2 // UP FRONT
VUEWEEKLY // JUN 17 – JUN 23, 2010
INSIDE
COVER
#765 • Jun 17 – Jun 23, 2010
UP FRONT // 4/ 4 6 8 9 9
Vuepoint Dyer Straight Issues ZeitGeist Bob the Angry Flower
DISH // 10/ 11 Veni, Vidi, Vino
ARTS // 14/ 15 Hopscotch
FILM // 19 19 DVD Detective
MUSIC // 23/ 26 Enter Sandor 33 Music Notes 34 New Sounds 35 Old Sounds 35 Quickspins
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An issue of Pride: censorship issue could be a moment of transition for the queer movement
ARTS
MUSIC
14
30
BACK // 36 36 Free Will Astrology 38 Queermonton 39 Alt.Sex.Column
EVENTS LISTINGS 18 21 24 37
Arts Film Music Events
The National Portrait Gallery
goes beyond cheeky reaction
The Whitsundays releases its new album, Saul
VUEWEEKLY.COM SLIDESHOW // ZZ TOP
MUSIC
• Slideshow The New Pornographers, ZZ Top • VueTube: Tim Hus performs live at Vue Weekly FILM
• SideVue Warning! Stay Back from the Future: Brian Gibson picks the five worst '80s movies that Hollywood could remake ZZ Top performs at the Jubilee Auditorium
VUEWEEKLY // JUN 17 – JUN 23, 2010
UP FRONT // 3
EDITORIAL
Vuepoint Delay, delay, delay samantha power
// samantha@vueweekly.com
I
f Prime Minister Harper is good at anything, it's deflecting attention away from the issues. From the national anthem debate last summer to the Helena/Rahim scandal to million dollar lakes and billion dollar security forces, it's beginning to seem like a non-essential controversial issue crops up everytime there's a throne speech, or international summit, or an all-party hearing into the Conservatives' knowledge of the torture of Afghan civilians.. We were riled up on that morning in April when Speaker Peter Milliken ruled that Harper's government owed Canada an explanation regarding its knowledge of the use of torture of Afghan prisoners. It looked like Harper might have to stand up and openly admit to some of his foreign policy doings. But after the NDP has left the all-party committee this past week, it seems the Conservative government has employed the same tactic that has served them well before: delay. The achingly glacial pace the federal
Conservatives have taken to find information that should be publicly available upon request of the opposition parties and the media should be recognized as some sort of world record. It's taken three years for an all-party committee looking in to this information to even be formed. Blacked-out documents, lawyers attempting to shut down hearings processes, preventing experts and eyewitnesses from testifying, it seemed they were almost out of options for ways to avoid giving Parliament and federal lawyers the information that has been repeatedly demanded. But with the all-party committee, formed after Milliken's ruling, they found a new way. The conclusion the committee has come to is that it will release documents, but the Conservatives reserve the right to withhold Cabinet records and allows just one committee member to defer all information to independent arbiters for review. It's a process that will delay the release of information to Parliament as a whole And the NDP has said that's simply not good enough. And if the rest of Parliament wants the truth, they'll agree. V
IssuE no. 765 // JUN 17 – JUN 23, 2010 // Available at over 1400 locations
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Dyer Straight
7
Pride and censorship
8
Issues
GRASDAL'S VUE
Letters MISSING FARMERS' MARKET
I
would like to commend you on the inclusion of farmers' markets in your hot summer guide. Markets are the epitome of community and offer customers and vendors alike the opportunity to connect on multiple levels while supporting vibrant local efforts. Unfortunately, your listings were incomplete and missed the Salisbury
ROB LIGHTFOOT // rob@vueweekly.com 780.426.1996 // advertising@vueweekly.com 780.426.1996 // classifieds@vueweekly.com DPS MEDIA // 416.413.9291 MIKE GARTH // michael@vueweekly.com AARON GETZ // aaron@vueweekly.com JProcktor // jprocktor.com Ricardo Acuña, Mike Angus, Josef Braun, Rob Breszny, Jonathan Busch, Jim Dean, Pete Desrochers, Gwynne Dyer, Amy Fung, Michael Geist, Brian Gibson, Tamara Gorzalka, James Grasdal, Jan Hostyn, Maria Kotovych, Omar Mouallem, Andrea Nemerson, Stephen Notley, Renee Poirier, JProcktor, Steven Sandor, LS Vors Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish
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INSIDE // FRONT
UP FRONT
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VUEWEEKLY // JUN 17 – JUN 23, 2010
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.
Farmers' Market in Sherwood Park. The SFM is Sherwood Park's only year-round market boasting a lively collection of fresh produce and local products-vastly expanded over prior years. Located at the Salisbury Greenhouse 1 mile south of Wye Road at RR 232, the market is an Alberta-approved market that is run independently of the greenhouse. ANDREA DONINI SALISBURY FARMERs' market Association
correction In "Taming Big Red" (Jun 10 – Sep 6, 2010), Iron Horse Trail, ironhorsetrail.ca, and Alberta's Lakeland, albertaslakeland.ca, were mistakenly omitted from the info in Wil Colford's story. Vue Weekly apologizes for the omission. In the story "Entry 6: Through Purgatory" (Jun 10 – Sep 6, 2010), the name Mary Haykowsky should be Mark Haykowsky.
NEWS // MINIMUM WAGE
Lowest of the low
Alberta will soon have the lowest minimum wage in the country LEWIS KELLY // LEWIS@vueweekly.com
O
n Oct.1, Alberta's minimum hourly wage will become the secondlowest in Canada. That's when Prince Edward Island's minimum, currently 10 cents below Alberta's at $8.70, will jump to $9. New Brunswick, which currently sets its minimum at $8.50, will raise the bar to $9 on Sep. 1, leaving Alberta only ahead of British Columbia's $8 hourly wage. The province might not be second-last for long, though. On Tuesday, provincial think-tank Public Interest Alberta urged a government committee currently reviewing minimum wage in Alberta to increase it. With advocates on both sides of the issue, predicting what government will do is difficult. "A fair minimum wage is really what the market will bear," says Mark von Schellwitz, a vice president with the
Canadian Restaurant and Foodservices Association. The CRFA employs nearly 14 000 Albertans at minimum wage. "It should be dictated by labour market demand," he says. Von Schellwitz would like to see minimum wage stay at $8.80. Bill Moore-Kilgannon disagrees. Moore-Kilgannon, executive director of Public Interest Alberta, thinks a low minimum wage carries hidden costs for the province as a whole. "People who come from low-income families tend not to go on to college and universities," he says. "People who are living in poverty tend to use our healthcare system significantly more." According to statistics compiled by Public Interest Alberta, a substantial portion of Albertans fall into that category. More than 112 000 people in Alberta earn less than $10 an hour, including nearly 40 000 Edmontonians. Raise the bar to $12 an hour and the number of Albertans jumps to almost 225 000.
Further, over 60 percent of Albertans earning less than $10 an hour are women. Moore-Kilgannon says it's a result of underrating the sort of work women often do. "Women are ending up in jobs that are low-wage jobs, and it's not to do with education," he says. "It has to do with the undervaluing of the type of work that women are doing." Moore-Kilgannon added that low minimum wage also contributes to the social time-bomb of baby-boomer retirement. Low-income earners tend to rely heavily on social safety nets like the Old Age Security pension when they retire, he says. "Many people end up, for various reasons, in these low-wage jobs, and they do not get out of them," he says. Too many people relying exclusively on government funding in their retirement could create huge problems, says Moore-Kilgannon. "There are long-term impacts of taking a very, very narrow,
simplistic economic view of this," he says. To combat poverty, he'd like to see minimum wage around $13 an hour. Currently, Ontario's hourly minimum of $10.25 is the biggest in Canada. Von Schellwitz thinks raising minimum wage any higher will make it much tougher for teens looking for their first job to find work as employers react to higher labour costs. "If you raise the minimum too quickly, you're actually robbing those people of employment opportunities," he says. "What the right level is, is very much up to speculation." But according to Public Interest Alberta's statistics, nearly 60 percent of Albertans earning less than $10 an hour are over the age of 20. Seventeen percent are over 45. Von Schellwitz also expresses skepticism that increasing minimum wage can help reduce poverty. "Numerous economists and academics have pointed out that minimum wage policy is a very blunt poverty tool," he says, because it eliminates jobs even as it makes the remaining ones more lucrative. "Minimum wage is not an accurate reflection of poverty."
A more effective measure of the Albertan economy, he says, is the average wage, and Alberta does quite well in this regard. Elwil Beukes, a professor of economics at the King's University College, says economists don't always agree on the costs and benefits of minimum wage increases. "Like everything in economics, you have more than one view on this," he says. "Those on the side of the employers normally argue 'no, this doesn't do any good,' while employees and their supporters generally take the opposite view," he says. "You can say we will forever be arguing from different positions, with an eye toward different objectives." The provincial government is considering the question of the minimum wage as part of an all-party committee review on the economy forwarded after the release of the budget this past Februrary. A spokesperson for the ministry has stated recommendations are expected to be forwarded to Minister of Employment and Immigration Thomas Lukaszuk by the end of the year for review by MLAs in early 2011. V
News Roundup CONTRACTING NURSES
T
he United Nurses of Alberta is in the midst of contract negotiations. Over 500 nurses voted June 15 to bring contract negotiations to a provincewide vote on June 30. Recommended by a mediator, the current contract includes a freeze of nurses salary until two years from now when a four percent increase will come into effect. "Our nurses big concern in these negotiations was to increase nurse staffing for our patients," says UNA President Heather Smith. "This agreement would prevent Alberta nurse salaries from falling behind, which is important in attracting nurses to Alberta jobs, but even more importantly there are provisions to maintain and enhance nurse staffing." These collective agreements cover over 24 000 registered nurses, registered psychiatric nurses and some other allied employees of Alberta Health Services, Covenant Health, the Alberta Cancer Board and other smaller employers. Alberta Health Services is in a period of transition as the Alberta govern-
ment reconsiders the Alberta Health Act this fall. Health-care funding seemed to satisfy no one this past February when the government announced an increase of 16.6 percent to health-care funding that many public advocates believed came at the cost of
other public services where 15 other departments saw cuts. Alberta Health Services has also recommended acceptance of this deal. Mediation began on the contract in April and will be voted on June 30 by the UNA membership.
QUOTE OF THE WEEK "Al Ja-zeera is the first television news network based in the global South and it has its stated aim is to reverse the news flows on the planet. AJE is the world's first self-consciously post-colonial, news network, and unlike the CBC, BBC, CNN and other major networks, AJE largely hires people in the countries from where they report." AJE Fault Lines host, Avi Lewis, on AJE's presence in Canada
COMMUNITY SCHOOLS
T
he Edmonton Public School Board debated a motion regarding community schools this past week. Former EPSB vice-president Sue Huff presented a motion to ensure community schools receive the same level of funding as specialized schools: "That Edmonton Public Schools ensure that schools offering regular programming (also known as local or community schools) receive an equitable level of district promotion and support as schools that offer alternative programs or programs of choice." Base operating budgets for schools stagnated this past budget session with no new money to assist with the agreed upon salary increase negotiated with the ATA, leaving school boards to deal with the deficit. With the recent closing of six schools in Edmonton, Huff is concerned funding for community schools is lacking while alternative programs and programs of choice, where students can choose which school they attend throughout the city, are given greater
VUEWEEKLY // JUN 17 – JUN 23, 2010
promotional consideration. Huff has stated publicly that she'd like to see EPSB partner with the Edmonton Federation of Community Leagues' Live Local campaign and support students who make the choice to stay in their communities. The budget vote took place on Jun 15. The Edmonton Catholic School Board is considering their budget at the end of the month. G8 WATCH HARPER'S FOLLY That's the proposed name for the fake lake being built for the G8 summit happening in Muskoka next weekend. The Council of Canadians submitted the name to the Geographical Names Board of Canada to make the lake name official. The fake lake contains a television to screen images of Canada's cottage country, deck chairs and docks. It's been criticzed for costing over $50 000. SAMANTHA POWER // samantha@vueweekly.com
UP FRONT // 5
COMMENT >> INTERNATIONAL HAPPINESS
Who can judge?
Happiness indicators are pretty useless There can be few things less useful than White did not compose their questions a World Map of Happiness. If you live in himself. So you may want to take his reone of the unhappy places, there is litsults with a grain of salt, but they are tle chance that you will be able to move interesting nevertheless. to one of the happy ones—and anyway, The most striking result is that all of there's no way of knowing whether imthe top twenty countries in terms of migrants are happy there. Besides, happiness are relatively small: the your personal capacity for hapbiggest, at Number 10, is Canapiness is largely hard-wired da, which has only 33 million by your genetic heritage and people. All the Scandinaearly childhood experiences. vian countries are there, of om course, but so are Antigua, But there are always uneekly.c w e u v e@ gwynn der-employed sociologists, Bhutan, Costa Rica and the e Gwynn psychologists and economists Seychelles. All twenty are Dyer looking for something new to democracies. research. There is also a permanent over-supply of journalists at their The saddest countries on the list, wits' end for something to write about. Numbers 176, 177 and 178, are the DemDespite Israel's gallant effort to fill the ocratic Republic of the Congo, Zimbawhole news cycle single-handed, this bwe and Burundi. Indeed, there's not has been a slow week for news, so let a single country in Africa that counts us consider the global distribution of as happy. Russia and the other counhappiness (or "subjective well-being," as tries that used to be part of the Soviet the social psychologists call it). Union are all mired in the Slough of The Satisfaction with Life Index, to Despond. Japan, surprisingly, ties with give the world happiness map its proper Yemen, an almost-failed state, in the name, does not measure objective conhappiness stakes. ditions like Gross Domestic Product per Among the big developed countries, capita or average life expectancy. You the United States places just outside can be dirt poor, like Bhutan, and still the top twenty at Number 23, well rank high in happiness. You can also be ahead of other rich countries like Gerrelatively prosperous but miserable, many, Britain, Spain, Italy and France. like Latvians, who are less happy than Bangladeshis are happier than Indians Ethiopians or Palestinians. and much happier than Pakistanis. MaThe old Human Development Inlaysians are the happiest people in Asia, dex, dating back to 1990, tells us who Venezuelans are the happiest people should be happy, if income, lifespan and in South America, and the Gulf states educational level were really the main from Oman to Kuwait are the happiest determinants of happiness. Unsurpriscountries in the Middle East. ingly, this yields a list that ranks counWhite did his major work in 2007, so tries pretty much in strict order of GDP some of the rankings may have changed per capita. since then. Icelanders, for example, may For those who care about the environbe pretty unhappy since their banks and ment, there is also the Happy Planet Intheir currency collapsed. Sri Lankans dex, launched in 2006, which measures may be cheering up now that their long "the production of human well-being civil war is over. Iranians were not happy (not necessarily material goods) per even before last year's upheavals, but unit of extraction of or imposition upon they are probably even less so now. nature." In other words, if your well-beHealth and wealth make some differing comes at a high environmental cost, ence in how happy countries are, but you drop down the list. they are certainly not decisive, and On this index, the developed countries some other measures that are normally do not do so well, for their prosperity thought to matter don’t seem to count comes at a high environmental cost: at all. The United States, for example, the United States drops from Number has the greatest inequality of income 13 on the Human Development Index to amongst the big developed countries, Number 150 on the Happy Planet Index. but Americans are happy people – mayBut that index is really measuring the be because their national mythology "happiness" of the ecosphere, as if the tells them that they all have "equality planet itself were capable of happiness. of opportunity." Adrian White's Satisfaction with Life The size of government doesn't make Index, however, is focussed on what much difference either, so long as it people actually feel about their lives, is competent. Denmark is the classic and he cunningly avoided the nuisance welfare state, with the government of sending out 80 000 questionnaires spending 52 percent of GDP, while the to people all over the world. White, a Swiss government only spends 33 persocial psychologist, at the University of cent of national income. Yet they are Leicester, did a "meta-analysis" of other virtually tied for first place in the hapglobal surveys, by the World Health Orpiness index. ganisation, UNESCO and half a dozen Never mind. If you think statistics like other organisations, and extracted the these can tell you anything useful that data for his own index. direct observation and common sense They were the ones who actually sent won't, you're crazy. Still, if that makes out the 80 000 questionnaires, and you happy ... V
R DYEIG HT
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VUEWEEKLY // JUN 17 – JUN 23, 2010
COVER // PRIDE
An issue of Pride
Censorship issue could be a moment of transition for the queer movement samantha power // samantha@vueweekly.com
B
etween the swirl of big pink taffeta queen costumes, next-to-nude corseted men and people just looking to celebrate who they are, one could say every colour of Edmonton's rainbow was represented in Churchill Square last Saturday. With appearances by groups as diverse as Edmonton's E-ville Roller Derby to the Two Spirit Circle of Edmonton, and speeches by every major political party, city councillors and a few corporate sponsors, the diversity of the gathering shows how far Edmonton's Pride has come and how fierce it's become in it's 30-year history. And the word many used to describe it is success. In amongst the Edmonton crowd was one particular group whose very name is at the heart of a divisive controversy across the country: Queers Against Israeli Apartheid, formed mere weeks ago here in Edmonton in solidarity with a group in Toronto, marched with close to 40 supporters in the Pride parade with little evidence of the controversy being witnessed just three provinces over—a controversy that has raised a lot of questions about the ownership and growth of everyone's Pride festivals. Although the use of the word apartheid in relation to Israel has formed a number of debates in the country over the past few months, it has directly impacted the organizing of Toronto Pride. On May 25 Toronto's Pride committee, under pressure from funders and supporters, announced a ban on the use of the phrase "Israeli apartheid" from the festitivities. This made the participation of the returning group "Queers Against Israeli Apartheid" impossible. Reaction has been intense: 23 award winners have handed back their Pride awards, every speaker scheduled to talk at the international human rights panel refused to participate, both the appointed Grand Marshall and Honoured Dyke have refused the appointment and a group, the "Pride Coalition for Free Speech," has formed. The ban has activists wondering which comes first: corporate funding or the defense of queer rights everywhere. In its justification for banning the phrase "Israeli apartheid," the Toronto pride commitee made reference to the threat of losing not only city funding but that of corporate and non-governmental
THESE QUEENS LOOK ACES >> Edmonton Pride Festival 2010 organizations. But with alternate events currently being organized, it seems Pride Toronto is in danger of losing more than just its funding. "We've seen these movements become larger and more mainstream, more corporate, and in a way that's the way of the world," explains Shawn Syms, a Torontobased activist and participant for the last 20 years in Toronto Pride. Syms states that there is a role for corporate sponsorship and participation, and that it is necessary, but not at the cost of all voices in the community. "It's the responsiblity of Pride Toronto, as stewards of these events, to make sure there is room for all types of groups." Edmonton Pride Week Society board member Michael Phair couldn't agree more. He maintains that the role of the grassroots is at the heart of what makes Edmonton Pride work. "There is still a significant political aspect to Pride in this city. The roots of Pride in Edmonton, and the celebrations, grew out of the advo-
// JProcktor
cacy and the importance of the involvement in community action, and that still is part of what motivates and keeps the community together." Phair names the controversy in Toronto as a possible transitionary moment for queer movements. "Things change and it's a matter of looking at how one can accommodate to that change." Edmonton Pride responded to the grassroots last year when a group of activists, the Queer Resistance Army, called out the Edmonton Pride committee for giving corporate naming rights for the Pride Parade to TD Bank. In response, the committee went back to the simple Pride Parade title, while TD continues to maintain a high "rainbow" level of funding and participate in the festitivities. This year the committee accepted the newly formed "Queers Against Israeli Apartheid" with almost no questions asked. "They were very open," says Marcus Peterson, a co-organizer of the Edmonton-
based Queers Against Israeli Aparthed. He explains that he got a call from a Pride organizer letting him know that all political stripes were welcome."She wanted to make sure we weren't there to start any violence or hate speech or to create an unfriendly atmosphere for them. We focus on non-violent direct action so that was no problem." It's an example of how the challenges brought forward by the grassroots can be met and acted upon—a necessary component to any successful movement, explains University of Alberta women's studies professor Lise Gotell. "Contestation and political conflict are inevitable within social movements." Having studied gender politics, social movements and the law, Gotell is firm that these debates need to happen for the growth and definition of a movement. "If you look at the women's movement there were divisive issues in the '80s and '90s around questions of race and pornography and certainly efforts on many
VUEWEEKLY // JUN 17 – JUN 23, 2010
sides of those conflicts to disavow the other side, to say, 'This is the only feminist position, the other positions are no longer feminist.'" Gotell states all social movements are inherently pluralistic—they cannot simply hold one political agenda. And that's what is being evidenced in Toronto today. "The mainstream of the movement is captured by a celebratory recognition style politics," says Gotell. "It's become depoliticized and that creates a division between the mainstream and those who want to maintain a radical politics." Peterson believes that with the growth of corporate sponsorship it becomes a question of ownership. "Pride committees, around the world, have been relying on corporate funding, and we felt there wasn't enough dialogue happening," he explains. "There wasn't enough questioning of this overturning of what Pride has meant from the beginning—the proper CONTINUED ON PAGE 8 >>
UP FRONT // 7
PRIDE
<< CONTINUED FROM PAGE 7
representation of all peoples." And, like all movements, the queer movement has struggled to represent all people. "The thrust of the movement in the '80s and '90s was assimilation, it was to have the same rights as heterosexuals," explains Gotell. "So it's not about transforming social relations, undermining heteronormativity or power relationships of any form because queer people are racialized, women, they're poor, but the interests of those constituencies within the queer movement are marginalized if we take Pride as an expression of what the queer movement is today." Peterson echoes the need to keep fighting for rights of all: "Just because we have the legal right to get married or society has progressed since Stonewall, doesn't mean we need to sacrifice our rights, or stop fighting for the rights of other people. As the old saying goes, 'as long as there are people oppressed no one is free.'" With almost 30 years of history, the LGBT movement has proven itself to be one that responds to its community. The very name itself has expanded to include the diversity of its membership, and it seems every year the events expand to include more voices. Toronto Pride was once named a Canadian institution. With 30 years of history behind it, there's an opportunity to build on the strength the queer movement has found in its diversity. Syms is hopeful this diversity will prove to be the building blocks of a stronger Pride. "Sometimes you can feel disillusioned about the current state of affairs with a Pride committee in a particular place and we have to remind ourselves that it's not just inevitable. We have to remember that the people on these committees, who are really caring, hardworking people, need to be reminded of all the different communities they serve because these communities appreciate the work they do and they want to ensure their own voices are heard in the decisions people make." V
8 // UP FRONT
COMMENT >> DEREGULATION
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.
The cost of electricity
Deregulated electricity comes into full effect this July Ricardo Acuña // UALBERTA.CA/PARKLAND
Throughout the 1990s Alberta's electricity market for households and small users was fairly straightforward. There were three major utilities which generated over 90 percent of Alberta's electricity and were responsible for the transmission and distribution of that electricity. The provincial government, through the Alberta Department of Energy oversaw the entire industry, and the Alberta Energy and Utilities Board (EUB) was responsible for enforcing regulations, reviewing and approving all investments and setting the price of electricity for consumers. By directly overseeing and regulating the industry in this way, the Government of Alberta was able to ensure that three key objectives were met through its policies: consumers were protected through the setting of a fair price for electricity; utilities were essentially guaranteed a fair rate of return; and Albertans could be confident in the longterm security of their energy supply because their government had direct control over it. The system provided the government with enough control over the system as a whole that it could, if it wanted, be able to play an active role in determining the energy mix (between coal, wind and solar) distributed to Albertans. It would also have the ability to provide incentives for the generation of enough clean and sustainable electricity to begin removing the need for so much coal. Of course, the system was not perfect. The government could not figure
out how to ensure the construction of enough generation and transmission capacity to meet the needs of a rapidly growing province and there were also concerns about the fact that the three utility companies had so much control and influence over policy. These, and many other areas of concern, could have been overcome if the government had been willing to consider direct government investment and ownership of generation and transmission infrastructure, but it was not. For the most part, however, the system worked and Albertans were happy. Of course, Ralph Klein and his ideologues were never ones to let a working, well-regulated system stop them from turning it on its head. In 1995 they announced their coming de-regulation scheme for Alberta's electricity. It was a scheme which would remove price guarantees for generators, open up distribution to competition and eventually remove all price protection and predictability from consumers. The rationale provided by Klein was fairly clear: close government oversight and regulation, price controls and a limited number of utilities in the game would never give anyone the opportunity to get filthy stinking rich off our electricity market. If the possibility to get filthy stinking rich is not there then how on earth would we ever convince utility companies to come to Alberta to upgrade and expand our capacity? The answer? Remove the regulations and price controls from the electricity market and so many utilities looking to get rich will rush in so that prices for consumers will naturally go down. Again, the idea that these companies would
VUEWEEKLY // JUN 17 – JUN 23, 2010
invest in infrastructure, profits would increase and prices would somehow go down seemed perfectly logical to the Klein bunch: the market knows best. On July 1 of this year we will reach the end of the government’s long, drawnout deregulation process. That day all of Alberta's small electricity consumers will see 100 percent of their electricity bills reflect the short-term pricing cost of electricity in Alberta. This ends the gradual shift from having 100 percent of bills based on the averaged out long term price of electricity which has been taking place over the last five years. The immediate result to consumers will be incredible volatility in their electricity bills from month to month. A family that gets a $100 electricity bill one month could quite conceivably receive a $500 bill the following month. According to the government press release this is beneficial because it will give Albertans a much better sense of the cost of electricity on the province's spot market, but it never explains why that knowledge is of any benefit. This particular policy stems from the reality that electricity utilities can only make money if people are buying their electricity from them. Over 70 percent of Albertans, however, have remained on month to month contracts with their original supplier throughout this whole period. By making our bills more volatile and unpredictable therefore, the government figures that it will encourage a greater number of us to sign long-term contracts with different providers. This final step in the regulated rate option really highlights what this whole move to deregulate the electric-
ity market has been about. Take a look at which of the Klein government's promises about electricity in Alberta have come pass since deregulation began in the late 1990s. Have prices gone down for consumers? No, we have actually gone from having some of the lowest electricity rates in the country before deregulation to some of the highest today. Has our electricity infrastructure been significantly upgraded and expanded? No, the government itself is still claiming that our infrastructure is insufficient, especially if we are to head into another boom period. Have electricity companies gotten filthy stinking rich in Alberta? Yes, profits among utility providers in Alberta are higher than ever. Like all policies sold to Albertans on the basis of so-called competition, choice and a free market, the only winners in the electricity deregulation game have been the corporations who lobbied for the changes in the first place. We have seen exactly the same thing play out in the natural gas market and in telecommunications. Albertans need to be aware of this reality, but more importantly they need to realize that, even in the face of all this evidence, their government continues to plough full-steam ahead with these deregulation schemes. It is clear that deregulation has provided no benefit to Albertans, but as long as their corporate friends are benefitting, this government does not seem to care. Do you? V Ricardo Acuña is Executive Director for the Parkland Institute, a non-partisan public policy research institute housed at the University of Alberta.
