vue weekly 803 mar 10 2011

Page 1

COVER

INSIDE

IssuE no. 803 // MAR 10 – MAR 16, 2011

UP FRONT // 4/ 4 5 5 7 8 9

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

DISH // 10/

A CITY BY THE PEOPLE

but are the people being heard?

// 6 SNOW ZONE

// 12

11 Veni, Vidi, Vino

ARTS // 13 13 Hopscotch

FILM // 17 17 DVD Detective

MUSIC // 21/ 21 On the Record 26 New Sounds 27 Loonie Bin 27 Old Sounds

BACK // 29 30 Free Will Astrology 30 Lust for Life 30 Queermonton

SLIDESHOW

LISTINGS 16 Arts 20 Film 22 Music 29 Events

Jim Bryson & The Weakerthans Tue, Mar 1 / Myer Horowitz Theatre VUEWEEKLY.COM/SLIDESHOWS >> for more of Paul Blinov's photos

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

IssuE no. 803 // MAR 10 – MAR 16, 2011 // Available at over 1400 locations Editor / Publisher.......................................... RON GARTH // ron@vueweekly.com MANAGING Editor............................................. EDEN MUNRO // eden@vueweekly.com associate mANAGING editor................... BRYAN BIRTLES // bryan@vueweekly.com NEWS Editor........................................................ SAMANTHA POWER // samantha@vueweekly.com Arts / Film Editor........................................... PAUL BLINOV // paul@vueweekly.com Music Editor....................................................... EDEN MUNRO // eden@vueweekly.com Dish Editor........................................................... BRYAN BIRTLES // bryan@vueweekly.com creative services manager.................... MICHAEL SIEK // mike@vueweekly.com production.......................................................... CHELSEA BOOS // che@vueweekly.com ART DIRECTOR....................................................... PETE NGUYEN // pete@vueweekly.com Senior graphic designer........................... LYLE BELL // lyle@vueweekly.com PRODUCTION INTERN........................................ Elizabeth Schowalter // scho@vueweekly.com WEB/MULTIMEDIA MANAGER........................ ROB BUTZ // butz@vueweekly.com LISTINGS ................................................................ GLENYS SWITZER // glenys@vueweekly.com

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2 // UP FRONT

VUEWEEKLY // MAR 10 – MAR 16, 2011

COVER PETE NGUYEN // pete@vueweekly.com CONTRIBUTORS Chelsea Boos, Josef Braun, Rob Brezsny, Alexa DeGagne, Jeremy Derksen, Gwynne Dyer, Jenn Fulford, Brian Gibson, James Grasdal, Joe Gurba, Whitey Houston, Carolyn Jervis, Brenda Kerber, Stephen Notley, Mary Christa O'Keefe, Mel Priestley, Siavash Saffari, LS Vors, Dave Young Distribution Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

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

VUEWEEKLY // MAR 10 – MAR 16, 2011

UP FRONT // 3

UP FRONT

VUEPOINT

GRASDAL'S VUE

Evidence in the sky samantha power // samantha@vueweekly.com

A few weeks ago Independent MLA Raj Sherman was being compared to a modern day folk hero, taking down the government in one fell swoop. This week, that folk tale seems to be taking the shape of Chicken Little. With his recent move, Sherman seems to have swayed popular opinion against him, or at least created some uncertainty as to his claims. But hopefully this debacle will not end with the fall of Sherman rather than the sky. Announcing last week that he had information on doctors and health administrators being bought by the provincial government to cover up the deaths of patients on the surgery wait list may have seemed like a calculated threat, but Sherman miscalculated by relying on the very people who don't want this information to get out. By announcing he had information he knew would require the provincial government to provide immunity to prove, he's tied his explosion up in an extended countdown. And the Stelmach Conservatives have made it pretty obvious they would rather this disappear than get blown open. As Stelmach stated in the Edmonton Journal yesterday, "There are questions coming forward in terms of lack of evidence. I'd just as soon let this just

YOURVUE

die." It works for Stelmach and his government to never give those doctors protection, all the while making Sherman look as though he is crowing about nothing. This isn't the first questionable publicity move by Sherman. He has made more than a few press announcements that have resulted in not a whole lot. Most significantly, in a press conference at the end of January during the slew of resignations, he seemed to want to join in, held a press conference and announced ... he may or may not run for the leadership of a party in the province. Top copy! But that doesn't mean Sherman isn't a staunch advocate for his cause or that he doesn't have damning information against the government that will now linger in oblivion as each side stares the other down. What's uncertain is why Sherman would move from the very credible claims of a collapsing health care system to this uncertain move with no evidence on paper or colleagues to back him up. With his open accusations against his own boss last fall, he was well on his way to becoming Alberta's most credible activist and a successful critic of the government. Alberta could certainly use a few more of those. Here's hoping like Chicken Little, Sherman was caught up in the courage of his convictions, but unlike Henny Penny, Albertans seem to want some evidence of that sky before they follow him down the path. V

ONLINE EXCLUSIVE

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

COMMENTS

"At some point you have to

VUEWEEKLY.COM

THIS WEEK

Independent MLA Raj Sherman

take responsibility for your ac-

indicated he had evidence of

tions; either Canadian ex pates

payoffs and censorship about

With the volatile and unpredictable events in North Africa, should

[sic] who live there or those

patient deaths by the Alberta

the Canadian government be spending public

who chose to travel there know

government. Premier Ed Stel-

money evacuating citizens from

it's a dictator-oppressed coun-

mach will not be calling a pub-

try ... why would you choose to

lic inquiry into the matter. Did

go to a dangerous place where

Sherman make the right move?

the region?

anything can happen." "Assist citizens yes - by providing

66%

Yes, we have a responsibility. 4 // UP FRONT

33%

No, they chose to travel there.

1. Yes, he has important information the public should know.

an exit facility if necessary. But

2. No, he is lacking information

citizens should bear the costs

and

and not get a ''free ride." Those

allegations.

citizens made a choice in living/ visiting the hazardous region."

Check the Vue Weekly website for new podcasts on current events: vueweekly.com/podcasts

has

made

dangerous

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

VUEWEEKLY // MAR 10 – MAR 16, 2011

Listen at vueweekly.com/podcasts

COMMENT >> ISRAELI APARTHEID WEEK

Issues

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

The Arab world and Palestine

What do the democratic movements mean for a struggling Palestinian state? // ssaffari@ualberta.ca

For 18 fateful days, the world watched as events unfolded in Egypt. While people around the globe found inspiration in Egyptian protesters' steadfastness as they fought against the dictatorship, here in North America the major concern of many political circles and media reports was the hegemonic interests of the US empire, especially where it concerned the Israel-Palestine question. There is no doubt that any democratic change in Egypt will have an effect on the country's relationship with Israel. Egypt under Mubarak was an important friend to Israel, providing, among other things, 40 percent of Israel's natural gas needs and helping to maintain a brutal and illegal siege on Gaza. In the words of Aluf Benn, editor-at-large for Israel's Haaretz newspaper, "Without Mubarak, Israel is left with almost no friends in the Middle East." It leaves some commentators wondering if this tsunami of social and political change will be a catalyst for a mass movement demanding Israel's recognition of Palestinians' equal rights. So far, that hasn't happened. Nevertheless, Palestinians in the West Bank and Gaza held rallies in solidarity with Egyptian

protesters and in defiance of the Fatahand Hamas-imposed bans against such rallies. And, there are reasons to believe that Palestinians, too, might witness a turning point in their struggle against a decades-old occupation, and an expanding structure of apartheid. With the failure of the secular-nationalist political elite to bring an end to the Israeli occupation, and with the limitations of Islamism in creating a broad social movement, in recent years we have witnessed the growing popularity of the Palestinian anti-apartheid movement. The movement is the convergence of various individuals and groups around a common agenda with an emphasis on universal human rights, commitment to non-violence and grassroots activism, and cooperation with Israeli and international solidarity activists and networks. In 2001, a number of South African and Palestinian civil society groups launched the International Anti-Apartheid Movement against Israel. But it was the 2005 call for an international campaign of Boycott, Divestment and Sanctions (BDS) against Israel by over 170 Palestinian parties, trade unions and non-governmental

// Chelsea Boos

Siavash Saffari

CONTINUED ON PAGE 9 >>

NewsRoundup DANGEROUS WORK Minister of Employment and Immigration Thomas Lukaszuk introduced a new three-year plan to improve workplace safety. The plan comes after numerous calls for changes as the workplace injury and death rate in Alberta is one of the highest in the country. The Alberta government is hiring 30 new inspectors over the next three years to do on-site job inspections. The AFL points out the provincial government under Ralph Klein cut the number of job inspectors by half and the numbers only began to recover in

WAITING FOR A BED 2009. "Hiring these new inspectors may help us crawl some way back out of the hole that Klein dug, but it will not make us the leaders in safety that we need to be," says AFL President Gil McGowan. The AFL is also concerned the money may not be present for an increase in safety officers. "The amount for inspection went up only 1.5 percent in the budget last week, which is less than inflation and population growth," says McGowan. 142 workers died on the job site from 2006 – 2009.

WATER SALE A recent NAFTA ruling has put the possibility of privatized water on the table. In 2008, Canadian-based but US-registered company AbitibiBowater sold its assets—including water permits—which had been given by the province on the basis of production. Once the company sold its assets, the provincial government should have received those permits back as a public resource, but a court challenge by AbitibiBowater resulted in a ruling siding with the company's right to the resource. "The case clearly put the concept of

SAMANTHA POWER // samantha@vueweekly.com

water as a public trust on a direct collision course with treaty-based corporate and commercial rights. However, rather than defend public ownership and control of water, the federal government has agreed to settle AbitibiBowater's claim," says Council of Canadians board member Steven Shrybman. "By stipulating that the payment of compensation is on account of rights and assets, the government of Canada has explicitly acknowledged an obligation to compensate AbitibiBowater for claims relating to water-taking permits and forest-harvesting licenses."

Alberta Health Services measures released this past week show a 55 percent reduction in emergency room patients waiting for an inpatient bed. AHS launched a strategy last fall to increase the efficiency of patients moving from the emergency room to other departments within the hospital after numerous reports of emergency room deaths and overcrowding. "This is a significant downward trend that indicates the situation in emergency departments is improving,” said Minister of Health and Wellness Gene Zwozdesky. Friends of Medicare is concerned that moving patients out of emergency just results in them sitting in the hallways of another department. "This so-called push protocol just moves the capacity problem from one place to another," says executive director David Eggen. Friends of Medicare points to the lack of acute-care and long-term-care beds as the source of the problem. Eggen points to the fact that there are half as many acute care beds in Alberta than 20 years ago. "Build and staff the beds we need to serve Albertans," says Eggen. "Anything short of that is misleading and means this government is shirking its responsibility to provide adequate health care to the people of this province."

QUOTE OF THE WEEK

VUEWEEKLY // MAR 10 – MAR 16, 2011

“I wanted Edmonton Public Schools to be a safe and welcoming place for people of different sexual orientations. That idea sort of expanded into making sure that our schools are welcoming and that students and staff members who identify as gay or bisexual or as trans feel like they are welcomed into our school and that it’s a safe place for them.” —Christopher Spencer, Edmonton Public School Board director on EPSB's new anti-discrimination policy Edmonton Journal March 9, 2011

UP FRONT // 5

Citizens work to be heard as the city plans for the future By Samantha Power

R

evitalization is becoming a ubiquitous word in city planning, used to describe everything from community initiatives to multi-million-dollar housing and business projects. With city council's increased interest in finding ways to attach a revitalization tag, citizens are finding ways to ensure they're not forgotten in the planning process. When Christy Morin placed an ad looking for fellow artists to talk about the issues along 118 Avenue, she couldn't know the eventual project would influence city council's neighbourhood planning decisions. Council took a quick liking to the project which focused on rehabilitating a neighbourhood that it and its planning departments were having trouble fixing. "There was a real sense of urgency in the state of the community when they began revitalization efforts back five years ago," says Morin. "The different departments weren't coming together to talk about drug houses and vacant businesses and a sense of isolation in the community. And so the political climate was extremely positive for an arts group to come together and look at a different model in creating community." Morin believes council is now far more interested in developing community-level initiatives. "This was a creative approach to growing a community by seeing what inventory is already in place and then connecting the disparate departments to create change," says Morin. "Alberta Avenue has become a model." Having started five years ago, Morin

6 // UP FRONT

// Pete Nguyen

believes the community is just beginning to see the developments. "This really was a pilot project to see if there were ways of creating economic revitalization and community safety, so I'd like to see steady, continued support as we create this momentum." The Great Neighbourhoods program, begun in 2009, seeks to develop connections between well-maintained infrastructure, safety and interesting amenities, something the Arts on the Avenue project pioneered. The program is set up to support community initiatives through matching city grants and strategic plans designed in collaboration between city planners and the community. It mirrors the organic process of the Arts on the Avenue project. "When revitalization began, no one had a sense of the weightiness that arts had in the community, and when we began Arts on the Ave the city saw it working and said, 'Wow, let's embrace this and see how it fits in,'" says Morin. "Each neighbourhood and community has a different personality." Chris Buyze, president of the Downtown Edmonton Community League, is encouraged by a boost to community league funding late last year. As of January 1, community leagues were able to receive 40 percent more in operating grants and a separate fund was set up for capital projects. To Buyze and Ian O'Donnell, chair of the development committee of the DECL, it's evidence the city is more interested in genuine community development. "The trend

in urban planning in general is community consultation, especially if it's a development issue," says O'Donnell. O'Donnell and Buyze, have been involved in numerous design projects happening in the downtown area— most recently the negotiation and approval of the downtown strategic plan. With a diverse, 13-member board, the DECL focuses on the variety of needs of downtown residents. "We tried to think of the way citizens directly interact with their street," says O'Donnell. "I think we made change positively to what they had originally proposed." It took hours of volunteer work by Buyze and O'Donnell: attending council meet-

tion are not as helpful as they should be. "Sometimes the city can screw up," says Buyze. "There are times when they haven't notified us in time. And community leaders are volunteers so the city needs to give an adequate amount of time to digest and deal with the issue." Lorne Humphreys, president of Speak Up Edmonton believes the city needs to do a better job keeping citizens involved in the process. "There's a lack of communication," says Humphreys. "Even among councillors: they don't all understand the same facts at the same time."

If you feel you're being left out of the process, it may be that councillors aren't aware citizens aren't being consulted properly. You need to step up and say, 'Hey we need to be involved in this process because the result affects us.' ings, making meetings with developers and consultants, emails and communications with their own board. It's time not all residents have. "During that process [the downtown plan] was handed over to different people and the focus changed and there were certain times we had to say, 'We haven't heard from you in six months, what's going on?'" says Buyze. "Those wake up calls are necessary sometimes and they're effective." Citizens can get lost in the process and sometimes council and city administra-

It's part of the reason Humphreys got involved in Speak Up Edmonton: to ask questions about the funding of the proposed downtown arena project. With public consultation meetings feeling like a sell job, Humphreys hopes the city takes citizen concerns seriously. "You can't structure [a consultation] like an Amway meeting," he says. "Democracy is messy and you have to be prepared to hear something you don't want to." "You always have to be aware of biases," says Buyze. "Every councillor

VUEWEEKLY // MAR 10 – MAR 16, 2011

has their own sensibility for what they want to see in the city." Buyze and O'Donnell are adamant that, despite the appearance that council's decision is foregone, citizens can still have an impact. "If you feel you're being left out of the process, it may be that councillors aren't aware citizens aren't being consulted properly," says Buyze. "You need to step up and say, 'Hey we need to be involved in this process because the result affects us.'" Speak Up Edmonton's concern goes beyond missing a few meetings. Director Trudie Kaufmann is worried that not all information is getting to the public with regard to the proposed arena. "There's still a location study that has never been released to the public," says Kaufmann. "It's curious to me that it's okay for Daryl Katz to know this information and not for the public." For Kaufmann and Humphreys, the problem is the disconnect between public funds and decision making. "When you go back to the start of this, they never asked whether Edmontonians even wanted this arena." says Kaufmann. "I think major financial issues should go to some form of plebiscite." says Humphreys. "Especially when you're creating a business levy or bond, why wouldn't you take it to the population? After all, that's who's paying for it. I don't think we elect councillors to make major financial decisions we didn't know about at the time of election. I didn't think that was the deal, but maybe I'm wrong." V

COMMENT >> PAKISTAN

A democracy doesn't help Pakistan's democracy is not helping the people At least with a dictatorship, you know man standing. In a very short time he was where you are—and if you know where no longer standing. But one man still was: you are, you may be able to find your way Shahbaz Bhatti. out. In Pakistan, it is not so simple. While brave Arab protesters are overBhatti was shot down last Wednesthrowing deeply entrenched autoday. The four men who ambushed cratic regimes, often without his car and filled him with buleven resorting to violence, lets left a note saying: "In your Pakistan, a democratic counfight against Allah, you have try, is sinking into a sea of become so bold that you om eekly.c violence, intolerance and exact in favour of and support @vuew e n n y gw tremism. The world's secondthose who insult the Prophe n n y Gw biggest Muslim country (185 et ... And now, with the grace Dyer of Allah, the warriors of Islam million people) has effectively been silenced by ruthless Islamist will pick you out one by one and fanatics who murder anyone who dares send you to Hell." to defy them. Shahbaz Bhatti was not a rich and powWhat the fanatics want, of course, is erful man like Salman Taseer, nor even a power, but the issue on which they have major power in the ruling Pakistan Peochosen to fight is Pakistan's laws against ple's Party (PPP) that they both belonged blasphemy. They not only hunt down and to. He was the only Christian member of kill people who fall afoul of these laws, the cabinet, mainly as a token representashould the courts see fit to free them. tive of the country's three million ChrisThey have also begun killing anybody who tians, but he had hardly any influence publicly advocates changing the laws. outside that community. Nevertheless, he Salman Taseer, the governor of the refused to stop criticizing the blasphemy Punjab, Pakistan's richest and most populaws even after Taseer's murder, so they lous province, was murdered by his own killed him too. bodyguard in January because he critiThat leaves only Sherry Rehman, the last cized the blasphemy laws and wanted to woman standing. A flamboyant member change them. He said that he would go of parliament whose mere appearance enon fighting them even if he was the last rages the beards, she has been a bold and

R DYEIG HT

STRA

relentless critic of the blasphemy laws— and since Taseer's murder she has lived in hiding, moving every few days. But she will not shut up until they shut her up. And that's it. The rest of the country's political and cultural elite have gone silent, or pander openly to the fanatics and the bigots. The PPP was committed to changing the blasphemy laws only six months ago, but after Taseer was killed President Asif Ali Zardari assured a gath-

widely used to victimize the Ahmadi and Christian religious minorities. Ahmadis and Christians account for at most five percent of Pakistan's population, but almost half of the thousand people charged under this law since 1986 belonged to those communities. Most accusations were false, arising from disputes over land, but once made they could be a death sentence.

The murders of Salman Taseer and Shahbaz Bhatti were bad, but even worse was the way that the political class and the bulk of the mass media responded. ering of Islamic dignitaries that he had no intention of reviewing the blasphemy laws. Although they are very bad laws. In 1984 General Zia ul-Haq, the dictator who ruled Pakistan from 1977 to 1988, made it a criminal offence for members of the Ahmadi sect, now some five million strong, to claim that they were Muslims. In 1986 he instituted the death penalty for blasphemy against the Prophet Muhammad. No subsequent government has dared to repeal these laws, which are

Higher courts generally dismissed blasphemy charges, recognizing that they were a tactic commonly used against Christians and Ahmadis in local disputes over land, but 32 people who were freed by the courts were subsequently killed by Islamist vigilantes—as were two of the judges who freed them. The current crisis arose when a Christian woman, Aasia Bibi, was sentenced to death last November, allegedly for blaspheming against the Prophet Muham-

VUEWEEKLY // MAR 10 – MAR 16, 2011

mad. Pakistan's liberals mobilized against the blasphemy law—and discovered that they were an endangered species. The murders of Salman Taseer and Shahbaz Bhatti were bad, but even worse was the way that the political class and the bulk of the mass media responded. A majority of a population fully supports the blasphemy law, making it very costly for politicians to act against it even if the fanatics don't kill them. Political cowardice reigns supreme, and so Pakistan falls slowly under the thrall of the extremists. Being a democracy is no help, it turns out, because democracy requires people to have the courage of their convictions. Very few educated Pakistanis believe that people should be executed because of a blasphemy charge arising out of some trivial village dispute, but they no longer dare to say so. Including the President. "We will not be intimidated nor will we retreat," said Zardari on March 3, but he has already promised the beards that the blasphemy law will not be touched. Nor is it very likely that the murderers of Taseer or Bhatti will be tracked down and punished. You could get killed trying to do that. V Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.

UP FRONT // 7

IN THE BOX DAVE YOUNG & BRYAN BIRTLES // INTHEBOX@vueweekly.com

Is it a curse?

