Photographing High School Lacrosse

Let us begin with the obvious fact; covering high school Lacrosse with the camera is a challenge because any of the following factors would lead to mediocre shots if you;

• picked a wrong place to cover the sport,
• forgot to set the camera at its optimum, or
• got a below-par camera

Lacrosse

You’ll simply waste your time and effort. There are few things to consider. But before that, you need to know what the sport is all about.
Lacrosse has a lot on offer for the kind of people who like action-packed and fast-paced sport. It’s more like American Football when comes to speed and agility, otherwise you can spot the difference between the two fairly easily. For example:

• The ball used in Lacrosse is smaller than the one used in American football,
• The shape and size of the helmet is different,
• Changes in directions in lacrosse is much frequent as compared to football. Plus, players need to be more agile to move around.

There is a big difference in cleats used in the two sports, which obviously, wouldn’t be as noticeable for a layman. Here are some noteworthy differences.
Lacrosse cleats are meant for better movement and breathability, whereas football shoes have the basic purpose of giving protection against the opponent’s cleats. First off, check out this article – http://spryshoes.com/best-lacrosse-cleats/.
Additionally, the cleats feature mesh vents that are meant to provide extra airflow.

They also have leather upper for better breathability as compared to synthetic uppers in football cleats. And finally, there are fewer studs in the football cleats as compared to lacrosse cleats.
Well, you’ll get to know the sport better once you start photographing it. So, here are a few tips you should follow while photographing high school lacrosse.

contact sport

1. Reach of Your Lens Determines the Quality of the Picture

That’s obvious, considering Lacrosse is a contact sport, you need to have at least a DSLR camera to shoot a collision (you wouldn’t want to miss the details, would you?). A 200mm lens is the minimum requirement and would give you some good snaps of half of the field. But if you have a 300mm or higher lens, it’ll give you perfect opportunity to cover the sport.

2. Choose the Spot Wisely

If you chose to stand at the middle of the sideline, you’ve made a bad choice. This position is far from the goal and there will be a fewer opportunities of shooting a player from the front. Interesting actions happen near the goalpost and creases, giving you a perfect opportunity to capture the action as well as the players.

3. Act Fast During Action

When the player is about to take a shot at the goal, the shutterspeed of your camera should be at least 1/350 seconds if it has a 300mm lens. A 1/500 sec shutterspeed would be ideal to capture the expressions of the player as well as the ball.

4. What to Shoot

Are you following the game or the player? It depends upon the level of the game you’re covering. Since you’re covering a school event, “following the player” would be a good strategy to make all the team members happy.

5. Set Your Camera

If it’s a DSLR camera (which I recommended earlier) keep it to 1/500 sec shutterspeed and it will pick the aperture itself. And if it’s a bright day, you can set it to Av with a large aperture (like f4).

Portrait Photography

Tips on Portrait Photography

Portrait photography is a niche segment, which requires good understanding of both technical and aesthetic aspects of camera work. It aims to highlight human emotions or specific aspects and details of the subject. Creative execution of different elements of portrait photography, such as lighting and composition, can add to the flavor of the photograph.

Portrait Photography: Essential Tips

Here are some essential tips that include both the technical as well as creative aspects of portrait photography:

  • Preproduction work: Complete your pre production work well in advance. In an indoor set up, pre-production work includes creating the set, arranging lights, working on camera angles and deciding on props. For an outdoor photo, pre-production work encompasses all the work required in the indoor shoot as well as selecting a location and seeking due approval from the local authorities.
  • Relax your subject: The success of a portrait photography shoot entirely depends on the performance of the model. Extracting the best out of a model is an art and this skill improves with experience. A photographer should know how to train his models according to the requirements of the photo shoot. One of the best techniques is to relax your subject before and during the photo shoot. Initiate a conversation or discuss photographs with the subject to make him/her feel comfortable with the surroundings. Photographers sometimes also play music or create a casual environment to relax their subjects.
  • Select the focus of the photograph: In a general portrait photo shoot, the focus remains on emotions and the style quotient. However, for a product-related portrait photo shoot, the focus shifts to the creative portrayal of that product. Understanding the fine line between two different motives of portrait photography is very essential for a successful career.
  • The art of composition: The aesthetic sense of a photograph is revealed in the composition. One can follow set industry standards, such as ‘Rule of Thirds’, for a perfect image. However, an experienced photographer usually tends to exploit the rules to create a more exciting piece of art. You can experiment with medium close, close-up and big close-up compositions for good results.

