Verb Issue S271 (Dec 20, 2013-Jan 9, 2014)

Issue #271 – December 20 to January 9

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+ fugget about it Cartoon set in Saskatchewan brings the laughs the day is past and gone Q+A with Kacy and Clayton american hustle + anchorman 2: the legend continues Film reviews

Photo: courtesy of rob waymen

contents

On the cover:

Catherine maclellan

A change of direction. 16/ cover Photo: courtesy of patrick nichols

NEWs + Opinion

streamlining the cbc Cutting CBC TV could

mobsters in regina Regina-based cartoon brings the laughs. 4 / Local

save a sinking ship. 8 / Editorial

laughing your ass off

comments

Demystifying laugh therapy.

Here’s what you had to say about giving boys the HPV vaccination.10 / comments

6 / Local

culture

Q + A with kacy and clayton On their sophomore album. 12 / Q + A

The RWB does Romeo + Juliet.

a change in the right direction

14 / Arts

We visit the Vietnamese Express

a modern classic

18 / Food + Drink

Music

beyond the art gallery Bringing the community together at Lugo. 15 / Arts

The Classy Chassys, Young Benjamins + Goo Goo Dolls 19 / music

entertainment

listings Local music listings for December 20 to January 11. 20 / listings

anchorman 2: the legend continues + american hustle

on the bus Weekly original comic illustrations

by Elaine M. Will. 34 / comics

The latest movie reviews. 24 / Film

Nightlife Photos

Games + Horoscopes

We visited Flint + O’Brians.

Canadian criss-cross puzzle, horoscopes, and Sudoku. 35 / timeout

26 / Nightlife

vehicles New + old police cars, and more. 36 / vehicles

verbnews.com @verbsaskatoon facebook.com/verbsaskatoon Please recycle after reading & sharing

Editorial

Business & Operations

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

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

ART & Production

Comments / feedback@verbnews.com / 306 881 8372

Design Lead / andrew yanko Contributing Photographers / Patrick Carley, Adam Hawboldt, jeff davis + ishtiaq opal

design / layout@verbnews.com / 306 979 8474

contact advertise / advertise@verbnews.com / 306 979 2253 General / info@verbnews.com / 306 979 2253

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Photo: Courtesy of 9 story entertainment

Mobsters in Regina

Fugget About It wraps up second season on Teletoon

by ADAM HAWBOLDT

J

immy Falcone is standing under a bridge. It’s late at night. From the right of the screen, Special Agent Strait McCool comes darting towards him on horseback. Slides to a stop.

Asks him what the problem is.

Jimmy tells McCool he plans on opening a strip club called The Horny Bastard. The special agent gives him a pat on the shoulder, says he thinks it’s a brilliant idea — as long as he follows the provincial guidelines.

And what, pray tell, are those provincial guidelines?

“Bare breasts and bums permitted,” says McCool, eyes closed, the index finger of his right pointing to the sky. “But no full frontal or related mons pubis if alcohol is served. Ladies may touch the man’s face, arms, chest and inner thigh, but remain five centimetres from his genitalic region.

Men may not touch, fondle, grope or lick.” Pulling out a tape measure, McCool extends the yellow ruler and says, “And must be kept at least three centimetres away from her breasts.

This to be measured from the tip

of the nipple, and not the areola or breast major.”

Anyone who lives in Saskatchewan might be able to guess this scenario is a tongue-in-cheek crack at the puritanical stripping laws in this province. But do you know what the scene is from?

The answer is Teletoon’s series Fugget About It — an animated show about New York mobsters living in Regina.

“The idea for that episode came from the season one showrunner [Jeff Abugov],” says Willem Wennekers, co-creator of the show. “When he pitched the idea of them opening a strip club, I thought it was great.

When I lived in Regina, stripping was basically illegal. You couldn’t even hire a stripper for a bachelor party without having to hide in a basement. So when the showrunner brought up that idea, we thought it would be pretty funny.”

So too were some of the other ideas the writing team came up with for the show’s first season. There was the episode where the Falcone

family visits the Capone tunnels in Moose Jaw, the one where they go hunting with handguns, and the one titled “The Oracle of Vagina,” where Cookie, the Falcone matriarch, sets up a fraudulent fortune telling business and Special Agent McCool informs her he believes in a long list of Canadian stereotypes (from the metric system to three-down football), but he doesn’t believe in the supernatural.

As with most inaugural seasons, though, Fugget About It wasn’t perfect.

“I think, personally, on the first season with any show, you’re trying to discover what the voice of that show is,” says Wennekers. “So you try a lot of different thing throughout a lot of different episodes … We had to try a lot of different things to see where the heart of the show is.”

And by the second season, they started to find it.

Fugget About It was spawned out of a mutual love of gangster shows.

Continued on next page »

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“About a dozen years ago, Will and I were doing some feature stuff together,” remembers Nicholas Tabarrok, the show’s other co-creator.

“One day I called him into my office and we had a meeting. I said to him ‘I love The Simpsons, I love the Family Guy … can we come up with something like that?’ Sopranos was also new at the time, and we were both huge fans of that show and mobster movies. So we came up with the idea of melding The Simpsons and The Sopranos, creating kind of a Frankenstein out of the two.”

For his efforts, Jimmy is placed in the witness protection program and shipped off to Regina with his family.

“When we created the show, I initially had it taking place in a nondescript Canadian town,” says Wennekers. “When we went into development, just before we went to series, Teletoon brought in a showrunner [Abugov] — this Canadian guy who lives in Los Angeles — and it was actually his idea to se the show in Regina … and since I lived there for seven years, I was on board

…we came up with the idea of melding The Simpsons and The Sopranos … nicholas Tabarrok

The creation was an animated show starring Jimmy Falcone, a former member of the Gambini crime family. One day, Jimmy’s boss tells him he has to whack his Uncle Cheech. Jimmy isn’t a fan of the order. He arranges a meeting to plead for his uncle’s life.

The meeting doesn’t go according to plan, and Jimmy ends up throwing the crime boss out a 19thstorey window. With the rest of his former associates looking for him (to whack him, naturally!), Jimmy turns informant and rats out his former friends.

with that idea. It seemed like a good fit to take our brash, mob-like, Italian, loud, New York family and drop them into the middle of a very friendly, very kind place like Regina.”

And what a family it is.

There’s Jimmy and Cookie, the parents who were once deep into mob life. There’s the youngest daughter, Gina (a cute little girl on the outside, but a future mob boss on the inside), the son Petey (a scholarly, intellectual type who doesn’t fit in with the family), the eldest daughter Theresa (a mob princess with an eating disorder), and Uncle

Cheech (the guy Jimmy was supposed to whack).

These characters were created long before the show was ever aired.

But as the episodes mounted, as the jokes got more clever and witty and deep, something began happening to the Falcone family.

“I think they’ve all definitely evolved over time,” says Wennekers, who became the showrunner in the second season. “Especially Theresa.

Originally she was very shallow. She couldn’t decide whether she was anorexic or bulimic. She wasn’t very deep at all. But when we moved into season two, one of the things we wanted to do was make her a more rounded character rather than just a horrible stereotype. So in the second season she has main roles in two episodes. You think she’s just a mob princess, but there’s more to her than that. With all the characters, I think they’ve all gone that way as the show has gone on. They’ve all grown.”

And there’s no doubt, given a third season — which there’s still no word on — these characters will continue to evolve, getting deeper, more complex, and funnier. And Fugget About It will get another step closer to finding its voice, its heart.

With a show like this, all it takes is a little time.

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Laughing your ass off Helen Bzdel brings therapeutic laughter to Saskatchewan

by ADAM HAWBOLDT

Photo: Courtesy of adam hawboldt Continued on next page Âť

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P

icture yourself on a boat, standing next to the side. You’re feeling a bit woozy. Seasick, even.

Now cup your hands around your mouth. But instead of tossing your cookies over the side of this imaginary boat, let out one syllable of laughter.

Ha! Bend over a bit at the hips and do it again — one more syllable.

Ha! Now, bend over farther and let it all out. Let out as much laughter as you can, as deep and as forceful as you can.

Ahahhahahahahahahahahaha!

This is called upchuckle laughter, a technique used in laughter therapy.

only one Helen knows. As a certified laughter yoga leader, a World Laughter Tour trainer, and an expert level laughter leader, Helen’s laugh bag is full.

A bag she dips into whenever she teaches people how to laugh.

Laughter clubs were the brainchild of Dr. Madan Kataria, a physician form Mumbai, India.

On March 13th, 1995, Kataria woke up and thought, “maybe I’ll start a laugh club.” So at seven in the morning, he went to a local park and convinced a group of five people to laugh with him. At first they told jokes, but it didn’t work as well. So they came at it from a different angle

Next thing I know, I’m doubled over at the hips, laughing my ass off. adam hawboldt

When Helen Bzdel tells me it’s my turn to join her in an upchuckle laughter exercise, after demonstrating how it’s done, let’s just say I’m a tad skeptical. The idea of laughing for the sake of laughing, pretending to laugh, is still foreign to me — as it is to most.

And just before I’m about to start the exercise, I feel ridiculous.

“That’s the point,” says Helen. “It’s okay to get up and act silly.”

Shoving my inhibitions aside, I put my hands to my mouth and let out a solitary laugh.

Ha! Then another. And another.

Next thing I know, I’m doubled over at the hips, laughing my ass off.

Big, deep belly laughs, straight from the diaphragm. I can’t help it. The stimulated laughter has morphed into simulated laughter and there we are, me and Helen, standing in the middle of her living room, doubled over, laughing so much it’s hard to breath.

“I learned that exercise in Ohio at an advanced laughter leader workshop,” gasps Helen as she stands up straight, both of us trying to catch our breath. “There was a group of us, and we did it on the second floor of a mall in Columbus … I love that exercise.”

But make no mistake, the upchuckle laughter technique isn’t the

and that number soon grew to 50 people within a week. A few years later, the idea of laughter clubs was picked up by an American psychologist named Steve Wilson, and brought to North America.

These days there are more than 6,000 laughter clubs in 60 countries around the world. What happens in these clubs is people get together and learn systematic methods of chortles, chuckles, giggling and guffawing, methods and routines that are designed to make them feel better.

“A lot of times people come in and say, ‘Oh, you’re going to make me laugh?’” says Helen of the people who attend her Laffing Out Loud club in Saskatoon. “But I tell them, ‘No. I’m going to help you laugh!’ We don’t tell jokes. They’re too subjective.

