Vue Weekly 773 Aug 12-18 2010

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VUEWEEKLY // AUG 12 – AUG 18, 2010

INSIDE

COVER

#773 • Aug 12 – Aug 18, 2010

UP FRONT // 4/ 4 7 8 8

Vuepoint Dyer Straight ZeitGeist Bob the Angry Flower

DISH // 10/ 13 Veni, Vidi, Vino

ARTS // 21 26 Hopscotch

FILM // 32 35 DVD Detective

MUSIC // 38 47 Gutterdance 49 Music Notes 50 New Sounds 51 Old Sounds 51 Quickspins

BACK // 52

22

The Fringe: Vue shows you all of the Fringe's hot spots

FRONT

MUSIC

52 Free Will Astrology 54 Queermonton 55 Alt.Sex.Column

EVENTS LISTINGS 31 Arts 37 Film 40 Music 53 Events

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The emergence of Canada's own religious right

frontman Fran Healy 45 Travis brings his solo show to town

VUEWEEKLY.COM VUETUBE // Ben Harper

MUSIC

• Slideshow Folk Fest, Warped Tour • VueTube Jakob Dylan, Ben Harper, John Prine, Alejandro Escovedo FILM

Ben Harper performs at Folk Fest on August 5

• Sidevue Mad Men in the Playpen: peeling off the easy label of "chick flick" and examining the male alternative • Extended interview Vue chats with The Expendables star Dolph Lundgren • Alternative festival David Berry discusses the Fairness Film Festival

VUEWEEKLY // AUG 12 – AUG 18, 2010

FRONT // 3

EDITORIAL

Vuepoint Necessary damage BRYAN BIRTLES

// BRYAN@VUEWEEKLY.COM

A

n Angus Reid poll released this week shows that the "Rethink Alberta" campaign has the potential to have a devastating impact on Alberta's tourism industry. The Internet-based campaign was shown to have swayed the opinions of 50 percent of Americans and Britons who would consider visiting the province.

Attacked as "utter lies" on comments threads and "one-sided" by Alberta's Environment Minister Rob Renner, the video shows the devastating effects the tar sands has had and continues to have on the province, the country and the world.

By shifting the focus of the campaign away from whether or not the tar sands are an inefficient and pollution-heavy way to produce oil and placing it squarely onto a concrete action that individuals can take to fight back, Rethink Alberta hits Alberta where it hurts—the public treasury. The effects can be seen in the actions of Premier Ed Stelmach who in recent weeks has been so perturbed by the ongoing anti-tar sands campaign that he's become the number one shill

of the oil industry, pledging $268 000 of taxpayers' money for his own advertising campaign that seeks to present the tar sands in a positive light. Such a close relationship between the government and an industry seemingly hell-bent on environmental destruction is vexing, to say the least.

While it does seem unfair that the good people who work in the tourism and hospitality industry have to pay for the sins of the Alberta government and the tar sands industry, Rethink Alberta—if effective—protects something more important than money or jobs: life. The tar sands’ continued expansion threatens the lives of current and future Albertans through environmental degradation, the spewing of poison into the water table and the rare cancers that are spreading across the northern part of this province and creeping into the alsoexpanding industrial heartland east of this city. You can’t make an omelette without cracking a few eggs, and if the Alberta government really cared about the people it governs it would begin transitioning the province's economy into industries that don't poison the very place we call home. V

INSIDE // FRONT

UP FRONT

7

Dyer Straight

8

ZeitGeist

8

Bob the Angry Flower

GRASDAL'S VUE

PODCAST >> A LEARNING CITY

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4 // FRONT

Councillor Don Iveson found success earlier this spring when he proposed a mandate to have Edmonton become a City of Learners. With a broad diversity of partners signed on we talk to Iveson about what this means for Edmonton's growth as a learning capital. Go to vueweekly.com/extra for all of Vue Weekly's podcasts.

GO TO VUEWEEKLY.COM/PODCASTS FOR ALL OF VUE'S AUDIO COVERAGE.

Letters VUEWEEKLY // AUG 12 – AUG 18, 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.

NEWS ROUNDUP

If you can't stand the heat

A brief timeline of Stelmach's summer discontents SAMANTHA POWER // SAMANTHA@VUEWEEKLY.COM

MIMI WILLIAMS // MIMI@VUEWEEKLY.COM

S

ummer's usually slow days have brought nothing but obstacles to a beleaguered Premier Stelmach.

From defending pipeline safety to expanding public relations budgets, the premier of Alberta has taken the job of defending Alberta's tar sands to full-time job status. We've compiled this summer's public relations plague.

APRIL A SPILL TO START Concerns about the environmental consequences of oil exploration expanded well beyond the usual critics following the April 20 Deepwater Horizon rig explosion in the Gulf of Mexico. The spill started a spew of public battles about the safety of landlocked pipelines.

MAY

THAT SAME DAY James Cameron, Canadian filmmaker decides to pipe up, calling the tar sands a black eye for Canada.

MR STELMACH GOES TO WASHINGTON May began with Alberta's premier heading to the North American Energy Security Summit. Attempting to sell the safety of landlocked Alberta oil to US energy advocates.

Stelmach raised eyebrows when he seemed to capitalize on the tragedy taking place in the Gulf, stating that Alberta oil was a safer alternative because pipeline leaks could be so much more easily contained than spills offshore.

JUNE GUILT BY ASSOCIATION Syncrude is found guilty in the 2008 deaths of over 1600 ducks.

Found guilty of not acting with due diligence to prevent the deaths of the ducks, environmental groups and opposition parties were quick to point to provincial legislation and operation to be at fault as well.

They cited a lack of enforcement on industrial operations in the tar sands as key in not monitoring environmental failures.

RETHINK A week later, the Rethink Alberta ad campaign launched by San Francisco-based group Corporate Ethics International struck a nerve. Various social media campaign tools, along with conventional roadside billboards, urged tourists to rethink visiting Alberta until it cleaned up the oil industry. Comparing our province’s tar sands to the disaster in the Gulf, the campaign features stark images of marine wildlife in the Gulf beside photos of the ducks in the toxic tailing ponds.

A FLY IN THE SUGAR Members of Congress didn’t exactly embrace the premier’s message: 50 of them wrote to Secretary of State Hillary Clinton in June, urging her to put the brakes on the Keystone project. They were later joined by Congressman Henry Waxman, chairman of the House Committee on Energy and Commerce, who has taken to calling Alberta oil "the dirtiest source of transportation fuel currently available."

On July 26, the state department extended its review of the Keystone XL pipeline by 90 days.

JULY A CUP OF SUGAR Attempting to slow what was now a tsunami of opposition, Stelmach submitted an op-ed piece to The Washington Post, which refused to print it as to do so would violate its submission guidelines. Plan B was a $55 779.99 half-page ad in the July 2 edition of the paper, reminding legislators what a good neighbour Canada is.

AUGUST MONEY FIXES EVERYTHING To compete with Rethink Alberta and growing discontent among Congress Democrats, Stelmach announced greater spending on tar sands advertising. At least $268 000 is to be dedicated to a two-week public relations blitz primarily in Alberta. V UNLIKELY ALLIES Another battle erupted when previous arch-enemies the Buildling Trades of Alberta and the Merit Contractors Association aligned to deliver the "Refine it Where We Mine It" campaign. Later joined by the Alberta Industrial Heartland Association, a collective of municipalities that includes Edmonton, the campaign urges the government and oil industry to find a way for more bitumen to be refined in Alberta, arguing jobs are being shipped down the pipeline along with the crude oil.

The argument is that if Albertans are going to shoulder the burden that comes with the mining of bitumen, then we should at least ensure that we are maximizing the long-term jobs and revenues.

VUEWEEKLY // AUG 12 – AUG 18, 2010

FRONT // 5

FEATURE // CANADIAN POLITICS

Canada's own

Marci McDonald charts the emergence of Canada's religious right Mary Christa O'Keefe // marychrista@vueweekly.com

C

anadian national identity is mostly sketched through contrasts with our boisterous neighbours-without-the-'u'.

We're cool-headed, polite, slightly reserved, while Americans marinate in over-sharing friendliness and patriotic emotionalism. We have health care and the multicultural mosaic; they have guns and a melting pot.

Of course, these are bunkum stereotypes, but we all know which one of us has religion. We know who is The Nation Specially Chosen By God To Play A Very Important Role In The End Times—as Foretold In Prophecy—which just happens to be Very Soon. If not Already Happening. And whose conservative politicians have thrown in with righteous folk who think God's mad because of The Wicked Abortions and The Wicked Gays and The Wicked Secular Media, and that we need to stop with The Wicked already if we want to step up to the End Times plate and defeat Satan—who is as real as you or I —once and for all.

For those who remember Jerry Falwell blaming 9/11 on lesbians and feminists, or anti-gay marriage lifestyle brand Rick Warren hosting a presidential debate, or any number of incidents from the last 30 years of American politics, the culprit's obvious.

However, Marci McDonald points out there's enough room in the revival tent for more than one Nation Specially Chosen By God To Play A Very Important Role In The End Times. The veteran journalist's recent book, The Armageddon Factor: The Rise of Christian Nationalism in Canada, documents the emergence of our very own religious right, distinct from the States-side version despite links, and explores the relationships between their leaders and organizations

6 // FRONT

and Stephen Harper's Conservative Party and government.

"It's not just the United States that sees itself as the New Jerusalem. I was stunned to find out we had our own version, that Canada has this Biblical role as well," McDonald says. "I call this sliver of conservatism 'Christian nationalists'—not a term I'm applying to all evangelicals or conservative Christians, but to a very vocal group who want to see Canada 'restored' as a

Christian nation, and the judicial system conform with biblical justice."

Her interest in the tango between conservative politicians and Christian nationalists dates back to her days as Washington bureau chief for Maclean's.

"I arrived at the height of the Ronald Reagan years. I'd heard about the Moral Majority when I was working in Europe, but couldn't imagine it," McDonald recalls.

"The mainstream media and big papers were saying, 'This is a flash in the pan,

VUEWEEKLY // AUG 12 – AUG 18, 2010

they're mad at Jimmy Carter, they don't have a strong political base, they're operating out of churches.' And they re-elected Reagan, with a landslide. At the end of Reagan's term, the televangelist scandals hit, which somewhat discredited the Moral Majority and Falwell shut it down, and people said, 'See, it's gone away.' The next year, Pat Robertson ran in the presidential election. But he didn't do well, so everyone started repeating: 'It's not going to last, etc.' I kept seeing denial over the years until the Republican party had been essentially captured by the Christian Coalition through a sophisticated and stealthy organizing movement run by Ralph Reed, who would claim credit, not disputed credit, for helping put George W Bush in the White House, twice."

McDonald discerned a similar escalation in Canadian religious conservative activism in 2005, and a rerun of denial.

"I heard those attitudes here in the wake of the same-sex marriage debate: 'the Christian Right emerged, it was outspoken during this debate, it's been defeated, we weren't going to hear any more.' But the opposite was happening—so incensed were some groups, and so empowered by

were all sorts of ties?"

When McDonald drew attention to the shifting scenery in an article in The Walrus ("Stephen Harper and the TheoCons", Oct 2006), "I was accused of overstating the case and exaggerating," she laughs.

This spring's release of The Armageddon Factor provoked a different reaction.

"Ever since it came out, I've been accused of everything you could be accused of: I'm an anti-Christian bigot, according to the Prime Minister's former spokesman, I'm anti-Semitic, according to [newspaper columnists]. I've been called every name in the book by very public figures."

McDonald adds, "I thought journalists reported on new developments, and this, to me, was a new development on the Canadian political landscape, but I am the girl who kicked a hornet's nest!"

A better comparison might be if the hornets were fattening their construction so busily they failed to notice it was no longer sheltered from outsiders until it dropped into the open with an indecorous thud.

McDonald does not, and does not have to, embellish, she simply has to carry out the business of reportage.

This she does, with patient clarity, mar-

It's not just the United States that sees itself as the New Jerusalem. I was stunned to find out we had our own version, that Canada has this Biblical role as well.

American money, that they put down organizational roots in Ottawa," McDonald explains. "It coincided with Harper being elected, a politician who for the first time had made cultivating religious and social conservatives his party-building strategy.

What you had was a congruence of circumstances that imitated what happened in the States. Harper laid out the welcome mat for the religious right in Ottawa at the same time those organizations were putting down roots and creating an infrastructure in Ottawa."

The significance of these events wasn't lost on McDonald, although it escaped many journalists.

"That'd never happened before in this country. We had a change in the political landscape, and most in the mainstream media weren't geared to cover it—who in an overtaxed Ottawa bureau of a news service or newspaper had a reporter to spare to send out to religious rallies to notice that there were politicians there, there were promises being made, and there

shalling her facts. She traces Harper's career in the context of post-Reform Party conservative infighting, outlines the history of apocalyptic Pentecostalism and the current Third Wave and New Apostolic Reformation revivalisms, and follows money and influence to map connections between Canadian (and some American) faith and political organizations. She reinterprets Harper government moves in light of his dual constituency (old guard/ social conservatives) and spells out his strategy for making common cause with social conservatives of all faiths and ethnicities (echoing Zionist evangelicals in America like John Haggee, whose congregations celebrate Israel-centered Judaism while sidestepping the indelicate topic of what he believes will happen to unconverted Jews at world's end).

Harper's knack for the ninja tweak is highlighted, his signature incremental CONTINUED ON PAGE 8 >>

COMMENT >> GLOBAL FOOD SUPPLY

Grain wars

Wildfires in Russia foreshadow future grain shortages It cannot be proved that the wildfires now but that is a minor nuisance for most condevastating Western Russia are evidence sumers in the developed countries, since of global warming. Once-in-a-century exthey spend only about 10 percent of their treme weather events happen, on income on food. In poor countries, average, once a century. But the where people spend up to half Russian response is precisely their income on food, the higher what you would expect when prices will mean that the poorglobal warming really starts to est of the poor cannot afford m o .c weekly e@vue bite: Moscow has just banned to feed their children properly. gwynn e all grain exports for the rest of As a result, some will die; Gwynn this year. probably a hundred or a thouDyer At least 20 percent of Russia's sand times as many as the thirtywheat crop has already been destroyed odd Russians who have been killed by by the drought, the extreme heat—40 dethe flames and the smoke. But they will die grees Celsius for several weeks now—and quietly, one by one, in under-reported parts the wildfires. The export ban is needed, of the world, so nobody will notice. Not this explained Prime Minister Vladimir Putin, betime. But when food exports are severely cause "we shouldn't allow domestic prices reduced or banned by several major proin Russia to rise, we need to preserve our ducers at once and the international grain cattle and build up supplies for next year." If market freezes up, everybody will notice. anybody starves, it won't be Russians.

That's a reasonable position for a Russian Two problems are going to converge and leader to take, but it does mean that some merge in the next 10 or 15 years, with drapeople will starve elsewhere. Russia is the matic results. One is the fact that global world's fourth-largest grain exporter, and grain production, which kept up with popuanticipated shortages in the international lation growth from the 1950s to the 1990s, grain market had already driven the price is no longer doing so. It may even have flatof wheat up by more than 80 percent since lined in the past decade, although large anearly June. When Putin announced the exnual variations make that uncertain. Whereport ban, it immediately jumped by another as the world's population is still growing. eight percent.

The world grain reserve, which was 150 This means that food prices will also rise, days of eating for everybody on the planet

R DYEIG HT

STRA

10 years ago, has fallen to little more than a third of that. The "world grain reserve" is not a mountain of grain somewhere, but the sum of all the grain from previous harvests that is still stored in various places just before the next big Northern Hemisphere harvest comes in.

We now have a smaller grain reserve globally than a prudent civilization in Mesopotamia or Egypt would have aimed for 3000 years ago. Demand is growing not just because there are more people, but because there are more people rich enough to put more meat into their diet. So things are very tight even before climate change hits hard.

The second problem is, of course, global warming. The rule of thumb is that with every one-degree Celsius rise in average global temperature, we lose 10 percent of global food production. In some places, the crops will be damaged by drought; in others by much hotter temperatures. Or, as in Russia's case today, by both.

So food production will be heading down as demand continues to increase, and something has to give. What will probably happen is that the amount of internationally traded grain will dwindle as countries ban exports and keep their supplies for themselves. That will mean that a country can no longer buy its way out of trouble when it has a local crop failure: there will not be

enough exported grain for sale.

This is the vision of the future that has the soldiers and security experts worried: a world where access to enough food becomes a big political and strategic issue even for developed countries that do not have big surpluses at home. It would be a very ugly world indeed, teeming with climate refugees and failed states and interstate conflicts over water, which is just food at one remove.

What is happening in Russia now, and its impacts elsewhere, give us an early glimpse of what that world will be like. And although nobody can say for certain that the current disaster there is due to climate change, it certainly could be.

Late last year, Britain's Hadley Centre for Climate Change produced a world map showing how different countries will be affected by the rise in average global temperature over the next 50 years. The European countries that the Hadley map predicts will be among the hardest hit— Greece, Spain and Russia—are precisely the ones that have suffered most from extreme heat, runaway forest fires and wildfires in the past few years.

The main impact of global warming on human beings will be on the food supply, and eating is a non-negotiable activity. Today Russia, tomorrow the world. V Gwynne Dyer is a London-based journalist whose articles are published in 45 countries. His column appears each week in Vue Weekly.

VUEWEEKLY // AUG 12 – AUG 18, 2010

FRONT // 7

COMMENT >> TELECOMMUNICATIONS LAW

Home for complaints

Canadians can take phone problems to the CCTS Complaining about the major telefor telecommunications services toils phone and cable companies may soon in relative anonymity. Established in surpass hockey as Canada's national 2007, the CCTS came as part of a depastime. It sometimes seems like it regulation bargain initiated by thenranks a close second. Delayed industry minister Maxime BerniCanadian launches of the later, who deregulated many est phones, new caps on Inlocal telephone markets ternet bandwidth, increased and established an industry.com monthly subscription fees funded telecom complaints weekly e u v mgeist@ and the entry of additional commissioner. l e Micha marketplace competitors all The result was the CCTS, t s Gei regularly attract significant which receives several thoumedia attention as consumers sand complaints every year. The focus on their monthly Internet and range of services within its mandate is wireless bills far more intensely than very broad as home telephone, long dismost other products and services. tance services, wireless and Internet acNotwithstanding the public intercess are all deregulated and thus qualify. est, the commissioner for complaints The CCTS is able to address complaints

ZEIT

GEIST

involving issues such as compliance with contractual terms, billing disputes, service delivery, credit management and unauthorized transfer of services (a practice known as "slamming").

According to its 2008–'09 annual report, the CCTS opened over 3200 complaints, though it issued only six decisions. Wireless services were the leading source of concern (38 percent of all complaints), followed by local phone service and Internet access. By comparison, a similar Australian agency that has been in place since 1993 receives over 150 000 complaints annually.

While it is still relatively new, the Canadian Radio-television and Telecommunications Commission recently launched

BOB THE ANGRY FLOWER

a public consultation on the future of the CCTS. Some providers such as MTS Allstream responded that no change is needed, but others are not so sure.

Bell argued the CCTS is simply not needed, maintaining that unregulated markets are by definition competitive and it is therefore in the interests of all competitors to provide "high quality customer service and complaints resolution." Should the CCTS continue, however, Bell concluded that it is premature to make any determinations about its effectiveness, though it believes that membership should be mandatory.

Shaw was similarly skeptical of the need for the CCTS, but focused most of its comments on the power of the CRTC to mandate that service providers become members and pay the requisite fees. Characterizing the mandatory membership requirement as "re-regulation" of deregulated services, Shaw implausibly argued that the CCTS is so well known that the market will determine its value. If consumers value the existence of a complaints commissioner, they will choose providers that are members and thereby encourage membership.

Three major cable companies—Rog-

ers, Cogeco and Videotron—submitted joint comments that focused on the CCTS mandate. The companies were also of the view that mandatory membership is no longer needed, but even more concerned with the prospect of mission-creep, noting that the CCTS "should not be tasked with creating or developing regulations or industry codes; it is far more useful in its role providing input and assistance to the industry." (Telus expressed much the same concern.)

Standing on the opposite side of the issue were Canadian consumer groups that not only want to see the CCTS renewed but expanded. Noting that thousands of complaints are dismissed for being "out of scope," the groups argued that the solution is to expand the commissioner's scope, generate more publicity and restructure the board to ensure greater independence from industry.

The CRTC is expected to rule on the future of the CCTS before the end of the year. V

CANADIAN POLITICS

what does it mean for us?

"The implications for foreign policy are huge," McDonald asserts. "There might not be all stops pulled out to work for peace in the Middle East if you believe an End Times conflagration between Israel and its enemies is inevitable and part of the divine plan before the second coming of Christ—you might not be anxious to impede that."

She also sees an excuse for stalling on addressing climate change. "A lot of evangelicals and conservative Christians, to be fair, are environmentally concerned.

They believe in 'Creation Care,' stewardship of the earth, but some of the noisiest leaders don't believe there should be any action. They believe talk of global warming is scientific bunk. And they add to the constituency and strength of the antienvironment movement in this country, so when Harper drags his feet, he placates two constituencies."

The most pervasive effect may be cultural. "To use religious and moral issues as a party-building strategy, as wedge issues that divide Canadians, is a dangerous road," McDonald cautions. "We should do some serious thinking about this, because most Canadians seem not to like what they see happening in the States right now, that level of polarization and vitriol that's erupted in the public debate."

McDonald makes the case—and her critics confirm it—that like the States, we now have a vocal, politically engaged religious right. Here's what we don't have like the States: a legally enshrined separation between Church and State. It's worth having a discussion as to what this means in this world, in these times. V

<< CONTINUED FROM PAGE 6

bureaucratic maneuvers that clear the path for significant shifts without addressing issues head-on, like altering the composition of judicial advisory committees, which may change how laws are interpreted. McDonald follows the energized leaders of the movement through rallies, fasts, and prayer dates with politicians as they move through Parliament Hill with ease and familiarity, and examines, not without admiration, their activist tactics.

The Armageddon Factor is also a fascinating guide through the hothouse parallel universe of extreme Christian faith— massive multimedia youth revivals, home schooling and Bible colleges, creationist museums stocked with valuable fossils and web portals for faith-guided civic engagement—21st century life minus the afterlife-endangering taint of secularism.

McDonald's descriptions of multiple visions and other forms of intensely felt divine communication visited on Christian nationalist leaders are bizarre, but illuminating of the Charismatic mindset's Twilight-esque apprehension of the world, all subterfuge and battles between light and dark, with eternal high stakes.

Beliefs have consequences, especially when they're shared by those in power or with access to power. When Biblical literalists (bearing in mind most Christians and scholars differ in their interpretations of these texts) with an End Times theology have political clout, what are the consequences? We've seen its corrosive impact on American discourse and policy, but

8 // FRONT

VUEWEEKLY // AUG 12 – AUG 18, 2010

Michael Geist holds the Canada Research Chair in Internet and E-commerce Law at the University of Ottawa, Faculty of Law. He can reached at mgeist@ uottawa.ca or online at michaelgeist.ca.

VUEWEEKLY // AUG 12 – AUG 18, 2010

FRONT // 9

INSIDE // DISH

DISH

Online at vueweekly.com >>DISH

13

Restaurant Reviews

Veni, Vidi, Vino

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

REVUE // PRESS CAFÉ

Stop the presses

Whyte Ave bistro café mixes Italian and Mediterranean influences Erika Domanski // erika@vueweekly.com

I

n recent months, a developing trend in the Whyte Ave and Central Edmonton areas has been new bistro-type cafés.

Everywhere. I challenge you to keep up with them all—or to throw a rock and not hit one. On a Monday evening, I found myself at Press Café, one of the newer spots on Whyte Ave, on a particular block that has seen several new cafés open up in the last little while.

The bright blue and orange of the vibrant storefront certainly calls for attention and piques curiosity. On a beautiful summer's day it sure is easy to imagine yourself sitting at one of their little tables out front, taking in the ever-interesting scene of the Ave. Upon entering, I experienced some mixed feelings; the tables and chairs seemed nice enough, and the counter with its colourful backsplash was inviting ... but I couldn't help but feel that something was lacking—it seemed a little bare. Maybe that would be remedied if the small space had been bustling with customers.

