Weekend events in Toronto is our guide to events happening this Friday, Saturday and Sunday. Here's what's happening in Toronto this January 18-20, 2013.

MUSIC

Yamantaka // Sonic Titan
The Montreal/Toronto progressive rock outfit Yamantaka // Sonic Titan bring their unique blend of pop, noise, metal and folk to The Garrison this Friday night for a show featuring performance art and music. Gaining a lot of attention in 2012 for their Polaris Prize nomination, the duo behind Yamantaka // Sonic Titan have expanded to include nine other artists in their shows. No word on how many band members will be involved in--and what elements they will bring--to tonight's performance.
The Garrison (1197 Dundas Street West), January 18, 2013, 9PM $10

Music at the May
Co-presented by Tad Michalak (of Feast in the East) and Eastern Promises, the May is taken over by a diverse roster of indie acts such as Gay, The Walls are Blonde, and Child Bite this Sunday night. Should be an evening of everything from '60s garage rock to laidback folk tunes.
May (876 Dundas St. West), January 20, 2013, 9PM, $5

For more music listings, check out our Hot Ticket and January Concerts posts.

PARTY

1993
1993 may have brought us The Unabomber, "Whoomp (There It Is)," and Jurassic Park, and 20 years later, on this Friday night, it brings us one of the greatest dance parties known to Toronto. Mr. Pong's Bar on Dundas West will celebrate the year of plaid shirts and belly tops with a massive '93 themed celebration. Nothing is off limits--if it happened in '93, it has a place at this party. Dress up or don't. Dance or don't. Just relive your youth and try to ignore the fact that you have vivid memories of things that happened 20 years ago.
Mr. Pong's Bar (1576 Dundas Street West), January 18, 2013, 10pm

COMEDY

Problem Solved--Rich People's Problems
Rich people problems exist and it takes a good comedian to isolate the issues of the 1% and solve them. Tweet your problems to @TOProblemSolved or email tvproblemsolved@gmail.com to be handed over to comedians to discuss in public, where they will laugh at you and probably make it worse. Hosted by Aaron Hagey-MacKay, the panelists will include Ron Sparks, Evany Rosen (Picnicface), Steph Tolev (Ladystache) and more.
Comedy Bar (945 Bloor Street West), January 20, 2013, 8PM PWYC

For more comedy listings, check out our This Week in Comedy post.

MARKET

101 Markets
3030 plays host yet again to 101 Markets, the Junction's local handmade and vintage marketplace that takes place every third Sunday of the month. Opening early Sunday morning, the January edition of 101 will feature vintage winterwear, handmade ties and coasters, and original art prints. 3030 will be open for business, which means food and drink will also be available for shoppers. The market closes up shop at 5PM.
3030 (3030 Dundas Street West), January 20, 2013, 10:30AM

ENTERTAINMENT

Nerdgasm: All Things Whedon Variety Show
Don't be ashamed if you can't hold back the nerdgasm you get from this event. Screenwriter/producer/director Joss Whedon will be honoured by Toronto geeks with a variety show with the theme of all things Whedon. Burlesque dancers, artists, fire performers, and singers will perform in inspired costumes to music from Whedon's works like Serenity, Firefly, The Avengers, and Buffy the Vampire Slayer this Sunday evening at the Mod Club. No Whedon project will be forgotten, with his most memorable characters being reenacted onstage throughout the show. Tickets range in price (and are very quickly selling out), but general admission will be available at the door.
The Mod Club (722 College Street), January 20, 2013, 7PM $15-$30

FASHION

Winter über-Swap: A Used & Vintage Clothing Exchange
Over 100 scavengers will gather at the Queen Street East Presbyterian Church on Saturday morning to for the 9th über-Swap gathering, where folks looking to exchange their goods for other people's treasures can do so without money changing hands. The thrift shop-style swap welcomes women's and men's clothing, footwear and accessories that are clean and gently-used to be dropped off at Nathalie-Roze & Co. (1015 Queen Street East) prior to the event. Everyone is expected to donate 1 bag (10+ items) before being able to participate in the swap with all leftover items donated to Double-Take, the Yonge Street Mission's thrift shop.
Queen Street East Presbyterian Church (947 Queen Street East), January 19, 2013, 11AM $10

For more fashion listings, check out our This Week in Fashion post.

THEATRE

In Vino Veritas
A satire about the inebriated, the jolly, and the tragic that house themselves inside pubs on any given night is no better performed than in a pub, which is why In Vino Veritas opens in the most fitting of theatres: The Wellesley Fox & Fiddle. Once a month, this series of comic monologues by Teige Reid of Pub Crawl Theatre takes place in this Wellesley Street pub, telling a story about cruel fate. The performance takes place on Friday night and should be over before the denizens that Reid mimics in his piece show up for their nightcap. Tickets are available at the door.
The Wellesley Fox & Fiddle (27 Wellesley Street East), January 18, 2013, 7PM $20

For more theatre listings, check out our This Week in Theatre post.

FILM

The Economics of Happiness
Films @ the Hub begins its monthly series with the inaugural screening and discussion surrounding Steven Gorelick, Helena Norberg-Hodge, and John Page's The Economics of Happiness. This 2011 documentary explores the ties of happiness to globalization, localization and the GNP of individual countries with discussion from experts like environmentalists Bill McKibben and Rob Hopkins. Following the screening, the audience will engage in a discussion about what it means to be happy and how our economic practices impact this. Join the Beaches community to talk environment, lifestyle, and money with this fascinating documentary as the contextual backdrop.
Beach Business Hub (2181 Queen St. East, #301), January 19, 2013, 7PM $15 adult, $10 children under 13

For more film listings, check out our This Week in Film post.

ART

by the dozen: Junction Neighbours
Artists by and of the Junction participate in this exhibit that aims to triangulate a community so that neighbours know their neighbours. by the dozen features local names like Daniel Hutchinson, Linda Martinello, Anders Oinonen, and Luke Painter, all of whom use photographs and paintings to highlight the small-town community feel of the neighbourhood. The opening reception takes place this Friday night at 6PM and, of course, the whole neighbourhood is invited to the party and to view the exhibit until February 17th. This exhibit is just one of the ten that take place across the city as a preview to the upcoming Toronto Design Offsite Festival, which begins Monday the 21st.
Telephone Booth Gallery (3148 Dundas Street West), January 18, 2013, 6PM Free

FOOD

An Evening of Molecular Gastronomy
For those looking to try new things as part of their New Year's resolution, Uniiverse's Rookie of the New Year closes out its week of experimentation by hosting An Evening of Molecular Gastronomy. Participants in this workshop will learn about the science of creating texture and taste in every day foods (this means you get to play with blow torches, smoking guns and liquid nitrogen). Chef John Placko will teach this course on molecular cuisine at the Uniiverse headquarters on Jarvis. There are only a few spots left so book for Friday night's class soon!
Uniiverse HQ (111 Jarvis Street), January 18, 2013, 7PM $70

For more food listings, check out our This Week in Food post.

