Verb Issue R125 (Apr. 25-May 1, 2014)

Photo: courtesy of matt Postal

l i v i n g w i t h l i o n s

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arts culture music regina

Issue #125 – aPrIl 25 to may 1

strongest man Quinton falk on overcoming adversity

music reviews New section! tokyo Police club + the hold steady

the other woman + bethlehem films reviewed

Verbnews.comVerb magazine contents local editorial comments q + a arts feature food + drink music listings nightlife film comics timeout

2apr 25 – may 1

culture entertainmentnews + opinion

Deal with the DevilRoss May’s new graphic novel. 3 / local

strongest manQuinton Falk overcomes adversity. 4 / local

Parking ProblemsOur thoughts on making meters smart-phone accessible. 6 / editorial

commentsHere’s your say about curbside com-posting. 7 / comments

Q + a with naysaDIY Winnipeg pop band mix it up. 8

/ q + a

nightlife Photos We visit El Dorado15 / nightlife

live music listingsLocal music listings for April 25 through May 3. 14 / listings

the other woman + bethlehemWe review the latest movies. 16 / film

on the bus Weekly original comic illustrations by Elaine M. Will. 18 / comics

father & sonAndrew + Zachari Smith keep music in the family. 9 / arts

far away flavours come together We visit Abstractions Café. 12 / food + drink

musicJP Hoe, Misery Signals + Heart13 / music

music reviewsWe review Tokyo Police Club + The Hold Steady. 9 / music reViews

game + horoscoPesCanadian criss-cross puzzle, weekly horoscopes and Sudoku. 19 / timeout

on the cover: living with lionsUp and down with this badass punk band. 10 / feature


contents

please recycle after reading & sharing

eDitorialpublisher / ParIty PublIshINgeditor in chief / ryaN allaNmanaging editor / JessIca Patruccostaff writers / adam hawboldt + alex J macPhersoNcontributing writer / mJ deschamPs

art & ProDuctiondesign lead / aNdrew yaNkographic designer / bryce kIrkcontributing photographer / marc messett

business & oPerationsoffice manager / stePhaNIe lIPsItaccount manager / Joshua JohNseNmarketing manager / VogesoN Paleyfinancial manager / cody laNg

contactcomments / [email protected] / 306 881 8372

adVertise / [email protected] / 306 979 2253

design / [email protected] / 306 979 8474

general / [email protected] / 306 979 2253

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news + opinion

3apr 25 – may 1

contents local editorial comments q + a arts feature food + drink music listings nightlife film comics timeout@Verbregina

tories about people mak-ing deals with the Devil have been around for a

long time. A real long time. In Christian lore, a cleric named St.

Theophilus of Adana is said to have made the first deal with the Devil back in the 6th century to gain an ecclesi-astical position. During the German Renaissance, legend has it that Dr. Johann Georg Faust — an itinerant alchemist, magician and astrologer — sold his soul for unlimited knowledge and worldly pleasures. Then there are the deal-with-the-Devil tales of Nic-colÒ Paganini and Gilles de Rais and General Jonathan Moulton and Tommy Johnson and … the list goes on and on.

For centuries, these stories have fascinated artists around the world. They have spawned numerous movies and books, plays and operas, poems, songs, television shows, comic books — you name it.

One of the most recent artists to be inspired by this cultural motif is Ross May, a writer from Prince Albert whose first graphic novel is called Devil Dealers.

“Devil Dealers is a mash-up of two ideas,” says May. “One is obvious, that I like stories of bargains or contests with Devil. Faust is directly referenced in the story, and there are a lot of other folk tales where people meet the Devil and have to be clever if they are

going to keep their souls. I even put a fictionalized version of blues player Tommy Johnson [in the graphic novel]. If you’ve seen the movie O Brother, Where Art Thou? the blues player in there is supposed to be Johnson as well, who was a real musician. He had a great way of promoting himself by claiming he sold his soul to the Devil to learn to play blues on the guitar.”

So that’s the first idea behind the book, the notion of selling your soul to the Devil.

The other idea, which is not entirely unrelated, is rooted more in reality. In something less supernatural than sell-ing your soul.

Like a lot of kids, Ross May grew up reading comic books. The first ones he remembers reading were Archie comics. Eventually he graduated to the likes of Spider-Man, Batman and Su-perman. But unlike a lot of other kids, he didn’t just read these comics. May

always knew he wanted to be a writer in some capacity, so he used these comics as learning tools to inspire him, to help him write stories of his own.

Somewhere along the way, early on in his life, May was introduced to Teenage Mutant Ninja Turtles. He became completely transfixed with the amphibian foursome.

“The Ninja Turtles were these colourful characters who could go on any sort of adventure,” says May. “I think everybody loved them at

my age and had the toys. When I was older, I discovered some of the original comics that were more about family, and overcoming odds against the world. They were still wacky adventures, but there were some interesting things happening in them.”

Little did he know it then, but one day May would become a writer of TMNT comics. It all happened around 2006 when Mirage — the original owners of the franchise— started doing new TMNT stories.

“I felt it was something I could do very well, so I approached them,” says May. “They had unsolicited story pro-posals before, and told me these had always fallen flat. But the editor Steve Murphy and co-creator Peter Laird liked my ideas and scripts!”

May ended up working on Tales of the TMNT Volume 2. He wrote two issues — #19 (A Ghost Story) and #22 (Change of Power) — and, in his own words, “had a blast” doing it.

From there he went on to work on The Real Ghostbusters cartoon series DVD, on DVDs of Superman cartoons, and a host of other writing gigs.

But for the past year or so, he’d been focused mainly on creating his new graphic novel, Devil Deal-ers, with an Ohio-based illustrator named Brett Wood.

“Greg Gagné is the world’s greatest card shark. If he wins this next hand of poker he will have all the money his heart desires. If he loses, the Devil owns his soul forever.”

That’s the first sentence you’ll see when you go to the Devil Dealers’ web-site. It’s a sentence that espouses the two driving ideas behind the graphic novel. The first idea is the sell-your-soul-to-the-Devil motif. The second idea relates to people. Real people who are really damn good at what they do.

“I wanted to tell a story about exceptional people,” says May. “Not superheroes with super powers, but maybe someone who is just the best at playing guitar. Or if someone is the best at playing cards, or chess, or can run quite fast. The Devil in the book is supernatural. He’s magic. But here are some humans who are very good at doing certain things, and if they’re clever enough and use their abilities the right way they can beat the supernatural. So it’s glorifying what humans are sometimes capable of, I think.”

To that extent, May filled his story with a host of uber-talented char-acters. There’s Greg Gagné the card shark. There’s the fictionalized ver-sion of legendary bluesman Tommy Johnson. There’s a fiddler who can make the sun come up, a chess play-er with a master plan, and a women hellbent on outracing the devil.

These are the people who populate the Devil Dealers universe. A universe steeped in history and the supernatu-ral, but grounded in humanity. Just like many of the best comic books.

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Deal with the Devilsaskatchewan writer ross may releases new graphic novel by adam hawboldt

i wanted to tell a story about exceptional people.

ross may

art by: brett wood

Verbnews.com

4apr 25 – may 1

contents local editorial comments q + a arts feature food + drink music listings nightlife film comics timeoutnews + opinion

uinton Falk is a big guy. Like almost six feet, more-than-

230-pounds-of-muscle big. He’s strong too. Way stronger than your average person, stronger than most people reading this article. We’re talking about a guy who can lift a 900-pound yoke, duck walk carrying 500 pounds, and pull a transport truck. That kind of strong.

But when Falk goes to competi-tions he’s not the strongest guy there. And he’s certainly nowhere near the biggest.

See, Falk participates in provin-cial, regional and national strong-man competitions. Competitions in which he’s often dwarfed by other competitors.

“I’m extremely small in terms of strongman standards,” says Falk, who was the smallest competitor at last year’s national competition. “I’m about 230 pounds. There are people who compete in the 300 to 350-plus category. And I’m only five feet ten inches. That’s fairly short in strongman terms. The aver-age height is six [feet] three [inches] to six [feet] five [inches].”

Falk pauses, thinks for a sec-ond, then adds, “To put my size into perspective, think about it like this: the two top guys in the world, they’re

both just under seven feet and weigh more than 400 pounds.”

