All images by Sarah Rix

Patti Smith’s Camera Solo arrived at the AGO on February 9, 2013, showcasing the multi-talented artist’s 70 photographs, beautifully haunting in black and white silica. The photos on display in Jackman Hall are accompanied by a short film paying tribute to one of Smith’s muse’s, Arthur Rimbaud. Rimbaud’s a famous French poet who inspired her to write most of her own musings about her reflections and observations of life, in the infamous flow of fact and prose she demonstrates so effortlessly in her work. Smith originally gained recognition in the 1970’s as a rock and roll revolutionary, as she merged her poetry, music and stage presence to create a unique stage dynamic that carried on into the 80’s. She gained literary recognition in 2010 with the release of Just Kids, a memoir of her unique relationship with late artist Robert Mapplethorpe.

Smith sat down with AGO’s CEO and art director Matthew Teitelbaum, to discuss the exhibit and how she defines her own work. A self-professed workaholic, Smith says she “just likes to work.” The sheer volume of her artwork defies any doubt otherwise. Before branching out to New York to pursue her dream as an artist, Patti worked hours on a factory assembly line, establishing a work ethic she still uses today. Camera Solo offers a glimpse into some of Smith’s inspirations and muses. The exhibit is light and breezy, while simultaneously sombre and deep. A large photograph of Rimbaud’s tomb, a photo of Frida Kalho’s dress, skeletons and crucifixes, send morbid veiled messages of Catholicism and French afterlife. While chatting with Matthew, she states her photos are “relics, of the second or third kind.” The exhibit seems to feature artifacts and photos of other people who no doubt had a huge influence on the artist’s life. “I’ve always been interested in the work of other’s” Smith says. “The dead live on in the memory of the living. I like keeping people alive”.

Camera Solo is open to the public at AGO until May 19, 2013.

all images c/o Google

Penny Wise

Today marks the day retailers, banks and shoppers go penniless, as Finance minister Jim Flahery`s decision to cut the coin goes full execution, making February 4 the first day the copper is out of circulation.

So what to do with all these soon-to-be-extinct pennies? I say hop on the 2012 penny-grouting trend and put your money where your home is.

If I had enough copper, I would totally tile a floor or cover a surface in my apartment, like the dedicated creative types in the image above, or cover the walls of my wardrobe as shown in the second pic. Creates such a rustic, natural vibe, doesn`t it? Something that would be super complimentary with any additional interior decor.

But, since I don`t have enough of the existential bling, I`ll probably stick with some penny-art (third photo) or try covering my iPhone or something. It`s best to use some sort of epoxy sealant (found at hardware store) to cover your penny masterpiece so you can cherish it forever.

Given you had a few rolls of the coin to spare, what would you penny?

Pretty sure this is how you’ll visit your doctor in the future.

After experiencing a kind of extreme and crazy injury over the holidays, which really does not need to be discussed, I made a foggy decision to visit a new walk-in clinic down the street from my office. I’m hoping my family doctor doesn’t read this, because of what I read here in the Globe last week. Please don’t fire me, family doctor. You were just super busy and booked solid as always. 

So I walk in to the attractive new clinic, and sign in by swiping my health card in one of those consoles similar to a TTC metro pass thing. The residing doctor was away, but the nurse assured me that a doctor was available on site … via Telemedicine. Cool.

After my blood pressure and vitals were taken - read: weight -why do they need this EVERY visit? - and assessed, I was asked to turn around, and face the monitor ahead of the examination table as a doctor from a local hospital was called via videoconference.

The doctor introduced himself and gave a brief introduction about Telemedicine while the nurse supervised, iPad in hand. We discussed symptoms and my minor injury, so the nurse didn’t really do much. Apparently though, if a health assistant needs to, they can intervene using equipment like digital stethoscopes, an otoscope - the instrument used to look into an ear - or a patient examination camera. According to the Ontario Telemedicine Network’s (OTN) information booklet, the specialist on the monitor can hear heart and breath sounds, and look into your ear, nose and throat as if he were sitting in the same room.

Besides the cool experience of essentially Skype-ing a health specialist, I found the conference extremely informative and convenient. I was able to connect with a health specialist on the other side of Toronto, without leaving my doctor’s office. After the ten minute discussion, the nurse jotted down notes on her iPad, and advised to make an appointment with the clinic’s doctor, to follow-up with a physical assessment if symptoms persisted. 

Is this the future? Probably. Could this possibly assist those in need who live in remote areas of the world who would not otherwise have the resources to see such health professionals in person? Hopefully.

For more information on telemedicine, visit www.otn.ca 

Nate Daniels, lead singer and songwriter of Toronto indie folk band Cai.ro, is taking his swoony vocals to VIA Rail Canada, performing for 3 consecutive nights, entertaining travelers from Toronto to Vancouver. 

