront Toronto's Underpass Park to believe them. The park is to be the centrepiece of the thirty-two-hectare West Don Lands development, a sustainable, pedestrian-friendly neighbourhood currently in the planning stages, which faces one small complication in that a set of elevated roads plow right through the middle of it. To join the two halves, the project planners held a design competition to transform the dead underpass area into a cheerful commons. In case the results don't speak for themselves, here's the Star's Christopher Hume insisting that "this is exactly the kind of thinking the city needs to lift itself into the future." You say you want it now? Sorry, you'll just have to wait 'til 2015 like the rest of us.

With little fanfare, Toronto Life snuck two new blogs onto its plate yesterday. The Hype pitches itself as "a critical guide to TV, movies, events, theatre and music," while The Informer says it targets the "discerning mediavore," which is all well and good, and seems like a good fit with their established blogs. Their newcomers to the lineup join sibling blogs The Dish (formerly The Daily Dish, but for some reason they decided a name change was overdue) and The Goods. All four are aggregated in Toronto Life's omniblog The Wire, which also devoured the archives of Philip Preville's inimitable City State, one of Toronto Life's ill-fated earlier experiments with blogging.

After setting the imagination of Toronto's media establishment on fire with an evasive promise about an important announcement, it turns out that all Mayor David Miller wanted to say was that the city found a hundred million dollars over the past month. Okay, so that, and the accompanying cut in next year's proposed taxes, are legitimately big news, and Miller ensured they would be greeted by swarms of journalists who'd been primed for a dramatic revelation, like Miller deciding to re-enter the race for mayor, say, or dynamite the moon.

As though in a sad sidenote to Miller's Amazingly Anticlimactic Speech, Councillor Adam Giambrone's (Ward 18, Davenport) candidacy for mayor formally ended that same morning, when the city processed the necessary paperwork to remove him from the ballot. Giambrone announced that he was ending his campaign on February 10. We don't have to give you any background on that, right? Eyes are now on whether Giambrone will run for his old council spot, or move on.

Police are searching for a man who set fire to a North York nightclub right in front of surveillance cameras. The footage of the arson shows the man calmly pouring gasoline all over the club's patio shortly after a "Pisces birthday bash" event had wrapped up and the club had been cleared. The arsonist in the video ignites a huge fireball that spreads almost immediately across the floor as the man quickly flees.

And the Toronto District School Board won't ditch 140 educational assistants, no matter what the province says. The Ontario government had hoped to replace the educational assistants with qualified Early Childhood Educators, a program it hoped would encourage the educational assistants to pursue further education and get ECE status. In spite of the province's lofty goals, the TDSB says that the educational assistants are too valuable to lose, even though keeping them will add $5.8 million to the board's seventeen-million-dollar budget deficit for this year alone. If only Miller had found just twenty-three million dollars more. Well, there's always tomorrow, right?

Artists of the National Ballet of Canada perform in Swan Lake. Photo by David Cooper, courtesy of the National Ballet of Canada.

DANCE: For hundreds of years, swans have held a special place in the cultural zeitgeist, from the myth of Zeus transforming himself into a swan, to Bjork's infamous Oscar dress. The swan motif is perhaps best exemplified in Pyotr Tchaikovsky's iconic Swan Lake, which returns to the Four Seasons Centre tonight. Arguably Tchaikovsky's masterpiece, the ballet's dreamlike beauty and haunting score is enhanced by former National Ballet artistic director James Kudelka's choreography. This production runs for thirteen performances between today and March 21, and each performance features a free-for-ticket-holders Ballet Talk with an expert before the show. Four Seasons Centre for the Performing Arts (145 Queen Street West), 7:30 p.m. (see website for times of other performances), $20–$210.

MUSIC: Damn the man! As we reported last week, Brooklyn's punk darlings, Japanther, have defected from Canadian Music Week due to a "falling out," says a statement from the band. However, fans needn't despair, because the band will still be playing an independent show tonight at the Whippersnapper Gallery. If corporate rock events aren't your scene, here's a potential alternative—the all-ages event will see Japanther set up a fort in the middle of the gallery, where they will be joined by Boys Who Say No, Rich Aucoin, and Doldrums. Whippersnapper Gallery (587A College Street), 8:30 p.m., $10.

