PRODUCT Toronto - Issue 5

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TA B L E OF CONTENTS DOWN 53 Rock Lobster 10 AdriEnne Kress 08 the editor 46 Martin Deenan & Phil carvalho 22 Christopher Bates ACROSS

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Charles Prachter Harris Institute Canfar Serena Cheng Adrian Wu Fuel Nutrition

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Quill & Tine Mitch Bederman Jarvis Church & Maylee Todd Farenheit Katie Boland Joa Rivas

Printed monthly - issue 5 february 2013

Kyle Kofsky Editor In Chief

Isabelle Savard Deputy Editor

Alex Browne Director of Photography

Alex Mathers Lead Designer

Nathan Stevens Accounts & Distribution

Ana Opulencia Copy Editor

Reece McCrone Production Manager

Jonathan Broderick Lead Writer

staff

Melissa Allen Lead Writer

Adam Hendrik Senior Writer

Adam Zivo Assistant Director

Brian Sweigman Senior Writer

Glenda MacInnis Assistant Director

Iddie Fourka Senior Writer

Jill Lerner Assistant Director

Joseph Clement Senior Writer

Joe Swallow Assistant Director

Lauren Cullen Senior Writer

Kim Lum-Danson Assistant Director

Ronit Rubinstein Senior Writer

Max Power Assistant Director

Olga Kwak Senior Writer

Paul Steward Assistant Director

Cristina Arce Senior Photographer

Carolee Custus Contributing Stylist

Chantal Ryanne Senior Photographer

Aziz Vivant Assistant Stylist

Isaac Zelunka Senior Photographer

Hayley Campbell Sports Director

Mark Tym Senior Photographer

Melis Stevens Lead Hair/M.U.A.

Tara McWatters Senior Photographer

Colleen Oldfield Assistant Designer

Juan Mendez Director of Publicity

Andrew Dubinsky Web Manager

Karine Delage P.R. Director

D’Arcy Grewal Webmaster

hair & makeup artists

Christina Rufino Emily Anne Helsdon Emily O’Quinn Giovanna Minnena Lexy Robidoux Mehnaz Khan Michèle Dawn Michelle Silverstein Natalie Shemuel Nina Muller Sara Fratia Taylor Vigneux

Thank you

Darren Wells & Great Lakes Schooner Sincere appologies to the following for being missed in ISSUE 4, we are grateful for every moment of support. Thank you.

WallacePlayford for ‘xx Bang Bang’ NorthBound Leather & Lacoste at The Bay for ‘Law & Order’ Rent Frock Repeat for ‘The Choice is Yours’ Magpie for ‘Out of Nowhere’ GOTSTYLE for ‘An Epic Tale’

Published by PRODUCT in Publishing 104-302 Carlaw Ave. Toronto, Ontario - M4M 3L1

www.producttoronto.com 416 . 364 . 5753 info@producttoronto.com

From left: Ana Opulencia, Jonathan Broderick, Melissa Allen, Kyle Kofsky

E d i to r L ette

’s ette r

F

ortunately, what I value, every victory I see myself having, and each beautiful moment in my life will be born of contest. I despise the drama and the competition but am a huge fan of the ability to be great.

In each of these considerable situations, you must take your place center stage and come to terms with your own irrelevance.

You are replaceable. Your safety comes from within. Reinvention, work ethic, momentum, and talent will determine just how long you stay in the game.

To the fallen, remember, you can get up. To the standing, try to consider that you can fall. Make your labors count. Be in demand - on your toes and off your ass. Everything is sacred.

You will enjoy your time finding your bliss and when you get there you’ll spend your time keeping your balance. If you plan on giving up, it doesn’t matter, you’ll just get eaten up along the way. It’s up to you if you are going to sit this one out. You are probably the only one that really knows just how much of a success or failure you can truly be. In others, assumptions will be made, but the facts delivered.

If no one is listening, it’s time for you to pause, clarify your message or pipe down and listen to someone else. Continuous delusions of entitlement will no doubt sever your ability to shape and influence. In your most humble state, you will definitely find your most enlightened offering. Be grateful and have the maximum respect for both what you have had to do and what challenges lie ahead.

words: kyle kofsky photos: Alex Browne Hair

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Makeup: EMILY anne helsdon & taylor vigneux Clothing: GOTSTYLE & rescue

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B oo k Da r ling

C

onfined to the limits of 19th century Victorian era and the American “Wild West”, Steampunk, the movement that takes history and pushes it forward into science fiction, then ignores everything we have discovered to date, and invents hightech conveniences using period-correct technology is the genre in which Adrienne Kress wrote her latest novel, The Friday Society.

At just 11 years old, Adrienne enrolled at The Claude Watson School for the Arts, here in Toronto, where she majored in theater and then began to act. She later graduated from the University of Toronto (UofT) with an honours BA in Theatre, then left Canada to study at the London Academy of Music and Dramatic Arts (LAMDA), in the UK. Djanet Sears (her playwriting instructor at UofT) told her, “I know how much you love acting, and you’re good at it, but I hope you come back to writing because you’re very good at this too.”

“It was a ‘light bulb’ moment” said Kress, “…up until then it was a hobby. It was something I really enjoyed. It was the first time it occurred to me I had [a] real skill.”

Adrienne took Djanet’s advice while in the UK. She started work on her second play, but it didn’t work out. She then attempted a detective mystery, but that didn’t work out either. Ultimately, Kress decided to write a book for children. She called it Alex and the Ironic Gentleman. She sold the book to a publisher in the UK and hasn’t looked back.

The Friday Society was Adrienne’s first attempt at writing a novel for young adults. She now also has two other books published - Alex and the Ironic Gentleman and Timothy and the Dragons Gate. Both are geared toward a child audience. I am a huge, huge, fan of children’s literature... Alice in Wonderland, Peter Pan, The Phantom Tollbooth.” said Adrienne.

“I would say, kids are reading more than ever, thanks to Harry Potter.” The freedom of the genre is what is appealing. “I think you can go to extremes. You can go to some really dark places, but you can also go to very whimsical places without people rolling their eyes at you... you can really play… really go for it. Kids don’t question the absurdity.”

There is a market for authors, despite the exodus from print to screen-based entertainment. One mother told Adrienne that The Friday Society was the first novel that pulled her son away from playing video games. It brings Kress great joy to hear from a parent that their child wouldn’t put down her book. “I don’t write easy, I don’t write short, I’m incredibly long-winded, my books are twice the length of the average kid’s book.

