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Rebel Without a Kitchen’s Matt Basile brings fun back to the sandwich

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Where’s the craziest place you’ve ever eaten? What about the craziest place you’ve ever made food? Rebel Without a Kitchen (premiering tonight on Travel+Escape) might have you beat. Whether it’s from his temperamental food truck Priscilla, or off collapsible card tables, get ready to take on underground food markets, overnight bush parties, street corners and over-the-top private events with the boisterous Fidel Gastro, a.k.a. Matt Basile.

Martha Marcin: Do you prefer Matt, Fidel or El Presidente?

Matt Basile (or is it Fidel Gastro?): My mother would kill me if I were called anything other than Matt, so we’ll go with Matt. (Laugh)

How did you come up with the name Fidel Gastro?

Honestly, I used to be a copy writer in an old life, and as a copy writer you write words down and sentences down and sometimes things just kind of stand out. For whatever reason I wrote, like, Fidel Castro on a piece of paper and then I turned the C into a G so I was like, yeah Fidel Gastro!

That is a moment of genius right there.

Yeah, that was like a year and a half before I started the company, so I registered the business name, I bought the URL, and then I started writing my business plan as to what that even meant.

Did you come out of the womb knowing you wanted to be an “extremo sandwich maker” or did you take a year off and find yourself? What happened? What’s the story?

Well, you know food has always been a very big part of my life. I never went to culinary school so I learned how most passionate people learn, like through family and experiencing food at the table, through memories and stuff like that, and that’s how I came to fall in love with food. The actual act of choosing a product to package and sell, that to me, it just seemed that tacos were pretty popular already, and I think sandwiches have always been around but people have been, you know, you’ve seen people just bastardizing sandwiches in massive conglomerate companies, right?

So I was like how can I bring fun back to the sandwich and what I do is come up with unique flavour combinations. I always try to balance a spicy with a sweet, or a crunchy with a soft, or a meat with a spice. I’m always trying to change how people try to experience the sandwich. And every day I use top quality ingredients, that’s how I lay the foundation, and now I’ve had other opportunities to bring in new culinary experiences in still a very street food format.

I was taking a look at FidelGastro.ca and some of the crazy-ass sandwiches you’ve got on there, and besides drooling all over my keyboard I did find myself wondering at the inspiration? In particular, I call to your attention to THE GORGEOUS JORGE. Peanut butter pulled pork, bacon jam and pig skin crackling. Seriously, did you go out, get drunk, come home make a PBJ and then think to your self, “DUUUUUUDE! You know what would take this to the next level? Pig skin!”

“You know what would make this wicked? PIG SKIN! BACON JAM!”

I have to admit, when I saw you skinning the pork belly in the first episode, I kinda fell in love with you a little.

Yeah did you? (Laugh)

Yeah, I was like “Damn the man knows how to skin a pig…too bad he has a girlfriend.”

The man can skin a pig! Well you know it’s funny, so a lot of my inspiration for sandwiches, it goes back to the previous thing, it’s like one of my business mantras is “always be different”. And I thought that was definitely a way to do it and how I create products.

And actually that sandwich specifically was invented two ways. So 1. The reason for that sandwich was because I was doing an event at a bar and these two guys decided to challenge each other to a Fidel Gastro sandwich eating competition. And I told the winner of it whoever got to 10 sandwiches I told them I would name a sandwich after them. So the guy who got to 10 his name was Jorge, so I asked him like “Jorge!” I slapped him out of his meat coma, I’m like “Jorge, what’s your favourite sandwich man, I’m gonna name a sandwich after you.” And he was like “Honestly, man, I like peanut butter and jelly.”

Alright well I can’t just do a peanut butter and jelly sandwich so I went home and I thought about it, and I had beer fest coming up and I was in the product tent so they gave me 90 pounds of bacon to work with and just kind of one day I was like why don’t I do a — cause I already started doing a lot of bacon jam — so why don’t I do a peanut butter bulled pork and bacon jam sandwich.

(Drooling sound) Bacon Jam…what is Bacon Jam and how do I make it?

Basically you dice the bacon into 1 inch cubes, sweat the fat off the bacon. And then in a side pot you cook onions and soy sauce with brown sugar. Once the fat has sweated out of the bacon you pour the soy sauce mixture over the bacon, and you cook it for about 2 hours, turn off the heat and cool it, then blitz it in the food processor. And what happens is when the fat congeals, it basically makes a jam-like mixture.

Well I’ve got my weekend project lined up.

