July 2009 volume 2 issue 5
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Louis Helbig’s Beautiful Destruction
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arts . culture . living
Should Street Art Pay? The Toronto Drinks Show 2009 Luminato: Toronto’s Festival of Arts + Creativity Dallas Green: City and Colour 5 Travel Destinations for the Summer of ‘09 Can You Really Find Love Online?
Note From the Editor
FUTURÉALE volume 2 issue 5
Editor in Chief Rochelle Grabenheimer
Associate Editors Melissa Doyle Leviana Coccia Ashley Foley
Senior Editorial Designer Paul Bannister
Junior Editorial Designers Salwa Ali Ravish Rawat
Contributing Writers
Plain language is a good thing for a lot of people. It makes writing clear and easy to understand. I’m writing in plain language right now. Then things can get harder. The pen rewrites and edits and complicates. It twists and toys with literary devices. Alliteration aggravates the alphabet, personification cannibalizes sentences and hyperboles start a war between noun and adjective. Fol low i ng t h is ex haust ion of pen or more accurately, the fingertips, has eloquent writing triumphed over plain language? A re elitists applauding the, “improvements” made? Are the changes a good thing? More specifically, are they good for our magazine? To put it plainly, plain language is easily accessible, whereas eloquence is not. However, eloquence is more engaging. Many would say there isn’t a winner or loser in this debate, that the level of writing should simply depend on what audience is being catered to. Well, we are writing to those interested in Arts, Culture and Living.
To put this argument in more challenging terms, should an Arts, Culture and Living magazine be eloquent because that’s what the arts is about or is the arts about undef ined st yles, methods and approaches? What is more artistic, being a classical or contemporary artist? I think FutuRéale should not be restricted either by simplicity or complication. Readers should be able to have both easy and complicated articles at their disposal. Maybe that goes against the traditional aesthetic (and holy) criteria of having art fit only in black and white terms. But after all, what’s art without colour?
Leviana Coccia Melissa Doyle Ashley Foley Rochelle Grabenheimer Shazia Islam Russ Martin Andrew Rainnie Randy Resh Jess Silver Sandra Smiley J. Tyler Smith Sarah Subnath White Force Elaine Zlotkowski
Webmaster Heroymo Allen
Online Content Editor Shawn Shapiro
A dministrative Director Shaq Alam
– Rochelle Grabenheimer
E xecutive Director Omar Murji
Cofounders Vincent Lorenz Omar Murji Contact FutuRéale at: admin@futureale.com www.futureale.com
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TABLE OF CONTENTS
05The 3 R’s
Ashley Foley reduces, reuses and recycles
06Mark Lewis Isn’t Famous in Canada. Yet. Russ Martin introduces the next big thing
08CONTACTing the Public
Rochelle Grabenheimer interviews photographer Louis Helbig
11Ready Your Passport
Elaine Zlotkowski recommends 5 international travel destinations
14Staying Safe During the Sunny Days of Summer Jess Silver helps to keep your skin looking & feeling its best
15Can You Really Find Love Online?
Sarah Subnath examines the ups and downs of online romance
16Anchoring Success: The Drinks Show 2009 White Force has a few cocktails on the pier
17The Don of a New Jail - Part 1 Shazia Islam visits the Don Jail
18An Orginal Appeal to the Masses
Rochelle Grabenheimer reviews Luminato’s Nevermore and Gothic Toronto
19Theatre, Dance and More!
Melissa Doyle reviews Luminato’s Carmen and Zisele
20As the Mystery and Intrigue Wanes
Sandra Smiley examines the commercialization of street art
22City and Colour: An Unforgettable Evening Leviana Coccia enjoys the performance
24Terminator Salvation
Andrew Rainnie and J. Tyler Smith review the film
26Poetry
Randy Resh: Romantic and Archer
Cover image: Detail from Overburden Removal Photograph by Louis Helbig
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NO Folly for FOLEY
Why the Alphabet Deserves Three R’s Some of the most important lessons of life are acquired in our first five years: “Don’t talk to strangers,” “Stop, drop and roll” and the too-often-forgotten three R’s: “Reduce, Reuse, Recycle.” This wasteful culture we live in is the first thing that has to change in order to live by the three R’s again. “If it’s broken, get a new one,” is the advice many Canadians and Americans give each other when something stops working. Besides, they often convince themselves, it’s cheaper to buy a brand new appliance than to fix an old one. So when that almost-brand-new coffee maker just isn’t doing the trick anymore, it’s usually replaced with a shiny, new and improved version and it’s off to the dump for the “old” coffee maker, thrown careby Ashley Foley lessly onto a mound with other partially used items.
Reduce.
Reuse.
Recycle.
The amount of recycled goods that end up in landfills is completely unnecessary and could easily be reduced by people quitting their wasteful habits – cold turkey. If the coffee maker is truly unfixable, then keep what you can: the lid, the pot, other parts that could be used in the future and remember to be sure the remains are recycled properly. Other ways we can reduce our garbage is by watching what we buy. Instead of eating out, eat in. Take your own shopping bags with you shopping. Pack snacks and water (in a reusable water bottle) and bring your own coffee mug to Tim Hortons.
What’s wrong with saving a buck or two? It’s not only helpful to the environment but you may even notice some extra change in your pocket at the end of the week. There’s no hiding the fact that we’re in a recession and that our environment is in danger so instead of adding to the problem, reuse to become part of the solution. Improvement has to start somewhere, why not have it start with you? Instead of plastic saran wrap, use tupperware, reusable zip lock or plastic bags. Also, use already existing plastic shopping bags for garbage as opposed to buying specially designed garbage bags–they are both plastic, small and hold garbage.
Believe it or not, those blue bins at the end of your neighbours’ driveway are not just for decoration. Most paper, glass, metal cans, cardboard and plastics can and should be recycled. Find out if there are any exceptions in your community. For Toronto residents, visit www. toronto.ca/garbage. Make a conscious effort not to put any of these contents into the garbage–you will notice a difference. Every little bit counts. Additionally, ensuring items are recycled properly is nearly as important as recycling at all. Make sure cardboard coffee cups go in the cardboard recycling and the plastic lids go in the plastic recycling.
Reduce. Reuse. Recycle. This is the first step that needs to be taken seriously by everyone in order to make an environmental change. In 2006, Toronto sent about 696,327 tonnes of garbage to Michigan landfill–this waste disposal contract expires next year (see www.toronto.ca/garbage/facts. htm). Today, we need to make a choice to change our habits and save our earth. Each individual needs to alter their lifestyle to live by the slogan, “Reduce, Reuse and Recycle.” I have no doubt that we as mature, informed adults can help to save our planet.