What I do have are relatively short chapters.

There’s lots of stuff that happens, and there is lots of humor. It’s compelling, and kids want to keep reading it.”

Adrienne currently resides in Toronto and calls herself an actor/writer. “The world of theater is my home. I’ve done it all - acting, directing, producing, writing... it’s storytelling in many different forms. I like to tell a good story.”

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words: ADAM HENDRIK photos: MAX POWER Hair

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Makeup: Christina Rufino & LEXy ROBIDOUX Clothing: LOVAS by Wesley Badaniak Shoes: Town Shoes BAGS: TiBÈRE BENOIst D’anthenay

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LIFE OF M ITCH

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ike all good things, Mitch Bederman’s career as a sound editor began with a Craigslist ad. Trained as a musician at the University of Vancouver and recently graduated from the Art Institute of Vancouver with a Pro Recording Arts diploma, he was searching for work on the well-known, free advertising forum, when he came across an ad looking for a sound editor in Toronto. The job market in Vancouver for skilled musicians and recording technicians is small, so he began searching for work in Toronto while visiting his folks. What he thought was a shot in the dark turned into a successful career path that he’s been on ever since.

The Craigslist ad led him to work under acclaimed Toronto composer, Mychael Danna. His partnership with Danna led to work on major TV and film projects, such as the serial adaptation of Ken Follett’s World Without End, the Golden Globe-winning and Oscar-nominated Life of Pi and, most recently, the new Atom Egoyan film, Devil’s Knot. Bederman’s work on Life of Pi won him a Society of Motion Picture Sound Editors Golden Reel Award for music editing in a feature film.

I asked him how he chooses projects to work on. “The work chooses me,” Bederman says. In a city like Toronto that doesn’t have a lot of sound editors, there’s a plethora of work from which to choose. Bederman’s been lucky enough to work on some of the most highly-praised film and TV shows in recent years, thanks to his relationship with Danna. It’s a musical niche that not many musicians may consider when they start off on their own careers. “You definitely have to have an attention for detail,” Bederman said when I asked him what it’s like in the studio. But if you love sound and love playing in Pro Tools, an audio and MIDI software and hardware system, maybe sound editing may be your bag.

I asked him where he wants his career to go and he was quick to point out that he hasn’t lost his desire to create music of his own. He played for me a few tunes he’s working on for future release. The sound is a cross between The Tragically Hip and Foster the People - a little bit of Rock n’ Roll, with synths and organs thrown into the mix. Bederman knows how to put together a good hook. I asked what he’d like to do with the songs when they’re ready. His response, “Licensing. I’d want for my music to support the show or film to the fullest.” Bederman’s a pragmatic musician, knowing where his work can be best utilized. And he admires TV shows, such as Nashville and Smash, which produce new songs for each episode. It creates work for the composer on a long-term basis.

Bederman is tall, quiet, and good-looking. He’s also a successful musician and sound editor. And don’t let his quiet demeanour fool you. If he’s not working, he can usually be found at Steve’s Music, Long and McQuade, or Moog Audio browsing for a piece of gear or catching a show at The Piston or The Garrison. He doesn’t stray far from his passion. words: OLGA KWAK photos: Alex Browne

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Clothing: GOTSTYLE

Martin Pilchner

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PRO SOUND

he modern cacophony of voice and music - staples of our media-centric society - is something crafted by professionals. Their seamless execution of audio and its auxiliary work gives the field an understated flavour, but that serves only to reinforce the importance of sound. Quality is assumed. Poorly executed visuals can be artistic, intentional even, but bad audio is always an assault on the ears. Professionals are necessary, but first they are taught and educated. Schools are important as the root of quality, but though they all aspire to maintain a standard of excellence, how they go about doing so is the test by which they determine their worth.

Harris Institute goes about differentiating itself by the caliber of its staff. Teaching positions are filled with current industry leaders - people who still work and know what’s relevant. There’s no fossilized information here, just up-to-date insights funneled directly to students by passionate individuals scheduling business trips around classes.

Considering this, it might be a good idea to take a brief look at some of the professors there, to illustrate a point and also because what they do is pretty cool.

Terry Brown is a record producer who cut his teeth in the United Kingdom at the dawn of

Ashley Sperling

British pop in the ’60s. Working with four different studios during this time, he educated himself via apprenticeship, the only route available to aspiring music professionals at the time. Within months he went from newbie to helping cut hit records. Later, he emigrated to Canada after falling in love with Toronto, and immediately set about establishing himself by building the first 16 and 24-track studios in town. As he says, “it filled a void in the biz and that was very good for us.”

Ashley Sperling is younger, but no less qualified. A former Harris graduate, she now works as the Interactive Marketing Manager at Luminato, one of Toronto’s largest public culture events. Her responsibilities stretch over anything that covers digital marketing and social media. Before finding herself at Luminato, she worked at Universal Music, running media campaigns for A-list artists such as Justin Bieber, Hedley, and Drake.

The transition from Universal to Luminato was segued with a job at artist and brand management company, tanjola. Tasked with building a digital arm of their company from the ground up, she found herself with the agency to create something new armed with her own ideas and creativity.

From there, he established a long-term and celebrated relationship with legendary Canadian rock band, Rush. He would go on to work with them on a number of records, becoming a core part of their production.

At the full maturation of his career, his resume of associated projects included work She credits her success to ambition, earnestwith Procul Harum, Jimi Hendrix, and ness, and luck. As she puts it, “I’m not a complacent person. I’m driven and motivated Sonny and Cher, among others.

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Terry Brown

and will always try to go for that extra step. of the few people in town willing to lug his People eventually notice and that’s gotten gear around to wherever it might be needed.

See the trend? He eventually started renting me to a lot of places.” an audio-truck, though that ended when, on As owner and operator of LiveWire Re- a cold winter day, he slipped on a patch of mote Recorders, Doug McClement spe- ice while driving and totaled it. From there cializes in mobile recording, bringing his he bought his own van, starting his current studio-truck to wherever it might be need- business in an adequately dramatic way. ed. That means doing concerts, television specials, or even odd location recording for Finally, Martin Pilchner designs and realartists who seek eccentric acoustics. One izes acoustic architecture. Said architecture of his strangest jobs involved a rapper per- includes music, film, and television studios, forming on a ski lift gondola. His special- theatres, and critical listening environments. ization makes him the go-to guy in his line He’s very good at it, with no lack of press and of work, something that he sees as a key celebration for his work. His wide range of experience across many fields allows him to ingredient in the formula for success. take a holistic approach to design. Though he Coming from quaint beginnings doing work has a degree in architecture, working for his for local bands in Kingston, he opened up father’s construction company in his youth a basement studio in Toronto and was one imparted him with knowledge of masonry,

Doug McClement

concrete, and all of the gritty aspects of construction that made a building more than just an abstract concept. He says, “I do not design something that I don’t completely understand how to make.”

boring mush in the hands of an uninspired professor, and at worst, a cynical exercise in time-wasting. In the hands of a good one, though, it becomes the foundation of tomorrow’s music industry.

