ISSUE #56 – NOVEMBER 30 TO DECEMBER 6
THE REUNION BIG WRECK WITH
THE ARTIST’S EYE Joe Fafard on capturing movement CHRISTMAS CRASS Q+A with the Trailer Park Boys MID-AUGUST LUNCH + KILLING THEM SOFTLY Films reviewed
PHOTO: COURTESY PHOTO: OF RICHARD COURTESY SIBBALD OF PH
CONTENTS
NEWS + OPINION
CULTURE
ENTERTAINMENT
Q + A WITH BUBBLES
LIVE MUSIC LISTINGS
Christmas, caroling and S. Claus with the Trailor Park Boys. 8 / Q + A
Local music listings for November 30 through December 8. 14 / LISTINGS
JOE FAFARD
INTERDEPENDENCIES
NIGHTLIFE PHOTOS
A celebrated artist talks capturing movement. 3 / LOCAL
Martha Cole discusses active witnessing through art. 9 / ARTS
We visit McNally’s Tavern.
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15 / NIGHTLIFE
EDITORIAL
HANDEL’S MESSIAH An old song becomes a new tradition.
KILLING THEM SOFTLY + MID-AUGUST LUNCH
9 / ARTS
We review the latest movies. 16 / FILM
YANN MARTEL
ART & PRODUCTION DESIGN LEAD / ROBERTA BARRINGTON DESIGN & PRODUCTION / BRITTNEY GRAHAM CONTRIBUTING PHOTOGRAPHERS / TAMARA KLEIN, DANIELLE TOCKER, ADAM HAWBOLDT + ALEX J MACPHERSON
On turning his best-selling novel into a major motion picture. 4 / LOCAL
ON THE COVER:
BIG WRECK
On reuniting the band and rekindling a friendship. 10 / COVER
PUBLISHER / PARITY PUBLISHING EDITOR IN CHIEF / RYAN ALLAN MANAGING EDITOR / JESSICA PATRUCCO STAFF WRITERS / ADAM HAWBOLDT + ALEX J MACPHERSON CONTRIBUTING WRITER / JESSICA BICKFORD
BUSINESS & OPERATIONS
ORGAN OVERHAUL
PASTA PRIMA
ON THE BUS
Our thoughts on changing Canada’s donation practices. 6 / EDITORIAL
This week we indulge in fresh pasta and more. 12 / FOOD + DRINK
Weekly original comic illustrations by Elaine M. Will. 18 / COMICS
COMMENTS
MUSIC
GAME + HOROSCOPES
Here’s what you had to say about free speech in universities. 7 / COMMENTS
Kacy + Clayton, Carly Maicher and Dala . 13 / MUSIC
Canadian criss-cross puzzle, weekly horoscopes and Sudoku. 19 / TIMEOUT
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PLEASE RECYCLE AFTER READING & SHARING PHOTO: COURTESY OF RICHARD SIBBALD
2 NOV 30 – DEC 6 VERB MAGAZINE
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PHOTO: COURTESY OF JOE FAFARD
THE ARTIST’S EYE
Joe Fafard makes artwork for everyone BY ALEX J MACPHERSON
T
he Metropolitan Museum of Art is full of beautiful things, from towering sculptures from the Italian Renaissance to oil paintings by the finest Dutch masters. Joe Fafard has explored the vast collection many times, but he always comes back to a single piece. “One of the most beautiful pieces of art I have ever seen is a small carving by an Egyptian in the desert of a small gazelle,” Fafard says from his home north of Regina. “He carved it out of ivory. Whenever I go to New York, I go visit that piece. It sits there in a little glass box. I think that is one of the good things about art and art objects, be it paintings or sculpture:
Florence and Rome in their particular time,” Fafard says. “I don’t think you can work from abstract environments: you would live in a totally abstract world, devoid of subject.” Fafard does not live in an abstract world; he lives in Saskatchewan. Born in 1942 near Ste. Marthe, Fafard grew up in an area dominated by French and Métis influence. The people and things he knew best served as inspiration; the difficult part was carving out a sustainable career in the arts.“I had all kinds of compromises planned,” he laughs. “I didn’t expect that I would support myself so easily from my work.” What ultimately allowed Fafard to give up his day job at the Univer-
[Art] is a conduit between one human being and another. JOE FAFARD
it is a conduit between one human being and another.”
Today, Joe Fafard is recognized as a regional artist who has transcended political borders and cultural boundaries. Known for titanic installations at public institutions across Canada, Fafard’s art has escaped the borders of Saskatchewan without sacrificing its prairie roots. “Even the great works of art by Michelangelo were regional and localized in that area of
sity of Regina, and what continues to animate his creations, is an innate ability to capture in a single deft movement the essence of a thing. Fafard’s sculptures are strikingly universal not because they contain photographic detail, but because he understands how to transform lumps of clay and metal into the things we remember. “When you try to think of a person who is absent who you know very well, you kind of see them in a way that reminds you about them,” he says, explaining that memory is trig-
gered not by perfect likeness but by movements and gestures. “How they sit, how they … look at you when they are engaged with you. It’s very much like the process that everybody lives through in their daily experience of life; you just have to be able to condense some of it into a work.” Fafard is best known for his ceramic portraits and his metal sculptures of animals. The strength of Fafard’s practice is his keen eye, his ability to observe and interpret. “You try and condense it to one gesture, one expression, one stance that will give you some information through body language about that particular person’s attitude and experience,” he says. “I don’t try to manipulate other people’s response. I just try to bring out what I see.” This talent is ineffable. What can be explained, however, is the subtle humour that pervades every aspect of his practice. Fafard’s sculptures are beautiful, but they are also funny. From a certain point of view, things like people and cows and chickens are preposterous. “I think the human condition is humourous,” Fafard laughs, “the fact that we are conscious and can observe our environment, see the contradictions and the limitations. The humour is connected to affection and love. That’s why we ought to celebrate life and celebrate the fact that we are here, but we’re not going to be forever. Better to enjoy it than to cry about it.”
Joe Fafard’s work has demolished obstacles because it is grounded in the
most fundamental human activities: observation and communication. He has no ideology to preach; all he has is a remarkable ability to see things and share his observations with the world. And because they are succinct enough, those observations are relatable. Fafard makes art for everyone — and that, perhaps more than anything else, explains his success. “When I was a younger artist, in my twenties, there was a pretty big attitude around the art circles that the hoi polloi did not understand anything and there was no use reaching out to them,” he says. “And the hoi polloi was just ordinary people, like my dad. Why do they have such disdain for them? They don’t even know them. You want to say, ‘Let’s reach out to people, see if
we can bring them to art, to the joy past artists have tried to put into their work.” Just like the joy put into that gazelle three thousand years ago. “When I think about that little gazelle in Egypt that was observed by a person how many thousands of years ago, and they observed the gesture, the way it was made, the anatomy of it, I think it’s a pretty exciting thing to have that kind of connection to other humans from times past and maybe times future.” Feedback? Text it! (306) 881 8372
@MacPhersonA amacpherson@verbnews.com
3 NOV 30 – DEC 6 /VERBREGINA
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LOCAL
YANN’S LIFE PHOTO: COURTESY OF YANN MARTEL
Yann Martel’s life has been a whirlwind of late BY ADAM HAWBOLDT
Y
ann Martel is getting ready to speak. It’s a Monday night, and Theatre 2 at the Galaxy Cinemas in downtown Saskatoon is packed. There’s an anxious buzz in the air as people wait for the screening of the new movie based on Martel’s bestselling novel, Life of Pi. Standing at the front of the darkened room, microphone in hand, Martel is being filmed by a local news cameraperson. The light from the camera sends the author’s shadow, long and distorted, creeping up the blank white screen behind him. “Thanks for coming,” Martel says to the crowd. He then goes on to talk about why he decided to bring a screening of Life of Pi to Saskatoon. About what brought him to the city in the first place. About what has kept him here, about libraries and about the movie itself. “Anyone who has read the book will realize just how faithful this movie is to it,” says Martel. “There are some minor differences, like there’s a love story in the film, but other than that it’s very much the same.”
