As always, the main selling point for us, across the entirety of the United Britain of Great Kingdom, is London. Whether it’s the culinary scene, the historic sites, the wonderful architecture, or the overwhelming amount of arts and cultural activities to choose from, there’s something for everyone.

If you’re one of the 1 million (perhaps more!) Canadians contemplating a London trip in the coming months, read on for our highlights of London’s new cultural season.

London is known for its blockbuster art exhibitions, and this year is no exception. Over at the Tate Modern, Expressionists: Kandinsky, Münter and The Blue Rider showcases the groundbreaking art movement, featuring works from the title artists alongside familiar names such as Paul Klee and August Macke. But while Kandinsky might be the title draw, we were especially impressed by the works of Franz Marc – whose extraordinary tiger graces the exhibition poster – and the unusual, highly stylized works of long-forgotten Marianne Werefkin, one of several female artists getting overdue recognition in this exhibition. Expressionists is on now until October 20, 2024, soon to be followed by the first-ever major UK exhibition of Mike Kelley, the mixed-media artist known for his strident commentaries on popular culture.

At the National Gallery – whose free admission, 2,300-work collection remains unparalleled – the undisputed highlight is Van Gogh: Poets and Lovers, running now until mid-January 2025. While not quite on the scale of, say, the Rijksmuseum’s ultra-successful Vermeer exhibition last year, the Gallery’s Van Gogh exhibition is a major moment, celebrating the Gallery’s bicentennial with some of Van Gogh’s greatest works borrowed from collections public and private across the world. Highlights include the Starry Night over the Rhône (on loan from the Musée d’Orsay), The Yellow House (Van Gogh Museum Amsterdam), and a host of views of Arles, where Van Gogh spent his final years. Upcoming National Gallery exhibitions include Discover Constable and the Hay Wain (October 17, 2024, to February 2, 2025) and the milestone exhibition Siena: The Rise of Painting (March 8, 2025 – June 22, 2025), following its debut at New York’s Metropolitan Museum of Art.

London’s West End – the British equivalent of New York’s Broadway, but with more Harry Potter actors – is home to the obvious (the umpteenth remount of Mamma Mia! or The Lion King) and the exceptional (David Oyelowo currently starring as Coriolanus at the National Theatre, Tom Stoppard’s masterpiece The Real Thing on now at the Old Vic). On our most recent trip, we had a chance to check out shows in both categories, to mixed results.

In the former category, the brand-new Stranger Things: The First Shadow – from the same team behind Harry Potter and the Cursed Child, and boy does it show – is precisely what you’d expect from a TV tie-in which prioritizes spectacle over storytelling. The First Shadow is the second show we’ve come away from in as many years where the special effects knocked our socks off, but the atrocious writing felt like an assault on our ears, as if a telekinetic pre-teen just walked in the room. That said, Things diehards will find something to enjoy here, provided you can turn off the timeline/canon part of your brain for this continuity-breaking prequel.

Exceptional theatre abounds in London, however, and Theatre Royal Haymarket’s newly opened remount of Samuel Beckett’s Waiting For Godot is a case in point. Starring the ideal pairing of Lucian Msamati (who you might recognize as Salladhor Saan from Game of Thrones) and Ben Whishaw (Q in the recent Bond films; also, sigh, the voice of Paddington in the recent CGI outings), this Godot aims more for the jocular than the jugular, sacrificing some of Beckett’s weightier themes for the sake of laughs. Still, Beckett’s play has always worked on the borderline that is tragicomedy, and any production which features Whishaw – surely one of the finest actors of his generation – uttering the immortal line, “We are not saints, but we have kept our appointment”, is an instant must-see. (Side note: do yourselves all a favour and watch Whishaw’s breathtaking Richard II.)

Perhaps most importantly, the new opera season is now underway at Covent Garden’s Royal Opera House, kicking off with spectacular productions of Mozart’s Nozze di Figaro (1786) and Verdi’s La Traviata (1853). Figaro is a perennial favourite around these and any parts, combining exquisite music, uproarious comedy, delicious irony, and a healthy dose of optimism about humanity (in a libretto where even the villain comes out looking pretty good). Soprano Ying Fang excels as Suzanna, while Luca Micheletti is an excellent Figaro alongside Huw Montague Rendall’s villainous Count Almaviva (who, in Rossini’s Barber of Seville, was the romantic hero!)