And while this size differential is quite stark, and can be a tad intimi-dating at times for Falk (especially at the higher levels), he doesn’t let it bother him. When he goes to these strongman competitions he tries to block all that out and rely on his technique to get by.

After all, it’s technique that earned Falk a spot in the 2013 Canada’s Strongest Man competition.

Training for a strongman competition doesn’t involve conventional strength exercises. You don’t go to the gym, slap some weights on a bar and do three 10-rep sets.

No, training for a strongman competition is something different. Something specific. Something, that Falk says, is “very caveman-like.”

“You go to a tire graveyard, ask if you can use an old tractor tire. You take it home and practice flipping it,” says Falk. “Sometimes it’s just picking up a giant rock that you find at a beach or something — a 200, 300 pound rock — and you carry it around. Or you practice loading it on the tailgate of a truck. Sometimes it’s just a matter of finding random, heavy objects and [you] practice put-ting them over your head.”

But here’s the thing: being a competitive strongman is about more than brute strength. You can be the strongest guy in the world, but if you don’t have the skill, the technique and the know-how to pick up a couple hundred pound object and lift it over your head, you’re not going to do well.

Falk knows this. He also knew that of all the events at last year’s Western Canada Strongest Man competi-tion, it was the tractor pull he had to train the hardest for. Why? Because he was one of the lightest athletes in the competition. And to pull a 20,000-pound truck 80 feet, you ide-ally want to be heavy. Generally, the heavier you are, the better you do in this event.

So Falk spent months and months practicing his truck-pull technique. “It’s all about getting the right angle,” he says. “If you get too high, you’re putting too much force straight into the ground,” he explains. “If you get too low, you’re going to lose traction. So it’s the happy medium between too high [and] too low. How fast are my steps going? How big are they? What leverage do I have if I take a larger step versus a smaller step?”

But it’s more than just getting the right angle. You also have to work your upper body, make sure it’s strong. You also have to know how

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local

being small in a big man’s worlD

saskatchewan strongman Quinton falk talks overcoming adversityby adam hawboldt

Continued on next page »

to synchronize its movements with those of your lower body. And then there’s the matter of training to get a good start.

“I have to give credit where credit is due,” says Falk. “I have to admit that I stole my start technique from Scott Cummine, Western Canada’s strongest man for almost a decade now. So what I practiced was, off the start, firing my lower body and my arms, then jumping forward. Then you do the same thing again. It’s almost like a

double start. The faster you can get it moving the better, because once you overcome the static friction, the truck pull gets easier.”

This is what Falk did at the West-erns last year, and you know what? Even though he was an underdog because of his size, Falk ended up winning the event with a time of 31.2 seconds — 0.4 seconds faster than Cummine.

It was a win that helped him earn a berth at nationals in Quebec. A win that he hopes to duplicate at this year’s Westerns.

But it won’t be easy.

Injury is a very real, very serious possibility at any strongman competi-tion. Competitors tear their Achil-les tendon during truck pulls. They herniate discs doing Atlas stones or, tear biceps lifting logs.

Falk is no stranger to injury. He’s been training on a broken leg for the last six months. Yes, you read that right. A broken leg!

Last year, Falk was driving his motorcycle; he was taking a corner when he hit a patch of loose gravel. The bike and Falk went flying, and he ended up smashing up his leg. Thing is, Falk didn’t realize his leg was broken. Went he went to the doctors it was diagnosed as a muscle injury — so Falk continued to train.

Four weeks later he went to a competition in Alaska. That’s when disaster struck.

“My leg was already a nightmare,” remembers Falk. “I just pumped myself full of painkillers and flew to Alaska to compete. I won the first two events. But during the Farmer’s Walk, halfway through the course I heard a huge snap.”

Falk fell over like a rag doll; for him, the competition was done.

“After that, I just trained my upper body,” says Falk. “Then, in February, I went to get an X-ray … the doctor looked at me and said, ‘You have a broken fibula.’”

Falks starts laughing and says, “I had no idea. I’d been walking on it the whole time.”

But Falk understands it’s not really a laughing matter. He knows that if he wants to compete at the Westerns — slated for Canada Day in Regina — he’s going to have take time to heal.

“Trying to do a 900-pound yoke or a 500-pound Farmer’s Walk isn’t going to be fun on a broken leg,” he says. “So I need to make sure I’m recovered. Because of the level of strength in my lower body, I’ve been able to recover quickly so far. The X-rays have been progressively getting better, so hopefully I’ll be ready to go for Westerns.”

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5apr 25 – may 1

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and size deficit

Photo: courtesy of QuINtoN falk

Verbnews.comnews + opinion contents local editorial comments q + a arts feature food + drink music listings nightlife film comics timeout

6apr 25 – may 1

here’s been a lot of talk lately about parking in Regina, and rightfully so

— parking downtown is a complete nightmare. And with summer just around the corner, the number of people moving around the city is only going to increase.

Which is why we think that making parking meters in Regina smart phone friendly will help everyone.

Look, it’s not like the city doesn’t know there’s a problem. Regina recently attempted to tackle the issue by raising the price of parking from $1/hour to $2/hour, with the intent that this will increase circulation in the downtown core. And not so long ago, we also doubled our number of parking officers to a total of 16 to ensure that when the time is up, drivers move on. And while all that is great and good, we think now is a perfect time to introduce one more change: modernizing parking in our cities by making meters smart phone compatible. Think about it: at some point or another, if you own a car, you’ve been parked somewhere downtown. And at some point your meter was about to run out. Your op-tions are simple: a) risk the ticket, or b) leave wherever you are, run back to your car, dig through your vehicle, your pocket, your purse (whatever) fort some change, and feed the meter again. Not convenient.

With smartphone-enabled meters, however, all you have to do is simply download an app, which lets you use a credit card to pay for your parking spot, gives you a warning text when your time’s about to run out, and lets you remotely top up your meter (to the maximum allowable time) from wherever you are.

And along with the customer convenience that comes with not having to dig around for change or race back to your car in time, paying for metered parking with your phone has added benefits. You can view and print parking receipts online. You can pay in smaller increments of time. And, while it’s always a bonus to pull into a stall and see a few minutes left on the meter, it’s more of a bonus to only pay for the time you need,

rather than dropping in three bucks and then leaving after 20 minutes.

To take it one step further, we’d also like to see mobile technology come to our cities that would help drivers find available parking stalls. Parker is one such app, and is already available in places like San Francisco and LA. Using information received from sensors in parking spaces, this app shows users the number of available parking spots on any given street, at any given time, using Google maps. A time saver, indeed, but one with a green hue: not circling the block for ages looking for that elusive available spot to park your car cuts down on gas used and reduces traffic congestion.

In The High Cost of Free Parking, Douglas Kolozsvari and Donald Shoup discuss the 85 percent ideal occupancy of any downtown parking area: busy enough that it generates enough foot traffic to keep shop owners happy, but with enough available stalls so people looking for a spot have a chance to find one — without endlessly circling the block. They also talk about a relatively competitive price that’s low enough to keep people coming, yet high enough to encourage turnover.

We all know the reasons metered parking in our cities can be aggravat-ing: the high cost, lack of open spots, having to constantly top up the meter. But using technology to address these concerns would go a long way towards keeping drivers happy. It would also provide the ancillary benefits of easing traffic and reducing emissions.

So maybe instead of simply raising prices or conducting studies about parking garages and ride-and-share programs, we should also be looking towards technology to help make parking easier, more user-friendly and convenient for our city’s dwellers.

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

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smart phones could help solve parking woes downtown

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ParkingProblems

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7apr 25 – may 1

@Verbregina

commentscommentscomments

text your thoughts to881 verb

8372

on toPic: last week we asked what you thought about bringing curbside composting to our cities. here’s what you had to say:

– I disagree with curbside com-posting as “natural” waste would stick to the bins and create a NASTY smell Truth Is Power-Try It

– I think composting would stink up my house so I’m not sure. Espe-cially in the summer. And where would it go in the winter?

