vue weekly 805 mar 24 2011

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2 // UP FRONT

VUEWEEKLY // MAR 24 – MAR 30, 2011

COvER

INsIde

ISSUE NO. 805 // MAR 24 – MAR 30, 2011

UP FRONT // 4/ 4 5 5 8 8

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

DISH // 10/ 12 Veni, Vidi, Vino

THE FUTURE

Transit-oriented design is the new mandate of urban planning

// 6 SNOW ZONE

ARTS // 13 FILM // 17

ESCAPING THE MATRIX

19 DVD Detective

Concept for a new ice climbing wall presents bold vision for city

MUSIC // 21/ 21 25 26 27 27 27

// 9

On the Record Music Notes New Sounds Loonie Bin Old Sounds Quickspins

BACk // 30 30 Queermonton 30 Back Words 30 Free Will Astrology

LISTINGS 16 20 28 31

Arts Film Music Events

10303 - 108 STREET, EDMONTON, AB T5J 1L7 T: 780.426.1996 F: 780.426.2889 E: OFFICE@vUEWEEkLy.COM W: vUEWEEkLy.COM

ISSUE NO. 805 // MAR 24 – MAR 30, 2011 // AvAILABLE AT OvER 1400 LOCATIONS EDITOR / PUBLISHER ......................................... RON GARTH // ron@vueweekly.com MANAGING EDITOR ............................................ EDEN MUNRO // eden@vueweekly.com ASSOCIATE MANAGING EDITOR .................. BRYAN BIRTLES // bryan@vueweekly.com NEWS EDITOR ....................................................... SAMANTHA POWER // samantha@vueweekly.com ARTS / FILM EDITOR .......................................... PAUL BLINOV // paul@vueweekly.com MUSIC EDITOR ...................................................... EDEN MUNRO // eden@vueweekly.com DISH EDITOR .......................................................... BRYAN BIRTLES // bryan@vueweekly.com CREATIvE SERvICES MANAGER ................... MICHAEL SIEK // mike@vueweekly.com PRODUCTION ......................................................... CHELSEA BOOS // che@vueweekly.com ART DIRECTOR ...................................................... PETE NGUYEN // pete@vueweekly.com SENIOR GRAPHIC DESIGNER .......................... LYLE BELL // lyle@vueweekly.com PRODUCTION INTERN........................................ ELIZABETH SCHOWALTER // scho@vueweekly.com WEB/MULTIMEDIA MANAGER ....................... ROB BUTZ // butz@vueweekly.com LISTINGS ............................................................... GLENYS SWITZER // glenys@vueweekly.com

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COvER ILLUSTRATION PETE NGUYEN // pete@vueweekly.com CONTRIBUTORS Mike Angus, Chelsea Boos, Josef Braun, Rob Brezsny, Jeremy Derksen, Gwynne Dyer, Brian Gibson, James Grasdal, Joe Gurba, Whitey Houston, Carolyn Jervis, Brenda Kerber, Stephen Notley, Roland Pemberton, Mel Priestley, LS Vors, Dave Young DISTRIBUTION Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

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

VUEWEEKLY // MAR 24 – MAR 30, 2011

UP FRONT // 3

UP FRONT

VuepoINT

GRASDAL'S vUE

April showers SAMANTHA POWER // SAMANTHA@vUEWEEkLy.COM

With all three opposition parties against the recently tabled Conservative budget it's no longer a question of when we go to the polls but how. So much has gone wrong for the once-impenetrable Tories that opposition parties actually have a choice as to how they'd like to take out the government. The vote on the budget is just one option, and all parties have made it clear they will not be supporting this budget. While the Bloc Québécois has stated it will be putting forward an amendment, Finance Minister Jim Flaherty has stated the Harper government will not be considering amendments to the budget. The New Democrats, meanwhile, seem quite content to fail this government on their budget alone, despite it containing numerous concessions to bring the party on board. And a defeat on the budget is perhaps the best thing that could happen to the Conservatives at this point. The budget seems designed to carry the government in an election, offering tidbits for every Canadian from tax breaks for children's arts programs to a minor increase in seniors' assistance. It's a budget that would allow them to pick and choose the campaign deliverables, but to stick to the core message of the budget's title, "Low Tax Plan for Jobs and Growth." It focuses on the issues that

youRvUE

have kept the Tories on the good side of the polls for so long. But there are those in Parliament who would rather take that opportunity from the Conservatives and capitalize on the recent run of ethical quandries the Conservatives have created for themselves. March has been a tough month for the once "Teflon" Tories. Where the massive G20 arrests and Rahim Jaffer scandals did not stick, the Jason Kenney fundraising problems, Bev Oda's "not" and, perhaps most importantly, the ruling finding the Conservatives in breach of parliamentary privilege for failing to provide key information on its proposed prison programs have. Being found in breach of privilege is a serious charge and a contempt ruling even more so. Opposition parties will have the opportunity to bring down the government based on a breach of ethical conduct, something that works much more favourably for opposition parties in the upcoming election and undercuts the Tories' possibility of messaging the entire campaign around the NDP and Liberals not wanting to pass a budget that would create jobs for Canadians. As Canadian political theory goes, elections are the government's to lose and it looks like the Conservatives might be slipping. If opposition parties take the opportunity, April could look worse than March for the Conservatives. 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

THIS WEEk'S POLL

Should politicians be held accountable for their Internet commentary as they are for their comments in the press?

Earth Hour is an hour on March 26 designed to encourage everyone to shut off the lights for a full hour. The marketing around the campaign encourages participants that shutting off the lights is good for the environment.

oNLINE EXCLUSIvE

vUEWEEkLy.COM

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

Do you think Earth Hour does any good for the environment?

No 6%

yES 94%

1. Yes, it's important to participate and encourage future good environmental actions. 2. It's mostly useless, but important to bring attention to good environment actions. 3. It's harmful in encouraging people to believe they're helping the environment with this small act Check out vueweekly.com to vote and give us your comments.

4 // UP FRONT

VUEWEEKLY // MAR 24 – MAR 30, 2011

LISTEN AT VUEWEEKLY.COM/PODCASTS

COMMENT >> INTERNATIONAL POLITICS

Licence to kill

UN interventions only apply to smaller nations Last Friday saw the first nationwide lutely right to order the use of "all protests against the Baath regime in necessary measures" (meaning armed Syria. If these protests develop into a force) to stop Gaddafi's regime from full-scale revolt, the regime's reattacking the Libyan people. But sponse may dwarf that of Coloit does move us all into unnel Gadhafi in Libya. known territory: today Libya, The last time Syrians retomorrow Syria? belled, in the city of Hama The "responsibility to prom .co weekly in 1982, President Hafez tect" concept that underpins e@vue gwynn e al-Assad sent in the army the UN decision on Libya Gwynn to smash the insurrection. was first proposed in 2001 by r ye D Hama's centre was destroyed Lloyd Axworthy, then Canada's by artillery fire, and at least 17 000 foreign minister. He was frustrated people were killed. by the UN's inability to stop the genoThe current Syrian ruler, Bashar alcides in Kosovo and Rwanda in the Assad, is allegedly a gentler person 1990s, and he concluded that the probthan his father Hafez, but the Baath lem was the UN's own rules. So he set Party still rules Syria, and it is just as out to change them. ruthless as ever. So what happens if the Syrian revolution gets underway, The original goal of the United Naand the Baath Party starts slaughtering tions, embedded in the Charter signed people again? Do the same forces now in 1945, was to prevent any more big intervening in Libya get sent to Syria wars like the one just past, which had as well? killed over 50 million people and ended Syria has four times Libya's populawith the use of nuclear weapons. There tion and very serious armed forces. The was some blather about human rights Baath Party is as centralized and intolin there too, but in order to get all the erant of dissent as the old Communist great powers to sign up to a treaty outparties of Eastern Europe. Moreover, it lawing war, there had to be a deal that is controlled internally by a sectarian negated all that. minority, the Alawis, who fear that they The deal was that the great powers would suffer terrible vengeance if they (and indeed, all of the UN members) ever lost power. would have absolute sovereignty within The UN Security Council was absotheir own territory, including the right

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to kill whoever opposed their rule. It wasn't written quite like that, but the meaning was quite clear: the UN had no right to intervene in the internal affairs of a member state no matter how badly it behaved. By the early 21st century, however, the threat of a nuclear war between the great powers had faded away, while local massacres and genocides proliferated. Yet the UN was still hamstrung by

an obligation to protect people from mass killing at the hands of their own government. Since that could only be accomplished, in practice, by military force, it was actually suggesting that the UN Security Council should have the right to order attacks on countries that indulged in such behaviour. This recommendation then languished for some years. The most determined opponents of "responsibility to protect"

Great powers are effectively exempt from all the rules if they choose to be, precisely because they are so powerful. the 1945 rules and unable to intervene. So Lloyd Axworthy set up the International Commission on Intervention and State Sovereignty (ICISS) to popularize the concept of humanitarian intervention under the name of "responsibility to protect." It was purely a Canadian government initiative. "You can't allow dictators to use the facade of national sovereignty to justify ethnic cleansing," Axworthy explained, and so he launched a headon attack on sovereignty. The commission he set up concluded, unsurprisingly that the UN should have

were the great powers—Russia and China in particular—who feared that the new doctrine might one day be used against them. But in 2005 the new African Union included the concept in its founding charter, and after that things moved quite fast. In 2006 the Security Council agreed that "we are prepared to take collective action, in a timely and decisive manner ... should peaceful means be inadequate and national authorities manifestly fail to protect their populations from genocide, war crimes, ethnic cleansing and crimes against humanity."

NewsRoundup on the water panel. Carson has been granted a leave of absence from the panel, but has not been let go. "The information that has already surfaced shows very questionable actions by Mr Carson dealing with First Nations communities," says Clayton Thomas Mueller, tar sands campaigner for the Indigenous Environmental Network. "It would be improper for him to remain on a panel dealing with rising water quality concerns, of which many are from First Nations communities already feeling the brunt of the tar sands' overwhelming

impacts, and pose broad treaty rights implications." The Alberta New Democrats are also calling for his immediate and permanent removal. "The company Carson allegedly lobbied for could sell water treatment systems to the very First Nations affected by the oil sands monitoring panel—that doesn't pass the smell test," says MLA Rachel Notley. "The data from oil sands monitoring could be lucrative for businesses selling treatment systems." Environment Minister Rob Renner has stated he will not remove Carson.

QUOTES OF THE WEEK

COLOUR CODED Equal access to opportunity remains a problem in Canada, according to a comprehensive study recently completed by the Wellesley Institute and the Canadian Centre for Policy Alternatives. Using census data from 2006 the two organizations compared the ability to access employment between racialized and non-racialized communities. "We found that during the heyday of Canada's pre-recession economic boom, racialized Canadians were more willing to

Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.

SAMANTHA POWER // samantha@vueweekly.com

HOT WATER A panel charged by the provincial government to review water monitoring in the tar sands has hit another barrier. Bruce Carson, a former aide to the Prime Minister is currently being investigated by the RCMP for allegations of using his position to gain access to the Prime Minister. Carson, who advised the Prime Minister on aboriginal affairs, is facing allegations that he assisted an Ottawa water company in acquiring contracts on reserves. Now critics here in Alberta are concerned over the Alberta government's handling of Carson's presence

And there they are five years later, taking military action against Gadhafi. Ten out of 15 Security Council members voted in favour of the action, and the rest, including all four of the emerging great powers, the so-called BRICs (Brazil, Russia, India and China) abstained. But Russia and China didn't veto the action, because they have finally figured out that the new principle will never be used against them. Nobody will ever attack Russia to make it be nicer to the Chechens, or invade China to make it change its behaviour towards the Tibetans. Great powers are effectively exempt from all the rules if they choose to be, precisely because they are so powerful. That's no argument for also exempting less powerful but nastier regimes from the obligation not to murder their own people. So what about the Syrian regime? The same crude calculation applies. If it's not too tough and powerful to take on, then it will not be allowed to murder its own people. And if it is too big and dangerous, then all the UN members will express their strong disapproval, but they won't actually do anything. Consistency is an overrated virtue. V

work, but experienced higher levels of unemployment and earned less income than non-racialized Canadians," says coauthor Grace-Edward Galabuzi, CCPA board member and Ryerson University professor. The study also revealed racialized Canadians continue to work under a wage gap. Racialized workers earn 81.4 cents for every dollar paid to non-racialized Canadians. "The work racialized Canadians are able to attain is more likely

to be insecure, temporary and low paying," says study co-author Sheila Block, Director of Economic Analysis at the Wellesley Institute. "Despite an increasingly diverse population, a colour code is firmly in place." The study found this colour code contributes to higher levels of poverty among racialized Canadians. In 2005, 19.8 percent of racialized Canadians lived in poverty compared to 6.4 percent of non-racialized Canadians.

VUEWEEKLY // MAR 24 – MAR 30, 2011

"We don't believe the budget is credible and we're forced to reject this budget." —Liberal leader Michael Ignatieff The Globe and Mail Mar 22/11

“Nothing in this budget has persuaded me that Stephen Harper has changed his ways and is prepared to work with others in Parliament." —NDP leader Jack Layton NDP press release Mar 22/11

"The job of the government is not to appease the opposition parties." —Finance Minister Jim Flaherty CBC.ca Mar 22/11

UP FRONT // 5

FIVE MINUTES TO WORK Transit is the key to urban redevelopment SAMANTHA POWER // SAMANTHA@vUEWEEkLy.COM

A

five-minute walk has become the new meausuring stick in urban planning. While cities have been designed around the convenience of the car for the last 50 years, a dramatic change is starting to manifest. Instead of building outward, urban planners are looking to build up and around existing neighbourhoods. "It's a reflection of the times," says Erik Backstrom, a senior planner with the City of Edmonton. Working with transitoriented development in communities across Edmonton, Backstrom is just one of the city planners working to implement a new focus on walkable communities centred around transit. Backstrom has been a planner with the city for over 12 years and since that time has witnessed a transition in thinking. "It's definitely changed. There's much more emphasis on walkability and provision of bike facilities and the importance of transit," says Backstrom. "A lot of it has to do with demographics and energy. Fifty years ago there was a baby boom and energy was fairly cheap. Now the energy situation is a lot different and the demographics are different." Like a lot of urban planners, Backstrom questions the logic of continuing to build outward, focusing on suburban bungalows now that gas is expensive and family sizes are shrinking. As these conditions have changed, urban planners have returned to a method of planning around urban centres focused on transit. Transit-oriented development is in no way new. It was first implemented around transit nodes when subway and street cars were built in the 1800s. Today, planners look at creating walkable neighbourhoods designed around 800 metres of a transit station—that five- to 10-minute walk. "When a city is growing, there have to be decisions about where development is going to go," says Backstrom, adding that Edmonton has made the decision to develop mature areas. "We do want to run the LRT through areas where there is potential for intensification over time. There should be a mix of land uses, a large site, prime for redevelopment because of age or size and areas that already have infrastructure and amenties to support putting more people there." This refocusing on transit and centralized development has taken time. In 2007 the Federation of Canadian Municipalities prepared a report for the federal government which stated that the cost of transportation was unlikely to be met through the funding of road expansion. The FCM called on the federal government to fund public transit for $2 billion a year, simply to maintain ridership levels and resources. This paled in comparison to the $123

6 // UP FRONT

// Pete Nguyen

billion infrastructure deficit cities were facing in all service and infrastructure areas. That year, the federal government made a four-year commitment to share federal gas tax revenue and in 2008 the federal budget revealed $500 million for transit development. Nowhere near the $2 billion CUTA estimated needed to be spent, but a marginal improvement, and recognition that federal transit funding needed to exist—a dramatic change from 10 years earlier when Canada was the only G7 country that did not have a national strategy or funding structure for transit. Aware of this infrastructure crisis and the growing inability to fund transit, the City of Edmonton recognized the need to refocus infrastructure development. In 2004 the city approved the idea of transit-oriented development in its Smart Choices design process. Since that time the greatest new planning development has been focused on choice. "We want to provide choices to people so they can make decisions attractive to them," Backstrom explains. Chris Wagner, a resident in Parkdale and facilities director with the Parkdale Cromdale Community League believes in intensification. "It's important in a city

like Edmonton that we should be looking at ways to densify around transit nodes and building in areas that are already serviced and close to existing infrastructure to bring the cost of these developments under control." Wagner made the choice to live in an inner-city neighbourhood because he tired of running up over 80 000 km of commute while working between Edmonton and Red Deer: "I bought my house in Parkdale because it is a developed, innercity neighbourhood and [because of] its proximity to transit." Wagner is also concerned about maintaining the vibrancy of the community as projects are developed. "We don't want to just see projects put up because there's an economy for it," he says. "We want to ensure whatever they're planning around the station respects the existing neighbourhood and the walkability and makes it a more vibrant, inner-city neighbourhood." Wagner and his community league have a lot of work ahead of them to ensure this vision is developed along with the transit line. The Parkdale and Cromdale communities are about to see a dramatic influx of development: the Stadium LRT station has been in redevelopment since

2009 when a community profile was developed around the principles of transitoriented design. Stadium station is one of the first in the city to undergo a full transit-oriented development plan, even before the city has fully approved transit-oriented guidelines. Backstrom emphasizes that development should recognize what already exists in communities, noting, "There's a lot of research into the unique character of the area; it's not something we just come up with a plan on our own." Wagner is hopeful this is the case, despite some disappointment with current development. "We've had a couple of condo developments in the area in the last little while and while good for density, they're walled off from the rest of the area," says Wagner. "Basically they've created these walled-in condo blocks that offer little in the way of sight lines, they're not esthetically pleasing from a walking standpoint—people are forced to walk across parking lots." This is the opposite of transit-oriented design, which is meant to draw pedestrians into communities through engaging street level design and interaction—quality lighting, landscaping, and pedestrian destinations. Streets will be

