Vue Weekly 798 Feb 3 2011

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2 // UP FRONT

VUEWEEKLY // FEB 3 – FEB 9, 2011

COVER

INSIDE

IssuE no. 798 // FEB 3 – FEB 9, 2011

UP FRONT // 4/ 4 5 6 7 7

CRISIS OF FAITH

Vuepoint News Roundup Dyer Straight In the Box Bob the Angry Flower

DISH // 10/ 11 To the Pint 13 Living Proof

Theatre Network’s Communion seeks inner peace

// 14 SNOW ZONE

ARTS // 14 16 Prairie Artsters

FILM // 19 19 DVD Detective

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

// 8

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

LISTINGS 18 Arts 22 Film 24 Music 33 Events 10303 - 108 street, edmonton, AB T5J 1L7 t: 780.426.1996 F: 780.426.2889 E: office@vueweekly.com w: vueweekly.com

IssuE no. 798 // FEB 3 – FEB 9, 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 Ian Jackson, Epic Photography CONTRIBUTORS Mike Angus, Malcolm Azania, David Berry, Josef Braun, Rob Brezsny, Jeremy Derksen, Pete Deroschers, Gwynne Dyer, Amy Fung, Hart Golbeck, Tamara Gorzalka, James Grasdal, Whitey Houston, Brenda Kerber, Stephen Notley, Roland Pemberton, Mel Priestley, Dave Young Distribution Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

Vue Weekly is available free of charge at well over 1400 locations throughout Edmonton. We are funded solely through the support of our advertisers. Vue Weekly is a division of Postvue Publishing LP (Robert W. Doull, President) and is published every Thursday. Vue Weekly is available free of charge throughout Greater Edmonton and Northern Alberta, limited to one copy per reader. Vue Weekly may be distributed only by Vue Weekly's authorized independent contractors and employees. No person may, without prior written permission of Vue Weekly, take more than one copy of each Vue Weekly issue. Canada Post Publications Mail Agreement No. 40022989. If undeliverable, return to: Vue Weekly 10303 - 108 Street Edm, AB T5J 1L7

VUEWEEKLY // FEB 3 – FEB 9, 2011

UP FRONT // 3

UP FRONT

VUEPOINT

GRASDAL'S VUE

Moving mountains samantha power // samantha@vueweekly.com

More often than not we're used to Alberta's geologic formations changing faster than its political landscape. So with three recent resignations from top jobs in the province, it feels a little like a political landslide with constantly shifting ground beneath our feet. At this point we're not quite sure when the next tremor will signal a fall. But, like geological shifts, the signs are often evident only when you look back. Many have placed the current rash of resignations as far back as Ralph Klein's resignation, or the 2006 PC leadership race. Certainly in the past year things have not gone well for the traditional parties in Alberta. MLAs shedding their traditional alliances, small reveals of party infighting and, perhaps more than anything, the faltering public opinion polls are strong indicators Albertans have not been too happy with their political leaders. But today, somehow things have changed, and the lack of imagination on the part of parties—and citizens—has somehow broken. Albertans seem more willing to entertain options. Back in 2006 during the PC leadership race, many who called themselves pro-

YOURVUE

gressives, believed change would happen through a party they didn't belong to. They followed the less-than-rigorous requirements to become a PC member and voted for their choice of the man who would become king. It was disheartening to hear the refrain repeated all around that this might be our chance to affect change—as if Albertans were only given one, and had to conform to requirements of a system they didn't believe in. "All the elements of the system need to change," were the words of one protester on the streets of Cairo. While our own political upheaval pales in comparison to that of Egypt—and in no way do I mean to belittle the courage of their revolutionary actions—we should perhaps take away one thing from their courage: they dare to dream. All elements must change. The army stands beside the people, Mubarak has not resigned and still protesters dare to demand more: the world that they want. We should see that courage and make it our own. For once, Alberta politics is not playing out as we all expect it to. Something different is happening, and we can't predict what will happen next. As a certain opposition leader said this week, perhaps that's not a bad thing. 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 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?

Yes - 33.3% No - 66.7%

WEBPOLL COMMENTS: "People vote for the party philosophy and the person. If an elected person changes their philosophy enough to switch sides you should question their convictions. The candidate should go back to their riding and face a vote in the next by-election." "We don't vote for parties; we vote for individuals."

4 // UP FRONT

ONLINE EXCLUSIVE VUEWEEKLY.COM

THIS WEEK:

With resignations in the political air, who do you hope resigns next?

1. Brian Mason 2. Danielle Smith 3. Carl Benito 4. Other Check out vueweekly.com to vote and give us your comments.

VUEWEEKLY // FEB 3 – FEB 9, 2011

Canadian author Joseph Boyden talks to Vue about his books, his keynote speech at the University of Alberta's International Week and the theme of movement throughout his life and work. Listen at vueweekly.com/podcasts

Building a country

Local assistance as South Sudan prepares to separate Malcom Azania // malcolm@vueweekly.com

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magine starting a country from scratch, a country devastated by war, poverty, PTSD and crumbling or nonexistent modern infrastructure. Now imagine that your university— the centre for training your country’s leaders—has no library. How do you rate your nation's chances for stability and prosperity? Buk Arop is facing that conundrum right now, because his countrymen and women in South Sudan have voted 99 percent in favour of separating from the North. And Arap knows as well as anybody that without education, his ancient (and also new) homeland has no future. Arop, a tall, 29-year-old Sudanese youth worker is the president of the newly-formed South Sudan Development Foundation. The SSDF's first major project is to stock—from scratch—the library of the Dr John Garang Memorial University of Science and Technology, named in honour of the late leader of the Sudanese People's Liberation Army and Sudan's First Vice President. That means acquiring second-hand university-level books, and the cash to ship them, halfway around the world.

It won't be cheap—which is why the SSDF is holding a fundraising dinner and dance at Edmonton's Vedic Centre. Says Arop: "To ship a container costs approximately $10 000." While many people characterize southern secession as the result of an

34 million people have 90 universities and 175 colleges serving about 1.7 million students. Sudan's 40 million people (war has impeded an accurate census) have only 47 universities; Southern Sudan has as few as 10 universities, serving a population of 11 million.

Sudan's north-south divide mirrors that of the Global North and South. "Arab vs African" conflict, that racial characterization is misleading. Instead, Sudan's north-south divide mirrors that of the Global North and South. "If you google Khartoum, the capital city, you will see skyscrapers; if you see parts of the city, you may think you're looking at some Western capital," says Arop. "But on the flip side, if you google [Southern capital] Juba, it's just typical small-town Africa. It's not even close to any African capital." Prior to impending secession, Sudan is currently the largest of Africa's 54 countries, and home to 19 major ethnicities and 134 languages. To understand the urgency of building Garang U's library, compare Sudan with Canada. Canada's

In 2008, the Government of Southern Sudan established Garang U in the town of Bor, but the campus is off to a hobbling start: so far it has only about 250 students, and doesn't even have a website. Starving for funds, GU has no student housing, so students live in tents. And a library book budget? Forget about it. "The only employer seems to be the Government of Southern Sudan," says Arop, noting that local entrepreneurs and businesses are rare. "In Edmonton, if you want to start a business, you can lease a space. But in Juba, you have to start building a building from scratch." If the Southern Sudanese fail to generate their own economic titans, their nationCONTINUED ON PAGE 6 >>

NewsRoundup UNIVERSITY INC

Ramping up criticism

Mobilization against corporate funding at universities continues as Simon Fraser University students protested a donation by Goldcorp. According to an SFU media release, the donation is meant to go towards the revitalization of Vancouver's Downtown Eastside and SFU's art complex would be named Goldcorp Centre for the Arts. Student concerns revolve around allegations of human rights abuses by Goldcorp in Guatemala, the declining public support for universities and loss of academic freedoms.

Amongst the critical reviews of tar sands environmental monitoring that have been released in the past month, the Regional Aquatic Monitoring Panel went through a required five-year review, and the results were not positive. The nine-member review panel is tasked with the job of reviewing the methods by which RAMP assesses water conditions around tar sands developments. The review failed RAMP in almost every criteria it had set out. The current RAMP program is not sufficient to detect changes in surrounding ecosystems, it cannot identify the cause of changes if they do happen to be detected, and not all the appropriate questions are being asked to appropriately monitor industrial impacts. The review failed RAMP on eight of the nine criteria it had set out. "RAMP, the government's industry-funded tar sands monitoring program is a program designed to fail. RAMP met only one of nine objectives, according to today's released review—a failing grade of 11 percent," says Greenpeace campaigner Mike Hudema. "The report clearly shows that RAMP could not detect changes, could not identify sources, and wasn't even asking the right questions. It seems like the only thing RAMP is good at is reaffirming the government's tar sands denial campaign."

COFFEE PARTY Hot beverages will continue to duke out our political values as the Coffee Party launches in Canada. Although it has no affiliation to the US group, it does share similar values: greater government accountability, a separation of corporate and political interests, and a greater commitment to corporate social responsibility. The Coffee Party was launched by the democratic rights group Democracy Watch, a non-partisan, non-profit group which helped to successfully lobby for democratic accountability measures to be put in law. The Canadian incarnation is preparing citizen action for an expected federal election.

// Chelsea Boos

SAMANTHA POWER // samantha@vueweekly.com

QUOTE OF THE WEEK

"It's actually a time of great change in Alberta politics. And I don't think that's a bad thing." —Brian Mason Press conference Feb 1

// Pete Nguyen

VUEWEEKLY // FEB 3 – FEB 9, 2011

UP FRONT // 5

COMMENT >> EGYPT

This is how regimes end

Egyptians lose their fear but will they gain their country? By 3 pm on Friday afternoon, the prowas a general before he became presitesters in central Cairo were chanting: dent, and he has always made sure that "Where is the army? Come and see what the military were at the head of the queue the police are doing to us. We want the for money and privileges, but there is no army." And that is the main question, regratitude in politics. They won't want to ally: where is the Egyptian army in be dragged down with him. all this? All this could happen quite fast, Like armies everywhere, even or it could spread out over the in dictatorships, the Egyptian next several weeks, but it is army does not like to use vioprobably going to happen. m o .c ly week e@vue lence against its own people. Even autocratic and repressive gwynn e It would much rather leave regimes must have some sort Gwynn that sort of thing to the police, of popular consent, because Dyer who are generally quite willing to you cannot hire enough police to do it. But in Alexandria, by mid-aftercompel everybody to obey. They exnoon on Friday, the police had stopped tort that consent through fear: the ordifighting the protesters and started talking nary citizens' fear of losing their jobs, their to them. This is how regimes end. freedom, even their lives. So when people First of all the police realize that they lose their fear, the regime is toast. face a genuine popular movement involvIt would require a truly horrendous masing all classes and all walks of life, rather sacre to re-instill the fear in Egyptians than the extremist agitators that the renow, and at this stage neither the police gime's propaganda says they are fighting. nor the army are likely to be willing to They realize that it would be wrong—and do that. So what happens once Mubarak also very unwise—to go on bashing heads leaves? Nobody knows, because nobody in the service of a regime that is likely to is in charge of this revolution. disappear quite soon. Best change sides before it is too late. The first people out in the streets were Then the army, seeing that the game is young university graduates who face a up, tells the dictator that it is time to get lifetime of unemployment. Only days on the plane and go abroad to live with later, however, the demonstrations have his money. Egypt's ruler, Hosni Mubarak, swelled to include people of every social

R DYEIG HT

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class and walk of life. They have no program, just a conviction that it is high time for a change—Kifaya! ("Enough is enough"), as the nickname of an Egyptian opposition party that flourished in the middle of the last decade put it. Two-thirds of the 80 million Egyptians have been born since Mubarak came to power, and they are not grateful for the poverty, corruption and repression that define and confine their lives. But who can fix it all? Washington and the other Western capitals that supported Mubarak for the past three decades are praying that the revolution will choose Mohamed ElBaradei, former head of the International Atomic Energy Agency, as its leader. He flew back into Egypt last Thursday, and the regime even takes him seriously enough to put him under house arrest. But he is probably not the Chosen One. ElBaradei is a diplomat who has spent half of his life abroad and is seen by Western governments as a "safe pair of hands." He would be at best a figurehead, but a figurehead for what? Since it would be the army that finally tells Mubarak to leave, the military would dominate the interim regime. They would not want to put yet another general out front, so they might decide that ElBaradei

BUILDING A COUNTRY

<< CONTINUED FROM PAGE 5

al economic sovereignty will inevitably fall into the hands of foreign investors, including those of China. Arop emphasizes that the SSDF will accept any university-level text, because GU's library, like any other, needs as wide an intellectual archive as possible. Donors worried about their texts being out of date can take comfort knowing that so is virtually every library text in the world. Nevertheless, the SSDF's focus is on basic sciences, human and veterinary medicine, agriculture, engineering, construction, environmental studies, humanities, business, law, politics, conflict resolution and gender studies. The South Sudan book drive is international, originating from a South Sudanese professor in Holland. Arop is impressed by the Edmontonian response, led in part by political scientist Chaldeans Mensah at MacEwan University. "MacEwan University answered the

6 // UP FRONT

VUEWEEKLY // FEB 3 – FEB 9, 2011

is the right candidate for interim leader, precisely because he has no independent power base. But there would then have to be elections, and ElBaradei would not even come close to winning. The likely winner of a genuinely free Egyptian election, according to most opinion polls, would be the Muslim Brotherhood. The Brothers are not particularly radical as Islamists go, but the first thing they have promised to do if they win power is to hold a referendum on Egypt's peace treaty with Israel. And most Egyptians, according to the same polls, would vote to cancel it. That would end the flow of official US aid and private foreign investment that currently keeps the Egyptian economy more or less afloat, even though it would probably not lead to an actual war. And there is no reason to believe that an Islamic government could make the Egyptian economy grow any faster, although it would distribute the poverty more fairly. These longer-term considerations, however, will have no impact on the events of the next few weeks, when Egypt's example may ignite similar revolts against decrepit regimes elsewhere in the Arab world—or not, as the case may be. But it's not just Tunisia any more. Egypt is the biggest Arab country by far, and culturally the most influential. What happens there really matters. V Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.

call," says Arop. "They were involved very quickly [last semester]. I understand that the space that was provided there started to overflow, and the book drive is still going on." South Sudan finds its microcosm in Edmonton, which hosts a range of Sudanese ethnicities, including Dinka and Nuer. Arop says local Sudanese may rival the Somalis in numbers—perhaps as many as 15 000—but admits nobody has hard numbers. While most SudaneseCanadians have more opportunities here than back home, many face familial and cultural dislocation, post-traumatic stress, under-employment and poverty, high debt from relocation, and savings drained immediately by sending remittances to relatives. Neverthless, Arop remains optimistic for Sudanese at home and abroad: "Those who will take chances on [the Southern Sudanese people] are definitely going to go down in history as heroes, and will be recognized for that." V

IN THE BOX

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

All star birthday The most recent week in Oilerville is pretty easy to summarize. They lost 3-1 in Dallas and then chilled out for the All Star break. Taylor Hall got to the Finals of the All Star Fastest Skater derby and Ales Hemsky's injury prevented him from becoming the last player picked in the All Star Draft. That honour went to Phil Kessel, who deserves it if only for being a Maple Leaf. Me I like the Hawks but, my oh my, Wayne Gretzky Rocks

With The Great One turning 50 last week, we got treated to scads of Gretzky highlights on the sports channels. The history books will ultimately tell a tale of Wayne Gretzky, the Edmonton Oiler with four Stanley Cup rings. Gretzky did only three big things in LA: the trade itself was a big story; he and the Kings lost a Stanley Cup to the Habs and a stick measuring device; he knocked Gordie Howe off the all-time scoring lead. His career was only notable in St Louis for playing poorly with Brett Hull and the New York Rangers years were marked by a reunion with Mess and the 1999 farewell tour. Stuff the other teams. He's ours. DY All Star Game

Though boring for many hockey fans because it's a weekend-long game of grab ass, I have always been a fan of the All Star

Game, and I think that it continues to get better because it keeps pushing into more and more ridiculous territory. The addition of the wacky draft was brilliant, especially because Brian Burke hated it. What a whiner. The best feature of the last few years is the in-game microphones on the players: having an interaction between goalie Tim Thomas and the announcers while Thomas loses his jock facing mad dekes and furious breakaways is hilarious. BB Why Gretzky Was Probably Not an Effective Coach

"Hey guys, why don't you get it?" yelled Coach Gretzky in frustration to his Coyotes players. "All you need to do is get the puck, completely outfox an opponent or two, see every player on the ice and calculate every move they'll make as if by magic, find the perfect pass no one else could predict or take a shot that would fool any goalkeeper. It's simple. I did it all the time." DY Oiler Player of the Week

Taylor Hall: for being faster than Lightning but unfortunately not Islander. DY Wayne Gretzky: Maybe Gretz wants to break one more of Gordie Howe's records and be the oldest player in the league? He's welcome home anytime. BB

BOB THE ANGRY FLOWER

VUEWEEKLY // FEB 3 – FEB 9, 2011

UP FRONT // 7

SNOW ZONE

Saddlin' up the chutes

Kicking Horse goes big for its 10th anniversary season inbounds, he suggests, it's always wise to treat the terrain as if it's avalanche territory and seek higher ground. If nothing else, it's a good habit to cultivate. There are relatively few hazard markings or warning signs within the resort boundary, lending to a more "European" feel at the resort, says Jordan Petrovics, KHMR communications director. Instead, skiers are expected to take responsibility for themselves, aligning with the big mountain code. And yet—again taking from the European mentality—every luxury is in easy reach, from the sumptuous Eagle Eye restaurant (with its popular five-course winemaker dinner and concert series), to a fully serviced, catered stay in a multi-million-dollar alpine chalet, courtesy of Bramble Ski, to soothe those battered, big mountain muscles.

Jeremy Derksen // jeremy@vueweekly.com

halky frosting gives way to slick rock in the middle of Steppe 3 chute on Redemption Ridge at Kicking Horse Mountain Resort. My skis scrub out. I'm sliding, gripped by momentary panic. To my right is a jagged, 15-foot rock wall, to the left a 20-foot drop off a sheer cliff. Total clearance in the chute is about 20 feet and I'm committed left, without much time to recover. If I can't get back over my skis, I'll end up tail riding over the edge. It takes resolve and quick wits to lean back into the hill, recover and make the turn back into the centre of the chute and the fresh blower waiting below. The payoff hits two turns later as the funnel opens onto fallow manna. Above, Big Mountain Centre director Trevor Gavura and fellow pow junky David Ford peer over the lip. Gavura is talking Ford into following me, which he eventually does despite initial misgivings. Regrouping below the rock band, we all grin. Encountering a little fear is what a day with the Big Mountain Centre is all about, and we've just tapped the champagne mainline for about the third time. "Our goal is to frighten people, but not scare them," says Andy Walton, grinning wide. A sadistic glint flashes in his eyes. "We want to take people right to the edge, but not tip them over into scared. That's a good day." We're traversing the rocky entrance into Expendable Youth, a run yet to be marked on the ski area map. Coming in from the right, it takes two no-error billygoat hops to clear the first rock band. Then, skirting to the side, Walton clears the way to let me plunder pure faceshot nirvana. Walton is the coordinator for the Big Mountain Centre, a veteran Alaska heli guide who alternates seasons between Alaska and Golden. Throughout the day, he points out different lines and features where he takes clients who want to prepare for the Alaska heli ski experience—upwards of 40-degree

8 // SNOW ZONE

// Jeremy Derksen

C

Aw, chute!

steeps, tight couloirs, complex terrain and deep snow. With over 85 chutes out of a total 128 runs, Kicking Horse has built a solid reputation as an expert's mountain. Last season the resort unveiled its new master plan, which calls for the addition of 11 new lifts and expansion to nearly double the terrain to 4188 acres over the next 40 years. The opening of Superbowl, the resort's fourth alpine bowl, is the first step in that development and a significant addition to the area's inbounds portfolio. With the third annual "Wrangle the Chute" competition—KHMR's signature freeski event—taking place this February 5 – 6, the resort is staking its place among a select few North American resorts geared to the big mountain enthusiast. The most common comparison the resort draws, according to both Walton and Gavura, is Jackson Hole.

Big mountain lines inspire awe for a reason. They are technically difficult, dangerous and, usually, hard to access. But at Kicking Horse, an easy traverse along Redemption, CPR or Terminator ridge can suddenly fall away into teethclenching, rock-ridden insanity. A very small portion of the skiing population can ably handle such terrain—and that's where the Big Mountain Centre comes in. This season, the centre moved into its lush new headquarters at the Red Bull BMC lounge, a yurt stationed at the base of the mountain. Now in its fourth year, the BMC has matured into a fullservice centre with guided programs, avalanche education and its own fleet of skis and snowboards specifically designed for big mountain terrain. Gavura, the program's founder, got the inspiration for the concept when he realized that current instructional programs didn't cater to a growing seg-

VUEWEEKLY // FEB 3 – FEB 9, 2011

ment of the market. "Ski lessons aren't training people to ski 90 percent of our terrain," says Gavura. "I've gone out on [advanced] courses just to see what it's like. We'd get out there and I'd ask, are we going to ski that today? 'No.' Well what about over there? And they'd say, 'No, we don't ski that terrain.' "At the Big Mountain Centre, our concept is to develop ability in skiing through skiing," Gavura explains. "We take skiers and introduce them to terrain they never thought it possible to get into." On the very first run of the day, Gavura demonstrates this concept by showing the group how to pick our way into tighter, cornice-lipped chutes by sideslipping to one side and then traversing in. Under one complex feature, Walton pulls up to where I've stopped to await the group and suggests we head for a higher shoulder off to the side of the run. Despite being

Climbing the Terminator Peak ridgeline is about as far as it gets from any such comfort. Rocky arabesques, battered pine and rope fence frame a staggered Sherpa track up several hundred feet to the wind-scoured crest, looking down into Superbowl. From the top, various lines spread out along a massive face, many of them dropping away beyond visibility over steep rolls—almost all of it perfect fall line skiing. Gavura leads the way in. About halfway down, we have the option of two lines. On the left, the slope continues its descent. On the right, it drops away sharply in a tight c-shaped rock formation. The latter is a mandatory huck into a straightline, but the runout is forgiving enough to go for it. As the ground falls away, the rocky outcropping to either side rips through my peripheral vision. My brain chemistry undergoes several rapid reactions, converting hormonal fear into physical confidence. This is the BMC concept embodied, building skiing ability through skiing, and there's no way I'd rather have it. I stomp the landing and ski away. V

ON THE WEB braMbleski.com kickinghorseresort.com PURETRAVELGROUP.COM

FALLLINES Canadian Open Snowboarding Championships at COP

// Jordan Wagner

This weekend, February 3 – 5, Canada Olympic Park (COP) on the outskirts of Calgary is hosting the Burton Canadian Open Snowboarding Championships. This is a great event for both competitors and spectators. If you are anywhere near Calgary this weekend, I suggest you go and check it out. Not only will you be able to see our best male and female snowboarders competing in halfpipe and slopestyle events, but there are also tons of free giveaways at the sponsor's venue tents. And if that's not enough fun, take a refreshment break at the CANO beer garden on Friday night where the ever popular headbangers Terry and Dean of FUBAR will be hosting the party.

