This hasn’t happened in so long, it was almost confusing to see it in the calendar. But we had a concert date on Friday night, then another one on Saturday might.
The first was a Kitchener-Waterloo Symphony Pops concerts, Thorgy and the Thorchestra. Thorgy Thor is a classically trained musician who plays violin, viola, and cello (!). And she is also a drag queen who has been featured on RuPaul’s Drag Race.
Despite knowing the drag queen part (and not the musician part, actually) before going, this was more of a gay pride kind of event than I was expecting. It was conducted by Daniel Bartholomew-Poyser, who is gay, and in between Thorgy’s comic antics and demonstrations of musicianship, we got the history of gay rights in Canada (to the tune of Oh, Canada) and a documentary featurette about the Brunswick Four, three of whom were arrested for performing a parody song, “I Enjoy Being a Dyke”. This was followed by a performance of said parody.
Thorgy was very funny, and is quite a talented musician, but she wasn’t the only guest performer. Keiko Larocque from Wilfrid Laurier provided vocals on some numbers, and the Eastwood Collegiate Dance Team performed some choreography on others, from ballet to Vogue-ing. Along with a rainbow of humanity, we got a range of musical styles, from Brahms, Beethoven, and Tchaikovsky to Rogers & Hammerstein to Cyndi Lauper and Lady Gaga. It was a fun night!
Saturday we had to make the slightly longer drive to Stratford, Ontario to see the Art of Time Ensemble perform A Singer Must Die: A Tribute to Leonard Cohen. The Art of Time musicians are a sextet who play piano, saxophone, violin, cello, bass, and guitar. They seem to specialize in performing new and novel arrangements of popular songs. In this case, of course, it was all songs by Leonard Cohen.
The featured singers were Steven Page (formerly of Barenaked Ladies), Gregory Hoskins (of Gregory Hoskins and the Stickpeople), Tom Wilson (of commercials and Lee Harvey Osmond), Sarah Slean (of… Sarah Slean), and Tamara Lindeman (also known as Tamara Hope, apparently). Each singer brought their own style. Page could handle the serious and the light, as he does in all his work.
Sarah Slean flitted happily onto the stage, even though, as she then noted, some of the songs covered were a bit devastating. (“But that’s how the light gets in.”) She also apologized for a voice somewhat damaged by weeks of colds (not that I noticed), which even required one song substitution from the program (but I was happy to hear “Take This Waltz”).
Tamara Lindeman was a bit more earnest, and I believe she’s the one who handled “The Partisan”, the one song not written by Leonard Cohen, though famously covered by him. (Hadn’t actually realized til this that he didn’t write it…) Quite lovely.
Tom Wilson was pretty funny, and possessed the most Leonard Cohen-like voice of the bunch. He covered “Closing Time” and “Who by Fire”. Gregory Hoskins was very intense! His version of “Treaty” was particularly striking.
“Hallelujah” wasn’t on the program, but was performed as the encore, by Page and Hoskins.
I quite enjoyed the whole evening. Jean, as less of a Cohen fan, struggled with the first half but ended up enjoying the second.
(And both performances featured a pretty good amount of masking in the audience. In the case of the symphony, even the musicians were masked—except the singers and wind instrument players, of course.)
There are Big Things going on in the world that I am certainly reading about, am in some cases being affected by, and likely have some sort of opinion on. But here, as is often the case, I’d rather write about those times when I’m distracting myself from the news.
Like hey, you still gotta eat. Might as well enjoy it.
During the last round of restaurant closures in January, I took S&V Uptown up on their offer to deliver me a surprise pack of three wines with matching recipes. I ended up with an Ontario Riesling, an Italian Pinot Grigio, and a California Cabernet Sauvignon. That one came with what looked like the most interesting recipe: Bison burgers.
People are always thinking burgers with beers but you are not most people. You bougie. Sniff and swirl that Cab and pair this with Beyoncé on loud.