Martel thanks the audience again, then advises them to watch the movie with the 3D glasses they’ve been given. “It’s the best way,” says Martel. And he should know.
Martel first saw the movie in New York City. Two days before Life of Pi was set to premiere at the New York Film Festival, a theatre was rented out so that he and the lead actor of the movie, Suraj Sharma, could have a closed viewing. Neither of the men had seen the film before. And, like millions of others who would see the film in the upcoming weeks, Martel was impressed. “The first time I saw the movie, I thought it was visually dazzling,” says Martel, breaking off a piece of cookie while sitting in the Il Secondo coffee shop in Saskatoon. He puts the cookie in his mouth, chews, then says, “I thought it was leisurely in its pacing. Very faithful to the book, very well acted, technically accomplished. You know … the tiger, the life boat, that kind of stuff.” The second time Martel saw the movie was
at the film festival, the third was in Montreal (where a portion of the movie is set), and the fourth was at the screening in Saskatoon. And the more he watched the film version of his book, the more Martel began to notice the little things, the inherent beauty in it all. “Ang Lee, who directed the film, is really good at creating tableaus,” explains Martel. “He’s really good at creating beautiful scenes, but with movies, they’re moving all the time so you don’t really have time to linger on just one. So the advantage of having seen it four times now is that I’m becoming more familiar with the scenes so I can appreciate them more. There are several tableaus in the Pacific — still ones, with the lifeboat, the tiger — that I can look at now better because I’ve seen them more often. Same goes for some of the shots in India. Now that I’m more familiar, I can linger a bit more and I’ve come to appreciate more the visual quality of the film.”
Directed by the incomparable Lee, Life of Pi the movie (like the book) CONTINUED ON NEXT PAGE »
4 NOV 30 – DEC 6 NEWS + OPINION
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PHOTO: COURTESY OF 20TH CENTURY FOX
tells the story of a young Indian boy named Piscine “Pi” Patel. Pi is a religious lad whose family owns a zoo in Pondicherry, in southern India. After a series of events and economic issues, the Patel family find themselves emigrating to Canada — and taking their animals with them. The beasts are stowed away in the hull of a Japanese ship and the family sets sail. But in rough seas near Marianas Trench, tragedy strikes. The ship sinks, and
“Books are very good for describing ideas and emotions, but they’re not very good at describing objects or at describing cataclysmic events like, for example, the sinking of a ship,” explains the author. “Part two of the book begins, literally, ‘The ship sank.’ And I have a few more descriptive jabs and I quickly move on to what Pi’s reaction is … In the movie, those three words ‘the ship sank’ are done incredibly powerfully.”
Books are very good for describing ideas and emotions, but they’re not very good at describing … cataclysmic events… YANN MARTEL
Pi ends up stranded on a lifeboat with a Bengal tiger, fighting for survival in the vast Pacific Ocean. And if you talk to Martel, those are two of the things that really wowed him about the film — the treatment of the sinking ship and the Bengal tiger.
Indeed they are. The cinematic treatment of the sinking ship is intense, dramatic, and visually stunning. And the scene when Pi is underwater while the ship is sinking beneath him, well, it’s absolutely beautiful. The way the
lights of the ship beam below the waters of the Pacific, eerily contrasted against the black depths of the ocean, will linger with you long after the movie is over. So too will the scenes involving the tiger, Richard Parker. Not only is the beast menacing and ferocious, not only does it command your attention every time it appears on screen, but it’s virtually impossible to tell when they’re using one of the four tame tigers on set, or when the creature is a CGI version. “The tiger was extraordinary,” admits Martel. “When the tiger jumps off the lifeboat, remember that scene? That’s a real tiger. And when you see the camera underneath, that’s also a real tiger. But, do you remember early on when Pi is a little boy and he meets Richard Parker for the first time, and he’s
holding a piece of meat and Richard Parker is coming down the corridor? In that scene all the tiger does is walk up, stare, then come a bit closer. I thought for sure one of the four tame tigers they had could’ve done that, but no. That’s a CGI tiger, and I honestly couldn’t tell the difference.” And chances are neither can most people.
As the final credits roll and the lights come up in Theatre 2, the audience begins to clap. It’s just a smattering at first before it erupts into full-blown applause. After that come the whispers. “Amazing,” says one voice. “Absolutely stunning,” says another. Amid all the hubbub, Yann Martel makes his way down the
stairs from the back of the theatre. He’s greeted by well-wishers along the way. “That was terrific,” says a man in passing. Martel thanks him, stops for a moment, then keeps walking. Outside the theatre, the author mills about, chatting with friends. He stays there for a bit, then heads to the counter to pay for all the free popcorn and drinks he purchased for the crowd. He lingers around Galaxy Cinemas until nearly all his guests have left. Then Martel heads home for, one can only guess, a much needed rest. Feedback? Text it! (306) 881 8372
@AdamHawboldt ahawboldt@verbnews.com
5 NOV 30 – DEC 6 @VERBREGINA
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EDITORIAL
ORGAN OVERHAUL Updating how we become organ donors will save lives
D
id you know that every week, five Canadians die because the organ they need to live is not available for transplant? This staggering figure comes courtesy of the Donation Project, a nonprofit organization in Canada whose aim is to increase the number of registered donors across the country. Now, we understand that not everyone wants to be an organ donor. Some choose not to because of religious beliefs, or they may perceive it as a desecration of the body after death. You may be one of these people. And that’s cool. We support your right to choose whether or not you want to be an organ donor. Here’s the thing, though: a lot of people don’t sign up for reasons that are less than stellar. For instance, some people simply can’t be bothered to put the Organ & Tissue Donor sticker on their health card or fill out the Consent Under The Human Tissue Act form that comes with the card. Then there are those who refuse to sign up because they believe in the myths surrounding organ donation. These are the people who say, “Oh, I’m too old to donate” or “If doctors see my card they won’t work hard to save my life,” or our personal favourite, “After the reckless life I’ve lived, who the hell would want my organs?” None of those things are true. Your age or “reckless lifestyle” doesn’t automatically prevent you from being
a donor. And trust us: a doctor is going to work to save you, whether or not you’re willing to offer up a lung or a kidney for another person. So why are we talking about this now? Well, obviously Canada is facing a healthcare issue when it comes to organ donation. In fact, our national donation rates in Canada have been stagnant since 2006. Which would be fine and dandy if, you know, our rates were high to begin with. But they aren’t. While 95 percent of Canadians say that they support organ and tissue donation, the Donation Project has found that only about 35 percent of people are actual donors. And considering that as of mid-way through 2012 roughly 4,800 patients are waiting for transplants in Canada, according to the Canadian Institute for Health Information, that percentage is entirely too low. So what can be done to eradicate this gap and fix the problem? Well, a new study out of Alberta suggests that Canadians would be more inclined to donate their organs and tissues if they were given money for doing so. And while there is some merit to that suggestion, we believe the answer lies elsewhere — in a nationally integrated opt-out system. Obviously the current opt-in system isn’t working as well as it should. And while the idea of financial compensation (or any other incentives, like funeral expenses being taken care of) for organ donation may work better
than our current system, we feel the best way to help people and save lives is with an opt-out system. This would provide the best of both worlds. If you were adamantly against organ and tissue donation for whatever reason, all you have to do is fill out a card and bingo! Your organs will go to the grave with you, safe and sound. What’s more, an opt-out system would also encourage people to talk to their loved ones about what to do with their organs and tissues while increasing the amount of organs and tissue available for transplant. Sure, this may seem like a simplistic solution, but consider this: in the New York Times’ piece “Opting In vs. Opting Out,” Richard Thaler notes that in Germany, which uses an opt-in system, only 12 percent of the population gives their consent to be donors. In Austria, which uses an opt-out, a staggering 99 percent agree to donate. And if so many people are dying on waiting lists, then isn’t it worth giving this a shot? These editorials are left unsigned because they represent the opinions of Verb magazine, not those of the individual writers. Feedback? Text it! (306) 881 8372
@VerbSaskatoon feedback@verbnews.com
6 NOV 30 – DEC 6 NEWS + OPINION
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COMMENTS
ON TOPIC: Last week we asked what you thought about free speech on university campuses. Here's what you had to say: – Definitely agree with free speech. Its easy to stand behind it and then shrink away when an unpopular opinion wants its turn to talk (went to uni in 80s and gay rights were a hot button issue). You gotta take the good n the bad dialogue is the only way we can go
– Typical lefty universities shut down any talk that might not be PC abortion is a sin deal with it don’t silence us!
