vue weekly 797 jan 27 2011

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2 // UP FRONT

VUEWEEKLY // JAN 27 – FEB 2, 2011

COVER

INSIDE

IssuE no. 797 // JAN 27 – FEB 2, 2011

UP FRONT // 4/ 4 6 7 7

No expectations

Vuepoint Dyer Straight In the Box Bob the Angry Flower

Ann Vriend frees her soul on Love & Other Messes

// 27

DISH // 8/ 9 Veni, Vidi, Vino

SNOW ZONE

// 10

ARTS // 14 14 Hopscotch

FILM // 19 19 DVD Detective

MUSIC // 23/ 26 Music Notes 30 New Sounds 31 Old Sounds 31 Quickspins

BACK // 33 34 Free Will Astrology 34 Lust for Life

LISTINGS 18 Arts 22 Film 24 Music 33 Events

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IssuE no. 797 // JAN 27 – FEB 2, 2011 // Available at over 1400 locations Editor / Publisher.......................................... RON GARTH // ron@vueweekly.com MANAGING Editor............................................. EDEN MUNRO // eden@vueweekly.com associate mANAGING editor................... BRYAN BIRTLES // bryan@vueweekly.com NEWS Editor........................................................ SAMANTHA POWER // samantha@vueweekly.com Arts / Film Editor........................................... PAUL BLINOV // paul@vueweekly.com Music Editor....................................................... EDEN MUNRO // eden@vueweekly.com Dish Editor........................................................... BRYAN BIRTLES // bryan@vueweekly.com creative services manager.................... MICHAEL SIEK // mike@vueweekly.com production.......................................................... CHELSEA BOOS // che@vueweekly.com ART DIRECTOR....................................................... PETE NGUYEN // pete@vueweekly.com Senior graphic designer........................... LYLE BELL // lyle@vueweekly.com PRODUCTION INTERN........................................ Elizabeth Schowalter // scho@vueweekly.com WEB/MULTIMEDIA MANAGER........................ ROB BUTZ // butz@vueweekly.com LISTINGS ................................................................ GLENYS SWITZER // glenys@vueweekly.com

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COVER PHOTO EDEN MUNRO // eden@vueweekly.com CONTRIBUTORS Mike Angus, Chelsea Boos, Josef Braun, Rob Breszny, Gwynne Dyer, Amy Fung, Brian Gibson, Hart Golbeck, James Grasdal, Michael Hingston, Jan Hostyn, Whitey Houston, Carolyn Jervis, Brenda Kerber, Fawnda Mithrush, Tom Murray, Stephen Notley, Roland Pemberton, Mel Priestley, Dave Young, Mimi Williams Distribution Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

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VUEWEEKLY // JAN 27 – FEB 2, 2011

UP FRONT // 3

UP FRONT

VUEPOINT

GRASDAL'S VUE

Exposed fracture Stelmach resignation an opportunity samantha power // samantha@vueweekly.com

T

he political rumour mill calls it a putsch. And while the public may not see the knife in Premier Ed Stelmach's back just yet, the evidence is there. With one of the largest budget deficits in Alberta history released in the fall, Stelmach stood strongly by a proposal that would continue an unbalanced budget until 2013. Speculation puts the knife in the hands of the party's fiscal hawks with Stelmach's comments this December that the budget would once again run a deficit reportedly not being taken well by his own caucus.

But it's not only the budget that brought down the latest leader of the dynasty. After a rough fall session seeing the forced resignation of the head of Alberta Health Services and the removal of parliamentary assistant to the minister of health Raj Sherman, the cracks in the party's facade were perhaps becoming too much for Stelmach, who has so far demonstrated an inability to deal with conflict. A strong talking to from caucus may

YOURVUE

have put the writing on the wall for a man who once fought against comparisons to Harry Strom. But while this is perhaps the most volatile time in Alberta politics since Strom roamed the halls of the Legislature, the Wildrose Alliance and the Alberta Party may want to step back from celebrating too soon. While Stelmach's departure gives the fledgling Alberta Party a few more months to secure a new leader and build up their constituency associations, it gives the Conservatives the same opportunities, while removing the Wildrose Alliance's favourite punching bag. Stelmach may be taking his own party's lumps to ensure a new leader is in place well in advance of a 2013 election deadline thereby uniting a now divided party and providing renewed leadership.

Whatever the reasons, Stelmach's decision and the political growth of two parties in 2010 makes for a radical departure for Alberta politics, one Albertans should welcome with open democratic arms. This crack in the dynasty has been long in coming, it's time Albertans take up their pick axes and start chipping away. V Your Vue is the weekly roundup of all your comments and views of our coverage. Every week we'll be running your comments from the website, feedback on our weekly web polls and any letters you send our editors.

WEBPOLL RESULTS Should city council have entered into negotiations with the Katz Group for a new downtown arena?

ONLINE EXCLUSIVE VUEWEEKLY.COM

THIS WEEK: Independent MLA Dave Taylor announced this week he would be sitting as an Alberta Party MLA in the upcoming session, but he would not be running in a by-election under his new party. Should MLAs have to run a by-election when switching teams?

1. Yes 2. No Check out vueweekly.com to vote and give us your comments.

4 // UP FRONT

VUEWEEKLY // JAN 27 – FEB 2, 2011

The Alberta Party has picked up its first sitting MLA: former Liberal and current MLA for Calgary-Currie Dave Taylor will be representing the Alberta Party with the start of the legislative session. Vue had a chance to talk with Taylor about the upcoming legislative agenda and the Alberta Party's plans.

Listen at vueweekly.com/podcasts

PREVUE // FILM

A tale of two sciences

The Tipping Point explores where myth and fact separate in the tar sands samantha power // samantha@vueweekly.com

S

cientific method is not often thought to be a hotbed for contentious argument, but as climate change and environmental policy take centre stage in political decisions, the search for scientific truth has come under fire, often with debatable results. A new documentary by two Alberta filmmakers hopes to dispell some myths surrounding the science around the Alberta tar sands. Tom Radford and Niobe Thompson wanted to make a different kind of film about the tar sands, and when they heard Dr David Schindler would be taking a team of scientists to study the Athabasca River downstream from the project, they saw it as an opportunity to explore the science of the debate.

"I think Schindler's research changed everything," explains Radford. "The greatest statement, to me, is when Schindler debates with the Alberta government scientists and he says that in all the things he's worked on in his life, there's always this misleading science out there, science which you can't say it's wrong, but the data isn't there, it's not published and what you end up doing is extending this debate

Deconstructing the science downstream from the tar sands

over years and people give up and get tired of it. This is what the tobacco industry did. To the point where the public says, "Who am I supposed to believe here?' and they get to the point where they actually believe there are two competing sciences."

That debate became the centrepiece of The Tipping Point. While commu-

nities downstream report high rates of cancer, government monitoring supported the idea that contaminants were naturally found in the banks of the Athabasca River and certainly had no connection between the oil project and community health problems in Fort Chipewyan. Schindler's study begins to unravel that debate.

"That's the smoking gun for the sci-

entists because the government always said it was coming from the banks." says Radford. Schindler's study focused on studying the snow around the Athabasca River during the winter. For scientists, and the filmmakers, it was a turning point.

"If [Schindler] hadn't published this research in the most scientific journals, we wouldn't be even where we are today," says Radford. "The fact that these papers were reviewed at the highest level, means it's an international story.

The oil sands are now a major international story. This isn't federal, provincial bickering anymore. Their impact on the planet makes it an issue for the whole world. I just don't think we're going to go backwards where everything is swept under the rug."

Radford and Thompson's film manages to capture the process of taking the science public and making it an international issue. From Schindler's research to an early meeting with a certain Hollywood director, Tipping Point reveals just how the events of the past year so drastically changed how the provincial and federal government now react to the tar sands.

And for communities downstream it means greater attention to not just the health impacts they may be facing, but

NewsRoundup

The Nature of Things CBC

• 5 years as Premier • 58.3% of Progressive Conservative 2006 leadership vote • 52% in the 2008 election • 5 Conservative MLAs defected in the last year • $237 million per year royalty break • $4.6 billion provincial deficit in 2009 on this issue," says Steve Anderson, Open Media's national coordinator.

Previous to the decisions, Open Media had begun a petition to stop Internet metering. The petition was signed by over 41 000 Canadians.

• 21% approval rating December 2010

QUOTE OF THE WEEK "In due course, a full, fair and transparent leadership race will be held to

NO TO COCOA merican Agribusiness giant Cargill has joined a growing international boycott of cocoa from the Ivory Coast.

The move comes after Laurent Ggabo would not admit defeat in November's election and continues to preside over the Ivory Coast while Alassane Ouattara has been recognized by the UN as the winner of the election.

Ggabo has accused Ouattara of staging a coup, suggesting that the election was rigged. Ggabo has worked in the

The Tipping Point: The Age of the Oil Sands

Stats on Stelmach

O

A

Thu Jan 27 (8 pm)

SAMANTHA POWER // samantha@vueweekly.com

METER'S RUNNING pen Media is calling attention to a recent CRTC decision which opens the door to Internet Service Providers to decide how people pay for the Internet.

The advocacy organization is concerned this will lead the way to metering Internet usage. "It is deeply disappointing that the Commission has decided to give a few companies a free hand to engage in economic discrimination and crush innovation. Now is the moment for forward-looking, visionary policymaking, not half-measures and convoluted compromises with the companies trying to kill the open Internet. This decision is a step in the right direction, but it is clear to me that Canadians are going to have to continue to speak out

future changes to improve monitoring.

Radford explains they became closely connected to the communities' fight to figure out what was killing them "Because you had the science going forward parallel with the First Nations to get the oil sands properly monitored so they know what's in their water, that's when our show grew to be two hours," says Radford.

For the communities, finding the scientific truth had become a matter of life and death. Communicating that science and correcting misinformation is a big part of The Tipping Point.

And Radford hopes with Schindler's research and the Royal Society's recent report on environmental monitoring in the tar sands, the years of sweeping the problem under the rug are over.

"Up until now, as Schindler says toward the end of the movie, we've had 13 years where we thought monitoring was going on, and now these panels are saying the monitoring was completely inaccurate. That's the tragedy that we've lost 13 years, but if we get it right now, we'll get it right." V

Ivory Coast as a freedom fighter and was a main opponent to the dictator Félix Houphouët-Boigny. Ouattara is an economist who worked in the US for years and was elected prime minister of the Ivory Coast in 1990. The UN has extended its peacekeeping force in the nation for another six months while the EU has threatened to enact a travel ban against Mr Ggabo. A growing boycott of the cocoa from the Ivory Coast has already increased cocoa prices by 14 percent.

select my successor. Until I provide the formal notice of intent to resign, I will continue to govern to fulfil commitments I made in the last general election, and to advance the interests of Alberta to the best of my ability and will put my full effort into this work—as I always have."

—Ed Stelmach Resignation comments Jan 25, 2011

VUEWEEKLY // JAN 27 – FEB 2, 2011

UP FRONT // 5

Death on the farm

Three more deaths as extensions on labour laws denied have stepped up their calls for the government to include these workers in provincial legislation.

Mimi Williams // mimi@vueweekly.com

W

hen 38-year-old Calvin Erwin Jaschke was killed on the job earlier this month, no Occupational Health and Safety investigation was launched because the accident that killed the Peace River man took place on a farm. As reported here in December, farms aren't considered a "workplace" in Alberta, leaving farm workers with no protection under labour legislation which governs hours of work and overtime, statutory holidays and vacation pay. They do not have the right to refuse unsafe work, to be informed of work-related dangers or to any compensation if they are injured on the job.

Provincial court Judge Peter Barley took exception with this exclusion in his January 2009 fatality inquiry report on the 2006 death of farm worker Kevan Chandler near High River. "No logical explanation was given as to why paid employees on a farm are not covered by the same workplace legislation as non-farm employees," Barley wrote in his report, which recommended that paid farm workers, excluding family members, should be included in legislation governing workplace safety.

While organized labour applauded Justice Barley's recommendation, the government rejected it last November,

Last week, the AFL sent a letter to Employment and Immigration Minister Thomas Lukaszuk last week calling on him to extend the Occupational Health and Safety Act (OHSA) and the Work-

"This simple step would provide the province with vital information about farm accidents—information that could then be used to prevent future deaths and injuries," wrote Swann.

He noted this change could be accomplished by a simple Order-in-Council and would result in a legal avenue for investigations into serious incidents

No logical explanation was given as to why paid employees on a farm are not covered by the same workplace legislation as non-farm employees.

13 workers died on farms in 2009

announcing the formation of a new Farm Safety Advisory Council, to be cochaired by government and industry.

"This council will bring industry and government together to find ways to reduce farm injuries without increasing the regulatory and financial burden on our producers," Agriculture Minister Jack Hayden said in a release at the time. "We need to work together to find solutions."

The Alberta Federation of Labour dismissed the creation of the council as an "empty gesture" and renewed the AFL's call for farm workers to be protected under the province's Occupational Health and Safety and Workers' Compensation laws.

With three farm workers killed on the job since that press release, the council has yet to be named and the AFL, along with the NDP and Liberal opposition

ers' Compensation Act to cover all paid farm workers. According to the AFL, there have been more than 160 accidental farm deaths in the last decade.

"These tragic accidents underline the absurdity of paid farm workers being excluded from the protection that other Albertans enjoy," said AFL President Gil McGowan in his letter to the minister. Among other changes it is demanding, the AFL requested that the Farming and Ranching Exemption be amended to allow for investigations into all farm-related deaths, serious injuries or injuries involving a child. Official Opposition Leader David Swann asked for similar amendments in his letter to the minister. The Liberals say a child was among the 13 farmer workers killed on the job in 2009.

involving paid farm workers.

"Farm workers often know what they are being required to do is unsafe. But they have no ability to refuse such work," wrote NDP labour critic Rachel Notley in a letter to Lukaszuk last week. "Paid farm workers should not be excluded from the protections other Alberta workers enjoy," she said.

David Hennig of the Department of Agriculture's Communications Branch suggests that the advisory council has not yet been announced but that Albertans could expect something in the very near future. Asked if the minister would provide a comment on the fact that three workers have been killed since he made his announcement, Hennig advised that the minister would have no comment. V

COMMENT >> MIDDLE EAST

A question of war

The Palestinian papers released change the face of conflict in the Middle East It's time to think about the nature of can't always get what you want, but if the next Arab-Israeli war. The release by you try sometimes you might find that the Arab satellite network al-Jazeera of you get what you need."

16 000 leaked Palestinian documents covering the past 10 years of peace neAccording to the documents, in the gotiations has driven a stake through the past three years the Palestinians have heart of the already moribund "peace offered to accept all of Israel's illegal process," and we hear constant settlements around Jerusalem warnings that when the hope except one (Har Homa) as perof a peace settlement is finalmanent parts of the Jewish ly extinguished, the next step state. Israel annexed all of is a return to war. So what om East Jerusalem after it con.c ly k e we would that war be like? quered it in the 1967 war, but e@vue gwynn e OK, back up a bit. What the international law forbids that y Gw nn leaked documents show is that and no other country sees the Dyer annexation the Palestinian negotiators were as legal. willing to make huge concessions on The negotiators also offered to reterritory and other issues in return for Isstrict the "right of return" of the millions raeli recognition of an independent Palof Palestinians descended from those estinian state. They were well-meaning who were driven from their homes in people playing a very bad hand as best what is now Israel in 1948 to a mere they could, but the publication of these 100 000 returnees over 10 years. They documents will destroy them politically. even offered to put the most sacred site The spirit in which they approached the in Jerusalem, the Temple Mount/Haram talks is exemplified in the first document al-Sharif, under the control of a joint in the trove, a memo on Palestinian necommittee. (It is currently administered gotiating strategy dated September by an Islamic foundation.)

1999. It urges the negotiators to heed Even these concessions were not the advice of the Rolling Stones: "You enough to persuade the Israelis to ac-

R DYEIG HT

STRA

6 // UP FRONT

cept a Palestinian state within the pre1967 borders of the West Bank (including those parts of East Jerusalem still inhabited by Palestinians) and the Gaza Strip. They were enough, however, to make the negotiators reviled in almost every Palestinian home if they were ever revealed—and now they have been.

Mahmoud Abbas, the president of the Palestinian Authority, chief negotiator Saeb Erekat and his predecessor Ahmed Qureia were just pragmatic men trying to cut the best deal possible in very difficult circumstances. They might even have been able to sell these concessions to the Palestinian people, if they had come as part of a comprehensive settlement leading to the end of the Israeli occupation and an independent Palestinian state.

But in fact they got nothing for their concessions. The Israelis simply pocketed them and demanded more. Now that the details are known—leaked, almost certainly, by frustrated members of the Negotiation Support Unit that provided technical and legal backup for the Palestinian negotiators—Mahmoud Abbas and his colleagues are finished.

VUEWEEKLY // JAN 27 – FEB 2, 2011

Even the Palestinian Authority itself, and the whole concept of an independent state for Palestinians in a fraction of pre-partition Palestine, may not survive this blow. Fatah, the faction that effectively rules the parts of the West Bank not yet taken for Israeli settlements, is well past its sell-by date as a national liberation movement, and may lose control of the area to the Islamist Hamas movement before we are very much older.

Hamas, which already controls the Gaza Strip, rejects negotiations with Israel and the whole notion of a Palestinian state alongside Israel as part of a two-state future. We are continually told by various pundits that these developments can only lead to war, and they are probably right—but what kind of war?

It would certainly not be like the ArabIsraeli wars of 1948, 1956, 1967 and 1973, in which regular armies fought stand-up battles with lots of heavy weapons.

Egypt, Syria and Jordan, the countries that fought those wars on behalf of the Arabs, have long since abandoned the goal of matching Israeli military

power. They don't even buy the right kind of weapons, in the right amounts, to stand a chance against Israel on the battlefield.

We will doubtless see more Israeli punishment attacks in which a hundred Palestinians or Lebanese die for every Israeli, like the "wars" against Lebanon in 2006 and in the Gaza Strip in 2008 – '09. We may well see a "third intifada," another popular uprising against the Israeli occupation in the West Bank, probably accompanied by terrorist attacks in Israel itself. But we have seen all this before. It's nothing to get excited about.

In the long run, we may see some Arab states start working on nuclear weapons, to create some balance of forces between the two sides, but probably not for a while yet. In the meantime, the future for the Middle East is not mass destruction, but an unending series of Israeli military strikes that kill in the hundreds or thousands, not in the millions.

Plus despair, of course. V Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.

INTHE BOX One-goal games. Last week Oiler fans witnessed a sampler platter of actual and technical one-goal games, each with a slightly different result. January 20: the Oilers played host to Dallas and fell to the Stars 4-2. Wait a second! Sharp readers will notice that's not a one-goal game. However, the fourth Stars goal was an empty-netter snuck into the Oiler net with one second remaining in the game. January 23: the Oilers welcomed Nashville, tied the game 2-2 in the last five minutes but lost in a shootout.

January 25: the Oilers and Phoenix were tied 3-3 late in the third until Dustin Penner knuckled the winning goal with 22 seconds remaining in the game.

Humour in Uniform

Phoenix tough guy/mouthpiece Paul Bissonnette is infamous in hockey circles for outrageously embracing social media. His Twitter (BizNasty2point0) body of work is candid, risqué, entertaining and oddly compelling. While most NHLers tend to be

DAVE YOUNG & BRYAN BIRTLES // INTHEBOX@vueweekly.com

free of personality, either out of discretion or actual lack of personality, Biz Nasty's tweets tend to be free of any discretion whatsoever. Here's some recent posts to give you a primer: Name dropping: "Maybe mike green would wanna start a scooter gang. Like the "hell's angels." I'd call my gang 'healthy scratches and panty snatchers'."

Misogyny: "Big win for the dogs au desert. Wow, hot girl behind our bench tonight. Shoulda threw her a puck with my digits on it" Good advice: "Tip for my followers. Don't ask me for relationshit advice. Not my thing.

And ya relationshit was spelt correctly."

Self-deprecating humour: "Played almost 9 minutes tonight. Anyone know where I can buy an oxygen tank? I Feel like I just ran the Boston Marathon."

As you can see, it's juvenile but it is refreshing. All this makes me wonder what Esa Tikkanen's Twitter feed would have been like.

(My guess? Odd and indecipherable). DY

I promised Mess I Wouldn't DO THIS ...

Happy birthday to the greatest player to ever lace up skates, Wayne Gretzky. At the age of 50—as of January 26th—and having been out of the league (as a player) for over 10 years, Gretzky remains the holder of a number of impressive NHL records, including his 50 goals in 39 games and his 92 goals and 212 points in a single season, records that may never be broken.