S&V Uptown recipe notes
I mean, after reading that, how could I not make the burgers? Me am bougie! I adapted the recipe slightly, the main difference being using only ground bison, no ground beef (not bougie enough!). I also simplified the already simple instructions (bougie and lazy). Resulting in:
1 pound ground bison
1/2 cup minced onion (I used frozen minced onion)
2 cloves garlic, minced
1 Tablespoon fresh parsley
1/2 Tablespoon coconut oil
1/2 Tablespoon onion powder
2 Tablespoons ketchup
1 Tablespoon Worcestershire sauce
Salt and pepper
Combine all ingredients in a large bowl. Divide into four patties. Heat a large skillet over medium-high heat with olive oil. Cook patties roughly four minutes per side.
Lordy, it was delicious. (Now I get why so many people order burgers.) And the Cab Sauv, not always my favourite wine, was just lovely!
Winter interferes with Winter House
Langdon Hall, meanwhile, coped with the closure by offering to feed people outdoors, in what admittedly looked like a pretty awesome setting:
A couple friends agreed to meet us there, weather depending. And honestly, the weather much of that planned day wasn’t great. Started off quite blowy and snowy. But we were planning to go only later in the day, anyway, and by then, it was sunny and calmer.
Jean and I decided to stop in and see the Ronnie Wood Art Exhibition first (yes, that would be The Rolling Stones bassist). When we got there, however, the museum was actually closed due to weather (even though, to be clear, the art is exhibited indoors), so we thought, huh. Better call Langdon Hall to make sure their Winter House is still in operation. Yep, they said, it’s open! No reservation required.
So we coordinated with our friends to meet there—it’s about a half hour drive. Only to be told on arrival that, oops, sorry. Closed after all, due to wind.
I mean. The closure was understandable. But they had decided to close it at 1:00 pm that day, and we called them around 4:30 pm. So…
We grumbled, but moved on. Upon discussion, this became a meal of takeout Indian at our friend’s house (courtesy: Vijay’s). And you know? By this point of the pandemic, it was actually much more exotic to be eating indoors at someone else’s house than be at a restaurant’s cool patio. The food was good, the beer was great; their house has many cool features; it was a fine evening.
And we got to the Ronnie Wood Art Exhibition the following weekend. He’s a talented guy!
Breathing easy at Loloan
Restaurants are back at full capacity now (if they want), and as of Tuesday, won’t have to ask for vaccination proof anymore (unless they want to). We decided to take the vax pass for one more spin at a day and time we thought wouldn’t be full capacity: Thursday at 5:30 pm. And we selected Loloan Lobby Bar both because we like their food, and because they’d made the point that they’ve worked to improve their ventilation.
Ventilation is key to indoor spaces being safer, especially those places where you can’t mask, but how to know what public places are well-ventilated? I decided to a buy a portable CO2 monitor to give me an idea. Outdoors is about 400 ppm, and levels above 1000 ppm are considered hazardous to health. You’re looking for indoor space to be under 800; under 600 for places like gyms, with a lot of exhaling going on.
I haven’t been to too many places since I got the monitor, but these are the results to date (rounded measurements, since the levels bounce around):
Also, the food at Loloan was delicious! (But we forgot the camera…)
I’m actually a bit appalled that my house doesn’t have better ventilation than my grocery store, but whatever the reason, it’s not because of a natural gas cooktop. Those, I’ve learned, are really bad for indoor air, as well as contributing fairly significantly to greenhouse gas emissions. So the use of induction cooktops is encouraged as an alternative.
I’ve recently acquired one of these. Mine replaces an electric cooktop, so shouldn’t make much difference to my indoor air quality, and only a minor improvement to my greenhouse gas emissions, as it uses less electricity. But I’ve grown quite fond of it, enjoying these benefits:
Speed of heating pots and pans: Water boils so fast. Pans are ready to fry foods so quickly.
Fine temperature control: This took some getting used to, but you can really quite finely set the controls for the level of simmering, boiling, or grilling you want to achieve.
