SUMMER 2015
TORONTO IS CHANGING PHYSICAL AND CULTURAL LANDSCAPE: WHAT DOES THIS MEAN FOR YOU?
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CONTENTS
PHOTO: BRIANNA LOGOZZO
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LIFE AFTER BLOCKBUSTER
SPREADING THE GUV
BALLET CREOLE FINDS ITS FOOTING
PAGE 16
PAGE 21
PAGE 34
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CONTENTS PHOTO: KIRSTEN SCHOLLIG
5 Culture Shock by Samantha Knight
6 Popping Flavour by Meghan Murphy
8 Competitive Gaming Levels Up by William Burden 11 Big Cheese by Meghan Murphy
12 The Unstable Nature of Generation Y by Glenn Pritchard 16 Life after Blockbuster by Lucas Ridgen
19 Amateurs Killed the Photography Pro by Samantha Egan 21 Spreading the Guv by David D’Orazio
27 Over-Developed, Under-Processed by Kirsten Schollig
30 Stop, Drink, Relax by Meghan Murphy
32 Lose Yourself: Eskape Reality by John Samuels
34 Ballet Creole Finds its Footing by Megan Kimmerer 36 Behind the Fan Scene by Johna Autencio
40 Freelancing: The New Full-Time by James Gike
42 The Art of Graffiti: From Bland to Beautiful by Michele Randall
4 4 Femvertising: A Shift in Gender Advertising by Rebecca Alberico 47 Recruiters: Finding the Right Candidate by Canute Gomes
48 Life of Pie by Meghan Murphy 2 EMERGE | 2015
EDITORS-IN-CHIEF PHOTO EXECUTIVE SENIOR STORY EDITORS HEAD OF RESEARCH RESEARCH ASSISTANT PRODUCTION EXECUTIVE ART DIRECTOR ASSOCIATE ART DIRECTOR CREATIVE LIAISON LAYOUT EDITORS PHOTO EDITORS GRAPHIC DESIGNERS BRANDED CONTENT CONTENT DIRECTOR BRANDED EDITORS DESIGNER
Samantha Knight, Meaghan Ritola Brittney Krueger Christina Balram, Riannon Westall Meghan Murphy Jessica Spera Rachel Waller Ian McDougald Christina Gomba Catherine Chen An-ji Kim, Lora-Lyn Slama Glenn Pritchard, Samantha Egan Joshua Del Rosario, Erfan Al-Keilani, Miriam Lui Carter Hughes Kandace Russiani, James Gike Samantha DaCosta
FACULTY PUBLISHER EDITORIAL ADVISORS DESIGN CONSULTANT
Jerry Chomyn Kimberley Noble, Kathy Ullyott John Bullock
University of Guelph-Humber Toronto, Ontario
207 Humber College Boulevard M9W 5L7
EMERGE MAGAZINE is published annually by Media Studies students at the University of Guelph-Humber. Printed in Canada. Paid circulation. All rights reserved. Content may not be reprinted without written permission. Date of issue: June 2015.
ON THE COVER THIS YEAR’S COVER was created by Meaghan Ritola. She decided to portray the condo vs. culture theme of the magazine through the use of representation. With the graffiti in the background and the CN Tower front and centre, the artwork represents the culture that defines us, and the buildings that regulate us or – in some cases – replace the culture that once existed. To f ur t her accent uate t he t heme Meaghan photoshopped the images, making the CN Tower a stark black and white, while the graffiti remained subtlycolourful. She did this to show the cold and harsh landscape that condos create, and the way in which culture brings liveliness and colour to the city. It’s important to note that the culture within this piece is a toned-down
background image representing the struggle to flourish in the concrete-riddled city of Toronto. The photographs used within the cover art are courtesy of Andrew Currie and Montse PB (Flickr). For Emerge 2015 students were asked to submit their ideas and artwork for the chance to be featured on the cover of this year’s magazine. Because the magazine is through and through student-run and student-produced, we wanted to showcase the talent within our very own graduating class. The cover art submissions that we received were narrowed down to four top choices, which were then put to a vote. All submissions remained anonymous throughout the process.
Emerge 2015 cover art runner-up by An-ji Kim, layout editor
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LETTER FROM THE EDITORS
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or years a battle has been brewing in the city of Toronto, as the urban landscape changes around us. Condos continue to overtake bits of culture that once flourished – we have waved goodbye to cultural landmarks to see towering concrete monsters stand in their place. With this changing skyline come questions we are forced to face: Who will win in this battle of condo versus culture? What does this all mean for us as a city? Where will things stand in the years to come? It is these questions that we hope to answer for our readers as we take them through the ever-changing panorama of Toronto. But of course it’s not all about the landscape of the city – change is the real narrative that carries itself throughout. At the heart of the magazine is the Guvernment story (“Spreading the Guv,” page 21), which looks at where nightlife culture is headed after the closing of this popular club. We knew from the outset that this piece would be the anchor of this year’s Emerge Magazine. Within this story we delve deeper into the disappearance of culture in Toronto, while in other pieces we explore the hubs that still remain. Throughout this semester Emerge Magazine has been a labour of love. At the first meeting we had, we weren’t sure what shape the magazine would take. It was an overwhelming feeling to know that we had only 12 weeks to produce a magazine – something that other media organizations take six months to do. Slowly, but surely, that all changed. As things began to come together, and after a few brainstorming sessions, we decided on the theme of “condo vs. culture.” It had a certain ring to it, and as more and more story pitches started to
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PHOTOS: KIRSTEN SCHOLLIG
come in looking at the cultural adaptation and gentrification that defines Toronto, we knew this was the perfect direction for the magazine. When we began this rollercoaster ride of a journey the anticipation of a final product was what kept us grounded. We are proud to call Emerge Magazine 2015 “our baby” and to put our names and hands on something that was merely an idea at the beginning of the winter semester. It is our pleasure to showcase the many talents of the fourth-year journalists, photographers and graphic designers who have been a part of this year’s publication. Please, immerse yourself in the confines of Emerge Magazine. We hope the stories that follow will help you look at things a little differently and realize just how much culture impacts our lives, and especially this generation. Sincerely,
Samantha Knight & Meaghan Ritola
CULTURE SHOCK ❯ by ❯
SAMANTHA KNIGHT photography by TIANA GORDINHO
CULTURE. It is a tiny seven-letter word that holds immense weight in society. It has many nooks and crannies and crevices where it can hide, or proudly show off – all of which make culture not one thing, but many things. Culture is a living, breathing, continuously evolving form. It won’t sit still. As Torontonians, we are constantly surrounded by culture, but the way in which people choose to interact with it is very much an individual endeavour. Culture helps people identify who they are and their relations to others who hold the same sentiments. With Toronto being a major culture hub, there is constant transformation. “Since Toronto is, by most claims, one of the most multi-cultural cities in the world, it offers lots of cultural possibilities by its sheer diversity,” said Dr. Greg Kelley. However, despite this euphoric idea of cultures uniting and remaining inclusive, “there is always some rejigging of ‘cultural boundaries’.” As a folklorist and a professor of media at the University of Guelph-Humber, Dr. Kelley is interested in all aspects of human connection. He defines culture as, “a blanket term that encompasses the sum of the learned and shared behaviours of a group of people – including customs, morals, values, as well as
belief systems like religion and expressive forms like dance, music, and fashion.” Within the concept of culture, it is important to address the idea of subcultures. These are defined as “smaller enclaves of social groups that, in many ways, set themselves at odds with the social norms of dominant culture,” Dr. Kelley understands. The process of cultural development is twofold. On one end of the spectrum, “neighbourhoods that were once considered shabby or dangerous are, over time, transformed into trendy areas with chic restaurants and shops,” Dr. Kelley explained. But on the other end of the spectrum, “as an area becomes more desirable, the property value increases and centres of local cultural character – like eclectic businesses, shops, restaurants, and nightclubs – can be displaced, priced out for more lucrative developments like condos,” the professor added. Dr. Kelley explained that with this gentrification, cultural hubs are forced to relocate, which has happened many times in Toronto. “A prominent case that is playing out right now [is] that of Honest Ed’s,” the folklorist explained, “the building has been sold to a development company that is planning to build on the site a series of condos, but is also promising public space for meetings/concerts,
as well as a St. Lawrence-style market and [two]pedestrian [laneways].” The Vancouver developer Gregory Henriquez reported his plans to The Globe and Mail, stating these plans would renew Mirvish Village as a cultural and dining destination, and bring the sense of Honest Ed’s as “a bazaar.” Dr. Kelley explained his thoughts on the expansion: it “would entail the displacement or obliteration of one cultural community, while, theoretically, encouraging another cultural community to flourish,” but, “it remains to be seen how this will play out,” he said. From this one example and the many other examples of cultural displacement and shifting – like the closing of The Guvernment and Sam the Record Man – it is apparent that culture is not stagnant, but rather continuously in transition. “The point is that – in a robust, breathing city – the lines of cultural ‘value’ are constantly being drawn and re-drawn,” Dr. Kelley said. “It is part of the perpetual ebb and flow of human society, as ‘pockets’ of cultural/ subcultural activity emerge, then diminish, then relocate, then (sometimes) disappear altogether.” What will Toronto look like in the next 20 years? Only time will tell.
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REAMY PERI PERI, Cupcake and Cheddar Caramel are three of the popcorn flavours tucked inside one shop that allows you to taste the ethnicities of the entire city. The Toronto Popcorn Company, located in the culture hub that is Kensington Market, boasts walls lined with tubs upon tubs of Toronto’s most unique popcorn flavours. The store, not even a year old, uses diversity as a way to make customers feel at home. “We want to introduce all the [world’s] ethnicity in the country,” said owner Caramhel Villegas. “Just the idea of having each customer finding something palatable that they can relate to, for example broiled fish and seafood, smoky chipotle, sweet chili pepper,” said Joseph Villegas her husband, and fellow owner.
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Joseph Villegas agreed their flavours are inspired by the culture of Toronto. “I stay true to my Filipino roots, and at the same time, [I] adapt to the ever-changing environment of Toronto,” he said. Being culture-driven has proven to be a successful business tactic for the company. According to Caramhel, they sell out of all the tubs every
“We want to introduce all the [world’s] ethnicity in the country”
day due to catering and events. The store’s location is another factor that has helped it bloom. “Kensington Market is a known launch pad for turnkey businesses. You get clients from all walks of life so it gives you the opportunity to drill down which demography comprises the majority of your customers,” said Joseph Villegas. The area is also known for straying away from the norm, in favour of originality – something the couple took into consideration. “My wife is a pastry chef. A bakery was in consideration, but then again, every other town has its own patisserie or cupcake shop. So we went on with gourmet popcorn,” said Joseph. Buffalo Kick, a bite of spicy heat, is one of the top sellers. But with over 100 other flavours in their repository, including vegan and gluten free options, there’s a way every Torontonian can get their taste buds tingling with some unique and flavourful popcorn. “It’s really nice to see different people having a grand time when they are in our shop,” said Joseph. “There are no boundaries, and everyone is just enjoying good old popcorn.”