Avoid excessive use of props while taking portrait photographs. Props tend to diffuse the focus of the image to secondary elements. Use low-key lighting for interesting results. It helps to highlight the focus of the image and enhance its appeal.

5 Comedy Movies to Watch in 2016

Every year a ton of comedy movies are released in theaters, but only a handle prove to truly be blockbusters. In order to help you anticipate some of 2016’s blockbusters, we have created a list of the top five comedy movies you have to watch in 2016.

 

1.) Sausage Party

Sausage Party

Release Date: August 12, 2016

The first comedy movie on our list is a cartoon created for adults. Written by comedic powerhouse, Seth Rogen (http://www.imdb.com/name/nm0736622/), Sausage Party chronicles the life of the sausage named Frank. At the beginning of the film, Frank gets purchased, along with other groceries. But, shortly after Frank gets purchased, he learns the truth about food that get purchased (he is going to become a meal). So, Frank goes on an adventure in order to warn the food, left in the supermarket, what will become of them.

 

2.) My Big Fat Greek Wedding 2

 My Big Fat Greek Wedding 2Release Date: March 25, 2016

The second comedy movie on our list is the sequel to the classic comedy film, My Big Fat Greek Wedding. Who could forget the hilarious conflicts that arose, in the first movie, when the very Greek Toula Portokalos fell in love with the non-Greek Ian? Now, our favorite Greek family is back. My Big Fat Greek Wedding 2 initially focuses on Toula and Ian’s relationship problems, as well as their teenage daughter who, like a younger Toula, attempts to rebel against her Greek traditions. Then, to add onto the chaos, a family secret is revealed, so an even bigger Portokalos wedding happens.

 

3.) Neighbors 2: Sorority Rising

Release Date: May 20, 2016

Neighbors 2: Sorority Rising

The third comedy movie on our list is another sequel. In Neighbors, we saw new parents Mac and Kelly Radner (Played by: Rose Byrne) deal with the chaos of the next door fraternity, Delta Psi Beta. At the end of the movie, we thought Mac and Kelly could finally raise their daughter without the constant partying of Delta Psi Beta. But, in Neighbors 2: Sorority Rising, Mac and Kelly face another problem with the nearby college’s Greek system. Now, the even more chaotic sorority, Kappa Nu, has moved next door. With an offer on Mac and Kelly’s house that will settle in a month, only if things continue to stay normal, Mac and Kelly recruit their former fraternity enemy, Teddy Sanders, to help them combat the chaotic sorority.

 

4.) The Boss

The Boss

Release Date: April 8, 2016

Michelle Darnell is an over the top multi-millionaire who seems to have it all. But, then she gets arrested for insider trading. After completing her federal prison sentence, Darnell emerges from prison with nothing. She doesn’t have any money, or her home. So, she hunts down her former assistant, Claire. Suddenly, while staying with Claire and Claire’s daughter, Rachel, Darnell creates a plan that involves Girl Scouts. Will Darnell’s business plan become successful? Or will her ruthless ways get the best of her?

 

5.) Bridget Jones’s Baby

Release Date: September 16, 2016Bridget Jones’s Baby

Finally, the last comedy movie on our list is the third installment to one of the most beloved romantic comedy franchises of all time. We have all watched Bridget Jones navigate her way through her job and her roller coaster romances. But, when we last saw her in Bridget Jones: The Edge of Reason, we had hope that she had found her happy ending. But, Bridget Jones would not be Bridget Jones without having relationship issues. Now, Bridget Jones has a new job, but seems to have the same problems with her relationship. Also, she didn’t get married to Doug Benson(http://supcomedy.com/artist/doug-benson/), but he is still in her life. Shortly after Bridget meets a new flame, Jack Qwant, she finds out that she is pregnant. Now, she has to figure out who the father of her baby is.

Kyle Bobby Dunn

‘We are all lonely’ – and other revelations with Kyle Bobby Dunn

There isn’t much of a “scene” for wordless, beat-less drone music; so if you’re going to produce it, be prepared to relish time by yourself. Canadian producer Kyle Bobby Dunn thrives in this lonesome endeavour, as you can hear on his second double album Bring Me the Head of Kyle Bobby Dunn, out on UK label Low Point this month.