Gretzky's is the only number to have been retired league-wide, and he's the only NHLer to have had his own cereal, ProStars, which was delicious. And he did it all wearing a Jofa helmet. Have you ever seen that thing? I wouldn't feel safe knitting in one of those. BB Oiler Player of the Week

Dustin Penner: last-minute GWG in PHO. LOL. DY Jeff Petry: Scored his first NHL goal on Jan 20, and has been playing big minutes, especially for a call-up. BB

BOB THE ANGRY FLOWER

VUEWEEKLY // JAN 27 – FEB 2, 2011

UP FRONT // 7

DISH

Find a restaurant

ONLINE AT DISHWEEKLY.CA

In with the new

Cheesecake Cafe's new menu relatively safe, with a few surprises

Cheescake Cafe's West End exterior Jan Hostyn // jan@vueweekly.com

A

little over a year ago, the Cheesecake Cafe announced that it had hired the illustrious Peter Jackson, former chef/owner of Jack's Grill, as its "Culinary Leader." His mandate: refresh and revitalize the café's menu without radically changing it. Bobbi Beeson, Cheesecake's marketing director, said they still wanted to focus on the use of fresh, quality ingredients and offer something for everyone, but they also wanted to "up the flavour a bit."

Well, fast forward a bit and voilà; a new menu. It was launched without all

8 // DISH

the fanfare that accompanied the Peter Jackson announcement. Or maybe I just missed it. Regardless, I completely forgot about the whole thing. Until now.

First, a few facts. I'm not a regular Cheesecake customer. I have eaten at Cheesecake before, but that was years ago. Years. So this isn't about comparing the old with the new. It's about what the Cheesecake Cafe is now.

To prepare, I went to the restaurant's website and read about the "eclectic and extensive" menu, the use of quality ingredients and the famous desserts— particularly the cheesecakes. And then I read about some of the new additions: the tapas plates, the "Baked Bites" and

brunch on the weekends.

Then I went—with a few other recruits, of course.

Visually, this café that bills itself as "upscale casual" surprised me. Heavy, larger-than-life doors lead into an airy, sophisticated room swathed in a medley of browns and creams. Add soaring ceilings, multi-tiered booths and a sea of black-clad servers floating about and, well, you almost get the sense that you're somewhere special. Muted oomph, if you will.

Our server, young and eager, wanted to serve us. We, however, had to read the menu first. And yes, it is long and extensive. So it took us awhile. Plus we

VUEWEEKLY // JAN 27 – FEB 2, 2011

had to quiz our waiter about what on the menu was new.

Once we made our waiter happy and ordered, things moved quickly. First, our drinks appeared; a raspberry iced tea ($3.19), a raspberry lemonade ($3.19), a Grand Pom margarita ($6.19) and a glass of Silvertop Malbec ($6.49). Sweet and massive would aptly describe the two raspberry drinks, while my Grand Pom margarita was simply sweet.

At this point, we began to notice that things weren't so muted. Lots of people and lots of families and lots of kids make this quite a welcoming place, but quiet? Not so much.

Then came the food: avocado spring rolls ($9.99), French onion soup ($6.59), Original Schnitzelwich ($12.59), beet and goat cheese salad ($11.99) and a kid's pizza ($6.99)—because yes, we too brought a kid. Of those, the beet and goat cheese salad and the Schnitzelwich were new additions.

Everything was deemed fairly good, but the spring rolls and salad came in a notch above everything else. Something about the spring rolls just worked: the lovely crisp exterior that didn't leave miniature oil slicks on our fingers, the silky avocado that lay hiding inside, the refreshing bursts of citrus ... something.

And the beet and goat cheese salad was much more than just a mound of spinach sporting the odd morsel of this and that. Yes, there was still plenty of fresh spinach, but it was liberally adorned with ample dollops of goat cheese and heaps of beets and apples—no hunting required. The plethora of pine nuts scattered over everything added even more character to the jumble. The dressing wasn't my favourite, though. While it had a lively, fruity tang, I found it simply too sweet.

As for the rest, well, the veal in the Original Schnitzelwich was relatively lean and had a nice light coating, and the grilled ciabatta it came on was hefty enough to withstand the slightly messy filling. The luxurious depth of the smoked gouda was lost in the assertive tomato sauce, though, and the fries were visited a few times by the nearby salt shaker.

The onion soup was your typical onion soup, topped by copious amounts of gooey cheese, and the kid's pizza could have fed more than just one kid.

Dessert was huge, striking and definitely impressive. Both the Oreo cheesecake ($7.69) and the hot fudge brownie sundae ($7.49) elicited an initial, "Oh, my," before demanding the undivided attention of their lucky recipients. In the end, however, both proved to be unconquerable.

I never did get a chance to meet the Baked Bites that I had read about (and then promptly forgotten). Our waiter evidently forgot about them, too, because they never did make an appearance at our table. According to the website, however, these little biscuit-y type things are supposed to be delivered to every table, free, like bread at some other restaurants. Oh well.

This "upscale casual" place struck me as being mostly casual with a somewhat chaotic edge, and the upscale surroundings don't quite manage to conceal that what you are about to partake in is mostly formula dining. Decent and fresh formula dining, mind you. The appeal, I think, is large portions of relatively safe, comfortable food. Not memorable, but certainly edible. V Mon – Thu (11 am – 10 pm); Fri & Sat (11 am – 12 am); Sun (10 am – 10 pm) The Cheesecake Cafe 17011 - 100 Ave, 780.486.0440

WINE

Time for deals

there two days a week, not because he had to, but because he simply loved spending his Saturdays shooting the Shiraz about all things wine.

Secondly, there are affordable wines from every region of the world, and for every taste. But here's a few guidelines to start: Old World wines—those typically from Mediterranean countries like France, Italy or Spain—carry such a strong reputation for quality wines that, to that end, they are able to carry a higher price tag. New World wines from emerging regions like Australia, US and South America are IDI V , so eager to break into the marI N VE ket that they are more willing to lower their prices to attract m ly.co eweek new customers. Argentina and us@vu g n a e mik Chile are two countries that ime k i M mediately come to mind when I Angus think of value, as well as California and Washington state. While Canada's wines are becoming more reputable, our short growing season and small yields have yet to result in quality and competitivelypriced wines—not to say that you can't find quality, homegrown vino in the $15 – $20 range.

But don't let these guidelines be the rule—anyone who's been to Europe knows how good cheap wine can be. What's more, many of the old chateaus are now spreading their vintages across price ranges (from entry-level to high-end) in order to keep pace with New World ambitions as well as their customers' tastes. Because as the saying goes, "Life's too short to drink bad wine."

And no one knows that better than those who do it most often. V When it comes to knowing where to look, luckily for you, grape gurus hang out in—you guessed it—specialty wine shops.

Quite often, the staff who work there do so because they just love to be around the stuff. Certainly, you can have success finding affordable wines at the larger chain liquor stores, but when it comes to the next step—asking questions—there's a better chance you'll get the answers you're looking for from someone who chooses to peddle Pinot in his or her spare time lovingly at an independent plonk shop. My first job in a boutique wine store was working alongside a retired school bus driver who worked

Is there such a thing a cheap, good wine?

This question comes up often in wine circles, whether it's a congregation of connoisseurs or fearful first-time buyers. Regardless of your level of wine knowledge, two things are certain: first, with December's bills coming due, everyone is looking for great deals on wine—even the wine snobs. And secondly, yes—absolutely, positively—cheap wine can be good.

The keys to finding good value wine—in case you don't already have a tried-and-true table wine—are first, to know where to look, and second, to ask questions. While this may seem like you're setting yourself up to appear like a wine novice or to feel dumb, don't worry. Wine lovers love three things: drinking wine, talking about wine and a great deal.

// Chelsea Boos

VINO

VUEWEEKLY // JAN 27 – FEB 2, 2011

DISH // 9

SNOW ZONE

Inside from the outside How to take a well-earned rest in Jasper

nalia and leisurely distractions—the foosball table, shot ski, resinous glassblown artifacts, sadistic parlour games, booming stereo system, second-hand furniture, broken oar mounted to the wall, scorched devil sticks, languishing plants, pizza boxes and Jagermeister cold shot dispenser.

More importantly, it's home to limitless stories, characters and nights spent indulging in the ridiculous in the company of wild, talented and eccentric people. These places don't last forever, and it was with a hint of regret that I discovered that the main tenant of said house in Jasper, a good friend, is considering other housing options in the near future.

Naturally, another household will take up the yoke. Surely it will be good, but it can never be the same. Each such experience is unique and these things need to be appreciated in their prime.

Because it's not the places themselves but the people who occupy them that impose character on their surroundings. By turn, in Jasper it is nature that stamps its mark on these people's characters, inscribing a full circle.

So poke your head in a few doors next time you're in Jasper. If you're lucky, as I've been, perhaps you'll secure an invite into the inner sanctum—and back. V

Jeremy Derksen // jeremy@vueweekly.com

O

ne gold token pays your admission into the animal netherworld below Whistlers Inn. Insert it into the turnstile, cross over and you're face to face with cougars, bears, moose and more.

But it's safe in The Den, where all the wildlife is taxidermied and set behind glass along a dark, faux-log wall passageway. With only the soft yellow glow from the exhibit cases to light the way, it's mildly eerie—like something out of Twin Peaks—and it has definite retro cachet, but it's also entertaining and educational. The range of species in the collection is impressive, including the iconic larger predators and their offspring but also some of the more difficult-to-spot animals that frequent the area.

Though I've spent a long part of my journalistic career encouraging people to get outside, even the hardiest of adventurers eventually has to come in from the cold, and Jasper's indoor spaces offer an excellent complement of history, art and oddities, and a wide range of options for those rare days when it really is too cold.

Moreover, visiting sites like the Jasper Yellowhead Historical Museum imbues one with a greater appreciation of the world outside its doors. The museum's collection includes mountaineering artifacts and historical souvenirs of the formation and growth of the town.

A less literal but equally striking representation of alpine culture resides at the Brush Fire Gallery. Unfortunately for winter visitors, the main gallery in the Old Firehall is only open from May to October. All you have to do to appreciate local art, however, is look up at the walls the next time you're grabbing a coffee or savouring lamb kebabs. The Jasper Artists' Guild maintains satellite exhibits at three other venues around town: the Bear's Paw Bakery, Papa George's Restaurant and the Jasper municipal office. Coco's Café and The Other Paw also display local artwork on their walls.

Nonetheless, the Brush Fire is worth a visit if you're there in season, as many of the works there can't be seen elsewhere, including some by Leona Amann, whose piece "Cascade" is the most evocative mountain abstract I've seen.

Some of the more enriching aspects of local community aren't as obvious.

Town-sponsored Community Dinners are popular and well advertised, but unless you stick around on a Sunday night you might never become aware of it. It's largely a community-building event aimed at Jasperites but anyone is welcome, especially if you help bus

10 // SNOW ZONE

ON THE WEB whistlersinn.com/museum jaspermuseum.org jasperartistsguild.com

Indoor Checklist Some of Jasper's must-see curios and indoor delights are easy to find—if you know where to look. // Elizabeth Schowalter

tables or assist with takedown afterwards. Dinner is by donation, in part to make it affordable for some of the town's lower-paid tourism staff, so outof-towners should err towards generos-

the collection of photos on the wall fascinating but never knew the reason behind them until I asked one of the waitresses, who explained that each picture contains at least one person

Even the hardiest of adventurers eventually has to come in from the cold, and Jasper's indoor spaces offer an excellent complement of history, art and oddities, and a wide range of options for those rare days when it really is too cold. ity. It would be hard to overpay for such great food and company.

The town's nightlife is no secret but at the De'd Dog Pub the walls can talk, and they tell stories. I'd always found

from Jasper's broader community who has died.

Some of them are incredibly accomplished, famous figures, including Pierre Trudeau, mountain guide Wally

VUEWEEKLY // JAN 27 – FEB 2, 2011

Pfisterer and actress Jayne Mansfield.

Others may not be as well known, but are still equally loved and revered.

Some died too young, others in the fullness of life, but each came to these mountains and made their mark.

There's something in their presence at the Dog that inspires new reverence for life, especially life lived well. So the next time you stop in, raise a pint to the De'd.

Then there are the places that will never become public, the spots that only locals and a select few guests will ever know.

In every mountain town there is at least one party house occupied by a revolving door of local guides and mountain staff, filled with outdoor parapher-

Lobstick lore In the old days, lobsticks—coniferous trees trimmed of all but their topmost branches—were used as trailmarkers. A preserved lobstick is framed in the lobby of the Lobstick Lodge.

Lip service Check out the men's urinals at the Whistle Stop Pub for one of the oddest decorating choices anywhere— in stark contrast with the rest of the room's elegant mountain rock tile.

Kitsch Corner of Connaught Drive and Miette Avenue, Jasper Camera and Gift features quintessential Canadiana— wildlife sweaters, plastic figurines, flags, glasswork and wood carvings.

VUEWEEKLY // JAN 27 – FEB 2, 2011

SNOW ZONE // 11

FALLLINES

HART GOLBECK // HART@vueweekly.com

Last Weekend for Jasper in January Time is quickly running out for the Jasper in January festival. There's only one weekend left to cash in on cheap lift tickets and lodging. Regular-priced adult lift tickets can be quite a hit on your wallet—especially for families— but this festival or any of the resort lift cards can really reduce the rates.

In town at the Canadian Legion on Fri-

day night, the band Mamaguroove will play its homegrown, eclectic brand of revolutionary and emotional music. The band has been together for eight years, releasing three albums and entertaining much of BC and Alberta with a number of tours. If this music doesn't suit your style, head over to the AthaB both Friday and Saturday and shake to the tunes

of Bad Judgement, an Edmonton band that is sure to have a party following. If you're looking for more of a quiet event, on Saturday night, January 29th head to the Sawridge at 6 pm for Hops and Scotch tasting event. Over 25 vendors will be featuring their finest spirits. This is definitely a walk-to event no matter how far your hotel.

Snowboard and Ski Slopestyle about to become Olympic events On the heels of the amazing success of skier and boardercross at last year's Vancouver Olympics, last fall the Executive Board of the International Olympic Committee suggested that Snowboard and Ski Slopestyle should be added as events for the upcoming 2014 winter Olympics in Sochi. They are currently reviewing the events for a final decision and all appears to be going well. Last weekend the Snowboard World Championships were held in La Molina, Spain and all went well. Canadian athletes finished 6th and 7th in the men's event followed by a 14th, 17th and 19th placing by the ladies. Not bad considering the location of the event and the fact that it was the first time included in the World finals. Hopefully this will give some inspiration to upcoming local athletes to get to the hill and grind those rails, boxes and whatever else gets thrown in your way. There is no time clock in Slopestyle, it's all about executing your tricks and impressing the judges. The

most famous Slopestyle boarder to date is Shaun White. He's won at least eight major events but did not appear in Spain to take on the world this time. It seems like he's been around for ever but White

is only 24 and should be good for another Olympics, if he chooses to go that route.

For our skiers, the World Championship Slopestyle event will take on the slopes of Deer Valley, USA in February. V

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12 // SNOW ZONE

VUEWEEKLY // JAN 27 – FEB 2, 2011

Lighting up the night

Street performers, film and pyro collide in Churchill Square

Circus Orange at last year's Illuminations

// mikeangus@vueweekly.com

I

lluminations, the latest installment of Edmonton's Winter Light festival, taking place this weekend at Winston Churchill Square, combines elements of circus, street performance, visual arts, pyrotechnics, film and lighting, transforming the square into a bazaar of dazzling light shows to help make this season a little warmer.

Matt Vest is the technical director and lighting designer for the evening's events, which encompasses the entire square as a stage.

"The approach I took was trying to compile as many visual artists in the world of lighting and projections that I could," he explains, "to bring them together and give them their own autonomy, their own sections on the square."

Edmonton media artists Lindsay McIntyre and Jeremy Rittwage will be

making film and video projections at one end of the square, to be coordinated by local sound designer Aaron Macri, while at the other end crowds are welcome to skate and enjoy the free hot chocolate at City Hall. And everywhere in between, you'll find roving performers like dancers, stilt walkers, clowns and "Winter People"—a collection of actors creating real-time, stilllife vignettes—as well as the Illuminations Choir.

Projections will be taking place throughout the square during the course of the evening, culminating with Circus Orange, the Torontobased pyrotechnic circus performance troupe performing their presentation of TRICYCLE, a dramatic fusion of live music, clown, circus, dance, aerial performance, mechanics, pyrotechnics and fire arts. Vest explains that the circus performance will be cued by a series of well-orchestrated spotlights which will follow the action through-

out the square.

"We'll have about 30 projectors in and around the TIX on the Square [building], and pyrotechnics off the roof of City Hall," he enthuses.

Opening the evening's events will be Yukigassen, a Japanese snowballfighting competition, which is the perfect embodiment of Winter Light's mandate: to celebrate winter and ignite a new perspective on Edmonton's winter spirit.

"It's where we live, right? So you gotta take advantage of the place you live," Vest says. "This is a great city, and we spend a lot of it in the winter. For me, it keeps me going throughout the winter. It'd be too easy to not go outside all winter, so I think it's a good reason for people to get off their butts." V Sat, Jan 29 (4 pm) Illuminations Churchill Square, free

Head for the (big) hills

The town of Jasper wraps up its January festivities Mike Angus // mikeangus@vueweekly.com

E

ver wanted to live like a local in Jasper? For two weeks every January, Jasper rolls out the red carpet with a series of outdoor festivities and relaxing entertainment, not to mention deep discounts on hotels, dining specials and even lift tickets at Marmot Basin.

Until January 30, you can enjoy an escape to the Canadian Rockies with friends and family, as well as romantic getaways. In contrast to Banff’s crowded slopes and upscale shops, Jasper boasts a cozier, more intimate atmosphere during ski season, and in the wake of the holiday season it’s the perfect time to take advantage of

the town’s ample outdoor pursuits at budget-friendly prices.

Anastasia Martin-Stilwell with Tourism Jasper explains how the two-week blast has started and how it shapes the town’s pride. “The festival has been going really well thus far,” she explains. “If the ATCO Family Street Party last Saturday night is any indication of overall interest, there were around 1500 – 2000 out watching the fireworks.”

This week’s upcoming events also include food- and wine-oriented events like Taste of the Town, Wine in Winter and Hops and Scotch, as well as classic favourites like Tales With Ale and the great Chili Cook Off. And of course, there’s always live music, shinny hockey on Lake Mildred, an

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ice-cave walk at Maligne Canyon and the Polar Bear Dip. Start your alpine adventure “The festival really sets the stage for Visit www.castlevacations.ca the community to kick off the new year and invite travellers to Jasper for a little authentic winter Rocky Mountain fun,” Martin-Stilwell enthuses.

“Restaurants, hotels and Marmot CMR_JanCAt_VueBW_PRINT.indd 1 Basin come together to combine special deals and exciting activities and events, with untamed outdoor adventure, and showcase Jasper with this incredible two-week festival that appeals to all ages, families and couples alike.” V

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11-01-20 9:44 AM

Until Jan 30 Jasper in January All over Jasper

VUEWEEKLY // JAN 27 – FEB 2, 2011

SNOW ZONE // 13

ARTS

"It was like watching a Tai-Chi class at points, everyone moving together in a sort of meditative closeness—not exactly in unison, but together nonetheless."

RELAY REVIEW // ONLINE AT VUEWEEKLY.COM

PREVUE // VISUAL ARTS

Mass production made unique Brian Jungen shapes store-bought materials into expansive artwork Amy Fung // amy@vueweekly.com

K

nown for his deconstruction and reassemblage of mass-produced consumer goods such as Nike Air Jordans and plastic lawn chairs into critiques on museum-ready artifacts, Vancouver-based Brian Jungen has been internationally heralded for his work, and was the first living artist to receive an exhibition at The Smithsonian National Museum of the American Indian in Washington, DC. Taking a short break during an intensive three-week installation at the AGA for three of his past major works, Carapace (2009), Shapeshifter (2000) and Cetology (2002), Jungen sat down for a chat about his old works, new works, the weather, and some insights about contemporary Canadian art.

VUE WEEKLY: It's a pretty big year for you.

First, congrats on the Gershon Iskowitz prize.

BRIAN JUNGEN: Thank you.

VW: I was curious about how you feel about having a retrospective in the same year you have this commission to do new works?

BJ: Well, I don't really like the term retrospective because it seems that's what happens after someone dies. I tend to think of it as a survey of older work, or a showing of older works in a new context.