VUEWEEKLY // MAR 24 – MAR 30, 2011

built according to a grid system to accommodate pedestrians. The plan at Stadium station and the surrounding communities is to build straight-grid systems outward for 800 metres from the transit station, while also building complete streets. Urban planning models estimate that if services are accessible and walking is made safe and easy, pedestrians will walk anywhere from one to three kilometres. Wagner would like to see more open concepts and a concern for safety. "I hope as they move forward, it's not just about buildings but about the area as well," he says. "We want to make sure the development respects the neighbourhood and we can continute to flourish as an inner city neighbourhood." While transit-oriented concepts and walkability are beginning to be considered in numerous neighbourhood redevelopment plans, Stadium station will be the first to implement a transit-oriented plan, the lessons from which could begin to reshape the city. With over 60 new stations being planned—stretching south to the airport and northwest to St Albert—if the city gets those lessons right, that fiveminute walk to work could become a reality for most of the city. V

VUEWEEKLY // MAR 24 – MAR 30, 2011

UP FRONT // 7

IN THE BOX

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

The string

There will be a next year The Oilers had three more games last week. They will have nine more left. This is called "playing out the string." So, here's the results of last week's segment of string. On St Patrick's Day, the Oilers were shamrocked by the Phoenix Coyotes 3-1. Then their basement neighbours from Colorado came to Rexall and the Oilers lost in a shootout 3-2. A road game in Nashville ended up a 3-1 loss. The Predators loss wasn't all bad. Our friends in Calgary are in a playoff race with the Preds; points for Nashville are nails in Calgary's coffin. Draft Dilemma

While last season's draft day was perceived to be a race between one Taylor Hall and one Tyler Seguin, this year the Oilers are

likely to snag the first overall pick once again and get to choose their next potential marquee player. However, this year there are a handful of potential draft leaders. The four consensus front-runners are centres Ryan Nugent-Hopkins and Sean Couturier, winger Gabriel Landeskog and tough d-man Adam Larsson. The Oilers are pretty flush with talented young wingers, so Landeskog is likely out. The team needs a marquee centre, so Nugent-Hopkins and Couturier seem to be the best choices. However, Larsson is intriguing. Ever since I heard him described something like "Victor Hedman but meaner" I pencilled him into the roster. But defenders are notoriously unpredictable or slow to develop and first-class centres are nearly impossible to

BOB THE ANGRY FLOWER

acquire by trade or free agency; drafts are the way to get these guys. I was really hoping the Oilers would not get first overall pick this year. With a first pick, it's sensible to draft one of the centres. A second or third draft pick would be Larsson. DY Prime Minister Pocklington

With an election all but announced, it's with a shudder that I turn back the clock to remember former Oilers owner Peter Pocklington's failed run at the Progressive Conservative leadership in 1983. Pocklington—who at that time was considered a shrewd businessman and philanthropist instead of the convicted fraudster who was once burned in effigy for trading Gretzky—ran on a campaign of strict capitalist principles and a flat tax. He even made the Great One stand behind him at campaign appearances—Gretzky wrote in his autobiography that he did so reluctantly, having no desire to "say no to my boss." In the end, however, Pocklington fell off after the first ballot—he garnered only 102 delegates—and threw his support behind the eventual winner and future prime minister, Brian Mulroney. BB Accidentally ironic headline number two

From the March 20 Journal: "Thousands Watch Oilers Practice at Rexall Place" While the article was about last weekend's open practice and meet-and-greet for season ticket holders, to me this headline more aptly describes the last few home games. With the team far out of playoff range, they are playing for experience and character. It is gratifying to see the team attract fans by the thousands for a publicity event, even while looking at the ass end of the league once again. DY 42

Anyone ever see that Jim Carrey movie 23? Of course not—no one did—but the movie's premise is that the number 23 holds strange mystical powers. For the Oilers however, the number 42 has been having some strange, mystical and altogether negative powers. Taylor Hall, Ales Hemsky and Sam Gagner all suffered season-ending injuries once they hit 42 points, and JF Jacques has gone down with a foot injury after playing 42 games. With Jordan Eberle sitting at 38 points as of this writing, it may be time to sit the young gun, for precautionary reasons. BB Oilers Player of the Week

Magnus Paajarvi: Goal against Phoenix, assist versus Colorado, 14 shots on net over the last three games. DY Linus Omark: This guy's skills continue to amaze, especially his ability to keep the puck away down low. BB

8 // UP FRONT

VUEWEEKLY // MAR 24 – MAR 30, 2011

SNOW ZONE Escaping the matrix

Concept for a new ice climbing wall presents bold vision for city Jeremy Derksen // jeremy@vueweekly.com

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omputer pixels are still streaming from your vision as you rope in, call "belay" and begin your ascent. The workday fog begins to lift. Suddenly, crystalline pixels of ice are flying past your eyes, assaulting your cheeks. Your breath frosts against a cold, white-blue wall. Nearby, the city skyline casts a mild amber glow over the rippling, half-frozen North Saskatchewan. You have escaped the Matrix. Wake up. This is Edmonton. It's a nice daydream but there is no ice climbing in this berg despite the winter deep freeze. Nowhere to sink your tools into icefall and feel the precariousness of standing on a narrow, brittle ledge 15 metres above ground. At least, not yet. But, if the Alpine Club of Canada–Edmonton Chapter has its way, that may change as soon as 2012-13. That's the season the local chapter celebrates its centennial, and as a legacy project the club is proposing to build a new, year-round outdoor climbing venue capable of hosting a world ice-climbing championship for its centennial gala. "There's quite strong growth in ice climbing in Canada and in ice-climbing competition worldwide. Edmonton is the ideal city for a permanent ice-climbing facility," says Ernst Bergmann, ACC– Edmonton Chapter chair. The local climate is more consistently cold than Canmore, he argues, which has hosted a World Cup iceclimbing event. All we lack is the venue. "We have quite a few ice climbers in Edmonton. But right now the minimum you have to drive is three, four hours. Having something in the city where you can go after work ... where you can throw your crampons and ice axes in your backpack and go there by LRT or bike or whatever, makes it quite attractive." The club is eyeing Connors Hill as a location, for its accessibility— along one of the city's planned new LRT routes—and proximity to the core. The Edmonton Ski Club holds the lease to the land and is in support of the ACC proposal, according to Bergmann, as is the Edmonton Folk Music Festival, another organization with a critical stake in the area. While designs have yet to be finalized, a concept prepared by Bergmann and fellow ACC member Neil Bosch envisions a structure that would be 15 to 16 metres tall, with an overall footprint of 21 metres by five metres, in the shape of an inukshuk. The towering legs would present a range of climbing surfaces, the shoulders/arms would act as a deck, and the head, a final ascent pitch. In winter, the ice surface would be created by trickling water over the deck and down the towers as temperatures drop below freezing. While operating plans and a detailed business plan are forthcoming, Bergmann says there will be a detailed strategy for managing and operating the venue, and ensuring safety.

have yet to be determined but the local chapter is prepared to foot part of the bill. The club has earmarked funding for the project. It is also applying for grants and planning to raise additional money through private donation. The ACC has had preliminary talks with the city and plans to present its proposal to city council this spring. Several ACC representatives are scheduled to meet with Councillor Ben Henderson in the next two weeks. "It's timely be-

cause the LRT construction means the whole area plans need to be revisited," Bergmann says. The Edmonton Ski Club is currently working on its own plans to upgrade both the day lodge and ski facilities. If both the ESC and ACC projects are approved, it could create an attractive new winter-sport destination for the city on the site of an already established, central venue. That could go a long way towards bolstering Edmon-

ton's reputation as an active, winter city, argues Bergmann. It's a bold plan with considerable potential to put Edmonton on the map for winter recreationalists. All we have to ask ourselves is one question: are we ready to escape the Matrix? V

ON THE WEB alpineclub-edm.org climbedmonton.ca

With Edmonton being so far from any serious climbing, some may question whether ice climbing in particular is too small a niche to warrant a large-scale development that Bergmann projects will cost in the hundreds of thousands. There are already three large indoor facilities in the city where climbers can train in climate-controlled comfort. But climbing outdoors has its own unique appeal. There's already a precedent in Winnipeg, where the St Boniface section of the Alpine Club has operated an ice-climbing wall for several seasons. It recently expanded to year-round operations. And Bergmann is not the only one who is optimistic about the potential for such a venue. Taigar Halton, general manager of Climb Edmonton, says, "It will eventually be part of Edmonton's future. It's not a matter of if but when. [Edmonton has] the culture—we're just building the infrastructure for the thousands who want to try it." Climb Edmonton, a west-end climbing gym, is currently eyeing expansion and an ice pitch is among the options under consideration, Halton adds. "Ice climbing has grown considerably in the last 10 years. There's been a huge influx to the sport. It's so different from any other sport, just the gear and skills needed to do it. Then there's the variety of formations in the ice itself. It's a totally different experience than you can get anywhere else." As for funding for the ACC proposal, Bergmann says that the final costs

VUEWEEKLY // MAR 24 – MAR 30, 2011

SNOW ZONE // 9

DISH

Find a restaurant

// Chelsea Boos

ONLINE AT DISHWEEKLY.CA

Family puts its heart into it LS Vors // vors@vueweekly.com

A

lbert D'Amore moves with ease amidst the shelves and counters of his family's namesake deli. Decades ago, his father Bernardino left his natal village of Pofi, a sun-dappled hamlet in the hills southeast of Rome, and settled in Edmonton. A gregarious and congenial man, Bernardino worked in construction but dreamed of creating a hub for the city's Italian community. He scouted for a suitable parcel of land outside of perpetually busy Little Italy, purchased a corner lot in the mature neighbourhood of Calder, and commenced construction. Bernardino continued working in construction and simultaneously toiled for six years to create the structure that would become D'Amores Deli. "It's our 33rd anniversary and we are still in the original building," remarks Albert. "We're doing renovations now. We've added a full commercial kitchen for catering." Indeed, catering is one of many foodrelated service offered by D'Amores. "We began as a deli," Albert explains, "but we don't sell just cold cuts and sandwiches anymore." D'Amores provides pasta, pizza and sandwiches to local school lunch programs, has a mobile unit to serve festivals and other large functions, and creates ready-to-serve meals that can be reheated for a speedy dinner. "It's cheaper than going to a restaurant," remarks Albert, "and all of our recipes are based on my mom's." Albert's widowed mother Anna, while technically retired, still rules the kitchen with expertise and pride. Despite its present diversity of products,

10 // DISH

D'Amores relies on Italian sandwiches for much of its business. "My favourite version includes capocollo, mortadella, Genoa salami and provolone cheese," explains Albert. "We slice all of our cold cuts daily and get our meats from smaller producers. We've built relationships with these producers for many decades." He notes that some customers come to D'Amores specifically for deli meats and that, over the years, their customer base has been fiercely loyal. "We see the same faces three or four times per week and with some of them we speak only Italian." Albert maintains a strong connection to his parents' homeland. He speaks Italian fluently and has travelled to Italy many times. Many of D'Amores' products are imported from Italy, including the canned tomatoes used in their tomato sauce. "It's important to keep traditions alive," Albert emphasizes. He shuns the quick and easy route to food and adds, "We're going to do things the homestyle way even if it means getting up at 4 am" The deli itself is a tradition for the D'Amore family now; a tradition hewn from six years of construction, generations of family recipes, and more than three decades of personal involvement in every aspect of running a small business. Albert notes that misconceptions persist regarding the ease of running such a venture and states, "It's funny, but some people think that [in a small business] you just work for a few hours every day and the money rolls in, but that's not the case at all." It's not the case by any stretch, and the business's bustling success scarcely begins to indicate the immensity of planning, cooking, serving and sheer hard

VUEWEEKLY // MAR 24 – MAR 30, 2011

work that has created a seemingly effortless and consistent excellence that is D'Amores Deli. V Albert D'Amore D'Amores Deli 12943 - 127 St, 780.455.5233

RECIPE

Homemade Bruschetta (Courtesy D'Amores Deli) Ingredients:

1 clove garlic, peeled and halved (mince after bread rub) 14 slices (about 3/4-inch thick) French bread 6 medium Roma tomatoes, seeded and diced 1/4 cup chopped red onion 2 tbsp extra virgin olive oil 1 tbsp minced fresh basil 1/4 tsp salt 1/8 tsp pepper 4 leaves fresh basil

Directions:

Rub cut side of garlic over one side of each slice of bread. Place bread garlic side down on an ungreased baking sheet. Bake at 350 F for five minutes on each side or until lightly browned. In a bowl, combine the tomatoes, onion, minced garlic, oil, minced basil, salt and pepper; let set for 20 minutes in the fridge. Spoon about two tablespoons onto each piece of toast. Top each with a basil leaf and presto, ready to serve. Note: you can adjust the amount of garlic depending on your taste buds. V

VUEWEEKLY // MAR 24 – MAR 30, 2011

DISH // 11

WINE

Spit take

Learning the art of not imbibing

// Elizabeth Schowalter

With wine and food festival season alfew notes on etiquette. ready underway here in Edmonton, it First, spittoons are commonly located would make good sense to cover one of conveniently in the serving counter area, the more awkward and intimidating and they can come in many shapes aspects of wine tasting: spitting. and sizes, most often resembling I D I Spitting what, you may ask? a white-wine chiller: a tall cylV , I VEN Spitting out wine is, in fact, a inder made of steel, ceramic very common aspect of wine or dark plastic. You will often m ekly.co tasting when you're out to try find them alongside a plate vuewe @ s u g several wines, be it at a wine mikean of crackers or dried bread, or e Mik festival, a tasting room or funda jug of drinking water, which Angus serve as a means of cleansing raisers. If you're out to have a relaxed, casual glass of vino at these the palette. functions, you're more than welcome to You're always welcome to pour the enjoy it at your own leisure. wine from your glass into these at any But it is not uncommon for some protime. Spitting wine out, however, may fessionals and focused drinkers to come seem tricky. to these events with an agenda, to try as Have no worries: you don't need to make many wines as possible without the obvia big production out of it because no one's ous intoxicating results. going to be surprised if you spit. Simply These folks are generally industry-relatlean over the spittoon and force the wine ed, and therefore want to remain as disout of your mouth, being careful not to be cerning and focused as possible. The obvitoo enthusiastic. You can cover your mouth ous solution? Spitting the wine out. while you do this, and it can be done discreetly and quietly when done properly. Now, this may seem counter-intuitive, If you have any qualms about it, you yet for the purposes of tasting notes, it can even practise before hand at home is enough to try the wine for its characwith water. The real key is to not make teristics and move on to the next. This is a big production out of it even if you the point where you'll witness folks spitdribble—we've all been there, we've all ting wine into larger containers nearby done it—and the payoff can result in a or pouring out the remainder of their fun-filled evening of sampling several sample. Don't be alarmed or intimidated. wines that you'll even remember the This is very common, yet not without a next morning. V

VINO

12 // DISH

VUEWEEKLY // MAR 24 – MAR 30, 2011

ARTS

"Amy Schmierbach's exhibition, ... the spaces between ... draws upon one of abstraction's strengths—expression—to suit the emotionally charged points of inspiration."

ORDER AND CHAOS /14

PREVUE // THEATRE

Escape from captivity

An Almost Perfect Thing based on real abduction case three perspectives: the kidnapped girl, a journalist who is publishing her story in a newspaper series and the captor. "I decided a while ago that I wanted them all to be able to tell their story, so I wanted to use direct address, and have the stories kind of interweave,"

MEL PRIESTLEY // MEL@vueweekly.com

I

The public really turned on her, because she didn't act like what we think of as a victim.

// Darrin Hagen

nstant access to information is a mainstay of 21st century life; consider how many times you have used Google over the course of the week— and how absolutely ordinary this act has become. But at what point does our right to Google searches infringe upon an individual's right to privacy? Local playwright Nicole Moeller aims to explore the extremes of this question in her upcoming production, An Almost Perfect Thing, part of Workshop West's current season. Moeller based her play on the story of Natascha Kampusch, an Austrian girl who was kidnapped in 1998 at the age of 10 and held captive by a man for eight years, until she finally escaped in 2006. It is an absolutely bizarre story, and one that has become quite perplexing, due to Kampusch's purposeful silence about the details of her captivity. "[Kampusch] was just really interesting to me because she really took control of her story right away," explains Moeller. "She released something to the media and scripted her interviews, because there's things she wouldn't talk about. She would get mad if questions she didn't like were brought up." It came as no surprise that Kampusch quickly became an international media sensation, with the public clamouring to know every intimate detail of her captivity. Plenty of unsubstantiated allegations and assumptions

Trapped for eight years

were cast around, including rumours of child pornography and a black market organ ring. "The public really turned on her," states Moeller, "because she didn't act like what we think of as a victim." In light of this, Moeller goes on to explain that she only used Kampusch's story as a jumping off point. "I didn't research much into her life because I

didn't feel it was my right to tell her story." This issue of jurisdiction works as a subtext within the play. "It's been a lot of experimenting with how to tell the story and whose story it is," notes Moeller. "I really wanted to explore our right to the truth, because that was something I found interest-

ing in the real story. People wanted to know what happened and they wanted 'The Truth,' whatever that is. "I think we feel sometimes that it is our right to know," Moeller continues. "So that's what I explore: what is our right to the truth of what happens to somebody, and why should we have to know?" An Almost Perfect Thing is told from

explains Moeller. As a result, the script moves back and forth through time, as well as between different locations and characters. Despite its unique subject matter, Moeller notes that her play is ultimately just an exploration of human behavior. "It's the big question of 'why?'" she notes. "Why we do what we do, and what we do when we're in really desperate situations; how we act, how we are forced to act, and how what's happened to us influences how we act." V Thu, Mar 24 – Sun, Apr 10 (8 pm) Sunday matinees (2 pm) An Almost Perfect Thing written by NICOLE MOELLER directed by MICHAEL CLARK starring TESS DEGENSTEIN, DAVID LEY, FRANK ZOTTER La Cité (8627 - 91 St), $15 – $25

REVUE // THEATRE

Fever dream

Dog a commanding, dystopic performance Mel Priestley // mel@vueweekly.com

I

t felt like being trapped in a feverinduced delirium with reruns of I Love Lucy playing incessantly in the background. It creeped me out. And I liked it. Directed by Bradley Moss and produced by Surreal SoReal Theatre, Dog is a visually engrossing play. Cory Sincennes’ stage design is cleverly simple, combining transparent screens with projected black-and-white imagery to create an eerily dreamlike space.

