CampusIntel

Last summer Toronto based poverty advocacy group The Stop Community Food Centre initiated an informative campaign called Do The Math. The project informed Ontarians of the dismal state of social assistance in the province, with the main argument that Ontarians receiving welfare and other social assistance are unable to provide themselves, and often their families, a healthy diet. Many of these people are forced to rely on food banks and soup kitchens for daily meals, where basic essential nutrition is hard to find, The Stop officials insist.

The response to the Do The Math campaign was good. Over 4,000 Ontarians sent postcards to Premier Dalton McGuinty, asking for positive action regarding the nutrition dilemma. But The Stop is still agitated that little has been done to help with low-income Ontarians to achieve a more-equal status in comparison to their neighbours off social assistance.

Usher in The Stop’s latest poverty awareness campaign, the Do The Math Challenge. Beginning on April 6, ten of Toronto’s prominent activists, government officials and celebrities picked up a food hamper from The Stop. The mission is to live off the hamper’s bounty, which usually lasts a person 3 to 4 days, and the city’s food banks for as long as possible, but at least a week. Participants include journalist/author/activist Naomi Klein, singer for Polaris Prize winning punk band Fucked Up Damian Abraham, musicians Rosina Kazi and Nic Murray of Toronto band LAL, and Toronto Ward 21 councillor Joe Muhavic and family, among others.

The purpose of the Do The Math Challenge is to create social awareness about the plights of poverty in Toronto, which are not exclusive to nutrition concerns. The Stop advocates for better treatment of impoverished, marginalised citizens in all sectors of contemporary city-life. It uses the dismal issue of under-nourishment among social assistance users as a vantage point on Toronto, and Ontario’s, many poverty triggered problems.

Follow all the participants with updates of how the challenge is affecting them here. Take action in the fight for equality in Canada.

Baltimore hardcore band Give opened the show at the Opera House Friday night, and set somewhat of a heavy tone for the night. Sadly, I only caught the last two songs of their set, and I really wish I could have seen more. The thunderous, bass-laden drums that continuously keeps rolling on through both fast parts and slow breakdowns initially captivated me. Their uniqueness kept my attention. Give is definitely a hardcore band, complete with tell-tale aggressive heaviness. This gets mixed, though, with a lighter guitar sound. There isn’t too much distortion, making it easy to follow the rhythm. Comparing the guitar style to a similar band would not be easy.  And, when a band can heed me from b-lining to the bar as soon as I get into a show, which Give did, they usually stick around in my playlist for good.

The D’urbervilles, who took the stage after Give, are also great at keeping your attention. Their new-age brand of rock-pop beamed through the Opera House. Their sound is somewhere between Joy Division and the Weakerthans, and much in common with most dance-rock indie bands. However, they strike their own pose. They have some very technical, high-tempo, yet sometimes hard to follow, drum beats. Two synthesizers, looked after by guitarist/lead singer John O’Regan and lead guitarist Tim Bruton, work together well with the clean, palm-muted, not too overpowering guitar lines. There were highs and lows to this set – when at their best, The D’urbervilles can trigger sporadic, arm-throwing dance moves in any wallflower, like they did for O’Regan.

After the D’urbervilles, Kurt Vile played a captivating six-song set that I, once again, was very drawn into. He opened with “Overnite Religion” accompanied by a second guitarist/percussionist, who laid down the tambourine and maraca lines of the song. The trippy folk-rock made up of loop-dubs, looped drum beats, and guitar, set an intimate vibe throughout the Opera House before Fucked Up went on. At times I felt like it was just Kurt and I alone in a room, and when I would come back to my senses, I would look around and confirm that everyone else was also entranced by him. The third song was drummed by Jonah from Fucked Up, which added a refreshing crack to the low-key stoner rock. In total, the Kurt Vile set felt almost like a healing process, a cool rejuvenator before Fucked Up tore the place apart.

