vue weekly 800 feb 17 2011

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VUEWEEKLY // FEB 17 – FEB 23, 2011

VUEWEEKLY // FEB 17 – FEB 23, 2011

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• Variations of the Death of Trotsky By David Ives Directed by Shauna Allen Produced by Katie’s Playhouse

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The Street of Good Friends By Owen G. Arno Directed by Jill McIntoshMacDonald Produced by Katie’s Playhouse

• One Man Five Minute Macbeth By William Shakespeare & Jeff Hoffman Directed by Jeff Hoffman Produced by Hoffmaniac Productions

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VUEWEEKLY // FEB 17 – FEB 23, 2011

COVER

INSIDE

IssuE no. 800 // FEB 17 – FEB 23, 2011

UP FRONT // 6/ 6 7 8 9 9

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

DISH // 14/ 18 To the Pint 20 How to

BRRRUNCH

One of the top four meals of the day

// 14 SNOW ZONE

ARTS // 22 24 Prairie Artsters

FILM // 27 27 DVD Detective

// 10

MUSIC // 31/ 38 New Sounds 39 Loonie Bin 39 Old Sounds 39 Quickspins

VUETUBE

BACK // 41 42 Free Will Astrology 42 Lust for Life 42 Queermonton

LISTINGS 26 Arts 30 Film 32 Music 41 Events

Manraygun WATCH MANRAYGUN AT THE VUE WEEKLY STUDIO vueweekly.com/vuetube

10303 - 108 street, edmonton, AB T5J 1L7 t: 780.426.1996 F: 780.426.2889 E: office@vueweekly.com w: vueweekly.com

IssuE no. 800 // FEB 17 – FEB 23, 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

SALES AND MARKETING MANAGER............ ROB LIGHTFOOT // rob@vueweekly.com LOCAL ADVERTISING.......................................... 780.426.1996 // advertising@vueweekly.com CLASSIFIED ADVERTISING............................... 780.426.1996 // classifieds@vueweekly.com NATIONAL ADVERTISING.................................. DPS MEDIA // 416.413.9291 ADMINISTRATION/DISTRIBUTION............... MIKE GARTH // michael@vueweekly.com ADMINISTRATION/PROMOTIONS................ AARON GETZ // aaron@vueweekly.com

COVER Elizabeth Schowalter // scho@vueweekly.com CONTRIBUTORS Mike Angus, Chelsea Boos, Josef Braun, Rob Brezsny, Mike Deane, Erika Domanski, Gwynne Dyer, Jason Foster, Amy Fung, Brian Gibson, Hart Golbeck, Tamara Gorzalka, James Grasdal, Jan Hostyn, Whitey Houston, Brenda Kerber, Omar Mouallem, Tom Murray, Stephen Notley, Mel Priestley, Bryan Saunders, LS Vors, Dave Young, Kirk Zembal 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 17 – FEB 23, 2011

UP FRONT // 5

UP FRONT

VUEPOINT

GRASDAL'S VUE

Mystery of the not samantha power // samantha@vueweekly.com

A mystery has been solved on Parliament Hill. Somewhere between the Canadian International Development Agency recommending KAIROS be funded for the next four years, and Minister Bev Oda's signing off on the recommendation, a 'not' was placed in the document, completely reversing CIDA's recommendation. Minister Oda described the questioning into the placement of the word like it was a forensics investigation. "It's like we're on CSI or it's an investigative forensic thing, asking, 'Who put the 'not' in?'" Unfortunately for Minister Oda, she was right. It helps that she has now confessed to the crime, which makes solving the whodunnit a lot easier. But it leaves two problems. First, Minister Oda is in contempt of Parliament: in the first case, she has misrepresented two of her staff by adding in directives after they had signed off on a project, but perhaps more alarmingly she lied about it. Minister Oda stated unequivocally to a House of Commons committee—a committee in which speakers are generally required to tell the truth. But with her admission she also reveals her lie to the committee. The second problem lies with Prime Minister Harper's staunch defense of Oda's actions. It's rather questionable: he was quick

YOURVUE

to cut Helena Guergis from cabinet last year for her transgressions as a minister. Guergis was involved in using her ministerial connections and power to help out a company her husband, former MP Rahim Jaffer, was involved in. What Oda has done does not seem much different: abuse of power. But instead of booting Oda from cabinet, Harper has come to her defense, defining it as a reasonable use as her power as minister to step in and stop funding of an organization. This explanation is, thankfully, not enough for opposition members who have the option of censuring Minister Oda themselves. But it leaves a question of why Harper believes this transgression was all right when Guergis was quick to lose her job. Perhaps because this is an organization that has troubled the Conservative government in the past. MP Jason Kenney was very open to stating KAIROS was not a group the Conservatives were interested in funding. Guergis on the other hand was sinking quickly into an unravelling seedy plot. Harper seems to have the magical touch in saving his ministers and he could have stood behind Guergis, defending her actions and saving her job. Queen's University parliamentary expert Ned Franks termed Oda's case the most clear contempt of Parliament he's seen. Apparently it's not clear enough for the Prime Minister. If I were Helena Guergis, I'd be making a phone call. 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

are at odds over the recent decision to implement usage-based billing. Do you think Canadians should pay for the Internet based on how much they're using?

cancel 6 // UP FRONT

VUEWEEKLY.COM

THIS WEEK Minister Bev Oda admitted she doctored a document which had approved the aid orga-

The CRTC and the Prime Minister's office

ONLINE EXCLUSIVE

nization KAIROS of funding to read that it shall not receive funidng. Should the minister resign?

yes, Minister

no, Minister

Oda should

Oda should

resign

not resign.

Check out vueweekly.com to vote and give us your comments.

VUEWEEKLY // FEB 17 – FEB 23, 2011

Check the Vue Weekly website every week for new podcasts on current events. Recent podcasts include interviews with local activists and academics on the situation in Egypt and interviews with members of the Alberta Party about their new legislative agenda.

Listen at vueweekly.com/podcasts

Forgotten cities

Canadian municipalities don't have a say in trade talks SAMANTHA POWER // samantha@vueweekly.com

A

t the end of this year, cities in Canada may have already lost one of their key business tools, and they'll have the federal government to thank. Since 2008 the federal government has been negotiating with the European Union to create a free trade deal in the vein of NAFTA, with one key difference: this deal will include municipalities. The Canada-European comprehensive economic trade deal has been in formal talks for over a year, but many municipal leaders are only just hearing about the issue. City councillor and Federation of Canadian Municipalities board member Ben Henderson is concerned cities are only just hearing about this deal and its implications. "I don't know if any of us actually has an idea of what's on the table," Henderson says. "I first heard about in the summer. They may have been at it for a while, but not in a way that the public has had a chance to look at it." Stuart Trew, trade campaigner with the Council of Canadians, thinks that's the way the Harper government would prefer to do business. "They're really trying to keep it quiet because

it's much deeper than NAFTA and they're going after controversial areas." Trew says. The major issue at stake for municipalities is their purchasing power, as Trew says, one of the last levers municipalities have to stake out public policy. Public procurement by cities is currently being used to set "Buy Local" initiatives, support local innovation and develop green initiatives such as Ontario's Green Energy Act—an act, modelled on public policy decisions in European nations, which has created environmental leaders such as Germany. "As a municipality you can no longer maximize the social and sustainability benefits of your public spending," says Trew. The worry is not simply with future green policies that the city may put in place, but with core municipal services. A legal review of the proposed CETA rules by Steven Shrybman at the Columbia Institute determined the trade deal would limit cities' ability to use procurement and therefore, "municipalities would lose one of the few, and perhaps the most important tool they now have for stimulating innovation, fostering community

economic development, creating local employment and achieving other public policy goals, from food security to social equity." Right now European companies have every right to bid on municipal service provision, but under the new trade agreement the city will have to provide more reason to deny the bid

of autonomy that is being dealt away on our behalf without us even having a say in it." The Federation of Canadian Municipalities has already been advocating the importance of municipal procurement to the federal government. As the FCM stated in a comment on a previous federal budget, "There may

I don't know what jobs this brings to the city of Edmonton, and yet there's a huge amount of autonomy that is being dealt away on our behalf without us even having a say in it. than simply favouring local development. "It gives companies new levers to challenge not only bids they don't win, but to potentially discourage municipalities from thinking of local procurement and using it in a sustainable way," says Trew. "It basically limits that and says no, you always have to think of the bottom line and so the only people it benefits are multinational companies who can offer the bottom line costs." "I don't know what jobs this brings to the city of Edmonton," Henderson says, "and yet there's a huge amount

be industries of strategic significance to a particular region, such as transit, or projects where considerations of quality, public benefit, environmental protection or business ethics means that a local government may be allowed to implement minimum Canadian content levels, within reason." Municipal economies may not be the only ones to lose out. A study by economist Jim Standford and released by the Canadian Centre for Policy Alternatives reveals the federal economy may lose out as well. Standford estimates Canadian job losses from 28

NewsRoundup

SAMANTHA POWER // samantha@vueweekly.com

WATER CHARGES

RETURN TO LEGISLATE As members of Alberta's legislative assembly prepare to return, Government House Leader Dave Hancock has released the proposed agenda for the session. Issues on the table include a procedure to provide notice to the attorney general when allegations of inadequate aboriginal consultation are brought forward and a new Education Act should be ready to be debated after a months long review process. As well, the controversial Land Stewardship Amendment Act will be brought forward to clarify the original intent. Landowners are concerned the act restricted landowner rights in favour of the government's ability to use resources for growth. The budget, which has been the cause of much disagreement within the Con-

servative caucus and is arguably the grounds for resignation of both the premier and the finance minister, will be tabled on February 24. The spring session—which is expected to end April 28—has been accused of being prematurely unproductive due to the resignation of the premier and the impending Conservative leadership race causing the potential resignations of more Conservative MLAs. This session should be interesting, though, as it will be the first legislative session for the Alberta Party, making five parties in the Legislature. Former Conservative MLA Raj Sherman, who drew attention to the government's handling of the wait times in emergency rooms in the last session, will continue to sit as an independent.

TRANS CELEBRATIONS Canadian transgendered people have reason to celebrate as the House of Commons passed new legislation last week. The private member's bill enshrines gender identity and expression in the Canadian Human Rights Act and the Criminal Code and will prevent discrimination based on gender identity. The vote narrowly passed with 143 - 135. The private member's bill was put forward by NDP MP Bill Siksay, NDP critic for LGBTQ rights. Siksay named the passing as an important day for transgender Canadians,

"It means that trans people are one step closer to explicitly seeing themselves in our human rights legislation." Siksay is hopeful the legislation will bring security to a population where 60 percent of its members experience violence. Most Conservatives voted against the bill with six exceptions, including cabinet ministers Lawrence Cannon and John Baird. The bill still has to pass the Conservative dominated Senate, which has demonstrated a recent willingness to vote against bills passed by the House.

000 growing to over 150 000, and overall GDP losses up to three percent. So why go through with it at all? "Canada and the EU have been trying to do this since 2004," says Trew. A joint report in 2007 revealed bilateral trade could increase 20.6 percent by 2014. "$12.1 billion could be added to Canada's economy because of research and development cooperation, investment facilitation and harmonized regulation.” said Patrick Leblond of the University of Ottawa in a November statement in response to the CCPA study. But if there's one area both sides can agree on it's that there needs to be a greater degree of public dialogue. The Columbia legal review recommended the federal government undertake a thorough review of the impacts this trade agreement will have on municipalities and to engage in consultations with municipalities, which despite the impending December deadline still has not happened. "It will be great to see more debates on this before a deal is signed," says Trew. "There's no reason not to bring Canadians into trade negotiations when you're talking about the changes you want to make to public policy in Canada." V

Charges have been laid against oil sands company StatOil. The company was charged with contravening the Water Act between 2008 and 2009 for improperly diverting water from various water bodies for industrial use. Greenpeace is concerned by the charges as StatOil has previously been labelled the "greenest" producer in the tar sands. Greenpeace campaigner Mike Hudema has called attention to the amount of time it took to lay charges, saying, "Why has it taken until 2011 to lay charges for incidents the Alberta government says occurred between 2008 and 2010? This is another clear indication that self-policing by oil companies in the tar sands isn't working. StatOil owes Alberta some answers and the Alberta government needs to stop allowing companies to self-monitor and self-report, and start standing up for the public interest." The Norwegian company is a recent addition to the tar sands production companies. It only announced its first production of oil in January of last year and entered the tar sands after much controversy in Norway in 2008. StatOil representatives are due in court on April 6.

QUOTE OF THE WEEK “It's like we're on CSI or an investigative forensic thing, asking, 'Who put the not in?' I'd like to know what your issue is. What is your issue?” —Minister Bev Oda responding to allegations she doctored a signed funding approval for aid agency KAIROS The Globe and Mail Feb 10, 2011

VUEWEEKLY // FEB 17 – FEB 23, 2011

UP FRONT // 7

COMMENT >> EGYPT

Rebuking the ignorant

Radicalism has no hold over peaceful Egyptian revolution

// Chelsea Boos

They wouldn't do it for al-Qaeda, but will be rich, respected and victorious, for they finally did it for themselves. then God will be willing to help them. The young Egyptian protesters who The Islamists never talked about the overthrew the Mubarak regime on SaturArabs, of course. They spoke only of day have accomplished what two gener"the Muslims," for their ideology rejected ations of violent Islamist revolutionaries all distinctions of history, language and could not. And they did not just do it nationality: the ultimate objective non-violently; they succeeded bewas a unified "Caliphate" that cause they were non-violent. erased all borders between They also succeeded because Muslim countries. In practice, they had reasonable goals however, most of them were kly.com Arabs, although Arabs are that could attract mass supuewee v @ e n gwyn port: democracy, economic only a quarter of the world's e Gwynn growth, social justice. This was Muslims. Dyer in marked contrast to the goals Osama bin Laden is a Saudi of the Islamist radicals, which were Arabian. His deputy, Dr Ayman also unrealistic that they never managed Zawahiri, is an Egyptian. The great mato get the support of the Arab masses. jority of the founders of al-Qaeda were Even to talk about "the masses" sounds Arabs. That makes sense, for it is the anachronistic these days, but when we Arab world that has seen the greatest are talking about revolution it is still a fall from former prosperity, lives under relevant category. Revolutions, whether the worst dictatorships, and has suffered Islamist or democratic, win if they can the greatest humiliations at the hands of gain mass support, and fail if they canthe West and Israel. not. The Islamists have got a great deal From Turkey to Indonesia, most nonof attention in the past two decades, and Arab Muslim countries enjoy reasonespecially since 9-11, but as revolutionarable economic growth, and some are ies they are spectacular failures. full-blooded democracies. Their governments work on behalf of their own counThe problem was their analysis of what tries, not for Western interests, and they was wrong in the Arab world. Like most do not have to contend with an Israeli extremist versions of religion, Islamism is problem. If there was ever going to be a form of obsessive-compulsive disorder. mass support for the Islamist revolution, Its diagnosis essentially says that the it was going to be in the Arab world. poverty, oppression and humiliation that Arabs experience are due to the fact that Revolutionary movements often resort they are not obeying God's rules, espeto terrorism: it's a cheap way of drawing cially about dress and behaviour, and so attention to your ideas, and it may even God has turned His face from them. lead to an uprising if the target regime The cure for all these ills, therefore, is responds by becoming even more opprecise and universal observance of all pressive. The first generation of Islamists God's rules and injunctions, as interpretthought they would trigger an uprising in ed in their peculiarly narrow and intolSaudi Arabia when they seized control of erant version of Islam. Men must grow the Grand Mosque in Mecca in 1979, and their beards, for example, but they must in Egypt when they assassinated Presinot trim them. If only they get these and dent Anwar Sadat in 1981. a thousand other details right, the Arabs There were no mass uprisings in sup-

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8 // UP FRONT

VUEWEEKLY // FEB 17 – FEB 23, 2011

port of the Islamists either then or later, however, and the reason is that Arabs aren't fools. Many of them intensely disliked the regimes they lived under, but it took only one look at the Islamist fanatics, with their straggly beards and counter-rotating eyeballs, to know that they would not be an improvement. A second generation of Islamists, spearheaded by al-Qaeda, pushed the strategy of making things worse to its logical conclusion. If driving Arab regimes into greater repression could not trigger proIslamist revolutions, maybe the masses could be radicalized by tricking the Americans into invading Muslim countries. That was the strategy behind the 9-11 attacks—but still the masses would not come out in the streets. When they finally did come out in the past couple of months, first in Tunisia, then in Egypt, and already in other Arab countries as well, it was not in support of the Islamist project at all. What the protesters were demanding was democracy and an end to corruption. Some of them may want a bigger presence for Islam in public life, and others may not, but very few of them want revolutionary Islamism. It is a testimony to the good sense of the Arabs, and a rebuke to the ignorant rabble of Western pundits and "analysts" who insisted that Arabs could not do democracy at all, or could only be given it at the point of Western guns. It is equally a rebuke to bin Laden and his Islamist companions, hidden in their various caves. They were never going to sweep to power across the Arab world, let alone the broader Muslim world, and only the most impressionable and excitable observers ever thought they would. V Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.

BOB THE ANGRY FLOWER

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IN THE BOX

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

Time for a change

Season Ticket Scolders

It should come as little surprise that GM Steve Tambellini has called his players on the carpet to account for what happened to the compete level of the Oilers. Everyone was willing to be patient with this young squad: the fans, management, teammates. There comes a time, however, when you gotta look within yourself and admit you're just not bringing it, and that you'd better start. Throughout the season, defenders of this squad chalked up the mistakes to inexperience or adjustment, but when you only get 12 shots on net like the Oil did against Anaheim, none of those excuses are valid anymore. I hope the latest round of "We gotta be better" interviews isn't just lip service. BB Great (fictional) moments in (mostly

fictional) Oiler History

2003 Stanley Cup playoffs. The Oilers, as usual, were facing Dallas and, as usual, about to lose again. However, one great thing happened in that game: Oiler rookie Marc-Andre Bergeron obliterated Stars forward Brenden Morrow with a monstrous, textbook hip check that sent Morrow flying. Here's what really happened: Bergeron, fresh out of the AHL, was paying close attention to Coach Craig MacTavish. Maybe too close. You see, MacT stressed one important maxim: "Leave nothing on the ice. Nothing." As Bergeron was skating toward the blueline with Morrow speeding toward him, he spotted a loonie on the ice surface. Not wanting to leave something on the ice, he stooped over to pick up the object, collided with Morrow, and pulled off what was possibly the best Oiler hit of that decade. Really. DY Missing Huggy Bear

I'm gonna miss ol' huggy bear, Zach Stortini. Say what you will about his fighting style or his skating ability, Stortini is a guy who shows up for every game. He's the guy who's always in the corners and he more often than not comes up with the

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EDUCATION FOR THE REAL WORLD

End of the season means gut checks and trade rumours It was the kind of week that makes a GM walk into the dressing room and express his disappointment. Last week started with a 4-1 loss to Chicago (they are better) and continued with a 5-3 loss to Ottawa (they're not) and a 4-0 loss to Anaheim. Luckily, a 4-1 win over Dallas may keep Tambo upstairs for a week or two.

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AN INSTITUTE OF TECHNOLOGY COMMITTED TO STUDENT SUCCESS

puck. With the Oilers suffering from a lack of will, perhaps now wasn't the best time to send Stortini out—especially while keeping JF Jacques who for all of his large frame and seeming ability to act like a bull, chooses not to most of the time. I hope the "Zach Attack" can play his way back into the good books. BB Hollywood Hemsky

If you buy into the latest rumours, this could be Ales Hemsky's final season as an Oiler. The LA Kings are rumoured to be the most likely new destination for Hemmer. If players like Brayden Schenn or Wayne Simmonds come back with blueline prospects like Thomas Hickey or Viatcheslav Voynov, I'd miss Hemsky—but I'd wish him well. I'd probably even cheer for Hemmer, Smytty, Stollie and Greener in the playoffs. DY Player of the week

Tom Gilbert: This guy has been playing insane minutes since Whitney went down and with everyone looking like crap out there, his name barely comes up. So ... that's positive. BB Taylor Chorney: GWG against Dallas. Since game winners are rare, that's a biggie. DY

VUEWEEKLY // FEB 17 – FEB 23, 2011

UP FRONT // 9

SNOW ZONE I was a teenage snowboarder Utah ... check!

Powder Mike finished with the Beehive State

The motorhome hits the road Powder Mike // powdermike@vueweekly.com

Jump-a-mundo! Kirk Zembal // kirk@vueweekly.com

A

h, the late 1990s. Exploding onto the scene in that half decade leading into the 21st century was the Internet, boy and girl bands, stuffed-crust pizza, and at your local ski hill ... snowboards. The infectiousness of those trends (at least to a junior high schooler) meant that when I heard that my home ski hill, Tawatinaw Valley, would be renting out snowboards I was pretty pumped up as we said in those days. My mom bought me a pair of sweet Board Dokter snowpants with built-in padding to cushion my knees and coccyx and I was set. I was going to be a snowboarder. I lasted half a day. The idea of struggling and falling all the time to learn something that seemed pretty similar to something I knew how to do already just did not compute in my young head. I switched back to skis. A dozen years later, like a character in a thousand terrible novels, I felt regret. Regret that I, simply, was a quitter; regret that I decided—like those same literary characters—to expunge by getting back on the board. For symmetry and nostalgia, back at Tawatinaw an hour up Highway 2 towards Athabasca. The place has obviously changed in the years since: a couple new T-bars; massive terrain park for the Northern Alberta Freestyle Team; new-to-them Kubota tractor to replace the 1940s-era McCormick or International tractor running the rope tow; competition-style mogul run to

10 // SNOW ZONE

channel your inner Bilodeau or Heil; and one of only two superpipes in the province. Same rental shop that Tawatinaw manager and do-it-all Perry Prazak opened three decades ago when he was 19, though; same herd of mule deer hanging around the cross-country ski tracks; same day lodge at the base (until Westlock County builds a new one in three to five years); and the same sense of bewilderment at the snowboard under my feet. Those 12 years had changed one other thing: I was now older than the instructors. My instructor, just a young kid

tate my body and miss a toe-turn and swear, but then I'd link a toe with a hard heel over a few bumps and feel ready to grind a few rails. To go from having to hold hands with the instructor to "carving" all the way down the hill? Incredible feeling. I don't quite remember how well I did back in the '90s, but I do remember the nadir of that day—the old Tawatinaw T-bar. That monster is long gone, but my healthy fear of it remains. With its spring-loaded telescoping steel pole mated to a big oak plank, the hunk of junk would without relent knock me to the ground every time. I'd hate to be the first guy to blame his lack of skills

The carnage is everywhere as is the "thousand yard stare" of scared-shitless kids and adults looking down the one percent grade.

next to me, took me up the bunny hill to try it out. I always associate bunny hills with being tiny replica Hamburger Hills of bygone wars. The carnage is everywhere as is the "thousand yard stare" of scared-shitless kids and adults looking down the one percent grade. Today, that would be me. I was catching edges and hitting the deck before I hit trees like I was on a motorcycle and laying the bike over to avoid a crash. But you know what? You catch on. It's pretty wild to feel how little victories feed your confidence. I'd forget to ro-

on a lift, of all things, but man did I hate that old beast. I'll be honest, with nightmares of that thing still vivid, I needed a win on the new T-bar. Cynics say the key to happiness is lowering your expectations and with visions of a now-grown man being dragged by an unforgiving T-bar in my head I was the happiest dude in the county when I made it to the top with my board squarely under me. And then up it again and again cleanly. And down the greens and then the blues. And I was sold. V

VUEWEEKLY // FEB 17 – FEB 23, 2011

Powder Mike and his family are Edmonton-based skiers; his real job is a director of an Edmonton-based engineering company, but he's packed the family and equipment into a Class C winterized motorhome to spend three months touring the United States' finest ski spots. He's recording his travels for Vue Weekly.