Oilers fans left to ponder in wake of injuries As a snapshot of a week goes, the last four Oiler games give us a pretty solid piece of work. The Oilers managed to put together a three-game winning streak with victories over the Predators (2-1 in a shootout), Blue Jackets (doubled Columbus up 4-2) and the Avalanche (a convincing 5-1 drubbing). Interestingly, each win was more decisive as the streak continued. However, a road game in Philly against last year's Cup finalists ended the streak with a 4-1 loss. What the hell?

What the hell happened to all of our players? First Penner gets traded, then Hemsky hurts his shoulder and now our great young hope Taylor Hall sprains his ankle and will be out for the rest of the season? Being an Oilers fan is like being a Chicago Cubs fan: every day you wake up thinking it can't get any worse and then somehow, in a way you couldn't have seen coming, it gets way worse. But then, like the Oilers marching against the Colorado Avalanche and pummeling them 5-1 without any of the team's topthree scorers, they give you one brief, glorious moment of such inexplicable beauty that you realize you could never turn against them. BB Over to you, Earl

I agree with Birtles and heartily echo his sentiment: what the hell? Ever since the Oilers saw game seven of the Stanley Cup turn out poorly, the team has provided fans with a succession of disappointments. Playoff droughts, losing streaks and departing players have dominated the headlines. This season has been no different. Sheldon Souray? He's rotting on the vine. Ryan Whitney? He was arguably the most effective Oiler when he hit a rut and ended his season. Dustin Penner? Traded. Ales Hemsky? Can't stay healthy. Taylor Hall? Fisticuffs finished him off. This team has become the NHL's version of SCTV's mythical "tiny republic of Togoland" that consistently led the Melonville News with disaster after mishap. The good news? Togoland endured. So will the Oilers. DY W-w-welcome to W-w-w-Winnipeg

The Phoenix Coyotes continue their comedy of errors in Arizona and the team's return to Winnipeg looks tantalizingly imminent. Nothing could be better news.

8 // UP FRONT

VUEWEEKLY // MAR 10 – MAR 16, 2011

I've been to Winnipeg; not unlike this place, Winnipeg can be a dusty, wintry moonscape eight months out of the year that yearns for distraction. Forget about the too-small building, the splintering of TV revenues or the possibility that Winnipeg will have similar problems to Edmonton in attracting free agents due to the climate. The city deserves its team back, the NHL needs to be in more Canadian markets, and the three-time Avco World Trophy-winning team will be the perfect fit. BB Wayne Gretzky Rocks; Pronger doesn't

Thinking about the Winnipeg Jets makes me think of the Dynasty Oilers and the Great One. Here's something to chew on: There are currently just six active NHL players that had the pleasure and privilege of suiting up on the same team as the Great One: Marc Savard, Mike Knuble, Manny Malhotra , Alexei Kovalev (these four were Rangers teammates), Chris Pronger (a St Louis teammate) and Sean O'Donnell (played in LA with Wayner). One of these guys will wind up being the absolute final Gretzky teammate playing in the NHL. Malhotra is the youngest of the group but Pronger's contract drags on until the 2016-17 season. I do not want Prongs to be the last Gretzky teammate. It just wouldn't feel right. DY Oiler Player of the Week

Sam Gagner: There's no one else left to pick, plus he's just off a point streak. BB Alexandre Giroux: Called up from the AHL to join the team in Colorado and gets an NHL goal. That's worth an "attaboy." DY

ISSUES

<< CONTINUED FROM PAGE 5

and grassroots organizations that solidified the anti-apartheid movement within Palestinian civil society. It also made possible the prospect of a popular resistance with an appeal to international law, universal human rights and opposition to colonialism, apartheid and racism. The BDS campaign was formed around three objectives: an end to colonization and occupation of all Arab lands and dismantling of the Israeli-West Bank barrier wall; recognition of the fundamental rights of the Arab-Palestinian citizens of Israel to full equality; and respect, protection and promotion of the rights of Palestinian refugees to return to their homes and lands as per UN resolution 194. While a growing movement around the world is assembling under the BDS banner, here in Canada Harper's Conservative government has effectively become Israel's closest friend and ally. From supporting the 2006 invasion of Lebanon and the 2008-09 assault on Gaza, to condemning the calls on Israel to join the Nuclear Non-Proliferation Treaty. Canada has also vetoed key UN motions on the rights of Palestinian refugees, to cutting funding to the UN Relief and Works Agency for Palestine Refugees in the Near East, and labeled any criticism of Israel as anti-Semitism. The Conservative government's position has consistently been unqualified support for Israel. In fact, both Canadian and Israeli officials insist that "Israel now has no better friend

in the world than Canada." It came as no surprise when the Minister of Foreign Affairs, Lawrence Cannon declared that Canada's chief concern with regard to Egypt is a stable transition that would protect the peace treaty with Israel. This time, there was little talk about supporting democracy and human rights. While the government's official policy has been one of unconditional support for Israel, in recent years the Canadian civil society has established strong links with the anti-apartheid movement. Many Canadian unions including the Canadian Union of Public Employees (CUPE) Ontario, Canadian Union of Postal Workers (CUPW) and la Centrale des syndicats du Quebec (CSQ), have joined the broad coalition that is forming around the antiapartheid movement. Most significantly, Israeli Apartheid Week, which is held in cities around the world this month, began as a Canadian initiative. It was launched in 2005 by students at the University of Toronto with the idea of raising awareness about the structures of legal, political, economic, social and cultural domination imposed on Palestinians within Israel and in the occupied territories. In its seventh year, IAW continues to make a significant contribution to the opposition of Israeli apartheid and to bolster support for BDS. V Siavash Saffari is a political science doctoral student at the University of Alberta and an organizer with Palestine Solidarity Network.

BOB THE ANGRY FLOWER

VUEWEEKLY // MAR 10 – MAR 16, 2011

UP FRONT // 9

DISH

Find a restaurant

ONLINE AT DISHWEEKLY.CA

Here to stay

Callingwood bakery makes a popular treat personal for something classic like vanilla or be naughty and have something decadent like chocolate mint."

LS Vors // vors@vueweekly.com

T

he cupcake is the culinary celebrity du jour. Several years ago, these morsels of icing and cake stealthily appeared in the manicured hands of Hollywood starlets. Shortly thereafter, cupcake bakeries materialized across the continent like flowers after a rain. Although the long-term commercial viability of these treats is debatable, they hold a treasured spot in the roster of contemporary dessert options. Approximately half a dozen "cupcakeries" in Edmonton compete for the customer's sweet tooth; one of which is Sweet Krumblz, nestled in a Callingwood strip mall. Co-owners Suzy Alcantara and Sheila Rai toil in a space decorated with sketches of anthropomorphized cupcakes, jars of iridescent sprinkles and life-sized models of creative cakes. Alcantara, who holds a food science degree from the University of Alberta, explains, "I've always dreamed of opening a bakery, but assumed I'd run it out of my basement. No one I knew fit the mould as a business partner." She met Rai when they both worked at the local Maple Leaf processing plant and the two discovered a mutual desire to open such a business. Rai, who has a business background, adds, "Our education is very complementary. Alcantara handles the food aspect and I work on the marketing side." Sweet Krumblz is synonymous with cupcakes, though the bakery began as a producer of custom cakes. "We were

10 // DISH

// Elizabeth Schowalter

an exhibitor at a bridal show, and over the past three years we've been overwhelmed with orders for wedding cakes," Rai remarks. "We would like to expand the cake side of our business to cover other special days like birthdays and holidays. We feel like we've hit the ceiling with wedding cakes because

they take so much time away from other special events." Although cupcakes lack the complexity of custom cakes, their charm and appeal is undeniable. Sweet Krumblz offers 14 flavours ranging from classics like chocolate-mocha to exotic creations like piĂąa colada and red velvet.

Alcantara explains that developing the flavours has been a process of trial and error and that her family members are eager guinea pigs. "We developed the 14 flavours to cover different demographics," states Alcantara. "Kids tend to like colourful ones like strawberry, while adults can decide whether to go

VUEWEEKLY // MAR 10 – MAR 16, 2011

Alcantara and Rai are both pleased and amazed at their success. "We never thought it would get this big," states Alcantara. "We exhibited at one bridal show, ran several print ads, but we've become well known mainly by word of mouth and many people just wander in randomly for a cupcake." The two note that it is difficult running their own business and they are fortunate to have supportive husbands. "I probably bake anywhere from one-and-a-half to eight hours a day and it's especially busy on weekends," says Alcantara. Cupcakes still ride the tidal surge of popularity, but the question remains as to whether they are a fad or have earned a place in our collective sweet tooth. Alcantara ponders, then states, "I think they are here to stay. They are popular because they are an individual, personal dessert. It isn't like cutting a slice out of a bigger cake. It is something that is completely yours." Put this way, it is clear that bigger is not always better. Each cupcake celebrates its own tiny persona, and can stand proudly next to any cake in existence. Its celebrity status may be fickle, but the cupcake is the quintessence of tiny beauty. V Suzy Alcantara and Sheila Rai Sweet Krumblz 6861 - 170 St 780.486.2253

WINE

Pairing basics

Making sure wine and food work together

// Elizabeth Schowalter

Traditional wine pairing is derived from fornian Cabernet or Petit Syrah, Aussie the French and their quest to pair reShiraz, wine from Bordeaux, Tempragional cuisine with regional wine. Over nillo, Malbec and Mouvedre come into the decades, food has evolved along play. Pair the weightiness of your wine with wine. The fusion of food from difwith the weightiness of your meat, inferent cultures and an increasing numclude a thought about the marinade or ber of wine choices from around sauce and you're on the road to the world means there are wine-pairing success. I D I V more options to pairing food VENI, and wine. The following are As straightforward as red some general guidelines to meat is, fish requires a more m o .c ly k e vuewe enhance your next wine and diligent pairing because the jenn@ food experience. tannin in red wine combined Jenn Pairing certain spices and with fish can cause a metallic Fulford flavours with wine can challenge flavour in the mouth. Dry rosé and even the sommelier, while more white wines with good acid and some common fare can be consumed beside a fruit are the way to go, something like multitude of wines. Take a grilled steak a Sauvignon Blanc, Pinot Gris or Chenin or a hamburger for instance: most wellBlanc. If you are a red-only drinker, think balanced, New World wines will pair about trying a rosé as they can be more well with these dishes, as well as most complex with a bit more body. If a red straightforward grilled meat plates. is a must, try the least-tannic styles like Meat loves tannin, so big reds like CaliPinot Noir or Beaujolais.

VINO

Adding spice to fish will complicate things. Slight sweetness is great to diffuse spice, while oaked or tannic wine will clash, and can make the food and wine both taste awful. I experienced this last week in Canmore with a blackened catfish po' boy sandwich: I first attempted a slightly-oaked Chardonnay but, in combination with the spice, it only proved to accentuate both the oak and the spice and fired up my mouth disagreeably. I switched to an off-dry Gewurztraminer which had an instant cooling effect with a touch of sweet, great acidity and some fruity, floral notes that complemented the dish perfectly. So match the wine to the food, or the food to the wine. Be as serious or not serious as you want. The whole idea is to take pleasure in the hedonistic act of eating food and drinking wine, so adventure-it-up and enjoy. V

VUEWEEKLY // MAR 10 – MAR 16, 2011

DISH // 11

SNOW ZONE Making a Big Hit

Friendly competition at Snow Valley

6 X 2.6 FILL

// Pete Nguyen

Jeremy Derksen // jeremy@vueweekly.com

A

muffler trail of exhaust tailed snowboarder Steven Senetchko as he launched off the tabletop jump at the Snow Valley Big Hit competition. "A cork five—oh my goodness!" yelled the fresh-faced MC, a kid from one of the younger age groups who had somehow commandeered the mic. The PG-rated catchphrase—uttered many times that afternoon—had a certain unassuming ring to it, belying his park rat appearance. One by one the competitors had queued across the top of the Riot Terrain Park each awaiting their shot. The long, weaving Technicolor-like line resembled a Chinese dragon. Billabong and Von Zipper banners flapped in the wind, a two-storey inflatable Rock Star energy drink can towering in the background. Two sets of judges, two posted at the rails and boxes and three more adjacent to the tabletop, scored each competitor's run. Skiers and boarders had up to five attempts to impress the judges. At stake was over $6800 in prizes, including lift passes, ski gear and a grand prize $1000 trip to Banff for four nights and three days of skiing. Fresh off stomping his landing, Senetchko was jacked on adrenaline. "Just the thrill, the excitement of it," he said, when asked why he competes. The 26-year-old works on the park crew at Snow Valley Ski Club. To prepare for a comp, he'll start training two weeks in advance. Because he also works at Snow Valley, he spent additional time in the park getting ready for this particular event. "I've been here the last four days straight—building the park, shaping it, getting all the rails in, doing test runs to make sure it's safe." Despite the competitive atmosphere,

12 // SNOW ZONE

VUEWEEKLY // MAR 10 – MAR 16, 2011

however, the mood was light. "It's a lot about encouraging the kids and having fun," said Emma Lemoine, representing sponsor Billabong/Von Zipper. "We're really happy to see all these people show up despite the weather." The colder temperatures—dipping down to -24 C without windchill—didn't seem to dull the enthusiasm of some 60 competitors ranging in age from 12 to 35, or the 20 to 30 spectators who came out to cheer them on. Overall, one of the things Snow Valley is known for is its supportive atmosphere, according to many of the competitors. It's a good place to learn to ride park, they agree. "The majority of riders and skiers out here are all pretty good friends, so it's riding with friends really," said Senetchko. "But it just pumps it up because there's prizes, music, tents and a whole lot of people watching. "On a regular day, if you mess up on a trick you just go over and try again. Here if you mess up, you really have to go out and stomp the next one." Steven Boggs, father of Chris Boggs, 18, has been watching competitions since his son began competing about six years ago. "I was pretty much unaware of what it even was," says Steven, who neither skis nor snowboards. Now, he says, he understands and appreciates the sport a little more. "Everything but the weather is good—nice atmosphere, music, all the competitors. It's good." So is he considering trying it out? "[Chris] makes it look easy," laughs Boggs, "But no." For the kids who are just starting out, competitions like the Big Hit are a way to build confidence and get encouragement from other riders, says Senetchko. "When you see little guys hit it, it's always 'good job, don't give up,' it just gives them that extra step to keep riding." And the enticement of prizes can't hurt either. V

ARTS

PREVUE // THEATRE

Not a museum piece

Catalyst Theatre ignites Victor Hugo's Hunchback Paul Blinov // paul@vueweekly.com

T

he unifying idea to thread together Catalyst Theatre's enduringly imaginiative works of the past few years—Frankenstein, Nevermore and now Hunchback—only occurs to writercomposer-director Jonathan Christenson, while designer Bretta Gerecke, his creative foil, discusses their latest work. "It is timeless. It's a love story—not a happy one," Gerecke says with a laugh, "but it's a love story, and many love stories aren't happy. It's full of fire and passion and obsession and terror and all the things I think we're drawn to." "Obsession is a kind of through-line in the work that we've been doing," Christenson states. "Hunchback is a very hot kind of story. And I think Frankenstein and Nevermore are cooler pieces, but they're still about characters who develop a kind of obsession that they can never break free of, and that ultimately leads to their ruin. So that's a kind of through-line to the work that I only just realized as we were talking." Planted beside Gerecke in the empty Shoctor audience during a lunch break from rehearsal—a set of wire-y, spiderlike set pieces guard the stage before them, with the instruments their live band spilling out behind—Christenson's nonchalance belies the immense amount of tinkering and endless revisions he's made with Gerecke and the

cast and crew to each shows. Catalyst's perpetual, restless creativity remains unparalleled here or afar. These shows get rave reviews in New York and London, too. The heat he refers to is unbridled emotional passion, a keystone of Hunchback; if, the pair note, Dr Frankenstein and Poe were "cold" figures, it was in being reactionaries to their worlds. The inhabitants of Victor Hugo's 1831 novel are the opposite: headstrong to their blindspots, but charging ahead with the reckless abadon of young hearts ready to ignite. It's almost operatic in feel, Gerecke notes. "That was what drew me to it," Christenson says. "It just felt like a new set of challenges, the kind of emotional intensity that these characters are fuelled by, and that is asked of the actors to bring to the piece. And its had its own challenges for us, in terms of trying to develop a musical and visual and textual way of expressing that, that was still in the world of the work that we'd been creating." "These characters are not measured. They're absolutely driven by their love," Gerecke adds. The pair had originally considered and then passed over Hunchback and the tale of a dangerous love triangle that emerges in Notre Dame between the deformed bellringer Quasimodo, lovely gypsy Esmeralda and priest Claude Frol-

lo; it's a story with a number of existing adaptations, already. But Christenson felt himself responding, and resisting its pull ultimately seemed to be cheating his own heart. The production got a boost when they were approached by Citadel artistic director Bob Baker, who commissioned the work without ever seeing a draft. And like Frankenstein and Nevermore, Hunchback enjoyed a workshop run a few weeks ago, up at Fort McMurray's Keyano College facility; since then, they've added in the live band, tinkered with the pieces they saw that fit, and pulled out what doesn't. "I think there's this temptation with classic works, and dead writers, to treat them with a preciousness," Christenson says. "And they suddenly become very stodgy and old fashioned. And I actually think ..." he pauses. "They were artists in their day. A lot of them were revolutionaries, and they were on the edges, the margins. They were pushing the boundaries all the time. So I often feel that it's important to tap into that spirit in the work, and bring that into today. I'd like to believe that Mary Shelly and Edgar Allen Poe, and now Victor Hugo, would have loved the spirit behind what we're doing, which is trying to keep it fresh, and a little raw. Not a museum piece." "They're a school requirement," Gerecke adds, of such works' usual place in our consciousness. "And they're actually filled with dan-

The inhabitants of Catalyst's Notre Dame

gerous ideas." Christenson finishes, noting that Frankenstein author Mary Shelly lived a life that even today would've caused scandal. "It's the same with Hugo," he continues. "He ended up living in exile for a number of years, because of his political views. When you read the novel, a lot of the stuff he's looking at you go, 'Oh, wow ... that's something people even today, don't really want to look at, or talk about. It definitely explores some of the darker

aspects of love and obsession that I don't think come out in most love stories that we see in films and things these days." V

scriptions of fumbling teenage courtship are surprisingly tender, even sweet. Perhaps this sweetness helped to facilitate the profound sourness to come: "my love disappeared like a raindrop in hot sand: all that was left was a dirty brown spot." Elsewhere, his wild pessimism is conveyed with such throttle that it actually becomes really funny: "O death, death— how frightened I have always been of it! Yet I have so often asked myself, 'Were you unhappy before you were born?'" Coetzee notes that A Posthumous Confession is a singularly pure example of the confessional genre, and Emants indeed invests an unusual degree of attention to developing Termeer's distinctive literary voice and approach to self-analysis. His reasons for wanting to write become incrementally lucid and may even represent the most altruistic impulse Termeer is capable of feeling. "Who knows how many there are who are just like me," he wonders, "yet will realize it only when they have seen themselves mirrored in

me." Yet there is also a sly bit of preternatural postmodernism emerging here. Termeer goes to see a play entitled Artist by one Marcellus Emants. It "made a deep impression on me because of the many features of resemblance between the artist and myself." He even goes on to critique Emants' play. A Posthumous Confession's most obvious antecedents are Dostoyevsky's Notes From Underground and certain tales of psychological frailty by Poe. The novel also bears a certain likeness to early work by Emants' Norwegian contemporary Knut Hamsun. But where do we find this underground figure in more recent decades? Perhaps in the work of Thomas Bernhard. Or perhaps we need to go to the movies. "I don't believe that one should devote his life to morbid self-attention," Travis Bickle confesses in Taxi Driver. "I believe that someone should become a person like other people." If only becoming "a person" were that simple. V

Until Sun, Mar 27 (7:30 pm) Hunchback Written and directed by Jonathan Christenson Citadel Theatre (9828 - 101A Ave) $50.40 – $71.90

COMMENT >> BOOKS

A posthumous portrait

A Posthumous Confession a deeply repulsive must-read Arresting from its first stark sentence less and, having been recently widowed, ("My wife is dead and buried" ), nearly "free again." But free to do what? He says relentless in its catch-all combo of he's killed his wife, Anna, though misanthropy and self-loathing, the circumstances are unclear. yet consistently compelling By his own claims Termeer, and perversely insightful, A a man without profession, Posthumous Confession whose biography is encrusted m o .c ekly vuewe (NYRB Classics, $16), Dutch with botched attempts at hejosef@ author Marcellus Emants' donism, is hopelessly apathetic. Josef 1894 novel, newly back in print, How did he manage to become a Braun translated and with an introducmurderer? Until we reach the final tion by JM Coetzee, with a perfectly pages, all we're given to speculate upon chosen detail from Edvard Munch's Selfare cryptic summaries: "one thing followed portrait in Hell as its cover art, is as elfrom another far too gradually." egantly wrought as it is deeply repulsive. Termeer's chronically mistrustful, solipSo, in other words, a must-read. sistic, a compulsive liar. His sense of infeBy the time he finally sets down to write riority, even to those whom he despises, about his life—to confess, as it were— is paralyzing. In one especially memoWillem Termeer (a name that fittingly rable anecdote, he meets a student who prompts images of termites) is 35, friendhe instantly dislikes, only to realize that

HOPCH

SCOT

they're exactly alike, and Termeer befriends the younger man so as to enjoy feeling superior on account of his elder status. In another episode he develops a middling interest in a Swedish pianist (Anna also would play the piano) that becomes a blazing desire only with the appearance of a rival. He gradually resolves that the only way for him to function socially is to perform: "If it was impossible for me to become a good man I would at least aspire to live like a good man." Emants worked predominantly as a playwright, and part of what makes A Posthumous Confession so readable is the momentum and intimacy of its monologue. Termeer's vulnerability sometimes yields emotional colours he might not even be cognizant of. His de-

VUEWEEKLY // MAR 10 – MAR 16, 2011

ARTS // 13

PREVUE // THEATRE

PREVUE // DANCE

Shatter sifts through the debris of a Halifax tragedy

Pteros Tactics seeks the moments of amore

Onstage explosion

The instant of desire

Mel Priestley

Paul Blinov

// mel@vueweekly.com

// paul@vueweekly.com

W

P

hen you live in an era in which multi-million-dollar 3D movies are de rigueur, there's an automatic assumption that depicting something like a huge explosion isn't anything special—heck, in the average summer action blockbuster, there's at least a dozen explosions in the first hour alone. But if you want to stage that same explosion in live theatre, a very new set of challenges present themselves—and though there are many stage tricks one can use to depict something like an explosion, plenty of creativity is still required to make it truly effective. "A lot of the explosion is going to be represented through the characters, with their bodies," explains Kristi Hansen, co-director of the Maggie Tree's upcoming production of Shatter. "We're treading an interesting line between literal and abstract movement," adds Shannon Blanchet, who plays the lead character of Anna. Written by Canadian playwright Trina Davies, Shatter explores the immediate aftermath of the 1917 Halifax explosion, which was caused by the accidental collision of two freighter ships carrying explosives in the Halifax harbour. At the time it was the world's largest man-made explosion, and is currently second only to the atomic bombing of Hiroshima. Storytelling remained a focus of both Hansen and her co-director, Vanessa Sabourin. Of course, their use of what they term "extended gesture" to depict the physical explosion does not fall strictly within the play's literal story, but Hansen explains that the goal was

14 // ARTS

A shattered aftermath

to have everything make sense on a very basic level; the movements are intuitive and easily understandable. (So if you're a little hesitant to explore something like contemporary dance, you need not fear this performance in the least.) Because the Halifax explosion occurred during the First World War, the Germans were immediately (and wrongly) blamed for it. In the days that followed there was plenty of fear-mongering and many local German citizens were suddenly ostracized from their community. Shatter was written in 2003, and Hansen notes that there is a lot of resonance within the play with the situation that occurred immediately after 9-11. "The play really explores fear and the need to blame someone, and how that can just rip people apart," she explains.

