How would you describe your comedy style?

In my head, I’m a middle-aged Jewish and/or Italian man, so a lot of my jokes start out as grumpy observations. Outside of my head, where all of you are, I’m a Zillenial musical theatre girly with a high-pitched voice, so my cadence ends up more sassy. I talk a lot about being queer, and I try to do it in a whimsical, hyperbolic way. As a solo sketch performer, I gravitate towards characters that are unself-aware and overly emotional. As a girl, in that world, I have been socialized to fear being perceived as unrefined, chaotic or, god-forbid, needy. So I like to create characters that are all of those things. Comedy is a place for me to take my own neurosis and turn it into a weapon of mass seduction… and also into jokes. I do stand-up, sketch, musical comedy (to the audience’s chagrin), and improv. In each form, I explore different sides of myself. Ideally, only the hot sides.

Who are some of your influences?

John Early and Kate Berlant built me. When I saw the Late Night bit they did in 2017, where the entire set was just them fighting over who was gonna start the set and then realizing they were running out of time and finally apologizing to the communities they had let down, I was hooked. It might have been the first time I’d seen sincerity parodied like that. They are such good actors first and foremost. Edgy in a theatrical way that both includes and mocks queerness. Bo Burnam, Rachel Bloom and Cat Cohen are huge for me for musical comedy. All of my influences are people who blend hyper-sincerity and cutting self-deprecation. They’re all theatre kids making fun of their own sensitivity. Also, Anna Faris and the movie Forgetting Sarah Marshall.

Who was your favourite comedian growing up?

Growing up, I loved John Mulaney. “New In Town” was probably the first special I memorized. I also loved the SNL Weekend Update character Stefan, which John Mulaney co-wrote. It was the bit that my classmates and I would imitate the most, and I didn’t even know he had written it until years later, when I was old enough to understand that that was a character and not just a very whimsical person.

Who is your favourite comedian now?

Lisa Gilroy.

What is your pre-show ritual?

Gym, tan, laundry and matcha! I don’t drink alcohol or carbonated beverages (can’t wait to look back at that sentence and laugh when it’s not true anymore), so really the only way for me to get loose or lock in is with sugar and breathing exercises. I’m kind of avoidant, so unless it’s a showcase or a particularly important set, I don’t decide what I’m going to say until an hour before. Then, right before the show starts, I repeat the mantra: I love the audience. I’m so grateful to be here. I’m so excited that I get to do what I love in front of these people. If they don’t laugh, I will NOT turn on them and start frantically repeating “ so you guys hate this, eh?”.

What is your favourite place you have performed? Why?

I spent a magical summer in New York training and working at the Brooklyn Comedy Collective. A year later, I went back and performed my solo show Child Star on the mainstage there, with Montessori Boy opening and hosted by Rachel Coster. The skills I learned at BCC and the way that environment encourages you to be the freakiest version of yourself is what gave me the courage to write and perform a show like that. Doing it there in front of the community that had been so welcoming to me was a total full-circle moment.

What is your favourite bit you have written and why were you proud of it?

I have a joke about Steve Jobs (super timely, I know) where I basically say that people made such a big deal about how he wore the same thing every day to maximize productivity, but “what was he wearing before that was so distracting?” It was kind of the first joke I wrote that people would consistently compliment, and it was also the first time I took a joke from one punch-line to a 4-minute bit. Writing that joke felt like I was finally starting to fill out my comedy training bra.

What is your favourite medium for listening or finding new comics/comedians?

YouTube Shorts is kind of fire for finding new people. It’s the only algorithm left that isn’t completely cursed for me. My whole recommended is just Ruby Setnick, Jeff Arcuri and cookie-decorating.

Tell us a joke about your city.

Toronto is full of hypocrites. People complain about safe-injection sites ruining their neighborhood but they’re totally fine with “Fancy Induced Burger.” The real threat to the resale value of your home is a syringe… full of cheese. <3

Where can we follow you?

Instagram | TikTok | YouTube | Threads

PAY IT FORWARD: Who is another local comic/comedian we should know about?