VW: Will the new works be a continuation of this style?

BJ: No, the show at the AGO will be a whole new direction and a whole new body of work that I recently just started and showed in Vancouver last month at Catriona Jeffries. A lot of the new work is using found or unconventional materials,

Brian Jungen's plastic-chair Cetology

but very different from this kind of storebought, mass-produced material. They are materials I think you would be familiar with through the landscape of rural Canada, like car body parts, animal skins, and things like that.

VW: Does your sense of place and home seep into your work?

BJ: It's becoming more important in my new work, this sense that I'm from Northern Canada. I've lived in Vancouver for about 15 years now, and though I really like the arts community in Vancouver, I find myself returning to Northern BC a lot, especially in the last few years. Maybe it's because I'm approaching middle age, and want to make connections to the place I grew up. I don't know if it's that, I just like the environment and the folks up there. I generally like the climate, believe it or not. There's hot summers, cold winters, probably just like Edmonton, but it's sunny and it's a proper winter. In Vancouver you don't really get a winter, you get a cold monsoon, and it's a different type

// Trevor Mills, Vancouver Art Gallery

of cold. I really miss winters like this. I've been here for the last two weeks, and folks in Edmonton have been saying how unusually cold and how much snow it's been this year, but I totally like it!

VW: Well I'm glad somebody likes it.

BJ: I guess I get to leave, but place is becoming more important in my work, I'm doing less site-specific work and building everything on-site, which I've been doing for the last several years.

VW: You're also showing in Close Encounters, the largest exhibition ever organized in the world on contemporary Indigenous art, happening in Winnipeg right now.

Can you speak about that?

BJ: Sure, what I really like in Canada is that there is no division. You can be a contemporary artist and making work on Aboriginal issues and identity, but you're still a contemporary artist, whereas in the States, there's a huge division. That became really apparent to me when I did this project at The Smithsonian last year,

Strange Comforts. It made me realize how much more wide open the Canadian contemporary art field is. Like with Close Encounters, I think it's amazing. If that show was curated in another country, it would be generally ignored by the contemporary art press, but not in Canada, which is great. It's very inclusive that way.

VW: Let's talk about the works in this show.

BJ: We have two of the whale skeletons, Shapeshifter and Cetology, both on loan, and Carapace, which I initially made in France two years ago. I was working in this old chateau that was converted into a contemporary art space and it had been surrounded by idyllic farm land, except the last few years it was all being converted into suburbs, just like what you would see in Calgary, Edmonton, Fort St John.

In these suburbs I kept seeing these new garbage bins that just became a symbol for the sign of the times and a symbol of unbridled housing excess that I decided to use the bins as source material. I also thought it would be a nice pairing of this idea of this waste of garbage bins with the structure of a tortoise, which is a symbol of the Earth in many cultures, and is a house and home.

VW: Can you tell me about the construction of these works?

BJ: I keep working with material until I feel some sort of resolution with it, that a way of working with the materials has been realized. So with Carapace, instead of making a new one three different times, I decided to use the same materials three different ways over three different times. After the first time in France, I saw a completely different way of constructing it that would be a lot more dynamic, so I made it a second time last year at the Smithsonian, and when Catherine [Crowston] invited me here I proposed making it a third and final time. This will be the final configuration of the materials.

VW: What do you think viewers can ex-

HOPSCOTCH

Allen Shawn's autistic Twin central to his life

14 // ARTS

VW: How many bins are you actually using?

BJ: I don't know. We usually deal directly with the manufacturers, but we basically take what we can get. Same with the chairs. When I was making those, I was just driving around to all the Canadian Tires, buying them up and clearing them out. If I need more, it's something so plentiful that you can just go out and get more. I bought some new bins here in Edmonton. There are certain things that are global products that you can basically get anywhere.

VW: And that really is the impetus of your work, how everything has been globalized, including art.

BJ: Yeah, there's a discourse about that.

Art has taken on a much stronger profile in the last 10-plus years with museums wanting a much bigger presence in cities, to become a tourist attraction, like this place, the AGO, the Bilbao Guggenheim, that's how it's changed a lot, I think. Not sure if it makes art more accessible to the general public, but it has made a certain type of style or international strategy around art institutions. V Sat, Jan 29 – Sun, May 8 Brian Jungen The Art Gallery of Alberta (2 Sir Winston Churchill Square) youraga.ca

JOSEF BRAUN // JOSEF@vueweekly.com

Family dynamic Twin (Viking, $32.50), the second memoir from Allen Shawn, explores the nature of Shawn's relationship to his autistic twin sister, Mary, who was removed from the family home at eight, and has since lived in various institutions designed to assist those with similar disabilities. Allen and Mary are now in their early 60s and visit regularly, yet it's clear that the familiarity and comfort they enjoy in each other's presence remains accompanied by profound, sometimes troubling mysteries of

pect from this, who generally will not have seen the first two configurations?

BJ: Because the piece is quite large, there's usually an immediate response. People want to go inside it, and they have this very strong physical reaction to it. People want to touch it and climb it—which you can't do—but the last two times, people sometimes saw it just as the materials and so they don't see it as art works. They think they can be interactive with it, which they can't, so now I'm actually cutting up the materials enough that you can't really recognize at first what it's made out of it.

identity and perception seemingly inherent in their very coexistence. "It wasn't until I reached middle age," Shawn writes, "that I could even begin to acknowledge that being Mary's twin was a central fact, perhaps the central fact, of my life."

Shawn is the brother of actor and playwright Wallace Shawn and the son of long-time New Yorker editor William Shawn. He's a composer and teacher, yet reading Twin it becomes immediately apparent that however talented he may be

in the discipline to which he's devoted his career, Shawn is, like his brother, an immensely gifted writer. It's rare to encounter a book as emotionally involving from its first page as Twin—though it bears mentioning that that first page also features a joke about Mormon heaven that made me laugh out loud, and an amusing analogy between deep feelings of loss and the worry one might suffer over vanishing pants.

One chapter begins with a compelling argument for acknowledging the value of religious feeling, even if one isn't inclined to value religion. This speaks to Shawn's restless questioning, a fundamental aspect of his psychological makeup that

VUEWEEKLY // JAN 27 – FEB 2, 2011

no doubt feeds his continued desire to understand Mary's inner life while never presuming that such understanding could ever be complete or even accurate.

Shawn interrogates the moments in his life where he believes he may have come closest to experiencing something akin to Mary's state of being, such as a feverinduced out-of-body experience he once endured as a child, or the feeling of being transported that comes with listening to or especially composing music.

The Shawn family was unusually secretive, founded on a parental relationship at once brimming with kindness and even romance and defined in part by William Shawn's romantic partnership with another woman, which continued concur-

rent to his marriage and lasted 40 years, ending only with his death. Shawn doesn't take sides with either of his parents, but wonders how their complicated dynamic affected and was affected by Mary's condition. He also comes to terms with their varied methods of accepting Mary's separation, and his own lingering guilt.

Shawn's writing conveys such bravery and insight that it can only serve to remind us just how painfully long it can take to begin peeling back the veils enveloping our families and inherited legacies. He relates how in his final years his father once stated: "They made a big mistake making life so short." Ain't that the truth. But would it ever be long enough to settle such questions once and for all? V

PREVUE // DANCE

Circuit bender BUST fuses music and dance Fawnda Mithrush

// fawnda@vueweekly.com

J

ust when you thought Mile Zero Dance may have settled into a routine with its popular Salon Series, selling out the Artery on evenings stocked with interdisciplinary performances and installations, Mile Zero went and hired Shawn Pinchbeck to curate BUST. Pinchbeck, an Edmonton-based electro-acoustic music composer and media artist who has curated festivals, recorded and performed across the globe since 1984, has been working with Mile Zero's artistic director Gerry Morita for the past couple of years.

Last year, he created an interactive soundscape for Knowledge Box, MZD's eerie jaunt through the works of writer/ illustrator Edward Gorey.

When composing for dance, Pinchbeck has used found sounds, video cameras and computer interfaces to translate motion into sound. He's recently created an interactive audio, video and dance piece called The Bather, where a projected image of a woman in a bathtub is stroked (or scrubbed) by audience participants wearing a bath mitt.

The image of the woman, Toronto dancer Susanna Hood, responds to touch in live time. This is just one of the pieces that Pinchbeck chose to include in BUST. "Basically I was looking for variety,"

Pinchbeck says of the group of artists he's gathered for the Salon. "I was looking for stuff that would complement each other and cover a bunch of different bases as far as performance goes. You have limitations once you start thinking in a certain genre or discipline."

Limitless could be an apt descriptor for this Salon, which hosts a selection of artists varied not only in discipline, but also in age, experience, and decibel usage.

"It's a real grab-bag," Pinchbeck boasts.

"Vector Rails," a sound and video piece, was performed at Calgary's High Performance Rodeo last week, and now brings Clinker (sometimes known as Gary James Joynes), and drummer Adam Tindale to town for BUST. Robot Scout, an experimental electronic band from St John's, Newfoundland will be dropping by, along with Winnipeg

artist Ken Gregory, whose installation exhibits have been shown across Canada and at international sound arts festivals.

His interactive piece will feature dancers Celine Cattoën-Gilbert, Sonja Myllymaki and Karen Porkka.

MZD's Gerry Morita will make an appearance with "Mixtur," moving throughout the Artery in a piece inspired by Ryoan-ji, a Zen temple in Kyoto that houses some of Japan's most wellknown stone gardens.

A crew from Edmonton's noise music scene and the Ramshackle Day Parade will be performing as Zebra Pulse in a work called "Heavy Babies Kid's Table," which Pinchbeck admits he's rather curious about.

"It's a performance piece involving kitchen utensils and video—and I don't know, but it sounds very interesting and strange.

I think there could be power tools, maybe

people dressed up like babies," he laughs.

Rounding out the evening's performances will be MZD dancer Eryn Tempest—who's trying something completely different.

"Eryn's going to be going out of her comfort zone a bit, she'll be doing some electronic music," says Pinchbeck. "She's coming over today, and we're going to do some soldering and circuit bending. It's hacking sound toys or radios or whatever electronics you have around to make sound. I haven't done this stuff in ages," he admits, but says it's high time he got back into it.

What else should a Salon be about than dusting off the old circuit bender? V Sat, Jan 29 (8 pm) BUST Part of Mile Zero Dance's Salon Series The Artery (9535 Jasper Ave), $10 – $15

REVUE // THEATRE

Where's your head at?

Michael Hingston // michaelhingston@vueweekly.com

A

zimuth Theatre's Free-Man On The Land opens with The Man Commonly Known As Richard Of The Svoboda Family (we'll call him Richard, or TMCKAROTSF, for short) being taunted, questioned, and generally provoked by two mysterious figures. On the one hand is The Host, a slick, fourth-wall-breaking man in a suit who wants Richard to tell us his life story; on the other is Nobody, a bearded radical with a short fuse who thinks such narratives are a waste of time. Feelings, too. The only thing that matters to him is politics— specifically, the politics of opting out.

Richard (Desmond Parenteau) has decided, apparently, at one point earlier in his

life, that he wants to live life off the grid. If a government is founded on the consent of the governed, he has officially revoked said consent: as such, he doesn't believe in driver's licenses, income tax, or even the fact that his name describes anything beyond an abstract legal construct. By Richard's math, he owes the government almost literally nothing.

But he needs reminding of that fact. And Free-Man, a lively and cerebral look into an onerous topic, is of many minds as to whether Richard should take up the fight again. Both The Host (Steve Pirot, who doubles as Azimuth's co-artistic director and triples as the playwright) and Nobody (Murray Utas) argue in the affirmative.

Their differences are a matter of degree, not kind. Their counterpoint, then, is

Richard's girlfriend (Dale Ladouceur), who wants him to focus on raising their daughter, and freaks out when he refuses to sign her birth certificate on political grounds.

The production makes smart use of the Living Room Playhouse's intimate quarters. A bare-bones set nicely matches the play's constant sense of a fragile reality, able to be reorganized at will, and the live soundtrack—a combination of Ladouceur's nimble playing of a 10string Chapman Stick and the hypnotic bureaucratic rhythms of Pirot relentlessly clicking his pen—gives off a similarly spontaneous vibe.

But the thing I admire the most about Free-Man On The Land is its restraint.

Usually a play about a guy like Richard

// Monika Czuprysnki

Free-Man a cerebral, lively look into an onerous topic

The Free-Man gets questioned

means a play that unquestioningly champions Richard and all that he stands for.

Not so here. Sure, he lands a few blows against the government and its overly systematized ways, but for most of the time he's in control of his memories he's callous, and ideological to a fault. He replaces faith in one system with faith in an equally preposterous one—and this one comes with its costs, too.

Richard's goal is to sever as many strings connecting him to the rest of the world as he can. He thinks it'll make him free. It's worth remembering that love

involves strings, as does family, as does basic human interaction. Freedom can be awfully lonely. V Thu, Jan 27 – Sat, Jan 29 (8 PM) Thu, Feb 3 – Sat, Feb 5 (8 PM) Free-Man On The Land Written by Steve Pirot Directed by Laura Raboud Starring Pirot, Murray Utas, Desmond Parenteau, Dale Ladouceur The Living Room Playhouse (11315 - 106 Ave), Pay What You Can

REVUE // THEATRE

More than kitschy

Mozart balances between fact and fiction Mel Priestley // mel@vueweekly.com

D

on't be fooled by the trappings of stand-up, the inclusion of improv, the frizzy wig—the newest showing from Fringe Theatre Adventures, Mozart: Ze Komplete Hystery, has more to offer than just kitschy comedy.

At only an hour of running time, British comedian Rainer Hersch's take on the life of Mozart seems short—almost too short—for a purported "Komplete Hystery." The show's presentation of history is firmly tongue-incheek—this is a decidedly unconventional re-telling of the life of Mozart, which effectively blows up the entire concept of posthumous history and what happens to a

person's life story after their death.

There are definitely some sobering underpinnings to this show; indeed, any time the concept of history enters a performance it's bound to be more than a mere straightforward recitation of dates (at least I hope so). Mozart follows a non-linear trajectory that's anything but standard but, despite the pseudo-serious premise, it is ultimately a funny show with no shortage of giggle-worthy moments. Hersch performed as a stand-up comedian for years before penning this show and he puts these talents to good use, personalizing each performance by playing off audience input and continually returning to jokes CONTINUED ON PAGE 17 >>

VUEWEEKLY // JAN 27 – FEB 2, 2011

ARTS // 15

REVUE // VISUAL ARTS

Beyond optical

Two intensely physical and cerebral shows at Latitude 53 Carolyn Jervis //Carolynjervis@vueweekly.com

L

atitude 53's current exhibitions are stunning examples of how art can provide a profound and satisfying experience of discomfort, and how beauty is possible in the unnerving.

In the ProjEX Room is Brandon A Dalmer's Too Drunk to Fuck. Dalmer plays upon the human imperative to find pleasure in voyeurism through his series of peep holes, dioramas and prints of mundane and disconcerting neighbourhood life.

Like neighbours who become witnesses to the private lives of the people they share fences and alleys with, visitors to the gallery peer down dark streets, into basements and backyards. This feeling of covert looking, even if it is at centimetretall plastic people and their tiny wooden homes, is seductive, and creates an intense desire to scour each object and scene to seek out the story.

Dalmer bars viewers from the satisfaction of a clear and singular story in any of his works by refusing to give the spectator enough information to create one.

On a wall is a neat assembly of tiny backyard and home dioramas isolated into glass jars and terrariums as if they are samples for scientific study. Cork-topped vials contain trees and lonely figures whose intentions or actions remain unclear. Meanwhile, the careful observation of a tiny house and yard, presented like a collectable figurine (complete with black laquered base) you find a robbery—a stick up—frozen in progress.

A wall of prints features the figures one might think of when singing the childhood song, "Who Are the People in your Neighbourhood": nostalgic images of an elderly woman, a police officer, a little girl. But the comfort of sentimentality is thrown off with the inclusion of a green monster amongst these familiar

16 // ARTS

VUEWEEKLY // JAN 27 – FEB 2, 2011

Sounds you can see images. Dalmer plays with these tensions throughout the exhibition, drawing viewers in through voyeurism and nostalgia, only to present the realization that something sinister is going on beneath the veneer of these clean and tidy neighbourhood scenes.

A friend described her experience of viewing the exhibition in Latitude's main space as similar to being inside a vortex, or as if she had been sucked into some kind of wormhole. Although Gary James Joynes/ Clinker's exhibition, Frequency Painting: 12 Tones does not explicitly have anything to do with outer space or science fiction, it is impossible to avoid feeling like you are having some sort of unearthly experience amidst the all-consuming sound and the graphic shapes on the walls.

To share space with Joynes/Clinker's 12 sound-images is a profound and moving experience. Each image represents a different frequency of sound and what happens visually when fine particulate sand on a flat black surface is exposed to each sound. The photographs capture how each sound frequency forms an elegant and strange arrangement of familiarlooking shapes and patterns. These images are fascinating to think of as snapshots

of sand sculpted by sound. This is where the sense of awe comes in, as you consider that the striking differences in how every sand sculpture was formed is due to a manipulation of hertz. Each image is presented with its inspiring frequency of sound, which in turn fills the space with a loud cacophony of non-musical hums.

Experiencing this exhibition is an exercise in endurance. It is more than just visual or aural presentation. It is a visceral encounter to view beautiful images made through a stunning process, and to do so while the sounds reverberate through your body.

Latitude 53 has made inspired choices for its first shows of 2011—contemporary art that is far more than purely optical.

These exhibitions provide the opportunity for two intense physical and cerebral art viewing experiences, making for a strong set of exhibitions. V Until Sat, Feb 12 Frequency Painting: 12 Tones Works by Gary James Joynes/Clinker Artist Talk: Sat, Feb 5 (2 pm) Too Drunk to Fuck Works by Brandon A Dalmer Latitude 53 (10248 - 106 St)

REVUE // THEATRE

A moral mouthful Predictable plot softens Meat Puppet

Getting into the meaty bits Mel Priestley // mel@vueweekly.com

I

t is not often that one comes out of a play sensing that there was some deep flaw marring the show, yet being unable to pinpoint a single imperfection in any of the show's components. Such is the case with Meat Puppet, a co-production between Shadow Theatre and Northern Light Theatre.

Almost everything about Meat Puppet is rock solid. The acting, in particular stands out for its polished competence: not a single character lags behind any of the others, and each role is made personal and believable—Dateline reporter Chuck Dalmer (John Hudson) is both righteous yet surprisingly timid, his conniving producer Deb (April Banigan) is a vicious, career-hungry shark, Marcia (Sharla Matkin) is at once pityingly wide-eyed and shockingly ignorant, and special props must go to Cody Ray for his superb performance as the troubled, Chris Crockeresque Clay.

The rest of the show's elements were also unblemished: Trevor Schmidt's direction is tight, the set design is interesting and well-planned, and the sound is spot-on.

Indeed, on its surface, Meat Puppet appears to be a pretty flawless play.

Yet there is still something amiss, and it lies within Leif Oleson-Cormack's script, which contains a few critical flaws that hold this play back. The story's concept is intriguing enough—it explores the morally bankrupt world of telejournalism and reality television, specifically the 2006 suicide of Louis Conradt Jr, an assistant district attorney in Rockwell County,

MORE THAN KITSCHY

<< CONTINUED FROM PAGE 15

tossed out at the audience's expense.

Through a somewhat unusual mash-up of classical music, self-deprecating humour and a slideshow featuring a bouncing Jack Russell terrier, Hersch manages to contemporize 200-year-old events and make them relevant and meaningful. Somehow the jokes about YouTube and iPhones are perfectly in place alongside the loosely factual summation of Mozart's life events, and the end result is a picture of Mozart as not some untouchable artistic giant, but rather a flawed, painfully human being.

Hersch could use a bit of work on his affected Austro-German brogue, which was rather muddled with his actual British accent; there were several stumbles

// Ian Jackson, Epic

Texas, who was caught soliciting sex from minors online on the NBC Dateline series To Catch a Predator. Meat Puppet follows the original events fairly closely, adding a few distinct changes to keep it from being a direct re-enactment.

Where the script falls short is in its unfortunately predictable plot—I don't think Clay's revelations are surprising to anyone—and in its hesitation to really move beyond the immediate events and take a firm position on the issue of what it means that our society finds it "hysterical" to watch a pedophile blowing his brains out on national television. There's a sense that the sensationalism of reality television is profoundly wrong, and yet at times Meat Puppet seems to be justifying the complete opposite.