Easier to clean. The element itself doesn’t get hot, so items don’t burn on it as much. Everything is flat, so no knobs to clean around.
Safer. The elements don’t heat unless a metal pot is on it. They will not burn cat paws. They won’t start a fire.
Downsides are that induction cooktops cost more, and they only work with magnetic pots—stainless steel, iron, and so on. Some of our previous stock of cookware worked, but we did have to replace a number of items. For me, though, the investment has been worth it.
Things are tentatively reopening in Ontario—parks (not for camping yet), stores (but not the ones in malls), some medical and veterinary procedures (excluding dentists and optometrists).
But Ontario simply hasn’t been testing enough. So we just don’t know what the real levels of community spread are. The only certain thing, at least in my part of Ontario, is that there is some.
So you really have to do your own risk assessment to determine what newly possible activities you want to take advantage of. The blog post The Risks – Know Them – Avoid Them has been really influential, with a lot of newspaper articles covering similar points. What’s the gist?
Successful infection = Exposure * Time.
The worst cases occur with a group of people close together indoors in a building with poor ventilation who are speaking loudly (or singing) and sharing food. So it’s safer to be outdoors, and when indoors, best to be able to keep some distance from others, and not stay too long.
This means that some activities that many of us have been worried about—because it’s the only ones we privileged types have been going out to do—aren’t actually that much of a risk. Walking (or riding or jogging) past people outside, even if it’s a bit less than six feet away—is not that risky because the interaction is so brief and the virus doesn’t transmit that well in open air.
Going to the grocery store? Also not that bad, because you’re not there that long, the number of people is restricted such that it’s not crowded, and you’re moving around fairly quickly past different people. Plus with the lone shopping, not so much talking going on. Wearing a mask is a nice gesture also, mostly to protect the store workers from you.
So it will be with other stores that can now open but with restricted occupancy. Plan what you want to buy there, get it efficiently while keeping space, then get out. Wash your hands, and wash them again after unpackaging whatever you bought. (And wash your mask if you wore one.)
Odds are you’re going to be all right.
Working 9 to 5
But what about working in our own offices for 8 to 9 hours a day?
I would note that I have not been asked to do this, so this is merely hypothetical musing.
Atul Gawande, in the New Yorker, notes that hospitals have done a pretty good job of preventing spread among healthcare workers there, and wonders if some of there approaches can be adapted to other workplaces: Amid the Coronavirus Crisis, a Regimen for Reentry. The four-point plan is basically:
Employee screening, with orders to stay home if you’re sick
Gawande notes the issue with relying on temperature checks only: Apart from the fact that some with the disease never do develop a high fever, for those that do, the onset is typically later than with other, milder symptoms. So you really want people with scratchy throats or body aches staying away, even if they’re fever-free. That would need to be made clear.
2. Frequent hand washing
Great, as long as there is copious hand sanitizer about. Otherwise, there would be serious sink lineups happening.
3. Keep distance between employees as much as possible
Definitely a challenge in my office, which (like many) has gone for cramming more cubicles into less space, and even some “banquet table” style seating (side by side and facing, with no separation at all). Many of us having standing desks that put us above divider height (as lower dividers were installed to encourage collaboration). Is it possible to rearrange everything to actually seat everyone six feet apart, with higher dividers? Dunno.
4. Wear masks
Yeah, it’s one thing to wear a mask for a brief shopping trip or transit ride, but quite another to wear one for most of an 8-hour work day. Yes, healthcare workers do, and thank you to them: I’ve seen the photos of how uncomfortable that is. But surgical masks, at least, are better masks than the ones we can get (per the Gawande article); less hot, more breathable.
Furthermore, what about my drinking habit? Seriously, at work, I drink all day long. First coffee…
Then water, then maybe a tea, a decaf, some more water… I think it somewhat defeats the purpose if you’re constantly taking the mask off and on (and so is everyone else). But working dehydrated and with a caffeine headache, with a sweaty face and foggy glasses, does not sound like a recipe for great productivity. (And what about lunch? My afternoon snack?)
