Verb Issue S284 (Apr. 4-10, 2014)

Issue #284 – April 4 to April 10

arts

culture

music

saskatoon

The F-Holes

+

lorne molleken Reflecting back on his lengthy career the killer Q+A with the Dillinger Escape Plan captain america: the winter soldier + le week-end Films reviewed­

Photo: courtesy of Gabrielle Touchette Photography

contents

on the cover:

the f-holes

What the f! 16 / cover

Photo: courtesy of Gabrielle Touchette Photography

NEWs + Opinion

FARE THEE WELL Lorne Molleken reflects on his long career.

4 / Local

bottoms up Our thoughts on changes to the liquor industry. 8 / Editorial

another one comes

comments

The making of a web series.

Here’s your say on vaccinating children. 10 / comments

6 / Local

culture

Q + A with DILLINGER ESCAPE PLAN On musical growth and diversity. 12 / Q + A

ROAD TRIPS AND OTHER DIVERSIONS

A trip to flavour country

Mendel exhibit explores the Saskatchewan experience. 14 / Arts

We visit Summer Palace.

18 / Food + Drink

shapes and symbols

music

Jordan Danchilla + David Stonhouse search for essence. 15 / Arts entertainment

Fortunate Isles, R5 + Fleetwood Mac. 19 / music

live music listings Local music listings for April 4 through April 12. 20 / listings

captain america: the winter soldier + le week-end

on the bus Weekly original comic illustrations

by Elaine M. Will. 30 / comics

We review the latest movies 22 / Film

Nightlife Photos

Games + Horoscopes

We visit Hose Brew Pub + Jax.

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

24 / Nightlife

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

Design Lead / andrew yanko graphic Designer / Bryce Kirk Contributing Photographers / Patrick Carley, Adam Hawboldt + Ishtiaq Opal

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

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

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Photo: Courtesy of Steve Hiscock

Fare Thee Well, Lorne Molleken

Saskatoon Blades GM looks back on what was and what could’ve been by ADAM HAWBOLDT

T

here are no do-overs in life. When you make a decision and act on that decision, there’s no turning back, no time machine you can jump into and rewrite your history.

There’s just life, moving at its own pace — straight ahead, along a forward-marching trajectory. Decisions are made, prices are paid, and we still keep moving.

That’s something Lorne Molleken understands all too well. He knows all about decisions and the price you can pay for making them. As the coach and general manager of the Saskatoon Blades, it was Molleken’s job to make decisions. To do what he, and the people around him, thought was best for the team.

That’s what Molleken did during his tenure with the Blades. And he’s acutely aware some of the deci-

sions he made, some of the trades he turned, weren’t of the popular variety.

“Junior hockey is a business,” explains Molleken, who spent 17 seasons behind a WHL bench, nine seasons as a GM in the league.

“The fans are very loyal and very knowledgeable. It’s something they have passion for. And if things aren’t going right or if you make moves they don’t agree with, they’re going to have something to say. They’re going to have an opinion on how things are going.”

Do a quick search on the Internet and you’ll see that he’s right.

“Lorne Molleken has screwed the Blades … franchise for years to come with some awful trades in the past few years and again this year,” said one keyboard critic.

Another said, “If the Saskatoon Blades were serious about this Me-

morial Cup, then Brodsky would take the New Jersey Devils Lou [Lamoriello] approach and fire Lorne Molleken right now today.”

And then there was the telling, single-sentence comment that simply stated: “It’s about time!”

A comment that came after Molleken was let go by the Blades last week.

In the video, Lorne Molleken stands at a podium, dressed in a dark suit, blue-and-white checkered shirt, and gray tie. To his right there’s a photographer crouched down; behind the photographer three Blades jerseys hang on the wall.

A cluster of microphones from local media outlets sits on the podium in front of him, and Molleken begins to talk. This isn’t going to be easy.

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This is his farewell press conference.

His last chance to talk to Blades fans.

“The time has come…” begins Molleken, looking down at the podium. He pauses, struggling to find the words; the seconds slowly pass.

The photographer to Molleken’s right takes a picture — click.

He takes three more in quick succession: click, click, click.

whimper, but with the air of respect and gratitude and professionalism that has defined his career.

In his last few years as a goalie playing professional hockey, bouncing back and forth between the IHL and CHL and AHL, Lorne Molleken didn’t really enjoy him-

The year we hosted the Mem Cup, the pressures … were immense. lorne molleken

The pause lingers. Molleken’s eyes never leave the podium. He struggles to keep it together, to keep the tears from coming.

After a few beats Molleken composes himself, takes a deep breath and continues. “… to step aside and pass the torch to whoever may come next,” he says.

Molleken looks up and continues. “As mentioned before, I’ll do everything in my power to help this transition be a smooth one, to be here for support with this group.

And, umm, in closing, I’d just like to thank not only the Priestner family, but the Brodsky family for the opportunity to be able to work in a great city.”

And that’s how Molleken’s journey with the Saskatoon Blades ends. Not with a bang, not with a

self. His knee was giving him a lot of trouble and the fun was staring to drain out of the game for him, so he decided to retire.

As luck would have it, not long after his retirement, Molleken was offered a position to coach the Swift Current Indians in the Saskatchewan Junior Hockey League.

Then he coached in Weyburn for a couple of years. Then spent a couple of years coaching Weyburn’s SJHL entry. Then he made the jump to the WHL, coaching the Moose Jaw Warriors.

There are a lot of “thens” in Molleken’s coaching career.

Then he led the Saskatoon Blades to two WHL championship series between 1991 and 1995.

Then he coached in the AHL in the Edmonton Oilers organization.

Then there were the NHL years, coaching in Chicago and Pittsburgh, broken up by a year-long stint coaching the Regina Pats. Then he returned to the Blades and all the “thens” turned to “whens” — as in, when are you going to bring a Memorial Cup to Saskatoon?

There’s something alluring about a man who goes for it, regardless of consequence. Something bold and fascinating about a person who reaches for the sun even though they know they could get burned.

That’s what Molleken did during the 2010-11 season when he traded away two first-round draft picks (2011 and 2012) along with a secondrounder (2011), two prospects and a first-round pick in the import draft for Brayden Schenn.

“You know what?” says Molleken. “The year we traded for Brayden Schenn we were in first place overall at the deadline. We were a real hard working team and Brayden was sent back from Los Angeles. He was the best junior hockey player in the world, he proved that at the world juniors.

He was a local boy and we did whatever we could to get him in a Blades sweater. He didn’t let us down at all.”

In the regular season, Schenn put up 53 points in 27 games, had 11 points in 10 playoff appearances before the Blades fell to Kootenay Ice in the Eastern semi-finals. That was the first time Molleken pushed his

chips to the centre of the table and went all in, trying to bring a long-sought-after championship to Saskatoon.

It wouldn’t be the last.

The following year, as hosts of the Memorial Cup, he made a bevy of trades, bringing in top-end guys like Shane McColgan, Michael Ferland, Nathan Burns and Collin Valcourt.

Guys that came with a cost — three first-round draft picks, two second rounders, three third rounders, some prospects and some more picks. “The year we hosted the Mem Cup, the pressures that are involved with that were immense,” says Molleken. “We took a long time to decide what we wanted to do. We knew we were going to have to blow things up to bring in a number of players to help us.”

It didn’t work. They ran into a red-hot Medicine Hat Tigers team and were ousted in the first round of playoffs. Then they hosted the Memorial Cup, but didn’t win. The writing was on the wall; it was only a matter of time. And after this last season, a season in which Molleken watched games from the GM booth, he was let go by the Blades’ organization.

Some fans figure that this was a long time coming, but Molleken has no regrets. “When I look back, I wouldn’t do anything differently,” he says. “We made the decisions we thought would help win us a championship. I wouldn’t do anything differently than hope we win those two playoff series that we lost.

You know, there’s a very thin line between winning and losing.”

That there is. And while Molleken didn’t stumble to the winning side of that line in the playoffs recently, he leaves the Blades as one of only three coaches to ever accumulate 600 wins in a WHL career. He leaves the Blades during a rebuilding stage which, as sure as the sun rises and sets, happens for most junior hockey teams.

And he leaves the Blades as a man with an uncertain future in front of him and a past, full of decisions and prices paid, that he doesn’t regret.

Not one bit.

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Another One Comes New web series from Saskatchewan filmmaker explores conflict and the struggle to be normal by ADAM HAWBOLDT

Photo: Courtesy of Jarrett Rusnak Continued on next page Âť

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T

he life of a writer can be a lonely existence. Hours are spent alone, holed away in a room.

