Vue Weekly 761 May 20-26 2010

2 // UP FRONT

VUEWEEKLY // MAY 20 – MAY 26, 2010

INSIDE

COVER

#761 • May 20 – May 26, 2010

UP FRONT // 4/ 4 Vuepoint 7 Issues 10 ZeitGeist 11 Dyer Straight 12 Bob the Angry Flower

DISH // 13/ 15 Veni, Vidi, Vino

ARTS // 16/ 20 Hopscotch

FILM // 22 23 DVD Detective

MUSIC // 28/ 38 On the Record 41 Music Notes 42 New Sounds 43 Old Sounds 43 Quickspins 44 Enter Sandor

BACK // 44

28

Public Enemy: still fighting the power

FRONT

FILM

44 Free Will Astrology 46 Queermonton 47 Alt.Sex.Column

EVENTS LISTINGS 21 Arts 27 Film 30 Music 45 Events

5

Tailings ponds: an enviromental quagmire

22

Zooey and Adam examines the unthinkable

VUEWEEKLY.COM SLIDESHOW // Fucked Up

MUSIC • Slideshow Fucked Up • VueTube Watch Bombchan perform live in Vue's studio • The Classical Score Previewing the Edmonton Symphony Orchestra's concert of classical music that appeared in movies, including, yes, Blues Brothers FILM • Sidevue Cannesealed: Brian Gibson seeks out the noncompetition Cannes films that deserve to be seen DISH • Dishweekly.ca Restaurant reviews, features. Searchable and easy to use Arts

Fucked Up performs at Avenue Theatre

• Revue Find reviews of past theatre, dance and visual arts shows on our website VUEWEEKLY // MAY 20 – MAY 26, 2010

UP FRONT // 3

EDITORIAL

INSIDE // FRONT

UP FRONT

10

ZeitGeist

11

Dyer Straight

12

Bob the Angry Flower

GRASDAL'S VUE

Vuepoint

Prevention not prisons samantha power // samantha@vueweekly.com

D

isturbing visuals across the city this past week. First, the body of a 25-year-old man was found on steps leading to the River Valley and was witnessed by numerous transit users throughout the day. Then another early morning murder on Tuesday and, recently, the court showing of the violent curb stomping of a transit driver captured on video. In addition to the persisting image of the attack on Shannon Barry, it's been difficult to have a positive image of our city and police force.

The name of the man murdered last Monday cannot be released. He was a young offender, charged with second degree murder in 2002. He suffered from fetal alcohol syndrome, suffered depression and lived his life on the streets of Edmonton.

And so this week it was heartening to see a new program being proposed

by REACH, the Edmonton Council for Safe Communities. The program proposes to create greater support for repeat and young offenders, submitting

that round the clock services need to be offered in the city to help those suffering from addictions and mental health issues—a glimmer of hope at the possibility that police and city councilors may realize that stopping crime requires more than a helicopter, prisons and more cops to arrest people, like services to assist those who are not receiving help anywhere else.

REACH's report revealed the majority of crime in the city is perpetrated by repeat offenders, and that most criminals suffer from mental health issues, addictions, traumatic family lives and self-esteem issues—the conclusion is clearly that preventing crime is more about taking care of Edmonton citizens who need assistance.

With Alberta Justice releasing its report on crime late last year and coming to similiar conclusions, here's hoping there will be a dramatic reinvestment not only in crime prevention services, but also in services assisting the mentally ill and those suffering family abuse. Without consistent, approachable, well-funded services, people will no doubt feel the desperation that leads to crime. V

IssuE no. 761 // MAY 20 – may 26, 2010 // Available at over 1400 locations

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Vue Weekly is available free of charge at well over 1400 locations throughout Edmonton. We are funded solely through the support of our advertisers. Vue Weekly is a division of 783783 Alberta Ltd. and is published every Thursday. Vue Weekly is available free of charge throughout Greater Edmonton and Northern Alberta, limited to one copy per reader. Vue Weekly may be distributed only by Vue Weekly's authorized independent contractors and employees. No person may, without prior written permission of Vue Weekly, take more than one copy of each Vue Weekly issue. Canada Post Publications Mail Agreement No. 40022989. If undeliverable, return to: Vue Weekly 10303 - 108 Street Edm, AB T5J 1L7

4 // UP FRONT

PREVUE

Bill C-389

t: 780.426.1996 F: 780.426.2889 E: office@vueweekly.com w: vueweekly.com

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LISTINGS

Letters

Vue Weekly welcomes reader response, whether critical or complimentary. Send your opinion by mail (Vue Weekly, 10303 - 108 Street, Edmonton AB T5J 1L7), by fax (780.426.2889) or by email (letters@vueweekly.com). Preference is given to feedback about articles in Vue Weekly. We reserve the right to edit for length and clarity.

just wanted to drop you a note to thank you for the recent piece ("Are there no prisons?" May 13 – May 19, 2010) I've found myself torn on Bill C-389 because I see the importance in naming, and I'm happy to see that it recognizes the significance of both "gender identity" and "gender expression," but feel that the hate crimes portion of it feeds into a tough-on-crime mentality that is not only ineffective, but harmful to over-policed groups such as trans people and people of colour. Given that trans people are over-represented in the prison population, and hate crimes legislation seems to have no deterrent effect, I find it hard to understand how trans people benefit by having more trans-phobic people in prison.

Of course, as your article shows, you already know and agree with all this.

I just wanted to thank you, though, because this perspective is too often missing from the debate, both in the queer community and in the broader discourse.

ADAM BADARI

OIL AND ART

DEFENDERS OF FREEDOM

N

F

ot limited to just paints, like most everything else the oil economy plays a role in the way Albertans think about and use art.

In a continuing lecture series this Spring, academics and activists are being asked to think about how oil impacts our use of art. This week activism is the topic of discussion. Muralist Ian Mulder, and artists Brenda Kim Christiansen and Sherri Chaba will present their ideas.

The series continues on May 27 with a discussion on art as a form of protest with presentations by Greenpeace campaigner Mike Hudema and Eriel Deranger of the Rainforest Action Network.

VUEWEEKLY // MAY 20 – MAY 26, 2010

ive Cuban men are serving a total of 75 years in an American prison.

The were accused by the US government in 2001 of committing espionage against the US. The campaign to free the Cuban five has defended their actions as preventing a terrorist attack against Cuba by terrorist groups operating out of Miami. Since their arrest in 1998 Cubans have fought for their release.

The Trial, a documentary on the Five narrated by Danny Glover, will be showing Tuesday, May 25 along with a brief presentation from the People's Poets on their recent trip to Cuba and the history of the Romerias De Mayo festival.

Thur, May 20 (7 pm)

Tue, May 25 (6:30 pm)

Oil and the Arts: Public Lecture Series

The Trial: The Untold Story of the

Natural Resources Engineering

Cuban Five

Facility 1-001

Education Building 129

University of Alberta

University of Alberta

Free

Free

FEATURE // TAR SANDS

The dilemma of the ponds Tar sands tailings ponds remain an environmental quagmire Lewis Kelly // lewis@vueweekly.com

L

ast week a lawyer for Syncrude, Robert White, told provincial court Judge Ken Tjosvold that Syncrude can't be legally responsible for the birds that land in its tailings ponds as preventing all birds from touching the contaminated water is impossible. If Syncrude is guilty in the case of the 1600 ducks that died in its tailings pond in April 2008, White argued, so is every other company with a tailings pond.

"The evidence is unequivocal that you have to have a settling pond," White told Tjosvold. "You have to have unre-

covered bitumen. There is going to be (bitumen) froth and if you have a froth, anything that lands on it will be killed.

Those are absolute givens."

It's those givens that are becoming the centre of debate at the Syncrude duck trial, as it's come to be known. White's closing arguments reveal an environmental dilemma: to have the tar sands is to have environmentally damaging tailings ponds which currently have never been successfully reclaimed.

Even though scientists around the world are trying to find better ways to clean up the water and avoid using as much in the first place, their advances so far have been modest and water, and

the ability to reclaim the surrounding environment, will remain a key environmental issue for the tar sands for the foreseeable future.

At the heart of the debate remain the tailings ponds themselves. White's statement paints the tailings picture: the ponds are so big that stopping any and all birds from landing on them may well be impossible. Every day, roughly two billion litres of water—enough to fill 800 Olympic swimming pools—are added to the ponds, which are already over 11.5 trillion litres in volume.

The largest one, located near Mildred Lake just north of Fort McMurray, is big

NOT FOR SWIMMING >> Overhead shot of a Syncrude tailings pond // Oilsandswatch.org enough to meet the water needs of a town of 70 000 people for 50 years. Except, of course, that no tailings pond is fit for human (or animal) consumption: they're filled with water that's been diverted from the Athabasca River and

used to extract bitumen, a viscous, tarlike form of petroleum, from the Athabasca tar sands. As a result, the water is toxic to humans, fish, birds and even CONTINUED ON PAGE 9 >>

News Roundup ELECTIONS FUNDING

C

hanges to the Local Authorities Election Act, passed into law last month, will affect city council candidates in this fall's municipal election campaign.

The legislation contains provisions about campaign contributions, accounting obligations, surplus campaign fund requirements, rules about who cannot contribute to a campaign and campaign funding limits. Donations to municipal campaigns are now capped at $5000 per calendar year per person, corporation, organization or union. The maximum a candidate can spend to finance their own campaign has been set at $10 000 in total.

Reacting to the changes, Mayor Mandel told the Edmonton Journal in February, "It's offensive, it's degrading and it absolutely infuriates me, and when I talk to the minister I will give him a blast."

Mandel, received contributions of more than $5000 in the 2007 from at least a dozen supporters, including $26 100 from West Edmonton Mall Property Inc. and $15 000 from the Katz Group Canada Ltd. Another provision in the new Act relates to mandatory disclosure statements, which must now be submitted six months following an election.

Previously, such reporting was not

required province-wide, although Edmonton was one of the municipalities that had a disclosure bylaw in place. Those rules have also been changed, with the passing of the Disclosure Bylaw on April 28. Candidates must now turn over any campaign surpluses to the city, to be held in trust. If the candidate contests the subsequent election, the funds will be returned. If not, they will be donated to city coffers or to a charity of the candidate’s choice. In the past, the candidate maintained control of the funds.

The legislation is in place when Edmontonians go to the polls to elect their city councillors and school board trustees on October 18, 2010.

MIMI WILLIAMS

// MIMI@vueweekly.com

DUCKS IN THE TAR MINE

T

he Syncrude duck trial is expected to reach a verdict in June. Robert White, lawyer for Syncrude delivered his closing arguments to the court on May 12. For over two months Syncrude has faced the charges of violating Section 155 of the Alberta Environmental Protection and Enhancement Act for failing to prevent hazardous chemicals coming in contact with animals and plants, as well as the federal charge of premitting a

harmful substance to be deposited in areas frequented by migratory birds, which is found under section 5.1 of the migratory birds convention act.

White's closing statements articulated the reasoning behind Syncrude's not guilty plea and an interesting mention of the provincial and federal government's role in approving tailings ponds to exist. Here are some quotes taken from White's closing statements made on May 12 from the court transcript.

of in situ oil sand, the advantage of pond, and it cannot be done without which, as Your Honour has heard, is that bitumen froth floating for a time, that oil sand is and birds impermeable to can land, There are two options left to an water ... Now, entire industry, and that is break the and do, anyhaving authothey law on a constantly ongoing basis, or where rized that basin please." shut down. in the way the Government of "There's Alberta authorized it, pursuant to no way to avoid unrecovered bitumen what is called an approval, all aspects going into that pond and floating as a of the configuration and operation of froth, and it is impossible, absolutely the settling basin, including the deimpossible, to keep all birds off it. terrence of birds from landing on the Now, because every hour of every day " ... there has been a deafening silence basin, were under the control of reguof every week of every month of every about the regulatory process, which is lators pursuant to the Environmental year, every oil sands company is exinvoked when Syncrude sought an apProtection and Enhancement Act and tracting bitumen, if the charges preproval and obtained it and what that the approval process contained in ferred by the Crowns are in law corapproval then does to allow the—for that statute." rect, an offence is being committed the protecon every day of every week of every tion of the "As I will unmonth of every year."

Now, because every hour of every dertake to subenvironment, including the day of every week of every month of mit to you and "To say that these two sections actulives of these every year, every oil sands company clearly so, it is ally govern in this case and that Synbirds, and any is extracting bitumen, if the charges anything but crude is guilty of them, means that birds and any preferred by the Crowns are in law bombast and either Syncrude and everyone else animals." correct, an offence is being commit- hyperbole and is going to have to break the law evthat is simply ery hour of every day, and while my ted on every day of every week of "And so we because in orfriends for the Crown may, I don't every month of every year. had at Aurora der to extract know, or may not prosecute, experia vast settling bitumen from ence has shown that there are private basin ... Now, how did that settling oil sand, the evidence is that based groups who will, and so there are two basin get there? Well, it got there by upon current technology and certainoptions left to an entire industry, and prior government authorization, of ly the technology in 2008, that cannot that is break the law on a constantly which Your Honour will hear more be done without a tailings pond, and ongoing basis, or shut down." later. By prior government authorizait cannot be done without unrecovSAMANTHA POWER // SAMANTHA@vueweekly.com tion, the settling basin was dug out ered bitumen going into that tailings

VUEWEEKLY // MAY 20 – MAY 26, 2010

UP FRONT // 5

NEWS // INDUSTRIAL HEARTLAND

Cancer alley Citizens call attention to tar sands impacts north of the city MIKE ANGUS // MIKEangus@vueweekly.com

M

ost Albertans associate tar sands impacts such as land and water contamination and rising health concerns like cancer and respiratory disease rates with Fort McMurray. But Citizens for Responsible Development, a group of concerned farmers and residents in the Fort Saskatchewan area are trying to raise awareness about the tar sands' impacts right here in Edmonton's backyard.

The heartland region covers 300 square kilometres just northeast of Edmonton, and takes in the municipalities of Strathcona County, Sturgeon County, Lamont County, the City of Fort Saskatchewan and the City of Edmonton. To many of the residents, the region is quickly becoming known as "cancer alley" as the group's press release puts it, and many fear the situation will only worsen with nine new tar sands upgrader projects and three expansions proposed or approved for this region.

"Fort Saskatchewan is definitely an area that's already under heavy industrial development," points out Mike Hudema, climate and energy campaigner for Greenpeace Canada. "Residents are already feeling the impacts of [the existing facilities] on their land, with several residents seeing their cattle giving still-born deaths, and then the health of their families. Lots of members have had to move away because of cancers and respiratory illnesses, and one of the main contributing causes is the industrialization of the area. So we're working with several land owners in the area that want to protect their families and farm."

Along with participation from the Sierra Club and Greenpeace Canada, Citizens for Responsible Development is offering a one-day tour of the region to highlight the impacts of tar sands refineries on an already over-burdened region. The groups hope to raise awareness and protest the governments and companies who "just want to keep piling on more" industrial projects in one of Edmonton's best agricultural areas, with potential plans that include nine heavy oil refineries in the already-concentrated area.

The tour will take guests into residents' homes to hear their stories in hopes of highlighting the immediate impacts on Edmonton's land and water quality—not, as Hudema points out, the effects in some far-off remote corner of the province.

"Edmontonians hear about the tar sands and think that the implications are four hours away in Fort McMurray, and they don't realize the local implications. Edmonton is now a member

6 // UP FRONT

VUEWEEKLY // MAY 20 – MAY 26, 2010

of the industrial heartland, and half an hour away they're seeing a big polluting piece of infrastructure being constructed, and I don't think most Edmontonians know that, or know the human consequences to the community that's being torn apart."

Furthermore, the Heartland tour is a local component of Greenpeace's Green Jobs Tour, an extensive information road show in coordination with the Sierra Club Prairie Chapter where the discussion will centre on what real alternatives are—alternatives that leave communities healthier instead of more damaged, Hudema emphasizes.

"What we're really talking about is moving to a green economy. There are vast opportunities for job creation for communities across the province, including Alberta's potential for solar energy, wind and geothermal energy as well. But first and foremost we'll be

Edmontonians hear about the tar sands and think that the implications are four hours away in Fort McMurray, and they don't realize the local implications.

talking about energy conservation and pushing for a robust retrofitting program which would put between 10 000 to 22 000 people to work retrofitting peoples' homes, which would of course give people an immediate payback in their wallet every single month.

"Beyond that we'll be talking about re-localizing efforts, connecting local farmers to local restaurants to ensure that our resources stay and benefit the communities we live in."

The tour itself is a chance to meet and hear from families firsthand, as well as experts that can talk about the accumulating pollution in the region.

Ultimately, Hudema hopes this will cumulate to a strong showing at the first day of hearings for the proposed upgrades in Fort Saskatchewan taking place June 1.

"We'll be talking about solutions to leave our environment more intact, rather than tearing it apart," he notes.

"We're trying to get as many people as possible out to tell the regulator, who has currently approved one hundred percent of tar sands projects, that there are other values and priorities that need to be respected in the province, not just tar sands infrastructure." V

COMMENT >> PRIVATE SERVICES

Issues

Issues is a forum for individuals and organizations to comment on current events and broader issues of importance to the community. Their commentary is not necessarily the opinion of the organizations they represent or of Vue Weekly.

From the book

Faith in privatization creates bigger provincial debts Ricardo Acuña // UALBERTA.CA/PARKLAND

In 1994 Ralph Klein's Minister of Municipal Affairs, Dr Steve West, made the following statement in the Alberta Legislature: "I'll make this boldest of statements: There isn't a government operation, a government business, a Crown corporation that is as efficient as the private sector, and indeed they're 20 – 40 percent less efficient. You don't have to do a study. You can guarantee it because of the structure in the way they run their economics."

In many ways, that short statement perfectly encapsulated the attitude of the entire Klein government, and subsequently the Stelmach government, towards privatization of public services—they didn't care what the evidence said, they didn't care what examples from other jurisdictions demonstrated, they simply believed with all their hearts that the private sector was more efficient than the public sector, and as far as they were concerned, that made it so.

It was this faith-based policy making that ultimately led Ralph Klein's government to try to privatize everything in sight during the '90s: from liquor stores to private registries to hospitals and surgical facilities. It's important to remember that in those days Ed Stelmach led the pro-privatization anti-spending choir as a member of the "Deep Six," a group of rookie MLAs that daily urged Klein to cut deeper and privatize more.

It was within the context of this fundamentalist fervour that the provincial government and the Calgary Health Region decided to make health care in Calgary "more efficient" by shutting down three of the city’s seven hospitals— despite the waiting lists that already existed and the city’s looming population boom. If it couldn't be sold off to private providers, it was blown up.

In 1996 Calgary's Grace Hospital, which then specialized in women's health programs, was sold off to a company operating as Health Resource Centre (HRC), a private, for-profit surgical corporation that set up shop selling hip and knee replacements in the

formerly public hospital.

HRC proceeded to become a cornerstone of the Alberta government's pilot project to reduce wait times for hip and knee replacements in the province's major centres (the Edmonton facilities that were part of this project

tem wins—the private companies get their profits, waiting lists get shorter and the whole system is more efficient and costs less.

Except that it didn't. Because there were still public facilities offering hip and knee replacements, it was very easy

The challenge is that because the government got rid of so many of its public facilities in Calgary in the '90s, there is now no capacity left for the public system to re-absorb the surgeries being done by HRC. were all still public). Essentially, the province would buy hip and knee replacements from HRC and give them to Albertans who needed them—public funding, private delivery. This program yielded positive results in terms of reduced wait times, and the government and their acolytes celebrated this as an example of how the government and the private sector could effectively work together to ensure that everyone in the health care sys-

to track the comparative costs and advantages to each of the two delivery methods. And those advantages were crystal clear: surgeries at the private clinic were costing, on average, 10 percent more than the same surgeries at public facilities. Had the Premier and the cabinet bothered, at any time since 1994, to look up from their song-books, they would have quickly realized that their

VUEWEEKLY // MAY 20 – MAY 26, 2010

CONTINUED ON PAGE 12 >>

UP FRONT // 7

8 // UP FRONT

VUEWEEKLY // MAY 20 – MAY 26, 2010

TAR SANDS

<< CONTINUED FROM PAGE 5

bacteria.

Covering an area of more than 130 square kilometres, these tailings ponds are far from scenic, but they're currently the easiest way for oil companies to deal with the toxified water, not to reclaim or de-toxify, but essentially to store the contaminated water.

"In bitumen processing water is a big, big problem," says Greg Dechaine, a researcher at the Centre for Oil Sands Innovation at the University of Alberta.

About 20 percent of the bitumen in the tar sands is close enough to the surface that companies like Syncrude get at it using giant shovels and dump trucks in open pit mines. The remainder is so far underground that it has to be pumped to the surface using steam and suction.

Once the sand is out of the ground, companies use a bitumen-extraction process developed by Karl Clark at the University of Alberta in the first half of the 20th century. Actually, calling it a process might give the wrong impression as essentially, the sand is simply blasted with hot, pressurized water. Dechaine describes it as "like taking a plate and running it under the tap and you just basically blast all the bits and pieces off."

The amount of water required to do this varies based on the origin of the sand. If it comes from an open pit, it takes between two and 4.5 barrels of water to obtain one barrel of bitumen. But if the sand is extracted from deep underground, about one barrel of water total is required.

Once separated from the sand, water and clay, the bitumen goes on to be processed into usable fossil fuels. The water is recycled in this process until it is saturated with hydrocarbons and metals from the sand and cannot be used anymore. After that it goes into one of the ever-growing tailings ponds.

The tailings ponds' water use "is the equivalent of the use of a city the size of Calgary," says David Schindler, a professor of ecology at the University of Alberta and a leading water scientist. "Right now, it's just sitting there indefinitely."

Schindler sees the tar sands as a threat to the long-term health of the Athabasca River. Taking water from the river when it freezes over in the winter lowers oxygen levels in the water, making it more difficult for fish to respire. He has called for a moratorium on the development of new tar sands extraction plants until more research is done into reducing their environmental impact.

Greenpeace activist Mike Hudema is even less optimistic. "We don't think that there is a green solution to the tar sands," he says. "You can reduce some of the tremendous impacts of the tar sands, but even when you look at how much that equates to at the end of the day, it's still too much for us to ethically accept."

The judgement in the Syncrude duck trial is expected to come down in June. Syncrude will likely lose its case and shrug off the penalties, Hudema says, because the company can pay off the resulting $800 000 fine "in a few hours of profits."

While the ponds keep growing, some scientists have dedicated their efforts to discovering some way to clean up the contaminated waters.

Richard Johnson, a biologist at the University of Essex, has discovered a way of using microbes to break down some of the toxic hydrocarbons found in the end-process water—specifically napthenic acids. Johnson treated a naphthenic acid solution with a cocktail of naturally-occurring bacteria, and found that the bacteria will totally metabolize some of the acids into water and carbon dioxide.

However, the more complex, branched acid molecules did not break down completely.

Strangely, the acids Johnson's bacteria ate are toxic to the microbes themselves.

"We've found in many of our experiments that the acids are toxic to the bacteria as well," he says.

"So, if we add too much of the acid, the bacteria will just all die, and then not eat any of them. So you need to kind of strike the right balance."

Finding that balance might be a bit of a problem.

The microbes exhibited symptoms of toxicity at acid concentrations as low as five milligrams per litre, and naphthenic acid concentrations in tailings ponds can be up to 24 times that. Still, Johnson remains optimistic that microbes will be used to clean up tailings ponds eventually, though he concedes it might be decades away.

Another approach to making the tar sands more water-friendly is to use an extraction process that doesn't require water. Environmental engineer Selma Guigard at the University of Alberta has developed one way of doing this.

Guigard's approach involves "supercritical" carbon dioxide—a heated, pressurized solvent that behaves somewhat like a liquid and somewhat like a gas.

Her method mixes supercritical carbon dioxide with tar sand and then depressurizes the slurry, forcing the bitumen to separate from the rest of the mixture. The carbon dioxide can be recycled indefinitely, and the only water involved in the process is that already naturally mixed with the bitumen, sand and clay.

Unfortunately, the technique has yet to be tested at the sort of scale that would let it replace the Clark process in northern Alberta. Guigard has had difficulty raising funds from industry to construct a pilot plant to test the technique.

Murray Gray, the director of the University of Alberta's Centre for Oil Sands Innovation, predicts that Guigard's method won't be used in industry any time soon because carbon dioxide simply doesn't mix well enough with bitumen to be viable.

"Nothing that's been published shows that you can get good dissolution of the bitumen in carbon dioxide," he says. "Unless someone can lick the solubility problem, it won't be used."

Gray's Centre is doing its own research into nonaqueous extraction using solvents like paint thinner. Currently, the Centre is trying to understand the fundamentals of how that might work.

"What we didn't do was run into the lab with a bunch of pots and pans and start playing around with different solvents and additives," says Gray.

Instead, the Centre is focused on the basic research required to design a practical non-aqueous extraction process. Gray estimates that their method is six years away from being used by industry.

Guigard thinks any new bitumen extraction process will face an uphill battle with industry.

"There's an infrastructure surrounding the water extraction process," she says. "There's a pretty big challenge in changing the status quo."

With environmental solutions a long way off, the tailings ponds continue to present a serious hazard to wildlife in northern Alberta. The Canadian Association of Petroleum Producers encourages mine operators to use "cannons, scarecrows, decoy predators and radar/laser deterrent systems," but, as the Syncrude trial illustrates, they don't always work.

While Tjosvold deliberates on Syncrude's legal liability, the toxic lakes in northern Alberta will only get bigger. As they continue to grow, environmentalists like Schindler and Hudema are pessimistic about the future of the Athabasca River. Schindler says he sees no new methods on the horizon that could operate at the needed scale.

Hudema says that even if non-aqueous extraction becomes available, its cost will likely prohibit its use.

"This is not a question of the technology not being there," he says, "but simply that these companies don't want to pay to implement it." V

VUEWEEKLY // MAY 20 – MAY 26, 2010

UP FRONT // 9

COMMENT >> DIGITAL STRATEGY

Unasked questions Who leads and who pays for Canada's developing digital strategy

Last week Industry Minister Tony Clemment, trade and finance, could reasonent unveiled the government's muchably argue for a role in the process. anticipated Digital Economy Strategy consultation. The consultation is slated Given the broad scope of digital issues, to run for two months and inCanada needs a single point of leadcludes an online forum, face-toership with the ability to advance face meetings and a 40-page the strategy at the cabinet tadocument that sets out key ble and to cut across sectors. areas of concern. Five areas Many of our trading partners om .c ly k e vuewe for discussion are identified: have created ministerial posimgeist@ el capacity to innovate, building tions (or at least junior minisa h c i M st a world-class digital infrastructers) with responsibility for speGei ture, growing the ICT industry, cific digital issues. For example, creating digital content and building Australia has both a Minister for Indigital skills. novation, Industry, Science and Research Skeptics will argue that the consultaand a Minister for Broadband, Communition is long overdue or perhaps even cations and the Digital Economy. comes too late. Canada has inarguably If Clement is to lead, he needs clear relost considerable ground in comparison sponsibility and a mandate on the issue, with many other countries around the not the prospect of cobbling together world that were quicker to identify and support from cabinet colleagues zealimplement digital strategies. ously guarding their turf after Canadians While the delays have been marked by have spoken. a gradual hollowing-out of the Canadian Even with leadership addressed, a suctech sector and sliding global rankings cessful national digital strategy requires on network and wireless connectivity, funding. The question of how the stratClement has firmly established himself egy will be paid for is omitted from the as the most committed Industry Minister consultation but represents a basic preon digital issues since John Manley in the requisite. While not all aspects of the late 1990s. strategy will require significant investPrioritizing digital issues is a first step ments—many policy solutions involve toward remedying the situation, but a minimal government expenditures— decade worth of policy neglect will not developing digital skills training probe solved overnight. Despite lingering grams, ensuring broadband access for all doubts about whether the government is Canadian communities and fostering the listening—many Canadians fear that last creation and promotion of Canadian new summer's copyright consultation may be media are just some of the objectives largely ignored—those concerned with that come with a price tag attached.

Canada's digital future can ill-afford to The most obvious source of funds stay silent on the sidelines. comes from the consultation itself. The I hope to address some of the substandigital television transition, which seems tive questions raised by the consultation to have stalled in recent months but in a future column, but the more immediis still nominally set for August 2011, ate concern are two unasked questions should lead to spectrum re-allocation that cut across all issues: who will lead and auction. The transition holds the the strategy and how will the governdual promise of injecting new competiment pay for it? tion into the wireless sector and filling Clement is the obvious point person for government coffers with billions in new digital strategy leadership, yet the conrevenue. Those billions should be earsultation document demonstrates that marked for the digital economy stratthe issue is not so clear cut. Canadian egy, effectively enabling the strategy to Heritage Minister James Moore and Minpay for itself. V ister of Human Resources and Skills Development Diane Finley both contributed Michael Geist holds the Canada Research to the document, leading to different Chair in Internet and E-commerce Law at points of emphasis among the chapters. the University of Ottawa, Faculty of Law. Moreover, many other ministers, includHe can reached at mgeist@uottawa.ca or ing public safety, health, the environonline at michaelgeist.ca.

ZEIT

GEIST

10 // UP FRONT

VUEWEEKLY // MAY 20 – MAY 26, 2010

COMMENT >> CURRENCY

Growing pains

Euro suffers influx of difficult economies What on Earth ever persuaded the Medreassure themselves that that was all iterranean members of the European behind them now. Italy's motives for Union to join the euro? The "single Eujoining were less obvious, but mostly ropean currency" is currently used by 16 had to do with its perennial desire to of the 27 EU countries, but all the others see itself as one of the great powers of except Denmark and the United Kingdom Western Europe. have expressed their intention to The problem was that in no case join, and most of them have were they economically fit to specific target dates for doing join. The way these countries it. Yet the euro nearly came traditionally dealt with their undone this month, and it is productivity deficit was to ly.com k e e w still in serious danger for the slowly but steadily devalue e@vue gwynn e n long term. their currencies, thus keepn y w G er "All the principles of the ing the prices of what they Dy currency union have been sacexported competitive. Once they rificed ... All the stability rules are were locked into the euro, a one-sizebeing broken to save the euro," wrote fits-all currency, they could no longer the voice of German conservatism, the do that.

Frankfurter Allgemeine Zeitung, after It took time for the damage to show, the massive EU bail-out of May 10. "How can that work out well? This presagIt's 11 years since es ... the failure of monetary union."

The EU agreed on a 110 billion euro the euro replaced bailout for Greece two weeks ago, but it the francs, marks, waited too long: by then suspicious mardrachmas and pesetas ket traders were targeting the Spanish and Portuguese economies as well. So of the original 12 in an 11-hour crisis meeting on May 10, members of the EU ministers came up with a 720 billion "eurozone," and euro package of loans and guarantees— almost a trillion dollars—that will be the current world available to any EU country that needs financial crisis was its it in order to quell the speculation. first major test.