COMMENT >> INTERNET LEGISLATION
BOB THE ANGRY FLOWER
Failure to open
Federal government fails to recognize the principle of openness The federal government's national conto catch-up. sultation on a digital economy strategy Third, the strategy could enhance is now past the halfway mark, support for open source softhaving generated a somewhat ware, with a clear government tepid response so far. The mandate to level the playing consultation document itfield between proprietary self may bear some of the and open source software. .com ly k e e vuew blame for lack of buzz since Earlier this month, a Quebec mgeist@ the government asks many court ruled that the provinichael M of the right questions, but cial government violated the Geist lacks a clear vision of the prinlaw when it purchased software ciples that would define a Canadian from Microsoft without considering digital strategy. offers from other vendors. The federal One missed opportunity was to shine government has some policies on point, the spotlight on "openness" as a guidbut more can be done to encourage ing principle. In recent years, an open open source software adoption for the approach has found increasing favour benefit of taxpayers and technological for a broad range of technology policy development in Canada. issues and has been incorporated into Fourth, network open access requiremany strategy documents. For examments mandating certain openness ple, New Zealand identified "openness standards in the use of the spectrum [as] a central principle of [its] Digithat is crucial for wireless telecomtal Strategy 2.0." munications. For consumers tired of The Canadian consultation document the "walled garden" approach of some includes a brief reference to open acproviders that use both contracts and cess for government funded research, technology to "lock-in" consumers, but it seemingly ignores the broader open spectrum policies would spur potential for a strategy with openness new innovation and heightened compolicies as a key foundational principle. petition by facilitating greater conWhere might an openness principle sumer mobility and promote the intromake sense? duction of new services not tied to a First, open government policies insingle wireless provider. cluding the use of the Internet increase Fifth, an open spectrum that reserves transparency, and the adoption of open some of the spectrum scheduled for licences to government content and auction for unlicensed uses. While make it more readily usable and accesthere is great potential to use auction sible. Canadian municipalities such as proceeds to fund some digital stratVancouver, Edmonton, Toronto and Otegy initiatives such as rural broadband tawa have provided leadership in this deployment, reserving some of that area in recent months and the federal spectrum for open purposes, much government could use the digital stratlike Wi-Fi, should be another piece of egy process to follow their example by the puzzle. committing to an open access approach Sixth, an open investment policy that to government data. tears down some of the barriers to Second, open access to publicly foreign participation in the Canadian funded research could be mandated digital marketplace. While reducing throughout the major federal granting restrictions is viewed by some groups agencies. Many countries have impleas a threat to Canadian cultural policy, mented legislative mandates that rethere should be ways to craft rules that quire researchers who accept public open the door to new foreign particigrants to make their published research pants but maintain many longstanding results freely available online within a cultural policies. V reasonable time period. Canada has emphasized research funding by commitMichael Geist holds the Canada Research ting millions to attracting some of the Chair in Internet and E-commerce Law at world's leading researchers, yet it has the University of Ottawa, Faculty of Law. lagged on open access and the digital He can be reached at mgeist@uottawa.ca strategy provides an ideal opportunity or online at michaelgeist.ca.
ZEIT
GEIST
VUEWEEKLY // JUN 17 â&#x20AC;&#x201C; JUN 23, 2010
UP FRONT // 9
INSIDE // DISH
DISH
Online at vueweekly.com >>DISH
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Devlin's
REVUE // TWISTED FORK
Twists and turns
Three separate spaces hide inside Twisted Fork LS VORS // VORS@vueweekly.com
H
umanity goes to great lengths to assign entities to categories. We assign animals to species, television shows to genres and manners of speaking to dialects, among other things. Eateries, naturally, have their own taxonomy. Many restaurants cannot be definitely assigned to one group: their décor, clientele and culinary offerings span multiple categories. In some cases, a restaurant may pair two separate institutions, ie, a pub with a café or a pizzeria with a coffee shop. This pairing may be abrupt, or may be a gradual gradation from one entity to another. Twisted Fork follows the latter, peering out from the endless fast food joints and coffee outposts in the university area. Twisted Fork's geometry permits great flexibility of decor. The room begins as a suave sports bar, where a smattering of flat-screen televisions frame a sleek square-shaped bar. The room takes a sharp right angle to become an intimate dining space, where earth tones emphasize the interplay of light and shadow. The room takes yet another 90 degree turn, revealing a swath of tables hidden from the emphatic cheers and sports commentary at the front. On the menu, hamburgers, wings and dip platters evoke the profferings of pubs, while pasta and steak echo the influence of upscale dining. We
10 // DISH
are captivated by sweet potato fries with aioli ($7.50). Aioli is an emulsion of olive oil, egg and garlic that hails from Provence, and here the whispersmooth concoction is laced with assertive peppers. The auburn fries balance crisp exterior with tender interior. As a vehicle for aioli, they are an enviable and immensely satisfying intersection of textures, scents and tastes. I tuck into mango chicken and seared prawns ($18), swayed by the promise of fruit and protein. A saffron-coloured jumble of cubed mango hides a chicken breast, while a half dozen prawns ride shotgun. Each prawn is a burst of sweetness that evokes tropical beaches and the cry of gulls in a salt-tinged dusk. The mango itself is vivid and tangy, but its interstitial sauce is slightly flat. The chicken is decent, if a tad dry. On the side are medallions of carrots, florets of broccoli and cauliflower, and several wedges of roasted potatoes. The potatoes sport a crackly skin that conceals yielding, steaming flesh. The broccoli and cauliflower are properly al dente, and the carrots are caressed by nutty and fragrant garlic butter. The vegetable casserole ($12) pairs slices of zucchini, carrots, tomato, cauliflower and a rainbow of sweet peppers with a paprika-scented rosé sauce and a bubbling crown of havarti cheese. It's a creamy cohesion of warmth that would befit a cold winter's day, but easily fits with this evening's bright sky and residual warmth.
LET'S TWIST AGAIN >> Whyte Ave eatery Twisted Fork Included with the casserole are two triangles of toasted foccacia bread. Kissed with butter, they are amenable to the drippings of cheese and veg. A wild-rice/brown-rice mixture also fills the carbohydrate niche but seems superfluous. Dulce Cake ($5) stands out from a dessert menu that changes frequently. A dense milk chocolate mousse is crisscrossed by a drizzle of raspberries and dark chocolate, and hides a rich, boozy
VUEWEEKLY // JUN 17 – JUN 23, 2010
// Bryan Birtles
butterscotch centre. The wedge of mousse is at once delicate and formidable, and is buttressed by a cloud-like column of whipped cream. It is, to quote my fellow gourmand, a butterscotch centre of happiness mired within a protective chocolate fortress. The clientele, décor and menu of Twisted Fork span a multiplicity of taxonomic categories, from the sports bar hopper to the diner wishing privacy in a candlelit corner.
It is a supreme challenge to defy classification, to be all things to all people. Twisted Fork is clearly on the right path. V Mon – Wed (10:30 am – 11 pm); Thu – Fri (10:30 am – 1 am); Sat (9 am – 1 am); Sun (9 am – 7:30 pm) Twisted Fork 11162 - 82 Ave 780.761.3675
WINE
Wine tourism
How to get your prized possession home Let's say that this summer you're finally headed on your dream vacation to Napa Valley (or Bordeaux, or Chile or Tuscany ... ) and you've found some wines to die for. Before you dole out the bucks to bring a case home, however, there are a few things you must consider before you're left weeping, watchVIDI ing as airport security or a cusVENI, toms agent pour it all down the drain. As someone who kly.com uewee travels for a living, believe gus@v mikean me; I've seen it happen. Mike First, understand that while Angus there aren't necessarily limits to how much wine you are allowed to bring back to Canada, there are taxes that must be paid, based on the quantity and length of your stay abroad, even on items that have been given to you as gifts. Once you've been out of Canada for longer than 48 hours, you are allowed to bring 1.5 L (two bottles) of wine back free of duty tax. Of course, you are allowed to bring more, just be prepared to pay tax on it. Visiting the website of the Canada Border Services Agency at cbsaasfc.gc.ca will give you more information about limits and levies. Second obstacle: airport security dicCAN'T BE TOO CAREFUL >> Travel-proof cases ensure against misfortune // File tates that you cannot bring any liquids on board planes in volumes in excess of to collect your baggage and it's dripping even offer wine-packing services for a 100 mL—basically, anything larger than with your precious Pinot. Some winersmall fee. a juice box will be confiscated before you ies provide travel-proof cases right at Last, one very practical option is to buy even reach the plane. Therefore, do not the point of purchase, otherwise a typiwine at airport duty-free shops, which try to bring wine on board in your carrycal cardboard case will do, but consider are generally found once you've cleared on bag. Instead, check it in like luggage wrapping each bottle individually in bubsecurity. While you cannot be sure to before hand. ble wrap or newspaper, or separate them find the exact wines you want, the selecwith cardboard dividers. tion of wines are generally local, ideal for Therefore, you must pack it well. While Next, tape the box up well, keeping last-minute gift ideas, and you can carry wine bottles are surprisingly sturdy, airin mind that security and customs are them on board, since you've bought lines generally take no responsibility for still free to cut it open for inspection at them in a secure area. damage to baggage and fragile items. any time. At check-in, ask the agent to These may sound like a lot of stressful There are plenty of options: wrapping it label it with fragile stickers. Airports in rules, but with a little planning, patience in your clothes in your suitcase is easiest, wine tourism destinations will certainly and a lot of packing tape, you can sip the but don't be surprised when you arrive be sensitive to your needs, and some souvenir of a lifetime. V
VINO
VUEWEEKLY // JUN 17 – JUN 23, 2010
DISH // 11
REVUE // DEVLIN'S
Devlin's in the details
Solid chops, but a few missing pieces at Whyte Ave hot spot
UNASSUMING FAÇADE >> The dark and suggestive nature of Devlin's is contained within LS Vors // vors@vueweekly.com
T
o walk at night is to see the world reduced to light and shadow, the light allowing glimpses into what would otherwise be missed under the sun's omniscient gaze. Under this navy shroud, these shreds of light are focal points, drawing the eye to unexpected details. Whyte Avenue is never bereft of light. Like constellations guiding sailors, multitudes of colourful and blinking lights point the way to trendy clothing shops, nooks for exotic coffee and tea, tony night clubs, and innumerable restaurants. One restaurant runs counter to this trend of ostentatious light, leisurely dressed in dark colours and possessing innocuous signage. Behind this unassuming façade is Devlin's. A recessed wooden door opens onto an intimate, black and burgundy room. Tiny chandeliers cast subdued light on the gently worn plank floor. Soft, black benches line the walls while tiny candle flames flicker to the mellow background music. The room's focal point is a rectangular bar, amply stocked with a multitude of liquors to make any number of suggestively-named cocktails. The succinct menu is a dichotomy of small and large plates. The latter includes such fare as bison burgers and flatbread pizzas. The small plates are twists on typical appetizers—dips, pork skewers, breaded chicken—but with the inclusion of novel seasonings and the promise of artistic presentation. The idea, of course, is that one orders several small plates, thereby maximizing gusta-
12 // MUSIC
VUEWEEKLY // JUN 17 – JUN 23, 2010
tory variety without risking overindulgence. The menu thus gives the option of ordering any three small plates for $25. Capitalizing on this opportunity, we order soul chicken, prawn toasts and the three dip bread plate. The dishes arrive on attractive, bonewhite, rectangular platters. Wafts of toasted black sesame seed emanate from the prawn toasts. These are isosceles triangles of white bread spread with finely minced prawns and fried to an attractive umber colour. Their scent is reminiscent of shrimp tempura and they are accompanied by a full-bodied dipping sauce that hints of hoisin. The bread serves its crisp topping well, its interior still tender enough to wick away dregs of sauce. Soul chicken is a trio of chubby drumsticks lolling on a bed of cabbage-fennel slaw and flanked by two sturdy wedges of cornbread. Each drumstick is mantled by thick, immaculately crispy breading. A coy note of maple infuses this crust, coaxing out extra juice and flavour from the bronzed meat underneath. The cornbread is flecked with golden kernels of corn and fragrant with sage, evoking turkey stuffing in the best possible way. Its top crust emulates the soul chicken's breading; crunchy yet moist, savoury yet sweet. The three dip bread plate is inconsistent. The black bean hummus sings with lime but whispers of garlic, beautifully caressing warm wedges of flatbread that, in texture, lie somewhere between naan and pita. The jalapeno goat cheese, smooth and snowy white, is distinctively tangy but the promise of pimento is not fulfilled. The bruschetta tastes primarily of onions. Tomatoes—
// Renee Poirier
both red and golden—are present but lack discernable flavour. Several shreds of fresh basil are present, but do little to rescue this dish. The slices of baguette are peculiar in that the texture of the outside crust is virtually indistinguishable from its interior: flabby and slightly dry. A crust of a proper baguette must crackle when broken and its interior must be tender and light. Dessert this evening is the pumpkin trio ($7) and, like the bread-dip trio, some of its components are stronger than others. The miniature pumpkin crème brûlée is crowned by a sturdy, broiled-sugar crust, but the filling is besieged by nutmeg to the point that no other flavour is detectable. The pumpkin tart fares better. It is served warm, topped with whipped cream and a glistening blackberry. Here, the flavour of pumpkin shines, but its unfortunate vessel is a store-bought tart shell, its machine-crimped edges belying its origins. Pumpkin cake drizzled with rich butterscotch is the clear victor of this trio, striking a satisfying balance of gooey sauce and dense cake. The culinary chops of Devlin's are clearly solid, and yet the supporting details of some dishes were overlooked. Still, it's strengths are apparent: atmosphere, presentation and clever flavours shine from this spot like so many glimpses of light in the inky cloak of night. V Tue – Sat (5 pm – 2 am) Devlin's 10507 - 82 Ave 780.437.7489
PROVENANCE
History of curry
SPICY >> Curry is older than you think
// File
The word curry comes from "Kari" which is from the Tamil language and was later anglicized. Curry can be traced back to 3000 BC in India, where turmeric, cardamom and mustard were harvested. Variations were found in various Asian countries including India, Sri Lanka (Ceylon), Myanmar (Burma), Thailand, Malaysia and Indonesia. There was also evidence of it being used around the same time in Mesopotamia. This is probably why there are now so many types of curry, as its flavour can be altered with ginger, garlic, and other spices more typical of regions outside India, such as cumin and cinnamon. While we mostly associate curry with hot and spicy peppers, the original Indian curry was mild and sweet. There were no peppers in it since chili peppers and red peppers are not native to India. It was actually Christopher Columbus who brought chili seeds
VUEWEEKLY // JUN 17 â&#x20AC;&#x201C; JUN 23, 2010
back from the New World. Chili seeds were traded to India where the plants thrived and peppers quickly made their way into Indian cooking to become part of the spicy curries we know today. The British love for curry began as far back as the end of the 16th century, primarily out of necessity. At the time, the Dutch were the leaders in the pepper trade. With a near stranglehold on pepper and other spices, the Dutch had hiked up the price so high that the King of England granted a royal charter to a small group of merchants which allowed them to create a trading company in India. Initially this was the sole purpose of the East India Companyâ&#x20AC;&#x201D;to secure a better price for pepper than the Dutch asking price. Once in India, the British were introduced to curry. Nobody imagined the empire that would be built, or envisaged how history would be changed. In fact, the
British weren't even that interested in India. The country was viewed merely as a handy stopping off port for vessels on their way to the Far East. The Dutch, however, had made trading in Indonesia increasingly more difficult. So the British looked to other resources that were readily available in India, such as silk, cotton and linen. Eventually, its value surpassed that of the Far East, as India was easily a match for quality and was much closer. Soon the coast of India became lined with ports that were protected by private armies and the British Navy. Curry sauce originated because milk was sometimes added to decrease the spiciness. As global culinary creativity blossomed, milk was sometimes substituted with orange juice, melted goat's cheese, vegetable stock, light gravies and wine. Pete Desrochers
//desrochers@vueweekly.com
MUSIC // 13
INSIDE // ARTS
ARTS
16
16 17
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Arts Reviews Find reviews of past theatre, dance and visual arts shows on our website.
REVUE // THE NATIONAL PORTRAIT GALLERY
Picture perfect
The National Portrait Gallery goes beyond cheeky reactions David Berry // david@vueweekly.com
M
uch of the talk surrounding Latitude 53's The National Portrait Gallery has revolved around the cheeky reaction to the mess that is Canada's official national portrait gallery, maybe for good reason: that the Conservative government can't get its act together to properly display a collection with profound historical and artistic value is indicative of, at best, a deep ambivalence towards the role of art in society, and it behooves Canada's artists to say something about it (especially if those artists reside in a city that was essentially screwed out of its opportunity to be the home of said collection). However, as co-curator/artist Norman Omar put it in a brief talk not long before the show's official opening last Friday, "Though its roots may have been in a reaction to what was going on the portrait gallery, we quickly realized there was something much bigger that we could do." And it's the fact that the group at the heart of this show (which, besides Omar, includes artists Fish Griwkowsky, Sean Borchert and Dara Huminiski, arts administrator Leanne Olson and public art director Kristi Trinier) recognized that and exploited it that not only elevates it beyond a simple but clever reaction—similar, say, to the way Make it Not Suck decorated the con-
WALLS OF FACES >> The National Portrait Gallery struction sites fine but suffered in a gallery space—but works as a statement that a certain cohort of Edmonton artists are finally coming into their own. A perfect example of this is Griwkowsky's own work: anyone who has seen his pictures around the Sun or See, never mind on gallery walls, is well aware of his talent as a photographer. As a displaying artist, though, a lot of his shows have lacked a strong or cohesive intellectual framework, whatever their technical strengths. Placed under these constraints, though, his work "Mordecai + Margaret," is one of the strongest pieces in the show: essentially just two rock faces pushed to the edge of a panoramic view, they are not
// Supplied
only gorgeous, but point towards Canadian traditions of landscape, suggest the vast empty space that exists in Canadian letters (the last names up there should be Richler and Atwood) and simultaneously tip their hat to and play with the nature of portraiture (particularly of the institutionalized variety). This overflow of spirit is very much at the heart of the collection. "When I was in the National Portrait Gallery over in London, I was just constantly moved," explains Griwkowsky. "Every time I went to something new, you look at a piece, and you react to who the choice of the piece was and, almost as important, how they were chosen to be portrayed."
This kind of play abounds—another sharp entry is Fedora Romita's collection of geometric line drawings, executed by friends based on the artist's instructions—and contributes to some of the strongest work, including Trevor Anderson's equal parts clever and moving short film "Absent Friends," a portrait of the High Level Bridge through the stories of people who have jumped off it (I'll admit to having a personal connection to a few of the people he talks about that might be fuzzing my radar a bit, but I've still rarely seen such an eloquent representation) and Victoria Wiercinski's laser-cut, Polish-tradition-inspired fabric representation of her family's
own immigration story. But there is also plenty of straight-ahead portraiture that works on either a pop art or traditional level, displaying the various artists connections with local and national luminaries like Rich Terfry, David Suzuki and Elizabeth Sterling Haynes—like the more official gallery, these pieces work for the personal history the viewer can associate with the image as much as anything. And that might be the key little bit of brilliance in the show: the way it manages to marry artistic aspirations with readily accessible representations— essentially everything you want in a portrait gallery, whoever it is that's put it together. "Portraiture is the most accessible, democratic form of art, and it's essentially as strong as it ever was," points out Omar. "It's something that survives modernity, it's something that survived the figments and squalls of art fashion. It's a form of sophisticated self-identity that, for the most part, isn't that difficult to understand or relate to." V Until Sat, July 17 The National Portrait Gallery Featuring works by Trevor Anderson, Douglas Coupland, Fish Griwkowsky, Josh Holinaty, Nickelas Johnson, Fedora Romita, Victoria Wiercinski, more Latitude 53 (10248 - 106 St)
PREVUE // LATITUDE 53 ROOFTOP PATIO SERIES
Art in the sun
Latitude 53 welcomes the summer with its Rooftop Patio Series David Berry // david@vueweekly.com
'P
eople have been contacting us since April or May, the first time we had nice weather, asking when the patio series started," Todd Janes, executive director of Latitude 53, admits with a chuckle. "But we had to tell them that we wanted to make sure it wasn't going to snow again." The anticipation among Edmonton's art and sun-kissed socializing crowd is as indicative of the success of Latitude 53's Rooftop Patio Series— finally entering its fourth year this Thursday and running until the start of Fringe in August—as it is of that
14 // ARTS
inextinguishable Edmontonian urge to finally shake off sweaters and coats and soak up what little summer we have. Beginning soon after Latitude found its new, rooftop-patio-adorned digs, Janes admits it's as much about giving people a chance to enjoy a rare Edmonton treat as it is about finding new and interesting ways to expose people to contemporary art. "We know that in Edmonton, we are all pagan sun worshippers, and we don't always get to dance with the sun a lot in the summer, so we thought we'd kind of celebrate that," admits Janes. "We wanted to use the patio as a platform to expand our audience base, get more people aware of Latitude, and
it's also, I think, a unique opportunity for people to come for nine Thursdays in the summer and network, hang out with friends and meet other people, all with a backdrop of contemporary art." The latter half of that mandate will be getting a boost this year, as Latitude continues to expand its patio offerings. Though there is always a host spinning tunes, previously, the times between shows—which, this summer, will include interrogations of Canadian traditions in the form of the just-opened National Portrait Gallery show and the coming Not Another Fucking Landscape exhibit—saw empty space. This year, Latitude is taking
VUEWEEKLY // JUN 17 – JUN 23, 2010
those downtimes to showcase ongoing work by some of its favourite local artists. Electronic noise composer Scott Smallwood, print/filmmaker Marc Siegner and installation artists Gerry Dotto and Elaine Wannechko will all have short exhibitions coinciding with the patio, ensuring the art isn't left out of the social aspects. And really, Janes sees the combination of the two as the key. He explains the growing success of the patio as part of a larger change taking place in Edmonton, a transition from our more suburban, stay-at-home roots to a city with an ever-more-vibrant core full of people who are looking for more from a drink on the patio than just watching
the fancy cars drive by on the street. "I think the city is hungry for more arts and more culture. I think our municipal government has done a tremendous job of helping to invest in arts and culture in the city, and I think it's really paying off," explains Janes. "I think it signals that Edmonton is starting to grow up and mature in a different way. People are excited about things that make us seem like a big city, and I'm tremendously excited for a city that can realize its potential." V Thu, Jun 17 – Thu, Aug 12 (5 pm) Latitude 53 Rooftop Patio Series Latitude 53 Gallery (10248 - 106 St)
REVUE // FIRE
Feel the burn
FIRE avoids ethical cloudiness Amy Fung // amy@vueweekly.com
S
temming from a 2003 human security research visit to Sierra Leone just one year after a decade-long civil war, Sandra Bromley’s FIRE exhibition carries with it a certain weight in years and reflection. Processing through the years it takes to first hear the stories, live with them and then to try and understand how to exist with them, FIRE is first and foremost Bromley’s story of the boys and girls she visited who have already led lives as child soldiers and bush wives, and who held the right to share them with her. Respectful of ethical issues surrounding estheticizing trauma in post-war countries, Bromley is unique in not cradling the subject matter in clouds of morality. Unlike many stories that divide the world into those who do good and those who do evil, there is no hint whatsoever of victimization in this exhibition, nor are there flavours of blame or notions of good and evil in dealing with child soldiers. There are simply the faces, bodies and stories captured that do not align with existing Western categorizations of war victims and perpetrators. In the front room, eight elongated and illuminated photography portraits of children lean and exist in equilibrium amidst a chain of deactivated rifles. They stand in restricted poses contained by the concept of the picture
CHILD SOLDIERS>> Sandra Bromley's "Innocent," 2004, from FIRE frame, harbouring layers of meaning from the difficulty in representing individuals out of context to restricting their likeness to reflect the barriers the real individuals live and work with every day. The austere atmosphere of the room exists in a delicate balance between the human subjects and the
// Sandra Bromley
guns that exist between them, appearing as markers of time in anchoring the living present in direct relation with a formidable past. Much like The Gun Sculpture, Bromley’s collaboration with Wallis Kendal, the very presence of these weapons that have been used to commit human
atrocities contribute a layer of experience that immediately pulls you in, and at the same time exists as physical barriers to how we negotiate our experience of this visual information. In doing so, Bromley complicates the issue of representation in the aftermath of war, specifically the notion of bear-
ing witness to human suffering. Passing through this first room, which serves as an independent gateway into the second room within a room, viewers are then confronted with choices on how to engage, and how deeply to invest. Standing as a bare framed structure with four sides each bearing a door, viewers are aware that there are four videos playing behind each door. The choice whether to open a door and enter the structure, which then activates the sound of each video, is entirely up to the viewer. Be it hesitation or curiosity, the choice is preceded by a photo transfer of four women: Kadeer, Mohamed, Kamara and Celia, each with her own door and video that remains not translated, speaking then to the viewer with one less filter of comprehension. Existing in early incarnations as photographs on a door with an accompanying video, now the door assumes the position of yet another gateway into the stories of the women whose image they bear, and in leaving the choice up to the viewer, Bromley makes a very conscious effort to not preach or lecture, but to intricately present her findings to those who actively pursue them. V Until Aug 2 FIRE works by Sandra Bromley Art Gallery of Alberta (Sir Winston Churchill Square)
COMMENT >> BOOKS
Taken for granted
Working Knowledge meditates on the ordinary It had intrigued me at a glance, was soggy. I needed to try and remain alert something I'd been meaning to pick up to the world, to not retreat completely for months, nearly doing so several times and morbidly inward, and Král's eloquent, only to fall short of committing at the charming little book, his "strange and last moment. Yet Petr Král's Workbeautiful existential encyclopedia of ing Knowledge (Pushkin Press, the everyday," as Milan Kundera $16.95) ultimately found describes it in his brief introducme precisely when I most tion, served to help me keep needed it, which was about my focus. m .co weekly 10 days ago, just as I was Ranging in length from a few h@vue tc o c s p settling into this large, half- ho pages to a single sentence, f e s o J empty, half-lived-in house in Working Knowledge catalogues Braun dozens of meditations on things rural Saskatchewan, the semiabandoned home of a friend, where known and most commonly taken for some arguably misguided notion had granted. Though I can hardly verify this, prompted me to pass some weeks in solithe translation sometimes strikes me tude. The book was the last thing I bought as poor. Thankfully, Král's is the sort of before leaving Saskatoon, my last chance poetic yet mostly spare writing that can to soak up city life, before heading farther weather an awkward rendering or two. east. It's been among the wettest Junes The book opens with "Coffee," immediin provincial history, the house cold and ately awakening our senses with its "residamp, the surrounding fields too marshy due of night," before slipping into "The for strolling, so I've spent many of these Shirt," considering "Dawn," that "washedhours seated at this big wooden table, out, ashen period in which all things are trying not to let my brain go completely reborn into doubt," assessing the distinct
HOP H C SCOT
values inherent in two kinds of breakfast, exploring the miniature offerings of selfrecognition that lay waiting in every act of shaving, and reminding us to cherish the glaze of sleepy morning stasis: " ... we are never closer to a state of grace than on those mornings when we lie in bed, half-awake, allowing ribbons of thought and itinerant dreams to drift idly through our minds. We are as yet no more than pure potential ... sending out feelers and drawing them back again, between the shadows and the flares of light which occasionally reach us from between the closed curtains ... " Not all of these writings are so serene. One piece considers the unease raised by retrieving your luggage from the airport's conveyor belt and wondering where it's been or who's been inside of it. Another is a strident defense of the word "cunt." There are a number of rousing declarations threading through Working Knowledge, which sometimes read as so out of
left field as to constitute enigmatic oneliners. "Only visiting mothers truly makes it possible to get to know a foreign city," he writes at the top of "Mothers and Daughters." Yet as the book continues Král engages with his topics less as platforms for such pronouncements than as opportunities to ask the reader questions, as in his pages on laughter, where he wonders when did we first truly laugh, or whether true laughter is instinctive or learned. The prose seems cleanest when considering concrete items with a minimal number of words, yet I think the most wonderful passages are the longer ones which, only en route to some other assertion, pause to offer some tantalizing fragment of some other, larger story. These micro-narratives include references to excons from Guyana who build their houses facing the prison as a reminder not to go back, to a mountaineering conductor who takes a catastrophic fall, to Lenin asking Trotsky for a cigarette even though he didn't smoke, or to Luis Buñuel, who was hard of hearing, spending his final days rising at dawn to listen to the wind in the trees off his Mexico City terrace. Like Kundera, Král, a poet, essayist and one-time surrealist, is a Czech living in France since fleeing his homeland back in
VUEWEEKLY // JUN 17 – JUN 23, 2010
1968. It's tempting to attribute his sensitivity to small things to the exile's condition and its implied nostalgia—after all, there is in Working Knowledge a tribute to Czech Christmas fish soup that's as brimming with affection as anything else in this book—but I'm fairly confident that Král would have written about such things anywhere and under any circumstance. Though often writing as though of universally shared experience, his perspective is unapologetically specific— male, white, heterosexual, European, art loving and at times a little old-fashioned in his adoration of women and notions of gender roles—yet it's this specificity that elevates Working Knowledge to something inspired, bold and funny, and necessarily particular, rather than aphoristic. I'm certain that this book is best read slowly, or even randomly, at one's whim, but my present conditions compelled me to gobble it up over only a couple of sittings. It's the sort of thing I read first for pleasure, secondly for work and, perhaps thirdly, out of a lingering suspicion—or desire—that to live with a little more alertness to quotidian experience might make us better human beings, or at the very least slightly more pierced by the rush of living as it passes us by. V
ARTS // 15
PREVUE // I LOVE YOU, YOU'RE PERFECT, NOW CHANGE
Extended lovelife
I Love You, You're Perfect, Now Change found success without Broadway [smaller] venue." With that in mind, it should fit comfortably in to the Catalyst theatre, where Winnick's wrapping up rehearsals of his own version of the comic musical revue, leading a cast of eight though more than 60 characters' scattered tales of love.
