by Grady Mitchell | ”Light is the most important thing,” says Jennilee Marigomen. “Light is everything.” The Vancouver photographer has masterful control over that most ethereal substance. She combines her deft hand for light with a love of colour and coy dashes of humour to create work that celebrates the routine miracles of everyday life. She’s happiest, she says, when she finds “something that shouldn’t really be there.”
The core of the humour in Jennilee’s work revolves around the often clumsy interaction of manmade objects with nature, something especially abundant in a city like Vancouver. “Nature always finds its way.” Another key feature of her work is Vancouver’s unique light. “It’s actually more the lack of light,” she says. The familiar overcast of the city’s misty winters create a soft, diffused tone. The short days and capricious weather are both a gift and a curse. It makes light difficult to catch, but also precious. “You feel like this is a really special thing happening.”
Jennilee has collected one of her most beautiful series, Window Seat, into a book that will be released on September 26th at Make Gallery. The photos were taken on a trip through Mexico, a place with very different light. Its intensity and heat were a challenge, but one she embraced. The light is more direct, the colours more vibrant, but the images still bear Jennilee’s meditative and revelatory approach.
The title, in a direct sense, refers to the book’s opening photo of an airplane window rimed with frost, but it also embodies the way Jennilee works. Shot in the coastal towns of Sayulita and San Francisco, Jennilee operates as an observer, not an active participant. It’s as if she quickly came across these scenes, snapped a photo, and just as quickly vanished without a trace, content with the record of a brief moment that will never come again. You can grab the book for $35 at Make Gallery on September 26, and see more of Jennilee’s work on her website.
We recently came across Eureka Tea, a new line of locally produced tea. It’s just one of Miranda Hudson’s many creative projects. With a background in graphic design and brand management, a line of all-natural ecologically conscious candles (Feest), and a clear commitment to all things handmade and delicious, putting together a collection of hand-blended, loose leaf teas wasn’t too much of a stretch for her.
Why tea? Because of my deep and abiding love of it. I’ve been a tea drinker ever since I was a little girl. It was something my father would share with me, heavily laden with milk, of course. I’m sure that I drink about 12 cups of tea a day, and that’s enough tea-preparing time to start thinking.
What’s the concept behind your brand? In general, I think tea brands tend to appeal to a female demographic and can be a little overly feminine in their branding, or they veer quite seriously into the Health Brand concept. I wanted to see Eureka embrace a sense of humour about tea and allow people to have fun with it. It’s not stuffy, it’s not necessarily for your grandmother (unless she’s got a wicked sense of humour). I decided to include some lighthearted phrases on the packaging that are completely obvious but only make sense if you take time to decode them, essentially interacting with the package to reveal the whole story. Tea itself is a ritual that requires you to take a moment and your first interaction with the package encourages you to do that.
What was the most fun you’ve had in developing this line? The learning process that goes into it – there’s so much beautiful complexity to tea! And definitely hearing feedback from people during the development phase. People who love tea are generally passionate about it. Tea provides all kinds of connections to comfort and memory and place – in asking people to test the blends I also got to share in many stories about what tea means to other people.
Do you have a tea ritual? I drink tea non-stop throughout the day. I turn on the kettle before I shower in the morning and get a cup going right away. I’m working on a breakfast blend right now, something bold and rich but I don’t mind a good old fashioned Red Rose to speed things along. Throughout the day I sip my absolute favourite, lavender earl grey while I’m working. I love it with a medium steep, about 3 minutes, served with just plain milk. The process of scooping loose leaf into an infuser, pouring in the water, waiting – it’s such a nice pause in a busy day. I switch to rooibos in the late afternoon to stay hydrated (it’s caffeine free). I drink more tea than water, that’s for sure.
Pair a cup of Lavender Earl Grey with: pain au chocolat from Beaucoup Bakery.
Pair a cup of Vanilla Rooibos with: Yoga! Perfect post-hot yoga beverage, enjoyed in the park with a Culver City Salad.
Pair a cup of Hibiscus White Peppermint with: I love this brewed extra strong and iced, taken in a mason jar on picnics with tacos from the Tacofino food truck (and possibly a little post-dinner growler of 33 Acres California Common).