If anything, ROH’s La Traviata was even better than the last time we saw it, with Hrachuhí Bassénz’s heart-rending performance as central character Violetta matched by Ismael Jordi’s take on her paramour Alfredo Germont, here a half-romantic, half-bonehead whose stark cruelty towards Violetta reaches its apex in the show-stopping Act II Finale. This production, conceived by Richard Eyre all the way back in 1994, remains one of the best we’ve ever seen, with stunning set design and a sense of place that suits the narrative well. Legendary British baritone Simon Keenlyside nearly steals the show as Germont’s father, who appears at two critical moments to out-sing and out-act everyone else on stage. Upcoming ROH productions include Tchaikovsky’s sublime Eugene Onegin (through October 14, 2024), Beethoven’s Fidelio (October 9-26, 2024), which we loved so much in its recent COC production here in Toronto, and Poor Things blueprint The Tales of Hoffman (November 7, 2024 – December 1, 2024).

Last but certainly not least, a trip to London would be incomplete without dropping in on our friends at immersive theatre powerhouse Punchdrunk Theatre. You can read our thoughts here about Punchdrunk’s latest, Viola’s Room – which, like Godot, centres its action around the rise and fall of the moon –  but suffice it to say this new show is another worthy entry in the immersive canon – and with an audience of six or less, to boot!

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For more travel tips on the best in arts and culture, check out our features on Japan and New York.

The post Poets, Lovers, and the Moon: A Guide To London Arts and Culture 2024 appeared first on Toronto Guardian.

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

Toronto Fringe is a grassroots, charitable organization that runs the Toronto Fringe Festival each July, the Next Stage Theatre Festival now in October, and various year-round programs that benefit youth, artists, and the theatre community at large. Embedded in Fringe’s operations are the values of Access, Accountability, Creativity, Exploration, and Support.

Toronto Fringe is a creative match-maker, connecting artists with audiences, and empowering everyone to unleash their artist within. Toronto Fringe creates vital opportunities for both emerging and established artists to produce their work with complete artistic freedom while making productions as affordable and accessible as possible.

What problem does it aim to solve?

The Toronto Fringe is a platform for everyone to access, discover, and experiment with the arts. This is especially important in today’s social and economic climate because we are offering heavily subsidized opportunities for new artistic voices while keeping ticket prices low (all under $20!) for audience members. In addition, we are helping create entrepreneurial training and paid work experience for these artists – and they take home 100% of the box office profits! By valuing creative experiences for artists and audiences alike, we contribute to a healthy arts economy and, ultimately, a thriving society.

In addition to our main festival programming, we also run our KidsFest Club offering free family entertainment daily at St. Volodymyr Institute, teen workshops, a kids day camp, our Theatre Entrepreneurs’ Network & Training (TENT) program, our New Young Reviewers training program, a speakeasy with weekend programming, and the Fringe Patio at the Tranzac with free community arts activations running daily. We strive to welcome as many different community members to experience the benefits of the arts every summer. There’s something for everyone at the Fringe!

When did you start/join it?

I joined as Executive Director and Co-Lead just this past January, so this will be my very first annual cycle of both festivals! I’m looking forward to kicking off our Toronto Fringe Festival this July 3-14th, with our launch party on July 2nd at the Fringe Patio. During these exciting 12 days, we will have 77 shows inhabiting 16 venues across the City of Toronto. To say I am excited is an understatement. I am positively buzzing and deeply humbled to be a part of this team alongside our Co-Lead and Managing Director, Laura Paduch.

What made you want to get involved?

Toronto Fringe has touched the careers of almost every theatre and performing arts professional here in Toronto. Ask any of them! It’s astounding to hear all of the industry stories of folks who #StartedAtTheFringe. I did my very first professional production over a decade ago at the Toronto Fringe Festival, and I have stayed involved as a mentor, community member, producer, and avid audience member ever since. Fringe has an essential and unique place in the career trajectories and hearts of arts professionals in Toronto and beyond. But even those who are not creators have probably been touched by the Fringe – for example, you might have enjoyed smash hit Canadian TV shows like Kim’s Convenience, or ‘da Kink in my Hair… did you know they started as shows at the Fringe? Even the creators of the smash musical Come From Away did their very first musical here on our stages.