Callum O’Neil makes me laugh endlessly. Both on and off-stage. It’s been said before, but he’s one of the best joke writers in Toronto.

Lily Langen and I do a podcast called Amateurs The Pod. She’s such a hilarious shining star. Her jokes are so raunchy, but she delivers them in such a sweet, cartoonish way that is so endearing.

Sarah Bennett is a refreshing, unique voice in both sketch and standup. She’s mastered an off-kilter, alternative style that a lot of guys in the city try to do, but with half the charm.

Have to shout out my faves in the sketch scene: 24 Double B, Small Friend Tall Friend and Gabe Meacher and Taylor Hreljac, who are putting the whole sketch scene on their backs with Toronto Sketch Comedy.

The post Tragedy Plus Time: Comedian Spencer Glassman appeared first on Toronto Guardian.

Before Toronto was Toronto, and long before it became the city we recognize today, the site now known as St. Lawrence Market was already being shaped into one of its most important civic spaces.

In 1803, Lieutenant Governor Peter Hunter designated a portion of land in the growing settlement of York as a public market block. At the time, York was a small colonial outpost on the northern shore of Lake Ontario, still developing the basic infrastructure needed to support a permanent population. The creation of a formal market space reflected both necessity and foresight. Settlements required reliable access to food and goods, but they also needed a central place where trade, communication, and public life could naturally gather.

Long before formal colonial planning, the broader region was part of established Indigenous trade networks that connected communities across what is now southern Ontario. These exchange systems continued to influence commerce in the area even after the establishment of York, shaping how goods and relationships moved through the region.

As the settlement expanded, the Market Block quickly became one of its most active public spaces. Farmers arrived from surrounding townships with produce and livestock, while local residents gathered not only to trade but to exchange information and maintain social connections. By the 1820s, the market had become essential to the daily functioning of the town, even as it remained informal in structure.

As York transitioned into a more structured colonial town, the need for a permanent market building became increasingly clear.

The First Market Building and Civic Life Above Commerce (1831–1849)

A permanent market building was constructed in 1831. This brick structure extended from King Street toward Front Street and represented one of the earliest attempts to formalize public commerce in the growing city.

The building also played a limited civic role during this period. Upper rooms were used at times for municipal meetings, reflecting the practical realities of a developing town where dedicated civic buildings were still emerging. Rather than a fully integrated city hall, it functioned more as a shared civic space where governance and commerce occasionally overlapped.

This arrangement reflected the early structure of Toronto’s public life, where institutions were still forming and space was used flexibly to meet multiple needs.

That early building did not survive the mid-century fire. In 1849, the Great Fire of Toronto swept through parts of the downtown core and destroyed much of the original market structure along with surrounding infrastructure. The fire marked a turning point in the city’s development and triggered a wave of rebuilding that reshaped the urban landscape.

Rebuilding and Expansion (1850s–Early 1900s)

In the decades following the fire, the market district was rebuilt and expanded multiple times as Toronto experienced rapid population growth and industrial development. The surrounding area became a dense commercial hub, supported by rail lines, shipping routes on Lake Ontario, and an expanding regional economy.

By the late 19th century, the St. Lawrence Market had become a central node in Toronto’s food distribution system. It was no longer only a place for local farmers but a regional marketplace connected to broader supply chains across southern Ontario.

The most significant architectural shift came in the early 20th century, when the South Market building was redesigned into a large covered hall supported by steel trusses. This transformation created a more open interior space designed to improve light, airflow, and circulation. It reflected a broader shift in urban market design toward efficiency and public accessibility.

Rather than a purely functional trading space, the market increasingly became a civic destination, embedded in the daily rhythms of city life.

The South Market as a Civic Constant (1900s–1970s)

Throughout the 20th century, the South Market remained one of Toronto’s most consistent public institutions. While many North American cities replaced traditional markets with supermarkets and dispersed retail systems, St. Lawrence Market retained its role as a central food hub.

Vendors operated across generations, and many families maintained stalls for decades. Customers returned weekly, building routines that became part of the city’s social fabric.