You can pick up a tin of Eureka Tea ($14) at Hunter & Hare, West Pender, Barefoot Contessa, or online at www.eurekateas.com.
by Grady Mitchell | Robbie Slade is one-half of Vancouver electronic duo Humans, alongside beat maker and Montreal transplant Peter Ricq. “Pete’s prolific,” says Robbie. “He cranks out beats like crazy.” Robbie takes those beats and adds melodies and vocals, and together they achieve their booming, turbulently danceable signature sound.
Robbie honed his musical talents in a somewhat literal trial by fire. He was a feller fighting forest fires in northern BC, moving into areas to cut down dead trees so his crew could work safely. Alone all day in a smouldering forest, he wrote songs in his head as he cut. He held the melodies in his mind until he could write them down, sometimes days later.
Pete’s always been an electronic musician, but Robbie’s early interests were in folk and reggae. You can hear the influence of those genres on the throaty rasp of his voice, especially on tracks like De Ciel, from the band’s second album, 2012′s Traps. Robbie points out, though, that the lines between genres grow blurrier every day. “If you’re going to stop at folk, you probably don’t like music that much, because I’m pretty sure James Blake could get ya.”
Since Traps came out in 2012 they’ve collected more new gear and finished recording a new, as-of-yet untitled album. Will it be dancy? “Moreso than ever,” Robbie assures. Unfortunately, it won’t be out until February. Until then, you can hear more Humans at their site, or you can catch them on August 16th at the Two Acre Shaker in Pemberton.
by Grady Mitchell | “I want anyone to feel like they’re allowed to like art,” says Jeff Hamada, the Vancouverite behind Booooooom, one of the world’s leading online archives of contemporary creativity. That’s why he started the site six years ago, and with millions of visitors each month – well, mission accomplished.
Along with a bottomless reserve of enthusiasm, one of the main reasons Jeff launched Booooooom was in response to the elitism he encountered in art school. He’s adamant, however, that he won’t spoon-feed art to the masses. When someone tells him “I love everything you post on your site,” he considers that a failure. The trickiest part of the whole Booooooom operation is balancing people’s expectations while introducing them to new, challenging work. The last thing he wants the site to become is an echo chamber endlessly reinforcing its own opinion.
What he does want, he says, “is to provide an opportunity for people to encounter something they’re not really sure about. I want the site to be more like an appetizer than a main course; for them to be hungry to discover more on their own.”
The Booooooom selection process doesn’t involve formulas or focus groups. In his mind, selecting only things you know people will like isn’t curation. Instead, a curator works to take people somewhere. Jeff uses the analogy of a river with five stepping stones. If the viewer stands on the first stone and Jeff’s on the fifth, he’ll lose them. If they’re both huddled on the same rock, nobody gets anywhere. But if Jeff stays one step ahead, eventually they’ll make their way across. The idea is to maintain that healthy gap and lead viewers along.
The key here is tacit, or intutive, knowledge. “Know how,” Jeff calls it. Like cooking an old family recipe without measuring ingredients, or ollying a skateboard, it’s something you learn to do from repetition. Viewing art, Jeff says, is similar. Anyone can train to do it if they spend the time it takes to look and think.
You don’t even have to like the work. There’s something valuable in trying to understand what others see in something, Jeff says, even if you don’t. Hell, especially if you don’t. To take an extreme example, let’s look at Nickleback. “If so many people like Nickleback,” Jeff says, “Who’s right about Nickleback?” Let’s not ponder that dilemma too deeply, just let it illustrate Jeff’s broader point: “It’s important to put yourself in the position of questioning.”
Good taste can only take you so far. The real thing that makes Booooooom stand out from so many other sites is the community. Like learning to study art, it’s something that’s built over time. The work of building it wasn’t actually hard, Jeff says, it’s just that there was a lot of it. From day one, he emailed every artist he featured (he still does). He didn’t ask for anything, just let them know he enjoyed their work. Send two or three emails a night over a couple years, eventually you’ll have a community on your hands.