Nonetheless, Meat Puppet is a provocative play and Oleson-Cormack is clearly a gifted playwright. He has a knack for capturing the nuances of casual conversation and is adept at creating multi-layered stories—a glib comment on double and triple entendres in the play's opening lines are brought full circle towards the finale, in which Meat Puppet neatly delivers a scenario rife with troublingly multiple connotations. V Until Sun, Feb 6 (7:30 pm) Meat Puppet Directed by Trevor Schmidt Written by Leif Oleson-Cormack Starring April Banigan, John Hudson, Sharla Matkin, Cody Ray Varscona Theatre, (10329 - 83 Ave), $10 – $26

in which Hersch trailed off into unintelligible mumbling. However, given the colloquial style of the show, these stumbles could be fairly easily overlooked and incorporated into the candid style of the show. There really wasn't much else that really stuck out as an obvious detraction from the show; if anything, it would be the aforementioned brevity of the performance. Though concision may be a virtue of comedy, I doubt anyone in the audience would mind if the humour had been prolonged for a little while longer. V Until Sun, Jan 30 (8 pm) MOZART: ZE KOMPLETE HYSTERY Written & Performed by Rainer Hersch TransAlta Arts Barns, Westbury Theatre, (10330 - 84 Ave), $19 – $23

VUEWEEKLY // JAN 27 – FEB 2, 2011

ARTS // 17

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3 Lines Of Flight: Ogjck Zq M g^ 9 9jl Yf\ <]ka_f klm\]flk3 Jan 30-Feb 5$ Egf%L`m 0Ye%)(he$ >ja 0Ye%.he ʸ

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VUEWEEKLY // JAN 27 â&#x20AC;&#x201C; FEB 2, 2011

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18 // ARTS

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LITERARY

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FILM

It’s like cinema of absence: you really want to see Carr, and you’re watching this film, but you are seeing her in a different way."

Emily Carr: Winds of Heaven / Sun, Jan 30 (5:30 pm) / Bravo TV

PREVUE ONLINE AT VUEWEEKLY.COM

Pink-slip parade The Company Men get downsized Josef Braun // josef@vueweekly.com

B

efore playing key roles in the creation and development of numerous television shows, including China Beach, ER, The West Wing and Third Watch, not to mention stacking up executive producer credits on films such as Far From Heaven and Savage Grace, John Wells worked as a carpenter. "We would be driving to get things from the hardware store," Wells recalls, "and the older guys that I worked with pointed out all the houses they built. They had physical proof of something that they had worked on, something they were proud of." This memory made such an indelible impression on the aspiring writer, producer, director and show runner that when he would eventually find himself helming his first feature the words of those proud journeymen would work their way almost verbatim into the mouth of one of the film's protagonists. When downsized corporate executive Gene McClary speaks plainly about the value of producing useful things for people instead of studying profit margins and protecting share prices, these words simultaneously ring true and feel a little too didactic, though it doesn't hurt that they're spoken by Tommy Lee Jones.

Set in 2008, its story starting just as the first waves of recession pummel

Boston Harbor, The Company Men chronicles the turmoil that accompanies the sudden unemployment of three wealthy employees of GTX, a Boston shipbuilding company. Old buddies with the CEO and in bed (literally) with the head of Human Resources, Gene seems best equipped to weather the storm. Not the case with hotshot Bobby Walker, who gets his walking papers with the first round of job cuts.

Bobby initially assumes he won't have to give up the Porsche or the family vacation, but rejections from every viable corporate employer and unpaid bills gradually accumulate until he's crawling onto his drywall hanger brother-inlaw's jobsite with his tail between his Timberlands. Bobby's played by Ben Affleck, smart casting given that Affleck, unlike say, Tom Cruise, can manage to convey both dumb arrogance and grudging humility. The third character in Wells' central trio however, played by the talented if perhaps too perfectly cast Chris Cooper, makes three too many. Perhaps the victim of the compression demanded by a film as opposed to the expansiveness of episodic TV, Cooper's high-strung Phil Woodward is too easy to peg. He feels more like a statistic than a person. He pretty much has his fate sealed from his first scene, in which he threatens to take an AK-47 to GTX HQ should he lose his job.

Ben Affleck and Tommy Lee Jones get fired

So The Company Men is a bit of a mixed bag, smart and sensitive yet often overstated, sometimes excessively simplistic in its characters yet brimming with a superb ensemble cast, which also includes Rosemary Dewitt, Maria Bello and Kevin Coster as Bobby's unlikely saviour, who's imbued with some lovely nuance but is all too clearly Wells' designated working class voice of wisdom. The film doesn't constitute an investigation of disastrous

economic trends in the manner of Inside Job, but I don't think it's supposed to. It's a tribute to solidarity and true professionalism, things Wells, both a union leader—he's the president of the Writers' Guild of America—and a company man himself, with an office on the Warner Bros lot, clearly feels a strong connection to. "After the panic recedes, there's a universal lesson learned," says Wells. "That lesson involves worrying less about which car we have in the ga-

DVDDETECTIVE Harlan shows Jew Süss' shadow falling over its maker's descendants

Christiane Kubrick in Harlan

only accumulates as it goes.

The Harlan clan forms a diverse and conflicted chorus. On one end of the spectrum we find Harlan's daughter Maria Körber, who says dad had plenty of Jewish friends so surely he had no

Opening Friday The Company Men Written and directed by John Wells Starring Ben Affleck, Tommy Lee Jones, Chris Cooper



JOSEF BRAUN // JOSEF@vueweekly.com

Sins of the father In the years following the Second World War, Veit Harlan, darling of the Third Reich and director and co-writer of the notorious propaganda film Jew Süss (1940), was twice tried for crimes against humanity and twice acquitted.

Felix Moeller's documentary Harlan: In the Shadow of Jew Süss (2009), now available on DVD from Zeitgeist, is thus less concerned with re-opening the case, so to speak, than enriching our understanding of its consequences by attempting to take measure of that titular shadow, which loomed not only over Harlan's life—which came to a quiet end in Italy in 1964—but which still looms over the lives of his many descendents.

Moeller's film is less polemic than family portrait, less investigative report than biographical essay. For the most part its value lies in its narrative density, which

rage and more about how much time we spend with our families and with all those people who are going to support us when we have difficult times." V

anti-Semitic feelings of his own, and who claims that she was forced against her will to cast off her infamous surname when she began her own career in movies—a claim which Moeller situates so as to sound a subtle echo of Harlan's

VUEWEEKLY // JAN 27 – FEB 2, 2011

claim that he was coerced into making Jew Süss, a project "commissioned" by Joseph Goebbels. On the other end we find Harlan's son Thomas Harlan, who seems to have bore the sins of his father most heavily, who became involved in researching Nazi war crimes and in helping to mount socialist revolutions in Chile and elsewhere. Thomas is probably Moeller's single-most fascinating subject, his life seemingly one extended, rather flamboyant reaction against his father's legacy. It's interesting that chief among Thomas' grievances is the fact that Veit Harlan returned to filmmaking after his acquittals rather than assume some other profession, as though resigning from filmmaking could have served as a kind of meaningful penance. Of Harlan's extended family the most notable and articulate testimony comes from his niece Christiane Kubrick, who married the director Stanley Kubrick, who happened to be Jewish and who, sadly, never managed to fulfill his dream of making a film about Harlan and the German film industry under National Socialism.

Chance plays such a haunting role in all this. It suggests that there are two kinds of evil, the kind so potent that it will find an outlet no matter the circumstance and the kind that might never manifest without just the right set of opportunities to prompt it. Harlan's collaboration could be regarded as an evil of the latter category, which makes the fall-out, for all involved, that much more arduous to draw conclusions from. When rigorously following the threads of the Harlans' life stories, Moeller's film is totally captivating.

Moeller only runs into trouble when he seems unable to distinguish which threads are most vital to the core of his project—he spends too much time with some of Harlan's youngest grandchildren, who have little to say, and refers too frequently to scenes from Jew Süss, which, when pried loose from their context can seem misleading. So Harlan is finally a bit overlong and at certain points under-focused, but what's best in it more than justifies the time invested. V

FILM // 19

20 // FILM

VUEWEEKLY // JAN 27 – FEB 2, 2011

The Mechanic

Statham, at full potential

Opening Friday Directed by Simon West Written by Richard Wenk, Lewis John Carlino Starring Jason Statham, Ben Foster

No strings Attached



Now Playing Directed by Ivan Reitman Written by Elizabeth Meriweather, Michael Samonek Starring Natalie Portman, Ashton Kutcher, Kevin Kline

The Mechanic distinguishes itself almost instantly from your run-of-the-mill contemporary hitman-as-antihero actioner by way of its relative efficiency, dearth of annoying cutting frenzies and absence of ostentatious computer-enhanced tomfoolery. Most pleasingly, it also sports a far more interesting soundtrack than is the norm for a Jason Statham vehicle.

Statham's stoic killer, one Arthur Bishop, digs Schubert and high-end hi-fi, lives in quiet seclusion in the everglades and is considering purchasing a nice little yacht.

After he's paid to bump off Harry, his aged mentor—a pleasing cameo from Donald Sutherland in a wheelchair—he attempts penance via playing surrogate big brother and all-round Mister Miyagi to Steve, Sutherland's ne'er-do-well brute of a son, played with remarkable nuance

by Ben Foster, who exercised somewhat similar neuroses as the troubled Iraq vet in last year's intelligent war-at-home drama The Messenger. But Steve's something of a sadomasochist. He gets his kicks from dirty fights and punk-ass recklessness, the antithesis of Bishop's "make it clean" mantra. So, when Bishop starts subcontracting jobs to the kid, of course everything rapidly goes to hell. Meanwhile Steve, ignorant as to who killed dad, starts to

A 110-minute romcom, No Strings Attached is a bit overstuffed but rather remarkably doesn't outstay its welcome. That's because it's mostly overstuffed with some funny/ odd, but never throwaway, lines. And some amusing, nearly quirky, but never tired secondary characters. And, in a flick all about avoiding a serious relationship, a compelling acting-commitment from one of the leads.

Emma (Natalie Portman) and Adam (Ashton Kutcher) got together one night when teens and, years later, hook up again in LA. She's a medical intern looking for some carefree sex-on-demand in-between long hours at the hospital, and he's happy to offer his helping member.

Surprisingly, dick-jokes and guy-talk give way to more thoughtful, unexpected comic touches, especially when Adam shows up to help Emma and her roommates cope with their monthly, synced-up menstrual cycle via cupcakes and a Period Mix-CD (including "Sunday Bloody Sunday" and "I've Got The World On A String"); still, Patrice (Greta Gerwig) moans, "It's like a crime scene in my pants." The only gratuitous nudity, miraculously, is of a guy's ass. And there are some good but sometimes particularly Left Coast one-liners: "The thing about fucking in a Prius is that you don't



wonder why Bishop's being so nice to him all of a sudden.

Statham's so rarely used to full effect. It's refreshing to see him in a picture devoid of splatter, misogyny, sexual assault, inane video game aping and bad comedy. But this remake of the 1972 film of the same name, which starred Charles Bronson— whose career certainly had its limits but could still serve as an instructive model for the Statham—rarely rises above being a classyish regurgitation of well-worn macho clichés, replete with a gold-hearted hooker who serves virtually no purpose. All of which is fine, of course—which is to say easy enough watch flicker across a screen for 92 minutes. The mostly straightforward

direction comes from Simon West who, incidentally, hasn't helmed a feature since Tomb Raider. His handling of a sequence in which a romantic evening out with two tough guys turns into a monster truck rally for humans is bracing enough. The script was co-written by Lewis John Carlino, who wrote the original, but it feels less updated than resuscitated. It does have one great line: "I'm going to a put a price on your head so high," Tony Goldwyn's baddie tells Statham, "every time you look in the mirror you're going to want to shoot yourself in the face." I'm glad Statham doesn't actually shoot his own face, but I kinda wish he'd sever ties with his agent.

Josef Braun

// josef@vueweekly.com

have to feel guilty afterwards."

The infantilism of TV shows (Adam works on a vapid High School Musical-like series) and certain relationships (especially those of the Hefner-Miss December variety) is mocked, though Emma and Adam aren't so adult themselves. The movie's well supported by some nuanced minor characters—especially Adam's father (Kevin Kline), an ex-famous-banal-sitcom-star who's now a bit of a doped-out narcissist, and Adam's too-talkative, slightly scattered, workaholic colleague Lucy (Lake Bell). But there are too many of them in Elizabeth Meriwether's script, which is often sharp but still sometimes feels too busy.

Emma and Adam, meanwhile, in their emotionless relationship, seem fairly uninteresting at first. (Kutcher doesn't help—an early scene, where he discovers his father's betrayal, sees him adopt an expression more appropriate to just realizing he's splashed a little on himself while peeing outside in the breeze.)

It's Portman, more impressive as the movie goes on, who ensures that the couple's story, arcing through the predictable falling-in-love complications, is as amusingly authentic as possible. She's an utterly believable mess as Emma, befuddled ever since anesthetizing her emotional side after her father's death. It's a rare Hollywood romcom that, long after you've watched a couple in bed together, makes you see why someone's still so lovable in another's eyes.

Brian Gibson

// brian@vueweekly.com

Why Has Bodhi-Dharma Left For the East?

Fri, Jan 28 (7 pm) Sat, Jan 29 (9 pm) Sun, Jan 30, Mon, Jan 31 (6:45 pm, 9:15 pm) Directed by Bae Yong-Kyun Starring Myeong-deok Choi, Hae-Jin Huang, Hui-yeong Kim Metro Cinema (9828 - 101A Ave)



Why Has Bodhi-Dharma Left For The East? is billed as a zen moral fable of sorts, and to that effect it's bang on. Bae YongKyun's acclaimed film is something to be meditated on, not so much taken in the moment-to-moment surfaces as pondered in its deeper complexities—though you'll probably do both. For the sheer lack of dialogue, there's a veritable buffet of food for thought, and beautiful, compelling shots in Bodhi-Dharma.

The three main characters form a life-long paradigm of sorts: secluded in a monastery, a dying zen master attempts to turn his approaching funeral rites into a teaching moment for his apprentice, struggling with the worldly life he left behind. The third, an orphaned child has no worldly connections to miss, but finds himself burdened by personal guilt after killing one of two birds with a stone, but leaving the other to watch him from the trees. These explorations of damaged innocence, uncertainty of the path chosen and what one leaves behind when it's their time to die takes just over two hours to complete, totally unhurried,

but rarely does any of it feel wasted or excessive. So much just unfolds on the screen, instead of being narrated, dialogued or discussed. It's beautiful tranquility on screen.

The camera often wanders slowly across the natural sculpted beauty of the landscape in long shots that slowly find their focal points, but always surround it with a heavy margin of scenery. It helps make for a film that's so calm and serene and so confident in its slowness that it pulls you in through simply unfolding at that pace, and its difference from the Western cinema we're much more accustomed to. And as all three draw towards their own conclusions, what's left are the choices they've made and how they carry on, though it doesn't give you much in the way of conclusion. It just points the way to catharsis.

PAUL BLINOV

// PAUL@vueweekly.com

VUEWEEKLY // JAN 27 – FEB 2, 2011

FILM // 21

FILM WEEKLY FRI, JAN 28, 2011 – THU, FEB 3, 2011

s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

THE FIGHTER (14A coarse language, substance abuse) FRI�SAT 7:00, 9:10; SUN�THU 8:00 THE GREEN HORNET (14A violence, coarse language) SUN�WED 8:00

FILM CLUB NIGHT: DAGENHAM (STC) THU, FEB 3: 7:30

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

DHOBI GHAT (Mumbai Diaries) (PG not recommended for young children, coarse language) DAILY 1:20, 3:45, 6:40, 9:15 YAMLA PAGLA DEEWANA (PG violence) DAILY 1:00, 4:30, 8:00

DUE DATE (14A crude content, substance abuse) DAILY 1:50, 4:40, 7:00, 9:40

9:40

RED (14A violence) DAILY 4:05, 6:35, 9:30

YOGI BEAR (G) DAILY 12:50, 3:10

LIFE AS WE KNOW IT (PG language may offend, substance abuse) DAILY 1:50, 7:20

TRON: LEGACY 3D (PG) Digital 3d DAILY 9:10

YOGI BEAR 3D (G) Digital 3d FRI 4:20, 6:30; SAT� SUN 2:00, 4:20, 6:30; MON�THU 4:50

THE SOCIAL NETWORK (PG coarse language,

THE FIGHTER (14A coarse language, substance abuse) DAILY 1:30, 4:10, 7:20, 10:05

MON�THU 7:50

ALPHA AND OMEGA (G) FRI�SUN, TUE, THU

THE KING'S SPEECH (PG language may offend) Digital Cinema DAILY 12:40, 3:40, 6:30, 9:15

substance abuse) DAILY 1:35, 4:10, 7:05, 9:35

1:15; Mon 1:10; WED 1:00

WINTER'S BONE (14A) DAILY 1:40, 3:55, 6:30, 9:00

CINEPLEX ODEON NORTH

14231-137 Ave, 780.732.2236

THE MECHANIC (18A brutal violence) Digital Cinema DAILY 2:00, 5:00, 8:00, 10:30

THE RITE (14A frightening scenes, not recom-

mended for children) No passes passes DAILY 1:50, 4:40, 7:40, 10:20

NO STRINGS ATTACHED (14A sexual content,

substance abuse, not recommended for children) FRI�TUE, THU 1:40, 4:20, 7:15, 10:00; WED 4:20, 7:15, 10:00; Star & Strollers Screening: WED 1:00

THE TOURIST (PG coarse language) DAILY 1:25,

4:30, 8:10, 10:35

DAILY 1:05, 4:00, 7:10, 9:50 4:20, 6:50, 9:20

SEASON OF THE WITCH (14A violence) DAILY COUNTRY STRONG (PG coarse language, sub-

BURLESQUE (PG not recommended for children,

stance abuse) DAILY 6:40, 9:20

FASTER (14A brutal violence) DAILY 4:30, 9:55

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) FRI�TUE, THU 2:10, 4:50, 7:50, 10:10; WED 4:50, 7:50, 10:10; Star & Strollers Screening: WED 1:00

coarse language) DAILY 1:30, 4:05, 6:55, 9:25

MEGAMIND 3D (G) Digital 3d DAILY 1:10, 3:50, 6:45, 9:10

THE GREEN HORNET (14A violence, coarse language) Digital 3D DAILY 6:55, 9:30; SAT�SUN 12:55, 3:30

METRO CINEMA

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) FRI 4:45, 7:20, 9:55; SAT�SUN 2:10, 4:45, 7:20, 9:55; MON�THU 5:40, 8:30

9828-101A Ave, Citadel Theatre, 780.425.9212

EDMONTON TONIGHT (JAN 2011) (Classifica-

THE DILEMMA (PG course language) FRI 4:10, 6:50, 9:30;

HARRY POTTER AND THE DEATHLY HAL� LOWS: PART 1 (PG frightening scenes, violence,

WHY HAS BODHI�DHARMA LEFT FOR THE EAST?: A ZEN FABLE (STC) FRI 7:00; SAT 9:00;

THE GREEN HORNET 3D (14A violence, coarse

not recommended for young children) DAILY 1:10

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

127 HOURS (14A gory scenes, disturbing content)

FRI�SUN 1:10, 3:25, 5:40, 8:00, 10:15; MON�THU 1:30, 4:00, 6:30, 9:00

content, substance abuse) FRI�SAT 12:30, 3:45, 7:00, 10:00; SUN�THU 1:15, 4:15, 7:15, 10:15

tent, not recommended for children) FRI�SAT 12:00, 2:45, 5:15, 8:00, 10:45; SUN�THU 1:55, 4:30, 7:00, 9:25

COUNTRY STRONG (PG coarse language,

substance abuse) FRI�SAT 10:45; SUN�TUE 10:05; WED�THU 10:00

HARRY POTTER AND THE DEATHLY HAL�

LOWS: PART 1 (PG frightening scenes, violence, not recommended for young children) Digital Cinema FRI�SAT 7:00, 10:05; Sun-Thu 7:00, 10:10 LITTLE FOCKERS (PG crude sexual content, not

recommended for young children) FRI�SAT 1:45, 4:00, 6:15, 8:30; SUN 12:45, 3:15, 5:30, 7:45; MON� THU 1:00, 3:15, 5:30, 7:45

NO STRINGS ATTACHED (14A sexual content,

substance abuse, not recommended for children) FRI�SAT 12:45, 3:30, 6:00, 8:25, 10:50; SUN�THU 1:45, 4:15, 7:30, 10:00