When he first got involved in production, he became fascinated with the studio environment. Though it was difficult to establish himself initially, given the challenge of securing big projects without a resume, he slowly moved his way up and onto successively larger projects. His carefulness in gleaning lessons from each project helped him reach the position of esteem he enjoys today.

Of these four professionals, each brings a set of skills and proven knowledge built on prior and current work. That’s important, because academia and curricula become

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photos: adam zivo

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Presented by: Harris Institute

M an U T

he fashion industry is a multi-billion dollar global enterprise devoted to the business of making and selling clothes. Funny thing is, very few people really understand it. The industry is mysterious, clouded by smoke and mirrors. Some live glamorously without saving a penny, and some have more money than the GDP of a small African country without showing it. So where is the dividing line between being a prince and a pauper?

As a relatively new designer in the industry, Christopher Bates is many things - an artist, a brand, a designer, an entrepreneur - but most of all, he is a realist. Long ago, he realized that he had the unique talent to create and produce attractive, desirable men’s clothing. His clothing is contemporary, understated, and stylish.

Christopher Bates is always learning new things and never in a comfort zone. He moved away from his home in Vancouver to come to Toronto to take advantage of its size and market. Coming from outside of Toronto,

he has heard people criticize Toronto, but praises its diversity and multiculturalism, noting that “if you can’t find a scene in a city of this size with so many diverse scenes, then it’s not the city, it’s you.”

As a designer, Christopher Bates understood that men want to be more stylish and he simply offers his perspective on clothing. Christopher Bates has received incredible reviews on his product lines and has achieved fantastic critical success. Turns out, people like his perspective.

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However, the trick with the fashion industry, and most creative industries, is the conversion of critical success into commercial success. How can emerging designers capitalize on their popularity to actually earn a living in fashion? To answer that question, Christopher Bates the entrepreneur splits from Christopher Bates the designer.

To achieve sustained commercial success is exceedingly difficult in the hyper-competitive fashion industry. Most department and clothing stores in Canada carry the same 20 or 30 brands without much deviation. Their desire for safe, known brands makes it exceedingly difficult for new brands to break into any major store. As an alternative, some designers choose to open their own store, which can fail because in addition to designing new product lines, a designer must run a store, which requires resources, staff, time, and energy.

As an entrepreneur, Christopher Bates has made Christopher Bates the brand highly accessible. He makes positive use of public relations, referrals, social media, and events that help expose his brand and create buzz.

As the businessman says, “clothing + marketing = fashion. Add branding to get desire. Altogether, you have profit. “ Armed with a creative vision, high-quality clothing, and an incredible work ethic, Christopher Bates is ready to take the next step and break through. More and more stores want to meet with him to get Christopher Bates on their shelves. His custom division is growing rapidly. Investors want to invest in his business. He is creating new product lines. And he is building an inventory.

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W

hen it happens, Christopher Bates´ breakthrough will be a vindication for his talent as both a designer and an entrepreneur. It is also a testament to all the hard work he has put into his passsion. “Opportunity is missed by most people because it is dressed in overalls and looks like work,” he says quoting Thomas Edison. Christopher Bates uses quotes to inspire and reinforce what he is doing, but his passion for clothing and desire for success is what drives him. And his hard work is starting to pay off. words: brian sweigman photos: paul steward Hosted by: Great Lakes Schooner Hair & Makeup: emily anne helsdon, michÈle dawn & sara fratia clothing: christopher bates & evan biddell models: charmainE san pedro, christopher bates, harrie demerol, maxime bellemare, nicky marks, scott fordham, sheldon mcintosh & rama luksIarto

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H ea r t & S oul

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’ve got a mean case of dancing feet, and it’s contagious. Nothing gets me two-stepping like the sweet sounds of Soul/Motown of the ‘60s. And luckily, Toronto has a gravitas to keeping us in a constant state of boogie. With a multitude of DJs and performers riding the wave of soul music, there’s always a place to twist the night away. You can only imagine my delight when the PRODUCT team decided to feature front man, songwriter, and producer - Jarvis Church who, above all of his outstanding credentials, describes himself as a Soul singer. With well over a decade of experience in the music industry, Jarvis recently released “Soul Station”- a collection of covers and originals dedicated to the one and only, Sam Cooke. Let’s take a moment to take in this awesomeness.

Jarvis has withstood the challenge of time and continues to engage in all aspects of the music industry, making him a Canadian music icon. In this exclusive interview, I got the opportunity to ask Jarvis all about his music career and his relationship with the handsome, Toronto - then and now.

I understand that you’re originally from Jamaica and then moved to Toronto.

I was a kid when I moved [to Toronto] and I remember thinking what a cool experience it was to move to such a diverse city. When you’re surrounded by people who appreciate your culture while celebrating their own, it really strengthens your sense of cultural pride. [Living] in Toronto made me appreciate my Jamaican heritage even more.

Did you always want to pursue a career in music?

I’ve loved music since childhood… so, definitely. I was singing at 10 and in my first band at 14.

After numerous successful years as a member of The Philosopher Kings, you decided to go solo. What are the perks of being a solo artist?

Being in a band is really like being in a family. Sometimes you’re all on the same page and other times, you want to do your own thing. Like a family, there’s no better feeling than coming together again. Being solo, you have the opportunity to really shape your music on your own creatively. In a band, you can bounce [ideas] off of each other and create something together. I enjoy both.

Rumor has it that your name is derived from two parallel streets in Toronto Jarvis Street and Church Street. What is your attachment to the area?

I lived in that area and loved how vibrant the people were. That’s how the name was born.

You have a slew of names under your belt of people you have produced for Nelly Furtado, Esthero, Stacey Orrico - just to name a few.

Canada has so much talent, working with a team to showcase that talent is always humbling.