Paul Blinov // paul@vueweekly.com
T
hough it never played on a Broadway stage, I Love You, You're Perfect, Now Change easily could have. At the very least, a lack of popularity didn't factor in. Compared to Broadway's own staple shows—on a whim, let's pick Annie and Oklahoma! to represent the classics—I Love You's original run, which happened on an Off-Broadway stage, easily outdid both in terms of performance numbers, with more than 5000 shows between 1996 and 2008. That's double the original runs of either show—granted, their first performances happened in a different decade. But it's still just 100 performances shy of Rent's just-as-modern first go (which did make the jump to the Broadway), and I Love You's gone abroad, too, being translated into more than a dozen languages including Mandarin, Hebrew and Korean.
THEY DO? >> Love is a funny thing, especially in musical theatre Its Broadway absence, muses director Richard Winnick, might simply have been a choice. "I think when you've got something this intimate, if you put it in too large a venue, and mic people and start doing
// Supplied
all that, I think you start to lose some of the identification and the personal feeling that's behind the show," he says. "I wouldn't be surprised if they had the chance and just decided, 'you know what? This works better in this
The show's split into mostly unrelated vignettes, arranged more or less along the timeline of a relationship, starting with first date nerves and moving through awkward get-to-know-youtalks, deepening love, marriage, children and re-entering the dating pool after the death of a spouse. The downand-out warble of "Always a Bridesmaid" might ring a bell; a title like "A Stud and A Babe" sounds like the title of a snide slice of punchy comedy. It resonated with ensembled member Nicholas Mather, who chalks the show's success up to simplicity: tackling one of the most universal subjects
out there with a sharp, observational sense of humour. "At any point of the entire play you can actually relate to any type of character or situation. I think everyone has had their experiences with mother-in-laws and the whole dating game, bad dates, and, y'know, the first fight, and all this kind of thing," he says. "It kind of takes all these situations and relationships and presents them in a kind of reflective, comedic way, and a lot of people just find it very entertaining." V Thu, Jun 17 – Sat, Jun 19 , Thu, Jun 24 – Sat, Jun 26 (7:30 pm) I Love You, You're Perfect, Now Change Written by Joe DiPietro and Jimmy Roberts Directed by Richard Winnick Starring Andrew Despres, Natasha Guindon, Kara Little, Nicholas Mather, More Catalyst Theatre (8529 - 103 St), $20 – $25
PREVUE // RENT
OPERA // FALSTAFF
Bohemian like you
Verdi's last laugh
David Berry
Maria Kotovych
// david@vueweekly.com
// maria@vueweekly.com
A
I
Falstaff the opera master's only comedy
The musical hit Rent premieres in Edmonton s the eighth-longest-running musical in Broadway history, with a feature film version and a multi-million selling score that has produced at least one song almost everyone can hum, Rent obviously made a pretty indelible impression on a lot of lives. For Two One-Way Tickets to Broadway artistic director Martin Gulba, though, the show left a particular mark, since he was living the life of the bohemian when he first heard it. "I had just come back to Canada when some friends and people I was working on a musical theatre show with started talking about the music. At that time, I was a struggling artist, working parttime, going to school and the theatre, renting a small little bedroom in the basement of an old victorian house off Whyte Ave," Galba explains. "I had $40 until my next paycheque, but I went to the HMV downtown and bought the double-disc." That kick-started an affair that has sustained him until now, when he finally gets a chance to take a crack at Jonathan Larson's pop-opera opus. Set in the bohemian enclave of Manhattan's Lower East Side during the '80s—and drawing direct inspiration from Puccini's La Bohème—it follows, for any unaware, the struggles of a group of young artists and professionals as they attempt to make their way through a city, the normal struggles of young adulthood amplified by the
16 // ARTS
SING IT OUT >> The cast of Rent belt out a number threat of gentrification and the surging AIDS epidemic (appropriately, Two One-Way Tickets has partnered with HIV Edmonton for the show, and will have a donation box on hand for those that wish to support it). As evidenced by the update, it's a story where the specifics might change, but where the message and mood remain quite universal. Still, as much as Galba recognizes just how poignantly Rent can hit its audiences, for him, it's the music that keeps him coming back. Described by Larson as opera for the MTV generation, it's a blend of popular styles with operatic tendencies whose success is obvious. "The musical genius of the show ... is that it combines a lot of different musical genres while following that operatic structure, and of course the
// David Wilson
story," says Galba. "Every different musical genre that's used in the show really fits the story and the story of each character. He was really able to pull the music into the show and make it fit everything—it seems like he really tried to grab the last 100 years of music and put it all into one show. And it's really amazing how he's able to make everything work together so flawlessly and so perfectly." V Fri, Jun 18 – Sat, Jun 26 (7:30 pm; SAt Matinee 2 pm) Rent Directed by Martin Galba Music, book and lyrics by Jonathan Larson Starring George Krissa, Richie Cannon, Alix Ryan-Wong, Nevada Collins-Lee La Cite Francophone (8627 - 91 St), $25
VUEWEEKLY // JUN 17 – JUN 23, 2010
n his senior years, legendary opera composer Giuseppe Verdi did something new—he wrote his only comedy, Falstaff. Librettist Arrigo Boito, with whom Verdi often worked, convinced the composer that they should go out with a bang, explains Michelle Cusson, who plays Alice Ford in Opera Nuova's upcoming production of Falstaff. "This was kind of a culmination of a 100-year career," Cusson says. "[But it was] kind of a 'ha-ha' to the world in terms of how complicated and technically difficult it is." Falstaff's wordiness underlies much of its difficulty; the wordiness itself occurs because of Verdi's departure from a traditional approach to writing opera music. A typical opera incorporates two singing styles: speech-like recitatives to advance the story, and beautiful arias in which a character reveals emotions. Arias also hold up the plot, but in Falstaff, the action never stops, not even for the arias—and there are just two of those. Cusson thinks that by departing from tradition, Verdi also thumbed his nose at the singer-centric culture dominating opera in the 18th and 19th centuries. "I just did Don Giovanni ... there are two versions of the opera. One, the original, and one that Mozart had to write extra arias into it because the famous singers were like, 'There's not enough stuff for me!' And that's the way opera was in the 18th and 19th century.
"So you've got to imagine that [Verdi's] probably got all these sopranos saying, 'Hey, I want you to add an aria in for me. Why won't you do this?' And [Falstaff] is Verdi saying, 'No, I'm going to write this, and this is how it's going to be. And it's not just about the singer. It's about the music. It's about the story.' So you get a very different concept than what [people were] used to in opera at that time." Opera continues to change today, too. Cusson observes that a current trend in the opera world involves hiring singers with the best "total package," including looks and acting ability. Similarly, Opera Nuova's singers have taken classes ranging from acting, dancing, yoga, fencing and stage combat. "People are saying to me, 'Hey, how was your day today?' And I say, 'Oh, it was great! I got to learn how to kill myself!' Or 'I learned how to slap someone!'" Cusson laughs. "Because singing is going away from being about just the voice—it's becoming the whole package—we're learning a lot about how our voices are connected to us as a person, and how our emotions and our physical state at the time we're singing affect our voice." V Wed, Jun 23 (7:30 pm); Fri, Jun 25 (7:30 pm); Sun, Jun 27 (1:30 pm, 7:30 pm) Falstaff Written by Giuseppe Verdi Directed by Kim Mattice Wanat Timms Centre for the Arts (87 ave - 112 st), $27.50 – $37.50
BOOKS // GRAPHIC NOVEL ROUND-UP
War, middle-age, paradoxes A cross-section of recent graphic novel releases Brian Gibson // brian@vueweekly.com
J
oe Sacco began as a comic-strip journalist with Palestine, documenting two months in 1991-92 in the Occupied Territories. That book was a bit sprawling, busy, yet loose, suffering from its original nineissue format. Footnotes in Gaza sees Sacco return to the place but to revisit a different time and, after eight years, he's laid out in one volume an immersive masterpiece of graphic reporting. The critical events—the 1956 massacre by Israeli soldiers of hundreds of Palestinian civilians in Khan Younis and Rafah during the Suez Crisis after the emergence of the fedayeen, the first Palestinian fighters/ guerrillas/terrorists (choose your loaded term)—are circled around. That's understandable, given the tangled, bloody skein of Israel-Palestine relations and eyewitnesses' time-misted memories. So what's remarkable isn't just the basic depth and detail of historical context but how Sacco somehow draws each section back to the main historical thread. Sacco's style has become richer and more defined. There are then-and-now, stark vistas of refugee camps on the Gaza Strip grown up into today's apartment blocks. Lined men's faces change little over the generations; the landscape's like a palimpsest, the bloody history of a street where men were executed by the Israeli Army traced out by a survivor's memory. The disproportion between Israel and Palestine—in weapons and deaths—echoes throughout, but many of the Gaza fighters express great disaffection with their leaders, full of profitable self-interest. Testimonies conflict and collide, justifications and rationales blur and shimmer, but the base, awful truth remains. In the end, Sacco realizes just how much and how little his interviews with survivors can reinterpret their wordless pain, a pain now throbbing more angrily for many Palestinians whose homes are being bulldozed or sons killed in 2004, not 1956. Capped by footnotes, interview excerpts and other appendices, Footnotes in Gaza is both bloody historical record and graphic investigative journalism, illustrating past horrors that paved the way for present suffering. Famed French bande dessinée creator Jacques Tardi began It Was the War of the Trenches in 1982 and completed it a decade later. Issued now in its first English translation, the book surveys the landscape of World War I in brutal detail (Tardi relied on historian and archivist Jean-Pierre Verney). Yes, Tardi inks out the barbed wire and the sludge, shells blasting overhead and machine-gun fire mowing down soldiers charging enemy lines. But he plunges deeper into warfare's insanity, recounting a tank that trundles relentlessly on, over a dying soldier, or the French regiment ordered to shoot at a German division approaching with Belgian women and children in front of them. Snippets of grandiose exhortations from priests and generals are stamped among
EYEWITNESS ACCOUNTS >> A page from Footnotes in Gaza images of corpses blown up out of the ground, "tossed into the tattered trees and tangled there," or men who won't go back out over the top being shelled by their own forces. Some French evince disgust in their cause, some try to get sent home after purposely infecting limbs with gangrene, and others march across No Man's Land to the certain death they now prefer. The stark, widescreen-like panels, three to a page, sweep over the trench-dug, mudburied waste of a horizon or foreground the glazed faces of the fighters. Tardi includes a bibliography (up to the 1990s) of classic books and films about the war, but his own work merits a place among them. This is an epic portrait of an international nightmare where "Men are mere sheep and the slaughterhouse is where they have been told to stay." Rarely has fatalism, cinder-black humour and bleakness been so crucial to a graphic novel. Daniel Clowes' Wilson doesn't quite earn its badge of honour for downbeatness. A brew of comic-strip, story and character study, the book slowly sours more than the title character. Wilson's a middleaged bachelor in Oakland, though we come to learn—in one-page strips, six to eight frames—that he's divorced and his father's dying of cancer, while he learns he has a daughter. The glimpses of Wilson's lonely, cankered soul reveal a man who prefers to tell off or dismiss others (with "asshole" or "shithead" or a general "fuck it" to the world) than confront himself, though those rarer moments can be touching: "I remember when Mom passed away. She was so sick ... It was actually kind of a relief at first. But then ... it was like ... what if I told you tomorrow you'll never see the ocean again? You can live your life and do whatever the hell you want, but you can't see the ocean ... You may not even like the damn ocean but it's just ... Oh, Christ." The storyline is too thick (death, a reunion, a revelation, a pseudo-kidnapping, jail, another death, a new relationship and more) to gain force with one-page bursts. Those bursts are rendered in different styles—cartoony, more realistic, caricature-ish—for no clear
// Joe Sacco
reason. There's a sense of the cheap-andeasy, from a predictable "ass-rape" joke in prison to episodes feeling reduced to the last frame's quip. Wilson's nasty outward misanthropy and misogyny isn't balanced enough by his inner melancholy and sense of loss—as with the mysteriously contemplative final page—for the story to take on sharper, deeper hues. James Sturm lets sadness descend slowly, with the night, in Market Day. An exquisite, patient portrait of an artist as a not-so-young man (and expectant father), the book's set in the old country, where Mendleman travels from his shtetl to sell his rugs at the town market. Even as he enters the craftsman's thoughts about how important his wares are to a home or synagogue, Sturm braids a deft paradox—this weaving artist's despair at the commercial bottom-line and the husband's reluctance to be tied down to home. As Mendleman trudges on, life seems to parade by him, from the dusky horizon to other craftsmen at the market. The tale's zenith is Mendleman's imagining of market bustle before him as a rug, each frame shifting towards the final tapestry. And as lofty idealism and crass practicality, the warp of resentment and woof of responsibility come together, Sturm's story ends on the threshold of one man's wavering faith, beautifully ravelled over the course of one waning day. V FOOTNOTES IN GAZA by joe sacco metropolitan 418 pp, $35.95 IT WAS THE WAR OF THE TRENCHES by jacques tardi translated by kim thompson fantagraphics 118 pp, $26.99 WILSON by daniel clowes drawn & quarterly 77 pp, $23.95 MARKET DAY by james sturm drawn & quarterly 87 pp, $23.95
VUEWEEKLY // JUN 17 – JUN 23, 2010
ARTS // 17
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9dZ]jl /0(&,.(&,+)( SHIFTING PATTERNS: CmjYl]\ Zq 9Zgja_afYd Yjlakl$ 9Yjgf HYim]ll]$ [gfl]ehgjYjq Yjl [j]Yl]\ Zq 9Zgja_afYd Yjlaklk :]jl ;jgo^ggl$ 9d]p BYfna]j$ ?]gj_] Dalld][`ad\$ <aYff] E]ada$ @]Yl`]j K`addaf_dYo Yf\ HYmd Keal` Until Jul 3
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/0(&,-+&1)(( REEDS AND WOOL: HYll]jf]\ K[j]]fk g^ ;]fljYd 9kaY eY\] Zq fgeY\a[ Cqj_qr oge]f3 until Jul 4 NATURAL SELECTIONS: JgqYd 9dZ]jlY Emk]me K[a]flaklk g^^]j nYjagmk na]ok gf 9dZ]jlY¿k Zag\an]jkalq3 until Oct 13 H`glg_jYh`k Zq l`] H`glg_jYh`a[ 9jlk Kg[a]lq g^ 9dZ]jlY3 until Jun 20 WILDLIFE PHOTOGRAPHER OF THE YEAR3 until Jan 9, 2011
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LITERARY AUDREYS BOOKS )(/(* BYkh]j 9n]
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/0(&,**&0)/, Ojal]jk ?mad\ hj]k]flk KljYa_`l >jge l`] @gjk] k 9kkºL`] =_g¿k Bgmjf]q =\egflgf! Y `megjgmk'[jala[Yd lYdc Zq @ajgea ?glg Wed, Jun 23, 6:30pm >j]] O?9 e]eZ]j!' - fgf%e]eZ]j!
PROVINCIAL ARCHIVES OF ALBERTA 0---
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ROUGE LOUNGE )()))%))/ Kl /0(&1(*&-1(( Hg]ljq ]n]jq Lm] oal` =\egflgf k dg[Yd hg]lk STANLEY A. MILNER LIBRARYʸ / Kaj Oafklgf ;`mj[`add Ki /0(&,1.&/((( Centre for Reading2 >jge :ggck lg >ade3 ]n]jq >ja$ *he Teen Movie Scene2 egna] [dmZ ^gj l]]fk3 )kl Yf\ +j\ L`m ]n]jq egfl` Writers’ Corner2 =HD¿k 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
THEATRE BUDDY! THE BUDDY HOLLY STORY EYqÇ]d\ <aff]j L`]Ylj]$ )..)-%)(1 9n] /0(&,0+&,(-) EYqÇ]d\l`]Ylj]&[Y Until Jun 27 GREASED BmZadYlagfk <aff]j L`]Ylj]$ *.1($ 000*%)/( Kl$ O=E /0(&,0,&*,*,')&0//&*),&*,*, Until Aug 15 I LOVE YOU, YOU’RE PERFECT, NOW CHANGE ;YlYdqkl L`]Ylj]$ 0-*1%)(+ Kl Emka[Yd [ge]\q hj]k]fl]\ Zq =DGH= Emka[Yd L`]Ylj] Jun 17-19, 24-26 *- Y\mdl!' *( klm\]fl'k]fagj! Yl LAP gf l`] KimYj]$ \ggj
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[ge VIVARIUM: Log Yf\ l`j]]%\ae]fkagfYd ogjck Zq :jaYfY HYde]j Until Jul 10 ;]flj]$ +-%- 9n]$ Khjm[] ?jgn] /0(&1.*&(.., Ydda]\Yjlk[gmf[ad&[ge Bmja]\ e]eZ]jk k`go3 until Jun 19 BLACK AND WHITE2 9jlogjck Zq e]eZ]jk3 Jun 21-Jul 243 gh]faf_ j][]hlagf2 Bmf *.$ )%,he
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KlYj L`]Ylj]$ ))*))%),* Kl /0(&,-)&++,, l]dmkogjd\g^k[a]f[]&[ge']\egflgf SULTANS OF SCIENCE: Afn]flagfk l`Yl LjYfk^gje]\ l`] Ogjd\3 until Sep 6 U2 at TWOS$ >mdd%<ge] =ph]ja]f[] k]l lg l`] emka[ g^ M*3 \aily Jun 26-Sep 6 @gjk]kº L`] Klgjq G^ =immk af AE9P3 gh]faf_ Jun 19-20 @gjk]hgo]j O]]c]f\2 Jun 19-20
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UNIVERSITY OF ALBERTA MUSEUMS L]dmk ;]flj]$ EYaf >d$ 0/ 9n]$ ))) Kl$ M g^ 9 emk]mek& mYdZ]jlY&[Y /0(&,1*&-0+, HUMAN NATURE2 LANDSCAPES REAL AND IMAGINED2 >]Ylmjaf_ f]o Y[imakalagfk ^jge l`] M g^ 9 9jl [gdd][lagf3 until Jul 3 Talk2 >jge DYoj]f @Yjjak lg =eadq ;Yjj2 9f 9jlakl¿k ?a^l$ hj]k]flYlagf Zq ;`Yjd]k @add3 Tue, Jun 15, 7pm af l`] L=DMK ;]flj] 9m\algjamek3 ^j]] Talk: EYcaf_
VUEWEEKLY // JUN 17 – JUN 23, 2010
lgof =\egflgf l`]ogjck&YZ&[Y Dggc 9l Al L`ak OYq2 *-l` 9ffan]jkYjq Jun 25-Jul 7
IMPROVAGANZA NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n]'H;D Klm\agk$ LjYfk9dlY 9jlk :Yjfk$ )(++(%0, 9n] JYha\ >aj] L`]Ylj] hj]k]flk l`ak _YdY ]pljYnY_YfrY g^ [ge]\q aehjgn klYjk ^jge Yjgmf\ l`] ogjd\ Until Jun 26 )( /2+(he$ o]]c\Yqk Yl l`] NYjk[gfY!3 )- /2+(he Yf\ ))he$ >ja%KYl!3 *( ÇfYdk$ Jun 26, 11pm!3 )- H;D Klm\agk gf Jun 18, 19, 25, 26 at 8pm!' )( Yl ))2)-he! Yl LAP gf l`] KimYj]3 KYl )he Yl NYjk[gfY HYq%O`Yl%Qgm%;Yf \ggj!
SNAP (Society of Northern Alberta Printartists) )()*+%)*) Kl /0(&,*+&),1* kfYhYjlaklk&
18 // ARTS
THE WORKS FESTIVAL NYjagmk n]fm]k$ <gof-
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RFT IMPROV WORKSHOPS J>L Ogjck`gh 9[Y\]eq$ )(1*(%00 9n] JYha\ >aj] L`]Ylj] k Y\nYf[]\ ogjck`gh aehjgnakgjk Jun 22, 1-4pm oal` LYr NYfjYkk]d3 Jun 23, 1-4pm oal` BYq\]f HÇ]^^]j3 Jun 24, 1-4pm oal` ?]gj_] :Ykad .('[dYkk3 )-('Ydd + [dYkk]k SERCA FESTIVAL OF IRISH THEATRE Gd\ ;q[d] :d\_$ 1+-)%))0 9n] k]j[Y^]klanYd&[Y Hj]k]fl]\ Zq L`]Ylj] Hjgkh]jg& HYjl g^ l`] ;Ym_`l af l`] 9[l l`]Ylj] k]ja]k gf ))0 9n] ^]Ylmjaf_ EY__a]%Fgo HYjl *2 L`] :ggc g^ =n]jql`af_3 Khgc]kgf_3 L`] ?gg\ L`a]^3 Yf\ L`ak Dae] Lj]] :go]j Jun 22-27 ).' )* klm\]fl'k]fagj! Yl LAP gf l`] KimYj]$ \ggj3 ,( ^]kl hYkk!' +( ^]kl hYkk klm\]fl'k]fagj! THEATRESPORTS NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] /0(&,++&++11 JYha\ >aj] L`]Ylj] ]n]jq >ja until Jul 30, 11pm )( \ggj!' 0 e]eZ]j!3 no shows Jun 18, 25
INSIDE // FILM
FILM
Online at vueweekly.com >> FILM
22
Warning! Stay Back from the Future Le combat dans l'ile
Brian Gibson picks the five worst '80s movies that Hollywood could remake
REVUE // PLEASE GIVE
The ilk of human kindness Please Give examines how we act as moral human beings
their living as antiques dealers, raiding dead peoples' apartments for one-ofa-kind, heavily marked-up treasures— something Alex seems fine with, but for which Kate atones with $20 bills and meals for homeless people, much to the chagrin of her daughter, who can't convince her mom to buy her $20 jeans. But maybe Alex is only too happy to gloss over any ethical questions because he's also started up an affair with Mary after hosting the sisters at a please-don't-hate-us-because-we'recircling-like-vultures dinner.
