Vue Weekly 774 Aug 19 - 25 2010 by Vue Weekly

INSIDE

COVER

#774 • Aug 19 – Aug 25, 2010

UP FRONT // 4/ 4 8 9 9

Vuepoint ZeitGeist Dyer Straight Bob the Angry Flower

DISH // 10/ 12 To the Pint

ARTS // 14 16 Prairie Artsters

FILM // 19 37 DVD Detective

MUSIC // 40/ 44 Enter Sandor 49 Music Notes 49 Gutterdance 50 New Sounds 51 Old Sounds 51 Quickspins

Blues Fest: Jimmie Vaughan bends the blues for all they're worth

FRONT

BACK // 52

ARTS

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

EVENTS LISTINGS 18 Arts 39 Film 42 Music 53 Events

g e c e

e d a d

t u t .

G20: 300 go to court

Vue picks the best of the Fringe

E D U C AT I O N //2010 p u l l out 2 1

VUEWEEKLY.COM PODCAST // Fringe food

FILM

• Sidevue The Nanny Estate: do movies idealize our memories of rural England? • Online-only review Vue reviews Get Low: three stars DISH

• Podcast Intrepid arts editor Paul Blinov braves the Fringe's food • Dishweekly.ca Restaurant reviews, features, searchable and easy to use Enjoy the Fringe's offerings until Aug 22

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VUEWEEKLY // AUG 19 – AUG 25, 2010

FRONT // 3

EDITORIAL

Vuepoint Lesson not learned BRYAN BIRTLES

// BRYAN@vueweekly.com

he Tamil refugees on the freighter in Vancouver harbour are not the first "boat people" to view Canada as a safe haven from the persecution and possible violence they face in their homeland. But Canada seems incapable of learning from its past, which has led to travesties of human rights and paeans to xenophobia in a country that has long been lauded for its openness and just treatment. History has judged harshly the mistakes made by previous Canadian governments who sent away or poorly treated refugees and—if we as a country mishandle this arrival—history will judge the current one as well. In 1914, a Japanese steamship, the Komagata Maru, carrying mostly Punjab refugees attempted to dock in Vancouver's harbour. Thwarted by a disingenuous law which prohibited immigration by people who did not sail directly from or with tickets purchased in the country of their birth—something possible mainly for the nearly half a million immigrants per year the government was accepting from Europe—the boat was sent back to India where, upon

its arrival, British gunboats opened fire, killing 19 of the passengers. The current Conservative government—the one whose Public Safety Minister Vic Toews referred to the refugees on the current ship as "human smugglers and terrorists"—apologized for the events on the Komagatu Maru in 2006. In 1939, a German ocean liner, the SS St Louis, attempted to ferry more than 900 Jewish refugees from the horrors of Nazi Germany. Prevented from landing in both Cuba and the United States, the ship made a last-ditch effort to land in Canada. Indifferent and anti-Semitic sentiments in the Mackenzie King government, however, thwarted such an attempt and the ship was forced to return to Europe where more than 250 passengers were killed as the Holocaust spread across the continent. It is not hard to know the right thing to do in this situation, but it is difficult to actually do it. Putting aside xenophobia and treating these latest refugees with compassion may not be easy for a government with such a mean-spirited reputation, but if Stephen Harper doesn't want to hear his own name in another prime minister's apology speech, he must do so. V

INSIDE // FRONT

UP FRONT

ZeitGeist

Dyer Straight

Bob the Angry Flower

GRASDAL'S VUE

PODCAST >> FRINGE FOODS

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GO TO VUEWEEKLY.COM to hear Vue's podcast on arts editor Paul Blinov's adventure through the Fringe's food offerings.

Letters VUEWEEKLY // AUG 19 – AUG 25, 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 // CIVIL DISOBEDIENCE

NEWS // ENVIRONMENTAL POLICY

300 people head to court

Bare minimum

The mass arrest of 300 people at the G20 results in one big court day TIM MCSORLEY // DOMINIONPAPER.CA

early two months after the G20 protests in the streets of Toronto, hundreds of people are slowly moving through the legal system. They face a wide range of charges, from obstruction to conspiracy, and a variety of possible punishments, from fines to serious jail time. The complexities of the justice system can be difficult at the best of times, but with mass arrests and what many see as politically motivated charges, things have become more daunting. "The court system is incredibly alienating," says Ryan White, a lawyer working with the Movement Defense Committee (MDC). "That's why [the courts] are used, to use up time and energy to destroy social movements." While it's difficult to predict the outcome for people facing charges, an estimated 300 people—mainly those who were arrested and held at the detention centre set up in a former film studio in Toronto's east end—are slated for "set date" court appearances on August 23. A set date is the first step in the trial, where the accused will be able to clarify their exact charges, will be given their next court dates, and will possibly receive disclosure—meaning they will be permitted to see the evidence being held against them. Since the set date hearings are not arraignments, defendants will not plead innocent or guilty, but resolution discussions—otherwise known as plea deals— may take place. A spokesperson for the Crown's office refused to comment on the possibility of such negotiations, though

Riali Johannesson, another lawyer who volunteers with the MDC, says such discussions are common-place.

Those who remember the temporary bail court hearings immediately after the G20 summits may doubt the wisdom of processing 300 defendants in one day, but both Crown prosecutors and MDC volunteers believe there should be enough resources and staffing for the process to move smoothly. According to Johannesson, legal defence volunteers are in contact with the Crown to find ways to ease the process and ensure hearings do not drag on. That is reassuring for the dozens of people who will come in from out of town for the hearings, including 110 people from Quebec alone. Montreal's Anti-Capitalist Convergence (CLAC), which organized buses to Toronto for the G20 summit, is organizing transport and lodging for those

obliged to take plea deals and groups like CLAC have expressed hope that enough funds will be raised to enable individuals who wish to challenge their charges to do so. Fundraising takes time though, and in both Montréal and Toronto, where the two main pushes for fundraising are taking place, it is estimated that at least $250 000 needs to be raised in each city in order to cover the legal fees associated with those facing the most serious charges. Farrah Miranda, a spokesperson with the Toronto Community Mobilization Network (TCMN) was unable to confirm how much money has been raised so far. The TCMN and CLAC are both planning a series of large events over the coming weeks, though, including a performance by trip-hop band LAL in Toronto, and a fundraising dinner and art auction in Montréal as part of what will be year-long funding drives.

The courts have issued a publication ban against reports on the proceedings, and some have been warned that speaking to the media may constitute a violation of the bail condition

who need to travel to Ontario for their hearings. Other out-of-town defendants, including most from BC, have secured legal counsel to represent them so they do not need to make the 4000 km trek. There is a possibility that some charges will be dropped on August 23, and that others may be downgraded following resolution discussions. No one will be

Some of the 17 people co-accused on charges of conspiracy will be among those appearing August 23. All but one of them have been released on bail and face severe restrictions, including house arrests and limits on who they can associate with, on public statements, organizing CONTINUED ON PAGE 9 >>

Tailings ponds cleanup delayed Angela johnston // Angela@vueweekly.com

ast Wednesday, after conducting a technical review of the Imperial Kearl project, Alberta's Energy Resources Conservation Board approved a plan that will reduce their fine particle tailings by 2023. Directive 074 requires the ERCB make plans with oil companies to reduce fine particles in tailings by a specific date and must submit annual reports specifying fine particle reduction in tailings ponds. Tailings, the waste product produced by tar sands extraction techniques, are largely comprised of water, sands and bitumen. Unfortunately, according to Canada's National Pollutant Release Inventory preliminary reports, tailings also include reasonably high levels of arsenic, lead and mercury, among other compounds. The results of the review for the Kearl project indicate that Imperial will not be able to reach the directive's annual reduction targets between the predicted start of the project in 2012 up until 2018. To compensate for the discrepancy, the ERCB is demanding that Kearl exceed the reduction targets between 2018 and 2023. The tailings pond will exist until 2038. According to communications representative Davis Sheremata, the ERCB will ensure that Imperial take every action necessary to continue working towards the projected reduction targets for 2023. "At the end of the day, Imperial is making a major, major investment to make upgrades to their tailings processes and that's a good thing for Alberta," Sheremata said.

But Simon Dyer, oil sands program director at the Pembina Institute, says he doesn't believe that Imperial is doing everything possible to improve tailings ponds. Dyer says there are existing technologies that could be used by oil companies to reduce fine particles in tailings and speed up reclamation of tailings ponds. "The problem facing tailings is not a technological one, it's an economic one,"

According to Dyer, the obligation to control tailings pond operations ultimately lies with the provincial government. Dyer said. "Unfortunately, what we're finding is, you know, if those technologies are more expensive ... you're not going to see companies make the switch voluntarily." According to Dyer, the obligation to control tailings pond operations ultimately lies with the provincial government. "Clearly Alberta has the ability to regulate the industry much more effectively than they are currently and the ERCB has the ability to ensure that companies meet the objective," Dyer said. "The federal government is clearly responsible as well." MLA Brian Mason also looks to the proCONTINUED ON PAGE 7 >>

News Roundup samantha power // samantha@vueweekly.com

LONE GUN Canada's long-gun registry has been under a concerted attack for over a year by Conservative MP Candice Hoeppner. Hoeppner views the registry as an inefficient use of taxpayer money and registered bill C-391 in May of last year. Hoeppner almost won her battle to remove the registry this past spring after 12 NDP and 8 Liberal MPs helped to get the anti-registry bill past second reading. The bill will be read on September 21 after the Committee on Public Safety voted not to deal with the issue this past Spring. Taking the delay as an opportunity, the Canadian Labour Congress, Canadian women's organizations and health care workers are not letting up the fight to keep the registry. The Canadian Labour Congress recently released the 12 myths of the registry including its cost, usage and effectiveness.

One of the main contentions is the cost of the long-gun registry. Hoeppner quotes the registry as costing canadians over $1 billion, while the the Canadian Labour Congress has stated the long-gun registry portion of the gun registry is only costing canadians $4.1 million. The CLC also quotes Canadian Association of Chiefs of Police and the Canadian Association of Police Boards and high usage rates of the registry by police. The CACP states that the registry is accessed over 10 000 times per day. Canadian Public Health Association, the Canadian Association of Emergency Physicians, The Canadian Association for Adolescent Health and The Canadian Paediatric Society are all calling for opposition against the removal of the long-gun registry based on the presence of long guns in violent crime and suicide. Hoeppner has spent the summer touring constituencies across the country to further persuade NDP and Liberal members to support her bill.

HEALING WALK

An eight-mile walk passing around the Suncor and Syncrude tar sands operations outside Fort McMurray last weekend gathered local aboriginal groups and concerned citizens. The walk organized by the Keepers of the Athabasca was meant to call attention to the devastation in the area.

VUEWEEKLY // AUG 19 – AUG 25, 2010

FRONT // 5

COMMENT >> ALBERTA POLITICS

Issues

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

In bed with industry

The Alberta government keeps sticking up for the big guy ricardo acuna // ualberta.ca/parkland

How would you feel if you opened up your paper one morning to discover a full-page ad, paid for by your government, defending Walmart and its practice of sourcing cheap consumer goods from factories using near slave-labour conditions in Asia? "The benefits of Walmart's activities extend across Canada," the ad might say. It would probably also emphasize that "cheap consumer goods from Asia contribute to Canada's GDP, create jobs in retail, and provide a secure and affordable source of clothing and toys for all Canadians." Of course, the ad would also almost certainly take a direct shot at Walmart's detractors by saying something like "these human rights organizations are spreading misinformation and ignoring the facts. These Asian factories have made tremendous advances in technology and are using far fewer child workers per item produced than they did just five years ago."

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It seems ridiculous that a government would ever take out this kind of advertisement in favour of one of the world's most profitable corporations, doesn't it? It is even more ridiculous that a government would spend its own taxpayers' money to rationalize behaviour that most of those taxpayers would find appalling and unacceptable. Yet this is exactly what the government of Alberta is doing. Not with Walmart and child labour, of course, but with multinational oil companies and their environmental record in Alberta's north. In mid-July a US environmental organization, Corporate Ethics International, launched a multi-million dollar ad campaign called "Rethink Alberta." The campaign, which includes billboards and video, is designed to deter wouldbe tourists to Alberta based on the environmental damage that extraction of bituminous sands is causing in the province. A recent poll conducted in Canada, the US and Great Britain found that approximately half of people who would visit Alberta otherwise would

change their mind after viewing the Rethink Alberta video. The direct target of the campaign is the Alberta government, as tourists are asked to pledge not to visit the province until the government stops expansion of the tar sands, begins taking steps to transition toward clean renewable energy, and stops spending millions on PR campaigns designed to keep the US addicted to dirty oil. The Alberta government's response to the ad campaign, of course, was to immediately suggest that the ads were full of misinformation and to launch a PR campaign of its own. Interestingly, however, the government's own PR campaign did not focus on promoting tourism to Alberta, but rather set out to promote, yet again, Alberta's tar sands, their contribution to Canada and all of their environmental advancements. Earlier this month, the day before the start of the annual premier's conference in Winnipeg, a group of Greenpeace activists unfurled a banner which read "separate oil and state" off of the Calgary Tower. The main message that

Greenpeace wanted to get out with this action, according to Greenpeace spokespersons, was that the cozy relationship between government and big oil in Alberta is not good for the environment or the public interest. In response to the Greenpeace action, Premier Stelmach said "The benefits of Alberta's oilsands extend well beyond our provincial borders ... Alberta's oilsands contribute to Canada's [gross domestic product], create jobs in other provinces and provide a secure source of energy for North America." The next day the government of Alberta took out a half-page ad in the Winnipeg Free Press to repeat the same message on behalf of the oil companies and their developments in Alberta's north. Regardless of how you feel about the various campaigns targeting Alberta, or the development of the tar sands, one thing is for certain—a government has no business spending millions of public dollars to advertise on behalf of one of the most profitable corporate sectors in the world.

VUEWEEKLY // AUG 19 – AUG 25, 2010

By continuing to do so the Alberta government is only accomplishing two things; it is actually reinforcing the message that the relationship between the government and the industry is too cozy and, more importantly, it is making it clear to Albertans that their government has taken a side in the public debate between environmentalists and the oil industry. By extension, it's letting Albertans know that they can no longer trust their government to be an honest broker in these discussions, nor can they be trusted to provide us with impartial, unbiased information about what is actually happening in northern Alberta. It is truly sad that once again, when given the option, our government has chosen to act as a spin doctor and PR shill for the oil industry instead of an advocate and promoter of the public interest. Isn't it time Albertans demanded better? V Ricardo Acuna is the Executive Director for the Parkland Institute, a non-partisan public policy research institute housed at the University of Alberta.

ENVIRONMENTAL POLICY << CONTINUED FROM PAGE 5

vincial and federal governments to take responsibility for fine particle reduction and pond reclamation, and eventually to discontinue tailings pond use. "The province has an obligation to give leadership to the industry in eliminating the tailings ponds altogether and make them an obsolete part of oil sands technology,"

Mason said. Dyer noted that the oil companies themselves should take responsibility for their actions as well, and should be kept on a tight leash. "We need to actually hold companies accountable ... enforce existing rules that we currently have and not approve new projects until tailings reclamation can actually be demonstrated," he said. While Dyer contends that the approved

six-year delay in attaining reduction targets for the Kearl tailings pond sets a precedent for future projects, Sheremata disagrees, and claims that all projects are reviewed on an individual basis. Imperial is required to send an updated and improved tailings plan to the ERCB by January 2012, and conditions for approval of the pond require Imperial to submit the first annual tailings' fine particles balance in 2013. V

VUEWEEKLY // AUG 19 – AUG 25, 2010

FRONT // 7

COMMENT >> COPYRIGHT LAW

Costly copying

New bill attempts balance between user and creator The introduction of long-awaited copyright ing that would have opened the door to reform legislation has generated considercourts adding exceptions to the current able discussion among Canadians about fair dealing categories of research, private whether the latest bill strikes the study, news reporting, criticism, and right balance. While concern review. Instead, it identified some over Bill C-32's digital lock rules specific new exceptions that ashas garnered the lion's share sist creators (parody and satire), m of attention with expressions educators (education exception, o .c ly k e vuewe of concern from all opposieducation Internet exception) mgeist@ l e tion parties and a wide range of and consumers (time shifting, Micha stakeholders, the other major isformat shifting, backup copies). Geist sue in the bill is the extension of fair Some writers groups have reacted dealing—Canada's version of fair use—to angrily to the education exception, claimcover education, parody and satire. ing it will cost them millions in revenue and The government endeavoured to find arguing that it amounts to an "expropriation a compromise by rejecting both pleas for of property." Yet a new decision from the no changes to the fair dealing provision as Federal Court of Appeal provides powerful well as arguments for a flexible fair dealevidence that these fears are exaggerated

ZEIT

GEIST

with the new expanded fair dealing rules still striking a reasonable balance between creators and users. The decision marked the culmination of a six-year battle over the fees to be paid by schools across the country for copying to Access Copyright, a leading copyright collective. At the heart of the case was the question of how far fair dealing currently extends to the education environment. The ruling was a major win for Access Copyright, as the court dismissed objections from education groups on an earlier Copyright Board of Canada ruling that awarded the collective millions in additional compensation. The case is notable since it demonstrates

how critics of greater fair dealing flexibility have greatly exaggerated claims of potential harm. For example, former Professional Writers Association of Canada executive director John Degen warned that "the introduction of an overly broad exception to copyright for educational use would all but eliminate fair compensation for this established use." Access Copyright reacted to the court victory by stating it was "bittersweet" given the C-32 changes. While there is no doubt that extending fair dealing to education will bring more copying within the scope of fair dealing, this case reinforces the fact that fair dealing is a fair for all, not a free for all and that fears that extending fair dealing by introducing a broad education category will wipe out all

revenues bear little relation to reality. The case highlights that Canadian fair dealing analysis involves a two-part test. First, does the use (or dealing) qualify for one of the fair dealing exceptions. Second, if it does qualify, is the use itself fair? In this particular case, the court affirmed that the copying in question qualified under the first part of the test (ie. for research or private study), but that it did not meet the six-part test for fairness and thus was not fair dealing. It is critical to note that extension of fair dealing to education in Bill C-32 only affect the first part of the test. In other words, while the bill will extend the categories of what qualifies as fair dealing, it does not change the need for the use itself to be fair. The Supreme Court of Canada has identified six non-exhaustive factors to assist a court's fairness inquiry: the purpose of the dealing; the character of the dealing; the amount of the dealing; alternatives to the dealing; the nature of the work; and the effect of the dealing on the work. In fact, the court even addressed the potential impact of C-32, noting that the bill's fair dealing reform "serves only to create additional allowable purposes; it does not affect the fairness analysis. As the parties agree that the dealing in this case was for an allowable purpose, the proposed amendments to the Act do not affect the outcome of this case." The decision represents a big win for the copyright collectives, but it also demonstrates that their concerns about C-32's fair dealing reforms are overstated. The bill will open the door to other potential uses being treated as fair dealing, but the requirements for fairness remain unchanged. V 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@vueweekly.com or online at michaelgeist.ca.

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VUEWEEKLY // AUG 19 – AUG 25, 2010

COMMENT >> ISRAEL'S BLOCKADE

Blockade will end Israel's actions on the Mavi Marmara will end the blockade

They are all lying, of course. The prodent, Alvaro Uribe, as Vice Chair and Palestinian activists who said that the official representatives from both Israel flotilla of ships that tried to breach the and Turkey. Israeli blockade and bring aid to the Netanyahu reluctantly agreed to let Gaza Strip had purely humanitarIsraeli officials testify to the UN ian goals were lying, and so are inquiry–but then insisted that he the Israeli officials who blandhad a deal with Ban that none ly insist that the blockade of the Israeli commandos inis solely to stop offensive volved in the killing would be m .co weekly e weapons from reaching the called before the inquiry. Ban u v @ e gwynn e Hamas-ruled enclave. But said on August 9 that there n n y w G only the Israeli commandos was no such deal, and that's Dyer where matters rest today. But who seized the ships and killed nine people had guns. the sheer cheek of the Israeli prime The flotilla had a clear propaganda purminister is astounding: nobody is to be pose, seeking a confrontation that would allowed to question the men who actudraw attention to the Israeli blockade ally did the shooting? of the Gaza Strip and the plight of the Even in Israel's most devoted allies, the Palestinians. The blockade has the clear United States and the United Kingdom, political purpose of squeezing the milsoldiers sometimes do extremely brutal lion-and-a-half Palestinians in that openand stupid things. The US National Guard air prison and turning them against the killed four anti-Vietnam War protesters Hamas regime that currently rules them. at Kent State University in Ohio in 1970, Nobody wanted it to end in deaths—but for example, and the British army killed there were nine dead civilians and no 13 Catholic protesters on Bloody Sunday dead Israelis. in Northern Ireland in 1972. Testifying on August 9 to Israel's own Sometimes the soldiers just panic Commission of Inquiry into the events, and use far too much force. More ofIsraeli Prime Minister Binyamin Netanten they seize on the pretext of some yahu stuck to the script. The Israeli comminor violence by the “activists” to do mandos had displayed "exceptional bravwhat they really want to do, which is ery in carrying out their mission and in kill some of them. Then, at the inquiry, defending themselves from genuine and they lie about it—and the state, always lethal danger," he claimed. solicitous of military morale, pretends Elsewhere, Netanyahu has referred to to believe them. the dead activists alternately as “terrorSo we should not expect the UN inquiry ist fanatics” and “mercenaries,” although to work miracles. It took 40 years for most people would see these as mutualBritain to admit the truth about Bloody ly exclusive categories. Terrorist fanatics Sunday, and nobody was ever punished don’t usually expect to be paid, whereas for it. The truth about Ohio came out a mercenaries most definitely do—and lot faster, but nobody was punished for both terrorists and mercenaries generthat either. The one big difference here ally bring something a little more lethal is that whereas the US National Guard than sticks and iron bars to the party. killed American citizens, and the British But let it pass. army killed British citizens, the Israeli Netanyau is just employing the usual commandos killed Turkish citizens. tactic of blaming the victims for their That's why the UN got involved this own deaths, and that allegation will time. As to why Netanyahu won't let probably not be challenged by the Israeli any of the commandos be questioned, inquiry. What the world should be payit's the usual defensive reflex. He ing attention to is the United Nations would be better advised to let them be inquiry. Or rather, to the one that even exposed as undisciplined killers—the Israel cannot ignore. autopsies on the nine killed revealed thirty bullet wounds, a quarter of them There are actually two UN inquiries. in the back–than to let the blame fall The first was created by the UN Human on the Israeli state. Rights Commission, which the Israelis alHe probably imagines that by refusing ways depict as hopelessly biased. (Never Israeli participation in the inquiry, he is mind its members include Sir Desmond ruining its credibility. Not in this case, he de Silva from Britain, a former undersecisn't; the deaths speak for themselves. retary of the UN and war-crimes prosAnd just as Kent State destroyed US ecutor, and Karl Hudson-Phillips from popular support for the Vietnam War Trinidad and Tobago, a former judge at and Bloody Sunday killed the myth of the International Court of Justice. a benevolent British army protecting "We are not going to even grace (the Catholics from Protestants in Northern UNHRC inquiry) with an official stateIreland, the events on the Mavi Marmara ment," said an Israeli official. "They are will ultimately end the Israeli blockade totally irrelevant." But it is much harder of the Gaza Strip. V for Israel to ignore the Panel of Inquiry created last week by UN Secretary GenGwynne Dyer is a London-based journaleral Ban Ki-Moon, chaired by former ist whose articles are published in 45 New Zealand prime minister Jeffrey countries. His column appears each week Palmer, with Colombia's outgoing presiin Vue Weekly.