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COMPETITIVE GAMING LEVELS UP ❯ ❯ AT JUST TWENTY-ONE YEARS OF AGE , Dominik Reitmeier is a champion. Reitmeier has managed to win almost $200,000 over the past two years, all from his expertise in playing video games. He has traveled the globe, lived and trained with other gamers, and competed on stages and stadiums usually reserved for rock stars and elite athletes. In the last six months, he's posted first-place finishes at tournaments in New York, Los Angeles and Shanghai. Perhaps the most surprising aspect of Reitmeier’s career, however, is that it's not altogether that uncommon these days. Whether you call it competitive gaming, eSports or simply “playing video games for money,” a radical cultural and technological transformation of the last 15 years has gaming quickly becoming the official sport of the online generation. It is now very common for fans to watch tournaments online and attend live events that showcase top gaming talents battling it out for huge prize pools. There are currently over 300 individuals across the globe that have earned at least $100,000 through tournament prize money. This number does not even begin to account for all the money from sponsorships, salaries, travel, accommodations, and the other revenue that stars of the gaming world benefit from. 8 EMERGE | 2015
by WILLIAM BURDEN photography by KIRSTEN SCHOLLIG Competitive games that currently attract large audiences include League of Legends, StarCraft, Street Fighter and Counter-Strike, but the game that undoubtedly boasts the largest prize pools is Dota 2, which Reitmeier and his team plays. The game pits teams of five players against each other in a virtual battlefield between two warring factions. A match can last anywhere from 20 minutes to two hours, and everyone plays a vital role in bringing home a win for their team. Reitmeier described Dota 2 as “a combination between chess and football. The strategizing, picking and banning of characters would be the chess part, and the team play within the game is similar to football.” Reitmeier recently returned from living in China for two years where he played as the only foreigner on an all-Chinese team. Now back in the West, Reitmeier has already joined a newly-formed team that is set to begin a hardcore training regimen for the next few months in anticipation of a large upcoming tournament called The International. The tournament is an annual event held in Seattle, Wash., by the game's developer, Valve. Now in its fifth year, The International has featured increasingly outrageous prize pools, last year reaching a total of over $10-million U.S. thanks to the use of crowdfunding and the incredible size of the game's community. This year, with an even larger group
of people playing and watching the game, the prize pool is likely to dramatically increase again. This spring, the team has relocated temporarily to a training house north of Toronto to engage in what is commonly referred to as a “boot camp.” Boot camping is a practice teams undergo in order to train under similar conditions to the ones that offline tournaments use, as well as refining their skills and strategy as a team to better their chances of winning. “I think it helps out a lot when you train together with people who are sitting in one room with you,” Reitmeier said. “If there are mistakes or problems it's much easier to solve them, because you can talk to them in person and also go through replays together.” The team has come together at the house to play for Mousesports, a multi-game organization that attracts money and equipment from sponsors to build or recruit teams that will represent them at tournaments. Mousesports is footing the bill for the boot camp, hoping to see results from their investment in these players. Team manager Phil Aram is present at the house to organize, manage and keep the team to a schedule for practice and official matches. “Managing a gaming team is kind of like being the love child of Carol Brady of The Brady Bunch and Eric Murphy from Entourage,” Aram said. “You're a mom cooking meals and enforcing bedtimes, and you're the friend who knows how to work a calendar and a checkbook. It's 24/7/365 and not a job suited for everyone.” Practice time has to be fairly strict. In order to compete with other top teams they need to practice upwards of seven to nine hours each day. Yet despite the rapid growth of gaming as a sport, don’t expect to see Dota in TSN's fall lineup anytime soon. As a unique product of the ubiquity of the Internet to modern life, competitive gaming finds its audience through online streaming. For fans, this primarily means a service called
“TWITCH AND OTHER STREAMING SITES HIT AT THE RIGHT TIME WITH THE RIGHT DEMOGRAPHIC. WE ARE NOT A GENERATION THAT WATCHES TV. WE GREW UP WITH COMPUTERS AND THE INTERNET.” Twitch.tv, where gamers and tournament hosts alike stream out their gameplay, supported by advertising and direct subscriptions. “Twitch and other streaming sites hit at the right time with the right demographic. We are not a generation that watches TV. We grew up with computers and the Internet. I don't know anyone my age with cable. Netflix, Hulu, and especially Twitch cater to the changing media landscape. It's not just for gamers, it's the future of media distribution,” Aram said. So what’s next for competitive gaming? The concept of gaming as
an Olympic sport has been tossed around for as long as competitive gaming has existed. Currently the International Olympics Committee has been silent on the idea, and have not previously welcomed what they call “mind sports” like Chess into the Games. However, in an interview with GameSpot, Riot Games eSports manager Nick Allen recently revealed through “lengthy discussions” with the U.S. government that they have begun to “recognize League of Legends pro players as professional athletes and award visas to essentially work in the United States under that title.” This is huge news for Riot, which hosts its own league that requires players to live and play in Los Angeles year-round. In addition, the U.S. decision to officially recognize competitive gaming as a career offers legitimacy to the sport as whole. As for Reitmeier and his team, they aren't concerned with potential Olympic glory – they already have their world championship to aspire to, with all the prize and fame it commands. He is optimistic about their prospects for victory, but knows that they still have a long road ahead of them to achieve their goal. “I'd say right now we're still in the building up phase, meaning we will practice a lot and work a lot on our flaws and problems,” Reitmeier said. “If we can get that going properly and make the best out of the situation then I am sure we can be a contender for The International.”
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SPONSORED FEATURE
YOUNG DESIGNER, BIG DREAMS by KANDACE RUSSIANI photography by SAMANTHA DACOSTA FROM SMALL TOWN FARM GIRL to big FLARE Magazine as one of the top five looks in them, and I want to change that,” she said. city designer, the success story of Mary Young Ryerson’s Mass Exodus Fashion Show. In the future, Young plans to help other begins with determination. By the time graduation rolled around the individuals pursue their entrepreneurial Growing up on a farm, Young learned at young designer who began her career sewing endeavors. She knows the necessary steps and an early age the value of hard work and the clothing for her dolls was becoming noticed. hard work that it takes to start a business and respect it earns. When she wasn’t working on Proud of her line and curious about where is a valuable role model for anyone looking to her family’s farm, she was riding four wheelers, it could go, Young spent the month after go after their large or small business dreams. watching sports and teaching herself how to graduation writing her business plan. In June of “I plan to invest my time and resources into sew. Young developed a passion for sewing 2014 she was able to secure funding and launch helping other young entrepreneurs pursue and began designing clothing for her dolls, and her line. their dreams,” said Young, “as my leap of faith eventually herself. It was from then on she Speaking about her line, Young said her has paid off and continues to do so every day.” dreamt of moving to the city to pursue her “main objective is to make women feel Young approaches life with a positive attitude: design dreams. comfortable and confident, not restrained by she watches clips of Ellen and Jimmy Kimmel Live “I never had a clear picture of what type their clothing. Knowing that this is happening over breakfast. Beginning her day with laughter helps Young approach her everyday of clothing I would be designing, but I NEVER HAD A CLEAR PICTURE OF challenges with a smile on her face. I always knew that if I pushed myself Being her own boss has been a hard enough, one day I would have my WHAT TYPE OF CLOTHING I WOULD BE learning curve for Young and has own line,” she said. DESIGNING, BUT I ALWAYS KNEW THAT helped her develop keen organiBefore heading off to school, Young interned with local designer IF I PUSHED MYSELF HARD ENOUGH, ONE zational skills, dedication for her products and an understanding Paddye Mann. As a design assistant DAY I WOULD HAVE MY OWN LINE that the lists of things to do are her responsibilities fluctuated from pattern drafting and cutting, to inventory for my customers is the best feeling in the never fully complete. The MARY YOUNG brand is an embodiand assisting with fittings. Here she gained world.” a valuable introduction to the industry and One issue Young is concerned about chang- ment of comfort and class, and as a Canadian began to discover her own identity as a ing is the portrayal of women in the media. label, Young insists that all her material comes designer. Her line encourages women to embrace their from Canadian suppliers. Young will continue growing her brand From there, Young attended both George natural body shapes and be comfortable in with hopes to expand into swimwear, and a Brown College and Ryerson University for their own skin. fashion. It was while at Ryerson that she “At the end of the day sex sells, but the way ready to wear line. For now, she continues had her first taste of the spotlight. In her women are portrayed as objects rather than to focus her efforts on growing as a designer graduating year she worked tirelessly on a human beings is teaching young girls that their and helping other entrepreneurs go after their five-piece collection, which was featured in self-worth is in their looks and how others see own business ventures.
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Website: www.maryyoung.ca Facebook: www.facebook.com/itsmaryyoung 10 EMERGE | 2015
Twitter: itsmaryyoung Instagram: itsmaryyoung
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ROM THE OUTSIDE it doesn’t look like much, just a small box of a building with giant orange letters screaming: THE GRILLED CHEESE. But once you step inside you’re taken out of the city and into the countryside with its cozy, cottage feel. The fireplace is lit; the tables sit with log benches. It is a different side of the market that showcases Kensington’s culture. From it starting on the Lower East Side of New York comes The Grilled Cheese, a restaurant dedicated to making grilled cheese sandwiches. “A friend of mine just kind [of] had the idea to do it. I knew how to build and I knew how to work in a kitchen so we came together and made it,” said owner Rob Yuill. The move from the Big Apple to downtown Toronto was due to the rent in New York becoming too much. But it may have been a blessing in disguise. The Grilled Cheese has made its home on Nassau St. serving all of Toronto. And unlike other areas, “there’s no specific type of person, it’s every kind of [person] from every different race, every age group,” said Yuill. But even though Yuill is not in New York any more, he still feels at home with the striking resemblance that Kensington Market has to the Lower East Side’s former Jewish community. The Lower East Side was also primarily Jewish and has changed many times over the years, similar to Kensington Market. What makes Yuill’s shop cultural to him is the Canadian inspiration. “I always thought that grilled cheese sandwiches were Canadian. It seemed like that was Canadian comfort food,” said Yuill. And at the shop, Canadians can get more than just their average grilled cheese. There are at least 10 different sandwiches to choose from that all sprout from the original grilled cheese sandwich. Why not try a pizza-flavoured sandwich, or a Turk 2000? No matter what you choose, any sandwich will be sure to leave your taste buds wanting more.
“EVERY KIND OF [PERSON] FROM EVERY DIFFERENT RACE, EVERY AGE GROUP” 11 EMERGE | 2015
The Unstable
Nature of
Generation Y GLENN PRITCHARD
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Definition of neon in English: NOUN The chemical element of atomic number 10, an inert gaseous element of the noble gas group. It is obtained by the distillation of liquid air and is used in fluorescent lamps and illuminated advertising signs.
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ORIGIN Late 19th century: from Greek, literally ‘something new,’ neuter of the adjective neos.
FUN FACTS Neon is the only element other than helium without any stable compounds. Neon is also the fifth-most abundant.
ARTIST’S STATEMENT Current conversations surrounding the future of Generation Y often highlight the unstable circumstances that await us as we engage in contemporary life. Things have changed – the gap between the rich and the poor is at an all-time high, financial markets are crashing all over the world, our natural environment is in decay, the potential for terrorism is always in the back of our minds and the 30-year job is no longer a reality. But that doesn’t matter. Although many elements of contemporary life act as a source of anxiety, Generation Y is ready to embrace and overcome these circumstances; we are not afraid and we cannot wait to experience everything life has to offer (including the apocalypse). We bring new ideas, new perspectives and new sentiments. We are a new generation. Bring it on.
SCAN EACH PAGE OF THIS ARTICLE WITH PRESSFRONT FOR MORE PHOTOS BY GLENN PRITCHARD 14 EMERGE | 2015
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LIFE AFTER BLOCKBUSTER
❯ by LUCAS RIDGEN ❯ photography by JEEVAL TAYLOR
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SURROUNDED BY A WALL-TOwall biosphere of movies, I find myself at an impasse. Unsatisfying action or familiar comedy? Neither, I’m sick of the same. I consult the cute part-timer restocking the shelves; her favourite movie is some old teen melodrama called The Breakfast Club. It wasn’t even a decade ago that no strip mall would be complete without the video rental place as its 1,000-square-foot flagship. Nowadays some people are hardpressed to even name a single store dedicated to renting out physical media. Netflix is king. The benefits of Netflix are obvious. Who among us could say no to unlimited streaming for a low monthly subscription? The black rainbow representing a full Wi-Fi signal has become the never-ending lifeblood of the home entertainment system. It isn’t even necessary to roll out of bed on a lazy Sunday morning as long as a laptop is within arm’s reach. The Friends marathon is no longer interrupted by the now-archaic exercise of swapping discs. Scott Worsley has witnessed the transformation of the home video industry over the course of almost two decades. He co-owns The Film Buff – a store that has a clear stance on the video world becoming a constant online stream. The store’s website proudly states: “Come see us when you run out of stream.” Worsley believes that the mass adoption of streaming services has changed perceptions on the value of movies. For Worsley, the value of his curated collection is the ability it has to make his customers “see the world around us in a different light
and from different perspectives.” “Various industry players have now commodified what was once an art form,” Worsley said. We “see film as something quite different.” That promise of unlimited streaming comes at the cost of numbing viewers into an endless catharsis known as binge watching. Although binge watching gives the illusion of a wide selection, customers at The Film Buff and other video stores say streaming websites don’t offer enough options. For example, only 44 out of more than 3,800 titles in Netflix Canada’s catalogue were released before 1970. That’s more than half a century of filmmaking wiped out from the collective conscience of a generation that will have never stepped foot in a video store. Dave Battams is one of the few who admit to never streaming a movie. Sitting in a bar after a screening of a bootlegged copy of Kill Squad, Battams said he “would sooner go to an actual place where you can talk to somebody…[where there’s] a sense of community.” Daniel Hanna, owner of Eyesore Cinema, also said the sense of community is what keeps the remainder of video stores in business. “The only people who still have video stores now are people like me who believe in that concept of community,” he said, “[video stores] still exist because the customers are looking for that.” While Hanna cherishes the relationships a sense of community brings, he said that, hands down, his best
customers are all streamers. “They have Netflix, they download illegally, they go to the theatre once a week, and they come to my store because that is how much they love movies,” he explained. James Warrack is part of the faculty in the undergraduate film program at Ryerson University. He has a more neutral outlook on the type of interpersonal sharing that some say is lost by subscribing exclusively to streaming sites. “The experience of watching a film has diversified,” Warrack said. Whether it is the smaller screen of a computer or even a tablet, he believes that we will continue to share experiences through film with each other, only in more personal spaces. As to whether the Netflix promise of being able to stream “anytime, anywhere” may have devalued our perceptions of movies, Warrack said “people will still enjoy a good film, a good story, no matter what kind of media they consume it with.” Dominique Lauf, a graduate in communications and culture, also insists that the community surrounding movie watching still exists with at-home streaming. “It’s just a different kind of community and interaction, and it’s more online based than face-to-face,” Lauf said, explaining the various discussion forums and usercreated recommendation tools for the indecisive viewer. She added that streaming services are getting better at matching content to an individual’s viewing history. Between the
online communities and Netflix’s own recommendation system, there’s less risk in picking what film to watch than asking a video store employee who may turn out to have differing tastes, Lauf said. Thinking back to that night I took a chance on a stranger and rented The Breakfast Club, I wonder what movie the Netflix algorithm would have calculated to be in my best interests had I stayed home.