Though the events of 9-11 are now a decade removed from the public eye, and those of the Halifax explosion are much farther removed than that, certainly the issues of nationalism and having to choose between one's country and one's family are omnipresent. Coupled with the images that are currently coming out of Libya right now, Shatter's central subject is perhaps uncomfortably relevant at any point in modern history. V Fri, Mar 11 – Sat, Mar 19 (8 pm) Sat, Sun, Matinees at 2 pm Shatter Directed by Vanessa Sabourin, Kristi Hansen Starring Shannon Blanchet, Sandra Nicholls, Linda Grass, Cole Humeny Catalyst Theatre (8529 Gateway Blvd), $15 – $20

VUEWEEKLY // MAR 10 – MAR 16, 2011

teros Tactics isn't the first show Christopher House has created from something he read. The longtime choreographer-turned-artistic director of Toronto Dance Theatre has used a literary launchpad before, most recently in a full-length piece called Persephone's Lunch, structured like Homer's Odyssey. By his own interjection, outside the title, that one doesn't read as obviously onstage. "You'd never know by watching it," he says with a laugh, on the phone from Winnipeg, about its Greek roots. "But yeah. Often, literature has that choreographic structure." Particularly, it seems, in ancient moral fables of Greece. Tactics, House's latest touring show, presented here by the Brian Webb Dance Company, finds its literary roots in a 1986 essay by Canadian poet Anne Carson called Eros the Bittersweet. The title pulled House in; he'd been familiar with Carson's poetry, but found the essay's professed "instant of desire" turned out to be more than ample stimulation for a show. "She describes a number certain moments of tension between the lover and the beloved, and often she talks about triangulation, where you have a third element in the space between the two," House explains. An ancient line Carson dotes upon— "Eros once again limb-loosener whirls me / Sweetbitter, impossible to fight off, creature stealing up"—helped spawned Tactics' rumination on the relationship between lovers and their beloved; featuring 10 of TDT's dancers. sometimes an object, sometimes the audience, makes up that third element, he notes. "It could be the gaze of a witness—

of course the audience is the ideal witness, because you have license to eavesdrop as much as you like; in fact you're even encouraged to do that," he says. With that in mind, the fourth wall is diminished in the show, House notes. Sometimes the audience is the object of desire for those onstage. It played for a five-show run in Toronto last year, though House wasn't completely satisfied with Tactics then. He's pulled it apart and tinkered since then, clarifying what was vague and expanding what worked to greater depths. And while the content's initial steps are rooted in Carson's essay, what's sprung-up on the stage is more than a literary idea being recreated. Tactics is, in part, an attempt to parallel the crackling energy of such a moment of instantaneous amore through improvisational creation, which House and his dancers have tried to maintain a sense of throughout the piece. "In this idea of the instinct of desire, we were really interested in trying to capture what's most thrilling and viscerally moving about really wonderful improvisation," he explains. "When those moments occur, they sort of pass your brain, like body speaking to body, and all this great stuff happens. As soon as you set that, it ruins a certain percentage of that, just because the body naturally begins to find more economical ways of doing things; it's a miracle of how our bodies work. We're trying to keep that eventfulness in it." V Fri, Mar 11 – Sat, Mar 12 (8 pm) Pteros Tactics Presented by Toronto Dance Theatre Timms Centre (87 Ave & 112 St), $20 – $30

ARTIFACTS

REVUE // VISUAL ARTS

The world at play

Latitude 53 offers two playful considerations of everyday life Carolyn Jervis // carolyn@vueweekly.com

T

his month's offerings at Latitude 53 are playful considerations of the defining factors of everyday life—and some surreal flights of fancy in the opposite direction. In the Projex Room are Lisa Rezansoff's New Prints, a series of small copper etchings of childlike, sketchy images. This is not to say they are sloppy or amateur. Skill is clearly present in her ability to bring focus and compositional structure to these busy and wild prints. In "Human Island," (2011), the repeating motif of scale-like half circles become waves outside the pair of boneless arms that wrap around the base of the mountainous island. These large, simple limbs delineate space, making a discernable distinction between the half circle-covered land and sea. The upper arms are absorbed into the island's rocky top, as a third appendage shoots straight up; its fingers form tree branches. Rezansoff's prints always contain at least a hint of human presence in an otherwise bizarre natural environment. Although there is no clear narrative in these prints, this is a notably conceptual relationship, this subtle connection between human forms and nature—figures and appendages being absorbed, transformed or

Mathieu Valade's Cubic Units

dissolved into the landscape. Enjoy this show for Rezansoff's distinct markmaking style, which seems so immediate in this medium. Copper etchings are the perfect mode for translating this bizarre unnatural vision of nature from the artist's hand to paper. Mathieu Valade's vision of our world forms an equally surreal environment through the works featured in his Cubic Units exhibition. Valade questions our relationships with brands and their effect on our thinking in his video, "Logotomy," (2011). Logos of sports teams, corporations, health food brands and religious

and chemical warning symbols appear on the screen one at a time, morphing seamlessly into each other. Making an argument for their interchangeability and their oppressive ubiquity, these symbols can either be accompanied by Gregorian chants or cheesy Kenny G-like jazz via two sets of headphones. Although this is not a particularly provocative work —there is no complex critical discourse here—there is something to be said for finding a way into observing patterns across institutional symbology through playfulness. Startling art installation mischief, which is complementary to "Logotomy,"

can be found in the show's namesake piece. Innocuous-looking mirrored cubes cover one-third of the exhibition space, appearing to be quietly at home sitting on the grey floor and projecting reflected light onto grey walls and ceiling. Without warning, the diamond-shaped reflections abruptly disappear as the cubes reveal hockey puck-sized internal lights. The whole floor seems to vibrate and the cubes sound like a garburator chorus as they slowly migrate in no particular direction. Sometimes this occurrence goes on for a fraction of a second, sometimes much longer, but each time it ends as suddenly as it started, like nothing ever happened. This work, too, adds a bit of disorder to the sanctity of the exhibition space and to the tidy and clean cubic forms. Like his video work, Valade terrorizes the easily understood and mischievously jars his viewing audience out of their comfort zone. The artist is clearly adept at being disruptive, and I look forward to seeing what kinds of mischief Valade can get into with more complex and nuanced conceptual content. V Until Sat, Apr 2 Cubic Units Works by Mathieu Valade New Prints Works by Lisa Rezansoff Lisa Rezansoff artist talk: Thu, Mar 24 (7 PM) Latitude 53 Contemporary Visual Culture (10248 - 106 ST)

VUEWEEKLY // MAR 10 – MAR 16, 2011

PAUL BLINOV // PAUL@vueweekly.com

Roller Grrrls / Sat, Mar 12 It's a fundraiser-turned-grudgematch: Northern Light Theatre's recruited some of its favourite ladies—among them Alberta Party leader Sue Huff— strapped rollerskates to their feet, padding to their damageable parts, and are sending them into a roller derby brawl with the E-Ville Secret Agents, a Canada-renowned team. The trash talk is already flying online. This one's gonna get ugly. (Kingsway Air Hangar [1140 Kingsway Ave], $20)

Thread / Wed, Mar 16 (8 pm) It's just been announced that Margie Gillis, 57-year-old Canadian dancer extraordinaire, is receiving the Governor General Award for Lifetime Achievement. She's been called a "living legend" and Thread, her latest creation, looks back on the life that's brought her such acclaim, or, as her press release puts it, "the evolution of a single strand as it grows into textiles, fabrics, patterns—a metaphor for aging, humanity and personal connection." (Arden Theatre, St Albert, $15 – $25)

ARTS // 15

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

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CAFÉ HAVEN Âœ K`]jogg\ HYjc$ 1 Kagmp J\ Âœ

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LIGHT OF PEACE PERFORMING ARTS SOCIETY œ

KIWANIS GALLERYďż˝Red Deer Âœ J]\ <]]j DaZjYjq Âœ

GALLERY AT MILNER œ KlYfd]q 9& Eadf]j DaZjYjq EYaf >d$ Kaj Oafklgf ;`mj[`add Ki œ /0(&1,,&-+0+ œ 9jlogjck Zq l`] 9dZ]jlY K[mdhlgjk 9kkg[aYlagf œ Until Mar 30

ART FROM THE STREETSďż˝Red Deer Âœ ,1+-%-)

ART GALLERY OF ALBERTA (AGA) œ * Kaj Oafklgf

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ALBERTA CRAFT COUNCIL GALLERY œ )()0.%)(.

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HARRISďż˝WARKE GALLERYďż˝Red Deer Âœ Kmfogjck

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HUB ON ROSS ART GALLERYďż˝Red Deer Âœ

THE FLOWER’S BEAUTY2 9jlogjck Zq CYl`d]]f Hgdkgf œ Until May 1

LATITUDE 53 œ )(*,0%)(. Kl œ /0(&,*+&-+-+ œ Main Gallery2 9jlogjck Zq EYl`a]m NYdY\] œ Until Apr 2

:jgY\eggj :dn\$ K`]jogg\ HYjc œ /0(&1**&.+*, œ BACK YARDS, BACK ALLEYS AND OUT BACK2 9jlogjck Zq =dYaf] Lo]]\q$ KgfbY EYjafgkc]$ 9m\j]q Bgk]h`kgf$ Yf\ :YjZYjY ;Yjd]%Cgo]d]okca$ e]eZ]jk g^ l`] 9jl Kg[a]lq g^ KljYl`[gfY ;gmflq œ Until May 8

MCMULLEN GALLERY œ M g^ 9 @gkhalYd$ 0,,(%))*

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MCPAG–Stony Plain Âœ -,))%-) Kl$ Klgfq HdYaf Âœ /0(&1.+&11+- Âœ HYjcdYf\ ;gmflq 9jl ;gdd][lagf3 Mar 18Apr 123 gh]faf_ j][]hlagf2 Kmf$ Mar 20 MICHIF CULTURAL AND MÉTIS RESOURCE

INSTITUTE œ 1 Eakkagf 9n]$ Kl 9dZ]jl œ /0(&.-)&0)/. œ 9Zgja_afYd N]l]jYfk <akhdYq œ ?a^l K`gh œ >af_]j o]Ynaf_ Yf\ kYk` \akhdYq Zq ;]dafY Dgq]j œ Ongoing MILDWOOD GALLERY œ ,*.$ ..--%)/0 Kl œ E]d @]Yl`$ BgYf @]Yd]q$ >jYf @]Yl`$ DYjjYaf] GZ]j_$ L]jjq C]`g]$ <Yjd]f] 9\Yek$ KYf\q ;jgkk Yf\ Na[lgjaY$ Hgll]jq Zq FYZgjg CmZg Yf\ Na[lgj @Yjjakgf œ Ongoing

MULTICULTURAL CENTRE PUBLIC ART GALLERY (MCPAG) œ -,))%-) Kl$ Klgfq HdYaf œ

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MUSÉE HÉRITAGE MUSEUMďż˝ST ALBERT Âœ - Kl

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ROSIE’S BAR œ )(,/-%0( 9n] œ Klgjq ;Y^…2 L`] )kl L`m g^ l`] egfl` mflad Bmf3 /%1he œ .

STANLEY A. MILNER LIBRARY œ / Kaj Oafklgf

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UNTITLED BOOKSHOP œ )(-). O`ql] 9n] ZYk]el

PETER ROBERTSON GALLERY œ )*+(, BYkh]j 9n] œ

UPPER CRUST CAFÉ Âœ )(1(1%0. 9n] Âœ /0(&,**&0)/,

/0(&,--&/,/1 œ ?AMK=HH= 9D:A2 * Q=9JK œ Until Mar 16

PICTURE THIS GALLERY œ 1-1 Gj\r] J\$ K`]jogg\

JEFF ALLEN GALLERY œ KljYl`[gfY HdY[] K]fagj

RED DEER MUSEUM œ ,-*-%,/9 9n]$ J]\ <]]j œ

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/0(&,-+&1)(( Âœ Wild Alberta GalleryÂşWILD BY NATURE2 =n]jq KYl Yf\ Kmf$ ))Ye Yf\ *he Âœ ILLEGAL KILLER TRADE; until May 1 Âœ HEART AND SOUL2 Im]Z][ ^gdc Yjl3 until May 8 Âœ BETTER CHOOSE ME2 ;gdd][laf_ Yf\ ;j]Ylaf_ oal` LgZY[[g >YZja[ Fgn]dla]k3 Until May 1

SCOTIA PLACE Âœ )((.( BYkh]j 9n] Âœ OUTSIDE IN THE LANDSCAPE: 9dZ]jlY Gad HYafl]jk Âœ Until Apr 23 SCOTT GALLERY )(,))%)*, Kl Âœ /0(&,00&+.)1 Âœ k[gll_Ydd]jq&[ge Âœ MAKING THE PAST PRESENT: 9jlogjck Zq D]kda] Hggd] Âœ Until Mar 22 SHADES OF GREY TATTOO GALLERY Âœ )(,,,%0* 9n]$ *f\ >d Âœ /0(&/-.&((+, Âœ VELVETVISION: K[a%Ç$ `gjjgj$ [gea[ hgjljYalk gf ZdY[c n]dn]l Zq :jm[] O`al] Âœ Until Mar 18

SIDESHOW GALLERY œ 1.(1%0* 9n] œ /0(&,++&),+(

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VAAA GALLERY Âœ +j\ >d$ )(*)-%))* Kl Âœ /0(&,*)&)/+) Âœ Gallery A: ACCUMULATED PERCEPTION: 9jlogjck Zq JgZ]jl <eqljmc Âœ Gallery B: THE NATURE OF WATER: 9jlogjck Zq CYl`jqf EYfjq Âœ Until Mar 26 Âœ J]n]Yd Qgmj Aff]j ÂźPÂż2 >j]] Yjl ogjc`gh d]\ Zq K`Yjgf Eggj]%>gkl]j Yf\ ;`jak O& ;Yjkgf3 KYl$ Mar 12$ )%+he af Yfla[ahYlagf ^gj X Position ]p`aZalagf'^mf\jYak]j Yl l`] ?Ydd]jq EYj +)%9hj *)!

VELVET OLIVE LOUNGEďż˝Red Deer Âœ ,1*,%-( Kl$ J]\ <]]j Âœ ,(+&+,(&0*00 Âœ 9jlogjck Zq Kcq Kl]n]fk Âœ Through Mar

LITERARY ART GALLERY OF ALBERTA (AGA) œ D]\[gj L`]Ylj]$ dgo]j d]n]d œ Water For Life: T.A.L.E.S. Ogjd\ klgjql]ddaf_ []d]ZjYlagf œ Kmf$ Mar 20$ *%+2+(he œ )( Y\mdl!' - [`ad\!'^j]] mf\]j , qjk!' *( ^Yeada]k! Yl /0(&1+*&,,(1$ \ggj AUDREYS BOOKS œ )(/(* BYkh]j 9n] œ /0(&,*+&+,0/ œ

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VUEWEEKLY // MAR 10 – MAR 16, 2011

CANADIAN LITERATURE CENTRE œ Timms Centre$ M g^ 93 Yml`gj 9ffYZ]d Dqgf d][lmj]k ^gj l`] -l` 9ffmYd @]fjq Cj]ak]d E]egjaYd D][lmj]3 Mar 14$ /2+(he3 ^j]] œ Student Lounge$ Gd\ 9jlk :d\_3 Brown Bag Lunch oal` Yml`gj$ Dak] ?YZgmjq%<aYddg3 O]\$ Mar 16$ fggf

/0(&,+*&(*,( œ RECENT BLOCK PRINTS: LY\]mkr OYj% kqfkca œ Through Mar

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JOHNSON GALLERY œ Southside2 //))%0- Kl3 /0(&,.-&.)/)2 LINES FROM MY HEART2 9jl Yf\ hg]ljq

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KdYe2 *f\ O]\ ]Y[` egfl`

NAESS GALLERYďż˝Paint Spot Âœ )((+*%0) 9n] Âœ

ROYAL ALBERTA MUSEUM œ )*0,-%)(* 9n] œ

16 // ARTS

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JURASSIC FOREST/LEARNING CENTRE œ )- eafk F