You’re isolated from the rest of the world, staring at the blinking cursor on your computer screen. To fully describe the life of a writer is a tricky business. To explain to others that you sit in a room alone for hours on end, creating new worlds, having fake conversations with fake people in your mind — well, it might just make you sound a little insane. It might make it sound as though you live a mad and strange and lonely life.

It is a life that Jarrett Rusnak knows all too well.

For the first two years after moving to Toronto from his hometown of Regina, Rusnak wrote.

He wrote like hell. Determined to wriggle his way into Toronto’s cinematic scene, he would wake up in the mornings and get to work. Back then, the work he was doing mostly involved writing feature films and television pilots. But then, not so long ago, he started doing something a little different. Something shorter, something more tangible.

He started writing and making webisodes. “I just kind of fell into it, stumbled upon it,” explains Rusnak.

“Originally, I kind of became interested in writing some short two-handers with some actors that I met here. They were looking for some demo-reel material and I was looking to try my hand at writing something shorter. So I thought, hey … why not go for it?”

The working relationship blossomed and began expanding. And eventually it ended up evolving into a web series called Another One Comes.

Think of a webisode as a short story.

A really short story. If the shows of today’s New Golden Age of Television are like novels — sprawling and epic, with sustained narratives stretched from season to season — then webisodes are more like flash fiction.

They’re quick (most webisodes last anywhere from two to 10 minutes), easily digestible and, if done well, linger with you long after their short runtime has expired.

By most accounts, the first webisodes appeared on the Internet in the mid-’90s. A web publisher called

Bullseye Art was one of the first to issue webisodic content — stuff like Rat Chicken, Internet the Animated Series, and Miss Muffy and the Muf Mob. Since then, the industry has exploded. With the rise in popularity of the Internet, and the improvements in video-streaming/video-making technology, webseries have popped up everywhere, making huge gains in popularity and — sometimes — notoriety over the years. They have gotten so big that now there are entire festivals devoted to web series. There are award shows — the Streamy Awards and the Webby Awards — devoted to naming the best comedic, dramatic, animated web series on the Net. Heck, in recent years the big boys in Hollywood have even jumped on the web series bandwagon. And while Netflix shows like House of Cards, Hemlock Grove and Arrested Development are longer in format than your average webisode, they still use the Internet as their sole means for distribution.

And for Rusnak, all this only makes sense.

“The allure of a web series is that it matches our viewing habits in 2014,” he says. “The way we consume content is different now. Even long-form shows [like House of Cards], we binge watch them on Netflix. And with shorter forms, with your normal web series, you can watch them at your desk, on your phone while you’re in transit.

They’re shorter and more appropriate to be consumed in a single sitting. It’s instant gratification. You invest your time into this thing and there’s no, oh I have to turn it off and get back to the thing I was doing. You can afford three minutes to watch a webisode while you’re waiting for, well, just about anything.”

And it was this brevity, this kinetic, fast-paced nature of the webisode beast, that lead Rusnak to create Another One Comes.

an objective; their objectives stand in contrast to each other and conflict inevitably arises. It boils and bubbles frantically. Then, just as the two characters are about to resolve their conflict at the end of the scene, a third character enters.

Cut to the next webisode. There we see this new character in conflict with the second character from the previous webisode. Again, they are on the verge of resolving their issues when a fourth, new character enters. This character ends up having an objective much different from the third character.

And on and one it goes: a steady stream of conflict and characters interrupting a scene near the moment of resolution.

“I liked the notion of developing these characters within a three-minute time frame, then setting them aside,” says Rusnak. “But as I developed the idea more and thought about it, I realized there’s value in developing these characters and creating a world around them.”

So that’s what he did. He created six characters (Abby, a drugaddicted singer; Bryce, an audio

engineer; Chuck, an aspiring musician; Dani, who thinks she’s the devil; Jude, a grad student; and Ian, a scout for the Toronto Argonauts) and created a world around them in which “everybody’s struggling to be normal, when nobody’s actually f**king normal.”

For Rusnak, it was an experience that helped him break free of the isolation of writing.

“The appeal of doing three-minute webisodes like this is that I can write them quick, I can turn them around quick. It is very gratifying. For two years, I was sitting by myself in my apartment with no one around, writing pilots and features. It was a lonely process. And there was no guarantee that you’d get anything produced. But with [Another One Comes] I can get out, shoot it with actors. I just need somebody to hold the boom. Another day or so of editing and I upload it. It’s done, it’s polished, it’s finished.”

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The concept for Rusnak’s web series is an interesting one.

In what will eventually become 36 three-minute webisodes, the writer/ filmmaker explores what happens in that instant when two people are on the edge of some extreme moment in their lives. The format is simple: each webisode starts out with two characters on screen. Both characters have

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Bottoms up More locations, privatization would be good for the liquor industry — and consumers

W

ith summer approaching, things don’t get much better than a cold beer on a hot day. And with the recent opening of a private liquor store in Saskatoon, not to mention the planned unveiling for a couple of similar enterprises later this year in Regina, it would seem our province is making strides in an area where it has traditionally been quite conservative.

And while we applaud these changes, we don’t think they quite go far enough. So in the spirit of revamping the liquor industry in Saskatchewan, we’d like to advocate for a few more — in our opinion, bigger and better — alterations.

For starters, let’s take a page from Quebec’s book and begin selling locally brewed beer and wine in convenience stores, gas stations and grocery stores.

That way, procuring alcohol would become easier and more convenient for those of-age to drink.

It’s a change that could come in pretty darn handy. Think about it. Imagine you and a couple of friends are sitting around your house one day, watching the tail end of March Madness or MLB Opening Day. Partway through you unfortunately run out of drinks, but no one is sober enough to drive to the closest liquor store. But if you could just walk to a convenience store or gas station and pick up

some local beer, you’d be able to enjoy the rest of the game with your fridge replenished.

And before you start thinking this would make it easier for under-age people to buy booze, please hear us out. See, we’re not advocating for unfettered convenience. No, if we do this, we should adopt strict rules when it comes to minimum pricing, hours of sale and spot checks to stop sales to minors. That’s what the good folks in Quebec do. So too do our American neighbours to the south and a lot of European countries, and it works for them. Why wouldn’t it for us?

To better ensure youngsters can’t get their hands on booze we should do like Alberta does and make everyone who sells alcohol — in stores, restaurants, bars — take ProServe, a government-run course teaching safe liquor sales practices. After all, gas station and convenience store employees already monitor the sale of cigarettes to people of-age. If they can do that, they can also sell alcohol.

By putting liquor into corner stores, the adult consumer is able to purchase what they want more easily. And thanks to extensive training, clerks at these establishments can make sure only those who are old enough can get their hands on the stuff. It’ll also help out local brewers like Paddock Wood, Great Western, Bushwakkers’, District Brewing and Prairie Sun by getting

their products on more shelves around the province — if they so choose.

And while it’s great Saskatchewan is slowly rolling out a couple private shops, we think they should privatize the whole industry. All you have to do is look to Alberta to see how well it works. Why? Well, because since Alberta privatized liquor stores in 1993, the number of products available jumped from around 2,200 to more than 19,000. The number of liquor stores more than doubled, and employment in retail liquor stores jumped from 1,300 employees to around 4,000.

With all these increases, liquor tax revenue increased by a whopping 77 percent. Since the same taxes and fees apply regardless of who owns the stores, more retailers selling more booze means more money for the government.

It’s time to make changes. It’s time to treat these newly opened privatized liquor stores as one small step to something bigger, something better, something more convenient and sensible.

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

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On Topic: Last week we asked what you thought about immunizing children against preventable diseases. Here's what you had to say:

– Get the vaccines like the medical community demands, refuse to allow vaccinations, OR look into homeopathic vaccines which have No side effects!

text yo thoughtsur to 881 ve r B 8372

– Everyone should have to be vaccinated when they are kids it’s been proven effective and safe.

People could have random allergies to food but they test that when they’re kids so why would this be any different? Denying vaccines is dangerous.

– It is up to the parents on what they want to do for their kids not up to you to decide what they do. It is irresponsible to have the government force you to put something in your body. That is what this is plain and simple. So be careful and be aware.

– To immunize or not to immunize? How stupid is that? The vaccines have been working quite effectively for over half a century, why stop now? Why even question such long-standing, proven results? Truth Is Power-Try It

– It is terrifying that there has been enough steamin the anti-vaccination movement that previously eradicated diseases are making such comebacks. Every single person should be concerned about this.