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CIVIL DISOBEDIENCE

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or participating in protests, using laptops, cell phones and other wireless devices. Kitchener-based community organizer Eric Lankin however, has been in custody for over six weeks. The courts have issued a publication ban against reports on the proceedings, and some have been warned that speaking to the media may constitute a violation of the bail conditions, which would leave the sureties financially liable. The sureties for Leah Henderson and Alex Hundert were contacted recently by the Ontario Provincial Police (OPP), who told them comments to the media made by Henderson and Hundert could be interpreted as a breach of their "no advising or planning political protest" condition, according to Hundert's brother Jonah. Such a breach would allow the police to put them back in jail. "It's absolutely absurd and the principle behind it is disgusting," he says, adding

that if there are concerns about breach of bail conditions the proper route is to contact legal representation. "[The OPP] are basically harassing my family, just as they try to intimidate all people who speak and stand for social justice." Many have been critical of the bail conditions, seeing them as particularly repressive. "The coercive bail conditions force those released into a false choice: to stop organizing or to face further repression," says SK Hussan, who, like Henderson and Hundert, has been accused of conspiracy, among other charges. "We are not simply choosing to fight for a better world; it is our responsibility to do so," he added. Ongoing arrests continue to evoke the spectre of the G20 mass detentions. No one knows when they will end, and Toronto police have not said they are through with arrests. In mid-July the Toronto Police Service (TPS) released a "most wanted" list of G20 protesters. Since then, the TPS have arrested several of those listed, most recently Ryan Rainville, an

indigenous solidarity activist, who was arrested in Waterloo, Ontario. "It's clear that the police will extend [the wave of arrests] as long as they can," says White. But he is optimistic that fighting in the courts could lead to a kind of victory for the defendants. "There are so many stories out there of people who had their rights trampled by the state who have had success in the courts. It's exciting to think about it proactively. It's one way of holding the state accountable." Hussan, for his part, is insistent that the focus not be on the ongoing legal battle he and others face, but on building towards a just world: "What's become increasingly important is not just how are we going to deal with state violence, but how are we going to create the autonomous, just, free communities we all want to live in?" V Tim McSorley is an editor with Dominion magazine, dominionpaper.ca an independent monthly publication created by a network of independent journalists across Canada.

BOB THE ANGRY FLOWER

VUEWEEKLY // AUG 19 – AUG 25, 2010

FRONT // 9

INSIDE // DISH

DISH

ONLINE AT VUEWEEKLY.COM >>DISH

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EVENT // EN SANTÉ SASKATOON STOMP

Local winery allows customers to experience winemaking firsthand MEL PRIESTLEY // MEL@VUEWEEKLY.COM

n Santé, an organic fruit winery located north of Two Hills (just under two hours' drive from Edmonton), held its first annual Saskatoon Stomp on the Sunday of the August long weekend. The event was organized by Xina and Tonia Chrapko, sisters who took over the neophyte winery founded by their father, Victor. Originally intended as a retirement project, their father's abrupt death two years ago forced the Chrapko sisters to make a decision

I didn't know Alberta had so many medieval societies until we started making mead! about whether or not to continue with the winery. Needless to say, they've embraced it wholeheartedly and are now on the forefront of a brand-new Alberta industry. "Dad spent so much time and energy getting this industry off the ground," explains Tonia. "It's kind of like pioneering." Indeed, the cottage wine industry is very new to the province—the law permitting its existence was only passed in 2005. Victor Chrapko was a key figure in bringing about this new legislation through his active work with MLA Ray Danyluk. Last year saw another law passed which allowed the sale of fruit wine at farmers' markets, a law that's been a huge boon to en Santé. "Being at farmers' markets has really made a difference in

10 // DISH

terms of educating people that there is a winery in Alberta," explains Xina. En Santé wines can now be found at markets ranging from Lethbridge to Grande Prairie. The Chrapko sisters held the stomp as a way of saying thanks to their customers. "We're just so appreciative of the support," states Xina. "They have embraced an organic winery in the province and appreciate the uniqueness of what we have to offer. We wanted to engage them and show them where the fruit is grown and where we process it into wine." Also part of the motivation behind the stomp was to provide some entertainment for the kids, other than watch their parents get buzzed. The choice of fruit was simple; not only do saskatoon berries look like grapes, they are also ripe at this time of year. "And it's the Ukrainian grape!" jokes Tonia. (The Chrapkos are descendants of Ukrainian immigrants.) The Stomp began with an orchard tour led by Xina, who makes the wine and manages the orchards. En Santé grows a wide variety of crops and they make wines from many of them: apples, saskatoons, raspberries, highbush cranberries and chokecherries, as well as rhubarb, honey (mead) and even alfalfa. The orchard tour ended with everyone spreading out along a line of Saskatoon bushes, picking cups of ripe berries to add to the stomping bins. From there, we filed into the brand-new winemaking facility, featuring five big fermenting tanks that just arrived in January. I tasted en Santé's wines a couple years ago, when the company was transition-

// Chelsea Boos

ing from small- to larger-scale production. They have improved immensely in such a short period of time: the wines are all very well-balanced, with fresh fruit flavours and great acidity—all the more impressive given that Xina has no formal training as a winemaker. "It was a matter of just needing to do it," she explains modestly. Most people assume that because the wines are made from fruit, they are sweet, but it's just the opposite. "They're very much table wine," notes Xina. This makes them enjoyable to wine drinkers who favour traditional grape-based wine, though the cheery fruit flavours also appeal to people who don't normally like wine. Xina also informed me that several medieval societies have purchased en Santé's mead. "I didn't know Alberta had so many medieval societies until we started making mead!"

After we had tasted our way through most of en Santé's wines, the group split into two, with one group heading out to the stomping grounds and the other staying in the winery for homemade pie and ice cream. I have to say, I wasn't quite sure what to expect in terms of the stomp, but I think the setup was pretty good: the stomper first washed their feet with soap in a tub of water, then stepped into a rinse tub, and from there jumped right into a large plastic bin filled with berries. After squishing them up for a couple minutes—or however long they could stand the weird sensation—the stomper stepped into another tub to wash off the purple juice and saskatoon skins. As you might expect, the stomping was enjoyed most by the younger crowd—though many adults participated in the stomp, it was the kids who

VUEWEEKLY // AUG 19 – AUG 25, 2010

were absolutely delighted. Several of them jumped out of the stomping bin and washed up, only to run back around for another turn. The juice from these stomped berries will be used to make wine, but it will be a separate batch from their regular saskatoon wine and it won't be released into liquor stores or farmer's markets—germaphobes need not worry about drinking wine that touched a bunch of bare feet. The stomped wine will be available for purchase from the winery only. It has been fantastic to witness the rise of an Albertan winery, and I will definitely be attending future saskatoon stomps. And although many people still do not know about the winery, I have great confidence that very soon "en Santé" will become a household name in local food and wine circles alike. V

VUEWEEKLY // AUG 19 – AUG 25, 2010

DISH // 11

BEER

Quality control

Classic pilsner, but far from the pinnacle WARSTEINER PREMIUM VERUM WARSTEINER BRAUEREI, WARSTEIN GERMANY $15.25 FOR A SIX PACK

beers that I generally overlook. I don't think poorly of it, but there usually is something else on offer that more easily attracts my attention. But I decided recently to make a point to consciously The Czechs (more accurately, the experience Warsteiner and spend Bohemians) invented pilsner, some time really tasting it. but it didn't take long for the It is a perfect medium straw Germans to grab hold of colour, brilliantly bright and the style and make it their ly.com clear with a bubbly white eweek own. Today there are two head. It is quite effervescent int@vu tothep distinct versions of authentic in the glass. The aroma is a Jasonr pilsners—Czech and German. textbook example of German Foste Both showcase a refreshing, pils—grassy hop and soft hay-like hoppy pale lager quality that is unmalt aromas. Its first impression upon matched by any other beer style. Howsipping is a soft, earthy sweetness which ever, German pils are drier, sharper and is followed by a sharp, grassy hop bittercrisper than Czech Pilsners. ness. It possesses a noticeable, dryingIn Canada we can experience hop linger. Czech pilsners through PilI also pick up some sner-Urquell, Czechvar and astringency and a mePaddock Wood Czech Mate, tallic end note that among others. German pils really shouldn't be are rarer. Most of the claspresent. My gut tells sic versions of the style me these might be are not available here. due to the use of One mass-produced newer, higher extract version sold here (and cheaper) hop is Warsteiner. varieties rather than You have likely traditional noble heard of it. hops, but I have no It is not inevidence for this frequently theory. named as It is not an unan example pleasant beer, but of the GerI find it lighter and man pils style. less crisp than I Certain pubs enwould hope for in joy serving it in a German pils. It one litre steins. makes me wonder It is Germany's if 50 years ago Warsteiner might largest indehave been a bang-on version of the style, pendently owned but it has been downgraded in recent brewery, and it has been making beer years to appeal to a mass market. In all, since 1753, which anyone would have to it seems somewhat overrated and exagadmit is impressive. gerated in its claims to be a natural deAs it works out it is one of those scendent of this noble style. V

TO TH

PINT

12 // DISH

VUEWEEKLY // AUG 19 – AUG 25, 2010

July 7, 2010 Vue

PODCAST >> FRINGE FOOD

Fringe food // Eden Munro

open seven evenings a week 780.482.7178 10643 123 street thebluepear.com

Theatre is only half of what the Fringe is all about—less, if you go by ticket sales versus the actual number of bodies passing through the festival grounds. Besides the thousand-plus performances happening all around Old Strathcona (and beyond), Edmontonians are simply attracted to the festival atmosphere that engulfs Old Strathcona mid-Fringe Fest: the blocked-off roads, the merri-

ment of street performers and, perhaps most importantly of all, the delicious foods of questionable health merit. They might not be good for you, per se, but the sugary scent of freshly made churros or the gentle crinkling of a taco in a bag can be more than enough to persuade even the most diligently health-conscious eater to throw caution to the wind for a day and indulge.

It's in that spirit of messy, delicious recklessness that we took to the Fringe grounds last weekend armed only with appetite and a mission to sample and prioritize the foods this Fringe had to offer. We tasted the sugary rainbow; we rode the greasiest lightning; and we left our recorder running the whole time. —PAUL BLINOV

GO TO VUEWEEKLY.COM to hear Vue's podcast on arts editor Paul Blinov's adventure through the Fringe's food offerings.

VUEWEEKLY // AUG 19 – AUG 25, 2010

DISH // 13

INSIDE // ARTS

ARTS

Online at vueweekly.com >>ARTS

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

Timeland

REVUE // 2010 EDMONTON FRINGE

Best of the fest

instant, and bringing personality to plants, crustaceans and inanimate objects. When Sandra moves to London to be with Pete, she finds herself placed on the back-burner with a ticking biological clock. The surrounding characters, into which Wilcox transitions flawlessly, create a whirlwind of daydreams and flashbacks for the lead. The scene changes are quick and believable, and while the script is highly amusing Wilcox deals with heavy, realistic topics— shadows in our everyday lives that, when faced, force us to make a change. Presented with child-like imagination through eccentric body language and a versatile tongue, Wilcox shows her audience how to believe in growth and new beginnings. If you see one play at this year's Fringe, Shadows in Bloom should be it.CG

Presenting this year's five-star Fringe shows

ver the course of five days, Vue's intrepid team of theatre reviewers put any plans for sleep on hold to take in all 168 ticketed shows happening at the 2010 Edmonton Fringe Festival. Now that we've seen 'em all, we present to you our favourites—a list of every fivestar review we gave out this festival (If you're interested, our complete list of reviews is online at edmontonfringe.ca). Of course, reviews should be taken as a starting point for discussing art and not the final say, but each of these should be considered a safe bet for stellar works worth talking about—if you can still find tickets, that is. Also, a much-deserved shout out goes to the Next Act Pub, who let us set up our tiny review-writing factory in a booth all weekend, kept us caffeinated and didn't fear when we'd dash off to see a show. (We'd always return to settle up, of course. But having their trust to do that was nice.) Reviews by Mike Angus (MA) Bryan Birtles (BB), Paul Blinov (PB), Robin Collum (RC), Caroline Gault (CG), Kristina De Guzman (KDG), Angela Johnston (AJ), Maria Kotovych (MK), Fawnda Mithrush (FM), Mel Priestley (MP), Ramin Ostad (RO). BASH'd Venue 3: Walterdale Playhouse That playwrights/actors/white guys Chris Craddock and Nathan Cuckow can rap flawlessly for a solid hour in Bash'd is impressive; that they reappropriate rap's oft-homophobic content to tell a tragic tale of two Romeos is unparalleled and unique (though they maintain the form's vulgar use of language, to hilarious avail); that the show's humour and strong political message empower each other to give you honest food for thought with a belly full of laughs is nothing short of astounding. The pace never drops; Bash'd has all the energy of a rock show and it stays the whole time. Unmissable. PB Hoboheme Venue 5: King Edward School The tale of a hobo love quadrangle set in the age of Bennett blankets, Hoboheme follows a group of hobos as they attempt to make their merry way to Toronto to protest the government's treatment of the unemployed during the Dirty '30s. The show utilizes a strong ensemble cast to marry witty writing to inspired music; if you could imagine a medicine show put on by the friendly, pun-filled hobos of cartoons, Hoboheme would be the hilarious product of your

14 // ARTS

FIVE STARS >> For Raunch and more

// Supplied

imaginings. A cavalcade of twisted hobo pronunciations, dick jokes and faux beards, Hoboheme is well worth your time. BB Japanglish Venue 7: Yardbird Suite A one-woman play about growing up in Canada as the daughter of Japanese parents, Japanglish is a wonderful memoir of a family found in translation. Yumi Ogawa moves effortlessly between portrayals of her teenage self, her handwringing mother and her stoic father, elegantly revealing the layers and complexities of immigrant realities and the heartwarming mundanities of family life. Ogawa's characters stay with you long after the play ends, displaying her fine skill in finding the balance between adult reflections on childhood and laugh-out-loud irreverence. The result is a subtle masterpiece that flourishes as it draws the audience in. By the play's end, Ogawa acknowledges the audience, her eyes sincerely rimmed with tears. Every audience will be challenged not to respond in kind. MA Like Father, Like Son? Sorry. Venue 2: Fringe Cabaret Lounge Not many actors can engage in a meandering, loosely-scripted performance and have it go smashingly well, but Fringe veteran Chris Gibbs does just that. Delving into a tangential collection of personal stories and anecdotes loosely centered around the topic of fatherhood, Gibbs manages to string together a cohesive narrative that is self-deprecatingly cheeky but also hon-

est and fresh—not an easy feat given that the subject at hand isn't exactly new to the stage. Gibbs' showmanship is always entertaining and this year's performance does not disappoint. Equally impressive is the show's broad appeal: parents (especially new ones) will enjoy it for an empathetic voice, while others will appreciate the perspective it provides on one's own childhood experiences. MP Raunch: The Rise of Female Chauvinist Pigs! Venue 9: TELUS Building It's certainly not the easiest thing to wring laughs out of the curriculum of a Women's Studies degree, but Raunch does it—amazingly. Focusing its lampoon on the post-feminist argument that raunch culture—as defined by author and the play's inspiration Ariel Levy—is somehow empowering, or a new wave in the feminist movement, Raunch breaks down the insidious effects that reality television, fitness stripping classes, Facebook, pop music and Girls Gone Wild are having on contemporary women and girls. Culminating in the most uncomfortable 20 seconds of YouTube clip you may ever see, Raunch proves that theatre still has the power to be progressive, edgy and change minds without being pedantic. BB Shadows in Bloom Venue 6: Catalyst Theatre In a one-woman show, actor and writer Gemma Wilcox proves she's a chameleon to the core, swapping varied English accents for American drawls in an

Shimmer Venue 32: Edmonton Public Library (Strathcona branch) Playwright John O'Keefe spins the fascinating, gut-wrenching tale about a 15-year-old boy and his (mis)adventures while trapped at a youth group home in Saskatchewan. Though the premise may invoke rather typically frustrating circumstances, O'Keefe's story plays out in countless surprising and beautiful ways. Michael Peng takes on the storyteller's role as John, unraveling his memory of characters from the home, like his awkward pal Gary, and numerous others therein. Peng's performance is magnificent and light—graceful and detailed, never rushed or heavy-handed. Each breath and movement evokes notions of a teenage kid in early '50s farmland Saskatchewan, from the smell of freshly cut grass to the visceral danger of skin exposed to barbed wire. This is a story of how one learns about real love, impossible courage, and unknown strength— seamless in its transitions, and expertly overseen by Chris Bullough in his directorial debut. FM Songs for Caligari Venue 14: New City Suburbs If you've never seen The Cabinet of Dr Caligari—and really, even if you have—it is worth attending Songs for Caligari for the film alone. However, Dave Clarke's wonderfully eerie soundscape adds so much more to the original 1920 silent film— purists of silent film may disagree and find it a travesty to add sound, but in this case Songs both informs and expands upon the film. A trio of vocalists provide haunting overtones to a soundtrack that's perfectly synced to the screen; Clarke also masterfully plays a theremin, the world's first electronic instrument and one that happened to be patented the very same month that Cabinet was released—maybe this was a coincidence, but the two seem made for each other. Take a break from

VUEWEEKLY // AUG 19 – AUG 25, 2010

the Fringe grounds and head downtown for this gem. MP Spiral Dive, Part 3 Venue 15: La Cité Francophone The raw emotion and message shine through in the final episode of Spiral Dive—a war/love story told over the course of a trilogy of plays that began in 2009—even if you haven't seen the previous two episodes. Reading the synopsis of all the parts in this story and then simply watching and listening should be enough, attesting to Kenneth Brown's ability as a writer and director. Set in France during the Second World War, the theme revolves around loss. The talented cast shifts effortlessly between several personas each, so that each of the characters has a distinct personality that the audience can learn to care about. Blake Turner is the exception as he only plays pilot Jack Harding, but he is just as captivating as the rest; his performance as Spiral Dive comes to a conclusion is incredibly heartfelt. KDG The Sandkeeper Canto Venue 21: Fine Arts Building, Media Room, University of Alberta The Sandkeeper Canto is among the most thought-provoking shows that I've ever seen at the Fringe. A one-man performance, it relates a young man's quest to find the woman he loves. The strong performance weaves Greek mythology, humour and a non-linear narrative structure together to explore the meaning of time, mind and memory. Memory and storytelling are inseparable—without the former, he loses his identity; without the latter, he can't form relationships. This play will leave you thinking, but not at the expense of entertainment, either—plenty of comic relief punctuates the serious themes, allowing viewers to take a journey through many of their emotions, too. MK The Supervillain Monologues Venue 4: Academy at King Edward For anyone who is a fan of caped crusaders and masked meanies, a title like The Supervillain Monologues spells the potential for something great. Thankfully, this play does not disappoint, full of references, genre jabs and jokes that can split every side in the audience. Atlanta-based puppeteers and actors Lucky Yates and Christian Danley use puppets, wigs and unspeakable-yet-hilarious acts to rain funny down on their audience. Whether it's an honest chat about boobies, bashing Stephen Harper or debating the inherent insecurities of supervillains, Monologues is by far one of this year's best plays. RO This is Cancer Venue 10: Acacia Hall Cancer is usually no laughing matter,

but when its embodiment is a charismatic man with a sexy accent and a disturbing gold lamé suit, it's pretty funny. In this show, cancer wears a red bowtie and puts on a song and dance for your entertainment. Lines like, "Without you I'm nothing," and, "The chemotherapy and radiation's not just playing hard to get?" add humour to a tough subject that touches everyone. The show isn't all laughs; there's some serious stuff here, as is only appropriate. Warning: audience participation is included, and cancer drops a healthy dose of f-bombs. AJ Tick Venue 11: Strathcona Community League "Kids are the most oppressed people on the planet," or so says Tick, the 10-yearold revolutionary at the heart of this show. When her mother's boyfriend begins a campaign for a youth curfew in town, Tick springs into action with her three best friends (and imaginary versions of Louis Riel and Che Guevara) to bring it down. But faced with obstacles from grounding to turf wars with the kids from the wrong side of the tracks to a total eclipse of the sun, Tick's plans soon go awry. Tick is aimed at an older youth audience who will love Tick and her friends and their quest for kids' rights. But to call Tick simply a kids' show is unfair: it's an uproariously funny, literate and touching story that shouldn't be missed just because it's on the Family stage. RC Wanted, If Not Wed Venue 10: Acacia Hall It's hard to believe just one woman carries off Wanted, If Not Wed. The lovely Jennifer Gillespie's play is a meditation on what it means to be a single woman today. She compiled the play using interviews with single women anywhere from six years old to 87 years old, from any ethnicity and lifestyle. Lights and music are used effectively, and issues such as aging, confidence, cats and freezing one's ova are discussed. Gillespie takes the interview material and performs it verbatim with such talent that it feels as if the audience is watching 20 different women perform. AJ Witness to a Conga Venue 31: Varscona Theatre Stewart Lemoine's celebrated return to the Fringe a few years ago has changed the calibre of what one can expect on the grounds. With Teatro la Quindicina's shows you not only get decent production value and bigger than twohander shows, but you also get the guilty pleasure of writing that's poignant, touching, ironic and hilarious all at once—the stuff that enjoyable, smart theatre is made of. Martin (Andrew MacDonald-Smith) and Laura (Briana Buckmaster) start debating whether or not to include a conga in their wedding reception music, and the conversation launches Martin into an orchestrally scored trip down memory lane. Stellar performances throughout, but extra applause goes to Jeff Haslam as Martin's unavailable, but eventually lovable father. MacDonald-Smith is equally grand as the frustrated young groom, while Leona Brausen and Sheri Sommerville round out the family as his contrasting mother figures. Get tickets now—if there's any left. FM

VUEWEEKLY // AUG 19 – AUG 25, 2010

ARTS // 15

COMMENT >> ART

REVUE // TIMELAND

Peering beyond stereotype Alberta's gems are hidden in Timeland

Local dance collective looks to win over the theatre crowd

Adam Waldron-BLain // adamwb@vueweekly.com

n the panel discussion for Timeland, one of the few things said about the actual show was Richard Rhodes' assertion that he had avoided art that looked like it was trying to be elsewhere, to be a part of an international commercial esthetic, in favour of finding work that was quietly doing it differently in Alberta. The show is rather more complicated than that. The first room of the show is packed with flashy colourful fragmentation with just such a look of elsewhere success. Jason de Haan's "Salt Beard" provides something to put on the poster. Chris Millar and John Will compete for most crazy combination of bright things put together in a slightly haphazard but probably very considered way (if you only stopped to look at it long enough). Scott Rogers provides some audienceimplicating conceptualism. All of these are, like two-thirds of the show, imported from Calgary and mostly men, and they seem like a perfect realization of a basically uninformed Edmontonian's stereotype of what art down there is like, fed by insecurities about our northern isolation and the way that big Torontonians like Richard Rhodes don't really know about us. Only the Cedar Tavern Singers' wall comes from elsewhere. I'm being a jerk now, and Millar deserves some excitement, but I am terrified that most visitors to the AGA this summer have only had their ideas about contemporary art confirmed, their experience wrapped up in the press-release hype of the building and the sponsors. People who miss out on the real strengths of the show, which Rhodes has tucked away, hoping someone will pay close attention. People like the couple who peeked

16 // ARTS

Fringes of the fringe As the only dance show in last year's She continues, "We really wanted to Fringe as a BYOV entry, Afternoon Delight break into the theatre scene because that had the Edmonton-based Good Women community is much bigger than the dance Dance Collective putting its neck out community here. I think that in Edmonton there in performing to a largely narrativewhere we have pockets of small arts comcentric audience. As a simple movemunities, we should integrate and supment piece with no dialogue and port each other. I would love to see elements of slapstick physiaudiences challenge themselves cal comedy, the show got a by having a new experience." mixed bag of reviews from m audiences who found it enRecognizing that theatre in ekly.co vuewe amy@ tirely refreshing to feedback Edmonton is more traditional that bordered on the enraged and linear, Hillyard believes Amy and the confused. With perhaps Fung that contemporary dance—while the only common denominator of being more abstract—is not that a stage, contemporary dance and fringe far of a stretch for audiences who already theatre have little else in common, but enjoy the aspect of live performance. the risk seems to be paying off as GWDC The interesting thing to me is that the returns to the Fringe proper this year Fringe has been an enormous influence with This Is Not A Play, a three-part dance over the years in shaping the direction kebab interspliced with short film works and expectation of theatre and live art at the Catalyst Theatre. for audiences and emerging artists alike. Catching up with Ainsley Hillyard, oneProportionately as the most popular third of GWDC, she notes that the title framework for most folks to go and is a direct response to last year's expericatch a live show, often serving as the ence of being the only dance show in a first (and last) time many Edmontonians theatre festival. She says over coffee, "I will even see live theatre, and existing as remember when we were postering for a professional goal and model for local the show, everyone would ask, 'What's emerging artists, the idea and reality of your play about?' and we would explain the Fringe Festival has at once made live that we're doing a dance show, and they art to be something entirely accessible, would pause, and ask again, "So what's but at the cost of often expecting only your play about?'" So we decided to just small shows with low production values, make it more clear this time around." perpetuating a trap of sorts that has not With three short pieces each chorenecessarily allowed much evolution in graphed by a member of the collective the artistic format. With the entry of lo(Hillyard, Alida Nyquist-Schultz, and cal dance into the Fringe, it's perhaps a Alison Towne), there are no throughlines small sign that discipline crossovers can from one piece to the next, with very difsucceed here on a mass level, and that ferent styles ranging in inspiration from the fringe of the Fringe Festivals such as Jimi Hendrix to braille to the ups and the smaller movement arts and perfordowns of social transformations. mance art festivals can also grow withAs a collective that started in 2007 as out segregation. a means to band together to create, proAlready this year GWDC are no longer duce, present and perform dance within the sole dance artists in the lineup with Edmonton, GWDC began with the hope local Kelsey Acton getting in on the that it was possible to work as professionFringe action. As Hillyard conclues, "I see al dancers in Edmonton when opportuniFringe as a big party and the dance kids ties appeared few and far between. While got invited." And here's hoping the party Hillyard was not part of the original colstarts to liven up. V lective, joining after completing her Bachelors of Arts in Dance at the University of This Is Not A Play Winnipeg, she has pushed the group forGood Women Dance Collective ward over the past year and a half with Catalyst Theatre, 8529 - 103 street more showcases and presence, stressing www.fringetheatreadventures.ca the importance to see and support more www.goodwomen.ca dance, but also to talk and educate the community and audiences.