David Berry // david@vueweekly.com
N
icole Holofcener's latest opens with breasts being squashed into a mammogram, but anyone familiar with her work should know that she'd explore something as serious and obvious as breast cancer. In Please Give, she's taking on the less life-threatening but also less-solvable problem of how exactly you be a good, moral person in the world, especially when you're living a life of relative privilege. In some ways it's an exploration of liberal guilt, although it's far more nuanced and thoughtful than such a simple term gives intellectual space. The only mortality really faced by any of the characters here is the impending death of Andra (Ann Guilbert), the lessthan-civil old crone who essentially ties the threads of these characters together. She is Rebecca (Rebecca Hall) and Mary's (Amanda Peet) grandmother, and though she raised them after their father left and their mother took her own life, their relationship now is nothing but a struggle: Rebecca manages to find time to swing by and run errands after her shift at the breast cancer clin-
BE GOOD >> The characters of Please Give try to live moral lives ic, but Mary can rarely be bothered, the latter's behaviour almost maybe justified by Andra's relentless negativity, typified perfectly in the unceremonious way she rejects their birthday present, a too-fancy nightie (because, really, what else do you get a woman waiting to shuffle off ?). Pulled into this troubled family dy-
// Supplied
namic are Kate (Catherine Keener) and Alex (Oliver Platt), the couple next door who have bought Andra's apartment and are waiting as politely as possible for her to kick off, so they can knock down the walls and expand their living room and maybe get a new master bedroom. This is the least of their moral quandaries, though: they make
There is an awful lot going on here, but it all seems quite crucial to what Holofcener is trying to explore, and what's more is that it all feels quite natural to the lives of the people she depicts, too. It's an effortlessly absorbing film that manages to mix pieces that almost feel like cinema-verite-captured situations into an overall statement that's structured like an essay on what it means to be a good person. Even there, though, that's not quite on the mark: with so much happening, there's not a lot of room for obvious answers, and Holofcener's lack of judgment or manipulation is one of the film's great strengths. Are these
people—or, more accurately, Kate and Rebecca, since it's their dual journeys that are at the forefront, and the most ambiguous—self-absorbed neurotics who are using their sense of guilt as a salve to keep them from actually having to change, or genuinely striving, good people disarmed by the overwhelming complexities of living? I lean towards the latter interpretation, but I think you could take it either way. And that, really, is what pushes Please Give above anything so simple as middle-class white worry into a deeper exploration of how we be human: Holofcener throws into relief tendencies we all have, forces us to live with them and leaves us to wander back outside and wonder not only if we're behaving any differently than what we just saw, but whether or not we should be. V Opens Fri, Jun 18 Please Give Written and directed Nicole Holofcener Starring Catherine Keener, Rebecca Hall, Oliver Platt, Amanda Peet Garneau Theatre (8712 - 109 St)
COMMENT >> DVD
So bad they're good The perverse draw of truly terrible movies
I take a perverse pleasure in watching has a cast and crew of at least a dozen, genuinely terrible movies, but it's not reand anything that actually went through a ally in the ironic, laugh-at-the-ineptitude studio required the vision and talents, as it sort of way (with the notable exception of were, of at least that many people in main Tommy Wiseau's absolutely stunning The creative roles, plus the skills of dozens Room, which I'll touch on more in a bit). My more crew. interest, since I don't think I could reSo I was at least a little disappointed ally call it enjoyment, is two-fold: when I popped in Rampage, the latfirst, there's the inherent beest from German tax-break auteur musement that comes from Uwe Boll, and found that it really taking on any piece of art wasn't all that bad. It's certainly m .co that is just monumentally not great or anything, but Boll's weekly e u v @ ctive terrible, the honest and deep dvddete films up until now have become d i Dav inability to understand exiconic for their sheer levels of notBerry actly how it is anyone involved giving-a-fuck-itude, matched only by with the project could think what Boll's hard-headed assertions that he's they're doing is worthwhile, or even just some kind of genius completely unapprea passable way to spend the time. Then ciated and misunderstood by fanboys and there's the fact that, with movies, you're critics (culminating in the moment where talking about a much larger blame to lay: a he actually took to the boxing ring to face terrible novel is really only the work of the some of his critics, which almost makes me writer and maybe an editor, whereas even think he's slightly in on the joke). the lowest-budget bad indie film probably Unlike most Boll films, Rampage isn't ac-
DVCD TIVE
DETE
tually based on a video game, although it shares a certain sensibility with a first-person shooter. It starts off by introducing us to Bill (Brendan Fletcher), a kind of aimless twenty-something whose life is filled with little indignities. He's still living the relatively comfortable life of a suburban kid, all the more reason for almost pointless little things to grate on him: his parents are starting to get on him about sorting out his life, pressuring him about college and moving out; the baristas and counter girls who serve him his coffee and fast food couldn't care less about getting his order right; his boss treats him like a useless grunt; his best friend is full of ideas about how screwedup the world is, but pretty short on any ideas about what to do about it. His is the grating life of another cog in the machine, pretty much. These early scenes, which are cut with bits of forward flashes—Bill's vengeance fantasies infringing on his everyday life— and indeterminate video clips, are effective, mostly because they have kind of a loose, improvised feel, aided by Boll's handheld camera, which jitters and jumps ceaselessly. They explicate the underlying points far too plainly and obviously to really feel all that
smart or profound, but still, this is thriller/ horror—and an Uwe Boll film—with at least some kind of odd message, and judging by the positive reaction to a film as problematic as Splice, those are evidently in short supply. Once Bill, armoured up in a kevlar suit and armed with machine guns, actually begins his eponymous rampage, there is even more going on. The event itself is over-long—it's two-thirds of the film—to the point where it actually just starts to feel boring, but within there are some interesting touches. The wanton violence looks like a video game or a first-person view of a slasher flick, and the way it all quickly becomes rote and almost inconsequential—oh, look, he's gunning down another fleeing victim— seems like something of a comment on just how meaningless it all becomes to fans of those particular genres, especially since Boll has been pretty critical of them in the past. There's also one scene in a bingo hall that's a bit of sharp dark comedy: none of the almost-brain-dead seniors even takes note of the armoured, machine-gun-toting lunatic in their midst until he steals one of the bingo balls, and Bill ultimately leaves
VUEWEEKLY // JUN 17 – JUN 23, 2010
in disgust without firing a single shot, like these people are dead enough that a bullet won't even matter. Rampage still has enough problems— the obviousness, a bit of a cheap third-act twist, its pacing and the fact that Boll is sometimes doing way too much with his shaky cam—that it isn't exactly great, but it still suggests that Boll might have more cleverness in him than any of us have given him credit for. The same cannot be said for The 41-YearOld Virgin Who Knocked-Up Sarah Marshall and Felt Superbad About it, which definitely fulfilled my terrible film itch. I recently had a conversation with a fellow writer who suggested that you could read The Room as a kind of Lynchian commentary on the audience's expectations of drama, and in a similar vein, you could take 41-Year-Old as Judd Apatow through a dadaist filter, albeit one that's a little more obsessed with bodily fluid. A mix of the mindless pop cultural references of Friedberg/Seltzer and the senseless gross-out/ethnic stereotype humour of the youger Wayans, it unbelievably manages to be less funny than either style. It's the kind of film where even the caterers should be ashamed. V
FILM // 19
FILM REVIEWS
WN BRO RY HAR EAM A-T THE
Film Capsules Now Playing The A-Team
Directed by Joe Carnahan Written by Carnahan, Brian Bloom Starring Liam Neeson, Bradley Cooper, Quinton 'Rampage' Jackson, Sharlto Copley The downright unreal action sequences in the latest of latest TV-to-megaplex revivals are sent soaring past logic and believability, even as the characters and storyline frequently try to keep itself in line with a sense of realism. As a remake spun off of a 1980s action series with an already fairly juiced-up case of absurdity, The A-Team's attempt to seem plausable indirectly revives a significant motif of the original de-
cade—portraying heinous explosions and revenge plots as a down-to-earth reality of justice and law enforcement. Bringing back the original four members of the escaped convict squad—Hannibal, Faceman, Murdock and Baracus—they are once again on the run to set criminal wrongs right, only this time set against misfit contemporary settings like the "last few days" of the war in Iraq and a bleak Ludlum novel-esque Berlin. Unlike fellow tube remakes Charlie's Angels and The Brady Bunch Movie, what is however missing from The A-Team is the blanket sense of humour that maintains the irony of its overexcitability. Kicking off with the team's origin, they accept a shifty mission in the Middle East, only to wind up behind bars for somebody else's misgivings. While in prison, aging but still kick-ass Hannibal (Liam Neeson) is tipped off by a dashing CIA agent (Patrick Wilson), with whom he stages a great escape for him and his men, each at other facilities. From there, it's purely a mission to uncover which jerk is behind their unjust imprisonment while a fierce yet honest female lieutenant (Jessica Biel) is on their trail, yet the whole thing feels much more complicated (and exciting) in the midst of watching it. With remarkably poignant casting— heartthrob Bradley Cooper, UFC fighter Quinton "Rampage"Jackson and District 9 star Sharlto Copley as the rest of the crew—The A-Team is also quite smirkily written with goofy dude humour that seems rather expired in contrast to the ripe self-awareness of last year's Star Trek. It partly emulates the same flavour of the series with the machismo concept of "pure action," but also plunks down a series of meek plot twists that already seem irrelevant to the culture of clever hit remakes, a much more challenging standard to meet than that of its campy predecessor. Jonathan Busch
// jonathan@vueweekly.com
20 // FILM
VUEWEEKLY // JUN 17 – JUN 23, 2010
Harry Brown
Directed by Daniel Barber Written by Gary Young Starring Michael Caine, Emily Mortimer The perfect encapsulation of Harry Brown's remarkably narrow view of crime and criminals comes when our eponymous hero (Michael Caine) ties up and tortures one of the young men suspected to have been involved in the murder of his pensioner friend. He's a crummy punk who won't talk to the cops and all, sure, but in this particular case, at least, we also know he's a kid who's bounced from foster home to foster home and been sexually assaulted the whole while: Harry actually only gets his hands on the youth because he shoots a man who has essentially abducted and then raped the kid. Far from showing even the slightest bit of sympathy or understanding, though, we're treated to him getting beaten with a rubber hose and tied up in a dog collar in a scene where our supposed hero really doesn't come off much better than the thicknecked drug dealer who was just forcing the kid to give him a blow job. Revenge fantasies in the model of Death Wish are usually fairly reactionary, but at least that Bronson vehicle had hints of subtlety and humanity on occasion, and was a little more ambiguous about how much we should identify with the protagonist. Harry Brown is a hagiography of a fed-up ex-marine who can't take these troublesome kids anymore, and his criminal adversaries are drawn with less moral shadings than the Nazis in Inglourious Basterds. Another perfect example: when Harry meets some underworld dealer to buy an illegal gun, we watch the bad guy walk through a forest of marijuana, show a video of him rap-
FILM REVIEWS
Film Capsules
FILM WEEKLY FRI, JUN 18 – THU, JUN 24, 2010 s
ing some junkie, offer Harry a chance to rape the same junkie, shoot up heroin, shoot at his coke-snorting assistant and then smoke hash out of the heated gun barrel. I assume in the deleted scenes, he also tortures a puppy, but perhaps this was left out because it might be too over the top. The ugly and simplistic politics detract from what's otherwise some very effective direction from Daniel Barber: he gives everything a washed-out kind of grime, and also has an eye for little gestures, the opening montage of Harry getting dressed for his day being a sharp scene full of close-ups and lingering shots. Those combine to ground the film in a visual reality that its dim-witted, oldman-revenge-fantasy script just doesn't deserve, although the combination should play very well to anyone that's convinced graffiti is a sure sign of our impending cultural implosion. David Berry
//david@vueweekly.com
The Karate Kid
Directed by Harald Zwart Written by Christopher Murphey Starring Jaden Smith, Jackie Chan, Taraji P Henson It's pretty clear from the start that this version of The Karate Kid is going to be slightly different than its predecessor, but similar overall. The film begs viewers to make the comparisons in the opening credits, when 12-year-old Dre Parker and his mother stuff their suitcases into a car and leave an industrial northeast US city (Detroit instead of New Jersey) for a more serene environment (Beijing instead of the California coast). Familiar obstacles and interests compel Parker (played by Jaden Smith with the same cocky charm and self-deprecating swagger of his father, Will Smith), such as an inability to fit in, a crush on a girl, a gang of bullies from the same martial arts club who have violent tendencies because of miseducation and a quiet man who trains Dre to defend himself against them, even entering the boy into a fighting tournament. But Dre is technically not training to be The Karate Kid. He's The Kung Fu Kid. And the gardener Mr Miyagi is now the maintenance man, Mr Han, played by Jackie Chan with similar emotional detachment and a thinner goatee, but 10 times the agility of Pat Morita. Chan and Smith share a wonderful dynamic built heavily on elements of the original (though "Wax on, wax off" is replaced with "Pick it up, put it on," which doesn't have the same contagiousness and will never catch on as a pop culture meme). Smith's eagerness to fight and willingness to learn contrasted with Chan's cold attitude that heats up under pressure sets the stage for these characters to meet somewhere in the middle through practice and patience. Being a mostly loyal remake, The Karate Kid follows the formula of the original CONTINUED ON PAGE 22 >>
CHABA THEATRE�JASPER
ing: THU 1:00
SPLICE (18A disturbing content, sexual content) FRI� TUE 7:25, 10:25 KILLERS (PG violence, coarse language) FRI�MON, WED�THU 1:20, 4:15, 7:05, 9:45; TUE 1:20, 4:15, 7:05 MARMADUKE (G) FRI�TUE 1:30, 4:10
TOY STORY 3 (G) DAILY 7:00, 9:10; SAT, SUN 1:30
GET HIM TO THE GREEK (18A substance abuse, crude sexual content) FRI�TUE 12:40, 3:45, 7:10, 10:20; WED�THU 12:40, 3:35, 7:25, 10:25
THE A�TEAM (PG violence, coarse language, not recommended for young children) DAILY 7:00, 9:10; SAT, SUN 1:30 s
PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young children) DAILY 12:50, 4:30, 7:40, 10:35
6094 Connaught Dr, Jasper, 780.852.4749
CINEMA CITY MOVIES 12
5074-130 Ave, 780.472.9779
RAAVAN (STC) Hindi W/E.S.T. FRI�SAT 1:20, 4:15, 7:45, 11:00; SUN�THU 1:20, 4:15, 7:45 PANJABAN (PG violence) DAILY 1:05, 4:30, 8:00 RAAJNEETI (14A) Hindi W/E.S.T. DAILY 1:00, 4:25, 7:50 MACGRUBER (18A, crude content) FRI�SAT 1:50, 4:45, 7:40, 9:40, 11:55; SUN�THU 1:50, 4:45, 7:40, 9:40 A NIGHTMARE ON ELM STREET (18A, gory violence) FRI�SAT 1:55, 4:40, 7:35, 9:50, 12:05; SUN�THU 1:55, 4:40, 7:35, 9:50 FURRY VENGEANCE (PG) DAILY 1:40, 4:20, 6:40 THE LOSERS (14A, violence) DAILY 7:25, 9:55 DEATH AT A FUNERAL (14A crude content) FRI�SAT 1:35, 4:05, 6:30, 9:15, 11:20; SUN�THU 1:35, 4:05, 6:30, 9:15 DATE NIGHT (PG sexual content, language may offend) FRI�SAT 1:10, 3:55, 7:15, 9:30, 11:45; SUN�THU 1:10, 3:55, 7:15, 9:30 CLASH OF THE TITANS 3D (PG nudity, not recommended for young children) Digital 3d FRI�SAT 1:35, 4:10, 7:00, 9:35, 12:00; SUN�THU 1:35, 4:10, 7:00, 9:35 THE LAST SONG (PG) FRI�SAT 1:15, 4:00, 6:50, 9:25, 11:40; SUN�THU 1:15, 4:00, 6:50, 9:25 HOT TUB TIME MACHINE (18A substance abuse, crude content) FRI�SAT 9:20, 11:30; SUN�THU 9:20 THE BOUNTY HUNTER (PG violence, sexual content) DAILY 1:45, 4:50, 7:10, 9:45 ALICE IN WONDERLAND (PG violence, frightening scenes) DAILY 1:30, 4:35
CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236
TOY STORY 3 (G) No passes DAILY 1:00, 3:50, 6:40, 9:10 TOY STORY 3 3D (G) Digital 3d, No passes DAILY 11:30, 12:10, 2:00, 2:40, 4:45, 5:20, 7:30, 8:00, 10:15, 10:45 JONAH HEX (14A violence) DAILY 11:50, 1:50, 4:10, 6:15, 8:30, 10:40 THE A�TEAM (PG violence, coarse language, not recommended for young children) No passes DAILY 12:30, 1:40, 3:20, 4:40, 6:30, 7:40, 9:20, 10:30 THE KARATE KID (PG violence, not recommended for young children) No passes FRI�TUE, THU 11:40, 12:40, 3:00, 3:40, 6:20, 7:10, 9:30, 10:20; WED 11:40, 3:00, 3:40, 6:20, 7:10, 9:30, 10:20; Star & Strollers Screening, No passes WED 1:00 KILLERS (PG violence, coarse language) DAILY 12:50, 3:45, 7:05, 9:40 GET HIM TO THE GREEK (18A substance abuse, crude sexual content) DAILY 1:20, 4:20, 7:50, 10:25 PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young children) DAILY 1:30, 4:30, 7:15, 10:00 SEX AND THE CITY 2 (14A sexual content, not recommended for young children) DAILY 12:20, 3:30, 6:50, 10:05 SHREK FOREVER AFTER 3D (PG) Digital 3d DAILY 12:00, 2:20, 5:00, 7:20, 9:50 ROBIN HOOD (14A) FRI�TUE 9:55 IRON MAN 2 (PG violence, not recommended for young children) FRI�TUE 1:10, 4:00, 7:00 KNIGHT AND DAY (PG violence, coarse language) No passes WED�THU 1:10, 4:00, 7:00, 9:55
CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585
SEX AND THE CITY 2 (14A sexual content, not recommended for young children) DAILY 11:30, 2:50, 6:50, 10:05 SHREK FOREVER AFTER 3D (PG) Digital 3d DAILY 11:45, 2:30, 5:10, 7:45, 10:20 ROBIN HOOD (14A) FRI�SAT, MON�TUE 12:10, 3:25, 6:55, 10:10; SUN 12:10, 3:25, 10:30; WED�THU 12:05, 3:25, 6:55, 10:10 IRON MAN 2 (PG violence, not recommended for young children) FRI�MON, THU 12:45, 3:40, 6:45, 9:35; TUE 12:45, 3:40, 9:35; WED 12:45, 3:40, 9:50 KNIGHT AND DAY (PG violence, coarse language) Advanced Preview, No passes SAT 7:30; WED�THU 12:15, 3:45, 7:10, 10:20 WWE FATAL 4 WAY�2010 (Classification not available) SUN 6:00 THE BIG FOUR: ANTHRAX, MEGADETH, METAL� LICA, SLAYER (Classification not available) TUE 8:00
CITY CENTRE 9 10200-102 Ave, 780.421.7020
THE KARATE KID (PG violence, not recommended for young children) Dolby Stereo Digital, Stadium Seating DAILY 12:25, 3:35, 6:45, 9:55 TOY STORY 3 3D (G) Digital 3d, Stadium Seating, No passes DAILY 12:30, 1:00, 3:30, 4:00, 7:00, 7:30, 9:45, 10:15 JONAH HEX (14A violence) Dolby Stereo Digital DAILY 12:35, 2:35, 5:15, 7:35, 9:50 SEX AND THE CITY 2 (14A sexual content, not recommended for young children) Dolby Stereo Digital, Stadium Seating FRI�MON 12:00, 3:15, 6:35, 10:00; TUE 12:00, 3:15
recommended for young children) DAILY 6:50, 9:15; FRI, SAT, SUN 1:50
SHREK FOREVER AFTER (PG) In Techniolour 3D DAILY 7:05, 9:05; FRI, SAT, SUN 2:05
THE KARATE KID (PG violence, not recommended for young children) DAILY 6:50, 9:30; SAT, SUN, TUE 12:50, 3:30
PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young children) DAILY 6:55 9:10; FRI, SAT, SUN 1:55
PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young children) DAILY 6:50, 9:05
TOY STORY 3 (G) DAILY 7:00 9:00; FRI, SAT, SUN 2:00
THE A�TEAM (PG violence, coarse language, not recommended for young children) DAILY 7:05, 9:25; SAT, SUN TUE 1:05, 3:25
EDMONTON FILM SOCIETY Royal Alberta Museum, 102 Ave, 128 St, 780.439.5284
POSSESSED (PG) MON 8:00
GALAXY�SHERWOOD PARK 2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150
TOY STORY 3 (G) No passes FRI 4:40, 7:20, 10:00; SAT�SUN 11:15, 2:00, 4:40, 7:20, 10:00; MON�THU 7:20, 10:00 TOY STORY 3 3D (G) Digital 3d, No passes FRI 3:30, 6:45, 9:35; SAT�SUN 12:30, 3:30, 6:45, 9:35; MON�THU 6:45, 9:35 JONAH HEX (14A violence) FRI 4:45, 7:35, 9:50; SAT� SUN 12:10, 2:10, 4:45, 7:35, 9:50; MON�THU 7:35, 9:50 THE A�TEAM (PG violence, coarse language, not recommended for young children) No passes FRI 4:15, 7:15, 10:10; SAT�SUN 1:15, 4:15, 7:15, 10:10; MON�TUE 7:15, 10:10; WED�THU 6:45, 9:40 THE KARATE KID (PG violence, not recommended for young children) No passes FRI 3:40, 6:40, 9:45; SAT� SUN 11:45, 3:00, 6:40, 9:45; MON�THU 6:40, 9:45 KILLERS (PG violence, coarse language) FRI�SUN 4:30, 7:30, 10:15; MON�THU 7:30, 10:15 GET HIM TO THE GREEK (18A substance abuse, crude sexual content) FRI 4:30, 7:40, 10:15; SAT�SUN 1:40, 4:30, 7:40, 10:15; MON�THU 7:40, 10:15 PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young children) FRI 4:00, 7:10, 10:05; SAT�SUN 1:10, 4:00, 7:10, 10:05; MON� THU 7:10, 10:05 SEX AND THE CITY 2 (14A sexual content, not recommended for young children) FRI�TUE 9:40 SHREK FOREVER AFTER 3D (PG) Digital 3d FRI 4:50, 7:00, 9:25; SAT�SUN 12:00, 2:20, 4:50, 7:00, 9:25; MON�THU 7:00, 9:25
THE A�TEAM (PG violence, coarse language, not recommended for young children) No passes, Stadium Seating DAILY 12:20, 3:50, 7:10, 10:10
IRON MAN 2 (PG violence, not recommended for young children) FRI 3:45, 6:45; SAT�SUN 12:45, 3:45, 6:45; MON�TUE 6:45
HARRY BROWN (18A, brutal violence, substance abuse, coarse language) DTS Digital, Stadium Seating FRI�TUE 12:05, 2:45, 5:20, 7:55, 10:30; WED�THU 12:00, 2:45, 5:20, 7:55, 10:30
KNIGHT AND DAY (PG violence, coarse language) No passes WED�THU 7:00, 9:50
SHREK FOREVER AFTER 3D (PG) Digital 3d, Stadium Seating FRI�TUE 12:10, 2:40, 5:05, 7:40, 10:05; WED�THU 12:10, 2:45, 5:05, 7:40, 10:05 GET HIM TO THE GREEK (18A substance abuse, crude sexual content) DTS Digital FRI�TUE 12:40, 3:45, 7:15, 10:20; Stadium Seating: WED�THU 12:40, 3:45, 7:15, 10:20 KNIGHT AND DAY (PG violence, coarse language) No passes, Stadium Seating, DTS Digital WED�THU 12:50, 3:40, 7:20, 10:00
CLAREVIEW 10 4211-139 Ave, 780.472.7600
MARMADUKE (G) SAT�SUN 1:50
GARNEAU 8712-109 St, 780.433.0728
PLEASE GIVE (14A coarse language, nudity) DAILY 7:00, 9:00; SAT�SUN 2:00
GRANDIN THEATRE�ST ALBERT Grandin Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822
TOY STORY 3 (G) No passes DAILY 1:00, 3:00, 5:00, 7:05, 9:15 THE A�TEAM (PG violence, coarse language, not recommended for young children) No passes DAILY 1:45, 4:15, 6:50, 9:15
IRON MAN 2 (PG violence, not recommended for young children) FRI�SUN 6:55, 9:45; MON�TUE 8:15
GET HIM TO THE GREEK (18A substance abuse, crude sexual content) FRI�TUE 12:45, 4:35, 7:00, 9:00
SHREK FOREVER AFTER 3D (PG) Digital 3d FRI�SUN 1:30, 4:20, 6:50, 9:15; MON�THU 4:50, 7:50
SHREK FOREVER AFTER (PG) FRI�TUE 2:50
SEX AND THE CITY 2 (14A sexual content, not recommended for young children) FRI�SUN 1:15, 4:40, 8:00; MON�THU 4:40, 8:00 PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young children) FRI�SUN 1:20, 4:15, 7:05, 9:50; MON�THU 5:30, 8:30 MARMADUKE (G) FRI�SUN 1:50, 4:30; MON�TUE 5:25 GET HIM TO THE GREEK (18A substance abuse, crude sexual content) FRI�SUN 1:00, 4:00, 6:45, 9:55; MON�THU 5:40, 8:35 THE A�TEAM (PG violence, coarse language, not recommended for young children) No passes FRI�SUN 12:50, 3:45, 6:40, 9:30; MON�THU 5:10, 8:25 THE KARATE KID (PG violence, not recommended for young children) No passes FRI�SUN 12:20, 3:20, 6:35, 9:40; MON�THU 5:00, 8:10
TUE 1:10, 3:10
KNIGHT AND DAY (PG violence, coarse language) No passes WED�THU 12:45, 2:55, 4:55, 7:10, 9:20 THE KARATE KID (PG violence, not recommended for young children) No passes DAILY 1:10, 3:45, 6:15, 8:50 JONAH HEX (14A violence) No passes DAILY 1:25, 3:10, 4:50, 6:30, 8:15, 9:45