– Free speech defendors? Ok here u go: I don’t like you verb :D
– How is protecting the rights of people who spew hateful, misinformed ideological beliefs empowering to anyone? Makes no sense to me
– Sure protect free speech but what about the people who would like to pursue their education and life on campus without having malformed and incorrect images of a fetus shoved in their face what about those people.
– Free speech is something we should vitally strive to protect, especially on universities. The tricky bit is where free speech and hate speech intersect. That line is blurry and difficult to parse. But the conversations are always worth having.
OFF TOPIC – On topic: The U of R students made a mistake and should get a second chance. In response to “School Break,” Editorial page, #216 (November 16, 2012)
Text yo thoughtsur to 881 VE R B 8372
SOUND OFF – The Grey Cup is the only championship Toronto will ever win since hockey just ain’t thier game!! HA HA HA! The Leafs suck!!
– This so called labor shortage is BS. Plenty of bodies in Sask. Employers are just being too picky and cheap. Good wages treat employees well, no labor problems!
– Why don’t they have guys to hand out Verb like the Metro does? Seems like if you guys want to keep your readers you should keep up with compitition.
– Had to bust a move to stay on my feet ystrdy. Yee Hah! Its breakdancing season. Even Sask elders put L.A. hip hoppers to shame. (you can break something)
I just would like to see some Christian support out there and don’t want Christianity to fade away. It is your choice to believe whatever you like. So don’t think I’m forcing my perspective on you because that was not my intention.
– To the txtr who said keeping Christ in Christmas is dogmatic. I also don’t believe in god (atheist) but I think when both sides accuse each other of pushing views whenever they say something is counterintuitive. I didn’t feel the OP was dogmatic, they were just expressing their wish. So for u I hope ur holiday is secular and to the OP I hope u don’t lose your love of christ in this season. Appreciating each other is what we should be doing this time of year. Peace.
– You give my life a hope that’s real ‘cause when I’m with you you take me away to another world.
– What is this white stuff some one asked . it’s called snow love it or go back where you came from.
– Tuesday is going to get it on Tuesday ! – I’ve seen at least 4 people totally bite it walked across campus, disappearing suddenly into a puff of snow as they erratically fall to the ground. Which would be real funny if you knew that at any second that could be you.
– You could say that a belief in Santa Claus is dogmatic. Yet people all over the place embrace the idea and don’t bat an eye. I prefer to believe in Jesus Christ and don’t apologize for my beliefs. You believe what you wish.
– I don’t want to force my perspective on you. We do however live in a country of free speech. I choose to believe in God. You don’t. That’s your choice. I’m not knocking that.
– We work very very hard at accentuating the differences between men and women with hair clothes makeup etc. This is a fairly chauvinistic homophobic society!
– Ever notice how girls jeans are so tight and guys jeans look like they will fall down?
– Cold winters build character. I doubt that Californians know what Canadian winters are all about.
– Why can ‘t you drive when winter comes! Slow down and don‘t drive so close . It comes every year.
– Cars going down freeway with snowbank on roof and windows frosted up Dumb idea
– We lost our dear father husband grandfather and freind. Dad was a very special person and touched very many hearts. I will and already miss him very much. You are free from agony now dad and you will be beside us everyday and with every step we take. Life with you was a gift full of laughter so many good times and yes very tearfull in the end. You were so strong and you fought so hard never complaining or showing any fear. You hid your greif and pain inside only to keep us from crying. You always smiled reguardless of your fear and wanted us to always stay strong and smiling with you. You were very dear to me and im so thankful for everything you have taught me in life. We had very many cherished memories that I will carry with me forever and held me when I cried. Love u forever xoxo
– Not many people around here know how to draw and paint. Easy skills to teach and learn. Like that when I was a kid. Taught myself. Dumb ass peasant schools.
– Out of Town Losing your liscene for 08 Then using combine to go to the bar
– It’s Christmas not Xmas.
– Keep the Chanukkah in xmas
NEXT WEEK: What do you think about changing organ donor policies? Pick up a copy of Verb to get in on the conversation: We print your texts verbatim each week. Text in your thoughts and reactions to our stories and content, or anything else on your mind
7 NOV 30 – DEC 6 /VERBREGINA
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Q+A
BUBBLIN’ OVER
PHOTO: COURTESY OF SONIC ENTERTAINMENT
Here’s what one Trailer Park Boy thinks of Christmas and touring BY ADAM HAWBOLDT
T
he first time the Trailer Park Boys went on tour, it was because of a judge’s sentence. These days, things are different. Ricky, Julian and Bubbles like touring. They like meeting new people, seeing new things, and ingesting as much “liquor and whores” as they possibly can. And for the first time ever, when their show Dear Santa Claus, Go F**k Yourself rolls into town, they’ll be joined by Randy. And you know “wherever Randy is, that f**kin’ Lahey’s not far behind.”
AH: Tell me about the best Christmas you ever had.
B: People put themselves in debt and end up f**kin’ shooting themselves or someone else cuz they get so depressed after Christmas. So Santa Claus represents that whole spendingtoo-much-money thing. And in that way, he can go f**k himself.
B: All the Christmases I had when I was a little guy before my parents took off on me. Those were the best Christmases for me. We used to have bonfires and hang out with
F**kin’ Ricky, he thinks we’re going to the North Pole.
AH: What’s the craziest thing that’s happened to you guys when you are out on tour like this?
BUBBLES
Adam Hawboldt: For you, what’s the true meaning of Christmas? B: Well, I mean, for me it’s just about being with your friends and your family and having a nice time. Gettin’ drunk. Havin’ some nice food. It’s not about who spent more on who kind of bulls**t. We want to debunk all those myths. That’s not what Christmas is about. Not for me.
There I am, dressed up like Santa Claus, and he gets up and f**kin’ sucker punches me. So I had no choice. He was comin’ at me like a wild bear. I had to grab him by the ears, I started kneeing him in the face. It turned into a horrible fight. So now Ricky feels bad and he wants to apologize to Santa. That’s why we’re heading out on tour. To find Santa for Ricky. F**kin’ Ricky, he thinks we’re going to the North Pole.
Ricky and Julian and all those guys. But my parents took off when I was around five or six years old and I’ve been hoping they’d come back every Christmas, but I never heard tell of ‘em again. So it’s those early Christmases that I remember.