IE PRASITRERS

ART

PRAIRIE ART >> "Communication Breakdown," oil on canvas into Wednesday Lupypciw's "Tranzar É Pras Amantes: Sex is for Lovers" and without even noticing the carefully constructed amateur special effects and the terrifying awkwardness that makes it compelling, decided it was pornography and that one of them didn't even want to look a little bit despite having paid admission to the gallery. Like Lupypciw's work, there are little places around the corners and through doorways in the smaller rooms of the show that make it worthwhile. Seek out Clint Wilson's homemade solar eclipse. Turn left from the first room, and brave past a Robert Geyer to see a whole set of David Cantines sitting on a shelf—but by the time you get there you've already walked right past Kris Lindskoog's amazing middle finger to the inattentive, a small circle of painty bottles of water on a low pedestal with a tiny, scratchy background soundtrack which most gallery visitors—especially the frantic masses of new members on opening night—never notice. That's

// Paul Bernhardt

Alberta art. You'll find gold in the big works too, among Walter May's monuments and unfortunate decisions made by Kristin Ivey and Chris Willard. This is Alberta too: Rita McKeough, Paul Bernhardt and Ron Moppett take up the drive for bigness and the province's strange architectures in crowd-pleasing and funny work. Back in the first room, despite the press, the real action is in two places: The Cedar Tavern Singers' sharp but underproduced songs grounded in a bogus conviction that they aren't actually musicians, and John Will's huge, ridiculous wall of ugly hyper-masculine paint reaching beyond the province while stuck in its insidery local jokes and paired, self-consciously, with a poster of "NOTHING." V Until Sun, Aug 29 Timeland The Art Gallery of Alberta (2 Sir Winston Churchill Square)

VUEWEEKLY // AUG 19 – AUG 25, 2010

ARTS // 17

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

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18 // ARTS

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VUEWEEKLY // AUG 19 – AUG 25, 2010

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INSIDE // FILM

FILM

The Switch

DVD Detective

Hugh Hefner:

playboy, activist, rebel

Online at vueweekly.com >> FILM • Sidevue The Nanny Estate: do movies idealize our memories of rural England? • Online-only review Vue reviews Get Low: three stars

REVUE // SCOTT PILGRIM VS THE WORLD

REVUE // THE HUMAN CENTIPEDE

Pilgrim's progress

Two girls, one butt

The Human Centipede shocks without reason

Scott Pilgrim vs The World is sharply realized

SHOCK >> is what the The Human Centipede is all about David Berry // david@vueweekly.com

LEVEL-UP >> Scott Pilgrim does battle with an evil ex DAvid Berry // david@vueweekly.com

t's not the seven evil exes of dream girl Ramona Flowers (Mary Elizabeth Winstead) that constitute the world Scott Pilgrim (Michael Cera) is up against so much as, you know, the world: he's a mildly driftless 20something—hipster, slacker, whatever you want to call it—beset on all sides by, if not the slings and arrows of outrageous fortune, at least the pin pricks and itchy unwashed band shirts. His band, Sex Bob-omb, kinda sucks, it's been 431 days since he had his heart broken, no one approves of his new high school girlfriend and he shares a dank bachelor apartment with his gay roommate, whose sex life is putting Scott's to shame, even as they share the same bed. No wonder, then, he exists in a kind of pop culture mash, video games and sitcom laugh tracks and comic book effects all far more enticing than anything real. That is, until he meets Ramona— whereupon his solipsistic fantasies are exploded into epic proportions, as he has to battle just to keep dating her. She's protected by a league of evil ex-

// Supplied

es—everything from a skateboarding action star to a brief lesbian fling to a smarmy indie record producer—and Scott has to use everything from sarcasm to a giant, animated Sasquatch thing powered by his band's music to earn the chance to make out with Ramona unimpeded. For all the fantasy elements, though, it's the world that Bryan Lee O'Malley created, and which is perfectly interpreted by Edgar Wright, that really makes Scott Pilgrim vs The World so spectacular. It's a pretty sharply realized place, the minor characters of this aimless life sharpened into comic caricature and the struggles in love made into boss battles. It's the kind of place where the untouchable cool of being vegan also comes with super powers, and the sharp tongue of a record store clerk needs to get bleeped out, the little details recognized and then pushed to their logical extreme. This is perfect territory for Wright, recalling not only the slacker fabulism of Spaced and Hot Fuzz, but also the life lessons in extreme situations of Shaun of the Dead. Because for all the fun pop cultural touches—and Wright uses the comic book construc-

tion to maximum comic and rhythmic effect—Scott Pilgrim is also very basically about growing out of extended adolesence. Where that could feel like a trite or sentimental subtext to all the comic book action, though, Wright keeps the deft blend that O'Malley perfected, and helps it heighten all that fuzzy love and harsh realities of adulthood stuff. The end mix is something that's perpetually hilarious—the lovestruck sadness of the high school girlfriend who gets dumped and the unrepentant horniness of Scott's roommate are particularly good, but really the whole hipster caricature thing is just a fantastic mix of homage and puncturing—but also good advice that never actually feels like it. If everyone's fantasy could be as tethered to inevitable reality as Scott Pilgrim's, we'd all be better for it. V Now Playing Scott Pilgrim vs The World Directed by Edgar Wright Written by Wright, Michael Bacall Starring Michael Cera, Mary Elizabeth Winstead

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hough it's a film that does depict the attachment of three people, mouth to anus, in some degree of gory detail, the disturbing thing about The Human Centipede (First Sequence) is actually its nihilism: there just really doesn't seem to be a point to any of this. I mean, besides the fact writer/director Tom Six thought up this coprophiliac fantasy and wanted to create it cinematically. In that regard, Six has an on-screen analogue in mad German doctor Hieter (Dieter Laser, who looks every bit the part of a deranged psychopath): his motivations for putting together this bizarre pet are non-existent, too. True, it's revealed he's a surgeon skilled in the art of separating conjoined twins who has wondered about reversing the procedure, and we see an entirely hilarious picture of his previous effort, the three-dog, but those aren't actually motivations, just opportunity and proof of his insanity. I guess "because it's there" worked for George Mallory, but the complete sociopathy necessary for Hieter's own particular Everest is never even hinted at. And that's what makes The Human Centipede disturbing, although not in a way that's actually familiar, even to horror fans. Unlike the torture porn subgenre, it's not really trying to shock you physically: there are a few stomachturning scenes, obviously, but the film

VUEWEEKLY // AUG 19 – AUG 25, 2010

// Supplied

is surprisingly demure when it comes to showing us stuff (though it does include some helpful diagrams). Unlike, say, Two Girls One Cup, there isn't even the element of twisted sexuality (although something could probably be said about Six's decision to put the two women on the back end). It is just existentially disconcerting, offering no internal or external reasoning for why something this disgusting should be. That's especially driven home by the fact that, as a thriller (or horror or whatever), it's not especially good: its set-up is convoluted and relies on its victims being complete idiots, it's not very good at conjuring up mood or tense situations, and once the centipede is actually made, there really isn't anywhere else to go. So, again: why? I'm not someone who is easily, or even really ever, offended—I mostly find things whose purpose is to shock just kind of trite—but The Human Centipede managed to do it, precisely because it doesn't even necessarily seem like it cares about shocking you. It just is, and it happens, and the lack of any particularly discernible reason turns out to be one of the few methods left to actually stir those kinds of feelings. V Thu, Aug 19 (7 pm) The Human Centipede (First Sequence) Written & directed by Tom Six Showing as part of DedFest dedfest.com for full details

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20 // FILM

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presents

g e c e

e d a d

t u t .

E D U C AT I O N //2010 ABORIGINAL COMMUNITIES /23

EDUCATION ROUNDUP /24 VUEWEEKLY // AUG 19 – AUG 25, 2010

SEX EDUCATION /30 EDUCATION // 21

22 // EDUCATION

VUEWEEKLY // AUG 19 – AUG 25, 2010

EDUCATION // ABORIGINAL COMMUNITIES

Two ways of knowing

Encouraging aboriginal learners requires new ways in old systems MIMI WILLIAMS // MIMI@VUEWEEKLY.COM

ssembly of First Nations National Chief Shawn Atleo didn't mince words. "When we open a door to a school, we close a door to a jail cell," he told the provincial and territorial premiers at the Council of the Federation meeting in Winnipeg earlier this month. Atleo implored the leaders deal with what the AFN had been, for years, describing as a national crisis: the education of aboriginal youth. For decades, there has been a persistent gap between the proportion of aboriginals (which includes First Nations, Métis and Inuit peoples) who attain a high school diploma and nonaboriginal Canadians. The 2006 census reported that 44 percent of aboriginal people in Alberta over the age of 15 had not completed high school, compared to 22 per cent of the general population. In Edmonton, the drop-out rate has been reported as high as 75 percent, with school board officials reluctant to provide current figures. The numbers have attracted international attention. A 2008 study by the Organization for Economic Cooperation and Development (OECD) painted a bleak picture. "The situation in Canada with the transition from school to work works rather well, but there is a group of disadvantaged youth, either from deprived social backgrounds or aboriginal backgrounds that underperform, and underperform quite badly," said the report's author, Martine Durand, deputy director of the OECD Directorate for Employment, Labour and Social Affairs. With the second-largest urban aboriginal population in Canada, and aboriginal youth the fastest growing demographic in the country, Edmonton school boards have been at the forefront in making efforts to improve the situation. To do so, both boards had to come to an understanding about the aboriginal way of knowing, learning and doing. Despite their diverse cultures, histories and geographies, First Nations, Inuit and Métis people share a holistic vision of learning as a lifelong process imbued with their cultural traditions and values. For example, the Métis see learning as part of the "Sacred Act of Living a Good Life." This perspective views learning as something that happens in the physical world and is acquired by doing. They recognize a distinct form of knowledge: sacred laws that govern relationships within the community and the world at large passed on from the Creator. For First Nations and Inuit people, the purpose of learning is similar: to honour and protect the earth and ensure the long-term sustainability of life. Aboriginal learning encompasses much more than what happens inside the classroom; it stretches over an individual's entire life and includes not just facts, but also values and cultural tradi-

// Chelsea Boos

tions learned from family, community, ceremonies, and the land. This is not a rejection of Western education. To the contrary, First Nations, Inuit and Métis peoples recognize that adopting "two ways of knowing" will nurture healthy, educated individuals who will contribute to building healthy, sustainable communities. Amiskwaciy Academy serves as an excellent example of what happens when "two ways of knowing" are embraced. Amiskwaciy (pronounced a-misk-wachee) will celebrate its 10-year anniversary next month. The high school follows provincial curriculum, with options that emphasize aboriginal culture and traditions. Each day begins with a smudge and a prayer. The school year is divided into four terms, based on the seasons, which follows the aboriginal tradition that certain things are best learned at certain times of the year. Elders provide guidance through storytelling, sweat lodges, ghost dances and other ceremonies. While the school is open to everyone, regardless of cultural or ethnic background, about 98 percent of the students attending self-identify as aboriginal.

Nicole Willier, now 23, graduated from Amiskwaciy in 2004. The youngest of four daughters in a family strongly committed to its Cree heritage, she said the school made all the difference. "It played a big part. I was one of very few people in my circle of (aboriginal) friends that did." She noted that of her three older sisters, two of them didn't graduate but might have if Amiskwaciy had been available to them. A number of aboriginal youth were not willing to be identified for this story but in speaking with them, their reasons for leaving school early are compelling. Of the six young people I talked to, two identified racism and being made to feel inferior as the main reason they left school. Half pointed to few aboriginal teachers as role models and a lack of cultural programming. All mentioned social, economic and family struggles; three spent most of their lives in foster care. It only illustrates education cannot exist without support outside the classroom. Aboriginal students are still not attaining the same outcomes as other Canadians, a situation that can be addressed with adequate resources and political

will. Ben Levin, the Canada Research Chair in Education and Leadership and Policy at the Ontario Institute for the Study of Education, University of Toronto, says it's primarily a matter of high-quality teaching, improved awareness, respect for aboriginal history and culture and strong outreach to parents. Because so many aboriginal families are poor, he notes, aboriginal students benefit from the same kinds of support services as other poor families, such as nutrition programs. He notes that when there are more aboriginal teachers and administrators in place and more aboriginal resources and materials are used, improvements are realized. Others steer us in the direction of evaluating our measurements and definitions of success. Last December, the Canadian Council on Learning released The State of Aboriginal Learning in Canada: A Holistic Approach to Measuring Success. The report, challenging years of negative stereotypes and bad-news stories, found that First Nations, Inuit and Métis learners display higher rates of volunteerism, informal learning (through sports, arts and music), and involvement with family and community

VUEWEEKLY // AUG 19 – AUG 25, 2010

than non-aboriginal Canadians. The report also shows that many aboriginals return to school later in life and when they do, they are on equal footing with non-aboriginal people when it comes to attainment rates in colleges and trade schools. The chronic underfunding of aboriginal education was brought forward at the Council of the Federation this time last year, and was put as the number one priority from the AFN this year. And with a proposal for a recommitment to a 1972 policy paper, "Indian Control of Indian Education," the AFN is attempting to remind the federal government of its treaty and international commitments to deliver aboriginal-initiated and centred education. But as there has been little improvement in this recognition since 1972, it will take a strong statement and commitment of funding from the federal government for any of these statistics to improve. Says Chief Atleo, "There is much we can do with the provincial and territorial leaders but we can do even more if there is full engagement by all levels of government. Our historic treaty partner, the federal government, must be involved in this work." V

EDUCATION // 23

Functional literacy: n the ability to understand and employ printed information in daily activities at home, at work, and in the community to achieve one's goals and to develop one's knowledge and potential.

education // Roundup samantha power // samantha@vueweekly.com

MÉTIS NATION CALLS FOR EDUCATION FUNDING The Métis First Nation joined with the Assembly of First Nations and Inuit leaders in calling for a First Ministers' meeting on aboriginal education. At the August 2 meeting of aboriginal leaders with the federal government previous to the Council of the Federation earlier this month, aboriginal leaders joined together to support the work of the Aboriginal Affairs Working Group. The Group has been working on specific economic outcomes to improve the living conditions of aboriginal groups across Canada. President Chartier of the Métis Nation is hopeful practical steps between the federal, provincial and aboriginal governments can create progress on education. "We need to apply the same pragmatic, focused, results-oriented approach to education," said President Chartier. "A Métis Nation forum on education and training would showcase and build on the successful track record of Métis institutions already playing a significant role in human resources development. According to the 2006 census, Métis populations achieved a university degree at higher levels than aboriginal populations at nine percent, but that remains only a fraction of the rate at which non-aboriginal populations achieve university degrees, 25 percent. For Inuit leader Mary Simon a cross-province approach to aboriginal education that could be achieved through a First Ministers' Meeting would be beneficial to impelmenting an education policy. "For Inuit, closing the graduation gap can only come about through fundamentally reshaping our education systems," said Simon. "Our education systems are spread across two provinces and two territories, so collaboration between provincial and territorial and premiers, as well as the federal government, is crucial."

DOESN'T PAY TO BE A GIRL Although female university professors have made gains in income over the past seven years, the Canadian Association of University Teachers reveals that female professors are still making 11 percent less than their male counterparts. The

Female earnings

2007: 89.3% 2000: 86.7%

greatest gains were made in Engineering, humanities and mathematics. STUDENTS CONTRIBUTE MORE TO EDUCATION University funding by tuition compared with government contributions:

1978: government funding = 84% student contributions = 12% 2008: government funding = 58% student contributions = 35%

MORE UNIVERSITIES = MORE STUDENTS The attribution of university status to five colleges in British Columbia has resulted in a statistical increase in university students across the country. 3.7 percent more students were enrolled in a university in the 2008/09 year than the year previous. Were this not the case the increase would have been a marginal 0.7 percent. The top three fields of study across universities have remained unchanged since 1992 with social and behavioural sciences, law, business and the humanities taking the top ranks. According to Statistics Canada British Columbia (due to its university increase) and Prince Edward Island had the largest gains in university enrolment while Nova Scotia, New Brunswick and Saskwatchewan saw the greatest declines.

24 // EDUCATION

Statistics Canada and the OECD

PAY YOUR WAY Economic conditions for students continue to be difficult in this climate of economic uncertainty. With the Alberta government reneging on its commitment to raise the minimum wage this past February, students organized to present at the minimum wage review committee set up by the Minister of Employment and Immigration. Students asked that the provincial government look to raise the minimum wage from $8.80 to $9/hr and to set increases annually according to the average weekly earnings. Alberta has the third highest tuition and the fourth lowest minimum wage in the country, meaning Alberta students would have to work longer than a student in Ontario to make their tuition commitments. According to a recent labour survey by the Canadian Education Project one third of working students surveyed work in the service and sales sector. The survey only adds to concerns about the economic hardship of students. Student unemployment was at nearly 20 percent which is double what Statistics Canada reported the levels to be at in their Labour Force Survey. This is due to definitional differences between Statistics Canada and the Canadian Education Project, differences which the founding members of the Canadian Education Project believe need to be addressed. Statistics Canada measures labour force participation in a way that excludes university students who choose to study rather than work. This results in a student unemploy-

ment level comparable to the national average at just over 10 percent, while if you include students who are studying or who could not find work it doubles the unemployment rate. The Canadian Education Project believes this has an impact on the development of student loan policy and the expectation of students to contribute to their education. POW! COMICS ENCOURAGE READING

POW Suffering from years as being characterized as sub-par reading material, the Canadian Council on Learning is supporting research that reveals comics may actually be key material for bringing in new male readers when teaching literacy skills. For years reading development in boys has lagged behind girls, with boys stating they do not enjoy reading, with a 2000 Canada study revealing onethird of girls state they enjoy reading, with only 17 percent of boys responding the same. Dr Paul Capppon, President of the CCL states, "For decades, tests have shown that young boys un-

VUEWEEKLY // AUG 19 – AUG 25, 2010

derperform in reading achievement and do not derive the same level of enjoyment from reading as girls." Research suggests comics contribute to a developing readers interest in more prose based literature later on as graphic novels and comics develop a reader's visual literacy. And although educators often still treat comics as substandard to prose-based literature comics develop a readers ability to follow a sequence of events, interpret symbols and connect narrative experiences to their own, just as more traditional forms of literature do. The CCL is now supporting comics as a basis for encouraging new male readers and encouraging the development of programs similar to the Comic Book Project in New York which connect literacy to comic book reading. TESTING THE WORLD The Organization for Economic Cooperation and Development is beginng work on an international student assessment. The test will reveal students' development levels independent of culture, region and institution. The OECD's Assessment of Higher Education Learning Outcomes, AHELO, will test over 200 institutions from 15 countries. "AHELO has the potential to measure how well graduates can apply what they've learned at university to realworld, practical problems," said Hamish Coates, ACER's Principal Research Fellow and director of the study. The OECD is hopeful the assessment will inform education policy development.

COMMENT >> LIBERAL EDUCATION

Creating citizens

Liberal education is being left behind zenship, and personal success. Students entering post-secondary now are being offered less breadth, and more depth, and it is happening in

JENN PROSSER // PROSSER@vueweekly.com

In a 1995 Massey lecture John Ralston Saul reflected that, "What the corporatist approach seems to miss is the simple role of higher education—to teach thought. A student who graduates with mechanistic skills and none of the habits of thought has not been educated. Such people will have difficulty playing their role as citizens." Our current environment de-prioritizes education funding, despite the government's reassurance of their commitment to knowledge economies. By politicizing the source of education funding, governments are giving institutions no choice but to stop trying to teach thought and instead capitalize on teaching skill. Saul's comments speak to the whole, rather than the sum of education's parts. While universities can specialize and promote excellence in specific fields to gain notoriety and academic fame, a university should first be about the creation of a citizen—an informed, thoughtful, critical citizen. It is plain to see the distribution of grant funding and the new emphasis on commercial science creates in-

tutions of higher education if we want to have a truly free and open society." And a free and open society is something many Albertans take pride in.

By politicizing the source of education funding, governments are giving institutions no choice but to stop trying to teach thought and instead capitalize on teaching skill.

