Plus —The Brain, Black History Month, Blue Jays,Sandman Viper Command, and Much More

In The Studio With

Attack In Black

FREEFEB 2010

VOL 1 NO 3

2 / EDITORIALHAMILTONREVIEW FEBRUARY2010

ANDREW BAULCOMBEditor-in-Chief and

Publisher

TOM SHEPHERDAdvertising &

Accounts Manager

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ANDREW BAULCOMBLayout and Design

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Letters

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Black History Month offi cially beginsImportant to celebrate in whatever manner suits you

I lived in the same house in the West End of Hamilton for almost half my life. Snobbishly, I thought that it was the prettiest part of town, and certainly the only place worth residing in. Well, I recently traded in that large house in Westdale with its high property taxes for a tiny, adorable and affordable cottage in Hamilton’s North End, and I simply love it. Gone are the days when people would wince upon hearing “North” tacked onto a street name. The North End’s safe, quiet residential streets boast great architecture, cozy restaurants, stunning vistas, numerous parks, and an abundance of art galleries. Sure, you’ve probably been to Bayfront Park, but next time continue walking along Bay Street North. Along this picturesque street are lovingly cared-for homes, their doors and exteriors painted in a beautiful palette of colours. Ride your bicycle along the waterfront a mere fi ve kilometres. You’ll see swans, geese and ducks. Continue to explore this part of town, and you’ll see that we have marinas, yacht clubs, and lovely banquet facilities at Liuna Station. The Art Crawl (second Friday

of every month) regularly draws in people of all ages to mingle, admire and purchase the works of talented local artists. Places like the Pearl Company and the Artword Art Bar feature art, music, storytelling, creative writing workshops and more. Finally, try the Sunday morning breakfast at the Harbour Diner on James Street—if you can get a seat! Williams Coffee Pub, Hutch’s and Grandad’s Donuts are close by too. If liquids are more your thing, pick something up at the drive-through beer store on Barton Street East, or grab a cold one at Fisher’s. Most days I drive through Westdale on my way to work. Oh, it’s still pretty, but now I much prefer my drive home to Hamilton’s North End.

—Ann Tufts, Hamilton

Dear Sirs, I am writing to bring to your attention the hopefully accidental omission of Burlington from your magazine’s pages. The area was named after Bridlington in East Yorkshire, and deserves a little more coverage.

—Adam Owen, Toronto

‘North End deserves a lot more credit in Hamilton’

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The fi rst day of February offi cially marks the fi rst day of Black History Month—an annual observance commemorating of the struggles and triumphs of infl uential African Americans and Canadians. Founded in the mid-1920s as a way to formally recognize the abolitionist movement, Black History Month has since come to represent many different things to many different people—civil rights, equality, peace, love, and even great achievements in music, literature, and the arts. Names like Martin Luther King Jr., Malcolm X, Rosa Parks, Marcus Garvey, and Rodney King have become synonymous with the month’s celebrations, while in recent years, notable fi gures in popular culture have also been given increased recognition as pioneers and innovators. Contrary to popular belief, you don’t have to actually be black to recognize Black History Month—or to refl ect on any of the aforementioned fi gures and their individual struggles. Black History Month—much like Thanksgiving or Christmas—should be a time where personal refl ection, appreciation, and compassion towards others are the most important issues at hand. If you listen to hip hop music, take a moment to refl ect on what makes the genre special and unique. If you love rock and roll, jazz, blues, gospel, or soul music, do a quick search on the internet to read about some of the music’s most infl uential ground breakers—they weren’t always on the radio, and they certainly weren’t treated with a whole lot of respect, either. If you simply love the ideas behind free speech, equality, tolerance, brotherhood, and understanding, take a few minutes each day to give thanks for those who made such freedoms possible. It’s been a long, hard struggle—one that is arguably far from over—but just remember that racial equality and civil liberties didn’t just appear miraculously overnight. The everyday rights and freedoms that we may take for granted came from years of violence, rebellion, and social upheaval—an important fact to remember when giving thanks for that which you love, whatever it may be. HR

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‘What about Burlington?’

Montreal—A Facebook group honouring Dawson College killer Kimveer Gill was taken down last weekend after college offi cials contacted the police. A fake name was used to establish the online group.

Vancouver—Blake Frederick, a former student council president at the University of British Columbia, was recently impeached following his fi ling of a Human Rights complaint with the United Nations over rising tuition fees. Roughly 76 percent of students voted to have Frederick impeached.

Calgary—City offi cials deported a record-setting tenth criminal resident from Calgary last week—more than one third of all criminals deported from Calgary last year. Salomon Villela Mejia was sent back to Guatemala following his serving of a 40-month sentence for sexual assault.

Ottawa—Collection agents have abandoned their efforts to track down $12 million worth of unpaid city fi nes. Staff members are planning to focus on more recent infractions, and are hoping to wipe any older tickets from the record books. Some of the 121,000 unpaid fi nes date as far back as 1970.

