Verb Issue S268 (Nov. 29-Dec. 5, 2013)

Issue #268 – November 29 to December 5

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dakota mcfadzean For the love of comics feather + rosary Q+A with Joey Stylez oldboy + all is lost Film reviews Photo: courtesy of monster truck facebook

contents

On the cover:

monster truck

For the love of rock. 16 / feature Photo: courtesy of Carlyle Routh

NEWs + Opinion

culture

entertainment

q+A with joey stylez

Live Music listings

On Feather + Rosary. 12 / Q + A

dakota Mcfadzean On drawing comics, and what it all means. 4 / Local

Local music listings for November 29 through December 7. 20-21 / listings

is this the future?

oldboy + all is lost

Galicia changes our perception of art and technology. 14 / Arts

We review the latest movies. 22 / Film

mekiwin: the gift

Nightlife Photos

SNTC stages their annual Christmas play. 15 / Arts

We visit TCU Place + Red Zone.

24 / Nightlife

he’s right and you know it John Gormley on life on the radio.

6 / Local

stop letting canadians die Our

eclectic choices, delicious pizza

thoughts on organ donation. 8 / Editorial

We visit Swan Pizza. 18 / Food + Drink

on the bus Weekly original comic illustrations

by Elaine M. Will. 30 / comics

comments

Music

Game + Horoscopes

Here’s what you had to say about SK’s prison system. 10 / comments

Jon Bryant, Machine Gun Kelly + A Tribe Called Red 19 / music

Canadian criss-cross puzzle, weekly horoscopes and Sudoku. 31 / timeout

verbnews.com @verbsaskatoon facebook.com/verbsaskatoon

Editorial

Business & Operations

Publisher / Parity Publishing Editor in Chief / Ryan Allan Managing Editor / Jessica Patrucco staff Writers / Adam Hawboldt + Alex J MacPherson

Office Manager / Stephanie Lipsit account Manager / nathan holowaty Marketing Manager / Vogeson Paley Financial Manager / Cody Lang

ART & Production design Lead / andrew yanko Graphic designer / bryce kirk Contributing Photographers / patrick carley, ishtiaq opal + Adam Hawboldt

Please recycle after reading & sharing

contact Comments / feedback@verbnews.com / 306 881 8372 advertise / advertise@verbnews.com / 306 979 2253 design / layout@verbnews.com / 306 979 8474 General / info@verbnews.com / 306 979 2253

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Comics and the horse you rode in on

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Writing, drawing and wondering with Regina comic book artist Dakota McFadzean by ADAM HAWBOLDT

W

hy comics? That’s something that Regina’s Dakota McFadzean has been asking himself lately.

Not because his career as a comic book artist is stagnant. Quite the opposite, actually. In the last few years, McFadzean has been busy making a name for himself on the comic book scene. He recently graduated with an MFA from The Center for Cartoon Studies in Vermont. His minicomic, Ghost Rabbit — a story about a little girl becoming aware of memory, death and time (oh, and there’s also a ghost

So it’s safe to say that as an artist, McFadzean is well on his way.

And yet the question “why comics?” still remains.

“It’s not something I’ve been beating myself up over or anything,” jokes McFadzean, “but it is something that has been on my mind lately. And you know what?

I’m not really sure. It’s something that’s been central to everything I’ve done, everything I’ve wanted to do. One of my first memories is of the Ben-Day printing dots in a Casper the Friendly Ghost comic.”

Like a lot of other kids in Saskatchewan, McFadzean grew up around

Every story in the book was approached differently.

Photo: Courtesy of Dakota mcfadzean

dakota mcfadzean

rabbit in there, too) — won a Shuster Award and was listed as one of the Top 30 Minicomics of 2011 by The Comics Journal. Another of McFadzean’s minicomics, Leave Luck To Heaven — which tells the tale of a master teaching an apprentice how to play old 8-bit video games — appeared in The Best American Comics 2012.

What’s more, earlier this year, McFadzean’s Other Stories and the Horse You Rode In On, a collection of his minicomics, was published

by Conundrum Press.

comics. In his house, issues of Mad Magazine, Archie and Batman were never too far away.

“I remember I made my first comic when I was six years old,” chuckles McFadzean. “It was a Ninja Turtles rip-off.”

From there, McFadzean kept drawing, kept creating, kept expressing himself with ink and paper. In 2005, along with his brother, he self-published a comic book that found its way into stores in Regina. He kept self-publishing his minicomics. Five years later Continued on next page »

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he branched off onto a different path — an on-going project called The Dailies. “I started drawing a daily strip in my sketch book and posting them online,” says McFadzean. “After a couple years of doing that, I realize there are certain images I keep returning to. Certain ideas I use a lot.”

Many of the short stories in his newly published collection started with these dailies. Many of the ideas and images, too.

“I didn’t start doing short stories because I wanted to make a book out of them,” insists Dakota McFadzean.

He’s calling from Toronto, which he now calls home. The phone crackles, fades in and out, and McFadzean says, “Can you hear me? Okay. As I was saying, I started making short stories because I was uncomfortable with the writing process. I came to comics through drawing first. But once you sit down and try to do a story, you realize how hard it really is — the writing.”

But that didn’t deter McFadzean.

He kept plugging in the hours, taking different approaches to writing and

creating comics, approaches that worked for him, that interested him.

It was a long, slow process.

But by the end of his first year in Vermont, though, McFadzean started to find his groove.

“Looking back, I think the earliest story in Other Stories and the Horse You Rode In On [the aforementioned Ghost Rabbit] was the first time where some kind of writing process clicked for me.”

From that point on, the stories kept coming. But McFadzean didn’t simply use Ghost Rabbit as a recipe and repeat it over and over again.

“Every story in the book was approached differently,” he explains.

“For some I sat down and wrote out dot notes, turned it into a script, then started penciling and inking it from there. For other stories, I had a vague idea where they were going, so I started penciling and improvised my way through them.”

The result is a book that is both grounded in reality yet metaphysical at the same time. Rural and surreal. Some of the characters that inhabit the land of Other Stories and the Horse You Rode In On are as

strange as they are diverse. There’s a faceless man, a ghost rabbit, drunken garden gnomes, an invisible wedgie giver. Other characters are people you meet every day: horny teenagers, social outcasts, less-than-ideal father figures.

Now put all those together. Toss in themes of aging, memory, change, loneliness and time. Mix in a healthy dose of dark humour and an unsettling feeling that pervades the entire thing, and what you have is a collection of short stories that is at once both naturalistic and magical.

What you may also have is an answer to the “why comics?” question. Perhaps, in part, McFadzean’s life-long love affair with comics is because it’s the medium in which he can best explain and make sense of his world view.

Perhaps, if he intellectualizes it now, as an adult, he chose comics because of how independent they allow him to be. All he needs to express himself is a piece of paper and a pen. As a mild control freak, he likes that aspect of it.

Or perhaps McFadzean will never be able to fully answer the question “why comics?”

But that won’t stop him from doing what he loves.

Feedback? Text it! (306) 881 8372

@VerbSaskatoon ahawboldt@verbnews.com

Photo: Courtesy of Dakota mcfadzean

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He’s right and you know it John Gormley on radio, life, and his new book by ADAM HAWBOLDT

J

ohn Gormley isn’t who you think he is. But, at the same time, John Gormley is exactly who you think he is.

Sitting in the Broadway Roastery on a sunny Saturday afternoon, wearing a Riders jersey with his name scrawled across the back and a rose-gold Invicta watch, the host of News Talk 650 CKOM’s John Gormley Live is relaxed. At ease. There’s no ranting, no loud opining that the radio-listening public of Saskatchewan has grown accustomed to.

Gormley is a lot more subdued in person. A lot more prone to having conversations that wander all over the map, to conceding points freely, acknowledging others’ points, trying to

subtly persuade you to come around to seeing things his way.

This is the John Gormley that most people don’t know, don’t really see.

But that’s not to say this isn’t the same guy you hear on the radio raving about politics or myriad other issues facing this province.

“You can’t fake it,” he says, taking a sip from the to-go cup in front of him.

“The me on the show is the real me.

You can’t fake opinion, you can’t fake passion. What I say is what I believe and what I represent. The radio show is authentic but, at the same time, it’s also a performance. It’s often been observed that in a social environment I’m a fair bit quieter. But on the show, given the faster moving pace and

tighter format, I tend to be a lot louder.

A lot more direct.”

Which is what gives John Gormley Live its dynamism. What makes its host one of the most divisive figures in Saskatchewan today. Some people see him as a well-informed truth speaker, a bastion of sensible politics in the province. The voice of Saskatchewan, as it were. Others see him as a conservative blowhard who is out of touch with what Saskatchewanians really think.