T

he great luxury about a threemonth trip is that there is time. Time to ski weekdays only, time to explore the surroundings, time to spend with family. So far we had skied only one Saturday in Jackson Hole. It was worth it as the crowds were non-existent, but testing the no-weekend rule on a Sunday with friends that have season's passes would prove to have consequences. Driving up the canyon to Snowbird, the clouds socked in and the rain began to fall. We parked at the base, avoided the puddles and got on the Gad Bowl lifts. Halfway up, the rain turned to slush, then sleet, then graupel, then whiteout snow. We persevered and rode the tram, skied Mineral Bowl in a whiteout and side slipped down an unknown run, tipping over from the whiteout vertigo while navigating by the sound of the chairlift. One doubleblack gully was worth the money but we left before the hill closed. In Salt Lake we wrung out our boots under clear skies and sun. They call it the Great Salt Lake Effect—it brings dozens of feet of snow each year to the Wasatch Mountains, but it needs to be below zero to work. Monday we stayed in town as the weather turned cold and windy. Tuesday morning was back in the saddle and

// Powder Mike

Well, almost, but that didn't stop Kirk Zembal from mounting a comeback 12 years later ...

we headed to Alta. Along with Jackson Hole, Alta is a must-go destination. Since 1938, it has consistently been topranked for quantity and quality of snow in North America. The day was clear, warm and sunny and I was dragging the kids out of the motorhome door with excitement. Alta is very retro, the buildings are 1970s cubist concrete with lots of bubble windows. A nice change from the timber frame and fieldstone mountain lodges popular everywhere else. Alta uses a RFID embedded lift ticket which is awesome as you put it in your pocket and ski through a gate reader onto the lift. Most of the Utah resorts have discount tickets available at REI, Costco or Ski 'N See ski shops so make sure you don't buy tickets on the hill. Not in recent memory has Alta experienced the conditions we were about to ski: the extreme weekend weather con-

Going with a local makes all the difference: every run was a new aspect of the mountain. ditions had covered the 300-inches— yes, 25-feet—of Alta powder in a shiny blue layer of ice. The only manageable skiing was on the groomed slopes. In a testament to Alta we still had a great day. The views are classic, the lodges are filled with vintage ski memorabilia and historical information and the hot chocolate was judged very fine by my girls. The epic Alta powder day will have to wait for a return trip: it's important to have goals in life. CONTINUED ON PAGE 13 >>

VUEWEEKLY // FEB 17 – FEB 23, 2011

SNOW ZONE // 11

FALLLINES

HART GOLBECK // HART@vueweekly.com

Canadian Skiers turn it on It's been a little dull since the Winter Olympics but in one short week, Canadian skiers once again stepped to the top of many respective podiums to prove that Canada is a force to reckon with. At Deer Valley near Park City, Kelsey Serwa and Chris Del Bosco systematically eliminated the field in four races to sweep both the women's and men's Skier Cross events. Only a week before, Serwa had done the same at the Winter X games but Del Bosco could only muster second. At Deer Valley he made no mistakes. In all, Canada won 10 of 16 medals at the Deer Valley World Freestyle Championships, the first time Canada has ever dominated an event in this fashion. Erik Guay continued Canada's march to victory by winning the World Championship Downhill on the famous Kandahar course at Garmisch-Partenkirchen, Germany. This is an amazing win for Guay because this season he has lost both of his training partners, John Kucera and Manuel Osborne-Paradis, and he had to overcome his own personal injuries of inoperable vertebrae problems that have been plaguing him all season. It looks like he put it all back together for one great run.

Silver Skate Festival & Winter Celebration Are you ready for an extravaganza of fire, ice, dance and music? Edmonton's longest-running winter festival is back and this, its 21st year, is looking to once again turn Hawrelak Park into an all-weekend celebration. Starting Friday, February 18 and running through to Family Day, February 21, there'll be fun for everyone and best of all, it's a free weekend of entertainment including the bus shuttle service that will take you there. The list is too long for me to cover so I'll just touch on some of the highlights: the opening ceremonies take place Friday at 11 am, and through the weekend you can watch snow sculpture, fire

12 // SNOW ZONE

VUEWEEKLY // FEB 17 – FEB 23, 2011

art sculptures, musicians, comedians and dog sled demonstrations. Visitors can participate in a winter triathlon, skate competitions, sledge hockey, snow sculpting and much more. Artists include musicians Jason Kodie, Colleen Brown and electronica group Neko Rei. Improv legend Donovan Workun and interactive dance group Vibe Tribe are sure to keep you entertained. For a complete rundown of all the events go to silverskatefestival.org. ETS is reporting they will provide free shuttle service every 30 minutes from Century Park, with two pick-up stops in the University area. V

UTAH ... CHECK!

<< CONTINUED FROM PAGE 10

Interesting fact about the Wasatch ski resorts: each set of resorts nestles in an adjoining canyon extending to the east of Salt Lake. Driving down the Alta/ Snowbird canyon you U-turn north up the next canyon to Solitude and Brighton. We navigated the steep canyon and found parking in the Solitude Village parking lot and had an early sleep. During the night I heard the wind and felt some snow hitting the motorhome but it was a complete surprise stepping out in the morning into more than a foot of fresh powder. Nice. Solitude also got hammered by the ice so the fresh snow was a huge relief. We hurried to get some turns in before the North American Outdoor Retailers who were having their conference in SLC and demo days at Solitude shredded all the snow. Saw some amazing displays of telemark skiing from the styling demo skiers trying out all the new gear from G3, Goode, BD, Scarpa, Dynafit, etc. At the end of the day we headed down the second canyon, U-turned at Salt Lake into Park City and Deer Valley which are all clustered around the city of Park City. We drove to the Canyons parking lot but saw that overnight parking wasn't allowed, thus we did the first Wal-Mart camp of the trip. The Canyons was our first stop in the valley and, in a nice linguistic twist, Canyons has changed the noun, "Mountain" into the verb "To Moun-

tain." And to mountain we did, in the warm blue sun we skied all nine of the resort's mountains. New this year and a first anywhere is the Orange bubble quad with heated seats. The views were amazing and we descended stellar aspen powder glades most of the day. We modeled for a Ski Utah photographer who was putting together promo material for next years' ads and brochures— maybe we'll be famous. Speaking of famous, our time in Park City also unexpectedly coincided with the Sundance Film Festival. Park City goes from 8000 to 60 000 people for the week. There are events in Sundance Ski Resort, Ogden and Park City, with PC being the main hangout. Fortunately all 60 000 only party, go to movies, walk the main street, party, and not ski, so the slopes were still empty. Our closest brush with celebrity was talking in the Park City mid lodge with an LA actor who is in the Bud Light Super Bowl ad. After our three-day ski/work week we took Friday off and checked out the Salt Lake 2002 Olympic and Alf Engen Ski museums. Engen is the fellow who started Alta and the ski memorabilia was fascinating. Went back into Salt Lake and toured the Mormon Temple Square (ground zero in the Mormon world) as well as joined the Sundance Park City main street stroll and marveled at the fur coats on the talent walking around. Sunday, in the final proof that we should not ski weekends we skied

Park City. Overall we were not that impressed by the hill except for some good groomer runs and the kids loved the special Monster Terrain Park runs. The resort starts right from the middle of Park City so location and access are the selling points. Safely back to skiing weekdays, Monday we did our last Utah Resort, Deer Valley. Deer Valley is the number-one rated resort in North America (Whistler/Blackcomb is number three) so we were excited to see what all the fuss is about. Initially, Deer Valley appeared to be another Park City as it is only across the valley. In a bit of good luck I latched onto an expert tour of the mountain and we cranked powder glade turns on blacks and double blacks all morning. Going with a local makes all the difference: every run was a new aspect of the mountain. For the last run in Utah we skied down along the Deer Crest gondola. The Deer Crest housing development gave the gondola to Deer Valley to run and similar to the Montana Yellowstone club there are massive houses with private runs leading to the gondola base. The most expensive house situated at the top lists for a cool $20M. I wouldn't be able to afford the cost of the heated driveway. We had made great time on our trip, Montana, Wyoming and Utah were now skied, twelve resorts in total, but more importantly we had found our powder and aspen glades. Colorado and its numerous high elevation and famous resorts would be next. V

VUEWEEKLY // FEB 17 – FEB 23, 2011

SNOW ZONE // 13

DISH

Vue Weekly has profiled four quintessential Edmonton brunch items throughout the pages of our brunch issue, though we could have profiled four hundred more. Look for them throughout the section.

Not quite breakfast ... The day's fourth meal began as a British fad

// Elizabeth Schowalter

LS Vors // vors@vueweekly.com

M

arge Simpson once admitted to Jacques—her suave and worldly bowling instructor, a man with whom she considered having a salacious but reluctant extramarital affair—that she did not know what brunch was. Her conscience bested her and Marge hastily abandoned the idea; however, Jacques left her with a newfound appreciation of this meal that falls between breakfast and lunch. In his words, "It is not quite breakfast and not quite lunch, but it comes with a slice of cantaloupe at the end." It is both a succinct yet not entirely incorrect definition. Brunch is a hybrid of two distinct meals, both in the etymological and culinary sense. The word itself is obviously a portmanteau of "breakfast" and "lunch" and, purportedly, arose just before the turn of the 20th century in Great Britain. It was a term most popular among young upstarts; going out for brunch was wildly fashionable. The great majority of fads are destined for oblivion, but brunch quietly joined the permanent roster of meals. Brunch blends aspects of its progenitors. Dishes featuring eggs and rich meats like bacon, ham and sausage are borrowed from breakfast. Often these ingredients are reinterpreted as more intricate and labour intensive dishes than one finds at breakfast, however. Quiche and eggs Benedict are popular examples. Quiche's birthright is French, though the origins of eggs

14 // DISH

Benedict are obscure. There are multiple, sometimes contradictory accounts of this dish's creation. The most credible suggests that eggs Benedict were spontaneously invented in early 20th century New York City by the wife of an American businessman who, while dining at the renowned Delmonico's, requested a toasted English muffin topped with a poached egg, ham and Hollandaise sauce. Frittata gained pop-

Contributions from lunch include seafood and smoked fish, alcoholic beverages and roast beef or poultry. Smoked salmon frequently appears as lox on a bagel, a dish that hails from Ashkenazic Jewish cuisine. Hot, substantial dishes like roast beef and roast chicken tend to appear at brunch buffets, rather than when one orders brunch à la carte. Alcohol, though taboo at breakfast, is acceptable at

It comes with a slice of cantaloupe at the end. ularity in North America as a brunch item in the latter part of the 20th century. This Italian creation is similar to quiche, in that meats, cheese and vegetables are usually mixed into the eggs, though frittata lacks a crust. A vast number of traditional breakfast, flour-based foods are brunch staples. Crepes, both sweet and savoury, are a delicate yet decadent indulgence from France. Pancakes and waffles are presented to be anointed with smooth butter and amber-hued maple syrup, or else crowned with colourful slices of fruit and clouds of whipped cream. French toast—known as eggy bread in the UK and as pain perdu in France— warrants similar treatment. Despite its name, the pedigree of French toast is traced to fourth-century Rome, where it was a dessert rather than a main course.

brunch, particularly when tempered by the addition of fruit juice. A mimosa combines chilled sparkling wine with orange juice. A bellini substitutes peach purée for orange juice. Both are quintessential brunch cocktails; fruity enough to be permissible before noon but boozy enough to be "hair of the dog" for those that need it. Edmonton is home to numerous cafés, bakeries and restaurants that create brunches that range from hearty and rich to artistic and light and all that is in between. Brunch began as a trendy meal for young Britons casting off the staunch traditions of the previous generation and quickly earned a reputation in North America as a meal that combined the comfort food of breakfast with the rich indulgences of lunch. Don't forget—you don't get completely what you would at breakfast, but you get a good meal. V

VUEWEEKLY // FEB 17 – FEB 23, 2011

Breakfast sandwich

Breakfast sandwiches are a go-to item for many. Unfortunately, fast versions have tainted our collective idea of what a breakfast sandwich could, and should, be. The bacon-egg-english muffin version has been done to death, but the creative mind of Nate Box, creator of and chef at the Elm Café, has elevated this humble sandwich to new heights. "I've always loved them. It is such a simple idea, but I wanted to create combinations of ingredients that really stand out, like goat cheese or fruit," Box explains. The Early Sandwich ($8), as it is known at the Elm, changes daily. Today, it features salty feta, subtle zucchini, spicy soppressata salami and scrambled eggs pressed between slices of fresh foccacia bread. The aroma is exquisite with rich notes of cured meat, the crisp scent of toast, and milky salinity of feta. The flavour recapitulates these notes, and amplifies them to a level that mere fast food sandwiches cannot achieve. Simplicity is the secret behind Box's successful sandwiches. "I use local meats, bread and seasonal produce. It is something that you could replicate at home and I'm glad to talk someone through the process of making one." True, one could replicate these sandwiches at home, but what better place to enjoy these creations than a petite room shaded by eponymous elm trees? LS Vors // vors@vueweekly.com Elm Café #100, 10140 - 117 St 780.756.3356

VUEWEEKLY // FEB 17 – FEB 23, 2011

DISH // 15

Eggs Benedict

A throng of hungry brunch-goers snakes out the Tudor-style door of Barb & Ernie's Old Country Inn, awaiting seats in a warmly lit room decorated with Teutonic knick-knacks. Most will order eggs Benedict. Barb & Ernie's offers no fewer than 16 varieties of this archetypical brunch dish. The black forest ham version ($12.95) showcases a halved English muffin topped with fork-tender ham, glossy and delicate poached eggs, and a judicious anointment of Hollandaise sauce. The delicate flavour of white wine shines in this sauce, which is a far cry from any sauce that originates from a powder. Slices of melon and orange, plus a veritable hillock of shredded and

16 // DISH

VUEWEEKLY // FEB 17 – FEB 23, 2011

fried potatoes keep company with the eggs. Thomas, the eldest son of the titular Barb and Ernie, states that his favourite interpretation of this dish features bratwurst. "You must try it with the curry ketchup," he recommends. "Eggs Benedict account for at least 65 percent of brunches served here," he estimates, "and they have grown steadily in popularity since we added them to the menu over 20 years ago." LS Vors // vors@vueweekly.com Barb & Ernie's Old Country Inn 9906 - 72 Ave 780.433.3242

Ideal brunch

thing savoury, I'm a sucker for a frittata. They're simple, forgiving and not nearly as boring as scrambled eggs. Plus, you can use a ton of different ingredients in them." So, on a Sunday that demands frittatas, you can find Box in his kitchen whipping one together with some of his favourite ingredients: caramelized onions, farmer's sausage, greens of some sort and, for a bit of bite, a touch of cheese. Of course, there are Sundays when only something sweet will do, and on those occasions Box leans towards "proper" French toast, meaning French toast made with thick French bread and a wellseasoned egg batter. After dipping the bread, he gives it a quick sear and then puts in the oven to bake for a bit. Once it's out of the oven, he treats it to a dollop of butter and a big splash of maple syrup— but definitely no whipped cream—before digging in. He has been known to use a touch of coconut crème in the batter and then smother the French toast in coconut syrup and butter-fried fresh pineapple, though.

Edmonton foodies share brunch memories

Jacqueline Jacek

Jacek Chocolate Couture

// Elizabeth Schowalter

Jan Hostyn // jan@vueweekly.com

W

hen I was a kid, few things could get me as excited as simply the mention of the word "brunch." Back then, brunch meant going out, something we didn't get to do very often, and it usually meant a buffet. I could stuff myself with however much I wanted of

whatever I wanted, which usually meant chocolate in every variation imaginable. Now that I'm officially an adult, my idea of what constitutes an ideal brunch is a bit different and somewhat more mature. Now it has to include a great latté, but chocolate is still on the menu. Let's peer into the stomachs of some of Edmonton's illustrious foodies and see what's churning about after they've in-

dulged in brunch ...

Nate Box Elm Café

In Box's world, brunch is all about comfort food and simplicity. "I don't want to get up at 11 am on a Sunday and slave," he firmly states. But simple doesn't have to translate into boring. "When I'm in the mood for some-

VUEWEEKLY // FEB 17 – FEB 23, 2011

Jacek's favourite brunch right now—or brunch memory, anyway—is pancakes, but these aren't just any pancakes. They happen to be stacked pancakes and Jacek happened to eat them in the sunny locale of Mexico. "My husband and I took off to Mexico just after Christmas and while we were there I had the most amazing pancakes. There were three in a stack—I love it when they're stacked— and they were served with a strawberry/ raspberry purée and some caramelized apples that reminded me of candied apples. And for a touch of decadence they were topped with syrup and drizzle of dark chocolate. They were so good— dessert for breakfast, you could say!" When having brunch at home, Jacek makes a mean sourdough French toast that she sprinkles with cinnamon and icing sugar and then tops with butter and maple syrup: "Totally unhealthy but oh-so good." If she's indulging in brunch out, she likes to head over to Café Haven

and have a plate of Huevos Rancheros.

Michael Harvey Café Haven

For Harvey, a big part of brunch is the setting and the location, and as he says, "Food is the keystone that puts it all in place." So it's no surprise that exotic locales factor into some of Harvey's best brunch memories. "I used to live on the coast of Brighton in the UK and it has this amazing amount of restaurants—there are restaurants everywhere. I'd get up, grab of bunch of different Sunday papers— hours of reading worth—and then find a place where I could eat a classic English breakfast, read, and glance at the sea from my big comfy chair. I could—and did—sit there for hours." Another one of Harvey's brunch memories comes straight from the beaches in India. "I have an unhealthy obsession with curry and I used to love to eat potato dosas—they're kind of like massive, long pancakes—for breakfast on the beach in Varkala. It's definitely not everyone's idea of brunch, but I loved waking up, seeing the vultures flying around overhead and the golden beaches sparkling down below, and eating curry for breakfast." Strictly food-wise, the best brunch Harvey has ever eaten was a spin on traditional eggs benedict. This one did away with the ham in favour of a more unique combination that featured salmon, avocado, spinach and lemon. "Really, though, Sunday mornings are intrinsic to who you're with ... " V

DISH // 17

Brunch à la cart

Dim sum is also not quite breakfast, not quite lunch Mel Priestley // mel@vueweekly.com

M

ost people have heard of dim sum, but not nearly as many have experienced it for themselves. To the uninitiated, dim sum can seem very different from a typical Western meal—but the basic principles are the same. Translated literally from Cantonese, "dim sum" means "to touch your heart," a name that is indicative of its origins: dim sum began as a snack to accompany tea time in Cantonese culture. In contemporary times it is usually extended into a full meal. The analogy isn't perfect, but you can think of dim sum as a kind of Chinese brunch because there are several similarities between it and a typical North American brunch. First, dim sum is usually enjoyed around the same time of day: late morning or early afternoon. It also consists of a wide range of foods, from which diners can pick and choose as they please. Obviously the types of food served for dim sum diverge from a Western

brunch. As the latter is often comprised of a smorgasbord of foods from various cultures, however, it is not uncommon to find the odd dim sum—or dim suminspired—dish on a brunch buffet. Traditional dim sum consists of several Cantonese dishes that are typically steamed or fried. Dumplings play a starring role with all manner of fillings; shrimp, pork, tofu and cabbage are most common. Other classic dim sum items include congee (rice porridge), meat balls, sticky buns, spring rolls, stuffed pastries, custard tarts and puddings. Dim sum also has some very unusual dishes—at least to the Western palate—like chicken feet, tendon and tripe, jellyfish, and pig's blood cubes. Western brunches are commonly served buffet style, and while dim sum is served in a similar manner, there is one notable difference: the food comes to you, not the other way around. In a dim sum restaurant, servers walk past the tables pushing carts laden with bamboo baskets of food and diners select what they want

to eat. Though it's helpful to have someone with you who can identify the items as they go by, the servers will also tell you what they've got on their cart. The food is usually served in a specific order, with the lightest steamed dishes appearing first, followed by heavier fried items and ending with various sweets for dessert. For better or worse, a lot of restaurants have done away with the traditional cart system. Instead, diners simply select items from a menu and the food is brought all at once. I think this takes a lot of the fun out of it, even if the carts can make things hectic. Going for dim sum is a leisurely way of whiling away a weekend morning or afternoon. No matter how many times you've gone, you will always end up trying something you've never tasted— and possibly never even heard of—before. The only caveat: go with a group of people. You'll get to try a wider variety of dishes and you won't get so full that the servers will have to wheel you out on one of the trolleys. V

BEER

// Elizabeth Schowalter

Cinnamon buns

Beer for brunch

Kick the champagne habit and try something new I went to brunch at a friend's house reLighter fare, like salmon or salads, need cently and had some wonderful food: to stay light. Go for a German hefeweizen poached salmon, scrambled eggs with at this point—any of the classics will do. chorizo, fancy breads and cheeses and Breads and cheeses are hard to suggest, so on. A lovely meal and great comas it depends on the type of cheese. The pany. But what did we drink? sharper the cheese, the darker the beer is Champagne and orange juice, a good rule of thumb. of course. Pancakes demand something a little I don't know about you, but sweeter. Go for Yukon Red or any numly.com I find the whole champagne ber of British-style brown ales. French eweek int@vu and orange juice thing rather tothep toast, with its cinnamon and nutmeg n o Jas old. The flavour isn't paradditions, likely needs something a bit Foster ticularly interesting: just some more complex. I would pull out a Belsweet citrus and a bit of a white gian trappist. Westmalle Dubbel offers wine sharpness. Yet it's the default—even raisin and clove spiciness that would at fancy restaurant brunches in town. perk up the toast. I never contemplated accompanying a Many brunches have sweet fruit syrups, brunch with beer but I got to thinking reductions and sauces. If that is promi// Elizabeth Schowalter and it started to dawn on me that beer nent, then I advise being bold and going might be even better than champagne as for contrast. Pick up a tart, sour fruit a brunch beverage. Follow my logic. For egg-centred brunches you can easlambic beer, preferably from Cantillon. First, beer has a low alcohol percentage, ily overpower the flavour, so stick with Choose the one that pairs your fruit propallowing for responsible mid-day imbibing. a light-bodied beer with a bit of a sharp erly: you will find cherry, raspberry, grape, Second, it has that same bubbly sharpness as champagne, which can enliven our taste buds. Third, unlike champagne, it It started to dawn on me that beer might be even can offer a wide range of flavours beyond better than champagne as a brunch beverage. citrus and sugar, to accent and compliment the specific dish being served. Having convinced myself of its desirability, I sat down to work out what kinds of finish and not too much hops. A Kolsch peach, apricot and black current. For the beer would suit brunch best. This is likely would be perfect, but the only version really brave, go straight up with the nonnot the time to pull out a hop-bomb IPA available in town is not the best, so try fruit Gueuze. or robust stout. Subtlety is key here. The Alley Kat's Charlie Flint as a substitute. If The fourth reason beer is better for simplest crossover would be a witbier like you are putting spicy chorizo or a heavier brunch than champagne? There is no end Blanche de Chambly. It retains the citrus, meat in the eggs, you can ramp the hops to the experimenting, so you will just adds some soft wheat character and reup a bit and try a Czechvar or Half Pints have to have brunch week after week mains quite light-bodied. Phil's Pils. until you perfect it. V

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18 // DISH

VUEWEEKLY // FEB 17 – FEB 23, 2011

The spicy-sweet aroma of warm cinnamon perfumes the air at the Wild Earth Bakery & Café, a perennially busy Mill Creek hotspot for brunch. Here, decadent spirals of fluffy dough are perfectly balanced with fat raisins, sweet brown sugar and generous lashings of cinnamon. The buns ($4.10) become progressively stickier as one moves towards the central of the spiral, terminating at a toffee-like climax. "The recipe is based on my grandma's," explains co-owner Greta Sieben, "and, though we realize cinnamon buns aren't exactly health food, we also make a whole-wheat version." Manager Chelsey Campbell adds, "Everything is made from scratch. We emphasize real ingredients, which means no margarine!" Wild Earth's cinnamon buns are popular both for brunch and for those seeking just coffee and a treat, and Sieben estimates that they sell at least four dozen per day. Campbell remarks, "The smell of freshly baked cinnamon buns is addicting." Sieben concurs and confesses, "If we are having a bad day, Chelsey and I split one." What better antidote to life's tribulations than a warm, sticky cinnamon bun at brunch? LS Vors // vors@vueweekly.com Wild Earth Bakery & Café 8902 - 99 St 780.425.8423

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Now with 4 locations in Edmonton! West Point – 9977 178th Street NW (780) 487-8898 Kensington Crossing – 12520 137th Avenue NW (780) 457-2672 Gateway – 2920 Calgary Trail NW (780) 465-2672 Sherwood Park – Unit 374, 222 Baseline Road (780) 570-5808 Monday to Saturday : 6 am to 3 pm. Sunday : 7 am to 3 pm.

