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a, Student Life

Bar Review: Ping Pong Club

by Tiffany Le on

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Located where the Royal Phoenix Bar once stood in the Mile End, the Ping Pong Club (PPC) is a trendy new hangout that evokes nostalgic memories of favourite afterschool meeting spots. The casual restaurant and bar opened on Oct. 16, serving up a combination of finger foods and outstanding drinks, with TVs, a foosball table, and a ping-pong table thrown into the mix. The PPC offers an affordable addition to the vibrant young neighbourhood of Montreal’s artistic district.

According to owner Calvin Suggitt, the inspiration for the bar came from a nifty spot in Brooklyn, New York.

“A lot of interesting people hung out [there] in the afternoons around picnic tables and Ping-Pong tables,” Suggitt said.

In line with its origins, the PPC is equipped with large cafeteria-style tables and smaller booth-style seating where friends can easily converge. One side of the PPC is taken over by a large mirrored bar. The place is lively and loud, with a DJ playing a wide selection of alternative and indie artists. Intimate conversation is not ideal in this setting, as it becomes hard to hear over the brassy laughter and rowdy banter of the typical PPC crowd. As there are a small number of tables to seat a large amount of people, it’s easy to make new friends with other patrons seated at the restaurant.

The PPC is a clean minimalistic venue with little to no decor. The restaurant bar is dimly lit by modern light fixtures, yet still offers the cozy, familiar feeling of a great house party. The atmosphere brings to mind the relaxed days before university that were carelessly spent with friends.

Suggitt and his design partner Nicholas Hamel stated that they wanted to invoke this feeling.

“There is nothing like [it] in Montreal,” Suggitt said.

A tentative food menu is currently in use, and the chefs are looking for feedback on its rotation of Mac n’ Cheese balls, Satay Saumon, and various finger foods. What really stood out was its house BBQ sauce, which is infused with a surprising kick of ginger. The Thursday night special consists of chicken wings, with options for ranch and blue cheese, or honey-drizzled and spicy. The spicy wings were disappointingly mild—go for the significantly more flavourful blue cheese wings instead. The food tastes good, if not a little predictable. The PPC has the potential to be a great late night food joint, but the kitchen unfortunately closes at 11 p.m.

“[This] menu is based on  the concept of [diner] burgers, sandwiches, and salads taken to the next level, but is still in an affordable price range,” Suggitt said.

The PPC’s real attractions are the creative and innovative drinks that they offer. Popular Montreal mixologist Andrew Whibley, who recently returned from a Hennessey competition in Sweden, created the menu in collaboration with the owners. The milkshakes and smoothies come in plastic soda cups, with the added option of any choice of alcohol. A whisky vanilla milkshake is hard to come by outside of this bar, and is wonderfully delicious.

Another interesting concept is the cereal milk that is used in several PPC cocktails. The bar uses Kellogg cereal to flavour the milk and then filters the flakes out. This does not alter the milk’s taste in a bad way, but creates an interesting flavour that is difficult to pinpoint. One of their charming beer-based cocktails, the Bière Noisette, combines cereal milk, Hennessey, hazelnut syrup, and their very own “Ping-Pong beer.” This is served unceremoniously in a sturdy red solo cup for the no-fuss drinker.

The only setback is the shortage of ping-pong tables at PPC.

“For a place named after Ping-Pong tables, there [should] be more than one table to play at,” said Edward Park, a patron at PPC.

The Mile End is one of the French-speaking communities in downtown Montreal, and is definitely outside of the ‘McGill Bubble.’ The Ping Pong Club may be a long trek from campus; it might not be worth it for the food, but on a night that calls for some unexpected and tasty drinks, there’s nowhere better.

a, Arts & Entertainment, Music

Music soars, plot sinks in God Help The Girl

by Morgan Alexander on

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Focusing on the subtle insecurities and adult tragedies that plague young women emerging from adolescence, God Help the Girl provides a surreal look at an improbable situation. The film centres around Eve (Emily Browning), a young woman being treated for anorexia nervosa who aspires to be a musician. Visually, the film is simplistic, making the most of the lush Scottish countryside in which it’s shot, and utilizing wardrobe—as opposed to lighting—to show mood and plot shifts. Plot-wise, God Help the Girl is not only wholly unrealistic, but kitschy to a degree of being simply irritating. Opening with a scene of Eve deftly escaping from a psych ward, only to immediately fall into a musical number, brought the overall tone of the film into question—musical, comedy, drama, or something else entirely?

