MONDOmagazine

Interview and photos by Helen Fylactou

Performing both on the second and the third nights of [FAT], DJ Daniel Wilson kept the mood of the room vibrant and sexy. The perfect soundtrack at a fashion show propels the audience from feeling good about the show, to feeling fabulous about the show. DJ Daniel Wilson is that perfect soundtrack. Prior to the big nights, MONDO had a chance to interview him about life, music and fashion.

MONDO: How would your describe your sound?

DJ Daniel Wilson: A little all over the board, but a lot of electro. For [FAT] I will be changing it to suit the theme of the night, so Planet will be a little more ethereal house and vocal-based electro, while Gutter will be more glitchy with some punk and rock — I’ll be able to let loose a bit more.

MONDO: What DJs/musicians have inspired you?

DJ: Oh gosh, a lot. Everything from Princess Superstar to PJ Harvey. Little Boots, Nick Cave, Fritz Helder and the Phantoms, Kids on TV, Tiga, Ladytron, Barbi & Syntonics, Leonard Cohen, The Jesus and Mary Chain, Robyn, Sigur Ros… really all over the map.

MONDO: How do you read the mood of the room? Is there a special trick to it?

DJ: I just try to see how people are reacting and what makes them move, but I still play what I like. DJs get hired for their taste in music, so it’s a balance of responding to the crowd but not listening to that one drunk person that makes terrible requests.

MONDO: Do you find it difficult finding a balance between having your music heard and not having your music overpower the room at a fashion show?

DJ: During the fashion show, the clothes have to be the focus. That’s the reason people are there. The music complements the mood of the fashion and gives the models a beat.

MONDO: You’re a stylist yourself. Are there any designers you’re are excited about seeing at [FAT] this year?

DJ: Walk Tall, which I was blown away by at Mass Exodus (the Ryerson fashion program’s graduating show), Christabel Couture always does amazing, jaw-dropping stuff. The Deadly Nightshades are going to totally kick ass, and I’m curious to see Youth.InAsia. Caitlin Cronenberg is also such a brilliant photographer, I’m looking forward to seeing her work.

MONDO: If you could choose a song title to best describe yourself, what would it be and why?

DJ: I very often finish my sets with The Jesus And Mary Chain’s “Cracking Up.” Enough said.

MONDO: Last question. Right Said Fred’s “I’m too Sexy”: a prophetic critique of the world of fashion  or a just a damn good song for practicing your runway walk?

DJ: A little bit of both!  Fashion likes to be taken dead serious, but also likes to make fun of itself.

Toronto Alternative Arts and Fashion Week ran April 21-24, 2009 in the Distillery District.

Crank: High Voltage
Directed by Mark Neveldine and Brian Taylor
Lionsgate, 2009

By Sean Kelly

I have to admit, I don’t mind the odd mindless, insanely violent action film. 2006’s Crank was a good example of that. Jason Statham played Chev Chelios, a man who was poisoned and had to keep his adrenaline high in order to stay alive. This involved him doing everything from drinking a whole lot of Red Bull to having sex with his girlfriend in the middle of the sidewalk. It was fun, action-packed, and, even with the crazy premise, the plot still smacked of reality. Also, the film had as complete an ending as you can get, with Chelios falling from a helicopter to his death.

Not so fast! Apparently, the first film was successful enough for a sequel, so they threw reality out of the window and created a second film with a modified premise. Chelios has miraculously survived falling from the helicopter (which also involved landing on a car), and the action picks up three months later when Chelios’ heart has been harvested and replaced with an artificial one that has to be constantly charged with electricity. Chaos, and many creative ways of electrocuting yourself, ensues.

Everything that was fun about the original is overblown to the point of gratuity in the sequel. Unlike its predecessor, this film was violent and crude just for the sake of being violent and crude. It also didn’t help that the film had terrible cinematography that relied on low angles and close-ups, which — combined with the fast cuts — made much of the action an ugly, scrambled mess.

Apart from Statham, a few characters from the original return, some less necessary than others. Dwight Yoakam returns as Chelios’ doctor, his role not much expanded from that in the first film; in fact, he’s got even less to do this time around. Amy Smart’s only role in the sequel is to give a longer, more tasteless encore of the public sex scene from the first film. It would have made absolutely no difference to the plot of the film if she was written out. Then, there is a character from the first film that returns towards the end of High Voltage in a way so ludicrous that reality was not only thrown out the window, it was beaten to death after the fall.

Some scenes in High Voltage were simply transparent filler. This includes a scene with a bit player from the first film being in therapy and a talk show flashback featuring Chelios as a child. It’s evident they were really scraping the barrel for content in this highly unnecessary sequel.

So far, I have been tearing this film apart. I should say that I do not consider this a terrible film, and it still had its moments. I particularly enjoyed a fight scene that was made out to look like a Japanese monster film, complete with guys in rubber suits. These flashes of inspiration were the exception to the rule in what was a very disappointing movie that I’d hoped and expected to enjoy.

The first one was a fun, mindless action film; this time around, the fun’s faded and we’re left with something mindnumbing. Crank: High Voltage proves that there are some films that you just cannot make a sequel out of.

The Cabaret Company presents
I HAVE AIDS!
Written and Directed by Sky Gilbert
Starring Gavin Crawford, Ryan Kelly & David Yee
April 22 – May 3 @ Buddies in Bad Times Theatre

By Daina Valiulis

I HAVE AIDS! is a play about a character, Prodon (Gavin Crawford), who discovers he has the AIDS virus and tracks his coming to terms with it in five stages: denial, anger (lots and lots of anger), partying, religious conversion, and finally, acceptance.

