penne with broccoli and ice cream

Whether you have small children at home, a livingroom full of musicians, or an office meeting to cater, warm their bellies with this tasty pasta on a snowy afternoon.

Penne with spinach and broccoli in a white wine broth, serves 4-6

Bring a large pot of salted (1tsp) water to a boil, add one box (450g) of rice and corn, Gluten Free pasta (or use wheat noodles if you're insensitive), cook on medium high heat for 9 mins or until noodles are just underdone. Strain, cool under cold water, toss in oil and salt your noodles.

In a large pan (I simply adore my ceramic pan. Metal core, and the ceramic layer just takes any punishment I can inflict.) Sautee one shallot, two cloves garlic, some broccoli, and salt and pepper. Basil and oregano would have been nice, but I left them at the café.

Once the onions become translucent, give your sauce a healthy shot of white wine, as well as vegetable broth. Toss in a few fistfulls of washed spinach leaves, and let things simmer awhile.

When the broth is rich and the veggies are softened to your liking, add the cooked pasta and warm it back up. Serve in small bowls, garnish with fresh ground pepper, grated hard cheeses like Grano or Romano.

The Gore Street Crew enjoyed this tasty supper with a dessert of vanilla ice cream, topped with rhubarb compote, spicy toasted squash seeds, powdered ginger and maple syrup. But not before setting up for the 48 hour Film Challenge screening! Thanks to everyone who took part and made this such a great weekend!!

Days of Pisces, part three

And so week one of the Fishbowl Festival reaches its climax. After things wrap up from tonight's Wilding Tramp art show and jewellery raffle at the café, it will be time for some frantic filmmaking, and then perhaps a moment of calm contemplation. Two rock shows, three workshops, one art reception and eighteen omelettes later, it's an opportunity to take stock, fold laundry, and consider what I've gotten myself into for these next few weeks.

Nicole and I did get to take a little break this Thursday for our birthdays. We had a lovely dinner at Willow (perhaps the best meal out we've had since moving here). Grandparents and parents flooded our voicemail. My mom gave us new crock- and tea- pots, Patrick gave me a Grand Funk Railroad record. Getting older is alright, and the Pisces life is nice <3.

The Fishbowl thus far has initiated several firsts for the Gore Street Café. First full-on rock show, first burlesque performance, first music video session, first crochet class. The ditch even came up with a café uniform for last night's jam: toques and red flannel.

We are midway through the 48 hour film challenge, and a half dozen local filmmakers are likely at this very moment sleeplessly editing their nascent shorts, on the Fishy theme of 'Making a Splash'. Gloria Burns has conceived and is organising this challenge: She held court in our booth this Saturday morning, encouraging every last trumpeter and student of social justice who came to brunch to take part and tell their tales. I've got a hunch about this event. I've got twelve hours to go, two minutes' footage of a multicolored pulsating light, and a spray-painted orange bust of Ludwig Von Beethoven.

Upcoming events this week include: the screening of films submitted for the short film challenge (Sunday 6pm at the cafe), closung reception for the Shadows of the Mind art show up at 180  Projects (Sunday 6-8), the Pisces craft club (Monday 3-6 pm at Shabby Motley), learning to ferment with the Cultured Club (Monday 6 pm at the café), Tuesday's open mic hosted by Peggy Lauzon and Teddy Syrette, and Kelly Burton's intro to Gluten Free cooking (630pm at café Natura).

Next weekend is gonna be the most thrilling yet, with festival headliner Rae Spoon performing in our laundromat next Saturday. Stay tuned to the Tinderbox for an interview with Spoon, and the skinny on all the action, adventure, and aquatics the Fishbowl has in store for you, the Soo, and most especially Gore Street, my cozy little hood and hands down coolest block in town. Come and kick it Pisces style! Festival passes 25$ (xxoo shout out to Nathan Isberg, this pwyw thing is flipping lids man....)