– It is irresponsible for Verb to say that kids should have something put in their bodies without knowing what the side effects could be or how it might interact with that person’s body chemistry. There simply needs to be more research done.

– I would like to encourage anyone who has a child and is

– Yes vaccine. No debate.

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facing a barrage of information about whether or not they should vaccinate their kid to speak to a certified healthcare practitioner. Vaccinating young people against measles etc is a move endorsed by the medical community, but if you are having concerns talk to your dr about it and they can explain to you why it’s important/a good idea. Just my 2 cents

– I thought you had to have your kid vaccinated to go to school is that the case or not?

OFF TOPIC – Kenny and Spenny I am going to see these guys next week and I can’t wait loved the show and how much they seemed to hate each other!!! :D In response to “Kenny Vs. Spenny,” Local, #283 (March 28, 2014)

– I hope Kenny and Spenny get into a huge fight on stage I didn’t think they were speaking to each other still. Hope a new season is coming!

In response to “Kenny Vs. Spenny,” Local, #283 (March 28, 2014)

sound off – To the person who texted about crappy bus sevice, you could be a lot more appreciative for drivers willing to drive you around. Nobody is forcing you to take a bus.

Many people get to and from wherever they need to go and they are grateful for it. I’m sick and tired of people accusing bus drivers for their bad experience.

Don’t lump us all together. If you have a problem with a bus driver, talk to transit about it. Don’t go complaining in the Verb.

– Buses “racing around town”? If passengers would get on/off at more convenient stops instead of always the one closest to home/ work, buses would not need to

“race around” to make up for lost time

from that lengthy horrible winter we had. Be careful out there!

– People will always complain about buses, taxis, cops, highway traffic construction etc any one who provides a public service most people thank you so much for your work ignore the haters!

– Supposed to be 21 degrees next week I see I love it!

– 0 for 23 at Tim’s. 0 for 1 at robin’s.

Time to slow down on coffee I think

– Autonomous Sensory Meridan Response sound with drug like effects. Try YouTube “Tinglehead” ASMR vids. Helps some relax sleep. Works a bit then bugs me aftr awhl

– Accidents and natural disasters are God’s way of showing us that life can change in an instant.

– I like your Futurama poster in your Twitter picture Verb. More pictures please!

– Driving downtown last night by the mall it is impossible to figure out what lane you are in because all markers are gone. It’s a free for all and its pretty dangerous.

– I think the Verb should be made out of 100 percent recycled paper good for the environment thanks for considering my suggestion u guys are great thanks!!

– Water main break downtown flooded all by the Macs be careful driving that you don’t splash any pedestrians walking! Hopefully water back soon

– Patio season is almost here thank god.

Next week: What do you think about providing alcohol in corner stores? Text in your thoughts to Verb to get in on the conversation:

We print your texts verbatim each week. Text in your thoughts and reactions to our stories and content, or anything else on your mind

– Booo to Jax closin luv u all xoxo

– Maybe try to have a little compassion for others every now and then that would be great.

– Thoughts and prayers for victims of Chile earthquake xoxo

– With the prices we’re paying for rent you’d think the loser landlords could easily afford hiring someone who knows how to clean the place before you move in!

– Just read about Atch’s State of the City Address...great ideas but before we push on these please could we see somthing other than latex paint to mark lanes on ALL Streets. Its a mundane issue but if you drive it’s not a tivial issue.

– There is no excuse to disrespect anyone in the service industry.

They are there because it’s their job. They aren’t there to be criticized. I heard a crude comment at an east side Tim Hortons about an employee. No need for stuff like that.

– The potholes around the city are the worst I remember probably

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One Of Us Is The Killer

Photos: courtesy of Sumerian Records

Dillinger Escape Plan’s Ben Weinman talks musical growth and diversity on the band’s new LP by Alex J MacPherson

B

en Weinman is fond of explaining how, in the beginning, he and the other members of the Dillinger Escape Plan tried to make the record they wanted to hear because it was the record they couldn’t buy. The hyper-energetic Morris Plains, New

to reinvent the wheel, the musicians are simply trying to make the best Dillinger Escape Plan record possible. This is clear from One Of Us Is The Killer, which was released last spring and encapsulates everything the band has learned to date — what Weinman calls the

Jersey mathcore band succeeded: Calculating Infinity, which was released 1999, was met with critical acclaim and launched the band toward mainstream success. Today, fifteen years and five albums later, the Dillinger Escape Plan is well established. And instead of trying

group’s “vocabulary.” A fractious mashup of disjointed rhythmic contortions, enormous melodies, feats of technical guitar-wizardry, and an earnest blend of anger and introspection, One Of Us Is The Killer is the most frantic, furious record the band has ever released.

Loosely themed around a collapsing relationship and anchored by the unhinged final cataclysm, “The Threat Posed By Nuclear Weapons,” One Of Us Is The Killer plumbs the depths of the relationships that make the band work. Last month, I spoke with Weinman about mak-

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ing the new record and how each Dillinger Escape Plan album builds upon the last.

Alex J MacPherson: How does One of Us is the Killer reflect the band’s growth since Option Paralysis was released in 2010?

Ben Weinman: I think it reflects a confidence, maybe, that took us a really long time to just get to. There’s always these kind of weird circumstances surrounding the band and each record: member changes, problems personal and inter-personal, band problems, record label changes, and all kinds of stuff.

Just so many things that always make things difficult. And this time things were pretty smooth.

AJM: One of Us is the Killer covers a lot of ground. Did you have plans to make a really diverse record, or was that just something that happened?

planning. But isn’t that difficult to do in practice without over-thinking it?

BW: It can be. I think one of the things that we have become better at over the years is just trusting our instincts a little more, and not overthinking it. Especially more recently, we’ve gotten to a point where a lot of what we do we don’t feel like we have to over-think. We’ve been doing it so long and sometimes you just have to make commitments and move on, and we’re getting better at doing that. But yeah, there is always that element of experimentation mixed with premeditation, and I think that’s what keeps things clever, but still emotional and energetic.

AJM: One of Us is the Killer contains some of the most complex music you’ve ever made, and it seems to come back to this idea of fracturing an idea in some unusual way, and then rebuilding it.

BW: Sometimes that’s part of the fun of having these interesting ideas, seeing different ways we can interpret or look

…we decided we were always going to challenge any expectations…

still doing what we do. And when we take some chances and experiment on a record, we’re still the best at doing Dillinger [laughs].

AJM: Thematically, it feels like this record is about a disintegrating relationship, though it’s never really stated in concrete terms. Is that a fair assessment?

BW: Absolutely, yeah. It’s something that’s always in a way present when you’re in a band like ours, which is so active. We’ve been together so long and there’s so many different personalities in the band. We all live in different parts of the country and have different values, even, and different lifestyles when we’re not together. So particularly for Greg and I, who are the main creative forces in the band, it’s always kind of a tension that makes being in a band difficult but also creates a great scenario for a creative relationship. And then on top of that you’re travelling, doing all these things, which makes your home relationships and your life very difficult. So we’re always in these weird, polarizing dichotomies that are the perfect scenario for creative output.

AJM: But those ideas emerged a bit more on this record, right?

ben weinman

BW: The one thing throughout the years that’s been great about Dillinger for me, as a creative force in the band, is that really early on we decided we were always going to challenge any expectations of what we were supposed to be. On our second record, Miss Machine, we immediately start throwing in things that were drastically different from our first record, just in an attempt to not box ourselves into any kind of corner early in our career.

We’ve been lucky enough to have a scenario where people pretty much, I think, expect almost anything on a Dillinger record — although we’ve certainly acquired a vocabulary that’s I think pretty unique to Dillinger at the same time.

AJM: It seems like Dillinger Escape Plan is really about balancing experimentation against premeditation or

at or think about them, and sometimes it’s a matter of taking an idea and breaking it apart and then approaching it from a different place. On this record, particularly, we tried to do things that were uncomfortable rhythmically.

So while to someone else it might sound like just another crazy Dillinger rhythm, to us it was something uncomfortable. A good example of that is the main beginning riff in “Prancer,” which is the first song on our record. There’s this kind of weird rhythm in the beginning but it’s still really groovy.

AJM: I was wondering about that song, actually. It really seems to set the tone for the rest of the record — big, ambitious, and eclectic.

BW: For sure, and I also feel like it just says “Dillinger.” Like, that song is very Dillinger. I think that when we come out with a record we want to remind people that we’re still here, that we’re

BW: On this record in particular, Greg and I were having a lot of difficulties seeing eye-to-eye and getting along, things like that; we were going in a lot of different directions. I work on so much of the music by myself before someone like Greg even hears it, that it’s very stressful but also very satisfying. Basically I’m sitting here working on something independently of the other guys and then I’m like, here, check this out. And they hear it with fresh ears and make their input on it, Greg especially. So it’s an interesting situation for us.