The sound design is equally striking: a haunting soundscape combining ambient effects and music clips from several decades, which underscores and unsettles the visual montage. All of this is framed within the context of dystopic mid-20th-century home life. Jon Lachlan Stewart’s script is engaging and more than a little surreal, stopping just short of outright supernatural. The story moves between a mundane family life and a bizarre mad-scientist story, flowing along a subtext of various 1950s-era issues, chief among these being psychiatric

and pharmaceutical experimentation and the medical after-effects of the World Wars, such as veterans suffering from post-traumatic stress disorder and the deep-seated racism instilled by wartime propaganda. Though the script takes ample liberties with historical fact, this is perfectly acceptable— perhaps even encouraging—within such a setting. Dog incorporates aural dissonance with bouts of physical theatre to expand the usual narrative boundaries; though married couple Edward (Stewart) and

Vally (Sarah Sharkey) initially lip-sync in unison with their voice tracks, as the play progresses we hear their live voices with increased frequency, often at critical moments and often outside the narrated story. Both actors work seamlessly with each other and are complemented by the physically talented Vincent Forcier, who fills the roles of troubled Lupus and the weirdly menacing dog with cool self-confidence. But all this exposition simply doesn’t do the play justice. Dog is one of the most commanding performances I’ve experienced in some time. Stewart is

VUEWEEKLY // MAR 24 – MAR 30, 2011

a fabulously original storyteller and Moss has created an unapologetically bizarre world. It’s a solid addition to this young company’s already impressive roster. V Until Sun, Mar 27 (8 pm) Sunday matinee (2 pm) Dog written by JON LACHLAN STEWART directed by BRADLEY MOSS starring VINCENT FORCIER, SARAH SHARKEY, JON LACHLAN STEWART Roxy Theatre (10708 - 124 st), $16 – $26

ARTS // 13

REVUE // THEATRE

REVUE // VISUAL ARTS

Shadow's Man of Steel takes some time to transform

Exhibition draws an abstraction

Ordinary heroes

// Walter Tychnowicz

Paul Blinov // paul@vueweekly.com

'I

t's just a matter of imagination," goes a line in Next Year's Man of Steel. It's applicable to Everett (Mark Jenkins), a writer, and Simon (Ryan Cunningham), a strong-headed artist, paired together only to find their own creative processes at odds with each other. It's 1940s New York, full of depression and empty of jobs, yet they've managed to pin down something that might actually even pay them if they can work together and churn out a new hero to compete with the then-young Superman and Batman franchises. Everett wants the big, flashy costumes and supernatural powers; Simon wants a hero of the people, someone normal, who rises up to tackle superhuman challenges. We see how that creative dispute spills off the page into their own lives in Shadow Theatre's production. David Belke's script looks at personal mettle and our own secret identities—not the kind that don capes and spandex, but the ones we reveal when pressure's on, when extraordinary circumstances creep up on ordinary folks—carry the most weight. And in finding one who has that and who's just wearing a mask, the Shadow Theatre production wavers at times. There's a lot going on in the dialogue, but it comes at a crackling pace in the first half, particularly in the argumentative exchanges between Everett and Simon that make up their artistic process. They could've used a bit more emphasis left in, to appreciate the delivery and the weight of the words more. Still, the assembled league of players don their roles well: Cunningham's Simon is the keystone—under a Brook-

14 // ARTS

Order and chaos

The artistic process in action

lyn accent and bruiser attitude lies the vulnerable heart of an artist; Jenkins is always a likeable actor to see on stage, here a boyscout type at wit's end, sleeping in a cot tucked away in the office closet; Anna-Maria LeMaistre's Ramona, Simon's wife and an artist in her own right, brings some warmth to the conflicted duo; John Wright's curmudgeonly boss is fun, all accent and wit, with a shrewd businessman sense of money making. Jenkins' comic-panel artwork, used to transition via the big screen behind and above CM Zuby's POV set, gets the comic feel right, projected above the action. It might've been worth pushing further. Darrin Hagen's score gets the right tones of both the time period and the superhero genre.

So, the structure's a little predictable, and moves slowly in its early half. The drama doesn't really come alive until the second act, where all the disparate elements seem to click into place. Next Year's Man of Steel does show some mettle, in the end. Just in the nick of time. V UNTIL 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

Carolyn Jervis // carolynjervis@vueweekly.com

C

laims about the conceptual or symbolic meaning of an abstract artwork are often made, but such meaning is inconsistently apparent to its viewing audience. The current exhibit at the Society of Northern Alberta Printmakers' (SNAP) gallery rises to that challenge. Amy Schmierbach's exhibition, ...the spaces between..., draws upon one of abstraction's strengths—expression—to suit the emotionally charged points of inspiration. At once a cohesive exhibition and an art-as-therapy practice, the featured works visually confront and work through the artist's life experiences of her father's suicide and her son's autism. Working in a place between order and chaos, these mixed-media pieces are filled with obsessive pattern and spontaneous-looking image making. The bulk of these untitled artworks are constructed in the same manner, each being comprised of a smaller rectangle, brightly-coloured, embroidered and layered in pattern, and a larger rectangle at its side, an ocean of swirling black and translucent matte white. The colourless sections in each of these works is most visually arresting, powdery, fluid swirls of black and grey, each bringing to mind ocean waves violently hitting a wall of craggy rock or other acts of natural violence. The small red, orange or green patch is no antidote to these charged, black images. Although they act as colour contrast, the tight patterns in paint and stitched thread match the emotional intensity in the expressive and exacting marks. Darkness is not shown as the antithesis of the brightly coloured but is instead always integrated—a scrawl of black circles copy, echo or connect visually to

VUEWEEKLY // MAR 24 – MAR 30, 2011

the coloured passage in each work. Formally speaking, the majority of works in the show follow this clear visual formula, and it would be interesting to see the outcome of the artist's integration of black and colour, texture and pattern, in a wider variety of ways. Because of this repetition, the works in the back room play an important role in conveying that the artist has a greater range. Instead of following the

At once a cohesive exhibition and an artas-therapy practice, the featured works visually confront and work through the artist's life experiences of her father's suicide and her son's autism. colour- and non-colour-sections formula, these works are layered in dots and echoing circular forms, soft and round, angular and aggressive scrawls, autonomous or conjoined. These softer images made mostly in white are compositionally very strong, keeping one's eye in constant movement. This faculty with variety in mark making very effectively illustrates the artist's stated love of tactility, connecting through the layers, form with content. V Until Thu, Apr 14 …the spaces between… works by Amy Schmierbach Society of Northern Alberta Printmakers (SNAP) Gallery (10123 - 121 St)

ARTIFACTS Heavy Metal Art Exhibit / Until Fri, Apr 22 Presented by the U of A's Heavy Metal On Campus student group, this art exhibit showcases the visual stylings of "individuals who, through their artistic endeavors, have contributed to the vitality, sustainability and energy of the Edmonton metal music community." Also, the group signs its

PAUL BLINOV // PAUL@vueweekly.com

emails, "Heavy metal, or no metal at all!" Truer words, ne'er spoke. (Nina Haggerty Centre for the Arts [9925 - 118 Ave]) Edmonton Tonight / Friday, Mar 25 (10:30 pm) Edmonton Tonight’s a satirical take about the traditional host/guest/band model of

late night television. Spearheaded by host Tom Bernier, his subjects include Harry Pinchin, a trumpet player perhaps best known for his time in the Tommy Banks Orchestra, as well as some guests from the Edmonton Radio Control Society, who will be demonstrating flying model airplanes live. What could possibly go wrong? (Metro Cinema [9828 – 101A Ave])

VUEWEEKLY // MAR 24 – MAR 30, 2011

ARTS // 15

ARTS WEEKLY

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;`mj[`add Ki Âœ /0(&,**&.**+ Âœ BRIAN JUNGEN: L`j]] k[mdhlmjYd afklYddYlagfk3 until May 8 Âœ Sculpture Terraces: Ogjck Zq H]l]j @a\] Yf\ C]f EY[cdaf Âœ BMO World of Creativity: DRAWN OUTSIDE2 ]kh][aYddq ^gj ca\k3 Until Jan 29$ *()* Âœ WALTER J. PHILLIP: WATER AND WOODS: OYl]j[gdgmjk Yf\ ogg\[mlk3 l`] Çjkl af l`] f]o 9dZ]jlY =Yjdq EYkl]jk K]ja]k3 until Jun 5 Âœ K@=JJA CHABA: THE SILENCE OF CHAOS: until May 15 Âœ @9A<9 ART: MAPPING AN ANCIENT LANGUAGE3 until Jun 5 Âœ NATURE AND SPIRIT2 ;gYklYd dYf\k[Yh]k Zq =eadq ;Yjj3 until Jun 5 Âœ Art on the Block2 9ffmYd Kad]fl 9jl 9m[lagf Yf\ ;g[clYad HYjlq af kmhhgjl g^ qgmj 9?93 May 12$ /he3 )*- Âœ Art for Lunch2 Ravens and Eagles: Haida Art; Apr 21$ )*2)(he3 ^j]] Âœ LAWREN HARRIS ABSTRACTIONS; Mar 26-Sep 11 Âœ Ledcor Theatre2 Winds of Heaven: Çde YZgml =eadq ;YjjÂżk hYaflaf_k$ Zq Ea[`Y]d Gkljg^^3 >ja$ Mar 25$ /he3 ^j]] oal` Y\eakkagf Âœ Studio Y Youth Drop-in2 9ZkljY[l2 9[q[da[ HYaflaf_3 Mar 25$ +2+(%-2+(he3 )( j]_akl]j Yl qgmjY_Y&[Y! Âœ Adult Drop-In2 ;Yjn]2 :dg[c Hjaflaf_3 Mar 24$ /%1he3 )-' )* 9?9 e]eZ]jk!

ART GALLERY OF ST ALBERT (AGSA) œ Hjg^ad]k$

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CAFÉ PICHILINGUEďż˝Red Deer Âœ ,1*0%-( Kl$ J]\ <]]j Âœ ,(+&+,.&(0)* Âœ 9jlogjck Zq :jaYff] Lqkgf Âœ Through Mar

EXPRESSIONZ CAFÉ Âœ 11+0%/( 9n]Âœ /0(&,+/&+../ Âœ

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FAB GALLERY œ >af] 9jlk :d\_$ M g^ 9 œ /0(&,1*&*(0) œ THE ALCUIN SOCIETY AWARDS FOR EXCELLENCE IN BOOK DESIGN IN CANADA: Until Mar 26 œ EMJMURS: HYaflaf_k Zq @gh] O]ddk3 Until Mar 26

16 // ARTS

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

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STANLEY A. MILNER LIBRARY œ / Kaj Oafklgf

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VUEWEEKLY // MAR 24 – MAR 30, 2011

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FILM

"Many recent Japanese films that have made their way beyond the island nation reflect an increasing anxiety over privacy and technology."

SIDEVUE: The Calm After The Storm // Online at vueweekly.com

Band of brothers

Of Gods and Men overcomes the dread of inevitability

A prayer before the meal Josef Braun // josef@vueweekly.com

X

avier Beauvois' Of Gods and Men was drawn from the 1996 incident in which seven Tibhirine Trappist monks were kidnapped and eventually beheaded during the Algerian Civil War, the exact circumstances of their slaughter a matter of contention to this day. So we might expect something draped in dread, a drama whose hopeless fluctuations amount to nothing more than a death march. But inevitability is a force one strives to come to terms with when one's life is devoted to worship and public service. That things are bound to end poorly becomes a matter of secondary importance once Beauvois and his collaborators usher us into this realm of carefully nurtured quietude, where disparate, overwhelming inner struggles are conducted and resolve terribly hard-won, where fraternal bonds are strengthened as much through disagreement and panic as they are through harmony and shared ideals. This is indeed a meditative movie, yet also at times a joyous one, one that reminds us of several important things: that running away only brings new things to run from; that need, vocation, and genuine communion transcends the confines of dogma; and that God, whether regarded as concept or true presence, is only alive when his followers engage fully with the world in all its disorder. Written by Beauvois and Etienne Comar, and photographed with a loving

bias toward natural light by Caroline Champetier, Of Gods and Men immerses us in the monks' daily activities, especially those of the abbot Christian (Lambert Wilson), an Islamic scholar who has the audacity to quote the Koran to Muslim terrorists threatening his life, and Luc (Michael Lonsdale), a trained physician who administers humble remedies (not to mention shoes) to the

Claire Denis' White Material on the cusp of its DVD release. (Sadly, White Material never made it to Edmonton theatres.) Both concern the legacy of French colonialism as it effects those attempting to make a life for themselves in those countries afflicted, but the contrast is fascinating. Denis' mise en scène is narcotic in its way, but also secular, dark, fierce and brutal, where

We might expect something draped in dread, a drama whose hopeless fluctuations amount to nothing more than a death march. But inevitability is a force one strives to come to terms with when one's life is devoted to worship and public service. local, largely impoverished Algerian population. The threat of imminent uprising prompts government officials to urge the monks to flee while the townsfolk plead for their steadfastness. Each of the monks makes their case for staying or going, their disagreements causing considerable tension that seems only to abate when the group joins in song. Their roster of Gregorian chants emerges as one of the film's most fortifying refrains, the other being Beauvois' use of lingering close-ups to glean some sense of the monks' individual inner turmoil. Luc seems to be the only one who knows from the start what his choice is. "I'm not scared of death," he says. "I'm a free man." It's serendipitous that Of Gods and Men should arrive in theatres with

Beauvois' approach centers on the serene and a universal, non-denominational sense of religious feeling, even when the grotesque looms just outside the monastery gates. It's a gift to have both these visions circulating our collective consciousness, helping us to reflect on the complexity of global ruptures, and those ghosts from the past that continue to haunt us. V Opening Friday Of Gods and Men Directed by Xavier Beauvois Written by Etienne Comar, Beauvois Starring Lambert Wilson, Michael Lonsdale garneau THEATRE (8712 - 109 ST)

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VUEWEEKLY // MAR 24 – MAR 30, 2011

FILM // 17

Enter the Void Fri, Mar 25 – Mon, Mar 28 (7 pm) Written and directed by Gaspar Noé Starring Nathaniel Brown, Paz de la Huerta Metro Cinema (9828 - 101A Ave)

naked and screaming), usually while she's getting laid or dancing in a G-string. Oscar's protective impulse and incestuous desire for his sister merge into a single focused longing for reunion that finally manifests in a sequence that ushers Oscar toward reincarnation via one particular anatomical dark passage that, it's probably safe to say, the movies have never taken us through before.



Central to Enter the Void is not so much a character as a point of view. Oscar (Nathaniel Brown), a young American living, loafing and dealing in Tokyo, is observed relatively little yet is present in every scene. Gaspar Noé uses Oscar's consciousness as a cinematic vessel: we see and hear what he sees and hears, a device familiar from its fleeting employment in slasher films but, documentaries aside, is rarely used in extended duration, some memorable exceptions being Russian Ark, The Lady in the Lake, and the first part of Dark Passage, whose title could easily be substituted for the one Noé settled on for his follow-up to Irreversible and third feature as writer/director/editor/ cinematographer/provocateur/etc.

2011: a space oddity

Enter the Void follows, or rather inhabits, Oscar as he gets profoundly stoned, walks to a nightclub, gets killed, and thence drifts in spirit-form through past and present. His life seems to have consisted mainly of one major source of trauma (his parents' death in a car accident when Oscar was a child) and one of comfort (his sister, with whom he's made a pact to always be together,

even after death). It is these items that haunt Oscar's afterlife and Noé's project. Over and over we witness the accident from the backseat, the lifeless bodies, the sister wailing. The memory repeats until it no longer shocks us nor deeply troubles Oscar, the implication being, I suppose, that he's letting go. Over and over we visit Oscar's sister (Paz de la Huerta, frequently

Equal parts mind-blowing and boring, I can no more deny the tedium of Enter the Void than I can its ingenuity. Maybe that's just it: displays of ingenuity are tedious, at least when undertaken by artists who seem drawn to nothing so much as their own sublime gimmickry. (To be fair, the tedium is surely more oppressive in the 160-minute version I've seen than in the 137-minute version Metro Cinema's screening this weekend.) The first half-hour or so, where Oscar trips out to visions of branching galactic veins of pulsating, morphing beauty,

where paranoia burgeons and fades, where his buddy Alex (Cyril Roy) comes by to explain the Tibetan Book of the Dead (the film's source material), is easily the most engaging and witty section. Noé's evocation of Oscar's reeling response to his narcotic cocktail, which includes DMT, is uncanny: anyone who takes drugs for extra-medicinal purposes will recognize the sensations. But once Oscar goes astral, momentum and insight are largely discarded. Yes, the soaringover-Tokyo camerawork is truly wondrous, a milestone even. But Oscar is a cipher, and his posthumous wandering might have worked better as an installation or visionary video game, which it resembles in many respects. Stanley Kubrick and 2001 especially are touchstones, though Noé has yet to muster up even Kubrick's negligible level of interest in characters. Enter the Void is one hell of a trip, but you may find you've come down long before its final fade to black. Josef Braun

// josef@vueweekly.com

Hobo With a Shotgun Opening Friday Directed by Jason Eisener Written by Eisener, John Davies, Rob Cotterill Starring Rutger Hauer



We never learn our grizzled protagonist's name. He arrives in town via a boxcar as weathered as his own creased face, just a man and a simple dream (to buy a lawnmower and open his own business), but ends up taking on the corrupt town's scummiest underlord, the wannabe TVhost Drake and his diabolical sons. He rescues the cliché hooker with a heart of gold, tries to convince her to become a school teacher, and fires off his simple, violent brand of justice with an unending supply of shotgun shells. Hobo with a Shotgun is the second of Grindhouse's fake trashy-trailers to be given a flesh and film reality through sheer force of a hilarious blunt idea. It's a wildly entertaining, double-barreled love letter to the exploitation genre, which director Jason Eisener perfectly realizes. He doesn't just throw a bucket of guts against the lens and call it a day. Hobo is wildly enjoyable not because of its gory extremes, but the endlessly

Carmen 3d Sat, Mar 26 (12:30 pm) Directed by Julian Napier Empire City Centre Cinemas



Though we get a few shots of backstage preparations off the top, for the most part Carmen 3D wisely suppresses the carmera's urge to peek backstage at normally off-limits angles, and try to give more than a night at the opera. It's attempts so come with as much live detail as can be mustered: surround sound provides audience coughs all around you, and there's a 20-minute intermission, replete with audience chatter the whole time. You feel like you're there, almost.

