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Anthony Bourdain hits up Toronto; digs Kensington Market and F*cked Up

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Earlier this year, celebrity chef and television host Anthony Bourdain hinted that he’d likely be checking out Toronto as part of his new show, The Layover.  Well, he’s made good on his word and has been spotted at various spots throughout the city (and also chumming with F*cked Up’s Damien Abraham).

According to The Star, Bourdain’s first Toronto stop was at St. Lawrence Market’s Carousel Bakery for a peameal bacon sandwich. Then, he paid a visit to Tosho Knife Arts for a look at some samurai-worthy cutlery before heading over to Kensington Market, where he stopped by Ronnie’s Local 069, Cold Tea, Thirsty and Miserable and Agave y Aguacate (“extraordinary,” he said in a tweet).

Later, according to Now Magazine, he found time for Poutini’s House of Poutine, where he hung out with Abraham. On Twitter, he lauded the band for being “gastronomes extraordinare” as well as being great guys.

Sounds like a fun day. Might we recommend some pre-packaged salad from our now-totally-versatile street food scene?

Tony Aspler’s Weekly Wine Pick: Wolf Blass Gold Label Riesling 2011

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At a recent Vintages release tasting, I was mightily impressed by this Riesling from down under. It’s a fruity, medium-bodied wine the colour of straw. The bouquet is redolent of apples, minerals and honey, with a floral grace note. Ripe and full on the palate with honeyed lime and grapefruit flavours, it’s a style of wine that will go well with spicy dishes.

Food match:  Thai or light curried dishes

$19.95, LCBO #606269

Tony Aspler is Post City’s wine columnist. He has written 14 books on wine and food and also created the Ontario Wine Awards. He can be heard on 680News.

Gadget: a fridge that looks like a Marshall stack, but isn’t

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This novelty gadget is likely to cause some confusion, because it really, really, really looks like you could plug your Fender guitar into it. But you can’t. That’s because it’s a bar fridge that happens to look exactly like a Marshall stack amplifier.

The makers of the fridge, XMC Sports and Entertainment, are based in Toronto and have caused quite a stir since introducing the fridge in March: the product’s site garnered over 200,000 hits in its first week, and Slash and Peter Frampton have apparently requested the product.

Made with authentic Marshall parts, it won’t make your music cool, just your loot (it’ll hold 4.4 cubic feet of it). Perfect for a man-cave, it’ll go right up against the back wall, underneath the Guns ‘n’ Roses poster, next to the pool cue rack and dart board. Did we mention that the knobs on the fridge go to 11?

The fridge won’t start shipping until October, but pre-orders can be made here.

Marshall fridge, $399. Available online

Morning Throwback: in the 1890s, Saturday morning walks were out of this world

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There’s nothing like walking the streets of Toronto on a Saturday just as the sun comes up, right? (FYI: seconds after this picture was taken, this dude hopped into a rocket and blasted off to planet Antareus). Happy weekend, everyone!

Weekend Warrior: Waterfront Night Market, Hot & Spicy Food Festival, Brazilfest, Thrill of the Grill and more

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Hungry?

Care to dine on deliciously authentic Asian cuisine under the stars while looking out at the lake this weekend? Okay, so maybe a street food festival isn’t the ideal atmosphere for romance, but the third annual Waterfront Night Market isn’t exactly your typical food fest. An array of authentic Asian offerings will be available well into the night, with other festivities including three-on-three basketball and nightly screenings of contemporary Asian cinema.

Water, please

The 15th annual Hot & Spicy Food Festival at Harbourfront Centre promises plenty of music, shopping and of course, lots and lots of food — including a taco contest and an Iron Chef competition. However, the best entertainment for spectators might come from the reactions of the culinary daredevils who decide to push their taste buds to the limit.

Viva Brazil!

If you prefer your festivals to be quiet, monochromatic, dull affairs, then the Toronto International Brazilfest isn’t for you. The country’s largest Brazilian cultural event will bring the passion through vibrant food, music and dance. Word to the wise for the 19-and-over crowd: be sure to try out a glass of caipirinha, Brazil’s national thirst-quenching cocktail.

Still hungry?

If the Hot & Spicy Food Festival and the Waterfront Night Market don’t completely satisfy your appetite this weekend, how about some barbecue ribs? The Thrill of the Grill event is offering up a tasty platter that includes six ribs, six coleslaw samples, a water bottle and some beer and wine samples for just $12. Don’t blame us if your waistband feels a little tighter come Monday morning — we’re just the messengers!

