vue weekly 775 aug 26 - sep 1 2010 by Vue Weekly

INSIDE

COVER

#775 • Aug 26 – Sep 1, 2010

UP FRONT // 4/ 4 5 6 8

Vuepoint Dyer Straight Media Links Bob the Angry Flower

DISH // 9/ 10 Veni, Vidi, Vino

ARTS // 12 13 Hopscotch

FILM // 15 15 DVD Detective

MUSIC // 20/ 26 Backlash Blues 29 Music Notes 29 Gutterdance 30 New Sounds 31 Old Sounds 31 Quickspins

Making peace: Eamon McGrath prepares to tone it down

FRONT

ARTS

BACK // 32 32 Free Will Astrology 34 Queermonton 35 Alt.Sex.Column

EVENTS LISTINGS 14 Arts 19 Film 22 Music 33 Events

Health care debate flares

Fringe holdovers

VUEWEEKLY.COM VUETUBE // Eamon McGrath

MUSIC

• VueTube Eamon McGrath FILM

• Sidevue Net Flicks: tales of the Internet and its creation are making their way into cineplexes DISH Eamon McGrath performs in Vue's studio

2 // FRONT

VUEWEEKLY // AUG 26 – SEP 1, 2010

• Dishweekly.ca Restaurant reviews, features, searchable and easy to use

VUEWEEKLY // AUG 26 – SEP 1, 2010

FRONT // 3

EDITORIAL

Vuepoint Game changers Ted kerr

// ted@vueweekly.com

n July 31 at a Golden Baseball League game in Orange County the Edmonton Capitals field manager Brent Bowers released a tirade of homophobic insults at umpire Bill Van Raaphorst. In his vitriolic outburst it is clear that he and others partook in gossiping about Van Raaphorst's sexual orientation. International sports media criticized Bower's actions. The Capitals, part of the sports organizations including the Edmonton Oilers owned by the Katz Group, reacted swiftly along with the League. Bowers was fined $5000, and suspended for the remainder of the season, shortly thereafter Bowers resigned. Within days the Oilers and Capitals— under the leadership of President and CEO Patrick LaForge were consulting with gay and lesbian community members. Last week the Oilers invited Van Raaphorst to Edmonton. He spoke to the Capitals, met with members of Edmonton's sexual minority and human rights communities, and participated in a press conference. Understanding the Bowers/Van Raaphorst incident as an issue of ho-

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Media Links

Bob the Angry Flower

GRASDAL'S VUE

Letters

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

WRONG INFORMATION Tim McSorley's article about the G20 court proceedings is quite informative, ("300 people go to court," Aug 19 - Aug 26, 2010) except that the amount of political prisoners arrested was 900 – 1000, not 300. It has the incorrect number in the headline and therefore fails to let your readers know just how expansive the government and police's efforts to take away our human rights really are. The violence committed not only by the police during June 26 – 27, but by the economic and court systems through their exploitive structures, casts a wide net of oppression on all of us. So, we rely on independent news sources to keep us informed, and keep us from falling casualty to the misinformation of corporate media. Thank you so much Vue! Denise Ogonoski

4 // FRONT

Dyer Straight

mophobia would be to miss bigger issues of diversity in general and the role sports play in shaping our culture. LaForge has a history of using his influence as a civic leader and respected voice within the patriarchal world of sports and business to discuss taboo topics such as drugs in sports and domestic violence. And he again recognized the opportunity to explore and change how those issues along with homophobia flourish within sports culture. In the wake of Van Raaphorst's speaking tour here in Edmonton we have a greater opportunity to look at larger issues within sports: how does the hyper-masculine world of sports lead to drug use, violence, discrimination and abuses of power? In what ways can the Oilers use its resources to create cultural change, ushering in a more balanced view of what an athlete, a competitor can be? How can difference be better understood as a competitive edge? The Oilers have handled the situation well and what may make future Oilers and Capitals events continue to be worth the price of admission is how the organization continues to use these opportunities as a positive game changer. V

IssuE no. 775 // AUG 26 – SEP 1, 2010 // Available at over 1400 locations

Editor / Publisher MANAGING Editor associate mANAGING editor NEWS Editor Arts / Film Editor Music Editor Dish Editor Outdoor Adventure Editor EDITORIAL INTERN Staff writer creative services manager production ART DIRECTOR Senior graphic designer WEB/MULTIMEDIA MANAGER LISTINGS

INSIDE // FRONT

UP FRONT

Vue Weekly's podcasts come out every Monday covering everything from free speech rights to Alberta's evolving cast of political parties. ........................................................................................................................................................................................................

PODCASTS Check VUEWEEKLY.COM/PODCASTS each Monday for new interviews exploring current events in municipal and provincial politics.

........................................................................................................................................................................................................ If you have questions, comments or suggestions about podcast programming email Samantha Power, News Editor: news@vueweekly.com

VUEWEEKLY // AUG 26 – SEP 1, 2010

COMMENT >> WATER WARS

NEWS // HEALTH CARE

Bankrupt politics

Private care debate flares as Networc goes bankrupt MIMI williams // mimi@vueweekly.com

epending on who you listen to, the Health Resource Centre (HRC) in Calgary is either the victim of provincial government bungling or it stands as the embodiment of a failed experiment in private, for-profit health-care delivery. According to a media release issued last week by the Wildrose Alliance Party (WAP), the embattled private clinic has had the "rug pulled out from beneath it" by a government that has reneged on its commitments and forced the private company into receivership. Not so, countered the Friends of Medicare (FOM) in a subsequent media release in which FOM executive director David Eggen cited the ongoing legal tangles surrounding HRC as an excellent reminder that private contracts for health care service delivery are more expensive, less efficient and less transparent than those services delivered in the public. "Let's not forget this private facility would be shut down and not delivering any medical services if Alberta Health Services wasn't forced to bail them out," he noted. The beleaguered HRC has been at the centre of the private vs public health care debate since it was first awarded a contract to perform joint replacements by the former Calgary Health Region in 2004. The privately owned clinic, located in the former Grace Hospital, performed 916 operations from the clinic in 2007 – '08, at a cost of about $7.6 million. The clin-

ic also performs about 900 procedures a year for the Workers' Compensation Board. Private clinics such as HRC were enabled by the Alberta Health Care Protection Act in 2000. Known at Bill 11, it allowed the government (through its regional health authorities) to use tax dollars to purchase certain surgical services from private providers. Intended to reduce surgery waiting lists, the legislation stipulated that such contracts would be approved only if they improved access to health services and were cheaper than the public system. Although a decade has elapsed since Bill 11 passed, little analysis has been undertaken to examine the impact of private, for-profit service delivery on the province's health system. Research released last November by the University of Calgary's School of Public Policy suggested contracting out surgeries may actually inflate costs. The study found that each joint replacement done at HRC costs $12 500 while the same procedure can be performed in the hospital for just $4000. In response, Alberta Health Services (AHS) CEO Stephen Duckett said the report did not paint a complete picture. Duckett, along with AHS's chief financial officer Chris Mazurkewich, explained that hospital costs such as housekeeping were not included in the figures and promised, back in February, to release a public benefit analysis that would fully reveal the total costs for private versus public facilities. Before that happened, the Cambrian Group of CONTINUED ON PAGE 8 >>

From flood to drought

Pakistan's dire water situation could cause war with India This may not be the most tactful time to bring it up, pecially on the Pakistani side of the border—from 34 with much of Pakistan underwater and many milmillion in 1947 to 175 million now—and the amount lions homeless, but Pakistan's real problem is not of water in the rivers has not. too much water. It is too little water—and one day The per capita supply of water in Pakistan has fallit could cause a war. en from over 5000 cubic metres annually in 1947 to The current disastrous floods (to which the only about 1000 cubic metres today, a level response of both the Pakistan government defined by the United Nations as "high and the international community has been stress." 96 percent of that goes to irrifar too slow) are due to this year's mongation, and the Indus no longer reaches soon being much stronger than usual. But the sea in most years. That's what has m o .c ly week e@vue that is just bad weather, in the end: every already happened, even before the meltgwynn e 50 or one 100 years you can expect the ing of the glaciers has gone very far. Gwynn weather to do something really extreme. 15 or 20 years from now, the water shortDyer It comes in various forms—blizzards, floods, age (and therefore also food scarcities) will hurricanes—but it happens everywhere. be a permanent political obsession in Pakistan. The long-term threat to Pakistan's well-being is Even now, Pakistani politicians tend to blame India that the country is gradually drying out. The Indus for their country's water shortage (and vice versa, river system is the main year-round source of water of course). It will get worse when the shortage for both Pakistan and north-western India, but the grows acute. glaciers up on the Tibetan plateau that feed the system's various tributaries are melting. What turns a problem into a potential conflict is While they are melting, of course, the amount of the fact that five of the six tributaries that make up water in the system will not fall steeply, but accordthe Indus system cross Indian-controlled Kashmir on ing the Chinese Academy of Sciences, some of the their way to Pakistan. There is a treaty, dating from glaciers will be gone in as little as 20 years. Then 1960, that divides the water between the two counthe river levels will drop permanently, and the real tries, with India getting the water from the eastern problems will begin. three rivers and Pakistan owning the flow from the When India and Pakistan got their independence western three. But the treaty contains a time-bomb. from Britain in 1947, there was plenty of water in the India's three rivers contain only about one-fifth Indus system for everyone. In fact, almost half the of the system's total flow. To boost India's share water was still flowing into the Arabian Sea unused. CONTINUED ON PAGE 7 >> But the population has grown fast over the years, es-

R DYEIG HT

STRA

News Roundup COMMUNITY RADIO ocal radio programming in Dene and Cree received a boost this week as the Missinipi Broadcasting Group received federal grant funding. The Minister of Canadian Heritage and Official Languages has dedicated $326 855 through the Aboriginal People's Program for increased production of over 30 hours per week of content in the Dene and Cree languages in the North Saskatchewan communities. With the increase in funding, the federal government is hoping to assist in the protection and enhancement of the two languages.

BREAKING ITS OWN LAW cojustice is filing an appeal against Syncrude's approved tailings ponds. Ecojustice has pointed out the Energy Resources Conservation Board—charged

E G20 BILL GOES HIGHER 20 Mobilize, an organization that has been assisting Canadians facing charges in the wake of the G20 arrests, has released a statement demanding the charges over 300 Canadians face be dropped. G20 Mobilize quotes a 1995 Ontario Civil Justice Review which states that a single three-day non-jury trial can cost taxpayers upwards of $40 000. Converting to 2010, with 300 people facing charges the costs could run over $12 million. "The people who are facing serious charges today share the same values as

millions of people around the world. They were on the streets demanding safe and affordable housing, workers rights, environmental justice, and an end to war and occupation," says Maryam Adrangi of the Toronto Community Solidarity Network. WORTHY OF GOVERNMENT MONEY recent report by the CD Howe Institute reveals that Canada is receiving high rates of return from the investment in post-secondary education. Canada, compared to other OECD countries, has

a higher level of college and trade school graduates than university-level graduates, which the report states is a direct outcome of public policy decisions by federal and provincial governments. The report states that earnings potentials for graduates increase as they attain a postsecondary degree, and have increased since 1980 for every degree, except for women who graduate with a trades diploma. CD Howe undertook the report to answer the question of whether Canada's investment in post-secondary education was outpacing its need for graduates, which the Institute believes it is not.

VUEWEEKLY // AUG 26 – SEP 1, 2010

with ensuring tailings ponds proposals are in line with federal and provincial regulations—has approved the Aurora North and Mildred Lake tailings ponds proposals despite the fact they do not follow ERCB guidelines. "The ERCB directive requires the tarsands operators to divert at least 50 percent of a component of their tailings, known as fine tailings, by June 30, 2013," said Barry Robinson, Ecojustice staff lawyer. "The Syncrude plans would achieve less than 15 percent diversion by that time, yet the ERCB still approved the plans." The ERCB also approved the Kearl tarsands projects last week, despite that project's failure to meet regulatory requirements. "Ecojustice will use all available legal tools to ensure that the ERCB operates within the law when considering these plans," Robinson said. samantha power

// samantha@vueweekly.com

QUOTE OF THE WEEK "There's a feeling there's a real change for the worse in terms of the human rights approach of the Canadian government" — Salil Shetty secretary general Amnesty International Toronto Star

FRONT // 5

COMMENT >> INTERNET LAW

Imperfect proposal

Net neutrality on the line with limited policy process On August 9 I awoke to headlines like "Google would be bandwidth scarcity for the open pubGoes Evil" and "Google Greed And The End Of lic Internet, and disproportionate investment in Net Neutrality." As someone who has worked ISP-controlled private Internet services. Allowalongside Google to keep the Internet open ing such services provides a backdoor for ISPs (AKA Net Neutrality) in Canada, I was stunned. to use to sneak around open Internet rules. Did the open Internet community just lose its US Public Interest groups like Free Press are biggest industry supporter? up in arms over the proposal and the FCC has The headlines stemmed from a controversial also expressed concerns with it. Net Neutrality joint policy proposal that Google and Verizon policy development in the US now seems more had just submitted to US policy makers. The inconvoluted and precarious than it has been in dustry heavyweights hoped the proposal years. While most of the outrage from would be adopted as a framework for consumer groups have targeted Google, the future regulation of Internet serthe real culprit is the FCC's closedvice. The initiative appears to be an door approach to rule making. a attempt by the two companies to The proposal comes just days after .c ia d e raticm democ develop a compromise between the the FCC announced it was abandonsteve@ telecom industry and online service ing its own efforts to develop a plan Steve on through negotiations with leading s r industry. e d n A For several years now big telecom comphone, cable and Internet companies. panies have been fighting to close down the The proposal and accompanying public outopen Internet while online service companies, cry is the result of limiting public input and like Google and Skype, have been working with longstanding policy neglect concerning Internet Internet users and consumer groups to block openness in the US. If the FCC had properly these attempts. opened its process to the public, it would not have industry players developing public policy Despite the headlines the proposal does preson the fly. ent some important provisions, such as nonCanada's media regulator, the CRTC, took an discrimination and non-prioritization of online important step in the right direction last Occontent and services, that will help ensure an tober by putting forward open Internet (traffic open Internet in the US. However, it also omits management) guidelines. On June 30 the CRTC the evermore-important mobile access to the extended its traffic management rules to moInternet through smart phones and other devicbile wireless data services. es from oversight in US. Increasingly consumers While these are clear signs of positive momenwill use wireless broadband as their preferred tum for ensuring Internet openness in Canada, medium for Internet access. It is essential that as it stands right now ISPs have not yet been openness be inserted into the DNA of mobile told to stop throttling access to the open inInternet access. ternet. Furthermore, under the current CRTC Also problematic, the proposal goes on to sugguidelines, the onus falls on the consumer to gest that ISPs should be allowed to offer "diffile a complaint and to prove that an ISP is unferentiated services." Such services "could make justly throttling traffic. It is unfair to force conuse of or access Internet content, applications or sumers to go head to head, over and over again services and could include traffic prioritization." with some of the most powerful businesses in Allowing ISPs to offer such services creates the country. an incentive to use their bandwidth to provide While Canada is clearly ahead of the US in access to these services through cable televithat we have some Net Neutrality guidelines for sion, which reaches citizens' homes through the both wired and wireless devicesâ&#x20AC;&#x201D;we still don't same infrastructure as the Internet. The result yet have Net Neutrality in actual practice. It is thus still unclear how or if Net Neutrality will be enforced in Canada. Eerily familiar to the FCC's industry meetings, Prime Minister Stephen Harper and Industry Minister Tony Clement have also reportedly had closed-door meetings with representatives from the Information Technology Association of Canada (ITAC). ITAC is Canada's most powerful lobby group for the Information and Communications Technology (ICT) sector. Between January and November 2009, ITAC reported 21 meetings with top federal officials and cabinet ministers involved in developing national digital policies. If the government continues to develop public policy through closed-door meetings while Canadian individuals and organizations lack clear Internet openness enforcement rules, we're open to the same sort of industry policy development shenanigans that we see playing out in the US. Online democracy and offline democracy are inextricably linked; neglect for either is neglect for both. The Google/Verizon proposal isn't indecent as much as it's imperfect, much like any public policy developed without a democratic process. V

MEDIA

LINKS

Steve Anderson is the National Coordinator of openmedia.ca.

6 // FRONT

VUEWEEKLY // AUG 26 â&#x20AC;&#x201C; SEP 1, 2010

DYER STRAIGHT

<< CONTINUED FROM PAGE 5

up to around 30 percent, therefore, the World Bank arbitrators proposed that the treaty also let India extract a certain amount of water from two of Pakistan's rivers before they leave Indian territory. The proposal was reluctantly accepted by Pakistan. The amount is not small—it is, in fact, enough water to irrigate 320 000 hectares—and it is a fixed amount, regardless

of how much water there actually is in the river. Now roll the tape forward 20 years: the glacial melt-water is coming to an end, and the total flow of the Indus system is down by half. But almost all of the loss is in Pakistan's three rivers, since the smaller Indian three do not depend heavily on glaciers. So India is still getting as much water as ever from the eastern three rivers, and it is still taking its full treaty allocation of water from two of Pakistan's rivers, although they do depend on glacial melt-water and

now have far less water in them. As a result, India's total share of the Indus waters rises sharply (and quite legally) just as Pakistanis start to starve. In these circumstances, would an Indian government voluntarily take less water than the treaty allows? Get real. India will be having difficulties with its food supply too, though it will not be in such grave trouble as Pakistan. Any Indian government that "gave India's water away" would promptly be driven from power, by parliament if it was the usual fractious coalition,

or by voters at the next election if it were an unusually disciplined single party. On the other hand, no Pakistani government, civilian or military, could just sit by as land that has been irrigated for a century goes back to desert and food rationing is imposed nationwide. Especially not if India's fields just across the border were still green. That is the nightmare confrontation that lies down the road for these two nuclear powers. Meanwhile, the homes of millions of Pakistanis are underwater. In terms of

VUEWEEKLY // AUG 26 – SEP 1, 2010

human suffering, it is 20 times worse than Hurricane Katrina was in the United States five years ago, and it needs a proportionate response now. But the future holds something much worse for Pakistan (and for India), unless they start revising this 50 year-old treaty now, before the crisis arrives. V Gwynne Dyer is a London-based journalist whose articles are published in 45 countries. His column appears each week in Vue Weekly.

