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a, Basketball, Behind the Bench, Sports

Standing up and speaking up

“Republicans buy shoes too.” Those words came from the mouth of one Michael Jeffrey Jordan, after he declined to endorse a black Democratic candidate for a North Carolina Senatorial election in 1990. More recently, Jordan’s one-time Chicago Bulls teammate Dennis Rodman made headlines following his third visit to North Korea to promote Basketball Diplomacy with Supreme Leader Kim Jong-un. Jordan refused to use his enormous cache as a popular athlete to take a political stance because he wanted to ensure greater sales of his sneakers. Rodman, who has unprecedented access and influence over Kim, did not wish to bring up the starvation or labour camps that exist in the authoritarian regime, citing his friendship with the ruler. In both cases the athletes erred. Despite the fact that both Jordan and Rodman have and undoubtedly should have the right to stay above the political fray, athletes have a platform to affect change and should use that ability to influence society for the better.

A common fear that arises with professional sports franchises is that athletes who choose to express their views will create distractions from the team and suffer a drop in performance by overtly speaking their mind. Chris Kluwe, a former NFL punter, alleged that he was released because of his activism—not from an inability to do his job which his former team, the Minnesota Vikings allege. Kluwe was not infringing upon any of his teammates or playing poorly. Rather, he was simply using the platform he had to bring about positive social change.

As the late Nelson Mandela once said, “sport has the power to change the world.” Then Springboks rugby captain François Pienaar showed the leadership to join with Mandela and unite a nation divided by a legacy of apartheid. Pienaar believed that athletes have a responsibility, and he utilized his influence without being a distraction. In some cases, words don’t have to be used. Following the 200m sprint final at the 1968 Olympic Games in Mexico City, John Carlos and Tommie Smith raised their arms in unison as a form of protest during the civil rights movements. The backlash was fierce for both, who were booed while leaving the podium, yet the impact they had with that simple gesture was to bring awareness to a very important and contentious issue at the time.

By virtue of their success and widespread coverage, athletes are given a gift. Simply put, when athletes talk, people listen. When they act, people watch and then follow. Yes, an athlete’s primary focus should be on honing their craft and attempting to achieve success on the field or on the court. But athletes are also role models to millions of children who grow up wishing to be just like their favourite player. Heck, they are even role models to adults who would do anything for their team. If professional athletes are able to raise awareness on topics or exert influence to better society should they not do so, and in turn, encourage the rest of us to speak our mind and fight for what’s better?

Dennis Rodman was entitled to his choice when he refused to bring up North Korea’s problems with its leader just as Carlos and Smith were entitled to theirs. Carlos and Smith had the courage to stand up and speak up, something that hopefully more athletes, given their gift, will do too.

a, Opinion

Water under the bridgegate

In our time of disillusionment with public figures, it can seem of no surprise when politicians put their personal interests ahead of the interests of the people that they are representing.

This is what happened in the so-called “bridgegate” scandal, when New Jersey Governor Chris Christie’s administration inconvenienced thousands of  commuters in order to exact revenge in a petty political squabble.

Similar issues were revealed in the ongoing Canadian Senate expenses scandal, which concerns the decision  by Mike Duffy and several other senators to claim  expenses for which they were not eligible. In the case of the Duffy expenses, the prime minister’s office has been dogged by questions over payments made  to Duffy equal to the amount in claimed expenses he was forced to pay back.

As with their counterparts in New Jersey, here, senators showed a complete disregard for their constituents’ interests in order to put money in their own pockets. However, the lack of accountability displayed by those involved in the Canadian senate expenses scandal, and the subsequent refusal to comment on their evident mistakes, represents not only an indifference towards the public, but also towards the public’s perception of their actions and towards the right of the press to make their indiscretions known.

In New Jersey, the scandal began with series of lane closures last year on the New Jersey approach to the George Washington Bridge. It is no surprise that such a vindictive act would attract immense attention from the media. Christie and his administration attempted to conceal their connection to the scandal; it was not until the press dug up incriminating emails, such as the infamous message sent by one of Christie’s aides, one of which stated, “Time for some traffic problems in Fort Lee,” that Christie and his aides were conclusively linked to the incident. The leading theory suggests that the staff orchestrated this traffic jam as retaliation against the mayor of Fort Lee (the city on the New Jersey side of the bridge) for withholding a political endorsement.