– We had curbside composting where I lived back east and it worked well. Can’t speak to specif-ics but it diverted quite a bit from our household garbage

– SK needs to get with it we are a growing province producing more waste than ever before let’s do what we can to keep the dump open as long as possible I have no problem with this

– If you have a backyard and are into it then I would recommend getting a compost for yourself it’s great for gardens!

– Wouldn’t you need to have special bags to put the compost in or do you just throw it in a bucket? And if its bags then who pays for it? Seems like it could be a good idea but I’m worried that we won’t be able to do it properly.

off toPic

– Thank you Verb for highlight-ing the story of Fred Saskamoose he was an inspiration to me and I think it is wonderful that he gets recognition for what he has been through and where he came from.

In response to “The long way home,” Local,

#124 (April 17, 2014)

– Sure enjoyed your article on George Saskamoos. Thx for writing it, Neil.


#124 (April 17, 2014)

– The Fred Sasakamoose story was great good to hear about a young man who had such a horrible

childhood and still made it to the NHL. Wishing him well.


#124 (April 17, 2014)

sounD off

– Happy Easter everyone!

– Speechless...i keep writing and i feel im writing the wrong thing...in words..this would make a great movie....very moving!!!

– To the one that texted about hav-ing somewhere other than 7-11 to get food, i agree. I do not drink, but

sometimes have trouble sleeping. I would support restaurants that want to stay open 24 hours. Truth Is Power-Try It

– People are empty! No religion, no education, no art, no music, no poems or stories, no humour, no compassion, nothing inside! They try to fill the emptiness inside with food, sex, drugs, money, tech toys, little castles and social status that doesn’t mean anything these days. Sad!

– Love the rain! It helps keep my allergies away.

– Crazy downpour hope it brings the green grass and trees!

next week: what do you think about improv-ing parking downtown with smart phones? 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.

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8apr 25 – may 1

ver the last twelve months, the Winnipeg pop band Naysa has

released music at a furious pace. What began as a group of friends jamming in frontman Dave Todd’s basement quickly coalesced into a tight five-piece recording ma-chine. And then they got to work. The band, whose sound has been described as a “gloomy, poppy patchwork of melancholy and catchy melodies,” released its first EP, the appropriately titled Songs We Recorded In Our Base-ment, last March. Since then, the five musicians have accumulated enough material to fill a pair of full-length albums. Their latest effort, Troubled Heart, is also their most refined — a collection of four jaunty pop anthems that cast bright guitar riffs and jagged pop rhythms against Todd’s extraordi-narily dismal lyrics. According to bassist Grant Danyluk, releasing music quickly just makes sense. “Nowadays,” he says with a wry laugh, “no one has the attention span to sit down and listen to a full-length record.” Because the members of Naysa prefer to do everything from recording to printing t-shirts themselves, they are able to work quickly and efficiently — and free from outside influence. More impor-tantly, though, Naysa’s impres-sive collection of short releases shows just how much the band’s

sound has grown — from the ragged arrangements on Songs We Recorded In Our Basement to the much sleeker lines of Troubled Heart. And Danyluk says there is much more to come in the coming weeks and months.

Alex J MacPherson: I understand that Naysa started life as Dave Todd’s solo project. How did it grow into a band?

Grant Danyluk: Me and David and Graham and Sean all used to play in hard-core bands together

when we were younger. We went on tour a couple times across western Canada when we were sixteen, seventeen years old. And then we all kind of fell out of contact with Dave for about a year. A couple years later, when we were a little bit older, we decided to get a house together, me and Dave and Graham and a couple other friends. Dave was doing his solo acoustic sets around Winnipeg, playing songs on his acoustic guitar. Me and Graham pushed him to start a band around it. The lineup just got filled out around this house we all lived at and hung out at last year.

AJM: The songs you’ve released as a band, especially those on Troubled Heart, feel like band arrangements rather than acoustic songs with other instruments layered on top. What’s your process like now?

GD: It was never Dave teaching us the songs; it was him showing us the songs, the skeletons and frameworks of the songs he had. He brings that to the band and then he gives us complete freedom to do whatever we want — write our own parts, what-ever we think sounds good. In that aspect it’s a lot more like a band, and not a backing band. It’s evolved a lot over the past year from us backing up Dave to us being a band and writing songs together.

AJM: Naysa has only been together for a little over a year, but in that time you’ve released music at a frantic pace. Why?

GD: This is what we all want to do, and we plan on doing it as fast and efficiently as possible, and getting our name out there to as many people as we can right away. Obvi-ously, the best way to do that is to be releasing music we can promote and show people. A huge part of it is that we record all our stuff ourselves. We don’t really have a budget for recording; we can record for free all the time, because we have all

the equipment and we use our jam space to record. We press all the CDs ourselves and make all the jackets ourselves. We do everything our-selves. It speeds up the process a lot, when you’re not waiting on someone else who has a bunch of other things to do.

AJM: What’s the appeal of doing ev-erything yourselves? Does it give you an advantage in any way?

GD: It’s just all stuff that we love to do. It’s fun for us. I don’t see why we wouldn’t do it all ourselves, because we enjoy doing it so much. And that way we don’t have any outside inter-

ference with what we’re trying to get across. And it doesn’t really feel like work when you’re doing something you enjoy.

AJM: Looking back at the last year, from Songs We Recorded In Our Base-ment to Troubled Heart, how would you say the band’s sound has evolved?

GD: When we recorded Songs We Recorded In Our Basement, it was

before Sean and Hayley were even in the band. Well, they sort of were. On a couple of those songs, Hayley had to learn her keyboard parts al-most right before she recorded. But once Sean and Hayley joined, we decided that we wanted to have a bit more of a poppier, upbeat sound to it. The songs that had a more up-beat feel were a lot more fun to play; we just enjoyed them more.

AJM: At the same time, though, Dave’s lyrics are still really gloomy. It’s an interesting combination.

GD: I think it’s one of those things where, at first listen, you think it’s a really happy song. But then you listen to the lyrics and they’re so gut-wrenchingly depressing. I guess you have to do a double-take, really listen deeply to get the full meaning behind the song, which I think is a compelling aspect of that. And the music is super fun to play and the lyrics are super deep and meaningful. I just think it’s a good mix.

Naysa may 4 @ creative city centre$10 at the door

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light anD Dark

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winnipeg d.I.y. pop band Naysa juxtapose catchy melodies, dour lyrics on new eP by alex J macPhersoN

Photos: courtesy of brett howe PhotograPhy

@verbregina

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…you have to do a double-take, really listen deeply…

graNt daNyluk

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9apr 25 – may 1

/Verbregina

The opening track of Tokyo Police Club’s new album, Forcefield, is an unrelenting

nine-minute blast of tightly wound guitar riffs and angsty, yearning vocals. “Argentina (Parts I, II, III)” is evidence that the Newmarket, Ontario band has lost none of its fire after four years without a major release. It is also one of the best songs Tokyo Police Club has ever re-corded — the ideal fulcrum of edgy guitar rock and polished pop.

Tokyo Police Club have always excelled at blurring the line between chaos and order. The band’s first two records, 2008’s Elephant Shell and 2010’s Champ, welded straightforward pop hooks to loud, anxious guitar rock. This is why “Argentina (Parts I, II, III)” is so appealing: we’re back and better than ever, it seems to be saying.

But as Forcefield unfolds, the ten-sion that animates its opening track is lost as the production values swing toward pristine pop. By far the clean-est, clearest record Tokyo Police Club has ever made, Forcefield (which was produced by Doug Boehm and bassist David Monks) sacrifices the incipient chaos that made Elephant Shell and Champ so much fun at the altar of ac-cessible, radio-friendly production.

Tracks like the summery “Hot Tonight” and the escapist anthem “Miserable” are loaded with some of the most memorable guitar and vocal hooks the band has ever composed. They are upbeat, infectious, and danceable. But they just aren’t all that edgy. The guitar tones have little in the way of bite, and the pacing is cal-culated rather than frantic. And that spoils the effect, somehow.

Forcefield is by no means a bad record. But it is an uneven one. The monumental “Argentina (Parts I, II, III),” which finds the band contem-plating the inevitable late-twenties malaise, sets a pace the rest of the

record can’t hope to match. The moments of pure pop perfection, es-pecially the regretful closer “Feel The Effect,” are beautiful and engaging. But they lack the snarling unpredict-ability of a rock band operating on the edge. Which is where Tokyo Police Club is at its best.