FRONT // 7

HEALTH CARE

<< CONTINUED FROM PAGE 5

Companies, which built a new surgical centre in northwest Calgary, filed a claim that they are owed $65 million because they have a 10-year lease on the facility with Networc Health Inc, which owns HRC. In May, AHS stepped in to ward off the proceedings—which would have forced Networc into bankruptcy—and promised to pay for the costs of an inter-

im receiver along with at least $2 million to keep the centre operating until January, when AHS anticipates a new surgical tower at the Foothills Medical Centre will be operational. In July, AHS revealed its intention to terminate its contract with Networc altogether. HRC executives, along with WAP leader Danielle Smith, blame the province for the private clinic's financial woes. Explaining why HRC signed a 10-year lease with Cambrian when its current agree-

ment with AHS expires in March 2012, its executive management team have repeatedly alleged it was promised a substantial increase in the number of surgeries the province was going to contract with it to perform. Smith repeated the allegation in an interview with Vue this week. A September 2009 Calgary Herald story about the Health Resource Centre's expansion, however, raises questions. In it, Bernie Simpson, chief operating officer of Networc Health Inc, is quoted as saying that there hadn't been any negotiations to expand the company's surgical contract with the province. "It just makes business sense to try to continue to grow," he said. Smith was unable to explain the contradiction; Simpson did not return calls. PriceWaterhouseCooper (PWC) was appointed Interim Receiver by an order granted in the Court of Queen's Bench of Alberta in May, 2010. They have submitted three interim reports to date, the latest of which triggered the volley of media releases mentioned above.

BOB THE ANGRY FLOWER

8 // FRONT

VUEWEEKLY // AUG 26 – SEP 1, 2010

"This bankruptcy gives us a rare glimpse into the books of a private health provider, where we see executive management with excessive salaries racking up unpaid bills all over town," says Eggen, noting that the reports indicate that AHS has raised objections to the executive compensation offered at HRC. The receiver notes that the base salaries (excluding bonuses or benefits) of the top three executives employed by HRC will total $360 000 for the six months between July and January, 2011. According to PWC, the executives were asked to revise their compensation package but, other than one of them offering to give up their car allowance, no proposals have been received. Heather Forsyth, MLA Calgary-Fish Creek and Wildrose Health Critic, joined Smith in condemning the government's actions, saying it will have devastating effects on patients waiting for hip and knee replacements. "By reneging on this contract, the PC government has pulled the rug out from underneath some of

our finest surgeons and thousands of Albertans waiting in pain for these procedures," stated Forsyth. Eggen has a different take on the matter, noting that Alberta Health Services intends to hire the health professionals who actually do the work, removing both the profit motive and "the overpriced executive management from the equation." Meanwhile, WAP Leader Smith demanded that AHS CEO Stephen Duckett provide the figures promised back in February. "Either he is stalling for some reason, or AHS doesn't have a measure of the costs and quality of Alberta's health care system," said Smith, noting that both scenarios are unacceptable. For his part, Eggen suggests that the government does have the numbers and suspects that the delay in releasing them has more to do with optics than with health-care delivery. "As always," he said, "when politics gets in the way of good management, we all suffer." The case continues in the Court of Queen's Bench in Calgary this week. V

INSIDE // DISH

DISH

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Restaurant Reviews

Veni, Vidi, Vino

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

REVUE // CORA

Art of breakfast

Cora offers a singular—and popular—experience Serena Beck // serena@vueweekly.com

art of what makes a meal at Cora so healthy is that you can cover all your food groups in one meal, as most dishes are served with a pile of perfectly ripened fruit such as strawberries, pineapple and cantaloupe. I recommend arriving at Cora early if you don't want to stand in line, but if you do get stuck waiting you can watch the chefs busy at work blending smoothies and cracking eggs—and you'll see plenty of smoothies being made and eggs being cracked if you try to go around brunch time on a weekend as the line will be out the door, even in the winter. I managed to work fruit directly into my meal by ordering the apple cheddar and maple syrup omelette ($10.55). Served with extra apple slices on the side, toast and hashbrowns, I opted for adding caramelised onions ($1.15) to my hashbrowns which upped the ante. My plate was drizzled in thick, Quebec maple syrup—which usually costs $0.65 extra to add to your meal—and at first each sweet bite of crisp apple slices, soft egg and sharp white cheddar cheese pleased my palette. However, by the time I reached the last bite it was too sickly sweet. I could have used a bit less syrup—it would have been better served on the side. I also had a raspberry smoothie ($4.15) served with a slice of cantaloupe and garnished with a wedge of pineapple. Smoothies are also available in strawberry banana, mango banana and fruit cocktail. The smoothies taste natural with yogurt and fruit and no added sugar. My husband had the Cora Special: two eggs any style, sausage, ham, bacon, wedge potatoes, a crepe and toast, in addition to the fruit his plate was garnished with—pineapple, cantaloupe and strawberries. He decided on coffee which tasted like regular bland diner coffee—many restaurants go all out on the food, but skimp on the coffee,

// Pete Nguyen

which is really unfortunate. The service we received was not the fastest, but the delays were understandable as it was quite busy. The menu is unique and has a great variety of healthy choices as well as a few items that are more of treat. The first Cora restaurant was opened

in 1987 by Cora Tsouflidou. She was a single mother and her waffles and fresh fruit dishes were a huge success in Montréal. The first restaurant was opened in a 25-seat snack bar on CoteVertu road in the Ville Saint-Laurent district in Montréal. She remains active in her restaurants today and still creates new dishes.

Our breakfast left us satisfied—although next time I'll try something a bit less sweet—and the portions were generous enough to keep us full for most of the day. As we made our way out the door past the lineup of over a dozen people, I admired the huge pile of fruit stacked up on the kitchen counter: pineapples, strawberries, moun-

VUEWEEKLY // AUG 26 – SEP 1, 2010

tains of melons, bananas, apples and oranges all waiting to be chopped or blended into smoothies. V Mon – Sat (6 AM – 3 PM); Sun (7 AM – 3 PM) Cora 2920 Calgary Trail NW, Suite 1111 780.465.2672

DISH // 9

WINE

Toe to toe

Comparing each country's output can be a learning experience A Saturday afternoon spent with the tasting group really makes one reflect on the finer things in life. Seven people, four hours and eight bottles of wine—which are definitely getting close to empty—leaves me with a delightfully hazy head, all in the name of education of course. VIDI I'm sure many folks would ask VENI, what kind of educational classes these are and where they m ekly.co could sign up. Well, fortunate vuewe jenn@ for our seven, one person orJenn ganizes and gets us all together Fulford to geek out and drink and eat until, really, it can't be called anything but decadent. Saturday's "class" took us on a Riesling journey, with Canada going toe to toe with FRUITS OF ALSACE >> Riesling grapes ripen in the sun // File Germany and France. Needless to say, my inspiration to write about Riesling came as made one. Not only is the wine that good, sert wine with tons of residual sugar but soon as the first bottle of Alsace was unit is the most widely planted varietal in Gerwith equivalent strength of acidity for an leashed and by bottle number three, the man soil. The real math involves alcohol amazing balance. These wines can be aged climax to German Riesling perfection was percent and residual sugar, as yeast plus up to 30 years, which is more than most in the glass. sugar equals alcohol. This equation can rereds. Semi-sweet Riesling, with its naturally A little bit of history: Germany is the ally help you shop for wine—as a general high acidity, will age a decade or two. ancestral homeland of the Riesling grape, rule, the lower the alcohol by volume, the Although a few hundred years newer to grown since 1435 in the Rheingau and sweeter the wine. Most traditional-style the Riesling wine scene, Canadian winesince 1477 in Alsace. Alsace became part German wines have some residual sugar makers are stepping it up a notch to comof France after the First World War, but kicking about somewhere in the bottle. pete, and the wines from both Niagara and its history lies on German soil. This cooler the Okanagan Valley were tasty examples climate proudly grows 90 percent white We didn't fool around with any of the of Canadian Riesling. New World countries grapes, with Riesling the leader in planted table wines called Landwein or Deutscher not present were the Aussie Rieslings from acreage. Today, Alsace is the only area in Tafelwein, or even Liebfraumilch, but went the Clare and Eden Valley, which show France permitted by French wine law to straight for the quality wines with the characteristics of lime, citrus and lots of grow Riesling. classification of QmP (Qualitätswein mit acidity. New Zealand and California also We started with a couple of Vin d'Alsace Prädikat). Classification of these quality produce Riesling on a lesser scale, but not Riesling, a classification that encompasses wines is complicated; it's based upon the a lesser quality. 80 percent of wine produced in the French amount of sugar in the grape must—the How to get your own tasting group goregion and, although the wines are different higher the sugar level, the higher the status. ing? Well all you really need is a location in style, both left our mouths watering for We tasted a Kabinett, the lowest level of to seat six to eight people as smaller and more. Steely minerality, complex fruit and sugar, and as well a Beerenauslese, which more intimate gatherings optimize feedhigh acidity characterize these dryer-style was a real treat as these wines are rare and back and focus. An organizer that can get Rieslings. The soil, called terroir-expressive, expensive. Botrytised grapes are used to everyone together, each person to bring plays a part in the complex aromas and flamake this, also known as Noble Rot. The a bottle of wine, with the host to provide vours produced in the wines. fungus called Botrytis Cinerea attacks the some cheeses, bread and whatever other Germany equals Riesling. If that is not an ripe grapes, concentrating the sugars. The little delicacies you desire and it's on. Saturactual mathematical equation, it should be outcome is a truly rich and complex desday afternoons never seemed so good. V

VINO

10 // DISH

VUEWEEKLY // AUG 26 – SEP 1, 2010

PROVENANCE

The history of Brie

As with many French products, Brie gets its name from the city in which it was created, situated about 60 miles south of Paris. King Charlemagne was the first person of note to fall in love with the fresh, creamy taste of the now-famous cheese in year 774 BC. That created the initiative for increased production that lasted through the centuries. His is not the only royal name attached to the creamy cheese, however; legend also has it that Louis XVI's dying wish was to have a final taste of Brie. Brie producers have long claimed their cheese is the best and most popular cheese in Europe, if not the world. Amusingly, there is some truth to that boast. At the Vienna Congress of 1814, participants actually got into a heated argument over which country produced the finest cheese. As a result, a French national named Talleyrand, suggested there be an international competition. Each European country was to present what it deemed to be its greatest cheese. The entry of choice for the French was Brie. In blind tastings, the Brie won handsdown and became known as the King of

Cheeses. It is a distinction that still holds. Brie has consistently won international competitions more times than any of the other cheeses combined. Brie is made from unpasteurized cow's milk and has a unique flavour combination of hazelnut, fruit and herbs. It takes approximately 6.6 gallons of milk to make one round of Brie. Many countries now make Brie, both pasteurized and unpasturized, and its popularity is global. But were you to put true French Brie next to North American-made Brie, the difference would be highly noticeable. Brie can be served alone with crackers and along with other cheeses. It can also be baked and served with fruit, in pastry shells or stuffed in baked potatoes. Brie is also the most popular cheese for stuffing chicken breasts and enhancing steamed vegetables and, while experts say that it goes best with Champagne or Burgundy wines, it's also a great accompaniment to less-expensive Merlots. V PETE DESROCHERS // DESROCHERS@vueweekly.com

VUEWEEKLY // AUG 26 â&#x20AC;&#x201C; SEP 1, 2010

DISH // 11

INSIDE // ARTS

ARTS

Online at vueweekly.com >>ARTS

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

Hopscotch

PREVUE // TJ MILLER

TJ and the bear

TJ Miller's in on the joke—even if it's about him Paul Blinov // paul@vueweekly.com

hough he's quickly becoming recognizable for his film work, TJ Miller is a comedian who will chase a good joke across different forms of comedy. It's not so much the style—acting in

comedies or performing stand up—that appeals specifically, it's the humour he can find working within each, even if the jokes end up being a bit more metacommentay on humour itself than the usual comic fooling. Such was the case with Miller auditioning for a part in the upcoming

film remake of Yogi Bear. The idea of auditioning, he recalls, seemed hilarious in and of itself, a "wouldn't it be funny if I did this?" personal joke. When he sent Warner Bros an audition tape of himself doing a cold script read with a script-munching, very real bear, it became a viral internet video

MIXED MEDIUMS >> TJ Miller's comedy spans the spectrum and a widespread laugh; when they offered him the part, it doubled back as a meta-sort of comedy, where Miller was laughing at his own expense. "I did the movie sort of as a joke— that was more an experiment in like, 'What if the comedy from real life sort of steeps into film and vice versa?,'" he says over the crackling bustle of a New York sidewalk. "And at the end of the day, it was more about, it would be funny for me to be in the movie, Yogi Bear, than it was like, 'Oh, I really want to do this project where I think it would be a great film.' I'm not sure. The film might end up being good, but that was not really any of my concern." Miller does note the joke got old after a couple months of being whisked away to New Zealand, interacting with "ping pong balls on the end of sticks," (his CGI co-stars), but the whole scenario suggests that his approach to comedy comes from an honest, observational place of whatever he sees as funny with a sharp level of self-awareness thrown in to boot. That personality comes through on film—from the bumbling and likeable but mostly offscreen Hud in Cloverfield to rounding out comic casts in Get Him to the Greek and She's Out of My League, and more recently voicing a Viking child in How to Train Your Dragon—and in his standup, which blends self-deprecation and

12 // ARTS

VUEWEEKLY // AUG 26 – SEP 1, 2010

// Supplied

guy's guy wit. Even if his growing film exposure pushes him to work more regularly in that aspect of comedy, Miller notes its unlikely he'll abandon the comedy club circuit completely. Not if that's where the good jokes are. "I had an interesting conversation with my father and his accountant, who's doing my taxes," Miller says. "They said, 'Well, you're probably going to quit stand-up pretty soon, right? You're getting income from the movies, and stuff.' And I go, 'Oh, no,' and they go, 'Well, why? Don't you hate the travelling, and you don't make that much money, and why would you want to keep doing stand-up?.' And I said, 'The reason I'm doing film is because of the stand-up. And the film stuff is there because it's challenging and interesting in and of itself, [and] it also helps feed the stand-up.' "I love stand-up, and I don't want to stop it. I did three shows last night in New York City, and it couldn't have been better. … [I get asked] 'Three hours up there, isn't that tiring?' If the audience is good and fun, there's nothing more enjoyable than doing stand-up." V Wed, Sep 1 – Sun, Sep 5 (8 pm) TJ Miller THE COMIC STRIP (Bourbon Street, WEM), $15

PREVUE // FRINGE HOLDOVERS

Curtain call

Holdover Fringe productions get one last hurrah and remounted The Crimson Yak and the musical inklings of A Fistful of Tenors. Additionally, the artist-run Varscona Theatre has its own line of holdovers; some will have already happened by the time Vue publishes, but the remaining include Stewart Lemoine's Witness to a Conga, Ankles Aweigh! and Forget Me Not. Despite the popularity and wide abundance of one-handers at the Fringe (there are three listed above), Scott notes that when selecting holdovers, they try to ensure a little variety. "As easy as it would be to program all of those [one man shows], it's about the story," he says. "Who's telling the story? To me, anyway, that's what fringe theatre is about: it's about being able to tell a story that will hopefully impact people's lives, and change them." V

Paul Blinov // paul@vueweekly.com

aking in all of the Fringe is impossible—statistically, there's just no way you could do it—but even narrowing your aims to just the festival's hits can prove to be tricky to accomplish. Quick sellouts, inconvenient showtimes and slow-building buzz can leave you ticketless and out of luck, which is probably why the Fringe offers its holdover selections, the hand-picked best of the fest, for those who didn't get the chance during the previous 11 days. Because hey, it's tough. There are seven official Fringe productions being given the curtain call, plus four from the BYOV circuit (not counting the ones at the Varscona theatre—more on those in a moment), all selected by Fringe executive director Julian Mayne and program director Thomas Scott, who explains the combination of criteria that give them their holdover picks. "We put the critic's reviews, averaged out, with the top-selling shows," Scott says. "There's a list of 10, and then myself and Julian sit down and take a look at that. We're constantly talking to the box office, and the volunteers and many patrons—and we try to go to a few shows too. So then it comes down to choice. We

VAMPIRE QUEENS >> Guys in Disguise's Dragula gets an encore // Ian Jackson make the final call. "We try to spread it out between touring, international, national and local," Scott continues. "We also try to save a spot for emerging talent as well too; they may not necessarily have been a top-grossing show, but the show's done very well, and giving them another op-

portunity to put it up in front of Edmontonians is important." This year's picks include David Gaines' clown-meets-Kurosawa 7(x1) Samurai, the provocative Raunch! and the oneman chops of Wanderlust and Like Father Like Son? Sorry; a few of Edmonton's own

are representing too: the dramatic Michael Peng-acted Shimmer, the homo-hip hop of BASH'd and the bursting energy of Hair: the American Tribal Love RockMusical. The BYOV additions for this year include Guys in Disguise's vampire/ drag romp Dragula, both of David Belke's Fringe productions, the brand new After

Be sure to check out Vue Weekly's reviews of all of the above—plus the rest of our Fringe coverage including video interviews and podcasts—at edmontonfringe.ca. Until Sun, Aug 29 Fringe Holdovers TransALTA Arts Barns: Westbury Theatre, Varscona Theatre, Various BYOVS Full schedule at fringetheatreadventures.ca and varsconatheatre.com

COMMENT >> BOOKS

Astral works

A pair of books blend the influence of music with that of writing Perhaps the greatest records—the ones of all that came before. Marcus gets at that, to borrow Greil Marcus' standard, something similar when discussing the we carry to our graves—are those that yarragh, which William Butler Yeats once seize us upon our first encounter, yield described as a sort of Celtic lament, which their real treasures only gradually, and for our purposes we might loosely align somehow retain their mysteries even afto the Spanish concept of duende—in his ter we've internalized their every strum, 1999 essay "The Secret Life of the Love rattle and intake of breath. Marcus claims Song," Nick Cave memorably declared to have listened to Van Morrison's 1968 that duende "pursues Van Morrison like a creative breakthrough Astral Weeks black dog and, though he tries to, he more than any other record, evcannot escape it." Marcus locates ery time worrying he's exhaustthe yarragh in Morrison as "the ed it, every time discovering voice that strikes a note so exanew that it still hasn't given m alted you can't believe a mere o .c ly k uewee itself up. He submits several human being is responsible tch@v hopsco reasons why this might be in for it, a note so unfinished and Josef When That Rough God Goes unsatisfied you can understand Braun why the eternal seems to be ridRiding: Listening to Van Morrison (Public Affairs, $29), though none ing on its back." convince me so much as the one he's not When That Rough God Goes Riding, quite certain of, thus forming it as a queswhich is more a collection of short estion: "Is it because it has no ending?" says than a sustained consideration of First time I heard Astral Weeks I must Morrison's work, is at its best in rapturhave fallen into a trance. I was sure the ously articulate passages such as these, record consisted of three, maybe four as well as in smaller, sometimes quirkier songs. I was later shocked to discover digressions. Marcus considers Morrison's the eight listed on the back cover. It feels performance of "Caravan" in The Last like travelling, this record, like following Waltz, wearing that amusingly snug outa path in the dark that leads to changes fit and kicking his right leg in the air like in topography you hadn't anticipated yet a Rockette, and later pays loving homage in retrospect seem the natural result to Morrison's donning of hot pants in