This piece was only so-so. Maybe I was exhausted from a long and difficult week, but I just couldn’t get into it. It was steeped in  inside jokes — for example, how stupid straight people are and how pathetic the men who write to fab magazine are, which was great for the gay male audience, but kind of alienating for those of us not readily familiar with the ins and outs of gay culture.

There were some funny moments in the first act. It’s difficult dealing with an AIDS diagnosis, but most of the action centred on Prodon’s one-dimensional anger at the world. His constant whiny ranting was a turn-off.

The second act got better. As he begins to come to terms with the facts, Prodon softens and reveals more of his personality traits: surprising compassion, responsibility, and glimmers of understanding (still mostly couched in selfishness). His plight becomes more sympathetic, and there’s some insight as to how it affects Vidor (David Yee), his lover. When their perspectives come to blows, it’s very real and true from both sides.

If only the play had ended there. Instead, it closed with a speech about how “the world has forgotten about us.” Gay men (with AIDS) have been shunned, misunderstood, and now forgotten in favor of the “cute African children” becoming the virus’ representatives. The world sees them and donates money; it supports them.

I reacted strongly to the blame and resentment fueling this idea. Granted: it’s not front-page news anymore. But neither is the environment, nor will the economy be once it becomes less of an immediate threat. These topics are not any less important than the topic du jour. There will always be a new world crisis in the media focus. Sky Gilbert has set up Prodon’s whole journey to illustrate that gay male AIDS victims have been forgotten, and it’s sad and maddening. I don’t think that’s fair or true. I’m sure AIDS is just as difficult, perhaps even more so, for children who live in a country where health care is a distant dream. Instead of being so political, the piece may have been more effective if it had focused on Prodon and Vidor’s relationship. When the focus was there, the play succeeded. It had more heart.

Ryan Kelly’s performance redeemed the show. He played a different character in each scene: a meek public health official; a raging, coke-snorting tranny nurse; and an effeminate, insecure, charming (balding) gay man. He was hilarious, touching, truthful, and graceful, and a pleasure to watch in action.

Bottom line: see this show if it sparks your interest. It’s not a bad show, it’s just a little too preachy. For what it’s worth, however, message received. I have not and will not forget you.

[FAT] is a four-day event of fashion, photography, and music. In its fourth year, [FAT] is filled with exhibits varying from 50s glam to environmental challenges to post-apocalyptic fashion. This year’s event is broken into 4 different themes: home, planet, gutter, and beyond. With something for every person, [FAT] is the perfect showcase of up-and-coming designers.

Review and photos by Helen Fylactou

“Gutter” highlighted the nature of survival and the way clothing negotiates limitations. Gutter represents the social, political, and economic aspects of a place “on the edge.” On the edge of what, you ask? The answer was each designer’s mission to express. The night was a potpourri of styles, starting with modest fashion and getting riskier.

Earlier in the week, the collections seemed wearable and not quite what you’d expect from an “alternative” fashion week. On Day 3, designer Jet Exhibition let loose. Models tiptoed onto stage, taking baby steps in their larger-than-life garments. Jet exhibition’s design were less like clothing, and more like giant, papier-mâché structures. The haute-couture collection was raw, uncomfortable, and extreme. But the designer kept her sense of humour: models posed in unique positions at the end of the runway, toying with photographers. The pieces themselves were canvasses on which the designer experimented with every colour of paint. Jet Exhibition’s talent was embedded in this quirky and bold collection, right down to the exquisite tailoring. The layering, bunching, draping, and shaping with darts was flawless. Keeping a comprehensive theme through the collection, Jet Exhibition was consistently original.

Magpie ended the second fashion showcase of the night. Magpie shifted the idea of feminine beauty from polite to grotesque. The collection was taken right out of A Clockwork Orange, opening with a dominatrix-inspired model who engaged the audience with her cane. Magpie works with an assortment of materials, from leather, to lace, to satin, to mesh. Although the tailoring of the garments was less impressive than some of the other designers of the week, Magpie stole the show with personality. The dresses were asymmetrically closed, and full leather outfits were exaggerated with bursts of chiffon. The pieces were theatrical with billowing sleeves, ruffles, and tuffs. The tops had starched collars, reminiscent of Victorian era, and were paired with contemporary spandex sequined pants. Magpie’s designs are more than just profligate costumes, they are walking pieces of art.

Toronto Alternative Arts and Fashion Week is running April 21-24, 2009 in the Distillery District.

By: Sean Kelly, Caesar Martini, Brian Last and Rachel West

Summer may be months away, but in Hollywood it’s already hot, hot, hot! Join some of our regulars for some educated speculation as they weigh in on May’s big titles: Wolverine, Star Trek, Terminator, Angels and Demons, the return of Raimi, and more! What’s worth your while and what’s a waste? Enjoy the epicocity and start planning your May.

MAY 1st

X-Men Origins: Wolverine

Sean:

First, I have to say it is a shame that some idiot leaked an unfinished cut of this film to the net since it already has the challenge of revitalizing the X-Men series after the poor reception of the third film (which was actually an OK film). That said, all the footage I have seen seems to prove that this solo-adventure isn’t just the cheap cash-in that it initially seemed to be (though, as for that planned Magneto film…).