Similarly, on this side of the border, a senator claiming illegitimate expenses was bound to attract attention from the media and incur widespread uproar from the public.  However, despite ample proof, Stephen Harper and the senators involved in the scandal remained aloof and refused to accept responsibility for their wrongdoings.

In a CBC interview, Jonathan Kay of the National Post, who has spent significant time reporting both in the U.S. and in Canada, stated, “the degree to which public servants in the U.S. feel that they have a responsibility to answer questions of the press is staggering compared to in Canada.” Indeed, Stephen Harper has been harshly criticized for his refusal to answer questions posed by reporters on the topic of senate expenses.  If government officials embroiled in such scandals deny the media’s questions, how can we expect to hold them accountable?

Both scandals are indefensible breaches of political power. However, once the American politicians involved in the bridgegate incident were exposed, they were at least able to take some responsibility for their mistakes regardless of the questions that remain about Christie’s involvement. In Canada, considerations of the public’s right to information regarding its government are less respected, and Canadian officials casually deny the public information about government for no other reason than to protect their own political agendas. Christie, at least, had enough regard for his public image to answer reporters’ questions for several hours, and apologize for the scandal.

What Harper and other Canadian politicians fail to realize is that, by managing political upsets with a degree of maturity, and by assuming responsibility for their actions, mistakes are likely to be forgotten much more quickly. Attempts to conceal the truth and divert the public’s attention only heighten frustrations and drag out the duration of the scandal. Harper and the senators involved in the expense scandal should take note of Christie’s handling of the bridgegate incident and respect the requests of the press, so that they may be held accountable for their mistakes.

a, Arts & Entertainment, Film and TV

Falling in love with Her

Is it possible to fall deeply in love with your talking operating system? Spike Jonze makes us believe so.

In Jonze’s most recent film Her, broken-hearted writer Theodore Twombly (Joaquin Phoenix) lives an introverted life balancing between work, video games, and occasional dates since his wife Catherine (Rooney Mara) left him. He repeats this despondent and solitary routine, only invigorated by fortuitous encounters with his friend Amy (Amy Adams). Weary and unable to connect with anyone, he decides to take home a new talking operating system who calls herself Samantha (Scarlett Johansson). Charmed by the plot, the movie captivates in the same way that the operating system captivates Theodore.

Director Spike Jonze, famous for other wacky and eccentric projects, offers a love story unlike any other. The futuristic depiction of Los Angeles is conceivable—utopian-like and non-violent. This portrayal is rare in science-fiction movies, which is why it’s even more original. Indeed, the people are nicer, calmer; and the technology is so advanced that it eases life dramatically.  Phones read newspapers, classify mail, organize daily routines, and eventually fall in love with you. But to what extent is our technology going to guide our life? And is it necessarily a good thing? Jonze answers these questions with his unique trajectory and sense of humour.

Starting out by taking over Theodore’s technological life, the voice begins to reveal more and more personality—first as a friend, and later as a lover. Samantha has charisma, personality, and mostly, is aware of her situation. She understands how different she is from a real human being and covets a body of her own. The romance between Theodore and Samantha echoes the isolated relationship people share with their own technological devices, which disconnect them from the real world. Jonze critiques our reliance on technology today by presenting their love affair in as humanlike  a way as possible.

The acting reaches our core and demands empathy for the unique couple. Phoenix is absolutely alluring as he embodies this morose and passionate man. Johansson is simply beautiful. She gives her best performance to date using only her voice, with an exactitude and sexiness that instantly enthralls. The chemistry is so intense that it made me deeply care and root for the lasting of their relationship. Moreover, Amy Adams also deserves acclaim for her performance as Theodore’s longtime friend. She gives a truthful and raw acting performance that once again showcases her talent during what has already been a strong year for her.

The cinematography is just as impressive as the acting in this film. Jonze transports us from beginning to end through this universe with clear images, stunning shots of the city, and an uncanny way of filming his lead actor using mainly close-ups. He forces us to connect with Theodore in the same way he did with Samantha, and we enjoy being part of their relationship.

The writing also impresses and seduces the audience. Jonze uses a lot of poetry and other delicate phrasings that flow gently, and are delightfully intoxicating us. Johansson grants us her voice, but also pleases our senses with song. The intimate moments that we share with the couple makes us, in an absurd but comfortable way, also fall in love with her—or at least with the pair of them together.