LEDUC CINEMAS Leduc, 780.352.3922
THE A�TEAM (PG violence, coarse language, not recommended for young children) DAILY 7:05, 9:40; SAT, SUN 1:05, 3:40 GET HIM TO THE GREEK (18A substance abuse, crude sexual content) DAILY 6:55, 9:35; SAT, SUN 12:55, 3:35
TOY STORY 3 (G) No passes FRI�SAT 11:15, 2:00, 4:45, 7:45, 10:30; SUN 11:15, 2:00, 7:45, 10:30; MON�THU 12:30, 3:30, 7:00, 9:45
TOY STORY 3 (G) No passes FRI�SUN 1:10, 3:50, 6:30, 9:10; MON�THU 4:45, 7:45
TOY STORY 3 3D (G) Digital 3d, No passes DAILY 12:00, 1:00, 3:00, 4:00, 6:30, 7:30, 9:30, 10:15
TOY STORY 3 3D (G) No passes, Reald 3d FRI�SUN 1:40, 4:25, 7:00, 9:35; MON�THU 5:20, 8:20
JONAH HEX (14A violence) DAILY 12:00, 2:20, 4:40, 7:15, 9:50
JONAH HEX (14A violence) FRI�SUN 2:00, 4:50, 7:15, 9:25; MON�THU 5:50, 8:45
THE A�TEAM (PG violence, coarse language, not recommended for young children) No passes FRI, SUN�TUE 12:15, 1:10, 3:20, 4:20, 6:40, 7:50, 9:40, 10:45; SAT 12:15, 1:10, 3:20, 4:20, 7:50, 10:10, 10:45; WED�THU 12:10, 1:15, 3:20, 4:20, 6:40, 7:50, 9:40, 10:40
KNIGHT AND DAY (PG violence, coarse language) No passes WED�THU 5:25, 8:15
THE KARATE KID (PG violence, not recommended for young children) No passes FRI�TUE 11:50, 12:20, 3:00, 3:50, 6:40, 7:20, 10:00, 10:40; WED 11:50, 12:20, 3:00, 3:50, 6:40, 7:20, 10:00, 10:30; THU 11:50, 3:00, 4:05, 6:40, 7:20, 10:00, 10:30; Star & Strollers Screen-
THE KARATE KID (PG violence, not recommended for young children) DAILY 6:40, 9:25; FRI, SAT, SUN 1:40
TOY STORY 3 (G) DAILY 6:45, 7:00, 9:15, 9:20; SAT SUN, TUE 12:45, 1:00, 3:15, 3:20; Movies for Mommies: TUE 1:00, Not Presented In 3D
THE A�TEAM (PG violence, coarse language, not
JONAH HEX (14A violence) DAILY 7:10, 9:10; SAT SUN
TOY STORY 3 (G) Digital 3D THU Midnight 12:01 am; DAILY 7:00, 9:25; FRI 4:00; SAT, SUN 1:00, 3:25 THE KARATE KID (PG violence, not recommended for young children) DAILY 6:50, 9:30; SAT, SUN 12:50, 3:30
METRO CINEMA
9828-101A Ave, Citadel Theatre, 780.425.9212
THE MAN WITH ONE RED SHOE / BICYCLE TO� DAY, AUTOMOBILE TOMORROW (STC) MON 7:00
PARKLAND CINEMA 7
DUGGAN CINEMA�CAMROSE
130 Century Crossing, Spruce Grove, 780.972.2332 (Spruce Grove, Stony Plain; Parkland County)
6601-48 Ave, Camrose, 780.608.2144
VUEWEEKLY // JUN 17 – JUN 23, 2010
MARMADUKE (G) SAT�SUN, TUE 12:50, 3:05 SHREK FOREVER AFTER 3D (PG) DAILY 6:55, 9:00; SAT�SUN, TUE 12:55, 3:00; No 9:00 show on SAT
PRINCESS 10337-82 Ave, 780.433.0728
BABIES (PG nudity) DAILY 7:00; SAT�SUN 1:00 THE GIRL WITH THE DRAGON TATTOO (18A sexual violence, disturbing content) DAILY 9:00; SAT�SUN 3:00 MAO’S LAST DANCER (PG) DAILY 9:20; SAT�SUN 3:20 MICMACS (14A) DAILY 7:15; SAT�SUN 1:15
SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400
TOY STORY 3 3D (G) Digital 3d, No passes DAILY 12:15, 1:00, 3:00, 3:45, 5:30, 6:30, 8:15, 9:15, 10:45 TOY STORY 3: AN IMAX 3D EXPERIENCE (G) No passes DAILY 11:30, 2:00, 4:30, 7:00, 9:30 JONAH HEX (14A violence) DAILY 12:30, 2:45, 5:15, 7:40, 10:15 THE A�TEAM (PG violence, coarse language, not recommended for young children) No passes DAILY 1:20, 4:20, 7:20, 10:20 THE KARATE KID (PG violence, not recommended for young children) No passes DAILY 11:50, 3:15, 6:45, 10:10 SPLICE (18A disturbing content, sexual content) FRI�SAT, MON 1:50, 4:50, 8:00, 10:40; SUN 12:00, 2:30, 10:40; TUE 1:50, 4:50, 10:40 KILLERS (PG violence, coarse language) FRI, SUN�MON, WED�THU 1:10, 4:00, 6:40, 9:20; SAT 1:10, 4:00, 10:15; TUE 1:10, 4:00, 6:40 GET HIM TO THE GREEK (18A substance abuse, crude sexual content) DAILY 1:40, 4:40, 7:50, 10:45 PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young children) DAILY 12:50, 3:50, 6:50, 9:50 SEX AND THE CITY 2 (14A sexual content, not recommended for young children) DAILY 11:40, 3:10, 6:30, 9:40 SHREK FOREVER AFTER 3D (PG) Digital 3d DAILY 12:00, 2:30, 5:00, 7:30, 10:00 IRON MAN 2 (PG violence, not recommended for young children) FRI�TUE, THU 12:40, 3:40, 7:10, 10:30; WED 3:40, 7:10, 10:30; Star & Strollers Screening WED 1:00 KNIGHT AND DAY (PG violence, coarse language) Advanced Preview, No passes SAT 7:30; WED�THU 1:15, 4:10, 7:15, 10:15 WWE FATAL 4 WAY � 2010 (Classification not available) SUN 6:00 THE BIG FOUR: ANTHRAX, MEGADETH, METAL� LICA, SLAYER (Classification not available) TUE 8:00
WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726
THE A�TEAM (PG violence, coarse language, not recommended for young children) No passes, Dolby Stereo Digital FRI 6:35, 9:55; SAT�SUN 12:45, 3:35, 6:35, 9:55; MON�THU 5:30, 8:30 THE KARATE KID (PG violence, not recommended for young children) No passes, Dolby Stereo Digital FRI 6:50, 10:05; SAT�SUN 12:30, 3:45, 6:50, 10:05; MON� THU 5:00, 8:00 SHREK FOREVER AFTER (PG) DTS Digital FRI 7:15; SAT�SUN 1:15, 4:05, 7:15; MON�THU 5:20 SEX IN THE CITY 2 (14A sexual content, not recommended for children) DTS Digital FRI�SUN 9:35; MON�TUE 8:10 KILLERS (PG violence, coarse language) DTS Digital FRI 7:05, 9:45; SAT�SUN 1:00, 3:55, 7:05, 9:45; MON� TUE 5:10, 8:20; WED�THU 8:20 KNIGHT AND DAY (PG violence, coarse language) No passes, DTS Digital WED�THU 5:10, 8:10
WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922
TOY STORY 3 (G) Digital 3D THU Midnight 12:01 am; DAILY 7:00, 9:25; FRI 4:00; SAT, SUN 1:00, 3:25 MARMADUKE (G) DAILY 7:10; FRI, SAT, SUN 1:05, 3:20 KILLERS (PG violence, coarse language) DAILY 9:00 THE A�TEAM (PG violence, coarse language, not recommended for young children) DAILY 7:05, 9:40; SAT, SUN 1:05, 3:40 THE KARATE KID (PG violence, not recommended for young children) DAILY 6:50, 9:30; SAT, SUN 12:50, 3:30
FILM // 21
REVUE // LE COMBAT DANS L'ILE
Political love triangle
Le combat dans l'ile traces love in an aggressively divided country
LOVERS/FIGHTERS >> Politics tangle with romance in Le combat dans l'ile Josef Braun // josef@vueweekly.com
A
lain Cavalier's debut bears little resemblance to the work of his mentor Louis Malle and feels utterly indifferent to the iconoclastic, postmodernist mischief of his contemporaries riding the crest of the nouvelle vague, yet in its own way Le combat dans l'ile (1961) couldn't be more of its time. Concerning a love triangle between a militant conservative, a left-wing pacifist and an innocent outsider gradually gaining awareness of her adopted country's aggressive divisions, the movie uses an old-fashioned narrative device to explore events unfolding during the very moment of its filming. The re-surfacing of Le combat, culminating in next week's new DVD from Zeitgeist, is a testament to how often genuine universality is best earned through specificity. It's rather difficult not to draw parallels between Cavalier's portrait of France in 1961 and numerous civil wars being fought today, conflicts sometimes mistaken for being a problem exclusive to the Islamic world. Clément (Jean-Louis Trintignant), the son of a wealthy industrialist, joins an underground group planning terrorist actions in response to Algerian independence. His Austrian-born wife
// Supplied
Anne (Romy Schneider), a former actress, seems content to seek out the fleeting pleasures and numb herself with sleeping pills. She barely raises an eyebrow when her housekeeper finds a bazooka hiding in the closet, but Clément's physical and emotional abuse proves too much. She leaves him, only to come back on the very night Clément is to use that bazooka. The assassination attempt goes awry and Clément's forced into hiding. This is really just the beginning of a story riddled with strange twists. Among the many distinguishing qualities of Le combat dans l'ile is its resistance to establishing a single protagonist. As Clément sinks deeper into a marginal political existence, Anne moves toward the story's centre. Yet a third character, Clément's childhood friend Paul (Henri Serre), becomes increasingly entangled in the couple's affairs, until he too begins to occupy the narrative core. Trintignant's particular, seductive coldness, an unusual quality in a star, one shared by his American contemporary John Cassavetes, allows him to dominate the frame whenever present and then slip away inconspicuously. Schneider has perhaps the most precarious role, the object of desire whose own desires seem neglected by
Cavalier's allegorical scheme, yet her ability to convey Anne's insistence on chasing romance and living in the moment clouds our doubts about her motives. Serre makes less of an impression, perhaps because Paul's politics are less defined than Clément's and his pacifism reads as ultimately ineffectual. Of course, Serre would soon go on to portray one-third of one of cinema's most memorable ménage à trois in Jules et Jim (1962). Working with cinematographer Pierre Lhomme, who would go on to shoot with Bresson, Melville and Jean Eustache, Cavalier makes wonderful use of his central performances, elegantly emphasizing details such as Clément's ceremonial donning of gloves, while tempering the more dramatic moments with a judicious use of scoring, silence and dialogue that bleeds from one scene to the next. His was an auspicious start, though it's difficult to say how well he followed it up since much of his body of work remains obscure. Perhaps Zeitgeist will attempt to remedy this in the future. V On DVD June 22 Le combat dans l'ile Written and directed by Alain Cavalier Starring Romy Schneider, Jean-Louis Trintignant, Henri Serre
FILM REVIEWS
Film Capsules << CONTINUED FROM PAGE 21
classic, though director Harald Zwart's version takes a much easier pace, one that sometimes feels like morning tai chi in the park. Maybe it's the film's connection to China's premiere state-run movie company, China Film Group that makes the directing
22 // FILM
VUEWEEKLY // JUN 17 – JUN 23, 2010
style parallel the ease of Chinese cinema. The pace is somewhat good because it gives Parker time to grow his stubborn soul, as well as allowing the supporting characters like Mr Han and Meiying (terrifically portrayed by first-time actress Wenwen Han) to overcome their battles—though with Meiying we're offered the cliché of a Chinese girl forced by her micro-managing parents into violin lessons. Where the
slow tempo does falter, however, is in its reinforcement of the Dre's enemies and their repeated threats and grimaces. Oh, and the fact that it's almost two-and-a-half hours long—and feels so until we finally enter the kung fu tournament arena and feel the urge to stand up and cheer in the vein as the original. Omar Mouallem
// omar@vueweekly.com
INSIDE // MUSIC
MUSIC
28
Tim Hus
The Whitsundays
30 33
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Music Notes
NEWS // BLOGS
Hanging in the balance
Concerns rise in the wake of Ireland's decision to go after MP3 blogs David Berry // david@vueweekly.com
T
he Irish music world doesn't tend to impact Canada's independent music scene outside of the Swell Season announcing tour dates, but the recent actions of the Emerald Isle's publishing rights collector could change all that for the worse. In April of this year, the Irish Music Rights Organisation (IMRO), the body responsible for collecting licensing fees for Irish songwriters, composers and publishers, sent out emails to several of that country's highest-profile music blogs informing them that they would begin to seek licensing fees for the music the bloggers host on their sites. The affected sites—most notably Nialler9, Torture Garden and Asleep on the Compost Heap—are standard-variety MP3 blogs that regularly offer songs for download, usually with attendant commentary on the bands or forthcoming albums. As with most MP3 blogs in Internet-saturated countries, they've become an invaluable tool for spreading the word about music that might normally fly under the radar. (Most recently, Irish blogs were credited with raising the profile of the band the Ambience Affair, whose song "Parting Patterns" was featured on CSI: NY after producers of that show discovered them while searching through the blogs for "authentic Irish music.") But that could soon change. What's most troubling for music fans across the world, however, is the fact that, while the IMRO was the first to pursue such a policy, it's likely that they are only ahead of the curve in this regard, as publishing rights license collectors wake up to the potential fees to be collected from MP3 bloggers in their own countries. The move has many in the Canadian blogging community wondering if a similar message from the Society of Composers, Authors and Music Publishers of Canada (SOCAN), the IMRO's Canadian equivalent, might soon be showing up in their inboxes. Sean Michaels is a music journalist who co-founded his blog, Said the Gramophone, in Spring 2003 as a chance to write about music in a format that wasn't just "devoted to long-form album reviews." Not long after, in November of that year, he began to host MP3s, as a further way of expanding the often-limiting critical dialogue of music. "When you're working as a music critic, most of the time, in print at least, you're trying to describe what the music
// Pete Nguyen
sounds like in terms the reader can easily imagine," explains Michaels. "With MP3 blogging, because the music is playable right there, you can dispense with that, and write about stuff that's a little more abstract." Michaels obviously found a niche that was being under-served: now Said the Gramophone, which features microfiction, tangentially-related philosophical musings and occasionally more straightahead music writing, is one of the country's most-respected and read blogs, with readers literally logging on from around the world. And with the rise in attention has come an attendant rise in legitimacy: where once Michaels posted songs chiefly from his own collection, now nearly all the music featured on Said the Gramophone is sent to him or one of his co-bloggers by labels and artists eager for exposure and attention. "Initially ... labels were either very enthusiastic or else completely against the idea. For that reason, in the early days of MP3 blogs, everyone was really trying to keep their heads down. Obviously, that's really changed in the last seven years," points out Michaels. "It changed around the time of Arcade Fire or Clap Your Hands Say Yeah, artists that blogs are really credited with creating some of the initial hype around. As soon as that started
happening, it really started legitimizing MP3 blogging, and labels started seeing it as a component of their PR machine, one step of the marketing plan as opposed to being adversaries for sales." That is more or less the position blogs occupy to this day: bloggers are routinely given albums or exclusive tracks in advance of release dates in the hopes of generating good buzz, and now any disputes between labels or artists and bloggers is usually limited to when or which particular song they're allowed to post. But labels are only one part of a large industry. Publishers' rights organizations like IMRO and SOCAN exist to collect royalties for instances when music is broadcast or played live. Their chief role is collecting fees from radio stations—usually decided by a formula that takes into account a base license fee, a station's revenues and the percentage of the relevant music played on air—which are then redistributed to artists based on an estimate of how often their songs are played. Artists obviously have to join these societies to reap the benefits, and most who you'd hear on the radio do, although the money tends to be fairly inconsequential unless they receive significant airplay. Though they've been slow to pick up on any potential revenues from the Internet—although they
have pursued online and satellite radio stations—the IMRO's decision seems to indicate that that's all changing. "The publishers have been a sleeping giant this whole time; the recording industry has been suing downloaders and bloggers and these people, but have gradually worked out an uneasy truce and have learned to exploit them," says Michaels. "The publishers, who have just as much power to interrupt this, have just kind of been dozing in the other room, and the prospect that they might wake up and come after everyone in a neolithic way is scary." Some—including the publishers themselves—might argue that this is simply adapting to the modern age: after all, radio stations fill a similar role as music blogs, albeit usually to slightly different crowds and for different kinds of bands, and few have any issue with the fees they're made to pay. The difference, says Michaels, is one of economics. Where radio has a model that allows for this particular expense, blogs are comparatively low-rent: even among the most popular blogs, many don't take in any revenue at all, while those that do don't make enough to even support the blogger, much less extraneous expenses. "If publishers or artists pursue bloggers for lots of money, then there will be no bloggers left, or very few bloggers left," says Michaels, who points out that the money that comes from Said the Gramophone, which holds an annual fund drive, is by far the least lucrative aspect of his professional career. "It's not that they don't have a right to do it in either case, it's just that in one of the cases, you'd be decimating a vehicle that artists are currently using to promote their music. I think you'd also be suppressing conversation, the great MP3 blogs wouldn't be able to create their stuff, but artists would also be harming themselves." And while you might think that the artists who recognize the benefits of exposure would be able to pressure publishing organizations into giving bloggers a pass, don't be so sure. Another area groups like IMRO and SOCAN get money from is actually from live shows: promoters are required to pay a fee just as radio is, despite the fact bands are already getting paid to play and given other opportunities to make money, like selling merch. That's a vagary of SOCAN tariffs Matthew Pollesel discovered when he was contacted by the organization a few years ago. Pollesel runs I Heart Music, a Canadian-centric blog under whose name he
VUEWEEKLY // JUN 17 – JUN 23, 2010
also promotes shows in his hometown of Ottawa. Unaware of SOCAN's guidelines, he never submitted fees to the organization—which he discovered was a no-no only after years of shows. "When I had to pay, it was because one band out of the hundreds I worked with actually filed a request for their licensing funds. Every other band I've spoken with had no idea that they had to do that, because they figured it was all through radio play. Most of them didn't figure it was worth the hassle to file to get that money," he explains. "I think that would be a similar thing with music blogs: the bigger bands would probably be all for it. The bands that I write about—and I can't even imagine the bands on Arts & Crafts, some of whom are huge—wouldn't be that into it, but with concerts, the licensing fees are driven by the really big bands and big labels." SOCAN referred me to their online guidelines for tariffs when I called for an interview about the IMRO decision, and didn't return any calls requesting further clarification. From those guidelines, though, it appears as though they already have a codified fee structure that could be applicable to MP3 blogs, they just haven't sought to enforce it (Pollesel points out that the representative he spoke with was very clear that the royalties were only related to shows, not anything on his blog). This could be taken as encouraging, but even if they are understanding, there's no guarantee other publishing organizations would be, and the global nature of the Internet means that any country's decision to charge licensing fees could affect everyone. "Even the IMRO is obviously worrisome for a site like Said the Gramophone, when they might say, 'Hey, this site is available in Ireland, you must pay us,'" points out Michaels. "Obviously it's terrifying to think that we might be contacted by every single country's publisher organization. Even if you were able to afford to pay for an Irish license, as a worldwide model, it's insane." Pollesel can't help but agree, and hopes, with bloggers everywhere, that some kind of sensible compromise can be reached, more for the sake of the music than his own. "I've always said that people don't come to my site to read my writing: they come to hear the music," he says. "It's not the music wouldn't be there if the blogs weren't there, it would just be a lot harder to find. The music will be there regardless, but the audience may not be." V
MUSIC // 23
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THU JUN 17 ARTERY JFR Project (As Long As You Burn video release); 7pm BLUE CHAIR CAFÉ Thu Nite Jazz Series: Dino Dominelli Trio; 7:30pm; $8 BLUES ON WHYTE Ross Neilson BRIXX BAR Radio Brixx: Rock 'n' Roll with Tommy Grimes; 8pm; no cover CHRISTOPHER'S PARTY PUB Open stage hosted by Alberta Crude; 6-10pm COLAHAN'S Back-porch jam with Rock-Steady Freddy and the Bearcat; every Thu 8pmmidnight CROWN PUB Crown Pub Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing 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; Lest we Fail, 9pm ELECTRIC RODEO�Spruce Grove Open Stage Thu: Bring an instrument, jam/ sing with the band, bring your own band, jokes, juggle, magic; 8-12 EMPRESS ALE HOUSE Empress Pride Party; 7pm ENCORE CLUB With A Latin Twist: free Salsa Dance Lessons at 9pm HAVEN SOCIAL CLUB Headwater , Ariane Mahryke Lemire, Jay Wiltzen; 7:30pm (door); $10 (adv)/$12 (door); adv tickets at YEG Live HOOLIGANZ Open stage Thu hosted by Phil (Nobody Likes Dwight); 9pm-1:30am HORIZON STAGE Gas and Time Acoustic Performance:
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; 8pm; no cover
Duane Steele, Hey Romeo; 7:30pm ; $25
BUDDY'S DJ Bobby Beatz; 9pm; no cover before 10pm; Shiwana Millionaire Wet Underwear Contest
HYDEAWAY�Jekyll and Hyde Desecrate the Gods, Black Axis, Special Ops; 8pm
CENTURY ROOM Underground House every Thu with DJ Nic-E
J AND R Classic rock! Woo! Open stage, play with the house band every Thu; 9pm JAMMERS PUB Thu open jam; 7-11pm JEFFREY'S CAFÉ Kent Shores (jazz); $10 JULIAN'S�Chateau Louis Graham Lawrence (jazz piaon); 8pm L.B.'S PUB Open jam with Ken Skoreyko, Gordie Mathews and Fred Larose 9-12:30am LIVE WIRE BAR Open Stage Thu with Gary Thomas MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm NAKED CYBERCAFÉ Open stage every Thu; bring your own instruments, fully equipped stage; 8pm NEW CITY SUBURBS Bingo, Dexter Nebula, DJ Shnaw NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers PAWN SHOP Undiscovered Singing Competition PROHIBITION Sharks! On Fire!, Organic Orbit; $5 (the door) RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 8pm-1am
THE DRUID Dublin Thu THE DRUID IRISH PUB DJ every Thu at 9pm 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 GAS PUMP Ladies Nite: Top 40/dance with DJ Christian HALO Thu Fo Sho: with Allout DJs DJ Degree, Junior Brown KAS BAR Urban House: with DJ Mark Stevens; 9pm LEVEL 2 LOUNGE Absolut Thu: with DJ NV and Joey Nokturnal; 9:30pm (door); no cover
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 JUN 18 180 DEGREES Sexy Fri night ARTERY Geniuskills: Masquerade with Mr Sofalumkins and Dr Funkinchunkin, Spilt Milk J.me.J,, DJ Push; 8:30pm; $15 (adv)/$20 (door) AVENUE THEATRE Spill Canvas, Paper Lions, Alexander Chemist; all ages; 6pm (door); $19 at Blackbyrd, TicketMaster, unionevents. com AXIS CAFÉ Paul Bellows (adult pop/rock); 8pm; $10 (adv/door) BLUE CHAIR CAFÉ Luke and Tess Pretty (CD release); 8pm $50 (dinner/show/CD, with reservation)/$20 (show and CD, available seating) BLUES ON WHYTE Ross Neilson; $7 BOHEMIA Howlin' Dan, John Woody Woroschuk; 8:30pm; $5 (door) BRIXX BAR Call Before You Dig, Bird Sang Song, The Boudoirs; 9pm; $12 (door) CARROT Live music Fri: all ages; Leckie Olsen; 7pm; $5 (door) CASINO EDMONTON The Rum Brothers (show band)
LUCKY 13 Sin Thu with DJ Mike Tomas
CASINO YELLOWHEAD The Top Tones (pop/rock)
NEW CITY SUBURBS Bingo at 9:30pm followed by Electroshock Therapy with Dervish Nazz Nomad and Plan B (electro, retro)
COAST TO COAST Open Stage every Fri; 9:30pm
ON THE ROCKS Salsaholic Thu: Dance lessons at 8pm; Salsa DJ to follow PLANET INDIGO�St Albert Hit It Thu: breaks, electro house spun with PI residents
RIC’S GRILL Peter Belec (jazz); every Thu; 7-10pm
PROHIBITION Throwback Thu: old school r&b, hip hop, dance, pop, funk, soul, house and everything retro with DJ Service, Awesome
SECOND CUP�Varscona Live music every Thu night; 7-9pm
RENDEZVOUS PUB Metal Thurzday with org666
SPORTMAN'S LOUNGE Hipcheck Trio and guests (jazz, blues) every Thu; 9pm through Jun and Jul
SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca
WILD WEST SALOON Colleen Rae
STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience
Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DEVONIAN BOTANIC GARDEN Parkland County, 5k north of Devon on Hwy 60 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 EARLY STAGE SALOON 491152 Ave, Stony Plain 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 HALO 10538 Jasper Ave, 780.423.