18 // FILM

Hobo. With. A. Shotgun.

inventive streak of kitschy ideas: there's a noose gun. The baddest guys around, a duo known only as The Plague who only get called in after the Drake has started to lose control, dress like metal scarecrows, drive motorbikes with coffins chained behind them, and their previous hit list, framed on their wall (beside an octopus's flailing tentacles) apparently includes Abe Lincoln, Jesus and the Easter Bunny. Drake's sons are as caricatured evil as it gets. Not even children are safe here. Especially when they're

on a school bus. Limbs and hands shatter like porcelain, buckets of red spray everywhere—the real introduction to the town comes when Drake's boys decapitate a man wedged in a manhole via a noose and a car, and a bikiniclad vixen dances gaily in the red spray. So yes, most of it is senseless, and wildly over the top. But at least it's senseless in the most entertaining of ways.

The film version's directed by Julian Napier, of Francesca Zambello's Royal Opera House staging, and when it works—say, when someone's onstage alone—the 3D really helps bends the silver screen towards feeling more "live." But that's when it's at its best: elsewhere, the effects feel a poor fit for a stage show's wide depth of field. Seeing one part of one thing extra close—and occasionally an arm in focus, instead of a face—only serves to remind you, distractingly, just how out of focus the rest of the stage is. The busier the shot, the more apparent it seems. That's not to say, as a film version, Carmen 3D isn't adequately done: the onstage

camerawork and quick, well-directed cuts offer a much closer, more intimate view (and less expensive) than the cheap seats at the Jubilee. It's a good place to start: Carmen's a passion-charged show, and we get up close alongside emotional moments, all of which the cast seems easily capable of delivering alongside beautiful voices: Corporal Don José, torn up like an olden-days Archie Andrews, is caught between the wholesome Micaëla and the wilder gypsy woman Carmen. Leaving the third dimension to their voices and talents would make for a more potent showpiece.

VUEWEEKLY // MAR 24 – MAR 30, 2011

PAUL BLINOV

// PAUL@vueweekly.com

PAUL BLINOV

// PAUL@vueweekly.com

COMMENT >> THE WINDMILL MOVIE

The Lincoln Lawyer

Memoir by proxy

The Windmill Movie circles Richard Rogers' psyche

Windmilling through the mind

Richard P Rogers was born into East Coast that spawned him. Maybe, inevitably, both. WASP privilege and most of its accompaIt was produced by Meiselas and David nying neuroses. His people summered in Grubin, and directed, edited and written by the Hamptons. They sent him to Dalton Alexander Olch, a student of Rogers with and Harvard to make something of a somewhat similar background and himself. But Rogers became an a sense of kinship strong enough experimental and documentary to encourage Olch to compose filmmaker—a filmmaker's filmnarration in Rogers' voice. maker, marginal and respected. Watching The Windmill Movie, om eekly.c He also became a beloved eduyou can't help but wonder if it @vuew e v ti c te cator at SUNY Purchase. His fa- dvdde wasn't all designed this way, f Jose milial legacy left him with pangs if only unconsciously. Keep in Braun mind: though you may not have of unease regarding his inability to accumulate wealth and a facility with heard of him, Rogers was a prolific, small talk and tennis. He was simultanehardworking, at times very personal filmously envious of his more successful (ie: maker—not a dilettante. So if he never finrich and famous) peers and so hopelessly ished his Windmill, even when diagnosed rebellious there was no way he could ever with a terminal illness, it might be that have followed their paths. Most scandalhe never truly planned to. It's someone ously, he fell for Jewish girls, and eventuelse's movie now, someone else's portrait, ally, while dying from cancer, even married though still suitably subjective, poetic, unone, the esteemed Magnum photographer even, uncertain and shot through with lust, Susan Meiselas, with whom he'd shared indecision and existential doubt. It's availa decades-long romance marked by long able this week on DVD from Zeitgeist. absences and affairs with other women— Rogers was an unlikely yet prodigious Don Remarkable images reappear throughout Juan. He died in 2001 at the age of 56. The Windmill Movie, as though circling Rogers was undoubtedly a man of many Rogers' psyche. Hands at a garden party, curious and contradictory qualities, but the corner of a sail brushing reeds, pretty those listed above are the ones that linger young bronzed thighs on bicycles or beach with me after seeing The Windmill Movie blankets: one of the possible themes of (2009). It's a strange and fascinating arRogers' project was summertime, the feeltifact: a memoir by proxy, an 80-minute ing that important things happen in this essay constructed from some 200 hours seemingly most leisurely of seasons. Rogof material shot or collected by Rogers ers recalls being taken to the beach as a with the vague intention of being either child and falling in love with other people's a self-portrait or a critique of the culture mothers. He reflects on his own mother,

DVCD TIVE

DETE

abandoned by his father. She appears before his camera, in old age, wearing a wig, at one point shoveling dirt into a car. You imagine her sharing cocktails with reclusive socialite Edie Beale, made famous in the Maysle Brothers' Grey Gardens (1975) and a Hamptons neighbour. Olch's assembly is respectful, but not too respectful. He doesn't flatter Rogers. He understands the perils in making a film about a filmmaker struggling to make a film about a dead filmmaker struggling to make a film, and thus grounds The Windmill Movie in specific memories and encounters, successes and failures. Some of Olch's additions don't entirely work. Rogers' old friend, actor and playwright Wallace Shawn shows up, reads aloud some of Rogers' musings, and finally feels underused, present mostly as a talisman. But, for the most part, Olch finds ways to honour his subject while establishing his own voice. There's little in The Windmill Movie to indicate Rogers' accomplishments as a filmmaker (nor is this film the place for it), but thankfully Zeitgeist has included two really wonderful shorts by Rogers: "Elephants: Fragments of an Argument" (1973) and "226-1690" (1984), which chronicles a year in Rogers' life via views from his New York apartment window and messages left on his answering machine. V

Now playing Directed by Brad Furman Written by Michael Connelly, John Romano Featuring Matthew McConaughey, Marisa Tomei, Ryan Phillippe



A delicious but not too-smooth take on LA noir, The Lincoln Lawyer quenches the thirst for a spring surprise on the silver screen. Our liquor-downing private dick is Mick Haller (Matthew McConaughey), a lawyer who usually defends dicks and worse. His latest is rich playboy Louis Roulet (Ryan Phillippe), accused of raping and beating a prostitute. But Haller soon realizes the noose is tightening around him instead. Noir conventions are tweaked (Haller's office is his Lincoln town car; the femme fatale gets a disturbing backstory), while the snappy pat-

VUEWEEKLY // MAR 24 – MAR 30, 2011

ter of the genre (Haller and his buddy, musing on a suicidal jump: "What do you think the last thing to go through your mind would be?" "Your asshole.") gets boosted by some deft supporting turns (from William H Macy, Bryan Cranston and others). The hard edges of Haller's clientele aren't softened and the one obvious flaw—Haller's ex-flame (Marisa Tomei) isn't volatile enough—is none too glaring. This adaptation of Michael Connelly's novel is like an excellent law/crime TV show episode, with an added last-case urgency. There's no sense of the calculated or contrived. Tight framing shots keep us close to the ratcheting action, and there are just the right bits of grit, and the right pace to the twists, to make The Lincoln Lawyer a steadily seat-gripping cinematic cruise. Brian Gibson

// brian@vueweekly.com

FILM // 19

FILM WEEKLY FRI, MAR 25, 2011 – THU, MAR 31, 2011 s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

RANGO (PG) FRI�SAT 7:00, 9:00; SUN�THU 8:00; SAT�SUN 1:30

PAUL (14A language may offend) FRI�SAT 7:00, 9:00; SUN�THU 8:00; SAT�SUN 1:30

CINEMA CITY MOVIES 12

YOGI BEAR (G) DAILY 1:00, 3:30, 6:40, 9:00 TRON: LEGACY (PG) DAILY 6:50, 9:40 TRON: LEGACY 3D (G) Digital 3d DAILY 1:30, 4:20, HARRY POTTER AND THE DEATHLY HAL�

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

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

JUST GO WITH IT (PG crude content) FRI�WED 1:10,

young children) DAILY 1:40, 4:30, 7:05, 9:45

5:00

14231-137 Ave, 780.732.2236

THE KING'S SPEECH (PG language may offend)

Digital Cinema DAILY 6:30, 9:15

THE WIZARD OF OZ (STC) SUN 1:00

DIARY OF A WIMPY KID: RODRICK RULES (G)

CINEPLEX ODEON SOUTH

HOBO WITH A SHOTGUN (R brutal violence)

1525-99 St, 780.436.8585

DAILY 2:15, 5:15, 8:10, 10:40

THE RITE (14A frightening scenes, not recommended for children) DAILY 1:35, 4:45, 7:25, 9:55

10:15; WED 4:30, 7:20, 10:15; Star & Strollers Screening: WED 1:00

DIARY OF A WIMPY KID: RODRICK RULES (G)

NO STRINGS ATTACHED (14A substance abuse,

PAUL (14A language may offend) FRI�TUE, THU 2:10,

HOBO WITH A SHOTGUN (R brutal violence) FRI�

SUCKER PUNCH (14A violence) Ultraavx, No passes DAILY 12:00, 2:35, 5:10, 8:00, 10:45

LIMITLESS (14A) FRI�TUE, THU 1:50, 4:30, 7:20,

No passes DAILY 12:10, 2:40, 5:15, 8:00, 10:20

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

5:10, 8:00, 10:35; WED 5:10, 8:00, 10:35; Star & Strollers Screening: WED 1:00

THE GREEN HORNET 3D (14A violence, coarse

THE LINCOLN LAWYER (14A) DAILY 12:40, 3:20,

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

BATTLE LOS ANGELES (14A violence) Digital

language) Digital 3d DAILY 1:20, 4:00, 6:55, 9:30

6:50, 9:40

4:40, 7:20, 9:50

Cinema DAILY 1:40, 4:40, 7:30, 10:20

GULLIVER’S TRAVELS (PG) DAILY 1:45, 4:15 LITTLE FOCKERS (PG crude sexual content, not

MARS NEEDS MOMS 3D (PG) Digital 3d DAILY 1:30, 4:10

LORD OF THE DANCE 3D (G) No passes, Digital 3d, Exclusive Engagement MON 7:00 NATIONAL THEATRE LIVE: FRANKENSTEIN

4:20, 7:10, 10:00; THU 1:10, 4:20, 10:00

THE ROOMMATE (14A violence) DAILY 1:50, 4:10,

7:30, 10:00

CARMEN 3D (STC) No passes, Digital 3d, Exclusive Engagement SAT 12:30; WED 6:30

GNOMEO AND JULIET 3D (G) DAILY 12:30, 2:45,

CINEPLEX ODEON NORTH

Digital Cinema, No passes DAILY 1:20, 4:00, 6:40, 9:00

DAILY 1:55, 4:25, 7:10, 9:35

DAILY 12:45, 3:45, 6:55, 9:55

stance abuse) DAILY 7:05, 9:45

1:05, 3:40

THE EAGLE (PG violence, not recommended for

LIMITLESS (14A) DTS Digital, Stadium Seating

DAILY 1:15, 3:50, 6:45, 9:30

LOWS: PART 1 (PG frightening scenes, violence, not recommended for young children) DAILY 1:10, 4:45, 7:45

SUCKER PUNCH (14A violence) Ultraavx, No passes DAILY 2:00, 4:50, 7:50, 10:30

scenes) Stadium Seating, Digital Presentation, DTS Digital FRI�TUE, THU 10:20

RANGO (PG) DAILY 1:00, 3:40, 7:00, 9:50 BEASTLY (PG) DAILY 12:50, 3:30, 6:20, 8:50 THE ADJUSTMENT BUREAU (PG coarse language)

6:45, 9:20

BIG MOMMAS: LIKE FATHER, LIKE SON (PG)

5074-130 Ave, 780.472.9779

RED RIDING HOOD (PG violence, frightening scenes)Digital Cinema FRI�SAT, MON�THU 1:45, 4:45, 7:40, 10:10; SUN 4:45, 7:40, 10:10

recommended for young children) DAILY 7:15, 9:25

SAT 12:30, 2:30, 4:30, 6:30, 8:40, 11:00; SUN�THU 1:10, 3:20, 5:50, 8:00, 10:30

WEST IS WEST (14A coarse language) FRI�SAT 1:15,

3:45, 6:10, 8:40, 11:00; SUN�THU 12:20, 2:50, 5:15, 7:40, 10:00

LIMITLESS (14A) FRI�SAT 1:00, 3:25, 5:50, 8:30, 11:00; SUN�WED 12:00, 2:30, 5:00, 7:30, 10:10; THU 12:00, 2:30, 5:00, 7:45, 10:10

PAUL (14A language may offend) FRI�SAT 1:30, 4:00,

6:15, 8:45, 11:05; SUN�WED 1:10, 3:30, 5:50, 8:10, 10:30; THU 3:30, 5:50, 8:10, 10:30; Star & Strollers Screening: THU 1:00

THE LINCOLN LAWYER (14A) FRI�SAT 12:40, 3:15,

5:50, 8:30, 11:10; SUN�THU 12:15, 2:45, 5:15, 7:50, 10:25

THE BUTCHER, THE CHEF, AND THE SWORDS� MAN (14A) DAILY 12:15 BATTLE LOS ANGELES (14A violence) Digital

Leduc, 780.352.3922

RED RIDING HOOD (PG violence, frightening scenes) DAILY 6:55, 9:20

RANGO (PG) SAT�SUN 12:55, 3:20 SUCKER PUNCH (14A violence) DAILY 7:05, 9:35;

SAT�SUN 1:05, 3:35

DIARY OF A WIMPY KID: RODRICK RULES (G)

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

DAILY 7:10, 9:25; SAT�SUN 1:10, 3:25

CLAREVIEW 10

3:30; DAILY 7:00, 9:30

4211-139 Ave, 780.472.7600

HALL PASS (14A nudity, crude sexual content, substance abuse) DAILY 9:20

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

RANGO (PG) FRI 4:00, 6:30, 9:10; SAT�THU 1:15,

PAUL (14A language may offend) SAT�SUN 1:00,

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

ENTER THE VOID (STC) FRI�MON 7:00 EDMONTON TONIGHT (Classification not available) FRI 10:30

RED RIDING HOOD (PG violence, frightening

RACE TO NOWHERE (PG) THU 7:00 == PARKLAND CINEMA 7

BATTLE LOS ANGELES (14A violence) Digital

SUCKER PUNCH (14A violence) DAILY 12:55, 3:25,

4:00, 6:30, 9:10

scenes) FRI 4:50, 7:20, 9:50; SAT�THU 1:45, 4:50, 7:20, 9:50

Presentation FRI 3:55, 6:50, 9:30; SAT�THU 1:10, 3:55, 6:50, 9:30

LIMITLESS (14A) FRI 4:30, 7:10, 9:45; SAT�THU 1:40, 4:30, 7:10, 9:45

THE LINCOLN LAWYER (14A) Digital Presentation FRI 3:50, 6:40, 9:25; SAT�THU 1:00, 3:50, 6:40, 9:25 PAUL (14A language may offend) FRI 4:25, 6:55, 9:35; SAT�THU 1:50, 4:25, 6:55, 9:35

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

6:55, 9:25

DIARY OF A WIMPY KID: RODRICK RULES (G) DAILY 1:05, 3:05, 7:05, 9:05

BEASTLY (PG) DAILY 7:00, 9:00 PAUL (14A language may offend) DAILY 1:15, 3:15, 7:15, 9:15

BATTLE LOS ANGELES (14A violence) DAILY 12:50, 3:20, 6:50, 9:20

MARS NEEDS MOMS (PG) DAILY 1:00, 3:00;

MARS NEEDS MOMS (PG) FRI 4:40, 7:05; SAT�

Movies for Mommies: TUE, MAR 29: 1:00pm

DIARY OF A WIMPY KID: RODRICK RULES (G) FRI 4:10, 6:45, 9:15; SAT�THU 1:20, 4:10, 6:45, 9:15

RANGO (PG) DAILY 1:10, 3:10, 7:10, 9:10 THE ADJUSTMENT BUREAU (PG coarse lan-

SUCKER PUNCH (14A violence) No passes FRI 4:15, 7:00, 9:40; SAT�THU 1:30, 4:15, 7:00, 9:40

RED RIDING HOOD (PG violence, frightening

THU 2:10, 4:40, 7:05

DUGGAN CINEMA�CAMROSE

guage) DAILY 9:30

scenes) DAILY 12:45, 3:30, 6:45

PRINCESS

6601-48 Ave, Camrose, 780.608.2144

10337-82 Ave, 780.433.0728

Cinema FRI�SAT 12:30, 3:15, 5:50, 8:35, 11:05; SUN� THU 1:00, 3:45, 6:30, 9:15

PAUL (14A language may offend) DAILY 7:00 9:15;

MARS NEEDS MOMS 3D (PG) Digital 3d FRI� SAT 12:35, 2:45, 5:00, 7:15, 9:30; SUN�THU 12:30, 2:45, 5:00, 7:15, 9:20

RED RIDING HOOD (PG violence, frightening

mended for young children) DAILY 6:45, 9:15; SAT�SUN 2:00; No 7:00 show on MON, MAR 28 and THU, MAR 31