What you can do to Reduce, Reuse and Recycle everyday! • • • • • • • • • • • •
Reduce garbage Eat in or pack snacks Before throwing things away, be sure to keep any parts that can be reused Reuse shopping bags Purchase products with little to no packaging (i.e. buying food in bulk) Cut the saran wrap and tin foil, use tupperware and reusable zip lock/lunch bags Use plastic grocery bags for small garbage bags Use rechargeable batteries Recycle glass, plastic, cardboard, paper, etc. Use to-go cups and water bottles Liakeout drink and food containers Recycle printer cartridges properly
For more ideas, visit www.ewswa.org/pages/recycle/3rsintro.html FUTURÉALE
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by Russ Martin
Mark Lewis Lewis’ critically acclaimed and ambient–yet–inviting video-art installations have made him an art star in museums and galleries across Europe but have yet to make him a staple in his native Canadian art scene. T hat a l l may change soon. Lew is was selected to represent Canada at this summer’s Venice Biennale, which can be compared to the Olympics except in the art world. Many other summer collectors, critics, and casual art lovers alike f lock to Venice to see the most recent and esteemed work created by artists around the globe. It’s the art world ’s biggest stage and this year Lewis is in the middle of the madness.
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Daniel Faria, director and part owner of Toronto/Vancouver gallery Clark & Faria, which represents Lewis in Canada, flew to Venice for the June 7, 2009 opening of the Biennale. Faria says Lewis’ work drew a constant line up during the VIP preview showings before the event was open to the public. “The collectors loved it,” he says, adding, “A lot of curators were just taken away with it.” In the six years that his gallery has been
representing Lewis, Faria has gotten to know Lewis’ work intimately. Faria says Lewis’ work has always gone over well at his small distillery district gallery space in Toronto, Monte Clark. He continues to explain that Lewis has always been more
successful in Europe, where Lewis has relocated to in order to teaches at the London art school Central Saint Martins. “Lewis, although he’s Canadian, is probably better known in Europe,” Faria says. Since he has been chosen to represent Canada, it shows how highly respected he is by the organization responsible for his selection, the Canada Council of the Arts. The exposure will also undoubtedly heighten his career, especially in Canada. “Venice is the most important contemporary art exhibit in the world,” Faria says. “It shows and demonstrates how highly regarded he is.” Though Lewis lives in Europe full time, he says he’s back at least five times a year and when he returns he brings his camera
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ISN’T FAMOUS IN CANADA. YET. with him. Of the four films Lewis created for the Biennale, three were shot in Canada. Even though Lewis always imagines spaces in unexpected ways, the landscapes are still familiar.
In one of the shorts being shown in
Venice, Lewis films Toronto traffic from the 54th floor of the TD Centre. In another, he shoots the skating rink at Nathan Phillips Square just before daybreak and edits in another layer of film, adding two skaters filmed in L.A. To do this, he uses the rearprojection method of layering film which hasn’t been popular since Hitchcock. Regardless of location, Lewis provides an entirely new and unexpected perspective. “I make films in places I know,” Lewis says, as if
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it were so simple. But at least on the surface, it is. “Most of my films are banal or plain,” Lewis continues. “One of the things I try to do is see how the banal, plain and everyday can reveal something unexpected.” This is what Lewis does with his art: he makes the banal breathe. He forces the viewer to confront the art in everyday landscapes that they may other wise miss.
Though Lewis will be in London all summer and his exhibit in Venice will stay open until November, Canadians will soon get a chance to re-imagine their landscapes, too. Lewis is due back in Toronto in autumn, just in time for the Toronto International Film Festival where he will
step outside of his traditional video art
mentality to present a more traditional style of film: a documentary on the rear-projection method. Around the same time, Lewis says he will have a long awaited showcase at the Art Gallery of Ontario in Toronto. Maybe then, after Canadians have had the chance to see the world from Lewis’ perspective, he’ll get to be an art star at home too. “That technique has become obsolete,” Faria says, “He’s working in a traditional vein.” Faria says Lewis’ work forces the viewer to see the world through a special, beautiful lens. “He makes you look at things you otherwise might not have expected.”
– sa
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CONTACTing the Public “Calming but confrontational, gorgeous but scary. An eye-opening look at the Canadian landscape reminiscent of Ed Burtynsky or Andreas Gursky.” - Betty, Toronto. Visitor of Beautiful Destruction Exhibit
The darkroom I entered on West Queen West was not quite like a photographer’s red light heaven nor was it like a typical West Queen West space. Yes, photographs hung for viewers to process and yes, the room was Tim Burton-esque but this room was a little different. Welllit, crisp and unfamiliar photographs decorated the unpolished walls. Rustic and whimsical furniture cobwebbed the corners but in serene Pottery Barn neutrals. This room wasn’t faithfully dark, it was eye-opening and calm. It was Komo Design, home to Ottawa photographer Louis Helbig’s Beautiful Destruction exhibit of the Alberta Tar Sands’ ruin and awe. With many aerial photos displaying neutral scenes of unnerving tar ponds and mammoth construction sites, Helbig’s work fit in well with its surroundings. As part of the CONTACT photography festival, Beautiful Destruction called attention to the environmental and political arena the Tar Sands are mining in. Tar pond bird deaths of 1600, government and business spin, Greenpeace activism and generous jobs for Canadians make the issue wholly controversial. I interviewed the humble Louis Helbig to ask him about the adventures he encountered while creating his work and what viewers can appreciate behind his National Geographic-like photos. by Rochelle Grabenheimer
Q: What is the beauty behind the Tar Sands? LH: It’s a place that defies the imagination. When my partner Kristin and I flew there we were kind of dumbfounded by what we saw. For some people it reminds them of Apocalypse Now, 19th century poetry about the industrial revolution or Lord of the Rings. If you can push aside what you’re seeing, be uncritical, it’s an incredibly beautiful place. Q: How much of yourself have you put into this project? LH: Um, way more than I ever thought. It has become the focus of my life; it has
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become my most important project. I was drawn to it because it is such a big issue and I thought I had a knack for aerial/industrial photography. The Tar Sands are a big thing, it’s the biggest thing in Canada. It’s the biggest construction project in the world, it’s changing our country. Before I went there I tried to avoid reading about it, seeing other pictures, tried to avoid preconceptions. Just wanted to absorb it, photograph it for what it is visually, with an open mind. After I’d taken the photographs I tried to fill in the gaps; address my ignorance of what I photographed. So that’s also been a part of
the process, to sit and research, read, look things up on the internet, talk to people and figure out what I was looking at. Just what is that thing I’m looking at, is that a tar pond, an upgrader, an open pit mine? What does it mean? Another thing people find puzzling is that I’m not really absolutely against what’s going on up there. I’m from a small town out in B.C. and my father had a logging truck, if I was dead set against what’s going on up there I would be a hypocrite, I think. What bothers me profoundly about what’s going
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Louis Helbig in front of his antique plane. Photogragh by his partner Kristin. on up there is that we aren’t talking about it. What we do have is spin about the Tar Sands development that is manufactured by communication types on the industry and government side as well as from the environmental movement. Tied in with that, a little bit, the Canadian media is lazy here, they don’t really go in there and report on the story. They tend to get a quote from one side like Greenpeace and then Syncrude or Suncor. Of course they say two things that are diametrically opposed and get two easy sides of the story but the context, the substance of the story is missing. We’re
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not taking [this issue] on ourselves like a responsible democracy and that bothers me. We should have a discussion. Q: Was flying your own antique plane to Fort McMurray [to take pictures of the Tar Sands] the original plan? LH: Not really. The original plan was to drive out West for a wedding and rent a plane in Alberta but my partner Kristin kind of said, “But we have a plane, don’t we? We can f ly out, can’t we?” It sounds exotic but the plane isn’t worth very much, in money anyway. The plane is an antique and it has a range of four or five hundred
kilometres, depending. If we have a tailwind we can get from Ottawa to Toronto in one go but if we don’t, we have to land somewhere and get gas. Once we decided to do this we had an incredible adventure. When we landed at small airports that sometimes weren’t close to town so we had to hitchhike; [we] met lots of great people. Flying an antique plane into Fort McMurray was a little tricky because my airplane lacks a transponder. It’s a very basic plane from the 1940‘s, there’s a lot of traffic and a transponder is needed. We needed to get special permission to land there.