Dunn’s quiet productions are perfect for contemplation, yet his music is embraced by the frantically-paced blogosphere (as well as Pitchfork, NPR, and the New York Times).  Ambient music tends to promote self-reflection, but Dunn’s sensibility is unique and bluntly honest  (see  Movement for the Completely Fucked), providing introspective people with a soundtrack for their lives. Today, the 26-year-old tells us about the inspiration for Bring Me the Head of Kyle Bobby Dunn, which, among other things, stems from existential limbo and lost love, not to mention an appreciation for Canadian nature … and strip malls.
– Marsha Casselman

How does “Bring me the Head of Kyle Bobby Dunn” differ from your former works “A Young Person’s Guide” and “Ways of Meaning”?

Kyle Bobby Dunn: A Young Person’s Guide was a lot about space, sort of comfortable space with oneself and the world outside of one’s head. There are some sad comforts there as well, but on Ways of Meaning, I tried to embrace the miserable –  to turn bright moments on the ones that looked very bleak. The song Movement for the Completely Fucked was like a smile at a funeral sort of song. The new album is like taking a walk to your favourite lake and finding a big hole there, and still walking around in that hole.

What do you mean by the hole?

I guess I mean that I’ve realized there was once a beauty in my life and being haunted by it still and living with that, it’s like walking around in something that isn’t there anymore, but felt, and it just plays deeply into the new work.

You just released a video for “An Evening with Dusty.” Is there a concept behind that song?

An Evening With Dusty stems from a strange Christmas eve I had in 2004 with this girl and her mother. We sat around drinking espressos and touching the piano until the wee hours. I have no idea what ever happened to them

, they just vanished from my life after that evening. Or maybe I vanished? Either or, I was haunte

d by that evening and it kind of tied a knot about how much of my life in the southern United States vanished in a sad and almost mysterious way.

And what is the inspiration for “Moitie et Moitie”

It’s basically how I can feel pretty awful and pretty good at the same time. How I seem to be one person but also someone I don’t really know – and it’s a daily thing for me.

Moitié et Moitié by kyle bobby dunn

How has your upbringing in Toronto and living in Calgary influenced your work?

I was born outside of Toronto in the Mississauga area and spent a lot of time in the Muskoka and Lake of Bays area when I was a child. The beauty, but rather bittersweet situation of going there to visit relatives and really another life altogether has certainly helped mold the sounds I make now… Calgary has some very beautiful parts mixed in with the very bland, boring, and dullness. I spent a lot of time near the Glenmore Reservoir, Fish Creek Park, and loved stretching out to the foothills and mountainous parts. But in my music anything from a washroom or old video store at a suburban strip plaza to a large, magnificent hill dense in forests has been an inspiration.

And Brooklyn?

I moved there for school and a certain someone, but neither school nor the person worked out for me so I began performing and trying to approach my life as an artist might, but I just don’t know if I am. My new album is basically about being as lost as one might ever possibly be with oneself.

Your music exacerbates what I happened to be feeling at the time, whether it be sadness or hope or peacefulness. Would you say your music attracts ‘feeling types’ or ‘thinking types’?

A lot of both. I actually went on a lot of bike rides and rides out into the country while digesting the sounds of the new songs. I felt like doing things, which might be a good sign for this music that must seem like “inactive” music for a lot of people. There is no rhythm, no catchy chorus line, no rock outs, yet I really want to play concerts at indoor swimming pools and maybe in environments where people can walk around or be adventurous. I think it can also compliment a good, aged glass of wine or whisky though and you wouldn’t want to be in a swimming pool for that. It gets harder and harder to talk about my music without sounding like a complete retard – maybe I am and nobody had the heart to tell me ever.

It’s perfect for meditation. Do you meditate, and do you see others using it for that purpose?

I don’t meditate, perhaps I should. I think the music, for me, is reflective and contemplative. Maybe it can inspire thoughts or ideas, but I really don’t know what exact purpose it serves the listener.

The interviewer at NPR described it as music for lonely people. Perhaps more aptly it’s for introverted people?

I think people are very afraid to embrace the fact that they are all lonely. Even those who sitting around with their friends thinking they aren’t. But I’m not trying to say I am cooler than thou because I am lonely or anything, I just unfortunately feel it more than most people probably. But it’s nice too, I mean I love going out for an evening of terrible dance music or drinks with friends, but I am still very much into being by myself with quieter music playing in my ears. And I suffer weird looks from that still. It’s like people are in some kind of competition to prove they aren’t lonely or something. I would hope any person could enjoy my music, because every person is lonely. I’m sure the NPR guy knows that.