Gormley knows you see him like this. But it doesn’t bother him. Because, for Gormley, what he’s doing is part of the bigger, more coherent picture.

“They key to the show is to enjoy the good debate, the sport of debate,” he says. “Some people don’t get that.

Particularly those who don’t agree with me. They see me as the incarnation of all that is evil. All that threatens the comfortable sense of who they are. I get that. But for me it’s pulling people together for the debate.”

America’s former vice president Hubert H. Humphrey once said that: “Freedom is hammered out on the anvil of discussion, dissent, and debate.”

And he was right. But what Humphrey forgot to mention is that truth and knowledge is hammered out on that same anvil.

John Gormley knows this. He also knows that in the span of one hour his radio show isn’t going to move a lot of people. But over the process of a number of shows and a number of issues, he can challenge people to challenge themselves. To think about something from a different angle, in a different light.

“Even if you don’t change your mind or don’t have an opinion, at least we can make you think about it,” says Gormley. “At least you got really frustrated and annoyed by me or you embraced my ideas. Just please think something. The longterm picture of a show like mine is to provoke thought.”

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Photo: Courtesy of adam hawboldt

That’s also the goal of the columns he writes for the local newspaper, and the two books he authored — the latest of which hit bookshelves earlier this month.

John Gormley’s first book, Left Out: Saskatchewan’s NDP and the Relentless Pursuit of Mediocrity, was met with much fanfare when it was released in 2010. “The collected rants of a guy who was tired of the Saskatchewan political status quo,

ago, was a fascinating journey. I’d never written a book before. I had some things I needed to say and I said them. This book, it was an idea the publisher came up with … We’ve created something different. It’s not as political as “John” typically is. Yes, there are politics in it, but it’s a lot more life derived than political.”

To create a book like this, the production team at Indie Ink Publishing dug back through history.

Back through the last decade or so of Gormley newspaper columns,

The long-term picture of a show like mine is to provoke thought. john gormley

tired of the old Saskatchewan,” as Gormley refers to it, Left Out became a Canadian double bestseller.

It was an edgy, no-punches-pulled frontal assault on an old guard that Gormley saw as outdated and ultimately ineffective.

His new book — The Gormley Papers: I’m Right and You Know It — is something entirely different. “That first book, which I wrote three years

and pulled out 550 potential stories.

“It’s an interesting test when you’re trying to do a book of columns,” says Gormley. “As opposed to saying here’s everything I’ve written, you want to key in on ‘here’s what I wrote that still has some reflection on life today.’ When I write, it’s about what is in the here and now. That’s what was interesting about the process. Because some of

the columns they’d selected hadn’t aged well. They were often too localized, too specific. Others were more enduring.”

The ones that endured, the ones with legs that stood the test of time and touched on major events that helped shape our public consciousness, were then grouped together thematically. Along with personalized margin notes, mini rants and a few winking c’mon-I-told-you-so’s, these columns all add up to The Gormley Papers — an examination of the first decade of our new century. An exploration of our post9/11 world, of the culture of protest, aging, technology and more.

Now some of you may be thinking, I know this guy! I know what he’s all about and what he has to say. But think that, and you might be surprised by this book. Because The Gormley Papers: I’m Right and You Know It, isn’t really as black or white as you might think.

Which begs the question: is John Gormley really who you think he is?

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Let’s stop letting Canadians die

Changing our organ donation system will save lives

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P

icture this: a loved one of yours is sick in the hospital. Turns out he or she is experiencing kidney failure, and is lying in that hospital bed, hooked up to machines. The only thing that can help, the doctor tells you, is an organ transplant.

You wait, hoping that a new kidney becomes available. Unfortunately, it never does.

Sad to say, this happens in Canada more than you think. In fact, in 2010 (the last year for which statistics were available), more than 4,500 Canadians were on the organ donation waiting list for either hearts, kidneys, livers or lungs. For those people, only 2,150 organs were available. Nearly 250 people died while waiting.

This situation, as far as we are concerned, is simply unacceptable.

And that’s why we think Canada should switch its organ donation program from being a system you opt in to, to one you opt out of.

Look, it’s not just us that thinks this way. Recently, Canada’s opt-in organ donation program has come under fire across the country. Detractors point out that nearly 90% of Canadians say they support organ and tissue donation, while less than

roundly accepted or endorsed by provincial governments.

But with over half of Canadians who need a donation going without, clearly something has to be done.

Enter the opt-out system.

This is the default in a number of European countries, and it seems to be working. Spain, Portugal and Belgium have all embraced the optout system, and as such have become among the world leaders in donor and transplant rates.

How much better are their donation consent rates? Well, Spain’s is close to 35 people per million citizens (a number that does not include those who had signed up to be a donor but were later rejected for health or other

Consider Austria, which has an opt-out program. Their consent rate is nearly 100 percent. verb magazine

25% have actually made plans to donate. In fact, it’s gotten so bad that a man in Nova Scotia, suffering from polycystic kidney disease, recently posted an ad on Kijiji looking for a kidney donor. What started out as a joke became the only viable way for him to receive the organ he needed.

And though he was able to set up a donor, the transfer was unable to be processed because the kind-hearted individual had cervical cancer.

And yet despite stats and stories like these, despite the failings of our current system, switching to an opt-out system has not yet been

reasons). Here in Canada, according to the Canadian Institute for Health Information, the donor rate in 2010 was 16.3 people per million. In 2006 it was only 14.0.

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. But switching over to an opt-out system wouldn’t hinder that choice. All it would do would

improve donor rates. Think about it. At the moment, under the opt-in system, only 25% of Canadians are donors.

Switch the system to an opt-out system, and the 90% of Canadians who currently support organ donation (but don’t bother going through the steps to register themselves) will be signed up and ready to donate. And if you think such an insignificant change won’t yield positive results, think again. Consider Austria, which has an opt-out program. Their consent rate is nearly 100 percent. In Germany, a relatively comparable country in terms of culture and economic development but that operates with an opt-in system, the organ donation consent rate is around 12%.

So the way we see it, the opt-out organ donation system offers the best of both worlds. If you are 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.

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.

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On Topic: Last week we asked what you thought about changing Saskatchewan’s prison system.

Here's what you had to say:

text yo thoughtsur to 881 ve r b 8372

– Re: sask prisons- we wouldn’t need them if people would use their brains and be respectful of others Truth Is Power-Try It

– The prison system sucks in Saskatoon the guards abuse their power the food is horrible and the prisioners are treated like animals.

– The Verb article which compared the Swedish prison system to the one here made some valid points.

However, when discussing the short comings of the Harper crew on this subject, one detail was omitted. Never forget that the current government killed the CDN prison farms. The benefits of these institutions were evident to the anyoy and allamam

– A greater focus on reintegration into society would be so beneficial but the prison system here will never change when Harper and his cronies remain in power.

– “Knee-jerk reactive”- and that is the one of the biggest short comings of Mr. Harper’s government.

system and that is horrifying and atrocious. The business of putting people in jail is not the business we want to be in.

– We do need to reform our prison system, though Canada faces a different set of obstacles than the alternative examples listed in your opinion piece. That said, tailoring some of the changes they made and instituting more social programs absolutely would go a long way. We are on our way to having an American style prison

– Clearly the prison system we have now doesn’t work so something needs to change. Rehabilitative services need to be reintroduced and yes there is griping about taxes paying for that kind of stuff but it costs money to keep people in jail too. We need more social programs to prevent people from winding up behind bars in the first place, programs to ease their transition out of jail, and we definitely need to stop throwing people in jail for stupid reasons mandatory minimums are cramming our jails with people who don’t need to be there.

OFF TOPIC – I really enjoyed your bad seed article. In this day and age we need more newspapers talking about that issue bringing light to it and trying to make others see that marijuana and its users have come a long way. Upstanding citizens who work just as hard as others should not have to feel or be treated like criminals because they like to smoke a plant that has medical benefits and makes people happy!

In response to “Bad seed, good documentary,” Local #267 (November 22, 2013)

– Interesting “bad seed” article.

You neglected to point out that it I the CBD not the THC in cannabis that has medicinal benefit.

The majority of marijuana that is available is high THC and low CBD. Generally the medicinal benefit Is negligible but you do get high and that tends to make you not care about what hurts.

The big issue is that when we don’t look at the big picture then we tend to underestimate the potential harms. Rand Teed BA, B.Ed, ICPS. www.drugclass.ca In response to “Bad seed, good documentary,” Local #267 (November 22, 2013)

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sound off – Calgary, a city with 5 times our population, yet both cities have the same number of “accidents” every day. How does this work?