In certain respects, Teeth Dreams is no different from any other Hold Steady record.

The band’s sixth LP contains loud guitars, catchy riffs, and a trove of stories extracted from the same seamy suburban malaise Finn has been mining since the band formed in 2004. In two important respects,

however, Teeth Dreams marks a big change for the Brooklyn-based rock band.

The first reason is technical. Fol-lowing the departure of keyboardist Franz Nicolay and the subsequent misstep that was 2010’s Heaven Is Whenever (apart from “The Weekend-ers,” obviously), the band added gui-tarist Steve Selvidge to the fold. Teeth Dreams captures the Hold Steady at its leanest, shorn of anything resem-bling excess. The addition of Selvidge also fundamentally changed the band’s guitar dynamic. Selvidge and Tad Kubler have balanced their fond-ness for monumental riffs (“Spinners,” “Wait A While”) against a subtler, more refined way of weaving two guitars into the fabric of a Hold Steady song (“The Ambassador,” “Oaks”).

The second reason why Teeth Dreams marks a departure is temporal. Put simply, the band is approaching middle age. Finn is forty-two now and Kubler hasn’t had a drink in years; it’s been a decade since the duo wrote their epic late-night anthem, “Killer

Parties.” Although Finn is still com-mitted to chronicling massive highs and crushing lows, the songs on Teeth Dreams feel more like recalled memo-ries than sharp, visceral experiences.

In the end, Teeth Dreams is still a Hold Steady record. Finn is asking the same questions he asked on 2004’s Almost Killed Me and the band’s 2005 masterwork, Separation Sunday. It’s just that the answers are different now. But like its predecessors, Teeth Dreams mines thin slices of American life for the things we all crave: hope and redemption and maybe even salvation. As Finn hints on “I Hope This Whole Thing Didn’t Frighten You”: “There was a side of this city I didn’t want you to see / There’s just these guys that I know, we go back pretty deep.”

ndrew Smith and Zachari Smith are musical part-

ners and business associates. The two men own and operate a recording studio in Kelowna, Brit-ish Columbia, and have released two albums of moving folk music. Perhaps more importantly, they are also father and son. Accord-ing to Zachari, he and his father started playing music together in 2009. “I went to university in New Brunswick,” he says. “He’s been a full-time musician for a lot of years, and when I graduated, he came out there and toured back to B.C.,” Zachari says. “I just tagged along, opened for him a few nights, and played a couple songs. That’s kind of how it began.”

Somewhere between the Atlantic ocean and the Okanagan, the pair realized that they enjoyed playing music together. And, more impor-

tantly, that it sounded good. In 2011, after almost two years of writing and recording, they released their first album, Travelling. Simple and re-strained, the album demonstrated the depth and breadth of its creators’ love for folk music, from Gordon Lightfoot to Bruce Cockburn and beyond. “We wanted to make a real stripped-down, rootsy album,” Zachari says, adding that he and his father avoided any kind of sonic manipulation. “Just a real raw kind of record.”

Their latest record, Stumbling Horse, marks a departure from the straightforward folk aesthetic that shaped Travelling. Although the songs are still rooted in traditional roots mu-sic, the album is much more expan-sive. Some songs, like the delicate and expressive “Five Senses,” feature hints of piano and an almost indiscern-ible synthesizer line. Others, like the rollicking “Chunka Change,” make

use of grinding electric guitars and orchestral strings. A few songs feature soaring pedal steel lines, yet another new addition to the duo’s arsenal.

“We wanted to explore the sonic landscape that we’re both interested in,” Zachari says of Stumbling Horse, which was released earlier this month. “There’s a lot more atmo-sphere and a lot more reverb. I think we wanted to grow sonically, and not really think about what our live show is going to be, just do what-ever we wanted to do in the studio. I think that’s kind of where the record came from.”

Stumbling Horse is bigger, richer and much more ambitious than its predecessor. But it does not discard with the pair’s desire to make ear-nest, meaningful folk music. If any-thing, the songs on the new record are stronger than those on Travelling. And for good reason. According to

Zachari, the new record captures two years of experiences, both at home and on the road. “We’ve both gone through a lot of big life changes, and that’s what we’re writing about — the struggles of our lives,” he says. “We’ve just had a lot of dreams and plans kind of die. There’ve been a lot of tough times.” On the other hand, tracks like the jaunty slide guitar-infused anthem “Baby Girl” suggest the last two years have not been all bad for the duo from Kelowna.

In the beginning, when nothing was certain, both Smiths agreed to “take it one year at a time.” But Stum-bling Horse took more than eighteen months to finish — a significant block of time by any measure — and the

pair are already working on a new batch of songs. Reflecting on the last four years, a good portion of which was spent on the road with his father, Zachari admits that it seems to be going well.

“When you’re working with your family, there’s always certain things,” he says. “You know each other so well and you can pretty easily get on each others’ nerves. But my dad and I are really similar. That works pretty well, and out working relationship is one of the easiest working relationships I’ve been in, for sure.”

Andrew and Zachari Smithmay 5 @ creative city centre$10 cover

arts

a

father & sonandrew and Zachari smith redefine their relationships on second lP by alex J macpherson

@verbregina

[email protected]


music reviews by alex J macpherson

tokyo Police club — forcefield mom + pop, 2014

the hold steady — teeth dreams washington square, 2014


10apr 25 – may 1

fter two years of near-constant touring, Chase Brenneman was happy

to take some time off — but not too much. A founding member of the Vancouver, B.C. pop-punk band Living With Lions, Brenneman has spent the last several years deal-ing with various headaches and minor catastrophes. In addition to spending weeks on end living out of their suitcases and duffel bags, the band has experienced several major lineup changes and weathered the fallout from a major scandal. It has not been easy. But Brenneman and the other members of Living With Lions can’t imagine doing anything else. Which is why they just released a new EP, and are working on yet another full-length. “To be honest, we started the band in our basement for ourselves,” Brenneman says. “We never really planned to tour or put out records. We’re not trying to please anybody, and we’re not trying to reinvent the wheel. We write these songs because we enjoy it, because it’s fun to do. It might sound selfish, but we do it because we like it — and that’s really the only reason.”

Living With Lions emerged from an East Vancouver party house, known to its inhabitants as the Dude Manor,

in 2006. When the inevitable parties began moving into the basement jam space, and when beer-drinking began to take a backseat to guitar-playing, it occurred to Brenneman and his friends that they should start a band. Thus, Living With Lions was born. But what began as little more than an outlet for five musicians with time to kill and beer to drink soon grew into something else entirely. The group’s penchant for infectious guitar riffs and indescribably catchy vocal hooks soon attracted an audience. In 2007, they released a raucous EP, which they used to immortalize the band’s roots: like its

namesake, Dude Manor was chaotic and fast and fun.

The raw simplicity of Dude Manor established Living With Lions as a significant force in the Vancouver punk scene. This was a significant ac-complishment for five musicians who just wanted to imitate their musical

heroes — bands like Saves The Day. In 2008, Living With Lions signed a deal with the Mississauga, Ontario label Black Box Recordings and released a full-length album. Like its predecessor, Make Your Mark emerged as a com-pendium of propulsive riffs and anthe-mic vocals covering everything from late-night angst and early-morning regrets, as well as a wide selection of injured and broken relationships. And like Dude Manor, Make Your Mark was honest, raw, and engaging. The record also paved the way for three years of relentless touring, including long stints on the road with bands like Comeback

Kid and A Day To Remember. Which is when problems started to crop up.

Before Living With Lions could finish recording another album, longtime vocalist Matt Postal decided to leave the band. “There was some inner conflict, definitely, that prob-ably helped him make that decision,”

aup and down with one of canada’s hardiest, most energetic punk bands by alex J macPhersoN

we thought it was hilarious for awhile. but when the government started getting involved it got a little scarier…

chase breNNemaN

living with lions

feature

Continued on next page »


11apr 25 – may 1

@Verbregina

Brenneman says. “That was kind of a big issue, and it sucked. Like, it’s one thing when you have a band member that leaves the band when you can’t work with each other anymore. But it’s a whole different thing when it’s one of your really good friends, you know? There was all kinds of emotions at-tached to it.” Losing Postal was a blow, but not a fatal one. Instead of packing it in, the remaining members of the band — Brenneman, bassist Bill Crook, drummer Loren Legare, and guitarist Landon Matz — decided to keep going. They recruited vocalist Stu Ross of the band Misery Signals to sing on the new

record, most of which was already written, and headed into the studio.