PANEL: According to the International Press Institute, one hundred and ten journalists were killed in 2009—the highest number in a decade. This staggering statistic points to the inherent occupational hazards of covering news on location, and serves to highlight the courage of those reporters who risk their life to inform those back home of the world's crises, conflicts, and wars. Tonight, the CBC hosts a panel discussion with four female journalists who report from dangerous locales, and who will speak about their challenges and personal experiences in front-line journalism. Moderated by Peter Armstrong, the discussion will feature the network's Beirut correspondent, Nahlah Ayed, Maritimes correspondent Laurie Graham, CBC News' Alison Smith, and CBC Radio News' Latin American correspondent, Connie Watson. Glenn Gould Studio (250 Front Street West), 7 p.m., FREE.

ENVIRONMENT: Canadians are hitting the bottle at an alarming rate—the water bottle. Plastic waste and toxic emissions rack up enormous energy costs, and the bottled-water industry has taken a nasty toll on public water systems by privatizing the industry and turning nature's gift into a commodity for the so-called elite. Today is Bottled Water Free Day, an initiative spearheaded by the Canadian Federation of Students, the Sierra Youth Coalition, and the Polaris Institute, encouraging Canadians to kick the habit and only drink tap water, at least for a day. As a bonus, learn more about the dark side of bottled water in this video from Torontoist's own 2009 Superhero runner-up, Derek Forgie. Everywhere, all day, FREE.

MUSIC: Canadian Music Week continues today. You can find all of Torontoist's coverage—daily previews, reviews, questionnaires, and more—right over here.

Re-Branded

Attention fans of live music and mind-blowing, character-limited insights! Starting tonight, and every night until Sunday, Torontoist's small-but-sturdy crew of festival-goers (Ashley Carter as AC, Alex Nino Gheciu as ANG, and Nicole Villeneuve as NV) will be on live-Twitter patrol on @TOistlive as part of our ongoing Canadian Music Week coverage. Follow us, RT us, @ us or DM us. Just don't say hello to us in person.

If you’re really into stuff like “modes,” “forms,” “gestures,” “ephemera,” or the relationship between cinematic time and the empty vastness of gallery space more generally (or just like a good noddle-scratch), than put down that dog-eared copy of Artforum, practice your considered nodding, and get ready for the twenty-third edition of the Images Festival. North America’s premier congress of experimental film and video, choreography, installation art, and other immoderately arty pleasures, Images Festival 2010 spans 10 days and 25 venues, and boasts an impressive 145 artists (most of whom you’ve likely never heard of...unless you make a point of going to the Images Festival every year). Kidding aside, this year’s festival is bursting with plenty of interesting exhibitions, much of it misfit art so idiosyncratic it could only find a home at Images.

Yesterday evening at the Gladstone, festival directors unveiled the complete itinerary for Images 2010. After the many, many, many, shout-outs to this year’s sponsors, funders, founders, and board members, Images Artistic Director Pablo de Ocampo and Programmer Jacob Korczynski (who, given the festival’s remarkably esoteric parameters, have either the easiest or hardest job in the Toronto arts scene) ran through the festival’s highlights. “We’re constantly tooting our own horns about how things keep getting better and better at Images,” said de Ocampo, "and this year is no exception.” Images 2010 is broken up into three main programs: On Screen (screenings of feature-length films, shorts, and experimental video), Off Screen (nearly three dozen installations spread across fifteen local galleries), and Live Images (a smorgasbord of performance art, dance, music, and other real-time displays).