Today, he uses his following to engage artists and art lovers through challenges and contests. The latest is Drawing On The Past, where he challenged readers to draw an influential person, place or thing from their life and write about it. In return they could win a limited edition Booooooom bag made in collaboration with Herschel Supplies. Jeff hopes to launch even larger creative collaborations in the future. Or, in his words, to at least have his ideas “rejected by bigger and bigger clients.” Whatever you’re doing, Jeff argues that getting shot down every once in a while is critical. “Rejection is a huge part of knowing that you’re still pushing it. If I succeed ten times in a row, to me that’s a failure. I’m not trying hard enough.”
He also hopes, someday soon, to take Booooooom from a strictly virtual space to a physical one. Less of a straight up gallery, he’s thinking, and more of a community hub where people who dig it can get together. If you haven’t already, give the website a visit. You can also check out Jeff’s personal work here.
by Daniel Colussi | For the past ten years New York’s Psychic Ills have bobbed around the fringes of the modern psych/art/freak-rock scene. Over four albums and more than a half dozen singles and EP’s they’ve covered a lot of ground. Their debut, Dins, was a masterstroke of psychedelic space rock. Universally acclaimed, it placed them way above their contemporaries. Less celebrated were their middle years – an abruptly stark second album and several EPs of throbbing, meandering group jams. During these wilderness years Psychic Ills threatened to drift away from planet earth completely, and the critical response was generally along the lines of, “What the fuck am I supposed to think of this?”. Personally, I dug their commitment to aimlessness; I’d throw on a record and let it waft through my apartment while I puttered around. On their brand new long player, One Track Mind, the band pull out the rug from under us once again. Never have they sounded so reigned in. It’s an album of concise jams – with recognizable choruses and hooks even(!) – recorded by the legendary Neil Michael Hagerty of Royal Trux fame. Currently on a three month tour of North America and Europe, frontman Tres Warren kindly responded by email and helped put Psychic Ills’ career in context for us, in particular their very excellent new album (which you can stream in full here).
What’s it like to transition from long, freeform, almost aimless jam music to the last two albums, which are more concise, direct, classic rock sounding? I’m still a big fan of freeform and aimless stuff, but I’m concerned with expanding the parameters of the music inside me. Sometimes I want it more concise. I don’t spend too much time making sense of it.
Does it feel fresher to be playing more direct music nowadays? I think it just feels fresh when you’re playing your newest stuff – the stuff you’re most interested in at the time.
Do shows feel different? They may be more dynamic. More song-oriented.
Did your approach to writing lyrics change with the last two albums? It just became more about writing a song. Sitting down when the idea is there. I was reluctant to do that before.
Does working in a more classic rock mode change what you want to sing? No. I just sing about simple stuff.
Tell me about working with Neil Michael Hagerty – how’d that come about? I had gotten in touch with him a while back about doing something, but the timing wasn’t right. It’s almost a coincidence that he worked on the stuff from One Track Mind because he got back to me right around the time we were going to start working on it.
I imagine you’re a Pussy Galore/Royal Trux fan. I heard Royal Trux first and worked back. I used to work at a few different record stores and found them that way. They were almost done by the time I got to them.
What did Hagerty bring to to the table? He brought an outside ear to the mixing. That’s what I was looking for. Someone from outside the band to apply their approach to the mixing.
How much was it a collaboration? He played some guitar on I Get By. I didn’t give any direction on that. He did backup vocals on Might Take A While. I had recorded back ups but wanted him to re-do them with him singing, and I think it’s better for that.
Did you record in Colorado, or did he come to NYC? We did it in Brooklyn and Neil’s stuff happened in Denver.
You recently toured China. How was that? It was crazy. That place is one of the last great mysteries. We loved it. The people we met were great.
How did that come about? We were brought over by a label that puts out bands from China and also brings foreign bands over to play. We were lucky. The band has logged extensive tour time over the years. I would tour forever if it was possible. Playing music and seeing different places and meeting new people is pretty cool.
What do you guys do in NYC when you’re not on tour? Play music, hang around and work different jobs to pay the rent.
(photo credit: Samantha Casolari)
Psychic Ills, Follakzoid (from Chile!) and Student Teacher play the Electric Owl Sunday March 3. Tickets at Zulu, Red Cat and Highlife.