Spike Jonze brings us into a dreamy, tender, and fascinating dimension with this very original love story. He took home the award for best screenplay at last week’s Golden Globes, and is now nominated for best original screenplay at the Oscars, which he also deserves. Her is a poem where the acting supplies the rhymes; writing,  verses; and the cinematography, the pace.

a, Martlets, Men's Varsity, Sports

Sports briefs – Jan 21

Martlet Hockey

The McGill Martlets hockey team took down the Carleton Ravens 3-1 Saturday for their 38th consecutive regular-season win. The top-ranked squad never trailed during a game that saw them outshoot the Ravens 52-20. Gabrielle Davidson, who leads CIS in goals, opened the scoring halfway through the second period, potting her sixteenth of the year on the power play. Katia Clement-Heydra and Chelsey Saunders also scored for the Martlets. McGill’s goaltending was solid, as Tayler Hough and Brittany Smrke combined for 19 saves. The two split time, each playing about half of the game in a move that was planned beforehand. In the Martlets second game in the nation’s capital, Davidson tacked on four more goals to bring her season total to 20 against the Ottawa Gee-Gees in a 5-2 victory. McGill (13-0) hosts Ottawa on Jan. 24 in the second half of this home and home.

 

Swimming

McGill’s swimmers headed to Laval for the fourth leg of the University Cup. The team finished third in the event behind Laval and the powerhouse Université de Montréal, who dominated the event. McGill’s only gold of the day came on the backs of the women’s 4x100m medley relay team of Taryne Landry, Valerie De Broux, Adriane Lui, and Katie Caldwell. The four combined for a time of 4:16.07 and edged out Montreal’s first team by 0.67 seconds. Landry and De Broux each also picked up a silver medal in the 4x100m freestyle relay. The Redmen were slightly less successful, placing second in both the 4x100m medley relay and 4x100m freestyle. Freshman Rhys Johnson also managed a silver medal in the 200m backstroke, finishing with a time of 2:07.78. The team heads to Sherbrooke next for the RSEQ Championship, which starts on Feb. 7.

 

Track and Field

McGill’s track and field athletes headed up to Quebec City for the annual Laval Rouge et Or invitational meet on Saturday. Sophomore jumper Caroline Tanguay continued garnering golds as she posted  a height of 1.68m in the high  jump. Tanguay also tallied a silver in the pole vault after clearing 3.40m. On the Redmen side, pole vaulter Maxime Beaumont-Courteau and high jumper Hau Xu also won golds. In addition, both 4x200m relay teams also medalled with the Redmen earning silver and the Martlets getting bronze. The squad returns home this week for the 19th annual McGill Team Challenge, which has been billed as the largest indoor track and field meet in Canada. The events will take place from Jan. 24-25 in the Tomlinson Fieldhouse and will serve as an important test  to see where the squads are at this point in the year.

a, Arts & Entertainment, Music

Switchfoot—Fading West

With a rich catalogue of intricately-written songs and a 2011 Grammy Award for Best Rock Gospel Album in their back pocket, this Alternative Rock band from San Diego has delivered yet another brilliantly uplifting album. Right from the get-go, the thundering beat of the opening track, “Love Alone is Worth the Fight,” draws you immediately into the airy, stadium-sized songs that this album has in store for the listener.

However, it’s not all thumping beats; “Slipping Away” provides a slower, yet bubbly experience in which frontman Jon Foreman’s raw vocals demonstrate the lost and ‘lonely’ lyrics of the song. “Saltwater Heart” is somewhat reminiscent of The 1975’s work, with a definitive beat backing the driving 1980s synthesized sound behind multi-layered vocals. “All Or Nothing At All” is an exciting, head-bobbing track with synthesizers and guitars a-plenty, that, with the help of striking echoing vocals, is a testament to the band’s Christian roots; they want to live as either righteous beings, or not at all. It’s a simple yet gripping song that provokes existentialist thoughts on life itself.

This theme recurs throughout the album, with the opening track initially asking the question, “Is it fear that you’re afraid of?” Switchfoot then guides the listener on an 11-song journey through existence, love, and the importance of “being” as something we use to shape ourselves. It is “through the open door that we find what we’re made of.” The band drops the overwhelming question on the listener: “What are you waiting for?”