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by J ames G ik e
SPONSORED FEATURE
BRIDGING
photogr aph y by Vanessa L auro
THE GAP
STEP ONE, PULL OUT YOUR SMARTPHONE. Step two, download the app. Step three, scan the page. Step four, have your mind blown. PressFront is changing the way magazines are read. The technology that was developed by Thomas Crown and the team at Beauty & Wellness Magazine is an updated take on the concept of Augmented Reality. Their app displays digital content on top of the printed page, building on the printed story. “It is a more natural way to view web and digital enhancements on printed content, as it does not interrupt the reader experience,” said Crown. His mission is to “create a useful Augmented Reality.” Augmented Reality is all about linking the real world to the digital world. The technology can also be used for a wider variety of applications. It “allows people to use their mobile device to view and interact with extra digital content which is superimposed on the physical object,” said Crown. “There are augmentations and enhancements that are displayed as if they were there, even though they are only displayed through your phone.” QR or Quick Response codes were an early form of this link. The codes appeared on pages of magazines, advertisements and even consumer products. “Ever since the beginning of print magazines, people have been looking for a way to bridge
the gap between printed content and the world of the web,” said Crown. “QR Codes were many people’s introduction to this idea. They were one of the first ways that people would interact with printed content. The QR codes linked readers to a static webpage, and that was it.” With this new platform, Crown said he hopes to “enrich the experience of the reader.” When work began, Crown had one goal in mind. “I wanted to create a platform that other magazines can use too,” he said. It would be easily implemented, working with the world of publishing. Crown understands that there are always tight deadlines to meet and
publishers don’t always have the time to add all the “bells and whistles.” Publishers are essential to the core of PressFront’s approach when creating the platform. The McGill alumnus, who has a degree in accounting and minored in computer engineering, has always had a passion
SCAN THIS PAGE WITH PRESSFRONT TO LEARN MORE ABOUT AUGMENTED REALITY 18 EMERGE | 2015
for technology, which is how the app was created. The inspiration for the app came during the launch of Beauty and Wellness Magazine when Crown and his team wanted to make their magazine relevant in the modern digital world. Thus the idea for PressFont was born; at the time there wasn’t anything on the market that fit their needs. The goal for Beauty and Wellness Magazine was to become a guide for the best service providers in Toronto. The website was meant to be “a search tool and the print magazine would be a point of reference,” said Crown. All that was missing was a way to bridge the gap. “The more we built the brand, the more we realized there had to be an easier way to [connect the magazine’s website and its print publications],” Crown said. That has been a challenge for an Augmented Reality developer. “The process was expensive and time consuming. If the platform was cumbersome or confusing to use, it wouldn’t work,” Crown commented. So when it came time to develop their platform, Crown and his team made it simple and available, and so the app was created. The platform was first launched in December of 2014 in beta under the name PixGap. “We had a bigger idea in the works and wanted to test the AR side of things to make sure there was engagement and that any annoyances, inevitable with a beta version, would be fixed,” said Crown. He also added that the app market is highly competitive and minor annoyances can create a lasting impression. Now that all the kinks are worked out, Crown will be publically releasing the app under its new name, PressFront. “PressFront will be more in-tune with the publisher side of things,” Crown said. “It is the first line of interaction with a reader.”
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AMATEURS KILLED THE PHOTOGRAPHY PRO story and photography by SAMANTHA EGAN
IT’S A C YCLE TH AT every Instagram user is familiar with: “Snap. Filter. Hashtag. Upload. Share. Like. Like. Like. Repeat.” But what these users overlook are the impact social-media-driven image-making is having having on the professional photography industry. Since its launch on Oct. 6, 2010, Instagram has gained over 300 million active monthly users and made it possible to achieve fame, notability, and even monetary compensation for photography without professional training. No longer is it necessary to have a trained eye or expensive equipment to pass as a successful photographer. Any cosmetic imperfections in images can be hidden beneath the filters and editing options within the app, after all. Due to the proliferation of smartphone photography and image sharing on such applications, professional photographers are faced with troublesome competition from amateurs. Uncertainty regarding legitimacy and prestige is created as amateurs raise the question of whether it is necessary to hire and pay for a professional photographer when they can capture professionalgrade quality images themselves. While Instagram is only one piece of the puzzle, similar image sharing databases such as Flickr, DeviantArt, and Facebook further enhance these effects as they provide additional platforms on which amateur photographers promote their smartphone photography. “Professional photographers cannot be everywhere, but there are smartphones
available to record every event that happens,” said Humber College and University of Guelph-Humber photography professor, Gordon Cheong. If a professional photographer cannot be there to capture an event as it takes place, an average Joe with a smartphone can. This is a big reason why even media distributors are opting to source out content from amateurs who happen to be in the right place at the right time, rather than keeping professionals on the payroll. “As more and more images are shared with magazines, TV stations, and newspapers, there is less and less need for the professional. Media is all about content and smartphone images have become acceptable and ‘good enough’ for media,” said Cheong. World-renowned National Geographic magazine has jumped on the smartphone bandwagon by publishing its first iPhone-captured cover for the December 2014 foreign language issue. Shot by John Stanmeyer, the cover depicting the Western Wall in Jerusalem was printed in seven languages for global distribution. National Geographic’s website even features ‘Smartphone Photo Workshops’ and articles illustrating how its veteran photojournalists are embracing smartphone photography. Take Jim Richardson for instance, who chose his iPhone over a DSLR camera for a hiking trip through Scotland. In the article ‘Apple iPhone 5s camera shines for National Geographic photographer,’ Richardson commends the colour balance, exposure,
8-megapixel shooter, and panoramic capabilities of the iPhone 5s camera. He praises its ease of use and of uncompromisingly professional-grade quality. National Geographic and the majority of its content creators are also embracing social media to promote their work. With Twitter, Instagram and Facebook accounts to its name, National Geographic is striving to expand its presence to virtual-networking platforms. Amateur photographers are following suit, using these image-sharing platforms to promote themselves and their work, consequentially affecting professional photographers aiming to do the same. With budget amateur equipment, the right filter, and a knack for promoting oneself, amateurs can swiftly achieve comparable results to what professionals spend hours in the studio shooting and retouching. “There is a rise in amateurs using social media strictly to launch their careers and gain recognition or income. Social platforms can be a huge game changer and mastering them has become an art in itself,” said professionally-trained portrait and fashion photographer, Shannon Hamilton. “Social media is huge for increasing a photographer’s reach, ability to network, and ultimately, ability to gain clients,” said self-taught freelance photographer Rowena Rodrigo. “These websites provide a framework for communities in which new photographers can showcase their work and learn from other photographers.”
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For Rodrigo, these instructional communities even compare to professional training in some respects. “With the amount of tutorials and supportive communities online, a photographer can quite easily learn many of the necessary skills to thrive in the industry. It just takes some effort and a bit of time.” This then begs the question: is it truly necessary for an aspiring photographer to dish out the minimal $6,000a-year for tuition? Hamilton believes professional training in post-secondary schools is important. “Higher education is not for everyone but there are no shortcuts,” she said. “You have to build up a portfolio and experience to be successful. It did cost a fortune, but I do not regret it at all. I developed as an artist and an individual.”
“YOU HAVE TO BUILD UP A PORTFOLIO AND EXPERIENCE TO BE SUCCESSFUL. IT DID COST A FORTUNE, BUT I DO NOT REGRET IT AT ALL. I DEVELOPED AS AN ARTIST AND AN INDIVIDUAL.” A lthough Cheong sees on l ine communities as acceptable for developing on prior knowledge, he agrees professional training provided in postsecondary school environments is superior. With the difficulty of independent online learning and the missed opportunities students experience without the equipment post-secondary schools have available, Cheong endorses physically attending photography programs in a post ‘Why Should I take a Photo Course when I can Learn it all Online?’ on his ‘with1goodi’ blog. “Many of the photographers I follow and look up to are self-taught. If you were a surgeon or a firefighter I would be worried about training. But with photography, it’s mainly about whether the end
20 EMERGE | 2015
result looks good,” said Rodrigo. Professionally-trained or not, Hamilton understands even the most successful professional photographers were amateurs at one point, and sees the
camera as essentially a tool used to channel an artist’s trained eye. “What you discover and choose to implement in your practice sets you apart from amateurs and other photographers.” Hamilton said. “Improving techniques and being innovative elevates your work to the next level.” Just as it can be remarkably difficult for professionals to set themselves apart from amateurs, it can be just as challenging for clients to make the differentiation between the numerous well-kept amateur Instagram accounts and professional ones. “Amateurs share images, and professional photographers take pictures,” explained Cheong. Along with the pressure to share their work on the Internet, photographers also experience the implications of making their work susceptible to plagiarism with every upload. Most of these
image-sharing platforms, Flickr and DeviantArt being the exceptions, do little to nothing to implement regulations to protect artists’ original content, leaving it entirely vulnerable to misuse or theft. “I have found my work being used without my permission on all sorts of websites and Facebook pages,” said Rodrigo. Even those few platforms that at least make an effort to protect their users through restricting the ‘right click and save’ function or automatically laying a watermark text over uploaded images fall short because they are easily bypassed with a quick screen grab or a little creativity. Could it be that the days of the professional photography cycle of “Snap. Adjust. Snap. Re-adjust. Snap. Snap. Snap. Download. Edit. Watermark. Upload. Print. Re-edit. Re-print” are over? Professional photographers say no, and view the implicating risks brought on by the proliferation of smartphone technology as necessary evils they must embrace to remain relevant in an industry that is rapidly evolving. Instead, it is their talent, professionalism, hard work and expertise that set them apart, said Hamilton. Amateurs “do not realize all the hard work involved,” Hamilton explained. “Essentially we are entrepreneurs, managers, receptionists and janitors all in one. It is a huge misconception that our work starts and ends with the click of the shutter, it’s such a small piece of the puzzle.” Without the qualities and understanding of the industry that a professional photographer possesses, it would be nearly impossible for aspiring photographers to navigate and find their path to success. “Professional photographers will always be needed,” Rodrigo asserted.
SPREADING THE GUV PHOTO: WINNIE SURYA
THERE IS A SENSE of excitement growing in the pit of my stomach as the stuffed car pulls into the Queen’s Quay Loblaw’s parking lot. Driving up to the cashier booth, my friend reluctantly hands over the $20 it costs to park. After finding a spot for our bursting-atthe-seams Toyota Corolla, the five of us step out and start the short but chilly walk across the street. On the other side of the road is a sidewalk running along the back of a dilapidated building. The paint is peeling off the decades-old brick, while outdated lights cast a dim orange glow onto the other people walking to the venue. Hanging left around the corner of the building we are met with a long line of people abuzz with excitement. After 20 minutes waiting in the brisk cold, we find ourselves at the front of the line. We show security our tickets and proceed to the body searchers. They are mostly women – some younger, some older. The one I pass through pats down my legs, my sides and my arms and then takes a detour to a place I wasn’t expecting. We stare at each other for a brief moment as my very essence rests in the palm of her hand. I start to make a joke, but she rolls her eyes and ushers me forward through the shadowy door that is the building’s entrance. I am brief ly blinded as my eyes adjust to the front lobby’s darkness. Red curtains drape the right side of the hall, the backdrop to a collection of go-go dancers sporting bright neon spandex, furry leggings and rainbows of feathers sprouting from their limbs.