Daniel Colussi is the Music Editor of Scout Magazine and a contributing writer to Ion Magazine. A veteran employee of Zulu Records and tuneage aficionado, he DJs on an infrequent basis (about four times a year) and is a musician around town who plays in several ensembles.
Here’s a charming quickie of an interview with local illustrator/tattoo artist Alison Woodward, via Chris Bentzen over at Hot Art Wet City. Some genuine pearls in here. Fave takeaway: “It’s important to not let art school suck the love of work out of you.”
We’ve been fans of Wild Rice since it opened way back in 2001. Over the years it has proven to be one of the most consistent restaurants in town, staying true to owner Andrew Wong’s original concept of a restaurant that was modern and open in design and outlook (both gastronomic and environmental) but true to his Chinese heritage. And as a founding member of Ocean Wise and Green Table, it has been a leader in sustainability since long before it was sexy. Behind the consistency is the chef, Todd Bright, whose passion for local product and unique preparations are deliciously evident on the plate, 7 nights a week. Wild Rice expanded this time last year by opening a new location in the revamped River Market out in New Westminister. Bright came on as a chef/partner in the new enterprise, which is to say we’re very grateful that he took time he couldn’t spare to answer the following questions…
Where did you go to school? Toowoomba, Australia.
If you had a motto, what would it be? Work hard, play harder.
What’s the thing that you eat that is bad for you that you will never stop eating? I love chicken skin! I know lots of people are opposed to eating poultry skin for health reasons these days, but it’s the best part.
What ingredient grosses you out the most: We would never use this at Wild Rice, but you know what natural raspberry flavouring is made of right? Natural raspberry flavor, or castoreum, comes from the anal extracts of a North American beaver.
Default drink of choice: Beer — anything local and cold.
What are you the most proud of: I’m really proud of the team we have built at Wild Rice, and that we get to be part of the River Market renewal process.
What are you the least proud of: I’m the least proud of not being able to answer this question honestly.
Your favourite smells: Roasted chicken stock is pretty awesome.
Your least favourite smells: The smell of something burning. I hate the smell of something burning!
Your chef role models: Neil Perry, Tetsuya, and Marco Pierre White.
Your favourite sound: I really like the sound of a busy restaurant. The roar of the hood vents, sizzling pans, communication from my crew, laughter and chatter from the dining room. It’s music to my ears!
Your least favourite sound: Dropped cutlery. It pings through the entire restaurant. It’s horrible.
The best way to die: Fat, happy and with no regrets. Read more
by Jenny Bachynski | Jeff Martin is the founder and principle designer behind Jeff Martin Joinery – a small furniture design studio based out of Vancouver. All pieces are handmade and designed locally with a heavy focus on quality materials and traditional crafting techniques. Jeff’s beautiful, sustainable creations have been featured around the globe and his dedication to his work is evident in every piece. I spoke with him to learn more about his process and to hear his views on where furniture design is heading.
Tell us a bit about yourself and how Jeff Martin Joinery came to be? Well, I grew up in Vancouver and at 18 I moved away to school in Quebec to study business. In my first year of school I broke my back in a pretty gnarly accident. I faced the very real threat of paralysis, and it served as an immense wake up call for me. I finished school and once I graduated I immediately knew that I wanted to learn a trade. I wanted to be up on my feet working with my hands. My thinking at the time was that I wanted to learn how to build my own house. I thought carpentry is a very honorable pursuit and the ideals upheld within this trade are of the utmost importance to leading a good life. So I got cracking on it. And I went through a fairly natural transition from wearing the tool belt to donning a shop apron and pursuing furniture design. I just built stuff for my girlfriend and for our house. Then friends would ask me to make them things, and family friends, and so on. I was just happy to do the work – I would simply charge for materials and essentially do the work for free. Really, without the support of my family and friends, and especially my fiancee, I wouldn’t have gotten it off the ground.