Amongst the highlights of On Screen is the latest feature by Palestinian filmmaker Kamal Aljafari. Set against the war-ravaged backdrop of Jaffa, Port of Memory follows a Palestinian family (here Aljafari directs his own aunts and uncles), searching for a place in a city defined by its sense of placelessness. It promises to be an interesting film, not least of all in its Aljafari’s Dogme-style directing of non-actors. It’s also a provocative rejoinder to the kerfuffle kicked up over TIFF 2009’s controversial decision to focus their first annual City-to-City program on Tel Aviv. Premiering at the opening-night gala, Port of Memory is preceded by a short by Canadian filmmaker and York University Professor John Greyson (who, incidentally, spearheaded last fall’s anti-TIFF Toronto Declaration). Also featured are Hamiltonian Luo Li’s debut I Went to the Zoo the Other Day (shot on location at the Metro Toronto Zoo), and the Canadian Artist Spotlight on landmark Toronto filmmaker Ross McLaren, best known for his searing 1977 Toronto punk doc Crash 'n' Burn.

Still from Luo Li's I Went to the Zoo the Other Day.

Outside of the more conventional domains of film and video (though you can rest assured the films and videos are anything but conventional), the Off Screen program boasts installations by Montreal artist Daniel Barrow at the Art Gallery of York University, and the North American premiere of American installation artist Sharon Lockhart’s exhibition Podwórka, presented at The Power Plant. The most haphazard program of the three, Live Images features a dance/video hybrid from NYC-based duo robbinschilds and a Cageian bit of artistic austerity in No Images, live audio performances presented to an audience shrouded in darkness (which, de Ocampo warned, “is not for the claustrophobic or people afraid of the dark”).

Of course, these are just the keynote events at the sprawling Images 2010, which will also play host to the 2010 International Experimental Media Congress April 7–11 at OCAD. If fourteen-hour installations, experimental films, emotive dance numbers, or sitting in the dark listening to aural performance is your bag, Images 2010 will be right up your alley. Just remember to pack a triple Americano in your thermos to keep you alert through all the action and that, when in doubt about how exactly to speak about a given piece, “Interesting, but terribly overrated” is almost always a safe bet.

The twenty-third Images Festival runs April 1–10, 2010 in venues around Toronto. Their website went live last night. Check it out for complete listings of events, screenings, and participating galleries, or to purchase tickets.

All images courtesy Rebecca Webster.

Photo courtesy of Killbeat Music.

Who: Dan Mangan
From: Vancouver, BC

Mangan is the latest in a line of brainy singer/songwriters to charm a legion of Canadian (soon, world) indie-folk fans. The twenty-six-year-old had a breakthrough year with Nice, Nice, Very Nice, a collection of songs that ranks on the Chad VanGaalen scale of quirk and craft and whose wordy, observational narratives and hearty, well-worn rasp keep the pop sheen at a minimum.

Torontoist: Why should we see you at CMW?

Dan Mangan: Because there's hardly any shows happening around the city. If you leave home, you'll probably end up at my gig.

What's your favourite Toronto venue, and why?

I dig the Dakota Tavern, but it's not exactly a "listening room." I think some of my best concert experiences in Toronto happened at the Cameron House before they got all screwed up with capacity laws.

What's your favourite Toronto band, and why?

Right now I'm really into the Timber Timbre record...which is great, because I'll get to check 'em out while I'm there. We're playing together at the Great Hall on Thursday!

What are you excited about seeing and adamant about avoiding at CMW?

I've learned the hard way, and too many times, that late-night hot dogs might be worth avoiding. I'm excited to see a little bit of snow—here in Vancouver we had a pretty mild winter and I'm feeling a little like we missed out. I'm also hoping to check out Zeus, Jason Collett, and Bahamas at Lee's on Wednesday.

What are the best and worst things about big, citywide music festivals?

Best: they help foster a musical community where people care about each other and make great music.

Worst: they make you feel completely unimportant in the grand scheme of things.

What's happening for you after CMW?

I'm taking a cast of musicians down to Austin for the SXSW festival. Very excited—I've played there a few times before but this is my first time with a band. I'll be back through Toronto on April 22nd at The Horseshoe!