COMMUNITY

Putting Racism to Rest: A Rally Against The Toronto Sun Media
Torontonians are invited to protest at the offices of the Toronto Sun this Saturday afternoon against the paper's Anti-Native rhetoric. Aiming to protect Natives from prejudiced reporting, a group will gather for a peaceful protest in an effort to debunk the racist myths that are published on the Sun's pages. Organizers invite protestors to join in drowning out the noise of the Sun with drums, placards and signs.
Toronto Sun (1-333 King Street East), January 19, 2013, 2PM Free

Have an event you'd like to plug? Submit your own listing to the blogTO Toronto events calendar or contact us directly.

Film still from Economics of Happiness

Photo by TonoAriki in the blogTO Flickr pool

You've got to be a special kind of character to charge $190/head. Wowzers. Follow me as I walk you through This Week In Comedy...

SUN JAN 20 / LET'S GET HOT / YUK YUK'S / 224 RICHMOND W / 8PM / $11.50

I have a hard time gauging whether the casual comedy fan is familiar with the talent of Chris Locke, Aaron Eves, James Hartnett, Kathleen Phillips, Tim Gilbert, David Dineen-Porter, Brian Barlow, Sara Hennessey, Jon McCurley, and Tom Henry...ugh, they're so good. I'm guessing that Chris Locke's headlining performances to close out 2012 convinced the pantheon at Yuk's to open the doors to the rest of the Laugh Sabbath cast, and it makes my heart happy to know that the public at large will finally get to see what I've been yelling about for the past year.

MON JAN 21 / LAUGHING AT THE OFFICE / THE OFFICE PUB / 117 JOHN / 8PM / FREE

Cheese 'n Rice what a lineup! Jeff Leeson, Christophe Davidson, Eddie Della Siepe, Alex Pavone, Guy Montgomery...I could go on. If you don't know by now, Jeff Leeson is a KILLER. He's quite literally one of the most talented comedians in Toronto right now. Pay very, very, very special attention when Guy Montgomery takes the stage. He's quickly becoming one of the most sought after comics in Toronto. Caution: if he starts talking about swagger, put down your drink.

FRI JAN 25 / KRISTEEN AND LAURIE TGIF / COMEDY BAR / 945 BLOOR W / 8PM & 945PM / $20

Both Kristeen and Laurie are headliners in their own rights, but this time around they've decided to combine forces for one night only at the Comedy Bar. Kristeen has done just about everything, from appearing on the Just For Laughs gala to featuring on Comedy Central's Premium Blend. Not to be outdone, Laurie is a three-time Canadian Comedy Award winner for best Female Stand-up. Wowzers.

SAT JAN 26 / WONG TZE WAH / SONY CENTRE FOR THE PERFORMING ARTS / 1 FRONT E / 8PM / $50-190

When trying to write this preview, I felt like Chris Farley in the SNL Japanese game show sketch. Something's funny, but I can't understand a word he's saying. But hey, when a guy can charge almost $200 a head, you don't need to convince me that you got something special. From what I can gather, he's Hong Kong's best stand-up comedian.

About the Author: This is Michael Jagdeo, and I refuse to write about myself in the third-person. My blog, Diary of a Stand-up Comedian, walks you through the up's and down's (they're mostly down's, really) in my quest to become a killer comic in Toronto.

While it's billed as a black comedy, Kristen Thomson's Someone Else is much, much darker. It'd be more apt to describe the play as a look deep inside a black hole, where the resentment, jealousy, and dysfunction of an unhappy marriage is left to fester. The comedy that is found here, where numbness and heartbreak threaten to overtake, serves as a neutralizing force.

Thomson's play explores the challenges of long term relationships and the familial trappings of middle age. The narrative is fascinatingly unpredictable, giving the piece an entrancing off-kilter kind of feel. While it ruminates too long in certain scenes and focuses in on one side of the partnership, it's thrilling to watch the emotions brought to the surface. Director Chris Abraham draws out strong performances from his ensemble.

After 18 years of marriage, Cathy (Kristen Thomson)--a stand up comedienne--and Peter (Tom Rooney)--a doctor--are having trouble going through the motions of their tired relationship. When Peter begins to question how he has become such a dull, cautious person, he turns to one of his patients April (Bahia Watson), who represents the rebellious youth of his lost past. Charting the journey from young adulthood to middle age, Thomson's play offers a raw and honest perspective on the fragility of partnership.

The plot has a fractured and disjointed flow. The detours include scenes of Cathy's stand up, abrupt monologues, odd character introductions, and unexpected plot shifts. Rather than complicate a straight-forward storyline, the shifts in tone offer a refreshing unpredictability. In particular, Cathy's act, which builds to a fever pitch, is a definite highlight.

The play spends too much time treading water in some of these drawn out moments. In the most jarring plot reveal, Peter visits a young man named David (Damien Atkins), who suffered brain damage when Peter kicked through a window at a protest. Atkins musters a strong performance as the wheelchair-bound ghost from Peter's past, but the scene stops, starts, and inevitably stalls the play's climax.

But the real disappointment is that Cathy isn't afforded equal treatment. As a stand up comedienne channeling depression into performance, she's a much more complex and interesting character than Peter--but the main study here is of the husband.

Abraham does his best to showcase the ensemble. Rooney exhibits a clinical, detached presence, having checked out of his wife's patterns. It's an understated and quietly solid performance. Thomson is so natural that her opening scene could be mistook for improv. She's equally captivating when reaching wit's end.

Julie Fox's set is something of a non-space, with mountains of packed boxes anticipating the end of the marriage. There may not be clear method in the madness, but Someone Else is equal parts heartbreaking and entertaining.

—

Someone Else, written by Kristen Thomson and directed by Chris Abraham, runs at the Berkeley Street Theatre until February 2.

Photo by Guntar Kravis

Starting today and running through April 6th fans of all things Japanese must check out Spotlight Japan at the TIFF Bell Lightbox. This is a collaboration of the Japan Foundation, TIFF, Canadian Stage, the Japan Cultural Centre and Soundstreams. My favourite part of this festival is the three film series presented by TIFF Cinematheque. Here's a look at what to check out at the festival.