Even then, it took two calls from President Barack Obama to persuade them to act together and stop a crisis of confidence that threatened to cause a panic in the markets as big as the colbut it's certainly visible now. Unemploylapse of the Lehman Brothers bank in ment in Spain is 20 percent, and youth September, 2008. The very belated EU unemployment is a catastrophic 42 perresponse was certainly "shock and awe, cent. In Italy 26 percent of the 16 – 24 part two and in 3-D," as one observer age group are out of work, in Greece it's called it, but it didn't solve the underly25 percent but getting rapidly worse. ing problem.

The huge EU bailout solves the imIt's 11 years since the euro replaced mediate financial crisis, but it does not the francs, marks, drachmas and pesesolve the problems of the Mediterratas of the original 12 members of the nean countries. They have huge debts, "eurozone," and the current world fiand there is no way their economies can nancial crisis was its first major test. It grow out of the difficulties so long as very nearly flunked it, for two reasons. membership in the euro cripples their One was the unmanageable debts of competitiveness. They are not in a recescountries that should never have joined sion; they are in a depression. in the first place, like Greece. The other A substantial devaluation of the euro was the sheer lack of political instituitself, combined with serious efforts in tions strong enough to protect the curSpain, Italy and Portugal to improve rency in a crisis. productivity, might enable them to stay in the single European currency and The mostly discouraging history of still regain domestic prosperity, but for previous attempts to create a common Greece it is almost certainly too late. currency argues that political union For too long governments in Athens must precede monetary union, because lived beyond their means, and covered only a strong central authority can reup the real gravity of the country's fially make the decisions that are needed nancial situation by cooking the books. to defend a currency in times of crisis.

The present government is quite difAnd the crises always come, sooner or ferent, but it cannot deal with the aclater: wars, revolutions, depressions, oil cumulated debts if it stays the euro. It embargoes and other unpredictable but will probably have to withdraw from the inevitable upheavals. single currency and default on its debts It's easy to understand why Spain, within two years. V Portugal and Greece wanted to join the euro. They had only escaped from quite Gwynne Dyer is a London-based indenasty dictatorships in the 1970s, and pendent journalist whose articles are being part of a common European curpublished in 45 countries. His column aprency was one of the ways they could pears each week in Vue Weekly.

DYEIGRHT

STRA

VUEWEEKLY // MAY 20 – MAY 26, 2010

UP FRONT // 11

ISSUES

<< CONTINUED FROM PAGE 7

mantra of private system efficiency was seriously flawed, and could have taken steps to reverse these privatizations.

If they did look up they refused to believe what they saw, because the government continued to present the relationship with HRC as an unmitigated success, and continued to look for ways to bring even more private service providers into the system.

If the higher costs were not enough proof that private delivery of healthcare costs more and is less efficient, at the end of April Albertans received another dose of reality as Alberta Health Services announced publicly that HRC's parent company was in the midst of bankruptcy proceedings, and the AHS would have to step in to make sure services didn’t suffer.

So how does a government that os-

tensibly believes in the power of the unfettered free market step into a situation like this? Well, by asking the courts to appoint a receiver and by forking out millions of taxpayer dollars to ensure that financial insolvency does not limit the private clinic's ability to make money off Albertans with broken hips and knees.

By the time all is said and done, just keeping the facility operational through the period of receivership will cost Albertans at least $3 million, and possibly more. That, of course, is in addition to the cost of the surgeries conducted there during the receivership: surgeries that will still cost us at least 10 percent more than those same surgeries at public facilities.

The challenge is that because the government got rid of so many of its public facilities in Calgary in the '90s, there is now no capacity left for the public system to re-absorb the surgeries being done by HRC. The Alberta

BOB THE ANGRY FLOWER

12 // UP FRONT

VUEWEEKLY // MAY 20 – MAY 26, 2010

government's only two choices are to keep paying a ridiculous overhead to provide services at a company that is broke, or build new facilities so that the public system can go back to providing these services.

Ralph Klein and Steve West were fond of labeling groups like the Parkland Institute, who challenged their gospel of privatization with real facts and figures, as fear-mongers who were against innovation and improvement.

Today, Albertans are literally paying the price for their government's fundamental fanaticism with privatization despite all the evidence to the contrary. The problems with this should be evident to all Albertans. Now we just need to pass it on to the ones making the decisions. V Ricardo Acuña is Executive Director for the Parkland Institute, a non-partisan public policy research institute housed at the University of Alberta.

INSIDE // DISH

DISH

Online at vueweekly.com >>DISH

14

Restaurant Reviews

Danilo's Italian Café

Check out our comprehensive online database of Vue Weekly’s restaurant reviews, searchable by location, price and type.

PROFILE // PARKALLEN RESTAURANT

The more things change ...

RECIPE

Venerable Parkallen Restaurant returns with a new identity but a similar philosophy pler look with a combination of earthy colours, bamboo tables and exposed fir beams. Rustom says he was going for a chic, uptown feel. "People thought the old restaurant was kind of homey and diner-ish."

Parkallen has always been a popular restaurant, but once the 9 pm witching hour hit, it used to become eerily quiet.

Late-night dining and Parkallen were simply not synonymous. To combat that, Rustom is now looking to attract a new, younger, clientele while still retaining his older, loyal customers.

"The overall look is slightly loungeish. We've even got TVs on the walls that get turned on at lunch and after nine. I mean, look, the big guys have all got TVs. And the younger crowd is hooked on TVs—they've even got them in their purses. So looking like a lounge after nine is a good thing. People need a nice community-oriented place to go for a drink and a bite to eat late at night."

ALL BRAND NEW >> Inside and out

// Eden Munro

Jan Hostyn // jan@vueweekly.com

P

arkallen Restaurant has been around for over 25 years, in one form or another. It started out as a simple pizza place, Parkallen Pizza & Donair, and over time evolved into a full-scale restaurant, offering what some say is the best Lebanese cuisine that our very un-Mediterranean city has to offer. But early this year, owner Joseph Rustom embarked on yet another transformation, and for almost three long months there was no pizza tossing or kabob-grilling happening in that once-busy kitchen. It did see power tools galore, though.

So why the change? Parkallen is a successful restaurant that has garnered its

share of accolades over the years and has accumulated a long-and-growing list of loyal customers. "You have to reno; you have to change. If you become too complacent, you wither," Rustom explains. "It doesn't matter how great your food is or how successful you've become. My parents started this place and this is where I grew up. I don't want to have to sell it."

Rustom goes on to say that renovating, and changing, is his way of "attacking" the franchises. "The Earls group does 65 percent of the hospitality business in our city. The big guys are eating the little guys, and we need to change that; we need to get people supporting local restaurants."

Gone is the "cute" dining room of old.

In its place you'll find a cleaner, sim-

Most of the changes at Parkallen are of the esthetic variety. Rustom emphasizes that there hasn't been a change in ownership and the menu—although streamlined and with a new look—has remained virtually the same.

"We're known for our pizzas and we're still serving pizza. We've tweaked a few things but the biggest change is with our prices—we've actually reduced them. Most of our entrees are now in the $20 range. The salmon kabob used to be $30, and we've dropped it to $20.

And it's exactly the same dish. That's just one example. You have to change in extreme times, and these are definitely extreme times for the local restaurant industry."

To attract the evening crowd, after 9 pm a different menu will be served, with lighter sandwiches replacing the more substantial entrees. And, for the first time ever, you'll be able to order personal pizzas.

Parkallen is still serving its much-

sought-after Lebanese cuisine as well, but Rustom prefers to use the term "Mediterranean."

"Even though Lebanese food is the most time-consuming and the highest quality of all the Mediterranean cuisines, people think of it as fast and cheap; they think it means donairs and shawarmas. Donairs and shawarmas are Turkish, though. Lebanese cuisine is really a combination of many cultures, and there's actually a heavy French influence. It's definitely not fast food."

Fresh, simple and healthy is how Rustom describes Lebanese cuisine.

He says that, because of the nature of the cuisine and the ingredients used, nothing can be prepared in advance.

As for ingredients, he describes the liberal use of things like olive oil and lemons, and herbs like coriander, cinnamon, thyme and mint. And grilling replaces the ubiquitous deep-frying that seems to permeate everything these days.

So yes, Parkallen has changed. But Rustom says it's still the place to go for excellent pizzas and stellar Mediterranean cuisine. And it still sources its ingredients locally whenever possible.

And it's still a little, locally owned, community-based restaurant where you can go, relax and be comfortable.

And it still has an extensive awardwinning wine cellar, part of which has now been moved to a glass-encased place of honour in the dining room.

The restaurant is just a little more upscale, that's all.

"We did this so it wouldn't feel like a little old mom-and-pop shop, so people could come for a nicer experience. The big guys are killing us because they're always new, always changing. I'm just following their philosophy." V

Lebanese Salad or Fatouch (Supplied by Joseph Rustom) 1 head of romaine lettuce, finely chopped 1/4 Spanish onion, sliced 1/4 tomato, diced 1/4 cucumber, diced Radish slices, to taste 1/4 green pepper, diced Finely chopped parsley, sprinkled on top Finely dried mint, crushed on top Baked pita chips Place all the ingredients in a bowl and toss lightly.

Add 3 tbsp of garlic salt, 2 pinches of black pepper, 1 pinch of salt, 2 pinches of sumac, 1/3 cup of olive oil and 1/3 cup of real lemon juice.

Mix or toss by hand and serve.

For the best results, fresh ingredients must be used. V

Joseph Rustom Parkallen Restaurant 7018 - 109 St 780.436.8080

VUEWEEKLY // MAY 20 – MAY 26, 2010

DISH // 13

REVUE // DANILO'S ITALIAN CAFÉ

Authenticity

Pizza brought back to its roots

INVITATION >> Danilo's welcoming environment LS Vors // vors@vueweekly.com

T

he evolution of pizza is strangely analogous to that of Darwin's finches.

Darwin's finches comprise 15 species of tropical songbirds found on the Galapagos Islands, and each species evolved beak morphology suited to a specific food source. These finches likely descended from a single "parent species" that found its way to the Galapagos via tropical winds and a bit of luck. So too has the pizza evolved considerably from its parent form, which is a simple flattened disk of leavened dough anointed with tomato sauce, olive oil and cheese. Endemic to Naples, the pizza traversed choppy seas and likely

14 // DISH

// Renee Poirier

emerged through Ellis Island in the repertoires of Italian immigrants seeking fortune in the New World. Not until the 1950s did pizza enjoy significant popularity, but since then its growth in status has been nothing short of exponential.

Like Darwin's finches, the pizza in North America quickly evolved into regional varieties. The New York style. The Chicago deep-dish. The Hawaiian. And soon, the fast food pizza. This sharp, evolutionary trajectory is regarded by true pizza afficionadi as detrimental. Crusts became thicker and overly doughy. Mounds of seething cheese superseded subtle, milky bocconcini. Heaps upon heaps of haphazard toppings laid waste to waistlines and overwhelmed the pizza's true essence,

which is one of simplicity and harmony of flavours. One must look past fast food and franchises to experience pizza in its original, understated but never unimpressive, form. In Edmonton, options for exploring the evolutionary lineage of pizza are somewhat limited—though a few notable exceptions exist like the untainted gene pool of an endangered species.

Danilo's Italian Café is a warm room dressed in taupe and yellow ochre, an alcove cleverly recessed from an ever-busy traffic circle. A baby grand piano sits mute in a corner, awaiting the musicians that frequent this spot. Sparkling glassware hangs from a rack above the front counter, where one must order from a short yet intriguing menu that includes pasta and

salads, but heavily favours pizza. Here, there are no cheeseburger pizzas or double-stuffed crusts. Rather, each variant is a nod to a specific region of Italy: Calabria, Sicily, Naples.

At the helm is Pat Guercio, a gifted chef with a voice reminiscent of Tony Danza.

The restaurant is named in honour of his father, who was a fixture on Edmonton's culinary scene for many years as the founder of Italy in the Alley and Sceppa's Trattoria, among others. He makes the pizzas here from scratch, spending hours making home-made tomato sauce and hand-stretching crusts before they are baked on a stone. I am told that all of his recipes are secret.

VUEWEEKLY // MAY 20 – MAY 26, 2010

This tidbit piques my curiosity as I tuck into a salad ($3.95) and sip a crisp, bubbly San Pellegrino ($1.75). The salad components cannot be secret, for they clearly consist of vibrant green romaine lettuce, fragrant tomatoes, sharp red onions, slices of cucumber and delicate rounds of carrot. They are dressed in a tangy vinaigrette that amplifies each vegetable's inherent flavour. I await pizza Caprese ($19.95), sipping the bubbly and ogling the seductive pastries behind the glass display case.

The pizza arrives—fittingly—on a silver pedestal. The crust's perimeter is crackly and golden. A generous scatter of mozzarella bubbles, carrying with it the heat of the oven; gaps in this vestment of formaggio reveal leaves of fresh basil. Each slice is adorned with gently rumpled shaving of prosciutto, which hides a disk of fresh tomato. The summation of these humble ingredients is nothing short of remarkable. The crust stays thin and crisp. The aromatic, earthy basil mingles with the demure acidity of the tomato sauce. Pity that the tomato sauce recipe is a secret.

The siren song of pastry lingers, but I do not want to compromise the remnant notes of prosciutto and pomodoro.

I compromise and order a chocolate chip cannoli ($2.95) to go. Later that night, I slowly savour the rich, smooth ricotta studded with miniature morsels of semisweet chocolate. It is true that numerous permutations of pizza diverged in the new world, many of which bear little resemblance to their progenitors. It is equally true, though, that hidden away in this city's northwest frontier, the quintessence of pizza remains intact. V Mon – Thu (11 am – 2 pm & 5 pm – 8 pm); Fri (11 am – 2 pm & 5 pm – 9 pm); Sat (4 pm – 10 pm) Danilo's Italian Café 11812 St Albert Trail 780.455.1480

WINE

Silver lining

A weak Euro means great things for wine lovers this summer With all due respect for the looming financial disaster for vulnerable economies like Greece, the weakening Euro spells greater opportunities for wine lovers or those who've dreamt of VIDI VENI, visiting the Mediterranean to sample the world's most repkly.com utable wines firsthand amidst uewee gus@v unforgettable backdrops. mikean Mike With the economies of Italy, Spain and Portugal also lingerAngus ing in the balance, while premium wines continue to sell steadily thanks to the strength of the Asian market, it can be argued that consumers can expect a break on pricing across entry-level and mid-level wines.

Brian Epp, sommelier and wine purchaser in BC, says that although it's hard to know GO AHEAD >> Take advantage of the weak Euro // File exactly what to expect, a rough summer for the Euro should end up benefiting conlast week's end—Canadians travelling to nesses are already trying to lure foreigners sumers and hobbyists.

Europe will find their dollars going much with a thirst to tour these regions based "In theory, it should drive prices down, farther this summer, a frequent deterrent on the appeal of a more affordable Euro. because there's so much wine in France that can discourage budget-conscious travOther recession implications for wine and Italy that producers and agents and ellers. Accommodations, meals and travel producing countries like Spain and Italy everyone in between must start thinking costs should all drop as tourist-friendly could mean a dip in the cost of buying wine that they can't go overboard with premium businesses adapt to attract visitors, includas well. Some investors think that consumbrands and bigger margins. They have to ing Italy's growing agritourism industry ers can expect to see savings of 15 – 20 mellow out because that's what the mar(where travellers offer their labour in the percent on European goods, from your faket demands." vineyard in exchange for room and board). vourite bubbly to BMWs. To put it another With the exchange rate as comparable Despite the social disruptions in political way, do your part to help the recession: as it is—one Euro sitting at $1.30 CDN at hot spots like Athens, vendors and busiraise a glass! V

VINO

VUEWEEKLY // MAY 20 – MAY 26, 2010

DISH // 15

INSIDE // ARTS

ARTS

18

19 20

Henry Rollins

Knowledge Box Hopscotch

Online at vueweekly.com >>ARTS

Arts Reviews Find reviews of past theatre, dance and visual arts shows on our website.

PREVUE // GARAGE ALEC

Communication breakdown English and French collide in the bilingual Garage Alec Paul Blinov // paul@vueweekly.com

S

ure, we live in a bilingual country.

But having a general population that actually speaks both English and French seems truer in Central Canada.

Less so out west: get far enough away from Quebec and French seems less of an official language and more just a school course that became optional after junior high.

And while Tracey Power ruefully admits that she falls into the unilingual category of Canadian, that hasn't stopped her from using both languages to script Garage Alec, a comic, fly-onthe-wall glance at what can happen when two people find themselves on opposite sides of the language divide.

Stuck with a broken-down car in rural northern Quebec, Michelle, a Calgarydwelling chef, finds herself at an impasse with curmudgeonly old mechanic Alec: she only speaks English, and he only French. But that language barrier will be just as present for audiences: there are no subtitles or translations for Alec's français lines.

"I wrote it all in English, and then Brian [Dooley] translated his character into French," Power explains. "It was a kind of crazy process. It's been ongoing since 2008, and a lot of it has been exploring [French] words that have similar, or that sound like other words in English, to find the comedy in that, and finding the ways these two people learn to communicate and understand one another.

BILINGUAL THEATRE >> Garage Alec uses both official languages "Everybody has stories of being in situations where they can't communicate with somebody," she adds. "It's just not usually in your own country.

It's usually when you go overseas.

I think that says a lot, too, for us as people and Canadians."

It's loosely based on a situation Power found herself in a few years ago. While driving through Quebec, she discovered

// Supplied

an issue with the rental car's insurance, and she struggled to replace it in a mostly French-speaking town. She'd ask for directions or assistance only to receive blank stares.

"I realized, kind of for the first time, being a West Coaster, that, 'Oh, yes, people do speak French, but there are people that don't speak English,'" Power says. "I never really clued into the fact that people didn't speak English as well. I feel so

ignorant saying that, but until you're actually in that situation you go, 'Oh yeah.

You just speak French.'"

The mixed-language script has made for some strange rehearsals. Like Power, director Ron Jenkins doesn't speak French, so they've brought in some outside assistance to come in to listen and help shape that side of the script.

Though, Power notes, all the rehearsal exposure has added a few French words

to her repetoire.

"There's a lot of trust involved," Power laughs, "There's a lot of trust in just Brian knowing what he's saying, and for us also, our ears and us listening, and to be able to understand some of it. You kind of realize how much you do start to understand when you're around it all the time."

So, depending on an audience's level of fluency, Garage Alec poses an interesting divide: those versed in both languages will have no trouble following each side of the conversation, but those who can't recall their grade school French will find themselves going through exactly what Michelle does up on stage.

"This play is so much about trying to understand the other person, and trying to communicate, and miscommunication," Power says." I think it'll be that for English audiences that don't speak any French at all, because they will be completely on my journey, and going through the frustration, and the misunderstanding and the craziness that I have to go through as a character, and slowly remembering that grade 9 French that you thought you'd forgotten, or you'd never have to use." V Until Sat, May 29 (7:30 pm) Garage Alec Directed by Ron Jenkins Written by Tracey Power Starring Brian Dooley, Power Timms Centre, Second Playing Space (87 Ave - 112 St) , $10 – $25

PREVUE // CRADLE TO STAGE

Finding their feet

The Walterdale presents a mini-fesitval of new works David Berry // david@vueweekly.com

W

alterdale's Cradle to Stage has taken different forms over the years, from a full-on playwright mentorship to intensive work with dramaturges and directors, from a mini-festival that rotates nights to a uniform, two-week program, but one thing has always been at its centre: getting a collection of new one-acts by Edmonton playwrights on the stage.

"We do six shows where we focus a

16 // ARTS

lot on acting and directing, and we get help and mentorship within our organization for that, but in terms of playwriting, it's hard within a body like ours to find that specific help," explains Walterdale Artistic Director Kristen M Finlay. "There is a lot of opportunity in Edmonton for playwrights to develop, but that doesn't always include our membership.

From my perspective, seeing how much the scripts have grown, I can tell there's been a lot of great work in that process."

This year, three plays got to benefit from a dedicated dramaturge, which included Finlay and notable names Tracey Power and Brian Dooley. First up will be a staged reading of Erin FosterO'Riordan's Uncle Robert's Funeral, a dramedy involving a case of mistaken identity at a funeral. From there, audiences will get a full production of Jim Herchak's Kiss Within a Kiss, a behindthe-scenes meta-comedy that follows what happens when a young actress has to perform her first actual kiss on stage as part of a play.

Rounding out the evening will be Andy Garland's Sea of Green, a play that maybe best emphasizes the crucial nature of play development. Set in Tehran during the aftermath of the controversial Iranian election, it follows a variety of perspectives, but was actually originally submitted as a poem. Through the Cradle to Stage process, though, it has found its theatrical legs, to the point where it just received an honourable mention in the annual Alberta Playwrights Network competition.

"It was just one long poem, but it was

VUEWEEKLY // MAY 20 – MAY 26, 2010

so beautiful and compelling, that I think the jury just connected to the words," points out Finlay. "Now, of course, working with the dramaturge, there's room for choral work and movement and very strong visuals within the text." V Wed, May 19 – Sun, May 29 (8 pm) From Cradle to Stage Featuring Kiss Within a Kiss, Sea of Green, Uncle Robert's Funeral Walterdale Theatre (10322 - 83 Ave), $12 – $16

REVUE // MOURNING DOVE

REVUE // THE GOOD WOMAN OF SETZUAN

The biggest question

Divine discombobulation

Mourning Dove even-handedly questions the unthinkable

BFA cast add charm to Good Woman of Setzuan

David Berry // david@vueweekly.com

M

orality is, for the great lot of us, not actually something terribly immediate. In our day to day, moral questions are usually low stakes, or at least come with fairly obvious answers, however much we like to obscure them to suit our desires (I shouldn't cheat on my significant other or I shouldn't steal an iPod). There are some grander questions that we might face regularly—what kind of responsibility does my privilege confer on me, say—but the tangible results of our decisions tend to be removed enough that it fuzzes the radar, if we bother to think of them at all.

Occasionally, though, we're asked to confront a question well beyond our capacity. Based on the Robert Latimer case, Mourning Dove thrusts a family into a situation of profound moral complexity, a literal life-or-death decision the ramifications of which are almost beyond our capacity to understand, let alone actually deal with. Faced with putting their infirm daughter Tina (Naomi Gaertner, in breath only) through another operation—a salvage operation, the doctors call it—one that may not even help her quality of life, Doug and Sandra Ramsay (Michael Peng and Nadien Chu) ask themselves if she wouldn't just be better off resting in peace.

There is obvious baggage here, referencing such an infamous case, and I'll say for my part that my take on the real-world situation is one of respectful deference to a decision I don't have the necessary experience to judge. Mourning Dove largely subsumes the obvious moral question into an evenhanded but no less harrowing exploration of the emotional states of its characters, though, a device that gives us insight without forcing our hand. The result, at least in the hands of Kill Your Television, is a play that is occasionally punishing in its empathetic notes, troubling for anyone with pre-formed opinions, genuinely moving throughout and overall one of the finest pieces of theatre I've ever had occasion to see.

Peng is essentially the core here, the one who makes the almost-unimaginable decision to take his daughter's life. A hint of malice or lethargy on his part would flatten this play something terrible, but he's terrific as an obviously caring and loving man, one who has extended his understanding to the developmentally disabled Keith (Nathan Cuckow), a frequent helper in the workshop where most of the play takes place. Keith's misguided enthusiasm can frequently derail what is already a tough road, but the first half of the play, which sees them trying to put on the Noah story for Tina's amusement, sets up the bond they obviously have with the immobile, mute girl before them.

Things obviously get deeper once the deed— portrayed in turn as both sympathetic and ter-

PAY TO STAY >> The Good Woman of Setzuan lives in a corrupt world // Supplied David Berry // david@vueweekly.com

MORAL DILEMMA >> Mourning Dove is genuinely moving // Kerem Cetinel rible, in an absolutely stunning bit of direction from Kevin Sutley—is done, and Chu picks up her performance in kind, struggling as the only person in the world who both can and can't understand Doug's decision. Their talks—it is simply too intimate to be a debate—are gutting things, compassion and desperation and familial bonds swirling into explosions, conciliations and uneasy truces. And then into the middle of it comes Keith, subtly but sharply realized by Cuckow, whose obvious parallels to Tina grant him a kind of authority that even Doug lacks, and whose confrontation with the latter is the capper in a series of baldly affecting moments, and whose unrestrained hurt both simplifies and frustrates everything that's come before.

It may be that the ultimate act here is actually too big for us to comprehend, with our limited viewpoints, but Kill Your Television brings us as close to the heart of it as we could get without being in that garage, and ends up with a play that will reveal far more about yourself than it does about the situation in question. I'm not sure what else you have any right to expect from a piece of theatre. V Until Sat, May 22 (8 pm) Mourning Dove Directed by Kevin Sutley Written by Emil Sher Starring Michael Peng, Nadien Chu, Nathan Cuckow, Naomi Gaertner Catalyst Theatre (8529 Gateway Blvd), $17 – $25

B

ertolt Brecht's The Good Woman of Setzuan begins and ends with some gods behaving badly, but I don't know that the man should be quick to point fingers: though he's forever willing to point out humanity's moral faults, he's less eager to offer tangible solutions, as often as not just kind of suggesting the problem and implying the solution, leaving it up to his audience to figure it all out (as is directly the case in the final scene here). But, then, maybe this is also Brecht's way of suggesting that moral adjudicators are generally better at pointing out flaws than actually helping people out (or for that matter creating systems that allow for consistent good behavior).

Truthfully, there's a lot that's kind of discombobulating about The Good Woman of Setzuan, a play that, for all its sharp distinctions and moral messages, is actually pretty murky as a whole, a morass that's fairly mimetic of our own moral experience in the world. The center of it all is Shen Teh (Mary Hulbert), a kind-hearted prostitute who is literally good to a fault, letting people run roughshod over her best intentions. This kindness initially grants her favour from the gods in the form of money to buy a tobacco shop, but she slowly comes to realize she's getting eaten alive, and adopts the persona of Shui Ta, her cousin and a hardened business man whose ruthlessness goes from just initially aiding her to eventually setting up a drug business that's keeping her rich.

If this seems an abrupt character change, it's probably due to the world Shen Teh lives in. The best behaviour you can hope for in Brecht's Setzuan are the wealthy business owners committing acts of charity in the hopes that the gods will take no-

VUEWEEKLY // MAY 20 – MAY 26, 2010

tice of their benevolence. Shen Teh's fellow destitute are inveterate moochers only too happy to accept her handouts (when they're not stealing), the man she loves is plainly using her for what little money she has, even the gods are at best buffoons, desperately searching for goodness and, in the penultimate scene, ultimately forgiving Shen Teh's indiscretions because it suits their purposes. So, it's a little bleak.

But the morality is only half of the muddle. Tonally the play goes from broad comedy to piercing drama and back in the space of minutes, there are plenty of odd little musical interludes that seem a bit of a haphazard device, and it's a little bit overlong and backloaded, meandering its way to its major critiques. And yet, for all that, it's also utterly charming. On a gorgeous set, the BFA class has a roundly good grasp on its characters, and it handles the necessary mugging and sine-waving mood remarkably well, letting Brecht's grander points shine through without abandoning character altogether. The cast also seems to have internalized the cynicism into comedy, a kind of helpless laughter that is at least laughter, which keeps things from feeling to didactic or preachy. It's an odd little world that's created here, but it's at least one that's a frequent joy to experience—which, for a play about the impediments of being a good person, is an odd little experience in itself. V Until Sat, May 22 (7:30 pm) The Good Woman of Setzuan Written by Bertolt Brecht Directed by Sandra Nicholls Featuring the BFA class of 2010 Studio Theatre (87 Ave - 112 St), $10 – $20

ARTS // 17

PREVUE // SPRINGBOARDS

Keeping it local

Developing scripts find their first audiences at Springboards Paul Blinov // paul@vueweekly.com

'I

love fashioning a dialogue with the community in which I live," says Workshop West artistic director Michael Clark. "I find the discourse with the community that I live with comes through the observations that playwrights bring, in the plays that they write, to be one that is very exhilarating and current. We're creating our culture."

He's got a point. Sure, Clark notes, you could produce a Shakespeare, or script from abroad, in such a way as to shape it into commentary about Edmonton, but working with local playwrights is just a more direct, specific route to follow to the same end goal. It's that mindset Clark's used to guide Workshop West, which remains devoted strictly to new play development. But aside from premieres, Workshop West have a pair of yearly festivals: Canoe, which stages edgy new works, and the currently running Springboards, a raw-er, more stripped-down affair that lets developing scripts see a reading for their first real audiences, who can then pose questions to the playwright. It's a process Clark knows the merits of firsthand.

"Just the very act of having a play read in front of an audience, and being in the room as they experience it is a hugely informative experience as a playwright and a director," he says. "Even if we were just to stop there, it would be a fairly productive exercise. But then being able to ask questions, you never know what kinds of questions are going to come. And something we always do is always

underestimate how intelligent the audience is, and how astute. So there's almost always questions that come from the floor that change how you look at stuff."

For the artists involved, there's been measurable payoff with Springboards. Local hit of yesteryear The Mighty Carlins, and WW's own recently acclaimed season-closer Dry the Rain both saw early readings at the festival, and the gay rap opera Bash'd won a couple Sterlings before receiving a successful three month-run off-broadway in New York after its Springboards appearance. This year's selection includes Edmonton mainstay Kenneth Brown's Cowboy Poetry, Matthew Mackenzie's SIA, which won the 2010 Alberta Playwright's Competition and An Almost Perfect Thing by Nicole Moeller, whose previous work Without You won Edmonton's 24-hour playwrighting competition and saw a proper production as part of a Studio Theatre season.

"I liken play development and running a play development company to gardening," Clark says. "Unlike theatre companies with mandates that choose from the world's repetoire, I often find what I do is more like picking from what's ripe in the garden.

It's kind of like the 100-mile diet of theatre." V Until Sun, May 23 (7:30 pm) Springboards Featuring readings of Cowboy Poetry, SIA, An Almost Perfect Thing, The Hydeaway (10209 - 100 Ave), Pay What You Can

PREVUE // HENRY ROLLINS

Rollin' on

Henry Rollins returns to the road Paul Blinov // paul@vueweekly.com

'B

eing off the road, I feel like I'm missing out on something. I feel like the older I get the more I feel like I'm kind of letting time pass me by," Henry Rollins says. No disrespect to his residenceâ&#x20AC;&#x201D;just last week, he was home for two full days, and though it was a jetlagged stop-off, Rollins adjusting out of South African time-zones in preparation of the second leg of a massive speaking tour that started back in January, he likes being home well enough. But, in total, he'll spend nine months on the road, and seems more comfortable out there: afterall, Rollins notes, he's been touring since he was 20, and now, at 49, travel seems more normal than staying in the same place.

