Puzzle Pieces Arthaus’ Impact on Toronto’s Creative Community Eric Punzo: Slow and Steady Vessa’s Rise Toronto’s Exciting Creative Culture
Waveland is Really on a Wave
Table of Contents Waveland is All About The Community...................................................................... ................ 1 Arthaus is the Ultimate Creative Hub.......................................................................... 3 Attention! Vessa has Something to Say, or Better Yet, Sing......................................... 5 Eric Punzo is a Man on a Mission............................................................................... ................ 7 From “Screwface Capital” to a Burgeoning Creative Hub................................................ 9
Waveland is more a notfor-profit community than a music organization. With Del Mahabadi at the helm, her insistence on working as one unit has allowed the company to flourish and evolve year-toyear. With restrictions easing, the only way is up for them.
Hey Del!Tell me about yourself prior to the inception of Waveland? Hey Andrea! I went to school for Psychology and Biology and did my post-grad in Communications, but I had a passion for music even though I’m not a practicing musician. So, in my final year of my Communications Certificate, I created my own blog for my final project in 2014. I was more interested in the unknown R&B artists around the city and at that time there was no blog actively covering Toronto music. So we rebranded from The Ice Cream to Waveland to be more memorable, and now my side hustle turned into what we have today. So, would you consider yourself more of an artist, a businesswoman, or a bit of both? I would say a bit of both. I don’t practice music, but I do practice visual arts and because it’s a similar process that you go through to get the end product, I understand where a musician is coming from. I’m also a businesswoman because I own Waveland and work in various industries in marketing and communications, so it’s a good marriage between the two.
Photo taken by Jerome Clarke
Waveland is All About The Community Having a balance between the two is crucial as it keeps you sharp and mentally stimulated. Now, I know you started the blog on your own but is it a singular vision for Waveland now or do you have a team that helps bring that vision to life? It’s always been me on the leadership side but there’s been a variety of writers, volunteers and as of recently staff that have come on board. There’s also my partner, Gregory, that takes on the Creative Director role. But Waveland is a community, so everyone was involved in the rebrand and is involved in making the vision come to life. It’s a small lean organisation but it has grown to have this big reach that everyone feels like they have a little piece of. Although there is lots of help it seems like there is a lot of moving pieces. I’m wondering, how do you navigate through all that? There are a lot of moving parts, but the good thing is over the years we’ve established a formula for what works and what doesn’t. We’re a lean company so we don’t have the resources to spend the time with the musicians so that’s brought this kind of unspoken understanding between everyone so there’s no difficult artists or staff. It’s really a testament to the people that partake in the creative community in Toronto.
That’s such a crucial component to the work environment and you get that sense every time you go to one of the Waveland events. Were the events always apart of the vision? That came with time. You know, I was working with so many artists that were asking for events especially within the hip hop, soul, RnB, and funk community. So, because of the demand we connected the dots and decided to put on the events you see today. There were a ton of learning curves but we’ve got into a flow that works which is due to the incredible community we have. In a span of 7-8 years you’ve found your niche. Now I know volunteers help to bring your vision to life, but do you have staff that work at Waveland? Up until about 2020, it was mostly myself and Greg putting on these events and that included everything from execution to bartending to coat check. When we hosted bigger events where we needed more people, we’d hire someone just for that event. But as of 2020, we’ve experienced a bit of growth and I got pregnant so we couldn’t necessarily be at the events all the time, so it forced us to hire staff. It seems like everyone that works or volunteers at Waveland has a degree in something other than music, but they have a deep passion for it. I think that’s what makes Waveland so successful. Yeah! We’re very focused on the consumers perspective. Everyone that’s on our board, working for us, or volunteering doesn’t necessarily have a background in music, but they love music so they understand the consumers side. That works to our advantage because we aren’t coming from a solely music perspective,
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it’s all different sorts of perspectives like Mona who’s coming from Law or our Chair, Burke, who has an undergrad in music or our Board Director, Chris, who’s undergrad is in genetics but practices music so we all come from different persepctives.
