Sunday, November 7, 2010

Cask Days Toronto, 2010


I think that part of what attracts me to beer is the intimacy. Its primary ingredients are few: barley, hops, water, yeast. And after tasting those flavors over and over, in all their iterations, you develop a relationship with them. Each new beer offers something surprising, yet expectant; the opportunity to fall in love all over again.

That intimacy is at the heart of Cask Days. Held annually at Bar Volo, Cask Days is a sampling event featuring cask ales from across Canada. Also known as ‘real ale’ amongst purists, cask ale is unfiltered, unpasteurized, naturally carbonated beer conditioned in and served from a cask. But that’s putting it concretely. Cask ale is about more than mechanics. It’s about possibility. Cask ale has a limited shelf life, only a few days of peak flavor. Consequently, since it is brewed in small quantities, there is room to play with flavor, to experiment and develop the personalities that make craft beer great. Full of those expectations, and feeling prepared to meet them, I bought my $15 ticket for the second of nine sessions.

Almost immediately after walking in to the dimly lit, buzzing atmosphere of what is usually one of my favorite places to be, I felt out of my depth. The crowd was much older, and much more male than I’ve come to expect. This was Bar Volo filtered down to the serious beer drinkers: lifelong beer nerds. Men in blue and khaki who say things like “You give Charlie a milk stout and you can treat him like a farm animal.”

But I rallied. My love for beer is new, but genuine, and despite the odd curious glance in my direction, I felt I belonged there. So I confidently handed the door girl my cash and bought ten $2 tickets (for ten ¼ pints that must be drunk in a single three hour session), a commemorative glass ($5), a complimentary and well- designed Festival Guide and walked straight to the first row of casks.

My first conquest was Night Marzen, a seasonal Oktoberfest Lager from Beau’s All Natural in eastern Ontario. I don’t remember how that tasted. My boyfriend accidentally deleted the notes for this beer from his iPhone while attempting to end a call. Back to pen and paper for me.

My next attempt was the Strato Black IPA from Benelux in Quebec. I’d never heard of a black IPA, so I was excited; so excited that I took my first swig of my blacker than black pour without even smelling it first. That was a mistake. As I forced the mouthful down, I realized that ‘black’ is a euphemism for smoked beer.

I’m going to come right out and say this: I hate smoked beer. Not only does burnt malt overpower every other flavor in the beer – and not in a good way – but, most of the time, it’s salty. Think of every delicious drink you’ve ever tried. Were any of them salty? Probably not. And the smell. When you are trying to get a feel for the nose of a beer, you put your nose over the rim of the glass and inhale deeply. And when that beer is burnt, you end up with a nose full of charred barbecue with a hint of urine. Yes, urine.

But, in Benelux’s defense, my dislike for smoked beer is not their problem. And the Strato Black did live up to its name. If I had to describe what black tastes like, this would be it: like licking the burnt, caked on gunk at the bottom of an old oven. But salty. I think I tasted a little bit of chocolate too; and hops. But after the smoke and the salt, it didn’t really matter.

My next choice was the Like Water for Chocolate Imperial Porter from Church-Key in western Ontario. But they had stopped pouring that (roughly an hour into the event). So I tried the Nutcracker Porter from Black Oak Brewing Co. in central Ontario. And, as luck would have it, I found another smoked beer. I naively thought that by avoiding black in the name of the actual beer, I could avoid making the same mistake twice. But I was wrong. I had nothing good to say or write about this beer but ‘burned’. So, I offered my glass to my boyfriend with an encouraging smile. He took a sip, grimaced and handed it back.

As I finished choking down my second smoked beer of the evening (a real beer nerd never wastes beer), I perused my Festival Guide and decided on Bar Volo’s own milk stout: Charlevoix Biergotter Viva la Vita Cocoa. They were out of that too. On the pourer’s recommendation, my boyfriend brought back LTM Biergotter Ceci N’est Pas Une Pipe, another Volo creation. When I heard the name, I cringed (et, tu Volo?). I took a sniff and a sip and could go no further. I just could not stomach another smoked beer. And after my last dirty trick, my boyfriend wouldn’t taste it either. I had no other choice but to pour it out in front of the upturned noses of the hard core.