His restless touring schedule has been colouring the content of his written work for years now, including the speaking engagements on the Frequent Flyer tour (slogan: "Knowledge without mileage equals bullshit") promoting 2009's A Mad Dash, a new collection of Rollin's travel stories. It's the second book he released in '09, and there're presently two more on the horizon: another travel book, and, a first for Rollins, a book of photography.

Vue Weekly spoke on the phone with Rollins before his upcoming Edmonton tour stop.

VUE WEEKLY: A Mad Dash is a collection of your travel stories. It seems to me that you've never had trouble

18 // ARTS

VUEWEEKLY // MAY 20 â&#x20AC;&#x201C; MAY 26, 2010

putting your life out there to read about. Has it always felt natural to write down your life?

HENRY ROLLINS: Yeah. There's some people who like to act out. Maybe it could be something in my upbringing. Some kind of desperate need for attention.

But yeah, I figure if I'm going to be on an adventure, I should keep track of it somehow.

VW: How long have you kept a journal for?

HR: Since I was about 21. My only regret is I didn't start earlier.

VW: Why start then?

HR: It occurred to me: I was on the road, the early days.

I was in Black Flag, and I was having this interesting life. It was nothing like I'd been living like before I joined the band, and even people I knew in bands, it was nothing like what they were experiencing. And I saw so much I figured I better start tracking it. So I bought a composition notebook at a drug store. For all like $1.50. And only had one pen, so I had to take really good care of it. There's very limited resources in those days, so you really kind of had to police your stuff. [laugh] But, y'know, you didn't have much stuff to police, so it wasn't that hard.

VW: After a year or so of travel, how do you decide what makes it into a book?

HR: Well, the journal books, I just kind of document CONTINUED ON PAGE 20 >>

PREVUE // KNOWLEDGE BOX

Uncertain knowledge Knowledge Box's stretched sounds go beyond recognition to inspire dance

ON THE BRINK >> Knowledge Box pulls inspiration from unusual sources // Supplied Fawnda Mithrush // Fawnda@vueweekly.com

I

t's not every day that you learn a new word which actually fills a hole in your lexicon, but today Shawn Pinchbeck has provided just that. The electro-acoustic musician—one of the founding members of BEAMS and international mover of sound composition—is currently working with Mile Zero Dance on Knowledge Box, a contemporary dance exploration of the macabre themes found in the sketches of American illustrator Edward Gorey, who you may remember from such works as The Gashlycrumb Tinies, or that silly alphabet that starts off with "A is for Amy, who fell down the stairs."

In describing the score he's been creating with dancers Gerry Morita, Katrina Smy, Richard Lee, Eryn Tempest and Danica Smith, Pinchbeck uses the term "acousmatic" to describe the nature of what the audience will hear. The sounds he's using are everyday, household noises that have been stretched, shortened, processed or changed in some way—and because you can't recognize the source of the sound when you hear it in morphed form, these sounds can come across as pretty darn creepy—perfectly suited for the score of a piece examining Gorey, Pinchbeck notes.

There you go: acousmatic. Think of it like repeating a word over and over again until it loses meaning and starts to sound, well, weird. A balloon squeaking, a door closing, birds chirping— these sound objects can all be made so unfamiliar that your brain doesn't know what to do with them.

"My music can sound quite spooky and creepy at the best of times. I guess I have that gene, whatever that is," Pinchbeck says. "For me it's quite easy to come up with ideas for this sort of thing. The scenery really suggests a

lot, and when you're doing processed sound it has this otherworldly quality ... You can't identify that sound anymore. It's something else, but it's not a real sound: you can't associate it with anything, so then it's spooky."

As for the scenery of Knowledge Box, that seems a little spooky, too. In the week before production, MZD Artistic Director and choreographer Gerry Morita describes what she sees around her: a mess of teacups, white bridal gowns, characters of crones and voodoo dolls and little girls, lots of black mesh, high heels and a big fur coat— and these are just a few of the things set to appear.

What started out as a performance piece at last year's feats festival has now become a full-length show, this time complete with the hovering, puffy coated man seen in many of Gorey's illustrations. The point being to provide a similar sense of dramatic but simple tension found in his drawings—many of them which featured cute, wideeyed children teetering on the brink of rather tragic situations.

"The characters have a lot of little deaths in keeping with Gorey," explains Morita, noting that the show also employs live video of the dancers projected over themselves. "There's a lot of macabre, strange little disasters along the pathway of these characters. You get a really interesting assimilation of interactive bits of technology on top of these Gorey images that are really pre-technology—they're more from the mechanical era. It's quite bizarre to have that combination." V Thu, May 20 – Sat, May 22 (8 pm) Knowledge Box Featuring Mile Zero Dance La Cite Francophone, (8527 - 91 St) $20 – $25

VUEWEEKLY // MAY 20 – MAY 26, 2010

ARTS // 19

HOPSCOTCH >> NIGHTMARE ALLEY

Step right up

Nightmare Alley offers strange visions of human folly It was late 1938 or early 1939. William ward off his own insistent visions of loomLindsay Gresham was in a village near ing perdition: "In the hot sun of noon the Valencia, awaiting repatriation after his incold breath could strike your neck. In havvolvement in the Spanish Civil War, when ing a woman her arms were a barrier. But he first heard about the geek from after she had fallen asleep the walls a man named Joseph Daniel of the alley closed in on your sleep Halliday. The men were drinkand the footsteps followed." ing when Halliday regaled In its particular way of mirrorGresham with his knowl.com ing of its protagonist's gradual ly k e e w edge of this unusual carni- hopscotch@vue mental collapse in the shifting val attraction, an alcoholic tone of its prose, Nightmare AlJosef driven to such desperation ley to some degree looks forward Braun that he bites the heads of live to the novels of Jim Thompson, who chickens to secure his next drink, dewould be far more prolific than Gresham, cades before such sadistic entertainments though even his most ambitious works would be employed and domesticated by cannot match Nightmare Alley's scope. the likes of Alice or Ozzy. The sad story of There's also a kinship between these the geek resonated deeply with Gresham, authors in how they write about sex as haunting him, at least until 1946, when his something ultimately tawdry and doomfirst novel was finally published. laden yet enduringly alluring and captiStan is a handsome, bright young carvating upon discovery. There's something ny working on a modest slight-of-hand tender and compassionate in Gresham's act, though he has vague ambitions for evocation of Molly, the electrical girl with greater things. Nightmare Alley begins whom Stan falls in love, whose pa told her with Stan observing the geek for the first never to make love to a man whose toothtime, amazed and appalled. The barker asbrush you wouldn't use. (Not bad advice!) sures his audience of the geek's genetic The belated loss of virginity is for Stan a singularity: " ... he has two arms, two legs, revelation: "This is what all the love-nest a head and a body, like a man. But under murderers killed over and what people that head of hair there is the brain of a got married to get. This was why men left beast." What the geek assures Stan of is home and why women got themselves man's fundamental frailty and perverse dirty reputations. This was the big secret." fascinations, the understanding of which Stan's lingering psychic wounds are of an strikes him as crucial or survival. Stan Oedipal nature. His buried desires manifest observes the audience's primal rapture: " most dramatically in the affair he concocts ... the crowd moaned in an old language, with the icy psychotherapist with whom pressing their bodies tighter against the he'll formulate his most ornate scheme, board walls of the pit and stretching." Sizand whose vocation is to him just another ing up his marks, he smiles "the smile of racket. "I know what you've got in there," a prisoner who has found a file in a pie." he boasts to the doctor, "society dames The weaknesses and anxieties that burrow with the clap, bankers that take it up the and fester in each of us are to be Stan's ass, actresses that live on hop, people with field of study as he works his way up and idiot kids. You've got it all down." Stan has out of the carnival circuit and onto more an interest in all forms of human folly, but baroque and profitable grifts among the those derived from lust are the ones he cultural elite. He discovers a hidden book himself seems unable to master. that reads like an instruction manual for his future. "Think out things most people Newly re-printed and handsomely bound are afraid of," it reads, "and hit them right

by New York Review of Books Classics where they live." But those weaknesses ($17.95) with an informative introduction by and anxieties also taunt Stan as he tries to Nick Tosches, the return of Nightmare Alley

has been for me a tremendous discovery. I knew of it mainly from the excellent 1947 film version, brilliantly adapted by Jules Furthman, directed by Edmund Goulding and starring Tyrone Power. I hadn't guessed that this pulp source material for some prime noir was itself a masterpiece and something more than a crime novel. It's a portrait of postwar shadows engulfing a vast American landscape that crushes the likes of Stan in a confluence of exploitation, alcohol, repression, ideology, materialism, religious longing and dubious promises of upward mobility. Though there were a number of non-fiction works, including a book on Houdini, Nightmare Alley was one of only two novels from Gresham, who was himself it seems crushed by a cocktail of voracious personal demons and bad luck.

He tried to ward off his own nightmare alley with booze, Marxism, Christianity, psychoanalysis and three marriages, the most famous being to the poet Joy Davidman, to whom Nightmare Alley is dedicated, who bore Gresham two children before leaving him for C.S. Lewis in 1953. Gresham suicided in a hotel room off Times Square in September of 1962, unemployed and without prospects, at the age of 53.

Nightmare Alley covers a lot of territory, both psychologically and geographically, crossing the US by truck, train, car and on foot until Stan's world seems not larger but smaller, shrinking to a blackened point. His carnival experience comes full circle, like the embrace of a family whose door always remains forbiddingly open, and some of Gresham's finest passages evoke for us this family on the move, seductive and grotesque and leaving only cavities in its wake: "It came like a pillar of fire by night, bringing excitement and new things into the drowsy towns—lights and noise and a chance to win an Indian blanket, to ride on the ferris wheel, to see the wild-man who fondles those rep-tiles as a mother would fondle her babes. Then it vanished in the night, leaving the trodden grass of the field and the debris of popcorn boxes and rusting tin ice-cream spoons to show where it had been." V

find some kind of voice to it. Like I said, some kind of music. And that, to find the poignancy in something, sometimes it hits you, sometimes it doesn't. Sometimes while talking about something else, you go, 'Oh, now I see the story.' Or you're telling the story, and you realize, for a couple of nights you've been on stage, and what you thought was the main part of the story is actually the minutia, and what you thought was really nothing, it actually is the thing of the thing. And so sometimes these stories evolve as the tour goes on.

The truth of it doesn't change, but an aspect of the thing might change.

mayor of the township, a guy named Afrika Monie. Afrika was in fine form that day, he was really on fire: he was lecturing us on the evils of Jacob Zuma. And I started taking photos of him as he kind of smouldered. The book is being dedicated to him, so he'll be the first photo you see. And that's the last photo for this book. The next photos I'll take will be elsewhere, and I'll start another photo book. I've never done a photo book before—well, I've published them, but I've never done one where it's my work. So I think this'll be something I can pour myself into. I'll probably pull off one or two more of them before it's all over. V

HOP H C SCOT

HENRY ROLLINS

<< CONTINUED FROM PAGE 18

what's happening. Where the real distillation comes down is what I take to the stage.

VW: And how do you decide on that?

HR: Well, what becomes a story? I mean, you go on the road, you travel and, like anyone else, you see, you take in information. And mere reportage onstage really doesn't work for me because it doesn't take a lot of skill. I think a real key is to find something, find some music inside what you see, find something that has some context, some perspective that you can tie it to something else. Where's the humanity? Where's the story inside the information? Sometimes you can see things that are very vivid, and there's really nothing to it, more than, 'Here's what I saw.' But the skill, the job, the art of the thing is to

20 // ARTS

VW: Tell me a bit about the photo book.

HR: It's photos from 2003 or 2004 to just the other day. The other day in South Africa was the last photo for the book.

I was in a township that I'd been to before, and I wanted to get a photo of the

VUEWEEKLY // MAY 20 – MAY 26, 2010

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;`mj[`add Ki Â&#x153; /0(&,**&.**+ Â&#x153; FIGURES IN MOTION: =\_Yj <]_Yk3 until May 30 Â&#x153; L@= <AK9KL=JK G> O9J AND LOS CAPRICHOS: >jYf[akg ?gqY; until May 30 Â&#x153; IMAGE MAKER: KYjk`3 until May 30 Â&#x153; BMO World of Creativity: PLAY ON ARCHITECTURE: ;`ad\j]f k _Ydd]jq Â&#x153; Sculpture Terraces: Ogjck Zq H]l]j @a\] Yf\ C]f EY[cdaf Â&#x153; BUILDING ART: =\oYj\ :mjlqfkcq k h`glg_jYh`k g^ l`] Zmad\af_ g^ l`] F]o 9?9 Â&#x153; Art for Lunch: L`] AffgnYlan] L][`faim]k Yf\ EYl]jaYdk g^ =\_Yj <]_Yk3 Thu, May 20, 12:10-12:50pm3 ^j]] Â&#x153; Open Studio2 Y\mdl \jgh%af ogjck`ghk3 Thu, May 20, 7-9pm3 )*' )( 9?9 e]eZ]j! Â&#x153; Studio Y: Fri, May 21, 3:30-5:30pm3 - klm\]fl!

AXIS CAFĂ&#x2030; Â&#x153; )(+,1 BYkh]j 9n] Â&#x153; /0(&11(&((+) Â&#x153; 9jlogjck Zq 9fYZ]d ImYf Â&#x153; Until Aug 1

BILTON CONTEMPORARY ARTďż˝Red Deer Â&#x153; ,:$

-0(1%-) 9n]$ J]\ <]]j Â&#x153; ,(+&+,+&+1++ Â&#x153; BCA ARTISTS: ALÂżK AF L@= :9? Â&#x153; Until Jul 2

CARROT CAFĂ&#x2030; Â&#x153; 1+-)%))0 9n] Â&#x153; >]Ylmj]k Yjlogjck Zq

EYj_Yj]l :jYmf$ `Yf\%Zdgof _dYkk Z]Y\k Zq ;af\q CajZq$ Yf\ b]o]dd]jq Zq GjYf_] 9ng[Y\g Â&#x153; Through May

CENTRE Dâ&#x20AC;&#x2122;ARTS VISUELS DE Lâ&#x20AC;&#x2122;ALBERTA Â&#x153;

1)(+%1- 9n] Â&#x153; /0(&,.)&+,*/ Â&#x153; ARTCETERA2 9jlogjck q >YZa]ff] :Â&#x2013;`d$ MjeadY R[]fcY <Yk$ Egfaim] :Â&#x2026;dYf\$ Egfa[Y <Yk$ ;Ykka\q ;ggh]j Â&#x153; May 21-Jun 1 Â&#x153; Gh]faf_ j][]hlagf2 May 21, 7-8pm

CROOKED POT GALLERY Â&#x153; HYjcdYf\ Hgll]jk ?mad\$ ,1)*%-) 9n]$ Klgfq HdYaf Â&#x153; L@= ?9J<=F K@GO2 :]llq K[`mdlr Yf\ ^ja]f\k `Yn] eY\] Y k]d][lagf g^ mfaim] _Yj\]f al]ek Â&#x153; Until May 30 DON WHEATON YMCA Â&#x153; )(*))%)(* 9n]$ =Ykl

@YddoYq Â&#x153; L@= OGJCKÂş;9FN9K OGJCK2 9jlogjck Zq Bmklaf K`Yo Â&#x153; Until Aug 31

ELECTRUM GALLERY Â&#x153; )*,)1 Klgfq HdYaf J\ Â&#x153;

/0(&,0*&),(* Â&#x153; ?gd\ Yf\ kadn]j b]o]dd]jq Zq OYqf] EY[c]fra]$ BYf]l Kl]af Yf\ Yjlogjck Zq nYjagmk Yjlaklk Â&#x153; Ongoing

FRONT GALLERY Â&#x153; )*+)* BYkh]j 9n] Â&#x153; l`]^jgfl_Ydd]jq&[ge Â&#x153; F]o hYaflaf_k Zq Lge ?Yd]

GALLERY AT MILNER Â&#x153; KlYfd]q 9& Eadf]j DaZjYjq EYaf >d$ Kaj Oafklgf ;`mj[`add Ki Â&#x153; /0(&,1.&/(+( Â&#x153; PRAIRIE ABSTRACT: Y[jqda[ hYaflaf_k Zq @Yeadlgf CjaklY Â&#x153; Until May 28 GALLERY ISâ&#x20AC;&#x201C;Red Deer Â&#x153; 9d]pYf\]j OYq$ -)*+%,0l` Kl Â&#x153; ,(+&+,)&,.,) Â&#x153; H`glg_jYh`k ljYfk^]jj]\ gflg Y lmeZd]\ eYjZd] lad] Zq KYf\q OYjj]f Â&#x153; Until May 29 GLENROSE REHAB HOSPITAL GALLERY Â&#x153; )(*+(%

-,))%-) Kl$ Klgfq HdYaf Â&#x153; /0(&1.+&*/// Â&#x153; K[mdhlmj] Zq ;]kYj 9dnYj]r3 until May 26 Â&#x153; HIGH ART2 9jlogjck Zq @a_` k[`ggd klm\]flk3 May 28-Jun 16

JAKE LEWIS GALLERY Â&#x153; )(,,)%)*+ Kl Â&#x153; H`glg_jYh`k Zq O]a Ogf_ Â&#x153; Until Jun 5 Â&#x153; /0(&,*.&,.,1

JEFF ALLEN GALLERY Â&#x153; KljYl`[gfY HdY[] K]fagj ;]flj]$ )(0+) Mfan]jkalq 9n] Â&#x153; /0(&,++&-0(/ Â&#x153; k]fagj[]flj]&gj_ Â&#x153; SOMETHING FOR EVERYONE: HYaflaf_k Zq Bgq[] :b]jc]

9n] Â&#x153; >mf\jYakaf_ ]n]fl ^gj NYjk[gfY$ K`Y\go L`]Ylj] Yf\ L]Yljg DY Imaf\a[afY Â&#x153; May 22, 7pm Â&#x153; /- Yl LAP gf l`] KimYj]

DIEďż˝NASTY Â&#x153; NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] Â&#x153;

NAESS GALLERYâ&#x20AC;&#x201C;Paint Spot Â&#x153; )((+*%0) 9n] Â&#x153;

/0(&,++&++11 Â&#x153; Dan] aehjgnak]\ kgYh gh]jY \aj][l]\ Zq <YfY 9f\]jk]f ]n]jq Egf$ /2+(he Â&#x153; Until May 31 Â&#x153; )(

/0(&,+*&(*,( Â&#x153; 25 YEARS OF PAINT SPOT STAFF Â&#x153; Until Jun 28

PETER ROBERTSON GALLERY Â&#x153; )*+(, BYkh]j 9n] Â&#x153; /0(&,--&/,/1 Â&#x153; F=O OGJD<2 9jlogjck Zq Lae Fgodaf Â&#x153; Until Jun 8

PROFILES PUBLIC ART GALLERY Â&#x153; )1 H]jjgf Kl$ Kl 9dZ]jl Â&#x153; /0(&,.(&,+)( Â&#x153; HIGH ENERGY XV: Kl 9dZ]jl `a_` k[`ggd klm\]fl ]p`aZalagf Â&#x153; Until May 29

GARAGE ALEC Â&#x153; Laeek ;]flj]$ K][gf\ HdYqaf_ KhY[]$ 0/ 9n]$ ))* Kl$ M g^ 9 Â&#x153; NaddY_] JgY\@gmk] L`]Ylj] k f]o [ge]\q af log dYf_mY_]k$ klYjjaf_ :jaYf <ggd]q Yf\ LjY[]q Hgo]j$ \aj][l]\ Zq Jgf B]fcafk Â&#x153; Until May 29$ /2+(he Egf%KYl!$ *he KYl! Â&#x153; Egf2 )(3 Lm]%L`m2 *( Y\mdl!' )0 klm\]fl'k]fagjk!3 >ja%KYl2 *- Y\mdl!' *( klm\]fl'k]fagj! Yl LAP gf l`] KimYj]

ST ALBERT PLACE Â&#x153; :Y[c hYlag$ @]jalY_] Lj$ - Kl 9ff] Kl$ Kl 9dZ]jl Â&#x153; BUFFALO MOUNTAIN: >gmj dYj_] _jYfal] k[mdhlmj]k Zq 9Zgja_afYd Yjlakl Kl]oYjl Kl]af`Ym]j Â&#x153; Jun 1-Sep 30

THE GOOD WOMAN OF SETZUAN Â&#x153; Klm\ag L`]Ylj]$ Laeek ;]flj] ^gj l`] 9jlk$ M g^ 9$ 0/ 9n]$ ))* Kl Â&#x153; \jYeY& mYdZ]jlY&[Y'klm\agl`]Ylj]&[^e Â&#x153; :q :]jlgdl :j][`l$ \aj][l]\ Zq Hjg^]kkgj KYf\jY E& Fa[`gddk Â&#x153; Until May 223 Thu, May 20, 12:30pm Â&#x153; -% *( Yl l`] Laeek Zgp g^Ă&#x2021;[] gf] `gmj Z]^gj] h]j^gjeYf[]3 Y\n Yl LAP gf l`] KimYj]

SCOTT GALLERY )(,))%)*, Kl Â&#x153; /0(&,00&+.)1 Â&#x153; k[gl-

l_Ydd]jq&[ge Â&#x153; FOREST PASSAGES: 9jd]f] OYkqdqf[`mc Â&#x153; J=?9J< 9F< GL@=J F=O H9AFLAF?K2 Ogjck Zq HYl K]jna[]3 until May 25 Â&#x153; 9jlogjck Zq Bae <Yna]k3 May 29Jun 15; gh]faf_ j][]hlagf2 Sat, May 29, 2-4pm

HEY LADIES! Â&#x153; Jgpq L`]Ylj]$ )(/(0%)*, Kl Â&#x153; Jgpq H]j^gjeYf[] K]ja]k klYjjaf_ D]gfY :jYmk]f$ ;Yl`d]]f JgglkY]jl Yf\ <YnafY Kl]oYjl Â&#x153; May 21, 8pm Â&#x153; *)

SIDESHOW GALLERY Â&#x153; 1.(1%0* 9n] Â&#x153; /0(&,++&),+( Â&#x153;

ka\]k`go_Ydd]jq&[Y Â&#x153; HOME BY TORONTO2 9jlogjck Zq :jYf\gf <Yde]j Â&#x153; Until Jun 5

LAW AND ORDER CANADIAN FILES Â&#x153; BmZadY-

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SNAP (Society of Northern Alberta Printartists) Â&#x153; )()*+%)*) Kl Â&#x153; /0(&,*+&),1* Â&#x153; kfYhYjlaklk&

[ge Â&#x153; Hjaflogjck Â&#x153; May

THE LIARS Â&#x153; NYjk[gfY$ )(+*1%0+ 9n] Â&#x153; /0(&,+,&--., Â&#x153;

k`Y\gol`]Ylj]&gj_ Â&#x153; K`Y\go L`]Ylj] Â&#x153; 9 ogjd\ hj]ea]j] Zq Bg[]dqf 9`d^$ \aj][l]\ Zq Bg`f @m\kgf Â&#x153; 9m\j]q Yf\ Kaegf Yj] afnal]\ lg \aff]j oal` l`]aj Z]kl ^ja]f\k ?YZq Yf\ 9\Ye& :]^gj] l`]q cfgo al$ ?YZq Yf\ 9\Ye Yj] \jY__]\ aflg Y k]ja]k g^ \ge]kla[ \akhml]k o`a[` _jgo egj] gmljY_]gmk Â&#x153; May 27-Jun 13, /2+(he$ KYl%Kmf *he Â&#x153; Hj]na]o2 )*3 Gh]faf_ >ja Yf\ KYl2 *- Y\mdl!' *( klm\]fl'k]fagj!'o]]c\Yqk Yf\ Kmf eYl2 *( Y\mdl!' )/ klm\]fl'k]fagj!3 Lm]2 *%^gj%)3 KYl eYl2 HYq%O`Yl%Qgm%;Yf \ggj!3 [`ad\ mf\]j )02 )( Yl LAP gf l`] KimYj]

SPRUCE GROVE GALLERY Â&#x153; E]d[gj ;mdlmjYd ;]flj]$ +-%- 9n]$ Khjm[] ?jgn] Â&#x153; /0(&1.*&(.., Â&#x153; 2010 HIGH SCHOOL EXHIBITION AND SALE Â&#x153; Until May 29 Â&#x153; Gh]faf_ j][]hlagf'YoYj\k2 Sat, May 22, 1-4pm STOLLERY GALLERY Â&#x153; 1**-%))0 9n] Â&#x153; SELECTED COLLAGES: 9jlogjck Zq @Yfk JYkemkk]f Yf\ D]g Ogf_ Â&#x153; Until May 22 STRATHCONA COUNTY LIBRARY Â&#x153; +(( K`]jogg\ HYjc EYdd$ *(*( K`]jogg\ <j Â&#x153; /0(&,,1&-0() Â&#x153; J]Y\af_ Zq =eadq K[`mdlr$ Yml`gj g^ Heaven is Small Â&#x153; Sat, May 29, 2-3pm

MOSTLY WATER THE VARIETY SHOW Â&#x153; Jgpq

L`]Ylj]$ )(/(0%)*, Kl Â&#x153; /0(&,-+&*,,( Â&#x153; Egkldq OYl]j$ kc]l[` [ge]\q ljgmh] ^]Ylmj] F<H ED9 Daf\Y <mf[Yf$ Yf\ emka[aYfk JgZZ Yf\ Eac] 9f_mk O`]Ylhggd! Â&#x153; May 22 Yl 0he Â&#x153; **&/-

TELUS WORLD OF SCIENCE Â&#x153; EYj_Yj]l R]a\d]j

KlYj L`]Ylj]$ ))*))%),* Kl Â&#x153; /0(&,-)&++,, Â&#x153; l]dmkogjd\g^k[a]f[]&[ge']\egflgf Â&#x153; SULTANS OF SCIENCE: Afn]flagfk l`Yl LjYfk^gje]\ l`] Ogjd\3 May 21-Sep 6 Â&#x153; Journey to MeccaÂşAE9P egna] Â&#x153; M* Yl LOGK$ >mdd% <ge] =ph]ja]f[] k]l lg l`] emka[ g^ M* Â&#x153; >ja%KYl /he3 May 21-22; Daily Jun 26-Sep 6

MOURNING DOVE Â&#x153; ;YlYdqkl L`]Ylj]$ 0-*1 ?Yl]oYq

:gmd]nYj\ Â&#x153; /0(&,+)&)/-( Â&#x153; :q =ead K`]j$ hj]k]fl]\ Zq Cadd Qgmj L]d]nakagf L`]Ylj] ^]Ylmjaf_ Ea[`Y]d H]f_$ FY\a]f ;`m$ FYl`Yf ;m[cgo$ Yf\ FYgea ?Y]jlf]j Â&#x153; Until May 22 Â&#x153; *-' )/ klm\]fl'k]fagj! Yl LAP gf l`] KimYj]$ \ggj

TU GALLERY Â&#x153; )(/)0%)*, Kl Â&#x153; 9ffmYd ]p`aZal g^ H`glg_jYh`k Zq F9AL klm\]flk Â&#x153; Until May 22 /0(&,*)&)/+)')&0..&,*)&)/+) Â&#x153; nYYYYjlZdg_&[ge Â&#x153; ESCAPES: LjYn]d afkhaj]\ Yjlogjck Zq ^aZj] Yjlakl 9ff @Y]kk]d Yf\ Bm\al` EYjlaf3 until Jun 6 Â&#x153; ESCAPES: HYaflaf_k Zq Bm\al` EYjlaf Yf\ eap]\ e]\aY ogjck Zq 9ff @Y]kk]d3 until Jun 5 Ydd]q!$ J]\ <]]j Â&#x153; ,(+&-1/&1/00 Â&#x153; TEXTURE2 HYaflaf_k Zq HYmd :gmdlZ]] Â&#x153; Until May 31 `gmjk2 Lm]%KYl )(Ye%-he Â&#x153; /0(&,00&,01* Â&#x153; 9jlogjck Zq Ja[`Yj\ ;gd] Â&#x153; Until May 20

LITERARY AUDREYS BOOKS Â&#x153; )(/(* BYkh]j 9n] Â&#x153; /0(&,*+&+,0/ Â&#x153; Ojal]j af j]ka\]f[]$ CYl` EY[d]Yf3 =n]jq Lm]%L`m$ )2+(%-he Â&#x153; DYmf[` g^ B]^^ ?Yadmk f]o Zggc The Grizzly Manifesto: In Defense of the Great Bear Â&#x153; May 27, 7:30pm BLUE CHAIR CAFĂ&#x2030; Â&#x153; 1.*,%/. 9n] Â&#x153; /0(&,.1&0/-- Â&#x153; Klgjq KdYe2 +j\ O]\ ]Y[` egfl` Â&#x153; Jun: F]pl egfl` l`] KdYe oadd egn] lg l`] *f\ O]\ g^ l`] egfl`

CAFĂ&#x2030; HAVEN Â&#x153; 1 Kagmp J\$ K`]jogg\ HYjc Â&#x153; /0(&,)/&--*+ Â&#x153; Klgjq KdYe af l`] HYjc2 `gkl]\ Zq

K`g[lgj L`]Ylj]$ 10*0%)()9 9n] Â&#x153; /0(&,*.&,0)) Â&#x153; JgZZafk >Yeadq K]ja]k2 Emka[ Zq 9dYf E]fc]f$ dqja[k Zq @goYj\ 9k`eYf Yf\ Lae Ja[]$ Zggc Zq Daf\Y Oggdn]jlgf$ \aj][l]\ Zq :gZ :Yc]j& J][gee]f\]\ ^gj [`ad\j]f - Yf\ mh Â&#x153; Mflad May 30

Cakk Oal`af Y Cakk Zq Bae @]j[`Yc3 <jYeYlmj_q Zq LjY[q ;Yjjgdd Â&#x153; Sea of Green Zq 9f\q ?YjdYf\3 <jYeYlmj_q Zq :jaYf <ggd]q Â&#x153; Uncle Robertâ&#x20AC;&#x2122;s Funeral Zq =jaf >gkl]j% GÂżJagj\Yf3 <jYeYlmj_q Zq Cjakl]f E& >afdYq Â&#x153; Until May 29, 8pm; Sun, May 23, *he Â&#x153; )*% ). Yl LAP gf l`] KimYj]$ \ggj3 Thu, May 20 *%^gj%) L`m \ggj!