❯ by DAVID D’ORAZIO ❯ photography by
BRIANNA LOGOZZO
SCAN EACH PAGE OF THIS ARTICLE WITH PRESSFRONT FOR MORE DIGITAL CONTENT They welcome us with dancing gestures as we walk past. On the opposite side of the hall vendors sell merchandise; everything from neon trucker hats, to sunglasses, brightly-coloured tank tops and t-shirts, to “kandi” bracelets. Down at the end there’s a large room filled with intoxicated people dancing among the bright blue and pink foggy lights, the loud bass creating an utterly electric atmosphere. Stepping into this different world for the first time, I imagine a short, pudgy, bearded old man proudly proclaim: “Welcome to Jurassic Park!” Such is the awe I experienced the first time I set foot in The Guvernment. By now, it ’s well k nown that The Guvernment nightclub closed its doors for the last time in late January after owner and infamous Toronto entrepreneur Charles Khabouth was outbid by The Daniels Corporation for the land over which his crown jewel presided. Daniels, a Toronto-based property giant, is building a condominium complex upon the partygoers’ Holy Land where the legendary club once stood. Guv, as it is colloquially known, ended its storied existence
with a piece-by-piece dismantling of its iconic features: the neon sign on the exterior above the entrance, sections of the checkered f loor, pieces of the “furry wall” that stood watch over one of The Guvernment’s rooms. The club’s disappearance marks the end of an era. It also raises many questions: what happens to the rest of Toronto’s club scene? How does such a well-defined spirit, like the one that permeated The Guvernment, seep into and throughout the rest of Toronto’s venues? What are the cultural ramifications when such a central hub closes? Khabouth’s INK Entertainment-owned Guvernment was a staple in Toronto since opening its doors in 1996. An entire generation of club-goers passed through in its 18 years. Many youth thought of the sprawling venue as their weekend home. One of those people was on board for the entire ride: Guv resident DJ Mark Oliver, a Toronto dance music legend. EMERGE sat down with him to talk about his experiences over those 18 years. “It wasn’t just a club, and not just because it went for so long,” Oliver says in a faded Scottish accent. “There was a reason it went for so long and would still be going if it weren’t knocked down. There was a special feeling about the club, and a lot of that comes from the people and the music, and the coming together of the people through the music.” Oliver was one of the founding fathers of Toronto’s now-vibrant scene, helping nurture it in the late 80s and 90s. He fostered the growth of house and techno music while
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founding Exodus, North America’s first “rave” organization. Getting The Guvernment up and running was mostly a smooth process that piggybacked off his unique experience with DJing in that era. “There was a really strong foundation, and a lot of hard work. We ironed out a few kinks very quickly,” Oliver recounts. “The sound system was second to none, and the size of the club was the biggest in town when it opened, so you had that big room experience and also smaller rooms playing different styles as well so it catered to everybody,” adding, “I mean we had Daft Punk!” Indeed, the legendary French duo passed through in 1997, playing one of their first live sets in support of their recently released album Homework. But Daft Punk weren’t the only international artists drawn to Guv. Just about everybody who is anybody on the international dance scene has played at The Guvernment, from trance legends Armin van Buuren and Paul Oakenfold, to house and techno pioneers Carl Cox and Sasha. In fact, international artists began contacting Mark Oliver himself just to get in. “It was every DJ’s dream to play Guvernment, and not just Toronto DJs,” Oliver tells EMERGE. “This was worldwide. I’d
get calls from DJs with names in Ibiza and they’d ask me if I could get them into Guvernment. We definitely have the crowd and the energy in this city to take it.” And that is where Guv trumped all: diversity and size to match the city it called home. Behind those black steel front doors existed a microcosm of Torontonian nightlife culture. It housed a conglomeration of enthusiasm for electronic dance music, desire to let loose the struggles of the daily grind, pent-up sexual lust, respect for fellow dancers and partiers, and untold amounts of narcotics – although that can be expected in just about any night club. The Guvernment was a place unlike any other in Toronto for the simple reason that it wasn’t just “home” for many weekenders, but it also served as a major point of entry into the dance music scene. The answer to the question of “what happens next?” is twofold. INK owns several other venues throughout the city, so its business isn’t likely to suffer. But certain hotspots have developed in the wake of The Guvernment’s closing announcement in May, 2014. A “Big Six,” as they may become known, has emerged from the shadow that Guvernment cast: Coda, RYZE, Maison Mercer, Hoxton, Red, and Uniun. There are other smaller venues in Toronto, but for the most part – with the exception of Uniun – these are non-INK-owned venues that stand to benefit most from
FLASHBACK
WITH THE RECENT closing of The Guvernment nightclub, it’s only appropriate to look back on venues that once defined the music landscape across Toronto before they were gutted by the effects of an evolving city. While this might not serve as a proper obituary to the lost music venues, it could be the remedy that puts 22 EMERGE | 2015
raging fanatics of the nightclubverse at ease. Besides, a little nostalgia never hurt anybody. Here is a list of defunct music venues that once graced the streets of Toronto: MASONIC TEMPLE (Concert Hall) WHERE: 888 Yonge St., Toronto THEN: Before the Masonic Temple
was the Concert Hall, and home to Bell Media’s subsidiaries, its predecessor was the infamous Rockpile in the 1960s. The Masonic Temple played host to many local and international musicians, some of which were legendary, like Led Zeppelin, who played their first Toronto show there. According to the Globe and Mail, landmark protection was granted to the venue in 1997 after
The Guverment’s closing. After The Guvernment’s January 25 grand finale, which featured a special live set from local phenom deadmau5, a flood of events at those six venues were announced, highlighting some of the best international DJs and producers. Many of these big name talents are acts that would previously have performed at The Guvernment. Yet INK’s fingerprints remain on many of the bookings – the company owns Tattoo, as well as Uniun, venues which will have a heavier booking schedule in the coming months. But to fully understand how the cultural dispersal shakes out, we need a brief history lesson and some behindthe-scenes details. ONE OF INK’S MAJOR affiliate promoters, Elevate, was birthed a few years ago by a trio of people who previously worked for a company now known as EDMFiX. One of those founding members, Cody Blanchard, sits across the table from me at a bustling Tim Horton’s in the Toronto neighbourhood of Etobicoke. We sip our drinks as we talk, our laptops open. “We made them the number one team for all INK venues,” he says of his former employer. “We realized we’re getting gypped [by EDMFiX], so why don’t we do our own thing and make more money with what we’re doing and have our own successful brand
the Toronto Heritage Board fought The Rosedale Group – which initially wanted to tear down the Temple to build condos – over ownership. The venue was later sold to CTV that same year. NOW: Masonic Temple is the new residency for the Info-Tech consultancy firm. Joel Mclean, president and CEO of Info-Tech, says he plans to keep the spirit of entertainment alive
behind it,” he says of his creation of Elevate. Cody shakes and stirs his iced cappuccino as he attributes Elevate’s instant success to the network he and the other founding members had built while at the previous company. As a major INK affiliate, Elevate has a big part in booking and promoting the artists coming through Toronto – especially INK-owned venues – over the next several months. Cody is also responsible for a major cultural development in Toronto’s nightlife: Toronto Rave Community (TRC), a group on Facebook which serves as the central hub for nightlife discussion in Toronto. Amassing nearly 40,000 people, TRC has become a fountain of information in regards to events, ticket prices and reselling, as well as buying and selling “rave-related” gear and promoting upcoming events. But what does a Facebook group have to do with developing culture? “Everybody is in TRC because it’s a hub for electronic music,” Cody says. “You can find all the events you want to go to, you can find all the information you want in one spot.” The effect is a faster spread of information, which speeds up the development of events and their atmospheres, along with the smaller cultural vibe. In addition, having all that information at
by preserving the memorabilia still lodged within those ancient halls. “This spot not only offers an amazing space,” he said, “but it’s got great history.” SAVAGE GARDEN WHERE: 550 Queen St. W, Toronto THEN: To commemorate Queen St. West’s old Bohemian visage, it’s
fitting to mention Savage Garden, the longest-running Gothic/industrial nightclub in Toronto, which first opened in 1994 by Paul Savage. This music venue served as home for those excluded from the mainstream lens, or to put it simply, anyone with eyeliner and a good leather ensemble. In a comment to Side-line.com, Savage wrote: “My goal was to bring
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club-goers’ fingertips can influence their plans. For example, there are frequent event updates and “what’s happening this weekend” posts. It’s also not uncommon for a discussion to develop and lead people to go to an event they otherwise wouldn’t have attended. These kinds of posts have increased fivefold since Guv closed its doors, presumably because many of those people would have found themselves in the INK superclub. Now displaced, weekenders scramble to find a new venue to settle in at, all of which embody a different culture. Red is parlaying itself into a trance hotspot. Uniun has always been a venue for big room and progressive house music, but has begun to move away from that into other types of house, and even techno. Muzik is attracting a more sophisticated, higher-end clientele according to Kurtis Hooper, the creative content officer of TRC-dailybeat. com, a recently-launched sister website to TRC. Hooper also says there are more dance music events happening at unconventional venues like The Danforth Music Hall and Sound Academy. “It’s a great time for all these smaller venues to pick up on some artists that might be touring through North America,” Hooper says. Something else that TRC is very good at: putting the spotlight on local artists. If there’s one thing that Toronto loves – whether
a level of quality entertainment that would get respect from the scene, and bring attention to the fantastic music that it held, not to be marginalized in some basement.” NOW: Savage Garden is known as Nocturne Nightclub, an experimental venue that gives homage to the Gothic-esque era, while still catering to the new rave scene. SPADINA HOTEL (Cabana Room) WHERE: 460 King St. W, Toronto 24 EMERGE | 2015
it’s sports, fashion, music, or other arts –it’s home-grown talent. Many posts even have full-blown discourse in which local producers and DJs participate. Joel Zimmerman, a.k.a. deadmau5, often posts and is usually a subject of hotly-contested discussion. People are flocking to this online group to discuss music (along with a smorgasbord of other unabashedly off-topic subjects) and plan events, which makes this group a big ethnomethodological development in itself, just 20 years ago. The group collectively holds its breath in anticipation of event announcements, and expels cathartic emotions in the wake of the big ones. There is a weird pathology at work between TRC and the venues, promoters and artists themselves: the promoters figure out what artist would be a good fit for which venue, then they announce it on TRC and everyone else plans accordingly. The street culture from 20 years ago – a culture in which one might see a flyer for a warehouse rave on a telephone pole and the information distributes itself by word of mouth – has all but dissipated and instead utterly saturates the digital space, occupying the thin air above and the thick bundles of cable below. In a fascinating cross-section of Toronto’s feelings for The Guvernment and the online bravery that virtual interactions
THEN: Since its inception, the Spadina Hotel has had many proprietors – and many names to boot – but in its 140 years, it has always been a place of shelter. It is best remembered for its polarizing stint from the 1950s to 1997, when the Cabana Room — a small, beach-themed stage — hosted local and international, neo-rock experimental musicians. The music venue also featured legendary performers like the Rolling Stones and Leonard Cohen. The Cabana
Room made a brief appearance in the 1973 comedy The Last Detail, which starred Jack Nicholson. NOW: The Cabana Room was most recently known as the Global Village Backpackers (once Toronto’s largest youth hostel), until what it called “unforeseen circumstances,” forced its closure in early 2014. While the Spadina was granted landmark status in 1985, it is unclear whether or not this will have an effect on future plans for the building.