Days of Pisces, part two

Sunday afternoon, I was a shell of a man; more pancake-flipping robot than affable community cook. My ears still rang from the Pixo/ Nirvana gig. My eyes strained in the unseasonable sunshine. We had turned the café into a blanket-fort for Sunday's brunch, which involved blocking out the windows to keep it dark enough for projecting cartoons on the wall, creating the ideal cozy, womb-like ambiance for pancake consumption, and the nostalgic rediscovery of once-loved heroes and their adventures.

Monday's festival events went swimmingly, no pun intended. Jeff Hinich's talk on Thoreau incorporated statements from international artists drawn to and inspired by Thoreau, and sparked passionate conversation amongst attendees. After serving up a couple more plates of squash fritters, it was time to prepare the café for the Lil Eagle blues band (Leon Kyle on vox, guitar, Adrienne and Joe Surace playing cahone and bass, repectively, Jeff Hinich on harmonica, and Mojo on guest lead guitar) who delivered two hours of enthusiastic boogie-woogie, pausing only briefly to refuel on coffee and tea.

Peggy Lauzon and Georgina Naccarato were both in attendance, stirring up the dance floor as they like to do when the blues start jumping at open mic. New friends came to check out the jam, like Steve from the Rocking Vinyl Record shop up on Wellington, and Johnnie from the Sault Blues Review was in snapping some pics. It was a lovely day at the Festival.

 Coming up in the next few days: Drumming and Unlearning workshop that Candace Day Neveau is offering tomorrow at the cafe 6pm,   Telephone and Address/ the Therapy/ Mescaline Ditch playing a laundromat show on Friday at 8, and don't forget that you can still buy passes for 25$ which get you admission or reduced admission to over 3 dozen events happening between now and March 20. Keep it Fishy!

Days of pisces, part one

Day two of the festival has wound to a delicious conclusion. Time to soak some black beans for tomorrow's menu and get some rest, because this month-long celebration has just begun!

There was a jittery excitement on Gore Street all day Saturday. I was nervous not because my band had only rehearsed for  half an hour the day before our show, but because i was going to sing Neil Young's "downtown" for Mayor Christian Provenzano, who attended the festival's opening ceremony. He was cool and really nice BTW.

The café was filled with friends, press, and supporters, quite a lovely and auspicious start to a month of cultural celebrations. And Saturday night's show was a suitably special one, an evening dedicated to the late Kurt Cobain on his 49th birthday, as well as the first Sunshine Laundromat appearance by The Pixo Control, Tidal Records artists and by far the Sault's most exciting young rock act.

Sweat and cool kids...
A laundromat half filled with band gear, half filled with people, resounding with the sound of our joyful screams!

Opening acts Brash Gash, Insoosticide, Bass Monster 7L, and Lauren McClure wowed, wooed, and rocked the laundromat audience with a blend of original songs, Nirvana tunes, and other hip throwback grungey vibes. One of the best concerts we've ever held in the laundromat, and a sign of the weeks to come: all ages food, arts, and musical fun:-) Let the Fishbowl begin!

the unstoppable Christopher Shoust

2015 has been a busy and productive year for Sault Ste Marie artist Christopher Shoust.

Continuing to develop and present his work in visual arts, literature, music and film;

Shoust is labouring to forge his identity and establish a presence

in the world of art around him.

I've taken in many presentations of Shoust's work in the past year:

At his café show this spring, he draped a wall in blue and red pulses

of repeat-printed Rock Hudson and Noah Becker.

At the north end of Gore Street,

in the old downtown of Sault Ste Marie,

in a building which formerly housed MJs Second Time Around

there is an art space called 180 Projects,

run by Andrea Pinheiro and Devin Alexander.

They exhibit work by both student and mature artists,

host various musical events, as well as the Sault Media Arts Collective

or SMAC

I first met Shoust at 180 projects

through our common involvement in

the January 2015 SMAC film fest and art show.

