519 April 2020

SOUTHWESTERN ONTARIO’S ENTERTAINMENT NEWSPAPER

519

Where the Stars Hang Out in Southwestern Ontario

Justin

Latam

Barefoot & Lovin’ It!

BEHIND LOCKE & KEY

Issue 22: Apr./May 2020

519magazine.com $1.75

BRUCE LECKY WAY | DAWN TYLER WATSON

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by tony gray

As the fates line up against the conduit

there is yet another who joins with white

plastic, the government, and the cosmos

themselves. preston todd, the conduit’s

first and oldest foe...

to be continued next month...

what can cast a

shadow over a god?

BRUCE LECKY WAY 4

Photo by Jerry Cadieux

DAWN TYLER WATSON 6

Photo by Lee Millward

WINDSOR PLAYWRITING

CONTEST

14

Issue 22

Apr/May 2020

$1.75 per copy

Dan Savoie

Publisher / Editor

dan@519magazine.com

April Savoie

General Manager & Sales

april@519magazine.com

Melissa Arditti

Assistant Editor

Kim Cushington

Art Director

Writers and Photographers

Whitney South

Dan Boshart

Shawn Logan

Brent Groh

Michael K. Potter

Cover Photo By: Dan Boshart

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3

Tell us about your band/career,

including your history, where you

are from and how you started?

In the musical justice system Bruce

Lecky Way is represented by two

separate yet equally important parts.

The talent and good looks (Kehmak),

that bring in the fans, ladies and

fan ladies, and the other guy (Chet

Williamz)… these are their stories.

DUN DUN.

How did you come up with your

band name?

Years ago, Kehmak and Chet had a

wild group sex experience in Toronto

at an apartment building on Dan Leckie

Way. We both told the participants of

the orgy that our names were both in

fact Bruce. We lied. We even had a

song that basically copied the tune

of “Mickey You’re So Fine”. It went

a little something like “My name is

Bruce CLAP CLAP, CLAP CLAP, My

name is Bruce CLAP CLAP, CLAP

CLAP. That night/morning, a legend

was born. Years later when trying to

think of a name for our group, Bruce

Lecky Way was the obvious choice.

Do you have any recorded music

available for fans?

Yes of course. Our newest song

is mixed by Juno award winning/

Grammy nominated musical lord Dan

Brodbeck and features viral Youtuber

John Nonny (from The Pun Guys).

You can find Bruce’s hits on all

streaming platforms (Spotify, Apple

Music, Deezer etc) and you can find

our amazingly hilarious skits all over

YouTube and Facebook. We have a

new bang bang coming out in April

titled “Makes Me Strong”.

How would you describe your

music?

Bruce is what the world has been

waiting for, it just didn’t know it

yet. We make music that makes you

happy, and music that makes you think

about being happy. Bruce’s style is

versatile. We take what we loved as

kids and tried to recreate that feeling

with our own twist. With influences

like Prince, Outkast, Michael Jackson,

Cee Lo Green, Eminem, Earth Wind

& Fire, Nelly, Joe Cocker, and Tom

Waits, Bruce is truly a mixed bag.

When the world famous DJ Seizure

first heard Bruce’s song “Down The

Middle” he was quoted by saying

“Yooooooooooooooooooooooooooo”

What makes your band/music

stand out from the others?

With looks that could kill,

undeniable killer voices, and the

comedy chops that kill the audience

every time, it was either this or become

hitmen. Chet doesn’t believe in

violence, so we went the music route.

Bruce doesn’t care about what people

think of him or if he stands out or not.

He just “is”. Bruce is here to spread the

love in all directions. He’s gotta big ol’

bag of love and not afraid to share it.

You get some love! He going to get

a bitta love! Hey lady…you want

519 Indie Profile: Bruce Lecky Way from London, Ontario

this love? Yeeaaah she’s getting the

love too. This questions getting love.

LOVE, LOVE, LOVE, Love Bruce.

What do you like to do outside of

music that contributes to the music?

10,000 push ups a day, read one book

an hour, shower, and work on our jokes

that come effortlessly, so really we

don’t work on them at all. Not only are

we world class musicians, in our spare

time we are also professional athletes,

industry leading business experts,

Canada’s top models (unofficially) and

comedians at the top of our game. We

shoot hilarious skits that captivate 10’s

of 10’s of people all across the Globe.

Name your two biggest musical

influences and why?

Can you name yourself? No. Then

probably Kevin Ferderline and Lou

Bega. RIP to both of these legends.

Just two well endowed soldiers ahead

of their time. Remind you of anyone?

Yeah, BRUCE! One day we plan to all

meet at those pearly gates up in heaven

for the ultimate cypher. Lou on vocals,

Chet on drums, while me (Kehmak)

and Kevin just crush beers and watch

the ladies flock. Can’t wait.

Who writes your songs? What are

the main themes or topics for most of

your songs?

Bruce does everything in house from

the lyrics, to vocals, to production.

Most of our songs are about how cool

we are. Other topics range from how

dope we are, to how lit we can get.

What has been your biggest

challenge as a band/artist? Have

you been able to overcome that

challenge? If so, how?

Our biggest challenge has been

being overly talented. Most stations,

playlists, and blog publications won’t

accept interviews or songs because

they say we are just too good and it’s

going to make all the other bands and

artists feel self conscious. We’ve also

faced a lot of discrimination for our

incredible good looks. It’s something

that we have come to accept and just

have to deal with on a day-to-day

basis. It’s not easy but we get by.

What current projects are you

working on at the moment?

We are currently working on an

EP and a few music videos including

the Toy Story Rap, following our

success of The Lion King Rap which

is approaching 75k views across our

social media platforms. We have a

lot of content in the vault and will be

releasing these goodies incrementally

throughout 2021. Kehmak &

Chet Williamz share all musical

responsibilities including writing,

producing, recording, directing, acting,

and mixing. If you’re an aspiring

musician or already a pro like Bruce

and are reading this, check out our

instrumental store where we are selling

the most fire emoji beats you’ve ever

heard. We know the struggle so the

price is on point for your broke ass.

Bruce out!

www.beatstars.com/brucebeatsstore

IG/Facebook/Twitter:

@BruceLeckyWay

CMAOntario Country Music Awards

Rescheduled for October

The Country Music Association of Ontario

(CMAOntario) has rescheduled the 2020

CMAOntario Awards for Sunday, October 4,

2020 at Centennial Hall in London. Presented by

Slaight Music with support from Ontario Creates,

the 8th Annual CMAOntario Awards will close out

the CMAOntario Festival & Awards Weekend in

London October 1 - 4, 2020, previously scheduled

for May 28 - 31.

It’s uncertain if CCMA Award winner Jason

McCoy, creator and front man of multiple CCMA

and JUNO Award-winning The Road Hammers,

will return as host for the 2020 CMAOntario

Awards ceremonies.

Following the recommendations from

government officials regarding COVID-19,

CMAOntario took the steps to reschedule the

festivities to ensure that the health and well-being

of artists and audiences is protected. CMAOntario

is committed to presenting and promoting the work

of Ontario’s country music industry and looks

forward to celebrating in the Fall.

Nominees for the 2020 CMAOntario Awards

will be announced this Spring. Performers will be

announced in the coming weeks.

Tickets will be honoured for the rescheduled

date and more detailed information will be sent to

all ticket buyers directly by the venue.

For those that have confirmed reservations at the

Delta Armouries hotel for the May event, starting

March 31st you can contact the hotel directly at

519.679.6111 to cancel or change your reservation

to the new dates.

The CMAOntario Awards are presented by

Slaight Music with support from Ontario Creates.

In 2007, Rob MacArthur and founding patron

Linda Wright together with a number of key

industry professionals founded the Country Music

Association of Ontario. The Association’s mandate

is to foster the growth and development of Ontario’s

country music and its industry, provincially,

nationally and internationally. The CMAOntario

has hosted seven annual Awards Shows and six twoday

Road to Independence educational conferences

with the generous assistance of presenting sponsor

Slaight Music and support of Ontario Creates.

London’s Loud Luxury Return

With New Single “Gummy”

Few first-time collabs have been as

monumentally impactful as Loud Luxury

and Brando’s multi-million-stream smash

hit “Body,” and both acts are set to build on

that milestone record with their next creative

collision. The Canadian duo and L.A.

singer-songwriter emerges with their second

link-up: “Gummy.”

Included on Loud Luxury’s upcoming

‘Nights Like This EP’ (due March 27),

“Gummy” sees its creators take the next

step toward power play status. Combining

emotive piano chords with thought-provoking

lyrics before unleashing its beefed-up

club appeal, “Gummy” marks the next

high-magnitude collab between the Canadian

hotshot duo and the L.A. multi-talent,

raising the bar higher and higher as they go.

“This song is very special to us. ‘Gummy’

is the first song we made with Brando

after releasing ‘Body’ and feels like we’re

picking up exactly where we left off,” Loud

Luxury said in a press release.

It’s been an amazing ride for university

friends Andrew Fedyk and Joe De Pace,

better known as Canadian duo Loud Luxury.

With their now worldwide smash hit ‘Body’

(feat. Brando), the Toronto boys are certified

Diamond in Canada and platinum in a

range of other countries (3x in Australia, 2x

in Switzerland and 1x in the U.K., the Netherlands,

Austria and more), held the #1 spot

in the U.S. Mediabase Dance Airplay chart

for two weeks, charted in the Top 40 of U.S.

