Luso Life Issue 007

cut the crap Nยบ 007

summer '20

EXCEED EXPECTATIONS. RAPIDLY.

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WE ARE TORONTO

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It’s wild imagination and fearless determination. It’s precision and innovation. It’s courage and it’s hard work. It’s guided by our dreams. It is where we find home.

Behind the scenes in sweltering heat and freezing cold until we go home tired at the end of each day. We go home proud.

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In Portugal, sardines constitute a significant portion of the fishing industry and they also inspire local culture. In Lisbon, the Feast of St. Anthony (the Sardine Festival) celebrates the city’s patron saint, who supposedly left Lisbon to go preach the gospel along the shore of Rimini, Italy. While he was largely ignored by the people, millions of sardines listened to every word with their heads above the water.

Today, beautiful hand-painted ceramic fish can be seen hanging on walls throughout the country.

CREATIVE DIRECTOR David Ganhão art/design DIRECTOR Noah Ganhão ADVERTISING DIRECTOR José M. Eustáquio PHOTOS Fin Christoforidis Russ De Jong Lane Dorsey

Noah Ganhão Mwangi Gatheca Cover Lane Dorsey

The views expressed throughout Luso Life belong to the respective authors, and do not necessarily represent the views of the company and team.

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WORDS

Luso Life is released four times per year. To subscribe, visit lusolife.ca/ subscribe

Inês Carpinteiro Manuel DaCosta

Published by MDC Media Group Manuel DaCosta, President.

David Ganhão Noah Ganhão Emily Gilmore

Translations Inês Carpinteiro

Printed in Toronto. ©2020 Luso Life. All rights reserved.

All material in this magazine may not be reproduced, transmitted or distributed in any form without the written permission of Luso Life.

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Contents 16

Makeup unlimited Emily tells us how makeup habits have changed during quarantine

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A mesa da avó It's a pot. It's a meal. It's a Cataplana.

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Cut the crap 38

Armed with a DIY attitude and a whole lot of talent, Lane Dorsey is an accomplished photographer, who runs a fashion brand. He is also a musician, who dabbles in video, a model and he does some acting.

Ana Golja She is a talented actor, dancer and singer who has added producer to her resumé with her new film The Cuban.

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A silent trap The human trafficking problem—forced, tricked and misled into modern-day slavery.

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It's espresso An ode to the traditional Moka coffee pot.

Eva Paris Cicinyte Canadian actor and producer talks to us about her leading role in the feature film The Road Ahead.

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Use your melon

Cottage life

Face masks are the symbol of the pandemic era we live in.

We offer ten suggestions of interesting masks for you to try.

With vacations turning into stay-cations, the cottage has been a saviour to many people who just want to get away from the city for the weekend.

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We are the chefs When dining out isn't an option, some people get creative at home.

98

Portrait Masculinity is not masculine.

WORDS: Emily Gilmore

PHOTOS: Noah Ganhão

Makeup unlimited

O

ne hundred and fifty days. 150 days since Ontario officially shut down. A lot can happen in 150 days…

For many of us, those 150 days have been spent without an ounce of makeup on our skin—for better or for worse. For me, the majority of these days have been spent with sunscreen, a cleanse of the face after hours in the sun followed by moisturizer. My skin has never looked better. More importantly, it has never felt better. This is difficult for me to admit being someone with an entire drawer dedicated to skincare. Turns out all you really need is a pandemic, sunscreen and a good moisturizer, the rest is all placebo. But I am a firm believer in giving your skin time to heal.

I am a lover of all things makeup and welcome experimentation whenever inspiration strikes. For me, it’s a stroke of genius just after midnight.

I flick on my mood lighting and get to work. Now is the perfect time to get-to-know that palette you forgot you bought a few weeks ago on that late night bender. There is no better time to bust out the neon liner for your 9AM Zoom call. Or just because you miss getting dolled up to venture out into the world—pre-masks and pandemic, of course. The beauty of this strange limbo period that we’re in right now is that we can try anything and everything because it feels like we have all the time in the world.

Over the past 150 days my mother has made bread on 3 separate occasions.

She usually hates baking, but she’s found bread baking therapeutic.

Makeup is a creative outlet that many often overlook, and much like baking bread for my mum, the act of getting ready can also have a restorative effect on someone. So as much as I love having clear skin, I love putting makeup on more. For me, the more I played with makeup the more I fell in love. Maybe now is the perfect time to reignite your love of the art rather than the feeling of necessity… Make a mess! Use blush as eye shadow, draw on fake freckles, put rhinestones all over your face—there are no limits!

There is no better time to play with your face! With all that in mind, where do you start? It’s usually Pinterest for me, it’s packed with looks ranging from larger-than-life ethereal editorial to the classic “no makeup, makeup” look. Some other things to try; the monochromatic look, 1960s Twiggy inspired graphic liner, 1970s disco moment with vibrant all-overthe-lid glittery eyeshadow. And my personal favourite, HBOs Euphoria, unparalleled bold looks layered with unconventional colours and non-traditional techniques!

Whether you’re new to playing with makeup or an old pro I encourage you to just have fun. Who cares if your wings are contrasting shapes or if your contour isn’t blended flawlessly!

Just embrace the moment, trust your inner creative and remember SPF!

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WORDS: David Ganhão

recipe: Rosa Bandeira

PHOTOS: fin Christoforidis

A mesa da AVÓ rosa

It's a

pot It's a meal It's a cataplana

S

ummer in Algarve is Portugal’s perfect vacation destination—sandy beaches, sapphire blue ocean and delicious meals created from the freshest ingredients. With roughly 200 kilometers of coastline, it’s no surprise that fish and seafood are the main ingredients in the Algarve cuisine, including the region’s most famous dish, cataplana.

Avó Rosa Bandeira stepped up to the challenge of showing us how she creates this traditional meal and she gave us a history lesson in the process.