Caesar:

As a comic book fan/geek/collector, and closeted Hugh Jackman man-crush victim, I’m pretty much obligated to see this film. It doesn’t help that the trailer is hella awesome. I do have a few worries about it, namely that it seems to have every mutant ever created in it (Wolverine, Gambit, Sabretooth, White Queen, Cyclops, Blob, Maverick, and John Wraith, to name a few). Also, Sabretooth is played by Liev Schrieber, who is a fine actor but will not necessarily be fine at being a seven-foot-tall mutant, feral killing machine. Perhaps most worrisome is the fact that Will.I.Am is acting in this movie. I swear to God, if I hear anything resembling the word “Fergalicious,” I’m going to walk out, go home, and poop on my Black Eyed Peas records.

Brian:

This fourth instalment of the X-Men Franchise tackles the complicated back story of Logan, A.K.A. James Howlett, A.K.A Wolverine – no easy task. The story also covers the Weapon X Project, and a slew of other characters that are being introduced in this origin story (Sabertooth, Deadpool, Cyclops, and Gambit). Too much on the plate?

Upon first viewing of the trailer, it looks like an interesting film with good action, and it looks like the director has a good handle on the character and the story. The X- Men franchise may just redeem itself for the sub par X3.

MAY 8th

Star Trek

Sean:
I’ve been a “Trekkie” since childhood, so it’s a no-brainer. In an interesting bit of trivia, this will be the first Trek film to receive a summer release since Star Trek V: The Final Frontier twenty years ago. Trailers have proven to me that Trek is in very capable hands. Who knows, maybe this film will spark a reverse of the Star Trek series’ “even/odd” rule (especially considering the lukewarm reception Star Trek: Nemesis received).

Caesar:

A reimagining of the classic sci-fi series with an all-new, young and sexy cast. Star Trek is decent, but I was never a full-blown fan. I rarely watched The Next Generation (though I did think Deep Space Nine was a fantastic series and that it was horribly underrated). I have seen almost every movie in the theater, because, shit, it’s got spaceships and lasers. How am I not gonna go see that? The real reason I’m psyched for this flick, though, is the trailers. Other movie companies should take note, THIS is how you put together an awesome trailer.

As long as Kirk punches out every man he has a problem with and has sex with at least three babes (one of them alien), and Spock uses the word “illogical” before nerve pinching the shit out of someone, I don’t see how this could fail.

Leo:

I’m deeply concerned here. I don’t consider myself a true Trekkie because I only enjoyed The Next Generation. And you know what the best episodes of TNG didn’t have? Laser fights, running around, and sex! TNG was about diplomacy. It was about testing our principles when we encounter cultures and customs that challenge our own. It was about negotiation and the triumph of tolerance.

I love me the Lost as much as the next man, but this movie here looks like a violent popcorn muncher, and much less than Star Trek could be. (Oh yeah, I’m totally still seeing it!)

MAY 15th:

Angels and Demons

Sean:

The general consensus among people that read Dan Brown novels is that Angels and Demons was the better read, even though The Da Vinci Code was the popular one. I believe this is a less controversial story than the last one (though the crew was banned from filming in pretty much every religious location). Also,  Tom Hanks has a more conventional haircut in this one.

Brian:

Dr. Robert Langdon is called back into duty to investigate a murder victim branded with a suspicious mark. It turns out to be the mark of an ancient secret society known as the Illuminati. Langdon discovers a plot to kill four cardinals from the Roman Catholic church.

As for Angels and Demons I can say with confidence it will be a commercial success. It will attract a wide array of audiences, and whether they hated it or loved it, they will leave how they left The Da Vinci Code – in discussion. The Da Vinci Code left people talking about religion, and this will leave people talking about secret societies. It’s a topic of unlimited interest, and I think Ron Howard will top The Da Vinci Code here.

Rachel:

I bought into the Da Vinci Code hype, and when the movie didn’t deliver, I was disappointed that an action-packed book couldn’t translate well onto the big screen. Maybe it was the miscast Tom Hanks and his inappropriate mullet or Ron Howard’s lacklustre direction. This time, I’m hoping that Hanks’ and Howard’s sophomore efforts do justice to the (arguably) better prequel, Angels & Demons. Gone are the mullet and the irritating Audrey Tatou. Instead, we have the powerhouse supporting team of Ewan McGregor and Stellan Skarsgard, who should breathe life into their characters and provide for some exciting on-screen chemistry. Sure to be a box office monster amid a blockbuster-filled May.

The Brothers Bloom
(Limited Release)

Sean:

It seems that forces beyond my control have been preventing me from seeing Rian Johnson’s follow-up to Brick ever since I tried to get a ticket for it at the Toronto Film Festival and it was sold out. The release date for this film has flopped around like a fish out of water, and I really hope I finally get the chance to see what looks like a fun caper film.

Rachel:

I caught this one at TIFF, and while the casting is bang-on and the story is original and entertaining, the movie lacks any punch to raise it above the position of an okay indie dramedy that you’ll probably forget about in a few months. The film suffers from a poor marketing campaign and a horrendous trailer that’s more likely to drive people away from the theatre than to it. The Brothers Bloom has counter-programming on its side as it competes at the box office with testosterone-filled action films, but this one’s really only worth a look at on DVD.