It sort or all deals with Ricky, too. I’ve been dressing up as Santa and leaving presents for Ricky cuz nobody has the heart to tell Ricky that Santa’s not real. I usually get Ricky really drunk and high and Ricky passes out, then I’ll sneak in and leave his presents. But last year he went and woke up right when I was doing it and he thought someone was in there robbin’ him.
AH: Why, exactly, should jolly old Saint Nick go f**k himself?
B: Oh Jesus! All kinds of crazy stuff happened. We were down in Australia earlier this year and I got attacked by a kangaroo. We were just outside the city, havin’ some drinks and this kangaroo came at me, whizzin’ its feet, and I f**kin’ beat the c**ksucker almost to death. I had no choice. The thing almost bit my f**kin’ arm off.
AH: What’s the best and worst part of doing a tour like this Dear Santa, Go F**k Yourself tour? B: The best is meetin’ new people, seeing all the different cultures. Like when you go over to Scotland or Ireland and you can barely understand those c**ksuckers. But they’re good, they like to fight and drink. It’s nice to see those cultures. The worst part is traveling in a vehicle with Ricky and Julian. That Ricky, he eats a lot of pepperoni and he’s always drinking liquor. It’s all gurgling around. It’s like a f**kin’ compost in there. He lets off a lot of different types of gas. Trailer Park Boys December 11 @ Casino Regina $45+ @ Show Lounge Box Office
Feedback? Text it! (306) 881 8372
@AdamHawboldt ahawboldt@verbnews.com
8 NOV 30 – DEC 6 CULTURE
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INTERDEPENDENCIES Martha Cole and active witnessing
M
artha Cole is bent on saving the planet. Her latest exhibition of textiles, Interdependencies, explores natural beauty, the appreciation of which has been lost to so many people, sacrificed at the altar of straightforward economics. Referring to Thomas Berry’s The Great Work, she says: “There are eras in our history in which there is a great social change that needs to happen, a change that has to happen on all different kinds of levels — and it entails all of us.” It goes without saying that she thinks this is one of those times. Interdependencies showcases Cole’s complex textile-based works. After printing photographic details onto sheets of silk or cotton, she embellishes the pieces with paint and careful stitching. The finished works are not flat representations of nature; they are contoured and textured distillations of what natural beauty can be. “Mostly what my work is about is something called active witnessing,” she explains. “What I’m trying to do is show individual things in our environment, other living forms, in all of
BY ALEX J MACPHERSON
their complexity, because it’s incredibly beautiful. I think that beauty is an active force for change. If you see something that’s beautiful, if you are moved by it because it is beautiful, your heart just opens.” Which is not to say that Interdependencies is propagandistic. Good artwork can be accessed on different levels, and Cole understands this. Her images of lichens and mosses and trees can be read as simple representations of beauty, landscapes under the microscope. But the title of the exhibition hints at something more, some broader meaning or purpose. “Lichen are actually made up of two different species, neither of which can exist without the other,” Cole says, alluding to the notion that humankind cannot exist without the earth. In this sense, the works in Interdependcies transcend simple beauty and point inexorably toward the compromises necessary to sustain life on earth — for us and for the planet. Ultimately, Interdependencies cannot escape the realm of the political, but Cole insists that she is not particularly interested in per-
LICHEN, ROCK FROM A PRAIRIE PASTURE, 2008 PHOTO: COURTESY OF THE ARTIST
suading people to make significant political changes. She just wants to show people that there are levels of understanding beyond a detached analysis of cost and benefit. Whether or not the viewer chooses to subordinate economics to beauty and all its complexity is and always will be a personal choice. But the exhibition succeeds because Cole isn’t afraid to ask. Martha Cole: Interdependencies Through January 10 @ Dunlop Art Gallery, RPL Sherwood Village Branch
HANDEL’S MESSIAH
An old piece of music becomes a new tradition BY ALEX J MACPHERSON
V
ictor Sawa spends a lot of time looking forward to Christmas. “I’m a traditionalist,” the maestro explains. “That’s very important to know, that the turkey, the tree, the presents are very important for this time of year.” And then there’s the music. Sawa admits to stocking his iPod with Christmas carols, but says the two most important pieces are more profound than “Jingle Bell Rock”: Tchaikovsky’s Nutcracker and Handel’s Messiah. The latter has become an annual tradition for the Regina Symphony Orchestra, one Sawa spends all year looking forward to.
Composed in 1741 by George Frideric Handel, Messiah is a largescale concert piece for an orchestra, a choir, and several soloists. A musical interpretation of the life of Jesus Christ as Messiah, Handel’s most famous piece received middling reviews when first performed. Today, Messiah is one of the most popular choral works, and for good reason. Heard live, Messiah is a towering pillar of sound. The “Hallelujah Chorus” is probably the most recognizable part, but Sawa says every moment is memorable. “You wait for them every year,” he laughs. Perhaps most importantly, Messiah is no longer regarded as a reflection
on religion. Which, Sawa points out, would probably surprise Handel. “Different pieces from different composers just have a life of their own,” he says. “He liked this one, it was one of his favourites for sure, but what happened? Nobody knows. It acquires a life of its own and all of a sudden it’s there.” Which is a good thing. “It’s become an experience,” Sawa says. “Especially in this day and age we are in need of traditions … we live in a disposable society — and what’s interesting are the things that have endured.” Featuring the RSO, the Halcyon Chamber Choir, the Regina Philharmonic Chorus, and solists Kerri Cor-
nish-Morton, Renée Brad, Paul Williamson, and Lawrence Shirkie, Messiah is a chance to celebrate as one year comes to an end and another begins. Handel’s Messiah December 12 @ Knox Metropolitan $45 @ tickets.reginasymphony.com
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BIG WRECK
PHOTO: COURTESY OF RICHARD SIBBALD
Ian Thornley reunites a band, rekindles a friendship, and records a great rock record
W
hat is a rock and roll band? If you ask Ian Thornley, he will probably tell you that a rock and roll band is an ideal: five guys joined together by friendship and music, driven by a burning desire to laugh, to create, and to share with as many people as possible. That’s what Big Wreck is — which is astonishing, because two years ago one of Canada’s best-loved bands was nothing more than a faded memory. Formed in 1994, Big Wreck was the brainchild of Thornley and
guitarist Brian Doherty. Their debut album, In Loving Memory Of…, was released in 1997 and produced a slew of hit singles, including “The Oaf” and “That Song.” The band experienced a period of significant success in Canada and released a follow-up in 2001. The Pleasure and the Greed was well-received here but failed to generate momentum south of the border. A year later, the band broke up, its founding friendship obscured by a cloud of “dark stuff swirling around.” Thornley later found success with his solo project. Doherty moved to Sarnia and started a band
called Death of Eight. Big Wreck was forgotten. Until now. “In a lot of ways it feels like a new band to me, but with Brian in it,” Thornley says. “We didn’t aim to put the band back together, there was none of that. It was really just about rekindling a friendship, then from that it all fell into place in a really genuine way. Paulo [Neta, Thornley’s guitarist] couldn’t make a gig, he was going to be in Portugal, and he suggested, ‘Now that you’re hanging out with Brian, why don’t you get him to fill in?’” Thornley agreed, not knowing what would happen. What happened was a national tour, a new Big Wreck album, and a second major outing. The last year has been extraordinarily busy, but Thornley couldn’t be happier. “It feels great, man,” he says. “In many ways it’s the same as it ever was, and in a lot of other ways it’s a lot more positive — there’s a lot of great energy in and around the band right now. It’s all gravy.” Much of Thornley’s enthusiasm stems from Albatross, an album that sums up where Big Wreck has been and hints at what the band can be — even if it might surprise longtime fans. From “Head Together,” a mid-tempo chugger animated by an infectious chorus and thunderous guitars, to “Time,” a pensive ballad freighted with regret, Albatross feels roomier,
airier, and more spacious than its predecessors without sacrificing the grit Thornley and his bandmates have spent years refining. “That was by design,” he says. “We wanted it to feel the way albums used to feel, when you could actually hear the band even if you weren’t blaring the
BY ALEX J MACPHERSON It doesn’t feel authentic to me. It doesn’t feel real.” Technology can be beneficial in the studio, but too much interference can neuter even the most vibrant band, transforming a powerful and dynamic song into a sterile wall of noise. Thornley and Doherty worked hard to avoid this,
We didn’t aim to put the band back together, there was none of that. It was really just about rekindling a friendship… IAN THORNLEY
record through speakers. If it was on in the background [we wanted it to] feel like there was an energy there, a personality there — and not like wallpaper. And I think a lot of records these days do.” Thornley is right. Wallpaper rock is all too prevalent today, chiefly because technological advances allow engineers and producers to make every note perfect. Thornley dislikes this approach. “They’re just too manufactured,” he says. “I don’t hear the human element. I don’t hear a human voice. I don’t hear a hand holding a stick hitting a drum or a hand squeezing guitar strings.