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Alluvial Fan / Louis Helbig Q : Te l l u s w h y y o u p r o d u c e a e r i a l photographs? LH: That’s one of the things I do, aerials, but I don’t think you can really capture the sense of the place, both in its magnitude and its detail on the ground, even if you’re allowed to access it [from] the ground. Apparently, the Tar Sand operators make you sign waivers if you go on site…if you take a photo on the site you’re not allowed to use them except for private use. Maybe there’s a certain level of censorship that goes on. From the air there are no restrictions. Q: How do businesses and organizations react to your work? How do environmentalists? LH: There’s been a positive reaction from a lot of environmental organizations. I’ve also had one of the companies call me about buying photos for an annual report, or something. But the most gratifying responses are from people I do not know, have no relationship to me who come, look at the work and respond to it. You can tell they are responding to it, you can feel their response, the honesty. It’s almost like just
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by looking at the pictures and…appreciating the beauty of it, that people’s imaginations are open to what they see and then in turn, it opens them up to asking questions, filling in the blanks for themselves of what they’re seeing. People just look at it and go, “Wow, this is beautiful. How can it be so beautiful, when it’s so ugly?” It’s especially powerful with those who might not even think about these things most of the time. I try as much as possible to not be too prescriptive about what I say and I also try to talk about the positive sides of it, the jobs, the living people are making. There’s a great tension in the photos, in the issue. Q: One of your concerns was that the Tar Sands was discussed by too few members of the general public. What message might you have for why people should engage in this discussion and in your work? LH: I think we have a duty as citizens to be concerned about the world around us, to be concerned about the welfare of others, the environment and public accountability. If we don’t do that, others will do
it for us. I think what we have in Alberta to some great extent is two levels of government, federal and provincial that are not protecting the public good or maybe, better put, have very narrowly defined the public good. There hasn’t been any real discussion. It was a bigger issue in the American election than in our last federal election. Are we really a superpower if we don’t talk about it, take responsibility, are not transparent, are not accountable, pussy footing around the National Energy Policy and other ancient arguments from 30 years ago instead of talking about what we’re really doing now? Right now it’s the US that is defining the Tar Sands for us, banning imports of dirty oil in California, sending shock waves through the Canadian political establishment. Are we Canadians ever going to grow up? To see and hear more about Beautif ul Destruction, visit www.beautifuldestruction. ca or www.louishelbig.com
– pb
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Ready Your Passport
Summer’s Calling Your Name The summer is finally up on us and with the arrival of the new season comes beautiful weather, elevated moods and an urge to just drop everything and getaway from the ordinary, mundane routine. Here are five travel destinations that are sure to make your summer of ‘09 a great one. by Elaine Zlotkowski
1 The Maldives Praveen, a travel agent at AJB Travels in Scarborough says the Maldives is a gorgeous island country perfect for those who want to just relax and get away from it all. Most resorts in the Maldives have beaches close to hotel rooms so guests can have a stunning view of the clear turquoise lagoons and the vivid blue sea. T he resorts can also arrange excursions for tourists according to particular tastes and preferences. For example, you can take various types of fishing trips and visit both inhabited and uninhabited islands. If you are considering holidaying in the Maldives this summer, a great site to check out is Lets Go Maldives Pvt. Ltd. (letsgomaldives.com), a site created by travel and tourism experts. What is special about this site is that you can choose what type of holiday in the Maldives you want to go on (i.e. a spa holiday, family holiday, honeymoon, etc).
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2 Tuscany, Italy Ah, beautiful Italian wine country! Lavi, a travel agent for Four Seas Travel in Scarborough says that travel packages to the Tuscan region are very popular this summer. Tuscany boasts many wonderful attractions including beautiful beaches, hill towns with amazing views and of course, wonderful art, food and wine.
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W hen i n Tusca ny, you must v isit Florence, the region’s magnificent capi t a l . V i s it t he P i a z z a de l l a Si g nor a , F lorence’s most fa mous squa re. T he Piazza is Florence’s historic and political epicenter, the city’s medieval townhall. It is also home to a free open-air sculpture exhibit, the Loggia della Signora,
which showcases copies of such significant statues as Michelangelo’s David. Also, check out Florence’s famous gothic cathedral, Il Duomo Cattedrale de Santa Maria del Fiore, one of the city’s most popular sites. W hile in Tuscany take advantage of the region’s other sites and cities. Stop by the Chianti Classico Wine Region (birthplace of the delicious Chianti red wine), with its breathtaking countryside and lovely villages. Also be sure to visit Luca, an interesting walled city with one of the best-preserved walls in Italy and towers that w ill give you an amazing view of the city. Need one more reason to go to Tuscany this summer? Lavi notes that accommodations in Mediterranean countries, such as Italy, are much cheaper than accommodations in other European countries such as France, Germany and England. For more information about Tuscany, please visit Top 10 Places to Visit in Tuscany at: www.goitaly.about.com/od/tuscany/tp/ toptuscany.htm
Mediterranean Cruises Mediterranean cr uises are ex tremely popular this summer. When you hear how much they cost, you will understand why. Nancy, a travel agent at Marlin Travel in Hamilton says that her company offers various Mediterranean cruise packages, i nclud i ng 10 a nd 14 n ight t r ips. You can book a cruise for as little as $1000, including f light and accommodation. Mediterranean cr uises cover a lot of ground: Greece, Turkey, Croatia, Italy, Majorca and Spain, all in one vacation.