Dillinger Escape Plan April 14 @ Louis’ Pub $23.25 @ Ticketmaster

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Road Trips & Other Diversions

David Thauberger retrospective captures the life and works of an iconic Saskatchewan artist by Alex J MacPherson

R

oad Trips & Other Diversions is a retrospective look at David Thauberger’s long and immensely productive career. But the exhibition is much more than just a collection of paintings and sculptures: it is the story of one man’s travels and experiences, recorded for posterity in ceramic and on canvas. According to Mendel Art Gallery associate curator Sandra Fraser, who joined forces with the MacKenzie Art Gallery’s head curator Timothy Long to create the exhibition, Road Trips & Other Diversions emerged from a conversation about Thauberger’s life and work, and how he has quietly become a deeply moving chronicler of the Saskatchewan experience.

“Two things stood out,” Fraser says of the project, which began life in 2009 and has since grown to include a published book, a website, and a smartphone app. “How he articulates place … and also how he actually makes the work, his process. I think David’s work is relevant well beyond the prairies, and the authenticity of his expression of place is what makes it so strong.” In other words, Thauberger has devoted four decades to exploring the relationship between place and identity.

David Thauberger was born in Holdfast, Saskatchewan in 1948.

the long view,” Fraser says. “The buildings are almost right at the edge of the picture plane and there’s very little space on the outside. It’s very confrontational.” In one sense, Thauberger’s paintings of rural Saskatchewan capture the uneasy tension between the immense power of the landscape and our feeble attempts to tame it. It is an experience nearly everybody can identify with.

“I was intrigued by what he was doing aesthetically, and it didn’t really matter to me that the imagery was of the prairies because I come from a small town,” Fraser says, referring to her Ontario roots. “Lots of Canada is rural. I think a lot of us have a rural experience, and maybe that’s one of the things that resonates with people.”

But the reality depicted in Thauberger’s paintings is manifestly not the reality of today. Small towns in Saskatchewan and elsewhere are withering and dying. “Particularly with the demise of the grain elevators and certainly the so-called boom that’s happening in Saskatchewan, you see it through a different lens than what I think he was interested in at the time,” Fraser says of how Thauberger’s paintings capture changes to the rural experience.

Road Trips & Other Diversions also illustrates the collision between regionalism and internationalism that has shaped Thauberger’s career. Although his commitment to chronicling rural Saskatchewan suggests a deep attachment to the province, Thauberger studied in both Montana and California, and remains a relentless traveller. “He’s not just staying in Regina, holed up in his studio,” Fraser says. “He’s travelling, he’s getting out there, he’s looking at stuff, and he’s thinking about how what he does relates to that.”

But perhaps more than anything else, Road Trips & Other Diversions is a catalogue of one artist’s life experi-

He studied art at the University of Saskatchewan’s Regina campus, where he came under the spell of David Gilhooly, the iconoclastic American sculptor whose funky, fantastical ceramic works challenged what Fraser describes as “quite a stringent, formalist school.” Perhaps not surprisingly, his early works reflect his American mentor’s style — “bizarre food-type objects or crazy animal scenes.”

Thauberger continued to experiment with ceramics until he realized that sculpting buildings was less interesting than painting them.

“He just wasn’t interested in the back, so to speak,” Fraser says. “It was the front. He was interested in the façade; he was interested in the pictorial qualities.” This revelation led Thauberger to teach himself how to paint. But Thauberger is also an innovator, and frequently incorporates materials and techniques that are not well-respected, Fraser says, referring to Letraset and paint flicked using a toothbrush. “That’s something that really interests me about him … this sort of fearlessness about making and taking chances.”

Thauberger’s most well-known works depict unremarkable buildings rising from the vast emptiness of the prairie. “The thing that I like about what he does is that he totally rejects

Photos: courtesy of the artist

David Thauberger, “Lake Reflecting Mountains,” 1982. Acrylic, glitter on canvas.

Private collection.

ences, expressed through delicatelyconstructed bits of ceramic and paint daubed on sheets of canvas.

Unlike most exhibitions, which seek to unpack a specific theme or set of ideas, retrospectives allow viewers to examine a personal history using a selection of images and objects. Fraser’s assessment is simple. “He paints what’s there,” she says. “It’s part of his lived experience.”

Road Trips & Other Diversions Mendel Art Gallery April 11 - June 15

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Shapes & Symbols

Photos: courtesy of the artist

Jordan Danchilla, “Small Portrait Three,” 2013. Acrylic on canvas mounted on panel

Two Saskatoon artists reduce humanity to its essence in new exhibition by Alex J MacPherson

J

ordan Danchilla and David Stonhouse are in many ways very similar.

Both men are emerging artists from Saskatoon. Both are members of Ink Slab, a local printmaking collective.

And both are interested in reducing a set of complex ideas to its essence. But in Recent Works and New Flags, bodies of work that will be exhibited together at Void Gallery, Danchilla and Stonhouse set about

features, so you’re just focusing on the shape. It’s pared down.”

The series that emerged from this observation strips human forms of identifying marks; what remains is just a shape, a series of curves and lines bound into a familiar outline. Danchilla is fond of painting in earthy tones, but his Egg Heads suggest shadows on an unknown background. Because Danchilla’s paintings are abstract and non-figurative yet instantly recogniz-

What was once garbage is now this thing for generating art. david stonhouse

this daunting task in dramatically different ways.

Danchilla’s body of work is centred on his Egg Head Series, a collection of paintings and prints inspired by nothing more than a coffee table and a sunbeam. “There were two lights shining on this coffee table, and it created this head shape,” he says. “I’ve always liked painting portraits, even self portraits and portraits of family members, and I kind of wanted to erase facial

able for what they are, they address ideas of association — the shapes we recognize and the shapes we don’t.

Stonhouse’s New Flags series also contains recognizable elements and shapes, though the prints themselves are quite abstract. He created the series to explore concepts of representation and identity. And like national flags, the works seem to channel a broad idea in a simple, sharp manner. “I’ve always been interested in people on

the fringe: counterculture, subculture, even weird cults or biker gangs,” Stonhouse says. “A lot of these people are using their own kinds of flags and their own kinds of symbology in different ways, whether it’s patches or tattoos.

So I was thinking about creating new flags for groups yet to be determined.”

Stonhouse is able to emphasize his fondness for — and membership in — fringe communities by incorporating found materials into his prints.

Most printmaking techniques involve removing material; by using a process known as collagraphy, which involves collaging material on a plate, and using discard or unwanted material, he is able to explore prevailing attitudes and opinions. And, more importantly, reassign value where it is needed. “What was once garbage,” he says, “is now this thing for generating art.”

The upshot is that both Danchilla and Stonhouse are asking the same question in dramatically different ways. By reducing the human form to a series of arcs, Danchilla challenges the viewer to understand why we see humans the way we do.

It is a question about superficiality, about image, and about what these things actually mean. Stonhouse, on the other hand, explores the power

of symbols through imagination and unrestrained creation. The question, in other words, is: what does it mean to have an identity?

Neither man is willing to provide an answer. Stonhouse explains that both he and Danchilla, being part of various subcultures, are interested in using history and canon to establish their own identities, both as artists and human beings. Danchilla just laughs and produces a sheet of paper on which is scribbled a quotation from Alfred Stieglitz, an American artist who in the late nineteenth and early twentieth

centuries was instrumental in making photography an accepted art form: “If the artist could explain in words what he has made, he would not have had to create it.”

Jordan Danchilla + David Stonhouse Void Gallery Through 27 April Feedback? Text it! (306) 881 8372

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Feature

What The F

Photo: courtesy of Gabrielle Touchette Photography

Winnipeg’s F-Holes on releasing a cover album and expanding their already rich roots-rock sound

by Alex J MacPherson

E

very band should, at some point in its career, release a collection of songs written by other people.

Besides the obvious fact that everybody enjoys a good cover, there is plenty to be gained from listening to a cover album. Knowing which songwriters a group of musicians admire provides insight into that band’s musical identity. The same is true of how a band chooses to interpret a song everybody knows. This is important because music does

not exist in a vacuum; each new record is, to some degree, a product of everything that came before it.

And because bands tend to cover songs that influenced or inspired them in some very specific way, cover albums establish clear links between past and present — and chart the evolution of this thing we call popular music.

