January 2013

Odede and SHOFCO Programs Director George Okewa walking in Kibera. (Photo: Paul Horton)

As a boy sitting in his 10-foot by 10-foot shanty in Kibera, Kenya, one of Africa’s largest slums Kennedy Odede never could have dreamed where his life would take him. But in the past five years, the 27-year-old Odede managed to land himself a four-year scholarship at Wesleyan University in Connecticut, and co-found (and is the CEO of) Shining Hope for Communities (SHOFCO), a nonprofit devoted to combating gender inequality and extreme poverty in Kibera. Oh, and he also shared the podium with Bill Clinton and Sean Penn at the Clinton Global Initiative University’s closing Plenary Session, a forum that brings together young leaders from across the globe to share, discuss, and formulate action on global issues, and was recently invited to become a CGI member, an honor given to heads of state, Nobel Prize winners, and business titans.

Odede’s rise from painfully humble beginnings to running an organization that, in the past two years, has improved the lives of over 11,000 people is an impressive accomplishment—made even more remarkable because prior to attending Wesleyan, Odede had no formal education. Like many stories of triumph, this one starts with a son’s love for his mother. “My mother [Jane] is an incredibly strong woman who loves her children very much,” Odede says. “She is an innovative thinker who imagined the possibility of a promising future.” The eldest of eight children, Odede began selling peanuts on the streets at age 7 to help feed his family. Kibera, roughly the size of New York’s Central Park, is home to over 1.5 million people. There are no roads, schools, health care, clean water, or sanitation. In fact, one in every five children does not live to see their fifth birthday, and 66 percent of girls trade sex for food, many as early as age 6.

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New Orleans at night

As my top lip skims my sazerac, a sweet spicy alcoholic drink made of bitters, rye whiskey, absinthe and simple syrup, unexpected flavours curl my tongue.

I am lost in the 20’s and 30’s, like Woody Allen’s starved-for-nostalgia character from “Midnight in Paris,” played by Owen Wilson. But I’m definitely not Owen and this isn’t Paris.

It’s my first night in New Orleans, and I’m devouring a savory Chicken and Andouille Gumbo (rich Cajun soupy dark roux which can also be made with shellfish) while listening to a trio of seasoned jazz musicians sing “What a Wonderful World” to our table at Arnaud’s Jazz Bistro off Bourbon Street in the heart of the French Quarter.

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Peaches [Adam Cohen photo]

A twinkling hot pink sequined brassiere, the sweet smell of marijuana in the air, the crowd wildly screams “F–k the pain away”, as a blow up penis bounces on stage. If you’ve ever been to see Peaches in concert, these images will ring true, and if you haven’t, you have no idea what you’re missing.

Peaches wasn’t always Peaches, yet her rise to fame, as one of the pioneers of electroclash is equally as riveting as the forever-young looking 41-year-old, herself.

I had the pleasure of knowing Peaches (a.k.a. Merrill Nisker) in the late 70’s, when she was a tweener, absolutely adorable and the comedian in her family. I was best friends with her older sister, and Merrill was best friends with my little sister. Many a good time was spent in the Nisker household. Her parents were very cool people, serving up amazing conversations and great snacks in their warm and open home. I was pleased as punch to learn that Merrill started getting hooked on music after hanging out at my house, singing along with my piano- playing brother. What an honour! Merrill taught herself to play guitar, and claims ” she can play many instruments, but not very well”. This lack of formal training certainly has not held her back.

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AGO Director and CEO Matthew Teitelbaum

What makes great art is an ongoing subject for debate, but according to Matthew Teitelbaum, the Art Gallery of Ontario’s director and CEO, “exceptional art needs to emanate beauty or a sense of pleasure and at the same time empowers one to think differently about the world.”

Under Teitelbaum’s leadership, the AGO, situated in the heart of Toronto’s downtown Grange Park district, has come to embody an aesthetic beauty, powerfully visible in the spectacular $276 million redesign known as Transformation AGO (it was conceived and created by renowned architect Toronto-born Frank Gehry). Since it reopened in 2008, Teitelbaum is confident that the AGO has evolved into an institution “that responds to the very specific needs of the audiences,” welcoming millions of visitors. But at the very core of the AGO’s success is Teitelbaum’s solid vision and uncompromising dedication to making the AGO an institution that serves its community.

Seated at a round table in a simple meeting room, Teitelbaum, 56, stirs his tea while looking patiently through his rimless glasses. Wearing a conservative gray suit and skinny tie, he speaks softly, making every word count. Teitelbaum has been the Michael and Sonja Koerner Director and CEO of the AGO, one of Canada’s largest and most important museums, since 1998. Given his accomplishments, Teitelbaum could be intimidating, yet it takes only a few minutes to realize that he has an active and dry humorous side, and infuses witty one-liners throughout his conversation. His impressive and lengthy CV is intimidating, but Teitelbaum has an easy way with people, and quite naturally blends that with an enthusiasm for the gallery and its world-class exhibitions.

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