2 // UP FRONT
VUEWEEKLY // APR 14 – APR 20, 2011
COVER
INSIDE
IssuE no. 808 // APR 14 – APR 20, 2011
UP FRONT // 4/ 4 Vuepoint 5 News Roundup 9 Dyer Straight 10 In the Box 10 Bob the Angry Flower
DESTROYER
Dan Bejar's infinite inner jukebox // 24
DISH // 11/ 12 To the Pint 12 Living Proof
ARTS // 15 15 Artifacts 17 Hopscotch
FILM // 20 21 DVD Detective
MUSIC // 23/ 28 Music Notes 32 New Sounds 33 Loonie Bin 33 Old Sounds 33 Quickspins
BACK // 34 34 Queermonton 34 Back Words 34 Free Will Astrology
LISTINGS 19 Arts 22 Film 30 Music 35 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. 808 // APR 14 – APR 20, 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 PHOTOGRAPHY INTERN.................................... Melissa Stevenson // intern@vueweekly.com creative services manager.................... MICHAEL SIEK // mike@vueweekly.com production.......................................................... CHELSEA BOOS // che@vueweekly.com ART DIRECTOR....................................................... PETE NGUYEN // pete@vueweekly.com Senior graphic designer........................... LYLE BELL // lyle@vueweekly.com PRODUCTION INTERN........................................ Elizabeth Schowalter // scho@vueweekly.com WEB/MULTIMEDIA MANAGER........................ ROB BUTZ // butz@vueweekly.com LISTINGS ................................................................ GLENYS SWITZER // glenys@vueweekly.com
SALES AND MARKETING MANAGER............ ROB LIGHTFOOT // rob@vueweekly.com LOCAL ADVERTISING.......................................... 780.426.1996 // advertising@vueweekly.com CLASSIFIED ADVERTISING............................... 780.426.1996 // classifieds@vueweekly.com NATIONAL ADVERTISING.................................. DPS MEDIA // 416.413.9291 ADMINISTRATION/DISTRIBUTION............... MIKE GARTH // michael@vueweekly.com ADMINISTRATION/PROMOTIONS................ AARON GETZ // aaron@vueweekly.com
CONTRIBUTORS Ricardo Acuña, Chelsea Boos, Josef Braun, Rob Brezsny, Kristina de Guzman, Gwynne Dyer, Jason Foster, Brian Gibson, Tamara Gorzalka, James Grasdal, Whitey Houston, Carolyn Jervis, Angela Johnston, Stephen Notley, Mary Christa O'Keefe, Mel Priestley, Bryan Saunders, LS Vors 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 // APR 14 – APR 20, 2011
UP FRONT // 3
UP FRONT
VUEPOINT
GRASDAL'S VUE
Face the reality samantha power // samantha@vueweekly.com
The idea of declaring a winner of this week's leaders' debate seems counterintuitive. With four participants it's difficult for any one leader to dominate the agenda, and the format of the debate worked well to provide an opportunity for each leader to bring up their main concerns in an organized fashion. In a sense it was exactly what democratic debate should be and provides a decent example of how our current political reality should be recognized. Although Stephen Harper continues to call a minority government unstable and threatens that a coalition is the opposite of democracy, it is delusional to believe that a party could govern the House of Commons with the current levels of support Canadians have for every political party. At one point during the debate Harper declared, "The party that that wins the most seats is the party that makes government." Thankfully a debate ensued to correct him. Government forms from members of Parliament, whether individuals or parties, who can prove they hold the confidence of the majority of Parliament. If that happens to be one political party or a combination of political
YOURVUE
parties that's for individual members of Parliament to decide. To pretend otherwise is to ignore the foundations of our democracy. But then, that seems to be central to Harper's campaign. Harper can pretend that the contempt ruling was a result of the three opposition parties randomly deciding to take Canada into election mode, but this election is due to the Conservative government's inability to follow the basic rules of Parliament as determined by the Speaker. Ignatieff went out of his way to bring down the Harper government on contempt rather than the budget to prove this point and it was a relief to see him returning to that fact. The abuse of the rules of Parliament by the Harper Conservatives are a warning for what they would do with a majority, but it is hubris to think a government could survive with even the bare minimum 50 plus one percent of the votes in the House due to the current political realities. The consistency with which Canadians have elected a minority government is indicative of their lack of support of any one party or policy direction. The debates highlighted different areas of strength for each party leader. A debate and coalition, whether in name or practice, of combined belief may be the only way to create policy that represents Canadians current political values. 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
46% No, the impacts of nuclear development and output could never be safely secured. 4 // UP FRONT
54% Yes, if developed safely nuclear is a good alternative to build secure energy sources.