VUEWEEKLY // FEB 17 – FEB 23, 2011

DISH // 19

HOW TO

Erika Domanski // erika@vueweekly.com

How to make huevos rancheros

// Elizabeth Schowalter

20 // DISH

Brunch has its rockstars like eggs benedict and omelets, but there's an unsung hero that is turning up on more and more menus; huevos rancheros. This classic Mexican breakfast translates to "rancher's eggs" in English and consists of fried eggs served upon a lightly fried tortilla with salsa. Non-Mexican additions such as cheese and sour cream and garnishes of fresh tomatoes and lettuce have also become common beyond the dish's native range. This is a quick and simple dish to prepare at home, and it has easily become my favourite brunch dish to enjoy on a lazy weekend.

VUEWEEKLY // FEB 17 – FEB 23, 2011

Ingredients:

1 tortilla per person 2 eggs per person Olive Oil Refried beans Salsa Cheese Chives Sour cream Guacamole Salt and pepper

Directions:

Put a little bit of extra virgin olive oil (or butter) in a large pan. Put one tortilla in the pan at a time and fry it until it's a little golden on both sides. You now also have the option of spreading some refried beans on the face-up side of the tortilla and frying for a little

bit longer. Turn your oven on to a very low heat, and store the fried tortillas in there while you prepare the rest. In the same pan, pour in a bunch of salsa (whatever kind you like best) and let it heat up for a moment on mediumhigh heat. Crack two eggs per person right into the salsa. You can generally make two portions in one large pan, with two eggs each. The eggs are going to cook right in the salsa, almost like poaching them. Sprinkle some salt and pepper onto the eggs. You want the eggs to cook sunny side up-style, so to ensure that the tops get properly cooked it helps to cover the whole pan for a few minutes. Do this until the eggs look properly cooked. While the eggs cook, grate some cheese of your choice and once the eggs are ready, take the lid off and sprinkle the cheese all over the eggs and salsa. Let this stay on the burner for another moment until the cheese looks like it's getting all melty and delicious. Take the tortillas out of the oven, and scoop half of the salsa and two of the eggs directly onto each tortilla. To finish the dish, sprinkle some fresh or dried chives on top and add a dollop each of sour cream and guacamole as well. You're all set to enjoy.

French toast simple brunch dish is immensely flavourful and visually appealing. Proprietor Lorraine Ellis reveals that the inception for this dish was a brainstorming session with Urban Diner chef Cyrilles Koppert. "We wanted to do something different," she explains, "so we looked at ingredients we usually have in the kitchen and reinterpreted them." Presentation is part of the French toast's impact, and Ellis states, "The dish usually elicits quite a reaction at the table, since people are surprised to see it stuffed as well as topped with fruit." It is indeed a feast for both the eyes and the taste buds. LS Vors // vors@vueweekly.com Urban Diner

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Brunch indulges the sweet tooth, perhaps more than any other meal. French toast ($11.95 full order, $8 half) at the Urban Diner ups the sweet tooth ante by presenting a decadent combination of buttery fried bread, fruit and mascarpone cheese. Instead of piling these ingredients on top of the bread, tangy crimson cranberries and velvety mascarpone cheese are stuffed inside thick slices of French bread. This double-decker innovation is dipped in egg, fried until golden, and topped with slices of maple-fried bananas. This opulent interpretation of a traditionally

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VUEWEEKLY // FEB 17 – FEB 23, 2011

DISH // 21

ARTS

REVUE // THEATRE

Bigger is better

Nicholas Nickleby's three-hour runtime suits it just fine in the play arrives at the climax just before intermission, when Nicholas and Smike participate in a fantastically butchered version of Romeo and Juliet. I'm certain it would have made The Bard himself proud ... or at least given him a good laugh. And this is ultimately what Nickleby

MEL PRIESTLEY // MEL@vueweekly.com

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The costume and set changes alone would make this a demanding play; the tone and pace only exacerbate its rigors. offers: a highly entertaining and thoroughly engrossing story, pleasing to both diehard lovers of Victorian literature and those who simply want to see a good show. V // Ed Ellis

lassic plays are a staple of any city's theatre offerings, but it's not as often that these performances are truly large-scale—which is part of what makes The Life and Adventures of Nicholas Nickleby so appealing. Studio Theatre's production follows the Richard Ouzounian adaption of the classic Charles Dickens novel, and the result is a sprawling epic that stretches over three hours in length. The 16-actor cast plays nearly all of the 100-plus characters that stroll, limp and stomp their way through the original 900-page story. The costume and set changes alone would make this a demanding play; the tone and pace (exuberantly melodramatic and damn near breakneck, respectively) only exacerbate its rigors. For these reasons, Nicholas Nickleby is a rite of passage for these young actors, all of them class of 2011 graduates of the University of Alberta drama program. I'm happy to say that every single cast member aced the test. As the title character, Jamie Cavanagh adeptly portrays Nicholas's stubborn righteousness and penniless struggle to do good by his fellow man. His performance is unfaltering, save for a few mo-

Sing like the Dickens

ments in which his many lines catch up with him—a pitfall all but expected in a play of this length and momentum. Also notable is Chad Drever as the pitiable Smike, whose anguish is certainly melodramatic but not obnoxiously so. (After

all, this is a Dickens play, and Dickens was all about the melodrama.) Tiffany Ayalik seamlessly switches from the cruel Mrs Squeers to the tragic Madeline Bray, while Ted Sloan nails his performance as the miserly Ralph Nickleby.

I could continue to pick out notable performances from each of the other cast members; suffice to say that the supporting cast delighted with their candid, personalized array of characters. Possibly the greatest single moment

Until Sat, Feb 19, (7:30 pm) The Life and Adventures of Nicholas Nickleby Written by Charles Dickens Adapted by Richard Ouzounian Directed by Brian Deedrick Timms Centre for the Arts (87 ave & 112 st), $5 – $20

PREVUE // THEATRE

Spin the Atlas

go for it?' "This is a brand new company in town, which is really exciting, but what is fascinating about it is trying to find a niche because there's lots of great theatre in town, and it covers quite a wide swath of different styles. Trying to figure out what there's lacking out there and also what I'm interested in doing."

Julien Arnold's new company gets Shipwrecked! Paul Blinov // paul@vueweekly.com

ulien Arnold's always been a theatrical force around town, but usually as a gun-for-hire: he has trod the boards as an actor with almost every company in town and earned a solid reputation as a director too, with an MFA from the U of A to prove it. In all that time, Arnold's never helmed his own company, which makes Shipwrecked!—the inaugural voyage of his company Atlas Theatre—a rare first for the veteran performer. "It's a big learning curve, but the good thing is I get to invent everything as I go," Arnold laughs over the phone on a rehearsal break. He traces the company's inception back to a conversation he had with playwright David Belke. Belke's been working out of Holy Trinity Church these past few Fringes

22 // ARTS

Julien Arnold steers the good ship Atlas

(and winters, with his Decemberama series) and raved about the church's support for the arts and promised use of space. "That's what sort of sparked my interest, because it's very difficult for

// Andrew Paul

J

young indie companies to find venues, especially affordable venues" Arnold explains. "I thought, 'Wow, I'll jump on that' and I started meeting with the folks in the church, and they were really supportive so I thought, 'Why not

VUEWEEKLY // FEB 17 – FEB 23, 2011

He sifted through plays before arriving at Shipwrecked!, on the recommendation of Richard McMillan (this year's Scrooge in the Citadel's A Christmas Carol; Arnold plays Bob Crachit annually). It's based on the real-life adventures of Louis de Rougemont, a 19th century British explorer. In it's beginning, he washes ashore on Australia's coast, and spans the 30 years it took for him to get back to London. The script demonstrates the "pulled back esthetic" that Arnold has picked as Atlas's particular groove of familyfriendly adventure. "The emphasis is on the script, story, and I'm hoping to do really fun, en-

tertaining, mostly comedies—not all comedies, but stuff that's a little bit on the lighter side," he explains. "Not quite as dark. There's quite a bit of edgy theatre in town already being done extremely well. There's also a lot of well-done, highly-produced theatre at the Citadel." Shipwrecked! is a trial run for Arnold: he'll get a feel for being artistic director during this and another show in May. He's planning a full season at Holy Trinity for next year, depending on how they go—though, stocking his cast with crowd favourite Mark Meer, Glenn Nelson and Davina Stewart probably won't hurt his chances. "I pulled in a few favours on this one," he laughs. V Fri, Feb 18 – Sun, Feb 27 (7:30 pm) Shipwrecked! Directed by Julien Arnold written by Donald Margulies Starring Mark Meer, Glenn Nelson, Davina Stewart Holy Trinity Anglican Church (84 Ave & 101 st), $10 – $15

PREVUE // THEATRE

REVUE // THEATRE

Another Home Invasion looks at how we treat the elderly

Walterdale's Rabbit Hole finds the light after tragedy

done that before," she explains in a phonecall, "In that sense that you feel that, how can I do this? I mean, I love going to see one person shows, I always have. But that's just me, I find this person comes out there, and they're in such a precarious position because there's nobody else there that they can contact, except the audience. It's not three or four with the audience, it's one on one. And that's a bit daunting." Once Lipman had gotten the script and read it through, she called MacLeod up to break the news. "And as soon as I hung up, I thought, are you completely nuts?," she says. "And I read it again right away, and I called her back, and said, I hope you haven't called somebody else, because I changed my mind. I would like to try and do it."

Nicola Lipman as Jean Paul Blinov // paul@vueweekly.com

A

t first, it seemed just too daunting. Nicola Lipman turned down her initial offer to be part of Another Home Invasion. It's wasn't that she didn't connect with the material. She'd been a fan of playwright Joan MacLeod's works for years, and Lipman loved this particular tale of an elderly woman's slowing, condensing world—Jean's waiting for a couple's room at a care facility to open up for her and her husband, though his deteriorating condition is essentially forcing the move—and the drugged up young man who breaks into her home one afternoon. She knew it was good when she read it. And the feelings of respect were mutual: the role of Jean was written specifically for Lipman. But she felt pangs of doubt, about being the only one on stage with an audience. "Just the idea of doing a one person show ... I'd not

She hasn't regretted it. In the years between then and now, the show had an acclaimed Toronto run at the Tarragon Theatre, a hiatus, and now an Edmonton opening. The time between, Lipman notes, gave script time to "Process and ferment." And the script's deeper look into how we treat both the elderly and the homeless in our society still resonated strongly with her, moreso than when she began performing it. "North America is one of the few cultures in the world where taking care of your parents, as an ongoing thing when they don't take care of you anymore. In most countries, that's a given," Lipman says. "It's only in North America that children have the luxury of saying 'no, I'm too busy. We have the kids, and we have this, and we have to find some other way to deal with mom and dad.'" "My own father is 97," she continues. "Over the last year, he has had six strokes, and has gone into a care facility. And I'm his primary caregiver. So coincidentally, I've actually gone through what Jean has been through. It wasn't that way when we first started the play, but that's what's happened. And that was probably more important than all the research I can do." V Until Sun, Mar 6 (7:30 pm) Another Hope Invasion Written by Joan MacLeod Directed by Richard Rose Starring Nicola Lipman Citadel Theatre (9828 – 101A Ave), $45 - $60

Moving on Bryan Saunders // bryansaunders@vueweekly.com

F

or a play about the ways in which five different people grieve after the death of a child, writer David Lindsay-Abaire's Rabbit Hole is surprisingly full of both humour and hope. Directed by Walterdale's artistic director Kristen Finlay, this Pulitzer Prize-winning drama follows Howie (Daniel Summers) and Becca (Joyce LaBriola) just a few months after their four-year-old son Danny runs into the street and is killed by a passing car. As one might expect, the interactions between Summers and LaBriola's characters are real tearjerkers. Their exchanges wouldn't be as powerful, though, if they weren't juxtaposed against the goofiness that the character of Izzy brings to the show. Izzy is Becca's sister, and—for all of the poor decisions she makes in her own life, for all of the zingy one-liners and quick comebacks that Izzy has—she offers the most sage advice to the other characters in the story. In this way, Izzy is very much the "wise fool," and Amelia Maciejewski-Duplessis really stands out in her portrayal of the character. On the other hand, Becca and Izzy's mother Nat (Francie Goodwin-Davies) takes longer to grow on the audience. Perhaps it was just performance jitters, but Goodwin-Davies' initial "drunken" outburst in the first act was too exaggerated to be believable. It wasn't until much later in the show that Nat truly felt like a real person. The last character to round out the cast is Jason, the 17-year-old boy who was driving the car that hit Becca and Howie's son. Jason struggles with making amends with Becca and Howie, but his greater battle is finding out how to forgive himself. The night that I attended, understudy Quinn Hinch was playing the role of Jason and while Hinch's take on his character was very believable, the characterization itself was very static throughout the show. There's plenty of room in the script for Jason to change as the show progresses, so it was disappointing that this didn't happen. In the second act, for instance, there is a scene involving Jason and Becca where both of these characters have an opportunity to develop and grow. In-

// Douglas Dollars

Home break-in

Down the Rabbit Hole

stead, it felt rather muted. This is no fault of the script, which is extremely well-written—especially the dialogue which sounds very real and natural. The set, costume, and lighting design on this production also hit the mark. The set in particular was remarkable for having so many distinct spaces on such a small stage without feeling crowded. It was also very enjoyable to watch the ensemble move so naturally from a very dark place and emotion to a somewhat brighter place, even if—in the end—they still don't have all the answers they're looking for. V Until Fri, Feb 19 (8 pm) Rabbit Hole Written by David Lindsay-Abaire Directed by Kristen Finlay Starring Joyce LaBriola, Amelia Maciejewski-Duplessis, Daniel Summers, Francie Goodwin-Davies, Graham Mothersill, Quinn Hinch. Walterdale Playhouse (10322 - 83 Ave) $12 – $16, available at the door or from TIX on the Square

PREVUE // OPERA

Prairie arias

The Barber of Barrhead gives a classic opera a new locale Mel Priestley // mel@vueweekly.com

I

f the multi-hued beard on the poster is any indication, the Edmonton Opera's production of The Barber of Barrhead isn't exactly a traditional opera. Based on the famous work by Rossini, The Barber of Seville, the Barrhead adaptation originated in Vancouver as The Barber of Barkerville and was set in the Cariboo Gold Rush of the 1860s. Barkerville enjoyed a very long run before being picked up in Calgary, where it was transformed into The Barber of Barrhead and had its setting changed to the 1897 Klondike Gold Rush.

"The initial impetus for the opera was to introduce young audiences to a great classical opera, but put it in a fun setting that would sort of add to the antics and the farcical elements of the story," explains Ann Hodges, director of the Edmonton adaption. She goes on to explain that this version of the play has been distilled to its most basic elements, and as a result the original two-and-ahalf-hour opera was reduced to a mere 45 minutes. "By condensing it, we've really got the best of a great opera, so the audience is going to hear 45 minutes of fabulous Rossini," says Hodges. The basic story remains largely un-

changed: two young lovers, Rosie and Al (originally Rosina and Count Almaviva), must thwart the villainous Bart (Doctor Bartolo) in order to be united, and they find help in the form of a local barber and jack-of-all-trades, Figaro, who functions as a sort of trickster figure. The story is timeless enough to work well in many settings, though Hodges notes that the Klondike era really adds an interesting perspective. Because the opera is a farce, there's a lot of physical shenanigans and hijinks; shortening it serves to increase its already brisk pace—Hodges acknowledges that there is a lot of activity and movement throughout the piece, and

VUEWEEKLY // FEB 17 – FEB 23, 2011

John Conlon, who plays the character of Figaro, readily agrees. "I forgot just how much of a cardio workout this really is," says Conlon, "Running from one end of the stage to the other and singing at the same time!" In addition to Conlon, the other three cast members of Barrhead are also Canadian performers, and they have all performed in previous incarnations of this opera. "When we did it as The Barber of Barkerville we did so many shows it became second nature," states Conlon. "The challenge is getting it back to being new and fresh, and not static." As a performance based around (mostly) accurate events from Edmon-

ton's history, this opera is one of the most locally relevant productions to come through the city in quite a while. States Hodges, "There's a real feeling that this opera belongs in this province, in this location." V Thu, Feb 17; Fri, Feb 18; Fri, Feb 25 (7 pm) Sat, Feb 19; Sun, Feb 21; Sat, Feb 26 (2 pm) The Barber of Barrhead Written, adapted and directed by Ann Hodges Starring Dionne Sellinger, Rob Clark John Conlon, Joel Klein Transalta Artsbarns, Westbury theatre (10330 - 84 ave), $12.50 – $18

ARTS // 23

COMMENT >> VISUAL ARTS

A strategy of space

How do the arts make do with too much or too little? Getting off on the fifth floor of the the soon-to-be-former site of the Whitcrowded freight-sized elevator of the ney Museum of American Art. Curators New Museum in New York City, I got a Dana Miller and Scott Rothkopf have asflashback to a sensation I have felt many sembled an exhibition around the strattimes over the years. Falling somewhere egy of space, bringing together a dozen between claustrophobia and disartists from the institution's perappointment, the sensation manent collection and staging in question comes over me each work in their own room. when I realize how hard up Calling the show Singular Viart really is for space. sions, the works are not necm o .c ekly vuewe I remember the first time essary cohesive in theme, but amy@ I had this feeling: it was in concept, culling on meditative Amy Hong Kong, around 2005, works and asking viewers to Fung and I was searching for a gallery slow down in how we look, givspace I had heard about. Located ing each work some breathing room. on the eighth or 15th or 23rd floor in But it's still New York and it's still the a bustling building and district I can no Whitney, and so there still wasn't that longer distinguish, the exhibition space much breathing room, but compared turned out to be the size of an area rug. to the Edward Hopper show two floors This was not uncommon. Hong Kong is below, where half-a-dozen heads shared hard up for space in general, but the viewership over any given image lining underlying denominator over the value the walls, it appears the value of space of space carries through to almost evis all relative. erywhere you go. Perhaps this is why I've liked the praiI recently walked through the Brian ries so much, because of the vastness Jungen exhibition on the top floor of the here. There are issues with space here AGA, a massive 6000 square foot open as well, but it's easier to believe if one space adorned with three of Jungen's space dries up, another opens, because large plastic sculptures. Only myself, a there is just so much of it available. friend, a staff person and a guard shared Take another moment experienced, at this space for the 10 to 15 minutes I was

IE PRASITRERS

ART

ARTIFACTS Legally Blonde: The Musical /Feb 22 – Feb 27 (8 pm)

In some ways, Broadway seems a more ideal medium than film for the Legally Blonde series, a silly, pink-tinged send up of stuffy courtroom dramas. The benefit for turning the phrase 'Oh My God' into a full-on song instead of just spouted dribble seems obvious; the medium can push the stylistic flairs of something so inherently based on style to musical heights of excess, which is exactly where they should thrive. The plot of this nationally touring show follows how Elle Woods, a sorority gal, ends up in Harvard's law school. (Northern Alberta Jubilee Auditorium [11455 - 87 Ave], $62 – $82)

24 // ARTS

VUEWEEKLY // FEB 17 – FEB 23, 2011

there. The works ranged in size, with "Carapace" being a shell like structure several people could enter at once. Only, there weren't several people in the room to try. I didn't get the sensation that art needed more space, but I felt something similar that's been creeping up, and that it's about having the people as much as the space. I remember talking to a collective in Saskatchewan four or five years ago that wanted to use the entire province as one enormous exhibition site. The dream was to invite international artists to engage with public sites in the fashion of Münster, Germany. I thought it was a great idea for a residency, but I wondered then who would see it? And how? Space is both inviting and limiting, in what we can do and how we stay connected. These are thoughts I'll continue to ruminate, in another open and remote space, on the other side of the ocean. Thank you for reading. V Amy Fung is the author of prairieartsters.com. Fung will be completing an Arts Writing and Curating Fellowship in the North East of Scotland this year. Prairie Artsters in Vue Weekly is now on an indefinite hiatus.