Moncton—New Brunswick Premier Shawn Graham is planning to nominate RCMP Sgt. Mark Gallagher for the Order of New Brunswick. Gallagher was killed in Haiti on Jan. 12 while serving as part of a UN peacekeeping mission.

FEBRUARY2010 HAMILTONREVIEWNEWS / 3

LocalLong Range Forecast —w/e February 6

Daytime High—Thursday, 0 °CEvening Low—Thursday, -12 °C60 percent chance of fl urries on Saturday

Ashes to ashes in downtown coreCentury Theatre no more, joining a growing number of buildings left for ruin or ‘demolished by neglect’ in the city’s urban centre

NationalNews from across Canada

PHOTO / ROB MIDDLETON

The old Century Theatre at 12 Mary Street—partially demolished and with half of the facade missing.

Erin O’NeilHAMILTON REVIEW

It’s no big secret that downtown Hamilton has seen better days. Like many other city centres in Ontario, a number of our century-old buildings are crumbling. Emigration to the suburbs, short-sighted development plans, and municipal infi ghting have all contributed to the slow and steady deterioration of many beautiful Hamilton landmarks—and while these structures may be steeped with history and character, the issue of their preservation is anything but simple. On the one hand, there is

something to be said for starting over again. Developers can design a new space around the needs of the community, and without the careful consideration required when renovating a heritage building. This route has become an increasingly attractive option in Hamilton, where downtown renewal is already a slow process. Many citizens have begun questioning our sentimental grip on the past—perhaps at the expense of our own urban future. But restoring an aging building is not always a case of simply maintaining Hamilton history, either. Heritage buildings

have recently been described as “built resources”—their structures able to fi t any developer’s plans, which requires fewer materials (and arguably less money) than demolishing and rebuilding. Matt Jelly, a local urban-renewal activist, suggested that this makes building restoration an ecological issue as well—pointing out that 30 percent of landfi lls are building materials, and that restoration is a way of reducing this waste. Several of Hamilton’s most prominent heritage and historical buildings are caught in exactly this kind of debate. The condition of the Lister Block at James Street North and

King William Street has been prominent in local media for years, as the building’s owners and the city offi cials have struggled to decide between preservation, renovation and demolition. The fi nal $25 million development deal signed in June 2008 was almost completely abandoned several times, and required compromises on both sides. Even today, various politicians, citizens, developers, and the building’s owners have wavering opinions about just what to do with the Lister Block. The Tivoli Theatre on James Street North is more of a success story in terms of Hamilton heritage. After its front structure collapsed in 2004 and the lobby was demolished, the building sat empty for four years. The theatre has since caught the attention of Canadian Ballet Youth Ensemble CEO Belma Gurdil-Diamante, and in December 2009, she announced a $15 million capital campaign to transform the old theatre into a performing arts centre, and renovations have already begun. Unfortunately, there are also several cases throughout the city where a building simply couldn’t be saved or preserved. The Century Theatre on Mary Street was demolished last month after two decades of sitting empty. The building was in such severe disrepair that it was fi nally deemed a safety hazard, and “demolished due to neglect.” A similar case emerged in April 2008, when the old Balfour Building on King William Street partially collapsed and had to be demolished. With several other downtownContinued on Page 4

4 / NEWSHAMILTONREVIEW

Belly dancing legend heads homeEshe will make her return to the Casbah on Friday evening

City landmarks left in ruins for decadesCentury Theatre joins a growing list of urban buildings destroyed

FEBRUARY2010

Sarah BoychukHAMILTON REVIEW

Eshe is on a mission to bring belly dancing to the masses, and—if her passport is any indication—she’s quite serious about it. The McMaster graduate’s goal of introducing belly dancing to the world has lead her to Japan, South Korea, Turkey, Australia and most recently back to Canada. This past summer, she earned a prime spot at the Seoul World DJ Festival, and performed for an audience of more than 10,000—not bad for someone who was a legal adult before ever attending her first dance class. “My mom wasn’t so sure that dance was a supportive environment when I was a child,” said Eshe of her late start. “She had heard a lot of stories about stage moms, pressure, and competition, which kept me from participating in a formalized dance education until I was older.” The long wait finally came to an end with an introductory

dance class in Japan, where Eshe was then living and working to finance the completion of her sociology degree. Since that inauspicious beginning, she has become something of a seasoned professional, quickly transforming from student to teacher. These days, Eshe holds her own classes in between solo performances and gigs with Orgeltanz—the band she joined as full-time dancer in 2008. Her diverse student population is a real source of pride for Eshe, who describes belly dancing as an inclusive art. “There are no sex, age, size, shape or race restrictions. At my studio in Seoul, I’ve taught Canadian, Russian, English, Swedish, Indonesian, Chinese, Japanese, and of course, Korean students. I’ve taught high school students and grandmothers. The only thing that seems to be typical is that my students are generally searching for something—a creative outlet, new friendships, a physical release, cultural