Pop radio and the U.K.’s Official Singles

Chart (#4) and accumulated hundreds of

millions of plays across the most popular

streaming services. Its follow-up single,

“Love No More” (with anders), garnered

12 million streams on Spotify alone in its

first month and currently sits at an impressive

122 million plays on the streaming

platform, whilst last summer’s “I’m Not

Alright” (with Bryce Vine) adds to the tally

with over 45 million streams. Earlier this

year, the duo scooped up three 2020 JUNO

Awards nominations for ‘Dance Recording

Of The Year’, ‘Fan Choice Award’ and

‘Group Of The Year’, following four nominations

(including one win) in 2019 as well

as iHeart Music Awards.

Drawing inspiration from the numerous

musical influences he indulged in throughout

his formative years, L.A. singer-songwriter

Brando was a major force behind

Canadian duo Loud Luxury’s multi-millionstream

hit “Body” (well over 650 million

streams on Spotify) and Don Diablo’s

“Congratulations,” the latter of which shot

up the U.S. Mediabase Dance Chart through

a surge of radio plays.

For the full interview and more

photos, visit 519magazine.com

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Juno Nominated Montreal Singer Shares London Ontario Roots

By Dan and April Savoie

Montreal-based (bilingual) blues

singer/songwriter Dawn Tyler Watson’s

latest album Mad Love recently earned

her a 2020 JUNO Award nomination in

the Blues Album of the Year category.

Most may not realize the captivating

singer actually has roots in London.

We spoke with the singer before

COVID-19 broke out and before the

Juno Awards were cancelled.

What was it like growing up in

London?

Boring, I couldn’t wait to get out.

Now when I go back to visit London,

it’s kind of a nice vibe, not like before

with a Colgate Kmart feel, which you

probably are too young to know what

that is. I can describe it as a Giant Tiger

mentality, there was a store called

Kmart and it was very white blue collar

place with a lot of white people and I

just never felt like I fit in there. Even

when I went back to visit London, I

heard somebody told me once it had

more millionaires per capita than any

city in Canada at one point I’m like,

where were they when I was growing

up?

Could have found me one of them. I

got out pretty quickly and now when I

go back, I’m thinking, what a beautiful

city. It’s got some lovely homes and a

multicultural kind of scene. Good music

comes out of there, I still have some

family in the area too. It wasn’t the

same when I grew up. In London, I was

in an all white community. Seriously,

we’d see another black family on the

street and wave. It was hey, look with

me. It was seriously like that. And now

it’s really quite epic.

Did living in London inspire you to

be singing the Blues?

Well, no, not in so many ways except

that I was groomed. My parents sent my

brother and myself to a music school

called St. Peter’s in elementary school

and we were competitive. We played at

the Kiwanis Music Festival and there

was a choir. I learned violin. I think my

brother played viola and we were nurtured

in the music that we had in us. My

parents were not particularly musical,

but they saw that we had that and so

they sent us there and we also sang in

the church choir. So it was a good, basic

foundation for me to build upon.

I always remember as a kid just singing

all the time, I must have drove my

folks nuts singing around the house all

the time. I wasn’t singing the blues

during that time, I was singing whatever

was on the top 40 radio charts and

just repeating the song over and over

and mimicking everyone because that’s

what I did. Right? That’s what you do

as a young singer. You mimic your artists,

your heroes, but I would mimic

everybody from Anne Murray to Barbra

Streisand, the Eagles, Michael Jackson,

whatever was on the radio at that point.

It gave me a good foundation for music

Photo by Jerry Cadieux

and wasn’t until I moved away and had

a crazy teen hood.

In young adulthood, I started working

in bars and restaurants and drinking

and drugging too much and I came

full circle. When I came to Montreal to

study and I got accepted into the jazz

program at Concordia University. So

that was the beginning of really any

formal training and performance. I had

a couple bands before that, but nothing

really ever took. And that’s more

or less in Concordia where I started in

networking. And I started a career, I did

some acting and I had a band. So when

I was Montreal and that started me in

jazz. I learned more about jazz and the

family of blues.

Of course, jazz comes out of the blue.

So I’m the history and more of some of

the early forerunners. And then when

I graduated, I started gigging. I was

also doing some acting, and I was approached

by a record label here in Montreal,

she put a couple tunes on a compilation,

that was the record label was

called Preservation Music. They put

together the preservation blues review,

and there were people on there like Rob

Lutes and some pretty well known people

at the time. It was a compilation record

and it did really well. And the next

thing when it came out, we did a couple

of showcases.

I was on the blues stage in Montreal

at the Montreal Jazz bash, which is

8,000 to 10,000 screaming blues fans.

And I was like, Oh my god, I guess I’m

a blues singer now, it was literally a

moment that I remember very clearly,

where I go Oh Shit, they’ll think I’m a

blues singer, I better do this thing and it

took off from there.

So I always say, Blues chose me, I

didn’t really go out and say I’m going to

be a blues singer, I just wanted to sing.

I’m still very influenced by all kinds of

styles I’m likely to put on jazz as quickly

as I’ll put on blues or I’ll put on songwriter,

singer songwriter stuff and Adult

Contemporary. I’ll put up with hip hop

or soul, R&B, old school, I love all of it.

Anytime someone gets a Juno

nomination, it’s always exciting. So

what are your feelings about yours?

Excited, extremely excited. I was

floored. It’s actually funny because

Steve Strongmen, who is a wonderful

Juno Award winner and has been nominated

in this category three times, one

of which one in the same category. We

were putting together a little tour we

had right after the Maple Blues Awards,

that beginning of February, and talking

on the phone.

We hung up and within about 15/20

minutes later, he called me back saying

asking if I was watching the nominations

live, because online they do the

nominations. And I said, No, I’m not,

he goes, well, you’ve been nominated

for a Juno. I screamed literally, in his

ear. I was so excited as you can tell, I’m

still really, really excited about this. Super,

super thrilled and surprised actually.

I didn’t expect that. I guess you put

yourself into these things that I know

it’s always an amazing feeling to get

nominated in something you’ve never

been nominated in.

What do you think makes Mad

Love the album that got you nominated?

Good question. All I can say is it’s

a real album. A lot of heart went into

it. A lot of pain went into that record

to the writing of the songs into the

performances. After having heart surgery,

I hadn’t even realized that it had

been affecting my voice. So it was very

strange. It wasn’t like I was getting

winded walking upstairs. That was just

the symptoms of it. It was very subtle,

and I found out about two weeks after

the operation when I picked up my guitar

and started just gently singing that

there were nuances in my voice that

returned. And I actually started crying

because I was so grateful.

This was like the platinum, diamond

studded lining to this whole thing that I

got my voice back. In my voice, I had

to shift my technique over the last year

or so, in fact I have allergists looking

into it. I had my ENT looking into it,

gone for tests and they were all trying

to figure out why I was having this issue

with my voice. So that was a real gift

getting that back to me and getting my

voice back. When we went into record

this one, my performance and my voice

was stronger when we went into record

Mad Love.

So I think it’s coming from a stronger

place and then Jawbreaker was with the

same producers. It’s self produced, and

it’s the same team that did the last album

Jawbreaker, but with more heart in

it. There’s a lot of heartbreak that went

into writing the song. It’s basically a

breakup album that spawned a lot of the

music from some very painful stuff and

a very short, short lived abruptly ended

marriage. As I say, every time I perform

these songs, I heal a little bit more. And

I think that the album is really coming

from a really strong, emotional place

and that’s possibly what people are

sensing energetically to the music

Are emotional songs harder to

write and sing?

No, I find them easier. I think easier

in that usually those emotional songs

are written themselves. They usually

come through me, while some of the

other songs can be less intense, but still

good. A lot of my songs have humor in

them, but the ones that are more painful

and deal with more painful topics are

the ones that are closest and dearest to

me.

There was a time as a songwriter

where the more personal the subject

was, the more I would try to hide it from

people, I would think they wouldn’t be

interested in hearing that. I was like, oh

no, that’s way too personal, they’re not

gonna relate to that or they’re not going

to get it for the longest time. And I’ve

learned that in songwriting as in any art,

the, the impression and what you feel

from observing that piece of art either

listening to it as a piece of music or

looking at it as a painting, the person

who was viewing or experiencing the

art is going to have their own experience

of it no matter what. And that is the

beauty of art.

If we all felt the same way about it

would be a very dull world. I don’t

think it’s any more difficult to write, I

think it’s all very healing. I’m so blessed

I feel to do what I love for a living

to be able to have a place and a medium

of which to process my feelings

and to have a channel for my feelings.

I work with a lot of young kids now,

I’m teaching voice at high schools and

coaching kids as well as working with

at-risk youth. I’m always telling them to

write in their journals, do poetry, photography,

draw, sing and find an outlet

for dance. It’s so important.

How did you approach the album

when you went to make it?

Differently than the first one, as this

was planned out. You have to take my

hand and lead me through the process.

I’m not the kind of person who loves

to go into the studio. Not yet. I’m starting

to enjoy it because of the last two

experiences with these last two albums

Jawbreaker and Mad Love.

Kudos and huge gratitude to my

producer Frankie Thiffault because he

took my hand literally and walked me

through the process. He’s the one that

gave me the confidence that we can

do this. Dawn, it’s not as complicated

as you think. Just do this, here is what

we’re going to do and he had a way of

making it look achievable and for me.

It was overwhelming and I also can’t

stand going over and over stuff under

the microscope of getting it perfect.

I’m alive, but I love audiences, I need

the energy of the listener. And I need

to connect and have that energy going

between us. It’s a loop, it’s like a high

that I get from giving to the audience

and they give it back to me and I need

to connect.