TANGLED 3D (G) FRI�SAT 12:15, 2:30, 4:50, 7:10,

9:45; SUN 12:40, 3:20, 5:35, 7:50, 10:05; MON�THU 1:05, 3:20, 5:35, 7:50, 10:05

THE DILEMMA (PG course language) FRI�SAT 12:30, 3:00, 5:45, 8:30, 11:05; SUN 1:25, 4:15, 7:15, 9:50; MON�THU 1:45, 4:15, 7:15, 9:50 THE FIGHTER (14A coarse language, substance

abuse) FRI�SAT 12:40, 3:10, 5:50, 8:35, 11:05; SUN� THU 2:00, 4:45, 7:20, 10:15

THE GREEN HORNET (14A violence, coarse

language) FRI�SAT 12:15, 3:15, 5:45, 8:30, 11:10; SUN� THU 2:00, 4:45, 7:30, 10:15; FRI�SAT 12:55, 4:00, 7:00, 10:00; SUN 12:30, 3:15, 10:00; MON�TUE 1:30, 4:30, 7:15, 10:00; WED�THU 1:15, 4:00, 10:00

THE KING'S SPEECH (PG language may offend) FRI�SAT 1:15, 4:15, 7:15, 10:15; SUN 1:30, 4:30, 7:30, 10:15; MON�THU 1:30, 4:45, 7:45, 10:15 THE MECHANIC (18A brutal violence) Ultraavx

FRI�SAT 12:00, 2:05, 4:15, 6:30, 8:45, 11:00; SUN 12:45, 3:00, 5:30, 7:50, 10:15; MON�THU 1:15, 3:30, 5:45, 8:05, 10:15

THE RITE (14A frightening scenes, not recommended for children) No passes FRI�SAT 12:10, 2:40, 5:10, 8:00, 10:40; SUN�THU 1:00, 4:00, 6:45, 9:45

TRON: LEGACY 3D (PG) FRI�SAT 1:45, 4:45, 7:45,

10:45; SUN�THU 1:00, 3:45, 6:40, 9:30

TRUE GRIT (14A violence) FRI�SAT 12:30, 3:00, 5:45,

8:25, 10:50; SUN�THU 1:45, 4:15, 7:00, 9:30

YOGI BEAR 3D (G) FRI�SUN 12:30, 2:30, 4:30; MON�THU 1:00, 3:00, 5:00 WWE ROYAL RUMBLE � 2011 (Classification not

available) SUN 6:00

CHASING LEGENDS (14A) WED 10:00 NATIONAL THEATRE: KING LEAR (Classification not available) THU 8:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

THE COMPANY MEN (14A coarse language)

Dolby Stereo Digital, Stadium Seating DAILY 12:50, 3:50, 6:50, 9:50

THE RITE (14A frightening scenes, not recommended for children) Dolby Stereo Digital, No passes, Stadium Seating DAILY 12:35, 3:35, 7:10, 10:10 THE MECHANIC (18A brutal violence) Dolby Stereo Digital DAILY 12:20, 2:45, 5:15, 7:45, 10:25 THE GREEN HORNET 3D (14A violence, coarse

language) Digital 3d, Stadium Seating, DTS Digital DAILY 12:40, 3:40, 7:00, 10:00

THE FIGHTER (14A coarse language, substance abuse) DTS Digital, Stadium Seating FRI�WED 12:30, 3:30, 6:45; THU 12:30, 3:30 THE DILEMMA (PG course language) DTS Digital,

Stadium Seating DAILY 9:30

BARNEY'S VERSION (14A coarse language, sexual

content, substance abuse) DTS Digital, Stadium Seating FRI�WED 12:05, 3:10, 6:30, 9:45; THU 12:05, 3:10, 6:30

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) Stadium Seating, DTS Digital DAILY 12:10, 3:05, 7:30, 10:30 TRUE GRIT (14A violence) Stadium Seating, Digital

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

THE KING'S SPEECH (PG language may offend) DTS

Digital, Stadium Seating DAILY 12:00, 3:00, 6:40, 9:40

NATIONAL THEATRE LIVE: KING LEAR (Clas-

sification not available) No passes, Stadium Seating, Exclusive Engagement THU 8:00

22 // FILM

substance abuse, not recommended for children) DAILY 7:00, 9:35; SAT�SUN 1:00, 3:35

TANGLED 3D (G) Digital 3d DAILY 1:20, 4:00, 6:45

THE DILEMMA (PG course language) DAILY 1:15,

3:50, 7:05, 9:50

TRON: LEGACY 3D (PG) Digital 3d FRI�SUN 9:10;

NO STRINGS ATTACHED (14A sexual content,

tion not available–live event) FRI 10:30 CAMPUS ST JEAN FILM FEST: LONDON RIVER (PG) SAT 7:00

BLACK SWAN (14A sexual content, disturbing con-

HOW DO YOU KNOW (PG coarse language)

4211-139 Ave, 780.472.7600

SEASON OF THE WITCH (14A violence) FRI 4:50, 7:30,

THE GREEN HORNET 3D (14A violence, coarse

language) Digital 3d: DAILY 12:45, 3:30, 6:15, 9:00; Ultraavx: DAILY 1:45, 4:45, 7:30, 10:15

CLAREVIEW 10

tent, not recommended for children) DAILY 12:30, 3:20, 6:50, 9:30

BLACK SWAN (14A sexual content, disturbing con-

BARNEY'S VERSION (14A coarse language, sexual

GULLIVER’S TRAVELS 3D (PG) Digital 3d DAILY

1:45, 4:15, 7:30, 9:45

TRUE GRIT (14A violence) DAILY 1:00, 3:45, 7:00,

VUEWEEKLY // JAN 27 – FEB 2, 2011

9:50; SAT�SUN 1:45, 4:50, 7:30, 9:50; MON�THU 5:50, 8:35 SAT�SUN 1:20, 4:10, 6:50, 9:30; MON�THU 5:30, 8:15

language) Digital 3d FRI 3:50, 6:40, 9:25; SAT�SUN 1:00, 3:50, 6:40, 9:25; MON�THU 5:20, 8:10

BLACK SWAN (14A sexual content, disturbing content,

not recommended for children) FRI 4:00, 6:35, 9:20; SAT� SUN 1:15, 4:00, 6:35, 9:20; MON�THU 5:10, 8:05

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) FRI 4:25, 7:10, 9:45; SAT�SUN 1:40, 4:25, 7:10, 9:45; MON�THU 5:25, 8:20

SUN 6:45, 9:15; MON 6:45, 9:15 ==

PARKLAND CINEMA 7

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

THE KING’S SPEECH (PG language may offend)

DAILY 6:45, 9:00; SAT�TUE 12:45, 3:00

THE MECHANIC (18A brutal violence) DAILY 6:55, 9:05; SAT�TUE 12:55, 3:05

THE RITE (14A frightening scenes, not recommended

THE MECHANIC (18A brutal violence) FRI 4:40, 7:15, 9:35;

for children) DAILY 7:05, 9:30; SAT�TUE 1:05, 3:30

THE RITE (14A frightening scenes, not recommended for children) No passes FRI 4:15, 7:00, 9:40; SAT�SUN 1:10, 4:15, 7:00, 9:40; MON�THU 5:00, 8:00

9:20

SAT�SUN 1:30, 4:40, 7:15, 9:35; MON�THU 5:15, 8:25

127 HOURS (14A gory scenes,disturbing content)

Digital FRI 4:30, 6:45, 9:15; SAT�SUN 1:50, 4:30, 6:45, 9:15; MON�THU 5:45, 8:40

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

YOGI BEAR (G) 3D SAT� SUN 1:55 TRUE GRIT (14A violence) DAILY 6:55, 9:15 THE RITE (14A frightening scenes, not recommended for children) DAILY 6:50 9:20; SAT�SUN 1:50 THE MECHANIC (18A brutal violence) DAILY 7:05

THE DILEMMA (PG course language) DAILY 7:10, YOGI BEAR 3D (G) SAT�TUE 1:15, 3:10 THE GREEN HORNET (14A violence, coarse language) DAILY 6:50, 9:25; SAT�TUE 12:50, 3:25

TANGLED (G) SAT�TUE 1:10, 3:20 TRUE GRIT (14A violence) DAILY 7:15, 9:10 NO STRING ATTACHED (14A sexual content, substance abuse, not recommended for children) DAILY 7:00, 9:15; SAT�TUE 1:00, 3:15

PRINCESS 10337-82 Ave, 780.433.0728

SOMEWHERE (STC) DAILY 7:10, 9:10; SAT�SUN 2:00

9:05; SAT�SUN 2:05

127 HOURS (14A gory scenes, disturbing content)

NO STRINGS ATTACHED (14A sexual content, sub-

SCOTIABANK THEATRE WEM

THE GREEN HORNET (14A violence, coarse lan-

THE MECHANIC (18A brutal violence) DAILY 1:50,

stance abuse, not recommended for children) DAILY 7:00, 9:25; SAT�SUN 2:00 guage) DAILY 6:45, 9:10; SAT�SUN 1:45

GALAXY�SHERWOOD PARK 2020 Sherwood Dr, Sherwood Park 780-416-0150

THE MECHANIC (18A brutal violence) Digital

Cinema FRI 4:40, 7:15, 9:50; SAT�SUN 2:00, 4:40, 7:15, 9:50; MON�THU 7:15, 9:50

THE RITE (14A frightening scenes, not recommended for

DAILY 7:00, 9:00; SAT�SUN 2:30

WEM, 8882-170 St, 780.444.2400

4:50, 7:50, 10:30

THE RITE (14A frightening scenes, not recom-

mended for children) Digital Cinema, No passes DAILY 1:30, 4:30, 7:30, 10:20

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) FRI�TUE, THU 1:20, 4:20, 7:20, 10:15; WED 4:20, 7:20, 10:15; Star & Strollers Screening: WED 1:00

children) No passes FRI 4:15, 7:10, 10:00; SAT�SUN 1:35, 4:15, 7:10, 10:00; MON�THU 7:10, 10:00

THE GREEN HORNET 3D (14A violence, coarse

NO STRINGS ATTACHED (14A sexual content,

THE DILEMMA (PG course language) DAILY 1:10,

substance abuse, not recommended for children) FRI 4:20, 7:05, 9:50; SAT�SUN 1:40, 4:20, 7:05, 9:50; MON�THU 7:05, 9:50

THE GREEN HORNET 3D (14A violence, coarse language) Digital 3d FRI 4:05, 7:00, 9:55; Sat-Sun 1:15, 4:05, 7:00, 9:55; MON�THU 7:00, 9:55

THE DILEMMA (PG course language) FRI 4:30,

7:20, 10:05; SAT�SUN 1:30, 4:30, 7:20, 10:05; MON� THU 7:20, 10:05

LITTLE FOCKERS (PG crude sexual content, not recommended for young children) Digital Cinema DAILY 9:20

TRUE GRIT (14A violence) FRI 4:35, 7:25, 10:10; SAT�SUN 1:55, 4:35, 7:25, 10:10; MON�THU 7:25, 10:10

YOGI BEAR 3D (G) Digital 3d FRI 4:25, 7:00; SAT�

SUN 1:50, 4:25, 7:00; MON�THU 7:00

THE FIGHTER (14A coarse language, substance

language) Digital 3d DAILY 1:15, 4:15, 7:15, 10:15

4:10, 7:10, 10:10

SEASON OF THE WITCH (14A violence) FRI�SAT, MON�WED 2:00, 5:00, 8:00, 10:30; SUN 12:30, 2:45, 10:30; THU 2:00, 5:00 BLUE VALENTINE (18A sexual content) Digital Cinema DAILY 12:40, 3:40, 6:40, 9:40

LITTLE FOCKERS (PG crude sexual content, not

recommended for young children) DAILY 9:10

TRUE GRIT (14A violence) FRI�TUE, THU 12:50, 3:50, 6:50, 9:50; WED 3:50, 6:50, 9:50; Star & Strollers Screening: WED 1:00 THE FIGHTER (14A coarse language, substance abuse) DAILY 1:40, 4:40, 7:40, 10:30 TRON: LEGACY: An Imax 3d Experience (PG) DAILY 1:00, 4:00, 7:00, 10:00

abuse) FRI 4:05, 6:50, 9:45; SAT�SUN 1:20, 4:05, 6:50, 9:45; MON�THU 6:50, 9:45

THE KING'S SPEECH (PG language may offend)

THE KING'S SPEECH (PG language may offend)

BLACK SWAN (14A sexual content, disturbing con-

BLACK SWAN (14A sexual content, disturbing content,

TANGLED (G) DAILY 12:45, 3:45, 6:45

FRI 4:00, 6:45, 9:35; SAT�SUN 1:05, 4:00, 6:45, 9:35; MON�THU 6:45, 9:35 not recommended for children) FRI 4:10, 6:55, 9:40; SAT� SUN 1:25, 4:10, 6:55, 9:40; MON�THU 6:55, 9:40

GARNEAU

8712-109 St, 780.433.0728

BLACK SWAN (14A sexual content, disturbing content,

not recommended for children) DAILY 6:50, 9:10; SAT�SUN 2:00

GRANDIN THEATRE�ST ALBERT

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

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) DAILY 1:20, 3:20, 5:20, 7:20, 9:20

TANGLED (G) DAILY 1:05, 4:55 YOGI BEAR (G) DAILY 3:00 THE DILEMMA (PG course language) DAILY 7:10 TRUE GRIT (14A violence) DAILY 9:15 THE KING’S SPEECH (PG language may offend)

DAILY 1:30, 4:15, 6:55, 9:10

THE RITE (14A frightening scenes, not recommended for children) No passes DAILY 12:40, 2:50, 4:55, 7:05, 9:15 THE GREEN HORNET (14A violence, coarse language) DAILY 1:45, 4:20, 7:00, 9:10

LEDUC CINEMAS Leduc, 780.352.3922

Digital Cinema DAILY 12:30, 3:30, 6:30, 9:30

tent, not recommended for children) DAILY 12:30, 3:20, 6:30, 9:20

WWE ROYAL RUMBLE�2011 (Classification not available) SUN 6:00

NATIONAL THEATRE: KING LEAR (Classification not available) THU 8:00

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

THE KING'S SPEECH (PG language may offend) Dolby Stereo Digital FRI 6:45, 9:30; SAT�SUN 3:35, 6:45, 9:30; MON�THU 5:20, 8:20 BARNEY'S VERSION (14A coarse language, sexual

content, substance abuse) Dolby Stereo Digital FRI 6:30, 9:40; SAT�SUN 3:20, 6:30, 9:40; MON�THU 5:00, 8:10

BLACK SWAN (14A sexual content, disturbing content, not recommended for children) DTS Digital FRI 7:15, 10:00; SAT�SUN 3:50, 7:15, 10:00; MON� THU 5:30, 8:30 THE GREEN HORNET (14A violence, coarse language) DTS Digital FRI 7:00, 9:50; SAT�SUN 4:00, 7:00, 9:50; MON�THU 5:10, 8:00

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) DAILY 7:00, 9:35; SAT�SUN 1:00, 3:35

THE GREEN HORNET (14A violence, coarse lan-

guage) Digital 3d SAT�SUN 12:55, 3:30; DAILY 6:55, 9:30

THE MECHANIC (18A brutal violence) DAILY 7:10,

THE MECHANIC (18A brutal violence) DAILY 7:10,

THE RITE (14A frightening scenes, not recommended for

THE RITE (14A frightening scenes, not recommended

9:25; SAT�SUN 1:10, 3:25

children) DAILY 7:05, 9:40; SAT�SUN 1:05, 3:40

9:25; SAT�SUN 1:10, 3:25

for children) DAILY 7:05, 9:40; SAT�SUN 1:05, 3:40

MUSIC

ON THE RECORD Leeroy Stagger

eden munro // eden@vueweekly.com

Little Victories (Rebeltone)

Contemplating Little Victories

process was probably a year. The songs were a collection of stuff written after Everything is Real, but a majority of the songs that made the record were written two months before we hit record.

Leeroy Stagger has long been the sort of songwriter to lay his soul bare, documenting the hard times along with the smooth. Along the way, Stagger's sometimes been pegged as coming at music with an alt-country bent, but that claim might be made more because of the confessional lyrics then any over-arching sound. Sure, a childhood of country songs makes itself known at times, but so does a youth spent playing punk rock, and Stagger is just as likely to sing a lonely tune over a back-porch strum as he is to drop into a Beatles-like pop melody or a bit of tough rock 'n' roll. The songwriter's latest album, Little Victories, follows up the sparse, vocal-guitar-andharmonica sound of Solo Acoustic, Vol 1 with a full-band effort. Stagger spoke to Vue Weekly recently about the creation of his new record.

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

LEEROY STAGGER: I think the whole

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

LS: I’ll come up with a title or an idea for a chorus, put it on the page and either bang it off right away or go back to it from time to time until it's done.

Usually I’ll have a chord progression happening at the same time the lyrics are coming out.

VW: Did you take the songs to the band fully formed?

LS: Me and Kevin (Kane, guitarist and producer) arranged the songs and cut our tracks before the band came in.

VW: What were the recording sessions like for this album?

LS: The sessions were wonderful—very stress free. I hate to admit it, but the band was actually never all together at one point throughout the record. That’s probably why it went so smooth! Scheduling was the biggest challenge and that kept us from recording live off the floor.

It worked well though.

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

LS: Yeah for sure, I think there usually are. Good songs, but time limitations didn’t allow for them to be recorded.

VW: How did you decide which songs to

include on the album? Did you have an idea of what you wanted Little Victories to be when you started, or did the finished shape emerge as the writing and recording went along?

LS: I actually wanted it to be more of an acoustic-based album, but making records for me is kind of like making a baby: you don’t know what it's going to look like or if it's going be beautiful until it's made. After the album was done I noticed there was a theme of love running throughout it.

VW: You co-produced this album with Kevin Kane. What did he bring to the recording process that made it different than if you’d done it on your own?

LS: Kevin is very versed in classic rock, and he brought that vibe to the sounds of the guitars and the arrangements.

He was huge in helping me arrange the songs and picking the best verses. He has his own style of guitar playing throughout the whole album.

VW: If you were to trace the musical map that led you to Little Victories, what would it look like?

LS: Like most of my records, it's really just a roadmap of my life at that moment in time. I love a lot of different types of music, and I don’t ever want to define my sound through a genre. I just love making music! V Fri, Jan 28 (8 pm) Leeroy Stagger With Stone Iris, MAtthew Robinson Haven Social Club, $15

VUEWEEKLY // JAN 27 – FEB 2, 2011

MUSIC // 23

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

THU JAN 27 ACCENT EUROPEAN LOUNGE Samara Von Rad (folk/rock), Darryl Matthews (folk/blues); 9:30pm-11:30pm; no minors; no cover AXIS CAFÉ Closing Party featuring Lisa Nicole Grace (folk/pop), Brent Schaitel; 8pm BLUE CHAIR CAFÉ Jazz Thu Nite: Cramer Brothers, Thom Golub; 8pm; $8/$5 (student); last set free

stage; every Thu, 9pm; no cover

NEST�NAIT Indie Night: Brasstronauts; 4:30pm NORTH GLENORA HALL Jam

by Wild Rose Old Time Fiddlers RIC’S GRILL Peter Belec (jazz); every Thu; 7-10pm SECOND CUP�Varscona Live music every Thu night; 7-9pm WILD BILL’S�Red Deer Doug and the Slugs with Ted Okos; 7-10pm; $20 (adv)/$25 (day of )

FILTHY MCNASTY’S Punk Rock Bingo with DJ S.W.A.G.