This is more or less what happened when the F-Holes released Red Hot, an eclectic batch of covers culled from the Winnipeg-based band’s

many years onstage. Each song on the album is smeared with a coat of the F-Holes’ distinctive roots-rock sound, but if you listen closely, the essence of the original is lying just beneath the surface. According to Patrick Alexandre Leclerc, who plays upright bass (among other instruments) and describes himself as the band’s “quote unquote lead singer,” Red Hot was the product of circumstance rather than the culmination of some abstract urge to provide musical context. “It was something to do,” he says with

a laugh. “It’s hard to beat the winter blues in Winnipeg. You’ve got to do something. We didn’t have enough songs to tackle a whole new album.

But we did have the gear to do an album, and we had the time.” Instead of passing the winter doldrums in the company of whiskey and other vices, the five musicians got together and recorded ten songs they loved.

The core members of the F-Holes have been making music for almost two decades. Leclerc, Eric Lemoine, and Evan Friesen grew up together and have been thrashing out rock tunes since they were twelve or thirteen years old. Before the three friends finished high school they joined forces with Blake Thompson, whose tasteful guitar licks endeared him to the still-nascent band. According to Leclerc, the F-Holes’ current lineup crystallized in “2006 or 2007,”

Winnipeg music scene for years.

Each time they hauled their gear out of a dingy club at three in the morning, they did so knowing the band was getting better. By the time the band released its eponymous debut in 2009, the five musicians’ sound had coalesced into something recognizable, something distinctive, something moving.

Today, the F-Holes are best described as a roots band, but only insofar as roots music is defined by improvisation and experimentation within the broad structure of traditional music. “It’s everything,” Leclerc says of the band’s sound. “It’s blues and it’s country and it’s bluegrass and [even] some jazz stuff. We’re not strictly dixieland by any means, either. When we think of good music, it’s that honesty — and that’s what you find in roots.”

Put another way, the F-Holes sound

It’s about taking risks and making mistakes, and being okay with making mistakes.

Patrick alexandre leclerc

when James Mckee showed up with his trumpet, a selection of mutes, and the urge to play upbeat roots music.

By this point, the band already had plenty of experience. The four musicians had been kicking around the

like five musicians making the music they really want to make. The band’s two studio records, their debut and 2011’s Angel In The Corner, hint at the long tradition of folk music — which in this case means everything from Continued on next page »

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old-time string band tunes to ragged, jagged blues — while adding dashes of pure inspiration. There are catchy melodies banged out on guitars and banjos, punchy horn fills, and showy breakdowns. And each song is infused with the sort of looseness normally associated with backyard jams, rather than serious studio sessions.

Angel In The Corner showed off just how diverse the band’s sound could be. “Learning How To Swim,” which Leclerc says is his favourite song on the album, is a sprawling, almost operatic folk song that casts his rich baritone against Lemoine’s banjo and Mckee’s trumpet. “Once And For All,” on the other hand, blends elements of jazz and barroom blues to create a tonally complex anthem anyone can sing. This musical eccentricity also manifested on Red Hot, which was released in 2012. Like its predecessors, Red Hot combined elements drawn from a wide variety of genres and styles in new and unusual ways. Because the band had spent so much time playing venues across western Canada, the musicians were not intimidated by the prospect of recording classic songs. Most of the songs on Red Hot have, at one time or another, been part of their live set; when it came time to record, the band simply played arrangements honed onstage. In typical F-Holes fashion, the resulting album tackles the familiar and the obscure — and at least one song extracted from a generation-defining video game.

Some songs, like Johnny Cash’s “Folsom Prison” and Bob Dylan’s “You Ain’t Going Nowhere,” are countryrock standards, tunes any self-respect-

Photo: courtesy of Gabrielle Touchette Photography

ing bar band can play without thinking too hard. What separates the F-Holes’ versions is a commitment to originality rather than just mimicry. Each song is shot through with distinctive grooves and dramatic playing. This is true of

pretty much everything on Red Hot. There is a dense and reverb-drenched rendition of “Jockey Full Of Bourbon,” which appeared on Tom Waits’ 1985 masterpiece Rain Dogs, and a slithering version of Bo Diddley’s classic “Who Do You Love?” Red Hot also includes a version of Robert Johnson’s “They’re Red Hot,” which the band transformed into a punchy rockabilly anthem, and a gloomy take on “Sixteen Tons,” a coal miner’s ballad written by Merle Travis just after the Second World War. And then there’s the iconic theme song from Super Mario Bros. 2, which will be familiar to anyone who grew up in the 1990s.

“I didn’t have a Nintendo growing up,” Leclerc says, “but Evan did and Eric did, so I definitely got my fill of Nintendo through those two. One day we had a practice to learn new tunes and Eric had that riff going on on his banjo.” What began as a joke quickly turned into a jam session, and before long the band had transformed Lemoine’s banjo lick into a legitimate cover song. “We played it and it seemed to suit us so we went with it,” Leclerc laughs.

After a pause he adds, “I don’t think we play it live too often, but I guess we could.”

Like The F-Holes and Angel In The Corner, Red Hot emerged as a fine example of the band’s versatility — their ability to blend, twist, and contort familiar sounds into a unique musical identity. In other words, Red Hot may be an eclectic record, but each song is stamped with the F-Holes’ distinctive mark. Perhaps not surprisingly, the band’s sponge-like qualities have endeared them to a number of other artists, chiefly singer-songwriters looking for a backing band. Last year, the F-Holes temporarily changed their name to the Winnipeg Five and made a record with Little Miss Higgins, a songwriter from Saskatchewan with a cannon-like voice and a fondness for 1940s-vintage pop. Recorded live off the floor in the hayloft of a barn owned by Leclerc’s uncle, The Bison Ranch Recording Sessions emerged as yet another example of the group’s versatility — and Higgins’ strength as a songwriter. Late last year, The Bison Ranch Recording Sessions was nominated for a Juno Award.

According to Leclerc, working with Higgins opened even more

musical avenues for the F-Holes.

“We are five different characters and five different voices, and doing this project with [her] really pushed us to exercise ourselves vocally,” he says. “I’m not that great of a singer. I just do what I do, right? So it really pushed me to try and learn some proper technique, how to use my voice in a different way that I normally do. I really hope that comes out in our next albums.” At the same time Leclerc isn’t entirely sure when the band will get around to recording a new album.

He admits that the band is sitting on a number of new songs, and he knows how he wants to make the next record (live off the floor in a place slightly warmer than the frigid hayloft where they cut The Bison Ranch Recording Sessions).

The upshot is that nobody knows what the F-Holes will come up with next. Red Hot revealed just how deep the band’s pool of influences and ideas really is. And, more importantly, how the band thinks about music. Consciously or unconsciously, the five musicians understand that good songs are good songs regardless of genre or style. This is reflected in their music, which is more about smashing disparate ideas together than con-

forming to an arbitrary definition or label. In other words, the F-Holes respect history, but they are not bound by it. For the F-Holes, innovation stems from more than just history; it emerges from the mysterious alchemy of influence, inspiration, and raw talent. “It’s about taking risks and making mistakes, and being okay with making mistakes,” Leclerc says. A moment later he adds, “Depending on how [these] songs happen once everybody gets ahold

of them and starts biting into them, that’ll sort of determine, I think, what’s going to happen next.”

The F-Holes April 11 @ The Bassment $17+ @ The Bassment, showclix.com

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A trip to flavour country Photo: courtesy of adam hawboldt

Summer Palace does Kung Pao chicken right by adam hawboldt

K

ung Pao chicken is delicious. Nearly anyone who has ever had it will tell you that. But here’s the thing: the Kung Pao chicken you get at many places around here isn’t traditional Kung Pao chicken.

True story. For the most part, when you order it here what you get is the

The original version of Kung Pao chicken (often spelled Kung Po or Gung Bao) is a old Sczechuan dish believed to be named after a guy called Ding Baozhen — an official during the Qing Dynasty who’s title was Gongbao (which means, literally, Palace Guardian.) It’s made from marinated chicken, chili peppers, peanuts and often a whole bunch of other tasty stuff. Next to Mapo tofu, it’s easily my favorite Schezuan delicacy.

And you know what? I’ve searched this city high and low to get my hands on some traditional Kung Pao chicken.

And last week, I finally did.

The place is called Summer Palace, a small, quaint establishment located on Taylor Street East, not far from Acadia Drive. If you’re a fan of traditional Chinese cuisine, you should probably check this place out. It’s one of Saskatoon’s hidden culinary gems.