RED RIDING HOOD (PG violence, frightening

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

INCENDIES (14A disturbing content, mature subject

THU 2:05

SUCKER PUNCH (14A violence) DAILY 6:45 9:10;

WASTE LAND (PG coarse language mature subject

scenes) FRI�SAT 12:45, 3:10, 5:30, 8:25, 10:40; SUN� THU 12:45, 3:10, 5:30, 8:00, 10:15

RANGO (PG) Digital Cinema FRI�SAT 12:00, 2:30, 5:00, 7:30, 10:00; SUN�THU 12:00, 2:30, 4:55, 7:25, 9:50

SAT�SUN, TUE, THU 2:00

scenes) DAILY 6:55 9:00; SAT SUN, TUE, THU 1:55

SAT�SUN, TUE, THU 1:45

DIARY OF A WIMPY KID: RODRICK RULES (G) DAILY 6:50 9:05; SAT�SUN, TUE, THU 1:50

BEASTLY (PG) FRI�SAT 12:10, 2:20, 4:30, 6:55, 9:05, 11:10; SUN�WED 12:10, 2:20, 4:30, 7:20, 10:00; THU 4:30, 7:20; Star & Strollers Screening: THU 1:00

EDMONTON FILM SOCIETY

THE ADJUSTMENT BUREAU (PG coarse

THE AFRICAN QUEEN (PG) MON, MAR 28: 8:00

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

language) FRI�SAT 1:05, 3:30, 5:55, 8:15, 10:40; SUN� THU 12:00, 2:25, 5:10, 7:40, 10:00

HALL PASS (14A nudity, crude sexual content,

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

substance abuse) FRI 12:30, 2:55, 5:30, 8:20, 10:55; SAT 5:30, 8:20, 10:55; SUN�THU 12:10, 2:30, 4:50, 7:30, 10:25

SUCKER PUNCH (14A violence) No passes DAILY

JUST GO WITH IT (PG crude content) Digital Cin-

Digital Cinema, No passes DAILY 11:40, 2:05, 4:40, 7:10, 9:40

ema FRI�SUN, TUE�THU 7:50, 10:25; MON 10:25

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

THE KING'S SPEECH (PG language may offend) FRI�WED 2:25, 5:10, 7:50, 10:25; THU 2:25, 5:10, 10:25

THE METROPOLITAN OPERA: IPHIG�NIE EN TAURIDE ENCORE (Classification not available)

SAT 11:00

LORD OF THE DANCE 3D (G) Digital 3d MON

7:00

NATIONAL THEATRE LIVE: FRANKENSTEIN ENCORE (Classification not available) SAT 11:00 THU 8:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

HOBO WITH A SHOTGUN (R brutal violence)

1:50, 4:30, 7:30, 10:15

DIARY OF A WIMPY KID: RODRICK RULES (G) LIMITLESS (14A) DAILY 1:00, 3:45, 6:45, 9:30 PAUL (14A language may offend) DAILY 1:40, 4:20, 7:15, 9:55

THE LINCOLN LAWYER (14A) Digital Cinema

DAILY 1:10, 4:00, 6:55, 9:50

BATTLE LOS ANGELES (14A violence) DAILY 1:30, 4:15, 7:20, 10:05

MARS NEEDS MOMS (PG) DAILY 1:45, 6:50 RED RIDING HOOD (PG violence, frightening scenes)DAILY 1:55, 4:25, 7:35, 10:10

RANGO (PG) Digital Cinema DAILY 1:15, 4:05, 7:00, 9:45

BEASTLY (PG) DAILY 4:05, 9:20 THE ADJUSTMENT BUREAU (PG coarse language) DAILY 1:35, 4:10, 7:10, 10:00

Stadium Seating, Dolby Stereo Digital DAILY 12:15, 2:35, 5:15, 7:35, 10:35

GNOMEO AND JULIET (G) DAILY 11:45 GARNEAU

SUCKER PUNCH (14A violence) No passes, Stadium Seating, Dolby Stereo Digital DAILY 12:00, 3:00, 7:00, 10:00

OF GODS AND MEN (14A) DAILY 6:50, 9:10;

8712-109 St, 780.433.0728

SAT�SUN 2:00

PAUL (14A language may offend) Dolby Stereo Digital DAILY 12:05, 2:45, 5:20, 7:55, 10:30 DIARY OF A WIMPY KID: RODRICK RULES

(G) Stadium Seating, DTS Digital DAILY 12:10, 2:40, 5:10, 7:40, 10:10

THE LINCOLN LAWYER (14A) Dolby Stereo Digital, Stadium Seating FRI�WED 12:50, 3:50, 6:50, 9:50; THU 12:50, 3:50, 6:50 THE ADJUSTMENT BUREAU (PG coarse lan-

guage) Stadium Seating, DTS Digital DAILY 12:25, 3:25, 7:15, 10:15

BATTLE LOS ANGELES (14A violence) Stadium Seating, DTS Digital FRI�WED 12:30, 3:30, 6:35, 9:35; THU 12:30, 3:30, 10:05

RANGO (PG) Stadium Seating, DTS Digital, Digital Presentation FRI, SUN, TUE, THU 1:00, 3:40, 6:40; SAT 4:00, 6:40; MON, WED 1:00, 3:40

RED RIDING HOOD (PG violence, frightening

20 // FILM

LEDUC CINEMAS

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

RANGO (PG) DAILY 1:10, 3:10, 5:10, 7:15 THE ADJUSTMENT BUREAU (PG coarse language) DAILY 9:15

SUCKER PUNCH (14A violence) No passes DAILY

1:20, 3:20, 5:20 7:20, 9:20

THE WAY BACK (PG coarse language, not recom-

matter) DAILY 6:50, 9:20; SAT�SUN 1:00 matter) SAT�SUN 3:30

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

DIARY OF A WIMPY KID: RODRICK RULES (G) No passes FRI, SUN�THU 11:30, 2:00, 4:40, 7:15, 9:40; SAT 11:30, 2:10, 4:40, 7:15, 9:40

SUCKER PUNCH�THE IMAX EXPERIENCE

(14A violence) No passes DAILY 11:30, 2:15, 5:00, 7:45, 10:30

LIMITLESS (14A) Digital Cinema FRI�TUE, THU 1:10, 4:10, 7:10, 10:00; WED 4:10, 7:10, 10:00; Star & Strollers Screening: WED 1:00 PAUL (14A language may offend) DAILY 12:10, 2:40, 5:15, 7:50, 10:40

THE LINCOLN LAWYER (14A) DAILY 12:40, 3:40,

6:40, 9:30

BATTLE LOS ANGELES (14A violence) Digital Cinema DAILY 1:30, 4:30, 7:30, 10:30

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

THU 12:00, 2:15, 4:30, 6:45, 9:10; WED 12:00, 2:15, 4:30, 9:30

RED RIDING HOOD (PG violence, frightening scenes) DAILY 1:20, 4:20, 7:20, 10:10 RANGO (PG) Digital Cinema FRI�TUE, THU 12:30, 3:30, 6:30, 9:20; WED 3:30, 6:30, 9:20; Star & Strollers Screening: WED 1:00 BEASTLY (PG) DAILY 12:20, 2:50, 5:20, 7:40 THE ADJUSTMENT BUREAU (PG coarse lan-

guage) FRI�WED 12:50, 3:50, 6:50, 9:50; THU 12:50, 3:50, 6:50

HALL PASS (14A nudity, crude sexual content,

substance abuse) FRI�WED 2:00, 4:50, 8:00, 10:45; THU 2:00, 4:50, 10:45

JUST GO WITH IT (PG crude content) FRI�WED 10:20

GNOMEO AND JULIET 3D (G) FRI, SUN�THU 11:45 THE METROPOLITAN OPERA: IPHIGÉNIE EN TAURIDE. ENCORE (Classification not available) SAT 11:00

NATIONAL THEATRE LIVE: FRANKENSTEIN ENCORE (Classification not available) SAT 11:00, THU 8:00

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

TANGLED (G) DAILY 12:35, 2:30 MARS NEEDS MOMS (PG) DAILY 4:20, 6:00 RED RIDING HOOD (PG violence, frightening

THE LINCOLN LAWYER (14A) DAILY 7:05, 9:20;

DIARY OF A WIMPY KID: RODRICK RULES (G)

RANGO (PG) DAILY 7:10; SAT�SUN 1:10, 3:35 SUCKER PUNCH (14A violence) DAILY 6:55, 9:25;

scenes) No passes DAILY 7:40, 9:25

No passes DAILY 1:00, 3:00, 4:55, 7:00, 8:50

PAUL (14A language may offend) DAILY 1:05, 3:05, 5:05, 7:10, 9:10

VUEWEEKLY // MAR 24 – MAR 30, 2011

SAT�SUN 1:05, 3:20

THE ADJUSTMENT BUREAU (PG coarse language) DAILY 9:30

SAT�SUN 12:55, 3:25

LIMITLESS (14A) DAILY 7:00, 9:30; SAT�SUN 1:00, 3:30

MUSIC

ON THE RECORD

BRYAN BIRTLES // BRYAN@vueweekly.com

Archimedes moment

Mother Mother celebrates the release of Eureka

way? Lyrics first? Music first?

 RG: As usual, I begin with the music, and more specifically the song's melody. Once I have a melodic framework I begin plugging in the lyrics. For Eureka, I invested more in the energetic songs 'cause we wanted to make a more animated record. VW: Did you take the songs to the band

fully formed, or were they sketches that were then filled out as a group?

 RG: The latter. I made demos of the songs with just acoustic guitar and my voice, then sent 'em to the band for them to interpret. I had a few specific ideas about instrumentation and parts, but the point was to limit this as to allow for more collaborative qualities in the music. VW: What were the recording sessions Helplessly hoping

Since releasing 2007's Touch Up, Vancouver-via-Quadra-Island band Mother Mother's plucky, harmony-laden, locopop has been front of mind on the Canadian music scene. The band has just released its third album, Eureka, the first produced by guitarist and lead vocalist Ryan Guldemond. Guldemond spoke to

Vue over email about the creation of Eureka. Vue Weekly: How long did it take to

make Eureka, from the initial songwriting through to the end of the recording? Ryan Guldemond: Most songs I began writing about a year before we started

recording, but there were a few songs that were lingering from years passed. Once we were in the studio, it took three months, with a break, during which we toured the UK. VW: When you were writing the songs,

did you come at them in a particular

like for this album? Did you record as a band live off the floor or did you piece it together one track at a time? Why?

 RG: We pieced it together, but the pieces had their own live element. The drums and bass for instance, were done together and 75 percent of Molly [Guldemond] and Jasmin [Parkin's] vocals were sung together. The violin and cello were also done together. The reason for this approach was to strike a balance between

isolated sound—AKA control—and raw, connected energy. VW: Were there any other songs written

that were left off the album?

 RG: Oh yeah. We had more than 30 songs on the chopping block. It was really hard to see some of them go, but overall I think we made the right choices in order to make the most cohesive album possible. VW: Tell me about producing this album

yourself? 

 RG: My approach was to have the band very prepared in terms of parts and arrangements, which allowed us to focus more on delivery and tones while actually in the studio. As for the experience on an emotional level, it was interesting (and challenging) separating my perspective from artist's to producer's. It's somewhat of an art, self-producing, which I didn't perfect, but music in general is like that—rife with opportunities to improve and grow. VW: If you were to trace the musical map

that led you to Eureka, what would it look like? RG: From the Middle of Nowhere, to the Township of Somewhere Kind Of, to the sprawling metropolis of Everything All of the Time. V Thu, Mar 31 (7 pm) Mother Mother Edmonton Event Centre, $22.50

Taking flight

Dodos launches a new album and turns Neko Case into a railroad stake Paul Blinov // paul@vueweekly.com

O

n the phone from San Francisco, Dodos guitarist Meric Long speaks eagerly, but with an added heap of self-deprecation. It's unclear if he's actually feeling tentative about the band's fourth release, No Color—his self-knocking comments are delivered with laugher and a frequently audible grin—but he seems almost apologetic, trying to justify what might sound questionable on paper before it even gets questioned. The album—which sounds like a return to Visiter-form for the band after 2009's more controlled/less frantic Time To Die—makes use of a sonic throwback uncharted among the band's former releases. It's what seems to be the root of his uncertainty: on No Color, Long's revisited the alt-rock electric guitar styles of the '90s. "The electric guitar was this bastard

child that happened during the recording process," Long explains with a laugh. "But it became a really fun part of the recording. For myself, especially, but I think for everybody, because this sort of inner-'90s child [was] from when I first started playing guitar." He speaks fondly of learning to play the Smashing Pumpkins' Siamese Dream and Metallica's self-titled black album in his formative guitar years, before he drifted away from the heavier edges of music and found focus in the frantic acoustic strums that, alongside Logan Kroeber's polyrhythmic drumming, propel the band's songs at a brisk, engrossing pace. Those core elements are still there, of course, in abundance—Long notes there isn't a moment of music on the album that doesn't have some layer of acoustic strum in the mix—but the plugged-in guitarwork actually suits Dodos quite well, adding new shades of urgency to the group's sound.

(Meanwhile, vibraphone, very present on the last album, is completely absent this time around. Long and Kroeber will be joined on tour by an electric guitarist). "It just started to become this thing where at three o' clock, I would put on the electric and just crap all over the songs with an electric guitar," he says. "It was super fun and super nostalgic. I think it helped bring the vibrant young vibe to the recording, because when we were doing that stuff, everyone was cracking up and laughing at these '90s guitar tones I was getting. And although it was funny ... we kept going back to it. "We kept referring to the Billy Corgan tone, and when we'd run out of ideas, we'd go, 'Put on the electric. Let's riff over it.'"

No Color also packs some extra guest muscle courtesy of Neko Case, who sings backup on a handful of tracks. The band met Case while touring with the New Pornographers over the summer, and she happened to be free for a few days of their recording session. Long's grateful for her contributions, though he notes they've been a struggle to recreate in the live setting. On Twitter, Long wrote that the only way to recreate her distinctive vocal tone was to put a railroad stake against an electric guitar.

VUEWEEKLY // MAR 24 – MAR 30, 2011

He wasn't joking. "We were trying to do her parts [in rehearsal], and the other guitarist was like, 'I'm not singing her parts,'" Long laughs. "He has this little trick he does with a railroad stake. But it sounds good." V Tue, Mar 29 (8:30 pm) Dodos With Reading Rainbow Starlite Room, $16

MUSIC // 21

SOUNDTRACK

BRYAN BIRTLES // BRYAN@vueweekly.com

Flying Fox and the Hunter Gatherers Wed, Mar 30 (10 pm) / Black Dog | Thu, Mar 31 (5:30 pm) / The Nest (NAIT)

Having recently released its debut album Hans My Lion, Flying Fox and the Hunter Gatherers has set across Canada and will be bringing its melodic gypsy folk through the City of Champions for two shows. Vocalist Jesse Krause and keyboardist Darren Grunau sent in a list of albums that soundtrack the band's life at home and on the road.

At home Chopin, Nocturnes I just woke up—all I want to do is drink coffee and sit in a patch of sunlight. I need gentle, beautiful music (no words, no distorted guitar) to help ease me into acceptance of the day. (Darren Grunau) James Brown, In the Jungle Groove If I need to get shit done at home, I find James Brown makes it happen. (Jesse Krause)

TV on the Radio, Return to Cookie Mountain A kick-ass album, great for drinking beers and hanging out. (DG)

22 // MUSIC

VUEWEEKLY // MAR 24 – MAR 30, 2011

On the road morning

NOON

NIGHT

Silence On the road I need to try and set aside some time to not think about music. But if I was to listen to something, it might be Neil Young. Maybe Harvest Moon. (JK) Pink Floyd, Animals When driving the epic distances of Canada (whether the Canadian Shield or the Rockies), one needs awesome, psychedelic epics as a background. Dark Side of the Moon is a close second. (DG) Crash Test Dummies, The Ghosts That Haunt Me Night driving needs music relaxing enough so to allow non-drivers to sleep, but not so relaxing to put the driver to sleep. (JK)

VUEWEEKLY // MAR 24 – MAR 30, 2011

MUSIC // 23

FIRSTS, LASTS AND FAvOURITES

BRyAN BIRTLES // BRyAN@vUEWEEkLy.COM

EMILIE-CLAIRE BARLOW FRI, MAR 25 (7:30 PM), ARDEN THEATRE, $25 FIRST ALBUM

Whitney Houston Whitney— the one where she is wearing the white tank top on the cover. Played that album over and over. I also remember buying Mr Mister's Welcome to the Real World and staring at their pictures on the back of the cover. FIRST CONCERT STATS:

• Both her parents are musicians • Named female vocalist of the year at the 2008 National Jazz Awards • Provided voice acting for the cartoon Sailor Moon • Her most-recent album, The Beat Goes On, has been nominated for vocal jazz album of the year at the Junos

24 // MUSIC

VUEWEEKLY // MAR 24 – MAR 30, 2011

I remember going to see the Toronto Symphony Orchestra as a child. And a major event in my life was seeing Ella Fitzgerald at the Imperial Room when I was about 10 years old. She was nearly blind at that point and had to be helped on stage. She got going and she just blew the roof off the place and left a huge impression on me.