HOP H C SCOT

"Moonshine Whiskey." Marcus is wonderfully sensitive to the nuances of Richard Davis' bass work on Astral Weeks. Marcus tells a vivid personal story about a schoolmate's bohemian mom whose image he recalls while listening to "Madame George." He's very good with the strange, hushed aural space Morrison inhabits with "Linden Arlen Stole the Highlights": "the louder you try to make it, the more it recedes, until it reaches as far as it will go toward silence, making you lean into it." Marcus can be less persuasive when making cross-media comparisons: "It's All Over Now, Baby Blue" to Raymond Chandler's Little Sister, a somewhat intriguing case, or "Friday's Child" to a scene in Anton Corbijn's Control, which could have just as easily been a million other things. He seems determined to spend an awful lot of ink describing the movie Breakfast on Pluto before analyzing its use of Morrison's music. I appreciated Marcus' audacity to write off 16 entire years of Morrison's work—"The tedium was almost heroic in its refusal to quit," he quips— yet if you're familiar with the work in question, as well as with other less reputable records that Marcus champions, you can't help but yearn for closer readings of Morrison's whole 45-year oeuvre,

rather than the scattering of musings collected here. But I suppose the scattered, associational nature of When That Rough God Goes Riding could be seen as Marcus' own riff on the yarragh. I closed the book without any doubts as to the sincerity of Marcus' stray assertions about this artist he so clearly reveres, even those that admit their own inconclusiveness. It takes a certain critical bravado to end an essay with the confession that "what I value most is how inexplicable any great work really is." Geoff Dyer negotiated with the inexplicable allure of great music by invoking moments in the lives of several giants of jazz through fiction-like prose in But Beautiful, one of my favourite books about music ever. Now back in print, Dyer's 1997 Out of Sheer Rage (Picador, $15 USD) takes a very different approach to writing about DH Lawrence, the writer who made Dyer want to be a writer, an icon whose legacy, not unlike Morrison's, is founded in a vision of freedom and sensuality. Dyer's approach to Lawrence however is largely about avoiding any approach whatsoever. Out of Sheer Rage is a memoir of perpetual procrastination, addiction to anticipation, and despair. Steve Martin says it's the funniest book he's ever read. I'm rather fond of it myself. Dyer's considerable feat is to sustain our interest in something he's promised from the beginning is going nowhere by

VUEWEEKLY // AUG 26 – SEP 1, 2010

actually going all over, to Italy, Greece, Mexico, the US and back home to England, to survive island moped crashes, illness, dubbed movies, temptations to masturbate in public and the inevitable disappointment of standing in a place where some dead admired person once stood, trying to conjure nonexistent emotions. This is something Dyer does especially well, dissecting conflicted responses to ostensible grandeur, always with a wit every bit the equal of Dyer's titular rage. There is of course plenty of literary commentary in Out of Sheer Rage, its belated arrival feeling almost subversive. Dyer considers his youthful reading and in some cases refusal to reread much of Lawrence—save the entire collected correspondence—as well as the work of Thomas Bernhard and Milan Kundera. He makes a compelling case for the writing of a book being only slightly ahead of the research for a book, for a writer's notes for a novel sometimes being more valuable than the novels themselves. In one passage of just a few pages Dyer eloquently sums up much of what David Shields spent all of Reality Hunger, his fascinating and frustrating manifesto-bycollage, recently covered in this column, trying to say—partially through pulling quotes from Out of Sheer Rage. This might explain Dyer's own wry appraisal of Reality Hunger: "Reading it, I kept thinking, 'Yes, exactly, I wish I'd said that,' and then I realized I had." V

ARTS // 13

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VUEWEEKLY // AUG 26 – SEP 1, 2010

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14 // ARTS

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INSIDE // FILM

FILM

Vampires Suck

Nanny McPhee Returns

Lottery Ticket

Online at vueweekly.com >> FILM

Net Flicks

by Brian Gibson Tales of the Internet and its creation are making their way into cineplexes

REVUE // THE LAST EXORCISM

Faith no more

The Last Exorcism has fun with its ambiguity David Berry // david@vueweekly.com

world that isn't quite as in thrall to religious dogma and practice needs a different kind of exorcist, and Cotton Marcus (Patrick Fabian) is precisely that. Raised with the church, he's begun to see through the facade, into the very real ways that religion exploits its believers, offering vague promises and sometimes real-world harm in exchange for its own comfort and continued existence. The Last Exorcism refers to the fact that the documentary is following Marcus's last kick at the cat: he intends to make a documentary exposing the lie that his profession is, in the hopes of saving people some money, if not their lives. All that runs into a big problem in the form of Nell Sweetzer (Ashley Bell), Cotton's latest charge. Sequestered away in a withering farm house with an overprotective, born-again father, she has begun to behave strangely, supposedly mutilating the farm animals and screaming at night. Cotton's standard psychosomatic tricks appear to work, but it's quickly apparent that there is something else going on here—just not what that might be. Is Nell just a girl bullied into psychosis by an abusive father, or is the devil (or at least one of his demons) really at work here? The film has a lot of fun with that question, while delivering the very potent creeps that you expect from a film about an exorcism, even if it can't entirely sustain that into the final reel. Mostly known for his television

THE POWER OF COTTON COMPELS YOU >> The titular Last Exorcism work—notably Big Love and Gigantic— Fabian takes the role of Cotton Marcus and runs with it, playing the preacher as a bit of a rogue with a golden tongue, albeit one who has become deeply perturbed at what some of his religious brethren can do to people. His ability to dance on the line between smirking cynic and confused non-believer is a large part of what makes The Last Exorcism work so well, and remain so ambiguous throughout. Vue Weekly recently had a chance to chat with Fabian about Cotton Marcus, filming faux-documentary style and the unique, spooky charms of Louisiana. VUE WEEKLY: Well, first off, obviously the film is shot as a faux-documentary, supposedly following this guy around

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while he tries to debunk exorcisms. As an actor, what's it like to be playing a character, but have to act in a way that's got a different sort of reality than the usual guy who's not supposed to be looking at the camera? PATRICK FABIAN: Working with [director] Daniel Stamm was really great, because he was a lover of multiple takes, and I mean like 20 or 30 takes. One of his techniques in using so many takes, I think, is that it naturally breaks down your defences: it naturally makes you behave more realistically—and he certainly didn't want the actor. I think any actor goes into a piece thinking about what they want to present, an idea of the picture you're showing, and just from all those takes, and having him

giving it notes, it makes you behave in a different fashion.

makes us question our faith, or lack, and the nature of evil.

VW: When it came time for some of the film's creepier moments, was it still a case of multiple takes, or was it kind of a go in there with the camera, and see how you react situation? PF: There was a lot of the reaction, especially during the exorcism—even though we did multiple takes, Ashley would confer with Daniel, and we'd get something different. And I think that makes it fresh, and makes it real, and that comes across. I also think just because you're not just witnessing it on your own, that adds something. With the actors, there's three of us in the room watching what's going on, so we can kind of check in with each other, do that, "Are you seeing what I'm seeing? What's going on?" and that gives the audience kind of anchor to put their fears on.

VW: I'm wondering, shooting the documentary style, trying to keep it on that level, did that make it stick with you more? There are those stories of Janet Leigh not being able to shower after making Psycho, and I can't imagine that extra level of reality would help any. PF: Thankfully, we were shooting it on location. It was hot and muggy and in New Orleans, down in the lower ninth ward, and it's this old, old house, and it smelled old and it felt like ghosts. And then we're out in the barn and there's hay and rusted implements of destruction on the wall, and a lot of it—yes, I'm a very good actor—but there's no acting involved: it's just a great mood that was set and maintained. That whole place is a set director's wet dream. You need a ramshackle house that hasn't been painted in 60 years? Right there on the corner. A haybale that looks like the devil? Right across the street. But yeah, you'd get back to your hotel at night, but after 12 hours of a screaming crazy girl in a bloody dress, that sticks to you. I'd wake up in the middle of the night maybe not after a nightmare, but definitely with a, 'Where am I? What's going on?' V

VW: That's particularly true since Cotton is something of an unbeliever, which seems necessary to pull that off in this day, since people aren't quite under the same thrall to religion as they were when the original came out. PF: Absolutely. The mainstay of it is that we're talking about good and evil and crises of faith, mental illness, what's real and what's not. You start off with me as a preacher wanting to use the film as a way to expose the fraud and the charlatanism that's perpetrated by religion, and sort of make amends with it. But then we go to the Sweetzer farm and run into Nell, and we come up with something that's questionable about what it is, and

Opening Fri, Aug 27 The Last Exorcism Directed by Daniel Stamm Written by Huck Botko, Andrew Gurland Starring Patrick Fabian, Ashley Bell

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COMMENT >> DVD

East meets West

Asian cinema's take on the Western gives it postmodern flair, at a cost With the one major spaghetti excepgenre in the '90s and early '00s—and tion, foreign film scenes have those are just the most prominever really latched on to the nent examples. The Western, Western like they did that though, remains mostly an other quintessential AmeriAmerican obsession: even can genre, the crime film: Leone and his fellow Italkly.com uewee the French New Wave loved ians weren't so much subtive@v c te e d to play off and subvert the dvd verting or internalizing the d i v Da rogueish qualities of Holgenre as embodying and imBerry lywood crime cinema, and proving it, and their styles and Hong Kong built a large part of its obsessions mostly fit similar patreputation by arguably taking over the terns as the American legends.

DVCD TIVE

DETE

This likely has to do the transportability of themes. Crime is essentially about marginalized people trying to exist and thrive outside the confines of nice—even boring, as Henry Hill would put it—society, and that's a nearly universal condition. Westerns, on the other hand, are more about self-sufficience in a chaotic world, the rugged individual trying to uphold his (almost always his) own code, however amoral it might be: even Americans

have mostly abandoned the Western as they've gone from being a new superpower exploring the boundaries of their influence to an established giant that has to deal with the nooks and crannies of the world they've created. In the postmodern era, though, no genre can remain untapped for too long, though, and there has been a bit of a resurgent interest in the Western from Asian cinema. Japanese provacateur Takashi Miike tried his hand with

VUEWEEKLY // AUG 26 – SEP 1, 2010

Sukiyaki Western Django a few years back, and now South Korea's Ji-Woon Kim has thrown his hat in with The Good, the Bad, the Weird. Besides the fact both of these are updates rather than full-cloth creations, they also share styles: though it's to somewhat different degrees, they trade austerity for kineticism, and have heroes and villians with flamboyant traits maybe CONTINUED ON PAGE 17 >>

FILM // 15

REVUE // VAMPIRES SUCK

REVUE // NANNY MCPHEE RETURNS

Vampires Suck bashes you over the head with bad 'parody'

Nanny McPhee Returns does more than pander to children

Suck out the fun Brian Gibson // brian@vueweekly.com

rac knows there's plenty of pints in the teen vampire-horrormone Twilight Saga to mock: formulaic shots, cheesy F/X, the bizarre effort to merge Bram Stoker and Wuthering Heights in 21st century America, the Mormon sucktext, the series' anti-feminism. But since this is a goof-spoof from the Friedberg and Seltzer factory (Scary Movie, Epic Movie, etc.), the movie tosses off some blunt-force oneliners, coasts on character impersonation, riffs off the originals' plot points, and pretends its cheap imitation of the Saga's mopey, slow scenes are parody. In other words, Vampires Suck bites.

An early sequence actually doesn't involve just tweaked knock-offs of Twilight bits. When Becca (Jenn Proske, imitating the hair-flicking, lip-biting, and downward looks of Kristen Stewart's Bella) protests to her small town (Sporks, WA) sheriff father that she's not a kid anymore, he shows her her room, just as she'd left it, complete with crib and dolls, before kangaroo-pouching her around in a big strap-on baby carrier. But then comes an anti-Native "joke," plenty of pop-cult name-dropping— Example #648: "You've got more angst than [insert name of current hit TV show about teens]"—and some femaletrashing, with Becca a sex-hungry

vamp who gets "Bitch!"ed and hit a lot. So, rather than strike at the heart of Twilight's appeal to girls, Friedberg and Seltzer just bash the girl character at the heart of Twilight. (In only one setpiece do the series' tween fans pop up— especially in the movie's best-timed moment of slapstick, its penultimate shot—when they could've been a regular, crazed presence invading the movie from our even weirder reality.) The 75 minutes drag, especially with pointless mimicry of the originals' longing glances or overhead-forest shots or pained conversations. What gets worse than the pacing, though, is CONTINUED ON PAGE 18 >>

Nanny knows best David Berry // david@vueweekly.com

he problem with most children's entertainment—especially films—is that few people seem to be able to figure out the line between entertaining kids and pandering to kids. It's not as though we should be slipping in a thesis on the underlying connections of Gödel, Escher and Bach or anything, but most of the truly lasting child entertainments tend to address adult issues from a child's perspective, or at least

give the little ones the benefit of the doubt when it comes to things like emotional complexity. Nanny McPhee Returns certainly has its share of overt pandering, but nestled among the easier family crowd-pleasers are some moments that at least suggest that writer/star Emma Thompson and director Susanna White have something greater in mind. It would be a stretch to say that it's entirely successful, but there are also things here that you're not likely to see in most child's movies: the sun-kissed reverie with which Isabel Green (Maggie Gyllenhaal) dries out her torn bridal veil, thinking back to her wedding with the husband who has long been gone to war, for instance. Or the way the shot lingers over Cyril Gray (Eros Vlahos), Isabel's nephew, as he attempts to confront his stern, distant, high-ranking-general father, and he swallows his protest with a horrible mixture of fear and disgust. The main problem is that these moments are wrapped up in a story that is overly conventional, sappy and even just a litle bit icky at times. Similar to the first film, Nanny McPhee (Thompson) pops up to help a stressed-out, essentially single parent: Isabel is left to take care of not only her three kids, but her primand-proper nephew and niece, who are whisked away from London to avoid the bombs and are less than thrilled to be wading through muddy farm fields. With her magic cane, she will teach them the values of sharing and getting along and being brave, in pat little scenes that are so dangerously similar in structure and tone that they get boring by the second incarnation, and are accompanied by McPhee slowly losing her ugly features (moles, a unibrow, a bulbous nose and a jutting front tooth), which is a pretty gross addendum to some otherwise reasonable lessons for kids. Still, though, those little touches endure, and add some much-needed depth to the story. The schmaltzy end works because the story gets rounded out almost in spite of itself, and though it could give its child audience a bit more credit, Nanny McPhee Returns doles out mature bits with enough regularity to at least keep it a head above a lot of the contemporary competition. V Now Playing Nanny McPhee Returns Directed by Susanna White Written by Emma Thompson Starring Thompson, M aggie Gyllenhaal

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16 // FILM

VUEWEEKLY // AUG 26 – SEP 1, 2010

DVD DETECTIVE

<< CONTINUED FROM PAGE 15

more akin to martial arts flicks than the stoic and no-nonsense western templates. I'm not sure if that's the right way to update the Western, although it does have some advantages. Where Leone or John Ford's spacious, wide cinematography helps to suggest the ultimate isolation of their characters, Ji-Woon whizzes around and in tight, certainly capturing the chaos of a crowd scene or a gunfight, but also prizing his characters' skill, the hard-earned tricks that keep them alive in this world. It's a stronger physical portrayal, if a less effective psychological one, although there are even times when it feels like style trumps the point (though that's admittedly far bigger an issue with Miike). That difference is in sharp relief with Good, Bad, Weird, similar as it is to Leone's classic: here too there is a buried treasure to be found in a rugged area—1930s Manchuria takes the place of the American west—though in this case our trio has a map to it. The Bad (Byung-hun Lee) is set to steal it off a Japanese delegate riding a train, but he's beaten to it by the Weird (The Host's Kang-ho Song), a seemingly small-time thief who can't believe his good fortune. Pretty soon, both are being pursued by The Good (Park DoWon), a bounty hunter more inter-

ested in the prices on their heads than what they might be chasing. And this will also end with a Mexican standoff, with much more at stake than just a fortune (though a decidedly poorer soundtrack). Ji-Woon's strengths are definitely the gun fights, which again have a lot of the ballet and cool of martial arts films. His camerawork is as lively as any I've seen for folks blasting away at each other, and they mix humour and violent panache with equal aplomb, although they tend to lack the brutal tension of some of the best, the stylization lessening the drama. The other thing he definitely picks up is the affinity for the final eponymous character: in Leone's original, Good and Bad were just mysterious archetypes, almost ideas as much as characters, and though Ji-Woon shades them in a bit more here, he nails the dirty humanity of Weird, the rambunctious spirit of a talented but cynical man who's more ekeing out his living than dominating the scene. In Ji-Woon's hands, the western gains some postmodern flair, but it comes at the expense of the themes that make it such a potent genre—or at least a once-potent genre. There's a reason why cowboys aren't just quintessentially American but indicative of a particular time in America, and it seems to me like they're an icon that can be reinterpreted, but never recreated in all their glory. V

VUEWEEKLY // AUG 26 – SEP 1, 2010

FILM // 17

REVUE // LOTTERY TICKET

Unlucky odds

Ice Cube's Lottery Ticket lacks a winning cast David Berry // david@vueweekly.com

ost of Ice Cube's black community films actually get by on their lackadaisical, loose moods: movies like Friday and Barbershop are more about what it's like to meander through a neighbourhood, or at least hang out in one specific part of it, and the gallery of colourful characters and the way they bounce off one another tends to make up for the lack of propulsion, the community becoming the story in its own way. Lottery Ticket—produced by Cube's CubeVision, and featuring the man in a small role as a recluse ex-boxer—tries to create a similar mood, but it's hampered by the fact two major faults: first, its premise, about young Kevin Carson (Bow Wow), who has to hold onto his winning lottery ticket despite intrusions from gold diggers, nosy neighbours and some seriously hard dudes, lends itself a lot more to madcap, Mad, Mad, Mad, Mad World hijinx than lazing about and soaking up the vibe. The actual scene where Kevin finds out he won both keeps with the film's loose structure and feels utterly inert, like he was watching a basketball team win a meaningless mid-season game, not pocketing $370 million.