Determined not to taste another burned beer, I chose the Vanilla Bean Porter from Scotch Irish Brewing in eastern Ontario. The nose was sweet vanilla beans and lightly toasted (why would you burn it?) malt with a honey finish. The carbonation was low, even for a cask ale, and the head was non-existent. If I had to describe it in one word, that word would be ‘delicious’. It was just like drinking a vanilla soda with hints of malt and dark coffee flavoring. You have to give Scotch Irish Brewing points for verite. But it just wasn’t beer-like enough for me. I would share this with my friends who claim to dislike beer, but it wouldn’t be my first choice when hankering for a pint.

By the time I finished my soda, the session was drawing to a close. I had time for one more choice, and I went with the Scotch Ale from MacLean's Ales in northern Ontario. Normally, I’m more adventurous with my choices. But I had been burned (literally) and settled for a familiar face.

And maybe that’s what I should have been doing all along. The MacLean’s was delightful. The nose was malty with a hint of summer fruit and overripe strawberry. And the honeyed, fruit flavor paired nicely with the scotch overtones. This was the depth of flavor, the intrigue that I’d been missing. It was light, playful, nuanced (perhaps a little too sweet for a session beer) and interesting. Here was craftsmanship and ingenuity that I could appreciate. Now, with the night coming to a close and unused tickets in my hand, I felt like I was finally getting to appreciate what I had come here to taste.

As I listened to DeadMau5 (the dj apparently did not notice that almost everyone there was over the age of 40) and the clang of the ‘last call’ bell, I had my first interesting, enjoyable pint of the evening: flavors I love, surprises I wasn’t expecting: a simultaneously familiar yet surprising composition. And, taking stock of the evening, I realized that not all new roads lead somewhere delicious, but craft beer offers a great opportunity to find something new or, better yet, something new about something you already love. Oh, and I also learned that smoke beer is and always will be disgusting. That just needed to be said one more time.

Saturday, October 30, 2010

Nasty Habit


Nasty Habit

LCBO

Indian Pale Ale

650mL

Canada

6.0% ABV

LCBO 595 Bat Street

Friday, October 28, 2010

$5.90

A

My boyfriend actually spotted Nasty Habit. The name caught our attention, so it did its job well.

By the time we tasted it a day later, I had forgotten about the blurb on the label. But when I sampled it for the first time, I could actually taste the mountain spring water in the finish. At first I couldn’t put my finger on it. I kept writing “clarity” after every taste.

So I picked it up, and there e it was, right there on the label: “A generously hopped IPA balanced by a diabolical blend of rich specialty malts and pure mountain water.” Huh. Truth in advertising. You’ve got to love independent brewing companies.

I could have written the review right from the label. Before you even taste it, you can see - suspended in the amber beer - a haze of ‘generous’ hops. Its thick and hoppy until the bottom centimeter of the glass.

But the nose isn’t all hops. There’s a grassy, honey, malty middle. And – seriously – you can smell the spring water. Seriously.

And those nuances are what make this one of my favorite IPAs. More than just bite, the beer’s aggressive hoppiness is rounded out by rich, honey malt flavors and a palate-softening spring water finish.

Delicious. This is a great beer, very high on my list of all time favorites. If you see it, pick it up.

Seriously (o.k. I’m done).

Saturday, July 10, 2010

2010 Fringe Festival's 24-hour Play Contest

I found the flyer for the 2010 Fringe Festival lying near the window of my local Wine Rack. I almost missed the tiny print near the bottom of the flyer that announced the 24-hour Play Contest. The rules were simple: come to the Fringe Festival Club Tent on June 30 at 6pm sharp. Hear the four items that must be included in the short script. Write a one-act play in 24 hours and return it to Fringe headquarters. But first give us $25.

As usual, I considered the fact that I picked up this flyer at random serendipity. If I were not meant to win this contest, then I would not have happened upon its announcement. Simple. Logical. I logged on and paid the fee as soon as I got home.