VUEWEEKLY.COM
Check the Vue Weekly website for new podcasts on current events: vueweekly.com/podcasts
THIS WEEK'S POLL
With the fallout from the nuclear disaster at Fukushima still unknown and Germany, a leader in nuclear energy, revisiting its reliance on it ... Do you believe nuclear should be looked at as an environmental alternative to traditional oil and gas here in Alberta?
ONLINE EXCLUSIVE
Two leaked draft reports from the Auditor General's office have revealed varying degrees of improper spending by the Harper government on the G8 and G20 summits. Should Canadians have access to the full report before the May 2 election?
TOP SECRET 1. Yes, if the Conservatives are in violation of Parliamentary process on spending limits, Canadians need to know.
2. No, the Auditor General needs to follow procedure and wait for Parliament to be convened.
Check out vueweekly.com to vote and give us your comments.
VUEWEEKLY // APR 14 – APR 20, 2011
Listen at vueweekly.com/podcasts
Fun for who?
Zoo controversy puts protection of animals in question ANGELA JOHNSTON // angela@vueweekly.com
S
ince its inception in 1990, GuZooAnimal Farm near Three Hills has experienced consistent controversy, but recent uproar over photos of the conditions at the farm are putting the legislated protection of animals into question. Since a 1993 Calgary Herald article described poor conditions and animal injuries at the zoo, the zoo has been plagued by problems and the recent exposé of dying and sick animals on the farm inspired a petition, which reached 30 000 signatures calling for the farm's licence to be revoked. On April 1, GuZoo was issued a 60-day licence due to an ASPCA investigation into the zoo’s conditions, which must be completed before another licence can be issued. According to a 2004 Calgary Herald article, this isn't the first time Gustafson has been issued a twomonth licence rather than the standard one-year licence: "GuZoo's renewals always come with conditions—often the same ones previously set and not met—calling for improvements to cages, water, shel-
ter and stimulation for the animals," wrote journalist Linda Slobodian. The same criticisms against GuZoo stand today. "There are numerous animal welfare issues," says Dr Debi Zimmermann, veterinarian and animal activist. "The most disturbing to me are the inadequate provisions of even the most basic of care." Zimmermann cites issues such as "months' worth of fecal accumulation and old food bits" and lack of fresh water, appropriate and/or fresh food, protection from the elements, and mental and physical stimulation. These sentiments are echoed by Zoocheck Canada campaigns director Julie Woodyer. After pushing for improvements at GuZoo for more than 15 years, Woodyer is far from satisfied by the persistent issues at the zoo. She calls it, "An overall neglectful situation for animals," and disapproves of GuZoo's breeding and selling of animals. Like Zimmermann, Woodyer references "ongoing filthy conditions," including dirty water and
carcasses left in carnivorous animal cages for "weeks or even months." "I have at least 10 years' worth of photos where every year we see the same kind of conditions. It's not like it just gets out of hand once and then he [Gustafson] fixes the problems. That's not the situation here. It is consistently, always a neglectful situation," Woodyer says. Such photographs were just badly timed, Gustafson says. He isn’t put off
by the most recent wave of criticism from animal advocates. "It hasn't bothered me a bit this time because you know we've heard this BS for so long," he says. Zimmermann says she would like to see the ASPCA charge GuZoo under the Animal Protection act and
NewsRoundup MORE DANGERS IN AFGHANISTAN
The announcement that the Alberta Health Quality Council will be investigating the the cases of patient deaths while on wait lists and emergency room wait times through a formal review has not stopped opposition members from pushing for a judicial public inquiry. Every opposition party has called for a judicial review which would allow the committee to compel key politicians, including the Premier and Health Minister, to testify. Such a review must be free from even the appearance of political input, Liberal leader David Swann says: "When assessing problems like this, independent analysis without fear of government pressure or censorship is absolutely crucial." This week the Liberal party provided former top thoracic surgeon Ciaren McNamee's statement as evidence that doc-
tors would be willing to testify if they were provided judicial protection. McNamee was allegedly let go from his position here in Alberta due to his repeated advocacy for greater health funding. McNamee states that the closed-door process and the inability to provide judicial protection for witnesses breaking severance agreements prevents full disclosure from witnesses. "If the hearings were truly open and indemnified, and by an authority legally empowered to hold people accountable, I suspect that many of us would be willing to testify," McNamee says. In an earlier statement on the subject, NDP leader Brian Mason said, "Albertans should see the refusal to commit to request such testimony as a dodge of accountability." The review is expected to take several months.