His irrepressible energy and active mind

were evident as he presented short films created 

from found 8mm film footage,

as he delivered a talk wearing 

a tromp-l'oeuil scarf.

While at first glance and in some cases

one might find recognise methods and subject matter

which place Shoust's work quite close to Basquiat’s, 

(primarily in the layered presentation of images, abstract forms and text)

 there are deeper crises here.

In addition to navigating the borderlands of art, 

commerce, and concept, the work provides a commentary 

on North American counterculture in the late 20th century

as well as mental health issues, presenting a voice of the disaffected.

Shoust's artistic practise includes a musical project called Telephone and Address

He has released several albums through this project

and seems just as focused and prolific in his musical output as visual

Shoust’s music is thoroughly punk.

his lyrics are shouted, mewled, and screeched;

floating above guitar noise and sloppy hypnotic drum patterns.

Much like the subject matter of Shousts's visual work,

the sound of his music is exuberant and discomfited.

He describes it as 'joyful chaos".

At a Pixo Control show at Lop Lop's,

local musician and promoter Jamie Vincent

is gushing over Shoust:

"Chris is the most original artist in the Sault right now.”

He's talking about Rust Orchid:

Telephone and Address' latest release,

Whose Aphex-era sound coaxes simple,
hummable triadic melodies 

out of overlaid guitars, beats and looped harmonics.

Perhaps Shoust is a beacon of post-punk in this northern land

of classic/blues-rock, karaoke, and thrash metal musik.

But is this city a fertile place for such culture to flourish and grow?

Sept 13, 2015 marked the final day of Shoust’s most recent exhibition

at 180 Projects: THE REVOLUTION IS NOW

Curated by Miranda Bouchard, the show consisted mostly of

large-scale hangings of Shoust’s silkscreen work on rag paper:

colourful multiples in bold floor to ceiling arrangements.

The bright colors, especially evident in Shoust's first summer hanging at 180

Harken to Matisse's fauvist glow, by way of Rothko's more tropical moments

'Treatment', a series which Bouchard presented four high and five across,

fields a skeletal variation on Shoust's approach;

shadowy fragments displaced across space:

each marked with its own loaded artifacts,

sparse bits of Twomblyesque griffure.

Fragmented texts reference illness and treatment.

In the front room of the exhibit hang quite another palette of potential spectrums. 

A set of 16 from the Frustration Paintings series (400$ apiece) ca. 2010

whose appearance at 180 marks their first showing 

outside of the Art Gallery of Sudbury rentals department,

in which capacity they have also at times furnished the OAC Sudbury offices.

These pieces were created in the Bushplane Musuem studios,

then known as the Medicine Factory

Shortly before a break-in after which, Shoust says

"We all had to leave cuz it was unsafe there.

The incident destroyed the momentum.

Artists, recording and jamming musicians, video editing.

Everything was happening.”

Other artists active in the Medicine Factory include

Night Owl Meme Makers

Michael Bennardo

Rikhee Strapp

Brad Griffith and Cody Rydell:
of the ARG or Action Riot Guild
Mister Tahti

and Shelly Fletcher 

The skateboard videos that Shoust films and appears in

follow similar conceptual models as his series paintings.

Skaters attempt tricks;

repeatedly attempt tricks,

and continue to attempt them until

their goal is acheived.

The ritual loop destabilises one’s experience,

successful tricks ultimately signalling the end of the skater’s screen time.

Thus, fruition and disappearance are conflated.

The layouts in which Shoust’s silkscreened multiples are presented

also interpret Warhol's techniques,

the medical context of the Ghost Nurse series

further highlights the Medicine Factory's

healing usage of assembly line procedures.

Shoust has acheived the technique and productivity of the commercial artist,

perhaps unawares and probably unintended:

he wants something more. Shoust wants to be heard

and to have the cogency of his efforts acknowledged.

Anxiety vents itself as he works to heal himself through art.

The Frustration series was completed shortly after Shoust graduated

from the Algoma department of Fine Arts.