PLEASE PLAY AGAIN >> Bow Wow in the Lottery Ticket The other problem is that this community just isn't as well-drawn as some of the other efforts. I don't know if you could go so far as to call them stereotypes, but they do at least feel pretty cliché: T-Pain has a nice, excitable cameo as the owner of the corner store where Kevin buys his ticket, and Cube himself does a decent job of dispensing some wisdom earned through getting punched for a living, but that's the best of a thin bunch. Kevin's best friend (Brandon T Jackson, who was sharp as Alpa Chino in Tropic Thunder) steps in to offer a dose of reality at one point, but could basically be a tank top and earrings up until then, and he's the most fully realized. Even Kevin himself is pretty much a void— he feels a bit trapped, and he likes

VAMPIRES SUCK

<< CONTINUED FROM PAGE 16

the slam-you-over-the-head schtickiness. When Edward Sullen (Matt Lanter) admits his (anemic) explanation of adolescent girls' longing for vampires isn't his but "I read it on Stephenie Meyer's Twitter page," he actually shows us the page on a laptop screen. We don't just see a note from Becca's father telling her food's in the fridge and "weed is in the top drawer"— the note's read to us in voiceover. So, by the time the movie's half-dead through,

18 // FILM

VUEWEEKLY // AUG 26 – SEP 1, 2010

// Supplied

sneakers, and I don't really know what else—and no one else really steps in to fill it, ticking off well-worn characters with a minimum of fuss. There is something to be said for the charms of the hang-out movie, but you have to want to hang out with the people in it. With nothing to latch onto, Lottery Ticket just feels plodding and pointless, and by the end you won't much care who ends up with the winning slip. V Now Playing Lottery Ticket Directed by Erik White Written by White, Abdul Williams Starring Bow Wow, Brandon T Jackson



the comedy's as pained and strained as Edward's constant colon-clenched look. Still, in some dark eternity where crap films dwell, the Twilight Saga and Vampires Suck deservingly have each other, locked in a bloody awful embrace. V Now Playing Vampires Suck Directed and written by Jason Friedberg, Aaron Seltzer Featuring Jenn Proske, Matt Lanter, Chris Riggi



FILM REVIEWS

Film Capsules

FILM WEEKLY FRI, AUG 27 – THU, SEP 2, 2010

THE LAST EXORCISM (14A disturbing

content, gory scenes) Digital Cinema DAILY 1:15, 4:20, 7:15, 10:00

PIRANHA 3D (18A gory scenes, brutal violence, nudity) Digital 3d FRI�TUE 1:50, 4:50, 7:25, 9:55; WED�THU 5:20, 8:30

AVATAR: SPECIAL EDITION 3D (STC)

TAKERS (PG violence, coarse language) FRI�TUE

THE LAST EXORCISM (14A disturbing

PIRANHA 3D (18A gory scenes, brutal violence,

THE LAST EXORCISM (14A disturbing

TUE 1:10, 3:25

LOTTERY TICKET (PG violence, language

WED�THU 5:50, 9:00

7:00, 9:05; SAT�SUN, TUE 1:00, 3:05

Digital 3d DAILY 12:00, 4:00, 8:00

Now Playing Piranha

Directed by Alexandre Aja Written by Peter Goldfinger, Josh Stolberg Starring Elizabeth Shue  Alexandre Aja's third horror remake kicks off with Richard Dreyfuss getting sucked into an astonishingly lame-looking computer-generated whirlpool before being gobbled by two-million-year-old killer guppies. Dreyfuss' cameo is meant to remind the amnesiacs in the audience of Jaws, though wouldn't it have been more in keeping with the monumental vileness of Aja's Piranha to somehow digitally resurrect Roy Scheider and shove him into this innovative new product for inducing vomit? That's not hyperbole, incidentally—there are at least two acts of vomiting in the movie itself, and only one is performed by a piranha. Wasn't the first third of Saving Private Ryan supposed to be a comedy? Apparently that's the sort of "high-concept" that gets green-lit these days, resulting in this brazenly cynical, simultaneously tedious and upsetting beach blanket bloodbath, quite possibly the only summer fare that includes both Academy Award-winning actors and porn stars in its cast, not to mention the chubby kid from Stand By Me. Funny thing is, I'm not sure which camp gives the worst performances. At least valiant Elizabeth Shue looks like she's trying, and Christopher Lloyd is nearly amusing in the Sam Jaffe expository scientist bit, though he doesn't have to work as hard as Sperm Overload 3's Gianna Michaels, playing a topless parasailing appetizer. The story's at once risibly sentimental and utterly heartless, winkily aware of its own idiocy yet idiotic nonetheless. It concerns Sheriff Shue trying to evacuate an Arizona resort upon discovering swarms of hungry cannibal piranhas released from captivity while some mannequin who's supposed to be her teenage son absconds from babysitting duties to hang on a boat with Jerry O'Connell's insufferable moron with a movie camera, who's supposedly making pornography. Of course Shue can't get those pesky spring breakers to exit the water, and soon enough all those dozens of young women Aja worked so hard to get out of their bikinis are ripped to shreds, not only by piranha teeth but also the outboard motor of some scumbag foolishly trying to escape the massacre. It strikes me that O'Connell's would-be director is actually stand-in for Aja. While he's clearly no match for Aja in the sadistic misogyny department, all O'Connell wants for the first half of Piranha is to shoot naked tits, yet his most vivid expression of amazement occurs when he sees one of his honeys consumed by piranhas, who possess the showmanship to penetrate her from below and exit through her mouth. Soon after O'Connell's back on his boat, half-mutilated, paraphrasing Eric Roberts in The Pope of Greenwich Village. "They took my penis," he gasps, as though he wasn't impotent to begin with. But he's impotent in 3-D! Feeling entertained yet? Josef Braun

// josef@vueweekly.com

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 7:00, 9:15; FRI, SAT, SUN 1:30

nudity) Digital 3d DAILY 1:10, 4:30, 7:20, 9:55 may offend) DAILY 9:40

THE SWITCH (PG mature subject matter, not

1:25, 4:20, 7:00, 9:40; WED�THU 5:35, 8:40

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

content, gory scenes) DAILY 7:10, 9:25; SAT, SUN,

content, gory scenes) FRI�TUE 2:00, 4:45, 7:30, 9:50;

NANNY MCPHEE RETURNS (G) DAILY

THE AMERICAN (STC) WED�THU 5:25, 8:45

VAMPIRES SUCK (14A crude content) DAILY

DUGGAN CINEMA�CAMROSE

7:00, 9:05; SAT�SUN, TUE 1:05, 3:05

THE OTHER GUYS (PG coarse language,

recommended for young children) FRI�TUE 12:15, 3:20, 7:20, 10:15; WED 12:15, 3:20, 7:30, 10:15; THU 4:10, 7:30, 10:15; Star & Strollers Screening: THU 1:00

PIRANHA 3D (18A gory scenes, brutal violence, nudity) DAILY 7:05 9:05; SAT, SUN 1:55

crude sexual content, not recommended for young children) DAILY 6:50, 9:10; SAT, SUN, TUE 12:50, 3:10

NANNY MCPHEE RETURNS (G) DAILY

THE EXPENDABLES (18A brutal violence)

EAT PRAY LOVE (PG language may offend)

CHAK JAWANA (PG) Punjabi W/E.S.T. DAILY

VAMPIRES SUCK (14A crude content) FRI�

THE LAST EXORCISM (14A disturbing con-

THE EXPENDABLES (18A brutal violence)

PEEPLI LIVE (14A) Hindi W/E.S.T. DAILY 1:45,

THE EXPENDABLES (18A brutal violence)

TAKERS (PG violence, coarse language) DAILY

PIRANHA 3D (18A gory scenes, brutal violence, nudity) DAILY 6:55, 9:15; SAT�SUN, TUE 1:15, 3:20

RAMONA AND BEEZUS (G) FRI�SAT 1:10,

EAT PRAY LOVE (PG language may offend)

VAMPIRES SUCK (14A crude content) DAILY

EAT PRAY LOVE (PG language may offend) DAILY 6:45, 9:15; FRI, SAT, SUN 1:30

OCEANS (G) SAT�SUN 3:30

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

1:30, 4:15, 7:00, 9:45 4:25, 7:35, 9:50

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

12:00, 3:20, 6:45, 9:30

TUE 12:20, 3:30, 7:25, 9:45

DAILY 12:10, 3:10, 7:00, 9:50

DAILY 11:45, 3:15, 6:40, 10:00

SCOTT PILGRIM VS. THE WORLD (PG violence) DAILY 1:00, 4:15, 7:10, 10:10

THE OTHER GUYS (PG coarse language,

THE TWILIGHT SAGA: ECLIPSE (PG

crude sexual content, not recommended for young children) FRI�TUE 12:35, 3:45, 7:30, 10:15; WED�THU 12:30, 3:45, 7:30, 10:15

GROWN UPS (PG crude content, language

STEP UP 3D (PG) Digital 3d DAILY 9:20 DINNER FOR SCHMUCKS (14A) FRI, SUN�

violence) FRI�SAT 1:25, 4:00, 6:40, 9:20, 12:00; SUN� THU 1:25, 4:00, 6:40, 9:20 may offend) FRI�SAT 1:50, 4:35, 7:25, 9:40, 11:55; SUN�THU 1:50, 4:35, 7:25, 9:40

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 7:10, 9:40, 12:05; SUN�THU 7:10, 9:40

THE KARATE KID (PG violence, not recommended for young children) DAILY 1:05, 4:00, 7:00, 9:55

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

HOW TO TRAIN YOUR DRAGON (PG violence) DAILY 1:30, 4:10

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

TAKERS (PG violence, coarse language) DAILY 1:10, 4:20, 7:40, 10:15

THE LAST EXORCISM (14A disturbing

content, gory scenes) Digital Cinema DAILY 2:00, 5:00, 8:00, 10:40

PIRANHA 3D (18A gory scenes, brutal violence, nudity) Digital 3d DAILY 2:10, 5:20, 8:10, 10:35 THE SWITCH (PG mature subject matter,

not recommended for young children) Digital Cinema DAILY 12:40, 4:00, 7:10, 9:40

THU 12:50, 4:10, 7:35, 10:20; SAT 12:50, 3:45, 10:20

SALT (14A) FRI, SUN�THU 1:20, 4:40, 7:40, 10:25; SAT 1:20, 4:40, 7:40

INCEPTION (PG violence) FRI, SUN�THU 11:30, 3:00, 6:30, 10:05; SAT 11:30, 3:00, 6:40, 10:10

EAT PRAY LOVE (PG language may offend) DAILY 12:20, 3:30, 6:40, 9:55

SCOTT PILGRIM VS. THE WORLD (PG violence) FRI�TUE 1:20, 4:10, 7:15, 9:50

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) DAILY 1:30, 4:30, 7:20, 10:00

STEP UP 3D (PG) Digital 3d DAILY 9:00 DINNER FOR SCHMUCKS (14A) DAILY 1:40, 4:40, 7:30, 10:20

SALT (14A) DAILY 12:50, 3:50, 7:00, 9:30 INCEPTION (PG violence) DAILY 12:10, 3:20,

6:50, 10:10

DESPICABLE ME 3D (G) Digital 3d DAILY 1:00, 3:45, 6:30

THE AMERICAN (STC) WED�THU 1:20, 4:10, 7:15, 9:50

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

TAKERS (PG violence, coarse language) FRI�

TUE 12:30, 4:45, 7:45, 10:30; WED�THU 12:40, 4:45, 7:45, 10:30

7:10 9:00; SAT�SUN 1:50

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

THE MUSIC MAN (PG) MON 8:00 GALAXY�SHERWOOD PARK

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

TAKERS (PG violence, coarse language) FRI�SUN 1:00, 3:30, 7:10, 9:50; MON�THU 7:10, 9:50

THE LAST EXORCISM (14A disturbing content, gory scenes) FRI�SUN 1:45, 4:30, 7:30, 9:55; MON�THU 7:30, 9:55

recommended for young children) Digital Cinema FRI�SUN 1:15, 4:00, 7:00, 9:30; MON�THU 7:00, 9:30

tion not available) SAT 8:00

THE AMERICAN (STC) WED�THU 12:20, 3:30, 7:15, 10:10

CITY CENTRE 9 10200-102 Ave, 780.421.7020

THE LAST EXORCISM (14A disturbing content, gory scenes) Dolby Stereo Digital, Stadium Seating DAILY 12:20, 2:35, 5:10, 7:30, 9:55

THE SWITCH (PG mature subject matter, not

VAMPIRES SUCK (14A crude content) FRI� SUN 1:20, 4:20, 7:05, 9:20; MON�THU 7:05, 9:20

THE EXPENDABLES (18A brutal violence)

crude sexual content, not recommended for young children) Stadium Seating, DTS Digital FRI�TUE 12:50, 3:50, 7:10, 10:05

SCOTT PILGRIM VS. THE WORLD (PG

violence) Stadium Seating, DTS Digital DAILY 12:40, 3:35, 7:00, 9:50

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

THE AMERICAN (STC) Dolby Stereo Digital WED�THU 12:50, 3:50, 7:10, 10:05

CLAREVIEW 10 4211-139 Ave, 780.472.7600

THE OTHER GUYS (PG coarse language, crude sexual content, not recommended for young children) FRI�TUE 1:40, 4:40, 7:15, 9:50; WED�THU 4:50, 8:15 EAT PRAY LOVE (PG language may offend) FRI�TUE 1:15, 4:30, 8:00

THE EXPENDABLES (18A brutal violence) FRI� TUE 1:30, 4:10, 6:50, 9:35; WED�THU 5:10, 8:00

VAMPIRES SUCK (14A crude content)

FRI�TUE 1:45, 4:40, 7:10, 9:30; WED�THU 5:40, 8:50

LOTTERY TICKET (PG, violence, language may offend) No Passes FRI�SUN 1:20, 4:00, 6:40, 9:20; MON�TUE 1:20, 4:00, 6:40, 9:20; WED�THU 5:30, 8:10 THE SWITCH (PG mature subject matter, not

recommended for young children) FRI�TUE 1:00, 3:40, 7:05, 9:45; WED�THU 5:45, 8:20

NANNY MCPHEE RETURNS (G) FRI�TUE 1:10, 3:50, 6:30, 9:10; WED�THU 5:00, 7:40

VUEWEEKLY // AUG 26 – SEP 1, 2010

10337-82 Ave, 780.433.0728

THE GIRL WHO PLAYED WITH FIRE

(18A brutal violence, disturbing content) DAILY 7:00, 9:20; SAT�SUN 2:00

AGORA (14A) DAILY 6:50, 9:10; SAT�SUN 1:00 HUGH HEFNER: PLAYBOY, ACTIVIST AND REBEL (14A nudity) SAT�SUN 3:30 SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

TAKERS (PG violence, coarse language) FRI� SUN 1:45, 4:15, 7:15, 9:50

THE LAST EXORCISM (14A disturbing

content, gory scenes) DAILY 12:20, 2:50, 5:10, 7:50, 10:10

PIRANHA 3D (18A gory scenes, brutal violence, nudity) Digital 3d DAILY 12:15, 2:45, 5:00, 8:00, 10:45 NANNY MCPHEE RETURNS (G) DAILY 12:45, 4:10, 6:50, 9:40

VAMPIRES SUCK (14A crude content) DAILY 12:30, 3:20, 6:30, 9:20

EAT PRAY LOVE (PG language may offend)

FRI�SUN 12:45, 3:45, 6:45, 10:00; MON�THU 6:45,

10:00

crude sexual content, not recommended for young children) FRI�SUN 1:10, 4:10, 7:15, 9:40; MON�THU 7:15, 9:40

THE OTHER GUYS (PG coarse language,

PRINCESS

EAT PRAY LOVE (PG language may offend)

AVATAR: SPECIAL EDITION 3D (STC) Digital 3d, Stadium Seating, No Passes DAILY 1:00, 5:00, 9:00

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

THE EXPENDABLES (18A brutal violence)

10:10

SCOTT PILGRIM VS. THE WORLD (PG

Dolby Stereo Digital DAILY 12:00, 3:20, 6:45, 10:00

DAILY 6:45, 9:30; SAT, SUN, TUE 12:45, 3:30

FRI�SUN 1:30, 4:25, 7:20, 10:10; MON�THU 7:20,

THE EXPENDABLES (18A brutal violence) Stadium Seating, Dolby Stereo Digital DAILY 12:10, 2:45, 5:20, 7:55, 10:30

PIRANHA 3D (18A gory scenes, brutal violence, nudity) Digital 3d, Stadium Seating DAILY 12:30, 2:55, 5:15, 7:45, 10:20

DAILY 12:00, 2:30, 5:10, 7:50, 10:30

7:00, 9:20; SAT�SUN 2:00

TOY STORY 3 (G) DAILY 12:45, 3:55, 6:50 UFC 118: EDGAR VS. PENN 2 (Classifica-

VAMPIRES SUCK (14A crude content) DAILY THE EXPENDABLES (18A brutal violence)

tent, gory scenes) DAILY 7:15, 9:15; SAT�SUN 2:10

1:30, 4:00, 6:35

INCEPTION (PG violence) DTS Digital, Stadium Seating DAILY 12:05, 3:25, 6:50, 10:10

1:50, 4:50, 7:05, 9:10

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

PIRANHA 3D (18A gory scenes, brutal violence, nudity) Digital 3d FRI�SUN 2:00, 4:45, 7:45, 10:15; MON�THU 7:45, 10:15

DESPICABLE ME 3D (G) Digital 3d DAILY

NANNY MCPHEE RETURNS (G) FRI�TUE,

THU 12:30, 3:40, 6:45, 9:20; WED 3:40, 6:45, 9:20; Star & Strollers Screening: WED 1:00

6601-48 Ave, Camrose, 780.608.2144

violence) DAILY 9:15

THE OTHER GUYS (PG coarse language,

INCEPTION (PG violence)

FRI�SUN 3:00, 6:30, 9:45; MON�THU 6:30, 9:45

DESPICABLE ME 3D (G) FRI�SUN 1:40, 4:15,

6:50; MON�THU 6:50

GARNEAU

DAILY 1:50, 4:50, 7:45, 10:40

FRI�SUN, TUE, THU 12:50, 4:00, 7:10, 10:20; MON 12:50, 3:55, 7:10, 10:20; WED 4:00, 7:10, 10:20; Star & Strollers Screening: WED 1:00

SCOTT PILGRIM VS. THE WORLD (PG violence) DAILY 1:00, 3:50, 6:40, 9:30

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, 10:30

DINNER FOR SCHMUCKS (14A) FRI, SUN� THU 1:20, 4:20, 7:30, 10:15; SAT 1:20, 4:20 INCEPTION: THE IMAX EXPERIENCE (PG violence) DAILY 12:00, 3:30, 7:00, 10:30

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

THE EXPENDABLES (18A brutal violence) DAILY 2:50, 4:55, 7:00, 9:10

DESPICABLE ME 3D (G) Digital 3d DAILY 12:40, 3:40, 6:30, 9:15

UFC 118: EDGAR VS. PENN 2 (Classification not available) SAT 8:00

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

VAMPIRES SUCK (14A crude content) Dolby

CATS AND DOGS: THE REVENGE OF KITTY GALORE (G) DAILY 1:05 DESPICABLE ME (G) DAILY 1:15, 3:05, 7:10 SCOTT PILGRIM VS. THE WORLD (PG