awareness, or simply some ‘me’ time.” Her most advanced pupils are often invited into Eshe’s “Navah” collective—a group that performs at benefit gigs in support of women and children throughout Africa and Asia. Of her own induction into the belly dancing community, Eshe considers herself “very fortunate to be exposed to teachers who focused on sharing and supporting.” For her own performances, Eshe makes an effort to extend the same courtesy to her audience as she does to other artists. “I think all art forms are open to interpretation. The best we can do as artists is show love, understanding and compassion to our audience—and of course, make good art,” said Eshe. “I’m trained as a belly dancer, so most of my movements fall within that range, but the feeling is straight from my soul.” Eshe will perform live at the Casbah Lounge on Friday, Feb. 5—a rare Canadian visit.

Continued from Page 3properties destined for the same fate, critics like Jelly argue that proper enforcement of basic city by-laws would keep older buildings in good condition for longer. Open or broken windows have become a hot-button issue in the city’s core, with interiors being exposed to harsh weather conditions that can weaken their structure. Debbie Spence, Communications Officer with the Planning and Economic Development Department at the City of Hamilton, explained that there are many positive changes being implemented to prioritize bylaw enforcement and encourage public participation in the process. These measures include new vacant building protocols, and a city-wide crackdown on

properties that have been either abandoned, neglected, or left for ruin—especially those exposed to the elements. On a broad level, the preservation of Hamilton’s oldest buildings is a complex issue at best. Successful redevelopments, improved bylaw enforcement, and citizen awareness will all help maintain Hamilton landmarks in years to come, but ultimately, it’s still a slow process. “There’s an anxiety to develop or redevelop the core,” noted Jelly, “but we don’t have to throw our heart in the garbage.”

By The Numbers

The Century Theatre first opened its doors in 1913 as a 2,000-seat vaudevillian theatre. Over the next

decade, the auditorium was slowly converted into a movie house, with the first of three major renovations taking place in 1922. By 1940, the building had been purchased by 20th Century Theatres, and a second major renovation took place—this time in the theatre’s signature and most memorable art deco motif. More interior remodeling took place in 1967, and by the end of the 1970s the theatre had switched ownership yet again—this time to Famous Players. The Century Theatre screened its last film in 1989—Lethal Weapon 2—before being left vacant for over two decades in the city’s downtown core. Demolition of the old theatre officially commenced in January of 2010.

FEBRUARY2010 HAMILTONREVIEWNEWS / 5

A sugary sweet treat from Canada’s premier wine regionIcewine has become a true delicacy, and some of the best in the world is made right down the highway

PHOTO / CIARA McCANN

Workers in Niagara-on-the-Lake tend to some newly-frozen grapes.

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Ciara McCannHAMILTON REVIEW

In the Niagara region, the month of January is dedicated to one of nature’s rare and decadent gifts—icewine. Tourists from all over the world flock to Niagara-on-the-Lake to experience the wonders of this deliciously sweet dessert wine, made from frozen grapes. The thousands who attended this past month’s Icewine Festival were treated to sweet and savoury dishes, paired with a wide variety of the region’s signature icewines. But like most delicate and expensive treats, icewine doesn’t come cheap, or easy. Enter Angela Kasimos, head winemaker at Riverview Cellars Estate Winery. At the tender young age of twenty-seven, Kasimos has already won numerous awards for her signature wines, and knows all too well that behind every bottle of icewine lies a rigorous and labour-intensive harvesting process. Last month, Kasimos was up

and ready at 6:00 a.m.—bundled in layers and earnestly preparing for a day of picking, crushing and pressing grapes in freezing cold weather. “Everything is harder with the icewine harvest,” explained Kasimos. “Typically, it has to be done at night time, because that is when you get the coldest temperatures and the temperature doesn’t fluctuate. Pressing has to be done right away after the grapes have been harvested, and while they’re still frozen.” Within these frozen grapes lies the secret to an icewine’s sweetness. “We want to pick and press the grapes at -10° C so that 80 percent of the water content in the grapes is frozen, and what comes out is a very concentrated juice.” Luckily for Kasimos, some of the usual burdens of the icewine process were alleviated this year. Not only were temperatures cold enough that she could work during the day, but she also used a much easier harvesting method.

In recent years, Kasimos made the switch from the traditional method of hand picking to mechanical harvesting, making the job quicker, easier, and less demanding. “The only downside to the harvester is that it damages the vines more than hand harvesting,” added Kasimos. Several of Riverview’s prized vines were damaged during the icewine harvest in 2007, and—needing some time to recuperate—the Cabernet Franc crop quickly became a popular choice. “We chose Cabernet Franc because of its increasing popularity, and Cab Franc is also a sturdy grape. We got a smaller crop than what we expected, but the grapes contain a very flavourful juice.” In terms of buying an icewine, there is an endless array to choose from. Most range between 18 and 28 on the sugar code, and can be consumed when they’re young and fruity, or when they’re oak-aged with a caramel richness. Either way, be prepared to splurge a little.