Rachel:

Management

Jennifer Aniston irritates me. Okay, I have a long-standing and unnatural hatred for her that’s probably only marginally deserved. Her acting choices certainly aren’t doing much to win me over from Team Jolie in recent years. Based on the trailer, Aniston appears stiff and wooden next to Steve Zahn, who has had moments of real comic inspiration over the years, while Woody Harrelson peppers the film with an off-beat, “weird boyfriend” type of role. All those involved seem uncomfortably old for their roles, much like the recycled plot and lame jokes.

MAY 22nd

Terminator: Salvation

Sean:

I still have yet to see the Terminator films (something that prevented me from seeing Terminator 3 a few years ago). However, this fourth film doesn’t look as reliant on the past history, since it now takes place during the war that the original films were all about preventing. Right now, this film is in the “maybe” department, but it does look exciting. Now, about that PG-13 rating the film is supposed to have…

Caesar:

Another film with a great trailer. I don’t see how anyone with a soul can watch giant Terminator robots kick the hell out of things and not want to see this film. Plus it’s got Christian Bale, who hasn’t turned in a bad performance yet, and Bryce Dallas Howard, who I may or may not be in love with (I am). Not to mention, with all the advancements we’re making with artificial intelligence and robotics these days, the threat of the robot apocalypse is looming ever closer, making Terminator: Salvation a relevant cautionary tale. You laugh, but we’ll see who’s laughing when the metal horde comes to process your brain-meat for lubricants.

Brian:

Hey Wolverine, here’s another fourth instalment of a flagging franchise. In T4: Salvation Christian Bale plays John Connor in the future (2018 to be exact). Surprise, he’s still the one who is destined to lead the Human resistance against Skynet.

While we have everything we should for a good popcorn flick – action, guns and director McG - nothing in the trailer really blew me away or made me want to see it. The franchise is getting steadily further from James Cameron’s vision. There’s been Judgement Day, Rise of the Machines, and now Salvation - between these films we should either be saved or all killed, but they should stop dragging it out. Have we learned nothing from Rocky V, Die Hard 4, and Indy 4?

MAY 29th

Drag Me to Hell

Sean:

Sam Raimi returns to horror! After spending most of the decade with the Spider-Man films, Sam Raimi decides to return to his roots before starting production on Spider-Man 4. While it is probably unlikely that the film will reach the cult status of The Evil Dead, it is at least nice that someone is making an original horror film in a world full of remakes (some of which Raimi produced).

Rachel:

Does it look good? No, not really, in your traditional definition of quality. But it is almost guaranteed to be skin-crawlingly frightening and bloody as director Sam Raimi leaves Spiderman behind to return to his roots as a horror auteur. Demons, curses, and, uh, Justin Long, come together in what seems to be your average young-girl-is-haunted-by-demonic-spirits movie. Certain to deliver chills and thrills, Drag Me to Hell (unfortunately only PG-13-rated scary) will be a devilishly good time.

Up

Caesar:

Well, this is simple. It’s a Pixar movie. Can anyone name a Pixar movie that hasn’t been great? If you can, please meet me in the alley out back for your complementary groin-punching. Even my least favourite Pixar flicks (e.g. Cars) are on par, if not completely superior, to other CGI movies. Plus, hello, it’s in 3D! And 3D is AWESOME. This new generation of 3D films (Bolt, Coraline, The Jonas Brothers, Monsters v.s. Aliens) has been astounding and ridiculously fun to watch.

By Miles Baker

Marvel and DC have released their solicitations for July, so here’s a list of what I’ll be buying with commentary.

From Marvel

REBORN #1 (of 5) What’s all this then? Ed Brubaker and Bryan Hitch on some mysterious project with no description? I’m there. I wonder if this has to do with those all-black Captain America house ads that were floating around Marvel books this month?

ALL SELECT COMICS #1 70TH ANNIVERSARY SPECIAL So far I’ve bought two of these 70th Anniversary things and they haven’t been so amazing. Okay writing with really good art, and I have a feeling that this book will continue that trend. Javier Pulido is a great artist so I’ll probably pick this one up.

CAPTAIN AMERICA #601 Special guest artist Gene Colan?!? I’m sold.

DARK X-MEN: THE BEGINNING #1 & 2 (of 3) A pretty cover from Jae Lee almost assures a buy, however interior art by Humberto Ramos is disappointing. I do not see what people like about his art.

UNCANNY X-MEN #513 The cover of this is the teaser I posted over here. I was wrong. But I love what Fraction is doing on Uncanny, so I’ll buy.

DARK AVENGERS #7 It’s crossing over with Uncanny, so I’ll return to buying this title temporarily.

X-MEN: LEGACY #226 Mike Carey has made me like Gambit again. I thought that was impossible. I feel so young again.

NEW AVENGERS #55 I have not been a fan of Bendis’ Avengers. I want to like it because I like a lot of Bendis, but it’s really poorly done. Everyone sounds the same, the jokes are forced, and the pacing is all over the map. However, I like Stuart Immonen’s art, so maybe that’ll be enough to save the series?

SECRET WARRIORS #6 So far Secret Warriors is a lot better than I thought it was going to be, so I’m pumped for this issue.

DARK REIGN: MISTER NEGATIVE #2 (of 3) This is a good cover, and I’m curious about Mr. Negative. He’s a cool new Spider-man villain and it looks like they’ll be picking up a large, dangling plot line from Amazing Spider-Man.

AMAZING SPIDER-MAN #599 and #600 Number 600 has art with Marcos Martin. I love Marcos Martin.