What you find funny, I might not. So instead of telling jokes, which might offend some people, I encourage them to laugh in a healthy way.”

Which includes techniques like cellphone laughter (where people pretend they’re on cellphones, wave and starting laughing at each other), the snowblower exercise (where you pretend you’re gripping a pull cord, give it a yank, then laugh in the place of the sound the snowblower would make), and gradient laughter (where you smile,

giggle, then laugh slowly — gradually increasing in tempo and volume).

These exercises lead to a roomful of laugher. Booming, rhythmic reps of “Ho ho ho! Ha ha ha!” Some of it scripted, some of it spontaneous.

All of it is aimed at improving your health.

There are days when Helen Bzdel doesn’t feel like laughing. Days when all she wants to do is stay in bed and hide. “I have bipolar disorder, was diagnosed years ago,” says Helen.“I’ve kind of had to learn how it works, but I find the laughter keeps me going when I’m depressed. Sometimes I want to be depressed and stay in bed all day, but if I have a laugh session scheduled I’m not one to cancel.”

And when she gets there, Helen tries not to let her depression affect her job. “I can’t be like ‘Hi, I’m Helen.

We’re going to laugh tonight,” she says, talking in a slow, depressed voice. “So I put on my smile, and we do the session. And do you know what? By the end of it I always walk out grinning ear to ear, thinking, ‘This is the best thing I could’ve done to beat my depression.’”

And Helen is not alone in her thinking. According to a report from the Mayo Clinic, laughter really is one heckuva medicine. According to the medical research group, laughter helps stimulate your organs, activates and relieves your stress response, soothes tension, improves your immune system, relieves pain, increases personal satisfaction and improves your mood. That’s why, when she’s not running sessions at her Laffing Out Loud club, Helen is on the road, providing laughter therapy to people with mood disorders, doing laugh sessions at different agencies and corporations and First Nations’ reserves around the province. She also brings laughter to the YWCA women’s shelter once a month, and works with people with brain injuries.

She’s forever dipping into her bag of laughs, forever trying to help people feel better.

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Streamlining the CBC Our national broadcast corporation needs to cut the dead weight if it wants to survive

A

ttention: the CBC is in serious trouble.

Now, that’s not news to anyone who has been paying attention to current affairs lately. Sure, there have been massive budget cuts, and sure, the CBC pulled out of a proposed Halifax expansion. But the real trouble came when Rogers stepped in and stole Hockey Night in Canada from our national broadcasting corporation.

It was a serious power move and nobody will really know what it all means until the dust settles, but for the time being the situation looks dire for CBC TV. And yes, we fully realize that CBC will keep HNIC for four more years on a sub-contract from Rogers — a sub-contract that will amount to about 320 hours of hockey a year. But they don’t own the content anymore.

And what’s worse, the CBC won’t be getting any of the advertising revenue from HNIC. Oh, and it will also lose revenue from selling the rights to air hockey to TSN and Sportsnet.

Basically, the best thing to do is think of this new deal as a stick of dynamite being thrown into a room, a stick of dynamite with a slow-burning wick. Sure, it’s not going to explode yet, but when it does it’s going to blow that room to smithereens and leave a gaping hole in CBC TV. And with the loss of Hockey Night in Canada, CBC TV will barely be keeping its head above water.

Now, the CBC has traditionally been a tad cagey when it comes to how much it spends on hockey and how much revenue it generates.

But reports by Friends of Canadian Broadcasting — a nation-wide volunteer organization whose goal is to defend and enhance the quality and quantity of Canadian programming — states that HNIC “delivers more than 50% of the ad revenue earned by CBC’s English TV Network. And because hockey sales are linked to sales elsewhere on the schedule, hockey drives additional

ad sales (as much as $10 million) earned by local stations.”

The report goes on to state that hockey accounts for a little more than one-third of the total CBC TV audience and that “after expenses of approximately $115 million, hockey clears $15 million for the CBC.” The loss of hockey should be a serious wake-up call for CBC. And while some people are suggesting to eliminate the CBC or to privatize it, we feel the broadcasting corporation still has value beyond blowing it up or selling it off. Which is why we are proposing a reboot, a change in how and what the CBC provides.

Starting with CBC TV. Recently Ron Devion, the former head of CBC Sports, has stated that “if the next four years are not dedicated to this challenge, CBC TV will disappear.” To which we say: let’s cut our losses.

Now before you get all up-inarms at this proposal, please know Continued on next page »

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Photo: courtesy of pshanks

we want the CBC to survive and flourish, to serve Canadians better. After all, it is our broadcasting corporation. We all pay around $34 a year to support their programming, so maybe the CBC should try this: take the money that was allotted to their television programming and put it into enhancing their radio and Internet presence.

In particular when considering their online workings, the CBC has a real opportunity to make their presence one of the best around. Rather than competing with private networks, which showcase news along with a variety of great and not-sogreat TV shows, CBC should improve what it does well on the world wide web. Let’s bring on a 24-hour news stream. Documentaries and investigative reporting are another one of the CBC’s strengths, so we’d love to see more of those. In short, take the money from TV, put it towards creating new online news shows, produc-

ing better online documentaries, and creating slicker, more interactive news feeds with more in-depth coverage.

Essentially, what we are proposing is that the CBC play to its strengths (the radio and online portions of their programming are already good), and get rid of the weakest link. Which, after losing HNIC, is undoubtedly television.

Do that and maybe, just maybe, when that slow-burning dynamite finally explodes, the damage won’t be nearly as cataclysmic as it could have been.

These editorials are left unsigned because they represent the opinions of Verb magazine, not those of the individual writers.

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that are already in place Truth Is Power-Try It

On Topic: Last week we asked what you thought about vaccinating boys against HPV. Here’s what you had to say: – I also agree that the HPV vaccine should be given to boys also Truth Is Power-Try It

– I’m all for boys getting vaccinating for HPV, if it means it’ll prevent it from spreading then it’s a great idea!

– I don’t think it’s appropriate to give children in Grade 6 vaccinations against HPV. Why wouldn’t we do that when they’re in high school and better able to understand the implications of the shot?

text yo thoughtsur to 881 ve r b

– Merry Christmas everyone!

8372

been advocating for. However, it has been difficult to get the powers that be on our side because the impact on boys (excluding men who only have sex with men) is relatively minor. Hopefully with Alberta and PEI leading the way we can reframe this as an issue everyone should be concerned about.

– I can’t believe we aren’t vaccinating boys against STDs already!

Seems counterintuitive to try and protect only 50 percent of the population.

OFF TOPIC

– Hello, I am emailing about your HPV vaccine for boys article. I work in public health, and this is an initiative that many of us have

– The Hobbit sucks why are 3 movies being made out of this book?

Also Martin Freeman is terrible.

Waste of 15 bucks.

– When you say cold as hell, that makes no sense. Are you saying it’s hotter than any human being can handle?

– Just ate a McDonald’s poutine!

It’s alright but would be smarter to use it as a promotion rather then a menu item......Kinda like a mcrib! epic beard guy

– I don’t think people need to have real Christmas trees just to throw them out after Christmas. It seems like such a waste. Real trees serve a purpose. They help to clear the carbon dioxide out of the air. Cutting them down so we can have them in our living rooms is doing nothing to help our environment.

Artificial trees can look just as nice.

If you want the real tree scent, maybe spray it with a pine scent.

Let’s leave the real trees to grow outside where they belong.

In response to “On the Road Again,” Film #108 (December 13, 2013)

– Heated sidewalks dowtown?

How about shovelling the snow banks in front of the suburban bus shelters?

SOUND OFF – Have a Merry Christmas, Happy Hanukka, Krazy Kwanza, a tip-top Tet and a dignified Ramadan!

– December 16th,2013 Chinese Lunar landing on a four month mission It may prove that the USA Didn’t in 1969

– Merry Christmas everyone!

Remember the true reason of Christmas, it’s not about gifts or Santa Clause, it’s about the birth of Jesus Christ.

– Having trouble with the “merry christmas” on the bus because you cannot see the route number? Wait a few seconds- it changes back Truth Is Power-Try It

Next week: What do you think about streamlining the CBC? Text in your thoughts to Verb to get in on the conversavtion: We print your texts verbatim each week. Text in your thoughts and reactions to our stories and content, or anything else on your mind.

– It is impossible to defend someone that refuses to obey the rules

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Photo: Courtesy of Nyla Anderson

The Day Is Past And Gone

Kacy and Clayton resurrect the past and point to the present on their sophomore album by Alex J Macpherson

K

acy Anderson and Clayton Linthicum know how to make a lot with a little. Their new sophomore album, The Day Is Past And Gone, folds the history of English folk music and oral tradition into the sound of the American blues. The record

is a bridge over the Atlantic, an exploration of how sounds grow and then evolve. It is also a link between the past and the present. Songs like “The CherryTree Carol” are among the oldest in the English language, yet in the hands of Kacy and Clayton they feel immediate and urgent Continued on next page »

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— as potent today as they were in the late middle ages. The two young musicians from southern Saskatchewan have spent the best part of their lives delving into the deepest recesses of traditional music and infusing their discoveries with the sense of timelessness found in the works of Robert Johnson and Mississippi John Hurt. And while The Day Is Past And Gone includes several original songs, the quality of the arrangements and the tone of the record give little indication as to where ancient ends and modern begins.

With little more than a guitar and a couple of voices, Kacy and Clayton have transformed a disparate collection of songs into a testament to the power of folk music — how it is always in motion, growing and changing like the people whose stories are bound up in its warm, warm sounds.

song. Whether the story is about a great city burning down or about an illegitimate pregnancy, folk music is loaded with tales.

Alex J MacPherson: The Day Is Past And Gone is quite a bit different from your last album. Why move away from the blues and go deeper into musical history?

CL: I think people are more interested to hear how you interpret the song, as opposed to how well you replicate a song. If you want to keep the traditions alive, it’s important to keep the music interesting.

Kacy Anderson: The beauty of folk music is that there’s a generational filter. People would take a song and play what they loved about it and change the parts they didn’t like. This is the process Clayton and I go through.

Alex J MacPherson: Why is it important to build on musical traditions, rather than simply keep them alive?

KA: Folk music is all about keeping alive music from the past but also creating something new. Clayton and I don’t want to just copy what’s already done. I think that is important to adapt the song and not just try to recreate the exact way we heard it.