Outside of producing, you’ve recently been promoting your latest album. What’s next?

I am currently working on the next volume of Soul Station. Volume 1 came out in October and the response has been really great.

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I

n just one morning spent with Maylee Todd, the obvious is certain: Baby’s got it all. Fresh with a hot new perm and a slamming new single, Maylee lets out a few dance moves upon arriving for her PRODUCT cover shoot, grinding proof that she is a force to be reckoned with (and kicking up the energy in the room more than a few notches). With about 50 different collaborations up her fantastic futuristic sleeves, as well as an album (Escapology) due for release in mid-spring, Todd is currently taking Toronto by storm and has clearly been captivating the city’s tastemakers for quite some time.

Beloved by both CBC and BBC and with a track record of touring that will make your head spin (Janelle Monae?! Aloe Blacc?! Little Dragon?!) Maylee makes her mark on every continent she visits, all the while blowing up venues in her home town.

Represented by Do Right Music, she is a watercolor dreamboat of boogie, bossa,

space funk, and soul. Inventive, creative, and diverse are not merely token words used to describe this powerhouse, who credits Jane Fonda and Barbarella as colliding influences. Maylee’s debut album, Aerobics in Space, could somewhat be credited to her VHS collection of recorded, censored, TV playback versions of Barbarella. Her major musical chops, comedic timing, and kickass optimism renders her unstoppable. She is becoming one of Canada’s most interesting and exciting new artists.

Take, for instance, her invitation to join Toronto Royalty Fucked Up on stage at the Great Hall. Long Winter (title of the band’s winter-long curatorial residency) included a smorgasbord of talents including Buck 65 and The Sadies, as well as feature performances by both Maylee Todd and her alter ego, Maloo. Or, consider her original showcase with The Music Gallery, Toronto’s eminent center for creative music. Her solo electronic pop performance featured her wizardry with

the Teroni-On - a Yamaha gadget both visually intriguing as it is deliciously sounding (picture an illuminated grid that kind of looks like an iPad that can be manipulated to create tones and rhythms). If you look closely, you can catch Maylee’s imprint all throughout the city, and in its wake a gush of positive energy.

Above all, Maylee demonstrates the pleasure and power provoked by collaborating with others, proving that collectivity can produce beautiful things and enchanting experiences.

This is most currently reflected in the video for her single, Baby’s Got It, in which she teamed up with photographer and director Reynard Li to shoot the dreamy video inspired by hazy summer months in Toronto.

Both Todd and Li, who met each other while working with Kapisana Philippine Center for Arts and Culture, got together to transform the landscapes of the city into beautiful new worlds full of diverse art objects and tactility. From haunting cheetah puppets with

gleaming emerald eyes (constructed by artist Jamie Shannon) to dancers and characters taken right out of Maylee’s life (pirate girl exists!), the music video is a dizzying series of fast cuts that feature the highly creative and expressive community that Maylee thrives within, as well as the multiple expressions of herself. And of course, each beautiful picture shot by Li is complimented by Todd’s rhythm and groove. She tells me that her happiest times remain working with people whom she admires, while at the same time being social, building relationships with the production team, and growing friendships out of these organic spaces.

This year is already jam-packed for Maylee, who will be releasing a music video with Dan Werb à la Woodhands, under the guise of Ark Analog. In the spring, she will be boogie-ing to the release of Escapology (titled in homage to her late grandfather, the celebrated escapologist who was also a firm believer in UFOs.) And yes, it will be released on vinyl.

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words: Lauren Cullen

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Jonathan Broderick photos: Alex Browne

Hair & Makeup: Emily O’Quinn, Michelle Silverstein & Lexy Robidoux Clothing & ACCESSories: ARMED, GOTSTYLE, Town Shoes, Untitled and Co. & Pink Tartan

SUCH A CHORE

A

drian Wu is a designer known for his showmanship and eccentric designs. His work, while not often wearable, has a theatrical flair to it that sets him apart from his contemporaries. He has impact. His clothing is memorable. Only 22 years old, he burst onto the Canadian scene three years ago with a show at Vancouver Fashion Week. After deferring his acceptance into the prodigious Instituto Marangoni in London, of which only 20 people are admitted annually, he built a business and network in Toronto. Having shown twice already at Toronto Fashion Week, he’s become a notable, local culture figure. As he sits down for our interview, he’s genial and casually dressed.

As he sees it, the future of success in the industry is the blossoming relationship between designers and corporations. He believes strongly in corporate partnerships and fashion as advertisement. He’s already partnered with Perrier, Toms, and Allan Candy - designing collections for the latter two and accepting a sponsorship from the first. His rationale is that, according to his research, the fastest growing Canadian companies are in communications, while retail is relatively stagnant. Regarding potential creative conflicts with his clients, he shrugs it off, saying “I see these companies as a platform to grow my creative potential... How can I help their brand expand their historic attributes?” From a designer whose career is closer to Gareth Pugh than Joe Fresh, this is pleasantly unexpected.

When questioned about his reputation for being, at times, a bit pretentious, Adrian flatly states that he acknowledges it because, as he says, “I’m just 22 years old; what do I know about life?” The modesty of his response stands in stark contrast to the designer the public knew less than two years ago when, at his first showing at Toronto Fashion Week, he drew heavy criticism for his use of Guy Fawkes masks. The intended political message was considered confusing and overreaching. The Adrian today gives a far more mellow and introspective vibe.

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hroughout our conversation he offhandedly references an eclectic collection of material, from TED Talks to tech journals. Each digression though, comes off sincerely in such a way that may be the key to understanding the nuances of his persona. He is, in a phrase, a self-educated guy. He mentions with evident pride that skipping school allowed him to retain his creativity, to make dress ideas that were more genuinely his. His aspirations to find some deeper meaning in his work and to find, as he puts it, “a scientific reason for why designers excel” can be a bit trying, but more than that they’re genuine. He is the earnest autodidact, with the requisite charm and flaws.

It’s unstructured curiosity. It would probably be fair to say that he strives to be a thinker, not just a businessman.

All things considered, he’s a fascinating character. Simultaneously down to earth and up in the clouds, Adrian Wu is someone whose growth will likely be as compelling as his strange and captivating dresses.

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Photos: ADAM ZIVO

Makeup: Natalie Shemuel & Sara Fratia Clothing: Adrian Wu Models: Adrian Wu, Hayley Campbell & Star Martin

F i ll’ r U P F

uel Nutrition might be just the thing to get rid of those last five pounds. It might also be the best meal delivery service out there. Fuel Nutrition delivers meals to your home to help you maintain a healthy a lifestyle without compromising your time.