IMMORTAL WEAPONS #1 (of 5) Fraction and Brubaker’s Iron Fist series was great, and the Immortal Weapons were a great contribution to the character’s mythology. This issue apparently focuses on Fat Cobra, the combatant who defeated Iron Fist in the Mortal Kombat-y tournament, and I’m looking forward to learning more about him.

MARVEL DIVAS #1 (of 4) I’m kidding. This sounds horrible. NO BUY.

RUNAWAYS #12 Please be good. Please be good. Please be good.

X-FORCE #17 Mike Choi on art is what tips this over from “not buy” to “buy.”

X-FACTOR #46 Peter David has really stepped up his game on this title recently. Every issue has tears and laughter.

INCOGNITO #6 Last week’s issue of this was stellar. I’m sure this conclusion will floor me.

POWERS: THE DEFINITIVE COLLECTION VOL. 3 HC This is the Bendis that I love: foul-mouthed and character-driven. This book is where stuff starts to get epic.

From DC Comics

WEDNESDAY COMICS #1-4 I’ve sat out on the last three weekly series from DC. I heard 52 was good, but everything I read of Countdown and Trinity were terrible. Just a mess. But the promise of Niel Gaiman re-teaming with Mike Allred on anything is enough to make me buy it. But then you add Brian Azzarello, Eduardo Risso, Ryan Sook, and Paul Pope (and a whole lot of others) and I really want to get it. Also, the format sounds neat: folded twice to 7” x 10”. So, yeah. Looks good.

BATMAN AND ROBIN #2 I’ll give the first arc of this a shot.

DETECTIVE COMICS #855 I’ve talked about my excitement here.

ABSOLUTE NEW FRONTIER HC NEW PRINTING Actually, I won’t buy this because I already have it. But you should rush out to buy it if you haven’t got it.

GOTHAM CENTRAL VOL. 2: JOKERS AND MADMEN HC It’s been said before, but this series is Homicide: Life on the Streets meets Batman and the result is beautiful fiction babies. Seriously, if you like crime fiction you should 100% buy this and the first hardcover. Amazing writing, amazing art, and Batman cameos. What else do you need?

THE UNWRITTEN #3 It hasn’t started yet, but the preview pages I’ve seen are compelling.

UNKNOWN SOLDIER VOL. 1: HAUNTED HOUSE TP I’m making good on the boasts I made by buying this the day it comes out.

Let me know what else I should buy in a comment!

Sandra’s Book

Kick-Ass #6
Written by Mark Millar
Art by John Romita Jr.
Icon, 2009

It was very hard to say, “No,” to a picture of a smiling girl covered in blood that was clearly not her own. In her hands were two swords still dripping fresh blood from the severed bodies that lay at her feet. As I finished the last page, there was a sudden fury of questions that flooded to mind, such as “Why have I not read this before? What hole have I been in? Why is Hit-Girl’s head so big?”

This latest issue of Mark Millar’s Kick-Assfocuses on a duo comprised of a Punisher-esque father and his daughter, Hit-Girl. In the issue, Hit-Girl tells the story of the their “secret origin,” which essentially is about a good cop who refused to be bought by the bad guys, and one day, in order to teach him a lesson, the bad guys went after his family, murdering his wife. He’s left running away with his baby girl in arms, swearing to one day avenge the death of his wife. Ever since then, Big Daddy and Hit-Girl have been killing every bad man in town, living up to the promise he made. I mean, I thought about it, and if Frank Castle had a daughter, I could see him taking her along on his missions, shooting her in the chest as part of her training, and, as a reward, going out for an ice cream sundae. I know, I know -before you cry and throw your hands up and cause a big kerfuffle, she was wearing a bullet-proof vest. Come on, the safety of children is still the number one priority around here. Why else would you ever teach your daughter to shank a junkie in the nuts if he pulls a gun on you? It’s to keep her safe, of course.

I can’t really say anything about the series in general, since the main character David Lizewski barely even shows up in this issue. However, from what I know of it, it seems like an interesting concept. What if one day we decide that superheroes shouldn’t be contained to only the fictional pages of a comic book and instead be part of reality? What if, with superpowers or not, we decide to don a clearly unflattering body suit and create our own justice? That’s what David Lizewski did, or at least, that’s what I get the sense of. However, being that the main focus was on the story behind Big Daddy and Hit-Girl, I felt that it was well-written, and I was touched by their relationship. I mean, he’s a dad trying to do what he feels is best to protect his daughter, and that’s by teaching her how to kick ass. Yes, it’s very violent, and yes, she’s only ten, and yes, maybe this is taking it too far, but for her, this is the only life she knows, and as far as I’m concerned, she loves her father and he loves her. That’s good enough for me.

John Romita Jr.’s cartoony style helps to subdue the violent and graphic nature of the comic; it would be a very different story if someone like Steven Dillon got ahold of this.  Overall, this was a great story, and I want to see what happens next. I want to see how they get out of the mess they’re in. Makes me feel nostalgic for the days when Dad used to take me people-hunting. Maybe I should give him a call…

Miles’ Book

Buck Rogers #0
Written by Scott Beatty
Art by Carlos Rafael
Coloured by Carlos Lopez
Dynamite Entertainment, 2009

I fear that with only twelve pages of story that it will take longer to read this review than to actually read Buck Rogers #0. Priced at 25 cents, this issue is designed to whet your appetite for the further adventures of Buck Rogers that will start in June.  And when judged by that criterion, this book succeeds, but doesn’t accomplish much else.