electing to keep technology out of the stream as much as possible. It worked. Albatross has an openness absent from so many other albums. Even the hardest songs, “Rest of the World” and “You Caught My Eye,” feel aggressive and powerful without sacrificing the feel of a band playing live in the studio. “A lot of that air,” Thornley deadpans, “is because that’s the way the song was played.” Albatross is a contemporary hard rock record that doesn’t sound like a contemporary hard rock record. For inspiration, Thornley dug deep into his album collection, unearthing gems by Thin Lizzy, CONTINUED ON NEXT PAGE »
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PHOTO: COURTESY OF THE ARTIST
Fleetwood Mac, and Dire Straits. These classics influenced more than just sonics and texture, however. “In the last six, seven years there’s just a focus on the really simplified, gentrified, lowest common denominator, sweeping kind of lyric that everyone can identify
PHOTO: COURTESY OF MIKE ALFANO
with,” Thornley explains. “It’s a sales pitch, not a song.” Albatross is definitely not a sales pitch, and nowhere is this more evident than on the title track. From beautiful imagery (“One last cup of starlight before I wake and start my day”) to metaphors reeking of profundity (“I’ll wear the albatross for one more day”), the track captures Thornley’s talent for crafting interesting, engaging songs. Inspired by “The Rime of the Ancient Mariner,” Coleridge’s epic that is today considered the preamble to British Romanticism, the song “Albatross” is about carrying
a burden and learning to accept it. In Coleridge’s poem, the Mariner shoots an albatross, believing it to be a bad omen. The crew turn on him. As a sign of penitence, or perhaps an expression of his guilt, the Mariner slings the bird’s limp carcass around his neck. Thornley latched onto the idea and used it to frame a song, a personal story. “I just thought it was an interesting take on it,” he says rather modestly, adding that most of his songs draw on personal matters. “Time,” on the other hand, is a much simpler song, a delicate plea to the relentless sweep of the clock: “Time’s the one wasting us.” “It’s a line that I jotted down about something akin to the amount of time I’ve wasted wishing I could go back,” Thornley says. “It sounds pretty sappy when you just say it, but I knew I wanted that as a theme. Musically it was a bit of a bitch to put together: it’s actually a mashup of two similar ideas we ended up marrying and then it finally worked.” Ultimately, Albatross works because it captures the band at a pivotal moment: unsure of the road ahead yet determined to banish the past. Strangely, Albatross is a great record because it is a bad record — by industry standards, anyway. In other words, recording quickly and without fanfare produced a record
that is more honest than anything subjected to months of digital enhancement could ever be. “I’m really happy with what we ended up with,” Thornley says. “I don’t think there’s as much sort of loosey goosey jamming stuff on there as we had originally set out to have, but I don’t think it would have worked in retrospect. There are always things I hear that probably no one else would where I’m like, ‘I should have changed that last line to blah, blah, blah, whatever.’ It’s the taking the drawing away from the kid scenario: it’s good enough, f**king stop.” That Big Wreck didn’t make a big wreck is testament not only to Thornley’s dedication, but also in his belief in the idea of the rock band — that fundamental desire to create and to share. “Just the other day we watched a girl weep through most of the set,” he says. “I was like, ‘Wow man, I get it, I really do get it.’”
Big Wreck December 10 @ Conexus Arts Center $36.50+ @ Conexus Box Office
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BUON APPETITO! Photography courtesy of Danielle Tocker
Inventive and homemade pasta dishes, great desserts and more at Pasta Prima BY JESSICA BICKFORD
I
have to say that pasta is one of my all-time favourite foods. It is warm, comforting, filling, and you can have it with any number of sauces that fit with what you’re craving. That is exactly what Pasta Prima is serving up – a wide variety of pastas and
glazed look. The tender ribs had great flavour from the sauce, and I loved the slightly charred taste from the grill. Beside the ribs was a lovely pile of crisp green beans in a bit of melted butter, and a fluffy bed of saffron rice pilaf. Next up was a fusion pasta dish of mango curry chicken chutney on
flavours and was really something deliciously different. Blackened chicken was the last of the entrées, and it also happened to be our photographer Danielle’s favourite meal from Pasta Prima. The al dente spinach linguine was combined with a creamy sauce that featured sautéed spinach, garlic, black olives and basil. On top of the pasta were boneless strips of white meat chicken in a spicy and flavourful blackening spice. The chicken had a nice heat that blended very well with the sauce to make this particular item a exceptionally creamy, spicy, lovely dish. Dessert was up next, and came in the form of a slice of banoffee pie. The layers of whipped cream, banana, caramel and a crumbly chocolate topping all rested on a crisp graham crust. The sweet whipped cream, smooth caramel, and delicate slices of banana made this a great dessert that was perfectly sweet, but not overwhelming.
The al dente spinach linguine was combined with a creamy sauce… JESSICA BICKFORD
sauces all made in-house (that’s right, they actually make their own pasta), and tons of other entrée options. I started with a decidedly non-pasta and non-Italian dish from Pasta Prima’s extensive menu – Korean short ribs. The ribs themselves were marinated in a special barbecue sauce before being grilled to give them a beautifully
fettuccine. Don’t let the name scare you off, this is a fun twist on fettuccine alfredo, with the creamy sauce infused with a mild curry, as well as red onion, mango, and bell peppers. The thick fettuccine noodles were bathed in the mildly spicy and slightly sweet sauce, which was studded with juicy pieces of chicken breast. This dish had a lot of great
Owner Quang Pham has been in charge of Pasta Prima for the past ten years, and stresses their focus on making their pasta, sauces, and everything else in-house. Nothing can beat freshly made pasta, and it elevates all of Pasta Prima’s dishes to the next level of taste.
Pasta Prima 4440 Albert St. | 347 2782 Feedback? Text it! (306) 881 8372
@TheGeekCooks jbickford@verbnews.com
LET’S GO DRINKIN’ VERB’S MIXOLOGY GUIDE BICICLETTA
INGREDIENTS
The bicicletta is a casual Italian aperitif, or before-dinner drink, that stimulates the appetite and quenches thirst. This cocktail is lightly floral and fruity along with a good bit of bitterness, but please don’t ride your own bicicletta home after a couple of these.
2 oz. Campari 1 ½ oz. white wine ½ oz. club soda lemon slices ice
DIRECTIONS
Fill a wine glass with ice, then add the Campari, white wine, and soda. Give it a stir and garnish with a slice of lemon – easy as riding a bike.