My date and I went up to the counter and peered into the glass case, which seemed to be a little sparse as well. A few lonely salads and sandwiches remained near the end of the day. We were looking for dinner, but I was beginning to think that this place probably thrives more as a lunch spot.

10 // DISH

OILERS' COLOURS >> Press Café rocking its hometown advantage The menu is very small. There are several types of coffees and desserts, but when it comes to actual food, the choices are limited. There are sandwiches, wraps, salads and that's about it. The menu also doesn't specify what kinds of sandwiches or wraps that they have available, so you need to ask.

The gentleman working behind the counter was friendly and very helpful.

He let us know what all of our options were. I decided to go with the panini and

// Bryan Birtles

salad combo ($9.95), while my date opted for the wrap and salad combo at the same price. After ordering, we found a table outside to sit and enjoy our food.

The smoked salmon panini was already in the press being grilled before I chose it.

I think that the man working there was making it for himself, but generously gave it to me instead. It was quite excellent—the bread was hot and crusty but the ingredients inside, like the lettuce, were still crisp. Everyone knows that

VUEWEEKLY // AUG 12 – AUG 18, 2010

smoked salmon's best friend is cream cheese and I was happy to find that winning combination within this sandwich.

I stole a bite of my date's chicken wrap and it was very fresh and tasty as well.

The pasta salad that I chose was pretty standard and, while it was good, it felt like it was missing a little something. It could have used some sort of a kick.

I think that maybe the owner had caught wind that I was writing a review about his place because he brought us out

a complimentary plate of baklava. Up until this point, I was under the impression that this place was supposed to be along the lines of an Italian deli, but now the Mediterranean influences were starting to stand out—I noticed several hookahs inside as well. The baklava was a delicious little morsel of pastry, nuts and honey.

We went back inside to get some postdinner coffee and were coerced into trying a piece of the new cake that had recently arrived from the Italian Centre.

It was a caramel cake ($5), and did look quite good, although I don't think that I would have bothered with it if it had not been so energetically recommended.

Press Café serves Danesi coffee, which is a brand founded in Rome in 1905. It has a very strong and robust flavour and, while I usually dislike very strong coffee, this one was very pleasurable.

The cake was also quite delectable. The highlight for me was the real whipped cream on the side, which I found to be an unexpected touch. The cake was creamy yet light, and as far as desserts go, it was enjoyable enough.

While there were some areas that could use improvement, the food that we ate was all very good, and the value for the money was quite reasonable as well. V Mon – Sun (9 am – 9 pm) Press Café 10846 Whyte Ave, 780.756.6300

PROVENANCE

The history of caramel

RECIPE

The history of caramel is neither old, nor complicated. Settlers were cooking sugar and water together to create hard candies as early as the 17th century. These hard candies were the norm for several centuries. They were economical, a breeze to make, had a long shelf life and were easily transportable.

By the mid-19th century, candy makers discovered that by adding milk and fat products to the traditional cooked sugar mixture, a sweet, chewy confection was created.

This new creation soon became known as "caramel" and its popularity grew quickly.

What makes a caramel a caramel? It's the heating of the milk solids and fats, fused with the sugar ingredients, that creates the typical caramel flavour.

Keep in mind that caramel is not the same as butterscotch, although many confuse the two.

In a conventional caramelization process, the sugar syrups are cooked to the proper moisture level, added to the fat and milk, heated and then allowed to caramelize. You can actually watch the chemical reaction take place, as your ingredients turn from a milky white color to a rich brown.

The slight burning of the milk solids under these conditions is a most pleas-

Ingredients: 1 cup of lightly packed brown sugar 1/2 cup of butter 1/2 cup of corn syrup 1/2 tsp vanilla 1/2 tsp baking soda 1 bag of light microwave popcorn

ant smell. If cooked even further, the mixture loses moisture and becomes toffee.

It's worth mentioning that Milton Hershey's first venture into the candy business had nothing to do with chocolate. He initially started the Lancaster Caramel Company in the late-19th century.

Later, he thought of coating caramel candies with chocolate and acquired some German chocolate-manufacturing machinery. He became far more enamored with chocolate making, however, and sold the caramel factory. So if it wasn't for caramel, there may never have been a single Hershey bar. V â&#x20AC;&#x201D;Pete Desrochers

Caramel Popcorn

Pre-pop the bag of plain microwave popcorn and pour into a large bowl. Light popcorn works best. Remove all the unpopped kernels.

Bring the brown sugar, butter and light corn syrup to a boil in a large pot over medium heat, stirring constantly with the wooden spoon. Continue stirring constantly as you turn off the heat.

Add the vanilla, then the baking soda.

There will be a slight chemical reaction and your caramel will start to foam and rise as you keep stirring.

Add the popcorn and stir until all the popcorn is coated. Don't worry if the stirring becomes difficult.

Preheat your oven to 250 F and press the popcorn mixture as best you can on a greased baking tray. You will likely not be able to cover the face of the tray.

Bake the popcorn for 30 minutes, pressing down on your popcorn to further flatten it every 10 minutes.

Remove from oven and allow to cool thoroughly. Once cool and hard, break into bite-sized pieces and enjoy. V

VUEWEEKLY // AUG 12 â&#x20AC;&#x201C; AUG 18, 2010

DISH // 11

PROFILE // EVANSBURG BAKERY

Road trippin'

Bakery in a converted gas station worth the day trip

DAILY BREAD >> Anne Fanten and her husband, Wolfgang, inside the pair's bakery Renee Poirier // renee@vueweekly.com

A

Summer road trip can awaken the senses into an eager culinary wanderlust. Travelling on Highway 16 gives one a giddy sense of adventure, watching the fields roll by on a quest to reach the Pembina River. The 60-minute drive can build up an appetite, so we stop in at Evansburg Bakery to find a rustic gem in the heart of a small town.

This bakery café has some charming surprises; a 1950s gas station that has been converted into a bustling stop for treats both sweet and savoury, the ambience reflects the rustic rural feel of a small Alberta town. As you pull up to the vintage, abandoned gasoline pumps and set your eyes on the opened, oversized garage doors, the tables set under them are inviting and surreal. As we enter through the front door, the fresh aroma of baked bread greets you like a nostalgic old friend.

The deli stands are full of treats topped with sugar dust, golden brown cinnamon buns, filled pastries that glisten and deli sandwiches overstuffed with a variety of meats and cheeses. Behind the counter there is an industrial oven that is at least eight feet tall and fits

12 // DISH

VUEWEEKLY // AUG 12 – AUG 18, 2010

// Renee Poirier

with room to spare in the lofty sized 20-foot ceilings. A rack of homemade loafs of bread rest in front with an artistic grace.

My curiosity grows as I wonder who the clever person behind this is. Anne Fanten introduces herself with an Australian accent and a welcoming smile "After five years in business we moved into this location last year, and it took a fair amount of renovations," she says with a nod. "People come for miles for our Christmas cake—the fruit has been soaked in rum for a year. All of our baking goods are made from scratch and preservative free." The conversation gets interrupted twice as locals peek through the front door asking for cinnamon buns and I realize I can't go home without them.

Anne goes on to share a little known secret about baking in Australia: there they use self-rising flour because of the altitude difference, but in Canada this flour variety is not very common and hard to find. It is, in fact, the art of flour and water that keeps Anne's imagination flowing: "I just love trying new things and adding different ingredients. Every batch is different."

Her menu changes daily, from the hearty homemade soups to the baked

items like buns, rolls and cakes. "My family inspires me as well" she says, referring to her husband Wolfgang, her three kids, a cat and a dog, all of whom must have a long list of favourites.

Her compassion for family and the community becomes obvious when she shows me a basket into which you can donate a loaf of bread. It would be given to a local charity, and reminds you that she is very much at home here.

Anne left me feeling inspired, and with my hands full of goodies, such as mango filled pastries, a loaf of bread and of course her famous cinnamon buns.

If your wanderlust takes you to the water this summer, consider the Pembina River. Created by glaciers, it's a 62-metrehigh gorge carved out of sandstone that twists and turns with a relaxing pace. It is open all summer, a great destination for when we cement lovers need to seek water. Rent a tube and take the shuttle from the national park to enjoy an afternoon day trip on the crystal clear waters.

And if you get hungry—which you will— Evansburg is a short jaunt away. V Evansburg Bakery 50 St, Evansburg, AB 780.727.4636

WINE

Troublemaker

Charles Smith shakes up the wine establishment For all the pomp and haughty attitudes surrounding wine, there have always been rogue winemakers challenging the status quo. These outsiders haven't always succeeded in bringing down the wine establishment, but they've certainly made waves and, in some cases, even changed the way people look at wine, VIDI VENI, the way it can be made and, most importantly, enjoyed. ly.com Charles Smith is no excepeweek us@vu tion. The "rock star wine- mikeang Mike maker" from Walla Walla, Angus Washington has made his mark in the wine world with his big hair, bold labels and an iconoclastic "kick ass" attitude. His earliest wines were labelled simply "House Wine" and "Red Table Wine," written in blunt handwriting, signaling a no-fuss approach to marketing. They were uncompromisingly simple, and unapoloKING OF THE BUZZO >> Charles getically so.

Smith at his winery // Karen Stanton This appeal to the common drinker seems to have legs, however, as he's average wine snob's mantra, but his recently received numerous nods as crafting has backed up any havoc he one of North America's best winemakmay have wreaked on the wine world. ers. His motto—"It's just booze, drink His line of wines has since expanded to it!"—is perhaps the antithesis of your even more distinctive varietals—Boom

VINO

Boom Syrah and Kung Fu Girl Riesling are just two examples—and while the labels continue to attract new fans while offending the old guard, his success lies in two simple rules: know your audience and know your strengths.

First, the majority of new wine drinkers buy wine looking to take it home and drink immediately. Smith embraces this marketing fact by cramming as much fun into a bottle as possible. The labels jump off the shelf, the wines jump out of the glass, and they're easy to remember, making it simple to find the next time you find yourself back at the liquor store, looking for "that wine with the bomb on the front."

Second, he's not re-inventing anything here, he's merely doing the best with what he's got. Washington's soil and cooler climate conditions determine what he can and cannot grow, so Smith would be foolish to go fishing outside of those limits. He simply makes killer wine like his Merlots ("The Velvet Devil" and "Holy Cow"), Chardonnay ("Eve") and a cheeky Cabernet Sauvignon ("Chateau Smith") with tasting notes to match ("Pure Washington! Cedar, No 2 pencil, and tobacco leaf").

With this much fun crammed into every bottle, you'll forget all etiquette.

So grab the glass by the bowl—breaking the rules never tasted so good. V

VUEWEEKLY // AUG 12 – AUG 18, 2010

DISH // 13

INSIDE // ADVENTURE

ADVENTURES

OUTDOOR

20

Kicking Horse

DEATH RACE // ENTRY 8

The long haul

After 10 years, Death Race isn't perfect, but it is great jeremy derksen // jeremy@vueweekly.com

W

hy? That is the most common question non-racers ask. Why run 125 kilometres in 24 hours, over three summits? Why run until your toenails turn literally black from mashing them against your shoes, blisters ooze from your heels, your knees swell and throb, your stomach churns and your brain reels in delirium?

If you haven't toed the line for the Canadian Death Race, assisted as support crew, watched the human drama unfold or shared in the unbridled celebration that can only arise out of pain's aftermath, the answer to that question will forever remain a mystery.

I imagined that, by joining the race and digging back into its 10-year history, I could tell the story of a small, remote Alberta Rockies town, the anonymous athletes who come here from as far as Singapore and Australia to compete, the 250-plus volunteers who toil behind the scenes, the superhuman efforts of the skeleton crew of race staff and the twisted visionaries who dreamed it all up.

Instead, I learned that behind every great story is yet another. The Death Race is a modern epic unfolding in proportions as great as the landscape.

It is a setting for great victories and defeats, muted glory and resounding agony: pain, compassion and determination inflated to Olympian scale.

So if we ran the Death Race and you were not there, considered it crazy, did not comprehend "why," or did not imagine yourself capable, then go look in the mirror and ask yourself: why not?

Much has been made of the metaphor of death that infuses the race. I think it's simple: either you run from death with every last millilitre of oxygen in your lungs, or you stand frozen, a deer in the headlights, and wait for the careening, pitch-spewing, 18-wheeled, chrome-plated, double-wide, marrow sucking fiery rig to strike you down.

My race began over a year ago, but it incinerates at 7:10 pm on a hot July 31, 2010, 11 hours and 10 minutes from the starting line.

I've run through the town of Grande Cache, a muddy bog, around Grande Cache Lake, up Flood and Grande Mountains, back into town, past the town landfill and down along the Smoky River. Now, 65 kilometres in, with minutes remaining to reach the

14 // OUTDOOR ADVENTURES

RECORD SETTERS >> Hal Koerner begins his journey towards a course record time cutoff for Leg 3, I crest the ditch at Highway 40. I can see the gate ahead.

Already I'm running at 75 percent, but with a last desperate push I crank it up to full speed, sprinting the last several hundred metres. Support crews and spectators line the course, cheering and clapping.

But I can't see them. My vision tunnels toward the gate, my whole being focused on keeping my legs turning, sustaining an irrational pace after the distance I've already covered. I concentrate on breathing, gulping as much oxygen as I can from the air and expelling it to get more into my lungsâ&#x20AC;&#x201D;an increasingly urgent task.

Just as I think I'm going to collapse from the effort, I reach the gate. I grab the timing stick clipped to my race belt and jam it into the sensor. It beeps

// Heather Derksen

twice. I'm through the gate with five minutes to spare before the 7:15 pm cutoff. Or so I think.

Unfortunately, I am one of a handful of people who are left in limbo, victims of a timing discrepancy between the race bibs and the program. Despite what my bib reads, the cutoff is in fact 7 pm, plus six minutes for a late starting time, for a final cutoff of 7:06 p.m.

I'm four minutes late. I'm out, finished, halfway to my goal.

Thus ends my run, but the race is not over. So now I am a spectator, seeing what it looks like from the outside.

From the sidelines I watch as runners stagger to the gate, still running their hardest despite knowing that the cutoff time is past. Their heroism in the face of defeat astounds me.

Eventually we head to the finish line,

VUEWEEKLY // AUG 12 â&#x20AC;&#x201C; AUG 18, 2010

in time to watch Hal Koerner stride to a new course record of 12 hours, 41 minutes, and Ellie Greenwood blaze a new women's record of 13:31.

It is several hours later before I can bring myself to go to sleep in my oversized queen bed at the Grande Cache Best Western. The disparity between the comfort here and the deprivation I expected on the trail seems too great.

A chilling downpour nearly turns me back. I'm not on the trail; it's Sunday night and I'm standing under the carport at the hotel, whipped by the wind, debating whether to go out to Deathfest to see headliner Great Big Sea. Staring out at the rain, I am greeted by a familiar sense of solitude.

A similar sensation greeted me at the start/finish line, beginning and ending,

alpha and omega. I stood alone in a sea of people waiting in the staging area, the race clock ticking down to 8 am and the first of many thousand steps. Alone, I read the welcome sign at the Grande Cache Recreation Centre, framed by the shadow of Mount Hamel far in the distance: "Welcome Death Racers. 'Fear' is not in your vocabulary."

Yet I was not alone at all. I have often used running as my way of seeking solitude, meditating, retreating from the world. But recently it has taught me about the value of community.

The Death Race strips bare the self, binding runners together in common toil. Its vocabulary does include fear, suffering, dependence. In themselves, these things are not innately bad or wrong. Rational fear keeps us safe, suffering teaches compassion and de-

panions on the trail. We drew strength from one another. After all, one of the key rules of Death Racing is, "Death Racers can help other Death Racers."

And we did.

LIFTING SPIRITS >> Support crews and families provide invaluable physical and moral support pendence connects us with the rest of humanity.

I sacrificed to be here, but so did my family and my support man, Chris, and so many others. Without them I wouldn't have been able to do what I did. At the end of each grueling leg, Chris's job was to ensure I was adequately hydrated, nourished, physically intact and geared up, and to push me back out on the trail. My wife and

children were there to be the nurturing embrace I needed upon my return.

I might have run the trail alone, but it was only by grace of their presence that I endured.

Every few blocks for the first couple kilometres of the race, cheers of, "Go Kandis!" broke my solitude. Here beside me was a hometown favourite, Kandis Woodward, whose inspiring story—as racer, volunteer and local—

// Heather Derksen

I'd retold in an earlier race entry. My choice was simple: give up solitude and join the collective.

More familiar faces turned up in the kilometres that followed—friends from training camp, runners I'd befriended in Edmonton, legends of the race. I gave some food to a friend who had run short, pain medication to a stranger who had knee troubles.

These were some of my many com-

I go to the concert. I'm somewhat ambivalent at first but soon I rediscover the strength that had faltered in the face of defeat. Chris is there with an extra chair, a smile and a beer. The sky clears, the music is good.

Woodward comes over. "The race is a metaphor for life," she says at one point. Later, describing the meaning of the race to her family, she says, "the race is our Disneyland."

On the face of it, these two statements seem to contradict one another. After all, the brutal nature of the race is real life; Disney is pure fantasy. Yet, I realize, both are true.

When you're in the midst of it, the race is everything. It tests your utmost limits. When you are finished, you realize the race is but one small moment in your life. Any race of any distance is but a construct designed to provide an external challenge, a motivator, a measuring stick. But it is not life.

To let it go—including disappointments—is yet another test. In every race, some runners will inevitably quibble about the rising cost of race fees (the Death Race cost an extra $100 this year, in part to offset the real silver coins awarded to finishers), lack of clarity in pre-race instructions, poor course marking or any number of little things. A time cutoff error, perhaps. But to let such

VUEWEEKLY // AUG 12 – AUG 18, 2010

things overshadow a race would be a shame.

The Death Race, in its 10th year, isn't the perfect race; but then, there is no such thing. It is a good race, run well. It has the essential elements of greatness—hard trails, heroism and heartbreak—and a character all its own. And it is rich with stories and legend that will only grow in the coming years. To this rich legacy, I humbly submit my own story here, unfinished as it is, and hope it in some way adds to that growing heritage.

I own my own race. I accept that I failed to meet the restrictions of the competition. In a race of such magnitude, 10 or 15 minutes is too thin a margin for error. But I also know that I deserved that finish line, could have attained it.

Watching the solo finishers line up at the awards ceremony at the Grande Cache Recreation Centre, I can't help feeling mildly bitter, for however brief a second. It takes one more concerted effort, my last of this race, to recognize it as a base, worthless emotion and push it out of my mind. One final test.

With it gone, all that's left is the unshakeable motivation to return in one year's time and take what's mine. Charon, hell's dark ferryman, owes me one silver coin. V

ON THE WEB canadiandeathrace.com deathfest.ca VUEWEEKLY.COM/TOTHEDEATH2010

OUTDOOR ADVENTURES // 15

OUTDOORS >> INSIDER

// Supplied

fledged forest fire.

Wake's up, Edmonton By comparison, in a 24-hour period of lightning The Roswell Wake Air National Championships for storms, there might be 70 fires province-wide. wakeboarding are coming to Shalom Park in Curbing wildfires and making fire safety sexy, Leduc, August 26 – 29. Over 100 riders that's a win-win. are expected to compete for national Another thing you should never leave S R OO D titles in different age categories. unattended—or without a life jackT U O Located next to Rabbit Hill, the unet—is your kid in a boat, but a new om der-publicized Shalom Park is actually provincial pilot is tackling that, too. eekly.c w e u v @ jeremy a revered watersport venue, having In partnership with the Lifesaving Soy Jeremon hosted previous national championciety, the province is providing life jacks k r e D ships in 1997 and 2006. This year's event ets free of charge at unmanned kiosks at will feature some of the best talent in the Carson-Pegasus Provincial Park and Pigeon world, says tournament chair Shawn Gratzfeld, as Lake Provincial Park. wakeboarding is a sport in which Canadians domiIt's nice to see the Province getting creative in nate: the last two world champions have been promoting smart recreation. Best of all, there's a Canadians. clear emphasis on personal choice and responsiGratzfeld, himself a three-time national masters bility, something too often lacking in government champ, is part of a strong local contingent that safety initiatives. also includes defending Mens 2 champ Brad BusSink or swim, put out or get burned—it's up to kas, Ashley Leugner and Gratzfeld's son Justin. you.

Other top riders the Derome brothers (Olivier and Raphael), Rusty Malinowski and Anthony Hollick are also expected to compete.

Summer bucket list Events kick off on Friday, building up to the open Clock's ticking down. If you haven't been out givchampionships finale on Sunday, where riders will ing 'er, put these on your list and get a move on. be throwing down inverts, 900-degree spins (posAs the warmth of summer wanes, so do chances sibly even 1080s) and stomping some "pretty agto get out and try stand up paddle (SUP) surfing gressive" rails. "We may see a little bit of carnage with Easy Rider. The last demo day is Tuesday, and excitement," Gratzfeld enthuses.

August 15 at 7 pm at Telford Lake in Leduc. If you Admission is $10 for the weekend, and there miss that, the last chance of the season to see will be local vendors, DJ entertainment and beer what the sport is about will be at the Quicksilver gardens. Check out waterski-wakeboard.ca or conPresents Third Annual Easy Rider SUP Cup on tact Gratzfeld directly for more info at wsrwakeSunday, August 22. board1@xplornet.com.

Most local bike shops have free weekly rides, so there's no excuse not to get in on one. Red Bike's trail rides run Mondays for all skill levels Putting out and Wednesdays for racers and advanced riders, Forget the US Forestry Service's Smokey the Bear leaving from Da Capo Caffe at approximately campaigns: Alberta Sustainable Resource Develop6:30 pm Hardcore Bikes also runs Mondays (rement's Southern Rockies area has a racy new fire laxed) and Wednesdays (advanced) at 6:30 pm safety campaign that really sizzles. Small stickers from the shop. Revolution Cycle rides leave from being distributed at park gates and campgrounds the shop every Wednesday at 6:30 pm, alternatread, "I put (it) out." (The "it" is so tiny you have to ing between trail and road. For more details and get up close to read it, and by then, well, mission contact info, check shop websites. accomplished.)

There are only two trail races left in the 5 Peaks "We found we had an issue with wildfires beNorthern Alberta season (5peaks.com), August ing left unattended on long weekends," explains 28 at Cooking Lake and September 25 at Devon.

Geoffrey Driscoll, wildfire information officer with All races have sold out in advance this season so ASRD. "It turned out it was mostly younger people don't dally. Both courses promise some beautibetween age 16 to 30. So we decided to come up ful trail. with a novel approach, put a new spin on an ageFinally, after a busy day, try a nightcap at Elk Isold message." land's dark sky preserve. Labour Day long weekOn a long weekend, camping traffic in Southend marks the preserve's fourth anniversary, ern Rockies areas such as MacLean Creek and with celebrations running from 4 pm until after Ghost Creek result in over 70 wildfires left to dark on Sunday, September 5 at the Astotin Lake burn, unattended, once campers have moved area. Check out pc.gc.ca/eng/pn-np/ab/elkisland on. Each one has the potential to turn into a full for more details. V

R INSIDE

16 // OUTDOOR ADVENTURES

VUEWEEKLY // AUG 12 – AUG 18, 2010

PREVUE // R.O.G.U.E. IV & High Level Downhill

Flat, but edgy

Longboard doubleheader showcases best of both disciplines david berry // david@vueweekly.com

I

n the land of longboards, downhill is king: what can approach suicidedaredevil levels on the smaller frame of a skateboard approaches fluid grace on their stretched-out cousins, with just as much of a rush. Not that that fact would be apparent to riders in Edmonton: our famous deficiency of hills is one of the unfortunate facts of being a longboarder in town, according to Local 124 co-owner Mike Sanders.

"Being longboarders from Edmonton for the Western Canadian racing team, we often get teased about being flatlanders: how can we be downhill long-

board racers when you live in a city with no hills whatsoever?" he points out, with just a hint of dejection. "As a guy who travels just about every month somewhere to go longboarding, yeah, you can get a bit jealous. But really, even if the hills here aren't very long, you can hone your skills to the point where you get to a world-class level."