Presented at 180 this fall were 16 of a series of 40,

reiterations of what Shoust calls

"An emergence of conceptual symbols.”

Asked about his time at Algoma University, Shoust says:

"I was very angry. I graduated top of my class...

(But) the last year and a half was frustrating. 

Things were too slow for the speed at which I was working and thinking.

There wasn't room to further develop. The thesis was too easy.
I had so much work, I just let them pick out whatever they thought was strong."

“It started, I think, with four.

40 was how many could fit into the room."

Suggesting that the size of the project was limited in this case

only by the constraints of studio space,

Shoust hints at his process when he adds

"I stopped when my urgency was starting to peter."

It is a cloudless afternoon and warm sunlight is streaming in

through floor to ceiling windows at 180 Projects.

Shoust is presenting a film talk on behalf of SMAC:

The Anthropology of Documentary,

and discussing with me the

objective perception of reality

by the video camera.

Film theory as philosophy,

The talk outlines his stance against data fetishism and fascism

A strain of danger and of abandon runs through Shousts persona:

the artist friend who offers spent shells and practise targets as gifts, 

who walks away from a totaled motorcycle merely scratched and bruised.

Shoust has paid some dues and gained experience promoting punk shows in years past.

I think of him as a survivor of these skirmishes at the edge of the acceptable.

His work speaks to me of the obsessions of automation,

the shell shocked spell of the xerox machine 

spitting out secondhand sights in black and white.

Of two countries driven by machismo and devalued peoples.

Of twin cities separated by Mary's waters 

as they rush betwixt two worlds.

britta wolfert

Sam Decter>What musical influences do you feel have been strongest upon your own song writing?

Britta Wolfert> Early heroes were, of course, Joni Mitchell, Joan Baez, 

Carole King, Cat Stevens, Gordon Lightfoot, James Taylor, & kin ~ 

and later of course various jazz artists, 

although I started working on my own jazz tunes only fairly recently.

 Daily observations, conversation, people and landscapes morph into word and tune, 

I am a 'radio rat', soaking up music and talk as we live fairly remote.

SD> When and why did you begin performing and creating music?

BW> Singing came before talking, apparently.. Written stories,

colourfully illustrated 'books' made of stapled or glued together pieces of paper, 

also funny little poems and songs were created soon as I was able to write. 

Writing, singing, drawing has always made me happy.

In my early teens I bought a cheap guitar and learned to play folk songs heard on the radio, 

sang around camp fires when feeling brave. Always been rather shy. 

Later I worked on and played more songs, 

hung out and listened a lot in folk and jazz clubs around Hamburg. 

Once enough tunes accumulated, I made myself play solo in folk clubs, 

sometimes duo or with a band of friends. 

Passion to perform music has always been present,

 but sadly also the ever present apprehension.

SD> What are your favourite things about the Algoma music scene? 

How do the scenes in Searchmont and Sault Ste Marie interact?

BW> When musicians include and support one another in a comfortable setting,  

everyone can relax and it brings out new ideas and inspiration, 

creates musical community and benefits everyone. 

It sets an atmosphere and makes people want to come back ~ or not. 

Musicians residing in rural north and east of the Sault, often call jams. 

It’s fun to hang out, playing music til dawn sometimes. 

Distances can be a bit of a challenge for out-of-town musicians.

Late night drives home are not a pleasant prospect, especially in winter.

Searchmont Music Festival was an enthusiastic 4 year effort with great people on board, 

aiming to bring both city and country folk out 

to discover Searchmont’s breathtaking natural setting 

and to bring music, art, community and positivity into the landscape. 

It was an incredible love fest with astonishing music while it lasted

...seemingly a best ­kept­ secret. 

Sadly funding and also Searchmont and SSM interest lacked.

SD> . How and when did your groups the Wabos Warblers 

and the Moon Dazz band come together?

BW> A few years ago, Jeff Hinich and myself 

got together with Mister Tahti 

and we combined original and traditional folk tunes, 

much experimental fun.

