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Art you want, art you wear

Nick Laugher
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Planted in the Granville NSCAD campus among the cobblestone streets and shops is the place that gives NSCAD students an opportunity to sprout a career.

Seeds Gallery, established in 2007, is home to the work of current NSCAD students and alumni.

Developed as the brainchild of SUNSCAD, the NSCAD student union, its purpose was to give budding artists a safe place to take the first big step and break into the tumultuous world of art. The project was a labour of love for the students; they handled everything from promotion to renovation, recalls manager Jeniffer Simaitis.

Simaitis, who affectionately refers to Seeds as her “baby”, says the gallery isn’t just a launching pad for students, but also for first-time art goers.

“Even I still get intimidated going into art galleries,” remarked Simaitis. “I wanted Seeds to be an accessible, comforting experience for the public.”

The gallery has dulcet, serene white walls and a gentle, almost homey rattle and hum in the air. Simaitis is a huge advocate for public awareness of artists and of art itself. The mentality of Seeds definitely reflects that.

The gallery has a luminous and enticing front window display, showcasing student work that is rotated bi-weekly. Simaitis says that as a student artist, it’s the best way to get started in getting your work out to the public, as it removes a lot of the pressure attached to private shows.

One of the more innovative things happening at Seeds is a project that Simaitis says has been in the back of her mind for years. It started back in 2007 when local artist Shakeel Rehemtulla, of local silk screen designers Woodenbullets, designed a limited edition T-shirt and tote bag for NSCAD.

The items were eaten up voraciously by NSCAD students looking not only to show their student pride, but support local talent as well. The following year, Seeds got local artist Ray Fenwick to design a limited run of T-shirts featuring the various NSCAD campuses. This line was consumed just as eagerly.

This year Simaitis finally put into motion the “T-shirt of the Month” project. The intent of the project is to spotlight a different local artist every month, while at the same time helping to engage the public in appreciation and awareness of art outside of the context of a gallery or studio.

Simaitis said she’d always been attracted to the idea of T-shirts because of their accessibility.

“People can support artists without breaking the bank” she says.

Each month a local artist will contribute his or her artistic creativity to a limited run of 25 T-shirts. Well, 24 really, because the artist gets to keep one. The artists range from filmmakers, painters and even installation artists, such as this month’s featured artist Graeme Patterson.

NSCAD alumnus Kat Frick Miller handles the printing of the shirts. Miller graduated in 2008 and is currently doing a residency in Lunenburg.

“The limited run of shirts, and painstaking process of her screen printing it by hand, aid to keeping it a piece of art,” says Simaitis. “I feel bad though. People keep calling about the shirts and I have to tell them that we’re sold out. But on the other hand, it lets me know that people are attracted to the idea, and that they’ll be eager for the next release.”

The next release just happened to be last weekend during the all-night art fest that is Nocturne, an event Seeds hoped would draw in people who are unfamiliar with the work that NSCAD does. Moon Hee Nam, art director for The Coast will be October’s featured artist.

“Everyone is always welcome to come down and check out the work and have a chat,” Simaitis says with a smile.

She loves company and urges people to check out the openings for new artist spotlights every second Monday at 6 p.m., with the next one on Oct. 26 featuring jewelry by Vanessa Neily and prints by Sarah Roy.

Whether you want to support an artist and buy a shirt or just get your feet wet in the ocean of art, pop down to Seeds. Who knows? Maybe it’ll grow on you.

Sunglasses at night

Dalhousie Gazette Staff
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By Dalhousie Gazette Staff