ROYAL ALBERTA MUSEUM Â&#x153; )*0,-%)(* 9n] Â&#x153; /0(&,-+&1)(( Â&#x153; J==<K 9F< OGGD2 HYll]jf]\ K[j]]fk g^ ;]fljYd 9kaY eY\] Zq fgeY\a[ Cqj_qr oge]f3 until Jul 4 Â&#x153; NATURAL SELECTIONS: JgqYd 9dZ]jlY Emk]me K[a]flaklk g^^]j nYjagmk na]ok gf 9dZ]jlYÂżk Zag\an]jkalq3 until Oct 13 Â&#x153; H`glg_jYh`k Zq l`] H`glg_jYh`a[ 9jlk Kg[a]lq g^ 9dZ]jlY3 until Jun 20 Â&#x153; OAD<DA>= H@GLG?J9H@=J G> THE YEAR3 until Jan 9, 2011

VAAA GALLERY Â&#x153; +j\ >d$ )(*)-%))* Kl Â&#x153;

DISNEYâ&#x20AC;&#x2122;S BEAUTY AND THE BEAST Â&#x153; ;alY\]d

FROM CRADLE TO STAGEďż˝AN EVENING OF ONEďż˝ACTS Â&#x153; OYdl]j\Yd] HdYq`gmk]$ )(+**%0+ 9n] Â&#x153;

PROVINCIAL ARCHIVES OF ALBERTA Â&#x153; 0--- Jgh]j J\ Â&#x153; /0(&,*/&)/-( Â&#x153; THE ESSENCE OF HIS ART2 Fa[`gdYk \] ?jYf\eYakgf k mfĂ&#x2021;fak`]\ hYkl]dk Â&#x153; May 20-Aug 28 Â&#x153; Gh]faf_2 Thu, May 20, 7-9pm

WEST END GALLERY Â&#x153; )*+(0 BYkh]j 9n] Â&#x153; ?Ydd]jq

HYlja[aY C]j]c Yf\ Bm\a Hgh`Ye Â&#x153; Until Jun 30$ Egf%KYl ))Ye%)(he3 Kmf )(2+(Ye%)(he

THE CRYSTAL BALL Â&#x153; NYjk[gfY L`]Ylj]$ )(+*1%0+

Â&#x153; /0(&,-1&)-*0 Â&#x153; DG;9D D=FK=K2 FYlmj] h`glg_jYh`k Zq <Yn] ;gfdaf$ 9d Hghad$ Yf\ H]l]j KlY`d Â&#x153; May 25-Aug 27 Â&#x153; Gh]faf_ j][]hlagf2 May 28, 7pm

HARCOURT HOUSE Â&#x153; +j\ >d$ )(*)-%))* Kl Â&#x153;

HOMEFIRE GRILL Â&#x153; )0*)(%)(( 9n] Â&#x153; HYaflaf_k Zq

Emfk[`3 Thu, May 27

MUSĂ&#x2030;E HĂ&#x2030;RITAGE MUSEUM Â&#x153; - Kl 9ff] Kl$ Kl 9dZ]jl

VELVET OLIVE LOUNGEďż˝Red Deer Â&#x153; ,1*, Jgkk Kl

HARRISďż˝WARKE GALLERYďż˝RED DEER Â&#x153; Kmfogjck$ ,1*, Jgkk Kl$ J]\ <]]j Â&#x153; ,(+&+,.&01+/ Â&#x153; ;]jYea[k Zq KmkYf ?j]]fZYfc Â&#x153; May 24-Jun 25

WINSPEAR Â&#x153; @]fjq Jgddafk Â&#x153; Fri, May 21 Â&#x153; JgZ]jl

@]Yl`$ BgYf @]Yd]q$ >jYf @]Yl`$ DYjjYaf] GZ]j_$ L]jjq C]`g]$ <Yjd]f] 9\Yek$ KYf\q ;jgkk Yf\ Na[lgjaY$ Hgll]jq Zq FYZgjg CmZg Yf\ Na[lgj @Yjjakgf Â&#x153; Ongoing

))) 9n] Â&#x153; /0(&/+-&/111 Â&#x153; E]rrYfaf] ?Ydd]jq Â&#x153; L`] :dm] ;mjn] ?Ydd]jq Â&#x153; L`] 9jl Gf L`] Afka\] ?Ydd]jq Â&#x153; FOCUS ON FIBRE: >aZj] Yjl Â&#x153; Until Jul 2 /0(&,*.&,)0( Â&#x153; Main Gallery2 RETRO-ACTIVE: HYaflaf_k Zq Eal[`]d Keal` Yf\ K`]adY Dm[c$ [mjYl]\ Zq H]l]j @a\] Â&#x153; Until Jun 5

;`mj[`add Ki Â&#x153; /0(&,1.&/((( Â&#x153; Centre for Reading2 >jge :ggck lg >ade3 ]n]jq >ja$ *he Â&#x153; Teen Movie Scene2 egna] [dmZ ^gj l]]fk3 )kl Yf\ +j\ L`m ]n]jq egfl` Â&#x153; Writersâ&#x20AC;&#x2122; Corner2 =HDÂżk Ojal]j af J]ka\]f[]3 `gklk Y \a^^]j]fl Yml`gj ]Y[` egfl`3 DYkl Kmf g^ ]Y[` egfl` Yl )2+(he

OH SUSANNA! Â&#x153; NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] Â&#x153; /0(&,++&++11 Â&#x153; nYjk[gfYl`]Ylj]&[ge'g`kmkYffY Â&#x153; L`] =mjg% klqd] NYja]lq Kh][lY[d]$ `gkl]\ Zq KmkYffY HYl[`gmda Yf\ =jgk$ ?g\ g^ Dgn] DYm_`k Emka[ ;g[clYadk Â&#x153; Sat, May 29, 11pm Â&#x153; La[c]lk2 YnYadYZd] Yl l`] \ggj klYjlaf_ Yl )(2+(he PARTY WORTH CRASHING Â&#x153; ;YlYdqkl L`]Ylj]$ 0-*1

?Yl]oYq :gmd]nYj\ Â&#x153; /0(&,+)&)/-( Â&#x153; Bg@YCqm Hjg\m[lagfk Â&#x153; YZgml qgml`$ [geaf_ g^ Y_]$ Yf\ d]Yjfaf_ d]kkgfk& emka[Yd l`]Ylj] [gf[]jl ^]Ylmjaf_ kgf_k ^jge C]jja_Yf Yf\ Dgo\]jeadc k `al g^^%ZjgY\oYq emka[Ydk Yf\ kgf_ [q[d]k ^]Ylmj]k ?jYfl EY[=oYf L`]Ylj] 9jlk klm\]flk$ _jY\k Yf\ Ydmefa& KlYjjaf_2 E]dYfa] ?g\Zgml$ CYqdY ?gjeYf$ CYl] B]klY\l$ RafY D]]$ D]Y` HYl]jkgf$ 9Yjgf Lj]eZdYq$ =ja[ Oa_klgf$ Egddq Oadkgf Â&#x153; May 27-29$ /he \ggj!$ /2+(he k`go! Â&#x153; *(' )0 klm\]fl'k]fagj! Yl LAP gf l`] KimYj]$ \ggj

ʸ @q\]YoYq )(*(1%)(( 9n] Â&#x153; /0(&,//&-1-- Â&#x153; ogjck`gho]kl&gj_ Â&#x153; Ogjck`gh O]kl L`]Ylj] k j]Y\af_k g^ k[jahlk h]j^gje]\ af Y [YZYj]l Ylegkh`]j]$ Y [`Yf[] lg [gfljaZml] lg l`] \]n]dghe]fl g^ f]o hdYqk Â&#x153; Cowboy Poetry Zq C]f :jgof gf May 203 APN Zq EYll`]o EY[C]fra] gf May 213 An Almost Perfect Thing Zq Fa[gd] Eg]dd]j gf May 22 Â&#x153; Until May 23, 7:30pm Â&#x153; HYq%o`Yl%qgm%[Yf \ggj$ )* km__]kl]\ \gfYlagf!

THEATRESPORTS Â&#x153; NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] Â&#x153; /0(&,++&++11 Â&#x153; JYha\ >aj] L`]Ylj] ]n]jq >ja until Jul 30, 11pm Â&#x153; )( \ggj!' 0 e]eZ]j!

VUEWEEKLY // MAY 20 â&#x20AC;&#x201C; MAY 26, 2010

ARTS // 21

INSIDE // FILM

FILM

Online at vueweekly.com >> FILM

25

Cannesealed

by Brian Gibson

Film Capsules

Brian Gibson seeks out the non-competition Cannes films that deserve to be seen

INTERVUE // ZOOEY AND ADAM

Trauma in the shadow of a trauma Zooey and Adam explores the aftermath of sexual assault Josef Braun // josef@vueweekly.com

Z

ooey and Adam opens with its titular couple enveloped in joyous, married, procreative sex. They're trying to conceive, and having a great time of it. Nothing could seem more buoyant, less ominous. But a copy of John Krakauer's Into the Wild near their bed constitutes a subliminal harbinger of things to come. The pair go camping near a lake famed for the meteor said to lay at its bottom, and like a meteor striking the earth their idyll will be interrupted by a seemingly random collision with violence. The desired pregnancy manifests, but is it the result of their coupling or of sexual assault?

Does it matter? The question upsets the harmony of their bond, and the lingering ambiguity surrounding their child's paternity becomes an entropic catalyst.

Having devised a three-page outline, director Sean Garrity engaged actors Tom Keenan and Daria Puttaert in a series of improv exercises, which were captured on video. Garrity didn't tell his actors where the story was going, and moved through his outline scene-by-scene, in chronological order. Halfway through this process Garrity's wife suggested that the material he was amassing might be more than just exercises, that it might be the movie. Garrity ran with it, and the result is awkward and messy, but unnervingly so, sometimes crudely executed but often engrossingly immediate. It seems to look better as it goes, but that may simply be a matter of acclimatizing yourself to its unusually ragged aesthetic and feeling increasingly involved in the characters' dilemma.

Garrity, whose previous films include Inertia and Lucid, spoke with Vue Weekly on the eve of Zooey and Adam's Edmonton release.

VUE WEEKLY: What prompted Zooey and Adam?

SEAN GARRITY: It initially sprung from questions about nature versus nurture.

My wife is a psychologist and it's something we often discuss. I was trying to develop a scenario where this question could form the basis of a conflict within a couple. While I was tossing ideas around our daughter was born and the birth was very difficult. There's this feeling most of us carry, something primal I guess, that we should protect our partner, but there I was, present during this very tough birth, a caesarian, blood everywhere, really gory, and my role was to sit and watch. I felt that I'd somehow failed my wife, and

22 // FILM

STRAINING RELATIONSHIP >> Zooey and Adam talk about it I let this feeling imbue the scenario.

VW: That's interesting, because I felt that in an odd way Zooey and Adam is a cousin to a favourite subgenre of mine, the bad-seed film, which at its best plugs into anxieties around parenting, the unnerving suspicion that your child is an invader.

SG: Which is very much Adam's experience. His situation is extreme, but I think his response to it strikes at the core of a very common experience.

VW: Was his response and the fall-out from it something you'd already mapped out in your three-page outline?

SG: Every event was mapped out and then developed through improvisation.

We'd unpack each scene and then see where it went. I'm attracted to the untidiness of improv, people talking over each other, speaking unfinished sentences. It helps actors access emotional states very quickly. What improv doesn't give you are elegant character arcs or satisfying resolutions. So this process is about trying to supply those things improv doesn't yield while leaving as much as possible open to collaboration.

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VW: The improv pays off especially well in the rape scene, with these big, scary guys emerging from the darkness and babbling a cacophony of asinine, drunken inanities. It's much more terrifying that their dialogue is so banal.

SG: I'm glad you had that response.

VW: There was a moment when I almost thought Adam might be getting raped too. And as things proceed you realize that, in a sense, he was. It becomes Adam's story. I know in some reviews you've taken flack for that, though arguably this is the more interesting choice, to take the person who isn't the primary victim of some event and investigate his response to it.

SG: That's exactly what interests me, the trauma in the shadow of the larger trauma. You remember the story of the man who was beheaded on the bus in Brandon a couple of years back? The media's focus, even in the aftermath, was strictly on the family of the victim and the killer himself. What I happen to know, having talked to some of the RCMP involved and the CBC reporters who broke the story, is that everybody else on that bus has since

lost their jobs, suffered post-traumatic stress disorder, and so on. But there isn't really a mechanism to address that secondary experience.

VW: I wonder if you've run into viewers who question Zooey's response to the pregnancy.

SG: Some women have had very angry responses to Zooey's decision. They condemn her for it. I find a lot of men don't.

There's this shocking statistic: 36 000 women are impregnated from a sexual assault every year, but only about half make the decision that many assume, including me, would be the automatic choice, which would be to abort. It's a fact that seems worthy of serious consideration.

VW: In any case the film is about a specific story. It's not meant to represent the whole spectrum of possible responses to the situation, and your approach emphasizes the characters' distinct relationship. This approach allows you to place the camera in positions that at times feel invasive, at others voyeuristic. In the opening scene the camera literally seems to be in bed with the characters. There's

VUEWEEKLY // MAY 20 – MAY 26, 2010

a growing sense of intimacy, of time invested.

SG: We were able to spend hours and hours shooting material that may or may not be useful in the finished film. If we had a huge budget, there's no way we could have done that. Money so often gets spent on feeding huge crews and hiring cranes and shit, instead of spending time with actors, trying to get to the emotional truth of a scene. It seems backwards. Exploring it as it's happening, rather than scripting it out and imposing a preconceived emotional arc, excites me, seeing the actors feel out the scenes for the first time, without always knowing what they're going to feel. That's the difference between documentary and fiction, being able to see something as it really happens. Zooey and Adam is fiction, but there are elements from documentary that I've tried to hijack for our purposes. V Sat, May 22 – Mon, May 24 (9 pm) Zooey and Adam Written and directed by Sean Garrity Starring Tom Keenan, Daria Puttaert Metro Cinema (9828 - 101A Ave)

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DVD DETECTIVE >> TOKYO SONATA

REVUE // SOUNDTRACK FOR A REVOLUTION

Just push play

Little means a lot

Though particular, Tokyo Sonata has something to say to all of us

Rerecorded protest songs don't capture the revolutionay spirits of the originals

The more exposure I've had to art— local character, details that only seem and in particular narrative art forms— to add to its portrait of family strife the more I've become convinced and existential crisis (the tagline, that specificity of detail leads after all, is "Every family has to universality of message, its secrets"). that the particulars of the The story opens with world the artist is trying to om Ryûhei Sasaki (Teruyuki Ka.c ly k e ewe create help the audience re- dvddetective@vu gawa), the patriarch of our late to its own experience of family, getting laid off: in a David life. Kiyoshi Kurosawa—no rescene of bleak, if not black, Berry lation to Akira—offers another comedy, Ryûhei is praised for his exhibit of this in Tokyo Sonata: as work right before his boss informs the title would imply, it seems born of him that, due to their finding a cheaper a very particular place, irrevocably inChinese alternative, his management fused with aspects of the national and position has been terminated. With a

DVCD TIVE

DETE

PROTEST SONGS >> Soundtrack is best when it sticks to the past David Berry // david@vueweekly.com

F

or whatever reason, authenticity is a question that seems most pressing to music. It's certainly not absent in other artistic media. Nevertheless authors and filmmakers and visual artists can generally pull inspiration from a fairly wide swath without too much in the way of trouble stirred up by critics or audiences; maybe just because of the emotional immediacy of your average pop song, though, it's an ever-present concern in music, from what's really punk to the sociocultural hand-wringing devoted to the latest white artist to appropriate the latest black cultural trend.

It's a question that haunts the music of Soundtrack for a Revolution, reinterpreted as it is by modern soul and hip-hop stars. It's not that these songs shouldn't be understood or appreciated by modern artists and audiences—particularly modern African-Americans ones—so much as it is the fact that relatively comfortable musicians working in a recording studio nearly 50 years after the relevant events that birthed most of these songs can't actually capture the potency and relevancy that they originally had.

The revolution in question here is the civil rights struggle of the '60s, the bloody and explosive attempt to end southern segregation and actually achieve racial equality for America's black populace. And in between taking us through the major events—the Montgomery bus boycott, the freedom rider actions, the rise of Martin Luther King, the marches on Washington and Montgomery for Black rights—Soundtrack for a Revolution makes a convincing case that music was, if not strictly essential, at least an important and interesting part of the protests, a unifying element that helped give people the courage and solidarity to literally change the world, or at least their part of it.

That particular courage is best dem-

pride that seems quintessentially, if not distinctly, Japanese, Ryûhei then attempts to soldier on as if nothing has actually happened, keeping the actual detail of his job a secret even while his deeply ingrained shame bleeds over into their life, throwing the entire unit into turmoil.

Ryûhei finds a companion in his deceitful world in the form of Kurosu, and old high school friend in a similar position. If Ryûhei is stumbling along trying to hide his predicament, Kurosu CONTINUED ON PAGE 27 >>

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onstrated through Soundtrack's talking head interviews, which introduce us to a host of civil rights veterans, everyone from some of King's close confidants (and his wife) to people that were wounded in marches or arrested on bus rides.

Their story may be familiar by now, but there is still something awe-inspiring in their very matter-of-fact recounting which time hasn't really dulled: these people were risking their lives to fight a system that was deeply ingrained and violently protected, fighting for things that are now almost beyond taken for granted by the standard populace. As a historical document, Soundtrack is not exactly definitive, but still powerful all the same.

But then we have the music, the ostensible reason we're here. I just can't understand the decision to re-record the great protest songs using contemporary artists. A few artists actually acquit themselves rather ably—Wyclef Jean brings a surprising potency to "Here's To the State of Mississippi" and the Roots do a soulful job of "Ain't Gonna Let Nobody Turn Me Around"—but still, the sharpest rendition has none of the immediacy that thousands of protestors singing in unison has, and there are a few instances where a singer treats a tremendously important song like it was any other soul number, complete with the usual vocal acrobatics and vamping. Even at the best, though, Soundtrack for a Revolution would have been much better off sticking to the actual songs of the revolution, sung by the men and women who were standing up for themselves—especially for a subject like this, there's nothing better than the real thing. V Sat, May 22 - Mon, May 24 (7 pm) Soundtrack for a Revolution Directed by Bill Guttentag, Dan Sturman Featuring Wyclef Jean, The Roots, John Lewis, Julian Bond Metro Cinema (9828 - 101A Ave)

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VUEWEEKLY // MAY 20 – MAY 26, 2010

FILM // 23

DVD REVUE // THE MISSING PERSON

Get gone

The Missing Person manages to transcend the noir genre josef Braun // josef@vueweekly.com

J

ohn Rosow (Michael Shannon) used to be NYPD, now he’s a Chicago PI and a strong candidate for a DUI. He’s woken from some state close to comatose by the proverbial ringing phone, requesting his services to tail someone all the way down to LA. Initially the gig seems conspicuously easy, with the subject hiding in plain sight, taking the train, not bothering to disguise the fact that he’s a middle-aged white guy traveling with a handsome Mexican boy.

Things gradually become more arduous.

The technologically impaired Rosow has to buy a phone that takes pictures from a gentleman named Boo Boo (Mark Ventimiglia), pay a Serpico-obsessed cabbie named Hero (John Ventimiglia) $500 to let him hitch a ride in his trunk and ward off the amorous attentions of an altogether fetching cougar named Lana (Margaret Colin) who sleep-talks to her mother about blueberry pancakes. But nobody told Rosow switching professions in your mid-30s would be easy.

Writer/director Noah Buschel’s The Missing Person is loaded with pronounced eccentricities, but its also loaded with amiable, detailed performances, thanks to an

24 // FILM

impressive cast of film, television and theatre veterans who unanimously seem to jive with Buschel’s kooky, decidedly unhurried neo-noir. Genre tropes are dusted off and tickled back to life, with Rosow regularly knocked unconscious, dreaming of some lost lover, or trading banter with good-cop/bad-cop feds who mysteriously turn up in the motel parking lot. At times it’s a little cute, a little cartoonish, all the coffee and jazz and smokes and booze and abundant anachronisms. Personally, I like coffee and jazz and booze and, besides, it’s all leading somewhere, all in the service of a thoughtful narrative arc that exchanges noir’s foundations in postwar despair for a post-9/11 dispersion. This is a story about going missing, staying missing, and liking it, about being missing as a state of grace and helping others to disappear for their own good.

None of which screams box office gold, I suppose, and thus The Missing Person makes its debut at your local video store rather than your local cinema. It plays well on TV, even if Ryan Samul’s HD imagery is a little annoyingly heavy on ostentatious filters. It also plays to the strengths of Shannon, an actor whose very particular peculiarities won him an Oscar nod for

VUEWEEKLY // MAY 20 – MAY 26, 2010

Revolutionary Road, not to mention plum nut-job and/or jerk-off parts in films by William Friedkin, Sidney Lumet and Werner Herzog. He’s really quite ideal for the strange, haunted, lumbering hero of The Missing Person, so withdrawn he could initially be mistaken for the title character. Shannon shuffles and groans through most of the film. I had to laugh at certain shots that play out with the sole item on the soundtrack being Shannon’s amplified wheeze. But it’s a wheeze with a soul, from a face like yesterday’s unrefrigerated lunch. Despite intermittent voice-over, we learn only fragments of Rosow’s past, but we finally know everything we need to know just by spending time with Shannon’s sardonic grin, bleary confusion and seemingly outsized figure. They speak of a primal wound, one we can trace back to Philip Marlowe, to Jeff Bailey or to Al Roberts. It’s a feeling that transcends time and genre, even when the setting is as winky as this. V available NOW ON DVD The Missing Person Written and directed by Noah Buschel Starring Michael Shannon, Frank Wood, Amy Ryan

FILM REVIEWS

BER  MACGRU

OO  ROBIN H

D

Film Capsules Opening Friday MacGruber

Written by Jorma Taccone, Will Forte, John Solomon Directed by Taccone Starring Forte, Kristen Wiig, Ryan Phillippe, Val Kilmer



Saturday Night Live's movie offerings have long been acknowledged as hit-or-miss affairs—there's no middle ground. For every Blues Brothers or Wayne's World, there's A Night at the Roxbury or the wish-itwere-forgettable It's Pat. MacGruber, while thankfully falling closer to A Night at the Roxbury than It's Pat, is unfortunately a distinct tick in the minus column of SNL's movie scorekeeping. As a 25-second sketch, MacGruber is a winner; its one-note, consistent plotline allows for an interesting running gag throughout the show—but we're talking about a total of 90-seconds over the span of an hour and a half, not stretching that 90-seconds into an hour and a half.

MacGruber (Will Forte) is a throat-ripping, readily improvising killing machine whose career was halted after the death of his fiancée at the hands of Dieter von Cunth (Val Kilmer). Eventually von Cunth resurfaces having stolen a nuclear warhead and MacGruber's former colonel—in a nod to Rambo III—is forced to track him down to South America where MacGruber has made his home after withdrawing completely from his former life. After convincing MacGruber that he's the only one capable of stopping von Cunth and warding off a nuclear attack, the movie begins its series of pratfalls on which the plot loosely hangs.

Much of that plot is, curiously, wholly unnecessary.

The runtime of MacGruber is dominated by the convoluted backstory of how he and von Kunth came to be arch-enemies. Its twists and turns get more and

more complicated—and ostensibly more comedic— as the movie progresses. In reality, however, they feel tacked on. As an action comedy, the expectations of the film's plot are few, so designing a complicated one serves little purpose except to increase the runtime of a premise that's rather thin to begin with. As the movie attempts to artificially raise the stakes, its origins as a 25-second sketch begin to show.

By the time the final third of the movie arrives, the audience is finally treated to something better; once all the "why" is out of the way, the "how" of MacGruber—which is the real meat of the sketches—can come out in full force. When the movie focuses on action and comedy without any hindrance from its confusing plot points, MacGruber starts to cook, and actual laughs, as well as actual moments of suspense, can be had.

Ultimately, the final third is not enough to redeem the movie, but it does keep it from being Stuart Saves his Family.

Bryan Birtles

// bryan@vueweekly.com

Now Playing Robin Hood

Directed by Ridley Scott Written by Brian Helgeland Starring Russell Crowe, Cate Blanchett



In these times of economic uncertainty it's reassuring to know that way back in days of yore really goodlooking men and women of courage, honesty and sound grooming stood up against simpering pansy monarchs and really ugly Frenchmen and shot razorsharp kindling through their ugly-ass necks in the hope of installing some primitive form of socialism CONTINUED ON PAGE 26 >>

VUEWEEKLY // MAY 20 – MAY 26, 2010

FILM // 25

FILM REVIEWS

Film Capsules << CONTINUED FROM PAGE 25

in a largely grubby agrarian world. Or maybe it's supposed to be primitive libertarianism. I mean, who likes taxes? And get a load of all those arrows! The arrow budget for Robin Hood was probably larger than the entire budget for some actual armed revolutions, but what, did you think this was a Ken Loach film?

Helmed by Ridley Scott, written by sledgehammer screenwriter Brian Helgeland, and starring Scott's favoured gladiator and co-producer Russell Crowe, this Robin Hood goes back to the roots of the legend, I guess, with His Majesty's archer Robin Longstride (Crowe, fierce, rugged, kind of bland) coming home from the Crusades to an England in chaos, with a new, really dumb king (Oscar Isaac, shouty, pouty, grating) trying to bleed his citizenry for a few more goblet studs and a two-timing royal advisor pal (Mark Strong, pleasingly evil) quietly trying to sneak the French over for a major invasion. Robin heads to Nottingham to deliver a dead man's sword to his dad (Max von Sydow, having a hoot playing older and frailer than he really is) and winds up impersonating the dead man so as to assure that the land stays in the family once dad dies and his lovely daughter-inlaw Marian (Cate Blanchett, trying her darndest) is left on her own, a protofeminist about eight centuries too early to get what's rightfully hers. Screwball flirtations bubble up between Robin and

 FRIDAY THE 13TH: THE FINAL CHAPTER his faux-bride, the taxmen come to pillage and destroy, the French are crossing the Channel and the rest is history as semicomprehensible battle sequences, rife with careening crane shots. And arrows.

OK, actually the rest involves cartloads of exposition you'll never quite piece together, completely unnecessary flashbacks, cornball dialogue, big speeches rife with empty rhetoric, and Scott and company's best attempt at re-doing the storming of the beach in Normandy from Saving Private Ryan. Only fitfully diverting, this adventure epic is far too bloated to be as rousing as it wants to be. Scott's an old hand with managing elaborate set pieces, but the results don't feel inspired this time out. His brother Tony always gets dissed for being the lesser, more vulgar director, but, you know what, stupid as it was, The Taking of Pelham 1 2 3 was a lot more fun.

Josef Braun

// josef@vueweekly.com

Opening at the Metro Friday the 13th: The Final Chapter

Fri, May 21 (7 pm) Directed by Joseph Zito Written by Barney Cohen Starring Kimberly Beck, Corey Feldman, Crispin Glover Part of the Dedsploitation Summer Slasher Spectacular Metro Cinema (9828 - 101A Ave)



I don't mean to sound like a downer here, but when even the IMDB reviews—one of the most forgiving places for film critique, especially when it comes to genre pictures—calls Friday the 13th: The Final Chapter, "Certainly not Jason's worst episode," it does not exactly inspire one with scads of confidence. Particularly if you know anything about the depths to which the Friday the 13th franchise sunk.

But, then, you know, that's fair, too, I guess: this isn't the worst Jason has ever

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VUEWEEKLY // MAY 20 – MAY 26, 2010

been. Picking up where the third one left off, Jason seems to be dead, but walks out of a morgue, ices the doctor and nurse, and then tromps off back to his Crystal Lake killing fields to dismember another group of young folk who have inexplicably decided to vacation in a spot where three mass murders have taken place, one of them mere days before they show up. (I mean, honestly, just how cheap would those cabin rental rates have to be?)

These kids just want to have fun, but doing so in Reagan-era America almost always comes with a high price. You can almost infallibly predict who's going to die based on who's most interested in drinking or whose tits you just saw, Jason evidently being something of a prude. That has a certain camp fun to it, but it also kind of kills any actual horror here: the scares are almost entirely of the jumpout-and-boo variety, but there's honestly no tension in any of these scenes. Maybe in 1984, audiences were slightly less savvy to the construction of slasher films, but I kind of doubt it, and anyway the impalings and hackings quickly become so commonplace that even the well-produced gore kind of loses its effect.

Not that there's a complete loss here, particularly if you're going to be enjoying it in the booze-stoked confines of Dedsploitation's Summer Slasher Spectacular, also featuring Suicide Girls Must Die! Crispin Glover gives a suitably off turn—including a uniquely ridiculous bit of dancing—as a teen constantly harassed for being a "dead fuck" (lots of killing-related double entendres here) and Corey Feldman also shows up as a mask-making, creepy little kid who just might be Jason's true nemesis. All the same, it's indicative that the actor who played Jason, Ted White, refused to have his name listed in the credits. Why? According to him, "If I don't want my name associated on a total piece of shit, then I don't have to have it on there."

David Berry

// david@vueweekly.com

DVD DETECTIVE

<< CONTINUED FROM PAGE 23

is an old master: even in their initial meeting at a food line, Kurosu is keeping up his facade, pretending to have an important cellphone conversation with an imaginary boss. We quickly learn, though, that he has just set his phone to ring several times an hour, one of many tricks he has up his sleeve to appear as though he's never left his old life: Kurosu has created a separate bank account for his severance and unemployment cheques, is never without his suit and briefcase, and even at one point invites Ryûhei back for dinner with his wife, chiding him for his recent lax performance at work and acting ashamed when his wife hasn't order out for sushi for their guest.

For a time, this seems to buoy Ryûhei, who is otherwise completely unprepared for unemployed life. Unwilling to take more menial work and unable to compete in a corporate world that seems to have completely passed him by, he is able to stomach this charade—pausing in front of his house to construct a smile and a story about his day—until he finds Kurosu dead, the perpetrator of a gas-induced murder-suicide, the master deceiver finally unable to live up to his false life.

From there, the undercurrents that have been slowly dragging his family down explode into hostility, Ryûhei ultimately taking a janitorial job whose demeaning qualities—his first job is to literally clean a shitty toilet, and he seems insulted by the "professional" protocols of work that is so obviously beneath him—only turn him into a further tyrant at home.

These seem to do the most damage to his sons. The younger Kenji (Inowaki Kai) is an aspiring pianist and maybe musical prodigy who is nevertheless forbidden to take lessons; he ends up squirreling away his lunch money to pay for them, but when his talent becomes evident enough that his teach recommends him to an art school, his secret is up, and Ryûhei reacts violently, his son's disobedience one more slight from a world that seems to take little heed of him. This isn't helped by the fact that his other son, Takashi (Yû Koyanagi) has already defied him to sign up with the American military, searching for a sense of pride that he can't find in his own father.