AH87 studiosSports, Action, Travel, Special Events

—Toronto, Ontario—

ah87studios.smugmug.com

6 / FEATUREHAMILTONREVIEW FEBRUARY2010

The band’s basement studio in Welland has become a source of continuous inspiration—especially

when it comes to recording their new material

Attack in BlackUncover Their

Hidden Gem

‘Music, Always’

PhotoAsta McCann

ArticleAndrew Baulcomb

FEBRUARY2010 HAMILTONREVIEWFEATURE / 7

Dan Romano has a sly grin on his faceas a new recording slowly slips off the tape reel. “We’re about to lose one here,”

gestures from Dan and his younger brother, Ian, the tape machine is up and running again—all is well. This is the kind of recording that most record labels cringe over—the notion that at any given moment, an entire week’s worth of progress can be lost to a faulty motor in a 30-year old reel-to-reel tape machine. But this is what the Romano brothers live for. “The best thing to do is just wait,” says Ian, hovering over his brother while the pair try to wind the tape back into place. “It’s kind of our sound,” adds Dan, jokingly referring to the band’s penchant for the type of raw, authentic recording that his band has become renowned for—but it wasn’t always this way. Back in 2007, a relatively unknown Attack in Black gathered in a Toronto studio to record what many consider to be the group’s fi nest work. The resulting album, Marriage, catapulted the band into a new level of national fame, with international tours, music videos, and endless praise from the media not far behind. The album’s fi rst single, “Young Leaves,” received a considerable amount of airplay on MuchMusic, but has since faded away from the group’s live set list, along with a number of other gems from the Marriage days. “Marriage was pretty fucked, it wasn’t very fun to record,” noted Dan, hinting at the band’s struggle to achieve the kind of sound they were looking for on the album. “We recorded it all at this freezing cold studio in Toronto, and nobody liked it—sonically. I’m sure it would have been fi ne, but, you know, sometimes people don’t understand that a record sounds different when it’s not mastered or not the fi nished product.” With the original recordings shelved, the band eventually came up with what became Marriage, as it’s now known by fans. The record is tight, loud, and arguably more polished than any of the band’s more recent recordings, although those days appear to be

well behind the group at this point in their career. Less than six months after the release and massive success of Marriage, the band dropped The Curve of the Earth—a noticeably more delicate, intricate record with some of their most personal and lyrically touching songs to date. Recorded on an old eight-track CD recorder salvaged from the Romano brothers’ basement, the disc represented a turning point of sorts in the band’s career—or at least a change from their original forays into recording. A similar process was employed during the recording of 2009’s Years (By One Thousand Fingertips). “We didn’t even use anything at the time,” said Dan, referring to the group’s lack of formal studio equipment for the recording of their most recent full-length albums. “Basically, it was one piece of junk with another piece of junk attached to it. But you know, we tried to make them sound like something that sounds alright.” Brother Ian agrees. “There was only one ‘Send’ option on the whole unit, so it was like, ‘I guess we’ll use the reverb on this one, or a little slap-back delay,’” joking about the band’s challenges to record, track, and mix new songs on the fl y. With less and less interest in click tracks, overdubs, and studio trickery, the band decided to embark on a new venture throughout the winter of 2008—tearing apart the Romano family basement in Welland to make way for a new recording studio. With an old soundboard purchased from a radio station in Calgary, a $3,000 tape machine, and a few select guitars and amplifi ers, the cozy studio is a far cry from your standard GTA rental space. You won’t fi nd any laptops, monitors, or vocal booths—what you play is what you get. It’s within the new studio where the Romanos happen to fi nd themsevles most often these days, tinkering around with new material

and rehearsing with bandmates Ian Kehoe and Spencer Burton. The band has been slowly compiling new songs for an as-yet untitled full-length, and delicately preserving each master tape on a simple basement storage rack. If you liked the last two, you’re going to love this one. Beautiful, sweeping reverb fi lls the room as Dan Romano’s voice carriers the melody through “Godless,” one of several new tracks the band throws on the tape machine. The songs are every bit a representation of the space they were recorded in—warm, humbling, and true to the artist. “I don’t think people know what a drum set sounds like anymore,” says full-time drummer Ian Romano. “I’m highly against multi-tracking—all of Years was recorded with one microphone.” “People like John Bonham (Led Zeppelin), all of their early records were recorded with one microphone. They thought of it as one instrument, and, you know, not a bunch of fucking bullshit. If you put on the radio now, everything sounds the same, and there’s a reason for that.” It’s a mindset based more in honesty than pompous egotism—a simple belief in your band, and the knowledge that everything you do together is raw and real. Bassist Ian Kehoe expressed a similar level of humility when comparing Attack in Black to some of their most notable peers and contemporaries in Canada. The band may never admit it publicly, but their simple, honest approach to music and art has caught the attention of some true heavy-hitters over the years, and it’s really starting to show. Regardless, Dan Romano is still gracious and appreciative as he steps out for a cigarette and directs us back towards Hamilton. “You should try the scenic route, it’s really worth the drive.” Attack in Black will perform live at the Casbah on Thursday, Feb. 11.