In the spring of 2011, Living With Lions released its long-awaited sopho-more album, Holy Sh*t — and almost immediately found itself embroiled in scandal. The problem was not the record itself, but the liner notes,

which described the bible as the “Poo Testament” and depicted Jesus Christ as a piece of excrement. According to Brenneman, the band dreamed up the title on a snack run to 7-Eleven; the lin-er notes were an extension of the title, he says, and had nothing to do with the music. But they still enraged a number of powerful people, including the federal heritage minister, Conservative MP James Moore. What began as an innocent joke ballooned into a national scandal when Moore criticized the Foundation Assisting Canadian Talent On Records (FACTOR) for using public money to help pay for the album.

“People turned it into some ridiculous thing that it wasn’t at all, you know?” Brenneman says. “We thought it was hilarious for awhile. But when the government started getting involved it got a little scarier, because [that] makes you realize how things can be out of your hands sometimes.” Eventually, both band and record label issued public apologies; they also recalled the album and refunded some $13,000 to FACTOR. Holy Sh*t was rereleased shortly thereafter, without any support from the tax-paying public. Today, Brenneman concedes that he and his bandmates put FAC-TOR in a difficult position. At the same time, he is still annoyed by how many people assumed a few jokes were indicative of the album’s contents. He and his bandmates emphasized this in their statement: “The lyrical and musical content of this record does not contain any commentary on religion, nor does it use a pejorative or malicious voice against any particular group of people (excluding possibly some of our ex-girlfriends).”

But perhaps more than anything else, Brenneman was disappointed that the furor surrounding the liner notes overshadowed the songs them-selves — which rank among the best the band have ever recorded. Unlike so many pop-punk bands, Living With Lions have consistently avoided over-producing their records; Like Make Your Mark, Holy Sh*t finds the ideal balance between clarity and chaos. While it is clear that Brenneman and his bandmates spent months writing and refining the songs, their hard work is concealed by a loose, unpreten-tious approach to recording. In other words, the songs are polished while the sonics are raw, open, and edgy.

This is apparent from the first track, an anthemic breakup song titled “Pieces,” which features ragged, overdriven guitars, relentless drumming, and anthemic vocal lines. The punchy opener also sets the tone for the rest of the record, which derives its power from resilience in the face of crumbling fractured relationships.

“It ended up being more about personal relationships with friends, people I didn’t like, people I really like, family,” Brenneman says of Holy Sh*t. “Subconsciously, it ended up being about all these strange relationships that I’d had with people. Matt [Postal], our old, old vocalist, had written some songs on that record as well, and they ended up being about the same thing. But it wasn’t something I was intending to do, it just ended up happening. At the time, there definitely were a lot of problems happening with the band, a lot of personal problems. So I think all that stuff sort of came out in the songs.” This is perhaps most ap-parent on the album’s centrepiece, a towering concoction of intertwined vocals, machine-gun drumming, and rumbling power chords titled “Maple Drive Is Still Alive”: “I told you someday I would recover / I always thought that we would live forever / I told you someday I would show my true colours / Waiting for someday, someday.”

The release of Holy Sh*t also ush-ered in a new era for the band. After cycling through a number of vocalists, including Postal, the core band mem-bers were forced to admit that Living With Lions had become a four-piece band. This meant Brenneman had to take on vocal duties, which he found surprisingly enjoyable. His nasal voice gave a new shape to the band’s latest release, a short EP titled Some Of My Friends Are Dead To Me. Unlike Make Your Mark or Holy Sh*t, the new EP is a collection of songs rather than a cohesive record. But it is still plenty of fun — fast, loose, and honest. “Scarred” is a snarky post-breakup anthem that conjures up the spirit of countless ear-ly-2000s pop-punk bands. “Between The Lines,” on the other hand, carries Brenneman’s anxiety-laden vocal aloft on a wave of punchy bass hooks and crunchy power chords. According to Brenneman, All Of My Friends Are Dead To Me will lay the groundwork

for an upcoming full-length album, the band’s first as a four-piece.

But more than anything else, the new EP is yet another demonstra-tion of the band’s resilience. This is a reflection of the band’s attitude toward making music, which hasn’t changed much since the year they spent living and partying and making music in the Dude Manor. What was fun in 2006 is still fun today, even if the circumstanc-es have changed. And Brenneman, like his bandmates, doesn’t want to imagine a future without Living With Lions. “It’s part of your identity,” he says. “At a certain point, you’ve been in it for so long and invested so much time and emotion and energy, and built these crazy friendships with these guys that I’ve known forever and that

I really, really love, that eventually it becomes a part of your life you can’t really imagine being without. It’s not like we make a ton of money or do the band full-time to the point where we’re touring twelve months out of the year. But at the end of the day, it is part of my identity. And the same goes for the other guys.”

Living With Lionsmay 3 @ the exchange$12 @ ticketedge.ca

up and down with one of canada’s hardiest, most energetic punk bands by alex J macPhersoN


@verbregina

[email protected]




12apr 25 – may 1

ith Regina’s cultural mosaic expanding at a rapid pace, the in-

flux of different cultures has spilled over into the restaurant scene — and this is definitely a good thing.

A drive through downtown Regina proves that the culinary world can be your oyster right here at home, with many Vietnamese, Greek, Thai, Indian, Japanese, Ethiopian, and Ukrainian restaurants lining the streets. And for the last decade, Ab-stractions Café has been representing big Mediterranean flavours in a cozy, European-style atmosphere, from its little spot on Rose Street.

Just like the name suggests, Abstractions pulls influences from different places for both its food and its décor: Lebanese and Syrian dishes are served over a beautiful, exposed stone bar while soft jazz music plays in the background and warm Mediterranean colours and art surround you.

This mélange of inspirations is actually what makes Abstractions an authentic Mediterranean spot, said Noor Mitri, who helps his parents run the family-owned café. “We’re trying to create a true Mediterranean experience. The atmosphere is mod-eled after the sorts of cafés you’d sit in on the beaches of the Mediterranean … which are influenced by many different cultures,” said Mitri, who emigrated to Regina 10 years ago. “The

Mediterranean has a vibrant culture — people love living life to the fullest…and we wanted to bring some of that experience to Regina.”

Though the café’s vibe may be abstract, the menu itself is straightfor-ward delicious. Mediterranean cuisine is all about fresh vegetables and fruits, warm spices, savoury olive oils and protein-rich legumes, so you can never feel too guilty about indulging, either.

I began my Mediterranean-style meal with a classic, Middle Eastern staple: a beautiful bowl of smooth, creamy hummus, marinated in olive oil, lemon juice and tahini, and sprin-kled with generous bursts of cumin and paprika. Warm slices of pita bread come for dipping, of course, and just sop up all the rich oils.

A heaping bowl of bright, colour-ful tabbouleh came next (one of my favourite things about authentic Medi-terranean cuisine is the presentation), with vibrant green parsley, fresh garlic, juicy red tomato, and a zesty lemon and olive oil dressing.

I bit into one of the best falafels I’ve had in a long time as my main course: not-so-great falafels are often much too dry, but this one is moist and soft, grilled like a panini and loaded up with fresh tomatoes, cucumbers, pickles and lettuce, and mixed with a tangy tahini and lemon juice sauce. Served alongside was their famed lentil soup (seriously — I never would have

thought of lentil soup as a destination dish to go out for, but this one has some legitimate buzz around it), which is rich and creamy with a hint of spice.

Living life to the fullest for me always includes dessert, so I made sure to save some room for a layered crepe with freshly sliced banana and strawberry, smothered in nutella, along with a golden-brown, hot, stuffed katayef (a classic Arab dessert that can probably be best described as a sort of sweet dumpling) full of walnuts, with a soft, pastry-like inside and a crunchy, sticky, honey-drizzled exterior.