So in the studio, when you’re alone,

and you’re singing into a microphone

with the earphones on and there’s

somebody behind glass, I find it so

much harder to find that energy, but on

the other hand, I’m starting to enjoy

that it’s more personal and it’s a different

experience. You have to find that

energy and find the performance somewhere

else within you. So it’s not an

easy process for me, thank God I have

the team around me, Ben Racine band,

and Francois Thiffault, because of them

is the why we have this album, this album

is really because these guys, these

are angels that the universe put in my

path to, guide me through this process.

And the result is we’ve got this album

that everybody seems to love and be really

happy with.

How did the Ben Racine Band enter

your life?

Well, when Paul Deloria and I started,

we did an album in 2013 and we

were touring 2013 -2014 and starting to

drift apart. It was still fun, but we felt

that we were both looking for other different

musical things. And we’ve been

touring 14 years at this point together

and it was really great with acoustic

shows just Paul’s guitar, myself and his

voice so it was like a trio because the

three pieces were really important.

It wasn’t an awesome show that was

so well received though and so he started

to do a little bit more of his band, he

had the Paul Deloria band, and I started

doing a little bit more jazz and so we

just kind of drifted apart. And my agent

Brian Flex said to me at the time, I got

some of these blue shows for you but

you have to put a band together. I’ve

got this band for you, and he introduced

me to Ben’s music. And when I heard it

it was so refreshing.

He’s such an amazing songwriter

and these guys are just truly professional

and committed musicians. I wanted

to meet them first so I listened to the

album and I loved it. And then I went

to go meet them and listen to them live.

I got on stage and I jammed with them

and kind of started from there.

We felt the energy and they were just

so eager and gung ho to, to back me up.

Yeah, that was it and that was about six

years ago now. I love these guys and

they’ve taken my music to a whole other

level.

They were already a unit and because

Frankie is such a good producer.

You could take the songs that I wrote,

first of all, it was just from doing Jawbreaker

it was just so affirming. I never

felt that my songs weren’t any good. I

always felt they would take my songs

and he would, just automatically affirm

me in my songwriting.

And that worth is gold to me and truly

so important for my fragile ego when

it comes to putting my stuff out there

and I really appreciate that. The band

has been nothing but supportive since

and we’ve toured, and done a lot of

stuff together.

Local Entertainment Headlines from South Western Ontario

Windsor Country Singer

Releases New Album and

Goes Viral on TikTok

Windsor-born, Toronto-based country

sensation Kelsi Mayne says she made

decisions on the fly when it comes to this,

her newest single “As I Go” — and the

results could not be better.

“The hook states, ‘I’m gonna make it up

As I Go…’ which is precisely what we did

when we wrote this song!” Mayne says,

recalling the process. “My two brilliant

Nashville co-writers, Brett Sheroky and

Drew Powell, met with me at the end

of my long-winded, five month writing

trip in the ‘Music City,’ but we were all

drained of ideas.

“We started vibing out on chords and

an ‘Eric Church’ feel. Once we came up

with the hook. we had a lot of fun coming

up with different ways to get revenge. We

even managed to pay homage to Carrie

Underwood in the chorus” she continues.

“But what also makes this song different

than most ‘cheatin’ hearts’ country songs

is she admittedly doesn’t know what she’s

going to do and — much like myself —

has a hard time deciding!”

“The music video was also much of the

same,” she says of the video for which a

quick preview of quickly hurtled Mayne

into viral fame on TikTok, with more

than 1.5 million views in 24 hours. “We

decided to go with a ‘Mad Max’ inspired

look and whatever resources we knew we

had together between all of our friends —

gasoline, trucks, dirt bikes, ATVs, a drone,

monster truck, smoke bombs, fireworks,

and two scrap cars.”

As one of three top finalists in

SiriusXM’s national ‘Top of the Country’

contest, Mayne continues to stack the stats

in her favour. Her previous single “Takin’

U Home” currently has more than 440,000

spins on Spotify alone, and was the #1

independent download on DMDS. The

track captured the attention of national

audiences on Rogers Hometown Hockey

Tour, and the Canadian Sports Hall of

Fame ceremony on CTV. Dearest to

Mayne’s heart, “Takin’ U Home” was also

used to promote the Humane Society’s

adoption programs.

Originally from Windsor, Ontario

— and fun fact: ranked third in Canada

for varsity women’s 60m hurdles —

Mayne has taken the stage at some of

the country’s most celebrated festivals,

including Havelock Jamboree, Boots &

Hearts, and the Big Valley Jamboree. Last

year, she took to the silver screen as the

lead in Willa, a Stephen King adaptation

which is still making its rounds on the

International film festival circuit.

Her debut FACTOR-funded album was

released March 27th.

Forest City Film Festival

Announces 2020 Film

Submission Dates

Do you know any aspiring filmmakers?

Tell them about the 5th edition of the Forest

City Film Festival! We accept short films,

features, animations, short documentaries,

feature documentaries, screenplays, and

an exciting new category -- music videos!

Watch this space for more on Season

2020 of the Forest City Film Festival.

Regular Deadline June 15.

Final Deadline July 15.

Joel Plaskett Releasing

Box Set and Planning

London Tour Stop

Juno-award winning musician and

songwriter Joel Plaskett releases a new

box set this month and plans to visit

London’s Aeolian Hall on Oct. 26 and 29.

Singles from the four 11-song albums

in the new box set, titled 44, are being

slowly revealed in advance of the project’s

full release on April 17, the day before

Plaskett’s 45th birthday.

44’s first two singles, “Head Over Heels

Into Heaven”and “Just Passing Through”

have already become favourites on

playlists like Spotify’s New Music Friday,

earning both regional spins and national

rotation on CBC and other stations.

In the new single, the Juno-award

winning musician and songwriter takes us

on a slow nighttime ramble, reflecting on

where we’ve come from and wondering

what awaits around the corner.

“’If There’s Another Road’ is one of my

favorites from the project,” says Plaskett.

“It’s mood seemed to thematically sum up

the third record in the set so it became the

title track. It was the first song I wrote on

an old, 1930’s mandolin. We tracked it at

Memphis Magnetic Recording in April

2019 on a session put together by Doug

Easley, who recorded Thrush Hermit’s

Sweet Homewrecker back in 1996. Doug

and George Sluppick were the laid back

rhythm section and Rick Steff played some

beautiful piano. Dave Shouse, whose work

with The Grifters and Those Bastard Souls

have influenced me considerably, added

some great tension on Hammond organ

to the last part of the song. The chorus’

powerful backing vocals by Reeny,

Mahalia and Micah Smith were later

tracked at my New Scotland Yard studio

with three of them around one mic. They

really lifted the song to a higher place.”

Bluesfest Windsor

Continues Advance Ticket

Sales for July Festival

There will be plenty of Apple Bottom

Jeans roaming around Bluesfest Windsor

this year. As if the previously announced

Bluesfest lineup wasn’t enough to get the

party started, the festival announced a

couple of its two Friday headliners this

morning. American rapper/singer Flo

Rida will be whistling tunes of boots

and fur with SonReal on Friday, July 10

at Festival Plaza in Windsor and Loud

Luxury will be one of the acts for Friday,

July 17.

Flo Rida joins an already impressive

lineup of rock, r&b and blues artists

including TLC, Jenny from Ace of Base,

The Trews, Billy Raffoul and family, the

Saints and Sinner Tour with Big Wreck,

Headstones, Moist and The Tea Party,

as well as blues artists Cash Box Kings,

Carolyn Wonderland and others.

Over the last several years, Flo Rida

has pulled off a pretty neat trick. Not

only has the Florida-born rapper become

a chart fixture thanks to the blockbuster

singles “Low (feat. T-Pain),” “Right

Round,” “Club Can’t Handle Me,” and

his most recent chart-topping hits, “Good

Feeling” and “Wild Ones (feat. Sia),”

he’s also broken-down barriers by uniting

millions of fans of pop, hip-hop, and club

music around the world and establishing

himself as an international, genre-busting

superstar in the process. Flo Rida brings

his experiences traveling the globe to his

fourth album, Wild Ones.

Award-winning Canadian hip hop artist

known for his free online albums and

mixtapes The Stroll, One Long Day, and

For the Town. He went on to be nominated

for Juno Awards in 2013, 2015 ad 2019.

It’s been an amazing ride for university

friends Andrew Fedyk and Joe De Pace,

better known as London output Loud

Luxury. With their now worldwide smash

hit “Body” (feat. Brando), the boys, who

now call Los Angeles home, are certified

Diamond in Canada and platinum in a

range of other countries, held the #1 spot

in the U.S. Mediabase Dance Airplay

chart for two weeks, charted in the Top 40

of U.S. Pop radio and the U.K.’s Official

Singles Chart (#4) and accumulated

hundreds of millions of plays across

the most popular streaming services. Its

follow-up single, “Love No More” (with

anders), garnered 12 million streams

on Spotify alone in its first month and

currently sits at an impressive 120 million

plays on the streaming platform, while last

summer’s “I’m Not Alright” (with Bryce

Vine) adds to the tally with over 45 million

streams. Earlier this year, the duo scooped

up three 2020 JUNO Award nominations

for ‘Dance Recording Of The Year’, ‘Fan

Choice Award’ and ‘Group Of The Year’,

following four nominations (including

one win) in 2019 as well as iHeart Music

Awards nominations for ‘Dance Song Of

The Year’ and ‘Dance Artist Of The Year’.

Depending on the day, single passes

for one-night start at $40, three- and sixday

weekend passes come in at $125 and

$250, with VIP passes starting at $100,

three- and six-day VIP at $300 and $500.