Thank you, Corey Hart, for ruining everything. Twenty-six years ago you released a single that changed the landscape of pop music – in the most negative way possible. You actually made people believe that wearing sunglasses at night made you look cool. Your cultural paradigm shift will probably continue to ruin dance clubs for another three decades.
However, it would be hard to solely blame you, Corey. Can I call you Corey? The real blame lies in the soul-less fashion disasters that walk into nightclubs all around the world sporting eyewear made to block UV rays, but instead creating an exhausting aura of douche.
The main culprits behind the sunglasses at night phenomenon are males aged 19 to 35. For some reason, only males can put glasses on at night and look like a total douche. If a girl at a club borrows one of these men’s aviators – and they usually are aviators – she will just seem adorable because she is drunkenly stealing items from people.
There are two main reasons why this trend of wearing sunglasses at night has become popular in bars.
The first reason goes back to the notorious consumption of cocaine in dance clubs in the 1980s. Sunglasses were employed by drug dealers and drug users to subdue the bright swirling lights that felt fantastic to the drunks and stressful to the coked-out club-goers.
The second reason is equally depressing. People began wearing sunglasses at clubs in attempt to mimic the club-goers who were on cocaine.
Therefore, in clubs you will find two types of people wearing sunglasses at night: people high on cocaine and people who are pretending to be on cocaine or inhabit a Trainspotting kind of image. Either way these people have a problem. They also look wickedly un-cool.
So yes, Corey Hart, it is unfair to put all the blame on you for creating a generation of obnoxious-looking club goers. You probably weren’t referring to the glamourization of drug use at clubs in your 1983 hit. You were simply trying to “keep track of the visions” in your eyes. But come on, that is equally as dumb as pretending to be on drugs in an attempt to pick up girls.

Too many band shirts

Dalhousie Gazette Staff
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By Dalhousie Gazette Staff

It is currently Sunday evening and I have just completed three loads of laundry. One thing that surprises me is that I have 67 T-shirts. What is more surprising is the break down of what these T-shirts consist of. I own six Gap V-necks, three polos, 10 skateboard T-shirts, one Mickey Rourke T-shirt an ex-girlfriend gave me, and about five of those terrible video game shirts Bluenotes markets towards all those nostalgic nerds out there who miss their Super Nintendos.
If you’ve been counting along, that’s only 25 T-shirts. That leaves 42 other shirts. Those are all band shirts.
It started when I was in grade 10. I had recently got into all of those punk bands people get into after realizing that Blink 182 and Moneen can only be enjoyable for so long. I worshipped The Clash, loved The Sex Pistols and tolerated the MC5. Lucky for me, a store in Toronto known as The Black Market printed “vintage” tees for all of these bands and many more. After a few allowances, I was walking through my Fine Art Theory class looking like The Shit.
Soon, people caught on. Everybody going through the same transition I was had a London Calling shirt and all of a sudden I felt less individualistic. I also felt less cool. This wouldn’t do.
My taste changed. I began listening to college rock and the hunt for obscure band shirts began again. A Radiohead shirt from their Skydome performance. A Beastie Boys shirt from their Air Canada Centre performance. I even purchased one of the most uncomfortable T-shirts I’ve ever worn, in a parking lot after seeing The Cure. It has Robert Smith’s face on it.
Then my T-shit habit got out of control. By the time I was in university, anytime I went to a concert or went shopping I’d grab one. Tupac, The Go! Team, The Mars Volta, The Strokes, three Led Zeppelin shirts! It was beginning to be too much.
This past summer I went to England and Iceland. I’d be lying if I told you I didn’t spend hours in Manchester trying to find a shirt with Morrissey’s face on it.
At some point recently it occurred to me that I originally bought band T-shirts in an effort to show my personality by displaying what musicians I enjoyed. I’d go into class, someone would notice my Ramones shirt, and we’d strike up a conversation. It kind of defined who I was. At least I thought it did. It got to the point where I started having certain band shirts I’d wear to bed – I sleep a few nights a week with a Dog Day shirt I purchased impulsively at Virgin Fest. I had to stop.
These days I mostly wear plain T-shirts. That and nice jackets. It’s hard to ignore two drawers filled with cool designs and band names, but I manage.
Occasionally I’ll put on an item that has some sort of deeper meaning. The Joy Division shirt I found while shopping for prom. The Dinosaur Jr. shirt I got at Value Village. An Aemenia shirt I picked up from one of the members of Sigur Ros that looked way better on one of my girlfriends.
I’ve owned a lot of band T-shirts. I’ve found they drain your fashion sense rather than enhancing it. The few special ones that take you back to a certain place are the ones you need to hold on to and cherish. Or do what I do and wear them while working out, because nothing makes you look more like a hipster than completing a 20 kilometre run in a Plants and Animals shirt.