HALO HAVEN SOCIAL CLUB 15120A (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 NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY 10081 Jasper Ave,
EARLY STAGE SALOON� Stony Plain Kyler Shogin Band EDDIE SHORTS Juke Box Divas ENCORE CLUB 4 Play Fri GLENORA BISTRO Fridays with Friends: Jordan Kaminski & Brittany Grabil; 8:30-10:30pm; $10 HAVEN SOCIAL CLUB Tim Gilbertson, Speed Control, Nobody Likes Dwight; 7:30pm (door); $10 (adv)/$12 (door); adv tickets at YEG Live
show with Jesse, Shane, Tiffany and Erik and guests JEFFREY'S CAFÉ Mike McCormick (easy listening, jazz); $10 JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/rock); 9pm; no cover JUBILEE AUDITORIUM Ray Price; 7pm $68.90 JULIAN'S�Chateau Louis Graham Lawrence ( jazz piaon); 8pm L.B.'S Back Pages; 9:30pm2am LEVA CAPPUCCINO BAR Live music every Fri NEW CITY LOUNGE Mod Club–Scooter Party: DJs Blue Jay and Travy D NEW CITY SUBURBS Sick XXII–An Evening of Hard Industrial: Chris Vrena (NiN/Marilyn Manson), Ursius, Exit, DJ Dervish, guests; 9pm NORWOOD LEGION Uptown Folk Club: Tim Hus (CD release concert), Matt Robertson; 8pm; $12 (adv)/$15 (door); adv tickets at TIX on the Square, Myhre's Music, Acoustic Music NORTH COUNTRY FAIR Opening Ceremonies: 5:30pm, runs Jun 18-20; check lslncca. ca/current/ for line-up; $120 (adult weekend pass at the gate)/$80 (youth weekend pass) ON THE ROCKS Birthday with Divine Brown, DJs Harman B and Kwake, Go! PAWN SHOP The Whitsundays (CD release), Sans Aids, Outdoor Miners RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm2am ROSE AND CROWN Mr Lucky (blues/roots); 9pm-1am; no cover STARLITE ROOM Party Alarma presents: Dead Prez, Touch and Nato, Wackutt, Deezuz, hosted by Dizzy D; no minors; 9pm; $28 (limited early tickets online bit.ly/ DeadPrezTickets)/$38 at Foosh, Blackbyrd STEEPS�Old Glenora Live Music Fri
HYDEAWAY�Jekyll and Hyde Greater Than Giants, Syracuseme, friends; 8pm
TOUCH OF CLASS�Chateau Louis Lyle Hobbs (pop/rock); 8:30pm
IRISH CLUB Jam session; 8pm; no cover
WILD WEST SALOON Colleen Rae
IVORY CLUB Duelling piano
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 BOHEMIA 10575-114 St 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
24 // MUSIC
VUEWEEKLY // JUN 17 – JUN 23, 2010
780.989.5066 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORTH COUNTRY FAIR Driftpile, AB (East of High Prairie, West of Slave lake) NORWOOD LEGION 11150-82 St, 780.436.1554 NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 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 ROBERTSON�WESLEY UNITED CHURCH 10209-123 St ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253
ROSE AND CROWN 10235-101 St, 780.426.7827 ROYAL ALBERTA MUSEUM THEATRE 12845-102 Ave 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 TOM GOODCHILD'S MOOSE FACTORY RESTAURANT 48410 Calgary Tr South 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
Classical CONVOCATION HALL Stories and Legends: Summer Solstice Festival: Edmonton Chamber Music Society, James Campbell (clarinet), Jonathan Crow and Jasmine Lin (violin); 8pm; 3pm; $40 (3-day pass, adult)/$30 (3-day pass, senior)/ $15 (3-day pass, student); $20 (adult each performance)/$15 (senior each performance)/$10 (student each performance) at TIX on the Square, Gramophone, door DEVONIAN BOTANIC GARDEN Opera Al Fresco: Edmonton Opera; 7-10pm; solstice celebration tickets at 780.987.3054; edmontonopera.com; devonian.ualberta.ca ROYAL ALBERTA MUSEUM THEATRE Our Corner of the Sky: Edmonton Vocal Minority, Darrin Hagen; 8pm; $15 (adult)/$12 (student/senior) at Earth’s General Store, 780.488.1498, tixonthesquare.ca
Night; Greg Gory and Eddie Lunchpail; 9pm (door); $5 (door)
NEW CITY LOUNGE The Idlers, Feast or Famine, Utopian Skank
WUNDERBAR Fri with the Pony Girls, DJ Avinder and DJ Toma; no cover
NEW CITY SUBURBS Black Polished Chrome Sat: Electro/Alternative/Industrial with DJs Blue Jay, Dervish, Anonymouse
Y AFTERHOURS Foundation Fri
SAT JUN 19 180 DEGREES Dancehall and Reggae night every Sat ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 ARTERY Type Monkey Type (CD release); 8pm AVENUE THEATRE Liv, The Weekend Kids, The Social Threat, Freshman Years; 8pm (door); no minors; $10 AXIS CAF�Metro Room Lauren Handerek Trio featuring Lauren Handerek (alt/jazz); 8pm; $10 (door) BLACK DOG FREEHOUSE Hair of the Dog: Dean Lonsdale (live acoustic music every Sat); 4-6pm; no cover
DJs
BLUE CHAIR CAFÉ Samantha Schultz; 8pm; sold out
AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation
BLUES ON WHYTE Ross Neilson; $7
BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison BAR�B�BAR DJ James; no cover BAR WILD Bar Wild Fri 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 BOOTS Retro Disco: retro dance BUDDY’S DJ Arrow Chaser; 8pm; no cover before 10pm CENTURY ROOM Underground House every Fri with DJ Nic-E CHROME LOUNGE Platinum VIP Fri THE DRUID IRISH PUB Fri DJ at 9pm 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 DJ Anarchy Adam (Punk) 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 RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson
BRIXX BAR Desert Bar (CD release), Calista, Jeff Morris; no minors; 9pm; $12 (door) BOHEMIA White Shadow; 9pm (door) 10pm (show); $5 (door) CARROT Open mic Sat; 7:3010pm; free CASINO EDMONTON The Rum Brothers (show band) CASINO YELLOWHEAD The Top Tones (Pop/Rock) CHURCHILL SQUARE Rock the Square: Third Generation at 11am; 3G at 11:30am; Kuna at 12 noon; Nobody Likes Dwight at 2pm; Barry Campbell Band at 3pm; Looking East at 5pm; Undiscovered Talent Show at 8pm; Crickets at 11pm; various other acts COAST TO COAST Live bands every Sat; 9:30pm 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 DV8 Crystal Mess, Gorgon Horde; 9pm EARLY STAGE SALOON� Stony Plain Kyler Shogin Band EDDIE SHORTS The Saucy Wenches EMPRESS ALE HOUSE Sian; 4-6:30pm GAS PUMP Blues Off Jasper every Sat 3-6pm; all musicians welcome HAVEN SOCIAL CLUB David Sheperd Band, Short of Able, The Wayfinders; 7:30pm (door); $10 (door) HILLTOP PUB Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm HYDEAWAY�Jekyll and Hyde Light and Sound Jam at 2pm; The Joe, Mitchmatic, Thesis Sahib, Mikey Maybe at 8pm RON 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
ROUGE LOUNGE Solice Fri
JAMMERS PUB Sat open jam, 3-7:30pm; country/rock band 9pm-2am
SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca
JULIAN'S�Chateau Louis Graham Lawrence (jazz piaon); 8pm
STOLLI’S Top 40, R&B, house with People’s DJ
L.B.’S PUB Sat Jam with Gator, Neil van Dijk, Wayne Allchin; Shila and friends; 9:30pm-2am
STONEHOUSE PUB Top 40 with DJ Tysin TEMPLE Options Dark Alt
MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm
NORTH COUNTRY FAIR Runs Jun 18-20; $120 (adult weekend pass at the gate)/$80 (youth weekend pass) O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm ON THE ROCKS Huge Fakers with DJs OVERTIME Jamaoke: karaoke with a live band featuring Maple Tea PALACE CASINO The Normals PAWN SHOP Mustard Pimp, Dada Life RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am RIVER CREE�The Venue Tim Allen STARLITE ROOM Oh Snap vs. Easy Love: Smalltown DJs and Wax Romeo; no minors; 9pm; $15 TicketMaster, Blackbyrd, Foosh TAPHOUSE�St Albert The Hook’em Revue St; 8pm TOM GOODCHILD'S MOOSE FACTORY RESTAURANT Brazilian Patio Party: Music, dancing; Brazilian BBQ buffet dinner; 5pm; $24.95 at 780.437.5616 TOUCH OF CLASS�Chateau Louis Lyle Hobbs (pop/rock); 8:30pm WILD WEST SALOON Colleen Rae
Classical CONVOCATION HALL Jazz Inflections: Summer Solstice Festival: Edmonton Chamber Music Society, Scott St John (violin/viola), Sharon Wei (viola), Matt Haimovitz, Marina Hoover, and Tanya Prochazka (cello), Melvin Chen and Patricia Tao (piano); 3pm; $40 (3-day pass, adult)/$30 (3-day pass, senior)/ $15 (3-day pass, student); $20 (adult each performance)/$15 (senior each performance)/$10 (student each performance) at TIX on the Square, Gramophone, door
DJs
(door); $3; 780.447.4495 for guestlist NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri NEW CITY LIKWID LOUNGE Punk Rawk Sat with Todd and Alex NEW CITY SUBURBS Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay PAWN SHOP SONiC Presents Live On Site! AntiClub 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 TEMPLE Oh Snap!: Every Sat, Cobra Commander and guests with Degree, Cobra Commander and Battery; 9pm (door); $5 (door) WUNDERBAR Featured DJ and local bands Y AFTERHOURS Release Sat
SUN JUN 20 AVENUE THEATRE Capture the Hills (CD release), Continuance, Betrayal, Devour, Destroy, Ring Leader, Panda Jerk; 6:30pm (door); $10 (door) BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm BLACK DOG FREEHOUSE Who Made Who–The Rock and Roll Resurrection: The Maykings (revive The Who), The Dirty Dudes (revive AC/ DC); 10pm; no cover BLUE CHAIR CAFÉ Sun Brunch: Jim Findlay; 10:30am-2:30pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun: Father's Day: Marc Beaudin (bass); 6-9pm; $25 if not dining BLUES ON WHYTE The Magnificent 7's
AZUCAR PICANTE Every Sat: DJ Touch It, hosted by DJ Papi
B�STREET BAR Acousticbased open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening
BLACK DOG FREEHOUSE Sat DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered
CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing
BUDDY'S DJ Earth Shiver 'n' Quake; 8pm; no cover before 10pm
DEVANEY’S IRISH PUB Celtic Music Session, hosted by Keri-Lynne Zwicker, 4-7pm
CENTURY ROOM Underground House every Sat with DJ Nic-E THE DRUID IRISH PUB Sat DJ at 9pm 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 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
EDDIE SHORTS Sun open stage hosted by Rob Taylor HAVEN SOCIAL CLUB Jon Bryant , Gabrielle Papillon, Jordan Norman; 7:30pm (door); $10 (door) HYDEAWAY Sun Night Songwriter's Stage: hosted by Rhea March J AND R BAR Open jam/stage every Sun hosted by Me Next and the Have-Nots; 3-7pm MEAD HALL Weekly Folk Night: Megan Young and the Horny Boy Cowards, guests; 6:30pm; $5 NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm NEW CITY Open Mic Sun hosted by Ben Disaster; 9pm (sign-up); no cover NORTH COUNTRY FAIR Runs Jun 18-20; Closing
Circle: 4:30pm O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ON THE ROCKS Mourning Wood (acoustic) ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm ROYAL COACH�Chateau Louis Petro Polujin (classical guitar); 5pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm
Classical ROBERTSON WESLEY UNITED CHURCH Summer Passion: Summer Solstice Festival: Edmonton Chamber Music Society; 3pm; $40 (3-day pass, adult)/$30 (3-day pass, senior)/ $15 (3-day pass, student); $20 (adult each performance)/$15 (senior each performance)/$10 (student each performance) at TIX on the Square, Gramophone, door
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 BOHEMIA Hip Hop Don't Stop: with Equatorial; 7pm; foodbank donations 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 JUN 21 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE Dueling Basses: Russel Jackson, Sam Cockrell DEVANEY'S IRISH PUB Open stage Mon with Ido Vander Laan and Scott Cook; 8-12 EMPRESS ALE HOUSE The Magnificent Seven; 9pm NEW CITY This Will Hurt you Mon: Johnny Neck and his Job present mystery musical guests 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
Classical ROBERTSON�WESLEY UNITED CHURCH Summer Solstice: Edmonton Chamber Music Society; 3pm; incl free lecture 45 minutes before show; Summer Solstice Festival pass: $40 (adult)/$30 (senior)/$15 (student); Single performance; $20 (adult)/$15 (senior)/$10 (student) at TIX on the Square, The Gramophone, door
VUEWEEKLY // JUN 17 – JUN 23, 2010
MUSIC // 25
COMMENT >> SPORTS AND MUSIC
Athletic anthems
Large sporting events can make novelty songs "Red Hot" Two weeks ago, I wrote about how don't get heard in nine of the 10 provincthe re-release of the classic '70s proges. And the US charts ... predictable. rocker "Hocus Pocus" by Focus wasn't But, in the UK, we've seen Rage Against really boosted by its use in Nike's the Machine go to No 1 based on a World Cup "Write the Future" campaign to ensure some Simon ad campaign. Well, it is worth Cowell-engineered Idol talent noting that on the UK charts, didn't enjoy a Christmas at the m in the World Cup's kick-off top of the charts. And, man do o .c ly k ee @vuew week, Focus broke into the the Brits love novelty songs steven top 100, with the song movSteveonr like no other. ing to No 57. A new version of "Three Lions" Sand It wasn't the only soccer-themed by a group of musicians and soccer retro song to get a boost; New Order's aficionados known as "The Squad" is also "World in Motion," written to be a theme on its third week in the charts. It features for the 1990 England side, with thenRobbie Williams, who thankfully never star John Barnes providing a rap about became the demigod over here that he skipping through defenders ("catch me if is in the UK, and Lightning Seeds founder you can, 'cause I'm an England man ... ) Ian Broudie. Famed soccer commentator was at No 46, and enjoying its fifth week John Motson—if you have played any of on the chart. the FIFA games made by EA Sports, you've As well, the Lightning Seeds' "Three Liheard his voice—is also on the credit list. ons," with words from comedians David Massive sporting events have become Baddiel and Frank Skinner, was the theme spawning ground for novelty songs. Resong for the English team at Euro 96. It's member when the morning radio-show also back on the charts at No 53, enjoying jocks would simply re-record lyrics about its 11th week back in the limelight. a team's championship run over the muThe UK charts are just so much more fun sic of some popular song? Growing up in than the Canadian and American charts. Toronto during the '80s, I was scarred by In Canada, the fact that Quebecers are Q107's "Hound Line," with lyrics about the far more dedicated music buyers than we then-Leafs' top line of Gary Leeman, Wenfind in the rest of the country, skews our del Clark and Ed Olczyk. Yes, it was done charts towards Francophone songs that to the tune of "Hound Dog." Ugh.
ENTER
SAND
DJs
TicketMaster
Brewer, hosted by Mark Feduk; 9pm; $8
BAR WILD Bar Gone Wild Mon: Service Industry Night; no minors; 9pm-2am
L.B.’S PUB Ammar’s Moosehead Tue open stage; 9pm
BLACK DOG FREEHOUSE Main Floor: Eclectic Nonsense, Confederacy of Dunces, Dad Rock, TJ Hookah and Rear Admiral Saunders
NEW CITY LIKWID LOUNGE Open Mic hosted by Ben Disaster, 9pm; Woods of Ypres (Black/Doom Metal Juggernauts), Mortillery, Oooze
ESMERALDA’S Retro Tue; no cover with student ID
BUDDY'S DJ Dust 'n' Time; 9pm
O’BYRNE’S Celtic Jam with Shannon Johnson and friends
NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock, spooky with DJ Vylan Cadaver
OVERTIME Tue acoustic jam hosted by Robb Angus
PROHIBITION Tue Punk Night
SECOND CUP�124 Street Open mic every Tue; 8-10pm
RED STAR Tue Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly
SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm
WED JUN 23
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 JUN 22 BLUES ON WHYTE Dueling Basses: Russel Jackson, Sam Cockrell BOHEMIA Avant En Garde (weird electronic muzak): Zebra Pulse, Damno Te, Flatgrey, Mugbait; showing of documentary about Edmonton's "noise music" scene at 7pm; $5 (door) BRIXX BAR Troubadour Tue: Jake Taylor (Dirty City Hearts), guests, host Mark Feduk; no minors; 9pm; $8 (door) CROWN PUB Underground At The Crown: underground, hip hop with DJ Xaolin and Jae Maze; open mic; every Tue; 10pm; $3 DRUID IRISH PUB Open stage with Chris Wynters, guest this week is Dan Kosub; 9pm
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OR
SIDELINERS PUB Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE Open Stage hosted by Paul McGowan and Gina Cormier; every Tue; 8pmmidnight; no cover STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm
Classical TIMMS CENTRE Romeo et Juliette: Opera Nuova, Rosemary Thomson (conductor); 7:30pm; Premium: $37.50 (adult)/$32.50 (student/ senior); Regular: $32.50 (adult)/$27.50 (student/ senior) at TIX on the Square; sung in French with English surtitles
DJs
DV8 Final Summation; 9pm
BLACK DOG FREEHOUSE Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam
JUBILEE AUDITORIUM Boz Scaggs; 8pm; $50 at
BRIXX BAR Troubadour Tue: The Balconies and Sean
VUEWEEKLY // JUN 17 – JUN 23, 2010
BUDDY'S DJ Arrow Chaser; 9pm
FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm
BLACK DOG FREEHOUSE Main Floor: Glitter Gulsch Wed BLUE CHAIR CAFÉ Samantha Schultz; 8pm; $15 BLUES ON WHYTE Dueling Basses: Russel Jackson, Sam Cockrell BRIXX BAR Really Good… Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no cover CENTURY CASINO Gary Puckett; 7pm (door); $39.95/$49.95 at TicketMaster, Century Casino COPPERPOT RESTAURANT Live jazz every Wed night: Audrey Ochoa Trio; 6-9pm CROWN PUB Creative original Jam Wed (no covers): hosted by Dan and Miguel; 9:30pm-12:30am EDDIE SHORTS Goodtime jamboree Wed open stage hosted by Charlie Scream FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12
And, remember when the athletes starred in the novelty songs? Remember the 1985 Chicago Bears and the "Super Bowl Shuffle?" And the 1986 Los Angeles Dodgers put together "The Baseball Boogie," which saw the players from the team dancing around in a dressing room. In the spirit of Miami Vice style they wore shiny baseball jackets in a variety of pastel colours. To say that it is wildly homoerotic is an understatement. You may remember that Pedro Guerrero was a superstar of the '80s. Wait till you see him in his hot pink jacket, swinging to the music and belting out the lines. And while they didn't play the song, the mulleted Calgary Flames from 1986 – '87 all got into a studio and performed a video where they lip-synched and pretended to play "Red Hot," some Kenny G-ish popbrass dreck. Seeing Lanny McDonald pretend to sing some schmaltzy song about climbing the highest mountain is still classic. Awful, but classic. I'll save you the trouble of googling "Flames" and "Red Hot." Go to youtube. com/watch?v=f9eF6DVI0tk to see it. V Steven Sandor is a former editor-in-chief of Vue Weekly, now an editor and author living in Toronto.
HAVEN SOCIAL Open stage with Jonny Mac; 8:30pm; free LEVEL 2 LOUNGE Open mic NEW CITY Circ-O-RamaLicious: Gypsy and circus fusion spectaculars; last Wed every month NEW CITY SUBURBS Punk Rock Pub Wed: Silent Bingo; 9pm OVERTIME Dueling pianos featuring The Ivory Club PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society every Wed evening
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 Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs
PROHIBITION Wed with Roland Pemberton III
FLUID LOUNGE Wed Rock This
RED PIANO BAR Jazz and Shiraz Wed featuring Dave Babcock and his Jump Trio
IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set
RIVER CREE Wed Live Rock Band hosted by Yukon Jack; 7:30-9pm
LEGENDS PUB Hip hop/R&B with DJ Spincycle
SECOND CUP�Mountain Equipment Open Mic every Wed; 8-10pm
NEW CITY LIKWID LOUNGE DJ Roxxi Slade (indie, punk and metal)
STEEPS TEA LOUNGE� College Plaza Open mic every Wed; hosted by Ernie Tersigni; 8pm
NEW CITY SUBURBS Shake It: with Greg Gory and Eddie Lunchpail; no minors; 9pm (door)
STEEPS TEA LOUNGE� Whyte Ave Open mic every Wed; 8pm
NIKKI DIAMONDS Punk and ‘80s metal every Wed
TEMPLE Wyld Style Wed: Live hip hop; $5
Classical TIMMS CENTRE Verdi's Falstaff: Opera Nuova, Gordon Gerrard (conductor) ; 7:30pm; Premium: $37.50 (adult)/$32.50 (student/ senior); Regular: $32.50 (adult)/$27.50 (student/ senior) at TIX on the Square; sung in Italian with English surtitles
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; 9pm2am; beatparty.net WUNDERBAR Wed with new DJ; no cover Y AFTERHOURS Y Not Wed
VUEWEEKLY // JUN 17 – JUN 23, 2010
MUSIC // 27
PREVUE >> TIM HUS
He shoots, he scores
Tim Hus ties Canada together on Hockeytown "I should point out that the Saquatch song, that's fictional," Canadian country singer Tim Hus says deadpan over the phone, before finishing with a laugh. "I didn't actually see a Sasquatch. I made that up." But while Hus may not have actually spotted the mythical creature, he surely captures m ekly.co its tale on his latest alvuewe eden@ bum, Hockeytown, and next Edeno to "Sasquatch Hunter" are unr M songs like "Hamilton Steel," "Red River Flood" and "Home of Hank Snow," all sketching very specific pictures of various elements of Canada. Hus spoke to Vue Weekly recently about the creation of his fifth album of distinctly Canadian songs.
ON TH
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VUE WEEKLY: How long did it take to make Hockeytown? TIM HUS: That's kind of a tricky question, I guess. I gather ideas for songs all the time travelling around, and then when it comes time to do an album I sit down and it probably takes a couple of months to write the songs from those ideas. And then the actual recording doesn't take that long—probably about three weeks. VW: Do you keep a notebook full of ideas that you draw from? TH: I kind of have a method where I don't write them down, and then I figure if it was a good enough idea I'd remember it, and if I forgot it then it wasn't worth keeping. VW: So you don't write all the time? You wait until it's time to do a record and then pick the ideas that you feel would make the best album? TH: Yeah, we do spend a lot of time on the road and I sort of like to have a little bit of my own space to sit down and write songs. It's kind of hard to do on the fly while gassing up or sitting at the diner. But that's why I'm gathering ideas all the time and I let them sort of germinate for a while and I'm always thinking of them and thinking of stringing words together that would work as a hook or get a bit of a chorus going. And then when I have them fleshed out like that—I know what the idea is and what a good chorus might be and where I want it to go—then I'll take the time to sit down and write them. VW: A lot of your lyrics interpret the experiences of other people. Is it difficult to get into someone else's headspace? TH: Not for me, I guess, because a lot of things I've done myself, but then I'm not making this stuff up. It's not really fictional places and stuff; we actually travel around and meet these people and hang out with them and I'm interested in them, and so I'll try and get a perspective and then I'll do research, because for my thing to work, it has to resonate with the people I'm writing about. VW: "North Atlantic Trawler" is a song that really jumps out on the album as
28 // MUSIC
VUEWEEKLY // JUN 17 – JUN 23, 2010
VUEWEEKLY.COM/VUETUBE
FROM COAST TO COAST >> Tim Hus chronicles Canada on Hockeytown capturing a certain place and people. TH: That particular one was kind of a tricky one to write. I would say I went back and rewrote that one a number of times. It was a bit of a tricky approach, see, because the truth is the Grand Banks were like the most fertile fishing grounds in the whole world because it's where the Gulf Stream meets the Arctic current and it's a very productive fishing ground there, but the truth is that they actually fished it out and particularly it was the trawlers that drag a big net along the bottom and they really damage the sea bed and they're kind of the cause of the whole problem. It was sort of from the perspective of just a guy who made his living doing that, and sort of bringing those two things together because you don't want to villainize those people because they're proud and they worked hard and they weren't all like that. And also they weren't the ones who set the quotas: it was the department of Fisheries that really mismanaged it because they thought there was more fish there than there were, so they had the quotas too high. And then the other thing was that they had all the foreign fishing boats coming and fishing there, too. It used to be only a 12-mile boundary where Canada controlled the waters, and then in the '70s they made it a 200-mile limit, but it was already almost too little too late at that point. So there's a lot of other factors involved. You can't just point your finger and say, "You worked on a trawler so you're a villain." VW: You've said this is the album you've
// Eden Munro
been trying to make since you started. What is it about this one that you're so happy about? TH: A lot of these songs I wrote while I was on tour with Stompin' Tom Connors. One thing that Tom told me in our late-night conversations was that Canada sort of lacks a sense of identity as a country because we never had a war of independence like the States did. We never had a defining moment where we said, "This is us. We are our own people. This is what we stand for." Canada was just linked to the Commonwealth and then slowly not so much anymore: we got our own flag in '67. We've certainly had our events but really we sort of slowly became our own nation and we don't have those big things that we can stand up and say, "This is ours," except for hockey, which is why I used that as the theme to tie it all together. I realize now that I use to just write songs about things that interested me personally, but I know can see how my songs can have a greater meaning for the people of this land in giving them a stronger sense of identity and helping them feel more connected, because it's such a big land that often one of the struggles with this great geography is that it's hard to feel really connected with people who are a quarter of the world away on the other coast. V Fri, Jun 18 (7:30 pm) Tim Hus With Matt Robertson Uptown Folk Club (11150 - 82 St), $12 – $15
PREVUE // RANDALL SPEAR
Just regular
Randall Spear never thought he'd be a recording artist Angela Johnston // angela@vueweekly.com
A
fter writing and playing music for 30 years, self-proclaimed "regular guy" Randall Spear has reached an important landmark in his career at the age of 42: his first commercial album, Slow Parade, was released in February 2010. Spear started performing his music 20 years ago, and for those two decades his songs were relegated to independently recorded home demos. His circumstances changed when he met his manager, Jean Ouimet, while collaborating with Edmonton musician Mae
Anderson. He gave Ouimet a copy of his demo and he liked it enough to ask Spear to sign onto his label. Spear calls his success with signing to a label and touring at this point in his life a big surprise: "I never thought I'd be doing this now," he says. His appreciation for music started as a child. His grandfather, an accordion player, instilled in him a love of Irish folk songs, and his radio-DJ brother-inlaw introduced him to a wide variety of commercial tunes. Spear says their influence motivated him to learn to play guitar, saxophone and drums, but he prefers to focus on acoustic guitar because of the years he spent studying
classical guitar at the Quebec Conservatory. The soft-spoken musician stresses the importance of staying close to his roots in his songs, saying that finding his identity is imperative as a performer. He says his album is inspired by everyday life. "I always figured I'm a regular guy, I've got a regular job," he says. "I can't really sing about a rock-star life or something like that because I just don't live that kind of life, so I focused a lot on just the daily things." The daily things include teaching English full-time at a college in Quebec and writing his songs over a cup of cof-
fee while his kids eat breakfast. He says that his focus is split between his family, teaching and music, with little time for anything else. Though Spear says he views his life as being regular, there is the sense that he doesn't see regular as meaning unremarkable; he seems to find beauty in simplicity. "I believe there's a lot of poetry in just kind of ordinary things." V
VUEWEEKLY // JUN 17 â&#x20AC;&#x201C; JUN 23, 2010
Fri, Jun 18 (8 pm) Randall Spear with mae anderson CafĂŠ Dabar, $5
MUSIC // 29
PREVUE // THE WHITSUNDAYS
One from the heart
Arnusch documents personal turmoil on Saul David Berry // david@vueweekly.com
P
aul Arnusch slumps rather sleepily into his stool in the air-conditioned cafe, but around him is a cacophony of contradictions: the sun blasts down onto Churchill Square, the crowd swelling to the point where even the open-air space might burst at its edges—Arnusch has just finished sound-checking the Pride set he's going to play with the Wet Secrets, the latest band to pop up on a musical resume that includes the Floor, the Faunts and, of course, his solo-comefrontman project the Whitsundays.