The original idea for this film came from the mind of Stuart Murdoch, member of Glasgow-based indie rock group Belle & Sebastian. Murdoch had the vision of creating an album, lyrically focused around the issues faced by young girls, that would be sung by multiple female artists and eventually transformed into a musical. The album was heavily influenced by Belle & Sebastian, to the extent that it featured two tracks (“Act of the Apostle” and “Funny Little Frog”) that were from one of the group’s earliest recordings. Reminiscent of classic British female pop groups, the record has a bubbly sound that is juxtaposed against lyrics dealing with heartbreak, drug abuse, and eating disorders. The overall effect is one of a contorted sense of carefree security, despite the clear insistence of pain and fear that permeates each lyric.

The film fails to pick up on the subtle nuances of the album, making for a confusingly disjointed piece of cinema where there could have been nuanced drama woven through a comedic, young-adult-esque script. Awkward reminders of Eve’s disorder are splayed across scenes of band practice and empty romance. The supporting characters are flat, and anything they might add to the plot comes across as meaningless, and ultimately, forgettable. The biggest misstep of the film occurs with its abrupt ending, one that, though predictable, counteracted any sense of decency and hope that the film had laid out beforehand.

Overall, the movie was disappointingly minimal, particularly when one considers the seriousness of the topics addressed throughout. Thankfully, the soundtrack was well-performed, and lacked none of the vibrancy it held in the original album. Each musical number was accompanied by whimsical scenes of the actors dancing in front of multi-coloured sets, all of which emphasized the dream-like sound each track possessed without appearing too childlike. Sadly, without the soundtrack, it is unlikely that the plot of the movie would be able to hold its own as a legitimate production. The lack of character depth and development in combination with adult themes addressed in a childish script made the production come off as naive and unfinished. The moral of this story: Save yourself a ticket and stick to the soundtrack.

a, News

Seventh global food security conference addresses present challenges

by Philippe Dumais on

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Last Tuesday and Wednesday, the McGill Institute for Global Food Security organized its seventh annual conference. Journalists, NGOs, scholars, and students gathered to discuss this year’s theme, Food Security Beyond 2015.

Infrastructure in Sub-Saharan Africa

The conference opened with a lecture by Professor Stephen McGurk, vice-president of the Program and Partnership Branch for the International Development Research Centre (IDRC).  McGurk drew a parallel between development in South-East Asia and Africa and spoke to the importance of infrastructure for food security.

“Infrastructure allowed [Asia] to grow extremely rapidly at 45 per cent per year over the last 15 years,” he said. “I have increasingly seen things happening in sub-Saharan Africa that are strikingly reminiscent of things that have been happening in East Asia.”

McGurk continued to emphasize the role of research in this type of development.

“We need to have partnerships that focus on […] cutting-edge technologies that combine the best of field and food science with downstream solid business analysis, economics, and sociology,” he said. 

According to McGurk, the biggest challenge regarding food security remains the coordination of research at the international level and its application to supply chains in Africa. McGurk’s approach is to create the conditions so that the solutions emerge from local communities, like those of  Nigeria, where women sell their vegetables at cooperatives.

“The women in Nigeria already recognized the need for cooperatives to sell their vegetables because they need to negotiate with truck drivers and wholesale market operators,” McGurk said. “They also need to start branding their vegetables and processing them into particular products to capture more of the value-added [….] We must build institutions to do this work better in these countries themselves.”

Food insecurity in Canada

The lack of food security among indigenous populations and methods of quantification of food security were also discussed as they applied to a Canadian context.

Treena Delormier, a nutritionist and public health specialist from the University of Hawaii at Manoa, outlined the discrepancies between aboriginal populations and the average Canadian household, pointing at statistics that showed 27 per cent of aboriginal households across Canada experiencing food insecurity as opposed to 12 per cent for non-aboriginal households.

“There is a serious crisis of food insecurity in northern Canada, especially when we are talking about aboriginal populations,” Delormier said, citing a report of the Canadian Council of Academies.

Delormier also argued that the solution must be comprehensive and include indigenous governance, traditions and values.

The social determinants of health—such as income—were discussed in a presentation by Naomi Dachner, research manager in the Department of Nutritional Sciences at the University of Toronto.