Last year I was awarded an opportunity to apprentice underneath celebrated designer, Palo Samko, out of his modest studio in the Brooklyn Navy Yard in New York. After about a month there, Palo recognized that I could cope in the shop and he started giving me his orders for solid furniture while him and his team worked largely on cabinets and kitchen remodels. If you have experience in the trade you would know what that means. Palo let me go wild – just play with the orders. It was very generous of him. Again, I wouldn’t have learned so much if he wasn’t such a great mentor. It was incredible. Palo is one of my favorite designers in the world and he continues to be my mentor, plus we got along so well. During the apprenticeship Palo asked me which piece I liked the most from his cannon of work and I told him it was this bronze cabinetmaker’s mallet sculpture. You know it’s not furniture, it’s a simple, small sculpture he did – just a trinket for himself. And on the last day of the apprenticeship Palo gave that to me as a parting gift.
Palo thinks I should set up shop in New York, but Vancouver is my home. I love it here and I’ll fight like an animal to make the business work on the West Coast. Everyday I get to go to the shop I’m as happy as a dog. I wake up with a wagging tail, there’s no down time. And I’ve been doing it for about 4 years now.
What is your favourite and least favourite thing about working with wood? I love everything about wood. I love the botany, the science, the history of different species of wood. I love the grain and structure of wood. I love the smell, weight, and presence of wood. There is nothing I dislike about wood. I dislike what man does with wood and that’s one my main reasons for working with wood. It’s not really expressively stated about my materials – but I source everything from sustainable and responsible companies. My walnut comes from Oregon and California and is only harvested due to rot from orchards and the city streets of Portland, San Fran and the like. I avoid wood that comes from the forest unless it is windfall.
If you could hire anyone to work for you, who it would be? I love working with my friends, and most of them are good with their hands and are pretty bright dudes as well. I’d take friends over a cabinetmaker or a stuck up design school grad any day of the week. Actually, I think working with a sculptor would be really cool. If I could afford it – I would go back and work for Palo for another year, or perhaps down to Joshua Tree to apprentice under sculptor Alma Allen. His work is absolutely incredible.
How important is style to you compared to functionality? Is it hard to find that perfect balance? I’m not sure if style is the right word, I concentrate on building a certain aesthetic. Shape, composition, colour, materials, layout, and execution are elements of the work I take very seriously. So in that sense, I think those factors are what all artists use in their respective tool boxes. The one difference between what we consider fine art and furniture design is that element of functionality. A furniture builder must consider and build to human proportions. An 8 foot tall table or 10000 square foot bed would be fun to make in a sculptural sense, but useless as furniture. We must strive for both, and each cut in a piece of wood is testament to the nature of this duality.
Who or what inspires your work? I really love shapes and playing with different forms. Experimentation is a great inspiration for me, as are the materials themselves. I really love the sculpture from Giuseppe Penone, Constantin Brancusi, JB Blunk, Alma Allen, Harry Bertoia, and Josh Vogel. And the furniture from Tyler Hays, Palo Samko, and George Nakashima. I think there’s lot of other individual pieces from a slew of people that I really like – but these guys – their collections of work are complete and profoundly beautiful. These are the masters, virtuosic in a sense, and their work leaves me shaken.
What do you think Vancouverites are looking for in their furniture? Is that something you take into heavy consideration when designing a piece? People want to relate to their furniture. It may sound stupid, but you live with it, and therefore represents a major decision in your life. You curate an ensemble of design that you live with for many years – and it’s actually quite important. Having a nice setting can make you feel good on the most basic level, and can be something much more profound if you find that special piece. That’s why there will always be a market. The big box guys will never be able to get personal enough to help you relate. And the guys who don’t care about execution and actually controlling the production of their pieces will never make a piece done flawlessly. From material sourcing to design and construction – I build for the upscale Vancouver market, but my work sells to international clientele as well.
In all of your travels, where have you found the most beautiful wood and what type was it? Portland, Oregon has some of the nicest Claro Walnut in the world. The Willamete Valley produces astoundingly fantastic grapes for Pinot Noir. It has something to do with the humidity, temperature, lack of snow, and the iron rich soils. Fortunately there is an abundance of Western Walnut here which benefits from the same factors. Looking at a piece of Claro Walnut side by side with American Black Walnut is incredible. Black Walnut is monochrome – it is brown. It is beautiful, but it is brown. Claro Walnut is Calexico in colour. From silver to purple, grey orange, black and blue. It is largely considered the most beautiful wood in the world. And it’s right here in the Pacific Northwest, harvested exclusively from responsible sources.