Different perspectives are so important to growth because it’s what makes something flow and fluorish. In non-for-profits it can be hard to do that though because there is a reliance on government support. Are there a lot of programs to help an organization like yours? I don’t know if it’s common knowledge that’s why I advise everyone to look into it, but all the provinces and cities in Canada have music strategies. We do have a good music strategy that they’re trying to achieve for the next 5-10 years because they see there’s music that’s important to cities and countries around the world that are reaping benefits culturally and economically. So there is a ton of funding out there but you have to remember that music is just a tool and it’s really about how can you use this tool to attain a certain funds objectives. For example, our program “Songs for Seniors” was funded by Red Cross and although they don’t have a music motive, we used what we do, to deliver on the objective of making seniors, during the pandemic, feel connected to their community (which is Red Cross’ motive).
It’s inspiring seeing how you emphasize music being part of a larger community, which is essentially the whole motto for Waveland. Do you see potential for other Waveland-esque businesses flourishing in the future in Toronto? Yeah definitely! The pain point is always staying for the long term. There’s a lot of businesses saying that they support certain things, or they say they do certain things when really, they’re just in it for the monetary gain. If your passion doesn’t outweigh your desire for monetary gain then you won’t last long, especially in an space where there are lots of fish in the sea. And that’s the thing, if you’re really into it for the community you’re going to have the mindset that the more fish the better. You want hundreds of other organizations like yours because you genuinely want more artists helped, you want more communities reached and you want an overall better mental health, so you have to get that competitive nature out of your head. There has to be an encouragement of building businesses that are the similar, or the same, so that more people can be helped and in turn, we’ll get to where we want to be as a community much sooner. Helping each other in the creative space is paramount which is why I’m so excited for another Waveland event! When can I expect another event?
The Rnb Intimate Concert series will show again on March 19th!
Photo taken by Jerome Clarke
“We’re very focused on the consumers perspective. Everyone that’s on our board, working for us, or volunteering doesn’t necessarily have a background in music, but they love music so they understand the consumers side. That works to our advantage because we aren’t coming from a solely music perspective, it’s all different sorts of perspectives”
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Photo taken by Arthaus
Arthaus is the Ultimate Creative Hub Esra Firatli has been a proud member of Arthaus’ team for just over a year after spending upwards of 5 years at record labels project managing, marketing, album production and many more related roles. She also is on the JUNO Awards advisory committee and has been a FACTOR Juror for 5+ years so she her experience is vital to Arthaus. I caught up with her to speak about her experience in the music industry, and the wonderful work the organization is doing.
How did you start off in the music industry before you arrived at Arthaus? I started off by working in a record store from about 14 to 23 so basically all throughout school. I originally went to University for Business, then for Cultural Studies, then finally started looking into Music Business programs and that’s when I started emailing different people at record labels. I got a position at Pheromone Recordings as a Marketing Manager where I worked for 4 years. From there I got a position as a Project Manager and Label Manager at Sleepless Records for another 4 and a half years but during Covid I was approached by Sandy and Josh at Arthaus and now I’ve
been here for a year and a bit! Working at a record store is completely different than working at a record label on the business side. How difficult was that transition? It was so difficult at first! I had learned a lot about genres but that was very miniscule compared to working with an artist, signing an artist, developing them, and building a comprehensive team around them. My mentor Kim Cooke really helped me out by giving me all the knowledge he had, but made sure I was asking all the right questions for myself. Which was useful because networking and relationship building is super important in the music industry so not being afraid to ask for something from my peers was something I learned. Networking in any aspect of life is crucial but it can also feel awkward and weird at first. Did it ever feel that way in the beginning? For sure but I had to get over that quickly. You have to know who you’re talking to and be specific with your intentions. Actually, I cold emailed one of my now close friends because I really liked what she was doing at a record label, so she responded and we went for drinks and fast forward five years later and she’s one of my best friends. So, it is hard at first but as you move forward and set realistic goals, you work toward them each day.