A new report calls Prime Minister Stephen Harper's plan to extend the Afghanistan mission dangerous, citing a low success rate and the likelihood that more Canadian soldiers will be killed. Last November, Harper announced that, instead of ending Canada's role in Afghanistan, the government would change the military's role in the country to one of training and support. The Canadian Centre for Policy Alternatives and the Rideau Institute have released a report stating key problems that will contribute to increased risk: training centres have already been targets by Afghan insurgents, training requires ac-
GENDER DIVIDE
CONTINUED ON PAGE 7 >>
SAMANTHA POWER // samantha@vueweekly.com
BRING IT TO COURT
Canada continues to rank poorly when it comes to the participation of women in parliamentary democracy. With only 22.4 percent of the last Parliament made up of female MPs, Canada ranks 52nd in the world behind countries like Iraq and Afghanistan. The current federal election likely won't change those numbers—only
for GuZoo’s licence to be revoked by the Alberta Sustainable Resource Development (SRD). Simply revoking GuZoo's permit may not be enough though, Woodyer says, because many of the animals are not covered by zoo permits and standards. The ASPCA is investigating, but executive director Terra Johnston cannot give any information specific to GuZoo. She assures the public that the ASPCA has "a number of tools" available to improve conditions for the animals if necessary. Sustainable Resources Development spokesperson Dave Ealey says that SRD is "working on a couple of initiatives" while the ASPCA completes its investigation into the zoo. The initiatives include getting provincial
30 percent of nominated candidates are women. The party with the greatest number of female candidates is the federal New Democrats at 40 percent, an improvement over the 2008 campaign, when 33 percent of the party's candidates were women. The high number may be a result of the NDP's gender parity nomination procedure.
Equal Voice, an advocacy group encouraging women to run and be involved in politics, launched a campaign earlier this year called iCommit. It is a social media-based campaign encouraging women to vote, run and lead in any political community to increase the number of women involved.
VUEWEEKLY // APR 14 – APR 20, 2011
tion in the field which could quickly turn to a real battle with insurgents, and the infiltration of Afghan National Army recruits by Afghan insurgents. While Harper has claimed this mission is safer, the CCPA is calling for a public debate on the changing mandate of the mission. Co-author Michael Byers says, "The training mission is clearly an exit strategy that will cost more Canadians their lives," while co-author Stewart Webb is concerned the election call has pre-empted a public debate on the extension, saying, "Canadians need to be made aware of the risks of this mission."
QUOTE OF THE WEEK “I thought, oh, this is going to take hold, but I’m getting the impression a large slice of the public is so cynical about what goes on in Ottawa that it’s harder and harder to outrage them.” —University of Toronto Professor Nelson Wiseman on the Auditor General's draft report The Hill Times April 11, 2011
UP FRONT // 5
COMMENT >> ENVIRONMENT
An outside perspective
US opinion leaders emphasize importance of tar sands review outweighed by the environmental risks to both countries. In its critique of the tar sands, the editorial cites the destruction of boreal forest, the toxic tailings ponds, the huge consumption of natural gas, the fact that a barrel of bitumen uses four times more water than a barrel of conventional oil, and the fact that greenhouse gas emissions from tar sands production are 82 percent higher than those of conventional crude production. All of these numbers are drawn directly from the EPA's own research. The editorial then goes on to question the safety of the pipeline itself point-
Ricardo Acuña // rICARDO@VUEWEEKLY.COM
Few things irk the Alberta Government as much as people in other jurisdictions exercising care and due diligence in reviewing major energy projects. And it's not just the process of genuine scientific review and environmental assessment that appears foreign to this government, but also the ability of major media outlets in other places to adopt editorial positions that go against the wishes of Premier Ed Stelmach and the oil industry. The latest evidence of this came in the last two weeks with both an editorial in The New York Times and statements by President Barack Obama. In discussing the proposed Keystone XL pipeline both expressed concerns about the environmental impact of tar sands developments and the potential damage that can be caused by pipelines in general. The $7 billion Keystone XL project, being proposed by Calgary-based TransCanada, would carry some 435 000 barrels of raw bitumen per day to the US Gulf Coast for upgrading and refining. The project has been on hold since last summer when the US Environmental Protection Agency (EPA) asked the US State Department to conduct an in-depth impact assessment on the safety and impact of the pipeline,
6 // UP FRONT
What is this, the Moon?