North Americanized version of the original. There’s no set recipe for North American Kung Pao chicken, but it’s usually made with chicken (duh!), ginger, garlic, orange, chicken broth, sugar and corn starch. And while it can be tasty as all-get-out-of-here, this take on the classic dish just isn’t quite the same as sinking your teeth into the original.

let’s go drinkin’ Verb’s mixology guide The Gin Hound

Ingredients

The warm weather isn’t quite here yet, so why not keep yourself warm with a tart, potent and citrusy cocktail like the always terrific Gin Hound?

3/4 cups fresh squeezed grapefruit juice 1 tbsp lemon juice 4 oz gin 1 oz sweet vermouth

Directions

Combine the grapefruit and lemon juices. Fill a shaker with gin, juice and sweet vermouth. Shake, shake, shake — until frosty. Pour over a glass of ice and serve. Don’t forget the ice! This cocktail has some bite.

I’ve eaten at the Summer Palace on more than one occasion. Okay, who am I kidding? It’s near my house, and on any given Sunday, if I’m too lazy to cook, I call the Summer Palace and order the mapo tofu — which is always delicious. But last night I had a hankering for something different, so thought I’d give the Kung Pao chicken a chance. The choice to order it was a no-brainer.

Consisting of succulent pieces of chicken, chili peppers, whole peanuts and green onions all stirred up and cooked in a sauce, the Kung Pao chicken at the Summer Palace is amazing. It’s spicy and sweet and peanut-y and, well, let’s just say the dish is a one-way trip to flavour

country. Toss in a side of rice to help temper the spice and you have yourself one heckuva meal. So good, in fact, that this Sunday I’m considering breaking from habit and ordering it instead of the usual mapo tofu from Summer Palace.

Or maybe not. The mapo tofu there is pretty darn good, too.

Summer Palace 3602 Taylor Street East | (306) 343 0012

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Next Week

coming up

Fortunate Isles

R5

Fleetwood Mac

@ Vangelis Saturday, April 12 – Cover TBD

@ O’Brians Event Centre Sunday, April 13 – $47.50

@ Credit Union Centre friday, November 21 – $49.50+

Take a healthy dose of punk, toss in a smattering of ‘70s disco, add an indie rock feel that sounds kind of like Franz-Ferdinand-meets-Metric, and what you get is the music of Fortunate Isles. This dynamic, infectious band has rocked venues and won over fans all across Western Canada. This Queen City quartet aims to get your blood pumping and your feet moving every time they take the stage. With Tewksbury’s soulful vocals, the Fortunate Isles’ aim is true. They just released “Loup-Garou” and are preparing to record their first full-length album, which seems to be moving in a heavier, more mature direction.

These guys will be bringing their frenzied on-stage energy to Vangelis later this month.

From the very start, R5 knew what kind of record they wanted to make. Before they even set foot in the studio to record their debut LP Louder, siblings Ross, Riker, Rocky and Rydel Lynch, along with Ellington Ratliff, knew they wanted to make something fun. Something full of the kind of music you listen to in your car at top volume while cruising down the highway on a warm summer’s night. And that’s precisely what they did, making a pop/rock album with a definite Cali vibe. The album was released in August of last year and led to a handful of Radio Disney and Teen Icon Award nominations.

This sibling-based band will be in Saskatoon in mid-April. Tickets are available through Ticketmaster.

Of course you know Fleetwood Mac — the British-American rock band that’s sold over 100 million albums worldwide. And of course you know their classic songs, like “Go Your Own Way,” “Dreams” and “Landslide.” But did you know that founding member Jeremy Spencer left the group in 1971 to join the Children of God cult? Did you know that Stevie Nicks wrote the song “Gypsy” about when she and the bands vocalist/guitarist Lindsey Buckingham lived together and were poor?

Or that founding member, Peter Green — who left the band in 1970 after developing an LSD habit — is widely considered one of the best British blues guitarists of all time? Oh, and did you know that Fleetwood Mac is coming to Saskatoon next winter? Better get your tickets early at Ticketmaster.

– By Adam Hawboldt

Photos courtesy of: cyler parent/ Kyra Howell/ the artist

Sask music Preview The first round of headliners have been announced at three of Saskatchewan’s major music festivals! Tegan and Sara, Ben Harper, Cassandra Wilson and more will be rocking out at the Sasktel Saskatchewan Jazz Festival (June 20-29 in Saskatoon), while Library Voices, The Faps, Six Moons Later and others will be rocking out at MOSO2014 (June 11-14 in Saskatoon). Down in Regina, Serena Ryder, Sam Roberts Band, Elliott Brood and more will be playing the Regina Folk Festival (August 8-10). Please see saskjazz.com, moso2014.com and reginafolkfestival.com for more information.

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David Fong / The Bassment — Feel like taking in some smooth jazz stylings?

4:30pm / No cover The Florian Hoefner Quartet / Bassment — With Jamie Donlevy.

9pm / $20+ Flashback Fridays / Béily’s — The best of the ‘80s, ‘90s & more. 9pm / $5 cover Banjo Van / Bon Temps Cafe — A local country/rock band. 9pm / No cover Kings of Leon / CUC — Critically acclaimed Nashville rock band. 8pm / $39+ BPM / Diva’s — Resident DJs spin electro/ vocal house music. 10pm / $5 U of S Wind Orchestra / Elim Church — A night of beautiful music. 7:30pm / $10+ DJ Eclectic / The Hose — Local turntable whiz pumps snappy beats. 8pm / No cover= The Kin / Louis’ Pub — A grit-pop trio from NYC. 8pm / $15+ (ticketfly.com)

april 4 » April 12 The most complete live music listings for Saskatoon.

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Friday 4

House DJs / 6Twelve — Funk, soul & lounge DJs liven it up the atmosphere at 6Twelve. 9pm / No cover Bastard Poetry / Amigos Cantina — Local acoustic rock poetry. 10pm / Cover TBD

DJ Big Ayyy & DJ HENCHMAN / Outlaws Country Rock Bar — Round up your friends ‘cause there’s no better country rock party around. 8pm / $5; ladies in free before 11pm Mudd Brothers / Piggy’s — A fun night of sweet tunes. 9pm / Cover TBD Neil Roston / Prairie Ink — Playing blues and folk. 8pm / No cover Lauren Mann and the Fairly Odd Folk / Rock Bottom — Alt-pop/folk music out of Calgary. 9pm / Cover TBD BC Read / Somewhere Else Pub — Playing roots and blues. 9pm / No cover VIP Fridays / Tequila — Come tear it up on the dance floor. 9pm / Cover TBD DJ Nick Ruston / Uncle Barley’s — Come and check him out! 9pm / Cover TBD Sabrina Weeks and Swing Cat Bounce / Vangelis - High-energy bouncing boogie blues. 10pm / Cover TBD

Saturday 5

House DJs / 6Twelve — Resident DJs spin deep and soulful tunes. 9pm / No cover Fiesta / Albert Community Centre — It’s a Danza Morena Party! 9:30pm / $20 Slates / Amigos Cantina — Edmonton punk rockers. Appearing with These Estates.10pm / Cover TBD The Amos Garrett Jazz Trio / The Bassment — One of the most innovative jazz guitarists of all-time. 8pm / $30/$40 DJ Aash Money + DJ Sugar Daddy / Béily’s UltraLounge — These two DJs throw down a dance party every Saturday night.

9pm / $5 cover Al Morrison / Bugsy’s — A night of great tunes. 8pm / Cover TBD Steve Miller Band / Credit Union Centre — The Gangster of Love is coming to town.

7:30pm / $41+ (ticketmaster.ca) Juice Newton / Dakota Dunes — The Queen of Hearts is coming to Saskatoon.

8pm / $25 SaturGAY Night / Diva’s — Resident DJs spin exclusive dance remixes every Saturday. 10pm / $5 DJ Kade / The Hose & Hydrant — Saskatoon’s own DJ lights it up with hot tunes.