Whatever jubilation and summer shell-bursting is going on around him, though, he looks like he's ready to keel over onto the table, eyes half-closed and unfocused, the thousand-yardstare of the sleep deprived—he also just got back from Vancouver, where the Whitsundays had a release party, and meeting up with some old friends has left him looking every bit the man who only caught sleep on a plane. And yet this odd melange of experiences—a bustling but imposing crowd, relentless sun, a cool escape and a nearly somnambulant man— seems a perfect place to discuss Saul, the second full-length from the Whit-
sundays. Still awash in the '60s psychpop of the self-titled debut, it is also a darker and more lush experience, blending in moody atmospherics and expansive synths, taking the band from a psychotropic July walk through the river valley to the unexpectedly alienating come-down of emerging into a very public square. The rather intoxicating mix came from two major factors: Arnusch growing into his role as bandleader—he still recorded much of Saul in his basement, as with the debut, but credits the bandmembers for helping shape the sound even beyond the few tracks they actually played on—and a winter
SONIC BREAKDOWN >> The Whitsundays weather some rough times of discontent that forced him, working under the confines of a grant, to spill his guts about what was happening. "During the making of Saul, there were a lot of sad things that were going on. My cat died on the same day that my girlfriend and I ended our relationship," he says matter-of-factly. "Because I was forced to make this album at a certain time of my life, it's basically a document of a certain time of my life. If I made an album that was any different from that one, it would have been fake. There was a lot of heavy things going on, so that's why the album is like that. I think some people will get it, and as long as some people kind of relate to it, I'm happy." It seems hard to imagine that people won't respond to the very pronounced emotional crises that thread throughout the album. Though the topics range from Arnusch's battle with night terrors ("Monkey on My Back") to laments about suburban culture ("You Fell For It") and, of course, to
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VUEWEEKLY // JUN 17 – JUN 23, 2010
// Supplied
breakups and all that can do ("Silent in the Wind" and "Oh Madeline"), the pervading mood is one of distinct melancholy, the lyrics only aided by music that at times seems as bewildered and bemused as its singer, without losing its pop edge. That, says Arnusch, was no accident. "I was kind of in a crisis about how I wanted the album to sound. I felt like I needed a vision before I even started, and it's hard to just get a vision," he says, almost a bit resigned. "I really had to spend some time, and I'm glad I did that, because I felt like it was a growing experience, artistically. I think that's important to do, especially on a second album: there are infinite ways to make music, and you kind of need some direction, or you're lost." V Fri, Jun 18 (9 pm) The Whitsundays With Sans AIDS, Wool on Wolves Pawn Shop
SLIDESHOW >> ZZ TOP
>> THE NEW PORNOGRAPHERS
jprocktor // jprocktor.com
jprocktor // jprocktor.com
FRI, JUN 11 / ZZ TOP / JUBILEE AUDITORIUM
WED, JUN 8 / THE NEW PORNOGRAPHERS / EDMONTON EVENT CENTRE
See more of jprocktor's photos on vueweekly.com
See more of jprocktor's photos on vueweekly.com
VUEWEEKLY // JUN 17 – JUN 23, 2010
MUSIC // 31
32 // MUSIC
VUEWEEKLY // JUN 17 – JUN 23, 2010
interested in: Realities and Abnormalities. (Avenue Theatre, $19)
Fri, Jun 18 (8 pm) / Luke and Tess Pretty
Thu, Jun 24 (9 pm) / The Dead Letters If you cross that music that plays in the background of old Clint Eastwood movies with the stuff your Baba is always humming, then you've got a pretty good idea of how the Dead Letters sounds. Like if you took a bunch of Roma and dressed 'em up like cowboys. (New City)
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—Maria Kotovych
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so many other composers that we can pick from." (Convocation Hall, Robertson-Wesley United Church, $10 – $40)
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Fri, Jun 18 (8 pm), Sat, Jun 19 (8 pm), Sun, Jun 20 (3 pm) / Summer Solstice Festival Classical-music lovers can now enjoy a festival during our longest days, thanks to the Edmonton Chamber Music Society's presentation of the Summer Solstice Festival. Dr Patricia Tao, festival music director and pianist, notes that many cities, such as Ottawa and Montréal, have summer festivals of chamber music, some lasting for weeks. Here, the classical scene becomes quiet by June, hence Tao's idea for this festival. The festival's music follows two themes: stories and jazz. The pieces in the first program tell stories. Among these is Paul Dukas' The Sorcerer's Apprentice—yes, of Fantasia fame. "There's this apprentice, and he thinks that he can do magic. He tries to get something started and it doesn't quite work out as he hopes," Tao explains. Bach also appears in the story program. "Most people don't think of Bach's music as telling a story but in this case this piece very much tells a story. His older brother was leaving, and going to Sweden, and this whole piece is about his brother leaving." The jazz program will deviate from musical preconceptions, too. "When you think about jazz in classical music, we often think of Gershwin," Tao says, "so I purposefully didn't program Gershwin, because there are
Thu, Jun 24 (7:30 pm) / Chick Corea
Most siblings can't stand each other, but for the past five years Luke and Tess Pretty have been making music together and are now—at 13 and 12years-old respectively—on the cusp of releasing their debut album, diffusion. (Blue Chair, $20 [includes CD]) Fri, Jun 18 (6 pm) / The Spill Canvas The last person to really get into spilling on canvas was Jackson Pollock and while his story may not have had the kind of happy ending one might like, Nick Thomas's side-project-thatturned-into-a-band is touring hard and has a couple of new EPs you might be
If you read the words "Chick Corea in concert" and you don't reach for your laptop and credit card, then what's the matter? The guy's a living legend of jazz! (Winspear Centre, $55 – $60) —Bryan Birtles
Thu, Jun 24 (8 pm) / Minto Hailing from rainy Vancouver, Minto has progressed from a lo-fi folk band to a stompin' good time over the course of the band's five years of existence. Also, the group's newest album, Lay It On Me, was produced by "indie-rock superhero" Steve Albini. (Brixx) —Bryan Birtles
SOUNDTRACK >> IDLERS NIGHT Los Rastrillos Tour Canada 2007 Crazy-tight horn section, super-highenergy live show. I think the reason we listen to it so much is that we secretly want to be this band.
On the Road
MORNING Roundelay roundelay Heavy psychedelic rock, this album always finds its way onto our stereo at around 1 am. Tasty effects and unusual arrangements abound.
Soundtrack is a new column that asks an artist or band about the soundtrack of their life morning, noon and night, at home and on the road. This week is St John's NL reggae band, Idlers.
At Home
MORNING Gladiators Trenchtown Mix-Up The thing about really amazing reggae
bands is that their back-up singers are actually lead singers. If you only ever listen to one reggae album, make it this one. NOON Bruce Springsteen We Shall Overcome When someone has had a lot of fun making an album, you can hear it. Banjo, horns, strings, fiddle, piano, accordion ... what more do you want?
NOON The Stables The Stables Whenever the Stables come to your town, for god's sake go see them. Washbucket bass with a hockey stick? Check. Suitcase kick drum? Check. Stables. Go. NIGHT Groundation Each One Teach One Any Groundation album, really. They are probably the most innovative reggae band on the go right now. The drummer is a freak. V Idlers performs June 19 at New City
VUEWEEKLY // JUN 17 – JUN 23, 2010
MUSIC // 33
ALBUM REVIEWS
New Sounds
Pernice Brothers Goodbye, Killer (Ashmont )
Mary Christa O'Keefe // marychrista@vueweekly.com
T
he sixth Pernice Brothers full-length finds Joe Pernice in an "Elvis" mood— Costello; not the other iconic Elvis. And Costello at his apex, Armed Forces to King of America, before his self-conscious rejection of the anti-intellectualism of punk (although he retained its urgency) and dissolution of rock (although he used its history) transfigured into pure self-consciousness. Such is the making of icons; once lofted, they may still absorb ideas from the rest of the culture, but everything ultimately filters through their own primacy. Pernice has so far been denied the wider recognition that makes for separation from the rest of us, but all the same he's spent over 15 years engaged in pursuits that are unforgivingly (and unfairly) viewed in our culture as oriented towards the expansive romance of youth. He's human twilight— neither a gleaming point in the firmament, nor blinking in daylight. It's not a bad niche. He's in fine company: think of Lambchop, Laura Viers and other indie lifers. And he's hit that artistic sweet spot: a coherent trajectory is discernable in his catalogue, but there's still enough
fuel in the rocket for fireworks. Some argue he hasn't used that latitude as much as he could have. The band has always built a muscular rock-pop axis for Pernice's songs to swirl around, and while they may wobble this or that way through albums (the cool glint of 2005's Discover a Lovelier You versus the golden haze of the following year's Live A Little), they remain in a populist orbit. But why should a writer abandon his strengths, or for that matter, his influences? If Goodbye, Killer draws inspiration from Costello's best, it's more than a concordance of esthetics (although there is that—they're both prickly and literate, and share a facility for acerbic turns of phrase, sublime hooks and ambitious textures). The best music changes with you; meaning ripens and finishes long on the palette. Goodbye, Killer resonates with a rereading of influence, and over the course of the album a nuanced, credible portrait emerges of a smart, not-so-young man still playing what is, to many, the adolescent's game of non-arena rock. Pernice followed Costello into the wonderland of creation in the glow of artistic kinship, but the path forked, and mid-career, he's engaged in stock-taking, weighing failings and frustrations against comforts and pleasures amid a tangle of relationships—simultaneously absent family man and fallible bandleader, compulsive lover and chronic leaver, gimlet-eyed fatalist and trembling hopeful. The title track may be a banishment of the past ("goodbye killer/goodbye Joe") and the album-ender a dappled hymn of longing, but the record's emotional range crystallizes in two songs that illuminate Pernice's relationship to the act of creation rather than to other humans. "We Love the Stage" is explicit, wry witticisms praising the workaday musician life spangled with burlesque trombone and Chet Atkins-y showboating. But the final moments of 'The Great Depression' are even more telling: "I never want to die!" he sings. "I never want to die!" V
The Whitsundays Saul (Friendly Fire) The Whitsundays self-titled debut cast the band as dreamy '60s pop revivalists, and though there are still strong touches of the group's roots on Saul, there are times when it hardly even sounds like the same band. Sure, the effortless pop songcraft is there, and the hazy headspace of Paul Arnusch's laconic and lackadaisical vocals, but the sonic palette is much wider, wafting in dark overtones of keyboards, harsher guitars and more expansive arrangements. It all fits the mood rather perfectly, and points towards a band that fits comfortably into a wide-open space. David Berry
// david@vueweekly.com
David Newberry When We Learn the Things We Need to Learn (Northern Electric) David Newberry's When We Learn the Things We Need to Learn is a solid, if not spectacular, album. Employing dark folk/rock/country sensibilities along with Newberry's powerful voice, the album is a personal pondering of life, love and all the other things that keep us awake at night. Given the musical and writing abilities of Newberry, the end result is a bit disappointing. Individually, many of the cuts are quite good. However, the album suffers from a homogeneity that makes most of the tracks, and the album itself, less than memorable. In the end, it all just sounds too similar. Jim Dean
// jim@vueweekly.com
Jane Vain and the Dark Matter Give Us Your Hands (Rectangle)
Continuing in the dark pop tradition of its debut, 2008's Love is Where the Smoke Is, Jane Vain and the Dark Matter's sophomore full length begins on a desperate note, as the curiously-named "AmphAmF" uses arpeggio to recreate the repetitive loops that characterize hopeless rumination. As Give Us Your Hands progresses, the band exhibits a deftness for controlling the album's pace and emotion, keeping things uncomfortable without slipping too far into empty wallowing or faux fury. Bryan Birtles
// bryan@vueweekly.com
34 // MUSIC
VUEWEEKLY // JUN 17 – JUN 23, 2010
Paul Weller Wake Up the Nation (Yep Roc) Paul Weller, member of the decadesdefunct classic punk-mod band the Jam, has released his 10th solo album in 20 years. It seems the attributes that keep Weller current are his ability to evolve and his willingness to experiment. On this album alone, he tries out at least five distinct sounds, with songs ranging from pure rock to the ethereal and psychedelic. Take advice from the title track: "Get ya face out the Facebook and turn off your phone." After that, crack a cold beer and pump up this jam. Angela Johnston
// angela@vueweekly.com
BLK JKS ZOL! (Secretly Canadian)
BLK JKS is almost plagued by its overwhelming hype. How could one not get excited about a South African quartet that can sound like a Zulu tribe, Led Zeppelin and TV On The Radio all at once? There are moments on ZOL! when the quartet will rise to elated crescendos of reverberating psychedelia. One is quickly turned around, however, when, in the group's distinctively eclectic fashion, BLK JKS shows you where Paul Simon drew his inspiration from all those years. Kwaito music has never been so indie. The group isn't and can't be everything the hype demands but it is nevertheless impressive. Joe Gurba
// joe@vueweekly.com
Selena Martin Disaster Fantasies (Independent)
There is something to be said for being reckless. Selina Martin's new album Disaster Fantasies takes no prisoners and no heed of traditional musical genres. While essentially pop music, if you throw on any random track you could hear a punk thrasher, a sweet acoustic ballad or a hard rocker. Such a potpourri is a dicey proposition, but Martin's vitality and exuberance give the album a degree of honesty that holds it all together. The best track, "I Know Dullness," could easily be an anthem for the album's eccentricity, as Martin unabashedly sings, "I know dullness / Don't let him paint a little more grey." Jim Dean
// jim@vueweekly.com
ALBUM REVIEWS The Rheostatics Whale Music (Sire)
tracks are all notable songs by Martin Tielli—an eccentric, somewhat reclusive genius in his own right—followed by Originally released: 1992 an onslaught of Dave Bidini's beloved hoser rock ("Legal Age Life Books and music have always at a Variety Store") and drumm made great travel companions; mer Dave Clarke's ridiculous, ekly.co e w e u v david@ books about music even more unlistenable contributions (like d i v Da y so. Every band has a touring bithe spoken-word "Guns"). Berr ble—that dog-eared, tattered paThe strongest songs tend to perback that's permanently wedged come from the collaborative efforts between the windbetween Bidini shield on top of and bassist Tim the dashboard— Vesely or Tielli; to serve as a re"King of the Past" minder, a good and "Shaved Head" luck charm, a way are gorgeous anto pass the time thems on record on long, lonely and show-stopstretches of Canapers live; "Dope dian highway. Fiends and BoozeRarer, are songs hounds" closes written about the record, exhibbooks. To read iting everything someone else's the band is known prose, then be inand loved for: its spired to translate it energy, its virtuosto poetry and meloity, its sprawling WHALE MUSIC >> A "whale" of an album dy is an elusive feat. arrangements, its Which is why the Rheostatics' Whale Music is teenage awkwardness and vulnerability. such an anomaly: based on Paul Quarrington's Since 1992, the band has arguably released novel by the same name, the Rheostatics stronger, more concise and more relevant were inspired to release a studio album as records than Whale Music (Introducing an homage to the book's main character DesHappiness, Night of the Shooting Stars and mond Howell, a brilliant musical recluse a la Music Inspired by the Group of Seven), yet Brian Wilson. Quarrington himself was so inonly 1991's Melville draws greater fan loytrigued by the band's musical approach to the alty; furthermore, Whale Music has been novel and its characters that he asked them to voted one of the top five best Canadian score the book's film adaptation in 1994. (The records of all time, alongside Neil Young, soundtrack is called Music from the Motion Joni Mitchell, Sloan and the Tragically Hip. Picture Whale Music, not to be confused with Perhaps that's the greatest anomaly here— the studio album of 1992.) that this quirky, inaccessible, sometimes unWhale Music was the first of two albums listenable band could crawl out of its basethe band would make for Sire Records, a subment jam space in Etobicoke and fashion a sidiary of Warner Bros., and would provide recording so iconic and lasting. Surely, this the band with a major label-budget for its could only happen in Canada. ambitious, quirky brand of Canadian Shield Author Quarrington passed away Januprog-rock. After 1994's Introducing Happiary 21, 2010 after a battle with cancer. ness, the band would be dropped by Sire His novel—the Rheostatics' touring bible, for being unmarketable, but the two albums as Bidini explains—has left its own indelcombined embody the band at its weirdest, ible mark on the Canadian literary scene, most exuberant and arguably shaky period. inspiring a new generation of writers and At 17 tracks, Whale Music is hardly your musicians alike to continue forging proudtypical major label debut: the first three ly— and profoundly—Canadian art. V
OULNDDS
SO
HAIKU Tim Gilbertson Palisades (Pop Echo)
QUICK
SPINS
I got it to play This is golden dynamite Booom! Gold everywhere!!!
kly.com
uewee
ins@v
quicksp
Whiteoyn Houst
Library Voices Denim On Denim (Young Soul)
This band is quite great Saw 'em live and pooped a bit Disc is worth soiled pants
Elephant Stone Glass Box EP (Elephants on Parade)
Melissa Etheridge Fearless Love (Island)
Top shelf guitar pop Who do these guys have to blow For Polaris prize?
Lesbian rocker Like Erectile Dysfuction Soft and annoying
We Are The Fallen Tear The World Down (Universalrepublic)
Andy Kim Happen Again (E1 Entertainment)
Four gruff dudes, one girl Would make for a great movie Or one shitty disc
Canuck pop legend He co-wrote Sugar Sugar He can do no wrong
VUEWEEKLY // JUN 17 – JUN 23, 2010
MUSIC // 35
PREVUE // TYPE MONKEY TYPE
Wild animals
Type Monkey Type keeps it unpredictable Lewis Kelly // lewis@vueweekly.com
U
npredictable sound drives people to see live music: if a live band sounds exactly like its recorded material, why not just stay home? Few groups exhibit quite as much sonic uncertainty as Type Monkey Type, however: all three members work full-time, and drummer Anders Halberg lives in Edmonton and commutes to Calgary to rehearse with multi-instrumentalists Stu Wershof and Anders' brother Errol. Throw in a sevenstrong cohort of occasional live guests, and things can get a little hectic on stage. "When we have a chance to rehearse, it's good, but we fly by the seat of our pants a lot," says Errol. "It keeps things exciting." A shortage of formal musical training helps keep things that way. "I like to think of myself as a jazz musician wannabe," jokes the self-deprecating Wershof. While this might sound like a slacker's creed, the proof is in the musical pudding. With a wild blend of jazz, funk and pop, Type Monkey Type produces a strangely captivating sound that alternates between instrumental freak-outs and surreal vocals about birthday-cake gristle and peanut butter. It's borne out of embracing spontaneity.
TYPE MONKEY TYPE >> It only took three to write and record Jungle Noise "When we come up with something musically, it feels most right when it comes from nowhere," says Halberg. "It comes when you're not trying too hard." The band came dangerously close to that rule when it recorded its debut fulllength, Jungle Noise. Halberg and Wershof spent over three months fine-tuning the album after the initial recording session, and the band still feels at least a little unsatisfied. "There's always things that you would go back and change," says Halberg, like vocal harmonies and recording vocal tracks with a higher quality microphone. "You can't fiddle with it forever, otherwise it'd be too polished."
// Supplied
Still, Halberg and Wershof seem like they're fairly happy with the record. They plan to head back to the studio at the end of the summer to start work on the followup to Jungle Noise. Sounds ambitious, sure, but modest goals prevail in the band for the time being—for the most part. "We're just having a lot of fun with it, and we don't expect to be the next Van Halen," says Halberg. "You might not. I do," quips Wershof. "I'm going to become emperor of the world." V Sat, Jun 19 (7 pm) Type Monkey Type The Artery
HOROSCOPE ARIES (Mar 21 – Apr 19)
up for it in the coming months. For startIstanbul is the world's only mega-city ers, here's one idea: is there any father that spans two continents. Many Turkish figure out there who could inspire you to commuters take the 15-minute ferry ride become more of your own father figure? across the Bosphorus Strait, traveling from their suburban homes CANCER ( Jun 21 – Jul 22) in Asia to the urban sprawl in In 1965, two Russian cosmoEurope. I'm seeing a compaorbited the Earth in Y G nauts rable journey for you, Aries: the Voskhod 2 spacecraft. TROLO S m o A .c a transition that happens caDue to equipment problems, weekly l@vue freewil sually and quickly, but that they had to land the vehicle b Ro y manually. moves you from one world to They mistakenly set n s z e r B another. But just because it undown in rugged mountainous folds relatively easily doesn't mean country covered with deep snow. you should be nonchalant about the ad- While they waited overnight inside their justments it will require you to make. capsule, wolves gathered outside, howling and pacing. But the next day their TAURUS (Apr 20 – May 20) recovery team reached them and scared When you want to get rid of a weed off the hungry predators. Soon they that's impinging on the autonomy of your were safely on their way back home. Let growing tomato plant, you don't just tear this little tale be an inspiration to you away its stalk and leaves; you yank it out as you come in for your landing. Even by the roots. That's the approach I urge though you may not end up quite where you to take with the saboteur that has you intended, there'll be a happy ending inserted itself into your otherwise thriv- as long as you wait for your allies to be ing patch of heaven. There's no need to ready for you and you don't try to rush express hatred or rage. In fact, it's better your reintegration. to be lucid and neutral as you thoroughly remove the invasive influence and assert LEO ( Jul 23 – Aug 22) your right to care for what you love. The ancient Greek philosopher Plato advocated the use of dogs in courtrooms. GEMINI (May 21 – Jun 20) He thought that canines were expert lie Many people suffer from a lack of smart detectors as they always knew when defathering. And that happens to be the de- ceit was in the air. I suspect you'll display privation that's most important for you a similar talent in the coming days, Leo. Geminis to address right now. If there You will have a sixth sense about when was anything missing in the guidance you the truth is being sacrificed for expediengot from your actual daddy, I urge you cy, or when delusions are masquerading to brainstorm about how you could make as reasonable explanations. Harness that
FREEW
36 // BACK
ILL
raw stuff, please. Use it discretly, surgically and with compassion.
VIRGO (Aug 23 – Sep 22)
If you've been aligned with cosmic rhythms these past few weeks, Virgo, you've been rising higher and feeling bolder. You've taken a stand on issues about which you had previously been a bit weak and cowardly. Your next challenge is to rally the troops. The group that means the most to you is in need of your motivational fervor. I suggest that you think deeply about how to cultivate more dynamic relationships among all the parts, thereby energizing the whole.
LIBRA (Sep 23 – Oct 22)
"Human beings are in a state of creativity 24 hours a day," wrote Raoul Vaneigem in his book The Revolution of Everyday Life. "People usually associate creativity with works of art, but what are works of art alongside the creative energy displayed by everyone a thousand times a day?" I say amen to that. All of us are constantly generating fresh ideas, novel feelings and pressing intentions. But whether we use our enormous power constructively is another question. I'm pleased to announce that you're entering a phase when you have the potential to create far more interesting and useful things than usual, longer lasting, too.
SCORPIO (Oct 23 – Nov 21)
If you have been engaged in any S&M scenario, even metaphorically, now would be a good time to quit it. Whether you're the
VUEWEEKLY // JUN 17 – JUN 23, 2010
person who's whipping or being whipped, the connection is no longer serving any worthy purpose. The good news is that freeing yourself from compromising entanglements will make you fully available to explore new frontiers in collaboration. You will also be blessed with an influx of intuition about how to reconfigure bonds that have become bland and boring. And what if you're not currently involved in any S&M scenario? Congrats! Your assignment is to transform one of your pretty good relationships into a supercharged union that's capable of generating life-changing magic.
SAGITTARIUS (Nov 22 – Dec 21)
I wouldn't say that things are about to get darker for you, but they're definitely going to get deeper and more complicated. I don't expect there to be any confrontations with evil, but you may slip down a rabbit hole into a twilight region where nothing is as it seems. And yet that's the best possible place for you to gain new insight about the big questions that so desperately need more clarity. If you can manage to hold your own in the midst of the dream-like adventures, you'll be blessed with a key to relieving one of your long-running frustrations.