Having never written a play (seriously) before, I intended to spend the week’s interim online (the usual place) doing a bit of research. The 10 to 20 minutes I spent looking at a bevy of one-act plays performed by high school students were heartening. The hour or so spent watching Beckett’s Endgame and Play had the opposite effect. So I ditched the effort. Anything that I had to say would have to be innate and reactionary to be good anyway. I rationalized.

With my new-found confidence, the week passed quickly. Soon I was speed walking down Bloor on my way to the Fringe Festival Club Tent. Slightly late.

At roughly 5:53 pm, I passed Sushi on Bloor. At 5:54, I turned around and went in to place a to go order for the vegetarian bento box. I would need fuel for my writing marathon. And my choice of food over punctuality was certainly proof of my genius.

I showed up at the Fringe Festival Club at roughly 6:01:45 pm. As I asked the stand of volunteers near the entrance where the announcement would be, I heard a microphone-voice telling everyone “good luck, write away be geniuses”. They weren’t kidding about 6:00 pm. Luckily, the harried announcee deigned to give me the four items in the midst of her post-announcement hurryings (thanks to the cache my $25 had given me):

T.S. Elliot’s Lesser Known Brother
Jungle Red Lipstick
A Drunken Embalmer
You’re Cruisin for a Bruisin

I knew I shouldn’t have prepared.

After I walked home, consumed my massive meal (recovered from my massive meal) and watched 2 episodes of The Office I had already seen, I got to work. Auspicious beginnings.

After a few false starts, the drunken embalmer presented himself to me. As I continued writing, it turns out that he may-or-may-not-have-been an underappreciated angel sent to earth by a flawed deity or a deeply disturbed serial-violator. He left it up to the reader. Whoever he was, he started a zombie apocalypse which descended on him at the end of the play.

At 2:00 am when sleep descended, I thought: just crazy enough to be brilliant.

When I re-read the play at 6:00 am to do my final edits, I was gripped with panic. I was a crazy person. Not only was my play not going to be chosen, but the festival conductees were going to report me to the nearest mental health authorities. But, at least I had finished it. I had written a play, and I could (sort of ) officially call myself a playwright.

While I showered, I let my boyfriend read what I had written. When he was done, he informed me that I was right to think I was insane but that it was well written. High praise. I laughed aloud and said that of course I did not expect to win with it (I did). But it had been fun to write it (it was), and that the recognition was not all that important (it was).

We dropped the play off on the way to a friend’s house to watch the Canada Day fireworks. I tried a million different ways to drop the fact that I had just written and delivered (pretty genius) play . That I was maybe about to be discovered and that I didn’t want to have to be the one to say it but I may-or-may-not-be a pretty big deal. Unfortunately, the conversation in no way lent itself toward that announcement and there was no way that I could bring it up out of the blue without sounding a bit like an asshole. I consoled myself with the thought that when my play was picked (and it would be), the fact that I hadn’t mentioned that I even submitted anything would make it that much more awesome. My genius would seem effortless and my genius so total that I did not even recognize it.

The next day, I checked my email approximately 25 times for news of the winners. The next day, I e-mailed the office to find out when they were announcing the winners. The terse response informed me that I would have to wait until Wednesday or Thursday for the results.

Wednesday came and went, nothing. I checked my email every half hour except for the few I spent sleeping.

Around 5:00 pm on Thursday, I was watching a movie with my boyfriend when I remembered that the email suggested that they might call instead of email.

I scrambled for my phone.

One missed, unidentified call at 1 pm.

No message.

I debated about what to do for roughly 30 seconds. Then I called the phone number.

It rang a ludicrous number of times. Finally, a simple message: you have reached the mailbox of Renna. Leave a message. I hung up.

I don’t know anyone named Renna!

I typed the phone number into the Google search bar on Firefox.

Nothing.

I read every single sort-of-pertinent line on the Fringe Festival’s website.

Nothing.

I opened my e-mail from the artist liason.

There it was: “You should get an email or call from Renna Reddie to find out.”

Holy shit.