EMPIRE BALLROOM tyDI and W+W

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

FESTIVAL PLACE William Joseph (pop/rock); 7:30pm; $40 (table)/$36 (box)/$32 (theatre) at Festival Place box office, TicketMaster

HALO Thu Fo Sho: with Allout DJs DJ Degree, Junior Brown KAS BAR Urban House: with DJ Mark Stevens; 9pm LUCKY 13 Sin Thu with DJ Mike Tomas ON THE ROCKS Salsaholic Thu: Dance lessons at 8pm; Salsa DJ to follow RENDEZVOUS Metal night every Thu SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thu; no cover TAPHOUSE�St Albert Eclectic mix with DJ Dusty Grooves every Thu

GLENORA BISTRO Breezy Brian Gregg; 8-10pm; $10 HAVEN SOCIAL CLUB CKUA Presents: Leeroy Stagger, Stone Iris, Matthew Robinson; 8pm; $15 (adv at YEG Live) IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JEFFREY'S CAFÉ Anna Beaumont (jazz); $15 JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/rock); 9pm; no cover JULIAN'S�Chateau Louis Dennis Begoray (jazz piano); 8pm LIZARD LOUNGE Rock 'n' roll open mic; every Fri, 8:30pm ; no cover

WILD WEST SALOON Shannon Smith

FRI JAN 28

WUNDERBAR Shotgun Jimmie, Jay Baird, Forest Tate, The Mitts and Service: Fair; 8:30pm-2am

BLACKJACK'S ROADHOUSE Friday night got the Blues: Alberio Playboys, Mike Chenoweth (blues); 8:30pm; no cover

MEAD HALL Whitemud, Ministry of Zen, Rock Drive; 8pm-2am

BERNARD SNELL AUDITORIUM FOYER Hear’s to your Health: Andrew Wan violin), Jacques Despres (piano); 5pm; free

BLUE CHAIR CAFÉ Ersatz House Band with Harold, Pete, Barry, Lloyd, and guests; 8pm; $10

PAWN SHOP Sonic Band of the Month

DV8 Open mic Thu hosted

by Cameron Penner and/or Rebecca Jane

DJs

FESTIVAL PLACE Kiran Ahluwalia, Rhythm of Rajasthan (world); 7:30pm; $36 (Table)/$34 (Box)/$30 (Theatre) at Festival Place box office, TicketMaster

BILLY BOB’S LOUNGE Escapack Entertainment

BOHEMIA Metropolis is Burning, On Your Mark, Kay There House Builder (indie punk); all ages; 7pm; $5 (door)

STARLITE ROOM Cancer Bats, Devildriver, Baptized in Blood; no minors; 8pm (door); $25 at TicketMaster. Blackbyrd, Unionevents.com

BRIXX BAR Early show: No Witness, Warning to Avoid

STEEPS�Old Glenora Live Music Fri

CARROT Live music Fri: all ages; Daniel Doerksen; 7pm; $5 (door)

STENCIL HALL�Taylor College Northern Bluegrass Circle Music Society: Chris Jones and the Night Drivers, The Kayla and Erin Show; 7:30pm (door), 8pm (show); $20 (NBCMS member)/$25 (non-member) at TIX on the Square

BLUES ON WHYTE Michael Charles CAFÉ HAVEN Jordan Blackburn; 7pm CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm THE DOCKS Thu night rock and metal jam DRUID IRISH PUB DJ every Thu at 9pm

HAVEN SOCIAL CLUB Brasstronaut, Aidan Knight, Sister Gray; 8pm; $10 (adv at YEG Live)/$12 (door) HYDEAWAY All ages open stage jam; 7pm; no cover J AND R Open jam rock ',n' roll; every Thu; 9pm JAMMERS PUB Thu open jam; 7-11pm JEFFREY'S CAFÉ Lora Jol (pop/ rock singer/songwriter); $10 JULIAN'S�Chateau Louis Graham Lawrence (jazz piano); 8pm L.B.'S PUB Thu open jam with Kenny Skoreyko, Fred Larose and Gordy Mathews (Shaved Posse); 9pm-1am MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm NAKED CYBER CAFÉ Open

Classical

180 DEGREES DJ every Thu

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 Thu Men’s Wet Underwear Contest with DJ Phon3 Hom3; 9pm (door); no cover before 10pm CENTURY ROOM Underground House every Thu with DJ Nic-E CHROME LOUNGE Every Thu: 123 Ko THE COMMON So Necessary Thu: Hip hop, classic hip hop, funk, soul, r&b, '80s, oldies and everything in between with Sonny Grimezz, Shortround, Twist DRUID IRISH PUB DJ every Thu at 9pm

BLUES ON WHYTE Michael Charles

CASINO EDMONTON L.A. Express (pop/rock) CASINO YELLOWHEAD Al Barrett (classic rock) CENTURY CASINO Doug and the Slugs; 7pm; $29.95 at TicketMaster COAST TO COAST Open Stage every Fri; 9:30pm THE COMMON Boom The Box presents Kenzie Clarke; 9pm-2:30am LA CREMA CAFFE Kyler Schogen; 8pm DV8 The Hand that cradles the rock: N.N., Zero Cool, The Swamp Masters; 9pm-2am; no cover

ELECTRIC RODEO�Spruce Grove DJ every Thu

EDMONTON EVENT CENTRE Moguai, Glenn Morrison, Marcel Woods (dance/electronic); no minors; 9pm (door)

COMMON LOUNGE 10124-124 St CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 LA CREMA CAFFE St Albert CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704.

CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 THE DOCKS 13710 66 St, 780.476.3625 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St, 780.760.0077, DV8TAVERN.com EARLY STAGE SALOON 4911-52 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ELEPHANT AND CASTLE�Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 FESTIVAL PLACE 100 Festival Way, Sherwood Park, 780.449.3378 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676

GAS PUMP 10166-114 St, 780.488.4841 GLENORA BISTRO 10139-124 St 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 HILLTOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.452.7110 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 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 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 MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont, 780.929.2203 MORANGO’S TEK CAFÉ 10118-79 St NAKED CYBERCAFÉ 10354 Jasper Ave NEST NAIT Main Campus,

ON THE ROCKS Huge Fakers

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

TOUCH OF CLASS�Chateau Louis Brian Maxwell (pop/rock); 8:30pm WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Shannon Smith WOK BOX Fri with Breezy Brian Gregg; 3:30-5:30pm YARDBIRD SUITE Cross Border Jazz: Joe Magnarelli, Gary Smulyan Quintet; 8pm (door), 9pm (show); $20 (member)/$24 (guest) at Ticketmaster.ca

Classical WINSPEAR LOBBY SPACES

Flavours of BC's Naramata: Sandro Dominelli performing smooth jazz with Edmonton Symphony Orchestra; wine tasting and auction fundraiser

DJs 180 DEGREES Friday night DJ AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison BAR�B�BAR DJ James; no cover BAR WILD Bar Wild Fri BLACK DOG FREEHOUSE Fri DJs spin Wooftop and Main Floor: Eclectic jams with Nevine–indie, soul, motown, new wave, electro; Underdog: Perverted Fri: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead BRIXX BAR No Witness and Warning to Avoid Early Show BUDDY’S Fri: DJ Arrow Chaser; 8pm (door); no cover before 10pm CENTURY ROOM Underground House every Fri with DJ Nic-E CHROME LOUNGE Platinum VIP Fri THE COMMON Boom The Box Fri: nu disco, hip hop, indie, electro, dance with weekly local and visiting DJs on rotation plus residents Echo and Shortround THE DRUID IRISH PUB DJ every Fri at 9pm EDMONTON EVENT CENTRE Moguai , Glenn Morrison, Marcel Woods; tickets at Foosh (Whyte), Rain Salon (WEM), Shadified Salon (Northgate), Ticketmaster.ca ELECTRIC RODEO�Spruce Grove DJ every Fri EMPIRE BALLROOM Rock, hip hop, house, mash up; no minors tyDI & W+W 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 JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm LEVEL 2 LOUNGE Formula Fridays: HUFM Monthly with Marzetti; 12-3am NEWCASTLE PUB Fri House, dance mix with DJ Donovan REDNEX�Morinville DJ Gravy from the Source 98.5 SPORTSWORLD Roller Skating

VENUE GUIDE 180 DEGREES 10730-107 Ave, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 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 BERNARD SNELL AUDITORIUM FOYER 1st Fl, Walter Mackenzie Health Sciences Centre, 112 St entrance BILLIARD CLUB 10505 Whyte Ave, 780.432.0335 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 1042582 Ave, 780.439.1082 BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUE PEAR RESTAURANT 10643123 St, 780.482.7178 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St 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 CENTURY GRILL 3975 Calgary Tr NW, 780.431.0303 CHATEAU LOUIS 11727 Kingsway, 780 452 7770 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675

24 // MUSIC

VUEWEEKLY // JAN 27 – FEB 2, 2011

11762-106 St NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY LEGION 8130 Gateway Boulevard (Red Door) NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORTH GLENORA HALL 13535109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 OLD STRATHCONA PERFORMING ARTS CENTRE 8426 Gateway Blvd 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 PLEASANTVIEW COMMUNITY HALL 10860-57 Ave REDNEX BAR�Morinville 10413100 Ave, Morinville, 780.939.6955 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 R PUB 16753-100 St , 780.457.1266 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St ROYAL ALBERTA MUSEUM THEATRE 12845-102 Ave 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 SECOND CUP� ʸ 4005 Cloverbar Rd, Sherwood Park, 780.988.1929 ʸ Summerwood Summerwood Centre, 780.988.1929 SIDELINERS PUB 11018-127 St, 780.453.6006 SNEAKY PETE'S 12315-118 Ave 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 STENCIL HALL–Taylor College 11525-23 Ave STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 TREASURY 10004 Jasper Ave, 7870.990.1255, thetreasurey.ca UNCLE GLENNS 7666-156 St, 780.481.3192 WHISTLESTOP LOUNGE 12416132 Ave, 780. 451.5506 WILD BILL’S�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer, 403.343.8800 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

Disco Fri Nights; 7-10:30pm; sports-world.ca

TEMPLE Options with Greg Gory and Eddie Lunchpail TREASURY In Style Fri: DJ Tyco and Ernest Ledi; no line no cover for ladies all night long Y AFTERHOURS Foundation Fri

SAT JAN 29

Mikey Da Roza, Nestor Delano, Viet, All out Djs, Junior Brown, Axe and Smash; 3pm (door); tickets at Foosh, Blackbyrd (Whyte), Shadified Salon & Spa, Restricted Elite (Kingsway), ticketmaster.ca

O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm ON THE ROCKS Huge Fakers PAWN SHOP Jezibelle (CD release)

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

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm2am

ARTERY Bust! MZD Salon; 8pm

RUSTY REED'S HOUSE OF BLUES Sat jam; 3-6pm

AVENUE THEATRE MVCP (CD release), Deadbeat, guests; all ages; 6:30pm (door); $10 BLACK DOG FREEHOUSE Hair of the Dog: Rob Taylor (live acoustic music every Sat); 4-6pm; no cover BLACKJACK'S ROADHOUSE�Nisku The Wiremen; 8:30pm; no cover BLUE CHAIR CAFÉ Kris Demeanor and his Crack Band; 8pm; $15 BLUES ON WHYTE Michael Charles BOHEMIA art+muzak: it's effin cold edition; no minors;9pm; free (member)/$3 memberships available with foodbank donation BRIXX BAR First Aid Kit, Tree Burning, Flint CARROT Open mic Sat; 7:3010pm; free CASINO EDMONTON L.A. Express (pop/rock) CASINO YELLOWHEAD Al Barrett (classic rock) COAST TO COAST Live bands every Sat; 9:30pm THE COMMON The Good Life Presents: Andy Pockett and Chester Fields; 9pm-2am CROWN PUB Acoustic blues open stage with Marshall Lawrence; every Sat; no cover DV8 The Hand that cradles the rock: Xplosination, Left Nutt, Micelli, Van Gohst; 9pm2am; $8 EARLY STAGE SALOON� Stony Plain The Marv Machura Band, Gord Matthews; 8:30pm EDDIE SHORTS Saucy Wenches every Sat FESTIVAL PLACE Songs Are Like Tattoos: A Tribute to Joni Mitchell Mia Sheard, Kevin Fox, David Matheson, and Lori Cullen; 7:30pm; $32 (Table)/$30 (Box)/$28 (Theatre) at Festival Place box office, Ticketmaster.

FILTHY MCNASTY'S The J.A.M.S.; 4-6pm; free GAS PUMP Blues jam/ open stage every Sat 3-6pm, backline provided HAVEN SOCIAL CLUB Jordan Norman (CD release party), Christian Hansen; 8pm; $10 (adv)/$20 (adv, incl CD)/$13 (door); adv tickets at YEG Live HILLTOP PUB Open stage/ mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm HOOLIGANZ Live music every Sat 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 Roland Majeau (singer/songwriter); $15 JULIAN'S�Chateau Louis Greg (Andres) Zawaski ( jazz piano); 8pm MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm NORTHLANDS EXPO CENTRE Freezing Man Festival: Chromeo, Stars, Broken Social Scene, Kaskade, K-Os, Dragonette, Shout Out Out Out Out, Dusty Grooves,

STARLITE ROOM Bass Face 2011: Nero, Mimosa, Knight Riderz, Sub Swara TOUCH OF CLASS�Chateau Louis Brian Maxwell (pop/ rock); 8:30pm UNION HALL Shawn Desman WILD WEST SALOON Shannon Smith YARDBIRD SUITE Cross Border Jazz: Joe Magnarelli Quartet (tribute to Clifford Brown); 8pm (door), 9pm (show); $18 (member)/$22 (guest) at Ticketmaster.ca

Classical CONVOCATION HALL Edmonton Chamber Music Society: Tafelmusik Baroque Orchestra; 8pm; sold out OLD STRATHCONA PERFORMING ARTS CENTRE Cosmopolitan Music Society: Cosmo Luau: A Luau dinner, dancing and frivolity; 6-11:45pm; E: generalmanager@ cosmopolitanmusic.org WINSPEAR CENTRE Flavours of BC's Naramata Bench wine tasting and auction in support of the Edmonton Symphony Orchestra and Winspear Centre in the Lobby Spaces; 7pm

every Sat

Y AFTERHOURS Release Sat

SUN JAN 30 ARTERY Tequila Mockingbird Orchestra, Low Flying Planes, Miss Quincy; no minors; 8pm (door), 9pm (show); $10 (door) BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm

DRUID IRISH PUB Sat DJ at 9pm ELECTRIC RODEO�Spruce Grove DJ every Sat EMPIRE BALLROOM Rock, hip hop, house, mash up HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm LEVEL 2 LOUNGE Kinetic Saturdays: Celebrates The First Anniversary; 9:30pm-2:30am NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri NEW CITY LEGION Black Polished Chrome Sat: with DJs Blue Jay, The Gothfather, Dervish, Anonymouse; no minors; free (5-8pm)/$5 (ladies)/$8 (gents after 8pm) PALACE CASINO Show Lounge Sat night DJ PAWN SHOP SONiC Presents Live On Site! Anti-Club Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door) RED STAR Sat indie rock, hip hop, and electro with DJ Hot Philly and guests SPORTSWORLD Roller Skating Disco Sat; 1pm-4:30pm and 7-10:30pm TEMPLE Oh Snap! Oh Snap with Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop and P-Rex;

PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm

SHAW CONFERENCE HALL Building 429, 33 Miles, Pocket Full of Rocks

BLUE PEAR RESTAURANT Jazz on the Side Sun: Don Berner; 6-9pm; $25 if not dining

Classical

BLUES ON WHYTE Off Whyte Blues Band B�STREET BAR Acousticbased open stage hosted

by Mike "Shufflehound" Chenoweth; every Sun evening CROWN PUB Jam hosted by JTB every Sun until Feb 20 DEVANEY’S IRISH PUB Celtic open stage: with Keri-Lynne Zwicker; every Sun, 5:30pm; no cover DOUBLE D'S Open jam every Sun; 3-8pm EDDIE SHORTS Acoustic Sun jam; every Sun, 9pm EXPRESSIONZ CAFÉ YEG live Sun Night Songwriters Stage; 7-10pm HYDEAWAY New Sun Open stage jam 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; every Sun, 3-6:30pm

ON THE ROCKS Seven Strings Sun: Jordan Jones and Russell Dawson

CENTURY ROOM Underground House every Sat with DJ Nic-E

PAWN SHOP The Mae Shi; 9pm

BLUE CHAIR CAFÉ Sun Brunch: Jim Findlay Trio; 10am-2:30pm; donations

180 DEGREES Street VIBS Sat: Reggae night every Sat

BLACK DOG FREEHOUSE Sat DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered

DEVANEY'S IRISH PUB Singer songwriter open stage every Mon; 8pm

ROSE BOWL/ROUGE LOUNGE Acoustic open stage every Mon; 9pm

O’BYRNE’S Open mic; every Sun, 9:30pm-1am

BANK ULTRA LOUNGE Sold Out Sat: with DJ Russell James, Mike Tomas; 8pm (door); no line, no cover for ladies before 11pm

BLUES ON WHYTE Donald Ray Johnson

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

DJs AZUCAR PICANTE Every Sat: DJ Touch It, hosted by DJ Papi

Sleeman Mon: live music monthly; no cover

ORLANDO'S 2 PUB Open stage jam; every Sun, 4pm ROYAL ALBERTA MUSEUM THEATRE Ann Vriend with her full 7 piece band (CD release of Love and Other Messes); premiere of the Edmonton-made and directed video; 7pm; $20 at TIX on the Square

WINSPEAR CENTRE ESO/ Winspear Overture: free, onehour information session and backstage tour; 12-1pm

DJs BAR WILD Bar Gone Wild Mon: Service Industry Night; no minors; 9pm-2am BLACK DOG FREEHOUSE Blue Jay's Messy nest Mon: with DJ Blue Jay 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 LEGION Madhouse Mon: Punk/metal/etc with DJ Smart Alex

TUE FEB 1 BLUES ON WHYTE Donald Ray Johnson BRIXX BAR Troubadour Tue: with Colin Close and Lando Kalbreez. Host Mark Feduk; 8pm DRUID IRISH PUB Open stage with Chris Wynters; every Tue, 9pm; Feb 1: with guest Queen Anne's Revenge DV8 Creepy Tombsdays kickoff party; 9pm-12 L.B.’S Tue Blues Jam with Ammar; 9pm-1am NEW CITY LEGION Bingo vs karaoke presented by the High Anxiety Variety Society, hosted

by Ben Disaster and Dildozer O’BYRNE’S Celtic jam with Shannon Johnson and friends every Tue, 9:30pm

ROYAL COACH�Chateau Louis Petro Polujin (classical guitar); 5pm

PADMANADI Tue open stage with Mark Davis; all ages; 7:3010:30pm

ROYAL ALBERTA MUSEUM THEATRE Ann Vriend (CD release); 7pm; $20 at TIX on the Square

R PUB Open stage jam hosted

by Gary and the Facemakers; every Tue, 8pm

SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm WUNDERBAR Songwriter Sunday Part 3: Natacha Homerodean, Ian McIntosh, guests; 7:30-11pm YARDBIRD SUITE Foothills Brass: The Jensen Project; 8-10pm; $18 (door)

Classical WINSPEAR Grieg's Piano Concerto: Edmonton Symphony Orchestra, Gilles Vonsattel (piano), William Eddins, Scott Whetham (tuba); 2pm; $20-$65 at Winspear Centre box office

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 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

RUSTY REED'S HOUSE OF BLUES Open Stage with Moses Gregg and Grant Stovel SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm SECOND CUP�Summerwood Open stage/open mic Tue; 7:30pm; no cover SIDELINERS PUB Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE Open stage hosted by Paul McGowan; every Tue, 9pm STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm SUB STAGE�Students’ Union Building Soaring Sounds; 121pm; part of International Week YARDBIRD SUITE Tue Night Sessions: Dan Skakun Quartet; 7:30p (door)/8pm (show); $5 (member)/$5 (guest); one set performance followed by an open jam session

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

MON JAN 31

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

BLACK DOG FREEHOUSE

CROWN PUB Underground

At The Crown: underground, hip hop with DJ Dirty Needlz; open mic; every Tue; 10pm; $3

DV8 Creepy Tombsdays kickoff party: Psychobilly, Hallowe'en Oldies, Deathrock, Horrorpunk, more with Abigail Asphyxia, Master Cadaver; no minors; 9pm12am; no cover WUNDERBAR HOFBRAUHAUS Stuesdays: Every Tue Wunderbar's only regular DJ night

WED FEB 2 BILLIARD CLUB Big Rockin' Wed with live music by "Erin Faught"; 10pm BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed BLUE CHAIR CAFÉ Lester Quitzau; $15 BLUES ON WHYTE Donald Ray Johnson CENTURY GRILL Century Room Wed Live: featuring The Marco Claveria Project every Wed; 8-11pm CROWN PUB Wed Jam/open stage; 8pm EDDIE SHORTS Acoustic jam; every Wed, 9pm; no cover ELEPHANT AND CASTLE� Whyte Ave Open mic every Wed (unless there's an Oilers game); no cover EXPRESSIONZ CAFÉ Wed Open stage; 7-11pm; admission by donation FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12 GOOD EARTH COFFEE HOUSE Wed with Breezy Brian Gregg; 12-1pm HAVEN SOCIAL Open stage with Jonny Mac, every Wed, 8:30pm, free HOOLIGANZ Open stage Wed: with host Cody Nouta; 9pm NISKU INN Troubadours and Tales, Tim Harwill, guests; 1st Wed every month; 8-10pm PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (non-member) 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 Gordie Matthews, guests SECOND CUP�Mountain Equipment Open Mic every Wed; 8-10pm STEEPS TEA LOUNGE� College Plaza Open mic: with Layne L'Heureux every Wed, 8pm WUNDERBAR HOFBRAUHAUS Open mic every Wed, 9pm

DJs BANK ULTRA LOUNGE Rev'd Up Wed: with DJ Mike Tomas upstairs; 8pm 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: DJ Degree, friends; every Wed music starts at 6pm; $5 IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set NEW CITY LEGION Wed Pints 4 Punks with DJ Nick NIKKI DIAMONDS Punk and ‘80s metal every Wed STARLITE ROOM/TEMPLE Wild Style Wed: Hip-Hop; 9pm TEMPLE Wild Style Wed: Hip hop open mic hosted by Kaz and Orv; $5 Y AFTERHOURS Y Not Wed

VUEWEEKLY // JAN 27 – FEB 2, 2011

MUSIC // 25

MUSICNOTES

bryan birtles // bryan@vueweekly.com

PREVUE

Fri, Jan 28 (8 pm) Baptized in Blood With Cancer Bats, Devildriver Starlite Room, $25

Chris Jones & the Night Drivers / Fri, Jan 28 (7:30 pm) Chris Jones' backing band the Night Drivers better be putting some winter tires on whatever it is the band is travelling here in or else things could get ugly—this is, after all, the worst time of year to be driving at night. Once the band does get here—Jones has apparently urged all the members to buy long johns, something that has proven difficult in the group's hometown of Nashville—Edmontonians will be treated to a fine set by the bluegrass singer and radio personality.

