Event listings for week of February 25

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Diversity and multiculturalism expert discusses ethnic identity.

  • Today, 4-6pm. Free!
  • Academic Resource Centre Room 227, Scarborough Campus (1265 Military Trail)
  • triadaf@utsc.utoronto.ca


Images from the Republic of Congo by Eddie Gerald of the WFP.

  • Today through Feb. 29.
  • Trudeau Centre for Peace and Conflict Studies (15 King’s College Circle)
  • www.wfp.org


Interactive cooking demonstrating with practical tips.

  • Tues. Feb. 26, 1pm. Free!
  • International Student Centre (33 St. George St.)
  • Mandatory advance registration at www.familycare.utoronto.ca


Lecture exploring 18th-century clash of disciplines.


Pansit and adobo cooked up by the Filipino Students’ Association.


Play imagining the relationship between Oscar Wilde and his Black American valet.

  • Thurs. Feb. 28 through March 8. $12 for students.
  • Hart House Theatre (7 Hart House Circle)
  • www.uofttix.ca


Contemporary films dealing with sexual exploration.


Story of love affairs and unexpected journerys presented by Rainbow Trinity.


Multiple Juno Award-winning Latin Jazz group performs.


Latin performances with all proceeds to SOS Children’s Village Bolivia.



Testing out the newest art, music, and dance on a curious audience.


How can you get involved in maintaining urban forests?

Nine things the TTC could learn from Vancouver

I spent my reading week in Vancouver: land of sushi, mountains, killer weed, and incredibly effective environmental measures. After walking around the city, it was hardly a surprise when BC’s Premier Gordon Campbell, frontrunner on green policy, announced a carbon tax in the province last week. The city is well-served by their transit system—buses run on time, traffic is less of an issue, and people generally seem happy to ride public transit; a change from the blank stares, grunts, and arguments you’ll find on the TTC.

Vancouver may have the upcoming Olympics to boost funding, but that’s no excuse for the TTC’s slow, boring, and inefficient past. We could learn a thing or two from our western cousins. Giambrone, here’s a few tips:

Pay more to get farther

In Toronto, it costs the same outrageous fare to travel two city blocks as it does to travel from Etobicoke to Scarborough. TransLink, Vancouver’s transit system, makes more sense: until 6:30 p.m. on weekdays, the city is divided into three zones. If you want to travel within one zone, it costs a lower fare. If you move between two or three zones, it costs more. People who travel farther along the system—using more gas and other resources—have to cough up extra cash. It’s only common sense.

Time-based transfers

Does anyone actually understand how the TTC’s transfer system works? We get a half-shredded piece of newsprint, and we can only transfer at specific, designated points. Half the time, the driver doesn’t even look at your transfer, and the other half, you get hassled. In Vancouver (alongside other more enlightened transit districts, such as Ottawa), transfers have a time limit. You have unlimited access to transit for the hour and a half after you pay your fare. Imagine getting on the streetcar, hopping off at your favourite coffee shop to grab a quick drink, and then getting back on, towards your final destination. These kinds of transfers would not only make getting around less restrictive, they’d encourage more exploration and spread cash around the city.

Let’s go sailing

Fully integrated with Vancouver’s transit system is the SeaBus, a ferry that takes you across the Burrard Inlet between downtown Vancouver and North Vancouver—at a high speed and with no added cost. Our own ferry system is slow and expensive, dividing the islands from most of the city. Why not integrate it with the TTC?

Rule through fear

Forget turnstiles and change-booths— Vancouver’s SkyTrain lets you simply walk on. However, once you’ve made it to the station or on the train, you’re in a “fare paid zone” and must produce a proof of payment (which you can buy from spiffy futuristic machines) if the transit cops ask you for it. Otherwise, you face a fine. Imagine how much faster it would be to get on the subway if you didn’t have to line up to get change. This helps employee morale too: would you rather be trapped in a suffocating glass change-box, or play badass traffic cop, busting people who don’t respect the honour system?

Electric busses

Streetcars may be an eco-friendlier alternative to buses, but don’t you wish they could dodge that slow car in the middle lane? Picture the hybrid baby of a bus and a streetcar, and you’ve got Vancouver’s trolley buses—made with Back to the Future-like hooks that can connect to overhanging wires for power, but also move to get to places faster.