The impact of the Toronto Fringe is palpable in every corner of the creative sector and on audiences from near and far. I couldn’t be more proud to be involved with this work, and I invite you to come get involved too!

What was the situation like when you started?

Fringe Festivals exist across North America and the globe because the performing arts have historically been notoriously hard to break into, especially for those of us seeking to build stable careers and create community impact through the arts. Without the Toronto Fringe Festival and the opportunities it offers, artists looking to put on their first show or try out a new idea would carry the burden of paying for a multi-week venue rental, technicians, box office, front-of-house and marketing materials on top of their artist fees for rehearsals and performances. This very quickly runs up thousands of dollars in costs before tickets can even go on sale – which is of course not a stable model for artists to take risks and build their entrepreneurial prowess. This is also why we see the cost of attending live arts increasing in recent years – it is simply too expensive to put on independent theatre shows without burdening the audience with offsetting some of those overhead costs. Unfortunately, this means that many families and individuals have historically been priced out of being able to experience the magic of live performances.

This is where Fringe has come in as a solution. We have the unique ability to create pathways for collaborating and subsidizing these costs for our artists, allowing ticket prices to remain as some of the most affordable audience opportunities in the city!

How has it changed since?

By offering greatly subsidized theatre rentals, box office, front of house and marketing for all of our shows, we are taking the financial and administrative burden off of artists who are looking to debut new work on stage. We have a mandate to provide accessible theatre experiences, by every definition of the word. This means that on top of making the experience of creating or attending a show financially affordable, we also ensure that all of our shows are happening in physically accessible performance spaces. We want to make sure that we help close the gap on those who are left out of these essential cultural experiences, and open our doors to as many different voices and identities as possible.

Truly so many artists in Canada have been welcomed to the professional performance world by way of Fringe Festivals from coast to coast. Toronto Fringe is proud to be a part of that history and a part of helping to create change by training up-and-coming arts professionals with best practices and healthy processes for creating within the industry. In recent years we have added programs to increase physical access and overall well-being through our partnership with the Disability Collective, we have hired Active Listeners and provided de-escalation training so that we can have our staff and volunteers ready to help with community members who may need assistance or support, and we have created KidsFest and our Kids Day Camp so that families in our artistic community and beyond can access affordable childcare and children’s cultural activities during the Toronto Fringe Festival.

What more needs to be done?

I believe that further collaboration is needed, to ensure that Toronto Fringe can continue to afford to subsidize and create these opportunities within Toronto. As our organizational and operational costs continue to rise, so do the needs of our artists who count on ticket sales in order to earn a fair wage during the run of their shows, and we don’t want to fall into the trap of having to increase our ticket costs beyond an affordable price, in order to help offset these needs. As it stands, less than 10% of our costs are covered by all 3 levels of government funding combined, so we rely heavily on additional grant writing, fundraising, and sponsorships in order to continue offering this vital programming. But with the recent financial challenges facing companies and individuals across the country, we are seeing that relying on individual and corporate support is also not sustainable.

Toronto Fringe is currently looking at different models which we think might benefit our audiences and artists as well as our operational stability, and we look forward to piloting a few of those ideas in the coming years.

How can our readers help?

This year we are highlighting three ways that community members can help us out:

– Support the artists by buying a ticket (this revenue will go directly to the artists in the show!)

– Support the Fringe with a one-time donation (every dollar helps!)

– Support the future with a monthly donation to the Toronto Fringe (reoccurring donations help us plan for the future and will help us plan for our 2025 programming)

Do you have any events coming up?

Toronto Fringe Festival is hosting our Launch Party this July 2nd at the Fringe Patio at the Tranzac (292 Brunswick Ave), and the festival runs from July 3rd to 14th at venues across the city!

Then we will be back in October with our smaller, curated Next Stage Theatre Festival at Buddies in Bad Times Theatre from October 16-27, 2024.

Where can we follow you?

Facebook | TikTok | Instagram

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

Toronto Neighbourhood Centres is doing incredible work in supporting communities in Toronto. Rob and Sree are endless wells of knowledge and generosity, and we are lucky to have them here in the City.

The post Charitable Choices: Rachel Kennedy of the Toronto Fringe Festival appeared first on Toronto Guardian.