They then invite you to figure it out through self-realization and experiences. This album is an experience in itself, one that invites you to let the band tell you, “Life is short / We don’t’ care so let it out.” Fading West is a fantastic, exhilarating, and extremely well-made piece of work. You should do just what they say: listen to it, invest in it, and take from it all, or nothing at all—it’s your choice.

a, Arts & Entertainment, Theatre

Opera McGill opts for relocation in Shakespeare adaptation

A Midsummer Night’s Dream, Shakespeare’s oft performed comedy of love, magic, and misunderstanding, was written more than 400 years ago and adapted by English composer Benjamin Britten in the 1960’s as an opera, which will be the format by which Opera McGill performs the story in their upcoming main stage production.

When taking on such a well-known classic it is always a challenge to make it feel fresh and original, but Caitlin Hammon—masters student, soprano, and portrayer of Helena in Opera McGill’s show—feels confident that their version will live up to that challenge, especially thanks to director Patrick Hanson’s bold decision to relocate Britten’s Shakespearian opera to pre-First World War India.

“There’s a few mentions of India that the fairy Tytania makes in the original play,” explains Hammon. “So [Hanson] kind of took that and ran with it [….] The fairies are all Indian deities, and the lovers are like British colonial royalty.”

Although the Athenian forest of Shakespeare’s script is replaced by an Eastern locale, Hammon believes that the production will retain its original magical feel.

“There are some absolutely beautiful moments, especially with the fairies,” she says. “It’s set to be  very ethereal and heavenly, and it’s really nice.”

Hammon is also particularly excited about the visual aspects of the production. All inspired by the Indian theme, the sets and costumes promise to dazzle the eye. The elaborate two-storey set is currently under construction, and it will include, among other wonders, a forest that lights up and a giant tree that the characters will be climbing during their performance.

The orchestra will be formed by musicians from the Schulich School of Music.

“We have the McGill Symphony Orchestra playing and they’re really doing a remarkable job. It’s really one of the best student orchestras we’ve had in a while,” says Hammon.

Not to be forgotten is the talented ensemble of voices that the opera format promises. Now in its 58th year of operation, Opera McGill is a prolific institution that is currently in the midst of an all-Shakespeare season. It staged an adaptation of Julius Caesar earlier this year, and is preparing a Romeo and Juliet adaptation for March.

When describing the sound and style of the upcoming production, Hammon is adamant that A Midsummer Night’s Dream will feel much more modern than what someone would typically envision.

“It’s not what you’re used to hearing if you flip on the radio and hear some guy singing opera in a strange language,” she assures me. “When a lot of people think of opera they’re thinking about things written in the 1800’s, but this is what we would consider contemporary.”

Anyone who may be hesitant or intimated about venturing out for a night at the opera should also know that this production is in English, and that there are projections above the stage with subtitles in both English and French to make sure that audience members can follow.  As Hammon explains, this won’t be a traditional opera.

“I’ve sat through rehearsals and rehearsals and rehearsals already and I’ve been entertained the entire time that I’ve been watching it,” she says. “If someone has never been to an opera before, I would really recommend this one to them because it’s very accessible, lighthearted, and fun.”

 

A Midsummer Night’s Dream will be performed at 7:30 p.m. from Jan. 29—Feb. 1 in Pollack Hall. Student tickets are $25.

a, Sports

10 Things: Adventure sports at the Winter Olympics

1

Ski cross was designed by a sports-marketer, Jim “Too Tall” Essick, in the late 1980s. He was inspired by NASCAR and decided that the four skiers would race simultaneously, all while having to execute jumps and negotiate gates along the way.

 

2

It was initially to be called “Quattro Racing,” in conjunction with the new Audi Quattro. Thankfully, Essick chose not to confuse us with Italian numbers and stuck to the more self-explanatory name “ski cross.”

 

3

There has been controversy over whether ski cross should be classified as an alpine or freestyle event. This is because most of the ski cross athletes are in fact alpine skiers as opposed to freestylers.

 

4

Snowboard cross is the cousin of ski cross, with a snowboard swapped in for skis. Snowboard cross has been a staple of every X-Games since its inception in 1997, and debuted at the Turin Olympic Games in 2006. 

 

5

There is a high propensity for danger in snowboard cross, as the athletes tend to collide with each other mid race.  As a result, all the contestants wear full-face helmets, just like motorcyclists.