Clayton Linthicum: With our first album, we hadn’t discovered a lot of the music that we are listening to now. At the time of recording our first album, our most prominent influences were country blues musicians like Mississippi John Hurt and Lightnin’ Hopkins. Naturally, we became more interested in the origin of folk music and that led us to finding more specific influences.

With The Day Is Past And Gone, our concept was to blend country blues, spirituals, and other rural forms of music with the ballads and songs of English folk music.

AJM: Given how much traditional music exists, what’s your process like for choosing which songs to rehearse, perform, and record?

CL: I guess we look for a particular subject matter when choosing songs. An example of one of our go-to subjects is old-time religion.

Another subject we like is the story

AJM: The Day Is Past And Gone includes traditional songs as well as some originals, but the vibe is so consistent that it’s hard to tell where one ends and the other begins. What about your musical collaboration allows you to move seamlessly from one to the other?

CL: We both love old languages.

One thing that is a common goal in our collaboration is writing lyrics that seem like the they’ve been around for a while.

AJM: On this record you worked with Ryan Boldt of the Deep Dark Woods and Jody Weger. What was the recording experience like this time around, and how did your collaborators contribute to the overall sound of the record?

KA: Going in to record, Clayton and I already had a pretty strong idea of what we wanted the album to sound like. Our first album was recorded

by Jody, so he new what we were all about. We were lucky to have Ryan there for some wisdom and to keep

everyone in line. It was real fun. Basically, we just lived all together in Jody’s house in Swift Current for a week, ate too many potatoes, and recorded.

Sometimes Clayton and I would get into tiffs and Ryan was a good mediator. He’s got good dad qualities.

AJM: The sounds you make are endearingly simple, often just a guitar and a voice. Have you ever been tempted to expand Kacy & Clayton into something larger, or is that simplicity an integral part of how you think about music?

CL: We have often been tempted to form a rock and roll band. And we intend to do so in the near future.

We have a lot of ideas for full band arrangements of songs. I think Kacy and I will always try to keep our sound simple, even if we add a rhythm section.

KA: I think we’ll always play acoustic folk music but there will definitely be some straying in the future. Hopefully we’ll get playing some rock and roll while we’re still young.

AJM: On the other hand, why do you think just a few simple elements — a melody, a guitar lick, a groove — are so enduringly powerful?

CL: The elements you mentioned are the elements that make a song memorable. If you don’t have at least one of those elements, it doesn’t matter how well you can arrange a song, it’s not going to be as memorable.

KA: Growing up in a rural area, Clayton and I didn’t really have an option of starting a big band. Nobody really had the interest in music like the two of us did. We had to create the sound we wanted with two people. Clayton and I learned that a melody, a guitar lick and a groove are what all we really have to work with to make a song stand out.

Kacy & Clayton January 10 @ The Bassment $17/23 @ Showclix.com, The Bassment Feedback? Text it! (306) 881 8372

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A Modern Classic

Photos: courtesy of Réjean Brandt Photography

André Lewis on the Royal Winnipeg Ballet’s stunning production of Romeo + Juliet by Alex J MacPherson

T

he Royal Winnipeg Ballet’s production of Romeo and Juliet is a relatively new interpretation of what is arguably the most famous love story ever told. It transforms Shakespeare’s play into a monumental display of raw emotion condensed into pure kinetic energy. Casting visceral and emotive choreography by Rudi van Dantzig against the sensuous backdrop of 16th century Verona and a luscious score by Sergei Prokofiev, Romeo and Juliet has become a modern classic. André Lewis has seen the ballet more than a thousand times, in countries all over the world, but he never tires of watching the classic tragedy unfold — and finding new moments of joy and sorrow in its epic proportions.

“The freshness comes from the interpreters,” says Lewis, who joined Canada’s oldest ballet company as a dancer in 1979 and was appointed artistic director in 1996. Lewis is probably best-known for driving some of the most innovative ballet productions in the country, particularly Marc Godden’s Dracula, and his fondness for Romeo and Juliet speaks to the strength of the production. “If you start with a work that has quality, then what keeps it alive and going is ultimately the interpreters,” he continues. “Whenever someone says, ‘I’ve seen Romeo and Juliet,’ I say, ‘Well, it’s a bit like saying I’ve drank a bottle of wine so I’ll never drink again.’ It’s the same kind of logic. Ev-

ery bottle of wine has its own flavour, every dancer has his own flavour, his own interpretation within the framework of the choreography. And that’s what makes it wonderful to watch, and always surprising to me.”

Romeo and Juliet was premiered by the Kirov Ballet in 1938. Van Dantzig, one of the first westerners to choreograph the ballet, developed his production for the Dutch National Ballet in 1967, which was acquired by the Royal Winnipeg Ballet in 1981. According to Lewis, what sets this version of the classic ballet apart is the degree to which each detail has been infused with meaning. He cites the third act bedroom scenes as an example, explaining how Juliet’s movements around her bedroom represent her mixed emotions, how she feels torn between her love for Romeo (the balcony), the weight of tradition (the door), her faith in God (a prie-dieu), and her childlike urge to make the world go away (her bed).

“There was an interesting comment that was made to me by the designer, Toer van Schayk, who said they put the doorknob slightly higher than normal to give a sense that she is dominated or pressured down by family and tradition,” Lewis says of the attention to detail in the production. “It’s a beautiful picture when you think about it, because of course her family says that’s the way we’re going to do things here and you don’t have a say in this. It makes her feel small and unable to defend herself. But there she goes, and she takes control.”

This is echoed in van Dantzig’s choreography, which reveals the turmoil within the characters. Juliet flutters between moments of confidence and uncertainty, her love for Romeo balanced by the demands of her family. In other words, van Dantzig has mined the gulf between innocence and experience, the place where growing up happens.

But the real beauty of Romeo and Juliet is the balance between familiarity and innovation. Shakespeare’s play is known to almost everybody, but the choreography allows dancers to make the characters their own. And for that reason, Lewis says, it is possible to watch the ballet over and over again, regardless of experience.

“Sit back and relax and enjoy what comes in front of you — beautiful music, beautiful scenery, costumes, and lighting,” he says. “It really immerses you in the moment and it is very powerful that way. You don’t need to be an expert to enjoy it. Often people will say, ‘I know nothing about ballet but I’m not going to it.’

Well, I know nothing about hockey but I can still go watch a game of hockey and enjoy it.”

Romeo and Juliet January 14 + 15 @ TCU Place $30.50+ @ TCUTickets.ca Feedback? Text it! (306) 881 8372

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Beyond the art gallery

Photo: courtesy of mendel art gallery

Lugo pushes the boundaries of what the Mendel can do

by Alex J MacPherson

T

here is a common misconception that art galleries are simply places to display art. Lugo, a yearly event held at the Mendel Art Gallery, is about proving otherwise.

“The gallery can be a place to bring people together to think about our community and share ideas,” says Troy Gronsdahl, an assistant curator at the Mendel Art Gallery and one of the main event organizers. “It can foster creativity in a way that’s beyond exhibiting works. It can act as a catalyst in the community for productive dialogue.” In other words, Lugo is a place for people to meet and ideas to clash. It is a reminder that the arts transcend the gallery, and that the gallery can transcend itself.

The idea behind Lugo emerged five years ago, after a number of Mendel staff noticed a shift in Saskatoon’s basic cultural architecture. They sensed the emergence of what Gronsdahl calls a “young creative class” — a loose coalition of artists, writers, designers, and builders bound by their unorthodox conception of Saskatoon as something to be made and remade.

“There’s a lot of thinking publicly about some of the transformative potential of the creative class, and how it relates to how cities think of themselves,” Gronsdahl says. “People at the Mendel were conscious of this attention that was being given to some of the younger creative professionals and the community of artists.”

The first iteration of Lugo was held in January 2010. Since then the event has blossomed into a massive party featuring live entertainment by artists working in a multitude of disciplines.

The most recent event, which was held in January of 2013, featured spoken word and theatre, music and film, live drawing and dance. Party-goers were fueled by mountains of food from local restaurants and lubricated by rivers of wine and beer. The empty gallery spaces, once little more than vast expanses of white space, were transformed into scenes from an unearthly nightclub.

But while the event is anchored by performance, Gronsdahl says the real purpose of Lugo is to bring disparate groups of people together and see what happens.

“The disciplines are fairly discrete in this city,” he says, referring to the natural social networks that overlap only slightly. “Writers and designers might not interact with theatre artists or people working in music. I think an event like Lugo brings together broader audiences that can then interact and connect and hopefully build audiences for all these different art practices, and also foster creative relationships between different artists or different ways of working.”

These actions and interactions are facilitated by unexpected moments.

Things to talk about, in other words.

Lugo has always been about smashing opposing ideas together, and it is set up to ensure that everybody encounters something new. Gronsdahl seems

to relish this opportunity, and as an example cites the decision to include Shooting Guns, a critically acclaimed instrumental rock band, in the 2013 edition. “They are not only carving out a space for themselves in the musical landscape — they got critical success and recognition — but a lot of audiences might not encounter them because their music is particularly heavy and visceral,” he says. “Bringing that to Lugo I thought was important.

And a fun proposition.”

And while Gronsdahl is unsure how the event will translate into the much larger Remai Art Gallery of Saskatchewan, which is scheduled to open in 2016, he has resolved to concentrate on planning the 2014 iteration of Lugo. “I’m trying to make it the best experience that we can, because there are certain characteristics of this building, certain qualities of this place, that people are really attached to,” he says, hinting at how deeply a public gallery can be ingrained in the community it serves. “There’s a certain intimacy in this space I think that feeds the event in some way. Pressure and heat makes diamonds.”

Lugo January 11 @ Mendel Art Gallery $30.50+ Feedback? Text it! (306) 881 8372

@VerbSaskatoon amacpherson@verbnews.com

15 Dec 20 – jan 9 /verbsaskatoon

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Feature

A Change of Direction

Photos: courtesy of patrick nichols

Catherine MacLellan makes a change on her new studio record

by Alex J MacPherson

T

his year Catherine MacLellan decided to do something different.

Since she released her solo debut in 2004, the east coast songwriter has been steadily expanding her range.