How to be a “rock star DJ”, featuring Justice at HARDfest

justice jesuspose

This summer, Toronto is hosting the most EDM-saturated, Skrillex-ified festival circuit it has ever seen. The turnout at HARDToronto Saturday (an extention of L.A.’s HARDfest feat. Justice and M83) was impressive – still in the thousands – considering we had the choice of Osheaga and Deadmau5-headlined Veld festivals on that same night.

Like never before, big festivals like these are propping up electronic acts on huge stages like rock stars, and there’s been backlash. I can see why: DJs and producers, accustomed to playing the dark corners of clubs, are sometimes not comfortable handling stadium-sized crowds. I’ve seen stage setups with little or no visuals to entertain, except the DJ/producer bopping around, head down. Fans salute and make devil horns as if they’ve just finished a masturbatory guitar solo, despite the fact he/she’s simply played the part of the track where the bass drops. Mostly the DJs aren’t really DJing; they’re live mixing, adding layers, turning knobs. But can most people can tell when they’re witnessing talent, when they’re simply hearing the preprogrammed base track, or if the performers aren’t actually doing anything? Add to that, the idea of putting the producer in front and center of the party, whether their set is live mixed or not, is a concern even for popular electronic acts. Why? Because it is electronic dance music: You’re not supposed to be staring at the stage, you’re supposed to be dancing.

Yet in the case of the French electro-duo Justice on Saturday, I found the DJ=rockstar=popstar spectacle to work, and the French embrace of the cheesiest parts of rock n’ roll can teach us how to put on a good show. Rock fans know very well that much of the live show is posturing. You might get off on seeing Angus Young do his hammer-ons and pull-offs at the beginning ofThunderstruck, but in truth, an amateur guitarist can play that riff. It’s not about talent in that moment either. He’s pretty much “pressing play,” or at least on autopilot.

As an EDM act, Justice aren’t simply pressing play, but are embracing theatrics via hair metal posturing: stadium shows, Marshall stacks, leather jackets, chain smoking, and a slew of groupies. “You guys ROCK!” fans shout, meaning it literally, and their latest 70’s prog-rock-influenced album Audio Video Discogoes further with that epic sound on record. On stage, regardless of what they’re actually doing with that giant modular synthesizer, Justice are performing. They’re absolutely cocky on stage. Xavier de Rosnay got out from behind the decks and stood infront of the cross, arms raised in power pose, for a full unflinching minute. Fans worshiped.

Right before Justice were to hit the stage, we’d endured a torrential downpour (with appropriately hard hits of lightning) for half an hour. The rain stopped, the Justice Cross lit up, and we were suddenly at a drenched disco version of an AC/DC concert. Thunderstruck.

I’ve resigned to the fact that this is dance music in pop form, and that it’s okay. And if you’re going to perform it, do it with swagger. Or at least some epic visuals. I believe this stadium EDM can exist concurrently with small club gigs, but I prefer the latter, where you’re not there for the spectacle up front, you’re there to party with the people. You’re facing the front of the room, but not fixated on what the performer is technically doing. It’s dark, it’s distorted, you’re dancing, and the “DJ” is doing his/her job – not impressing you with stage antics, but modifying his set to keep you moving.

Blog digging producer Ryan Hemsworth a long way from Halifax

Ryan Hemsworth

Ryan Hemsworth, a 22-year-old bedroom producer from Halifax, has risen to recognition over the past year with a couple of blog-hyped EPs, and is now commissioned to do remixes for the likes of French “electro-bro” Brodinski’s label, Bromance Records. I discussed his strategy in theJuly issue of AUX’s ipad magazine. Aside from producing for nu rappers like Main Attraktionz, he’s got a knack for remixing a mash of genres, from pop to RnB. Speaking of which, you’ll likely hear his 48-hour-old remix of Frank Ocean’s Thinkin Bout You this Saturday as he plays Wrongbar’s monthly SLOWED event in Toronto.