 

6

Unsurprisingly, the United States has dominated the freestyle skiing and snowboarding events with a total of 36 medals across the two disciplines. Notable athletes include Shaun White and Seth Wescott, who have won two gold medals each.

 

7

The snowboard half-pipe event requires 22-foot high walls off of which the contestants perform their various tricks. For the time being, 22 feet seems to be the highest the walls can be built—any larger would be too big for winter resorts to accommodate.

 

8

Slopestyle skiing and snowboarding are both new events to the Olympics that will be debuted in Sochi. They are notable for the use of twin-tip skis in case athletes land backwards. The course is generally filled with various types of jumps and obstacles such as rails.

 

9

Half-pipe skiing has also been added to the 2014 Olympic Games. It has already proved to be potentially fatal, as skier Sarah Burke died during a training accident in 2012. As a result, helmets are now mandatory, and there are airbags on the sides of the walls during practice runs in order to reduce the chance of injury.

 

10

Briton Eddie “The Eagle” Edwards competed in the 1988 Olympic games, where he placed dead last in all of the ski-jumping events. His performance forced the IOC to mandate that all Olympic hopefuls had to place in the top 30 per cent of participants in international competitions in order to qualify for the Olympics.

a, Martlets, Sports

Volleyball: Carabins overpower Martlets in three set sweep

The Martlets spent a tough weekend at Love Competition Hall, failing to climb past third place in the RSEQ rankings. The team started their weekend on Friday against the Montreal Carabins at home, losing in 3 hard-fought sets  (21-25, 26-28, 23-25), and continued to stumble on Saturday against Laval in Quebec City, dragging the Rouge et Or to four sets (16-25,14-25,25-19,24-26) before ultimately falling short.

To explain the Martlets’ downfall against the Carabins, one could pinpoint their inconsistent effort on the offensive end. The offence came out strong every set, but faded midway through. Setter Yasmeen Dawoodjee and middle Marie Pier Durivage worked seamlessly together to keep McGill in the game, but the no. 3 ranked Carabins were just too much for them to handle. Marie Cristine Lapoint and Durivage both led the team on the scoresheet for McGill. Lapoint recorded nine kills and two assisted blocks for 10 points, and a game-high 19 digs. Durivage chipped in 10 points of her own, with six kills and four blocks.

The three set sweep left McGill disarrayed after previously defeating Montreal in a three set sweep of its own earlier this year. The Martlets remain stuck in third in the RSEQ. Dawoodjee understands that the team must continue building on its performances if it wants to achieve its goals for the season.

“Our game against Montreal was bittersweet,” said Dawoodjee. “We applied our game plan in terms of defence against such big hitters and serving to certain players to take them out of the game offensively. Team chemistry-wise on the court, we were working together to earn point by point. Nothing went wrong to end up with a loss but it was [a] tough loss because we knew looking back that everyone could’ve given that extra little push to collectively pull out a win against a team that we had previously beaten at their home in three sets.”

On Saturday, McGill went up against the CIS no. 7 ranked Laval.  Sophomore power hitter Ashley Norfleet continued her excellent streak of play as she scored a game high of 18 points, with an outstanding 17 kills. Despite the individual brilliance from various members of the team, the Martlets have been unable to put the pieces together. After a disappointing weekend, the squad is being tested both mentally and physically, and must respond as a unit on the court throughout the entirety of the game, rather than isolated spurts of solid play.

“It’s taken a lot of time and work to get to where we are mentally now,” said Dawoodjee. “The girls individually are much more solid at preparing themselves before the game and maintaining it through the game.”

The Martlets still need two wins to make the post-season with four games remaining in the regular season. They travel to Outremont to compete against the Carabins once again on Jan. 24 before facing off against Laval at home on Jan. 26 at 1 p.m. in Love Competition Hall.

a, McGill, News

Provost speaks on government’s $1.7 billion reinvestment plan

Provost speaks on reinvestment

At the Post-Graduate Students’ Society (PGSS) Council meeting last Wednesday, Provost Anthony Masi spoke on the provincial government’s proposed reinvestment of approximately $1.7 billion in the Quebec university network over the next five years.

According to Masi, the reinvestment is more accurately described as a reimbursement of cuts faced by universities in the past year, although universities will be constrained in the way they spend the money.