Foodies with adventurous palates will appreciate the exotic Mediterra-nean flavours, no doubt, but for those who prefer sandwiches and wraps, Abstractions’ menu is pretty accessible. Abstractions also has a long list of café favourites, and even wines and beers, so there’s plenty of justification for anyone to stop by for a long lunch.

Just tell your boss you’re late because you were busy ‘living life to the fullest’ — bring him or her some hummus; all will be forgiven.

abstractions café bistro2161 rose street | 306-352-5374

food + drinkfood + drink

w

abstractions café mixes together diverse mediterraneanflavours into delicious, cohesive dishes by mJ deschamPs

far away flavours come together

let’s go Drinkin’ verb’s mixology guiDe

meDiterranean mary

Most avid cocktail-lovers are familiar with how to put together a Bloody Mary: some combination of tomato juice, vodka and pepper. If you’re interested in elevating your fa-vourite Bloody Mary recipe to a more exotic level next time, try mixing vodka, salt and a dash of dry sherry in with this Mediter-ranean Mary mix.

ingreDients

3 tbsp olive tapenade2 tbsp olive oil½ tsp dried oregano½ tsp dried basil1 tsp celery salt1 tsp pepper32 oz tomato juice5 tsp hot sauce2 oz lemon juice2 oz lime juice

Directions

Combine ingredients in a pitcher and shake vigorously. Mix with vodka and serve with olives on the side. @verbregina

[email protected]


Photos: courtesy of marc messett


13apr 25 – may 1

/Verbregina

music

Photos courtesy of: cyler PareNt/ the artIst/ Portal flocka

Coming upnext Week

JP hoe

To put it simply, JP Hoe is one heckuva singer/songwriter. He’s earnest and engaging, ironic, funny, deep and thoughtful — and that’s just his lyrics. The music he plays — which exists somewhere in the ether between folk-pop and adult-alternative — is catchy and simple, with terrific hooks and memorable melodies. Hailing from Winnipeg, Hoe has been putting out albums for years now. But his latest, 2012’s Mannequin, is the kind of record that leaves a mark, that aims to break your heart. And its aim is true. With honest and world weary lyrics layered over upbeat music, Hoe has created a mature and much-loved record. He has kicked off his Western Canadian Tour recently, and will be hitting up Regina with Naysa in early May. Don’t miss it! Tickets at the door.

@ creatIVe cIty ceNtresunday, may 4 – $10

Sometimes it takes a few bands to break up for a new one to form. And that’s precisely what happened back in the early 2000s in order to bring about Misery Signals. 7 Angels 7 Plagues, Hamartia, and Compro-mise called it a day, then members from those three bands along with a few others got together and formed Wisconsin’s Misery Signals — a heavy metal band that makes music defined by loud melodies, cutting riffs and serious breakdowns. After releasing the band’s eponymous EP, they signed with Ferret Music and put out their first full-length album. That was 2004. Ten years, three more albums, and a few line-up changes later, and Misery Signals are still charging ahead, mak-ing music that’s hard and loud. Tickets at www.ticketedge.ca.

misery signals

It’s been a wild, up-and-down ride for sisters Ann and Nancy Wilson — better known collectively as Heart. After paying their dues and learning their trade throughout the late ‘60s and early ‘70s, the Wilson sisters rose to fame in the mid ‘70s playing a brand of music influenced by hard rock, heavy metal and folk. Their popularity waned in the early ‘80s, then skyrocketed again in the late ‘80s before they … well, you get the point. It’s been a roller coaster ride for Heart, but along the way they have become Rock and Roll Hall of Famers and music pioneers who inspired women to pick up their guitars and rock the hell out. They’ll be in Regina with Jason Bonham later this summer. You should probably be there. Tickets through Ticketmaster.

– by adam hawboldt

heart

@ the exchaNgesunday, may 4 – $15

@ braNdt ceNtremonday, June 23 – $59.50+

sask music PreviewHere are some upcoming music industry workshops, presented by SaskMusic and the SaskTel Saskatchewan Jazz Festival! “How to Write a Killer Marketing Plan”, presented by Farideh Olsen, will take place in Saskatoon on June 21 at 1pm at the Bassment. Topics discussed will include why you need a marketing plan, what opportunities are available to you when you have one, and more. “Managing your Career in the Music Industry” will take place at the Exchange on June 29 at 2pm. It will examine the roles of a music manager, when an artist should hire a manager, and more. Everyone welcome, pre-registration is encouraged. See www.saskmusic.org for more information.

Verbnews.comentertainment contents local editorial comments q + a arts feature food + drink music listings nightlife film comics timeout

14apr 25 – may 1

friDay 25Stephen Fearing / Artful Dodger —

Founding member of Blackie and the Ro-

deo Kings goes solo. 8:30pm / Cover TBD

Big Bad Storm / Broadway’s Lounge —

Local band playing big, bad tunes. 9pm /

No cover

Jack’S Big party / Conexus Arts Centre

— Featuring Ikons, Who Made Who, and

Slow Motion Walter. 7pm / Enter to be

invited @ www.jackfmregina.com

dJ dallaS / Eldorado — Regina’s number

one party DJ! 9pm / $5 no cover for ladies

before 11pm

odd man out / Eldorado Country Rock

Bar — Country rock! 1opm / $5 no cover

for ladies before 11pm

the royal red Brigade / The Exchange

— WIth Black Thunder. 8pm / $10

dJ pat & dJ kim / Habano’s Martini &

Cocktail Club — Local DJs spin top 40 hits

every Friday night that are sure to get you

on the dance floor. 9pm / $5 cover

Big chill FridayS / Lancaster Taphouse

— Cool lounge beats from some of Regina’s

hottest DJs. 8pm / Cover TBD

the montagueS / McNally’s Tavern — A

local dance band with a big sound. 10pm

/ $5

Brian kelly / Pump Roadhouse — Playing

rockin’ country tunes. 9pm / Cover TBD

alBert / Pure Ultra Lounge — Appearing

every Friday night, come listen to Albert

as he does his spinning thing. 10pm / $5

cover

dJ longhorn / Whiskey Saloon — Come

check out one of Regina’s most interactive

DJs as he drops some of the best country

beats around. 8pm / Cover TBD

Wyatt / Whiskey Saloon — A rocking

country quartet. 9pm / $10

saturDay 26Beat gallery / Artful Dodger — The best

beats in town. 8:30pm / Cover TBD

Big Bad Storm / Broadway’s Lounge —

Local band playing big, bad tunes. 9pm /

No cover

emilie-claire BarloW / Casino Regina —

Juno-Award winning jazz vocalist. 8pm /

$27.63+ (ticketbreak.com)

dJ dallaS / Eldorado — Regina’s number

one party DJ! 9pm / $5

odd man out / Eldorado — Country rock!

1opm / $5

tried and true / The Exchange — A

night of tribute to big band greats. 8pm /

$10/$15

little chicago / Lancaster Taphouse —

Great blues from a local band. 9pm / Cover

TBD

the montagueS / McNally’s Tavern — A

local dance band with a big sound. 11pm

/ $5

Brian kelly / Pump Roadhouse — Playing

rockin’ country tunes. 9pm / Cover TBD

WaFFlehouSe / Pure Ultra Lounge —

Doing what he does best, every Saturday

night. 10pm / $5 cover

Wyatt / Whiskey Saloon — A rocking

country quartet. 9pm / $10

monDay 28monday night Jazz and BlueS / Bushwakker Brewpub — Featuring The

Ministry of Groove. 9pm / No cover

tuesDay 29muSic Jam / Artful Dodger — Break out

your instruments and come on down. 8pm

/ No cover

dJ night / Q Nightclub + Lounge — DJs

Snakeboots and Code E play bass heavy

breakbeats. 9:30pm / No cover

weDnesDay 30WedneSday night Folk / Bushwakker

Brewpub — Featuring Andrew and Zach-

ary Smith. 9pm / No cover

like animalS / The Club — With Delta

Throats and the Lost Sherpas. 8pm / $10

WayBack WedneSday / McNally’s

Tavern — Featuring Leather Cobra. 9pm /

No cover

thursDay 12 BeatS & a hat / Artful Dodger — Pre-

sented by DJ Verbal & E-Major, come enjoy

two DJs with guest performances the first

Thursday of every month. 7pm / $5 in

advance or at the door

alySha Brilla / Creative City Centre —

Playing roots-pop fusion music. 7:30pm /

$7/$10

F*ck the FactS / The Club — With the

Man and His Machine and Altar of Grief.