So I think some thought needs to be given as to the purpose of actually returning to work at the office.
For me, though I’m slowly working on it, it’s still true that my office setup is more ergonomic than my home one; my desk there is just better For some people, home might not be a particular good workspace due to noise, pets, lighting, other family members, etc. For those purposes, it could make sense to allow a certain percentage to work at the office each day, as potentially the numbers could be kept low enough that spacing is fairly easy and masks less necessary.
Seeing people, and the ease of talking to them. Team building. Building culture. All being missed, but how easy to get back?
You can’t be cramming people into small meeting rooms to have discussions like we used to. We can’t have fitness classes with the previous numbers of attendees. The communal kitchen is a bit of a hazard. Coffee machines might be have to be disabled, so more chats there. Going over to talk to someone might be less welcomed. We can’t open windows. Outside meetings could be nice in July, less so in January. The elevator could become a scary space. Also, the bathroom.
Basically, it’s hard to build warm and fuzzy feelings toward your coworkers when they seem like disease vectors.
And what about leisure activities
The Saturday Globe and Mail featured a list of 46 changes they predicted for the post-pandemic world. (Most of these items are not available online, I’m finding—so no links for you.) I didn’t find it too depressing til I got to the Arts section. (Whereas, the point that flying might not be that fun—or cheap? Not exactly new, right? And at least we might finally get more space.)
But it wasn’t the one about rock concerts likely moving toward smaller venues with sky-high ticket prices. For one thing, there aren’t that many bands still on my “must-see” list. For another, if I did feel I could indulge in such an experience, it could be kind of cool. The article also postulated a cheaper streaming option might be available—which doesn’t sound bad.
And the one claiming that movie theatres would only play blockbusters seemed doubtful. Wouldn’t your little art movies, attracting only the smaller crowds you want, be more feasible?
No, it was the one about theatres moving more to one-act plays, because:
a) They’re cheaper, so the crowd can be smaller
b) Makes it way easier for the actors to keep distance than in a big musical
But not because of plays themselves, which I don’t go to that often anyway.
It’s that it made me think about symphonies.
By their nature, that’s a whole lot of musicians crowded together, some of them playing wind instruments. (Which sometimes need to be cleared of spittle mid-concert, as I recall.) Let alone when it’s a special show with singers or dancers or trapeze artists, or what have you.
And how close the audience seats are? And the crowded lobbies before? And the bathroom lineups? How do you get this to work?
Is it viable for a symphony to play with the musicians spaced apart on the stage, to a 25% capacity house, if that’s what’s needed?
Ballet Jazz de Montréal brought their Leonard Cohen – Dance Me program to Centre in the Square recently. It assembles the work of three choreographers into a single program that pays tribute to Leonard Cohen’s body of work.
Much of it was, of course, very sexy. Less expected was the funny—“Tower of Song” is a pretty wry piece, when you think about it. And the dance interpretation definitely did have you thinking about those poetic lyrics in a new way. Though just when you were getting into that groove, they’d shake it up. Interspersing Leonard’s image, his voice (in interviews), his words (projected on a screen). For “So Long, Mariane”, the dancing stopped in favor of a woman just singing the song. The inevitable “Hallelujah” was treated similarly, albeit with two singers.
The whole thing was terrific. Despite not being particularly a Leonard Cohen fan, Jean quite enjoyed it as well. It was very well attended (not quite sold out, but “limited availability”) and was much lauded at the end.
Most of the music came from the later part of Leonard Cohen’s career, with a number of live selections. This pleased me, as to this day, I have trouble listening to his earlier, folky oeuvre.
I first got into Leonard Cohen music via Jennifer Warnes’ Famous Blue Raincoat album, which I adored (and still rather like). I thought of that when they danced to “Famous Blue Raincoat”, obviously using Leonard’s version, not Jennifer’s. Warnes subtly changed the lyrics of that song, such that I could never make heads or tails of what was going on in it. When I finally listened to the original, it was like, oh, now see I. Not “You treated some woman to a flake of your life”, but “You treated my woman to a flake of your life.” Completely changes the meaning and feeling of the next line, “And when she got home, she was nobody’s wife.”
