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Last night president Barack Obama gave a special address to the United States on the very real and very dangerous threat of defaulting on their debt that his country is looking at. In a rare prime-time address Obama warned American citizens of the dangers of defaulting and why the problem has not been addressed.

Unless action is taken, the United States will default on its debt one week from now. Congress has been working on raising the debt ceiling, a routine decision they have done numerous times since 1970, so that the US can borrow more money to pay off its bills.

This is where party politics has gotten in the way. Obama called out certain Republicans for “holding the economy hostage”. The debate currently resolves around two plans. One, the heavily favored bipartisan Obama backed plan would see unprecedented government spending cuts, as well as closing of tax loopholes to corporations and individuals making over $250 000 per year. The other would see larger spending cuts without the closing of tax loopholes.

The bill has not been passed though because a number of Republicans refuse to compromise on the closing of the tax loopholes.

Obama’s speech appealed to the average American. He constantly used the phrase “fair and balanced” when speaking of the bill he favored.

If America defaults on their debt next week, the shockwaves would be felt around the world. Interest rates would rise dramatically and the United States would lose its perfect credit rating. This would make getting funding for many people much harder. Both parties have agreed that avoiding defaulting is their number one priority.

It was the grand opening bash for the 25th Nuits D’Afrique Festival and the Metropolis was buzzing with electric atmosphere. The lively crowd was instantly energized when the Soul Makossa Gang played their first riffs, and people began smiling and pulsating to an African disco beat. After a few tunes, bandleader and legendary saxophonist Manu Dibango took the stage. We were now in the presence of greatness.

To celebrate their quarter century anniversary, the Nuits D’Afrique Festival selected Dibango, who headlined the first edition, to be the “Godfather” of this year’s fest. Dubbed ‘The Lion of Cameroon,’ Manu Dibango has actually been based in Paris for decades. He’s a pioneer of saxophone, and of groove music worldwide. He’s best known for blending soul sounds with ‘makossa,’ the polyrhythmic African dance beat of his homeland. His seminal 1972 hit “Soul Makossa,” which some claim was the first disco song, was also the first track from France to become a hit in the US. The song’s refrain “"ma-ma-ko, ma-ma-sa, mako-mako-sa" was famously borrowed by Michael Jackson in “Wanna Be Startin’ Somethin’” and many others.

Dibango has an infectiously cheerful charm. Whenever he wasn’t playing the sax, he was sporting a huge, beaming grin. His music is intricate and jubilant, and the relentless rhythms kept us moving throughout the set.

He’s remarkable not just because of his skill, but also for his subtlety and finesse. During a press conference held the day after the show, Dibango said the unified groove of the ensemble is more important than virtuosity, and that this is why he often shares the spotlight with his band mates.

“Ce n’est pas parce que vous avez des bons musiciens autour de vous que le mayonnaise prend. La mayonnaise, elle prend parce que chacun a un personnalité qui est compatible,” said Dibango. “C’est comme au football, vous pouvez avoir des très bons joueurs, et ca ne fonctionne pas.”

One of the most outstanding members of his band was a striking young singer named Valérie Ekoume. She radiated as she deftly sang Dibango’s music and African classics like Miriam Makeba’s “Malaika” with graceful ease. Her flowing, ankle-length dress could almost be described as ceremonial. Its shimmering, purple fabric and draping sleeves were stitched with golden embellishments that sparkled as they caught the light. Like Dibango, her vibe exuded a cheerful coolness as she sang lead most of the set.

In the Nuits D’Afrique program, Dibango’s ‘godfatherly’ greeting ends with “see you again in… 25 years.” At 77, he does seem impressively unhindered by his advanced age, but let’s hope he returns to Montreal before then.

-Emily Brass

Marriage bureaus in the state of New York were in high demand Sunday, as hundreds of gay and lesbian couples lined up on the first day the legalization of same-sex marriage came into effect in the state.

Two grandmothers were the first same-sex couple to be legally wed in the state. The couple said their vows against the backdrop of the Niagara Falls in western New York.

Officials initially set a cap of 764 couples in expectation of a flood of requests. They later accepted all 823 couples.

New York City Mayor Michael Bloomberg thinks the passage will boost momentum for the marriage equality movement in other states.

New York is the sixth U.S. state to legalize gay marriage. Four states have approved gay civil unions, while same-sex marriage is specifically banned in 39 states.

Directed by Richard Stanley ("The Mother of the Toads"); Douglas Buck ("The Accident") ; Buddy Giovinazzo ("I Love You") ; Tom Savini ("Wet Dreams"); Karim Hussain ("Vision Stains"); David Gregory ("Sweets"); Jeremy Kasten
Writers: Scarlett Amaris, Douglas Buck, John Esposito, Buddy Giovinazzo, David Gregory, Karim Hussain, Emiliano Ranzani, Richard Stanley
Cast: Kaniehiito Horn, Catriona MacColl, Andre Hennicke, Tom Savini, Udo Kier, Lena Leine
Producers: Carl Draft, David Gregory, Fabrice Lambot, Jean-Pierre Putters, Daryl Tucker

The Theatre Bizarre is a huge collaboration film; each director was given an identical budget and complete freedom to create a short film with no rules. The result is simply magical. Six different films were presented: "The Accident" by Buck, "I Love You" by Giovinazzo, "Sweets" by Gregory, "Vision Stains" by Hussain, "Wet Dreams" by Savini, and "The Mother of Toads" by Stanley.

"The Accident" is the sweetest of the six, concentrating on the confusing idea of death and why people die. "I Love You" deals with a very bad romance, which is fuelled by psychosexual nature. "Sweets" was my favorite of the six. The film emphasizes comedic horror and the nasty habits that humans have adapted: habits like food and unnatural social groups. "Vision Stains" concentrates on a disturbed writer and what she is willing to do to get the stories that no one would ever see if it weren’t for her. "Wet Dreams" is probably the most fucked up film; it's focused on a miserable housewife and her revenge towards her cheating husband. "The Mother of Toads" was the tale of a man who becomes sexually involved with a - well, you guessed it - huge toad.

At the screening, all of the directors were present and their producers; the crowd was excited for the world premier (as they should have been). The films were gruesome and witty; they were well filmed, and the people who made them, made them with intense care. I highly recommend this film because of the content. It is so rare that a director gets complete and absolute freedom to create whatever he or she wants, and that really turns all six films of The Theatre Bizarre into hidden gems. It grabs hold of you and does not let go.

4 out of 5 Stars

-Andrea Boulet