PAUL BLINOV // PAUL@vueweekly.com

Firefly Theatre presents: Up To Here / Feb 19 (8 pm) "Circus, Magic, Music & lots of Flying Girls" reads the tagline for Firefly Theatre's onenight-only variety show, and that's exactly what the aerial arts company's got qued up: a collection of their favourite and most hilarious acts, all taking place above ground level. Vertical rope work, routines on aerial silks, some spinning trapeze, and a reprise of the 2010 Grey Cup Spirit of Edmonton Aerial Spectacle performers. Those with their feet planted a little more firmly include Darrin Hagen providing laughs, magic spectacle courtesy of Gia Felicitas and hosting duties carried by beloved ukulele/tiny drum trio The Be Arthurs. Plus, Firefly promises the return of the "Slappy Feather Whistle Nose Flute Ensemble." Go just to find out what that means. (La Cité Francophone [8627 - 91 St], $25 – $28)

VUEWEEKLY // FEB 17 – FEB 23, 2011

ARTS // 25

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26 // ARTS

GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq EYaf

VUEWEEKLY // FEB 17 – FEB 23, 2011

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FILM

"The Academy Awards may be most interesting, or solely interesting, for the flaws, cracks and biases they expose in the popular moviegoing zeitgeist."

Sidevue: The Envelope, Please /Online at vueweekly.com

INTERVIEW // FILM

Ending the cycle of hate

Denis Villeneuve, on adapting Incendies and exploring anger Paul Blinov // paul@vueweekly.com

'B

ury me face down, away from the world. No epitaph for those who don't keep their promises." Having that grim self-elegy read to them by their mother's notary, twin brother and sister Simon and Jeanne Marwal are given two letters to deliver: one to the father they thought dead, the other to a brother they had no idea existed. And so Incendies launches into a detective story about searching into their mother's past—which we see play out in an unnamed, war-torn nation in the Middle East—then twists into Greek tragedy with what they unearth. It starts with a love story and ends in hope, but the inbetween is a harrowing portrait of modern war's corrosive capabilities, even on those seemingly untouched by its bombs and guns. Adapted from Wajdi Mouawad's play (translated as Scorched), director Denis Villeneuve does well to make Incendies his own, and more importantly, a movie that can stand strong without its source material, replacing much of the expansive poetic dialogue with vivid, haunting scenes of war-torn violence in an unnamed middle eastern country. On the phone from Montréal, a day away from kickstarting an Oscar

Incendies is set in an unnamed war-torn country

campaign in LA—Incendies clinched a nomination for best foreign film— Villeneuve's voice carries more than a hint of exhaustion; since the nomination, the volume of calls he's been fielding has been steadily increasing, and coming from all corners of the word. (In April, he notes, "I plan on booking off a week and sleeping"). His busy state, coupled with a flu, has Villeneuve apologizing for being "a victim of the Canadian winter," and not feeling intelligent during our discussion. But, he's perfectly articulate and clever, and his spirits jump audibly when

discussing Incendies and its source. "It was the first time I've forgotten I was in a theatre," Villeneuve explains, of seeing the play in 2004. He calls the script a masterpiece; he considers his version of the film just one interpretation. (Ideally, he'd like to see it revisited from different angles by multiple adaptations; there's a whole courtroom aspect he left out of his film version which, he notes, could be a fascinating angle). He was given full creative control of his adaptation; playwright Wajdi Mouawad gave him carte blanche to make what he would of it.

"Wajdi did give me total freedom, and left me alone to work on that, so it was a very fantastic artistic gift," he says, "Even if it's a total failure, [he said] he'll still be my friend." In converting the stageplay to the screen, Villeneuve realized the "beautiful poetry" of the script, and even a couple of characters, belonged only in the realm of theatre; his film excises much of the wording of Incendies, replacing it with scenes that work better on film. Not that he doesn't have pangs of regret about his cuts. "I had to burn away those beautiful

words," he sighs. But doing so let him start shifting through the anger at the core of the story, and showing that in a cinematic way. Anger is something Villeneuve has delved into before. Polytechnique, his 2009 feature, examined the 1989 École Polytechnique massacre in Montréal. There, it was more about examining the consequences of an individual's actions in the moment; with Incendies, the anger is generational, passed on in a vicious cycle from parent to child. "Anger that is coming from the past, our parents, our education, from generation to generation is, on the shoulders of the children," he says. "The children have to remove that anger in order to be a real adult, in order to be free, in order to have a free spirit, free mind, to be able to open yourself to others, and that touched me deeply. I think it's a quest of every person, to try to be a real adult. There's not a lot of real adults in the world right now, unfortunately. And that is a quest that deeply touched me." V Opening Friday Incendies Directed by Denis Villeneuve Starring Lubna Azabal, Mélissa Désormeaux-Poulin, Maxim Gaudette Garneau Theatre ( 8712 – 109 st)



COMMENT >> DVD

Protecting the clan

Dogtooth has an eerie yet hopeful take on the family unit Sea, Motorway, Excursion, Carbine. At ents have informed the children that they least three of the four "new words of would have no chance of survival should the day" to be learned by the three chilthey leave the property, and have taken a dren at the start of Dogtooth could be totalitarian approach to home-schooling, associated with escape, while the word right down to the essentials of language "escape" is itself unlikely to have entered acquisition. Sea, for example, is a leather their vocabulary. These children are armchair. Excursion is a very resistant actually adults, or at least on the material. A pussy is a big light. cusp of adulthood, though they Dogtooth is a very strange, behave like pre-pubescents darkly hilarious, and rather and have apparently never ingenious movie. At least it om eekly.c in their lives set foot beyond seems strange while you're @vuew e v ti c the confines of their family's dvddete watching it. Once it's over, Josef home, located somewhere in you may find yourself thinking rural Greece, a clean, middle it's one of the most lucid studies Braun class fortress of self-imposed seof family life you've seen. clusion, complete with swimming pool, Why is that woman being driven blindand nearly devoid of anything that defolded along a freeway at dusk? Why is notes the contaminating influence of that couple having sex while they both contemporary culture, which for some wear headphones? Dogtooth is crafted in reason includes any consumer technolsuch a way that context is rarely explicit. ogy produced after about 1986. The parThis extends to the composition of the

DVCD TIVE

DETE

frames, which will often depict only the torsos or legs of characters, or reveal only one speaker in a conversation. (I've already told you more than you'd probably ascertain in the first 20 minutes.) But the movie is far too playful, attentive, and mischievous to label as withholding. What it does, and does very well, is allow us to gradually understand the rules of its cloistered world largely from the limited perspective of its inhabitants. There's what we might call an anthropological rigour to Dogtooth. It's about a kind of social experiment with unintentional yet deeply sinister implications. The family property even resembles a cult compound. Where our story goes is, I think, eerily logical, though it's also, I think, oddly hopeful. In a video interview included on Kino's new DVD, director and co-writer Yorgos

VUEWEEKLY // FEB 17 – FEB 23, 2011

Lanthimos, explains that the initial impulse behind Dogtooth was to make a science-fiction film that imagines life in a future where families are becoming extinct, so the parents at the centre of our story must go to extremes to preserve theirs. The movie Lanthimos made no longer bears the trappings of sci-fi, but it's certainly easy enough to locate the essentially primal urges that motivate the parents: a desire to protect the clan at all costs; a desire to maintain a sense of (false) purity for as long as possible; and most of all a desire to redesign the world to your liking and raise your children within it. Such desires inevitably lead to disaster, but they're still not that hard to identify with. Winner of the Prix Un Certain Regard at Cannes 2009 and easily the biggest surprise among this year's Oscar nods— it's been nominated for Best Foreign Lan-

guage Film—Dogtooth has clearly made an impression. It's as entertaining as it is insightful and twisted, climaxing with a living room talent show in which the eldest child (the fearless and inventive Aggeliki Papoulia) reinterprets a sequence of Flashdance while her brother plays bad classical guitar—having no one to compare himself to, he probably thinks he's a prodigy. The performances are uniformly detailed and focused, founded in regulated behaviour rather than conventional character development. You'd never guess these were actually normal people. I saw two of them at a party during the 2009 Toronto Film Festival, where Dogtooth had its Canadian premiere, and I was amazed to see them chatting and laughing and sipping cocktails. If they can go through all that and come out of it so seemingly civilized, there may truly be hope for all of us. V

FILM // 27

PREVUE // COMMERCIALS

Wazzzaaaaaap

World's Hottest Commercials return Paul Blinov // paul@vueweekly.com

T

hey're ultimately about selling something, but commercials have become an art form all their own. The Taco Bell dog, "wazzap" and the Old Spice guy are all lasting marketing figures, the best of them spilling out into the realm of pop culture itself. Ads even have their own awards show, the CLIOs, to celebrate genius marketing from across the world. Kerrie Long, festival producer for the Edmonton International Film Fest, recalls her first visit to the CLIOs fondly. "It was mind blowing," she recalls, "particularly the first time I went. Meeting Lee Clow for example, the creative director who is responsible for the Energizer bunny, all the iPod stuff." Long takes a three-hour reel from the CLIOs and puts togehter a 90-minute compilation of the bronze, silver and gold winners for Edmonton audiences, as a fundrasier for EIFF. This year's reel (of the 2010 awards) shows the next crop of clever ad designs, ranging from the light and fun— Nike's city-wide version of tag—to some darker, surprisingly effective PSAs

from Concerned Children's Advertisers. It also includes a short program of early television advertising; CLIO cut a retrospecive reel for its 40th anniversary, and part of that's included in the Edmonton program. "It's cool to see, for example, to see a Timex spot, or a Coca-Cola spot," she notes, of age-old ads. "You can see that big companies are still using the same branding. So it's neat; it's kind of a journey, a walk down memory lane." New this year, there'll be one 45 minute lunchtime showing—akin to EIFF's lunchbox shorts—though Long notes you have to bring your own lunch (it is a fundraiser, after all). Still, it's a chance to take a look at ads that offer more than just product placement. "A good commercial is, A, one I want to talk about, and, B, one I can walk away from and say, 'That was a spot for Heineken,'" Long says. "I think, personally, that good advertising still has to drive home what the product is." V Mon, Feb 21 – Thu, Feb 24 (12:10 pm [45 minute program]; 2 pm; 4:30 pm; 6:45 pm; 9 pm) World's Hottest Commercials Empire Theatres in Edmonton City Centre, $10 – $15

Music From The Big House Fri, Feb 18 (7 pm); Sat, Feb 19 (9 pm); Sun, Feb 20 (7 pm); Directed by Bruce McDonald Metro Cinema (9828 - 101A Ave)



Only in the final moments of Music From The Big House do we find out what the men we've spent the past hour and a half with did to find themselves in Louisiana State Maximum Security Penitentiary— better known as Angola Prison, the legendary birthplace of the blues where Leadbelly played for the governor to be pardoned and released. Of course, it would been naive to believe them somehow pure and serving life sentences for anything but the worst crimes, but holding back their sentences is one of the ways Music From The Big House tries to colour those in the penal system in a fresher, sympathetic light. It gives us the men before their crimes, lets them explain themselves and gives us a sense of who they are as it presents them to us for judgment, instead of starting with what's been decided with the slamming down of a gavel and working backwards. And while Music From The Big House certainly takes a sympathetic framework, that's not to say it isn't effective, or that the prisoners don't seem to deserve a kinder framing. They're serving hard time for their crimes, yes—one points out that many at Angola walk around "with the knowledge that you're gonna die here"—but Bruce MacDonald's film about blues music in a prison points out

Rita Chiarelli sings the blues

some flaws in the correctional system, which doesn't so much rehabilitate you for living outside again as hole you away until you die. In one poignant note, we're told many of the prisoners didn't gain any sort of education until they came to the prison and spent time in the library. Wisdom comes from knowledge of the world, and for the lower social stratas, sometimes that just isn't available. Given that most are here for life, it's too little, too late, even when they genuinely seem to regret their past actions. If anything, Music From The Big House could've gone deeper into the social questions it raises, but Bruce McDonald's doc is foremost about the blues, coloured with least some hope of redemption, if not in leaving prison as free men, then in letting them rise above the barbed wire fences through music, religion or some

mix of the two. Shot in stark black and white, bluesy chanteuse Rita Chiarelli's trip down to work with the prisoner house bands is the framework, and the music they play together is a beautiful, occasionally stunning take on gospel, country and the blues. Watching prisoners rehearse four-part harmonies, or learning Chiarelli's tunes carries the sort of sharp skill usually reserved for tight, road-tested blues bands. More emphasis on some of the social issues left on the periphery might've helped Music From The Big House drive a few more of its points home. But McDonald has given us a very human documentary instead, with fractured people trying to move past their regrets the best way they can. There's something very moving captured about that here. PAUL BLINOV

// PAUL@vueweekly.com

Small Town Murder Songs Fri, Feb 18; Sun, Feb 20 (9 pm) Sat, Feb 19 (7 pm) Written and directed by Ed Gass-Donnelly Starring Peter Stormare, Martha Plimpton, Jill Hennessey Metro Cinema (9828 - 101A Ave)

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Ed Gass-Donnelly's feature debut deposits an okey-dokey sheriff with a murky past and capacity for mayhem in the rural Mennonite community of Conestoga Lake, Ontario, whose vast prairies render every passing pedestrian vulnerable to the wrath of God. Walter (Peter Stormare) is bear-like, middle-aged, his rage bottled and sealed by an exterior that could be mistaken for timidity if you didn't know him, the spectacle frames so outdated they'd be hip in the city, that goofy uncle moustache. If Walter were more articulate, or overtly sinister, or nursing an urge for secret refinement and solitude punctuated by violent sex, Small Town Murder Songs's particular thread of portentousness—squeezing each scene for tension and regularly injecting thundering music over the soundtrack, the film's almost a mediation on portentousness—would seem heavily indebted to Jim Thompson's Pop. 1280 or The Killer Inside Me, but Gass-Donnelly is chasing something at once more diminutive, or short story-like, and more mythical. You develop this cumulative awareness of there being less to all this than is intended, the emphasis clearly more on the director's stylistic moxie than on probing the psychic depths of its troubled protagonist. And in an industry as starved

28 // FILM

Repent, ye moustache

for personal style as Canada's, this emphasis will probably work in Gass-Donnelly's favour. Walter attempts to find religion all over again, primarily through the love of a good, nattering, matronly waitress (Martha Plimpton). His redemption is interrupted by the discovery of a young woman's body. The investigation leads him back to his much sexier and trashier old flame (Jill Hennessey) and has him discreetly pointing an

accusatory finger at the douchebag who constitutes her current beau. What's most intriguing about all this is the notion that just because you've got a vendetta doesn't mean you're wrong. With conspicuous references to basic instincts and intermediary passages riddled with copious slow-motion, wailing dirges that declare "You can't hide what you are," and mammoth titles chiseled into the sky

VUEWEEKLY // FEB 17 – FEB 23, 2011

by the Lord reading "REPENT AND PROFESS YOUR FAITH," you can't exactly call Small Town Murder Songs subtle, but it's too enamoured with allusion, repeats its flashbacks too often to retain their needed enigma, and, in short, writes a lot of cheques it can't cash. Those titular musical refrains, all of them elegantly composed and judiciously edited (Brendan Steacy's the shooter, Gass-Donnelly his own cutter), are clearly the bedrock of Gass-Donnelly's

conceptual gambit, but they're so consistently overwrought that only an apocalyptic shower of fireballs could give them their due send-off. The gleam of pretentiousness cast over much of Small Town Murder Songs never extends, however, to the performances. Stormare, so rarely granted this sort of role, is tremendous, seemingly never caught without a precise notion of Walter's shifting emotional levels, and as brooding with his bulky physicality as with his face. Plimpton completely fills out her role without ever resorting to too much gesture or false nuance. She has a remarkably convincing scene where she needs to pray while thinking of the dead girl's panties. Hennessey's perfectly cast and groomed here, but has little to do. If her character were given more attention we might have gleaned some sense of what she and Walter were really all about, and since, as the real object of his desire, she's finally the key to our understanding of Walter's dark side, her absence is felt that much more. The undernourishment of Hennessey's role points to the central question that lingers with anyone trying to reckon with Small Town Murder Songs. It's very hard to know if this needed a lot more to make it truly resonate, or a lot less—even at a meagre 75 minutes, there are scenes that feel superfluous. Boil it down to music videos and you might find its true raison d'être. Extend and seriously deepen it and you might find a satisfying slice of Canadian gothic. Josef Braun

// josef@vueweekly.com

Justin Bieber: Never Say Never Now playing Directed by Jon Chu Starring Justin Bieber  Justin Bieber: Never Say Never, a marketmentary trying to be canny but coming off canned, does spin off one truth from its worldwide web of lies. Bieber's mother says she wants him to "find his worth in who he is," not "what he does," though the movie never shows the 16-year-old as an interesting individual, only tracking what he does. Bieber's manager/manufacturer, Scooter Braun, says he wants to "stay the underdog" after the movie just climaxed with Bieber playing a sold-out Madison Square Garden. Bieber thanks the shrieking MSG crowd for being some of the "many fans who followed me from day one," though the flick's just shown us how much Braun built up and led the fanbase along— with countless YouTube, Twitter, radio and small-gig promos—until the Stratford kid's a pop-music sensation. The one truth slipping out of this 105-minute ad is that, at this stratospheric level of social-networked stardom, the star and his entourage float

Justin Bieber: just like the other kids

along in a bubble of total self-delusion. No one speaks thoughtfully. Every shot hypes the Bieber-brand. His father only pops up so he can be shown crying with pride over Bieber. Is Bieber so popular because he combines a whited-out ghetto/R&B/rap style, televangelical Christianity (he and friends even pray before eating at a Pizza Pizza), and romance porn? Seems so from the fetishizing, slo-mo shot of him moptopshaking after tween girls rave about that hair-shaking. But who cares—back to the fans! Or how much (street cred-giving) Usher believes in him! Never has the clichéd description of a mu-

sic-industry entertainer as "artist" seemed so empty. When we see Braun & Co giving tickets to fans before each show, Braun claims he's paid "to make other people happy"—when he manufactured the need and obsession for a product, then gives a few tickets away to it to fulfill the screaming "happiness" of a few fans. Pop-culture self-promotion meets self-deluded missionary zeal, and it's all documented for the sake of more cha-ching. Ah, capitalism, you selfprofiting pervert. Only you can get away with fucking minors over, filming it, then selling it back to them. Brian Gibson

// brian@vueweekly.com

Just Go With It

Sandler's lie grows ever-bigger in Just Go With It

Now playing Directed by Dennis Dugan Written by Allan Loeb, Timothy Dowling, IAL Diamond, Abe Burrows, Pierre Barillet, Jean-Pierre Grédy Starring Adam Sandler, Jennifer Aniston, Brooklyn Decker

Seven years ago, Adam Sandler was in Hawaii as a man who lies to women he beds before falling for a bimbo in 50 First Dates (featuring a Police song). Now, Sandler returns to Hawaii as a man who lies to women he beds before falling for a bimbo in Just Go With It (featuring seven Police songs). On this unmerry go-around, Sandler's Danny, a plastic surgeon pretending to be miserably married to get one-night stands. He falls for Palmer (Brooklyn Decker), a grade six teacher. On their first Californiacliché-fulfilling-walk-on-the-beach together, she says she can tell when he's lying ... then proves more gullible than a grade two stu-

dent as Danny's lie about getting divorced— encouraged by Katherine (Jennifer Aniston), friend and office assistant—snowballs into a rolling deception that gathers no laughs. Katherine's kids, caught up in the shitballing situation, are played by two kids not just obviously acting but obviously acting like two precocious, crafty kids. Danny and Co's elaborate ruse, and the movie's impersonation of a comedy, continues with bad fake accents (Cockney, German), more schtick and a dash of homophobia.

idiot. But after comparing those women's measurements, we got the measure of the movie—Just Go With It can go from 3D to 1D in 100 minutes flat. Brian Gibson

// brian@vueweekly.com

But there's still room for sexism. Early on, Aniston gives some depth to her character, a working single mom (though she's got a Latina nanny who's negligent, just one small leap for Hispanic-kind from the "lazy" stereotype!) scoffing at Danny's childishness. But when Danny and Katherine pretend to be bitter exes, he and the movie paint her as a bit of a crazy rich bitch. Meanwhile, Danny (and his brother and even, once, Katherine's son) get to slo-mo ogle twentysomething Palmer in many hot, Bo Derek-10-like poses; Decker gives Palmer only cleavage, no character. So when Aniston shows off her own OMG MILF! body (and later strips down against an old school rival in a contest that boots out their competitors as old and fat), well, Katherine's redemption's complete and we know she and Danny will get together. She even lists off his many stunning assets, though we only ever see him as a rich

VUEWEEKLY // FEB 17 – FEB 23, 2011

FILM // 29

Still Showing FILM WEEKLY The Illusionist 

FRI, FEB 18, 2011 – THU, FEB 24, 2011 s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

THE KING'S SPEECH (PG language may offend) FRI�SAT 7:00, 9:10; SUN�THU 8:00; SAT�SUN 1:30 GNOMEO AND JULIET (G) FRI�SAT 7:00, 9:10; SUN�THU 8:00; SAT�SUN 1:30

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

7 KHOON MAAF (STC) Hindi W/E.S.T. DAILY 1:30, 5:00, 8:00

Princess Theatre (10337 – 82 Ave) A travelling washed-up magician forms a father-daughter relationship with a girl who believes his tricks to be real. Sylvain Chomet's take on a Jacques Tati story, The Illusionist is a glorious master stroke of hand-drawn animation.