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FILM

COMMENT >> DVD

FILM // HORROR

Howl at the moon

Crazy in love

Josef Braun

The first sequence of Luchino Visconti's tures the English version too, titled The Senso (1954) unravels like a long bolt Wanton Countess—with dialogue by of silk let loose from the vertiginous Tennessee Williams and Paul Bowles— upper balconies of Venice's Teatro La as a supplementary feature.) Fenice. A performance of Verdi's Il trovatore is underway, the aria climaxing Yet, with all due respect to the story with a near-riot breaking out amongst and performances, the most dynamic the Fenice's patrons. It's 1866, the aspect of Senso would arguably Italians are getting restless, be its décors. Desire is the unthe Austrian occupation in its doing of Livia, but it's money twilight. The War of Liberathat poisons Franz—but tion is eminent. Nonetheless om how could he not succumb .c ly k e vuewe a romance ignites between to avarice when surrounded ctive@ dvddete the Italian Countess Livia by such boundless luxury? Josef Serpieri (Alida Valli) and the Fabulous fabrics are endlessly Braun flowing Austrian Lieutenant Franz Mahlacross the screen like a er (Farley Granger). You'll note that current of punch-drunk longing made their first exchanges are made with the tactile: veils, capes, bedclothes, night opera being performed literally in the gowns, curtains, skirts that could probackground of their two-shot, and it's vide shelter to entire families of very no accident. Visconti, scion of wealthy short people. The sets, the clothes, the aristocrats with centuries of rule behind furniture, the battlefields, the extras, them, conflicted Communist, by then those perfect patterns of grime on the already a pretty major name in theatre doors of the Austrian officer's dormiand opera as well as cinema, unshaktory: Visconti's urge toward grandeur able in his vision and not to be rushed or spared no expense. In fact, production compromised, uses this first sequence ran three times longer than scheduled, to lay the groundwork for what will be went through three cinematographers an absolute, go-for-broke, multilingual (the first, Aldo Graziati, died), and fimelodrama. So get ready. nally bankrupted Lux Films. But watch The 1882 source novella by Camillo how the look of everything in the film is Boito, also entitled Senso, has Livia what tells the story, from the morbid elyoung, vain and inexperienced, but Visegance and rich colours of Venice, to the conti's interpretation very smartly opts final scenes in Verona, which looks like to make her older and more complex a sooty smudge, barren, used up, shadthan Franz, with more to lose, and the owy and blackened as an abandoned brilliantly cast Valli, who was in fact fireplace. It strikes me as apt that this four years older than Granger, actually story, which could be regarded as someseems over the course of the picture to thing of an adult, corrupted version of look increasingly wrung dry by l'amour Romeo and Juliet, draws to its close in fou. Her naked shoulders, loose, waistthe very city where Shakespeare's belength hair and kittenish gaze in the earloved teenage tragedy took place. More ly post-coital scene brim with fortifying apt still that Visconti's assistant director eroticism, while the final scenes find her was none other Franco Zeffirelli (and if face strained and body seemingly unable Granger's memoir, excerpted in Criteto stay erect. Valli was still fresh from rion's package, is to be trusted, Zeffirelli The Third Man (1949), as was Granger was also Visconti's lover at the time), from Strangers on a Train (1950), so who would go on to helm the cinema's Senso was indeed something of a starmost celebrated version of Romeo and studded affair. Granger is even seductive Juliet (1968). But then everything about at points, though the Italian version's Senso, maybe even the film's failure to isn't his voice, which makes an enormous find international success, seems to condifference. (Criterion's new edition feaform to the dictates of destiny. V

An American Werewolf in London essential '80s horror-comedy // josef@vueweekly.com

T

he 1980s were strange years for horror—strange and deliriously productive. The production code was a distant memory, boundaries of taste had already been pushed past their breaking point, the home-video market exploded. The inevitable result was the transformation of carnage into camp. Whether intentionally or otherwise, horror always lent itself to humour, its premises so often silly in the cold light of day. Hysterical fear all too easily collapses into hysterical laughter. The dismal side of this was that by the '80s audiences were frequently encouraged to take distance from rather than become absorbed by the stories, to stay on the bloodsmeared surface. Why surrender to the terror onscreen when you can smugly look down on the terrorized— the victims are so dumb!—and admire the nifty special effects? But with the remake industry now gobbling up rights to '80s titles, it's incumbent upon all those who cherish the genre to reconsider the originals, so thank you, Metro Cinema, for facilitating the process by screening the period's truly essential titles in a 35mm print. The new comedy-horror equation was apparently still in its infancy when An American Werewolf in London (1981) debuted. Critics at the time felt the film couldn't make up its mind about its tone. This seems more of a facile slight to writer/director John Landis than a genuine assessment: following Animal House (1978) and The Blues Brothers (1980) Landis' earnestness with regards to the genre may have been in doubt. Yet this film feels lovingly invested in werewolf mythology and the gravity of its protagonist's dilemma. The humour emerges naturally out of the situations and doesn't diminish the desired level of discomfort ... even if the use of every popular song with "moon" in the title feels awkward and ham-fisted in its dopey irony.

Senso's décor speaks its melodrama

DVCD TIVE

DETE

Just a flesh wound

Here's what I find most appealing about American Werewolf in London: it's a story about friendship (and its limits). Two horny, likable, ordinary young American guys in puffy coats backpacking through Northern England stray too far from the road and onto the foggy moors. They fall victim to the local lycanthrope. One dies, one lives. The survivor (David Naughton, very likely born with that look of libidinous mischief) is taken to London, taken home by a hot nurse (Jenny Agutter, the teenaged girl left in the outback to swim naked with David Gulpilil in Walkabout [1971]), and encounters some unnerving post-traumatic side effects once the full moon rises. The dead friend (Griffin Dunne), lacerated flesh now growing putrid, pays regular visits. He's stuck wandering the earth until the final trace of his werewolf-killer has been extinguished, so he asks his best pal to suicide, and get

it over with. There are some captivating dream sequences. Dunne is terrific as the dead friend with deadpan humour. "Ever talked to a corpse?" he asks. "It's boring!" And the legendary transformation scene is hideous and completely fixating, like three years worth of puberty unfolding over just three minutes, and you can't take your eyes off of it, a testament to the allure of well-made (by multiple-Oscar winner Rick Baker), tactile rubbery effects over blandly smooth CGI—now there's something that deserves to be rediscovered. V Fri, Mar 11 (7 pm & 9 pm) An American Werewolf in London Written and directed by John Landis Starring David Naughton, Griffin Dunne, Jenny Agutter Metro Cinema (9828 - 101A ave)

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VUEWEEKLY // MAR 10 – MAR 16, 2011

FILM // 17

Dogtooth

pool to play in ... and that's it. Like the little girls in Samira Makhmalbaf's The Apple—except doubled in age and with no access whatsoever to any external human perspective—the kids have never

Sat, Mar 12 – Mon, Mar 14 (7 pm & 9 pm) Directed by Yorgos Lanthimos Written by Lanthimos, Efthymis Filippou Starring Aggeliki Papoulia, Christos Stergioglou Metro Cinema (9828 - 101A Ave)

They've never seen TV or telephones. They believe Frank Sinatra is their grandfather, his lyrics extolling the virtues of family. So in their world there's no reason why "sea" can't mean a leather armchair.

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It's often noted that even in our imagesaturated world language remains the dominant source of control and coherence. Few recent movies convey this idea more compellingly than director/cowriter Yorgos Lanthimos' Dogtooth, the year's most delightfully unlikely Oscar nomination. (It lost.) Its earliest scenes depict a trio of adult children receiving a vocabulary lesson, though the words taught possess no recognizable correlation to the definitions provided. Meanwhile, their father escorts a blindfolded woman to the family's compound somewhere in rural Greece for the purpose of providing his son with

fictional documentary about a perverse (anti)social experiment toward a belated coming-of-age adventure akin to the allegory of the cave, the family dynamic shifts from alienating to identifiable: ev-

The strangest birthday celebration of all

sexual release. We're never told how father and concubine came to their agreement—throughout Dogtooth Lanthimos, dutifully anthropological in his approach, avoids context or exposition in favour of observable action— but we're left to wonder if father's choice was subliminally prompted by the word emblazoned on the young

woman's uniform: SECURITY. Security is father's singular obsession. He's usually devoted to protecting his children from "bad influences." He and his wife have constructed what they surely regard a paradise for their offspring: a spacious home with ample food, clean clothes, a nice garden and swimming

set foot outside their home. They've never seen TV or telephones. They believe Frank Sinatra is their grandfather, his lyrics extolling the virtues of family. So in their world there's no reason why "sea" can't mean a leather armchair. Just as sex is a persistent foil in the curation of the children's maturity, violence creeps into Dogtooth with inevitability and bracing humour. As the story subtly shifts from something akin to a

erything in Dogtooth makes an eerie kind of sense, though that eeriness is offset by some of the funniest sequences in any movie currently on offer. See it. (If you're allowed to leave the house.) Josef Braun

// josef@vueweekly.com

A more in-depth review of Dogtooth appeared in the February 17 issue of Vue Weekly. Read it online at bit.ly/vuedogtooth

Rango

Now playing Directed by Gore Verbinski Written by Verbinski, James Ward Byrkit, John Logan Starring Johnny Depp, Isla Fisher, Ned Beatty

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Animation, especially in these post-Pixar days of its resurgence, reminds us what film should do so well—indulge the eye, spoiling it with visual detail. Rango is the kind of computer animation that lingers so exquisitely on the little things: the scratch of claws on a glass bottle, the swirl of sand off the tops of dunes, the sidling shake of a rattlesnake, the texture of an owl's plumage, the oddly endearing little pupil at the pinhole-heart of a chameleon's rotating, bulbous eye. That chameleon (voiced by Johnny Depp) is our aspiring hero. He's launched out of his lonely, semi-delusional universe (he acts the hero in one-man plays in his aquarium) when his little glass world flies out his owner's car window onto the highway, sending him off into the desert and into the small, parched town of Dirt. He's soon made the sheriff, protecting the town bank's myste-

Beastly Now playing Directed by Daniel Barnz Written by Barnz, Alex Flinn Starring Vanessa Hudgens, Alex Pettyfer, Mary-Kate Olsen



It may seem a backhanded compliment, but Beastly isn't nearly as hideous or immature as you might expect of an updated fairy-tale set amongst slick NYC high-schoolers and advertising one teen idol, one beefcake and one former teen idol to its target market. At a ball, after Lindy (Vanessa Hudgens) momentarily sees through the self-absorbed, vain mask of Kyle (Alex Pettyfer), the witchy Kendra (Mary-Kate Olsen) curses Kyle into looking ugly after he purposely humiliates

18 // FILM

There's a new sheriff in Dirt

riously dwindling supply of water. The story's self-conscious, meta-genre frame—including a Mariachi chorus, a Don Quixote-like armadillo, and a cameo appearance from a famous Hollywoodwestern actor as the Spirit of the West— is a little precious and insider-ish. But Rango's early, Looney Tunes-like fleeing through the desert from a huge hawk is a delight. The romance, between Rango and Beans (voiced by Isla Fisher), an iguana who occasionally lapses into a dormant defense-mechanism, is sweetly underplayed. And Rango's Coen-like moments

her. Only an "I love you" from a girl within a year will lift the curse. Based on Alex Flinn's 2007 novel-take on Beauty and the Beast, the movie does have our modern-day beast show the depth of his social stigma by deactivating his social-network account and his belle realizing who he is thanks to a ringing cellphone. But some snappy pacing and hints of pain throbbing beneath the cool sarcasm of teens manage to push much of Beastly past its skin-deep pandering to a teen demographic. The pandering's in the soundtrack—an emo song or pop ballad overscore any glimmer of romance. And when the fairytale bubble (mostly in the townhouse that Kyle's news anchor father has exiled him to) is burst to let in some real life, especially in a back-alley scene of a crime, the movie

VUEWEEKLY // MAR 10 – MAR 16, 2011

of hyper-erudition and its eccentric, grizzled characters (snaggle-toothed desert varmints, especially a cactus mouse and a mole rat) make for a rollicking escapade. There are some moments of quiet beauty, too: a story etched out in the night sky by a burning stick; the shadow of clouds passing over cracked earth. Not to mention the rip-roaring, bat-manned chase scene (complete with Apocalypse Now reference) and the last act revealing this creature-feature's sly criticism of our unnatural way of life. Brian Gibson

// brian@vueweekly.com

gets shaky. Kyle's two housemates—a Jamaican immigrant housekeeper and a blind tutor (Neil Patrick Harris)—end up seeming like social-realist and comic-relief sidekicks, respectively. But the story moves along briskly while suggesting the breezy narcissism of a strutting, self-styling, tele-communicating high-school world. It traces some of the emotional scars that Kyle and others are masking with their "whatever" aloofness and "too cool for this" sarcasm. Beastly never does fill out Kyle's character, though— he's even inexplicably romance-disabled, perhaps to justify the movie stepping in to offer visual clichés: a rose garden, a lakeside sunset, a kiss in front of the whole school. This 21st-century fairy tale doesn't wilt, but it's not quite refreshed, either. Brian Gibson

// brian@vueweekly.com

The Way Back

The Adjustment Bureau





Opening Friday Directed by Peter Weir Written by Weir, Keith Clarke Starring Jim Sturges, Ed Harris, Colin Farrell

. A prison-break movie in which nature itself constitutes the vast penitentiary, this adaptation of Slawomir Rawicz's The Long Walk returns Australian director Peter Weir to the terrain in which he's most comfortable, that of sheer survival and self-reliance. Set in 1941, The Way Back follows a group of Gulag escapees as they journey 4000 miles on foot to freedom in India. Jim Sturges (star of the recent UK/Canada co-pro Fifty Dead Men Walking) is the young yet capable leader, Colin Farrell the murderous brute with a muchneeded tool, Ed Harris the stoic American whose inner resources seem carved into his cold stare. Unlike Rawicz's, Weir's title promises a destination, yet the journey itself remains central to the film's power, its lasting impressions deriving primarily from images of unfathomably exhausted bodies staggering across seemingly endless landscapes like semi-mummified pilgrims, of the small victories of finding food and shelter, of desperate invention (anti-frost masks made from tree bark; roots worn around the neck to ward off Siberian mosquitoes), of starve-crazed hallucinations (a very Weiry touch), and of the blisters and chapped skin that transform the topography of Harris' wizened face.

It's a man's man's man's world, until suddenly it isn't. Somewhere along the groups' trajectory a teenage girl (The Lovely Bones' Saoise Ronan) is reluctantly taken into the fold. Slowly she loosens the unspoken rule of macho taciturnity and individual background stories begin to emerge, some of which feel rather of a type, others more sui generis. The verity

The Way Back's tough going, yet it would surely seem half-assed otherwise. of Rawicz's book has long been disputed, but the film's semi-fictionalized take feels truthful above all in the gradual deepening of its characters, as well as the arduous commitment to conveying grueling hardship. This last item is as much a warning as an accolade. The Way Back's tough going, yet it would surely seem half-assed otherwise. If anything you can imagine it as tougher still, even perversely so, the story reading as raw material for the likes of Werner Herzog, Michael Haneke or Bela Tarr as much as Weir. josef Braun

// josef@vueweekly.com

See the February 24 issue of Vue Weekly for our interview with Peter Weir, or go to bit.ly/vuethewayback

Now playing Directed by George Nolfi Written by Nolfi, Philip K. Dick Starring Matt Damon, Emily Blunt, Anthony Mackie

The Adjustment Bureau is a romantic thriller, but the romance isn't heartstringpulling and the thrills aren't whiz-bang. Instead, George Nolfi's film usually manages a rather remarkable feat: sending us on a headlong pursuit of life's meaning, even as the banal everydayness of real life closes in on one side and the anything-goes magic of science fiction closes in on the other. David Norris (Matt Damon) is running for New York Senate when he runs into Elise (Emily Blunt), a dancer. They fall for each other but are separated by fate, literally, when David discovers that trenchcoat-andfedora-wearing adjusters from a life-overseeing bureau rig many of the little mishaps and run-ins in our lives.

Running from their fates

become portals for the adjusters as they try to shortcircuit David's pursuit of Elise. Shots of imposing buildings, grand foyers and a vast archive contain the film's collision of existential ideas: a cruel God versus benevolent guardian-angel; self-sabotage as not only cheating your potential but cheating fate; free will as an ideal to aspire to—incentive to realize our democratic potential, our people's power. There is a certain abstract quality to The Adjustment Bureau overall, a sense that

it's too cerebral and not quite down-anddirty enough, as though Descartes tried to write Inception. And the ending's a bit anti-climactic. But there's also something really refreshing about a film that doesn't try to dumb-down or pump-up or be anything more, really, than a thrilling quest for answers to some questions that have been bending our little human minds, and lives, for millennia. Brian Gibson

// brian@vueweekly.com

Based on a Philip K Dick story, the movie could have stumbled between Sliding Doors and The Truman Show. But the spark between David and Elise (Blunt plays her with a charming cheekiness) grounds the film's premise in a sudden romance that's further electrified by the charge of philosophical suspense. Here, the map of one's life—unfolding on a bureaucratic fate-adjuster's notebook through animated diagrams—is mirrored by Elise's improvisational, flowing dances and by a street-level New York where doors

VUEWEEKLY // MAR 10 – MAR 16, 2011

FILM // 19

Still Showing FILM WEEKLY Carlos 

FRI, MAR 11, 2011 – THU, MAR 17, 2011

s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

RED RIDING HOOD (PG violence, frightening

scenes) FRI�SAT 7:00, 9:00; SUN�THU 8:00

HALL PASS (14A nudity, crude sexual content,

substance abuse) FRI�SAT 7:00, 9:00; SUN�THU 8:00

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

TANNU WEDS MANNU (PG) Hindi W/E.S.T.

DAILY 5:00

Princess Theatre (10337 - 82 Ave) Olivier Assayas' epic biopic—at twoplus hours—is surprisingly fleet-footed in carefully tracking the evolution, or rather devolution, of revolutionist Carlos the Jackal through his politically active years.

Incendies 

COUNTRY STRONG (PG substance abuse, coarse language) DAILY 9:10

I AM NUMBER FOUR (PG frightening scenes, not

7:55; MON�TUE 1:15, 4:10, 6:45; WED�THU 1:15, 4:10

RANGO (PG) No passes DAILY 1:10, 4:10, 7:00, 9:50 BEASTLY (PG) DAILY 2:10, 4:50, 8:00, 10:15 THE ADJUSTMENT BUREAU (PG coarse language)

DAILY 1:30, 4:20, 7:10, 10:00

DRIVE ANGRY (18A gory brutal violence, sexual con-

9828-101A Ave, Citadel Theatre, 780.425.9212

AN AMERICAN WEREWOLF IN LONDON (R gruesome scenes) FRI 7:00, 9:00

DOGTOOTH (R) SAT SUN MON 7:00, 9:00 FLEX ON THE BEACH (STC) THU 7:00 ==

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

RED RIDING HOOD (PG violence, frightening scenes) DAILY 6:45, 9:05; FRI�SUN, TUE 12:45, 3:05

BATTLE LOS ANGELES (14A violence) DAILY 6:55,

9:25; FRI�SUN, TUE 12:55, 3:25

MARS NEEDS MOMS (PG) DAILY 7:10, 9:10; FRI�

SUN, TUE 1:10, 3:10

2:05

THE ADJUSTMENT BUREAU (PG coarse language) DAILY 7:15, 9:15; SAT�SUN, TUE 1:15, 3:15

12:00, 2:40, 5:25, 8:10, 10:50; SUN 12:00, 2:30, 5:00, 7:30, 10:00; MON�THU 1:00, 4:00, 6:40, 9:20

JUST GO WITH IT (PG crude content) DAILY

HALL PASS (14A nudity, crude sexual content,

GNOMEO AND JULIET 3D (G) Digital 3d FRI�SUN

THE KING'S SPEECH (PG language may offend)

substance abuse) FRI�SAT 10:50; SUN 10:25; MON� THU 9:15

Digital Cinema: DAILY 12:50, 3:40, 6:40, 9:30; Ultraavx: DAILY 2:00, 5:00, 7:50, 10:30

MARS NEEDS MOMS (PG) DAILY 6:50, 9:00;

METRO CINEMA

9:20

TANGLED 3D (G) Digital 3d DAILY 1:30, 4:20,

BATTLE LOS ANGELES (14A violence) No passes

6601-48 Ave, Camrose, 780.608.2144

guage) SAT�SUN 1:00, 3:30; DAILY 7:00, 9:30

RANGO (PG) DAILY 7:05 9:20; FRI�SUN, TUE

1:30, 3:35, 5:40, 7:45, 9:50; MON�THU 1:30, 3:35, 7:30, 9:30

14231-137 Ave, 780.732.2236

DUGGAN CINEMA�CAMROSE

THE ADJUSTMENT BUREAU (PG coarse lan-

RED RIDING HOOD (PG violence, frightening scenes) DAILY 6:55 9:15; FRI�SUN, TUE 1:55

CHRONICLES OF NARNIA�VOYAGE OF THE DAWN TREADER (PG frightening scenes)

CINEPLEX ODEON NORTH

BATTLE LOS ANGELES (14A violence) Digital Presentation, No passes FRI 3:50, 6:40, 9:30; SAT� SUN 1:00, 3:50, 6:40, 9:30; MON�THU 5:10, 8:00

RANGO (PG) SAT�SUN 12:55, 3:20; DAILY 6:55, 9:20

JUST GO WITH IT (PG crude content) DAILY 7:05,

JUST GO WITH IT (PG crude content) FRI�SAT

6:30, 9:20

MARS NEEDS MOMS 3D (PG) Digital 3d FRI 4:40, 7:00, 9:15; SAT�SUN 2:10, 4:40, 7:00, 9:15; MON�THU 5:00, 7:45

BATTLE LOS ANGELES (14A violence) DAILY 7:05,

9:35; SAT�SUN 1:05, 3:35

RANGO (PG) DAILY 7:00, 9:00; FRI�SUN, TUE 1:00,

YOGI BEAR 3D (G) Digital 3d DAILY 1:00, 3:30,

INSIDE JOB (PG language may offend) DAILY

THE ADJUSTMENT BUREAU (PG coarse lan-

SAT�SUN 1:10, 3:15

GNOMEO AND JULIET (G) FRI�SUN, TUE 1:05, 3:20

UNKNOWN (14A violence) FRI�SAT 12:15, 2:45, 5:10, 7:45, 10:15; SUN 12:15, 7:15, 10:15; MON�THU 1:35, 4:10, 6:45, 9:30