and the contribution of tar sands development to climate change. The State Department is currently in the middle of that study, which includes an opportunity for public input and comment, and will not issue a final report and recommendation until later this spring. Because the proposed pipeline crosses an international border, the State Department actually has the authority to permit the project based on its findings. You can imagine how this process would be troublesome for a government
that is used to environmental impact assessments that are essentially meaningless and regulatory bodies that exist only to rubber-stamp oil industry proposals. As such, both the Alberta and federal governments have been lobbying hard in Washington to ensure that this decision goes their way despite what the State Department process might find. In an editorial published on April 2, The New York Times urged the State Department to reject the proposed pipeline because the alleged benefits are greatly
VUEWEEKLY // APR 14 – APR 20, 2011
even point out what their supposed "erroneous information" was. He does, however, attempt to allay their fears about the environment by pointing out that the government is about to launch a "broad public consultation" on managing cumulative effects in the industry. The day after Stelmach drafted his response to The Times, President Obama was asked about the Keystone XL project by the media. He refused to make a direct statement about the project, saying he preferred to wait for the State Department to finish its comprehensive review. (Imagine that: a political leader
You can imagine how this process would be troublesome for a government that is used to environmental impact assessments that are essentially meaningless and regulatory bodies that exist only to rubber-stamp oil industry proposals. ing to the 800 000 gallons of bitumen which spilled into the Kalamazoo River from a similar pipeline last year, and to the nine spills that have already taken place since TransCanada's first Keystone pipeline began carrying bitumen last year. Of course, Premier Stelmach could not stand idly by while a major news outlet used actual facts and genuine concern for safety and the environment to argue against one of his favourite projects. He very quickly drafted a response to the editorial in which he opens by saying how troubled he was by "the erroneous information The Times used to describe Alberta's oil sands." He goes on to talk about the economic benefits of the tar sands to the US, how many jobs would be created by the pipeline, and the fact that Canada is not a dictatorship. He does not, however, directly contradict anything actually said by The Times or
not making his mind up before a review process). But Obama did reiterate the reasons for the review: "These tar sands, there are some environmental questions about how destructive they are, potentially, what are the dangers there, and we've got to examine all those questions." It must be frustrating for the Stelmach government that the public relations campaigns, focus on money and empty environmental spin that work so well to keep Albertans, their media and federal politicians in line behind the energy industry have such little impact outside our borders. You would think that they might clue in that what would work better than spin and rhetoric is genuinely regulating the industry and implementing environmental monitoring and protection with meaningful consequences and penalties, but that doesn't seem to be the case. V
FUN FOR WHO?
<< CONTINUED FROM PAGE 5
zoo advisory committee to look at animals not currently regulated by provincial zoo standards such as pets and farm animals in a zoo setting, and looking into having third-party animal experts assess the health of the animals at GuZoo. Neither Zimmermann nor Woodyer are pleased with the work the SRD and ASPCA have done with GuZoo in the past. Both activists contend that GuZoo breaches Government of Alberta zoo standards, and they cite the same reason as to why the standards are not being enforced. "There's a political stalemate at the moment because of the Valley Zoo being in violation of the zoo standards with Lucy, so I think the SRD is hesitant to enforce [standards] at GuZoo until there's a decision one way or the other made on the Lucy case," Zim-
mermann says. Both activists recommend Lucy be seen by a third-party veterinarian with no ties to the zoo industry. Once Lucy’s ailments have been diagnosed and treated, the issue of moving her from the zoo to an elephant sanctuary could be brought to the table once again. Issues with animal welfare are inherent in the very concept of zoos, Zimmermann says. Zoos are "a 200-yearold business model for displaying wild animals for entertainment," she says. "Even in page five of the Edmonton Valley Zoo's master plan, you will find them stating that, 'Never forget that the zoo is in the visitor experience business.' So it's a business: minimum inputs, maximum outputs, and the animals are always secondary to humans," she says. While modern zoos including GuZoo maintain that they offer educational
experiences, Woodyer disagrees. "The educational component is limited at best," she says, citing studies that show people spending between only eight and 90 seconds in front
animal welfare and education than zoos, Zimmermann says. Animal welfare has to come first. "It has to benefit the animals, not just the public. That's the point, rather
It has to benefit the animals, not just the public. That's the point, rather than just collecting a whole bunch of different species and throwing them into a zoo and people wandering through. In that situation, you rarely meet the animals' needs.