Here is the rest of my  interview with Hemsworth, who plans to drop an new EP, Last Words, this month. Now living in Ottawa for the summer, he talks about being the centre of attention when he DJs, spinning music that is too slow for me to dance to, and how he now gets 30,000 hits on his Soundcloud tracks despite being so new, and rarely having met anyone he’s working with.

What are you listening to these days, and how would you describe your own music?

I listen to as much music as I can, whether it’s house, UK dance, rap, old, new, whatever. I’m honestly making a few different styles of music. I produce rap for rappers and as a solo artist I make dance music, dark electronic music.

Who are your fav rappers right now?

Main Attrakionz, Danny Brown, Meek Mill, Gunplay, Flocka, Travis Porter, and I’m always into Three 6 Mafia, Tommy Wright, and other Memphis artists’ back catalogue.
Cold & Tempted by Ryan Hemsworth

How does someone from Halifax hook up with making beats for stoner rappers from Oakland?

I’ve never met Shady Blaze or any of the rappers I work with. We’ve communicated and collaborated entirely through emails and Twitter. I’ve been working with him for a while. He’s a super quick worker, we did a free album last summer (Distorted) in no time at all. I just emailed him one day some time in 2011 and asked if he needed beats. He said yes, and we sent stuff back and forth (at a pretty rapid pace sometimes; he works as fast as he raps).

What kind of music were you raised on, and does that influence your production work? (I hear a lot of melody, so I’m guessing you listened to some pop and maybe rock).

In middle school I mainly listened to 90s rock, grunge and all that, but I’ve always loved pop music and appreciated creating something special out of a simple song formula. Listening to every type of music is important to understanding what you like, don’t like, and what works and doesn’t in every context. I enjoy digesting a lot of different genres at a time, which is probably why it makes sense to me to go from Bjork to Dipset in a mix.
Thinkin Bout You (Ryan Hemsworth Bootleg) by Frank Ocean

Your house track “Deros” seems a bit left field compared to your other productions. Are you a house and techno fan and do you see yourself doing more of that in future?

That track was a quick experiment. Once in a while I’ll try to do something different, in that case I was trying to make some darker house, I think. I don’t think it’s healthy to get too comfortable with a certain sound, it gives people a lot to talk about if they want to pigeonhole you or criticize your style. I like house though, I’m a big fan of Brodinski and what Club Cheval are doing in France right now. Maybe I’ll make more stuff like that next week, who knows.
Deros by Ryan Hemsworth

How do you play live? Are you shy of being the centre of attention, and do you consider yourself performing or just part of the party?

I use Ableton for my live sets. My mixes are a reflection of how my performances go down, minus the sweat and all that. I still surprise myself, in that I’m not too nervous to perform really. My brain is weird and instead of panicking before a show, I get sleepy. So pre-show, I’m probably backstage looking like I’m about to nod off, which isn’t a good look, but as soon as I’m up and performing it’s always an electric feeling. As for performing, it’s give and take. The music and performance facilitates the party, but the performer and audience go hand in hand – we’re all hoping the night doesn’t end up sucking.

I find a lot of the music (like what you and Shlomo play) is almost too slow to dance to. Are you concerned with people dancing at your DJ shows?

I share the same mindset as Shlohmo – it’s more interesting to make emotional music at home, but when you get to the club, no one wants to be sad and have a bummer time listening to your slow stuff on a Friday night. In my sets nowadays I literally go from half-time, double-time, to four-on-the-floor and back. I think that’s surprising to people, especially if you’re used to going to house shows or certain nights that is a consistent speed and style the entire time. I’m not a fan of listening to the same stuff all night and I think the element of surprise is important, so I’m not scared if people get a little put off by that or aren’t sure how to react (as long as they’re not walking away). Every show is a learning experience.

Ryan Hemsworth – SLOWED SUMMER by Scion Sessions

What’s next for you?

I’m just finishing up my next EP, which is coming out in August with Wedidit Collective, who I’m working with now. Shlohmo, RL Grime and Groundislava are just a few on the team, it’s really just a group of some of my favourite artists so I’m really excited to be a part of it. I’ve got some remixes lined up from Shlohmo, Canblaster and Sam Tiba to name a few. And I’ve got more production to come for Deniro Farrar and Main Attrakionz.

But I heard you’re graduated from journalism school – what do you plan to do with that?

I’ve finished studying at University of King’s College in Halifax this year. I’m in Ottawa for at least this summer and we’ll see after that. I just finished school in the city I grew up in all my life, so naturally I’m taking some time away from both of those things. Hopefully music can keep me afloat because I’m not too interested in reporting on boring local news right now.