T.O. gets electronic… Again

A summer that has already seen its share of electronic music blast its way through town (Digital Dreams, Skrillex) will bring another wave on Saturday with the Identity Festival at Echo Beach. The all-day festival will see some of the world’s best electronic artists, including Eric Prydz and Nero, take to three different stages to serve up their own unique music mix.

“Rise” and shine

Movie lovers and comic books fans don’t need to be told that Dark Knight Rises, the third and final installment of Christopher Nolan’s gritty take on the Batman franchise, hits theatres this weekend. Already gaining all kinds of hype in advance of its release (thanks to a few thrilling trailers) the blockbuster will surely be playing to packed movie houses throughout the city.

Local label Crywolf is popping up in a Junction art gallery next week (expect lots of cutesy animals)

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Next week The Junction’s Narwhal Art Projects will be taken over by a pop-up shop. Local line Crywolf is setting up camp in the artsy space for its first foray into a bricks and mortar location, hawking printed tees, jewellery, bags and much more.

The work of young entrepreneurs Stephanie Drabik and Rose Chang, the pieces feature the duo’s own quirky drawings in addition to those sketched by other artists.

On July 26, shoppers are invited to a shindig where the gals will be silk-screening limited-edition shirts to order. Those looking to treat their fingers to some love will also be able to dress them with custom nail art.

Expect to see plenty of curious critters adorning the goods — we like a tank starring a boy in shark’s clothing, and also a T with, fittingly, a narwhal.

Wolf lovers fear not, for there are plenty of the namesake creatures to be found too.

Crywolf Pop-Up Shop at Narwhal Art Projects, 2988 Dundas St. W., 647-346-5317. July 23-29

The Toronto Burlesque Festival: bringing sexy back to the city, one striptease at a time

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On Valentine’s Day in 2002, Sauci Calla Horra was sewing roses onto her lingerie in preparation for her first burlesque show. She was helping out her friend Tanyacheex, the founder of Skin Tight Outta Sight, one of Toronto’s first burlesque troupes. What was supposed to be a one-night-only engagement turned into a full-blown love affair with burlesque for Calla Horra. Five years later, she would start Toronto’s first Burlesque Festival.

We chatted with Calla Horra about the origins of the festival and what you can expect from the city’s most titillating theatrical event.

It’s all about community

While attending the New York Burlesque Festival in 2003, Calla Horra was inspired by the sense of community she witnessed amongst the performers.
“I was like, ‘I want to do something like that in Toronto,’” Calla Horra recalls. “It was at the time when people weren’t doing a lot of burlesque in Toronto. It was such a smaller scene back then, you could count the number of people on your hand. But in New York, there was a community of artists who started doing their festival and when they started it, they drew all sorts of people from across North America. It was a dream of mine [to have the same thing]. I wanted to create the same sense of community there, in my city.”
Four years later, her dreams became a reality.
“Part of my goal is to not only bring international talent to Toronto, but also to show the amazing people from out of town and surrounding areas how talented Toronto is.”

Burlesque is more than just stripping

“Burlesque is many things,” says Calla Horra. “The Italian root word of it, burlesco, means to make fun and poke fun. There are many different styles of it. There are people who sing in sexy costumes who don’t take much of their clothing off. But then there are those who are more circumvented and are related to performance art. Then there are those who are pretty and opulent. There are a lot of different interpretations of it because it has such a long history. People were doing burlesque back in the 1500s. Stripping is focused on the monetary aspect, a sexual experience for money. Burlesque is more of a theatrical experience.”

An amazing stage name matters

Calla Horra says that the best stage name “should be something that shows off your personality,” but she thinks there are enough girls who have the name Honey, Kitty and Coco. Calla Horra also advises doing a Google search to make sure no one else has the same name.
“I think it should be something that speaks to who you are.”
As for her own stage name, Calla Horra recalls, “I was looking up different names in Spanish, and I saw this name, ‘Calla Horra,’ and I thought it sounded like calling a whore, and I thought it was funny. ‘Sauci’ came from me liking to cook. The Sauci part I can still see now, because a lot of my act involves food and drink.”

There’s a lot of local and international talent at the show

As for the top acts to see at the festival, Calla Horra says there are too many to choose from, but admits that Roxy D’Lite, who hails from Windsor, Ont., is definitely an act to catch. One of the youngest performers to ever be crowned Miss Exotic World, she was also the first Canadian to win the accolade.
Victoria Romanova, from the Netherlands, is another must-see performer. Originally from Russia, Calla Horra says, her act Quick Change is “really amazing.”