A piece from Matthew Ritchie’s Band Shirt collection can be seen this fall on fellow Arts Editor Laura Dawe in the form of Guns N’ Roses vintage.

World premiere of Thelwall a winner

Hilary Beaumont
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Grade: A

Fairy of the Lake may have sold out every day last week, but it still felt like a secret.

On Tuesday night, in a studio basement three floors beneath the Rebecca Cohn, Dalhousie Theatre performed the world premiere of John Thelwall’s 1801 play. Britain banned Thelwall’s script because it was critical of the government. This year, Dal English asked Dal Theatre to perform the play as part of this year’s Thelwall conference, called The Art and the Act.

That’s how the fourth-year theatre group called shotgun. Though the edgy essence of the play was mostly lost in old-English translation, young actresses and actors resurrected the rebel playwright’s characters: the sorceress Rowenna (Allison Basha), her love interest King Arthur (Sebastien Labelle) and her raccoon-eyed servants trimmed with backcombed bushes of hair (Dana Thompson and Richelle Khan).

Though tough to chew, the plot surrounds Rowenna, a.k.a. Hillary Clinton’s personality with black hair-extensions, and her stalker-quest to do Arthur. Her roofies don’t quite work. Arthur gets with beautiful, blonde Guenever (Jessica Jerome) in the end.

Zuppa Theatre Co. (Ben Stone, Alex McLean and Sue Leblanc) teamed up with Dal Theatre this year, and the trio’s directorial signatures were all over Fairy of the Lake – students playing gods on stilts, perfectionist blocking and scenes that felt like games, sometimes flirty, sometimes competitive. Zuppa, via 300 words of Times New Roman in the program, attribute the show’s atmosphere to good vibrations and the self-explanatory “Book of What Ifs” jammed full with ideas.

The 20 actors and actresses spent mornings, afternoons and evenings in the black box that is Studio One, blocking and re-blocking scenes with several different set designs. Zuppa’s final layout cut the audience in half on two raised platforms facing each other, rectangular stage in the middle and a two-storey vine-covered scaffolding tower at one end.

Fairy of the Lake was a mostly visual experience, but choral and piano music by Jason MacIsaac of The Heavy Blinkers, plus palpitation inducing rumbles from a vibrating thundersheet, added complimentary ear candy. Caught candidly at Heartwood on Quinpool Road early last week, MacIsaac joked the play would be a yawn except for his music. His dinner companion rolled her eyes.

Instead, Thelwall’s bore of a script came alive. The play’s characters and comedy translated well, which unlike Shakespeare would not be possible by simply reading the script. I can’t imagine what will happen when Zuppa directs Dante’s Inferno featuring the same fourth-year group later this term. Auditions have already begun. Don’t miss it!

The author is friends with an actress from Fairy of the Lake.

Wiebe’s week

Laura Dawe
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A wigged, white-masked figure with rubber tits plays Monopoly against an enormous pink bunny rabbit. Drunk art fans stagger by, fascinated, on their way to the extensive Hamachi sushi bar. Under the scattered cocktail tables are piles and piles of stuffed animals. A pig in a suit strolls past. The partygoers are dwarfed by the enormity of the gutted concrete space they are in. On one of the two stages, under lights that flick bright colours, is Pastoralia. The band is joined by local art star Graeme Patterson on keys. He looks relaxed and happy. There are paint rainbows pouring from his blacked-out eyes and his dad dances in the front row, beaming. Two hours ago, Patterson lost the $50,000 Sobey prize to David Altmejd.

Pastoralia’s front man Mitchell Wiebe designed the surreal after party, and on stage he improvises in a low, Ian Curtis voice about how he thought the light show was going to be different, before breaking into dark dance tunes from the band’s repertoire.

Wiebe is a self-described ancient baby. Just over 40, he has the face, art sensibility and curious joy of a child. Wiebe has long been a staple of Halifax art legitimacy. If you’re Gallery Page and Strange, you might use Mitchell’s playfully original paintings to offset the safe, well-selling artists you represent. Or, if you’re throwing a $50 a ticket after-party for the some of the most important players in Canadian art and you don’t want to look like a bunch of suites, you do what Kelly McGuire did: ask Mitchell Wiebe to help.