“What many people don’t realize is that word cataplana refers to both the stew and the pot in which it is prepared.” The pot, which is unique to the region, was traditionally made out of hammered copper. The use of copper allowed excellent heat conductivity throughout the cataplana, giving a unique and incomparable flavour to the delicacies made in it. Shaped like a clam, the domed lid latches on to the bottom to seal it closed, so it functions like a Dutch oven, encouraging a steaming effect. “Cooking in the cataplana makes the flavours richer. The juices don’t just evaporate into the air, they are continuously sinking back into the food, creating a succulent liquid in the bottom.”

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Although the exact origin of the cataplana is unknown, many believe that it originated during the eighth century under Moorish occupation and that it is the Portuguese equivalent of the tagine—a similar cooking vessel from northern Africa.

“In the past, fishermen would use the cataplana as a lunchbox, filling at home with the essentials like garlic, onions, olive oil, and the vegetables.

When it was time to eat, they would add their catch and simmer everything in the same pot directly over a fire. Many times, a hole was made in the ground where the cataplana was placed over embers and covered with sand.”

Although a typical cataplana is made with any combination of seafood— prawns, clams, mussels, fish, squid, octopus—Rosa suggests using your imagination. “Add any combination that you like—mussels and spicy chouriço; squid and cured ham; squid and rabbit; octopus and sweet potato; pork and clams; or make it vegetarian—all are superb variations. This is truly the easiest pot to cook in. Create a refogado (garlic and onion sautéed in olive oil) in the bottom of the pan, add your meat and vegetables, pour in some liquid (wine, water, broth or a mixture of all three), clamp it, bring it to a simmer and leave it on a mediumlow heat until your meat is cooked.”

It wasn’t long before we were at the table enjoying Avó Rosa’s Seafood Cataplana, served with a chilled bottle of Alvarinho and plenty of crusty bread to mop up the juices at the end. It was delicious, and I was anxious to try the recipe at home, but there was a small problem—I don’t own a cataplana. “If you don’t have a cataplana you can make this recipe in a Dutch oven, wok or any heavy-bottomed pot with a fitted lid but try your best to find one. Many Portuguese grocers in the Toronto area sell them and you can definitely find them online.”

I’m looking forward to having the taste of the Algarve in my kitchen very soon.

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Serves 6

Seafood Cataplana 1 onion

Place the lobster, shrimp or mussels in the bottom of the cataplana pan.

1 dl olive oil

Cut the onions, garlic and peppers into thin slices.

2 cloves garlic

Add the onions, garlic, and olive oil to a pan and cook until the onions have browned a bit.

1/2 red pepper Add red pepper and sautĂŠ.

300 g shrimp Add the wine and the tomato paste, season with salt and piri piri sauce.

1 lobster (approx. 500 g) Pour the sauce over the seafood.

1 dl white wine Close the cataplana and cook for ten minutes.

1 tbsp tomato paste Remove the cataplana from the heat.

500 g clams 200 g half-shelled mussel

Add the clams, close the cataplana, let it cook for five minutes shaking it from time to time.

coriander (finely chopped)

Finally, season with salt and pepper if necessary and add the coriander.

salt q.b.

Serve immediately with white rice or toasted bread.

piri piri sauce

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WORDS: DAVID GANHÃO

PHOTO: Noah Ganhão

it's not expresso

IT'S

ESPRESSO

O

nce upon a time in a land far-far away, a magical pot was given to a princess on her wedding day.

The magical pot was used daily by the princess to create gold—liquid gold— which she offered to everyone who would visit the castle. The magical pot was a treasured heirloom which would eventually be handed down to Prince Nicola, the firstborn but unfortunately this was not to happen.

Against his mother’s will, Nicola took the magical pot on a quest to the land of sun and sand with a promise to protect it with his life. When the pot was left alone and unguarded, two greedy neighbours, who had followed Nicola, entered and kidnapped the pot, forcing it to brew them a fresh batch of gold. The pot brewed and brewed but the attackers napped and ignored the bubbling sounds being spewed forth, signalling a full pot of gold.

When they finally awoke, the pot had perished to the flames, ending up as a pile of melted aluminum, never to brew again.

The Moka pot, affectionately known as the macchinetta by my Italian friends or the stovetop espresso machine by others, was a revolution to the serious coffee drinker. Pre-1933, espresso drinking was largely a public affair since machines were large, expensive and not built for home use.

Alfonso Bialetti, an Italian engineer

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changed that by inventing the Moka Express—small, affordable, stylish.

By the 1950s, Moka’s invasion was well underway, and stovetops everywhere were decorated with the modern kitchen utensil. Its simple design had only three detachable pieces: the bottom chamber which is filled with hot water, the filter basket which holds the ground coffee, and the top chamber where the boiling coffee ends up.

Virtually unchanged since its invention, the macchinetta has served us well for many decades. Countless meals have ended with the sound of the macchinetta boiling over and filling up with its liquid gold, though recently many people are abandoning tradition in favour of convenience.

These single use coffee makers have been popping up in kitchens ready to serve any flavour from dark hot chocolate to vanilla biscotti in minutes but at what cost? By now we are all aware that the pods are either made of plastic or aluminium and are taking up too much space in our land fills, but let’s also look at the health issues that they may cause—heating up plastic and injecting its chemicals (bad); aluminum is linked to autism, anxiety, depression, Alzheimers and other diseases (more bad); pod machines cannot be drained so their dark, warm and moist lines are a prime breeding ground

for mold (very bad and yucky). Even though so many negatives are attached to coffee pods, demand is still huge—I guess it’s hard to resist Nespresso when its Global Ambassador is George Clooney.

To me, the creativity of using the macchinetta and watching the golden liquid pour into the top chamber, will always outshine the instant gratification of the pod. Delicious.

I also love the stories the macchinetta has given us—it’s travelled to picnics, gone on camping trips, and the fairy tale at the beginning…it’s a true story.