By the mid-20th century, however, the building required significant upkeep, and discussions emerged about whether it should be replaced. These debates reflected a broader tension in postwar Toronto between modernization and heritage preservation.

In the 1970s, the decision was made to restore rather than demolish the South Market. Between 1974 and 1978, the building underwent a major rehabilitation that preserved its historic structure while modernizing its infrastructure. During this period, the former civic chambers were repurposed into what is now the Market Gallery, preserving a visible connection to the building’s earlier municipal use.

This restoration marked an important shift in Toronto’s approach to heritage, helping establish the St. Lawrence Market as one of the city’s most significant preserved civic buildings still in active use.

The North Market and Its Constant Reinvention

Across Front Street, the North Market has followed a very different trajectory.

Unlike the South Market, which evolved within a relatively continuous structure, the North Market site has been rebuilt multiple times over more than two centuries. Different buildings have occupied the site in the 19th and 20th centuries, reflecting shifting commercial needs and changing urban design priorities.

A canopy once connected the North and South Markets across Front Street, reinforcing their functional relationship as a unified commercial district. That connection was removed in the 1950s as automobile traffic increased and the street was reconfigured.

In 1968, a new single-storey North Market building was constructed. While functional, it lacked the architectural presence and flexibility required for a rapidly evolving city. By the early 2000s, it was widely recognized as outdated, and plans were developed for a complete redevelopment of the site.

Archaeology Beneath the Surface (2015–2017)

When the 1968 North Market building was demolished in 2015, the site became subject to mandatory archaeological assessment as part of the redevelopment process.

Excavations uncovered structural remnants from earlier market buildings, along with a range of artifacts including tools, ceramics, and commercial objects from the 19th century. These findings confirmed the long continuity of market activity on the site and provided a clearer picture of its historical development.

The archaeological work was integrated into the construction timeline and documented as part of the redevelopment process rather than functioning as an open public excavation site. Even so, it reinforced the depth of historical layering beneath the modern city.

A Decade of Transition (2015–2025)

Following demolition, market vendors were relocated to a temporary structure at 125 The Esplanade. What was expected to be a short-term arrangement ultimately lasted nearly a decade.

During this period, the market continued to operate, but the absence of a permanent North Market building created a noticeable shift in the district’s spatial identity. The South Market remained active throughout, maintaining continuity for daily operations, while the northern component adapted to temporary conditions.

The redevelopment process experienced delays due to design revisions, procurement changes, and the complexity of building on a historically sensitive site.

The New North Market (2019–2025)

Construction resumed in 2019 with a revised vision for the North Market as a multi-purpose civic building combining public market space, government functions, and improved urban connectivity.

The ground floor was designed as a flexible market hall intended for farmers’ markets and community programming. Above it, provincial court facilities were incorporated into the structure, reflecting a modern approach to civic integration within dense urban space.

The building also includes improved pedestrian circulation, underground parking, and stronger physical connections between Front Street, Market Lane, and the surrounding district. Its design emphasizes transparency and openness through extensive use of glass and natural light, marking a clear shift from the heavier institutional architecture of its predecessor.

The 2025 Opening and a Return to Function

In 2025, the new North Market officially opened, restoring a permanent home for the Farmers’ Market after years of temporary relocation.

The reopening marked a significant moment in the long redevelopment process, re-establishing the northern component of the St. Lawrence Market complex while maintaining continuity with its historic function.

The South Market continued uninterrupted throughout this period, reinforcing its role as the long-standing anchor of the district.

The Market Today

Today, the St. Lawrence Market complex consists of the South Market, the newly rebuilt North Market, and the adjacent St. Lawrence Hall. Together, they form one of Toronto’s most historically layered and continuously active civic districts.

The South Market remains a daily destination for food, culture, and community life. The North Market now supports weekend markets and civic programming, while the surrounding area continues to evolve as a key public space within the city.

What makes St. Lawrence Market remarkable is not simply its age, but its continuity of purpose. For more than 200 years, it has remained a place where people gather to trade, connect, and participate in the life of the city.