Embrace the web

Who hates the TTC’s horrid website? It’s outdated, unintuitive, and should have been replaced years ago. Not only does TransLink have a sexy streamlined website, complete with its own trip planner, it’s also integrated with Google Transit, which lets you plot a multi-stop transit route, itinerary and all, on Google Maps, the greatest thing since Google was created.

Federal funding

The Government of Canada logo is everywhere on Translink, and it shows. We’re Canada’s largest city, couldn’t we use a bit of cash from Ottawa to implement some improvements to the aging TTC?


All students at UBC and Simon Fraser receive a U-Pass: a spiffy card that gives them unlimited transit access for the school year. Like the proposed TTC U-Pass, Vancouver students pay a mandatory fee on top of their tuition. However, what UBC students shell out figures at about $20 a month, a third of the cost of the TTC’s current proposal. The pass has increased transit use among students by 63 per cent since implemented, and also lets students explore the city, spreading cash way beyond the student ghetto.

Wallet-sized day passes

The TransLink day pass is the size of a credit card, and to validate it for the day, you just scan it on a bus or at a station. Seriously, who thought it was the good idea to base our day pass on scratch-and-win lottery tickets?

Dr. Joseph Schatzker appointed to the Order of Canada

Many of the new members of the Order of Canada may not be known to you, but each has made a significant contribution to Canadian society. Dr. Joseph Schatzker is no exception. Instrumental in developing a revolutionary technique for treating bone fractures, he has played a crucial role in bringing this technique to North America. The story of his success is one of serendipity. While completing his residency in the orthopedic program at U of T, Schatzker was one of the few German speakers in the department, and so was asked to accompany visiting professor Maurice Mueller around Toronto as translator and tour guide.

“It was a marvelous week; it opened my eyes to a great many things,” says Schatzker. “There was a whole world of orthopaedics that we knew very little about and certainly held immense promise.” The young Schatzker was about to embark on a year-long fellowship overseas. Inspired by the sense of promise that the older doctor instilled, Schatzker asked Mueller if he could spend the fellowship with him in Switzerland.

His first task upon arrival was to translate a textbook on new principles and techniques for early surgical treatment of fractures by means of internal fixation. In order to properly understand the concepts he was translating, Schatzker was invited to participate in its development, with Mueller as his mentor.

The Manual of Internal Fixation opened the Swiss AO group to the English-speaking world, spurring controversy in orthopedic surgery. Traditional techniques for treating bone fractures had involved setting the bone in a cast, or placing the patient in traction for up to four months. Surgery wasn’t considered until all other avenues had failed, or if complications were too serious for non-surgical methods.

The new technique, called the “AO method” after the pioneering Swiss internal fixation association (the Arbeitsgemeinschaft fuer Osteosynthese Fragen), uses more assertive surgical techniques. Surgeons implant plates, nails or screws into the injured bone, stabilizing it while allowing the patient to regain mobility. Being mobile soon after the injury is imperative, not just for patient comfort, but also for preventing muscle and cartilage wasting and joint stiffness. Most importantly, it allows patients to be dismissed from hospital after only 10 days.

Although it is now clear that the AO method is more successful than previous methods, at the time, older surgeons were not eager to learn dramatically different techniques or change their conceptions about fracture healing. As a champion of change, Schatzker says he was “looked upon as a sort of maverick.” Since the AO method failed to garner praise from the old guard, Schatzker appealed to younger surgeons. He began speaking at conferences throughout North America, surrounded by a crowd of enthusiastic doctors with questions about the new technique.

In addition to spreading the word, Schatzker demonstrated the new method on patients. Many orthopedic surgeons had patients whose injuries just wouldn’t heal, or were complicated by infection. Schatzker offered to take these patients on, and after two years was able to present over 40 cases healed using the AO method. The tides eventually turned, and Schatzker received recognition as more surgeons adopted the method.

His appointment to the Order of Canada came as a great surprise. When he received the call from the Governor General’s office, his first thought was, “What on earth have I done?” His surprise quickly changed to happiness. “It was a very happy day; not only for me, but for my family.” The Order, which began as a commemoration of Canada’s centennial in 1967, honours Canadians whose lifetime achievements have made a difference to Canada.

While the AO method has revolutionized orthopaedic surgery, improved the quality of patients’ lives, and saved many others, Dr Schatzker recognizes the existing hurdles. Many challenges remain, especially in treating osteoporotic bone in elderly patients and with healing large gaps in bone. He expects that new advances will come not from mechanical solutions, but from biologic ones.