I recently heard Joan Baez’ version. She just sings the original lyrics, right down the the “Sincerely, L. Cohen” at the end. His songs are so “covered”; I guess everyone, especially women, have to decide how to make them work. K.d. lang’s “Hallelujah” skips the verse with the line “I remember when I moved in you”; other women (like Emilie Claire Barlow) keep it in. At Ballet Jazz (where it was mostly sung by a man; a woman provided harmonies) they did a shortened version overall. I would guess might have skipped the song entirely—it not being that danceable—except that you can’t, really…?
Amazing how iconic it’s become, given a what a flop it originally was (and Cohen’s original version… still isn’t my favourite thing to listen to). Malcolm Gladwell has a really interesting podcast episode on the song’s long road to success (even if it doesn’t have enough k.d. lang in it).
“Dance Me to the End of Love” and “Take This Waltz” were more obvious choreographic choices, and were featured early in the program. Warming up the room nicely. Brought to mind the film Take This Waltz, which features one of the sexiest scenes I’ve ever seen… though that’s probably a woman thing, because the two participants are fully clothed and don’t touch each other. They’re contemplating what to do with their lust for one another, given that she’s married (and not to him). “I want to know what you’d do to me,” she says.
And then he tells her. Wow.
Leonard Cohen himself played Centre in the Square once. This was after he’d decided to go on tour, to make some money, having found out that his manager had embezzled all his earnings. Not being sure how the tour would be received, Cohen played some smaller venues, like this one.
I had the opportunity to buy tickets early, but I was like, well, do I even really like Leonard Cohen himself, versus some woman singing his songs? So I passed. Which, of course, turned out to be really stupid. The tour was amazing because (as the podcast gets into) Leonard Cohen is something of a late bloomer, and his mature voice and (especially) his terrific full backup band—not to mention all those great songs—made them so. I love his live albums.
Other residents of KW were smarter than I, and the show sold out quickly, so there was no getting late tickets, either. After that initial, very successful tour, it was all stadiums in big cities. So I never saw him live, except on video.
Been having a number of fairly unscheduled weekends of late, which generally suits me, but last weekend I did get out of house a number of times. And survived!
Willibald is a distillery and restaurant located in the nearby small town of Ayr. We’d been hearing about it for a while—including one claim that it was as good as our beloved Verses—and finally had dinner there with friends last Friday.
It’s in a pretty cool space, with some communal tables that they divide up with table decorations, so you don’t quite feel as though you’re dining with strangers. We got a bit of a history of the place from our waitress. It started as a whisky distillery, and they more recently added gin. The restaurant has been open about two years.
None of their whisky was available (it’s aging(, but I decided to try one of their gin cocktails. Made with pink gin, ipa, ginger, balsamic, lemon, and mint, it was very good—but I think the gin was fairly disguised.
Wine is a relatively recent addition to their menu. As a distillery, they previously thought they wouldn’t offer wine (save one house red and white), but when they decided to have an Italian-themed winter menu, adding wines seemed apropos. We got a bottle of Champs Pentus, which is a GSM, but from the Languedoc region rather than the Rhone—making it a cheaper option.
Normally their food menu has a focus on local and fresh, but since the pickings are slim on that front this time of year, the menu was built around pastas and pizzas. We had the sourdough foccacia, rigatoni with pork ragu, and cavatelli with butternut squash, pancetta, sage, and walnut. So a real carb-a-palooza! But everything was very good. And the wine suited nicely.
For dessert (why stop with the carbs now?), I was intrigued by the olive oil gelato and the limoncello sorbet, so we tried both. Both nice, with the olive oil gelato the winner overall.
At the end of the meal, the waitress said that we were the “fancy” table and that they were trying to impress us, because they want more customers of our ilk. What made us “fancy” was ordering that whole bottle of wine, and one of us getting a cheese plate for dessert. Funny!