HART GOLBECK // HART@vueweekly.com

Helly Hansen Big Mountain Battle at Fernie Do you have a ski buddy and are you a GPS device attached that will track both really fit? The Helly Hansen Big your every movement that will surely Mountain Battle is coming back to Can- include some pretty interesting hikes ada but only to Fernie Alpine Resort to runs you never thought to challenge. on February 12 and Revelstoke Moun- Fastest twosome to finish the course tain Resort on March 5. Other venues will be rewarded with a $2000 Helly include Keystone, Taos, Park City and Hansen gift voucher and a free trip to Squaw Valley but that's a little too far the finals at the "Battle in the Bowls" of to travel and you'll definitely be handi- Aspen Colorado. There is an entry fee capped by the locals' course knowledge. of $85 but you receive a couple pieces The Big Mountain battle is a threeof HH base layer that nearly offsets it. hour event where you ski, slide and hill If you want to get a taste of the action, climb all over the resort trying to pick surf your way to bigmountainbattle. off all of the checkpoints in the fast- com and check out some of last year's est time. During the event you'll have videos on the media page. Too Many Boxes to Keep Track of at Sunshine Village As many of you know, I'm not a snowboarder but I find the sport extremely interesting and I do like to keep up with all of the events and happenings. Recently though, I've come across new lingo for park features and I'm puzzled as to what they really are. In the Rogers Terrain Park at Sunshine Village there are a number of regular features including flat boxes, rails and jumps. This year, a host of new names have sprung up including barrel spine, unbox box, toe-jam box and dance floor box. They all sound like fun—or in my case probably painful—but I don't like being left in the dark, so I'm going to head the meantime, if you can enlighten to Sunshine later this month to report me so I have a clue before I head out, back on what they really describe. In please send me a message. V

VUEWEEKLY // FEB 3 – FEB 9, 2011

SNOW ZONE // 9

DISH

Find a restaurant

ONLINE AT DISHWEEKLY.CA

Expanding Dynasty

Amy Quon looking to share her knowledge of Chinese cuisine RECIPE Beijing-style eggplant (Courtesy of Amy Quon)

"I wanted to make something different. It's eggplant in a bean sauce, and it's a little bit sweet. Some people just steam the eggplant, but Szechuan style is fried, so it's a little crispier. We coat with some corn starch and fry it in the pan. Easy, right? "Then we make the yellow bean sauce, and the Szechuan spices you can get buy in the grocery store, but we add some vinegar. People who are vegetarian can just get it without meat, or you can try it with chicken or beef. And it's really good with steamed rice. "Beijing-style eggplant is different from the regular-style, because Chinese always eat it with fish. Because we don't eat too much fish in Canada, we don't put any fish in it. Beijingstyle is a little sweet, so this style is perfect for Western people."

Ingredients:

Amy Quan inside Edmonton's oldest Chinese restaurant Mike Angus // mikeangus@vueweekly.com

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eality TV celebrities are a funny bunch. The premise of taping "ordinary" folks doing ordinary things— like running a busy restaurant, for example—can catapult anyone to overnight celebrity, be it for an untilnow-overlooked talent, notoriously callous behaviour or even a lovable vulnerability that we quickly identify and attach ourselves to. When it comes to reality cooking shows and celebrity chefs, however, it would be a mistake to think of these shows as a starting point in their career. The Gordon Ramsays and Anthony Bourdains of the cooking world didn't spring to success after their shows: they're simply capitalizing on a lifetime of hard work, sweat equity and commitment. In other words, there are no overnight success stories in the cooking world. Such is the case with Edmonton's Quon family, who have owned and operated the Lingnan Chinese restaurant for nearly four decades. The Quons were profiled on the third season of Family Restaurant for the Food Network Canada and the show proved to be so popular that the Quons were brought back for their own spin-off

10 // DISH

series called The Quon Dynasty, scheduled to air sometime in summer 2011. Husband and wife Kinman and Amy head the family business, Kinman having worked in it since 1972. Their children Miles and Mandy are poised to take over the family business, and the show's dynamic is driven by intergenerational squabbles and, in particular, Amy's bubbling, magnetic personality. Alongside her desire to see the family business succeed, Amy also possesses a passion for sharing her recipes and a pride in teaching others about the particulars of Szechuan and Cantonese cooking. When she and her son Miles took to instructing a Chinese cooking class at NAIT last year as part of an episode for the upcoming season, she was able to combine her love of teaching, cooking and, as she playfully puts it, "being bossy." "I started the cooking class because a lot of people like my cooking," the youthful matriarch grins. "My cooking isn't traditional, and people want me to show them how I cook. And I really like to cook! When I was young, I was a teacher in Hong Kong, so I know how to teach people, and I enjoy sharing with people too. And I like to be bossy." Between running Chicken For Lunch at Scotia Place and hostessing at the Lingnan, Amy has little time

// Eden Munro

to spend developing new recipes, but when she does, she's not afraid to shy away from innovation alongside the strong expectations of traditional Chinese cuisine. "When I get some new idea, the first thing I do is create my recipe, then I try [it] many times," she explains of the creative process. "One of the things that's really good is what I call 'purple curry,' and not too many people do it, but I put peanut butter sauce in it. It's really good, and so popular, so I made my own recipe." Her approach to cooking is reflected in her teaching style, where she observes the basics of tried-and-true traditional fare while entertaining guests and students alike with her sense of humour and personal touches. "Because Lingnan is the oldest Chinese restaurant in town, we have very traditional dishes—chop suey, a stirfry with bean sprouts, chicken gai ding [diced almond chicken], lemon chicken—those are all traditional, Western Chinese food," she admits. "Some of these combination dinners haven't changed in 60 years. "But one of the dishes, Amy's Chicken, is very popular because young people like something crispy and spicy, so I came up it on my own ... I always

VUEWEEKLY // FEB 3 – FEB 9, 2011

ask Kinman [before adding new menu items], because he's conservative, he says, 'My restaurant's been here for 60 years ... ' he doesn't want to change. Me and my son Miles like to change," she laughs. "The only thing that hasn't changed in 37 years is Kinman!" When it comes to her cooking classes, the key to Chinese cooking, she says, is learning the basics while embracing the full spectrum of the flavour palate. "When my students come to do my cooking classes, they don't know too many things, so I have to start from the beginning—even basic things, like how to thicken sauce with corn starch," she points out. "And I teach people how to eat spice. I teach them how to eat spicy dishes by giving them just a little bit at a time. At first they're scared, they don't want to try, they only want sweet and sour. And I have to say, 'No, try just a little bit at a time,' just to give them a chance to taste it and love it, and [then] getting more and more spice. You have to give them opportunity and variety. And they're so nice to listen to me, the students and my customers, because I'm bossy!" V Amy Quon The Lingnan 10582 - 104 St, 780.426.3975

1 1/2 Chinese egglants (long style) 1/4 cup green peppers, diced 1/4 cup red peppers, diced 1/4 cup onion, diced 1/4 cup pork, meat minced 1 tbsp spicy bean sauce 1/2 tsp garlic, minced

Sauce:

1 oz dark vinegar 2 oz water 1 1/2 tbsp sugar 3/4 tbsp ketchup

Instructions:

1) Cut eggplant lengthwise into 2 inch-long pieces. 2) Soak eggplant in water for 5 min to moisten. Drain water and coat with 3 1/2 tbsp cornstarch. 3) Heat 3 cups oil in medium deep pot. When oil is hot, add eggplant and deep fry until golden brown. 4) Remove and drain excess oil. Set aside. 5) Prepare sauce mixture in bowl and set aside. 6) Heat 1 tbsp oil in frying pan. Add minced pork and fry. Add spicy bean sauce and fry. Add garlic, onions, green and red peppers. 7) Add sauce to vegetable mixture. 8) Bring to a boil and thicken with cornstarch mixture (2 tbsp water and 1 tbsp cornstarch). 9) Bring to a boil again and turn off heat. 10) Add eggplant. 11) Serve with steamed rice and Alley Kat's Pi Jiu Ginseng beer, available at Sherbrooke Liquor.

BEER

British (Columbia) invasion

R&B Brewing are two small men brewing good beer in Vancouver Say hello to Rick Dellow and Barry Benbury and later operating his own brewson. They are generous guys and don't on-premises homebrew store. Barry, on mind in the least if you drink all their the other hand was a homebrewer and beer. That is because they are the "R" lab technician at Molson. and the "B" behind R&B BrewIn the early 1990s, the two paired ing in Vancouver. You will be up to do brewery design and forgiven if you have never consulting, which taught them heard of Rick and Barry or oodles about how NOT to set their brewery. They are new kly.com up a brewery. "We commuted e e w e int@vu to these parts, having only to Abbotsford together everytothep shipped a couple of pallets day and had plenty of car ride Jason to Alberta in the dying days of talks," says Barry. "We knew Foster 2010. But if you come from the we could do better than what we Lower Mainland, you have likely heard were seeing in BC at the time. And we of their beer, as they have good distribuknew we could work together because tion around that region. we spent so much time together, driving I was surprised at the beer's arrival in back and forth." our fair province, as the brewery is rather So in 1997 they set off on their own small, producing only 3 500 hectolitres, to create R&B Brewing. As Barry tells it, about half the size of Edmonton's Althey used their design knowledge to creley Kat. When I saw the 650-ml bomber ate an effective brewery on the cheap. bottles on store shelves, I was motivated "Most of the equipment is used dairy to give R&B a call and see what was up. vessels," admits Barry, saying they put I had a good chat with Barry about the together a functioning system on half brewery and the two men behind it. the cost of a new set up. In September Both have long histories in the beer inof 1997 the first keg left the brewery. dustry. Rick comes from England where he went to brewing school and worked Three of the brewery's mainstays have with such famous breweries as Bass and come to town; the Sun God Wheat Ale, Whitbread. He came to Canada in the Raven Cream Ale and Hoppelganger IPA. 1980s for a temporary exchange with The Sun God is an American-style wheat Molson and stayed, working for Shafteale, offering a hazy golden, light beer

TO TH

E

PINT

with delicate flavours all around. Soft wheat sweetness is balanced by a bit of citrus and lemon and a finish of honey. A soft summery beer that is a clear step up from Grasshopper. The Raven Cream may be my favourite of the three. It offers a reddish chestnut brown—a bit darker than most cream ales—with chocolate, nut and a touch of toffee in the aroma and flavour. A bit of fruitiness adds some body and complexity. Not as rich as a brown ale, bigger than a blonde ale, it strikes a nice balance. Hoppelganger, R&B's India Pale Ale, used to be called Hop Goblin until threatened with a lawsuit by Wychwood in England (makers of Hobgoblin). I prefer the new name, especially given its quiet flick of the thumb to Wychwood. Hoppelganger is designed in the American tradition, with grassy, citrusy hops and a lighter malt profile than English IPAs. The bitterness is not overly assertive, more like an edgy pale ale than an IPA. It goes down nicely. Distribution in Alberta is, for now, fairly limited, but growing quickly. The bottles aren't priced in the discount category, at $8.99 for 650 ml. Try the searchable database at www.albertaliquor-guide.com to find a location near you that carries R&B. V

VUEWEEKLY // FEB 3 – FEB 9, 2011

DISH // 11

12 // DISH

VUEWEEKLY // FEB 3 – FEB 9, 2011

PROVENANCE

LIQUOR

The troubles

lowed the quality to slip quite far. In 1987, the opening of Cooley Distillery—a fully independent and 100 percent Irish-owned distillery—marked the start of a new era. The Irish Distillers corporation, which had since become a subsidiary of the Pernod Ricard group, immediately tried to take over Cooley, but the buyout was thwarted by the Irish government. Since then, Cooley has launched a number of high-quality malt and blended whisky brands, forcing Irish Distillers to follow suit and improve its own brands. m o .c ly k uewee Irish whisky is similar in commel@v Mel position to Scottish whisky: ey both have two main styles, single Priestl malt and blended. Single malt whiskies are made entirely from barley at a single distillery. Blended whiskies are made from a blend of grains, mostly barley with some oats and/or wheat, and they can also be blended with other whiskies, including // Elizabeth Schowalter those from other distilleries. puchin Friar, Father Matthew. Hundreds of Where Irish and Scottish whiskies differ is distilleries were closed and many of the rein the drying process—to make Irish whisky, maining distilleries packed up shop and left the grain is moistened and allowed to gerfor more booze-friendly countries. minate, after which it is dried before underThe 20th century brought another series going crushing and distillation. In Scotland, of setbacks to the Irish whisky industry: peat fires are traditionally used to dry the the 1916 War of Independence brought all grain as it sits on a perforated floor, which distillation to a standstill, and afterward allows the smoke to envelope the grains and Britain's trade embargo on Ireland preventimbue the whisky with a heavy, peaty qualed it from exporting whisky to any country ity akin to bacon fat and campfire smoke. In in the British Commonwealth. The United contrast, Irish whisky production uses a kiln States entered Prohibition shortly afterthat does not allow the smoke to come in ward in 1920, which destroyed Ireland's contact with the grain, so Irish whiskies are remaining export market. Then the Second typically smoother and lighter, with cereal World War caused a severe grain shortage and malt barley characteristics (think green, that froze distillation once more. vegetal flavours). In recent years, however, After the war, Ireland's remaining disseveral of the Irish distilleries have experitilleries were so beleaguered that they mented with making peaty whiskies in order were forced to merge in order to survive, to compete with the popular peaty single so in 1966 the Jameson, Power, and Cork malt Scotches. These peated Irish whiskies Distillers merged companies and formed are surprisingly delicious and, as an added the Irish Distilleries. Bushmills joined bonus, are usually much cheaper than a three years later in 1970 to complete the comparable single malt Scotch. monopoly—there wasn't a single other Irish whisky should be served in a glass distillery left in Ireland. with a wide mouth and no stem. Many people like to drink their whisky on the For almost 20 years, Irish whisky stagrocks, though sipping it neat with a drop or nated: all brands were made by the same two of water will enable you to savour its company and the lack of competition alfull range of flavours. V

Pete Desrochers // DESROCHERS@vueweekly.com

The history of cereal

The turbulent history of Irish whisky

LIVING F

PROO

Irish whisky has had an extremely turbulent history; a serious of social, economic and political setbacks have resulted in the current state of the industry, in which there are only four distilleries operating in the entire country—compared to over 100 in Scotland. Around the 11th century, Irish monks brought the knowledge of distillation back to Ireland from the Arab empire. They quickly modified the process from its original use (to make perfume) in order to produce a prototypical whisky from their local grain (barley, oats and wheat). I imagine that in those days before central heating, a good shot of whisky made the harsh Irish winters somewhat more tolerable. Stills quickly cropped up throughout the country, and by the late 1700s there were nearly 2000 stills operating in Ireland— though over two-thirds of these were illicit and unlicensed. (The world's first licensed distillery, Bushmills, opened in Ireland in 1608; obtaining a license was expensive, however, and most distillers chose to ignore the law and sell whisky illegally.) The rampant production and consumption of illicit whisky led to a series of anti-alcohol crusades in the 19th century, led by a Ca-

VUEWEEKLY // FEB 3 – FEB 9, 2011

Cereal was not a common breakfast until quite recently. Breakfasts often consisted of pork chops or rolled beef, as well as bread or heavy biscuits. Cereals as we know them didn't make an impact on breakfast until the early 1900s. Dating back at least three centuries, porridge was the traditional cereal throughout much of Northern Europe and Russia. Barley was the most commonly used grain, supplemented with other grains or yellow peas. Cereal grains were soaked to soften them and make them palatable. Later, simple boiling was preferred, because it did the same thing, but created a warm dish for cold mornings and evenings. Initially, porridge was considered a poor man's food, so it took some time before it became socially acceptable among the elite. Although filling and quite nourishing, this porridge wasn't particularly flavourful, so people added sweeteners, such as brown sugar, honey, or maple syrup. Breakfast cereals as we know them came into existence in the mid-1860s. Dr James Caleb Jackson ran a sanitarium in New York, where he was concerned that too many of his patients had gastrointestinal problems, due to a lack of fibre. So Jackson came up with "Granula," comprised of dense bran nuggets that had to be soaked overnight in order to be chewable. While he had the right idea, his breakfast remedy was unpopular and not destined to last. One of his patients, however, was a woman named Ellen White, a lady who later moved to Battle Creek, where she went on to form the Seventh Day Adven-

tist religion. One of her church members also ran a sanitarium. His name was John Kellogg. Kellogg had the same concern for his patients' gastrointestinal disorders. His efforts focused on developing a digestible bread substitute by boiling wheat and rolling it into healthy biscuits. One night in 1894, John Kellogg and his brother, Will, accidentally left a pot of boiled wheat grains standing overnight. When they tried rolling the softened wheat, each grain emerged as a large, thin flake. When dried, these flakes became a tasty cereal. The process worked even better with corn and by 1906, the Kelloggs had founded the Battle Creek Toasted Corn Flake Company. The irony doesn't stop. During this time the Battle Creek Sanitarium had a patient named Charles William Post, who was intrigued by the breakfast cereal he was served. He went on to start his own operation. To start, he improved upon Jackson's failed granula, and created what we know today as Grape-Nuts. Soon after, he created his own brand of corn flakes which he called Post Toasties. So it was from this one sanitarium in Battle Creek that two food giants emerged, Kellogg's and Post. General Mills didn't get into the cereal market until much later when, in 1941, it introduced Cheerios. Cheerios were slow to catch on, but once they did there was considerable competition to create a variety of new cereals to satisfy an exploding market which, up to now, had really only had corn flakes. V

DISH // 13

ARTS

"There's a lot of movement and sensuality."

Language barrier /16

COVER // THEATRE

Seeking inner peace

What you really need, though, can be a tricky thing to pin down. To a certain extent, Communion examines psychiatry and religion both as ways of getting at what ails us—really, they seem like different colours of the same spectrum— but the strength of each gets called into question: both characters who define themselves in either extreme seem just as adrift in personal worries as Leda, who's committed to neither. Neither method seems to offer a quick fix forsubstantial inner peace, notes Kate Ryan, who's playing Carolyn. "This play's so right for today's society because, like Leda says so many times, 'I just want you to tell me what to do,'" she says. "Everyone wants a quick fix, y'know? Books out there today are 'How do you solve your relationship?' Tell me what to do, and it'll all be better. But really, they discover it's not as easy as that, especially with the things that plague us." Some of those plagues are what MacIvor's referred to as a "pandemic of narcissism." Communion's part of a trilogy of plays dealing with the search for meaning in life, and the idea that may-

Three women reach crisis points in Communion

the needs of someone else, there's incredible value in that. And that to be of service to others, and to genuinely care about doing something for someone else, that kind of a selfless act can change your life. For the better." Copithorne's a longtime appreciator of MacIvor's works—she's only directed one, but has seen a number of his own performances. She likes the way he writes for women and how it differs from his performances in his own shows. Copithorne points out that the creative process changes when he's writing for characters "he'll never play." "It's just a different way in for him," she says. "When he's writing for himself, there's a lot of improvisation that happens. I think when he's writing for women, Marion Bridge and A Beautiful View, and this one, I think he just comes at it from a different perspective because he's not going to be in it." And what they've found working through the text in rehearsal is that, while Communion makes substantial use of silence—particularly with Carolyn's

"Everyone wants a quick fix, y'know? Books out there today are 'How do you solve your relationship?' Tell me what to do, and it'll all be better. But really, they discover it's not as easy as that, especially with the

// Ian Jackson, Epic Photography

things that plague us."

Paul Blinov // paul@vueweekly.com

T

hough all three never share the stage, the women who comprise the heart of Communion need each other. Maybe adding "desperately" to that wouldn't be too much embellishment, either, as they've all reached their personal breaking points: Leda's a reformed alcoholic whose earlier boozy tendencies have burned a lot of past bridges—with a particularly wide chasm still separating her from her daughter, Annie—and who's now been given a narrow window of time to wrap

14 // ARTS

up her affairs within; Annie now goes by Ann, after marrying into a religious sect which she appears increasingly devoted to; Carolyn's a psychiatrist who's experiencing her own sort of crisis of faith, feeling disconnected to her career in professionally helping people out. The most intriguing part of Daniel MacIvor's script might be its cumulative structure and how that leads its characters on: three scenes, performed in pairs, take us through the arcs of each of the women, connecting them without falling back on the two-against-one tropes that usually flesh out three-cast shows. Instead, the women in Communion are

left to butt heads and argue and try to understand each other one on one. Not an easy task. "Everyone is a bit at sea, in trying to find a vocabulary with one another, or trying to persuade them as to what it is that they need," explains Natascha Girgis, who plays Leda, on a lunchbreak in Theatre Network's Roxy Theatre foyer. "But they're incapable in their journey at that point to offer that, until they get to a place where it drops in for them, whether that's the resistance or whether that's through self-discovery, or just being in touch with what you really need."

