toledo

Bardot Monday had a fun DJ set that lit up the dancefloor with mellow tones. Perfectly bespectacled model boys and tipsy glam hipsters twirled. Our excellent Maestro Toledo ignited the Toledo show in the main room. Funk with a up to the minute dance resonance, an industrial jazz sound, instruments including sax, drums, trumpet, keyboard, guitar, and bass expertly played, and sensuous dancers. One of the crew, a male dancer stole the show with his moves. The low mellow sinister tones of Toledo belied the vigor of his multi-dimensional live act which includes a troupe of sultry cabaret style sirens.
We sat with Toledo at a pub Sunday night before his show at Harvelle’s. Roger, Alisterz wizkid, graced us with his elegant presence. Canice and Janine of Alisterz were looking ubersupermodel, as usual. Toledo presided over the interview with a magical Zen Master wisdom, helping crack the Koan of his brilliant career as choreographer and entertainment impresario. He started show business with what he calls a “fluke.” His career has spanned life in Paris to tours in Australia to packed shows in St. Louis to the classic Viper room “The Toledo Show.”
He was originally “deathly afraid to sing” and told us that you have to “find your voice.” He is always nervous. And that’s a good thing. If it’s a room of 50 people one night, or a club with 150, 000 the next day, “the feeling is still the same. You come with what you’ve got, no matter who’s there.”
Toledo’s been at show business for sixteen years. According to Mikey Speziale of the Viper room, the Toledo Show began there thirteen years ago, and some of the current Pussycat Doll Viper Room dancers, also dance with Toledo.
The Toledo Show could be described as cabaret crowd-magnetizing decadence, evocative of the 1920’s Josephine Baker Paris jazz scene, or the 1930’s decadent cabaret culture of Berlin and Dresden that coincided with the dark expressionism preceding WWII. There is a speakeasy ambiance transcending time and place, evoking many eras and many modes of expression.
And Toledo has choreographed and performed for the best, working with Paula Abdul, Janet Jackson, Moonshine, Propaganda Films, the film Dark Streets, and designer Thierry Mugler. Toledo told us about the video music revolution being similar to the current web/tech upheaval in the huge scope of its impact. The video format enabled a strong dance component to become a critical, central part of the artistic process. There was an expansion of the dance genre on a massive scale.
When Toledo performs he is 100% himself. Costumes, cigarettes, the persona . . .
He is about collaboration, not totalitarianism. He said this, flat out. His scintillating musicians, he gathers by word of mouth, as “musicians breed musicians.” The gorgeous industrial, blues, funk, and cabaret-loving cognoscenti of Hollywood know him, and follow him. The Toledo Show’s tricky tricky speakeasy vibe is seductive. I had never seen him perform before last night. The ultra-exclusive door process of Bardot, and the force field of paparazzi lurking outside had me intimidated. Fortunately, I know someone, who knew someone, I know . . . .blahblahblah and I was allowed in, to view the understated ultra-Justice-inspired stylish, je ne rerette rien, glitterkids/ Hollywooderati in the private world of Toledo jazz. . . . The live expression of Toledo calcified the importance of the interview’s wisdom transmission.
Toledo is surrounded by “the best people, period, period.”
About his band, each player is a virtuoso. Toledo says “every one is a frontman in his own right.” They record all the shows. As for the stunningly refined dancers, Toledo starts with choreography, then gives the dancers freedom to feel “the pulse of the show. Otherwise it looks contrived.” His dancers work with him for years, and the often go on to create on their own, or work with exciting shows and projects.
Toledo’s followers literally travel internationally to see his work, but Toledo is personable and has the humanity and kindness to meet each fan like a dear friend.
I felt like we were disciples. The heft and value of Toledo’s bestowal dawned on me last night. He has such great wisdom about creativity and productivity.
From Merce Cunningham to Martha Graham to Isadora Duncan to the present . . . Toledo is a dance maven and has transformed the art and shaped the face of modern dance. Astutely he notes, “music and dance are synonymous.” He is in love with “the endless possibility of creativity.” His motto is to keep moving on, so as not to become stagnant.
His albums are never the same. The constant change provides a “sense of truth.” The “journey” is the coolest, most important thing . . . and his creation comes from “the subconscious cortex” out of his cells and the “machine” has his “vision opened.”
Changes in the music industry have resulted in “decentralized command” which empowers artists as it “opens it up for the world to hear what they are starving for. “
Namely, authentic original expression. The imperative to be yourself and preserve a unique artistic identity has never been so important. “Be the first you!” he intones. Nobody wants to hear the 25th version of the Rolling Stones. He says he wants to be “the first me.”
What’s the point he asks, of being rich but miserable, overdosing, committing suicide?
When he sang about “dreams for sale” last night, I felt the philosophical complexity of his genius at work.
He told us stories of tours, and the excitement of being on the road, of sinister racist promoters, and adoring fans making a huge breakfast in his honor.
His core wisdom “never go anywhere without your people” might help prevent the high-jinks swindlers that haunt the entertainment scene from wreaking too much havoc.
So in regards to the Toledo Show,
Find a way to see him.
Bribe the doorguy.
Discover the shibboleth.
Befriend the genius.
Sit down buckle up, or get up and dance!
See Toledo.
He plays Bardot, the Kress, Harvelle’s and more . . .