propagate, TRC exploded in the weeks leading up to and after Guvernment’s closing. There were threads about favourite Guv memories, who had the best performances, who “obtained souvenirs” from the last weekend and even threads cursing Daniels Corp. for taking away the partygoers’ space. Many people declared Coda and RYZE as their new go-to spots, while smaller clubs like Toika play host to independent events like B.A.S.E. to showcase local up-and-coming talent that may previously have been held in The Guvernment’s smaller rooms. Still, others such as Bassline Music Bar, Mississauga Ont.’s &Co Resto Bar and Vaughan Ont.’s recently renovated T2 SoundBar, carve out niches as “the” spot to go to on a particular night of the week (Bassline on Tuesdays, &Co on Wednesdays and T2 on Thursdays). Meanwhile, with no superclub staying open into after-hours territory, Toronto pariah Comfort Zone has seen a sizable boost in traffic after 3 a.m. on weekend mornings. After closely monitoring it over a couple of months, it appears to me Coda is slowly becoming Toronto’s de facto number one – if there were to be a number one, that is – in terms of strength of bookings, attendance, and general atmosphere. Plus: Coda has chicken fingers! Cody explains: “Coda might
THE BIG BOP WHERE: 651 Queen St. W, Toronto THEN: Before the gentrification of Queen West, The Big Bop was the all-inclusive mecca for the metal and punk scene in Toronto. Its multitiered three stages — Kathedral, the Reverb, and Holy Joe’s — drew self-entitled, prepubescent teens eager to get their start in music, fostering the likes of Billy Talent and Alexisonfire. Initially a Masonic Lodge
be the second best in the city, but they’re completely different,” he says, stirring the few gulps left in his iced cappuccino. “They’re not the same thing. Nothing [is] on Guv’s level, nothing can truly stand out until the new complex is built.” Wait, new complex? What? Indeed. INK, and by extension, Charles Khabouth, also owns Sound Academy and the adjoined Cabana summer pool bar. By October, Sound Academy will be fully renovated into a hulking, multi-room superclub that will instantly be the biggest nightclub presence in the city, yet not necessarily a Guvernment ‘replacement.’ Down to the last couple sips of his drink, Cody explains that Khabouth’s vision is to close the book on The Guvernment and start a new chapter with the new club. Not many people know what it’s going to look like but Khabouth will undoubtedly spare no expense in making sure it tops Guvernment. The goal is to rival any big club in Las Vegas or Miami, with Cabana events during the day that move to the new superclub at night. SPEAKING OF VEGAS and Miami, the new condo complex rising out of Guv’s ashes is shaping up to rival any middle-to-highend condo found in those two cities. As torch bearers of the whole
(The Occidental Building), it was cultivated into the Holiday Tavern, a music venue for jazz and R&B acts, in 1948. The Holiday Tavern was later sold to the Ballinger Brothers in the mid-80s where it reigned as the Big Bop from 1986-1996. Management of the venue was transferred to Peter Ballinger when his brothers left for New York to manage Webster Hall. After a decline in finances (circa 1994 to 1996) and a short-lived stint as Freedom: The Nightclub,
Dominic Chiaromonte obtained ownership of the space in 1996, and once again re-branded the venue as The Big Bop. Painted in purple, it remained the funhouse until its inevitable closing in 2010. NOW: The Big Bop currently stands as CB2, a division of Crate & Barrel. However, landmark status has allowed the venue to retain its exterior physique, despite the new colour change and renovations to its interior space.
❯ by DAVID ADADE
EMERGE | 2015 25
SEE TORONTO’S NIGHTLIFE: LAST CALL
EMERGEMAGAZINE.CA/SPREADING-THE-GUV/
waterfront’s cosmetic and infrastructural The proposed condo will have 900 suites, live in a media landscape where big businessmakeover, it should be posh and spectacu- and using the Toronto Real Estate Board’s es make empty promises on a regular basis lar enough to be worthy of the comparison. 2014 average price of $367,000 each…well, and spew out buzzwords and phrases like But the reason for building there is osten- you can see how much money the developer “centre for innovation” and “creative indussibly the nightlife and general culture that expects to rake in from the complex. Prob- tries hub” with no thought to how oversatexists in the area. However, removing what ably much more than The Guvernment has urated the PR market is with such dealings. attracted the builders in the first place raises made in the last decade or so. Surfing across the instantaneous inforthe question: is the building doomed to mation waterfall that cascades over “IT’S A GREAT TIME FOR ALL become the latest in unoccupied Toronsocial media platforms, I’ve put myself to condominiums? at the top of the list of people who are THESE SMALLER VENUES TO Condominiums occupancy rates are largely doubtful, cautiously optimistic PICK UP ON SOME ARTISTS at a 21-year low, seeing that roughly five and minutely hopeful that maybe, just THAT MIGHT BE TOURING per cent of all units in the city remaining maybe, The Guvernment’s legacy won’t vacant. It’s an interesting sort of dichotTHROUGH NORTH AMERICA.” be soiled by a soulless structure imposomy: nightclubs and restaurants and the ing its debt-inducing will on the people vibrancy of those attractions bring investors But is this a case of a cold, steel phoenix its new owner calls its residents. and condo builders to these areas, but how rising out of cultural ashes? Daniels seems Maybe the condo complex will even can the bubble not pop if the very things that cognizant of the dangers of steamrolling a be culturally beneficial, given the plans to make condo building sound good are demol- place like The Guvernment to make way for keep the arts alive in its vicinity, a preposished to make way for the condo itself? shoebox living, as the official late-March terous proposition a mere four months ago Khabouth himself doesn’t deny it. “It’s unveiling of the waterfront project blew its that now seems not so insultingly far-fetched. closing because Toronto is being taken over audience away when it announced that the The jaded twenty-somethings that attended by condos, right?” he told the Toronto Sun condo wouldn’t just be a soulless Jenga stack Guv might forever disagree with that sentiearlier this year. “The new landlord bought of living quarters. ment, but once the dust settles and they’ve out the rest of the block so now it’ll be a In fact, in a recent media release Daniels moved on, perhaps the curiosity will get to massive development on the water instead of said it plans to make the East Bayfront them, too. And who knows? Maybe they will a nightclub. Listen, it makes financial sense,” complex “a fully-connected destination that come to accept the new urban landscape. he said. will enhance Toronto’s position as an interBesides, Toronto has the renovated Does it? Waterfront Toronto, the public nationally recognized city of arts, culture and Sound Academy to look forward to. And if agency in charge of overhauling around innovation.” it’s anything like one imagines – if it’s being 2,000 acres of Toronto lakefront property, It’s a plan that sounds much like your purpose-built to be the biggest and best club has already spent over $1.5 billion on reju- typical corporate public relations shill. But in Toronto – then it should be nothing short venating the decrepit lakefront areas, with after further digging it does appear to have of Miami or Las Vegas-level spectacular. You another $1.65 billion in funding on the way some real legs. can bet that Charles Khabouth will do his to continue the project. Here’s why: not only will the monstrosity damndest to make sure of it. Waterfront Toronto CEO John Camp- house residents in its steel and glass skeleton, bell said the cost of building on the lakefront but it will also be home to several non-prof- BY THIS POINT, Tim Horton’s is nearly property is exorbitantly high, thanks to the it arts organizations like The Remix Project, empty. Cody and I have finished our drinks, condition of the land. “All the land south of Artscape, and Manifesto, as well as talent wrapped up in conversation about the new Front Street is landfill. It’s all brownfield, management and entertainment law firms. venue and the spread of Guv-lovers. “It’s and it shifts,” Campbell said in an interview In addition, the March 26 unveiling gonna be the superclub in Toronto,” he says last summer. Despite all that, the revenue revealed that the first tower will feature with a knowing smile. “I think there’s more generated by the establishments built on the restaurants, coffee shops and an admit- to it than just building a club,” he adds. “I reconstructed land has already come close to tedly vague-sounding “creative industries think it’s going to be more creating an infrabreaking even with the aforementioned cost hub.” Global News reported on the same structure around it so that it truly is the best of land refreshing. day that Daniels is negotiating with George club in the city.” That quick breakeven is obviously part Brown College and OCAD University for And then in 20 years after the Sound of what drew Daniels’ interest in the land. an as-of-yet-unspecified “centre for inno- Academy establishes its legacy, and is torn The fact that Khabouth partnered with vation,” another vague-sounding enterprise down to make way for even more condos, other investors and still couldn’t place a high that could be anything from an arts school there will be a whole new perspective and enough bid to secure the land shows how high campus to blasé office space. generation to examine it, thus completing the the fiscal stakes are for the whole waterfront. Forgive me for being skeptical. But we Condo-vs-Culture circle of life once again. 26 EMERGE | 2015
OVER DEVELOPED UNDER PROCESSSED KIRSTEN SCHOLLIG
EMERGE | 2015 27
SCAN EACH PAGE OF THIS ARTICLE WITH PRESSFRONT FOR MORE PHOTOS BY KIRSTEN SCHOLLIG
28 EMERGE | 2015
ARTIST STATEMENT Toronto is known as the most culturally-diverse city in the world, not only when it comes to people but also architecturally. As the city grows in population, so do the buildings. Every day the skyline is changing, developing and growing. This can become overwhelming to people who thought they once knew where they were in the city, but cannot find familiar landmarks any more. The same can be said for us as growing, developing and changing young adults. This work is a testament to that change. With emerging buildings, emerging careers and emerging names, we join the overdeveloped and under-processed city and world that surrounds us.
EMERGE | 2015 29
STOP DRINK RELAX ❯ by MEGHAN MURPHY ❯ photography by NATALIE VARDON
T
UCKED AWAY in a house on Kensington Avenue is a tiny café so hidden you’d walk right by it if you didn’t know where to look. FIKA is the name, and as soon as you walk in you feel the creativity and culture that surrounds you. Owner Nikki McKean describes it as a “modern, clean esthetic café.”
The word FIKA “means to take a coffee break, usually with something sweet and socially. It’s just sort of a cultural practice in Sweden,” said Sarah Hiltz, an employee at FIKA. Opening a café has been something McKean has always wanted to do. After spending a year on exchange in Sweden, McKean fell in love with its culture. This inspired her to open a Swedish style café here in Canada. “We don’t [serve] traditional Swedish food or [do Swedish] things, but it was all inspired by my time spent in Sweden,” said McKean.
30 EMERGE | 2015
The cultural practice of sitting down for a cup of coffee is what McKean wanted to bring to Toronto. She said when she was on exchange in Sweden she wasn’t sure the idea of a to-go cup of coffee even existed there. You had to take 15 minutes to relax and drink your coffee. What better place than Kensington Market to open such a café? “I feel like the culture in Kensington can be anything and that’s what I kind of love about it,” said McKean, adding “it’s important for any area to be evolving and growing with what people want.” McKean said she originally wasn’t looking for a space for the café. She found the spot online, went to check it out and the café grew from there. She said it was difficult when they first moved into Kensington simply because of the way the café looked with its clean and modern atmosphere, compared to other shops. “But to us it didn’t really matter. I think with cafés in particular a lot of people have their spaces that they go to and then it becomes a destination. So whether or not you’re in Kensington or if I’m on the east end or west end I think that people fall in love with a place and they go back [to] it,” she explained. “I think the beauty of FIKA is that the entire idea was based off of culture,” said McKean. But what sets FIKA apart from every other coffee shops is McKean’s idea of a relaxing café. “People should relax and actually enjoy themselves and enjoy coffee with friends,” she said. “I think that the whole culture is something that we should, as North Americans, dive into a little bit more and remind ourselves that it’s okay to take time out,” McKean said. “ It’s okay to stop and enjoy our coffee, we don’t have to do everything on the go.”