// Pete Nguyen

equality in a learning institution as institutions are forced to prioritize their services based on private sources of funding and specific grants. Looking at the current environment with a wider lens, it can be said that the basic value of knowledge has

changed. What is supposedly valued, both psychologically and tangibly, is in the specifics. While we see this in institutions, what is desired by a spectrum of economic indicators is far different. Our institutions are failing to prepare their students for a life of good citi-

every institution in this province. And while universities de-fund programs critical to a true liberal education, the economy, depressed as it may be, is placing a renewed value on the qualities a liberal education cultivates. A study done by Hart Research Institute in Washington, DC in 2009 showed that, "Employers want their employees to use a broader set of skills and have higher levels of learning and knowledge than in the past to meet the increasingly complex demands they will face in the workplace." Joseph Munsterman said that, "A liberal education should then be the main type of education given in insti-

VUEWEEKLY // AUG 19 – AUG 25, 2010

The very slogan of Alberta is, "Freedom to create. Spirit to achieve." To maintain the quality of this statement, our society needs those with that spirit, in a free environment. Successful citizens are those with drive, and initiative. They create out of nothing due to necessity. Because what it means to be a citizen of Canada is always changing, there needs to be those who can adapt with the changes of tomorrow while understanding the nuances of human need in our world today. V Jenn Prosser is a former student leader, serving as the Vice President Academic for the University of Lethbridge Students' Union 2008 – 09.

EDUCATION // 25

EDUCATION // INSTITUTES OF LEARNING

What's in a degree? Alberta's colleges become universities

UNIVERSITIES FOR ALL >> Colleges have had a year with new names JENN PROSSER // JENN@vueweekly.com

eptember 3 is the first-year anniversary of Mount Royal University. For many, it is the celebration of a coming of age for both Mount Royal University and Grant MacEwan Universityâ&#x20AC;&#x201D;which was named shortly after Mount Royal. For many involved in Alberta's postsecondary environment, it makes the changes that had been occurring over the last five years very visible, and very permanent. For Rob Jones, president of the MRU Student Association it's a recognition of what was already happening. "What was happening here at Mount Royal was being recognized by the external community. People taking notice of what was going on here on campus." MacEwan's student community echoes those sentiments. With just over half of MacEwan's student population currently enrolled in degree programs for the 2010-2011 academic year, the addition of "university" didn't change the outcome of their education, but did validate the academic efforts of their chosen institution. The reality is, over the past decade the Alberta PSE system saw an increased number of transfer students between college and university degree programs, an increased demand for trans-

26 // EDUCATION

VUEWEEKLY // AUG 19 â&#x20AC;&#x201C; AUG 25, 2010

// Bryan Birtles

fer programs, and for post diploma degree programs. Explains Carol Nueman, the Executive Director of ASEC, an organization counting MacEwan, and MRU among their large membership that, "there has been a name change, of Grant MacEwan University and MRU, but it is the tip of the iceberg as far as the much, much larger change that has occurred in Alberta." The past year has only served to prove the validity of the government's assertions prior to and following the announcement: that the change in name did not a mean a change in any other way. These two new universities are still funded in the same way, and continue to implement programming as per their six-sector mandate: a focus on learning delivery and not research. What did change, according to both Rob Jones, and the MacEwan Student Association Vice-President Academic, John-Paul Hermano, is the community of these two schools. Hermano sees the positive impact the name change has had on community spirit at MacEwan through his work as a student representative. "We're finding out with the SA that we're able to engage students more. Its become even more prevalent that students are getting more involved in their school," he commented to Vue. Hermano has seen the institution grow since the name change came about, with students more optimistic

about their opportunities at MacEwen. Hermano says that the university has seen an increase in the number of students choosing to stay, rather than transfer out. The university is also seeing alumni return to obtain full degrees in their field of study. Jones relayed that MRU is experiencing a similar sense of optimism among their students. The change of name should to be more than just a brand re-visioning, or a rubber stamp over an existing logo. For the students of Mount Royal and MacEwan, the sense of community that has grown as a result, is proof of the positive effects. Will this be enough, though, as both institutions are looking to grow in their capabilities and as students are looking for a full university experience, complete with research opportunities. Hermano told Vue that MacEwan students are already looking for more undergraduate research opportunities. "MacEwan has over 40 students engaging in research, and I know that the institution itself is looking for ways to go about increasing that," he commented. As only a year has passed, the true effect of these changes won't be seen until students who entered into degree programs at the two institutions graduate with those degrees. It is then that the university name will have something to prove. V

VUEWEEKLY // AUG 19 – AUG 25, 2010

EDUCATION // 27

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EDUCATION // 29

COMMENT >> SEX EDUCATION

Prepared for progress Alberta may be ahead of the curve on implementing new sex education programs

// Chelsea Boos

BRENDA KERBER // BRENDA@VUEWEEKLY.COM

Two new sex education resources unveiled by the Public Health Agency of Canada this year mark a bold declaration that inclusion and support of queer, questioning and gender variant youth is to be the standard for sex education in public schools. These new question and answer booklets are meant to support PHAC's "Canadian Guidelines for Sexual Health Education," which, since 1996, has provided a standard and model for mandatory, broadly-based sex education in public schools in Canada. Despite Bill 44, Alberta classrooms may be well-prepared to handle these new changes. PHAC says the purpose of the guides is "to ensure that sexual health educational programming is inclusive of the pressing

30 // EDUCATION

health, safety and educational needs and challenges of gender variant, sexual minority and questioning youth; [and that] the experiences of gender variant and sexual minority youth are included in

diverse school populations. They advise teachers to assume that there are sexual minority youth in their classrooms whether they are aware of them or not. The guides call on teachers and admin-

The guides transcend the out-dated notion of tolerance, instead recognizing queer, questioning and transgendered young people as integral parts of our diverse school populations. all facets of broadly-based and inclusive sexual health education." The guides transcend the out-dated notion of tolerance, instead recognizing queer, questioning and transgendered young people as integral parts of our

VUEWEEKLY // AUG 19 â&#x20AC;&#x201C; AUG 25, 2010

istrators to address instances of homophobic language and bullying openly and immediately. PHAC has provided teachers and administrators with the tools they need to

make sexual health education inclusive of sexual minority students, but do their expectations of teachers conflict with Alberta's Bill 44? Under section 11.1 of the Bill, passed in June of 2009 and set for implementation this fall, teachers will be prohibited from discussing issues of sexual orientation without first informing parents. With this regulation in place, will teachers be free to address instances of homophobia as they occur? Will they be obligated to inform parents before attempting to intervene in the classroom in such cases? The Bill defines the parameters of the obligation to notify: "A board as defined in the School Act shall provide notice to a parent or guardian of a student where courses of study, educational programs or instructional materials, or instruction or exercises, prescribed under that Act include subject matter that deals primarily and explicitly with religion, human sexuality or sexual orientation." But section 11.3 of the Bill further clarifies that: "This section does not apply to incidental or indirect references to religion, religious themes, human sexuality or sexual orientation in a course of study, educational program, instruction or exercises or in the use of instructional materials." Bill 44 does not prevent teachers from carrying out the recommendations of the PHAC guidelines. In spite of the specific wording of the act, however, many Albertans have expressed concern that this section of Bill 44 will be used to prevent any and all discussion of sexual orientation, making it impossible to achieve the

goal of inclusive sexual health education. Kris Wells, Chair of the Sexual Orientation and Gender Identity Sub-Committee of the Alberta Teachers' Association's Diversity, Equity, and Human Rights Committee, says the fear is ungrounded, "The belief in the will to silence is false," he says, "Teachers should continue to use the teachable moment to interrupt homophobic language and bullying whenever they see it. In fact, Alberta is the first province or territory in Canada to actually name homophobic bullying and provide resources to address it in the classroom. The government has indicated that this work should and will continue.' Not only do Alberta teachers have resources to address homophobic bullying, they also have a nationally recognized on-line sexual health education resource. Teachingsexualhealth.ca, developed by Alberta Health and Wellness and Alberta Health Services and authorized by Alberta Education, gives teachers, students and parents access to a large collection of information, tools, and lesson on all aspects of sexual health education, over and above what's contained in the PHAC guidelines. Although there seems to be a popular belief in our province that we are lagging behind when it comes to sexual health education, we may actually be at the forefront. V Brenda Kerber has been a social worker and sexual health educator in Edmonton not-for-profits for the past 11 years. She is the owner of Edmonton-based sexpositive adult toy boutique, The Traveling Tickle Trunk.

VUEWEEKLY // AUG 19 â&#x20AC;&#x201C; AUG 25, 2010

EDUCATION // 31

EDUCATION // POLITICS

How to protest

Teaching politics in the classroom MIKE ANGUS // MIKEANGUS@VUEWEEKLY.COM

sk most Edmontonians what it means to be political and the simplest answer might be voting. Mention political activism and images of violent protest and tear gas likely come to mind. But is that the extent of our political literacy in Alberta? Between waning voter turnout and this summer's G20 summit anarchy, there must be more to civic engagement than these exceptional extremes. Jorge Sousa is assistant professor and adult education program coordinator at the University of Alberta's Department of Educational Policy Studies.

There are numerous courses and opportunities within the university on learning how to be political, he notes— courses that don't require you to repel from the House of Parliament or get arrested. "Tear gas is more the exception than the rule," he points out with a laugh. "That's half of [learning about activism]: dispelling the myths … The sensationalizing of those important parts of activism—we need those agitators—is reflective of a bigger problem. When you hear about things like [violent protests], why would people want to be engaged?" Media sensationalism creates the problem of perception, Sousa adds, which discourages average citizens

// Chelsea Boos

from wanting to get involved at any level. People start to equate any sort of political participation outside of voting as violent, illegal and counter-productive. "When I say protest I think students automatically think, 'We’re going to get arrested' and I think a lot of folks tend to shy away," he sympathizes. "But if you make the student go to a protest, it's important to experience that. A lot of it has to do with dispelling the myths of political activism, and also increasing the opportunities for political socialization." In educating students in the different shades of political activism, Sousa admits that our education system in Alberta can prove to be another obstacle. "In a general sense, it's come far too instrumentalized and technical. We really don't provided an opportunity for students to actually think about the problems that we’re posing," he laments. "It's a tailoresque type of activity where you're manufacturing students … We have to prepare them to the detriment of critical thinking." In a post-secondary culture where students possess a learning attitude of, 'Just give me the knowledge and the information I need, and that's it,' it can be frustrating for faculty members like Sousa who want to challenge their students, rather than simply regurgitating material. "Rather than directly [agitating] in my classes, I try to engage students to a reflective process where they rec-

32 // EDUCATION

ognize the need to agitate," he notes. "I instill a sense of discomfort, shake things up as it were, but at the same time we still have material to cover, so I often think around my ethical obligations that if I'm creating this discomfort, is that actually going to be helpful for them later?" While this level of agitation does cause discomfort for many students, it's an important first step in developing political consciousness. Like the

more engaged citizenry and encourages greater reciprocity within community settings," he adds in an email—whether that means attending a lunch hour protest at the Alberta Legislature grounds, getting your name in the minutes of a town hall meeting, or even the simple act of teaching someone to read. At a formal education level, one new form of teaching that is growing in academia across the country is called en-

I often think around my ethical obligations that if I'm creating this discomfort, is that actually going to be helpful for them later? bumper sticker that reads, "If you're not outraged, you’re not paying attention," the initial lessons involve the simple act of caring and getting informed. Getting people involved in a way they're comfortable with, combined with learning about media literacy—what information they're getting and where it's coming from—are easy first steps for someone looking to get active, even at a community level. "We talk about grounding the experience—bringing it home to students' lives, getting people to care, and bringing it home … I think it's also important to offer students a safe space [to get uncomfortable]," Sousa explains. "The benefits of promoting or fostering political activism, or what I would term a political consciousness ... [develops] a much

VUEWEEKLY // AUG 19 – AUG 25, 2010

gaged learning, where students spend time in the field as part of their required education. At the U of A there is the Office of Community Service Learning that focuses on political socialization and providing faculty members with support across all disciplines. "As educators, we not only have to build the capacity to understand the need for political activism, but also demonstrating that capacity—providing opportunities for some success, and also providing opportunities to lose. Because we lose a lot," Sousa states. "One thing that keeps people away is, 'Why bother? We're not going to win.' But that's part of the task; I try to remind my students … a lot of it is not about monumental social change. It's about referring to it as incremental." V

EDUCATION // ABORIGINAL LANGUAGE

Defeating extinction Efforts must increase to save aboriginal languages samantha power // samantha@vueweekly.com

hen Europeans arrived on the North American continent they were greeted with over 300 aboriginal languages. An auditory rainbow that would quickly diminish to the 53 languages that are still in use today. Professor and linguist Sally Rice does not mince words at the danger of extinction these languages face. "No languages are going to survive with native speakers into the 22nd century." Rice is the director of the Canadian Indigenous Language and Literacy Development Institute. The government line is that three, out of what was once over 300 (some estimate over 400) aboriginal languages will survive into the next century—Cree, Anishinabe (Ojibwe) and Inuktitut have staid the execution as, today, they have a large language base to draw from, they're languages found in numerous communities and Inuktitut has received official language status. They are conditions Rice believes are necessary to the survival of a language. "Ojibwe is also spoken in many communities in Ontario and into the States, so that dispersal is helpful. If one community loses it, many others can save the day." The direness of the situation does not deter Rice from the operations of the institute. Housed at the University of Alberta, CILLDI educates new aboriginal language speakers and teachers on new methodologies of teaching language. CILLDI was originally started by Donna Paskemin in 2000 after she attended the American Indian Language Development Institute. Starting in 2000 CILLDI offered intense Summer language learning in different communities and then moved to the University of Alberta permanently in 2003. CILLDI is only one effort among many to teach aboriginal languages as a second language. There are new diplomas and certificates in teaching aboriginal languages in British Columbia and greater attempts are being made to integrate aboriginal language learning into elementary schools—efforts that are paying off. In 2001 more people spoke an aboriginal language as a second language than had the language as a mother tongue. "There's been a lot of growth in second language teaching." admits Rice. "I think the problem is that the average grade or high school-level language class doesn't have a lot of success"—a fact a 2007 report on aboriginal language compiled by Mary Jane Norris, responsible for that Statistics Canada report way back in 2002, backs up. "Classrooms can't mimic normal interactions we have in everyday life," says Rice. "Immersion is important and a lot of communities are doing immersion teaching, but not immersion in the way that it needs to be done." And though CILLDI has always involved aboriginal communities in the development of programming—Elders from various language communities in the

Prairie provinces serve on the advisory committee—the institute is beginning to create more opportunities like the day-long young women's circle of leadership, which is meant to empower young women to learn and integrate traditional language. Rice believes that for people to fully learn a new language it must be integrated into community and everyday events. "The most famous example of immersion programs are the langague nests of the Maori [in] New Zealand and the Hawaiians run," explains Rice: "They effectively gang up on the kids and have at least three speakers for every kid and there's just no way that English is going to slip in. We need to put speakers who are grandparents now with the young kids." The answer to learning language may be found here in Canada. These successful language nests in New Zealand and Hawaii first looked to Canada's French immersion programs. But when looking at the funding for the French immersion programs, as compared to aboriginal language immersion programs, the support is just not there from the federal government. According to the Assembly of First Nations, funding for French immersion programs outpaces aboriginal language programs 10 times with aboriginal programs receiving just over $215 per student and French immersion programs receiving $2261. The Royal Commission on Aboriginal Peoples in 1996 and the federal government's aboriginal task force report "Towards a New Beginning" in 2005, both recommend official language status for aboriginal languages.

Despite all of this effort, and efforts across the country by numerous community groups, there are those that believe aboriginal languages will not survive. And that's why CILLDI is also an institute of preservation. "The languages that have come back from the brink—Hebrew, Gaelic, Hawaiian—they had a documentation tradition." says Rice. "If we can mimic that and create a big body of materials, natural conversations and auditory and prayer and then when the political will is there, and the moral will is there, among speakers who have rally buried their last elder, then there is something there for them to revive." Rice explains that this effort has been successful in revitalizing a dead language before. Rice believes these efforts are important from more than just a language perspective. "My favorite etymology is the word Dene. The etymology is to speak like a human being." Just as learning a language becomes much easier if it's tied to community and events, having a mother tongue is your way of understanding the world and creating community. "I think your first langauge is the way you know how to be a human being and when that's gone and you have no one you can talk to with that intimacy. I mean it's like losing your family and you multiply that by your entire culture, that sense of loss must be just terrible." V

VUEWEEKLY // AUG 19 – AUG 25, 2010

EDUCATION // 33

COMMENT >> CHILDCARE

Issues

Economic contributor

Early childcare is not just an education starter, it's a missed economic opportunity Tony CLARK TONY@VUEWEEKLY.COM

For eight years, families have been hearing that by placing their children in early childcare facilities they'd be harming their development. This stemmed from a huge 2002 study that tracked the development of over 1300 children born in 1991 and found that children in non-parental care for more than 30 hours a week have lower social skills, are less academically able and have more problem behaviours that other children. Predictably, some seized onto this seemingly definitive study as support for their arguments that childcare ought to be given by parents and parents only. However, a recently published study from the Society for Research in Child Development found that the positive effects of a mother's participation in the workforce cancelled out the negative effects of mother and child being apart. Using the same data as in 2002, this new study found that a working mom leads to higher family income, which in turn leads to a better home environment and better childcare in general because families could afford to pay for it. These results are especially significant in a place like Canada where nearly 70 percent of women with children are in the paid workforce and quality childcare spaces are at a premium. With this latest study, Canadians must look carefully at the shortage of quality early childcare spaces. We know from labour force surveys and censuses that women and mothers are working and their participation is growing year-toyear. A lack of childcare spaces forces families to make choices they should not have to face: put their child in sub-standard care while they work, or scale-back their employment and see their quality of life decline. Either option is harmful to children. Judging from the words, if not the actions, of the Alberta government, you'd be forgiven for thinking they understand this. The Alberta government's website reads, "Lifelong learning starts the moment we are born ... Recognizing this, Premier Stelmach provided the Minister of Education with a mandate letter that identified three priorities ... " Last time I checked, we can't build childcare spaces out of mandate letters. The building code simply won't allow it. Alberta suffers the shameful status as being the only province or territory to actually lose childcare spaces in the '90s. Presently, Alberta has the least number of regulated childcare spaces per capita in Canada. For a province as wealthy as Alberta (yes, it's still wealthy), this is a disgrace. And it's not just the number of spaces that needs to be improved, it's also the quality of those spaces and that means

34 // EDUCATION

MISCALCULATIONS >> Investing in childcare is an investment in the economy qualified, well-paid childcare workers. The 2006 census found that fully accredited early childhood educators in Alberta made a paltry $22 000 a year, on average. Turning to the federal government, if you took their words at face value, they seem to understand the importance of early childcare on the health of children and families: "The most important investment we can make as a country is to help Canadian families by providing choice, support and spaces to raise our children." It's interesting then that Rona Ambrose, Conservative MP for Edmonton-Spruce Grove, criticized plans for actual universal childcare by saying, "Nine out of 10 Canadians feel that in a two-parent situation, ideally one parent should stay at home to raise the children." The key word in the Honourable Ms Ambrose's quote is "ideally." The prob-

// Supplied

lem is, of course, that very few people actually lead ideal lives. This modern life necessitates parents working. There is no real choice for a young single mother but to work to support herself and her child. Both governments have been and are spending tax dollars on early childcare and education. But we need to step back, look at the big picture of government spending, and put things into perspective about where their priorities lie: billions for security on the Olympics and the G8/G20 summits, billions on roads and bridges, billions for new jet fighters and billions more expected for new prisons for the expected emergence of an unreported criminal underclass. The Alberta government tossed a cool $2 billion to the oil industry for its carbon-capture scheme and for years now the ruling Progressive Conservatives have favoured infrastructure spending over investing in people through pro-

gram spending. There can be no doubt that both governments' spending priorities are weighed towards overtly traditionally male industries: police forces, the military, and infrastructure and energy sectors. Most of the workers in these sectors are men, and as investments grow we gain a sense that governments would rather be seen as supporting these sectors with our tax dollars than other sectors of the economy where the majority of the workers are women. Seriously, ask yourself, how many times have you seen one of those phallic "Canada's Economic Action Plan" signs in front of a childcare facility as compared to a highway paving project? It could be argued that providing early childhood education would be an economic stimulus in itself since it would allow more mothers to enter into the

VUEWEEKLY // AUG 19 – AUG 25, 2010

workforce, thereby putting more cash in their pockets to spend. More cash in families' pockets means higher family incomes and a better home environment which ultimately benefits children, as the aforementioned study shows. Considering this study, it could also be argued that the failure of governments to invest in early childhood education is tantamount to child abuse on a provincial and national level. The reality is that the vast majority of Canadian mothers are working. Some may be working by choice, but more likely they're working out of necessity to keep their family's head above water. The deplorable lack of quality childcare spaces only leads to added stress and a reduction in the opportunities for today's working mothers and families to make a living. This, in turn, can harm a child's development. If that's not the same as child abuse, I don't know what is. V

VUEWEEKLY // AUG 19 – AUG 25, 2010

EDUCATION // 35

36 // EDUCATION

VUEWEEKLY // AUG 19 – AUG 25, 2010

COMMENT >> DVD

REVUE // THE SWITCH

Bate and Switch Jason Bateman does what he can with The Switch DAvid Berry // david@vueweekly.com

ennifer Aniston has to be the biggest beneficiary of a breakup of this generation. Whatever her charms on Friends, her charisma has basically never translated to the big screen, but she still manages to pop up on supermarket shelves at a pretty incredible clip, I guess because there's a lot of public sympathy for you when the sexiest man alive leaves you for the sexiest oddball alive. Now, to be fair to Aniston, it's not as though the artificially inseminated dream girl she plays in The Switch is particularly well-drawn: about the most we're told about her is that she works in television somehow, but we never get so much as a job title, and she

edy beats are all too familiar, of course, but they can at least sparkle a bit when the leads have some chemistry, and Aniston is so bleh throughout that you're left wondering what Bateman's weirdo could possibly see in her. V Opening Fri, Aug 20 The Switch Directed by Josh Gordon, Will Speck Written by Allan Loeb Starring Jason Bateman, Jennifer Aniston



More than Crumbs

Zwigoff's documentaries herald the forgotten Terry Zwigoff had played in a band and world around him, the result being somebeen friends with legendary cartoontimes satire, sometimes fantasy of the ist Robert Crumb for two decades most brazen, grotesque, perverse before finishing Crumb (1995), incarnations, and often both—I and it makes you wonder if wonder if this mixture hasn't more documentary filmmakendowed Crumb with a legacy m o kly.c ers shouldn't be turning their not altogether different from uewee v @ e v cti cameras on their most intimate dvddete that of Naked Lunch author Josef acquaintances. Crumb benefits William Burroughs. Braun enormously from Zwigoff's relaZwigoff's clearly enamoured if tionship to his subject, yet familiarity not obsessed with Crumb's work in no way inhibits discovery or critique. and sensibility, yet what's morally or politiCrumb draws a portrait of the artist in cally troubling about Crumb's monstrous, middle-age, on the verge of leaving the US big-assed, powerful-legged—and, in at to re-settle in France. It describes an eccenleast one case, decapitated—women or tric nerd and preternatural curmudgeon his nostalgia for bygone eras awash in racwho made a life for himself by submitting ist imagery is all on the table, and Zwigoff to a relentless compulsion to interpret the invites several articulate commentators to

DVCD TIVE

DETE

examine it, some of whom regard Crumb as a contemporary Brueghel, others a narcissistic pornographer. I don't think this is Zwigoff's attempt at objectivity. I think he's just trying to get things right, to look at Crumb's work from as broad a perspective as possible. You might argue that Crumb's work is of secondary importance to the story of the Crumb brothers. Zwigoff and his crew accompany Robert on visits to his housebound, pharmaceutically dependent brother Charles, who still lives with their mother in a house frozen in time, passing his days re-reading the Victorian novels he adored as a boy, and to his ascetic brother Maxon, who lives alone in a San Fran fleabag apartment, alludes to a history of sexual assaults and meditates on a bed of nails. There's something deeply unsettling about how closely Charles and Max resemble less fortunate variations on Robert, who seems CONTINUED ON PAGE 39 >>

Bateman at least manages to imbue a little bit of life in his largely flat role. seems to exist almost solely to be the best friend/one that got away for Jason Bateman's twitchily neurotic, moaning-while-he's-eating caricature. Still, both of these roles hew pretty close to their sitcom personas—and the whole set-up, about Bateman switching his sperm for the preferred donor's at the artificially pregnant party Aniston throws, is sitcom-convoluted—and Bateman at least manages to imbue a little bit of life in his largely flat role. The best parts of The Switch are unquestionably Bateman bouncing off people, whether it's the son who shares so many of his tics—child actor Thomas Robinson is actually pretty deadpan good as a sad-sack-before-his-time— or his quirky boss Jeff Goldblum, who is really trying to act the shit out of a character who, again, only exists to play off Bateman. There isn't really a whole lot here that hasn't been covered since Woody Allen started making movies, but Bateman at least has very sharp self-depricating timing, and his growing fatherly concern puts his own selfobsession in sharp relief, especially as things begin to start raining down on his poor kid. But, of course, this being rom-com, we need to spend time with Aniston, and the budding interest she has in the newly-single sperm donor (Patrick Wilson, who is probably just a shade not sexy enough to be a poor man's Matthew McConaughey), and here things just drag—although directors Josh Gordon and Will Speck do try to inject some life from time to time with the most sped-up shots of city life that film has seen in some time. Romantic com-

VUEWEEKLY // AUG 19 – AUG 25, 2010

FILM // 37

PREVUE // HUGH HEFNER: PLAYBOY, ACTIVIST, REBEL

Behind the bunny

Doc exposes Hugh Hefner's strong activist side VW: One of the things you focus on a lot is the social aspects, his role in advancing women's rights, African American rights—for which he won the NAACP award— BB: By the way, may I say that that award has been given to very, very few white people, and the fact that Jim Brown, a major social activist fighting for civil rights, that he would nominate Mr Hefner is an incredible achievement, and speaks volumes about what, in black people's minds, he's done for them in America.