We all know how busy life can be and sometimes working out, grocery shopping, and preparing your meals just takes too much time.

Fuel’s creator, Bruce Waithe understood the difficulties that some people have in making the time to do all the things necessary to stay healthy. He was a personal trainer who started cooking for a few clients to help them out. From there, Fuel Nutrition became the obvious next step.

Bruce knows a thing or two about leading a healthy lifestyle. He became a personal trainer when he was 18. He also competed in aerobic fitness competitions. When I asked him how he lives his life now he replied with “I am my product.”

The product itself is amazing. Everything is locally sourced and organic. The meals are all gluten and dairy-free. The meals consist of vegetables, lean proteins, and complex carbohydrates. Don’t be fooled by how healthy everything sounds; the food is delicious. Each meal is handmade and delivered in reusable containers inside thermal bags. Everything is delivered in the morning so you can start your day on the right foot.

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Grilled Irish organic salmon, topped with an organic mango salsa, with organic wild baby arugula.

Organic quinoa salad with sprouted black lentils, peppers, cilantro and a lemon flax oil, apple cider vinegar dressing.

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uel Nutrition also offers juice cleanses to help rid your body of toxins. There are three and five-day packages available that provide the client with all of the tools necessary to clean up the digestive system. Bruce does believe in ‘cheat’ meals by the way.

I asked him if he ever eats anything fatty and he said once a week. He believes that it is important to incorporate a cheat meal into your week to create balance. If you don’t let yourself eat something bad you are more likely to fall off the wagon. He eats pizza on his cheat day. I can relate.

If you need help structuring a healthy lifestyle, Michelle Waithe - a holistic nutritionist - is on hand. She can offer advice on how to stay on track and achieve your goals. Oh, and she is also Bruce’s sister.

I was so impressed with Bruce and his product that I signed up! I start my juice cleanse next week. Wish me luck!

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words: Model Sports Fan photos: Isaac Zelunka

FIT

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he gym is an intimidating place if you haven’t been, and I haven’t. I don’t dare pick a fight with the rows of CE800 Elliptical machines, the Runfit 850 treadmills, or even the ES8500 Spinner bikes - all of them competing for people with muscle, who swing dumbbells. My latissimus Dorsi muscle is small and my hips are stiff. How many pushups should I do? What is wrong with doing them at home? Nothing, except I don’t. It’s 4pm on a Monday, and I’m waiting in the lobby at The Yorkville Club. I don’t feel ready. I don’t have shorts. I am greeted by Joa Rivas of Joa Fitness - a toned brunette from Venezuela - wearing an athletic outfit. “Shall we begin?”

I lie on a mat and Joa begins by twisting my legs. “Tell me if this hurts... on a scale from 1-10. 1 is nothing, 10 means you can’t take it anymore. We want to get to an 8.” My right hip pops and grinds. It feels like an 8. “You need to work on this one.” She shows me a few things I can do at home to help with my stiff legs.

Next, we lean against the wall to perform an exercise that helps with posture.

80% of her clients come to her with back aches. It’s because of poor posture. “Once your core is strong, all the other muscles will follow.” She tells me, “A big problem is when people spend too much time hunched over their computer.” It takes eight weeks to fix poor posture, and another eight weeks to keep it that way. You become taller and more confident with good posture. It’s about keeping your body in line. A crooked back means crooked hips, and that results in bad knees and pain.

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t 15 years old, Joa was diagnosed with Scoliosis, which means her spine curves from side to side. A healthy spine is linear if viewed from behind. The Schroth method - which treats the disorder by strengthening the muscles around the spine - has been effective in eliminating pain since the 1920s. Indirectly, Joa began to fix her anomaly while learning Yoga and Pilates, which emphasize spine and hip alignment. She became an instructor after realizing how effective the activities were at relieving pain.

In 2010, Joa became a personal trainer. She works with individuals who range from absolute beginner to experienced athletes who have an agenda. She also does group sessions. “One-on-one is better if you want fast results,” she tells me. It’s because she caters the workout according to your needs. Having a personal trainer is better than training alone because of the competition. “Me, when I’m training [people], they have a lot of pressure because they see me doing something that they can’t do yet.”

She shows me the trick to working out my latissimus Dorsi. It’s simple: a pull up. She encourages, “Be patient, have persistence, and never give up. Last year was the first year I didn’t feel pain from my Scoliosis.” words: ADAM HENDRIK photos: CRISTINA ARCE Hair

& Makeup: MEHNAZ KHAN & NINA MULLER models: HAYLEY CAMPBELL, JOA RIVAS & TAYSHAWN LEVY PRINSE

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S afet f i r st eneath a bullet-grey sky on the road to Cherry Beach, two of Toronto’s up-and-coming film professionals pose for their picture. One mugs. He’s clearly an actor. The other studies his phone, worry etched into his brow. He’s the producer.

Meet Phil Carvahlo and Martin Deenen. They recently collaborated on a Jon Murray film called Today I Will Tell Her. Phil brought the management skills and Martin starred. The film won the Best Short Film Showcase in the Moving Image Film Festival of 2012. It was the first film on which Murray, Carvalho, and Deenen collaborated. Funny and endearing and only seven minutes long. Think 500 Days of Summer cut right down to the bone. There are only two characters in the film - Cute Girl and Loser Guy. But there’s arguably a third character - Toronto.

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arvalho began his career in the film industry in construction.

He’s been building creative construction sets and pieces for the last few years. “If you can think of it, we can build it,” like a recent 11-foot razor his team constructed and attached to a zamboni at the World Juniors Hockey Final for Gillette. Transitioning to producing was easy for Carvalho. “Managing and overseeing people is a skill set that [transcends] genres,” he explained.

Deenen began acting as a child in the well-known Canadian cable TV Bodybreak commercials, starring Hal Johnson and Joanne McLeod. “That ‘stache was iconic,” said Deenen, recalling the thick handlebar moustache Johnson sported throughout the ‘90s era commercials. Since then, he’s been in a number of Canadian projects, including Streets of Wonderful and A Kind of Wonderful Thing, as well as music videos for Canadian bands like Silver Gun and Spleen. He’s also in a Toronto-based punk/ ska band called Riot Club. And he’s in the process of working with Jon Murray again in 2013. He’d love to one day do a biopic on an epic punk band. In his checked pants and leather coat, he looks like he could fill the role admirably.