(Taylor College and Seminary, $22 – $27) Moguai / Fri, Jan 28 (9 pm) One of only five dates on German DJ Moguai's North American tour, Edmontonians can count themselves lucky to be among the few on this continent that will have the opportunity to party at the rising electronic music star's show this time around. (Edmonton Event Centre, $23.25) The Tequila Mockingbird Orchestra / Sun, Jan 30 When Harper Lee published To Kill a Mockingbird in 1960, she likely didn't know that its title would be lampooned by everyone from Victoria-based "gypsy-ska-roots-grass" bands to drag queens. Still, she's yet to publish a followup in 50 years, so maybe she just figures the left coasters and drag divas are doing such a hell of a job, she'll just let 'em run with it. (The Artery, $10) Grieg's Piano Concerto / Sun, Jan 30 (2 pm) If piano concertos were judged on a Top-40 scale the way pop songs are, the "Piano Concerto in A minor" by Edvard Grieg could be considered the classical-music version of "One Fine Day" by Mariah Carey and Boyz II Men, which had the privilege of spending the most weeks—16—in the number-one position on the Billboard chart. For the only concerto Grieg ever completed, the Edmonton Symphony Orchestra will be joined by Gilles Vonsattel, Laureate of the 2009 Esther Honens International Piano Competition, on the piano.

(Winspear Centre, $20 – $65)

Bill Bourne / Tue, Feb 1 Finally getting an official release, Bill Bourne's latest album free radio dance Band is a foray into the electric blues, a new dimension in the multiple-Juno-Award-winning musician's career. (Rusty Reed's House of Blues)

26 // MUSIC

VUEWEEKLY // JAN 27 – FEB 2, 2011

Cleaning up the Messes Ann Vriend narrows her musical scope on her latest album

By Tom Murray // tom@vueweekly.com

I

s Ann Vriend's musical schizophrenia at long last over? Since 2003 and the release of her debut album Modes of Transport, the Edmontonbased singer-songwriter has not only picked up accolades as a musician to watch, she's also, by her own account, confused many people. Originally tabbed as a pop pianist with a fully developed voice somewhere between country plaintive and seductive soul, Vriend has since resisted industry machinations to turn her into a producer-pliable, AM-radio-friendly chanteuse. That Vriend is actually a very radio-friendly songwriter is beside the point, especially in the rigidly programmed world of commercial radio.

We can lay the blame for Vriend's difficulties squarely on the door step of Simon & Garfunkle, especially their album Bridge Over Troubled Water.

"My parents didn't let us listen to commercial radio or watch TV while we were growing up," says Vriend, currently lodged back home in Edmonton while preparing for upcoming tours in Alberta and overseas. "All we had to listen to were the records they had from when they were younger, including Bridge Over Troubled Water. If you listen to the record, every song is very different from the last one. Because of that I always thought it was fine to have different genres together on a record."

In seven years and five albums she's deftly mixed pop, jazz, folk and soul without regard for programming strictures, nabbing regional hits ("St Paul," from 2008's When We Were Spies) and a cult following in the process. Vriend has stayed indie throughout, selling an impressive number of records off the stage and through her website, carving out a fanbase not only in Canada but Australia and Europe as well.

"People abroad think you're a big deal because you're touring and you're from a different place.

They also treat you differently; in one club in Germany they retuned the piano just before I arrived, and then told me, 'The tuner is still here, because we want to make sure the piano is to your liking,'" Vriend laughs. "Meanwhile, I'll play a show at a soft-seater in Alberta, the piano was tuned three weeks ago and the guy will say, 'Is that not good enough for you, Ann?' In that tone of voice. OK. So, this is why I'm not always here."

After recording in Toronto and New York, Vriend chose a Calgary studio to lay out her latest album, Love & Other Messes. To do this she selected a group of seven musicians ("It was like I was picking a hockey team"), rehearsed them and then toured for a week, after which they went into the studio while the song ideas were still hot in their minds.

"I always felt that the end of tour is when we play best, and that's when we should be recording," she says. "I was lamenting this to the band, and they looked at me like, 'Well?'"

Love & Other Messes is Vriend's attempt at addressing criticism that her albums aren't musi-

cally coherent.

"My fear before was that I'd be pigeonholed with one kind of sound," she admits. "I never wanted to settle on one genre, but I actually had enough songs to make it work this time. It's a very American record, in a way, because you can hear both Memphis and Muscle Shoals in the sound, as well as a bit of Motown. There's also the roots and Americana side, that kind of goes into Lyle Lovett and Emmylou Harris."

For Vriend, much of what she's done on the record involves subverting clichĂŠs. Perhaps it has to do with her jazz-heavy training, or just her sense of humour, but she simply can't let a musical progression or a lyric go by without tweaking it somewhat. It works well for those looking for a hummable tune while driving in the car, but also rewards those looking for just a bit more.

"A lot of the songs have two different interpretations that could be read into them, one sincere and the other tongue-in-cheek. Like the song "Everyone Sings in Nashville," which some people have snickered at thinking it's a joke, which doesn't offend me because it had a sort of snideness when I wrote it. On the other hand I've played it in audiences of other songwriters and they just thought it was so mean!"

Vriend also has her way with the shuffle blues ("The Way You Let Me Down") and even nods in the direction of the Beatles with the sugary "More or Less," baiting a sweet melody with the sourest of sentiments. In the end, Love & Other Messes might be more musically cohesive compared to her other releases, but it still sounds like the work of a songwriter who, like her musical heroes, hears no sonic boundaries.

"I don't have any aspirations for the Top 40 with this record," she admits. "It's not that kind of album, it's just not mixed that way. It's mixed like a live '70s band, and in many ways it sounds like the Band. This is a CBC or NPR record and I'm fine with that."

Vriend is pleased with initial reactions to Love & Other Messes, which is also her first outing as a producer. She feels that she's made a point with the album, and is proud of the performances of her band. But even as she does this it's clear that she's still not sold on the notion of pleasing those who want her to settle into an identifiable style, and her quixotic musical wanderings will eventually continue on.

"I already have an idea about how I want to do the next record, and it's quite different from this one," she says with a wry laugh. "When they hear it some people will probably say, 'It's not your sound,' but, um, I'm not going to think about that right now." V Sun, Jan 30 (7 pm) Ann Vriend Royal Alberta Museum Theatre (12845 - 102 Ave), $20 All ages

Five strange questions Ann Vriend has heard while on tour: 1) "Can you sign my socks?"

2) "If you don't have any spare change for me, could you go to the ATM?" 3) "You look like my ex-girlfriend from the '80s.

Do you know her?"

Variation 1: "You look like Sarah Jessica Parker.

Do you know her?"

VUEWEEKLY // JAN 27 â&#x20AC;&#x201C; FEB 2, 2011

Variation 2: "You look like Barbara Streisand.

Do you know her?"

(Conclusion: me and the ex-girlfriend from the '80s both have big noses) 4) Aussie question: "Are you from Whistler?" (pronounced "Whist-la") 5) "How come you aren't famous?"

MUSIC // 27

28 // MUSIC

VUEWEEKLY // JAN 27 – FEB 2, 2011

CHROMEO

Sat, Jan 29 (3 pm) The Freezing Man Festival Featuring Chromeo, Major Lazer, Broken Social Scene and more Northlands Expo, $82.60 Balanced between tongue-in-cheek parody and earnest '80s tribute stands Chromeo, refusing to yield either side an extra inch of ground: the group makes electrofunk with unashamedly glammed-up '80s milestones—wayfarers sunglasses, heavy reliance on synthesizers, heavier reliance on lyrical innuendo—but sculpt that electro sheen into something more substantial than mere retro styling.

"That's the centre of our whole career," says Patrick Gemayel—who goes

by P-Thugg on stage—on maintaining the border between cheeky parody and bonafide revival. "This fine line between

Jordan Norman Sat, Jan 29 (8 pm) With Christian Hansen Haven Social Club, $10

tongue in cheek, and working so hard on something it becomes really serious: making sure all the details are perfect, and whatever element we choose to take for a song nobody else had ever thought about. Or maybe somebody else thought about in the '80s, and nobody thought about bringing it back in the 2000s."

It is, of course, a pretty precarious balance, but one the band seems to internalize: beneath the hip-hop wardrobe and robo-backing vocals, Gemayel is a trained accountant who's handled all the band's finances since it started (and previously managed the accounts of the Pop Montreal music fest), while Dave 1 (singer-guitarist David Macklovitch) is finishing off his PhD in French literature at Columbia University.

for 20 years in various forms—from funk bands in high school through hip-hop dabblings in college to a return to funk, but a version upgraded with synthesizers and drums. It's an extended personal history, Gemayel points out, that's let them build up a sense of creative trust.

"We vary rarely spend time bickering on the creative decisions," he says. "When we're in the studio, we're trying to create a song, and it's definitely a lot of help when you come up with an idea and the other person lets you know right away if they like it or not. And there's never time spent on arguing back and forth. It's like, 'You don't like the idea, I trust you 100 percent, let's move on to another subject. Let's find something else that's gonna work.' ... Our ego level is at zero, completely."

The pair has been making music together

// PAUL@vueweekly.com

In the 17th century, the idea of travelling for curiosity's sake arose, and the idea of taking a "Grand Tour" through the European continent became fashionable amongst men of means in England and throughout Europe. The tour consisted of stays throughout France, Switzerland, Italy and Germany, where the young tourists would participate in folk dances, view famous works of art, see ruins and study music.

When Jordan Norman graduated from high school, he had little idea what he wanted to do with his life, other than play music. Eschewing a post-secondary education—at least for the time being— Norman instead travelled to Ireland and remained there for a year, soaking up the culture, the music and the atmosphere.

"I figured it would be a better time of my year off school to experience a different culture, be on my own and write as much as I could. It was really great for that: I feel like the experience really matured me and I feel like my music has been a lot better for it, lyrically and for my desire to just keep pushing as a musician," he explains. "Once you're out of your own city you can see it in a different light and you can write about it easier. It's almost like the colours are more vivid so you can describe them in a different way."

The experience and the time off helped him craft his debut album, a group of songs that delve much deeper than a typical boy-meets-girl-boy-losesgirl album, all wrapped up in a cheeky sense of self awareness. As Norman explains, he often struggles to come up with the next verse, to put the finishing touches on an idea. He has to let the ideas stew, which is something he thought he was doing wrong until he had the opportunity to discuss songwriting with one of his heroes.

"John K Samson from the Weakerthans is my favourite songwriter and lyricist—there's just not a wasted word. I opened for him when he came to Edmonton and I got a really rare opportunity to talk to him about his lyrics," he recounts. "That guy, he writes lyrics for years at a time, he has books filled with lyrics and it takes him years to finish songs. I'm not that patient but it's hard for me to write something and then accept it as being worth writing."

So if it takes Samson years to finish a song, how long does it take Norman?

"It probably takes me a solid month, but I stop a lot. As soon as I realize it's not there I have to leave and dig for the lyrics. I feel like it's all around and if I'm not digging in the right spot I have to stop." V Bryan Birtles

// bryan@vueweekly.com

PAUL BLINOV

Messages Via Carrier Pigeon Sat, Jan 29 (6:30 pm) With Deadbeat Avenue Theatre, $10 All ages After its two previous releases, local hardcore outfit Messages Via Carrier Pigeon was looking to do something radically different with its third. Not only did the band want to move away from the heavy-metal sound it had crafted and more into the realm of hardcore's breakdowns and two-step parts, the band was also looking to record in a wholly different way.

While many bands will decide to record live off the floor in order to capture the raw energy of the sound and the cohesion of the group, MVCP went the exact opposite way: to focus on the clean lines and straight edges in the band's sound, each member recorded individually, decreasing the bleed between in-

struments. While it may have improved the sound quality on the group's aboutto-be-released album, All Out Attack, it led to a paucity of in-studio anecdotes, according to bassist Brandon Walker.

"I have very few stories from actually recording because we were all there individually," Walker laughs, before describing the reasons the band made the decision to record separately. "If you take a listen to the sound quality of the first few albums and some of the things we did in the studio ... it was a learning experience. This time everything had to be on time, everything had to sound perfect: we'd do 20 takes if it took 20 takes. We wanted to make sure that the writing process, the sound of the album and how we played as musicians were a step above what we did before."

Fans will have a chance to listen to the finished results after Saturday's show, but the past year and a half MVCP has

been road-testing the newest stuff, making sure that it's the "step above" that the band has been shooting for. In fact, playing the songs on tour for so long may have held up the recording process, but for Walker and the rest of the band, it was worth it.

"We did a lot of playing the new songs on tours for the past eight months because we wanted to give the kids a taste of something new," Walker says. "Some songs change as we play them. We're huge fans of playing music before we record it because it lets us feel the songs live and where it really wants to go and not just where you think it should go.

We test out parts on kids so that when we play a song we can see where they moved a lot and where they didn't move a lot, to see what people like and what they didn't like." V Bryan Birtles

// bryan@vueweekly.com

VUEWEEKLY // JAN 27 – FEB 2, 2011

MUSIC // 29

NEWSOUNDS Destroyer Kaputt (Merge) 

Like lazy geniuses Marvin Gaye and Sly Stone before him, Destroyer's Dan Bejar recorded many of the vocals for Kaputt while lying down. It shows. For the first time ever, the typically nervy and dramatic singer sounds relaxed and in harmony with his band. After nine albums spanning MIDI synth theatrics (Your Blues), blistering indie rock industry screeds (Thief) and impossibly dense prog pop epics (Destroyer's Rubies), Kaputt is the triumphant afterglow, an intelligently crafted album of '80s adult contemporary rock that doesn't read as overtly literary.

You have to understand that Bejar has a reputation for being bookish. In his previous work he's referenced publishing house Farrar, Straus & Giroux, Fitzcarraldo, Crime And Punishment and, most consistently, himself. The words, for better or worse, were the star of the show, frequently getting in the way of the songs they're featured in. The references to his native Vancouver were appealing for Canadians raised on Leonard Cohen, but often likely left the rest of the world a bit cold in trying to understand him.

Only now has Bejar realized how to sneak these impulses behind accessible music.

"Chinatown" and "Downtown" are location-

al narratives done subtly. The songs sound like Vancouver, all swaying and warm and watery and graceful. And these feelings are finally owing to the music rather than the content. In losing his conscious desire for meta-art and regional allusion, he has earned his place as the rightful heir to Steely Dan, two literary dudes making decidedly untrendy jazz pop.

More than anything, Kaputt shows an understanding of self that can only come with age and experience. Album closer and 2009 single "Bay Of Pigs" opens with a joke for Destroyer faithful ("Listen: I've been drinking," duh) and later laments the tyranny of time ("And speaking of a world turning sour on you / I was 20 years old in 1992"). Past indulgences of the non-literary kind are a recurring theme throughout the album, whether he's repeating the mantra "Wasting your days, chasing some girls / All right, chasing cocaine through the backrooms of the world all night" on the title track or reconfiguring the words of artist Kara Walker to frame a centuries old racial and sexual power dynamic ("Harmless little negress, you've got to say yes to another excess / Let's go for a ride today.")

On "Grief Point", the B-side of the single directly preceding this album ("Archer On The Beach"), Bejar finds himself bemoaning the recording process ("I have lost interest in music / It is horrible / ... It's not even like dictating to someone / It's less than that") in spoken word with a non-musical backdrop fully composed of an ambient mix of studio sounds and the outside environment on the way to the studio. This is the most extreme example of the selfindulgence and single-minded approach of previous Destroyer works: music about music and how much he hates making it or dealing with its industry. On the other hand, Kaputt revels in a breezy free spirit previously unseen in the Destroyer oeuvre, the sound of the mellowness of age and an acceptance of the outside world.

Roland Pemberton

// roland@vueweekly.com

Chain & the Gang Music's Not For Everyone (K)  Imagine the B52s wrote a record for the Modern Lovers and you've got Chain & the Gang. The group's stripped garage-pop tunes are the essence of fun. The prolific Ian Svenonius, the face of several bands and the online host of Soft Focus, navigates his topic matter with fearless humour, breaking into unexpected diatribes about politics, social issues and music in his cheeky way, not unlike Calvin Johnston or Jonathan Richman. The stand-out jam is the closing "Bill for a Use of this Body," a surfy serenade about breaking up that, though doleful, maintains the same facetious vibe the rest of the album built.

Joe Gurba

// joe@vueweekly.com

Spokes Everyone I Ever Met (Counter)  It's difficult not to compare Spokes to Arcade Fire or Polyphonic Spree: although less pioneering, the group has that same indie-orchestra sound dialed. The songs on Everyone I Ever Met are performed with genuine conviction, are recorded very well, leaving strong indications of Spokes' enormous wealth of talent. This makes it very difficult to pin down the reason the album doesn't take off. With the exception of "Torn Up In Praise," noted for it's surprising 30-second metal intro, the album doesn't try to tread new water. Regardless, the album is expertly paced, channeling a plethora of tones: contrite, joyful, euphoric.

Joe Gurba

// joe@vueweekly.com

The Damned Things Ironiclast (Mercury)  With a lineup drawn from Anthrax, Fall Out Boy and Every Time I Die, the Damned Things is up against the legacy of its components when it comes to making a mark. That's a tough battle to fight, and the winner's not exactly clear on Ironiclast: Anthrax guitarists Scott Ian and Rob Caggiano lock in together here just as tight as they do in their day jobs, ably joined by Fall Out Boy's Joe Trohman, but while the playing is heavy as metal, the riffs are often not much more then generic hard rock. (That's not always true: both the title track and "Graverobber" land fairly heavy blows.) Through it all, Every Time I Die's Keith Buckley nails the vocals, and the triple-guitar attack is well-suited to some Thin Lizzy-type harmonies, but the high points are just too infrequent to carry the album through to the end.

Eden Munro

// eden@vueweekly.com

30 // MUSIC

VUEWEEKLY // JAN 27 – FEB 2, 2011

LOONIEBIN Helix "Rock You"

OLDSOUNDS Guided By Voices Bee Thousand (Scat)

Originally released: 1994

Old-school rockers just got a little lighter by unloading those solidbody electrics in favour of acoustic guitars. Lightweight rock with a banjo, but it's worth hearing just like David Lee Roth's bluegrass versions of "Jamie's Cryin'" and "Jump" are worth hearing.

Marnie Stern "Put All Your Eggs In One Basket and Then Watch That Basket!!"

This solo home recording is a weirdo melding of shredding guitar noise with prog-rock scope. Technically adept, sorta-wacky fun, but it starts feeling like the beating of a dead horse way before its minute-and-48-seconds run time is over.

Chris Bathgate "No Silver"

The strumming's lazy but the songwrighting isn't. Starts off folky and then begins to thunder.

Mind Spiders "No Romance"

Frantic '60s-inspired chording, with a garage vocal blowing up fast. It's all wrapped up in a messy, crashing sound that makes it tough to dig into.