CAPRICORN (Dec 22 – Jan 19)
The eulachon is a fish that lives off the Pacific coast of North America. Its fat content is so high that the Chinook Indians used to dry it, thread it with a wick, and employ it as a candle. The stink was bad, but the light was good. Remind you
of anything in your life right now, Capricorn? Something that provides a steady flow of illumination, even if it is a bit annoying or inconvenient? I say, treasure it for what it is and accept it for what it isn't.
AQUARIUS ( Jan 20 – Feb 18)
When I was growing up in Michigan, playing in the snow was a great joy. I endured a mourning period as the ground's last patch of dirty sleet melted. Once in late March, I talked my mom into letting me store five snowballs in the freezer. It wasn't until my birthday in late June that I retrieved the precious artifacts. I was disappointed to find they had become iceballs. On the other hand, their symbolism was deeply gratifying. I'd managed to invoke the tangible presence of winter fun in the summertime. I urge you to attempt a comparable alchemy, Aquarius. Figure out how to take a happiness you have felt in another context and transpose it into where you are right now.
PISCES (Feb 19 – Mar 20)
Critic Aidin Vaziri wrote in his review of Norah Jones' recent concert in San Francisco that for years she has tranquilized us with her safe, soothing music, but not any more. It was like she was fresh from a "makeover reality show." Her new stuff exuded grit and defiance and weirdness. Norah Jones is your role model for the next couple of weeks, Pisces. If there have been any ways in which you've been boring yourself, it's prime time to scramble the code. V
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SOCIETY OF EDMONTON ATHEISTS KlYfd]q Eadf]j DaZjYjq$ Je .%/ E]]l l`] )kl Lm] ]n]jq egfl`$ /2)-he SUGARSWING DANCE CLUB GjYf_] @Ydd$
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TOURETTE SYNDROME 9[Y\]eq$ Caf_
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WOMEN IN BLACK Af >jgfl g^ l`] Gd\ KljYl`%
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COMEDY
LIVING POSITIVE ,(,$ )(,(0%)*, Kl ]\edanaf_% hgkalan]&[Y )&0//&1/-&1,,0'/0(&,00&-/.0 ;gfÇ\]flaYd h]]j kmhhgjl lg h]ghd] danaf_ oal` @AN Lm]$ /%1he2 Kmhhgjl _jgmh <Yadq \jgh%af$ h]]j [gmfk]ddaf_
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CENTURY CASINO )+)(+ >gjl J\ /0(&,0)&10-/ K`gok klYjl Yl 0he L`m%KYl Yf\ dYl] k`go Yl )(2+(he gf >ja%KYl3 )* L`m!' )1 >ja'KYl! COMEDY FACTORY ?Yl]oYq =fl]jlYafe]fl
MAKING WAVES SWIMMING CLUB _]g[ala]k&
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;]flj]$ +, 9n]$ ;Yd_Yjq Lj L`m$ 02+(he3 KYl$ 0he Yf\ )(he L`Yf k Aehjgn3 Jun 17-19 Lae Cgkdg3 Jun 25-26
PLAY NIGHTCLUB )(**(%)(+ Kl Gh]f L`m$ >ja$
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/0(&,00&+*+, hja\][]flj]g^]\egflgf&gj_ Gh]f Lm]%>ja )%)(he$ KYl *%.2+(he D?:L K]fagjk <jgh% af2 =n]jq Lm]'L`m$ *%,he ;92 L`m /he Kmal Mh Yf\ K`go Mh2 99 Za_ Zggc klm\q _jgmh ]n]jq KYl$ fggf Qgml` Mf\]jklYf\af_ Qgml`2 Mh lg *- q]Yjk$ kmhhgjl Yf\ kg[aYd _jgmh ]n]jq KYl$ /%1he3 qmq8 k`Yo&[Y OgegfkhY[]2 e]]l )kl Kmf ]Y[` egfl`$ )(2+(Ye%)*2+(he LjYfk =\m[Ylagf'Kmhhgjl ?jgmh e]]l2 )kl'+j\ Kmf$ *%,he$ ]Y[` egfl`3 YdZ]jlYljYfk& gj_ E]f LYdcaf_ oal` Hja\]2 Kmf /he3 ^Y[adalYlgj2 JgZ O]ddk jgZo]ddk/0(8`gleYad&[ge @AN Kmhhgjl ?jgmh2 *f\ Egf ]Y[` egfl`$ /he LjYfk_]f\]j$ LjYfkk]pmYd$ Afl]jk]p Yf\ Im]klagfaf_ LLAI! 9dda% Yf[] kmhhgjl e]]laf_ *f\ Lm] ]Y[` egfl`$ /2+(he LjYfk_]f\]j$ LjYfkk]pmYd$ Afl]jk]p Yf\ Im]klagf% af_2 =\m[Ylagf$ Y\ng[Y[q Yf\ kmhhgjl ^gj e]f$ oge% ]f Yf\ qgml` >j]] hjg^]kkagfYd [gmfk]ddaf_ ]n]jq O]\ ]p[]hl l`] )kl O]\ ]Y[` egfl`3 /%)(he3 Yhhl hj]^]jj]\$ \jgh%afk o]d[ge] Qgml`KhY[]2 \jgh%af ^gj D?:LI ^gj qgml` mh lg *-3 Lm]%KYl$ +%/he
DRUID )).(. BYkh]j 9n] /0(&/)(&*))1 ;ge]\q fa_`l gh]f klY_] `gkl]\ Zq DYjk ;Ydda]gm =n]jq Kmf$ 1he HYDEAWAY�Jekyll and Hyde )(*(1%)(( 9n] /0(&,*.&-+0) Kmh]j 9o]kge] ;ge]\q hj]k]flk2 Oa^] :]Yl]j [ge]\q fa_`l - \ggj! Dan] [ge]\q ]n]jq Lm] LAUGH SHOP�Sherwood Park , :dY[c^ggl
J\$ K`]jogg\ HYjc /0(&,)/&1/// C]f NYd_Yj\% kgf3 Jun 17-19
NEWCITY LIQUID LOUNGE )((0) BYkh]j 9n] F]o[alq MhklYajk Mf\]j_jgmf\ ;ge]\q Fa_`l hj]k% ]flk2 da]k l`] klYl] lgd\ qgm2 <ak]klYZdak`e]flYjaYfake [ge]\q fa_`l )kl Lm] ]n]jq egfl`$ 1he RIVER CREE +(( =Ykl DYhglY[ :dn\ /0(&,0,&*)*) Lae 9dd]f3 Jun 19, 8pm
QUEER AFFIRM SUNNYBROOK�Red Deer KmffqZjggc Mfal]\ ;`mj[`$ J]\ <]]j ,(+&+,/&.(/+ 9^Çje o]d[ge] D?:LI h]ghd] Yf\ l`]aj ^ja]f\k$ ^Yeadq$ Yf\ Ydda]k e]]l l`] *f\ Lm]$ /he$ ]Y[` egfl` BISEXUAL WOMEN'S COFFEE GROUP 9
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BOOTS BAR AND LOUNGE )(*,*%)(. Kl /0(&,*+&-(), *f\ L`m2 Addmkagfk Kg[aYd ;dmZ +j\ O]\2 =\egflgf Kg[a]lq *f\ Lm]2 =\egflgf JYafZgo :mkaf]kk 9kkg[aYlagf =n]jq >ja2 H`adgkg% h`q ;Y^ >ja'KYl <B K]PPPq K]Yf )(%+ Dgf_ O]]c]f\ Kmf\Yqk ^]Ylmj] l`] KlYj\mkl Dgmf_] oal` Eakk :aYf[Y Yf\ NYfalq >Yaj 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 EDMONTON PRIDE WEEK Until Jun 20
Odyssey Pride Dance Yl HdYf]l R] <]ka_f Klm\ag$ )((--%0( 9n]3 >]Ylmjaf_ Ha]jj] >al[`$ <B Jagl$ <+NaYfl Yf\ LaYffY B$ Yf\ Faca&:&Fglla]3 fg eafgjk3 Jun 19, 9pm3 *( LAP gf l`] KimYj]!' *- \ggj! Queer Images Yl E]ljg ;af]eY$ 10*0%)()9 9n]3 mflad Jun 17, 8pm3 )( Yl LAP gf l`] KimYj]
EDMONTON PRIME TIMERS (EPT) MfalYjaYf
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GLBT SPORTS AND RECREATION l]Ye]\%
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ILLUSIONS SOCIAL CLUB: CROSSDRESSERS
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INSIDE/OUT M g^ 9 ;Yehmk ;Yehmk%ZYk]\ gj_YfarYlagf ^gj d]kZaYf$ _Yq$ Zak]pmYd$ ljYfk%
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PRIDE CENTRE OF EDMONTON 1-,(%))) 9n]
PRISM BAR )(-*,%)() Kl /0(&11(&((+0 O]\2 >j]] Hggd3 CYjYgc]$ 1he%ea\fa_`l L`m2 Hjake Hggd D]Y_m]3 /%))2+(he >ja2 Kl]Yc Fal]k3 -%1he3 <B Yl 12+(he MCDOUGALL UNITED CHURCH e[\gm_Yd% dmfal]\&[ge Hj]k]flYlagf gf l`] f]]\k g^ ?D:L qgml` Yf\ qgmf_ Y\mdlk Thu, Jun 17, 7pm >j]] ROBERTSON�WESLEY UNITED CHURCH )(*(1%)*+ Kl /0(&,0*&)-0/ Kgmd GMLaf_2 Yf D?:L%^g[mk]\ Ydl]jfYlan] ogjk`ah *f\ Kmf ]n]jq egfl`$ /he3 ogjk`ah Kmf$ )(2+(Ye3 h]ghd] g^ Ydd k]pmYd gja]flYlagfk o]d[ge]& D?:L egfl`dq Zggc [dmZ Yf\ Çde fa_`l& =2 bjYn]fk[jg^l8jom[&gj_ ST PAUL'S UNITED CHURCH ))-*.%/. 9n]
/0(&,+.&)--- H]ghd] g^ Ydd k]pmYd gja]flYlagfk Yj] o]d[ge] =n]jq Kmf )(Ye ogjk`ah!
SHINE YOUR LIGHT KljYl`[gfY DaZjYjq >j]] e]\alYlagf [gmjk] g^^]j]\ Zq l`] Kja ;`afegq ;]flj] Until Jun 29, 7-8:30pm >j]]3 Af^g'hj]% j]_akl]j Yl /0(&,-,&,0,0
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YOUTH UNDERSTANDING YOUTH qmq]\e& [Y E]]lk ]n]jq KYl$ /%1he =2 af^g8qmq]\e&[Y$ L2 /0(&*,0&)1/)
SPECIAL EVENTS BRAIN INJURY AWARENESS :A9E Ha[fa[ Yl
:gj\]f HYjc3 Fri, Jun 18, 11am-2pm F9:AK 9?E Yl l`] ?d]fjgk] 9m\algjame3 Wed, Jun 23, 7-9pm
CAN’T STOP THE SERENITY KlYfd]q 9& Eadf]j
DaZjYjq L`]Ylj]$ ;`mj[`add Ki 9m[lagf$ ;KLK k[j]]f% af_3 ^mf\jYak]j Hjg[]]\k lg =imYdalq Fgo Yf\ l`] =\egflgf Oge]f k =e]j_]f[q 9[[geeg\Ylagf ;]flj] O=9;!$ Yf\ Ca\k F]]\ lg J]Y\ Sun, Jun 27, 12-7:30pm )- Yl @Yhhq @YjZgj ;gea[k
CELEBRATING NATIONAL ABORIGINAL DAY
;]fl]ffaYd HdYrY$ Z]`af\ l`] KlYfd]q Eadf]j DaZjYjq /0(&,-+&*.+0 >]Ylmjaf_ Yjl ^jge kge] g^ =\egflgf k 9Zgja_afYd qgml` [gdd][l]\ ^gj l`] FYlagfYd 9Zgja_afYd <Yq >dY_ [gfl]kl3 ^]Ylmjaf_ B Oadlgf Dalld][`ad\$ Yf\ D]oak ;Yj\afYd Y[lanaklk ^gj 9Zgja_afYd ja_`lk Jun 20, 1-3pm >j]]
HOUSE AND GARDEN TOUR YdZ]jlYZYdd]l&
[ge /0(&,*0&.0+1 9dZ]jlY :Ydd]l ^mf\jYakl]j3 lgmj `ge]k Yf\ _Yj\]fk Jun 26-27
NITRO JAM ;Ykljgd JY[]oYq$ /((+ ?ajYj\ J\ /(0&,.)&-0() faljgbYe&[ge [YkljgdjY[]oYq&[ge L`] klYjk g^ l`] Faljg BYe K]ja]k$ af[dm\] Lgh >m]d \jan]jk Kh]f[]j EYkk]q$ <]d ;gp Bj&$ :jm[] Dallgf$ :gZZq DY_YfY Bj& Yf\ Lae :gq[`mc Yk l`]q ZYlld] al gml ^gj l`] *()( Lgh >m]d Ogjd\ ;`Yeha% gfk`ah Jun 25-27 Kaf_d]%\Yq la[c]lk2 Y\mdl2 +- >ja!$ -( KYl!$ -( Kmf!'Bj .%)*!2 )- >ja%Kmf!' ;`ad\ mf\]j -!2 >j]]3 La[c]lk Yl ;Ykljgd JY[]oYq LA ST�JEAN BAPTISTE Oq] ;geemfalq @Ydd$ )-) :Yad]q =klYl]k$ K`]jogg\ HYjc /0(&,.,&*0-, >gg\$ emka[ Yf\ \Yf[] Jun 24, 6-10pm - SPIRITUAL HEALING SERIES Mfalq ;`mj[` g^ =\egflgf$ )+0*(%)(19 9n] /0(&,//&-+-) mfalqg^]\egflgf&[Y J]n& Qngff] JY[af] afl]j% hj]lYlagf gf `go B]kmk mk]\ Yf\ \]egfkljYl]\ `]Ydaf_3 `go Eqjld] Yf\ ;`Yjd]k >addegj] `]Yd]\ l`]ek]dn]k Yk l`]q ^gmf\]\ Mfalq ;`mj[` lg ]fja[` dan]k g^ gl`]jk Until Jun 23/24
VUEWEEKLY // JUN 17 – JUN 23, 2010
BACK // 37
COMMENT >> LGBT
Pride in our community
Politics and parties make for a successful Pride Week I've spent the last few weeks trying to reall there in the name: to be proud is to mind everyone what Pride is really about. remind us we are people who deserve to The partying and insanity sure was fun, feel good about ourselves. Pride is a time but we can't forget how and why the to be happy, crazy-ridiculously-happy, whole gig started. It was easy because it's our day to take back this year since nothing put that the streets. It's our chance to into such sharp focus as Pride flood heteronormative, genToronto's decisions to ban dered, restrictive spaces; to kly.com Queers Against Israeli Apartdisplay that we are happy and e e w e vu tam@ heid. Agree or disagree with fulfiled and worthy. a r a Tam the conflict, there was nothing Every year the parade seems to a k Gorzal quite so startling as the disconbe lengthened by 20 entries. I may nect that's happened between the be young, but I can still remember an origins of pride march activism and the extremely different kind of event from less financial motivations that now seem to than a decade ago. Long gone is a handful steer it when once it was a revolution. of walking groups, one truck, two quiet JasBut somewhere in my pleas, I forgot per blocks and a modest gathering at the something important. Pride is political, Oliver rink. Participants ranged from wild, but there are more facets than that. It's elaborate floats with towering rainbows,
to Pine Trail's full campfire scene, warm spiritual congregations, city councillors on flowery bikes, impeccable drag queens, queer Muslims, Play's "cocketship" mascots, children and dogs, Furries, the Edmonton Atheist pirates carrying a Flying Spaghetti Monster and, to my delight, many activists. Signs reminded of Bill 44, cuts to gender reassignment surgery, Bill C-389 and a huge contingent showed up to push for an end to the Gaza conflict. At the after-party in Churchill Square I was feeling pretty good, but still a little lost as to what it all meant. After the usual mix of politicians, thank yous, music and drag queens, the after-party closed out with a performance by Edmonton supergroup the Boyfriends. A fantastically queer but even more fantastically talented crew,
CLASSIFIEDS
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
EERN Q UN TO MO
FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3 PM
BUSINESS OPPORTUNITIES
ARTIST TO ARTIST
EDUCATIONAL 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
HELP WANTED
SUPPORT YOUR LOCAL FOOD BANK
38 // BACK
SOS Fest (sosfest.ca): volunteers needed! Jul 9-11; Whyte Ave. eclectic music festival; 90 performers 22 venues. E: volunteers@sosfest.ca
Allied Arts Council/Spruce Grove Art Gallery: call for Alberta artists 55 and over to participate in the 2010 Senior Art Show. Deadline: Sep 17. 780.962.0664, E: alliedac@shaw.ca
Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: elaine.elrod@ telus.net
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
MUSICIANS
Quality music instruction since 1981. Guitarist. Educator. Graduate of GMCC music program
Harmonica player, vocalist, percussionist, front man. 30 yrs experience. Available for live sessions or road work. Serious inquiries only, please. J.B. 780.668.8665
ARTIST TO ARTIST
We are a party / wedding band that already has over 10 gigs booked. Looking for a lead guitarist to fill out our sound. Call 780.271.0030 today!
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
VOLUNTEER Volunteer website for youth 14-24 years old. youthvolunteer.ca
Expressionz Café, 9938-70 Ave, looking for visual artists and artisans for weekly art market and rotating gallery space. T: 780.437.3667; W: expressionzcafe.com
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. 7712-104 St. Call for info pack 1.888.270.2941
ʸ ʸ ʸ ʸ ʸ ʸ ʸ ʸ ARTIST/NON PROFIT CLASSIFIEDS
Pro level trio require experienced drummer. Please be able to rehearse at least once/wk and have an upbeat attitude. T: 780.299.7503
Edmonton Mennonite Centre for Newcomers, need volunteers to help immigrant children and youth of all ages–volunteer in a homework club. Phillip Deng at 780.423.9516, pdeng@emcn.ab.ca
Enjoy painting or drawing outdoors? Join outings with likeminded artists. Free. No instruction. Contact terryelrod762@gmail.com
MODAL MUSIC INC. 780.221.3116
Edmonton Pride Week now extends past even what the name suggests, this year with 10 days of officially sanctioned events that numbered almost 40. It's impossible to make every event, and that kind of choice is thrilling, with something for absolutely everyone. These events are about friendship and community building with a hearty emphasis on a good time, and it’s that type of meeting that our community, any community, really needs. They build the strength to last another year. On Sunday night at the Pride Awards, I watched valued, gifted members of the
Old Strathcona Antique Mall: Any artist or musician interested in hanging art or performing in monthly showcases contact Jenn@oldstrathconamall.com; visual art will showcase for one month
Kitchen Help – Thai Cuisine Experience preparing Thai food an asset. Please e-mail resume to camster1964@gmail.com
MUSICAL INSTRUCTION
they got the crowd so excited that chants demanded an encore. As the group covered Gaga, I watched the party goers run to the stage. The high-heeled queens pounded the concrete next to the short-short boys and hipster girls. It was a punky barn-stomping closing number and, for once, the "Celebration in the Square" seemed flawlessly carried out in front of me.
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 // JUN 17 – JUN 23, 2010
community receive recognition for the tireless effort that they put into making the Edmonton queer community the vibrant and diverse microcosm that it is. It was the first year I’d attended the awards without being directly involved in some way and yet, for some reason, it was the best so far. I felt so content to watch friends, colleagues and people I deeply respect as they were awarded for their efforts with not only LGBTQ people, but all of Edmonton's minority communities. British Expat "Queenie" Valerie-Mason John, delivered the Awards' keynote speech. She closed it by saying how important these good and valuable works are and that she hopes that one day "Every single person in this room gets a Pride Award for themselves." That's something to strive for: the parties and the activism, the bonds and community good work. It seems to me to be everything Pride really and truly is about and sometimes, I'm just a little bit ecstatic to live in this sort of world. V
COMMENT >> ALT SEX
Much ado about poo Dear Andrea: So every six months I get some variant of I am a 26-year-old male, good looking, living your question and every year or so I anin New Jersey. I am very fond of scat play swer it. Like this: "Chances are you're SOL. with females. I always used to play Sorry!" There are a few women who will with my own scat, but I always actively seek out scat play. If you wish some female would share moved to a major metro area and scat play with me. Can you help became involved with the S&M me with that please? community and behaved well kly.com Love, and got invited to parties you uewee v @ x e alts Scatman Wannabe might hear of one, or perhaps if a e r And son you approach very carefully and Nemer Dear Man: are vewwy vewwy quiet, glimpse Yeah, probably not. one in the wild. I can't even promise I was changing the baby this morning you you'd meet her, and I certainly cannot when she started to whimper and fuss. guarantee that anyone you did meet would "What's the matter," I asked her, "Don't want to do her thing with you. This is not like poop?" the sort of thing people just indiscriminately "No," she said firmly. "Don't yike it." do with anyone who comes along. It's kind Let's be honest. I don't yike it either. The of ... intimate. truth is, hardly anybody does yike it, and As with many other very rare, widely deof those who do, most appear to be men. spised subspecialties, this is the sort of thing
ALT.
SEX
VOLUNTEER The Edmonton Immigrant Services Association is looking for volunteers to help with its New Neighbours, Host/Mentorship, Language Bank, and Youth Programs. Contact Alexandru Caldararu (Volunteer Coordinator) at 780-474-8445 or visit www.eisa-edmonton.org <http:// www.eisa-edmonton.org> for more detail. The Great White North Triathlon requests volunteers for the 19th edition on July 4 as lifeguards, kayakers, transition marshals, security, course marshals, set-up and tear down. LeRoy at royal.legend99@gmail.com; lwilliam@telus.net; 780.478.1388
Volunteer with Strathcona County RCMP Victim Services Unit and assist victims of crime and trauma. Call Katie at 780.449.0183 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 The Support Network: Volunteer today to be a Distress Line Listener. Apply on line thesupportnetwork.com or call 780.732.6648
Join Us! Volunteer for The Works Art and Design Festival Jun 25-Jul 7. Shannon Bowler T: 780.426.2122, ext 230, E: volunteer@theworks.ab.ca, W: theworks.ab.ca
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Bone Marrow Donor Clinic need about 20 volunteers for bone marrow donor clinic on Jun 19 in Churchill Sq during Rock The Square Festival; rockthesquare.com; E: arekkozikowski@hotmail.com
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Join the Freewill Shakespeare Festival as a volunteer for its 22nd season, Jun 29-Jul 25. Troy O’Donnell 780.425.8086, E: volunteer@freewillshakespeare.com
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
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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
Grow a Row with Edmonton Meals on Wheels; local gardeners and farmers to donate their fresh produce 780.429.2020 for info; Katherine Dalusong E: katherine. dalusong@mealsonwheelsedmonton.org
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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; W: eisa-edmonton.org Mechanics needed: The Edmonton Bicyle Commuters' Society operates a volunteer-run community bike workshop called BikeWorks, 10047-80 Ave (back alley), also accepting bicycle donations; E: volunteer@edmontonbikes.ca; W: edmontonbikes.ca The Candora Society of Edmonton–Board Recruiting; candorasociety.com; promotes 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 Volunteers instructors needed–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 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
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you're probably going to have to pay for. Love, Andrea Dear Andrea: My boyfriend says his old girlfriend used to let him pee on her. I'm wondering why, and also if it's really safe. He says it's sterile. Is it really? And what's the deal with this? I can look it up, but I kind of don't want to see what happens if I look up "pee on me" in a random Internet search. Love, Not Sure About This
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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
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
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IS DRINKING A PROBLEM? A.A. CAN HELP! 780.424.5900 Keiskamma Art Project: women and men from the villages of South Africa’s Eastern Cape province need donations of fabrics to create felted and embroidered goods. Need: fine, open weave cottons, silks (silk ponge, silk chiffon, silk gauze), rayon, viscose; fabric pieces larger than a 2" square. Deliver to 13604-108 Ave before Jul 15. Info E: wendy4keiskamma@yahoo.com
Editor's note: Many sexual health organizations advise against the drinking of pee and encourage washing directly after. Pee can transmit STIs, including chlamydia and gonorrhea if it enters the eyes, mouth or anus. Pee with caution.
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ed and have avoided certain obvious food groups, it barely even smells. Social taboos aside it's pretty innocuous. The taboos are there, though, so in a way pee is a cheap thrill: it feels really dirty without being any dirtier, really, than a glass of drinking water, and in many cases cleaner. None of this means, of course, that you have to let him pee on you. I'm not at all comfortable with a system where if Andrea says "It's not going to hurt you," you have to do something! You're going to want to ask what exactly he and the ex were up to, what he got out of it and, if possible, what she got out of it. As long as he's willing to drop it if you're not into it, though, what the heck. Maybe you'll yike it, maybe you won't. Love, Andrea
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Dr.’s Appointment Buddy–Accompany new refugee immigrants to their medical appointments to give support and assist with paperwork. Thu, 10:30am-2:30pm. Transportation not required. Leslie 780.432.1137, ext 357
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Dear Sure: Good thinking! Especially if it's your work computer, but either way, hitting "search piss play" or similar is probably a bad idea unless you're quite sure you want to see what you'd see. Of course, it's safer than "goatse"
or "tub girl" or that guy who ... never mind. Those sites kind of scarred me for life and I wouldn't wish similar on the unwary reader, so let's just drop it. I can't answer "why" without knowing more about what the boyfriend and the ex were up to. You can piss on somebody with much sneering and attitude and be all dominant about it, but two people can also just kind of play with pee because it's there, with no greater meaning. On the subject of drinking it, though, it really is pretty clean, although I hesitate to use the word "sterile" since I'm a stickler and anything that's touched the outside of somebody's body is going to pick up some "body ash" or some dust or something, plus there are many reasons that a spare blood cell or so might be floating around in there but basically, pee is remarkably clean. Poo, of course, is remarkably dirty. It defines "dirty," really, and right there you have your difference. It's extremely unlikely that you're going to catch anything from pee. It doesn't stain. If you're healthy and hydrat-
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