vue weekly 804 mar 17 2011

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2 // UP FRONT

VUEWEEKLY // MAR 17 – MAR 23, 2011

COVER

INSIDE

IssuE no. 804 // MAR 17 – MAR 23, 2011

UP FRONT // 4/ 4 5 7 8 8

Vuepoint Dyer Straight In the Box Issues Bob the Angry Flower

DISH // 9/ 10 Provenance 11 To the Pint

PS I love you Keeping busy with the kings of Kingston

// 22 SNOW ZONE

ARTS // 14 FILM // 18 18 DVD Detective

MUSIC // 22/ 24 On the Record 28 Music Notes 30 New Sounds 31 Loonie Bin 31 Old Sounds 31 Quickspins

// 12 SLIDESHOW

BACK // 34 34 Queermonton 34 Back Words 34 Free Will Astrology

LISTINGS 17 Arts 21 Film 32 Music 35 Events

AGA Refinery Art Party Sat, Mar 5 / Art Gallery of Alberta VUEWEEKLY.COM/SLIDESHOWS >> for more of Paul Blinov's photos

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IssuE no. 804 // MAR 17 – MAR 23, 2011 // Available at over 1400 locations Editor / Publisher.......................................... RON GARTH // ron@vueweekly.com MANAGING Editor............................................. EDEN MUNRO // eden@vueweekly.com associate mANAGING editor................... BRYAN BIRTLES // bryan@vueweekly.com NEWS Editor........................................................ SAMANTHA POWER // samantha@vueweekly.com Arts / Film Editor........................................... PAUL BLINOV // paul@vueweekly.com Music Editor....................................................... EDEN MUNRO // eden@vueweekly.com Dish Editor........................................................... BRYAN BIRTLES // bryan@vueweekly.com creative services manager.................... MICHAEL SIEK // mike@vueweekly.com production.......................................................... CHELSEA BOOS // che@vueweekly.com ART DIRECTOR....................................................... PETE NGUYEN // pete@vueweekly.com Senior graphic designer........................... LYLE BELL // lyle@vueweekly.com PRODUCTION INTERN........................................ Elizabeth Schowalter // scho@vueweekly.com WEB/MULTIMEDIA MANAGER........................ ROB BUTZ // butz@vueweekly.com LISTINGS ................................................................ GLENYS SWITZER // glenys@vueweekly.com

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CONTRIBUTORS Ricardo Acuña, Chelsea Boos, Josef Braun, Rob Brezsny, Kristina de Guzman, Gwynne Dyer, Jason Foster, Brian Gibson, Tamara Gorzalka, James Grasdal, Joe Gurba, Michael Hingston, Whitey Houston, Carolyn Jervis, Stephen Notley, Mel Priestley, LS Vors, Mimi Williams, 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 17 – MAR 23, 2011

UP FRONT // 3

UP FRONT

VUEPOINT

GRASDAL'S VUE

Performance review samantha power

// samantha@vueweekly.com

What does it take to get fired? If you're in Ottawa these days the answer might be simply to work for a federal Conservative cabinet minister. Though it seems, despite their own actions, the ministers' jobs are safe. Last week's rulings by House Speaker Peter Milliken finding the Conservative government in violation of two breaches of privilege hasn't seemed to faze the Conservative caucus. And Minister Bev Oda doesn't seem to be in any hurry to resign over the fact that she lied to a Parlaimentary committee. Neither does the entire Conservative caucus seem too bothered by the ruling that they've falied to provide adequate information to the House on the cost of the proposed prison program. Both instances are cases that the federal Conservatives have violated their duty to Parliament and therefore to the Canadian people in first lying about an action and in the second case failing to provide adequate information to the public about a new, controversial and potentially expensive program. And these rulings were just in an afternoon for this government. These rulings don't cover what has been a busy month for the Conservatives: Jason Kenney was caught fundraising for the Conservative Party using his ministrerial

YOURVUE

authority and resources while Conservative campaigners have been caught up in allegations they violated Canada election law in 2006. And that's not even touching the issues of last year's firing of Helena Guergis, Conservative misrepresentations of Statistics Canada's chief statistician Munir Sheikh on the long form census and the role of the federal government in the mass arrests made during the G20, which the City of Toronto seems to be taking most of the blame for. And that seems to be the trend for Harper's Conservatives: they have concocted a magic formula of finding someone else to take the blame. And for the most part it's working. Despite all of these actions, the Conservatives still rank as leaders in public opinion polls. A general theory behind election opinion is people vote according to how well the economy is doing: do I have a job, is it likely I will in the next six months? Luckily for the Conservatives it's the one checkmark on their job review. Perhaps it's the reason they've pushed a $26-million marketing strategy for the economic action plan because if you've only got one gold star you really want it to shine. But in the next week Canadians will have to judge how brightly that star stands out when compared to the Conservatives failures on the other portions of their job review. V

Your Vue is the weekly roundup of all your comments and views of our coverage. Every week we'll be running your comments from the website, feedback on our weekly web polls and any letters you send our editors.

WEBPOLL RESULTS

Independent MLA Raj Sherman indicated he had evidence of payoffs and censorship about patient deaths by the Alberta government. Premier Ed Stelmach will not be calling

a public inquiry into the matter. Did Sherman make the right move?

POLL THIS WEEK

Should politicians be held accountable for their Internet commentary as they are for their comments in the press? 1. Yes, it's an indication of their word to the public 2. No, it's a venue for dialogue and debate

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

4 // UP FRONT

VUEWEEKLY // MAR 17 – MAR 23, 2011

ONLINE EXCLUSIVE

VUEWEEKLY.COM

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

Listen at vueweekly.com/podcasts

COMMENT >> EUROPEAN IMMIGRATION

Cultural ghettos

Anti-immigrant policies exacerbate an imagined problem From the beginning of next month, it will a threat to society? be illegal for a Muslim woman in France In fact, there are probably more British to wear a full-face veil (niqab) in any public women wearing niqab in my small patch of place. An opinion poll last week suggested London than there are French women wearthat Marine LePen, the new leader of the ing niqab in the entire country. In Camden far-right National Front, could win the first Town, I see them in the supermarket, on the round of next year's presidential elecbus, in the street—and when I overhear tions in France. These two facts are them talking to their husbands or not unconnected. their kids, I notice that most of President Nicolas Sarkozy is in them have London accents. a panic as the National Front That's because most of the om gains in the polls, for his own niqab-wearers are not immieekly.c w e u v e@ gwynn core vote is also on the right. He grants. They are the Britishe Gwynn has responded by ordering a naborn daughters of immigrants, tionwide debate on Islam's place and the fact that they now apDyer in secular France, and he has made pear in public wearing this extreme it quite clear which side he is on: he wants garb—which was not normally worn by no minarets in France, he tells journalists, women back in Pakistan, or Algeria, or and no halal food in school canteens. But wherever their parents came from—is part the new anti-niqab law is the centre-piece of the crisis that always affects secondof his strategy. generation immigrants everywhere. It is a solution to a problem that does not exist. There are around five million MusThe men of the conservative older generalims in France, about eight percent of the tion are horrified as their daughters absorb population, but only a couple of hundred the values of the larger society around Muslim Frenchwomen wear the niqab in them, and try desperately to isolate them public. They probably shouldn't drive, since from those influences. It was a losing battle all that paraphernalia severely restricts for Italian and Jewish fathers in New York a their field of vision, but in what sense is hundred years ago, and it's a losing battle their occasional presence in public spaces for Algerian and Indian fathers in London

R DYEIG HT

STRA

and Paris now. But these things take time to work out, and in the meantime a tiny minority of British Muslim women wear niqabs, and an even tinier minority of Muslim Frenchwomen. So why would a French govern-

the normal pace, but in the midst of the process it is possible to believe that the cultural turmoil is leading to a permanently divided society. Most people on the right do believe that. Whoever can more convincingly claim to

This is a very large sledgehammer being used to crack a very small nut. But it will have served its purpose if it gets Sarkozy re-elected. ment ban women wearing niqab from taking a bus, entering a shop, or even just walking down the street, on pain of a 150euro ($200) fine? In addition to a fine, the wicked transgressors will be obliged to attend a citizenship class that stresses the egalitarian values of the French republic, including gender equality. This is a very large sledgehammer being used to crack a very small nut. But it will have served its purpose if it gets Sarkozy re-elected. The right is in the ascendant in French politics, and this has unleashed a wave of panic-mongering over “multiculturalism.” Assimilation of second- and third-generation immigrants is actually proceeding at

have the solution for this imaginary problem wins the right-wing vote, and the National Front is drawing ahead of Sarkozy's Union for a Popular Movement (UMP). Under the leadership of Jean-Marie Le Pen, the National Front came second in the 2002 presidential election; under the leadership of his daughter Marine Le Pen it could do even better. The recent opinion poll commissioned by Le Parisien newspaper gave her 23 percent of the vote, while Sarkozy's party and the Socialists got 21 percent each. She has ditched the National Front's neo-fascist and racist rhetoric in favour of a low-key, "common-sense" style that is having a real political impact.

NewsRoundup 10 YEARS LATER It's been 10 years since the first same-sex marriages were performed in the Netherlands in 2001. Since that time 10 countries on three continents have legalized same-sex marriage, but discrimination persists according to Human Rights Watch. Boris O Dittrich, acting director of the Lesbian, Gay, Bisexual, Transgender (LGBT) Rights Program at Human Rights Watch says, "while

The tide of Islamophobia is running strongly on the European right at the moment. German Chancellor Angela Merkel has been trumpeting the failure of multiculturalism for the past six months, and British prime minister David Cameron recently added his voice to the chorus. It is only a cynical political stratagem, but it could have real consequences. Left to their own devices, the various immigrant groups in these countries, including the Muslim groups, will assimilate to the general society in a couple of generations, as immigrants generally do. You can accelerate the process a little with the right government policies, but not much. However, you could stall it entirely by attacking the minority groups and driving them into cultural ghettoes. That's the game that Sarkozy is playing now. V Gwynne Dyer is a London-based journalist. His column appears weekly in Vue Weekly.

SAMANTHA POWER // samantha@vueweekly.com

MAKE PEACE, NOT WAR the right to same-sex marriage may be viewed as the last step in ending discrimination on grounds of sexual orientation, legalization does not end discrimination, either by officials or other people." Numerous countries including Nepal, Slovenia and Australia have begun legal or political processes to legalize same sex marriage. Dittrich says, "The trend to legalize samesex marriage is unstoppable."

Failure to capture Last week, the Alberta government announced the creation of an expert panel charged with guiding the regulatory framework required for future carbon capture and storage projects. The Pembina Institute's Chris Severson-Baker has accepted an appointment to the government steering committee that will advise the panel, prompting the Calgary Herald to declare that environmentalists were on side with the plan. Severson-Baker's participation came with qualification as detailed in the Calgary Herald, "Our organization thinks it's appropriate to put a lot of eggs in this particular basket but we should be putting eggs in other baskets as well." Mike Hudema, campaigner for Green-

But all she can do is force a run-off second round in which, like her father in 2002, she would be overwhelmingly defeated. French political parties are divided on many things, but they would all unite to keep the National Front from power.

peace Alberta, was quick to point out that not all environmentalists are on side and while he understands why the Pembina Institute is participating in the process, he's concerned the government plans to use their presence as a marketing tool. "Regardless of the credibility of the panel, the fact remains that due to the thin and diverse nature of the GHG streams in the tar sands, CCS simply does not have realistic application here,” said Hudema. “This is yet more greenwash from a government that is bent on distracting the public with glossy ad campaigns and announcements rather than actually addressing the problems and moving towards real solutions."

According to a new report, Canada's military spending is at its highest since the Second World War. The report by the Canadian Centre for Policy Alternatives reveals Canada will spend $22.3 billion on military forces from 2010 – 2011—an increase of 54 percent since 9/11. "Canada is the 13th largest military spender in the world and the 6th largest within the 26-member NATO alliance," says Bill Robinson, senior policy analyst at the Rideau Institute. The report also reveals military spending, primarily on missions in Afghanistan, has come at the expense of peacekeeping endeavours. Canada currently contributes 56 military person-

nel to UN peacekeeping missions, ranking it 60th of the 102 contributing countries. "Canada could make a much greater contribution to global security and humanitarian action by shifting resources to non-military security efforts and to peacekeeping operations," Robinson says. Military support for peacekeeping initiatives has dropped dramatically from Canada's historical contributions to peacekeeping initiatives. Throughout the mid-'90s Canada maintained peacekeeping forces of 1000 – 3000 troops worldwide. But by 2005 that number had dropped to 83. In 2008, Canada also voted to shut down

NUCLEAR THREAT

QUOTE OF THE WEEK

A Queen's University study has concluded that nuclear power is not worth the risk or the public subsidy, when compared with renewable energy alternatives. High construction costs, security risks and long-term waste management make nuclear energy a riskier public investment. "Government-backed liability subsidies cap insurance liability and artificially reduce the costs of nuclear energy in North America. Nuclear is simply not insurable in the free-market," says Dr Joshua Pearce. The study, printed in the Energy Policy journal, revealed that if current public subsidies in nuclear energy were diverted to photovoltaic investment, more energy would be produced by mid-century.

VUEWEEKLY // MAR 17 – MAR 23, 2011

the UN's Multinational Standby High Readiness Brigade, a rapid-reaction peacekeeping unit that had previously been championed by Canada. As a prelude to the federal budget scheduled to be released March 22, the CCPA also released an alternative budget which supports the redirection of funds from military spending to job creation. "With so much at stake for the financial security of the country—and all Canadians—now isn't the time to 'stay the course' or waste money on questionable corporate tax cuts, fighter jets and jails," says David Macdonald, alternative federal budget coordinator.

“Raj has made it clear that he believes that only he can save health care in Alberta, and he must be the leader of a political party, and ultimately the Premier, to do so. We respectfully disagree.” —NDP leader Brian Mason blogs about Raj Sherman's purchasing of a Liberal Party membership March 15, 2011

UP FRONT // 5

politicians in the long run. He recalls the hot water MLA Doug Elniski landed himself in 2009 over questionable remarks he tweeted during the Gay Pride Parade. That and a subsequent blog post landed the Edmonton Calder MLA in hot water with the Premier. Elniski appears to have learned his lesson, with his most recent tweets involving nothing more controversial than his trips to the dentist and the fact that Calder has not one, but two, Humpty’s locations.

Holding politicians

to account in an

Internet age mimi williams // mimi@vueweekly.com

O

f all the things that might have been on MLA Raj Sherman's to-do list this week, "read up on 'Godwin’s Law'" was clearly not among them. The law coined by American attorney and author Mike Godwin at the dawn of the Internet age states, "As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches 1." Sherman, whose forced retraction of an intemperate tweet in which he referred to his former party and the Alberta government as the "PC Gestapo" garnered him almost as much media attention on Monday morning as his ongoing efforts to improve the health-care system, has

Alberta NDP leader Brian Mason also found himself in an online sparring match after Dave Cournoyer, author of the political blog daveberta.ca, made what some felt was a snide comment on Twitter regarding Mason's new blog. The ensuing back and forth made for an amusing Sunday afternoon for observers, but there were some who felt Mason's response was a bit heavy handed. The Edmonton-Norwood MLA acknowledges he has some learning to do but makes no apologies for getting into social media debates with voters. In fact, he plans to do more of it, describing all politics as a "battle of ideas." "I'm not going to go on Twitter or Facebook and be neutral,” says Mason. "I'm going to go there and fight for the ideas that I and the NDP believe in." He adds that being a politician shouldn’t stop him from challenging statements and ideas that he believes need to be challenged, but acknowledges he's learning quickly how important it is to think twice before hitting the send button. City councillor Don Iveson, who boasts that he invented the #yegcc hashtag on Twitter, considers himself fortunate to have come to Web 2.0 earlier than some of his counterparts, allowing him to witness some fairly poignant examples of how not to use the Internet to engage in civic discourse. "I made sure to learn from those examples and have been able to use social media as a positive outreach tool," he explains when asked how he has avoided engaging in public spats with voters or having to make embarrassing retractions. More important than the medium, Iveson stresses that the bar for behaviour is high for public office holders. "Like it or not, we're held to a higher standard," he says, adding that he believes his very role demands a basic level of respect be afforded to citizens. "I have to be thoughtful any time I am out in public and that includes when I’m using social media." These may very well be words of wisdom for politicians new to using social media. If heeded, perhaps we'll see fewer of them having to say they're sorry. V

The great temptation to use a medium like Twitter when one is annoyed can be more dangerous than beneficial for politicians in the long run. surely learned this lesson now. With Twitter, Facebook and various other online forums providing citizens and elected office holders alike the opportunity to engage in unfiltered, instant communication, the potential for improving citizen engagement and access to politicians is obvious and endless. But as evidenced by Sherman's experience, social media is a double-edged sword that our elected representatives need to wield very carefully. "The pitfalls of engaging in social media for those holding elected office are far greater than the potential," says David Climenhaga, particularly in the case of Twitter. The author of the albertadiary.ca political blog and communications director with the Alberta Union of Provincial Employees suggests that while Barack Obama proved the organizational benefits that might be realized—instant communication and mobilization of younger audiences— the great temptation to use a medium like Twitter when one is annoyed can be more dangerous than beneficial for

6 // UP FRONT

VUEWEEKLY // MAR 17 – MAR 23, 2011

IN THE BOX

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

Bad to worse

Injuries have fans asking, 'Who's even on this team anymore?' The Oilers travelled in the footsteps (skatesteps?) of NHL Hall of Famer Larry Murphy last week. Murphy played six seasons in Washington, playing 453 regular season games and scoring 85 goals. The Oilers played one game against the Caps last week and scored zero goals. Ovechkin and pals scored five, unfortunately. Murphy won two Stanley Cups as a Pittsburgh Penguin and two more Cups as a Detroit Red Wing. The Oilers went to Detroit and Pittsburgh and all they got was a lousy pair of losses—a 2-1 OT heartbreaker at Joe Louis and a 5-1 laugher in Pittsburgh. There will be a next year ... right?