That much is evidenced by the growing cadre of Edmontonians making their mark on races around North America, where appearances in the final stages of races is gradually becoming the norm. Still, though, it's not like taking a board across open, flat asphalt is anything to sneeze at, and Local 124 is hoping to celebrate both aspects of

longboarding culture with their upcoming weekend of races on August 21 and 22.

First up is the High Level Downhill, to satisfy the more breakneck among longboarders. Helping to shed Edmonton's flatland image, the race, now in its third year, heads into the river valley— where else could it be?—starting at Saskatchewan Drive near the University and emptying out at Kinsmen Park.

Unlike most races, which put racers in eight-man heats, the High Level pits racers head to head in a bracket-style elimination tournament. As Sanders explains, that exciting format comes from our unique hill geography.

"We know we have good hills, and can

make a fun race," says Sanders. "It's on a bike path, and it's a really challenging, world-class race course—it just happens to be really skinny."

The next day, though, they embrace what Edmonton has a lot of—flat space—with a 20 km mass-start road race. The R.O.G.U.E. Race, which runs over 20 km and is named in honour of Edmonton's "ribbon of green," starts out at Hermitage Park and runs through the river valley all the way to government house; a testament to how much fun can be had on even ground.

With the pair of races expected to draw more than 200 racers between them, they're proof of longboarding's

VUEWEEKLY // AUG 12 – AUG 18, 2010

expanding popularity in our city— something Sanders more than welcomes since, as he points out, though it had its origins among coastal surfers in the States, it's a pastime that Western Canada has really perfected in the last decade.

"Longboarding has kind of been in the back pages of skateboarding for a while, mostly just as something to do when there's no waves in California or Hawaii," he says. "It's slowly progressed up north, to the point where Western Canadians really reinvented it. Most of the innovations in the sport—more progressive board designs and gear designs—have come from Canadians.

Edmonton has a huge longboard scene that's growing all the time." V

ON THE WEB roguerace.com

OUTDOOR ADVENTURES // 17

18 // OUTDOOR ADVENTURES

VUEWEEKLY // AUG 12 – AUG 18, 2010

VUEWEEKLY // AUG 12 – AUG 18, 2010

OUTDOOR ADVENTURES // 19

BIKE // KICKING HORSE

Breaking a stallion

Pitting hardtail versus fully on one ornery Horse

ET PHONE HOME >> Byron Thimer launches skyward off a dirt jump Kirk zembal // kzembal@vueweekly.com

'I

once saw a guy come down the mountain with full panniers," one of the rental shop guys offers, "But I wouldn't recommend it."

Beautiful weekend with dry trails out at Kicking Horse Mountain Resort bike park and I wanna try something.

After doing my level best to burn off the rubber tire teats on a brand new Norco A-Line full-suspension, I want to see how my Norco Bigfoot—the 'ol hardtail—compares. One small obstacle: confidence.

In adventure sports it's about finding that sweet spot, what I like to call "being in control but out of control."

And on a full suspension bike, that rear travel can get you there quickly.

It's a nice feeling to know that your back wheel is going to find some kind of purchase on whatever slope you're facing. Especially on a slope as steep and gnarled with natural and manmade features as Kicking Horse.

Whether braking down the rock slabs of Pioneer; maneuvering through the roots, rocks and boardwalks of Blaster; or landing the drops everywhere: all are made easier with a beefy rear

20 // OUTDOOR ADVENTURES

BERMING AROUND >> Thimer flows through a KHMR fave

// Kirk Zembal

shock.

But it can be a bit of a crutch as well.

The lines you pick can be a bit gnarlier. There's less focus on the right-infront-of-you and more on the comingup-to-you. Great stuff for pushing yourself—it automatically opens up the technical and steep, but things can get out of hand.

You might think that rock slab at the top of Stick Rock isn't much of a gatekeeper anymore. Or you might decide to go a little faster, a little higher than you would on the 'ol hardtail.

So, Saturday the full suspension ALine entices me to go big on a set of dirt jumps at the bottom of one of Kicking Horse's most popular runs, Super Berm—bigger than I should.

And I crash. Hard.

Now we've all been there, and we all know what to do next—get back on that horse.

Oh, but that is the easy part.

"Dude, what happened?" the rental boys ask when they see the condition of my helmet, now missing a good swatch of paint directly on the top.

"Did you do a b-boy slide on your head out there?"

My riding buddy/huck dummy for photos—a veteran of motocross tracks

and spine boards—takes a look at my helmet and road rash and scoffs, "Minor." And he's right, in a way. I'll heal.

But on the ol' hardtail, without that extra suspension, how ballsy will I be after this?

Next day's first laps sees my rear wheel bouncing around willy-nilly without that rear shock and a headache set in from the crash the day before—it's clear I'm not quite there yet.

I need something to psych myself up. A couple deep breaths. A lap on a green like Kranky Pants, with berms that allow you to lean into them without worrying about carrying too much speed. Music. Red Bull. Maybe a quick detour to the dirt jump park to take a run at a blue tabletop, you know, something forgiving. Swaddling my delicate core and limbs in close to as much body armour as a medieval knight. A, um, jockstrap.

Today, it's all of those and two personal favourites: a mouthguard and a mantra. The mouthguard to grit my teeth against and because I hear being concussed sucks. And the mantra to help me keep my cool out there as things start to get real. Of course, my mantra is, "The brakes are not your

VUEWEEKLY // AUG 12 – AUG 18, 2010

friends."

Repeatedly I inner-voice it as I fly down at a literally breakneck pace or what safety boss Mike Rubenstein calls, "natural trail speed." He's been doing this for a lot longer than I have and it shows in his demeanor—even if it is only his second lap of the year after weeks of, "running a pulaski." According to him, "it takes about three years to line out a trail from scratching it into the rock to where it's got good flow."

This "flow" he speaks of is the point at which a trail can offer itself up to true riding. And it is apparent, especially on the 'ol hardtail, what that feels like. No brake/turn combos on berms, you just lean into 'er and the centrifugal (or more precisely—for the physicists out there—centripetal; with the pun for everyone) force keeps you heading in the right direction.

On a tabletop on a trail like Hop-aLong, thanks to the trail crew, if you avoid taking that last brake-check you'll launch with control and authority and land smoothly on the transition. If you decide to invoke your eight-inch rotors you'll probably case the landing (touch down too soon).

On the 'ol hardtail, that means your

// Kirk Zembal

back tire will hit and your front will come down—in a big hurry.

Taken to the extreme, according to trail boss Steve Crowe, "If you hit your brakes right before a gap jump, you will be cursing your stupidity during your entire hospital stay. What's needed is the confidence to stay off your brakes in the right places." He's talking about some of the nastiest stuff out there, mainly Stick Rock—that double-black monster with its requisite "mandatory" gaps and drops.

For now, though, I'm satisfied with running the single blacks on the 'ol hardtail. Mike and Steve have designed the trails at Kicking Horse to be what they call "progressive"—but which I would call "escalatory"—so maybe after a number of days on the hill I'll be ready for Stick Rock. Might be if I take enough falls and blows to the head I'll be ready too.

Or maybe it's as simple as my riding buddy states, "It will be done." Even on a hardtail. V

ON THE WEB kickinghorseresort.com

INSIDE // ARTS

ARTS

25

Gore, Quebec

26

Hopscotch

26

Ilustrado

Online at vueweekly.com >>ARTS

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

PREVUE // GAME FACE

Fringe fated

After a few years of playing the lottery, lady luck smiles on Game Face Paul Blinov // paul@vueweekly.com

I

n a year when Bring Your Own Venues outnumber regular fringe locations more than two to one (27 to 12, to be precise), it can be easy to forget that some theatre-types still take their chances in the Fringe lottery.

Chance can be cruel: Morgan Smith and Scott C Bourgeois have spent the last couple of years on the losing side of the draw, waiting for a chance to put Game Face on a summer stage.

"The first time we didn't even get on the waiting list," recalls Smith in a wry, self-depreciating tone. "The second time we got on the waiting list, but were like, 48th, or something like that, and the third time, we didn't get on the waiting list either."

Lady Luck finally intervened: a friend and fellow performer, David Johnston, had a 2010 fringe spot and an interest in their script. Game Face became a co-production, of Smith's Sterling-nominated Human Loser theatre and Johnston's new Allspice theatre, letting the peppery, dark

comedy of high school gone wrong finally get its time in the limelight, much like its protagonist Wallace.

Formerly the school's biggest loser, he gets a surge in popularity after donning the fake fur of the school's sports team mascot. But while the extra layers of a giant woodchuck costume and the cheer-'em-on mission may win him peer approval and a cheerleader girlfriend, that's not the same thing as friendship proper.

Far from it.

It's a story Smith and Bourgeois penned during Edmonton's annual 24-hour playwriting competition, and after a few years of letting a "really solid draft" simmer on the shelves, a couple of updates were required in preparation for its maiden performance. The plot, as it was, didn't change much, but Smith and Bourgeiois found themselves tinkering with tone.

"It became a lot more serious than what we originally anticipated," Smith explains. "When Bourgeois came up with the idea, he thought of

everybody is kind of the bad guy."

Of course, darker comedy is something Human Loser's made a name for, a style which Smith seems fairly content to be a vanguarding.

"I'm a big fan of the classics," Smith says, citing one of Euripides' famous works. "If you read stuff like The Trojan Women, the moment after Andromache has had her son taken away to be thrown off the cliffs to be killed, you've got Menelaus coming in, 'doot doot doot doot doot, I'm angry!

Where's my wife!' It's this comedic scene right after probably the most horrifying and tragic scene in the whole play. I think the tension that builds is just released with comedy in that way." V SAt, Aug 14 – Fri, Aug 20

BOY MEETS GIRLS >> Then high school intervenes it as an idea for a sketch, for a sketch comedy show.

"The comedy is definitely a bit blacker ... The sad parts are a lot more sad, and that makes the funny parts a lot more funny. I think the

// Ryan Hughes

main character does some things that he's not necessarily proud of. And he didn't do them before; he was more of a good guy in the play. I think what we've managed to do is show that everybody is kind of the good guy and

Game Face Written by Scott C Bourgeois, Morgan Smith Directed by Ryan Hughes Starring David Johnston, Elena Porter, Smith King Edward School (8530 – 101 st), $12

PREVUE // THE FRINGE

Fringer's almanac

Vue's theatre critics show you their early picks Paul Blinov // paul@vueweekly.com

David Berry // david@vueweekly.com

T

he Fringe's opening weekend can be a daunting cacophony of hard choices, handbills and hearsay. So before the reviews of all 160-plus Fringe shows begin to appear, two of Vue's critics offer you their early-bird fringe picks to help guide your first few days of play going—and, really, the whole thing. Consider these as close to sure bets as you'll find.

Bash'd (Venue 3: Walterdale Theatre) After winning well-deserved accolades across North America—including a GLAAD Award in New York— Chris Craddock and Nathan Cuckow are finally bringing their gay rap-opera back to town. Starring as T-Bag and Feminem, Bash'd tells the story of

two men from different worlds whose burgeoning love story is rocked by an act of gay violence. Effortlessly energetic and undeniably fun, Bash'd is also a surprisingly tender love story and a fierce political statement, and is still one of the best things I've ever seen on an Edmonton stage. An absolute must-see, even if you've already seen it. DB CockTales (Venue 5: King Edward School) I'm not too sure what CockTales will present, exactly—it bills itself as a sexy cabaret of sorts, and, in its words, being "180 degrees shy of heaven" certainly drops some heavy hints on the type of content. But it's been crafted by from two of the three members of last year's impeccable Cherry Cherry Lemon—which was somehow hilarious, sexy and powerfully endearing—it'll be something magnetic to watch. PB

Death: LIVE! (Venue 3: Walterdale Theatre) Don't fear the reaper: formerly seen in Edmonton as the Anti-Morality Plays, Surreal SoReal Theatre's revamped musical about Death recalling his favourite reaps throughout time looks maudlin, clever, and inventive. The renamed version's been rattling up constant praise at other summer theatre festivals, and given Surreal's physical, imaginative performances, you can trust they've tweaked the idea into something that you'll take to the grave. PB

Ladyvision (Venue 2: Fringe Cabaret Lounge) Jill Pollock blew away Nextfest with this one-woman show last year—becoming one of the first ever productions at that particular festival to get held over—and she can only get better with some help from Mostly Water

Theatre vet Trent Wilkie, who's added some material. A self-deprecating teddy bear armed with a ukulele and a subversive wit, Pollock finds herself as the last woman on earth and decides to go out in style, putting on her own television station. It's something like SCTV filtered through a simultaneously more warped and cuddly comedic filter. DB Shoot/Get Treasure/Repeat (Venue 30: walking tour, meet at the Old Strathcona Farmer's Market) I'll admit that part of me just likes the old school notion of a BYOV as a site-specific event, while another part really likes the idea of walking around Old Strathcona, as opposed to cramming into a sweaty theatre. But Heather Inglis is also one of Edmonton's most fearless directors, staging plays that manage to be timely and poignant political statements without sacrificing anything in the way of dra-

VUEWEEKLY // AUG 12 – AUG 18, 2010

matic ability or emotional resonance.

Given her source material—similarly bold English playwright Mark Ravenhill—this is sure to be something that will linger with you long after the walk is over. DB The Supervillain Monologues (Venue 4: Academy at King Edward) Mark Meer, Chris Craddock and Dad's Garage from Atlanta (now headed by Edmonton ex-pat Kevin Gillese) get to indulge in their nerdiest, comic-book loving sides here. Human and puppet alike will monologize about the life of evil; if you've seen Meer and Craddock's improvised superhero format "Herald of Galactus," you know they've got the comic-book knowhow and performative chops to make this work—and if you've ever been in Meer's basement, you know it's basically filled with Heroclix and comiccon paraphernalia. If anyone could make this show, it's them. PB V

ARTS // 21

With more than 160 performances going on over 11 days, choosing what Fringe shows to see can be a tricky task. While word of mouth and reviews may sway your opinions—check out edmontonfringe.ca for up-to-the-minute reviews—a somewhat more daring fringe strategy is to pick a venue and plant yourself, taking in every show that location has to offer. But with 39 venues to choose from, Vue decided to make that task a little easier for you: we’ve scoured the show lists and selected 10 hotspot venues that should offer a diverse, eclectic and satisfying spread of performances able to please even the most difficult Fringegoer. So choose your venue, pick a seat and get comfy!

1. Varscona Theatre (10329 - 83 Ave)

A stronghold for established Edmonton theatre companies. From the sparkling wit of Stewart Lemoine (Witness to a Conga) to a vampire-baiting drag spectacular (Dragula), it's a great place to sample some of Edmonton's finest companies working throughout the year.

2. Telus Building (10437 - 83 Ave)

A variety pack: The Telus Centre carries a few Albertaborn shows that have already seen audience approval (Call Me a Liar, RAUNCH ), some heavy hitters from Brooklyn (The Only Friends We Have, SOLO: A twoperson show, Sex Sells) and an African-American woman dead set on convincing you she's the queen of England (Brown Girl in the Ring).

3. Walterdale Playhouse (10322 - 83 Ave)

In a theatre proper, blessed with cool A/C, the Walterdale offers an international glance: A trio of Irish monologues (This Lime Tree Bower), some Austrian Improv (Rocket Sugar Factory), storytelling from South Africa (SHORTS) and one the way from Tel Aviv, Israel (My First Sony)

4. Fringe Cabaret Lounge. (Northeast corner, 10330

– 84 Ave) Another spot with air conditioning (trust me, you'll be thankful on a hot summer's afternoon). This one's packed with comedy, from the bittersweet Where Have All The Lightning Bugs Gone? to sketch (Fairy Tales Scratched) to all-out, go-for-broke-for-jokes (Ladyvision, Late Night Cabaret)

5. Catalyst Theatre (8529 - 103 St)

This one collects the extremes of what a constitutes a fringe show: a mixed showcase of Clowning (Sofa So Good), strange audience participation (Sh!tshow), dance (This is not a play) and one man spectacle (7 (x1) Samurai).

6. New City (10081 Jasper Ave)

Only three shows here, but it's the place to indulge in your concentrated musical inklings: a classic musical (Hair: The American Tribal Love-Rock Musical), a live film score (Songs for Caligari) and one to dance to, even (Pulse). There's also an in-venue bar. Always a plus.

7. Avenue Theatre/The Old Cycle Building (9030 118 Ave / 9151 -118 Ave) A pair of venues farthest from the main Fringe grounds, this pair combs the Alberta Ave community for inspired performers: Live on 118th offers up some improv, while The End of Civilization casts some BFAs and Jeff Page in George F Walker's deadly script.

8. University of Alberta FAB Media Room (112 St &

89 Ave) The drama students of the U of A apparently spend their summers experimenting on theatrical ideas and form: K'WERE explores queer identity through language, Dark in a Sunlit Room bases its movement ideas on daily life and RAPTURE caps it off with the end of the world.

Obviously.

9. Holy Trinity Anglican Church (10037 - 84 Ave;

Hall and Sanctuary are separate venues) A safe bet for family friendly shows that's not kid's fringe.

Edmonton Theatrical Mainstay David Belke offers up a pair of works (The Crimson Yak, After), striking a nice balance between the venue's other works: gripping, fringe-tested drama (Jake's Gift), and musical fun (A Fistful of Tenors, The Unraveling Trilburys)

10. La Cite Francophone (8627 - 91 St)

Edmonton's heavyweight theatre republics—that is, THEATrePUBLIC and often-partners Ribbit Productions—are making their homes here for the second Fringe in a row. Kenneth Brown concludes his epic in the making (Spiral Dive Part 3), which sits alongside a bedtime terror sequel (Grimmer than Grimmer than Grim), and a tragic-comic tale of lovers versus beast (Survival of Pigeons as Studied by Human Lovers).

22 // ARTS

VUEWEEKLY // AUG 12 – AUG 18, 2010

PREVUE // THIS IS CANCER

Comic catharsis

This is Cancer gives the feared disease a personality Paul Blinov // paul@vueweekly.com

'M

y show is one of love," says Bruce Horak. "I think that throws some people off a little bit." It's hard to doubt him on that: This Is Cancer has him performing as one of humanity's most feared diseases, which not only makes for a uniquely difficult sell for a show, but definitely runs the risk of being taken as an attempt at tasteless shock value. Horak insists otherwise.

"It's not that I am in love with cancer," he continues in a gravelly baritone. "It's that there is a message of love and hope that comes through this show."

And despite what your gut reaction to a show title like that may be, audiences over the past four years have agreed with him. Horak's toured This Is Cancer to mass acclaim across multiple fringes, a Betty Mitchell award from Calgary, and increasing demands for performances. He was in Edmonton a few years ago as part of Workshop West's Canoe Festival; before that, he'd fleshed the character into a fulllength show for Toronto's Summerworks festival, by request.

Becoming cancer seems almost accidental in how casually it occured; Horak had been working on a demon character, one "who'd come up from hell to seduce an au-

MALIGNANT LAUGHTER >> Bruce Horak in This is Cancer dience member to come home with him."

When he went to perform said demon at a cabaret, he found another performer on the bill had a very similar name so, on a whim, Horak changed the character's name to Cancer, to the chagrin of the rest of the acts backstage.

"All the other comics on the bill were saying, 'Well you can't go out there, you

// Supplied

can't call yourself cancer,' and gave me a litany of excuses why this would bomb," he remembers.

The audience, however, was wildly engaged. One man caught him leaving the theatre to say he'd been diagnosed with the disease, and that this was the first time he'd been able to laugh at it. And it

snowballed from there. The appeal, Horak notes, might be because embodying cancer and interacting with an audience is about them, not him. It lends the people in the room a chance to settle their feelings on cancer, to perhaps even laugh at it, robbing the disease of its usual spoken-in-hushed-tones power.

Horak himself survived cancer as a

VUEWEEKLY // AUG 12 â&#x20AC;&#x201C; AUG 18, 2010

child, and lost his father to it almost six years ago. He's well aware of the stigma the word carries in our culture.

"It's always been a part of my life; there's always been this demon hanging over my head of this fear of cancer, and certainly in my family because it's so predominant," he says. "And in our culture, even. It touches everyone, and everyone whispers the word 'cancer,' and you don't talk about it, and it seems like this cultural demon, cultural fear, that people are just scared to go there.

"There's a couple of phrases or mantras we were using when we were creating the piece. One of which was to go into the dark places with the flashlight. And the flashlight that we're using is the flashlight of humour. And we've found that for a lot of people that can be very difficult, and make them rather uncomfortable. But the flipside of that is there's a great deal of release."

"The perspective we took on it was to embody the disease, and therefore the catharsis becomes more for the audience. It's an opportunity for the audience to see the world through cancer's eyes. It's completely bizarre, and one of the most rewarding and difficult pieces I've ever done." V Sat, Aug 14 â&#x20AC;&#x201C; Sat, Aug 21 This is Cancer Written by Bruce Horak & Rebecca Northan Starring Horak Acacia Hall, (10433 - 83 Ave), $12

ARTS // 23

’S

edmontonfringe.ca 24 // ARTS

VUEWEEKLY // AUG 12 – AUG 18, 2010

REVUE // GORE, QUEBEC / MEMBERS ONLY / NOT ANOTHER FUCKING LANDSCAPE

Photographic memory

Photography shows imagine the real, and realize the imagined Amy Fung // amy@vueweekly.com

T

here is some confusion between the "real" and the "imagined" when it comes to a documentary-style esthetic.

I believe that confusion comes from a false conflation of "documentary" with a sense of "real," with some definite form of "truth." Documentary-based photography may not stage its scenarios, but the art of documentary is still riddled with choices, and the outcomes of those choices shape and frame a reality that is neither real nor imagined.

These thoughts ran through my head as I walked through Jonas St Michael's Gore, Quebec at Latitude 53. As a portrait series of Kerr's Farm, an old farm house set in wintery rural Quebec that has since been turned into a therapeutic retreat for the disabled, St Michael walks us through the old house and basks in its empty chairs, empty beds and all the ghostly cues of natural light filtering through billowing window curtains.

The photographer's fascination with his subject matter is unclear. The stories told are incomplete. No one photo stands out from the rest, and as a whole set, they do not say much.

They exist between the realms of different realities, not rich enough to be a dreamscape and too dewey-eyed to be documentary, and yet, there is something there.

St Michael's other series, Members Only, on the austere empty rooms of old clubs and private spaces, doesn't seem to fit into the passive romance of the Gore, Quebec series at all, but perhaps is a bridge that ties into the Projex Room exhibition, Not Another Fucking Landscape. Curated by ex-Edmontonian Anthony Easton and featuring photographic works by Amie Rangel, Marshall Watson, Ted Kerr and Zachary Ayotte, the show as a whole is speaking directly to the iconic Canadian landscape as captured in paintings that represent this country to us, as much as to the rest of the world. Attempting to strip away the sublime of the landscape by calling upon photography rather than oil paint, Easton also frames his challenge by distinguishing a west versus east mentality as much as a new versus old in what we represent and how we represent ourselves: while

EVERYONE'S A CLINIC >> Aime Rangel's photography reflects modernized pig farms Rangel focuses on the clinical mechanics of modernized pig farms and Watson cheekily situates a plastic mallard duck within the watery confines of urban domesticity, Kerr and Ayotte fall very much into the category of Romantic Photographers, summoning all the awe of landscape painters from yesteryears. Ayotte assembles his 4 x 6 photographs into a sprawling, clearly uncontained shape dominating its own

wall. Carrying a similar documentary feel to St Michael in the other room (in fact, Ayotte wrote the Latitude 53 monograph for St Michael), the reality presented on the wall is filled with love for friends, lovers, light, homes, roads and a life that has often been absent from landscapes. Kerr, on the other hand, presents somewhat of an altar of absent memories. As a series of interior home photographs imbued with

// Amie Rangel

familiarity, yet estranged, they sit precious as decorative memories, askew in what is there and what is missing.