8pm / No cover Dr. J / James Lobby Bar — Spinning funk, soul, latin and jazz. 9pm / No cover DJ Goodtimes / Longbranch — Playing the hottest country music all night. 8pm / $4 cover DJ Big Ayyy & DJ Henchman / Outlaws Country Rock Bar — Round up your friends ‘cause there’s no better country rock party around. 8pm / $5 Mudd Brothers / Piggy’s — A fun night of sweet tunes. 9pm / Cover TBD

One More Troubadour / Prairie Ink — Playing progressive fingerstyle guitar. 8pm / No cover Band Wars X / Rock Bottom — With special guest Hard Honey. 9pm / Cover TBD BC Read / Somewhere Else Pub — Playing roots and blues. 9pm / No cover DJ Anchor / Sutherland Bar — It’s the world famous video mix show! 10pm / Cover TBD Kenny vs. Spenny Full Circle After Party / Tequila — Featuring DJs AN10NA, Mateo and Gibshow. 8pm / $10+ DJ Thorpdeo / Uncle Barley’s — Spinning hot tunes all night. 10pm / Cover TBD Purdy Bird / Vangelis — With Jake Ian and The Slim City Pickrers. 10pm / Cover TBD

Sunday 6

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 — Saskatoon DJ lights it up with hot tunes. 8pm / No cover Weak Ends / Rock Bottom — With Silent Era and Chaos, Disorder and Panic. 9pm / $10 Sunday Night Jam / Stan’s Place — Bring an instrument and join in the fun. 8:30pm / No cover 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 7

Brett Balon Trio / Bon Temps Cafe — Featuring Gillian Snider. 7pm / No cover DJ Audio / Dublins — Spinning dope beats.

9pm / Cover TBD

Tuesday 8

Devon Coyote / Buds — Foot-stomping rock from B.C. 9pm / Cover TBD 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 in multiple genres.

9:30pm / $4 cover DJ Nick Ruston / Dublins — Spinning dope beats. 9pm / Cover TBD The Head and the Heart / O’Brians Event Centre — Indie folk-rock from Seattle. 7pm / $32.50 (tickets.obrianseventcentre.ca) 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

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DJ Carlos / Stan’s Place — Spinning karaoke tunes. 9:30pm / No cover

Wednesday 9

DJ Modus / 302 Lounge & Discotheque — Spinning all your favourite tracks. 9pm / No cover until 10pm; $3 thereafter Salsa Night / Béily’s UltraLounge — Latin music and salsa dance lessons. 8:30pm / Cover TBD Devon Coyote / Buds — Foot-stomping rock from B.C. 9pm / Cover TBD DJ Memo / Dublins — Spinning dope beats.

9pm / Cover TBD DJ Kade / The Hose & Hydrant — Saskatoon DJ lights it up with hot tunes. 8pm / No cover Buck Wild Wednesdays / Outlaws Country Rock Bar — Come out and ride the mechanical bull! 9pm / $4; no cover for industry staff DJ Carlos / Stan’s Place — Spinning karaoke tunes. 9:30pm / No cover

Thursday 10

The Zolas / Amigos — With James Younger. 10pm / Cover TBD The Brett Balon Trio / The Bassment — If you sing or play an instrument, come on down. 8pm / No cover Sweet Alibi / Gillian Snider’s House — Sweet folk/roots/soul from Winnipeg. 9pm / $10/$15 DJ Kade / The Hose — Saskatoon DJ lights it up with hot tunes. 8pm / No cover

DJ Goodtimes / Longbranch — Playing the hottest country music. 8pm / $4 cover DJ Carlos / Stan’s Place — Spinning karaoke tunes. 9:30pm / No cover Triple Up Thursdays / Tequila — Featuring DJ Dislexic. 9pm / Cover TBD Bastard Poetry / Vangelis — With Quinzee Town. 9pm / Cover TBD Open Stage / The Woods — Hosted by Steven Maier. 9pm / No cover

Friday 11

House DJs / 6Twelve — Funk, soul & lounge DJs liven it up. 9pm / No cover The Shoeless Joes / Amigos — With The Bad Decisions. 10pm / Cover TBD Marion Mendelson / The Bassment — Feel like taking in some smooth jazz stylings. 4:30pm / No cover The F-Holes / The Bassment — A Winnipeg band plays blues and much more. 9pm / $17/$23 Flashback Fridays / Béily’s UltraLounge — The best of the 80’s, 90’s & top 40 hits of today. 9pm / $5 cover Romi Mayes and Jay Nowicki / Bon Temps Cafe — A local duo doing their thing.

9pm / No cover Kashmir / Buds — A tribute to Led Zeppelin. 9pm / Cover TBD BPM / Diva’s — Resident DJs spin electro/ vocal house music. 10pm / $5 DJ Eclectic / The Hose — Local turntable whiz DJ Eclectic pumps snappy electronic beats. 8pm / No cover

DJ Big Ayyy & DJ HENCHMAN / Outlaws Country Rock Bar — Round up your friends ‘cause there’s no better country rock party around. 8pm / $5; ladies in free before 11pm JoMama / Piggy’s — Come out for a rockin’ good time. 9pm / No cover Allyson Reigh / Prairie Ink — Acoustic folk music. 8pm / No cover Band Wars X / Rock Bottom — Battle of the bands is back. 9pm / Cover TBD VIP Fridays / Tequila — Come tear it up on the dance floor. 9pm / Cover TBD DJ Nick Ruston / Uncle Barley’s — Come and check him out! 9pm / Cover TBD

Saturday 12

House DJs / 6Twelve — Resident DJs spin deep and soulful tunes all night. 9pm / No cover Classy Chassys / Amigos — With Gunner & Smith and more. 10pm / Cover TBD Omer Klein / The Bassment — An Israelborn piano virtuoso. 8pm / $20/$25 DJ Aash Money + DJ Sugar Daddy / Béily’s UltraLounge — These two DJs throw down a dance party every Saturday night.

9pm / $5 cover Kashmir / Buds — A tribute to Led Zeppelin. 9pm / Cover TBD Kelly Read / Bugsy’s — Talented local musicians playing some tunes. 9pm / No cover SaturGAY Night / Diva’s — Resident DJs spin exclusive dance remixes every Saturday. 10pm / $5

DJ Kade / The Hose & Hydrant — Saskatoon’s own DJ lights it up with hot tunes.

8pm / No cover Dr. J / James Lobby Bar — Spinning funk, soul, latin and jazz. 9pm / No cover DJ Goodtimes / Longbranch — Playing the hottest country music. 8pm / $4 cover Collective Soul / O’Brians Event Centre — Good ol’ rock and roll from Georgia. 7pm / SOLD OUT DJ Big Ayyy & DJ Henchman / Outlaws — Round up your friends ‘cause there’s no better country rock party around. 8pm / $5 JoMama / Piggy’s — Come out for a rockin’ good time. 9pm / No cover Wires ‘n’ Wood / Prairie Ink — Local trio playing latin, jazz and gypsy music. 8pm / No cover DJ Anchor / Sutherland Bar — It’s the world famous video mix show! 10pm / Cover TBD

Saturday Night Social / Tequila — Electronic Saturdays will have you moving and grooving. 9pm / Cover TBD Fire & Fury / TCU Place — Featuring KellyMarie Murphy’s From the Drum Comes a Thundering Beat.

DJ Thorpdeo / Uncle Barley’s — Spinning hot tunes all night. 10pm / Cover TBD Fortunate Isles / Vangelis — With Hunger Hush and Silent Sea. 10pm / Cover TBD

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

21 Apr 4 – Apr 10 @verbsaskatoon

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the captain is back and better than ever

Photo: Courtesy of walt disney studios motion pictures

Captain America: The Winter Soldier an excellent addition to the Marvel movieverse. by adam hawboldt

W

hat’s the appeal of Captain America?

That’s not a rhetorical question. I’m dead serious.

I’ve been reading comic books since I was a child and I’ve never once really understood why people were drawn to this character. As Steve Rogers (Captain America’s alter ego), he doesn’t have the dark, tortured soul of, say, a Bruce Wayne.

He’s not angsty like Peter Parker or quick-witted like Tony Stark.

And as a superhero, well, he has a shield that’s pretty cool and is hella strong, but put him next to someone like Thor or Superman and he pales in comparison.

Maybe it’s just me, but I don’t understand the allure of this guy. Nor do I understand why, in the recent Marvel movies, Chris Evans plays him in such a blah, blah, boring way. Yet for all that — for all my dislike of Captain America and the way Evans portrays

you’re used to seeing) and plunks him down straight into the middle of a high-paced, high-stakes conspiracy thriller of a story.

Without giving too much away, here’s the gist of the movie: set in postAvengers America, the movie shows Captain America adjusting to life in the 21st century. As is wont to happen

him on screen — there’s one thing I have to admit. The latest installment of the Captain America movie franchise (Captain America: The Winter Soldier) is one heckuva film.

True story.

Directed by Anthony and Joe Russo (Collinwood, Community), Captain America: The Winter Soldier is

…what … The Winter Soldier has going for it is the action sequences.

Adam Hawboldt

a refreshing, unique, twisty-turny addition to the Marvel movie universe.