12 NOV 30 – DEC 6 CULTURE
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MUSIC
NEXT WEEK
COMING UP
KACY + CLAYTON
CARLY MAICHER
DALA
@ CREATIVE CITY CENTRE TUESDAY, DECEMBER 11 – $10 (ADVANCE)
@ CREATIVE CITY CENTRE TUESDAY, DECEMBER 11 – $10 (ADVANCE)
@ THE EXCHANGE WEDNESDAY, JANUARY 30 – $20 (ADVANCE)
$12 (DOOR)
$12 (DOOR)
$25 (DOOR)
Raw, simple, haunting, accomplished, infectious: those are just a handful of adjectives that come to mind when you hear the music of Kacy and Clayton. Oh, and amazing. That’s another one. With Clayton playing the ever-loving hell out of his guitar, and Kacy’s distinctive voice working its way into your ears and mind, it’s safe to say this young duo puts on one heckuva show. Their music is traditional folk with soulful twangs and a bluesy quality that is, altogether, pretty darn remarkable — and getting better. After a busy summer that saw them play numerous shows, Kacy and Clayton have remained active this fall. Next week they’ll be taking the stage at Creative City Centre as a part of the Prairie Roots Revue, so head on down.
If you’ve never heard of Carly Maicher, well, things are about to change. With a voice that sounds like a cross between Joni Mitchell and Feist, this young singer/songwriter from Winnipeg is an up-and-comer on the folk music scene. Her latest album, Hiding, was a long time in the making. Wanting to connect with her familial roots, Maicher went to Grand Manan Island in New Brunswick, to her family’s summer house. It was a trip that was only supposed to last a little while. Three and a half years later, Maicher got around to making her album, and what an album it is. Haunting, delicate and beautiful, Hiding is a deeply personal album that is all kinds of good. Maicher will also be appearing in the Prairie Roots Revue.
The first thing you notice are their voices: lofty, beautiful and hypnotic. The kind of voices that grab you by the lapels at the beginning of a concert and don’t let go until it’s time to go home. This duo — consisting of Sheila Carabine and Amanda Walther — first met at school in Scarborough, Ontario. In 2002 they formed the group, by 2003 the pair had a five-year deal with Big Bold Sun Music, and this year marks the arrival of their sixth studio album. Along the way Dala has won fans and won over critics by the score, so much so they’ve been nominated for a Juno and, in 2010, was the Canadian Folk Music Award for Vocal Group of the Year. So yeah, you should probably check ‘em out. See culturalexchange. ca for advance ticket info. – By Adam Hawboldt
PHOTOS COURTESY OF: THE ARTIST / THE ARTIST / THE ARTIST
SASK MUSIC PREVIEW Interested in performing at JUNOfest, the annual music festival that will showcase the best Canadian artists in venues across Regina and Moose Jaw? Submissions will be accepted until January 11, 2013, and the event will take place during JUNO week (April 15-21, 2013). Interested artists can check out http://marcatoapp. com/website_integration/junofest2013/artists/ to apply. Open to Canadian artists only; must be at least 19 to apply. Keep up with Saskatchewan music. saskmusic.org
13 NOV 30 – DEC 6 @VERBREGINA
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NOVEMBER 30 » DECEMBER 8 The most complete live music listings for Regina. S
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FRIDAY 30 ROBERTO LOPEZ LOPEZ, ABSTRACT REGGAE / The Artful Dodger — Come out for a night of funky music. 8pm / Cover TBD CHINA GROVE / Casino Regina — The ultimate Doobie Brothers tribute band. 8pm / $20+ CHRONO-BENEFIT SHOW / The Club — Featuring Shadow in the Mirror, Cloudfight, The Jump Off and Chronobot. 7:30 / $10 RSO SPECIAL: THE GALILEO PROJECT / Conexus Arts Centre — Featuring the Tafelmusik Orchestra and images from the Hubble telescope. 7:30pm / $38-68 (www.reginasymphony.com) DJ JUAN LOPEZ / Envy Nightclub — This DJ loves requests, nothing is off limits. 10pm / $5 PORT NOISE / The Exchange — Some hard rock from a distinct act. 8pm / Cover TBD THE ACCOMPLICE, SCREAMIN DAISIES, BLACK DRAPES / Gaslight Saloon — A night of fun and some sweet, hard tunes. 9pm / Cover TBD
DJ PAT & DJ KIM / Habano’s Martini & Cocktail Club — Local DJs spin top 40 hits every Friday night that are sure to get you on the dance floor. 9pm / $5 cover THE TIFF HALL BAND / McNally’s Tavern — A pop/jazz band from Edmonton 10pm / $5 WILDMEN / O’Hanlon’s — Local altcountry act. Also appearing will be The Seahags. 9pm / No cover FOXX WORTHEE / Pump Roadhouse — The powerhouse “bad girls” of country. 9pm / Cover TBD ALBERT / Pure Ultra Lounge — Appearing every Friday night, come listen to Albert as he does his spinning thing. 10pm / $5 cover CONRAD BIGKNIFE / The Sip Nightclub — Country/rock played with pep. 10pm / No cover if in attendance by 6pm ALEX RUNIONS / Whiskey Saloon — Kickass country from this musician from Kipling. 8pm / $10 DJ LONGHORN / Whiskey Saloon — Come check out one of Regina’s most interactive DJs as he drops some of the best country beats around. 8pm / Cover $10
CODY GAMRACY / Lancaster Taphouse — A local indie-folk rock musician worth checking out. 9pm / Cover TBD DAN SILLJER BAND / McNally’s Tavern — Some funk, soul and rock guitar. 10pm / $5 FOXX WORTHEE / Pump Roadhouse — The powerhouse “bad girls” of country. 9pm / Cover TBD DREWSKI / Pure Ultra Lounge — Doing what he does best, every Saturday night. Come on down and dance the night away with this local DJ. 10pm / $5 cover CONRAD BIGKNIFE / The Sip Nightclub — Country/rock played with pep. 10pm / No cover if in attendance by 6pm OPEN JAM SESSIONS / Smokin’ Okies BBQ — If you play an instrument, drop by for a jam. If not, stop by and just listen. 3pm / No cover ALEX RUNIONS / Whiskey Saloon — Kickass country from this musician from Kipling. 8pm / $10
Ministry of Groove, playing jazz and funk. 8pm / No cover
SUNDAY 2
2 BEATS & A HAT / Artful Dodger — Presented by DJ Verbal & E-Major the first Thursday of every month. 7pm / $5 Decibel Frequency / Gabbo’s Nightclub — Dig electronic dance music? Then break out your dancing shoes and get down to Gabbo’s. 10pm / Cover $5 PS FRESH / The Hookah Lounge — Featuring DJ Ageless and DJ Drewski slinging some bomb beats. 7pm / No cover OPEN MIC NIGHT / King’s Head Tavern — Come out and show Regina what you got. 8pm / No cover REDBEARD’S REMEMBERING JIMI HENDRIX / McNally’s Tavern — Local guitarists pay tribute to the master. 8:30pm / $5 WILDFIRE / Pump Roadhouse — Hot country from this talented songstress. 9pm / Cover TBD DJ LONGHORN / Whiskey Saloon — Come check out one of Regina’s most interactive DJs. 8pm / Cover $5
RSO FAMILY: BEETHOVEN CHRISTMAS / Conexus Arts Centre — A concert the whole family can enjoy. 2:30pm / $25 (www.tickets.regingasymphony.com) BILL BOURNE, SCOTT COOK, INDIO SARAVANJA / The Exchange — Three wildly talented folk musicians. 8pm / $15 (@ Bach&Beyond, Buy the Book, Vintage Vinyl), $20 (door)
SATURDAY 1