But she can rest assured that we do plan to try it again. It might not have been Verses-good, but it was still quite good (and not Verses-expensive). It would be cool to see what they put together with the seasonal produce, when they have it. I hope they retain some wines…
Choir! Choir! Choir!
Choir! Choir! Choir! are a Toronto-based duo who gather amateur singing enthusiasts together and teach them to sing a popular song in choral harmony. They are crazy popular over here in Ontario.
This was my second time joining in on their performances. I probably didn’t report on it the first time, but we did Fleetwood Mac’s “Dreams”. And I enjoyed it enough to be willing to go again.
This time the song was Abba’s “Mamma Mia”. Both times were at Centre in the Square, but this time, instead of having us all up on an extended stage, the two guys were on the smaller stage, and we filled the auditorium. And I do mean filled—it was completely sold out.
The evening lasted around two hours, and we did not spend the whole time working on the one song. To warm up, we did some quickie run-throughs of other Abba songs—”Fernando”, “Take a Chance on Me”, and “SOS”, and to close out, we got “The Winner Takes It All” and “Dancing Queen”. (No “Waterloo”, despite the repeated requests—including very loudly by one woman right behind one person in our party of six.)
Really focusing on Abba lyrics, you see dark and desperate they really are: When you’re gone, how can I even try to go on? / I’ve been angry and sad bout the things that you do. / If you’ve got no place to go, if you’re feeling down. Last time we finagled ourselves into position to sing the main melody line; this time we couldn’t move around, so had to tackle the high harmonies—for most of the song. At one point that switched. But, it was an interesting challenge, though one that gave me a sore throat by the end of the evening.
And, it certainly wasn’t all Abba. Other warm-up songs were Queen’s “Crazy Little Thing Called Love” (yay!) and Madonna’s “Vogue”. And throughout the evening, there were random break-out singalongs, including “Backstreet’s Back”, “Ring of Fire”, “One Week”, excerpts from Sound of Music, and a suggestion that maybe a Grease night would be fun—only to lead into the lamest song of that soundtrack, “Sandy”. Along with a bit of mocking of Gordon Lightfoot (so don’t expect a Choir! Choir! Choir! version of “The Wreck of the Edmund Fitzgerald” anytime soon).
I found it all quite fun. I’d maybe even do it again.
Snowshoeing (despite limited snow)
Jean was determined to go snowshoeing on Sunday, despite us getting less than the forecast amount of snow. He found five of us willing to go along, though we were all a bit dubious.
We went to the Elora Gorge. Normally when we snowshoe here, we can do so on the frozen-over water. This year, that was not an option!
Instead we had to walk along the cliff edge, on a mix of ice, snow, and dirt… Which presented some challenges.
Still, it was pretty… And did give a sense of accomplishing… something.
I haven’t blogged in ages because I keep thinking that I should write something personal and insightful. But when I start trying to do that, I just get bogged down. I don’t want to seem preachy, I don’t know how much I want to reveal–I just don’t enjoy it.
So chuck it. Let’s talk about Greta Gerwig’s Little Women.
I work at a tech company, and before the Christmas break, the chatter was all about Star Wars. Who would see it when, how many times, in what format, and at which theatre. So much excitement.
… Which I couldn’t share, ’cause I didn’t care. I did see the first two in this new Skywalker set. I thought the first one was too much of a rehash of the original Star Wars. I found the second better, more interesting. But this one, somehow, really seemed primarily aimed at the super-fans (who are legion). I’m sure it’s an entertaining enough movie. But I’m in no hurry to see it.
When I first saw the trailer for the new Little Women, I wasn’t sure it was necessary, given that the 1994 version was so good. I was intrigued, though, by the near suggestion that maybe Jo… Doesn’t get married?
