‘The public has a right to art’: Review of Keith Haring’s ‘Art Is For Everybody’ on its Only Canadian Stop in Toronto

The AGO’s latest exhibit brings the protest art of Haring’s work to life 

By Anna-Giselle Funes-Eng

The AGO’s ‘Art Is For Everybody’ exhibit opened early this November and runs until March. Many of Keith Haring’s designs are featured in a wide range of merch, including this piggy bank. (Anna-Giselle Funes-Eng/CanCulture)

“Let’s go find the piece about dying,” someone said to their friend as they passed me in the hall of AGO’s latest exhibit featuring selected works from the late Keith Haring. On its opening night, the room was filled with chatter and folks moving around from room to room in the gallery. 

Haring was a pop artist active for 10 years in New York during the AIDS crisis, creating his now-iconic illustrations on public spaces like subway stations in the 1980s. 

Through the clean-cut, zig-zaggy lines of Haring’s art, the world is portrayed vividly, at its most on-edge and feeling. Many featured works represent fears of nuclear disaster, political malignancy and apartheid. 

Death, yes. But much more so, life lived while possible, life lived on a deadline set out by a careless state that didn’t care if it cut lives short. Haring’s piece mocking ‘serial killer’ Ronald Reagan was one of my favourite artworks in the entire gallery. 

Six small wooden frames hold headlines cut out and mismatched glued into new sentences. From top to bottom, the read “Reagan: Ready to Kill, Reagan’s Death Cops Hunt Pope, Pope Killed for Freed Hostage, Reagan son $50G Sex Deal Wife, Reagan Slain by

Haring’s cut-out-headline work on Reagan is political dissent at its finest and funniest.  (Anna-Giselle Funes-Eng/CanCulture)

Haring’s work is instantly recognizable. The hollow outlined stick-people style he’s known, either from the art itself or your friend’s boyfriend’s t-shirt, sprawls the gallery walls and the merch shop's shelves, as you’re funnelled into the store through the exit. It’s incredible how much prolific work he managed to create in a short span of time. It’s even more staggering to think how much more work, art and life we’d have today had the AIDS crisis not been purposely mishandled. We now know that massive oversight by the United States government caused the HIV/AIDS epidemic, when they refused to initially take it seriously, according to leaked records. 

Resistance to oppressive forces in search of queer joy and liberation are intrinsic in the visuals and themes of Haring’s work. 

A bright yellow wall with black text on the side. A large square frame of Keith Haring’s ‘Free South Africa’ where a black figure with a rope around its neck steps on the neck of the smaller, white stick figure holding its chain. A person stands in t

‘Free South Africa’ by Haring in 1985, condemning the apartheid system of racial segregation enforced by the state. . (Anna-Gisele-Funes-Eng/CanCulture)

An exhibited journal entry from Haring reads,“The Public has a right to art [...] The public needs art and it is the responsibility of a “self-proclaimed artist” to realize the public needs art and not just bourgeois art for the few and ignore the masses. Art is for everybody.”

A glass case holds an old wire-bound notebook with yellowed pages. The text on the page is handwritten cursive in blue pen. An identifying care underneath it reads “Notebook No. 3, October 1978, journal, The Keith Haring Foundation. 

Haring’s journal entry from October 1978, where the exhibit takes its name. (Anna-Giselle Funes-Eng/CanCulture)

With such a strong emphasis on Haring’s passion for accessible art in public spaces like subways, it’s hard to ignore the irony in the bourgeois commodification of his work present at the shop at the front of the AGO and the end of the exhibit. 

The entirety of the exhibit, Haring’s words and the volume of merch available make you wonder where the line is between creating accessibility to the art and collapsing its political symbolism. Having t-shirts or other merchandise can serve as a gateway to learning about queer history, but when does the excess of merch become overt consumerism?

Stephen Severn, an artist, PhD student and instructor at Toronto Metropolitan University, noted that the original messages of Haring’s work have been diluted despite their popularity ringing true. They say the historical context has to be considered when analyzing and consuming the art. 

“40 years later and it's still in public spaces because people are wearing it as they walk around the city […] Although I don't think that a lot of people understand necessarily the political climate that it was made in or the reasons for making the art or art as being a form of activism,” said Severn.

“It kind of becomes the Mona Lisa, just an image that's been produced constantly and kind of loses its meaning,” they added. 

Haring’s own words encapsulate the juxtaposition of the strong anti-bourgeois message in the art and the $225 French wooden chair no child would sit on willingly (for sad stiff children of the esteemed) featured in the merch stores. 