“Our single best predictor of the problem is household income,” Dachner said. “As household income increases, food insecurity decreases […. This] also includes more general material deprivation and access to credit, savings, shelter costs, and other expenses.”

Food security can impact Canadians in many ways, according to Dachner. The first and foremost is healthcare cost.  Food insecure people tend to have more health issues. 

“When we look at health care utilization and costs in relation to other components, food insecure individuals cost about [two and a half] times what a food secure person would.”

The vast array of topics presented at the conference drew students from different departments and levels of study. Nina Moutairou, a graduate student from the Faculty of Agriculture and Environmental Sciences, commented on the global scope of the conference.

“I am looking forward to the section on India, Kenya, and Ghana,” she said. “I would like to expand my knowledge on food security in developing countries.  I’ve been here last year and the year before as well, and the conference has always done a good job at addressing these issues.”

a, Arts & Entertainment, Music

Deep Cuts: Songs that Give you the Creeps

by Kia Pouliot on

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Bang Bang (My Baby Shot Me Down)

Artist: Nancy Sinatra

Album: How Does That Grab You?

Released: January 1, 1966

     Originally written by Sonny Bono and recorded by Cher, this song has been covered by a number of great artists since then, but no version is quite so captivating—and unsettling—as Nancy Sinatra’s. Her vocals are languid and sultry, underpinned by a deep sense of melancholia. Though not necessarily creepy, the aura of nostalgic gloom in this song gets under one’s skin in an uncomfortable sort of way. The distorted guitar that echoes each line Sinatra sings, as if it was a mournful afterthought to her verse, accentuates this. This song resonates the deep violence that sometimes accompanies a broken heart.

John Wayne Gacy, Jr.

Artist: Sufjan Stevens

Album: Illinois

Released: July 5, 2005

When notorious serial killer and rapist John Wayne Gacy Jr.—responsible for the deaths of at least 33 young men—is the subject of a song, there’s no way that it could be anything but horrifying. However, Sufjan Stevens is not one for the cheap thrill, and his telling of the “Killer Clown” story is nuanced and thought provoking. The scariest thing about it is not the reference to the violence of Gacy; rather, that it forces the listener to empathize with him—however briefly. Stevens’ beautifully sung lyrics paint a rich snapshot into the psychology of a deranged murderer, and beg the listener to accept that although most people are not driven to commit the atrocities carried out by Gacy, we all have our own demons to battle.

Dead Hearts

Artist: Dead Man’s Bones

Album: Dead Man’s Bones

Released: October 6, 2009

“Dead Hearts” could be deemed a folksy lament: A song that seems to capture the chaotic and yet unbearably slow process of grieving for lost love. The nearly monotone vocals, repetitive strumming, and pulsing heartbeat throughout the song capture the monotony of grief; but the cacophony of exploding light bulbs somewhere in the middle serves as a reminder that it is not a smooth ride. The song builds slowly with an array of unusual sounds and then fades out with no real sense of closure, leaving the listener with a haunting feeling.

No Death

Artist: Mirel Wagner

Album: Mirel Wagner

Released: January 28, 2012

The endlessly recycled theme of undying love is darkly twisted in Mirel Wagner’s “No Death,” a song about a man, who, refusing to accept the passing of his lover, turns to necrophilia. The recording is sparse, nothing but her hypnotically repetitive acoustic guitar picking and haunting vocals. The raw bareness, rather than feeling incomplete, creates an uncomfortably intimate listening experience, allowing you to fully absorb the visceral imagery Wagner presents. Its story is bone-chillingly vivid with lyrics like, “Her hair is long/ Still smells like mud/ She answered to my kiss/ With a rotten tongue/ No death can tear us apart.”

a, News

Panel discusses efficacy of policy changes for Hong Kong democracy protests

by Sara Cullen on

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Last Wednesday, the Asia Pacific Law Association of McGill (APLAM), an association of McGill Law students with an interest in the legal systems and cultures of the Asia Pacific region, hosted an open panel discussion on the current democratic crisis in Hong Kong.

Panelists at Wednesday’s event included speakers Yves Tiberghien, associate professor of political science and director of the Institute for Asian Research at the University of British Columbia (UBC); Marie-Eve Reny, assistant professor of political science from Université de Montréal; and Jakub Adamski, course lecturer in the Faculty of Law at McGill University. The panelists covered topics such as the media coverage of the crisis, reasons for the initiation of protests, expected outcomes of the protests, current political tensions in Hong Kong, and police tactics that are unique to the 2014 protests.