This is not uncommon for singersongwriters who, fuelled by success and ambition, strive to make bigger and more expansive records. Her most recent release, 2011’s Silhouette, featured the most elaborate

arrangements of any album in her catalogue. But when it came time to write and record her fifth studio album, MacLellan elected to return to basics. “I think what really changed with the new record that I’m working on now is that people have been asking for a record that sounds like our stage shows,” MacLellan says. “Most often I tour as a duo with Chris Gauthier. He’s a guitar player. So that’s what this

record is all about: it’s about our guitars and our voices mingling together, doing what we do onstage but in a recorded version. I’m really excited about that because it’s going to be a more stripped-down album.”

In other words, MacLellan’s new record will be a return to the folk tradition in which her family has been embedded for two generations — and which she has spent the bulk of her career building on.

Continued on next page »

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cating the past; the best artists are innovators as well as entertainers.

And since she released Dark Dream Midnight, MacLellan has worked hard to expand on what she calls “the greater songbook.”

The most recent peak in her career occurred in 2011, when she released Silhouette. It is the biggest and most ambitious project she had ever tackled, as well as the clearest articulation of her musical vision.

A sprawling record that unfolds over nearly an hour, Silhouette punctuates her usual arsenal of contemplative piano-and-guitar folk songs with a handful of uptempo, alt-country arrangements.

“Stealin’,” the opening track, ranks among the most powerful songs she

Catherine MacLellan grew up surrounded by folk music. Her father, Gene, wrote some of the most iconic songs ever to emerge from this country. He is best known for penning “Snowbird,” which Anne Murray transformed into an international hit in 1970, but his songs have been performed by dozens of major artists, including Elvis Presley, Joan Baez, and Bing Crosby. Although he died when his daughter was a teenager, it is impossible to overstate his influence on her career. MacLellan spent countless hours watching her father play guitar and scribble lyrics; he encouraged her to listen to music by the Band and the Beatles.

Before long she was writing songs

cutting across the album is flight, which emerges again and again in MacLellan’s references to birds.

Three songs — “Black Crow,” a soaring ballad titled “Sparrows,” and her father’s song “Snowbird” — are named for birds and several others refer to them. “I didn’t notice that every second song has birds in it,” she says with a laugh. “It’s a pretty organic thing that happens when I write songs. They just kind of fall out. They can be influenced by what I’m listening to at the time or just kind of come from nowhere.

It’s afterwards that I look back. I don’t always know what a record’s going to sound like before I make it.

And then when it’s out there I realize, oh, that’s that record.”

I feel like I am part of [Canada’s folk scene]. I feel really blessed that I get to be part of such a great history. catherine maclellan Photo: courtesy of rob waymen

of her own. “That’s what I thought you were supposed to do,” she once said, “and eventually I started doing it.” And while her connection with her father and his roots in the Canadian folk community are as strong as ever, MacLellan has spent the last decade establishing herself as a talented songwriter in her own right, first as a member of the New Drifts and later as a solo performer.

“I feel like I am part of it,” she says of the folk music tradition.

“We have a longstanding folk scene in Canada. It’s pretty amazing what has come out of Canada, from Joni Mitchell to Gordon Lightfoot. And even my dad’s stuff, which has reached further than he thought it would. Ever since then there’s always been a tradition of folk music and singer-songwriters, and I feel that I do want to be a part of that — and that I am. I feel really blessed that I get to be part of such a great history.” But MacLellan, like all good songwriters, is not merely a part of history; she is adding to it with each song that she writes. Folk music has never been about repli-

has ever recorded, a punchy rock song that evokes the sound of Ryan Adams’ “New York, New York.” The album also includes her cover of her father’s famous song “Snowbird,” presented as a stripped-down acoustic duet with Blue Rodeo’s Jim Cuddy, whose rich, warm voice is a perfect match for MacLellan’s airy vocal part. “It’s a way for me to keep my dad’s music alive,” she says, “and to feel a connection with him. That song never gets old for me. I thought it would pretty quickly, but it didn’t. I mean, I have a lot more of my dad’s songs than just that one, but it’s nice to be able to play it and share it with people.”

Silhouette is also the most diverse record MacLellan has ever recorded, which she attributes to the twin experiences of growing older and having a daughter. The songs draw on a range of themes, including failed relationships and a need to evaluate past successes and failures, regrets and hopes for the future. They are powerful and emotional yet never self-pitying.

One of the most prominent themes

The songs that form the heart of her forthcoming record, which she expects to release in the spring, have yet to fully reveal themselves, but MacLellan is already sensing another change of direction. “I think there’s a lot more story songs happening, which is something I never felt I was very good at,” she says.

“But it’s just been happening naturally, writing these almost Gordon Lightfoot story songs.” After a pause she laughs and says, “Not quite as epic, though.” MacLellan maintains that her favourite songs have always been those that tell real stories belonging to real people, stories that belong to someone and to everyone.

But this is only part of the reason why her new record will represent a dramatic shift from the laid-back country vibe of Silhouette.

MacLellan has spent the best part of the last two years on the road with Gauthier, and they have been collaborating on and off for almost a decade. The decision to record as a duo reflects her love of playing as a duo. “I’ve played in lots of different arrangements,”

she says. “I’ve played a lot of solo shows and I’ve played a lot of band shows and trios and now duos.

Everything that we do together, it feels so comfortable. And I feel like we really bring out the best in each other. It’s possibly the most satisfying way for me to play, because there’s so much room for change and making things better all the time. Sometimes it happens spontaneously onstage, where we’ll do something different and then go back and talk about it, say that was great, let’s do it again. It’s an evertransforming thing.”

The ease with which a song can grow and change and evolve in the hands of a talented duo is really a microcosm of MacLellan’s career, which embodies the fundamental nature of folk music. Albums are like photographs; they capture a specific moment in time. By arranging MacLellan’s records on a continuum it is possible to see not only her growth, both as a songwriter and a person, but also her desire to build on the legacy left by generations of folk musicians. And

by choosing to do something different with her next album instead of simply trying to recapture the spirit and success of Silhouette, she has made yet another contribution to the music she grew up on and remains committed to today. “If you get too worried about what people think you’re not going to really be able to make art,” she muses. “I am a little interested — not scared, but interested — to see what people are going to think of the next record because it is really folky. I’m really excited about that but we’ll see if other people are too.”

Catherine MacLellan January 16 @ The Bassment $17/23 @ The Bassment, Showclix.com

Feedback? Text it! (306) 881 8372

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A change in the right direction Photos courtesy of Adam Hawboldt

My Kitchen changes name, menu and look by adam hawboldt

T

he coupon stapled to the menu tempts me.

It’s green, this coupon.

There, clipped to the white takeout menu with red lettering it reads “Any purchase over $25.00 before taxes will receive 2 free

Vietnamese Spring Rolls and 2 free Vietnamese Cold Rolls.”

The menu is from Vietnamese Express, which opened its doors on November 15th. The restaurant used to be called My Kitchen, and served mainly Chinese food. But after a bit

of deliberation, the owner decided it was time to take the restaurant in a new direction. So they changed the name and altered the menu to feature more Vietnamese fare.

And the changes aren’t stopping there, either.

Once the current renovations are complete, the Vietnamese Express — which is currently just a take out restaurant with two eat-in tables — will be expanded to seat around 25-30 people.

But that’s not until the New Year.

So when I was there the other day for a late lunch (like, 4pm-late), I decided to order take-out and dine back at the Verb office.

Standing there at the counter, staring at that little green coupon on the front of the menu, I really wanted to order more than $25 worth of food.

I really did. But as I looked over the

let’s go drinkin’ Verb’s mixology guide CHRISTMAS COOKIE

Ingredients

Tis the season to visit friends and family and have yourself a merry little drink or two. But if all the wine and the beer get to be a bit too much, change things up with this sweet concoction.

1oz peppermint schnapps 1oz Kahlua 1oz Bailey’s Irish Cream

Directions

Combine the ingredients in a shaker filled with ice. Shake until frosty. Strain ingredients into a chilled martini glass and serve. Happy Holidays!

menu I suddenly had a hankering for two of the dishes I saw.

Sure, the Vietnamese hot pots (especially the Ancient Hot Pot) and the Vietnamese Salads looked good.

So did the beef, chicken, and beef meatball pho. Yet the moment my eyes landed on the spicy peanut chicken, I was hooked.

Then I spied the shanghai noodles. A little bit of sweet, a little bit of spice — that’s the ticket.

Unfortunately, the two dishes came out to less than $20 before taxes so I missed out on the free rolls.

But fortunately both dishes were delicious and ample. So ample, in fact, that I ended up having leftovers for lunch for the next two days.

With the spicy peanut chicken, the first thing that hits you is the smell — a scrumptious nutty waft of cooked peanuts. The next thing that hits you is the

heat. The kind of heat that makes you purse your lips and suck in a breath of cool air. It takes a minute or so to get used to it, but once you do, the sweet savouriness of the sauce combines well with the spice and makes for a delightful eating experience.

Toss in a heaping container of moist shanghai noodles topped with shrimp, pork, chicken, carrots, cabbage and sprouts, and what you end up with is a mighty tasty meal (for under $20) that will last you for days.

At least it did for me.

Vietnamese Express #5 821 Central Avenue | (306) 382 8233 Feedback? Text it! (306) 881 8372

@VerbSaskatoon ahawboldt@verbnews.com

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music

Next Week

coming up

The Classy Chassys

Young Benjamins

Goo Goo Dolls

@ Vangelis Tuesday, December 31 – $12+

@ Amigos Cantina Tuesday, December 31 – $15

@ Credit Union Centre Thursday, February 27 – $58.50+

It’s easy to identify a rockabilly song when you hear one. Its blend of country & western with rhythm & blues (or conversely, rock and bluegrass) stands out like a bloodred apple lying on a stark white snowbank. The music has been around since the early ’50s and, as genres are wont to do, has evolved and changed over the years. Enter The Classy Chassys. This local fourpiece combines elements of rock, punk, jazz and blues to produce a high-energy, new-wave rockabilly sound. Having honed their talents at venues and festivals across the country, Matt Joyal (guitar/vocals), Dan Neumeier (upright bass), Luke Saretsky (drums) and Kenny Martelli (saxaphone) put on an upbeat show you won’t want to miss.

What do you get when you mix modern folk with indie/math-rock undertones and sweet, catchy lyrics? If you answered “Saskatoon’s very own Young Benjamins,” you’d be right. Consisting of Neusha Mofazzali, Veronique Poulin, Kuba Szmigielski and Brynn Krysa, this up-and-coming quartet plays a brand of infectious, honest music you can’t help but like. Sometimes upbeat and whistle-along worthy, other times slow and thoughtful, the songs the Young Benjamins play are wellcrafted, accessible and catchy. Since releasing their self-titled EP the band has been playing stage after stage, honing their sound and winning fans.