Remember last week when I was all,

"What the hell?" about the Oilers' recent injury woes? Since then, things have gone from bad to catastrophic. First, Sammy Gagner severed a tendon in his hand on a skate blade and will miss the rest of the season. Now we hear that Captain Shawn Horcoff may miss some serious days after taking a puck in the foot. Gilbert Brule and J-F Jacques also left the ice not to return in last Sunday's embarrassing loss to the Penguins—Brule was fuzzy headed from a helmet-to-helmet hit and Jacques also hurt his foot. Soon the team will be nothing but the unstoppable Ryan Jones and assistant coach and former captain Kelly Buchberger, who'll strap on the skates to show the kids a thing or two about grit. BB

Great (somewhat fictional) moments in (embellished somewhat) Oiler history

Save the date: January 26, 1979. Wayne Gretzky, playing with the WHA Edmonton Oilers turns 18 and, during a pre-game ceremony is presented with a birthday cake (he was already a big deal, even then) and an unprecedented 21-year "personal services contract" with team owner Peter Pocklington. The unique contract, in effect, helped insulate Gretzky from being lost to a dispersal draft when the Oilers and three other WHA teams entered the NHL. This was because Gretz was contracted to Pocklington rather than the team, exempting him from being lost to another

lucky team. Because of this unique contract (and Wayne's guileless work ethic), the sneaky Pocklington convinced the young and naive superstar that the "personal services contract" also obligated Wayne to do odd jobs for the Edmonton millionaire, including dry cleaning runs, shifts at Gainers and dressing up as a clown for birthday parties. This continued until teammate Mark Messier was shocked to see Gretzky shovelling Pocklington's sidewalk during an Edmonton blizzard. The Moose set Pocklington straight with one of his trademark icy glares and the abuse of the contract ended that day. DY Tweetness

With so much time on their hands, many members of the Edmonton Oilers have taken to the social networking website Twitter. It started with Ryan Jones (@ jonesry28) whose hilarious missives are now being matched by the injured Ryan

VUEWEEKLY // MAR 17 – MAR 23, 2011

Whitney (@ryanwhitney6), and Taylor Hall (@hallsy04) and Linus Omark (@ limpanomark) have even gotten into it. As injuries continue to decimate the team, the Oil will soon have more Twitter users than active players, but it's interesting to have a glimpse into the minds and lives of NHL players. From weight training, to what makes a terrible tattoo, to television, to how girls look in yoga pants (generally good), their minutiae is more interesting than wherever your pal Craig is eating. BB Accidentally ironic headline

From the Oilers website: "Oilers visit local hospitals." No shit. DY Oiler Player of the Week

Ryan Jones: Three goals in his last five games, Jones may be the team's best, non-injured player. BB Ryan Jones: I agree with Birtles. Sign this guy before July. DY

UP FRONT // 7

COMMENT >> ALBERTA POLITICS

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.

Truth revealed

UK comparison exposes Wildrose Alliance's plan for public services For the past year in Alberta the back and forth between those Albertans warning that the Wildrose Alliance is an extremist right-wing party and party leader Danielle Smith has taken on an almost Monty Python-esque quality. The latest episode of "who's the extremist?" played out at the March 2 Wildrose fundraising dinner in Edmonton. In her speech to the faithful, Smith referenced those dire warnings about "right-wing extremists masquerading as moderates," and proceeded to quickly discount them: "Quite frankly, these sinister-sounding terms are meaningless. They are used to create fear. They are the resort of people who have run out of useful things to say. And they will not work. Albertans will not run away and hide from a scary word. They will not be fooled." Take a close look at the above quote, however. In a departure from the Monty Python bit, the above doesn't actually say "we're not extremists." It says, "Albertans will not run away and hide from a scary word." Danielle Smith and her crew are expert communicators, and they have

toured the province over the course of the last year being very careful about what they say and to whom. They choose their words carefully to imply that they are rational, moderate and in favour of public services, but the meat of their policies says otherwise. A good example of this is their response to the provincial budget, where they criticized the government for investing in public infrastructure (schools and hospitals) that they can't afford to staff. The implication is that the Alliance is aware of the need to properly staff public services, and that they would properly staff them. What is not said publicly, however, is that the Alliance is actually interested in the opposite: privatizing education and healthcare so that the government wouldn't have to staff them at all. That really is the essence of right-wing extremism masquerading as moderation, and they've been doing this not only in education and health care, but also in social services and infrastructure. In the March 2 speech cited above, however, Danielle Smith's communica-

tions team either slipped up or experienced a rare flash of honesty. A few paragraphs after saying that use of the word extremist is just a fear tactic, Smith went on to align herself and her party with one of the most extreme policy platforms anywhere: UK Prime

defacto go-to people for making things happen in communities. At the same time, decent health care will be available only for those who can afford to pay, with everyone else having to prove they are worthy and beg for access to whichever charity is willing to

Cameron's vision for the UK is largely based on a return to that Victorian society articulated so well by Dickens in A Christmas Carol and Oliver Twist. Minister David Cameron's "Big Society." In case you've missed it, here's the essence of Cameron's plan in the UK: cut public services, cut taxes, eliminate any and all government support for the poor, disabled and vulnerable, and let churches and charities work it all out. Social services will be off-loaded to local councils, which are already completely cash-strapped, and all local services and facilities (like libraries, public transit, rec facilities, and infrastructure and maintenance) will be made to disappear. Volunteers will be become the

provide it, while a tripling of university tuition is ensuring the exclusivity of access to advanced education. In other words, Cameron's vision for the UK is largely based on a return to that Victorian society articulated so well by Dickens in A Christmas Carol and Oliver Twist. A society where supports, housing and services for the poor, disabled and down-on-their-luck is based not on their rights and entitlements as human beings, but rather on their ability to beg for their gruel more

BOB THE ANGRY FLOWER

8 // UP FRONT

VUEWEEKLY // MAR 17 – MAR 23, 2011

effectively than the next person. This is the vision of society that Danielle Smith aligned herself and her party with on March 2 when she publicly held up Cameron's "Big Society" as an ideal they would emulate in Alberta. So much for her claims of moderation and common sense. But in the end, as scary and distasteful as this vision will be for most Albertans, it is positive that Smith has embraced them so openly. Hopefully this signals a turn away from the doubletalk and misrepresentation we have seen from the Alliance up until now, and a turn toward more honesty and openness in the kind of Alberta they want to build. Hopefully the mainstream media and the other political parties in the province will latch onto this and spread the word. Albertans need to be aware of what the party truly stands for, and make their electoral decisions accordingly. V Ricardo AcuĂąa is the executive director of the Parkland Institute a non-partisan, not-for-profit public policy institute housed at the University of Alberta.

DISH

Find a restaurant

ONLINE AT DISHWEEKLY.CA

New neighbours

Kabuki Sushi part of the growing foodie hot spot north of Whyte

Kabuki in the renovated Garneau Theatre building LS Vors // vors@vueweekly.com

T

he evolution of a neighbourhood may take two paths. It may be a gradual metamorphosis of one distinct entity into another, subtle changes accumulating until the transformation is complete. The second path is one of punctuated equilibrium, a single event triggering massive, rapid transformation. On 109 Street, renovation of the historic Garneau Theatre catalysed a drastic facelift of the entire block, an example of evolution via punctuated equilibrium. Multiple eateries emerged; among them is Kabuki Sushi & Grill. The small, dark room is dominated by a large artificial sakura tree, its delicate pink flowers accentuated by strands of twinkling lights. Japanese pop music plays quietly in the background. A smiling maneki neko beckons from a counter framing the

open kitchen. Popular in Japan since the Edo period, these ceramic cats are thought to symbolize good fortune and attract customers. Tonight, neko is exercising her influence, for the room is packed and tinged with fresh notes of seafood and sake. An affable waitress presents a complimentary mug of steaming sen-cha tea, which is replenished throughout the evening. The menu treads familiar Nipponian territory: teriyaki, tempura, udon noodle soup and multiple incarnations of maki, sushi and sashimi. Enjoying the delicately astringent and smoky tea, I peruse the menu and select a small cross-section of dishes. Blazing unagi roll ($15.95) is a core of surimi and cucumber enveloped by nori and rice, then topped with unagi—eel—and surrounded by a miniature moat of sake-fueled flames. The roll itself is rather fragile—the rice fails to hold its shape. In contrast, the

flame-kissed unagi is a decadent paradox of crisp skin and unctuous flesh, the clear victor of this dish. Magic tuna ($9.50) is proclaimed a house specialty, a deep-fried roll of nori, rice, tuna and avocado. The avocado is supple, coaxed by the substantial, residual heat. Peppery green onions compete with plum-hued tuna for flavour domination, while a crisp tempura crust provides textural contrast. Magic tuna succeeds on multiple levels. The rice and nori exterior of the Edmonton roll ($6.95) conceals tempura prawns, robust tuna and mild crab. Again, the rice lacks prerequisite stickiness. The trio of prawn, tuna and crab is clearly fresh, but lacks both the synergy of the tuna's protein and veg and the prominence of the unagi's crisp-tender dichotomy. Finale to this parade of fish and rice is the Yam Tempura Roll ($5.95). Here, julienned and deep-fried sticks of yam

are encased in an oversized rice-nori roll. The delicate yam is somewhat overpowered by its tempura shell. Texture is this roll's best attribute; it's delightfully crisp and amenable to dregs of soya sauce and wasabi. Punctuated equilibrium has indeed changed a hallmark block of 109 Street. This change, irrespective of cause, is difficult, for it forces a reconfiguration of expectations and perception. Some products of this evolutionary change, like the flame-kissed unagi, are stronger than others, like the disconnected rice. And yet, I imagine a return to the dappled shade of the sakura tree to bear witness to Kabuki's evolutionary refinement. V

VUEWEEKLY // MAR 17 – MAR 23, 2011

Mon – Wed (11:30 am – 9:30 pm); Thu – Sat (11:30 am – 10:30 pm); Sun (3 pm – 9:30 pm) Kabuki Sushi & Grill 8724 - 109 St 780.437.0077

DISH // 9

PROVENANCE Six facts about salt

Known as sodium chloride (NaCl) to scientists, salt is necessary for life on this planet. It causes the oceans' salinity, regulates the water content of humans and animals and transmits electrical impulses through the nervous system. In addition, it's delicious. Here are six other things you may not know about salt: 1) Now utilized mostly as a seasoning, salt's original use was in preserving food. 2) The word "salary" comes from the Roman word "salarium" which refers to the money paid to Roman soldiers specifically to buy salt. 3) The Salt Satyagraha—an act of civil disobedience against British Colonial Rule led by Mahatma Gandhi—started with the Dandi March, a 24-day march to

10 // DISH

VUEWEEKLY // MAR 17 – MAR 23, 2011

BRYAN BIRTLES // BRYAN@vueweekly.com

the coast of India to create salt without paying tax on it. Gandhi's nonviolent protests helped bring attention to his cause and gain India's independence. 4) In Asia, soy sauce is used to add salty flavour in both cooking and as a condiment. Soy sauce is made by fermenting soy beans. 5) The average Canadian adult consumes 3092 mg of sodium daily, more than double the level recommended by Health Canada. High sodium consumption has been linked to high blood pressure, stroke, heart disease and kidney disease. 6) The 2010 film Salt, starring Angelina Jolie as Russian sleeper agent Evelyn Salt, has nothing to do with sodium chloride. V

Recently reviewed

BEER

World's oldest

Numchok Wilai

Quaffing a 9000-year-old recipe

Moriarty's Bistro and Wine Bar

Chateau Jiahu Dogfish Head Craft Brewed Ales, Milton, DE $27.99 for 750 ml bottle I recently tasted the oldest beer in the world. Well, to be honest, a careful recreation of a 9000-year-old recipe. Until recently, historians thought beer was created by the Sumerians about 3000 BC. However, a team of archeologists and bio-chemists recently uncovered a beer much older, dating to about 7000 BC, from .com weekly the Henan Province in China. t@vue thepin to Yes, the Chinese invented beer. Jason Microanalysis of residue found Foster in clay pots revealed a fermented concoction of rice, honey, hawthorn fruit (a sharp-tasting berry) and possibly grapes. It was meant for religious ceremonies and celebrations. In the interests of academic honesty, I must note that they were engaging in some educated guesswork. But I am not going to challenge them, are you? I also pause to acknowledge the question you must be thinking. Yes, the ingredient list does not contain that which we consider mandatory in modern beer: barley. So, in the modern sense, you could argue The beer reveals itself as medium bright it is not beer. However the most accurate gold with a pink accent. Its bright white definition of beer is a fermented beverage head is thin but persistent. It has brilmade with malted grain, which includes liant clarity and is quite effervescent. The rice. It wasn't wine. It wasn't distilled. Beer aroma gives off honey, raspberry, white is the logical category. grape and other red berries, along with The lead scientists approached Sam some pilsner malt sweetness. It has a bit Calagione of the experimental and wellof a pungent background, plus some floral respected Dogfish Head brewery to help character as well. them recreate this ancient beer. The first The sip is intensely sweet with honey, version was released in 2006, with subsegrape and sugar. Some earthy, tart sharpquent occasional re-brews. The latest verness grows in the middle, which must sion is the first to reach Alberta. The recipe come from the hawthorn as there is no attempts to match the archeological find hops. The finish is sweet, almost cloying. as closely as possible, however some barUnfermented honey lingers. It presents ley is added for convenience and some more like a combination of sake and mead chrysanthemum flower for complexity. than beer. I find myself surprised by how

TO TH

10623 - 124 St, 780.488.7897 "Nuer nam mun hoy—essentially beef and broccoli with cauliflower, carrots and mushrooms—turned out to be the overwhelming favourite at our table. The veggies were crisp but tender, the perfect combo to maximize their saucesoaking-up ability. And the sauce was definitely worth soaking up. The veggies tasted so divine they disappeared in no time." —Jan Hostyn

E

PINT

Corso 32

sweet it is; I think I expected more balancing bitterness. Overall it is a fascinating experience. I found myself conjuring up images of villagers gathering around the central fire to celebrate the hunt or the return of the sun. I am glad I tried it, although I must admit it is simply too sweet to have more than one. Try sharing the bottle, as I did. On the plus side, how many times in your life can you say you have tasted the oldest grain-based fermented beverage known to humans? Pretty cool, on the whole. V Jason Foster is the creator of onbeer.org, a website devoted to news and views on beer from the prairies and beyond.

10345 Jasper Ave, 780.421.4622 "Minimalism is a risk: when one pares away all aspects of embellishment, what remains must approach perfection otherwise shortcomings are glaring without the benefit of other distractions. Corso 32 fills such a tall order with ease". —LS Vors

10154 - 100 St, 780.757.2005 "The sweet nutty flavour mixed with the delicate hint of chai was beautiful but, unfortunately, the mahi mahi itself was on the dry side and slightly overdone. The risotto was an unexpected consistency, light and fluffy, almost like a stuffing, with lots of bits of lobster throughout. The unmistakable truffle flavour was a little lost, but with so much lobster I was willing to ignore it." —Erika Domanski

Thanh Thanh Oriental Noodle House

10718 - 101 St, 780.426.5068 "We all continue to enjoy the ambience and especially the spicy curried vegetables which are full of snap and are large enough to be eating from for days. The lemongrass chicken in spicy coconut sauce leaves a little something to be desired; it comes off a pinch bland and has me craving a better rounded, Thai-style version of the dish." —Adam Smith

Crepeworks 10352 – 82 Ave, 780.484.7975 "It's stuffed with innards: strawberries, strawberry sauce and chocolate sauce. And whipped topping. I tackle the beast, expecting to make a mess while eating— which I do." —Maria Kotovych

VUEWEEKLY // MAR 17 – MAR 23, 2011

DISH // 11

SNOW ZONE

Cool world Ice diving opens up a whole new universe beneath the water Kristina de Guzman // kristina@vueweekly.com

I

t should be easy enough to get someone to cut a hole in the ice to throw a line to catch fish, but how does one convince a person to go through for a dive? "Well, if someone was really leery about it, I probably wouldn't convince them, because if they have a phobia, it's probably just gonna turn out bad," says John McCuaig, an ice-diving instructor

at the Dive Outfitters. For Ken Pon, who teaches an icediving course at Calgary's AquaSport Scuba Centre, the fears that accompany an ice dive are not only obvious but typical. "Number one, there's no direct access to the surface anymore, and number two, the waters are just barely above freezing temperatures." Although ice dives are only about 15 to 20 minutes long, water underneath ice can be anywhere between freezing

point and minus four degrees Celsius. McCuaig notes that the water around February and March is at the same temperature as water at the bottom of the lakes during the summer. So why would anyone in their right mind want to take up ice diving? "My reason when I first took the course—I was asked the same question by my instructor and I sort of said, 'I'm here to test my sanity because I think I've lost it,'" answers Pon with a laugh. Joking aside, Pon says the first reason he took up ice diving was to have access to dive sites all year round instead of being restricted by the weather. "I live in a country where the water is solid half the year, and if I don't take up ice diving I'm really not gonna be able to maintain my skills as a diver." The other reason? Ice diving was a chance to gain skills that few people have. "It's not a huge number of divers who do this because of the hazards involved in it," Pon says, pointing out that skills of observation and awareness of both self, environment and the person attached to the other end of the rope are "all enhanced by the whole ice diving experience." Although some first-time ice divers may be confident, Pon believes that acknowledging one's fears is important when taking part in extreme sports. "I think everybody has a bit of a bravado thing. The reality is, there's always a little bit of fear in people when you do this," Pon admits, adding that even if people don't say they're scared, he can tell when they are. "I could see people for the first time getting in the envi-

12 // SNOW ZONE

ronment, dealing with something that they've literally not dealt with before. "All your gear reacts slowly when you're under ice and in the cold environment. It really isn't a matter of if your gear will fail, it's a matter of when something will fail on you and how you handle it." Angie Garred, who took an ice dive course last year, openly shares the fears that she had. "I'm actually claustrophobic, so going under the ice [and] not having a direct route to surface was definitely scary for me, personally," Garred chuckles before adding that all the safety measures, including having a line tied to a tender, tying one's rope to an ice screw by the hole in the ice and knowing that she was with qualified instructors helped to ease her fears. Besides coming to the realization that ice diving isn't as scary as it seems, Garred had another insight after taking the course. "Because it's not warm in the winter, there's no algae growing in the lake, so the visibility that you could see underwater was like a hundred times better than in the summertime," Garred shares, adding that she could see as far as a hundred feet away. "It was a lake that we've dove hundreds of times that we've never been able to see really well, and all of a sudden, you could see everything underwater." While Garred had fears of claustrophobia, Charlene Barker admits to the fear of being cold before her first ice dive. These fears were mitigated by the heated tent that was placed on top of the ice hole to keep divers warm.

VUEWEEKLY // MAR 17 – MAR 23, 2011

"Going under the water is kind of like a zen feeling where you're relaxed and you don't really have any more fears 'cause you're under the water and everything opens up," Barker describes. "It's really quite bright under the ice— like you wouldn't have expected it to be: to have so much light coming through." Ice diving is not an activity one can simply jump into. Both ice-diving courses offered at the Dive Outfitters and AquaSport Scuba Centre have prerequisites of previous cold-water diving. "'Cold-water diving' means diving around here anytime of year ... and experience in a dry suit," McCuaig clarifies. "What happens if [students] don't have that kind of experience is that they get too excited or they get kind of freaked out." While ice diving isn't for everyone, it's bound to give those who try it a more positive view of winter as it did for Garred. "Our summers are so short that we have to find stuff in the winter to amuse ourselves and this is just another way to appreciate the weather that we do have. Like, yeah, it sucks and it's cold, but it's something that we can do here in Canada that you can't do in the Caribbean." V The Dive Outfitters, Edmonton 780.483.0044 thediveoutfitters.ca AquaSport Scuba Centre, Calgary 403.686.6166 aquasportscuba.com

VUEWEEKLY // MAR 17 – MAR 23, 2011

SNOW ZONE // 13

ARTS

PREVUE // THEATRE

Taking off the leash

Surreal SoReal Theatre aim for David Lynch territory with Dog Paul Blinov // paul@vueweekly.com

I

n its formative years, Surreal SoReal Theatre developed a reputation for creating work that was a farther step to the left than most of its peers. Its ethos is one of inventiveness, maximizing the minimal resources at hand, and taking a far more physical approach to storytelling that's inherently its own. Dog, then is a marked departure for the company for its first official season of shows. But not towards simpler pastures. "The play sort of reminds me of something by Lynch, or an abstract painting," playwright Jon Lachlan Stewart reflects, planted in a seat in the Roxy Theatre. "It's not about what logically fits; it's about what evokes the biggest feeling. "We're experimenting with new technologies, and projection. Everyone says with a piece of theatre, you don't know what's going to happen until you add

The idealized '50s homelife goes ka-put in Dog

the audience," he continues, "but it truly is. We don't even know what the show is yet, because there's so many elements that don't come together until the end." It's being billed as a "1950s homelife nightmare." The narrator is peeking back into his parents life as if it were

a televised drama. His father Edward works in psychotherapy; mother Vally's a hostess in a restaurant. And then a miscarriage rends their idealized life apart, and a descent into the darker, more mysterious ridges of the mind begin.