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3 Australia There is no better time to go “Down Under” than this summer. Jack, a travel agent from Five Seasons Travel in Hamilton says airfare to Australia normally is between $2000$3000, but it is now $1500. Diane, a travel agent at Merit Travel in London, Ontario says that summer vacations to Australia are now more popular than ever. She attributes
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this to the fact that, “You can take Canadian money with you [to Australia] and exchange it and you don’t have to go into U.S. funds.” If you decide to travel to Australia this summer, just remember that it is located in the southern hemisphere, making our summer their winter. With that in mind, it would be a good idea to plan the details of your
vacation (and your wardrobe) accordingly. According to the site ClickforAustralia.com, Australian winter weather varies greatly, but generally, northern Australia has warm to hot temperatures all year round, since it is located near the Equator. The coastal regions around Sydney are pretty mild during the winter, but there are some parts of the country that can become quite chilly. In the higher elevations of Australia, such as in the southeastern state of Victoria, temperatures can even fall below the freezing point. The beauty about Australia in the summer (or in this case, winter) is the variety of activities offered. You can lounge in the sun on the beach or ski down a snowy slope, all within the same week. According to the site www.TripAdvisor.com, the best beaches in Australia are located in the following areas: Sydney, Byron Bay, The Great Barrier Reef, Surfer’s Paradise, Gold Coast, Queensland, Cottesloe and Scarborough. TripAdvisor.com notes the best ski destinations in Australia are New South Wales and Thredbo Village and Perisher Valley located in Kosciuko National Park.
Thailand Jack at Five Seasons Travel says Thailand is often overlooked, but is a fantastic travel destination for the summer. He highly recommends it. “Thailand is very unique. It has great Asian culture, a great countryside and nice people. There is so much to see in Thailand, such as Chiang Mai, a city located 700 kilometers north of the capital city, Bangkok, known for its temples, handicraft industry, mist-covered mountains and elephants strolling in their natural habitat.”
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Staying Safe During the Sunny Days of Summer How to Keep Your Skin Looking and Feeling its Best
by Jess Silver The skin is the body’s most important Ranger. However, it is extremely important
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to be alert of the amount of time spent soaking up the sun so that we are protected from the harmful effects of devastating diseases like skin cancer. There are definite ways to protect our bodies from getting excess sun. “It may take some footwork but rest assured that there are options to ensure healthy summer skin care”, said Victoria Anisman-Reiner, author of Summer Skin Care: Natural Sunscreen, Sun Burn Relief, Summer Moisturizing Products. The key to taking care of one’s body is to find out what works for you and to establish a routine by using the products that make you and your body most comfortable. In order to stay safe and avoid sensitivities or allergic reactions to products or pathogens—agents that cause disease or abnormal reactions—one needs to know his or her body and what it can tolerate. Be sure to test a small amount of sun protection product on your skin a day before using it to see if any reactions occur.
– pb
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Photograph by Daniel Iglesias
organ as it protects us from inside out, fights infection and keeps us warm. So how can we return the favor to the largest organ that blankets us 24/7? It is a hard question to answer, especially during the sizzling days of summer. When summer comes around everyone wants to ensure that their skin looks and feels its best so that those gorgeous new dresses, shorts, or flowing skirts can be shown off. But how do we get that nice tanned look without it costing loads of cash or more importantly, costing a lot to our overall health? Today’s research finds that there is a growing revival in the use of natural remedies (sun) to benefit the health of our skin and bodies. “Sunbathers will be glad to know scientists are still studying the effects of sunshine and that recent studies suggest the sun’s ability to stimulate vitamin D production in the skin can make it an incredible boon to the body in fighting certain types of cancers, including some skin cancers,” said Mike Adams, editor of Health
In addition to facing possible skin irritations, it is important to realize that some skincare products sold in drugstores may contain PABA (para-aminobenzoic acid) salicylates that can, ironically, cause skin cancer. Types of PABA include: ethylhexyl salicylate, homosalate, octyl salicylate digalloyl trioleate, menthyl anthranilate, benzophenones: oxybenzone and dioxybenzone. Opt to look for products without such ingredients or try ecofriendly products. Don’t be fooled by the idea that green products are ineffective or worseoff, or can cause health problems. Each individual is different and therefore it is best to test products before judging them. However, overall the best thing to do is to exercise caution by not spending a lot of time out in the sun. The next time you kick up your heels in those flip flops, be aware that what is safe for you may not be safe for the person lounging beside you, and to always try your own summer safety protection.
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Can you really find LOVE Online? by Sarah Subnath
At 10:31 pm HotGirl108 says: “Do
you t h i n k ou r relat ion sh ip i s goi ng somewhere?” CoolDude78 says at 10:45 pm: “Of course babe, it is.” HotGirl108 says at 10:46 pm: “Why did you take so long to answer? I’m now beginning to question your feelings for me.” Relationships over the internet may seem much less complex than traditional face-toface dating, but it may not be the best way to create and develop a relationship. It may allow couples to give a profile of what they’re looking for and allow for well-thought-out conversations, but is online dating actually better for relationships? Firstly, conversing online is different than speaking face-to-face or even on the phone since, you have time to think about your answers so you can take several minutes to answer, rather than just seconds. With this, one can rehearse their answers ahead of time, making answers perfectly sound right. However, having an online relationship may also mean that there are fewer emotions and less compassion than in a face-to -face relationship. If a person is mad, sad,
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or happy, it is shown through the emoticons of the instant messenger or chat room. In real life, an angered tone in one’s voice when upset, tears running down a face, or a big smile might actually be more clear and human. Thus, online relationships hinder one’s partner from knowing how the other person truly feels and the empathy that goes along with that. Furthermore, online dating means that you really do not know what the other person is doing in their day-to-day life; they could be cheating on you and you wouldn’t be having even the slightest clue. You also don’t know if they are actually who they say they are. Your partner could be pretending to be something they are not and could be lying about such things as their occupation or living arrangements. How do you know if your partner isn’t actually married and living with a house full of kids? In an online relationship, the couple is only running on words and using spurious abbreviations such as <3 and xoxo. Promises can be broken as well as hearts since the only love shown is through words and abbreviations. There is no real sentiment
to know if the person genuinely cares for you or if the relationship is genuine. However, online relationships can also be good for a few reasons. Online dating allows you to judge your partner by factors other than their ethnicity or religion. When having an online relationship, there is less pressure amongst one another in a relationship. There is also no pressure to look your best since the other person doesn’t see you. Also, thinking about answers to a complicated question being asked online can also make the relationship run much smoother as there may be less room for arguments in the relationship. Since both partners would be saying well thought out (and possibly right) things to each other, there will be no reason to argue or fight. With both positive and negative sides to online dating, one must be careful when proceeding with one. Both deceit and meaningful conversation may come from online relationships so be aware and type with caution.