A bright yellow chair in the shape of a Keith Haring’s style figure with their hands up sits on a white shelf. A wooden box of Keith Haring branded dominoes sits to its left, and on its right a picture book for children titled ‘Keith Haring; The Boy

Children should absolutely learn about Haring and his art through books like the one pictured above, though I’m not totally convinced they’d want to read it from a tiny solid wooden chair. (Anna-Giselle/CanCulture)

Haring would be 65 today. He died at 31 in 1996 of AIDS-related complications. His art, life and work are not distant memories, and it’s difficult not to think about how differently the world would look if he and so many others who lost their lives to the AIDS crisis were here, living the life they deserved to. While we don’t have him here, it is integral that we honour them and learn about their stories.  

Seeing the delight of other queer folks as they explored the different sections of the exhibit and partake in that remembrance was joyous. 

The exhibit honours the basis of Haring’s work by centring the complexity of the queer experience in the explicit joy that comes from community, the joy that comes from seeking collective liberation and expressing those beliefs freely through art. 

“I am interested in making art to be experienced and explored by as many individuals as possible, with as many different individual ideas about the given piece with no final meaning attached,” he says from the wall, above a painting of Mickey Mouse pleasuring himself. 

Mickey is a recurring character in Haring’s art. At times, he appears standing in money, in an Andy-Warhol hybrid. Sometimes Haring’s depiction is used for collabs with Disney, Uniqlo and Coach.  You know, small, local, anti-capitalist brands. 

Haring did face critiques of commercialism while he was alive when opening his store, The Pop Shop in New York, according to his foundation. He responded by saying his goal was, “to continue the same sort of communication as with the subway drawings [...] to attract the same wide range of people, and I wanted it to be a place where not only collectors could come, but also kids from the Bronx.”

“No final meaning attached” leaves room for time to shift meanings. There is room to understand that a Disney Swatch with Haring’s design is not as impactful of a message as the t-shirts from the 80s encouraging people to “Act up, Fight Aids.” There is room for an interpretation that Mickey pleasuring himself represents the Disney corporation’s capitalistic craving for wealth. 

The meaning in Haring’s art may be ambiguous at times, but it extends beyond even death. His final piece, Unfinished Painting from 1989, leaves more than half of the canvas blank as paint drips down from an incomplete corner. 

A white framed canvas on a black wall. A piece by Keith Haring with purple intertwining stick figures outlined in black takes up the top quarter of the square.  Purple paint drips down to the bottom. The right side of the canvas remains blank. 

Keith Haring’s Unfinished Painting was undeniably my favourite piece in the gallery. It reminds us that even in death, art and activism live on. (Anna-Giselle Funes-Eng/CanCulture)

Like all art, the meaning of this is up to you! (Anna-Giselle Funes-Eng/CanCulture)

There is no final meaning, even in death. All meaning in art is up for grabs, which Haring knew. Art is for everybody. 

Haring speaks beyond the grave; there can be no fixed or singular message. He calls us to act up, fight the power, and to do it in the community. 

And that’s a great place for everybody to start. 

Five people in coats and heavy sweaters with their backs turned to the camera standing in an art gallery. They all face a ten-foot penis-shaped painting filled with black doodles. 

Gallery visitors looked upon this piece like it was the holy grail. ‘The Great White Way’ painted by Keith Haring in 1988. (Anna-Giselle Funes-Eng/CanCulture)

People 25 and under can visit the AGO for free with the yearly youth pass. The Keith Haring Exhibit runs until March 17. 

Interview with professor Stephen Severn done by Grace Henkel

A person walking through an art gallery in front of a long canvas painting of an elongated red penis piercing through a yellow faceless stick figure with a hole in its stomach. 

Many of Haring’s pieces depict phallic imagery, this being one of the longest showcased at the exhibition. (Anna-Giselle Funes-Eng/CanCulture)

A framed photo of Keith Haring’s 1989 piece ‘Ignorance=Fear’.  From left to right, three yellow faceless stick figures hold their hands over their eyes, ears and mouths. In two blue stripes at the top and bottom of the painting, the words ‘Ignorance=

Haring’s political messages in his art became a major slogan used in activism during the 1980s and 90s. (Anna-Giselle Funes-Eng/CanCulture)

Scott Pilgrim’s Precious Little Adaptation: A review of Scott Pilgrim Takes Off

Is it a bad adaptation of the source material? Yes. Was it the best decision Bryan Lee O’Malley could have possibly made? YES.