Who are the “bad drivers?” Who is “everyone else?” Could YOU be involved (yes, even jaywalkers) Those laws were made for everyone’s safety, so lets respect them as well as each other. Safety is everyones job, knot just everyone else’s. Truth Is Power-Try It

– Happy thanksgiving to any other Americans in Canada :)

– It’s also the 2nd day of the 8 day Jewish festival of Hanukkah besides being Thanksgiving today in the USA. :-)

– What is going on Verb?! You don’t want to be part of the greatest experience that has hit Sask in a long time? The Greycup?!!!! Your latest issue almost had nothing to celebrate our amazing accomplishment?!!! Come on!!! Where’s your Rider pride????

– Well well well Harper at the Greycup game Takes the heat off The Scandal hes got into FIXED GAME!!..

– Steven harper there so probably corrupt Game

– The Saskatchewan/Hamilton game was funny as hell! We sent those T-Cats back home with thier tails between their legs! LOL

– Ticats ticats whatcha gonna do whatcha gonna do when they pounce on you? Riders riders give it all up give it all up ‘cause we got the Grey Cup!

– S..T!! S0! CHARLEY BROWN Finally kicked the football

– Way to go Roughriders! The Grey Cup is back home where it belongs!

itself as religion. Celebrate the season, sure. Just don’t equate celebrating with buying crap.

– Rob Ford football and the Senate crap. I just quit watching TV for a week. Its called saturation.

– It is you that your children want not what you can buy for them.

– Cat meow get it for you r cat they will love you for it! :)!

– Whatever you do good or bad people will always have something negative to say.

– As Canadians we should be calling for Harper to resign. Even if he continues to profess ignorance of

what the PMO was up to (which I doubt) he is still the top still in charge, and it is only respectful to resign. He is a laughinstock and embarassing. The corruption is only just starting to come out.

There’s more for sure.

– The planet is dieing! All the needless industrial consumer crap is the poison. People just don’t F’in get it!

We’re F’in dim dumb animals!

– A Person who has N 0 forgiveness in there heart has Really done there home work

– Stay true to yourself because there are very few people who will always stay true to you.

– I am sick of the Riders!

– Agree with climate change txtr we are destroying our only resource for greed. There is only one Earth! And we need to take care of it!

– Let’s come together and help one another at this time of year then continue the action all the time.

This is your community!

Next week: What do you think about changing to an opt-out organ donation system? Pick up a 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.

– Bring the Cup back to SK! The most important night in Saskatchewan history! Been waiting to see the Riders win on home turf my whole life :D:D:D

– LET’S GO RIDERS LET’S GO lets get it done boys your province is watching and supports you. 101 bring it home!!!

– Ahh, the most wonderful time of year, where consumerism masks

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Feather + Rosary Photos: courtesy of the artist

Joey Stylez explores articles of faith and fashion on his massive new album by Alex J MacPherson

J

oey Stylez is an outlaw.

Growing up as a young Cree man in Saskatoon, Stylez, whose real name is Joseph Laplante, struggled to avoid falling into the gang lifestyle. Music was a lifeline, and he seized it, knowing full well that nobody else would help him escape.

Today, Stylez is one of the most

an artist in his prime. But that doesn’t mean Stylez is no longer an outlaw. In a recent telephone interview, he discussed his status as an outsider and his nomadic lifestyle, both of which inform his music. “I’m totally content right now living in the grey area, because nothing’s black and white,” he said. “In my music I want to be positive so I can teach the youth that there’s a different way, but at the same time I’m still an outlaw at the end of the day.”

But for an outlaw, Stylez is filled with hope for a future he can’t wait to make for himself — and for others.

prominent young aboriginal artists in the country, a talented rapper as well as an outspoken activist. He has grown considerably as an artist since he released his debut album, The Black Star, in 2010, his early forays into rap having given way to more universal sounds — propulsive dance grooves, tight hip hop verses, and towering choruses.

His latest album, the evocatively titled Feather + Rosary, is his most ambitious project to date, a sprawling double record that sums up his career thus far and points straight into a bright future. Featuring a wide range of guest performers and producers, foils for Stylez’s percussive delivery, Feather + Rosary draws on immediately recognizable symbols of faith and fashion to paint an illuminating portrait of

Alex J MacPherson: Your new album is called Feather + Rosary, which is a pretty evocative title. Tell me about the genesis of this project, how it came together.

Joey Stylez: The idea came up loosely in conversation when I was driving with my father one day. I was talking to him, and he was talking about our identity as Métis people and then right before that I was talking about fashion, how the trends in fashion right now seem to be leaning towards a lot of Native American things: Pendleton prints, the owls, the dreamcatchers, and the feathers. But in the same breadth I was talking about how rosaries are also a very fashionable thing. It just came to mind right there and then: that would be a great name for the album, Feather + Rosary. And my dad’s like, yeah, it would be great.

It started off as Feather + Rosary and then it evolved from there.

AJM: Why did that concept appeal to you?

JS: I guess the apple doesn’t fall too far from the tree is what they say, and in this instance it’s very true. I take on both the strongest traits of my mom and dad, but at the same time I take on their weakest traits. I would like to build on what they’re doing. We all feel the aftermath of the residential schools being an aboriginal person, so we have our demons that we’re trying to conquer and that’s part of the thing for this record, we want to be able to beat those demons. Feather + Rosary, not only are they articles of faith, they’re also articles of fashion.

Native people believe that the feather is sacred like the Roman Catholics believe the rosary is sacred. It’s also a way for me to shed light on the darkness in my life, to find inner peace with myself so I can move on and do greater things in my life.

AJM: Feather + Rosary is definitely a hopeful record. It feels like a really conscious attempt to look ahead to something.

JS: I love making hopeful music because I always had hope that there was something more than what I had, you know? I’ve always been excited but not excited, if that makes sense. I’m so excited for what the future has, but once it gets here I’m like, I’ve got to give myself new goals. So the excitement once it’s here in the present is not the same as it is for the future. I just have so Continued on next page »

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much hope for the future. I want to open more doors and do bigger things. I guess I want to leave my legacy just like anybody else.

AJM: And the sound of the record is a big departure from your older work, and also from your last album Black Star. Did you have a pretty clear idea of where you wanted this project to go?

JS: I was still promoting Black Star, which is my debut album, when I started to work on this one. It definitely came about very naturally on every single song. I’ve never really tried to force anything, because I find when you force things in life it never works out the way you want it to. So on every song we just got in there with a different producer or a different idea. Maybe I’d lay the vocal track down over top of drums and lay the guitar over it, or synthesizers. We never ever tried to force anything, because when you do you just end up with a broken heart.

AJM: I understand you did most of the work on this record in hotel rooms and

studios across North America. What was that like?

JS: I was working with lots of different people across North America, so there’s songs in there recorded when I was living in Los Angeles, songs I made in Vancouver, songs I wrote

I’m all over the place so I never had that opportunity — I had to be able to send files online to Vancouver from L.A., or if I was in New York I’d have to send songs to Toronto to get finished or to Montreal to have the beat be finished by my producer, DJ Elmo.

… we have our demons that we’re trying to conquer… joey stylez

when I was in Saskatchewan during my short stay there last year. There’s also songs I made on the road travelling, in airports and on airplanes.

It was kind of all over the place. As musicians, we pride ourselves on being rolling stones, being nomads — we’re always on the road, so not everyone has the stability where they can go to one city, work in one studio, work with one producer, and have everything right there. Me,

AJM: How did you go about choosing guests to appear on the record? It’s a pretty diverse group.

JS: I picked all the artists I wanted to work with: I picked artists who were innovative, creative, and inspirations to other big artists. I have [Calgary singer-songwriter] Kinnie Starr on there, I have Ty$, who is really doing well right now, he’s signed from Wiz Khalifa and taking over L.A. right

now. I have Tre Nyce on there, one of my favourite Canadian artists — he can sing, he can rap, he can do pretty much anything with his eyes closed.

AJM: Coming back to this idea of working on the road, did that experience give you any perspective on your home in Saskatchewan, or what it means to be an artist from here? The idea of home and belonging seems pretty central.

JS: I grew up the same way I’m living now. My mother was a Métis politician and my dad, he was an Indian politician, so I was always on the road. Even though Saskatchewan was home, Saskatoon was home, the only thing that makes it home was that’s where my family and friends are. So other than that, I grew up travelling across the country all the time for different meetings, for different rallies and protests and stuff like that, and I guess I just took that mentality with me as I grew up and never evolved out of it — I still am the same nomad, the same rolling stone that I was when I was five years old.

AJM: Is it difficult to balance that lifestyle with the need to make music and art?

JS: It’s hard to give yourself a home, because I think once you give yourself a home you’re putting yourself into a comfort zone and you can’t be comfortable to get your dreams.