Stereo Digital FRI 7:00, 9:40; SAT�SUN 1:15, 4:00, 7:00, 9:40; MON�TUE 5:30, 8:30; DTS Digital WED� THU 8:30

THE LAST EXORCISM (14A disturbing

EAT PRAY LOVE (PG language may offend) DTS Digital FRI, MON�THU 7:25; SAT�SUN 12:30, 3:50, 7:25

violence) DAILY 5:00, 9:00

content, gory scenes) DAILY 1:10, 2:55, 4:35, 6:15 7:55, 9:35

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, 9:30

LEDUC CINEMAS Leduc, 780.352.3922

THE EXPENDABLES (18A brutal violence) DAILY 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

THE SWITCH (PG mature subject matter, not

recommended for young children) DAILY 12:55, 3:35, 6:55, 9:35

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

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� TUE 5:15, 8:15; WED�THU 5:15 THE AMERICAN (STC) Dolby Stereo Digital WED�THU 5:30, 8:15

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

EAT PRAY LOVE (PG language may offend) DAILY 12:55, 3:40, 6:55, 9:40

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

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

THE LAST EXORCISM (14A disturbing content, gory scenes) DAILY 1:10, 3:35, 7:10, 9:35

FILM // 19

INSIDE // MUSIC

MUSIC

Backlash Blues

Los Lobos

Online at vueweekly.com >>MUSIC VueTube: Eamon McGrath Enter Sandor: Online this week

Music Notes

COVER // EAMON MCGRATH

A QUIET MOMENT >> Eamon McGrath with an acoustic incarnation of his band, live at Vue Weekly Mike Angus // mikeangus@vueweekly.com

he more times you see Eamon McGrath, the more you like him. His live shows are exhilarating, his new album, Peace Maker, near perfect and off stage he's chatty and gracious, if not modest to a fault. But the biggest reason to like him is for how terrifying he is. Not that he's threatening, nor is he an asshole. He's reckless and relentless, yet smart, focused and driven. For all the flattering—if somewhat lazy—comparisons he's garnered to Tom Waits or Neil Young, he's already realized his potential for himself—one that has outgrown Edmonton—and has unapologetically moved to Toronto to put off "the inevitable," as he puts it. Simply put, he's punk as fuck. And he's only 21 years old. Not that you would guess. In our interview over the phone he talks a mile a minute, but he's mature, articulate and gets right to the point every time. Like his songwriting, he speaks in a way that forces you to sit up and take notice; you'd hate to ask "what's that song about," because it would simply show you obviously weren't listening. McGrath's show Saturday will be his first in Edmonton since releasing Peace Maker in July. For fans of his previous album, 13 Songs of Whiskey and Light, Peace Maker sees McGrath at a loud, punkier, grittier, raw end of his musi-

20 // MUSIC

cal spectrum—more Crazy Horse, for those requiring comparisons—than the last few acoustic appearances he made in Edmonton before touring Europe in the Spring. Having spent his last term at university booking the tour instead of going to classes, "the inevitable" move to Toronto was more his own writing on the wall than fate. "I ended up booking 27 dates [in Europe] and at the end of it decided, instead of flying home with $19 in my pocket, to stay put here [in Toronto]," he explains. "It ended up being a real spur-of-the-moment decision and I think it's turned out to be a real smart one, to be honest. "This is a city where you can really balance your life outside of your art, and one supports the other rather than having to sacrifice one part of what you do at the expense of the other. Everybody is here for a reason, and people come here to do what they love. So because of that it's a breeding ground for really supportive and like-minded people." McGrath points out the feasibility of touring and the ability to support himself as an artist, combined with Toronto's music industry infrastructure that makes it possible to actually pay the bills making music. "And talking to a lot of people here, they came here with a lot less than I did, financially or even in terms of having a name for themselves," he adds modestly. "I moved here already being established, so it's been a

// Eden Munro

different story for me. A lot of people have really worked up from the bottom in this city, and I've had the luxury of moving into it." So the last three months have been spent building up support for Peace Maker while making inroads into T-dot's punk-rock community, he explains. He's held a weekly residency at the Dakota Lounge, a regular hang-out for Toronto's who's who in independent music, while trying to build an angle around Peace Maker's "hardcore punk sound." "Our shows in Europe and Canada have been exclusively influenced by hard-core punk," he points out. "The plan was to really focus on being really bombastic and intense. In Europe we called the backing band Grave Lines, the songs were twice as fast, the sets were just bloody and the band was really tight and, by the end, really sober," he enthuses. "And a lot of audiences were shocked by the sound of the band. We played some of the craziest punk shows to people that came expecting a chilled, acoustic set, and then by the end everyone's drenched in sweat in a circle pit. It was just really great. "I think that was appropriate for Peace Maker because the songs weren't originally written like that, but that's where my head was at when that record was made—resentful and pissed off towards a lot of people and kinda pissed off towards myself—so I think I channeled that towards a really aggressive sound and ag-

VUEWEEKLY // AUG 26 – SEP 1, 2010

gressive attitude." Having recorded Peace Maker with Dave Carswell of the Evaporators and John Collins of the New Pornographers, it's the first time McGrath, who's well known for his prolific home recordings, has worked collaboratively with producers in a professional studio. "I think it was needed on this record. It's what I wanted," McGrath explains. "I asked them to work with me because of their experience—they've both been playing in punk bands so I knew they'd understand where I was coming from. "They're really quiet guys and a lot of the communication between them, because they've known each other for so long, was just glances, so it was hard to pick up on their communication," he continues. "But [after a take] they'd pretty much say to me, '[Do it] again' or 'Outrageous.' That was what John would say, and it was one or the other, which was good because he was honest ... he would tell me if I sounded like shit or not." Having such a strong, trusting relationship with producers can be a difficult balance to achieve, especially given that Peace Maker was recorded and mixed in only six days. But their combined vision has produced an incredibly cohesive, raw and relentless record. "People are always trying to convince me to get quieter, and that's fine, but the way that people think about being quiet is like cutting off your nuts," McGrath confides.

"The thing about those guys [Carswell and Collins] is even with their suggestions to tone down the record, they know that rock 'n' roll needs balls. They're not trying to gentrify the sound, because they love punk rock and they play in punk bands. They really were trying to look out for the spirit and the message of the music I was trying to send," he extols. "In the core of the music there's this really punk-rock spirit, and those guys were really out to protect it." Ironically, though, the next album— which is already written—will be exactly that: "a really quiet album," as McGrath puts it. "It's an intentional decision that we've been making at the label and within the band. We're gonna totally do a 180 degree turn, just really shock some people; most people are gonna come to the show expecting us to be loud and we'll be quiet," he notes with a chuckle, before adding, "The last few months have been me moving away from that [loud punk rock], so it's just me pulling a big prank on everyone. And it's worked so far." V Sat, Aug 28 (8 pm) Eamon McGrath With Dojo Workhorse, the Mohawk Lodge, Falklands New City

GO TO VUEWEEKLY.COM to see Eamon McGrath perform live at the Vue Weekly Studio.

PREVUE // STRUNG OUT

No simple plan Strung Out goes where it wants

TEENYBOPPERS? >> Only if skate-metal-punk bands count as teenyboppers David Berry // david@vueweekly.com

e were just straight going for hits," Strung Out drummer Jordan Burns dryly effuses over the phone from his SoCal home. "The record label was telling us they wanted nothing but hits, so we were just masterminding it: 'What teenage emo band can we sound like here, so we can really go for the big time?' And that's what we did, and now we've sold millions of records and tons of teenyboppers love us. "No, man, we've never had a plan for any record," Burns continues, putting down the trowel he was laying the sarcasm on with. "I think if you listen to any of our records, they speak for themselves. We have a wide variety of stuff within our music, and album to album. There's never, ever been a focus or direction we want to go: we bring songs to the table, and we get what was put out." That seems like a slightly surprising admission for the skate-metal-punk act to make (the no direction, I mean; aiming at hits would be as incongruous as late Liz Phair). Because though the band's always been identifiable with the California scene they came out of, and the Fat Wreck Chords roster it's spent its entire career on, Strung Out is the rare punk band that has seemed to progress over the years, pounding its way from straighter skate-pop roots to a shreddier, heavier metal sound into the 2000s. Even the latest record, last year's Agents of the Underground, finds the band paring things down from heavier stuff like Blackhawks Over Los Angeles, creating something that is both lean and ferocious. Burns credits that natural progression to the fact that, for Strung Out, writing songs is a full band experience: there's no impresario telling anyone what to do, it's five equal heads knock-

// Supplied

ing against each other. "Everybody puts the effort in: everybody writes, everybody creates, and it's not just a one-man show," he explains. "When you've got one person writing everything album to album to albumâ&#x20AC;&#x201D;I just think that's where bands get boring, although maybe some people like that, knowing exactly what to expect the next time a record comes out. On our side, I don't think people really know what to expect, necessarily." Well, OK: they know not to expect teenybopper hits, at least. V Thu, Sep 2 (8 pm) Strung Out With Rufio, Mute, We Are The Union Starlite Room, $24

VUEWEEKLY // AUG 26 â&#x20AC;&#x201C; SEP 1, 2010

MUSIC // 21

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

THU AUG 26 BLUES ON WHYTE Lonnie Shields BRIXX BAR Radio Brixx: rock and roll with Tommy Grimes; 8pm

JAMMERS PUB Thu open jam; 7-11pm L.B.'S PUB Open jam with Ken Skoreyko, Fred Larose and Gordy Mathews 9-1am L.B.'S Mason Rack; 9:30pm2am

CARROT CAFÉ Zoomers Thu afternoon Open Mic; 1-4pm

LION’S DEN PUB�Red Deer Martin Kerr; 8-10pm; no cover

COLAHAN'S Back-porch jam with Rock-Steady Freddy and the Bearcat; every Thu 8pmmidnight

LIVE WIRE BAR Open Stage Thu with Gary Thomas

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

LYVE ON WHYTE Fashion in Public, Jordan Klassen, Heard on the Radio, Colin Close Band; $5 (door) MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm NAKED CYBERCAFÉ Open stage every Thu; bring your own instruments, fully equipped stage; 8pm

SPORTMAN'S LOUNGE Hipcheck Trio and guests ( jazz, blues) every Thu; 9pm Through June and July TAPHOUSE�St Albert Spaceport Union with Brian Toogood, Owls by Nature; 9:3pm WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close

DJs BILLY BOB’S LOUNGE Escapack Entertainment

ARTERY Body Talk (let me hear your) with Michelle C and Steve Velocity; 8:30pm

BLACK DOG FREEHOUSE Big Rock Thu: DJs on 3 levels–Topwise Soundsystem spin Dub & Reggae in The Underdog BRIXX BAR Radio Brixx with Tommy Grimes spinning rock and roll BUDDY'S DJ Bobby Beatz; 9pm; no cover before 10pm CENTURY ROOM Underground House every Thu with DJ Nic-E THE DRUID IRISH PUB DJ every Thu at 9pm FILTHY MCNASTY’S Punk Rock Bingo with DJ S.W.A.G.

DV8 Lavagoat, Agonal, Display of Decay; 9pm

NEW CITY SUBURBS Sasquatch Gathering fundraiser: Boogie Patrol, Vibe Tribe, McGowan Family Band; opening song circle by Maria Dunn, Al Brant, Dale Ladouceur, Kevin Cook; MC Tippy Agogo; 8pm; $10 (door); sasquatchgathering. com

RIC’S GRILL Peter Belec ( jazz); every Thu; 7-10pm

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

RUSTY REED'S HOUSE OF BLUES Rusty Reed Band; 8:30pm-12am; no cover

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

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

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

180 DEGREES Sexy Fri night

FUNKY BUDDHA�Whyte Ave Requests with DJ Damian

HAVEN SOCIAL CLUB Oh My Darling, Ashley Theberge, Ky Babyn; 7:30pm (door); $10 (adv at YEG Live)/$12 (door)

SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca

FRI AUG 27

NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers

EXPRESSIONZ CAFÉ Open stage every Thu; 7-11pm

JEFFREY'S CAFÉ Alfie Zappacosta; $35

WUNDERBAR Charlie Scream

DV8 Open mic Thu hosted by Cameron Penner/ and/or Rebecca Jane

REXALL PLACE The Monster Ball Tour: Lady Gaga, Semi Precious Weapons; all ages 7pm (door), 8pm (show); Aug 26 sold out

RENDEZVOUS PUB Mental Thurzday with org666

WILD WEST SALOON Roger West

FLUID LOUNGE Girls Night out

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

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

STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thu; no cover

NEW CITY LIKWID LOUNGE Crimson Roots

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

PLAY NIGHTCLUB Gameshow every Thu with Patrick and Nathan; 9pm

AVENUE THEATRE Sound Wave Music Fest: electronic music festival; Aug 27-29; avenuetheatre.ca AXIS CAFÉ Thea Neumann (pop/alt/jazz); $10 BEER HUNTER PUB�Spruce Grove Dangerous Guise; 9pm BLUE CHAIR CAFÉ Michèle Raffaele, Patrick Dunn; U-22 Productions; 8pm; $10 BLUES ON WHYTE Lonnie Shields BOHEMIA Kills Millions, living daylights, second hand smoke; 8pm; $4 (member)/$6 BRIXX BAR Second Hand Smoke, Stone Iris, The Living Daylights; 7pm; $12 (door)

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

CARROT Live music Fri: all ages; Keristan Vaughn (Latin, jazz and original); 7pm; $5 (door)

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

CASINO EDMONTON The Rum Brothers (show band)

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

CASINO YELLOWHEAD Suite 33 (pop/rock)

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

COAST TO COAST Open Stage every Fri; 9:30pm

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)

DV8 Lethal Halo, Hooker Pop; 10pm EDMONTON EVENT CENTRE The Party of the Summer: Killinger, Lynch Mob; 8pm (door), 9pm (show); $15 at TicketMaster ENCORE CLUB 4 Play Fri

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

HAVEN SOCIAL CLUB Don Brownrigg, The Sumner Brothers, guests; 7:30pm (door); $10 (adv at YEG Live)

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

IRISH CLUB Jam session; 8pm; no cover

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 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont MORANGO’S TEK CAFÉ

10118-79 St NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY 10081 Jasper Ave, 780.989.5066 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORWOOD LEGION 11150-82 St, 780.436.1554 NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLANET INDIGO�Jasper Ave 11607 Jasper Ave; St Albert 812 Liberton Dr, St Albert PLAY NIGHTCLUB 10220-103 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave REDNEX BAR�Morinville 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

L.B.'S Hank and Fist Full of Blues (CD release party); 9:30pm LYVE ON WHYTE Heather McKenzie Band NEW CITY SUBURBS Lady Gaga’s “Monster Ball” official afterparty featuring SemiPrecious Weapons; 9pm; no minors ON THE ROCKS Hamburger with DJs; 9pm; $5 PAWN SHOP Shredmonton: Exit Strategy (CD release), NEcronaut, Akakor, The Dead Cold RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am REXALL PLACE The Monster Ball Tour: Lady Gaga, Semi Precious Weapons; all ages; 7pm (door), 8pm (show); $49.50, $85, $175 at livenation.com RIVER CREE Tanya Tucker RUSTY REED'S HOUSE OF BLUES Arsen Shomakhov; 9pm-1am; cover charge STARLITE ROOM Mumiy Troll, Run Run Run; 8pm (door); no minors; $23 at European Market and Starlite STEEPS�Old Glenora Live Music Fri TAPHOUSE�St Albert The Retrofitz; 9pm WILD BILL’S�Red Deer TJ the DJ every Thu and Fri, 10pm-close; The Regulators, 10pm, no cover WILD WEST SALOON Roger West WOK BOX Breezy Brian Gregg; 3:30-5:30pm WUNDERBAR Raising Al Capone, Darren Zimmerman

DJs AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison

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 BEER HUNTER PUB�Spruce Grove 700 McLeod Ave. Spruce Grove BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St, 780.669.5236, artmuzak.ca BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 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

22 // MUSIC

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 DAWN AND KEV'S LOG CABIN Chateau Heights, Parkland County, 780.960.1804, solitude@ xplornet.com DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704. CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St, DV8TAVERN. com EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 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

VUEWEEKLY // AUG 26 – SEP 1, 2010

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 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 WHISTLESTOP LOUNGE 12416-132 Ave, 780. 451.5506 WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295

BAR�B�BAR DJ James; no cover BAR WILD Bar Wild Fri BLACK DOG FREEHOUSE Fri DJs spin Wooftop and Main Floor: Eclectic jams with Nevine–indie, soul, motown, new wave, electro; Underdog: Perverted Fri: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead BOOTS Retro Disco: retro dance

BRIXX BAR Owls by Nature, Caroline Spence Band, Enter Medic; 9pm; $12 (door) CARROT Open mic Sat; 7:3010pm; free CASINO EDMONTON The Rum Brothers (show band) CASINO YELLOWHEAD Suite 33 (pop/rock) COAST TO COAST Live bands every Sat; 9:30pm

CENTURY ROOM Underground House every Fri with DJ Nic-E

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

CHROME LOUNGE Platinum VIP Fri

DV8 Taking Medication, Triple Exposure; 9pm

THE DRUID IRISH PUB DJ at 9pm

EDMONTON EVENT CENTRE Congregation Of The Damned Tour, Atreyu, Chiodos, Architects and Endless Hallway

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

EMPIRE BALLROOM Rock, hip hop, house, mash up; no minors ESMERELDA'S Ezzies Freakin Frenzy Fri: Playing the best in country FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian GAS PUMP Top 40/dance with DJ Christian LEVEL 2 LOUNGE Formula Fri: with rotating residents DJ's Groovy Cuvy, Touretto, David Stone, DJ Neebz and Tianna J; 9:30pm (door); 780.447.4495 for guestlist NEWCASTLE PUB Fri House, dance mix with DJ Donovan NEW CITY LIKWID LOUNGE DJ Anarchy Adam (Punk) PLAY NIGHTCLUB Pretty People Get Nasty with Peep n Tom, Showboy and rotating guest; DJS; every Fri; 9pm (door) REDNEX�Morinville DJ Gravy from the Source 98.5 RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca STOLLI’S Top 40, R&B, house with People’s DJ TEMPLE Options Dark Alt Night; Greg Gory and Eddie Lunchpail; 9pm (door); $5 (door)

GAS PUMP Blues Jam/ open stage every Sat 3-6pm, backline provided HAVEN SOCIAL CLUB Techromancer, Celebrity Traffic, guests; 7:30pm (door); $10 (adv at YEG Live) HILLTOP PUB Open stage/ mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JAMMERS PUB Sat open jam, 3-7:30pm; country/rock band 9pm-2am JEFFREY'S CAFÉ Alfie Zappacosta; $35 L.B.’S PUB Sat afternoon Open Jam with Gator and friends; 5-9pm L.B.’S PUB Extended Jam with Kenny Skoreyko and Mark Ammar; Canyon Rose Outfit Live, 9:30pm, $5 LYVE ON WHYTE Heather McKenzie Band MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm NEW CITY LOUNGE Eamon Mcgrath, Mohawk Lodge, Dojo Workhorse O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm ON THE ROCKS Hamburger with DJs; 9pm; $5