I shook all over. I didn’t know whether to play it cool or scream. I screamed. My boyfriend beamed, gave me a hug and called me ‘his little playwright’. I immediately thought to myself that he was handling the fact that I was clearly a genius and way out of his league now quite well.

Why hadn’t she left a message? Why hadn’t she called me back?

She would call. It was 5:30 pm now. She was probably busy with festival business. She would call tomorrow. I decided to wait until then to tell my friends and family. I hadn’t called my mom in 3 weeks. I would explain to her that I had been terribly busy doing writer-type things. Oh, and did I mention that someone had decided to produce my play? I hadn’t been on Facebook in a month or so. I would post “They’re producing my play!!!” and refuse to respond to any inquiries because I would be too busy supervising its production.

What would I wear? Any-fucking-thing I wanted too. I’m a fucking genius. Everything is the right thing. I planned my introductory speech before the performance: something short, simple, non-chalant: “Wow guys, this is weird, standing up here. Thanks to Fringe for choosing my play, thanks to my friends for all of their support. I hope you enjoy it.”

I would be just-this-side of insufferable. Smug. I would let other people bring it up. I would smile politely to myself. Constantly. I would end every argument with some sort of reference to my literary genius. I would buy a spacious, eclectic but sparsely decorated house (so my profundity echoes), chain smoke and go to parties where I would be the guest of interest.

I brought my phone to the living room while I pretended to do work. At around 2:30 I called Renna again so that she could tell me, while rushing to whatever was keeping her so busy, that I had won and that she had not yet gotten around to telling me. Her bad.

Answering machine again.

I checked the website, Facebook and Twitter pages for an announcement. Nothing. My boyfriend laughed it off and made some comment about how unorganized they were.

6:00 pm rolled around.

The conversation got darker. They may not have been calling because: Renna gets some twisted joy out of calling the losers of the contest. I did not answer and she was satiated by the other pangs of anguish from all the other rejection calls before she could get around to me. She had the wrong number. She called me to announce that I had won second ($300) or third ($150) place, but decided against it at the last moment and decided to pocket the money herself. The entire contest was called off and they still didn’t have the cash to refund all of the $25 reading fees.

On Sunday, the website announced the winner.

Not me.

I read the announcement again.

Still not me.

I checked my e-mail for an admission of an oversight and an announcement of the real winner: me!

Nothing.

I read the announcement again.

Still not me.

I checked my e-mail again for an email announcing that they were just kidding. They liked to play jokes on the winner and they had announced a fictional play and winner to disappoint and then overwhelm me with happiness.

Fucking nothing.

Why had she called me?

I was not the winner.

She must have called me for a reason.

Not the winner.

Not a writer, not published, just me.

Fuck you Fringe. True Story.

Wednesday, June 30, 2010

Toronto. Not as Friendly as I Thought.


Let me start off by saying that I’m new to Toronto. Let me also say that I am not new to agitating, protesting, chanting, picketing, reporting or defending civil liberties in general.

Once, I spent several weeks talking to and reporting about our local pride and joy: the prisoners at the Polunsky Death Row unit. All of the 400 plus men on the unit have been kept on 23 hour-a-day solitary lockdown (plus one hour of solitary exercise) since a 1998 prison escape attempt. Amongst the most disturbing of the stories I heard were the men who had been mutilating themselves just to get to the infirmary for a little human contact.

After reading that, your second reaction, right after the hollow pang of sadness was probably to hope I had a good reason for burdening you with that little factoid that you won’t likely be able to forget. Now try sleeping impotently on information like that for a few years. It fucking sucks.

And I did have a reason for sharing that. After a few years of carrying that weight around, I suddenly burned out. Pretty hard. Within six months, I had applied to and been accepted to a Toronto school, tolerated a lot of jokes that involved “eh” and “a-boot” and settled in somewhere around North York.