Yeah, and honestly it stores forever because of all the fat that’s in it so you can leave it out, and I find that it’s best at room temperature because it’s easier to spread. But in the fridge it’s a bit harder, but it will last forever. And then I put the pig skin crackling because the peanut butter was intense in flavour, the bacon jam obviously added smokiness to it, but they were still two soft items, so it needed some sort of crunch factor just to get through it, and I had all this pig skin lying around so I said, “Hey, why not deep fry it and make some crackling out of it?”

I wish I had all that pig skin lying around.

I know right? You should see me right now. You know where there are scenes of people bathing in money on their bed? Like it’s just me and pig skins.

Oh that’s fantastic…(Awkward pause)

So, you describe yourself as a “Roaming Gypsy Food Rebel”, why is that and what are you rebelling against?

The concept was a new business model for the food industry whereas before previously people would have invested a lot of money up front in opening a brick and mortar location, and then once you open and invested the money, try and get people to not only know who they are as a brand but also to experience their food.

I took a different approach. I started as a “pop-up” food company, and I kind of travelled from multiple/various locations within the city and I would use social media, kind of get people’s attention and let them know where I was and I used that as an opportunity to like connect with people at a grass-roots level so then knew who I was before I started to grow the company.

So if you ask me what I’m rebelling against, I guess you would say I’m rebelling against the typical way people normally start their food companies. I kind of did it the exact opposite, actually. I started with a very minimal investment up front and focused all of my intention on creating an experience and a brand that people wanted to connect with versus just opening doors to a location and saying hey come out and meet me at this time.

It sounds very logical and for lack of a better word, a safer bet to build up your customer base and brand following before investing heavily.

Right. I mean think of it this way, right, let’s say it didn’t go as it has gone for me, I could have said “Alright, this is a minimal investment and I can start over now,” you know? To me if felt like the only option because my original goal was to actually do the opposite and to invest a lot of money up front, but when I was kind of turned down by the bank originally, I said, “ Ok well instead of just quitting all together is there a way to adapt my concept to the market and the financial climate that I’m living in?” So to me that meant starting up as a “pop-up” food company.

So by a “pop-up” food company are we talking about food trucks and farmers markets like you’ve been doing, or is there anything else involved in that?

Well actually it predates food trucks. Literally a “pop-up” is a concept of I would collaborate with other venues, or markets, or events, or festivals, or spaces. People that essentially wanted me in their space and they weren’t restaurants and didn’t really offer food. And we would kind of collaborate together and I would throw a food party, or food event, in someone else’s space, so that’s how it started. And about 8 months after that when I launched my food truck the demand and the fan base was already there, so it was like it was already expected as far as how is Fidel going to open his brand up next it just made sense that the next logical grassroots approach, to me, was food truck.

I’ve notice the streets of Vancouver have been invaded by an army of food trucks. Is this what you would call the “street food movement”, which is relatively new to us North Americans?

I mean if you look around at the industry, food has been around us in the city of Toronto for example for quite some time now, but the place we’ve seen it in has been kind of only one way, and that’s hot dog carts. And not that there is anything wrong with hot dog carts but it’s actually been city mandated that all that we can actually call street food in this city.

Really?

Yeah, right? I mean not every hot dog vendor wants to just sell hot dogs, that’s just kind of because when they were licensing out permits for street vending that was the only kind of thing that they were allowed to sell. So now what food trucks are doing, they’re saying, “Hey, even though we are not getting like city permits to publicly vend, we’re working with private property or festivals, whatever, and were finding ways to kind of figure out legal ways to sell food out of food trucks.” That’s kind of the army approach, or the street food movement approach, and there is resistance, but we’re doing it anyways.

How does this change the game for me the consumer and you the business man?

What it does is it definitely diversifies street food in North America, because if you look at street food anywhere else in the world, street food is the primary way a lot of people eat. You’ll even see the trucks in Portland and Miami and California and really we’re just playing catch up right now up here in Canada. I mean I know our seasons are a little different so it’s more seasonal than in warmer climates, but as far as street food is concerned, I mean it’s the late stages of the game.

We’re actually creating a 360 approach to the food industry, not just like 280 degrees. Before we understood food as either fine dining, casual bars, or sports bars and this-and-that, but street food has been completely neglected in this part of the world whereas in other parts of the world, it is actually one of the primary ways people eat, so I think that from a consumer stand point, it’s allowing people to have a little more fun and take food a little less seriously, and a more whimsical approach to eating.

As a business man it allows me to still create really good quality food in a more accessible way, and that’s what’s street food really is, I mean anyone is welcome.

In the show we saw you go to a farmers market, you used locally sources items and talked about how people want to eat earth to table. Was this incidental to the location or is this a philosophy you embrace in all aspects of your business?