Gender politics factor in, in accordance with the time. So does mental illness, with all of its half-finished understandings and then-brutal treatments as well as dreams and nightmares. The actors are painted black and white, and spring alive at various points, at the whim of the narrator's recollections. "The concept is that the narrator operates the play," Lachlan Stewart explains. "He turns it on, and a scene will appear. And the scene is a recording, and the actors move to that recording. Then when emotional peaks happen in a scene, the actors sort of break out of that recording and speak live—that's at the emotional peaks of the play. So that's a technology as well as a concept the play relies on. It's how we represent the madness."

The incorporation of technology can be traced back to Lachlan Stewarts's work with Vancouver's Electric Company (who brought Studies in Motion through the Citadel earlier this season). And before that, starting out as a workshop show at Nextfest, it had even simpler intentions. "It came from a really basic idea of relationships, and what tears relationships apart," Lachlan Stewart says, "and are we meant to work through that and stay together? Or accept that we're not meant to be and be split apart?" V Until Sun, Mar 27 (8 pm) matinees Sun Mar 20 & Mar 27 (2 pm) Dog written by JON LACHLAN STEWART directed by BRADLEY MOSS

Somewhere along the creative process that madness bled out of the script into the structure: Dog has somewhere in the range of 600 tech cues.

starring VINCENT FORCIER, SARAH SHARKEY, JON LACHLAN STEWART Roxy Theatre (10708 - 124 st), $16 – $26

PREVUE // THEATRE

Crafting the medium

Next Year's Man of Steel inks the birth of an art form Paul Blinov // paul@vueweekly.com

O

ver the past two decades, David Belke's aligned his pen with the likeminded, crafting tales of creators and of the artistic process. And while Next Year's Man Of Steel indeed continues to explore the act of creation, it also taps into something else near and dear to Belke's heart, that hasn't shown up so frequently in his back catalogue. Not that it wasn't always coming. "I've been a comic book fan all my life. So there's a small sense of inevitability," he laughs, adorned in a Superman-branded bowling shirt, taking a break from putting up photos of the cast and crew in the Varscona Theatre lobby. They're arranged as one might place panels on a comic book page, a design befitting of a play exploring the graphic art's roots. The Shadow Theatre production is set in the Golden Age of the comic book industry, 1940 New York. Superman is two years old, Batman just one, yet both are selling millions of copies each month, so everyone is hungry to get a finger in the pie in a time when the world was a seedy,

14 // ARTS

VUEWEEKLY // MAR 17 – MAR 23, 2011

darkened place. Across the Atlantic the Second World War was raging; across the country, the Great Depression still lingered. With that as the backdrop, delving into the comic book industry, then in its infancy, in a time when a lot of people really could've used a caped crusader to swoop in and clean house, struck Belke as much as exploring the birth of the medium did. "They weren't just creating the art work, they were creating the art form," he says. "That's intriguing, to have that sort of blank split slate and that kind of freedom to follow your instincts. "And then of course, the setting and the state of the world, creating these imaginary heroes, these paperand-ink avatars, it really speaks to a search for heroism," Belke continues. "What exactly is a hero? What qualifies a hero? Is it an ordinary person thrust into extraordinary circumstances? Is it an extraordinary person who is capable who is capable of extraordinary deeds?" Comic books aren't just a creative launchpad here. Certain stylistic choices—panels, narrative shifts—

are being presented with a comic book form using multimedia. Something Belke hasn't seen toyed with in other superhero-on-stage productions. "Whenever I've seen comic books referenced in plays in the past, they always try to tell a superhero story. And frankly, putting a guy in spandex up on stage with a cape and everything like that is visually arresting, but you can't connect with them in a theatrical setting as you can with an image on the page. So telling a comic book story with comic book techinques in a real-life setting is something I really wanted to do. " Plus, there is the simple, personal appeal for Belke: "My little nerdy heart just loves the fact that we're telling a comic book story." V Thu, Mar 16 – Sun, Apr 3 (7:30 pm) Weekend Matinees at 2 pm Next Year's Man of Steel Written by David Belke Directed by John Hudson Starring Starring Ryan Cunningham, Mark Jenkins, Anna-Maria LeMaistrE, John Wright Varscona Theatre (10329 - 83 Ave) $12 – $26

REVUE // THEATRE

Baby got back Hunchback lives up to its hype

Catalyst Theatre's Notre Dame Paul Blinov // paul@vueweekly.com

I

n a way, it feels disingenuous to be reviewing Hunchback based on an opening-night performance. Given how much Catalyst shows grow and change during their runs—even more so than with most other new works—it feels like any edged criticism may be made obsolete through the natural growth of the production once it's on its feet and they start tinkering. But all said, after a workshop run up in Fort Mac and a year's worth of anticipation, it's go time. And or the most part, everything flies. Hunchback is, of course, immediately and immensely watchable: Catalyst keeps Victor Hugo's tale in the dark and deadly 1400s but Brette Gerecke's costume and designs are clever reimaginings of the styles and architecture of Paris, transplanting it to some strange, tribal, spidery

future—here, deafened bell-ringer Quasimodo (Ron Pederson) toils away under the watchful eye of Priest Claude Frollo (Scott Walters), who's become hopelessly enamoured with the dancing gypsy La Esmeralda (Ava Jane Markus). It takes the shape of a love triangle, then shifts into a downward spiral for them all. The most immediate Catalyst comparisons, Frankenstein and Nevermore, were much heavier in ensemble narration and groupspeak; here the narrative duties have mostly been boiled down into one, Pierre (Jeremy Baumung), who sorts through it all them with the necessary gravitas as the one "presenting" this tragedy to us with his company of actors. But what we lose in narration we make up for in structure: richer, deeper scenes, more personal takes on characters and a violent, passionate sense of foreboding that hangs over the whole thing.

The choreography is propulsive, and the ensemble cast is strong. Walters, as Frollo, is particularly haunting throughout, a fraught, tormented figure forsaking the doctrine of the cloth in an attempted satisfying of his more fleshly urges. And Pederson—whose role is actually pretty small, despite the title—has a powerhouse singing voice, used with restraint to mass effect here. Underneath the stylization, it seems there are ideas that haven't quite found their footing. There's a narrative segment of rap that feels strangely devoid of energy with just Baumung going on while the stage sits otherwise empty; there's also some first-half lag. There are moments of high drama that receive a relatively lowstakes delivery (a hanging, a character thrown off a building). Then again, the song and sequence of gypsies storming Notre Dame is among the finest work the company's done, alongside a potent second-act ballad between Pederson and Markus, and the more beautiful, tender moments carried in the second act. It finally reaches that level of magnetic, stylized performance Catalyst shows have become wellknown for. So, Hunchback's undertaken some risks that haven't quite paid off yet. But its heart beats to a certain undeniable, macabre rhythm. When that potential is achieved, Catalyst will have another real monster on its hands, to add to a roster already bulging with them. V Until Sun, Mar 27 (7:30 pm) Hunchback Written and directed by Jonathan Christenson Citadel Theatre (9828 - 101A Ave) $50.40 – $71.90

REVUE // SHATTER

Cycle of violence Shatter depicts extreme situations Mel Priestley // mel@vueweekly.com

'W

e all try to do our part." A perfect anthem of apathy, the final words in Trina Davies's poignant First World War tragedy offer a painfully obvious message, yet one that's still necessary and relevant in a contemporary setting. Shatter depicts the 1917 Halifax explosion, the second largest man-made explosion next to Hiroshima. The story follows a trio of cross-generational women: Jenny (Linda Grass) is raising her daughter Anna (Shannon Blanchet) and son Alfie in their Halifax home, alone except for the close companionship of German-born Elsie (Sandra M Nicholls). Their mundane family life is quickly displaced by the explosion, which was caused by the collision of two ships in the Halifax harbour, one a Belgian relief ship and one a French munitions ship loaded with flammable material. In the confusion that followed, the wartime newsprint propaganda fueled the belief that Germans were responsible

for the disaster, though it was proven after many legal hearings that it was indeed an accident. Davies' script holds a mirror up to the various reactions of people when they are thrust into a situation of extreme violence and trauma: denial, anger, depression, persecution and above all, the overwhelming need to lay blame and name the responsible party—whether or not that blame is justified. The message is glaringly obvious and yet still significant: though the 21st century war machine may not present such obvious propaganda, the same cycles of violence and false blame continue to occur. Shatter's story is twofold; the mundane stories of the characters overlay a larger presentation of the explosion and the consequences it had for the city and country in which it occurred. To this end, at various intervals the characters transform into a chorus reminiscent of classic Greek tragedy, complete with blindfolded visages and the same cathartic resolution.

It is a testament to the calibre of acting that the bumpy opening—caused by an uncooperative set piece—didn't create any lasting issues, other than an initial dissonance in tone. Indeed, the actors all performed admirably and not a single individual performance lagged over the duration of the show, though Blanchet particularly shines in her role of the conflicted Anna, while Nicholls delivers a haunting portrayal of the wrongfully persecuted Elsie. The only thing that could have been improved upon was the scene shifts, which ran just a touch too long due to the manoeuvring of bulky prop pieces. Overall, Shatter is a thoroughly engrossing, haunting performance, and one that you will be unable to forget or cast aside for some time to come. V 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 17 – MAR 23, 2011

ARTS // 15

REVUE // VISUAL ARTS

REVUE // BOOK

Hope Wells' murmurs exhibit poses a conundrum

Anarchists hear a higher calling

To scale

Punk preaching Michael Hingston // michaelhingston@vueweekly.com

// Hope Wells

I

Hope Wells' acrylic and silk on linen "#99" Carolyn Jervis // carolynjervis@vueweekly.com

T

he latest Master of Fine Arts graduate exhibition at FAB poses an interesting conundrum for viewers as they attempt to form an opinion about this body of work. On one hand, the large paintings have an abstract depth, taking you into a rich space of soft colour and a range of eye-engaging textures. On the other hand, there are smaller paintings that distract from their more interesting neighbours and perhaps should have been left in the studio. Hope Wells's MFA Painting show entitled murmurs has the stated intention of bringing to the spectator's mind memories of past events and sensory experiences. And although these soft and inviting paintings make connection possible on a sensory level, it is really the optical experience rather than the conceptual intention where Wells's work shines. As evident in "#39" (2011), the artist is highly skilled at manipulating her materials to create gentle, atmospheric works that arrest one's visual attention. The soft woven surface of the linen is covered in translucent washes of paint. A faded-looking spiral pattern in paint and texture created from silk-string work to make the painting visually engaging. These works provide a stimulating yet calm optical experience, and Wells shows great facility for creating cohesive images out of disparate textures, patterns, and materials.

16 // ARTS

This is clearly an artist who is an excellent colourist. One large canvas has turquoise shining through a dense haze of copper brown, while another skillfully balances a series of powerful reds. Although Wells's strengths are in her ability to harness colour in soft washes while playing with a diverse range of textures, this only seems to be in full effect when she works large. The first part of the gallery, separated from its lower level by the staircase, contains smaller works that lack the careful balancing act of muted and strong colours, and soft washes with intricate woven pattern. The smallest work—and the only one on paper—lacks the cohesion and expert handling of its materials that make the larger-scale works successful. These smaller-scale works cannot measure up to their larger, brighter relatives in the lower section of the gallery, and make a less than accurate impression of an exhibition worthy of careful consideration. Though the exhibition did not evoke past life experiences as suggested by the artist statement, this was not a deterrent to having a positive experience with the majority of the works. V Until Sat, Mar 26 murmurs works by Hope Wells FAB Gallery (112 St & 89 Ave, University of Alberta)

t's not hard to see why David initially falls in with the punk-rock anarchists who live in his neighbourhood in northern Florida. He's just dropped out of college, hates his call centre job, and spends long stretches of time online, swapping and cultivating his collection of amateur pornography in a network of clandestine AOL chat rooms. (It's the summer of 1999—the floodgates of filth have yet to be opened.) So when he finds himself inside the punks' flophouse, thanks to a chance encounter with a childhood friend, with two attractive women running their fingers through his hair as they all swig from a bottle of bourbon, you can all but hear David's knees buckle. He literally can't remember the last time he's had physical contact with another person, and now he's on the verge of a threesome the likes of which he's only seen in jpg format. It's a no-brainer, even if David is slightly less interested in the punks' desire to fuck the government than their desire to fuck each other. But as its title suggests, The Gospel of Anarchy, the debut novel from Brooklyn's Justin Taylor, does not reward casual observers. Anarchy tends to be one of those ideas you have to reshape your life around. Luckily, David is an enthusiastic convert here, too, raiding his old apartment for beer and whatever can be pawned, happily taking the punks' philosophy to heart, and moving in with Katy and Liz, his new girlfriends. This first handful of scenes moves at a quick clip, and Taylor lays his groundwork with impressive economy. His prose is lyrical and sharp, and has the added benefit of not forgetting to, you know, describe things along the way. Hidden conflicts within the flophouse are subtly planted, and the sleepy setting of Gainesville, where "[a]ll of the main roads ... are named for the towns that they lead to," is conjured with ease. But the stakes get suddenly raised once again when Katy and another houseguest share a visceral, prophetic dream. It leads them into the backyard, where they dig up a haggard notebook left by a local hobo who used to camp out there. A montage or two

VUEWEEKLY // MAR 17 – MAR 23, 2011

later, and the punks, led by Katy, have formed a fullfledged religion around the diary—which has now been rechristened the "Book of Parker." This is, unfortunately, where the novel lost me. Taylor obviously intends the reader to be jarred by the house's transformation into an almost accidental cult of personality (and David in particular into a wildly bearded true believer), but it's an idea that needs to be presented carefully, gradually, to take similar hold in the reader. Since we never see David drink the Kool-Aid, we're unable to stick with him after his conversion; the novel's everyman is torn away from us, and there's no small amount of separation anxiety left in his wake. It's all the more disorienting because, as far as I can tell, we're actually meant to believe in the Book of Parker and its attendant disciples. Katy's miracle dream is real; we experience it firsthand. Yet the novel's second half spends more and more time with those punks who don't feel the pull of religious awakening—the ones who shake their head and slowly back away. Given the two options, as well as the complete lack of persuasion as to the plausibility of a grubby notebook's holiness, is it any surprise which group comes off as the more sympathetic? Still, The Gospel of Anarchy has an undeniable energy and lucidity to it, even if those virtues lead it into some decidedly shaky territory. And it's a clear step forward from Taylor's first book, last year's promising story collection Everything Here is the Best Thing Ever. Plus, as someone with an innate aversion to the punk philosophy, I mean it as high praise when I say that this novel could stand to be at least 100 pages longer. Despite my instincts, I came out actually wanting to like his assortment of pansexual rabblerousers—wanting to get deeper into their heads, rather than sneering and fleeing the room, as is usually my wont. V Now available The Gospel of Anarchy By Justin Taylor Harper Perennial 256 pp, $15.99

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VUEWEEKLY // MAR 17 – MAR 23, 2011

ARTS // 17

FILM

"Waste Land achieves a buoyant feeling of human resilience without drowning in its own serious subject matter." WASTE LAND // OPENING FRIDAY (PRINCESS THEATRE) // REVIEW ONLINE AT VUEWEEKLY.COM

COMMENT >> DVD

Adrift at sea

Goodbye, childen

The fleetingness of youth dominates a pair of films As rendered in Louis Malle's autobioCriterion, lies in Malle's respect for the graphical Au revoir les enfants (1987), past, his resistance to burdening it with the Petite-Collège d'Avon, which the gravity of hindsight. In keeprested on the grounds of a ing with the experience as lived Carmelite monastery and by Malle's adolescent charneighboured Fontainebleau, acters, much of what passes and which Malle attended kly.com feels essentially ordinary, e e w e u during the Nazi occupation dvddetective@v even if historical circumof France, seems austere stances are extraordinary: s o J ef and bone chilling, especially reading by flashlight, playing Braun if you're permanently garbed on stilts in the courtyard, dodgin short pants. Yet it's also an oddly ing the air raid drill to rattle off some wondrous, comforting place, nestled in boogie-woogie on the school piano, getfecundity, where boys could get away ting treated to a screening of Chaplin's with a little horseplay and develop a The Immigrant with live accompaniment. scrappy camaraderie. Under Malle and The film traces Julien's friendship with cinematographer Renato Berta's earthBonnet (Raphaël Fejtö), a story which toned, always fluid gaze, the Petite-Colstumbles along playfully and awkwardlège feels like home, even its sleeping ly the way childhood friendships do, unquarters, where too many bunks cram til that day that forever changed Malle's a single room and a it's only a matter life, the day the Gestapo arrive to take of time before a serial bed-wetter like Bonnet and three other boys away to Malle's surrogate Julien (Gaspard Mantheir deaths, along with the school's esse) gets outed by his merciless peers. headmaster Père Jacques, who took The masterstroke in Au revoir, now them in an attempt to conceal their available on gorgeous blu-ray from Jewishness. Before this final sequence

DVCD TIVE

DETE

18 // FILM

Film Socialisme vaguely ominous

Nazis remain in the background, spied outside the classroom window asking to confess, or, ironically, shooing away collaborators attempting to throw Jews out of a local restaurant. By largely eschewing overt, artificial portent, Malle's finale becomes infinitely more moving, and every scene leading to it, however mirthful its tone, becomes pierced with unbearable loss. The fleetingness of childhood (and adulthood) and ordinariness punctuated by sudden violence (which is ordinary enough) also dominate Edward Yang's Yi Yi (2000), also new to bluray from Criterion. It follows a middleclass Taipei family through a rough patch: grandmother slips into a coma, mother into a spiritual crisis, father into two parallel ethical crises. Sister undertakes her first brush with romance while little brother quietly absorbs everything, translating it into images. Eight-year-old Yang-Yang's nascent experiments with his father's instamatic, collecting evidence of those aspects of ourselves that remain invisible to us (he takes pictures of the backs of people's heads), arguably make him the world's youngest conceptual artist. Not that he knows it. Yang's group portrait is also a portrait of urban life and its inherent merging of disparate experiences. Public scenes are observed entirely through windows, neighbours are heard fighting through walls, surveillance cameras track movements. Sounds, music or dialogue from one scene bleed into the next. YangYang, whose name invokes the film's writer/director, is Yi Yi's richest source of discovery and amusement. He's cute, of course, but also vividly alert to the world and all its contents he can't understand. A scene where Yang-Yang beholds a pretty schoolmate standing before the projected image of a documentary on thunder is elegantly echoed in a later scene where he dives into a swimming pool during a thunderstorm. Yet I find myself most drawn to scenes involving NJ, Yang-Yang's father, who, like Yang-Yang, is unassuming and wears clothes three sizes too big for him. The scenes where NJ dines and hits a karaoke bar with a Japanese colleague, their exchanges limited by their broken English (the only language they share), constitute marvelous moments of adults connecting. "Why are we always afraid of the first time?" the Japanese asks. Yi Yi brims with so many resonate variations on life's first-times, and even if Yang allows them to be harrowing, he nonetheless consoles us with the fact that we can at least share them, though conversation, physical contact, or the compressing force of art. V