VUEWEEKLY // FEB 3 – FEB 9, 2011

be the best thing a person can do, is to truly be of service to another in need. "I think that as human beings, we're always focused on our own needs first," explains director Marianne Copithorne. "It's what drives us. And as long as we're healthy, we're constantly thinking towards the future. The future's what drives us, right? You get up in the morning and you have a list of things that you're going to do: You have to go to work, you're going to work out, you're going to get groceries, you're going do some writing, you have to answer some emails, bla bla bla, and it's all about the future. The immediate future and the distant future. And that's what we do as human beings. "Anything that we do, even if we give to charity, or if we volunteer or whatever, it comes from a place of enlightened self-interest, but it still comes from selfish kind of place, 'cause that's what human beings are," Copithorne continues. "When we're hungry we eat. We have needs and we find a way to meet them. And I think that what [MacIvor]'s getting at is that sometimes, if you can shake yourself out of being the lead character in your life, and focus on the needs of someone else, truly focus on

approach to psychiatry—the dialogue that's there is vital. Copithorne and Girgis agree about the lack of throwaway lines, and the challenge of making sure every idea comes through with clarity, because those ideas make up a whole, ultimately hopeful image for humanity. "I just think that for us, the whole journey of understanding that we are very individual people, and we suffer a lot in silence, and we worry at night about our own existence and what is to come, and how we're going to deal with that," says Copithorne. "If you have a strong belief system, hopefully that is going to help you when it's your turn to deal, and if you don't, when suddenly your mortality is very specifically in front of you, how are you going to deal with that, and more importantly, is there somebody you can help in them watching with how you deal with that?" V Until Sun, Feb 20 (8 pm) Communion Written by Daniel MacIvor Directed by Marianne Copithorne Starring Natascha Girgis, Kate Ryan, Sarah Sharkey Roxy Theatre (10708 - 124 st), $23 – $27

PREVUE // THEATRE

PREVUE // OPERA

A theatrical feast

I dream of Mozart?

August: Osage County packs three hours of blackly comic drama

// Kelly Redinger Studios

// David Cooper

Mel Priestley // mel@vueweekly.com

The family home as an emotional battlefield

// paul@vueweekly.com

T

he family dynasty has a proud history in theatre. Bob Baker, sitting in the Citadel Theatre's boardroom a few minutes after breaking from rehearsal, can rattle off plenty: King Lear, the early works of Michele Tremblay and David French, he notes, alongside Tennessee Williams' The Glass Menagerie, Eugene O'Neill's Long Journey Into Night, all draw on the family dynamic to propel their plotlines. "I think people write about relationships, and what they know, and everyone can relate to a family situation," Baker says. "I think family stories are relatable, and I think everyone can understand the pressures of being a child, the responsibilities of being a parent, or the cataclysm of divorce, and its effects. Everyone can understand these emotions; so it's great to watch them from a distance." Still, August: Osage County isn't just another ridge added to the well-worn groove, and Baker knows it. It's something bigger, a sprawling, three-hour blackly-comic Broadway drama, with a principal cast of 13, and the Pulitzer plus a horde of Tony Awards already to its name. "I know a lot of people go, 'Oh, three and half hours, jeez.'" Baker says. "But if it's engaging, if it's well performed, if it's well written—all of which it is— it's captivating. It's a feast. It's a theatre lover's play." Tracy Lett's script centres on a big family carrying dark secrets. They've been forced together by necessity: the family patriarch is missing, so the close quarters of the family home—three stories tall, built on the Citadel's Shoctor stage—confine them all, with those secrets pressing up against one another until they start to burst out into common knowledge. "The play starts with every charac-

ter in some kind of emotional crisis in their own lives, before they come to the central crisis, which is Dad is missing," Baker says, "So whatever pulls them together, they come with this baggage that is all these pressure cookers. "It's a lot about blame and resentment and abandonment, and it deals with suicide to cancer to addiction of every kind, to divorce, to incest to pedophilia. It's hilarious," he continues. "You can't kind-of believe that all these subject matters are packed into one play, and yet it's believably told." Still, three hours of drama requires stamina. Baker purposely programmed August in a time that didn't conflict with the Shaw or Stratford festivals, to maximize opportunity for mature actors of his desired calibre. It worked: well-established out-of-towners Fiona Reid and Brenda Robbins head up the cast. Still, once he had his ensemble, he had to go about declining plenty of requests from "very high powered, A-list type actors from everywhere." And so far, in rehearsal August is living up to its intense reputation. "After we did our first and only run though in the rehearsal room, none of us could speak for about five minutes. It was the weirdest thing," Baker explains. I've never in my life in theatre, ever experienced the end of a run through ... they weren't upset with themselves, it wasn't the best run through, it wasn't the worst run through, but it was the first time they'd all been in the room telling the story and we felt we couldn't get any air. It was really an odd, experiential moment." V Until Sun, Feb 20 (7:30 pm) August: Osage County Written by Tracy Letts Directed by Bob Baker Citadel Theatre (9828 - 101A Ave), $50 – $71

PAUL BLINOV // PAUL@vueweekly.com

Seraglio gets a '60s makeover

Dr No meets Mad Men meets Mozart?

Paul Blinov

ARTIFACTS

'I

t's Dr No meets I Dream of Jeannie, with a little Mad Men thrown in, too." If I asked you to guess the subject of this discussion, I'm betting "a Mozart opera" wouldn't be your first response. But that is exactly what Michael Cavanagh, director of the Edmonton Opera's production of The Abduction from the Seraglio, is discussing. Cavanagh chose to stage Abduction as a 1960s-era espionage caper for several reasons. "It's very hip right now, all this early-60s stuff—so people have an instant connection to that era; it's nostalgia," he explains. The setting was also chosen for reasons concerning the plot: the opera centres around the rescue of two women from the clutches of a villain, so framing it as an espionage story fits perfectly. Politics provided a third motivation for the change in setting. "This [opera] is set in the Middle East, and there's references to Islam and Allah," Cavanagh notes. "We wanted to take all the controversy off the table and set it in an earlier time, before what we immediately think about with the Middle East these days, before it was really such a part of our popular culture." Despite the ample liberties taken with the setting of the opera's storyline, Cavanagh emphasizes that the score has remained unchanged. "No one was better than Mozart at scoring the human heart," he says, "and allowing music to speak for us in emotions we can't even put words to."

see his opera—especially one that has traditionally been taken very seriously—adapted into a light-hearted and occasionally lewd spy story. "Mozart was not very politically correct either," says Cavanagh. "He also had a great sense of fun, and he loved to tweak the noses of anyone around him." The Abduction from the Seraglio is often an overlooked work when considered alongside the rest of Mozart's operas, and Cavanagh notes that it is not performed very often. "It's a great opera if you've never seen an opera before," he says. "And it's a bit of a Mozart rarity, so it's great to see it given a big treatment like this." V Sat, Feb 5; Tue, Feb 8; Thu, Feb 10 (7:30 pm) The Abduction from the Seraglio Directed by Michael Cavanagh Jubilee Auditorium (11455 - 87 Ave),

Yakiv Stepovyi: The Art Songs / Sun, Feb 6 (7 pm) The art song is a poetic, musical form, not connected to a larger existing work like an opera or musical, and usually performed with minimal accompaniment in a recital setting. It's a style that quite a few modern performers have built their reputations on, eschewing more traditional routes, and the stand-alone form's popularity in Ukraine can be sampled in Yakiv Stepovyi: The Art Songs. A project 15 years in the making, it's a performance of and release party for a recording of 26 Ukrainian art songs, many of which seemed lost or forgotten during Cold-War-era Europe. Hosted by Edmonton Opera artistic director Brian Deedrick. (Winspear Centre [4 Sir Winston Churchill Square], $30 –$50) Trudeau Stories / Wed, Feb 9 (8 pm) He was the most charismatic Prime Minister Canada ever elected, and Brooke Johnson knew him well. They met in 1985, more than a year since he'd left the PM job, and Trudeau Stories is Brooke's recollection of their friendship, pulling from memories and their written correspondence to draw a touching portrait of the man who managed to hold a nation together. (The Arden [5 St Anne Street, St Albert] , $20 – $28)

$32 – $160

And therein lies the real challenge with this production: balancing the silly with the sophisticated. "There's lots of hijinks and silliness going on, but then there's also moments of real ethereal beauty," Cavanagh states. "That's been the greatest challenge, to make sure we give each of them full value." Were Mozart alive today, it's quite possible he would be tickled pink to

VUEWEEKLY // FEB 3 – FEB 9, 2011

ARTS // 15

COMMENT >> VISUAL ARTS

PREVUE // THEATRE

Language barrier

Élisa's surtitles give anglophones a way in Mel Priestley // Mel@vueweekly.com

A

s a play written by noted Québécois playwright Carol Fréchette and performed entirely in French, La Peau d'Élisa (Elisa's Skin) may seem like an intimidating performance to anglophones. However, Edmonton's L'Uni Théâtre aims to dispel any intimidation by including English surtitles in its production, as well as emphasizing the universality of the story. "We certainly hope to draw an audience from both cultures," notes Holly Turner, who plays the central character of Elisa. "There's no particularly French or Québécois aspect to it; it's as universal as any Eugene O'Neill play." Turner describes working solely in the French language as a challenging but rewarding experience. She learned French in high school and speaks it reasonably well, but she had never performed in French; working on this play forced her to hone her grammar and perfect her nuance. "But it's really been fun," Turner states. "I mean, what actress has never wanted to pretend she was Catherine Deneuve?" As suggested by the title, Elisa's skin

is used as a metaphor for depicting both aging and the passage of time. The script is nonlinear, jumping forward and backward in time as Elisa recounts stories of her past lovers and reflects upon her present situation. Turner notes that the set was designed specifically to visualize these themes. "It is a play that is open to numerous different scenic interpretations," she says. "The set itself is going to have sand and water. There's a lot of movement and sensuality." Turner goes on to explain that past productions have tended to take a minimalist approach to set design, so this particular production is a bit of an oddity. Though there are two characters in the play—Elisa and the Young Man— Turner notes that it is "practically" a one-woman show. The Young Man is integral to the story, but he acts as more of a foil to Elisa and her recollections. Turner also notes that, despite the themes of aging and lost love, this is not a cheerless, melancholic performance. "The play itself is actually very uplifting: it's full of the joy of life and the pleasure of sensual encounters." These themes are better evidence than anything else of the play's universal appeal—you certainly don't need to speak another language to understand them. V Thu, Feb 3 – Sat, Feb 5; Thu, Feb 10 – Sat, Feb 12 (8 pm) Sun, Feb 6; Sun, Feb 13 (2 pm) La Peau d'Élisa (Elisa's Skin) French with English Surtitles Written by Carol Fréchette Directed by Daniel Cournoyer La Cité francophone (8627 - 91 st), $16 – $25

16 // ARTS

VUEWEEKLY // FEB 3 – FEB 9, 2011

Close the gap

Division apparent at Canadian symposium Last week in Winnipeg amidst a deep freeze a reputation of being a boys' club. The conwintry weekend, The Winnipeg Art Gallery ference was a first of its kind for a reason, in partnership with Mentoring Artists For as women working in this realm have been Women's Art (MAWA) presented Sculpturfar less recognized than women working in al Vocabularies, Canada's first international Two Dimensional and Performance. There symposium on women in sculpture. is no clear reasoning, though over dinner Presenters included 2009 Gershon with some conference delegates, Ishkowitz winner Shary Boyle, theories swirled that a permanent who's coming off a landmark feminist public art piece (aside year in her career with a major from figurative legacy projects) m solo show touring across the could exist as the intention beekly.co e w e u v amy@ country, internationally heraldhind public art in all its reinforceed Aganetha Dyck, whose art ment of power and structure is Amy work with honey bees has been Fung antithetical to feminism. revolutionary, Rebecca Belmore, It's been 40 years since the radical Canada's Venice Biennial representation in rise of politically engaged feminists in the 2005 with a body of work that crosses over art world. That era has been historicized as from performance to sculpture to video, a story from the past, through exhibitions among many more active artists working like WACK! and by thinkers who think we across North America and Europe. are now post-feminism in the creation and The symposium drew visitors from across exhibition of contemporary art. But the the country, with a strong contingent reprenumbers haven't changed. Artists who are senting Winnipeg's consistently vibrant arts women are still consistently receiving less community. Well over a hundred individuals exposure than their male peers in solo exand delegates from artists, curators, writers hibitions in galleries and museums, across and administrators registered and attended, the mediums, even though enrolment by and lively debates and conversations were women in art schools has exponentially held on the process, possibilities and poskyrocketed over four decades. While most tential of sculpture and public art. Through artists I encounter do not relate to the label it all, it was a great weekend, but a part of of "feminism," and admittedly that is a term I me couldn't help but look around Muriel have wrestled with myself, the momentum Richardson Auditorium every morning and of discourse continues on whether or not wonder: why are there less than five men in we personally identify with it. the whole room? You don't have to be a feminist to engage, Breaking that five down, at least one was enjoy or even like art made by women and the husband of an artist, one a volunteer, you don't have to be a woman to engage, one a father of one of the organizers, and enjoy, like or dislike art made by women. at least one was on the clock. What, if anyBut you have to see it to decide for yourself. thing, about this extraordinary event kept Art, on some level, is still about communithe men at bay? cating a human expression unheard through any other means, and it's amazingly disapThe symposium was about women in pointing to see the disregard we still have sculpture, but first and foremost, the when it comes to hearing what we all have symposium was about art. I can't imagine to say to each other. V such a disparity was mere coincidence. It's not that women in sculpture is an entirely Amy Fung is the author of foreign concept, though the field has held prairieartsters.com

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VUEWEEKLY // FEB 3 – FEB 9, 2011

ARTS // 17

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18 // ARTS

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VUEWEEKLY // FEB 3 – FEB 9, 2011

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FILM

"I think laughing together about the big, scary subjects helps take the teeth away from the monsters."

FAVA Profile: Trevor Anderson /ONLINE AT VUEWEEKLY.COM

REVUE // DRAMA

Slow road to Somewhere

Autobiography and gentle emotion season Sofia Coppola's latest

Father and daughter bond Somewhere Josef Braun // josef@vueweekly.com

O

ne is characterized by decadence and girlhood, the other by austerity and manhood, but both are fun and dryly funny, both remarkably tender and both orbit a system of privilege and unapologetically acknowledge the ennui can afflict its stars. Perhaps the important difference concerns the nature of these films' central relationships.

Between making Marie Antoinette and Somewhere Sofia Coppola had a child, and somewhere in the interim the latter became less about a male movie star whose soul has evaporated under the limelight than a father who attempts to breach the distance between he and his daughter with the utmost gentleness, as though the slightest hint of exertion might throw off the whole gambit. The hero of Somewhere almost never looks like he's working hard, and neither does

its director. That's the charm of Coppola's filmmaking, and it takes some kind of miserly grouch to dismiss her work for its buoyancy. OK, miserly and impatient. Somewhere is a lovely, witty, touching film, but it's not going anywhere fast. It opens with Johnny Marco (Stephen Dorff) driving his Ferrari in high-speed circles, a closed circuit that flatly summarizes the current course of his existence, drifting between parties, press junkets and award ceremonies. He's

driving on autopilot, as is most hilariously evident in a scene where he goes to bed with a stranger and falls asleep in her vagina. He breaks his arm in a party accident, and holes up at the Chateau Marmont, where he runs into Benicio Del Toro in the lift. More for consolation than arousal, we see Johnny hire a private pole-dancing performance from blonde twins preparing for their exam. Soon afterward we see Johnny watch 11year-old Cleo (Elle Fanning) rehearse a figure skating routine, and while there's a detectable similarity in Johnny's response, a calm, paternal, indiscriminate sort of encouragement, we're never meant to confuse Johnny's affection for seducible young women with his quietly anxious adoration for his daughter. That would be a sleazier, easier film than the one Coppola's crafted here. What follows is simple enough—Johnny, normally a strictly short-term parent, finding himself the guardian of a tween over an extended period—yet what happens under the surface of Johnny and Elle's time together is anything but. As father and daughter hang out and travel together, mostly in familial harmony, emotional contracts are discreetly redrawn. Something changes for both characters, though these changes are only suggested by Coppola's use of sequence, music and image (her shooter is the great Harris Savides). And, of course, by the actors. Dorff is brilliantly cast. If he were an A-list celebrity his tabloid status might have interfered with the Coppola's focus on intimate relationships, with the film world residing always in the background.

DVDDETECTIVE

Broadcast News goes behind the scenes with on-air personalities

basis just to assure herself that she hasn't lost her ability to feel—but for her personal life, since she discovers that she fancies Tom, and once her old buddy, the devoted reporter but less than telegenic Aaron (Albert Brooks), discovers that Jane fancies Tom, Aaron realizes that he's always fancied Jane, and Aaron really needs to hate Tom, even though Tom makes it hard by being a basically nice guy. Things get complicated, and it's to the credit of writer/director James L Brooks that Broadcast News (1987), never compromises those complications by imposing facile resolutions. Seeing Broadcast News for the first time, it initially struck me as jarring to imagine William Hurt and Jack Nicholson inhabiting the same movie—there are simply certain stars, or certain star

Now Playing Somewhere Written and directed by Sofia Coppola Starring Stephen Dorff, Elle Fanning Princess Theatre (10337 - 82 ave)

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JOSEF BRAUN // JOSEF@vueweekly.com

Anchor men Tom (William Hurt) met Jane (Holly Hunter) when Jane gave a lecture at an industry conference about the moronization of the TV news. Nearly the whole of Jane's audience of cynical, careerist colleagues just rolled their eyes, but for Tom, Jane's words fell upon him with the force of revelation. Because Tom's a symptom of precisely the problem Jane's addressing. Tall, handsome and Aryan, sporting a pleasing baritone, displaying no special talent whatsoever for journalistic insight, Tom was a born anchorman. Soon he becomes Jane's anchorman, and Jane his producer, whispering instructions in his ear at just the right on-air moments, which causes all sorts of problems not just for Jane's sense of professional integrity—this is a woman who forces herself into sobs on a daily

More importantly, Dorff's smiles retain something of his co-star's adolescent lightness, while in other scenes he exhibits the weight of his years through an exhausted slouch. His comic timing's inspired. In a bit where he gets a text message that reads, "Why are you such an asshole?," it's Dorff's utterly nonplussed response that constitutes the scene's punchline. Fanning meanwhile is radiant and touchingly real, natural without any self-consciousness, the ideal product of an acting clan in that she bears none of the ingratiating qualities of many child actors yet seems completely at ease before the cameras. Her role inevitably prompts us to seek parallels between Cleo's childhood and the director's, but I suspect Francis Ford Coppola's life was awfully messier and more fraught with business crises than Johnny's. My feeling is that autobiography is the film's seasoning, not its meat. Somewhere is finally very much in keeping with Coppola's ongoing concerns, particularly those of Lost in Translation, with which it shares some similar turning points. But it's also a step forward from that earlier film's portrait of life as permanent transit. By the time we've reached the end of this entry into the cinema of dislocation, there's the sense that perhaps Somewhere truly does find a place for us. V

egos, that seem to burn too boldly to share a constellation. Brooks himself tacitly acknowledges something momentous about a Hurt/Nicholson collision by taking their few seconds of shared screen time and filling it with an enormous close-up of their shaking hands. As it turns out Nicholson's role is almost small enough to be considered a cameo, the bulk of his performance playing out on TV monitors watched by the other characters, a little bit like Brian O'Blivion in Videodrome ('83), but with better grooming and less zeal. What's more deeply unsettling is the experience of witnessing Criterion's spinning "C" introductory logo being followed by the whimsical, overly illustrative strains of Bill Conti's musical score.