If you want to reach a certain goal, you’ve got to be working until it’s uncomfortable. If you’re trying to become a professional boxer, you’ve got to be running every single day, you’ve got to be hitting the bag for two hours — it’s got to be uncomfortable. I think it’s the same thing as a musician: you’ve got to be out there meeting the people.

Joey Stylez December 13 @ Rock Bottom $10

Feedback? Text it! (306) 881 8372

@VerbSaskatoon amacpherson@verbnews.com

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Is This The Future?

Photos: courtesy of the mendel art gallery

Revolutionary installation Galicia changes the way we think about art and technology by Alex J MacPherson

G

alicia is an electromechanical sculpture, a synthetic wheat field constructed from found materials and elaborate electrical circuits. Designed and executed

by Cory Schewaga and Bruce Montcombroux, Galicia addresses the connection between urban growth and rural decay, an imbalance created by the rise of technology. Named for the region in Eastern Europe where Schewaga’s grandfather grew up, Galicia questions the meaning of interaction and experience on family farms and in cities in the age of digitization. Its spindly legs, hulking body, and array of sinister metal protrusions create a familiar silhouette — but that silhouette masks an uncomfortable vision of the future.

“That’s one of the big things, that people would seek out and interact with a digital wheat field that’s

sitting in a gallery instead of just going outside and interacting with a real wheat field out in the real world,” Schewaga says with a laugh as the sculpture’s electric motors buzz in the background. He and Montcombroux are sitting across from each other in the basement of the Mendel Art Gallery, explaining how a simple representation of a wheat field can be so complicated. “It’s the sort of society we live in. Everybody has a phone, they’re on Facebook or Twitter or whatever. We see that explosion happening more than we’ve ever seen it before.”

Schewaga and Montcombroux created Galicia under the auspices of the Mendel Art Gallery’s Artists

by Artists program, which pairs an emerging artist with a more experienced mentor. Although they have been discussing ideas for almost five years, since Schewaga took Montcombroux’s sculpture classes

at the University of Saskatchewan, Galicia is their first major project.

Designing and building it was a ridiculously involved process. After developing the basic idea, the artists struggled to perfect it, experimenting with different materials, endless lines of computer code, and various conceptual ideas.

“I set up a framework for Cory to plug into. I said, what’s important to you and how do we get there?”

Montcombroux says before Schewaga chimes in: “We were trying to figure out how we could make it something bigger that we could plug into my background, into the whole Saskatchewan background.” The finished sculpture — with its metal limbs, its glass eyes, its circuit board synapses — reflects not only the duo’s interest in sculptural innovation, but also the rise of interactive installations. Unlike most sculptures, which merely sit on the floor, or perhaps move in a predetermined pattern, Galicia responds to text

messages. It moves with the viewer, instead of in front of him or her.

“I think that’s part of the role of art,” Montcombroux says of the interactive element. “The role of art is to draw attention to the everyday in a slightly different way.” And while Galicia reorients the way we think about what sculpture is, as well as what it can be, its primary purpose is to investigate the detachment and alienation created by digital technology. This is most apparent in the rise of messaging services like Twitter and Facebook, which create the appearance of human interaction without actually providing it. But it is not an isolated phenomenon. Advancements in agricultural technology have made life easier for farmers while simultaneously insulating them from their crops. What was once a relationship between a farmer and the land has been reduced to a scientific method of shaving down the cruel odds imposed by weather and fate.

“Agriculture has changed,” Montcombroux says, “and small communities have changed. It’s gone to a factory farm idea, and even if it’s still within a family organization it’s a lot more virtual.”

The digitization of life is bound up in the construction of Galicia, which uses synthetic parts to represent an organic idea. What was once a wheat field burnished by the sun and pushed by the wind has become a forest of metal stalks, moved by motors and illuminated by an indifferent row of electric bulbs. It seems to be asking, is this the future we have created?

Galicia Through January 5 @ Mendel Art Gallery Feedback? Text it! (306) 881 8372

@VerbSaskatoon amacpherson@verbnews.com

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Mékiwin: the gift New S.N.T.C. Christmas play offers entertainment and education in equal measure by Alex J MacPherson

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acey Eninew and Waylon Machiskinic are sitting at a table and sipping coffee from oversized mugs. The two actors are making the most of a short break from rehearsing the Saskatchewan Native Theatre Company’s annual Christmas production. The S.N.T.C. has staged a Christmas show every year since 2002. All feature the same cast of characters, a trio of feisty Cree grandmothers, or kohkoms. The latest installment, written and directed by the company’s polymathic artistic director Curtis Peeteetuce, is titled Mékiwin: The Gift. And while Eninew and Machiskinic, who are veterans of several such shows, are reluctant to divulge too many details, the whitesheeted hospital gurney lurking onstage gives some indication of how the play will unfold.

“The story is centred around Zula, who wants to see her family,” Eninew explains, referring to Zula Merastee, the oldest of the kohkoms. Before she can continue Machiskinic chimes in: “Sihkos wants to put on the biggest, greatest Christmas dinner ever, and

she’s trying to defend her title as best cook in Kiwetinohk.” (“Kiwetenohk,” a Cree word meaning “north,” is a fictional reserve that crops up in many of Peeteetuce’s plays.) The action begins when Sihkos suffers a serious accident, leaving her unable to cook her famous holiday meal. Soon after, Clare Bear, the third and youngest kohkom, overhears a doctor and begins to suspect that all is not well with her friend.

According to Eninew, Mékiwin: The Gift concentrates on the strength of the bonds between the kohkoms. “One of the beautiful things about indigenous culture is that there’s always humour, it’s centered around humour,” she says.

“The way that Curtis has written the script, if you were to go visit an old lady or see the relationship dynamics between old women, he’s captured that really accurately — the humour between them and the way they tease each other. That’s one of my favourite things, that ability to still maintain their humour even in the face of really difficult situations.”

But acting in Mékiwin: The Gift involves more than simply capturing the spirit of Peeteetuce’s script. Because

portions of the play are written in Cree (translated using surtitles for those who do not speak the language), the actors must grapple with the intricacies of not one but two languages. “Last year I faced a barrier playing one of the characters,” Machiskinic explains, referring to S.N.T.C.’s 2012 production of How The Chief Stole Christmas, a remount from 2003 that was translated entirely into Cree. “I learned how to memorize sounds. I didn’t understand anything I was saying or anything anybody else was saying, but I just remembered how this should sound or how that should sound.”

For Eninew and Machiskinic, Mékiwin: The Gift is more than just an opportunity to perform alongside some of the most talented aboriginal actors in the province. Although the actors were compelled to learn the art of acting for different reasons, they both agree that Mékiwin: The Gift offers a rare chance to educate as well as entertain.

Machiskinic, for whom acting was a lifeline, wants to make a difference for a new generation of young aboriginal people. Eninew, who studied acting in university, is interested in opening minds and hearts of indigenous and non-indigenous people alike.

“One of the frustrating things about being Canadian is a lot of the racism that’s out there, especially geared towards indigenous people,” she says. “I found that the arts was a way to educate people without coming to a place where it’s really hostile and without blaming anybody. It’s just laying the truth out on the table and letting people hear it. These things have to be addressed.”

Mékiwin: The Gift Nov 28 - Dec 8 @ Studio 914 (914 20th St West) $12+ @ Persephone Theatre box office Feedback? Text it! (306) 881 8372

@VerbSaskatoon amacpherson@verbnews.com

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Feature

Furiosity Hamilton rockers Monster Truck on their debut LP and love of rock and roll by Alex J MacPherson

M

aking a rock and roll album is a long and ridiculously involved procedure. From writing and recording to mixing and mastering, there are hundreds of things that need to be considered and completed before a record can be released. It is not uncommon for bands to spend months or even years working on a record; Axl Rose took almost 15 years to finish Chinese Democracy. The members of Monster Truck, a rock and roll band from Hamilton, know just how difficult the process can be.

After emerging in early 2010 and

rising to prominence after a string of sold-out shows with the Sheepdogs, the band decided it was time to follow their debut EP with a fulllength album. It was to be a long and frustrating process. They were forced to record the aptly titled Furiosity, which was released to the public in May, not once but twice.

“Around the end of 2011, we were getting ready to do the full-length,” explains Jeremy Widerman, who plays guitar in the band. “We were thinking about going back to the same guy, Eric Ratz, who produced The Brown EP, but we kind of got wooed in a different direction by a producer in L.A. He saw one of the shows we did with the Sheepdogs at the end of 2011 in Toronto. He was pretty impressed and offered to get on board. We got pretty excited at the prospect of going to Los Angeles to record.” Smitten by the prospect of recording at Sound City Studios, the same studio where Neil Young made After The Gold Rush and Tom Petty cut Damn The Torpedoes, Widerman and his bandmates failed to consider

The importance of a good producer is difficult to overstate. Very few great albums are made without an equally great producer at the helm.