While they both travel extensively for work (from Hamilton, Ontario to Los Angeles, California), Carvalho and Deenen love living in Toronto.

They’re homegrown boys and have lived all over the city. Carvalho calls Parkdale home with his wife, who is also a film producer. Deenen grew up living in between the Beaches (in Toronto) and Florida, where his father owned a business.

Carvalho loves his bourbon and frequents Baby Huey on the Ossington strip to “get his drink on.” Carvalho feels that Toronto’s art and dining scene are beginning to get the recognition they deserve. He says he can’t resist a burger from Harbord Room, but is also intrigued by the recent surge in Latin cuisine from La Carnita to Grand Electric. Deenen was quick to add La Revolucion in the Junction to the list.

These are the men of Toronto’s film industry. They’re ambitious, hard-working, and proud of their work (as they should be.)

words: OLGA KWAK photos: Alex Browne & Max Power Hair & Makeup: Natalie Shemuel

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I HEART COFFEE E

verything to do with coffee is sensitive to temperature. From where it’s grown, to the final temperature coming out of the machine…temperature is relevant.” This is how Sameer Mohamed came up with the shop name, Fahrenheit, which is located on Lombard Street just south of Richmond and Jarvis. Fahrenheit was born out of love only a year ago when Sameer acted on his genuine drive to make good coffee. His passion to have a shop to call his own came about only two weeks into his first parttime job as a barista. “I wanted to change moods and make people feel good…create

a ‘hole-in-the-wall’ and people would come just for the coffee. Now I can say I have achieved it.”

When you enter the 500-square-foot shop, your mood does change: one, because of a good cup of cappuccino, latte, or americano and two, because of the music. “We spend our life here, so I want to make it enjoyable for us, keep up the positive energy within the staff and create an escape for our customers – a complete distraction from their work.” One day you may hear Latin music, the next, some sexy R&B and on a Friday, maybe some bumping House music.

One reason for Fahrenheit’s popularity is their family-like atmosphere. The staff greets patrons by first name. They are friends, not only customers, and this keeps their “extended family” close and always coming back. Their success can be attributed to their true love for the bean. It’s important to Sameer that all staff members “share the same vision and have similar minds to provide top notch coffee and service…to work with individuals who want to learn how the business runs and to one day have their own coffee business.” It’s this eagerness within the employees that makes Fahrenheit a powerful, tight-knit force, providing a product that they are proud of and that people enjoy. “We’re not actors, we’re artists, and I love what I do”.

Sameer’s goal is to continue his business so that one day his future daughter or son can have the option to step into the family business - something he so often craved growing up. He would also like to open up more Fahrenheit babies in the Toronto area, but says with a sense of spirituality, “It depends what path life presents to me.” The shop is a huge part of Sameer’s social life. He lives and breathes it. On the rare occasion when he’s not at the shop, he takes the time to cook and eat. I see a theme here. The man likes to create and enjoy what he has created. Why not, eh? words: Kim Lum-Danson photos: Mark Tym

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he ability to relate continues to be an underappreciated skill.

Popularity can be achieved from halfway across the world while sitting behind a computer screen. In our ever-developing world, we are becoming closer by staying farther apart. But there are still a few that break the mould. Serena Cheng is one of them.

As an investment advisor at Richardson GMP, a leading, independent wealth management firm, serving Canada’s most successful families and entrepreneurs, Serena meets with people every day. She speaks with them face to face. She learns about their lives, their accomplishments, and their dreams in order to help them plan their financial future. As she says to her clients, “the most important thing is to find what you’re passionate about and make it a part of your life and livelihood.” If you want to send your kids to private school, if you want to travel the world, or if you want to retire in Florida, Serena helps marry personal milestones with finances.

Due to the intimate nature of her work, Serena is accustomed to getting involved with people’s personal lives. But her work gives her the ability to connect with Toronto and others at large. She has the opportunity to get involved with various charitable projects and fundraising activities,

ness SUAL including the “Holiday Groove,� which Serena has helped organize for over 15 years. She is also active in the arts and food scene, developing relationships with emerging artists and restaurateurs.

Serena also serves as an amazing role model for women in the workforce.

Whether its young women facing new challenges and the pressures of the workforce or women planning for retirement, Serena understands their concerns and helps them through.

The advice Serena gives is based on her personal experiences. She understands that everyone makes mistakes, but stresses that you have to learn from them. As an investment advisor whose focus is on the development and implementation of customized solutions for clients encompassing financial, tax, estate, philanthropic and succession planning strategies, Serena has seen even the best plans go off course based on unexpected events.

Only when she can help someone realize that nothing ever goes exactly as planned, can Serena focus on what truly makes you happy. Only then can you develop your life, your goals, and your plan based on your true principles and motivations. By meeting more people and getting to understand their joys and struggles, Serena has a rare empathy and openness for people.

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he sense of understanding others comes from understanding herself. Serena practices what she preaches. She has adjusted her goals many times based on circumstances. Serena has long been hard-working and motivated. But she has gone through many personal achievements and challenges, which have shaped her perspective on life and of herself. From the teachings life has given her, Serena has realized that nothing really ever happens the way you plan it. Therefore, you have to live for what truly makes you happy. For Serena Cheng, the people and things she loves allow her to achieve the things she wants and to do something she believes in, developing relationships and helping people in whatever way she can. words: Brian Sweigman Photos: Alex Browne Hair & Makeup: emily anne helsdon Clothing: LOVAS by Wesley Badaniak Shoes: Town Shoes Jewellery: Rita Tesolin

P ut A L obste r on It T

he meteoric rise of Rock Lobster is a story of success that could only exist in the 21st century. If he were starting a restaurant in a world without social media, Matt Pettit would still be stuck at his job as a representative for spirit and wine companies. Instead, he was forced to leave because his passion required his full attention.

The idea for Rock Lobster started as a common thought many of us have had when we go travelling – “Why don’t they have something like this at home? It would do so well!!” In Matt`s case, he was eating seafood in New Brunswick when he asked himself why there wasn’t a cool, affordable, delicious seafood restaurant in Toronto?

Once he had the thought, he was off. Unable to get the idea out of his head, Matt wrote a detailed business plan – complete with menu, brand, and competitors – one Saturday night. Equipped with what he knew was a great idea, Matt did what all entrepreneurs do and started to build mountains, one stone at a time.