Their latest album, Less Argue, was released earlier this year. Tickets at the door. Tickets at ticketedge.ca.

When most people think about the Goo Goo Dolls, the first song that pops into their mind in “Iris” — and for good reason. It’s the song that propelled the band to superstardom, the song that stayed on top of the Billboard Hot 100 Airplay charts for a record-breaking 18 weeks, the song that was named Billboards #1 Pop Song 1992-2012. But did you know the song almost didn’t exist at all? True story. Back when lead singer John Rzeznik was approached to write the song for the City of Angels soundtrack, he was experiencing writer’s block and on the verge of quitting the band. He stayed, wrote the song and the rest, as they say, is history. Five albums later and this band from Buffalo is still rocking and playing arenas all over the world. Tickets available through Ticketmaster.

– By Adam Hawboldt

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

19 Dec 20 – jan 9 /verbsaskatoon

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december 20 » january 11 The most complete live music listings for Saskatoon.

Friday 20

House DJs / 6Twelve Lounge — Funk, soul & lounge DJs liven it up. 9pm / No cover Kimiwan 1-Year Anniversary Launch / Amigos — Featuring Bear Witness, Eekwol + more. 10pm / $12 (ticketedge.ca) Fintan Quinn / The Bassment — It’s piano Fridays! 4:30pm / No cover Karrnnel and Friends / The Bassment — A fiddle whiz from Toronto. 9pm / $17/$23 Stuck in the 80s / Béily’s UltraLounge — A whacky n’ wild Christmas sweater party.

9pm / $5 cover Hung Jury / Buds — Covering everything from AC/DC to Michael Jackson. 9pm / Cover TBD Really GAy Christmas / Diva’s — A high energy drag show followed by hot dance remixes all night. 10pm / $5 DJ Eclectic / The Hose & Hydrant — Local turntable whiz DJ Eclectic pumps snappy electronic beats. 8pm / No cover DJ Stikman / Jax Niteclub — Kick off your weekend with all your favourite party hits..

9pm / $5 cover

DJ Big Ayyy & DJ HENCHMAN / Outlaws Country Rock Bar — Round up your friends.

8pm / $5; ladies in free before 11pm The Standards Trio / Prairie Ink — Featuring Don Sawchuk, Todd Gursky, Matt Gruza. 8pm / No cover Bashment Before Christmas / Rock Bottom — Featuring DJ Heywood and Scott Turner. 9pm / Cover TBD DJ Fudge / Spadina Freehouse — Local DJ dropping beats. 9pm / No cover Darwin and the Boys / Stan’s — A rockin’ good time at Stan’s. 9:30pm / No cover Dueling Pianos / Staqatto — Terry Hoknes, Neil Currie + Brad King. 10pm / $5 Fireside Singers / TCU Place — A night of choral singing and solos. 7:30pm / $30+ (tcutickets.ca) 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 Cetascean / Underground Cafe — With Druidus, F**k Attack + more. 8pm / $10 Joel Cossette / Vangelis — With Lysanne Foth and Robbie Shirriff. 10pm / Cover TBD

Saturday 21

House DJs / 6Twelve — Resident DJs spin deep and soulful tunes. 9pm / No cover Close Talker / Amigos — With The Little Brothers. 10pm / $10 (ticketedge.ca) Vesti and the Vexations / The Bassment — Belting out soul and R&B hits. 9pm / $15/$20

DJ Aash Money + DJ Sugar Daddy / Béily’s — These two throw it down. 9pm / $5 Activists Maguire / Buds — Playing rock from the 70s to the 90s. 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 DJ Stikman and the Jax party crew.

9pm / $5 cover DJ Goodtimes / Longbranch — Playing the hottest country music all night. 8pm / $4 cover One Bad Son / O’Brians Event Centre — Good ol’ fashion rock. 8pm / $10 DJ Big Ayyy & DJ Henchman / Outlaws — Round up your friends. 8pm / $5 Jennifer Jane / Prairie Ink — Easy listening piano music. 8pm / No cover Bass Invaders / Rock Bottom — With Vico Kid and Milky Way. 9pm / Cover TBD Fuse / Spadina Freehouse — Spinning music that’ll make you move. 9pm / No cover Darwin and the Boys / Stan’s Place — A rockin’, feet-tapping good time at Stan’s.

9:30pm / No cover Dueling Pianos / Staqatto Piano Lounge — Terry Hoknes, Neil Currie + Brad King.

10pm / $5 DJ Anchor / Sutherland Bar — It’s the world famous video mix show! 10pm / Cover TBD Fireside Singers / TCU Place — A night of choral singing and solos. 7:30pm / $30+

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 NeilFest 2013 / Vangelis — A celebration of Neil Young. 10pm / Cover TBD

Sunday 22

Pajama Jam Industry Night / Béily’s UltraLounge — Hosted by DJ Sugar Daddy; this crowd favourite has always been known to break the latest and greatest tracks in multiple genres. 9pm / $4; no cover for industry staff DJ KADE / The Hose & Hydrant — Saskatoon DJ lights it up with hot tunes. 8pm / No cover Stan’s Place Jam / Stan’s Place — Bring your instrument, all music types welcome.

8:30pm / No cover Willoughby Widdershins / Unitarian Centre — Folk/world group presenting music for the season. 7:30pm / $10/$15 Blues Jam / Vangelis Tavern — The Vangelis Sunday Jam is an institution, offering great tunes from blues to rock and beyond.

7:30pm / No cover

Monday 23

DJ Audio / Dublins — Spinning dope beats.

9pm / Cover TBD

Tuesday 24

DJ SUGAR DADDY / The Double Deuce — Able to rock any party, this crowd favourite has always been known to break the latest and greatest tracks. 9:30pm / $4 cover DJ Nick Ruston / Dublins — Spinning dope beats. 9pm / Cover TBD Verb presents Open Mic / Rock Bottom — Come and rock the stage! 9pm / No cover Open Mic / The 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

Thursday 26

Mo’ Marley / Amigos Cantina — Celebrate Boxing Day with some reggae. 10pm / Cover TBD Brewster and Roosters / Buds — Rock away your Boxing Day. 9pm / Cover TBD Throwback Thursdays / Earls — Come experience the best in retro funk, soul, reggae and rock provided by Dr. J. 8pm / No cover DJ Kade / The Hose & Hydrant — Saskatoon DJ lights it up with hot tunes. 8pm / No cover

DJ Goodtimes / Longbranch — Playing the hottest country music all night. 8pm / $4 cover Whiskey Songs / Rock Bottom — The duo of Mark Ejack and Paul Kuzbik. 10pm / Cover TBD Chris Cole / Spadina Freehouse — Come witness the “Take Over.” 9pm / No cover Red Blaze / Stan’s Place — A rockin’, feet-tapping good time at Stan’s. 9:30pm / No cover Triple Up Thursdays / Tequila — Featuring DJ Dislexic. 9pm / Cover TBD Open Stage / The Woods — Hosted by Steven Maier. 9pm / No cover Friends of Foes / Vangelis — With Pandacorn and Acronyms. 9pm / $10+

Friday 27

House DJs / 6Twelve Lounge — Funk, soul & lounge DJs liven it up. 9pm / No cover The Rebellion + more / Amigos — A triple header for the holidays. 10pm / Cover TBD Paul Suchan / The Bassment — It’s piano Fridays! 4:30pm / No cover The Prairie Collective / The Bassment — Originals + more. 9pm / $17/$23 DJ Aash Money / Béily’s — DJ Aash Money throws it down. 9pm / $5 cover Riff Raff / Buds — A party band that gets the crowd moving. 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 with all your favourite party hits.. 9pm / $5 DJ Big Ayyy & DJ HENCHMAN / Outlaws — Round up your friends. 8pm / $5; ladies in free before 11pm The Nobles / Prairie Ink — Singing classic rock and country. 8pm / No cover DJ Ivar / Spadina Freehouse — Local DJ dropping beats. 9pm / No cover Red Blaze / Stan’s — A rockin’, feet-tapping 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 Whiskey Jerks / Vangelis — With Crestwood. 10pm / Cover TBD

Saturday 28

House DJs / 6Twelve — Resident DJs spin deep and soulful tunes. 9pm / No cover Band Swap VIII / Amigos — An annual kick-ass show. 9:30pm / Cover TBD The Barrelmen / The Bassment — A postChristmas show you’ll love. 9pm / $15/$20 Continued on next page »

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DJ Aash Money + DJ Sugar Daddy / Béily’s — These two throw it down. 9pm / $5 Riff Raff / Buds — A party band that gets the crowd moving. 9pm / Cover TBD Kenny Shields and Streetheart / Dakota Dunes — This Juno-winning group is still at it. 8pm / SOLD OUT 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 DJ Goodtimes / Longbranch — Playing the hottest country music. 8pm / $4 cover DJ Big Ayyy & DJ Henchman / Outlaws — Round up your friends. 8pm / $5 The Lost Keys / Prairie Ink — Eclectic easy listening. 8pm / No cover Charley Hustle / Freehouse — Spinning music you’ll love. 9pm / No cover Red Blaze / Stan’s — A rockin’, feet-tapping 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 world famous video mix show! 10pm / Cover TBD Saturday Night Social / Tequila — You will be moving + grooving. 9pm / Cover TBD DJ Thorpdeo / Uncle Barley’s — Spinning hot tunes all night. 10pm / Cover TBD Jung People / Vangelis — With Basement Paintings + Black Tremor. 10pm / Cover TBD

Sunday 29

Industry Night / Béily’s — Hosted by DJ Sugar Daddy. 9pm / $4; no cover for industry staff DJ KADE / The Hose — Saskatoon DJ lights it up with hot tunes. 8pm / No cover Kocheda Winter Music Festival / Prairieland Park — Featuring Deadmau5 + more.

9pm / $69.95+ (tickets.saskatoonex.com) Stan’s Place Jam / Stan’s Place — Bring your instrument, all music types welcome.

8:30pm / No cover

Blues Jam / Vangelis Tavern — Blues to rock and beyond. 7:30pm / No cover

Monday 30

DJ Audio / Dublins — Spinning dope beats.