– rr
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Anchoring Success
The Drinks Show 2009
by White Force
Exotic drinks, nautical nights, and a cover charge that spelled class
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Standing in a 20 minute line for half a shot of alcohol is a sobering reminder of what the word frustration means. Far from a frequent drinker, I still find such an experience annoying and told myself (when it happened two years ago at a Distillery District’s The Beer and Cocktail Show) that it was my first and last call. However, when hearing about The Drinks Show at the picturesque Polson Pier, I heard the chime of champagne glasses clinking in my ears. Exotic drinks, nautical night, and a cover charge that spelled class. So I gave it a taste and had one of the best nights I’ve ever had in a long time. I approached the red-carpeted entrance of the show and was introduced by a cocktail of colour and taste. Lavender syrup blended with Beefeater gin was sitting pretty in a modern Victorian bottle. Rusty Nail on high rocks with an orange garnish lit on fire; like a sparkler. Dove chocolates in a cauldron-sized bowl to take with a backto-basics Chocolatini. Shish kebob skewers served for only $4 by friendly nomad servers until the end of the night. All drinks and
food glittered in the tent-like venue where posh guests buzzed and bubbled about like a summer spritzer. Those wishing to leave the cocktail commotion walked outside to the docks to watch the Lite Brite stillness of the nearby core. Observing the urban kaleidoscope from the dock myself, I became acutely aware of the time. It was approaching eleven and a flock of florescent looking gulls soared across the sky that now looked noticeably black. Leaving the yacht-accessorized dock seemed far from entertaining but my Drink Show departure went down surprisingly smooth. Upon leaving, I was given a surplus amount of water (both still and sparkling mineral), a recipe book, cologne, and gum samples. There was also a shuttle, “Fun Bus” that took me straight from the Pier to Union Station within 15 minutes. Leaving the Great Lake glamour behind me, I sailed through the thoughts of a genuine good time and the best of all, no long line-ups.
– rr
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Don of a
Part 1
The
New
JAIL
In 1864, three years before Canada became a nation, the newly constructed Don Jail opened its doors to the rough and tumble lawbreakers of the land. The Don’s construction was close to completion a few years earlier when in 1862 a fire broke out and destroyed the building. The building was re-constructed and was finally completed in 1860. By this time the Don’s architect, William Thomas had passed away, unable to see his gothic-inspired masterpiece that would awaken the imagination of Torontonians and visitors over a century later. Although the Don Jail signaled a breakthrough in prison reform, it was no less notorious for meting out severe punishment on its prisoners. There were thirty-four hangings, some of them public and some of them back to back. The Don was where last hanging was held before Canada abolished the death penalty in 1976. by Shazia Islam
On a daily basis, prisoners were kept
in tiny cells measuring a mere 36 inches in width, without a bed or proper plumbing. In the first few years of its opening, prisoners were given a cell of their own but as the prison population grew each cell held up to three men. Additionally, done with or without consent, men of faith would often visit each cell to persuade the inmates to adopt religious practices and beliefs so that they might be redeemed and saved from perdition. Lastly, prisoners were not allowed to talk and were permitted a short time to exercise each day. It was believed that prisons gave lawbreakers a chance to think about their crimes through a ‘healthy’ dose of isolation, silence, and physical labour. For all the constraints, the Don was considered a degree above its counterparts. The
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architecture of the facility was believed to have a positive impact on its inhabitants. The prison was constructed with an advanced ventilation system and was designed to allow for ample natural lighting to enter the building. Furthermore, its regal façade added a hint of charm to the exterior, quite possibly to give prisoners some modicum of comfort as they first approached the place of their incarceration. Thomas’ architectural gem was often referred to as a “palace for prisoners.” Charm aside, the Don was still a place where prisoners went to spend their time in caged penitence. Countless stories of violence, abuse, murder, and escape echo in its halls and cells. The old part of the Don was officially closed in 1977 and a new facility was constructed in 1958 that still operates today. The Old Don is now open to the public
for tours until November 2009. Guided tours offer crime and punishment trivia, a look into the past lives of male and female prisoners and provide information about the building’s architecture. Ironically enough, the Old Don is now owned by the lifeaffirming institution Bridgepoint Health, a publicly funded health care organization providing patient care and research. Stay tuned for the second part of this twopart story about the history, architecture and legacy of the Don Jail. In next month’s issue, join FutuRéale on a detailed tour of the Old Don and hear thought-provoking opinions from advocacy groups and correctional institute staff and officials concerning contemporary prison reform.
– rr
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An original appeal to the masses by rochelle grabenheimer
Now in its third year, Luminato
is known for appealing to the masses. Offering affordable and free events that span across theatre, music, literature, dance and visual art, to name a few, it might be expected that the quality behind it shoots for the lowest common denominator. In reality, Luminato offers truly unique events, a notch above the perfor ma nces a nd show s u su a l ly av a i lable to Torontonians. For example, the stylistic Nevermore which played at the Winter Garden theatre June 11-13th featured a tragic, yet humorous play on the life of Edgar Allan Poe. Well rehearsed Raggedy Ann stage movements, Alexander McQueen costumes and exaggerated script and characters made the play a pathfinder hit. With the innocence of a doll, Poe and his nearest loved ones suffered from predictable and out of control disease, abuse and passion. The nightmares and genius of Poe weaved throughout his life story, showing audiences how his unprecedented macabre came to be. Nevermore braved an avante garde production without carrying an amateur weight. Another unusual and engaging performance was the Gothic Toronto: Writing
the City Macabre, a literature reading held in Toronto’s St. George the Martyr, a free event that only came at the price of a spinal shiver. The gothic reading featured short stories created exclusively for Luminato by six Canadian authors. Audiences sat in pews surrounded by gothic music and costume, listening to spooky custom made ghost stories all set in the GTA. Some tales were gruesome and some like a ghost’s presence were airy and thought provoking. One of the authors, Nalo Hopkinson, carefully balanced description and plot to produce a curious and twisted tale about newlyweds knowing little about one another’s dark desires until they stumble upon one another in a crime scene. There was also Michelle Wan who combined video with storytelling to illustrate a mother’s disappearance shoved under the rug by her family, leaving the audience wondering if she was actually shoved in the cellar. After the ghost stories were over, hushed and wide eyed audiences walked over to book sales and signing at the back of the church, making the hauntings forever permanent in ink. With a vision for the widely appreciated and unique, Luminato proved a well scripted festival.