Fresh—Canadian WinterA new music and hip-hop tour de forcewith beats, rhymes, and samples to spare

PHOTO / JAMIE MORREN

says the soft-spoken frontman, watching in calm, collected agony as a master reel from his band’s latest recording session hangs in the balance. Several tense moments later, and with a few loving

A self-professed collective of “DJs, record junkies, musicians, beat-boxers, and writers,” Canadian Winter are anything but your typical hip hop group. With roots running deep in jazz, blues, rock and roll, electro, and good old fashioned New York City record sampling, the Hamilton-based four-piece is quickly becoming one of the city’s premier lounge acts—conjuring up sets that are every bit as multicultural as they are musically profi cient. “The music is what holds this band together, the beats are what inspire,” said Kojo B. Chintoh, the group’s primary percussionist and part-time composer. “For me, the opportunity to add hand drums and percussion to the band adds depth to the sound.” Chintoh—alongside bandmates “Johnny Fever, Scotty P, and Kobi”—has been working hard to break traditional barriers in recorded music over the past year. Following the arrival and subsequent residency of Kobi in the Hamilton area (by way of London, England), the group has slowly been churning out a series of tight, beat-driven, sample-laden jams—recorded mostly in a modest West End house in Hamilton. “205 is the birthplace and home of Canadian Winter,” said Chintoh, referring to Johnny Fever and Kobi’s home in the Westdale area. “There is currently a great scene going on with new music and art, and that is a big infl uence.” Citing groups like Miramichi, New Slang, Slow Hand Motem, and veteran lyricist Lee Reed as primary infl uences, Canadian Winter has recently emerged as one of the city’s top new music / hip hop billings. “The lyrical content is all Kobi’s department. However, the formation of each song’s structure is all equal,” added Chintoh, commenting on the group’s creative dynamic. “It’s a place where instruments and beats meet DJs, MCs, and percussion.” HR Canadian Winter can be found online at www.myspace.com/justwaittillfebruary.

8 / LIFESTYLEHAMILTONREVIEW FEBRUARY2010

Lifestyle Jamesville art scene adds another gemJunior Boys’ Jeremy Greenspan hopes to make a big impact with ‘Brain’

Crop FailureHamilton-based punk band is one of many local groups worth watching in 2010

Freshly Pressed—DVDs in February

Zombieland—Emma Stone, Woody HarrelsonCouples Retreat—Kristen Bell, Vince VaughnThe Blind Side—Ouinton Aaron, Tim McGraw

Andrew BaulcombHAMILTON REVIEW

“The most inspirational thing a band can do is play music with balls and some thought behind it.” Brandon Strychowsky doesn’t mince words when it comes to music. The former Die Hard Loser and current Crop Failure drummer has a relatively clear vision of where his new band is heading—and if you’re a fan of loud, poetic, and genuinely pure rock and roll, this may be the band you’ve been waiting for. Strychowsky linked up with old friends Mark Hornich and Matt Jackson in late 2009, and the trio began recording a series of demos not long afterward. “The focus was on making our songs available for people to hear,” said Strychowsky. “We didn’t worry if they sounded too lo-fi , and for now, people can still get free demos at shows.” Plans are currently in the works to record a proper full-length album (or two), and Strychowsky discussed the possibility of releasing a 7” single a little closer to spring. In the meantime, the band is content to hammer out new material in their rehearsal space, and slowly carve out their own niche in Hamilton’s diverse punk and hardcore scenes—a perfect fi t for the group’s wide range of sounds. “Sometimes we want a song to be more basic and focused, and sometimes it just has to be all over the place.”So far, it’s been the best of both worlds.

All demos are available at www.myspace.com/cropfailure.

Cory RufHAMILTON REVIEW

Jeremy Greenspan reclines on a dusty sofa in the back of his new downtown bar, the Brain, positive that business will pick up over the course of this frigid, blustery winter evening. Outside, pairs of middle-aged couples, students and clusters of young professionals begin to trickle onto James Street North, at the heart of Hamilton’s gritty North End. Tonight is the Art Crawl, a monthly event during which revelers descend upon the street to peruse its independent art galleries for free. The Brain, awaiting permanent licensing from the City of Hamilton, is open for a quick sneak preview. Greenspan—better known for his role as lead singer for the internationally acclaimed electro-