While this show is certainly a prairiecentric demonstration of contemporary landscape, it would have benefited from representation from across the country to show how landscape and landscape artists have changed. Just as the recent National Portrait Gallery show did wonders for how we can view a traditional

VUEWEEKLY // AUG 12 â&#x20AC;&#x201C; AUG 18, 2010

format such as portraiture, this show begins to open up what we can justifiably call Canadian landscapes. V Until Sep 4 Jonas St Michael Gore, Quebec & Members Only Not Another Fucking Landscape, Group Show Latitude 53 (10248 - 106 St)

ARTS // 25

COMMENT >> BOOKS

REVUE // ILUSTRADO

Literary illusion

Ugly and facinating

Wilson and Ray each offer unusual human psyches The eponymous protagonist of Daniel entire generation lift in another fifty years Clowes’ graphic novel Wilson (Drawn & ... " Wilson’s life accumulates in drama, yet Quarterly, $23.95) may or may not be a fails to yield the desired sense of order and sociopath. He typically greets cominner peace, not to mention gainful plete strangers with flamboyantly employment. The final episode, presumptuous terms of endearhowever, may suggest some ment like "brother" or "sister." In soul-fortifying autumnal revelaseveral of the 71 single-page, sixtion. If this is the case, Wilson, .com weekly paneled episodes chronicling who can usually be relied upon h@vue tc o c s p several years of his troubled- ho to think out loud, decides not f e s Jo if-largely-banal life we see him express it. This sudden reticence n u a r B make what appears to be genuine might sound perverse, but I take it attempts at meaningful contact with a as evidence that certain deeper sensafellow human—only to be inevitably disaptions are simply ineffable. pointed with the response his random act The way Clowes draws a motel swimming of conditional kindness incites and thence pool makes it hard to tell if it’s full or empty. counter-respond with a venomous outburst There’s a deliberately elusiveness to the viof pent-up rage. In one episode he waits suals in Wilson, most notably in its ongoing seated at the post office for no apparent alternating of jarringly different drawing reason other than to convince a stranger to styles, which render Wilson consistently hold onto a large box he’s filled to the brim recognizable yet in an ongoing state of flux. with dog shit. Wilson does love his dog.

Here he seems younger. Here he has a lazy Wilson, like Clowes, was born in the 1960s, eye. Here he’s a good 40 lbs overweight. hails from Chicago and currently resides, for Here his body looks like an orb on sticks. reasons he can’t muster, in Oakland, CaliforIf Clowes were primarily a filmmaker we nia. Wilson’s baffled by the modern world. could say that he shows two main tendenHe sees a man take a nocturnal dump on cies, one toward the twisted surrealism and a sidewalk. He notes with horror the inexnarrative density of David Lynch, the other plicable proliferation of nail salons in his toward the cerebral formalism and uneasy community. He struggles with despair: "Not balance of misanthropy and affection of only will I leave no trace of my existence beTodd Solondz. Like a Velvet Glove Cast in hind, there won’t even be anything from my Iron is very much in the Lynch mode. Wil-

HOP H C SCOT

26 // ARTS

son is more Solondz. But it’s good Solondz.

Initially Wilson threatens to amount to nothing more than one depressing punchline after another, but something’s quietly building in the character. He nears the precipice of accepting the world. Maybe. In any case his willingness to try to make peace, to communicate, maybe even to gather something like a family around him, is hilariously, almost touchingly relentless. His persistence allows him to take risks the best of us mightn’t ever venture.

Does anybody remember Barry Hannah?

I’m sad to say I was not even aware of this celebrated Mississippi author until I’d heard of his death at age 67 this past March. They ran an archival interview with him on Fresh Air, and I was enchanted by Hannah’s voice, his vaguely ornery pauses and his conversation with Terry Gross’ about guns and religion and the habits of bad men. Wikipedia offers this quote from the author, which seems to tell us a lot about Barry Hannah: "Sometimes you don’t want to arrange your memory. I love the pure chaos of it and just the reverie of it for its own sake." I’ve just read Hannah’s slim but utterly arresting and often appalling 1980 novel Ray (Grove, $15.50). The chaos and reverie breathes on the page.

As with Wilson, Ray’s eponymous protagonist slides back and forth between ecstasy and despair and seems to have trouble adapting to the modern world, to avoid becoming another "casualty of the American confusion." He sees his country as fundamentally ambivalent, representing "rage and gentleness together." Perhaps this is part of the reason why Ray sometimes fantasizes that he’s a veteran of the windswept battlefields of the Civil War, where he delivered many men unto death, as well as of Vietnam, where he, for real it seems, flew a Phantom. Ray is a frequently disgusting man and just as frequently charming and hysterically funny and audacious—at least within the confines of his fragmentary self-portrait.

Hannah endows Ray with a poet’s linguistic facilities: "I have seen the moon make an opaque ghost of the backyard, and I have seen the Hooch animals roam out into it, smelling the life of themselves. They enter the border of visibility and pass through it into the uncanny." Hannah takes equal care to render Ray a probably hopeless misanthrope-asshole on the verge of total mental collapse: "I don’t feel that good about women anyway, nor gooks, nor sand-niggers, nor doctors, nor anything human that moves, with its zealous raving habits."

Already a published author of scholarly medical studies, Ray has threatened to write a paper on women, who, he muses, "enjoy revenge more than the worst Apache." Yet Ray has his moments of surrender to all those less offensive things he most deeply cherishes: "To live in delight of healing, flying, fucking." Ray is the music of a terrifying id, and Hannah neither glorifies nor condemns his subject. Rather, he recognizes something ugly and fascinating in Ray’s DNA that is common to more of us than we might care to admit, and not just racist sexist sociopaths from below the Mason-Dixon line. V

VUEWEEKLY // AUG 12 – AUG 18, 2010

Ilustrado's ambitious style-bending is pure payoff Michael Hingston // michael@vueweekly.com

T

he resumé of the late Filipino writer Crispin Salvador is nothing less than staggering. He began his career with some strait-laced historical novels, but his ambition quickly grew by leaps and bounds, encompassing fiction as well as investigative journalism and provocative op-ed pieces (including "Why Would a Loving God Make Us Fart?"). He wrote a trilogy of magic-infused young adult books, a satirical travel guide to the Philippines, pulpy spy and naval adventures and all kinds of other, frequently selfpublished, screeds and off-the-wall experiments. His autobiography, Autoplagiarist, was 2572 pages long. At the time of his sudden and unexpected death in early 2002, Crispin was said to be on the verge of completing his magnum opus: a huge, inflammatory novel "unknotting and unraveling the generations-long ties of the Filipino elite to cronyism, illegal logging, gambling, kidnapping, corruption, along with their related component sins." It was called The Bridges Ablaze, or TBA for short.

Of course, Crispin Salvador isn't real, and never was. Who cares? As the key figure in Ilustrado, the spine-tingling and thrillingly ambitious debut novel

by Montréal-via-Manila's Miguel Syjuco, the man is as vivid a persona as they come. His bibliography is so meticulously and lovingly documented that he might as well have been real; it's as if Syjuco has snuck Crispin's portrait into the literary pantheon and nobody noticed it was a fake.

Ilustrado belongs to a growing, muscular tradition of postmodern puzzle-box novels that revolve around missing persons, mixed media and fractured, often overlapping perspectives. It's fitting, then, that Syjuco's book is itself so entangled in and difficult to separate from its brethren— there are varying whiffs of David Mitchell's Cloud Atlas, Orhan Pamuk's Snow, and Roberto Bolaño generally, not to mention scores of cleverly veiled references to Don Quixote and Jorge Luis Borges. There are font changes.

There are jokes involving punctuation. There are pretty much all of the tricks that make a certain kind of literary nerd—raise your hands if you're with me—squeal with glee.

A quick test: do you find the mere mention of a fictional prose poem called "Borges Disappointed by the Internet" howlingly funny? If so, Ilustrado has you squarely in its sights.

The main thread is narrated by one Miguel Syjuco (no relation, I'm sure), a former student of Crispin's. After his mentor is found dead, possibly murdered, floating in New York's Hudson River, Miguel goes back to Crispin's

apartment, only to discover the notorious TBA manuscript has gone missing.

Among the remaining scraps of paper he finds a short, hand-written list of names. Before he even quite realizes what he's doing, Miguel has begun writing a biography of Crispin, and finds himself on a plane back to Manila in search of the truth.

Apparently the real Syjuco began by writing the story in a linear fashion, moving all the way through one style and perspective before beginning the next. He eventually declared the 200 000-word manuscript unreadable—sight unseen, I'm tempted to agree with him—and instead sliced the stories into ribbons, cleared away the excess, and threaded the leftovers together like a tapestry. Ilustrado shows these seams with pride. Miguel's internal monologue rubs up against text from his biography-in-progress, which butts heads with excerpts from Crispin's stories and novels, which in turn make trouble for printouts of Philippine blog posts and old, corny jokes.

For Crispin, Miguel and the real-life Syjuco, the boundaries between life and text are extremely porous.

Over time, Miguel and Crispin's lives start to overlap, and here Syjuco makes a generous move: he takes the reader's confusion, the always-nagging feeling that you've forgotten something important, and turns it into yet another of the novel's moving parts. A certain kind of dream logic takes over—one that continues to build and disorient right up until the startling, phosphorescent final scenes, where everything is flipped on its head once more.

These kinds of novels also tend, curiously, to put heavy emphasis on geography and nationalism, and Ilustrado is no different. Syjuco's Philippines are a place of energy and restlessness, where fledgling capitalist urges mingle with the lingering bitter aftertaste of foreign occupations. An entire country, with its own culture and conflicts, springs to life. It's an effect comparable to what Junot Díaz did for the Dominican Republic in his similarly vibrant The Brief Wondrous Life of Oscar Wao in 2007.

With all these skillful stylistic shifts, it's too bad that the one voice Syjuco is hopeless at capturing is online lingo. He makes all politically minded citizens express themselves thusly: "IMHO, he s trying 2 cnvince us he s in control. Der4, dat shows he isnt."

Get over that one little quibble, though, and you're looking at a clear frontrunner for book of the year.V Available Now Ilustrado

By Miguel Syjuco Hamish Hamilton 320 pp, $34

VUEWEEKLY // AUG 12 – AUG 18, 2010

// 27

We Gonna Pitch a

When Koko Taylor sang those Willie Dixon lyrics in the early ‘60’s everybody soon knew what a party the blues ca This is our 12th year and each summer Blues Hounds come up to us and say, "I’d never heard of ________, but I’ll

This year will be no exception, as a number of acts that have never before appeared at the festival will hit the stage. ner of "Best New Artist" at the Blues Music Awards in Memphis this May...only the 2nd Canadian band to win a B bit of raunch and one of the hottest young guitar players in the blues, Laura Sanchez, to the stage. Saturday, Super "Best Traditional Album") to the stage. Chikan will also have his incredible homemade guitars that he calls "Chikt will close things out. Curtis won the 2010 BMA as "Soul/Blues Singer of The Year" and is the inspiration for the B

Two of the many legends on this years’ bill were honoured in July, winning Living Blues Magazine Critics Poll Aw and Bob Stroger (Sunday, with the Willie "Big Eyes" Smith Band and Bob Margolin), long-time Muddy Waters ba

Jimmie Vaughan (Friday) will be releasing his hot new album "Plays Blues Ballads and Favorites" with the assistan Add to that a Boogie Woogie Blowout with 3 hot piano players (Sunday), Rod Piazza and the Mighty Flyers (nom the blues and you know what...we gonna pitch a hell of "Wang Dang Doodle".....Be There!

SCHEDULE

FRIDAY 20

SATURDAY 21

GATE OPENS 4:30 • SHOW 5:30 - 10:00 PM

TIME

GATE OPENS 1:00 • SHOW 2:30

MONKEYJUNK

5:30

TOM RIGNEY AND FLAMBEAU

CANDYE KANE

6:55

THE TWISTERS

JIMMIE VAUGHAN

8:30

HENRY GRAY AND THE CATS

SUPER CHIKAN and the Fighting C

ROD PIAZZA AND THE MIGHTY FLYE

PARK 'N' RIDE

There are only 900 parking spots in Hawrelak Park so don't count on getting one. Illegal parkers will be tagged, s which runs between the University of Alberta parkade at the Butterdo

Park'n'Ride Hou

Friday: 3pm to 6pm Saturday and Sunday: No $1 to ride the bus each way…Univers

TICKETS

All Ticketmaster outlets o The Chateau Louis H

At this time only a limited number of Friday and Sunday tickets re

We have a variety of food vendors, beer and wine service throughout the amphitheatre, a dance floor for 500 righ have our blues store and an autograph table so you can get those performer CD/s signed. We as

Don't delay, ya sn

www.bluesinter 28 //

VUEWEEKLY // AUG 12 – AUG 18, 2010

and you're invited

an be and it’s our pleasure to bring one of the best blues parties on the planet to Edmonton. l never forget his show...thanks for introducing us to him!"

. Friday, it’s MonkeyJunk, winners of 5 Maple Blues Awards (Canada’s Blues Grammy) this past January, and winBMA! Candye Kane, (Friday), was nominated for 4 BMA’s this year, and brings her message of hope mixed with a r Chikan and The Fighting Cocks, out of Clarksdale Mississippi, bring their award winning blues (2010 BMA for tars" with him. And Sunday, The Curtis Salgado Big Band, who have been blowing people away around the world Blues Brothers, having mentored John Belushi when he was in Oregon filming "Animal House" in the early ‘80’s.

wards...Henry Gray (Saturday), Howlin’ Wolf ’s Piano player for over a decade won as "Piano Player of the Year", assist, won as "Bass Player of the Year".

nce of an 8 piece band that includes 2 legendary horn players, Doug James and Greg Piccolo. minated for no less than 45 BMA’s over the years!) and the best harp players, guitarists, singers and performers in

SUNDAY 22

0 - 10:00 PM

TIME

GATE OPENS 1:00 • SHOW 2:30 - 10:00 PM

TIME

2:30

BOB BROZMAN

2:30

4:00

JAMES HARMAN

3:45

5:30

Cocks

6:55

ERS

8:30

WITH STEVE KOZAK’S WEST COAST ALL STARS

BOOGIE WOOGIE BLOWOUT

5:10

WITH MITCH WOODS AND HIS ROCKET 88’S HONEY PIAZZA AND CAROLINE DAHL

WILLIE "BIG EYES" SMITH BAND

6:55

WITH SPECIAL GUEST BOB MARGOLIN

CURTIS SALGADO BIG BAND

8:30

so we suggest you carpool, cycle, take public transit, or a cab. We also offer a Park'n'Ride service operated by ETS ome (access from 116 St. and 89 Ave.) and the Heritage Amphitheatre.

urs of operation:

m and 9pm to 11pm oon to 5pm and 9 to 11pm sity charges $5 to park in the parkade

or at www.ticketmaster.ca Hotel 11727 Kingsway

emain. $40 for Friday, $45 for Sunday. Tickets one price. All Ages.

ht in front of the stage, covered, fixed seating for 1100, and manicured lawn for your blanket if you wish. We also sk that you do not bring coolers or tarps, and low back low seat "festival" or "beach" chairs only

nooze, ya lose…

rnationalltd.com

VUEWEEKLY // AUG 12 – AUG 18, 2010

// 29

30 //

VUEWEEKLY // AUG 12 – AUG 18, 2010

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

DANCE LATIN FESTIVAL Kaj Oafklgf ;`mj[`add Ki L`] >ajkl 9ffmYd =\egflgf DYlaf >]klanYd2 ]ph]ja]f[] l`] lYkl]k$ kal]k Yf\ kgmf\k g^ `akhYfa[ [mdlmj] Aug 14-15$ ))Ye%/he >j]]

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VUEWEEKLY // AUG 12 – AUG 18, 2010

ARTS // 31

INSIDE // FILM

FILM

35

He Watch Channel Zero

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DVD detective

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Eat Pray Love

Online at vueweekly.com >> FILM Sidevue Mad Men in the Playpen: peeling off the easy label of "chick flick" and examining the male alternative Extended interview Vue chats with The Expendables star Dolph Lundgren Alternative festival David Berry discusses the Fairness Film Festival

PREVUE // THE EXPENDABLES

Heavy hitter

Dolph Lundgren opens up about childhood, working in Sweden and his first theatrical release in 15 years was like a Saturday Night Live sketch.

Bizarre. Anyway, I was filming The Expendables at the time and couldn't leave the set, so I really went nuts. I called some people I know in Bulgaria and asked them to go find these guys and have a word with them. Of course nothing came of that. The good thing is that my kids now know there are bad people in the world.

Josef Braun // josef@vueweekly.com

I

met Dolph Lundgren on the roof of Toronto's Thompson Hotel, which features a swimming pool, bar and bevy of women wearing bikinis and heels.

Lundgren was undistracted and quite honestly just wonderful to talk to, warm, humble and utterly candid. Fully cognizant of his peculiar career as star and occasional director of countless lowbudget actioners, he's good humoured yet remains genuinely ambitious. He has plans to make a period drama in his native Sweden, and hopes that his memorable role in Sylvester Stallone's The Expendables will help him re-enter the mainstream.

One thing that became clear in our conversation was the depth of Lundgren's affection for Stallone, an expression of long-term friendship that much more endearing when you consider that Lundgren put Stallone in intensive care for several days during the making of Rocky IV. This was back in the mid-1980s, when the multilingual black belt had abandoned a life in sciences—he was awarded the Fulbright Scholarship to get his PhD in chemical engineering at MIT— to get into the movies. He debuted in A View to a Kill before landing the part of Rocky's Russian nemesis Ivan Drago. But thanks to the ballooning video market a niche was opening up, one tailor-made for the likes of he and Jean Claude Van Damme. Lundgren has never been out of work since, but he hasn't had a theatrical release in 15 years. Until now.

VUE WEEKLY: You have an enigmatic role in The Expendables, playing this guy who's drowning in drugs and sadism and turning on his friends. Gunner seems like a villain but proves to be something more complicated.

DOLPH LUNDGREN: One reason I wanted to do the film—other than Stallone asking me, which is something you don't think about twice—was the fact that Gunner is such an interesting guy. I've done bad guys before, but someone like Gunner is appealing because, being a kind of bridge between the bad guys and good guys, he offers something very specific to play, instead of coming on set and just trying to look tough.

VW: You possess a very particular kind of celebrity, one that doesn't often promise theatrical release yet attracts hordes of passionate fans. It's a kind of celebrity that didn't really exist before the 1980s—when you started out— and the development of this enormous specialty market for action thrillers on

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DRAGO'S REVENGE >> Action heroes assemble for The Expendables home video. Has this aspect of your career surprised you?

DL: I never knew what to expect from my career. Your life takes its own turns.

I became kind of famous, but I ended up doing a lot of smaller movies, some big ones, but a lot of small ones that went direct to video. I hadn't expected that, but I never expected to direct either. You're probably right about that difference in celebrity, because now that I'm back on the big screen, I mean, I wouldn't say it's like Mickey Rourke's comeback, but you can't help but feel there's something similar going on when you've been around for so long and you get that groundswell where everybody kind of knows of you but you need to be in that big movie for people to rediscover what you're all about. It'll be interesting to see what happens. Now when I do these premieres I'm sure there'll be people whispering to themselves, "Shit, he's still alive!" [laughs] VW: Have you tried to work in Sweden?

DL: I've been offered things but they've been very stereotypical. I figured if I was going to run around with a gun and shoot people I'd do it in Hollywood.

But two years ago I did an episode of this summer radio show where you sit down and talk about your life and play music for 90 minutes. I talked about my dad and my childhood, because all the Swedes just saw me as this big, dumb blonde guy who lives in Hollywood and loves violence and doesn't give a shit about Sweden. That went over pretty big, and then last year they approached me to host the Eurovision Song Contest.

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I had to do some singing and dancing, and it was quite well received. So I hope I might be in a position now to do something different because they've glimpsed another side of me.

VW: Last year your home in Spain was broken into. Is it true they fled after seeing a photo of you and realized they were robbing Dolph Lundgren's house?

DL: They didn't really flee. My wife and

eldest daughter were there—my little one was asleep—and my daughter says to them, "If my dad were here you'd be in trouble!" Right at that moment they saw the picture of me and said, "Hey, wait a minute, we're big fans of his movies." [laughs] My daughter asked them how they could be doing this if they like my movies and one of the robbers said, "Well, I suppose you can have a few things back." The whole thing

VW: You've devoted a large portion of your life to studying martial arts. Was a part of your original motivation to defend yourself ?

DL: I think part of the motivation was that my dad was physically abusive.

Dealing with that is very difficult for a child. It makes you feel inadequate, so you look for something to help you feel confident. When I took up karate I felt stronger, like I could defend myself, and I found some of that inner harmony you get from studying martial arts.

Of course, I also become a good fighter. Something kicks in and you get that killer instinct. That's something that happens when a person's been hurt when they're very young. I think all great fighters have something like that in them, some kind of scar. You need a little bit of an evil part to your character to be able to knock somebody out. It all happens very quickly.

You don't even know what you're doing until it's over. V

REVUE // THE EXPENDABLES

Star-powered machine guns Most heroes of the action genre assemble as The Expendables Josef Braun // josef@vueweekly.com

S

ylvester Stallone's throwback actioner gathers as many genre stars as can fit on the poster and casts them as soldiers of fortune who take out baddies on a made-up Latin American isle where ugly American Eric Roberts has erected a puppet dictator in the interests of squeezing as much dope from cheap labour as possible. Somewhere in all this the mercenaries talk about feelings and ostensibly gain some social conscience.

Obviously, the whole thing's absurd and wildly bloodthirsty. Amongst the more astonishing sequences has Stallone and Jason Statham just barely escape from the island only to double back for no

VUEWEEKLY // AUG 12 – AUG 18, 2010

other reason than to slaughter dozens of underpaid local military. Yes, these are the good guys.

The Expendables is not without bizarre points of interest. Plenty of shit blows up for those requiring that sort of thing, but merely beholding this motley assemblage of hulks, he-men and has-beens can be kind of fascinating in its own right. Mickey Rourke especially seems present for no other reason than to present Mickey Rourke. He enters on a Harley, sports his favoured Predator hairdo, does tattoos, smokes a pipe and gets a teary monologue soaked in regret and despair—is it me or did Rourke invent this character on his own? Jet Li is the butt of many short jokes and that's about it. Dolph Lundgren gets the nut-

tiest bit as the loose cannon who turns on his own crew, with lines like "Life's a joke, shitbird!" and "Bring it, Happy Feet!" (That one's for Li.) Stallone for his part underplays every scene, his face clay-like and largely immobile, his bulging veins resembling a topographical map of the Himalayas, which might be the one place on earth where The Expendables isn't opening this weekend.

It'll be bigger than Wrestlemania. V Opening Fri, Aug 13 The Expendables Directed by Sylvester Stallone Written by David Callaham, Stallone Starring Stallone, Jason Statham, et al

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REVUE // THE OTHER GUYS

The right to remain stupid

The Other Guys trades story and characters for an endless barriage of hit-or-miss jokes Josef Braun // josef@vueweekly.com

C

elebrity cops dive 20 stories to their senseless deaths for no apparent reason other than the crazed bliss of recklessness. A punch-up breaks out at a funeral and everyone whispers while beating each other so as not to disturb the grieving guests. A chopper's taken out by an onslaught of golf balls. Steve Coogan bribes investigators with tickets to Jersey Boys.

These are some of the movie's highlights, though they could just as easily be enjoyed as stand-alone slapstick shorts. Their being part of a feature film constitutes nothing beyond a convenient framing device.

It must be some kind of genuine praise when I confess that I dunno what to make of cop-buddy gutbuster The Other Guys.

When we talk about the necessity of approaching movies on their own terms we typically do so with regards to relatively obscure or "difficult" work in danger of vanishing into the art house fog, but this same re-negotiating of expectations can be applied to comedies. The Other Guys is a miserable failure at lots of things we typically consider essential. The narrative, for one, which seems to want to be some sort of satire, isn't merely stupid, it's also inconsistent, incoherent and

SLOPPY COPS >> Ferrel and Wahlberg in The Other Guys lumpy. But throughout film history we can find numerous comedies that work, sometimes beautifully, as nothing more than tautological accumulations of gagassaults, knowingly absurd situations that are funniest when we realize they're going absolutely nowhere—see the Marx Brothers. Mark Wahlberg and Will Ferrell get into a childish verbal sparring match based entirely around how animal versions of themselves could consume each other in a nonsensical food chain. The conversation's silly, but they just keep at it

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tic, anxiogenic comedy, so the narrative isn't really supposed to hold together.