VUEWEEKLY // MAR 17 – MAR 23, 2011

A dense, three part Godard work Josef Braun // josef@vueweekly.com

W

hen asked in a recent interview about the scene where Alain Badiou gives a lecture on geometry and philosophy to an empty auditorium on a cruise ship adrift in the Mediterranean, Jean-Luc Godard explained that he announced the lecture on the ship's activities calendar but, sadly, nobody came. I hope there's a better turnout when Film Socialisme screens this weekend at Metro Cinema, but I can almost guarantee that any prospective viewer, regardless of their facility with either philosophy or geometry, would surely have had an easier time grasping the thesis of Badiou's lecture than that of Godard's latest bricolage. Abrasive and staccato, fragmented in image, music and language, its multilingual dialogues obscured by Godard's choice to offer only partial subtitles, riddled with references to politics and art yet withholding of context or commentary, this tripartite Film seems founded on the conviction that the medium itself is corrupted by signifiers that collectively fail to provide meaning. Call it Babel at 24 frames per second. Except that, for the first time in Godard's oeuvre, it's all video. "Des choses comme ça," the first of Film Socialisme's three sections, struck me in my single viewing as the most coherent. Perhaps because the cruise ship seems to lend itself most easily to persuasive metaphors. A sampling of global citizens, among them a Russian detective, a hunter of war criminals, a Jewish banker, an elderly man accompanied by a young woman, and Patti Smith, found busking in the lobby, are on board, sharing a confined, landless, mobile space constructed for leisure, inaccessible to the underprivileged, offering magnificent views (Godard's images of pure sea, sometimes almost black, are breathtaking), and containing the possibility of large-scale disaster. Crowds gyrate to crushing music in the ship's apocalyptic discotheque, captured

crudely enough to seem almost abstract on what would appear to be a cell phone camera. Models stroll the decks. (There are hot young babes—a Godard staple.) Europe is "humiliated by liberty." Everything feels vaguely ominous. Or rather ominously vague. "Notre Europe" unfolds on land, amidst a family, their gas station, their llama and his donkey. It irked me to see them let the water gush at full blast while casually brushing their teeth or scrubbing a dish, but otherwise they seem decent enough folks, and there are genuinely endearing moments shared by mother and son. A TV crew arrives. I'm not at all sure they get the coverage they need. "Nos humanités" promises a return to the cruise ship but proves the densest, least grounded section, a travelogue montage of war and atrocity, with visits to Palestine, Egypt, Naples, Hellas, Barcelona and Odessa, where a re-mix of the most famous moments in Battleship Potemkin forms just one of countless flamboyant appropriations lining Film Socialisme. (Herein lies the title, perhaps: a property-dissolving collective creation, though helmed by a cinematic legend and rigorous anti-populist.) There are quotes from Shakespeare, Balzac and Derrida, a French cover of "Flashdance ... What a Feeling," and pieces of Cheyenne Autumn, if I'm not mistaken—and I could be, about many things here. My memory's at sea. I'd need to see Film Socialisme several times to say more. But there are so many Godards to revisit, and several from the middle period especially I've yet to see. It might take a while to get to this one again. V Fri, Mar 18 & Sun, Mar 2 (9 pm) Sat, Mar 19 (7 pm) Film Socialisme Directed by Jean-Luc Godard Metro Cinema (9828 - 101A Ave)



The Topps Twins: Untouchable Girls Thu, Mar 17 (9 pm) Fri, Mar 18 & Sun, Mar 20 (9 pm) Directed by Leanne Pooley Metro Cinema (9828 - 101A Ave)

sible, onstage and off. They're in a group that's never lost touch with its rural roots: they still host the local country fares and busk at festivals, with a winning mix of accessibility and a PG-sense of naughtiness— they just happen to be singing, political lesbians, too.



As one interviewee points out pretty early in The Topps Twins: Untouchable Girls, Jools and Lynda Topps are a pretty tough sell on paper: a pair of twin sisters with a penchant for yodelling, political activism, onstage character acting and, oh, who happened to be lesbians as well. But all of the archival footage, interviews and concert shots that make up director Leanne Pooley's doc on them suggest they've never been anything but public darlings in their native New Zealand. They endlessly toured the country to packed houses, and not just in the big cities, either: the rural communities flocked to see them. And while all the interviews and assembled footage here feels more like a longer episode of Behind The Music than a documentary that digs

Limitless Opening Friday Directed by Neil Burger Written by Leslie Dixon Starring Bradley Cooper



Eddie Morra (Bradley Cooper) was just another slob trying to write a science fiction novel about "the plight of the individual in the 21st century" until he got hooked on NZT 48, an experimental underground drug that grants imbibers access to those proverbial underused regions of the brain. Suddenly everything Eddie's ever read, heard, or seen becomes organized and available. He finishes his book in four days, gets his girl back, learns multiple languages, and masters the stock exchange. The side effects? Paranoia, some vertiginous crashing, and addiction. He also has ever-burgeoning gaps of missing time. During one such gap

A political pair

deep, it makes for a solid introduction to the sisters and their lives. Part of their success, it seems, is their simple, general gung-ho farm girl attitude that seemed to resonate with New Zealand: the story seems pretty padded as far as darker days go—reduced to a few protest songs and scenes of parliamentary debate over gay rights—but the pair seem eternally plucky and charming and acces-

he may have killed someone—but Eddie's got other things to worry about. Like getting rich, impressing Robert De Niro's megamogul, and surviving business ties with the Russian mafia. Producer/screenwriter Leslie Dixon based Limitless on Alan Glynn's The Dark Fields. Glynn's novel came out in 2001, but the premise feels more resonant in 2011 and its everything/everywhere/all-the-time access to data via portable technology (which some depressingly predict will eventually be wired into our bodies). Its deeply fertile premise is finally what carries Limitless, since Dixon's script is fun and structurally inventive (including a pleasingly abrupt little bitch-slap of an ending) yet curiously generic, while Neil Burger's direction mirrors that of his effects-fussy, thematically kindred 2006 breakthrough The Illusionist. There's too much music cluttering the soundtrack and far too many cutesy illustrative visual enhancements, such as the fridge magnet

Their humour is pretty tame (which is probably exactly how they conquered the country's mainstream) but energetic, their onstage characters wacky in a 'please everyone' sort of way. And truth be told, Untouchable Girls goes light on giving us any deeper insight into their world. It feels like it was made with Pooley coming from a place of reverence, not an outside eye, which is fine, except everything is presented at face value without a sense of looking any further. Maybe what we see really is all there was, but it feels like the politics of the time are glossed over in the name of a more fun, digestible approach.

Most deeper thought or analysis comes from interviews like famed politico musician Billy Bragg, who praises the sisters for wrapping their politics up in a sense of humour. Interviewing the Topps as their characters feels a little gimmicky, given that most of their characters, while talking about them, say some version of, "Never seen 'em. Heard of 'em, I guess." The songs are tight, given how close their voices are (and there's very little actual yodelling, for those put-off by that idea), and the chronological run-through of their history makes for a nice summation of some protest in NZ throughout the years (the girls stood up for everything from gay and lesbian rights to keeping New Zealand nuclear-free), right through to a breast cancer scare in the later years. For that, it's a solid overview of a country's crown jewel performers. Just not a particularly deep one. PAUL BLINOV

// PAUL@vueweekly.com

letters showering down on Eddie while he plunges headlong into writing. This tale of fantastical drug abuse could have benefited from a sober approach. Or David Fincher. Or David Cronenberg. As you consider all that Eddie might accomplish under NZT you start to realize not only how frustratingly limited Limitless' imaginative circuitry is but also how much of a selfish prick Eddie is. Which is a perfectly legitimate way to go: film noir is full of guys like this, compellingly repulsive antiheroes hard-wired to look out for number one. The problem is that Eddie's not written or realized in a way that seems cognizant of his character flaws, and thus fails to exploit them. Cooper's fine in the role, but brings nothing extra, nothing that imbues Eddie with that special quality that makes you both envious and appalled, wondering how you might get your hands on what he's got. Josef Braun

// josef@vueweekly.com

Paul Opening Friday Directed by Greg Mottola Written by Nick Frost and Simon Pegg Starring Nick Frost, Simon Pegg, Seth Rogen, Kristen Wiig, Jason Bateman



Mainstream culture is replete with jokes at the expense of comic-book geeks, gamers and sci-fi nerds, so the comedic nerd celebration that is Paul is a welcome experiment in making jokes for nerds, not at them. Credit lies with writers Nick Frost and Simon Pegg, who also star as unpublished writer Clive Gollings and scifi illustrator Graeme Willy. Gollings and Willy's original plan to travel from the nerd mecca of the San Diego Comic Con while on a pilgrammage across the US to visit the most notorious alien sightings are sidetracked by Paul, the escaped alien trying to make his way home. It's a script that could be doomed to anal-probe jokes and ET references (I counted only one of each) but Frost and Pegg keep as brisk a pace as their characters, and the script moves

Revenge of the nerds

quickly with jokes skipping along with their RV across the American desert. Seth Rogen, providing Paul's voice, seems more at home in the CGI façade of the green alien than any of his recent movies. And refreshingly, SNL regular Kristen Wiig joins the fugitive road trip and isn't left to languish solely as Pegg's love interest but as a focal point for the eventual bible-thumping versus evolution debate that plays out as they make their way

across America. But at the core of Paul is Pegg and Frost's genuine approach to the subject matter, and not only their obvious love of nerdery. Pegg and Frost submerge themselves in the subject matter and they actually took the road trip their characters embark upon, much to the benefit of the comedy of a couple of shy Brits in America—aliens in their own right. SamANTHA Power

// samANTHA@vueweekly.com

VUEWEEKLY // MAR 17 – MAR 23, 2011

FILM // 19

Battle: Los Angeles

Red Riding Hood



Now Playing Directed by Jonathan Liebesman Written by Christopher Bertolini Starring Aaron Eckhart

The disasterama alien invasion opera Battle: Los Angeles can't have been the easiest project to provide production design for: despite the title, much of the action is set in Santa Monica, nearly every square inch of which gets blown to kingdom come. Yet early in our story, as marines troll the corpse-strewn resort town for survivors, a clever and conspicuously placed SUPPORT OUR TROOPS sign looms. It's a sort of moral summary of what follows, which teeters on the cusp of propaganda. Battle: Los Angeles is more war movie than science fiction, and within its genre more Pearl Harbor than Thin Red Line. In a pivotal thirdact scene, the most heroic of the uniformly heroic marines attempts to comfort a small child who just lost his civilian father and is

Now playing Directed by Catherine Hardwicke Written by David Leslie Johnson Starring Amanda Seyfried, Gary Oldman

Marines, being all they can be

several hours into a pants-kicking apocalypse by declaring that "Marines never quit!" Am I the only one who found this an inappropriate opportunity for recruitment? A three-alarm meteor shower reveals itself to be a full-on extraterrestrial colonization attempt just when guilt-ridden Staff Sergeant Nantz (Aaron Eckhart) was supposed to be retiring after a recent "tough call" which cost the lives of several members of his company in a curiously unspecified foreign conflict. Massive destruction is thus occasionally interrupted by

portentous gossip about Nantz's lethally neglectful leadership, leading to the token overwritten bathetic monologue in which Nantz explains his actions and regains the confidence of his fellows. The attempt to generate character development is noble enough, but what screenwriter Christopher Bertolini contrives is so generic that it mostly feels like draggy distraction. Cinematographer Lukas Ettlin and director Jonathan Liebesman evoke the chaos of battle through jittery camerawork and aimless fidgeting with the zoom. The gunplay and scurrying is at least fairly coherent, and there's a nifty bit where Nantz fools a flying alien drone. There's also a memorable sequence involving some sloppy, syrupy alien surgery preceded by what's easily Bertolini's finest piece of dialogue: "Maybe I can help. I'm a veterinarian." The aliens of course never utter a word, not even in alien, so you're waiting in vain if you hold out for their leader to mount the Griffith Observatory and announce that he's come to liberate us. Josef Braun

// josef@vueweekly.com

20 // FILM

VUEWEEKLY // MAR 17 – MAR 23, 2011

Given the bloodline of this cry-wolf tale (same director, same editor, same actor as the heroine's father) and its target demographic, it's no surprise that Red Riding Hood dawns, and yawns, like Twilight. The bigger problem's that the whole lusting-to-lose-her-virginity-toher-true-love story falls even flatter in a Grimm historical setting. In a plot where red-caped blonde Valerie (Amanda Seyfried) wants childhood love Peter (Shiloh Fernandez) rather than arranged husband Henry (Max Irons), all while a werewolf terrorizes her Alpine village, there are, to be fair to writer David Leslie Johnson and director Catherine Hardwicke, some stabs at cleverness (a few even cut semi-deep, eg, Peter ... and the Wolf—get it?). To be even more fair, though, the anachronistic, true-romance clichés sap the story's strength, while the visuals get more and more predictable. (Hardwicke seems determined to get an aerial shot in every five minutes, by crane or by plane.) Within the walls of medieval-era-ish Daggerhorn, when Valerie dances, lipstick-lesbian-ish, to make Peter jealous as he dances with another, or when the wolf actually talks to her, anachronism and cheesiness start to melt together. The "good girl"ness

Off to Grandma's house

of Valerie is untouched because the plot dismisses the era's pesky actual concerns about virtue and arranged marriage in its modern-day, faux-feminist push for "true love." The tale's original preoccupation— rape—is turned here into natural instinct—Eve-like temptation—and finally reduced to a girl's primal lust for the bad boy/wolf in her life. There's an Agatha Christie mystery set-up (who could the werewolf in their midst be? Cue pan of all the gathered townspeople), mostly wasted talent in the forms of Lukas Haas, Julie Christie and Gary Oldman, and a revelation-bylaborious-verbal-explanation scene. Still, there are lots of tourist-ad aerial shots of BC mountainsides pretending to be the Alps in a movie failing at pretending to be a thrilling, romantic ride through an old fairy-tale. Brian Gibson

// brian@vueweekly.com

FILM WEEKLY FRI, MAR 18, 2011 – THU, MAR 24, 2011

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CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

RED RIDING HOOD (PG violence, frightening scenes)

THE BUTCHER, THE CHEF, AND THE

SWORDSMAN (14A) FRI�SAT 1:30, 4:00, 6:30, 8:45, 11:00; SUN 1:30, 3:45, 6:00, 8:15, 10:30; MON�THU 1:20, 3:30, 5:45, 7:50, 10:15 BATTLE LOS ANGELES (14A violence) Digital Cin-

ema, No passes FRI�SAT 12:30, 3:15, 5:50, 8:35, 11:05; SUN 1:00, 3:45, 6:30, 9:15; MON�WED 2:00, 4:30, 7:25, 10:00; THU 2:00, 4:30, 7:15, 10:00

BATTLE LOS ANGELES (14A violence) Ultraavx, No

THE LINCOLN LAWYER (14A) Digital Presentation FRI 3:50, 6:40, 9:30; SAT�SUN 1:00, 3:50, 6:40, 9:30; MON�THU 5:20, 8:10 PAUL (14A language may offend) FRI 4:25, 7:10, 9:45; SAT�SUN 1:50, 4:25, 7:10, 9:45; MON�THU 5:35, 8:20

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

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

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passes FRI�SAT 12:00, 2:35, 5:10, 8:00, 10:45; SUN 12:00, 2:30, 5:00, 7:40, 10:15; MON�THU 1:00, 4:00, 7:00, 10:00

SUN 1:50

PAUL (14A language may offend) FRI�SAT 7:00, 9:00;

MARS NEEDS MOMS 3D (PG) Digital 3d FRI�SAT

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BIG MOMMAS: LIKE FATHER, LIKE SON (PG) DAILY 1:55, 4:25, 7:10, 9:35

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SANCTUM (14A not recommended for children, coarse language, gory scenes) DAILY 6:35, 9:10 THE RITE (14A frightening scenes, not recom-

mended for children) DAILY 1:35, 4:45, 7:25, 9:55

NO STRINGS ATTACHED (14A substance

abuse, sexual content, not recommended for children) DAILY 1:15, 3:50, 7:00, 9:30

THE DILEMMA (PG coarse language) DAILY 1:25, 4:40, 7:20, 9:50

GULLIVER’S TRAVELS (PG) DAILY 1:45, 4:15 LITTLE FOCKERS (PG crude sexual content,

not recommended for young children) DAILY 1:40, 4:30, 7:15, 9:45

YOGI BEAR 3D (G) Digital 3d DAILY 1:00, 3:30, 6:40, 9:00

TRON: LEGACY (PG) DAILY 1:20, 4:00, 6:50, 9:40

TANGLED 3D (G) Digital 3d DAILY 1:30, 4:20, 6:45, 9:20

HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (PG frightening scenes,

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

DAILY 1:05, 3:40, 6:30, 9:15

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DAILY 2:10, 5:00, 8:00, 10:30

THE LINCOLN LAWYER (14A) FRI�TUE, THU

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

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

RED RIDING HOOD (PG violence, frightening scenes)

PAUL (14A language may offend) DAILY 7:00 9:15; BATTLE LOS ANGELES (14A violence) DAILY 6:45

9:10; SAT�SUN 1:45

FRI�SUN 12:45, 3:10, 5:30, 8:00, 10:15; MON�THU 1:15, 3:30, 5:40, 8:00, 1

RED RIDING HOOD (PG violence, frightening scenes)

RANGO (PG) Digital Cinema FRI�SAT 12:00, 2:30, 5:00,

RANGO (PG) DAILY 7:05 9:20; SAT�SUN 2:05

7:30, 10:00; SUN 12:00, 2:30, 4:55, 7:25, 9:50; MON�THU 1:30, 4:30, 7:15, 9:40

BEASTLY (PG) FRI�SAT 12:10, 2:20, 4:30, 6:55, 9:05, 11:10; SUN 12:10, 2:20, 4:30, 7:20, 10:00; MON�THU 1:15, 3:20, 5:25, 7:35, 10:10 THE ADJUSTMENT BUREAU (PG coarse language) FRI�SAT 12:00, 2:20, 5:00, 7:40, 10:15; SUN 12:00, 2:25, 5:00, 7:40, 10:10; MON�THU 1:20, 3:45, 7:15, 9:45 HALL PASS (14A nudity, crude sexual content,

substance abuse) FRI�SAT 12:30, 2:55, 5:30, 8:25, 10:55; SUN 12:30, 2:55, 5:30, 8:05, 10:30; MON�THU 1:45, 4:45, 7:25, 9:50

I AM NUMBER FOUR (PG frightening scenes, not

recommended for young children) Digital Cinema FRI� SUN 10:10; MON�THU 9:50

DAILY 6:55 9:05; SAT SUN 1:55

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

THREE DAYS OF THE CONDOR (G) MON, MAR

21: 8:00

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

LIMITLESS (14A) FRI 3:45, 6:45, 9:30; SAT�SUN 1:00, 3:45, 6:45, 9:30; MON�THU 6:45, 9:30 PAUL (14A language may offend) No passes FRI 4:25, 7:15, 9:55; SAT�SUN 1:40, 4:25, 7:15, 9:55; MON�THU 7:15, 9:55

THE LINCOLN LAWYER (14A) Digital Cinema FRI

UNKNOWN (14A violence)