By Caleb Jackson

Male with brown hair and eyes, wearing glasses in a black and white graphic collared shirt pogs at the screen laying down with three volumes of the Scott Pilgrim comic book

Caleb Jackson’s mouth falling agape at the sheer splendour that is Scott Pilgrim (Caleb Jackson/CanCulture)

MAJOR SPOILERS AHEAD! GO WATCH THE ANIME BEFORE GOING ANY FURTHER. I'M BEING SO SERIOUS RIGHT NOW IF YOU HAVEN’T SEEN IT ALREADY DO NOT READ THIS REVIEW. YOU WILL THANK ME LATER 

Scott Pilgrim is a franchise that has always been a huge part of my life. Ever since Scott Pilgrim vs The World came out way back in 2010, I have been an avid fan. I’ve seen the movie countless times, played the game to completion and own both the black and white original releases and the collector’s edition colour copies of the original comic series (which I read regularly). 

So, believe me when I say this anime ROCKED. MY. SHIT. It is simply phenomenal. From the gorgeous animation by Science SARU to the soundtrack by Joseph Trapanese and series staple Anamanaguchi. With the movie’s director Edgar Wright returning as an executive producer and the entire cast reprising their film roles, and the script written by none other than the creator of Scott Pilgrim himself, Bryan Lee O’Malley, it’s unsurprising that the show is as good as it is. 

That being said, there’s an elephant in the room that needs to be addressed before I can go into any further detail about it. This anime lied to everyone through its teeth and it can barely be considered an adaptation of the source material. 

The premise of this show can be boiled down to a relatively simple one: What if Scott (played by local Brampton-ite Michael Cera) were to… well, take off? What happens if we remove Scott Pilgrim from his own story? The entire first episode is almost a one-to-one recreation of the first book, with some things omitted for time constraints. It adds and changes stuff here and there like the replacement of the iconic Amazon.ca joke with a Netflix one, and the introduction to the League of Evil Exes immediately. But where it really goes off the rails is when Scott dies in his very first fight with Matthew Patel (Satya Bhabha).

This move floored me. I was sitting on my couch with my jaw scraping the living room carpet. It was so abrupt, so sudden, and the show doesn’t give you any time to process what has just occurred by cutting to credits shortly after. The very next episode opens with Scott Pilgrim’s funeral. All of the promotional material led everyone to believe this was just another retelling of Scott’s battle against the League and his life but instead, we got something so much greater. 

The real plot revolves around Ramona Flowers (Mary Elizabeth Winstead) going on a who-dun-it? mystery adventure investigating Scott’s death and figuring out if he could possibly be alive. Because of this, the show gives a lot of the limelight to Ramona and the rest of the cast, most notably the villains themselves. The Exes get so much more time to grow and develop, and it is spectacular. 

Matthew Patel usurps Gideon Graves’ (Jason Schwartzman) job as the “G-Man” and leader of the League, and for the first time since Gideon was introduced back in 2004, we get a backstory for him. Apparently, his real name is Gordon Goose and he is some nobody from North Bay, Ontario. Go figure. 

All of the Exes are confronted by Ramona as potential suspects for Scott’s kidnapping/death, and in the end, they are all innocent. Beyond that, Ramona even reconciles with most of them and the Exes put their lives in the League behind them and grow as people. Something that they never got a chance to do with Scott around. 

The show takes this new premise and runs with it. Characters that have never previously interacted now have entire arcs together, and you get to see a lot more depth in Ramona than ever before. Due to Scott being an entirely unreliable narrator, Ramona remains a mystery for most of the entire book series and the movie. She certainly gets development and attention too, but with Scott in the picture, she never could truly flourish. 

What about our titular protagonist though? Where is that lovable douche? Well as it turns out, he is the big villain. Kind of. Scott of the future, labelled Older Scott (Will Forte) has kidnapped Scott to make sure he never has a relationship with Ramona due to her breaking his heart later on in their life. He doesn’t succeed however, and in the grand finale, he attempts to kill everyone in the cast to ensure his romance never occurs to spare his heart. This is by far one of the most interesting moves of the show, as it allows our protagonist to truly see the extent of his own flaws, and reflect on his actions in a way he never could before. 

It’s quite poetic really, the books and movie focus on Scott coming to terms with and owning up to his past mistakes. Now, Scott has to wrestle with what he could become. The show really pushes what the core of Scott Pilgrim’s story is about, flawed people confronting the worst parts of themselves to be better people towards others. 

The anime doesn’t hesitate to show you that Scott and Ramona’s actions are objectionable, but that doesn’t make them any less as people. It completely makes sense that this version of the story is written by O’Malley in his 40s when the OG was made when he was just as much of a confused 20-something as Scott himself. 