It has changed shape many times, but it has never stopped being a market at the centre of Toronto’s civic identity.

Check out some of the photographs we found on the Toronto archives to see the changes to the St Lawrence Market and neighbourhood over the years. For more images, be sure to check out the archives here.

The post The History of the St Lawrence Market in Toronto appeared first on Toronto Guardian.

When Bonggun moved to Canada, he didn’t arrive with a five-year plan or a safety net. He arrived with curiosity, work ethic, and an ability to see the absurd in everyday life — especially when cultures collide. Comedy didn’t just become a career choice; it became the most natural way for him to make sense of the world.

I’ve watched him take comedy seriously in a way most people don’t expect. He studies it, rewrites obsessively, performs constantly, and somehow stays humble through all of it. He’ll joke about not knowing what he’s doing, but behind the scenes, he’s disciplined, focused, and stubbornly committed.

What makes Bonggun stand out is that his comedy isn’t loud or forced. It’s thoughtful, sharp, and rooted in real experience. He makes people laugh first — then realize they’re seeing something from a perspective they hadn’t considered before. Watching him grow, it’s clear this isn’t a phase. This is exactly where he’s supposed to be.

***

Which ’hood are you in?

York — currently spreading the smell of kimchi day by day to make the neighbourhood more Korean and Asian.

What do you do?

Stand-up comedy, creating seriously funny content.

What are you currently working on?

I am currently creating interview-style comedy content built around a reverse-interview format. The premise sets up an expected, normal answer, then intentionally subverts it with an unexpected or absurd response that often bridges cultural perspectives. This minimal, direct approach aligns with my comedy style — saying exactly what needs to be said, without over-explaining, and letting the simplicity make the joke stronger.

Alongside content creation, I am touring consistently across Canada. This year, I am focusing on developing my material more thoroughly with the goal of building a full one-hour set and filming my first comedy special.

Where can we find your work?

Everything can be found here.

The post “A Day in the Life” with: Performing Artist Bonggun Kim appeared first on Toronto Guardian.

Describe your charity/non-profit/volunteer work in a few sentences.

RISE Edutainment is an artist-led, community-rooted non-profit founded in Scarborough on April 16, 2012, serving the Greater Toronto Area. For 14 years, RISE has existed as a safe and accessible space where youth and emerging artists can express themselves, connect with others, and contribute meaningfully to their communities.

RISE is more than the artists we platform. It is the audiences who show up, the volunteers who help our events and programs run, and the staff we are intentionally building into a passionate, values-driven team. For many people, RISE is the only place they feel they belong. Whether someone is performing, listening, volunteering, producing, or supporting behind the scenes, there is room for them to participate in ways that feel purposeful and affirming.

What began as a weekly open mic has grown into a full community arts and service agency with local and global reach. To date, RISE has existed for 13 years, hosted over 600 live events and 185 virtual events, for a total of more than 785 events. In 2025 alone, we produced 50 events, platforming 198 artists, and creating over 3,000 paid opportunities for emerging artists.

Across our lifetime, RISE has paid approximately $1.98 million in artist fees, including $106,000 paid last year. We have engaged more than 900 program participants, impacted over 4,600 youth through our programs, and reached more than 30,000 people we refer to as intelligent souls. These numbers reflect a community that is alive, growing, and deeply invested in collective well-being.

What problem does it aim to solve?

RISE exists to address systemic barriers to creative opportunity. Many artists have talent but lack access to mentorship, professional networks, industry exposure, funding pathways, and paid performance opportunities. These barriers disproportionately affect Black, racialized, marginalized, and underserved communities across Scarborough and the GTA.

RISE builds infrastructure where artists can practice, be seen, be paid, and grow. We create pathways from community stage to professional platform, while also strengthening the cultural fabric around them.

When did you start/join it?

I joined RISE in September 2012 as an audience member at the weekly RISE Open Mic, which launched earlier that year on April 16, 2012.

What made you want to get involved?