He started by going to the source. He called seafood suppliers on the East coast and eventually travelled there himself to meet directly with fishermen. In just one trip, he cut the middleman and made a deal directly with a fisherman to import his seafood directly. He had his product.

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Lobster Poutine

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ext, Matt started doing food events. His event of choice: the pop-up restaurant. Rock Lobster first popped-up on March 10, 2012 selling lobster rolls behind the Cosmopolitan Hotel.

They sold 350 lobster rolls, everything they brought, in less than three hours. Matt eventually headlined the pop-up scene, becoming the star of the Toronto Underground Market (TUM) events, serving 1,500 patrons at the TUM`s first anniversary event in October.

Given his pop-up success, Matt knew that in order to properly grow the business and satisfy its growing number of cult followers, Rock Lobster needed to take up permanent residence. So on November 1, 2012, he got the keys to 110 Ossington and 26 days later, on November 27, Rock Lobster was open. They have been packed ever since.

Taking advantage of the popularity of the foodie scene in Toronto, Matt has made his restaurant a visual experience. Walking in, on the front wall, there is an incredible mural of a lobster painted by Matt’s dad.

Paintings of Mounties and maps of Canada line the restaurant. Order a Rock Lobster Caesar, and it comes with a lobster tail coming out the glass. The lobster rolls are overflowing with lobster. Everything is made as a visual experience to encourage pictures and sharing among customers who are addicted to #foodporn.

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he incredible rise of Rock Lobster is proof that success can be achieved with hard work, business savvy, and a great idea - if executed properly. Matt’s ingenuity has allowed Rock Lobster to prosper in many ways. Because of his relationship with fishermen, Matt has taken his business model to the next level, acting as a wholesale seafood provider to other restaurants. He continues to offer his kitchen to other pop-up restaurants, staying close to the scene that allowed him to refine his business model. And he caters private events. All the while, Rock Lobster continues offer cool, well thought-out seafood, good booze, and a great atmosphere.

Coming up on the one year anniversary of Rock Lobster, Matt says stay tuned. His spectacular rise hasn’t reached its apex yet. words: Brian Sweigman photos: Alex Browne

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Go A hea d touch it words: Brian Sweigman photos: Tara McWatters

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active wear made from synthetic materials (that typically compromise on style), Quill & Tine has developed gloves made from a distinctive type of leather treated specifically to work on touchscreens. Their gloves maintain a professional and fashionable style and are able to fill a personal and market-wide void for gloves that have a beautiful design, Understanding the tribulations of the Can- quality craftsmanship, and usability. adian, Richard Choo and Simon Ip have created a new line of leather gloves that work seam- Quill & Tine’s gloves offer a new option for lessly with any touchscreen. As Plato famously those seeking both function and style while stated, “Necessity is the mother of invention.” affording you the ability to play on your phone wherever you go. The leather used Like their gloves, which represent a delicate mimics the human touch by using a nanoequilibrium between function and style, the technology that gives the leather its own field men behind Quill & Tine achieved success that is interactive with touchscreens. The through a careful balancing act. Simon’s technology is ingrained during the leather’s grounded, reliable functionality impeccably tanning process. balances Richard’s energetic creativity and design. Their backgrounds also show their Quill & Tine currently has three styles of diversity. Simon was born in Paris and has leather gloves meant to target three distinct lived all over the world. He came to Toronto lifestyles, with more on the way. The classic to complete a Master’s degree at the Univer- leather work glove is straightforward and sity of Toronto and never left. In contrast, simple, meant for the working professional.

Richard was born and raised in Toronto, The casual city glove is leisurewear designed completing his degree at Ryerson University. for the creative, informal individual running errands around the city. Finally, their banner Together, they are Quill & Tine. Even their product, the driver glove, is a tartan (plaid) name is a balancing act between two essen- style that is chic, fashionable, and distinct. tial components of their business. A quill is a writing instrument that was used prior to As proud Torontonians, Richard and the invention of the pen and represents com- Simon are a driven and ambitious duo munication in our modern society. Quill & who innovate and push for better things Tine leather gloves allow their wearer to use to make our city great. They have a keen their finger like a quill on their smartphone, affinity to Toronto, praising the friends, sending messages with the touch of a gloved connections, and relationships they have finger. Tine is the tip of an elk antler. As a developed together. They work exceedingly symbol of nature and the woods, Tine repre- hard, designing and testing each glove, ensuring that it works on touchscreens. Like sents the company’s Canadian origin.

Toronto, they are constantly seeking the Their company, Quill & Tine, is the first important balance that will breed success.

Canadian brand that offers this type of prod- International and local. Function and style. uct. In contrast to sports brands that offer Design and practicality. Quill & Tine. ow many times have you been outside, walking and talking on your phone while your naked hands freeze, blistering from the frigid Canadian weather? It’s a unique, firstworld problem experienced only in a few bitterly cold climates like Toronto’s.

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Back row: Brendan Curran, Alex Kruger, Tim Singleton, Laura Graham Front row: Devon Hamilton, Jennifer D’Andrea

Do You RESEARC A

IDS is still a thing; it is not an anachronism from the ’80s.

Infection rates persist, yet awareness falls short of where it arguably should be. In the battleground of public attention, the stigma of sex and old prejudices smart like a wound, exiling the disease to the semi-fringes of public discussion. It involves icky feelings of blame and shame that don’t come with cancer, feelings that may not be justified but exist nonetheless. For that reason, awareness is especially important, because shame is a penalty as unjust as AIDS itself. There are several organizations currently working to rectify the situation, and of them, The Canadian Foundation for AIDS Research (CANFAR) is known for doing things a little differently.

Founded in 1993, CANFAR is Canada’s only charitable organization dedicated to AIDS research. It started with humble beginnings as an annual

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concert, first at one Toronto high school and then at others. From there, it grew into what it is now - an established charity of national scope, in the business of disseminating potentially life-saving information. Funded by private and corporate donors, it operates outside government bureaucracy, with a consequent nimbleness that allows it to explore more radical initiatives that might otherwise be overlooked.

One of CANFAR’s most notable programs is its Have a Heart campaign, which targets youth and young adults. It celebrated its 20th year this February, with a full re-launch as the edgier, perhaps more accessible, Kisses4CANFAR campaign. Last year, Have a Heart, managed to accrue 1.56 million participants across 2,500 Canadian schools. While successful, two decades of the same approach can justify a change. Considering the target audience, the foundation hopped on board the social-media train and turned up the risqué.