Depending on the people involved, the producer can be an active participant in the songwriting and recording processes or merely a voice of reason and restraint; in every case, however, producers are a vital source of context and perspective for musicians shuttered in the studio and blinded by ambition. But when visions collide, as they did in Los Angeles, the result is inevitable. “Everybody had to come to terms with the fact that it wasn’t the record we wanted to put out,” Widerman says of the band’s first attempt, which he says sounded more like a demo than the polished rock album he had wanted to make. “So we decided to go back and do it again.”

There was no question that Ratz, who has also worked with Billy Talent, Cancer Bats, and Three Days Grace, was the right man for the job.

“He knows how to get big-sounding guitars, big-sounding drums without them being too slick or over-

It would be easy to … say f**k all that and mainstream rock sucks, but it’s really hard to make a change from your basement.

Jeremy Widerman

how their vision might differ from that of the producer. The sessions turned into a nightmare as both sides battled for control. “A lot of that had to do with us being under the gun and not really playing our best,” Widerman admits, “and a lot of it had to do with the way he wanted to record us and the way we wanted to sound being two different ideas.”

produced,” Widerman says. “He knows how to keep a lot of that grimy dirtiness intact while at the same time making it extremely high-quality and huge-sounding through speakers.

And the huge X-factor that almost nobody is able to capture with a producer is that he’s a friend.” With Ratz behind the console, the band churned out an album that embraces the influContinued on next page »

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Photo: courtesy of Brooks Reynolds

ence of classic rock and roll while placing itself on the cutting edge of modern music — a record that is part of the history of rock rather than an attempt to capture it.

It is easy to dismiss Monster Truck as just another group of rock and roll revivalists, musicians more interested in resurrecting the past than looking to the future. But Widerman and his bandmates — Jon Harvey, Brandon Bliss, and Steve Kiely — are more than just a bunch of longhairs who stopped appreciating guitar rock after Van Halen made 1984.

Furiosity is packed with references to the golden age of riff rock, but songs like the propulsive “Power Of The

Photo: courtesy of Brooks Reynolds

People” and the soaring, organ-heavy “My Love Is True” show that Monster Truck’s rock playbook is as diverse as it is powerful. “I think it’s a f**king cop-out to do a revival, to take what people did in the seventies and do it again,” Widerman says. “You’re not challenging yourself, you’re not challenging your listener, you’re not taking any chances. You’re just

taking something tried and true and rehashing it in your way.”

When Monster Truck made The Brown EP, the record that catapulted them to fame, they knew they needed to establish a certain sound. “We set out to make a record that was digestible, short, and to the point,” Widerman says. “If we put out a five-song record with a bunch of different styles on it, we’d run the risk of confusing somebody in such a short amount of time.” With Furiosity, the band had more room to experiment. Songs like “The Lion” and “Call It A Spade” build on the grinding, propulsive aesthetic of The Brown EP, but the best songs are also the most unexpected. The centrepiece of the record is a sevenminute epic called “For The Sun,” which evokes Led Zeppelin’s “Since I’ve Been Loving You” before building into a towering cascade of screaming leads and a turbulent riff that hints at a slew of modern influences.

The other standout track is “My Love Is True,” which brings the album to a close with five minutes and thirty seconds of bluesy riffs, tortured vocals from Harvey, and the dour optimism of the Rolling Stones’ “Shine A Light.”

Both “My Love Is True” and “For The Sun” are outliers, definitive proof that Monster Truck are just as comfortable writing sprawling anthems for the late-night crowd as they are churning out blistering riffs for everybody still working on their second whiskey and coke, no ice. More importantly, the inclusion of songs like “For The Sun,” which took more than a year to write

and perfect, hints at the band’s vision of what rock and roll is — and what it should be.

Widerman believes rock and roll is not so much a style as it is an attitude, the radical idea that the most exciting music will always run counter to whatever is popular. Citing everybody from Buddy Holly and Chuck Berry to Rage Against The Machine and NOFX, Widerman says doing the unexpected — like basing a record around a song almost as long as “Stairway To Heaven” — is the key to unlocking the power of rock and roll. “We’re not exactly dangerous outlaws or anything,” he laughs, “but we’re definitely against the grain and we definitely don’t see eye to eye with the rest of the music industry. We’re part of the mainstream. We’re part of the radio system. But at the same time, I feel like it’s important for us to be in there because it’s easier to mount an attack with the kind of coverage we’ve been getting by accessing those platforms.

It would be easy to stick your nose up in it, stay in the underground and say f**k all that and mainstream rock sucks, but it’s really hard to make a change from your basement.”

Over the past two years, Monster Truck have built up a strong following in Canada, which Widerman wants to augment by spending more time touring in the United States and Europe. They have played concerts with Alice in Chains and Slash, and heard their single “Sweet Mountain River” played on radio stations across the country;

earlier this year, they won the Juno Award for breakthrough group. But, Widerman says, that was never the point. “The band was started for me to quit,” he laughs. “I don’t mean quit playing music. I mean quitting the industry itself. I really was saying, ‘F**k you, I’m out, I just want to do this band, I want to do it for myself.’” But by starting with no expectations and no goal other than having fun, Widerman and his bandmates have launched a serious attack on popular music from with-

out and within — and taken their place in the long line of bands who just wanted to play loud, like their heroes before them.

Monster Truck December 10 @ O’Brians $25.25 @ Ticketmaster Feedback? Text it! (306) 881 8372

@VerbSaskatoon amacpherson@verbnews.com

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Eclectic choices, delicious pizza Photos courtesy of Adam Hawboldt

Swan Pizza, with its sesame seed crust, hits the spot by adam hawboldt

S

ome people just aren’t into strange pizzas.

Anything foreign or gourmet or outside-the-box really turns them off. Not to name names or anything, but one of the good people here on the Verb staff feels as though a pizza with anything more than pepperoni and mushrooms on it is completely uncivilized.

And that’s fair. There’s no accounting for taste. But I’m not one of those people. For me, the more different and more odd the pizza, the better.

That’s why I was instantly drawn to Swan Pizza, this relatively new pizza-delivery joint on 8th Street East.

Sure, at Swan Pizza they have the traditional stuff. Double cheese, pepperoni, Hawaiian, pepperoni and mushroom. All the standard fare.

But those staple pizzas are just the tip of the Swan iceberg. Look farther down the menu and you run into some interesting concoctions. Take, for instance, the Perogy Pizza, made with a sour cream base, potatoes, Italian sausage, cheddar cheese, mozzarella and pizza sauce.

Or how about the Spicy Ginger & Coriander Pizza, featuring fresh green coriander, ginger, olives, green peppers, red peppers, tomatoes, red onions jalapenos, mozzarella and pizza sauce?

Or the Spicy Mushroom Pizza, the Tandoori Chicken Pizza, or the Sweet & Spicy Lovers Pizza?

The options are diverse and eclectic. Which presented a bit of a problem for me. See, I’m indecisive by nature. So when I picked up the phone to place an order I still hadn’t figured out what I wanted.

When the pleasant lady answered on Swan Pizza’s end, I had no clue.

So I hemmed and hawed for a few seconds as she sat patiently waiting, then finally blurted out, “I’ll have the two-for-one special. Gimme one

let’s go drinkin’ Verb’s mixology guide Pear Lemon Fizz

Ingredients

Keeping with the theme of interesting combinations, this light, fresh and tasty cocktail is perfect for a warm summers day or an evening in front of a fire place.

1/2oz pear vodka 3/4oz simple syrup 1/2oz fresh lemon juice champagne 1 fresh lemon verbena leaf for garnish (optional)

Directions

Fill a cocktail shaker with ice. Add vodka, syrup, lemon juice. Shake until frosty. Strain the mixture into a glass. Top off with champagne. Add lemon leaf (if you want) and serve.

small Tuscan Pizza and one small Beef & Blue Cheese Pizza, please.”

Thirty-five minutes later the pizzas arrived and I was ready to eat.

First I dug into the Tuscan. Consisting of spicy chicken, spinach, garlic, feta, and mozzarella, this bad boy was excellent. The chicken had some zip to it and the sauce, which had a bit of a zesty marinara taste to it, gave the whole thing a fresh, gardeny taste. Oh, and the sesame seeds on the crust were a nice little touch that really made the most boring part of most pizzas really stand out.

Next I tried the Beef & Blue Cheese. At first I was worried that the blue cheese would be too much, too overpowering for the pizza. But

you know what? It wasn’t. Instead of straight-up blue cheese, it was a sweet, blue-cheesey sauce that only added to the taste of the slice. Which also had a sesame seed crust (like all other Swan pizzas), and was also pretty darn good.