We can all be burlesque dancers

Thanks to the festival’s Burlesque University, wanna-be burlesque dancers can learn to get their gyrating groove on. Non-performers can try “Bringing Sexy Back” with Kristina Nekyia, while more experienced students can try out “The Art of Originality” with the current reigning Queen of Burlesque, Imogen Kelly.
“Burlesque is an art like any other,” says Calla Horra. “It takes hard work, dedication and discipline, as well as originality, love of movement and comfort with your body.”

Toronto Burlesque Festival, July 19 -22.

Morning Throwback: in the early 1900s, getting ice cream was a labour of love

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Nowadays we can just summon our own ice cream trucks when we get a sweet attack. But back in 1913, Torontonians lumbered for hundreds of miles to this dump, turning into puddles of broken dreams and broken feet along the way, cursing frozen dessert and wishing for lactose intolerance.

What would a Toronto Douche Burger look like?

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If you wear a fedora, flex your muscles for no reason, sport a chinstrap beard and have $666 to blow, then chances are you might want to try the Douche Burger: the latest sensation from New York City food truck 666 Burger. Wrapped in three Benjamins, topped with gold leaf and stuffed with caviar, lobster and champagne-smoked cheese, this creation is a jab at all the other douche burgers out there (you know the ones).

Of course, this has us thinking: what would the ultimate Toronto Douche Burger look like? Possibly something like this:

  1. It would only be available on a secret menu, and you’d have to make a face before ordering it.
  2. It would probably be a lot like this douchey burger of yesteryear.
  3. It would contain real kobe beef — as in the Japanese, beer-fed, massaged kind — as opposed to some lame Ontario substitute.
  4. Foie gras and caviar, and lots of it.
  5. It would come with a latte, or a cocktail with house-made bitters.
  6. No lobster. Prices are on the downswing, so clearly it’s for plebs (not douches).
  7. It would come with a free gift certificate for brogues of some kind.
  8. It too would come wrapped in money. Which sucks for us, because our money melts.
  9. It would come with VIP passes to Faces.
  10. It would be whatever the superlative of organic is.

Band of the Week: The Rural Alberta Advantage

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They may have formed in Toronto, but The Rural Alberta Advantage’s inspiration lies in the prairies. This indie-rock threesome marries gritty vocals, energetic guitar riffs from Nils Edenloff (Canada’s answer to Jeff Mangum) and Amy Cole’s honeyed voice with punchy beats from monster drummer Paul Banwatt (also one-half of Woodhands).

The result? Deeply storied records that seamlessly string together summers in the Rockies, the oil boom, heartbreak and small-town winters. Not surprisingly, the talented trio is quickly becoming the next great Canadian band. We sat down with Edenloff this week after the band announced its fall tour with fellow folkster and Vancouver troubadour Dan Mangan.

You’ve just come off a Canada Day gig with The Tragically Hip and Death Cab for Cutie, as well as a Fort York bicentennial celebration with Sarah Harmer and Shad. What’s it like to be on par with such legendary Canadian musicians?
It was very flattering. It was nice to play a show like that and at the end of it, feel like, “Yeah, you know, we deserve to be here.” Hands down, it was one of the most intimate, enjoyable experiences for us. We got to do two songs with Gord [Downie], like “Canada Geese,” which was amazing. Coke Machine Glow is one of my favourite albums of all time, probably as much, if not more than [Neutral Milk Hotel’s] In The Aeroplane Over the Sea. To be able to play with him, and then to have him play “Stamp” with us — it was a ridiculous, “WTF” moment. Before we played, he came to our trailer and ran stuff through, and it was incredibly strange playing Gord’s song to Gord [laughs]. And then, we’re playing “Stamp” and he’s playing songs that I wrote. It was a moment where, I don’t think I’m ever going to get over that, and I’m still trying to wrap my head around it. He was exactly like what everyone would want him to be like.

How did growing up in Alberta influence the band?
If you rewind all the way back, Alberta’s provincial slogan used to be “The Alberta Advantage,” so when I first moved out here, I sort of ended up writing songs about growing up in Alberta, and I got an email from my brother, and he told me he was going down to our farm — or the rural Alberta Advantage. It sort of perfectly matched up with the sort of songs I was writing at the time, and it immediately changed the memories I had about that provincial slogan, because whenever I grew up hearing the Alberta Advantage, all I would think about was oil and gas and industry — I grew up in Fort McMurray, so it was tied closely to that. Putting that one word in front of it made me remember all those beautiful memories I had growing up. The two just made sense together.