I try my best whenever possible to do that whole earth to table kind of concept. I’ve actually done that market a couple of times. For that event specifically I only used vendors that supplied at that market specifically. In summer I’ll always make a trip to a farmers market and get my fresh produce whenever I can. My butcher is a local butcher here in Toronto. We use grass fed beef and hormone free pork, and I think my biggest reason for doing this, I mean obviously it costs a little more and therefore that cost is translated into the cost of the product itself but it’s all about educating your consumer.

So when people ask me why a sandwich costs what it does, I’ll break it down for them. I’ll say, “Listen I bought it locally from this farmer, and I can tell you the name of the farmer I bought it from, how far away that farm was from me, this is how long it took me to make it. I can tell you every single ingredient that’s in your sandwich. If you want to go to another, I’m not gonna say who, but if you want to go to another large corporation that sells sandwiches they can’t tell you one twentieth of what I’ve told you.” And that’s where the cost is.

There is so much care and thought put into something like just a sandwich, it’s like an elevated version of what you’re already used to. So I think it only makes sense, especially in this kind of economy to support the people that are closest to you, whether that is a local business or a local farm or a local charity or what not.

Pick one word to describe yourself.

The word “really”. With a question mark. Really?

In one sentence, what are you contributing to the world?

Fun business. I think that if I can walk away from anything I think people need to know that you can love what you do and still be good at it as well.

And be successful too?

And be successful at the same time, yeah. AND still have morals and ethics along the way!

You’re shooting for the stars there my friend, but ok.

Yeah I know I’m an idealist eh?

You are but we like it :)

Rebel Without a Kitchen premieres on Travel+Escape, Tuesday, April 9 at 10pm ET/PT.

By Martha Marcin.

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Bomb Girls’ Michael MacLennan on his WGC Screenwriting Award Nomination

MichaelMacLennan

This year’s Writers Guild of Canada Screenwriting Award winners will be announced on April 22. We’ve been catching up with many of the writers nominated in the comedy and drama categories. Bomb Girls‘ Michael MacLennan was nominated for his episode “Jumping Tracks.”

Can you describe the episode “Jumping Tracks” and how it fit into the Bomb Girls season?

“Jumping Tracks” is the first episode of the series, establishing the “world” of the show, setting up the central characters and their various interconnections, and beginning the major themes, conflicts and storylines that launch the show, garner an audience, and serve as a blueprint for the episodes to come.  In other words, there’s a lot that goes into those 50 pages!

What was the biggest triumph in this particular episode?

Triumph?  Hm, I’d have to say two: when Lorna, a modestly educated, working-class woman, finds the courage to stand up to a doctor in order to protect one of her girls (Vera) and give her top-tier medical treatment reserved for soldiers.  And in a different light, I’d say the moment when Gladys decides to accept a marriage proposal from Lewis, a man she barely met, before he goes overseas, likely never to be seen again.  There’s something about how she elects to boldly give comfort and bolstering to this fellow — and in so doing, offers us — and herself — an inkling of just what she’s capable of.

What does this recognition mean to you?

It’s huge.  It’s the one opportunity for the script to be recognized AS a script, and given all the thinking and writing that’s gone into it, it means a great deal, especially since it is, as they say, a jury of one’s peers.

Bomb Girls is airing its second season on Global on Monday nights. 

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Safe is the Word for CBC

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If you were excited by this season’s lineup of shows on CBC, you’re bound to like next season. Safe is the word for our public broadcaster. All primetime scripted programs have been renewed, and no new ongoing series have been picked up. Further details will be provided at the upfront in May, so I’d still have hope that a new series or two is up their sleeve if I thought CBC could afford even the sleeve in this second year of imposed austerity.

Promising but short-lived additions are a television movie based on Lawrence Hill’s The Book of Negroes – which, among other accolades, won CBC’s Canada Reads competition a few years ago — and the Best Laid Plans miniseries based on Terry Fallis’ political satire, adapted for television by Susan Coyne and Jason Sherman. Coyne’s association with Slings & Arrows means I already have impossible expectations for that miniseries, as well as the no-basis-in-fact expectation that, like Bomb Girls, if the ratings are decent it could become a maxi-series.

My reality-hating heart has to admit excitement about Battle of the Blades’ return after a season’s hiatus. I didn’t watch it regularly but it’s entertaining and a unique format amid all the [American Reality Show Title] Canada series out there, and it could only be a more quintessentially Canadian idea if they made the skaters ride moose covered in maple syrup. I mean that as a compliment.