MEGAMIND (G) DAILY 1:15, 3:40

4:00, 6:30, 9:10; MON�THU 5:20, 8:10

Leduc, 780.352.3922

MARS NEEDS MOMS (PG) DAILY 7:10, 9:15;

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LITTLE FOCKERS (PG crude sexual content, not recommended for young children) DAILY 1:40, 4:30, 7:15, 9:45

not recommended for young children) DAILY 1:10, 4:45, 7:50

RANGO (PG) FRI 4:00, 6:30, 9:10; SAT�SUN 1:20,

LEDUC CINEMAS

BATTLE LOS ANGELES (14A violence) DAILY

6:30

scenes) Digital Cinema, No passes FRI�TUE, THU 1:45, 4:45, 7:40, 10:10; WED 4:45, 7:40, 10:10; Star & Strollers Screening: WED 1:00

CEDAR RAPIDS (14A crude coarse language,

THE KING'S SPEECH (PG language may offend)

FRI�SAT 12:15, 2:50, 5:20, 8:00, 10:35; SUN 1:00, 3:45, 7:05, 10:00; MON�THU 1:25, 4:30, 7:10, 9:50

BLACK SWAN (14A sexual content, disturbing con-

6:45 9:10; FRI�SUN, TUE 1:45

9:25

DAILY 7:00; FRI�SUN, TUE 2:00

EDMONTON FILM SOCIETY Royal Alberta Museum, 102 Ave, 128 St, royalalbertamuseum.ca/events/movies/movies.cfm

REBECCA (G) MON 8:00 GALAXY�SHERWOOD PARK

NATIONAL THEATRE LIVE: FRANKENSTEIN CITY CENTRE 9 10200-102 Ave, 780.421.7020

THE ADJUSTMENT BUREAU (PG coarse

recommended for young children) DAILY 6:45, 9:15; SAT�SUN 2:00

CARLOS (14A violence, nudity) DAILY 6:30; SAT�SUN

1:00

RED RIDING HOOD (PG violence, frightening

passes FRI 4:40, 7:15, 9:35; SAT�SUN 11:45, 2:15, 4:40, 7:15, 9:35; MON�THU 7:15, 9:35

(Classification not available) THU 8:00

10337-82 Ave, 780.433.0728

THE WAY BACK (PG coarse language, not

MARS NEEDS MOMS (PG) Digital 3d, No

THE METROPOLITAN OPERA: NIXON IN CHINA ENCORE (Classification not available) SAT

available) SUN 3:00

PRINCESS

THE FIGHTER (14A coarse language, substance abuse) DAILY 9:30; SAT�SUN 4:00

2020 Sherwood Dr, Sherwood Park 780-416-0150

passes FRI 4:15, 7:20, 10:15; SAT�SUN 1:30, 4:15, 7:20, 10:15; MON�THU 7:05, 10:00

L.A. PHILHARMONIC LIVE: DUDAMEL CONDUCTS TCHAIKOVSKY (Classification not

substance abuse) DAILY 6:50, 9:30; FRI�SUN, TUE 12:50, 3:30

BATTLE LOS ANGELES (14A violence) No

tent, not recommended for children) FRI, SUN 12:00, 2:45, 5:15, 7:50, 10:20; SAT 2:45, 5:15, 7:50, 10:20; MON�WED 1:55, 4:30, 7:00, 9:25; THU 1:55, 4:30, 7:00

11:00

3:00; Movies for Mommies: TUE 1:00

RED RIDING HOOD (PG violence, frightening scenes) No passes FRI 4:00, 6:50, 9:25; SAT�SUN 1:25, 4:00, 6:50, 9:25; MON�THU 6:50, 9:25 RANGO (PG) Digital Cinema, No passes FRI 4:05,

SCOTIABANK THEATRE WEM

WEM, 8882-170 St, 780.444.2400

scenes) 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

BATTLE LOS ANGELES (14A violence) Digital

Cinema, No passes DAILY 12:15, 1:15, 3:30, 4:30, 6:45, 7:30, 9:45, 10:45

7:00, 9:45; SAT�SUN 1:15, 4:05, 7:00, 9:45; MON� THU 7:00, 9:45

MARS NEEDS MOMS�AN IMAX 3D EXPERI� ENCE (PG) No passes DAILY 12:00, 2:30, 4:50, 7:15, 9:45

BEASTLY (PG) FRI 4:35, 7:35, 10:20; SAT�SUN

RANGO (PG) Digital Cinema, No passes DAILY 12:40,

THE ADJUSTMENT BUREAU (PG coarse lan-

BEASTLY (PG) FRI, SUN�TUE, THU 12:20, 2:40, 5:10,

1:50, 4:35, 7:35, 10:20; MON�THU 7:20, 9:40

3:40, 6:40, 9:40

language) Dolby Stereo Digital, No Passes, Stadium Seating DAILY 12:20, 3:30, 7:30, 10:15

guage) FRI 4:20, 7:10, 10:00; SAT�SUN 1:35, 4:20, 7:10, 10:00; MON�THU 7:10, 10:00

7:40, 10:20; SAT 12:20, 3:10, 5:10, 7:40, 10:20; WED 3:00, 5:10, 7:40, 10:20; Star & Strollers Screening: WED 1:00

BATTLE LOS ANGELES (14A violence) Dolby Stereo Digital, Stadium Seating, No Passes DAILY 12:40, 3:40, 7:00, 10:00

HALL PASS (14A nudity, crude sexual content, substance abuse) FRI 4:40, 7:30, 10:10; SAT�SUN 1:45, 4:40, 7:30, 10:10; MON�THU 7:25, 10:05

THE ADJUSTMENT BUREAU (PG coarse language)

RANGO (PG) Dolby Stereo Digital DAILY 1:00, 3:50,

I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) DAILY 9:30

stance abuse) FRI, SUN�THU 1:40, 4:40, 7:50, 10:40; SAT 1:40, 4:40, 7:45, 10:40

6:50, 9:30

DAILY 12:50, 3:50, 6:50, 9:50

HALL PASS (14A nudity, crude sexual content, sub-

RED RIDING HOOD (PG violence, frightening

HALL PASS (14A nudity, crude sexual content, sub-

scenes) Dolby Stereo Digital, No Passes, Stadium Seating DAILY 12:15, 2:50, 5:20, 7:50, 10:25

JUST GO WITH IT (PG crude content) FRI 3:50, 6:55, 9:50; SAT�SUN 1:10, 3:50, 6:55, 9:50; MON� THU 6:55, 9:50

I AM NUMBER FOUR (PG frightening scenes, not recommended for young children) DAILY 12:45, 3:45, 7:45, 10:30

I AM NUMBER FOUR (PG frightening scenes, not

UNKNOWN (14A violence) Stadium Seating, DTS Digital DAILY 12:50, 3:45, 7:10

GNOMEO AND JULIET 3D (G) Digital 3d FRI 4:25, 6:45, 9:20; SAT�SUN 2:00, 4:25, 6:45, 9:20; MON�THU 6:45, 9:20

UNKNOWN (14A violence) Digital Cinema DAILY

THE KING'S SPEECH (PG language may offend) FRI 3:50, 6:45; SAT�SUN 1:00, 3:50, 6:45; MON�THU 6:45

TUE�WED 1:10, 4:10, 7:10, 10:10; MON 1:10, 4:10, 10:10; THU 1:10, 4:05, 10:10

tent) Digital 3d FRI�TUE, THU 10:35; WED 10:40 stance abuse) DAILY 1:20, 4:00, 7:05, 9:45

recommended for young children) FRI�TUE, THU 1:50, 4:40, 7:45, 10:25; WED 4:40, 7:45, 10:25; Star & Strollers Screening: WED 1:00

UNKNOWN (14A violence) DAILY 1:00, 3:45, 6:50, 9:40 JUST GO WITH IT (PG crude content) DAILY 1:40, 4:30, 7:20, 10:20

GNOMEO AND JULIET 3D (G) Digital 3d FRI�TUE, THU 1:20, 3:50, 6:15, 8:30; WED 1:20, 3:50, 9:00

TRUE GRIT (14A violence) FRI�SAT, MON�THU 12:40, 3:20, 6:45, 9:20; SUN 12:40, 6:45, 9:20 THE KING'S SPEECH (PG language may offend) DAILY 12:45, 3:30, 6:30, 9:10

L.A. PHILHARMONIC LIVE: DUDAMEL CON� DUCTS TCHAIKOVSKY (Classification not available) SUN 3:00

THE WIZARD OF OZ (STC) WED 7:00 CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

20 // FILM

stance abuse) FRI�SUN 12:30, 2:55, 5:30, 8:05, 10:30; MON�THU 1:40, 4:10, 7:45, 10:10

recommended for young children) FRI�SAT 12:15, 3:00, 5:30, 8:15, 10:45; SUN 12:10, 2:35, 5:00, 7:40, 10:05; MON�THU 2:30, 5:00, 7:20, 10:00

7:00, 9:35

DRIVE ANGRY (18A gory brutal violence, sexual content) Digital 3d FRI�SUN 9:20; MON�THU 7:50 BEASTLY (PG) FRI 4:20, 6:45, 9:00; SAT�SUN 2:00, 4:20, 6:45, 9:00; MON�THU 5:40, 8:40

RED RIDING HOOD (PG violence, frightening scenes) No passes FRI 4:50, 7:20, 9:50; SAT�SUN 1:45, 4:50, 7:20, 9:50; MON�THU 5:50, 8:30

1:25, 4:40, 7:20, 9:50

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

HALL PASS (14A nudity, crude sexual content, substance abuse) FRI 4:10, 6:55, 9:25; SAT�SUN 1:25, 4:10, 6:55, 9:25; MON�THU 5:15, 8:05

THE ADJUSTMENT BUREAU (PG coarse

JUSTIN BIEBER: NEVER SAY NEVER�DIREC� TOR'S FAN CUT 3D (G) FRI�SUN 12:10, 2:40, 5:20,

GULLIVER’S TRAVELS (PG) DAILY 1:45, 4:15,

not recommended for young children) FRI 4:25, 7:05, 9:40; SAT�SUN 1:30, 4:25, 7:05, 9:40; MON� THU 5:35, 8:20

guage) No passes FRI 4:30, 7:10, 9:45; SAT�SUN 1:40, 4:30, 7:10, 9:45; MON�THU 5:30, 8:25

MON�THU 1:15, 3:20, 5:20, 7:35, 10:10

THE DILEMMA (PG coarse language) DAILY

coarse language, gory scenes) DAILY 2:00, 4:35, 7:10, 9:55

I AM NUMBER FOUR (PG frightening scenes,

BEASTLY (PG) FRI�SUN 12:10, 2:20, 4:30, 7:30, 10:00;

HALL PASS (14A nudity, crude sexual content, sub-

RED RIDING HOOD (PG violence, frightening

Janvier Bardem's powerful performance makes this a deeply-felt, slightly spectral story of a father trying to sort out his life before his time on this planet expires.

12:00, 2:30, 5:00, 7:30, 10:00; MON�THU 1:30, 4:30, 7:15, 9:40

SANCTUM (14A not recommended for children,

DAILY 12:30, 2:45, 5:10, 7:30, 9:55



RANGO (PG) Digital Cinema, No passes FRI�SUN

DRIVE ANGRY (18A gory brutal violence, sexual content) FRI�SAT 10:40; SUN 10:30; MON�THU 9:50

MARS NEEDS MOMS (PG) Digital 3d, No passes

Biutiful

RANGO (PG) No passes FRI�SAT 1:00, 3:30, 6:00, 8:30; SUN 12:30, 3:00, 5:30, 8:00; MON�WED 1:00, 4:00, 6:30; THU 4:00, 6:30; Star & Strollers Screening: THU 1:00

4:10, 7:30, 10:00

DAILY 1:05, 3:50, 6:55, 9:30

Princess Theatre (10337 - 82 Ave) Christian Bale clinched the Best Supporting Actor Oscar for his turn as Dicky Ward, former boxer turned trainer to his up-and-coming brother, and Melissa Leo took home the adjoining Best Supporting Actress trophy for her role as their nails-on-a-chalkboard mother. Alongside Amy Adams and Mark Wahlberg, it's a powderkeg cast.

scenes) No passes FRI, SUN 12:45, 3:10, 5:30, 8:00, 10:15; SAT 12:30, 3:10, 5:30, 8:00, 10:15; MON�WED 1:45, 3:55, 7:25, 9:55; THU 3:55, 7:25, 9:55; Star & Strollers Screening: THU 1:00

THE ROOMMATE (14A violence) DAILY 1:50,

DAILY 1:55, 8:00

9:40



RED RIDING HOOD (PG violence, frightening

THE LION OF PUNJAB (14A) Punjabi W/E.S.T.

6:45, 9:00

The Fighter

passes FRI�SUN 12:30, 2:45, 5:00, 7:15, 9:30; MON�THU 1:15, 3:20, 5:30, 7:40, 9:50

language) FRI�SAT 12:00, 2:20, 4:45, 7:40, 10:10; SUN 12:00, 4:45, 7:40, 10:10; MON�THU 1:20, 3:45, 7:15, 9:45

TRON: LEGACY (PG) DAILY 1:20, 4:00, 6:50,

Garneau Theatre (8712 - 109 St) Denis Villeneuve's adaptation of Wajdi Mouawad's play has all the weight of a melodrama compressed into grounded, real-world horror as two twins search for the father they thought dead and brother they never knew existed.

MARS NEEDS MOMS (PG) Digital 3d, No

BATTLE LOS ANGELES (14A violence) No passes Digital Cinema: FRI�SUN 1:30, 4:15, 7:15, 10:10; MON�THU 2:00, 4:30, 7:30, 10:15; Ultraavx: FRI�SAT 12:00, 2:35, 5:10, 8:00, 10:45; SUN 12:00, 2:35, 5:10, 7:50, 10:25; MON�THU 1:00, 4:00, 7:00, 9:45

BIUTIFUL (14A coarse language, disturbing content, nudity) Stadium Seating, DTS Digital DAILY 9:50

HALL PASS (14A nudity, crude sexual content,

substance abuse) DTS Digital, Stadium Seating FRI� SUN, TUE�THU 12:30, 3:05, 7:15, 10:10; MON 12:30, 3:05, 10:10

THE KING'S SPEECH (PG language may offend) Stadium Seating, DTS Digital FRI�TUE 12:10, 3:00, 6:40, 9:40; WED 12:10, 3:00, 9:40; THU 12:10, 3:00, 6:40 BARNEY'S VERSION (14A coarse language, sexual content, substance abuse) Stadium Seating, DTS Digital, Digital Presentation DAILY 12:00, 3:15, 6:30, 9:45 BEASTLY (PG) DTS Digital, Stadium Seating FRI�

WED 12:05, 2:40, 5:10, 7:40, 10:20; THU 12:05, 2:40, 5:10, 10:20

NATIONAL THEATRE LIVE: FRANKENSTEIN (Classification not available) THU 8:00

CLAREVIEW 10 4211-139 Ave, 780.472.7600

GNOMEO AND JULIET 3D (G) Digital 3d FRI 4:15, 6:35; SAT�SUN 1:50, 4:15, 6:35; MON�THU 4:50

JUST GO WITH IT (PG crude content) FRI 3:55,

6:50, 9:35; SAT�SUN 1:10, 3:55, 6:50, 9:35; MON�THU 5:25, 8:15

VUEWEEKLY // MAR 10 – MAR 16, 2011

GARNEAU

8712-109 St, 780.433.0728

INCENDIES (14A disturbing content, mature

subject matter) DAILY 6:45, 9:15; SAT�SUN 2:00

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

MARS NEEDS MOMS (PG) No passes DAILY 12:45, 2:30, 4:20, 6:05, 7:50, 9:30

RED RIDING HOOD (PG violence, frightening

scenes) No passes DAILY 1:20, 3:20, 5:20, 7:20, 9:20

9:20

JUST GO WITH IT (PG crude content) FRI�SUN,

GNOMEO AND JULIET 3D (G) Digital 3d DAILY 1:30, 4:15, 6:30

THE KING'S SPEECH (PG language may offend) FRI, SUN�TUE 12:30, 3:30, 6:30, 9:30; SAT 3:30, 6:30, 9:30; WED 12:30, 3:30, 9:30; THU 12:30, 3:30, 6:30

THE METROPOLITAN OPERA: NIXON IN CHINA ENCORE (Classification not available) SAT

11:00

NATIONAL THEATRE LIVE: FRANKENSTEIN (Classification not available) THU 8:00

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

BATTLE LOS ANGELES (14A violence) No

MARS NEEDS MOMS (PG) DAILY 7:05, 9:20; SAT�

RANGO (PG) No passes DAILY 1:00, 3:10, 5:10,

BATTLE LOS ANGELES (14A violence) DAILY 6:55,

7:15, 9:15

9:30; SAT�SUN 12:55, 3:30

BEASTLY (PG) DAILY 12:40, 2:20, 4:00, 7:25, 9:25

RANGO (PG) Sat-Sun 1:10, 3:35; DAILY 7:10, 9:35

passes DAILY 1:45, 4:20, 6:50, 9:05

GNOMEO AND JULIET (G) DAILY 5:40

SUN 1:05, 3:20

RED RIDING HOOD (PG violence, frightening scenes) DAILY 7:00, 9:25; SAT�SUN 1:00, 3:25

MUSIC

ON THE RECORD

eden munro // eden@vueweekly.com

Summer songs

Mark Berube discusses the recording of June In Siberia Mark Berube has travelled a long path in the last few years, moving from Vancouver to Montréal, somewhere along the way putting together the Patriotic Few—a group of like-minded musicians who have locked into step with Berube over the course of several recordings and plenty of time on the road. The relationship between Berube and the Patriotic Few has reached a new level on June In Siberia. Recorded live off the floor, it captured a newfound immediacy for Berube. He spoke with Vue recently about the making of the album. VUE WEEKLY: How long did it take to make June In Siberia, from the initial songwriting through to the end of the recording? MARK BERUBE: Around two years. I wrote most of the tunes in my kitchen. I have an acoustic piano at home about five feet from the kitchen table. There were probably about 500 aller-retours between the two, lots of coffee, and I ignored a hell of a lot of phone calls. No Internet allowed either. We recorded and mixed the album in about 11 days, so the days were packed full, but the Canadiens were in the playoffs at that point, so we all took mandatory hockey breaks, then ran into the studio and tracked a few things between periods. We've all become true Montréalers. VW: When you were writing the songs, did you come at them in a particular way? Lyrics first? Music first? MB: I've always liked starting with a single melodic or piano motif. Then I browse

that we considered initially. We're working more on them presently. VW: How did you decide which songs to include on the album? Did you have an idea of what you wanted June In Siberia to be when you started, or did the finished shape emerge as the writing and recording went along? MB: We wanted the album to be based on the four of us. In the past, we've invited string quartets and horn sections in, and added lots of different instruments to the arrangements. This time we kept the arrangements to us alone. It forced us to make the song structures stronger from the outset and not fall into the trap of saving a song by an embellished arrangement. The only guests were four vocalists: Dan Mangan, Emily Loizeau, CR Avery and Hattie Webb (of the Webb sisters—Leonard Cohen's back-up singers). Live off the floor, it's Mark Berube & the Patriotic Few

my bank of other lyric and melodic ideas and play matchmaker. It's fun to graft two quite contrary ideas into something unified. The words usually take twice as long and many, many pages in my Moleskin. For example, "Hurricane / Little Quiet Scream" went through about 15 lyrical drafts and three very different song ideas. VW: Did you take the songs to the recordings sessions fully formed, or were they sketches that were then filled out in the moment? MB: Most of the songs were fully formed. We didn't have the budget to compose in studio. The only song that was written in the studio was "My Me Lady." On the second last day of recording, I realized the album was missing one more tune. I started

playing the piano riff, and Pat the drummer started playing along. I recorded it on my iPhone, went home after the session and wrote the song that night. We came early the next morning, arranged it, then tracked it in the afternoon. Hattie Webb stopped by around 4 pm, and her and Amelie Mandeville figured out their vocal arrangement. Kristina brought a bunch of cello ideas she claims were inspired by Bartok. By 6 pm we found ourself with a new song and the overall vibe of the album completed. VW: Why did you decide to record live off the floor? Were there any overdubs added later? Why? MB: This was the first album I've recorded to tape (analogue instead of to Pro Tools,

Grown-Ups Sat, Mar 12 (7:30 pm) With White Lung, Nü Sensae, B-Lines, Geister The Artery, $10 Starting the band is the easy part. The hard part, according to Grown-Ups singer and guitarist Josiah Hughes, is keeping everything from getting too serious. In the middle of a cross-Canada tour after releasing a cassette and a few seven-inch records, Hughes found that the band he had helped start was not nearly as much fun as it was at the beginning. Booking the tours and putting out the group's releases had become stressful, and he found himself looking around at other groups, wondering if his band's

output and tour schedule measured up, which stressed him out more. Eventually, he had to stand back from what he was doing and remind himself that he was in a band to have fun.