At the end of a successful career, Schatzker offers some advice to young researchers: “I was fortunate to be able to see things from a broader perspective. If you’re doing research […] you may discover something that has far greater implications than you realize.” He stresses the importance of keeping your eyes open for opportunities, but this doesn’t preclude hard work. “If you’re young, and you believe in something, don’t give up easily.”

Jumping Jacques

The Cinematheque Ontario guide’s introduction to the Jacques Demy retrospective, Bitter/Sweet, makes for interesting reading. Of the acclaimed French filmmaker James Quant writes, “Demy was too often treated as stylish and insubstantial, a director whose love of artifice and ornament resulted in an art of arabesque— operetta rather than verismo.” This program seems pitched as part celebration, part defence. As hinted in the Bitter/Sweet moniker, Demy’s films are exuberant, swooning displays of cinematic virtuosity on the surface, and sad stories about loss and regret underneath.

Demy’s first full-length feature, Lola (1961) is superficially different from the projects that would gain Demy his largest audience—it’s a low-key black and white drama strictly in the new wave style—but it establishes many of the themes that would recur throughout his filmography. Anouk Aimee plays the title character, a burlesque singer who longs for her lover, a sailor with whom she had a child. Lola introduces Demy’s fascination with lost love, and his recurring motif of the sailor.

The Umbrellas of Cherbourg (1964) is Demy’s most famous film: a lavish musical that made Catherine Deneuve an international star. Her character, the daughter of a poor store owner, falls in love with a mechanic. Shortly after he joins the army, she finds out that she’s pregnant, and ends up marrying a rich man who has fallen in love with her.

All of the dialogue is sung, the music a little monotonous at times (heresy, I know), and it goes without saying that reading a French song subtitled can sometimes be a very depressing experience. At one point a woman is actually subtitled as singing, “The situation in which we find ourselves is such that we cannot, for the time being, take any rest.” Try dancing to that.

But The Umbrellas of Cherbourg sure looks great. It’s modelled after the MGM musicals of Vincent Minnelli, but it looks like it could also have been inspired by comic books. Pinks! Greens! Reds! Blues! Oranges! And that’s just the wallpaper. It is also strangely satisfying for its unusual air of melancholy. James Quandt notes in the Cinematheque guide, “everyone smilingly pretends to be content with second best,” part of Demy’s tendency to end his films with a feeling of “too-lateness.” The ending of Umbrellas is haunting stuff.

Les Demoiselles de Rochefort (1967), another musical of the MGM variety, places dialogue in between the singing. Chicago Reader critic Jonathan Rosenbaum picked Les Demoiselles as his all-time favourite musical, and if it can warm the heart of a sourpuss like Rosenbaum, it defi- nitely has something going for it.

The plot involves Catherine Deneuve and Francoise Dorleac as twin sisters, Danielle Darrieux as their mother, and a variety of love-struck men as their potential suitors, including, I kid you not, Gene Kelly. According to IMDb, Kelly is only dubbed about half the time, so if you’ve ever wanted to see Gene Kelly warble out a song in French, this is your chance.

Les Demoiselles is filled with bright colours, lush music, elaborate dance sequences, and a general atmosphere of pleasure and enjoyment. Demy’s direction is especially forceful, with impossibly fl uid crane and tracking shots on full display.

But if Les Demoiselles is sheer pleasure, Bay of Angels (1963) is the film that lingers on. It’s another black and white drama with a tone similar to the free-spiritedness of early Jean- Luc Godard. Jeanne Moreau and Claude Mann are young lovers, but spend most of their time in casinos because of Moreau’s gambling addiction. Mann wishes he could stop Moreau from gambling, but this is a difficult task, particularly when she’s winning big.

Though it ends a little too cleanly, Bay of Angels understands and effectively invokes the seductiveness of an addictive habit, in this case, gambling. When Mann tries to pry Moreau away from the roulette table, part of you wishes she would give up, but part of you wishes she would continue on. I mean, she was winning a few rounds ago, she was up $3,000; she’ll win it back the next round… yeah, the next round…

Cinimatheque’s Jacques Demy retrospective runs until March 16. Visit www.cinemathequeontario.ca for screening times.