VUEWEEKLY // FEB 3 – FEB 9, 2011

Whether issuing works from the giants of foreign art cinema, studio-era classics or psychotronic cult obscurities, Criterion has nearly always been synonymous with durability and keen, eclectic taste, so it takes some time to reconcile their brand with music from the dude who conducts the Oscars. But, okay, so I'm sensitive to sappy music. Fact is Broadcast News does represent the zenith of a particular kind of Hollywood film, one Brooks has made a career of, sometimes winningly, sometimes disastrously (How Do You Know), sometimes problematically while under the impression that this is As Good As It Gets. His are brainy, ambitious comedies with an interest in group dynamics, social milieux and romantic frustration, that delve into their characters' eccentricities rather than simply use those eccentricities for superficial colour. Broadcast News has also accumulated tremendous historical value by having examined how televised news was generated, consumed, and es-

sentially downgraded at a key moment in its development, and benefits enormously from Michael Ballhaus' superb camerawork every time we're offered a peek behind the scenes. It's also, of course, fairly entertaining, thanks especially to Hunter, who can somehow be at once zany and emotionally grounded, and Albert Brooks, rather moving and very much in his element, playing a character whose relationship to his female colleague is remarkably similar to that of Brooks' character in Taxi Driver. Yet, as with some other James Brooks films, I couldn't shake the feeling while watching Broadcast News that its clever gags were actually intended to be much funnier than they are. It might be a matter of rhythm: I recall at least two scenes that end with Albert Brooks saying or doing something funny, but instead of cutting on the joke, the scene ends with Hunter's laughing reaction. I'd have preferred it if Brooks let me laugh instead. V

FILM // 19

Another Year

The tyranny of the well-adjusted

Opening Friday Written and directed Mike Leigh Starring Ruth Sheen, Jim Broadbent, Lesley Manville Garneau Theatre (8712 - 109 St)

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Seasons pass, the garden's tended, visitors come and go. "Nothing changes," sighs one of our ensemble of mostly middle-aged, middle-class Londoners,

though that's not always bad news where certain cinematic yields are concerned. Honestly, I'm not sure that any new ground is broken in writer/director Mike Leigh's latest multi-character study, yet it somehow feels fresh anyway. Another Year is chatty and rambling, busy yet plot-free, tender yet merciless about how life can keep getting more unruly and incomprehensible, and, despite a number of chronically anxious, sub-

stance-abusing or otherwise depressed supporting characters—not to mention a harp-heavy score from Gary Yershon that creeps into New Ageyness—it's also very, very funny. Tom and Gerri (those sturdiest of Leigh vets, Jim Broadbent and Ruth Sheen), a chipper geologist and warmly maternal psychologist respectively, are the film's collective rock. Lucky to have each other, they're not flawless people, yet each possesses that rare gift for contentment, so much so that you might find yourself wondering if, like Leigh's recent HappyGo-Lucky, their story mightn't become another cautionary tale about the tyranny of the well-adjusted. The film is built around the couple's hosting at least four festive gatherings and a funeral. At nearly every one of these occasions Mary (Lesley Manville, mannered yet so precise) turns up, merrily envies her patient friends, gets plastered and only gradually learns not to put the moves on their son (Oliver Maltman). Perhaps she needs someone to help, and she might just find it in an ashen widower (David Bradley) who looks like Motörhead's Lemmy if Lemmy were a vampire. Good old Ken (Peter Wright), meanwhile, may not ever learn to moderate his food intake, nor to stop two-fisting the lager, nor recover his unobstructed view of his own lap, but there's always hope. Such things take time. Fortunately, Another Year is so pleasurable and sometimes touching that you won't be in a hurry. Josef Braun

// josef@vueweekly.com

Marwencol

Part of Mark Hogancamp's Marwencol

Fri, Feb 4; Sun, Feb 6; Mon, Feb 7 (7 pm & 9 pm) Directed by Jeff Malmberg. Metro Cinema (9828 - 101A ave)



Mark Hogancamp went into a coma for nine days after being beaten by four guys outside a bar. The movies have told us that something strange and possibly sinister transpires in that fathomless nonplace where victims of accidents, crimes and war plunge for a time, but for Hogancamp, what was lost while comatose seems to have been a blessing. He awoke with severe amnesia, which meant he forgot he was a ruinous alcoholic. Bottles of booze stir nothing in him now. Their faded allure has freed him to make a new life, but of what sort? He had to learn to walk and talk all over, but couldn't quite shake off a tremor. He can only handle working one shift a week making meatballs at a diner. In his abundant spare time he discovered he wasn't just brain injured but

deeply lonely. Medicare bought him little in the way of therapy, so he had to invent his own. In his Kingston, NY backyard he constructed a Belgian village in miniature, populating it with dolls refurbished as soldiers and women seeking refuge from the Second World War. Jeff Malmberg's documentary about Hogancamp is named after Hogancamp's creation: Marwencol. It isn't to dissuade you from seeing Marwencol when I say that everything great about it is derived from Hogancamp's own charisma, vulnerability and creativity. I don't think Malmberg went as deep as he could have. There's so often the feeling that Malmberg stopped digging as soon as he uncovered a sentimental sweet spot—which is easy enough since Hogancamp wears his heart on his sleeve, and his heart is so directly connected to his endearingly desperate horniness. All of Marwencol's most striking images come directly from Hogancamp's own lens, his painstakingly made photographs of tableaus depicting the elaborate dramas unfolding in Marwencol, tales of bravery, sadism, romance and betrayal. These inspired pseudo-film stills are what brought Hogancamp's project to public attention, first in the pages of Esopus Magazine and later via his solo exhibition in a Manhattan gallery. But it's enough that Malmberg invested such time in allowing his subject to reveal himself, fears, obsessions and fetishes included. I don't like to let documentary filmmakers off the hook just because they chose a great subject, especially from the veritable gold mine of the outsider art world, but I have to commend Malmberg for recognizing that Hogancamp had a lot to say and mostly staying out of his way as he tried to speak. You might say that what Hogancamp's inadvertently achieved is a modest version of what Philip Seymour Hoffman undertakes in Synecdoche, New York, but all on his own, and without a MacArthur Fellowship. Hogancamp's dolls are surrogates for people he knows, neighbours, friends and workmates, and he uses these figures to negotiate between fantasy and reality, desire and disappointment. Unlike Charlie Kaufman's epic of proliferate simulacra, Marwencol ends not with death but the possibility of rebirth. Hogancamp had the need for alcoholic oblivion beaten out of him. He constructed a place where his inner demons could wage war without hurting his loved ones, and he may have become an artist while mostly just trying to heal himself. Some day Hogancamp's Second World War will probably have to end, but his postwar universe will be glowing with nothing but potential. Josef Braun

// josef@vueweekly.com

20 // FILM

VUEWEEKLY // FEB 3 – FEB 9, 2011

CASABLANCA

Mon, Feb 7 (8 pm) Part of the Edmonton Film Society's Winter Program "Favourite Films Forever II" Directed by Michael Curtiz Written by Howard Koch, Julius J and Philip G Epstein Starring Humphrey Bogart, Ingrid Bergman, Paul Henreid Royal Alberta Museum (12845 - 102 Ave), $5



After a long period of praise, there is a point where art becomes artifact, where it gets plucked from the mess of subjective muck and composted emotion from which all art emerges and gets pinned under glass as a splendid example of the genus. At this point, the act of actually consuming the art is less about affection than appreciation: it moves from being about searching for the ecstatic sense of satisfaction that comes from realizing someone else in the world fundamentally understands it the way you do to a sort of self-satisfying Good

THE RITE

Now playing Directed by Mikael Håfström Written by Michael Petroni Starring Colin O'Donoghue, Anthony Hopkins



Diagnosed with a dearth of faith, aspiring priest Michael Kovak (Colin O'Donoghue), who only joined the seminary to wriggle out of working at his old man's funeral home anyway, gets sent to exorcist school at the Vatican, where he meets a kooky old Welshman (Anthony Hopkins) who teaches him the ropes. Their first client's a pregnant teen who becomes a contortionist and barfs up bloody spikes whenever the Devil's steering the bus. But what really rattles Michael's sturdy skepticism is the way Satan seems to know his secrets, and speaks them out loud through the mouths of the possessed, in front of everybody, and in English, no less. Because The Rite is fundamentally about the acquisition of faith, as a weapon against diabolical forces attempting to control the flesh, as a way of focusing your mind and settling on a career. This is the story of a young fellow finding his vocation, and thus doubles as a recruitment video for the Catholic Church. Come, we're told, and fetching Italian journalists will dig you, even if you can't make out with them. More importantly, you'll get to put demons in the sleeper-hold on a regular basis.

Thing you are doing, like eating your greens or sponsoring an orphan. This is, of course, no fault of the art— it made it there precisely because a lot of people went through the messy bits and kept coming back—but it can dull its effects. Casablanca, which opens the Edmonton Film Society's "Favourite Films Forever II" program, is a pretty great example: it has long since moved from a love story to one of the love stories, an unimpeachable classic of old Hollywood. From more or less the first moment I even became aware that films were once black and white, I knew the legend of Bogey and "You're getting on that plane" and Sam's "As Time Goes By," all poignant moments that have since been flattened into a kind of shorthand for the impossible love affair.

very clearly meant to do. It's an iconic film, but you don't love an icon so much as worship it, pay homage to the fact that it was once much-beloved. Anyway, though, if you haven't seen it, it'd be awfully good for you. Of all the films on this program, the one that still manages to puncture the aura of appreciation is probably Dr Strangelove, Stanley Kubrick's brilliant doomsday satire. Even though its most striking lines are now satirical pablum—"Gentleman, you can't fight in here! This is the War Room!"—its irascible absurdity in the face of human extinction, and its bedrock belief that we will doom ourselves, helped along by three separately brilliant turns by Peter Sellers, keep its pitch-black comedy gloriously vital. But don't just take my word for it.

It's still possible to appreciate the craft of all this—Casablanca, for generally good reasons, is a staple of classic line lists—but I find it hard to actually get my heartstrings tugged, as it's all

// david@vueweekly.com

I certainly appreciate how The Rite, helmed by 1408 director Mikael Håfström, "inspired by" true events and "suggested by" a book by Matt Braglio, honours its own convictions enough to hold off on dopey spectacle and manifest its evil in relatively subtler forms—if Satan made everybody levitate and do the head-spin there wouldn't be any reason to doubt his existence. Perhaps the central problem with the film is that its conflicts are so abstract and internal that the final showdown feels artificially protracted and actually pretty dull, with not especially riveting newcomer O'Donoghue driving the devil out of Hopkins, who in going from mentor to victim gets to transition from affecting an amusingly business-like air to supplying a torrent of Hannibal Lecter-like taunts. At least he's having fun. There's also something about the way The Rite appeals to the ostensible latent Catholic in all of us that feels annoyingly simplistic, that feeds into a childish desire for sweeping solutions to life's most complex problems and absolutions from responsibility for our inner demons. Michael does indeed initially question church dogma and defer to psychology in his attempts to explain away freaky phenomena, but once he rises to the occasion and casts Satan out of a poor soul the implication is that he's learned a glorious

David Berry

For a full list of the EFS's Winter program, go to royalalbertamuseum.ca/ events/movies/movies.cfm

truth, one tantamount to a free lunch: by simply speaking some magic words, The Rite assures us, and doing so like you really mean it, we can each of us be cured of what agonizes us. Josef Braun

// josef@vueweekly.com

VUEWEEKLY // FEB 3 – FEB 9, 2011

FILM // 21

FILM WEEKLY FRI, FEB 4, 2011 – THU, FEB 10, 2011 s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) FRI�SAT 7:00, 9:10; SUN�THU 8:00 COUNTRY STRONG (PG coarse language, substance abuse)

FRI�SAT 7:00, 9:10; SUN�THU 8:00

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

DHOBI GHAT (Mumbai Diaries) (PG not recommended for young children, coarse language) DAILY 10:00

YAMLA PAGLA DEEWANA (PG violence) DAILY 1:00, 4:30, 8:00

GULLIVER’S TRAVELS (PG) DAILY 1:45, 4:15, 7:30, 9:45 HOW DO YOU KNOW (PG coarse language) DAILY 4:00, 7:10, 9:50

CHRONICLES OF NARNIA�VOYAGE OF THE DAWN TREADER 3D (PG frightening scenes) Digital 3d DAILY 1:05, 4:25, 7:05, 9:40

THE TOURIST (PG coarse language) DAILY 1:25, 4:20, 6:50, 9:20

BURLESQUE (PG not recommended for children, coarse

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

FASTER (14A brutal violence) DAILY 4:30, 9:55 MEGAMIND 3D (G) Digital 3d DAILY 1:10, 3:50, 6:45, 9:10 DUE DATE (14A crude content, substance abuse) DAILY 1:50, 4:40, 7:00, 9:40

RED (14A violence) DAILY 1:20, 6:35

THE FIGHTER (14A coarse language, substance abuse) DAILY

LIFE AS WE KNOW IT (PG language may offend, substance abuse) DAILY 1:55, 4:35, 7:20

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

THE SOCIAL NETWORK (PG coarse language, substance abuse) DAILY 1:35, 4:10, 7:05, 9:35

BLACK SWAN (14A sexual content, disturbing content, not

ALPHA AND OMEGA (G) DAILY 1:15 WINTER'S BONE (14A) DAILY 1:40, 3:55, 6:30, 9:00

CINEPLEX ODEON NORTH

14231-137 Ave, 780.732.2236

THE ROOMMATE (14A violence) No passes FRI�TUE, THU 1:40, 4:00, 7:50, 10:15; WED 4:00, 7:50, 10:15; Star & Strollers Screening, No passes WED 1:00 SANCTUM 3D (14A coarse language, gory scenes, not

recommended for children) Ultraavx, No passes DAILY 1:50, 4:40, 7:30, 10:10

THE MECHANIC (18A brutal violence) Digital Cinema DAILY 2:00, 5:00, 8:10, 10:30 THE RITE (14A frightening scenes, not recommended for children) DAILY 1:30, 4:45, 7:40, 10:25 NO STRINGS ATTACHED (14A sexual content, substance

abuse, not recommended for children) DAILY 1:20, 4:20, 7:10, 9:50

THE GREEN HORNET 3D (14A violence, coarse language) Digital 3d FRI�TUE, THU 1:15, 4:10, 7:15, 10:00; WED 1:15, 4:10, 10:00

1:45, 4:30, 7:20, 10:05

Cinema DAILY 12:40, 3:30, 6:30, 9:15

recommended for children) DAILY 12:30, 3:20, 6:50, 9:30

TANGLED 3D (G) Digital 3d FRI�TUE, THU 1:10, 3:40, 6:45; WED 1:10, 3:40

HARRY POTTER AND THE DEATHLY HALLOWS: PART 1

(PG frightening scenes, violence, not recommended for young children) DAILY 8:15

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

THE ROOMMATE (14A violence) No passes FRI�SAT 12:00, 2:10, 4:20, 6:30, 8:45, 11:00; Sun 12:00, 2:30, 4:40, 7:30, 9:50; MON�THU 1:00, 3:15, 5:30, 8:00, 10:10

SANCTUM 3D (14A coarse language, gory scenes, not

recommended for children) Ultraavx, No passes FRI�SAT 12:15, 2:50, 5:20, 8:00, 10:45; SUN 12:15, 2:40, 5:10, 7:45, 10:15; MON�THU 1:15, 3:40, 7:15, 10:00

THE MECHANIC (18A brutal violence) Digital Cinema

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

THE RITE (14A frightening scenes, not recommended for

THE RITE (14A frightening scenes, not recommended for children) DAILY 6:50, 9:25; SAT�SUN, TUE, THU 12:50, 3:25

THE MECHANIC (18A brutal violence) FRI 4:45, 7:30, 9:50; SAT�SUN 1:40, 4:45, 7:30, 9:50; MON�THU 5:40, 8:25

THE KING’S SPEECH (PG language may offend) DAILY

THE RITE (14A frightening scenes, not recommended for

children) No passes FRI 3:50, 6:40, 9:20; No passes SAT�SUN 1:10, 3:50, 6:40, 9:20; MON�THU 5:15, 8:00

127 HOURS (14A gory scenes, disturbing content) Digital

FRI 4:40, 7:05, 9:15; Sat-Sun 1:50, 4:40, 7:05, 9:15; MON�THU 5:45, 8:40

SANCTUM 3D (14A coarse language, gory scenes, not

recommended for children) Digital 3d FRI 4:15, 7:00, 9:35; SAT�SUN 1:30, 4:15, 7:00, 9:35; MON�THU 5:20, 8:10

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

YOGI BEAR (G) 3D SAT� SUN 2:05

THE MECHANIC (18A brutal violence) DAILY 7:05 9:05 SANCTUM (14A coarse language, gory scenes, not recommended for children) DAILY 6:45, 9:10; SAT�SUN 1:45

LITTLE FOCKERS (PG crude sexual content, not recom-

TRUE GRIT (14A violence) FRI�TUE, THU 12:50, 3:45, 6:40,

THE GREEN HORNET 3D (14A violence, coarse language)

YOGI BEAR (G) DAILY 12:45, 3:10, 6:15

THE DILEMMA (PG course language) FRI�SAT 12:30, 3:00,

mended for young children) DAILY 2:10, 4:50, 8:00, 10:20

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

Digital 3d FRI�SAT, MON�THU 2:00, 4:45, 7:30, 10:15; SUN 1:30, 4:15, 7:00, 9:45

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

LITTLE FOCKERS (PG crude sexual content, not recom-

mended for young children) FRI�SAT 1:45, 4:00, 6:15, 8:30; SUN 12:30, 3:00, 5:15, 7:30; MON�TUE, THU 1:00, 3:10, 5:20, 7:30; WED 1:00, 4:00

DAILY 6:45, 9:00; SAT�SUN, TUE, THU 12:45, 3:00

TANGLED (G) SAT�SUN, TUE, THU 1:15, 3:10

abuse, not recommended for children) DAILY 7:10, 9:20

SUN 2:10, 4:50, 7:20, 9:40; MON�THU 5:50, 8:35

THE RITE (14A frightening scenes, not recommended for

DAILY 9:10

THE GREEN HORNET (14A violence, coarse language)

THE ROOMMATE (14A violence) FRI 4:50, 7:20, 9:40; SAT�

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 12:15, 2:45, 5:15, 7:50, 10:15; MON�WED 1:45, 4:15, 6:45, 9:10; THU 4:15, 6:45, 9:10; Star & Strollers Screening: THU 1:00

7:00, 9:40

SEASON OF THE WITCH (14A violence) Digital Cinema

YOGI BEAR 3D (G) SAT�SUN, TUE, THU 1:10, 3:20

THE MECHANIC (18A brutal violence) DAILY 7:15, 9:10

MON�THU 4:50

THE ROOMMATE (14A violence) DAILY 6:55, 9:00; SAT�SUN

THE DILEMMA (PG course language) DAILY 1:00, 3:50,

7:00, 9:15; SAT�TUE 1:00, 3:15; Movies for Mommies: TUE 1:00

YOGI BEAR (G) FRI 4:20, 6:30; SAT�SUN 2:00, 4:20, 6:30;

children) FRI�SAT 12:10, 2:40, 5:10, 8:00, 10:40; SUN 1:00, 4:00, 7:10, 9:45; MON�THU 1:40, 4:20, 7:15, 10:15

BARNEY'S VERSION (14A coarse language, sexual content, substance abuse) FRI�SAT 10:45; SUN 9:50; MON�THU 9:40

1:55

children) DAILY 6:50 9:15; SAT�SUN 1:50

NO STRINGS ATTACHED (14A sexual content, substance

abuse, not recommended for children) DAILY 7:00, 9:20; SAT�SUN 2:00

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

CASABLANCA (PG) MON 8:00

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

THE ROOMMATE (14A violence) No passes Fri 4:25, 7:30,

10:05; SAT�SUN, THU 1:45, 4:25, 7:30, 10:05; MON�WED 7:30, 10:05

SANCTUM 3D (14A coarse language, gory scenes, not

NO STRING ATTACHED (14A sexual content, substance

PRINCESS 10337-82 Ave, 780.433.0728

BLACK SWAN (14A sexual content, disturbing content, not recommended for children) DAILY 6:50, 9:10; SAT� SUN 2:00

SOMEWHERE (14A) DAILY 9:00; SAT�SUN 3:00 127 HOURS (14A gory scenes, disturbing content) DAILY 7:00; SAT�SUN 1:00

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

THE ROOMMATE (14A violence) No passes FRI�SAT,

THU 12:30, 3:00, 5:30, 8:00, 10:40; SUN�WED 2:00, 5:00, 8:00, 10:30

SANCTUM 3D (14A coarse language, gory scenes, not recommended for children) Digital 3d, No passes DAILY 1:30, 4:30, 7:30, 10:15 BACK TO THE FUTURE (PG) Digital Cinema FRI 3:45; TUE 7:00

ALIEN (14A gory scenes) FRI 6:30; MON 1:00 ALIENS (M gruesome scenes not suitable for preteenagers) FRI 9:10; MON 4:00

PREDATOR�Presented At The Great Digital Film Festival 2011 (STC) FRI 11:59 THE MECHANIC (18A brutal violence) DAILY 1:50, 4:50, 7:50, 10:20

THE RITE (14A frightening scenes, not recommended for children) Digital Cinema DAILY 1:40, 4:40, 7:40, 10:30

recommended for children) Digital 3d, No passes FRI 4:10, 7:00, 9:45; SAT�SUN, THU 1:20, 4:10, 7:00, 9:45; MON�WED 7:00, 9:45

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) DAILY 1:10, 4:10, 7:10, 9:50

THE MECHANIC (18A brutal violence) Digital Cinema FRI 4:40, 7:15, 9:40; SAT�SUN, THU 2:00, 4:40, 7:15, 9:40; MON� WED 7:15, 9:40

THE GREEN HORNET 3D (14A violence, coarse language) Digital 3d FRI�TUE, THU 1:15, 4:15, 7:15, 10:15; WED 12:30, 3:15, 10:15

THE RITE (14A frightening scenes, not recommended for children) FRI 4:15, 7:10, 10:00; SAT�SUN, THU 1:35, 4:15, 7:10, 10:00; MON�WED 7:10, 10:00

THE DILEMMA (PG course language) DAILY 1:20, 4:20,

THE FIGHTER (14A coarse language, substance abuse) FRI�

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) FRI 4:20, 7:05, 9:50; SAT�SUN, THU 1:40, 4:20, 7:05, 9:50; MON�WED 7:05, 9:50

12:50, 3:50, 6:50, 9:40; WED 3:50, 6:50, 9:40; Star & Strollers Screening: WED 1:00

THE KING'S SPEECH (PG language may offend) FRI�SAT

THE GREEN HORNET 3D (14A violence, coarse language)

BLACK SWAN (14A sexual content, disturbing content, not recommended for children) FRI�SAT 12:00, 2:45, 5:15, 8:00, 10:45; SUN 12:10, 2:45, 5:20, 7:45, 10:10; MON�THU 1:55, 4:30, 7:00, 9:25

THE DILEMMA (PG course language) FRI 4:30, 7:20, 10:05;

TRUE GRIT (14A violence) FRI�SAT 12:30, 3:00, 5:45, 8:25, 10:50; SUN 1:40, 4:15, 7:00, 9:30; MON�THU 1:45, 4:15, 7:00, 9:30 YOGI BEAR (G) FRI�SUN 12:30, 2:30, 4:30; MON�THU 1:00, 3:30

TRON: LEGACY 3D (PG) Digital 3d FRI�SAT 1:45, 4:45, 7:45, 10:45; SUN�TUE 1:00, 4:00, 7:00, 9:45; WED 2:00, 9:00; THU 1:00, 4:00, 9:45

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

1:15, 4:15, 7:15, 10:15; SUN 1:30, 4:30, 7:30, 10:05; MON�THU 1:30, 4:45, 7:45, 10:15

TANGLED 3D(G) Digital 3d 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 HARRY POTTER AND THE DEATHLY HALLOWS: PART 1

(PG frightening scenes, violence, not recommended for young children) FRI�SAT 7:00, 10:15; SUN 6:30, 9:40; MON�THU 6:00, 9:00

127 HOURS (14A gory scenes, disturbing content) FRI�SUN 12:50, 3:30, 5:45, 8:00, 10:15; MON�WED 1:00, 3:10, 5:20, 7:30, 10:00; THU 3:10, 5:20, 7:30, 10:00; Star & Strollers Screening: THU 1:00 ON THE DAY: THE STORY OF THE SPIRIT OF SCOT� LAND PIPE BAND (G) WED 7:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

THE KING'S SPEECH (PG language may offend) DTS Digital, Stadium Seating DAILY 12:00, 3:00, 6:40, 9:40

SANCTUM 3D (14A coarse language, gory scenes, not

Digital 3d FRI 4:05, 6:55, 9:55; SAT�SUN, THU 1:15, 4:05, 6:55, 9:55; MON�WED 6:55, 9:55

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

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

THU 1:55, 4:35, 7:25, 10:10; MON�WED 7:25, 10:10

YOGI BEAR (G) FRI 4:25, 6:50; SAT�SUN, THU 1:50, 4:25, 6:50; MON�WED 6:50

THE KING'S SPEECH (PG language may offend) FRI 4:00, 6:45, 9:35; SAT�SUN, THU 1:05, 4:00, 6:45, 9:35; MON�WED 6:45, 9:35 BLACK SWAN (14A sexual content, disturbing content, not

recommended for children) DAILY 9:25

GARNEAU

8712-109 St, 780.433.0728

ANOTHER YEAR (14A) DAILY 6:45, 9:15; 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