When asked why McGuire chose him to design the party, “You know, I’m curious,” Wiebe says. “I’ve been trying to find that out.”

The synesthetic artist’s painting style is loose and open. His large, well-lit oil paintings are the only adornment on the industrial-looking walls of the Roy Building, where the Sobey party is held. Unlikely, swirling figures slip in and across flowing, implacable landscapes. It’s a look Mitchell has been riffing on for years. His body of work is massive and always slightly changing. His style is so strong that 10-year-old paintings blend easily with recent work.

Pastoralia, too, has the loose and easy feeling of Wiebe’s past musical projects Deluxe and Delangroes and Soaking Up Jagged. The band, which features Ray Fenwick and Rebecca Young, has “a collaborative fashion sense.” They typically style themselves to “match the atmosphere.” Tonight’s gushing eye rainbows were Fenwick’s concept.

“Ray had the idea of the colour pouring out of ourselves,” says Wiebe. “It made sense so we went with it.”

Many people contributed their interpretations of Wiebe’s style to the design of the after party. The piles of stuffed animals, donated by Value Village, were the idea of event organizers. The vaguely scary/vaguely sexy animal hybrids were the anonymous work of comedy troupe Picnicface.

“Kelly (Mcguire) from the art gallery wrote us an email asking if we wanted to roller skate around the party,” says Picnicfacer Mark Little. “Bill (Wood) responded, saying we could do that or do some weird performance art stuff, and she went for that. The latter.”

Wood typically leads the charge on “weird, non-sketch things,” along with fellow Picnicfacer and Gazette contributor Cheryl Hann.

“Bill came to my studio,” says Wiebe. “We talked about stuff they could do relating to my paintings.”

From there, Wood grabbed treasures from Picnicface’s tickle trunk and Boutlier’s costume shop in Dartmouth to create real-life versions of surreal characters in Wiebe’s paintings. The troupe became bears, lions in latex, scary wigged men in huge rubber breasts.

“It felt pretty wonderful,” says Little. “It’s very freeing – dancing as an anonymous pig in formal wear.”

All of this Wiebian wonder and insanity happened on Thursday. Then, two days later at Nocturne, Pastoralia played at the AGNS in the very same, white with fake windows tent that David Altmejd had won the Sobey’s honour.

Graeme Patterson and Robbie Shedden wrestled in the costumes from Grudge Match, Patterson’s piece in the Sobey exhibition. The costumes themselves are works of art that texturally transform the wearer into one of Graeme’s puppets.

“We were trying to work with what Graeme was doing,” says Wiebe of Pastoralia’s outfits. “We had tights on underneath shorts.”

Nocturne was a huge success. The Khyber reported that 5,250 people came through their doors. At midnight, after six hours of awesome, excessive art, the truly nocturnal were just waking up. A massive dance party gathered at the Good Food Emporium and then drifted to the place the Sobey after party was based on.

Wiebe’s studio, above Propeller Brewery, is like a condensed version of his work at the Roy Building. Hundreds of paintings cover the walls and lay in stacks. Turquoises, oranges and dream-animals overwhelm the senses. Artists and art lovers party until they run out of things to say about all they’ve seen and can only sway wastedly.

“Last year we did that,” says Wiebe of the afterparty.

He hangs out in the back, blacklit room. His outfit pops out in a sea of partygoers wearing mostly dark colours.

“It just seems important if Nocturne is going late night, you have to do it.”

The author is friends with Mitchell Wiebe, Picnicface and most of the Halifax arts scene. Not Ian Curtis, though.