9pm / Cover TBD

Tuesday 31

Young Benjamins + more / Amigos — Ring in the New Year! 10pm / $15 New Years in New Orleans / The Bassment — Featuring The Crawdaddios, Zyde-GoGo + more. 9pm / SOLD OUT Seven Strait / Buds — A hard-rocking New Years treat. 10pm / Cover TBD The Bellamy Brothers / Dakota Dunes — New Years with a talented country duo.

9pm / $45 (www.tickets.siga.sk.ca) electroNICK / Dino’s — Come party and dance for NYE. 9pm / Cover TBD The Masquerade / Diva’s — Celebrate with Aaron Paetsch + Nick James. 8pm / $5 DJ SUGAR DADDY / The Deuce — This crowd favourite rocks. 9:30pm / $4 cover DJ Nick Ruston / Dublins — Spinning dope beats. 9pm / Cover TBD New Year’s Eve Bash / O’Brians — Featuring Platinum Blonde. 7pm / $34.50 New Year’s Eve House Party / Prairieland — Featuring Men Without Shame.

8:30pm / $20+ NYE Bash / Rock Bottom — Featuring Johnny Don’t. 9pm / Cover TBD Open Mic / Somewhere Else Pub — Come out to show your talent. 7pm / No cover Northern Rebels / Stan’s — A rockin’, feet-tapping good time. 9:30pm / No cover DJ Chan-L, Mike Dubz / Tequila Nightclub — Dance New Year’s Eve away. 8pm / $15 Classy Chassys / Vangelis — With Jumbo + more. 10pm / $12+

Wednesday 1

DJ Modus / 302 Lounge — Spinning all your favourite tracks. 9pm / $3 DJ Aash Money / Béily’s — 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 — Saskatoon DJ lights it up with hot tunes. 8pm / No cover Buck Wild Wednesdays / Outlaws — Come out and ride the mechanical bull!

9pm / $4; no cover for industry staff DJ Carlos / Stan’s Place — Playing your favorite songs to lighten the work week.

9:30pm / No cover Dueling Pianos / Staqatto — Terry Hoknes, Neil Currie + Brad King belt out classic tunes and audience requests. 10pm / No cover

Thursday 2

Throwback Thursdays / Earls — With Dr. J. 8pm / No cover DJ Kade / The Hose & Hydrant — Saskatoon DJ lights it up with hot tunes. 8pm / No cover DJ Goodtimes / Longbranch — Playing the hottest country music all night. 8pm / $4 cover DJ Carlos / Stan’s Place — Playing your favorite songs to lighten the work week.

9:30pm / No cover Triple Up Thursdays / Tequila — Featuring DJ Dislexic. 9pm / Cover TBD Open Stage / The Woods — Hosted by Steven Maier. 9pm / No cover

Friday 3

House DJs / 6Twelve Lounge — Funk, soul & lounge DJs liven it up. 9pm / No cover Shooting Guns / Amigos — With Public Animal + more. 10pm / Cover TBD David Fong / The Bassment — It’s piano Fridays! 4:30pm / No cover Carrie Elkin + Danny Schimdt / The Bassment — Singers/songwriters from Texas. 9pm / $17/$23 DJ Aash Money / Béily’s — DJ Aash Money throws it down every Friday night.

9pm / $5 cover

21 Dec 20 – jan 9 @verbsaskatoon

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DJ Aash Money / Béily’s — It’s a dance party all night. 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 — Party hits. 9pm / $5 DJ Big Ayyy & DJ HENCHMAN / Outlaws — Round up your friends. 8pm / $5 Neil Roston / Prairie Ink — A blues/folk duo. 8pm / 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

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 DJ Goodtimes / Longbranch — Playing the hottest country music. 8pm / $4 cover DJs Big Ayyy & Henchman / Outlaws — Round up your friends. 8pm / $5 Wire ‘n’ Wood / Prairie Ink — Playing latin, jazz and gypsy music. 8pm / No cover Dueling Pianos / Staqatto — Terry Hoknes, Neil Currie + Brad King. 10pm / $5 DJ Anchor / Sutherland Bar — It’s a video mix show! 10pm / Cover TBD Saturday Night Social / Tequila — You will be moving + grooving. 9pm / Cover TBD DJ Thorpdeo / Uncle Barley’s — Spinning hot tunes all night. 10pm / Cover TBD

Saturday 4

House DJs / 6Twelve — Resident DJs spin deep and soulful tunes. 9pm / No cover Little Criminals / Amigos — With Two Day Bloom + more. 10pm / Cover TBD Ellen Kolenick / The Bassment — Singing originals and jazz standards. 9pm / $15/$20 DJ Aash Money + DJ Sugar Daddy / Béily’s — It’s a party! 9pm / $5 cover SaturGAY Night / Diva’s — Resident DJs spin exclusive dance remixes. 10pm / $5

Sunday 5

Industry Night / Béily’s — Hosted by DJ Sugar Daddy. 9pm / $4 DJ KADE / The Hose — Saskatoon DJ lights it up with hot tunes. 8pm / No cover Stan’s Place Jam / Stan’s — Bring your instrument. 8:30pm / No cover Blues Jam / Vangelis — Blues to rock, and beyond. 7:30pm / No cover

Monday 6

DJ Audio / Dublins — Spinning dope beats.

9pm / Cover TBD

Tuesday 7

DJ SUGAR DADDY / The Deuce — This crowd favourite rocks! 9:30pm / $4 cover DJ Nick Ruston / Dublins — Spinning dope beats. 9pm / Cover TBD Verb presents Open Mic / Rock Bottom — Come and rock the stage! 9pm / No cover

Open Mic / Somewhere Else — Your turn!

DJ Carlos / Stan’s Place — Playing your favorite songs. 9:30pm / No cover

Wednesday 8

DJ Modus / 302 — Spinning all night. 9pm DJ Aash Money / Béily’s — 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 — Saskatoon DJ lights it up with hot tunes. 8pm / No cover Buck Wild Wednesdays / Outlaws — Come ride the mechanical bull! 9pm / $4 DJ Carlos / Stan’s — Playing your favorite songs. 9:30pm / No cover Dueling Pianos / Staqatto — Terry Hoknes, Neil Currie + Brad King. 10pm

Thursday 9

Jazz Jam / The Bassment — Featuring The Kim Salkeld Trio. 8pm / No cover Throwback Thursdays / Earls — Retro funk, soul, reggae and rock. 8pm / No cover DJ Kade / Hose — He lights it up. 8pm DJ Goodtimes / Longbranch — Playing the hottest country music. 8pm / $4 cover DJ Carlos / Stan’s — Playing your favorite songs. 9:30pm / No cover Triple Up Thursdays / Tequila — Featuring DJ Dislexic. 9pm / Cover TBD Open Stage / The Woods — Hosted by Steven Maier. 9pm / No cover

Friday 10

DJs / 6Twelve — Funk + soul DJs. 9pm BC Reed / Amigos — Roots and blues done right. 10pm / Cover TBD

Neil Currie / The Bassment — It’s piano Fridays! 4:30pm / No cover Kacy and Clayton / The Bassment — Also playing: Mitch Grier. 9pm / $17/$23 DJ Aash Money / Béily’s — DJ Aash Money throws it down. 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 — It’s all your favourite party hits.. 9pm / $5 cover DJ Big Ayyy & DJ HENCHMAN / Outlaws — Round up your friends. 8pm / $5 Ian Martens / Prairie Ink — Acoustic/folk rock. 8pm / 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

Saturday 11

House DJs / 6Twelve — Resident DJs spin deep and soulful tunes. 9pm / No cover Switch Ungala / Amigos — Featuring East of Eden + More. 10pm / Cover TBD Martin Janovsky / The Bassment — Playing blues, jazz and rock. 9pm / $17/$23 DJ Aash Money + DJ Sugar Daddy / Béily’s — These two throw it down. 9pm / $5 Rory Allen / Dakota Dunes — A tribute to The King. 6:30pm / SOLD OUT 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 DJ Goodtimes / Longbranch — Playing the hottest country music. 8pm / $4 cover DJ Big Ayyy & DJ Henchman / Outlaws — Round up your friends. 8pm / $5 Whiskey on Sunday / Prairie Ink — A folk/pop/country trio. 8pm / 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 DJ Thorpdeo / Uncle Barley’s — Spinning hot tunes all night. 10pm / Cover TBD

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

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film

“If it’s crap, they’ll watch it!”

Photo: Courtesy of paramount pictures

Fortunately, Anchorman 2: The Legend Continues isn’t crap.

And you should definitely watch it by adam hawboldt

I

n case you haven’t noticed, Ron Burgundy has been everywhere lately. He’s on TSN doing stories on curling, interviewing Peyton Manning on ESPN, pimping Dodge Durangos (while berating a horse), chatting with Conan on late-night TV, giving advice at journalism schools and appearing on a handful of evening TV news shows.

Burgundy is everywhere you turn, and for good reason.

In a marketing blitz unlike any you’ve seen before, Ron Burgundy (aka Will Ferrell) has been popping up to promote his new film, Anchor Man 2: The Legend Continues.

The first Anchorman film, released back in 2004, was a sleeper hit that developed into a cult classic with more quotable lines than any comedy in recent memory.

Then, one day, he’s approached by a station called GNN that’s trying to do something new in the news world. It’s trying to launch the 24hour news cycle.

Looking to resurrect his career, Burgundy signs on and goes about tracking down his old team to help — sexy reporter Brian Fantana (Paul Rudd), loud and dopey sportscaster Champ Kind (David Koechner) and the not-quite-all-there weather man Brick Tamland (Steve Carell.)

Together they move to New York.

Laughs ensue. Like, a lot of laughs.

It’s hard to explain where these laughs come from without ruining the movie for those of you who haven’t seen it, but rest assured Anchorman 2: The Legend Continues is chock-full of quotable one-liners and set pieces that’ll make you cackle so hard soda may very well spray out your nose.

So, needless to say, Will Ferrell and writing/directing buddy Adam McKay had big shoes to fill in their second goround of the Burgundy saga.

Did they succeed in filling them?

Depends who you ask.

The story picks up a few years after the first Anchorman left off. Ron Burgundy is married with child to Veronica Corningstone (Christina Applegate). They are living in New York, co-hosting a morning show together and everything is swell … until the head honcho at the network (Harrison Ford) gives Veronica a promotion and fires Burgundy.

His marriage in ruins, career on the rocks, Burgundy returns to San Diego where he gets a job emceeing the dolphin show at SeaWorld.