And then all the amazing reviews started coming out, so I started really anticipating its release. I had visions of seeing it at the VIP theatre–lounging in my comfy chair, being served appetizers and wine–but then realized that while it was playing at that theatre, it wasn’t in the VIP room. (Not with stupid Star Wars hogging a bunch of those screens.) So instead we trundled off to see it at on a regular screen at a regular theatre, with regular seats and not even any popcorn, because the lineup to get that was too long. (Stupid Star Wars.)
Jean’s been watching a bunch of women-centred shows with me lately: TV series Fleabag (which he loved), the movie Girls Trip (which he did not; must agree it was pretty stupid), and the movie Booksmart (I liked this one more as it progressed; he remained unmoved by the main characters).
With Little Women, he loved the cinematography and found the characters interesting, if not always likable. He’s never read the book and doesn’t remember the 1994 Little Women (which we saw together), so the story was all new to him. He declared he wished there was more plot. (Does Fleabag really have any more plot, though?) And he kept mixing up the actors playing Beth and Amy (declaring they looked too much alike), which made for a certain amount of story confusion, as you might imagine.
Me, I read the book multiple times in my youth, so it was all about seeing how the famous scenes were interpreted this time. And the unique approach here is that much of the story is told in flash-back form, as the movie begins with Jo in New York, meeting Professor Bhaer. As events occur in that time line, she thinks back on moments from her youth.
It’s kind of an exhilarating way of presenting it, as those of us who are familiar with the story are also, basically, looking back on those scenes with nostalgia. Giving away Christmas dinner to the Hummels. Getting in trouble over pickled limes. Oh right, the ice skating accident. Beth and her piano. The burnt dress. The burnt dress. The burnt stories! (So much burning!)
The movie just skitters along at a contemporary pace, moving across scenes before we can get bored with them, but without seeming rushed.
The actors are all terrific. Among the famous are Saiorse Ronan as Jo, Emma Watson as Meg, Timothy Chalumet as Laurie, Laura Dern as Marmee, and Meryl Streep as Aunt March. Not previously known to me were Florence Pugh as Amy and Eliza Scanlen as Beth, which I assume contributed to Jean’s confusing the two of them. They stood up among this cast, with Pugh doing an especially great job with Amu. And I would note that both actors had startlingly rich, deep voices, which was really striking (to me; Jean claimed to not have noticed).
But does Jo marry? (Spoiler alert, I guess?) That’s the thing: it’s not clear. By that point in the story, Jo is working on a novel called Little Women, based on her life. She is discussing the fate of the fictional Jo with her editor, he of the opinion that women characters must end up either married or dead. There is a scene of Jo and Professor Bhaer kissing in the rain. But did that really happen or is it just written into the novel…?
This Vox article–The power of Greta Gerwig’s Little Women is that it doesn’t pretend its marriages are romantic–gives a great take on Little Women‘s “marriage problem”: that it’s hopelessly unsatisfying that Jo ends up with Professor Bhaer (especially the way he’s described in the novel) while Amy gets Laurie. Apart from making Jo’s marital status ambiguous, Gerwin makes the Laurie / Amy partnership much more palatable partly by, as the article says, spelling the economic reality for women at that time.
Sorry, Star Wars fan, for dumping on your movie, which I haven’t even seen. Just a joke. I do hope you enjoyed it. Because I do understand loving something in your childhood / teenagehood and wanting to see it re-created on-screen. Only for me, that something is a novel about four young women in the time period of the American Civil War.
Per tweet, people stand through the whole thing, from opening chord to closing greeting. Glad I wore comfy shoes.
There are far more people in the world than you’d think who know the words to every Carly Rae Jepsen song. The whole thing was a grand singalong. I myself found that I knew the lyrics better than I realized. [I mean, I do have a few of her albums. I didn’t just randomly show up at this performance.]
She does not end the show with “Call Me Maybe”. She just throws it in there as song five.
Nor does she end with “I Really Like You” (song 13). The honour goes to: “Cut to the Feeling”.
Per Jean, this was the greatest crowd to watch. He especially enjoyed as they evolved from the tentative, awkward standing to totally in-the-groove dancing along. The overwhelming feeling was warmth. The Carly Rae Jepsen fan base might be small, but it’s passionate.