EMERGE | 2015 31
LOSE YOURSELF
ESK APE REALITY ❯ by JOHN SAMUELS ❯ photography by DEANNA WILSON “WHEN YOU HAVE A GROUP OF PEOPLE WHO SHARE THE EXACT SAME INTERESTS AND GOALS, YOU ARE MORE INCLINED TO CREATE AND KEEP STRIVING FOR SUCCESS.” JENESIS, MEMBER OF ESKAPE REALITY
A
NY ARTIST PAINTING obscure drawings on a canvas or building wall has always been a traffic stopper in Toronto. Yet these paintings become even more of a spectacle when they are done by a team. Some of the best work in history required a group to make it possible. Tastemakers, dreamers, artists, thinkers and curators are all a part of the collaborative creative process that can lead to a masterpiece. Today, the art scene continues to embrace collaboration. Collaborative works are being showcased everywhere across Toronto and with more galleries and art shows popping up, more collectives are being born. Eskape Reality, a psychedelic threemember collective consisting of Jayden “Eskape” Hardie, Jeannie “Jenesis” Priscilla and Tim “Skynz” Schijns, is a new group of artists who find unity through their different art styles. Hardie, who originally went by the full alias Eskape Reality, founded the collective just over a year ago. Hardie became very committed to his craft, with a personal website already up and running. The collective soon after adopted the name, finding it fitting for their initiative. “We figured hell, why not? The name was perfect as it was a reflection of all the group members. When we create we lose ourselves in it and essentially detach ourselves from reality,” said Hardie. Losing themselves in their creations is the main reason why all of the group’s artwork appears to be so different. AND DIFFERENT THEY ARE…
Hardie’s work fully embodies the brand – it’s nothing less than a trip. At first glance, you’re instantly on a journey. You 32 EMERGE | 2015
may think you have it all figured out, until later on when you find yourself shaking your head, thinking something different after just a few glances. Hardie’s authentic illustrations are bold, unforgiving, unorthodox, and he’s well on his way to creating his own style – if he hasn’t already. Priscilla is very free-spirited. Her positive energy radiates across the room and is apparent in her paintings; you can see the passion within her work. Priscilla’s illustrations feature a lot of fine detail within her marker work, and bring out some of the boldest themes, alluding to major cultural references in an abstract composition. The blend makes it refreshing and nostalgic all at once. Schijns is the character of the group. He’s the newest member but his work doesn’t scream amateur at all. Schijns’ work is very amusing to me; watching cartoons my whole life really makes me gravitate to his creations. Full of personality and colour, his paintings – for the most part – carry this comic book strip narrative, making it lively and interesting. Eskape Reality’s differences have never been an issue for the crew. The group’s different styles have helped push a healthy scenius, or shared genius. While this inadvertently helped each member’s individual style grow, the collective’s interests still fall under the same umbrella. I met up with the budding crew of artists at their opening event at the Flying Pony on Friday, Feb. 6 over artwork, pastries and good conversation. The members of Eskape Reality are like modern day hippies, so talking to them was like talking to an old friend.
Q& A What are your influences? SCHIJNS We’re influenced by psychedelic and abstract art. These are older movements, but I love seeing artists continue to reinvent and push the limits of the psychedelic style.
There’s always something intriguing about collaboration and it would be odd to think this has never happened amongst you guys. Have you collaborated on the same work of art? SCHIJNS We’re capable of working on the same piece in the same style and the same time. If I hit a creative dead end, I know Jenesis or Eskape can pick up where I left off and finish the piece. PRISCILLA Our compatibility is what makes us different. Our styles still flow organically together. Despite the fact that you can point out who did what, it all still flows so naturally as if one person has done it themselves.
HARDIE
Many local artists believe the art scene in Toronto is progressive. Over the past couple years, more galleries are opening and art events are showing up in less predictable venues. More events mean more art shows are being curated, opening the doors for hungry artists who are looking to get their foot in the scene. HARDIE It’s only getting bigger and better each year and once summertime hits the city, there will be tons of events to keep an eye out for.
You guys can’t be the only collective of artists from the city? PRISCILLA The first that comes to my mind is Jimmy Chiale’s collective – I’m not sure if they have a name – consisting of 50 artists. They host group shows on the last week of every month in his gallery on Queen Street. Although their collective is much bigger, I’d say they are similar to us in the sense that this is something they love and they are dedicated to constantly showcasing their work to others. I would love to connect with them in the near future.
PRISCILLA
I remember attending Eskape Reality’s very first event in the summer of 2014, downtown at Gallery in Liberty Village. The event had a respectable turnout, but attending the most recent one at the Flying Pony was like night and day. Not only was the venue packed, the vibe was there; you felt the energy from outside the venue and people were feeding into the experience, networking and before anything else, buying art. The collective was riding off that energy throughout the whole night, and it was a positive move in the right direction for Eskape Reality’s future. What do you like about holding art shows? PRISCILLA We love hosting shows because it is always interesting to see the turnout of people. We find that often people who are walking by the venue are interested in checking out what’s going on and those random strangers suddenly become admirers. Hosting shows is a great way to get your work out there to those you never thought it could reach.
What else is in store for 2015? HARDIE We’re all looking forward to the summer, painting outside, working on new collaborations, and hopefully planning a couple of outdoor shows.
Eskape Reality is a collective to look out for as they continue to contribute to the art culture of Toronto, showcasing their works in a now-striving urban art scene.
SCHIJNS
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BALLET CREOLE
FINDS ITS FOOTING ❯ by MEGHAN KIMMERER ❯ photography by KIRSTEN SCHOLLIG
F
IVE YEARS AGO, in a bright New York City dance studio, I took my first and only class accompanied with music from a live drummer. Two years after that trip, in 2012, a local African-Caribbean dance company – who also moves to the sounds of live drumming – was forced to move out of its studio in downtown Toronto. Ballet Creole, then in its 22nd year as a Toronto-based company and cultural hub, became homeless. The dance company had been renting space in the Old Orchard Junior Public School for 10 years when the Toronto District School Board told founder and artistic director Patrick Parson that his rent would be increasing. “The ‘powers that be’ kept raising the price of the space,” said Parson, “We were paying $60,000 for the space and [the school board] wanted to double that.” Parson said it wasn’t possible “to run a non-profit artistic environment where we try to enhance kids’ lives by giving them something to do, and make people healthier by being physically involved in movement,” while paying such high rental fees. “So we had to move out,” he said. Moving out meant that Ballet Creole would no longer have a space to host its community classes, professional training school, or rehearsals for the professional company. But while it could no longer call Old Orchard Junior Public School their home, Parson and the rest of the company did what they could to continue creating and inspiring dance in the community. “We tried to be very resourceful so that our company didn’t die,” said Parson. This involved using multiple spaces within a threeyear period. “We’ve been renting different studios,” he explained “We ended up renting at Bathurst and College, which kept us there for a while, but it’s not our space.” Alistair Graphine, a core dancer for Ballet Creole, said that while between studios the professional dancers had to work around an unstable rehearsal schedule, constantly waiting for space to become available to them. “We sometimes had to sit down and be on hold for a studio to 34 EMERGE | 2015
become free,” said Graphine, who explained the company had to move down to one class per day –instead of three – during rehearsal time. “One class to warm up and then to go into rehearsal… it doesn’t get my body pumping,” said Graphine. “That’s not enough. It takes a lot out of me during rehearsal because I have to push myself more than ever to just get myself active, to execute and to present our work.” The loss of Ballet Creole’s home affected the members more than just physically. Parson said he was disheartened to find out how difficult it was to get loyal support from everyone in Toronto. “The support within the Black community was different from the Caucasian community,” he said. According to Parson, he believes the Caucasian community in Toronto would be more likely to donate to a larger, wellknown company of dancers like the National Ballet of Canada than to an all African-Caribbean group. “It had me very sad that people would not see the value of supporting such an organization that had been around for 22 years at the time,” he said. Celebrating the cultural diversity in Toronto, a city so multicultural, is part of Ballet Creole’s mandate. “The world is full of diversity and the energy that brings things together,” said Parson, whose goal is to draw art from different cultures, mostly from Africa, and present it to the people of Toronto and beyond. “I’m looking for something to create that’s new here, but different,” he said. “Everywhere I go I look to do that, and try to find the opportunity for me to live what I love to do.” Gabby Kamino, an associate choreographer for Ballet Creole, said Parson and his company continued to do just that – living what they love to do – through the years they spent without a studio. “Ballet Creole is a survivor,” said Kamino. “They [made]
some extremely beautiful works having to find a home.” “In three years we have had a slow and steady uphill battle with many small victories and even more challenges,” said Ballet Creole general manager Natassia Parson. “I believe we’ve weathered the worst and with this new space we’re ready to rebuild in a fresh new light.” That new space is next door to the Jean Augustine Centre for Young Women’s Empowerment in Toronto’s west end. “The Honourable Jean Augustine is an honorary member of our Board and former Etobicoke MP. She was instrumental in helping us obtain this new space,” said Natassia. Augustine’s help came naturally. “I have known of the company since its inception and have followed their progress over the years. Their commitment to artistic excellence, the development of young artists and Patrick’s vision of spreading the art form to Canadian audiences drew me in,” said the recentlyretired Fairness Commissioner of Ontario. Augustine said she was unhappy to see the company without a home, and assisted by publicizing their events to bring in donors and sponsors. “Music and dance and those who convey their talent for our enjoyment need all our support,” said Augustine, “My hope is that with a home in a new premises, [Ballet Creole] will grow and enable a new generation to develop.” The company is on its way to doing just that. Staff members and members of the company have recently installed flooring and are in the process of organizing the new space – all while continuing to host their recreational community classes downtown, and rehearsing for their upcoming performance Agua Como Vida, in celebration of their 25th anniversary. Now that the company has a place to call home, Graphine and the rest of the dancers will have the space and time to perfect their work. “I’m looking forward to getting my stamina back,” said Graphine about being able to dance in Ballet Creole’s new studio. “My body is my tool. It’s where I get my work from to support myself.” Back in 2012, when the dance company was evicted from its previous home, Parson was philosophical. “Everything happens for a reason,” he was quoted as saying at that time. “I still don’t know what the real reason is,” he said. “I’d say one of the reasons [for the struggle] was for me to focus on me a little bit. But I still didn’t do that because my thing is about sharing. Sharing culture and performing arts within Toronto.”
EXPERIENCING THE ENERGY IT’S ONE THING to speak with Patrick Parson about Ballet Creole, but to sit in on one of his Community Classes is a whole other experience. On a rainy Saturday morning in March, I made my way to St. Mary Catholic School in downtown Toronto to watch Parson teach his Adult Contemporary Afro-Caribbean Dance class. “Every teacher teaches differently,” said Parson, whose own teaching method is very vocal, pairing colourful analogies with different sounds and specific counts. Dancers were told to “spread dough” with their hands, to “walk on coals,” and to move their hips like a “washing machine.” Parson’s movements were wild yet controlled, and his choreography was infused with intricacies. Though he isn’t large, Parson’s energetic spirit completely filled the room. I found myself bouncing in my seat, wanting to jump up and join in on the fun. Asked why I didn’t, I told Parson I was struggling with an upset stomach. What he said next fully encompasses what I’ve learned about Ballet Creole. “The energy of the dance and the vibration of the drums would have healed you,” he said. After watching Parson in action that day, I believe him.
EMERGE | 2015 355
BEHIND THE FAN SCENE
❯ by JOHNA AUTENCIO ❯ photography by VANESSA LAURO
Y
OU’RE SCROLLING THROUGH FACEBOOK AND YOU
and it connects more paths than in previous generations,” said Dr.
a photo with your favourite actor who’s in town for a film
As Toronto is being dubbed “Hollywood North,” more films and
and you become insanely upset when your best friend posts
shoot. You open Google and try to find out what’s filming and how fast you can get there. The search is on!
With more films being shot in Toronto and renowned film
festivals like the Toronto International Film Festival (TIFF) being
held in the city, fans are challenged with proving their credibility. Dr. Annett, Assistant Professor in Film Studies at Wilfrid Laurier University, said it’s a prestige game among those fans.
“If you can post a picture of yourself on location, you boost your cred as a fan. A film location is the ‘Holy Land’ for a fan, but on the
other hand, it’s a very practical site for self-promotion,” Dr. Annett said.
According to Dr. Annett, fans have a human urge to connect, to
walk where their favourite star has walked, or to see the set of a film with their own eyes.
She described fan culture as a multi-way intersection at the heart of a major city; a site where people from many different walks of life cross each other’s paths. It is social media that has made fan culture more visible and more vocal.
“Fans have always connected over common interests. The difference for today’s generation is that the intersection is more public 36 EMERGE | 2015
Annett.
television shows are being shot in the city. The entertainment
industry has been trading the California sun for the four-seasonal north and Torontonians can’t be fooled.
For example, Suits fan Nicole Tayler said her ultimate goal is to
find one of the main actors from the show. Although it is set in New York City, the popular legal-drama shoots all over Toronto.
“They try to hide [the background],” Tayler said, “but since I’m
from Toronto, you know certain places [from the scene] and they can’t blur it out for people to not notice it.”
In fact, one of the most recognizable landmarks and most known location for their show is in front of the KPMG building on Bay St.
and Adelaide St. W. in downtown Toronto. Many fans walk by the building during filming season to see if they can try to take a selfie with their favourite actors.
This kind of spectacle is especially true with bigger landmarks like Casa Loma.
Audiences around the world have seen Hollywood movies like
Scott Pilgrim vs. the World, X-Men, and Chicago and assume they’re
shot in a large European and gothic-styled castle. But,
unbeknownst to them, they were actually shot right here in Toronto
at the famous Casa Loma – Canada’s majestic castle and one of many
fake drinks, and then the director would say ‘ACTION,’ where we
In early 2014, writer and director Guillermo del Toro (known for
Now that the world is at our fingertips with Twitter, fans are
popular filming locations in the city.
such films as Pacific Rim, and Pan’s Labyrinth) brought his latest film project, Crimson Peak, to Casa Loma. It is a period piece set in the late 1800s, most of which takes place in a castle.