7pm / $10

deciBel Frequency / Gabbo’s Night-

club — A night of electronic fun. 10pm /

Cover $5

pS FreSh / The Hookah Lounge — DJ

Ageless started spinning in Montreal, DJ

Drewski started in Saskatoon. They both

landed in Regina and have come together

to sling some bomb beats. 7pm / No cover

open mic night / King’s Head Tavern

— Come out, play some tunes, sing some

songs, and show Regina what you got. 8pm

/ No cover

Black Water / McNally’s Tavern — With

the Dead South and the Macauley Project.

8pm / $5

craig moritz / Pump Roadhouse —

Country music from Alberta. 9pm / Cover

TBD





friDay 27th annual polka FeSt / Casino Regina

— Featuring Walter Ostanek, Austin Kawa

+ more. 4:30pm / $35+ (ticketbreak.com)

mayday 2014 / The Club — Featuring

Rebel Spell, Cetascean + more. 7pm / $15

dJ dallaS / Eldorado Country Rock Bar

— Regina’s number one party DJ! 9pm / $5,

no cover for ladies before 11pm

driven on inFluence / Eldorado Country

Rock Bar — Local boys will be killing it on

stage this Friday! 9pm / $5, no cover for

ladies before 11pm

mayday 2014 / The Exchange — Featuring

Rebel Spell, Cetascean + more. 7pm / $15

dJ pat & dJ kim / Habano’s Martini &

Cocktail Club — Local DJs spin top 40 hits

every Friday night that are sure to get you

on the dance floor. 9pm / $5 cover

Big chill FridayS’ / Lancaster Taphouse

— Cool lounge beats from some of Regina’s

hottest DJs. 8pm / Cover TBD

Sean BurnS Band / McNally’s Tavern —

A singer/songwriter from Ontario. 10pm

/ $5

craig moritz / Pump Roadhouse —

Country music from Alberta. 9pm / Cover

TBD

alBert / Pure Ultra Lounge — Appearing

every Friday night, come listen to Albert

as he does his spinning thing. 10pm / $5

cover





JJ voSS / Whiskey Saloon — Urban

outlaw country. 9pm / $10

saturDay 3anderSonBurko / Artesian on 13th — A

folk/rock/country/blues duo. 8pm / $20

Beat gallery / Artful Dodger — The best

beats in town. 8:30pm / Cover TBD

7th annual polka FeSt / Casino Regina

— Featuring Walter Ostanek, Austin Kawa

+ more. 4:30pm / $35+ (ticketbreak.com)

rSo Shumiatcher popS preSentS: i am andrea menard / Conexus Arts Centre

— Classy jazz songs that entertain. 8pm /

$89.25 (mytickets.reginasymphony.com)

dJ dallaS / Eldorado Country Rock Bar —

Regina’s number one party DJ! 9pm / $5

driven on inFluence / Eldorado Country

Rock Bar — Local boys will be killing it on

stage this Saturday! 9pm / $5

ten Second epic / The Exchange —

With Living With Lions. 8pm / $12

(ticketedge.ca)

mayday and the BeatcreepS / Lancast-

er Taphouse — Folk-hop from Edmonton.

9pm / Cover TBD

Sean BurnS Band / McNally’s — A

singer/songwriter from Ontario. 10pm / $5

BeautiFul uFo / Mercury Cafe — With

Laska. 8:30pm / $5

craig moritz / Pump — Country music

from Alberta. 9pm / Cover TBD

WaFFlehouSe / Pure Ultra Lounge —

Doing what he does best, every Saturday

night. 10pm / $5 cover

JJ voSS / Whiskey Saloon — Urban

outlaw country. 9pm / $10

Fan expo aFter party / YQR Niteclub —

With Skulltrane, Saratonin, Deez + more.

9pm / $20

listingslistingslistingslistings

The most complete live music listings for Regina.

aPril 25 » may 3

25 26

2 330 128 2927

s m t w t

Have a live show you'd like to promote? Let us know!

get listeD

[email protected]

entertainmentcontents local editorial comments q + a arts feature food + drink music listings nightlife film comics timeout

15apr 25 – may 1

@Verbregina

check out our FaceBook page! These photos will be uploaded to

Facebook on Friday, May 2.

facebook.com/verbregina

saturDay,aPril 19 @

elDoraDoEldorado Country Rock Bar2300 Dewdney Ave(306) 359 7625

nightlife

Photography by Marc Messett

Verbnews.comentertainment

16apr 25 – may 1

contents local editorial comments q + a arts feature food + drink music listings nightlife film comics timeout

ou know that old saying “Hell hath no fury like a woman

scorned”? The one often attrib-uted to Shakespeare?

Well, I hate to break it to you, but Shakespeare never wrote that. Heck, it’s not even the right saying. See, the line comes from a William Congreve play called The Mourning Bride and it reads, “Heaven has no rage, like love to hatred turned, / Nor hell a fury like a woman scorned.”

True story. But that’s neither here nor there, it’s the sentiment that counts. And it’s this exact sen-timent that fuels the new romcom, The Other Woman.

The movie stars Cameron Diaz as a sassy, hard-nosed woman named Carly, who has a whole ros-ter of guys on the go. Then one day she meets Mark (Nikolaj Coster-Waldau … that’s Jaime Lannister for you Game of Thrones fans out there.) Carly falls hard for Mark,

and gets rid of all the other guys in her life. But there’s a catch.

While on a road trip to surprise Mark in Connecticut, Carly finds out he has a wife named Kate (Les-lie Mann.)

It’s not long after this point that the movie moves from possible to wildly implausible. Carly and Kate become good friends, then they

find out Mark is fooling around with yet another girl — Amber, played by Kate Upton. Eventually the two start hanging out with her too, and the trio set out to exact

their revenge. All the while there’s a story line about Mark being an international embezzler who’s in deep with a pile of stolen cash.

I guess at this point it’s prudent to tell you that The Other Woman isn’t a drama. It’s a romcom, kind of like Sex in the City meets Brides-maids … but not as chic as the former and nowhere near as funny

as the latter.Sure, there are some chuckles to

be found in The Other Woman, but nothing that will make you double over in laughter. The problem with

this movie — as in many other movies of this ilk — is that direc-tor Nick Cassavetes and writer Melissa Stack can’t really seem to decide on what kind of movie The Other Woman is. One minute they’re trying to do racy, raucous comedy, the next they’re trying to be sentimental and deep and deal with the kind of emotional devasta-tion that comes with being a jilted lover. What’s more, none of the characters really come to life. They all seem like one-note players in an implausible symphony. Mark is a cheating scumbag with no depth, Amber is the eye candy, Carly is the hardass, and Kate the emotionally damaged wife.

And that’s too bad. Because both Leslie Mann and Cameron Diaz are both way more than capable of being hilarious in movies. Can you say There’s Something about Mary? Knocked Up? The 40-Year-Old Virgin?

Sadly, The Other Woman isn’t in the same league as these movies. Heck, I even feel bad mentioning them in the same paragraph. That said, The Other Woman isn’t terrible. As I mentioned before, it’s good for a few chuckles. And there’s eye candy for both the ladies and the fellas. So it’s got that going for it…

y

…there are some chuckles to be found in The Other Woman, but nothing that will make you double over in laughter.

adam hawboldt

Photo: courtesy of 20th ceNtury fox

The Other Woman good for a few laughs, but that’s it by adam hawboldt


@verbregina

[email protected]

film

a symPhony of imPlausibility

the other woman

DirecteD by Nick Cassavetes

starring Cameron Diaz, Leslie Mann,

Kate Upton, Nikolaj Coster-Waldau

109 minutes | Pg

/Verbregina entertainment

17apr 25 – may 1

contents local editorial comments q + a arts feature food + drink music listings nightlife film comics timeout

f you take a step back and look at the movie Bethle-hem, it’s almost as though

it’s two movies.The first is a complex, espionage

thriller set in the West Bank. How complex, you may ask? Well, see if you can keep up. Here it goes.