All of us have close connections to historic Finnish farming community Wabos, 

thus we created the Wabos Warblers on vocals, accordion, banjo & guitar. 

MoonDazz is the long standing band dream, 

with the vision to perform original and jazz related tunes. 

MoonDazz shows have been rare thus far, 

 but it's always enjoyable, challenging and an honour 

working with supportive local musicians.

 Recent songs written with Toronto composer/pianist Doug Wilde 

are definitely leading in a jazz direction. 

A future album must be jazz, or perhaps parallel recording with another Moonstone like album, as I am always working on new song ideas.

 All MoonDazz material.

SD>

Where can we hear your music online?

BW> brittawolfert.com

 

Here you can hear the tracks, also buy the album 

or individual tracks right from the site if you so choose. 

Last spring I decided to create the present website, 

because frustration about having to rely on others

to make changes on the website finally came to a boil. 

So I decided to sign on with a website building company. 

A huge leap for me, it’s been a great growing experience... 

I prefer keeping technical aspects simple.

 There is a video clip for the title song ‘Moonstone’ on You Tube: 

 https://www.youtube.com/watch?v=n9ikg4NPR4I

 A simple setting, perfect for a first video idea. 

Video contemplations for ‘Mabel’ and ‘Every Little Moment’ are progressing, 

I am looking to collaborate on ideas.

SD> Tell me about your life in Europe and in Canada.

BW: Europe. Sure, my growing up in the old country has definitely shaped me. 

Nobody runs away from their childhood and upbringing. 

Sooner or later old issues come back full circle to haunt you. 

My Parents were children and young adults during WWll, 

Grandparents endured (both world wars). 

They did their best to give us a decent upbringing in post war Germany, 

but they suffered greatly from the scale of their own upbringing. 

I thank them for their great efforts. When looking back though, 

there was lots of structure, restrictions, sadness, quiet and guilt.... 

Only now am I beginning to understand some whys and hows, 

reflected by conversations with hometown friends 

who are going through similar epiphanies.

The fear has to go.

Canada. 

Coming to Canada age 19 was the best thing that ever happened to me.

I spent a year living with a family of fibreglass canoe builders, 

pioneers in the canoe guiding industry. Structure here too, 

but also whiffs of freedom mixed with discipline,

 endurance and responsibility while partaking in several 18 day canoe trips 

on Lake Huron's North Channel that summer. 

That's where I met Jeff.

Both of us creative spirits, 

we settled in Wabos together, a few years later.

Jeff and I built a house there and started 

'from scratch' 

a traditional wood production business, B&B and later a Lodge. 

The children were born and raised into these enterprises and the back country setting, 

shaping our family life by exposure to hard work, close to nature and far from the city. 

Simplicity, music, good friends, customers, tourists and yes... tough times.

Sometimes I can't believe what we both have packed into life thus far!

SD> How do Europe and Canada resemble or differ?

BW> Canada has provided me with the ability to unfold, to create.

 To choose your way to live if you dare to venture out 

and take a chance building your dream. To create your future in a non conventional way. 

You can do that.

 The Old Country can be a complicated place, 

often with focus on competition in daily life. 

There are often restrictions and judgements holding people back, 

on the other hand there is that pressure to succeed 

and to get ahead of everyone else...it’s weird.

 Following 6 months in Germany to assist my aging parents, 

I am pleasantly surprised and elated though, 

noticing new and positive changes since leaving for Canada years ago. 

SD> Do you feel you gain a unique perspective from the places you've lived?

BW> I don't look at it as 'gain'. 

Every day provides chances to try something new, 

to break out of the comfort zones to help understand the world a little better.

People must have a chance to leave their birth place, at least temporarily. 

We learn so much about ourselves and others. 

Travel, work and see what's going on elsewhere in the world. 