David Berry // david@vueweekly.com

hether you revere him or revile him, the enduring image of Hugh Hefner in most people's minds is that of a rakish man in an evening gown, usually with one or more buxom blondes on his arm. In Hugh Hefner: Playboy, Activist, Rebel, Oscar-winning documentarian Brigitte Berman aims to pull back the evening gown, as it were, and examine the man behind the myth and the multi-milliondollar Playboy empire. It takes us to sides of Hefner few will recognize. Not only is he revealed to be a tireless workaholic—to this day, he still oversees every page of every published issue of Playboy—but he's a consumate intellectual, a jazz and literature afficianado who helped publish some of the leading writers of his day in a magazine he conceived of as a more sexually frank version of Esquire. The film takes particular interest in his career as a social activist. Though his role in helping change America's sexual mores might be obvious, much of what Berman discusses is no doubt unknown to the wider public: for instance, with his program Playboy's Penthouse in the late '50s and early '60s, Hefner was among the first to feature African American en-

HERE'S LOOKING AT YOU >> Hef

// Supplied

tertainers on national television, and he broke the colour barrier with his Playboy clubs in the south (actions that garnered him a special NAACP award). If Berman's film leans a bit closer to hagiography than true balance, it seems only because her main goal was to reveal sides of Hefner that are too often overlooked. Vue Weekly had a chance to chat with Berman about Hefner and her film, excerpts of which are below. VUE WEEKLY: What were your first impressions of Mr Hefner? BRIGITTE BERMAN: He had invited [Berman's documentary about Bix Beiderbecke] down to be part of the Playboy Jazz Film Festival, and so I met him in person a little while after I heard from him, and I found him to be a very charming, very smart man. We talked about film, we talked about music ... and then I stayed for a movie night with his friends. All of his friends are around 65, 70, 80 years old, that's the median age for a movie night at the mansion, and it was quite an extraordinary evening. VW: You reveal a man with a very extensive history of social involvement, and yet all anyone seems to think about Hugh Hefner is as the playboy, the man with three girlfriends. Why have the other aspects of his life been so overshadowed? BB: I think that's because the media fixates on it. That's the side that they find the sexiest, and that's what they write about. Take a look at New York Times Magazine, when they interviewed Hefner, the first question they asked was about how much Viagara he took. That becomes the headline. It's no surprise that people see only that one side of him.

38 // FILM

VUEWEEKLY // AUG 19 – AUG 25, 2010

VW: Well, do you think he remains that active, then? You could point to similar struggles, say gay rights in America, where it doesn't seem Playboy has taken as active a role as it might have. BB: Let's just stay with black rights for a moment. Larry King had him talking about black rights not long ago, and Mr Hefner still feels very strongly about that, he's very pleased that there's a black president, and he talks about that in the film as well. He's now 84 years old, he saved the Hollywood sign, so he sticks his neck out and continues to do so. I don't know, what do you want me to say? Do you want me to say that he's a terrible man and that he objectifies women? VW: No, no. I don't think I'm saying that at all. I guess, even in the film I got the impression that maybe one of the reasons that people don't see him as a political activist these days is that he's not quite in the same way, and though he's had his role, that's something he's maybe stepped away from in recent years. BB: He's never stepped away from it, and people don't even know that he was that in the past. What I was doing was not to make a valentine to Mr Hefner, but to actually set the record straight about him and to show him for a very complex individual, like all of us—all of us have many, many sides. That's what makes Mr Hefner interesting, is that this one person is able to do so many things on so many different fronts for a lot of people, and will stick his neck out in ways that nobody else will. V Opens Fri, Aug 20 Hugh Hefner: Playboy, Activist, Rebel Directed by Brigette Berman Princess Theatre (10337 - 82 Ave)

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DVD DETECTIVE

<< CONTINUED FROM PAGE 37

to care for and even admire his brothers, yet is so overcome with despair over their lifestyles and psychological frailty that all he can usually do in response to their stories is emit more of his trademark dry chuckles. Truth is you'll probably laugh too while watching Crumb, which never succumbs to pity or sentimentality and often celebrates that one essential element that might just keep the Crumb brothers—and some of the rest of us—alive for as long as we can bear it: a healthy sense of humour. Long before he made fiction movies, Zwigoff proved himself a masterful storyteller, and I don't think he could honestly tell any story without recognizing its inherent laughter. Criterion's beautifully transferred and packaged release of Crumb this week coincides with their release of Zwigoff's lessknown-yet-just-as-wonderful documentary Louie Bluie (1985), a portrait of obscure country-blues musician and visual artist Howard Armstrong, whose recordings Zwigoff had cherished and emulated for decades before discovering that Armstrong was alive and well and living in Detroit. As with Crumb, Louie Bluie takes a no-brainer approach to telling its subject's story, with scenes of Armstrong doing his thing—playing fiddle and mandolin or displaying his fecund, scatological and not un-Crumb-like art—and a journey back home, in this case rural Tennessee, where Armstrong learned to play whatever instrument he could find or invent, as well as several languages so he could play songs for diverse ethnic audiences. What's magical about Louie Bluie arises not from its rudimentary structure but from Armstrong's immense charisma and the movie's slyly selected details. We see Armstrong and his old partner Ted Bogan playing up a storm in the kitchen of "Yank" Rachell, another old collaborator. Armstrong solos with the mandolin behind his head while Rachell nonchalantly peruses the latest issue of Income Opportunities. We see Bogan boiling water in a frying pan to make a cup of Hill Brothers instant. We see Armstrong convince Bogan to give him one of his least-ugly shirts. We see Rachell sucking every last bit of anything we might call flesh from a bucket of Kentucky Fried Chicken while Armstrong mercilessly and affectionately makes fun of him. None of these guys made much money from their musical talents, but Zwigoff makes it abundantly clear that what they did earn was several lifelong friendships. And as with Crumb, Zwigoff doesn't shy away from the potentially offensive aspects of his subject's outsized persona, allowing Armstrong to display his beloved erotic-historical Whorehouse Bible, and to hold forth on his ways with women and his inability to understand the appeal of Jesus: "Who the fuck cares about somebody nodding his damned head when some guy's getting ready to kick his ass?" Lovers of our less-recognized musical traditions owe a debt to Zwigoff for preserving this record of Armstrong, who died in 2003 at the age of 94, which also preserves many anecdotes and images of largely unheralded or even anonymous black musicians who developed what we call jazz, country and blues in the early 20th century. Lovers of our great if less-championed movies owe an equal debt to Criterion for rescuing Louie Bluie from oblivion. V

FILM WEEKLY FRI, AUG 20 – THU, AUG 26, 2010 s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) DAILY 1:30, 7:00, 9:00

THE SWITCH (PG mature subject matter, not

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CINEMA CITY MOVIES 12

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PEEPLI LIVE (14A) Hindi W/E.S.T. DAILY 1:40, 4:25, 7:35, 9:50

RAMONA AND BEEZUS (G) FRI�SAT 1:10, 3:50, 6:45, 9:05, 11:15; SUN�THU 1:10, 3:50, 6:45, 9:05 PREDATORS (18A gory violence) FRI�SAT

1:45, 4:20, 6:55, 9:15, 11:45; SUN�THU 1:45, 4:20, 6:55, 9:15

KNIGHT AND DAY (PG violence, coarse

language) FRI�SAT 1:20, 4:05, 7:15, 9:45, 12:10; SUN�THU 1:20, 4:05, 7:15, 9:45

THE A�TEAM (PG, coarse language, violence,

not recommended for young children) FRI�SAT 1:45, 4:15, 7:10, 9:40, 12:05; SUN�THU 1:45, 4:15, 7:10, 9:40

THE KARATE KID (PG violence, not recom-

mended for young children) DAILY 1:05, 3:55, 7:00, 9:55

KILLERS (PG violence, coarse language) FRI� SAT 9:30, 11:50; SUN�THU 9:30

MARMADUKE (G)

LOTTERY TICKET (PG violence, language may offend) DAILY 2:00, 4:30, 7:15, 9:50

THE SWITCH (PG mature subject matter, not

recommended for young children) DAILY 12:15, 3:20, 7:20, 10:15

NANNY MCPHEE RETURNS (G) No passes DAILY 12:00, 3:20, 6:45, 9:40

VAMPIRES SUCK (14A crude content) No passes DAILY 12:20, 3:30, 7:25, 9:55 THE EXPENDABLES (18A brutal violence) FRI�SUN 12:10, 1:15, 3:10, 4:20, 7:00, 7:45, 9:50, 10:40; MON�THU 12:10, 3:10, 7:00, 7:45, 9:50,

10:40

EAT PRAY LOVE (PG language may offend)

FRI�WED 11:45, 3:15, 6:40, 10:00; THU 4:10, 7:20, 10:30; Star & Strollers Screening: THU 1:00

SCOTT PILGRIM VS. THE WORLD (PG

violence) DAILY 1:00, 4:15, 7:10, 10:10

THE OTHER GUYS (PG coarse language,

crude sexual content, not recommended for young children) DAILY 12:40, 3:45, 7:30, 10:15

STEP UP 3D (PG) Digital 3D DAILY 12:30,

3:40, 6:50, 9:45

CATS AND DOGS: THE REVENGE OF KITTY GALORE (G) DAILY 11:40 DINNER FOR SCHMUCKS (14A) DAILY 12:50, 4:10, 7:30, 10:20

SALT (14A) DAILY 1:20, 4:40, 7:40, 10:30 INCEPTION (PG violence) DAILY 11:30, 3:00, 6:30, 10:05

DESPICABLE ME 3D (G) Digital 3D DAILY 1:30, 4:00, 6:35, 9:20

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

CITY CENTRE 9 10200-102 Ave, 780.421.7020

DAILY 1:25, 3:40

GET HIM TO THE GREEK (18A substance abuse, crude sexual content) DAILY 7:30, 10:00

PRINCE OF PERSIA: THE SANDS OF TIME (PG, violence, not recommended for young children) DAILY 1:15, 3:55, 7:05, 9:35

SHREK FOREVER AFTER (PG) DAILY 2:00, 4:45, 7:25

SHREK FOREVER AFTER 3D (PG)

Digital 3D FRI�SAT 1:00, 3:45, 6:50, 9:00, 11:20; SUN�THU 1:00, 3:45, 6:50, 9:00

IRON MAN 2 (PG violence, not recom-

mended for young children) DAILY 1:35, 4:30, 7:20, 10:00

HOW TO TRAIN YOUR DRAGON (PG violence) 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

PIRANHA 3D (18A gory scenes, brutal

violence, nudity) Digital 3D DAILY 12:10, 2:30, 4:50, 7:15, 9:50

THE SWITCH (PG mature subject matter,

not recommended for young children) Digital Cinema DAILY 1:00, 4:00, 7:05, 9:45

NANNY MCPHEE RETURNS (G) No passes DAILY 12:40, 3:45, 6:45, 9:30

VAMPIRES SUCK (14A crude content) No passes DAILY 12:45, 3:15, 5:30, 7:45, 10:05 THE EXPENDABLES (18A brutal violence) FRI�SUN, TUE�THU 12:15, 2:40, 4:00, 5:20, 6:55, 8:00, 9:35, 10:40; MON 12:15, 2:40, 4:00, 5:20, 8:00, 10:40 EAT PRAY LOVE (PG language may offend) FRI�TUE, THU 12:20, 3:30, 6:40, 9:55; WED 3:45, 6:40, 9:55; Star & Strollers Screening: WED 1:00

SCOTT PILGRIM VS. THE WORLD (PG

violence) DAILY 1:30, 4:20, 7:30, 10:15

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 12:50,

3:50, 6:35, 9:10

CATS AND DOGS: THE REVENGE OF KITTY GALORE (G) DAILY 12:00 DINNER FOR SCHMUCKS (14A) DAILY 2:00, 5:00, 7:40, 10:30

SALT (14A) FRI�TUE, THU 12:30, 2:50, 5:10,

7:50, 10:20; WED 12:30, 2:50, 10:20

INCEPTION (PG violence) DAILY 12:05, 3:20, 6:50, 10:10

DESPICABLE ME 3D (G) Digital 3D DAILY 1:10, 3:55, 7:00, 9:40

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

PIRANHA 3D (18A gory scenes, brutal

violence, nudity) Digital 3D DAILY 1:10, 4:30, 7:15, 10:00

EAT PRAY LOVE (PG language may offend)

PIRANHA 3D (18A gory scenes, brutal

violence, nudity) Digital 3d DAILY 2:00, 4:50, 7:30, 10:00

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

THE EXPENDABLES (18A brutal violence) DAILY 6:55 9:10; SAT, SUN, TUE, THU 2:05

PIRANHA 3D (18A gory scenes, brutal

violence, nudity) DAILY 7:05 9:05; SAT, SUN, TUE, THU 1:55

EAT PRAY LOVE (PG language may offend) DAILY 7:30; SAT, SUN, TUE, THU 1:45

SCOTT PILGRIM VS. THE WORLD

(PG violence) DAILY 7:00 9:15; Sat, Sun, Tue, Thu 2:00

VAMPIRES SUCK (14A crude content) DAILY 7:10 9:00; SAT, SUN, TUE, THU 1:50

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

ON MOONLIGHT BAY (PG) MON 8:00 GALAXY�SHERWOOD PARK 2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150

PIRANHA 3D (18A gory scenes, brutal

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THE SWITCH (PG mature subject matter,

not recommended for young children) Digital Cinema DAILY 1:00, 4:05, 6:40, 9:25

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

PIRANHA 3D (18A gory scenes, brutal vio-

lence, nudity) DAILY 6:55, 9:15; SAT�SUN, TUE, THU 12:55, 3:15

NANNY MCPHEE RETURNS (G) DAILY 7:00, 9:05; SAT�SUN, TUE, THU 1:00, 3:05

VAMPIRES SUCK (14A crude content)

DAILY 7:05, 9:00; SAT�SUN, TUE, THU 1:05, 3:00

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 EAT PRAY LOVE (PG language may offend) DAILY 6:45, 9:30; SAT, SUN, TUE, THU 12:45, 3:30

THE EXPENDABLES (18A brutal violence)

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

SCOTT PILGRIM VS. THE WORLD

(PG violence) DAILY 7:10, 9:25; SAT, SUN, TUE, THU 1:10, 3:25; Movies for Mommies: TUE, AUG 24 10:00am

PRINCESS 10337-82 Ave, 780.433.0728

AGORA (14A) DAILY 6:50, 9:10; SAT�SUN 2:00 HUGH HEFNER: PLAYBOY, ACTIVIST AND REBEL (14A nudity) DAILY 7:00, 9:20; SAT�SUN 2:30

VAMPIRES SUCK (14A crude content) No

SCOTIABANK THEATRE WEM

THE EXPENDABLES (18A brutal violence)

PIRANHA 3D (18A gory scenes, brutal

passes DAILY 1:20, 4:20, 7:05, 9:30

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

EAT PRAY LOVE (PG language may offend) DAILY 12:30, 3:30, 6:45, 10:00

SCOTT PILGRIM VS. THE WORLD (PG

WEM, 8882-170 St, 780.444.2400

violence, nudity) Digital 3D DAILY 1:45, 4:15, 7:15, 9:40

NANNY MCPHEE RETURNS (G) No

passes DAILY 1:10, 4:10, 7:10, 9:50

VAMPIRES SUCK (14A crude content) No

No passes, Dolby Stereo Digital DAILY 12:00, 3:20, 6:45, 10:00

violence) DAILY 1:05, 4:00, 6:50, 9:35

THE EXPENDABLES (18A brutal violence)

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

THE EXPENDABLES (18A brutal vio-

CATS AND DOGS: THE REVENGE OF KITTY GALORE (G) DAILY 12:45 DINNER FOR SCHMUCKS (14A) DAILY

EAT PRAY LOVE (PG language may of-

Stadium Seating, Dolby Stereo Digital DAILY 12:10, 2:45, 5:20, 7:55, 10:30

VAMPIRES SUCK (14A crude content) Dolby Stereo Digital DAILY 12:20, 2:40, 5:00, 7:20, 9:40 PIRANHA 3D (18A gory scenes, brutal

violence, nudity) Digital 3d, Stadium Seating

DAILY 12:25, 2:55, 5:15, 7:45, 10:15

SALT (14A) Stadium Seating, DTS Digital DAILY 12:30

DINNER FOR SCHMUCKS (14A)

DTS Digital, Stadium Seating DAILY 3:45, 7:30, 10:20

SCOTT PILGRIM VS. THE WORLD

(PG violence) Stadium Seating, DTS Digital FRI�SUN, TUE�THU 12:40, 3:30, 7:00, 9:45; MON 12:40, 3:30, 9:45

THE OTHER GUYS (PG coarse language,

crude sexual content, not recommended for young children) Dolby Stereo Digital, Stadium Seating DAILY 12:50, 3:50, 7:10, 10:05

INCEPTION (PG violence)

DTS Digital, Stadium Seating DAILY 12:05, 3:25, 6:50, 10:10

THE SWITCH (PG mature subject matter, not recommended for young children) DTS Digital, Stadium Seating DAILY 12:15, 2:50, 5:25, 8:00, 10:35 CLAREVIEW 10 4211-139 Ave, 780.472.7600

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) DAILY 1:40, 4:40, 7:15, 9:50

STEP UP 3D (PG) Digital 3d DAILY 6:55, 9:30 EAT PRAY LOVE (PG language may offend)

No passes FRI�SUN 12:30, 3:30, 6:35, 9:40; MON� THU 12:30, 3:30, 6:35, 9:40

THE EXPENDABLES (18A brutal violence) DAILY 1:30, 4:10, 6:50, 9:35

SCOTT PILGRIM VS. THE WORLD (PG

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

DESPICABLE ME 3D (G) Digital 3d DAILY 1:15, 3:50

VAMPIRES SUCK (14A crude content) DAILY 1:00, 3:15, 6:40, 9:20

LOTTERY TICKET (PG, violence, language

may offend) No passes DAILY 1:45, 4:30, 7:20, 9:55

THE SWITCH (PG mature subject matter, not

recommended for young children) DAILY 12:50, 3:40, 7:05, 9:45

NANNY MCPHEE RETURNS (G) DAILY 12:20, 3:00, 6:30, 9:15

THE OTHER GUYS (PG coarse language,

12:50, 3:50, 7:00

SALT (14A) DAILY 9:45 INCEPTION (PG violence) DAILY 3:15, 6:30, 9:55

DESPICABLE ME 3D (G) DAILY 1:40, 4:15,

6:55, 9:20

passes DAILY 12:20, 2:45, 6:30, 9:20 lence) DAILY 1:50, 4:50, 7:30, 10:20

fend) DAILY 12:10, 3:30, 6:45, 9:50

SCOTT PILGRIM VS. THE WORLD

(PG violence) FRI�TUE, THU 1:00, 4:00, 7:00, 10:00; WED 4:00, 7:00, 10:00; Star & Strollers Screening: WED 1:00

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) DAILY 1:30, 4:30, 7:40, 10:30 STEP UP 3D (PG) Digital 3D DAILY 1:40,

4:40, 7:20, 10:10

GARNEAU 8712-109 St, 780.433.0728

GET LOW (PG) DAILY 7:00, 9:10; SAT�SUN 2:00

GRANDIN THEATRE�ST ALBERT Grandin Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822

DINNER FOR SCHMUCKS (14A) FRI� TUE, THU 1:20, 4:20, 7:30, 10:15; WED 1:20,

4:20, 7:10

SALT (14A) DAILY 6:50, 9:30 INCEPTION (PG violence) DAILY 2:00, 6:30,

10:00

THE EXPENDABLES (18A brutal violence)

INCEPTION: THE IMAX EXPERIENCE

CATS AND DOGS: THE REVENGE OF KITTY GALORE (G) DAILY 1:05 SCOTT PILGRIM VS. THE WORLD (PG

DESPICABLE ME 3D (G) Digital 3D DAILY 12:40, 3:40, 6:40, 9:15

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

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

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

NANNY MCPHEE RETURNS (G) No passes DAILY 12:45, 2:45, 4:50, 6:55, 9:00

VAMPIRES SUCK (14A crude content) DAILY 12:55, 2:30, 4:20, 6:00, 7:45, 9:40

LEDUC CINEMAS Leduc, 780.352.3922

THE EXPENDABLES (18A brutal violence)

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

CATS AND DOGS: THE REVENGE OF KITTY GALORE (G) DAILY 1:05, 3:30 VAMPIRES SUCK (14A crude content) DAILY 1:10, 3:20, 7:10, 9:20

NANNY MCPHEE RETURNS (G) DAILY 1:00, 3:25, 7:00, 9:25

EAT, PRAY, LOVE (PG language may of-

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

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

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

THE TWILIGHT SAGA: ECLIPSE (PG

violence) DAILY 12:50, 3:50

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

THE EXPENDABLES (18A brutal violence)

Dolby Stereo Digital FRI 7:00, 9:40; Sat-Sun 1:15, 4:00, 7:00, 9:40; MON�THU 5:30, 8:30

NANNY MCPHEE RETURNS (G) Dolby Stereo Digital FRI 6:30, 9:10; SAT�SUN 12:45, 3:25, 6:30, 9:10; MON�THU 5:00, 8:00

EAT PRAY LOVE (PG language may offend) DTS Digital, No passes FRI 7:25; SAT�SUN 12:30, 3:50, 7:25; MON�THU 7:25

THE SWITCH (PG mature subject matter,

not recommended for young children) DTS Digital FRI 6:45, 9:25; SAT�SUN 1:00, 3:35, 6:45, 9:25; MON�THU 5:15, 8:15

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

THE SWITCH (PG mature subject matter,

not recommended for young children) DAILY 1:10, 3:40, 7:10, 9:40

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

NANNY MCPHEE RETURNS (G) DAILY

DEDFEST 2010 FILMS (STC) New indepen-

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

dent horror 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 19 – AUG 25, 2010

1:00, 3:25, 7:00, 9:25

THE EXPENDABLES (18A brutal violence) SCOTT PILGRIM VS. THE WORLD (PG

violence) DAILY 12:55, 3:35, 6:55, 9:35

FILM // 39

INSIDE // MUSIC

MUSIC

Enter Sandor

49 49

Online at vueweekly.com >>MUSIC

Music Notes Gutterdance

Slideshow: Levon Helm at the Edmonton Folk Festival

COVER // JIMMIE VAUGHAN

Still got the blues

Jimmie Vaughan plays his favourite songs on his first album in nine years JV: It sounds like it's always going to blow up. And it sounds like you're not going to get there, but you always do— hopefully. You don't know if you're going to make it, but somehow, usually you do.