rock band Junior Boys—hopes his new venture will become a hangout for artists and art lovers who work and socialize on the James Street scene. “I want this place to be kind of a living room for the street, a living room that fi ts to the notion of the arts community,” said the new entrepreneur. And at fi rst glance, the Brain—named in homage to a West German record label prominent in the 1970s—is fulfi lling this role; a party of a half dozen is chatting over drinks and candlelight, mulling a portfolio of photographs. Sporting a pale green chemise, Greenspan has a short mess of auburn hair and a tidy, full beard. His appearance and demeanor are casual, absent of the fl ashy conceit for which pop stars are renowned. A lifelong Hamiltonian, Greenspan laments the city’s glut of “cheesy corporate pubs, sports bars and

nightclubs,” and wanted to open a bar with a cozy, creative vibe. The room’s décor, the work of the Brain’s co-owner and bartender, Heather South, refl ects the imaginative, DIY aesthetic of the art scene. Threadbare patterned rugs and a jumble of wooden picture frames hang from the walls. Large birch branches, adorned with orange Chinese lantern plants, lie in the front window. The Brain is receiving a warm reception from community members who believe that James Street North needs more spaces for artists to congregate. “There can only be so many galleries and stores,” said Dave Kuruc, owner of Mixed Media, an indie art supply store. “People need a place to connect.” “Cool factor is important, too,” he says, acknowledging that Greenspan’s presence bestows upon the scene a degree of

hipness. Incidentally, Kuruc was instrumental in making the Brain a reality. Years ago, Greenspan jested to friends that he would like to own his own bar. Tours abroad and lack of suffi cient capital prevented him pursuing his dream. In 2007, he set up a recording studio in a James Street North apartment he was renting from Kuruc. The following year, with the help of longtime friends Heather South and Brad Chichakian, Greenspan purchased the building from Kuruc, including the building’s main level storefront—a former driver’s ed. offi ce. The main level, says South, was a perfect space for a small bar. Hamilton’s low cost of living explains in part why Greenspan—whose band has toured North America and Europe—chose toContinued on Page 9

PHOTO / ROBERTMICHAEL.CA

FEBRUARY2010 HAMILTONREVIEWLIFESTYLE / 9

A user’s guide to vintage guitars and amplifiersSandman Viper Command discuss some of the tools of their trade, and share a few insider tips

Art Crawl scene still expanding—new bars like ‘Brain’ emerging on the strip

PHOTO / KRISTENE GELDER

Andrew BaulcombHAMILTON REVIEW

You probably know the music, but how familiar are you with the gear? For local upstarts Sandman Viper Command, you certainly can’t have one without careful consideration for the other—especially when it comes to truly “vintage” pieces of equipment. Despite having a notable fondness for household brands like Gibson, Fender, and Gretsch, lead singer Rob Janson was quick to point out the band’s overall philosophy when it comes to choosing the right guitar. “Generally, I don’t think we have a specific approach to choosing our stringed instruments. We tend to be attracted to the ‘tried and true’ brands, as most often they are beautiful pieces of machinery that provide versatile tones to suit our amps. But we definitely don’t limit ourselves to them.” “Many of the most incredible guitars out there are one-offs made by obscure brands. It’s all just a matter of tone and feel. However, all that being said, you probably won’t see us with any new-fangled modern designs anytime soon, as they usually just don’t appeal to us.” While each of the band’s three guitarists has a standard “go-to” instrument at their disposal—

Janson a cherry red Gibson SG that he purchased in high school—the group has also been blessed with a family connection to some truly classic gear. “We have the good fortune of having access to a mind-blowing collection of vintage guitars that a member of Matt’s family owns,” said Janson. “There are some amazing models, including multiple classic Gibsons from the 1960s—Les Pauls, ESs, and a Marauder— Rickenbackers, a VOX guitar with slew of onboard effects, a 1970s Fender Stratocaster, and more.” “Another one of my favourites is the Gretsch Country Gentleman that my pops owns,” added Janson. But what to do with all of these vintage instruments? Record them, of course—something the band usually does in drummer Matt Damon Meyer’s house. “It’s a huge privilege and advantage having all of these guitars at our disposal. For the most part, we usually only play them when we’re demoing tracks in Matt’s basement, or when we break a string during rehearsal.” “We pretty much have every guitar tone you could ask for—plus they all look amazing, which never hurts.” And if you’re wondering how these classic instruments sound on

stage, rest assured that Janson and his bandmates go to great lengths to preserve that one-of-a-kind vintage sound—even with their newer models. “One thing that is somewhat unique to our band is that we don’t use any pedals on stage, we solely rely on our amps. While this can limit us, it really opens up a tonne of new possibilities because you start using your instruments in ways you didn’t think to before.” “The amp I use is a 1971 Fender Twin Reverb with two 12” JBL speakers. As far as must-have equipment, I’d say it’s far more important to me than my guitar.” In terms of recording, the band also relied on a variety of vintage amps to get that warm, 60s-inspired garage rock feel they’ve become renowned for. “One amp that probably made it on every track was this 1950s 15-Watt National with nothing on it but a volume knob. It was such a tiny amp, but when you turned it up it sounded absolutely massive. As for the album itself, we recorded all of the bed tracks to a 1970s Studer 24-track tape machine before completing any overdubs. This accounts for much of the ‘vintage’ tonality that can be found on the disc.” Sandman Viper Command will be performing at C’est What in Toronto on Feb. 9, 16, and 23.