‘It’s pretty cool, I’ll be performing in the dome cabin for any travelers who want to listen in.”

VIA’s dome cabin is a large, round room with a 360 degree view of all passing sights, which musicians typically perform in while on board. Passengers can come and go as they please. For more info on cabins, visit http://www.viarail.ca/en/trains/rockies-and-pacific/toronto-vancouver-canadian

Nate’s saving original songs and material while touring with his band Cai.ro, but looks forward to covering Canadian classics by Arcade Fire, Dallas Green, The Hip and other favourites from Coldplay, The Beatles and Oasis.

Visit Cai.ro’s official site here http://www.wearecairo.com/music/ to check out music and upcoming shows, and here https://soundcloud.com/wearecairo/we-three-kings to listen to an xmas classic the band recently covered, We Three Kings.

Looking forward to checking in with Mr. Daniels tomorrow to see how he’s making out!

Mirrored view of Nate’s sleeper cabin via Instagram:

A belated post on The Cranberries show from May 2012 when they hit up the Sound Academy:

After an 11 year hiatus, the Irish rockers are back, with their sixth album “Roses”, recorded in Torontonian studio Metalworks, released this past February. After their set on Wednesday night at the Sound Academy, it was hard to believe they were gone so long.

Unsigned country artist Marshall Dane, from St. Catharines, ON opened the show with a 5 song set, getting a few eager Cran-fans into their Western twangy-vibe. It was an interesting choice of opener for The Cranberries, who’ve always had a bit of an emotional edge to their song writing. “My love life has inspired a lot of my songs” Dane mentioned halfway through his set. “And so does my drinking”. We were then treated to such songs entitled “Alcohol Abuse” followed by “Love and Alcohol”, proving such introductions very true. Marshall Dane successfully built huge anticipation for The Cranberries, who took the stage promptly at 9:30 p.m.

Dreams kicked off the show, with lead singer Dolores taking the stage adorned in a black, sparkly outfit, literally creating an eye-dazzling dynamic. The stage lights bounced off her quick bursts of nervous movement and into the sold-out crowd throughout the full 90 minute set. All four members of the band had amazing chemistry on stage, including an unknown back-up vocalist, supporting Dolores on her signature moving notes.  Linger, a personal anticipated favourite, was up next, getting the crowd going into a 90’s sing-a-long jam session. It’s hard to believe Dolores once had crippling stage fright, (way back around the “Everyone’s Doing It So Why Can’t We” days) turning her back to the crowd to belt out this very same hit. “Tomorrow”, the first single off the band’s latest studio album, was up next getting the crowd bobbing along in appreciation. “This one goes back to 1997, which makes us feel very old” she said as she started Animal Instinct, from the ferocious Bury The Hatchet studio album. At one point after “Schizophrenic Playboys” another new song off Roses, the energetic lead singer declared she was “sweating like a mad woman” swinging immediately into “Ridiculous Thoughts”. 

The return of Roses is a great welcome back album for the band. It stays true to O’Riordan’s signature vocals, and the band’s chemistry shines through Conduct and Losing My Mind, thanks to producer Stephen Street, who’s worked with the band on a few of their best-selling albums from the 90’s. The band switched labels for Roses, working with Cooked Vinyl, Downtown Records and Cooked Records, a bit of a change from long-time affiliates Island Records. The album shed light on new issues, love still being the main, but showing a bit of a grown-up vibe touching on deeper, complicated themes like maturity, madness and impatience. The loyal crowd was receptive to the new album.

Zombie was next up, accompanied by a crazy flashing light show, leading the night into an enigmatic finale. The Cranberries left the stage, only to return a few moments later, to close the show with Conduct, Losing My Mind and a speedy version of Salvation. O’Riorard’s vocals on her new song “Conduct” and are reminiscint of that.

The incredible set of old and new tunes on stage was impressive, satisfying the crowd’s craving of late 90’s nostalgia, adding some “Roses” to the mix.

Full set list:

Dreams

Linger

Tomorrow

How

Animal Instinct

Just My Imagination

Ode To My Family

Put Me Down

Analyse

Desperate Andy

When You’re Gone

I Can’t Be With You

Waltzing Back

Wanted

Free To Decide

Schizophrenic Playboys

Ridiculous Thoughts

Zombie

Conduct

Losing My Mind

Salvation

Catching up with Torontonian Indie lovers, Cai.ro, after their performance at Rancho Relaxo during Canadian Music Week 2012.

Chatting with Ian Astbury of The Cult about the band’s 9th album, Choice of Weapon. He shared his advice on longevity, his take on reality shows and what it was like for a young Brit to hang out in Ontario for a summer.