There’s also a new Ultra 6-Day pass for

the entire festival that gets fans hanging

out with the performers in a protected and

isolated area, priced at $750.

Visit www.bluesfestwindsor.com for

more.

STORY AND PHOTOS BY

DAN BOSHART

Justin

Latam

Barefoot & Lovin’ It!

He’s known as the barefoot musician

and Leamington son, Justin Latam, is

about as down home as anyone can

be. The affable singer/songwriter and

father of five talked with us about

being a working musician and family

man and what motivates his art.

First off, how are you as a working

musician and father of five dealing

with the current crisis?

As a working musician and father

of 5, this current crisis is hitting

hard. Gigging is the main source of

my music income, so with all gigs

cancelled indefinitely, it’s uncharted

territory for me. I’ve been as a working

musician for the last 14 years and this

situation has me re-thinking what that

will look like moving forward.

You’re a self proclaimed porch

sitter and sing about it in your song

“Life’s Better on the Porch”. Are

you a homebody at heart and has

this helped you adapt to the current

situation of home isolation?

I do enjoy sitting on the porch when

I can! For sure, I am a homebody

at heart. One up-side of this selfisolation/social-distancing

situation

is that it’s an opportunity for me to

spend time with my wife and children

and get caught up on house cleaning.

There’s really no excuse for a mess

right now.

Have you joined the throng of

performers who are performing

from home via social media?

In trying to adapt to this shift

in what it means to be a working

musician without gigs, I’m going to

be re-evaluating my online presence.

Something new will be coming out

of this for sure. You can stay tuned

for updates on my website http://

justinlatam.ca/index.html.

Your latest release, Justin Latam

and The Stride was released March

1st with a show at Leamington’s

Bank Theatre. How was the CD

release show and how has the

response been to the new album? Is

this new album a departure in any

way from your previous work?

It was a blast to have my CD

release show in my hometown, at The

Bank Theatre. There is a wonderful

community of people that support the

arts here, and The Bank Theatre has

become a hub for that.

Primarily, I play as a solo-acoustic

act or with my dad as an acoustic duo.

On my new record, “Justin Latam &

the Stride”, I decided to explore my

rock n roll side. I don’t feel that my

writing has really changed much, just

the way I’m presenting the songs.

Playing electric guitar with a band

is a totally different experience for

me than playing solo acoustic. When

we get into the groove and start

feeding off what each other is doing,

it’s energizing. I was very thankful to

have excellent musicians help bring

this record to life (Benny Pallottopercussion,

James Staley-bass, Brett

Humber-electric guitar). Brett Humber

is also the one who recorded, mixed

and mastered the record at Sound

Foundry Studios in Kingsville. He’s so

great to work with.

Response to the new record has

been positive. I’ve had people say it

was great to listen to while cleaning

their house and others say it was good

music to paint their house too. I take

that as a huge compliment. When I

clean the house, I’ll put on records

and jam out, it makes it fun. If I can

be that for other people (be part of

the soundtrack to cleaning, painting,

driving, whatever), that is a pretty cool

and a rewarding feeling.

Typically, I would sell a majority of

CDs at live shows. With no live shows

at the moment, I’ve turned to getting

my music to my fans and supporters

across Canada with my “CD Mailing

Tour”. Over the years, I’ve had the

privilege of meeting folks from all

over Canada. My new record has been

heard from Halifax N.S. to Duncan

B.C., and orders are still coming in.

While everyone is physically isolated,

music is something that we can share;

that keeps us connected. If you’d like

to order my new CD, you can send a

message to Justin Latam on Facebook

OR send an e-mail to justin_latam@

hotmail.com and I can get it to you!

I read that you collected empties

to fund your latest album and you

held house concerts to help fund the

album “Barefoot” a few years ago.

This seems to be a more personal

way to raise money than online

crowd funding. Has it helped you

connect to fans and increase your

fan base?

For sure it is a great way to connect

with fans and increase my fan base. I

try to come up with ways to engage

fans that goes beyond just asking for

monetary support. The empties thing

took off and was more successful than

I anticipated. It was also easier asking

people for their empties than asking

for money, and the process allowed

for real-life interactions, connecting

with people, which is what this whole

music thing is about.

You’re known as the barefoot

musician due to your performing

barefoot. When did this start and

what motivated this? I’m aware of

some other musicians who do this,

does it ground you?

I’ve loved being barefoot for as

long as I can remember. Growing up,

my mom was always barefoot at home

with us, and I guess that was instilled

in me. I started performing barefoot

pretty early on. I think it happened

naturally. I played many summer patios

and it just felt better to be barefoot. It

does help me feel grounded.

You’re a great story teller like

a good folk musician should be.

Your style of story telling reminds

me of another local musician, Max

Marshall. He has said songs have

come to him while experiencing

things on tour. Have you toured or

travelled much of Canada and is this

a similar experience for you?

I know Max. He’s great!

Yes, over the past couple years I’ve

done a few Ontario Tours (playing

places like Kingston, Hamilton,

London, Toronto, North Bay etc.),

played several festivals like The

Gathering Festival in N.L., Kingsville

Folk Fest, Tomato Fest, several Pride

Festivals etc., as well as played writers

rounds and showcases in Nashville.

Travelling has definitely influenced

my writing, picking up stories here and

there. In addition to being influenced

by my music travels, as a family, my

wife and I enjoying travelling with our

kids and also on our own. Sometimes

a little change can inspire things. For

example, a few years ago my wife

and I were coming home from the

Dominican and our plane was delayed.

While we were waiting, I was starting

to really miss my guitar (which is also

named Heather). That was how my

song “Late Night Lady on the Side”

was born. I had this bluesy tune stuck

in my head, and then the lyrics came

out in one shot.

The first time I played it was for a

crowd at Dale’s Friday Coffee House.

My wife Heather and our children

were also there, and everyone knew

I was happily married with children.

I didn’t tell the song’s story and just

played it. When I finished, there was

an awkward silence as people weren’t

sure what to think about this Late

Night Lady. They thought the song

was about another woman, when it’s

about my guitar! Ironically, it’s my

wife’s favourite song of mine.

A lot of great folk songs have been

written about historical events. Gordon

Lightfoot has The Edmund Fitzgerald

and you have Oh Geronimo. Was

Geronimo more a result of your love

of beer and simple curiosity or do you

have a love of history?

“Oh Geronimo” was a result of both

my love for local beer and my interest

in local history. On the Walkerville

Brewery Geronimo IPA can, it has a

little blurb about the story of the ship,

The Geronimo. When I read it, it just

felt like a song waiting to be written.

Looking at where we are in Southwestern

Ontario, there is a wealth of

stories waiting to be shared. I explore

that sometimes in my writing, songs

like “Still Tomato Town” written

about the Heinz closure in Leamington

or off my new record, “You Don’t

Know Jack”, written about the story

of Kingsville resident Jack Kungel’s

healing journey with cannabis. There

is so much to share in this area. As a

folk-artist, I do feel a responsibility to

distill these stories into song.

Speaking of beer and incidentally,

your song “Beer Beer”, I love

that your percussionist created a

homemade instrument for the song

called a lagerphone. It seems very

folk inspired, finding instruments in

every day things.

That’s Benny (my percussionist) for

you, definitely a folk-inspired idea.

He really is open to finding unique

ways to approach percussion in the

songs I write. Benny can pick up on

my strumming patterns, or the way I

may tap the guitar with my hand at

certain times, and he translates and

extrapolates from it to his percussion

parts.

You’ve performed at Kingsville

Folk Festival. How was your

experience there in relation to

exposing yourself to a larger

audience and connecting with other

musicians? What do you think

of the job John and Michele Law

have done with the festival and now

forming a type of partnership with

Mariposa?

Playing the Kingsville Folk Fest

was an amazing experience. It was

fun and inspirational to share the

stage with all of the talented folks

who played at Folk Fest. They really

know how to make the musicians feel

welcome and foster a community vibe.

As much as I enjoyed playing at the

folk fest, I also enjoyed the down time

just hanging out and talking with the

other musicians. A highlight for me

was playing a few tunes on the main

stage.

It’s been great to watch it grow

every year. I haven’t heard of the

partnership with Mariposa, but it

sounds cool. John and Michele know

what they’re doing.

“A Safe Place for your Pride” is a

beautiful song. What inspired you to

write that?

In 2015, my wife was at a teacher’s

workshop in Toronto. The themes

surrounded LGBTQ+ youth. She

shared some of what they were

learning with me on the ride home to

Leamington. Reflecting on what she

shared, I thought about our 5 children,

and how I love them, no matter who

they become or who they love. The

song is one of acceptance, not just to

my own children, but to everyone.

Who are some of the musicians

who’ve inspired you? You wrote a

tribute to Gord Downie with August

Twenty. He was a great poet, was he

one of those you found inspiration

in?

So many musicians have inspired

me over the years. My parents had a

great record collection (Led Zeppelin,

Pink Floyd, Neil Young, The Beatles,

Simon and Garfunkel etc.). As a

teenager I discovered Nirvana and

Leonard Cohen, both huge influences

on me.

Gord Downie and the Hip are also

an influence on my music. I dig how

their songs are saturated with Canadian

themes and delivered in a rock n roll

sound. Like the rest of Canada, I

watched their final concert on the CBC.

The day after I left for Newfoundland

to play a festival. I wrote my song,

“August Twenty”, in the airport and

hotel rooms on the trip. For me, that

song is the meeting of folk-spirit with

rock n roll sound. In Newfoundland,

there is this profound sense of lovefor-home.

Newfoundland had a big

impact on my writing from that point

onward.