On her wedding day, Maria, my friend Nick’s mom, was gifted a macchinetta by her mother. Over 20 years later, Nick took off to Daytona Beach for a vacation with some friends (I will call them The Two Tonys so as not to incriminate anyone) and he asked his mother to borrow the pot. She reluctantly said yes, reminding him of its sentimental value and making him promise to be extra careful. After a long night of parties and drinking The Two Tonys arrived back at the hotel room and decided to fá coffee. They put the macchinetta on the stove and immediately fell asleep, waking up much later to the sound of the fire-alarm beeping.

By then, the water had evaporated, the aluminum pot had melted and the lid’s plastic knob was the only recognizable piece—a sad ending to a wonderful piece of coffee engineering.

Actress and Producer

Eva Paris Cicinyte and The Road Ahead 28

LUSO LIFE

Film Stills: Russ De Jong

E

va Paris Cicinyte is a Canadian actress and producer, who has started her film career at the age of 21, as she began booking principal roles in feature films My Daughter Must Live (2014) starring Madeline Martin (star of TV show Californication), and Deadly Voltage (2015) on Lifetime. In 2017, her career continued as she booked her first recurring role on a TV series called Switch starring Oscar Award winner Olympia Dukakis and Emmy Award winner Cady McClain. The series itself carries on with global recognition by winning its’ 15th award worldwide. In 2018, Eva furthered in her film ca-

PHOTOS: lane dorsey

reer by producing a documentary called Seeing is Believing: Women Direct directed by Cady McClain, which has won the Audience Award for Best Feature at the SOHO International Film Festival in NYC, and Jury Award in the best documentary Category at the Newport Beach Film Festival.

Now, 27, a former professional ballroom dancer, Cicinyte, runs her own entertainment company, and is here to talk about her new leading role, in a new feature film called The Road Ahead, as well as allowing us to take a closer look into her life.

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Luso Life: Can you tell us more about your character in The Road Ahead, what is the film about?

Eva Paris Cicinyte: The Road Ahead is a contemporary fable of love in a fastpaced world of problems, in which I play the role of Mia Griffon. Mia Griffon is a newlywed, who has dedicated all of her time to a job she despises, while her personal life begins to fall apart. However, everything evidently changes when she gets diagnosed with pancreatic cancer, forcing her to reconsider the true importance of time, and the real purpose of one’s existence. Thus, as she wrestles with a notion of facing possible death, Mia Griffon and her husband, Liam Griffon decide to quit their jobs, travel the country, see nature in all its conditions, while they devote themselves to each other, and recommit to the ideals of love, spirituality and passion. Paradoxically, they don’t learn to live until life no longer exists in their future.

LL: When you first found out you were going to play your first leading role in a feature film, what was your initial reaction?

EPC: My initial reaction was certainly a mix of emotions. I felt very happy of course, as right after reading the script for the first time. I immediately resonated with Mia’s character in how she chose to prioritize her life; since, I too, often find myself overlooking the significance of my own, by focusing on certain commitments that do not necessarily enrich my overall lifevalue. There were also few moments of fear at the beginning as well, where I questioned my acting capabilities, as the story is based on true life events, and I certainly felt the immediate pressure, to portray this person’s story in a way of how she would want to be remembered. However, the emotion of self doubt, quickly vanished once we began to work, as focusing on living a dream come true, was way more entertaining.

LL: What has been your greatest accomplishment as an actress, so far?

EPC: The greatest accomplishment as an actress so far, has been learning how to apply the ability of being present, in my every day interactions with others. I used to catch myself occupying my mind by trying to form a response while the other person took the time to speak, without truly listening to what they intended to convey. However through acting, I was able to learn, that the highest level of verbal communication, is only achieved through active listening, and trusting that the most honest response will come to you when it is your time to speak, if you just focus on allowing the truth of that moment to fully affect you.

LL: If you were to give one piece of advice to someone who is thinking of pursuing their dreams, what would it be?

EPC: One piece of advice that I would give is to focus on finding comfort in knowing that it takes a long time to sound like yourself. Thus, you must be strict with yourself until you find that noble aim, which will give you the highest feeling of purpose. When you finally do, remember to not fall into a trap of dwelling too much on the notion of fearing the unknown in what the future might hold, as the scariest moment is always known to be just before you start. After all, life is too fragile, and you owe it to yourself to always find the courage to seek what makes you feel alive. In the words of the famous philosopher, Marcus T. Cicero, “more will always be lost by indecision than wrong decision”. As such, get out there, and make something of yourself, the world is yours.

LL: When and where should the audience expect to watch The Road Ahead?

EPC: The film is expected to come out this September and will be available on many platforms throughout North America, which will soon to be announced, so stay tuned! northfilmco.com/theroadahead

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Interview: Manuel dacosta

PHOTO: Fadil Berisha

ANA GOLJA Actor and singer

A talented actor, dancer and singer, Ana Golja made a name for herself playing Zoë Rivas on the hit series Degrassi: The Next Generation, now at 24 she has added producer to her resumé. Her new film, The Cuban which also stars Louis Gossett Jr and Shohreh Aghdashloo is currently playing drive-ins across North America.

Ana was a guest on Camões TV’s Here’s the Thing, where she spoke with Manuel DaCosta about her career and film.

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Luso Life: You are Canadian with a diverse background, what are you roots?

Ana Golja : I have very mixed roots, both my parents were born and raised in Albania, but we have some Spanish, some Greek, some German and Jewish. I am first generation, born and raised in Toronto.

LL: When did you start to perform?

AG: I started dancing at five years old. The arts were always encouraged, supported and celebrated in my family.

We watched a lot of old movies—Shirley Temple movies, I felt inspired by her. So, when I was 5 years old, I went to the bathtub, opened up the water and started tapping my feet to imitate the sounds that she did. Once my parents saw that, they took me to a dance class, then I competed for 14 years. I still dance and do musicals. It’s something that’s in your blood and in your heart.

LL: At the age of nine you transitioned to TV. AG: The first audition I had was for a guest star role on a TV series called 1-800-Missing. It started out with a few recurring roles, then I did a lot of work for the Family Channel, Disney and Nickelodeon. I did White Christmas on Broadway, then The Sound of Music at the Princess of Wales Theatre and I haven’t stopped.