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Theatre dance and more! by melissa doyle
Luminato is Toronto’s annual festival the great lover that she is. In the end, peeling potatoes to extra-curricular activiof Arts and Creativity. The festival, now in its 3rd year, includes performances of theatre, dance, film and literature. It takes place in June for 10 days: this year from June 5–14. Some of this years’ shows included the Canadian premiere of a new ballet adaptation of Carmen and the North American premiere of the Yiddish culture dance performance, Zisele.
Carmen T h rough t he Lu m i nato fest iva l, T he National Ballet of Canada was able to premiere Davide Bombana’s ballet adaptation of Carmen. Originally an opera by George Bizet (adapted from a novella published in the 1800s), the ballet captured Carmen’s most important themes through tragic love affairs. This version of Carmen was absolutely stunning. Davide Bombana successfully choreographed the performance to be just as clear as the opera. Colour changes shifted the mood when necessary with each scene. Essentially, the plot follows Carmen’s attempts to conquer all through being
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it i s bot h her l i fe a nd her se x u a l it y that is conquered. The ballet was also f illed w ith powerf ul sy mbolism. The scene where Carmen gives herself up to the bull was the ballet’s most powerful moment. In Bizet’s opera the bull is actually a powerful man, showing how Ca r men ha s been conquered by t he essence of what is true masculinity. With a standing ovation closing its last performance at the Luminato festival, it was sure to leave a lasting impression with its audience. This erotic betrayal of lovers seduces the audience with a perfect blend of music from an orchestra and choreography with ballet dancers. Carmen has transformed a tragic love affair into an incredible performance of both ballet and music.
ties, such as playing musical instruments. T hough not ever yone w ill understand the Yiddish lyrics, the tone and the dancing provide universal themes. Chava Alberstein and the Barry Sisters make up the Yiddish heart-warming music of this fantastic piece. Zisele is humorous the entire way through. It shows how mothers love their children and want what’s best for them even when they break the rules. Zisele will makes you want to clap your hands, jump up and dance and join in the fun.
Next year’s Luminato festival will take place from June 11th-20th, 2010.
Zisele This heart-warming and funny performance shows the connection in a motherdaughter relationship. While there isn’t a script for the show, the scenes are clearly set; each with their own musical number. Included are household tasks such as
– pb
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As the Mystery and Intrigue wanes Why Shouldn't Street Art Pay?
It hasn’t lost all of its edge. Still manifesting itself where you least expect it, street art is finding its way into trendy midtown galleries and museums. by Sandra Smiley It has even appropriated the
wall space of the most fabulously wealthy and inf luential, formerly consecrated to taxidermy and high-brow tableaux. This includes the work of British guerilla artist Banksy. Street art can be said to have sprung from the enigmatic tags, symbols and images of graffiti, an immovable component of the hip-hop zeitgeist of the 80’s. Street art is, by contrast, a mostly-white, male, and middle class scene, and is inherently political, perhaps owing to this education. Due to its high exposure and low commitment, it is the weapon of choice for culture jammers. Changing the “mental
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environment” with renegade artwork and “revisions” of existing advertisements, street art goes against the grain of commercial aesthetic conventions at its most simplistic, and sets them ablaze. Many feel there is something fundamentally wrong about slapping a price tag on street art considering its growth from an experimental anti-commercial movement. In Banksy’s case, the detractors’ gripe is one of spatial politics–what was once public domain is being swallowed by the private. That paranoia is thoroughly unsurprising given today’s trend of the shrinking commons, where everything from public toilets to parking is parceled
off and becomes, “pay.” But in Banksy’s case, is there really a political debate to be had? What the rich and famous are buying are reproductions–the originals remain on public streets. After one of Banksy’s pieces sold for over $30KUS, he blogged of his belief that, “[Only] morons would buy this shit” because the real art, on street corners and throughways, is free. Toronto street artist Dan Bergeron was made a outcast among street-art experts when he used the medium to plug Vespa in a series of wheat-pasted images featuring hipster waifs with scooter handlebars for heads. Once made aware of its corporate commissioning, the public decried
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Why are we so against seeing artists get paid? There seems to be, evident in the sneer at street art, a real reluctance to see the expansion of a cultural economy.
Photograph by Francis Mariani
Bergeron’s covert ad campaign as a blatant usurping of street art’s subversive communicative power. In an environment already choked with information, many understandably interpreted the project as traitorous, the TrojanHorse of Commerce allowed within the great city of real art. Though illegal in principle, Bergeron has continued his work in urban spaces without disguise on various projects including the Royal Ontario Museum’s street-art series Housepaint. Toronto is now spending more money to showcase and to see his work than to cover it up. Street art, upon its own merits, has become somewhat prestigious, and both Bergeron and Banksy have taken heat from the art community and the clued-up public for cashing in on it. And what’s wrong with that? W hy are we so against seeing artists get paid? There seems to be evident in the sneer at street art a real reluctance to see the expansion of a cultural economy. Perhaps it has something to do with a staunch crisis-induced pragmatism which rations legitimacy like canned corn. Maybe envy for the select few, like Banksy, who pull down thousands of pounds in velvety-plush auction halls. Bergeron’s Vespa campaign might be the beginning of a world of opportunities for street artists to do what they do for dollars and cents, not “valuable exposure.” And at Dundas West and Bloor in downtown Toronto, Bergeron’s already got plenty.
Photograph by Tino Morchel
– pb
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An Unforgettable Evening I remember my first concert. I was
in grade six and I was given two concert tickets, f loor seats to the Backstreet Boys’ Black and Blue tour at the Air Canada Centre. I got nervous inside when I heard the opening act, Sisqo, starting to play because I was in the middle of grabbing some popcorn and a bottle of water. I did not want to miss one bit. When the Backstreet Boys did come onstage, I turned to see the boy band rise onto the platform just a few metres away from me. I was holding a homemade sign with a photograph of Brian Littrell pasted on it. Littrell caught my eye, posed in the exact same position as he had in the photograph I was holding, and smiled. When I noticed what Littrell had done, I was in awe because someone I enjoyed listening to enjoyed my presence in the audience just the same. Nowadays, I’ve been to so many concerts I hardly feel that same rush of anxiety before a show anymore. I hardly feel a connection or engagement with the performer. However, the last concert I went to reminded me what it felt like to thoroughly enjoy music, show, and song.