LAST ALBUM

I bought two this week: Ron Sexsmith Long Player Late Bloomer and Adele 21. LAST CONCERT

Gordon Lightfoot at Massey Hall in Toronto FAvOURITE ALBUM

Depends on my mood. Some favourites include Mel Torme Swings Schubert Alley, Alex Cuba Agua Del Pozo, Nickel Creek Why Should The Fire Die, Joni Mitchell Clouds. GUILTy PLEASURE

Wilson Phillips, Shania Twain, Britney Spears

MUSICNOTES

BRYAN BIRTLES // BRYAN@vueweekly.com

Jonathan Edwards / Fri, Mar 25 (7 pm) Since his first big hit—1971's "Sunshine"— Jonathan Edwards has been treating his audiences to songs of beauty, passion and humour. He brings his voice and guitar to Edmonton this Friday. (Full Moon Folk Club, $20)

Red Threat / Fri, Mar 25 (9 pm) Pop/punk/hardcore outfit Red Threat will culminate being Sonic's Band of the Month with a showcase at the Pawn Shop where the fivepiece with a prediliction for black T-shirts will strut its stuff. (Pawn Shop, $5)

Carlos Del Junco / Fri, Mar 25 (7:30 pm) When I wanna listen to harmonica I don't wanna be listenin' to no amateur, which is why I always demand to hear Carlos Del Junco. Cuban-born and Canadian-reared, Del Junco is a two-time World Harmonica Champion, a multiple Juno nominee and was named Blues Musician of the Year by Jazz Report Magazine. There's no pro like an old pro. (Festival Place, $30 – $36) ESO Free Concert / Fri, Mar 25 (11 am) At 60 years old, the ESO is looking as trim as ever in those tuxedos. To celebrate the orchestra's birthday, the ESO is holding a free concert at the Winspear Centre. No tickets are needed to attend, but Food Bank donations will be collected. Show up early as the event will likely sell out. (Winspear Centre, Free)

David Myles / Sat, Mar 26 (8 pm) New Brunswick's David Myles—whose Joel Plaskett-produced album Turn Time Off has been nominated for five East Coast Music Awards—rolls into town after a string of dates on the East Coast playing with the butter-voiced Stuart McLean of the Vinyl Café. (Haven Social Club, $10) T-Pain / Fri, Mar 25 (9 pm) Whether you're a fan of his solo albums, his collaborations and production efforts, his iPhone app or his time spent on a motherfuckin' boat, T-Pain is coming to your town so you best be there. (Edmonton Event Centre, $37.74 – $70.65)

Demonika's Symphony of Horrors / Sat, Mar 26 (9 pm) The craziest shit you can imagine is exactly what Demonika's Symphony of Horrors is. Celebrating its 10th anniversary, the show features scores of dancers, musicians and other performers in various states of undress, covered in blood, scaring you while getting twisted in ways you thought weren't possible. If you can have a nightmare about it, they can do it. (Starlite Room, $20)

We Are The City / Fri, Mar 25 (9 pm) Some bands' aspirations go above and beyond. Not content to make a single video, Kelowna's We Are The City have made a plan to release a video for each track on the group's just-released disc, High School. At six songs it's quite the undertaking. Go to bit.ly/wearethecity to see the first video for the song "Happy New Year." (Brixx, $12)

Jackson Browne / Mon, Mar 28 (8 pm) A member of the Rock 'n' Roll Hall of Fame, Jackson Browne will bring his legendary songs to Edmonton while making a tour from coast to coast. (Jubilee Auditorium, ($65.15 – $85.15)

VUEWEEKLY // MAR 24 – MAR 30, 2011

MUSIC // 25

NEWSOUNDS

Shotgun Jimmie Transistor Sister (You've Changed)  Lo-fi rock 'n' roll penned with sharp wit and a penchant for hooky melody, Shotgun Jimmie's Transistor Sister feels like a time capsule unearthed from early '90s America; "alternative music," from a time when that genre meant something genuine and specific. But nothing on Transistor feels dragged up for the sake of nostalgia-profiteering. The titular Jimmie Kilpatrick, who's played with Julie Doiron and Fred Squire in the now defunct Shotgun & Jaybird, has gone into a professional studio for the first time. The enhanced level of production works well for him: all of these ramshackle songs have muscle to keep them on their feet. The songwriting gaze on Transistor Sister is cast wistfully backwards: to the alt-rock '90s in sound, particularly Pavement—the title track, wouldn't sound out of place on Crooked Rain, Crooked Rain—and lyrically to the formative moments of youth, both musical and romantic. "Suzy" pairs a buzzing, chirpy melody to a tale of hearing Stop Making Sense for the first time and falling for a girl while talking to her about having a crush on her friend. "Swamp Magic" jumps between sludgy, pedaled-down guitars and one of the album's sweetest melodies: "There's enough people here to start a band,

all right," Kilpatrick croons, his voice reaching up to a Neil Young territory while the instrumentation drops down to an airy piano. When he writes about present day, it's from a state of adult malaise: "When I was young / I used to think that I made mistakes just 'cause I was young / Now it's plain to see / I'll probably be / Screwing it up for eternity," goes "The Haze," a simple, strummier tune that balances the out-of-sorts lyrics with a more straightforward instrumental energy, while "King of Kreuzberg" pairs crunchy guitars with flute-backed rushes of lyrics which debate taking courses at community college, or maybe learning another language. It encapsulates mid-20s rudderlessness without succumbing to the feeling. The 16 tracks breeze by in 30 minutes (a few are interludes or quick, minute-long shorts, like the quick vocal 'n' guitar song sketch "Paper Planes"), but each one, has something worth listening to on repeat. "They say that you are what you eat / And I feel like I must've ate a king," goes "Bar's Closed," the last track on here. It's a stumble-home closer to a rare album, one that embraces nuances of everyday life while matching its music to how big the emotions feel when you're in the middle of them. Transistor Sister a genuine alt-rock classic crafted 20 years too late to be one. But better late than never. Paul Blinov

// paul@vueweekly.com

Diehatzu Hijets Doo Doo Boy (Old Ugly) 

"The world keeps spinnin' around / how I need it now" pleads Layne L'Heureux, singer/guitarist on Diehatzu Hijets' "Falling Apart." It's a summarizing moment on Doo Doo Boy: the sentiment is fragile, but awash in guitars that spit fuzzy haze and amped up soloing, its power gets pumped up into a higher register. Dinosaur Jr's a definite touchstone here: the bruised melodies carry well enough, propped up often with acoustic six-string, and the band seems suitably roughshod to deliver on the more charged-up ideals. Occasionally the structure feels a little slurry for its own good: the mix is sometimes messier than melodic, occasionally losing the feeling in avalanches of distortion. But it's often on point, and feels like a worthwhile exploration of an underexposed territory in rock. Paul Blinov

// paul@vueweekly.com

Diehatzu Hijets plays Wunderbar on Wed, Mar 30 (8:30 pm). Tickets are $5.

Starfucker Reptilians (Polyvinyl)  Before you ridicule this group for its hipster-kitsch epithet or the album title, a sensational David Icke reference, listen to it and realize how affectionately fun this record is. Wisping from electro twee to dance pop, arpeggios to pitch-bent synths, Starfucker is an innocently playful Portland quartet that is usually starting the party but can't help but show its true colours on reflective songs like "Mona Vegas" and "Astoria." Reptilians is a gem, front to back, comparable to Black Moth Super Rainbow or the Notwist. It's the type of dance music you can actually listen to. Joe Gurba

// joe@vueweekly.com

Chain & the Gang Music's Not For Everyone (K)  A mix of '60s boogiewoogie, subtle—and not-so-subtle—putdowns and knowing winks, Chain & the Gang's latest takes a cue from the title: this music isn't for everyone. It mixes a straightforward style that's instantly recognizable and better known for good time anthems and mixes it with lyrics bursting with the neuroses of the 21st century. It's a heady mix that can be jarring—and affect your self esteem, especially on a song like "Not Good Enough" that takes the position that whatever you're doing, you're doing it wrong—but it has plenty of rewards. Bryan Birtles

// bryan@vueweekly.com

26 // MUSIC

VUEWEEKLY // MAR 24 – MAR 30, 2011

QuICkSpINS WHITEy HOUSTON

// QUICkSPINS@vUEWEEkLy.COM

oLdSoUNDS PAUL BLINOv

// PAUL@vUEWEEkLy.COM

Buffalo Tom Skins (Scrawny) Early Replacements Plus an unhealthy dose of Sub-par Tom Cochrane .

Giant Hand Starting as people (Empty Room) Amazing porch-folk Like their sweet handle suggests: Huge sonic bitch slap

kisses kisses (This Is Music) Sunshine and reverb Perfect pick-me-up during Minus 10 cold snap

"If you know who wrote it, it's not a folk song" the old saying goes, and, truthfully, it's a cliché backed by merit: the deepest, richest vein in folk music's legacy consists of a handful of songs for which authorship has been lost to the swirls of time, their melodies and words still reverberating onward as they're passed down through generations. "Silver Dagger" is one such tune. Also known as "Katy Dear" (or "Dear Katy")—and both versions apparently stemming from an even older ballad called "The Drowsy Sleeper"—it details an unnamed lass narrator refuting a suitor: she's learned from her mother that men will string you along— her father, a handsome devil, left a string of broken hearts behind him—so she's decided "To sleep alone / All of my life." The "Katy Dear" version takes the perspective of the suitor, begging Katy to ask her parents for her hand in marriage; should they turn him down, he wishes to end his life with a silver dagger. It has a grimmer

ending than "Silver Dagger," and is a little more complicated in its narrative. Both versions persisted through time because the melody—fairly repetitive, fairly simple, but emotionally vast—is the right twist of bitter sweet, matched lyrically with a moral fable—a warning to guard your heart carefully—that's not particularly time sensitive. Production and instrumentation can date a recording, but those simple core elements of melody and story remain ageless. Depending on how it's approached, the song remains as relevant and affecting as it was 100 years ago. The first published record of "Silver Dagger" dates it at 1907, but the song's existence almost certainly predates that. Plenty of artists have adopted "Silver Dagger" into their repertoire of cover songs. "Dear Katy" too, but perhaps for its simpler narrative, the "Dagger" version seems to remain the most resonant and popular of the two: Here's a cross-section of covers, all pretty easy to locate on YouTube or iTunes.

White Antelope: Better known as the frontman of Fleet Foxes, White Antelope's Robin Pecknold lets his gold-gilded voice elevate the simple, shimmering beauty of the song. This is a personal favourite: Pecknold's pure voice matches the song's timeless vibe effortlessly. Old Crow Medicine Show: A real traditional-feeling one from Nashville's old-time string-band revivalists. Simple guitar strums lie beneath a folksy multi-part harmony. It ain't complex, but, hey, neither were the times they're emulating. Joan Baez: Perhaps the modern standard, from the 1960s. A spirited, more energetic take of "Silver Dagger" than some of the more sombre ones, perhaps it's the staple because Baez's willfulness reflects the narrator's own.

Bob Geldof how to compose popular songs... (Mercury) Old guy's still got it But these tunes are softer than Mashed peas and Ensure

Cat's Eyes cat's Eyes (Coop) Slinky sweet soft-rock Quietly swabs your canal Like velvet Q-tip

Sister Gray close the night (Independent) Talented sisters The best thing out of Millet Since ..uh.. forever?

Ian & Sylvia: Canadian '60s folk duo are known for the definitive "Katy Dear" take. To be honest, it hasn't aged that well—rooted forever in '60s production which, unlike Baez's version, it doesn't rise above through sheer force of will. Perhaps fittingly, it's much more difficult to find.

LooNIeBIN Exene Cervenka "love and haight"

vUE STAFF

The Damnwells

A rumbling backbone swells beneath a steady wash of acoustic and electric guitars and a soaring Hammond organ, all topped off with Cervenka's passionate delivery. It's a long way from the early days of x, but it sounds like a comfortable waypoint on a long journey.

That's because the modern alt-rock shit they're playing is stinking the joint up.

Black Joe Louis & the Honeybears "She's So Scandalous"

Eddie vedder "longing to belong"

It's easy to take shots at the blues today for being tired and brittle, but not when it comes to this dude. Black Joe Louis and his gang turn in a burning groove that's about as real as you're ever going to find.

"nobody listens to the band anymore"

Pearl Jam's frontman picks up his ukulele and strums a pensive tune with cello accompaniment. It swells towards the end but never goes over the top. Maybe not the best song he's ever written, but a promising preview of his coming solo album.

VUEWEEKLY // MAR 24 – MAR 30, 2011

MUSIC // 27

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

THU MAR 24

28 DEGREES Experimental improvisation with Steven Johnson and his 12-string guitar with guest musicians. Bring your instruments every Thu ACCENT EUROPEAN LOUNGE Tim Buckley and Skye Wallace (acoustic folk); 9:30pm-11:30pm; no minors; no cover ARTERY Rae Spoon, Lorrie Matheson BLUE CHAIR CAFÉ Jazz Thursday Nite: The Parkers; 8pm; $8/$5 (student), last set free BLUES ON WHYTE James Armstrong BRIXX BAR Bingo Death Match: with Dex and Gory; no cover; bingo at 10pm

SACRED HEART CHURCH OF THE FIRST PEOPLES Water For Life Festival: Paula Kirman, Ma Fletcher, Gautam Karnik, Nick Guiton, Dave Martin, Pam Urquhart, John Spearn, Light Travels; 4-11pm; free, donations

AVENUE THEATRE Harmful Effects, Suburban Syndrome, Silent Line, These Colours Dont Run, World Class White Trash; no minors; 7:30pm (door); $12

MCDOUGALL UNITED CHURCH Edmonton Chamber Music Society: Tallis Scholars; 8pm; $30 (adult)/$20 (senior)/$10 (student) at TIX on the Square, Gramophone, door

BLUES ON WHYTE James Armstrong

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 CASINO Dr Hook featuring Ray Sawyer; $39.95

CHROME LOUNGE 123 Ko every Thu

THE COMMON Love For Japan; 8pm

THE COMMON So Necessary: Hip hop, classic hip hop, funk, soul, r&b, '80s, oldies and everything in between with Sonny Grimezz, Shortround, Twist every Thu

DV8 Acoustic Chaos Thursdays: bring your guitars, basses, drums, whatever and play some tunes

ARTERY Scott Cook, Corin Raymond, &amp, Jonathan Byrd; 7pm (door), 8pm (show); $10

BLUE CHAIR CAFÉ Swing Manouche; 8pm; $15

CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm

DRUID IRISH PUB DJ every Thu at 9pm

RUSTY REED'S HOUSE OF BLUES Tim Williams and the Rusty Reed Band; $15

Vocal Arts Week: Middle East and North African Music Ensemble

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

THE DOCKS Thu night rock and metal jam

ARDEN THEATRE EmilieClaire Barlow (jazz vocalist); 7:30pm

CROWN PUB Bass Head Thursdays: Drum and Bass DJ night, 9pm DRUID IRISH PUB DJ every Thu; 9pm

BOHEMIA Major March Madness, feat. Kay There House Builder, Sneezing Wolf and the Bogus Robots, Micelli & guests; 7pm; $5(door); no minors BRIXX BAR We are the City, Aiden Knight, Dirty City Hearts, Pre/Post; 9pm (door); $12 (door) CARROT Live music every Fri; all ages; Garth Prinsonsky; 7pm; $5 (door) CASINO EDMONTON Blackboard Jungle (pop/rock) CASINO YELLOWHEAD L.A. Express (pop/rock) COAST TO COAST Open stage every Fri; 9:30pm THE COMMON Boom the Box: Phoenix Productions Birthday Bash; 9pm EDMONTON EVENT CENTRE T-Pain (rap, hip-hop), DJ Khaled, Triple Crown, Lyon; no minors; 9pm; tickets at TicketMaster, Shadified Salon (Northgate), Soular (WEM), Queue and Sophia's (Whyte) EMPIRE BALLROOM Myon, Shane 54, Aruna EXPRESSIONZ CAFÉ Paul Cresey (CD release); 6:30pm (door), 7pm (show); $10 (door)

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

ELECTRIC RODEO�SPRUCE GROVE DJ every Thu

JEFFREY'S CAFÉ Mike Morrisseau (guitar–classical, folk, jazz); $10

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

FESTIVAL PLACE Carlos del Junco and the Blues Mongrels; 7:30pm; tickets: $36 (table)/$34 (box)/$30 (theatre)

L.B.'S PUB Open jam with Kenny Skoreyko, Fred Larose and Gordy Mathews (Shaved Posse) every Thu; 9pm-1am

FLUID LOUNGE Thirsty Thursdays: Electro breaks Cup; no cover all night

FRESH START BISTRO Darrell Barr (country, rock); 7-10pm; $10

FUNKY BUDDHA�WHYTE AVE Requests every Thu with DJ Damian

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

HALO Fo Sho: every Thu with Allout DJs DJ Degree, Junior Brown

HAVEN SOCIAL CLUB Market Forces, Puremud; 8pm; $10 (adv at YEG)

KAS BAR Urban House: every Thu with DJ Mark Stevens; 9pm

HORIZON STAGE David Myles (East Coast folk/roots); 7:30pm; $25 (adult)/$20 (student/senior)/$5 eyeGO

MARYBETH'S COFFEE HOUSE�BEAUMONT Open mic every Thu; 7pm NAKED CYBER CAFÉ Open stage every Thu, 9pm; no cover NEST�NAIT Indie Night at the Nest: David Myles; 4:30pm NEW CITY Black Wizard, Bus Accident ; no minors $7 NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers every Thu RIC’S GRILL Peter Belec (jazz); most Thursdays; 7-10pm RUSTY REED'S HOUSE OF BLUES Tim Williams and Triple Grief SECOND CUP�VARSCONA Live music every Thu night; 7-9pm THAT'S AROMA Carrie Day, Kyler Schogen; 7-9pm WILD BILL’S�RED DEER TJ the DJ every Thu and Fri; 10pm-close

LEVEL 2 LOUNGE Funk Bunker Thursdays: Dan Karizma, Renegade MC, Erwin The Intern; 9pm LUCKY 13 Sin Thu with DJ Mike Tomas ON THE ROCKS Salsaholic: every Thu; dance lessons at 8pm; salsa DJ to follow

JEKYLL AND HYDE PUB Headwind (classic pop/rock); every Fri; 9pm; no cover

OVERTIME�DOWNTOWN Thursdays at Eleven: Electronic Techno and Dub Step

LIZARD LOUNGE Rock 'n' roll open mic every Fri; 8:30pm; no cover

RENDEZVOUS Metal night every Thu

NEW CITY Sick XXV: Sci-Fi Theme: with DJ Dervish, The Gothfather, DJ Verlaag; no minors; 4pm (door), 9pm (DJ); $5 (afer 9pm)