Continued from Page 8live and work in his hometown, passing over more glamourous cities like Toronto or New York (Matt Didemus, Junior Boys’ other permanent member resides in Berlin, a Mecca for lovers of electronic music). “Hamilton allows me to live way beyond my means,” said Greenspan. “I own a house, I own a building and I’ve invested in a bar…and I’m not a particularly wealthy person.” Before 2003, James Street

North was a bastion of traditional Portuguese and Italian culture. Even today, the area boasts scores of European restaurants, bars and grocery stores. In 2006, the Globe and Mail reported that cheap rent and the presence of the artist-run cooperative, Hamilton Artists Inc., spurred the opening of seven galleries along James Street North between 2004 and 2006. In 2005, the strip’s galleries first collaborated to open their doors for free public viewing.

Since then, the Art Crawl—which takes place on the second Friday of every month—has become a fixture on the city’s cultural calendar. New shops and restaurants that reflect the tastes of young, alternative-type Hamiltonians are taking root on the strip, capitalizing on the Art Crawl’s popularity. Greenspan recognizes that despite the Brain’s hip location, running a bar will be a precarious venture. But if the Brain fails, he figures he will have no regrets. “I know with absolute

certainty that [the Brain] is going to have the best beer and the best atmosphere in the city.” “If it doesn’t pan out, at least we’ll know that we did it right.”

Must-See Galleries

For first-timers, popular stops along the James Street North Art Crawl include the Loose Cannon Gallery, You Me Gallery, White Elephant, Mixed Media, Hamilton Artists Inc., and the brand new Artword Art Bar.

Sports10 / SPORTSHAMILTONREVIEW FEBRUARY2010

Canadian athletes to watch this monthLumsden, Lueders, and Martin are all hoping to medal in Vancouver

Habs steal D’Agostini away from surging Hamilton Bulldogs

PHOTO / ANDREW HO

Olympic Hockey—Preliminary Round

Feb. 15 (Women’s)—Switzerland vs. CanadaFeb. 17 (Women’s)—Canada vs. SwedenFeb. 21 (Men’s)—Canada vs. United States

M O N T R E A L — C a n a d i e n s General Manager Bob Gainey has recalled forward Matt D’Agostini from the Bulldogs roster. The 23-year old has already played 35 games with Montreal this season, recording two goals, two assists, and 26 penalty minutes. The right winger has a career total of 25 points in 89 NHL games—14 goals, eleven assists, and 44 penalty minutes. In his three games with the Bulldogs this season, the native of Sault Ste. Marie, Ontario posted one assist and two penalty minutes. D’Agostini was drafted 190th overall by the Canadiens in the 2005 NHL Entry Draft, and is expected to help the Habs as a solid power forward over the next few seasons. The Bulldogs will play in Montreal on Feb. 21. HR

HAMILTON—Three new CIS top-prospects will be joining the Tiger-Cats at training camp this season—Scott Valberg (WR), Raymond Wladichuk (DB), and Matt Morencie (OL). The trio adds some serious muscle on both sides of the ball, with Valberg weighing in at an even 200-pounds, and Morencie tipping the scales at 290. Valberg was a member of the 2009 Vanier Cup-winning Queen’s Golden Gaels, and caught 164 passes for 2,917 yards and 21 touchdowns throughout his university career. The two-time CIS and OUA all-star was the top Canadian receiver in both 2008 and 2009. HR

Tiger-Cats add some serious non-imports

Adam GdyczynskiHAMILTON REVIEW

Back in early 2005, an initiative called “Own the Podium” was founded in order to improve the performances of our high-calibre athletes—and hopefully place Canada at the top of the medal rankings in Vancouver. Want to know if the $110 million program was worth it? Keep your eyes on these elite athletes to find out.

Drew Dougthy (London, ON)Men’s Ice Hockey

As the youngest player named to the Canadian men’s hockey team, Doughty is facing a steep learning curve in terms of defending the world’s best players. Thankfully, the ice at these Olympics will be much smaller—similar to the

standard-sized rinks that the Kings’ top prospect is used to. While Doughty is one of the top-scoring defenseman in the league, he only has one full year of NHL experience under his belt. Steve Yzerman may have made a mistake in choosing Doughty over the more experienced Mike Green, but regardless, Team Canada will be looking to this youngster to really step up in Vancouver.