by Leviana Coccia
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Some fans were screaming out song titles like, Cowgirl in the Sand, a song originally by Neil Young. Green declined the request by saying, “I played that last night, I’m sorry.” Dallas Green, also known as City and Colour, took the stage at Massey Hall, one of Toronto’s oldest venues on May 25, 26, and 27 with his acoustic guitar, electric guitar and background band mates. W hen I arrived at the concert on the 26th, my friends and I sat in four aisle seats of the balcony with an enormous pole obstructing our vision. It was an upsetting factor but once Green came onstage I realized that no matter where one sits in a venue, if the show is good, the seats don’t matter. As we sat in our chairs waiting for the show to begin, we watched the hall fill from an empty venue to a full stadium in less than half an hour. The audience included people of all ages, from preteens to adults. At around 8 p.m., right on schedule, Julie Doiron and her band took the stage as the opening act for Green. T he ac t h ad a Metric/MGMT ring to it, using the sound of the guitar, electronics and a crystaclear young female voice. At around 8:45 p.m. the lights flickered back on and Julie Doiron and her crew stepped off the stage, leaving the audience enough time for a washroom break and a quick stretch. It was then I realized that I could not wait for Green to step on stage and start playing old favourites and new hits. Soon a f ter t he bat h room break, the lights dimmed again, causing uproar in the stadium. One of the stage doors was open and I could have sworn that I saw Green walk dow n a f light of stairs and hide behind a behind-the-scenes
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employee. “He’s right there, behind the guy near the stage door, I totally saw him,” I whispered giddily to one of my friends like a twelve year old at her first concert. However, it was not Dallas Green who took the stage next. It was a man called Harris, who brought his acoustic guitar and stool to centre stage. “That’s not him?” I commented, a little concerned. However, Harris began playing an instrumental acoustic version of Queen’s “Bohemian Rhapsody.” Almost simultaneously, both sides of the audience started singing the words of the wel l-k now n si ng le. It was upl i f t i ng , original and spine-chilling, something I had never heard before. Just a f ter 9 p.m., Green made h is appearance and began playing songs that both old and new fans would enjoy, such as “What Makes a Man” and “The Girl” from his new album Bring Me Your Love. He even performed tracks from Sometimes including, “Sometimes (I Wish)” and “Day Old Hate.” W hen Green bega n playing the introduction of “The Girl”, a song written for his wife, he said, “Aww, somebody loves me,” to the crowd. In an instant, there were loud cheers and whistles because of his allusion to the upcoming track. Green also engaged with the audience as he tuned his acoustic guitar. A man from the left side of the stadium yelled, “Dallas!” Green stopped his tuning, and spoke into the microphone, “Yes?” There was no reply, but the fact that Green acknowledged someone calling out his name was both rewarding and humorous. Upon introducing the song, “Sometimes (I Wish)” Green also said, “This is an old song. Make sure you k now someone before you fall in love with ‘em. Next thing you know, you’ll be waking up beside someone thinking, and ‘you’re Mrs. Crabby
Pants in the morning’.” As laughter once again filled the room, he strummed on his guitar. Some fans were screaming out song t it les l i ke, “Cowg i rl i n t he Sa nd ”, a song originally by Neil Young. Green declined the request by saying, “I played that last night, I’m sorr y.” Other fans were screaming things like, “Play some Metallica!” Green replied in a whisper, “I don’t k now what you’re say ing but maybe one day I will just have a concert full of requests.” A loud chuckle roared and someone else screamed, “Wish You Were Here!” Green answered, “By Pink Floyd? I’m sorry, I have no idea how to play that.” It was at this point where he continued tuning his guitar. The greatest part of the City and Colour concer t had to be t he encore. Green came on stage and performed “Body in a Box” and “Coming Home” a capella. As the interlude of “Coming Home” was being played, most audience members around me, including myself, gasped, awed, and smiled. A gentleman behind me even whispered, “I am at a loss for words right now.” I believe that it is safe to say Green w a s a b e t t e r l i v e p e r f o r me r t h a n a recorded one. His high-pitched, crisp, clear, beautiful voice filled every corner of Massey Hall and the heart of ever y person sitting in the venue. Additionally, his kind, humorous and passionate interaction with the audience provoked feelings of anxiety and emotion in his fans, making them enjoy the show that much more. Like my first concert experience with The Backstreet Boys I felt a real personal and emotional bond with Green and his performance.
– pb
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Terminator Salvation Director: McG • Writers: John D. Brancato and Michael Ferris
Review by Andrew Rainnie
The title of the latest Terminator fran- from the previous films showed humans sur- are supposed to kill Kyle Reese and John chise is Salvation. It is well chosen, given the enormous task it faces trying to restore faith after the ill-judged Terminator: Rise of the Machines. Rise of the Machines managed in one broad stroke to dismantle the world that James Cameron had so convincingly pieced together in the first two classic sci-fi films. In Salvation McG steps up as director, who is perhaps most famous for the family friendly, action packed Charlie’s Angels films. His experience in the genre serves him well: the action sequences are solid and well-shot but sporadically placed within the tedious script. This is more Mad Max 4 than Terminator 4. The little snippets we gleamed of the future
###
viving like rats: in bleak, dark times, fighting machines guerrilla-style. Therefore, it feels awkward seeing humans in Salvation organised with helicopters and hanger bays, with the leaders of the resistance on a submarine. To add to the matter, the enemy has changed. Rather than a time-travelling, single Terminator hunting Conner, like the previous three films, here they come in all shapes and sizes; from a gargantuan Transformersesque Harvester that seems to have been stolen from The Matrix, to the hydrobots that patrol bodies of water like eels. It is as if the writers have confused the enemy with other films - the Terminators are ruthless killers - why are they taking prisoners? If they
Connor, why don’t they do so given the ample opportunities that are handed to them. And why are the buildings of Skynet designed to accommodate humans? Also, the actual terminators, the human-shaped variety, are rare. Even then, they do not look like terminators: exoskeleton covered in rubber skin or rags of clothing, until the grand finale. A new addition to the film is Sam Worthington’s character: Marcus Wright. Considering the filmmakers let the cat out of the bag about his character’s biology in the film’s trailer, it takes an epoch to reach the, ‘surprising’ reveal. Instead, there could have been an excellent opportunity to handle his character had Wright been introduced to
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SUMMARY
In the fourth entry of the Terminator franchise, the directorial reigns were handed to McG and for that, full kudos as the cinematography brings a new feel to the franchise and aids in setting the post-apocalyptic mood of the film. John Connor (Christian Bale) leads the Resistance against the machines of SkyNet. A relatively fast paced plot provides plenty of eye popping explosions and some gruesome effects but still doesn’t capture the essence that made the Cameron-helmed Terminator 1 and 2 such a success. H H H H
Review by J. Tyler Smith
The third director to step into the
franchise since Terminator 3’s Johathon Mostow and the pioneer himself, James Cameron is McG. Written by John D. Brancato and Michael Ferris Salvation follows John Connor in 2018, where nuclear explosions have long since past and SkyNet machines overrule the Earth. Coupling Bale’s demanding screen presence is Sam Worthington’s passionate performance of Marcus Wright. The story follows Marcus as he comes to understand what transformation his body has
undergone since volunteering for an experiment on death row. In fact, the film gains most of its credibility from Anton Yelchin’s performance of freedom fighter Kyle Reese, the character Connor is most fearful of. Yelchin’s captures audiences with his innocent and raw emotion and the fear that resonates in the viewer. His performance brings the elements on screen straight into our hearts. Sadly, if not for Worthington and Yelchin’s presence, Bale could not have carried this movie alone. It was a fly-by-night
rush with the real substance and mythological requirements of the franchise only coming to surface midway through the film. Fortunately, the renowned Cyborg SFX from the late Stan Winston has been kept alive by Stan Winston Studio. The variety of T-1’s, T-600’s and T-Resistance Infiltrators (all Cyborg models) bring such realism to the screen that the late Winston must be looking down from the heavens with a smile. Overall, McG’s entry is not a ground-breaking thrill ride but deserves a tip of the hat for trying.