of zoo exhibits. People don't have enough time to learn anything about the animals, and their unnatural behaviours caused by artificial settings wouldn't offer much education anyway, Woodyer contends. Rescues and sanctuaries with rehabilitation and release components would be more appropriate both for
than just collecting a whole bunch of different species and throwing them into a zoo and people wandering through. In that situation, you rarely meet the animals' needs." "It's absolutely about [asking], 'First and foremost, can we meet the animals' needs?’ And if we can't, then we need a new model." V
VUEWEEKLY // APR 14 – APR 20, 2011
UP FRONT // 7
8 // UP FRONT
VUEWEEKLY // APR 14 – APR 20, 2011
COMMENT >> WAR ON DRUGS
Illegal trade
Mexico will soon be able to say no to the United States' war on drugs Something remarkable happened in MexShe presumably means that all the Mexiico last Wednesday. Tens of thousands of can drug-traffickers will be dead soon, and Mexicans gathered in the main squares of that nobody else will be tempted by the cities across the country to demand an easy money to take the place of those end to the "war on drugs." In the Zocalo, who are killed. Americans will then stop in the heart of Mexico City, they chanted using drugs because they simply aren't "no more blood," and many called available, or at worst they will be for the resignation of President so scarce and expensive that Felipe Calderon, who launched only the very rich can afford the current war by deploying them. And we'll all live hapom pily ever after (except the very the army against the drug careekly.c w e u v e@ tels in late 2006. rich, of course). gwynn e Some 35 000 people in True, drugs in the United Gwynn Mexico have been killed in drugStates have become cheaper, Dyer related violence since then. Even stronger and more easily available as the crowds chanted, news came in in the United States over the past 40 of another 59 bodies discovered in mass years, despite annual claims by the DEA graves in Tamaulipas state. In the words of that victory is at hand. To go on doing poet-journalist Javier Sicilia, who inspired the same thing every year for 40 years, the demonstrations after his own son was while expecting that next time will have killed last week, the war is "tearing apart a different outcome, is sometimes seen as the fabric of the nation." evidence of insanity, but we shouldn't be But what does he know? In fact, the Unitjudgmental. We could, however, try to be ed States and Mexico are on the brink of rational. winning the war on drugs. We know that Former Mexican president Vicente Fox because Michele Leonhart, the head of has been doing well on the rationality the US Drug Enforcement Administration, front recently. Last August he wrote in his said so on the very same day, at an internablog: "We should consider legalizing the tional conference in Cancun. "It may seem production, sale and distribution of drugs. contradictory, but the unfortunate level of Legalization does not mean that drugs are violence is a sign of success in the fight good. But we have to see it as a strategy against drugs," she said. to weaken and break the economic system
R DYEIG HT
STRA
that allows cartels to make huge profits, which in turn increases their power and capacity to corrupt." This would mean that Mexican drugusers could get any drugs they want, of course. Just like now. The only differences would be that the drugs, being state-regulated and taxed, might cost slightly more, and that there would be fewer deaths
why did these men not act when they had the power? Because they were afraid of the American reaction. The United States has repeatedly made it clear that it will inflict grievous economic pain on any Latin American country that defects from its war against drugs. That is becoming an empty threat, however, for US economic
Since no American politician will commit political suicide by advocating gun control or the legalization of drugs, Mexico can only escape from its current agony by refusing any further cooperation with the DEA. from impurities and overdoses. But it wouldn't actually break the power of the cartels so long as drugs remain illegal in the huge US market. Former Colombian president Cesar Gaviria addressed this issue head-on in a recent interview with Time magazine: "US drug policy has failed. So please, change it. Don't force us to sacrifice thousands of lives for a strategy that doesn't work simply because American politicians lack the courage to change course." Well said—but