"My whole life I've played in bands and wanted to go on tour and that's still the goal, but I was starting to get a little confused about why I was doing it and getting a little stressed out about un-

the digital format often used). Because you have limited tape, you can't record 15 versions of one song and then go in and "perfect" all the imperfections. We loved the different psychological approach of recording to tape; everybody needs to step up their game when recording live off the floor to tape—you can only keep about three takes per song. We doubled the cello, added the accordion on a lot of tracks, and then did the vocals afterwards. Otherwise everything was recorded live. Listening back, I feel Howard Bilerman and Graham Lessard (his assistant) did a great job catching that vibe. VW: Were there any other songs written that were left off the album? MB: There are a bunch of unfinished songs

necessary things until I was reminded of why we started it," he explains. "It kind of became like an obsession of wanting to get so much stuff done that it wasn't that much fun anymore—it was turning into a job. But one where we were losing tons of money." That's not to say that Grown-Ups will tour less or stop putting out rapid-fire releases: it's just about finding a better balance. The band—which includes Hughes' wife Sara on drums and Andrew Giles on bass—has a sense of pride about the way it releases its dirge-witha-jangly-sprinkle music. Concentrating on small runs—the most recent release, an ET-themed lathe, was limited to only 50—and esoteric formats like cassettes and vinyl, these efforts have not only been inspired by Canada's experimental and lo-fi communities but have, in

VUEWEEKLY // MAR 10 – MAR 16, 2011

VW: What did producer Howard Bilerman bring to the record? MB: A great ear, poignant diplomacy, a real human touch, and a strong love for the Canadiens. VW: If you were to trace the musical map that led you to June In Siberia, what would it look like? MB: A very beaten path between the kitchen table and the piano, with small drafts of wind coming through the cracks in the door that often covered the path with dust and buried the cairns. V Fri, Mar 11 (9 pm) Mark Berube & the Patriotic Few With Ayla Brook, Needles to Vinyl, Doug Hoyer Pawn Shop, $8

turn, endeared the band to them, even if Hughes sees Grown-Ups as a lot more straight ahead than his cassette-releasing comrades. "I'm really inspired by a lot of the noise bands in Canada because they're not afraid to release whatever they want whenever they want," he says of the group's output. "It's really exciting that people care about this stuff. It's kind of what the hardcore community used to be; in every city there's people who care about these bands and we're all communicating on the Internet all the time and it's growing into a really exciting community. We're lucky to be involved in it because there's not very much experimental about our band, but somehow we tricked them into hanging out with us." V Bryan Birtles

// bryan@vueweekly.com

MUSIC // 21

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

THU MAR 10

ACCENT EUROPEAN LOUNGE 100 Mile House

and Brandon Quigley (roots/ folk/bluegrass); 9:30pm11:30pm; no minors; no cover

AVENUE THEATRE The

Edmonton Show IV

BLUE CHAIR CAFÉ

Jazz Thursday Nite: Dino Dominelli; 8pm; $/$5 (student), 3rd set free

BLUES ON WHYTE Big Dave McLean

CARROT CAFÉ Zoomers

Thu afternoon open mic; 1-4pm

THE COMMON Cassette

Club; 8pm-2am

THE DOCKS Thu night rock and metal jam DOW�SHELL THEATRE�

Fort Saskatchewan 870084 St, Fort Saskatchewan, 780.992.6400 The Arrogant Worms: 20th Anniversary Tour; 7:30pm; $33 (adult)/$30 (senior/youth) DRUID IRISH PUB DJ

L.B.'S PUB Open jam with

Kenny Skoreyko, Fred Larose and Gordy Mathews (Shaved Posse) every Thu; 9pm-1am

MACLAB CENTRE�Leduc Fred Eaglesmith; 8pm; $27 at TIX on the Square

MARYBETH'S COFFEE HOUSE�Beaumont Open

mic every Thu; 7pm

NAKED CYBER CAFÉ Open stage every Thu, 9pm; no cover

NEST�NAIT Indie Night at the Nest; weekly free show every Thu; 4:30pm

NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers every Thu

OIL CITY ROADHOUSE

White Noise: Battle of the Bands; 7:30pm; $5; fundraiser for a humanitarian aid project in South Africa

RIC’S GRILL Peter Belec (jazz); most Thursdaysß; 7-10pm

RUSTY REED'S HOUSE OF BLUES Dave Babcock and

ages; 7pm

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

JEFFREY'S CAFÉ Alfie

CHROME LOUNGE 123 Ko

TJ the DJ every Thu and Fri; 10pm-close

WILD WEST SALOON Trick Rider

Classical WINSPEAR Raga-Mala Music

Society: Master of the Sarod: Amaan and Ayaan Ali Khan, Satyajit Talwalkar, Vineet Vyas (tabla); 7pm; $20 (Raga-Mala Patrons, 780.445.7771)/$35/$25 at 780. 445.7772, Winspear box office

UNION HALL 123

GAS PUMP The Uptown Jammers (house band); every Fri; 5:30-9pm

WILD BILL’S�Red Deer

HAVEN SOCIAL CLUB

FRI MAR 11

IRISH CLUB Jam session

DJ Dusty Grooves Thursdays

TJ the DJ every Thu and Fri; 10pm-close

ARTERY Karly Oxley, Mark Elliott amp; Prairie Nights

AVENUE THEATRE The Edmonton Show IV

BLACKJACKS ROADHOUSE Tim Harwill BLUE CHAIR CAFÉ

every Thu

Celtara; 8pm; $15

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

BRIXX BAR Git Nice

DRUID IRISH PUB DJ every

Thu; 9pm

ELECTRIC RODEO�Spruce Grove DJ every Thu FILTHY MCNASTY’S Punk

BLUES ON WHYTE Big Dave McLean

Productions presents Nokturnal, Jay Michael, guests; 9pm (door); $15 (door)

CARROT Live music every Fri; all ages; Bohdi Jones; 7pm; $5 (door) CASINO EDMONTON

Rock Bingo every Thu with DJ S.W.A.G.

Souled Out (pop/rock)

FLUID LOUNGE Thirsty

Suite 33 (pop/rock)

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 LEVEL 2 LOUNGE Funk

WILD BILL’S�Red Deer

HYDEAWAY�Jekyll and Hyde Open Stage Jam: all

CENTURY ROOM Lucky 7: Retro '80s with house DJ every Thu; 7pm-close

Thu with DJ Mark Stevens; 9pm

every Thu at 9pm

Project: Matt Landry and the Dryland Band (rock), guests; 8pm

BRIXX BAR Radio Brixx with rock and roll with Tommy Grimes; no cover

the Night Keepers; $5

DV8 Acoustic Chaos

HAVEN SOCIAL CLUB JFR

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

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

Thursdays: bring your guitars, basses, drums, whatever and play some tunes; with Punk Rawk Dan

BLACK DOG FREEHOUSE

Bunker Thursdays: guest DJ Fuuze (Gomp) with DJs Dreadnought, John Ohms, Jams, Mittz; no cover

LUCKY 13 Sin Thu with DJ Mike Tomas ON THE ROCKS Salsaholic:

every Thu; dance lessons at 8pm; salsa DJ to follow

OVERTIME�Downtown

Thursdays at Eleven: Electronic Techno and Dub Step

RENDEZVOUS Metal night every Thu

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

CASINO YELLOWHEAD COAST TO COAST Open

stage every Fri; 9:30pm

THE COMMON Technoir:

(Axe&Smash+ dBz&kgz Blackout Dance Party): techno dance party; $7 (Dresscode All Black gets you in free before 11pm)

DV8 The Accident Will (CD

release bash), DeSousa Drive, Bad Acid; no minors; 9pm (door); $5

EDMONTON EVENT

CENTRE Razmatazzles Full Moon Beach Party; 9pm EMPIRE BALLROOM Arty and Jochen Miller

FESTIVAL PLACE Jason

McCoy’s One Man Show (country); 7:30pm; $36 (table)/$34 (box)/$30 (theatre) at Festival Place box office, TicketMaster

FESTIVAL PLACE Café Series: Laila Biali (jazz); 7:30pm; $18 at Festival Place box office, TicketMaster; pre-concert Jazz appreciation session with Raymond Baril starts at 6:45pm

Zappacosta; $35

DJs

JUBILEE AUDITORIUM

180 DEGREES DJ every Thu

TAPHOUSE�St Albert

Eclectic mix every Thu with

music every Fri; Rob Taylor (modern rock); 7-10pm; $10

780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704. CLUB DEVANEY’S IRISH PUB 901388 Ave, 780.465.4834 THE DOCKS 13710 66 St, 780.476.3625 DOW'S SHELL THEATRE�Fort Saskatchewan 8700-84 St, Fort Saskatchewan, 780.992.6400 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St EARLY STAGE SALOON 491152 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ELEPHANT AND CASTLE� Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 FESTIVAL PLACE 100 Festival Way, Sherwood Park, 780.449.3378 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 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 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 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 MACLAB CENTRE�Leduc 4308-50 St Leduc MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont, 780.929.2203 MCDOUGALL UNITED CHURCH 10025-101 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 ROADHOUSE 10736 Jasper Ave, 780.428.0095 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME�Downtown 10304-111 St, 780.465.6800 OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLEASANTVIEW COMMUNITY HALL 1086057 Ave REDNEX BAR�Morinville 10413-100 Ave, Morinville, 780.939.6955 RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROBERT TEGLER STUDENT CENTRE Concordia University College of Alberta, 7128 Ada Blevrd ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St R PUB 16753-100 St , 780.457.1266 RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 ST ANDREW’S UNITED CHURCH 9915-148 St ST BASIL'S CULTURAL CENTRE 10819-71 Ave SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston

Shane Yellowbird

FRESH START BISTRO live

Christine Fellows (CD release), Shotgun Jimmie, XOVO; $12 (adv)/$15 (door) every Fri; 8pm; no cover

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

JEFFREY'S CAFÉ Alfie

Zappacosta; $35

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 MACLAB CENTRE�Leduc

The Arrogant Worms; 8pm; $27 (adult)/$22 student/senior)

MEAD HALL Dire Omen (CD release), Oooze, Civil Savage; 8pm

ON THE ROCKS Connors Road

PAWN SHOP Mark Berube

and the Patriotic Few, Ayla Brook, Needles To Vinyl, Doug Hoyer; 9pm-12; $8 at Blackbyrd, Yeglive

RED PIANO BAR Hottest

dueling piano show featuring the Red Piano Players every Fri; 9pm-2am

REXALL PLACE Brooke Trelenberg; 7pm

RUSTY REED'S HOUSE OF BLUES Dave Babcock

and The Night Keepers; $10

ST BASIL'S CULTURAL CENTRE Full Moon Folk

Club: Madison Violet, Myrol; 7pm (door), 8pm (show); $17 (adv)/$20 (door)/child under 12 half-price (door)

SNEAKY PETE'S Kyler

Schogen Band

STARLITE ROOM The

Jimmy Swift Band, Viking Fell, Chasing Jones, Random Falter; no minors; 9pm (door); $15 at primeboxoffice.com, Blackbyrd

UNION HALL Vinny WILD BILL’S�Red Deer

TJ the DJ every Thu and Fri; 10pm-close

WILD WEST SALOON Trick Rider

WOK BOX Breezy Brian

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 28 DEGREES 5552 Calgary Tr ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARTERY 9535 Jasper Ave ART GALLERY OF ALBERTA� Ledcor Theatre 2 Sir Winston Churchill Sq AVENUE THEATRE 9030-118 Ave, 780.477.2149 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLIARD CLUB 10505 Whyte Ave, 780.432.0335 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLACKJACK'S ROADHOUSE� Nisku 2110 Sparrow Drive, Nisku, 780.986.8522 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 10124124 St CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St,

22 // MUSIC

VUEWEEKLY // MAR 10 – MAR 16, 2011

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 TEA LOUNGE�Whyte Ave 11116-82 Ave SUEDE LOUNGE 11806 Jasper Ave, 780.482.0707 SYLVAN LAKE ALLIANCE CHURCH�Sylvan Lake 440447 Ave, Sylvan Lake TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 TREASURY 10004 Jasper Ave, 7870.990.1255, thetreasurey.ca UNCLE GLENNS 7666-156 St, 780.481.3192 VINYL DANCE LOUNGE 10740 Jasper Ave, 780.428.8655 WHISTLESTOP LOUNGE 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 1291250 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295

Gregg every Fri; 3:30-5:30pm

YARDBIRD SUITE

Edmonton Jazz Society Presents: Mark Segger Sextet; 9pm; tickets at TicketMaster

Classical CONVOCATION HALL U of

A Music at Convocation Hall: Jacques Després (piano); 8pm; $20 (adult)/$15 (student/senior)

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

BLACK DOG FREEHOUSE DJs spin on the main floor every Fri; Underdog, Wooftop

BLACKSHEEP PUB Bash: DJ spinning retro to rock classics to current

BUDDY’S DJ Arrow Chaser

every Fri; 8pm (door); no cover before 10pm

BUFFALO UNDERGROUND R U Aware Friday: Featuring Neon Nights

Sensae, B-Lines, White Lung, Grown-Ups, Geister; 8pm

WILD WEST SALOON

AVENUE Winnipegs Most,

YARDBIRD SUITE

Red 3, Gzus Murphy, Ninelivez, Extended Clip; no minors; 9pm (door); $20

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

BLACKJACKS ROADHOUSE Acoustiholics BLUE CHAIR CAFÉ Jody

Shenkarek; 8pm; $10

BLUES ON WHYTE Sat

afternoon jam: Rotten Dan; Evening: Big Dave McLean

CASINO EDMONTON Souled Out (pop/rock)

CASINO YELLOWHEAD Suite 33 (pop/rock)

COAST TO COAST Live

bands every Sat; 9:30pm

CROWN PUB Acoustic blues

open stage with Marshall Lawrence; every Sat; no cover

DOW�SHELL THEATRE� Fort Saskatchewan Calvin Vollrath (fiddle with 7-piece band; release party); 7:30pm; $27.50 (adult)/$25.50 (senior/ youth) at TicketMaster; $5 eyego to the arts tickets for high school students at Dow

DV8 Grim Hymn and the

CHROME LOUNGE

Horrors, Hellfire Special, Rock 'n' Roll Rats; 9pm-1:30am

THE COMMON Boom The

Wenches every Sat

Platinum VIP every Fri

Box: every Fri; nu disco, hip hop, indie, electro, dance with weekly local and visiting DJs on rotation plus residents Echo and Shortround

THE DRUID IRISH PUB DJ every Fri; 9pm

ELECTRIC RODEO�Spruce Grove DJ every Fri FLUID LOUNGE Hip hop and

EDDIE SHORTS Saucy ELECTRIC RODEO Haven

(Mike Poirier, Andrew Gauthier, Corey, Matt and Jason Sider); DJ, Specials; 10pm (show); $5

FESTIVAL PLACE Jeff Martin 777 (formerly of the Tea Party), Gabriel Lee, Flowerchild; 7:30pm; $40 (table)/$36 (box)/$32 (theatre) at Festival Place box office, TicketMaster

dancehall; every Fri

FILTHY MCNASTY'S

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

Whiskeyface; 4-6pm; free

GAS PUMP Blues jam/open

GAS PUMP DJ Christian;

HAVEN SOCIAL CLUB

DJ Damian; every Fri

every Fri; 9:30pm-2am

JUNCTION BAR AND EATERY LGBT Community:

Rotating DJs Fri and Sat; 10pm

NEWCASTLE PUB House, dance mix every Fri with DJ Donovan

NEW CITY LEGION

Madmen Party: Dress: Suits/ Formal: Swing/Ska/Oi/Oldies with DJ Johnny Neck; $5 (door)

OVERTIME�Downtown

HILLTOP PUB Open stage/ mic every Sat: hosted by Blue Goat; 3:30-6pm HOOLIGANZ Live music every Sat

REDNEX�Morinville DJ Gravy from the Source 98.5 every Fri

IVORY CLUB Duelling piano

ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca

Wetaskiwin featuring jazz trios the 1st Sat each month; $10

show every Sat with Jesse, Shane, Tiffany and Erik and guests

JEFFREY'S CAFÉ Alfie

Zappacosta; $35

MEAD HALL Parasychotic, Untimely Demise

O’BYRNE’S Live band every

SUEDE LOUNGE Juicy DJ

Sat, 3-7pm; DJ every Sat, 9:30pm

TEMPLE Options with Greg

Road

spins every Fri

Gory and Eddie Lunchpail; every Fri

TREASURY In Style Fri: DJ

Tyco and Ernest Ledi; no line no cover for ladies all night long

UNION HALL Ladies Night every Fri

VINYL DANCE LOUNGE

Connected Las Vegas Fridays

Y AFTERHOURS Foundation Fridays

SAT MAR 12

ON THE ROCKS Connors

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Sat; 9pm-2am REXALL PLACE Brook

Trelenberg; 1pm

RIVER CREE Wynonna; 8pm (show); $49.50

RUSTY REED'S HOUSE OF BLUES Sat afternoon

Jam: 3-6pm; Night: Dave Babcock and The Night Keepers; $10

SNEAKY PETE'S Kyler

28 DEGREES Sat evening of experimental improvisation with Steven Johnson and his 12-string guitar with guest musicians. Bring your instruments every Sat

Schogen Band

ALBERTA BEACH HOTEL

SYLVAN LAKE ALLIANCE CHURCH�Sylvan Lake

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

ARTERY Weird Canada: Nü

JUNCTION BAR AND

STARLITE ROOM GZA,

Wu-Tang founder GZA, K-Blitz, Lion, DJ Twist; 9pm (door); $25 at Primeboxoffice. com, Blackbyrd, Brixx, Soular

Steve Bell Band; 7:30pm; $20 at 1.800.854.3499

Merrier, 2nd Sun every month, 1-5pm, admission by donation; YEG live Sun Night Songwriters Stage; 7-10pm

Edmonton Jazz Society Presents: Tara Davidson Group; 9pm; tickets at TicketMaster

EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm NEWCASTLE PUB Top 40

every Sun

Classical

NEW CITY LEGION Polished

every Sun hosted by Me Next and the Have-Nots; 3-7pm

ART GALLERY OF ALBERTA�LEDCOR THEATRE The Penderecki

String Quartet; 8pm; $20/$10 (student/senior)/ $5 (Tonus Vivus member)

MCDOUGALL UNITED CHURCH Alberta Choral

Federation: The Choralfest North Spotlight concert: David Garber and the Edmonton Metropolitan Chorus, Carmen So, Johnny Bright School Choir, Darwin Krips and the Sturgeon Composite High School Concert Choir; 7:30pm; $10 (adult)/free (child under ten) at door, T: 780.488.7464

ROBERT TEGLER STUDENT CENTRE Stories

To Tell: Festival City Winds Music Society, The Concordia Concert Choir; 7:30pm; $12 (adult)/$10 (student/senior) at TIX on the Square, Concordia Student Accounts, door

DJs 180 DEGREES Street VIBS: Reggae night every Sat AZUCAR PICANTE DJ

Touch It, hosted by DJ Papi; every Sat

BANK ULTRA LOUNGE

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

BLACK DOG FREEHOUSE DJs on three

levels every Sat: Main Floor: Menace Sessions: alt rock/

requests every Sat with DJ Sheri Chrome: every Sat with DJs Blue Jay, The Gothfather, Dervish, Anonymouse; no minors; free (5-8pm)/$5 (ladies)/$8 (gents after 8pm)

OVERTIME�Downtown

Saturdays at Eleven: RNB, hip hop, reggae, old school

HYDEAWAY Open stage jam J AND R BAR Open jam/stage 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

PALACE CASINO Show

Strings Sun: Battle of the Bands

PAWN SHOP Neon Nights:

ORLANDO'S 2 PUB Open stage jam every Sun; 4pm

RED STAR Indie rock, hip hop,

SECOND CUP�Mountain Equipment Co-op Live

SPORTSWORLD Roller

WINSPEAR Steve Bell

SUEDE LOUNGE DJ Nic-E

Classical

TEMPLE Oh Snap! Oh

MCDOUGALL UNITED CHURCH Of Men And

Lounge DJ every Sat

Riot On Whyte

and electro every Sat with DJ Hot Philly and guests

Skating Disco every Sat; 1pm4:30pm and 7-10:30pm spins every Sat

Snap with Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop and P-Rex; every Sat

UNION HALL Celebrity

Saturdays: every Sat hosted by Ryan Maier

VINYL DANCE LOUNGE Signature Saturdays

Y AFTERHOURS Release

Saturdays: Will Bailey; DJs The Bedroom: Anthony Donohue, Will Bailey, B-Ill, Seelo Mondo; The Bassment: DJ Chad, Dezire; The Underground: Funky Beats; $20 (adv at Foosh)

SUN MAR 13

BEER HUNTER�St Albert

music every Sun; 2-4pm Band; 7:30pm; $20 at 1.800.854.3499

Mountains: Mill Creek Colliery Band, Edmonton Swiss Men’s Choir; 3pm; $18/$14 (student/senior)/ free (child 12 and under)

ROBERTSON WESLEY

UNITED CHURCH Onyx String Quartet; 3pm; $20 (adult)/$10 (student/senior) at door ST ANDREW’S UNITED CHURCH Time: Form,

‘Nuf Sed, J***Word Vocal Ensembles; Scott Leithead, John McMillan, Julian Macdonald (directors), Craig Brenan (trombone); 3pm; $15 (adult)/ $12 (student/ senior)

WINSPEAR CENTRE

Steve Bell (Kindness Tour); 7:30pm; $20 at Winspear box office

DJs BACKSTAGE TAP AND GRILL Industry Night:

Prelude to a Kiss, Breaking Barres; Lindsey Walker and the Guilty Bystanders; Travis Knights , Danny Nielsen, Matt Shields (tap dancers); Jamie Ausmus, Barbara Vargas, Sarah Ranger, Chelsea Preston, Rachael Layton Tahnee (dance); sold out

IRON BOAR PUB Jazz in

indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson; every Fri

Brown, Luke Morrison, Nestor Delano, Ari Rhodes

stage every Sat 3:30-7pm

Fridays at Eleven: Rock Hip hop country, Top forty, Techno

RED STAR Movin’ on Up:

Trick Rider

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

Wed, Mar 16 (8 pm) / Los Angeles Guitar Quartet / Winspear Centre, $40 – $50

What the Traveling Wilburys were to folky rock, the Los Angeles Guitar Quartet are to classical guitar: a supergroup. Don't miss your chance to see the best in the world live.