Wahlberg, as a humiliated high-strung peacock champing at the bit for some super-cop glory, and Ferrell, as the partner content to stay at his desk and quietly build cases against developers for neglecting to apply for scaffolding permits, do brilliantly funny things with the uneven material by making it all so deadly serious. Though less recognized than Ferrell, Wahlberg has always had a special gift for comedy—just go back to certain bits of Boogie Nights, or watch him park a bike in I Heart Huckabees—because he heroically hurls himself headlong into playing stakes rather than jokes. I was in tears at times. But for every well-drawn character

there's one that just gets more half-assed with every new appearance—such as Eva Mendes as Ferrell's sketch of a spouse. For every inspired scene there's another that falls drearily flat. Holding it all together is little more than our patience waiting for the next, hopefully better scene. Still, I'll take this over a tediously over-manicured, story-edited-into-a-coma comedy any day of the week. V Now Playing The Other Guys Directed by Adam McKay Written by McKay, Chris Henchy Starring Will Ferrell, Mark Wahlberg

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until it seems utterly exhausted, and keep at it further still, until it's not just funny all over again but actually funnier than it was to begin with. Like Van Morrison repeating a single lyric into blissful abstraction, these guys beat funny ideas to death so as to raise them from the dead.

The director is Adam McKay, who helmed the earlier Will Ferrell loser comedies Anchorman, Talladega Nights and Step Brothers. The approach here is similar if perhaps more insane. This is busy, spas-

VUEWEEKLY // AUG 12 – AUG 18, 2010

FILM // 33

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VUEWEEKLY // AUG 12 – AUG 18, 2010

COMMENT >> TELEVISION

Mad as hell

The social polemics of Mad Men Outwardly, AMC's Mad Men sells itself characters. Every social arena is touched as a show about traditional values and upon, thankfully, in subtle ways. Like the how the definition of them changes heroine going up the stairs in a horror over the span of a decade. It uses a movie, Mad Men sometimes makes you New York advertising agency and scream out at your screen: "Don't HE H an ace creative director (Don smoke when you're pregnant!"

C T A W Draper, played by Jon Hamm) No blue bins to be found here; as the centre of the narrative, when the Draper family goes but this is a show where the for a picnic, they yank the .com ly k e e @vuew characters are secondary to blanket up and leave their roland a larger, looming energy. We Rolanrdton refuse where it is. are made to care about them When smarmy overachiever Pembe and their flaws (which are more Pete Campbell (Vincent Kartheisapparent with about 50 years' hinder) gets demographic information that sight), but we are also aware of how intells him black customers buy one televisignificant their concerns will soon be as sion set brand over another, he needles a change in the guard is just on the cusp the black elevator operator, not realizof happening. ing his inappropriateness. Yet when old It isn't exactly The Way We Were school ad company partner Roger Sterthough; the portrayal of this generation ling literally performs "My Old Country is largely unsympathetic. Many sight Home" in blackface during his wedding gags are made on this show of the unparty, Pete and his wife Trudy are the fortunate ignorance exhibited by the only ones to be offended. This willing-

NEL C H AENR O Z

ness to display the different degrees of these issues through the narrative is how Mad Men pulls people in.

When the hammer really drops on certain issues that you know will happen eventually, the power of the moment relative to the world of the characters is made beautifully clear to the audience.

The episode that revolves around JFK's assassination illustrates the feeling of hopelessness and confusion perfectly.

Don Draper gets to the office late that day, only to be greeted by a hundred telephones ringing at the same time and the entire staff of Sterling Cooper huddled around a television.

The magnitude of this event has been rarely matched in our lifetime but we know there are more foundation shakers afoot. TV shows typically unfold with the audience following the leader, never knowing where the ebb and flow will oc-

Snakes and laughter

Step down

Step Up 3D combines dance and 3D, endangers the appeal of both Jonathan Busch // jonathan@vueweekly.com

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It's an exciting time for us because it was an exciting time for them.

And Don Draper is a great compass to follow. Jon Hamm's performance has been changing subtly from season to season. I went from thinking he was impenetrable, almost cartoonish in his effortless cool. But as his persona unravels and you learn more about his true self, you can catch moments of him dropping the façade, such as during a fateful admission of a secret to his wife Betty where he drops a cigarette and looks uncharacteristically frightened.

Matthew Weiner has created an alternate reality from a mix of true facts and fabricated characters with human flaws.

And though we are prescient of what stands ahead of them and subsequently worry about the short-sighted decisions they make, it's still the pastel '60s; their world is made as brightly coloured as their futures are. V

COMMENT >> DVD

REVUE // STEP UP 3D

oth the dance flick and 3D extravaganza have a hard time being taken seriously when the spectacle on their frontlines are so technically complicated that they require more creative labour than the film itself. In some cases, like Avatar or the underrated Canadian feature How She Move, such a spectacle lifts the movie to its feet and makes its specific quality what the audience depends on to enjoy themselves. It becomes understood, justified, maybe even appreciated. The third instalment of the Step Up franchise falls dangerously flat and puts the appeal of these kinds of films at risk, and also the talents of a flawless row of no-name dancers who deserve far better.

Transported from the street stage of Baltimore to that of New York City, we open on Moose (Adam Sevani), a wiry, messy-haired dancer from Step Up 2 who arrives to attend NYU as an engineering major. His interests are soon shifted when he meets Luke, leader of the Pirate Dance Crew and part-time filmmaker. It is here that Step Up 3D lays out each and every layer of the plot and also how it plans to be resolved— the standout being the struggling club that houses the troupe, and the upcoming dance competition offering a cash prize that could save everything.

It's not even this common case of predictability that fucks the movie sideways, nor is it the budding romances between Luke and a kind-hearted drifter chick interspersed with Moose as he develops feelings for his former child-

cur, but period pieces such as this give us a limited road map to colour our expectations. Luckily, Mad Men doesn't come off as a purely historical exercise. Our limited omniscient perspective in this case influences our opinions of the characters' foibles. Show creator Matthew Weiner is sympathetic to his audience, but not to his characters.

As the show's fourth season has just sprung forth taking place during the tail end of 1964, the dominant figures of social change appear to be TV advertising, music and sexual dynamics. Don buying his daughter some Beatles 45s for Christmas, young characters referencing Jan and Dean and dancing to the Beach Boys. The new ad company getting positive referrals for a Glo-Coat TV spot.

Harry Crane, the head of TV advertising, taking frequent trips to LA. Women becoming sexually liberated. You can feel an undercurrent of change on the show.

Low-budget vision triumphs over highly crafted nothingness

There's a tension in any art form bemight call despicable, following the tween the craft of it and what you exploits of a character with few (if could call the art of it, between how any) redeeming qualities. In this reskillfully it's made and what it says gard it's a bit like the comedy of Jody about the world, or at least Hill—the writer/director behow it might affect you. In hind Observe and Report and great art, of course, both Eastbound & Down—and of these aspects are, if not it's actually quite refreshnecessarily equally adept, ly.com ing just how little writer/ k e e w vue at least both pulled off at dvddetective@ directors Eric Kutner and a high level, whereas in reAdam Goldstein (who stars David ally horrible stuff, both fail; as the titular snake) want us Berry in the vast middle, however, to like our character, the sleaone usually overshadows the othzeball Ken. He's a kind of would-be er, so you get things that are either lothario, a guy who has internalized sharply crafted but just kind of empty all those creepy misogynist lessons of or unmoving, or things that have a lot manhood about picking up women but to say or at least affecting, but lack who utterly lacks any kind of charm polish. or ability.

That might be the most pretentious We're introduced to Ken as he's strikintroduction to a review of two relaing out repeatedly down at some lotively crude, direct-to-DVD comedies cal bar, ruining his friends' chances by you're ever going to read, but the talking about the fake vaginas they differences between the low-budget, like to have sex with and generally festival-fodder comedy The Snake being a weasely asshole, before he and the high-budget, slick, star-studfinally bails on the one girl who actuded, slouch-off Operation: Endgame ally talks to him when the same friend are basically between something with convinces Ken she's actually fat (one verve but a suspect grasp of craftsof the film's great comic moments is manship and something that spent his desperate montage trying to get most of its time trying to make sure her back after he's informed it was it looked pretty to both audiences and a prank, nothing but pure pathetic marketers. In an ideal world, the folks posturing). That's not the half of it, with the ideas would get the budgets, though: pretty soon he follows Talia, but in our imperfect one, I'll take the a recovering bulimic, into one of her committed and creative poor folks evbody image support group meetings, ery time. and attempts to use the mandatory hangout time to get in her pants.

The Snake bills itself as a dark comCONTINUED ON PAGE 37 >> edy, but it's less dark than what you

DVCD TIVE

DETE

NOW, IMAGINE THIS IN 3D >> The cast of Step Up 3D hood gal pal. It is rather an utter lack of attention to narrative logic, social ethics and cultural awareness that pushes the envelope of what it means to essentially "suspend disbelief"—often a guilty pleasure characteristic to teen movies that can potentially de-escalate from fun to grating in as little as a few lines of dialogue.

Soulless and empty don't begin to describe this delusional arrangement, where money, sex and supposedly a double college major in engineering and dance grow on the trees of the

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majestic city that Step Up 3D chooses to squander. It only makes it apparent that this release cares more about the marketability of street-style dance than its influentially widespread roots. Time to call bullshit, kids. V

Now playing Step Up 3D directed by John Chu written by Amy Andelson and Emily Meyer

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VUEWEEKLY // AUG 12 – AUG 18, 2010

FILM // 35

REVUE // EAT PRAY LOVE

Eat pray flub

Julia Roberts seems a cut above her source material in Eat Pray Love

WHEN ALL ELSE FAILS, TRAVEL >> Julia Roberts in Eat Pray Love Josef Braun // josef@vueweekly.com

I

n her Washington Post review of Eat, Pray, Love: One Woman's Search For Everything Across Italy, India and Indonesia, Grace Lichtenstein quipped that the only thing wrong with Elizabeth Gilbert's memoir "is that it seems so

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much like a Jennifer Aniston movie."

Lichtenstein misread the book. It's actually a Julia Roberts movie. It is very much a Julia Roberts movie.

Roberts is 10 years older than Gilbert was in her memoir, and this might contribute to the some of what feels off in the comma-excised adaptation of Eat Pray Love, directed by Ryan Murphy, who seems drawn to best-selling memoirs in which privileged people quench their spiritual thirst by trying on alternative lifestyles. Roberts is very youthful and still adorable, but it's to Roberts' credit as a human that her Liz seems like she should be a lot smarter by this point in life. Marital disharmony to Billy Crudup sends Liz to prayer, selfhelp books and James Franco's cutiepie actor, which is how we discover that Gilbert's also the author of one of the worst plays in the English language.

When none of those remedies serve, the next step is travel—lots of it. Liz's tours of Italy, Calcutta and Bali hit on each of the titular verbs, though Gilbert forgot to add Shop. A feast of cultural stereotypes and pop psychology bullshit follows. It's frustrating because it's not as though most of us can't relate to Liz's search for inner balance, and it would be pointless to condemn her for having the means to solve her problems through extended peregrination.

Roberts embodies Liz's yearning while never succumbing to morbid self-

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VUEWEEKLY // AUG 12 – AUG 18, 2010

absorption—remember, Roberts was born perky. In fact, Roberts is capable of many things, including smartness, sexiness, even misdirection. As a star, the only thing missing is taste. Things might have worked better without Liz's voice-over, which starts by telling us that survivors of genocide just want relationship advice and goes downhill from there. Liz becomes didactic by example, though I don't buy any of her tidy revelations. She's far more convincing when she's just having a good time.

Richard Jenkins is nice as an abrasive Texan, until he's prompted to suddenly spill his guts. Javier Bardem is strangely tough to accept as Brazilian, though I'm not sure if this tremendously gifted actor is actually trying. Is it just me, or is Bardem's sloppily emotive performance commenting on the material? Is he perhaps wondering when exactly he was pegged as the new Antonio Banderas?

Roberts and her crazy brother Eric both have new movies out this weekend, one for women, the other, boys.

Neither does much for these talented siblings. Maybe they need to be in a movie together? V Opening Fri, Aug 13 Eat Pray Love Directed by Ryan Murphy Written by Murphy, Jennifer Salt Starring Julia Roberts

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DVD DETECTIVE

<< CONTINUED FROM PAGE 35

A lot of the film is just Ken's misadventures—kind of haphazardly put together, and looking every bit like they were shot with an inexpensive digicam—but Goldstein puts in such a committed performance, it's still ridiculously funny more often than not. Goldstein comes across a bit like Kids in the Hall's Kevin Macdonald in sleazy douchebag mode, and his commitment to looking like a pathetic asshole—in one of the best moments, he plops dozens of candy bars on a convenience store counter, telling the clerk, "They're not for me. They're for this bulimic chick I'm trying to fuck" like he was paying for gas—is so pure that he's almost endearing.

There's nothing endearing about Operation: Endgame, however. Blessed with an incredible comic cast—Zach Galifianakis, Rob Corddry, Adam Scott, Bob Odenkirk and Jeffrey Tambor, just to name a few—and a premise that should be ripe for satire, about two teams of rival assassins killing each other with office supplies, it fails so spectacularly that almost seems to be the goal. Director Fouad Mikati pays far more attention to staging cool fight scenes and giving everything a chrome sheen than he does to character or comic timing, with the result being that all these great actors are reduced to one-note jokes played ad nauseum. Somewhere in this morass is a sharp comic film, but Mikati would rather make it look good, and the result is that even at 80 minutes, it's a drawn-out bore. V

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HOW TO TRAIN YOUR DRAGON (PG vio-

lence) FRI�SAT 1:30, 4:10, 6:30, 8:50, 11:10; SUN�THU 1:30, 4:10, 6:30, 8:50

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

THE EXPENDABLES (18A brutal violence) DAILY 12:00, 1:10, 2:40, 4:10, 5:20, 6:55, 8:00,

9:30, 10:40

EAT PRAY LOVE (PG language may offend) DAILY 12:20, 3:30, 6:40, 9:50

SCOTT PILGRIM VS. THE WORLD (PG

violence) No passes DAILY 1:30, 4:20, 7:30, 10:15

12:10, 1:15, 3:10, 4:20, 7:00, 7:45, 9:50, 10:40

EAT PRAY LOVE (PG language may offend) FRI, SUN�TUE, THU 11:45, 3:15, 6:40, 10:00; SAT 11:45, 4:00, 7:15, 10:30; WED 11:45, 3:15, 7:00, 10:30

SCOTT PILGRIM VS. THE WORLD (PG violence) No passes FRI�SAT, MON�THU 1:00, 4:15, 7:10, 10:10; SUN 12:00, 3:10, 7:10, 10:10

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) DAILY 12:20, 12:40, 3:45, 4:00, 6:45, 7:30, 9:40, 10:15

STEP UP 3D (PG) FRI�WED 1:30, 4:30, 7:40, 10:20; THU 4:30, 7:40, 10:20

STEP UP 3D (PG) Digital 3d DAILY 12:30, 3:40, 6:50, 10:00

CATS AND DOGS: THE REVENGE OF KITTY GALORE 3D (G) Digital 3d DAILY 1:10, 3:50, 6:55, 9:30

DINNER FOR SCHMUCKS (14A) DAILY 12:50,

4:10, 7:15, 10:20

CHARLIE ST. CLOUD (PG mature subject matter) Digital Cinema DAILY 9:25

SALT (14A) FRI�TUE 1:20, 4:30, 7:45, 10:30; WED�THU 1:20, 4:40, 7:45, 10:30

INCEPTION (PG violence) FRI, SUN�TUE, THU

11:30, 12:00, 3:00, 3:30, 6:30, 7:00, 10:05, 10:25; SAT 11:30, 3:00, 3:30, 6:30, 7:00, 10:05, 10:25; WED 11:30, 12:00, 3:00, 3:30, 6:30, 10:05, 10:25

THE SORCERER'S APPRENTICE (PG

violence, frightening scenes) FRI�SAT, MON�TUE 3:20, 7:20, 10:10; SUN 3:20, 10:10; WED�THU 9:45

DESPICABLE ME 3D (G) Digital 3d DAILY 11:50,

2:50, 6:35

THE TWILIGHT SAGA: ECLIPSE (PG violence) FRI�TUE 12:15

TOY STORY 3 (G) FRI�TUE 12:45, 3:55, 7:05, 9:45; WED�THU 12:45, 3:55, 7:05

CAESAR AND CLEOPATRA�ENCORE PRE� SENTATION (Classification not available) SAT 1:00 WWE SUMMERSLAM�2010 (Classification

not available) SUN 6:00

VAMPIRES SUCK (14A crude content) No passes WED�THU 11:40, 2:30, 5:00, 7:25, 9:55

STEP UP 3D (PG) Digital 3d, No passes DAILY 1:50, 4:30, 7:10, 9:45

EAT PRAY LOVE (PG language may offend) No passes DAILY 12:30, 3:30, 6:35, 9:40 THE EXPENDABLES (18A brutal violence) DAILY 1:30, 4:10, 7:00, 9:35

SCOTT PILGRIM VS. THE WORLD (PG violence) DAILY 7:10, 9:25; SAT, SUN, TUE, THU 1:10, 3:25

3:40, 6:30, 9:00

VAMPIRES SUCK (14A crude content) WED� THU 1:00, 3:50, 6:40, 9:30

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

DINNER FOR SCHMUCKS (14A) DAILY 6:50, 9:05; SAT, SUN, MON, TUE, THU 1:50

10200-102 Ave, 780.421.7020

crude sexual content, not recommended for young children)Dolby Stereo Digital, No passes, Stadium Seating FRI�SUN 12:50, 3:40, 6:30, 9:10; Dolby Stereo Digital, Stadium Seating MON�THU 12:50, 3:40, 6:30, 9:10

THE EXPENDABLES (18A brutal violence)

Stadium Seating, Dolby Stereo Digital DAILY 12:10, 2:45, 5:20, 7:55, 10:35

SCOTT PILGRIM VS. THE WORLD (PG

violence) DAILY 7:00 9:15; SAT, SUN, TUE, THU 2:00

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) DAILY 7:10 9:20; SAT, SUN, TUE, THU 2:10

EDMONTON FILM SOCIETY Royal Alberta Museum, 102 Ave, 128 St, 780.439.5284

ON THE TOWN (PG) MON 8:00 GALAXY�SHERWOOD PARK

2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150

THE EXPENDABLES (18A brutal violence) DAILY

TUE, THU 12:15, 2:55, 5:30, 8:00, 10:30; MON, WED

THU 2:00, 5:00, 7:30, 10:30; WED 5:00, 7:30, 10:30; Star & Strollers Screening: WED 1:00

DINNER FOR SCHMUCKS (14A) DTS Digital,

matter) Digital Cinema DAILY 9:45

violence) Stadium Seating, DTS Digital DAILY 12:40, 3:30, 7:00, 9:45

CHARLIE ST. CLOUD (PG mature subject SALT (14A) DAILY 12:30, 2:50, 5:10, 7:50, 10:20 INCEPTION (PG violence) FRI, SUN 12:05, 1:00,

3:20, 4:20, 6:50, 8:00, 10:10; SAT 12:05, 3:20, 4:20, 6:50, 8:00, 10:10; MON�THU 12:05, 3:20, 6:50, 10:10

THE SORCERER'S APPRENTICE (PG

violence, frightening scenes) FRI�TUE, THU 6:45, 9:20; WED 10:10

DESPICABLE ME 3D (G) Digital 3d DAILY 12:10, 2:30, 4:50, 7:15

THE KIDS ARE ALL RIGHT (18A sexual

content) FRI�TUE 7:10, 10:05

GROWN UPS (PG crude content, language may offend) FRI�TUE 1:20, 3:50

TOY STORY 3 (G) DAILY 12:40, 3:45 CAESAR AND CLEOPATRA�ENCORE PRESENTATION (Classification not available)

12:15, 2:55, 10:30

Stadium Seating DAILY 1:00, 3:50, 7:10, 9:55

SCOTT PILGRIM VS. THE WORLD (PG

CHARLIE ST. CLOUD (PG mature subject matter) DTS Digital, Stadium Seating FRI�TUE 10:05

DESPICABLE ME (G) Stadium Seating, Digital 3d, DTS Digital FRI�TUE 12:20, 2:50, 5:15, 7:40 INCEPTION (PG violence) DTS Digital, Stadium Seating DAILY 12:05, 3:25, 6:50, 10:10

VAMPIRES SUCK (14A crude content) DTS

Digital, Stadium Seating WED�THU 12:20, 2:40, 5:00, 7:20, 9:30

CLAREVIEW 10 4211-139 Ave, 780.472.7600

THE TWILIGHT SAGA: ECLIPSE (PG vio-

violence) No passes DAILY 1:30, 4:20, 7:10, 9:45

THE OTHER GUYS (PG coarse language, crude

sexual content, not recommended for young children) DAILY 1:15, 4:10, 7:05, 9:50

STEP UP 3D (PG) Digital 3d DAILY 1:05, 4:00, 6:55, 9:35

4:05, 6:50, 9:15

3:50, 7:15, 10:05

CHARLIE ST. CLOUD (PG mature subject matter) DAILY 9:20

SALT (14A) DAILY 1:50, 4:30, 7:20, 9:55 INCEPTION (PG violence) DAILY 2:00, 6:30, 9:55 DESPICABLE ME 3D (G) DAILY 1:40, 4:15, 7:00 GARNEAU

8712-109 St, 780.433.0728

I AM LOVE (18A) DAILY 6:50, 9:10; SAT�SUN 2:00 GRANDIN THEATRE�ST ALBERT Grandin Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822

(Classification not available) WED 6:30

CINEPLEX ODEON SOUTH

INCEPTION (PG violence) DAILY 9:00 EAT PRAY LOVE (PG language may offend) DAILY 1:10, 3:50, 6:30, 9:05

ter) FRI�TUE 9:30

THE OTHER GUYS (PG coarse language,

crude sexual content, not recommended for young children) No passes FRI�SUN 1:40, 4:40, 7:15, 9:50; MON�THU 1:40, 4:40, 7:15, 9:50

THE GIRL WHO PLAYED WITH FIRE (18A brutal violence, disturbing content) DAILY 9:00; SAT�SUN 3:00

WINTER’S BONE (14A) DAILY 7:15, 9:15; SAT�SUN 2:00

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

THE EXPENDABLES (18A brutal violence) Digital Cinema DAILY 12:00, 2:40, 5:15, 8:00, 10:45 DAILY 12:10, 3:30, 6:45, 10:15

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) FRI�TUE, THU 1:30, 4:30, 7:30, 10:20; WED 4:30, 7:30, 10:20; Star & Strollers Screening: WED 1:00 STEP UP 3D (PG) Digital 3d DAILY 1:40, 4:40, 7:40, 10:40

CATS AND DOGS: THE REVENGE OF KITTY GALORE 3D (G) FRI�TUE 12:30, 3:00 DINNER FOR SCHMUCKS (14A) DAILY 1:20,

4:15, 7:20, 10:15

SALT (14A) DAILY 1:50, 4:50, 7:50, 10:45 INCEPTION (PG violence) DAILY 2:00, 6:30, 10:00 INCEPTION: THE IMAX EXPERIENCE (PG

violence) DAILY 12:00, 3:30, 7:00, 10:30

THE SORCERER'S APPRENTICE (PG

violence, frightening scenes) FRI�TUE, THU 4:10, 7:15, 9:50; WED 4:10, 9:50

DESPICABLE ME 3D (G) Digital 3d DAILY 12:40, 3:40, 6:40, 9:20

THE TWILIGHT SAGA: ECLIPSE (PG vio-

lence) FRI�TUE 6:30, 9:30

GROWN UPS (PG crude content, language may offend) FRI�SAT, MON�THU 12:50, 3:50, 6:50, 9:40; SUN 12:00, 2:30, 9:40

TOY STORY 3 (G) DAILY 1:10 WWE SUMMERSLAM � 2010 (Classification not available) SUN 6:00