4:00, 6:55, 9:50; SAT�SUN 1:10, 4:00, 6:55, 9:50; MON� THU 6:55, 9:50

JUST GO WITH IT (PG crude content) FRI�SAT 12:00,

BATTLE LOS ANGELES (14A violence) No passes FRI 4:15, 7:20, 10:15; SAT�SUN 1:30, 4:15, 7:20, 10:15; MON�THU 7:05, 10:00

FRI, SUN 12:15, 2:45, 5:10, 7:45, 10:15; SAT 4:10, 7:45, 10:15; MON�THU 1:35, 4:10, 6:45, 9:35 2:40, 5:25, 8:10, 10:50; SUN 12:00, 2:35, 5:15, 7:50, 10:25; MON�THU 1:00, 4:00, 6:40, 9:20

GNOMEO AND JULIET 3D (G) Digital 3d FRI�SAT 1:30, 3:35, 5:40, 7:45; SUN 3:35, 5:50, 8:00; MON�TUE 1:30, 3:35, 5:35, 7:45; WED�THU 1:30, 3:35

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

10200-102 Ave, 780.421.7020

THE LINCOLN LAWYER (14A) Dolby Stereo Digital,

Stadium Seating DAILY 12:05, 3:20, 7:00, 10:00

BATTLE LOS ANGELES (14A violence) Dolby Stereo Digital, Stadium Seating, No passes DAILY 12:40, 3:40, 7:15, 10:15 PAUL (14A language may offend) Dolby Stereo Digital DAILY 12:00, 2:40, 5:15, 7:55, 10:30

RED RIDING HOOD (PG violence, frightening scenes) No passes, Stadium Seating, Digital Presentation, DTS Digital DAILY 12:15, 2:50, 5:20, 7:50, 10:25

12:50, 3:45, 6:40, 9:40

UNKNOWN (14A violence) DAILY 10:40 JUST GO WITH IT (PG crude content) FRI�WED

Seating SUN 1:00; THU 7:00

GNOMEO AND JULIET 3D (G) Digital 3d

JUST GO WITH IT (PG crude content) FRI�SUN 9:35;

THE KING'S SPEECH (PG language may offend) DAILY 12:40, 3:20, 6:30, 9:10

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

1:40, 4:30, 7:20, 10:15; THU 1:40, 4:30, 10:15 DAILY 1:20, 3:45, 6:30

THE METROPOLITAN OPERA: LUCIA DI LAMMERMOOR (Donizetti) (Classification not available) SAT 11:00

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

LIMITLESS (14A) FRI�SAT 1:15, 3:45, 6:10, 8:40,

11:00; SUN 12:45, 3:15, 5:45, 8:10, 10:30; MON� WED 1:00, 3:15, 5:40, 8:00, 10:15; THU 3:15, 5:40, 8:00, 10:15; Star & Strollers Screening: THU 1:00

PAUL (14A language may offend) No passes FRI

LORD OF THE DANCE 3D (G) Digital 3d, Stadium CLAREVIEW 10 4211-139 Ave, 780.472.7600

MON�THU 8:15

stance abuse) FRI 4:15, 6:55, 9:25; SAT�SUN 1:25, 4:15, 6:55, 9:25; MON�THU 5:25, 8:05

BEASTLY (PG) FRI 4:20, 6:35, 9:00; SAT�SUN 2:00, 4:20,

6:35, 9:00; MON�THU 5:40, 8:40

RANGO (PG) FRI 4:00, 6:30, 9:10; SAT�SUN 1:20, 4:00, 6:30, 9:10; MON�THU 5:15, 7:50

THE ADJUSTMENT BUREAU (PG coarse language)

FRI 4:30, 7:05; SAT�SUN 1:40, 4:30, 7:05; MON�THU 5:30

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

4:10, 7:10, 10:10

PAUL (14A language may offend) No passes FRI�

TUE, THU 12:10, 2:40, 5:15, 7:50, 10:40; WED 5:15, 7:50, 10:40; Star & Strollers Screening: WED 1:00

THE LINCOLN LAWYER (14A) FRI�TUE, THU

12:45, 3:45, 6:45, 9:50; WED 3:45, 6:45, 9:50; Star & Strollers Screening: WED 1:00

BATTLE LOS ANGELES (14A violence) Digital Cinema, No passes DAILY 1:00, 2:00, 4:00, 5:00, 7:00, 8:00, 10:00, 10:45

not available) SAT 11:00

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

THE LINCOLN LAWYER (14A) DAILY 7:05, 9:20; FRI�SUN 1:05, 3:20

BATTLE LOS ANGELES (14A violence) DAILY 6:55, 9:30; FRI�SUN 12:55, 3:30

RANGO (PG) FRI�SUN 1:10, 3:35; DAILY 7:10,

9:35

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

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

1:05 3:05 5:05 7:10 9:10

No passes DAILY 1:20, 3:20, 5:25, 7:20, 9:20

7:00 8:40

RANGO (PG) No passes DAILY 1:00, 3:10, 5:10, 7:15, 9:15

BATTLE LOS ANGELES (14A violence) No passes

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

LEDUC CINEMAS

Leduc, 780.352.3922

MARS NEEDS MOMS (PG) DAILY 7:10; SAT�SUN

1:10, 3:15

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

9:35; SAT�SUN 1:05, 3:35

RANGO (PG) SAT�SUN 12:55, 3:20; DAILY 6:55, 9:20 PAUL (14A language may offend) SAT�SUN 1:00, 3:30; DAILY 7:00, 9:30

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

THE TOPP TWINS: UNTOUCHABLE GIRLS (STC)

THU 9:00; FRI, SUN 7:00

FILM SOCIALISME (STC) FRI, SUN 9:00; SAT 7:00 MOSTLY WATER PRESENTS: METRO SHORTS (STC) SAT 9:00

DREAMSPEAKERS DOT (STC) THU 7:00 == PARKLAND CINEMA 7 130 Century Crossing, Spruce Grove, 780.972.2332 (Spruce Grove, Stony Plain; Parkland County)

MARS NEEDS MOMS 3D (PG) Digital 3d FRI 4:40,

PAUL (14A language may offend) DAILY 7:15, 9:15;

THE LINCOLN LAWYER (14A) Digital Cinema

7:00, 9:15; SAT�SUN 2:10, 4:40, 7:00, 9:15; MON�THU 4:50, 7:45

BATTLE LOS ANGELES (14A violence) Digital

BATTLE LOS ANGELES (14A violence) DAILY 6:45,

WEM, 8882-170 St, 780.444.2400

LIMITLESS (14A) Digital Cinema DAILY 1:10,

THE METROPOLITAN OPERA: LUCIA DI LAMMERMOOR (DONIZETTI) (Classification

WHITE WATER, BLACK GOLD (PG) THU 7:00

1:25, 4:00, 6:15, 8:45, 11:05; SAT 1:30, 4:00, 6:15, 8:45, 11:05; SUN 1:10, 3:30, 5:50, 8:15, 10:30; MON�THU 1:00, 3:20, 5:40, 8:00, 10:15

FRI�SAT 12:40, 3:15, 5:50, 8:30, 11:10; SUN 12:15, 2:45, 5:15, 7:50, 10:25; MON�WED 1:20, 4:00, 7:10, 10:00; THU 4:00, 7:10, 10:00; Star & Strollers Screening: THU 1:00

SCOTIABANK THEATRE WEM

GNOMEO AND JULIET 3D (G) Digital 3d

DAILY 12:00

matter) DAILY 6:45, 9:15; SAT�SUN 2:00; No 7:00 show on Thu, Mar 24

MARS NEEDS MOMS (PG) DAILY 1:30 3:30 5:20

not recommended for young children) Digital Cinema DAILY 9:00

subject matter) DAILY 7:00, 9:00; SAT�SUN 2:30

8712-109 St, 780.433.0728

THE ADJUSTMENT BUREAU (PG coarse language) Stadium Seating, DTS Digital DAILY 12:20, 3:30, 7:30, 10:20

LIMITLESS (14A) DTS Digital, Stadium Seating DAILY

WASTE LAND (PG coarse language mature

JUST GO WITH IT (PG crude content) FRI, SUN� THU 12:30, 3:30, 6:30, 9:30; SAT 3:30, 6:30, 9:30

INCENDIES (14A disturbing content, mature subject

RED RIDING HOOD (PG violence, frightening scenes)

I AM NUMBER FOUR (PG frightening scenes,

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

HALL PASS (14A nudity, crude sexual content, substance abuse) DAILY 1:30, 4:30, 7:30, 10:30

GNOMEO AND JULIET (G) SAT�SUN 2:00 GARNEAU

RANGO (PG) DTS Digital, Stadium Seating DAILY 1:00, 3:50, 6:50, 9:50

substance abuse) FRI, SUN�THU 1:15, 4:00, 7:05, 9:45; SAT 4:00, 7:05, 9:45

THE WAY BACK (PG coarse language, not

language)DAILY 12:50, 3:50, 6:50, 9:40

substance abuse) FRI�SUN 4:30, 7:30, 10:10; MON�THU 7:25, 10:05

RANGO (PG) FRI�TUE, THU 1:10, 4:10, 7:00, 9:50; WED 4:10, 7:00, 9:50; Star & Strollers Screening WED 1:00

substance abuse) DTS Digital, Stadium Seating, Digital Presentation FRI�SAT, MON�WED 12:30, 3:10, 7:25, 10:10; SUN 3:25, 7:25, 10:10; THU 12:30, 3:10, 10:10

10337-82 Ave, 780.433.0728

10:20

THE ADJUSTMENT BUREAU (PG coarse

HALL PASS (14A nudity, crude sexual content,

PAUL (14A language may offend) No passes DAILY

HALL PASS (14A nudity, crude sexual content,

PRINCESS

BEASTLY (PG) DAILY 12:20, 2:50, 5:10, 7:40,

THE ADJUSTMENT BUREAU (PG coarse language) FRI 4:20, 7:10, 10:00; SAT�SUN 1:35, 4:20, 7:10, 10:00; MON�THU 7:10, 10:00

dium Seating, DTS Digital FRI�SUN, TUE, THU 12:10, 3:00, 6:30, 9:30; MON 12:10, 3:00; WED 12:10, 3:00, 9:30

HALL PASS (14A nudity, crude sexual content,

RED RIDING HOOD (PG violence, frightening scenes) DAILY 7:00, 9:00; SAT SUN, TUE 1:00, 3:00; Movies for Mommies: TUE 1:00

RANGO (PG) Digital Cinema DAILY 12:40, 3:40,

6:40, 9:20

4:35, 7:35, 10:05; MON�THU 7:20, 9:40

THE KING'S SPEECH (PG language may offend) Sta-

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

language) DAILY 6:50, 9:30; SAT SUN, TUE 12:50, 3:30

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

RED RIDING HOOD (PG violence, frightening scenes)Digital Cinema DAILY 1:45, 4:45, 7:40, 10:10

BEASTLY (PG) DAILY 12:50, 3:30, 6:20, 8:50 THE ADJUSTMENT BUREAU (PG coarse

7:05, 9:20

THE ADJUSTMENT BUREAU (PG coarse

MARS NEEDS MOMS�AN IMAX 3D EXPE�

FRI 3:50, 6:50, 9:25; SAT�SUN 1:20, 3:50, 6:50, 9:25; MON�THU 6:50, 9:25

BEASTLY (PG) FRI 4:35, 7:35, 10:05; SAT�SUN 1:50,

CITY CENTRE 9

RIENCE (PG) FRI, MON�WED 1:00, 4:00, 7:00, 10:00; SAT 12:00, 2:30, 4:50, 7:15, 9:45; SUN 12:00, 2:30, 4:50, 7:30, 9:45

3:05

RED RIDING HOOD (PG violence, frightening scenes)

THE METROPOLITAN OPERA: LUCIA DI LAMMERMOOR (DONIZETTI) (Classification not LORD OF THE DANCE 3D (G) Digital 3d SUN 1:00;

JUST GO WITH IT (PG crude content) DAILY

6:45, 9:20; SAT�SUN 1:45, 4:20, 6:45, 9:20; MON�THU 6:45, 9:20

RANGO (PG) Digital Cinema FRI 4:05, 7:00, 9:45; SAT�

THU 7:00

RED RIDING HOOD (PG violence, frightening scenes)DAILY 1:20, 4:20, 7:20, 10:15

MARS NEEDS MOMS 3D (PG) Digital 3d FRI 4:20,

SAT 12:15, 2:50, 5:20, 8:00, 10:35; SUN 12:00, 3:45, 6:30, 9:30; MON�THU 1:20, 4:30, 7:10, 9:50

available) SAT 11:00

GNOMEO AND JULIET (G) SAT SUN, TUE 1:05, 3:20 RANGO (PG) DAILY 6:55, 9:05; SAT�SUN, TUE 12:55,

SAT�SUN, TUE 1:15, 3:15

Presentation, No passes FRI 3:55, 6:50, 9:35; SAT�SUN 1:10, 3:55, 6:50, 9:35; MON�THU 5:10, 8:00

9:25; SAT�SUN, TUE 12:45, 3:25

LIMITLESS (14A) FRI 4:10, 6:45, 9:40; SAT�SUN 1:30, 4:10, 6:45, 9:40; MON�THU 5:00, 8:25

SUN, TUE 1:10, 3:10

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

VUEWEEKLY // MAR 17 – MAR 23, 2011

FILM // 21

MUSIC

PS I Love You f inds inspiration at home By Bryan Birtles

olfe Island, situated just south of Kingston on Lake Ontario, is a picturesque and historic part of Canada. During America's Revolutionary War, United Empire Loyalists streamed across it from New York State, fleeing the violence of the war for British North America. The island continues to function as a gateway between Canada and its southern neighbour—during the summer months the Wolfe Islander III ferry will take you from Kingston to Wolfe Island while another, still operated by the family that started it in 1802, will take you across the border to Cape Vincent, NY. It's the Wolfe Islander III that inspired much of what became PS I Love You's debut full-length, Meet Me at the Muster Station. Named for the emergency meeting place on the ship, the album's 10 songs run the length of time it takes for the ferry to cross from Kingston to Wolfe Island—30 minutes. What the album lacks in breadth it makes up for in depth: it's layered with jagged, fuzzed-out guitars, unrelenting and ominous pedal bass, the tick-a-tick drumming of Benjamin Nelson and the back-of-

22 // MUSIC

the-bus wail of Paul Saulnier. The band started as Saulnier's solo project until the amount of gadgets he was using onstage to create a big sound started to overwhelm him and he asked Nelson to play drums. "I had this idea in my mind of what the solo show would be like but it never really worked and that was always frustrating," he says of the experience. "I put together an EP of five songs that I'd recorded myself and at the EP release show I invited Benjamin to play drums and it went so well that we became a permanent duo. I couldn't believe how much better the songs sounded with a live drummer and how good it felt onstage." From there the band became a fixture in Kingston's tight-knit scene. The home of two universities and one college, Kingston is a draw for bands touring Southern Ontario and PS I Love You found a niche opening for them. One of those bands was Toronto's D'Urbervilles, whose lead singer John O'Regan—better known these days as Diamond Rings—found an immediate rapport with the members of PS I Love You. Now the two projects are inextricably linked: a split seven-inch with Diamond Rings' "All Yr Songs" was praised heavily by indie tastemaker Pitchfork and sold out

quickly. The disc was mailed with a handwritten note from O'Regan that implored listeners to flip the disc over to listen to his close friends in PS I Love You play "Facelove." Even with such high praise, it took five months for Pitchfork to get around to it, but when the website finally did, PS I Love You's side was declared "Best New Music," a goldmine of a designation. Sitting in a van on the way to North Carolina with bandmate Nelson and tourmate Diamond Rings, Saulnier admits that he's happy with the way things have turned out, even if he never expected it. "I've always loved making music but I never really had serious ambitions: it was just always something I wanted to do," he says. "Getting positive attention and feedback and being able to have a chance to tour America with my friend Diamond Rings—which is what I'm doing right now—I never thought that that was possible, it was always sort of a dream. When you make music because you really want to and you don't really care about being an ambitious pop star ... the bottom line is that it was completely surprising." As much attention as his band receives, the lure of bigger centres—a definite brain

VUEWEEKLY // MAR 17 – MAR 23, 2011

drain on smaller scenes like Kingston's and Edmonton's—isn't one that Saulnier thinks will affect he or his bandmate in the future: both have chosen Kingston precisely for its tight-knit scene, the ability to stay connected to the larger Canadian scene through its geographic serendipity and the way a smaller city like Kingston feels. Neither is "stuck" in Kingston: they're both there by choice. "We're really happy to come from a small group where every band is pretty unique, whereas if you go to a big city there's lots of bands that are the same and it can get pretty hard to figure out who's good," Saulnier says. "Ben was born and raised in Kingston and I moved there when I was a kid. Both of us—before we even knew each other— moved to Toronto when we were about 19 for a couple years and then moved back to Kingston and I think having that experience made us realize—apart from each other but we each realized the same thing—that we love living in Kingston moreso than any other big cities." V Tue, Mar 22 (8:30 pm) PS I Love You With Diamond Rings Brixx, $15

We're really happy to come from a small group where every band is pretty unique, whereas if you go to a big city there's lots of bands that are the same and it can get pretty hard to f igure out who's good

VUEWEEKLY // MAR 17 – MAR 23, 2011

MUSIC // 23

ON THE RECORD

eden munro // eden@vueweekly.com

Smokin'

// Jessica Fern Facette

The AwesomeHots emerge from the living room

Awesome + hot = the AwesomeHots

The AwesomeHots—Darren Radbourne and Amy van Keekan on a host of instruments from accordion and guitar to kazoo and H a m p e r W r i te r — w a s born out of hot toddies and a view over the city, late-night songwriting sessions and a brunch gig at the Artery. The end result of all that is a debut EP that is at once rootsy in its lo-fi charm and also a full-on blast of fun. The duo took some time recently to open a window into the creation of the self-titled release. VUE WEEKLY: How long did it take to make the record, from the initial songwriting through to the end of the recording? THE AWESOMEHOTS: The bulk of the songs evolved over the course of a year or so. The recordings were done over two weekends in our living room.

VW: Did you write together? AH: We each contributed one song that we had written previously. The rest we wrote together, usually over our latest hot toddy creation, while recounting our recent escapades. VW: Would you explain the HamperWriter and the role it played in the creation of the album? AH: We invented the HamperWriter in the loft. We had bought a kick pedal at the antique/candy store in Nanton, an old laundry hamper from an estate sale and we had Amy's Opa's old typewriter. The assembled parts were suitable for kicking out the jams. It's evolved a bit since then: a better typewriter, some pots and pans bolted to the sides for resonance— that sort of thing. VW: What were the recording sessions like for this album?

AH: We recorded live off the floor for most of it, but added some horn tracks and chorus afterwards. Patrick Michalak, our engineer/producer, gave us a rule that we could only try three takes of a given song before we had to move on to something else. We wanted the recording to feel like it was just us in the room, like how the band started. Patrick brought out some homemade mics and bugged the room to pick up on the background and make it feel warm and intimate. VW: Were there any other songs written that were left off the album? AH: We initially recorded ten songs but we are saving three of them for other projects. Two of them were written as part of a radio play/musical that we've been writing about the fictional town of Breathless. VW: If you were to trace the musical map that led you to the AwesomeHots, what would it look like? AH: We like the cheekiness and sass of folks like Lee Hazlewood and Nancy Sinatra, Bob Wills, Sonny Terry and Brownie McGee, Hank Williams, Marty Robbins and jazz singers like Julie London, Blossom Dearie and Mel Torme. Beautiful music and fun times! It's tent-meeting gospel meets boozy campfire sing-a-long, MC'd by Dean Martin and Phyllis Diller. V Sat, Mar 19 (8:30 pm) The AwesomeHots With George Ireland & the Boxcar Babies Wunderbar, $5

24 // MUSIC

VUEWEEKLY // MAR 17 – MAR 23, 2011

FIRSTS, LASTS AND FAVOURITES

Daniel Moir Sat, Mar 19 (8:30 pm), Artery, $10 FIRST ALBUM Silver Side Up by Nickelback. Leave me alone, I was in Grade 6.