One of the things I love about Arthaus is the use of the term “symbiotic” to describe the community between the artists and creatives. What is the criteria for musicians to be signed to your label? It’s a mix of having great music and just being a good person. One thing that we really want to maintain is the family type of feeling when we’re building with an artist. We’re not genre specific so artists don’t have to fit in a certain mold for them to be on our label. We have a Serena Ryder, then Adria Kain who’s more R&B/Neo-soul, and then we’re going to drop a whole compilation album with developing B.C. artists that range from singer/songwriters, to electronic, to hip hop. To be bound by certain limitations could be dangerous for an artist so it’s important that the label is genre inclusive. It just goes along with that whole sense of community Arthaus promotes and the “holistic” approach the company takes. How important do you think it is for artists to focus on their health and wellness? It’s huge and that’s why having people like Sandy and Serena run the company is so vital because they know the effects of touring and what that does to a musician. So, when they were creating Arthaus, that was a big action item they wanted to focus on so artists and musicians had this safe space where they could learn how to have a sustainable career and doing so by focusing on your mental, emotional, and physical health. Covid put a much-needed spotlight on mental health and wellness as the stigma is slowly dissipating. I’m sure artists appreciate the holistic approach Arthaus takes especially with all the wonderful programs the organization has like The Art of Growth, The Art of Wellness, and then the more music-centered programs like Music Professional Program. Yeah, all these programs are great! ArtHaus Community is the umbrella and then within it we have The Art of Wellness which isn’t music specific, and The Art of Growth for
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professional development. Currently, we have a Music Professional Program ran by Dr. Noah Schwartz, and are announcing lots more this year! There’s something that’s so reassuring about hearing information from experts that makes things easier to digest. I know there’s a course outline or syllabus but beyond that, what’s the hope for these programs? Right now, we’re in that growth period where we’re trying to provide these programs for emerging professionals, artists, or whoever can come and get feedback. Since our first program back in 2020, we’ve already evolved and taken into consideration what was good with those programs, what was needed and what wasn’t. So, we’re really focusing on not being stagnant because we can’t assume what we taught in 2020 will remain the same for 2022. We’re planning on eventually taking it into other places besides Toronto too! I feel like that’s going to happen sooner than later because your programs fill up quickly! It really is awesome! One thing we’ve learned over the past couple of years is you could record yourself if you have the right tools and get noticed. A lot of artists realized they don’t necessarily need record or distribution deals in order to make music so that’s evolved too. Then on the business side, people want to learn how to maximize these opportunities so as long as there’s people that want to learn we’re going to figure out how to best reach them. I think by continuing to focus on community, that will accomplish your goal as it’s a recurring theme at Arthaus. There are a few other themes or tenets to your brand like art and community or community, culture
and collaboration. What does that mean to Arthaus beyond the obvious? It means we want to surround ourselves and work with this community of creativity. We want to do the best we can with a group of people we all believe in together because it takes a village to put out an artist’s release. So this community is there to prop up who we want to work with and will make us better as a whole be it in Toronto, Canada, or worldwide community. You get that sense as you look at who the programs partners are as some are from B.C., Ottawa, or Manitoba among many others. How do those partnerships come about? One way is we look to our wider network because we all have been working in music for 5-10+ years so we’ve all networked with lots of different people. So we reach out to those networks and not only try to find established acts that’ll be our partners, but also new artists that we could establish a new connection and network with and that’s all apart of the larger community. The creative community always could benefit from a push so that’s refreshing to hear. Speaking of community, back in December you put on an event where there was a market during the day and a few performances at night. Are there any plans to do something like that again? Yes! Block Party 2022 and we’re hoping to do it outdoor this time. We want to put on a bigger show with more of our own artists because that’s a perfect way to showcase what we’re all about.
Photo taken by Arthaus
“That’s why having people like Sandy and Serena run the company is so vital because they know the effects of touring and what that does to a musician. So, when they were creating Arthaus, that was a big action item they wanted to focus on so artists and musicians could have this safe space.”
Photo taken by Arthaus
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Venessa Morgan, otherwise known as Vessa, is a singer songwriter from Mississauga. Now that her first song and performace are under her belt, I was interested to hear her story especially after hearing her music.