Black Swan 

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) FRI�SUN 12:45, 3:30, 6:00, 8:25, 10:50; MON 12:40, 3:00, 5:40, 8:00, 10:20; TUE�THU 1:45, 4:15, 7:00, 9:30

GULLIVER’S TRAVELS (PG) DAILY 1:45, 4:15, 7:30, 9:40 LITTLE FOCKERS (PG crude sexual content, not recommended for young children) DAILY 1:40, 4:30, 7:15, 9:45 TRON: LEGACY 3D (PG) Digital 3d DAILY 1:20, 4:00, 6:55, 9:40 CHRONICLES OF NARNIA�VOYAGE OF THE DAWN TREADER 3D (PG frightening scenes) Digital 3d DAILY 1:05, 4:25, 7:05, 9:35

ALPHA AND OMEGA (G) DAILY 1:35 WINTER'S BONE (14A) DAILY 1:25, 6:30

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) Ultraavx, No passes DAILY 1:50, 4:40, 7:40, 10:20 BIG MOMMAS: LIKE FATHER, LIKE SON (PG) No passes FRI�TUE, THU 1:20, 4:20, 7:50, 10:30; WED 4:20, 7:50, 10:30; Star & Strollers Screening: WED 1:00 UNKNOWN (14A violence) No passes DAILY 1:10, 3:50, 7:05, 9:55 JUST GO WITH IT (PG crude content) Digital Cinema, No passes FRI�TUE, THU 1:40, 4:30, 7:20, 10:15; WED 4:30, 7:20, 10:15; Star & Strollers Screening: WED 1:00

GNOMEO AND JULIET (G) Digital 3d DAILY 12:30, 2:45, 5:00, 7:30, 9:50 JUSTIN BIEBER: NEVER SAY NEVER 3D (G) Digital 3d DAILY 12:00, 2:30, 5:10, 7:45, 10:10 THE ROOMMATE (14A violence) DAILY 10:00 SANCTUM 3D (14A coarse language, gory scenes, not recommended for children) Digital 3d DAILY 2:00, 4:50, 7:35, 10:0 THE MECHANIC (18A brutal violence) DAILY 2:10, 5:20, 8:00, 10:25 NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) DAILY 1:30, 4:10, 6:50, 9:30 THE GREEN HORNET 3D (14A violence, coarse language) DAILY 1:15, 4:00, 7:10 TRUE GRIT (14A violence) FRI�WED 1:00, 3:40, 6:40, 9:20; THU 1:00, 6:40, 9:20 YOGI BEAR (G) DAILY 12:10

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THE FIGHTER (14A coarse language, substance abuse) FRI�WED 12:20, 3:30, 7:00, 9:45; THU 3:30, 7:00, 9:45 THE KING'S SPEECH (PG language may offend) DAILY 12:40, 3:20, 6:30, 9:15

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) Ultraavx, No passes FRI�SUN 12:15, 3:00, 5:30, 8:15, 10:45; MON 12:15, 2:50, 5:30, 8:00, 10:30; TUE�THU 1:00, 3:20, 5:40, 8:00, 10:15 BIG MOMMAS: LIKE FATHER, LIKE SON (PG) No passes FRI�SUN 12:00, 2:25, 4:40, 7:20, 10:00; MON�THU 1:00, 3:15, 5:30, 7:45, 10:10

More than a run-of-the-mill action flick, The Mechanic uses Jason Statham to full effect and, while still falling back on genre clichés, manages to feel efficient and easy to watch.

30 // FILM

THE ROOMMATE (14A violence) FRI�SUN 12:00, 2:10, 4:20, 6:30, 8:45, 11:00; MON�THU 1:20, 3:30, 5:40, 7:50, 10:00

COUNTRY STRONG (PG substance abuse, coarse language) DAILY 1:50, 4:35, 7:10, 9:50

THE EAGLE (PG violence, not recommended for young children) DAILY 12:50, 3:45, 6:45, 9:40

The Mechanic

JUSTIN BIEBER: NEVER SAY NEVER 3D (G) Digital 3d FRI�MON 12:00, 2:30, 5:00, 7:45, 10:15; TUE�THU 2:00, 4:30, 7:15, 9:45

THE RITE (14A frightening scenes, not recommended for children) DAILY 9:50

MEGAMIND (G) DAILY 1:15, 3:50, 6:45, 9:10

Princess Theatre (10337 – 82 Ave) Mike Leigh's comic character study, of a group of middle-aged, middle-class Londoners going nowhere particularly fast (or even in any particular direction), is filled with constant and poignant comedy. It's the tyranny of the well-adjusted, self-inflicting upon themselves.

GNOMEO AND JULIET 3D (G) Digital 3d FRI�SUN 12:00, 2:10, 4:20, 6:30, 8:40, 10:50; MON 12:00, 2:10, 4:20, 6:30, 8:40; TUE�THU 2:10, 4:20, 6:30, 9:00

SEASON OF THE WITCH (14A violence) DAILY 4:50, 7:40, 10:00

HARRY POTTER AND THE DEATHLY HAL� LOWS: PART 1 (PG frightening scenes, violence, not recommended for young children) DAILY 1:10, 4:45, 7:50



GNOMEO AND JULIET (G) FRI�SUN 12:30, 2:40, 5:00, 7:30; MON�THU 1:00, 3:10, 5:20, 7:30

PATIALA HOUSE (PG) Hindi W/E.S.T. DAILY 1:00, 4:00, 7:30

BURLESQUE (PG not recommended for children, coarse language) DAILY 4:05, 9:25

Another Year

THE EAGLE (PG violence, not recommended for young children) FRI�SUN 12:20, 3:00, 5:45, 8:30, 11:10; MON�THU 1:15, 4:15, 7:15, 10:00

SANCTUM 3D (14A coarse language, gory scenes, not recommended for children) Digital 3d FRI� MON 12:10, 2:40, 5:00, 7:40, 10:30; TUE�THU 1:15, 3:40, 7:15, 10:00

THE TOURIST (PG coarse language) DAILY 1:30, 4:20, 6:50, 9:20

Princess Theatre (10337 – 82 Ave) Still haven't seen this Oscar-nominated psycho-thriller featuring Natalie Portman as a ballet dancer losing her mind for the principal role in Swan Lake? Do yourself a favour and catch it while it's still on a big screen.

4:00, 7:00, 10:00; Star & Strollers Screening: THU 1:00

UNKNOWN (14A violence) No passes FRI�SAT, MON 12:15, 2:45, 5:10, 7:45, 10:15; SUN 12:15, 2:45, 7:45, 10:15; TUE�WED 1:30, 4:10, 7:15, 9:50; THU 4:10, 7:15, 9:50; Star & Strollers Screening: THU 1:00 JUST GO WITH IT (PG crude content) No passes FRI�SUN 12:00, 2:40, 5:25, 8:10, 11:00; MON�TUE 1:00, 4:00, 7:00, 10:00; WED 1:00, 3:35, 10:30; THU

THE GREEN HORNET 3D (14A violence, coarse language) Digital 3d FRI�SUN 2:00, 4:45, 7:30, 10:15; MON�THU 1:30, 4:15, 7:00, 9:45 TRUE GRIT (14A violence) FRI, SUN 12:30, 3:00, 5:45, 8:25, 10:50; SAT 5:45, 8:25, 10:50; MON 12:30, 3:15, 5:30, 8:05, 10:25; TUE�THU 1:30, 4:15, 7:00, 9:30 THE KING'S SPEECH (PG language may offend) FRI�SUN 12:20, 2:45, 5:15, 7:50, 10:30; MON 12:10, 2:45, 5:15, 8:05, 10:30; TUE�THU 1:30, 4:30, 7:30, 10:05 BLACK SWAN (14A sexual content, disturbing content, not recommended for children) FRI�SAT 12:00, 2:45, 5:15, 8:00, 10:45; SUN 12:00, 2:45, 5:15, 10:45; MON 12:00, 2:45, 5:15, 7:50, 10:20; TUE�THU 1:55, 4:30, 7:00, 9:25

UNKNOWN (14A violence) No passes FRI 4:00, 6:50, 9:30; SAT�MON 1:20, 4:00, 6:50, 9:30; TUE� THU 5:20, 8:10

==

I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) FRI 4:20, 7:00, 9:40; SAT�MON 1:40, 4:20, 7:00, 9:40; TUE�THU 5:30, 8:20

BIG MOMMAS: LIKE FATHER, LIKE SON (PG) DAILY 6:50, 9:10; SAT�TUE 12:50, 3:10

BIG MOMMAS: LIKE FATHER, LIKE SON (PG) FRI 4:30, 7:10, 9:45; SAT�MON 1:45, 4:30, 7:10, 9:45; TUE�THU 5:10, 8:00

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

JUSTIN BIEBER: NEVER SAY NEVER 3D (G) DAILY 6:50, 9:10; SAT�MON 1:50 JUST GO WITH IT (PG crude content) DAILY 6:45, 9:15; SAT�MON 1:45 GNOMEO AND JULIET (G) DAILY 7:05, 9:05; SAT� MON 2:05 I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) DAILY 6:55, 9:20; SAT�MON 1:55 UNKNOWN (14A violence) DAILY 7:00 9:25; SAT� MON 2:00

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

I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) No passes FRI 4:15, 7:00, 9:45; SAT�MON 1:35, 4:15, 7:00, 9:45; TUE�THU 7:00, 9:45 UNKNOWN (14A violence) No passes FRI 4:05, 6:50, 9:50; SAT�MON 1:10, 4:05, 6:50, 9:50; TUE�THU 6:50, 9:50 JUST GO WITH IT (PG crude content) No passes FRI 4:10, 7:10, 9:55; SAT�MON 1:20, 4:10, 7:10, 9:55; TUE�THU 7:10, 9:55 THE EAGLE (PG violence, not recommended for young children) FRI 4:25, 7:15, 10:05; SAT�MON 1:45, 4:25, 7:15, 10:05; TUE�THU 7:15, 10:05 GNOMEO AND JULIET 3D (G) Digital 3d FRI 4:30, 6:55, 9:20; SAT�MON 11:50, 2:10, 4:30, 6:55, 9:20; TUE�THU 6:55, 9:20

127 HOURS (14A gory scenes, disturbing content) FRI�SUN 12:50, 3:30, 5:45, 8:00, 10:15; MON�THU 1:00, 3:30, 5:45, 8:00, 10:15

JUSTIN BIEBER: NEVER SAY NEVER 3D (G) Digital 3d FRI 3:50, 6:40, 9:30; SAT�MON 1:00, 3:50, 6:40, 9:30; TUE�THU 6:40, 9:30

THE METROPOLITAN OPERA: LA FANCIULLA DEL WEST ENCORE (classification not available) SAT 11:00

THE ROOMMATE (14A violence) DAILY 10:10

WWE ELIMINATION CHAMBER�2011 (classification not available) SUN 6:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

JUST GO WITH IT (PG crude content) No passes, Stadium Seating, Dolby Stereo Digital DAILY 12:40, 3:30, 7:00, 10:00 I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) Stadium Seating, Dolby Stereo Digital DAILY 12:05, 2:55, 7:10, 9:50 UNKNOWN (14A violence) Dolby Stereo Digital, No passes DAILY 12:50, 3:45, 7:30, 10:15 JUSTIN BIEBER: NEVER SAY NEVER 3D (G) Digital 3d, No passes, Stadium Seating DAILY 12:00, 2:35, 5:10, 7:45, 10:20 NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) Stadium Seating, DTS Digital DAILY 12:25, 3:25, 7:20, 10:30 THE MECHANIC (18A brutal violence) Stadium Seating, DTS Digital FRI�SUN 12:20, 2:45, 5:15, 7:40 SANCTUM (14A coarse language, gory scenes, not recommended for children) Stadium Seating, DTS Digital FRI�SUN 10:05 THE KING'S SPEECH (PG language may offend) Dolby Stereo Digital DAILY 12:10, 3:00, 6:40, 9:40 GNOMEO AND JULIET (G) Stadium Seating, Digital 3d, DTS Digital DAILY 12:15, 2:30, 5:00, 7:15, 9:30 THE EAGLE (PG violence, not recommended for young children) Stadium Seating, DTS Digital DAILY 12:30, 3:15, 6:50, 9:45

CLAREVIEW 10 4211-139 Ave, 780.472.7600

NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) FRI 4:05, 6:55, 9:35; SAT�MON 1:30, 4:05, 6:55, 9:35; TUE�THU 5:35, 8:30 THE ROOMMATE (14A violence) FRI 4:50, 7:20, 9:55; SAT�MON 2:10, 4:50, 7:20, 9:55; TUE�THU 5:50, 8:40 SANCTUM 3D (14A coarse language, gory scenes, not recommended for children) Digital 3d FRI 4:40, 7:15, 9:50; SAT�MON 2:00, 4:40, 7:15, 9:50; TUE� THU 5:40, 8:25 THE EAGLE (PG violence, not recommended for young children) FRI 3:50, 6:35, 9:15; SAT�MON 1:00, 3:50, 6:35, 9:15; TUE�THU 5:15, 8:05 JUSTIN BIEBER: NEVER SAY NEVER 3D (G) Digital 3d: No passes FRI 4:10, 6:45, 9:20; SAT�SUN 1:25, 4:10, 6:45, 9:20; MON 1:25, 4:10, 6:45, 9:20; TUE�THU 5:00, 7:40 GNOMEO AND JULIET D (G) Digital 3d FRI 4:15, 6:30, 8:50; SAT�MON 1:50, 4:15, 6:30, 8:50; TUE� THU 4:50, 7:50 JUST GO WITH IT (PG crude content) No passes FRI 3:55, 6:40, 9:25; SAT�SUN 1:10, 3:55, 6:40, 9:25; MON 1:10, 3:55, 6:40, 9:25; TUE�THU 5:25, 8:15

VUEWEEKLY // FEB 17 – FEB 23, 2011

SANCTUM 3D (14A coarse language, gory scenes, not recommended for children) Digital 3d FRI 4:35, 7:20, 10:00; SAT�MON 1:50, 4:35, 7:20, 10:00; TUE� THU 7:20, 10:00 NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) FRI 4:20, 7:15, 10:00; SAT�MON 1:40, 4:20, 7:15, 10:00; TUE�THU 7:15, 10:00 THE GREEN HORNET (14A violence, coarse language) FRI 4:05, 7:05; SAT�MON 1:15, 4:05, 7:05; TUE�THU 7:05 THE KING'S SPEECH (PG language may offend) FRI 4:00, 6:45, 9:35; SAT�MON 1:05, 4:00, 6:45, 9:35; TUE�THU 6:45, 9:35

GARNEAU

8712-109 St, 780.433.0728

INCENDIES (14A disturbing content, mature subject matter) DAILY 6:45, 9:15; SAT�MON 2:00

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

JUST GO WITH IT (PG crude content) No passes DAILY 1:45, 4:25, 7:00, 9:10 THE KING’S SPEECH (PG language may offend) DAILY 1:30, 4:15, 6:55, 9:10 GNOMEO AND JULIET (G) No passes DAILY 12:55, 2:45, 4:30, 6:20, 8:05, 9:40 NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) DAILY 5:20, 7:20, 9:20 TANGLED (G) DAILY 1:10, 3:15 JUSTIN BIEBER: NEVER SAY NEVER 3D (G) No passes DAILY 1:00 3:00, 5:00, 7:10, 9:15

LEDUC CINEMAS

Leduc, 780.352.3922

GNOMEO AND JULIET (G) DAILY 7:10; SAT�MON 1:10, 3:25 THE EAGLE (PG violence, not recommended for young children) DAILY 7:00, 9:35; SAT�MON 1:00, 3:35 I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) DAILY 7:05, 9:40; SAT�MON 1:05, 3:40 JUST GO WITH IT (PG crude content) DAILY 6:55, 9:30; SAT�MON 12:55, 3:30 THE ROOMMATE (14A violence) DAILY 9:20 Family Day: MON Feb 21: free movie at 10:00am; Movie is a surprise

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

FAVA VIDEO KITCHEN (STC) THU 7:00 TURKEY SHOOT: PIECES (STC) THU 9:00 MUSIC FROM THE BIG HOUSE (STC) FRI, SUN 7:00; SAT 9:00 SMALL TOWN MURDER SONGS (14A nudity) FRI, SUN 9:00; SAT 7:00

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

UNKNOWN (14A violence) DAILY 7:00, 9:20; SAT�TUE 1:00, 3:20; Movies for Mommies: TUE 1:00 I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) DAILY 6:55, 9:15; SAT�TUE 12:55, 3:15 GNOMEO AND JULIET (G) DAILY 7:05, 9:00; SAT� TUE 1:05, 3:00 JUSTIN BIEBER: NEVER SAY NEVER 3D (G) DAILY 6:45, 9:05; SAT�TUE 12:45, 3:05 JUST GO WITH IT (PG crude content) DAILY 7:15, 9:25; SAT�TUE 1:15, 3:25 127 HOURS (14A gory scenes and disturbing content) DAILY 9:30; SAT�TUE 3:30 THE KING’S SPEECH (PG language may offend) DAILY 7:10; SAT�TUE 1:10

PRINCESS 10337-82 Ave, 780.433.0728

ANOTHER YEAR (14A) DAILY 6:45, 9:15; SAT� MON 2:00 THE ILLUSIONIST (PG) DAILY 7:00; SAT�SUN 1:00 BLACK SWAN (14A sexual content, disturbing content, not recommended for children) DAILY 9:00; SAT�SUN 3:00

SCOTIABANK THEATRE WEM

WEM, 8882-170 St, 780.444.2400

I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) No passes FRI, TUE�THU 12:45, 3:45, 7:30, 10:00; SAT�MON 12:45, 3:45, 6:45, 9:30; FRI, TUE�THU 1:30, 4:15, 7:00, 9:45; SAT�MON 12:00, 2:30, 5:00, 7:30, 10:00 UNKNOWN (14A violence) No passes FRI�TUE, THU 1:20, 4:20, 7:20, 10:15; WED 4:20, 7:20, 10:15; Star & Strollers Screening: WED 1:00 JUST GO WITH IT (PG crude content) No passes DAILY 12:50, 3:50, 6:50, 9:50 THE EAGLE (PG violence, not recommended for young children) FRI, SUN�MON 1:40, 4:40, 7:40, 10:40; SAT 12:40, 4:40, 7:40, 10:40; TUE, THU 1:40, 4:40, 7:40, 10:20; WED 4:40, 7:40, 10:20; Star & Strollers Screening: WED 1:00 GNOMEO AND JULIET 3D (G) Digital 3d DAILY 12:30, 2:40, 4:50, 7:00, 9:10 JUSTIN BIEBER: NEVER SAY NEVER 3D (G) Digital 3d FRI, TUE�THU 1:00, 4:00, 6:45, 9:30; SAT�MON 12:15, 3:00, 5:30, 8:00, 10:30 THE ROOMMATE (14A violence) FRI�MON 2:00, 5:00, 8:00, 10:45; TUE�THU 2:00, 5:00, 8:00, 10:30 SANCTUM 3D (14A coarse language, gory scenes, not recommended for children) Digital 3d FRI� MON 1:45, 4:45, 7:45, 10:45; TUE�THU 1:45, 4:45, 7:45, 10:30 THE MECHANIC (18A brutal violence) FRI�SAT, MON 1:50, 4:50, 7:50, 10:20; SUN 12:00, 2:30, 10:20; TUE�THU 10:15 THE RITE (14A frightening scenes, not recommended for children) FRI�MON 10:15 NO STRINGS ATTACHED (14A sexual content, substance abuse, not recommended for children) FRI, SUN�WED 12:40, 3:40, 6:40, 9:40; SAT 3:40, 6:40, 9:40; THU 12:40, 3:40, 9:40 THE GREEN HORNET 3D (14A violence, coarse language) Digital 3d FRI�TUE, THU 1:10, 4:10, 7:10, 10:10; WED 1:10, 4:10, 10:10 THE KING'S SPEECH (PG language may offend) DAILY 12:30, 3:30, 7:15 THE METROPOLITAN OPERA: LA FANCIULLA DEL WEST ENCORE (Classification not available) SAT 11:00 WWE ELIMINATION CHAMBER�2011 (Classification not available) SUN 6:00

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

THE KING'S SPEECH (PG language may offend) Dolby Stereo Digital FRI 6:45, 9:30; SAT�MON 3:35, 6:45, 9:30; TUE�THU 5:20, 8:30 BARNEY'S VERSION (14A coarse language, sexual content, substance abuse) Dolby Stereo Digital FRI 6:30, 9:40; SAT�MON 3:20, 6:30, 9:40; TUE�THU 5:00, 8:10 JUST GO WITH IT (PG crude content) DTS Digital, No passes FRI 7:00, 9:50; SAT�MON 3:50, 7:00, 9:50; TUE�THU 5:30, 8:20 BLACK SWAN (14A sexual content, disturbing content, not recommended for children) DTS Digital FRI 7:10, 10:00; SAT�MON 4:00, 7:10, 10:00; TUE�THU 5:10, 8:00

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

JUSTIN BIEBER: NEVER SAY NEVER 3D (G) SAT� MON 12:55, 3:30; DAILY 6:55, 9:30 UNKNOWN (14A violence) SAT�MON 1:05, 3:40; DAILY 7:05, 9:40 GNOMEO AND JULIET (G) SAT�MON 1:10, 3:25; DAILY 7:10 JUST GO WITH IT (PG crude content) SAT�MON 1:00, 3:35; DAILY 7:00, 9:35 THE ROOMMATE (14A violence) DAILY 9:20

MUSIC Stardate, 1995

James T Kirks continue to engage Tom Murray // tom@vueweekly.com

emember your first band? How you got together with your friends and made a racket in someone's basement learning how to play your instruments? After which you went on to other bands as your taste in music developed? The members of the James T Kirks remember that era well, especially since they all still play together 15 years after the band, their very first, was formed. "We were lucky we all lived just a half hour down the road from each other," notes drummer Silas Grenis, who linked up with the other two Kirks (Rob Wright on bass, Ted Wright on guitar) just after turning 14. Living just outside of Stony Plain, the three bonded over shared love of classic cars (Silas and Ted) and skateboards (Silas and Rob), but especially rock 'n' roll. "There really wasn't anybody else into that music around, or wanting to play it, so we just naturally gravitated together." "I think Silas still puts it best, as he explained to someone just a few days ago," laughs Kirks bassist Rob Wright, now a booking agent in Vancouver, though he makes the trip back to Edmonton for rehearsals and recording. "He said, 'They just needed a drummer for their crappy Cars cover band.'" In fairness, the Kirks was always much more than just a Cars cover band; the band also had some tunes by The Kinks, Green Day and Nirvana in its earliest sets, standard fare for small town boys without much access to music outside the Top 40. In his mid teens, Grenis had a correspondence with Nardwuar the Human Serviette and the Vancouver musician and journalist sent him Canadian punk mix tapes, while Ted Wright was similarly exchanging letters with guitarist Rich Hagensen of the Surfdusters, who

// gravedangerphotography

R

Gene Roddenberry's worst nightmare

thoughtfully included a cassette of surf and instrumental music as well. "I was a volunteer at CJSR when I was 15 or 16, and I remember [then station manager] Christine Chomiak giving me a Black Flag tape, saying, 'Here you need this,'" Rob Wright recalls. "It was a prize that someone hadn't bothered to pick up, and kind of a big deal because we were still learning about the broader scope of music." Punk and instrumental surf defines the Kirks, who have managed to keep

the trio going despite Grenis being grounded the night of the group's first real gig. He was absent from the band for a few years while the two older Wrights took it on the road, but rejoined again around 2002, and despite the multiplicity of the members' other bands—most famously Les Tabernacles and The Get Down—they have never considered packing it in. The Kirks have recorded sporadically—a full, unreleased album is in the can— released a 45, and cultivated a follow-

ing on intermittent tours through Alberta and the West Coast. And yes, they're 15 years older and still somehow summon the desire to get together two or three times a year to record and perform despite distances and scheduling conflicts. "I don't know if that was always a conscious decision on our part," Grenis muses, "but it's how things have turned out. At the risk of sounding like a hippie, in life there are some doors that stay open, and there's no point in clos-

ing them if you don't have to. Why not do the thing you love the most with the people you love the most?" "That's the hippie answer. The real answer is, 'Man, it's a punk rock band. We like to play songs tear shit up and have fun and you don't have to stop that.'" V

and hung out for a bit," he explains. "Initially I was planning on just staying for a month or two and then going back to Vancouver but after a bit I didn't really want to go back there."