FIRST CONCERT Nickelback at Rexall Place. Leave me alone, I was in Grade 6.

LAST ALBUM Gord Downie, The Grand Bounce

LAST CONCERT Royal Wood at the Myer Horowitz Theatre. Totally amazing and inspiring performance. I would recommend anybody who has the chance to see him live.

FAVOURITE ALBUM The Letting Go by Bonnie "Prince" Billy

STATS: • Just finished a tour in Eastern Canada • Currently Edmonton-based singer/songwriter • Soon to be Vancouver-based • Two releases: an EP (The Country and the Sea) and a full-length (Road)

GUILTY PLEASURE Nickelback. Just kidding. Coldplay is a band that I honestly love that some people would view as a guilty pleasure.

VUEWEEKLY // MAR 17 – MAR 23, 2011

MUSIC // 25

Birthday Boys

They say it's your birthday, it's my birthday too, yeah

Fri, Mar 18 (8 pm) With Electric Six, Stars of Boulevard Starlite Room, $20 Canada's the second-largest stretch of country (by total area) on the globe, and, for our independent bands, being the world's most-spacious silver medal is a bit of a dubious podium claim: hitting the Trans-Canada to spread your sound across the provinces means more long drives, filling time between Point A and B and the subsequent in-betweens, than time spent in cities, trying to drum up press or playing shows—presuming you don't run out of gas or have your van freeze before you get where you're going. But highway boredom can be a mother of invention as much as necessity. Peterborough, ON's Birthday Boys, a growling, piss-and-whisky rock squad is using those long drives as forced-creativity sessions. On the group's last tour, the members wrote 30 songs for the 30 days they spent on the road; it's about as tricky

26 // MUSIC

VUEWEEKLY // MAR 17 – MAR 23, 2011

as it sounds, recalls guitarist/vocalist Graeme Kennedy. "I'd have a few days where I'd bang out a song in an hour, and it was a decent song," he says, "And I'd have other days where it'd be 4:30 in the morning and we'd still have nothing, it was like pulling teeth." The band was posting each song online as it went (they're still there), but aside from being a simple creative exercise—a few tracks, Kennedy notes, have entered the live set for this batch of tour dates, and the band is busy reworking a few more for future inclusion—it proved helpful in bolstering buzz as they went. "Well, we don't have any representation, except a booking agent," explains Kennedy. "So we're sort of a one-stop shop; we try to do our own publicity, and put out our own records. We were trying to come up with creative ways to maintain interest in the band while we were on the road. And that seemed like a fun and productive way to do that; [it] kept us busy while we were

sitting in a van." "We had a month off work, basically," he adds. "So in a case like that, forcing yourself every day to write, because you have the time to write—you don't have to be pouring pints for people—I think it can definitely help." For this tour, Birthday Boys aren't looking to lose the momentum, or take the travels any easier. Though the band won't churn out a month's worth of tunes, it's partnered with truthexplosion.com to release a 10-part tour documentary, consisting of, well, whatever the members are feeling up to making on each drive. "Maybe we'll make a music video for one of our tunes one day; maybe we'll write a new song, or interview someone," he notes. "It'll mostly be creatively-based. It'll be us making stuff, with some tour footage in there ... We're kind of just trusting it'll come to us when we get there." PAUL BLINOV

// PAUL@vueweekly.com

VUEWEEKLY // MAR 17 – MAR 23, 2011

MUSIC // 27

MUSICNOTES

BRYAN BIRTLES // BRYAN@vueweekly.com

Slippyfist / Thu, Mar 17 (9 pm) Rocking against racism and rocking for a cause are two of the things punk rock does best, and Slippyfist's upcoming show will do both. Not only will the focus be put on anti-racism—the show is scheduled for the opening day of the trial of four fascists charged with assault—but donations will be collected for the Red Cross to assist the victims of the recent tsunami in Japan. (DV8)

Nazarene countryside. Would he go after his tormentors, the Romans? Would he return and spread goodwill? Would he have an insatiable hunger for brains? These are the questions Rotting Christ asks, and we believe they are important ones. (Starlite Room, $25.50 – $55)

The Residents / Mon, Mar 21 (7 pm) Celebrating its 40th anniversary, avantgarde provocateurs the Residents will roll through town on the group's Talking Light tour. The inspiration for the tour is the band's interest in ghost stories— spoooooky. (Myer Horowitz Theatre, $29.50)

Rhodes / Fri, Mar 18 (8 pm) Hailing from Edmonton's south side, Rhodes put out a full-length in December entitled The Outfit, recorded by Stew Kirkwood, full of the band's slightly off-kilter rock 'n' roll. (Haven Social Club, $10) DJ Lissa Monet / Fri, Mar 18 (9 pm) Canada's top female DJ will be spinning tunes for the event Femme la Mode, a celebration of female fashion designers in Edmonton. (The Treasury, $20)

Elizabeth Shepherd / Tue, Mar 22 If spring is a time for awakening, then Toronto jazz chanteuse Elizabeth Shepherd will find herself awake this season. A 23-day tour that will see her perform in 20 cities makes a quick pit stop in Edmonton before keeping on keeping on. (Jeffrey's Cafe & Wine Bar, $25) Rotting Christ / Wed, Mar 23 (8 pm) In this season of Lent, it's important to turn our thoughts to Rotting Christ. When Mary Magdalene arrived at Jesus's tomb to find the stone had been moved and the body gone, who knows what havoc the newlyun-dead Christ could be wreaking on the

The Tallis Scholars / Thu, Mar 24 (8 pm) Britain's the Tallis Scholars—dubbed the "rock stars of Renaissance vocal music" by The New York Times—bring the group's clarity and purity of style to Edmonton for one night, showing off the music that made the 13th to 16th centuries the best-known time period in Western civilization apart from the burst of the dot com bubble. (McDougall United Church, $10 – $30) Ben Vereen / Fri, Mar 18 & Sat, Mar 19 (8 pm) First shooting to stardom on Broadway in Bob Fosse's Pippin—for which he won a Tony Award and a Drama Desk Award—Ben Vereen has starred in countless Broadway musicals including Jesus Christ Superstar and Wicked. He also has a knack for playing fathers on television, appearing as Will Smith's biological father on the Fresh Prince of Bel-Air and Geordi Laforge's father on Star Trek: The Next Generation. Now he'll bring his talents to the Winspear where he'll sing alongside the Edmonton Symphony Orchestra. (Winspear Centre, $24 – $81)

SOUNDTRACK

AUDIO/ROCKETRY

// Pete Nguyen

Fri, Mar 18 (8 pm) / Pawn Shop, $10 Sat, mar 19 (1 pm) / permanent records, free

At home Fire Next Time, Wild Rose Sorrow No better way to start your day off than with this album. These dudes are local, so check out a show!

A Wilhelm Scream, Career Suicide A great, energetic afternoon pick-me-up with some of the best guitar solos and basslines that I have ever heard.

On the road morning

NOON

Municipal Waste, The Art of Partying I like to party.

NIGHT

28 // MUSIC

VUEWEEKLY // MAR 17 – MAR 23, 2011

Edmonton-based acoustic folk-punk band Audio/Rocketry is set for a triple celebration: five years as a band, the release of its third album, Piloting a Vehicle of Audible Expression, and frontman Joe Vickers' birthday. The band is currently making its way back home from a run down to Lethbridge, so bassist Matt Murphy sent in a list of albums that soundtrack his life.

Sundowner, Four One Five Two I have great memories of driving through the mountains while listening to this album. Fantastic lyrics, music and vocals.

The Lawrence Arms, Apathy & Exhaustion My absolute most favourite album of all time. We play this band everyday in the van).

Rum Runner, What's the Music Mean to You? One of the best live bands around and one that has definitely influenced ours. Just an incredibly catchy sing-a-long album.

VUEWEEKLY // MAR 17 – MAR 23, 2011

MUSIC // 29

NEWSOUNDS Heidecker & Wood Starting From Nowhere (Little Record Company) 

Deon Blyan Turning to Wave (Independent)  Taken as a whole, there's a feeling of maturity that rings through Deon Blyan's Turning to Wave. Every step along the way is a careful one: the notes here never sound wasted, the songs—most co-written by Blyan and producer James Murdoch— are steady as they move ahead on waves of crisp guitars and keys. Consistent and careful don't mean a lack of emotional peaks and valleys, though, and there are plenty of those here, the jangly folk-rock and searching lyrics of "Empty Heart" or the sad and stormy album closer "I Don't Know" among them. Eden Munro

// eden@vueweekly.com

Deon Blyan plays the Haven Social Club on Thu, Mar 17.

With a bead trained on ‘70s soft-rock tropes, Heidecker and Wood's Starting From Nowhere feels like a period exercise the same way a Ween album fucks with a genre: with a knowing wink to the all watermarks (here: Gordon Lightfoot, Steely Dan), but enough commitment to

the form to sell it to diehard fans. Album opener "Cross Country Skiing" (done "live") has gentle guitar plucks and twopart harmonies, bookended with stadium applause; "Life on the Road" is a Supertramp-y bounce about faux-tour woes; "Million People” demands of us "What questions / Do we ask / When we're asking questions?" The band—comprised of Tim Heidecker and composer Davin Wood from absurdist comic sketch show Tim & Eric's Awesome Show, Great Job!—nails those most self-satisfying nuances of the genre with a knowing wink, and it turns out adding a bizarre level of self-awareness actually makes it all more listenable. That this would probably be Ron Burgundy's favourite band should be sufficient as either ringing endorsement or a line drawn in the musical sand. Paul Blinov

// paul@vueweekly.com

Peace My Face (Pop Echo)  My Face, the longawaited followup to Peace's sensational Slow Children, begins with a flurry of soaking wet postpunk guitar and a jangling bass line over a small-kit garage beat that could fill a stadium. This energy doesn't fizzle for 11 straight tracks. Most of Dan Geddes' lyrics are less sung than hollered like deadpan poems, which consist of shadowy utterances like "Hide / From the rain / In the corner / Grey walls / Grey walls." It's the gravity of Geddes' poetry coupled with the band's technical ability and their unmistakable chemistry that makes My Face work so well. Joe Gurba

// joe@vueweekly.com

Boreal Sons Whom Thunder Hath Made Greater (Independent)  With the baroque voice of a wingless angel, Evan Wesley Acheson sings worshipful songs over opalescent piano and guitar twinklings. His voice truly is the flagstone of Boreal Sons but it does not stand alone. The musical composition brings to mind a stripped down Midlake or Andrew Bird: gracefully traditional, expertly produced and the subject matter—poetically mature—reveals the band's passion for distilled truth with gold threads like "You have stifled grief with jealousy / Sifting iron breath through ivory teeth." or "You, my cartographer / Mapped every line on these hands." A debut this focused is rarely achieved. Joe Gurba

// joe@vueweekly.com

30 // MUSIC

VUEWEEKLY // MAR 17 – MAR 23, 2011

QUICKSPINS WHITEY HOUSTON

// QUICKSPINS@vueweekly.com

OLDSOUNDS

Abigail Lapell Great Survivor (Abigaillapell.com) Well that's nice of you Singing about some girl stuff While I'm nodding off

Les Breastfeeders Dans la Gueule Des Jours (Blow The Fuse) Glorious Fronch rock You'd feel fine whipping this out On a crowded bus .

Kill 'Em All-era

Balls neatly tucked in Like Silence of the Lambs guy Lip-syncing Danzig

By Paul Curcio. Raw stuff. Suitable for early metal, but not much heft too it. Even the late Cliff Burton's bass solo barely rumbles.

Lecherous Gaze Self Titled EP (Tee Pee Records)

St Anger-era

PRODUCTION

By Bob Rock. Pretty far from the hair metal Rock was known for, but also pretty unlistenable. Still, an important step away from the radio-friendly Load.

LYRICS

Kid's stuff, with gems like, "When we start to rock / We never want to stop again" and "Bang your head against the stage / Like you never did before."

The struggles of age: " My lifestyle determines my deathstyle," or " I see my reflection in the window / It looks different, so different than what you see."

MUSIC

Kid's stuff, again, but in a really good way: the band's enthusiasm is on fire and the album gets by on a bunch of riffs that defined thrash for many years after. Sounds very much like a band just finding its feet, but with so much confidence that there's no flinching.

Challenging. This was a band in crisis, figuring out how to write and live together after losing a bass player, seeing its singer go into rehab and facing a PR backlash after taking on Napster. Sounds like Metallica was trying to break itself, and it worked.

And the winner is ...

St Anger-era Metallica. That's right. Sure Kill 'Em All was the beginning of a road to great things, but it took some serious guts for the band to make an album that sucked as much as St Anger, tearing it down, shaking things up and building something new. The staying power of St Anger's material pales next to that of Kill 'Em All's, but the album was an invaluable moment in Metallica's evolution. Eden Munro

// eden@vueweekly.com

Jeff Martin The Ground Cries Out (Riverland) Tantric wankery And eternal Zep worship He is consistent

The Cooper Brothers In From the Cold (Gunshy) Gather 'round the fire We'll sing-a-long with Gandolfs About things that droop

Ben + Vesper Honors (Sounds Familyre) Really satisfies Some forced emotive crooning Gives me the snickers

LOONIEBIN Lady Gaga "Born This Way" (LA Riots remix)

With pop stars hooking up with producers who are already in tune with the thumping sounds of dance music for their albums, the insistence on pumping out remixes mere weeks after a song's release just seems to weaken the initial statement: it's just not that different from the original.

Within Temptation "Lost"

No real surprises here—modern rock with strings, really—the chugging chorus contrasts nicely with the acoustic picking/string embellishments during the verses, and singer Sharon den Adel sounds appropriately epic, but not very daring, either.

Mastodon

"Mother Puncher" (live)

Sludgy, brutal metal with a fighting spirit. Sounds like a cage match between the prehistoric beast and Justin Bieber, and it's a beautiful sound.

Brian Robertson "Diamonds and Dirt"

Excruciatingly lame light rock from former Thin Lizzy/Motörhead guitarist.

VUEWEEKLY // MAR 17 – MAR 23, 2011

MUSIC // 31

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

FRI MAR 18 ARTERY Michael Rault, The Group Sounds; no minors; 8pm (door); $10 (door) AVENUE THEATRE Who’s

the Man 4; no minors; 10pm (door); $10 (door)

BLACKJACK'S ROADHOUSE Oh My Darling

THU MAR 17 28 DEGREES Experimental

improvisation with Steven Johnson and his 12-string guitar with guest musicians. Bring your instruments every Thu

BLUE CHAIR CAFÉ Jazz

Thursday Nite: Nathan Ouelette Quartet; 8pm; $8/$5 (student), last set free

BLUES ON WHYTE Damon Fowler

BREWSTERS St Patrick's

Day: The Prairie Cats; 8pm

BRIXX BAR St Patty’s Day: Greg Gory and Tommy Grimes; no cover

CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm CEILIS IRISH PUB St Patricks Day–Outdoor tent Strongbow stage: Stan Gallant, Stuart Bendall, Knocks Irish Dancers, bagpipers, DJ Truffle Shuffle; $15 (adv, VIP priority entrance before 6pm) CENTURY CASINO Fred

Eaglesmith; 8pm; tickets at TicketMaster

THE DOCKS Thu night rock and metal jam DRUID IRISH PUB St

Patrick's Day: SRCC Dancers, ETS Pipers, Jessie Peters, Owls by Nature, Marguerite Rushworth, DJ Mcroughrider, DJ Spilly, Fitzwilly, more; noon; no cover

DV8 St Pat's Event;

SECOND CUP�Varscona

Live music every Thu night; 7-9pm

BLUE CHAIR CAFÉ Heather Blush and the Uppercuts; 8pm; $15

BLUES ON WHYTE Damon

STARLITE ROOM Early Show: Born Ruffians, Sheezer (all female Weezer cover band), Ruby Suns; no minors; 6pm (door); $16 at TicketMaster, Blackbyrd, Foosh, Unionevents.com; Late Show: Oh Snap/All Blown Up and Neon Nights: Fake Blood, guests, 9pm (door), $20 at Foosh, Blackbyrd

BRIXX BAR The Real McKenzies, Old World Sparrows; 9pm (door); $20 at Primeboxoffice.com, Freecloud, Blackbyrd

THAT’S AROMA Open mic

CARROT Live music

night hosted by Carrie Day and Kyler Schogen; 7-9pm

WILD BILL’S�Red Deer

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

WILD WEST SALOON Jordan Doell

DJs 180 DEGREES DJ every Thu BLACK DOG FREEHOUSE

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

CENTURY ROOM Lucky 7: Retro '80s with house DJ every Thu; 7pm-close CHROME LOUNGE 123 Ko

every Thu

THE COMMON St Paddys

Day with D.P.M, Travis Mateeson, Mr. Wedge; no cover

Fowler

BOHEMIA Görgön Hörde, Zero Cool, guests; 9pm; no minors; $8 (door)

every Fri; all ages; Mike Sadava–The Proper Charlies; 7pm; $5 (door)

CASINO EDMONTON The

Normals (pop/rock)

CASINO YELLOWHEAD Al

Barrett (classic rock)

CENTURY CASINO

Shanneyganock; 8pm; tickets at TicketMaster

COAST TO COAST Open

stage every Fri; 9:30pm

EMPIRE BALLROOM Vandalism, Lazy Rich

EXPRESSIONZ CAFÉ

Uptown Folk Club open stage; 7-10:30pm; $4/ free (member)

FESTIVAL PLACE The Irish Descendants (Celtic); 7:30pm; $32 (table)/$30 (box)/$28 (theatre) at Festival Place box office, TicketMaster FRESH START BISTRO

RUSTY REED'S HOUSE OF BLUES Bill Bourne; $15

spins every Fri

SIDELINERS PUB Wafer

SUITE 69 Every Fri Sat with

SPORTSMAN'S LOUNGE

TEMPLE Options with Greg

thin Mints

Gory and Eddie Lunchpail; every Fri

STARLITE ROOM Electric

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

Six, Birthday Boys, Stars of Boulevard; 8pm (door); $20 at TicketMaster, Blackbyrd, Listen, Freecloud, Foundation Concerts.com

WILD BILL’S�Red Deer

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

YARDBIRD SUITE

Edmonton Jazz Society: Jeff Hendrick Group Night in Philadelphia; 8pm (door), 9pm (show); $12 (member)/$16 (guest)

Classical WINSPEAR CENTRE

Edmonton Symphony Orchestra: William Eddins, Ben Veree's one man show paying tribute to Sammy Davis Jr; 8pm; $24-$81