LL: You’re only 24 and have already achieved so much—you are a musician, a dancer, an actor, and it’s amazing how you tie these things together.

AG: To me these are all the same thing, they are all a form of expression, a way to tell a story and that’s my favourite thing to do.

LL: In your musical career, you released your debut album, Epilogue in 2018 and are currently working on the follow-up. Is the new album very different or are you following the same roots?

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AG: Definitely the same roots in terms that they are all personal—I co-write and that is the core of the process. Sonically the production, it is very different from the first release.

Its more current and teetering on the side of dance music which is very exciting because of my history in dance. More than ever, I want to put on a show and entertain people.

LL: How has the pandemic affected your creativity?

What were you able to do to keep things going?

AG: At first it was the initial shock…the world is ending, everything is shut down. It was very difficult because I was on a trajectory with The Cuban. We had our theatrical release ready for April 24 and all of a sudden that was gone. Everything was on hold or cancelled. Through that, then you realize how grateful you are if you are healthy, you are surrounded by family and have everything you need. With the time that I had, I was able to watch a lot of content and listen to a lot of music. That combined with all the movements that are happening right now and I started to write more.

This is a time for reflection and growth, and I think everyone will come out stronger.

LL: How important has family been as a support factor?

AG: My family is always the most important and are always very supportive of me and what I do. During the pandemic, they all work from home, so they were able to easily adapt.

Frankly they love it because they don’t have to spend an hour in traffic to get to work, but they knew how I was dealing with it and they were there to cheer me up.

LL: You speak lovingly about your great-grandmother.

AG: My great-grandmother, immigrated to Canada when I was maybe eight-years-old. I grew up with her doing my hair every day before going to school and I was very close with her.

Fifteen years ago she suffered two strokes and after that it’s been a steady decline—she was diagnosed with Alzheimer’s disease and Dementia. It has been difficult for everyone, es-

pecially for my grandmother who is her caregiver and pretty much hasn’t seen the light of day in 15 years… that’s real love.

LL: The core of The Cuban the importance of our ancestors.

AG: My partner had a dream about his grandfather, where he regretted not spending more time with him, listen to his stories and his wisdom. That paired with my great-grandmother dealing with Alzheimer was where it all began for us.

LL: Why the name The Cuban?

AG: We are all huge fans of jazz music and we realized how many incredible Cuban jazz music musicians there are in Toronto. As we were developing the story line and the music element, we decided that we had to showcase these amazing artists and have Canada’s diversity represented in the film.

LL: Is the music original?

AG: Yes, all the music was composed for the film, by the renowned Cuban composer Hilario Duran. We have two or three famous Cuban songs to add familiarity but everything else is original.

LL: Who do you play in the film?

credibly talented and such an artist—everyone felt that, even where we were filming. He would play our soundtrack in between scenes to keep everyone motivated. I still had no idea what to expect visually and at the end, it’s beautiful.

LL: How was the film received in the Canadian Film Fest?

AG: It was interesting because it was virtual, so it’s hard to get a sense of the reception through social media. There was a lot of great comments but it’s different from being in a room with an audience to see what they were feeling.

LL: Are you frustrated that you are not able to exhibit the film the “normal way”?

AG: We filmed in Toronto and Havana. After 4 years of work, of course it is frustrating... we have to create a new way of people seeing the film and consuming the content. Thankfully we have an amazing group of producers, the four of us decided to do a drive-in release, so we had the premiere at the Lavazza Drive-In Festival on July 20. It sold out! It's playing now in selected cities.

LL: Why did you decide to become an entrepreneur and to start producing films?

LL: When completed, did the movie fulfill all your expectations?

AG: Being on Degrassi for six seasons, we went from doing MTV and Nickelodeon with 40 episode seasons, to Netflix where the standard is 10 episodes each season.

I went from filming 9 months of the year to 4 months of the year. So, I had a significant amount of free time, I wanted to do something different and expand my horizons within the industry. I wanted to get a better understanding of the scope of production. When you are an actor you walk onto a set and think you are the center of the universe, but as a producer you learn you are only a tiny piece of the puzzle.

AG: It surpassed them. I hadn’t worked with my director before, Sergio Navarretta. Obviously, I knew he was in-

We have to look into the financial aspect, the location, the actor’s availability, etc.

AG: I play the role of Mina. She’s an Afghan immigrant who starts her first job in a nursing home. There, she meets, Luis who is played by Louis Gossett Jr. Luis has dementia and she discovers through music that he used to be a famous musician in Cuba. The film explores his memories of Cuba and the beautiful relationship they develop.

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LL: Was it difficult to raise funds for a movie like this?

AG: It’s difficult to raise money for any movie.

LL: How did Louis feel about having such a young producer?

AG: He’s a special man. He supports young people in every aspect. He works with a lot of organizations, he started an organization of his own called Eracism. When he saw these two kids running up to him in the Ryerson theatre, he laughed… it was comical to him but he was impressed by it.

LL: What are you most proud of in this movie?

AG: I’m proud we got it done, honestly. My partner and I initially developed it as a short film, just for fun. Something sweet that would make a positive impact in the world, then it blew out of proportion to something greater than we imagined. I’m most proud of the fact that we were so gutsy. We were too ignorant to know any better. If we knew then what we know today, we probably wouldn’t have done it.

LL: The experience will serve you forever.

AG: Absolutely, now I have the producing bug. I’m already developing another feature.

LL: Do you feel more comfortable on stage, in front of a live audience or in film?

AG: They are very different. I would say that I have a very special place in my heart for theatre and the stage. Just being able to feel an audience and being able to feed off that energy is something I can never replicate. It’s incredibly special.

LL: In the future, what do you want to accomplish?