7:20, 10:10

BLUE VALENTINE (18A sexual content) FRI�TUE, THU THE FIGHTER (14A coarse language, substance abuse) DAILY 9:10

TRON: LEGACY: AN IMAX 3D EXPERIENCE (PG) DAILY 1:00, 4:00, 7:00, 10:00

THE KING'S SPEECH (PG language may offend) FRI�

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

BLACK SWAN (14A sexual content, disturbing content,

not recommended for children) DAILY 12:40, 3:40, 6:40, 9:20

TANGLED (G) DAILY 12:45, 3:45, 6:45 THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (14A violent scenes) SAT 12:00 THE LORD OF THE RINGS: THE TWO TOWERS (14A violent and frightening scenes) SAT 3:30

THE LORD OF THE RINGS: THE RETURN OF THE KING (14A violence, frightening scenes) SAT 7:00 BIG TROUBLE IN LITTLE CHINA (STC) SAT 11:59 THE GOONIES (STC) SUN 1:00; TUE 4:00 GHOST (STC) SUN 4:00; THU 1:00 DIRTY DANCING (PG) SUN 7:00 THE USUAL SUSPECTS (STC) SUN 9:30; THU 4:00 THIS IS SPINAL TAP (STC) MON 7:00; WED 1:00 THE BLUES BROTHERS (PG) Digital Cinema MON

recommended for children) Digital 3d, DTS Digital, Stadium Seating DAILY 12:50, 3:50, 7:20, 10:20

DAILY 6:50, 9:05

THE ROOMMATE (14A violence) DTS Digital DAILY 12:05,

THE GREEN HORNET (14A violence, coarse language) DAILY

THE GREEN HORNET (14A violence, coarse language)

THE RITE (14A frightening scenes, not recommended for

LETHAL WEAPON (14A violent scenes and coarse language) Digital Cinema WED 7:00

THE KING’S SPEECH (PG language may offend) DAILY 1:30,

THE HUNT FOR RED OCTOBER (STC) WED 9:30

2:35, 5:00, 7:25, 9:45

COUNTRY STRONG (PG coarse language, substance abuse) 1:45, 4:20, 7:00, 9:10

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

children) No passes DAILY 12:40, 2:50, 4:55, 7:05, 9:15

THE COMPANY MEN (STC) Dolby Stereo Digital, Stadium

4:15, 6:55, 9:10

Seating FRI�TUE, THU 1:00, 4:00, 6:50, 9:50; WED 1:00, 4:00, 9:50

THE RITE (14A frightening scenes, not recommended for

children) Dolby Stereo Digital, No passes, Stadium Seating FRI�WED 12:35, 3:35, 7:10, 10:10; THU 12:35, 3:35, 10:10

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 FRI�WED 12:15, 3:15, 7:15, 10:15; THU 7:15, 10:15

THE MECHANIC (18A brutal violence) Dolby Stereo Digital DAILY 12:20, 2:45, 5:15, 7:45, 10:25 ON THE DAY: THE STORY OF THE SPIRIT OF SCOT� LAND PIPE BAND (G) Exclusive Engagement, No passes WED 7:00

CLAREVIEW 10 4211-139 Ave, 780.472.7600

LITTLE FOCKERS (PG crude sexual content, not recom-

mended for young children) FRI�SUN 9:00; MON�THU 8:30

THE DILEMMA (PG course language) FRI 4:10, 6:50, 9:25; SAT�SUN 1:20, 4:10, 6:50, 9:25; MON�THU 5:30, 8:15

THE GREEN HORNET 3D (14A violence, coarse language)

Digital 3d FRI 3:45, 6:45, 9:30; SAT�SUN 1:00, 3:45, 6:45, 9:30; MON�THU 5:00, 7:50

BLACK SWAN (14A sexual content, disturbing content, not

recommended for children) FRI 4:00, 6:35, 9:10; SAT�SUN 1:15, 4:00, 6:35, 9:10; MON�THU 5:10, 8:05

22 // FILM

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) FRI 4:30, 7:10, 9:45; SAT�SUN 1:45, 4:30, 7:10, 9:45; MON�THU 5:25, 8:20

VUEWEEKLY // FEB 3 – FEB 9, 2011

LEDUC CINEMAS Leduc, 780.352.3922

THE MECHANIC (18A brutal violence) DAILY 7:10, 9:25;

SAT�SUN 1:10, 3:25

SANCTUM (14A coarse language, gory scenes, not recom-

9:10; WED 3:30

12 MONKEYS (STC) TUE 9:40 RAGING BULL (STC) Digital Cinema TUE 1:00; THU 6:50

FIGHT CLUB (18A brutal violence) THU 9:45

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

mended for children) DAILY 7:00, 9:35; SAT�SUN 1:00, 3:35

BARNEY'S VERSION (14A coarse language, sexual con-

THE RITE (14A frightening scen es, not recommended for children) DAILY 7:05, 9:40; SAT� SUN 1:05, 3:40

BLACK SWAN (14A sexual content, disturbing content,

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) DAILY 7:00, 9:35 TANGLED (G) SAT�SUN 12:55, 3:30

METRO CINEMA

9828-101A Ave, Citadel Theatre, 780.425.9212

CAMPUS ST JEAN FILM FEST: TEZA (STC) SAT 7:00 MARWENCOL (PG coarse language, mature subject matter)

FRI SUN, MON 7:00, 9:00 ==

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

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

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

COUNTRY STRONG (PG coarse language, substance abuse) 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

THE MECHANIC (18A brutal violence) DAILY 7:10, 9:25; SAT�SUN 1:10, 3:25

THE RITE (14A frightening scenes, not recommended for children) DAILY 7:05, 9:40; SAT�SUN 1:05, 3:40

SANCTUM (14A coarse language, gory scenes, not recom-

BLACK SWAN (14A sexual content, disturbing content,

THE ROOMMATE (14A violence) DAILY 6:55, 9:05; SAT�

THE GREEN HORNET (14A violence, coarse language)

mended for children) DAILY 7:05, 9:30; SAT�SUN, TUE, THU 1:05, 3:30 SUN, TUE, THU 12:55, 3:05

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

Digital 3d SAT�SUN 12:55, 3:00; DAILY 6:55, 9:30

MUSIC

"One of the things that you learn when you're a stoned hippie is that there are things that are so amazing on this planet."

JOHN LEFEBVRE /32

ON THE RECORD

eden munro // eden@vueweekly.com

Uncovering Modern Myths Michael Petkau Falk discusses Les Jupes' indie-rock debut The genesis of Les Jupes' dark and gloomy indie-rock gem Modern Myths was in bandleader Michael Petkau Falk's 2005 move to Montréal, where he wrote the first songs that would become part of the recently released album, though the road from there to the finished record was also marked by some time away from the stage, changes in bandmembers and a move back to Winnipeg where Petkau Falk took the reins of the West End Cultural Centre as its artistic director, as well as shepherding along the creation of new music with the Record of the Week Club. Petkau Falk spoke with Vue Weekly recently about the creation of Modern Myths. VUE WEEKLY: How long did it take to make Modern Myths, from the initial songwriting through to the end of the recording? MICHAEL PETKAU FALK: Recording started in February 2009. Most of the songs were written in the year preceding, but "This Place Owes Us" and "How Do You Keep This All In Line?" were written back in 2005. VW: When you were writing the songs, did you come at them in a particular way? Lyrics first? Music first? MPF: Most songs usually start with a chord progression or guitar part and a rough vocal melody. It can take them a few minutes or a few months to sort themselves out and become fully realized. Lyrics usually come last. I'll hum nonsensical syllables until the emotional/thematic core of the song reveals itself. The lyrics usually come pretty quickly after that. Ultimately, I feel that the songs write themselves—or at least the good ones do. The songs you have to work the hardest for somehow also seem to get abandoned the quickest. VW: Did you take the songs to your recording band fully formed, or were they sketches that were then filled out as a group? MPF: Each song was different. For example, the keyboard solos in "Myth #3 (The Mountain)" and "How Do You Keep This All In Line?" were part of the songwriting process and are non-negotiable, whereas some of the arrangements were definitely created by band members, especially

Living the Myth

drums and bass—Ian and Jeff had a big hand in shaping the rhythm of the record. VW: What were the recording sessions like for this album? Did you record as a band live off the floor or did you piece it together one track at a time? MPF: I wanted a record with a lot of energy in it, one that felt natural but still big and tight and tightly arranged. We did the rhythm section live off the floor with no click. I think the only song we did with a metronome was "A Caveman Returns Home to Find the Fire Has Gone Out" because of the multiple tempo changes. There's something subtle about how using a click track changes the skew of a song—you can't always put your finger on it, but if you can get the band tight enough to just nail it, then you're almost always going to have a final track that feels that little bit more alive. And I think that's really important right these days: so much music is neutered by this quest for perfection, but music isn't about fitting into a grid, it's about how it impacts the listener. In so many studio situations you spend more time looking at a screen than listening. Once we had solid bed tracks, then the rest of the record was multi-tracked.

Some by me alone in the studio, some with the help of some friends, some more with Marcus (Paquin, co-producer) just before mixing. And then, to top it off, while mixing we decided to re-record a few parts. The lead vocals to "Myth #7 (Honour)" and "How Do You Keep This All In Line?" were recorded downstairs while Marcus was mixing the song upstairs and then flown in. It was hilarious that after a year and a half, we were cutting lead vocals with no time to spare and getting better results. Sometimes I work best with my back against the wall. VW: Were there any other songs written that were left off the album? MPF: Yeah, there were another five or six songs that the band had worked on that didn't make the cut. We did beds for a couple and then abandoned them, the others were left out earlier. VW: Did you have an idea of what you wanted Modern Myths to be when you started, or did the finished shape emerge as the writing and recording went along? MPF: I'm a firm believer in having recording be an open-ended evolutionary process. I didn't have a final picture in mind,

VUEWEEKLY // FEB 3 – FEB 9, 2011

but I did have a final mood in mind, and that guided the production choices and arrangements. I'm not interested in trying to make a song sound exactly like you hear it in your head. I want to leave room for improvisation and those accidental "a-ha!" moments, and allow a song to evolve. Who says I have all the answers on how a song should be? Only the song knows what it wants to be. I'm just the middle-man. VW: You co-produced this album with Marcus Paquin. What did he bring to the recording process? MPF: Marcus brought exceptional musical ability, a complementary vision and the rare ability to make the heavy technical parts of recording invisible. But most importantly, he has high standards. His primary focus is always the performance and the ability to intuitively assess if it makes the song communicate better or communicate worse. It was an incredibly comfortable and creative recording process with him. VW: The current lineup of Les Jupes is not the same one as on the record, with the players all being relatively recent additions and Kelly Beaton being the only

one to perform on the recording. Have the songs changed at all with the new lineup? MPF: Some have changed a little, some are faithful to the album. The main limitations are that we don't have a Moog anymore and we don't have a second guitarist, so we arrange the most necessary parts with the four people we have. VW: If you were to trace the musical map that led you to Modern Myths, what would it look like? MPF: Modern Myths started when I moved to Montréal in 2005. That's when the first two songs came and that's when Marcus and I first really started hanging out. I took a couple years away from playing shows during that time. Les Jupes started playing the odd show around town in 2007/'08 and then started getting serious about making the record. Musically, the album evolved as I evolved through producing albums for people and then the Record of the Week Club. V Sat, Feb 5 (8 pm) Les Jupes With Tanner Gordon & the Unfortunates Haven Social Club, $10

MUSIC // 23

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

THU FEB 3 ACCENT EUROPEAN LOUNGE Prairie Nights (folk/jazz), Stuart Hoye (folk/acoustic); 9:3011:30pm; no minors; no cover BLUE CHAIR CAFÉ Little Miss Higgins; 8pm; $15 BLUES ON WHYTE Donald Ray Johnson CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm CROWN AND ANCHOR Project 1934; 8:30pm (show); $5 or food bank donation

WUNDERBAR Miek HeadacheF (flk /punk): Bryan Coffey, Sydney MacNeill

HAVEN SOCIAL CLUB SoundSalesmen, guests; $10 (door) cover charge starts at 8pm

CENTURY ROOM Underground House every Thu with DJ Nic-E

J AND R Open jam rock ',n' roll; every Thu; 9pm

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

NAKED CYBER CAFÉ Open stage; every Thu, 9pm; no cover THE NEST�NAIT Indie Night at the Nest NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers RIC’S GRILL Peter Belec (jazz); every Thu; 7-10pm RUSTY REED'S HOUSE OF BLUES Rusty Reed Band SECOND CUP�Ellerslie Rd Terry Jorden (piano); 7pm SECOND CUP�Varscona Live music every Thu night; 7-9pm SUTTON PLACE HOTEL For the Love of Wine–Fundraiser for Kids Kottage: Sandro Dominelli (jazz) WILD BILL’S�Red Deer TJ the DJ; 10pm-close WILD WEST SALOON Kory Wlos

GOOD EARTH COFFEEHOUSE�Summerside Kessler Douglas (blues/rock), Giselle Boehm

DJs

BLACKJACKS ROADHOUSE� Nisku Krystal Dos Santos; 9:00pm; no cover BLUE CHAIR CAFÉ Little Miss Higgins; 8pm; $15 BLUES ON WHYTE Donald Ray Johnson BOHEMIA The Bolt Actions, followed by a dance party; no minors; 8pm (door), 9pm (show); donation BRANT HOTEL Kyler Schogen; 9pm

CARROT Live music Fri: all ages; Orit Shimoni, Little Birdie; 7pm; $5 (door)

BLACK DOG FREEHOUSE Main Floor: Tight Jams Thu: with Mike B and Brosnake; Wooftop Lounge: various musical flavas including Funk, Indie Dance/Nu Disco, Breaks, Drum and Bass, House with DJ Gundam; Underdog: Dub, Reggae, Dancehall, Ska, Calypso, and Soca with Topwise Soundsystem

BUFFALO UNDERGROUND Neon Nights presents: The Twelves DJ show); $15

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

YARDBIRD SUITE Andrew Glover Quintet; 8pm (door), 9pm (show); $14 (member)/$18 (member) at Ticketmaster.ca

180 DEGREES DJ every Thu

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

JEFFREY'S CAFÉ Crowded City Skyline (jazz); $10

at YEG

GLENORA BISTRO Michael Reinhart (singer-songwriter, acoustic urban folk); 8pm (show); $10

BRIXX What The Water Sees and Booze Cruise; 9pm

DRUID DJ every Thu at 9pm

JAMMERS Thu open jam; 7-11pm

5:30-9pm

AVENUE THEATRE Highly Respectable Gondoliers, guests; no minors; 8pm (door); $10

DJs

BUDDY'S Thu Men’s Wet Underwear Contest with DJ Phon3 Hom3; 9pm (door); no cover before 10pm

THE DOCKS Thu night rock and metal jam

minors; 8pm (door); $13 (door)

CHROME Every Thu: 123 Ko

DRUID DJ every Thu at 9pm FILTHY MCNASTY’S Punk Rock Bingo with DJ S.W.A.G. FLUID Thirsty Thursdays: Electro breaks Cup; no cover all night 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 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

FRI FEB 4 ARTERY All day Spring Breakup: The Awesome Hots (celebrating Amy Van Keeken's return); no

CASINO EDMONTON X-Change CASINO YELLOWHEAD Doc Holiday CENTURY CASINO Chinese New Year Concert: Manting Chan; 7pm (door); $38.88 at Century, TicketMaster COAST TO COAST Open Stage every Fri; 9:30pm THE COMMON Good Stuff For Your Ears: Back 2 Da Future Edition; 9pm-2am CONVOCATION HALL International Week Concert: Amanda Woodward (storyteller), Mark Connolly (host), The Over Achievers (hip-hop), Carla Rae Gilday (live painting); 7:30pm; $20 (student)/$15 (student with food bank donation)/$30 (adult)/$25 (with food bank donation) at International Centre, Students' Union info booths, Blackbyrd CROWN AND ANCHOR West of Winnipeg; no cover DEVANEY'S Doug Stroud (adult contemporary) Feb 4-5 DV8 Tighten Up! Club Round 7: Reggae and soul; 9pm-3am EDDIE SHORTS La Luna De Santiago, The Burning Sands EDMONTON EXPO CENTRE The Bounce Showdown Showcase; 7:30pm Feb 4 EXPRESSIONZ CAFÉ The Little Big Garage Band (Dixieland jazz and jazz standards); 7pm (door), 8pm (concert) FESTIVAL PLACE Memeza Africa (14-piece ensemble) with Jimmy Mulovhedzi (singer-songwriter), Holly Wright (guitarist, singersongwriter); 7:30pm; $32 (table)/$30 (box)/$28 (theatre) at Festival Place box office FRESH START BISTRO Rob Health; $10 cover

HAVEN SOCIAL CLUB 95.7 The Sound and The Haven Social Club present Featuring Ayla Brook, Mike Edel, Tyson Motsenbocker; 8pm; $10 (adv) at Blackbyrd IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JEFFREY'S CAFÉ Lorna Lampman and jazz band; $10 JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/rock); 9pm; no cover LIZARD LOUNGE Rock 'n' roll open mic; every Fri, 8:30pm ; no cover MACLAB CENTRE�Leduc Sons of Maxwell; 8pm; $27 (adult)/$22 (student/senior) at TIX on the Square, Leduc Recreation Centre MEAD HALL Eve Hell and the Razors, The Phantom Creeps, The Frolics; 8pm; $12 (door) NEW CITY LEGION Friendo, Makeout Videotape, The Group Sound (featuring members of Women); no minors; 9pm (show); $5 (door) O'BYRNE'S Maple Tea (rock) ON THE ROCKS 80-D; DJs PAWN SHOP Hail The Villain, No Heat Tomorrow, Hollywood Assassyn; 8pm; $15 (adv) at Blackbyrd, YEG

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 Every Friday DJs spin on the main floor, Underdog, Wooftop BLACKSHEEP PUB Fri Bash: DJ spinning retro to rock classics to current BUDDY’S Fri: DJ Arrow Chaser; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND Shake and Pop with 'Small Town DJs, All Out DJs; $7 (adv)/$10 (door) 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 CORNERSTONE PENTECOSTAL FELLOWSHIP Rationa, Junkyard Poets, Jonek (hip hop); 7pm; $5 DRUID DJ every Fri at 9pm

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

EMPIRE BALLROOM Formentera presents Ronski Speed with DJs MD, Lawrence ES; no minors; 9pm (door) $20 (adv at Foosh, Occulist)/more at door

ROSE AND CROWN Lyle Hobbs (adult contemporary) Feb 4-5

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

RUSTY REED'S HOUSE OF BLUES Steve Pineo; $10

FLUID LOUNGE Fridays: Hip hop and dancehall

STARLITE ROOM The Equation (CD release), Southroot, Nobody Likes Dwight; 9pm STEEPS�Old Glenora Live Music Fri WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Kory Wlos WINSPEAR CENTRE Winspear Presents: Martin Sexton, Christine Fellows; 8pm; $42 at Winspear box office WOK BOX Fri with Breezy Brian Gregg; 3:30-5:30pm

GAS PUMP The Uptown Jammers (house band); every Fri

WUNDERBAR Fire Next Time (country, folk, rock), The Old Sins, Desert Boots, White Beauty; $5

HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILLTOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.995.7110 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51 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 JUBILEE AUDITORIUM 11455-87 Ave JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 KELLY'S PUB 11540 Jasper Ave 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 LIZARD LOUNGE 13160-118 Ave MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont, 780.929.2203 MEAD HALL 10940-166A St MORANGO’S TEK CAFÉ 10118-79 St NAKED CYBER CAFÉ 10354 Jasper Ave, 780.425.9730 NEST NAIT Main Campus, 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 NISKU INN 1101-4 St 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 QUEEN ALEXANDRA HALL 10425 University 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 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St R PUB 16753-100 St, 780.457.1266 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; Ellerslie: 11160 Ellerslie Rd

FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian GAS PUMP Every Fri night with DJ Christian; 9:30pm-2am JUNCTION LGBT Community: Rotating DJs Fri and Sat; 10pm NEWCASTLE PUB Fri House, dance mix with DJ Donovan REDNEX�Morinville DJ Gravy from the Source 98.5 RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm STARLITE ROOM September

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BLACK DOG FREEHOUSE 1042582 Ave, 780.439.1082 BLACKJACKS ROADHOUSE 2110 Sparrow Dr, Nisku, 780.955.2336 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 BUFFALO UNDERGROUND 10320-102 Ave 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 Tr LA CITÉ FRANCOPHONE�Multi Rm 862-91 St, 780.461.3426 COAST TO COAST 5552 Calgary Tr, 780.439.8675 COMMON LOUNGE 10124-124 St CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 CORNERSTONE PENTECOSTAL

24 // MUSIC

FELLOWSHIP 22 Sir Winston Churchill Ave, 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 DOW'S SHELL THEATRE�Fort Saskatchewan 8700-84 St, Fort Saskatchewan, 780.992.6400 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELEPHANT AND CASTLE�Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 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 10888 Jasper Ave, 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 GOOD EARTH COFFEEHOUSE� Summerside 936-91 St HALO 10538 Jasper Ave, 780.423.