Y AFTERHOURS Foundation Fri

PALACE CASINO�WEM Red Hotz

SAT AUG 28

PAWN SHOP Easy Love: Easy Club (launch party)

180 DEGREES Dancehall and Reggae night every Sat

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

ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 AVENUE THEATRE Sound Wave Music Fest: electronic music festival; Aug 27-29; avenuetheatre.ca

RENDEZVOUS Kryosphere, Quietus, Kriticos, Harpazo Falls; benefit for sick animals; $10

AXIS CAFÉ�Metro Room Andy Shauf (rock), Julia McDougall; 8pm; $10

RUSTY REED'S HOUSE OF BLUES Rusty Reed Band Sat open stage at 4-8pm; Arsen Shomakhov; 9pm-1am; cover charge

BLACK DOG FREEHOUSE Hair of the Dog: NonMiPiaceIlCirco! (live acoustic music every Sat); 4-6pm; no cover

STARLITE ROOM All Blown Up: Kraddy, Stickybuds, Degree, guests; 9pm; $20 at Foosh, Blackbyrd, Room 322 and Ticketweb.ca

BLUE CHAIR CAFÉ Darren Johnson, Kessler Douglas; U-22 Productions; 8pm; $10

TELUS FIELD SONiC 102.9: Flyleaf, The Rock the River Tour West; all ages; $10 (door)

BLUES ON WHYTE Lonnie Shields

WEM�Newcap Stage Canadian Country Music Association (CCMA): local, up-and-coming country music artists (RBC Emerging Artists Project); 2pm; every Sat until Sep 11

BOHEMIA Art+Muzak (at least 12 local artists and musicians; 9pm; memberships available at door

WILD BILL’S�Red Deer Every Thu-Fri, TJ the DJ, 10pm-close; UFC 118, 8pm, $10 (adv)/$15 (day of ) WILD WEST SALOON Roger West

DJs AZUCAR PICANTE Every Sat: DJ Touch It, hosted by DJ Papi BLACK DOG FREEHOUSE Sat DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered BUDDY'S DJ Earth Shiver 'n' Quake; 8pm; no cover before 10pm CENTURY ROOM Underground House every Sat with DJ Nic-E THE DRUID IRISH PUB Sat DJ at 9pm EMPIRE BALLROOM Rock, hip hop, house, mash up ENCORE CLUB So Sweeeeet Sat ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Sat Gone Gold Mash-Up: with Harmen B and DJ Kwake FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes LEVEL 2 LOUNGE Signature Sound Sat: with DJ's Travis Mateeson, Big Daddy, Tweek and Mr Wedge; 9:30pm (door); $3; 780.447.4495 for guestlist NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri NEW CITY LIKWID LOUNGE Punk Rawk Sat with Todd and Alex NEW CITY SUBURBS Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay PAWN SHOP SONiC Presents Live On Site! AntiClub Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door) PLANET INDIGO�Jasper Ave Suggestive Sat: breaks electro house with PI residents 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 29 AVENUE THEATRE Sound Wave Music Fest: electronic music festival; Aug 27-29; avenuetheatre.ca BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm

BLACK DOG FREEHOUSE Who Made Who–The Rock and Roll Resurrection: The Maykings (revive The Who), The Dirty Dudes (revive AC/ DC); 10pm; no cover BLUE CHAIR CAFÉ Sun Brunch: Jim Findlay Trio; 10am-2:30pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun: Marc Beaudin (bass); 6-9pm; $25 (if not dining) BOHEMIA CAFÉ Avant en Garde–freejazz and improvisational madness featuring Aiofe Cavanagh Collective, FreeBass, Thom Golub and Duotet; 7pm; $3 (door) B�STREET BAR Acousticbased open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DAWN AND KEV'S LOG CABIN Ann Vriend, open mike; 4pm, 6pm (Ann Vriend); $20; call Kevin for tickets and driving instructions 780.960.1804, solitude@ xplornet.com DEVANEY’S IRISH PUB Block Party: Hot Super Hot, Keri Lynn Zwicker, Celtic Dancers, Whiskey Wagon; 2-9pm;no minors; free with Food Bank donations 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 ON THE ROCKS Seven Strings: Goodbye Beatdown and Makeshift Innocence; 8pm; $5 O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm

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 30 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover DEVANEY'S IRISH PUB Open stage Mon with Ido Vander Laan and Scott Cook; 8-12 NEW CITY This Will Hurt you Mon: Johnny Neck and his Job present mystery musical guests PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm ROSE BOWL/ROUGE LOUNGE The Legendary Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm RUSTY REED'S HOUSE OF BLUES Blue Mon: Jammin' with Jim Guiboche; 8pm-12

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

TUE AUG 31 BRIXX BAR Troubadour Tue: Nick Watt, Heard on the Radio. Host Mark Feduk; 8pm CROWN PUB Underground At The Crown: underground, hip hop with DJ Xaolin and Jae Maze; open mic; every Tue; 10pm; $3 DRUID IRISH PUB Open stage with Chris Wynters, That's What SHE Said; 9pm

RUSTY REED'S HOUSE OF BLUES Rusty Reed Band open stage every Sun 3-7pm

JUBILEE AUDITORIUM Stompin' Tom Connors, Tim Hus; 8pm; tickets at TicketMaster

SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm

L.B.’S PUB Tue open stage with Mark Ammar; 9-1am

WUNDERBAR Dub Sound Machine

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)

NEW CITY LIKWID LOUNGE Open Mic; Hosted by Ben Disaster; 9pm O’BYRNE’S Celtic Jam with Shannon Johnson and friends OVERTIME Tue acoustic jam hosted by Robb Angus RUSTY REED'S HOUSE OF BLUES Tue Open stage acoustic session with Marshall Lawrence; Tue 8pm-12 SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm SIDELINERS PUB Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE Open Stage hosted by Paul McGowan and Gina Cormier; every Tue; 8pmmidnight; no cover

VUEWEEKLY // AUG 26 – SEP 1, 2010

MUSIC // 23

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

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

COPPERPOT RESTAURANT Live jazz every Wed night

BRIXX BAR Troubadour Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8

CROWN PUB Creative original Jam Wed (no covers): hosted by Dan and Miguel; 9:30pm-12:30am

BUDDY'S DJ Arrow Chaser; 9pm

EDDIE SHORTS Goodtime jamboree Wed open stage hosted by Charlie Scream; 9pm-1am

ESMERALDA’S Retro Tue; no cover with student ID FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock, spooky with DJ Vylan Cadaver RED STAR Tue Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly

FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12 GOOD EARTH COFFEE HOUSE Breezy Brian Gregg; noon-1pm HAVEN SOCIAL Open stage with Jonny Mac, 6pm (door), free

BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed

JUBILEE AUDITORIUM Crowded House, Lawrence Arabia; all ages; 7:30pm; $39.50, $69.50 at Livenation. com, TicketMaster

BLUES ON WHYTE Carson Cole

LEVEL 2 LOUNGE Open mic

WED SEP 1

24 // MUSIC

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

VUEWEEKLY // AUG 26 – SEP 1, 2010

LYVE ON WHYTE Brenna MacQuarrie, Ariane Mahryke Lemire, Manuela; 8pm

STEEPS TEA LOUNGE� Whyte Ave Open mic every Wed; 8pm

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

TEMPLE Wyld Style Wed: Live hip hop; $5

OVERTIME Dueling pianos featuring The Ivory Club PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society every Wed evening RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm-1am; $5 RIVER CREE Wed Live Rock Band hosted by Yukon Jack; 7:30-9pm RUSTY REED'S HOUSE OF BLUES Kevin Cook Band; 8:30pm-12am SECOND CUP�Mountain Equipment Open Mic every Wed; 8-10pm STEEPS TEA LOUNGE� College Plaza Open mic every Wed; hosted by Ernie Tersigni; 8pm

WINSPEAR John Hiatt and the Combo, Los Lobos; 7:30pm; $59.75 at Winspear box office

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

IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set LEGENDS PUB Hip hop/R&B with DJ Spincycle NEW CITY LIKWID LOUNGE DJ Roxxi Slade (indie, punk and metal) NEW CITY SUBURBS Shake It: with Greg Gory and Eddie Lunchpail; no minors; 9pm (door) NIKKI DIAMONDS Punk and ‘80s metal every Wed PLAY NIGHTCLUB Movie Night every Wed; 9pm (door) RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; beatparty.net Y AFTERHOURS Y Not Wed

VUEWEEKLY // AUG 26 – SEP 1, 2010

MUSIC // 25

COMMENT >> PERSONALITY AND MUSIC

Oh, the humanity Continental divide in music

I had a discussion with a friend recently commentary on our need for personality about the continental differences in apand increasing reliance on technology proach towards pop and electronic music. (Kraftwerk, Daft Punk) are championed On our continent, dance music is mostly for this truly human decision. Their deisolated to Jersey Shore fist-pumping bufpersonalization is done in the thoughtfoonery if not an ironic deconstruction of ful nature of the human mind (by taking that. Pure dancing for dancing's sake away the self to reference our relirequires a level of self-confidence ance on technology) so it actuH ally makes them more human S not commonly associated with A KL a subculture somewhat inca- B A C than if it were just Joe Public pable of physically expressing spinning the tracks of the m o .c ekly themselves. day. Their decision to subvert vuewe @ d n rola d I went to Osheaga in Monand comment on humanity n a l Ro ton trĂŠal for Major Lazer and actually makes them more atember P the outdoor festival audience tractive to regular people. And couldn't wait to take off its shirts. their voice, however manipulated I saw a group of three couples rolling and vocodered, is still coming from a huon E in front of me, tugging at each othman source. ers underwear, undulating to sawtooth synth lines and bass drops. Other than One of the biggest electro musicians realizing the thin line between good and in the world is Deadmau5, a Canadian bad club, it was also made apparent that named Joel Zimmerman who makes they could not understand what (other glitchy club music but wears a huge red than foreplay) they could be getting out mouse head whenever he plays it. The of this perceivably faceless club DJing. name comes from finding a dead mouse Your average clubgoer doesn't attribute in his computer. There is no narrative much value to the DJ or the person who behind wearing the mask. There is no produced the music. Across the pond, reason for the image, other than maniputhis music culture is different. In Berlin, lating the audience. And people eat it for instance, minimal techno is the pop up. Rather than just another guy making enterprise and many DJs and producers house music, he's the guy with the mask are stars. But dance music has a differdoing it. ent value there. In Europe, music festiAnd the visual is paramount. Shirts, vals are more plentiful and the purpose replica mouse heads, even an iPhone app of dancing is more insular. It's privacy in where you play with a platform-jumping public, thousands alone together, a eucartoon mouse are available. He's the phoric internal journey. It's the reason Mickey Mouse of the club scene. He why instrumental electronic songs can differs from the aforementioned deperbe chart hits on BBC Radio, but that may sonalizing electronic legends. His music never happen in Canada. is secondary to his image. It's a way to We crave personality and humanity in monetize a market that doesn't survive our popular music. Major Lazer attracted on record sales or radio play. twice as many people to the Piknik ElecThis creates an iconography that suctronic stage at Osheaga as Mary Anne ceeds in personalizing the music even Hobbs, former BBC host and dubstep more than presenting a real person tastemaker, did the previous day. Mary behind it could. It works even betAnne Hobbs routinely plays for thouter without an ethos behind it. People sands and is a bonafide star in England. just assume it's the same thing. Take Their skill level and musical taste aren't the Bloody Beetroots, a pair of Italians that divergent, but there needs to be a who wear a luminescent take on Spiderhook to appeal to North American audiMan's black symbiote mask. They take ences. Major Lazer has a cartoon mascot a recognizable image and transpose it and memorable video clips directed by with a hard partying, buzzy, blown-out Eric Wareheim of Tim And Eric Awesome techno sound. They loosely imply it's Show, Great Job! fame. an "art project" while eschewing the Electronic producers have routinely creative and critical hallmarks of other only been able to break big on our conconceptual music groups. tinent through the presentation of a huI'm often reminded of how surprising man element behind the music. During it was to hear grime music and minimal the big beat craze of the late '90s, the dubstep artists like Burial frequently on breakthrough stars were those that culBBC Radio during my last trip to Engtivated a personality separate from their land. People had this kind of music as music, as if that music were not enough their ringtones, easily assimilating higher of a message for the audience. Moby, brow media into their everyday routines. the Chemical Brothers and Fatboy Slim That isn't to say CBC Radio 3 isn't a great all succeeded more due to visual eleresource for developing bands and the ments than aural ones: proto-viral muindependent Canadian music scene. It's sic videos by Spike Jonze with celebrity just a shame that electronic music has a cameos, songs in ad campaigns, interpallor over it, just because a few meatviews highlighting their place outside heads have defined it broadly as tribal the electronic music community. Most anthems for the unevolved. V importantly, they realized the value of the human voice. Roland Pemberton is a musician and writEven electronic artists who try to create er, as well as Edmonton's Poet Laureate. characters that strive to separate themHis music column appears in Vue Weekly selves from the music they are making as on the last Thursday of each month.

BLUES

26 // MUSIC

VUEWEEKLY // AUG 26 â&#x20AC;&#x201C; SEP 1, 2010

PREVUE >> LOS LOBOS

Hungry are the wolves Los Lobos takes another kick on Tin Can Trust

and we hadn't been able to do that in about 15 years, and I think the record is better for it. It sounds kind of live, it has a nice vibe to it, and we really fell in love with the sound of the space: it has a real sonic identity, so I think that in many cases where perhaps in the past we would have taken a sound and tortured it and added something bizarre and atmospheric, on this record we tended to let stuff just be and let the sound of the room be the sound of the song. V Wed, Sep 1 (7:30 pm) Los Lobos With John Hiatt Winspear Centre, $59.75

LOS LOBOS >> Tin Can Trust found the band playing all together in the studio for the first time in 15 years // Drew Reynolds The 1987 film of Richie Valens' life, La version is. Like for instance on this reBamba, coloured the expectations of cord, there are a couple of the tracks, "27 many when it comes to Los Lobos. The Spanishes" being one of them and "On band's recording of the film's title track Main Street," that we more or less used went to number one on the singles charts, the demo as a master on the record so throwing the spotlight on the group nine you sort of hear exactly what it was when years after the release of its indie debut. he thought of it and then we just added But while the influence of early rock 'n' stuff to it, and then some stuff we used roll can be found in Los Lobos' music, so the demo as a template and then we build can everything from country to blues to off of it. Cesar's stuff, he'll generally just traditional Spanish music, and the band come with a chord sequence and we kind has never been scared of mixing it of go from there. all up and experimenting: over the decades of its career Los VW: What were the recording Lobos' sound has evolved on sessions like before you went record from loose and live on the road? Did you record .com ly k e e vuew through to something more as a band live off the floor or eden@ atmospheric and, with it's latdid you piece it together one Eden o est, Tin Can Trust, back again. at a time? Munr SB:track Keyboard/horn player Steve This record was a little differBerlin recently spoke to Vue Weekly ent. Somewhere in I guess the late '90s about the creation of the new album. we built a studio in a garage at Cesar's house, and we did pretty much everything VUE WEEKLY: How long did it take to from 2000 to 2010 was done there, so make Tin Can Trust, from the initial Good Morning Aztlán, The Town and the songwriting through to the end of the City, the kids record [Los Lobos Goes Disrecording? ney], The Ride. We did all those records STEVE BERLIN: Well, it was about two basically at his house and we made it months. We spent a month in a studio work for us. It was a nice little space, but in LA and then we spent about a month there really wasn't room for all of us to more or less on the road just trying to play together, so normally on those rerecord wherever we could. It made it a cords it'd be two or three guys playing at little bit of a challenge but we figured out most and then we'd sort of building block a way to do it. the rest of the performances. When we left LA we were about 75 So this record, when it came time to get percent done, so it wasn't like we had a serious about it, Cesar had moved into a great deal of work left to do. It was just new place that wasn't really configured in vocals, guitar solos, the last little bits and a way that was going to allow us to play pieces—stuff like that. together at all, so we went in search of a studio and the engineer that we hired had VW: Who contributed songs to this record? worked at this place in East LA—oddly SB: It's kind of the same ratio as usual: enough just blocks from where the guys about two thirds or three quarters or so grew up—and it turned out to be great. Dave [Hidalgo] and Louie [Pérez] write There are actually two studios in one and then Cesar [Rosas] contributes about warehouse, so we used one as a recorda third or so, and then we did one cover, a ing room and one as a lounge, because it Grateful Dead cover. was really funky: there were no seats, no couches, nowhere to hang out, nowhere VW: How does the studio work for you? to sit, nowhere to eat—it was just kind Do those guys bring the songs into the of a pretty serious recording place, so we studio fully formed, or are they sketches kind of turned it into a clubhouse. that are then filled out as a group? SB: It's very, very rarely fully formed. It's VW: Was that a good feeling to have evusually just an idea or a chord sequence. erybody in the room together again? More often than not Dave's stuff tends SB: It worked for us. Definitely for us, to be a little bit closer to what the final because we all got to play together again

ON TH

RECO

VUEWEEKLY // AUG 26 – SEP 1, 2010

MUSIC // 27

28 // MUSIC

VUEWEEKLY // AUG 26 – SEP 1, 2010

Fri, Aug 27 (7 pm) / The Sumner Brothers It is very obvious that Brian and Bob Sumner are brothers and even more apparent that they retain a certain Townes Van Zandt poise contrasted by a Cash like angst. Through this duo we are reminded of the authenticity that country, folk, blues and roots music used to retain. (Haven Social Club, $10)

Fri, Aug 27 (8 pm) / Mumiy Troll Russia's biggest independent rock band for the past decade and counting from the eastern port of Vladivostok was once deemed socially dangerous by the Communist Party back in the days of the Soviet Union. I think socially dangerous is an understatement after watching the video from the group's latest EP Polar Bear. Search YouTube: Mumiy TrollPolar Bear (uncensored) (Starlite Room, $23) —Kirsta Franke Fri, Aug 27 (8 pm) / Michèle Raffaele Travelling all the way from Italy, Montréal native Michèle Raffael swoons with her soft contemporary piano melodies and vocals to match. Perhaps this is the perfect occasion for a date night? (Blue Chair Café, $10) —Kirsta Franke