Eden Munro // eden@vueweekly.com

immie Vaughan started his solo career in 1994, but it was a long road getting to that first album. The Texan guitarist recorded his first album with the Fabulous Thunderbirds in 1979 and he stuck with that group through to 1989, when he split and recorded Family Style with his younger brother, guitarist Stevie Ray Vaughan. Tragically, Stevie Ray passed away in a helicopter crash before that album was released, and it would take another four years before the elder Vaughan released Strange Pleasure. Over the past decade and a half, Vaughan has released several more albums, with his latest, Plays Blues, Ballads & Favorites, coming this year. Vaughan recently spoke with Vue Weekly ahead of his Friday night performance at Edmonton's Labatt Blues Festival. VUE WEEKLY: This is your first album in nine years. Why so long, and what was it that made you decide this was the time? JIMMIE VAUGHAN: I have several excuses—probably about 15 different ones that I use—but really and truly, I got married and I had twin daughters, and I really enjoyed being with them, and that's the main thing. The last album that I had out was Do You Get the Blues?, but I've done a couple of albums in between with other people, and I play music every day and I play guitar every day, and I've played a lot of gigs, so it's not like I've been sitting at home. But at the same time, I sort of have a love/ hate relationship with the music business: I like the music part, I don't like the business part. So there were a lot of different reasons, but I just decided that that I would wait until I really felt like I needed to do it for fun. That's just the way it works for me. And I don't really hate the business part. I just like the music part a lot

CLASSIC STYLE >> Jimmie Vaughan loves Fender guitars and classic cars

// Todd V Wolfson

more. I love the music part and I do better when I just play the music and not worry about the other stuff. But anyway, I became inspired and one thing led to another and we knocked this album out pretty quick. It all just sort of fell into place as opposed to pushing it.

JV: Yeah, I did. I'm about halfway into another album. VW: Was that intentional when you started working on this one? JV: Well, no. When it rains, it pours, you know? It just felt right and it all just sort of landed in my lap.

VW: How quickly did you record it? JV: We probably did it in about six months on and off. It wasn't straight through. The way I record nowadays is that I pretend that I'm making singles—45s—where I'll go to do two or three at a time and mix them and then I'll find a couple other songs—especially on this [album]—that I want to do. I just pretend that I'm making 45s. I know it doesn't have anything to do with reality, but that's the way I like to do it because it takes the pressure off trying to find a whole album of songs that go together.

VW: Was it difficult narrowing down the songs for this album? JV: No, it wasn't. I just stick to ones that I like, and I would sit and I would think, "Well, this one I can do an arrangement that sounds like my band—I know my band could really do this one and I like this tempo." Really, you just find a song you like that maybe you've enjoyed for a long time over the years. It's really fun dreaming this stuff up and figuring out what you can do and what you can't do. And the only way you can figure out whether you can do it or not is you have to try it. And most of the time it works.

VW: Did you record more songs than made it on there?

VW: You were playing live during that

time that you didn't have a new album out. Is that as important to you as recording? JV: Oh, it's more important to me. I play every day. I play at home, or I play a gig, or I play with somebody, or I play with my band. I play every day and I have since—I can't remember when I didn't play every day. But I love recording, too. As long as you record what you really feel is what works for me. VW: There's that famous quote about the blues being three chords and the truth. Do you ever think about what the blues is to you? JV: The blues is just popular music about life. It's difficult to describe it— it's got everything in it: it's got history, it's got roots, it's in the moment. We recorded it and most of this stuff is live. We went in there and set up our equipment, had a soundcheck and played our songs. That's in the moment, isn't it? It's dance music, also, but when you get to the solo it's like jazz in the sense that it's improvised. It has a basic structure, it has a framework, but anything that can happen, if you can go there, as long as you can get back you can do it. VW: A common misconception is that the blues is easy to play because of the structure, but that framework gets pushed a lot. JV: Yeah, absolutely. And that's really what it's all about: tension. It's creating tension. VW: And the best moments are when that tension builds and builds.

40 // MUSIC

VUEWEEKLY // AUG 19 – AUG 25, 2010

VW: When you were a kid first getting into this, were there specific albums that turned you onto the blues? JV: Yes, I had a couple of Freddie King albums that somebody gave me. And of course I had Eric Clapton, and I had Chuck Berry and I had Lonnie Mack records. I had Jimmy Reed records. I remember this guy hired me to play on a recording session—he was a harmonica player and I went over there and played a Freddie King thing on the solo and he goes, "Cool it with the Freddie King, son." So after the session he gave me a best of Muddy Waters and a best of Little Walter, and he said, "Here, go and learn this and then call me." And it was great because I did. VW: That's the way it's done: you start by copying, and by doing that and trying to push the walls, eventually you find your own voice. JV: Absolutely. I would buy Freddie King or BB King or Eric Clapton and I would copy each phrase and try to play it along with the record, and I was always fascinated by how these people know what they're going to play next, so I sort of imagined if I was in a room with all of my favourite guitar players and we were all going around and around with our guitars, when it got to me what was I going to do, because I couldn't do what they did. And so I realized that you have to ask yourself, "What do you want to hear? What's your favourite thing? If you could hear anything in the world, what is it?" And then you try to play that. So it's kind of like creative writing or something, I guess. You have to ask yourself what it is you do, and then try and do that. And then the rest of it is just doing it. You just do it and do it and do it, and then the things that you think you can't do, you finally learn how to do it a little better and a little better and next thing you know you're doing it and you're moving on to something else. V Fri, Aug 20 – Sun, Aug 22 Edmonton's Labatt Blues Festival Jimmie Vaughan Heritage Amphitheatre, Hawrelak Park, $40 – $90 Complete schedule at bluesinternationalltd.com

PREVUE // THE BIRTHDAY CAKES

A prog-pop party

Birthday Cakes release an Expansion Pack David Berry // david@vueweekly.com

ou can't fault the Birthday Cakes' sense of humour. For the group's second album, the trio of Sudbury brothers decided to do something a bit different, cramming four intricately concise songs onto your standard seven-inch single. The title? Expansion Pack. But as Cakes singer and oldest brother Clayton Drake explains, it isn't just a matter of semantics: he considers the sub-10-minute burst of proginfluenced post-rock a fully cohesive statement, albeit one that is made a lot shorter than some of his influences have ever managed. "It's kind of influenced by '70s prog rock, and I thought about how the reason why the album became the default format for releasing music was because these '70s prog bands released these full-length records, and used that to experiment with song length and unified structures and stuff like that," he explains. "But I thought about how the seven-inch and how it's always been a one-off, single kind of thing, but since our songs are so short, I thought it might be fun to use that format as a full-length album format. It was fun to put that much thought and time into such a short burst." You wouldn't think two-minute songs could really show a lot of prog influence, but Clayton and his brothers— Cameron and Carter round out the trio of alliterative siblings—manage to condense Yes- and King Crimsonlike grandeur quite ably, trading the expansive, operatic spaces for the tunefulness and easy hooks of more traditional pop, something like re-

C'MON GET HAPPY >> The Birthday Cakes get poppy with prog-rock influences // Supplied ducing a crossword puzzle into an acrostic poem. It wasn't necessarily how they set out, says Clayton, but as Expansion Pack reveals, it's a style that is paying some dividends. "We were trying to write pop songs, at first—and I still think of these songs as catchy enough and memorable enough to be pop songs—but as sometimes happens, we kind of got away from that," he says. "We still like to keep it short, because it's nice to keep that framework to work around: it gives the songs some immediacy, and keeps things fun. We don't want to write ballads." V Tue, Aug 24 (8 pm) The Birthday Cakes With guests Hydeaway

VUEWEEKLY // AUG 19 – AUG 25, 2010

MUSIC // 41

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

THU AUG 19 BLUES ON WHYTE Mocking Shadows 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 8pm-midnight 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 DUSTER'S PUB Thu open jam hosted by the Assassins of Youth (blues/rock); 9pm; no cover DV8 Open mic Thu hosted by Cameron Penner/ and/or Rebecca Jane DV8 Abigail's Cross; 10pm2am ENCORE CLUB With A Latin Twist: free Salsa Dance Lessons at 9pm EXPRESSIONZ CAFÉ Open stage every Thu; 7-11pm HAVEN SOCIAL CLUB Kirby Sewell Band, The Apresnos, Barry Campbell Band; 7:30pm (door); $15 (door, first 50 people get a free Kirby Sewell CD) 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

JEFFREY'S CAFÉ Terry McDade's Harpe Jazz featuring Doug Gerry; $15 L.B.'S PUB Thu Open jam with Ken Skoreyko, Fred Larose, and Gordy Mathews; 9pm-1am

WILD WEST SALOON Quentin Reddy

180 DEGREES Sexy Fri night

BLACK DOG FREEHOUSE Big Rock Thu: DJs on 3 levels–Topwise Soundsystem spin Dub & Reggae in The Underdog

ARTERY The Get Down, guests (rock show, experimental dance theatre); 9pm (door); $5 (door)

PAWN SHOP The Give 'Em Hell Boys, Kurt West Express, Whiskey Wagon, Chis Mostoway; 9pm (door); $8 (adv)/$10 (door)

AVENUE THEATRE Action News Team, Grub Animal, The Minimums; 9pm (door); no minors; $10

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am

BLUES ON WHYTE Mocking Shadows

RIVER CREE�the Venue The Michael Jackson experience (tribute); 8pm; $20

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: DJ at 9pm FILTHY MCNASTY’S Punk Rock Bingo with DJ S.W.A.G.

LYVE ON WHYTE Matt Landry and the Dry Land Band, Crystal Kid, Electric Love Song; 8pm

FLUID LOUNGE Girls Night out

NAKED CYBERCAFÉ Open stage every Thu; bring your own instruments, fully equipped stage; 8pm NEW CITY SUBURBS Hair (rock musical presented by Mango Theatre) NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers PAWN SHOP Fire Next Time (CD release), Audio/Rocketry, Feast or Famine, Fox Opera; pm (door); $8 (adv)/$10 (door) RIC’S GRILL Peter Belec (jazz); every Thu; 7-10pm RUSTY REED'S HOUSE OF BLUES Rusty Reed Band; 8:30pm-12; no cover SECOND CUP�Varscona Live music every Thu night; 7-9pm SYLVAN LAKE JAZZ FESTIVAL�Sylvan Lake Golf Club Tournament House Jazz at the Lake: Johnny Summers Little Big Band (swing dance/concert); 8pm; $20 TAPHOUSE�St Albert Soundstem, The Phantom Creeps, Random Falter; 9:30pm WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close

ON THE ROCKS Mourning Wood, DJs

DJs

LIVE WIRE BAR Open Stage Thu with Gary Thomas

MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm

FRI AUG 20

FUNKY BUDDHA�Whyte Ave Requests with DJ Damian GAS PUMP Ladies Nite: Top 40/dance with DJ Christian HALO Thu Fo Sho: with Allout DJs DJ Degree, Junior Brown KAS BAR Urban House: with DJ Mark Stevens; 9pm LEVEL 2 LOUNGE Absolut Thu: with DJ NV and Joey Nokturnal; 9:30pm (door); no cover LUCKY 13 Sin Thu with DJ Mike Tomas 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

BLUES FESTIVAL MonkeyJunk, Candye Kane, Jimmie Vaughan; 4:30pm (gate), 5:30-10pm (show); $75 or $90 (weekend pass)/$40 (Fri) BOHEMIA Downtempo Discotheque: a midi enabled live techno night; 8pm BRIXX BAR Party For Pets: fundraiser for the Edmonton Human Society with Matthew Dilts and Heaviside (music); Drew Behm and Scott Belford (stand-up comedy); 9pm; $12 (door) CARROT Live music Fri: all ages; Blake Paul; 7pm; $5 (door) CASINO EDMONTON Stars Tonight (tribute) CASINO YELLOWHEAD Robin Kelly (Elvis tribute) COAST TO COAST Open Stage every Fri; 9:30pm DV8 Tighten Up Vol 5; 9pm-2am ENCORE CLUB 4 Play Fri HAVEN SOCIAL CLUB North Cote, Zachary Lucky, The Bravest Ghost, guests; 7:30pm (door); $10 (door) IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests

RUSTY REED'S HOUSE OF BLUES Tim William; 9pm-1am STARLITE ROOM Boris, Red Sparowes; 8pm; $17 at TicketMaster, Blackbyrd STEEPS�Old Glenora Live Music Fri SYLVAN LAKE JAZZ FESTIVAL –Sylvan Lake Lodge: H.O.T. Dixieland Jazz Band (concert and sing-along for residents); *he3 ^j]] Railway Park Promenade: RDC Percussion; 4:30pm; free Stevenson Performing Arts Centre: Emilie-Claire :Yjdgo Imafl]l 0he3 +- Lions Hall: Late Night Lions Jazz Club; 10pm; live music donation TAPHOUSE�St Albert Columbia, Seth Anderson, The Martingales; 9:30pm TOUCH OF CLASS� Chateau Louis Dwayne Cannan (blues and roots, country, '50s/'60s, originals) 8:30pm-12:30am WILD BILL’S�Red Deer Mindweiser, Taking Medication; 9pm; no cover WILD WEST SALOON Quentin Reddy WOK BOX Breezy Brian Gregg; 3:30-5:30pm

JEFFREY'S CAFÉ Terry McDade's Harpe Jazz featuring Doug Gerry; $15

WUNDERBAR Sabre Jets

JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/rock); 9pm; no cover

AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation

LAUGH SHOP The Rault Brothers; 9pm-1am

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

LYVE ON WHYTE All The King’s Men; 9pm (show) NEW CITY SUBURBS Hair (rock musical presented by Mango Theatre)

DJs

BAR�B�BAR DJ James; no cover BAR WILD Bar Wild Fri

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 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLUES FESTIVAL Hawrelak Park, bluesinternationalltd.com BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464-153 St, 780 424 9467 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 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 Drive, 780.704.CLUB DEVANEY’S IRISH PUB 901388 Ave, 780.465.4834

42 // MUSIC

DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St, DV8TAVERN. com EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 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 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 JEKYLL AND HYDE / HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South

VUEWEEKLY // AUG 19 – AUG 25, 2010

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 KAS BAR 10444-82 Ave, 780.433.6768 LAUGH SHOP Blackfoot Rd, Sherwood Park, 780 417 9777 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 NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 O’MAILLE’S IRISH PUB�St Albert 104, 398 St Albert Rd 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 10220103 St PLEASANTVIEW COMMUNITY HALL 1086057 Ave REDNEX BAR�Morinville 10413-100 Ave, Morinville, 780.939.6955, rednex.ca RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St 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 SYLVAN LAKE JAZZ FESTIVAL ,(+&00/&*+,-$ bYrrYll`]dYc]&[ge Lions Hall, -(9 9n]$ -)9 Kl Lions Legacy Park Gazebo$ -( Kl$ ,0 9n] Railway Park Promenade: East Dgl gf ,1 9n] Stevenson Performing Arts Centre, H.J. ;g\q K[`ggd$ ,-*(%-( Kl Sylvan Lake Lodge, 4700-47 9n] Golf Club Tournament House$ -( 9n]$ .( Kl Library, ,/)-%-( 9n] Memorial Presbyterian Church, 5020-48 Kl Marina Bay Community Room Waterside Deck (rain: Marina Bay community rm) SYLVAN LAKE JAZZ FESTIVAL�Pub Crawl bYrrYll`]dYc]&[ge Bayview Café, Bay 9, 5100 Lakeshore <j Pete's at the Beach, 4711 DYc]k`gj] <j Chef Francisco Pub$ ,.(1 DYc]k`gj] <j Lions Hall$ -(9 9n]$ -)9 Kl Lakers Pub, 4715 Lakeshore Dr Chief 's Pub, 4707 Lakeshore <j Inn at the Lake, 5004-33 Kl Fireside Restaurant, 4907 Lakeshore Dr TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 WILD BILL’S�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer WILD WEST SALOON 1291250 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com

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 at 9pm EMPIRE BALLROOM Rock, hip hop, house, mash up; no minors

CASINO EDMONTON Stars Tonight (tribute) CASINO YELLOWHEAD Robin Kelly (Elvis tribute) 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 Sat DJ at 9pm GAS PUMP Blues Jam/ open stage every Sat 3-6pm, backline provided HAVEN SOCIAL CLUB Elephant Train, Beyond Addiction, guests

WILD WEST SALOON Quentin Reddy

BLUES FESTIVAL Bob Brozman, James Harman and Steve Kozak; Boogie Woogie Blowout with Mitch Woods and His Rocket 88's, Honey Piazza and Caroline Dahl; Willie "Big Eyes" Smith Band with Special Guest Bob Margolin; Curtis Salgado Big Band; 1pm (gate), 2:30-10pm (show); $45

WUNDERBAR Xplosianasian with Lady Killers

BOHEMIA Ramshackle day parade; 8pm (show); $5 (door)

Association (CCMA): local, up-and-coming country music artists (RBC Emerging Artists Project); 2pm; every Sat until Sep 11

WILD BILL’S�Red Deer Friends of Otis, Taking Medication 9pm; no cover

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

ESMERELDA'S Ezzies Freakin Frenzy Fri: Playing the best in country

HILLTOP PUB Open stage/ mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm

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

HYDEAWAY–Jekyll and Hyde Swamp Sex Robots, friends; 7pm

CENTURY ROOM Underground House every Sat with DJ Nic-E

GAS PUMP Top 40/dance with DJ Christian

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

EMPIRE BALLROOM Rock, hip hop, house, mash up

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 21 180 DEGREES Dancehall and Reggae night every Sat ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12

IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JAMMERS PUB Sat open jam, 3-7:30pm; country/rock band 9pm-2am LAUGH SHOP The Rault Brothers; 9pm-1am L.B.’S PUB Sat afternoon open jam with Gator and friends at 5-9pm; Late show: Big Daddy and the Blues Hounds at 9pm-2am LYVE ON WHYTE All The King’s Men; 9pm (show) MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm NEW CITY LIKWID LOUNGE Skullfist, Meanstreak NEW CITY SUBURBS Hair (rock musical presented by Mango Theatre) O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm O’MAILLE’S IRISH PUB�St Albert Big and Fearless (classic rock); 9pm ON THE ROCKS Mourning Wood, DJs PALACE CASINO�WEM All the Rage in Dallas PAWN SHOP Jordan Cook (CD release); 10pm-1:30am RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am

AVENUE THEATRE Colour in Conflict, The Lady Killers, The Juice, The Pacifics, Highly Respectable Gondoliers; no minors; 8pm (door); $10

RIVER CREE�The Venue Travis Tritt; 8pm

AXIS CAFÉ�Metro Room Tessa Kautzman Trio (pop, electronic, folk); 8pm; $10

STARLITE ROOM Al-P, Mstrkrft, Classixx

BLACK DOG FREEHOUSE Hair of the Dog: Flying Fox and the Hunter Gatherers (live acoustic music every Sat); 4-6pm; no cover BLUES ON WHYTE Mocking Shadows BLUES FESTIVAL Tom Rigney and Flambeau, The Twisters, Henry Gray and the Cats, Super Chikan and the Fighting Cocks, Rod Piazza and the Mighty Flyers; 1pm (gate), 2:30-1pm (show); $45 (Sat) BOHEMIA Tevin, CEO, El Brenno; 9pm (show); $5

RUSTY REED'S HOUSE OF BLUES Rust Reed Band open stage at 4-8pm; Tim Williams; 9pm-1am

SYLVAN LAKE JAZZ FESTIVAL Lions Legacy Park Gazebo: H.O.T. Dixieland Jazz Band (outdoor picnic concert); ))Ye%)he3 ^j]] Lions Hall: Steve Pineo and the Monday Night Band at 1-4pm, $20; Late Night Lions Jazz Club at 10pm, \gfYlagf Stevenson Performing Arts Centre: Kent Sangster, members of the Edmonton Jazz Orchestra ( jazz workshop) at 4-5:30pm, free; The 18-piece Edmonton Jazz Orchestra at 8pm, $35

BRIXX BAR Sister Gray (CD release), Fools Tongue, Self Evolution; 9pm; $12 (door)

TOUCH OF CLASS� Chateau Louis Dwayne Cannan (blues and roots, country, '50s/'60s, originals) 8:30pm-12:30am

CARROT Open mic Sat; 7:30-10pm; free

WEM�Newcap Stage Canadian Country Music

BUDDY'S DJ Earth Shiver 'n' Quake; 8pm; no cover before 10pm

ENCORE CLUB So Sweeeeet Sat ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Sat Gone Gold Mash-Up: with Harmen B and DJ Kwake FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes LEVEL 2 LOUNGE Signature Sound Sat: with DJ's Travis Mateeson, Big Daddy, Tweek and Mr Wedge; 9:30pm (door); $3; 780.447.4495 for guestlist NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri NEW CITY LIKWID LOUNGE Punk Rawk Sat with Todd and Alex NEW CITY SUBURBS Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay PAWN SHOP SONiC Presents Live On Site! AntiClub Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door) PLANET IDIGO�Jasper Ave Suggestive Sat: breaks electro house with PI residents PLAY NIGHTCLUB Every Sat with DJ Showboy; 8pm (door) RED STAR Sat indie rock, hip hop, and electro with DJ Hot Philly and guests RENDEZVOUS Survival metal night SPORTSWORLD Roller Skating Disco Sat; 1pm4:30pm and 7-10:30pm STOLLI’S ON WHYTE Top 40, R&B, house with People’s DJ TEMPLE Oh Snap!: Every Sat, Cobra Commander and guests with Degree, Cobra Commander and Battery; 9pm (door); $5 (door) Y AFTERHOURS Release Sat

SUN AUG 22 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: Audrey Ochoa-(trombone); $25 if not dining