VUEWEEKLY // FEB 3 – FEB 9, 2011

SECOND CUP�Sherwood Park 4005 Cloverbar Rd, Sherwood Park, 780.988.1929 ʸ Summerwood Summerwood Centre, Sherwood Park, 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 STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 SUEDE LOUNGE 11806 Jasper Ave, 780.482.0707 SUTTON PLACE HOTEL 10235101 St 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 VINYL DANCE LOUNGE 10740 Jasper Ave, 780.428.8655 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 YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295

Stone Last Show Ever, Sliver, Grounded Star; 9pm

STOLLI’S Top 40, R&B, house with People’s DJ SUEDE LOUNGE Juicy DJ spins every Fri

rock); 6:30pm

after 10pm

ON THE ROCKS 80-D; DJs

VINYL DANCE LOUNGE Signature Saturdays Y AFTERHOURS Release Saturdays

PAWN SHOP Neon Nights: Riot On Whyte

TEMPLE Options with Greg Gory and Eddie Lunchpail

QUEEN ALEXANDRA HALL Northern Lights Folk Club: Chris Trapper; 8pm; $18 (adv) at TIX on the Square/$22 (door)

SUN FEB 6

TREASURY In Style Fri: DJ Tyco and Ernest Ledi; no line no cover for ladies all night long

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

VINYL DANCE LOUNGE Connected Las Vegas Fridays Y AFTERHOURS Foundation Fridays

RENDEZVOUS Not for Sale, The Absurd Heroes; 8pm (door); $6

BLUE CHAIR CAFÉ Sun Brunch: Rosette Guitar Duo; 10:30am2:30pm; donations

SAT FEB 5 ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 AVENUE THEATRE White Lightning (CD release), Jason Zerbin; all ages; 7pm (door), 8pm (show); $10 BLACK DOG FREEHOUSE Hair of the Dog: Rob Moir (live acoustic music every Sat); 4-6pm; no cover BLUE CHAIR CAFÉ Ranger Creek Wranglers; 8pm; $12 BLUES ON WHYTE Donald Ray Johnson BOHEMIA Wide-Open mic: hosted by Chester Field; 8pm; guided tours of BlueSkys Art Lofts at 6:30pm; E.N.T.S. (Edmonton New Technology Society), Azimuth Theatre; no minors; donation BRIXX Prisoner Cinema, Colin Decker, Free Fall, Swamp Monsters; 9pm CASINO EDMONTON X-Change CASINO YELLOWHEAD Doc Holiday LA CITÉ FRANCOPHONE�Multi Rm Jazz'Art Concert: Pierre-Paul Bugeaud, Gord Graber, Jamie Philp, Bill Richards Brett Miles, Bob Tildesley; 7:30pm; $10 COAST TO COAST Live bands every Sat; 9:30pm CROWN AND ANCHOR West of Winnipeg; no cover CROWN Acoustic blues open stage with Marshall Lawrence; every Sat; no cover DEVANEY'S Doug Stroud (adult contemporary) Feb 4-5 DOW CENTENNIAL CENTRE�SHELL THEATRE�Fort Saskatchewan REVV52; 2:30pm; $35 (adult)/$32 (senior/youth) EDDIE SHORTS Hard Core Logo Tribute, guests EDMONTON EVENT CENTRE Finger 11, ELIAS, The Envy; (alt rock); all ages; 7pm; $39.50 at TicketMaster FESTIVAL PLACE The Lost Fingers (pop/rock); 7:30pm; $32 (table)/$30 (box)/$28 (theatre) at Festival Place box office FILTHY MCNASTY'S The Living Daylights; 4-6pm; free afternoon show GAS PUMP Blues jam/open stage every Sat 3:30-7pm, backline provided HAVEN SOCIAL CLUB Les Jupes, guests; 8pm; $10 (door) HILLTOP Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm HOOLIGANZ Live music every Sat HORIZON STAGE Dave Carroll–Sons of Maxwell; 7:30pm; $25 (adult)/$20 (student/senior)/$5 eyeGO HYDEAWAY�Jekyll and Hyde Claire Swanson/Sara Isabel/ Quetzala Carson; 8pm IRON BOAR 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 Sat open jam, 3-7:30pm; country/rock band 9pm-2am JEFFREY'S CAFÉ Krystle Dos Santos (R 'n' B); $15 JULIAN'S One Man, One Piano (blues/classical/jazz)s; 8pm MARYBETH'S COFFEE HOUSE�Beaumont Martin Kerr (adult contemporary/adult pop)

ROSE AND CROWN Lyle Hobbs (adult contemporary) Feb 4-5 RUSTY REED'S HOUSE OF BLUES Sat jam, 3-6pm; Evening: Steve Pineo, $10 WILD WEST SALOON Kory Wlos WUNDERBAR The Sorels (pop/ rock), Whiskeyface; 9pm YARDBIRD SUITE David Braid (piano); 8pm (door), 9pm (show); $12 (member)/$16 (guest) at Ticketmaster

Classical CONVOCATION HALL The Kilburn Concert Series: presents Ilya Kaler (violin); 8pm JUBILEE AUDITORIUM Edmonton Opera: Mozart's The Abduction from the Seraglio; 7:30pm; sung in German, English supertitles; $32 OLD STRATHCONA PERFORMING ARTS CENTRE Cosmopolitan Music Society of Edmonton Choral workshop with Laurier Fagnan; 9am-5pm

DJs 180 DEGREES Street VIBS Sat: Reggae night every Sat AZUCAR PICANTE Every Sat: DJ Touch It, hosted by DJ Papi BANK ULTRA LOUNGE Sold Out Sat: with DJ Russell James, Mike Tomas; 8pm (door); no line, no cover for ladies before 11pm BLACK DOG FREEHOUSE Sat DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered; Underdog: DJ Brand-dee; Wooftop: Sound It Up!: classic Hip-Hop and Reggae with DJ Sonny Grimezz BLACKSHEEP PUB Sat DJ BUDDY'S Sat: Feel the rhythm with DJ Phon3 Hom3; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND Xi/ Ultragamma; $7 (adv)/$10 (door) CENTURY ROOM Underground House every Sat with DJ Nic-E

BLUES ON WHYTE CCR Tribute B�STREET Acoustic-based open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening CROWN Jam hosted by JTB every Sun until Feb 20 DEVANEY’S 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 jam every Sun, 9pm EXPRESSIONZ CAFÉ YEG live Sun Night Songwriters Stage; 7-10pm HAVEN SOCIAL CLUB Rob Moir, Twilight Hotel, F&M; 8pm; $8 (adv) at Blackbyrd HORIZON STAGE–Spruce Grove Digawolf: A Place to Call Home: Pat Braden (singer, songwriter, storyteller); 2pm; $25 (adult)/$20 (student/senior)/$5 eyeGO at Horizon Stage box office, TicketMaster HYDEAWAY New Sun Open stage jam J AND R Open jam/stage every Sun hosted by Me Next and the HaveNots; 3-7pm NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; every Sun, 3-6:30pm O’BYRNE’S Open mic; every Sun, 9:30pm-1am ON THE ROCKS Seven Strings Sun: Feast or Famine, Thottle ORLANDO'S 2 Open stage jam; every Sun, 4pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm

Classical FESTIVAL PLACE The Nathaniel Dett Chorale; 7:30pm; $32 (table)/$30 (box)/$28 (theatre) at Festival Place box office

ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Intimate Saturdays: with DJ Aiden Jamali; 8pm (door)

DJs

DRUID Sat DJ at 9pm EMPIRE BALLROOM Rock, hip hop, house, mash up

FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian GAS PUMP Every Sat night with DJ Christian HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes JUNCTION LGBT Community: Rotating DJs Fri and Sat; 10pm 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 Rollerjam; $21 STOLLI’S ON WHYTE Top 40, R&B, house with People’s DJ SUEDE LOUNGE DJ Nic-E spins every Sat

MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm

TEMPLE Oh Snap! Oh Snap with Degree, Cool Beans, Specialist, Spenny B and Mr. Nice Guy and Ten; every Sat; free before 10pm; $5

BLUE PEAR RESTAURANT Jazz on the Side Sun: Marc Beaudin, Audrey Ochoa; 6pm; $25 if not dining

WINSPEAR CENTRE Ukrainian Art Song Project: Monica Whicher (soprano), Elizabeth Turnbull (mezzo-soprano), Benjamin Butterfield (tenor), Pavlo Hunka (bass-baritone), Joachim Segger (piano), Melanie Turgeon (producer, presenter); premiere and CD launch hosted by Brian Deedrick; 7pm; $20-$50 at Winspear Centre

THE COMMON The Good Life Presents: Girls Club and Allout DJs; 9pm-2am

MEAD HALL Cygnus, Motorhezbollah; $10 (door)

O’BYRNE’S Stuart Bendall (pop/

BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm

BACKSTAGE TAP AND GRILL Industry Night: with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Sunday Funday with Phil every Sun, 2-7pm; Sunday Night: Soul Sundays: '60s and '70s funk, soul, R&B with DJ Zyppy FLOW Stylus Sun SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover

MON FEB 7 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE The Avey Brothers DEVANEY'S Singer songwriter open stage every Mon; hosted by Sean Brewer; 8pm KELLY'S PUB Open stage hosted by Clemcat Hughes; every Mon; 9pm ON THE ROCKS Dani Jean; 8pm PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm

Classical

CROWN Wed Jam/open stage; 8pm

WINSPEAR CENTRE Don Felder

DEVANEY'S Open stage hosted by Duff Robinson

DJs

EDDIE SHORTS Acoustic jam every Wed, 9pm; no cover

BAR WILD Bar Gone Wild Mon: Service Industry Night; no minors; 9pm-2am BLACK DOG FREEHOUSE Main Floor: Blue Jay’s Messy Nest: Mondays with DJ Blue Jay FILTHY MCNASTY'S Metal Mon: with DJ S.W.A.G. LUCKY 13 Industry Night with DJ Chad Cook every Mon NEW CITY LEGION Madhouse Mon: Punk/metal/etc with DJ Smart Alex

TUE FEB 8 BLUES ON WHYTE The Avey Brothers BRIXX Troubadour Tue: with Jake Ian, Kinniburgh Phillips; host Mark Feduk; 8pm DRUID IRISH PUB Open stage with Chris Wynters; every Tue, 9pm; with guest Nick Perreault L.B.’S Tue Blues Jam with Ammar; 9pm-1am O’BYRNE’S Celtic jam with Shannon Johnson and friends every Tue, 9:30pm PADMANADI Tue open stage with Mark Davis; all ages; 7:30-10:30pm R PUB Open stage jam hosted by Gary and the Facemakers; every Tue, 8pm RUSTY REED'S HOUSE OF BLUES Open Stage with Moses Gregg, 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 Open stage hosted by Paul McGowan; every Tue, 9pm STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm WUNDERBAR Stuesdays: Every Tue Wunderbar's only regular DJ night YARDBIRD SUITE Tue Night Sessions: The Sound Quintessential; 7:30pm (door)/8pm (show); $5 (member)/$5 (guest)

Classical JUBILEE AUDITORIUM Edmonton Opera: Mozart's The Abduction from the Seraglio; 7:30pm; sung in German, English supertitles; $32

EDMONTON EVENT CENTRE Motörhead, Clutch, Valient Thorr; no minors; 8pm; $43.50 ELEPHANT AND CASTLE�Whyte Ave Open mic every Wed (unless there's an Oilers game); no cover EXPRESSIONZ CAFÉ Wed Open stage; with Randall Walsh; 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, 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 O'BYRNE'S Derina Harvey (Celtic/folk/rock) 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 (nonmember) RED PIANO 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�College Plaza Open mic: with Layne L'Heureux every Wed, 8pm WUNDERBAR Open mic every Wed, 9pm

DJs BANK ULTRA Rev'd Up Wed: with DJ Mike Tomas upstairs; 8pm BLACK DOG

DJs BLACK DOG FREEHOUSE Main Floor: alternative retro and not-soretro Tue with Eddie Lunchpail; Wooftop: eclectic electronic sounds with DJ Mike Duke BRIXX Troubadour Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8 BUDDYS Tue with DJ Arrow Chaser; free pool all night; 9pm (door); no cover CROWN Underground At The Crown: underground, hip hop with DJ Dirty Needlz; open mic; every Tue; 10pm; $3 ESMERALDA’S Retro Tue; no cover with student ID FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm NEW CITY LEGION High Anxiety Variety Society Bingo vs. karaoke with Ben Disaster, Anonymouse; no minors; every Tue; 4pm-3am; no cover RED STAR Tue Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly

WED FEB 9 BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed BLUES ON WHYTE The Avey Brothers

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

BRIXX Really Good… Eats and Beats: DJ Degree, friends; every Wed music starts at 6pm; $5

RUSTY REED'S HOUSE OF BLUES Little Charlie Trouble, Pete Eurland

CENTURY GRILL Century Room Wed Live: featuring The Marco Claveria Project every Wed; 8-11pm

FREEHOUSE Main Floor: RetroActive Radio: alt '80s and '90s, Post Punk, New Wave, Garage, Brit, Mod, Rock and Roll with LL Cool Joe; Wooftop: Soul/breaks with Dr Erick BRIXX Really Good... Eats and Beats with DJ Degree and Friends BUDDY'S Wed: DJ Dust 'n' Time; 9pm (door); no cover THE COMMON Treehouse Wed: Deep Grooves for the Soul DIESEL ULTRA Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set LEGENDS Hip hop/R&B with DJ Spincycle LEVEL 2 Wing It Wed: DJ Competion Returns; 9:30pm NEW CITY LEGION Wed Pints 4 Punks with DJ Nick; no minors; 4pm-3am; no cover NIKKI DIAMONDS Punk and ‘80s metal every Wed RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm TEMPLE Wild Style Wed: Hip hop open mic hosted by Kaz and Orv; $5

VUEWEEKLY // FEB 3 – FEB 9, 2011

MUSIC // 25

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VUEWEEKLY // FEB 3 – FEB 9, 2011

MUSICNOTES Mike Edel / Fri, Feb 4 (8 pm) An Alberta boy who left the blowing cold to settle in the more temperate climes of Victoria, BC, Mike Edel will be returning to his roots with a new album, The Last of Our Mountains, which was shaped by his growing up in Linden, AB, between the Rockies and endless fields of wheat. (Haven Social Club, $10) Booze Cruise / Fri, Feb 4 (9 pm) Coming from the frozen tundra of Yellowknife, the punk rockers in Booze Cruise might think they're on a tropical getaway when they roll into Edmonton's comparatively balmy climes. (Brixx, $12) Andrew Glover / Fri, Feb 4 (8 pm) A Grant MacEwan graduate, Andrew Glover's compositions have been performed by everyone from John Abercrombie to Alfie Zappacosta, and on February 4 he brings his considerable talent to his hometown's best jazz stage. (Yardbird Suite, $14 – $18) Finger Eleven / Sat, Feb 5 (7:30 pm) Do you think the members of Finger Eleven ever tire of hearing jokes about how Princess Bride character Inigo Montoya is looking for them? I doubt it be-

bryan birtles // bryan@vueweekly.com

cause that movie is awesome. (Edmonton Event Centre, $51)

his dreamy folk serves as the introduction for most people to the instrument. (Horizon Stage, $23.75 – $28.75) Motörhead / Wed, Feb 9 (8 pm) A lot of people like to say that without Motörhead, there would be no heavy metal. It's true, but not because the band invented the style. They may have, but the group's most important contribution to heavy metal was its use of the umlaut. Without it, there would be no Mötley Crüe, no Queensrÿche and no Spinal Tap. (Edmonton Event Centre, $52.25)

Sons of Maxwell / Sat, Feb 5 (7:30 pm) You know the Sons of Maxwell, even if you don't know you know. As long as you have a working Internet connection, you were likely privy to Sons of Maxwell member Dave Carroll's viral video, "United Breaks Guitars," which recounted his terrible experience with the airline company. Everything will hopefully go as planned when the duo lands in town— rumour is they're flying Delta. (Horizon Stage, $20 – $25) Pat Braden / Sun, Feb 6 (2 pm) Thanks to the work of local-favourite Dale Ladouceur, the Chapman Stick is a notunknown instrument around these parts, which should come as a boon to Yellowknife's Pat Braden, who often finds that

DL Incognito / Wed, Feb 9 (8 pm) Three times Juno nominated DL Incognito, who hails from Ottawa but now calls Toronto home, will be rapping jams from his latest album, Some Day is Less than a Second Away. (Pawn Shop, $10)

Spring Breakup Fri, Feb 4 (8:30 pm) With the AwesomeHots The Artery, $13 Mathias Kom seems to have finally quelled the wanderlust that's kept him shuffling around within our national borders: after spending the last few years provincehopping, setting down temporarily in Peterborough, Montréal and Whitehorse, it seems he's found a more permanent appreciation for the Martimes. "I've been coming here on tour for a few years, and every time I came I liked it a little bit more," Kom says from his new home, three-and-a-half time zones away in St John's, Newfoundland. "And I sort of told a lot of people I was going to move here; everytime I would come, I would say, 'One day I'm going to move here.' Last March, I actually got called on it by someone in the audience. They said, 'I've heard you say that a million times.' And so I kind of took it as a challenge to move here. "It's been wonderful. Not a challenge at all, actually," he clarifies. But it was his time spent in Whitehorse that led to the tragicomic ukulele and banjo laments of Spring Breakup, a side project for both Kom (better known as the frontman of the Burning Hell) and folksy, Juno-nominated songwriter Kim Barlow, that formed in the auspicious darkness of a Yukon winter a few seasons past. "Kim and I were playing music together just for fun," he explains, "and realized that we each had a lot of break-up songs, a lot of sort of sappy, sad love songs." Spring Breakup's upcoming It's Not You, It's Me, a sophmore release, is filled with

them; songs about the end of romance that span funny (Barlow's "I'm Sorry That I Tried To Punch You In The Face" and Kom's equally hilarious reprise) to saccharine sadness ("Never Eat Alone," "Brick Wall"). In that balance of humour and heartbreak, it's similar to Kom's bread-and-butter Burning Hell project, though he notes the differences in the approach to each one. "The Spring Breakup stuff, I find, is either a lot more lighthearted than the Burning Hell or it's a lot more serious than the Burning Hell stuff," Kom says. "I guess it's a side project for both of us, but I think we both definitely love it quite a bit more than most people love their side projects."

It isn't just Kom and Barlow's backlog of unhappy endings that form Spring Breakup's content. On the road, the two solicit stories from the audience, record them, and use them as further creative fuel. "Our initial intention was to try and write a song for each one, but it just didn't happen that way," Kom continues. "All the stories were fantastic in some way, but inspiration only struck musically for a few of those. And those are the ones that made their way into songs and made it onto the record. And [with] the rest of them we have right now, we're slowly building our archive of great breakup stories." PAUL BLINOV

// PAUL@vueweekly.com

VUEWEEKLY // FEB 3 – FEB 9, 2011

MUSIC // 27

TWILIGHT HOTEL Sun, Feb 6 (8 pm) With Rob Moir, F&M Haven Social Club, $8

In the darkest days of winter, a move to a warmer clime flits across the thoughts of many hunkered-down musicians living on the prairies. Portland looms large, as does Vancouver, but for Twilight Hotel—originally from the frozen tundra of Winnipeg—the Lone Star State's most liberal outpost of Austin beckoned. "We'd been to Austin a couple times to visit and we spent about a month there in 2008 and we just fell in love with the city and the people there and the way of life," explains Dave Quanbury, one half of the musical partnership that also includes Brandy Zdan. "There's sort of like a lazy, sun-baked quality to life down there. I really liked the art—not necessarily art that would be on the walls, but the way people would build their buildings and use a lot of recycled wood and funky peeled paint, shabby chicness. It just has a special quality." That special quality—in addition to life on the road—inspired the duo's latest album, When Wolves Go Blind. Movement and new experiences being cornerstones for the band, Twilight Hotel picked up and headed to Los Angeles to record its third album. "We always love to record somewhere new, somewhere we've never been," explains Quanbury. "You can record in Winnipeg—and financially there's incentives to record close to home—but artistically it's really nice to go on a journey. We've

28 // MUSIC

VUEWEEKLY // FEB 3 – FEB 9, 2011

Settled inside the Austin city limits

made a record in Nashville, we made this new one in Los Angeles, just to soak up the vibe and the way you feel when you're not at home." The record itself was recorded in only three days, something of an aberration in the music business, where recording a full-length can stretch on for months. The process elicited a fair number of surprises, explains Quanbury, as the bassist and drummer the band worked with turned over the songs in the studio. According to him, it was the magic that comes from newly-learned songs that Twilight Hotel was trying to capture. "Sometimes the first take has that kind of energy where we don't know what the

drums and bass are gonna do and I think you can hear that in what we're playing and the drums and the bass are listening to us and it's really just in the moment and sometimes that's the best take. When you go to do it again you think, 'OK, let's fix that thing but let's try to recreate that other thing that happened,' but you can never recreate it," he says. "Three days, it's not a lot of time, but when you've got the same instruments set up and you've got the sounds that you like and you're only doing maximum three takes of a song it's enough time to make a record." Bryan Birtles

// bryan@vueweekly.com

Rob Moir

Sat, Feb 5 (4 pm) Black Dog, free Sat, Feb 5 (7 pm) Burnsy O'Flannigans (Leduc), free Sun, Feb 6 (8 pm) With Twilight Hotel and F&M Haven Social Club, $8 After five years of fronting the Toronto punk band Dead Letter Dept, Rob Moir wouldn't let his passion for touring and playing in front of audiences go. Instead, he focused on what he knew best—travelling and songwriting— and struck out alone. "I started to get into the solo project because I missed travelling and touring," the energetic singer-songwriter explains. "It was hard to get a five-piece band to commit to anything more than a couple of weeks here and there, so really the solo project was a means to me getting back to touring again."

When Dead Letter Dept dissolved in 2006, Moir downshifted to solo mode, cycling around Europe on his own with little more than a tent and two pivotal recordings that helped pave the transition from punk to folk. "It was A.M. by Wilco and the Replacements' Tim [that] got me to thinking you can have both worlds—more of a singer-songwriter but also have a punk-rock spirit behind it. Those two records definitely got me thinking rootsier and put me on the path I'm on right now," he points out. "While I was on that trip, that's where my rock-frontman lifestyle ended and this newer chill, folk-thing happened, writing songs in my head and playing them on other people's guitars. "When I came back I had this collection of songs that were more laidback and thought, 'Hey, this is definitely something I can play live, even by myself.'"