Tokyo Drifters: 100 Years of Nikkatsu
January 19 - April 6 at TIFF Bell Lightbox

Pillage the infamous Nikkatsu studio vault for incredible gems like: Massacre Gun, Intimidation, Retaliation, Rusty Knife, The Sun in the Last Days of the Shogunate, The Woman from the Sea, Tokyo Drifter, Branded to Kill, A Colt is My Passport, Suzaki Paradise: Red Light District, Stray Cat Rock: Sex Hunter, and The Warped Ones. Only have time for one? My pick would be the brilliant noir, Intimidation.

Japanese Divas: The Great Actresses of Japanese Cinema's Golden Age
January 24 - March 31 at TIFF Bell Lightbox

An incredible 30 film series which pays tribute to the leading ladies of Japanese cinema, including Setsuko Hara, Kinuyo Tanaka, Machiko Kyo, Isuzu Yamada and Hideko Takamine. Your best bet here might be the Oscar nominated Rashomon featuring the stunning Machiko Kyo.

The Catch: Japanese Cinema of the Eighties
March 5 - April 6 at TIFF Bell Lightbox

The Kawakita Memorial Film Institute in Tokyo has organized an eleven film spotlight on what some consider to be "the last great era of Japanese cinema". Featuring rare classics, some with brand new 35mm prints. The standout here for me is the odd black comedy The Man Who Stole the Sun, about a high-school teacher who builds an atomic bomb and holds Japan randsom.

Complete listings can be found on this web site.

While donuts were the dominant trend for 2012, there's no resisting the allure of a freshly-baked cookie. This shabby chic cookie cottage might be off the beaten track, but it's well worth seeking out for its resolutely girly, pink-hued decor, and some of the best cookies north of Eglinton.

Read my profile of Robyn's Cookies in the bakeries section.

The TTC's maroon uniforms might not be much longer for this world if Andy Byford has anything to do with it. Late last year the CEO revealed the Commission was planning to give its roughly 5,000 uniformed workers a new look, something "symbolic of a new approach."

Toronto's transit provider has been constantly refreshing its uniform since its inception in the 1920s. In the early days, the mostly-male workforce wore smart button-up jackets in winter, and shirts and ties in summer. Instead of name tags, the motormen and supervisors wore special hats bearing their job title while on duty.

Women's uniforms were similar to men's, minus the pants (even in winter.) The female guides who sold tickets and dispensed advice to travelers had their own hats, first a basic peaked headpiece, later a sort of wedge cap, and a shoulder bag for transfers and coins. A shirt and tie was mandatory for both sexes, regardless of season.

As I mentioned last week, the TTC also ran Toronto's ferry fleet until the 1960s and as such had suitably nautical outfits for its lake-going staff. Pilots and shore workers wore a basic sweater with the initials "T.T.C." stitched into the front with a soft cap, elegantly modeled by a decidedly shifty looking ferry worker in one of the photographs below.The Toronto Concert Band, the now-defunct internal orchestra that gave regular public performances between 1925 and 1939, also had their own clothes. The band's conductor, Richard Hayward (shown in the band photo above on the left), was an ex-military bandsman who, according to Mike Filey, had served with the Royal Irish Rifles and the Queen's Own Rifles in Canada. He would re-join the military at the outbreak of the second world war and the dissolution of the music group.Back on the customer service side of things, the post-war grey and red work clothes worn by the women in these pictures were officially modeled by Irene Ayers, Miss Toronto 1946, after she was awarded the title at the police games that year. According to the write-up in the Toronto Star, Ayers worked as a guide at Queen and Yonge and used her $300 winnings to take a modeling course in New York while keeping her day job at the TTC.A supervisor (left) and guide (right) in winter apparel from the 1940s.The arrival of the 70s saw the TTC's smart duffel coats replaced by practical nylon raincoats and, naturally, slightly flared pants. As the confused looking model below illustrates, this look is (style-wise) the approximate halfway point between the first official outfits and today's 1990s-era uniform.

As in the 1940s, the 1970s uniform came with a selection of seasonal jackets. The basic suit could be covered by a lighweight windbreaker or a longer, waterproof zip-up coat. The peaked hat worn by some of today's operators, a slight variation of the older style, had also arrived.What do you think of the TTC uniforms of old? Should Byford's new look adopt some of the classic stylings from the 1940s or should it go for something closer to the style of today? More importantly perhaps, should the TTC ditch the maroon and go for something a little cooler? If so, what?

MORE IMAGES:

Chris Bateman is a staff writer at blogTO. Follow him on Twitter at @chrisbateman.

Photos: City of Toronto Archives.

Photo by Sebastian Ip in the blogTO Flickr pool

Scouring the gloomy corners of the internet's electronic music conclaves, you'll find an almost eerie amount of Toronto and Ontario artists. It feels like every other leather-jacketed punk on the Spadina car is going home to make laptop beats or cruise Craigslist for analog synths. Some of this music is terrible, and some is to die for.

Secretive ϟ†Nϟ falls into the second category, and has developed a large and loyal following, both online and off. After releasing a successful EP on label Black Bus, he's now poised to unleash a full length on Toronto's own Pretty Pretty Records.

ϟ†Nϟ, who plays and DJs regularly, and recently opened for both oOoOO and Gatekeeper, doesn't show his face at live shows, but you may have sat next to him on the TTC. He's got a character from a classic underground film (okay, it's Gummo) stitched onto the back of his jacket, and that's all we're going to give away.

"Dark" is an overused term in music writing, and I'm nothing if not a guilty party. Like most cliched idioms, it now gets the point across (music that almost definitely isn't about barn raising) only at the expense of the subject. We decided to dig deep, and asked ϟ†Nϟ about what keeps his music lingering in the shadows and the substance he's found there - as well as what makes him go all squishy inside with glee (hint: it has four legs and lives in Trinity Bellwoods).

At the core, what and who is ϟ†Nϟ?

ϟ†Nϟ: I am an artist and a musician, with an intense love for drum machines and synths. My work focuses on coming to terms with the bleak remains of our dying world, and transforming the pain into something cosmic and beautiful.

Who do you work with and record with most often right now?

I am recording a new album for Pretty Pretty Records, which features guest vocal by Ell V Gore, Rich from Mauzoleum, and Anna Coquette. I've been putting everything I have into this new album and I feel it's my best work so far. It will be out on vinyl and CD in early 2013.