VAMPIRES SUCK (14A crude content) No

passes WED�THU 12:20, 2:45, 5:00, 7:45, 10:30

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) No passes DAILY 1:15, 3:15, 5:20, 7:25, 9:35

THE EXPENDABLES (18A brutal violence) Dolby Stereo Digital FRI 6:45, 9:45; SAT�SUN 1:15, 4:00, 6:45, 9:45; MON�THU 5:30, 8:30

violence) DAILY 1:00, 3:05, 5:10, 7:20, 9:30

DTS Digital, No passes FRI, MON�THU 7:20; SAT�SUN 12:30, 3:50, 7:20

SCOTT PILGRIM VS. THE WORLD (PG LEDUC CINEMAS Leduc, 780.352.3922

THE EXPENDABLES (18A brutal violence) DAILY

1:05, 3:30, 7:05, 9:30

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) DAILY 7:10, 9:35; 1:10 pm and 3:35 pm STEP UP (PG) Digital 3D DAILY 1:00, 3:25, 7:00,

9:25

EAT PRAY LOVE (PG language may offend)

4:05, 6:55, 9:45

CHARLIE ST. CLOUD (PG mature subject mat-

CARMEN (BIZET) METROPOLITAN OPERA�ENCORE PERFORMANCE

2:45, 4:50, 6:55

Due to renovations, Metro Cinema are relocating DEDfest 2010 to the Myer Horowitz Theatre on the U of A Campus

passes WED�THU 12:45, 3:15, 5:30, 7:45, 10:05

VAMPIRES SUCK (14A crude content) No

2:50, 4:55, 7:00, 9:10

DAILY 6:55, 9:40, 12:55, 3:40

SAT 1:00

7:00; SAT�SUN 1:00

SCOTT PILGRIM VS. THE WORLD (PG violence) No passes DAILY 1:00, 4:00, 7:10, 10:10

SCOTT PILGRIM VS. THE WORLD (PG

lence) FRI�TUE 1:00, 3:50, 6:40

INCEPTION (PG violence) DAILY 12:50, 4:20, 8:00 SALT (14A) DAILY 2:00, 4:50, 7:20, 9:55 DINNER FOR SCHMUCKS (14A) DAILY 1:10,

10337-82 Ave, 780.433.0728

SOLITARY MAN (14A coarse language) DAILY

DAILY 12:30, 3:30, 6:45, 10:00

CATS AND DOGS: THE REVENGE OF KITTY GALORE (G) DAILY 1:05 DINNER FOR SCHMUCKS (14A) DAILY 12:40,

DINNER FOR SCHMUCKS (14A) FRI�TUE,

PRINCESS

EAT PRAY LOVE (PG language may offend)

EAT PRAY LOVE (PG language may offend)

Digital 3d FRI�SUN 12:30, 3:10, 6:40, 9:20; Stadium Seating, Digital 3d MON�THU 12:30, 3:10, 6:40, 9:20

12:15, 2:20, 4:30, 6:35, 8:50

TUE, THU 1:00, 3:05

1:45, 4:25, 7:25, 10:10

7:00, 9:40

SALT (14A) Stadium Seating, DTS Digital FRI�SUN,

DESPICABLE ME 3D (G) DAILY 7:05, 9:00; SAT,

SUN, TUE, THU 1:05, 3:00

INCEPTION (PG violence) DAILY 9:05

THE EXPENDABLES (18A brutal violence) DAILY

CATS AND DOGS: THE REVENGE OF KITTY GALORE 3D (G) Digital 3d DAILY

DINNER FOR SCHMUCKS (14A) DAILY 6:55, 9:15; SAT, SUN, TUE, THU 12:55, 3:15

DAILY 6:45 9:30; SAT, SUN, TUE, THU 1:45

EAT PRAY LOVE (PG language may offend)

EAT PRAY LOVE (PG language may offend) No passes, Dolby Stereo Digital DAILY 12:00, 3:20, 6:45, 10:00 STEP UP 3D (PG) No passes, Stadium Seating,

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) DAILY 6:50, 9:10; SAT, SUN, TUE, THU 12:50, 3:10

CATS AND DOGS: THE REVENGE OF KITTY GALORE 3D (G) DAILY 7:00; SAT, SUN,

DINNER FOR SCHMUCKS (14A) DAILY 12:50,

THE OTHER GUYS (PG coarse language,

7:15, 9:20; SAT, SUN, TUE, THU 1:15, 3:20

DAILY 6:55 9:10; SAT, SUN, TUE, THU 2:05

THE EXPENDABLES (18A brutal violence)

STEP UP 3D (PG) Star & Strollers Screening: THU CITY CENTRE 9

DAILY 6:45, 9:30; SAT, SUN, TUE, THU 12:45, 3:30; Movies for Mommies: TUE: 10:00am

DESPICABLE ME 3D (G) Digital 3d DAILY 1:15,

CATS AND DOGS: THE REVENGE OF KITTY GALORE 3D (G) Digital 3d DAILY 1:20,

1:00

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

EAT PRAY LOVE (PG language may offend)

THE EXPENDABLES (18A brutal violence) DAILY

violence) DAILY 1:20, 4:00, 6:45, 9:25

CARMEN (BIZET) METROPOLITAN OPERA�ENCORE PERFORMANCE (Classification not available) WED 6:30

PARKLAND CINEMA 7

SCOTT PILGRIM VS. THE WORLD (PG

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) DAILY 1:40, 4:40, 7:20, 10:00

STEP UP 3D (PG) Digital 3d DAILY 1:00, 4:00,

1525-99 St, 780.436.8585

THE EXPENDABLES (18A brutal violence) DAILY

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

DEDFEST 2010 FILMS New independent hor-

ror films and shorts from around the globe; restricted to audiences 18 and over; AUG 19�21: 7:00; tickets: $50 (festival pass)/$20 (night) at The Lobby, 10815-82 Ave, 780.433.0600; DedFest.com

VUEWEEKLY // AUG 12 – AUG 18, 2010

EAT PRAY LOVE (PG language may offend)

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) DTS Digital, No passes FRI 6:30, 9:15; SAT�SUN 1:00, 3:35, 6:30, 9:15; MON�THU 5:00, 8:00 THE KIDS ARE ALL RIGHT (18A sexual con-

tent) Dolby Stereo Digital FRI 7:00, 10:00; SAT�SUN 12:45, 3:25, 7:00, 10:00; MON�THU 5:15, 8:15

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

THE OTHER GUYS (PG coarse language, crude

sexual content, not recommended for young children) DAILY 1:10, 3:35, 7:10, 9:35

CATS AND DOGS: THE REVENGE OF KITTY GALORE (G) DAILY 1:00, 3:20 CHARLIE ST. CLOUD (PG mature subject matter) DAILY 7:00, 9:40

THE EXPENDABLES (18A brutal violence) DAILY 1:05, 3:30, 7:05, 9:30

SCOTT PILGRIM VS. THE WORLD (PG violence) DAILY 12:55, 3:35, 6:55, 9:35

FILM // 37

INSIDE // MUSIC

MUSIC

45

Online at vueweekly.com >>MUSIC

Fran Healy

46

Decapitated

49

Music notes

Slideshow Folk Fest, Warped Tour VueTube Jakob Dylan, Ben Harper, John Prine, Alejandro Escovedo

// JProcktor

// Chelsea Boos

// Bryan Birtles // JProcktor

Another year come and gone and the same complaints about the Edmonton Folk Music Festival are drifting in the air: the lineup was bland, the people go for the chatting and not the music, and so on. Yeah, there's something to be said for those arguments, but at the same time it's hard // JProcktor to argue that much about a festival where you could catch Alejandro Escovedo reliving his childhood roots in salsa during a session with Nicaragua's Luis E Mejia Godoy on the same weekend as seeing the Band's Levon Helm on the main stage and locals Colleen Brown and Jeff Stuart in side-stage concerts. Want to look back at the 2010 festival? Check out all of the slideshows and videos at vueweekly.com.

// JProcktor

38 // MUSIC

// JProcktor

VUEWEEKLY // AUG 12 â&#x20AC;&#x201C; AUG 18, 2010

// JProcktor

VUETUBE >> BEN HARPER

VUTUBE >> ALEJANDRO ESCOVEDO

Watch an interview and performance by Alejandro Escovedo at the Edmonton Folk Music Festival on vueweekly.com // Eden Munro

Watch Ben Harper performing at the Edmonton Folk Music Festival on vueweekly.com // Eden Munro

VUEWEEKLY // AUG 12 â&#x20AC;&#x201C; AUG 18, 2010

MUSIC // 39

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

THU AUG 12 AVENUE THEATRE Edmonton Fringe Festival: showings of Fairforall, Live on 118th, In Limbo and The Edmonton Fairness Film Festival; admission at the door BLUES ON WHYTE Donald Ray Johnson BRIXX BAR Radio Brixx: rock and roll with Tommy Grimes; 8pm CARROT CAFÉ Zoomers Thu afternoon Open Mic; 1-4pm COLAHAN'S Back-porch jam with Rock-Steady Freddy and the Bearcat; every Thu 8pmmidnight CHRISTOPHER'S PARTY PUB Open stage hosted by Alberta Crude; 6-10pm CROWN PUB Crown Pub Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing

HOOLIGANZ Open stage Thu hosted by Phil (Nobody Likes Dwight); 9pm-1:30am J AND R Classic rock! Woo! Open stage, play with the house band every Thu; 9pm JAMMERS PUB Thu open jam; 7-11pm LB'S Thu Open jam with Kenny Skoreyko, Fred Larose, and Gordy Matahews; 9pm-1am LION’S DEN PUB The Mandy Reider Band; 8-10pm; no cover LIVE WIRE BAR Open Stage Thu with Gary Thomas LYVE ON WHYTE Wednesday Morning Blues, Sunset Trip, Malibu Knights; 8pm MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm NAKED CYBERCAFÉ Open stage every Thu; bring your own instruments, fully equipped stage; 8pm

WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Shane Chisholm WOOLY BULLY'S Sophie and the Shufflehounds (blues/roots)

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

DUSTER'S PUB Thu open jam hosted by the Assassins of Youth (blues/rock); 9pm; no cover

NEW CITY LIKWID LOUNGE Sawed Off, Out of the Ruins, Improvised Explosive Device, Hogwash; $10 (door)

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

DV8 Open mic Thu hosted

by Cameron Penner/ and/or Rebecca Jane

NEW CITY SUBURBS Hair: Rock Musical; part of the Fringe Festival

LUCKY 13 Sin Thu with DJ Mike Tomas

ELECTRIC RODEO�Spruce Grove Open Stage Thu: Bring an instrument, jam/ sing with the band, bring your own band, jokes, juggle, magic; 8-12

NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers RIC’S GRILL Peter Belec (jazz); every Thu; 7-10pm

ENCORE CLUB With A Latin Twist: free Salsa Dance Lessons at 9pm

RUSTY REED'S HOUSE OF BLUES Rusty Reed Band; 8:30pm; no cover

EXPRESSIONZ CAFÉ Open stage every Thu; 7-11pm

SECOND CUP�Varscona Live music every Thu night; 7-9pm

HAVEN SOCIAL CLUB Kyle Knight Band, Samara von Rad, Speed Control; 7:30pm (door); $10 (door)

SPORTMAN'S LOUNGE Hipcheck Trio and guests (jazz, blues) every Thu; 9pm Through June and July

NEW CITY SUBURBS Bingo at 9:30pm followed by Electroshock Therapy with Dervish Nazz Nomad and Plan B (electro, retro) 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 PLAY NIGHTCLUB Gameshow every Thu with Patrick and Nathan; 9pm RENDEZVOUS PUB Mental Thurzday with org666

SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thu; no cover

FRI AUG 13 180 DEGREES Sexy Fri night AVENUE THEATRE Edmonton Fringe Festival: showings of Fairforall, Live on 118th, In Limbo and The Edmonton Fairness Film Festival BLUES ON WHYTE Donald Ray Johnson BORDEN PARK�GRILLFEST Life Ruiner, Doom Cannon, MVCP, Cleanse Kill, The Fallacy, Boo Radley, others; 4-10pm

ENCORE CLUB 4 Play Fri HAVEN SOCIAL CLUB Jesse Dee, Jacquie B, Aurora Jane, Faye Blais, Jungal; 7:30pm (door); $15 (adv at YEG Live) HOOLIGANZ PUB Rock 4 Santa 2010 Summer series: 8:30pm HYDEAWAY�Jekyll and Hyde Vrs the Nothing, friends; 9pm IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JEFFREY'S CAFÉ Mike Morrisseau ( jazz guitar and vocals); $10 JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/rock); 9pm; no cover

BRIXX BAR Gazelle, Freshman Years and Ringleader; $12 (door)

LAUGH SHOP The Rusty Reed Band

CARROT Live music Fri: all ages; Scott Cook; 7pm; $5 (door)

LYVE ON WHYTE Soul Train, Crowded City Skyline, Hot Hand Phenomenon

CASINO EDMONTON The X-Band (Latin)

NEW CITY SUBURBS Hair: Rock Musical; part of the Fringe Festival

CASINO YELLOWHEAD The Al Barrett Band (pop/rock) CENTRAL MUSIC FESTIVAL� Red Deer Half Chance Heroes 5-5:30pm, Ross Stafford 5:30-5:45; St James Gate 5:45-6:30pm; Backwoods Roots Revue 6:30-6:45pm; Ron Hubbard Band 6:45-7:30pm; John Rutherford 7:30-8pm; Great American Taxi 8-9:15pm; Steve Coffey 9:15-9:45pm; The Trews Acoustic 9:45-11:30pm; $75 (adult weekend pass)/$65 (senior/student) at Black Knight Ticket Centre, Valhalla Pure Outfitters, bkticketcentre. ca/$50 (day all ages) gate only; centralmusicfest.com COAST TO COAST Open Stage every Fri; 9:30pm CONVOCATION HALL For Hope and Understanding: HIV/AIDS Benefit concert presented by the Madeleine Sanam Foundation featuring Nomfusi and The Lucky Charms, The Chakratic Method; 7pm; $45 at TIX on the Square DV8 Naughtlia, Eminent Reprisal; 9pm EDDIE SHORTS The Frolics

LB'S Maple Tea

NEW CITY SUBURBS I LOVE '80s: Fri The XIII Special Edition with DJs Blue Jay and Nazz Nomad ON THE ROCKS Mustard Smile, DJ Harman B, Kwake PAWN SHOP DJ Weez-L (CD release) RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am ROSE AND CROWN Sophie and the Shufflehounds (blues/ roots) RUSTY REED'S HOUSE OF BLUES Dave Babcock and the Nightkeepers; 9pm-1am STARLITE ROOM NN, Van Ghost, I.E.D.; $12 (door) STEEPS�Old Glenora Live Music Fri TAPHOUSE�St Albert Rocky Mountain Rebel Music, The Nix Dicksons, Kyle Night and the Party Martyrs; 9pm WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close

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 1042582 Ave, 780.439.1082 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 B STREET BAR 11818-111 Ave BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CELTIC FESTIVAL Hawrelak Park Amphitheatre, 780.700.8782; celticfestivaledmonton.com CENTRAL MUSIC FESTIVAL� Red Deer 20-27354, Township Rd 392, Red Deer, centralmusicfest.com CHRISTOPHER’S 2021 Millbourne Rd, 780.462.6565 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 COLAHAN'S 8214-175 St, 780.487.8887

40 // MUSIC

CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 COPPERPOT Capital Place, 101, 9707-110 St, 780.452.7800 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Dr, 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 4911-52 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 EASTWOOD FEST 118 Ave between 85 and 87 St EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667, expressionzcafe. com 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 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841

VUEWEEKLY // AUG 12 – AUG 18, 2010

GOOD EARTH COFFEE HOUSE 9942-108 St 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 LAUGH SHOP 6 Blackfoot Rd, Sherwood Park 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, 780.989.5066 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 O’BYRNE’S 10616-82 Ave, 780.414.6766 O'MAILLE'S 398 St Albert Tr, St Albert, 780.458.5700 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 REDNEX BAR�Morinville 10413100 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 PUB 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St, 780.426.7827

RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 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 WHISTLESTOP LOUNGE 12416132 Ave, 780. 451.5506 WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Sq; 780.28.1414 WOOLY BULLY'S 8230 Gateway Blvd, 780.435.2886 WOK BOX 10119 Jasper Ave 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

WILD BILL’S�Red Deer Claymore; 10pm; no cover WILD WEST SALOON Shane Chisholm WINSPEAR Bryan Adams; 8pm; sold out WOK BOX Breezy Brian Gregg; 3:30-5:30pm

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

AXIS CAF�Metro Room Carmen Lucia Band (R&B); 8pm; $10 BLACK DOG FREEHOUSE Hair of the Dog: Seth Anderson "The Renegade Kid" (live acoustic music every Sat); 4-6pm; no cover BLUES ON WHYTE Donald Ray Johnson BRIXX BAR Random Falter, Zero Something; $10 (door) CARROT Open mic Sat; 7:3010pm; free

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

CASINO EDMONTON The X-Band (Latin)

BAR�B�BAR DJ James; no cover

CASINO YELLOWHEAD The Al Barrett Band (variety)

BAR WILD Bar Wild Fri

CELTIC FESTIVAL Keri Lynn Zwicker, Mattierin School of Irish Dancing, Knights of the Northern Realm, Stephen MaGuire, Celtic Dance Academy, Skullduggery, Claymore, Edmonton and District Pipe Band, St James Gate, Sarah Burnell, McCuaig; 10am (gate); $42.25 at celticfestivaledmonton. com; $35 (adv)/$40 (gate); 12 and under free; adv tickets at TicketMaster, Scottish Imports

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 DJ every Fri; 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 Pretty People Get Nasty with Peep n Tom, Showboy and rotating guest; DJS; every Fri; 9pm (door) 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 ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca STOLLI’S Top 40, R&B, house with People’s DJ TEMPLE Options Dark Alt Night; Greg Gory and Eddie Lunchpail; 9pm (door); $5 (door) Y AFTERHOURS Foundation Fri

SAT AUG 14

CENTRAL MUSIC FESTIVAL� Red Deer The Doll Sisters 12-12:30pm; Dick Braidek 12:30-12:45pm; Holly & Jon 12:45-1:30pm; Erica Viegas 1:30-1:45pm; Black Pioneer Heritage Singers 1:45-3pm; Lisa Heinrichs 3-3:30pm; Lindsay Ell 3:30-4:30pm; F&M 4:30-5pm; Oldbury 5-5:45pm; Lucas Chaisson 5:45-6pm; The Command Sisters 6-6:15pm; Jim Byrnes 6:15-7:30pm; $50 (day all ages) gate only; centralmusicfest.com 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 THE DRUID IRISH PUB DJ every Sat; 9pm DV8 The Borderguards, Kroovy Rookers, Smokestack Jacks, The Phantom Creeps; 9pm EDMONTON EVENT CENTRE Avicii and Jerome Isma-Ae EASTWOODFEST Street Dance: Captain Tractor, the Wambats, Nathan Carroll, Dave Von Bieker, The Proper Charlies, The Overacheivers (TOA), The Consonance, De Menor A Mayor, Bedouin Beats; 12-6pm EDDIE SHORTS Gaye Delorme; $10 EDMONTON EVENT CENTRE Avicii with Jerome ISMA-AE, Daphutur; no minors; 9pm (door); tickets at Foosh, Rain Salon, TicketMaster EMPRESS ALE HOUSE The F.D. Soap Co with The Wisor Trio; 4pm GAS PUMP Blues Jam/open stage every Sat 3-6pm, backline provided HAVEN SOCIAL CLUB J.R. Shore, The David Shepherd Band, guests; 7:30pm (door); $15 (adv at YEG Live) HILLTOP PUB Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm

180 DEGREES Dancehall and Reggae night every Sat

HYDEAWAY�Jekyll and Hyde Noisy Colours, friends; 9pm

ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12

IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10

AVENUE THEATRE Edmonton Fringe Festival: showings of Fairforall, Live on 118th, In Limbo and The Edmonton Fairness Film Festival

IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests

JAMMERS PUB Sat open jam, 3-7:30pm; country/rock band

CENTURY ROOM Underground House every Sat with DJ Nic-E

DEVANEY’S IRISH PUB Celtic Music Session, hosted

by Keri-Lynne Zwicker, 4-7pm

LB'S Mason Rack Band; $5

EMPIRE BALLROOM Rock, hip hop, house, mash up

LB'S Sat afternoon open jam: with Gator and Friends; 5-9pm

ENCORE CLUB So Sweeeeet Sat

EDDIE SHORTS Sun acoustic oriented open stage hosted by Rob Taylor

9pm-2am

LAUGH SHOP The Rusty Reed Band

LYVE ON WHYTE Rocky Mountain Rebel Music, Brash Tax, The Party Martyrs, Micelli; 8pm MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm NEW CITY LOUNGE MOD CLUB: Travy D and Blue Jay NEW CITY SUBURBS Hair: Rock Musical; part of the Fringe Festival NEW CITY SUBURBS Black Polished Chrome Sat: Electro/ alt/industrial DJs Blue Jay, Dervish and Anonymouse O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm ON THE ROCKS Mustard Smile, DJ O'MAILLE'S Mr. Lucky (blues Roots) PALACE CASINO�WEM The Normals REDNEX BAR�Morinville Bull-a-Rama after party: The Stan Hitchcock Band; 8pm RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am RIVER CREE Blondie; $46$56 at TicketMaster RUSTY REED'S HOUSE OF BLUES Rust Reed Band open stage; 4-8pm RUSTY REED'S HOUSE OF BLUES Dave Babcock and the Nightkeepers; 9pm-1am STARLITE ROOM Debut of Melt, Enduring The Fall, Virtual Terrorist, Madeleine Horn and DJ Process and Eddie Lunchpail; $12 (adv)/$15 (door) TAPHOUSE�St Albert Versus the Nothing, Drypht, Battleford Galactikaz; 9:30pm TEMPLE Oh Snap: Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop, P- Rex; $5 (door) WEM�Newcap Stage Canadian Country Music Association (CCMA): local, up-and-coming country music artists (RBC Emerging Artists Project); 2pm; every Sat until Sep 11 WILD BILL’S�Red Deer One Wild Night–Metal Mayhen: featuring Thrashomatic, Viathyn, Awkward Silence, Train Bigger Monkeys; 7pm (door); $5 WILD WEST SALOON Shane Chisholm WUNDERBAR The McGowan Family Band, Burnin' Sands; 9pm; $10 (door)/$5 (if wearing tie dye);

Classical WINSPEAR National Youth Orchestra of Canada, Jacques Lacombe (conductor); 7:30pm; free

DJs AZUCAR PICANTE Every Sat: DJ Touch It, hosted by DJ Papi BLACK DOG FREEHOUSE Sat DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered BUDDY'S DJ Earth Shiver 'n' Quake; 8pm; no cover before 10pm

ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Sat Gone Gold Mash-Up: with Harmen B and DJ Kwake

HYDEAWAY�Jekyll and Hyde 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

FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian

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

HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes

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

LEVEL 2 LOUNGE Signature Sound Sat: with DJ's Travis Mateeson, Big Daddy, Tweek and Mr Wedge; 9:30pm (door); $3; 780.447.4495 for guestlist 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! Anti-Club Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door)

NEW CITY SUBURBS Hair: Rock Musical; part of the Fringe Festival O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ON THE ROCKS Seven Strings Sun: Rocky Mountain Rebel Music; Tammy Weis; 7pm; $10 ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm RUSTY REED'S HOUSE OF BLUES Open Stage Sun with the Rusty Reed Band; 3-6pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm

PLANET INDIGO�Jasper Ave Suggestive Sat: breaks electro house with PI residents

STARLITE ROOM An Evening with Fran Healy (fr Travis); 7pm (door), 8pm (show); $28.50 at unionevents.com, ticketmaster.ca, Blackbyrd

PLAY NIGHTCLUB Every Sat with DJ Showboy; 8pm (door)

WUNDERBAR Sean Brewer, Mark Feduk

RED STAR Sat indie rock, hip hop, and electro with DJ Hot Philly and guests RENDEZVOUS PUB 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) Y AFTERHOURS Release Sat