There was an article in the Globe a few days ago on a new book about “non-dating” for young single women. After interviewing hundreds of 20 and 30-somethings, the author came to the conclusion that single women nowadays are spending un-orchestrated time with different men they are interested in/attracted to. The book’s title, The Gaggle: How The Guys You Know Will Help You Find The Love You Want, is a goose metaphor representative of a flock of geese who socialize aimlessly and “squawk around with no order”. Ok.

The article goes on to offer insights specific to non-dating -and even goes into putting titles on certain guys — i.e. the “ego-booster”, the “hornball” and the “boyfriend prospect”. The implication is that women go out and actively seek different men to fulfill their various needs. Um, really? Putting an actual title on different people and keeping them on hand for these needs? I hate to bring up the “F” word here, but can’t help but think this is almost reverse-feminism. I think the author is trying to empower women with this book, remind them they are in charge of whom they date and that there are a million different types of guys out there which, sure, is awesome. The fact that she’s encouraging women to treat these guys the same way misogynistic men have dated women for years, is just weird. Women are now entitled to do the same thing? No.

 While dating is about meeting new people and getting out there, why over-analyze and put a title on someone you find interesting and exciting? A boyfriend, partner, whatever, cannot possibly fulfill all of one’s needs (unless you’re Eva Mendes and happen to be dating real-life, modern day Prince Charming, I mean …). But seriously, is this not why we cherish our relationships outside of romantic ones? The whole point of “non-dating” is to rid us of the cliché of the dating world itself, to break free of the dinner and a movie, the waiting 2 days to text, holding out until the 5^th date, or introducing friends after a few weeks, etc. It’s these titles and restrictions that cause huge imaginary expectations of ourselves and potential bfs.

This article does bring up an amazing point though: traditional dates are weird, superficial interviews.

We get dressed up, are on our best behaviour, know what to do and what to say to make ourselves look awesome. After dinner we go to a movie, talk about our families, our likes, dislikes, our careers, and go about these dating rituals as if to follow some guidebook thrown at us by social norms. Afterwards, we think about and discuss whether or not he paid for dinner, what he was wearing, what you were wearing, was there a kiss, was there more, and the discussion goes on. These binding factors, so to speak, become less about how we interacted, the conversation flow, and how he made us feel. They become more about esthetic and kind gestures that everyone should just do for everyone anyways.

Here is my, albeit idealist, theory:

Do nothing with someone. No exclusive restaurant, no strategic outcome. Hang out and discover. Talk. Talk about crazy flaws, weird quirks, weaknesses. Restaurants are amazing, theatres are great, and going out and showing off some arm candy/being arm candy is fantastic. But the best and most memorable times I’ve shared with an interesting and exciting guy have been nights where I invite him into my ordinary evening, or when I’m invited into his. It’s real, and maybe one of the best ways to truly get to know someone and decide if you want to spend more of these future moments and ordinary evenings and experiences together. Isn’t this what we want?

The Sheepdogs win everything, Treble Charger is inducted into the Hall of Fame, and Rich Aucoin turns the show into Grade 5 gym class.

The 12^th annual SiriusXM Indies took place Saturday night, ending the festival of local musical talent that is Canadian Music Week. The awards show was held in the large Canadian (that’s what it’s called) room, at the hub of CMW, The Royal York Hotel. My photog colleague and I sat down at a table in the media room and had a quick look around. A woman with faded pink highlights and a striped blazer glared at us, and said she would need the entirety of the table very shortly. Meet the drummer of Pack A.D., one half of the hardcore rock duo that was set to perform later on in the eve. We quickly obliged and quietly snacked on mini Aero bars and Smarties until the show started.

A mix of bands and industry people, were spread evenly throughout the room, glancing around to see who’s who. It was hard to point out who was who, as most of the nominees in the room were modestly styled, mild-mannered and keeping to their own group – aka Canadian. And then The Sheepdogs walked in. Long-hair, skinny flared jeans and guitars slung over their backs, they sauntered in and sat down at the table behind us. I`d heard about the hype, like everyone else, when they made headlines as the first unsigned band to make the cover of Rolling Stone magazine last August. But to see them walk into a room was like a refreshing time trip back to the 70’s. No antics or gimmicks, just raw talent and rock and roll swagger.

Some subtle gawking and a Diet Coke later, I took my place in the media pit at the side of the main stage, watching Pavlo, a four-piece Mediterranean band open the show, with a lively guitar and percussion performance. They sounded like an older version of The Gypsy Kings, so it was good to see host Jeff Leake, director of music programming of Sirius XM radio, take the side stage shortly afterwards.