I just finished a remix for Mauzoleum, and we're going to film a video for it, and release that soon. I am also planning on working on remixes for HUREN, Owl Vision, and Prince Innocence.

I also have a side project with my friend Rainbow called Wight Eyes--we've been recording for over a year. It's similar to ϟ†Nϟ in some ways, but has more of an '80s synth pop vibe with more focus on melody.

You've been involved in Toronto's electronic scene for a long time. Can you tell us about your background before ϟ†Nϟ, and how ϟ†Nϟ began?

"Solve et Coagula" is an ancient alchemical term, which essentially means to destroy something, and then rebuild it stronger than it was in its original form. It's a very fitting way to describe what has made me who I am today.

When I moved to Toronto, I was very hungry to change the soundscape of the city, and I started the first electro event in the city with some friends. At the time, electro was fairly unknown; within a short period of time it rose to be very popular, and in some ways I rose with it. I started organizing events all over the city, played with some amazing artists and had some chances to go on tour. I ruined most of the opportunities I had because I had some very self-destructive tendencies; I was in the midst of a crippling addiction, and became extremely volatile.

For many years the only thing that was able to keep me from sinking was my love for music, but I had burnt too many bridges. With no musical outlets left things got very bleak indeed. I literally should be dead; I was constantly finding myself in very dangerous situations out there on the streets, and kept waking up in the hospital with tubes coming out of me. Towards the end, I was essentially homeless.

One day, I had a moment of clarity and realized things needed to change. I was not afraid of dying or going to jail, but I realized that I was wasting my talents and I wanted to make music again. Almost exactly 5 years ago, I was able to stop using drugs and alcohol and I slowly began rebuilding my life. I am grateful that I went through so much pain and despair, because I now have a lust for life that I never could have had without those dark years. Solve et Coagula.

At first it was all about picking up the pieces and stabilizing my life. After a year clean, I moved into my own apartment, set up my TR-808 (one of the only possessions I had left), and started slowly rebuilding my studio. At first, my music went in an electro-industrial direction. I worked with some really great record labels: My Favorite Robot, Battery Park, Intellegenix, and others. I also remixed some great acts like Snuff Crew and Remain. While working on a remix one day, I started playing around with ½ time drums and droney bass lines; everything clicked as soon as I slowed things down. I found the sound I'd spent so many years searching for; I re-formed as ϟ†Nϟ and released my first EP in May of 2012.

2012 was totally played out as the year of the apocalypse, but I think the dread we feel that fueled all the hype is real. Do you feel the dread? What is that?

We are in a car that is hurtling towards a brick wall and everyone is too worried about celebrity gossip and reality TV to care. I refuse to participate in a lot of the bullshit that exists in this day and age. So, yes, I can feel the dread. I focus that dread into my music, and then I am at peace with it.

What are your first memories of recording music?

I played bass guitar in a punk band in high school. When we won a battle of the bands at school, the prize was that our head of the A/V department recorded an album for us on his 4 track recorder. That is the first original material I ever wrote and recorded. My bass lines back then have a consistency with what I write today for ϟ†Nϟ. It's always been about the bass for me.

Where does the name ϟ†Nϟ come from, and how would you explain the symbols?

That's a secret.

What is a ϟ†Nϟ live show like, and what's a perfect live performance for you?

I actually think ϟ†Nϟ is better live--it's more intense and chaotic. Everything is synced to video, and the videos complement the feel of the songs in an immersive performance. I teamed up with a very talented video artist, SARIN, who performs with me at my shows and makes a lot of the video.

To bring even more of a visual element to the show I added a back-up dancer, Chrissy Columbus. Chrissy Columbus is like a ghetto fabulous drag queen meets tricked out gangsta club kid. She is the best.

Why do you perform with a mask, and hide your face?

I don't want people to know who I am. I like that it separates me from the music. I want the music to speak for itself. I chose the type of mask I wear because I want people to know the music is supposed to be menacing, and that I am a threat.

What's your relationship with both underground music and with the mainstream music industry, and how have your feelings about each side changed over the past year, if at all?

I sincerely don't know much, and do not care about mainstream music. There has been a shift in the industry and the output of mainstream music got so bad that I stopped checking or caring what was new. I have surrounded myself with talented underground musicians and artists and I immerse myself in their work, when I'm not busy working on my own songs.

Your music obviously comes from, to use an overused term, a dark place, and Toronto definitely has a seedy side that often goes overlooked. What's the darkest thing you've ever seen go down in the city?

I crawled around the underbelly of Toronto for years while in the height of my self-destruction. I have seen so much fucked up shit that I could write a book. I knew a guy who had been shot in the dick, which is something I would like to avoid. He is still out there doing his thing. I like to do what I can to help those who are still lost in their addictions and show them that there is a way out. That kind of darkness is very comfortable; once you're in it, it no longer seems dark.

We know your soft side is there. What's the cutest thing you've ever seen in Toronto?

I love all animals. I really, really love squirrels. I take peanuts to the park and feed them sometimes. Many of them have big tufts of hair missing from fights with other squirrels. They look pretty punk rock. They remind me of little squirrel versions of the dudes from the Mad Max movies. One day I am going to tape peanuts all over a sweater and let the squirrels crawl all over me.

What's your relationship with the occult, and how did you become interested in occult themes and ideas?

I have always been seeking a deeper understanding of the universe. I bought my first Occult book when I was 11, and then convinced some neighbourhood kids to help me try to summon something out of the cemetery, which I now find pretty odd. What do normal kids do when they are 11?

My path now is that of Thelema. I am initiated into a Thelemic order where I can trace a path directly from those above me to Aleister Crowley. My main goal is to better align myself with the universe and my True Will. I try to take the knowledge and altered states of mind I gain from my meditative and ritual work, and use them in my music with the hope that it resonates with others and helps them on their path.

Your Murmur EP in 2012 was all over the place online. What's been your favourite random fan encounter?

I was on the street car the other day and someone had made a ϟ†Nϟ patch and sewn it onto their bag. That really made my day.

RAPID FIRE QUESTIONS

Favourite Toronto DJ: Too many to choose one.

Dogs, or cats: Fish.

Favourite shade of black: Flat Black.

Toronto band or artist you're most excited about right now: Ell V Gore and Mauzoleum

ϟ†Nϟ's 2012 Murmur EP is up for free download right now.

Photos by Denise McMullin. Live photo by Pretty Pretty Records.

This Week in Theatre rounds up the most noteworthy live theatre playing right now in Toronto. It includes just-opened shows as well as productions that are about to close.