Scott Beatty does a good job getting us into Rogers’ head. He’s a likable and resourceful guy that you want to know better.  However, reading some of the captions and dialogue was like riding a seesaw of quality: sometimes they were really good, and sometimes really bad. The best of example of how quickly the book can turn from bad to good is this scene where Rogers is fighting large, gelatinous creature:

Ganymedian alien: INGESTION
Buck Rogers: Would you settle for — INDIGESTION! [Shoots his gun three times into the alien to no effect]
Caption: That’s what you get for bringing a gun to a slime fight, Buck.

What a bad action hero comeback, and what a great thought. You see why I waffle.

The new costume looks really cool, although it looks a lot like Havok from Uncanny X-Men.  I don’t really have a problem with that, but I do have a problem with the cheek pieces.  From a lot of angles, the shape of Rogers’ skullcap betrays Rafael’s art because it looks like he has drawn his characters with massive cheekbones. I think it looks awesome on the cover, but it’s not a practical choice.

I think it was a smart decision not to release this as a free comic at Free Comic Book Day, because it might have got lost in the shuffle, and this book does deserve a look through.

Isaac’s Book

Mighty Avengers #24
Written by Dan Slott
Art by Rafa Sandoval
Marvel Comics, 2009

I was down on this new Avengers team because there are tons of Avengers teams right now. This isn’t news.  But you know what I found when I cracked open this tome? The JLA.

Okay, let me clarify that statement: when Grant Morrison started up the Justice League as the book JLA, maybe you didn’t like the characters, maybe some of the plots were hard to follow, but you have to (have to) admit those were epic adventures. Suddenly you could see why you’d need a gathering of Earth’s mightiest heroes when you’ve got things like thought-beasts from the googleplex dimension threatening to erase reality through their own breathing showing up every week. Or you know, something else suitably grandiose.

Now for me, the Avengers have never been able to measure up to that standard, which is understandable. The current Justice Leaguebook also fails to reach those heights, so it’s not a DC versus Marvel thing that I’m talking about. But the New Avengers just hang out in an apartment and watch TV while having stilted conversations among themselves. Obviously the Dark Avengers are bad guys, so they lose points with me there (though the time travelling villainess from their first story arc was pretty good, if temporally problematic. Not as problematic as some say, however.) And then there’s the Mighty Avengers.

The Mighty Avengers! These guys spend the whole issue fighting giants monsters, first a larger-tha- life Swarm (the Nazi whose body is made of millions of bees), and then some big old C’thulu-like looking guy, with some other stops along the way. A reporter says “by our count, this is the tenth superhuman crisis you’ve averted today.”

“That sounds about right.”

See, I’m sorry, but if this kind of thing happens, there shouldn’t be time for a superhero civil war. It’s a fun story, don’t get me wrong, but there’s other stuff to be doing out there.

For a story titled “Chasing Ghosts” you know Quicksilver is going to feature prominently. He’s got a sweet new outfit that is a clever redesign of his original, but I guess that’s not important. I like it though. Anyways, Quicksilver spends most of the issue chasing after the Mighty Avengers based off whatever news he has handy, so he can join up and chill out with his sister again, but the main group always ditches him and teleports to the next disaster. It’s pretty hilarious, but don’t worry: he eventually gets accepted. Speaking of hilarious, Quicksilver goes on TV and says that all the jerk stuff he’d done recently was the work of a Skrull and not him at all. Jarvis and Hank Pym know that’s untrue, but figure second chances are a good thing.

Well, Pym says second chances are a good thing; Jarvis, on the other hand, thought this Quicksilver claim was important enough to interrupt Jocasta, who was about to let Pym know that their secret base had its tether to reality cut, and that, given enough time, they’d be stranded outside of space and time forever. Priorities, Jarvis!

Public
…And in the End, Release
Independent, 2009

By Jake Shenker

I’ll admit that I hadn’t heard of Public until a promo copy of their EP popped into my inbox, but I’m happy to have been informed of their existence. Although their recently released EP, …And in the End, Release, is immediately familiar — it bears resemblance to some of those carbon-copied bands with names like The Somethings — this five-track EP features a surprisingly fresh bunch of songs with a wide range of influences. While album opener “Walk Away” could be straight off a Franz Ferdinand album, tracks like “Traffic” and “Now and Again” would find themselves more at home on Radiohead’s In Rainbows. What stands out most on this short EP is that these five catchy-as-hell tunes have few clichéd radio hooks — these are simply five well-written songs with climactic choruses and smart instrumentation. And so while this genre’s pedigree has typically focused on hyperactive singalongs, Public has instead focused on proper songwriting.

Public will be at Toronto’s Mod Club this Saturday night, and are definitely a band to check out. Drop by the gig, pick up a copy of this wonderfully succinct EP, and groove your ass off. In the meantime, check out their myspace to hear some tunes.

[FAT] is a four-day event of fashion, photography, and music. In its fourth year, [FAT] is filled with exhibits varying from 50s glam to environmental challenges to post-apocalyptic fashion. This year’s event is broken into 4 different themes: home, planet, gutter, and beyond. With something for every person, [FAT] is the perfect showcase of up-and-coming designers.

By Kerry Freek
Photos by Donna Endacott

Apparently, the planet (last night’s [FAT] theme) can be described in one word: leggings. With the exception of Amanda Rose’s dusty glamour lingerie and Romandin’s capped cocktail dresses, rarely did we glimpse a bare thigh or calf. Most notable legwear awards go to Cherry Blossom, whose eye-catching tattered-and-torns made us want to break out razors and shred up our own tights on the spot.