—Kirsta Franke

Fri, Aug 27 / George Lynch Remember A Nightmare on Elm Street 3: Dream Warriors? How about the title track? No? Oh, well, the song was recorded by '80s hard-rock band Dokken. And Dokken's guitarist back then was George Lynch. And if you've ever wanted to know the secrets to playing that song, Lynch will be at Axe Music for a free guitar clinic and you might be able to scoop a few pointers from him. Oh, and later that night you can catch him over at the Edmonton Event Centre with his current group Lynch Mob. (Axe Music Edmonton [6 pm], free, Edmonton Event Centre [8 pm], $15) —Eden Munro

Tue, Aug 31 (8 pm) / Stompin' Tom Connors One of Canada's most prolific and widely known folk singers, Charles Thomas is still stomping his left boot at the ripe old age of 74. (Jubilee Auditorium, $61.90 – $71.90) —Kirsta Franke Wed, Sep 1 (6:30 pm) / Crowded House They are the guys who always told you don't dream it's over. After a breakup in 1996, some of us really thought it was just that: over. After reuniting 10 years later, they've put together two albums, including the latest in 2010, Intriguer. Crowded House has aged like a fine wine, so drink up! (Jubilee Auditorium, $39.50 – $69.50)—Kirsta Franke

Thu, Aug 26 (8 pm) Sasquatch Gathering Fundraiser The 2010 edition of the Sasquatch Gathering (sasquatchgathering.com) didn't quite make ends meet, but the upside to the downside is that now you can—sort of, if you close your eyes really tight and pretend—relive the experience by taking in the Sasquatch Gathering Fundraiser at New City. Besides a silent auction, a song circle, Vibe Tribe and the McGowan Family Band, Boogie Patrol will be there patrolling the boogie, so please, boogie smart. (New City, $10) —Eden Munro

COMMENT >> THE E-TOWN SCENE

Kick out the jams

But don't forget to just kick it on stage, too The one area where local acts are conand the British New Wave of metal, you sistently a bit lacking is in the live show. can tell these guys feel comfortable on You can't expect pyrotechnics or anya stage: even with singer Ted Wright's thing from folks who are repairing call-outs to "Edmonton!" like he their own amps, and the first was stopping in on his contifocus of a musician should nent-spanning tour, the band probably be music, but still, seemed to get most of its enespecially for young or stillergy from each other, though m o .c ekly vuewe nascent bands, it sometimes admittedly there was enough david@ feels like they've never even of it that it couldn't help but Davidy given a thought to translating overflow onto the audience. I Berr their music from the jam space to sort of felt like a rehearsal would the stage. Nothing takes me out of the have been just as powerful as the music quite like a band staring at their show in front of me, that these guys guitar necks or making in-jokes with their enjoy playing together so much that it's friends about the lunch they had. always fast, loud and out-of-control. There was an interesting contrast in Still, I'll take the residual honest enstage styles this weekend with a couple ergy from a band whose default mode of local shows. First up was the Get is kick-ass over the theatrics of the FanDown at the ARTery on Friday. A big and tastic Brown Dirt, who opened up for bombastic four-piece with roots in punk Montréal's Swamp Sex Robots at the

R GUTTE E

DANC

Hydeaway on Saturday. A two-piece doing pumping electro-club jams, the costumes included a gorilla mask and sequin pants for the singer and a drummer dressed like a hippie with an Eyes Wide Shut mask. Flailing around and bashing away on a djembe, though playing to a pre-recorded backing track, it felt more like an especially energetic karaoke set than a proper show. I could see where the Dirt's music could get the right crowd moving, but on Saturday at least, it felt like the group was trying to impose good times on people, rather than seeding the crowd and letting them grow. I give the Fantastic Brown Dirt credit for not just hunching over a keyboard, but a show should still be a mix of songs and stage presence, and you can't solve a deficiency of one with a surplus of the other. V

VUEWEEKLY // AUG 26 – SEP 1, 2010

MUSIC // 29

ALBUM REVIEWS

New Sounds

Sufjan Stevens All Delighted People EP (Asthmatic Kitty) 

Paul Blinov // paul@vueweekly.com

t's been five years since Sufjan Stevens released a proper album. A B-side collection, some original Christmas songs and a commissioned, blip-happy instrumental about a Brooklyn Expressway filled that span of time and kept him on radar, but those never felt like Sufjan albums, like the focused efforts of someone plumbing their personal creative depths to see what comes out. Then, out of the silent blue comes the All Delighted People EP, arriving last week to little fanfare from Stevens himself, just suddenly available for download on his Asthmatic Kitty label's website. It's an EP in name only—the eight songs span an hour, with closer "Djohariah" lasting close to 20 minutes—and retreads most of the musical territory he's covered before, but blends together the divided styles he's focused on individually on previous albums. The acoustic-led-folk of Seven Swans and the electronic dabbling of Enjoy Your Rabbit are folded into the fleet orchestration Stevens mastered on Come On Feel The Illinoise!—with the result that All Delighted People seems

like an artist finding his grip on the old bag of tricks once more. Delighted People picks up around Illinoise! territory: "All Delighted People" starts as a choir-led funeral march, building to a massive cacophony powered by what sounds like an orchestra playing in a mosh pit; discordant strings, cutting out and rushing up again. It's epic in scope, more of a score than a song: the music rises, crescendos with bittersweet peaks, drops down to electric guitar plucks and Stevens' voice, and then rises up again. "I tried my best / I tried in vain / But the world is a mess," he cries, choral woo-ooh's backing him up. Apparently about both the apocalypse and Paul Simon's "Sounds of Silence," there's another version of the song here (the positively-brief-at-eight-minutes-long "Classic Rock Version") that's stripped down, with brassier orchestration, and consequently feels a little tighter. But there's something to be said for opening with your most ambitious foot forwards and having it be enthralling. Between those, the simpler, shorter, folkier tracks are less ambitious but no less compelling. The gorgeous guitar line on "Heirloom" and the spidery piano of "The Owl and the Tanager," show Stevens can still focus in on making a few spare components haunting or beautiful when he wants to. "Enchanting Ghost," wouldn't be out of place among Seven Swans' misty folk, and the building digital buzz of "From the Mouth of Gabriel," revisits Stevens' religious allusion. The songs are sometimes complex, sometimes simple, but never dull. Melodies appear and vanish and get replaced like free-jazz meditations on a theme. It feels pretty unrestrained, and Stevens is able to make that more than just artistic indulgence—it's accessible and engaging, and a reminder of why the guy topped out so many top-10 lists back in '05. V

Curren$y Pilot Talk (DD172)  Curren$y may hail from New Orleans, but it isn't exactly obvious. He lacks the signifiers and trappings of the Cash Money/No Limit glitterati. He uses a surprising mix of the Clipse's rhyme patterns and Camp Lo's swagger. And he's a stoner, but somewhat atypically so for a rapper. He doesn't delight in the sale of the product or overtly celebrate the holistic properties of the substance. Yet it lurks around the edges and permeates every surface of this record like a hot box. His lyrics avoid gangster tropes and deal in the ephemera encompassed under the banners of chilling, riding, boning and eating ("Breakfast" has him bragging about a "condo full of snacks"; his drink preference avoids "that Minute Maid crap" for juice where "they squeeze [the] lemons themselves"). The Camp Lo comparison is particularly apt, as this album is helmed by their producer, Ski Beatz, who drapes Curren$y with the kind of watery, minor key mellifluous backdrops that perfectly compliment his woozy delivery. Roland Pemberton

// roland@vueweekly.com

Outdoor Miners Disgust (Pop Echo) 

The territory being mined by Outdoor Miners is clearly the that of the '90s: on the group's newest seven-inch, the sad jangle of the Gin Blossoms and the bald frustration of grunge peak up through the cracks of the band's lo-fi veneer. Documenting the ennui of living through your early-20s, the band hits the nail on the head of how it feels to have a long memory but a short attention span—like a mixture of melancholy and fury that's over far too quickly. Bryan Birtles

// bryan@vueweekly.com

The Mountains & The Trees I Made This For You (Independent) 

A sweet folk album, but there's not much new ground here with lyrics such as "Sold my only guitar / Put all my money into a broken car / And I drove halfway across the country to get away." It's well-executed, though, and suitable for your own late-summer drive through the prairies. Angela Johnston

// angela@vueweekly.com

30 // MUSIC

VUEWEEKLY // AUG 26 – SEP 1, 2010

Major Lazer Lazers Never Die EP (Downtown)  Through a deft combination of post-MIA tastemaking, Eric Wareheimdirected videos and a cartoon mascot, producers Diplo and Switch have somehow made sophisticated hybrid club music appeal to a vast audience. While their album Guns Don't Kill People … Lazers Do delighted in pushing buttons and evoking memories through reference (in a way not unlike a Diplo DJ set), this EP is about even further recontextualizing these works through the lenses of other artists. The standout is Thom Yorke's take on "Jump Up", a warped, sinewy vocoder workout that starts as distorted bass-line house and slowly reveals itself to be emotive and quirky, shifting from two-step into dub. The one completely original track, "Sound Of Siren," is a marching jam with Busy Signal and MIA that is elastic and positively storming, reminiscent of Daniel "Blaxx" Lewis's Egyptian Riddim. "Good Enuff (Cash Flow Dub)" is a mostly traditional version of the breezy album track but it also helps to illustrate how different ML are from the schools they take from while never disrespecting the form. Roland Pemberton

// roland@vueweekly.com

ALBUM REVIEWS Pavement Slanted and Enchanted (Matador)

a potent mood of amiable malaise, the notion that things aren't really working out the way they Originally released: 1992 thought, but they're not going to get too worked up Though it was generally a about it. These guys were, m o .c ekly solid set, there was some after all, the kings of slackvuewe @ id v a d heavy perturbation after er attitude back when that avid D Pavement's appearance at term had as much cultural Berry currency Pitchfork over the fact they as "hipster" today, and ommitted "Summer Babe." I can that muddled mood was maybe the understand the most influential worry: not plaything to come ing the biggest from the album. hit of the group's You can feel early years might that even on the suggest that the album's most band was a little upbeat track, more interested "Two States": in its latter oeuit's a downright vre. Without a bouncy number new album to popping above draw from, that the morass, and seems like a mait's probably the jor mistake. closest thing to Not to take a protest song anything away slackers ever from later-stage did, but its lyrPavement, but Slanted and Enchanted ics are pretty vague and noncommital, is pretty clearly the band's magnum beyond the fact they want "Two states opus. In Outliers, Malcolm Gladwell / North and south" (speaking of influtalks a bit about the genius of inence, man does that ever resonate in spiration versus the genius of reptoday's American political climate). etition: we tend to favour the former, When subject and music are a bit more the people who pull the Athena and closely intertwined, though, things pop out with fully formed ideas, and get sublime. "Summer Babe (Winter Stephen Malkmus is definitely an exVersion)"—a slightly different mix from ample of such. You can see almost all the single classic—is rightly revered, of his later tendencies in Slanted, but a kind-of love letter to a summer fling here they're compressed to crystalthat sounds both reverent and shrugline perfection: Pavement, and Malging, aware of how temporary things kmus alone, would indulge some of are but maybe too enamoured with the the more expansive and jammier unsunshine to worry much. dercurrents in particular, but even on And then there's "Here," the album's a 14-song album that's under 40 minabsolute stand-out. A break-up song utes, they feel shambolic and loose. just filled with hurt ambivalence, it Malkmus and company managed to slowly shuffles towards its end, though create songs that spread out, turn in its not clear if its reluctance is because on themselves, crash down and meMalkmus actually doesn't want the reander in the space of three-minute lationship to end or that it's too much pop tunes, pushed along with ample work to wrap it up. "I guess a guess is use of fuzzy distortion and Malkmus' the best I'll do," he mumbles out near cryptic but moodily evocative lyrics. the end, and that sentiment seems to It's hard to pin down any particular sum up Slanted and Enchanted's mood themes that run through Slanted and perfectly: OK, it's not much, but what Enchanted, although as a whole there's else is there? V

HAIKU Andrew Cole Why We Wonder (Crier) Dude can really sing The world is your oyster when You're Tom Cochrane's bitch

OULNDDS

QUICK

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Whiteoyn Houst

Wavves King Of The Beach (Fat Possum)

This disc rules your brain Buy a guitar and surf board Then sell both for drugs

VUEWEEKLY // AUG 26 – SEP 1, 2010

MUSIC // 31

PREVUE // AKAKOR

Built to last

Metal band rebounds from van accident Mike Angus // mikeangus@vueweekly.com

embers of Calgary death-metal band Akakor are lucky to be alive. When their van hit black ice on the way home from an Edmonton gig in December, the van rolled several times before tossing members out, resulting in several severe injuries and uncertainty as to the band's future. Eight months later, however, the band members are fully healed and ready to push their new EP, Human Sacrifice, a pummeling, relentless assault of grinding metal. Vocalist/guitarist Craig Reaburn recounts the accident over the phone: "We were coming back from Edmonton, where we'd played to 10, maybe 20 people max, and we hit some black ice and rolled the van a number of times. [Bassist] Eliane and I got thrown from the van about 45 feet. She broke her femur, cheek bone and eye socket. I broke my spine and a bunch of ribs. We were in the hospital for 10 days, but Eliane's recovery was about four months. "It's been a long hard road, but we went back to jamming a month and a half after the accident. We didn't want to wait. Luckily our gear was all OK, but we had to write the van off, so it's been a step back

in a lot of ways, but now we're back in full swing. It's been good." Human Sacrifice is self-produced and recorded in the group's jam space, an

Eliane and I got thrown from the van about 45 feet. She broke her femur, cheek bone and eye socket. I broke my spine and a bunch of ribs. indication of the DIY attitude that Reaburn proudly projects. "What keeps us going is we love the music," he admits. "There isn't a whole world of reward for death-metal musicians: you do it because you want to do it and because you want to be a better musician. It's hard sometimes, but I don't think we're going to stop." V Fri, Aug 27 (8 pm) Akakor With Exit Strategy, Necronaut and The Dead Cold Pawn Shop, $10

HOROSCOPE ARIES (Mar 21 – Apr 19)

neath the surface of the Pacific Ocean. Why should you work harder than ev- Your assignment in the coming weeks, eryone else? And why should you be the Gemini, is to move in their direction, metfearless leader who is focused on fixing aphorically speaking. In my astrological the glitches when no one else seems opinion, ascending and soaring shouldn't to care whether things fall apart? be on your agenda. It's time to dive Because it's the Karmic Correcinto the mysterious depths. tion phase of your long-term cycle—a time when you can CANCER ( Jun 21 – Jul 22) LOGY I propose that we do to Meratone for past mistakes, pay O R T S .com cury what astronomers did off old debts and make up A weekly l@vue freewil for less-than-conscientious to Pluto in 2006: demote it. Rob y After all, it's smaller than both moves you got away with n s Brez once upon a time. Saturn's moon Titan and Jupiter's moon Ganymede. In fact, let's TAURUS (Apr 20 – May 20). make the change now, just in time for "What is the source of our first suffering?" Mercury's retrograde phase, which began wrote philosopher Gaston Bachelard. "It recently. That way we won't have to get lies in the fact that we hesitated to speak. all riled up about the supposedly disrupIt was born in the moment when we active effects this aspect portends. I hereby cumulated silent things within us." Luck- declare you free and clear of the whole ily for you, Taurus, the cosmic rhythms Mercury retrograde superstition. Please are aligned in such a way as to free you proceed on the assumption that the pefrom at least some of that old suffering riod between now and September 12 will in the coming weeks. I expect that you be an excellent time to deepen and refine will have more power than usual to say your communication with anyone you what you've never been able to say and care about. express a part of you that has been buried too long. LEO ( Jul 23 – Aug 22) A Chinese company reached out to me GEMINI (May 21 – Jun 20) by email today. "Dear Sir," the message More than 2000 people have climbed to began, "As the leading professional conthe top of Mt Everest and 12 men have veyor belt manufacturers in Shanghai, walked on the moon. But only two hu- we present to you our very best sincere mans have ever ventured to the lowest regards, desiring to find out if there is a spot on our planet. In 1960, Jacques Pic- chance for us to be your top-rate concard and Donald Walsh rode in a bathy- veyor belt supplier." I wrote back, thankscaphe all the way down to the Mariana ing them for their friendly inquiry, saying Trench, which is almost seven miles be- that personally I didn't have any need

FREEW

32 // BACK

ILL

of conveyor belts right now, but that I would check with my Leo readers to see if they might. According to my reading of the astrological omens you're entering a time when it makes sense to expand and refine your approach to work. It'll be a good time, for example, to get more efficient and step up production. So do you need any conveyor belts?

VIRGO (Aug 23 – Sep 22)

Our sun doesn't really have a name. The word "sun" is a generic term that can refer to any of trillions of stars. So I'd like to propose that you come up with a name for it. It could be a nickname or a title, like "Big Singer" or "Aurora Rex." I hope this exercise will get you in the mood to find names for a whole host of other under-identified things in your life, like the mysterious feelings that are swirling around inside you right now, and your longings for experiences that don't exist yet.

LIBRA (Sep 23 – Oct 22)

The big supply of the stuff you stocked up on a while back is about to run out. The lessons you began studying a year ago have been completed, at least for now, and you're not yet ready for the next round of teachings. These are just some of the indicators that suggest you should set aside time for reflection and evaluation. The world may come pounding at your door, demanding that you make a dramatic declaration or take decisive action, but in my opinion you should stall. You need to steep in this pregnant pause.

VUEWEEKLY // AUG 26 – SEP 1, 2010

SCORPIO (Oct 23 – Nov 21)

Most discussions on TV news shows involve so-called experts shouting simplistic opinions at each other. In contrast to these paltry spectacles were the salons at Paris's Cafe Guerbois in 1869. A group of hard-working artists and writers gathered there to inspire each other. The painter Claude Monet wrote that their discussions "sharpened one's wits, encouraged frank and impartial inquiry, and provided enthusiasm that kept us going for weeks." That's the kind of dynamic interaction you should seek out in abundance, Scorpio.

SAGITTARIUS (Nov 22 – Dec 21)

In the movies I've seen that depict battle scenes from hundreds of years ago, every army has numerous soldiers whose job it is to carry festive flags and pennants. If this is an accurate depiction of history, what does it mean? That touches of color and beauty lifted their morale? Whether or not my theories apply to what actually happened back then, they apply to you now. As you go forth to fight for what you believe in, bring your equivalent of an evocative emblem.

CAPRICORN (Dec 22 – Jan 19)

Using a radio telescope, astronomers at Germany's Max Planck Institute for Radio Astronomy have been scanning the centre of the galaxy. They're looking for evidence of amino acids that could be the building blocks of life. So far their hunt has been inconclusive. In my opinion, though, they've stumbled

upon an even more appealing discovery: The huge dust cloud at the heart of the Milky Way, they say, tastes like raspberries and smells like rum. That's the kind of switcheroo I predict for you, Capricorn. You may not locate the smoking gun you're hoping to find, but in the process of searching I bet you'll hook up with something even better.