“Around $20 million dollars will be back [in our budgets], but we have to spend it on very much restricted items,” he said. “[For example], the quality of undergraduate education, support for students with financial needs, support for students coming from backgrounds that are not traditional [….] Almost everything is driven in the undergrad.”

Of the total amount being invested in universities across the province, $954 million is the continuation of a policy by the previous Liberal Government to increase university budgets, and a further $810 million will be to compensate for the money universities lost when the Parti Québécois’ rescinded the previous government’s tuition increases.

The first round of reinvestment, valued at $20 million for McGill, is scheduled for the 2015 fiscal year.

 

Update on supervision reform

PGSS Secretary-General Jonathan Mooney detailed the progress on  the introduction of supervisor training, which prepares new professors on how to oversee students. Mooney said there are plans for a formal review of the process in March.

In the previous academic year, the PGSS conducted a survey for graduate students and professors to determine areas of conflict and discrepancies between perceptions of supervisory relationships by both parties. The survey found a few points of divergence, such as varying perceptions of conflict resolution.

“Most responding supervisors claimed that their conflicts were satisfactorily resolved (75 per cent),” the survey overview reads. “Only 34 per cent of [students] agreed with them.”

Furthermore, the survey demonstrated a difference between the ways both parties found themselves informed of their supervisor’s absence.

“Around 95 per cent of responding supervisors reported that they informed their [students] about short- and long-term commitments away from the university,” the overview reads. “In contrast, only 68 per cent of supervisees said that their supervisors informed them about being away.”

As a result, the survey prompted a number of recommendations to improve such relationships, including reform to introduce training and workshops for new supervisors.

“The dean of graduate studies [has] committed to moving forward with a lot of major reforms to supervision at McGill,” Mooney said. “Among those are making sure every new professor at McGill gets training and education on how to properly supervise students. This is something that we hope comes forward in March for formal approval.”

Masi also stressed the importance of professor-student relations at a research-oriented university such as McGill, and detailed the steps the university has already taken to improve supervision.

“Supervision is the single most important problem that we face at university,” Masi said. “Graduate students are a little more than a quarter of our population and […] the majority of those issues have to do with supervision [….] Research can’t be conducted without the support that professors get from grad students, and graduate students can’t do their work on their thesis unless they are supervised.’’

Erratum: a previous version of this article incorrectly stated that the provincial government plans to reinvest approximately $1.7 billion in the McGill budget. In fact, this amount will be reinvested in the Quebec university network. The Tribune regrets this error.  

a, Arts & Entertainment, Music

Rosanne Cash—The River and the Thread

On Rosanne Cash’s latest album The River and the Thread—her first new record in eight years—the veteran country music singer-songwriter proudly displays her virtuosic talents as a vocalist, lyricist, and a tasteful composer with an acute sense of how to use musical devices to keep her tunes interesting.

The themes of travel, love, and family dominate on The River and the Thread. Though none of these subjects are particularly foreign or original in the country music genre, the ways in which Cash addresses them allow her to stand out. On “World of Strange Design,” she convincingly embodies the voice of a xenophobic patriot in a way that makes him seem sympathetic without endorsing his statements. Cash earnestly writes from the perspective of a soldier leaving his lover behind in “When The Master Calls The Role.” When the soldier says, “I will never travel back to her / But not for lack of trying,” Cash’s words genuinely convey his sorrow and passion.

Cash’s vocal chops help to bring out the pathos evident in her language. Her husky contralto gives her lyrics a tough, world-weary feeling that allows her characters’ emotions to register prominently. When writing from her own perspective, as in “Etta’s Tune,” her voice carries a certain warmth that emphasizes the authentic nature of the feelings she expresses.

Cash also makes smart musical decisions that reveal her ability to maximize her songs. The jarring chord at the end of the chorus of “Modern Blue” interrupts the tune’s seemingly straightforward blues-rock feel to provide it with a new depth. Contributing guitarist Derek Truck’s (The Allman Brothers Band) fiery slide solo on “World of Strange Design” helps to further express the passions hinted at in her words. Renowned sitarist John Leventhal’s licks on “Money Road” show the possibilities of that instrument to present blues language without feeling ostentatious.

The River and the Thread reaffirms Rosanne Cash’s status as a master of country music, and wonderfully documents her many talents.

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