Things are looking grim for our hero. He loathes his job and claims “I would eat dolphin if it was legal.”

But it’s not all just stupid laughs and ridiculous set pieces. No, at the heart of the movie is an in-your-face satire about the pathetic state of modern television news coverage.

Whether demanding more graphics on screen, ordering programmers to stay on a high-speed car chase, listening to zealots rant away or appealing to the lowest common denominator with jingoist phrases, Ron Burgundy will make you wonder who the idiot was who came up with 24-hour news channels in the first place.

If it’s subtle, nuanced humour you’re looking for, it’s best to look somewhere else. But if it’s over-thetop antics and Will Ferrell in fine form (yet again) that tickle your fancy, then seeing Anchorman 2: The Legend Continues should be high on your priority list.

Anchorman 2: The Legend Continues Directed by Adam McKay Starring Will Ferrell, Paul Rudd, Steve Carrell + David Koechner 118 minutes | NR

And while it’s not the kind of movie that will lock you “in a glass case of emotion” (nor is it better than the original movie), Anchorman 2 is still wildly hilarious and well worth a watch.

Feedback? Text it! (306) 881 8372

@VerbSaskatoon ahawboldt@verbnews.com

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Hustlin’ ain’t easy

American Hustle is cool, fun movie making at its finest by adam hawboldt american hustle David O. Russell Starring Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence + Jeremy Renner Directed by

169 minutes | 14A

Photo: Courtesy of Columbia Pictures

E

lton John’s “Goodbye Yellow Brick Road,” “Live and Let Die”

by Wings, Steely Dan’s “Dirty Work.”

No, this isn’t a list of hit songs from the ‘70s. Well, yeah, I guess it kind of is. But the reason these songs are mentioned here is because they appear on the American Hustle soundtrack, along with a handful of other tunes from that era. They are songs that are not only catchy, but that help drive the narrative of David O. Russell’s new film, songs that create atmosphere and deepen the impact of the movie.

Think of the way the music in Boogie Nights helped tell that story, helped put you in a specific time and place, and you’ll begin to get an idea of just how heavy a load the

There’s also the first-rate cast.

For this film, David O. Russell went back to an old bag of tricks, enlisting the aid of Christian Bale and Amy Adams (both of whom he directed in The Fighter), as well as Bradley Cooper and Jennifer Lawrence (who starred in his film Silver Linings Playbook) to give American Hustle a first-rate cast of top-notch thespians.

Toss the always-excellent Jeremy Renner (The Town, The Hurt Locker) in the mix and an appearance by Robert De Niro (whom Russell also directed in Silver Linings Playbook) and what you have is an all-star lineup. But unlike a few of the movies that have featured all-star casts and flopped in the last year or so, American Hustle delivers in a big way. Everyone is firing on all cylinders, and the result is the

being mentioned in the same breath as serious Oscar hopefuls, but it’s not the kind of movie that usually gets mentioned in that kind of talk.

It’s too fun, too cool, yet there it is, smack dab in the middle of the conversation.

A ‘70s crime drama with an off-beat pulse all its own, American Hustle opens with the quip “Some of this actually happened” before launching into a totally fictionalized account of the FBI’s Abscam sting of late ’70s.

Without giving too much of the story away, let’s just say it’s about a conman named Irving Rosenfeld (Bale) and his lady friend Sydney Prosser (Adams), who swindle people out of money. All seems well, but there’s a bit of a problem:

Irving’s loose-cannon wife Rosalyn (Lawrence), who is full of unexpected surprises.

Eventually Irving and Sydney get a bit too bit for their britches and attract the attention of FBI agent Rich DiMaso (Cooper), who is looking to make a name for himself at the bureau. So naturally he takes the con-couple down, right?

Wrong. He uses them to entrap bigger game, like Newark mayor Carmine Polito (Renner). And, well, that’s all I’m saying. American

Hustle is far too good of a film to reveal anything else. It’s going to be one of the best of the year, so, yeah, you should probably go see it.

Like, statim.

Feedback? Text it! (306) 881 8372

@VerbSaskatoon ahawboldt@verbnews.com

[American Hustle] is the kind of movie that should be in serious contention for awards…

Adam Hawboldt

music in American Hustle hauls.

But don’t be mistaken. The soundtrack isn’t the only impressive thing about this film — far from it, in fact.

kind of movie that should be in serious contention for awards during Oscar season.

Which brings us to another impressive thing about this film. It is

25 Dec 20 – jan 9 @verbsaskatoon

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Friday, december 13 @

O’Brians

O’Brians Event Centre 241 2nd Ave South (306) 651 1000

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Check out our Facebook page!

These photos will be uploaded to Facebook on Friday, January 10. facebook.com/verbsaskatoon

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saturday, December 14 @

Flint

Flint Bistro + Saloon 259 2nd Avenue South (306) 651 2255

Check out our Facebook page!

These photos will be uploaded to Facebook on Friday, January 10.

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

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crossword canadian criss-cross DOWN

32. Fishing boat 36. ‘I beg your pardon?’

37. Proven 39. Map abbreviation 40. Valuable rocks 42. Meat from a pig 43. March 15th in the ancient Roman calendar 44. Japanese condiment 46. Bless with oil 48. Compare to another 49. Carries 50. Location 51. Greek vowels

1. Candy on a stick 2. Card with three spots 3. Snake that killed Cleopatra 4. What’s more 5. Animal with grey skin 6. Excitement 7. Father a horse 8. Root vegetable 9. Small quantity of salt 11. Stun gun 12. Unfair preference 14. Rest against for support 17. Soldiers trained to fight in an emergency 20. Stop from happening 21. Light lunch

24. Plant that grows up walls sudoku answer key 26. Drops of water on grass A 28. Reduce to ashes 29. Put in sight 30. Having to do with hearing 31. Academic paper 33. Barenaked ___ (Canadian rock band) 34. Uses a plane B 35. Put your feet up 38. River that begins in the Swiss Alps 41. Rice wine 43. Letter after theta 45. Put money on 47. Negative response

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

1. Injure with a knife 5. Hinged metal fastener 9. Woman’s handbag 10. Blockhead 12. Arm muscle 13. Elaborate entrance 15. Pitch-black 16. Mischievous child 18. Move carefully 19. Hole in one 20. ‘So long’ 22. Hot drink 23. Dry up 25. Decorate 27. Air-filled swelling in a seaweed 29. Greek deity of the woods

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

ACROSS

© walter D. Feener 2013

Horoscopes December 20 - january 9 Aries March 21–April 19

Leo July 23–August 22

Sagittarius November 23–December 21

Something may worry you sick this week, Aries. Try to put it out of your mind, though. It’s not as bad as you think.

A clean break from something in your past will allow you to move confidently into the future, Leo. Now you just have to figure out what that is.

There’s a lot going on behind the scenes that may baffle you this week, Sagittarius. Don’t worry: the fog is only temporary.

Taurus April 20–May 20

Virgo August 23–September 22

Capricorn December 22–January 19

You may receive a call or a text or an email this week that will puzzle you, Taurus. Never fear: all will become clearer as the week goes on.

Have you been getting strange vibes from someone close to you lately, Virgo? Well, it’s only going to get stranger before too long.

You may find yourself feeling distracted at times in the coming week. Try to focus, Capricorn, or you risk missing an important event.

Gemini May 21–June 20

Libra September 23–October 23

Aquarius January 20–February 19

If something big (and potentially bad) happens this week, it’s important to remember not to panic. Approach it with a cool head, and all will be fine.

If you love something, you have to let it go, Libra. Sure, it’s cliché, but it’s a pretty apt adage for this week. If it’s meant to, it will return to you.

Something that has been troubling you will fall to the wayside today, Aquarius. The time to breathe easy again has arrived.

Cancer June 21–July 22

Scorpio October 24–November 22

Pisces February 20–March 20

Creativity will be oozing out of your every pore this week, Cancer.

The imaginative juices don’t always flow, so make the most of it.

Try to better yourself this week, Scorpio. It doesn’t really matter how: sign up for a class, read a new book, whatever strikes your fancy.

You may experience a lack of communication with a loved one this week, Pisces. Do your best to fix this, as soon as possible.

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

crossword answer key

A

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

B

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vehicle

Out with the old, in with the new

Ford Taurus replaces classic Crown Vic Interceptor by jeff davis

all Photos: Courtesy of jeff davis

Continued on next page Âť

36 Dec 20 – jan 9 vehicles

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F

or anyone under the age of 30, the Crown Victoria is perhaps the only police car you’ve ever really known (or sat in the back of).

Since it entered service in 1992, the venerable Ford Crown Victoria Police Interceptor — better known as the ‘Crown Vic’ — has been, by far and away, the most widely used police car in North America.

And now it’s being put out to pasture, for good.

On September 15, 2011 the last new Crown Victoria rolled off the assembly line and manufacturing stopped altogether. Since then, police forces have been searching for a replacement, with some purchasing stopgaps like the mean-looking Dodge Charger. But now police forces — including the Saskatoon

Police Service — are embracing a new ride that we all will doubtless become familiar with, though hopefully not for the wrong reasons.

It’s called the Ford Police Interceptor Sedan, and it’s perhaps the first car to be specifically built from the ground up as a police car.

Before going to the drawing board, Ford engineers talked to cops all across North America and asked what they really need in a vehicle.

What they got back was a pretty long list of demands, and a lot of praise for the old Crown Vic. Sgt. Tony Boensch is a 16-year veteran of the Saskatoon Police Service. Besides working in the robbery section, he’s a driving instructor for his fellow officers.

Boensch says the Crown Vic is an easy car to love.

“I’ve always liked it,” he says.

“They’re a really hardy vehicle, and I have no complaints about the Crown Vic at all.”

It’s got loads of interior space, he says, which is particularly important when you’re wearing a bulky utility belt. It’s also got a good amount of power and speed, a huge trunk and unmatched dependability.

Despite his affection for the Crown Vic, Boensch says he’s quite impressed by the first new — and for now only — Ford Interceptor that the SPS has put into service.

Compared to the Crown Vic, the new Interceptor is lighter and faster.

Its V6 cranks out 305 horsepower (or 365 with the EcoBoost engine), while

Continued on next page

the Crown Vic’s big block V8 produces just 250. And since many police cars are driven 18 or even 24 hours per day, sometimes for weeks on end, the new Interceptor has an extra-large cooling system to extend engine life.