CHINA GROVE / Casino Regina — The ultimate Doobie Brothers tribute band. 8pm / $20+ DJ JUAN LOPEZ / Envy Nightclub — This DJ loves requests, nothing is off limits. As long as you’re dancing he’s happy. 10pm / Cover $5 ELECTRIC LETTUCE / Gaslight Saloon — A hot act takes the stage. Come early and jam from 5-9pm. 10pm
MONDAY 3
LATIN LOUNGE / Artful Ddoger — Enjoy a night of salsa. $5 MONDAY NIGHT JAZZ AND BLUES / Bushwakker Brewpub — Featuring The
TUESDAY 4
WIL, RYAN MCMAHON / The Artful Dodger — Awesome roots/rock music. 7:30pm / $10 (advance), $15 (at the door) KARAOKE TUESDAY / McNally’s Tavern — Famous live music venue offers its patrons a chance to share the stage. 8pm / No cover THE MACEVOYS / O’Hanlon’s — A night of music you won’t want to miss. 9pm / No cover
WEDNESDAY 5
WEDNESDAY NIGHT FOLK / Bushwakker — Kory Istace and the Time Pirates play original + seasonal tunes. 9pm / No cover JAM NIGHT / McNally’s — Come enjoy some local talent. 9pm / No cover
THURSDAY 6
FRIDAY 7
COLLEGE KIDS, THE SPOILS / Artful Dodger — Local rockers take to the stage. Also appearing is The Spoils. 8pm / $10 JESSE COOK / Casino Regina — Bllues guitar that will melt your face. 8pm / $30/35 (www.casinoregina.com) DJ JUAN LOPEZ / Envy Nightclub — This DJ loves requests, nothing is off limits. 10pm / Cover $5 KREAYSHAWN / The Exchange — Check out her Group Hug tour, featuring Rye Rye, Honey Cocaine and Chippy Nonstop. 7pm / Tickets TBD DJ PAT & DJ KIM / Habano’s Martini & Cocktail Club — Local DJs spin top 40
hits that are sure to get you on the dance floor. 9pm / $5 cover FOGDOG / McNally’s Tavern — Track suits and classic covers. What more could you want? 10:30pm / $5 LORDS KITCHNER / O’Hanlon’s — Hot indie rock from a Moose Jaw band. 9pm / No cover WILDFIRE / Pump Roadhouse — Hot country from this talented songstress. 9pm / Cover TBD ALBERT / Pure Ultra Lounge — Appearing every Friday night, come listen to Albert as he does his spinning thing. 10pm / $5 cover ALEX RUNIONS / Whiskey Saloon — Kickass country from this musician from Kipling. 8pm / $10
SATURDAY 8
VALDY / Artesian on 13th — A multitalented, Juno-winning pop/folk artist. 8pm / $20 (picatic.com), $25 door JOHN MCDERMOTT / Casino Regina — One of the finest Celtic singers you’ll ever see. 8pm / $30-35 (www.casinoregina.com) THE CROOKED BROTHERS / Creative City Centre — A classic country sound fused with the blues. 7:30pm / $12(advance), $15(door) DJ JUAN LOPEZ / Envy Nightclub — This DJ loves requests, nothing is off limits. 10pm / Cover $5 HARDLUCK + TROUBLE / Lancaster Taphouse — Blues/rock/roots music that you’ll dig. 9:30pm / Cover TBD FOGDOG / McNally’s Tavern — Track suits and classic covers. 10:30pm / $5 WILDFIRE / Pump Roadhouse — Hot country from this talented songstress. 9pm / Cover TBD DREWSKI / Pure Ultra Lounge — Doing what he does best, every Saturday night. 10pm / $5 cover CHRISTMAS WITHOUT CAROLS / Sachwyn Guitars — A fundraiser featuring Bob Evans, Ray Bell, Tahnis Cunningham, Ken Hamm + Keiffer McLean. 8pm / $20 OPEN JAM SESSIONS / Smokin’ Okies BBQ — If you play an instrument, drop by for a jam. If not, stop buy and just listen. 3pm / No cover CHRIS HENDERSON / Whiskey Saloon — A seriously talented country artist. 8pm / $5 cover
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FRIDAY, NOVEMBER 25 @
MCNALLY’S TAVERN McNally’s Tavern 2226 Dewdney Avenue (306) 522 4774
MUSIC VIBE / Everything, from
dance to the good ol’ classics FEATURED DEALS / Pints for $5.75 DRINK OF CHOICE / Burt Reynolds shots — and if you have one, you get to pose with a classic photo of the man himself TOP EATS / Nachos COMING UP / A New Year’s Eve party with Slow Motion Walter
Photography by Klein Photography – feedback@verbnews.com
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KILLING YOU SOFTLY WITH AWESOMENESS!
PHOTO: COURTESY OF THE WEINSTEIN COMPANY
New film starring Brad Pitt is a stupendous, satirical addition to the gangster genre BY ADAM HAWBOLDT
B
rad Pitt may not be the best actor working today, but he’s my favourite. Why? Well, the answer is twofold. First, in part, he has the same thing going for him that Marlon Brando, Paul Newman and James Dean did. That smouldering vibe of cool makes you either want to be him or be with him.
Basterds, Billy Beane in Moneyball. The list goes on and on. And now you can add another knock-the-leather-off-the-ball, cooler-than-hell role to that list — Jackie Cogan in Killing Them Softly. In the movie, directed by Andrew Dominik (Chopper), Pitt plays a self-conscious hitman named Jackie brought in to fix a situation for a crumpling mafia empire. The situation begins when a couple of small-time grifters — Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) — are let in on a surefire scam by a local thug that simply can’t go wrong. The scam is easy: knock over a backroom poker game run by Markie Trattman (Ray Liotta), and let Trattman take the fall. Naturally, things go wrong. Trattman’s bosses know he’d never do something so stupid, so they bring in an enforcer to find the two responsible and remedy the situation. Enter Brad Pitt’s Jackie. But when Jackie stumbles upon a few realizations, he decides to hire a New York hitman named Mickey (James Gandolfini) to help him. Without giving anything else away, let me just say that Killing Them Softly is a terrific movie.
But that’s just a small part. The main reason Brad Pitt is so awesome is because of the roles he chooses and the way he knocks the ball out of the park — time and time again. Think about it: he’s Tristan Ludlow in Legends of the Fall, David Mills in Seven, Jeffrey Goines in Twelve Monkeys, Tyler Durden in Fight Club, Mickey in Snatch, Lieutenant Aldo Raine in Inglourious
There’s something fresh about it, something original. Sure, it has all the violence and vivid brutality inherent in the gangster genre. But this isn’t your average clichéd gangster film. There are scenes of true and terrifying beauty. There are also scenes (and there are a lot of them) made up of lengthy, witty, detailed dialogue. Killing Them Softly is also a stinging satire.
KILLING THEM SOFTLY DIRECTED BY Andrew Dominik STARRING Brad Pitt, Ray Liotta, James Gandolfini + Scoot McNairy 97 MINUTES | 14A
through the capitalist system like a bullet through fractured glass (this simile will make more sense after you watch the movie.)
Killing Them Softly is a savage satirical stab at corporate-political America that cuts through the capitalist system… ADAM HAWBOLDT
The bosses running the show are inept, the middle men are on the take and the guys on the bottom are gonna get it — good and hard. Everything everywhere around everyone is crumbling. And if that sounds a lot like what’s happened economically in America to you, well, you’re not wrong. From top to bottom, Killing Them Softly is a savage satirical stab at corporate-political America that cuts
Think Dr. Strangeglove meets Wall Street meets Goodfellas. Think whatever you want, but whatever you do don’t miss this movie.