The concept is simple. Participants are asked to wear red lipstick (or a red lip temporary tattoo) for two weeks while raising funds for AIDS research.

The purpose behind the approach is to take highly visible action. The impact of bold, fun declarations of support go a long way to de-stigmatize the issue and encourage open discussion.

While CANFAR’s awareness campaigns give the foundation visibility, CANFAR’s importance comes from the grants it funds through its private and corporate donors. These grants have been used to help fund research on a number of different medical breakthroughs, where the most notable one has resulted in the reduction of mother-to-child transmission to almost 0%. Behind that number is a tangible group of people who dodged what could have been a life of daily drug cocktails. There are many other medical advancements that CANFAR has helped facilitate – enough, that to list them here would be impractical.

Charity is a careful balance between funding projects, medical and otherwise, which provide the most tangible benefits, and awareness, which serves to oil the engine of public intrigue from which charities fill their coffers.

CANFAR manages to find equilibrium between these two things, with a track record of impactful action across many fields. The Kisses4CANFAR program marks the next step in their now decades-long campaign against AIDS. Consider participating, if not this year, then the next. Help CANFAR achieve the end goal of any charity: bringing about its own obsolescence. words

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AR O BEIN CA - A DI A

harles Pachter is and always was a painter. You see it in his fingernails. When he was two years old, his babysitter found him one day spreading doo-doo on the walls, “with great glee”.

At that point, his parents decided he would probably remain that way. His work materials have since grown up, and his technique has improved a bit too. Evidently, he was meant to be an artist. If you need more proof, you can be referred to his Queen’s Jubilee Medal. He’s also an Officer of the Order of Canada. Those are some damn good credentials.

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nown for his work in pop-Canadiana, he’s notable for the fierceness of his patriotism and his commitment to developing Canadian culture as something more than a foil to Americanism. If you’re local, you’ve almost certainly come across his work. Those ubiquitous moose statues are his idea, and the mural in the College St. subway station is also by his hand (“Hockey Knights in Canada”). His paintings hang in the Toronto Stock Exchange, as well as Canada’s American embassy. Aptly, for a man who names most of his pieces with puns, his subjects are playful and understated. It seems like a conspicuous affront to the more pretentious side of the art world. Recalling his University of Toronto years, he brings up a saying he used to use when handing in assignments: I made a fake phrase about art... which you could say about everything, whether it was impressionism or Greek sculpture. It went like this - the eye is drawn upward by the monumentality and the tonality of the orchestration of colour and the positive and negative balance. Always on your essay you’d get, B+, very readable. It was total nonsense.

His distaste of critics hasn’t changed much since, though he notes that they’ve grown more respectful as he approaches an age where he might... expire. Such is life. In lieu of pandering to cultural elitism, he’s a man very much defined by pragmatism. He advocates “making peace with the fact that it’s not a sin to make art that middle class wealthy people will want in their home.” At the risk of getting speculative, this might be informed by a healthy background in business. At one time, Charles owned 14 properties in the GTA. Though the recession of the early ‘80s ruined him, he’s rebuilt part of his empire since; and his talking points are free of lofty artist-isms.

All things considered, Charles’s work succeeds in that it has the audacity to be 100%, unequivocally Canadian. That’s an important feat in a country where national identity seems to be something artists are afraid to embrace. Sure, to some, his Canada may seem a bit outdated, even anodyne. His Canada is that of his generation, and the country is ripe for redefinition by a new wave of artists. What he captures though, is a Canada that was, one that was overlooked, but one that still reverberates in our culture today.

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Photos: ADAM ZIVO

And SCENE K

atie Boland walked into the PRODUCT studio with a coffee in hand and a rhinestone purse hanging on her shoulder. I sat patiently on the couch, amidst the busy production team and racks of Snow White-themed, vintage clothing - eagerly anticipating my heart-to-heart with the porcelain-skinned beauty. After all, Katie has now starred in 40 films - some of them alongside Kat Dennings and Amy Adams, and is the genius behind the web series, Long Story Short, directed by her mother and friend, Gail Harvey. Katie is also known for her book collection, Eat Your Heart Out, which she compiled during her university studies.

It isn’t very surprising that Katie ended up in showbiz after having been exposed to the industry by Gail, known for capturing Liz Taylor and Sophia Loren, and for directing hit shows like Lost Girl. “[Gail] didn’t want me to be an actress at first,” Katie confided, as her hair was being braided, “she thought the industry was unhealthy for children...but then I convinced her to let me act.” Shortly after, Gail became Katie’s mentor

and since then, the duo has collaborated on various projects including Original Sin - an upcoming film based on the photographer, Diane Arbus. “We work together often, and now, I finally have my own point of view, so I can also bring something to the table.”

Indeed. Katie brings more than enough to the table which is why she won the 2011 Rising Star award at tiff, and was the four-time nominee for the Young Artist Awards in Los Angeles, whose nominees have previously include Julia Roberts and Anna Paquin. It is also why she’s confident enough to take on more challenging roles, like her portrayal of an autistic character in the feature, Dancing Trees. “[In acting] I like that you have an excuse to find out about others, and get into their brains,” she tells me excitedly, leaning back in her chair, as she moves on to getting her make-up done. “I like drawing parallels between myself or my friends, and the character...or all together doing this [exploration] instinctively and hypothetically.” She also confides that she often gets inspired by relationships, Tavi Gevinson’s fashion blog, and digital photography, which she intends to tackle in the near-future.

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s we move from coffee to tea, we exchange promises. I promise to check out her entire empire, including her blog (comedy-and-drama.blogspot.ca) and all four of her upcoming releases (Sex After Kids, Ferocious, Original Sin, and Gerontophilia). Katie promises to read my poetry. The moment is genuine. And so, we conclude the interview with a smile followed by some more stunning poses by Katie in front of the camera. With

her charismatic energy, she nails the photo shoot, all while grooving to the eclectic background music - a swaying interplay of the Disney soundtrack and of course, some 90s hip-hop music (Katie’s favourite genre.) As I watch her in her element, I can’t help but think, “Oh, that’s so Katie!” words: iddie fourka photos: isaac zelunka Hair

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Makeup: giovanna minnena & michÈle dawn Clothing & Accessories: 69 VINTAGE, ELLES HARDWARE, evan biddell, Lost And Found & Town Shoes

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