Why Toronto? It was a complicated and reactionary decision, admittedly. I am probably not naïve enough to have dogmatically imbibed Michael Moore’s caricaturistic depiction of Canada: a place where everyone leaves their doors unlocked at night, where illness has been abolished through universal healthcare, and where no one ever dies because there is no one to shoot at them. But something about the idea of the friendlier, less-troubled side of the border appealed to me. It was a place where I could study, make friends and not constantly have to confront the various blatant injustices whose presence had infiltrated every aspect of my life in the United States.

For most of the month of June, now that I had stuck my head firmly in the sand, news of the impending G20 conference barely penetrated my peripheral vision. Then, on Friday, June 25th, a friend suggested that we go down to “the perimeter” (just saying it is a little eerie) to check it out for ourselves.

June very nearly marks my 2 year anniversary in Toronto. And seeing those 8-foot high fences was the first time that my preconceived notions of Canada were seriously wounded. As I looked up at the fences, I tried to pull on the memories of my first experiences there: having my carelessly left wallet return unscathed, rationally discussing the various disturbing realities of the United States for the first time in a while, the culture of relaxed friendliness that helped me purge the anger and frustration I didn’t even know I was holding on to. But it didn’t help. There they were, looming, intentionally menacing along with the flashing images of similar fences in Israel, Germany, the Polunsky unit in Polk County Texas.

I wasn’t the only one shaken. Once I became accustomed to the scenery (too quickly for my taste) I noticed that my friend and I weren’t the only ones with cameras. Everywhere, there were phones and cameras clicking away (one elderly woman was even getting it all down on Super 8). And behind many of those recording devices was my silent, furrowed face suffering from the shock of a sudden paradigm shift.

But, like me, their focus was no longer on the fences – it was the police presence. We must have seen hundreds of them as we walked the perimeter. And never one at a time. Always in fives or tens, all of them looking, a little-too-intently out into the crowd. Occasionally, I saw a Torontonian saunter up to one of the heavily-armed squads and strike up a conversation. That relaxed me a little. This was still, in some ways, the Toronto I knew. The fences were temporary and things would soon return to normal. Turns out, those feelings were premature.

On June 26, 2010 I attended the Canadian Peace Alliance rally and march; partly as a sympathizer, partly as an independent reporter, but mostly as a looky-loo, curious to see how things were going to go down on this side of the border.

In 2001, I joined tens of thousands of other New Yorker’s in the streets to join another permit-sanctioned protest the Bush Administration’s aggression in Afghanistan. This time there were no dignitaries on hand to ‘protect’. I wasn’t affiliated with any organization at the time. A friend and I had gone as independent supporters and photographers of what we considered an important world event. We were on one of the well-publicized pre-approved routes, photographing a group sitting on the sidewalk, singing or changing (I can’t remember).

My back was to the street. Out of nowhere, mounted policemen rode their horses at a trot up onto the sidewalk. I was not the only one standing in their way. I was knocked down before I knew what happened. My ankle had been clipped by a hoof – I wouldn’t realize it until later – and I was on the ground, too disoriented to scramble out of the way of the second approaching line of horses. Luckily, a good Samaritan grabbed me by my belt and pulled me to my feet. I ran with him a short way before I lost him and my friend in the crowd. I limped all the way home leaving a line of bloody footprints behind me.

I tried not to think about that as we passed riot police at every intersection. I reminded myself that I was not in New York. That Amadou Diallo did not happen here. That the RCMP does not violate civil liberties so often that they have to print “To Serve and Protect” on their vehicles as a reminder.

And all in all, the protest was peaceful despite the unnerving police presence and the snipers on the roof tops. We marched along our designated circuit, turned when the expressionless faces of the battalions of riot police threatened that it was necessary. The only blip on my radar was the ominous stand of black-clad balaclava’d youths. Something about them looked familiar. I realized later, that they wore the same, walled-off battle-ready expression as the lines of riot police manning every corner along our route.

I got home around 4pm to catch the tail end of the US v. Uganda match. A ticker interrupted the first the overtime half to announce that there had been confrontations between protestors and police. I was incredulous at first. I told my boyfriend that it was probably just a few carefully-selected photos of a few protestors yelling at police to help justify the billion they spent to secure peaceful protestors.