Catalpa / Theatre Passe Muraille Backspace / 7:30pm/2:00pm / $15-$20
Toronto is oh so fond of tales about the people and places of Ireland, as well as the playwrights who produce them. Maybe it's that unmistakable brogue that's so appealing. Catalpa takes us to 1875, where a band of Irish ex-pats in the United States cook up a plan to sail across the world to Australia and free six of their comrades held captivate. The most impressive aspect of the play is that it all takes place inside the imagination of a screenwriter who performs the tale solo.

The Wizard of Oz / Ed Mirvish Theatre / 7:30pm/1:30pm / $35-$100+
A brand new production of The Wizard of Oz, with additional music and lyrics from Andrew Lloyd Webber and Tim Rice, is a beefed up version that wisely doesn't stray too far from the film. The most notable elements are those that contribute to the stage spectacle — sets, projections, costumes — where it seems no expense has been spared.

Robin Hood: The Legendary Musical Comedy / 8:00pm/2:00pm / $15-$25
Cue those men in tights, it's the last week to catch Robin Hood: The Legendary Musical Comedy at Hart House Theatre. Developed by Halifax's Shakespeare by the Sea, this irreverent comedy features all the familiar characters, Friar Tuck and the Merry Men, from the world of that do-gooder Robin Hood. With an eye on interrogating our desire for status and the distribution of wealth, the collective has written a number of clever songs.

Eating With Lola / Glad Day Bookstore / 9:00pm/2:00pm / $10
Catherine Hernandez's Eating With Lola showcases the power of sharing stories between generations. Hernandez plays Grace, a young woman dedicated to waiting on her sick grandmother (called Lola in Filipino). The subject of food inspires Lola to unfold stories from her childhood, right up until the present day. Directed by The Puppetmongers' Ann Powell, the eight show run will raise funds for Brave New Girls Retreats.

Final Savage Land / Oz Studios / 8:00pm / $20
Presented by Sore for Punching You (who deserve kudos on a clever name choice), Final Savage Land is a site-specific dance piece about how co-dependency operates in a relationship and how it begins to inevitably affect the coupled pair. Directed by Allison Cummings and featuring dancers Linnea Swan and Luke Garwood, the Oz Studios (134 Ossington Ave.) serve as the site for this examination of human relationships.

Production photo from Robin Hood

This new Ossington Ave. record shop was born out of the owner's overflowing stock of records, and his collection spans an impressive range of genres and eras. You won't find much in the way of newly-pressed vinyl (yet), but you know what they say about everything old being new again.

Read my profile of LP's LPs in the services section.

Toronto's budget discussions wrapped up for another year this week, with the city committing to $9.4 billion in spending from now until this time next year. The big headline out of the clamshell on the day the document was dissected by council was the approval of a 2 per cent property tax hike. Below are some handy charts and key figures to help make sense of the number as they relate to you.

Also this week, some high praise for Guillermo del Toro, an explanation of those little yellow fences found on the subway work, and a music video from Spoons to remind us of the TTC of old.

QUICK BUDGET HITSThis week, council passed the city's 2013 operating budget, committing $9.4 billion to running the city over the next 12 months. 40 per cent of this year's cash will come from property taxes, which were raised 2 per cent - $49.65 on the average home - from last year despite a bizarre, half-hearted motion by councillor Giorgio Mammoliti to freeze taxes and generate revenue from a temporary floating casino.

A day after the meeting, the spending plan's architect, councillor Mike Del Grande, announced he was quitting the post of budget chief, seemingly over roughly $5 million in extra spending added by member motions prior to the final vote. Doug Ford, Del Grande's deputy, will temporarily chair the budget committee until a full-time replacement can be found.

Here are some spending numbers from the budget, courtesy of the city:

• $3.7 billion: Wage bill for 48,594 city staff
• $1.6 billion: TTC
• $1 billion: Police services
• $415.4 million: Bank debt charges
• $391.8 million: Parks and recreation
• $175.9 million Emergency medical services
• 180.6 million: Toronto Public Library
• $3.1 million: Firefighting cuts prevention
• $1.16 million: Student nutrition program expansion

PRAISING TORONTO"I think it's the most livable city. The food is amazing, the cultural life is amazing, the urban life is amazing and what is great is it's a city, a proper city. It's not a big town or a wannabe. I love this city."

Guillermo del Toro, director of Pacific Rim (pictured above), the Toronto-shot monster movie, speaking with Toronto Star movies writer Linda Barnard.

WHAT'S THAT THING?

These yellow fences appear behind the electrified third rail at all centre-platform stations on the subway network. In addition to providing a little decoration, the barriers shelter technical crews working at track level while trains pass since this type of station has no safe middle area that can be easily reached.Brad Ross from the TTC says the barriers also provide shelter to customers in an emergency. For the record, in the event of a fall, a button to shut down the power to the station can be found at either end of the platform and, if the barriers aren't accessible for any reason, there is also a small crawlspace under the platform.

ROCKIN' THE SUBWAY

Finally, thanks to Reddit, here's the video for Romantic Traffic by Canadian new wave synth pop band Spoons. The entire film was shot on the Toronto subway - mostly in Bloor station, though there are shots at Sheppard too - and includes several shots of the system's original red Gloucester trains. We've featured it before, but it's just so good we'll do it again.

WHAT WE LEARNED THIS WEEK

• Cell phone thieves don't always disable apps [Reddit]
• Political foes make good drinking buddies, sometimes [The Star]
• Toronto Taxpayers' Coalition can't fake Twitter verification [Metro]

Chris Bateman is a staff writer at blogTO. Follow him on Twitter at @chrisbateman.

Photo: City of Toronto, Chris Bateman/blogTO, "Toronto Doubles for Tokyo" by suesthegrl and "Deserted" by Joseph.Morris/blogTO Flickr pool.

On Friday night, I walked into a mostly empty Wrongbar at around 10 p.m. Clearly I was playing the role of keener to be that early for a deep house show.

I didn't want to miss any of the action, though, since headlining "slow-mo and sultry house" DJ Slow Hands, aka Ryan Cavanagh, would be coming on in a couple hours, and a lot of great local talent was hitting the stage before his set.

Curtis Russo opened the show, followed by the musical mastery of Sean Roman. Normally a peruser of faster, more techno-y beats and sounds, Russo played to the night and set a slow-building, pulsing pace for Roman's more energetic and soul-filled tunes.

While Roman was spinning, I took a turn through the room and met some fellow show-goers. Local DJ and producer, Matthew Alexander, commented on Cavanagh's music style and the development of the more eclectic, somewhat pop-y sound in house music now: "No one wants to chin stroke and be weird and dark. They want to come out and have a good time."