AG: Building an entertainment empire! Eventually we will get there, it takes time. In Canada, you’re not raised in any boxes—there is nothing holding you back. If you want to accomplish something, you can. You don’t grow up with the thought of not being able to do something. Making this film would have been one hundred times harder if it was in the US. There’s no government funding like we have here.

thecubanmovie.com LUSO LIFE

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Interview: David GANHãO

PHOTOS: lane dorsey

CUTTHE lane dorsey

CRAP LUSO LIFE

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A

sk anyone over 40 to describe a Millennial and many of the same words will be repeated—lazy, spoiled, entitled, needy, unsociable, etc, etc, etc. On the surface these descriptions may seem accurate because perception is reality but many times these misconceptions are far from the truth. If you ever had any doubt, a conversation with Lane Dorsey will quickly debunk any Millennial myths you may be hanging on to. He’s an accomplished photographer, who runs a fashion brand, is also a musician, who dabbles in video, is a model and he does some acting—impressive. He’s the class clown, the cool kid, the rocker, the brainer, the skateboarder and the comic nerd all in one.

When I sat down to “interview” Lane, we spent the first 28 minutes talking about everything from David Bowie to MF Doom and Wacky Races to The Magic School Bus…then the interview started…and by interview, I asked Lane to tell me about himself, and Lane did what he does in every aspect of his life—he took the ball and ran. For the next 56 minutes he spoke about how things get done in his world—cut the crap and DIY. About quarantine…

Being an artist with no limits is the greatest thing because I am never truly bored. Throughout quarantine it’s been an interesting change of events.

What I used to fill my time with was pure photography—hustling that, shoots, editing and really moving the machine of the photography career but that was literally hit with a big old pause button. It was an opportunity to try on the other career hats—things which I wanted to “level up” and get some experience in, basically like filling stats in a video game. Basically, like stats from a video game where I’ve been maining on the photography campaign and now it’s like, well if I can’t do that I may as well pickup on the music front, learn a bunch of shit, make a bunch of music, experiment, get interesting and learn as much as I can in that time…because I have the time. Also, I want to really focus on the branding and the speed of my fashion brand. Every day me and the boys were always talking about things.

How do we keep it moving, keep it moving, keep it moving? It was like, “alright, what are we going to do today? I’m going to shoot content, let’s run a quick pop-up sale, let’s run an email blast….” It was just like battle command. In the mornings, I’d be doing music and later I would just be focusing on developing the fashion brand.

It was beautiful for the last four months of quarantine because the photography campaign wasn’t really paused but I was just applying it to the other things. I was applying my skills as a photographer to the music because I had to shoot music videos. Actually, two of them won awards. I entered a film festival that does quarantine specific art and I took second and third place. The photography hat fit over top of the music hat and the fashion company hat, so the photography never took a pause, it just got refocused.

I was doing a bunch of live performance videos for the music, shooting album covers, video graphics, I learned a lot about rendering video in 3D space and took it upon myself to learn a few techniques and get it done— that’s what the internet is for. Well, arguably where I was because I was in the sticks. If it was a rainy day, I wouldn’t have internet. I had to check the forecast, so if I had to do a 500mb upload tomorrow, I’d drive to my studio and do it there.

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I feel that I was the last of the generation where our parents sent us out to go do stuff outside—go get your bike or your skateboard and figure it out.

As soon as you hear (whistles), “sorry boys, it’s time to go home,” and you bike back from whatever house you’re at. When you’re forced to sit alone and do shit, I find that I can. I quickly realized that a lot of other people and not excluding creatives, cannot just sit there and create things or putz about with things or shoot things, to which I say, “well, why not?”

“Awww… I’m just not inspired” To which I say, “well, why not?”

I get the fact that a lot of people draw inspiration from being with other people and cool, whatever, but if you can’t just sit there and develop something, what’s wrong with you? Cut the crap and just figure it out. It’s foreign to me that people were having a hard time in quarantine. They’d say things like “I haven’t seen anyone except my roommates and my parents and my siblings for like three weeks and it’s weird.” Well that’s eight people!

About music…

For the most part, the music is just me.

I have two music projects—STANE is completely solo me and the other project is my band Hudson Rainer— where my band-mate and best buddy Mike does 90% of the song creation, all of the lead singing and all of the guitar work and I do the production, arrangement, piano, bass drums, strings. I record, mix, master and engineer—all the technical. It’s literally the perfect balance for that band project because I can produce pretty good for what I have. I feel I have a good breath of music knowledge and reference that I can really articulate an interesting arrangement, but I

can’t play guitar worth a shit! (laughs).

That’s where Mike comes in—I’m not a master of any instrument.

shot a group of 7 people and it was a big, “whoa! That's the most people I’ve seen in five months.”

A lot of my songs for Hudson Rainer are indie-folk, old Americana, three or four chords, tops. My solo project is jazzier in design—a lot of diminished chords, a lot of super jazzy, super weird cinematic chords, mixed with trap low-fi/hip-hop drums. This is where the moniker of CRAP comes in—contemporary, rhythm, alternative, pop, because it’s a cool junction of two unseemly familiar genres. I feel like I did an interesting blend.

It’s great getting back on set and back in the studio. I realized that I love my job…I love doing photo-shoots…I missed this so much. So now I’m making up for lost time—just trying to shoot some interesting things, get some money back in the account.

The idea of taking two things that are polar opposites and hitting them together to see what works, was so fun and interesting. Typically, a lot of my music is guitar or synthesizer based. I love the piano I had to record a 100-year-old piano that I got tuned up last fall and it has so much character which I think you can hear it in the music—the warmth and the analogue tendencies of the piano and mixing that with more contemporary, kind of left of center rhythm…it was a cool kind of dissidence and it works for me.

That EP was really fun to make, and I still have loads of solo music ready to come out. After I made the solo EP, I thought, “OK, did that. Got a whole bunch of singles for after the fact.

I’m pretty happy with that.” I feel like I can put a ribbon on the box of that experience and say, “yup, this is what I made in quarantine, now on to the next thing.”