Vito Ferrone, Vice-President of Operations at Liberty Entertainment Group, said del Toro thought Casa Loma was the perfect venue
to use in his film. The storyline revolves around Edith Cushing, played by Mia Wasikowska (Alice in Wonderland ), trying to escape ghosts of her past, while living in a castle that haunts her.
Throughout the filming process, Ferrone said del Toro and his film crew tried to keep the filming location top-secret, but the word
got out on social media. Ferrone estimates a few hundred people were coming to view the set every day.
“We had a large amount of people coming to visit Casa Loma
during the period [the cast and crew] were there,” Ferrone said, “Everybody wants a glimpse of a celebrity and [to] get a behind-thescenes sneak peek of a large major motion picture set.”
Now that Toronto is becoming more recognized for Hollywood entertainment, it allows many fans the opportunity to potentially
would act casually and [pretend to] mouth out words.”
one-step closer to meeting their favourite Hollywood artists on the street. What was once an unattainable opportunity has become easily accessible for all.
Yet, even with social media aiding in connecting fans and actors,
Dr. Annett thinks a more effective way for fans to interact with industry professionals is through fan conventions, such as Fan Expo or Toronto’s Comic Con – both are massive events with fan and industry involvement.
“If Fan Expo can reach the level of San Diego’s Comic Con by
having the same kind of industry ties, then maybe we will see a groundswell of Canadian fan culture centered here.”
With Toronto becoming the new “it” place to shoot, there’s a chance that you could get a picture with an A-lister and make your Facebook friends jealous.
“A FILM LOCATION IS THE ‘HOLY LAND’ FOR A FAN”
meet their favourite actors.
Carolyn Kay, an avid fan for anything Harry Potter-related –
especially Potter himself, Daniel Radcliffe – was shocked when she
found out he was in town for his 2014 The F Word film premiere last
summer.
The film had shot scenes in downtown Toronto, resulting in
Radcliffe returning for the premiere. This was surprising to Kay who would’ve liked to get a glimpse of her favourite actor.
“I can’t believe I missed him when he was here, especially when he was filming in an area that’s not as chaotic as Queen St. and Yonge
St.,” Kay said, “If I ever saw him in person, I wouldn’t know what to do!”
While most fans continue to try and meet their favourite actors, others have been given the privilege to work with them.
Betty Rodas is one such person, who was lucky enough to be in the right place at the right time. Thanks to her friend who is an
occasional and professional background actor, she was given the
opportunity to be an extra for one of her favourite shows, Orphan
Black, starring Golden Globe nominee Tatiana Maslany. “It was honestly so much fun. Once all the extras were signed in we got called to pick our wardrobe. Each person brought different pieces of clothes to show the stylist [and] she would pick out what looked best for us. After everyone got through with wardrobe, we had our hair and makeup done,” Rodas said. Rodas describes her experience as exciting, but surreal, especially when she saw Maslany from afar. “The best part was being in the scenes. The coordinators would place us where we were supposed to sit, stand, or walk, give us our
EMERGE | 2015 37
SPONSORED FEATURE
From
SANREMO with LOVE
by MEAGHAN RITOLA photography by SAMANTHA DACOSTA
ADD A HEAP OF DELICIOUS FOODS, three cups of brotherly love and a dash of Italian inspirations and you get a recipe for one delectable bakery experience. On the corner of Royal York Rd. and Simpson Ave. in Toronto’s west end sits an inviting building – its light blue façade and windowed walls enticing passersby. “SanRemo Bakery” reads the sign, further tempting those to come inside. Peak your head in and you are immersed in the sights, sounds and scents of SanRemo. The smell of fresh espresso lingers in the air; the sound of steam escaping catches your attention as you are drawn towards the fresh cappuccinos and lattes. But this is only the start of what the bakery has to offer. Venture further and you will find authentic Italian sandwiches that will make your mouth water, a HUGE assortment of fresh baked breads, and of course, heavenly desserts. For such a large-scale business it’s hard to imagine that SanRemo is family owned and operated. Originally founded by Natale Bozzo and his brothers over 40 years ago, the shop still remains in the Bozzo family. It has been passed down to Natale’s three sons: Robert, Edward and Nick. It is the family aspect of the business that the brothers say has kept SanRemo going. “Because it’s a family run business it’s family oriented,” said owner Edward Bozzo. “This business wouldn’t run without a family.” His brother Robert agrees. “There’s three of us so we each have our part in the business so [we’re] able to handle a lot more as opposed to just being one person,” he said. Not only does family play a big role in operating SanRemo, but it also helps to set them apart from any other business. “You come here and you feel like part of the family and that’s what SanRemo wants you to feel, like you’re part of their one big Italian family,” said manager Karolina Visic. But when it comes down to it SanRemo is all about the food. It is easy to imagine there is no other bakery in Toronto with the same level of dedication and all around
374 Royal York Road Toronto, Ontario M8Y 2R3 416-255-2808 38 EMERGE | 2015
love that going into each and every product. Edward “makes the stuff hands on so he can control what’s good and what’s bad, if it doesn’t look good it’s not going out,” said Robert. Food preparation begins at 3 a.m. in order to feed the hungry crowds of people that flock to the bakery. In total, Visic estimates that they prepare over 200 items per day. “There are 80 types of bread, there are over 100 types of cakes and pastries, pizzas you have 20 types,” said Visic. And even with the large quantities of food they continue to sell out of their most popular items daily. One such item is the vast assortment of donuts. “The donuts are very, very good. They’re really light, they’re not heavy at all,” said Natasha Tropea, a customer of SanRemo. “They’re pretty much always sold out when you come in, so you have to come early,” she said. Because of their popularity among SanRemo customers she even recommends ordering donuts a day in advance to ensure availability. Another item that continues to draw fans is the hot veal sandwich, a favourite of owners Nick and Robert Bozzo. “Nick loves his meat,” said his brother Edward. “My favourite thing here is the veal sandwich,” said Nick, while his brother Robert added: “I eat one every day.” It is no wonder that the brothers love the food that they serve, with many of the items being based on old family recipes. “The staples in the business are old recipes that were made by my father,” said Robert, “Now that the business has grown we have taken it to a new level by adding new products,” he said. “We try to maintain tradition here, but at the same time [we put] a modern twist on it,” said owner Nick Bozzo. It is this new twist that helps SanRemo grow and garner more and more customers each day. Robert Bozzo puts it best: “We’re not just focused on Italian culture here,” he said. “Our customer base is so multicultural because we offer products for everybody.” It is this endless selection of products that continue to draw the crowds, the deliciously tempting foods that deliver family passion and love in each and every bite.
www.sanremobakery.com Facebook: sanremobakery Instagram: sanremobakery
EMERGE | 2015 39
FREELANCERS: THE NEW FULL-TIME ❯ ❯
by JAMES GIKE photography by JEEVAL TAILOR
IF YOU’RE A MEDIA STUDENT WHO THINKS
you’ll find a traditional full-time job right after graduation, think again. While it isn’t impossible, it certainly isn’t the norm. I recently had the opportunity to tour Spacing Magazine ’s downtown office and store with one of my classes. While there, Spacing founder Matthew Blackett talked about the industry. In regards to small magazines, he mentioned that “stable jobs with structured responsibilities are few and far between, which is not necessarily the case for larger publications.” It’s very rare to walk into a job interview and be handed a typical nine-to-five. Companies are downsizing. Large media conglomerates are buying out smaller companies and filling holes in their staff with their own. Media workers are out of jobs and forced to pick up work wherever they can find it. “Freelancing is another way of saying you’re selfemployed,” said Mike O’Reilly. O’Reilly was the founding president of the Canadian Freelance Union (a local chapter of Unifor) and a freelancer for 20 years. “As a media worker, it’s important to realize that you’re in business for yourself,” he said. “There are too many people who do work for free, and it’s 40 EMERGE | 2015
important to ensure you’re paid.” O’Reilly said an understanding of copyright law is important. Knowing how to navigate through negotiations with a purchaser or editor without being taking advantage of will ensure your integrity is intact. Editors have unfortunately lost their autonomy when negotiating with freelancers. O’Reilly said this is because large media organizations now set limits on how much the editor can offer. According to O’Reilly, there has always been conflict over ownership of content. In the early 90s he began his freelance career while holding a staff job at a newspaper. Publishers were starting to push freelancers to sign ownership contracts. “They wanted all your content,” said O’Reilly. “These contracts took away the ability for a freelancer to re-spin a story and re-sell it.” By being vocal on this issue he found himself in a room with some of the industry’s top professionals, including journalist and author Heather Robertson. The group was looking to combat a growing problem: publishers putting a freelancer’s article into an online database without the permission of the writer. Using an online database, The Globe
and Mail could publish a story in tomorrow’s edition and by the weekend it would be in their online database. “We believed that we deserved some sort of recompense beyond what we were paid for the initial publication of our article,” said O’Reilly. It took close to 12 years but the Supreme Court of Canada finally ruled in favour of freelancers in the Robertson v Thomson Inc. case in 2006. The industry is naturally competitive to begin with, so it takes a certain drive to succeed as a freelancer. O’Reilly says that you need to have an “entrepreneurial hustle.” Knowing the business and how to take advantage of the technology available, as well as a firm grasp of your personal style will add to your success. Style can be a media worker’s most potent marketing tool. When in business your style is like your brand, and how you promote it will determine success. “You can’t force style,” said Wayne Tindall, an advertising copywriter with many years in the industry. He was let go from a mid-sized advertising agency in Mississauga, Ont., when a new creative director was hired and staff changes were made. All of his experience helped him support himself through freelancing. Media students need to think of what they’re passionate about, according to Tindall. If you’re passionate about what you’re doing then it will come out in your writing. O’Reilly’s background was in science and medicine, so when he decided to start freelancing he combined his two loves: medicine and writing. “It’s an easier way get your name out there,” said O’Reilly. There are some professionals that would argue the opposite – being a jack-of-all-trades has benefitted some as well. Tindall knows that he could go from “writing a travel article one day to designing a billboard the next.” Students entering the media industry do face some difficulty freelancing. “It’s kind of a Catch-22. While a student will be able to get their name out, a lack of experience causes a lot of struggle,” said Tindall. “You need experience to freelance but you can’t get experience without working.” Tindall will often receive jobs with a very quick turnaround. He recently got a job at 4:30 p.m. and had a 9 a.m. deadline the following morning. “Experience gives you the ability to tackle tight deadlines with calmness and confidence,” he said. Karen Ng-Hem is a graphic designer who has worked in freelance as well as agency staff jobs. “I looked for freelance jobs even as a student,” she said. Taking advantage of every opportunity for experience and relationship building has helped her along the way. Ng-Hem admits that although it is not ideal, working for free can allow you to show your skills to potential clients. She also encourages the pursuit of internships. Experience can be practice and an opportunity to fine-tune your style and skills. “Twenty-five years ago there was a lot more diversity in media ownership,” said Howard Law. Law is the director of media for Unifor, a union that covers all of Canada and represents 14,000 workers from the “general media sector.” Law has worked for many years to protect the rights of media workers, including overseeing Postmedia’s purchase of Sun Media. He understands that in a shrinking industry, young people are often underrepresented in the media. There are many staff jobs, according to Law; but they are all full. The makeup of “mainstream” newsrooms, like those at
The Globe and Mail, is dominated by the previous generation. “Any kind of industry needs a rational revitalization of the workforce,” he said. “If there are none, or very few young journalists being hired, there is a lasting damage on our ability to provide good journalism in the future.” While freelancing may seem like a struggle, it is the way many young people now make their living. What does this mean for the future of media? Our generation will be sure to find out.
EMERGE | 2015 41
MICHELE RANDALL ARTIST STATEMENT Graffiti is the expression of art culture, the changing of unpleasant spaces into unique pieces of art, and the transformation of bland to beautiful. The most unique aspect of street art is its timelessness. In an ever-changing culture where the government is trying to “modernize� the city, graffiti is still a classic piece of art that stands long after everything is torn down and built anew. It also tells a story of a rebellious culture in its own right, by leaving the imprint of an artist long after they have moved onto other ventures, looking for new places to leave their mark.