Tampons, A&R hawks and heavy metal acceptance

dentata tampon

Having recovered from Canadian Music Week, we have a few observations to share beyond the usual “this band played, they were good” reviews.

Major labels: Good luck scouting the underground

As major labels continue to cannibalize each other, some say into complete irrelevency, you might think big deals at CMW are a thing of the past. So I was shocked to see a group of grey-haired suited-up men from one of the “Big 4″ major labels scouting Toronto jazz-hip hop fusers Badbadnotgood and Montreal DJ/producer Lunice at Wrongbar Friday. “He’s a cute little bugger isn’t he?” one of them remarked of Lunice. Bugger? I responded that I’ve been eyeing him for a while. Interest in Lunice has likely doubled since he’s paired with Scottish electronic prodigy Hudson Mohawke to for a bass-hip-hop project calledTNGHT. The president of said major label was particularly smitten with Montreal singer-producer Ango, who took the stage with BBNG for a rendition of Sade’sNo Ordinary Love. Still, I don’t see any of these acts wanting to sign to a major, and the A&R reps were too busy drinking to notice a more unknown breakout act, a last-minute opener from Montreal named Black Iris Black Atlass – a doomed soulful voice which could rival The Weeknd. – Marsha Casselman

The date change wasn’t such a bad thing after all

There was some hand-wringing this year about CMW’s controversial decision (at least among insider types) to move the festival from its usual pre-SXSW perch to the week after the Texas fest. The date change didn’t exactly bring in a huge payload of notable names, and surprisingly tacked CMW on after Austin, but it did even one score between it and its superior Toronto summer festival, NXNE: the weather. Instead of its usual freezing rain, the festival coincided with unseasonable summer-like weather that allowed for more NXNE-style daytime events (typically our favourite part of any festival). Audio Blood Media’s Thursday party, for instance, screamed NXNE, taking place as it did on a Chinatown rooftop, with free cold beer, Sneaky Dee’s nachos and the “Jagerettes” handing out branded underwear. Okay, that last bit was a bit strange. – Richard Trapunski

Bands should use props more often

In a sea of indie bands who often just stand there and play, it was refreshing to see a little theatrics at CMW. We projected there would be blood on stage for gothic punk-metal band Dentata at our Comfort Zone showcase Saturday, but we didn’t expect this kind of blood. When frontwoman lifted her skirt to reveal her stained underpants, then from somewhere pulled out a bloody tampon AND put it in her mouth – the audience was in shock, awe and delight. Luckily it was fake blood – at least that’s what we’re hoping. You might want to double check the Untold City’s footage.  Truthfully though, this kind of stunt might be relegated to the punk and metal world. (Dentata’s new lineup certainly beefs up the metal content with their flawless cover of Metallica’s “Jump in the Fire”.) – Marsha Casselman

Toronto likes metal, so where’s it at?

Okay, we get it. Toronto is an indie rock/electronic/Drake-centric city. At least, that’s what the Toronto press would have you believe. The amazing crowd at the CMW Metalliance Showcase would have disagreed with you entirely. Featuring a stellar bill of heavy metal artists including Dying Fetus, Job for a Cowboy, DevilDriver (and more!), the Metalliance showcase was sparsely attended by media and CMW staff. An utter shock, I can assure you, given the fact that the show was one of my most exciting festival experiences. The love and loyalty Toronto displays to heavy metal is without par. Vancouver’s ‘3 Inches of Blood‘ were the only Canadian heavy metallurgists to appear on the bill (considering the impressive body of heavy metal to come out of Canada recently, this is in itself a shock. I would have liked to have seen Calgary’sMares of Thrace on the bill) . 3 Inches of Blood is touring in promotion of their hot-off-the-press NWOBHM-inspired release Long Live Heavy Metal, which is a fine sentiment for a showcase that saw little to no attention from the festival itself, but a truly inspiring turnout from Toronto metalheads who moshed and headbanged up a storm in support. (though the moshers got their share of pushing and shoving in. One kind gentleman gave me a rather unpleasant shot to the sternum in his attempts to start a one-man moshpit). Given the fact that the Opera House was packed to the gills, I can only hope that CMW hears the call and offers more (and better promoted) Canadian metal next year. – Chris Wright