Okay, it wasn’t just about leggings.

Zuzanium’s animal-print gymnasts paved the way for shimmery greys and matte black paired with impressionist patterns to create a sexy yet comfortable look, hugging materials that didn’t seem like they’d pinch in all the wrong places. A sculpted skirt, pant and top theme gave a parachute effect without going so far as to suggest MC Hammer.

David C. Wigley’s Worth, clearly a fan-favourite, flattered every shape of his models, who looked cool, calm and put-together in whites, blacks and greys. Especially stunning: a strapless black mini-dress with ruffle-bustle detail, paired with a matching layered ruffled capelet. I must explain these ruffles to you. They were the lasagna noodles of ruffles. Not frilly, not overdone. Limp and cool. Of course, the ensemble was complemented by wicked-awesome hosiery.

Amanda Rose’s sporty-yet-country theme worked out. Even better were her stellar song choices. I’d be surprised if she didn’t use them as the inspiration for her entire collection. Do you know how much we love the theme from True Blood? So much. Her women, both clothed and in lingerie, were totally the subject of Chris Isaak’s song “Baby Did a Bad, Bad Thing” (also used in the show). Seemed like Tumbleweed Town’s girl-next-door grew up, but managed to keep her secret pinup girl identity a secret. Very naughty indeed!

Then things got political—well, not like PETA-political. Think subtle hints (without references to the seal hunt). The second and third of the three Rs got some play from Cristina Sabaiduc’s Romandin, including her show-stopping (probably rug-hooked) gown, a throwback to grandma and a stunning piece overall. We left before the third segment, but I’m sure Paper People got in on that enviro-action, too. Organic cotton, anyone?

We did, however, catch the finale of act two. Deadly Nightshades, a Toronto-based design collective, put on a spectacular show in the theme of urban transportation and mischief: bikes! Do these guys know how to steal hearts, or what? How can I describe.. let’s see. Sweaty Betty’s meets hip hop loungewear meets dandyhorse? Daaaamn. (We especially loved the turquoise briefs—can you tell?)

On a final note, one thing I love about [FAT] is that these “alternative” designers aren’t afraid to dress for all body types. A great deal of booty, bosom and bounce mixed freely amongst your average twiggy, tall types, and everyone seemed confident and ferocious. Terrific night, terrific event. Get out there and experience it yourself-there are still two days remaining!

Toronto Alternative Arts and Fashion Week is running April 21-24, 2009 in the Distillery District.

[FAT] is a four-day event of fashion, photography, and music. In its fourth year, [FAT] is filled with exhibits varying from 50s glam to environmental challenges to post-apocalyptic fashion. This year’s event is broken into 4 different themes: home, planet, gutter, and beyond.  With something for every person, [FAT] is the perfect showcase of up-and-coming designers.

Review and photos by Helen Fylactou

Tuesday night’s fashion, art and music were dedicated to celebrating home: where we come from and what it took for us to get here. Halifax-based designer Katrina Tuttle clinched the whole position of beginnings, introducing the audience to an earth-inspired collection. While Tuttle’s designs are often focused on dresses, her fall 2009 collection includes perfectly tailored fall coats. She juxtaposed sculpted design while playing with proportions, making the models seem like statuesque trees.

“I think in the state that the world is in, it is natural for us to go back to our roots. To return to a connection with nature,” Tuttle says. “I’m inspired by everything in nature. The future of fashion for Toronto, [I believe] will continue on a journey to discovering its roots.” Emphasizing the most theme, nature, Tuttle worked with untamed textures, and earthy tones. Her collection is dramatic but wearable. Whether Tuttle is creating an A-line dress or tulip skirt hinted with drapery, the execution of her pieces was flawless and perfectly accessorized with stilettos.

In keeping with the continuity of the night, Yang Yang reinvents the tradition of Asian-inspired designs by keeping her collection youthful and modern. The collection is campy and cartoonish, paying homage to anime-style icons, sometimes reminiscent of Astroboy and Sailor Moon. Yang Yang is not afraid to use colours, layering or asymmetrical designs to take the audience in different directions. Not quite as over-the-top as some of the teen street fashion of Tokyo, Yang Yang designs are integrated with domestic influences. The collection balances between the demure, lady-like silhouettes, and comfortable, tomboyish designs. The garment lines are architectural and interesting, but the designs remain practical.

Toronto Alternative Arts and Fashion Week is running April 21-24, 2009 in the Distillery District.

HARDSELL
Created by Rick Miller and Daniel Brooks
Directed by Daniel Brooks
Performed by Rick Miller
Presented by Necessary Angel and WYRD Productions
In association with The Canadian Stage Company
Runs until May 9 @ The Berkeley Street Theatre

By Matt McGeachy

CIBC.  For what matters.

This, among other flashy slogans and ads, permeated the screen behind Rick Miller during his unique performance in HARDSELL, a theatrical experience that mixes vaudeville, (self-righteous) lectures on a myriad of topics, puppet performance, and multi-media.  The result is interesting, preachy, and extremely intelligent, but felt like a session of psychoanalysis that went on too long — and none of the audience really has credentials to get inside Miller’s head.