It’s also got side airbags and a reinforced alloy “safety cell” to protect officers in crashes, even if it’s rear ended at 75 miles per hour. For chases it has a tuned suspension and heavy duty wheels, plus other perks like a

huge alternator to power electronic police gadgets.

For patrolling particularly rough neighbourhoods, cops can get Level III ballistic plates built into the front doors that can stop an AK-47 bullet.

Staff Sgt. Keon Sproule, commander of the University of Saskatchewan Protective Services, says his force put its first new Interceptor on the road about a month ago. He said the new Interceptor came highly recommended

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by police in Regina and Prince Albert.

“We’re all looking at this vehicle,” he says. “The biggest thing is how it handles.”

You can really tell this was built to be a police car, Sproule says, since all the extra wiring and power outlets needed to run computers, radios, lights and in-car cameras come standard.

This is far better than buying a civilian car, then drilling holes everywhere and ending up with a bulky mess of exposed wires.

“All the wiring is done during

it is what it is.”

Boensch says that it will be take some time for the Saskatoon Police Service to adjust to the new Interceptor.

Like many of his generation, Boensch cut his teeth driving a rear-wheel drive ‘82 Chevette. Since the Interceptor is all-wheel drive, he says, it handles very differently from the Crown Vic. “There’s going to be a learning curve,” he says.

“Even for us instructors.”

Boensch says many younger police recruits find it difficult to adapt to the large, cumbersome Crown Victoria, and the different type of steering rearwheel drive requires. The new car, by

the manufacturing of the vehicle, so they’re all hidden,” he says. “Having to do it aftermarket affects the interior space and look.”

The Interceptor handles nimbly, Sproule says, even in heavy snow. Plus the smaller vehicle size is well suited to the campus’s narrower roads.

One very noticeable difference — one that will be particularly noticeable to perps — is the much, much smaller backseat. From the looks of it, this would be a very uncomfortable ride, even for medium sized people.

“That entire vehicle is not made to transport people too far, too long in the backseat,” Sproule says. “But

contrast, will feel much more familiar.

“Not a lot of 25-year-old people who’ve been driving for 10 years have driven a big, rear-wheel drive sedan,” he says. “They’re most used to Honda Civics and Accords and things like that — smaller, front wheel drive sedans.”

For heavier duty and more demanding driving conditions, Ford has also made an SUV: the Police Interceptor Utility. Based on the Ford Explorer it has more cargo space, can handle off-road conditions and is the first pursuit-rated SUV available to police.

You’ll soon be seeing both of these vehicles patrolling Saskatoon’s streets, Boensch says, adding “we’ll be order-

ing a mix of both the SUV and the Interceptor Sedan.”

The sedan and SUV model have cleverly been designed to share many parts.

“That’s what our mechanics really like — it’s all interchangeable,” Boensch says. “So if one gets wrecked or decommissioned, they can use parts from the car on the SUV.”

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The skinny on used cops cars

Continued on next page

Is it really the most car you can buy for $3,000? by jeff davis

all Photos: Courtesy of GC Surplus Continued on next page Âť

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ow that the Crown Victoria is heading for the history books, before long there will be a flood of decommissioned police cruisers coming onto the market.

But are they worth buying?

This writer humbly submits that a decommissioned Crown Victoria Police Interceptor is perhaps the most car you could hope to buy for $3000, and in some cases, far less.

“

auction range from the quotidian — like desks and printers — to the bizarre: old crab traps, diamond earrings, a pair of blue sheepskin Uggs and junked naval ships.

Minimum bids for decommissioned Crown Victoria Interceptors start as low as $500, and sales typically close well under $4,000. They often show up on Kijiji for upwards of $2,000 and are fairly common at car auctions as well.

“

N

vehicle

So if you’re trying to impress the ladies (or gents), the decommissioned Crown Vic might not be for you.

That said, you’ll be getting a pretty quirky package.

For anyone seriously considering buying one of these, check out www.gcsurplus.ca. This website is a clearing house for disused Government of Canada goods of all description. Goods up for online

So what’s the biggest difference between a regular civilian Crown Vic and the police package? Saskatoon Police Service driving instructor Sgt. Tony Boensch says the 4.6 litre V8 engines are the same, but the police car will handle much better. “The biggest difference is the beefed

Continued on next page »

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up suspension, and we roll with a higher speed-rated tire,” he says.

“This will cut down on pitch and roll, and help with cornering.”

Boensch says Crown Vics are retired primarily based on a set mileage threshold, which differs from force to force. The RCMP retires their cars at 150,000 km, he says, while the SPS keep theirs going to 180,000 or 200,000 km.

That said, the retired police cruisers have a lot more hidden mileage than the odometer shows.

“You can see 200,000 but that’s 100 per cent city driving,” Boensch says. “It may have been idling for three-quarters of a year each year, in some cases idling 24/7.”

From time to time police cars are driven in hot pursuit, Boensch says, putting heavy strain on the accelerator and brake. At times like these they end up in some unexpected places.

“Chances are a lot higher that you’re buying a vehicle that’s been in an accident,” he says. “It may have been driven over a boulevard, driven down alleyways at 50 or 60 km, or through fields and whatever.”

“There’s going to be some extra mileage on that vehicle you wouldn’t find on, say, a used Topaz.”

Because of their constant use and heavy wear-and-tear, police cruisers often hit the used market just three or four years after they were built.

While all this may sound a little scary if you are in the used car market, it’s not so bad. Police forces typically have mechanics on staff, who make sure all oil changes and scheduled maintenance are done on time.

This does a lot to extend engine life, which can be a wild card issue when buying on the regular used market.

Even the oldest and most worn-out

Crown Vics stand up remarkably well when they’re handed over to instructors for evasive driving training days.

“We’ll spend seven or eight hours a day stomping on the brakes over and over and over,” he says.

“And they don’t break down.”

While they’re likely to be mechanically sound and reliable, decommissioned Crown Vics score pretty low on esthetics.

Before they’re sold off, police mechanics remove everything they can, so you’ll see holes in the roof where lights were attached.

On the interior, expect to see lots of exposed brackets and loose wires in the console where computers and radios once were. More holes and braces will be seen in the floor, where a shotgun was once bolted in, and in the back where the perp cage was removed for reuse.

What you’re left with is a pretty basic package: plastic mats, power seats, power windows, and that’s just about it.

As for colours, you can find a black or navy blue from time to time, but an overwhelming majority are plain white. All come with scratches and dints of varying severity. The front seats will typically be crushed and worn, having accommodated 200-plus pound officers for thousands of hours. The backseat, however, is an unexpected upshot. Because it has been deemed unsanitary to resell a working police car’s backseat (for obvious reasons), they are replaced. Oftentimes it’s the same unused stock seats that were removed when that Crown Vic was initially converted to a cop car.

So if you’re trying to impress the ladies (or gents), the decommissioned Crown Vic might not be for you. But compare it to other used cars in the $3,000 price range — a 2003 Cavalier, a 2001 Oldsmobile Intrigue or a 2001 Pontiac Sunfire — and you begin to see the value in this beastly, reliable V8.

Sgt. Boensch can.

“If you want to boot around the city, have lots of room, and have a mechanically-sound vehicle with a massive amount of trunk space I don’t see a problem with it.”

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A wolf in sheep’s clothing

New Taurus actually a civilian version of the Interceptor by jeff davis

E

ver notice how an offduty cop, out of uniform, is still sort of easy to spot? There’s that erect stance, observant gaze, perhaps an earnest moustache and maybe even a disapproving frown.

That’s sort of what the 2014 Ford Taurus looks like.

After Ford built their police-only Interceptor, they liked it so much they badged it as the sixth-generation Taurus and released it for civilian use.

And unlike the last few editions of the Taurus, this one will certainly not gain a reputation as a broken-down grocery getter for old folks.

This full-sized car is a beast.

Stomp on the gas and the 3.5 litre V6 lets out a throaty, rattling roar that just sounds mean. Even at highway speeds, this burst of power is strong enough to spin the wheels in snowy weather. Despite having all-wheel drive, it feels more like an old-school muscle car than any new car I’ve driven in years. Let’s just say if you were

chasing someone down in this machine, you’d feel pretty confident.

The interior is very spacious, and the interior surfaces appear very durable without being ugly. Perhaps the most obvious hint of its Interceptor DNA is the central console, which is strangely tall and thick, and takes up a lot of space. This looks kind of cool, but taller drivers will find their right knee resting on it and this can get uncomfortable. The buttons on the console are not really buttons at all. They’re flat, touch activated sensors with LED lights, and have a very futuristic look.

Certain small touches, like adjustable seatbelt height, indicate the Taurus was designed with long rides in mind. And the ride is indeed comfortable, with generous headroom and a large backseat.

The Taurus ranges widely in price, from $24,499 for the base model SE to a whopping $41,549 for the top-of-theline SHO. I tested the nicely equipped SEL, which goes for $28,449. It came with Continued on next page »

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a really slick looking proximity key and push button start, dual climate control, and really great heated seats. It also had a decent central touch screen, backup camera, cruise control, Bluetooth and a kickass sound system.

Various Taurus packages come with a system called “MyKey,” which is simultaneously a parent’s dream and a teen’s worst nightmare. The system allows parents to assign various controls to specific keys, with a mind to keeping teens from doing the more obviously stupid things they sometimes do.

Speed chimes can be set to ding at as low as 70 km/h, and you can limit the top speed. Speaker volume can similarly be capped to 44 per cent of maximum, and the radio is muted whenever seatbelts are unbuckled. The “Do Not Disturb” function, meanwhile, cleverly blocks incoming calls and texts while driving.

In short, it’s like having a cop right there riding shotgun.

From the outside, the Taurus looks pretty darn good. It’s got a large-andin-charge look you rarely see on the road these days. If you measured it, you’d find it’s longer than many of the

crossover SUVs that are so popular these days.

The Taurus is also incredibly wide.

Trying to drive it in and out of regular underground parking garages is a little nerve racking, since the Taurus squeaks in with just an inch or two’s grace on each side. That said, the lines are sleek, and it has big wheels that look grippy and tough. The trunk, it goes almost without saying, is massive.

The combination of comfort on long trips and a large cargo space is making it a popular choice for a company car, dealers say.

Despite all these refined creature comforts, I don’t want to give you the impression the Taurus is, by any means, polite or inoffensive. On the contrary — it has all the muscle of the police Interceptor, and a bad-ass attitude to match.

And if you ever start to forget, just stomp on the gas for a little reminder.

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