The no-brainers for renewal included the resurrected Murdoch Mysteries, which gained even more of an audience in its City to CBC transition, Republic of Doyle, Rick Mercer, Dragons’ Den and Marketplace.

22 Minutes should be a sure thing based on ratings, but never quite seems to be based on network neglect. Slightly more surprising is the renewal of the under-the-radar and lukewarmly rated The Ron James Show, which nonetheless must be cheap to produce and James has earned his place with the network (but it’s not as though that always means much).

There were three titles I scanned for in the renewal list to see which one or ones caught the axe. Mr. D and Arctic Air have declined drastically in the ratings after great starts the previous year, and Cracked, while not completely DOA, never came close to cracking a million. But they were all there. Everything was there except The Big Decision.

Another kind of person would praise CBC for giving shows with middling ratings more than a season or two to find an audience. That kind of person would have thought all of them were shows deserving of a greater audience in the first place, would refrain from pointing out a couple of them found and then lost an audience, and would not have written this post after the 2012/13 season announcement.

The fact that everything was renewed to me doesn’t indicate CBC’s faith in all these shows – seriously, all of them? – but that they had no faith in any of their shows in development.

In sticking with a stable lineup, CBC is coming closer to fulfilling its impossible mission of having to be all things to all people and, in the process, making its schedule look a lot like a private broadcaster’s should, if Canadian private broadcasters didn’t look a lot like American broadcasters. CBC is staying the course with a staid lineup, and fewer people will note the loss of innovation than would have noted the loss of even a mediocre scripted show.

By Diane Wild

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More enraged than engaged: Promoting Canadian content

At least it’s not a Royal Commission?

Recently the Canadian Media Production Association posted to their blog an ask for advice and volunteers to help promote Canadian content:

At Prime Time in Ottawa a few weeks ago we provided an update to delegates about a National Promotional Strategy to raise awareness about the great on-screen content produced in Canada. While there are a number of initiatives underway, (creating a platform for access and discoverability, branding), the working group that I co-chair with Barb Williams from Shaw Media has a very specific mandate— and that is to promote the success of Canadian TV, film and second screen content in terms of shows, its creators, talent and economic value. …

The first project involves using social media and online tools (and you as experts and audience) to build a buzz about success stories by reaching a critical mass of grassroots supporters. …

We simply want our initial ideas to be catalysts for grassroots movements and engagement in creating and promoting Canadian success stories.

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The problem? They’ve arrived at a tactic before determining the stakeholders or even a measurable goal. Never mind a critical mass of grassroots supporters – have they talked to a grassroots supporter?

I’ve said it before: TV, eh? shouldn’t exist. It ghettoizes Canadian TV. I’d be thrilled if a coordinated strategy could place Canadian shows on the same playing field as their American counterparts, so that the audience, the bloggers, the grassroots and mainstream media know about City’s upcoming Package Deal as much as NBC’s failed Office spinoff, and I could retire and start a site of cat videos. This isn’t that strategy. It’s not a strategy. It’s not even the start of a strategy. It’s the start of alienating people who should have been at the table before that post was written.

I don’t just mean TV, eh? I also mean First Weekend Club, The Shorts Report, Limited Release, The TV Addict, Mike’s Bloggity Blog, Press Plus 1, etc. – sites either dedicated to various forms of Canadian content or that include Canadian content in their coverage. The CMPA post lists industry groups as stakeholders, but no sites that have a direct connection to the audience they want to reach.

I’ve been promoting Canadian television success stories for seven years and they didn’t think to ask me who the audience for my site is, what efforts I’ve made that have succeeded or failed, what similar sites I know of (or even bother to look at my blogroll), or what I see as barriers to audience engagement. I know that TV, eh? was name-checked at Prime Time (“pretty good”) and they reached out to me after the post was published so ignorance of the site wasn’t an issue. This was a deliberate top-down approach. They made decisions about a grassroots effort without wanting to get any icky grass on their shoes.

Canadian television doesn’t have a shortage of success stories. It has a shortage of credibility.

The CMPA thinks it has to tell individuals to feel free to promote themselves without permission? Twitter — and my inbox — are overflowing with actors, writers, directors, producers, and public relations professionals promoting their latest series, and with industry organizations pumping out information about how amazing their latest project is. Who are these people that they aren’t inundated with everyone from their favourite TV star to their mother trying to push themselves as a “brand”? Can we trade places?

Gosh, you mean the people with a vested interest in the success of a show or the industry as a whole are telling me it’s good? Let me set the DVR.

Promotion isn’t engagement. One of the sites I mentioned above resorted to buying fake twitter followers – that’s how difficult it is to build a large audience when catering to a Canadian audience. And that’s how poorly the concept of engagement is often understood.