(soulful R 'n' B, pop); $10

L.B.'S PUB Open jam with

KAS BAR Urban House: every

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

Thu with DJ Mark Stevens; 9pm

MARYBETH'S COFFEE HOUSE�Beaumont Open

Bunker Thursdays

LEVEL 2 LOUNGE Funk

mic every Thu; 7pm

LUCKY 13 Sin Thu with DJ

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

ON THE ROCKS Salsaholic:

NEST�NAIT St Patty's Day: Celtic music

NORTH GLENORA HALL

Jam by Wild Rose Old Time Fiddlers every Thu

ON THE ROCKS St Patrick's Day: Tim Cotton, Matt Robertson

PAWN SHOP St Paddys Day Massacrewith Miskatonic, Kriticos, guests; 8pm; $5

RED PIANO Red piano players play Irish favourites; no cover if you wear green RIC’S GRILL Peter Belec ( jazz); most Thursdaysß; 7-10pm

RUSTY REED'S HOUSE OF BLUES St Patrick's Day:

Gordie Matthews Band; $5

32 // MUSIC

Mike Tomas

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

TAPHOUSE�St Albert

Eclectic mix every Thu with DJ Dusty Grooves

UNION HALL St Patrick's Day/

ShamROCK celebration: R 'n' B with Australian DJ Havana Brown

WILD BILL’S�Red Deer

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

Joe Nolan, Scenic Route to Alaska; all ages; 8pm; $10 (door)

AVENUE THEATRE Randy

Graves, Watership Down, The Dusty Tucker Band, The Great Valley, Capture The Hills, Daedalus; no minors; 7:30pm (door); $12

JEKYLL AND HYDE PUB

Headwind (classic pop/rock); every Fri; 9pm; no cover

L.B.'S PUB Rocko Vaugeois and the New Big Time; 9:30pm-2am; $5

LIZARD LOUNGE Rock 'n' roll open mic every Fri; 8:30pm; no cover MEAD HALL Hardcore Loco, HellPreacher, Punktured; 8pm (door); $10 NEW CITY LEGION Old Wives, Bogue Brigade, Kemo Treats; no minors; $10

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

Riot on Whyte featuring DJs: Jenn Losinsky Paüse Doug Ellis Jordy Callahan D-Talks Boecx Dotslashdot

RED STAR Indie rock, hip

hop, and electro every Sat with DJ Hot Philly and guests

BLUES ON WHYTE Sat

Classical

BAR�B�BAR DJ James; every

BOHEMIA Call of the Wild

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

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

Hop and Reggae…old and new school with Allout DJ’s, Sonny Grimezz, and Twist; 9pm (door); $5

Oh My Darling

BLUE CHAIR CAFÉ Hot afternoon Jam with Rotten Dan; Evening: Damon Fowler

fundraiser; no minors; 5:30pm; donations, proceeds to Northern Lights Wildlife Shelter

BRIXX BAR Moka Only, Mad Child, Rob The Viking, Lion, Jae Maze, Young Cali; 9pm (door); $25 at Primeboxoffice. com, Soular CASINO EDMONTON The

Normals (pop/rock)

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

open stage with Marshall Lawrence; every Sat; no cover

Touch It, hosted by DJ Papi; every Sat

DV8 Smokestack Jacks,

BANK ULTRA LOUNGE

Micelli; 9pm-2am

CENTRE Nelly; 9pm EXPRESSIONZ CAFÉ Sister Gray, Elliott, guests; 8pm $10 (adv at YEG)/$12 (door)

FESTIVAL PLACE Café

Ram; 4-6pm; no cover

Contempo New Music Ensemble; 7pm

HOLY TRINITY ANGLICAN CHURCH Edmonton Recital

Society:Emerging artist series: Ms. Cheung, Sarah Ho (piano); 3pm; free; edmontonrecital.com

MCDOUGALL UNITED CHURCH Founders Concert:

Pro Coro Canada, Michael Marc Gervais; 2:30pm; $30 (adult)/$25 (senior/student) at Winspear box office; Pre-Concert Talk on the composers featured in the concert at 1:45-2:15pm in the basement procoro.ab.ca

OLD STRATHCONA PERFORMING ARTS CENTRE

Cosmopolitan Music Society of Edmonton: Wednesday Band concert; 2:30-4pm; $10 (adv adult)/$7 (adv student/ senior); $12 (door adult)/$9 (door student/senior)

DJs

HAVEN SOCIAL CLUB

Needles to Vinyl, kickupafuss, Lovertine; 8pm; $10 (door)

HILLTOP PUB Open stage

every Sat hosted by Blue Goat, 3:30-6:30pm; Paula Perro and No Foolin’ (rock ’n' blues), 9:30pm, no cover

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

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

VUEWEEKLY // MAR 17 – MAR 23, 2011

mic every Sun hosted by Tim Lovett

BLUE CHAIR CAFÉ Sun

Brunch: Will Cramer; 10.30am-2.30pm; donations

Industry Night: every Sun with Atomic Improv, Jameoki and DJ Tim

Sunday Funday: with Phil, 2-7pm; Sunday Night: Soul Sundays: '60s and '70s funk, soul, R&B with DJ Zyppy

FLOW LOUNGE Stylus Sun

DJs on three levels every Sat: Main Floor: Menace Sessions: alt rock/electro/ trash with Miss Mannered; Underdog: DJ Brand-dee; Wooftop: Sound It Up!: classic Hip-Hop and Reggae with DJ Sonny Grimezz

BLUES ON WHYTE This Is

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

BLACKSHEEP PUB DJ

Celtic open stage every Sun with Keri-Lynne Zwicker; 5:30pm; no cover

BLACK DOG FREEHOUSE

every Sat

BUDDY'S Feel the rhythm

BUFFALO UNDERGROUND

IRON BOAR PUB Jazz in

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

CONVOCATION HALL

SAVOY MARTINI LOUNGE

GIBBONS HOTEL Mr Lucky

(blues roots)

every Sat

SPORTSWORLD Roller

Classical

BLUE PEAR RESTAURANT

stage every Sat 3:30-7pm

RED STAR Movin’ on Up:

ROUGE LOUNGE Solice Fri

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

every Sat with DJ Phon3 Hom3; 8pm (door); no cover before 10pm

GAS PUMP Blues jam/open

Gravy from the Source 98.5 every Fri indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson; every Fri

Jazz Society: NOA; 8pm (door), 9pm (show); $14(member)/$18 (guest)

AZUCAR PICANTE DJ

FILTHY MCNASTY'S Red

dance mix every Fri with DJ Donovan

YARDBIRD SUITE Edmonton

BLACK DOG FREEHOUSE

JUNCTION BAR AND

NEWCASTLE PUB House,

SUN MAR 20

every Sun; 2-4pm

CROWN PUB Acoustic blues

every Fri; 9:30pm-2am

LEVEL 2 LOUNGE Formula Fridays; Michelle C vs. Groovy Cuvy 3 hour set; 9:30pm

Y AFTERHOURS Release

Saturdays

stage jam every Sun; 4pm

SECOND CUP�Mountain Equipment Co-op Live music

BLACKJACK'S ROADHOUSE�Nisku Open

Series: Rob Heath, Chloe Albert, Carrie Hryniw; 7:30pm; $18

Rotating DJs Fri and Sat; 10pm

Edmonton Symphony Orchestra: William Eddins, Ben Veree's one man show paying tribute to Sammy Davis Jr; 8pm; $24-$81

Signature Saturdays

ORLANDO'S 2 PUB Open

180 DEGREES Street VIBS: Reggae night every Sat

GAS PUMP DJ Christian;

EATERY LGBT Community:

WINSPEAR CENTRE

VINYL DANCE LOUNGE

Strings Sun: Battle of the Bands featuring Amazaria, The Soulicitors, The Ramifications, Marco Corbo

bands every Sat; 9:30pm

EDMONTON EVENT

with DJ Damian; every Fri

Music Society of Edmonton: Tuesday Band concert; 7:30-10pm

UNION HALL Celebrity Saturdays: every Sat hosted by Ryan Maier

Sun; 9:30pm-1am

ON THE ROCKS Seven

DJs

ELECTRIC RODEO�Spruce Grove DJ every Fri dancehall; every Fri

OLD STRATHCONA PERFORMING ARTS CENTRE Cosmopolitan

MacEwan Music Concert Series: Jazz Choir/Jazz Combo Concert

BACKSTAGE TAP AND GRILL

EDDIE SHORTS Saucy Wenches every Sat

FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro

Honour Band

TEMPLE Oh Snap! Oh

JOHN L. HAAR THEATRE

Open stage/jam every Sun; 2-6pm

every Fri; 9pm

FLUID LOUNGE Hip hop and

CONVOCATION HALL

SUITE 69 Every Fri Sat with DJ Randall-A

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

BEER HUNTER�St Albert

CASINO YELLOWHEAD Al

THE DRUID IRISH PUB DJ

ON THE ROCKS Mustard Rocketry (CD release), Fire Next Time, Desiderata and Rusty; $8 (adv)

PAWN SHOP Neon Nights:

Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison every Fri

BANK ULTRA LOUNGE

REDNEX�Morinville DJ

Smile 2.0

PALACE CASINO Show Lounge DJ every Sat

Super Hot; 8pm; $15

O'BYRNE'S Oil City Sound

PAWN SHOP Audio/

TRANSALTA ARTS

BARNS Northern Lights Folk Club: Martyn Joseph; 7pm (door)/8pm (show); $25 at TIX on the Square, Acoustic Music, Myhre's; northernlightsfc.ca

Saturdays at Eleven: RNB, hip hop, reggae, Old School

spins every Sat

OVERTIME�Downtown

Machine (dance/pop/R&B); 10pm

STARLITE ROOM The Mitts, Keep Me Safe, The Fails and The Reverend Charlie Scream and the Sermon On The Mountain; 9pm (door); $12 (door)

OVERTIME�Downtown

Edmonton Jazz Society: Sikala/Lemanczyk/Hornby Trio; 8pm (door), 9pm (show); $14 (member)/$18 (guest)

Papi and DJ Latin Sensation every Fri

BLACK DOG FREEHOUSE

COAST TO COAST Live

JEFFREY'S CAFÉ Ashley Sacha (pop/jaz); $10

Big Hank Lionheart, Fist Full of Blues; 9pm; no cover

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

YARDBIRD SUITE

AZUCAR PICANTE DJ

HAVEN SOCIAL CLUB

Allout DJs DJ Degree, Junior Brown

Foreigner unplugged (acoustic performance); 8pm; $49.50

requests every Sat with DJ Sheri

BLACKJACK'S ROADHOUSE

180 DEGREES DJ every Fri

THE COMMON R&B, Hip

JEFFREY'S CAFÉ Kelly Nall

ARTERY Daniel Moir Band,

Barrett (classic rock)

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

O’BYRNE’S Open mic every

RIVER CREE�The Venue

SUEDE LOUNGE DJ Nic-E

VIP every Fri

HALO Fo Sho: every Thu with

NEWCASTLE PUB Top 40

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

Jordan Doell

CHROME LOUNGE Platinum

DJ Damian

NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm

Hair of the Dog: Doug Hoyer; (live acoustic music every Sat); 4-6pm; no cover

DJs

GIBBONS HOTEL Mr

roll; every Thu; 9pm

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

BUFFALO UNDERGROUND

IVORY CLUB Duelling

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

Smile 2.0

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

Lucky (blues roots)

J AND R Open jam rock 'n'

ALBERTA BEACH HOTEL

GAS PUMP The Uptown

every Fri; 8pm; no cover

RED PIANO BAR Hottest

HALO For Those Who Know:

WILD WEST SALOON

ELECTRIC RODEO�Spruce Grove DJ every Thu

FUNKY BUDDHA�Whyte Ave Requests every Thu with

JUNCTION BAR AND

SPORTSMAN'S LOUNGE

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

IRISH CLUB Jam session

ON THE ROCKS Mustard

SAT MAR 19

HAVEN SOCIAL CLUB

Day; 5pm

house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes

WOK BOX Breezy Brian Gregg every Fri; 3:30-5:30pm

live music every Fri; The Fabulous Tuxedo Junkies ('50s, '60s style Jazz); 7-10pm; $10

Rhodes, Treelines, Warning to Avoid, The Fight; 8pm; $10 (door)

O’BYRNE’S Live band every Sat, 3-7pm; DJ every Sat, 9:30pm

RUSTY REED'S HOUSE OF BLUES Bill Bourne; $15

Jammers (house band); every Fri; 5:30-9pm

FLUID LOUNGE St Patrick's

Connected Las Vegas Fridays

J AND R BAR Open jam/

every Sat

Y AFTERHOURS Foundation

Thu; 9pm

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

VINYL DANCE LOUNGE

GAS PUMP DJ Christian

with Gator and Friends at 4:30-8:30pm; band 9pm-2am

Fridays

R U Aware Friday: Featuring Neon Nights

IRISH SPORTS CLUB St Patrick's Day: Pipers 1:30 and 7pm; Chancers 3pm; Duff Robinson 9pm; ticketed event includes breakfast 7-10am

UNION HALL Ladies Night

every Fri

L.B.'S PUB Sat open jam

Jordan Doell

WILD WEST SALOON

DRUID IRISH PUB DJ every

FILTHY MCNASTY’S Punk

DJ Randall-A

Big Hank Lionheart, Fist Full of Blues; 9pm; no cover

Intensives, Punk Rawk Dan and Crabs Ain't Cool; 6:30pm

Dave Vertesi, Sean Burns, Deon Blyan, F&M; 8pm; $10 (door)

SUEDE LOUNGE Juicy DJ

Head Mashed In Saturday: Mashup Night

THE COMMON GoodLife

Saturdays: funk, breaks, house, electro and disco with Kenzie Clarke, Girls Club, Allout DJs, Dane Gretzky; $5 (door)

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

Jazz on the Side Sun: Jeff Campbell; 6-9pm; $25 if not dining Franco

B�STREET BAR Acoustic-

based open stage every Sun evening; hosted by Mike "Shufflehound" Chenoweth

DEVANEY’S IRISH PUB

DOUBLE D'S Open jam every Sun; 3-8pm EDDIE SHORTS Acoustic

jam every Sun; 9pm

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

live Sun Night Songwriters Stage; 7-10pm

EXPRESSIONZ CAFÉ

Country/country rock Jam and Dance hosted by Mahkoos Merrier, 2nd Sun every month, 1-5pm, admission by donation; YEG live Sun Night Songwriters Stage; 7-10pm

HAVEN SOCIAL CLUB Romi Mayes, Give 'em Hell Boys, Jake Ian and The Haymakers; $15(adv at YEG)

Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover

MON MAR 21 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover

BLUES ON WHYTE James

Armstrong

DEVANEY'S IRISH PUB

Singer/songwriter open stage every Mon; 8pm; hosted by Nadine Kellman

FESTIVAL PLACE Bowfire;

7:30pm; $55 (table)/$50 (box)/$45 (theatre) at Festival Place box office, TicketMaster

KELLY'S PUB Open stage

every Mon; hosted by Clemcat Hughes; 9pm

MYER HOROWITZ The

Residents (American art collective); 7pm; $29.50 at Blackbyrd, Listen

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

R PUB Open stage jam every Tue; hosted by Gary and the Facemakers; 8pm

Classical

RUSTY REED'S HOUSE OF BLUES Big Rock open

Trouble, Pete Turland

CONVOCATION HALL Vocal Arts Week

WINSPEAR Music at

jam with Moses Gregg, Grant Stovel, guest

Winspear: The Legacy of Bach: The Choral of Bach; 8pm; $20 (adult)/$15 (student/ senior)

SECOND CUP�124 Street

DJs

every Tue; 7-9pm

BLACK DOG FREEHOUSE

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

FILTHY MCNASTY'S Metal

Open mic every Tue; 8-10pm

SECOND CUP�Stanley Milner Library Open mic SECOND CUP� Summerwood Open stage/

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

Mon: with DJ S.W.A.G.

SIDELINERS PUB All Star

LUCKY 13 Industry Night every Mon with DJ Chad Cook

SPORTSMAN'S LOUNGE

NEW CITY LEGION

Madhouse Mon: Punk/metal/ etc with DJ Smart Alex

TUE MAR 22 BLUES ON WHYTE James

Armstrong

Jam every Tue; with Alicia Tait and Rickey Sidecar; 8pm

Open stage every Tue; hosted by Paul McGowan; 9pm

WUNDERBAR HOFBRAUHAUS Stuesdays: Every Tue Wunderbar's only regular DJ night

YARDBIRD SUITE Tue

DV8 Creepy Tombsday:

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

FUNKY BUDDHA�Whyte

Ave Latin and Salsa music every Tue; dance lessons 8-10pm

NEW CITY LEGION High Anxiety Variety Society Bingo vs. karaoke with Ben Disaster, Anonymouse every Tue; no minors; 4pm3am; no cover RED STAR Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly; every Tue WUNDERBAR HOFBRAUHAUS

Stuesdays: Wunderbar's only regular DJ night every Tue

WED MAR 23 BLACK DOG FREEHOUSE Main Floor: Glitter Gulch: live music once a month

BLUE CHAIR CAFÉ

FIDDLER'S ROOST

Abolish advertising in the media: Button Release Party with Nadine Kellman, Breezy Brian Gregg, 8pm, $2 cover; followed by open stage: Little Flower Open Stage every Wed with Brian Gregg; 8pm-12

GOOD EARTH COFFEE HOUSE Breezy Brian

Gregg every Wed; 12-1pm

HAVEN SOCIAL CLUB

Early show: Tough Guys, Girls Cry, guests; Late show: Open stage every Wed with Jonny Mac, 8:30pm, free

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

WUNDERBAR HOFBRAUHAUS Open mic every Wed, 9pm

Classical CONVOCATION HALL Vocal Arts Week

DJs BANK ULTRA LOUNGE

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

BLACK DOG FREEHOUSE Main Floor: RetroActive Radio Wed: alt '80s and '90s, Post Punk, New Wave, Garage, Brit, Mod, Rock and Roll with LL Cool Joe; Wooftop: Soul/breaks with Dr Erick

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

BRIXX BAR Really Good... Eats and Beats: every Wed with DJ Degree and Friends

PLAYBACK PUB Open

every Wed; 9pm (door); no cover

stage for singer song writters, bands, and jammers every Wed hosted by JTB; 9pm-1am

PLEASANTVIEW COMMUNITY HALL

BUDDY'S DJ Dust 'n' Time THE COMMON Treehouse Wednesday's

DIESEL ULTRA LOUNGE

BOHEMIA Ramshackle Day Parade; featuring a host of local Noise artists; 7pm; no minors; $5 (door)

Night Sessions: Jerrold Dubyk Quartet; 7:30pm (door), 8pm (show); $5

BRIXX BAR Diamond Rings,

CONVOCATION HALL

Armstrong

DJs

Eats and Beats: DJ Degree, friends every Wed; 6pm

BLACK DOG FREEHOUSE

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

RED PIANO BAR Wed

CROWN PUB Jam/open

RIVER CREE Live rock

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

RUSTY REED'S HOUSE OF BLUES Gordie

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

PS I Love You, guest; 8:30pm (door); $15 at UnionEvents. com, Blackbyrd

DRUID IRISH PUB Open

stage every Tue; with Chris Wynters; 9pm; guests: Jesse Dee and Jacquie B

L.B.’S Tue Blues Jam with Ammar; 9pm-1am MYER HOROWITZ THEATRE Celebration of

Research and Innovation– University of Alberta top researchers: West African Drumming Ensemble (led by Robert Kpogo), U of A Saxophone Quartet; 3pm; free