WILD WEST SALOON Robert Rowan

TAPHOUSE�ST ALBERT Eclectic mix every Thu with DJ Dusty Grooves

Classical

UNION HALL 123 Thursdays

ALBERTA COLLEGE CON� SERVATORY OF MUSIC EsQuire – Alberta Men's Chorus rehearsal

WILD BILL’S�RED DEER TJ the DJ every Thu and Fri; 10pm-close

CONVOCATION HALL

FRI MAR 25

28 // MUSIC

STARLITE ROOM Dualside, Keep 6, Nobody Like Dwight; 9pm (door); $12 (door) WILD BILL’S�RED DEER TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Robert Rowan WOK BOX Breezy Brian Gregg every Fri; 3:30-5:30pm YARDBIRD SUITE Edmonton Jazz Society: Lynne Arriale–Convergence; 8pm (door), 9pm (show); $22 (member), $26 (guest) at TicketMaster; Meet the Artist at 8:30pm

Classical CONVOCATION HALL Vocal Arts Week: Indian Music Ensemble; 7pm WINSPEAR Edmonton Symphony Orchestra 60th Season lead by Bill Eddins; noon (11am door); free concert WINSPEAR Duruflé’s Requiem: Edmonton Symphony Orchestra, Sasha Cooke (mezzo-soprano), Bonaventura Bottone (tenor); 7:30pm; $20$71 at Winspear box office; Afterthoughts: post-concert discussion in the Main Lobby with Bill Eddins, Anita Krause, Bonaventura Bottone

DJs 180 DEGREES DJ every Fri AZUCAR PICANTE DJ Papi and DJ Latin Sensation every Fri BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison every Fri BAR�B�BAR DJ James; every

THE DRUID IRISH PUB DJ every Fri; 9pm ELECTRIC RODEO�SPRUCE GROVE DJ every Fri FLUID LOUNGE Hip hop and dancehall; every Fri FUNKY BUDDHA�WHYTE AVE Top tracks, rock, retro with DJ Damian; every Fri GAS PUMP DJ Christian; every Fri; 9:30pm-2am JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm NEWCASTLE PUB House, dance mix every Fri with DJ Donovan OVERTIME�DOWNTOWN Fridays at Eleven: Rock Hip hop country, Top forty, Techno REDNEX�MORINVILLE DJ Gravy from the Source 98.5 every Fri RED STAR Movin’ on Up: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson; every Fri ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca SUEDE LOUNGE Juicy DJ spins every Fri SUITE 69 Every Fri Sat with DJ Randall-A TEMPLE Options with Greg Gory and Eddie Lunchpail; every Fri TREASURY In Style Fri: DJ Tyco and Ernest Ledi; no line no cover for ladies all night long UNION HALL Ladies Night every Fri VINYL DANCE LOUNGE Connected Las Vegas Fridays Y AFTERHOURS Foundation Fridays SAT MAR 26

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

free(members); no minors

CASINO EDMONTON Blackboard Jungle (pop/rock) CASINO YELLOWHEAD L.A. Express (pop/rock) COAST TO COAST Live bands every Sat; 9:30pm CROWN PUB Acoustic blues open stage with Marshall Lawrence, every Sat, 2-6pm; Laid Back Saturday African Dance Party with DJ Collio, 12-2am EDDIE SHORTS Saucy Wenches every Sat EXPRESSIONZ CAFÉ Tanner Gordon; 8pm FESTIVAL PLACE Café Series: The Joe Defendants: Steve Pineo, Tim Leacock, Kit Johnson (roots, rock); 7:30pm; $18 FILTHY MCNASTY'S Jesse Dee and Jacquie B; 4-6pm; no cover GAS PUMP Blues jam/open stage every Sat 3:30-7pm HAVEN SOCIAL CLUB The Steel Wheels, David Myles, Simon Hoskyn; 8pm; $10 (door) HILLTOP PUB Open stage every Sat hosted by Blue Goat, 3:30-6pm; Lisa B and Company (classic R&B), 9:30pm, no cover, bring things to auction off–fundraiser for the Red Cross Japan Relief

O'MAILLE'S Mr Lucky (blues, roots) ON THE ROCKS Exit 303 PAWN SHOP Sonic Band Of The Month: The Red Threat, Throttle, Hale Hale RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Fri; 9pm-2am

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

RUSTY REED'S HOUSE OF BLUES Sat afternoon Jam 3-6pm; Rusty Reed Birthday Bash, $10 STARLIGHT ROOM Demonika's Symphony of Horrors 6: Infernal Emergency, The 10 Year Anniversary; 8pm (door); $20 at Primeboxoffice. com and Brixx Bar YARDBIRD SUITE Edmonton Jazz Society: Ben Allison Band; 8pm (door), 9pm (show); $22 (member)/$26 (guest)

MEAD HALL Dead City Punk Rawk Flea Market; locals vendors and live bands; no cover O’BYRNE’S Live band every

HORIZON STAGE Jorge Miguel (flamenco guitar); 7:30pm; $25 (adult)/$20 (student/senior)/$5 eyeGO; available at Horizon Stage box office, TicketMaster

SUEDE LOUNGE DJ Nic-E spins every Sat

WINSPEAR CENTRE Duruflé’s Requiem: Edmonton Symphony Orchestra, Sasha Cooke (mezzo-soprano), Bonaventura Bottone (tenor); 8pm; $20-$71 at Winspear box office; Sat: Symphony Prelude: with Lucas Waldin; 7:15pm in the Upper Circle 3rd Lobby

DJs

BANK ULTRA LOUNGE Sold Out Sat: with DJ Russell James, Mike Tomas; 8pm (door); no line, no cover for ladies before 11pm BLACK DOG FREEHOUSE DJs on three levels every Sat: Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered; Underdog: DJ Brand-dee; Wooftop: Sound It Up!: classic Hip-Hop and Reggae with DJ Sonny Grimezz BLACKSHEEP PUB DJ every Sat BRIXX BAR Oh Snap: Step'd Up Saturdays: with Degree, Cool Beans, Specialist, Spenny B, Mr Nice Guy, Ten O; 9pm (door); free (before 10pm); $5 (after 10pm) BUDDY'S Feel the rhythm every Sat with DJ Phon3 Hom3; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND Head Mashed In Saturday: Mashup Night THE COMMON Danksoul: Tango In Space; 9pm

Ben Allison Band / Sat, Mar 26 (9 pm) / Yardbird Suite New Yorker Ben Allison brings his band’s “Jazz Rock Film Music” to Edmonton with a gig at the Yardbird Suite this Saturday. Fri; no cover

BLACK DOG FREEHOUSE DJs spin on the main floor every Fri; Underdog, Wooftop BLACKSHEEP PUB Bash: DJ spinning retro to rock classics to current BUDDY’S DJ Arrow Chaser every Fri; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND R U Aware Friday: Featuring Neon Nights CHROME LOUNGE Platinum VIP every Fri THE COMMON Boom The

BLACK DOG FREEHOUSE Hair of the Dog: Ian La Rue (live acoustic music); 4-6pm; no cover BLUE CHAIR CAFÉ The Crafty Maids (Maria Dunn, Andrea House, Dana Wylie); 8pm; $20 BLUES ON WHYTE Every Sat afternoon: jam with Back Door Dan; James Armstrong BOHEMIA Art+Muzak with Miek Headache, Ashley Sacha & The Cavalry, and The Fantastic Brown Dirt; 9pm;

VUEWEEKLY // MAR 24 – MAR 30, 2011

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

O'MAILLE'S Mr Lucky (blues, roots) ON THE ROCKS Exit 303 PAWN SHOP Neon Nights: Riot on Whyte POLISH HALL Fabulous Thunderbirds, Boogie Patrol, Kim Wilson, The Rault Brothers; 8pm (show); tickets at Blackbyrd QUEEN ALEXANDRA HALL Edmonton Blues Society RED PIANO BAR Hottest

PAWN SHOP SONiC Presents Live On Site! Anti-Club: rock, indie, punk, rock, dance, retro rock every Sat; 8pm (door)

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

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

JOHN L. HAAR THEATRE MacEwan Music Concert Series: Composition Concert; $7 (adult)/$5 (student/senior) at TIX on the Square

PALACE CASINO Show Lounge DJ every Sat

CONVOCATION HALL Vocal Arts Week: West African Music Ensemble

HORIZON STAGE Jorge Miguel (guitar) Flamenco with Eliana Cuevas (vocals), Justin Gray (bass), Luis Orbegoso (percussion), Lisa La Mantia (dance); 7:30pm; $25 (adult)/$20 (student/senior)/$5 (eyeGO for high school students)

JEFFREY'S CAFÉ Helena Magerowski (jazz singer); $15

OVERTIME�DOWNTOWN Saturdays at Eleven: RNB, hip hop, reggae, Old School

Classical

180 DEGREES Street VIBS: Reggae night every Sat

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

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)

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

HOOLIGANZ Live music every Sat

IRISH CLUB Jam session every Fri; 8pm; no cover JEFFREY'S CAFÉ Nathan Ouelette (contemporary jazz quartet); $10

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

ST BASIL'S CULTURAL CENTRE Full Moon Folk Club: Jonathan Edwards, Joel Fafard; 7pm (door), 8pm (show); $17 (adv)/$20 (door)/$10 (child under 12, door) at TIX on the Square

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

DRUID IRISH PUB DJ every Sat; 9pm ELECTRIC RODEO�SPRUCE GROVE DJ every Sat FLUID LOUNGE Intimate Saturdays: with DJ Aiden Jamali; 8pm (door) FUNKY BUDDHA�WHYTE AVE Top tracks, rock, retro every Sat with DJ Damian GAS PUMP DJ Christian every Sat HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm NEWCASTLE PUB Top 40 requests every Sat with DJ Sheri

NEW ONGOING:

SUITE 69 Every Fri Sat with DJ Randall-A UNION HALL Celebrity Saturdays: every Sat hosted by Ryan Maier VINYL DANCE LOUNGE Signature Saturdays Y AFTERHOURS Release Saturdays SUN MAR 27

BEER HUNTER�ST ALBERT Open stage/jam every Sun; 2-6pm BLACKJACK'S ROAD� HOUSE�NISKU Open mic every Sun hosted by Tim Lovett BLUE CHAIR CAFÉ Sun Brunch: Nuage Duo; donations BLUE PEAR RESTAURANT Jazz on the Side Sun: Don Berner; 6pm; $25 if not dining B�STREET BAR Acousticbased open stage every Sun evening; hosted by Mike "Shufflehound" Chenoweth CROWN PUB Sun; Band War 2011/Battle of the bands, 6-10pm; Open Stage with host Better Us Than Strangers, 10pm-1am DEVANEY’S IRISH PUB Celtic open stage every Sun with Keri-Lynne Zwicker; 5:30pm; no cover DOUBLE D'S Open jam every Sun; 3-8pm EDDIE SHORTS Acoustic jam every Sun; 9pm EMPIRE BALLROOM The Next Big Thing: (vocal/band), Dance showcase; Mixmaster (DJ); hottest talent search every Sun; until May 29 EXPRESSIONZ CAFÉ YEG live Sun Night Songwriters Stage; 7-10pm FESTIVAL PLACE Pavlo, Rik Emmett, Oscar Lopez (world); 7:30pm; $60 (table)/$58 (box)/$56 (theatre) at the Festival Place box office HAVEN SOCIAL CLUB Edmonton Music Awards HYDEAWAY Open stage jam every Sun J AND R BAR Open jam/ stage every Sun hosted by Me Next and the Have-Nots; 3-7pm JOHN L. HAAR THEATRE MacEwan Music Concert Series: Percussion Concert; $7 (adult)/$5 (student/senior) at TIX on the Square NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera;

3-6:30pm

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

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

PADMANADI Open stage every Tue; with Mark Davis; all ages; 7:30-10:30pm

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

MON MAR 28

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

DJs

ON THE ROCKS Battle of the Bands finals: The Soulicitors, Oldbury, One Day Late, The Ramifications, 9pm; $5

HOUSE Sleeman Mon: live music monthly; no cover

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

BLUES ON WHYTE JK and the Static

RITCHIE UNITED

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

CHURCH 9624-74 Ave, 780.439.2442 Jazz and Reflections: Don Berner Trio; 3:30-5pm; collection at door SECOND CUP�MOUN� TAIN EQUIPMENT CO�OP Live music every Sun; 2-4pm

BLACK DOG FREE�

JUBILEE AUDITORIUM Jackson Browne (solo acoustic); 8pm; tickets at TicketMaster

PLEASANTVIEW COM� MUNITY HALL Acoustic instrumental old time fiddle jam every Mon; hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm

Classical

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

UNITARIAN CHURCH OF EDMONTON Journey, Transplanting a Culture: Edmonton Vocal Minority, Judith Richardson (soprano), Paula Roberts (conductor), Brad Heintzman, Dwayne Hyrinkiw (African drums), Judith Richardson (soprano); 3pm; fundraiser for the Pride Centre WINSPEAR CENTRE 2011–A Real Odyssey: EsQuire – Alberta Men's Chorus, Robert Sund (conductor); 2pm; $25 at Winspear box office

DJs BACKSTAGE TAP AND GRILL Industry Night: every Sun with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREE� HOUSE Sunday Funday: with Phil, 2-7pm; Sunday Night: Soul Sundays: '60s and '70s funk, soul, R&B with DJ Zyppy FLOW LOUNGE Stylus Sun

SECOND CUP�124 STREET Open mic every Tue; 8-10pm SECOND CUP�STANLEY MILNER LIBRARY Open mic every Tue; 7-9pm

HOUSE Main Floor: alternative retro and notso-retro every Tue; with Eddie Lunchpail; Wooftop: eclectic electronic sounds every Tue; with DJ Mike Duke BRIXX BAR Troubadour Tue: Comedy and music with Rob Patershuk, Matt Lisac, Kelly Dakus, J.P.

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 30

AVENUE THEATRE Electric Avenue: Badman Crooks, Yaznil, Motivv; no

(unless there's an Oilers game); no cover

EXPRESSIONZ CAFÉ Open stage with Randall Walsh; every Wed; 7-11pm; admission by donation FESTIVAL PLACE Echoes of Ireland (Celtic); 7:30pm FIDDLER'S ROOST Little Flower Open Stage every Wed with Brian Gregg; 8pm-12 GOOD EARTH COFFEE HOUSE Breezy Brian Gregg every Wed; 12-1pm HAVEN SOCIAL CLUB

KELLY'S PUB Open stage every Mon; hosted by Quenton Reddy; 9pm

YARDBIRD SUITE Edmonton Jazz Society: Brownman Electryc Trio (electrified groove-jazz funkifications); 7:30pm (door), pm (show); $14 (member)/$18 (guest) CONVOCATION HALL Vocal Arts Week: West African Music Ensemble; 2pm

RUSTY REED'S HOUSE OF BLUES Big Rock Open Jam: Moses Gregg, Grant Stovel, guest

BLACK DOG FREE�

Ben Disaster, Anonymouse every Tue; no minors; 4pm-3am; no cover

RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm-1am; $5 REXALL PLACE Alan Jackson, George Canyon, The Harters; 6pm (door), 7pm (show); $29.50, $55.50, $75.50 RIVER CREE Live rock band every Wed hosted by Yukon Jack; 7:30-9pm RUSTY REED'S HOUSE OF BLUES Gordie Matthews Band SECOND CUP�MOUN� TAIN EQUIPMENT Open mic every Wed; 8-10pm WUNDERBAR HOFBRAUHAUS Open mic every Wed, 9pm

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

DJs

HOUSE 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

BLACK DOG FREE� HOUSE Main Floor: Blue Jay’s Messy Nest: every Mon with DJ Blue

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

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

CROWN PUB Minefield Mondays/House/Breaks/ Trance and more with host DJ Pheonix, 9pm FILTHY MCNASTY'S Metal Mon: with DJ S.W.A.G. LUCKY 13 Industry Night every Mon with DJ Chad Cook NEW CITY LEGION Madhouse Mon: Punk/metal/ etc with DJ Smart Alex TUE MAR 29

BLUES ON WHYTE JK and the Static DRUID IRISH PUB Open stage every Tue; with Chris Wynters; 9pm L.B.’S Tue Blues Jam with Ammar; 9pm-1am

SAVOY MARTINI

MCDOUGALL UNITED CHURCH Naturally 7; all ages; 6:30pm (door), 7:30pm (Show); $39.50

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

O’BYRNE’S Celtic jam every Tue; with Shannon Johnson and friends; 9:30pm

Katie Murphy / Thu, Mar 31 (8 pm) / Haven Social Club Essentially a series of breakup stories—the album was written while she and her husband took a one-year hiatus from their relationship—Katie Murphy’s Exes & Uh Ohs is a remarkably upbeat album. The Winnipegger plays Edmonton next Thursday. SECOND CUP�SUM� MERWOOD Open stage/ open mic every Tue; 7:30pm; no cover

Fournier; 9pm; $8

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

SIDELINERS PUB All Star Jam every Tue; with Alicia Tait and Rickey Sidecar; 8pm

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

SPORTSMAN'S LOUNGE Open stage every Tue; hosted by Paul McGowan; 9pm

CROWN PUB Underground At The Crown: hip hop; open mic every Tue, 9pm-2am

STARLITE ROOM The Dodos, Reading Rainbow; 8:30pm (door); $16 at TicketMaster, Blackbyrd

DV8 Creepy Tombsday: Psychobilly, Hallowe'en horrorpunk, deathrock with Abigail Asphixia and Mr Cadaver; every Tue