B�STREET BAR Acousticbased open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DEVANEY’S IRISH PUB Celtic Music Session, hosted by Keri-Lynne Zwicker, 4-7pm DV8 ISKRA, Wake, Icoceles Project, Bat - L'eth; 5:308:30pm EDDIE SHORTS Sun acoustic oriented open stage hosted by Rob Taylor HYDEAWAY Sun Night Songwriter's Stage: hosted by Rhea March J AND R BAR Open jam/ stage every Sun hosted by Me Next and the Have-Nots; 3-7pm NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm NEW CITY Open Mic Sun hosted by Ben Disaster; 9pm (sign-up); no cover NEW CITY SUBURBS Hair (rock musical presented by Mango Theatre) O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ON THE ROCKS Seven Strings presents: Malibu Knights, Matt Blais ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm RUSTY REED'S HOUSE OF BLUES Rusty Reed's open stage; Sun 3-6pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm SYLVAN LAKE JAZZ FESTIVAL Memorial Presbyterian Church: Jim Guloien/Audrey Graham Jazz Duo (Sun service); 10:30am; ^j]] Library: Jazz for Kids: H.O.T. Dixieland Jazz Band; )he3 ^j]] Lions Legacy Park Gazebo: Jazz Explosion, Flat Iron Jazz; 2-4pm; free Marina Bay Community Room Waterside Deck (rain: Marina Bay community rm) H.O.T. Dixieland Jazz Band; +%-he3 ^j]] Golf Club: Farewell Jam Session; 7pm; reserve at 403.887.3030 SYLVAN LAKE JAZZ FESTIVAL�PUB CRAWL Bayview Café: Deanne Matley, Tricia Edward; ))2+(Ye%*2+(he Pete's: Glen Charles Halls World >mkagf Ljag3 )%,he Chef Francisco Pub: Shadoplay :Yf\3 )2+(%,2+(he Lions Hall: Cornerpocket Trio; *%-he Lakers Pub: Juanita >YYk <mg3 *%-he Chief 's Pub: C-Note Tri; 2:30-2+(he Inn At the Lake: Claude Godin Quarte; 3-6pm Fireside Restaurant: Jim Guloien Quartet; 3-6pm WUNDERBAR Going Away, guests

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 23 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE Lonnie Shields DEVANEY'S IRISH PUB Open stage Mon with Ido Vander Laan and Scott Cook; 8-12 LYVE ON WHYTE Up Close and Personal: Finger Eleven (CD release, performance, listening party); 8pm NEW CITY This Will Hurt you Mon: Johnny Neck and his Job present mystery musical guests PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm REXALL PLACE Black Eyed Peas; 7:30pm ROSE BOWL/ROUGE LOUNGE The Legendary Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm RUSTY REED'S HOUSE OF BLUES Blue Mon: Jammin' with Jim Guiboche; 8pm-12 WINSPEAR Duo Majoya: (organ duets on the Davis concert organ) Duo Majoya (Marnie Giesbrecht and Joachim Segger); 12pm; free

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 24 BLUES ON WHYTE Lonnie Shields BRIXX BAR Troubadour Tue: with Kaley Bird and Jaird; hosted by 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 with guest Nathan Carroll; 9pm DV8 Mean Tangerine, The 1/2 Chance Heroes; 10pm-2am L.B.’S PUB Ammar’s Moosehead Tue open stage; 9pm NEW CITY LIKWID LOUNGE Open Mic; Hosted by Ben Disaster; 9pm

VUEWEEKLY // AUG 19 – AUG 25, 2010

MUSIC // 43

NEW CITY SUBURBS The Business, Intensives, Skully and the Hypocrites, Kroovy Rookers; no minors; 8pm (door); $13 (adv at New City, Blackbyrd, Freecloud O’BYRNE’S Celtic Jam with Shannon Johnson and friends OVERTIME Tue acoustic jam hosted by Robb Angus RUSTY REED'S HOUSE OF BLUES Tue Open stage acoustic session with Marshall Lawrence; Tue 8pm-12

DJs 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

COPPERPOT RESTAURANT Live jazz every Wed night: Audrey Ochoa CROWN PUB Creative original Jam Wed (no covers): hosted by Dan and Miguel; 9:30pm12:30am

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

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

FESTIVAL PLACE Patio Series: Erica Viegas (singer-songwriter), Lizzy Hoyt (Celtic); 7:30pm $8

RIVER CREE Wed Live Rock Band hosted by Yukon Jack; 7:30-9pm

FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12

RUSTY REED'S HOUSE OF BLUES Wed open stage with with Danny Coady and Friends Band; 8:30pm-12

SECOND CUP�124 Street Open mic every Tue; 8-10pm

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

SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm

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

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

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

HAVEN SOCIAL Open stage with Jonny Mac, 8:30pm, free

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

WED AUG 25

LEVEL 2 LOUNGE Open mic

STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm TAPHOUSE�St Albert Misguided Aggression (Woodstock), Odium (Hanover), guests; 8pm WUNDERBAR Locomotive Ghost, guests

44 // MUSIC

BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed BLUES ON WHYTE Lonnie Shields BRIXX BAR Really Good… Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no cover

PAWN SHOP Spark: Industry Party

GOOD EARTH COFFEE HOUSE Breezy Brian Gregg; 12-1pm

JEFFREY'S CAFÉ Lora Jol (pop/ rock singer/songwriter); $10 LYVE ON WHYTE Sarah Burton, Cindy Doire, Sean Foster, Ben Disaster NEW CITY Circ-O-RamaLicious: Gypsy and circus fusion spectaculars; last Wed every month OVERTIME Dueling pianos featuring The Ivory Club

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

Nights: with DJ Harley

BLACK DOG FREEHOUSE Main Floor: Blue Jsrit 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 IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set LEGENDS PUB Hip hop/R&B with DJ Spincycle NEW CITY LIKWID LOUNGE DJ Roxxi Slade (indie, punk and metal) NEW CITY SUBURBS Shake It: with Greg Gory and Eddie Lunchpail; no minors; 9pm (door) RED STAR Guest DJs every Wed

TEMPLE Wyld Style Wed: Live hip hop; $5

STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm

WUNDERBAR Play Guitar, guests

STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; beatparty.net

DJs BANK ULTRA LOUNGE Wed

VUEWEEKLY // AUG 19 – AUG 25, 2010

COMMENT >> THE FIRST TIME

The good old days

Early concerts are formative experiences

There are two types of rock journalists: weren't formative concert experiences, like those who came into the business as comthe first time I found myself in a mosh pit as pulsive list-makers, and those who bethe Dead Milkmen began with "Tiny Town" came compulsive list-makers shortly at Toronto's Concert Hall. Or when I after being asked to write their nearly had my long hair yanked first-ever best-album, best-song right out of my skull during a or best-concert articles. Mudhoney show in 1991. Or We feel the need to list and/or that time Buffalo Tom played .com ly k e e @vuew rank everything. Without lists, so deafeningly loud in Toronto's steven there would be no Rolling Stone, Steveonr tiny Lee's Palace, after following Spin or Pitchfork. up the Smashing Pumpkins, who Sand So, when I stumbled upon Songopened the show. kick.com, this past week, I was hooked. I can still recall those shows as if, cough, Songkick is a site that allows you to search they didn't happen two decades ago. But, bands from all over the world and a) plan while they were outstanding shows, I have when you are going to see them play live to think about when I saw Radiohead (Caland b) list all the times you've seen the gary, yes ... Calgary). Was it the Archers of band in the past. Loaf or Superchunk who my friends and I After you've archived a few shows, you get stood outside in line for hours at Calgary's a timeline attached to your profile listing Night Gallery to see? (It was the Archers ... what shows you've attended, what bands I'm pretty sure.) you've seen and in what cities you've gone to concerts. That's the thing. Those first concerts you You'll find out the answer to burning quesgo to are like your first kiss. You'll probably tions like: Really, how many times have I do better later in life, but you never forget seen Chixdiggit? Or, did I see more shows at the first time. You remember the excitethe old Rev Cabaret or at Red's? ment of waiting for the band to go up. You Of course, not every show has a listing; remember when you actually pushed up but it's easy to create one. to the front to get as close to the band as Funny thing is, as I started searching for possible, rather than happily standing near concerts, I instinctively started inputting the back, away from the sweating mass of shows I'd seen over the last couple of years. bodies. That's obvious; those shows should be You may even remember how excited you freshest in my mind. But, I was also inputbecame when a concert with one of your fating a bunch of shows from the early '90s, vourite bands was announced. The sweaty when I started going to concerts religiously. anticipation of trying to get tickets, or trying So, there were a bunch of searches from to worm your way on a guest list. 2009 – '10, but also a bunch from the early But there comes a time when that ex1990 – '93. citement wanes. It doesn't go away, but Nothing really from 1994 – 2007 unit's not like you have to see all of the til maybe my third or fourth visit to the opening acts, right? website. So, for anyone reading this who is going Don't get me wrong. It wasn't as if I didn't out to your first show, it's gonna be one you see a decent show in that time; heck, I was will remember. No matter what. V once part owner of the Starlite Room—I have seen countless shows at the venue. Steven Sandor is a former editor-in-chief But, as good as any of the shows from of Vue Weekly, now an editor and author that 1994 – 2007 dead zone were, they living in Toronto.

ENTER

SAND

VUEWEEKLY // AUG 19 – AUG 25, 2010

MUSIC // 45

46 // MUSIC

VUEWEEKLY // AUG 19 – AUG 25, 2010

MUSIC // 47

48 // MUSIC

VUEWEEKLY // AUG 19 – AUG 25, 2010

Thu, Aug 19 (9 pm) / Fire Next Time If you're a guy who owns a whole bunch of flannel shirts and have misplaced your razor for the last three months, then Fire Next Time's raucous brand of folktinged punk is likely right up your alley. Releasing its debut full-length just prior to heading out on the road, the literary-named band will kick start its travels with a show at the Pawn Shop, where its members will no doubt be willing to accept the bristley man-hugs that accompany such an event. (Pawn Shop)

—BRYAN BIRTLES

Thu, Aug 19 – Sun, Aug 22 / Jazz at the Lake Festival If you feel like this Summer passed you by and you're desperate for something to fill the Summertime fun void in your life, then Sylvan Lake's Jazz at the Lake Festival might be just the ticket. Combining both a jazz fest and— for Edmontonian festival-goers—a roadtrip, Jazz at the Lake ticks off two boxes in your otherwise underutilized Summer fun checklist. Featuring the likes of Toronto's Emily-Claire Barlow, the Edmonton Jazz Orchestra, blues guitarist Steve Pineo and many more, this eighth-annual fest will extend your Summer, if only for a weekend. (Sylvan Lake)

Wed, Aug 25 (9 pm) / Play Guitar With roots in the Yukon and Halifax, but coming altogether in Montréal, Play Guitar seems to blend all those influences into one ragged but haunting sound. Combing the Halifax tendency towards hooky '90s college rock with the expansive atmosphere of a cold Yukon night and wrapping it all up with the Montréal penchant for screwy pop boundarypushing, Play Guitar sounds like a pioneering new strategy to use early-00s angular rock and half-filled-in chord charts to cure depression. What's more, their live show counts as the electroshock therapy part of the equation, enough to melt even the heartiest of brains and pump up the brainiest of hearts. They'll be joined by local experts in fileting your soul and flaying your mind, as the shaggy-psych heroes in Brazilian Money return from their first national tour to remind us all why we don't like to see them go. On top of it all, the vastly underrated Jazz will also be on the bill, ensuring that, if you haven't shuffled your feet, twitched your shoulders and nodded your head by the end of the night, you've probably lost your mind. (Wunderbar, $5)

—DAVID BERRY

The Get Down is playing this Fri, Aug 20, at the Artery. The time is 9 PM and the booze will flow freely until 2 AM. Come on down and say hi! Also, if you're not in the Greater Edmonton Area this coming evening, please accept my apologies, and know that you will be having a much shittier evening as a result. Sincerely, Ted

COMMENT >> LOCAL MUSIC

On integration

Local music left on the fringes of Fringe Spending an entire weekend surrounded couldn't hear on K-Rock—but most musiby thespians has a way of turning the cians I know get blank faces the instant mind to theatre, but one of the things you start talking about theatre. Edmonton has some strong artistic comthat struck me most from flipping through the Fringe program munities, but we're still an isowas the paucity of local mulated and oft-ignored place, and sic that was represented. Exthere's no better place to look for support than people who cluding the small handful of m o .c ekly vuewe are also struggling to grab lolocal musicians who actually david@ wrote plays, the Fringe is a cal audiences. Davidy The relatively few crossovers place where Edmonton doesn't Berr really seem to have a local music I can remember—I mean, besides with people like Chris Wynters scene. Easy as it would be to blame the theatre or Christian Hansen, who have theatre types for overlooking homegrown talent, backgrounds—were roundly successes: back when Trevor Anderson still did theit's really a two-way straight: theatre does have a bit of an odd tendency to- atre, the James T Kirks lent The Tunnels wards Top 40 radio—you'd think artists of Little Chicago some punk liveliness; would delve a bit deeper, but even Tom Spreepark had some weaknesses, but the Stoppard's Rock 'n' Roll, which played last rotating indie rock performances were year at the Citadel, didn't have much you not one of them; even RapidFire's deci-

R GUTTE E

DANC

sion to add a house band to the last few Improvaganzas (The Famines last year and Winnipeg's the Magnificent Sevens most recently) added an energy that even skilled improvisors couldn't bring. Incorporating more local music has the potential to increase audiences for both sides, and expose the theatre to something beyond what they hear on the radio. If anyone needs some contacts, I'd be happy to oblige. Righteous Dub Major congrats to Tim Balash and Dub Vulture, who scored dub legend The Scientist as producer for their latest record, which they're just putting the finishing touches on. Edmonton's not typically known as a dub hotspot, but recognition from one of the finest in the field speaks for itself. V

VUEWEEKLY // AUG 19 – AUG 25, 2010

MUSIC // 49

ALBUM REVIEWS

New Sounds

Matthew Dear Black City (Ghostly International) 

Roland Pemberton // roland@vueweekly.com

With Black City, techno godhead Matthew Dear has achieved the electro pop fusion hinted at by his previous efforts Backstroke and Asa Breed. Eschewing the latter's attempts at tropicalia and earnest electro folk, this record is a harsh slab of coldwave, surprisingly uncompromising in its gritty perversions, both sexually and sonically. Harnessing his time-honoured aptitude for beats with live instrumentation and a bleak view of romance, Black City is an expectedly dark affair. Harsh analogue electronics lurch around every corner, moments of musique concrète spring forth. The real is frequently made to sound unreal. This disorientation makes the moments of brightness all the more striking. "Little People (Black City)" is an Italo disco epic that expands and contracts like a pupil, unveiling new hooks at every turn, never being satisfied by its mastery of form. As original as this hybrid music is, there are still some sonic touchstones to make this fusion more palatable. The phased, breathy Middle Eastern rhythm of "Short-

wave" recalls Massive Attack's Mezzanine. "Gem" is practically foggy with ennui and regret, sounding as if Dear were trying to simulate a 21st century addendum to Bowie and Eno's Berlin trilogy. "You Put A Smell On Me" is a spiritual sequel to the Normal's "Warm Leatherette," an extended sexual metaphor starring a "big black car" and a "little red nightgown" that wouldn't have been out of place soundtracking David Cronenberg's Crash. It's no surprise I keep returning to film in my analysis; it's obvious that Dear is working in cinematic terms. Rather than a music video, he has an album megamix on YouTube featuring visuals that reference Metropolis. This music is still intimate and personally engaging but it doesn't have the bedroom feel that left Asa Breed feeling occasionally like a lark. Songs here swirl and take up physical space, drawing you in and out of focus. It's high definition. And like many great films, the dialogue is not totally central to the experience. Dear mixes his vocals deep into the track, soaking them in reverb and treatments that embellish the original lyrical meaning nearly at the risk of obfuscation. This is partly due to the fact that Dear is not a natural vocalist, but it's also clearly a creative decision. Dear's onomatopoeic sounds string themselves through these songs in a way that presents them as if they themselves are also instruments. You may often find yourself singing along to things that may or may not be words. Maintaining thematic consistency while being innovative and is a hard task but this album achieves it. Matthew Dear has thrown down the gauntlet at the post-DJ pop set (LCD Soundsystem, Hot Chip, The Juan Maclean, Junior Boys), much like Caribou's Swim did earlier this year. A starkly mature and confident record with a focus on love and lust that comes across as a challenge to his peers, Matthew Dear has crafted a stellar album of the year contender with Black City. V

Iron Maiden The Final Frontier (EMI)  The bass grumbles frantically, drenched in distortion. A guitar pick scrapes against strings somewhere in the distance, while another heaves to life with the weight of a ringing chord behind it. Drums thunder and roll along beneath it all. Then a third guitar offers sharp, staggered and bent notes. It sounds more like the soundtrack to some outer space film noir—this would come in the scene where the lost soul finds himself in some underground nightclub just when the band is going into a jazz freak-out—than the latest from Iron Maiden, but there it is: from the opening notes, the band comes out with more inspiration and fire than has been mustered in some time. (Not that the past decade has been a write-off, but there's been a stagnancy apparent for some time in that the albums have been similar in songwriting efforts.) On The Final Frontier, Maiden takes a trip into space on the cover and on the first half of the opening space operalike piece (which then switches things up and turns into the title track, a tightly wound rocker built on epic power chords.) Musically, Maiden is cutting closer to the edge than in recent years, though it's on that first track that the band pushes the most. It's an approach that works, the wild experimentation of the opening casting the album in a light that sets it apart from the past. That's not to say that the band is altering its sound much, just that new things are being tried, with everything that the band does well coalescing into a greater whole than has been seen since the late-'80s. It's the combination of new tricks for the old dogs and old standbys that makes The Final Frontier the album this band has been working towards for years now. "El Dorado" sounds just right, with a galloping riff broken up by an exotic guitar line and singer Bruce Dickinson's wicked laugh, and "When the Wild Wind Blows" finds the band crossing over the 10-minute mark, beginning slow and subtle, building into a crushing attack, easing up into a steady run and then finally wrapping it up as it began. Lyrically, the band doesn't tread on much new ground, with historical figures ("The Alchemist") sitting up alongside tales of sky ("Coming Home") and sea ("The Talisman"), all wrapped up in the sort of contemplative lyrics that the band has long engaged in. (Really, is there a more thoughtful and introspective band out there plying its trade with thrashing power chords and galloping bass lines?) But Iron Maiden is not a band that needs to reinvent itself. The fact that the group has managed so much energy and quality songwriting at this stage in the game, zoning in on what it does best and then turning in an album full of rousing riffs, solos and vocals, is more than enough. Eden Munro

// eden@vueweekly.com

50 // MUSIC

VUEWEEKLY // AUG 19 – AUG 25, 2010

Rick Ross Teflon Don (Def Jam)  Rick Ross is a phoney baloney. He came out of the gates with a hood classic (“Hustlin’”) that was meant to establish him as an authentic street villain. Turns out he’s the opposite: a photo made the rounds of Ross smiling in police tack. Rather than the self-styled drug kingpin he purports himself to be, he was, in fact, a correctional officer. This has damaged his credibility and reframed the value of his catalogue, including this album. Most egregiously, he has a song with a sample of Black Panther Bobby Seale threatening “pigs”! While the theatre of rap is often predicated on exaggerations and gangster movie bravado, I simply cannot suspend my disbelief for 49 minutes of chintzy anthemic beats, “euphoric” cruising songs and unpleasantly analogous bullshit. He’s in denial and we shouldn’t enable him. Roland Pemberton

// Roland@vueweekly.com

Michou Cardona (Green & Gold) 

This album has a certain Death Cab for Cutie-type of appeal. Four cute, hipster boys sing about the romance of the highway, being young and the complications of love. Though they're not particularly distinct from one another, the sweet melodies and harmonies have the potential to become a guilty pleasure. The cloying, androgynous voice of the lead singer offers up melancholic lyrics like “With so much rubbing together / I’m surprised there’s not more sparks.” Though it feels like this genre has been done to death during the last decade, Michou does a respectable job with their material. Angela Johnston

// angela@vueweekly.com

Danny Michel Sunset Sea (Burnt Bun)  Recorded in Belize, Holland, Costa Rica, Canada and the US, you could call Danny Michel’s Sunset Sea his vacation album: warm, mellow notes carry like tropical breezes across “Maybe You Can Find It In Your Heart” and “Who’s Gonna Miss You.” It’s a fun, lighter, more celebratory disc than 2008’s Feather Fur and Fin, with even its darker moments being tempered an upbeat, world-music groove. Paul Blinov

// paul@vueweekly.com

ALBUM REVIEWS The Beach Boys Love You (Brother/Reprise)

childish woman, concluding with the refrain "Pat, pat, pat her on her butt." "Let's Put Our Hearts Together," Originally released: 1977 Brian's duet with his wife Marilyn, is so stilted and weird that All larger than life generational it sounds as if it's being sung m stars became that way by perby two people who've never ekly.co e w e u @v roland sonifying our most pronounced met and are being forced to d n la o R emotions through their songs. sing about how much they love n o t r e Pemb Conversely, they seem to be each other. cursed to never properly experiAdding to the creepiness of this ence those feelalbum is the qualings themselves. ity of the vocals. Michael Jackson They are horrible spent his life singby Beach Boys (or ing about love but any) standards. pretty much died Their voices are alone, numb to scarred from normalcy. By the drug use, whisky same token, Brian and aging. Dennis Wilson's songs Wilson sounds typically represent like a hangover the concepts of befeels. Comparing longing and of the Brian's vocal turn beach party, young on something love and coming of like "Here Comes age that were acThe Night" to tually quite foreign this album's subWHERE HAVE ALL THE GOOD TIMES GONE? to him for much of karaoke "Love Is A his life. "I Just Wasn't Born For These Times" Woman" is comical. explains it to a certain degree, but never No one thought to edit out the constant was his detachment from reality more presLolita-style come-ons. No one tried to get ent than on The Beach Boys' Love You. better vocal takes. It seems as if everyone Brian Wilson was 34 years old when was hoping Brian would take them back to this album first hit stores and the songs the top again and didn't really care what he are largely autobiographical. So what's up came up with, just as long as he was writwith these lyrics on synth clapalong "Rolling songs again. They didn't care that he'd er Skating Child": "We'll make sweet lovin' be composing lyrics like "If Mars had life on when the sun goes down / We'll even do it / I'd probably find my wife on it." more when her mama's not around." ApThe music, though augmented with some parently reduced to a childlike state from ebullient synth parts, is largely much simscores of prescribed (and other) drugs and pler than magnum opuses "Good Vibrathe subsequent rehab program put into tions" and "God Only Knows," but that place by svengali Dr Eugene Landy, Brian's actually works to the benefit of the whole inability to adapt the rigors of adult life are album. This is a collection about pure imexpressed through the weirdly youthful pulse and to have intense arrangements perspective of Love You's songs. would lose the strange balance and deSpector-referencing '50s throwback mented magic inherent in these artifacts "Mona" has Dennis Wilson aimlessly wailof a time that was even outdated when ing "do ya, do ya like fine wine now?" and recorded. By being even more out of touch "discotheque mama" to a willing young than ever, Brian Wilson somehow explains participant. "I Wanna Pick You Up" has the the rest of his catalogue and life through same Wilson brother singing to either a the naivety of Love You, the Beach Boys's hypersexualized baby or an extremely last great album. V

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Ceschi The One Man Band Broke Up (Independent)

The Budos Band III (Daptone)

Simply amazing Poignant, moody and funny Get it and love it

Piss your pants with glee Then take those piss-filled pants off And chair-dance naked

Shapes and Sizes Candle to Your Eyes (Asthmatic Kitty)

Lamb of God Hour Glass (Epic)

Part of me loves this Yet I want to smash this with A ball-peen hammer

Sprawling three disc'er It's loud, brash and abrasive Rush Limbaugh metal

VUEWEEKLY // AUG 19 – AUG 25, 2010

MUSIC // 51

HOROSCOPE ARIES (Mar 21 – Apr 19)

open-minded but not chatty. Like In the 18th century, the French Acad- an inscrutable Buddha, she watches emy laid down rules about paintings. everything closely and churns her It was decreed that true artists thoughts carefully. Now and then, must create a "licked surface," though, when moved by an inhiding all evidence of their ner prompting, she will sudbrushstrokes. When the denly erupt with a torrent Y LOG Impressionists barged into of sweet talk and pithy obO R T S m ekly.co the scene in the 1870s, one A servations and wild exploravuewe l@ il w free of their rebellions against tions. I predict that for you, b Ro y Gemini, the entire world— convention was to make n s Brez their brushstrokes visible. Deeven the parts of it that are claring they weren't interested not usually very forthcoming— in upholding the artifice they wanted will soon resemble Joanna when she's their audience to get involved in their overflowing. subjective interpretation of the scene that was portrayed. Aries, I encourage CANCER ( Jun 21 – Jul 22) you to be like the Impressionists. For- This would be an excellent time for get about trying to present a licked you to get aggressively inventive surface. Reveal the inner workings about your education. It wouldn't be that are whirling and humming behind too crazy, in my opinion, to launch your eyes. your own school, with you as the only student. You could design your TAURUS (Apr 20 – May 20) own course curriculum for the coming If your daily actions are so thoroughly years. Decide who your teachers will possessed by the anesthetizing demons be. Think about where you can get the of habit that you can't recall your last stuff you'll need to expand your mind, creative innovation, shake things up a enhance your skills, and just plain inbit. On the other hand, there's no need crease your intelligence. for blame. Don't berate yourself for your sluggishness. It was an inevitable LEO ( Jul 23 – Aug 22) byproduct of your efforts to solidify For the people of Finland, the word and stabilize your life. Just slip into a sisu describes a quality referring to a more playful mode and enjoy a bout of courageous strength of will that can be experimentation. sustained for a long time. We all could use more of that to stay plucky in the GEMINI (May 21 – Jun 20) face of the world's lunacy. The coming Maybe you know a person like my weeks will be an especially good time friend Joanna. She's bright but terse, for you to build up your reserves of

FRE

52 // BACK

EWILL

sisu, Leo. How? Start by taking inventory of all the resources and allies and skills you have at your disposal.