The show isn’t without some problems.With the relatively short runtime of 8 episodes, it tackles a lot of material that I feel could have benefitted from more time to explore. There are a lot of things missing here, like Stephen Stills’ (Mark Webber) coming-out arc and a few characters that are touched on loosely but not fully explored like the Katayanagi Twins (both voiced by Julian Cihi).

I also found the plot itself to move a bit too quickly, as Ramona’s “investigation” only really ends up as four of the eight episodes present. On top of all of this, I can see it being incredibly inaccessible to a new audience, as the entire plot and premise hinges on familiarity with the property to really engage with its themes and presentation.

Despite this, the anime is clearly a love letter for fans of Scott Pilgrim. Each episode is simply eye candy, with popping visuals and clean animation. The soundtrack is nothing but bangers, with the cast even lending vocals and instruments to all soundtrack versions of the songs Sex Bob-Omb plays just like in the original film. The voice cast has to be commended too, because everyone absolutely kills it. Especially Young Neil (Johnny Simmons), his whispery dream-like line delivery is consistently hilarious.

The writing is as witty and sharp as ever, and the quality on display is simply something to marvel at. If you’re a fan and can get behind the complete rug pull that is the first episode, it will take you on an unexpected and unforgettable journey that makes the world of Scott Pilgrim feel as if it has come full circle. 

If you aren’t, then what are you waiting for? Go consume some of the best media you will probably ever experience in your lifetime. 

9/10. Scott, you are the salt of the earth. Whoops, did I say salt? I meant scum. Slip of the tongue.

Dance with Dalí: Celebrating Spanish Heritage Through Art and Dance

Immerse yourself in Spanish culture and ‘follow the beat’ of each surrealistic stage: ‘Inferno, Purgatory and Paradise.’

By Aliya Karimjee

A dancer dressed in a blue dress with a ruffled trail and a black shawl dancing in the middle of the Paradise stage.

A dancer is embracing her Spanish heritage through traditional Flamenco dance at the Divina Dalí exhibition at Brookfield Place on November 4. (Aliya Karimjee/CanCulture)

With Toronto’s artistic presence, it is no surprise that there is yet another formidable exhibition. This city has previously hosted events displaying Van Gogh, Claude Monet and other well-known artists. Comparatively, this exhibition has a twist as it invites you to discover Spanish artist Salvador Dalí’s work in celebration of Spanish Heritage Day. 

Let’s take a look inside the exhibit and review the works of the Spanish artist.

Salvador Dalí, otherwise known as the leader of the Spanish “avant-garde,” is considered to be one of the most prolific artists of the 20th century. He gave life to a new artistic technique inspired by psychoanalysis and paranoia-criticism, which all helped paint the surrealist movement. 

Seeing that rare sculpture that hasn’t been showcased in 50 years was impressive. In that piece, we learnt that the exhibition was focused on “Divina Dalí,” a collection of works by Dalí inspired by Dante Alighieri’s Divine Comedy. 

Green sculpture of historic artist Dante.

A green sculpture of a man with yellow leaves on his head, representing Dante, at Brookfield Place on November 4. (CanCulture/Aliya Karimjee)

As we enter ‘Inferno,’ we discover the purpose of this stage: to witness what Evil is and what falling feels like. 

A collage featuring works and quotes from the ‘Inferno’ stage.

A series of surrealistic artworks representing the ‘Inferno’ stage, at Brookfield Place on November 4 (Aliya Karimjee/CanCulture)

This dreamlike space full of symbols features many pieces unfolding the eternal punishments and penalties inflicted on people who are plagued by guilt. 

Whether you’re confused about the meaning of a piece or want more information, there is a live tour guide in every room who is happy to explain everything to you. However, if you prefer, you can scan the QR code under the art pieces and learn more about it without socializing. This exhibit is accessible to those with impaired vision who could get a live tour guide to talk them through the exhibition. 

As mentioned in the exhibition, the next stage welcomes “Purgatory, the elevation of the mind towards Paradise.” 

A series of artwork as part of the ‘Puragatory’ stage, including the description of this section

Multiple works of Dalí are exposed as part of the ‘Purgatory’ stage. (CanCulture/Aliya Karimjee)

Heading into the last stage, we learn how the climb from “Inferno” to “Paradise” reminds humans that they are devoted to light rather than being doomed to darkness. They can see evil yet still free themselves from the restraints of their thoughts, that there is a light at the end of the tunnel. 

This room had decorated windows with more artwork, but the flamenco performance that was taking place there was unforgettable.

The dancer was using her outfit to her benefit: her shawl allowed her to extend her movements as a continuation of her body’s expressions. The ruffled trail also gave the illusion of a nice elongated figure. 