For me, accessibility to the arts was not a given growing up. Creativity was not something we could prioritize when survival came first. That reality is shaped by colonial systems that have historically limited access to resources, education, and creative freedom for many communities. When your energy is focused on making it through, expression often becomes a luxury instead of a right.

RISE became the place where I finally experienced what accessible arts could look like. A space where you did not need money, credentials, or permission to show up. That access mattered. It allowed me to stay connected to creativity at a time when I felt disconnected from myself and my future. It gave me a place to exist, to listen, and eventually to speak.

This work goes beyond performance. What we are doing at RISE actively helps dismantle systems that silence people by creating safe spaces to voice lived experience. Through art, people bring awareness to their mental health, their realities, and the policies that impact their well-being. Expression becomes a bridge between the inner world and the public sphere.

We support artists, we often call artivists because culture moves before policy. Art helps people process internal chaos, release suppressed emotion, and cultivate inner peace. That inner transformation is essential. When people are less overwhelmed internally, they are better able to engage externally, advocate for themselves, and contribute to meaningful social change.

By keeping barriers low through free and pay-what-you-can events, RISE ensures that access is not limited to those with financial privilege. At the same time, we call on those with resources to invest in this work. Supporting community-based arts is not charity. It is an investment in a healthier society where people are self-actualizing, emotionally supported, and empowered to shape the world they want to live in.

This is how systems shift—not only through policy, but through people who feel seen, heard, and whole enough to imagine something better.

What was the situation like when you started?

When I first joined in 2012, RISE operated as a weekly open mic held every Monday. It was one of the most consistent and accessible creative spaces in Scarborough and across the GTA, welcoming both artists and audience members at all stages without gatekeeping.

At the time, Scarborough and Toronto were experiencing high levels of violence, negativity, and instability in many communities. There were limited spaces where young people, especially those from marginalized backgrounds, could gather safely and express what they were going through.

RISE became that space.

It was a place where we could channel our lived experiences into art instead of harm—a place where we kept each other safe, physically and emotionally, by pouring our energy into creativity, connection, and community.

People came from all over the GTA—Brampton, Mississauga, North York, Ajax, Pickering, Oshawa, and beyond—because there was nothing else like it. It was alive, collective, and necessary.

For me, being an audience member became a bridge. Even when I felt lost, showing up kept me connected to the arts until I was ready to take the next step.

How has it changed since?

Today, RISE has grown into a multi-faceted arts organization that has reached over 30,000 people while staying rooted in its original purpose of creating accessible, culturally relevant spaces for expression and connection.

What began as a platform for creative self-expression has evolved into a foundation for ingenuity and entrepreneurship. We are not only creating spaces for artists to perform—we are creating pathways for them to build sustainable careers. We have developed artist development programs, taught skills like grant writing and fundraising, and created employment opportunities within the organization itself. My own career has been built through this work, directing projects and strategy to sustain and expand what we have created.

What started as an open mic has grown into a full ecosystem.

We now facilitate programs in schools, hospitals, community spaces, and on stages across Canada and internationally, taking artists to places like the UK, Jamaica, Hawaii, and Los Angeles while continuing to build strong local impact.

RISE stands for Reaching Intelligent Souls Everywhere, and that intention continues to guide us. Through edutainment, we use art as a tool to educate, connect, and empower.

At its core, the spirit of the open mic is still present. It has always been more than a stage—it is a space to think out loud, to transform lived experiences into expression, and to turn barriers into building blocks.

Now, we are seeing those ideas take form. Artists are building careers, launching initiatives, and creating their own spaces, continuing the cycle of impact.

What has changed is the scale.

What has remained is the purpose.

What more needs to be done?

We need deeper, sustained investment in artists and the ecosystems that allow communities to thrive.

During the pandemic, artists were relied on for connection, healing, and truth-telling. There was a renewed appreciation for the arts, but that momentum is fading—even as more artists continue to emerge.

Access must remain central. Audiences need real entry points, which means keeping barriers low. This is why RISE prioritizes free and pay-what-you-can programming. When cost is not a barrier, community shows up.