What is your channel called and what is it about?

My podcast is called The ʔasqanaki Podcast and it is a seven-episode series on Indigenous literature and music.

When did you start it? What motivated you at the beginning?

This project started in 2021, and to be honest, my motivation was meeting amazing collaborators, G.R. Gritt and Krystal Strong. I have always wanted to do a podcast but didn’t have the skills to do sound design and editing myself, and I also wasn’t sure where to start. Producer Krystal supported in grant writing and later project management, and G.R. Gritt was our incredible audio engineer, sound designer, and technician! Without their expertise, it would still be just an idea!

Who were you inspired by? Any influences?

Growing up, my dad always used to say he believed I would be on CBC radio someday. Most of my inspirations come from there- Rosanna Deerchild, host of Unreserved, and the late Candy Palmater of The Candy Palmater Show. I also love non-Indigenous interviewers like Tom Power of Q, and the original VeeJay, George Strombolopolis who I got to know from many years of watching MuchMusic!

How would you describe your audience?

I believe that my intended audience is Indigenous people looking to see their own stories reflected, and non-Indigenous people who are hoping to learn something new. People experiencing adoption, grief, and/or coming “out” as queer and trans will also resonate with the series. I hope my audience is as diverse and unique as our guests!

What is your creative process? Do you have people who work with you?

My creative process has often been solo, and for the content creation, that remained true in this project. For every other part of the show, however, we worked in collaboration. The conversations are all influenced by the guests on the show, and the show sounds so beautiful because of G.R. Gritt, whose music makes me cry every time I hear the podcast intro. It’s been an honour to work with our team and create this series!

How do you monetize your content? Do you also have another job?

This seven-episode podcast was funded generously by the Canada Council for the Arts. Outside of that, I have multiple other jobs as a speaker, facilitator, consultant, educator, poet, and emerging playwright. Most artists will tell you that in the gig economy, we do it all to make ends meet, but I should also say that I love having my job be different every day, and I don’t think I would be happy in a single position with a 9-5 work week.

What is your favourite piece of content you have created?

Oh my gosh! It’s so hard to pick just one episode, so instead I will say listen to the whole podcast! I think my favourite piece of content associated with the work, however, is something that some people might not access, which are the love poems I wrote to each guest that can be found on my website. Here, if you scroll to near the bottom of this page, you’ll see the “found” poem I wrote based on the transcripts from my episode with G.R. Gritt-there are poems for each episode that you can find on each episode webpage!

What is the best part about what you do? What is the worst part?

The best part of what I do is to be able to share brilliant Indigenous art with the world and highlight these incredible artists and musicians, sharing them to folks who may not have known they existed before the podcast!

The worst part of the work is ensuring we meet the deadlines and keeping on top of things like budgets and schedules. I would prefer to be doing the creative work all the time, and having fewer administrative tasks, but overall, we need the emails sometimes to make the work happen!

What are your future plans for your channel?

Right now I’m going to continue to share the 7-episode series, which I hope will be season one. We are currently looking for funders and applying to opportunities to look into producing a second season, but I am not in a rush because this content took so much love and care that I’d like it to go a bit further before we get into a new season.

Where can we follow you?

Instagram is the best place to see what I’m up to!

PAY IT FORWARD: What is another Canadian content creator that you love?

I love following Chelazon Leroux – we collaborated with her on a TikTok for this podcast, and she makes me laugh at every post!

The post My Digital Life: Smokii Sumac and The ʔasqanaki Podcast appeared first on Toronto Guardian.

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

Villa Charities Inc. (VCI) is a registered charity and non-profit organization that enriches lives through experiences and services that honour Italian culture and heritage. For more than 50 years across the GTA, Villa Charities Inc. has provided cultural and educational programs and supported culturally sensitive long-term care and independent living apartments for seniors.

What problem does it aim to solve?

The idea for Villa Charities Inc. stemmed from the concept of ‘community’ for Italians and their families, and the need to provide high-quality, culturally sensitive residential care for elderly Italians.

Originated in 1971, VCI has been instrumental in connecting lives through intergenerational experiences and services that honour and celebrate all things Italian. The organization began as the Italian Canadian Benevolent Corporation (ICBC) with a mission to raise funds for and develop, administer and coordinate projects in the health, social, cultural and educational fields, which would establish the concept of ‘community’ for Italian-Canadians and their families.