Editor’s Pick: The D’urbervilles – We Are The Hunters (Out of This Spark)

On their impressive debut full-length, this Toronto-via-Guelph quartet often appear as the less angry, poppier younger brothers of local heroes Constantines, with spiky guitar interplay and energetic breakdowns running throughout. Often making the listener wait for the sweet payoff that occurs in every song on Hunters, The D’urbervilles employ Spoon’s trick of embracing the space within each song, opting for well-chosen riffs in between silences, the direct opposite of prog excess. The vocals are catchy and clear, breaking into addictive hooks on songs like “Dragnet” and “This is The Life.” The only real complaint is that the re-recording of “Spin The Bottle,” the highlight of their debut EP, is diminished here by frantic pacing and some other questionable production choices. That aside, any fan of smart, catchy, guitar-based indie rock will find a lot to like.


The D’Urbervilles release We Are The Hunters on March 14 at The Tranzac

Listen Up!

Black Mountain – In The Future (Jagjaguwar)

Black Mountain are Chris Martin-approved, and it makes you wonder what the Coldplay frontman was thinking when he chose the Vancouver-based psych-rockers to play for throngs of Britpop fans and their parents on 2005’s Twisted Logic Tour. The mediocrity of In The Future is an example of Zeppelin- esque stoner rock and the ways in which it can go horribly awry. While the massive riffs of “Evil Ways” make it a rocker of the finest kind, untamed ambition plagues the record, making way for a collection of meandering epics. “Bright Lights” is nearly 17 minutes long, yet only one third of it is good material. Conversely, succinct tracks like “Wild Wind” provide a clear reminder of how refreshing rock n’ roll can be when it doesn’t get bogged down by self-indulgence. —Rob Duffy


James Murdoch – In Transit (Indica/Aquarius)

The first thing that caught my attention about James Murdoch’s new album, In Transit, was Hawksley Workman’s credit for both producing and performing on the record. The album begins with the upbeat and catchy “You Get What You Deserve,” characterized by solid vocals and guitar riffs, even tambourines. The mellower “Kings and Queens,” a melodic ballad showcasing retro synths, follows suit. “Transportation” features sweeping electric and bass guitars, perfectly accompanied by intricate, interchanging percussion. The sound is catchy, the vocals are at times heartbreaking, and Murdoch’s lyrics are written to take the listener on a journey. At times leaning towards the twangy mainstream pop-rock of Matchbox 20, Murdoch could also be compared to James Blunt (if Blunt took it easy on the estrogen pills). Overall, In Transit is a solid, versatile album that’s easy on the ears. Murdoch is not really doing anything new here but what he does, he does well. —Natalie Beliakov


My Shaky Jane – Oh! The Pretty Things (Independent)

If the title of My Shaky Jane’s first fulllength album sounds familiar, it’s no coincidence: Oh! The Pretty Things used to be the band’s name until last year. The album holds indie caché, while the solid hooks and raw vocals play on their affinity for ’60s pop. While listening to the first track, “The Books That She Carries,” I thought the song was dragging on a little long. Then I realized I was already listening to the second track. While being energetic and upbeat, most tracks sounded incredibly monotonous, mechanical, as if they lack soul. Despite all this, My Shaky Jane could very well have some potential if they wind up in the hands of talented producers. But until this happens, the best word to describe this album is “forgettable.” —NB


Nicole Atkins – Neptune City (Columbia)

Nicole Atkins’ Neptune City is a surprisingly good record with no filler, a rare feat in the iTunes mp3-blog age where singles matter more than cohesion. Atkins sings in an expressive croons, which suits her warm ’70s-inspired tunes. Sporting lush melodies and romantic strings, there’s strong emphasis on musicianship. From the anthematic “Brooklyn’s on Fire” that lead a rock musical, to heartbreaking ballad “The Way That It Is,” Atkins has a varied, but consistent record that could easily withstand multiple listens. —Alicia Chow


The Dream – Love/Hate (Def Jam)

On his debut Love/Hate, The Dream (a.k.a. Terius Nash, a.k.a. that guy who wrote “Umbrella”) crafts such catchy pop/R&B songs that it’s very tempting to call him the next R. Kelly (sorry T-Pain). In addition to possessing Kelly’s incredible knack for writing hooks, Nash is also capable of making the most robotic and processed vocals sound soulful. The auto-tuned harmonies are frequently stunning, particularly on “Shawty Is Da Shit” where they float over a bouncy, piano-led beat. Sure, Love/Hate contains many moments of clunky lyricism, but does that really matter when the accompanying melodies are so intoxicating? —Khary Mathurin


Pitbull – The Boatlift (TVT Records)