Nuovo Inizio

Dalhousie Gazette Staff
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By Dalhousie Gazette Staff

I pull my SARS mask down self consciously as I walk through the posh halls and ledges of Pacifico towards the DJ booth. I pass a gauntlet of makeup artists and stylists, hair dryers held high. There’s excitement in the air. Everyone is bubbling.
Chris Matheson, a slightly tanned man with short hair and glasses leads me past the stage where event coordinator Megan Zwicker is standing in a kimono, brandishing a clipboard and directing models up and down the catwalk. I proceed up to the large DJ platform. It’s a futuristic mesh of stylish counters and technology. I’m impressed. We run through the basics, plugging in my digital DJ gear. Serato’s black metal hardware box and my black Macbook look sexy beside the radial black metal mixing board and the curvy black CD turntables.
Hours later, I’m still glued to those black turntables. I blast the dark and seductive sounds of heavy bass Dubstep for the first time in Pacifico’s history of more than a decade of what owner, Labi Karountzos, calls “adult contemporary house.”  He also has short hair and glasses, and suddenly my dreads seem quite anti-establishment. He tells me that not one of the tracks I’ve played all night would be typical of their regular nights. “Nuovo Inizio,” I think.
The event, Italian for “new beginning” is Silverback’s first of what they hope will be many an annual event. It combines a sexy show with a good community cause, the Halifax community Action on Homelessness (www.canhalifax.org).
Pretty Things Boutique supplied one of the lines.
Proprietor Cadence Macmichael is probably better known as the Divine Miss C of the Pink Velvet Burlesque group. She is a frequent supporter of charities and community events.
“The other line was model-supplied. It was dark and edgy.”
The first act of the night is belly dancer Solmaz Asheri, and although there are some technical issues with the lighting in Pacifico, she wows the crowd with a tribal dance. People drink, socialize and dance until the Pink Velvet line comes out to rivet the crowd. I shift gears from electro oriented bass line house music to San Francisco glitch hop, and the models strut to the heavy bass among camera flashes and catcalls.
Pacifico’s impervious counters become wet with drinks and the revellers loosen up. The dance floor begins to rock, and I shift gears again, bringing up the tempo for the frenzied patrons.
“This is a really good event,” says model Careotica Lovicious. “Foxy and fabulous in the name of helping the homeless.” She waits for bottle service that is perpetually just coming.
One of the hair stylists has apparently not shown up, and the other is working double time.
Despite the above the neck bottleneck, at 1 a.m. the second set of lingerie models come out to the silky sweet sounds of Bassnectar’s new smash hit “Cozza Frenzy”. The owner, working the lights, seems impressed neither by the models or the hooting crowd, least of all the music.
“I can tell you don’t like this,” I tell him. “But I’ve really enjoyed playing here tonight.”  He shakes his head and smiles.
“This is a top 40 crowd – students. It’s not your fault. They hired the wrong DJ.”
I play another unreleased gem from a San Francisco label. The floor shakes with bass, the ladies strut and pause for effect, and the dancing masses cheer and wave their drinks.  This isn’t contemporary – it’s straight up futuristic.
After the ladies all get their turn, they take the stage together for a bow and invite the crowd up to dance with them. An eager posse swarms the stage and the lingerie models dance and mingle for most of the next hour. Toward 2 a.m., most have disappeared and are dressed before the alcohol drives all inhibition out of the grinding dancers.
The crowd is dancing to my remix of “On A Boat” and Rusko’s anthemic dubstep hit “Mr. Chips”. Catchy bass lines and hooky lyrics shower down from satellite speakers all over the club and the crowd is eating it up.
Karountzos looks at me, and grimaces.
“This is so intense. Look how they are all riled up.”
As the clock strikes 2 a.m., I play my light-hearted South Park house remix to get the crowd laughing and bopping without aggression or pretension.
Next year Nuovo Inizio plans to use a different location and bring in more fashion influences, and hopefully appeal to a larger crowd of supporters.
Popping an upscale swanky space like Pacifico’s heavy bass cherry would have been enough allure to get me there on its own, but for charity and with the help of sexy models, it would have been impossible to stay away.

Nadeau shines in hockey home-opener

Joel Tichinoff
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The much-anticipated men’s hockey home-opener drew a capacity crowd to Memorial Arena last Friday night as Pete Belliveau’s much-improved Tigers took to the ice against last year’s conference champion the Saint Mary’s Huskies.

Coming off one of the worst seasons in team history last year the Dal Tigers had a lot to prove with 11 new recruits donning black and gold for the first game of the regular season.

Noticeably absent from Friday’s roster was star forward Maxime Tanguay. Brother to NHL’s Tampa Bay Lightning’s Alex Tanguay, Maxime was recruited by Dal during the summer only to be called up by the Chicago Blackhawks farm team, the Rockford Ice Hogs.