Tore it apart they did. Fucked Up started their set with drummer Jonah’s mother playing the flute line from “Year of the Rat,” and then dove into “Son the Father,” off their Polaris Prize winning album “The Chemistry of Common Life,” and staple opener for recent shows. They moved smoothly into “David Comes To Life,” with a tweaked breakdown in the middle, differing from the studio version of the tune. By mid-set, lead singer Damian Pink Eyes Abraham lit things up and tore his t-shirt off, as usual. For the next song, Damian sang while pulling an impressively long microphone cable around the entire Opera House floor, a perfect way to engage the crowd. Near the end of the set, while playing “Crusades,” a fan who grabbed the mic from Damian and started singing was attacked by another audience member, the attacker was swiftly removed from the event. After a quick break, the debacle was sorted out. The band just picked up where they left off, and finished the song with the final chorus. The performance was full of Fucked Up classics,  including a thrashing rendition of “Two Snakes” off the band’s debut LP, “Hidden World.” The sextet played well together, in sync at all times, while frequently switching and changing parts of many songs.  A tight set, that was undoubtedly planned and polished, from one of Toronto’s hottest bands.

I posted last month about a bunch of shows going down in the GTA in the new year, and now I have realized that an update is due.

First off, the Slayer and Megadeth “Canadian Carnage” tour that was scheduled to hit Toronto in February has been rescheduled. The tour, which was a rescheduled event from a missed show last summer, has now been set for the end of July – they hit the Molson Ampitheatre in Toronto on July 29. Check out www.slayer.net for full tour details.

As a reminder, there are two Fucked Up shows happening around the GTA in February. They are at the L3 Nightclub in St. Catherines on the 23rd with Leatherface, and are in Toronto on the 26th with Kurt Vile at The Opera House. Wallet allowing, I will be at both shows.

And, something really exciting for me, oldschool punk band The Forgotten Rebels are doing some shows in the coming weeks: On February 27 they will be playing at The Casbah in Hamilton with The Lucky Ones; and on March 20 they will be at Alexander’s Tavern in Brantford. These are two shows that any ‘77 punk lover will need to see, myself included.

Also in February, skate-punk originals The Queers will be at the Horseshoe in Toronto on the 21st; and Killing Fields will be at the Rearview Mirror Bar in Toronto on the 20th for a FREE show.

Coming up, two-tone kings The Specials at the Sound Academy in Toronto on April 19. Can’t wait to dance the night away for that.

Toronto based hardcore punk band F***ed Up have released a cover of Bob Geldof’s Band Aid classic “Do They Know It’s Christmas?” in benefit of three advocacy groups that work to help victimized Aboriginal women: Justice for Missing and Murdered Indigenous Women, DTES Power of Women Group, and Sisters in Spirit. A full description of each group is available on F***ed Up’s blog, http://www.lookingforgold.blogspot.com, as well as a link to iTunes so you can download the track.

The benefit song, available on iTunes for 99 cents or as a 7-inch record, features an array of independent artists. Indie-underworld gods Yo La Tengo, along with indie folk duo Tegan and Sara, are just a couple of the artists that contributed to the project. The nitty-gritty on why F***ed Up went this direction for their latest single is explained on their blog. It reads “as we’ve said before, we’ve always thought that the importance of marginalized art and cultural movements (punk, DIY, indie, you) is the ability to make connections and support other marginalized people within society. Issues like cancer are of course important, but for people like us, it’s just as important to attempt to highlight and support causes that most people will never come in contact with.”

If you don’t know F***ed Up, they have created a lot of noise in the Toronto music scene recently. Beginning in 2001, they became a regular in the Toronto hardcore scene, notorious for their high energy performances and oldschool style of releasing vinyl record singles. They have shared the stage with punk icons Jello Biafra (Dead Kennedys), Keith Morris (Circle Jerks) and seminal New York hardcore band Cro-Mags, to mention a few. In September 2009, the band was awarded the acclaimed Polaris Music Prize for their “Chemistry of Common Life” album. In his acceptance speech, singer Damian Abraham said part of the prize money would go to recording “Do They Know It’s Christmas?”

The benefit song has also been gaining attention in the media. Last week it was the topic of a feature story on CBC’s “The National” with Peter Mansbridge, which served as a platform for explaining the song’s charitable and political overtones.

So if you have an extra loonie, side the usual contribution to Tim Hortons and get “Do They Know It’s Christmas?” from iTunes. It is only 99 cents, and supports a great cause. Just remember that you want the F***ed Up version, not Bob Geldof’s. Or, if you are a vinyl addict, the song will be the b-side of the band’s next single “David’s Plan” to be released mid-February 2010.