On Sept. 22, Hong Kong citizens staged ongoing pro-democracy protests concerning the 2017 election of Hong Kong’s next Chief Executive. In late August, the Chinese government stated that as a Special Administrative Region of China, Hong Kong would be able to elect the next Chief Executive from a pool of candidates selected by the Central Chinese government. The pro-democracy protests were originally instigated by members of the Hong Kong Federation of Students and are being continued by the Occupy Central advocacy group for social disobedience in Hong Kong.

According to Ramanujam, the pro-democracy protests will lead to a change in Chinese party law.

“I think that in the immediate future, nothing dramatic is going to shift in Hong Kong,” Ramanujam said. “However, I do think [that China is making an] effort [… at] democratizing the party and the party’s behavior—making it more transparent, more accountable, and then going towards some sort of increased participation in terms of people.”

Professor Tiberghien identified the root causes of the Umbrella Movement, as the protests have been called, as the perception of rising inequality and decreasing opportunities for young people, concern over the ‘mainlandization’ of Hong Kong, frustration with the lack of innovation and proactivity in addressing new social, environmental, and economic problems, and a desire for the establishment of a “real democracy.”

According to Adamski, it is important to recognize that Hong Kong is a unique region when seeking to understand the events surrounding the 2017 election. He discussed the region’s history as a hub for Asian Pacific trade and its current economy.

“Manufacturing has ended effectively as a large [industry,]” Adamski said. “There is a lot of money coming into Hong Kong but many people are not profiting from that, hence the ‘occupy’ language [….] It’s about political rights, but it’s also about the growing perception that, effectively, Hong Kong is becoming more and more [of] a plaything, if not for what used to be Western foreigners, now for Chinese wealthy foreigners.”

Reny predicted that the Hong Kong protests will not come to a violent end, the way events at Tiananmen Square did in 1989. However, according to Reny, police tactics such as group detentions, pepper spray, and tear gas had not been utilized prior to the 2014 protests. This change in tactics, in combination with the lack of organization among protesters, leads to uncertainty as protesters continue to occupy the streets of Hong Kong.

“It’s not clear what [the Umbrella Movement’s] future plan of action is going to be,” Reny said. “[As] the sit-ins on the street go on, that uncertainty sends Beijing and the Hong Kong government […] signals that they shouldn’t worry too much about the protestors.”

In their concluding remarks, panellists agreed that the current unrest in Hong Kong is a by-product of a crisis that is both social and economic. Although panellists shared the opinion that the ongoing protests will not affect an immediate change, they predicted that a slow shift in party policy will occur.

a, Arts & Entertainment, Music

Pop Rhetoric: A tale of two musicians

by Max Berger on

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When I heard Neil Young would be putting out an album on Nov. 4, the same day that Bruce Cockburn was set to release his autobiography, along with a nine-disc collection of career-spanning music, it got me thinking about how the two artists relate to one another. Young needs no introduction; he’s a renowned guitarist, a two-time Rock and Roll Hall of Fame inductee, and arguably the most celebrated Canadian musician ever. Cockburn? Well, he’s a beloved Canadian musician too, but only in much smaller circles. Despite drawing no shortage of critical praise—when Stevie Ray Vaughan died, Eddie Van Halen was asked by a Rolling Stone interviewer what it felt like to be the world’s best guitarist and responded, “I don’t know, ask Bruce Cockburn”—and boasting a prolific catalogue of quality songs, it’s more likely than not that the average young Canadian has never heard of him.

This isn’t some kind of brazen injustice, and it’s not like the music industry has any responsibility to make sure the presence of an artist is equivalent to his or her skill; but by examining the career paths of Cockburn and Young—two artists that share an uncanny number of objective similarities, yet will come away with vastly different legacies—it becomes evident just how critical subjective factors like exposure and perception are in shaping popular music history.

What’s ironic—but not in any way surprising—about the rise of Young as Canada’s preeminent musician is that it all started in the United States. Like Cockburn, he was born in Ontario in 1945, but in 1966, Young traveled with fellow Canadian bassist Bruce Palmer to Los Angeles and joined three other musicians to form the iconic band Buffalo Springfield. Although Buffalo Springfield split up fairly quickly, Young’s success with them allowed him to play alongside supergroup Crosby, Stills, Nash, and Young and gave him a wider audience for his solo releases than he would’ve had if he had tried to establish himself in Canada.