Having just released his debut solo record This Is the Lie, Moir is in the middle of a long tour that has taken him from his hometown of Toronto to Los Angeles and back through Western Canada. He's honed his live show down from the loud energy of his punk-rock days to the subtler attentions of crafting engaging songs for audiences to warm up to. "[Going solo] is a little scary, but I realized that there's a couple of songs in each set where people stop talking and start listening, and that's when I start making more of a show out of it by storytelling—and I realize that's such a clichéd thing to do—but I really find that when you don't have drums and loud guitars, you have to make an experience for people to watch, or else you're just some boring dude on stage." Mike Angus

// mikeangus@vueweekly.com

VUEWEEKLY // FEB 3 – FEB 9, 2011

MUSIC // 29

NEWSOUNDS Soft Landing Soft Landing (Ba Da Bing) 

Soft Landing's debut EP is like an acid tripping Jorge Ben Jor or an adrenaline injected Gilberto Gil. We expect a certain aptitude for invention from Paul Collins and Perrin Cloutier, members of the genre-defying Beirut, and they do not fail to provide. Perhaps more importantly, they do not fail to create a niche for themselves that is entirely different than Beirut's. Collins has directed the band toward the sun-shiney rhythms of samba and bossa nova while doing his best to bend reality with tempo-synced delays and domineering analogue synth textures. With these new takes on Brazilian pop, Soft Landing becomes an experience unto itself. While being paradoxically relaxing and awakening, these songs resist the listener. They cannot blend into the background nor can they be ignored. The driving rhythm begs to be danced to but it's hard to imagine how. The Soft Landing signature is the rambunctious cadence that guides the majority of the album. Much like a samba recording, this effect is created inasmuch by the guitar strumming as by the garage toned tom-heavy drumming. But though the cadence dominates the

album, the consuming feature on each Soft Landing song is more difficult to describe. The entire breadth of a song can be spent trying to discern exactly what's happening. It is the subtle splashes of light that twinkle underneath the exhausting rhythms that carry the record to a unique height of its own. In a way it is like complicated children's music. For example, "Live with Birds," vocals aside, sounds like a Caribbean children's adaptation of "Venus In Furs." So many of these songs could be soundtracks for Home Alone montages set in fast-motion. Unfortunately, the record suffers vocally. The majority of the vocals on Soft Landing's debut are unnecessary, the exception being "Pendleton Woolen," where Collins cantillates such beautiful bite-sizers as "all my kisses turn to ash." Collins' voice isn't bad, it is simply unexciting. Furthermore, the vocal tracks often don't feel embedded in the mix. The slow songs aside, they are an otherwise innocuous flourish for the blitzing guitars and playful bass lines. On songs like "Mic Check" the vocals go so far as to cause distraction, obtrusively floating above the mix and pulling the listener's attention away from Soft Landing's engrossing beach-party vibes. The matter of such direct inspiration has been a topic of debate as far back as Elvis Presley and we've yet to see if it will be applied to Soft Landing. Vampire Weekend, for example, has been accused of plundering another tropical genre—reggae—and leaving behind the moralistic riches of what the music was intended to convey, and perhaps Soft Landing will be likewise accused. However that may not be fair since Collins and company have been faithful to the celebratory dancingin-the-streets aura samba is meant to create. Either way, Soft Landing's debut EP is a musically interesting record that steps boldly into a fresh new soundscape of pop-fusion. Joe Gurba

// joe@vueweekly.com

Chikita Violenta Tre3s (Arts & Crafts) 

Chikita Violenta seems like Mexico City's answer to Broken Social Scene, but with fewer members and maybe a little less imagination in its postmodern musical muckarounds. Fuzzy blasts of rock 'n' roll and echo-y pop coos propel Tre3s. Each song is pretty busy, perhaps detrimentally: in amidst the swirls of guitar haze lie complicated timings, shifting rhythms, maybe even switches in recording quality for different parts within songs. It's a thick take on what's essentially indie rock 'n' roll (though the crisp, clean guitar of "España" is a pleasant change of pace midway through). But the melodies fight through the mix and carry it along; Chikita seems to key in to cathartic vocal anthems for you to shout your heart out to, in a crowd or alone in your bedroom. Paul Blinov

// paul@vueweekly.com

White Lies Ritual (Fiction) 

It's difficult not to get overwhelmed by the melodramatic content of Britain's bottomless coffers of "epic indie" artists. White Lies takes that melodrama further still with Ritual. Most of the lyrics read like an eye-rolling open-mic poetry night. Examples include "Apologies on your fingernails, love flickered in the city of lights / Like intermittent radio waves / I don't need your tears / I don't need your love," and later, "If I'm guilty of anything / It's loving you too much / Honey, sometimes love / Means getting a little rough." The saving grace on Ritual is the music, a hipsterized Rick Astley aura which is surprisingly prosaic at times. Joe Gurba

// joe@vueweekly.com

Jeremy Jay Dream Diary (K) 

Jeremy Jay, a San Diego native, seems to effortlessly capture the vibrations of star-swathed beach drives with his lighter-than-air pop ballads. With his fourth K Records release, Jeremy has continued to hone his Lou Reed-indebted vocals with the lyrical cuteness quotient floating around the Jens Lekman mark. The music on Dream Diary is a buffet of the great American pop tradition, employing a multitude of formulae to craft these gorgeous guitar songs. Regrettably, Jeremy Jay's vocal melodies are somewhat one dimensional. Luckily, his excellence in everything else rescues the Dream Diary from any injury. Joe Gurba

// joe@vueweekly.com

30 // MUSIC

VUEWEEKLY // FEB 3 – FEB 9, 2011

LOONIEBIN Primordial "The Heretic's Age"

Irish black metal. Raspy vocals and a mere hint of traditional Irish instruments create a fascinating combination of black and folk metal that is a refreshing perspective on both genres.

OLDSOUNDS Marvin Gaye Midnight Love (Columbia)

Originally released: 1982

Linkin Park "Waiting For the End"

Groaning, sleepy modern rock played live. How did the audience stay awake?

Robbie Robertson "He Don't Live Here No More"

There are some nice moments to be found in the lead single of Robertson's first album in more than a decade, but like much of his preceding solo work it tries to marry some of the rootsiness of the Band with something a little more modern, and it doesn't quite find a comfortable line to walk.

Travis Barker "Can a Drummer Get Some?"

Blink-182's drummer tries to get some. Every now and then somebody tries to hook the rock up with the hop. Anthrax did it way back with Public Enemy and that was a nice combo. This one's not so hot with a brain-dead power-chord rhythm that goes nowhere really slowly.

Me First & the Gimme Gimmes "Friday On My Mind"

Old guys keep on playing the shit, and it really is. Go find the Easybeats' original, or even David Bowie's cover on Pin Ups, but don't bother with this one.

Geoff Berner "Laughing Jackie the Pimp"

Like a lot of Geoff Berner's music, this song has a dual personality: it's a celebratory klezmer-influenced accordion jam with a very dark undercurrent. Like the kind of thing you'd laugh about if you weren't so busy crying.

The Dodos "Black Night”

San Fran’s eccentric duo hints that its upcoming No Colour LP will actually be a full-spectrum work with this frantically strummed gem: “You want to walk right through it? You had it all, you threw it” taunts Meric Long as percussive acoustic guitar and tumbling drum riffs fight to be higher in the mix and more appealing in your ears.

Lazarus AD "The Ultimate Sacrifice"

Occassionally slipping into the dreaded territory of pop-rock vocals, "The Ultimate Sacrifice" contains enough traditional guitar work and double kicks to keep it on your "Metal anthems to rock out to" playlist.

After the mismanagement of 1981's In Our Lifetime, Marvin Gaye moved from London to Ostend, Belgium, weaned himself off of drugs and decided to make a comeback tour. For this tour, he intended to record an autobiographical album about his various problems: bankruptcy, drugs, divorce and disillusionment with his record label, Motown. In the face of an R&B landscape that had started changing outside of his influence, he was later urged by friend and production adviser Harvey Fuqua to go in a more commercial direction. In response, he created Midnight Love, an intensely sensual party record more in line with his aborted 1979 album Love Man than with the spiritual and sociopolitical tones of What's Going On. This is an album that has the distinction of having an outward perception that in no way matches its actual content. What we're told by the cheesy video and commercial appropriation of "Sexual Healing" (aging superstar desperately searching for relevance in a post-Prince, pre-new jack swing R&B landscape) is not parroted by the actual album.

QUICKSPINS

For an album so massively popular, it's also hugely weird. "Third World Girl" is his tribute to reggae, but it doesn't particularly sound like it. "My Love Is Waiting" is a ballad that starts with Gaye thanking his record label, the aforementioned Mr Fuqua and Jesus. It's an album equally indebted to the glam funk of Rick James ("Midnight Lady" cribs his term "super freak" and was originally demoed as "Clique Games/Rick James") and the synth pop of Kraftwerk (Gaye recorded this album in Belgium and had been living in Europe leading up to its production). Every song is led by electronic keyboards and percussion (the Roland Jupiter 8 and TR-808 drum machine are the stars here) and most of the other instruments are played by Gaye. His compositions here are unconventionally jittery funk, the instruments somehow remaining suspended in unstable harmony with each other, possibly reflecting the fragile level of permanence he found himself in during recording. Gaye doesn't receive enough credit for his fragmentary, loose, imagist style of songwriting during this period. In listening to the demos from this album, it becomes obvious that Gaye just riffs and riffs until he has three or four parts, regardless of their individual compositional style. He eschews the typical verse-chorus structure of his Motown upbringing for a style that reflects his escape from that record label and the other personal freedoms and indulgences he made that coincided with this recording. While Midnight Love would prove to be a massive success, his life would end tragically in 1984 after a dispute with his father ended in a fatal gunshot. Being blessed with a powerful voice seemed to be a cosmic curse, as it was for Al Green and Sam Cooke before him, but he still managed to leave behind a final document of his genius with Midnight Love. Roland Pemberton

// roland@vueweekly.com

WHITEY HOUSTON // QUICKSPINS@vueweekly.com

Stratovarius Elysium (Armoury)

Niktex The Power of Yang (Independent)

Triumphant metal For battle-axe bloodbath or Bubble bath relax

Jazz-folk with tabla? Sounds like something I would loathe Yet this rules my brain

Me First & The Gimme Gimmes Go Down Under (Fat Wreck Chords)

Billy Joel She's Always a Woman: Love Songs (Sony)

Heard this joke before So cheap and satisfying It never gets old

The piano man Can dry up a vagina Like talcum powder

Cobra Skulls Bringing the War Home (Fat Wreck Chords)

Hello Bella Echoes of the Atmosphere (DNA Music)

A quick punk-rock blast Rockets through your system like Psyllium fibre

Compelling album Showcasing Stephanie Poort's Hella bellowing

VUEWEEKLY // FEB 3 – FEB 9, 2011

MUSIC // 31

ELIAS

the music and the energy that we have on stage, we all like to really get into it and put on a good show."

Sat, Feb 5 (7 pm) With Finger Eleven, the Envy Edmonton Event Centre, $39.50 Vancouver's Elias is enjoying the fruits of a breakout year. Currently nominated for Emerging Artist of the Year in Vancouver's prestigious 2011 Verge Music Awards (previous winners include Dan Mangan and Alexisonfire) for the album Lasting Distraction, the powerful energy of the trio's brit-pop-influenced music and live show has payed off in the form of relentless touring and opening for some of the bigger names to hit the road this year. "It's been a pretty crazy year," vocalist and keyboardist/guitarist Brian Healy explains. "We've played with the weirdest array of people—Matthew Good, and then Protest the Hero, but it worked, we still won people over. Then we came off that tour and opened for Adam Lambert," he adds with a chuckle. "The shows have been good, we've been gelling. Once you've got

Elias learning the ropes from life on the road a few shows under your belt, I think each show's improving." Joined by lead guitarist Rob Tornroos and drummer Dominic Coletta, the band has embraced the jump from starter venues to theatres and larger halls but, despite the band's excitement at the opportunity,

it's not without its struggles. "It's always a challenge, like anything in music, to connect with your audience. When you're playing live your audience is right in front of you, whereas on CD there's a distance," he acknowledges. "There's an interesting dynamic, too, from

theatres to clubs. [At] a club, everyone's right up front, standing, so you can gauge the audience a little bit better, whereas you play a theatre where people are sitting, it's hard to tell if people are into it or not ... so that connection is really important to us, and conveying the energy of

As this is the last tour for Lasting Distraction, the band has already started working on the next album, though with a different approach from its usual jamcentred process. "The starting points are very similar for us: it all starts with emotion and ideas that move us ... but now we're coming at things from more of a songwriting perspective, which is different than working through songs with a full band," Healy explains. "You can actually play these songs just as songs. If you can play a song with just acoustic and vocals and it still means the same thing as a full band, that's pretty powerful, so we're trying to come at things from that perspective. At the same time, there's an energy that comes from jamming, strange tangents with a band that you don't expect them to go." Mike Angus

// mikeangus@vueweekly.com

JOHN LEFEBVRE Mon, Feb 7 (7:30 pm) With Don Felder Winspear Centre, $60 – $170 A man whose life has had as many twists and turns as a daytime soap opera, John Lefebvre is something of an unlikely arrival in our city. Not because he doesn't have the chops to play the enviro-tinged bluesy folk that he does, but because it's not often a man out on bail, awaiting sentencing in a California court, decides to pick up and tour around Canada with a band. Lefebvre, who at one time or another was a lawyer, a busker, a philanthropist, an entrepreneur and an environmentalist, ran afoul of the US justice system when NETeller, an online money-transfer company that he co-founded was accused of money laundering. Seeing the opportunity in difficulty, Lefebvre used the time he had to remain in Southern California to record his second album with some of LA's best session musicians. "When that first went down I was looking at going to jail but I didn't know when. I could make short-term plans but I couldn't make long-term plans, so it was easy to make a record on a shortterm plan basis," he says. "It was exactly what I needed to go forget about all that other stuff, or to put it in its proper perspective." Lefebvre—who sits on the board of directors of the David Suzuki Foundation— crafted a double album that focuses on environmental issues. The songs on the album centre mostly around people making choices that preserve our environment, with a few ragers at the mess humans have created thrown in for good measure. To Lefebvre, humans are the root cause of any environmental problem the world is facing. "You have to be a little bit thick to not notice what it means to this planet to have seven billion people on it, that just comes through to us all," he says. "There is an environmental problem on this planet: I'm gonna call it humans. There's only one plague on this planet;

32 // MUSIC

VUEWEEKLY // FEB 3 – FEB 9, 2011

The amazing John Lefebvre there's not fishery problems, there's not water problems, there's not global climate problems, there's only one problem—humans." From the time he was a self-described "stoned hippie" growing up in Calgary, to his time spent as a well-paid lawyer, to leaving that job to busk for change, to his founding of NETeller—which put his worth into the hundreds of millions— and his subsequent philanthropy, Lefebvre has remained a person whose thinking is not rigidly in line with the rest of the world. Able to see the wonder in the everyday, that magical thinking is expressed through his music. "My whole life has been one of being ill at ease with the conventional paradigms of society," he says. "One of the things that you learn when you're a stoned hippie is that there are things that are so amazing on this planet. You see a tree and it fills you with such astonishment that a seed can organize the elements into wood and leaves and bark and then you walk up to the tree and you feel it and the wind is blowing through your hair and into the leaves and you feel it. It's so amazing. And if that's so amazing how amazing is a dog? How amazing is a child? How amazing are you?" Bryan Birtles

// bryan@vueweekly.com

EVENTS WEEKLY

COMEDY FACTORY ?Yl]oYq =fl]jlYafe]fl ;]flj]$ +, 9n]$ ;Yd_Yjq Lj L`m$ 02+(he3 KYl$ 0he Yf\ )(he <Yna\ KlYofa[`q3 Feb 3-5 Bgf ;`Yjd]k3 Feb 10-12

Jmkk]dd ;`Yjdlgf$ K[gll @Yjjak3 Feb 4$ *%-he LGJQ LECTURE THEATRE 12 Out of the Stacks and into the Community: The Library’s Approach to Newcomers$ hj]k]fl]\ Zq 9f_]da[Y LYjfgokca$ Cjakl]f Jmeg`j$ Lgfa KYe]c3 Feb 3, ))Ye%)*2+(he 106: Voices for the Voiceless$ 9mlmef :Ydd]c$ Ogjd\ Nakagf; Feb 3, )*2+(%*he KIVA Rm 2-1032 Where Does the Flow Go? Exploring Educational Implications of Migration2 >agfY Hmjlgf$ B]kka[Y Hjg\gj$ 9q]k`Y$ EaYf$ 9d]pak @addqYj\$ KYjY` @meh`j]q$ K`afY GdYqaogdY; Feb 3$ *%+2+(he 4-1043 Theatre of the Oppressed: Exploring Globalization Through Image and Action3 Daf\kYq Jml` @mfl3 Feb 3$ +%-he 165: Powering The Global Move3 Feb 4$ ))Ye% fggf 1072 Dare to Care And the Global Solutions Institute$ EYjc E[;gjeY[c3 Feb 4$ )%*2+(he CENTENNIAL ;=FLJ= >GJ AFL=J<AK;AHDAF9JQ K;A=F;= )%,+(2 Triage$ oal` <j& KlYf @gmklgf3 Feb 3$ -he3 ^j]] 1-4302 Canada: Land of Immigration–A Myth to be Busted?, @Yjk`Y OYdaY$ 9ffY CajgnY$ EYdaf\Y Keal`3 Feb 3$ /2+(%1he ;=FLJ9D 9;9<=EA; :D<?2 *.-2 Between Midnight And The Rooster’s Crow$ hj]k]fl]\ Zq Y e]eZ]j g^ l`] :dY[c^ggl :dgg\ J]k]jn]3 Feb 3$ -he *+12 Gloriously Free, oal` <j& JgZ]jl Fa[`gdk$ Ea[`]dd] L`geYjYl$ BYf :ml]j% eYf3 Feb 4$ )he3 ^j]] =F?AF==JAF? L=9;@AF? 9F< D=9JFAF? ;GEHD=P 1-0172 The Migration of Ideas, =\_Yj\ Jg\ja_m]r$ C]al` Fmjk]$ <Yfa]d L]n]jY3 Feb 3$ )*%)he E1-0172 Roadblocks to Opportunity: A Global Perspective on Transportation, HYlja[c Eadd]j3 Feb 4$ ,%-he @ME9FALA=K ;=FLJ=2 D)2 9dZ]jlY >mdZja_`l D][lmj] af 9e]ja[Yf Klm\a]k$ Canadian and American Responses to Refugee Crises hj]k]fl]\ Zq HYlja[c >gjj]kl3 Feb 4$ )*%)he AFL=JF9LAGF9D ;=FLJ= DG::Q2 A%O]]c Imar2 JYqegf\ EYll`aYk$ C`Y\abY B]l`Y3 Feb 4$ +%-he

COMIC STRIP :gmjZgf Kl$ O=E /0(&,0+&-111 O]\%>ja$ Kmf 0he3 >ja%KYl )(2+(he Bgf <gj] Kh][aYd Hj]k]flYlagf3 Feb 3, Feb 6 Bgf <gj] Kh][aYd Hj]k]flYlagf3 Feb 4-5 @al gj Eakk Egf2 Feb 7 Ea[`Y]d Kge]jnadd]3 Feb 9-10$ Feb 13 Ea[`Y]d Kge]jnadd]3 Feb 11-12

OVERTURE Oafkh]Yj ;]flj] Oafkh]Yj Yf\ =\egflgf Kqeh`gfq Gj[`]kljY Af^gjeYlagf k]kkagf YZgml l`] `aklgjq g^ l`] =KG Yf\ l`] Oafkh]Yj$ Yf\ Y ZY[cklY_] lgmj ^gddgo]\ Zq dmf[` Yf\ Z]n]jY_]k Feb 10$ )*%)he JKNH$ [gflY[l =jaf Emd[Yaj Yl /0(&,()&*-+1

CENTURY CASINO )+)(+ >gjl J\ /0(&,0)&10-/ K`gok klYjl Yl 0he L`m%KYl Yf\ dYl] k`go Yl )(2+(he gf >ja%KYl3 )* L`m!' )1 >ja'KYl!