power is nothing like it used to be, even in Latin America. That's partly due to the recent nearcollapse of the US economy, but it's also the result of the rapid growth of the Latin American countries. Mexico, for example, is a rising industrial power with tens of millions of educated middle-class people and an economy that's growing at seven percent a year. It can now say no to Washington without being crushed. It is the American refusal to allow its consumers legal access to the drugs they
VUEWEEKLY // APR 14 – APR 20, 2011
want that creates the demand, and American weapons that arm the Mexican gangs that compete for that market. Since no American politician will commit political suicide by advocating gun control or the legalization of drugs, Mexico can only escape from its current agony by refusing any further cooperation with the DEA. Ending the war on drugs in Mexico would not instantly stop the killing, most of which is between cartels competing for control of the routes by which drugs transit Mexico on their way to the United States. But just ending the army's involvement would greatly lower the level of violence, and legalizing drugs in Mexico would diminish the epidemic of corruption, too. You don't need to bribe officials if the drug trade is legal. The current wave of demonstrations against the drug war is only a start. The policy won't change so long as Calderon is president, for too many people have been killed for him to repudiate it now. But by the end of 2012 he will be gone, and his successor, from whichever party, will be free to change the policy. One of these days, Mexico will just say no. V Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.
UP FRONT // 9
IN THE BOX
DAVE YOUNG & BRYAN BIRTLES // INTHEBOX@vueweekly.com
Summertime blues
Welcome to the summer of Nugent-Hopkins versus Larsson The Oilers are done for the 2010-11 season. A once-great dynasty team has finished in last place for two seasons in a row, the first team to dwell in the basement in consecutive seasons since Tampa Bay in 1998 and 1999. The Oilers also won the right to select first in the NHL Entry Draft for a second straight season. If they don't deal that pick away (this is unlikely), they are first team to have two consecutive first draft picks since Ottawa chose Bryan Berard and Chris Phillips in 1995 and 1996. Enjoy the final In the Box until next season. Stanley Cup-side and Down-side
Since the Oilers aren't in the playoffs, one of 16 non-Oiler teams will win the Cup. David and Bryan carefully weigh the upside and downside of each possible victor: Western Conference by David Young
Vancouver wins the Cup ... Upside: A Canadian team wins the Cup ... and they are not Toronto or Calgary. Downside: Vancouver wins the Cup. The Blackhawks repeat as Champs ... Upside: They won last year. Championship repeats are exciting! Downside: They won last year. Let someone new win. The Sharks prevail ... Upside: Patrick Marleau finally wins a Cup. Downside: So does Dany Heatley.
The Kings get the prize ... Upside: Ryan Smyth gets his name on the mug. Aw-shucks. Downside: Another Cup in California. The Cup goes to Detroit ... Upside: Todd Bertuzzi notwithstanding, they're a likeable bunch. Downside: Detroit Red Wings win the Cup? Been there, done that. Yawn. The Coyotes are champs ... Upside: Gary Bettman presents Cup to Gary Bettman. Seems funny. Downside: Coyotes move back to Winnipeg. The 'Peg regains its team but misses its Cup win. Predators win! Predators win! ... Upside: Shea Weber could get the MVP, making him too pricey for Nashville. Oilers swoop in. Downside: Would the city of Nashville really care? Ducks triumph ... Upside: I've always liked Teemu. Give him another Cup ring. Downside: See LA Kings Downside. Eastern Conference by Bryan Birtles
Washington with the W ... Upside: I'd like to see Alexander the Great's grin get even bigger. Downside: The Crosby/Ovechkin debate flares up again. New York Rangers pull it off ...