We were among the oldest people there. Although… Guess that wasn’t really a surprise.
So this was a September 18 concert at Centre in the Square, and it was a hoot. The opening act was Ralph, whom I hadn’t heard of before, but she was also rather fun. Cameras were allowed, but we didn’t bring one, so I’ll feature a photo from Centre in the Square:
It was hard not to compare The Who show at the Scotiabank Arena in Toronto with the Queen + Adam Lambert one, since that was only a few weeks ago. I wasn’t a Very Important Person at The Who show, which made it cheaper. So I didn’t get any merchandise. I considered a T-shirt, but they didn’t seem to carry any women’s styles. (I need a waist in my clothes, damn it!) I was in the 35th row on the floor, not the 13th, and there was no catwalk. The Who were playing each show with a symphony orchestra, and likely in part due to the expense of that, the staging and lights were really pretty simple for a big arena rock show. Not in the Queen style at all.
On their last tour, celebrating 50 years of the band, The Who presented a crowd-pleasing set list of greatest hits. In this one, they really challenged themselves. And the audience. That, too, was unlike Queen.
As I kept telling people, Cheap Trick was not a band I’d go out of my way to see in concert.
But Kitchener’s Centre in the Square is only a 15-minute drive away. So when I heard that Cheap Trick was playing there, on a night I didn’t have anything else booked, I figured, why not?
I was somewhat into Cheap Trick back in the day. I owned the At Budokan and Dream Police albums. I knew all the words to “The Flame”. I thought that Robin Zander and Tom Petersson were babes and hung their pictures on my wall.
But it wasn’t a band I’d particularly kept up with lo these many years. Still, when it’s easy, and I could score 4th row centre seats at a reasonable price, why not go?
Initially Jean thought that he couldn’t join me, but his work schedule changed such that he could. I was pleased to have company, and he ended up pleased to be at the show.
My goodness, they were entertaining! 30 seconds in, and Robin Zander made it clear that he had lost none of his vocal power.
Back in December, I wrote about going through one of life great stressors: buy tickets to a hot concert on TicketMaster. (And yes, I am mocking myself by calling that a great life stressor.) I said in that post that my experience of rather easily acquiring floor seats for Who concert was likely at once-in-lifetime thing.
Well, not so. Because apparently the key to having a less stressful ticket-buying experience is to get tickets to see The Who (vs Queen + Adam Lambert who, thanks to Bohemian Rhapsody, are one of the hottest touring acts this year).
I wasn’t even going to make an effort to get pre-sale tickets for The Who concert, but then I stumbled upon a code. I tried it, it worked, and there were only two (2) people in the “Waiting room” ahead of me (vs. 2000 for Queen + Adam Lambert). I found seats that were OK, not wonderful, but acceptable, so got those.
But then came the general sale and I thought, well, what the heck, let’s see what’s available. In the Waiting room, there were two (2) people ahead of me. Then when I got in, I was able to calmly peruse and see that there were far better seats available than I had already purchased. At not much more than I paid for those.
Then I did get slightly stressed, but soon figured, what the heck. Surely I can sell the first two?
And I ended up with floor seats again.
I fairly promptly put the first two seats on sale, not trying to make a profit, but just priced to get my money back. Ticketmaster adds their own charge, though, so they would have been more expensive than the originals.
Then I waited. The show was on June 1.
May 1 rolled around, and no interest. I decided to drop the price. Ticketmaster limits how much you can drop it by, but I went for that. But still no nibbles.
And then I got this message:
And you know what that meant? That meant I could get a full refund on the two tickets I didn’t need.
(Reason for the reschedule? Possible Raptors playoff game. Go Raptors! I guess.)
And this rather makes up for having to wait longer, and having the show be on a Tuesday instead of a Saturday, which is less convenient. But I also heard that the shows–The Who playing with a full symphony–are good, but do need some kinks worked out. They should be in fine form by September.