SUN AUG 15 AVENUE THEATRE Edmonton Fringe Festival: showings of Fairforall, Live on 118th, In Limbo and The Edmonton Fairness Film Festival 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 PEAR RESTAURANT Jazz on the Side Sun: Don Berner; $25 if not dining BLUES ON WHYTE The Mason Rack Band B�STREET BAR Acousticbased open stage hosted

by Mike "Shufflehound" Chenoweth; every Sun evening B STREET BAR Woodbend (CD release party for Hank's Old Mandolin); 5pm; $10 (door) CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing

DJs BACKSTAGE TAP AND GRILL Industry Night: with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Sun Afternoons: Phil, 2-7pm; Main Floor: Got To Give It Up: Funk, Soul, Motown, Disco with DJ Red Dawn BUDDY'S DJ Bobby Beatz; 9pm; Drag Queen Performance; no cover before 10pm FLOW LOUNGE Stylus Sun NEW CITY SUBURBS Get Down Sun: with Neighbourhood Rats PLAY NIGHTCLUB Rotating Drag shows; every Sun; 9pm (door) 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

MON AUG 16 AVENUE THEATRE Edmonton Fringe Festival: showings of Fairforall, Live on 118th, In Limbo and The Edmonton Fairness Film Festival BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE The Mason Rack Band DEVANEY'S IRISH PUB Open stage Mon with Ido Vander Laan and Scott Cook; 8-12 NEW CITY This Will Hurt You Mon: Johnny Neck and his Job present mystery musical guests NEW CITY SUBURBS Hair: Rock Musical; part of the Fringe Festival

VUEWEEKLY // AUG 12 – AUG 18, 2010

MUSIC // 41

PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm ROSE BOWL/ROUGE LOUNGE The Legendary Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm RUSTY REED'S HOUSE OF BLUES Blue Mon Open Stage: Jammin' with Jim Guiboche; 8pm-12

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

TUE AUG 17

O’BYRNE’S Celtic Jam with Shannon Johnson and friends

AVENUE THEATRE Edmonton Fringe Festival: showings of Fairforall, Live on 118th, In Limbo and The Edmonton Fairness Film Festival

OVERTIME Tue acoustic jam hosted by Robb Angus

BLUES ON WHYTE The Mason Rack Band BRIXX BAR Troubadour Tue: The Tom Fun Orchestra and Whiskeyface Tour Kick off; host Mark Feduk; 8pm 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, Ben Spencer; 9pm JUBILEE AUDITORIUM Kenny G; all ages; 8pm; $45.50, $69.50, $85 at TicketMaster LB’S Ammar’s Moosehead Tue open stage; 9pm NEW CITY LIKWID LOUNGE Open Mic; Hosted by Ben Disaster; 9pm NEW CITY SUBURBS Hair: Rock Musical; part of the Fringe Festival

RUSTY REED'S HOUSE OF BLUES Tue Open stage acoustic session with Marshall Lawrence; Tue 8pm-12 SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm

WUNDERBAR Campfire, guests

Main Floor: Glitter Gulch Wed

with Jonny Mac, 8:30pm, free

DJs

BLUES ON WHYTE The Mason Rack Band

LEVEL 2 LOUNGE Open mic

BLACK DOG FREEHOUSE Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam BRIXX BAR Troubadour Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8 BUDDY'S DJ Arrow Chaser; 9pm ESMERALDA’S Retro Tue; no cover with student ID

SIDELINERS PUB Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm

FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm

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

NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock, spooky with DJ Vylan Cadaver

STARLITE ROOM Summer Slaughter tour: Decapitated, The Faceless, All Shall Perish, The Red Chord, Veil Of Maya, Cephalic Carnage, Decrepit Birth, Carnifex, Animals As Leaders; 4pm (door); $28.50 at TicketMaster, Blackbyrd, Unionevents.com STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm

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

WED AUG 18 AVENUE THEATRE Edmonton Fringe Festival: showings of Fairforall, Live on 118th, In Limbo and The Edmonton Fairness Film Festival BLACK DOG FREEHOUSE

BOHEMIA! Root System (funky folk); 8pm, $5 (door)

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

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

NEW CITY SUBURBS Hair: Rock Musical; part of the Fringe Festival

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

by Dan and Miguel; 9:30pm12:30am

OVERTIME Dueling pianos featuring The Ivory Club PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society every Wed evening

EDDIE SHORTS Goodtime jamboree Wed open stage hosted by Charlie Scream; 9pm-1am EDMONTON EVENT CENTRE Buckcherry, Hollywood Assassyn; 8:30pm (door); no minors; tickets at TicketMaster, Foosh (Whyte), Rain Solon (WEM)

RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm-1am; $5

FESTIVAL PLACE Patio Series: Willy Blizzard (folk), Kirby Sewell Band (blues); 7:30pm $8 GOOD EARTH COFFEE HOUSE Breezy Brian Gregg; 12-1pm HAVEN SOCIAL Open stage

LYVE ON WHYTE Indivine, Soundsalesmen, Noweiser; 8pm

RIVER CREE Wed Live Rock Band hosted by Yukon Jack; 7:30-9pm RUSTY REED'S HOUSE OF BLUES Wed with Danny Coady and friends Band Open Stage; 8:30-12am SECOND CUP�Mountain Equipment Open Mic every Wed; 8-10pm

STEEPS TEA LOUNGE� College Plaza Open mic every Wed; hosted by Ernie Tersigni; 8pm STEEPS TEA LOUNGE�Whyte Ave Open mic every Wed; 8pm

old skool, reggaeton with InVinceable, Touch It, weekly guest DJs

FLUID LOUNGE Wed Rock This

TEMPLE Wyld Style Wed: Live hip hop; $5

IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set

WOOLY BULLY'S Mr Lucky (blues/roots)

LEGENDS PUB Hip hop/R&B with DJ Spincycle

Classical

NEW CITY LIKWID LOUNGE DJ Roxxi Slade (indie, punk and metal)

WINSPEAR CENTRE ESO and Winspear Overture; 12-1pm; free

DJs BANK ULTRA LOUNGE Wed Nights: with DJ Harley BLACK DOG FREEHOUSE Main Floor: Blue Jay’s Messy Nest Wed Night: Brit pop, new wave, punk, rock ‘n’ roll with LL Cool Joe BRIXX BAR Really Good... Eats and Beats with DJ Degree and Friends BUDDY'S DJ Dust 'n' Time; 9pm; no cover before 10pm DIESEL ULTRA LOUNGE Windup Wed: R&B, hiphop, reggae,

NEW CITY SUBURBS Shake It: with Greg Gory and Eddie Lunchpail; no minors; 9pm (door) NIKKI DIAMONDS Punk and ‘80s metal every Wed PLAY NIGHTCLUB Movie Night every Wed; 9pm (door) RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; beatparty.net Y AFTERHOURS Y Not Wed

COMMENT >> REGIONAL TARGETING

Moving target

Over the length of my career, I've had a a venue of 16K to ones that hold 1000 – few promoters quietly ask my advice about 2000? bringing certain bands to town; is the act big In the Buffalo area, the band headlined a enough for the Shaw Conference Centre, or massive outdoor venue, Artpark. In St Louis, even the Agricom? Or should the show the band will play at the Pageant, which be placed at Red's, oops, Edmonton has a maximum capacity if 2300.

Event Centre?

In Oakland, the band will play (Red's. Dating myself.) two nights at the Fox Theater, It used to be that when a tour capacity 2800. Assuming two ly.com was booked, a band would play sellouts—and the promoter is eweek u v @ n steve in similarly sized venues across assuming at least one sellout if n Steveor there are two shows on offer— the country or the continent.

Sand If the band was big enough to the band will play to 5600 people play at the Saddledome, it should in the Bay Area. play Rexall Place. If it played the Rogers Centre in Toronto, it should play at ComThese are massive swings in venue sizes monwealth Stadium in Edmonton. And it from city to city. So, what does this tell worked on a smaller scale, too—if a band you? That the tour—backed by concert could fill a room of 400 in Winnipeg, it giant Live Nation—is following regional should do about the same in either Calgary trends in the band's popularity. That per or Edmonton. capita, there are likely way more Flaming But that thinking is dead. Concert proLips fans in Toronto than there are in the moters will look at how albums are selling Bay Area. regionally and they will feel out their local There looks to be no correlation between markets. They know that bands that are the sizes of the venues and the sizes of the big in the Midwest might not necessarily cities in which the band plays. Toronto and have broken in the Deep South. The dethe Bay Area represent massive metro armographics of each city need to be taken eas; Buffalo does not. into account. Is the city in question more So, is this a case of promoters overestiof a dirty rock 'n' roll town or is it a place mating the band's earning potential early known for urban cool? in the tour, and the venues have been There's no better example of this than downsized as the tour goes on? Probthe current Flaming Lips tour. In the last ably not—there is no sign that upcoming week of September, the psychedelic expershows have been moved from larger venimentalists from Oklahoma, who on this ues to smaller venues. tour have included a giant vagina in the From the number of declared Facebook stage show, will play Calgary's MacEwan fans a group has in City A as compared Hall and the Edmonton Event Centre. The with City B to regional sales data, we know band will play the Malkin Bowl, a small that bands build popularity in pockets. A bandshell at Stanley Park in Vancouver. band may be creating huge buzz in Edmon(And why the heck is a music venue named ton, but be unknown in Halifax. That's the for Evgeni Malkin?) natural course of things. Now, promoters MacEwan Hall holds about 1000 people, are wise to the fact that bands can't play the EEC about 2000. Earlier in the tour, hockey arenas in every city they visit. the Flaming Lips headlined the Molson Even one as established as the Flaming Amphitheatre in Toronto. No, the show Lips. V was not nearly full, but it's a venue that has a capacity of around 16 000.

Steven Sandor is a former editor-in-chief Yes, Toronto is a much bigger city than of Vue Weekly, now an editor and author Calgary or Edmonton, but to move from living in Toronto.

ENTER

SAND

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PREVUE // Fran Healy

The invisible band Travis's Fran Healy goes solo

process any easier for Healy, though.

For him, songwriting is an elusive thing, a compulsion, but one that hasn't gotten any easier with age or experience.

"I've always found it really hard to write songs. I'm not like Jack White," he says with a light laugh. "I'm always suspicious of people like, whose bands knock out five albums a year.

These things just take—I don't know, maybe they're geniuses. It's hard, though, it's always hard." V Sun, Aug 15 (7 pm) Fran Healy Starlite Room, $28.50

RECHARGED >> Travis frontman Fran Healy is touring in advance of his solo debut David Berry // david@vueweekly.com

A

s the man maybe most responsible for plowing the graceful Britpop ground that bands like Keane and Coldplay have turned into such fertile soil, Fran Healy doesn't have a whole lot to prove. But so far at least, the heaps of praise his sometimes melancholy but always beautiful pop songs have gotten—among the more notable, Coldplay's Chris Martin has repeatedly referred to himself as "the poor man's Fran Healy"—have come in his role as the frontman for Travis, the wildly successful Scottish act for which he's the primary songwriter. So it's understandable that, embarking on his first solo tour, he experienced a bit of trepidation—not that, it seems, he had any reason to worry.

"It's remarkably pleasant and disturbingly easy. Being in a band, you've got your support network around you, and before it all begun, I wasn't sure if I could do it," he points out in voice still laced with his Scottish brogue.

"But it's nice to have a change, more than anything. I can do anything I like on stage, and I don't have to think about anyone else. I don't have to worry about bugging the guys by talking too much, or ask anyone what songs I want to play."

All the better since the tour is in advance of his first solo album, Wreck-

// Tim Barber

order, due out in September. Though it doesn't necessarily stray too far from the sound he's perfected with Travis, there does seem to be a certain lightening of mood to the affair, not exactly an exuberance as such, but a kind of quiet satisfaction that hasn't always been apparent in the band's work.

That, says Healy, has as much to do with where he's at as it does in leaving the band behind for a spell. Showing the first signs of reaching mature adulthood—he recently moved to Berlin with his wife and young child, and is starting to sport a bit of scruff and wear that looks almost Dylanesque—Healy admits he's reached a point where he's started to feel a bit easier in his skin.

"Your brain—I'm sure it's your brain—gets to the point where your hard drive is at full capacity, and you've got to let things go, you've got to let memories go to make way for new experience," he explains.

"There's a moment where that's happening where you're just wondering, 'What's going on here?,' where it almost feels like you've hit a slick on the road and the car's sort of sliding a bit, but I think I've managed to right it again. At the moment, I feel good.

I'm in my body and my skin in a nice way."

Feeling more comfortable, and not having a band to run songs through, hasn't necessarily made the writing

VUEWEEKLY // AUG 12 – AUG 18, 2010

MUSIC // 45

PREVUE // DECAPITATED

Building a rapport

With an all-new lineup, Decapitated hits the road before making an album Bryan Birtles // bryan@vueweekly.com

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aving reformed in late 2009, two years after a bus crash that claimed the life of the band's drummer and put its singer in a coma, Poland's Decapitated is headlining this year's touring metal festival, Summer Slaughter. Vue Weekly spoke with guitarist and band leader Wacław "Vogg" Kiełtyka about the band's reformation and its upcoming plans.

Vue Weekly: This time around it's a whole new band. Can you tell me a bit about getting to know each other on the road?

Wacław "Vogg" Kiełtyka: We've had a great time with the new lineup. In the last couple of weeks we've started to do really nice shows and everyone's really happy. I think everyone's starting to really enjoy listening and watching the shows. This tour is the last step to build the band again—we started in February and after Summer Slaughter we'll stop touring and start to concentrate on doing a new recording, so everything's all right right now.

VW: Have you been writing songs while on tour?

WK: Not really. We've had a lot of time on tour but for me it's not possible to do a new riff or a new song on a tour bus, so after the tour I'll find some free time from everything and concentrate on making new music. We have studio time booked on the 25th of January so there's still a lot of time to do it.

VW: It's been a while since your last album, 2006's Organic Hallucinosis—do you think the themes of your work and the way you write will shift?

WK: We have a new lineup—the last album was recorded four or more years ago, so it'll definitely be something different and we'll see how it happens. I can't say too much about the new songs right now but for sure it'll be Decapitated and you'll be able to see it's the same band, but we always do different albums and this one will be different for sure compared to the other albums. I think it'll be not just blast beats and double kick and maybe some more slow stuff and different sounds, but I don't know, we'll see.

VW: Is it weird touring without a new album?

WK: It's not a problem to play old stuff and I can't see that people aren't satisfied about that. For me you can play shows, you can do tours even if you don't have a new album—it's more about doing a good show, playing good stuff even if you don't have any new songs it's still all right.

There was a plan; I didn't want to go into the studio with a new lineup, a to-

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tally fresh lineup—first we had to do a tour. Then after a lot of shows we'll do a new recording because we don't know each other. We had to practise together.

VW: Has the tour built the chemistry you were looking for?

WK: Oh yeah, definitely. It's starting to be a real band. Since February we've been doing a lot of shows and right now it's starting to look like a normal band and not like four dudes trying to play together and not knowing how to do it. I think after this tour we have two more weeks playing together and then after that this band will be ready to make songs together.

VW: The tour is getting a lot of good reviews. You must be happy about that.

WK: This tour has been amazing, every show is great. I can see that people are enjoying it very much and that's amazing. There's so many good people, good crew, good company, so we have good fun, good times.

VW: How does the scene compare between here and Europe?

WK: It's similar. Here it's a bit of a different thing, different music than in Europe. In Europe the metal is concentrated on folk-metal bands and stuff, guys going on the stage wearing skins, looking like fucking vikings and stuff like that, but in the US—especially on this tour—there's lots of technical stuff, like jazz bands and jazz musicians. It's a bit like opera or stuff like that.

With the crowd it's the same—if we have a good show the crowd reaction is the same.

VW: Is touring with so many other bands a more fun way to tour than by yourselves?

WK: It's a festival and it's good with all these bands playing, I can't complain.

We have a great crew, great bands. We don't care about too much—all the bands are great guys, we don't have any problems with anybody and we're having a great time here. It's cool, especially that almost every show has been sold out and without all these bands it would be not that good. I'm really happy about it.

VW: What kind of stuff can people look forward to in the show?

WK: Like usual we'll just do a crazy fucking performance—we play as good as possible every night and try to do a nice metal show. That's it. V Tue, Aug 17 (4 pm) Decapitated With Faceless, All Shall Perish, The Red Chord, Veil of Maya and more Starlite Room, $28.50

COMMENT >> THE LOCAL SCENE

Young people folking EFMF could use more up-and-comers

The most indicative incident of my Folk shame: those cities boasted the likes of presence of locals Colleen Brown and Fest experience came while helping out Dan Mangan, Timber Timbre, the Swell Jeff Stuart, though their inclusion should at the CJSR tent, trying to convince a Season, the Library Voices, Andrew Bird, be taken as a starting point, not a plafolkie to buy the pack of FunDrive the Dodos and the Rural Alberta teau). There's no denying that the EFMF compilation albums for sale.

Advantage, all acclaimed young crew can put on a tightly run little fesBrowsing the list of local acts acts that fit well within the tival, but if they're going to continue to that make up each one, a folk music purview. fill the hill once their current core is into sour look came across his I understand that schedfree ticket age, they need to give the m ekly.co face: "Geez, why don't you uling conflicts and the like fest a revitalizing shot of young talent. vuewe david@ put someone I know on here." can prevent the fest from d i v a D y Granted, he was eventually cagetting a full wishlist, but the Arbutus is growing Berr overwhelming joled into laying down the whoppresence of tradiLast Monday at Wunderbar Grimes ping $3 for three discs, but his sheer tional and established acts suggests and Pop Winds rolled through town. reluctance at trying something outside that they're not delving quite as deep as They're both on Montréal's Arbutus of the staple Folk Fest diet seems to be, they could be. You're not going to get Records imprint which, besides servif not the dominant folkie attitude, at around big names on the main stage, but ing as a home for some very talented least one of the prevailing trends. there is more than enough space on the Alberta ex-pats (Sean Nicholas Savage, As with every Folk Fest, there were highs—Patrick Watson was charming no There's no denying that the EFMF crew can put matter the stage, and Levon Helm's band on a tightly run little festival, but if they're going rivalled the Band—and lows—I'm conto continue to fill the hill once their current core vinced anyone who liked Van Morrison's lounge-jazz set had a case of $90-ticketis into free ticket age, they need to give the fest a induced Stockholm Syndrome—but one revitalizing shot of young talent. thing that seemed particularly absent this year was music that might expand the folkie pallette, particularly in the form of young and upcoming bands, losides to start drawing in younger and Silly Kissers, Braids) is a fantastic pop cal, Canadian or otherwise. Our folk fest more in-tune audiences, to say nothing label that isn't getting near enough has done better in years past, but even of exposing the core group of folkies attention. Do yourself a favour and a cursory glimpse at the lineups at citto bands that have been formed in the check out one of the future directions ies like Calgary and Winnipeg puts us to last decade (on that note, I welcome the of Canadian music. V

R GUTTE E

DANC

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// Eden Munro

// JProcktor

// Eden Munro

// Eden Munro

// JProcktor

The idea of a punk-rock festival on the hard pavement of Northlands under a hot-as-hell sun doesn't sound right on the surface, but it was all right for the kids when the 2010 Warped tour landed in Edmonton for the first time. Sure, there were a few things that didn't quite sit right—charging $2 for a schedule that was just a photocopied sheet of paper and $8 for sunscreen comes of as nothing more than a cash grab—but overall it was a welcome change in the festival city's landscape, if only for a day. V

Go to vueweekly.com for more photos from Eden Munro and JProcktor 48 // MUSIC

// JProcktor

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Fri, Aug 13 (8 pm) / Cop Shades If you've ever been pulled over on a hot summer's day while roadtrippin' your way to somewhere else, you'll understand the eyewear after which this New Brunswick band is named. Those mirrored aviators staring blankly at you—below a helmet and above a moustache—are

enough to ruin your whole day, maybe even the whole trip, and it's that anger that best describes how Cop Shades sounds.

A loose and frustrated jam, songs like "Someone's Gonna Get a Punch," and "I Shit Ponies" bubble up from below with a fury that is checked only by the ethereal sounds that float overtop. If you need to work out some late-summer frustrations, the upcoming Cop Shades show is a good bet. (Wunderbar)

N

Fri, Aug 13 (8:30 pm) / Rock 4 Santa Though it may be a wellknown fact that Santa Claus loves to rock, it may come as some surprise that the jolly elf would be out rocking on a hot summer's night in August. Far from being an aberration, however, there's a good reason the man with the bowl full of jelly will be out and about when his fur coat might not be de rigeur; to raise money. Since 2008, Rock 4 Santa has raised funds for the Edmonton Christmas Bureau as well as the Central Alberta Womans Shelter Adopt-a-Family Program but when they wanted to bring in a bigger headliner, the organizers decided to hold a series of fundraising concerts to gather the necessary monies.

This Friday's show is the final one of the summer and features the musical stylings of White Lightning, Solipsism, Me Next & The Have Nots and Fleeting Arms. (Hooliganz Pub, $10)

Thu, Aug 19 (9 pm) / The Kirby Sewell Band With free CDs to the first 50 people through the door, the Kirby Sewell Band's release party for its new album The Blues Found Me is sure to be a rager. Voted the top blues vocalist at the Calgary International Blues Festival, Kirby Sewell's career is in a definite upswing, and this Thursday's show at the Haven may be your opportunity to say, "Yeah, but I saw him when ... " (Haven Social Club, $15) —Bryan Birtles

Sat, Aug 14 (11 am) / Celtic Festival With a long and proud history in this city, the Celtic diaspora in the Edmonton area will have plenty to celebrate when they take to Hawrelak Park for the third annual Celtic Festival. With performances by the likes of McCuaig, Frayed Knot, the Edmonton & District Pipe Band—among many more—there will be plenty to keep Celts, and those who wish they were, entertained.

(Hawrelak Park, $35)

VUETUBE >> LET'S DANCE, SLATES

Fri, Aug 13 / 9 pm / Let's Dance, with Slates / New City

VUEWEEKLY // AUG 12 – AUG 18, 2010

MUSIC // 49

ALBUM REVIEWS

New Sounds

Sans AIDS / Lake Country Split Tape (Independent) 

Bryan Birtles // bryan@vueweekly.com

W

here lo-fi is concerned, a fulllength album can easily be contained in 20 or so minutes, so a split tape between Victoria's Lake Country and Edmonton's Sans AIDS makes a lot of sense—why waste all those megabytes contained on an 80-minute CD when all you really need is one side of a tape? Not to mention the highly accentuated hisses and crackles of tape— in addition to its deeply-ingrained DIY esthetics, borne of a million latenight-teenage-bedroom-mixtape marathons—fits the bill perfectly where lo-fi is concerned.

For Sans AIDS, which began life as a solo project for Outdoor Miners' Peter Sagar—a project that saw him play the guitar with his hands and the drums with his feet but has since expanded into a two-piece band with the addition of a drummer who plays the instrument with all of his extremities—the tape serves as something of a "greatest hits" package that wraps up everything or nearly everything the band has written to this point, including "Got Ideas,"

and "Flashlights," which both appeared on the group's recent 99 Sevens seveninch from Pop Echo as well as MySpace favourites like "My Friends"—which includes the quintessential hipster admission, "My friends don't pay for nothing / My friends all probably snuck in"—and "Third World."

Sans AIDS mixes the angst of the early-'90s with the esthetics of handmade birthday cards: Sagar's downtrodden-but-naive vocals float lazily over earnest-but-purposelyimperfectly strummed guitar while the drums make themselves indispensible by remaining simple, neither driving the boat nor falling out of it. The sound is one that's perfect for the often-dreary state of Edmonton, a place where fun is something to be earned after a long run of nights-in. The record is both hopeful and world-weary, recounting an imagined better time while yearning for its return.

Lake Country's side is a little more amped up, perhaps as much in tune with its own surroundings in sunny, oceanside Victoria as Sans AIDS is with its home in river city. Its wartsand-all approach showcases borrowed choruses the band never thought to rewrite, studio noise and songs that sometimes seem like ideas that never got past their initial stages. Far from being criticisms, these elements are the record's greatest strengths, showing off a band in mid-experiment, searching for the new and having no use for refinement—by the time Lake Country would have time to get down to business of polishing its songs, there are newer, far more interesting ideas to be explored.