Throughout the exhibit, you see the Dalí's work and perspectives. From Hell, all the way to Purgatory and finally into Heaven, this exhibition will take you on a journey through both Alighieri's and Dalí's creative minds. All the way through the three rooms, atendees will learn  that despite the evil, one can choose to focus on the positive and hope; basically looking at things as a glass half full rather than empty. 

Dalí’s artistic views through an artistic perspective and a poetic booth, inspired by his words.

The exhibition has a backdrop advertising the event and a telepoeme booth showing Dalí’s words and inspiration at Brookfield Place on November 4. (CanCulture/Aliya Karimjee)

Overall, this exhibition was a great way to appreciate Spanish heritage through live music, flamenco and with the art of an amazing Spanish artist. You can still experience Divina Dalí in Brookfield Place until December 17.

The future of deepfakes isn’t memes – it’s nonconsensual porn: A review of Another Body

Filmmakers Sophie Compton and Reuben Hamlyn want to reclaim the online space for women in their new documentary on the misuse of deepfake technology.

By Sarah Grishpul

Imagine you received a message from a friend one day with a link to a porn site to which you discover that there are a bunch of pornographic videos with your face on them.

That is how directors Sophie Compton and Reuben Hamlyn’s documentary, Another Body, starts. In the film, we follow Taylor, a young college student whose life turns upside down after discovering someone has posted deepfake pornography, using her face, online.

Deepfakes are artificially generated footage created by running a large collection of images through AI software. 

While many people may have encountered deepfakes through memes or silly videos of Nicolas Cage on Arnold Schwarzenegger’s body, at least 96 per cent of this technology has been utilized for pornographic content. The majority of these victims are nonconsenting women.

The documentary is a slow-burn thriller that guides the viewer through a situation every modern young woman fears. There is a constant sense of unease and dread as we see Taylor close off from the world while more deepfake videos of her are posted. It’s heartbreaking to witness this youthful, carefree girl slowly become undone by such an act of hate.

Throughout this documentary, we follow Taylor’s journey as she works relentlessly to seek justice for this egregious invasion of privacy. However, as the film hammers home, most countries don’t have proper online harassment laws surrounding this new technology.

Even in Canada, there are no criminal deepfake laws in place. It is also difficult to punish the creators of pornographic deepfakes as the perpetrator is often hiding behind an anonymous online identity.

The documentary is shot similarly to most found-footage films (picture Aneesh Chaganty’s 2018 film Searching), with many scenes shot from Taylor’s phone or laptop while capturing her reactions in vlogs, Zoom meetings or through social media sites and forums. 

When initially developing the idea for this documentary, Compton and Hamlyn wanted to bring awareness to this growing issue that not many are aware of. In an interview with CanCulture, the pair discussed the ethics behind approaching Taylor and sharing her story without invading her space.

“By allowing her to self-record her story, she's the one who decides when the camera turns on and when the camera turns off, she decides when she wants to speak and when she doesn't and by sort of doing that, we provide her with control over how her story is told,” said Hamlyn. “It kind of makes her collaborator in the process more so than the junior typical documentary subject.”

Aside from giving Taylor control over her narrative, Hamlyn also mentioned that they wanted to reclaim the online platforms that had stripped so many women of their agency.

“We want to celebrate these online forms of communication and documentation, and so by recreating that in the style of the film, we're trying to put forward quite how powerful that can be as a mechanism of using your voice,” said Hamlyn.

The pair also utilized this AI tool to demonstrate how powerful this technology can be while also protecting Taylor’s identity, as it is revealed in the film that the face we’ve been staring at isn’t her actual face — but rather, a deepfake of another actress (Ava Breuer).

According to the filmmakers, deepfake technology isn’t inherently problematic. However, it becomes an issue when not used responsibly.

“They don't understand that this technology, when used to recreate a realistic-looking video, can be pretty much seamless,” said Compton. “And so by being able to use the technology in the film not just to protect our subjects, we also really can persuade the audience and clarify how terrifying the technology can be when misused.”

Compton and Hamlyn hope that this documentary will help bring awareness to this ongoing issue while destigmatizing the illusion of these online predators and addressing this kind of abuse and misogyny in our communities.

“The Internet is the most important public forum in human history, in my opinion, and the right answer is not to withdraw from it just to protect yourself from this,” said Hamlyn. “We need to find a way of making it safe for women to freely participate in online spaces.”

The documentary is part of their campaign #MyImageMyChoice meant to amplify the stories of survivors and advocate for stronger laws surrounding deepfake abuse. Compton says they started a petition to block these sites from promoting image abuse and email templates that people can send to political representatives.