All these new restrictions and requirements are curve-balls but that’s okay we can still shoot. I love my job…if it made me millions of dollars or just enough to survive, I’d still be doing that…and where I’m at right now, is one of those things (laughs).

HOW TO BECOME BETTER… It’s about getting out there and doing stuff. Even if they’re not great photos or art, it’s all a stepping stone. I get emails and phone calls from followers and fans asking how to get better—what’s the one tip I have, and I say honestly, figure it out. You cannot bypass the hours in the saddle to ride this shit right in to where you need to go. You can learn all the theory but get going.

It takes 10,000 hours to become a master at something, so get cracking and start now—don’t expect it to all happen at once. There is no sure-shot thing that will propel you into becoming a better artist.

You become a better artist through trials and experience. Get messy, make mistakes and cut the crap.

About photography…

about social media…

Now it’s full force on with the photography, it’s go-time. Try to pick up where I left off. Clients poking their heads up in emails asking if I’m shooting yet and the answer is absolutely! I did an awesome shoot yesterday for a film production company. I

I say thanks to social media, because none of these endeavours would be so fired up if the fuel of social media didn’t exist. There’s a lot of dickery on social media but I find you can use it as a tool or be a tool using social media. It is an absolutely fantastic

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marketplace to exhibit anything. It’s a great platform, and I’m not saying it will only end up there, but it’s a brilliant way to exhibit your work. It leads to more work and it’s just fuel to the fire, but I try to live by the moniker that if Instagram goes down, will you still be relevant? Able to do business. Some people only shoot for Instagram, and that’s their final. Do you have a website? An email list?

When I started the fashion brand, I did research and developing the Instagram is great, but we needed to grow the email database just as much because that’s an unadulterated, unfiltered, direct access. We can send a message where on Instagram, it’s possible 10% of your audience won’t see it.

to be a cool, vintage motorcycle cop from 1955; I want this jacket to look like it’s a cool rock and roll Montana rancher who plays awesome guitar; I want to reference all these things and amalgamate them into a single construct and it’s been so satisfying when people reciprocate. Considering it’s a new company, out of the gate, sales have been absolutely great. Everyday we’ve been focusing on developing jackets and accessories, hats, bags, shooting content, collaborating with our friends—all this stuff is in the cooking pot, right now.

On the fashion brand…

We have a line of spring/summer for 2020 and all the hard work I’ve been putting into developing the brand has really started to be fruitful. Everyday I’m working on things—taking my skills and applying them to the fashion brand. I even developed the music for the fashion videos. What an excellent opportunity to exhibit, apply and execute my skills as an artist and personify it within a tangible product.

Master Supply Co. was started by me and two buddies 2 years ago. We tried different designs—jackets; we shopped around different factories and cuts and textures. We launched Friday the 13th in December 2019 and it’s been an absolute eye opener. We designed all the pieces and referenced things we liked—This needs

It's become apparent to me that if we keep growing at this rate, this fashion tree that I planted two years ago might overgrow the photography tree that I pull all my fruit from to feed me. The idea is interesting because I never thought anything could do that.

People like to think they know the lucky jackpot winning way to operate on social media…well, no. Just get it out there and keep moving

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It’s extremely satisfying because it’s just me and my boys going for it! Of course, every day there’s bullshit but every day there’s successes. Every day has been better than the last, and I love it.

It’s like the Avengers meeting up— when Lane Dorsey the fashion director meets up with Lane Dorsey the photographer/director meets up with Lane Dorsey the music creator (explosion sound) to make this really cool product that is undeniably mine. Something so cool to look at the finished products and say, “I made this.” Not from a sense of narcissism or vanity but purely from a sense of accomplishment.

On tomorrow…

It’s fun, it’s rewarding, and I look forward to tomorrow—with everything.

I love looking forward to what I’m going to work on tomorrow…not to discredit today. I love going to bed with a plan and waking up with a purpose— really cool words that I heard a few years ago and I like to live by. Tomorrow is always seen as a glimmer of hope, like something will happen to make my life better, but you should be that insightful force making the change. linktr.ee/lanedorsey

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" You become a better artist through trials and experience.

Get messy, make mistakes and cut the crap.

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WORDS: David ganhão

PHOTOS: Noah ganhão

I read somewhere, that to ward off COVID-19 we need to follow the Three “W”s: wear a mask, wash your hands and watch your distance. Technically, three “W”s make six “U”s and I think that’s too many letters, so I’ve condensed it to one simple U—Use your melon.

A few months ago, wearing a mask in public would have seemed bizarre to many of us. Today we have become accustomed to this symbol of the strange pandemic times we are living through. This said, there are some that feel they are exempt from following along. In their words, they ‘are not sheep.’ Wearing a mask supposedly impedes on their civil rights. A recent tweet from Jason Alexander juxtaposed the pandemic and the WWII bombings of England. Londoners were asked to turn off their lights at night so that enemy bombers wouldn’t have a clear target.

No Londoner was recorded saying, “it is my right to have lights on” and if any did think that, thankfully platforms the likes of twitter did not exist to cement that in the history books. They worked together to protect each other against the enemy.

Maybe it’s harder for some to wrap their head around this situation because the enemy is invisible and therefore the consequences are seemingly not tangible, but we need to do the same thing. It’s a fairly simple formula; wearing a face mask limits the tiny, unseen viral foe from being propelled into the air where it can potentially infect other people.

So what kind of mask should you wear? The sky is the limit. You can wear practically any, as long as it covers your mouth and nose. $2 on a single use, $15 on a cloth multipack or over $100 on a designer mask. The choice is up to you. Amongst our ten, we’ve shown some of the classic goto’s, some wacky ones and some that we most certainly do not recommend. Whatever you do, be safe and have fun.