Altogether, the opposing sides of the tape serve as near perfect foils, capturing the intimacy of both bands' esthetics and the curious influence of location. V

Ceschi The One Man Band Broke Up (Fake Four)  Ceschi, pioneer of Fake Four Records, takes genre mashing to another level on his long awaited follow up to They Hate Fransisco False.

The One Man Band Broke Up is a semiautobiographical tale of a one-man band called "Julius and The Bearded Saviour" and his post-modern disenfranchisement. The music itself is gorgeously produced by DJ Scientist who deserves a major shout here. The album is stacked with notable features but Ceschi can stand on his own. He has a silky unique voice for both singing and emceeing. His intelligence and technical ability are splayed generously over his hand craft cornucopia of genre bending.

And most importantly, the album is actually moving at times, a rare quality if most rap albums. So hopefully, if we're lucky, the band gets back together.

Joe Gurba

// joe@vueweekly.com

Landon Coleman A Dusty Dove (Independent) 

Landon Coleman, having spent the last few years away from his Alberta home, traipsing through the likes of Vancouver, Halifax and the Southern United States, has released an EP of four of the most earnest songs you're likely to hear this year. Their curious instrumentation—which includes ukulele, strings and subtle horns—swells the heart, like a letter from someone you'd nearly forgotten. The deft touch that Coleman uses to express the sweet sadness of movement, the melancholy of vagabondism, is refreshing—an island of honesty in a sea of cynicism.

Bryan Birtles

// bryan@vueweekly.com

Kilmore Place ...What Happened? EP (Independent) 

There's plenty of high drama on Kilmore Place's …What Happened?— the opening guitar-line on "Runaway" is sounds like "Where the Streets Have No Name"—but the EP's six songs could really use less of a pop-hook blueprint and more sense of experimentation. Lines like "I want to fly like the birds/ I want the picture's thousand words" fall deeply into generic territory, accompanied by predictable swells and drops of a standard pop band set-up. It's pleasant, but absolutely nothing you haven't heard before.

Paul Blinov

// paul@vueweekly.com

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VUEWEEKLY // AUG 12 – AUG 18, 2010

// paul@vueweekly.com

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HAIKU Andreya Triana Lost Where I Belong (Ninjatune) Modern R&B Tasty organic samples Fresher than Sobey's

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vignettes and sketches in the music hall style. The success of these albums helped launch their careers with the breakthrough of Lola verOriginally released: 1970 sus Powerman and the Moneygoround, Part 1. om In the year 1970, anything was Gone were the scrappy eekly.c w e u v us@ possible for British bands look- mikeang amped guitars and other e k Mi ing to fill the power vacuum folhallmarks of their patented Angus garage rock; while “Powerman” lowing the Beatles’ official break up. While the Rolling Stones were and “Rats” still exhibit the Davies ascending the arc brothers’ love of what would beof electric guicome their most tar, the overall important years arrangements creatively (Gimme here are comShelter had just plex, yet tightly been released a focused, while year earlier; materithe looseness of al for Sticky Fingers acoustic ballads and Exile on Main like “Lola” and Street was already “Strangers” rein the works), the veals the songrest of the music writers’ touch world was wonderand savvy for ing "what next?" in when a song the wake of Woodneeds to warble stock and the on its own merit. death of the peace MONEYGOROUND >> And around ... // Supplied In fact, the almovement at Altamont. bum’s best moments are when the bands The experimental nature of the Beatles’ seems to veer from the expected flawfinal albums, combined with the divergless quality of the studio. As a student ing styles of Lennon, McCartney and of theatre, Ray Davies seemed to have Harrison’s solo albums, also left many to finally developed a knack for knowing question what the future held for "Brithow to give his cleverness its due. Unlike ish" music, since the 'Stones had only ever the stiff frontman from his earlier years, made bluesy rock ‘n' roll in the American Davies was finally starting to embrace manner, and glam, prog and heavy metal the stage comfortably outside the lazy were finding huge audiences across the comparisons to the Beatles et al.

Atlantic. For the remaining heap of scrapThere’s no shortage of satirical attack py English bands, the path to the throne here, either. “Get Back in Line,” “Monmust have seemed clear for the taking. eygoround,” and “Top of the Pops” are The Kinks were no newcomers in 1970; obvious jabs at a “music industry” too they had arguably peaked in the mid ‘60s preoccupied with the latter to comwith “You Really Got Me” and “All Day pletely understand the former, and as and All of the Night” but with their very a conceptual work, it is elegant and cinBritish-minded previous concept records ematic in quality. Although they would Arthur and The Village Green Preservanever achieve the same “rock opera” tion Society, the Kinks were enjoying a status as the Who, the Kinks’ catacommercial and critical comeback. With logue—with material from Lola versus these albums, brothers Ray and Dave ... in particular—have found a proud Davies had been contemplating the dehome in motion picture soundtracks mise of small-town life and English trafrom 2004’s Mondovino to several Wes ditions, integrating their records with Anderson movies. V

ry Te AR fee by e or th e d e rf nd 3 ry vid do ve t 1 Te rd us le ro en AR bi ug ab e p rd v by i h rly y A a t bl Ea ida for a ta lerb 19t ed g at vid Fr 0 r o g $1 20 f Stra 3th ble pro paid $ y t 1 ta le b z be a s La gu or a ta can Au 15 f for s $ 25 fee ca/ $ or ry. nd te Ve hear t

Paul Blinov

The Kinks Lola versus Powerman and the Moneygoround, Part 1 (Pye Records)

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Gone is the howling, garage-y rock 'n' roll of Meat, Hawksley Workman's earlier 2010 release. Milk takes aims at danceclub music and its culture of careless sex, an album filled with backing synths and raunchy lyrics, and seems intended to blast above dancefloors—or maybe to comment on them? There are moments here when you can't tell if Workman's giving listeners a knowing wink or being completely serious and embracing the style. It's a tricky place to be. The biggest leaps in style aren't the strongest, suffering for lack of musical depth, but the songs more akin to Workman's usual output, like the piano-driven "Devastating" (a stylistic Workman forte), are better. The album backloads its best tracks, with the titular declarations of "Stay Drunk and Keep Fucking," "Wayside"'s simple sadness and the warped genius of "Warhol's Portrait of Gretzky"—"pretty fuckin' sexy," goes the chorus. But outside of the particularly catchy "We Dance to Yesterday," the dancier stuff just doesn't work out as well here. Still, few artists are this willing to leap outside of their comfort zones and release a genre experiment, and that makes Milk commendable, at the very least.

ALBUM REVIEWS L c oc th rafts al ar s ei p t su urpl r wo eop ists pp us rk le & lie to s, se ll s. ol sa nd

Hawksley Workman Milk (Isadora) 

SATURDAY AUGUST 21

QUICK

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Whiteoyn Houst

Saving Abel Miss America (Virgin)

Huge tough guy guitars Nice overcompensation for beer can penis

Pineapple Pineapple (Independent)

Ra Ra Riot The Orchard (Arts & Crafts)

Hummably quirky Total white guy indie pop Sideshow melanin

Orchestral rampage These parts trample everything Yet still seem fitting

It Kills It Kills (Independent)

S. Carey All We Grow (Jagjaguwar)

Densely woven tracks Amazing arrangements meets Painful recital

Quite an acheivement make something with less sack than Bon fucking Iver

VUEWEEKLY // AUG 12 – AUG 18, 2010

MUSIC // 51

PREVUE // JR SHORE

Coming home

Songwriter returns to Alberta after two years in Nashville my basement with no idea what I was doing, so what does that tell you? The performance goes a long way. At the end of the day, that's what made that stand up on its own."

A self-professed "student of song," Shore seeks only the songwriters' songwriters for influence and inspiration.

"I don't listen to the most popular artists out there, but the guys who I think are the greatest songwriters," he acknowledges. "I listen to Dylan and Townes Van Zandt, but also guys that sit below the public eye, guys like Dave Alvin and Tom Russell, who it's just brilliant song after brilliant song—you gotta absorb some of that song. Nashville was a crash course in that.

"I play the roots of American music," he counters. "Some is blues-tinged, some is more folk-tinged, here it's a little more country."

Mike Angus // mikeangus@vueweekly.com

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algary singer songwriter JR Shore, who spent two years living in Nashville perfecting his craft, has in recent years finally moved back to his hometown and found those years abroad paying off in his cozy new environs.

Winner of three Calgary Folk Fest songwriting competitions since 2007, he is once again returning to the stage that launched his career, as well as a western Canadian tour to promote his new record Talkin' on a Bus. Recorded here in Edmonton with Barry Allen of Homestead Recorders, his latest album is a seamless flow of country, blues and folk—all hewn together with Shore's inviting story telling. The polish and care that went into Talkin' … is a far cry, though, from his very wellreceived debut Impeccable Shine.

"Impeccable Shine was an album that unfolded in the strangest way. With that album, I had prize money for mastering and manufacturing, and with the deadline looming I figured, 'I have to make an album.' It was patchwork, it was a rush job, and one that I'm very proud of," he admits with a laugh. "Fifty percent of that album is recorded in

With this kind of confidence and selfawareness, the multi-instrumentalist headed into Homestead armed enough songs, time and aspiration to proudly produce a more thorough album.

"At the end of the day, if people say they like Impeccable Shine better, I'm quite OK with that," he offers modestly. "But this one has more thought

that's gone into it ... Look at someone like John Prine. You think he's satisfied with where he's at? He's still writing, he's still trying to write better songs.

We're all trying to write better songs.

"One aspect of my songwriting that I really pride myself on is storytelling. I find the excitement in a lot of the stories from my characters. My parents own the restaurant at a Greyhound station terminal, so I grew up around all these characters," he explains. "It's those unique people that you find on the bus. I borrowed the title from a song Blaze Foley wrote called 'On the Bus' about this lady on a bus preaching to everybody. She thinks she's got an important message, and everyone thinks she's nuts, but it's her pulpit.

"This album is kinda my pulpit," he concedes before adding, "the difference is she thinks you need to hear what she's got to say; as an artist, I'm hoping you want to hear what I have to say." V Sat, Aug 14 (7:30 pm) JR Shore With the David Shepherd Band & special guests Haven Social Club, $15

HOROSCOPE ARIES (Mar 21 – Apr 19)

some counterfeit gold that you think When I studied method acting with is authentic. Here's the good news: David Mamet, he taught us to develop Within a short time after waking up to such a vivid imagination that we could the truth about the fake stuff, you will taste the pretend coffee that we drank locate the real thing. out of an imaginary cup. Pop star Lady Gaga didn't work with Mamet CANCER ( Jun 21 – Jul 22) while she was maturing as an Here's a thought from the actress, but she got similar Cancerian philosopher GasY ton Bachelard: "He who listeachings. Recently, she told G O L O New York magazine that she A S T R tens to the singing of the m ekly.co vuewe l@ il can "actually mentally give stream cannot be expected w e fre myself an orgasm." If you to understand the one who Rob y think that you will ever want hears the singing of the flame: Brezsn to have that strong an imaginaThey do not speak the same lantion, Aries, now is a good time to guage." While I mostly agree with start working toward that goal. that poetic formulation, I think you're about to be a temporary exception to TAURUS (Apr 20 – May 20) When the rule. Normally you are acutely atthey say "Go with the flow," what "flow" tuned to the singing of the stream. But are they talking about? Are they urg- I expect that in the coming days, you ing you to keep doing what's easiest will not only have the power to appreto do and what will win you the most ciate the song of the fire, you'll even be ego points, even if it keeps you from able to empathize with and understand being true to your soul's code? I'm here people who are entranced by the song to ask you to consider the possibility of the fire. that there are many flows to go with, but only one of them is correct for you LEO ( Jul 23 – Aug 22) right now. And in my opinion, it is flow- Paul, a fortune-telling octopus had an ing in an underground cavern, far from amazing run of success predicting the the maddening crowd. results of World Cup. His technique?

His handlers gave him a succession of GEMINI (May 21 – Jun 20) choices between two tasty morsels, "There would not be such a thing as each representing one of the teams counterfeit gold if there were no real in a given match. The treat he picked gold somewhere," says a Sufi proverb. to eat was the team whose victory he Why am I bringing this to your atten- prophesied. Emulate Paul the octopus: tion at this particular moment? Here's it's really important that you not overthe bad news: You're in possession of think the possibilities, but rather rely

IL FREEW

52 // BACK

L

on simple gut reactions. Why don't you pretend you're an octopus and imagine that each choice you have to make is symbolized by some food item. Ask yourself, "Which is yummiest?"

VIRGO (Aug 23 – Sep 22)

As Lewis Carroll wrote his sequel Through the Looking Glass he invited his illustrator John Tenniel to offer editorial advice. In response, Tenniel tactfully suggested that Lewis cut out a certain chapter. Lewis agreed, and so the story, as we read it today, doesn't include Alice's meeting with a grumbling wasp who wore a bright yellow wig that sat disheveled on its head like a clump of seaweed. Think of me as your version of Tenniel, Virgo. As you finish up your labor of love, consider following my recommendation to omit the part that resembles a wasp in a wig.

LIBRA (Sep 23 – Oct 22)

If you and I were sitting face to face and I asked you, "What are the most important lessons you've learned these last 11 months?" what would you tell me?

I think you need this type of experience: an intense and leisurely conversation with a good listener you trust— someone who will encourage you to articulate the major developments in your life since your last birthday. Here are some other queries I'd pose: 1. How have you changed? 2. What long-term process needs to come to a climax? 3.

What situation are you ready to graduate from that has been a hotbed of

learning for you.

SCORPIO (Oct 23 – Nov 21)

The film Avatar hammers out such vehement anti-military, anti-capitalist and anti-imperialist themes that it could have been endorsed by the leftist rock band Rage Against the Machine. And yet it's the highest-grossing film in the history of the world. Your assignment in the coming week is to do what Avatar has done: Try to make sure that your opponents and skeptics are entertained by your message—maybe even excited and intrigued.

SAGITTARIUS (Nov 22 – Dec 21)

I recommend that you enjoy an abundance of recreational time in the coming days, Sagittarius. But I hope that you will favor a rigorous physical challenge over lying lazily on the beach. I hope that you will read great literature instead of mass market paperbacks.

Catch my drift, Sagittarius? Say yes to embarking on a vision quest that scares the fear out of you and pumps up your spiritual ambition; say no to wasting away in a puddle of sluggish, circuitous daydreaming.

CAPRICORN (Dec 22 – Jan 19)

69 percent of conservatives think that hell is a real place, and over half of all liberals do. Shocking! I hope that you, Capricorn, give zero credence to this idea. In my astrological opinion, believing in hell would grossly interfere with your ability to know the truth about

VUEWEEKLY // AUG 12 – AUG 18, 2010

your life right now. So would an irrational fear of failure, an obsession with enemies or a tendency to define yourself in opposition to bad stuff. Here's the alternative: To thrive, all you have to do is accentuate what you love, identify what you want, and focus on rewards.

AQUARIUS ( Jan 20 – Feb 18)

This is an excellent time for you to get more conscious and proactive about what images you bring into your life and surround yourself with. It's always important to monitor the pictures flowing into your imagination, of course, but it's especially crucial right now. Your mental and physical health are unusually dependent on it. So please do yourself a big favor and gaze upon as much uplifting beauty as you can. Favor gardens over garbage dumps, soaring vistas over strip malls, interesting faces over scowling mugs.

PISCES (Feb 19 – Mar 20)

Every year smokers toss away over four trillion cigarette butts, fouling the environment. Recently a few Chinese scientists embarked on the seemingly impossible project of finding value in this waste. Collecting up big piles of discarded filters, they developed a process to extract chemicals that are effective at preventing corrosion when applied to steel pipes. Your assignment, Pisces, is to accomplish a comparable miracle: Turn some dreck into a useful thing and build a new dream using the ruins of an old pleasure.

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VUEWEEKLY // AUG 12 â&#x20AC;&#x201C; AUG 18, 2010

BACK // 53

COMMENT >> LGBT

Propositioning a better future I know better than to mistake the online hapmarriage ought not to be the guarantor of penings of Facebook for a hearty indication rights like health care." of what is happening in the world. Still, These accounts raise questions: while a slew of status updates last week "marriage equality" is a concept that showed a strange trend. On the appears to bear fruit for all fruits, day that Prop 8 was overturned, who benefits most? What many self-identified queer allies would a gay legal victory look gleefully posted the news— like that takes economic and ra.com ly k e e vuew understandable, as marriage has cial justice as integral to queer lucas@ s Luca been thoroughly marketed as a quality of life? What would a rd campaign for queer rights sound right that benefits all. However, Crawfo of my queer friends who posted uplike that is based on queer affiliadates, nearly all expressed disdain for the tions and families of all types? I compile a marriage movement and linked to resistant few more intertwined propositions. sites and ideas, from Kenyon Farrow's article First, a more strategic and useful "mar"Is Gay Marriage Anti-Black?" to Dean Spade riage" campaign would work to change and Craig Willse's argument that "formal leall institutions that valorize certain gal equality ... primarily benefits white and sexual practices, such as monogamy or wealthy gay men and lesbians." As Against sex-based affiliations, over others. Why Equality puts it, "gay marriage apes hetero not make Alberta's Adult Interdepenprivilege and allows everyone to forget that dent Relationships Act required reading

EERN Q UN TO MO

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54 // BACK

for tenth grade? And make the question for the final: why is it so easy to misunderstand the legal administration of relationships as romantic? Inspiration may be drawn from Montréal artist Coral Short's latest performance, a non-legal "platonic marriage marathon" for friends. Speaking of Montréal, time spent building up a queer Craigslist hook-up scene that rivals Queerbec would be time well spent. I vow to write a "Missed Connection" daily.

Other propositions for thinking bigger?

To Stockwell Day's chagrin, stop building prisons, for reported and "unreported crime" alike. This would entail a shift in emotional conventions too: ban strategic fear-mongering as justification for conservative crime agendas and gay proimprisonment agendas alike. While we've got the law in our hands, let's remove the

While we're working on de-criminalizing queer bodies, let's ban body imagining XRay machines at airports. Last week, the US Marshals Service admitted that it has stored about 35 000 images created by this "virtual strip-search" technology, despite its defenders' reassurance that no images will ever be saved. In May, a Miami airport employee was charged for assault after attacking a co-worker who taunted him daily for his reportedly small penis, an image of which the co-worker saw while the staff were trained on the machines.

But before any of us reaches the airport to hop on a plane to Hawaii for a beach wedding, consider that the Audre Lorde Project reports that heavy promotion for gay wedding tourism in the state exists "in spite of the fact that many within the indigenous Hawaiian sovereignty movement—who had supported same-gender marriage—

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EDMONTON’S NEXT GEN–PECHA KUCHA NIGHT 8: CALL FOR PRESENTERS: Edmonton’s Next Gen is accepting presentation submissions for Pecha Kucha Night 8, to be held on Sep 23 at the U of A Centennial Centre for Interdisciplinary Science. Application package at: bit. ly/PKNEdmonton8. Submission deadline: Aug 16

consider tourism to be one of the most destructive forces impacting Native Hawaiians and their struggle for sovereignty."

Finally, a proposition perhaps at the heart of intersectionality: debunk the Human Rights Campaign, who, though they are big backers of "marriage equality," don't take economic inequality seriously. Famously, they've suggested that gays buy their way into a gay-friendly world by supporting progay companies, many of which use drastically underpaid overseas labour. We could learn about HRC's other anti-intersectional move of the decade: in 2007, they brokered a last-minute deal to push through ENDA (Employment Non-Discrimination Act). The deal? They agreed to drop transgender people from the act altogether.

In the meantime, we could proposition each other a whole lot more—for coalitions, for recognitions of privilege, for a more vigorous sense of sexual justice and for all the clandestine or flaming acts that "queer" can signify. V

COMMENT >> ALT SEX

Sharing your fetish

Maintaining a relationship and a fetish can be complicated Dear Readers: ner put into fetish-related screen time and I was halfway through an answer to a related solo pursuits. And yet the fetish, reader's very interesting question when it seemed, was proving a more powerful he, she or it wrote back and asked me draw than the willing, accommodating live not to. So now you get to read my body, and the questioner was wonanswer blinded. dering if there was really room Instead, we're discussing fein the relationship for two hutishes and how they do or mans and an object. Would one don't mesh well with regular of them have to go? And since m o .c ekly vuewe partnered sex. The questioner it was obvious that the fetish altsex@ had done everything a body Andresaon was non-negotiable, should the could possibly do to accommoquestioner start packing?

Nemer date the partner's special interests: Maybe. Can a person with a very been unfazed by the original revelation powerful attraction to an inanimate obof the fetish, cheerfully included the feject, a disembodied bodily characteristic, tishized object in partnered sex, willingly or a specific and inflexible role ever be participated in fetish-oriented role-play, happy in a relationship with someone who been non-judgmental about the considerdoesn't feel the same way about swim caps able amount of time and energy the partor dirty feet, or who is just going through

ALT.

SEX

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Call for Submissions for a Permanent Urban Art Feature in the Perron Courtyard "remembers Fleury Perron". Open to local, regional, national and international artists. Info: Jenny Willson-McGrath at Profiles Public Art Gallery, 780.460.4310 Deadline: Sep 15 Call for entries: 2011 Dreamspeakers; Deadline: Mar 31, 2011; Info E: info@dreamspeakers.org. Send entries to: Attn: Executive Director, Dreamspeakers Festival Society, 8726-112 Ave, Edmonton, AB, T5B 0G6 Call to artists: Art From the Unknown, Edmonton; Deadline: Sep 10. Info: 780.414.0702 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 Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Ghostwater” a horror-cop drama. The first draft has been written. Please contact Kevin Sisk, Associate Producer at drsiskphddd@msn.com with contact info and sample of your work

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the role-play motions? Can said person's partner ever be happily paired with someone so distracted and monomaniacal?

Obviously, people do manage to include a unilateral fetish in bilateral sex. It's no weirder or more difficult to negotiate than one partner liking any other activity more than the other one does: you compromise, you do a little of this and a little of that, you try to make each other happy.

It's actually fairly rare for two people to be independently equally and identically interested in something like rubber or latex or boots or what-have-you, even if they met at the Leather, Latex and Boots Ball. But at least then you have two people who truly understand what it means to have some item or substance function as an integral component of one's sexu-

ality. Whereas if you don't have a fetish or other very specific fringe-y interest of your own you're never really going to get it or even completely believe a partner who insists s/he must have a certain object present or deployed for sex to feel worthwhile or even doable.

I think of fetishes and strong attractions to scenes like BDSM, water-sports or cosplay as readily sharable but not entirely transferable. The world is full of willing partners happy to shrug and say what the hell. Some will give it a try out of curiosity or just to be nice and discover they've been carrying an inner submissive or a pirate wench around, corked up like a genie in a bottle, and once you let one of those guys out they are not going back in. Yay for you if this happens; it is a rare and beautiful thing.

Fairly often, though, you are going to find a situation where a regular vanillatype person is taken by surprise at the

revelation that a new love interest requires a French maid's uniform and a pair of rubber waders in order to get off, and is happy to oblige but something is ... off.

Gradually s/he realizes that there is a love triangle here and the older relationship is the stronger and more compelling one.

Eventually she wonders if the other person would even notice her absence, provided she left the uniform and the waders where he could get at them. Meanwhile, the waders-lover suspects the new partner is only humoring him and thinks the waders are pretty silly or even mildly shameful. Bad feelings ensue.

Communication, of course, is the answer but we must remember that ability to communicate one's feelings is not, in and of itself, a cure-all. "I don't want to do that and I think less of you for being so obsessed with it" is, after all, a perfectly clear communication.

Love, Andrea

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 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 Volunteer at ElderCare Edmonton: help out with day programs with things like crafts, card games and socializing.

Call Renée for info at 780.434.4747 Ext 4 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 The Nina Haggerty Centre for the Arts: looking for artists to provide mentorship to our artists with developmental disabilities. Share your talents and passion while gaining work experience. Info: Anna at volunteer@ninahaggertyart.ca

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