While Young was jamming with some of the most well known artists of the era, Cockburn dropped out of Boston’s Berklee College of Music and returned to Ontario where he played with far less glamorous bands like The Esquires, The Flying Circus, Olivus, and 3’s a Crowd. Towards the end of the 1960s though, he decided to pursue a solo career, and it was only with his upbeat, radio-friendly 1979 song “Wondering Where the Lions Are” did he finally start getting any notable recognition outside of Canada.

Like Young, who, especially in recent years, has been an enormous advocate for political and environmental issues, Cockburn incorporated advocacy into his music and persona as well. In the 1980s, he began regularly visiting developing countries and addressing political causes. Another of his biggest and most politically charged songs, “If I Had a Rocket Launcher,” is about Guatemalan refugee camps in Mexico that were attacked by military helicopters—but it never quite transcended its era like Young’s “Ohio.”

Essentially all of Cockburn’s individual songs have surprisingly little traction today. Growing up, I listened constantly to  Toronto classic rock radio station Q107 and, despite its Canadian content mandate, I can’t ever remember hearing one of his songs played by the station. In fact, Cockburn’s greatest impression to our generation is probably the popular Barenaked Ladies cover of “Lovers in a Dangerous Time”—and most listeners probably don’t realize that it was originally his song.

Of course, the fact that Bruce Cockburn didn’t end up becoming Canada’s biggest musician means absolutely nothing to the artist himself. In a recent interview with Belleville’s The Intelligencer, Cockburn confessed: “I wanted people to come to the music. I wanted people to come to the shows. I didn’t want to be a ‘personality’ in public. I wanted to be anonymous.” Obviously, having an outlook like that makes it unlikely that he would’ve become a megastar, but what’s disappointing is that not even his most popular songs seem to resonate with our generation. Don’t get me wrong, I worship at the altar of Neil Young—but for every 30th time I heard “Heart of Gold” on the radio, it would’ve been nice to hear a little Bruce Cockburn next.

a, Editorial, Opinion

Editorial: Response to university budget shortfalls reflects lack of imagination

by McGill Tribune Editorial Board on

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On Oct. 27, McGill hosted a ‘town hall’ event to present its side of the renewed budget cuts it is making by order of Quebec’s provincial government, to the tune of 13 to 15 million dollars.
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a, News, PGSS

PGSS succeeds in lobbying for lower international health care rates

by Morgan Alexander on

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All international students at McGill insured with Blue Cross, a Canadian health insurance provider, will now have lower health-care rates following three years of lobbying by the Post-Graduate Students’ Society (PGSS) of McGill to the university.

Beginning in 2011, the PGSS lobbied the university to begin a competitive bidding process for alternate healthcare options, known as a request for proposals (RFP). The project was led in part by Jonathan Mooney, former secretary-general of PGSS, and PGSS Health Commissioner Elizabeth Crawley.

“To negotiate the drop in prices, McGill announced publicly that they were seeking multiple proposals from different insurance companies for the international student insurance plan,” Mooney explained. “As a result, the companies, knowing that they were facing competition, offered the best possible price for the plan.”

The immediate outcome of the RFP included lowered rates across the board, with decreases of $101 per year for individuals, $312 per year for individuals with dependents, and $549 per year for individuals with families. 

“This has impacted every international student in a positive way in that they pay less for the same service,” Crawley claimed. “As a student executive and health advocate, that outcome is a big win.”

PGSS was able to work directly with McGill via the Advisory Committee on International Students (ACIS). Early into the process, the university expressed fears that Blue Cross would make a worse offer due to the added work involved in an RFP, as the process requires the company to not only negotiate prices but also provide corporate, financial, and product information. However at the April 2013 meeting, Director of International Students Services Pauline L’Écuyer formally approved the RFP after listening to student arguments in support of it. In January, Vice-Principal (Administration and Finance) Michael Di Grappa formally approved the extended use of the RFP.

Mooney expanded upon the reasoning for the continued use of the RFP and the long-term goals of the policy.