The aforementioned female duo, Pack A.D. was next up for the second performance of the night and truly brought the hard rock fix with strong drums, electric guitar and dark vocals that reminded me of the awesome punk band The Distillers. “Haunt You” was a crowd favourite, and the vid is pretty cool, too. Two members from Walk of The Earth – that band that covered Gotye`s Somebody That I Used To Know ala a viral YouTube video – appropriately presented Favourite Video of The Year and awarded it to Mariana`s Trench for Haven`t Had Enough.

Young Empires were up next, performing two songs from their latest album, Wake All My Youth. The lead singer sounded a bit like The Cure’s Robert Smith, with modern techno beats accompanying the lead singer’s high-pitched drawl.

Brendan Canning from Broken Social Scene took the side stage afterwards with an amazing, spacey introduction for Treble Charger, that he clearly free-styled while up there. The guys from Treble Charger were the guests of honour that night, as they were inducted into the CMW Hall of Fame. They reunited to perform fan favourite American Psycho (in Converse!) which sounded great, as everyone got a healthy dose of nostalgic pop rock for the evening.

Dan Mangan was up next, who was obviously the unofficial Indies poster boy, as the crowd turned Bieber-fan-crazy as he performed a few tracks off his folky album. He was also the surprise guest at the Arts and Crafts CMW showcase a few days earlier.

I personally thought I was most looking forward to Passion Pit’s performance, until, again I was slightly hypnotized by The Sheepdogs. They came on and performed I Don’t Know and it was over for me. Who Do You Belong To was up next and I was so into it, I forgot to tweet about how much I was into it. Paul Rogers was a surprise guest, who came out to perform a song with the band and later the infamous “Alright Now”, which put a song to the rock star’s face, if anyone in the crowd didn’t know who the eff Rogers was.

Rich Aucoin took the stage next, opening his performance with a large video montage displaying various inspirational messages. Think Baz Lurhman’s “Sunscreen” video with a CMW/SXSW twist. I’d never heard of Rich Aucoin before The Indies, so was kind of blown away by his unique stage presence. Rich constantly addressed the crowd with positive shouts, while mixing random viral YouTube clips with hard, upbeat techno sounds. He crowd-surfed, managed three outfit changes, shot confetti into the audience and encouraged the crowd to “get out of their heads”. Halfway through his set, he threw a large multi-coloured Grade-5-gym-class parachute into the audience and instructed everyone to get under it while he did the same to finish his performance. There were some critics in the crowd, but I personally admired his successful effort at interacting with his fans and making the show an unforgettable experience.  

Boston-based Passion Pit closed the show with an energetic set including hits Sleepyhead and Little Secrets. Graham Wright from Tokyo Police Club was on keys for the evening, giving them the honorary Canadian stamp of approval to play at The Indies.

The show was a perfect close to an amazing week of fresh Canadian music, all yours to love and discover! See ya next year.

See below for a full list of award winners.

Favorite Pop Artist or Group of the Year

Neverest

Favorite Jazz Artist or Group of the Year

Jill Barber

Favorite Blues Artist or Group of the Year

Suzie Vinnick

Favorite Folk/Roots Artist or Group of the Year

Elliott Brood

Favorite Country Artist or Group of the Year

Doc Walker

Favorite Children’s Artist or Group of the Year

Splash’N Boots

Favorite World Artist or Group of the Year

Minor Empire

Favorite Video of the Year

Marianas Trench - Haven’t Had Enough

Favorite Rock Artist or Group of the Year

The Sheepdogs

Favorite Single of the Year

The Sheepdogs - I Don’t Know

Favorite International Group of the Year

Bon Iver

Favorite International Solo Artist of the Year

Adele

Favorite International Breakthrough Artist or Group of the Year

Young The Giant

Favorite International Single of the Year

AWOLNATION - Sail

Favorite International Album of the Year

Adele - 21

Favorite International Video of the Year

Gotye - Somebody That I Used To Know (feat. Kimbra)

Favorite Solo Artist of the Year

Dan Mangan

Hall of Fame Inductees

Treble Charger

Favorite Francophone Artist or Group of the Year

Coeur De Pirate

Favorite Electronic Artist or Group of the Year

Deadmau5

Favorite Urban Artist or Group of the Year

The Weeknd

Favorite Alternative Artist or Group of the Year

Library Voices

Favorite Punk/Hardcore Artist or Group of the Year

Fucked Up

Favorite Metal Artist or Group of the Year

Protest The Hero

Favorite Live Artist/Group of the Year

The Sheepdogs

Group of the Year

The Sheepdogs

SiriusXM Emerging Artist of the Year

Rich Aucoin

Favorite Album of the Year

Fucked Up – David Comes To Life

Joel Plaskett at CMW opening gala