VIRGO (Aug 23 – Sep 22)

"Ever upstream from myself," wrote Belgian poet Edmond Vandercammen. "I advance, implore and pursue myself." I suggest you adopt that attitude, Virgo. Assume that your best self is sailing along at a rapid clip, somewhere in the distance ahead of you, and it's your job to catch up. Your highest form of expression is eluding you, but you're hunting it down. The most beautiful possible embodiment of all your potentials is surging toward the future, and it's your fun job to close the gap and unite with it.

LIBRA (Sep 23 – Oct 22)

In one possible scenario I could foresee for you in the coming week, you're sweaty and tearful, enmeshed in an extreme state that causes an internal blockage to dissolve. The sweat is purgative, the tears are cathartic, and you're riding a wave of relief and release that clears out a backlog of emotional congestion. In a second possible future, I could see you as supernaturally relaxed and exuberant, periodically laughing so hard that you break up an internal blockage. The calm is purgative, the laughter is cathartic, and you're riding a wave of relief and release that clears out a backlog of emotional congestion. Which scenario would you prefer?

SCORPIO (Oct 23 – Nov 21)

Last June, comedian Stephen Colbert reported that President Obama's big TV address to Americans about the Gulf catastrophe was a failure because it went over the heads of too many people—too professorial, scolded Colbert. I wonder what he would say about the horoscopes I compose, which are designed for readers who enjoy thinking metaphorically and have a high degree of emotional intelligence. In the coming week, Scorpio, I suggest that you take the approach that Obama and I use rather than the one Colbert (farcically) recommended. Don't talk down to your audience, instead raise everyone up with your appeals.

SAGITTARIUS (Nov 22 – Dec 21)

My favorite baseball player Tim Lincecum told San Francisco magazine: "I think you either get in the canoe with your oar and control the boat, or get into it and let the current take you. I'm kind of in between. I want to be able to enjoy the ride but don't want to be swept away by it." Whether you are customarily the type of person who controls the boat or the type who enjoys drifting dreamily along, I suggest you take Lincecum's in-between approach for now. Be half in charge and half surrendered.

CAPRICORN (Dec 22 – Jan 19)

The poet Jean Perrin dreamed "of marrying the dawn with the light of the moon," and I invite you to do the same.

VUEWEEKLY // AUG 19 – AUG 25, 2010

The darkness you've been immersed in will leave you soon. As it does, please don't forsake the pale, moon-like radiance that has provided you with a bit of guidance and consolation. Rather, bring along what it has taught you as you head into the far brighter phase you're entering. In other words, retain some of the wisdom the dim light has compelled you to learn.

AQUARIUS ( Jan 20 – Feb 18)

I know two people in their 80s who have accomplished a sensational long-running creative art project: They've been happily married for 65 years. How could they possibly have continued to stay closely interwoven through all the changes? During the fascinating relationship tests that will be coming your way in the weeks ahead, Aquarius, I'd love for you to summon some of their dogged ingenuity and tenacious collaborative skills.

PISCES (Feb 19 – Mar 20)

For the last 20 years, I've worn just one brand of shoes: all-black Converse high-top sneakers. I've had them on at weddings and while jogging, at my daughter's high school graduation and while performing at my shows. Am I too set in my ways? Definitely. In any case, Pisces, don't be like me. Whatever your version of covering your feet with nothing but black Converse high-top sneakers may be, the upcoming weeks will be an excellent time to change your ways. Try something new about how you present yourself.

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VUEWEEKLY // AUG 19 – AUG 25, 2010

BACK // 53

COMMENT >> LGBTQ

New home in an old space Prism finds everything it needs in an old gay bar Deborah Chymyshyn and Tracey Smith male patrons who were looking for a rehave been running Prism Bar & Grill laxed hang out. Regulars dispersed for the past two years but have and in a surprising move, many been looking for a new place for headed to Prism. nearly half of that, due mostly Chymyshyn says the addito the lesbian bar's cramped tions fit in easily. "Since Boots m ekly.co space. Sick of turning people shut down a lot of the men vuewe tam@ away during popular events have come because they didn't a r a Tam and hearing the occasional comka know where to go [and] we and Gorzal plaints about the bar's location, the ladies have welcomed them they'd been searching Edmonton for with open arms. I can't tell you how a larger venue with a patio. What they many times I've heard the guys say, 'We found was a new spot and a new name: finally get to party with our sisters.'" junction will be opening in the old Boots Moving into Boots' location also meant 'n Saddles spot. gaining a restaurant space, Garage Burger. Boots n' Saddles had closed after 30 The junction eatery will become Edmonyears, when owner Jim Schafer passed ton's only queer-centric restaurant, filling away. Edmonton lost its home for bears, an important niche. "The eatery is fully lidaddies, admirers and other mostly older censed so if anybody has kids—and there's

EERN Q UN TO MO

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

BUSINESS OPPORTUNITIES

EDUCATIONAL FILM AND TV ACTING Learn from pro's how to act in Film and TV Full-time training. 1.866.231.8232 www.vadastudios.com

HELP WANTED

The Cutting Room is looking for Assistants and Stylists Please drop off your resume at 10536-124 Street

weekly.com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space

Send entries to: Attn: Executive Director, Dreamspeakers Festival Society, 8726-112 Ave, Edmonton, AB, T5B 0G6

ARTIST TO ARTIST

Call to artists: Art From the Unknown, Edmonton; Deadline: Sep 10. Info: 780.414.0702

Call for submissions: Gallery at Milner for emerging artists working in two-dimensional mediums. Deadline: Oct 15. Inquiries to: T/voice mail: 780.496.7030; E: cragalleries&displays@epl.ca

Allied Arts Council/Spruce Grove Art Gallery: call for Alberta artists 55 and over to participate in the 2010 Senior Art Show. Deadline: Sep 17. 780.962.0664, E: alliedac@shaw.ca

Movements Dance is accepting applications for Dance Instructor for its 2010/2011 season. Applicants should have an extensive background in West African and Caribbean dance with a min of 5 yrs experience. Info: 780.415.5211

Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: elaine.elrod@ telus.net

Kaleido Festival is in need of BLACK HOCKEY TAPE and BLACK WOOL for an on-site collaborative art piece during Kaleido, Sep 10-12. Drop-off items at the Carrot Coffeehouse, 9351-118 Ave Expressionz Café–The School of Life 9938-70 Ave is a centre for the arts. Looking for visual artists and artisans for a weekly art market and a rotating gallery space. 780.437.3667 "Be Idle Free" - youth video contest: The City of Edmonton's Carbon Dioxide Reduction Edmonton (CO2RE) program focus on reducing greenhouse gas emissions in Edmonton. For 7-11 year olds, 1214 year olds and 15-18 year olds. Receiving entries: Jul 15-Sep 30. Info beidlefree.strutta.com

MUSICAL INSTRUCTION MODAL MUSIC INC. 780.221.3116 Quality music instruction since 1981. Guitarist. Educator. Graduate of GMCC music program

Call to local artists, musicians, performers to be featured in Yuk Yuk's new "Thursday Night Variety Show". Call 780.481.9857 and ask for Chas or email: chaz_beau@hotmail.com for more information

ARTIST TO ARTIST

54 // BACK

"We want to make it very clear that this is Tracey and Deborah's space. No one is backing us, there are no secret investors or anything," she says, referring to rumours that like other recent gay clubs, junction is owned by some shady hetero conglomerate. She says that her and her wife chose to turn down investment offers and keep it to just the two of them. "It is us. We are it." When they moved into the space, they found a treasure trove of memorabilia of Edmonton's gay past. Posters dated back to the '70s. Plans are underway to form a committee to pick out pieces and digitally

Any artist, musician, or performance artist interested in being featured for the Local Art Showcase @The Old Strathcona Antique Mall, please be inspired to contact Jenn@oldstrathconamall.com

Change your life! Travel, Teach English: We train you to teach. 1000’s of jobs around the world. Next in-class or ONLINE by correspondence. Jobs guaranteed. 7712-104 St. Call for info pack 1.888.270.2941

SUPPORT YOUR LOCAL FOOD BANK

a lot of people in the community who have kids—and they would love to come out and have dinner and meet their friends and come to a community-supported venue, we can offer that." The menu will serve homemade hamburgers and fries, featuring holdovers from Garage and a special new junction burger. They will also feature favourites from Prism, along with floats and old-fashioned candy, items that fit nicely into the restaurant's diner atmosphere. In a unique move, the restaurant will be open all weekend, from 11 am Friday to Sunday at 8 pm. After last call, patrons can move to the restaurant for breakfast, eliminating the horrid trek to Denny's that any homo under 40 has made and promptly, vastly regretted. Chymyshyn explains that all the renova-

tion has been done by volunteers. She says that both men and women showed up to help, often just arriving at the door with their work clothes on. "I could do pages of interviews of the amazing stories I could tell about the people who have come forward to help us out. I could cry, I'm just overwhelmed," says Chymyshyn, adding that they couldn't have done it without the support.

ʸ ʸ ʸ ʸ ʸ ʸ ʸ ʸ ARTIST/NON PROFIT CLASSIFIEDS

Voice actors needed for work on video game based graphic novels. Interested? Check outfrostmore. com for lists of characters. Then E: Ike at lobitec@ hotmail.com

Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing. Free ads must be submitted in writing, in person or by fax. Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m listings@vue-

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.

VUEWEEKLY // AUG 19 – AUG 25, 2010

create collages to decorate the bar with, recognizing our history. Along with combining clientele, the duo also recruited staff from Prism, Play, Boots and even from the Roost. Chymyshyn says the problem was finding spaces for all the people who wanted to work there. Junction also has a unique approach to staffing; employees don't have titles, she says everyone is expected to be part of the team. "The bartender may be asked to clean the toilet and needs to be okay with that." Junction will continue to host groups like Womonspace, the Pride Centre and ISCWR for fundraising activities. They plan on shifting many of the popular events to junction, like Prism's karaoke night and pool league. Comedians, live music and a dart league are all in the pipeline, says Chymyshyn. "At the end of the day that we can have a place to come together and be together, be who we are and where we want to be. If they can come and enjoy that in this space, then we've done our job." V

COMMENT >> ALT SEX

In a new light Dear Andrea: tional wisdom goes something like you I have been happily married five years settle down and eventually sex gets kind and I think we're kind of out of ideas for of cozy and pleasantly predictable if new things to do. We used to be pretyou're lucky; just plain dull if you're ty adventurous sexually but now not. Eventually it just dries up, we do pretty much the same but if you're very dedicated to things over and over. I'm not the prospect of a stimulating bored exactly but I think we're sex life you can spice it up (I kly.com in a rut and the weird thing is don't think I've ever read an uewee v @ x e alts we're not talking about it. We article on this that failed to a e r And son use the phrase "spice it up") by usually talk about everything Nemer but we're not talking about this! trying a little light bondage or What are some new ideas for us, dressing up funny. Since familiarand how do I bring it up that I think we ity is assumed to be the sex-killer here, should try something new? maybe somebody should wear a fake Love, mustache and everyone should pretend Almost Bored they've just met under slightly seedy circumstances. There's no question this Dear Almost Bored: made for some spectacular sex when You won't be surprised to hear that I they did it on Mad Men but you are not have a theory about this. The convenbeing played by January Jones, I'm willing

ALT.

SEX

ARTIST TO ARTIST Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Ghostwater” a horrorcop 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

MUSICIANS Solid bass player needed a.s.a.p. please have a decent image and be able to cut it in a modern rock trio. Serious only please, thank you 780.999.5124

The Canadian Liver Foundation: looking for new members who can assist with fundraising and promotion of the Northern Alberta Chapter. Contact: Carmen Boyko T: 780.444.1547; Toll-free: 1.888.557.5516 Edmonton Mennonite Centre for Newcomers, need volunteers to help immigrant children and youth of all ages–volunteer in a homework club. Phillip Deng at 780.423.9516, pdeng@emcn.ab.ca Do you remember someone who believed in you when you were a child? Be that person in a child's life today. All it takes is one hour a week, which may not be much to you but will make all the difference in the life of a child. Be a Big Brother or Big Sister! Be a Mentor! Call Big Brother Big Sister today. 780.424.8181 Volunteer website for youth 14-24 years old. youthvolunteer.ca

Decent songwriter/rhythm with good originals wants lead guitarist and bass (prefer acoustic), violin, drums or bongos, horns or other muscians for a funky acoustic band for gigs or jam crew... music infl bob marley, sublime, bob dylan. Call Adam 780.660.3369. Lets jam

The Edmonton Immigrant Services Association is looking for volunteers to help with its New Neighbours, Host/Mentorship, Language Bank, and Youth Programs. Contact Alexandru Caldararu (Volunteer Coordinator) at 780-474-8445 or visit: eisa-edmonton.org for more info

Seeking male singer between ages 14 - 18 for alternative cover band. Must have vocal range to cover artists such as Nickelback, P.O.D.. Band located in Edmonton but have gigs booked outside of the city. Call 403.999.6976

Edmonton International Fringe Theatre Festival is looking for volunteers for the 2010 Fringe, Aug 12-22; Info: fringetheatre.ca/volunteer

Singing competition. Majestic Mountain Music presents the first season of NovastarZ. Call Dan by Sep 3 to register at 587.989.6243 or e-mail hitloadz@gmail.com. $1000 cash prize, as well as recording time and many other cool prizes. Looking for fresh new originals only The Richard Eaton Singers auditions for the 2010/2011 season on Mon, Aug 23, 6pm in Rm 1-29 in the Fine Arts Bldg, U of A. Contact Jochen Eggert at info@ richardeatonsingers.com/780.428.3737 Experienced drummer/singer with digital drums looking for work. Call 587.989.6243 Professional metal band seeks dedicated guitarist and bass player. No coke heads etc Call Rob 780.952.4927 Seeking folk/bluegrass/improv/country type small string band to work with me on some cool innovative performances. Must be willing to try new takes on some traditional work. 780.239.5758 Metal band All Else Fails seeking drummer. Committed, dependable, financially stable and able to tour often. Seedy@allelsefails.ca or Mitch@780.707.3908 Harmonica player, vocalist, percussionist, front man. 30 yrs experience. Available for live sessions or road work. Serious inquiries only, please. J.B. 780.668.8665 We are a party / wedding band that already has over 10 gigs booked. Looking for a lead guitarist to fill out our sound. Call 780.271.0030 today! Pro level trio require experienced drummer. Please be able to rehearse at least once/wk and have an upbeat attitude. T: 780.299.7503

VOLUNTEER Volunteer for Rotary Run For Life on Sun, Sep 12, 8am, a half-marathon, 10km run or 5km run/walk. A full breakfast and fun. Fundraiser for Rotary Clubs of Stony Plain & Spruce Grove's Coordinated Suicide Prevention Program (CSPP) please call 780.289.1803 Alberta board development program recruiting volunteer instructors for not-for-profit organizations. Call 780.427.2001. Deadline: Oct 1

Grow a Row with Edmonton Meals on Wheels; local gardeners and farmers to donate their fresh produce 780.429.2020 for info; Katherine Dalusong E: katherine. dalusong@mealsonwheelsedmonton.org Edmonton Immigrant Services Association: looking for volunteers to help with Youth Tutoring & Mentorship, New Neighbours, Language Bank, and Host/Mentorship programs. Contact Alexandru Caldararu 780.474.8445; W: eisa-edmonton.org Mechanics needed: The Edmonton Bicyle Commuters' Society operates a volunteer-run community bike workshop called BikeWorks, 10047-80 Ave (back alley), also accepting bicycle donations; E: volunteer@edmontonbikes.ca; W: edmontonbikes.ca The Candora Society of Edmonton–Board Recruiting; candorasociety.com; promotes positive growth in the lives of women, children/families in Rundle/Abbottsfield communities. Info: Elaine Dunnigan E: edunnigan@shaw.ca Mediation & Restorative Justice Centre Edmonton: Vol Facilitator Recruitment 2010; mrjc.ca/mediation/ volunteering/complete a volunteer application form; 780.423.0896 ext. 201 Volunteers instructors needed–Tap Dancing, Line Dancing and Calligraphy. Wed: kitchen helper, Fri: dining room servers; Wed evening dinners: dishwashers, kitchen prep and servers. Mary 780.433.5807 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

HELP SUPPORT THE YOUTH EMERGENCY SHELTER SOCIETY Programs for youth; 780.468.7070; yess.org

to bet he's no Jon Hamm and you saw how well that ended. So. See, I'm not sure that it's familiarity, precisely, that's at fault when the Big Dull hits a few years into an otherwise excellent marriage (partnership, whatever. Not everyone this happens to is or can be married). Familiarity and comfort can breed, oddly, an sort of shyness—often it's easier to be your kinkiest, least inhibited self with a barely trusted stranger than it is with your nearest and dearest. We tend to cast ourselves and our partners in particular roles—nice roles, for the most part, but roles nonetheless—and stepping out to try new stuff just feels impossibly awkward, and like work, and maybe tomorrow but in the meantime let's just watch that show we always watch and then do the sex we always do and cuddle up and go to sleep, OK? We come to think of ourselves as people who together do these things but not,

you know, those. And it can be very hard to re-imagine and redefine within an ongoing relationship. So my proposal is not that you butch it up and suggest some crazy stuff to your spouse. That would be great, but if you were up to it you wouldn't be writing to me. I'm pretty well convinced that a couple needs, on occasion, to do something a little bit scary, challenging, ridiculous, or, at the very least, a little not-them like. If you aren't event-goers, start going. If you used to like to camp or hike but got out of the habit and now it feels kind of not worth all the bother, bother anyway. Travel. Take a class in something a little out-there, like welding or the flying trapeze. What you need—what any couple needs to retain and rekindle romance and its associated Really Hot Sex—is surprise, hilarity, adrenaline and the admiration that comes from watching one's partner handle any or all of the above with aplomb and, ideally, hithertounsuspected skill.

I once fell madly in love with a thenjust-a-boyfriend as he eased us down a mountain on a broken-down heap of a Honda 750. More recently my now-husband and I needed to be hauled out of the desert mud by a Nevada search and rescue team, an event at once scarifying, hilarious and very gratifying. An adventure like that can be very invigorating, let me tell you. Probably the single scariest, most hilarious, and most challenging adventure a couple can undertake is having a kid, but ... yeah, never mind that. What you need is to do new things and start seeing each other in a new, different, and, one hopes, newly enticing light. Once you are both less certain of who you are and what you are capable of, you may be amazed how much less awkward it feels to say "Hey, let's ____ each other with a ______ tonight, what do you say?" Love, Andrea

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 Meals on WheelsºNgdmfl]]jk f]]\]\ Lg \]dan]j nutritious meals (vehicle required) Weekdays )(2,-Ye%)he Lg Ykkakl af l`] cal[`]f O]]c\Yqk .Ye Yf\ *he3 k`a^l lae]k Yj] ^d]paZd] 780.429.2020 CNIB's Friendly Visitor Program needs volunteers to help and be a sighted guide with a friendly voice. If you can help someone with vision loss visit cnib.ca or call 780.453.8304 Bicycle Mechanic volunteers for Bissell Centre community homeless or near homeless members on Mon, Wed, Fri, 9am-12pm. Contact Linda 780.423.2285 ext 134

SERVICES NARCOTICS ANONYMOUS Help Line 24 Hours a Day–7 Days a Week If you want to stop using, we can help Local: 780.421.4429/Toll free: 1.877.463.3537

Want to stop smoking? Nicotine Anonymous meetings: 7pm, every Wed, Ebenezer United Church Hall, 106 Ave, 163 St. Contact Gwyn 780.443.3020

ADULT STEAMWORKS GAY & BI MENS BATHHOUSE. 24/7 11745 JASPER AVE. 780.451.5554 WWW.STEAMWORKSEDMONTON.COM

Have you been affected by another person's sexual behaviour? S-Anon is a 12-Step fellowship for the family members and friends of sex addicts. Call 780.988.4411 for Edmonton area meeting locations and info, sanon.org

THE NIGHT EXCHANGE Private Erotic Talk. Enjoy hours of explicit chat with sexy locals. CALL FREE* NOW to connect instantly. 780.229.0655 The Night Exchange. Must be 18+. *Phone company charges may apply

SACE–Public Education Program: Sexual Assault Centre of Edmonton (sace.ab.ca) provides crisis intervention, info, counseling, public education. T: 780.423.4102/F: 780.421.8734/E: info@sace.ab.ca; sace.ab.ca/24-hour Crisis Line: 780.423.4121 Are you an International Medical Graduate seeking licensure? The Alberta International Medical Graduates Association is here to help. Support, study groups, volunteer opportunities–all while creating change for tomorrow. aimga.ca HAD ENOUGH? COCAINE ANONYMOUS 780.425.2715

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IS DRINKING A PROBLEM? A.A. CAN HELP! 780.424.5900

LOCAL CHAT. TRY IT FREE : code 2315

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780.413.7122

Jewish Family Services Edmonton/TASIS (Transforming Acculturative Stress Into Success): A free program aimed at minimizing culture shock and displacement for trained professional immigrant women. T: Svetlana 780.454.1194

1.900.451.2853 (75 min/$2495) www.cruiseline.ca Purchase time online now!

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