From here, things come to a head in a series of highly dramatic but remarkably well-handled scenes that it would probably be best not to ruin (although suffice to say that Kurosawa pays off his tangled and fraught web rather splendidly). In some respects a meditation on the dangers of pride, in the whole Tokyo Sonata is an acutely observed family drama that also manages to explore the unintended effects of economic and cultural systems that ask for loyalty and strict adherence, but offer little in the way of comfort to people who are forced outside of them. It captures enough of the flavour of modern Japanese life to be interesting even just as a character study, but still adds up to drama that has something important to say to all of us. V

FILM WEEKLY

ROBIN HOOD (14A) FRI�TUE 11:45, 12:40, 1:30, 3:15, 4:00, 5:10, 6:20, 7:40, 9:10, 9:50, 10:45; WED 11:45, 12:40, 1:30, 3:15, 4:00, 5:10, 6:20, 7:40, 9:10, 10:45; THU 12:15, 12:40, 3:15, 4:00, 6:25, 7:40, 9:50, 10:45

FRI, MAY 21 – THU, MAY 27, 2010

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LETTERS TO JULIET (PG) DAILY 7:05. 9:05; FRI, SAT,

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IRON MAN 2 (PG violence, not recommended for

SEX AND THE CITY 2 (14A sexual content, not

IRON MAN 2 (PG violence, not recommended for

A NIGHTMARE ON ELM STREET (18A gory violence) FRI, SUN�TUE, THU 1:40, 4:40, 7:50, 10:25; SAT 7:50, 10:25; WED 1:40, 4:40, 10:25

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recommended for children) WED 9:10; THU 6:40, 9:25

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SHREK FOREVER AFTER 3D (PG) Digital 3d, No

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FRI�SAT 1:15, 4:35, 7:50, 11:05; SUN�THU 1:15, 4:35, 7:50

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THE BACK�UP PLAN (PG language may offend,

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MACGRUBER (18A crude content) FRI�MON 11:20, 1:50, 4:30, 7:05, 9:40; TUE�THU 7:05, 9:40

HOUSE FULL (PG) Hindi W/E.S.T. FRI�SAT 7:35,

DATE NIGHT (PG sexual content, language may

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10:50; SUN�THU 7:35

DEATH AT A FUNERAL (14A crude content) FRI�SAT 1:25, 4:30, 6:40, 9:20, 11:30; SUN�THU 1:25, 4:30, 6:40, 9:20

offend) FRI�SAT, MON�WED 1:10, 4:05, 6:45, 9:30; Sun 1:10, 4:05, 9:30; THU 1:10, 4:05, 6:45, 9:15

HOW TO TRAIN YOUR DRAGON (PG violence) Digital 3d DAILY 1:25, 4:45, 7:20, 9:55

DIARY OF A WIMPY KID (G) DAILY 1:50, 4:05, 6:30, 9:00

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SEX AND THE CITY 2 (14A sexual content, not

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CINEPLEX ODEON NORTH

THE TROTSKY (14A coarse language)

Stadium Seating, DTS Digital DAILY 12:25, 3:25, 7:05, 10:05

14231-137 Ave, 780.732.2236

SHREK FOREVER AFTER (PG) No passes FRI�TUE,

LETTERS TO JULIET (PG) Dolby Stereo Digital

THU 12:00, 2:30, 5:00, 7:30, 10:00; WED 5:00, 7:30, 10:00; Star & Strollers Screening: WED 1:00; Digital 3d: DAILY 11:30, 12:30, 2:00, 3:00, 4:30, 5:30, 7:00, 8:00,

DAILY 12:15, 3:00, 7:15, 10:15

SHREK FOREVER AFTER (PG) Digital 3d, Dolby

9:30, 10:30

FURRY VENGEANCE (PG) FRI�TUE 1:05

PRINCESS 10337-82 Ave, 780.433.0728

OCEANS (G) DAILY 7:00, 9:00; SAT�MON 2:30 THE GIRL WITH THE DRAGON TATTOO (18A sexual violence, disturbing content) DAILY 6:45, 9:30; SAT�MON 2:00

MACGRUBER (18A crude content) DAILY 11:50,

young children) FRI�MON 11:30, 1:00, 3:00, 4:10, 6:45, 7:30, 9:45, 10:30; TUE�THU 6:35, 7:05, 9:30, 10:00

FURRY VENGEANCE (PG) FRI�MON 2:00 DATE NIGHT (PG sexual content, language may offend) FRI�MON 4:40, 7:25, 10:00; TUE 7:25, 10:00; WED 6:45 HOW TO TRAIN YOUR DRAGON (PG violence) FRI�MON 11:45, 2:15, 4:45, 7:00, 9:35; TUE�THU 7:00,

9:35

SEX AND THE CITY 2 (14A sexual content, not

recommended for young children) Advanced Preview, No passes WED 9:20; No passes THU 6:50, 10:05

GARNEAU

8712-109 St, 780.433.0728

WEM, 8882-170 St, 780.444.2400

2:30, 5:00, 7:50, 10:40

SHREK FOREVER AFTER 3D (PG) Digital 3d, No passes FRI�MON 11:00, 12:15, 1:30, 2:45, 4:00, 5:15, 6:30, 7:45, 9:00, 10:15; TUE�THU 12:15, 1:30, 2:45, 4:00, 5:15, 6:30, 7:45, 9:00, 10:15 SHREK FOREVER AFTER: AN IMAX 3D EXPERIENCE (PG) No passes DAILY 11:30, 2:00,

4:30, 7:00, 9:30

ROBIN HOOD (14A) DAILY 11:30, 12:30, 3:00, 3:45, 6:30, 7:15, 9:50, 10:45 LETTERS TO JULIET (PG) FRI�TUE, THU 12:50, 3:50, 6:50, 9:40; WED 3:50, 6:50, 9:40; Star & Strollers Screening: WED 1:00

SAT May 29 Midnight; Tickets on sale now

IRON MAN 2 (PG violence, not recommended for young children) FRI�TUE, THU 12:00, 1:00, 3:15, 4:15, 6:45, 7:30, 9:45, 10:45; WED 12:00, 2:00, 3:15, 5:30, 6:45, 9:45; Digital Cinema: FRI�MON 11:15, 2:00, 5:30, 8:45; TUE, THU 2:00, 5:30, 8:45; Digital Cinema: WED 1:00, 4:15, 7:30, 10:45

GRANDIN THEATRE�ST ALBERT

A NIGHTMARE ON ELM STREET (18A gory

THE ROCKY HORROR PICTURE SHOW (STC)

HOT TUB TIME MACHINE (18A substance abuse,

12:45, 3:30

IRON MAN 2 (PG violence, not recommended for

DATE NIGHT (PG sexual content, language may ofROBIN HOOD (14A) No passes, Stadium Seating, Dolby Stereo Digital FRI�SUN 12:05, 3:05, 6:35, 9:45; MON�TUE 12:05, 3:05, 6:35, 9:45; Dolby Stereo Digital WED�THU 12:05, 3:05, 6:35, 9:45

young children) DAILY 6:50, 9:20; FRI�TUE 12:50, 3:20

ROBIN HOOD (14A) DAILY 6:45, 9:30; FRI�TUE

SCOTIABANK THEATRE WEM

9:30; TUE�THU 6:55, 9:30

EXIT THROUGH THE GIFT SHOP (14A) DAILY

fend) Dolby Stereo Digital, Stadium Seating FRI�TUE 12:20, 2:45, 5:10, 7:25, 9:50; WED 12:20, 2:45, 5:10

3:10

LETTERS TO JULIET (PG) FRI�MON 1:20, 3:50, 6:55,

FRI�WED 12:30, 1:00, 3:30, 4:30, 7:00, 8:00, 10:10; THU

AVATAR (PG violence, not recommended for young

children) FRI�SAT 1:05, 4:20, 7:45, 11:10; SUN�THU 1:05, 4:20, 7:45

SEX AND THE CITY 2 (14A sexual content, not

OCEANS (G) Movies For Mommies: FRI MAY 21: 1:00;

young children) FRI�TUE 11:30, 12:30, 2:00, 3:00, 3:40, 5:00, 6:40, 7:15, 9:20, 10:00, 10:15; WED 11:30, 12:30, 2:00, 3:00, 3:40, 5:00, 6:40, 7:15, 9:20, 10:30; THU 11:50, 12:30, 2:45, 3:40, 6:40, 7:15, 9:45, 10:40

SHREK FOREVER AFTER (PG) DAILY 7:00, 9:10;

OCEANS (G) FRI�WED 6:45; FRI�TUE 12:45, 3:25

DAILY 7:00, 9:00; FRI, SAT, SUN, MON 2:00

FRI�TUE 1:10, 3:15

THU 3:50, 6:50, 9:25; Star & Strollers Screening: THU

1:00

young children) DAILY 6:50, 9:10; SAT-SUN 1:30

SHREK FOREVER AFTER (PG) In Techniolour 3D

recommended for young children) WED 9:25; THU 6:45, 9:25

JUST WRIGHT (PG) FRI�WED 1:20, 3:50, 6:50, 9:25;

IRON MAN 2 (PG violence, not recommended for

MACGRUBER (18A crude content) DAILY 7:10, 9:15;

MON 1:45

SUN, MON 2:05

10:10

s

ROBIN HOOD (14A) DAILY 6:45, 9:20; FRI, SAT, SUN,

7:00, 9:00; SAT�MON 2:00

Grandin Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822

ROBIN HOOD (14A) No passes DAILY 1:05, 3:45, 6:30, 9:05

LETTERS TO JULIET (PG) FRI�TUE 3:25, 5:20, 7:20, 9:20; WED 3:25, 5:20, 7:20; THU 9:20

FURRY VENGEANCE (PG) FRI�WED 1:20 MACGRUBER (18A crude content) No passes DAILY 12:50, 2:35, 4:20, 6:00, 7:40, 9:30

violence) FRI�SAT, MON�TUE 4:45, 10:30; SUN 2:30, 10:30; WED 4:00

DATE NIGHT (PG sexual content, language may offend) FRI, SUN�TUE, THU 1:10, 4:20, 7:10, 10:00; SAT, WED 4:20, 7:10, 10:00; Star & Strollers Screening: WED 1:00 CLASH OF THE TITANS (PG not recommended for young children, violence) FRI�SAT, MON�TUE 1:20, 7:20; Sun 12:00; WED 1:00 HOW TO TRAIN YOUR DRAGON (PG violence)

MACGRUBER (18A crude content) DAILY 12:20, 2:50,

SEX IN THE CITY 2 (14A sexual content, not recom-

FRI�TUE 12:10, 3:10, 6:40, 9:15; WED 12:10, 3:10, 6:00

5:20, 8:10, 10:40

Stereo Digital, No passes, Stadium Seating DAILY 12:00, 12:45, 2:30, 3:15, 5:00, 5:45, 7:30, 8:15, 10:00, 10:40

ROBIN HOOD (14A) DAILY 11:45, 1:00, 3:10, 4:10,

mended for children) No passes WED Sneak Preview: 9:15; THU 1:05, 3:45, 6:25, 9:05

MACGRUBER (18A crude content) DTS Digital,

THE METROPOLITAN OPERA: ARMIDA ENCORE (Classification not available) SAT 11:00

SHREK FOREVER AFTER (PG) No passes DAILY

WWE OVER THE LIMIT 2010 (Classification not

LETTERS TO JULIET (PG) DAILY 12:50, 3:30, 6:40,

SEX AND THE CITY 2 (14A sexual content, not

IRON MAN 2 (PG violence, not recommended for

SEX AND THE CITY 2 (14A sexual content, not

6:30, 7:15, 9:40, 10:20

Stadium Seating DAILY 12:10, 2:35, 5:05, 7:35, 9:55

9:10

recommended for young children) Dolby Stereo Digital, Stadium Seating WED 9:00, 11:59; THU 12:00, 12:30, 3:15, 3:45, 7:00, 8:00, 10:15

JUST WRIGHT (PG) DAILY 1:50, 4:40, 7:45, 10:10

1:00, 3:00, 5:00, 7:00, 8:55

young children) FRI�WED 1:30, 4:05, 6:50, 9:10; THU 1:30, 4:05, 6:50

LEDUC CINEMAS

IRON MAN 2 (PG violence, not recommended for young children) FRI�TUE 12:10, 1:20, 3:20, 4:20, 6:50, 7:40, 9:45, 10:35; WED 12:10, 3:20, 4:20, 6:50, 7:40, 9:45, 10:35; THU 12:10, 1:20, 3:20, 4:20, 7:40, 9:45, 10:35; Digital Cinema: DAILY 9:00; Star & Strollers Screening: WED 1:00

crude content) FRI�MON 1:45, 4:20, 6:50, 9:40; TUE 5:45, 8:45; WED 5:45

ROBIN HOOD (14A) DAILY 6:45, 9:40; FRI�SUN 12:45,

A NIGHTMARE ON ELM STREET (18A gory

A NIGHTMARE ON ELM STREET (18A gory

LETTERS TO JULIET (G) DAILY 7:05, 9:30

CLAREVIEW 10 4211-139 Ave, 780.472.7600

THE BACK�UP PLAN (PG language may offend,

violence) FRI�TUE 5:10, 10:15; WED 5:10

violence) FRI�MON 1:50, 4:50, 7:10, 9:35; TUE�THU 5:50, 8:40

FURRY VENGEANCE (PG) FRI�WED 1:10, 3:40

IRON MAN 2 (PG violence, not recommended for

THE BACK�UP PLAN (PG language may offend, crude content) FRI�TUE 7:05, 9:50; WED 7:05

young children) On 2 Screens FRI�MON 12:50, 1:20, 3:40, 4:15, 6:35, 7:05, 9:25, 9:55; TUE�THU 4:50, 5:20, 7:50, 8:20

DATE NIGHT (PG sexual content, language may of-

fend) FRI�TUE 1:40, 3:50, 7:10, 9:20; WED 1:40, 3:50, 7:10

ROBIN HOOD (14A) No passes FRI�SUN 12:30, 3:35, 6:40, 9:45; MON 12:30, 3:35, 6:40, 9:45; TUE�THU 5:10, 8:15

CLASH OF THE TITANS (PG not recommended for young children, violence)

FRI�TUE 2:10, 7:50; WED 2:10

HOW TO TRAIN YOUR DRAGON 3d (PG violence) Digital 3d DAILY 1:30, 4:00, 6:45

SEX AND THE CITY 2 (14A sexual content, not

recommended for young children) Advanced Preview, No passes WED 9:00, 9:45, 10:30; No passes THU 11:45, 12:45, 1:45, 3:00, 4:00, 5:00, 6:15, 7:15, 8:30, 9:30, 10:30

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

SHREK FOREVER AFTER (PG) No passes FRI�WED 1:00, 3:45, 6:30, 9:15; THU 12:45, 3:45, 6:30, 9:15

SHREK FOREVER AFTER 3D (PG) Digital 3d, No

passes FRI�WED 11:15, 12:00, 1:45, 2:30, 4:15, 5:15, 7:00, 7:45, 9:30, 10:15; THU 12:00, 2:30, 4:15, 5:15, 7:05, 7:45, 9:40, 10:15

MACGRUBER (18A crude content) FRI�SAT, MON� TUE, THU 11:40, 2:10, 4:30, 7:10, 10:20; SUN 11:40, 2:10, 7:10, 10:20; WED 11:40, 2:10, 4:30, 7:10, 10:40

LETTERS TO JULIET (PG) FRI�MON 1:10, 3:50, 6:45,

9:15; TUE�THU 5:35, 8:10

HOW TO TRAIN YOUR DRAGON (PG violence) FRI�MON 1:25, 4:10, 6:55, 9:20; TUE�THU 5:15, 7:45

SHREK FOREVER AFTER (PG) Digital 3d, On 2

Screens, No passes FRI�MON 1:00, 1:30, 4:00, 4:30, 6:30, 7:00, 9:00, 9:30; TUE�THU 5:00, 5:30, 8:00, 8:30

MACGRUBER (18A crude content) FRI�MON 1:40,

4:40, 7:20, 9:50; TUE�THU 5:40, 8:50

SEX AND THE CITY 2 (14A sexual content, not

recommended for young children) No passes WED 9:00; THU 4:30, 8:00

DUGGAN CINEMA�CAMROSE 6601-48 Ave, Camrose, 780.608.2144

IRON MAN 2 (PG violence, not recommended for

young children) DAILY 6:50, 9:15; FRI, SAT, SUN, MON 1:50

Leduc, 780.352.3922

FURRY VENGEANCE (PG) SAT�MON 1:05, 3:30 3:40

SHREK FOREVER AFTER (PG) Digital 3D Midnight Show: THU May 20 DAILY 7:00, 9:25; FRI�MON 1:00, 3:25 IRON MAN 2 (PG violence, not recommended for

young children) DAILY 6:55, 9:35; FRI�MON 12:55, 3:35

METRO CINEMA 9828-101A Ave, Citadel Theatre, 780.425.9212

DEDSPLOITATION SUMMER SLASHER SPEC� TACULAR (STC) FRI 7:00 SOUNDTRACK FOR A REVOLUTION (STC) SAT�MON 7:00

ZOOEY AND ADAM (STC) SAT�MON 9:00 16 CANDLES (STC) WED 7:00

available) SUN 6:00

recommended for young children) Midnight, No passes WED 12:01; THU 11:45, 2:00, 3:15, 5:30, 6:45, 9:00, 10:15; Advanced Preview: no passes WED 9:00

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

IRON MAN 2 (PG violence, not recommended for

young children) Dolby Stereo Digital FRI 6:40, 9:45; Dolby Stereo Digital SAT�MON 12:15, 3:30, 6:40, 9:45; Dolby Stereo Digital TUE 5:10, 8:00; DTS Digital WED� THU 5:10, 8:00

ROBIN HOOD (14A) No passes, Dolby Stereo Digital FRI 6:25, 9:35; Dolby Stereo Digital SAT�SUN 12:00, 3:10, 6:25, 9:35; MON 12:00, 3:10, 6:25, 9:35; Dolby Stereo Digital TUE�THU 5:00, 8:10

SHREK FOREVER AFTER (PG) DTS Digital, No passes FRI 7:00, 9:25; SAT�MON 12:45, 3:45, 7:00, 9:25; TUE�THU 5:30, 8:30 LETTERS TO JULIET (PG) DTS Digital: FRI 7:10, 9:55; SAT�MON 12:30, 3:20, 7:10, 9:55; TUE 5:20, 8:20; Dolby Stereo Digital: WED 5:20

SEX AND THE CITY 2 (14A sexual content, not recommended for young children) No passes, Dolby Stereo Digital WED 9:10; THU 5:20, 8:40

WETASKIWIN CINEMAS

TURKEY SHOOT: ZARDOZ (STC) WED 9:00 RISING SUN THEATRE PRESENTS: STORIES ABOUT US: THE MOVIE (STC) THU 7:00; discussion and reception to follow; admission Pay-WhatYou-Can

THE ROOM (STC) THU 9:00

PARKLAND CINEMA 7 130 Century Crossing, Spruce Grove, 780.972.2332 (Spruce Grove, Stony Plain; Parkland County)

SHREK FOREVER AFTER (PG) 2D and 3D DAILY 6:55, 9:00; FRI�TUE 12:55, 3:00

VUEWEEKLY // MAY 20 – MAY 26, 2010

Wetaskiwin, 780.352.3922

ROBIN HOOD (14A) DAILY 6:45, 9:40; FRI�MON 12:45, 3:40

LETTERS TO JULIET (PG) DAILY 7:05, 9:30; FRI� MON 1:05, 3:30

SHREK FOREVER AFTER (PG) Digital 3D

Midnight Show: THU MAY 20 7:00, 9:25; FRI�MON 1:00, 3:25

IRON MAN 2 (PG violence, not recommended for young children) DAILY 6:55, 9:35; FRI�MON 12:55, 3:35

FILM // 27

INSIDE // MUSIC

MUSIC

34

Bronze Leaf

• Slideshow Fucked Up

37 41

Online at vueweekly.com >>MUSIC

Desiderata Music Notes

• VueTube Watch Bombchan perform live in Vue's studio • The Classical Score Previewing the Edmonton Symphony Orchestra’s concert of classical music that appeared in movies, including, yes, Blues Brothers

COVER // PUBLIC ENEMY

Fear of a hack planet

Public Enemy experiments with a new model of music financing

STILL NUMBER ONE >> Public Enemy continues to fight the powers that be Omar Mouallem // omar@vueweekly.com

E

leven years ago, Public Enemy released There's a Poison Goin' On ... online months before the CD would be in stores.

Remember, this is 1999. To most people, the word "MP3" sounded more like a car model than music. Today, iTunes allows people to buy an album on their phone with credit, and own it in minutes. PE's album, one of the first by a major group sold on the Internet, required buyers to go to atomicpop.com, download a 48-megabyte file, pay $8, check their emails for a purchase code that would unlock the file and—voila!—14 brand new songs.

"We were exploring the area of being able to release without someone hovering over you," recalls PE frontman Chuck D. "We were finding a new avenue."

The move from the group's native home, Def Jam records (hip hop's premier powerhouse) to Atomic Pop (an independent label of many genres, but the least of which is hip hop) showed PE wanted to break from the chains and be, as El-P puts it, "independent as fuck."

"I like to romantically make the comparison to [the '80s]. There was no pressure on anything, it was free-spirited," says Chuck D. "Going into independence was more like getting out of the system than returning to one."

For PE, the Internet was that system, albeit an untested one. "Experimentation is

28 // MUSIC

// Supplied

a large part of everything we do," explains Chuck D. "Either you find new ways with experimentation or satisfy the old ways, which probably won't work. This came out of being discontent with the old ways of pushing records."

Now PE is trying for another watershed moment, trying a model that even some champions of the Internet are skeptical of. Using SellaBand, a social networking promoting fan-funded music, PE hopes to raise $75 000 from fans or investors (here called "Believers") for its next album. In the pitch, PE is going to collaborate with artists suggested to them by Believers.

Already Z-Trip, Tom Morello and Rise Against have been secured for the untitled project.

To buy one "part," Believers pay $25 and buy a share in 33 percent of the revenue. The more you pay, the better the perks. For $5000, you get an executive producer credit. Double that and you get a trip to their studio during a recording session, too.

In October, PE projected a $250 000 budget. Only a handful of SellaBand artists have succeeded in meeting their goals, but to a maximum of $50 000, which indicated to Chuck D early on that PE's goal might be insurmountable. So last month, he admitted that it was unrealistic and would take them too long to actually do what they want—make music. "It's a little bit different in the digital age: no one waits for anything," he explains. "The

model has to be time sensitive."

Although SellaBand filed for bankruptcy and had to be saved by German buyers last February, he is confident "this system is going to work for us or somebody else ... We got involved in the Internet in 1999 and we're gonna pave the road for artists in the future to do this. Once again we're paving the road and we're building the bridge."

The new budget requires the group slash from the marketing and promotion plans.

As well, the album can't include as many high-profile collaborators as hoped, plus "the artists needed to take a lower fee.

They're all down with it because they're creative peoples."

Despite the lower budget, PE still has about $20 000 more to raise, which has remained the same for over a month.

It could be a while before PE returns to one of its Long Island studios. In the meantime Chuck D is busying himself in various ways. Although his political radio show, On the Real, folded with the closure of liberal AM station Air America, he's taken on a new program, ...

ANDYOUDON'TSTOP! He describes it as a "hip-hop show that works like a news program, but it's definitely rap and hip hopcentric only."

He also continues with his labours of Internet love, hiphopgods.com, a webzine honouring pioneers of rap, and SlamJamz, the label he owns and operates with Internet distribution and promotion as its nucleus. Through his label, next month

he is also releasing his second solo album, Don't Rhyme for the Sake of Riddlin' (a line from "Don't Believe the Hype").

On both Chuck D's solo record and the tobe-determined PE album, tackling racism is to be expected—obviously, but probably not in the way you expect. The wildly racist undertones of the Tea Party movement, he says, "sounds like it's just old-cracker racism in a new term." Instead, he says he wants to focus lots on anti-immigration and border policies affecting many minority groups. It's apparent even in the interviews he conducts and the raps he writes, where you'll find the colour "brown" in place of or alongside "black" people. He seems to think that we're now dealing with a Fear of a Brown Planet.

Last month, "Tear Down That Wall," a song off his upcoming solo album, was put on the SlamJamz website for free.

By twisting President Reagan's iconic phrase to call out the country's expanding wall along the Mexican border, Chuck D returns in classic form to put his fist through hypocrisy.

And then, a few days after the interview with Vue Weekly, Arizona approved a law that requires immigrants to travel with their papers and allows police to detain any who don't.

So of course, he would respond. Twenty years ago PE slammed another one of Arizona's bad policies, refusing to recognize MLK Day. But while underground rapper Toki Wright beat everyone to the punch by updating PE's "By the Time I Get to Arizona" three weeks ago, Chuck D co-wrote a Huffington Post article with wife Gaye Theresa Johnson. It issued "a call to action, urging fellow musicians, artists, athletes, performers, academics and production companies to refuse to work in Arizona until officials not only overturn this bill, but recognize the human rights of immigrants."

Recently, the border along the 49th parallel has also caught his ire. Reminding him that "it's just a big fucking game, man. Passports, visas and legalization— it's meant to keep the distribution of poor people from finding fresher terrain. It's not different from South Africa."

What has US customs done to earn such heated words? Nothing. It's Canada's fault, "not letting half of my crew in" for the group's Canadian tour. "The Canadian borders are strict for reasons that I'm clueless about. They've been tripping here and there," he says, guessing only that the stricter controls are due to tighter constraints since 9/11.

"It's only 'X' amount of people [in Canada]" he exclaims, before learning the real number, 34 million. "The land was snatched from the Indians and they want to stop people of colour from coming here?

What's the square acreage of Canada?"

Being reminded that Canada is the second largest country sends him flying:

VUEWEEKLY // MAY 20 – MAY 26, 2010

"How can there be one country with land like that in the modern day world? And they still tell people they can't come here?

Where does this come from? It sounds like some old-school white man!"

Chuck D is exaggerating the extent of the borders' restrictions: only one member of the S1W dance crew and Professor Griff, a founding member and choreographer, have been denied permits. But for a black American artist who has paid every due, been down every road and helped foster the fastest growing culture in the world, being told that any of his 28-year-old, pioneering band isn't welcomed is perplexing. For Canadian rap fans, however, it's business as usual.

Local promoter Tim Baig, owner of Urban DNA Events and a promotional partner for the Edmonton PE show, says, "Hip-hop artists getting extra attention at our borders is nothing new. It's been happening for the last two decades. Artists have always expressed the difficulty and frustration of passing through Canada customs and immigration."

He says rappers "feel like they are stereotyped and targeted when it becomes known that they are American rap artists, sometimes spending hours at the border just to get cleared."

Though Baig won't disclose specific artists who have been turned away by customs, there is a noticeable pattern regarding who gets in and who doesn't.

Although Chuck D thinks it's probably racially motivated, the answer to why, after decades of touring, the borders have become impenetrable to PE might simply be that the group isn't a mainstream act anymore. As an independent, PE gets the same treatment as Immortal Technique, not Lil' Wayne, whose Canadian tour dates are only cancelled on doctors' orders.

"There's way more challenges than there were before," he admits, citing the task of selling music online as one of the biggest obstacles. "On our digital store [Beyond.fm] you can hear music from beginning to end. It's like having a small record shop — but so what?

You still got to get people to come in, and even if they come into your store, how do you get them to buy?"

Online distribution gave Public Enemy more control over its music, but it didn't expand the group's audience much, if at all. Now, more than a decade later, PE is still set on finding that algorithm, sharing creative control with fans to bring more people into the store, digital or otherwise. V Sun, May 23 (8 pm) Public Enemy Edmonton Event Centre, $19.99 – $42.50

PUBLIC

ENEMY time line

1982: Carlton Ridenhour (Chuck D), a campus radio DJ and rapper, forms a band with producer Hank Shocklee, DJ Terminator X and Professor Griff, who heads and choreographs their militant dance crew, S1W (Security of the First World).

Friend and co-worker William Drayton (Flava Flav) joins Chuck D as his comic foil and Public Enemy is born.

1986 – ‘87: The group releases a single called "Public Enemy No 1" and it catches the ears of Def Jam's co-founder, Rick Rubin. The following year, the song appears on the debut, Yo! Bum Rush the Show, a Def Jam album that is praised by insiders but ignored by the mainstream.

1988: PE's second album, It Takes a Nation of Millions to Hold Us Back, is a pop music success. On top of Chuck D's baritone revolutionary rhymes, Shocklee's production via the Bomb Squad stuns music listeners with its thick layers of song samples, often beyond the point of recognition.

1989: Spike Lee makes "Fight the Power" the theme song for Do the Right Thing, further pulling PE into the mainstream.

After Chuck D famously calls the rap group the "Black CNN," PE is scrutinized by news media, and then, in a Washington Post interview, Professor Griff makes pejorative comments about Jews, which gets him fired, then rehired, then fired again.

1990 – ‘91: "911 is a Joke" off Fear of a Black Planet is a Billboard Top-10 hit. On PE's fourth album, Apocalypse 91 ... The Empire Strikes Back, the group collaborates with Anthrax and invents rap-rock as we know it. Consequentially, white folks have less to fear about a black planet.

BY OMAR MOUAL LEM / omar@ vuewee kly.com

1992 – ‘94: PE loses some steam after Flava Flav's runins with the law over spousal abuse and drug use.

To recoup energy, the group releases Greatest Misses, a remix album that's panned by critics. After a year of hiatus and Flava's recovery, the new album, Muse Sick-nHour Mess Age, falters as well. Terminator X leaves shortly thereafter.

1995 – ‘98: Signalling an end with Def Jam after numerous disputes, Chuck D creates the SlamJamz label and releases a solo album.

PE creates its best work since '91, the He Got Game soundtrack/album, which sees a reunion with Professor Griff but the departure of Schocklee.

1999: Def Jam rejects PE's desire to release an album through online means (as well as several attempts by Flava Flav to make a solo album), so PE deals with Atomic Pop Records instead. The group becomes one of the first major bands to sell a downloadable album, offering There's a Poison Goin' On via Internet months before it hits store shelves.

2002: Revolverlution reinvents the compilation format by giving fans a chance to remix PE favourites.

2005 – ‘07: PE releases three albums on independent labels, its latest, How You Sell Soul to a Soulless People Who Sold Their Soul ... , is regarded as the group's best work in a decade. Also, Flava Flav finally gets to release a solo album, while reaping reality TV stardom.