On a more local level, an important

influence on my musical journey has

been my friend and mentor, Dale

Butler. He’s a fellow folk musician

from Leamington and is a huge

supporter of songwriters. He has been

running “Dale’s Friday Coffee House”

for years, creating a safe and accepting

space for songwriters (both seasoned

and new) to share their songs. Thanks

Dale!

When did you first pick up a

guitar and start writing songs?

Have you always played and created

in a folk/blues genre or did you go

through phases growing up?

I started playing guitar at age 10

at Dale’s Music Room and started

writing music soon after. One of the

first songs I remember learning was

the riff to The Beatles “Day Tripper”.

Growing up, I enjoyed listening

(and eventually writing) in a variety of

genres, like rock, jazz, classical, folk,

pop. I try to keep an open ear.

The folk/blues songs I write seem to

be the ones that feel the best to play

live, so naturally, I write in that style

the most often. I guess my folk/blues

writing came about when I was 19 or

20 years old and started playing patios

and pubs. Folk music connects with

listeners through stories and bluesrock

can get people’s toes tapping and

heads bobbing and people moving! I

guess I just enjoy putting those things

together.

When did you realize music was

going to be your profession in life?

Was there ever any question of

that? Was there a moment when

you decided this is it for me; I’m

committed to making this work?

Music has been my passion in life

long before I realized it was. I’m a

believer that you can work on the craft

of song writing (and it definitely has

helped me to do so), but the songs

really have a life of their own and

you have to balance working the craft

side of song writing with letting the

songs come to you and becoming what

they’re meant to be. Sometimes it feels

as if the songs are unfolding on their

own and if I can find the right distance

to watch it happen (maybe encourage

it a little), it’s a beautiful thing.

If I had to pick one moment though

that encapsulates me deciding to

commit my all to music, it would be

back in 2015 when I left my day job

(and shoes) behind to follow my path

as a working singer-songwriter and

performer. At the end of my last shift

as a barista, the shoes came off and I

walked out of the coffee shop barefoot

and haven’t looked back since.

I am so thankful to have the

amazing and constant support of my

wife, Heather, and our 5 children.

Heather helps me keep my feet on the

ground when my head is in the clouds

(which is often). She’s my muse, my

focus, my advocate, my everything.

My children are a great support too,

often giving me honest, unfiltered

feedback on my songs (which is so

important). An example is recently,

I showed them a song from my new

record “Two Wheels”, written about

teaching them to ride a bike. In the

bridge, I repeat the same line 8 times.

I’m sitting there, wondering what they

think, when one pipes up with, “Did

you just not think of anything else to

say? Is that why you keep repeating

that line? Sometimes I hear my kids

across the house humming or singing

one of my songs. To me, that’s what

success is.

Many of your songs are very

relatable with simple every day

themes like We All Shovel Snow

and Bubble Bath Time. Snow

is pure Canadian with all the

Canadian cultural and geographical

references. How do your audiences

react to these songs when you

perform? Does it create a stronger

connection between you and your

fans?

I often like to look at everyday things

for inspiration; things that connect us

in our human experience. I feel that

songs in that vein (like “We All Shovel

Snow”) go over well with audiences.

Living in Canada, the experience of

snow shovelling is definitely relatable,

and I think relatable songs create

connections with the listener.

“Bubble Bath Time” was probably

the first blues-rock song I was proud

of. I remember the first time I played

it (also at Dale’s Friday Coffee House

in Leamington). The song is often

assumed to be a kid’s song based on the

title, but it is far from it. The crowd at

the coffee house was mostly 60+, and

they loved it! It’s become one of my

most requested songs. I think beyond

the content, the feeling of listening to

blues-based music is something many

can connect with.

Are any of your children carrying

on the musical performer DNA?

There is a love for music and the arts

in our home. All of the kids can carry a

tune and have excellent rhythm. We’ve

got some into musical theatre, some in

school bands, some with a great ear for

sound. Not all of them may be destined

for a stage, but the love is there.

Music is something I haven’t

pushed on my children. If it had been

pushed on me when I was young, I’m

not sure if I would have developed the

same drive or love to be a working

musician and songwriter.

My dad has probably been the

biggest influence on how I view myself

as an artist. As a child, I remember

discovering my dad’s old sketches and

silk screens in our shed. To provide for

us, my dad boxed-up his artistic dreams

when he had kids and got a steady job.

Then, when I was 10 years old, dad

lost his job. He turned this obstacle

into an opportunity to rediscover his

art and turned art into his job as a

silk-screener, photographer and signmaker.

This really instilled in me the

drive to pursue creative expression

through music, with hopes to inspire

my children to follow their own paths,

whatever they may be.

For more about Justin, visit his

website: justinlatam.ca.

A Peek Behind The Scenes With Hollywood Visual Effects Pro From Locke & Key

By Dan Savoie

It’s always fascinating to dive into the

inner workings of Hollywood, but during

the COVD-19 pandemic, things are a little

more tense as the movie industry sits and

waits.

One such Hollywood creator is visual

effects guru and producer Richard J.

Cook, who just wrapped up visual effects

on season one of the Netflix smash series

Locke & Key. He’s also gearing up for the

release of Gold Dust, his latest venture as

a producer.

Movie fans might have noticed his name

in credits for films like Independence Day,

Star Trek: First Contact and Men In Black.

Cook called from Hollywood to chat

about Gold Dust, Locke & Key and

everything Hollywood.

How are you making out during the

COVID-19 pandemic?

Well, I am actually currently in between

gigs because when we wrapped our last

show, which was January 31st, I was put

in a holding pattern for season two of this

show as well as some other Netflix shows

I was lined up for. So now because of the

pandemic, everything’s on hold and I’m

basically living off of savings and seeing

what the market does, what the industry’s

going to do here as things pan out, and then

jump back in when the timing’s right. So

basically in a holding pattern.

It sounds like a lot of us. So what’s the

actual vibe in Hollywood like right now?

Oh, it’s very tense. Most people are

scrambling to figure out how to do work

from home jobs if they’re not already taken

care of through some sort of bridge, whether

that be employment that continues to pay

them for consulting, or if it’s some type of

long term contract arrangement where they

get paid regardless of the productions that

are going on. But outside of that, people are

scrambling to figure out how to set up home

offices, work remotely, and it’s a scary time.

Do you do a lot of work from home or

do you have to go on set and travel?

Travel. I’m on set a lot. I’m on my last

show for Netflix, Locke and Key season

one. I was in the post-production office, so

I had to report to an office for that specific

show. But in the past I’ve traveled for,

whether it be a TV or film project, that one

in particular, the one I just wrapped, did not.

I think I traveled twice once to Vancouver,

once to Montreal just visiting visual effects

houses. So that was not a job that required a

lot of travel for me, which is good. I like to

stay in my home base of Los Angeles.

Interestingly, you worked on the film

Virus. Tell me about that film.

Many, many years ago. It’s coming back

full circle and was a little bit more sci-fi. At

the time, those types of films were something

that were far off from our reality and we

really weren’t all that concerned about

something like that actually happening. So

it felt very much in the fantasy world at the

time. But circling back, I’ve noticed that

Outbreak is a very popular film on Netflix

right now, which is funny that people would

be interested in watching doom and gloom

while we’re experiencing a bit of that. But I

guess that’s just human nature.

Hollywood has been fortelling stories

for a long time.

It’s interesting because we as a human

race, like to see pandemics, we like to see

Richard J. Cook (left) and Mark

Landre Gould at an event for

Gone Are the Days

things played out on screen. We don’t like

to experience them, but we like to watch

them happen for some reason. The end of

the world, we’ve got a lot of those movies,

right? But when things manifest into reality,

it gets a little scary.

Was there a movie or a TV show that

you’ve worked on that felt very real?

Well, I mean most of the projects

I’ve worked on have been heavily sci-fi

films. There was a film I worked on, it

was based on the book of Esther, the Old

Testament book where Esther is a young

orphan Jewish girl who saves her people

from annihilation. That one felt real, I

think more than any of the others because

it was an actual historical piece. So it was

a biblical, epic historical time period. That

was a true story that we brought to life, so

that felt real because of that. When you’re

in visual effects, especially during the ‘90s

most movies, or TV shows, or scifi, or end

of the world, or something fantastical where

images were not commonplace, you’d see

things that were far removed from reality.

Independence Day, aliens invading earth, so

we did a lot of space shifts, and explosions,

and war scenes with an alien race.

Is stuff like that easier than reality?

Well sometimes, I mean it depends

on the type of effect it is. If you’re doing

some type of a creature effect, it’s always

going to be harder than if you’re doing

just a hard, shiny spaceship or something

that’s a little bit easier to marry into the

plate. Because the realism is harder on an

anatomical level where you’re dealing with

a body and structure in terms of you have

skin and bone, and dealing with eyes and

various things like that, it’s always going to

be a lot harder than doing something that is

inanimate.

Like many in Hollywood, you’re

multifaceted. Tell me some of the things

that you do.

I actually started in visual effects back in

the early ‘90s out of a vendor called Vision

Art that was based in Santa Monica and

that’s where I cut my piece. I got into the

industry, really learned how it worked from

a post-production standpoint, because we

had to deal with film editors, and getting

the picture locked, sound lock, picture lock,

all that stuff was important for a visual

effects house to get right. So I learned a

lot, worked on a lot of big pictures, $100

million features. So I got to see the large

scale production. And then in 2000 I went

to work for a small independent feature film

company called Generation Entertainment,

and actually moved into more of the

creative where I could produce, be a named

producer on the project and have a lot more

say in what was going on, where we were

shooting, who we would hire, stuff like that.