"I have a lot of friends there, actually, a lot of people from Edmonton out there. I'm pretty good friends with those Silly Kissers guys and Sean Savage and odd people from before I moved to Vancouver," says DeMarco. "I like it because it's so close to New York City and Chicago and Philadelphia, so it'll be fun to play there and even play in the Maritimes too." A slew of new songs released on the Internet caused a stir amongst Canadian music blogs and a full-length album is expected in the summer. A prolific songwriter, DeMarco explains that he goes through

phases when he's writing, attempting to mimic other groups but always having it come out sounding like him, such as on the group's first release, Heat Wave. "I was listening to a lot of the Breeders and the Wipers and I thought, 'I'm gonna make a CD that sounds like these bands,' but it sounds nothing like those bands," he laughs. "That's all I really try to do is rip other people off but luckily for me it turns out a little weird so people think I'm just doing my own thing."

SAT, Feb 19 (9 pm) James T Kirks With Von Zippers, Bombchan Teddy's, $12

Makeout Videotape Thu, Feb 18 (8 pm) Makeout Videotape With Sans AIDS, JAZZ Filthy McNasty's, Free Mac DeMarco is not the man with the plan. From its inception, his band Makeout Videotape has been a seat-of-thepants venture. Located in various cities, consisting of various members, releasing music on its own schedule without any care for "album cycles," Makeout Videotape isn't concerned with the trappings of the music industry.

The band started in DeMarco's garage in Vancouver as a solo venture, but quickly grew into a two-piece, then a three-piece with the drummer's chair remaining fluid. After a few tours left the band broke and tired, DeMarco found himself back in his hometown of Edmonton, a sojourn that was supposed to be temporary, but which lasted for almost a year. "I didn't really plan on coming back to Edmonton but then it was like, 'Well, I'm broke and mom's got a full fridge.' That was the idea but then I settled down and worked at a couple places, met a nice girl

Instead, the band—which includes Alex Calder on bass—will venture to Montréal after a farewell show in Edmonton this weekend. After playing Montréal a number of times on tour and doing well, Makeout Videotape decided to join the growing Edmonton ex-pat scene in Quebec's largest city.

VUEWEEKLY // FEB 17 – FEB 23, 2011

Bryan Birtles

// bryan@vueweekly.com

MUSIC // 31

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

THU FEB 17 ACCENT EUROPEAN LOUNGE folk/jazz/pop/singersongwriter live music Thu; Tim Gilbertson, Alex Vissia; 9:30pm-11:30pm; no minors; no cover BLUE CHAIR CAFÉ Jazz Thursday Nite: Charlie Austin Trio; 8pm; $8/$5 (student card); last set free BLUES ON WHYTE Boogie Patrol (blues/gospel/R&B); 9pm BRIXX BAR Radio Brixx: One Way State, Live in Brighton, Radioflyer; 9pm BOHEMIA Kids in the Hall Bistro Benefit: Herky Cutler, Laurie Slater, Darrell Barr, others; 6:30pm (door), 7pm (show); $12 (door); musical fundraising benefit CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm CROWN AND ANCHOR Feast or Famine, Shred Kelly, Charlie Scream; 8pm (show); $5 or Food donation THE DOCKS Thu night rock and metal jam DRUID IRISH PUB DJ every Thu at 9pm DV8 Acoustic Chaos Thursdays: bring your guitars, basses, drums, whatever and play some tunes HAVEN SOCIAL CLUB Sue Decker (blues/country/folk), Terry Knutson, Range Road 251; 8pm; $10 (door) HYDEAWAY�Jekyll and Hyde Maren Ord/Shannon Kerr/Karen Murphy (singer songwriter stage); 7:30pm J AND R Open jam rock 'n' roll; every Thu; 9pm JEFFREY'S CAFÉ Stefan Kijek (jazz quartet); $10 L.B.'S PUB Open jam with Kenny Skoreyko, Fred Larose and Gordy Mathews (Shaved Posse) every Thu; 9pm-1am MARYBETH'S COFFEE HOUSE�Beaumont Open mic every Thu; 7pm; no cover

NAKED CYBER CAFÉ Open stage every Thu, 9pm; no cover NEST�NAIT Indie Night at the Nest: free show every Thu; 4:30pm NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers every Thu O'BYRNE'S Guinness Blues Week: Featuring Marshall Lawrence; 8:15pm OVERTIME BROILER TAP ROOM�Sherwood Park Dark Matter (piano; CD release); 9:30pm; no cover RIC’S GRILL Peter Belec (jazz); every 2nd Thu; 7-10pm RUSTY REED'S HOUSE OF BLUES The Rault Brothers; $5 SECOND CUP�Varscona Live music every Thu night; 7-9pm WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Roger West

Classical TRANSALTA ARTS BARNS’ WESTBURY THEATRE Edmonton Opera: Barber of Barrhead; 7pm; $18 (adult)/$15 (student/senior)/$12.50 (child) at Fringe Theatre box office

DJs 180 DEGREES DJ every Thu BLACK DOG FREEHOUSE Main Floor: Tight Jams: every 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 BUDDY'S Men’s Wet Underwear Contest every Thu with DJ Phon3 Hom3; 9pm (door); no cover before 10pm CENTURY ROOM Lucky 7: Retro '80s with house DJ every Thu; 7pm-close CHROME LOUNGE 123 Ko every Thu

THE COMMON So Necessary: Hip hop, classic hip hop, funk, soul, r&b, '80s, oldies and everything in between with Sonny Grimezz, Shortround, Twist every Thu DRUID IRISH PUB DJ every Thu; 9pm ELECTRIC RODEO�Spruce Grove DJ every Thu EMPIRE I LOVE Dubstep; $35 FILTHY MCNASTY’S Punk Rock Bingo every Thu with DJ S.W.A.G. FLUID LOUNGE Thirsty Thursdays: Electro breaks Cup; no cover all night FUNKY BUDDHA�Whyte Ave Requests every Thu with DJ Damian HALO Fo Sho: every Thu with Allout DJs DJ Degree, Junior Brown KAS BAR Urban House: every Thu with DJ Mark Stevens; 9pm LUCKY 13 Sin Thu with DJ Mike Tomas ON THE ROCKS Salsaholic: every Thu; dance lessons at 8pm; salsa DJ to follow RENDEZVOUS Metal night every Thu SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca STOLLI'S Dancehall: hip hop every Thu with DJ Footnotes hosted by Elle Dirty, and ConScience; no cover TAPHOUSE�St Albert Eclectic mix every Thu with DJ Dusty Grooves UNION HALL 1-2-3 Thursdays hosted by Ronnie; Jersey Shore Family Day weekend with Nicole "Snooki" Polizzi hosting the Long Weekend Glow Party VINYL DANCE LOUNGE The Hood Internet with J Roc and All Out Djs WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close

FRI FEB 18 ARTERY The Joe (CD release), Happy Trendy (Kumon Plaza), Rap X (alt rap risers), guests; all ages; 8pm AVENUE THEATRE Snak the Ripper, Gzus Murphy, Chubbs, guests; no minors; 9pm (door); $20 BLUE CHAIR CAFÉ Big Hank and the Blue Hearts; 8pm; $15 BLUES ON WHYTE Boogie Patrol (blues/gospel/R&B)

BRIXX BAR Canyon Rose Outfit, Signal Sounds, Blake Paul Band; 9pm BUFFALO UNDERGROUND The Dusty Grooves (CD release party); $5 (door) CARROT Live music every Fri; Black History Month: Slam Poets; all ages; 7pm; $5 (door) CASINO EDMONTON The Top Tones CASINO YELLOWHEAD The Classics CENTURY CASINO Collin Raye (country); 7pm; $39.95 (adv) at YEG COAST TO COAST Open stage every Fri; 9:30pm CROWN AND ANCHOR Train Wreak; no cover DV8 Feast Or Famine, Shotty Out!; 9pm EDDIE SHORTS Three Little Pigs featuring Colin McDonald EXPRESSIONZ CAFÉ Uptown Folk Club–Winterfest: Low Flying Planes (folk), Back Porch Swing (bluegrass/country/folk/ jazz), Michael Hann, Colleen Rae; 6-11pm; $20 (adv)/$40 (combo weekend pass) at YEG FRESH START BISTRO Dr Blue (jazz); live music every Fri; 7-10pm; $10 GAS PUMP The Uptown Jammers (house band); every Fri; 5:30-9pm HAVEN SOCIAL CLUB The Sound of Edmonton: Chasing Jones (alt, pop/rock), Volcanoless in Canada, The F.D. Jones Soap Co; 8pm; $10 (adv at YEG Live) IRISH CLUB Jam session every Fri; 8pm; no cover IVORY CLUB Duelling piano show every Fri with Jesse, Shane, Tiffany and Erik and guests JEFFREY'S CAFÉ Jamie Philp Trio (cool, contemporary jazz); $15 JEKYLL AND HYDE PUB Headwind (classic pop/rock); every Fri; 9pm; no cover LIZARD LOUNGE Rock 'n' roll open mic every Fri; 8:30pm; no cover ON THE ROCKS Bonafide, DJs; PAWN SHOP Keys N Krates RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Fri; 9pm-2am RIVER CREE�THE VENUE The Fab Four (Beatles tribute band); 8pm; $29.50 RUSTY REED'S HOUSE OF BLUES Willie McCaulder, Rault Brothers; $15

STARLITE ROOM Dirtyloud, Gibtek, Remid, DJ Medzo; 9pm STEEPS�Old Glenora Live Music Fri VINYL DANCE LOUNGE Fresh WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Duane Steele WOK BOX Breezy Brian Gregg every Fri; 3:30-5:30pm YARDBIRD SUITE Rick Holmstrom Band; 8pm (door), 9pm (show); $20 (member)/$24 (guest) at Ticketmaster

Classical TRANSALTA ARTS BARNS’ WESTBURY THEATRE Edmonton Opera: Barber of Barrhead; 7pm; $18 (adult)/$15 (student/senior)/$12.50 (child) at Fringe Theatre box office

DJs 180 DEGREES DJ every Fri AZUCAR PICANTE DJ Papi and DJ Latin Sensation every Fri BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison every Fri BAR�B�BAR DJ James; every Fri; no cover BAR WILD Bar Wild Fri BLACK DOG FREEHOUSE DJs spin on the main floor every Fri; Underdog, Wooftop BLACKSHEEP PUB Bash: DJ spinning retro to rock classics to current BOHEMIA Dance Party: with DJs Daylene, Hondo, Ian, Bran Dee, Lex; no minors; 8pm; $3 (with membership) BUDDY’S DJ Arrow Chaser every Fri; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND R U Aware Friday: Featuring Neon Nights CHROME LOUNGE Platinum VIP Invinceable event every Fri THE COMMON Boom The Box: every Fri; nu disco, hip hop, indie, electro, dance with weekly local and visiting DJs on rotation plus residents Echo and Shortround; 8pm; $5 (door) THIS WEEK: LP, D.P.M, Mr Wedge, The Regulators THE DRUID IRISH PUB DJ every Fri; 9pm ELECTRIC RODEO�Spruce Grove DJ every Fri FLUID LOUNGE Hip hop and dancehall; every Fri

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 10425-82 Ave, 780.439.1082 BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUE PEAR RESTAURANT 10643-123 St, 780.482.7178 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CENTURY GRILL 3975 Calgary Tr NW, 780.431.0303 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 COMMON LOUNGE 10124-124 St 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

32 // MUSIC

DOUBLE D'S 15203 Stony Plain Rd, 780.486.1133 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 ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ELEPHANT AND CASTLE� Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 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 GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave, 780.423. HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILLTOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.995.7110 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South

VUEWEEKLY // FEB 17 – FEB 23, 2011

JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 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 MCDOUGALL UNITED CHURCH 10025-101 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 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 OIL CITY 14420-112 St ON THE ROCKS 11730 Jasper Ave, 780.482.4767

ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 OVERTIME BROILER TAP ROOM�Sherwood Park 101 Granada Blvd, Sherwood Park PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLEASANTVIEW COMMUNITY HALL 10860-57 Ave QUEEN ALEXANDRA COMMUNITY 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 St, 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 SECOND CUP�Sherwood Park 4005 Cloverbar Rd, Sherwood Park, 780.988.1929; 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 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 TRANSALTA ARTS BARNS� Westbury Theatre 10330 84 Ave, 780.409.1910 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 WEST END CHRISTIAN REFORMED CHURCH 10015149 St WHISTLESTOP LOUNGE 12416-132 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

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

HOOLIGANZ Live music every Sat

ELECTRIC RODEO�Spruce Grove DJ every Sat

HYDEAWAY Open stage jam every Sun; 5pm

GAS PUMP DJ Christian; every Fri; 9:30pm-2am

HYDEAWAY�Jekyll and Hyde Explosionation, All the King's Men, friends; 7pm

FLUID LOUNGE Intimate Saturdays: with DJ Aiden Jamali; 8pm (door)

J AND R BAR Open jam/stage every Sun hosted by Me Next and the Have-Nots; 3-7pm

JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm

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

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

NEWCASTLE PUB House, dance mix every Fri with DJ Donovan

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

GAS PUMP DJ Christian every Sat

JUBILEE AUDITORIUM Melissa Etheridge, Serena Ryder; 6:30pm (door), 7:30pm (show); $39.50, $69.50, $89.50 at Ticketmaster; all ages

NEW CITY LEGION Hellpreacher, Said Saviour's Cock, First Aid Kit, DJ Johnny Neck; no minors; 9pm (show); $5 (door) REDNEX�Morinville DJ Gravy from the Source 98.5 every Fri RED STAR Movin’ on Up: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson; every Fri ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca STARLITE ROOM Sahbatoge Productions: Dirtyloud, Gibtek, Remi D, DJ Medzo; 9pm (door); $15 at Foosh, Ticketmaster STOLLI’S Top 40, R&B, house with People’s DJ; every Fri SUEDE LOUNGE Juicy DJ spins every Fri TEMPLE Options with Greg Gory and Eddie Lunchpail; every Fri; 9pm TREASURY In Style Fri: DJ Tyco and Ernest Ledi; no line no cover for ladies all night long VINYL DANCE LOUNGE Connected Las Vegas Fridays: Entourage Y AFTERHOURS Foundation Fridays

SAT FEB 19 ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 ARTERY Concealer, Pale Moon Lights, Jody Shenkarek, Jody Shenkarek, Fear and Worry; all ages; 8pm (door); $10 AVENUE THEATRE Praire Nights, Lauren Mann, The Fairly Odd Folk, Jon Grieg, Scenic Route to Alaska; no minors ; 8pm (door); $10 BLACK DOG FREEHOUSE Hair of the Dog: Axiomatik (live acoustic music every Sat); 4-6pm; no cover BLUE CHAIR CAFÉ Manraygun; 8pm; $15 BLUES ON WHYTE Boogie Patrol (blues/gospel/R&B); 9pm BRIXX BAR Shakedowns (CD release), Soundscape, Rock 'n' Rock Emergency, Close up magic with Chris Gowen, Burlesque Dancers; 9pm CASINO EDMONTON The Top Tones CASINO YELLOWHEAD The Classics COAST TO COAST Live bands every Sat; 9:30pm THE COMMON Doin' It, Bron and Dane, Moe Lowe, Raebot; 9pm (door); $5 (door)

JUBILEE AUDITORIUM Heart, Carmen Townsend; 8pm MORANGO'S TEK CAFÉ Open stage every Sat: hosted by Dr. Oxide; 7-10pm O’BYRNE’S Live band every Sat, 3-7pm; DJ every Sat, 9:30pm OIL CITY Rockin with the Rookies; 6pm (door); $10 (adv)/$15 (door)/free (child 10 and under) ON THE ROCKS Bonafide, DJs PAWN SHOP Neon Nights : Riot On Whyte QUEEN ALEXANDRA COMMUNITY HALL Northern Lights Folk Club: Dale Nikkel, April Verch; $18 (adv)/ $22 (door) RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Sat; 9pm-2am RENDEZVOUS Enduring the Fall, Before the Fire, What Grace?; no minors; 8pm (door); $8 RUSTY REED'S HOUSE OF BLUES Sat jam every Sat; 3-6pm RUSTY REED'S HOUSE OF BLUES Willie McCaulder, Rault Brothers $15 STARLITE ROOM Kriticos, Agonal, Mares of Thrace, Guardians of Power; 9pm VINYL DANCE LOUNGE Fresh WEST END CHRISTIAN REFORMED CHURCH Stories: Kokopell, Òran; 2pm and 7pm; $18/$15 (student/senior) at TIX on the Square, door WILD WEST SALOON Roger West YARDBIRD SUITE Rick Holmstrom Band; 8pm (door), 9pm (show); $20 (member)/$24 (guest) at Ticketmaster

Classical WINSPEAR CENTRE Edmonton Symphony Orchestra: Warner Bros. Presents Bugs Bunny at the Symphony; 2pm, 7:30pm; $20$35 (child)/$28-$71 (adult) at the Winspear bvox office TRANSALTA ARTS BARNS’ WESTBURY THEATRE Edmonton Opera: Barber of Barrhead; 2pm; $18 (adult)/$15 (student/senior)/$12.50 (child) at Fringe Theatre box office

DJs 180 DEGREES Street VIBS: Reggae night every Sat

CROWN AND ANCHOR Train Wreak; no cover

AZUCAR PICANTE DJ Touch It, hosted by DJ Papi; every Sat

CROWN PUB Acoustic blues open stage with Marshall Lawrence; every Sat; no cover

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

DOUBLE D'S Mr Lucky (blues, roots) DV8 Oooze, Shreddin' Onions, Whitemud; 9pm EDDIE SHORTS Pepperland (Beatles tribute band) EXPRESSIONZ CAFÉ Uptown Folk Club–Winterfest: Paul Bromley, Lacey and Teila, Twisted Pickers, Bunkeye, Doug Stroud, Alee & Lauren, Brett Kissell, Spurs of the Moment; 1-11pm; $30 (adv)/$40 (combo weekend pass) at YEG FILTHY MCNASTY'S Blue Goat; 9pm; no cover GAS PUMP Blues jam/open stage every Sat 3:30-7pm HAVEN SOCIAL CLUB Lascivious (burlesque, dance), Looking East, Night at the Chelsea; 8pm; $10 (door) HILLTOP PUB Open stage/mic every Sat: hosted by Blue Goat; 3:30-6pm

JEFFREY'S CAFÉ Marco Claveria (trad Latin music); $15

BLACK DOG FREEHOUSE DJs on three levels every Sat: 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 DJ every Sat BOHEMIA Bohemian Asylum–A Night of DnB and c0re with DJ Lego, Swindler, Princess Me0w, Nervosa, others; no minors; 8pm (door), 9pm (show); $8 (door) BUDDY'S Feel the rhythm every Sat with DJ Phon3 Hom3; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND Head Mashed In Saturday: Mashup Night DRUID IRISH PUB DJ every Sat; 9pm

HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm NEWCASTLE PUB Top 40 requests every Sat with DJ Sheri NEW CITY LEGION Polished Chrome: every Sat with DJs Blue Jay, The Gothfather, Dervish, Anonymouse; no minors; free (5-8pm)/$5 (ladies)/$8 (gents after 8pm) PALACE CASINO Show Lounge DJ every Sat PAWN SHOP SONiC Presents Live On Site! Anti-Club: rock, indie, punk, rock, dance, retro rock every Sat; 8pm (door)

NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm O’BYRNE’S Open mic every Sun; 9:30pm-1am ON THE ROCKS Seven Strings Sun: Bonafide ORLANDO'S 2 PUB Open stage jam every Sun; 4pm RED PIANO Family Day Piano performance; 2 for 1 entertainment charge; no cover with dinner reservation RUSTY REED'S HOUSE OF BLUES Myrol (Blue Moon Away CD release); 7:30pm; $20 (incl CD) SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm

RED STAR Indie rock, hip hop, and electro every Sat with DJ Hot Philly and guests

SHAW CONFERENCE HALL Above and Beyond, Benny Benassi, Dash Berlin; 8pm

SPORTSWORLD Roller Skating Disco every Sat; 1pm-4:30pm and 7-10:30pm

STARLITE ROOM OKA, Tarun Tspoon Nayar of Delhi 2 Dublin, Degree, Siriously Twisted Vibe Tribe, guests; 8pm

STOLLI’S ON WHYTE Top 40, R&B, house every Sat with People’s DJ SUEDE LOUNGE DJ Nic-E spins every Sat TEMPLE Oh Snap! Oh Snap with Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop and P-Rex; every Sat; 9pm UNION HALL Celebrity Saturdays: every Sat hosted by Ryan Maier VINYL DANCE LOUNGE Signature Saturdays: Sunglasses at Night Y AFTERHOURS Release Saturdays

SUN FEB 20 AVENUE THEATRE Jampara; no minors; 7pm (door), 8pm (show); $20 (adv at TIX on the Square)/$25 (door) BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm BRIXX BAR Red Shag Carpet and Owls By Nature; 9pm BLUE CHAIR CAFÉ Sun Brunch: Farley Scott, guests; 10:30am-2.30pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun: Don Ross; 6pm; $25 if not dining B�STREET BAR Acoustic-based open stage every Sun evening; hosted by Mike "Shufflehound" Chenoweth THE COMMON Bridging The Gap; 9pm CROWN AND ANCHOR White Lightning, Hangloose, The Frolics, Joe Paonessa; $10 CROWN PUB am hosted by JTB every Sun until Feb 20 DEVANEY’S IRISH PUB Celtic open stage every Sun with Keri-Lynne Zwicker; 5:30pm; no cover DOUBLE D'S Open jam every Sun; 3-8pm EDDIE SHORTS Acoustic jam every Sun; 9pm EMPIRE BALLROOM The Next Big Thing: (vocal/band), Dance showcase; Mixmaster (DJ); hottest talent search every Sun; until May 29 EMPIRE BALLROOM Eurotras: long weekend Sun party EXPRESSIONZ CAFÉ Uptown Folk Club–Winterfest: 1 hour children's concert: Paul Hann, 1-2pm, $5 (adv)/$20 (door); YEG live Sun Night Songwriters Stage, 7-10pm EXPRESSIONZ CAFÉ Country/ country rock Jam and Dance hosted by Mahkoos Merrier, 2nd Sun every month, 1-5pm, admission by donation; YEG live Sun Night Songwriters Stage; 7-10pm