Your new song Lies4promises sounds incredible. The confidence and maturity in your voice is masterful. What was the process of making that song like? So Lies4promises was created over the span of 6-8 months, and I started by finding a beat online that was comparable to a D’Angelo type of beat. I didn’t know it was going to be something I would put out because I have so many other songs that I’ve written and maybe I haven’t recorded but nobody has ever heard them. So when it came to that song I had just been through a really bad relationship and also bad friend breakups I guess, so the core of the song is like, “How does it feel to be left alone when you said you’d always be there for me”. I’m generally an introverted person so that song just felt therapeutic and now living past that song, I kind of ask myself the question of “how does this feel” in many situations. Navigating any type of relationship can be tough since you’re coming from different experiences, and you have to flow together to create a natural bond. So, while it is challenging, it could also be cathartic. When you’re writing, do you get answers to questions or frustrations you’ve had about certain situations? Yeah definitely! I’ve also gained a sense of peace and came to the realisation that you’re not always going to get closure. I feel like the type of closed off person that I am, when someone that was
Attention! Vessa has Something to Say, or Better Yet, Sing close to me hurt me, it really hit me hard, and I would especially be mad at myself. So when I look back at the song, I realize how hurt I was in the past but I also realize I’m still hurt but I understand that dealing with feelings and emotions is always a process. Letting go is one of the hardest, but most necessary, parts to making any tough decision. But remembering that hindsight is always 20/20 is crucial. I mean by the sounds of the song, you’re taking the necessary steps to help yourself. I can imagine finding your voice as a singer is tough, but you must have had practice growing up. Was there a lot of music in your household when you were a kid? So my dad is from Jamaica and my mom was born in St. Vincent but grew up in Trinidad so there
was Caribbean music playing like old school Reggae, Soca, and Calypso but also the old school soul music like Etta James, Ray Charles. Then, there were Mariah Carey and of course, Beyonce but what really hit with me was YouTube. So I spent all of my time searching up covers from Christina Grimmie, AJ Rafael, Tori Kelley, Leroy Sanchez. I kind of miss those days because it was so raw and unfiltered but nowadays if there’s no pitch correction or meladyne it doesn’t really get looked at. I understand it’s just different but regardless, listening to YouTube covers is where I spent the majority of my time. You can hear all those influences in your music especially with the confidence behind every note. I’m curious as to when it was that you decided to take music seriously? It was around my first year of college. I actually went to Humber for police foundations and one day I was walking in the halls and heard singing, so I got closer to it and opened up a door and found out that I was hearing rehearsals for the music program. That’s when I realized that I want to do music and not be a police officer. It’s funny because people always told me that I was good, but I didn’t have the confidence to take music seriously up until that point. So I transferred out of police foundations and into Centennial College for Music, Industry, Arts and Performance and majored in Vocal and Music Business and one thing I will say is I kind of regret going to school for music. I went to help with my confidence in music but shortly realized that that’s only going to come from within. But having communities like Waveland or things like this interview and all the great feedback that I’ve gotten from those experiences make me want to continue.
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It’s crazy cause once you engulf yourself in the creative community in Toronto, opportunities seem to just come out of nowhere. Waveland was your first big performance so how did you feel going into that? Honestly, I was terrified! When I was a kid, I did little things here and there but that was more so my mom saying “Venessa just go”, so it was definitely out of my comfort zone but I still had a lot of fun with those performances. I went to Centennial college for their music program but they didn’t really focus on the performance aspect of it, and it wasn’t ever really what I wanted to sing with songs that I wrote, so Waveland was my first real performance and I was so scared. Especially because the other artists were so talented, and they embody what it means to be a musician, but it was definitely something that when it was done I was like “I want to go again!” I know with Covid it must be hard, but do you have any plans for performances coming up? Nothing right now. So for my New Year’s resolution, you know, that thing we always promise ourselves but never really follow through, I said I was going to put out an EP in February but it’s February and nothing is out yet. I’ve started writing songs though like there’s this one song “Figure it Out”, and funny enough for Waveland’s Black History Month performance I performed that, and they were the first people to hear it; not even the person I live with! So, I have that song and a couple other ones in the works so that’s where I’m at right now. The good thing is that the city is opening up now so I’m hoping to hop on some stages and perform again.
Photo taken at Green and Gold Studios
Well now that your actively pursuing a career in music, I’m sure you’ll find places to perform especially with things opening up now. But since you’re just starting off, do you find that the Toronto music scene is collaborative? Like are there people that want to help and be a part of what you have going on? For sure! For example Denice Badua has been wanting to work with me and I want to work with them but I’m shy! It’s intimidating for me because I look at it like we’re on two different levels, but they don’t. They just want to have fun and jam and connect just to help me out. But I’ve gotten a lot of feedback from other musicians that want to work with me in the Toronto music scene which is definitely a confidence boost and nice to hear that people like my music.
“There was Mariah Carey and of course, Beyonce but what really hit with me was YouTube. So I spent all of my time searching up covers from Christina Grimmie, AJ Rafael, Tori Kelley, Leroy Sanchez.”