So that’s where I learned movie making

from the ground up. Learned a little bit

of that in college, but that really pales in

comparison to experience. So when you

go through scripting a project all the way

to final finishing and then delivering it to a

theater, I saw the entire process and it was

fascinating and I really enjoyed it. So I was

able to be a producer on many independent

features from 2000 up until even just a

couple of years ago when we finished our

small indie project called Gold Dust, which

is actually releasing in a couple of weeks on

digital. So still very much in that world. But

last year dove back into visual effects when

I had an opportunity to work for Netflix on

a show called Locke and Key. I went back

into the visual effects world briefly last year,

it was multi fold. I wanted to sharpen my

skills in the visual effects industry as well

as it was a really nice, well paying gig for a

year. So, hard to turn those types of things

down.

The visual effects world must be

changing all the time. I mean, technology

changes, right?

Yeah, absolutely. So, it’s one of those

industries where the change from when

I got into it to now is so vastly different.

Filmmaking as a whole isn’t that much

different, but the technology’s a little

different where, for instance, you’re

shooting on digital cameras instead of film,

but that doesn’t change the art of it. Whereas

visual effects has changed so dramatically

Publicity Photo from Locke & Key

technologically that it does change the art

of it. It changes whether we’re doing key

frame animation, or motion capture, or

ultimately, now we’re looking at literally

capturing the movement of an actor and

changing their face to be somebody else,

creating digital characters. That is a vastly

different piece of the visual effects world

that never existed before.

Visual effects can be very different

film to film. Is there something you’d

have to do to prepare for each film that’s

different?

It depends on the type of film it is. A

lot of times if we’re doing a sci-fi, you’re

going to use a lot more of the compositing

tricks, set extensions, things like that where

you read about Star Wars for instance, their

original feature films were shot basically

all on camera and then visual effects were

applied later and minimally at that, it was a

lot of different compositing of models and

scale explosions. Whereas nowadays when

we prepare for something, we really start

more with what the effect is, what we’re

trying to achieve, how to shoot it for that

effect. And a lot of times we will change the

sets based on what the cost is. For instance,

on Locke and Key, this show that just came

out on Netflix, there’s a mansion called Key

House, and instead of building the entire

exterior of the building, they built only the

first two floors and the rest was a green

screen or a blue screen.

It was actually green and they would

paint just the top of it, so that we had some

clean edges to drop our CG top of the house

on it. And it was deemed to be cheaper that

way. So they didn’t have to build the whole

thing. So we just did it in the computer and

that changes dramatically the setup for all

those shots, every time the camera catches a

glimpse of that green at the top of the set, we

know we got to make that a visual effect and

drop the house on top of that. The planning

is very important, and the cinematographer

and the director have to coordinate which

way the camera’s pointing and how high it’s

tilted up and all of that matters. So if they

catch a little bit of that green, we either have

to push in or we have to make that a visual

effects shot and the cost goes up. So that’s

just an example of how the steps can change

and how the prep changes based on what

we deem we can do in the computer later

on. And it works, it amortizes nicely over

multiple seasons.

Is there one defining effect that you

would say is your ultimate effect that

people would recognize in a film?

Oh gosh. I often go back to Independence

Day because that’s a show that won an

Oscar for best visual effects. And one of

the reasons is because the visual effects

house we were particularly working with

at the time, or I was working for, had a lot

of brand new technology and one of which

was what we now call a flocking software,

where you have multiple characters doing

something on screen, CG characters, in this

case those characters were planes, F18s, or

alien fighters, and they were dog fighting

in the air. And for the longest time, Roland

Emmerich was pushing for as many planes

and just an epic battle in the sky as he could

get, and a lot of these visual effects houses

just couldn’t handle it. Because back then

it was a lot of key frame animation. It just

took too much and time is money in visual

effects.

So we had a technology, it was actually

called Sparky, and it was a particle

generator, and some of the smart guys at

our facility were able to figure out ways

to make those planes and alien attackers

basically take on the movement of those

particles and then they wrote scripts and

figured out how to have certain planes fire

at others, and certain planes blow up, and

others evade or dodge fire power. It ended

up becoming such an amazing effect that I

think that’s what tipped the film in the favor

of winning that Academy Award. So I would

say those dog fight scenes in Independence

Day are probably the most memorable

and something I’m really proud of. I was

at the time working with that company as

a digital coordinator, but working my way

into the visual effects producing role on

that film. So it was a really neat time to rise

the ranks and be on a big picture like that,

and get rewarded the way we did with that

Academy Award.

Funny enough, Independence Day

and the Star Trek films are on my selfquarantine

list to watch. So now I have

something to look forward to when I

watch Independence Day again. A lot of

people would be jealous because you got

to work on a Star Trek film. I mean scifi,

Comic-Con people, they would just be

like, “You are my hero.”

Yeah. It was a neat experience. There’s a

lot of Trekkies out there, trekkers, however

you say it, that it was great to be able to

interact with the crew, and we got to work

with Jonathan Frakes who’s very popular

on the Generations Star Trek, Star Trek

Generations series back in the ‘80s, ‘90s,

but he directed that film, actually. He’s one

of the stars but did a fantastic job, really

sweet guy to work with, and that was cool

to be immersed in that show. We only did

a few shots on the show, but we were very

involved and it was a lot of fun because we

get to interact with a lot of the crew and we

were able to take a lot of their models and

things back then they were still building

models like physical miniatures that we

would then extend into the CG world,

whether that would be a set extension,

or create a ship flying up into the sky, or

whatever the effect was.

So it was a fun experience and really

enjoyed working on it. And I also worked

on Star Trek: Deep Space Nine for a while.

And I personally was an animator on many

episodes as a 2D animator taking the Odo

character, who was a shape shifter, he would

turn into this gold goo, and that gold goo

would flow into a different shape, and then

it would morph into some other creature, or

a thing. We were able to take that, bring goo

from our CG department and then morph it

back into whether it was taking it from the

actor to the goo or to the goo back to the

actor. We got to do a lot of different cool

effects. And that was back when that effect

was a new thing. So that was fun to see and

be a part of.

Now let’s talk about your new film

Gold Dust. Firstly, tell me about the

movie.

It’s a fun film. It’s great for kids and

adults. I think it’s got that dual demographic

that adults can enjoy, but kids will just get a

really good solid laugh out of, because it is

silly, but at the same time it’s got a strong

moral message. And I think it’s a solid film.

David Wall did an amazing job directing,

well he wrote it, he directed it, starred in it,

and he produced with me. So it was a just

an honor to work with him again. I had

worked with him on a project a few years

before that and I’m also working with him

on developing some new screenplays as

well. But it was an honor to work with him.

He scoured the desert for two years before

production to find locations. And when he

did, they were just fantastic.

So we’ve got amazing locations. We got

really good talent, young, fresh, new talent,

some veterans, some brand new. So it was

a real interesting mix. But the way David

leads a production and pulls out the best out

of these actors is just amazing to watch. And

then when you see it on the screen when it’s

all done, it’s like, “Wow.” Because that’s

a real tough, you read the script and you

laugh, but it’s, “Wow, this is crazy. Where’s

the story going?” And then he pulls it all

together in the end, literally the last scene of

the movie. And it’s just fun to just see all that

craziness come and coalesce into a really

solid moral message. It’s neat to see that.

And so he’s very talented. I loved the film,

I loved the script and that’s why I helped

him make it, and really, really think he did a

fantastic job with what he had to work with

it. It’s a fairly low budget, but you wouldn’t

know that necessarily watching the finished

product. So very proud of that project.

Well I hear there’s a guy that does

visual effects that’s involved with the

film, right?

Well we got it. We actually had a few

guys that I pulled from past projects and

some that were new young guys that

knocked out quite a few shots in just a very

little time. I mean I was used to digital sky

replacements taking weeks and these guys

on their laptops will just take these shots

and change them into, for day for night for

instance, where we shot during the day, we

darken it down and then we replace the sky

to put stars in there. They would do these

shots several times a day. They just kick

them out and they look fantastic. The film

has a real magical quality because of the

way we shot it and the quality of the visual

effects. It just really came together. The

young talent out there today is amazing.

They grab their laptops and do this stuff

and it’s just second nature to them. The

older I get, the harder it is for me to navigate

from one part of the screen to the other.

And these guys are racing all over the place

with their mouse and keyboards and it’s

neat to see that. But yeah, we had a lot of

great talent and the visual effects turned out

fantastic. It’s what we would call invisible

visual effects because there isn’t a whole lot

of explosions, or there’s no sci-fi element

to it. So you’re not really going to see any

visual effects that you could point out. But

the film overall has a lot of visual effects in

it where we’re changing the skies out, or

we’re painting something out, or creating

just a certain mood based on how it looks

as opposed to digitally inserting something.

So it’s one of those films where you look at

it and you’re like, “Yeah, it was pretty much

shot all on camera,” except for the exception

of one shot at the very beginning where you

see this old shit off in the desert. We didn’t

have the budget to build a giant ship like

that. So it’s a CG implementation on that

one and it’s pretty obvious, but everything

else looks like it’s just shot in camera.

You talked a little bit about the humor

in the movie. You could probably sit there

and do science fiction all day without

thinking about it. But humor, I bet it’s a

little bit harder.