2010: PE announces another landmark project, this time raising $75 000 from fans via sellaband.com to finance its next album. V

VUEWEEKLY // MAY 20 – MAY 26, 2010

MUSIC // 29

MUSIC WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3PM

THU MAY 20

HOOLIGANZ Open stage Thu hosted by Phil (Nobody Likes Dwight); 9pm-1:30am

ARTERY The Provincial Archive, Daniel Moir, The Bird Sang Song, Raccoon Suit; 7pm; $10 (door)

J AND R Classic rock! Woo! Open stage, play with the house band every Thu; 9pm

BLUE CHAIR CAFÉ Jazz series: The Jan Randall Trio; $8 BLUES ON WHYTE Sonny Rhodes BRIXX BAR Radio Brixx: rock 'n' roll with Tommy Grimes; 8pm (music) CHRISTOPHER'S PARTY PUB Open stage hosted by Alberta Crude; 6-10pm CROWN PUB Crown Pub Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DEVANEY'S IRISH PUB Duff Robinson DRUID IRISH PUB Dublin Thu: DJ at 9pm DUSTER'S PUB Thu open jam hosted by the Assassins of Youth (blues/rock); 9pm; no cover DV8 Open mic Thu hosted

by Cameron Penner/and/ or Rebecca Jane; Helltrack, Black Axis (metal); 9:30pm ELECTRIC RODEO�Spruce Grove Open Stage Thu: Bring an instrument, jam/ sing with the band, bring your own band, jokes, juggle, magic; 8-12 ENCORE CLUB With a Latin Twist: free Salsa Dance Lessons at 9pm GOOD EARTH CAFÉ Lisa B every Thu; 11:30am-12:30pm HAVEN SOCIAL CLUB Manuela (CD release party), Jadea Kelly, Doug Hoyer; no minors; 7:30pm; $10 (door)

JAMMERS PUB Thu open jam; 7-11pm JEFFREY'S CAFÉ Sean Sonego (indie pop/rock singer); $10 JULIAN'S�Chateau Louis Graham Lawrence ( jazz piano); 8pm L.B.'S PUB Open jam with Ken Skoreyko; 9pm LIVE WIRE BAR Open Stage Thu with Gary Thomas MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm

Classical MUTTART HALL Shean Piano Competition: Solo Piano finalists Patrick Cashin, Samuel Deason, Rosy Ge, Scott MacIsaac, Alexander Malikov, Nina Zhou; 1-4pm; 6:30-9:30pm WINSPEAR Classics of the Silver Screen: Classical Music Popularized By the Movies: Robert Bernhardt, (conductor), Lucas Waldin (conductor), Kathleen Brett (soprano); 8pm; $20-$69 at Winspear box office

DJs BILLY BOB’S LOUNGE Escapack Entertainment BLACK DOG FREEHOUSE Big Rock Thu: DJs on 3 levels–Topwise Soundsystem spin Dub & Reggae in The Underdog BRIXX BAR Radio Brixx with Tommy Grimes spinning rock and roll BUDDY'S DJ Bobby Beatz; 9pm; no cover before 10pm; Shiwana Millionaire Wet Underwear Contest CENTURY ROOM Underground House every Thu with DJ Nic-E

ON THE ROCKS Salsaholic Thu: Dance lessons at 8pm; Salsa DJ to follow

DV8 Ritchie Paul, The Giant Child, Southpaw (roots, country, bluegrass); 9pm

PLANET INDIGO�St Albert Hit It Thu: breaks, electro house spun with PI residents

ELECTRIC RODEO�Spruce Grove Three Track

PROHIBITION Throwback Thu: old school r&b, hip hop, dance, pop, funk, soul, house and everything retro with DJ Service, Awesome RENDEZVOUS PUB Metal Thurzday with org666 SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thu; no cover WUNDERBAR DJ Thermos Rump Shakin' Thu: From indie to hip hop, that's cool and has a beat; no cover

FRI MAY 21

ENCORE CLUB 4 Play Fri FRESH START CAFÉ Live music Fri; 7pm; $7 GLENORA BISTRO The James Clarke Trio; 8:30-10:30pm; $10 HAVEN The Apresnos, All The Kings Men, and Calista; 7:30pm; $10 (door) IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JEFFREY'S CAFÉ Gordie Matthews (country, blues); $10 JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/rock); 9pm; no cover

180 DEGREES Sexy Fri night

JULIAN'S�Chateau Louis Graham Lawrence (jazz piano); 8pm

ARTERY Luther Wright and the Wrongs, Jack Grace; 7pm

LEVA CAPPUCCINO BAR Live music every Fri

AVENUE THEATRE Tristan Stewart (CD release), The Bird Sang Song, Andrew Curtis Weisenburger, Alexander Chemist, Tasy Hudson; no minors; 8pm (door); $10

NEW CITY SUBURBS Hanzel Und Gretyl, Psykkle, Rabid Whole; no minors; 9pm (door)

BLUE CHAIR CAFÉ Tear Henry's Heart; 8pm; $12

NORWOOD BRANCH Uptown Folk Club last open stage of the season; 6:30pm (door), 7pm; $4 (door)/free (member)

BLUES ON WHYTE Sonny Rhodes

O’MAILLE’S IRISH PUB�St Albert Big and Fearless; 9pm ON THE ROCKS Bonafide and DJs; 9pm

GAS PUMP Ladies Nite: Top 40/dance with DJ Christian

BRIXX BAR Early show: Sexston Slang, Eccentric, 7pm (door), $10; Late show: Options, Greg Gory, Eddie Lunchpail, 9pm (door), $5 (door)

HALO Thu Fo Sho: with Allout DJs DJ Degree, Junior Brown

CARROT Live music Fri: Allison Lickley; all ages; 7:309:30pm; $5 (door)

KAS BAR Urban House: with DJ Mark Stevens; 9pm

CASINO EDMONTON Stars Tonight (tribute)

SHERLOCK HOLMES� Downtown Derina Harvey

LEVEL 2 LOUNGE Absolut Thu: with DJ NV and Joey Nokturnal; 9:30pm (door); no cover

CASINO YELLOWHEAD Catalyst (Caribbean)

SHERLOCK HOLMES�WEM Jimmy Whiffen

LUCKY 13 Sin Thu with DJ Mike Tomas

TEMPLE The Glow Show White Party: DJ Grizzly Dub and Derik 4 Real; 9pm (door); free before 10:30pm/$5 after

NEW CITY SUBURBS Bingo at 9:30pm followed by Electroshock Therapy with Dervish Nazz Nomad and Plan B (electro, retro)

NAKED CYBERCAFÉ Open stage every Thu; bring your own instruments, fully equipped stage; 8pm NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers PAWN SHOP Undiscovered Singing Competition RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 8pm-1am RIC’S GRILL Peter Belec ( jazz); every Thu; 7-10pm SECOND CUP�Varscona Live music every Thu night; 7-9pm

WILD WEST SALOON Shane Chisholm

THE DRUID Dublin Thu FILTHY MCNASTY’S Punk Rock Bingo with DJ S.W.A.G. FLUID LOUNGE Girls Night out FUNKY BUDDHA�Whyte Ave Requests with DJ Damian

CENTURY CASINO Slaughter; 7pm; $34.95/$39.95 at TicketMaster, Century COAST TO COAST Open Stage every Fri; 9:30pm DEVANEY'S IRISH PUB Duff Robinson DRUID IRISH PUB DJ at 9pm

PAWN SHOP Desiderata (final show, goodbye party), Michael Rault, The Fucking Lottery, Brady, The Fight; 8pm REDNEX�Morinville Still Within; no cover RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am RENDEZVOUS PUB Lustre Creame, Trophy Wife, Crimson Roots; 10:15pm ROSE AND CROWN Burnstick SHERLOCK HOLMES� Downtown Derina Harvey SHERLOCK HOLMES�WEM Jimmy Whiffen

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CHATEAU LOUIS 11727 Kingsway, 780 452 7770 CHRISTOPHER’S 2021 Millbourne Rd, 780.462.6565 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 COPPERPOT Capital Place, 101, 9707-110 St, 780.452.7800 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696

30 // MUSIC

CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704.

CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St, DV8TAVERN. com EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FRESH START CAFÉ Riverbend Sq, 780.433.9623 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GLOBAL CONNECTIONS CHURCH�Spruce Grove 205 Main St, Spruce Grove HALO 10538 Jasper Ave, 780.423.

HALO HAVEN SOCIAL CLUB 15120A

VUEWEEKLY // MAY 20 – MAY 26, 2010

(basement), Stony Plain Rd, 780.756.6010 HILL TOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.452.1168 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont MORANGO’S TEK CAFÉ 10118-79 St MUTTART HALL Alberta College Campus of Grant MacEwan University, 10050 MacDonald Dr NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90 Ave,

780.490.1999 NEW CITY 10081 Jasper Ave, 780.989.5066 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORWOOD LEGION 11150-82 St, 780.436.1554 NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 O’MAILLE’S IRISH PUB�St Albert 104, 398 St Albert Rd, St Albert ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLANET INDIGO�Jasper Ave 11607 Jasper Ave; St Albert 812 Liberton Dr, St Albert PLAY NIGHTCLUB 10220-103 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave PROHIBITION 11026 Jasper Ave, 780.420.0448 REDNEX BAR�Morinville 10413-100 Ave, Morinville, 780.939.6955, rednex.ca RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 RITCHIE UNITED CHURCH 9624-

74Ave, 780.439.2442 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SIDELINERS PUB 11018-127 St, 780.453.6006 SPORTSWORLD 13710-104 St SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS�College Plaza 11116-82 Ave, 780.988.8105; Old Glenora 12411 Stony Plain Rd, 780.488.1505 STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 UNIVERSITY OF ALBERTA Rm 1-29, Fine Arts Bldg, 780.487.4844 WHISTLESTOP LOUNGE 12416-132 Ave, 780. 451.5506 WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295

STARLITE ROOM Easy Love: Designer Drugs, Trash Yourself, guests; 9pm (door); $20 at Foosh, Blackbyrd

RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson

STEEPS�Old Glenora Live Music Fri

ROUGE LOUNGE Solice Fri

TOUCH OF CLASS� Chateau Louis Tony Dizion (pop/rock); 8:30pm WILD WEST SALOON Shane Chisholm WINSPEAR Henry Rollins (Frequent Flyer Tour); All ages; 7pm (door)/8pm (show); $24.50, $32.50 at Winspear box office X�WRECK'S SlowBurn YARDBIRD SUITE Indigenous Aliens, Mo Lefever Trio; 8pm (door), 9pm (show); $16 (member)/$20 (guest) at Ticketmaster.ca

Classical CONVOCATION HALL Vocal Gems Concert: Opera NUOVA featuring Kimberley Barber, John Avey, Christiane Riel, Jackalyn Short; 7:30pm; $16.50 (adult)/$13.50 (student/senior) at TIX on the Square MUTTART HALL Shean Piano Competition: Solo Piano finalists Patrick Cashin, Samuel Deason, Rosy Ge, Scott MacIsaac, Alexander Malikov, Nina Zhou; 1-4pm; 6:30-8:30pm

DJs AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation

SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca STOLLI’S Top 40, R&B, house with People’s DJ STONEHOUSE PUB Top 40 with DJ Tysin TEMPLE Options Dark Alt Night; Greg Gory and Eddie Lunchpail; 9pm (door); $5 (door) WUNDERBAR Fri with the Pony Girls, DJ Avinder and DJ Toma; no cover Y AFTERHOURS Foundation Fri

SAT MAY 22 180 DEGREES Dancehall and Reggae night every Sat ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 AVENUE THEATRE Doom Cannon, MVCP, Kingdoms, Lucid Skies, From Within, Cleanse Kill, End Valour; all ages; 6pm (door); $10 BLACK DOG FREEHOUSE Hair of the Dog: Flying Fox and the Hunter-Gatherers (live acoustic music every Sat); 4-6pm; no cover

JEFFREY'S CAFÉ Jesse Dollimont ( jazz singer); $10 JULIAN'S�Chateau Louis Dennis Begoray ( jazz piano); 8pm L.B.’S The Kyler Schogen Band; 9:30pm-2am MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm NEW CITY SUBURBS Black Polisihed Chrome Sat: Electro/Alternative/Industrial with DJs Blue Jay, Dervish, Anonymouse NEW CITY LIKWID LOUNGE Built on Despondency, Mortal Ruins, Murder Scene Memories, Palms to the Sky O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm O’MAILLE’S IRISH PUB�St Albert Big and Fearless; 9pm ON THE ROCKS Bonafide and DJs; 9pm OVERTIME Jamaoke: karaoke with a live band featuring Maple Tea PALACE CASINO�WEM Huge Fakers PAWN SHOW The Uncas, (reunion show), Wool on Wolves, Hot Super Hot RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am

HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes LEVEL 2 LOUNGE Signature Sound Sat: with DJ's Travis Mateeson, Big Daddy, Tweek and Mr Wedge; 9:30pm (door); $3; 780.447.4495 for guestlist

NEW CITY LIKWID LOUNGE Punk Rawk Sat with Todd and Alex

ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm

NEW CITY SUBURBS Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay PAWN SHOP SONiC Presents Live On Site! Anti-Club Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door) PLANET INDIGO�Jasper Ave Suggestive Sat: breaks electro house with PI residents RED STAR Sat indie rock, hip hop, and electro with DJ Hot Philly and guests RENDEZVOUS Survival metal night SPORTSWORLD Roller Skating Disco Sat; 1pm4:30pm and 7-10:30pm STOLLI’S ON WHYTE Top 40, R&B, house with People’s DJ

BRIXX BAR Down the Hatch, Zero Cool, Abigails Cross, Dano; 9pm (door); $12 (door)

BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison

CARROT Open mic Sat; 7:3010pm; free

ROSE AND CROWN Burnstick

CASINO EDMONTON Stars Tonight (tribute)

WUNDERBAR Featured DJ and local bands

SHERLOCK HOLMES� Downtown Derina Harvey

Y AFTERHOURS Release Sat

BAR�B�BAR DJ James; no cover

CASINO YELLOWHEAD Catalyst (Caribbean)

SHERLOCK HOLMES�

BAR WILD Bar Wild Fri

COAST TO COAST Live bands every Sat; 9:30pm

BLACK DOG FREEHOUSE Fri DJs spin Wooftop and Main Floor: Eclectic jams with Nevine–indie, soul, motown, new wave, electro; Underdog: Perverted Fri: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead

CROWN PUB Acoustic Open Stage during the day/Electric Open Stage at night with Marshall Lawrence, 1:30pm (sign-up), every Sat, 2-5pm; evening: hosted by Dan and Miguel; 9:30pm-12:30am

BOOTS Retro Disco: retro dance

DEVANEY'S IRISH PUB Duff Robinson

BUDDY’S DJ Arrow Chaser; 8pm; no cover before 10pm

DV8 Alleycat Blues, Deathspot Radio (punk); 9pm

CENTURY ROOM Underground House every Fri with DJ Nic-E

EDMONTON EVENT CENTRE Faber Drive, The Latency; 7pm (door), 8pm (show); all ages; tickets at TicketMaster

CHROME LOUNGE Platinum VIP Fri EMPIRE BALLROOM Rock, hip hop, house, mash up; no minors ESMERELDA'S Ezzies Freakin Frenzy Fri: Playing the best in country FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian GAS PUMP Top 40/dance with DJ Christian LEVEL 2 LOUNGE Formula Fri: with rotating residents DJ's Groovy Cuvy, Touretto, David Stone, DJ Neebz and Tianna J; 9:30pm (door); 780.447.4495 for guestlist NEWCASTLE PUB Fri House, dance mix with DJ Donovan NEW CITY LIKWID LOUNGE The Mod Club: with DJ Blue Jay and Travy D new location kickoff party; $5, free before 9pm PLAY NIGHTCLUB The first bar for the queer community to open in a decade with DJ's Alexx Brown and Eddie Toonflash; 9pm (door); $5 www.playnightclub.ca REDNEX�Morinville DJ Gravy from the Source 98.5

ELECTRIC RODEO�Spruce Grove Three Track EMPRESS ALE HOUSE Music vs. Cancer fundraiser featuring: James Murdoch, Paul Bellows, Chris Smith, Amy Van Keekan, Carrie Hryniw, James Mossissey, Brock Skywalker; 4pm GAS PUMP Blues Jam/ open stage every Sat 3-6pm, backline provided GLOBAL CONNECTIONS CHURCH�Spruce Grove Big Daddy Weave, Building 429 (Christian rock); tickets at ticketwindow.ca, 1.877.700.3130 HAVEN WyClarify, Adam Filipchuk, Jessica and Shezadi; 7:30pm (door); $10 (adv at Haven)/$15 (door) HILLTOP PUB Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JAMMERS PUB Sat open jam, 3-7:30pm; country/rock band 9pm-2am

TOUCH OF CLASS� Chateau Louis Tony Dizion (pop/rock); 8:30pm WILD WEST SALOON Shane Chisholm YARDBIRD SUITE Indigenous Aliens, Mo Lefever Trio; 8pm (door), 9pm (show); $16 (member)/$20 (guest) at Ticketmaster.ca

Classical CONVOCATION HALL Tubas of Edmonton (16 tuba players); 8pm; admission by donation

DJs AZUCAR PICANTE Every Sat: DJ Touch It, hosted by DJ Papi BLACK DOG FREEHOUSE Sat DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered BUDDY'S DJ Earth Shiver 'n' Quake; 8pm; no cover before 10pm CENTURY ROOM Underground House every Sat with DJ Nic-E EMPIRE BALLROOM Rock, hip hop, house, mash up ENCORE CLUB So Sweeeeet Sat ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Sat Gone Gold Mash-Up: with Harmen B and DJ Kwake FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian

O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ON THE ROCKS Bonafide and DJs; 9pm

TEMPLE Oh Snap!: Every Sat, Cobra Commander and guests with Degree, Cobra Commander and Battery; 9pm (door); $5 (door)

STARLITE ROOM Silent Line, Capture the Hills, Civil Savage; (door) 9pm, $12 (door)

NEW CITY Open Mic Sun hosted by Ben Disaster; 9pm (sign-up); no cover

NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri

RIVER CREE Creedence Clearwater Revisited (night of classic hits); 8pm; tickets at TicketMaster

WEM Jimmy Whiffen

NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm

SUN MAY 23 ARTERY Olenka and the Autumn Lovers, Doug Hoyer, guests; 8pm; $10 BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm BLACK DOG FREEHOUSE Bombchan, A Bunch of Marys, Darrek Anderson; 9pm; no cover BLUE PEAR RESTAURANT Jazz on the Side Sun BLUE PEAR Terry McDade, George Koufogiannakis; $25 (if not dining) BLUES ON WHYTE Texas Mickey BRIXX BAR Early show: Stone Iris, The Martingales, 7pm (door), $10 (door); Late show: Reform School Girl Party, Greg Gory, Eddie Lunchpail; 10pm (door), $5 (door) B�STREET BAR Acousticbased open stage hosted

by Mike "Shufflehound" Chenoweth; every Sun evening CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DEVANEY’S IRISH PUB Celtic Music Session, hosted by KeriLynne Zwicker, 4-7pm DV8 Brain Sauce (alt) EDDIE SHORTS Sun acoustic oriented open stage hosted by Uncle Jimmy EDMONTON EVENT CENTRE Public Enemy; all ages; 8pm; Tickets at TicketMaster

RITCHIE UNITED CHURCH Jazz and Reflections: Sandro Dominelli Trio; 3:30-5pm; collection at door ROYAL COACH�Chateau Louis Petro Polujin (classical guitar); 5pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm STARLITE ROOM Future Sounds of Culture V.1: Delhi 2 Dublin, Mochipet, Greenlaw; 9pm (door); $20 at Foosh, Blackbyrd, Ticketmaster.ca UNION HALL Long Weekend Glow Party: Johnny Infamouse, DJ Loki; 9pm (door)

Classical UNIVERSITY OF ALBERTA Master Class: Opera Nuova, Nico and Carol Castel; 7pm; $12 (adult)/$10 (student/ senior) at TIX on the Square WINSPEAR Bonne Musique: Edmonton Chinese Philharmonica and Guest Orchestras; Part of the Chinese Music Festival; 7:30pm; $20 at TIX on the Square

DJs BACKSTAGE TAP AND GRILL Industry Night: with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Sun Afternoons: Phil, 2-7pm; Main Floor: Got To Give It Up: Funk, Soul, Motown, Disco with DJ Red Dawn BUDDY'S DJ Bobby Beatz; 9pm; Drag Queen Performance; no cover before 10pm FLOW LOUNGE Stylus Sun NEW CITY SUBURBS Get Down Sun: with Neighbourhood Rats SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover SPORTSWORLD Roller Skating Disco Sun; 1-4:30pm; sports-world.ca WUNDERBAR Sun: DJ Gallatea and XS, guests; no cover

MON MAY 24 AVENUE THEATRE Avenue Victory Day Jam: Bridget Ryan, Jennifer Spencer's Maggie Now, Larry Benson and Tenor Power, Tap Power–Jason Hardwick and Chelsea Preston, and more; 7:30pm; $15 (door) BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE Too Slim and the Taildraggers DEVANEY'S IRISH PUB Chris Tabbert Regret

HYDEAWAY Sun Night Songwriter's Stage: hosted by Rhea March; 7:30pm

DV8 Dance Laury Dance (rock); 9pm

J AND R BAR Open jam/ stage every Sun hosted by Me Next and the Have-Nots; 3-7pm

NEW CITY This Will Hurt you Mon: Johnny Neck and his Job present mystery musical guests

VUEWEEKLY // MAY 20 – MAY 26, 2010

MUSIC // 31

PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm PROHIBITION Chicka-Dee-Jay Mon Night: with Michael Rault ROSE BOWL/ROUGE LOUNGE The Legendary Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm WEM�PH 1 Stage Bonne Musique; part of the Chinese Music Festival; afternoon

DJs BAR WILD Bar Gone Wild Mon: Service Industry Night; no minors; 9pm-2am BLACK DOG FREEHOUSE Main Floor: Eclectic Nonsense, Confederacy of Dunces, Dad Rock, TJ Hookah and Rear Admiral Saunders BUDDY'S DJ Dust 'n' Time; 9pm FILTHY MCNASTY'S Metal Mon: with DJ S.W.A.G. FLUID LOUNGE Mon Mixer LUCKY 13 Industry Night with DJ Chad Cook every Mon NEW CITY LIKWID LOUNGE Daniel and Fowler (eclectic tunes)

TUE MAY 25 BLUES ON WHYTE Too Slim and the Taildraggers BRIXX BAR Troubadour Tue: with Meagan Younge with the Horny Boy Cowards, Shadows and Dust, host Mark Feduk; 9pm CROWN PUB Underground At The Crown: underground, hip hop with DJ Xaolin and Jae Maze; open mic; every Tue; 10pm; $3

32 // MUSIC

DRUID IRISH PUB Open stage with Chris Wynters (Captain Tractor); special guest Scott Peters and James Morrisey; 9pm GOOD EARTH CAFÉ Lisa B every Tue; 11:30am-12:30pm L.B.’S PUB Ammar’s Moosehead Tue open stage; 9pm NEW CITY LIKWID LOUNGE Open Mic; Hosted by Ben Disaster; 9pm O’BYRNE’S Celtic Jam with Shannon Johnson and friends OVERTIME Tue acoustic jam hosted by Robb Angus SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm SIDELINERS PUB Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm

BRIXX BAR Troubadour Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8 BUDDY'S DJ Arrow Chaser; 9pm ESMERALDA’S Retro Tue; no cover with student ID FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock, spooky with DJ Vylan Cadaver

VUEWEEKLY // MAY 20 – MAY 26, 2010

OVERTIME Dueling pianos featuring The Ivory Club

PROHIBITION Wed with Roland Pemberton III

BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed

RED PIANO BAR Jazz and Shiraz Wed featuring Dave Babcock and his Jump Trio

BLUES ON WHYTE Too Slim and the Taildraggers

COPPERPOT RESTAURANT Live jazz every Wed night: Jeff Hendrick; 6-9pm

BLACK DOG FREEHOUSE Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam

NEW CITY Circ-O-RamaLicious: Gypsy and circus fusion spectaculars; last Wed every month

WED MAY 26

STARLITE ROOM Dark Tranquillity, Threat Signal, We are the Void, Mutiny Within, The Absence; 8pm (door); $18 at TicketMaster, Blackbyrd, Unionevents.com

DJs

LEVEL 2 LOUNGE Open mic

RED STAR Tue Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly

PROHIBITION Tue Punk Night

BRIXX BAR Really Good… Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no cover

YARDBIRD SUITE Tue Sessions: Brad Shigeta Quintet; 7:30pm (door), 8pm (show); $5 (member)/$5 (guest)

HAVEN SOCIAL Early show: Christina Maria Trio (CD release), Lauren Busheikin, 6pm (door), $10 (door); Open stage with Jonny Mac, 8:30pm, free

PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society every Wed evening

SPORTSMAN'S LOUNGE Open Stage hosted by Paul McGowan and Gina Cormier; every Tue; 8pm-midnight; no cover

STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm

Brian Gregg; 8pm-12

CROWN PUB Creative original Jam Wed (no covers): hosted

by Dan and Miguel; 9:30pm12:30am DEVANEY'S IRISH PUB Open Mic Wed; Duff Robinson EDDIE SHORTS Wed open stage, band oriented, hosted by Chuck Rainville; 9pm-1am EMPRESS ALE HOUSE Amy Van Keekan's Rock and Roll sing-a-long, featuring Motown; 9pm FIDDLER'S ROOST Little Flower Open Stage Wed with

RIVER CREE Wed Live Rock Band hosted by Yukon Jack; 7:30-9pm SECOND CUP�Mountain Equipment Open Mic every Wed; 8-10pm STEEPS TEA LOUNGE� College Plaza Open mic every Wed; hosted by Ernie Tersigni; 8pm STEEPS TEA LOUNGE�Whyte Ave Open mic every Wed; 8pm TEMPLE Wyld Style Wed: Live hip hop; $5

Classical CONVOCATION HALL Song Soirées: Opera Nuova; 7pm; $12 (adult)/$10 (student/senior) at TIX on the Square WINSPEAR Echoes from the Baroque: William Eddins (conductor), Lucas Waldin (conductor), Jeremy Spurgeon (organ); 7:30pm

DJs BANK ULTRA LOUNGE Wed Nights: with DJ Harley BLACK DOG FREEHOUSE Main Floor: Blue Jay’s Messy Nest Wed Night: Brit pop, new wave, punk, rock ‘n’ roll with LL Cool Joe BRIXX BAR Really Good... Eats and Beats with DJ Degree and Friends BUDDY'S DJ Dust 'n' Time; 9pm; no cover before 10pm DIESEL ULTRA LOUNGE Windup Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs FLUID LOUNGE Wed Rock This IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set LEGENDS PUB Hip hop/R&B with DJ Spincycle NEW CITY LIKWID LOUNGE DJ Roxxi Slade (indie, punk and metal) NEW CITY SUBURBS Shake It: with Greg Gory and Eddie Lunchpail; no minors; 9pm (door) NIKKI DIAMONDS Punk and ‘80s metal every Wed RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; beatparty.net WUNDERBAR Wed with new DJ; no cover Y AFTERHOURS Y Not Wed

VUEWEEKLY // MAY 20 – MAY 26, 2010

MUSIC // 33

PREVUE // BRONZE LEAF AND JOM COMYN

The sound of history

Music and hors d'ouevres at Rutherford House David Berry // david@vueweekly.com

A

t some point in the last year, Bronze Leaf, Jom Comyn and Giraffedactyl all independently found themselves in Eric Cheng's Champion City studio, putting together a new release in anticipation of Edmonton's brief but wondrous summer. Sharing a musical affinity beyond the locational coincidence, the three have decided to combine the release into a massive, of sorts, triple release party.

Such an occasion demands something more special than the average club show, though, so in the interest of spreading some wings, the bands have

34 // MUSIC

decided to host the party at Rutherford House. Whatever its reputation as a tea house, it's one of the last places in the city you'd expect to find an independent music show—which was, as Bronze Leaf singer/songwriter Amy Macdonald explains, absolutely part of the charm.

"One of the things about touring that I think all of us have been talking about and thinking about is the old buildings, because Edmonton has so few and does such a terrible job of preserving the ones it does have," she says from a stop in Kingston, where Bronze Leaf is continuing its tour before coming back to release Bread Crumbs. "A lot of the buildings we've been playing [on this tour] have some kind of history, the owners

have stories about what the building's past lives were, and I'm really drawn to those places, so to find out that Rutherford House is hosting shows—it's not just another place: it has a storied feeling to it that I think is very cool."

"I've played pretty much everywhere I can play here, I think, all the usual spots. This is something different, and might be a nice way to get the parents and grandparents out," she says with a smirk. "And I'm pretty stoked about the hors d'ouevres."

History and hors d'ouevres seem like a solid enough reason as any to put a show together, but even the space of Rutherford seems particularly appropriate for these three bands. Though

there are distinct differences, all three make music that has a certain delicate but lived-in feel, an abject prettiness and comfortable songcraft that seems especially suited to one of our rare historic sites.

The similarities don't end with sound or recording spot, however. Talking to both Macdonald and Comyn, they reveal that something crucial to the songwriting process is a kind of unconscious creation, an intuitive process that seems to do little more than channel their surroundings into something unpolished but still glimmering.

"I very much trust my unconscious," says Comyn, who makes relatively simple pop songs that seem whittled down from something more grandiose.

"I don't even write the songs in a way, as funny as that sounds. When I do try too much, it sounds too forced—it's just, if

VUEWEEKLY // MAY 20 – MAY 26, 2010

this is the song that's here right now, I should just go with it."

"Songwriting is a place where I can't think too much, or it just doesn't work," agrees Macdonald, whose songs tend to sound a little more traditional, but which frequently encompass an emotional nakedness that is bracing. "Sometimes it's just a way my hand will go on a guitar—or walking is another good one. Especially walking across the High Level Bridge. I've lived downtown and gone to the U of A the last couple years, and there's lots of time for songs to figure themselves out over there." V Thu, May 27 (7:30 pm) Bronze Leaf, Jom Comyn With Giraffedactyl Rutherford House $10 (advance), $15 (door) Call 780.422.4697 for tickets

SLIDE SHOW >> FUCKED UP

// jprocktor

Fucked Up / Fri, May 14 / Avenue Theatre Go to vueweekly.com for more of jprocktor and Bryan Birtles' photos.

// Bryan Birtles

VUEWEEKLY // MAY 20 â&#x20AC;&#x201C; MAY 26, 2010

MUSIC // 35

PREVUE // CHRISTINA MARIA

Down the Straight Line

Christina Maria's latest a work filled with challenge Heather Skinner // skinner@vueweekly.com

B

efore Christina Maria's days as a musician, she says she was angry; she got into fights and was, as she describes it, off the hook. It was only after going into a visual arts program that her anger ebbed and she found her niche. Today, she's a successful musician with a diverse and unique sound, slowly rising on the charts.

Born in Vancouver, Maria released her second album Straight Line back in February, which was more focused on personal stories than the outward observations of her first album. Each of

the seven songs are either a character portrait or representation of a relationship, such as "Kind Friend," written af-

rent trend in her music. She notes that when she first went down to Berlin, she knew no one, but after some

Compared to the past music I've worked on, my current style has a little more of a rock texture. ter she learned that an acquaintance had spent time in prison after being convicted of murder, and "What You Make It," inspired by a neighbour's attitude towards being evicted.

Maria says that spending three months in Berlin inspired the cur-

time she met other talented artists who wanted to work with her, and through these collaborations, her music evolved.

"Compared to the past music I've worked on, my current style has a little more of a rock texture, I guess,"

she says. "I like what the city has done to my music ... I would go back there, definitely."