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With three official singles to his name, Eric Punzo played his first show at Lee’s Palace to a sold out crowd. It was a homecoming of sorts so I wanted to catch up with him after the show to speak about the experience, his influences and what he sees for the future. Eric! What’s going on man? Not too much, just chilling at my condo. It looks like you got a pretty incredible view. What’s it like living in Etobicoke? I love it here! There’s so much to do and see. Parks, nature, I mean all you got to do is go down Royal York or The Kingsway and you’ll see so much. Especially in the Fall it’s just beautiful. Not to mention that it’s kind of central and the highway is nearby so it’s easy to get to where you got to go. I got family that live in Etobicoke, and I have nothing but fond memories of the city. Just going to Centennial Park alone is one of my fondest. Now you haven’t always lived in Etobicoke, right? Yeah, I used to live in Woodbridge until I was 15/16 years old then I moved here and spent my formative years in Toronto. Which I’m glad I did because I got to experience the diversity that encapsulates the city first hand and it opened up my mind in the best way possible. What was it like when you moved from Woodbridge to Etobicoke? At first, moving kind of sucked cause I was moving away from my friends and what was comfortable to me. I didn’t have many friends that lived in Etobicoke but working nearby helped as my coworkers became my friends and I also have family that lives here so that also helped. But I didn’t really go out a whole lot except for playing sports like hockey. Etobicoke’s got a lot of great outdoor rinks, so I’d play
Eric Punzo is a Man on a Mission shinny often, tennis, and recently I’ve been getting into golf. There are a lot of golf courses in Toronto, so I’d go play with some friends or my cousins. I found a lot of people during Covid especially picked up playing golf. There’s something about being in nature and with friends its just an overall good experience. Golf is so fulfilling and challenging at the same time. Like within one round you could want to quit the sport forever or hit that one shot that makes you think you’re going to be on tour in a few years. So true! Now when was it that you decided that you didn’t want to do anything but make music? Because you went to Ryerson University and got your degree. Well music has been a part of my life since I was a kid. I was
always singing and playing the guitar but it wasn’t until post-grad that I started to take it seriously because I was working at the bank, and I applied for my LSAT for law school but I was miserable and kept panicking so I decided why not take a stab at it? I spent so much time working on music so what do I got to lose? You know it’s crazy because people always knew you as the guy who could sing. In the halls, on the bus, pretty much anywhere you were known as the singer. But I’m curious as to when you started playing the guitar. I started back in the 3rd of 4th grade. I remember watching videos of City and Color and being inspired by what he does so I was trying to do something similar. I get it, I mean it’s the maturity and natural progression of the artist. I’m sure that your inspirations have aided in that maturity. Talk to me about your inspirations beyond music. Sunsets really inspire me. Just looking outside and seeing how big the world is and how small you are, and I start to feel a little insignificant but then I remember how big of an impact I can make.. I’d like to think of myself as a pretty philosophical guy, so I think a lot about different ideas, concepts, and theories so that inspires me. Visual art also inspires me so like abstract art because it really makes you think. It’s important for any artist to look at different types of art. It makes you think different and changes your perspective and then you get the opportunity, as a musician, to put these thoughts into motion. Earlier in your career, what was your support system like?
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Well in the beginning I didn’t really have a support system. And I get it because when you switch from going to school and getting a regular job to being a musician, that could be scary to people close to you. For them it was like, “Yeah but you could put music on the side”, which used to piss me off because if I put it on the side, I’m not taking it seriously so I can’t fully excel at it. Also, if I’m putting music aside for something else, I’m not living my best life and then I become miserable and I didn’t want to do that. I’ve heard so many people say that to make it, their only plan was plan A because why spend any of your limited energy on a plan B. But to be successful you need a good team around you. Speak a little bit about your team… Was it hard to find the team you work with now? I wouldn’t say difficult, but it definitely took some time which is like any good thing in life. But yeah, I used to meet a lot of producers and engineers and would send them songs or ideas that were completely me, but they would flip it to make it more them which I understand but that’s not how I want to work. That was kind of stressful because then I started to question myself with questions like what if I don’t find anyone? But finding my team was so crucial because we’re a family apart from my blood family that understands what it takes to make it. Once I found them it was an important moment that showed me that things are actually going now, so I have to keep working hard because they’re working harder for me. You motivate each other and that’s how great work gets completed. Something that could motivate, or demotivate, depending on how you interact with it is social media. How important is it to the landscape of music nowadays?