If nothing else, the fact that Dal is losing players to the NHL speaks volumes about the level of talent Pete Belliveau has brought in since taking over the team last September.

Last year the Tigers were the worst men’s varsity hockey team in North America going 4-23-1. Tanguay was recruited from the QMJHL along with defenseman Benoit Gervais and goaltender Bobby Nadeau.

During a pre-season match-up, the Tigers rallied from a 2-0 deficit to score seven unanswered goals against the Huskies proving the new team can be explosive even against top-calibre opponents.

The game began well for the Tigers, the starting line of Daniel Bartek, Shea Kewin and Jonathan Gagne, all new Tigers, controlled the play immediately off the first puck-drop. Daniel Bartek is a former member of the Czech Republic’s 2008 World Junior team.

The play in the first period was rough and fast-paced with Dal showing a level of competitive spirit that was radically different from last year’s squad.

Ten minutes into the game, every seat in the house was full. The question was: were the fans there for Dal or – like last year – were they there to support the visiting team?

2008-09 rookie star Trevor Mackenzie led the Dal attack, deftly speeding through SMU defenders towards the net on several occasions, the Huskies were stingy however and often Dal was forced to take long-shots from bad angles that were easily turned aside by the Saint Mary’s keeper.

SMU opened scoring following a hooking call on Dal defenseman Josh Manning late in the first period. Cody Thornton put it home for SMU on the ensuing power play.

The second period saw flashes of brilliance from the Tigers with a strong showing on Dal’s first power play of the year against a very strong SMU PK-unit. The Tigers showed a bit of dissonance on the special units, as may be expected from such a fresh roster.

The question of whom the fans were there to see was answered in the 14th minute of the second when veteran forward Patrick Sweeney put home a rebound off of Francois Gauthier’s shot drawing thunderous appreciation from the stands.

Dal’s celebration was short-lived as the Huskies second marker came a minute later from Husky Colby Pridham. The shot total going into the third period was 32-19 for Saint Mary’s. Bobby Nadeau had already established himself as a new fan favourite, throwing up great save after great save before relentless SMU pressure.

The third period saw the Huskies dominate much of the action, putting an additional 12 shots on the Dal goal. Nadeau kept his team alive and the Tigers’ persistence paid off when second year forward Kenzie Sheppard sent the puck into the top left corner on a cross-ice feed from Benoit Gervais.
Dal nearly pulled off the impossible when the Tigers were awarded a power play in the final minutes of the game.

Bad luck on the power play was added to as Josh Manning drew a tripping penalty on a very enhanced dive behind the Dal net in the last second of the game. Nadeau continued to be phenomenal in overtime but was beaten by Cam Fergus 1-24 into the extra frame for SMU’s second power play goal of the night. Saint Mary’s captain and 2009 CIS MVP Marc Rancourt had three assists.

The Tigers were in Antigonish the following night where they gave up a 4-2 decision to the X-men.

Dal Rugby completes third undefeated season

Alex Calbert
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The Dalhousie Tigers Men’s Rugby team defeated the Acadia Axemen at Wanderers last Saturday to finish their season 5-0 at the top of the Atlantic Canada standings.

Coaching staff wanted to set the standard high for this game, as it was a warm up for the playoffs. Head coach Matthew Gibbon said, “No taking any plays off and hard hitting all game are what we’ve been talking about all week. And it’s time to put up.”

Because the team won most of the scrums and were strong in the rucks, they were able to hold on to top spot in the eastern standings.

In the beginning the Tigers were given a scare when the first pass was a knock-on.

“We beat ourselves in the first five minutes sometimes,” said captain of the team, eight-man Sam Silbergeld.

Dropped balls and knock-ons were a big reason why the Dal squad couldn’t score any tries early on in the first half.

Though they started off slow, the Tigers were able to seize the opportunities that they were presented with. Early on, an exciting treat for the fans was displayed as a squib kick was attempted and completed to make the score 3-0.

When Acadia had a scrum down, the ball got lost in the forwards’ feet and their scrum half missed and that was the perfect opportunity for Tim Loney to pick it up and started the march forward towards a try.