Slow Hands took the reins a little after midnight and really got the dance floor bumping. While Russo had a pretty energetic onstage presence and Roman presented a quite stoic face, Cavanagh couldn't contain himself at any point during the show. He moved back and forth in a latin-esque dance as he turned knobs and managed dials; it was like watching a nerdy salsa dancer trying to play 90s video games and shake his booty all at the same time.

After filling our ears for an hour and a half with melodic chord progressions, orchestral sounds, and some truly disco beats, Cavanagh passed the torch to locals Rafwat & Chorniy to close the night.

The glowing red "Disco International" sign hanging in the background of the bar suited this show; the crowd's moves were more reminiscent of joyful, disco-era dance tunes, and I saw no chin-stroking to mellow it.

Additional Photos

Writing by Lori Steuart / Photos by Hannah Jor

Photo by Metrix X in the blogTO Flickr pool

Toronto events on January 21st, 2013

MUSIC | The Darkness + Hell or Highwater
The Darkness descends upon Toronto tonight for a show at The Phoenix. With a sound that is often described as both hard rock and glam metal, this band's story reads like somebody's pitch for a mock rock doc, complete with a meteoric rise to stardom on their home turf in England without the backing of a label, to substance abuse, implosion, and now.... a reunion. This tour is dubbed the Let Them Eat Cakes World Tour, and they are promoting their release from last year, entitled Hot Cakes. Hell or Highwater is tonight's opener.
Phoenix Concert Theatre (410 Sherbourne Street) 7PM $35

FILM | EARLY MONTHLY SEGMENTS #47 = Jonas Mekas + Lorne Marin
Early Monthly Segments is a monthly film event that explores the work of different experimental and underground filmmakers. Tonight, Jonas Mekas' work is being celebrated in the wake of his 90th birthday. Mekas is a Lithuanian filmmaker who is considered one of the greatest influences on avant-garde films in the US. The film Diaries, Notes and Sketches details his early years in New York. The evening will begin with a screening of Rhapsody on a Theme From A House Movie, a short film from 1972 by Toronto filmmaker Lorne Marin
Gladstone Hotel, Art Bar (1214 Queen Street West) 8PM pwyc ($5 suggested)

BOOKS & LIT | Andrew J Borkowski reading
Andrew J. Borkowski reads from his short story collection, Copernicus Avenue tonight at the Parkdale Activity Recreation Centre. Borkowski received the 2012 Toronto Book Award back in October for this work of fiction set in Roncesvalles Village just after World War II. Borkowski was raised in this neighbourhood, and is an active freelance journalist who has been published in The Globe and Mail, The Los Angeles Times and other publications. His works of short fiction have appeared in various quarterlies, as well.
PARC (1499 Queen West) 7PM PWYC ($10 suggested)

MUSIC | A Gift of Music: 75 Years of Song
An all-star musical fundraiser happens at Roy Thompson Hall this evening, as a stellar cast of musical minds celebrate the St. Michael's Choir School's 75th anniversary. There will be performances by Kevin Heard of BNL, jazz crooner Matt Dusk, Michael Burgess, John McDermott, Michael Colvin, Michael Schade, and other greats. All funds raised will go towards scholarships and bursaries at the school, and give the next generation of musicians at this institution a big helping hand. St. Michael's alumnus, Jim Codrington and JAZZ.FM's Heather Bambrick will host the event.
Roy Thomson Hall (60 Simcoe Street) 7:30PM $75 - $150

ALSO OF NOTE

• 2013 Toronto Design Offsite Festival
• 16th Annual Maple Blues Awards
• A Reg Hartt Talk: What I Learned With LSD

MORE EVENTS THIS WEEK

For more Toronto event suggestions, check out these posts:

• This week in food
• This week in film
• This week in fashion
• Toronto concert listings for January

Have an event you'd like to plug? Submit your own listing to the blogTO Toronto events calendar or contact us directly.

Photo from The Darkness's Facebook page

Rob Ford knows what Toronto wants, and it's not subways, subways, subways. Speaking on his weekly radio show, Ford wondered how Torontonians could possibly say no to a casino given all the joy, wonder, and untold riches a major gambling facility would bring. "This is all about creating jobs, folks," he declared. Public consultations on the matter will wrap up later this week.

Don't panic. He might be acting chair of Toronto's budget committee but Doug Ford says he's got no plans to keep the job. Cllr. Ford took over from cllr. Mike Del Grande, the engineer of this year's budget, on Friday. Who do you think should take over the job?

Also in appointments, Sun-Ann Levy thinks Deputy Mayor Doug Holyday should be made mayor if Rob Ford is removed from office in the next couple of weeks. Levy says simply making the Ford's deputy the mayor would save the city the cost of a by-election which could be upwards of $7 million. Is that the best way to round out the current term of council?

Toronto saw a freak "thundersnow" weather system Saturday night that brought high winds, snow flurries, and the occasional flash of lighting blasting through the city. Trees fell on Rosedale Valley Road and University Avenue and several thousand hydro customers were left without power in the east end. Do you have pictures? Link them in the comments section.

Also in weather, this week is supposed to be bitterly cold with temperatures expected to stay several degrees below zero at least until after the weekend. Stay warm.

Passengers on an Air Canada Jazz flight had a bumpy ending to their flight from North Bay yesterday. A wheel on the front landing gear fell off the plane on the way to the terminal, prompting emergency vehicles to scramble to the plane. No-one was injured but the airline has launched an investigation.

Finally, in Mississauga, police were called to a figure skating celebration that "got out of hand" Sunday morning. One man's cheek was cut when a scuffle broke out between team members at the Delta Meadowvale hotel, but cops said the incident wasn't criminal in nature.

IN BRIEF:

• Toronto homicide squad investigate Christie Pits death [The Star]
• Toronto man charged with first-degree murder in death of woman found lying on street [The Star]
• Homicide investigators search Regent Park 'crime scene' [CBC]
• Joffrey Lupul signs 5-year extension with Maple Leafs [CBC]

Chris Bateman is a staff writer at blogTO. Follow him on Twitter at @chrisbateman.

Photo: "Stephen B. Roman" by Subjective Art/blogTO Flickr pool.

Whether you're a friend of Dorothy's, a fan of Toto's, or remember once being swept up in the technicolour dream of the 1939 film, The Wizard of Oz remains an enduring cultural classic. The production now on stage at the Ed Mirvish Theatre, with additional music and lyrics from Andrew Lloyd Webber and Tim Rice, is a beefed up version that wisely doesn't stray too far from the film.