Dan Mangan plays Thursday, March 11 at the Great Hall; Friday, March 12 at the Courthouse; and does an in-store at Criminal Records on Saturday, March 13. Details can be found on the CMW website or Mangan's MySpace.

The rule for changing your clocks is "spring forward, fall back," so be sure to set your clocks ahead an hour. If that's difficult to keep in mind, just remember that you lose an hour of sleep in the spring.

Photo: Stockbyte / Getty Images

Daylight Saving Time Starts March 14, 2010 originally appeared on About.com Canada Online on Thursday, March 11th, 2010 at 06:02:04.

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Apparently enough other Canadians felt the same way, and the proposal has been dropped. A spokesman from the Prime Minister's Office said "we offered to hear from Canadians on this issue and they have already spoken loud and clear."

More Canadian Symbols
Canadian Symbols and Emblems
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How Canada Got Its Name

No Change to National Anthem originally appeared on About.com Canada Online on Sunday, March 7th, 2010 at 18:33:46.

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It's also some vindication for the Own the Podium program, which got a lot of criticism throughout the Vancouver Olympics for not meeting the target of 30 plus medals set by the Canadian Olympic Committee. Canada won 26 medals in total, coming in third after the U.S. total of 37 and Germany's total of 30.

Photo: 2010 Olympics Gold Medal
© VANOC / COVAN

Olympics Gold Medal Record for Canada originally appeared on About.com Canada Online on Sunday, February 28th, 2010 at 23:54:13.

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The Department of Foreign Affairs is advising against non-essential travel to southern Chile, and urges any Canadians considering travelling to and in Chile to consult the department's Chile Travel Report, which is updated on a continuous basis. The update contains a temporary address for the Canadian Embassy effective March 1, 2010.

Canadians in Chile who need emergency consular assistance should try to contact the Canadian Embassy in Santiago by phone at (56) 2-652-3800 or by email at sos@international.gc.ca. If they can't get through that way, as communications remain erratic, they can contact the Department of Foreign Affairs Emergency Operations Centre by calling collect at (613) 996-8885.

Friends and relatives who are looking for information on Canadian citizens in Chile who they think have been affected by the earthquake can also call the Emergency Operations Centre at 1-800-387-3124 or (613) 943-1055 or by sending an email to sos@international.gc.ca.

Earthquake in Chile - Assistance for Canadians originally appeared on About.com Canada Online on Sunday, February 28th, 2010 at 16:02:00.

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The red-bearded Montgomery fits right into the party atmosphere in Whistler. When someone in the crowd handed him a pitcher of beer just as he got down the mountain into town, he drank it down happily as he walked through the cheering throngs of Whistler fans. This party animal has a sensitive side too though. When he first saw that Latvian Martins Dukurs had come in second in the final run, Montgomery went wild, jumping and hollering. But once he recovered his composure, he apologized to Dukurs, saying ..."you never want to cheer when somebody else loses....I lost my mind." The bronze medal went to Russian Alexander Tretyakov.

Photo: Jon Montgomery Wins Gold Medal in Men's Skeleton at 2010 Vancouver Olympics
Shaun Botterill / Getty Images

Vancouver Olympics Sliding
Skeleton at the 2010 Vancouver Olympics
Luge at the 2010 Vancouver Olympics
Bobsled at the 2010 Vancouver Olympics
2010 Vancouver Olympics Schedule

Canadian Jon Montgomery Wins Gold in Skeleton originally appeared on About.com Canada Online on Sunday, February 21st, 2010 at 18:33:49.

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France's Deborah Anthonioz won silver, and Switzerland's Olivia Nobs took the bronze.

Photo: Maëlle Ricker Wins Gold Medal in Women's Snowboard Cross at 2010 Vancouver Olympics
Alex Livesey / Getty Images

More on Olympics Snowboarding
Snowboarding at the Vancouver 2010 Olympics
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Maelle Ricker Wins Gold in Snowboard Cross originally appeared on About.com Canada Online on Wednesday, February 17th, 2010 at 14:55:01.

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