The second half went smoothly and everything was going the Tigers way until Loney started some trouble in the second half as a result of a retaliatory act. He received a red card and will be suspended for two games because of his behavior. This means the Tigers will be without their starting scrum half for the rest of the playoffs.

There is no question where the Dalhousie team is heading going into the playoffs. One player is out, but there are a couple injuries that should be better for the semi finals. Dal is looking to defend their Eastern Canadian title against in a Dalhousie versus McGill rematch.

Saint Mary’s holds top-ranked Tigers scoreless

Dylan Matthias
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The Dalhousie Tigers men’s soccer team played to a 0-0 draw last Saturday at Husky Stadium.

The game was fun to watch; both teams maintained excellent possession and exhibited plenty of skill, but neither could manage a goal.

Saint Mary’s came closest to a winner, when Rory Kennedy collected a shot in the box and put it past Ben Ur. He was standing several feet offside at the time, though. Oddly, and despite a confident, early flag from the assistant, the referee reversed the offside call and awarded a goal only to then confer with his linesman and wave it off again, leading to much confusion and frustration amongst players and fans.
The Husky frustration was understandable.

Coming into the game they had eight points and were tied for the second last playoff spot, with all five trailing teams easily within reach. A win against the Tiger team that beat them 4-0 earlier in the season would have been huge for Saint Mary’s.

Dalhousie could have dealt the Huskies playoff aspirations a blow in the 57th minute, when former Husky Hamzeh Afani beat Johnathan McNeil to the ball and moved in at full speed on ‘keeper Shane Harvey. McNeil took Afani out with a sliding challenge in the area, but the referee elected not to call the obvious penalty.

The referee did, however, make it up to Dalhousie, letting a pretty good penalty shot from Saint Mary’s go five mutes later, when Arnthor Johannsson was clipped in the Tiger box.

Dalhousie now have just four games remaining in their season, although they automatically qualify for the playoffs as host. They currently sit just one point out of first, with a first or second place finish earning the Tigers a ticket into the semi-finals.

Unofficial Stats:

Goals: SMU-0; Dal-0
Shots: SMU-0; Dal-1
Attempts: SMU-7; Dal-6
Fouls: SMU-10; Dal-12
Cautions: SMU-0; Dal-0
Ejections: SMU-0; Dal-0
Corners: SMU-2; Dal-4
Offsides: SMU-2; Dal-3

Saint Mary’s Huskies 0 – 0 Dalhousie Tigers

Dylan Matthias
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The Saint Mary’s Huskies and the Dalhousie Tigers women’s soccer teams shared at least one thing last Saturday: neither could score. What differed was their reaction to it. “From our point of view, it’s a good point to pick up,” said Huskies coach Mark Sweetapple. “It’s a big point in the standings for us.”

“Saint Mary’s were playing for their lives. We were playing like ‘Oh, it’s a nice sunny day in the park, it’s fun. I get a little run in,” said Tigers coach Jack Hutchison.

Saint Mary’s entered the game six points clear of both Moncton and Acadia, with the Huskies holding the fifth of six playoff spots, with three games remaining in their regular season. The Huskies need two wins or a win and two draws (19 points) to secure a playoff spot. 20 points would guarantee Saint Mary’s a postseason berth.

As for Dalhousie, they sit third on 18 points, two back of the guaranteed spot and three behind leaders Cape Breton. The Capers only have two games remaining, however, and the Tigers have four.

The game itself was as boring as a 0-0 draw can be, with chances few and far between. The highlight of the game was a combined shot/cross by Jeanette Huck which hit the football goalposts above Alicia Wilson.

“Not our best effort,” said the Tigers’ Alannah MacLean, “but I think we can build off this and hopefully perform better for (last Sunday against Acadia). (We need to) keep it on the ground more, because (Saint Mary’s) are really good in the air.”

Unofficial Stats:
Goals: SMU-0; Dal-0
Shots: SMU-0; Dal-4
Attempts: SMU-1; Dal-14
Fouls: SMU-4; Dal-10
Cautions: SMU-0; Dal-0
Ejections: SMU-0; Dal-0
Corners: SMU-2; Dal-7
Offsides: SMU-0; Dal-2

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