Then I saw the video. The burning police cars were a shock. My boyfriend’s smug silence suggested that maybe the riot police were necessary after all. And he was not the only one that shared that sentiment. The next day, after reports of upwards of 400 arrests, some of them under the coverage of the dubious, previously-secret new police laws (including a raid on the U of T campus) we went to the local pub to watch Argentina spank Mexico.

After the match, the bar keep turned on the news. One woman was standing outside the detention center, explaining to the camera woman that she had been arrested while sitting and chanting in Queen’s Park – the designated protest area. She described some of the treatment of others she knew that had been arrested. How they were corralled and arrested while peacefully protesting far beyond the 5 foot perimeter around the fenced area.

One of the patrons, upon hearing her statement said “bullshit” loudly. The others laughed. The woman’s voice cracked as she continued to explain. The barkeep shouted “Shut up you stupid hippie”. Laughter again. I left shortly after that, but I could still hear them mocking the woman on the screen on my way out. My sinking feeling returned.

Back in Texas, when Bush first ran for president, not many people that I knew took it seriously. Even the news reports handled his poorly thought out statements, aggressive cowboy policies and religious zeal with a bit of mirth. But after he was elected, after the paradigm shift had taken place and it felt a little more normal, things began to change. Conversations drifted to the right. What was once seen as a violation of civil liberties was now a necessary precaution against ‘evildoers’.

The same people who were previously worried were now jingoistic, proud to live in a state that could protect them against the terrorists that might descend on southern Texas at any moment. I felt more and more like a stranger in my own strange state. And found it tougher to find anyone whose tone hadn’t taken a hard turn to the right.

I worry about the attitude toward “the protestors” (Once “Torontonians”. Historically, labels always change before an attack) whose grievances are rarely reported: women’s health, an end to the oil subsidies that helped to create the BP spill in the gulf, lower school fees. Dangerous things. Perhaps most dangerous of all is the running theme of the G8 and G20 summits. Since the practice of walling off the city (begun with the 2001 Genoa G8 Summit when 200,000 protestors descended on the city), citizens (that’s what they are after all) have protested the fences themselves as symbols of force and violence (have been); the treatment of the people on the other side of it as enemies; and its representation of the disdain that our elected officials (whose salaries we pay) have for us while making the decisions that will affect us all.

The voices in the pub were unnerving. The conversation never focused on the discomfiting fact that the suspension (temporarily secret) of civil rights can be exercised under the slightest pretense of a threat. Or the point that some of their fellow citizens were trying to make with their dissent. Unquestioning, they parroted the stance of the major media outlets, boiled down to a witty quip: “stupid hippies”.

Maybe it is because Toronto never experienced post 9/11 New York. Or any of the other places in the world where the threat of violence was used to suspend civil liberties a little at a time until there was very little left. Maybe it is your own naiveté and removal from the world of violence. I don’t know. But I sincerely hope that my doubts about this city are wrong. I hope that when it is all said and done, someone says “shame”. That things return to normal. That I do not realized that I have found myself in the United States all over again. That this is not really the new world order and I have no place left to go.

Wednesday, April 21, 2010

Baby Dee and Josephine Foster at The Music Gallery


If you’re looking for something interesting and relatively inexpensive to do in Toronto, I highly recommend browsing through the Tickets for Sale on Soundscape’s website (or at Rotate This). The shows are pretty cheap ($10 - $20) and the lists are (largely) free of large label fodder and fresh-out-of-the-garage bands.

While checking out upcoming shows, I stumbled upon Baby Dee; a cabaret-style singer whose Dadaist lyrics are at times playful and nonsensical. At others, their simplicity transcends poetry (“justice is a worm eating a bird”). I spent an evening listening to “Little Window” and the gravity of her voice made it difficult to inhale. She reminds me of Nina Simone or Marlene Dietrich: it’s not the quality of her voice, but what it carries that is arresting. Weathered and unpolished, it lends gravitas to her painful, haunting songs.