There are no real revelations to be had in the new additions, many of which are sketched in to support the main story arc. The parts you will remember are done well and a couple of performances manage to stand out amidst all the emerald and yellow. The most notable elements are those that contribute to the stage spectacle — sets, projections, costumes — where it seems no expense has been spared.

The initial sepia-tinted scenes in Kansas are framed with beautiful sprawling projections from Jon Driscoll. It's here where Dorothy (Danielle Wade), a competent Judy Garland stand in, delivers "Somewhere Over the Rainbow" with charm. It's a shame her climactic moment comes so early in the musical. Once she arrives in Oz and meets the Munchkins, a decidedly welcoming bunch, set and costume designs from Robert Jones really pop.

Of the new songs, those in Kansas feel like fleshed out exposition. Where we do get more of a story is at the castle of the Wicked Witch, played by Lisa Horner who gets in a number of solid zingers. The songs at the castle, performed by an army of Winkies, feel more like numbers from Cabaret with all the dark aggression. The one song that does sound like it belongs in a large musical, "Already Home," is a rousing farewell to the world of dreams.

Dorothy's companions, Scarecrow (Jamie McKnight), Tin Man (Mike Jackson) and the Lion (Lee MacDougall), all seem a little 2D in the new adaptation. The cheap connect-the-dots hints that the Lion's cowardice might be because he's a little fey is somewhat problematic. The floating Wizard (Cedric Smith) is definitely of the darker variety and will likely scare younger audience members.

Wade carries through alright with Toto (either Tilley, Neddy or Winny) by her side — her Dorothy is a mix of sweet and determined. She's aided by Horner, who turns in a devilishly funny Andrea Martin inspired performance, and Robin Evan Willis as a radiant Glinda. Each tend to carry the scenes which require a witch's presence.

Sams' direction plays up the added comedy, which sometimes seems to comment on tropes from the original film. The choreography from Arlene Phillips is best in the large ensemble scenes.

Like a sturdy gingham dress, the musical does its job when it's a straight-forward take on the classic film. Save for "Already Home," you'll hardly remember the additional material.

—

The Wizard of Oz, directed by Jeremy Sams, runs at the Ed Mirvish Theatre until March 31.

Live music picks for MONDAY JANUARY 21 through SATURDAY JANUARY 26, 2013.

MONDAY JANUARY 21 / THE AMAZING / HORSESHOE TAVERN / 368 QUEEN W / $11.50 / 19+

While The Amazing may be lacking in the name department, this Swedish quartet has a unique sound that can best be described as a blend folk rock and psychedelic pop. Their 2012 album, Gentle Stream, was met by much critical acclaim, and the Horseshoe should prove to be a perfect venue for their brand of music. The Dickens and The Volunteers will offer support.

TUESDAY JANUARY 22 / CORIN RAYMOND AND THE SUNDOWNERS / THE TRANZAC CLUB / 292 BRUNSWICK AVE / $15 - $18 / ALL AGES

Local roots rocker Corin Raymond will take the stage at the Tranzac Club along with his band the Sundowners to celebrate the imminent release of Paper Nickels, an album/book that was funded entirely by Canadian Tire money. Yeah, it's a quirky story, but it's definitely worth checking out. As for the music - well, it's nothing short of fantastic. Corin Raymond is a natural-born storyteller, and after seeing him on stage, you'll understand. Kim Beggs will offer support on the 22nd, and Wax Mannequin will join Raymond on stage on the 23rd.

WEDNESDAY JANUARY 23 / BROWN BIRD / HORSESHOE TAVERN / 368 QUEEN W / $10.50 / 19+

Sometimes, you know that you're going to absolutely love a band from the very first moment you hear one of their songs. This is how it was for me when I first heard Brown Bird. Based in Rhode Island, the band, which consists of David Lamb and MorganEve Swain, has perfected a sound that's based on American roots and blues music. It's magnificent stuff, and I'm giving this show my highest recommendation.

FRIDAY JANUARY 25 / JULIE DOIRON / HORSESHOE TAVERN / 368 QUEEN W / $15 / 19+

I've written about Julie Doiron in the Hot Ticket before, and I was fortunate to catch her at a very intimate show at Sonic Boom about a year and a half ago. All I really have to say is this: if you've seen her live, you know what a treat it is. And if you haven't seen her live, or you're not familiar with her body of work - please, drop everything, and go. You'd be hard-pressed to find a more enjoyable live act. Construction & Destruction will open.

SATURDAY JANUARY 26 / TOM ODELL / THE RIVOLI / 332-334 QUEEN W / $10 / ALL AGES

Wrapping up this awesome week of live music in Toronto, Tom Odell will be making his Toronto debut at the Rivoli. At the ripe old age of 22, this British singer-songwriter has made quite a name for himself in a very short period of time. He was recently recognized by the BRIT Awards, taking away the Critics' Choice award. Previous winners include Adele and Florence and the Machine, so he's in pretty good company. Odell seems poised to have a breakout year, so don't miss the opportunity to see him in an intimate setting.

For more music listings, check out our January concerts roundup.

Looking for tickets? Check out Rotate This or Soundscapes to avoid Ticketmaster robbery.

Have an event you'd like us to plug? Submit your own listing to the blogTO events calendar.

Photo of Julie Doiron courtesy of Dani Canto on Flickr.

Ever scrawled Pixies' lyrics across your social studies notebook? Plagiarised the Smiths when writing to your fickle high school paramour? Yes, we've all experienced that special connection you feel when only one band can truly understand your adolescent angst. Songs That Saved Me, the latest group exhibit from Little Italy gallery Huntclub seeks to replicate that feeling, and provide a "seasonal pick-me-up" to get us all though the winter months, now that winter has finally arrived in Toronto.

I trudged through Thursday's night snowstorm to get to the show, and arriving past 9 pm meant I spent the evening shoving my way through the over-capacity space to actually get a glimpse of the art. Though thankfully, I still managed to make it before the complementary red wine ran out.

That this type of show would be so packed isn't really a surprise. Typography is design's current darling, with every person under thirty a self-proclaimed expert. For the best demonstration of this, try setting your next party invitations in Papyrus and await the snarky emails.