We fulfil our mandate through a broad range of activities, services and facilities, both directly and in conjunction with our affiliates and independent organizations. Affiliates include Columbus Centre and Joseph D. Carrier Art Gallery; Villa Colombo Homes for the Aged Inc. in Toronto; Villa Colombo Seniors Centre (Vaughan) Inc. Di Poce Centre; and Italian Canadian Benevolent Seniors Apartments Corporation/Casa Abruzzo Benevolent Corporation with apartments for independent seniors (Caboto Terrace, Casa Del Zotto and Casa Abruzzo). Each of these organizations is an integral part of the Villa Charities family with separate legal status and its own governance Board.

When did you start/join it?

I joined Villa Charities as Chief Financial Officer in March 2017. Four years later, I was honoured to be appointed President and CEO, in September 2021.

What made you want to get involved?

I have been involved with Villa Charities all my life. I live in the neighbourhood and visited the Columbus Centre often when I was growing up. My children also participated in the programs and services offered by Villa Charities.

Now, in my leadership position, I am committed to sustaining our organization’s great legacy and advancing our strategic priorities, with a focus on the pillars of community, fundraising and stewardship. I am actively engaging members of our community in this work by ensuring that I am highly visible, approachable and available to discuss issues important to them, whether large or small.

What was the situation like when you started?

When I began my role as CEO in 2021, it was during the second year of the pandemic. Villa Charities was continuing to adapt our programs and services to the ever-changing conditions and striving to deliver them safely and effectively. Due to COVID-19, like other organizations, we had to develop a broad range of online programming and content, so that we could continue to connect with the Villa Charities community in new ways.

We were also strongly committed to the safety and well-being of our most vulnerable population, the seniors in our apartment buildings, and provided many support services and resources during that time.

That year we also proudly celebrated Villa Charities’ 50th anniversary, on April 15, 2021. To commemorate this momentous occasion, we hosted a series of virtual initiatives and programming throughout the year honouring our organization’s rich history, recognizing the Italian-Canadian community’s significant contributions to Canada, and exploring how VCI will continue to serve the community long into the future. While the commemorations were largely virtual due to the pandemic, we took great delight in celebrating our achievements over the past 50 years and engaging our GTA community.

How has it changed since?

Since we emerged from COVID-19, the organization has been revitalized, with the Villa Charities community returning to the campus to participate once again in all the programs and services we have to offer.

Villa Charities continues to provide cultural and educational programs for all ages while supporting culturally sensitive long-term care and independent living apartments for seniors across the GTA. In so doing, Villa Charities recognizes the significance of and honours the many Italian immigrants who helped build the city of Toronto and surrounding metropolitan areas.
Our campus will continue to serve as a destination not only for the multigenerational Italian Canadian community, but also for the vibrant, broader multicultural community seeking to explore and experience Italian culture and heritage.

What more needs to be done?

As a registered charity and non-profit organization, programs and services at Villa Charities are made possible only through the generosity of our donors, sponsors, patrons and community partners.

It is important that we continue to grow and adapt to the needs of the ever-changing and diverse community around us. One of Villa Charities’ strategic priorities is to be a leading provider of Italian and Italian-Canadian culture and heritage programs in the Greater Toronto Area. If we can provide quality programs, we will remain relevant to not only first-generation Italians but also the second, third and fourth generation Italian Canadians and the community at large.

At the same time, we will continue to expand our partnerships and affiliations with Italian and non-Italian organizations that are aligned with Villa Charities’ mission, vision and values.

I look forward to working alongside our Board, Executive team and staff, and to incorporating the insights of our patrons, partners, community members and other stakeholders as we continue the work of positioning Villa Charities for our next 50 years.

How can our readers help?

There are many ways the community can get involved. They can participate in our broad range of programs and services; support us through our fundraising events and initiatives including our annual Giro Cycling Fundraiser, and the national Villa Charities Scholarship Program; or become a monthly Villa Charities Circle donor.

For anyone whose family members or loved ones immigrated from Italy, the Villa Charities Italian Canadian Immigrant Tribute project is the perfect way to celebrate their immigrant experience while supporting Villa Charities.

Do you have any events coming up?

We have ongoing cultural and fundraising events, classes and workshops and other programs for all ages and interests.