MCDOUGALL UNITED CHURCH Gospel Music Month: Come and hear gospel music every Sun Morning through Feb; 10:30am

Classical FESTIVAL PLACE David Eggert (cello), Lev Loftus; 2pm; $24 (table )/$22 (box )/$18 (theatre) at Festival Place box office, TicketMaster WINSPEAR CENTRE Edmonton Symphony Orchestra: Warner Bros. Presents Bugs Bunny at the Symphony; 2pm; ; $20-$35 (child)/$28-$71 (adult) at the Winspear bvox office

DJs BACKSTAGE TAP AND GRILL Industry Night: every Sun with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Sunday Funday: with Phil, 2-7pm; Sunday Night: Soul Sundays: '60s and '70s funk, soul, R&B with DJ Zyppy THE COMMON Bridging The Gap: Allout DJs, Chris Goza (G2); 9pm-2am DIESEL ULTRA LOUNGE Black and Yellow Family Day long weekend gathering; 9pm-3am FLOW LOUNGE Stylus Sun: Invinceable event FLUID LOUNGE Long Weekend Gongshow: with DJ Esco; 8pm SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover SPORTSWORLD Roller Skating Disco Sun; 1-4:30pm; sports-world.ca VINYL DANCE LOUNGE Glow Party

MON FEB 21 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE Kirk Fletcher CHURCHILL SQUARE Winterlight Fest: Inside the tipi: music and dance by Angela Miracle Gladue, Leo Letendre, Rocky Morin; 12-4pm DEVANEY'S IRISH PUB Singer/ songwriter open stage every Mon; 8pm this week with Breezy Brian Gregg KELLY'S PUB Open stage every Mon; hosted by Clemcat Hughes; 9pm; no cover MYER HOROWITZ THEATRE The Acappella Sensations, Straight No Chaser; all ages; 7:30pm (show); $32 (adv) at unionevents.com, Ticketmaster

PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam every Mon; hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm ROSE BOWL/ROUGE LOUNGE Acoustic open stage every Mon; 9pm RUSTY REED'S HOUSE OF BLUES Little Charlie Trouble with Pete Eurland STARLITE ROOM Streetlight Manifesto, Terrible Things, A Loss for Words, Lionize, Larry and His Flask; no minors; 6:30pm (door); $18 at TicketMaster, Blackbyrd, Unionevents.com

Classical TRANSALTA ARTS BARNS’ WESTBURY THEATRE Edmonton Opera: Barber of Barrhead; 2pm; $18 (adult)/$15 (student/senior)/$12.50 (child) at Fringe Theatre box office

DJs BAR WILD Bar Gone Wild Mon: Service Industry Night; no minors; 9pm-2am BLACK DOG FREEHOUSE Main Floor: Blue Jay’s Messy Nest: every Mon with DJ Blue FILTHY MCNASTY'S Metal Mon: with DJ S.W.A.G. LUCKY 13 Industry Night every Mon with DJ Chad Cook NEW CITY LEGION Madhouse Mon: Punk/metal/etc with DJ Smart Alex; 8pm

TUE FEB 22 ARTERY All day Weird Canada: Gobble Gobble; all ages BLUES ON WHYTE Kirk Fletcher BOHEMIA Ramshackle Day Parade: local noise music; no minors; 7pm (door), 8pm (show); $5 (with membership) DRUID IRISH PUB Open stage every Tue; with Chris Wynters; 9pm; this weeks guest Julie Adams L.B.’S Tue Blues Jam with Ammar; 9pm-1am; this week guests: Jim Dyck,Glenn Harder, and Bruce Shaw O’BYRNE’S Celtic jam every Tue; with Shannon Johnson and friends; 9:30pm PADMANADI Open stage every Tue; with Mark Davis; all ages; 7:30-10:30pm R PUB Open stage jam every Tue; hosted by Gary and the Facemakers; 8pm RUSTY REED'S HOUSE OF BLUES Open stage with Moses Gregg and Grant Stovel SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm SECOND CUP�Summerwood Open stage/open mic every Tue; 7:30pm; no cover SIDELINERS PUB All Star Jam every Tue; with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE Open stage every Tue; hosted by Paul McGowan; 9pm; no cover STEEPS�Old Glenora Open mic every Tue; 7:30-9:30pm WUNDERBAR HOFBRAUHAUS Stuesdays: Every Tue Wunderbar's only regular DJ night YARDBIRD SUITE Tue Night Sessions: Althea Cunningham Group; 7:30pm (door), 8pm (show); $5

Classical WINSPEAR CENTRE Edmonton Symphony Orchestra: Rafał Blechacz plays Chopin (piano); 7:30pm; $20-$50 at Winspear box office

DJs BLACK DOG FREEHOUSE Main Floor: alternative retro and notso-retro every Tue; with Eddie Lunchpail; Wooftop: eclectic electronic sounds every Tue; with DJ Mike Duke BRIXX BAR Troubadour Tue: hosted by Mark Feduk; 9pm; $8; this week with Kevin DeBacker

VUEWEEKLY // FEB 17 – FEB 23, 2011

MUSIC // 33

34 // MUSIC

VUEWEEKLY // FEB 17 – FEB 23, 2011

and the comedy of JP Fournier and Andrew Iwanik

BLUES ON WHYTE Kirk Fletcher

BUDDYS DJ Arrow Chaser every Tue; free pool all night; 9pm (door); no cover

BOHEMIA Being a Bear, Voices, Ringleader, Dysplasia, Suicidal Cop ; no minors; 7pm (door), 7:30pm (bands); $10

CHROME LOUNGE Bashment Tue: Bomb Squad, The King QB, Rocky; no cover CROWN PUB Underground At The Crown: underground, hip hop every Tue with DJ Dirty Needlz; open mic every Tue, 10pm, $3 FUNKY BUDDHA�Whyte Ave Latin and Salsa music every Tue; dance lessons 8-10pm NEW CITY LEGION High Anxiety Variety Society Bingo vs. karaoke with Ben Disaster, Anonymouse every Tue; no minors; 4pm-3am; no cover RED STAR Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly; every Tue WUNDERBAR HOFBRAUHAUS Stuesdays: Wunderbar's only regular DJ night every Tue

WED FEB 23 BLACK DOG FREEHOUSE Main Floor: Glitter Gulch: once a month; Oh My Darling

BRIXX BAR Really Good… Eats and Beats: DJ Degree, friends every Wed; 6pm; $5 CENTURY GRILL Century Room Wed Live: featuring The Marco Claveria Project; 8-11pm THE COMMON Bonjay, Girls Club, Daphuture; $7 (door) CROWN PUB Jam/open stage every Wed; 8pm DEVANEY'S IRISH PUB Open stage hosted by Duff Robinson; 8pm EDDIE SHORTS Acoustic jam every Wed, 9pm; no cover ELEPHANT AND CASTLE� Whyte Ave Open mic every Wed (unless there's an Oilers game); 8:30pm; no cover EXPRESSIONZ CAFÉ Open stage with Randall Walsh; every Wed; 7-11pm; admission by donation FIDDLER'S ROOST Little Flower Open Stage every Wed with Brian Gregg; 8pm-12

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

RUSTY REED'S HOUSE OF BLUES Gordie Matthews, guests

HAVEN SOCIAL CLUB Early Show: David Jacobs-Strain (blues/rock), Asim Chin, 7pm, $22 (door), $18 (adv at YEG Live); Open stage every Wed with Jonny Mac, 8:30pm, free

SECOND CUP�Mountain Equipment Open mic every Wed; 8-10pm

HOOLIGANZ Open stage every Wed with host Cody Nouta; 9pm NISKU INN Troubadours and Tales: 1st Wed every month; with Tim Harwill, guests; 8-10pm O'BYRNE'S Stuart Bendall (pop/ rock); 8:15pm PAWN SHOP You Say Party, Young Galaxy, Mass Choir PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (non-member) RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm-1am; $5 RIVER CREE Live rock band every Wed hosted by Yukon Jack; 7:30-9pm

STARLITE ROOM Plants and Animals, Yukon Blonde; no minors; 8:30pm (door); $16 at unionevents.com, Ticketmaster. ca, Blackbyrd STEEPS TEA LOUNGE� College Plaza Open mic every Wed with Layne L'Heureux; 8pm WUNDERBAR HOFBRAUHAUS Open mic every Wed, 9pm

DJs BANK ULTRA LOUNGE Rev'd Up Wed: with DJ Mike Tomas upstairs; 8pm BLACK DOG FREEHOUSE Main Floor: RetroActive Radio Wed: 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 BAR Really Good... Eats and Beats: every Wed with DJ Degree and Friends

BUDDY'S DJ Dust 'n' Time every Wed; 9pm (door); no cover THE COMMON Treehouse Wednesday's DIESEL ULTRA LOUNGE Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs IVORY CLUB Open DJ night every Wed; 9pm-close; all DJs welcome to spin a short set LEGENDS PUB Hip hop/R&B with DJ Spincycle LEVEL 2 LOUNGE Wing It Wednesdays: DJ Competion; 9:30pm; every Wed until Mar 30 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 STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm2am; beatparty.net TEMPLE Wild Style Wed: Hip hop open mic hosted by Kaz and Orv; $5

Keys N Krates

Fri, Feb 18 (9pm) Keys N Krates With All Out DJs, Axe & Smash Pawn Shop, $10 In the ever-diversifying world of electronic music, splitting hairs over genres and categories can quickly become a tiring, pointless exercise. That's why the members of Toronto's Keys N Krates have foregone genre squabbling and headed straight for what they know works best: real beats, killer samples and all the live energy they can cram into a set. The three-piece—Matisse on keys, Adam Tune on drums and DJ Jr-Flo behind the turntables—has capitalized on the best of both worlds. While the group understands the instant payoff of electrifying audiences

with samples, it also recognizes that queuing up files on a laptop isn't enough; energy can only come from blending smart electronic elements with live, raw instrumentation. "There's a difference between straight laptop remixing and actually doing live remixing that's done right before your eyes, where we're actually playing all the parts, as opposed to just doing a cool remix through a laptop," Jr-Flo explains. "Not that there's anything wrong with that, but it's just not what we do. The fact that we're doing it completely and integrating live sampling into it is kinda what makes it new." Having all come from various live music backgrounds, the creative process for the band's members starts with the end result in mind—the live show.

"[We] only have to jam on something for five to 10 minutes, and if we all seem to like it then that's really how we decide if it's the beginning of something we can work on," explains Matisse, of the creative process. "We're all live players. Even before we were Keys N Krates we were always playing out live in various types of bands: that's just the background we all come from. "I think being a live act first and foremost, we get a lot of ideas doing things in the rehearsal room as opposed to something on a laptop. We pull a lot of ideas from the live aspects of jamming ... I think there's just a heavy live influence on the way we approach electronic music. The difference between us and [other bands] is the sample element." Mike Angus

// mikeangus@vueweekly.com

VUEWEEKLY // FEB 17 – FEB 23, 2011

MUSIC // 35

KRYPLE

Fri, Feb 18 (10 pm) Kryple With Snak the Ripper, Gzus Murphy, Brothers Grim and more Avenue Theatre When rapper Kryple was 11 years old and growing up in Beverly, he thought he was going to be a professional wrestler. Though every kid did at the pique of WWE's Stone Cold/The Rock era, Kryple and his best friend were actually in the ring with guys from the Prairie Wrestling Association. "I used to train with them when I was really young because they were four blocks from our house. We seen these guys and they actually helped train us for like three years," says the 20year-old rapper, rocking in an office chair inside the studio, where he raps, produces and records other artists. "I've always been a hyper person," he says, then adds angry and arrogant to his personality traits. After he moved to Ontario in his mid-teens, the ring was no longer available for him to channel his rage. That's when he took up rap.

A self-proclaimed "Juggalo" (a follower of Insane Clown Posse, for the unenlightened), the style he developed at all-ages shows then was horrorcore—a sort of B-movie genre of rap. It wasn't exactly fiction though. "I used to be a

complete dick head all of the time. I was rude to people, I'd steal from people. I'd fight them for no reason. I was just a dumb little kid. But I grew up." His abrasive personality served as the inspiration for his last album, Fuck Kryple. "People rip on me because I'm loud, I'm hyper, I'm in everybody's face and I'm rude to them. So they just started saying 'fuck Kryple.'" His music now is still abrasive, but not hokey. He calls it "arrogant music," a pre-Kanye battle-style of rapping that mainstream rappers have since eschewed for melodic techniques. "I can be [arrogant]. I like to be. But I have to be professional most times. I take this seriously because it's something I live off of. The music is very arrogant, but my personality? Not anymore." It's kind of like being a wrestling heel, a villain like Ric Flair. That's not to say the aggression is just for show; he genuinely needs it to blow off steam. Kryple opens for Canadian "goon rapper" Snak the Ripper this Friday and next week for dirty south pioneer Juvenile. Omar mouallem

// omar@vueweekly.com

Pale Moon Lights Sat, Feb 19 (8 pm) With Concealer, Jody Shenkarek, Fear and Worry The Artery, $10 All ages No one wants to get stuck in a rut, and sometimes the only way to make sure that doesn't happen is to completely change what you're doing. Pale Moon Lights has gone through many changes in the last year, and it's been both challenging and liberating. Though known as an alt-country band throughout Edmonton, the group's new songs and lineup show a progression in style and scope. Having lost a bassist and guitarist just over a year ago, singer/guitarist Kris Glabush and drummer Idris Fashan decided to forget about a second guitarist

and replace only the bassist with Patrick Michalak (who also plays with local phenom Colleen Brown) and continue on as a three-piece, allowing them the freedom to change their arrangements and explore new sounds. "Patrick came into the mix, and what we were listening to was not what we were playing, so it felt like a good time

to springboard into something different," says Glabush. "We wanted everything to change." "It's a bit of an exploration," adds Fashan. "We're starting to dabble in some styles and some things that I would never imagine myself being involved in–like getting into layering and the use of electronics, really just reframing structures as we're going along." Old fans won't be disappointed because the changes they're making are organic; their songwriting may be evolving, but they're still the Pale Moon Lights. They just don't want to be relegated to a single genre. "I think we kind of said 'fuck it' to the genre—there's no sense in being pigeonholed," says Glabush. "Even the stuff that I was originally playing ... it was coming out naturally, so I didn't want to fight it, and we all just kind of went with it. It was never contrived while we were doing it, but to keep that going would be." Adds Fashan, "It's like a different danger when you hang on, because things can get stale before you even recognize it." The homecoming and rebirth of the reenergized Pale Moon Lights is this Saturday, where they'll be joined by their friends in Concealer and Jody Shenkarek Fear and Worry. Mike Dean

// mikedean@vueweekly.com

36 // MUSIC

VUEWEEKLY // FEB 17 – FEB 23, 2011

VUEWEEKLY // FEB 17 – FEB 23, 2011

MUSIC // 37

NEWSOUNDS The Streets Computers and Blues (Atlantic) 

Computers And Blues is billed as both Mike Skinner's final Streets album and a return to the form of his 2002 classic debut Original Pirate Material. When critics, labels and artists speak about form, they are really referring to formula, so by that token, Skinner definitely succeeds. He revisits various formulaic elements of previous Streets efforts: pitched-up, clipped speed garage vocal choruses, broadband moral pop and deadpan poetic musings are all prevalent. These elements, when piped through his old rough-shod production style and deeper connection to grime music, were exciting and tuneful without being too selfconscious. This is not the case with Computers And Blues. On "Trust Me," which was originally released for free over his Twitter account a year ago, he knowingly asks, "Now that things are costing nothing, is any of it good?" This album has the trappings of a big budget replication of his initial background. Rather than leaning on longtime lovably tuneless vocal collaborator Leo The Lion, most chorus vocals are contributed by overwrought singer Rob Harvey from one-hit wonder band the Music. The thing that made Skinner different

from other rappers was his temperament. He is not a tough guy and doesn't particularly pretend to be. His nakedly confessional, relatable lyrics were endearing when presented in the macho context of grime and UK garage but as mere electronic pop, they are torpid and drab. On this album, we are tortured by him complaining about an exgirlfriend changing her Facebook status to "In a Relationship" ("OMG") and marvelling at seeing his child in an ultrasound (he pitifully raps "you're growing thumbs, I'm going numb / Tucked into your mum, looks like it could be quite fun" on "Blip On A Screen"). The single "Going Through Hell" is full of the same stripe of pseudo-uplifting platitudes and horrible pop choruses that submarined his last album, Everything Is Borrowed. The chorus is "If you're going through hell, keep going!" Skinner raps, "It's not the size of the dog in the fight, but the fight in the dog!" This is troubling coming from someone who made fake strings and jittery drums sound positively epic without resorting to cliché on the opening song of his debut album. The moments when he fully lets himself indulge in the source material that made his music so exciting to begin with shine the brightest. "ABC" treats us to just over one minute of classic Streets, a wobbly bassline with a clever alphabetic exercise over top. "Those That Don't Know" is a perfect slab of UK funky house featuring offbeat cadences and the observational perspective that Skinner excels at writing from. Weirdly, regardless of sonic overtures or pop concessions, Mike Skinner has roughly done the same thing with each of his albums. He is obsessed with describing his condition at that precise moment. The difference with this album's approach is that every attempt to reclaim his former sonic personality is done self-consciously. His anxiety post-success doesn't translate to engaging music the same way it did when he was just a regular guy making sketchy music on his laptop. V Roland Pemberton

// roland@vueweekly.com

The Two Koreas Science Island (Last Gang)  The Two Koreas describes its sound as "Glacial Garage" and it's hard to disagree. The looming guitars that preside over the initial two minutes recede to reveal a record brimming with squealing guitar dissonance under heavy melodic punk riffs and half-sung/half-hollered songs with names like "Withering Heights" and "Karl Johans Gate." The furious pace of the record never once tarries until the last three tracks when the Two Koreas dips into a slightly proggier digression that is not at all unwelcome. Otherwise, Science Island stays uniformly loud with an inextinguishable energy and intelligence. Joe Gurba

// joe@vueweekly.com

Imaginary Cities Temporary Resident (Hidden Pony)  Winnipeg's Imaginary Cities steers powerpop down Motown's soulful roadways, fueled with a colourful panache of crunchy guitar and subtle keyboards, and guided by huge melodies that might seem like creative flights of fancy if they weren't so grounded and compelling. The stilled-synth quivers of "Purple Heart," the vocal-driven shakedown of "Don't Cry" and the dirty-west slowbuild of "Ride this Out" demonstrate the penchant for melody, but even when vocalist Marti Sarbit and instrumentalist/ sometimes Weakerthan Rusty Matyas temper themselves—as with the acoustic bounce of "Where'd All the Living Go"—the songwriting remains tight and proficient. In a way, Temporary Resident is very much a debut album: the musical range suggests the band is approaching songwriting by trying every idea to see what sticks. To Imaginary Cities' credit, almost all of it does. Paul Blinov

// paul@vueweekly.com

Techromancer Space Duel (We Broke)  It should come as no surprise that Victoria's Techromancer is consumed with space and technology: every song on the duo's debut EP sounds like it could form the soundtrack for the moment THX triumphantly emerges from the underground world in THX 1138. Full of celebratory verve, the songs have the drive and merry-making excitement, the pounding drums and stacked synths that 3 AM was made for. Bryan Birtles

// bryan@vueweekly.com

38 // MUSIC

VUEWEEKLY // FEB 17 – FEB 23, 2011

LOONIE BIN Cage the Elephant "Shake Me Down"

"Shake Me Down" has all the tension of a stomachache. It's instrumentation is a twisted mix that threatens to get out of control as the song goes on, and when it finally does, the relief is like the Alka Seltzer hitting the sweet spot. The ending, a strange fix of jubilation after three minutes of tension and rage, is an interesting turnabout. Even if it doesn't feel totally fitting, it's curiously comforting.

OLDSOUNDS Al B. Sure! In Effect Mode (Warner Bros)

Originally released: 1988

beekeeper "Sudden Cuckoo"

A folk band with a hardcore past, beekeeper isn't keeping any secrets on "Sudden Cuckoo." Even if the song contains plenty of softer trappings—like violin, acoustic guitar and a dearth of screaming—it wears its influences as a badge of honour. With back and forth sung and chanted—not screamed— vocals, a just-ahead-of-the-beat pace, and the most epic breakdown utilizing mostly-acoustic instruments you're likely to hear, beekeeper hybrids the two genres in a way that ought not be possible, but thankfully is.

The Electric Demons "The Devil Made Me Do It"

I don't know if it was the Dark Lord who caused them to do it, but this song sounds like it was recorded on an iPhone. Barely above the level of a jam demo, "The Devil Made Me Do It" is a tale of unrequited love that leaves little question as to why the love was unrequited in the first place; vanity, egotism, narcissism. Likely a sin, but not the Devil himself.

The Go! Team "T.O.R.N.A.D.O."

The lead track off the Go!'s first album in four years builds some gust through urgent horns and some clever syllabic rap buried in the mix, but never reaches full whirlwind energy: it sounds a little too slick and cleaned up for a band that earned its namesake exclamation point with ragged samples. It's just not quite the same.

The Strokes "Under Cover of Darkness"

Five years is a long time to go between albums, and the Strokes' newest has had its share of frustrating delays. Just ask Axl Rose how that worked out for Chinese Democracy. Nonetheless, judging from the first song that has trickled out, the Strokes aren't any worse for wear—same can't be said for ol' Axl—and the new stuff could signal a return to form after the disappointment of First Impressions of Earth. It's just one song to be sure, but it's as vital and exciting, as brash and cynical as anything in a long time.

A ghost from a genre that is only now experiencing resurgence, Al B. Sure! always felt out of step with the rest of the newjack-swing crew. For one, he lacked the foresight and careerist acumen to pluck his unibrow before the photo shoot for his album cover. This is his iconic image: a perplexed-looking facial expression meant to imply sexuality, a comfortable looking sweater and the all-encompassing brow. Sure! never exhibited the same measure of suaveness as his chart compatriots in the late '80s and early '90s, but In Effect Mode was clearly up to snuff on the music end. Though most people will cite Guy's eponymous debut or Bobby Brown's Don't Be Cruel as the high water mark for this bygone genre of sample-based ballad provocateurs, In Effect Mode always struck me as more compelling and more concise than the aforementioned Teddy Riley and Babyface-helmed records. Maybe it's owing to the co-production between Sure! and his cousin Kyle West, providing a dark, icy mirror to point towards the decidedly brighter fare of his peers.