the leader of the resistance, John Connor (Christian Bale) earlier on, forcing them to work together. Rather, viewers follow Connor and Wright separately, both heroes of their own storylines, the scriptwriters being unable to decide who the protagonist is. This divided script is perhaps a result of the several rushed rewrites that occurred weeks before filming (by among others, The Shield’s Shawn Ryan and The Dark Knight co-writer Jonathan Nolan). In numerous interviews with McG, Bale’s casting has wrongfully been heralded for the quality of the script. This can be attributed to Bale still riding the success of The Dark Knight but his performance in Terminator is of a dark brooding loner rather than someone capable of inspiring humanity in a global
war. He seems to be stuck in Batman mode, his tones so deep and gruff that at times he is incomprehensible. Wright is by far the more interesting character: an underdog, anti-hero, played well by Aussie Sam Worthington. But it is Anton Yelchin as the teenage Kyle Reese, the man who will father John Connor, who shines. His acting is like he is in a completely different film and it seems that by mid-point the writers have no idea what to do with him. The effects are great: a mix of actual effects (made by the late great Stan Winston, whom the film is dedicated to) and CGI -bringing the future setting of the franchise alive in a way fans have been hoping for since 1984. However, the excellent, immediately recognizable score from Brad Fiedel, who
composed the first two films, is butchered beyond recognition by Danny Elfman. The score is played in the opening titles and never referenced again -- almost criminal given the heavy use of it in the marketing campaign. Ultimately, Salvation is an improvement on the now forgotten third entry but only by degrees. One can only wonder how extraordinary this film could have been with a little more time, effort, and a studio that backed a darker and more violent vision of the film rather than flogging a cash-cow by striving for the lowest rating possible. Instead, the writers and director patch their divided, jerry-rigged script with teen friendly action, un-engaging and unemotional storylines and numerous references from the previous films to please its faithful fans.
SUMMARY
Though the forth franchise is more captivating than the forgotten third entry, it is only a small improvement. The director and writers attempt to cover their patchwork script and non-engaging, unemotional storylines with teen-friendly action. Their mediocre effort to entertain also includes numerous references from the previous films to satisfy hardcore fans. H H H 25
R
OMANTIC
Isn’t it romantic how the chrysalides land on the ice cubes in our drink to wink with sunlight and time for the dawning double blind? Isn’t it romantic how wings unborn are worn to be torn from our aesthetic interpretation? Isn’t it romantic that we should be so kind as to blind as to bind each other believing, bespeak, betraying? Isn’t it romantic that we should drink such potion to spite foreknowledge of death, innate insecurity feigning?
Isn’t it romantic how the oils shift smudge to smear coupling seething, supplying, searing precious delicate contours? How I miss your words tender as tobacco upon mine morning, mourning throat. How I miss your voice; stillborn butterflies in the ears of compassion, unsettling clouds dim-lit dawning drawing painting... But how the butterflies defy and fly. How the butterflies in the face of formal whims and wanton whys cry. Isn’t it romantic that we could be so superficial, civil in lovingly lavish clasp ‘lusive grasp? Isn’t it romantic that we were so resolute in absolute pressing persuasion and parched for passion? That we might seek such vision of void head-long and strong that we might belong. Photograph by Jason Ferguson
The crysalides are daimon diamonds. The crysalides are daimon diamonds. Isn’t it romantic? Copyright Randy Resh 2005
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ARCHER
In her sights: the core of nothing made perfect Erogenous Eris’ golden apple crown collecting my senses I am drawn to fix the unveiling volatile inviolate And you’re raising your knees with painted feather-nails calling claiming commanding brushing my quivering quill stroking swelling ardor aching -- you are TAKING me: pushing pulling plunging propelling percipience perpendicularly Then you draw back my body from a cross-legged rainbow Nuit is bending her you are bowing your Archer is arching her blue-lit back tickling trying my body’s trunk drunk delightful delirious dexterity telekinetic energy tugging talon-tips arrow is anchored to twine twain en twine entwined tension-tomb hips lunging luna lips sealing our sacred naked circuit rocked, locked, and cocked you let me go ---
ARCHER ADORE ARROW ARDOUR
ARDOUR ARROW ADORE ARCHER
uncoiling from bonds --of gravity’s profanities surging sending ascending surging swirling whirling through column uncommon wheels and wires blazing kundalini fires through astral aether space... and I Am piercing penetrating raptured and violating leaping the lines of mortalities’ insanities shearing searing in satiated lust sending ascending immeasurable thrust fit and fury immortal thrust fury fit flight flight fit in fury CLAP!!! We ARE the mark ALL IS ALIVE! ALL IS AWAKE! awake awake A-wake! awake in our piercing plume wake soular promenance platinum wake impaling inhaling the pitiful pale o violent voluptuous vapour trail
and Archer pulls back aghast such terrible transcendent target clasp ecstatic eclipsing cosmic climax to clasp to grasp at last
Photograph by Ricardo Wang
the furious flurry of fount and flow above embracing our body below in sacred most solemn shadowed glow I adore my Archer Archer’s amorous arrow Archer’s arcane artful arrow then all is asleep under penumbra umbrella death is dissolving... as the gentle gods weep to drown in Diana’s delicious delirious mysterious dreamless delight.
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For ARTemis/Painter Lady Copyright Randy Resh 2005
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