Do you have a favourite piece that you have designed or are most proud of? I have about 20 pieces in my house right now. The collection is awesome. Picking a favourite is tough. I like our bedroom set. It’s a ‘patchwork’ claro walnut bed, matching side tables in bleached Maple, Bastogne Walnut, and leather. And we have a coffee table at the foot of the bed. The top was a reject from the Nakashima studio, and the base is rosewood. It was the first birthday present I made for my lovely girlfriend. I’m also designing a new dining room table for some close friends in North Vancouver. The top is 3″ thick claro Walnut over a cast bronze base. I’m pretty sure it’s going to be my new fav!
Working with wood (especially in the way that you do) seems like such an organic experience. Do environmental issues influence the way you source and build your materials? Absolutely. The lumber I use is flagged for removal due to rot or disease by professional arboriculturalists, milled and hauled away by bio-diesel fueled trucks, cured in solar powered kilns, then worked on and finished with all-natural oils. Additionally, the joinery and construction methods I use are guaranteed under warranty for 25 years – but should last for generations. I believe that durability is the grandfather notion behind sustainability.
While in my studio, I can’t live without my….? Dust, eye, and ear protection. It’s a hazardous place and you have to play safe!
Thanks Jeff! To find out more visit www.jeffmartinjoinery.ca.
Jenny Bachynski was born and raised in Edmonton, Alberta. In her teenage years she packed up her bags and headed to Vancouver to pursue further education in fashion design. In 2009 she started her own small business Jenny Andrews Recycled Leather Goods, as well as her blog Jenny Loves. After starting her blog, Jenny discovered that one of her greatest joys was stumbling upon beautiful and interesting things, and sharing them with anyone who would listen.
Bud Kanke is a legend in Vancouver’s restaurant business. In his 40 year career, he founded 11 restaurants, among them The Cannery, Fish House in Stanley Park, Mulvaneys and the venerable Joe Fortes. In those four decades, the always smartly dressed father of three (and grandfather of six) saw his rooms rake in over half a billion dollars in sales, allowing for 20,000 man years of employment. A graduate of Magee High and UBC (Accounting), he has been active in 20 other businesses ranging from real estate development and gold mining to the manufacture of products for Boeing, General Motors, and the Hi-Tech sector. Bud has received a Lifetime Culinary Achievement Award, has twice been nominated for BC Entrepreneur of the Year, and has been inducted into the BC Restaurant Hall of Fame.
In the next 48 hours, a little over a month after his sale of Goldfish in Yaletown, Vancouver’s media outlets will receive a press release announcing his sale of Joe Fortes, Bud’s last remaining restaurant property, to David Aisenstat of The Keg (it will remain as Joe Fortes). The legend is retiring, but the show goes on. We’d like to take this opportunity – on behalf of all our readers – to thank Bud for advancing our restaurat scene along and for setting a high standard of leadership in the trade. We wish him and his wife Dotty all the best. What follows, then, is his last interview as an active restaurateur… Read more
Mark McEwan is one of Canada’s foremost chefs and restaurateurs. He the host of Fine Living Network show “The Heat with Mark McEwan” and head judge on Food Network Canada’s “Top Chef Canada”. From his home base of Toronto, he owns and operates several restaurants, among them Bymark, North 44, and ONE, as well as his eponymous food store, McEwan. We had a lovely dinner at CinCin with him recently, after putting to him the following questions…
Name the thing that you eat that is bad for you that you will never stop eating? Fatty meats, aka pork belly.
Default drink/cocktail of choice? Dry vodka martini with olives.
Name three drinks/cocktails you’ll never have again? Cosmos, Black Russians and Grasshoppers.
The Canadian that you admire most and why? Paul Martin, because he saved us from a US style banking system.
Your role models? Heather Reisman, Ralph Lauren and Steve Jobs. They are timeless, innovative characters that fight through anything.
Your favourite sound? The surf.
Your least favourite sound? Exhaust fans. Read more
by Danie Colussi | From San Francisco, Sonny and the Sunsets charmed their way into Scout’s heart with their laid-back, West Coast take on the classic Brill Building, doo-wop-and-roll sound.