WINSPEAR World at Winspear: Acoustic Africa WUNDERBAR HOFBRAUHAUS Stuesdays: Every Tue Wunderbar's only regular DJ night YARDBIRD SUITE 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

minors; 9pm (door); $5

BLACK DOG FREE� HOUSE Main Floor: Glitter Gulch: Flying Fox and the Hunter Gatherers BLUES ON WHYTE JK and the Static BRIXX BAR Really Good… Eats and Beats: DJ Degree, friends every Wed; 6pm; $5 CENTURY GRILL Century Room Wed Live: featuring The Marco Claveria Project; 8-11pm CROWN PUB Dan Jam/ open stage every Wed; 8pm-2am EDDIE SHORTS Acoustic jam every Wed, 9pm; no cover ELEPHANT AND CASTLE�WHYTE AVE Open mic every Wed

Ron Sexsmith, Ash Koley; 7pm early show sold out), 9:30pm (late show); $22 (adv at YEG)/$28 (door)

HOOLIGANZ The Silver Rollers (rock), 7pm (door), no minors; Open stage every Wed with host Cody Nouta; 9pm NISKU INN Troubadours and Tales: 1st Wed every month; with Tim Harwill, guests; 8-10pm PLAYBACK PUB Open Stage every Wed hosted by JTB; 9pm-1am PLEASANTVIEW COM� MUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (non-member)

BUDDY'S DJ Dust 'n' Time every Wed; 9pm (door); no cover THE COMMON Treehouse Wednesday's DIESEL ULTRA LOUNGE Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs LEGENDS PUB Hip hop/R&B with DJ Spincycle LEVEL 2 LOUNGE Wing It Wednesdays: DJ Competion; 9:30pm; every Wed until Mar 30 NEW CITY LEGION Wed Pints 4 Punks: with DJ Nick; no minors; 4pm-3am; no cover NIKKI DIAMONDS Punk and ‘80s metal every Wed RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm TEMPLE Wild Style Wed: Hip hop open mic hosted

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 28 DEGREES5552 Calgary Tr ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARDEN 5 St Anne St, 780.459.1542 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLACKJACK'S ROADHOUSE� Nisku 2110 Sparrow Drive, Nisku, 780.986.8522 BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUE PEAR RESTAURANT 10643-123 St, 780.482.7178 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464-153 St, 780 424 9467

CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 COMMON LOUNGE 10124124 St CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704.CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 THE DOCKS 13710 66 St, 780.476.3625 DRUID 11606 Jasper Ave, 780.454.9928 DV8 8307-99 St EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO–Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ELEPHANT AND CASTLE� Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 FIDDLER’S ROOST 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 GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave, 780.423. HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILLTOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.995.7110 HORIZON STAGE 1001 Calahoo Rd, Spruce Grove, 780.962.8995 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381

JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 KELLY'S PUB 11540 Jasper Ave L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIZARD LOUNGE 13160118 Ave MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont, 780.929.2203 MCDOUGALL UNITED CHURCH 10025-101 St MEAD HALL 10940-166 St NAKED CYBER CAFÉ 10354 Jasper Ave, 780.425.9730 NEST NAIT Main Campus, 11762-106 St NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY LEGION 8130 Gateway Boulevard (Red Door) NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NISKU INN 1101-4 St NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766

O'MAILLE'S 398 St Albert Trail, St Albert, 7870.458.5700 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME�Downtown 10304111 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 POLISH HALL 10960-104 St 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 RITCHIE UNITED CHURCH 9624-74 Ave, 780.439.2442 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St R PUB 16753-100 St, 780.457.1266

RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SACRED HEART CHURCH OF THE FIRST PEOPLES 1082196 St Parish Hall ST BASIL'S CULTURAL CENTRE 10819-71 Ave SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SECOND CUP�Sherwood Park 4005 Cloverbar Rd, Sherwood Park, 780.988.1929 ʸ Summerwood Summerwood 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

VUEWEEKLY // MAR 24 – MAR 30, 2011

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MUSIC // 29

backwords

COMMENT >> ALT SEX

Boredom is relative

chelsea boos // che@vueweekly.com

Bedroom talk is necessary to keeping it interesting Dear Brenda: My wife and I have different ideas about what constitutes an adequate amount of sex. Is the stereotype about older women not wanting sex as much, or at all, accurate? What can I do to encourage her to be more amorous and initiate sex more frequently? Conflicted Libido

pects that the other will do it. Meanwhile, the initiator, tired of the frequent rejection, makes fewer and fewer advances. Eventually no one is making any moves and sex is barely happening at all. As well, the partner who wants sex less may feel somewhat burdened or even threatened and back off from all kinds of physical affection for fear of giving the impression that she/he wants sex when she/he doesn't. Thanks for the question. It's difficult to Over time all touch and connection disapanswer because I know so little about the pears. It's a vicious cycle that I've seen hapkly.com e e w e @vu brenda situation. I don't know how long you've pen to many couples. a d been together and if you've always had this If this is happening for you, talking about it Bren er difference or if this is something that has deis important. Let her know that you love her, Kerb veloped over time or just recently, but I'll do and you really want her, but you're going to back my best. I'm not sure what older means to you, but yes, off for a bit so that she doesn't feel pressured. Invite her some women do find that their libido decreases later in to come to you whenever she wants but let her know life, usually because of diminishing estrogen and all the that you'll let her decide how far it goes. Just taking the things that come with that. On the other hand, many pressure off may help her to feel that she can safely get women find they feel more sexual later in life as they back in touch with her desire for you. really come into their own sexuality. I hear all kinds of stories in books and magazines about It's very common for partners to have different levels couples in long-term relationships who still have sex of sexual interest. However unsexy and unspontanelike teenagers, as if that's what we should expect. You ous it might sound, many couples find that they need can have that if both of you are that sexual and really to talk about how much sex they want and do some want to make that happen, but the fact is, many of us negotiation in order to find a happy medium. Ask her aren't. We have quiet, comfortable sex lives that work directly, without judgement, how often she feels she well for us. But when we hear these stories, we begin needs to have sex and let her know how much you feel to think that we are boring, or even dysfunctional. Take you need. Sometimes just starting this conversation care to measure your happiness with your relationship can get the ball rolling towards change. and your sex life against your own desires and needs, not someone else's. Sex lives that look boring on the As for encouraging her to be more amorous, I think surface can be beautiful and deeply satisfying to those you've already hit the nail on the head right there with that share them. Try to look at how you can enhance that word: encouragement. If this is something that's the connection and joy in what you do have instead of been going on for a while, chances are that there are focusing only on frequency. V patterns that have developed. If one partner initiates most of the time, the other may come to expect it, and Brenda Kerber is a sexual health educator who has often turn down advances, because in their perception, worked with local not-for-profits since 1995. She is they come so frequently. Over time, the one that initithe owner of the Edmonton-based sex-positive adult ates less comes to do so even less because he/she extoy boutique, The Traveling Tickle Trunk.

LUST E LIF

FOR

As I sit down to write this week's edition of Back Words, the sun is shining through my open window and the sounds of dripping water are wafting in. Spring is in the air! After a long and harsh winter, we're all ready to emerge from hibernation and revel in the (relatively) warmer weather. It's like a city-wide weight has been lifted off our collective shoulders. Walking down the street to my house, I snapped this little fossil of bygone summers embedded in

the sidewalk. Just as our local culture is shaped by our cold climate, so the short, bright season of the middle months influences our visual environment. Notice how summer brings a wave of productivity. Our streets come alive with a beautiful bounty of music, art and theatre. Nothing excites me more than the promise of spring and anticipation of the natural and handmade delights that pop up all over the city. V

FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) In a recent lecture, astronomer Joshua Bloom of the University of California described the explosion of wonder. One particular telescope, for example, detects 1.5 million transient phenomena every night, and an average of 10 of those turn out to be previously undiscovered. Reporting on Bloom's work, Space.com compared astronomers' task to "finding a few needles in a giant haystack night after night." I see this challenge as resembling your imminent future, Aries. Mixed in with all the chatter and hubbub, there are some scattered gems out there—rich revelations and zesty potentials. Will you have the patience to pinpoint them? TAURUS (Apr 20 – May 20) If you're thinking of calling on a ghost to provide you with information, make sure you know how to banish it when you're finished milking it. If you're considering a trek into the past to seek some consolation or inspiration, drop breadcrumbs as you go so you can find your way back to the present when it's time to return. Catch my drift, Taurus? It's fine to draw on the old days and the old ways, but don't get lost or stuck there. GEMINI (May 21 – Jun 20) It's a favourable time for people to give you gifts and perks and blessings. You have my permission to convey that message to your friends and associates. Let them know it's in their interest to be generous toward you. As I see it they will attract rewards for themselves,

30 // BACK

ROB BREZSNY // FREEWILL@vueweekly.com

some unexpected, if they help you. So what's your role in this dynamic? Be modest. Be grateful. Be gracious. At the same time, rake it all in with supreme confidence that you deserve such an outpouring. CANCER (Jun 21 – Jul 22) Have you heard of Ig Nobel Prizes? The Annals of Improbable Research hands them out to eccentrics whose work it deems useless but amusing. For instance, one recipient was honored for investigating how impotency drugs help hamsters recover quickly from jet lag. In 2000, physicist Andre Geim won an Ig Nobel Prize for using magnetism to levitate a frog. Unlike all of his fellow honorees, however, Geim later won a Nobel Prize for his research on a remarkable substance called graphene. I think you'll soon have a resemblance to him, Cancerian. Some of your efforts will be odd and others spectacular; some will be dismissed or derided and others will be loved and lauded. LEO (Jul 23 – Aug 22) If you have ever fantasized about setting up a booth at the foot of an active volcano and creating balloon animals for tourists' kids, now is an excellent time to get started on making that happen. Same is true if you've ever thought you'd like to be a rodeo clown in Brazil or a stand-up comedian at a gambling casino or a mentor who teaches card tricks and stage magic to juvenile delinquents. The astrological omens suggest that playfulness and risk-taking would

synergize well right now. There's even a chance that if you found a way to blend them, it would lead to financial gain. VIRGO (Aug 23 – Sep 22) You've arrived at a phase in your cycle when you'll have the opportunity to scope out new competitors, inspirational rivals and allies who challenge you to grow. Choose wisely! Keep in mind that you will be giving them a lot of power to shape you; they will be conditioning your thoughts about yourself and about the goals you regard as worthy of your passions. If you pick people of low character or weak values, they'll bring you down. If you opt for hard workers with high ideals, they'll raise you up. LIBRA (Sep 23 – Oct 22) "There's no key to the universe," writes Swami Beyondananda. But that shouldn't lead us to existential despair or hopeless apathy, adds the Swami. "Fortunately, the universe has been left unlocked," he concludes. In other words, Libra, there's no need for a key to the universe! I offer you this good news because there's a similar principle at work in your life. You've been banging on a certain door, imagining that you're shut out from what's inside. But the fact is that the door is unlocked and nothing is stopping you from letting yourself in. SCORPIO (Oct 23 – Nov 21) When you travel to Mozambique, the Ministry of Fish and Wildlife gives you a warning about the frequency of hu-

man encounters with lions out in nature. "Wear little noisy bells so as to give advanced warning to any lions that might be close," reads the notice you're handed. I'm certain, Scorpio, that no matter where you are in the coming week, you won't have to tangle with beasts as long as you observe similar precautions. So please take measures to avoid startling goblins, rascals and rogues. If you visit a dragon's domain, keep your spirit light and jingly. If you use a shortcut that requires you to pass through the wasteland, sing your favorite nonsense songs as you hippety-hop along. SAGITTARIUS (Nov 22 – Dec 21) Few things make me more excited than being able to predict good tidings headed your way. That's why, as I meditated on your upcoming astrological aspects, I found myself teetering on the edge of ecstasy. Here's what I foresee: a renaissance of pleasure ... an outbreak of feeling really fine ... and an awakening of your deeper capacity to experience joy. Here's your mantra for the week, generated by my friend Rana Satori Stewart: yum yum yum yum yum / yum yum yum yum yummy yum. CAPRICORN (Dec 22 – Jan 19) CNN reported on two neo-Nazi skinheads from Poland, a married couple, who discovered they were actually Jews. During the Second World War their origins had been hidden by their parents for fear of persecution. Since the Jewish Historical Institute in War-

VUEWEEKLY // MAR 24 – MAR 30, 2011

saw informed them that they were members of the group they had hated for so long, they have become observant Jews who worship at an orthodox synagogue. The new perspective you'll be getting about your own roots may not be as dramatic as theirs, Capricorn. But I bet it will lead to a shift in your self-image. Are you ready to revise your history? AQUARIUS (Jan 20 – Feb 18) My astrological colleague Antero Alli says that a lot of good ideas occur to him while he's taking a shower. He also finds inspiration while riding his bike. Why, then, does he not enjoy biking in the rain? I bring this up because you're entering a phase when flashes of insight and intuition are likely to erupt at a higher rate than usual. I suggest you aggressively put yourself in every kind of situation that tends to provoke such eruptions—including ones, like maybe riding your bike in the rain, that you haven't tried before. PISCES (Feb 19 – Mar 20) A Canadian man named William Treble once found over a thousand fourleaf clovers in a single day. Niamh Bond, a British baby, was born on the 10th day of the 10th month of 2010—at exactly 10:10 am and 10 seconds. And yet as lucky as all that might sound, it pales in comparison to the good fortune that's headed your way. Unlike their luck, which was flashy but ultimately meaningless, yours will be down-to-earth and have practical value.

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CARNIVAL KhY_g Hgjlm_m]k] J]klYmjYfl$ )*,++%1/ Kl /0(&,/1&(+*0 Ca[c%g^^ Yf\ []d]ZjYl] ;YjfanYd l`jgm_` EYj[` Mar 26$ ^]Ylmjaf_ <B emka[

THE JUNCTION BAR )(*,*%)(. Kl /0(&/-.&-../ Gh]f \Yadq Yl ,he$ ^gg\ k]jna[] YnYadYZd] ^jge l`] ]Yl]jq mflad )(he3 jglYlaf_ <Bk >ja Yf\ KYl Yl )(he3 Egna] Egf\Yq3 Oaf_q O]\ -%1$ Yf\ CYjYgc] Yl 1he3 ^j]] hggd Lm]%L`m

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YOUTH INTERVENTION AND OUTREACH WORKER aKEKK$ M g^ 9 /0(&*,0&)1/) Hjgna\]k kmhhgjl Yf\ Y\ng[Y[q lg im]]j qgml` )*%*-3 qgm \gf l f]]\ lg Z] Ydgf]

14TH ANNUAL HARMONY BRUNCH JYeY\Y Aff $ ))0+, Caf_koYq 9n] Dmf[` lg j]f]o [ge% eale]fl lg ]f\af_ jY[ake Mar 27$ )*he *-

G.L.B.T.Q SENIORS GROUP K&9&?&= :d\_$ ;jY^ljgge$ )- Kaj Oafklgf ;`mj[`add Ki E]]laf_ ^gj _Yq k]fagjk$ Yf\ ^gj Yfq k]fagjk l`Yl `Yn] _Yq ^Yeadq e]eZ]jk Yf\ ogmd\ dac] kge] _ma\% Yf[] =n]jq O]\$ )%+he Af^g2 L2 B]^^ :gn]] /0(&,00&+*+,$ =2 lm^^ 8k`Yo&[Y

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SPECIAL EVENTS

ARTIST TO ARTIST

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

ST PAUL'S UNITED CHURCH ))-*.%/. 9n] /0(&,+.&)--- H]ghd] g^ Ydd k]pmYd gja]flYlagfk Yj] o]d[ge] =n]jq Kmf )(Ye ogjk`ah!

WRITING HOME AND INDIGENOUS THOUGHT :mkaf]kk :d\_ )%-$ M g^ 9$ KYkcYl[`% ]oYf <j OYjj]f ;Yjagm Yf\ <]YffY J]\]j hj]k]fl lYdck l`Yl [`Ydd]f_] O]kl]jf Ykkmehlagfk g^ FYlan] j]hj]k]flYlagf [gf[]jfaf_ mjZYfalq Yf\ `meYf oYkl] Mar 26$ .2+(he >j]]

MAKING WAVES SWIMMING CLUB _]g[a% la]k&[ge'eYcaf_oYn]kW]\e J][j]YlagfYd' [geh]lalan] koaeeaf_& Kg[aYdaraf_ Y^l]j hjY[la[]k =n]jq Lm]'L`m

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

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

FILOSOPHY DYlalm\] -+$ )(*,0%)(. Kl /0(&,*+&-+-+ @a_` ^Yk`agf ^mf\jYak]j3 L`] Klgdd]jq ;`ad\j]f k @gkhalYd >gmf\Ylagf J]\ ;Yjh]l =n]fl >ja$ Apr 8$ /he j][]hlagf!$ 0he ^Yk`agf k`gok!

ADULT

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>! L`m$ Mar 24 )-(

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VUEWEEKLY // MAR 24 – MAR 30, 2011

Want to be part of Edmonton's New Art community collective? Send info ASAP to d_art_man@hotmail.com for jury in upcoming show Expressionz Café: looking for family friendly performers and presenters for the monthly marketplace E: expressionzcafe@gmail.com Gallery at Milner The Edmonton Public Library looking for artists working in any two-dimensional medium to submit proposals to show art work. Deadline: Apr 30; E: cragalleries&displays@epl.ca; T: 780.496.7030 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 Draw till you Drop! ASA presents uninstructed life drawing at Harcourt Annex, 10211-112 St; Sun, Mar 27, 9am-6pm; male and female models. $25 (Harcourt/ ASA member)/$30 (non-member); Pre-register at 780.426.0072; E: andrea@artists-society.ab.ca Scenes, monologues, one-acts on mental illness. All genres accepted. Humour appreciated. Deadline: Apr 30. rabidmarmot.ca McMullen Gallery: Seek proposals for the May 2012-Apr 2013; deadline: Mar 31, 4pm; info at capitalhealth.ca Any artist, musician, or performance artist interested in being featured at the Local Art Showcase @ Old Strathcona Antique Mall, E: Jenn@oldstrathconamall.com

MUSICIANS

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18+

BACk // 31

32 // BACK

VUEWEEKLY // MAR 24 – MAR 30, 2011

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