Humor is difficult because it translates

differently for the audience. For instance,

American humor doesn’t always work

overseas or vice versa. I think comedy is,

in a lot of ways, more challenging than

drama or other, obviously action flares and

things like that where the acting is second

place to the effects or the action. Whereas

comedy, you got to get it right and it’s all

about delivery, and you can write something

down on a script and you can laugh, but you

get that to the screen and sometimes it just

doesn’t translate, doesn’t work for a number

of factors. So you have to have someone

who’s very strong in their convictions

about the comedy that they see it through

all the way and are able to maintain that

integrity of the joke. It’s very difficult to

do that. David does it brilliantly. I like the

dry humor he has, so I get it, I watch it and

I laughed my head off. Other people may

not, but I do think that if you understand the

movie going into it and the type of humor it

is, you’re going to really enjoy it. And it’s

something that I think David did a brilliant

job executing.

I saw on IMDb that it might’ve had a

different name, but you stuck with it.

Well it was Pixie Dust at the very, very

beginning. And that was something that we

thought we’d run into some trouble with

Disney on. We changed it to Gold Dust and

ultimately had no trouble there. But yeah,

every now and then you run into issues like

that where you may have the right to do it,

it doesn’t mean you should. You never want

to fool the audience into thinking that this

is something that’s not. So, pixie’s just too

associated with Disney. So we wanted to

steer clear of that. But that was the original

screen play naming.

In your career, you’ve only been on

camera in one production according to

IMDb, Gone Are The Days. Do you like

being on camera?

I enjoy it for the novelty. I am not an

actor, wouldn’t want to be, but I enjoyed

sitting on a horse in a Western just to do

it because it was fun. It was a one day

experience. My daughter owns horses so I

was able to just practice on one of hers and

then getting to set and jumping on a horse,

I felt pretty comfortable. But yeah, it was

a three seconds scene in the movie. Just

because it was fun and the director’s like,

“Yeah, you should get in there.” And I’m

like, “Okay.” So it wasn’t any career change

or move on my part, just having fun.

I totally get that. I was an extra in 2012

in Vancouver when they were filming it

and you know, just to be onscreen for a

couple seconds was fun enough. Right?

Right, right. And well in a film like that,

it’s fascinating to watch everybody work.

And Roland Emmerich is a great director. I

really enjoy working with him. And there’s

just a lot of cool stuff you can experience as

an extra on a big movie set.

Of all the films you’ve worked on, is

there one that you would have loved to

have had that little three second piece in?

Well, I probably would have been

interested in being in One Night with

the King, which was that biblical epic

I was telling you about earlier, which

was shot in Rajasthan India. There was

1,500 extras, there was animals, we had

camels and elephants, and I mean it was

just a fascinating, the costumes were

amazing. The locations were phenomenal.

I unfortunately was not able to be a part

of that production. I was really a producer,

producing from the US though at that time,

managing the money in the budgets, and

then post-production as we got the dailies

back. But I was actually pretty ill at the

time so I couldn’t travel. So I do regret

not being able to be more involved in the

production on that or even being an extra in

it. Because I heard it was just a phenomenal

experience for everybody involved. So that

was probably one I was like, “Oh shucks,

wish I could have been involved on that one

a little bit more,” but I was very involved

overall on the entire project from budgeting

all the way to final delivery and pretty proud

of that one. It’s an epic movie so if you have

time, check it out, it’s called One Night with

the King.

I wanted to talk about Locke and Key

before I let you go. What do you think

makes that show work so well? Because it

became a Netflix hit right away.

Oh well it was originally a Joe Hill

graphic novel, and Joe Hill’s got quite

a following. I mean Locke and Key is no

unknown IT, people know about it. It’s got

a lot of fan base built in. So we had that

going into it. But I got to tell you when I

first started and when I read the script, I

thought it was phenomenal. So this was

very well written. Carlton Cuse, the show

runner, is incredible at pulling a team

together to get the scripts to a place where

they’re just, they hit all the right beats, they

hit the right points, everything is understood

clearly. The execution of the screenplay

was phenomenal. The directing, the

acting was really strong, and of course the

cinematography, and I’m biased, but I think

the visual effects are outstanding.

So it all came together. We had a perfect

team of people both on production and post

production to really make that what it was,

because it could have taken a sour turn and

not been nearly as good if one of those links

in that chain broke. And I felt like we really

had a solid standard for all departments

on that show. And it just came together

beautifully. So, and we did extend our

schedule so that we could allow the visual

effects houses to really shine and finish the

project. Ran into some trouble, some of

the visual effects group really difficult to

pull off. And we were able to solve that by

extending a little bit. So I was actually going

to originally wrap on the show in November

and I went all the way to the end of January,

literally seven days before its release I was

working on it.

It was fun to actually have the reviews

come out because we had sent it to the

press already. So we were reading reviews

while we were still working on it, which

is a unique experience. Usually you wrap

a show and months later you hear how

it does. I liked to hear positive reactions

to it even before I was off it. The quality,

I think ultimately is what’s going to cause

that thing to just keep going and going.

They’re already green lighting season two.

Once everything calms down with what’s

going on right now, they’re going to jump

right in. I may or may not be a part of that,

just depending on whether I’m on another

project at time. But they actually need a

visual effects producer. But a great show

to work on with great people and really

enjoyed working with Netflix.

Netflix has really changed things

a lot. Are you in the Netflix world? Is

that a different entity from Hollywood

altogether? They must coexist together,

but are they separate?

Well, it’s just like any other studio,

as they get more and more into content

creation, which they are heavily into, I

mean, they’re running at a loss just to create

content to compete with the other, Disney+,

Hulu, Amazon, now Apple, lot of these

mega companies are pouring billions into

content each year. So Netflix has to keep up

with that. The landscape’s changed, but the

business hasn’t, it’s really just the same. It’s

just different players. So before you’d have

Fox, and Paramount, and Universal, and

Sony, and all these major studios, which still

exist and they’re still there, but now we’ve

got new players like Netflix and Amazon.

What would be considered streaming

platforms are now actual studios in and of

themselves. They hire studio executives,

they manage like studios.

They allocate budgets, spend money on

production, and then instead of dropping

them in the theater, they just put them on

their website and rock and roll. So from

that perspective, the industry’s completely

different because now they don’t have to

spend millions on advertising theatrically,

and creating the prints, and doing all that

you had to do to get a movie into a theater,

which is very expensive. Now they just have

put a banner ad on the top of their website,

make it available for streaming, and rock

and roll. So they really changed the industry

from that perspective.

I bet as an industry guy though, there’s

nothing better than seeing your work on

a big screen.

Actually, yes, it really does change it for

us. It’s sad to think, and we do this now even

in this day and age where we’re delivering

for two audiences. And when I worked on

Locke and Key, some people have big home

theaters or projectors, and so we want it

to look amazing in 4K for them, so we’re

doing it to that quality. But it’s disheartening

in a way to know a majority of the viewers

are going to watch this on a tiny little screen,

whether it be their phone, or their laptop, or

their iPad because they’re going to miss so

much the detail that we painstakingly put

into the project. But that’s just life.

We do all this work to get color just

right. And then it compresses down when it

streams and you lose all that and it’s like,

Publicity Photo from Gold Dust

“Ah, this was a beautiful shot on, in the

color bay when we were tweaking it for

hours on end,” and now they’re looking at it

and it just looks like any other shot. They’re

like, “Oh, that’s painful.” But that’s the way

of the world. That’s how consumers are

consuming. We have to just be prepared for

that and understand that. But we still do it

to a very high standard 4K HDR that has all

the resolution and color space of any film

going to a theater.

With that theater in mind, my last

question, What was your reaction the

first time you saw your work on a screen?

Yeah, it’s going to be in those early days.

Back in the early ‘90s, there was a few films

I remember specifically I worked on a film

called Cliffhanger, didn’t do a whole lot

for it, but it was just a Sylvester Stallone

film. And I remember seeing that for the

first time on the big screen and thinking,

“Wow, I get to be a part of that.” Or I was

a part of that, and then saw my name in the

credits and I think it was career altering for

me since back then you didn’t have that

many credits. Now you have Star Wars or

Marvel movies and you’re sitting there for

10 minutes with 10 rows of names you have

to squint to see. But back then, the names

weren’t quite as many. So your name’s a

little more real estate on the screen, but it

was fun to see that one, it was one of the

first ones I got to be a part of. So that was a

neat experience.

Screen capture of air battle from Independence Day

Playwriting Contest Provides Opportunities to Windsor-Essex Writers

By Michael K Potter

There’s a lot of talent in Windsor-Essex,

scattered across all fields, all industries,

and all arts. One thing Post Productions

recognized early in its existence was:

there are a lot of talented writers in our

community. So we asked ourselves …

how can we help them get their work

noticed? How can we help them make a

bit of money from their talents and maybe

provide a gentle nudge toward the next

level of their careers?

The answer had to involve collaboration,

because that’s the Post Productions way.

And it had to involve playwriting because,

well, that’s the company’s bread-andbutter:

producing plays.

And so the Windsor-Essex Playwriting

Contest was born. The idea was simple

at first: create a contest that gave writers

who were either born in Windsor-Essex or

live in Windsor-Essex a chance to submit

their work to a panel of judges who would

select the best entry, which would be

produced as part of Post Productions’ next

season alongside legendary playwrights

like David Mamet, Sam Shepard, Peter

Schaffer, and Diana Son. We decided we

wouldn’t discriminate between people

based on their prior experience or success;

the contest would be open to writers both

established and aspiring.

But Post Productions also had an ethical

issue with contests in general – namely,

only the winners tend to benefit. That

seemed unfair and counterproductive.

Couldn’t there be a contest that aimed

James Stone in A Haunting on

E Flat by Joey Ouellette

to help everyone succeed eventually,

whether they won or lost? Couldn’t there

be a contest that benefitted everyone who

entered?