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use your melon 10 masks

THE ‘ TEMPORARY F IX B ECAUSE I DID N ’ T THI N K THIS W OULD LAST THIS LON G’ MASK

THE ‘ CLASSIC PAISLEY B AN DAN A B UT MAKE IT F ASHION ’ MASK LUSO LIFE

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THE ‘ GRA N DMA CA N MAKE YOU A B ETTER O N E ’ MASK

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THE ‘ CAME F ROM THE CO N STRUCTIO N SITE A N D THI N K I ’ M CLE V ER ’ MASK

THE ‘ ALL N ATURAL , V EGA N , B IODEGRADA B LE ’ MASK

THE ‘ I F YOU ’ RE LUCKY E N OUGH TO K N O W SOMEO N E ’ MASK

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THE ‘ OOPS I ORDERED A KIDS SI Z E B UT IT ’ S KI N D O F CUTE ’ MASK 56

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THE ‘ DO N ’ T USE THIS , IT IS TOTALLY I N SU F F ICIE N T ’ MASK

THE ‘ MI N IMALIST I N DUSTRIAL DESIG N ER ’ MASK

THE ‘ PLEASE TAKE A PICTURE O F ME , I RUMMAGED THROUGH THE HALLO W EE N B I N F OR THIS ’ MASK LUSO LIFE

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Words & Photos: Noah GANHĂƒO

a moment at the cottage

Off the grid

Some things are better felt than explained.

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words: inês carpinteiro

illustration: david GANHÃO

F

TRAP

A SILENT orced, tricked and misled into modern-day slavery. It’s a silent trap that is developed over months—building up trust and ruining other relationships in the process.

someone they know. It’s a “business” that prospers mainly because its victims are dismissed as society’s outcasts—the addicts, the homeless, the prostitutes—being often shrugged off as a victimless crime.

Human trafficking. The United Nations definition states it is “the recruitment, transportation, transfer, harbouring or receipt of persons for the purpose of exploitation.” Facts tell us that it’s an illegal activity that generates approximately US$ 150 billion annually. More astonishingly is the fact that there are more people enslaved today than in any other time in history—even when slavery was legal. It's estimated that over 30 million slaves exist globally, of which 10 million are children. Each case represents a life torn apart, a life grounded on fear, a life without free will.

Naturally, the internet has become a key tool for finding new victims and to lure “possible buyers”. Criminals troll and target the weak and vulnerable, presenting themselves as a friend that can solve all their problems. They search for people with low self-esteem; who have had possible previous traumas; that have an unstable family life; or those who live in poverty and have a lack of economic options.

It’s a problem society tends to ignore because we assume it’s happening far away, in other countries, but we need to realize that it resides in every community’s backyard. The unfortunate reality is that almost half of the victims are trafficked domestically, within national borders. Everyone can be a potential target—men, women and children. It is estimated that 51% of trafficking victims are women, 28% are children and 21% are men. Internationally, a child is abducted every 30 seconds, for sex, slave labour or organ harvesting.

How was your life when you were 17?

Were you falling in love? Vacationing with friends? Choosing university courses? It’s a great age. It’s also the average age for victims of sex trafficking with over half of the victims being recruited into the sex trade by

This brings us to the pandemic which could be putting more children in vulnerable situations—they can’t go out but are at home connecting with people on social media. In addition to regularly monitoring their children, there are a number of red flags to watch out for that can help people identify a potential trafficking victim: bruises, injuries or other signs of abuse; tattoos or burns (branding) displaying a man’s name; older or controlling “boyfriend” or “girlfriend”; social isolation from friends and family; sudden change in material possessions (e.g., expensive clothes or accessories); More than one mobile phone (one for parents and another for the trafficker and johns); highly sexual clothing or online profile.

Innumerous times, people that have been trafficked are not aware of what’s happening to them. Many believe they are in a relationship with the abuser or are oblivious to the fact

that they are being exploited. Once they realize their situation, fear, shame and guilt take over, which prevents them from asking for help—a silent trap.

In recent months, the Netflix documentary Jeffrey Epstein: Filthy Rich has made many people aware of sex trafficking. There are many other docs available on YouTube which you can watch for free—we’ve selected four that help illustrate the problem with personal stories.

If you are a victim or survivor of forced prostitution or forced labour, or believe someone else might be, call the multilingual hotline at 1-833-900-1010 canadiancentretoendhumantrafficking.ca

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face to face with slavery

i am jane doe 50eggs.com/i-am-jane-doe

freetheslaves.net

sex trafficking

slavery

Three real stories of how girls were bought and sold in the US via backpage.com—a site that controlled approximately 80% of the online sex ad market.

Two volunteer filmmakers journey to the front lines of slavery around the world - Nepal, India, Ghana and Congo.

Free The Slaves is an organization that rescues and helps people to reintegrate society, build more skills and live a better life.

m.a.

13 years old. After being missing for 270 days, her mother found a website with her pictures and asked to purchase the services herself.

parent “We got her back but she was addicted to drugs. she had been very abused and she ran away two more times. My daughter was stabbed, burned, had her head shaved, she was beaten.”

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kamala (nepal) “I was tricked. I was trafficked by my own aunt. So you don't really know who you can trust. They’d make me work from 5 am to later than 1 am the next day, and didn’t pay me.”

sanjafi (india) “They took me to work at a brick kiln. I saw people's thatched huts were being torched and they threw my things in the fire. We were freed but we suffered a lot. One laborer in our group died from being beaten so badly.”

in plain sight

nameless mcsr.org/namelessfilm

cox11.com/in-plain-sight-human-trafficking

child sex trafficking

human trafficking

Nameless is a documentary that addresses child sex trafficking in Washington, DC, and at-large.

A doc focusing on the situation in Hampton, VA, which is affecting children, college students and adults who often find themselves under someone’s control before they even realize it.

tina frundt, executive director courtney’s house “When you are with a pimp, they pick your name for you.