It can’t just be a coincidence that you named the first record Hometowns, and the second one Departing, right?
Yeah, I always wanted to have the two albums to flow together. I had this grand vision of interconnected EPs where it would start with “The Ballad of The RAA” and it would end with “Good Night.” I feel like we achieved that with these two records — starting with Hometowns and then having it transition to, sort of a flip side, with Departing.

There’s a lot of range on the albums, from fast-paced, upbeat songs to really chilly, melancholy tunes. What’s your songwriting process like?
It’s kind of all over the place. For the most part, I think what we end up doing with 90 per cent of the songs is start with me on the acoustic guitar. And then I’ll get together with Paul to flesh out the bones of the song, because Paul’s drumming is just so intertwined with everything in the song — the melody, the words — that it’s necessary for him to be on the ground floor of what we’re doing. We don’t technically have a bass player, so there really isn’t anything rhythmic, which frees Paul up to really ingrain himself in a song. Then the three of us flesh out the instrumentation.

Does your engineering degree play a part in that?
You never know! I guess it’s hard to take that mindset out of everything you do. In a lot of the things we do, I tend to approach it with methodical calculation. Like, “How do we boil this down to the essence of what it needs to be? Let’s get rid of all the fat so it’s just the fundamentals here.” And working on that emotional punch without drowning it with a bunch of instrumentation.

You’ve been likened to Jeff Mangum from Neutral Milk Hotel. How do you feel about the comparison?
That’s incredibly flattering. I’d be lying if I said he wasn’t someone that I listened to in university and to a certain degree, emulated what he was able to achieve in music. There’s a reason why In The Aeroplane Over the Sea is such a legendary album. I’ve always felt he managed to sing all the perfect notes and connect with a listener in a way that’s just untouchable. I’ve tried to make something that ultimately I believe in and that I personally connect to. Because I’ve always said that if the music doesn’t move you personally, then it’s really hard to expect that somebody, when you’re in some bar in some town on tour, is going to connect with it.

Any plans to record a third album? 
We’re in the beginning stages of writing a new record. It’s always a slow process — we never want to push it too hard, but you know, this is like our lives at the same time [laughs]. In the fall, we’re hoping to tour some new stuff and then buckle down. We’re waiting to see what the music speaks to us, and then follow it from there. I just sort of fall into a path, like a lost puppy dog, you know?

What I Wore: a summery wrap dress from Topshop

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The heat in Toronto right now is reminiscent of what one would normally encounter in a tropical jungle. Naturally, my wardrobe solution to this is to wear what I like to call my “Tarzan” dress. With its jagged hem and all-over leaf print, my reasoning behind its nickname should be quite obvious.

This is what I wore to a garden party potluck over the weekend, complete with a bowl of potato salad in one hand and my infamous “Gracie Kale Salad” in the other.

I often feel that the wrap dress gets a bad rep for being rather conservative. Despite the fact that it can accentuate the curves of a woman to look va-va-voom amazing, it’s not normally considered to be at the forefront of cool design.

This version, which I got at Topshop in England last summer, disproves that theory, and it is one of my favourite summer dresses to wear. It can be thrown on, it keeps me cool and it always looks great.

The wrap dress is not always an easy find, but the search for the right one is worth it.

 

What I Wore: print wrap dress from Topshop, shoes by Aldo Rise.

Grace Carroll is a Toronto-based freelance writer whose work has appeared in ELLE UK, ELLEcanada.com, Plaid magazine and FILLER magazine. Keep up with her daily blog at www.graciecarroll.com.

Toronto’s revolutionary restaurateur: a profile of The Black Hoof’s Jen Agg

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You may not know it — or even like it — but Jen Agg has changed the way Toronto eats. She is the matriarch of the Black Hoof empire, which has shaken Toronto’s culinary foundations and spawned some of the city’s hippest and hottest chefs.

Alongside Grant van Gameren, who co-founded The Black Hoof and is now at Enoteca Sociale, the list of chefs that have passed through the Hoof’s kitchens includes Geoff Hopgood of Hopgood’s Foodliner, Guy Rawlings of Bellwoods Brewery and Colin Tooke of Grand Electric.

Agg had her start bartending around town after escaping Scarborough’s clutches. By age 21, she was calling the shots, opening Cobalt, her own cocktail bar in Little Italy. After both her marriage and business with her then husband ran their respective courses, Agg was on the hunt for something new.

With the help of her boyfriend (now husband), artist Roland Jean, Agg spent two years being “blissfully unemployed,” cooking every day, throwing dinner parties and planning her next move. She stayed abreast of the culinary scene worldwide and was particularly taken with what was happening in Spain.