“What we've really witnessed in Taylor's story is that if you persevere and keep investigating and reach out to people and find community, things can really shift,” said Compton.

“So, I hope that people sense the glimmer of opportunity and hope in that.”

Another Body will be playing at the Ted Rogers Hot Docs Cinema before streaming on CBC Gem on November 22nd.

Review: Tim Baker calls for community in new album 'The Festival'

Through versatile instrumentation from a tried and true musician, former Hey Rosetta! singer offers a vulnerable sophomore album

By: Olivia Wiens

Tim Baker performing at Toronto’s Tiny Record Shop to celebrate the release of his sophomore album, The Festival on Oct. 21, 2022. (Caelan Monkman/CanCulture)

Our love for music is a tool that has always been used to build strong connections and community, and that is exactly what former Hey Rosetta! frontman Tim Baker set out to do in his sophomore album The Festival, released on Oct. 21. 

With roots that trace back to Newfoundland, Baker was the lead singer for the indie-rock septet from 2005 to 2017, when the band announced an indefinite hiatus from making music. This opened up an opportune solo career for Baker, and he released his debut solo album Forever Overhead in 2019, drawing in multiple nominations from the Juno Awards and the East Coast Music Awards. The success of his first solo album created intense anticipation for more music to come.

Baker has been teasing his audience with periodic singles from the album since May, eventually releasing his four-track EP Echo Park in September. These four songs promised a lyrically-driven, beautifully orchestrated 10-track album for Baker’s fans — and he did not disappoint.

Launched exactly eight years after the release of Hey Rosetta!’s final album, Baker’s The Festival opens with raw piano, which seems to act as Baker’s reliable companion throughout the album. From its somber, simple melody in the opening number, Lucky Few, to its polyphonic contrast in Some Day, to its light accompaniment in Jungle Suite, Baker’s piano not only serves as his right-hand man, but also acts as a comforting hand-to-hold throughout the emotional rollercoaster of this album.

While the keys often take a front seat beside Baker’s simple yet authentic lyrics, the blend of background vocals and unique percussion makes its mark across the album.

Yet, there are constant and pleasant surprises throughout the tracklist. In My Kind, the entire first verse is completely a cappella, with heart-wrenching harmonies and vocables that cause the listener to truly connect with the lyrics. And before the audience can find any repetition within the album, Baker throws in some bohemian instrumentation. Invoking the sounds of the Beach Boys in his song Echo Park, Baker places the listener on the West Coast as he sings about moving from St. John’s to Los Angeles.

But it’s the consistent themes of connection and community that make this album a must-listen, especially after two years of pandemic isolation and loneliness. This is most evident in songs like Year of the Dog and After The Storm, which touch on how the pain of the past can draw people together through mutual love and understanding.

“Thank you for coming

For bringing all of your pain and suffering

How else could you show me

How we need to love?”

This is a stark contrast from his 2019 debut solo album, Forever Overhead, which frequently touches on themes of loneliness and self-reflection. Yet, Baker’s emotional vulnerability is easily translated from his first album to his second, truly demonstrating the complexity of the human experience. While the themes differ, his complex discography allows the listener to always find a song to connect with on either album. Rest assured, the melodic piano stays true as Baker’s constant confidant in Forever Overhead just as it does in The Festival.

While The Festival stays close to Baker’s roots, it also reveals new sides to his creativity that his fans haven’t heard before. His raw, stripped-down vocals and simplistic instrumentation in songs like Jungle Suite and My Kind help him stand apart from his past works with a full band.

However, for the listener who still holds Hey Rosetta! close to their heart, the title track offers an intense, swelling orchestra that concludes the album perfectly. Ultimately, Baker’s work has a little something for each of his fans, which makes it the perfect album to play on repeat any day.

Baker is set to perform in Toronto on Dec. 9 at Massey Hall, where his fans can enjoy this masterfully constructed artistry straight from its creator.

Retro review: I've Heard the Mermaids Singing

An underrated gem in Canadian cinema 

By: Aditi Roy

Still from I’ve Heard the Mermaids Singing

The 1987 Canadian film I've Heard the Mermaids Singing is less of a film and more of an experience. This queer cinema gem is an uplifting story everyone should watch.

The title of the film comes from T. S. Eliot's poem "The Love Song of J. Alfred Prufrock." The line is derived from the phrase "I have heard the mermaids singing each to each. I do not think that they will sing to me." This line captures T. S. Eliot's feeling of unworthiness to get the attention of potential women love interests. Though this poem does not directly correlate to the film, we see elements of this realization within the life of our main character, Polly Vandersma. 