Each one, renames you. Very similar to slavery (…) People are judging you, so you can’t go to them. They think it’s a choice, so now I have to pretend that this is what I want to do, to fit in, so you won’t think bad about me. You lose hope.”

natasha guynes, founder her resiliency center “They didn't care about my well-being, that I was hurting inside, they didn't care that at the end of the day I would drink whisky and smoked crack as a way to leave my body because of the trauma I was putting myself through.”

tanya street “I was lured into sex trafficking when I was 18, I meet this guy through a friend, he buys the things I wanted, he was handsome, had this beautiful smile… He was 28. I was already independent, I had a baby, I had my own place and was preparing for college. I felt that the age gap was not a red flag (…) we continued to talk and started dating.

That's how it started. I was abused by a family member from when I was 7 to 14 years old. So, I hadn't had people in my life to support me, or just to talk to. This guy, he listed to me (…) I said yes to my relationship with him, to what he asked me to do, to partner with him to keep my relationship with him. The entire time I was being trafficked, that was my mindset.”

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WORDS: emily gilmore

PHOTOS: Noah ganhĂŁo

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special thanks to fin, isaac, leah & liam

he chefs LUSO LIFE

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O

“OMG this is amazing!!! Where did you get it?” The age old question of someone who can’t fathom cooking something so scrumptious. This is the exact reaction shared around the room as we began to dig in to our steaming Braised Beef Rigatoni.

In light of the current global situation; dining out or picking up whatever we were craving became a bit tricky.

Some nights it's easier to order in than to plan what we actually wanted to cook for dinner. Weeks pass and the fascination with take-out has lifted, leaving us unsatisfied.

Like a vinyl record stuck crackling on that last groove, we needed to force ourselves out of the loop. We needed more than some soggy fries and cold wings. In a pursuit to rediscover the kitchen we hit the web, searching for the ultimate dish to pull us out of this food funk. We needed something tasty, that could feed the masses (my select group of friends with large appetites). We finally found it; the Braised Beef Rigatoni, restaurant quality all done within the comfort and safety of our own home! The only semi-dangerous outing being the grocery run. Once we acquired the ingredients we got to work; chopping, slicing, dicing—all the kitchen things! We were feeling a renewed sense of purpose, excitement to eat and pride.

Waiting for the meal to be complete felt like an eternity, we were just hoping it was worth all the mouthwatering.

FINALLY! Plates were passed around and our homemade-fancy-restaurant-dinner was served! The first bites hurt but in the best possible way; when you chomp on something you know is too hot but you couldn’t possibly wait a second longer—yeah, that.

After all our lil bellies were stuffed, we were quite impressed with ourselves and felt encouraged to make more—who needs restaurants anyways!

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SERVES 8

Braised beef rigatoni

4 tbsp olive oil 1.5kg braising steak cut into large pieces 2 tbsp plain flour 1 large onion, finely chopped

Heat half the oil in a large shallow casserole over a medium–high heat while you season the beef and dust it in the flour. Shake off any excess and add the beef to the casserole in batches, browning it on all sides. Remove from the casserole with a slotted spoon and set aside.

Add the remaining oil to the casserole and fry the onion, carrot and celery for 5–6 minutes until softened, then add the garlic, bay leaves, thyme sprigs and red wine. Bubble for 2–3 minutes then return the beef to the casserole with the chopped tomatoes, tomato puree and milk. Season well.

1 carrot, finely chopped 2 celery sticks, finely chopped 3 garlic cloves, thinly sliced 2 bay leaves 3 thyme sprigs 250ml red wine 2x400g tin chopped tomatoes A bit of tomato puree 100ml full-fat milk 400g dried pappardelle Extra-virgin olive oil Sea salt and black pepper Parmesan/pecorino shavings (serve)

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Bring to a boil then reduce the heat and simmer gently, uncovered, for 2 hours, adding a splash of water or chicken stock if it starts to look too dry. The beef should be lovely and tender and give when you push it with the back of a spoon.

When the cooking time is almost up, cook the pasta in boiling salted water for 8–10 minutes or until al dente then drain and drizzle with extra-virgin olive oil. Shred the meat into the sauce then serve the ragu on top of the pasta, scattered with lots of shavings of parmesan or pecorino.

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words & PHOTO: Mwangi Gatheca masculinity is not masculine

Portrait

One of our most firmly entrenched ideas of masculinity is that a real man doesn’t cry. Although he may shed a discreet tear at a funeral, he is expected to quickly regain control. Sobbing openly is for girls. As men we are constantly told to repress our emotions. It starts out really early, we can all remember when we were kids and our parents told us “men don't cry”. Showing our emotions is a point of weakness. As we get older it becomes harder and harder for us to express how we feel, no matter what that emotion might be.

This image is part of a series shot for the Scotiabank Contact Photography Festival at OCAD University in 2017. Boys’ Life is a project that explores masculinity and male freedom of expression. Often, men find it difficult to break free from the constraints of modern day perceptions of masculinity. This may hinder their ability to express themselves freely—emotionally, artistically, verbally—due to the fear of being judged or labeled.

However, in a paradoxical interpretation of masculinity, the most masculine thing a man can do is be feminine

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and challenge these conventions. It demonstrates that their masculinity does not lie within the boundaries of society’s stereotypes, rather that masculinity is an intrinsic trait to be felt and expressed in whichever way one chooses to do so.

I uploaded this photo to Unsplash, a free stock photography library, that gives creatives access to beautiful images for any use. This photo has around 20,000+ downloads and I’ve seen it used for so many creative purposes. It's hard to find black men being expressionate and showing vulnerability which is one of the reasons I feel like people have been so drawn to it. In light of the recent events of George Floyd’s death and the rise of the Black Lives Matter this image has been a backdrop for many posts on social media as people are expressing their frustrations.

The acceptance of this image gives hope that one day, men won't have to flip the invisible switch of toxic masculinity in our heads every time they want to cry like a man.

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Viana Roofing & Sheetmetal Ltd. is a progressive roofing, waterproofing and restoration company who has successfully completed thousands of projects over the past 35 years.

Our services include all types of roofing, sheetmetal and siding, caulking work, waterproofing and more.

ROOFING SOLUTIONS

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74 Advance Road, Toronto | 416.763.2664 | info@vianaroofing.com | vianaroofing.com