However Maria says that pursuing her dream hasn't been easy.

"A lot of the songs I had a problem with and I solved them as I wrote out the song," she says. "During the process I really came to realize what music meant to me, especially on a personal level. Either way, it ended well."

Looking back, Maria says that she also learned quite a bit about herself when she worked with five different producers—such as Ryan Dahle and Russell Broom—in five studios across the country. She explains that work-

ing with five producers put her into different situations that required further problem solving.

But just working with the different producers wasn't the only thing that tested her. Maria also took the opportunity to produce her own song, "BreakMaker," which was the last single on the album. She added that slipping herself into a producer's shoes tested her.

"It tested me by always putting me into different situations. It really allowed me to find what I wanted as a producer," she explains. "[Producing] is kind of like being in love. You have to be OK with yourself before you love someone else." V Wed, May 26 (6 pm) Christina Maria Haven Social Club, $10

PREVUE // THE SADIES

Good to great

The Sadies fine with the refining process.

Mike Angus // mikeangus@vueweekly.com

'F

orgive me for rambling, but I'm still kind of excited because the record isn't quite out yet and people are already responding really positively to it," the Sadies' Dallas Good enthuses over the phone. "I'm just happy to talk about it."

It's a rare mood for most artists—that short window of enthusiasm following the completion of a record before the typical two years' grind that can dull even the sharpest zeal.

Recorded over a short two-week period with producer Gary Louris (of the Jayhawks), Darker Circles is a refined album in sharp focus; it marks one more step for a band that is slowly ascending to the top of Canada's country rock pantheon.

While most bands would consider two weeks as a marathon, the Good brothers and company have fine-tuned record making into an almost effortless process, thanks to their chemistry with Louris and musical intimacy with each other. "[Recording Darker Circles] was fantastic because we're realizing we're more like-minded than we thought after 15 years," Good explains. "Since we left the studio for [the band's last record] New Seasons ... we were able to put in more time with the material on this album than normal, which is nice. All we aspired to do was to make a record we would want to listen to, and made up for the stuff that, after 15 years, we still haven't done right."

For a band whose blueprint is vague enough to allow the members to swing from rock and roots to surf rock and country, the band has avoided any need to reinvent itself, Good proposes. Rather, the focus remains on refining what

36 // MUSIC

WELL SEASONED >> The Sadies refines its strengths on Darker Circles has worked so well for them.

"On this particular record, the focus is taking the lessons we learned on New Seasons, which seemed to be really well received by people, and then just working on making it better."

Part of the refining process includes their growing relationship with Louris, who immediately immersed himself in the band's chemistry on New Seasons.

"Making this record knowing he was going to be involved, we knew we'd be able to incorporate some of his writing styles even before we got together with him. So, in that way, this time we all went in with a little more homework done.

"As for our roles in the studio, the producer wears a million hats, and as for Gary, he's a singer, songwriter, guitar player, he's led bands, he's done it all," Good explains. "So when he gets involved, he'll happily contribute to the lyrics, the melody, he changes up

VUEWEEKLY // MAY 20 – MAY 26, 2010

// Beth Hammill

the song itself, getting right in the middle of it. He does stuff above and beyond that he doesn't even get proper credit for."

Good acknowledges how the band is now evolving into a group of musicians' musicians, exploring the studio thoroughly to expand their reputable live show.

"When we started [recording] it was all a matter of just documenting what we were doing live, and records were comprised of tested material," Good admits. "Now, I really appreciate the experimental process in the studio, which is something we never did on the first three records. We're trying to make albums, not just setlists." V Thu, May 27 (8 pm) The Sadies With the Pack AD Starlite Room, $20

PREVUE // DESIDERATA

Saying goodbye

Desiderata goes placidly amidst the noise and haste

WHEN GOD CLOSES A DOOR >> He opens a giant mouth Bryan Birtles // bryan@vueweekly.com

A

ll good things must come to an end, but for local band Desiderata the end was something unexpected. After an extended hiatus to pay bills racked up from ceaseless touring, Desiderata released its newest album, Alcohawk, in February and seemed poised to regain its place in Edmonton's music scene. Unfortunately, explains the group's singer Blair Drover, the timing was off.

"We were planning on doing more touring, putting out Alcohawk and doing something with it, but time became a really big problem for some members of the band [and we] kind of started focusing on other projects. I started focusing on moving to Vancouver and doing sound engineering and Laine [Cherkewick]'s been focusing on [new band] Fire Next Time and Jerome [Tovillo]'s been working so much—that guy doesn't get a day off," he says. "I don't wanna leave just yet but you gotta go on to bigger and better things."

After moving to Edmonton from the band's hometown of Fort McMurray, Desiderata found the music scene here to be as welcoming as it possibly could have been. Almost immediately the band fell in with Champion City Records and began playing shows.

Eventually, the band had crossed a number of things off the members' life "to do" lists.

"Laine and I had a Desiderata bucket list; being on the front cover of the entertainment section of the Journal, being in Chart Attack magazine in the back on the charts—that was probably the biggest moment for us as a band," he says. "Just touring as well—waking up in a new city everyday was a lot of

// Supplied

fun. And just meeting people, that was my favourite part of doing the band: meeting a lot of great people and bands that we looked up to. Coming from a small town it was difficult to even reach those types of bands, and now to play with them is a crazy idea."

Laine and I had a Desiderata bucket list; being on the front cover of the entertainment section of the Journal, being in Chart Attack magazine in the back on the charts.

Desiderata will be playing as a six-piece band for its send off, filling out the already technical and dense sound with guest musicians and friends, but Drover sees the night not as a way to highlight the end of the band so much as a way to show the group's appreciation for everything it received from its adopted city over the years.

"I just want to thank anybody that's ever come out, all the writers and photographers and fans—if that's what you'd call them. The people that come out to our shows." V Fri, May 21 (8 pm) Desiderata With the Fucking Lottery, Michael Rault, Bradey & the Fight Pawn Shop, $10

VUEWEEKLY // MAY 20 – MAY 26, 2010

MUSIC // 37

PREVUE >> ELIZABETH SHEPHERD

Elizabeth Shepherd's Heavy Falls the Night ON TH

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Eden o Munr

On the surface, Elizabeth Shepherd appears to be a jazz artist: she's playing at the Yardbird Suite, the piano is her instrument of choice and her playing taps into the sort of night-time emotions that the

jazz classics often delved into. But dig a little deeper and it becomes clear that Shepherd's connection with jazz is primarily in the unwillingness to reduce the music to a series of rules and clichés, much like the greats of the genre's past. As her bio says, "Depending on what the song calls for, Shepherd always draws upon her roots, be it Salvation Army origins, poetic singer-songwriter lyricism, the modal inflections of world music, simple and sassy pop, infectiously deep hip-hop grooves or the harmonic complexities of jazz." Shepherd spoke with Vue Weekly recently about the creation of her third full-length album, Heavy Falls the Night.

VUE WEEKLY: How long did it take to make Heavy Falls the Night, from the initial songwriting through to the end of the recording?

ELIZABETH SHEPHERD: I started writing the songs in the fall of 2008. Rather than opting for the very linear and logical route of first spending time writing, then rehearsing the material and finally hitting the studio (which was the process for the two previous albums), I opted to instead work with one song at a time—in its entire process. In other words, write a song, record it, sit with it and finally, after about 14 months, go back and revisit each of those songs that were complete, recorded entities unto themselves. At that point, I decided which songs made the cut for the album. So in total, from writing the first song that made it onto the album (the title track) right down to the moment the mixed and mastered tracks were sent off to manufacturing, it was about 15 months.

VW: When you were writing the songs, did you come at them in a particular way?

Lyrics first? Music first?

ES: Once I have an idea for a song, I usually have a clearly formulated sense of how it is going to sound, in its entirety; I know how the drum groove is going to go, what the bass line will be, what keyboard sounds I want to use, how the arrangement is going to sit, what harmonic backup vocal layers I’m going to sing.

So I generally begin by laying down the groove (bass line, beatbox) and record it on my Mac, then layer the keyboard harmonies and chart out the arrangement (intro, verse, chorus, groove section, breakdown—whatever it may be from song to song). And then, finally, the most challenging bit: the melody and the lyrics. These two happen simultaneously.

It’s rare that I know what I want to say lyrically as I’m writing the song; often I’ll be listening to the instrumental track I’ve just created, over and over (ad nauseum), until I find myself humming a melody, using certain phonetic sounds which then morph into words. At this point, it’s easy to dig into lyrical ideas that I’ve set aside over the months (as I’m constantly writing), and seek to replace those "sounds" with words and, eventually, poetry.

VW: The other two members of your trio, Scott Kemp and Colin Kingsmore, are on this record, but you also have a few other guests. How did you choose the other

38 // MUSIC

VUEWEEKLY // MAY 20 – MAY 26, 2010

musicians? Did you know all of the players previously?

ES: The word "trio" is a bit of a misnomer; I used the term on the first album, Start to Move, as a way of clearly saying to the world "Hey, this is real jazz music!". But to consider myself part of a trio feels a little confining and not totally accurate, especially given the type of music I’m writing these days; it tends to be less explicitly "jazz" and often uses very different musical colours than those available in a trio context. Colin and Scott have a great sound together, but given the incredible pool of talented, unique musicians here in the city, I didn’t want to limit myself to playing with only two (no matter how good they are!). This at a creative time where I was really looking to stretch out with my writing and arranging, and felt that there were other musicians who I have played with over the years who could really capture the essence of a song—so I opted to have them on the album.

VW: Did you take the songs into the studio fully formed, or were they sketches that were then filled out while recording?

ES: As I mentioned before, I usually have a very clear vision of how each song will sound, from the moment of the first idea.

So they were pretty much fully formed in my mind when the musicians went into the studio; the main challenge I had was in transmitting that to the musicians without coming off as an over-bearing control freak ... As a way of dealing with that, I just made sure we were all prepared and on the same page: before hitting the studio, I sent the musicians recorded versions of the songs that I had done at home (with bass lines I’d played on my keyboard and drum grooves that I’d beatboxed into my computer), along with a chart (written notation of the lines/song structure) so that once we were in the studio, we were all as clear as possible on how the song was going to sound. There was a fine line here for me in balancing arriving at that very clear idea I had without completely squelching the creative interpretations of the musicians I was working with. It seems to have worked out, though. As for the vocals (layers, mic choice, solos, production), I filled those elements out at the moment of recording and during the production stage after everything had been recorded.

VW: Were there any other songs written that were left off the album?

ES: Yes. There were five or six that I’m sure will resurface in time ... Given that there was so much material, I really didn’t feel the need to include everything for the sake of having a "full" album; the songs that made the final cut were the ones that I felt were most complementary and cohesive.

VW: How did you decide which songs to include on the album? Did you have an idea of what you wanted Heavy Falls the Night to be when you started, or did the finished shape emerge as the writing and recording went along?

ES: I didn’t set out with a sense of how HFTN was going to sound; I deliberately

allowed myself time (15 months) to write and record over a long period so that the songs would be different enough to create something exciting. Previously, when I had recorded live off the floor in two days, I found there was a clear thread of sound from songs to song—which is only natural when you’re churning out tune after tune in an afternoon. I didn’t want that; I wanted to challenge myself, to come up with as many different sounds as possible

that would still coexist. And so at the end of those 15 months, when I listened back, I started to hear that thread. It sounded urban, dark, hopeful and gritty all at the same time, and that’s where the title came from. It also happened to be the title of one of the songs on the album.

VW: What made you decide to produce the album yourself rather than bring in another set of ears? Is it more difficult or

easier to produce yourself?

ES: I think because I had such a clear sense of how each song was going to sound, at some point I figured I should be the one to produce it. Who could I trust to hear what I heard in my head and then be able to arrive at that final sound? So there was a shift in that I suddenly realized this was very much something I could do, that it wasn’t a role reserved to a specially chosen few, but that I too had the ability to

produce. And so once I discovered that, I went nuts with the idea of producing, and I have to say, it was perhaps the most enjoyable process of the entire album.

VW: If you were to trace the musical map that led you to Heavy Falls the Night, what would it look like?

ES: Space—lots of space. It would be like a children’s story, where the protagonist sets out on a long, journey with loads of

VUEWEEKLY // MAY 20 – MAY 26, 2010

silent stretches, until she meets one crazy, unique figure after another along the way, never knowing where the final destination is until the arrival. Think of a roadmap that would chart Harry Nilsson and Fred Wolf’s The Point!. V Thu, May 27 (7:30 pm) Elizabeth Shepherd Yardbird Suite, $14 – $18

MUSIC // 39

DIO

Farewell to the king Metal legend Ronnie James Dio lost his battle with stomach cancer on May 16, 2010. Horns around the world are at half mast.

Heaven & Hell / Mar 13, 2007 / Rexall Place

// Eden Munro

40 // MUSIC

VUEWEEKLY // MAY 20 â&#x20AC;&#x201C; MAY 26, 2010

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Wed, May 26 (8 pm) / Jaded Hipster Choir Originally discouraged when double-booked for his tape-release party, Thomas Mamos, aka Jaded Hipster Choir, will finally let his beautiful, precocious creation see the light of day. A gorgeous collection of ambient, cinematic synth pop, I Will Not Sing Your Praises Here is

one part Owen Pallett tribute, one part pill-induced bliss, but at its heart is a wonderfully disjointed, disoriented journey of pure pop sensibilities from the prolific 18-year-old.

"A lot of people say [I'm prolific], but I don't really know how to take that," he grins. "I mean, I listen to a lot of music.

I'm constantly listening to music, then I'll bang out 10 songs.

"If I have an idea, I'll record it and then that's it. I don't hold on to it—I'd rather just get it out there. I don't like possessing my work that way."

This impatience with his own work doesn't come from recklessness so much as his own youthful distraction and adoration for artists like Pallett to fellow Edmontonian Gobble Gobble. In its own right, I Will Not Sing ... is a confident blend of his sincerest passions: instrumental synth pop with techno and ambient flavours, filled out with textured, processed vocals.

"I wrote most of it when I was 16, so it's not supposed to be a mature, wellthought-out record. It's supposed to be a bunch of half-baked ideas, energetic and angsty," he notes. "I wanted people to hear all those different ideas ... before I release my next album this summer."

(New City, $10)—Mike Angus

M

"Last year there were over a thousand people in that park, whereas at most local shows you might get 35 in a bar show," he notes. "This year we're expecting over 2000."

This year's main stage boasts over 25 acts, including Locution Revolution, AOK, Mikey Maybe just to name a few, and admission is free so get there early. Visit hiphopinthepark.ca for a complete list of performers and events. (Louise McKinney Riverfront Park, Free) —Mike Angus

N

Sat, May 22 (10 am) / Hip Hop in the Park 2010 The third week of May is Hip Hop Appreciation Week, and Saturday's Hip Hop in the Park will mark the culmination of a week's worth of events and a celebration of all things hip hop, from rapping and breakdancing to graffiti writing and fashion.

Now in its third year in Edmonton, organizer Don Welsh started HHIP in response to hip-hop legend KRS-One's Gospel of Hip Hop, which serves as a guideline for hip-hop culture and a call for unity within that community—something Welsh felt was needed in the city's growing and diversifying hip-hop scene.

"I was reading [KRS-One's] Declaration of Peace, and I thought as a culture we need to create something in the city, more of a hip-hop scene or unification based around a declaration of peace," he explains. "Hip hop isn't just rapping, it's nine elements ... so that's what we're showcasing in the park."

Known for its innate competitive nature, Welsh notes that events like emcee freestyle and production battles ultimately serve to enhance respect and collaboration between artists, before adding, "And to light that fire under your butt."

Doubling as a performing member of Locution Revolution at this year's festival, Welsh also points out the perks for artists and audience members.

Tue, May 25 (8 pm) / Dark Tranquility Twenty years of the same job might grate on some but for Mikael Stanne, vocalist of Swedish metal band Dark Tranquility, being in the same band for such a long period became a stabilizing force. "Throughout all of the changes in our lives," he says, "we always come back to the band."

Having such a long-running artistic outlet in his life has also allowed the musician to explore a variety of subject matter—and on the newest album We Are the Void, Dark Tranquility found itself in some curiously uncharted territory.

"We've been called a 'death metal' band for 20 years, but this is the first time we ever fully explored the subject of mortality," Stanne laughs. "I guess I'm just old enough to examine it now." (Starlite Room, $18)—Bryan Birtles

VUEWEEKLY.COM/VUETUBE

Sun, May 23 (9 pm) Bombchan With A Bunch of Marys, Darrek Anderson & the Guaranteed Black Dog, free (donations accepted for the Joe Bird Memorial Fund)

// Eden Munro

VUEWEEKLY // MAY 20 – MAY 26, 2010

MUSIC // 41

ALBUM REVIEWS

New Sounds

The Rolling Stones Exile on Main St (outtakes disc) (Universal) 

Eden Munro // eden@vueweekly.com

T

here's not a lot of point in arguing the merits of the Rolling Stones' Exile on Main St: nearly 40 years after its debut, the double album has gained a legion of fans, its dirty, rough-andtumble rock 'n' roll standing the test of time to the point that it's finally seeing a re-release, remastered and with a bonus disc of unearthed tracks from the same period ... sort of.

The whole disc is something of a bizarre window into the Stones' world, but of the 10 tracks here "Plundered My Soul" is certainly the oddest and most out of time, fusing a 1972 recording of guitarist Keith Richards, drummer Charlie Watts, then-bassist Bill Wyman and late pianist Nicky Hopkins with 2010 additions from singer Mick Jagger and former guitarist Mick Taylor. It's strange to hear new lyrics and guitar seamlessly woven into such an old recording, but ultimately the effect is not devastating.

But while "Plundered My Soul" is a bit of a curiosity for Taylor's return to the band after so many years gone, the song illustrates the largest problem

with this set of outtakes: it's a disjointed collection that merits a listen or two for anyone interested in the making of Exile, but one which bears few reasons for anyone else to come back time and again.

"Good Time Women," a song that, slowed down and with different lyrics, would evolve into "Tumbling Dice" offers a look at the focusing of the creative process, as does the alternate take of "Loving Cup," more angular and thundering than the album's version, but "Good Time Women" feels rushed and "Loving Cup" is lacking in the rolling soul that would make the cut for the album. Elsewhere, "So Divine (An Aladdin Story)" recycles the riff for "Paint it Black" and runs it through a psychedelic swarm of instruments, ultimately not going very far off the beaten path. (There's also an alternate "Soul Survivor," with Richards taking the lead on what was likely a run through before Jagger arrived, the song fading out with Richards repeating "et cetera" over and over.)

Beyond the evolution of the Exile tracks, there's also the toss-off instrumental "Title 5," something that wouldn't be out of place in any '60s gogo-dancing soundtrack, the jammedout funky groove of "Pass the Wine (Sophia Loren)" and the bluesy pianobased "I'm Not Signifying," all of which have their high points but fail to hold together in the end.

Of the bonus tracks here, it's only the gospel sounds of "Following the River" and the sharp country picking of "Dancing in the Light" that sound truly complete, and either of these might have settled comfortably onto Exile.

But, as with the other songs, these were merely steps along the road to the finished record, and their inclusion would have resulted in a different album. As it is, the reissue of Exile is worth it for the remastered original and the chance to hear part of the map that led to it. V

LCD Soundsystem This Is Happening (DFA)  LCD Soundsystem stands out among dance bands because of its emotional range; few groups display equal ability to deal in both selfreflexive irony and genuine pathos. Main man James Murphy serves up healthy doses of both on his third full-length album, This Is Happening. On tracks like "You Wanted A Hit" and "Pow Pow," Murphy's vocals sound like he's making fun of himself and his audience, and then along comes the nostalgic melancholy of "All I Want," which borders on the downright sappy. This curious combination of tone makes the record hugely intriguing. It can also be a little unfriendly—only one track, the radio-ready "Drunk Girls," is under five minutes long, while many clock in well over seven minutes. Still, if the rumours are true and This Is Happening turns out to be LCD Soundsystem's last album, Murphy will leave music (or at least this persona) at the height of his powers.

Lewis Kelly

// lewis@vueweekly.com

Courier News Fixtures (Head in the Sand) 

I wonder if the pioneers of electronic instruments foresaw just how quiet and intimate they could make music. Not having to plug into an amp or pound a drum can make things so much smaller and private, qualities on ample display in Courier News's debut EP. Recorded at home, it displays the songwriting pedigree of members Alexa Dirks and Matt Schellenberg thanks to the careful placement and expansive but soft melodies that electronics can afford. For a brief taste, this is a little lacking in hooks, but the duo is quite adept at setting a mood, and Fixtures often feels like a rainy day stuck indoors with a trusted partner.

David Berry

// david@vueweekly.com

Meat Loaf Hang Cool Teddy Bear (Roadrunner) 

Boom! That's the sound of Meat Loaf's latest, which was pretty much the sound of his greatest, too. There's a lot of bombast and melody, plus TV's Dr House on piano, American Idol's Kara DioGuardi on vocals and Steve Vai and Brian May on guitars, which is ridiculous, but also pretty fun.

Eden Munro

// eden@vueweekly.com

42 // MUSIC

VUEWEEKLY // MAY 20 – MAY 26, 2010

Bronze Leaf Bread Crumbs (Champion City)  You might call the folk-tinged pop of Bronze Leaf atmospheric, but it hardly seems evocative of something so wide open; rather, the space created here seems more like the empty air between two people in a room, people with a certain intimacy who are still at a loss with what to do with another. Partly that comes from Amy Macdonald's voice, as substantial and affective as lingering perfume, partly from the full but unordained playing of bandmates Eric Cheng and Matthew Israelson, partly from Macdonald's knack with lyrical detail (she sings of "windbreaker skin" and people looking like a "sunlit dog"). However the combination comes together, though, the result is always something gorgeously melancholic and somewhat ephemeral, like a lover's last words hanging in the air.

David Berry

// david@vueweekly.com

The Pack AD We Kill Computers (Mint) 

If I had not witnessed the pummeling of Maya Miller's drums and Becky Black's throbbing, heavy guitar myself, I would not have believed it possible for only two people to make such forceful, harmonized noise. But that's exactly what Black and Miller have accomplished with each of the three albums they've put out in the last three years— solid, synchronized, tightly-packed rock and with an almost constant touring schedule, it seems to be what the crowd wants.

With the latest release the duo has managed to get even heavier, integrating a lot more rock and reverb than on earlier albums. Almost completely gone is the near-slide guitar, morecountry-than-blues feel of some of the tracks from the Funeral Mixtape and Tintype albums. But it's all for the better. The non-stop, compact drums do not let up and put to shame some of their compatriot duos bands, especially when it comes to Miller and Black's live shows, which turn into sweaty mosh pits.

If there's one disappointment to the album it's the obscuring of those "do not mess with me" lyrics by the heavier reverb. With the great lyrical proclaimations there was pure joy found in singing along to lyrics like "Don't have to like you if you can't take a joke / Don't have to like if your dog is dead." But the Pack AD maintains the attitude and makes it fun to indulge in the duo's general mistrust in humanity, and to growl along.

Samantha Power

// samantha@vueweekly.com

ALBUM REVIEWS Prince & the Revolution Parade (Warner Bros)

heyday, and does boast what's probably his best-ever song.

That would be "Kiss," which, Originally released: 1986 if Prince had any filmmaking sense whatsoever, would have Unless you're of a particular been the song he chose to acm age and temperment, Purple tually sing in Cherry Moon (he ekly.co e w e u v david@ Rain is likely the only Prince instead picked "Girls & Boys," d i v Da y film/album duo you're aware but more on that one later).

Berr of. And that's for a good reason: So much of what makes Prince not only is Purple Rain by far the good—or at least appealing—is best of the films, distilled into this it's basically the song, from the only one that's falsetto and janany good, thanks gle-picked guitar in large part to of the chorus to it bowing to the the unabashed incredible alhypersexuality of bum that was its the lyrics: Prince soundtrack. is literally saying Parade was the here that he does soundtrack to not care about Prince's follow-up you whatsoever, Under the Cherry just as long as Moon, a film that he gets to fuck disappointed you. Not exactly critics largely besound advice, but cause it wasn't a you have to at PRINCE ON PARADE >> A curious diversion proper sequel to least admire the Purple Rain, but which is plenty ridiculous democratic impulse in his pants. "Kiss" is even if your expectations aren't that high. followed up immediately with the PrinceIt follows Prince's exploits as Christopher ly-titled "Anotherloverholenyohead," in Tracy, a gigolo who woos various Eurowhich his main argument against having pean women to swipe their money but another lover is that nobody is as good at who meets his match in the form of Krissex as he is, and the coos and full-on soul tin Scott Thomas, in her first big role. It's voice and pumping piano kind of make a not without some campy and odd charm, legitimate case for him. "Girls & Boys" is a this being Prince and all, and it didn't vampy number that seems a little out of completely kill his filmmaking career, but place outside the film, but it's got enough suffice to say it's exhibit A as to why he of a ridiculous Gallic air to hold up on was never called "The Director Formerly its own. These moments are the best of Known as Prince." the album for sure, because Prince sticks Fortunately, Parade isn't nearly as ridicumost closely to the synth-funk stuff that lous as Under the Cherry Moon—or, at he's best at, but the album is not without least, is ridiculous in that '80s funk/soul its other unique pleasures.

Prince way that somehow transformed an "Under the Cherry Moon" isn't a half-bad effeminate, elfin African-American from soul-cabaret tune, bumping along underMinnesota into the very embodiment of neath Prince's melodramatic singing, while sex. Showing some obvious European-type "Sometimes it Snows in April" is every bit influences that can probably be attributed the over-the-top ballad it sounds, but is to Cherry Moon's setting, it might not as performed with enough commitment and a whole be Prince's strongest album, but aplomb that it is at least curious—which, it acquits itself nicely among his mid-'80s again, puts it above the film a fair bit. V

OULNDDS

SO

QUICK

HAIKU Danny Gokey My Best Days (Sony)

SPINS

quic

Idol contestant That really says it all, but "Crap" says it quicker

om

eekly.c

vuew kspins@

Whiteoyn Houst

Turin Brakes Outbursts (Cooking Vinyl)

Emotive, catchy Not too shabby for these two Weeping vaginas

Stereo Total Baby Ouh! (Dare To Care)

The Stance I Left Love Behind A Long Time Ago (Just Friends)

World's funnest duo Prove they are cooler than you In four langauges

Straight up Canuck rock Like if Slade and/or T Rex Were total hosers

Damien Jurado Saint Bartlett (Secretly Canadian)

Shannon Butcher Little Hearts (Summer Bloom)

He's the poor man's Smog And Smog is the cool guy's Eels Awesome by proxy

Run To You jazz style That might turn your stomach but It's quite amazing

VUEWEEKLY // MAY 20 – MAY 26, 2010

MUSIC // 43

COMMENT >> HOOKED ON THE CLASSICS

Under covers

Rock bands should tackle the classics more often This past week, I was able to pick up a is feedback, guitar screeches and hisses vinyl copy of Dark Side of the Moon. that act as a soundbed under the vocal No, not the original Pink Floyd clasof "Brain Damage." It isn't so much an sic. This was the vinyl release of album of covers as it is a total reinthe cover version of the album, terpretation of the work. with the Flaming Lips joined I hope we see more of this in by a slew of collaborators, the future., not just from the including Henry Rollins and Flaming Lips. m ekly.co Canada's own Peaches. It While it is rare for a band to vuewe @ n e v ste was released digitally late do another rock album, even a n e Stev or concept album like Dark Side last year, but there are now d n a S CD and limited-edition vinyl of the Moon, as an entire cover formats available. piece, we are not even phased if a The entire Pink Floyd classic is covjazz ensemble does all of John Coltrane's

ENTER

SAND

OR

When it comes to music that ain't rock 'n' roll, covering an entire long-form piece is standard. ered, song by song. And it is by no means literal. The voices that spoke in the background throughout the original have been replaced by Rollins—who delivers an entirely different set of expletive-laden lines. More direct. More punk, I guess.

White noise makes appearances instead of the Gospel-influenced vocals of "The Great Gig in the Sky." A series of coughs, whispers and shushes replace the ticking that kicks off "Time." There

"A Love Supreme," or if a symphony does Mozart's "Jupiter." When it comes to music that ain't rock 'n' roll, covering an entire long-form piece is standard.

you really want to give them? I suspect there will be a difference.

explore the fermenting mysteries? What renegade impulse would move you to turn away from the predictable pleasures and easy solutions, and instead go off in quest of more complex joys and wilder answers?

Here's what I have to say about that: I think you long to be free of transitory wishes and fleeting dreams for a while so that you can get back into alignment with your deeper purposes. You need to take a break from the simple obsessions of your grayish, pokerfaced ego, and re-attune yourself to the call of your freaky, evergreen soul.

But, when it comes to rock, doing covers has always come in the form of doing a song here, a song there. But, when you compare it to the traditions of classical and jazz, it's really not that strange for the Flaming Lips to gather some friends to entire one album—especially one

that's generally seen as a single work of art rather than a collection of tunes.

Really, how exciting would it be to see a modern band tackle a full, classic album? A modern New York act looking back at one of the greatest down-anddirty New York records of all time, The Velvet Underground & Nico? Or a band looking back to the fantastic mix of punk, rockabilly and punk that was the Clash's London Calling?

Or maybe Styx's futuristic concept album, Kilroy Was Here? OK, that one, not so much. I just put that line in there so you'd have "Domo Arigato, Mr Roboto" going through your head for the rest of the day. I'm a bastard.

Yes, money will be a barrier to more albums like this being released in the future. When you cover a song, a bulk of the royalties goes to the songwriter. So, the Flaming Lips certainly weren't doing this for the money. And, if more cover albums are to come, well bands are going to have to understand it's for the fun, the art of it, that will make the projects come together. Unlike symphonies that cover classical works, rock musicians don't get scale. V Steven Sandor is a former editor-in-chief of Vue Weekly, now an editor and author living in Toronto.

HOROSCOPE ARIES (Mar 21 – Apr 19)

have such lovely legs." This approach could All of us have gaps in our education. We all be useful for you in the coming weeks, Gemlack certain skills that hold us back from be- ini. As you create a fresh approach or novel ing more fulfilled in our chosen fields. That's departure in your own life, you might want the bad news, Aries. The good news is that to show the patience McCartney did. Be the gaps in your education will be up for willing to keep moving ahead even though review in the coming weeks—which you don't have the full revelation means that it'll be an excellent quite yet. time to make plans to fill them.