All in all, I’d have to say that Swan Pizza ranks right up there with the best delivery pizza joints in this city. And that’s most certainly a good thing.

Swan Pizza 1501 8th Street East | (306) 974 0467 Feedback? Text it! (306) 881 8372

@VerbSaskatoon ahawboldt@verbnews.com

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music

Next Week

coming up

Jon Bryant

Machine Gun Kelly

A Tribe Called Red

@ The Bassment Thursday, December 5 – $12/$15

@ O’Brians Event Centre Monday, December 9 – $40+

@ O’Brians Event Centre Wednesday, February 19 – $25

Jon Bryant has a way with words.

Anyone who has seen the singer/songwriter from Fall River, Nova Scotia play, or listened to his latest album, What Takes You, knows this. His songs are melancholic yet uplifting, with lyrics that constantly surprise. Think Elliott Smith or Jeff Buckley, but make them Canadian and a whole lot less sad.

The songs on What Takes You run the gamut from folk to bluegrass to Americana. There’s the Americana-esque “Souls of Manhattan,” the countrytinged “Ontario,” and the upbeat ditty “Carolina.” Notice how these aforementioned songs are all about places.

There’s a good reason for that. Bryant is a hard-working musician who seems to constantly be on tour. He’ll be swinging through Saskatoon next week.

Don’t miss it.

When you listen to his song “Chip off the Block,” a couple of things become abundantly clear.

One, Richard Colson Baker (aka Machine Gun Kelly) comes by his stage name honestly. With a rapidfire flow like his, any other name wouldn’t do him justice. Second, the dude is good — seriously good.

In fact, he’s good enough to be signed by Bad Boy and Interscope Records. Before he was signed, however, MGK (as his fans call him) became the first rapper to ever win first place at the famed Apollo Theater Amateur Night Competition.

That was in 2009, and since then he’s release a few studio albums, blown up YouTube and won fans across the continent. See theodeon. ca for more ticket info.

Not so long ago, in 2008, DJ NDN and DJ Bear Witness came together and formed a group — A Tribe Called Red — and things went well for the duo. Then, two years later, they added DJ Shub to the crew. Shub, in case you’re wondering, is a two-time Canadian DMC champ. Since becoming a trio, the group has been holding this thing called the Electric Pow Wow, a monthly club night in Ottawa dedicated to celebrating aboriginal urban culture. As for ATCR’s sound, well, it consists of a wide variety of musical styles ranging from hip hop and dance hall to electronic, as well as their own mash-up of club and Pow Wow music, called Pow Wow Step. They’ll be playing O’Brians in the new year. Tickets at www. theodeon.ca – By Adam Hawboldt

Photos courtesy of: the artist/ the artist/ the artist

Sask music Preview SaskMusic Radio and Music2Media want your Christmas tunes! They’re going to be featuring Saskatchewan-made holiday music on the SaskMusic Radio on their website for the month of December, so if you’ve released any Christmas or seasonal music, please send MP3s with artist info to rebecca@saskmusic.org, and they’ll follow up to see if you want to be added to M2M as well.

Keep up with Saskatchewan music. saskmusic.org

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listings

november 29 » december 7 The most complete live music listings for Saskatoon.

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House DJs / 6Twelve Lounge — Funk, soul & lounge DJs liven it up. 9pm / No cover The Steadies / Amigos Cantina — With Tasman Jude. 10pm / Cover TBD Ross Nykiforuk / The Bassment — It’s Piano Fridays! 4:30pm / No cover Nuela Charles / The Bassment — Some hot Canadian soul. 9pm / $17/$23 DJ Aash Money / Béily’s — DJ Aash Money throws it down. 9pm / $5 cover Ripper Train / Buds — Local rock/altmetal. 9pm / Cover TBD BPM / Diva’s — Resident DJs spin electro/ vocal house music. 10pm / $5 DJ Eclectic / The Hose — Local turntable whiz pumps snappy beats. 8pm / No cover DJ Stikman / Jax — Kick off your weekend. 9pm / $5 cover 911 Turbo / Louis’ — Fun times and German techno all night long. 9pm / Cover TBD

DJ Big Ayyy & DJ HENCHMAN / Outlaws — Round up your friends. 8pm / $5; ladies in free before 11pm Process/Failure / Paved — A collaboration between Paved Arts and Saskatoon Symphony Orchestra. 7:30pm / $15 Banjo Van / Piggy’s — Come get your rock on. 9pm / No cover Two Tall Dudes / Prairie Ink — Playing acoustic covers. 8pm / No cover Mitchy the Kid / Spadina Freehouse — Local DJ spinning fresh beats. 9pm / No cover Dirt Road Maniacs / Stan’s Place — A rockin’ good time. 9:30pm / No cover Dueling Pianos / Staqatto — Terry Hoknes, Neil Currie + Brad King. 10pm / $5 Party Rock Fridays / Tequila — Come tear it up. 9pm / Cover TBD DJ Nick Ruston / Uncle Barley’s — Come and check him out! 9pm / Cover TBD Spoils / Vangelis — With Snake River and Jeans Boots. 10pm / Cover TBD

DJ Aash Money + DJ Sugar Daddy / Béily’s — These two throw it down. 9pm / $5 Denzal Sinclaire / Broadway Theatre — With the Saskatoon Jazz Orchestra. 8pm / $30 Ripper Train / Buds — Local rock/altmetal. 9pm / Cover TBD SaturGAY Night / Diva’s — Resident DJs spin exclusive dance remixes. 10pm / $5 DJ Kade / The Hose — Saskatoon’s own DJ lights it up with hot tunes. 8pm / No cover DJ Stikman / Jax Niteclub — Ladies night with the Jax party crew. 9pm / $5 cover DJ Goodtimes / Longbranch — Playing the hottest country music. 8pm / $4 cover DJ Big Ayyy & DJ Henchman / Outlaws — Round up your friends. 8pm / $5 Process/Failure / Paved — A collaboration between Paved Arts and Saskatoon Symphony Orchestra. 7:30pm / $15 Banjo Van / Piggy’s — Come get your rock on. 9pm / No cover No Hurry Trio / Prairie Ink — Easy listening/classic rock. 8pm / No cover Charley Hustle / Freehouse — Spinning music to move you. 9pm / No cover Dirt Road Maniacs / Stan’s Place — A rockin’ good time. 9:30pm / No cover Dueling Pianos / Staqatto — Terry Hoknes, Neil Currie + Brad King. 10pm / $5 DJ Anchor / Sutherland Bar — It’s the video mix show! 10pm / Cover TBD Saturday Night Social / Tequila — Electronic Saturdays will have you moving and grooving. 9pm / Cover TBD

Saturday 30

House DJs / 6Twelve — Resident DJs spin deep and soulful tunes. 9pm / No cover Riff Raff / Adobe Inn (Martensville) — A local classic/hard-rock band. 9pm / No cover Phoenix Lauren and the Strength / Amigos — With Terrain. 10pm / Cover TBD David Myles / The Bassment — A roots musician from Halifax. 0pm / $23/$28 Denzal Sinclaire / Broadway Theatre — One of Canada’s finest jazz vocalists with the Saskatoon Jazz Orchestra. 8pm / $30

DJ Thorpdeo / Uncle Barley’s — Spinning hot tunes all night. 10pm / Cover TBD The Faps / Vangelis — With The Man and His Machine and more. 10pm / Cover TBD

Sunday 1

Industry Night / Béily’s — Hosted by DJ Sugar Daddy. 9pm / $4; no cover for industry staff Eclipse Christmas Concert / Broadway Theatre — Get in the Christmas spirit with the Eclipse Choir. 7:30pm / $22 DJ KADE / The Hose — Saskatoon DJ lights it up with hot tunes. 8pm / No cover Shaggy / O’Brians — American-Jamaican rapper/reggae artist. 7:30pm / $25+ Stan’s Place Jam / Stan’s Place — Bring your instrument. 8:30pm / No cover Blues Jam / Vangelis — Offering great tunes. 7:30pm / No cover

Monday 2

DJ Audio / Dublins — Spinning dope beats.

9pm / Cover TBD

Tuesday 3

DJ SUGAR DADDY / The Double Deuce — This crowd favourite rocks. 9:30pm / $4 DJ Nick Ruston / Dublins — Spinning dope beats. 9pm / Cover TBD Fame the Musical / Marion Graham Collegiate — From the big screen to a local stage. 7pm / $8 Verb presents Open Mic / Rock Bottom — Come and rock the stage! 9pm / No cover

Open Mic / Somewhere Else Pub — Come out to show your talent. 7pm / No cover DJ Carlos / Stan’s Place — Playing your favorite songs to lighten the work week.