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

BRIXX BAR Oh Snap:

Step'd Up Saturdays with Degree, Cool Beans, Specialist, Spenny B and Mr Nice Guy, Ten 0; 9pm (door); free (before 10pm)/$5 (after)

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

THE COMMON Goodlife

Saturdays: Allout DJs, Dane Gretzky; 8pm (door); $12

DRUID IRISH PUB DJ every Sat; 9pm

ELECTRIC RODEO� Spruce Grove DJ every Sat FLUID LOUNGE Intimate

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

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

GAS PUMP DJ Christian every Sat

HALO For Those Who Know:

house every Sat with DJ Junior

Open stage/jam every Sun; 2-6pm

BLACKJACK'S ROADHOUSE�Nisku Open mic every Sun hosted by Tim Lovett

BLUE CHAIR CAFÉ Sun

Brunch: Hawaiian Dreamers; 10.30am-2.30pm; donations

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

B�STREET BAR Acousticbased open stage every Sun evening; hosted by Mike "Shufflehound" Chenoweth 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

DOW�SHELL THEATRE� Fort Saskatchewan Calvin Vollrath Fiddle Gala with Calvin and six fiddlers including John Arcand; 2pm; $27.50 (adult)/$25.50 (senior/ youth) at TicketMaster

EDDIE SHORTS Acoustic jam

every Sun; 9pm

BALLROOM The Next Big Thing: (vocal/band), Dance showcase; Mixmaster (DJ); hottest talent search every Sun; until May 29 EXPRESSIONZ CAFÉ

Country/country rock Jam and Dance hosted by Mahkoos

FLOW LOUNGE Stylus Sun SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover

SPORTSWORLD

Roller Skating Disco Sun; 1-4:30pm; sports-world.ca

MON MAR 14 BLACK DOG FREEHOUSE Sleeman

Mon: live music monthly; no cover

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

KELLY'S PUB Open stage every Mon; hosted by Clemcat Hughes; 9pm

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, Pete Turland

Classical CONVOCATION HALL

Performing Arts and the Worlds of Islam: Synergy and Disconnect in the Indian Ocean Trade Winds; 4pm

DJs BLACK DOG FREEHOUSE Main Floor:

Blue Jay’s Messy Nest: every Mon with DJ Blue

VUEWEEKLY // MAR 10 – MAR 16, 2011

MUSIC // 23

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

TUE MAR 15

DRUID IRISH PUB Open

stage every Tue; with Chris Wynters; 9pm

HAVEN SOCIAL CLUB

Hugh Cornwell, Paul James Coutts, Cowls; $13 (adv) at Blackbyrd

L.B.’S Tue Blues Jam with Ammar; 9pm-1am

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 Big Rock Open Jam: with Moses Gregg, Grant Stovel , guest

Stuesdays: Every Tue Wunderbar's only regular DJ night

YARDBIRD SUITE Tue

Night Sessions: the Worst Pop Band Ever

Classical CONVOCATION HALL

Zurkhaneh–The House of Strength: Music and Martial Arts of Iran; 4pm

ST ANDREW’S UNITED CHURCH Vocal Alchemy ; 7:30pm; tickets at TIX on the Square

WINSPEAR Don’t Eat

the Yellow Snow–the ESO plays Zappa: Edmonton Symphony Orchestra; 7:30pm; $20-$71

DJs BLACK DOG FREEHOUSE Main Floor:

alternative retro and not-soretro every Tue; with Eddie Lunchpail; Wooftop: eclectic electronic sounds every Tue; with DJ Mike Duke

BRIXX BAR Troubadour

Tue: hosted by Mark Feduk; guests: C2 and Danni B; 9pm; $8

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

RED STAR Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly; every Tue BRIXX BAR Troubadour

Tuesdays with C2 and Danni B. Host Mark Feduk; 8pm (door); $5 (door)

WUNDERBAR HOFBRAUHAUS

Stuesdays: Wunderbar's only regular DJ night every Tue

WED MAR 16 BLACK DOG FREEHOUSE Main Floor: Glitter Gulch: live music once a month

CENTURY GRILL Century

Room Wed Live: featuring The Marco Claveria Project; 8-11pm

CROWN PUB Jam/open stage every Wed; 8pm

ELEPHANT AND CASTLE�Whyte Ave

Bashment Tue: Bomb Squad, The King QB, Rocky; no cover

stage/open mic every Tue; 7:30pm; no cover

NEW CITY LEGION High Anxiety Variety Society Bingo vs. karaoke with Ben Disaster, Anonymouse every Tue; no minors; 4pm-3am; no cover

CHROME LOUNGE

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

Salsa music every Tue; dance lessons 8-10pm

EDDIE SHORTS Acoustic

every Tue; free pool all night; 9pm (door); no cover

SECOND CUP� Summerwood Open

FUNKY BUDDHA� Whyte Ave Latin and

BUDDYS DJ Arrow Chaser

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

24 // MUSIC

WUNDERBAR HOFBRAUHAUS

CROWN PUB

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

DV8 Creepy Tombsday:

Psychobilly, Hallowe'en horrorpunk, deathrock with Abigail Asphixia and Mr Cadaver; every Tue

VUEWEEKLY // MAR 10 – MAR 16, 2011

jam every Wed, 9pm; no cover

Open mic every Wed (unless there's an Oilers game); 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; wear green, bring some pot luck munchies for a St Pat Party and sing an Irish song

GOOD EARTH COFFEE

BANK ULTRA LOUNGE

HAVEN SOCIAL CLUB

BLACK DOG FREEHOUSE Main Floor:

HOUSE Breezy Brian Gregg every Wed; 12-1pm

Open stage every Wed with Jonny Mac, 8:30pm, free

HOOLIGANZ Open stage every Wed with host Cody Nouta; 9pm

Rev'd Up Wed: with DJ Mike Tomas upstairs; 8pm

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

NISKU INN Troubadours and Tales: 1st Wed every month; with Tim Harwill, guests; 8-10pm

BRIXX BAR Really Good...

PLEASANTVIEW COMMUNITY HALL

BRIXX BAR Really Good…

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)

Eats and Beats: every Wed with DJ Degree and Friends Eats and Beats: DJ Degree, friends every Wed; 6pm; $5

BUDDY'S DJ Dust 'n' Time every Wed; 9pm (door); no cover

THE COMMON

Treehouse Wednesday's

RED PIANO BAR Wed

DIESEL ULTRA LOUNGE

RIVER CREE Live rock band every Wed hosted by Yukon Jack; 7:30-9pm

IVORY CLUB Open DJ

Night Live: hosted by dueling piano players; 8pm1am; $5

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

Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs night every Wed; 9pmclose; all DJs welcome to spin a short set

LEGENDS PUB Hip

hop/R&B with DJ Spincycle

SECOND CUP�149 Street Open mic every

LEVEL 2 LOUNGE

STEEPS TEA LOUNGE� College Plaza Open

NEW CITY LEGION Wed Pints 4 Punks: with DJ Nick; no minors; 4pm-3am; no cover

WUNDERBAR HOFBRAUHAUS Open

NIKKI DIAMONDS Punk and ‘80s metal every Wed

Classical

Bastid with all out DJs, DJ Twist

Wed with Alex Boudreau; 8-10pm

mic every Wed with Layne L'Heureux; 8pm mic every Wed, 9pm

WINSPEAR CENTRE

Edmonton Classical Guitar Society: The Los Angeles Guitar Quartet; 8pm; 780.489.9580; $50/$40 at Winspear box office

DJs

Wing It Wednesdays: DJ Competion; 9:30pm; every Wed until Mar 30

PAWN SHOP Skratch RED STAR Guest DJs

every Wed

STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm TEMPLE Wild Style Wed: Hip hop open mic hosted by Kaz and Orv; $5

Fellows' travellers

Winnipeg's Christine Fellows reveals Femmes de Chez Nous Mary Christa O'Keefe // marychrista@vueweekly.com

I

f there's such a thing as a stereotypical "Prairie gal," you won't find one in Femmes de Chez Nous ("our girls"), Winnipeg artist Christine Fellows' fifth album. Fellows set about mapping the female territory, in many guises, in and around the environs of her floodplain home, gliding through the slipstream of the past, in that consequential act of transmutation artists do, making another knowable, and in that, making something in ourselves known. She has a gift for linking the intimate to the momentous, thematically and musically, in a way that defies genre, sitting somewhere on the orchestral folk spectrum at the juncture of "gorgeous" and "inventive." Femmes de Chez Nous materialized over the course of a residency in her hometown, at Le Musée de Saint-Boniface Museum, and culminated in a multidisciplinary performance film, the DVD Reliquary/Reliquaire, released simultaneously with the album. "The main inspiration going in was the Grey Nuns, because those women were so key to my fascination with that museum: it was their convent; it was their home," Fellows recalls. "They came to

Just one of "our girls"

Manitoba by canoe from Montréal. The Voyageurs took them; these women had never travelled before. Apparently they made up new lyrics for Voyageur songs, because they had all these bawdy songs. "They had this harrowing journey, but they came because of their conviction," she continues. "It's a conflicting part of our history, that idea of missionaries,

and what's happened. Especially this year and last, when I was doing and presenting this work, the Truth and Reconciliation Commission was coming in Manitoba, and that idea of residential schools, the bad side of it, but there was something so compelling about these women: that certainty they had—especially because I'm never really certain

about anything—that what they were doing was so important to them, at peril to their own lives. They didn't live very long because they had really hard lives! I was so profoundly moved by them." She got to know the nuns through their own words, pouring through their letters in the archives while wandering

VUEWEEKLY // MAR 10 – MAR 16, 2011

through the museum's suggestive spaces and writing on-site. "It was interesting working in a museum context," Fellows says. "They're used to working with artists, but not my sort-of random approach of walking in and pulling things out of the air, not on a specific research project. They'd say, 'What are you looking for?' and I'd be, 'I'll know when I see it!' So there was a lot of that kind of conversation, but by the end they totally got it and I think it was fun for them—they're not assembling an exhibit; they could just show me anything and see what I'd do with it." Other women from other times poured out alongside the nuns, evoked by photos, stories, people, places or the ramblings of Fellows' curiosityfuelled mind. "It's amazing how characters stay with you, when you spend a lot of time with someone, studying them, someone you're having this inner dialogue with," Fellows muses. "Having a little bit of information, but letting my imagination go wherever." V Fri, Mar 11 (8 pm) Christine Fellows With Shotgun Jimmie, XOVO Haven Social Club, $12 – $15

MUSIC // 25

NEWSOUNDS Cowboy Junkies Demons (Latent) 

Fifteen years ago it might have been excusable to wonder just how much longer Cowboy Junkies could keep going: the band was six albums into its career, and while there was a slow and gentle evolution there for anyone who cared to dig deep enough, to the casual observer the band was seen as being perhaps a little too defined by the often languid songs of guitarist/songwriter Michael Timmins and the subtle vocals of his sister Margo. It's the sort of stereotyping that has derailed many a band as the audience becomes less and less interested in hearing new developments and more concerned with getting the hits when shelling out a few bucks for a weekend trip into the past, but Cowboy Junkies has turned a blind eye to that dilemma over the years, instead choosing to follow a path that allowed for experimentation without compromising the band's identity. It's a bold approach—staying true to oneself in terms of both sound and adventurous spirit—and it's led to a renewed sense of excitement in the band as it winds its way through a four-volume series of records over the course of 18 months. The second of these releases,

Dum Dum Girls He Gets Me High (Sub Pop) 

Demons, is an album of songs written by the late Vic Chesnutt, a friend who had collaborated with the band in the past. Chesnutt's lyrics are heartbreakingly tough to listen to on his own records— his fragile, sensitive voice cut close to the bone with every word—but here, lovingly delivered by Margo Timmins, they take on a hushed and sombre voice, coloured tragic with hindsight. But there's also a distant quality to the recordings. It's not a sense of removal from the emotional impact of Chesnutt's torn and frayed subjects, but one of displacement: where Chesnutt's performance's were rigid with tension, often making it difficult to decipher just who a song was about—Chesnutt very rarely comes across as a detached observer, his voice seemingly wrapped up tightly within the song, every difficult moment emerging from the depths of his own heart—Timmins' voice is that of a storyteller coming from a place of sad contemplation. The difference in approach is made clear by "When the Bottom Fell Out": Chesnutt's version is restrained, with just his voice and guitar, sounding very much like the eye of a hurricane; Cowboy Junkies' take sounds more like a rising storm, fleshed out by an entire band (along with a few guests). The tone is varied, too, with Chesnutt's creaking and cracking towards devastation throughout and the Junkies' almost uplifting, as though it's a satisfying conclusion to life. Though every song was written by Chesnutt, Demons is as much a Cowboy Junkies record as any collection of original songs that the band has released in its career. But what makes Demons a special album is that the musicians come at the songs from a loving place, yet hold enough respect for Chesnutt and themselves to find their own interpretations rather than simply hitting the same notes that the originals did.

Dum Dum Girls is very good at being simultaneously fun and doleful. The group's noisy neo girl-band pop transforms but loses nothing with He Gets Me High. Leader 'Dee Dee' Gundred has taken the group in a slightly rockier direction than its past punk-over-pop trajectory. The exception to the rule—and highlight of the EP—is "Take Care Of My Baby," a slow clangorous dirge that meets somewhere between Beach House and Cat Power. For only having four songs, He Gets Me High packs a lot more punch than the majority of similar records that have come out over the past few years.

// eden@vueweekly.com

Slow Down, Molasses Walk Into the Sea (Little Pictures) 

Eden Munro

Joe Gurba

// joe@vueweekly.com

The Rural Alberta Advantage Departing (Saddle Creek)  With a voice like Billy Corgan trying to evince Jeff Mangum, Nils Edenloff presents Departing, follow-up to RAA's wildly successful debut. Considering that so many of the songs remain entwined with northern winters, the Rockies and Edmonton's Black Friday, you wonder why Edenloff ever left. There is nothing overtly wrong—the production is excellent and the songs are not unlike a Canadian version of a Decemberists album—but the sense of repetition inherent in Departing feels like an unavoidable sophomore jinx with the RAA premise remaining limited to Albertan nostalgia and heartbreak. Joe Gurba

// joe@vueweekly.com

Saskatchewan's Slow Down, Molasses, prairie-dwellers that seem to idealize the dreamy possibilities of the nighttime sky over the ramshackle dusty roads and windy fields of wheat, has crafted a dreamy second album. Emerging out of the subdued guitar lines, scattered instrumentation, rising echoed vocal harmonies and buzzing basslines are some BSS-grade anthemic builds—"Bodies" grows from a bittersweet ode of longing into a triumphant horn-led crusher that barrels its momentum over into "Late Night Radio")—as well as tracks more subdued, like lullaby balladry of "As Meant To Me." Sometimes it's a little too spacious for its own good, but more often it's right on point, beautifully arranged and nostalgic without ever getting too precious about being so. Paul Blinov

// paul@vueweekly.com

Slow Down, Molasses plays Wunderbar on Sat, March 12

26 // MUSIC

VUEWEEKLY // MAR 10 – MAR 16, 2011

OLDSOUNDS

LOONIEBIN // VUE STAFF

The Dodos "Black Night"

It's folk music reinvisioned as a frantic rally: syncopated drums erupt over and over beside clever technical six-string prowess and, in a new direction for the band, '90s altrock electric guitars that oscillate and hum to life just below the mix, lifting and exciting the rest of it. The Dodos' are back to sounding like lighting in a bottle: lively, unpredictable and ready to explode outwards at any moment. Which they do.

Snoop Dogg To celebrate the imminent release of Snoop Dogg's latest album Doggumentary, a sequel to his first effort, 1993's Doggystyle, it's enlightening to examine the progress Snoop has made over the nearly two decades he's been in the public eye by comparing the relative merits of his first single, "Who Am I? (What's My Name?)" to his latest, "Boom." BRYAN BIRTLES // BRYAN@vueweekly.com

Meat Puppets "Damn Thing"

OLD SNOOP NEW SNOOP

Setting out to record the band's 13th album—and third after a hiatus that lasted nearly a decade— the Meat Puppets were determined to write a record that was worthy on its own and didn't rest on the laurels of the group's previous work. Only one song has trickled out so far, but "Damn Thing" is a step in the right direction. A fun bit of fuzzy sugar pop whether you know the Meat Puppets or not.

Piano Tribute to Mumford & Sons "Roll Away You Stone"

Uh, no thanks. Perfect for that dude who likes to show off in the front of Mr Entertainment, but totally lame and uninspired for anyone else.

Soundgarden "Searching With My Good Eye Closed"

Chris Cornell rebounds from his Timbaland phase, hooks up with his old band and puts out a live disc recorded in 1996. The band nails it, though, and it's probably a smarter move for Cornell than pursuing a collaboration with Kesha.

Sam Roberts "I Feel You"

A slowburn guitar stomp that aims to scorch like desert winds. There are hairpin musical turns to appreciate, when the song shifts gears into something a little more colourful while Sam croons, "Chaos reigns in Atlantis." Its sights are clearly set on the bluesy retro-rock that's making a resurgence, but they carry this one off well enough, and do it their own way. T Rex would be proud.

Seether "Country Song"

At first I was like, "Oh, no, Seether wrote a country song." Then I listened and it was all, "Shit, no they didn't. They wrote a Seether song."

Lyrics "What's my motherfuckin' name?"

"I'm the big Snoop Dogg"

Guest Dr Dre

T-Pain

Video Features "bitches" and "hoes" dancing at a house party

Features "bitches and "hoes" dancing at a loft party

Borrowed lyrics Jay-Z borrowed lyrics like, "Went solo on that ass / But it's still the same" and "What's my motherfuckin' name?" for his hit "Jigga."

Snoop borrows lyrics like, "Whip your hair" from Willow Smith

Acting ability Has difficulty translating his life as a petulant thug into his role as a petulant thug

Much more comfortable being a guy who sits on a couch and smokes weed

Reception Tipper Gore's brain exploded

QUICKSPINS

18 000 "Likes" on YouTube

WHITEY HOUSTON // QUICKSPINS@vueweekly.com

Mausoleum EP (Hand-drawn Dracula)

Say Hi Um, uh oh (Barsuk)

A quick three songer Total tease, it's like playing Sonic "Just the tip"

A serious band They don't love your mom no more Dad is quite relieved

The Megaphonic Thrift Decay Decoy (Sonic Unyon)

Figurines Figurines (TGC)

Motorik drumming Classic no-wave inspired din Fan-fucking-tastic

More '80s throw backs Liked it better the first time in the mid '90s

.

James Blake James Blake (Polydor)

Edwyn Collins Losing Sleep (Heavenly)

Groundbreaking album But is it magnificent Or plug-in abuse?