The suggestion is to get more industry people sharing success stories. And … then what? If you build it, they will not come. The average audience member isn’t following industry associations on social media, and has little incentive to seek out that kind of information. It’s a closed loop unless the media or one of these grassroots sites or a connected individual picks it up.

Where do success stories come from, the CMPA asks? In great part, they come from all of these sites and people already interviewing, reviewing, passing on information and building community who have no ties to the industry other than an interest or passion, wanting to share with other fans.  Engagement comes from contributing to conversations. It doesn’t come from sharing success stories.

Plus, a success story to the industry is not the same as a success story to the audience. Media releases from networks and industry associations often focus on the arcane – ridiculous parsing of ratings, foreign sales without context – that have little interest for any but the most jingoistic of audience members. And the CMPA post includes many of those examples that will cause the audience to tune out or, more likely, never tune in at all.

What’s my measure of success, as a member of the audience? Do I like the show. And I’ll only get to find out if I know about the show. Absolutely we should share successes, but more importantly we need to foster discussion,  positive or negative, about the shows.

To be fair, the CMPA is asking for advice, and they’re probably sorry they ever asked me to spread the word about that post. This is their invitation for the grassroots to speak up.  But the initial ask is dismissive to those of us who have been doing this work for years without waiting for a coordinating body, and without a vested interest in the success or failure of the Canadian industry.

Because of the way this idea has been launched, it feels like another attempt by industry types to create another bubble where what’s meaningful to them should be meaningful to the audience. Because of the way it’s launched, they’ve demonstrated an aptitude for alienating those they are hoping to engage.

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Denis McGrath on his WGC Screenwriting Award Nomination for Less Than Kind

DenisMcGrathThis year’s Writers Guild of Canada Screenwriting Award winners will be announced on April 22. We’ve been catching up with many of the writers nominated in the comedy and drama categories. Denis McGrath was nominated for his episode of Less Than Kind, “Danger, Wrestling.”

Can you describe the episode “Danger, Wrestling” and how it fit into the Less Than Kind season?

It’s actually part of the “lost” 3rd season. As most people know, our beloved Sam Blecher, the great Maury Chaykin, passed away while we were writing Season 3. I wrote the first draft of “Danger, Wrestling” with a B-Plot featuring Sam. That had to be rewritten by the room eventually — and by that point I was on another show.  I went with my draft, which had some elegiac stuff with Sam that obviously, we weren’t able to use.

Other than that there’s fun stuff of Josh auditioning talent for his acting school — and Sheldon discovers the joys of wrestling.

What was the biggest triumph in this particular episode?

Well there’s two answers to that. Obviously for the show, the fact that they rallied and got the whole season made as a tribute to Maury and wound up with a beautiful exploration of how a family moves through grief — that’s so much greater than any individual contribution, and a testimony to the talent of Mark McKinney, the creators Marvin (Kaye) & Chris (Sheasgreen), and the team they put together.

But personally? I don’t write a lot of comedy … I’m mostly a drama writer. When I was considering whether to enter the script — I have to thank Karen Hill for that — I reread it for the first time in two years and really laughed. There’s  a wonderful subplot about Sam tracing the ups and downs of a piece of stock — and him coming to terms with selling it (for the same amount he bought it for 30 years ago) — but it’s really about him coming to terms with feeling his sons will be okay without him. I’d like to think that my strength as a drama writer is a light touch, and as a comedy writer, I go for the big cry. That’s a little messed up, isn’t it?

What does this recognition mean to you?

So much. I love LTK. It’s employed some of my best friends. Working on the show brought my fiancee and I together. I came from a family that yelled, with love … so I recognize those characters. I’ve had an incredibly lucky career and after winning a WGC Award for writing a drama show, it’s humbling and exciting to get nominated for comedy. And it’s a recognition by my writer peers, and that is incredibly important to me.

If there is one Canadian show that is no longer on the air that you could see honoured at this year’s awards, what would it be? (If you have a specific episode, even better).   

For the love of God, why has CBC not done a Street Legal reunion/reboot movie? I miss Chuck and Olivia. I can’t be alone on that one. But the truth is — they ALL should be honoured. From Wojeck to DaVinci to Intelligence to the first 30 years of Citytv we have made, and continued to make, wonderful TV in Canada. I think it’s sad that we only note that when the New York Times or some American publication says so.

There are such strong nominees this year. So many great scripts. I am so jazzed to be among that talent. Maybe I can make a go of this writing thing.

Less Than Kind is entering into its fourth and final season on The Movie Network/Movie Central in 2013. 

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