It helps make the world a more tolerant place, 

opens heart and soul and helps understand and appreciate people, 

no matter where they come from, 

were born 

or what they do artistically, 

or who they are.

It's good and important for all of us to walk in the shoes of our old, 

wise people; immigrants and refugees.

 After all, I'm an immigrant myself. 

SD> What do you feel you got out of your recent jazz vocal training?

BW> I have to give you the long story!

At the Jazz in July week long workshop, 

students gain intense musical immersion, 

reaching personal goals, working with other jazz oriented musicians 

of various ages and skills from all over the world. 

What an amazing opportunity!

In the spring of 2013 I had the good fortune to meet 

and hear jazz vocalist legend Sheila Jordan in concert, 

and to participate in Sheila's vocalist workshop the following day. 

It was a life changing and inspiring experience. 

Restless in my ongoing quest for more jazz knowledge, 

I found out last minute that Sheila Jordan was to teach 

the 'Jazz in July' vocal workshop with Cathy Jensen­ Hole 

in Amherst Massachusetts.

    Parallel (to) instrumentalist workshops for piano, guitar, 

horn section, bass, drums, big band, guided by regarded music professionals. 

We all learned from and and performed with one another. 

I feel lots of positivity from students and staff, 

who encourage one another.

SD> How was the experience of recording your last album? 

Who did you work with to produce it?

BW> First and foremost, Moonstone producer Rusty McCarthy 

needed to know whether the album was to become a basic work 

with mainly vocals and guitar, 

or the vision of a full­ out album with multi musicians, 

bells and whistles. I did opt for the latter. 

Recording Moonstone was an absolute mix of determination, 

fear, drive, frustration, patience, doubt, trust and assertion sometimes, 

as I really did not want anything to come in between the vision and making of this album.

There was no doubt for me that Rusty McCarthy would be the producer. 

I knew he would have the ability and intuition to listen into my 

(rather unconventional) music 

and understand what I wanted and needed to create.

 I would like to add that McCarthy won the ''Best Engineer Award' 

during the 2015 'Northern Ontario Music and Film in Motion' Awards 

May 30th for 'Moonstone'. Truly an honour.

Night Market and black bean burger

Every month or so we hold a Night Market at the café selling fresh, local, pay-what-you-want produce. Tonight is the first Night Market of 2016 and will be happening at Gore Street Café from 6-9 pm. Thanks to Collholm farms and Lambert Homestead for the lovely squash, cabbage, carrots, potatoes, onions, pumpkins, and beets that will all be available at whatever price YOU see fit:-)

This weekend also sees the opening of a student art show at 180 Projects (just up the street at 180 Gore). 

The show is called Out There, and features work by Algoma Fine Arts students in a variety of styles ranging from paint, print and drawing to mixed media. Opening reception is Saturday Jan 23 from 6-8.

Last weekend the Really Really Free Market took place at 180 Projects, and the next one is set to take place March 12th during the fishbowl festival. 

However, one of the artworks hung in anticipation of the show has gone missing during last weekend's event.

Please spread the word re: this missing artwork and share the pic below. 

Please contact the gallery at oneeightyprojects@gmail.com with any info re: this missing piece of art.

Today's menu is 

black bean burger served with kale and apple salad

Butternut squash soup

and rhubarb/apple pecan muffins

Vegan black bean burger patties: 

(makes 4-6 patties)

One medium onion,

Three cloves garlic

Olive oil 4-6 tablespoons

Three cups cooked black beans

Salt and Pepper

Vegan burger patties are simple, tasty, and fun!

Egg and bread aren't what keeps this burger together. Play with the recipe till you get comfortable and the balance of onions, oil and beans creates a consistency that holds its shape. Sautee your vegan burger Patty on medium heat to brown both sides, and build your burger as you please. (Mine had eggs and cheese on it. Like, the opposite of vegan)

Soak beans overnight and cook at a medium boil for 30-45 mins or until softened. Mix in food processor with onion, garlic, and olive oil, s and p to taste.