“Charcuterie was always something I was eating and serving,” she notes. It was decided: Hogtown needed a charcuterie restaurant.

Seeking out a culinary partner in crime in a way few could, Agg advertised on Craigslist. When Grant van Gameren answered her advert for a charcuterie chef, the pair set up camp on the then dingy strip of Dundas West. The Black Hoof was born, and its sight was set on putting charcuterie on the map.

At the original eatery, Agg and van Gameren offered up dishes with a creativity previously reserved for diners with more than a fistful of pennies in their pockets.

Agg’s plan was carefully crafted from the get-go. “I’d been holding on to this vision for at least six months and had a solid idea of what I wanted,” she says.

Replacing table linens and chef’s garb with indie-rock and jeans, the idea was to serve “really delicious food but have it be a super-casual atmosphere.”

Known for her blunt manner and staunch opinions, Agg is not one to beat around the bush. Noting that the biggest misconception about her is “that I’m a bitch,” she agrees that her gender has played a role in this.

“It’s a man’s world; it’s a man’s industry,” she explains. “I’m an opinionated woman, a strong leader and I’m good at business — if a man were in that position, he’d be heralded for that.”

“I’m not a qualified chef, but I’m certainly a qualified critic.”

In Geoff Hopgood’s words, “Jen has been leader of the pack in Toronto for quite some time now — with her angle on restaurants and what she does. She is quite a visionary — what she sees, she does, and she does it very well.”

When van Gameren departed from the Hoof last summer, Agg declared that his move had been brewing for some time and firmly asserted that there was no story to be told.

Boldness aside, Agg has a wry sense of humour and an easy laugh. When paired with her complex, phrase–filled vernacular that’s peppered with profanity, it’s easy to see how others are both drawn to — and intimidated by — her presence.

Fiercely loyal, Agg places a great deal of trust in her staff and has a real knack for nurturing talent.

“I’m not a qualified chef, but I’m certainly a qualified critic,” Agg says.

“We [Agg and van Gameren] made the Hoof together, and quality chefs lead to more quality chefs. Brandon Olsen is the current creative force behind the menu. I trust him implicitly. We sit down and talk about ideas at least once a week, but the menu ideas are his.”

Van Gameren says Agg is unmatched in her attention to detail and is “stimulated by the people around her, and constantly on the search for something new.”

He goes on to say, “Setting trends, as well as elevating old ones, is the key to the Hoof’s success. Not only has she changed the cocktail scene in Toronto, but she has maintained an almost unattainable success rate as a restaurant owner.”

Many of those who have stepped out from under the Hoof’s umbrella have made their impact felt around town. The most widely trumpeted departures were those of chef Colin Tooke and front-of-house manager Ian McGrenaghan, who left to open Grand Electric in Parkdale to great fanfare.

The buzz surrounding the spot, helped by the restaurant landing on numerous “best of” lists, has yet to die down.

Agg was with them every step of the way: “I couldn’t be more proud of them and what they’ve done. It’s so delicious and perfect; it has the same heart as the Hoof.”

McGrenaghan says, “For myself and Colin [Tooke], she has been one of the most supportive people I’ve ever met.”

“She’s incredibly driven, intelligent and caring — as well as being inspirational. She taught me that running a restaurant could be done in a way that wasn’t cookie cutter.”

Meanwhile, Agg has done nothing to slow the pace back at “Hoofland.” After van Gameren’s departure, some speculated the end was near. Instead, Agg opened Cocktail Bar, doing away with the much-ballyhooed-but-never-arrived Black Hoof and Company.

Most recently, she added Hoof Raw Bar to her roster, moving Jonathan Pong over from the Hoof to head the kitchen.

Serving seafood charcuterie, which has been pinpointed as a 2012 food trend, Agg has proved once again that she has her finger on the city’s culinary pulse.

“I didn’t know it was necessarily a thing. I just thought it was a great complement to the Hoof,” she says. “In some ways, the restaurants are mirror images of each other. It’s the anti-Hoof: it’s bright and light and calming — despite the fact that we’re playing punk and garage.”

So, what’s in Agg’s future?

“I love opening restaurants. It’s intense, it’s horrifically stressful — but you forget how much it hurts,” Agg says. “I think that the Hoof forged a certain kind of path in Toronto — not necessarily in the world, but in Toronto.”

“It’s an industry I really want to do another way: it’s about the diner relinquishing a bit of control. I can’t understand when people fumble with that incredibly generous lob.”