Cuban-American rapper and hip hop artist Pitbull has successfully bridged the gap between his Latin roots and urban American influences in his infectious album, The Boatlift. Blending the worlds of reggaeton and crunk, Pit appeals to the party people with the massive club hit, “The Anthem” featuring Lil Jon, along with other fierce tracks including “Get Up/Levantate” and “Fuego.” Pit also makes an honest attempt to soften things up with R&B ballads “Secret Admirer” and “Tell Me,” but when pitted (no pun intended) against an upbeat tone, they merely serve as cheesy and ineffective fi ller. Although Pit, like any other stereotypical rapper, busts out with oversexed material like “Stripper Pole,” he’s created one hell of a party. -Carla Kavinta


Kamera – Resurrection (Nettwerk Records)

In an effort to distinguish themselves from the vapidity of mainstream pop, Sweden’s Kamera may have gone too far. It only takes the listener a moment to realize that this European quintet is an ’80s revival band, comparable to the likes of Duran Duran or The Pet Shop Boys. In fact, the entire album could score a retro wedding, particularly track “Love Surrounds Us.” Despite the group’s overuse of synthesizers, they do score points with the solid rhythms and catchy melodies of “Lies” and “Disconnected.” —CK


The thrills – Teenager (Virgin)

Life’s rough for young adults, but The Thrills make things right with their third album that acts as a soundtrack to the life of any adolescent. Some say their latest instalment is too similar to their previous efforts, but I think they’ve really evolved. A larger range of instrumentation is incorporated into the mix with keys, harmonica, mandolin, and banjo. These inclusions provide a mix of traditional Irish music and modern indie pop. The inexperienced and awkward teen stands out through nostalgic lyrics that delve into the pains of holding a job, keeping a girl, getting defl owered, and trying to live in the boring-ass suburbs. Conor Deasy’s voice is even more enthralling, and this guy isn’t afraid to hit the high notes. —Damanjit Lamba


Kate Maki – On High (Independent)

Former teacher turned sensuous songstress, Kate Maki delivers sultry vocals that will sooth the heart of any youngster partial to a mix of folk and alternative. Maki goes from country in “Blue Morning” to funkier jams in “Beyond the Sun.” What’s great is that her versatile voice tackles these different genres with ease, although at times, the long instrumentals seem to lag. With musical contributions from fellow Canadians Dale Murray and Nathan Lawr, why enlighten the minds of children when you can make sweet, sweet music —Dl


Sounds like team spirit

Wrapping up another year of school spirit and half-time entertainment is the University of Toronto’s Thundersquad dance team. The chance that this is the first time you’ve heard the name is high, especially if you don’t make it out to Varsity sporting events. They’re the girls keeping the crowds pumped up and entertained at the local basketball and volleyball games during halftime. But don’t let the job description fool you—they’re so much more than cheerleaders.

“We’re dancers, first and foremost,” says Jaymie Sampa, co-captain of the dance group. “We like to support our athletics department, that’s really important to us, but it’s also just one part of what we do.”

Along with co-captain Jennifer McFarlane, the two choreograph many of the dance routines the team performs. But Sampa, who has been dancing since she was 14 years old, wanted to emphasize the contributions of her Thundersquad teammates and the team’s execs, who play an important, if not central, role in choreography.

The group is made up of nine University of Toronto students taking classes in Phys-ed, Criminology, and, yes, even Engineering. On top of an already rigorous academic schedule, you can find them rehearsing at the Athletic Centre for six hours a week, performing for various women’s and men’s games on Saturdays.

“Our practices are pretty demanding.” says Sampa, a third-year physical education student.We work ourselves hard and try to self-motivate,” “We train pretty intensely, starting with leg strengthening warm ups, moving on to some technique work, and then we do choreography for the last hour of practice. It’s not crazy, but it’s not recreational either.”

Started six years ago, the team was created to promote school spirit, as well as the furthering of dance education on campus. The team specializes in jazz and hip hop dance, selected through auditions in the third week of September. Anyone interested in joining up can find all the information they need at the Athletic Centre’s program office, as soon as the first week of school.

“I was just looking for a place to continue dancing when I got to U of T” said Sampa, recalling how she first became involved. “In my first year I heard about the auditions through word of mouth, and I went to a try out and made the team.”

Even though the team goes through a rigorous amount of technique training, the degree of specialty seems to vary.

“All the girls come from different dance backgrounds,” says Sampa. “Some having danced their entire lives, while others turned to dance later on.”