There’s an Israeli intelligence agent named Razi (Tsahi Halevi). He is tasked with dealing with terrorist threats from Palestine. There’s a terrorist named Ibrahim (Hisham Suliman), the leader of the al-Aqsa Martyrs’ Brigades. He has a teenage brother named Sanfur (Shadi Mar’i), who Razi uses to get in-formation and, hopefully, trap Ibrahim. Thing is, Sanfur is playing both sides of the field. Yes, he gives information to Razi, but at the same time he’s also fun-neling funds from Hamas to Ibrahim.

Okay. That’s the first story line. Then there’s a story line involving Razi’s boss Levi (Yossi Eini) and another one involving his colleague Maya (Efrat Schnap) … and another one involving Palestinian politicians … and another story line about Ibrahim’s second-in-command, Badawi (Hitham Omari) … and another one — well, you

get the idea. On the surface, Bethlehem is a convoluted story about a complex cat-and-mouse game played by a host of different players.

But’s that’s just the surface. Because below all of these bewildering back-and-forth power moves, Bethlehem is a story about the relationship between Razi and Sanfur. The film sputters a bit when it deals with the whole espio-nage story angle, but when it focuses on these two it’s hella good. See, Razi knows he’s using Sanfur to catch his brother, but he genuinely likes the kid. Cares about him. Wants to keep him out of danger as much as possible. On

the other hand, Sanfur is the kind of teen who could really use a father-figure at that point in his life. Put them together, and what you get is a rela-

tionship that’s strangely intimate and intense, sometimes even humourous.

And while Bethlehem will never be confused with North By Northwest or The 39 Steps (two of the best espionage movies you’ll ever see), it does have a lot going for it. The acting is solid. Yuval Adler does a more than capable job from the director’s chair. And the

movie examines the idea of conflicting loyalties with elan — loyalty to family, loyalty to ourselves, loyalty to commu-nity and friends and ideology.

But don’t be mistaken. Watching Bethlehem is by no means a life-changing experience. You won’t walk away from it with a deep and pro-found understanding of the Israel-Palestine conflict. But you will walk away from it knowing you’ve seen a good movie thanks entirely to Tsahi Halevi and Shadi Mar’i, who really kill it as Razi and Sanfur. It’s because of them that maybe, just maybe, by the time Bethlehem is over you’ll be forced to look in the mirror and ask yourself where your own loyalties truly lie.

Or maybe not. Either way, you won’t be disappointed if you spend an hour and a half of your life watching Bethlehem. The film will open at Regina Public Library on May 1; see reginali-brary.ca for more information.

…tsahi halevi and shadi mar’i … really kill it as razi and sanfur.

adam hawboldt

Bethlehem is a convoluted espionage thriller with heartby adam hawboldt

Photo: courtesy of adoPt

a Question of loyalty

i


@verbregina

[email protected]

bethlehem

DirecteD by Yuval Adler

starring Tsahi Halevi, Shadi Mar’i,

Hitham Omari

99 minutes | nr

Verbnews.comentertainment contents local editorial comments q + a arts feature food + drink music listings nightlife film comics timeout

18apr 25 – may 1

comicscomicscomics

© elaine m. will | blog.e2w-illustration.com | check onthebus.webcomic.ws/ for previous editions!

@Verbregina entertainmentcontents local editorial comments q + a arts feature food + drink music listings nightlife film comics timeout

19apr 25 – may 1

horoscoPes april 25 - may 1

suDoku crossworD answer key

a b

aries march 21–april 19

If you have a project on the go,

no matter what it is, it will go a lot

smoother if you ask for some help. Try to

be vulnerable.

taurus april 20–may 20

Your confidence will begin to soar

by the end of the week, Taurus.

Take advantage of it — now is the time to

speak your mind.

gemini may 21–June 20

The more you get out there and

talk to people this week, the more

successful and happy you will be. It’s as

simple as that.

cancer June 21–July 22

Be careful what you wish for this

week, Cancer. It may come true.

And the truth is: you may not really like

the outcome.

leo July 23–august 22

It may take you a while to get

everything in order and back on

track this week, Leo. But once you do,

you will be unstoppable.

virgo august 23–september 22

Instead of digging deep inside your-

self to find the answers this week,

just look around. What you are seeking you

shall find outside of yourself.

libra september 23–october 23

There are certain areas in which

you will shine this week, Libra.

Other areas, unfortunately, not so much.

Try to choose wisely.

scorPio october 24–November 22

You may find yourself feeling

fairly needy early in the week,

Scorpio. Try not to be too much of a whin-

er — it’s better to roll with the punches.

sagittarius November 23–december 21

This is going to be a terrific week

for you, Sagittarius. You’ll feel

alive, full of energy, all that good stuff, so

get out there and put it to good use.

caPricorn december 22–January 19

Making decisions won’t come

easy for you this week, Capricorn.

If possible, try to avoid any serious deci-

sions as much as you can.

aQuarius January 20–february 19

Chances are you’re going to get

annoyed pretty easily this week. Do

your best to take a beat and a deep breath,

and not overreact.

Pisces february 20–march 20

You have a way with words, Pi-

sces. That’s no secret. But later this

week you may find yourself searching for

the right thing to say — to no avail.

suDoku answer key

5 2 8 6 5 4 1 2 3 9 7 5 1 4 69 2 4 5 6 1 3 8 7 8 2 1 3 6 4 7 3 9 9 7 8

3 5 4 78 1 5 5 6 7 3 2 8 2 9 1 1 9 6 9 2 8 6 4 1 4 7 9 3 5 6 3 4 8 7 2

crossworD Canadian Criss-Cross

across 1. Building for chickens

5. Cap worn in the French

armed forces

9. New ___, India

10. Regarding

12. Hardly ever

13. Immoderate partisan

15. Building wings

16. Former name of Tokyo

18. British way of

saying goodbye

19. Letter after zeta

20. Sign up

22. Card game for two

23. Played with emphasis,

in music

25. Supermarket section

27. Shaped by hammering

29. Mount ___ (it’s on the

border of Alberta and

British Columbia)

32. Please

36. Coffee maker

37. Remaining one

39. Lowing sound

40. Game played

on horseback

42. $20 bill dispenser

43. Front’s opposite

44. Winding shape

46. Part of CFL

48. Slow mover

49. Climbing plants

50. Countercurrent

51. Butterfly catchers’ needs

Down 1. Room for wines

2. Town in Alberta

3. Exclamation of surprise

4. Sweet red pepper

5. Toy musical instrument

6. Compass heading

7. Decayed plant material

used as fuel

8. Relatives by marriage

9. Letter before epsilon

11. Final amount

12. Come across as† †

14. Container weight

17. Prolonged period

of dry weather

20. Keep an ___ the ground

21. Volcanic mudflow

24. hundredweight: abbr.

26. Addams Family cousin

28. Creature responsible

for unexplainable

mechanical failures

29. Eats the evening meal

30. Trims a photograph

31. Connected to

the Internet

33. Pictures

34. Adjust a lens

35. Oxen neckwear

38. Add up

41. Toward the mouth

43. A worm, to a fisherman

45. Provide assistance to

47. Eden woman

timeout

© walter D. feener 2014

a

b

5 9 3 7 6 4 1 2 82 7 6 8 5 1 3 9 44 1 8 2 3 9 7 6 53 5 7 1 9 2 4 8 69 8 2 6 4 7 5 3 16 4 1 3 8 5 9 7 28 2 5 9 1 3 6 4 77 3 4 5 2 6 8 1 91 6 9 4 7 8 2 5 3

3 1 2 9 6 5 8 4 78 7 9 1 4 2 3 5 65 4 6 7 8 3 9 1 26 5 4 8 3 7 2 9 17 3 1 5 2 9 4 6 89 2 8 6 1 4 5 7 32 9 5 3 7 1 6 8 44 8 7 2 9 6 1 3 51 6 3 4 5 8 7 2 9

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Verb Issue R125 (Apr. 25-May 1, 2014)