TRAVEL TALKS 9m\j]qk :ggck$ )(/(* BYkh]j 9n] L`] *f\ Lm] ]Y[` egfl` Yl /he ;]fljYd 9e]ja[Y Feb 8

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

COMEDY BOHEMIA )(-/-%)), Kl Gh]f Ea[ ;ge]\q Fa_`l2 `gkl]\ Zq Jgk] Q]o[`mc$ ^]Ylmjaf_ dg[Yd [gea[k$ dan] emka[ Zq L`] :gdl 9[lagfk$ ^gddgo]\ Zq Y \Yf[] hYjlq3 fg eafgjk Feb 4$ 0he \ggj!$ 1he k`go! <gfYlagf BROOKLYN'S LOUNGE 1*).%+, 9n] /0(&**)&-..* Lm] Fa_`l Dan] Yl :jggcdqf k2 Gh]f Ea[ ;ge]\q fa_`l3 YeYl]mjk Yf\ hjgk o]d[ge] =n]jq Lm]3 02+(he Fg [gn]j CEILI'S )(++0%)(1 Kl$ /0(&,*.&---- ;ge]\q Fa_`l2 ]n]jq Lm]$ 02+(he Fg [gn]j

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GROUPS/CLUBS/MEETINGS AIKIKAI AIKIDO CLUB )()+1%0/ 9n]$ Gd\ KljYl`[gfY ;geemfalq D]Y_m] BYhYf]k] EYjlaYd 9jl g^ 9aca\g =n]jq Lm] /2+(%12+(he3 L`m .%0he AWA 12�STEP SUPPORT GROUP :jY]ka\] Hj]kZql]% jaYf ;`mj[` Zkel$ F& \ggj$ . :]jfYj\ <j$ :ak`gh Kl$ Kaj Oafklgf ;`mj[`add 9n]$ Kl 9dZ]jl >gj Y\mdl [`ad\j]f g^ Yd[g`gda[ Yf\ \qk^mf[lagfYd ^Yeada]k =n]jq Egf /2+(he EDMONTON ESPERANTO SOCIETY )((*-%)(*9 9n]$ Je )0)*0 /0(&/(*&-))/ =n]jq >ja Yf\ l`] *f\ L`m g^ ]Y[` egfl`3 )*%)he EXPRESSIONZ CAFÉ 11+0%/( 9n] /0(&,+/&+../ EYjc]lhdY[]2 9jlakYfk Yf\ [j]Ylan] Zmkaf]kk]k3 )kl KYl ]n]jq egfl`$ )(%+he Gd\ Lae] Yf\ ;gmfljq Jg[c BYe'<Yf[]2 *f\ Kmf ]n]jq egfl`$ )%-he FOOD ADDICTS Kl Dmc] k 9f_da[Yf ;`mj[`$ 0,*,%1- 9n] /0(&,.-&*()1'/0(&,-(&.)/1 >gg\ 9\\a[lk af J][gn]jq 9fgfqegmk >9!$ ^j]] )*%Kl]h j][gn]jq hjg_jYe ^gj Yfqgf] km^^]jaf_ ^jge ^gg\ gZk]kkagf$ gn]j]Ylaf_$ mf\]j% ]Ylaf_$ Yf\ ZmdaeaY E]]laf_k ]n]jq L`m$ /he HOME�Energizing Spiritual Community for

Passionate Living ?Yjf]Ym'9k`Zgmjf] 9kkakl]\ Danaf_ HdY[]$ ))),0%0, 9n] Home2 :d]f\k emka[$ \jYeY$ [j]Ylanalq Yf\ j]È][lagf gf kY[j]\ l]plk lg ]f]j_ar] qgm ^gj hYkkagfYl] danaf_ =n]jq Kmf +%-he LOTUS QIGONG /0(&,//&(.0+ <goflgof HjY[la[] _jgmh e]]lk ]n]jq O]\ MEDITATION e]\alYlagf]\egflgf&gj_ KljYl`[gfY DaZjYjq$ 0++)%)(, Kl2 <jgh%af ]n]jq L`m /%02+(he K`]jogg\ HYjc DaZjYjq2 <jgh%af ]n]jq Mon, /%02+(he ORGANIZATION FOR BIPOLAR AFFECTIVE DISORDER (OBAD) ?j]q Fmfk @gkhalYd$ Je (.-)$ /0(&,-)&)/--3 ?jgmh e]]lk ]n]jq L`m3 /%1he SUGARSWING DANCE CLUB GjYf_] @Ydd$ )(++-%0, 9n] gj Hd]YkYflna]o @Ydd$ )(0.(%-/ 9n] /0(&.(,&/-/* Koaf_ <Yf[] Yl Km_Yj >ggl Klgeh2 Z]_aff]j d]kkgf ^gddgo]\ Zq \Yf[] ]n]jq KYl$ 0he \ggj! Yl GjYf_] @Ydd gj Hd]YkYflna]o @Ydd VEGETARIANS OF ALBERTA :gffa] <ggf ;geemfalq D]Y_m]$ 1*,(%1+ Kl Egfl`dq Hgldm[c ^]Ylmjaf_ kh]Yc]j Dg_Yf :]Ymda]m gf l`] lgha[ EglanYlagf3 l`] l`]e] ak >gg\ ^gj l`] @]Yjlº`]Yjl%`]Ydl`q$ `]Yjl k`Yh]\ gj `]Yjlq ^Yj] Feb 13$ -2+(%/2+(he + e]eZ]j!' - fgf%e]eZ]j!3 Zjaf_ Y n]_]lYjaYf'n]_Yf \ak` ^gj . h]ghd]$ Y hdYl]$ [mh$ [mld]jq$ Yf\ k]jnaf_ khggf WOMEN IN BLACK Af >jgfl g^ l`] Gd\ KljYl`[gfY >Yje]jk EYjc]l Kad]fl na_ad l`] )kl Yf\ +j\ KYl$ )(%))Ye$ ]Y[` egfl`$ klYf\ af kad]f[] ^gj Y ogjd\ oal`gml nagd]f[]

LECTURES/PRESENTATIONS BREAKING THE MYTHS M g^ 9 /0(&,-+&*.+0 Conversations on Poverty and Africa2 >mdd \Yq ^gjme Yf\ \aYdg_m] lg Zj]Yc eql`k af j]dYlagf lg \]n]dghe]fl af 9^ja[Y& Hj]k]fl]\ Zq l`] 9af]eZYZYra ;`ad\j]f¿k Hjgb][l Feb 5$ )(Ye%-he *( Y\mdl!' )( klm\]fl! ;gflY[l lg j][]an] egj] \]lYad gf dg[Ylagf THE EDUCATED WALLET�HOME SWEET HOME L=DMK ;]flj] *+.$ 0/ 9n]$ ))) Kl /0(&,1*&.-+1 Dggcaf_ lg hmj[`Yk] qgmj Çjkl `ge]7 ?]l ]ph]jl Y\na[] ^jge j]Ydlgjk Yf\ Y egjl_Y_] kh][aYdakl kg qgm [Yf eYc] Yf af^gje]\ \][akagf& ?]l qgmj im]klagfk Yfko]j]\ Z]^gj] qgm klYjl qgmj k]Yj[` >]Z )($ .%0he )- kaf_d]!' *- [gmhd]! INTERNATIONAL WEEK�LECTURE/PRESENTATIONS TELUS CENTRE 236/2382 Limiting Refugees’ Potential? Canada’s Transportation Loan Policy, Kgec`mmf L`gf_\]]$ Fa_Y BYdYd$ <Yfa]l$ Ca\Yf] Yf\ EYll @mf\]j3 Feb 3$ +2+(%-% he 150: Conflict, Forced Migration and Human Rights, 9da[] C`af$ Eg`Ye]\ QY`qY$ Lge C]Ylaf_3 Feb 3$ -%.2+(he 217/2192 Migration in Southern Africa: A Survival Strategy$ <Yfa]d L]n]jY3 Feb 43 )(Ye%)* 236/2382 Climate Justice: Whose Voice is Heard? Alberta in Dialogue with Mexico$

QUEER

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VUEWEEKLY // FEB 3 – FEB 9, 2011

BACK // 33

COMMENT >> LGBTQ

COMMENT >> ALT SEX

Sharing space

Boobs

I never thought my first frat party would be so gay. When I talk to one of the organizers, Kim, about Okay, this wasn't actually a frat party, it was just what she sees the Playhouse as, she calls it an housed in what seemed to be a frat house. It was "ephemeral space." It's set to be torn down in a past midnight by the time my girlfriend and I few months and this is the building's last found the place in Old Strathcona, freezhurrah, hopefully boosting the skill sets ing in the cold but a little afraid to go in. of local artists and change-makers beIf this wasn't the right address we were fore it disappears. about to descend on a throng of hard"I see it as a skill share, a free school .com ly k e e vuew partying strangers. and a radical space." Kim tells me. "It tam@ a Inside, we're relieved: it still looks like a will facilitate people to share their Tamar ka own skills." l a z frat house, but gayer, so much gayer. This Gor is opening night of the Playhouse, a space There are costumes and art in the basemeant to fill a niche in queer Edmonton that most ment, a dance party on the main floor and anothdon't know exists. er one upstairs. More than 200 people are smiling Tonight's shindig is to fundraise and get the rent and mingling. It's not fair to call this a queer space paid. Once the business side is done, the real work since many of the people around us clearly are at the Playhouse can go forward. It may be theatre not, just friendly. It's not meant for only queers, workshops, it may be making signs for a rally or it's geared towards anyone who wants to work housing a travelling clown troupe. It's a venue for together in making their community better and skill sharing and it's meant to be safe, roomy and more fun to live in. totally free to use. I never manage to pin down lead organizer Joshua Cooperative and collective spaces are not a new long enough to talk to him. He's too busy playing idea, but Edmonton doesn't have many of them. den mother, trying to find a sad girl a ride home, The Playhouse has been offering this kind of area collecting donations, greeting everyone, all while for over two years, it just wasn't doing it as formalshirtless and wearing heavy bling. Kim tells me that ly as it is now. The three-storey home has housed his aspirations are lofty, from knitting to yoga to rehearsals for a local version of the Rocky Horror anyone else that may show up at their door. It's Picture Show and it's been a workshop for a pupclear no one would be turned away if they had an petry company as well as offering living spaces for idea to share. whoever might need one at the time. The vibe is The last thought that Kim shares with me is that palpable on this Saturday night, people are excited people need to view themselves as community reto be in such a space that's meant for creativity, art sources. It seems so obvious that I'm not sure how and above all, sharing and teaching others. I've never thought of it before. V

I am bombarded by boobs every day. I mean it. they may not fit the mould, is a radical thing to When you do what I do for a living, you are imdo, it seems. Finding women who were willing mersed in boobs all the time. I know that boobs and able to participate proved to be the most are everywhere and we see them on webdifficult part of the project. "We had more sites and magazines pages every day. But women in the book but their friends or believe me, I see more than my fair share family didn't support them." Kerry said, of them. Don't get me wrong, I do love "They wanted to be a part of it and part boobs. Women are beautiful and this of this movement." kly.com e e w e @vu is one of the most amazing beautiful But the women who do appear in the brenda parts of them. What disturbs me about book expressed excitement at the opBrendear this bombardment of boobs is that all the portunity. "I was thrilled at the opportuKerb boobs I see seem to look pretty much the nity to share my journey of learning to love same. I look at the boobs I see on magazine covand value my breasts," says Susan, just one of ers and on the packages of porn movies and sex the women to appear in the book, "I also love that toys and I never see any that look anything like all the models were asked to create their own mine. It seems they only get to come out and paphoto shoots as a clear representation of what rade around in public if they are a certain size and they value. It was a very empowering project!" shape. This is why when I was introduced to the I guess that's what makes the book so different book I Love Your Boobs, I fell in love. The book, from almost every representation I see of womby Albertans Kerry Rae and Tyla Fae, is a beautien's bodies. These boobs are big and small, perky ful collection of pictures of real women without and saggy, young and old. They are not altered, their tops on. Each picture is accompanied by the held in, pushed up, made-up or airbrushed. They woman's story, in her own words, about her feelare just, as Kerry says, "Doing their thing." And, ings about her breasts and her body. they are all, as are the women they belong to, I asked Kerry to chat with me about the book unique and beautiful. Reading the book was a nice and how it came to be. "We were just finding that reminder to me that this is what women actually women were just not confident about their bodies look like without their tops on. They look at lot and their boobs and we really just have a heart like me. V for women and want to help them out." The book took four and a half years to complete and was Brenda Kerber is a sexual health educator who has finally self-published. worked with local not-for-profits since 1995. She is the owner of the Edmonton-based sex-positive Putting your boobs on display, especially when adult toy boutique, The Traveling Tickle Trunk.

The Playhouse is one of our few communal spaces

EERN Q UN TO MO

A new book takes a real look at ubiquitous anatomy

LUST E LIF

FOR

FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) Now and then members of other signs complain that I favour you above them. If that's true, I'm certainly not aware of it. I will say that due to the idiosyncrasies of my own personal horoscope, I have been working for years to get more skilled at expressing qualities that your tribe tends to excel at: being direct, knowing what you want, cultivating a willingness to change and leading by example. All these assets are especially needed by the people in your life right now. TAURUS (Apr 20 – May 20) I've found that even when people are successful in dealing with an intractable problem, they rarely zap it out of existence in one epic swoop. Generally they chip away at it, dismantling it little by little. Judging from the astrological omens, though, I'd say that you Tauruses are ripe for a large surge of dismantling. An obstacle you've been hammering away at for months or even years may be primed to crumble dramatically. GEMINI (May 21 – Jun 20) My brother Tom used to be a pitcher on a softball team in Santa Cruz. For one game he showed up with a new glove that still had the price tag dangling. I asked him if he was going to snip it off. "Nope," he said. "It'll subtly distract the batters and give me an advantage." That day he pitched one of his best games ever.

34 // BACK

Were they even aware they were being messed with? I don't think so. In fact, my theory is that because Tom's trick was so innocuous, no one on the opposing team registered the fact that it was affecting their concentration. I suggest you try a similar strategy, Gemini. CANCER (Jun 21 – Jul 22) A famous atheist named Edwin Kagin "de-baptizes" exchurch-goers by using a blowdryer to reverse the effects of the baptism they experienced as children. The stream of hot air that Kagin blows against their foreheads is meant to exorcise the holy water daubed there way back when. Could you benefit from a similar ritual, Cancerian? If you have any inclinations to free yourself from early imprints, religious or otherwise, you're in a favorable phase to do so. LEO ( Jul 23 – Aug 22) In an old Star Trek episode, a woman visits the starship's medical facility seeking chemicals she needs to start a hydroponic garden. The chief doctor scowls at her. Why is she bothering him with such a trivial request? "Now I know how Hippocrates felt," he complains, "when the King needed him to trim a hangnail." I suspect that sometime soon, Leo, you will be in a position similar to the ship's doctor. Unlike him, however, you should carry out the assignment with consummate grace. It'll pay off for you in the long run—probably in ways you can't imagine right now.

ROB BREZSNY // FREEWILL@vueweekly.com

VIRGO (Aug 23 – Sep 22) In Leonard Cohen's song "Anthem," he sings, "There is a crack in everything / That's how the light gets in." From what I can tell, Virgo, the week ahead will be one of the best times all year for welcoming the light that comes through the cracks. In fact, I urge you to consider widening the cracks a little—maybe even splitting open a few new cracks—so that the wildly healing light can pour down on you in profusion. LIBRA (Sep 23 – Oct 22) When was the last time you created a masterpiece, Libra? I'm not necessarily talking about a work of art; it might have been an exquisite dinner you prepared for people you love ... or a scary-fun adventure you risked that turned you into a riper human being with a more authoritative standing. Whether your last tour de force happened seven weeks ago or seven months ago, my sense is that you're due for another one. The cosmic rhythms are conspiring to make you act like an artful genius. SCORPIO (Oct 23 – Nov 21) Why is everything so eerily quiescent right now? Should you be worried? Has the momentum been sucked out of your life? Have you lost your way? Personally, I think you're doing better than you realize. The dormancy is a temporary illusion. To help give you the perspective you need,

VUEWEEKLY // FEB 3 – FEB 9, 2011

I offer you this haiku-like poem by Imma von Bodmershof, translated by Petra Engelbert: "The great river is silent / only sometimes it sounds quietly / deep under the ice."

sion. In accordance with the astrological rhythms, Capricorn, I urge you to adopt a similar approach. To be successful in the coming days, you don't need an approval rating of 80 percent.

SAGITTARIUS (Nov 22 – Dec 21) I saw exPoet Laureate Robert Hass read and discuss his poem "Etymology." He said that while many of the fluids of the human body are named with English words, at least one isn't: the moisture of a woman who is sexually aroused. The Anglo-Saxons did have a word for it, he noted: silm, which also referred to the look of moonlight on the water. "Poor language," Hass concluded, bemoaning a vocabulary that ignores such an important part of human experience. Your assignment, Sagittarius, is to correct for any problems caused by poor language in your own sphere. If you've been lazy about articulating your meaning or needs, then please activate your deeper intelligence. You could even coin some new words or borrow good ones from foreign tongues.

AQUARIUS ( Jan 20 – Feb 18) The renegade spiritual sect known as the Church of the Subgenius values one treasure above all others: slack—a state of being in which everything flows smoothly and the entire universe just naturally cooperates with you. When you've got slack, you don't strain and struggle to make desired events unfold. You're surrendered to the greater intelligence that guides your life. Happy Slack Week, Aquarius! I suspect you will have loads of that good stuff, which means your freedom to be your authentic self will be at a peak.

CAPRICORN (Dec 22 – Jan 19) Stand-up comedian Arj Barker says that when he writes each of his jokes, he's thinking that all he needs to do is make it funny enough to get at least three people in the audience to laugh at it. He hopes he does get more, but if he can just get those three, he believes, he will always get a lot of work in his chosen profes-

PISCES (Feb 19 – Mar 20) "Everybody gets so much information all day long that they lose their common sense," said writer Gertrude Stein many decades ago. Isn't that a thousand times truer in 2011? It takes rigorous concentration not to be inundated with data. But that's exactly your assignment, Pisces. It's absolutely crucial for you to be a beacon of common sense in the coming days. To meet your dates with destiny, you will have to be earthy, uncluttered and in close touch with your body's intuition. If that requires you to cut back dramatically on the volume of information you take in, so be it.

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FOUR LINES: $20 EXTRAS (BOLDING, CAPS, EXTRA LINE, BOX WORD AD, SYMBOLS): $4 EACH FORMS OF PAYMENT: CASH, CHEQUE, VISA, MASTERCARD DEADLINE: FRIDAY AT 3 PM PHONE: 780.426.1996 FROM 9 � 4, MON � FRI EMAIL: ROB�VUEWEEKLY.COM NOT FOR PROFIT LISTINGS: FREE FAX: 780.426.2889 OR EMAIL: LISTINGS@VUEWEEKLY.COM

BUSINESS OPPORTUNITIES

ARTIST TO ARTIST Call for entries: 2011 Dreamspeakers; fill out a Submission Form; Deadline: Feb 28, 2011; Info E: info@dreamspeakers.org McMullenGallery: Seeking proposals for the exhibition year May 2012 – April 2013; deadline: Mar 31, 4pm; info at capitalhealth.ca Any artist, musician, or performance artist interested in being featured for the Local Art Showcase @The Old Strathcona Antique Mall, please be inspired to contact Jenn@oldstrathconamall.com Call to local artists, musicians, performers for Yuk Yuk's new "Thursday Night Variety Show". Call 780.481.9857 and ask for Chas or email: chaz_ beau@hotmail.com for info

MUSICIANS Morango's Tek Café is looking for bands and musicians for shows on Friday nights....contact Dr. Oxide at .....doctoroxide@shaw.ca Vocalist wanted – Progressive/Industrial/metal; age 17-21. Contact justinroyjr@gmail.com

EDUCATIONAL Top acting training Apply today! www.topactingschool.ca

COSMOPOLITAN MUSIC SOCIETY Opportunity 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

HELP WANTED

VOLUNTEER

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

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

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 ARTICULTURE ART EXHIBITION: with VASA, SAPVAC, AGSA and the City of St Albert are accepting submissions from visual artists who live, work or play in St Albert to present during a four day arts festival (Articulture, Apr 7-10); Deadline: Feb 28, 4pm; info: Samantha Williams T: 780.459.1755, 3075; E: swilliams@st-albert.net. 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)

Calling all Snow Angels: The City of Edmonton would like to encourage you to 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

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

The Nina Haggerty Centre for the Arts: looking for artists to provide mentorship to our artists with developmental disabilities. Share your talents and passion while gaining work experience. Info: volunteer@ninahaggertyart.ca Edmontonians invited to apply to serve on City environmental boards. Details/applications at W: edmonton.ca/recruitment Application deadline: Tue, Feb 15, 4:30pm Writer needed for Mighty Wheels Group The Mighty Wheels Group is in need of a volunteer writer to help re-write the copy on their website. T: Tim Id Parnett; E: tim@mighty-wheels.com; W: mighty-wheels.com/ 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 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 Volunteer Lunch Deliverer/Driver: If you're available Mon-Fri, 11am-2pm, 1-2 days/week, be part of the team. Mileage reimbursed for delivery routes. T: 780.429.2020, E: emow@mealsonwheelsedmonton.org; W: mealsonwheelsedmonton.org

backwords Walking down Whyte Avenue one night I saw this little creature out of the corner of my eye. I recognized it as the work of a local graffiti artist that goes by the name Daft Punk—recently shortened to dp. It is part of an ongoing series of animal hybrids that includes a fruit bat, king snake and deer mouse. Other examples of dp's work have been well documented on the Facebook page Freewall Etown. "The Gurtle," as I like to call it, employs complex ideas of language and semantics. It is interesting to see dp's mind at work. Like a riddle, its meaning is open to the interpretation of

chelsea boos // che@vueweekly.com

the viewer. I'm left wondering if it is a commentary on genetic manipulation, or if it's simply referring to a type of ladies' undergarment. Even the placement, size and location add to the intricate game of hide-and-seek. Located below eye level in a vacant storefront, the 12-inch stenciled artwork is largely invisible to the average person. Most people would pass by unaware. Dp is expertly drawing on a sense of play and humour to reward those who are perceptive of their surroundings, and willing to engage with a piece of artwork in an unexpected place. V

SUPPORT YOUR LOCAL FOOD BANK

SERVICES Depressed? Anxious? Emotions Anonymous: 12 step support group to help people learn emotional wellness, to live with unsolved problems, to help people cope better with life's issues; call Ruth 780.436.2951 NARCOTICS ANONYMOUS Help Line 24 Hours a Day–7 Days a Week. If you want to stop using, we can help Local: 780.421.4429/Toll free: 1.877.463.3537 S-Anon: 12-Step fellowship for the family members and friends of sex addicts. Call 780.988.4411 for Edmonton area meeting locations and info, sanon.org SACE–Public Education Program: Sexual Assault Centre of Edmonton (sace.ab.ca) provides crisis intervention, info, counseling, public education. T: 780.423.4102/F: 780.421.8734/E: info@sace.ab.ca; sace.ab.ca/24-hour Crisis Line: 780.423.4121 Are you an International Medical Graduate seeking licensure? The Alberta International Medical Graduates Association is here to help. Support, study groups, volunteer opportunities–all while creating change for tomorrow. aimga.ca Had Enough? Cocaine Anonymous 780.425.2715 IS DRINKING A PROBLEM? A.A. CAN HELP! 780.424.5900 Jewish Family Services Edmonton/TASIS (Transforming Acculturative Stress Into Success): Free program aimed at minimizing culture shock and displacement for trained professional immigrant women. T: Svetlana 780.454.1194

ADULT EIGHT MINUTE DATE Speed Dating Event at The Edm Valley Zoo "4th Annual Animal Attractions Event" Fri, Feb 11 Age Groups: 22-32, 33-44 & 45-55 & Sat, Feb 12 Age Groups: 2-38, 39-49 & 50-60. You must pre-purchase a $40 ticket at www.eightminutedate.ca or call us at 780.457.8535. To purchase a ticket in person check our webiste or on Sat, Feb 5 from 1-2 pm we will be in the Red Robin lounge downtown selling tickets 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 THE NIGHT EXCHANGE Private Erotic Talk. Enjoy hours of explicit chat with sexy locals. CALL FREE* NOW to connect instantly. 780.229.0655 The Night Exchange. Must be 18+. *Phone company charges may apply

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 Call for submissions: artists, digital musicians, and proposals. "TechArt International 2011". Send CV, images, project description to d_art_man@hotmail.com Expressionz Café: looking for family friendly performers and presenters for the monthly marketplace at 9938-70 Ave. Info E: expressionzcafe@gmail.com 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

VUEWEEKLY // FEB 3 – FEB 9, 2011

BACK // 35

36 // BACK

VUEWEEKLY // FEB 3 – FEB 9, 2011

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