“Through the RFP, McGill was able to obtain a better rate on the premium paid by international students at McGill,” he said. “In addition, McGill put in place a system to ensure that every few years the contract for the plan would be bid on by multiple insurance companies to ensure that the premiums paid by students stay low.”

International students currently pay three times more for health care than those covered under the Régie de L’assurance Maladie (RAMQ), which offers annual premiums ranging from no charge to $611. Ana Best, an international PhD student in the Department of Math and Statistics at McGill, expressed her view on the high rates of international healthcare rates.

“While it’s fair that international students pay for their insurance, it’s unfair that they are charged three times the RAMQ rate for hospital treatment and are not treated in any medical facilities that are RAMQ only,” Best said. “These things really make illness and healthcare a hardship for international students at McGill, and both would be solved by allowing international students to pay into a RAMQ public option.”

PGSS will continue working with McGill to negotiate lower health-care rates through the RFP, according to Mooney, who highlighted Di Grappa’s formal agreement to continue working with the RFP. Best praised the efforts of the PGSS executives in successfully lobbying McGill for the reduced healthcare charges.

“The past [executive] teams at the PGSS have done a great job in pushing for improved health care for international students, and the current execs are pushing even harder to make [it] a reality,” Best stated. “It’s also great that McGill itself has been on board with pushing for change and improving the lives of international students.”

a, Opinion

Commentary: Fear stymies western response to Ebola

by Cécile Richetta on

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The Ebola epidemic and the recent cases of infections in airports across western countries, shed light on the U.S’s. role as one of the leaders against the spread of Emerging Infectious Diseases (EID).
(more…)

a, Arts & Entertainment, Theatre

Weird Ass Game Show more normal than advertised

by Martin Molpeceres on

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I wasn’t quite sure what to expect when I stepped into the Wiggle Room for the first time. Then again, what can one really expect when they show up for something called “The Weird Ass Game Show?” It seemed like no one really knew what it was, but with the spirit of Halloween buzzing in my chest, I stepped into the unknown and braced myself for a night of weirdness.

It turns out it was a lot less weird than I thought.

Advertised as a mixture of ’80s American quiz and contemporary Japanese game shows, the format of The Weird Ass Game Show has three ordinary contestants pair up with three slightly more famous “celebrities”—I recognized one of them as a stand-up comedian who ran open mic nights at Comedy Works. Each team then competes against one another in three rounds of games, and the team with the most points at the end wins a fabulous prize.

The biggest problem The Weird Ass Game Show suffers from is the previously mentioned lack of weirdness. That’s not to say that games are anything as mundane as simple trivia questions, but after browsing Youtube and being exposed to the absolute insanity that is Japanese television, comparing oneself to that level of ludicrousness is a bold claim to make—a claim that the Weird Ass Game Show doesn’t live up to.

While the games themselves aren’t bad, they typically looked like the kind of thing that a group of quirky friends would do on any given Friday night. Such games included a 50/50 jellybean eating contest with Harry Potter-esque flavors such as orange or vomit, and a mystery cocktail round where contestants had to guess ingredients with nothing but taste. One standout game that immediately livened things up was when Zelda, the lovely co-host, did an interpretive tap-dance of a current event that the contestants were tasked with guessing. Otherwise, while initially amusing, most of these dragged on for a little longer than they probably should have.

The contestants themselves also presented a problem for the show. While their banter was initially fun to watch, their easily distractible personalities quickly became less cute and more grating as we approached the second hour mark. And there lay the issue with the show: Had the games been a little crazier, or the players a little more focused, then the length wouldn’t have been felt as much. As it stood, by the end of the first hour, I found myself glancing at my watch, wondering how much more was left.

This being said, kudos must be given to the host of the show, who managed to imbue the proceedings with enough energy to keep things consistently entertaining—and it didn’t hurt that he liberally handed out free drinks to the audience. Additionally, the atmosphere of the Wiggle Room alone almost made it worth the price of admission, emanating a wonderful mix of old school design and quirkiness combined with modern burlesque theatre. Ultimately, while the show is a little overly long and could use a little more weirdness, a low-ticket price and atmospheric venue could make The Weird Ass Game Show a fun distraction with a group of friends. Otherwise, you’d best give this game show a pass.

The Weird Ass Game Show takes place at 8 p.m. on Thursday nights at The Wiggle Room (3874 Saint-Laurent). Admission is $10.

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