9:30pm / No cover

Wednesday 4

DJ Modus / 302 Lounge & Discotheque — Spinning all your favourite tracks. 9pm / No cover until 10pm; $3 thereafter DJ Aash Money / Béily’s UltraLounge — Spinning dope beats all night. 9pm / Cover TBD Souled Out / Diva’s Annex — Featuring the spinning talents of Dr. J 9pm / $2 DJ Memo / Dublins — Spinning dope beats.

9pm / Cover TBD DJ Kade / The Hose & Hydrant — Saskatoon DJ lights it up with hot tunes. 8pm / No cover Buck Wild Wednesdays / Outlaws Country Rock Bar — Come out and ride the mechanical bull! 9pm / $4; no cover for industry staff Tim Vaughn / Rock Creek — A local guitar whiz. 8pm / No cover DJ Carlos / Stan’s Place — Playing your favorite songs to lighten the work week.

9:30pm / No cover Dueling Pianos / Staqatto Piano Lounge — Terry Hoknes, Neil Currie and Brad King belt out classic tunes and audience requests, from Sinatra to Lady Gaga. 10pm / No cover Twin Voices / Vangelis — With Dear Rouge. 9pm / Cover TBD

Continued on next page »

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Thursday 5

Friday 6

Jon Bryant / The Bassment — A folk singer from Nova Scotia. 8pm / $12/$15 Throwback Thursdays / Earls — With Dr. J. 8pm / No cover DJ Kade / The Hose — Saskatoon DJ lights it up with hot tunes. 8pm / No cover DJ Goodtimes / Longbranch — Playing the hottest country music. 8pm / $4 cover Fame the Musical / Marion Graham Collegiate — From the big screen to a local stage. 7pm / $8 Shane Chisolm / Piggy’s — Come out and enjoy some live music. 9pm / No cover DJ Carlos / Stan’s Place — Playing your favorite songs. 9:30pm / No cover Triple Up Thursdays / Tequila — Featuring DJ Dislexic. 9pm / Cover TBD The Polyreeds / Third Avenue United Church — Local jazz music. Noon / No cover An Evening for Tom Waits / Vangelis — Featuring The Whiskey Jerks, The Bad Decisions and more. 8pm / Cover TBD Open Stage / The Woods — Hosted by Steven Maier. 9pm / No cover

House DJs / 6Twelve Lounge — Funk, soul & lounge DJs liven it up. 9pm / No cover Six Moons Later / Amigos — With Brendan Flaherty + more. 10pm / Cover TBD Piano Fridays: / The Bassment — It’s piano Fridays! 4:30pm / No cover Saskatoon Foodbank Pianothon / The Bassment — With Brett Balon and more.

9pm / Cover is non-perishable food items Gong Show / Béily’s — Come celebrate Beily’s 9th birthday. 9pm / $5 cover BPM / Diva’s — Resident DJs spin electro/ vocal house music. 10pm / $5 DJ Eclectic / The Hose — Local turntable whiz pumps snappy beats. 8pm / No cover DJ Stikman / Jax — Kick off your weekend with all your favourite party hits.. 9pm / $5 Fame the Musical / Marion Graham Collegiate — From the big screen to a local stage. 7pm / $8 Dream / O’Brians — It’s the #1 Fleetwood Mac tribute band. 5pm / SOLD OUT DJ Big Ayyy & DJ HENCHMAN / Outlaws Country Rock Bar — Round up your friends.

8pm / $5; ladies in free before 11pm

Tim Vaughn / Piggy’s — Come get your rock on. 9pm / No cover Neil Hendry / Prairie Ink — A singer/songwriter plays classical guitar. 8pm / No cover The Nylons / Roxy — Come out for a Christmas spectacular. 7:30pm / $33+.

England / Royal Canadian Legion (Nutana Branch) — Show and dance! 8pm / Tickets @ Nutana Legion, McNally Robinson Dr. J / Spadina Freehouse — Local DJ dropping beats you can’t ignore. 9pm / No cover Jomama / Stan’s Place — A rockin’ good time at Stan’s. 9:30pm / No cover Dueling Pianos / Staqatto — Terry Hoknes, Neil Currie + Brad King. 10pm / $5 Party Rock Fridays / Tequila — Come tear it up. 9pm / Cover TBD DJ Nick Ruston / Uncle Barley’s — Come and check him out! 9pm / Cover TBD Guy and The Fellas / Vangelis — With Rayt Elliott Band. 10pm / Cover TBD

Saturday 7

House DJs / 6Twelve — Resident DJs spin deep and soulful tunes. 9pm / No cover The Pistol Whips / Amigos — Also featuring All Mighty Voice. 10pm / Cover TBD

The Toon Town Big Band / The Bassment — With Donna Hay. 9pm / $15/$20 DJ Aash Money + DJ Sugar Daddy / Béily’s — These two DJs rock. 9pm / $5 SaturGAY Night / Diva’s — Resident DJs spin exclusive dance remixes. 10pm / $5 DJ Kade / The Hose — Saskatoon’s own DJ lights it up with hot tunes. 8pm / No cover DJ Stikman / Jax — Ladies night with the Jax party crew. 9pm / $5 cover Max Ulis / Le Relais — A night of diverse electronic music. 9pm / Cover TBD DJ Goodtimes / Longbranch — Playing the hottest country music. 8pm / $4 cover Fame the Musical / Marion Graham — Coming to a local stage. 7pm / $8 Dream / O’Brians — It’s the #1 Fleetwood Mac tribute band. 5pm / $59.50 DJ Big Ayyy & DJ Henchman / Outlaws — Round up your friends. 8pm / $5 Tim Vaughn / Piggy’s — Come get your rock on. 9pm / No cover Wayne Bargen / Prairie Ink — A fingerstyle acoustic guitar player. 8pm / No cover

DJ Albert, Bounce! / Freehouse — Spinning tunes to move you. 9pm / No cover Jomama / Stan’s Place — A rockin’ good time at Stan’s. 9:30pm / No cover Dueling Pianos / Staqatto — Terry Hoknes, Neil Currie + Brad King. 10pm / $5 DJ Anchor / Sutherland Bar — It’s the video mix show! 10pm / Cover TBD Holiday Gospel Spectacular / TCU Place — Holiday classics. 7:30pm / $11+ Saturday Night Social / Tequila — Electronic Saturdays will have you moving and grooving. 9pm / Cover TBD DJ Thorpdeo / Uncle Barley’s — Spinning hot tunes all night. 10pm / Cover TBD Bill Durst / Vangelis — One of the best blues singers/guitarists/entertainers anywhere. 9pm / Cover TBD

Get listed Have a live show you'd like to promote? Let us know! layout@verbnews.com

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A dull old boy

Photo: Courtesy of universal studios

Spike Lee’s remake of Korean cult classic is lacking by adam hawboldt

W

hy?

That’s the first thought that came to mind when I heard that Spike Lee was remaking Korean director Park Chanwook’s 2003 cult classic, Oldboy.

Why, oh goddamn why?

The first Oldboy was the kind of movie that blows your hair back.

That quickens your pulse and leaves you numb after the end credits roll.

It was a powerful, poetic, cruel, unusual, beautiful and disturbing tale of revenge and loss. Think Antigone.

Think Oedipus Rex. Think the very essence of Greek tragedy. The way it leaves you feeling uneasy, the way it makes you think, the way there is no clear cut good and evil, and every last person must pay for their sins.

Think all that, toss in some of the most shockingly violent scenes in movie history, and you’ll just begin to scratch the surface of how powerful the original Oldboy was.

Spike Lee’s remake?

Not so much.

In Lee’s version, the original protagonist Oh Dae-su is replaced by an alcoholic brute named Joe (Josh Brolin). One night Joe is out carousing as usual and is kidnapped. He wakes

up in a prison cell that’s made to look like a hotel room. He has no idea why he’s there or who put him there. For the next 20 years he’s held captive in that room. Just him, a bed and a TV

oldboy Josh Brolin, Elizabeth Olsen + Samuel L. Jackson Starring Spike Lee Directed by

120 minutes | 18A

up to why he was locked up in the first place.

The rest of the film unfolds with Joe searching for this answer.

This is the exact same story that Park Chan-wook told in 2003. But there are two main differences between the two.

One, Park Chan-wook was more concerned with his hero’s (if you can call him that) state of mind. Looking back on the past and forward to the future, Oh Dae-su is filled with gut-wrenching anguish and psychological despair. It was a character study unlike you’ve ever seen. In Lee’s version, he doesn’t bother with all that stuff. Instead, he streamlines the movie, takes the viewer out of Joe’s mind and instead focuses on the external violence it creates. Which, without the mental turmoil, seems superficial and contrived.

The other difference is the ending.