Miller takes on the persona of Arnie, the twin brother of Rick Miller separated from him at birth.  Arnie, predictably, is everything Rick isn’t: he’s vulgar, venal, and very sad.  Arnie has been married several times, but each time his marriage dissolves because, he tells us, he is married to the stage, and to us.  Miller adopts one of his trademark beautiful voices to bring Arnie to life; something of a mix of tobacco stained linen and bourbon on the rocks.  Throughout the show, Miller also voices characters such as Dr. Klot Fugger, the German analyst uncle with whom he was raised, and Violet, a foul-mouthed puppet.

At issue is the hard sell.  Everything, including the theatre, a “temple” of the ancient human art, has been reduced to mere consumption.  Everything has a brand to be sold — including Arnie, and Miller himself — and we humans, the empty vessels of consumption, are to be filled with slogans and marketing material that takes advantage of our unconscious desires.  The audience is implicated in everything from the venal consumption of the holy theatrical arts to the mindless consumption of cola to the failure of Arnie’s marriages.  A call to citizenship is expected, and surely we do get it.  All this is interesting enough, but as a theme for the arts (and indeed the wider sphere of social criticism) the topic is beginning to wear thin.

Which is why, despite the erudition of Miller and collaborator Daniel Brooks and the talent of everyone involved in this production, it seems tired despite its fresh veneer.  Yes, we live in a “mercantile democracy” (well, alright, a “mercantile constitutional monarchy”) where consumption is part of life.  Yes, the arts are consumed, and this sometimes brings with it unfortunate consequences.  But ultimately consumption can be reconceived as a political act, and it must be if we are to regain any kind of sense of citizenship.  The dichotomy between “consumers” and “citizens” will have to be bridged somehow into a conception of “consumer-citizens” is we are to live in a world where we can reconcile our behaviour with our ideals.  This show does not do much to bridge the gap.

Erudite, challenging, technically beautiful, yes.  Worth seeing, sure.  But only if you haven’t started working through this stuff already.

The Alpha Review

By Andrew Uys

I’ve heard that trade paperbacks — a run of comic issues collected into a graphic novel — are all the rage today. But which ones are worth your time? This column aims to put the spotlight on the spectacular trades — at least according to this writer. And just for fun, we will start with the letter “A,” and each subsequent review will follow with the next letter of the alphabet. While you might object to my taste or my opinion, I hope that this column will help save you time and money when you are next buying a trade paperback, as well as effort in alphabetizing.

R is for Runaways Vol. 1: Pride and Joy
Written by Brian K. Vaughan
Art by Adrian Alphona
Marvel Comics, 2005

Remember being a teenager?  Remember fighting with your parents, bucking authority, and hanging with your friends all day?  How about in the Marvel Universe?  Runaways starts with a group of teenagers discovering that their parents are a society of super-villains.  With their world turned up side down, these kids — who barely know each other — have to band together to survive.

Collecting Runaways can be a little confusing because there have been numerous collections released. First, Runaways was released in smaller-sized digest format directed at the anime market. Then, regular-sized hardcovers collecting two or three of the digests were released, and now regular-sized hardcovers that collect individual digests are being released.

On top of that, in terms of issues, there have been three Runaways #1 released, as the series keeps getting relaunched. In issue form, volume one ran for 18 issues, all written by Vaughan with the majority of it drawn by Alphona; a second volume ran for 30 issues, the first 24 by Vaughan and Alphona and the last six by Joss Whedon and Michael Ryan; the third volume is currently ongoing and was relauched with Strangers in Paradise writer Terry Moore and Humberto Ramos on art. Sound confusing?  It is. The plot itself is easy to follow though, and wonderfully done, but woe unto the reader that stumbles into this story midway through.

Brian K. Vaughan is one of the biggest names in comics now, and as he branches out into writing for LOST, his star is only going to keep rising.  Yet, when I picked up the first volume, I had no idea who he was, and enjoyed the story purely on its own merits — and there are many. Vaughan always seems to have the best artists rendering his writing, and Runaways is no exception.  Adrian Alphona has clean, yet charged pencil lines, and brings a sense of youth and action to the comic.  He defined the characters for me, and the first seven volumes with him and Vaughan are fantastic reads — a treat both for the eyes and the mind.  Alphona is credited as co-creating the Runaways, and he highlights the physical identity, nuanced facial expressions, and individual styles of the kids.  You root for the characters in Runaways — their failures, crushing; their victories, inspiring.

The best part of Runaways, though it applies less to the first volume than later ones, is how carefully the book threads its way through the Marvel Universe.  Truly a comic about the tribulations and insecurities of adolescence, the series does involve other Marvel characters, but only sparingly.  A classic moment is when Captain America, Wolverine and the rest of the Avengers appear — and their depiction is seen through the eyes of rebellious teenagers.  Even if you have no former experience with the Marvel Universe, Runaways works on as a stand-alone series, and you can still  thoroughly enjoy this title.

One quick warning, though.  Do not, under any circumstances, read the two Runaways/Young Avengers team-ups.  These are stand-alone TPBs, taking place during the “Civil War” and the “Secret Invasion” crossovers.  While the Young Avengers mini-series was awesome, and Runaways is brilliant, these two crossover trade paperbacks are so horrible that they have you wondering why you liked the original series to begin with.

Runaways Vol. 1: Pride and Joy is a great read — easily accessible for older fans who want a break from the doom and gloom in the Marvel Universe, and for younger readers who want a series that speaks more directly to them.  Start with Pride and Joy, and you will discover a title that reads and feels like comic from the 60s — filled with fun and action — yet is definitely set in our world today