He's a rock legend And his story is tragic You HAVE TO buy this

VUEWEEKLY // MAR 10 – MAR 16, 2011

MUSIC // 27

MUSICNOTES

Fri, Mar 11 (9 pm) / The Accident Will Taking its name from Kurt Vonnegut's Slaughterhouse Five, the Accident Will plays rock straight up, no hyphens. The group is releasing its debut EP The Other Side of Forever. (DV8, $5)

Tue, Mar 15 (8 pm) / Hugh Cornwell If I told you that Hugh Cornwell was coming it'd be like, "OK, sweet." But then if I was all, "Oh, and Clem Burke from Blondie is on drums and Steve Fishman from James White & the Blacks is on bass," you'd be like, "Stop talking to me, I'm on the phone getting tickets." (Haven Social Club, $13)

Thu, Mar 17 (6 pm) / Born Ruffians Touring across the country in support of the group's second album, Say It, Born Ruffians has also just released an amazing, pro-wrestling-themed video for the song "The Ballad of Moose Bruce." Go to bornruffians.com to see it. (Starlite Room, $16)

Firsts, lasts and favourites: Jeff Martin First album The Beatles, Rock 'n' Roll Music First concert Marty Robbins, Merle Haggard. I was seven years old, Cobo Arena, Detroit. last albuM The Tea Party, The Edges of Twilight, iTunes— needed to relearn some songs.

STATS: • Jeff Martin • Canadian singer/guitarist with the Tea Party from 1990 – 2005 • Now calls Australia home • Just released debut with new power trio, Jeff Martin 777 Sat, Mar 12 (7:30 pm) Jeff Martin 777 With Gabriel Lee and Flowerchild Festival Place, $32 – $40

last concert Tame Impala in Adelaide, Australia. favourite album Led Zeppelin, Physical Gravity guilty pleasure Tantric sex music

SOUNDTRACK: GREG AMUNDSON Indie electro-songwriter Greg Amundson—formerly known as the man behind Hector Fector—has put together a full band for a show highlighting material from his 2010 solo debut, White White. Before the lights go down, though, Amundson gives some thought to the soundtrack of his life.

At home

ON THE ROAD

Darren Frank That Lived In Look I'm not a morning person, but few things make it better like this. I love this album.

Chad Van Gaalen Infiniheart Great with early sun and early driving.

Rufus Wainwright Want One Yes, please. An afternoon delight, anytime. Pink Floyd The Wall I fell asleep to this album for years after I first heard it. It's still my favourite album.

morning

NOON

The Flaming Lips Yoshimi Battles the Pink Robots An overly beautiful listen and not for late-night driving.

NIGHT

Radiohead In Rainbows I don't listen to Radiohead when I'm writing or recording to reduce their influence, so on the road (or parked), this was meat.

Wed, Mar 16 (9 pm) Greg Amundson With Brad Amundson / Empress Ale House

28 // MUSIC

VUEWEEKLY // MAR 10 – MAR 16, 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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WELLSPRINGS: A NEW CANADIAN WATER ETHIC WITH SPEAKER ROBERT SANDFORD

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ELIZABETH'S ANTIQUE AND COLLECTIBLE SALE

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THE ROLLER GRRRLS FUNDRAISER Caf_koYq

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WHITE NOISE Gad ;alq JgY\`gmk]$ )(/+. BYkh]j 9n] /0(&,*0&((1- :Ylld] g^ l`] :Yf\k ^mf\jYak]j ^gj Y `meYfalYjaYf Ya\ hjgb][l af Kgml` 9^ja[Y3 hj]k]fl]\ Zq M g^ 9 k ?gd\]f C]q Kg[a]lq ;`Yhl]j Yf\ Emka[aYfk¿ ;dmZ L`m$ Mar 10$ /2+(he -

VUEWEEKLY // MAR 10 – MAR 16, 2011

BACK // 29

COMMENT >> LGBTQ

COMMENT >> ALT SEX

Celebrity status

Steak and sex

A week ago I found myself in Columbus, Ohio visnext bar, Axis Nightclub, located across the street iting a good friend. While I anticipated an uncomand through a back alley. fortable, frustrating and pretty unnecessary trip though metal detectors, body scanners and patBy 11 pm the line was long and the club was downs, my friend told me to also prepare myself packed. It was a huge nightclub. It seemed like for the Columbus gay scene, saying it was unit was the size of a warehouse but this exaglike Edmonton's. I asked: "Is that in a good geration may be due to my unfamiliaror bad way?” “Just different," he said. And ity with nightclubs in any city. We got with that I was off to Columbus. our drinks, were offered the choice of Turns out that Columbus, Ohio is a wearing a red, yellow or green button m lot like Edmonton: both cities float just to indicate our level of availability, and ekly.co e w e u v alexa@ under a million people, both are home went to the dance floor where people Alexa e to big universities, both have pockets of looked to the stage in anticipation. n progressive leftist communities and neighSure enough, within 10 minutes two drag DeGag bourhoods, and both are the capital cities of queens came on stage. Surprisingly, it was their respective conservative state and province. the drag queens from Union Bar performing the With these similarities, I anticipated that Columbus same songs. As entertaining as they were, the would have a small but burgeoning gay community. second performance of the night seemed stale. And based on my misguided perceptions, I also The next morning we turned on MTV network's thought that any American gay community outside Logo TV only to find that one of the drag queens, of New York City, Los Angeles and San Francisco Shangela, from the night before was a contestant would be slightly secretive if not completely invison RuPaul's Drag Race. Apparently we were in the ible in the face of the country's boisterous conserpresence of real celebrity? vative communities. With that odd coincidence I realized that my These perceptions were quickly dashed, however, friend was right: Columbus and Edmonton's gay as soon as we stepped foot into the first gay bar communities are different. It could be argued that on our tour, the Union Bar in the Whyte-Ave-like our communities are at different developmental Short North neighborhood. It was a pretty stanstages with Edmonton's community aspiring to be dard bar with the usual Britney, Gaga and Madonna as flashy, mainstream and polished as Columbus' soundtrack. But as I looked around I noticed that community. But I think that Edmonton's queer comthis bar was pretty upscale: giant TVs, elaborate munity is actually moving down a different path. In and ornate décor, and only the most respectable many cases we've resisted the corporate sponsors, of corporate sponsors. Not too long after our arthe mainstream politics and the upscale (and ofrival a pair of drag queens took the stage and the ten overpriced) clubs. We've opted for grassroots bar quickly filled with jumping, cheering fans. We politics, indie talent and small, community-based watched their performance which was a standardbars. And given the two options, I’d take a night but-well-executed rendition of a few choice pop at the Artery or Junction over a polished celebrity songs. We finished our drinks and headed to the drag show. V

This Monday, March 14, is Steak and Blowjob Day. a dozen roses when really we just want to get Perhaps you didn't know that, as it's not exactly a laid. Steak and Blowjob Day seems much more national holiday yet. While many men claim to be honest: you never have to ask your honey what the originators, there's no proof as to who actuhe wants. ally first thought of the idea. But the point behind it is simple and clear. Valentine's Day is But why should only men be allowed this freea holiday made up for women so they can dom to be so direct? Wouldn't it be nice get what they want—romantic dinners, for all of us to have a day that allows proclamations of love and expensive us to unabashedly acknowledge that gifts. Men should have a holiday just sex is awesome and that we want it? om for them so they can get what they So many of us, especially those of us eekly.c w e u v @ brenda want: steak and a blowjob. who've been in a monogamous relationI'm sure anyone who knows me ship for a long time, relegate sex to the Brendear would suspect that I would hate this back burner. It's nice when you can find Kerb idea. After all, it's utterly rife with sexual the time, but there are so many other things stereotyping. A lot of the stuff you read on the that tend to come first. This would be at least net about Steak and Blowjob Day is downright one day to remind us that sex is important and it misogynistic. A friend of a friend actually went really is OK to want it, to ask for it and to even so far as to call it "steak and a blowjob and shutcelebrate it. the-fuck-up day." I propose that we take out all of the reference The notion that women just want flowers and to gender and just celebrate the things that are jewelry and men just want sex is not only inimportant to us. Instead of Valentine's Day besulting, it's laughable. I spoke to over a hundred ing the women's holiday and Steak and Blowjob women in the days leading up to Valentine's Day Day the men's holiday, we could make February who were making plans for their partners and 14 the love celebration and March 14 the sex pretty much all of them were hoping that their celebration. Of course, we would be free to mix V-Day romance plans would end with some seriand match and celebrate both on both days, but ous action. Most women I know would be much wouldn't this be so much more inclusive and libmore excited over a new sex toy and someone to erating? I encourage you to make March 14 Food play with than a dozen roses. and Sex Day. But take my advice and enjoy your And let's not forget that for a lot of couples, sex before the food, as digestion does not mix there is no penis involved at all, or there are well with great sex. Build up an appetite and then two penises. So, yes, the construct of Steak and enjoy a great dinner with the one(s) you lust. V Blowjob Day is problematic. However, I think it's something we can work with. What makes this Brenda Kerber is a sexual health educator who has holiday unique is the object is laid right out on worked with local not-for-profits since 1995. She the table. With Valentine's Day, we are supposed is the owner of the Edmonton-based sex-positive to pretend what we want is a romantic dinner and adult toy boutique, The Traveling Tickle Trunk.

Dealing with the growth of celebrity in queer culture

EERN Q UN TO MO

Two holidays should be celebrated more honestly

LUST E LIF

FOR

FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) "Dear Mr. Astrologer: Like the god Prometheus, I stole fire from the gods and gave it to people. As punishment, the gods chained me to a rock on the beach, and arranged for an eagle to come daily to eat my liver. The liver grows back every night. Unluckily, the eagle always returns to devour it. I'm used to it, but I'm still eager to get out of my predicament. Any suggestions? Aries in Limbo.” Dear Aries: Your rescue is scheduled for no later than your birthday, possibly before. In the meantime, the best thing you can do is to feel gratitude for all you've learned during your ordeal. TAURUS (Apr 20 – May 20) Your meditation comes from writer HP Lovecraft: "What a man does for pay is of little significance. What he is, as a sensitive instrument responsive to the world's beauty, is everything!" You're in a phase when you'd be smart to evaluate your own worth based less on what job you do and more on who you are. Practice thinking: The soulfulness you embody and express from moment to moment is the single greatest measure of your success as a human being. GEMINI (May 21 – Jun 20) One of my favorite peculiarities about the English language is the idiosyncratic words it uses to characterize groups of specific animals. For example, we say a "rab-

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ROB BREZSNY // FREEWILL@vueweekly.com

ble of butterflies," a "prickle of hedgehogs," and "shrewdness of apes." If I had to come up with a comparable term for the human members of your tribe, it might be something like a "zeal of Geminis" or a "charm of Geminis" or a "romp of Geminis.” All those words capture part of the glory that will be you, especially for the next few weeks. CANCER (Jun 21 – Jul 22) The roots of the lotus are anchored in muck at the pond's bottom. Its leaves float on the water and its dramatic flower rises above on a thick stem. For Buddhists, it was an emblem of enlightenment: beauty ascending from the mud. In India, a thousandpetaled golden lotus symbolized the miracle of creation. In the 16th-century Chinese folk tale "Monkey," a teacher instructed the hero on how to achieve a long life. "Even amidst fierce flames," he said, "the Golden Lotus can be planted." For the foreseeable future, Cancerian, the lotus is your power object. LEO ( Jul 23 – Aug 22) "Picture a complicated combination lock, one that requires dialing eight different numbers to open," writes Arianna Huffington. "You have seven of the numbers, but the lock still won't open until you hit upon that final number. One-eighth may not seem as 'big' as seven-eighths, but without the final click of the combination, the tumblers won't fall into

place." Sound familiar, Leo? In my astrological opinion, you have dialed up the first seven numbers but you don't know what the eighth is yet. The missing info is now within your reach. VIRGO (Aug 23 – Sep 22) In the coming week, it's very important that you stay out of other people's hells—even if they invite you in with a big welcome. Be compassionate, Virgo, but don't be manipulated or foolish. The best thing you can do to help others is to cultivate your own mental health with ingenuity, trusting in its radiant power to heal by example. LIBRA (Sep 23 – Oct 22) "Two paradoxes are better than one," said physicist Edward Teller. "They may even suggest a solution." I hope this gives you a glimmer of appreciation for the sparkling contradictions you're surrounded by, Libra. It would be understandable if up until today you felt they were crazy-making stressors that served no good purpose. But now maybe you will be motivated to stand on your head, cross your eyes, and try to see how the tangy riddles might actually be used to untangle each other. SCORPIO (Oct 23 – Nov 21) Despite the wealth and renown he has accumulated during his influential career, musician Brian Eno is a big fan of raw simplicity. Speaking about R&B, soul music,

and psychedelia, he said, "These earlier eras of pop music were characterized not by the search for perfection but by bizarre enthusiasms, small budgets, erratic technique, crummy equipment, and wild abandon." Would you consider playing with that approach in the coming weeks, Scorpio? It's not necessarily something you should do all the time, but right now I suspect it's a formula for the most interesting kind of success. SAGITTARIUS (Nov 22 – Dec 21) Research Digest Blog asked eminent psychologists to write about the theme "one nagging thing you still don't understand about yourself." One expert wondered why he always overestimates how much work he can get done. Another pondered the fact that he falls prey to his own irrational biases even though he's well aware he has them. What would your answer be, Sagittarius? This is an excellent time to see if you can get to the bottom of a truth about yourself that has always eluded you. CAPRICORN (Dec 22 – Jan 19) I suspect that you will either be spectacularly right or breathtakingly wrong in the coming days. Which way it goes will all depend on whether you're observing and responding to the actual events unfolding in front of you or else are more focused on the images dancing around in your imagination. Of course it's always a good

VUEWEEKLY // MAR 10 – MAR 16, 2011

idea to get your biases and projections out of the way so you can see life as it really is, but it's especially crucial now. So much is contingent upon your ability to be acutely perceptive and crisply objective. AQUARIUS ( Jan 20 – Feb 18) In the old fairy tale, the character known as Rumpelstiltskin had the power to spin straw into gold. You could pull off similar wizardry in the coming weeks: transforming seemingly ordinary or worthless stuff into a valuable asset. Although your work might seem a bit miraculous and make some people wonder if you've used hocus-pocus, the fact is that it may at times feel tedious or extremely demanding to you. Be gutsy in your mastery of the intricate details, Aquarius. I'll be thinking of you as the Gritty Magician. PISCES (Feb 19 – Mar 20) "Good things may come to those who wait, but they're mostly just the things left behind by those who hustle and bustle." That message was in my fortune cookie tonight. It happens to be a perfect fit for your current astrological omens, so I'm handing it over to you. In the coming week, I don't recommend that you sit around patiently and watch how the trends ripen. I don't think you should bide your time or be cautious in making a commitment. Be proactive, Pisces, maybe even gung ho. Carpe the freaking diem.

CLASSIFIEDS

Flower Fest 2011 Jul 15-17 telusplanet.net/public/ bzgregg/flowerfest.html; Flower Fest volunteer performers T: 780.429.3624 for time spot in the program Glamorous Grads program: Drop-off new/gently worn cocktail dresses, gowns, shoes, handbags (all sizes) to Londonderry Mall's customer service. until Apr 30

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

BUSINESS OPPORTUNITIES

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

ARTIST TO ARTIST

Top acting training Apply today! www.topactingschool.ca

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

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

ARTIST TO ARTIST

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

Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing. Free ads must be submitted in writing, in person or by fax. Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m listings@vueweekly.com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space AFA Acquisition Program: Deadline Apr 1 W: affta.ab.ca/art-collection.aspx

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 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 Strathcona Place Seniors Centre need volunteers for Zumba and Pottery Instructor, kitchen preparation and dining room servers. Call Mary at 780.433.5807

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

The Alberta Screenwriters Initiative: The Alberta Association of Motion Picture and Television Unions (AAMPTU) seek 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

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

Whyte Avenue Art Walk–Old Strathcona: July 15-17; Artist Registration in person at the Paint Spot; Mar 5

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

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

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: mightywheels.com/

Rock/country/blues duo seeks serious, ambitious, kick-ass keyboardist. Contact via facebook.com/ SaraIsabelMusic Modern rock band FTGU seeks talented bass player and drummer. Jam space preferable. Contact SID: ftgusinger@hotmail.com Vocalist wanted – Progressive/Industrial/metal; age 17-21. Contact justinroyjr@gmail.com

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

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

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

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 University of Alberta needs volunteers with depression for a study. Please call 780-407-3906.

MUSICIANS

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

SERVICES Depressed? Anxious? Emotions Anonymous: 12 step support group to help people learn emotional wellness, to live with unsolved problems, to help people cope better with life's issues; call Ruth 780.436.2951 NARCOTICS ANONYMOUS Help Line 24 Hours a Day–7 Days a Week. If you want to stop using, we can help Local: 780.421.4429/Toll free: 1.877.463.3537 S-Anon: 12-Step fellowship for the family members and friends of sex addicts. Call 780.988.4411 for Edmonton area meeting locations and info, sanon.org

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

YOUR BEST PICKUP LINE

Artist Residency in Wood Buffalo: W: woodbuffalo. ab.ca/artist; T: Connor Buchanan, 780.788.4335

LOCAL CHAT. TRY IT FREE : code 2315

International Call for Miniature Art, Quebec/Internationale d’Art Miniature Levis/Saint-Nicolas, Quebec, Canada Deadline: Mar 31; artmini.com

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

Submission Call: Scenes, monologues, one-acts on mental illness. All genres accepted. Humour appreciated. Deadline: Apr 30. rabidmarmot.ca

Interested visual artists should visit the AFA website at www.affta.ab.ca/art-collection.aspx. The Art Acquisition by Application program now has a single annual deadline for application submissions, which is April 1, 2011 this year.

Call for submissions: Are you a movement artist with a piece in process you would like to develop further? Good Women is hosting an informal showing of work and would love to show your work at ‘What’s Cooking’ on Apr 29; contact Ainsley goodwomen@live.ca; 780.752.5956

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

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

Kaleido Festival Call for Visual Artists for Sep 10 and 11 ‘The Exquisite Corpse’… not as gross as it sounds! Deadline: Mar 31. kaleidofest.ca for info

Free 2 day Investing in Real Estate Course March 12 & 13, 2011. Reserve your seat Today @ teachingrealestate@masterrecorp.com

780.413.7122 1.900.451.2853 (75 min/$2495) www.cruiseline.ca Purchase time online now!

18+

chelsea boos // che@vueweekly.com

The Heart and Stroke Foundation: looking for Volunteers With Heart; W: heartandstroke.ab.ca

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

EDUCATIONAL

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Guerilla knitting and yarn bombing, like this example found in Montréal last October, is a movement that is gaining momentum across North America, but which has little presence on the local scene. All of that is about to change if Kelta Coomber has her way. Coomber wants to benefit the community by revitalizing the visual environment through such commonplace art forms as knitting and crocheting. She has submitted an idea for a five-thousand-dollar grant to run a national guerilla knitting festival. It will bring graffiti artists, knitters and crocheters together to "put on free public workshops, in the big centres of Edmonton, Regina, Vancouver, Winnipeg, Toronto, Montréal, Halifax and Iqaluit, hear a history of public art and a discussion of its importance in our communities and cities. "In each workshop, people would be taught the fundamentals of both graffiti and knitting. From there, they would each decide on a project that can be completed in one week. So, in Edmonton, all of the knitters, graffiti artists and participants would think of something that could be covered, like a bridge or a park that could be yarn bombed. At the same time, one artist would be paid to show their work in an open-air gallery. Information about graffiti, public art and its importance would be posted right beside [the exhibition], as the graffiti artists and knitters complete their projects. At the end of the one week, there would be a process of each city sharing its project's findings, and the discussions they have had with other organizers." Her ambition and idealism doesn't end with the festival. Her hope for the eventual outcome of the project is a future collective "of people not only doing graffiti and guerilla knitting, but any other type of public art and uncommissioned art." "My idea is basically to create a project that can sustain itself after the grant and festival has gone on. I've seen a lot of com-

VUEWEEKLY // MAR 10 – MAR 16, 2011

munities that feel like they've stagnated. Whyte Avenue is one right now ... that's a bit more corporate and the hand-made feel of communities is often being lost." Her background in political science and using explicit political means to build communities, through outreach projects and dealing with at-risk youth, has left her disillusioned with the process. "Recently I lost a lot of faith in that kind of explicit political project and I was looking at other ways that communities can be revitalized and that discussion bases can be created amongst people of all backgrounds and political bents." She sees street art as a viable solution to the inadequacy of political means to foster a sense of community. "Art has really come through as something that can be really powerful in that way. Even more so, I think that a lot of the understanding of art as something put on a pedestal is problematic in our society and allowing all people to be equipped with pretty basic skills of knitting or embroidery or graffiti is really important for people to feel a sense that they can manipulate their own environment and communities to reflect how they're feeling or how they want to live ... Graffiti artists and knitters can be in the same room very easily, because there's a sense of reaching out with those art forms, instead of feeling very insular in a gallery or a conventional art space. "I think that it's really important that this become part of daily life—[something] that everyone can pick up—and communities are constantly changing their faces to reflect the change in business and buying habits and interests and the seasons as they change." Whether Coomber receives the grant or not, she intends to pursue the project. I urge you to contact Kelta at kelta@ualberta.ca if you're interested in getting involved, either by donating time or funds, or to simply vote for her project at refresheverything.ca and improve her chances of winning the grant. V

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VUEWEEKLY // MAR 10 – MAR 16, 2011

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