QUICKSPINS

Or perhaps it's the Latin influence that pervades the rhythms and background of the album. "Noche Y Dia" is a Spanish language version of "Nite & Day," the lead single and strongest song here. It closes the album in a circular fashion reminiscent to the sequencing of Neil Young. Like many truly great songs, "Nite & Day" has an immediate familiarity to it. Strangely, it has the feel of a cover, imbuing instant mental association through its buoyant melodic lead, even though it's a completely original composition. The ambient sounds and blue tones used throughout the album recall 1983's "Moments In Love" by Art Of Noise, the sample-based landmark. As in that song, there is a remarkable sense of space here that is not present in the claustrophobic rush of samples and 808 drum sounds typically present in the Riley oeuvre. "Oooh This Love Is So" is tension with no climax, as the track relies on bass, finger snaps and hi-hats in the absence of a consistent drum track to frame its watery melodic figure. The Al B. Sure! cover of Roberta Flack's "Killing Me Softly" predates the morepopular Fugees version by eight years. So swingy that it implies a precursor to UK garage, his light production and falsetto vocal present a bridge between '80s "quiet storm" radio R&B and new jack swing, and more contemporary forms such as hip-hop soul and bump and grind. Beneath the dated technique and production methods and the cheesy, somewhat unbelievable sexuality lies a quality album of sparse creative pop R&B, a template that has been obfuscated and reconfigured by contemporary acts like Toro y Moi and How To Dress Well but never presented with more diversity and personality than through Al B. Sure!'s In Effect Mode. V Roland Pemberton

// roland@vueweekly.com

WHITEY HOUSTON // QUICKSPINS@vueweekly.com

Anna Calvi Anna Calvi (Domino)

Josh Taerk Never Look Back (Independent)

Starts slow, gathers steam Like a huge train with no brakes Plus Eric Roberts

It doesn't make sense His logo is a guitar Not a vagina

Sarah Burton Mayflower (sarahburton.ca)

Old Man Markley Guts n' Teeth (Fat Wreck Chords)

Pleasant lady folk It is even more pleasant When drenched in reverb

Perfect drinkin' tunes Ironic since band pic looks Like AA meeting

Jerry Leger Traveling Grey (jerryleger.com)

The Rural Alberta Advantage Departing (Paper Bag)

Old-time country folk With authentic raspiness Take a bow Jerry

Fucking love these guys Thoroughly engaging disc Way to go a-holes!

VUEWEEKLY // FEB 17 – FEB 23, 2011

MUSIC // 39

MUSICNOTES

bryan birtles // bryan@vueweekly.com

PREVUE

Songs of love? Yup. Songs of woe? Absolutely. Manraygun in a nice, intimate venue? For sure. Sat, Feb 19 (8 pm)

Kokopelli / Sat, Feb 19 (2 pm & 7 pm) Choral music is not often known for its sense of humour, but Kokopelli is aiming to change that. Performing a piece based on the viral video "Trololo"—that's the one where that weird Russian guy lip synchs nonsense over and over—the choir is bringing a sense of fun to its annual spring concert. (West End Christian Reformed Church, $15 – $18)

Manraygun Blue Chair Cafe, $15

Heart / Sat, Feb 19 (8 pm) As if creating the song "Barracuda" wasn't enough, Heart has decided to release a DVD entitled Night At Sky Church which features a live show filmed in Seattle. So you can't get tickets to this show, so what? You can relive the glory of Heart over and over in your living room. (Jubilee Auditorium, Sold Out) Streetlight Manifesto / Mon, Feb 21 (6:30 pm) A ska band but not a "ska" band, Streetlight Manifesto pulls in fans of all shapes and sizes: from kids sporting Pantera shirts to dudes in trilby hats who love the Specials. It's a crazy trick from a band that was supposed to just be a one-album project, but developed into the real thing. (Starlite Room, $18)

Bonjay / Wed, Feb 23 (8 pm) Named for a "spice island slang for 'Good God!'" Bonjay certainly lives up to its moniker. The extended sound of an outburst, the duo mixes electronica, lo-fi and dancehall into its own thing. (The Common) Yukon Blonde / Wed, Feb 23 (8:30 pm) The epic beards and classic-rock stylings of Yukon Blonde will return to Edmonton mid week, when the weather seems coldest and facial hair could really help out. (Starlite Room, $16)

40 // MUSIC

VUEWEEKLY // FEB 17 – FEB 23, 2011

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

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Presents...

VEGETARIANS OF ALBERTA :gffa] <ggf

QUEER BUDDYS NITE CLUB ))/*-: BYkh]j 9n] /0(&,00&..+. Lm] oal` <B 9jjgo ;`Yk]j$ ^j]] hggd Ydd fa_`l3 1he \ggj!3 fg [gn]j O]\ oal` <B <mkl¿f Lae]3 1he \ggj!3 fg [gn]j L`m2 E]f¿k O]l Mf\]jo]Yj ;gfl]kl$ oaf hjar]k$ `gkl]\ Zq <jY_ Im]]f <B H`gf+ @ge+3 1he \ggj!3 fg [gn]j Z]^gj] )(he >ja <Yf[] HYjlq oal` <B 9jjgo ;`Yk]j3 0he \ggj!3 fg [gn]j Z]^gj] )(he KYl2 >]]d l`] j`ql`e oal` <B H`gf+ @ge+3 0he \ggj!3 fg [gn]j Z]^gj] )(he GLBT SPORTS AND RECREATION l]Ye]\%

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February 18th - 21st

FAMILY DAY

Monday, February 21st Fun activities for the whole family!

137th Avenue 66th Street VUEWEEKLY // FEB 17 – FEB 23, 2011

www.londonderrymall.com BACK // 41

COMMENT >> LGBTQ

COMMENT >> ALT SEX

Honest living

Drunk and weepy

I didn't think Bill C-389 would actually pass. LegisSupport for the bill has come from the Canadian lation protecting trans people was something I asBar Association, the United Church of Canada, many sumed the federal government was not yet ready trade unions and the Canadian Federation of Stufor. Gender-variant people are still very misunderdents. A rally was held last weekend in Edmonton stood, or worse. That's why when a vote of 143 to to celebrate the progress and encourage supporters 135 saw the act passed at it's final reading in to contact senators. The event was organized the House of Commons, I was elated. by a straight dude, a guy who just wanted Introduced by NDP MP Bill Siksay, the to show that he and plenty of others bill sought protection for a wide net of supported transidentified people. trans and gender variant people. The Alberta-born musician and FtM Rae m o .c ekly vuewe NDP and Bloc Québécois unanimously Spoon shared how much that support tam@ a supported the bill, while seven Liberand understanding is needed. "There Tamar a k l als voted against it. Six Conservatives are so many misconceptions about peoa z r Go supported the bill, including House Leader ple who don't fit into normative gender John Baird. roles that my life can bend towards absurdity While the bill protects against discrimination in arvery quickly. It's anxiety-making to have to go to eas like employment, housing and adequate health care, it will not create a haven for predators as many The process to alter legal critics have accused. gender identification has Take for example Charles McVety, the president of the Institute for Canada Values, who provocamany check points, to make tively claims "Bill C-389 is a danger to our children. sure it's a healthy decision If gender identity is enshrined in the Criminal Code for the person applying. of Canada, any male at any time will be permitted in girls bathrooms, showers and change rooms as long as they have an innate feeling of being female ... If I then try to stop such a man from showering with a public bathroom or doctor. It's heart breaking my little girl at the local pool I could be in breach to feel alienated." of the Criminal Code of Canada and could face imActivist Tom Quackenbush gave the closing speech prisonment." at the rally and explained "I have already been Inaccuracies abound. Changing one's gender is not asked the question by many: 'Why?' And it always something that can be accomplished by whim. The makes me laugh because there really is no one or process to alter legal gender identification has many simple answer. I have been thinking about this for check points, to make sure it's a healthy decision for over five years. I always knew. I feel like a man in a the person applying. All this argument houses is an woman's body. I have accepted myself, I cannot live ignorant rationale to validate transphobia and fear of as a woman, and this is just who I am.” difference. It's too bad these people who are so afraid These are not confused people or someone trying of washroom invasions aren't more concerned with to trick you, they are living their lives as honestly as the real safety of women or protecting children from possible and they deserve to be protected. It seems actual abuses. Think of what that energy could do. Canadians may have finally figured that out. V

Dear Brenda: Immediately after I orgasm—during sex with my boyfriend—I get a wave of emotion and start crying. I have no idea why this is happening, and would like to know how to deal with it, and how to let my boyfriend know that I'm not unhappy or feeling forced into sex. Weepy after sex

Transgendered Canadians receive legislated recognition Why orgasms make you cry

EERN Q UN TO MO

Short answer: yes, it can. Alcohol can reduce a guy's ability to get an erection and to ejaculate because it's a central nervous system depressant. That means you don't feel as much, so you may not get enough stimulation to the brain to get off. It depends on how much you've had: if you're just a bit tipsy, you should be okay. If you're barely conscious, then yes, it will probably be very hard to get off. Alcohol can cause permanent damage Hey there Weepy! If there's nothing in to the body resulting in erectile dysfuncm o .c ly eek @vuew your life or in your relationship triggering tion but you have to drink quite a lot brenda the crying, my guess is that it's because of over a long time before that happens. If n Bre dear hormones, probably oxytocin. Oxytocin is retalking about one night of partying, Kerb it'swe're leased into our brains when we have an orgasm probably not going to affect your sexual and it plays a major role in our emotional state. It performance all that much. You might want to usually makes us feel more loving and more connectbear in mind that most of us tend to make pretty bad ed. I'm thinking that you're getting a rush of oxytocin and you feel a little overwhelmed by the sudden inAlcohol can cause permanent flux of feelings. Some of us have pretty quick triggers damage to the body resulting for tears and any strong emotion will make us cry. Trust me, I understand this because I get teary over in erectile dysfunction but all kinds of things. I don't think you should try to stop you have to drink quite a it. I think you should embrace it. lot over a long time before Good sex involves being out of control and surthat happens. If we're rendering to the moment. It sounds like you are already surrendering to the pleasure you're feeling talking about one night of since you're having orgasms, so why not go with this partying, it's probably not too? Allow that rush of feelings and try to enjoy it going to affect your sexual and appreciate it. Crying is not a bad thing. We associate crying with either sadness or weakness but performance all that much. crying is a way for us to release pent up tension or strong emotions, both positive and negative. Let your partner know that you are not unhappy, you're just decisions when we're drunk, so mixing sex and liquor overwhelmed with pleasure and the tears are a way can sometimes get you in a lot more trouble than just to release that. a lack of a hard-on.

LUST E LIF

FOR

Dear Brenda: I want to know, if a guy is drunk, does that lessen his chances to get off? Too Drunk to Fuck

Brenda Kerber is a sexual health educator who has worked with not-for-profits since 1995. She is the owner of the Edmonton-based, sex-positive adult toy boutique, The Traveling Tickle Trunk.

FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) "There are nights when the wolves are silent and only the moon howls," said comedian George Carlin. "There are mornings when your dreams are more real and important than your waking life," says my favorite dream worker. Now it so happens that in the upcoming week, your life is likely to pass through an alternate reality where all three of the above conditions will prevail—as well as other similar variants and mutations.

at least partially wrong, I offer up the evidence provided by your life in the days ahead. From what I can tell, the gratification that you feel while hunting down the truth will be substantial, and yet it will ultimately seem rather mild compared to the bliss that arrives when you find what you're looking for.

TAURUS (Apr 20 – May 20) For the last two decades a Buddhist monk in China has performed as many as 3000 prayers every single day in the same spot at his temple. Part of me admires his profound commitment, while part of me is appalled at his insane addiction to habit. It's sad that he can't bring more imagination and playfulness to his efforts. I bring this up, Taurus, because I think it's a good time, astrologically speaking, for you to take inventory of the good things you do very regularly. See if you can inject more fun and inventiveness into them.

CANCER ( Jun 21 – Jul 22) In recent months Google CEO Eric Schmidt has been riffing on the disappearance of privacy. Because our lives are becoming interwoven with the Internet, he believes it will become increasingly hard to keep any secrets. "If you have something that you don't want anyone to know," he says, "maybe you shouldn't be doing it in the first place." This is especially true for you right now, Cancerian. In the coming weeks, I encourage you to maintain the highest standards of ethical behavior. The lucky thing about this situation is that news of the good deeds you do and smart moves you make are also likely to circulate far and wide.

GEMINI (May 21 – Jun 20) "To the scientist there is the joy in pursuing truth which nearly counteracts the depressing revelations of truth," said science fiction writer HP Lovecraft. The implication is that there's always a sense of loss that comes with discovering the way things really are. I protest this perspective. As proof that it's

LEO ( Jul 23 – Aug 22) Six years ago, a friend of mine came to believe she had died in a previous incarnation by being thrown off a horse. From that time on, she felt stuck. She became convinced that her life energy would remain in a state of suspended animation until she learned to feel comfortable on a horse. Fear kept her

42 // BACK

ROB BREZSNY // FREEWILL@vueweekly.com from even attempting, but recently she got up the courage to begin. As she gained confidence as a rider, every other aspect of her life bloomed, too—just as she'd suspected. I think her experience could be useful for you to learn from in the coming months, Leo. What's your biggest, oldest fear? Is there anything you could do to start dissolving it? VIRGO (Aug 23 – Sep 22) "I'm not confused," said poet Robert Frost. "I'm just well mixed." I would love that to be your motto in the coming weeks. You're entering a phase of your cycle when you should be extra curious about blending ingredients in new combinations. Celebrate complexity, Virgo! You will generate unexpected strokes of good fortune by experimenting with medleys and syntheses that appeal to the jaunty parts of your imagination. LIBRA (Sep 23 – Oct 22) The yoga teachers at Atlanta's Tough Love Yoga centre sometimes offer exotic variations. During their "Metal Yoga" classes, for instance, the soundtrack for their stretching and breathing exercises is heavy metal music. Here's their promise: "Melt your face off in a very relaxing, healing way." That's the spirit I'd like to see you bring to your life in the coming week: vehemently intense but tenderly curative; wickedly fierce but brilliantly rejuvenating.

VUEWEEKLY // FEB 17 – FEB 23, 2011

SCORPIO (Oct 23 – Nov 21) I would love to see you play with your food this week. And have conversations with winking statues and talking trees and magic toasters. I'll be thrilled, Scorpio, if you entertain fantasies of yourself pushing a cream pie in the face of an obnoxious authority figure. But given how dignified and discreet you tend to be, I realize the chances of any of this actually happening are miniscule. Can I at least coax you into hopping, skipping and dancing around a lot when no one's watching? SAGITTARIUS (Nov 22 – Dec 21) "Better keep yourself clean and bright," said George Bernard Shaw. "You are the window through which you must see the world." Take that advice to heart, Sagittarius. This is an excellent time for you to do any necessary work to get yourself cleaner and brighter. Like all of us, there's a continuous build-up of foreign matter that distorts the view and that must be periodically washed away. If you do it now, your work will be extra smart and effective. CAPRICORN (Dec 22 – Jan 19) The state of Wisconsin is famous for its cheese, so it wasn't a big surprise when its state legislature decided to honor the bacterium lactococcus lactis is the official state microbe. I would love to see you decide upon your own most beloved microbe sometime soon, Capricorn. How about naming Ruminococ-

cus or Peptococcus as your personal favorite among all of your gut flora? It's that time of year when it makes cosmic sense to acknowledge and appreciate all of the small and hard-to-see things that keep you thriving. AQUARIUS (Jan 20 – Feb 18) Don't put your shoes on before you put on your socks this week, OK? Refrain from polishing off a piece of cheesecake and a bowl of ice cream before dinner. Do things in the proper order, not just while engaged in the fundamental tasks of your daily rhythm, but also in the long-term processes you're carrying out. Each step in the sequence needs to prepare the way for the next step. Keep a clear vision of the organizing principle that informs your work. PISCES (Feb 19 – Mar 20) Many people know John Mellencamp's song "This Is Our Country" because it was used in a commercial for Chevy trucks. But they may be under a mistaken impression about its meaning. The ad quotes just a fraction of the lyrics, including "So let the voice of freedom / Sing out through this land / This is our country." What the ad doesn't include are other lines like "And poverty could be just another ugly thing / And bigotry would be seen only as obscene / And the ones that run this land / Help the poor and common man." Let this serve as a cautionary tale. Make sure you get the rest of every story—the whole freaking thing.

CLASSIFIEDS

Edmonton Mennonite Centre for Newcomers, need volunteers to help immigrant children and youth of all ages–volunteer in a homework club. Phillip Deng at 780.423.9516, pdeng@emcn.ab.ca

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BUSINESS OPPORTUNITIES

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/

ARTIST TO ARTIST The Alberta Screenwriters Initiative: The Alberta Association of Motion Picture and Television Unions (AAMPTU) seeking submissions of feature film scripts of any genre (max length, 250 pgs), from Alberta based screenwriters. Deadline: Mar 14; info: contact Nicholas Mather at 780.422.8174, writersguild.ab.ca Pro Coro Canada audition for substitute positions in all voice parts; Sat, Mar 5; fee of $20; book in adv T: Marg at 780.420.1247 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 Dancefest @ Nextfest 2011: Dancefest is looking for creative new dance works and dancers; festival runs: Jun 2-12. Deadline: Mar 1 at attheroxy.com

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

MUSICIANS Modern rock band FTGU seeks talented bass player and drummer. Jam space preferable. Contact SID: ftgusinger@hotmail.com

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 The Candora Society of Edmonton–Board Recruiting; candorasociety.com; promotes positive growth in the lives of women, children/families in Rundle/Abbottsfield communities. Info: Elaine Dunnigan E: edunnigan@shaw.ca Volunteer Meal Deliverer/Driver: "Life is a Highway" why not volunteer to be in the driver's seat? Come make a difference every day. Volunteer with Meals on Wheels as a driver. Call 780.429.2020 Edmonton Immigrant Services Association: looking for volunteers to help with Youth Tutoring & Mentorship, New Neighbours, Language Bank, and Host/Mentorship programs. Contact Alexandru Caldararu 780.474.8445; W: eisa-edmonton.org Mechanics needed: The Edmonton Bicycle Commuters' Society operates a volunteer-run community bike workshop called BikeWorks, 10047-80 Ave (back alley), also accepting bicycle donations; E: volunteer@edmontonbikes.ca; W: edmontonbikes.ca Volunteers instructors needed–Tap Dancing, Line Dancing. Wed: kitchen helper, Fri: dining room servers; Wed evening dinners: dishwashers, kitchen prep and servers. Mary 780.433.5807 The Sexual Assault Centre: recruiting volunteers for the 24 hours crisis line. If you're empathetic, caring, non-judgmental, want to gain experience, contact Joy T: 780.423.4102, E: joys@sace.ab.ca for info

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

Vocalist wanted – Progressive/Industrial/metal; age 17-21. Contact justinroyjr@gmail.com

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

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

P.A.L.S. Project Adult Literacy Society needs volunteers to work with adult students in the ESL English as a Second Language Program. Call 780.424.5514; training and materials are provided

MUSICAL INSTRUCTION MODAL MUSIC INC. 780.221.3116

COSMOPOLITAN MUSIC SOCIETY Opportunity

The Support Network: Volunteer today to be a Distress Line Listener. Apply on line thesupportnetwork.com or call 780.732.6648

ARTIST TO ARTIST

S.C.A.R.S.: Second Chance Animal Rescue Society. Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled. scarscare.org

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)

Volunteer at ElderCare Edmonton: help out with day programs with things like crafts, card games and socializing. Call Renée for info at 780.434.4747 Ext 4

SERVICES

Are you good with numbers? Would you like to be? Sage is looking for volunteers to file simple income tax for seniors. One day a week for 8 wks. Full training offered. Previous experience with income filing is an asset. Call Christine at 780.701.9015

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

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

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

Calling all Snow Angels: 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 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

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

Volunteer website for youth 14-24 years old. youthvolunteer.ca

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

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

CNIB's Friendly Visitor Program needs volunteers to help and be a sighted guide with a friendly voice. Help someone with vision loss. W: cnib.ca; T: 780.453.8304

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

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

Volunteer with your Pet, The Chimo Animal Assisted Therapy Project uses animals in therapy sessions with trained therapists to help the clients achieve specific goals. Info: chimoproject.ca; E: volunteer@chimoproject.ca, T: 780.452.2452

VOLUNTEER

Quality music instruction since 1981. Guitarist. Educator. Graduate of GMCC music program

The Learning Centre Literacy Association: Seeking volunteer tutors to help adults develop reading, writing, math skills. Require High School reading, writing, and/or math skills; openness to tutor and learn with adults with various life experiences, including homelessness. Locations: Boyle Street Community Services and Abbottsfield Mall. Contact: Denis Lapierre, DowntownCentre, 780.429.0675, E: dl.learningcentre@shaw.ca; Susan Skaret, Abbottsfield Mall Centre, 780.471.2598, E: sskaret@telus.net

chelsea boos // che@vueweekly.com

Volunteers needed Strathcona Place Senior Centre: Zumba Instructor, kitchen preparation and dining room servers. Call Mary at 780.433.5807

Morango's Tek Café is looking for bands and musicians for shows on Friday nights....contact Dr. Oxide at .....doctoroxide@shaw.ca

HELP WANTED

back words

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

For those who don't fit into a normative role in society, tagging is one way they can modify the urban environment to reflect their experience. Kids who feel like they don't belong in a city of concrete and glass can constructively add their voice to the place they've inherited. They begin to feel less alienated and cultivate a sense of belonging to a culture unto itself, with its own ideas of beauty and esthetics. Martha Cooper, a photographer and anthropologist, has been taking photographs for 50 years, and has published many books on graffiti including Tag Town. In an interview with Missy Magazine, she said, "I always admired tags—the part of graffiti that most people think is the ugliest. People often say, 'You know, well, tags are vandalism, but, you know, this is art.' Like the big pieces are art and the little scrib-

SUPPORT YOUR LOCAL FOOD BANK

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

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

bles are vandalism, but if you try to make your own scribble you soon see that it's not so easy to scribble esthetically." There are many reasons that writers tag, not the least of which is ego. Defacing private property is not always one of them. In this instance on the side of the Kelly–Ramsey Block on Rice Howard Way, it is very apparent that the taggers actually show a lot of respect for the pre-existing artwork. They have carefully avoided the surrounding mural and beautified the ugly grey power box. Particularly inspiring is the juxtaposition of new and old. There is a richness created by the contrast between hand-rendered letterforms, mass produced infrastructure and a remnant of an historical handpainted sign that wouldn't be the same if any one piece were taken away. V HAD ENOUGH? COCAINE ANONYMOUS 780.425.2715

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

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Had Enough? Cocaine Anonymous 780.425.2715

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

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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

Purchase time online now!

VUEWEEKLY // FEB 17 – FEB 23, 2011

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