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UNHURRIED CHARM Italian film, Mid-August Lunch, is a slow-winding look at life and companionship and food S
ometimes a title fits a movie perfectly. Take, for instance, Gianni Di Gregorio’s film Mid-August Lunch. Not only is it, in a way, about food and cooking, it also unfolds with all the charm and ease of a long, lazy afternoon meal replete with good company, great food and excellent conversation. Set during Ferragosto — an Italian holiday that’s been around since ancient Rome, during which people feast, frolic and drink too much — Mid-August Lunch is a warm, funny, endearing look into the life of a middle-aged man named Gianni (played by Di Gregorio, who also wrote and directed the film). Gianni is a baggy-eyed, unemployed chain smoker who lives at home and takes care of his 90-yearold mother in an apartment in the working-class district of Trastevere. Gianni is a long-suffering, goodnatured son with a warm, charming
BY ADAM HAWBOLDT
MID-AUGUST LUNCH DIRECTED BY Gianni Di Gregorio STARRING Gianni Di Gregorio, Alfonso Santagata, Valeria De Franciscis + Maria CalÌ 75 MINUTES | NOT RATED
Things don’t look good until the building manager, Luigi (Alfonso Santagata) suggests a solution: seeing as it’s Ferragosto, a holiday when most Italians go on vacation, Luigi tells Gianni his debts will be forgiven if he takes care of Luigi’s mother so he can get out of town with his lady friend. Naturally Gianni says okay. But when Luigi shows up the next day, it’s not just his mom he brings with him. No. He also brings along his aunt. So now Gianni has three old ladies to take care of. No, wait. Make that four, because not long after the building manager PHOTO: COURTESY OF ZEITGEIST FILMS
And you know what? Mid-August Lunch is a quiet, warm little gem of a movie. ADAM HAWBOLDT
personality. But that’s not to say he’s without faults. See, money isn’t Gianni’s strong suit and when the film opens we learn that he’s several years behind on rent and facing eviction.
leaves, Gianni’s physician Marcello (Marcello Ottolenghi) shows up and convinces Gianni to take care of his old mom as well. What ensues are a few days that will test Gianni’s otherwise stoic
patience. He has to juggle the needs of the old ladies, solve disputes (two of the women fight over the television remote) and regulate diets (one of the women can’t eat cheese or tomatoes, yet is hellbent on sneaking bites of Gianni’s macaroni casserole), all the while trying to cook and clean and maintain a modicum of sanity. Which he does by imbibing no small amount of wine. Whether he’s sneaking off to a local wine shop to sample glasses of vino, or drinking while cooking, Gianni seems to exist
in a state of just-enough-booze-todeal-with-this drunkenness. And that’s the plot. Nothing cataclysmic happens, no explosions or pulse-quickening situations. Just the day-to-day business of a guy caring for a brood of old hens. And you know what? Mid-August Lunch is a quiet, warm little gem of a movie. Very different than Di Gregorio’s last flick — a wonderful, hard-hitting gangster film called Gomorrah. So if you’re in the mood for a very human movie about very human
problems, and the way food and wine can help people bond, then I suggest you see this movie. Posthaste. Mid-August Lunch will open at the Regina Public Library on December 6th; see reginalibrary.ca for showtimes.
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CROSSWORD CANADIAN CRISS-CROSS
SUDOKU ANSWER KEY
1. Drink fast 5. Knocking sounds 9. Is very angry 10. Praise highly 12. Negotiate with an enemy 13. Elderly person 15. To another place 16. Greek consonants 18. Easy as ___ 19. You can’t walk on just one of them 20. Dogs and cats do it 21. Warm wine with sugar and spices 22. Straight and vertical 24. Post-mortem
examination 26. Reading stand 28. Moral consideration 31. Greek vowels 35. Genealogy diagram 36. Consequently 38. French goose 39. Be wrong with 40. Container for flowers 41. Dark plain on the moon 42. Think in a logical way 44. Spied on racehorses 46. Cooks by simmering 47. Fire sign 48. Manoeuvre gently 49. Vetch plant
1. Place to park your car 2. Unattractive 3. Protective shelter 4. Mentally prepare 5. Gunshot evidence 6. Tools for splitting wood 7. Baking container 8. Mistake 9. Less experienced 11. Works hard 12. Whitish 14. Have confidence in 17. They warm you up 20. One level of stairs 21. One prefix 23. Fact that helps solve a
mystery 25. Group of three 27. Wash 28. Point of light in the night sky 29. Inarticulate sounds 30. Tell about 32. Exactly 33. Buenos ___ 34. Plant in soil 37. Subtly suggest 40. Wedding words 41. “The Maple Leaf Forever” composer 43. Kind of horse 45. Mouths, in zoology
A
B
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DOWN
7 8 1 9 4 6 3 2 5 9 6 3 8 5 2 7 4 1 5 2 4 7 3 1 8 6 9 3 4 9 5 1 7 6 8 2 8 1 6 4 2 3 5 9 7 2 7 5 6 9 8 1 3 4 4 5 7 3 6 9 2 1 8 6 9 2 1 8 5 4 7 3 1 3 8 2 7 4 9 5 6
ACROSS
© WALTER D. FEENER 2012
HOROSCOPES NOVEMBER 30 – DECEMBER 6 ARIES March 21–April 19
LEO July 23–August 22
SAGITTARIUS November 23–December 21
Expect the expected this week, Aries. Your intuition is running high. Whatever you think will happen, will happen.
You will stumble upon some surprising information, Leo. What you do with it, well, that’s up to you. But whatever you choose, don’t ignore it.
There’s a massive decision coming down the pipe, Sagittarius. Brace yourself. And even if you don’t want to make it, have faith. You’ll get it right.
TAURUS April 20–May 20
VIRGO August 23–September 22
CAPRICORN December 22–January 19
Sometime within the next few weeks you should really consider making plans for a trip, Taurus. You don’t know it yet, but your battery is dwindling.
Feeling creative, Virgo? If so, don’t let that energy go to waste. Start a new project, whether it’s writing, drawing, singing or something else.
Have you been thinking about expanding your skill set lately, Capricorn? If so, why don’t you give underwater basket-weaving a shot?
GEMINI May 21–June 20
LIBRA September 23–October 23
AQUARIUS January 20–February 19
Success is just around the corner, Gemini. The problem is, the corner is hard to find. Don’t give up, though. Keep looking, bucko.
Beware of snow-covered curbs and run-away dogs this week, Libra. They’re both out to get you. Don’t take them lightly.
If you find your mind getting wrapped up in political issues this week, Aquarius, step back, breathe and think about something else. Like statim.
CANCER June 21–July 22
SCORPIO October 24–November 22
PISCES February 20–March 20
You should pick up a new book this week, Cancer. If you can’t read, well, you won’t know what I’m saying here, so no matter.
This is a good week to blow off some steam, Scorpio. So why not go out and tie one on over the next couple of days? You won’t regret it.
New ideas are going to flood your head over the next few days, Pisces. You’d be best advised to wear water wings. Everywhere. All week.
SUDOKU 8 1 4 3 6 3 8 5 2 8 6 9 3 4 5 1 7 2 7 2 5 9 1 4 7 3 6 2 1 6 9 5 7 8 4 9
CROSSWORD ANSWER KEY
A
8 4 1 2 7 2 8 1 1 5 2 3 6 7 4 3 9 5 7 8 3 3 6 4 9 5 4 5 6 8 9 9 6 1 7 2
B
19 NOV 30 – DEC 6 /VERBREGINA
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