A true storyteller, frontman Sonny Smith’s character-songs abound with bizarro tales of stranded space-men, death creams, teenage thugs and the sweet joys of lovin’ older gals. His songs strike a balance between Jonathan Richman’s aw-shucks whimsy and Lou Reed’s dead-eyed burn out, and that’s some pretty heavy company to keep…
Q. The songs on Tomorrow Is Alright and Hit After Hit often reflect a kind of 50′s rock’n'roll/doo-wop influence, and the recordings themselves recall the sound of that era. This in a time when so many bands opt for over-the-top, intentionally shitty-sounding recordings. How important is fidelity to your music? How much of a role does Kelley play in the sound of the albums?
A. Well, regarding fidelity, it’s just important to me that the stuff sounds warm and like a real band, that’s all, but sometimes these days to do that you have to step away from the computers and just play older instruments in a dank basement into a tape machine with no ‘professionals’ around. Kelley has been a big influence on me in that kind of spirit, i.e. just put an old mic up and a cheap tape machine and give it a go, and of course his drum style is my favorite.
Q. There are so, so many bands today. Why bother being in a band? Why do people do it?
A. There’s a lot of journalists out there too, why do you do it? Read more
We don’t believe David Suzuki needs much in the way of an introduction, but should you need a reminder he is the co-founder of the David Suzuki Foundation, the author of 43 books, and an award-winning scientist, environmentalist, and broadcaster with 30 years experience on the mic. He also lives just a few doors from you.
The thing that you eat that is bad for you that you will never stop eating: Never may be a bit drastic but Cozy Shack tapioca.
The thing we should never tolerate: bigotry.
One thing you’d like to change about Vancouver: too many cars.
Book you’re reading: Thomas Friedman’s Hot, Flat and Crowded.
Last place traveled: outside of Canada – Europe (Denmark, Germany, France, Spain, Portugal) in July with my daughter, Sarika – we made a film on renewable energy success stories in Europe.
Biggest fear: Tara, my wife, will stop loving me.
Your ancestry: we’re all Africans back 150,000 years ago.
Your paternal grandfather’s personal story: trained as a master carpenter in Japan and emigrated to escape abject poverty.
Person you most admire: Nelson Mandela and my wife, Dr. Tara Cullis.
Most regrettable purchase: a motorcycle when a longterm relationship ended.
The thing you are most proud of: my children who are fine people because I selected their mothers well.
The thing that makes you the angriest: powerful people who are ignorant and don’t even know it.
Saddest thing about Vancouver: Main and Hastings.
Ice cream flavour: strawberry.
Food your mom makes better than anyone: chocolate cake.
Talent you wish you possessed: playing a muscial instrument.
Musical instrument you long to play: recorder.
Sport you gave up: basketball and football.
The game you’re best at: charades.
Mac or PC: PC by default.
A person you’ve never met but you fear: Dick Cheney.
The number of fist fights you’ve been in: one.
The scariest situation you’ve ever been in: filming a standup for a show on drugs at the corner of Malcolm X and Martin Luther King in Harlem, New York City on a Saturday night! And no danger pay from CBC.
Three things of no monetary value that you will keep until you die: memories that are none of your business.
Local person you admire most: my wife and Mel Lehan.
Best concert experience ever: Leonard Cohen June 24, 2008 – in Montreal.
The dish you’re proud of: pumpkin pie.
The thing that makes you the most nervous: global warming.
Town you were born in: Vancouver.
First memory: fishing in Loon Lake with Dad when I was four.
Quality you admire most in yourself: willingness to work hard.
The career path you considered but never followed: ichthyologist.
Biggest hope: that the world will respond to the global eco-crisis on the scale of all out war.
Luckiest moment of your life: when I spotted Tara in a crowd at Carleton University where I was lecturing.
Favourite book as a child: Ivan Terrence Sanderson’s Animal Treasure.
The first three things you do every morning: take a pee, read the first section of the paper, weigh myself.
Each week, Scout poses 60 questions to an individual who has enriched our lives in some way. Interviewees are asked to pick and answer just 20. David Suzuki gave us 37.