BOB THE ANGRY FLOWER
10 // UP FRONT
VUEWEEKLY // APR 14 – APR 20, 2011
Upside: Ticker tape parade down Broadway. Downside: Sean Avery a champion? Philadelphia takes it home ... Upside: First Cup since '75. Downside: Chris Pronger with another Cup. Buffalo Sabres bag it ... Upside: Ryan Miller deserves it. Downside: All the fans in Toronto would really be happy, say it's "their" team. The Bruins are the champions ... Upside: Tim Thomas's comeback story capped with the championship. Downside: Bunch of goons win the Cup. Canadiens de Montréal est le gagnant ... Upside: Canadian team worth cheering for. Downside: Still not the Oilers. Pittsburgh somehow does it ... Upside: it proves that solid system play can win a Cup, even without a superstar. Downside: Crosby loses Powerade endorsement. Tampa Bay takes the championship ... Upside: Roloson wins it. Downside: Marc-André Bergeron is also on the team. Oiler Player of the Year
Devan Dubnyk: Capable of being a starter. DY Shawn Horcoff: A long-time goat who is making good as a leader. BB
DISH
Find a restaurant
ONLINE AT DISHWEEKLY.CA
Smokin'
Sgambaro's is built on a perfected salmon recipe significant market for these products. "Perhaps I'll call it 'Sgambaro's Gone Wild,'" he muses.
LS Vors // vors@vueweekly.com
he scents of hickory and rich salmon perfume the atmosphere of a quiet street east of Belvedere. They beckon and beguile, eliciting salivation and anticipation; aromatic analogues to Pavlov's bell. These olfactory cues lead past the nondescript warehouses, city maintenance vehicles and train tracks to Sgambaro's Signature Seafoods Inc. Roberto Sgambaro grew up in Edmonton and earned his Red Seal at NAIT, but sought international experience. He worked in Paris and Toronto, but was introduced to curing and smoking salmon at Hotel Vogue in Montréal. Smoked salmon may be categorized as "cold smoked" or "hot smoked," and the primary difference is that cold smoked salmon is not cooked by the smoke, resulting in a silky and luxuriously tender end product. In contrast, hot smoked salmon is firm and flaky, much like baked fish. Brining is an additional means to preserve salmon, and the process entails curing the fish in a salt-sugar solution. At Hotel Vogue, Sgambaro learned a technique that melds aspects of several of these procedures. He explains, "It is not quite brining and not quite cold smoking, but combines the cold smoke with a dry brine." He returned to Edmonton to put down roots and created a fine-dining catering company, one directed towards small groups of diners in a home set-
// Melissa Stevenson
T
Roberto Sgambaro and his salmon
ting. In 1996, one particular customer requested a welcome-home dinner featuring smoked salmon. Sgambaro agreed to fulfil the customer's request, even though he did not own smoking equipment. The customer's prolonged vacation gave Sgambaro a window of opportunity in which to build a small smoker and prepare salmon using the technique he developed in Montréal. This event was a catalyst for Sgambaro. The salmon was a roaring success and Sgambaro subsequently gave samples of his wares to local chefs.
The plethora of positive feedback prompted a foray into the business of preparing and selling smoked salmon. Risk is inherent in starting a business, though; Sgambaro sought financial stability by starting seasonal work in the kitchen of a local golf course. "I did a test market of my salmon at [nowdefunct gourmet store] Debaji's, and before I knew it, it sold out by noon," he recalls. "The next time I made more and it sold out, and then no matter how much I made, I consistently sold out. I was reaching my maximum ca-
pacity, since my small smoker only held 12 sides of fish." "I got the ball rolling too hard," Sgambaro laughs. He left the golf course after one season and purchased substantially larger equipment. Offerings grew to include classic smoked salmon, gravlax (a Scandinavian version of cured salmon), salmon sausage, paté and jerky. These are sourced from Atlantic salmon, though Sgambaro uses sockeye salmon when it is seasonally available. He plans to offer wild salmon products, noting that there is a
VUEWEEKLY // APR 14 – APR 20, 2011
Sgambaro prefers a hands-on approach to preparation. Fish are filleted and seasoned by hand before resting in a gargantuan cooler. Many hours later, the filets are rinsed to remove excess seasoning and smoked in a high-tech machine that provides multiple air currents to ensure even smoking, before being chilled, sliced and packaged. It takes five days for one batch of fish to complete these steps and Sgambaro remarks, "We process approximately 1200 sides of salmon per week." Sgambaro's culinary career spanned an ocean and many Canadian provinces, but ultimately returned to the city of his birth. He brought with him an arsenal of knowledge and culinary techniques that spawned a highly successful smoked salmon business. The piquant aroma of smoked salmon is certainly a benefit of this job but, for Sgambaro, the greatest satisfaction is gained from customer feedback. "I love what I do, and you hear all kinds of stories from the customers, of where they've taken my salmon," he states. He smiles and explains, "The ultimate compliment is when people take my smoked salmon to Vancouver and people there like it better than the local products!" V Roberto Sgambaro Sgambaro's Signature Seafoods 12819 - 58 St, 780.457.8227
DISH // 11
BEER
Craft brewed
I also predict a trend away from big hoppy beer, something upon which the Americans have built their reputation. Canada recently has followed into the world of double IPAs, American-style barley wines and citrusy pale ales. The Americans aren't abandoning them anytime soon, but I tried an awful lot of new beer at the conference that aimed for something more balanced, or was trying to accent other ingredients like wheat, honey or spices. Hops will still be king in the US but there is growing space for other projects. Of course, Canada has always mixed and matched its styles, so maybe this is a case of the US following us—not that they would admit it.