So while the concept of a typography-themed art show may be pretty commonplace these days, Songs That Saved Me sets itself apart with some truly inspired pieces. I came in expecting the usual Tumblr-approved song lyric art: angst-heavy words set in Arial, overlaid over an Instragrammed sunset or a young woman's feet. Thankfully, the artists participating at Huntclub took a far more ambitious approach. Even the more literal interpretations (like Lauren Pirie's take on "Undone - The Sweater Song" by Weezer, which laid out the song's chorus as the sweater's unraveling yarn) were still inspired in their execution.

Rafael Ruiz, with Nine Inch Nail's "Hurt," presented what could easily be a recent NIN album cover. Repurposing the song's title into a monochrome geometric formation, Ruiz perfectly tapped into the song's steely emotion, not to mention the band's general aesthetic. Likewise with Danielle Hession's interpretation of Destiny's Child's "Bug a Boo," which utilised stickers of kittens, castles, and cupcakes to replicate one of the all-time great late 90's jams.

But best in show for me goes to Danny Appleby, who clearly had the most fun with his assignment. Taking on the immortal chorus of Bruce Springsteen's "Atlantic City," Appleby took "Everything dies, baby, that's a fact / But maybe everything that dies someday comes back" at face value, and it turned it from a mobster's elegiac lament into the tag line for an 80's zombie flick.

Huntclub's ongoing commitment to making its art accessible means that the average under-employed 20 something can actually purchase the art. And with originals and prints both for sale, we can now all relieve the glory days of our youth, without having to unpack those embarrassing notebook covers.

Additional Photos

Photos by Emily Baillie

After spending most of his career in one of the city's beloved kitchens, chef Graham Pratt decided it was time for a challenge. A seeming twist of fate led him to Bay St. favourite, The Gabardine, serving comfort food that appeals to more than just the suits. Pratt shares his experience leading a new team, designing a menu that fits, and what he thinks of Toronto's restaurant scene.

Did you always want to be a chef?

I think so. I remember when I was in grade one, there was a day where you could dress-up as what you wanted to do when you were older. You could be an astronaut or a cowboy, and I don't know why, but I chose chef. When I was in high school, I cooked a lot at home, and then I started working when I was about 14 as a dishwasher because I wanted to work in a restaurant. And by the time I was 18, I realized I had no other choice because I didn't really work on school, so I just decided to keep doing it.

What was your most memorable restaurant job?

Most of my career was at Mildred Pierce. I was there for about two and a half years, left for about nine months, and came back for another three years. I haven't worked in a million different places like other chefs; Mildred Pierce was comfortable and they promoted a lot from within. When I was 20, I was on the front line, and it was a great learning kitchen. I remember once when I was pretty young there, I felt like I was being picked on by the chef, and I just didn't get it. But it was because I was worthwhile, and I was always being challenged. It was easy to work there because it was really well set up, and you could work at different points in the day.

What was the biggest lesson you learned there as a chef?

The importance of working clean and organized, and of being committed to your work and owning it. If you're on a station, that's yours. Also, taking pride in your work, and just generally being responsible.

What brought you to the Gabardine?

A hairdresser that I knew also cut one of the owner's hair. She sent the owner an email about me because they were opening this place and looking for a chef. I thought it was a Bay Street sandwich type of place, and I basically forgot about it. Then my old boss, Rodney Bowers, had come here to look at the space himself and the owners had just acquired it. They knew each other from the Rosebud, and at some point they brought him on to consult. He texted me about it, and I was at work, but I just phoned him right away because I wanted to do something that was my own and take that challenge. You can go and work through a million restaurants and never get promoted; you have to be confident enough to just take the job. So I called him right away, and he told me about it, and I felt like if it was the same thing, it had to be fate.

Do you have a signature dish at the restaurant?

Our mac and cheese sells a lot, but it's not exactly something I would want to be a signature dish. The owners had many ideas. They had gone to a lot of restaurants for inspiration, and they had things they wanted for sure: deviled eggs, mac and cheese, a burger, and other standards. I worked on the menu with Rodney, and I knew I had to leave certain dishes, so it was about making stuff ridiculous and something we could stand behind. So we just worked on making the cheesiest mac and cheese we could, and it's over-the-top. I still can't believe people eat it and go back to work.

One thing that we ran that people freaked out about was Korean fried chicken. I love it, and I wanted to do it properly and people would come here just for it. That would be more of a signature-type thing that we did after we opened, and then I saw other restaurants doing it more, so I stopped.

Is there a type of cuisine that you gravitate towards?

It depends on what I'm eating and what I'm focusing on at the time. I kind of dive into certain types of cuisines for a while, and then eventually I get tired of it. I hate doing stuff that's necessarily "trendy." Years ago when I was at Mildred Pierce, I was doing Latin American type of stuff, and now that it's so popular we do the odd thing that's like that, but I'm trying to steer away from it. I think with Korean stuff, you can get away with being a little less authentic, because many people here don't eat traditional Korean food, unless you're Korean, of course. Right now, I want to focus on more classic comfort foods like what we opened with--French stuff--and just cooking things a little simpler. I don't want to dilute everything with elements from other cultures, because I think things should be authentic.

Do you get tired of cooking the standard dishes? Anything in particular that you don't like to cook?

It gets repetitive, and I'm sure the line cooks get sick of things. I just always try to make something better since the last time, instead of just resenting it. As a brunch cook, you would stand in one spot for four hours and just cook 600 eggs. The only thing on the menu that I would like to change here would be our black cod. I don't hate cooking it, but we've done a lot more fish specials that are really interesting.

Where would you like to see yourself go as a chef in this restaurant?

Hopefully expand if the company can do it. I think with any restaurant job you eventually get tired of any of it. Some people stay at a place for a really long time, but I think it's important that if you get to that point, that you put someone else in your position who's going to embrace it the way you did it when you first started. That's what I would like to see eventually.

Any plans to open your own restaurant?

Not in the near future. I think it's a bad time to do it; it's over saturated, and it's almost like buying a house. Many restaurants aren't going to last, and it's not because they're not good restaurants; it's just that there are too many. And everything now is almost theme specific; you can't open a restaurant that's just a restaurant. It gets people in, but eventually something else comes up and people move on to that. The food scene has changed in this city, and I think there needs to be some more classic places that won't change but are still innovative.

RAPID FIRE QUESTIONS

Most underrated ingredient? Iceberg lettuce

Best culinary tool? Knife

A chef that inspires you? David Chang

What's one dish you can't live without? Eggs

Favourite Toronto restaurant?Hopgood's Foodliner

What would people be surprised to find in your fridge? Leftover tuna casserole

One food trend that needs to end? Watered-down Asian and Latin American food

For more chef profiles, visit our Toronto chefs Pinterest board.

Photos by Morris Lum