Without spoiling either film for any-

In short, if you have already seen the first Oldboy, move on. There’s nothing new…

Adam Hawboldt

set. No windows or phone in sight.

Slowly, through watching television, he realizes his wife has been killed, and the police think he did it.

Time passes slowly for Joe. So he starts working out in the cell, teaching himself martial arts. Then one day, out of the blue, he’s released. Again he has no knowledge as to why he’s been released. From that point on he’s hellbent on discovering who did this to him. When he finally does, the question moves from who locked him

body, know this: the original Oldboy’s ending is the kind of ending that punches you in the gut. Lee’s ending is more of a flick in the ear. It lacks the oomph and dynamism of the original.

In short, if you have already seen the first Oldboy, move on. There’s nothing new or better to see here. If you haven’t, don’t bother with the remake. Go directly to Park Chan-

wook’s version and get ready to be blown away.

Feedback? Text it! (306) 881 8372

@VerbSaskatoon ahawboldt@verbnews.com

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Alone at sea

Robert Redford turns in compelling performance in All Is Lost by adam hawboldt

Photo: Courtesy of film nation entertainment

R

obert Redford has worn many hats in his career.

In the early going we saw Hollywood’s beautiful golden boy light up the screen in movies like The Chase and Barefoot in the Park. Then we saw him as a bigtime, old-school movie star knocking off classics like Butch Cassidy and the Sundance Kid, The Sting, and All The President’s Men. After that we saw (or didn’t see) him behind the camera of terrific flicks, like Ordinary People, Quiz Show and A River Runs Through It. Yesiree, we’ve seen Robert Redford in many forms. But in his new movie, All Is Lost, we’ve never seen him quite like this before.

The movie begins with a voice-over prelude in which a man (Redford) — who is sailing a yacht, alone, through

throat attempt at swearing. That’s about it.

Directed by J.C. Chandor, All Is Lost is an uber-minimalist entry into the man-lost-at-sea film genre. And it’s a pretty dang good entry to boot.

The story begins with Our Man (that’s the only name by which we know Redford’s character) waking up one morning to find his yacht taking on water. Apparently, his ship smashed into a wayward metal container while he was sleeping, the kind you’d find on a cargo ship, which has punched a hole in his yacht just above the water line.

In a situation like this — adrift alone in the Indian Ocean with a gash in your boat — most people would panic. Not Our Man. He cooly and calmly goes about mixing a batch of compound and gets to sealing the hole.

[Redford’s] charisma and screen presence pull you into the story and never really let go.

Adam Hawboldt

the Indian Ocean — reads a letter apologizing to his family.

After that not much else is said.

To say All Is Lost is a film of few words is a gross understatement.

Seriously. After the prelude there are only about two lines of dialogue throughout the entire thing.

A failed S.O.S. call and a parched-

But the leak worsens and the problems begin to pile up. His radio doesn’t work, his bilge pump is missing, and the boat keeps taking on water. And through it all, there’s Our Man, cool as a cucumber, trying to remedy his situation and check off all the boxes on his what-to-do-tokeep-this-vessel-from-sinking list.

all is lost J.C. Chandor Starring Robert Redford Directed by

106 minutes | G

All to no avail, though. Eventually the yacht sinks and Our Man finds himself adrift at sea in a rubber life raft. What happens after that, well, you’ll have to watch to find out.

And All Is Lost is most certainly worth a watch. It has the kind of tense, dynamic existential narrative that will keep you captivated.

It also has Robert Redford. The entire movie hinges on his ability to keep your attention without saying much of anything. And do you know what? He pulls it off without a hitch. His charisma and screen presence pull you into the story and never really let go.

All Is Lost may not go down as the best movie of the year, but it is indeed a bold, minimalist experiment that makes something like Hemingway’s The Old Man and the Sea seem downright chatty.

And that’s saying something — in a good way.

All is Lost is currently being screened at Roxy Theatre.

Feedback? Text it! (306) 881 8372

@VerbSaskatoon ahawboldt@verbnews.com

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sunday, november 24 @

TCU PLACE

TCU Place 35 22nd Street East (306) 975 7777

nightlife

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sunday, november 24 @

Red Zone

Red Zone Premium Sports Bar 106 Circle Drive West (306) 978 6514

Photography by opalsnaps.com

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Š Elaine M. Will | blog.E2W-Illustration.com | Check onthebus.webcomic.ws/ for previous editions!

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timeout

crossword canadian criss-cross 28. It holds water 31. Anthology of the works of one author 35. Very much 36. A man who is vain about his appearance 37. Talking bird 38. Offense against God 39. Comic strip section 41. Bowling target 42. Warm weather shoe 44. Take turns 46. Quickly browns meat 47. Busy 48. Cheeky child 49. Camera attachment

A

1. Kilt pattern 2. Malt beverage 3. Allied group 4. African sightseeing trips 5. Conical dwelling 6. 1952 Olympics site 7. Seventh Greek letter 8. Photoelectric cell 9. Glass-polishing powder 11. Straps for riders 12. Lay a finger on 14. Place for a house 17. Rainy season 20. Maximum amount allowed 22. Jeans fabric 24. One’s relatives collectively

25. Heavy weight 27. Jeopardize 28. Barbershop quartet member 29. Name that is different than a person’s birth name 30. Fourteen line poem 32. Go around instead of B through 33. Bring together 34. Compos mentis 36. Answer choice on a test 39. Put a car in a space temporarily 40. Without companionship 43. Twenty-four hours 45. Wine cask

2 4 5 3 6 8 7 1 9 3 1 6 9 2 7 4 8 5 7 9 8 5 4 1 3 2 6 4 6 3 1 9 2 8 5 7 1 5 7 4 8 3 9 6 2 8 2 9 6 7 5 1 3 4 9 3 1 2 5 4 6 7 8 6 7 2 8 3 9 5 4 1 5 8 4 7 1 6 2 9 3

1. File folder features 5. There are five per foot 9. Arum lily 10. Organic compound 12. Concerning this, in law 13. Mercury, for one 15. Illustrative material 16. Gem carved in relief 18. Title of respect 19. Monetary unit of Oman 21. Fish eggs 22. Cooked adequately 23. Anatomical model of the body 25. Short and sweet 26. Municipality in British Columbia

© walter D. Feener 2013

sudoku answer key

DOWN

2 1 8 4 9 7 5 6 3 4 5 9 3 8 6 7 2 1 7 3 6 2 1 5 4 8 9 5 9 3 8 6 1 2 7 4 1 6 2 7 5 4 9 3 8 8 7 4 9 2 3 1 5 6 3 2 7 6 4 9 8 1 5 6 4 5 1 7 8 3 9 2 9 8 1 5 3 2 6 4 7

ACROSS

Horoscopes November 29 – december 5 Aries March 21–April 19

Leo July 23–August 22

Sagittarius November 23–December 21

You may have met someone new recently. If so, give that person a chance — you might be surprised where it takes you.

A week of new beginnings, that’s what this one is shaping up to be, Leo. Embrace change and accept new people into your life.

Something that you want to keep private may be made very public this week, Sagittarius. Try to be prepared for it.

Taurus April 20–May 20

Virgo August 23–September 22

Capricorn December 22–January 19

Your mind may have a tendency to wander later this week, Taurus.

Do your best to stay focused. There’s something that needs your attention.

Indecisiveness will not treat you well this week, Virgo. Instead, make up your mind and stick firmly to your choices.

Life may become hectic this week, Capricorn. Don’t lose touch with the things that keep you grounded, and remember all will even out eventually.

Gemini May 21–June 20

Libra September 23–October 23

Aquarius January 20–February 19

This is one of those weeks where you should do instead of think.

Action is the operative word, Gemini, so get out there.

This is going to be one of those weeks when nothing goes according to plan, Libra, despite all your efforts.

Deal with it.

Have you been on the fence about something, Aquarius? Unable to choose a course of action? It’s time to pick a side and take charge.

Cancer June 21–July 22

Scorpio October 24–November 22

Pisces February 20–March 20

Be careful of declaring bold statements this week, Cancer. The reaction that you get may not be the one you desire.

You may want to make a mountain out of a mole hill this week, Scorpio, but that won’t get you anywhere.

Try not to overreact.

The best thing for you to do this week, Pisces, is sit back and go with the flow. No sense in beating your head against a wall.

sudoku 2 9 7 5 3 4 5 9 8 2 2 8 3 8 4 6 2 5 4 9 7 3 1 6 3 7 6 9 1 5 1 8 1 6 4 7

crossword answer key

A

2 4 5 6 7 9 8 5 7 5 1 3 3 2 1 4 8 9 6 8 2 5 1 4 3 1 4 6 7 6 3 9 8 7 2 9

B

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