Dolfish "Your Love Is Bummin' Me Out"

It starts off with a round of quirky lyrics that don't quite make the grade, but as the lo-fi indie sound grows from just vocal and electric guitar to include steady drums, bass and organ, it swells up into a fairly grand (but still most certainly lo-fi) song.

Bob Wayne "Driven by Demons"

Just as bad as—maybe even worse then—slick as oil new country music is jokey, wannabe outlaw country music. Wayne doesn't sound authentic for a second here.

School teacher turned alcoholic rock god Robert Pollard's 1994 Guided By Voices record is a primordial case study for the present state of music. Musically speaking, the record plants its flag where many waters meet: dialing elements of punk, prog, psychedelia and, perhaps most predominantly, power pop, the album seems to point forward to the overarching banner of what was to become "indie rock," mingling all of these genres into one melting pot of guitar-driven songwriting. Even Pollard's voice seems to shape shift between songs, mimicking British invasion singers on songs like "You're Not An Airplane," "Echos Myron" and "Mincer Ray," or employing the sneering proto-punk dialogue delivery of Sonic Youth or the Modern Lovers on songs like "Hot Freaks" and "Her Psychology Today."

Having reportedly recorded the entire album in three days, the majority of the songs taking a half an hour to record, the spontaneity and band chemistry manage to sprout a fully genuine recording not unlike a live show. The majority of the songs that appear on Bee Thousand are rehashed from the band's a decade-long past.

In one sense, Guided By Voices is pop genius, crafting song after song without

QUICKSPINS

breaching the three-minute mark, never conceding to anything less than earworm standards. In another sense, there isn't a single song on Bee Thousand that doesn't sound like something heard before. Recorded at home, the lo-fi esthetic the group tapped into was very much its own before it was the recognized or romanticized convention it is today. It's that same low fidelity that transforms these otherwise familiar songs into something new and unique to GBV. Unfortunately, though 20 tracks deep, these songs don't last forever. After too many listens the tracks tend to get burned out and lose their charm, which is too bad since most every song is so terribly catchy.

The brevity is as brilliant as it is frustrating: because of the amateur engineering, many of the songs end as abruptly as pressing stop on your tape dubber, forcing you to go back again and again. GBV never allows a punctuating coda to let us feel as though the song is finished. The belligerent, blaring ballads rattle around in your brain long after you first hear them.

Whether or not this was the band's intention, it's certainly effective.

Perhaps the most interesting thing about Bee Thousand is the prophetic place this record occupies in history: the professional recording conventions Guided By Voices so bravely jettisoned were further reflected in the grassroots success of the record. Without spending very much on traditional promotion, Bee Thousand became a word-of-mouth sensation without a Facebook or Twitter to help.

In these two distinct ways, Bee Thousand was an early indication of the approaches indie rock became characterized by, as well as a harbinger for the distinct variety of viral success that now carries plenty of musicians' careers to fruition in our share-button age of communication.

Joe Gurba

// josef@vueweekly.com

WHITEY HOUSTON // QUICKSPINS@vueweekly.com

Smith Westerns Dye it Blonde (Fat Possum)

Gary War Police Water EP (Sacred Bones)

Fuzzy and raucous That's how I like my women And my rock 'n' roll

Glorious homebrew Vocals are murkier than Gulf coast snorkeling

Various artists 2011 Grammy Nominees (Jive)

Rhapsody of Fire The Cold Embrace of Fear (Nuclear Blast)

Fuck you Cee-Lo Green That song was perfect until You went all Cosby

An epic battle Between the forces of good And pasty white cheese

Dead Horse Dead Horse (Saved By Radio)

Stereos Uncontrollable (Universal)

Some intense rocking With psychedelic leanings This is black-light gold

These guys are red hot Club friendly new album is Totally steaming

VUEWEEKLY // JAN 27 – FEB 2, 2011

MUSIC // 31

COMMENT >> ARTISTIC REGIONS

Disputed zone

Braids, Purity Ring and the media barriers of fringe music exposure As is the natural order, Alberta's arts called Weekly Tape Deck. This site is community appears to be experiencing a attached to Pitchfork's blog aggregator bit of a rise in international recognition.

Altered Zones. They are an example of Trevor Anderson and Fish Griwkowsky, outwardly laudatory praise that, in a the intrepid duo behind "The High Level deeper way, represents something reBridge," the controversial short docustrictive. mentary about our city's relationship The modus operandi for the creto the link between downtown ation of Altered Zones appears and New Strathcona, are curto have been two-pronged: H S rently in Utah showing the BA C K LA a way for Pitchfork to asfilm at Sundance (and hangsimilate and depersonalize om ing out with Susan Saranits biggest competition in .c ly k e e @vuew don). In the music realm, our breaking new music (the roland d n Rola rton blogosphere) and the develprovince has registered early Pembe 2011 victories with a glowing opment of an area to shift the New York Times review for Native surplus of bands and songs that Speaker, the debut album for Montréhave a certain sensibility or production al-by-way-of-Calgary prog pop darlings value. For most bands, making it onto Braids and Gobble Gobble offshoot PuAltered Zones may be the highest ceilrity Ring's "Ungirthed" registering Best ing of their exposure. Without label New Track on Pitchfork. backing, branding or a PR company, it is "Ungirthed", a collaboration between unclear how acts are expected to make current GG member Corin Roddick and the jump to the next level. This, to ex-member Megan James, is stunning. me, is the biggest achievement of "UnRecalling the electronic flourishes and girthed": that it got through on quality lilting Bjork-like vocals of Braids singer alone and in such a short time after Raphaelle Standell-Preston's side projcoming into fruition. ect Blue Hawaii, James fits perfectly That said, the community buzz only between off-kilter samples, drum prostarted in earnest once the song was gramming and various pitched vocal deemed worthy of Best New Track desutterances. The song initially gained ignation, prime real estate on the halcredence from a mention by a website lowed Pitchfork main page.

BLUES

Then there is Braids, a band that skipped the aggregator to earn more mainstream exposure but which fraternizes with many of the bands consid-

Just as people do not often associate Bob Dylan with being on the forefront of the Duluth, MN scene in the early '60s, some bands are just of themselves and appeal to people in a more spectral way than being grounded to somewhere in the physical world. ered by a mysterious blog-governing body to be slightly out of range of the primary site, such as Gobble Gobble and Teen Daze.

Although it had been in production for the past few years and features mostly formative material, Native Speaker still stands out as a winning record. The Braids formula of spindly intersecting guitar figures and thoughtful instrumentation, along with the soaring lead vocals and obtuse, idiosyncratic lyrics of Standell-Preston, frequently achieves an ethereal quality. The group's highly collaborative live show is even more seamless. Braids earned a 7.9 on Pitchfork. After album release shows in Montréal and Quebec City, the band has already sold out of its initial vinyl stock.

The band's success can be linked back to Calgary to some extent, but largely seems to be a phenomenon that can't be merely connected to a specific environment. Just as people do not often associate Bob Dylan with being on the forefront of the Duluth, MN scene in the early '60s, some bands are just of themselves and appeal to people in a more spectral way than being grounded to somewhere in the physical world.

Braids might get so big one day that the group will be seen as just a band from somewhere in North America.

The thing to take into perspective about these instances of success and notoriety is that there are more achievements beyond this level to be had. Higher standards present a challenge to the community to make better music and think bigger. Hopefully Braids and Purity Ring can represent what's possible when hailing from the Albertan environment and not just the high watermark for online exposure. V Roland Pemberton is a musician and writer, as well as Edmonton's Poet Laureate.

His music column appears in Vue Weekly on the last Thursday of each month.

32 // MUSIC

VUEWEEKLY // JAN 27 – FEB 2, 2011

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VUEWEEKLY // JAN 27 – FEB 2, 2011

BACK // 33

COMMENT >> LGBTQ

COMMENT >> ALT SEX

What's an orgasm?

It's like a sneeze, only better Dear Brenda: My boyfriend and I are each other's first. We've been having sex for several months now but I'm not sure if i have ever orgasmed. How would I know? If I haven't, how can I fix this?

Should I tell him how I feel?

Newbie

positions that will either put your clitoris into direct contact with your partner's body or positions where either he or you can use fingers or a vibrator against your clitoris. This is not cheating!

This is how most couples do it. Positions that could work well are for you to be on top and angle your body down towards him, using your hips to push into him. If m Dear Newbie, you're underneath him, bring your pelvis ekly.co e w e u @v brenda Yes, tell him how you feel, and tell up towards him and move with him to a d n Bre er get more connection with your bodies. him soon. The longer you go withKerb out talking about it, the harder it is to With him behind you, either spooning or bring it up. I know talking about sex is reyou bent over the bed on your stomach, he'll ally tough. Try to frame it in a positive light. Tell have easier access to your clitoris with his fingers. him about what you've really enjoyed about your Try lots of different positions and different movesex life and then let him know that you're not having those explosive orgasms everyone talks about and you'd like to try different things to see if it can happen for you. You have the perfect opportunity since this is a new experience for both of you. Make it a two-way street—ask him what else he would like and be willing to try to make those things happen.

As for the orgasms, you probably would know if you had one, but not always. Orgasm is a buildup of pleasure and muscle tension that gets bigger and bigger until there's a sudden release. The thing that separates an orgasm from just those pleasurable feelings is the sudden burst sensaments until you find things that feel good for you tion and really quick muscle contractions. Orand then work with those. Above all, forget about gasms come in all shapes and sizes, particularly trying to make something happen and just have for women, so it is possible that you could be a ton of fun playing and experimenting together. having smaller, less intense orgasms, or that you The best orgasms happen when you are totally might be just missing the peak of them. If that's into it and open to anything. V the case I can see why you'd feel unsure.

Brenda Kerber is a sexual health educator who has What can you do to solve it? Lots of women find worked with local not-for-profits since 1995. She that penis-in-vagina sex by itself doesn't do it as is the owner of the Edmonton-based sex-positive it doesn't connect with the clitoris very much. Try adult toy boutique, The Traveling Tickle Trunk.

LUST E LIF

FOR

Try lots of different positions and different movements until you find things that feel good for you and then work with those.

Queermonton will be back next week FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) What rewards do you deserve for all the good living and the hard work you've done since your last birthday? And what amends should you make for the mediocre living since your last birthday? If you choose this week to take care of these two matters with purposeful clarity, you will ensure the best possible outcomes. The reward you earn will be the right one, and the amends you offer will provide the proper correction.

TAURUS (Apr 20 – May 20) Sometimes I fly in my dreams. But there's something I enjoy dreaming about even more, and that's running.

For years I've had recurring dreams of sprinting for sheer joy through green hills and meadows, often following rivers that go on forever. I'm never short of breath. My legs never get tired.

Does it seem odd that I prefer running to flying?

The flying dreams represent the part of me that longs to escape the bonds of earth. My running dreams express the part of me that loves being in a body and exults in the challenges of this world. Given your astrological omens, Taurus, I think you're ready for whatever is your personal equivalent of running in your dreams.

GEMINI (May 21 – Jun 20) An interviewer asked me if there's any special ritual I do before writing these horoscopes. I told her that I often say a prayer in which I affirm my desire to provide

34 // BACK

you with these three services: that what I create will be of practical use to you; that it will help you cultivate your relationship with your inner teacher; that it will inspire you to tap into and use the substantial freedom you have to create the life you want. I hope I'm doing a good job, Gemini, because in the coming weeks your inner teacher will be overflowing with practical clues about the art of liberation.

CANCER (Jun 21 – Jul 22) "Spring dawn: turning toward the storm cloud, I lost sight of the bird."

Let this haiku-like poem by Julius Lester serve as a cautionary tale. You're at risk of getting so fearfully fixated on a storm cloud that you may lose track, metaphorically speaking, of a rare and beautiful bird. The storm cloud isn't even harbouring a big ruckus. It will pour out its flash and dazzle quickly. That's why it would be a shame for you to let your perverse fascination with it cause you to get separated from a potential source of inspiration.

LEO ( Jul 23 – Aug 22) Shockwaves of toxic misinformation pulse through the Internet on a regular basis. This past week an astronomer in Minneapolis proclaimed that due to the precession of the equinoxes, everyone's astrological sign is wrong. He was perfectly mistaken. Hundreds of thousands of people suffered unnecessary identity crises. In the coming week, Leo, you should

ROB BREZSNY // FREEWILL@vueweekly.com be on high alert for a comparable outbreak or two in your personal sphere. Be vigorously skeptical—not just toward the stories other people tell, but also toward the theories and fantasies that rise up in your own brain. Don't believe everything you think.

VIRGO (Aug 23 – Sep 22) You often know what to do in order to fix mistakes and messes caused by the imprecision of other people. For now, though, I encourage you to take a break from all that. In my opinion, you need to regenerate and replenish yourself, and a good way to accomplish that is to let your mind go blissfully blank. At least consider it, please. Give yourself permission to space out about the intricacies.

Steep yourself in the primordial ooze where everything is everything.

LIBRA (Sep 23 – Oct 22) I'll be interested to see how you shift your attitudes about love in the coming weeks, Libra. Fate will be bringing you good reasons to move away from long-held opinions about the nature of romance and intimacy. Your subconscious mind will be stirring with new dispensations about how best to deal with and express your life-giving longings. All in all, the process should be pretty enjoyable, especially if you relish psycho-spiritual riddles that impel you to probe deeper into the mysteries of togetherness.

VUEWEEKLY // JAN 27 – FEB 2, 2011

SCORPIO (Oct 23 – Nov 21) "Dear Rob: I am a professional obsesser. But here's the thing.

When I do obsess on something, I am changed in the process—frequently to the point of no longer desiring what I was once obsessed by!

This makes me crazy! Any advice?—Flagrant Scorpio." Dear Flagrant: This is a gift, not a problem. Figuring out what you don't want is a key factor in developing self-knowledge. And often the only way to do that is by pursuing what you think you want. Ultimately you'll be purged of your lesser longings and superficial wishes and be able to crystallize a clear vision of what you truly desire more than anything else.

SAGITTARIUS (Nov 22 – Dec 21) "The greatest challenge to any thinker is stating the problem in such a way that will allow a solution," said philosopher Bertrand Russell. In other words, the words you use to describe your dilemma are crucial. If you're lazy or pessimistic about framing your big question, you minimize your chances for finding a useful answer. If you're precise and creative, you're more likely to attract the information and inspiration you need.

This is always true, of course, but especially so for you right now.

CAPRICORN (Dec 22 – Jan 19) A "karma whore" is someone who performs an abundant number of favours and acts of kindness in the hope of

accumulating extra good karma. Judging from the astrological omens, I'm thinking this week will be prime time for you to flirt with being such a person.You don't necessarily have to go to ridiculous extremes—holding the door open for five people behind you, allowing ten cars to merge in front of you on the highway. But from what I can tell, the more help you dole out, the more you'll get in return.

AQUARIUS ( Jan 20 – Feb 18) You may have no idea of how much power you have right now to start fresh. But I'm hoping that this little horoscope of mine changes all that. I'm praying that you are already registering the pleasant shock I'm trying to jolt you with, and are awakening to the rampant possibilities.

On your mark. Get set. Go! PISCES (Feb 19 – Mar 20) My view is that everyone should be his or her own guru. But there was one guy whose antics were pretty entertaining.

He was one of those crazy wisdom types who borrowed liberally from the trickster archetype.

This is what he told his followers about how to interpret their dreams in which he appeared. "If you dream of me and I'm not kicking your butt, it wasn't really me." I'll say the same thing to you, Pisces: The only teachers worth listening to, studying, and dreaming about in the next two weeks will be those who kick your butt.

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COSMOPOLITAN MUSIC SOCIETY Opportunity

EDUCATIONAL Top acting training Apply today! www.topactingschool.ca Foundations of Buddhist Meditation Course Edmonton Diamond Way Centre Every Monday at 8 pm Feb 28 - April 4, $35.00 13015 117 Ave www.diamondway.org/edmonoton

HELP WANTED Change your life! Travel, Teach English: We train you to teach. 1000’s of jobs around the world. Next in-class or ONLINE by correspondence. Jobs guaranteed. 7712-104 St. Call for info pack 1.888.270.2941 The Cutting Room is looking for Assistants and Stylists Please drop off your resume at 10536-124 Street

MUSICAL INSTRUCTION MODAL MUSIC INC. 780.221.3116 Quality music instruction since 1981.

Guitarist. Educator.

Graduate of GMCC music program

ARTIST TO ARTIST

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

Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing.

Free ads must be submitted in writing, in person or by fax. Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m listings@vueweekly.com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space Expressionz Café is looking for café and special concert events volunteers. T: 780.437.3667. General kitchen help: front of house, food prep, baking, etc.

Shifts available Mon-Fri, 9am-12pm, 11am-2pm, 1-4pm, and evening shifts for special concert events (Wed-Sun 6-10pm)

for amateur adult musicians and singers to learn and perform concert band and choral music under professional music direction. Contact Darlene at 780.432.9333; generalmanager@cosmopolitanmusic.org

VOLUNTEER Volunteer website for youth 14-24 years old. youthvolunteer.ca Volunteers needed Strathcona Place Senior Centre: Zumba Instructor, kitchen preparation and dining room servers. Call Mary at 780.433.5807 Calling all Snow Angels: The City of Edmonton would like to encourage you to participate in an act of generosity: become a Snow Angel for a senior who has trouble shoveling their walkways. If someone has been a Snow Angel to you or someone you know, nominate them for recognition and prizes. Info: edmonton.ca/environmental/ capital_city_cleanup/snow-angels.aspx 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 for Dreamspeakers 2011 festival Looking for volunteers whether it’s for a few hours or for the duration of the festival. Go to dreamspeakers.org for info and to download the Volunteer Application Form

SHARE THE WARMTH � WINTER LIGHT

Warm socks, mittens, parkas, scarves and toques are redistributed to people in need, and to agencies that serve the inner city community. Items should be clean and warm.

Donations for Share the Warmth will be accepted at the Winter Light office and festival sites, and at Snow Valley, The United Way will take them through their Coats For Kids program. Drop-off your new or used coats at any Page the Cleaner location. coatsforkids.ca

ADULT

ExXxclusive 40 Something Petite Companion SeXXXy 5 foot - 90 lb Brown Eyed Brunette, Available Daily 9am-7pm by Appt Only 780.887.4989 - Jackie James No blocked/private calls or text, please

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

Want to be part of Edmonton's New Art community collective? Send info ASAP to d_art_man@hotmail. com for jury in upcoming show

Last fall, a suite of murals appeared behind the old cycle building on 118 Avenue. The artist was commissioned by the City of Edmonton, Capital City Cleanup, City TV and Arts on the Avenue. They are a perfect example of how to celebrate the diversity of voices in our city. These pieces embody elements of traditional portraiture and capture the characters of a historical community, yet they are painted in a contemporary style that speaks to younger generations. In fact, they are what some might call graffiti, painted by Joshua David Klassen, a graffiti artist.

These murals are an important step in the validation of graffiti art and giving street artists a rightful place in our city's public spaces. V

SUPPORT YOUR LOCAL FOOD BANK

THE NIGHT EXCHANGE Private Erotic Talk.

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780.229.0655 The Night Exchange.

Must be 18+. *Phone company charges may apply

YOUR BEST PICKUP LINE

Call for submissions: artists, digital musicians, and proposals. "TechArt International 2011". Send CV, images, project description to d_art_man@hotmail.com

LOCAL CHAT. TRY IT FREE : code 2315

780.413.7122

Expressionz Café: looking for family friendly performers and presenters for the monthly marketplace at 9938-70 Ave. Info E: expressionzcafe@gmail.com

1.900.451.2853 (75 min/$2495)

Expressionz Café: looking for visual artists and creative business/wellness, green vendors for the Monthly Marketplace. Located south of Whyte Ave, 9938-70 Ave. Info/book vendor space E: expressionzcafe@gmail.com

www.cruiseline.ca Purchase time online now!

18+

VUEWEEKLY // JAN 27 – FEB 2, 2011

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SHIFT YOUR EXPECTATIONS. BRIAN JUNGEN JAN 29-MAY 8, 2011 youraga.ca/jungen

Brian Jungen, Cetology, 2002. Plastic chairs. Collection of the Vancouver Art Gallery, Purchased with the financial support of the Canada Council for the Arts Acquisition Assistance Program and the Vancouver Art Gallery Acquisition Fund (VAG 2003.8 a-z). Photo: Trevor Mills, Vancouver Art Gallery

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VUEWEEKLY // JAN 27 – FEB 2, 2011