So in addition to ensuring that clear

criteria were created for judges to apply

– thus ensuring fair decisions – Post

Productions decided to treat the entire

contest as a developmental opportunity

with the long-term goal of helping

playwrights develop their craft over time.

Every writer who submits receives

detailed constructive feedback from the

entire panel of judges, each member of

which has read their work closely using

the contest criteria. Any writer who makes

it to the second round of the contest is

encouraged to use the feedback they’ve

received and resubmit within a few weeks

– whereupon they receive a second round

of notes regardless of the decision. And

everyone – whether they made it to round

two or not -- is encouraged to apply the

feedback and resubmit their work the

following year. It’s basically a way to get

your work read by multiple people who are

invested in your long-term success. The

worst thing that can happen to a writer who

submits to the contest is that 4-5 people read

their work carefully, make detailed notes

about its strengths and weaknesses, provide

ample suggestions to help them build on

the strengths and address the weaknesses,

and receive genuine encouragement to try

again.

With the deadline for the 2020 contest

coming up soon (April 30th), 519

Magazine and Post Productions thought

Davod DuCjene in Autopsy by

Alex Monk

it might be helpful to call attention to the

characteristics that helped previous years’

winners succeed – and provide some

advice to writers to help them refine their

work before they submit.

Two plays won the 2018 contest – Alex

Monk’s Autopsy and Joey Ouellette’s

A Haunting in E Flat. Why two? Well,

none of the finalists were long enough

to be produced alone and these two had

common themes, which meant they could

work together effectively as a doublebill.

But, of course, they wouldn’t have

won without their individual merits. Both

scripts featured well-realized characters,

an effective balance of drama and humour

(not strictly necessary, but definitely a

plus), intriguing premises, and their themes

fit the Post Productions brand.

(A side note: the winning playwrights

also had vastly different levels of

experience. Whereas Ouellette had written

many plays before, and had them produced

across North America, Autopsy was the

first play Monk had ever written.)

The 2019 winner – Edele Winnie’s Pry

It From My Cold Dead Hands – still wasn’t

quite long enough, but it was such a strong

script that the judges couldn’t turn it down.

It had all the strengths of the previous year’s

winners, plus it had one characteristic that

made it stand out immediately: a strong,

unique, personal authorial style – a voice.

Winnie didn’t write quite like anyone else.

There was a “voice” that shone through

the script from the first page to the last,

which made the story distinctly hers. This

is a difficult characteristic to explain and

understand. Think of it this way: if you

compare a book by Stephen King to one by

Anne Rice they don’t sound remotely alike

when you read them aloud. Even though

those authors are contemporaries writing in

the same time period, and they’re from the

same country, and they work in the same

genre, their writing styles – their voices –

are distinct. You’ll notice it in the words

they choose, the rhythms of their sentences,

the details they focus on when describing

people and places, their preoccupations.

A writer’s voice comes through in their

choices – and it develops over time, with

practice. The more you write and revise

your own work, the more your choices

become yours instead of imitations of

choices made by writers you admire.

The judges focus on these kinds of

characteristics because they’re captured

in the contest criteria: character, plot and

structure, dialogue, theme and genre,

craft, and brand compatibility. The

judges’ scoring rubrics contain detailed

breakdowns of each of these criteria.

For those writers wanting to know more

about what the judges are looking for, Matt

St. Amand and I wrote a detailed guide

called “So You’re Writing a Play”, which

you can find on the Post Productions blog

(http://www.postproductionswindsor.ca/

blog/so-youre-writing-a-play).

In the contest’s first year, we realized

we’d made some errors in our eligibility

criteria. Then, in the second year, we

found errors we’d missed the previous

year. At this point we’ve come to expect

that we’ll find new things to fix every

year. We’re only human after all! For

example, in 2018 we didn’t specify that

entries had to be plays – so we received

several musicals. And all of those musicals

had some merit, something interesting

or admirable that could be developed

into a fascinating production. But we

don’t consider ourselves capable of fairly

judging musicals. We enjoy musicals,

certainly, but we don’t think it’s fair for us

to evaluate them. And besides, musicals

tend to be big – big scale, large casts, just

not the right sort of thing for an intimate

environment like The Shadowbox Theatre.

But there was one musical submitted in

2018 that we thought seemed pretty much

perfect for Korda Artistic Productions, so

we advised the writer to send it to them.

If Korda produced it, we’d definitely go

see the show. And now, Arts Collective

Theatre has created a contest for new

musicals. We’re excited by that!

Honestly, the best thing any writer can

do to win the contest is pay close attention

to the contest criteria, especially as detailed

in that blog post. The second best thing:

watch a lot of plays – especially the kinds

of plays that fit the Post Productions brand:

intimate, intense, provocative. Watching

plays will give you a sense of what’s

realistic and even possible onstage, a sense

of pacing, an understanding of what sorts

of scenes work in an intimate environment.

But, okay, the THIRD best thing you can

do (and maybe this is the most important)?

Read play scripts. Read a lot of play scripts

– especially good ones by well-regarded

playwrights. They earned their reputations.

Analyze what makes their scripts work and

think about what lessons you could draw

from their work for yourself.

It’s important to have a firm

understanding of what a play script is,

because it isn’t the same as a film or

television script – they’re different media.

And a play script is very, very different

from a novel. Experience writing for other

media will help you – absolutely – but

you want to make sure you understand the

conventions of this particular medium.

But there are two elements important to

all forms of storytelling that we often find

missing in the submissions we receive:

conflict and stakes. Let’s look at conflict

first. Without conflict there’s no drama

– or comedy. Conflict creates purpose,

momentum, suspense and, well, interest.

There really isn’t much of a story at all

unless there’s conflict. That doesn’t mean

that a script needs to contain fights or

quarrels. At minimum, it means either a

character wants something but has trouble

obtaining it, or that different characters

have incompatible desires. If Sarah

wants to go to the movies tonight but her

boyfriend Billy wants them to stay home

and play checkers – that’s conflict. Smallscale

conflict, sure. Conflict nonetheless.

Now, if this conflict is the initiating event

of the story, that means the next step will

probably involve one of those characters

attempting to either circumvent, solve, or

overpower the other character’s desire.

It’s possible for a skilled writer to turn

a minor conflict like this into a compelling

story, but usually higher stakes are needed.

When it comes to any conflict, we should

ask, “What’s at stake here?” And the

answer is always connected to something

the characters care about. Consider Sarah

and Billy again. What’s at stake in this

conflict? Not much on the surface. So

add a detail. Maybe this conflict is the last

straw for their relationship; they’ve been

disagreeing about all sorts of little things

for days, or one character takes this conflict

as a symbol of everything that’s wrong

with their relationship. Now there’s a lot

more potential drama to be mined from

this conflict because there’s something at

stake: a relationship that matters to each

character. If neither character cared about

the relationship, nothing would really be at

stake.

Depending on how the writer decides to

use this conflict, this scenario could play

out as a straightforward drama, a poignant

tragedy, a farcical comedy, a horror, a

science fiction story – anything. A skilled

writer can turn this into any kind of story

just by making different choices. Think

of every story you love and ask yourself

what the conflicts are in those stories, and

what’s at stake. Odds are you’ll find a lot

of variety across all genres.

We’re coming up on one of the

most exciting times of the year for Post

Productions. This is when we get to

discover what people have written this

year; at least, what they’re willing to share

with us. We never know what to expect,

and each year we’ve been surprised by the

kinds of stories people are telling, by the

quirks of their characters, their twists and

themes and conflicts.

This year’s winning script will be

produced as part of Post Productions’

2021 season (assuming we all survive

the pandemic!). Its author will be invited

to take part in the audition process and

attend rehearsals, if they wish. And most

importantly, the winning author will

receive 10% of gross ticket revenue from

the production of their play. That’s gross

ticket revenue, not profit – we aren’t

playing games, here!

To learn more about the eligibility

requirements, deadlines, and process of the

2020 Windsor-Essex Playwriting Contest,

please visit the Post Productions website:

http://www.postproductionswindsor.ca/

playwriting-contest.html

Cast of Pry It From My Cold

Dead Hands by Edwle Winnie.

Photo by Kieran Potter and

Fay Lynn.

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BLUESFEST

2020

WINDSOR

JULy 10−12 ★ JULy 17 − 19

RIVERFRONT

FEsTIVal Plaza

WE’RE ExcITED TO ANNOuNcE OuR 2020 LINEup AND WINDSOR’S BIggEST pARTY ON ThE WATERfRONT!

WEEK ONE

ARTISTS BY DAY

WEEK TWO

FRIday July 10

FLO RIDA

SOnReAL

saTuRday July 11

The TReWS

BILLY RAFFOUL

ft JODY RAFFOUL

AnD PeTeR RAFFOUL

The STAnDSTILLS

ReD WAnTIng BLUe

suNday July 12

SAInTS AnD SInneRS TOUR

BIg WReCk

heADSTOneS

MOIST

The TeA PARTY

FRIday July 17

LOUD LUXURY

DVBBS

saTuRday July 18

TLC

JennY

FROM ACe OF BASe

suNday July 19

CASh BOX kIngS

CAROLYn WOnDeRLAnD

ALBeRT CASTIgLIA

MIke ZITO

PAUL DeSLAURIeRS BAnD

AnnIkA ChAMBeRS

SCOTT hOLT

LAURA RAIn AnD The CAeSARS

Licensed event. Must Be 19 Or Older With Valid Id / Photo To enter, And To Purchase And Consume Alcoholic Beverages. Artists, Schedule, Ticket Prices Subject To Change. Copyright © 2020 Bluesfest Windsor. All Rights Reserved.

519 April 2020

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