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

Classical Vocal Arts Week

Songwriter Circle: Bob Jahrig, Anna Sommerville, Lowrey Olafson; 8pm

BLUES ON WHYTE James 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 (nonmember)

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

stage every Wed; 8pm

BRIXX BAR Troubadour

DV8 Grave Mistakes, Zero

BUDDYS DJ Arrow Chaser

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

Matthews Band

ELEPHANT AND CASTLE�Whyte Ave

every Wed; 8-10pm

Tue: hosted by Mark Feduk; 9pm; $8 every Tue; free pool all night; 9pm (door); no cover

CHROME LOUNGE

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

CROWN PUB Underground

Cool, Swamp Monsters; 9pm

Open mic every Wed (unless there's an Oilers game); no cover

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

EXPRESSIONZ CAFÉ

DEVANEY’S IRISH PUB

CHURCH 10037-84 Ave HOOLIGANZ 10704-124 St,

Open stage with Randall Walsh; every Wed; 7-11pm; admission by donation

Night Live: hosted by dueling piano players; 8pm-1am; $5

band every Wed hosted by Yukon Jack; 7:30-9pm

SECOND CUP�Mountain Equipment Open mic STARLITE ROOM

Rotting Christ, Melechesh, Hate, Abigail Williams, Lightning Swords of Death; 8pm (door); $25.50 (VIP)/$55 adv at Blackbyrd, Listen, Freecloud, foundationconcerts.com

Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs

IVORY CLUB Open DJ night every Wed; 9pmclose; all DJs welcome to spin a short set LEGENDS PUB Hip

hop/R&B with DJ Spincycle

LEVEL 2 LOUNGE

NIKKI DIAMONDS Punk and ‘80s metal every Wed

RED STAR Guest DJs every

Wed

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

VENUE GUIDE 180 DEGREES 10730-107 St,

780.414.0233

28 DEGREES 5552 Calgary Tr ARTERY 9535 Jasper Ave 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 BREWSTERS 11620-104 Ave 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

12464-153 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, 780.428.5618

DIESEL ULTRA LOUNGE

11845 Wayne Gretzky Drive, 780.704.CLUB

9013-88 Ave, 780.465.4834 THE DOCKS 13710 66 St, 780.476.3625

DOW'S SHELL THEATRE� Fort Saskatchewan 8700-84 St, Fort Saskatchewan, 780.992.6400 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St

EARLY STAGE SALOON

4911-52 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663

EDMONTON EVENTS CENTRE WEM Phase III,

780.489.SHOW

ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411

ELEPHANT AND CASTLE� Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 993870 Ave, 780.437.3667

FIDDLER’S ROOST 890699 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 GIBBONS HOTEL 5010-50 Ave, Gibbons, 780.923.2401

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

HOLY TRINITY ANGLICAN

780.995.7110

HYDEAWAY 10209-100 Ave, 780.426.5381

IRISH SPORTS CLUB 12546126 St

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 10209100 Ave, 780.426.5381

JUNCTION BAR AND EATERY

10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 KELLY'S PUB 11540 Jasper Ave L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786

LEVEL 2 LOUNGE

11607 Jasper Ave, 2nd Fl, 780.447.4495 LIZARD LOUNGE 13160118 Ave

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,

Whyte Ave

780.414.6766

SECOND CUP�Sherwood Park 4005 Cloverbar Rd,

8426 Gateway Blvd ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St

ʸ Summerwood Summerwood

OLD STRATHCONA PERFORMING ARTS CENTRE

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 PLAYBACK PUB 594 Hermitage Rd, 130 Ave, 40 St

PLEASANTVIEW COMMUNITY HALL 10860-

57 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

ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253

ROSE AND CROWN 10235-

101 St

R PUB 16753-100 St ,

780.457.1266

RUSTY REED'S HOUSE OF BLUES 12402-118 Ave,

780.451.1390 SUITE 69 2nd Fl, 8232 Gateway Blvd, 780.439.6969

TRANSALTA ARTS BARNS 10330-84 Ave

SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St,

Sherwood Park, 780.988.1929

Centre, Sherwood Park, 780.988.1929 SIDELINERS PUB 11018-127 St, 780.453.6006 SNEAKY PETE'S 12315-118 Ave SPORTSWORLD 13710104 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 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 THAT’S AROMA 11010-101 St, 780.425.7335 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, 715050 Ave, Red Deer, 403.343.8800

WILD WEST SALOON

12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Sq, 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

VUEWEEKLY // MAR 17 – MAR 23, 2011

MUSIC // 33

COMMENT >> LGBTQ

Take the rainbow home

backwords

chelsea boos // che@vueweekly.com

An opportunity to reflect on Edmonton's queer spaces It seems the season for vacations at Queermonclub in West Hollywood that was just voted best ton and during a recent trip I took through Caligay bar in the world on Logo's travel site. I'd go fornia, my columnist brain took stock of the queer there often and happily if it was nearby, but it's culture that was and wasn't available in the area. just a bigger version of the bars I've seen in many I spent a week exploring Los Angeles and towns, only with a better designer. That deSan Diego and a few towns in between. sign might come from the new renovaThe trip culminated in the Hillcrest Martions since the bar was recently bought di Gras, a three-block street party that by a group who plan to market it to turned out to be very fun, but only straights and gays. Even places in LA half gay. The event had also obviously need hetero patrons to survive. kly.com e e w e vu tam@ become a hit amongst the straight coua r a Tam ples, hipsters and university students in One ingredient from my travels that ka the area and we saw far too many girls Edmonton could take a lesson from is Gorzal making out while their boyfriends watched. the existence of a gay village. There's someThe crowd was around a couple thousand but thing that feels good about strolling down a still nothing compared to some events I've been block lined with rainbow flags and stores geared to in smaller places, including any of the last few for gays. It's nice to be able to choose between years of Edmonton Pride. I expected more from styles of bar—sports or pub or tapas—rather the eighth-largest city in the USA. than just choosing one or the other queer club There are times when California is totally fuckin town. There's a comfort in being surrounded ing gay. One of my visits occurred in 2008, right by like-minded people and for many it may be after residents were briefly given the right to the first time they feel safe walking hand in same-sex marriage and fighting against Prop 8. hand with a partner or in the dress of the gender It was Gay Days in Disneyland—Obama signs they're finally able to be. But gay villages also everywhere, married queer couples. This was a ghettoize. They create a strange sort of apathy, wonderful time, but it wasn't the norm. A month a feeling that there's equality inside these castle later Obama was in but so was Prop 8. I've been walls that forgets what's on the other side. They back a couple times since and, like the rest of become targets of violence and symbols of comAmerica, the brief passion for politics is gone in mercialism and almost always promote the homost places. mogenized version of queer. It seems to me that I've also explored the gay scene in places compait's healthier for a city to be studded with pride rable to us, like Saskatoon, Victoria and Calgary. flags, houses, agencies and businesses that cater And I've checked out the queer villages in much to queer, rather than one little but full pocket. more grandiose and supposedly gay-friendly desI suppose at its core it's just a case of the grass tinations including West Hollywood, San Franbeing greener. These cities do deserve to be excisco and Vancouver. The conclusion I've reached plored, if for no other reason than to learn and every single time? They're just like us. There are bring new ideas home. But sometimes it's better highlights for sure: the Abbey is a restaurant and to paint rainbows in your own backyard. V

EERN Q UN TO MO

More than a few of you will cringe when I tell you this installation is in West Edmonton Mall. Believe me, I was just as surprised as you are. That element of surprise is what makes this piece so engaging, actually. I know its not particularly innovative or profound, but the more I think about it, the more I like it. Unsuspecting shoppers are exposed to art where they least expect it: in the middle of their everyday lives. Whether this piece was meant as decoration or an object of contemplation to sober and quiet the mind, somewhere there was a creative mind imag-

ining the play of light on simple white forms in an open space, elevating a commercial setting to a new level. Like Marcel Duchamp has said, "Art is not about itself but the attention we bring to it." On one side, viewers must be open and attentive to things outside their preconceived notions of where art belongs. When we judge things by their value, we forget what is important: curiosity and awareness. On the flip side, artists must be willing to branch out of the gallery and touch people wherever they go, even mega-malls. V

FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) Like Bob Dylan in his 1962 song "A Hard Rain's A-Gonna Fall," you've done a lot of rough and tumble living lately. You've "stumbled on the side of 12 misty mountains." Maybe most wrenching of all, you've "seen a highway of diamonds with nobody on it." The good news is that the hard rain will end soon. In these last days of the downpour, I suggest you trigger a catharsis for yourself. Consider something like Dylan did: "I'll think it and speak it and breathe it / And reflect it from the mountain so all souls can see it." TAURUS (Apr 20 – May 20) Mythologist Michael Meade says that the essential nature of every human soul is gifted, noble, and wounded. I agree. Cynics who exaggerate how messed-up we all are, ignoring our beauty, are just as unrealistic as naive optimists. Many of us feel cursed by the apparent incurability of our wounds, while others, rebelling against the curse, underestimate how wounded they are. Mead says: "Those who think they are not wounded in ways that need conscious attention and careful healing are usually the most wounded of all." Your task in the next few weeks, Taurus, is to make a realistic appraisal of your wounds. GEMINI (May 21 – Jun 20) Metallica's frontman James Hetfield brashly bragged to Revolver magazine that he was proud his music was used to torture prisoners at the detention camp in Guantanamo Bay. I urge you to make a more careful

34 // BACK

ROB BREZSNY // FREEWILL@vueweekly.com

and measured assessment of the influences that you personally put out into the world. It's time to find out how closely your intentions match your actual impact and to correct any discrepancies. How are people affected by the vibes you exude and the words you utter and the actions you undertake? CANCER (Jun 21 – Jul 22) "In the absence of clearly-defined goals," said Cancerian writer Robert Heinlein, "we become strangely loyal to performing daily trivia until ultimately we become enslaved by it." If this description is even a partial match for the life you're living, now is an excellent time to address the problem. You have far more power than usual to identify and define worthy goals—both the short-term and long-term variety. If you take advantage of this opportunity, you will find a better use for the energy that's currently locked up in your enslavement to daily trivia. LEO ( Jul 23 – Aug 22) A short poem by Richard Wright aptly embodies the meaning of this moment for you: "Coming from the woods / A bull has a lilac sprig / Dangling from a horn." Here's one way to interpret this symbolic scene: Primal power is emerging into a clearing from out of the deep darkness. It is bringing with it a touch of lithe and blithe beauty—a happy accident. VIRGO (Aug 23 – Sep 22) As I see it, you have one potential enemy in the coming weeks: a

manic longing for perfection. It's OK as a mild ache, but if you allow it to grow into a burning obsession, you will probably undo yourself at every turn. You may even sabotage some of the good work you've done. My recommendation, then, is to give yourself the luxury of welcoming partial success, limited results, and useful mistakes. Paradoxically, cultivating that approach will give you the best chance at getting lots of things done. Here's your motto for the week, courtesy of Theodore Roosevelt: "Do what you can, with what you have, where you are." LIBRA (Sep 23 – Oct 22) When I was nine years old, one of my favourite jokes went like this: "What's worse than biting into an apple and finding a worm? Give up? Biting into an apple and finding half a worm." According to my reading of the astrological omens, Libra, that's a good piece of information for you to keep in mind right now. If and when a serpent offers you an apple, I hope you will sink your teeth into it with cautious nibbles. I'm not saying you shouldn't bite, just that you should proceed warily. SCORPIO (Oct 23 – Nov 21) Normally we think of a garbage dump as a spot where we go to get rid of trash and outworn stuff we no longer need. But there is a dump in northern Idaho that diverges slightly from that description. It has the usual acres of rubbish, but also features a bonus area that the locals call "The Mall."

This is where people dispose of junk that might not actually be junk. It has no use for them any more, but they recognize that others might find value in it. It was at The Mall where my friend Peter found a perfectly good chainsaw that had a minor glitch he easily fixed. I suspect that life may be like that dump for you in the coming week: a wasteland with perks. SAGITTARIUS (Nov 22 – Dec 21) According to Argentinian writer Jorge Luis Borges, time "is a tiger that devours me, but I am the tiger; it is a fire that consumes me, but I am the fire." Luckily for you, though, you'll soon be getting a temporary exemption. For a while, you'll be more like the tiger than the one the tiger devours; you will have more in common with the fire than with the one consumed by the fire. In other words, Sagittarius, you will have more power than usual to outwit the tyrannies of time. Are you ready to take advantage? You're primed to claim more slack, more wiggle room, more permission. CAPRICORN (Dec 22 – Jan 19) San Francisco band Smash-Up Derby approaches music making with a spirit that might be useful for you to emulate. Each of the band's songs is a blend of two famous tunes. Typically, the instrumentalists play a rock song while the singers do a pop hit with a similar chord progression. Imagine hearing the guitars, bass and drums play Nirvana's "Smells Like Teen Spirit" while

VUEWEEKLY // MAR 17 – MAR 23, 2011

the lead vocalist croons Lady Gaga's "Bad Romance." The crucial part is that it works. The sound coming from the stage isn't a confusing assault. You could pull off a challenge like that: combining disparate elements with raucous grace. AQUARIUS ( Jan 20 – Feb 18) Last August I wrote you a horoscope that spoke of opportunities you'd have to upgrade your close relationships. Hoping to inspire you, I cited two people I know who have successfully re-imagined and reinvented their marriage for many years. In response, one reader complained. "Yuck!" his email began. "I thought I was getting a horoscope but instead I got a sentimental self-help blurb in the style of Reader's Digest." I took his words to heart. As you Aquarians enter a new phase when you could do a lot to build your intimacy skills, I'll try something more poetic: succulent discipline and luminous persistence equals incandescent kismet. PISCES (Feb 19 – Mar 20) If I had to come up with a title for the next phase of your astrological cycle, it might be "Gathering Up." You should focus on collecting resources that are missing from your reserves and hone skills that are still too weak to get you where you want to go. You should attract the support of allies who can help you carry out your dreams and schemes. Don't be shy about assembling the necessities. Experiment with being slightly voracious.

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MUSICIANS

Entry level singer looking for band with good sound and equipment, willing to practice rock through to metal T: 780.434.0124 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

THE NIGHT EXCHANGE Private Erotic Talk. Enjoy hours of explicit chat with sexy locals. CALL FREE* NOW to connect instantly. 780.229.0655 The Night Exchange. Must be 18+. *Phone company charges may apply

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RED CARPET AFFAIR >]klanYd HdY[]$ )(( >]klanYd OYq$ K`]jogg\ HYjc 9dYffY ;dYjc] Yf\ :jaYf E[D]g\ oadd Z] h]j^gjeaf_$ ZY[c]\ mh Zq K[]fa[ Jgml] lg 9dYkcY Mar 24$ .he *- Yl La[c]lEYkl]j3 ^mf\jYak]j ^gj Y ;`ad\j]f k Gjh`YfY_] af :]dar]$ ;]fljYd 9e]ja[Y

PICKUP LINE LOCAL CHAT. TRY IT FREE : code 2315

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WATER FOR LIFE FESTIVAL Sacred Heart Church

VUEWEEKLY // MAR 17 – MAR 23, 2011

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

ARTIST TO ARTIST

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

MAC AND CHEESE LUNCHEON =\egflgf =n]flk ;]flj]$ O=E >mf\jYak]j `gkl]\ Zq l`] Aff]j ;alq 9_]f[a]k >gmf\Ylagf A;9>! Mar 24 )-(

of the First Peoples$ )(0*)%1. Kl HYjak` @Ydd2 emka[ oal` HYmdY CajeYf$ EY >d]l[`]j$ ?YmlYe CYjfac$ Fa[c ?malgf .2+(he!$ <Yn] EYjlaf$ HYe Mjim`Yjl$ Bg`f Kh]Yjf$ Da_`l LjYn]dk3 Mar 25$ ,%))he3 ^j]] Film and Video Arts Society (FAVA)$ 1/**%)(* Kl2 OYl]j >gj Da^] >]klanYd >adek K[j]]faf_2 Mar 27$ /%1he Scona Swimming Pool$ )(,-(%/* 9n]2 OYl]j >mf$ K[gfY Hggd Ydd Y_]k koaeeaf_'khdYk` hYjlq3 Mar 26$ ,2+(%/he Gandhi Statue$ \goflgof KlYfd]q Eadf]j DaZjYjq2 Lm]2 Ogjd\ OYl]j <Yq2 L`] DYkl ?dYkk g^ ;d]Yf >j]] OYl]j af l`] Ogjd\2 \akhdYq'hYjY\]3 Mar 22$ )*2+(%)he3 ^j]]

Draw till you Drop! Alberta Society of Artists life drawing at Harcourt Annex, 10211-112 St; Sun, Mar 27, 9am-6pm; male and female models. Uninstructed. $25 (member, Harcourt, ASA, Wecan )/$30 (non member); Pre-register at 780.426.0072; E: andrea@artists-society. ab.ca

Irish taught Bodhran player seeks experienced Irish Celtic/Trad musician for May Theatre Gig. Call for more info: 780 233 5778

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

)(,)0 )*, Kl /0(&,1*&)0+- Kh]f\ Yf ]n]faf_ oal` \ Dak` MjZYf Cal[`]f Oaf] :Yj o`]j] o] oadd lYkl] Yf\ hYaj j]\ Yf\ o`al] oaf] oal` `Yf\eY\] YjlakYf [`]]k]k& O] oadd Ydkg hYaj Z]]j oal` 9dZ]jlY%klqd] Yaj [mj]\ [`Yj[ml]ja] hjg\m[]\ ^jge )(( _jYkk Çfak`]\ 9dZ]jlY Z]]^& Lg j]_akl]j$ [da[c `]j] Mar 23$ .2+(%1% 2+(he *-

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

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

Kl /0(&,/1&(+*0 Ca[c%g^^ Yf\ []d]ZjYl] ;YjfanYd l`jgm_` EYj[` Mar 19$ /he ^]Ylmjaf_ kYeZY Zml% [Y\Y Mar 26$ ^]Ylmjaf_ <B emka[

Expressionz Café: looking for visual artists, green vendors for Monthly Marketplace. E: expressionzcafe@ gmail.com

Any artist, musician, or performance artist interested in being featured for the Local Art Showcase @ Old Strathcona Antique Mall, E: Jenn@oldstrathconamall. com

MUSICAL INSTRUCTION

CARNIVAL KhY_g Hgjlm_m]k] J]klYmjYfl$ )*,++%1/

Eq]j @gjgoalr L`]Ylj]$ * >d$ Klm\]flk¿ Mfagf :d\_$ M g^ 9 Kh][aYd ]n]fl ^]Ylmjaf_ l`] O]kl 9^ja[Yf <jmeeaf_ =fk]eZd] d]\ Zq JgZ]jl Chg_g!$ M g^ 9 KYpgh`gf] ImYjl]l$ Daf Kf]ddaf_ k \Yf[] _jgmh$ L`] 9m_mklYfY ;`gaj d]\ Zq :j]f\Yf Dgj\!$ Yjlogjck Zq nYjagmk Yjlaklk Mar 22$ +he >j]]

ARTIST TO ARTIST

Art Acquisition by Application program–AFA: affta. ab.ca/art-collection.aspx. Deadline: Apr 1

MAKING WAVES SWIMMING CLUB _]g[ala]k&[ge'

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

18+

BACK // 35

36 // BACK

VUEWEEKLY // MAR 17 – MAR 23, 2011

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