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| 2015
THE ART OF GRAFFITI : FROM BLAND TO BEAUTIFUL
EMERGE | 2015 43
FEMVERTISING
A Shift in Gender Advertising ❯ by REBECCA ALBERICO ❯ photography by MICHELE RANDALL A HANDSOME, BUILT MAN drives his pickup truck through rough terrain; a ditzy blonde bombshell applies the perfect shade of rouge to her plump lips — motifs seemingly as old as time itself. It’s no secret that standardized gender roles in advertising have become predictable and tiring, but is the norm changing? Have the incessant pleas for gender equality finally brought about change? We’re not talking about the men-hating women that parade the streets with vulgar signage and radiate a stereotypical judgment of the entire male population. No, we applaud women and men alike who are repulsed by the current status of marketing that younger generations are being exposed to on a daily basis — the sexist propaganda flooding through their headsets and devices on the train to work, at school and in every other facet of their lives. It’s about time we bring on the powerful women and nurturing men. Welcome to the age of ‘femvertising,’ where advertisements are focused on powerful, strong women, while attempting to obliterate misogynistic stereotypes. ‘Femvertising?’ you say, yes, femvertising: a necessary emphasis on the female consumer. Ever since Dove shamelessly paved the way for female empowerment nearly a decade ago, Samantha Skey, chief revenue officer at SheKnows Media, said she’s glad to finally see that a plethora of other brands are following suit. “By in large,
TAKE A LOOK AROUND: WHERE DO YOU DISCOVER THESE ADS? Internet
Friends
Television
Social Media Weekly Flyers
ACCORDING TO SURVEY PARTICIPANTS MEN AND WOMEN SAY ADVERTISING IS:
Sexist to both genders and portrays stereotypes Not sexist and appears to be gender-neutral Male-dominated and sexist towards females Female-dominated and sexist towards males
women have been clear; they want to see gender celebrated in a positive light, not an objectified light,” said Skey. With their most recent campaign, popular feminine hygiene brand Always aims to change the connotation behind the too-often used phrase, “like a girl.” The 2015 Super Bowl ad has been praised globally for igniting the conversation about what it means to run, throw and do pretty much any activity “like a girl.” Are we not past this stereotype? Unfortunately, the distinction between male and female physical capabilities still exists. Think about it. How many times have you been to a boot camp or circuit-training class and been told to do “regular” pushups or “the girl ones” if you aren’t a seasoned pushup pro?
IN PRO-FEMALE ADVERTISING, WHICH BRAND COMES TO MIND?
44 EMERGE | 2015
The emotional messages in the commercial sparked controversy and surely received some criticism, but Gabriela Barkho, founding senior editor at Femsplain, said she believes that’s precisely how important conversations are started. “Even if it is a backlash or not necessarily a positive, glowing review from males, the fact that they’re even presented with these situations is helpful,” said Barkho. As this new brand strategy gets the conversation started surrounding female empowerment, there are communities like Femsplain that are being created to keep the positive dialogue going. Femsplain is a platform where anyone who identifies as a woman is able to have their writing published on the website. Although men aren’t published, they are more than welcome to join the conversation through comments and social media. Barkho couldn’t be more proud about the close-knit community the website has created. “Contributors trust us to publish their voices on topics that can be intimidating – especially for those who aren’t necessarily writers,” she said. By opening up the platform to discussions on popular female issues such as body image, abortion, and health, the ladies of Femsplain have proven their commitment to providing a safe haven for people to connect, learn and grow. Always is just one amongst countless other brands that are embedding messages of female empowerment in their marketing, and it’s working. Dove’s profits nearly doubled after their “Campaign for Real Beauty” initially launched. “Dove is an example of really having an ongoing commitment to female empowerment in their policies and employment practices,” said Skey, “You kind of hope that the behind-the-scenes matches the image that you’re projecting.” Femvertising is not only working toward gender equality, but it’s also providing a boost in the bottom line. According to data collected by SheKnows Media, women control 85 per cent of household purchasing decisions and represent a $14-trillion market. More than ever, women are driving purchase decisions around electronics, automobiles and financial services.
“These areas were thought of the male domain in the past, and it’s becoming clear that if you don’t engage the female consumer your business is unlikely to succeed,” said Skey. However, it’s important to recognize switching gears isn’t always easy for companies that already have an established brand image and loyal consumers, no matter how skewed their portrayed ethics may be. Skey warns that some companies shouldn’t be so quick to drastically revamp their marketing strategy. “Any marketing that is inauthentic is not going to work in engaging an audience… If you haven’t baked female equality — at minimum and empowerment at best — into your brand DNA from earlier on, then it will probably not resonate and would be a great reason to stay away from this space,” she said. Is this shift in gender advertising just a passing phase, or is it here to stay? “I think the Xers and [baby] boomers are pretty divisive in our gender politics,” said Skey, “There has been a lot of feminism that was not inclusive of men unless they were fully capitulated to one side.” Skey said she’s hopeful that younger generations will be the ones to banish stereotypes and gender as a limitation for both sexes.
WOMEN AS SEX SYMBOLS IN ADVERTISING Yes
Undecided
No
WOMEN
MEN
EMERGE | 2015 45
FORGING A CONNECTION
SPONSORED FEATURE
Laurie de Fleuriot de la Colinière & Marlene Scheel of Alumni Services by CARTER HUGHES photography by BRITTNEY KRUEGER
N
ext year will mark the 10th graduating class from the University of GuelphHumber. As the graduates move forward with their lives and careers, many find themselves returning to the university to offer mentorship and advice to students in the same position they once faced, preparing for life after university. Guelph-Humber’s Alumni Services department works closely with graduates to bring them back to the school in multiple capacities. These include sharing their journey at recruitment events, volunteering at school events, or coming into classes to speak about their experiences with students. There is also the opportunity to give back to the university through donations; one popular way is through scholarships and awards. “The connection between GuelphHumber students and the school is very strong,” said Marlene Scheel, Guelph-Humber’s Manager of Alumni Advancement. “Numerous alumni give their time and talent through volunteering, speaking in classrooms at recruitment events and during career services events – just to name a few. Students
46 EMERGE | 2015
love to hear the success stories of our alumni and our alumni are proud to share their stories.” Raman Bassam is one such alumna. A graduate of the Justice Studies program, she returns frequently to the university to share her experiences after graduation. “I spoke to one class about career development, how to get from one place to the other and how I got to where I am today,” she said. “I found that the students were quite responsive to it. I give them a moment after the professor is done speaking to come and ask me if they have any questions, so I can help them out that way and that’s something that I like doing. Just because I know how it feels to be in their position.” Speaking with returning alumni influenced Bassam’s own path. “It paints a picture of reality once you graduate,” she said, “which I found was really helpful, when somebody came back and was able to speak about where they are and how they got there.” Alumni Services organizes a variety of different ways for alumni to get involved with the university. Just recently, they organized a free coffee giveaway as
part of the university’s Random Acts of Kindness month. “We reached out to our alumni and asked them to contribute to the university by way of a small donation. We asked for $10 or a couple coffees’ worth of money and all those donations then basically went towards providing students with a coffee break,” said Laurie de Fleuriot de la Colinière, Alumni Services’ Alumni Advancement Coordinator. De Fleuriot de la Colinière said the returning alumni are all very passionate about their time at the university, the opportunity to give back, and the ability to forge a connection with the students. “It’s neat to see from their perspective, they’re a little bit further now in their careers and they’re a little bit more established and they still love to be here,” she said.
FACEBOOK www.facebook.com/GHalumni TWITTER @GHalumni WEBSITE www.guelphhumber.ca/alumni EMAIL ghalumni@guelphhumber.ca
RECRUITERS THE SEARCH FOR THE RIGHT CANDIDATE by CANUTE GOMES
LOOK ING FOR A JOB can be a tough process in today’s job market. With new studies from the provincial government showing Ontario’s youth unemployment rates trending higher than the national average, new graduates are also expected by most employers to have work experience and end up applying to positions that attract numerous qualified applicants. This raises the question: what really separates you in the views of an employer when you hold the same skills as the person right behind you? Some students believe job experience is the number one
1
PASSION
Candidates who know what they want and have an action plan with drive and energy to succeed. They are ready to take on any challenge with enthusiasm and have a deep desire to be the best in their chosen field. They believe in keeping up with the required education and certification and nurturing industry relationships while building strong reputations.
2
PERSEVERANCE
3
ASSERTIVENESS
Focus and persistence when faced with obstacles. A desire and determination to succeed with positivity and enthusiasm. We want our candidates to be motivated and have a proactive attitude and approach to their career wherein they aspire to better themselves and grow during their professional journey even when faced with setbacks.
A confident and self-assured personality whose attitudes are in check. Knowing what you want is always a plus. This will allow the candidate to be straightforward and confident in their approach.
quality that holds the most weight in a resume and interview. This is an important attribute to have, but with the percentage of university graduates and the competition for roles in the work force growing, some recruiters are taking a different approach to finding the best candidate for the job, looking for other qualities that a candidate can offer. I spoke to some of the senior recruiters at the Permanent Search Group to find out what qualities they look for in potential applicants beyond a strong resume. This is what they had to say:
COMMUNICATION A professional and positive personality who is able to engage his or her audience with effective communication. We also look for the ability to articulate their thought process in a clear and concise manner. Having your audience on the same page and being able to speak their language at every level be it professional or emotional, is a win-win situation.
RESPONSIBILITY
4 5
A decisive and self-reliant candidate, who is able to take ownership of his or her own responsibilities and mandate. We look for someone who is rational and able to embrace critical thinking. A candidate who is willing to admit personal faults, apologize, accept constructive criticism and use it in his or her growth process and gives credit where credit is due.
Honing your skills and challenging yourself to become an overall well-rounded candidate will allow you to look more developed in the eyes of an employer and aid you in your future job-hunt.
EMERGE | 2015 47
LIFE OF PIE
COLLEGE ST
OXFORD ST
OXFORD ST
NASSAU ST
NASSAU ST
BALDWIN ST
DENNISON SQUARE
ST ANDREW ST
WALES AVE
❯ by MEGHAN MURPHY ❯ photography by NATALIE VARDON
DUNDAS ST W
F
ROM THE MOMENT you walk in you are taken away by the spice of baked apples, and chocolate aromas which transport you from the busy streets of downtown Toronto to a pie lover’s heaven. Sitting on the corner of Oxford St. and Augusta Ave. in Kensington Market, Wanda’s Pie in the Sky is the place to experience a different side of Toronto’s cultural market. It’s quirky and unique exterior with bright greens, blues and yellows help it to stand out in the bustling city. For over 25 years Wanda’s Pie in the Sky has been serving the people of Toronto, generating all kinds of customers from young to old. But no one loves pie more than Wanda’s Pie in the Sky owner, Wanda Beaver. Growing up in Niagara, she was always surrounded by fruits which has helped to fuel her passion for pie making. The place has a natural feel where people sit, relax, eat, and lounge. The atmosphere is what Wanda likes most about Kensington Market, and what made her choose to open shop here. “I really like the vibe of the whole area being big on the arts, artists and sustainable, local things that are important right now. [Kensington] has a lot of very eclectic, interesting, unique kind of businesses. I think the culture is why people come here, there’s such a variety of ideas, styles and art.” “Everybody loves pie,” said Beaver. “A lot of people just don’t know how to make a good pie, so there’s a big market for it.”
48 EMERGE | 2015
“I THINK THE CULTURE IS WHY PEOPLE COME HERE, THERE’S SUCH A VARIETY OF IDEAS, STYLES AND ART.”
Did you know that Pie in the Sky is an expression? Though not commonly used anymore, Wanda describes what the term means. “An idea that doesn’t seem like it could possibly happen but it’s out there and you never know, it might work. It’s like [saying] you’ll never get that off the ground, it’s just pie in the sky.”
Wanda’s Pie in the Sky seems to be the perfect location for a bakery and Wanda isn’t the only one who knows that. “It’s always been a bakery in this spot but it was really run down so we took it over and fixed it all up,” said Wanda. She adds, “There’s a very kind of comfortable, relaxed, homey, atmosphere that we generate, I think that’s where [we] definitely [keep up] with the vibe of the market.” Joshua the manager of the shop says there is definitely a variety of people who walk in and out. “We get students coming in and studying, we get people that work in the area coming in for their lunch, and then we get families coming in to try [a] dessert they’ve heard about,” Wanda adds. “We’ve got a good cross section of society.” Wanda’s Pie in the Sky offers customers roughly nine different apple pie flavours to choose from. Not an apple pie fan? There are plenty of other flavours including peach and blueberry, they also cater to an assortment of taste buds, with cakes, cookies, tarts, and squares.
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