It is important but I have mixed views about social media because it’s stressful for musicians at a time like this. You have to keep up with trends and it’s hard because you’re not a content creator so it’s a balancing act of like, what does my audience want? But at the end of the day, I write music for myself and not other people, but I hope to connect with others that way. As musicians we think a lot so when we see what we see on TikTok, we start comparing and that’s not good. We have to stay focused and stay creative. It’s important to remember that you’re the artist and you get to take control by remembering your music is going to live on past some clip. Your social media seems to be getting lots of views. Do you ever think about how crazy it is that so many people are watching you sing out of your home? The first viral video it was like that but now I’m kind of desensitised by it. But again, not really because as a musician I’m putting out music on these streaming platforms and I see the analytics so I’m able to see the global reach. Really, I’m just grateful that my music is translating well into my social channels. It’s awesome that you’re reaching so many people! Well you have “Criminal”, “Nauseous”, and “The River”, out now which you played at Lee’s Palace. How did that opportunity
come about? It’s hosted by Indie 88, so people already knew about the show. So my manager was talking to headliner, Lost in Japan, and they liked me enough to accept me as the opener. I was the second performer of the night and it was awesome! It was perfect timing too because restrictions were eased so a lot more people came out than originally planned which was extra special; especially with it being my first performance! Well just seeing so many people there all singing along to your songs, it was a truly a special moment. Was it hard to stay in the moment? Hearing 200+ people sing back my melodies and words has been a dream for a long-time man. Not going to lie it wasn’t hard at all. My band and I just found a perfect pocket right off the jump and kind of sat in there the whole set. We just let the music do the guiding and let the performance carry it through the whole set. You’ve got a couple of singles under your belt, and you just did your first performance. What’re some of your shortterm goals musically you’re hoping to achieve? I’d say one of the biggest goals has been to set out on a tour; whether it’s cross province, country, or city it really doesn’t matter to me. To go out on an adventure and play music to different people in different places for a whole month, week, or however long. That’s the current short-term goal I’d say. Also, I think a feature on radio is another short-term goal. I think my newest song, “The River”, can definitely find some radio time if the right person hears it.
“You have to remember that you’re music is going to live on past some clip.” 8
Artist name: SHYO Instagram: SHYGRAM
From “Screwface Capital” to a Burgeoning Creative Hub Toronto is engulfed in diversity and culture which we’re now recognised for; but it took a while to get here Go for a stroll in one of Toronto’s unqiue neighbourhoods and you’ll find one theme that connects the city: Community. Say what you will about the infrasture or the housing prices, but one thing that sticks out is how connected everyone is despite being a city full of different ethnicities and cultures. Everyone is encouraged to be who they are and feel the way they want free of judgement. Expression comes in many different forms as one might guess just from taking a look inside Kensington Market, Distillery District, Queen Street West or Liberty Village; and that’s just to name a few of the unique spots around the Toronto. If you look at the people walking around those areas, they’re vibrant with culture as everyone brings their unique sense of self which is
always a welcomed sight. It wasn’t always the case, however, as not too long ago we were known as the “Screwface Captial” because of our non-acceptance and mostly skeptical outlook of the emerging arts and music scene. A hesitance to help the arts community, coupled with mean mugs simply walking down the street, made the city feel as cold as a February night. Perhaps being in the shadow of New York didn’t help as we struggled to find our identityso we were in kind of this empty space. In the sports realm, we had The Blue Jays, Raptors, Maple leafs and the Argonauts. In the music space, there was rapper K-OS, Maestro Fresh Wes, Kardinal Official, and Choclair all making a name for themselves but Toronto still felt out of touch.
It wasn’t until roughly 2010 when things started to turn around. Drake got signed to Young Money, The Weeknd came out shortly after, Bieber was getting international fame (although he’s not from Toronto), and now, it seems like every day there’s a new artist that makes it into the mainstream. Community is a big driving force for the evolution of the city and with companies like Waveland, Arthaus, and The Remix Project, they drive that theme home. It’s hard enough to break into the creative industries, which is why working as one is should always be the move. The Arts and Culture scene in Toronto is bursting with talent, so it’s a positive sign that community engagement is at an all time high. Only time will tell how far Toronto can take it.
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