Here's a good way to get startLOGY CANCER (Jun 21 – Jul 22) ed: be aggressive in identifying A S T R O kly.com I suspect you're going to feel a wee l@vue the things that you don't even bit constrained in the coming freewil know you don't know. weeks, Cancerian—maybe even Rob y imprisoned. I suggest you make Brezsn TAURUS (Apr 20 – May 20) the best of it. Rather than feeling You don't have to answer to anybody sorry for yourself and spiraling down into this week, Taurus. You don't have to defend a dark night of the soul, try this: Imagine yourself, explain yourself, or compromise that you're a resourceful hermit who's temyourself. I mean, you can do those things if porarily under house arrest in an elegant you want to be super extra nice, but there chalet with all the amenities. Regard this won't be any hell to pay if you don't. It's one "incarceration" as a chance to start work on of those rare times when you have more a masterpiece, or upgrade your meditation power than usual to shape the world in ac- practice, or read a book you've needed an cordance with your vision of what the world excuse to lose yourself in. Believe it or not, should be. I'll go so far as to say that the your "deprivation" could be one of the best world needs you to be very assertive in im- things that has happened to you in a while. posing your will on the flow of events. Just one caveat: mix a generous dose of compas- LEO (Jul 23 – Aug 22) sion in with your authoritative actions.

I won't be surprised if people begin to compete for your attention. At the very least, GEMINI (May 21 – Jun 20) you can expect a flurry of requests for your When Paul McCartney first got the inspira- time and energy. What's this all about? Well, tion to write the song "Yesterday," he had the your worth seems to be rising. Either your melody and rhythm but couldn't get a feel usefulness is flat-out increasing or else those for what the lyrics should be. For a while, who've underestimated you in the past are as he was waiting for the missing words to finally tuning in to what they've been misspop into his brain, he used nonsense standing. So here's my question and concern: Will in phrases. The dummy version of the first you get so seduced by what everyone asks line was "Scrambled eggs, oh my dear, you you to give them that you lose sight of what

FREEW

44 // BACK

ILL

VIRGO (Aug 23 – Sep 22)

I'm not saying that you should create a superhero identity for yourself and embark on a campaign to combat injustice. But if you've ever wondered whether the life of a costumed crusader is right for you, it's an excellent time to experiment. Your courage will be expanding in the coming weeks. Your craving for adventure will be strong, too.

Even more importantly, your hunger to do good deeds that reach beyond your own self-interest will be growing. Interested?

Check out the Superhero Supply website to get yourself operational. It's at superherosupplies.com.

LIBRA (Sep 23 – Oct 22)

All 26 of Edgar Rice Burroughs' stories about Tarzan are set in Africa, but he never once visited that continent. And Bram Stoker didn't feel the need to travel to the Transylvanian region of Romania in order to write about it in his novel Dracula. But I don't recommend this approach to you in the coming weeks, Libra. If you want to cultivate something new in your life by drawing on an exotic influence, I think you should immerse yourself in that exotic influence, at least for a while. If you want to tap into the inspiration available through an unfamiliar source, you need to actually be in the presence of that unfamiliar source.

SCORPIO (Oct 23 – Nov 21)

Why would you choose this bright, sunny moment to descend into the dark places and

SAGITTARIUS (Nov 22 – Dec 21)

Sufi holy man Ibn 'Ata Allah was speaking about prayer when he said the following: "If you make intense supplication and the timing of the answer is delayed, do not despair of it. His reply to you is guaranteed; but in the way He chooses, not the way you choose, and at the moment He desires, not the moment you desire." While I don't claim to be able to perfectly decipher the will of the divine, my astrological research suggests that you will soon get a definitive answer to a question you've been asking for a long time. It may come softly and quietly, though, and from a direction you don't expect, and with a nuance or two that'll test your reflexes.

CAPRICORN (Dec 22 – Jan 19)

"Is fast food too tempting?" read a headline in The Week magazine. The accompanying article discussed whether people have the right to blame and even sue McDonald's and Burger King for their health problems.

In my opinion, we might as well add other

VUEWEEKLY // MAY 20 – MAY 26, 2010

allegedly appealing poisons to the discussion. "Is heroin too tempting?" "Is cheating on your lover or spouse too tempting?" The coming weeks will be a good time to take personal responsibility for any supposedly fun activity you're doing that warps your character or saps your energy. It's prime time to end your relationship with stuff that's bad for you.

AQUARIUS (Jan 20 – Feb 18)

"The mind loves order, the heart loves chaos, and the gut loves action," says my astrological colleague Antero Alli. The ideal situation is to honor each of these needs, keeping them in a dynamic balance. But now and then, it's healthy to emphasize one over the other two. According to my astrological analysis, you're entering one of those times when the heart's longing for chaos should get top priority. But if you do choose to go this way, please promise me one thing: Do your best to tilt toward the fascinating, rejuvenating kind of chaos and tilt away from the disorienting, demoralizing kind.

PISCES (Feb 19 – Mar 20)

When people are truly dehydrated, the impulse that tells them they're thirsty shuts down. That's why they may not know they're suffering from a lack of water. In a metaphorically similar way, Pisces, you have been deprived so long of a certain kind of emotional sustenance that you don't realize what you're missing. See if you can find out what it is, and then make measured (nondesperate) plans to get a big, strong influx of it. The cosmic rhythms will be on your side in this effort! V

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9dZ]jlY 9naYlagf Emk]me$ )),)( Caf_koYq 9n] eYc]al]\egflgf&[ge >]Ylmjaf_ ^Yk`agf$ Y[[]k% kgja]k$ Yjl$ b]o]dd]jq$ Yf\ \][gj Zq YjlakYfk Yf\ \]ka_f% ]jk3 emka[ Zq <B <Yf May 29, 11am-7pm; May 30, 11am-6pm - \ggj!3 ^j]] ^gj ca\k mf\]j )*

NDP�EDMONTON�LEDUC Kgml`eafkl]j%

Kl]af`Ym]j Mfal]\ ;`mj[` /0(&,*)&,0*) 9ffmYd _]f]jYd e]]laf_ oal` kh]Yc]jk Bae ?mjf]ll$ 9jl]e E]\n]\]n Wed, May 26, 7-9pm

ORGANIZATION FOR BIPOLAR AFFECTIVE DISORDER (OBAD) K[`argh`j]faY Kg[a]lq g^

BOOTS BAR AND LOUNGE )(*,*%)(. Kl

BUDDYS NITE CLUB ))/*-: BYkh]j 9n] /0(&,00&//+. <B <mkl f Lae]3 Egf 1he <B 9jjgo ;`Yk]j3 Lm] 1he <B <mkl f Lae]3 O]\ 1he$ fg [gn]j Z]^gj] )(he <B 9jjgo ;`Yk]j3 >ja 0he$ fg [gn]j Z]^gj] )(he <B =Yjl` K`an]j f ImYc]3 KYl 0he$ fg [gn]j Z]^gj] )(he <B :gZZq :]Ylr3 Kmf 1he <jY_ Im]]f H]j^gjeYf[] K`go$ Kmf$ fg [gn]j Z]^gj] )(he GLBT SPORTS AND RECREATION l]Ye]\%

egflgf&[Y Badminton, Co-ed: Kl& L`geYk Eggj] K[`ggd$ 1.)(%).- Kl$ [g]\ZY\eaflgf8l]Ye]\egf% lgf&[Y Badminton, Women's Drop-In Recreational: Gdan]j K[`ggd ?qe$ )(**/%))0 Kl3 ZY\eaflgf8 l]Ye]\egflgf&[Y Co-ed Bellydancing: Z]ddq\Yf[% af_8l]Ye]\egflgf&[Y Bootcamp: Dqffogg\ =d]e]flYjq K[`ggd Yl )-,-)%0, 9n]3 Egf$ /%0he3 Zggl[Yeh8l]Ye]\egflgf&[Y Bowling: ?Yl]oYq DYf]k$ )(($ +,), ?Yl]oYq :dn\3 KYl$ -%/he3 Zgod% af_8l]Ye]\egflgf&[Y Curling: ?jYfal] ;mjdaf_ ;dmZ3 /0(&,.+&-1,* Running: =n]jq Kmf egjfaf_3 jmffaf_8l]Ye]\egflgf&[Y Spinning: EY[=oYf ;]flj]$ )(1 Klj]]l Yf\ )(, 9n]3 khaf8l]Ye]\% egflgf&[Y Swimming: F9AL hggd$ ))/.*%)(. Kl3

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May 23, 7pm *( Yl af^g8]\egflgfYdh`Y&gj_

J\$ K`]jogg\ HYjc /0(&,)/&1/// C]naf KlgZg3 May 20-22 :jY\ Emak]3 May 27-29

LETTING GO AND INVITING IN: MAKING PEACE WITH THE SELF KlYj g^ l`] Fgjl` J]lj]Yl

ST PAUL'S UNITED CHURCH ))-*.%/. 9n]

SPECIAL EVENTS

LAUGH SHOP�Sherwood Park , :dY[c^ggl

QUEER

ROBERTSON�WESLEY UNITED CHURCH )(*(1%)*+ Kl /0(&,0*&)-0/ Kgmd GMLaf_2 Yf D?:L% ^g[mk]\ Ydl]jfYlan] ogjk`ah D?:L egfl`dq Zggc [dmZ Yf\ Çde fa_`l& =2 bjYn]fk[jg^l8jom[&gj_

YOUTH UNDERSTANDING YOUTH qmq]\e& [Y E]]lk ]n]jq KYl$ /%1he =2 af^g8qmq]\e&[Y$ L2 /0(&*,0&)1/)

HYDEAWAY�Jekyll and Hyde )(*(1%)((

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>]Ylmjaf_ emka[ Yf\ ^gdc lYd]k$ Y ^mf\jYak]j lg `]dh 9^% ja[Yf _jYf\egl`]jk jYak] @AN'9A<K gjh`Yf]\ _jYf\% [`ad\j]f May 28-29, 7:30pm )( Y\mdl!' 0 [`ad\ )* Yf\ mf\]j!' +( ^Yeadq g^ ^gmj! Yl /0(&,++&.+,,

PRISM BAR )(-*,%)() Kl /0(&11(&((+0 O]\2 >j]]

COMEDY

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)(1,+%0, 9n] D]Yjf YZgml d]kk%lgpa[ [d]Yfaf_ gh% lagfk Wed, May 26, 7-9pm *-

FOOD ADDICTS Kl Dmc] k 9f_da[Yf ;`mj[`$

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PRIDE CENTRE OF EDMONTON 1-,(%))) 9n]

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WHEN ART BECOMES HISTORY Hjgnaf[aYd

MAMMOTH GARAGE SALE FOR CHARITY

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CARP EDMONTON CHAPTER (Canadian As-

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daZjYjq!2 @Yf\k%gf ^Yeadq Y[lanala]k3 Sat, May 22, 123pm Stanley Milner Library, Edmonton Room ZYk]% e]fl!2 HdYflaf_ \]egfkljYlagf oal` l`] =\egflgf FYlmjYdarYlagf ?jgmh3 K[j]]faf_ g^ Lost Worlds: Life in the Balance ^gddgo]\ Zq Y Ogjd\ ;Y^]%klqd] [gfn]jkYlagf Building Community through Biodiversity Protection3 Sat, May 22, 3-6 p.m Parkdale/Cromdale Community League Hall$ ))++-%0- Kl2 D]Yjf YZgml =\egflgf¿k [gqgl]k ^jge M g^ 9 j]k]Yj[`]jk Yf\ Y _ma\]\ oYdc l`jgm_` CaffYaj\ JYnaf]3 Sat, May 29, 1:30-3:30pm

MAKING WAVES SWIMMING CLUB _]g[ala]k&

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CANADIAN MENTAL HEALTH ASSOCIATION

Kmal] 0(($ )((,-%))) Kl /0(&,),&.+)) >Yeadq kmhhgjl \jgh%af _jgmh ^gj l`gk] o`g Yj] kmhhgjlaf_ Yf Y\mdl ^Yeadq e]eZ]j danaf_ oal` Y e]flYd addf]kk =n]jq O]\$ .2+(%02+(he

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9dZ]jlY Kmhhgjl _jgmh e]]lk Je (.-)$ ?j]q Fmfk @gkhalYd2 =n]jq L`m3 /%1he3 EYpaf] /0(&,-)&)/--

EDMONTON CHINESE MUSIC FESTIVAL ][h%[YfY\Y&[ge Hj]k]fl]\ Zq =\egflgf ;`af]k] H`ad`Yjegfa[Y May 21-26 Winspear Centre2 :gff] Emkaim] ;gf[]jl3 Sun, May 23, 7pm3 *( May 23! Yl LAP gf l`] KimYj] $ OY` Kmf ;`af]k] @]jZk Yf\ ?afk]f_ ;]fl]j O=E!$ <Yadq :ggc Yf\ ?a^lk$ ;alar]f LjYn]d WEM H`Yk] Gf] KlY_]2 :gff] Emkaim] eYlaf]]3 Egf$ May 24 EDMONTON DRAGON BOAT FESTIVAL ]\% egflgf\jY_gfZgYl^]klanYd&[ge K]Ykgf Gh]f]j :YjZ][m] May 30

FUNDRAISING BANQUET AND DANCE

<qfYklq ;]flmjq HYdY[] J]klYmjYfl$ *f\ >d$ 1/((%)(- 9n] /0(&1(0&)/00'/0(&,-.&(,++ Af Kmhhgjl g^ l`] Klgdd]jq ;`ad\j]f¿k @gkhalYd >gmf\Ylagf$ hj]k]fl]\ Zq @]Yjl^]dl ;gehYkkagf ?jgmh May 22

HIGHLANDS STREET FESTIVAL ))* 9n] Z]lo ., Kl Yf\ .. Kl /0(&,0*&.,.( >]Ylmjaf_ YjlakYfk$ [jY^l% ]jk$ b]o]dd]jk$ Yf\ jmeeY_] kYd] May 29, 10am-5pm INTERNATIONAL BIODIVERSITY DAY CELEBRA�

TION /0(&,1.&.),/ ]\egflgf&[Y'fYlmjYdYj]Yk Stanley Milner Library, Molson Square Z]`af\ l`]

VUEWEEKLY // MAY 20 – MAY 26, 2010

BACK // 45

COMMENT >> LGBT

We're all in this together

an interest in investigating and challenging dominant ideas of gender for the further liberation of all.

For his talk delivered last week in Edmonton they see even one white person they will entitled "Whose Streets?" writer, activist and be inclined to think that that area is the executive director of Queers for Economic new, up-and-coming neighbourhood. The Justice (New York), Kenyon Farrow wheels of gentrification begin as the weaved together urban renewal, realtor helps first hipsters, gays race, class, gender, sexual orientaand artists to move in and soon tion, global markets, hate crime actively recruits more affluent legislation, labour, media, HIV/ demographics to buy property.

AIDS and a warning to be leery This out prices people who may kly.com uewee v @ d te of World Fairs (Expos) into a have lived there for generations d Te relatable way of understanding and have a whole network of Kerr the world and along with it illussurvival set up that is slowly and trated questions on how the status systematically dismantled in the name quo allows for the violences of injustice to of development. Farrow is not suggesting continue. And it made sense. white people are bad, rather he points out Farrow points to the way we understand the ways in which our bodies and realities urban development and a failure to see are interconnected and responsible for each impacts of race and sexual orientation on other in ways we fail to fully realize. where we live. He provided the example As we organize and assist each other in the of realtors driving through a largely lower face of these interconnections, what does it income and racialized neighborhood. If mean to be an ally? If our issues are interde-

pendent then the notion that you elect to be involved becomes impossible to be true.

I recall at a meeting having a conversation with a gay man who said he would never get too deep into trans issues because it does not personally affect him. At first blush this might sound like a noble thing to say, almost anti-colonial, but once it sits for a while, you begin to see how, as a gay man, trans has a lot to do with him. By being a gay man he, like a trans person, is likely to evoke gender controversy in the world around him. While he may be masculine and wear gender conforming clothes, by virtue of wanting to get with another man he is challenging gender.

Gender then is not only the concern for trans people in Alberta or poor women in Africa, it is something we all live with and should not attempt to make it a private issue for those who have to deal with it in an often hurtful way everyday. We all have

For the Farrow talk I wanted to make the event accessible to all. With a slowly evolving understanding of issues around ablism and disability, thanks to some patient people, I thought maybe I could get it right and as one of the organizers select an accessible location to ensure people often systemically excluded could be part of the event. But I didn't get it right. I found a space that had the ideas of accessibility but not the lived reality—a difference between someone being able to seamlessly and fully participate and someone having to be conscious of their movements, needs and the comfort of others. I settled on a place only fulfilling bare requirements because I did not embody the idea of ablism and disability. I saw myself as an ally rather than a person impacted.

Adding to the problem is the current neoliberal equation where regimes remove re-

ARTIST TO ARTIST

Singer/songwriter/front man/guitarist with pro level gear and experience looking for serious players or project.

Leave a message at 780.418.6352

EERN Q UN TO MO

CLASSIFIEDS

Timeraiser call to artists: online submission at: calltocommuity.ca; call closes Mon, May 31

FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3 PM

Call for Submissions: 2010/2011 Artist in Residence (AIR) Harcourt House Arts Centre. Submission details at harcourthouse.ab.ca; submit by May 31

BUSINESS OPPORTUNITIES

Enjoy painting or drawing outdoors? Join outings with likeminded artists. Free. No instruction. Contact terryelrod762@gmail.com.

EDUCATIONAL

Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: elaine.elrod@telus.net

FILM AND TV ACTING Learn from pro's how to act in Film and TV Full-time training.

1.866.231.8232 www.vadastudios.com

ASA Gallery at Walterdale Playhouse seeks proposals for art exhibitions.

Info at www.artists-society.ab.ca Deadline May 31

HELP WANTED Change your life! Travel, Teach English: We train you to teach. 1000’s of jobs around the world. Next in-class or ONLINE by correspondence. Jobs guaranteed. 7712104 St. Call for info pack 1.888.270.2941 The Cutting Room is looking for Assistants and Stylists Please drop off your resume at 10536-124 Street

The Allied Arts Council of Spruce Grove welcomes all Alberta Artists to submit a proposal as a Feature Artist for a solo or group show to be held at the Spruce Grove Art Gallery. Deadline: Jun 30; info: 780.962.0664; alliedartscouncil.com

MUSICAL INSTRUCTION

Seeking visual artists and artisans to display work in Kaleido Festival's Art Market and Gallery, Sep 10-12; E: kaleidoprogram@gmail.com, artsontheave.org

MODAL MUSIC INC. 780.221.3116 Quality music instruction since 1981.

Guitarist. Educator.

Graduate of GMCC music program

Musicalmania! is looking for strong, preferably older, tenor for production at end of May. Paid position. 780.460.2937

ARTIST TO ARTIST

Seeking musicians, buskers, dance groups, installation artists to help shape an avant-garde extravaganza during Kaleido Festival, Sept 10-12 E: kaleidoprogram@gmail.com/artsontheave.org

ʸ ʸ ʸ ʸ ʸ ʸ ʸ ʸ ARTIST/NON PROFIT CLASSIFIEDS

SUPPORT YOUR LOCAL FOOD BANK

46 // BACK

Northern Light Theatre: general auditions for 20102011 Season on Fri, May 21, 9am-5pm, Studio B, TransAlta Arts Barns. Send a headshot, resume, cover letter to nlt.publicity@telusplanet.net. Auditions are by invitation after you have sent your submission

Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing. Free ads must be submitted in writing, in person or by fax.

Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m listings@vueweekly.com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space

MUSICIANS Singer/songwriter/guitarist seeks keyboard/synth/mixer to form edgy, youthful electro-folk project. Dedicated, professional, creative. 780.729.0660 Andy the Traxxman 25 yrs exp looking to join band or duo.

Would like to play gigs on south side of city. Guitar, bass, vocals, all styles. Goal to have fun and make some money, 780.980.9515

VUEWEEKLY // MAY 20 – MAY 26, 2010

Professional metal band is seeking a dedicated bass player. Please, no cokeheads, etc. Contact Rob at 780.952.4927 Upright bassist with 20 years playing experience available for session work, festivals and concerts.

Call Steve at 780.718.2269

HELP SUPPORT THE YOUTH EMERGENCY SHELTER SOCIETY Programs for youth; 780.468.7070; yess.org

sponsibility from the state and push ideas of individual responsibility and capitalism as the answer onto citizens, subsequently issues become ghettoized. Lap dogs and victims of neo-liberalism hear the call and work to create institutes and organizations that serve niche groups ensuring a privileged, private few move ahead, leaving those who can't or won't garner institutional support to fight for scraps provided by the state.

If Farrow's talk and my own mistakes taught me anything last weekend it was that the answer to the question "Whose Streets?" is obvious: our streets. The damage of privatization, of focusing only on one group and seeing "accommodation" as a checklist is it leads us to believe that other people's troubles are not our own, that through resiliency, everyone should be able to overcome. It removes from the equation the very real systemic barriers that exist institutionally, interpersonally and beyond. There are no allies when you are all in it together. V

COMMENT >> ALT SEX

Practise, practise, practise Dear Andrea: Dear Di: After a long time doing everything but You already have a map. You are not "the real thing" my girlfriend and I lost. You know perfectly well how finally had sex. So far we've done to get there. it three times and I still haven't It is sad but also true that had an orgasm. I was afraid I'd many people think of masturm ekly.co put it in and come right then bation and marriage (or any vuewe altsex@ like people say and be embarrelationship but that was the a e r d An son one that alliterated) as somehow rassed but nope, I just keep going Nemer until she finally gets sore and and antithetical. Many people think all asks me to stop, and then she'll give kinds of silly things. Not only can they me a hand job or a blow job, just like be- comfortably coexist, but masturbation can, fore. That always works. And I come when of course, function as a useful adjunct to I masturbate. So I can come, just not like partnered sex, a pressure-release valve, and that. Help! Should I stop masturbating? a laboratory for experimentation. Also? fun.

Try some other position or something? My Not only need you not give it up, you may girlfriend is getting frustrated and so am I. need it for yet another purpose, "teaching How do I get there? tool." Let's hope your girlfriend is a quick Love, study, but even if she turns out not to be, Need Directions you can always take affairs into your own

ALT.

SEX

VOLUNTEER Edmonton International Fringe Theatre Festival is looking for volunteers for the 2010 Fringe, Aug 12-22; Info: fringetheatre.ca/volunteer The Candora Society of Edmonton–Board Recruiting; candorasociety.com; promots positive growth in the lives of women, children/families in Rundle/Abbotsfield communities. Info: Elaine Dunnigan E: edunnigan@shaw.ca Mediation & Restorative Justice Centre Edmonton: Vol Facilitator Recruitment 2010; mrjc.ca/mediation/ volunteering/complete a volunteer application form; 780.423.0896 ext. 201 International Children's Festival: call vol info line 780.459.1522; childfest.com to register online. Must be at least 12 yrs. Register by Fri, May 21 Volunteer website for youth 14-24 years old. youthvolunteer.ca Volunteer with Edmonton Mennonite Centre for Newcomers, help immigrant Children and youth of all ages–volunteer in a homework club. Contact Phillip Deng at 780.423.9516 or pdeng@emcn.ab.ca Edmonton Immigrant Services Association: looking for volunteers to help with Youth Tutoring & Mentorship, New Neighbours, Language Bank, and Host/Mentorship programs. Contact Alexandru Caldararu 780.474.8445; www.eisa-edmonton.org for more details Volunteer for the International Children’s Festival, Jun 1-5. Info Line: 780.459.1522, childfest.com. Registration deadline: May 21, 2010 People between 18-55, suffering from depression or who have never suffered from depression are needed as research volunteers, should not be taking medication, smoking, or undergoing psychotherapy and not have a history of cardiovascular disease. Monetary compensation provided for participation. 780.407.3906 Volunteers needed: Instructors –Tap Dancing, Line Dancing and Calligraphy. Wed: kitchen helper, Fri: dining room servers; Wed evening dinners: dishwashers, kitchen prep and servers. Mary 780.433.5807 Volunteer at ElderCare Edmonton: help out with day programs with things like crafts, card games and socializing.

Call Renée for info at 780.434.4747 Ext 4 HEALTHY VOLUNTEERS required for studies at UofA. Call 780.407.3906; E: UofADep@gmail.com.

Reimbursement provided U of A is seeking major depression sufferers interested in participating in a research study. Call 780.407.3906; E: UofADep@gmail.com

Canadian Mental Health Association/Board Recruiting 2009 Learn about our community work: cmhaedmonton.ab.ca S.C.A.R.S.: Second Chance Animal Rescue Society.

Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled. scarscare.org CNIB's Friendly Visitor Program needs volunteers to help and be a sighted guide with a friendly voice.

If you can help someone with vision loss visit cnib. ca or call 780. 453.8304 Bicycle Mechanic Volunteers for Bissell Centre community homeless or near homeless members on Mon, Wed, Fri, 9am-12pm. Contact Linda 780.423.2285 ext 134 The Learning Centre Literacy Association: seeking an artist or arts & crafts person who would be willing to commit 2 hrs weekly to the instruction of their passion to adult literacy learners in the inner city. Denis Lapierre 780.429.0675, dl.learningcentre@shaw.ca Dr.’s Appointment Buddy–Accompany new refugee immigrants to their medical appointments to give support and assist with paperwork. Thu, 10:30am2:30pm. Transportation not required. Leslie 780.432.1137, ext 357 P.A.L.S. Project Adult Literacy Society needs volunteers to work with adult students in the ESL English as a Second Language Program. Call 780.424.5514; training and materials are provided BISSELL CENTRE Community in need of basic daily items, please bring: coffee, sugar, powdered creamer, diapers, baby formula to Bissell Centre East, 10527-96 St, Mon-Fri, 8:30am-4:30pm Volunteer with the Aboriginal Health Group. Plan events (like Aboriginal Health Week, Speaker Series). Promote healthy habits to high school students. Set up events. E: abhealthgroup@gmail. com; aboriginalhealthgroup.org Canadian Mental Health Association, cmha-edmonton.ab.ca Education Program offer workshops to give skills to intervene with people who may be at risk for suicide. Follow the links to ASIST or call 780.414.6300 Jewish Family Services Edmonton/TASIS (Transforming Acculturative Stress Into Success): A free program aimed at minimizing culture shock and displacement for trained professional immigrant women. T: Svetlana 780.454.1194

The Support Network: Volunteer today to be a Distress Line Listener. Apply on line thesupportnetwork.com or call 780.732.6648

Do you remember someone who believed in you when you were a child? Be that person in a child's life today. All it takes is one hour a week, which may not be much to you but will make all the difference in the life of a child. Be a Big Brother or Big Sister!

Be a Mentor! Call Big Brother Big Sister today.

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The Nina Haggerty Centre for the Arts: looking for artists to provide mentorship to our artists with developmental disabilities. Share your talents and passion while gaining work experience. Info: Anna at volunteer@ninahaggertyart.ca

Volunteer with your Pet, The Chimo Animal Assisted Therapy Project uses animals in therapy sessions with trained therapists to help the clients achieve specific goals. Info: chimoproject.ca.

E: volunteer@chimoproject.ca, T: 780.452.2452

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CANADIAN LIVER FOUNDATION is looking for enthusiastic volunteers for presentations and special events. Carmen 780.444.1547

Basically Babies seeking household items to be sold at Mammoth Charity Garage Sale, Sherwood Park at Tailor Made Insurance parking lot on May 29-30.

To donate items E: office@basicallybabies.org/T: 780.660.7494

Guerrilla Gardening need volunteers. E: theurbangreening@gmail.com, T: 780.432.6181 for info. or: edmontongg.blogspot.com

hands. So yay for masturbation but not, perhaps, just before she gets there.

Actually, it is largely men who are taught to believe that jacking off is for the single and unloved. Women are forever being breezily advised to provide their own clitoral stimulation during activities which fail to provide any for them, which is fine sex advice as far as it goes but ignores two glaringly obvious realities: many if not most women are going to feel just a little self-conscious rubbing away up there while their partners soldier on, and you do not need to own a clitoris to learn how to stimulate one. So, lots of talk about women who don't reach orgasm through intercourse alone, and about taking responsibility for one's own pleasure as a feminist act, but far fewer articles in magazines about men taking responsibility for their own orgasms. Is it that women are

simply expected to shoulder this one as they do the housework and the social calendar, or just that fewer men have the problem to begin with? Both, actually, but let's talk about your penis.

You are fully functional, so this is not a function question. It's about habituation and stimulation, and the fact that your girlfriend's vagina, while I'm sure it is in every way above reproach, is not your hand, to which you have become accustomed, so you're just not getting the kind of pressure and friction you're used to. I don't advocate doing anything about the wetness, but you can add friction and pressure by changing positions (anything where her legs are tighter together, woman on top, or missionary with her butt tilted up on a pillow) or grabbing hold of whatever's not currently inside with a stern fist, yours, hers, or anyone else's that happens to be handy. Yes, this requires admitting that it's currently not working for you, but that ought to be doable as long as

you don't make any jokes that end in, "Throw me your keys and I'll drive us out."

Oh, and if you're using condoms, maybe it's the condom. I can't in good conscience advise you to skip these, so I'll just suggest trying one of the loose-at-the-tip sort, which vaguely simulate not wearing a condom, and maybe a drop of lube on the inside.

I should also point out that you were having perfectly fine sex before you started having "sex," and that your girlfriend knows perfectly well how to get you off, and that there's no shame in just stopping when it starts getting tedious and switching to something that works.

And finally, dude, you've done it three times. Those are not going to be your three best times, or your only three times. Here's where I use another old punch-line and ask you if you know how to get to Carnegie Hall.

Love, Andrea

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VOLUNTEER The Support Network: Volunteer today to be a Distress Line Listener. Apply at thesupportnetwork. com T: 780.732.6648 Are you an International Medical Graduate seeking licensure? The Alberta International Medical Graduates Association is here to help. Support, study groups, volunteer opportunities–all while creating change for tomorrow. aimga.ca Break the Code! Help an adult to read and write. Call Jordan Centre for Family Literacy 780.421.732; famlit.ca

SERVICES

SACRED Edmonton Society; sacredeatingdisorders.com; An Eating Disorder Intensive Recovery Program for those with anorexia or with bulimia.

E: sacred6@telus.net; T: 780.429.3380 NARCOTICS ANONYMOUS Help Line 24 Hours a Day–7 Days a Week If you want to stop using, we can help Local: 780.421.4429/Toll free: 1.877.463.3537 Have you been affected by another person's sexual behaviour? S-Anon is a 12-Step fellowship for the family members and friends of sex addicts. Call 780.988.4411 for Edmonton area meeting locations and info, sanon.org SACE–Public Education Program: Sexual Assault Centre of Edmonton (sace.ab.ca) provides crisis intervention, info, counseling, public education. T: 780.423.4102/F: 780.421.8734/E: info@sace.ab.ca; sace.ab.ca/24-hour Crisis Line: 780.423.4121 Are you an International Medical Graduate seeking licensure? The Alberta International Medical Graduates Association is here to help. Support, study groups, volunteer opportunities–all while creating change for tomorrow. aimga.ca HAD ENOUGH? COCAINE ANONYMOUS 780.425.2715

IS DRINKING A PROBLEM? A.A. CAN HELP! 780.424.5900 SUPPORT YOUR LOCAL FOOD BANK

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