Director and writer Patricia Rozema takes us into the world of Polly. Wonderfully played by Sheila McCarthy, this goofy character wins your heart by being a relatable woman in her thirties who is fun-loving yet deeply insecure. She isn't your typical put-together woman lead, but her innocence and kind-heartedness make her one of the most compelling characters in the film. 

Polly is an amateur photographer who serves as an assistant in one of Toronto’s art galleries. We see her journey navigating the daunting and superficial art world while simultaneously falling in love with the gallery manager Gabrielle St. Peres, played by Paule Baillargeon. 

We closely follow Polly's endeavours that occur more in her vivid imagination than in reality. In this film, we see Polly discover herself and come to varying realizations about her current state in life.

This one-of-a-kind film is beautifully tied together by its direction, cinematography, acting and storyline that works harmoniously together.

Douglas Koch, an acclaimed Canadian cinematographer, enhanced the film's message through his extraordinary camera work. Scenes of Polly's daydreaming sessions wonderfully capture the mystical figments of her imagination. We see Polly climbing the surface of a tall glass building only to fall down screaming. But this fall doesn't lead to disaster. In fact, she starts to fly! Polly continues to soar and admire the scenic views of Toronto while opera music plays in the background. Such colourful dreams make a frequent appearance in the film. His work in the film creates a wonderful viewing experience. The Academy of Canadian Cinema even recognized Koch's outstanding work as he was awarded the Genie Award for Best Cinematography. 

Meanwhile, the interactions between characters are captured authentically, making you feel like you are present with Polly as she stumbles into the most hysterical encounters. The story centres on Polly and her interactions with art gallery manager Gabrielle. We see the two characters develop a close relationship. Polly admires Gabrielle; she represents everything she's not: successful, elegant, and put together. She even gives Polly a full-time position at the gallery. Gabrielle looks past Polly's flaws, making her feel seen and recognized in a way she hasn't been before.

Though they have ups and downs during their journey, there is a sensitivity to their relationship that makes it seem genuine and unique. The two never date, but we sense the proximity they have through each scene. Each shot builds upon their relationship and captures the subtleties of their growth.

To say that director Patricia Rozema plays a significant role in this movie is a severe understatement. Rozema wrote, produced and directed this piece: this is her directorial debut. Her great direction fulfilled her vision of creating an impactful and unique film. In addition, she managed to perfectly administrate each production element to make the piece fluid and engaging.

Patricia Rozema's innovative use of music was also first showcased through I've Heard the Mermaids Singing. Rozema revealed in interviews that when directing films, she organizes camera shots in a musical sense to provide the movie with an effortless flow. In addition, her decision to focus her story on idiosyncratic characters provides the audience with new, exciting stories that they are unfamiliar with. As a result, Patricia Rozema manages to find a sense of transcendence through this well-executed film.

Despite the production's incredible work, the highlight of I've Heard the Mermaids Singing is undoubtedly the phenomenal acting. Sheila McCarthy steals the show with her portrayal of Polly, an eccentric and unconventional character. McCarthy managed to bring dimension to her with her subtle quirks and authentic delivery. Sheila McCarthy makes the mess that is Polly Vandersma into a charming and captivating character.

McCarthy's co-star Paule Baillargeon also does an exceptional job portraying the mysterious, sensual and elegant French Canadian art gallery manager. Other actors in the film include Brenda Kamino, Ann-Marie MacDonald, Richard Monette, John Evans and Rebecca Jenkins. Although this is a comedy film, the acting isn't overly dramatic and loud; it remains subtle. While the movie's central focus is Polly, all the actors playing the supporting characters give exceptional performances. 

If you are looking for a charming and hysterically funny queer movie, this is a must-watch. This extraordinary film makes you feel invigorated, offering you a more carefree perspective on life. 

RATING: 4/5

Join the march with Rufus John — The Freedom Marching Project: EP review

Led by Rufus John, United Artists 4 Change released a powerful EP titled “The Freedom Marching Project”

By: Bashair Ali

United Artists 4 Change, Inc., marketed by Urban X Entertainment, a division of TuneCore, Inc., 2022 (via YouTube)

Over the course of 18 months, Rufus John and a team of incredibly talented Black and racialized artists, musicians and producers around Canada took part in the creation of The Freedom Marching Project — a three-song EP that allows its listeners to get informed, stay connected and join the march. 

The music videos of parts one and two were released earlier this month, which incorporated visuals of police brutality, racial injustices and BLM protests. 

At first, the EP was intended only for John, but then his team challenged themselves to contact as many people as possible and find out how many artists in their community would be interested in contributing. Soon enough, the choir, his friends from the community and even people who did not know him became involved. 