Josephine Foster on the other hand, I had never heard of; which was sort of why I showed up roughly 15 minutes late for the opening act. Did I know that my late entranced would not go unnoticed in such a small venue? Yes. Did I imagine that it (along with creaking chairs, floors and bag rustling) would be viewed as a crime against humanity? No. A word of advice: the folks at The Music Gallery take their grade-C folk music very seriously. Show up on time.

But the upside of showing up late was walking in on Josephine Foster in the middle of a song: in the center of a dark church, lit by beautiful, soft light that perfectly complemented her hauntingly beautiful voice. Her pre-modern folk style was right out of the turn of the century: high pitched, full of ethereal operatic swells in the most unexpected places. As she strummed her guitar with her eyes closed, framed by the church’s rafters and backed by stained glass I almost expected to see wings extend behind her.

But, after 30 minutes or so, the magic wore off. Each one of her nearly-endless songs was virtually identical. And with all that repetition, those high-pitched swells began to sound like caterwauling. Desperate for somewhere else to focus my attention, I noticed that her clothes eerily mimicked her singing. Her hair was in a loose, messy top knot and her thin frame supported the loose, shapeless, colorless clothes you find in every sepia toned picture of mountain women from the period. Weird.

Eventually, intermission dawned. And as my eyes adjusted to the light I realized that if I had never heard of Josephine Foster, these people certainly had. The church was chock full of mousy-brown English Literature/Renaissance Art major types.

Almost on cue, the group next to me a group of girls began regurgitating one or another of the official opinions on one or another of the Oxford Classics. Their male friend piped in every now and again to offer a comment. I knew without asking that his name was Greg or Jon and that he will marry one of these women. The happy couple will wear lots of khaki and crocks and speak only in hushed monotone to their children.

The future of the others was here too: wan women in their forties who inevitably invoke the statement “I bet she has a lot of cats.” Thin women with their pelvises curled forward and their shoulders hunched well before their time, trying to dis-incarnate themselves. Kinda like Josephine’s music. That’s a metaphor.

If I had had any reservations about my sweeping stereotypes (I didn’t) my suspicions were founded when about ¼ of the crowd left after Josephine’s performance.

As soon as she sat down to play, I discovered that the best thing about Baby Dee is seeing her perform. A real musician, watching her is witnessing something so personal you feel you should look away: the eye-closing, head-nodding pleasure of conjuring the notes that resonate with those on your inside; the exposure of flesh, pale puckered and wobbly; squirming through chord progressions; ugly faces made in the throes of epileptic-esque ecstasy, climaxing and contorting there on the piano bench with guttural, staccato, goat like grunts. Like what Ian Curtis can’t Baby Dee can.

Friday, April 9, 2010

Doppel-Hirsch Dopplebock


Doppel-Hirsch
Doplebock
500 mL
Germany
7.2% ABV
Purchased March 28, 2010
$3.75
LCBO 595 Bay Street
A+

I’m having trouble putting the beer down to write the review. The first sip erupted in sweet, earthy goodness.

It even smells delicious. It pours amber with a big, tan foamy head that quickly dissipates. The nose is dark and fruity (raisin and plum) with a hint of toast and a little bit of alcohol (it is 7.2% after all).

It has the rich, textured flavor of a stout but it is light and creamy. The caramelized-malt flavor is prominent, and mixes well with the fruit and hint of toast before wrapping it up with a spicy finish.

The high alcohol content actually adds another dimension to the flavor and gives extra warmth to this already delicious beer. The mouth feel is a bit syrupy, but it is a dopplebock.

I can’t say enough good things about this beer. It is rich, multi-dimensional and nuanced. Everything a good beer should be. In a word, soothing. If you see it, pick it up. You won’t be disappointed.

Tusker Finest Quality Lager


Tusker Finest Quality Lager

Lager

500mL

Kenya

4.2% Alcohol

LCBO 595 Bay Street

I picked this up thinking “Ooh, I didn’t know Kenya made beer.” Turns out, I didn’t know that because Kenya doesn’t make good beer. This lager is watery, virtually flavorless and over-carbonated. And it smells just as cheap as it tastes. Not much better than Budweiser. One of the only times I’ve noticed I had some beer left and thought “damn it”.