Villa Charities is also currently in the planning stage for the upcoming renovation of Villa Colombo Toronto. The 266 Class B beds in the Fusco wing of the long-term care home will be upgraded to meet the legislated Class A standards required by the Ministry of Long-Term Care.

An important initiative for the organization is the Villa Charities Italian Canadian Immigrant Tribute project, a nationally recognized destination to honour Italian Canadian immigrants and their families.

Located at Toronto’s iconic Columbus Centre on the Villa Charities campus, the installation will feature up to 5,000 plaques inscribed with the names of Italian immigrants who journeyed to Canada to begin a new life. The tribute installation will be surrounded by a bronze casted art piece, as well as a seating area.

Purchasing a plaque also means donors can share their family’s immigration journey online by submitting a brief family history and up to four images, to appear on the Immigrant Map at Villa Charities Immigrant Tribute. This collection of immigrant stories is an engaging digital library to explore and learn about the shared experiences of the Italian Canadian community across the country.

Name plaques are available for purchase through Villa Charities Foundation. Proceeds will support programs and services offered by Villa Charities such as senior care, cultural programming, scholarships and youth services, and capital needs. For more information, visit the website, email or call 647-951-9874.

Where can we follow you?

Website | Facebook | Instagram | LinkedIn

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

Non-profit partner organizations that we highly regard for their promotion of Italian culture and heritage are the Italian Chamber of Commerce of Ontario of Canada (ICCO Canada) and the Italian Contemporary Film Festival (ICFF).

The post Charitable Choices: Marco DeVuono of Villa Charities Inc. appeared first on Toronto Guardian.

What is your business called and what does it do?

HomeCourt is a new, much-needed arts and culture space in the heart of downtown Toronto. The multifunctional venue, which is located by the iconic Ossington Strip, is ideal for discussions, workshops, photography and videography, events, pop-ups, and more. It’s a blank canvas, filled with all the gear, amenities, and open spaces for anyone to create and make it home.

What made you want to do this work and what problem did you want to solve with the business?

As urban space has become increasingly scarce and difficult to access for creatives in this city, we have seen the need for spaces and programs that support shared experiences, community building, and creative work. HomeCourt was created to make space for the next generation of artists, brands, and creators to show the world what they do best.

To further support this mission, HomeCourt has also announced the HomeCourt Artist’s Residency, a bi-annual program that aims to support and provide resources for the next generation of artists and creatives. Each selected resident will receive peer-to-peer guidance from a team of professional advisors from across the arts industry, as well as access to industry tools, and use of the HomeCourt space for creation and exhibition.

Who are your clientele/demographics?

HomeCourt is geared towards the creative community—we’ve hosted makers’ markets, cultural nights, panel discussions, and more! It’s open to anyone looking to make space for their work and community.

How does your business make money? How does it work?

We customize rates and packages based on each individual event or project in the space. Reach out to us at hello@thisishomecourt.ca to learn more about our pricing.

Where in the city can we find your profession?

HomeCourt can be found at 178R Ossington Ave. For us, it was a no-brainer to open HomeCourt around Ossington. It’s literally been named one of the coolest streets in the world, and this stretch truly offers something for everyone. It’s a place for connection and collaboration. As creators ourselves, we know that the inspiration and vibe on Ossington is palpable and fills the alleys that surround it.

What is the best question a prospective customer could ask a member of your profession when comparing services? Give the answer as well.

How customizable is the space, and how can I “make it home”?

HomeCourt is fully customizable. The open-concept, accessible hard loft space has high ceilings and lots of natural light to encourage and support creative production. A stocked kitchen, in-house audio and visual system, breakout meeting rooms, and a customizable LED light display allow for fully bespoke experiences within the space.

What is the best part about what you do? What is the worst part?

We love seeing ideas come to life in the space! I can’t think of the worst part—it’s pretty rewarding to see people realize their creative vision.

Where can we follow you?

You can visit our website and follow us on Instagram and Tiktok!

PAY IT FORWARD: What is another local business that you love?

It’s so hard to pick (there are so many awesome businesses on Ossington), but we’d have to go with Mint, an integrated creative agency and the minds behind HomeCourt.

The post Homegrown Business: Jordan Fogle of HomeCourt appeared first on Toronto Guardian.