AQUARIUS ( Jan 20 – Feb 18)

Each one of us is a blend of life and death. In the most literal sense, our bodies always contain old cells that are dying and new cells that are emerging as replacements. From a more metaphorical perspective, our familiar ways of seeing and thinking are constantly atrophying, even as fresh modes emerge. Both losing and winning are woven into every day. In any given phase of our lives, one or the other polarity is usually more pronounced. But for you in the foreseeable future, Aquarius, they will be evenly balanced.

PISCES (Feb 19 – Mar 20)

Allure magazine sought out Luca Turin and Tania Sanchez, the women who wrote the book Perfumes: The A to Z Guide. "What are the sexiest-smelling perfumes of all time?" they asked. Turin and Sanchez said Chinatown was at the top of their list. Their explanation: "If wearing Opium is like walking around with a bullhorn shouting, 'Come and get it!', Chinatown is like discreetly whispering the same thing." The Chinatown approach is what I recommend for you in the coming weeks, Pisces.

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ILLUSIONS SOCIAL CLUB: CROSSDRESSERS /0(&+0/&++,+ e]]l egfl`dq Af^g2 _jgmhk& qY`gg&[ge'_jgmh']\egflgfWaddmkagfk INSIDE/OUT M g^ 9 ;Yehmk ;Yehmk%ZYk]\ gj_YfarYlagf ^gj d]kZkaYf$ _Yq$ Zak]pmYd$ ljYfk% a\]flaÇ]\ Yf\ im]]j D?:LI! ^Y[mdlq$ _jY\mYl] klm\]fl$ Y[Y\]ea[$ kljYa_`l Ydda]k Yf\ kmhhgjl klY^^ +j\ L`m ]Y[` egfl` ^Ydd'oafl]j l]jek!2 Kh]Yc]jk K]ja]k& =2 co]ddk8mYdZ]jlY&[Y LIVING POSITIVE ,(,$ )(,(0%)*, Kl ]\e% danaf_hgkalan]&[Y )&0//&1/-&1,,0'/0(&,00&-/.0 ;gfÇ\]flaYd h]]j kmhhgjl lg h]ghd] danaf_ oal` @AN Lm]$ /%1he2 Kmhhgjl _jgmh <Yadq \jgh%af$ h]]j [gmfk]ddaf_ MAKING WAVES SWIMMING CLUB _]g[a% la]k&[ge'eYcaf_oYn]kW]\e J][j]YlagfYd' [geh]lalan] koaeeaf_& Kg[aYdaraf_ Y^l]j hjY[la[]k =n]jq Lm]'L`m PLAY NIGHTCLUB )(**(%)(+ Kl Gh]f L`m$ >ja$ KYl oal` <Bk 9d]pp :jgof Yf\ =\\a] Lggf^dYk` PRIDE CENTRE OF EDMONTON 1-,(%))) 9n] /0(&,00&+*+, hja\][]flj]g^]\egflgf&gj_ Gh]f Lm]%>ja )%)(he$ KYl *%.2+(he D?:L K]fagjk <jgh%af2 =n]jq Lm]'L`m$ *%,he ;92 L`m /he Kmal Mh Yf\ K`go Mh2 99 Za_ Zggc klm\q _jgmh ]n]jq KYl$ fggf OgegfkhY[]2 e]]l )kl Kmf ]Y[` egfl`$ )(2+(Ye%)*2+(he LjYfk =\m[Ylagf'Kmhhgjl ?jgmh e]]l2 )kl'+j\ Kmf$ *%,he$ ]Y[` egfl`3 YdZ]jlYljYfk&gj_ E]f LYdcaf_ oal` Hja\]2 Kmf /he3 ^Y[adalYlgj2 JgZ O]ddk jgZo]ddk/0(8`gleYad&[ge @AN Kmhhgjl ?jgmh2 *f\ Egf ]Y[` egfl`$ /he LjYfk% _]f\]j$ LjYfkk]pmYd$ Afl]jk]p Yf\ Im]klagfaf_ LLAI! 9ddaYf[] kmhhgjl e]]laf_ *f\ Lm] ]Y[` egfl`$ /2+(he LjYfk_]f\]j$ LjYfkk]pmYd$ Afl]jk]p Yf\ Im]klagfaf_2 =\m[Ylagf$ Y\ng[Y[q Yf\ kmhhgjl ^gj e]f$ oge]f Yf\ qgml` >j]] hjg^]kkagfYd [gmfk]ddaf_ ]n]jq O]\ ]p[]hl l`] )kl O]\ ]Y[` egfl`3 /%)(he3 Yhhl hj]^]jj]\$ \jgh%afk o]d[ge] Qgml`KhY[]2 \jgh%af ^gj D?:LI ^gj qgml` mh lg *-3 Lm]%KYl$ +%/he PRISM BAR )(-*,%)() Kl /0(&11(&((+0 O]\2 >j]] Hggd3 CYjYgc]$ 1he%ea\fa_`l L`m2 Hjake Hggd D]Y_m]3 /%))2+(he >ja2 Kl]Yc Fal]k3 -%1he3 <B Yl 12+(he ROBERTSON�WESLEY UNITED CHURCH )(*(1%)*+ Kl /0(&,0*&)-0/ Kgmd GMLaf_2 Yf D?:L%^g[mk]\ Ydl]jfYlan] ogjkàh *f\ Kmf ]n]jq egfl`$ /he3 ogjkàh Kmf$ )(2+(Ye3 h]ghd] g^ Ydd k]pmYd gja]flYlagfk o]d[ge]& D?:L egfl`dq Zggc [dmZ Yf\ Çde fa_`l& =2 bjYn]fk[jg^l8jom[&gj_ ST PAUL'S UNITED CHURCH ))-*.%/. 9n] /0(&,+.&)--- H]ghd] g^ Ydd k]pmYd gja]flYlagfk Yj] o]d[ge] =n]jq Kmf )(Ye ogjkàh! WOMONSPACE /0(&,0*&)/1, oge% gfkhY[]&[Y$ ogegfkhY[]8_eYad&[ge 9 Fgf%hjgÇl d]kZaYf kg[aYd gj_YfarYlagf ^gj =\egflgf Yf\ kmjjgmf\af_ Yj]Y& Egfl`dq Y[lanala]k$ f]okd]ll]j$ j]\m[]\ jYl]k af[dm\]\ oal` e]eZ]jkàh& ;gfÇ\]flaYdalq Ykkmj]\ WOODYS ))/*+ BYkh]j 9n] /0(&,00&.--/ CYjYgc] oal` FYl`Yf3 Egf 0he EYjlafa Egf% \Yqk3 +he Qgm <gf l Cfgo ?Ye] K`go oal` HYlja[c Yf\ FYl`Yf3 L`m 1he Dgf_ AkdYf\ A[]\ L]Y3 L`m +he CYjYgc] oal` Egj_Yf3 O]\ /he CYjYgc] oal` C]naf3 Kmf 0he YOUTH INTERVENTION AND OUTREACH WORKER aKEKK$ M g^ 9 /0(&*,0&)1/) Hjgna\]k kmhhgjl Yf\ Y\ng[Y[q lg im]]j qgml` )*%*-3 qgm \gf l f]]\ lg Z] Ydgf] YOUTH UNDERSTANDING YOUTH qmq]\e&[Y E]]lk ]n]jq KYl$ /%1he =2 af^g8 qmq]\e&[Y$ L2 /0(&*,0&)1/)

SPECIAL EVENTS FAIR TRADE S'MORESAGANZA ?goYf HYjc$ ))+,)%/0l` 9n] EYc] Y K¿egj]$ ;`Yf_] Y Da^]2 `]dh ?dgZYd =p[`Yf_]$ Y `meYf ja_`lk gj_YfarY% lagf$ ]f\ hgn]jlq Yf\ YZmkan] [`ad\ dYZgmj Aug 28$ )*%-he ) h]j K¿egj] MENTAL HEALTH CLASSIC GOLF TOURNA� MENT @a_`dYf\k ?gd^ ;dmZ$ ..(+ 9\Y :dn\ Hjg[]]\k jYak]\ oadd kmhhgjl ;E@9%=J hjg_jYek Sep 2 >]]k2 *(( af\ana\mYd!' 0(( l]Ye! #YEGTIKI ;@9 AkdYf\ L]Y ;g$ )(++*%0) 9n] /0(&,-+&,.-, Zal&dq'q]_laca >mf\jYak]j ^gj =\% egflgf >gg\ :Yfc ^]Ylmjaf_ l`] =\egflgf :dm] EYf3 kYehdaf_ g^ dg[Yd keYdd Zmkaf]kk]k hYklja]k Yf\ \jafck3 kad]fl Ym[lagf Aug 26, 7:30-10pm

VUEWEEKLY // AUG 26 – SEP 1, 2010

BACK // 33

COMMENT >> LGBT

Paths to progress

Debate over marriage laws misses the bigger issues While I am partial to queer, militant antiget us too "knit up in a web of mutualmarriage views that question why anybody ity," not being anti-same-sex marriage is (queers specifically) would want to be my way of being open to the ways part of something that replicates people—queers—can tinker the problems of heterosexism— with marriage that will eventuor further invite capitalism and ally result in new, better and the state into the fabric of various ways marriage can be m .co their personal lives—I cannot inhabited. I think about perforweekly e u v @ ted get wholly behind them when mance artist Keith Murray who Ted faced with real people getting married himself, or the straight r r e K married. Marriage is one of those hippie couple from Edmonton acts in which I don't expect people to that in a wrist tying ceremony have make sense or live up to what I perceive to committed to each other for only a finite be their politics. span of time. For me being against same-sex marriage Do these possibly lax and romantic in practice limits the ways I can understand considerations make me a disappointing queerness, life and love to work. While I queer? I don't think so. Participating in the am cautious of how marriage—as queer complexity of an issue while making space theorist David Halperin may suggest—can for humanness is part of cultivating a good

EERN Q UN TO MO

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queer. In terms of marriage I think many of us are being rail-roaded into simplicity, choosing a side and along the way missing a chance to dive into bigger issues. The tyrannical way marriage dominates the American LGBT discussion—being misrepresented as fundamental to equality—is the problem, not merely marriage. One of the only reasons I bring up marriage, living in a country where same-sex union legislation was passed five years ago, is because it has become an issue from which we understand and measure other queer concerns. The energy spent on fighting for and against marriage pushes important issues to the margins. With marriage we are being manipulated by states, supposed gay rights groups and the marketplace to focus on ramifications of heterosexism available space

ARTIST TO ARTIST ARTERY theartery.ca – call for Visual Art Exhibitions: Looking for visual and interdisciplinary artists to exhibit their works. Artists/curators are encouraged to submit proposals for both the Front and Back space. Deadline: Oct 1. Send outline of proposed project; CV; CD, DVD Image; contact info to: ARTERY, 9535 Jasper Ave, T5H 3V2 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 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 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 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, 12-14 year olds and 15-18 year olds. Receiving entries until Sep 30. Info beidlefree. strutta.com 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 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 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

VUEWEEKLY // AUG 26 – SEP 1, 2010

and conservatism rather working towards removing "isms" at the core. Talking about marriage distracts us from challenging the limited acceptable ways of being that enact violence on how we actually live. One need look no further than current headlines in Canada about the ship from Sri Lanka to see how larger issues are compartmentalized to pit people against each other. Rather than a national debate about what Canada is doing to ensure no one feels so unsafe they must flee their home, we instead debate the merits of turning the boat away. How is that even up for discussion? Earlier this year Shannon Barry was assaulted while walking home. Rather than succumbing to the typical fear-motivated conversation of minority as victim, people—primarily through the Community Response Project—took the opportunity to focus on the Canadian prison industrial complex, queer's complicity if we play the Hate Crime card and the different ways Call for entries: 2011 Dreamspeakers; Deadline: Mar 31, 2011; Info E: info@dreamspeakers.org. Send entries to: Attn: Executive Director, Dreamspeakers Festival Society, 8726-112 Ave, Edmonton, AB, T5B 0G6 Call to artists: Art From the Unknown, Edmonton; Deadline: Sep 10. Info: 780.414.0702 Allied Arts Council/Spruce Grove Art Gallery: call for Alberta artists 55 and over to participate in the 2010 Senior Art Show. Deadline: Sep 17. 780.962.0664, E: alliedac@shaw.ca Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: elaine.elrod@ telus.net

we can conceive of justice. This moved the discussion from constructed, played-out scripts of bad guys, cops and victims that maintain status quo power, to real action and conciseness around broken systems, our own roles and a questioning of where we can go from here, an understanding that change can come and queers can power it. It is the seed of action like the Community Response Project, not that binary dynamics being sown in debates like same-sex marriage, that queers have the opportunity to nurture. Instead of fighting against those we may oppose—like those who may choose to get married— queers have an opportunity to respect perceivable gains made within the LGBT rights movement—like marriage—by using the successes, improving/queering them and moving beyond to ensure real equality for all. Let's leave behind the pettiness of one way or another and move forward with queer complexity guiding many ways forward. V

COMMENT >> ALT SEX

Not your brother's keeper Dear Andrea: priest who has relations with young men. I'm having a problem with my brother. He How can I get him to talk to me? Should I wants to become a priest and even tell him not to be a priest? May our though I want to be happy for lord Jesus keep you safe. him I cannot help but worry. Love, In high school he told me that Concerned Sister he thought he might be gay. m o .c ly k e vuewe I think I'm the only one he's Dear Sis: altsex@ shared that with and I told r d An esaon Just so you know, your lord him it was a sin and that he Jesus and I are not on intiNemer should confess and seek help. I mate terms. If this means that now know that it is not a sin to be gay you don't want my advice after all, I and I feel so bad about it. I should have can live with it. There's one thing I need been a better sister. you to hear, though: you do not have a When I tried to bring it up a few months "problem with your brother." You may be ago, to tell him that it's OK if he wants troubled about him, and he may have a to be gay, he wouldn't talk about it. I'm problem (although I am not convinced he worried that his secret desire will drive does) but it is not your problem. You're him to molesting alter boys and I would really not your brother's keeper and it rather he be a normal gay person than a would likely improve relations between

ALT.

SEX

ARTIST TO ARTIST Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Ghostwater” a horror-cop drama. The first draft has been written. Please contact Kevin Sisk, Associate Producer at drsiskphddd@msn. com with contact info and sample of your work

MUSICIANS Vocalist wanted – Progressive/Industrial/metal; age 17-21. Contact justinroyjr@gmail.com Blue Kollared Krooner wants to sing, also sings the blues and a little rock & roll. Ask for Katz 587.785.4481, 780.719.7697, okatz33@telus.blackberry.net Edmonton Columbian Choirs auditions on Tue, Sep 7, 6:30pm, at St Joseph Catholic High School. Opportunities in: Young Columbians (age 6-11); Columbian Junior Singers & Edmonton Catholic School Honour Choir (age 11-15); Chanteuses Ladies’ Choir (women 18+) Looking for a fiddle player to do traditional, old country and original music.... Please phone Larry at 780.466.1975 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 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 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 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 Experienced drummer/singer with own music, digital drums, Gibson Les Paul and Roland keyboard, looking to collaborate. 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!

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VOLUNTEER Volunteer at the Kaleido Family Arts Festival–a visual art, music, theatre and dance festival Sep 10-12 at various venues on 118 Ave. Contact Dorothy Ritz at kaleidovolunteers@gmail.com. Orientation on Mon, Aug 30 Carrot Café seeks volunteers: baristas to serve coffee, tea and carrot muffins; full training given on making specialty coffees and teas. Also need volunteer to clean daily from 7:30am, Tue-Fri, or once a week on Sun. For info contact Irene Yauck at Irene@ehenri.ca, 780.471.1580 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 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 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

the two of you if you stopped appointing yourself such. As he probably told you at some point in your mutual childhood, "Mind your own beeswax."

You're really not your brother's keeper and it would likely improve relations between the two of you if you stopped appointing yourself such. I will not castigate you now for what you said to him way back when, but I do hope that you can see why he may not be so eager to open up to you again. He doesn't need your permission to "choose" to be gay and he'd probably find it galling if you offered it to him. You also need to understand that while anyone can chose to have

S.C.A.R.S.: Second Chance Animal Rescue Society. Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled. scarscare.org People between 18-55, suffering from depression or who have never suffered from depression are needed as research volunteers, should not be taking medication, smoking, or undergoing psychotherapy and not have a history of cardiovascular disease. Monetary compensation provided for participation. 780.407.3906 Volunteer at ElderCare Edmonton: help out with day programs with things like crafts, card games and socializing. Call Renée for info at 780.434.4747 Ext 4 Volunteer with Strathcona County RCMP Victim Services Unit and assist victims of crime and trauma. Call Katie at 780.449.0183 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: volunteer@ninahaggertyart.ca 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

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 Have you been affected by another person's sexual behaviour? S-Anon is a 12-Step fellowship for the family members and friends of sex addicts. Call 780.988.4411 for Edmonton area meeting locations and info, sanon.org SACE–Public Education Program: Sexual Assault Centre of Edmonton (sace.ab.ca) provides crisis intervention, info, counseling, public education. T: 780.423.4102/F: 780.421.8734/E: info@sace.ab.ca; sace.ab.ca/24-hour Crisis Line: 780.423.4121

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

I doubt you can "get" him to talk about any of this with you. I do hope, for his sake, that he's not jumping into anything, and that he truly feels called to the priesthood and is not seeking it out as a place to hide from his sexuality. That, very obviously and very famously, does not work.

But, please do not make the mistake of confusing gay men, who are attracted to, well, men, with the evil men who have molested young boys in their care. Decent human beings do not become predators merely out of convenience or lack of access to more acceptable choices. Your brother may end up unhappy (celibacy and service not being everyone's cup of tea) or he may not, but he will not become an abuser merely by virtue of taking up the collar. As for you, an honest mistake here and there, born out of naivete is one thing, but if you make (and keep making) the mistake of conflating gay men and child abusers, not only will your brother not want to talk to you, neither will I or most other nice people. Love, Andrea

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

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

Mediation & Restorative Justice Centre Edmonton: Vol Facilitator Recruitment 2010; mrjc.ca/mediation/ volunteering/complete a volunteer application form; 780.423.0896 ext. 201

same-sex sex at any time, homosexuality itself is not a choice. If he's gay, he's gay, and no amount of permission or withholding of same is going to change that.

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 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

IS DRINKING A PROBLEM? A.A. CAN HELP! 780.424.5900 Jewish Family Services Edmonton/TASIS (Transforming Acculturative Stress Into Success): A free program aimed at minimizing culture shock and displacement for trained professional immigrant women. T: Svetlana 780.454.1194

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VUEWEEKLY // AUG 26 – SEP 1, 2010

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VUEWEEKLY // AUG 26 – SEP 1, 2010