Not quite on the Varsity roster, and not your typical dance team, the Thundersquad have managed to be completely student-run through fundraising, buying of uniforms, and selforganization. The biggest objective for the group is to raise morale, encouraging students to feel proud of their school.

The Thundersquad dance team wants to confront the age-old problem of student apathy towards university athletics. As sports and school spirit are typically not associated with the University of Toronto, the team hopes to encourage students to feel proud of the Varsity Blues. “People who don’t usually come to our games always say that they were surprised that a U of T game could be so fun,” says McFarlane.

The amount of athletic talent often goes unnoticed by the student population, and the Thundersquad team are determined to keep fighting for their athletes. For Sampa and Mc- Farlane, the camaraderie and community that is created within Varsity Athletics provides a supportive environment within the larger university campus.

Unlike typical halftime cheerers, the team participates in dance competitions. The Festival of Dance at Hart House is seen as an opportunity for the team to showcase their skills in front of their peers and colleagues. “There’s quite a few different groups on campus,” Sampa explained. “There’s belly dancing, hip hop, and lyrical dance groups. I’ve seen some really great performances, and it’s a good experience for the dancers to network a little bit. I’ve only heard good things about it, and it showcases what U of T has to offer. We have some really talented dancers on campus.”

With the sports season coming to an end, the ladies are currently hard at work preparing for the Humber Hype Dance Competition on March 14. As dance competitions come more into vogue, the girls on the team have become every bit the athletes, as the teams they cheer on at the AC. “I see dance as a sport,” says Sampa. “One of the great misconceptions is that dance is just an art form, but it’s really physically demanding on your body. I would consider our team an athletic team, because we work hard, and take our Blues looking for silver liningtness into account.”

Blues looking for silver lining

In a game that started as a suspense-thriller with all the signs of turning into an epic, the McMaster Marauders quickly created a tragedy for the hometown Varsity Blues.

On Saturday night, in front of a boisterous Athletic Centre crowd that featured several hundred fans to support both teams, the Marauders put the hammer to Toronto, winning four sets for their first OUA women’s volleyball championship.

It was easy to see the parity between the two teams, with 22 ties and nine lead changes in the first set. The Blues prevailed, 30-28, with Kristina Valjas sending the home crowd into a frenzy, finishing the set with one of nine kills of the match. However, the Marauders were lights out after that.

McMaster robbed the Blues of their national championship dreams by playing nearly fl awless volleyball, committing only six errors throughout the final three sets. This came much to the delight to their fans, growing louder as victory became more evident.

McMaster head coach Tim Louks watched proudly as his players took the game away from Toronto, committing only 13 errors in the match, along with just two service errors.

“I think maybe we just got a few more breaks and a few more blocks […] They were solid, there were very few breakdowns, they were on a mission,” Louks said. “What do you say when you’re playing such a great team? [Toronto’s] one of the best teams and will continue to be one of the best programs in the country.”

Besides committing very few errors, another key to McMaster’s victory took place at the net as they blocked Toronto attackers’ 18 spikes. The Blues managed only three blocks, all by Valjas.

Hamilton native and second-year Marauder middle Sarah Kiernan, who had six kills and four blocks of her own, said her team has been riding high for awhile, winning 15 straight since a Nov. 11 loss to the Western Mustangs.

“We’ve won a lot of games in four [sets], so after the first one it was really close and we just wanted to cool out, take our time,” said Kiernan. “We just pushed, pushed and pushed, tried to figure out their weaknesses, and we did.”

Varsity Blues head coach Kristine Drakich, clearly upset at the loss, agreed that Kiernan’s team took it to them.

“I think McMaster was better today. They played very well. I was a little disappointed of our start in the second set after winning the first set,” Drakich said, “but I was really proud. We kept fighting all the way through, even though things weren’t going so well but McMaster was relentless.”

Having coached starters Mila Miguel and Anastasia Danilova for the last time in a Blues uniform made the loss harder for Drakich to swallow.

“I think Mila and Asya played well in this match. It’s just unfortunate that we weren’t necessarily ready for the long haul,” Drakich said.

A tearful Danilova, who led all players with 24 kills, said it will take some time for her team to get over the loss.

“I guess life goes on, but for now it sucks,” Danilova said. “I did enjoy this year. It was amazing, although the end was not what we expected. Overall, it was probably my best year. The girls [were] the best girls ever.”

McMaster will now travel to the University of New Brunswick to represent Ontario in their first national championship appearance, starting Thursday, Feb. 28 with national champion crowned on March 1.