"I found space for everyone to participate and didn't reject anyone," says John.  

John uses the art of singing and songwriting to express the message that racism still exists, hoping that people will respond to the issue through donations, voting or simply just seeking out knowledge. 

The recurring theme throughout the EP is honesty. John wants his viewers and listeners to be able to resonate with the lyrics and illustrations by portraying similar experiences and being vulnerable. "If you have a story about this topic, then there are probably hundreds of other Black [people] that have experienced the same thing," says John. 

Freedom Marching part one introduces characters of different ages, races and classes. Its main plot centres around a protest sparked by unjust treatment towards a 14-year-old boy who was unlawfully detained. Part two shows us how and why the young boy's arrest occurred. 

"The whole point of this platform is to use art, activism and education to spark people to get into this fight," says John. 

Both music videos feature the personal stories and feelings John encountered at one point in his life. The only difference was that he lacked the tools to combat discrimination, such as approaching his community for help. Instead, he bottled everything up and never repeated it, up until his vision for the music videos came about.

"I was angry when I was younger, and as I got older, I learned that there are people that are here for you," he notes. 

So in creating the EP, along with a resourceful website that contains relevant resources and information for those interested in learning more about #JoinTheMarch, he strived for Black individuals to use the project to help them navigate their lives.

“If you have something you can stand on and people are watching and listening, say something,” says John. He feels that his role in society is to be of service and the way he contributes to it is through his music. 

John's technique for creating music is not the only factor that leaves his listeners in awe; it's what he writes about that has the ability to connect with people like him. "I'm the bridge between the young and old, the catalyst for change, the kid next door, and I approach all my music that way." 

The Freedom Marching Project carries a selection of songs that takes a whole new step into advocating for equity, access, diversity, inclusion and participation of Black and other underrepresented communities. Through his work, John presents his expression of art in an effort to create social change and challenge anti-Black institutions and ideologies.

KAYTRANADA drops new EP after nearly 2-year gap

“Intimidated” is the Montreal-based artist’s latest release since his 2019 award-winning album, “BUBBA” 

By: Kinza Zafar

The album cover for KAYTRANADA’s EP Intimidated

KAYTRANADA’s newest EP masterfully showcases his dynamic range and capabilities as a producer and DJ. Despite consisting of only three tracks, each one possesses its own distinct sound. 

The first track, “Intimidated,” is melodic and upbeat, a perfect marriage between the soft, floating voice of American R&B singer, H.E.R., and KAYTRANADA’s soulful piano chord progressions. The fellow Grammy award winner and multi-talented creator, Thundercat, continues the funky, lo-fi vibe on “Be Careful.” The groovy track with a punchy bassline and crisp hi-hats provides a vibrant atmosphere for Thundercat’s signature falsetto vocals to shine and is even complete with vinyl crackling.

A  Haitian duo unites on the last track featuring Mach-Hommy, making for a powerful cap on the project. Even while switching it up on a dance beat, Mach-Hommy sounds just as comfortable as he was on his own album Pray for Haiti, one of hip hop’s best releases of the year. 

The song encompasses similar concepts of Haitian identity and liberation — something that has been at the forefront of his entire career as one of hip hop’s greatest underground rappers the past decade. This is especially prevalent in his hook where he references someone telling him to “take the ‘R’ out” of  “pray for haiti,” which spells the single’s title, “$payforhaiti.” 

By the end of the EP’s nine minute runtime, it’s clear that the genre-bending KAYTRANADA has delivered another fresh project for folks to dance their way out of the pandemic. 

His diversity as a producer is on full display on Intimidated, as his chemistry with his friends makes for an entertaining listen, no matter how short. 

After the release, the Haitian-Canadian artist took his gratitude to Twitter. “Really blessed to work w/ amazing vocalists. Most of my beats can’t simply be instrumentals so to be where I am now, would’ve been nothing without them or maybe different,” he tweeted to his almost half a million followers. 

H.E.R. also tweeted at him about the project, writing “thank you for allowing me to be a part.” Thundercat also replied to a shoutout, “love you Kaytra!”

KAYTRANADA’s 2019 album, BUBBA, earned him a Grammy award for the Best Dance/Electronic Album category, while his single on the same record, “10%” with Kali Uchis, won Best Dance Recording at the 63rd Annual Grammy Awards. Similarly, the album also received a Juno award for Dance Recording of the Year. As hinted on Twitter, KAYTRANADA is rumoured to have a mixtape awaiting release; Intimidated is just a teaser of what KAYTRANADA has in store.

Torontonians will have the chance to experience the 29-year-old perform two nights in a row on Dec. 29 and 30 at History.