Jesse Lumsden & Pierre Lueders (Edmonton, AB)Two-Man Bobsled

Once a local hero as both a McMaster Marauder and a Hamilton Tiger-Cat, Lumsden was traded to Edmonton in 2009 following an unfortunate string of long-term injuries. With his football career on hold, Lumsden

now faces a new challenge on Pierre Lueders’ bobsled team, and is expected to participate in both the two and four-man competitions in Vancouver. Lueders has been competing at an Olympic level since 1994, and has twice reached the podium—winning gold in Nagano (1998) and silver in Turin (2006). Most recently, Lumsden and Lueders took eighth place in the two-man World Cup bobsled competition in Austria. People across the country will be looking for Lueders to medal again, and hopefully Lumsden will find vindication in an Olympic podium finish.

Brad Martin (Ancaster, ON)Men’s Snowboarding

Looking to improve on his 16th place finish at the Turin games, Martin

will once again be competing in the half-pipe competition—an event he finished second in at a 2009 World Cup event in Quebec. After fighting hard to secure one of the final spots on the team, Martin may have some extra motivation to secure a podium appearance in Vancouver.

Cindy Klassen (Winnipeg, MB) Long Track Speed Skating

After winning one gold, two silvers, and three bronze medals throughout her short Olympic career, Klassen has emerged as the “Canadian Michael Phelps” of our national squad—earning her title as the most decorated Olympian in Canadian history. Klassen will be looking to add some more medals to her trophy case this coming February, and maybe break an Olympic record or two along the way.

The Rest of the Olympic Team?

Canada fared quite well at the last two Winter Games, finishing third in Turin and fourth in Salt Lake City in the overall medal standings. But obviously, finishing outside of the top three with Canada being the host country is out of the question. In addition to (hopefully) securing a tonne of silver and bronze medals, our athletes need to provide us with that elusive gold finish on Canadian soil. Canada has shown great promise in this department, having captured 20 gold medals at the past three Olympic Games—but could this be the year where we finally break our golden curse at home? Here’s hoping that our country’s best athletes are up to the challenge.

FEBRUARY2010 HAMILTONREVIEWSPORTS / 11

PHOTO / ANDREW HO

Will players like Vernon Wells survive the Jays’ rebuilding period?

Give it some time —Jays are rebuilding for next seasonDan LeibnerHAMILTON REVIEW

Spring training is just around the corner, but you can hardly blame the fans for not lining up at the Rogers Centre. One would be hard-pressed to go back in Blue Jays history and find an opening day with less buzz surrounding it. The problem? Former Blue Jays General Manager J.P. Ricciardi. Ricciardi talked a big game and spent lots of money over the years, but he never managed to actually win—and now we’re stuck with the results. Thankfully, Ricciardi was replaced with 32-year-old Alex Anthopoulos this past off-season, and with Anthopoulos comes a promising new plan to lead the Jays into the postseason. First and foremost, Anthopoulos has to clean up Ricciardi’s mess—and that may take a little while. The new boss immediately walked into the unfavourable situation of having to trade one of the greatest Jays of all time, Roy Halladay, and build from there. In exchange for Toronto’s ace, the team acquired two of the

top 50 prospects in the majors, as rated by MLB.com. This included Philadelphia’s top pitching prospect, Kyle Drabek, as well as Oakland corner infielder Brett Wallace—who the Jays see as their future first basemen. Another significant move by Anthopoulos was acquiring a young, hard-throwing pitcher in Brandon Morrow, in exchange for relief pitcher Brandon League. Morrow showed excellent poise as a reliever for the Mariners last season, although his new team plans to convert him into a starter. Unfortunately, the good news still comes with a little bad. Gone from last season’s starting lineup are shortstop Marco Scutaro and catcher Rod Barajas—two players who were instrumental in any of the Jays successes last year. Both were simply too expensive to retain, especially without a realistic playoff push in the near future. And even though career backups like Alex Gonzalez and John Buck are in the opening day lineup, at least the team’s new organizational strategy makes sense, and will hopefully lead Toronto back to the playoffs at some point.

Clearly, Alex Anthopoulos’ main focus is on scouting and development. It may be financially impossible to compete with Boston and New York, but the Jays feel they can make up for this disadvantage through superior drafting and decision-making in their scouting department. The Jays are obviously in the midst of a rebuilding process, but there are still some exciting players on this year’s team. Second basemen Aaron Hill and outfielder Adam Lind (who each had over 30 home runs and topped 100 RBI’s last season) are always exciting to watch, and believe it or not, the Jays pitching may actually be halfway decent. Ricky Romero, Scott Richmond, and Brett Cecil should be solid, but as always, the biggest question mark is whether or not the entire staff can stay healthy. Shaun Marcum, Dustin McGowan, Jesse Litsch and Casey Janssen have all shown promise, but are often hampered by injury woes. If even one or two of them can stay healthy, Toronto’s rotation may not be all that bad. So swallow your pride, Jays fans. At least there’s a little more hope for the future.

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