By Matías Muñoz
Illustration by Ben Jensen
Rock n’ Roll Pizza Party
Let’s rewind to the mid-2000’s, a time when Ottawa was bursting at the seams with garage, rock, and punk bands that would play often and play hard. Rock n’ Roll Pizza Party wasn’t just a party where people would dance, drink, and see new bands—it was a meeting ground and an incubator for the music community.
Luke Martin, OXW co-founder and musician, and Brad M., aka DJ B-Rad, started the weekly pizza party in late 2006 at Babylon Nightclub. Soon after Emmanuel Sayer, OXW co-founder and DJ, also jumped on board in spring 2007.
The party then moved to Bytown Tavern in February of 2008 where it had its longest run until February 2009 and really caught its stride.
“Brad and I started it the last weekend of November 2006,” Martin recalled. “Brad was working at Babylon and they wanted a new Thursday weekly so we jumped on it. I came up with the name and idea of giving away free pizza every week from a band photo shoot that involved slices of pizza. It seemed like a perfect fit.”
Rock n’ Roll Pizza Party stuck to a simple formula: Doors at 9. Bands at 10. PWYC if there were bands, and free if there weren’t any bands. DJs all night, with a lot of guest DJs. Free pizza at midnight or later.
“This happened every single Thursday for years,” Sayer said. “The pizza literally came from 2 for 1. Literally out of our pockets. We didn’t really make any money at this and that tradition continues to this day!”
At one point in 2009, the pizza party was out of a spot and ended up at The Royal Oak for a few weeks.
“The manager went back on our deal to have us there,” Sayer said. “We immediately relocated, but the first week we were gone they hired some dude to play “rock” music CD’s and he was spotted in the empty bar eating pizza.”
Rock n’ Roll Pizza Party was a crucial first chapter in the story of OXW. It was a place where new bands could play, people could meet up and share stories or start bands, and where touring bands could come and play to a room full of energy on a regular basis. Although the party got moved around a lot, and eventually folded in 2010, it was a major chapter of the OXW story.
“I met Ian Manhire (of White Wires and Voicemail) for the first time at Rock n’ Roll Pizza Party,” Sayer said. “Shortly thereafter he released the first few Going Gaga zines then started releasing records and put on the first Gaga Weekend in 2008. RRPP was always the opening night for Gaga Weekend.”
Going Gaga: Gaga Weekend
If Rock n’ Roll Pizza Party was the ongoing heartbeat keeping the community’s blood pumping, Gaga Weekend was the adrenaline jolt making Ottawa’s heart race. The two events coincided like pepperoni and cheese.
Gaga Weekend was the brainchild of Ian Manhire, a devout participant in the garage/punk scene in Ottawa at the time who published a zine series called Going Gaga, and also ran Going Gaga Records. The first edition was held in 2008, and was molded out of some great festivals like Gonerfest (Memphis, TN) and Budget Rock (San Francisco, CA) which focused on inclusivity and everything being done as cheaply as possible.
“There were lots of great bands, lots of great parties, everything was done on the cheap, it was all about good times,” Manhire said via email. “I really liked the idea of a local celebration too. There was the feeling that we had our own world here in Ottawa, and it was (still is) special.”
“There were 3 Gaga Weekends, and a lot of traditions!” Manhire continued. “The opening night was always at the RRPP, usually with three or four bands playing, lots of late night drinking and then lots of free pizza! The Friday show was always a basement party, just a total shitshow in one of the many basements we used to party in. I loved those basement shows—59 Argyle, Cozzie’s place, A&A Speedshop. Then on Saturday it would be an [all ages] matinee show with like 12 bands at Yogi’s Meatlocker. Fun in the sun! Really relaxed. Great bands inside, people hanging out in the parking lot outside. Then the Saturday night we’d go down to Babylon for a big blowout, usually three or four bands. I’d always get DJs to flip records at all the shows, that was a great part of it too. And then there would be an after party, which I remember 200+ people in Davey’s backyard!”
This yearly get together was yet another hotbed for people in the community to meet new friends, play with new bands, and have a great excuse to party for three or four days straight.
A treasured keepsake of the Gaga era is the Ottawa Gaga Compilation, Vol. 1, of which there were only 330 pressed on vinyl with a zine included. The compilation was recently posted on Bandcamp, and thankfully is still available for all to hear. The concept was to avoid going the standard compilation route and record all the songs live off the floor at the old Capital Rehearsal Studios on Bank Street, now located at City Centre, in order to maintain a cohesive feel.
“The idea was to record a small snapshot of some of the bands in the scene, at the time,” says Jordy Bell, one of the sound engineers of the compilation and member of Crusades,The Creeps, and Cheap Whine.
Ultimately, Gaga Weekend only lasted three years but its impact cannot be understated. Manhire decided it was too much to carry on Gaga Weekend on his own, and at the time he was collaborating a lot with Martin and Sayer on a lot of projects. They sat down and talked about Ian’s departure from Gaga and what it would mean going forward.
“I asked Emmanuel if he wanted to take over and do his own thing,” Manhire said. “He didn’t need my permission, but things like that are basic respect. Plus, our friends all looked forward to that weekend in mid-June when all of our bands would get together. He was doing a great blog at the time called Ottawa Explosion, and he and Luke were on fire booking bands. So I stepped completely out of the game and they started fresh and just rolled with it. And look at it now! The evolution of OXW was natural… and crazy impressive!”
OXW’s first edition took place in June of 2011, featuring over 40 bands from Ottawa and other cities. Each year the festival has grown in scope thanks to key personnel like Azarin Sohrabkhani, who manages the administration, business, and logistical elements of the event. As the Industry Director at the Ottawa International Animation Festival (OIAF), Sohrabkhani’s experience with festivals and events have provided much-needed expertise to the organization. From nurturing partnerships to co-ordinating volunteers, her collaboration with Martin and Sayer to achieve common goals has proven successful year-in and year-out.
Even more, OXW has become catalyst for inclusivity and representation of minorities in the music scene.
“I’m very proud that OXW is still around and has stayed true to its independent and DIY approach,” Sohrabkhani said. “I love looking around and not being the only PoC at a show, this feels like a big development. I think that has a lot to do with learning from our community and working on fostering inclusive spaces and programming—which is always a work in progress.”
“I’m also stoked that we have a new generation of emerging and young artists, fans, and volunteers at the event. For organizations like
ours, growth is only compelling if it comes from engaging with those who will feed the future of arts and culture in this city. I believe we’re doing that and it’s pretty darn exciting.”
OXW continues to be one of Ottawa’s strongest community-based music festivals. Although the story has evolved a lot since the mid-2000’s, the event’s importance as an incubator for new music remains, and will continue to encourage a new generation of musicians and friendships. •