The script, by Christopher Markus and Stephen McFeely, makes Captain America a real, anguished hero (instead of the wham-bam action figure

in superhero movies, a villain shows up to wreak havoc. His name is The Winter Soldier, a cruel and seemingly indestructible mercenary from Cap’s past. But don’t be mistaken — this isn’t just a hero versus nemesis story. Hells

to the no. There’s also a sinister story line involving the S.H.I.E.L.D. program in which Cap doesn’t know who to trust or who to chase. A story line that hits on modern topics like the American military industrial complex, NSA spying, drones and secret sharing.

The sands all around Captain America’s feet are shifting and he has to deal with it the best he can. The result is a top-tier thriller that engages viewers from beginning to end.

And while Evans, as usual, plays a ho-hum hero, everyone else around him is terrific. Scarlett Johansson is sultry as the Black Widow, Samuel L. Jackson delivers as Nick Fury and Robert Redford does his thing as Alexander Pierce — Fury’s boss and a member of the World Security Council.

Along with some pretty good acting and an excellent script, what Captain America: The Winter Soldier has going for it is the action sequences. Unlike other Marvel movies where cities

captain america: the winter soldier Directed by Anthony Russo + Joe Russo Starring Chris Evans, Scarlett Johansson + Samuel L. Jackson 136 minutes | PG

explode and buildings topple, the new Captain America movie has action that is grounded in reality, with fist-fights and car chases galore.

Put that all together and what you get is a movie that is fast-paced, tense and fun — even if you think Captain America, as a hero, is dated and wildly overrated.

Feedback? Text it! (306) 881 8372

@VerbSaskatoon ahawboldt@verbnews.com

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Old Love

Le Week-End is an excellent exploration of a relationship in its twilight years by adam hawboldt

Photo: Courtesy of curzon film world

I

t begins on a train heading to Paris from England.

An older couple sits together, while a gorgeous jazz score plays in the background.

“You’ve got the euros,” says the lady, causing the man — her husband — to dig through his pockets, checking to see if he indeed has the euros.

“You never lose anything,” chides the man.

is in question after a remark he made recently to a student.

These are the two main characters in Roger Mitchell’s new bittersweet movie, Le Week-End. And from the very start you get a keen sense of what their relationship is like. You feel it in every scene, in everything they say. See, Nick and Meg have been married for 30 years, and like a lot of other people in the same boat

Never for a second do you doubt the characters [Jim Broadbent and Lindsay Duncan] play… adam hawboldt

“I’ll lose you in a minute,” replies his wife.

The woman’s name is Meg (Lindsay Duncan), a school teacher in Birmingham, England. Her husband is Nick (Jim Broadbent), a once-promising scholar whose career in academia

they’ve developed a grumpy, familiar discontent when dealing with one another. As Nick says not long after they arrive in Paris to celebrate their 30th anniversary, “You can’t not love and hate the same person … usually within the space of five minutes.”

This sentiment is the driving force behind Le Week-End. One minute Meg and Nick are bickering, the next they’re showing true and genuine affection for each other.

Case in point: there’s a scene in the movie where the couple goes to an upscale restaurant and orders a meal that ends up being way out of their price range. During this meal, Nick wants to talk about something important — bathroom tiles.

Meg wants to talk about divorce.

When the bill arrives Meg and Nick make the decision to dine and dash. They run through the streets of Paris and end up in a passionate embrace, kissing like young lovers.

That’s the way Le Week-End goes, alternating between tenderness and bitterness. It shows the audience that sometimes the hardest thing about growing old with someone ends up being simply spending time with that person.

That’s the way it goes, however, until Jeff Goldblum shows up on the scene. More precisely, Jeff Goldblum playing Morgan — an old friend of Nick’s who, unlike his former class-

mate, has lived up to his potential.

They meet Morgan in the street by chance, and he invites them over for a dinner party.

This is when Le Week-End shifts in tone. This is when s**t hits the clichéd fan and a lot of uncomfortable truths boil to the surface.

As the movie unfolds, you can’t help but feel that all this — the bickering, the tension, even the tenderness — is achingly, painfully real. Much of that can be attributed to the excellent performances and magnetic on-screen chemistry of two old pros like Broadbent and Duncan. Never for a second do you doubt the characters they play — characters that reveal blistering truths and bits of wisdom as they

Le Week-end Roger Mitchell Starring Jim Broadbent, Lindsay Duncan + Jeff Goldblum Directed by

93 minutes | PG

roam from Montparnasse to Montmartre and beyond.

Le Week-End is currently being screened at Roxy Theatre.

Feedback? Text it! (306) 881 8372

@VerbSaskatoon ahawboldt@verbnews.com

23 Apr 4 – Apr 10 /verbsaskatoon

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friday, March 28 @

Hose Brew pub

The Hose & Hydrant Brew Pub 612 11th Street East (306) 477 3473

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nightlife

Check out our Facebook page!

These photos will be uploaded to Facebook on Friday, April 11. facebook.com/verbsaskatoon

Photography by opalsnaps.com Continued on next page Âť

25 Apr 4 – Apr 10 @verbsaskatoon

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saturday, March 29 @

Jax

Jax Nite Club Closing night

Check out our Facebook page!

These photos will be uploaded to Facebook on Friday, April 11. facebook.com/verbsaskatoon

Photography by Patrick Carley

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Photography by Patrick Carley

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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

ACROSS

DOWN 1. Ride at a pace between a trot and a gallop 2. Cantata melody 3. Search engine program 4. City near the Dead Sea 5. Fermented drink 6. Pottery material 7. Japanese robe 8. Take for one’s own use 9. Not worthy of discussion 11. It helps fight an infection 12. Partiality 14. Neural network 17. Russian wolfhounds

20. Incandescent particle 21. Cards that rank above queens 24. Bartender’s ‘rocks’ 26. Mahayana movement 28. Ancestry 29. Fill too tightly 30. Full of water vapour 31. Glossy paint 33. Be plentiful 34. Young fellow 35. Engine cover 38. Freshwater duck 41. Travelling worker 43. Romanticize 45. Heat source 47. Fish eggs

sudoku answer key

A

B

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

29. British parting word 32. Grind one’s teeth in anger 36. Take part in a race 37. Makes bootees 39. Frightening sound 40. Baby’s nurse in India 42. Compass point 43. One prefix 44. Drink made of cham pagne and orange juice 46. In a circle 48. Remove a hidden microphone from 49. Crazy 50. Being the only one 51. Outcome

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

1. Crane operator’s spot 4. Lowest ranking royal card 8. Bounce off the cushion, in pool 10. Co-creator of ‘Flashpoint’ 12. Fish resembling a tuna 13. Tool for enlarging holes 15. Cookie crumb, e.g.

16. Japanese sash 18. In times long past 19. King Kong, for one 20. Rifle handle 22. Threaded metal block 23. Make naked 25. Underground rootlike stem 27. Italian turnover © walter D. Feener 2014

Horoscopes April 4 - APRIL 10 Aries March 21–April 19

Leo July 23–August 22

Sagittarius November 23–December 21

An incredible feeling of optimism and enthusiasm will grab hold of you later this week, Aries. Enjoy it while it lasts.

Expanding your horizons — that’s what you should be doing this week, Leo. How you choose to do so is up to you.

You are artistic by nature, Sagittarius. We all know that. But your creativity could be stifled by outside forces in the coming week.

Taurus April 20–May 20

Virgo August 23–September 22

Capricorn December 22–January 19

Pay very close attention to the dreams you have, Taurus. They will be more telling and prophetic than they first appear.

You might have the urge to stick close to home in the coming days, Virgo. It’s important to fight that urge with all your being.

Something wonderful could happen to you this week, Capricorn — but only if you let it. Take a deep breath and commit to the power of the universe.

Gemini May 21–June 20

Libra September 23–October 23

Aquarius January 20–February 19

If you’ve been looking for romance, Gemini, then get ready for some sparks to fly — love is just around the corner. Be patient.

A social event may pop up on your calendar that will connect you with people who think and feel as you do. Get out there and network!

Developments over the past couple of weeks will come to a head very soon, Aquarius. It’s important to be ready for whatever is coming your way.

Cancer June 21–July 22

Scorpio October 24–November 22

Pisces February 20–March 20

Don’t be afraid to ask yourself hard questions this week, Cancer, even if you’re not sure you want to know the answer. It’s time for some introspection.

A project that you’re working on, perhaps something work-related, is likely to suck your time this week.

Remember to give yourself a break.

Don’t be afraid to put yourself out there this week, Pisces. Whatever you put out tot he world will be received with fanfare.

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

crossword answer key

A

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

B

31 Apr 4 – Apr 10 /verbsaskatoon

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