At the same time, artists need to be paid. They need professional opportunities, mentorship, and consistent platforms to grow and sustain themselves.

We also need policy shifts that recognize the value of investing in the arts at all levels. This includes offering tax incentives not only for charitable donations, but for individuals and businesses actively supporting artists, cultural programming, and creative production.

Beyond funding, we need stronger pathways for artists to enter spaces of influence, including politics and public leadership. Positions such as Poet Laureate should be expanded across more regions, creating opportunities for artists to shape cultural policy and public dialogue.

We also need greater recognition of spoken word and poetry as foundational practices within the music industry. These art forms should be acknowledged and uplifted within major awarding bodies, including platforms like the Junos, as integral to how music is written, performed, and experienced.

What is needed now is not just funding, but intentional investment—investment in spaces, in programming, and in people. Investment that recognizes the arts not as an extra, but as essential infrastructure for healthy, connected communities.

When we support artists, we support healing. When we support audiences, we build community. When we invest in both, we build the future.

How can our readers help?

Readers can support RISE in a number of meaningful ways.

You can attend events by accessing tickets through the website and showing up as an engaged audience member. You can join the volunteer roster and contribute your time and skills to support programs and initiatives.

You can also share RISE’s work across your platforms to help reach more people, or partner on events and community activations. Partnership can take many forms—sponsoring food, providing space, or contributing resources that help create meaningful experiences.

If you are skilled in a creative field such as photography, videography, or production, you can donate your time and talent to document the work while building your portfolio. You can also contribute by leading or donating workshops in artistic expression or creative industries.

There are also opportunities for brands and businesses to partner by activating at events, showcasing products or services, and connecting directly with audiences both in person and online.

Support can also come through giving—donating items to raffles, providing tickets for community members, purchasing blocks of tickets for underserved youth, buying merchandise, or offering financial contributions that allow programs to expand and ensure artists are paid.

Every form of support helps create more access, more opportunities, and more impact through the arts.

Do you have any events coming up?

Yes, several events are coming up. Monthly open mics are hosted in partnership with community organizations across the city. Check out our website for more info.

Where can we follow you?

Website | Instagram | Facebook | YouTube | Newsletter

PAY IT FORWARD: What is an awesome local charity that you love?

Vibes Arts. They have supported RISE Edutainment by providing charitable infrastructure that allows the organization to receive donations in support of its programming. Their commitment to arts access and community-led cultural development has played an important role in strengthening RISE’s impact and sustainability.

The post Charitable Choices: Elle de Lyon of RISE Edutainment appeared first on Toronto Guardian.

Chloe forms strong bonds with the people she trusts and has a gentle, affectionate nature. Like many dogs, she appreciates being given a little time and space when meeting unfamiliar men, and does best with slow, thoughtful introductions that help her feel comfortable.

She is generally comfortable seeing other dogs out and about, though she tends to prefer her personal space and may not be interested in socializing with them directly. She has also shown that some of her favourite toys are pretty special to her, so her future family should be mindful and respectful around valued items.

Chloe has been very sweet with children and enjoys their company, but because she is a large dog who values respectful interactions, any kids in the home should be mature and considerate, with supervised interactions to help everyone feel comfortable and safe.

Her ideal home would be quiet, predictable, and low-key – the perfect place for her to relax, feel secure, and be loved for the wonderful dog she is.

Chloe

Breed: Mixed Breed, Large (over 44 lbs fully grown), Mix

Age: 8 years

Sex: Female

Size: L

Colour: Brown / White

Spayed/Neutered: No

For Toronto Humane Society’s complete adoption process, please click here to learn more about how you can make this companion, a forever friend!

About this column:

Each week we feature animals available for adoption from local shelters in the Toronto area with the hopes that our readers will assist in finding good homes for them. If you, or someone you know, has the resources to take care of one of these animals, please do get in touch with the appropriate shelter via the links provided.

The post Chloe the dog is looking for a new home in the Toronto area appeared first on Toronto Guardian.