Jason Foster leaves his beer in San Francisco During the last few years of reporting on the beer industry in Canada, I have gotten a pretty good handle on what is happening, who is doing what and where beer is going in our country. But the world is much bigger than our tiny country, despite our butt-kicking of the US in the m ekly.co Winter Olympics. So a couple vuewe epint@ th to of weeks ago I got an opporJason tunity to attend the American Foster Craft Brewers' Conference in San Francisco, the most significant beer event in North America. Most of the US's 1800 craft breweries attend, along with hundreds of other beer writers, supply companies and wholesalers (and a handful of Canadians). It proved to be a great opportunity to get a sense of rising trends and worries for the craft-beer industry. population and in the number of craft It is a logical assessment to argue that brewers. Innovations will naturally drift what is happening in the US today will be here more slowly than in the US, hence a trend in Canada a few years from now. my reason for attending. It has been true with cask events, double In the next couple of years, expect to IPAs, dark IPAs, experiments with Belgian see an increased interest in oak-aged beer. beer and a shift toward organic certificaThis is beer stored in oak barrels formerly tion. The main reason is we're smaller in used to age whiskey or wine. The wood im-
TO TH
E
// Elizabeth Schowalter
PINT
parts a vanilla, tannin, earthy character to the beer, as well as whatever flavour the original liquid had. We are starting to see a little bit of this in Canada—Innis and Gunn is very popular and Alley Kat has started a series of oak-aged beer this year—but in the US it's huge. Keep your eyes peeled, because most are fascinating and complex.
One thing you won't see directly is the move toward more sustainable brewing. Breweries are notorious for a large consumption of water and energy, plus transportation really increases the carbon footprint. There were a number of sessions devoted to how breweries could become greener. Some are installing photo-voltaic solar panels. Others have found a way to compost every scrap of organic waste. Still others are finding ways to reduce water usage by changing sparging routines or doing a better job of re-using water. One of my favourite projects comes from New Belgium Brewing in Colorado. The brewery already uses wind and solar
to power part of the operation but the latest project focuses on peak usage— minimizing the maximum draw of energy which drives the need for new power plants. They examined all their systems and did two things: first they timed the use of units so that they didn't overlap, to reduce load; second, they found they could install a cooling system, crucial for maintaining fermentation temperature, which produced ice overnight—a time of low power usage—and then use that ice to drop temperatures during the high power demand daylight hours. Pretty smart. I also got to drink a lot of amazing craft beer, like Russian River Pliny the Elder, Bell's Kalamazoo Stout, New Belgium Fat Tire and Stone Arrogant Bastard. But I also found myself thinking of some of my favourite Canadian beer as I sampled and, to be quite frank, the best that Canada has to offer ranks with the Americans. I would put a Dieu Du Ciel Peche Mortel, a Yukon Red, a Central City IPA, an Alley Kat Full Moon or a Half Pints Humulus Ludicrous (and many others) up against an American craft brewer any day. We Canadians make world-class beer. We just, in classic Canadian style, don't brag about it as much as the Americans. So go out and find a good Canadian craft brew. You won't be disappointed. V
diverse, but there is actually a wide range of styles and types of sake. The cheapest stuff, called futsuu, is flat and one-dimensionally boozy—this is the category into which most of the massmarket sake falls. The top-shelf sakes, on the other hand, are just as complex and interesting as a great bottle of wine. Junmai refers to pure rice sake, and the aforementioned milling terms describe how refined the sake will be. (Plain junmai is ok, junmai-ginjo is good, and junmai-daiginjo is really good.) In terms of flavour, sake is unlike anything else. It has a definite rice-like quality, though it can also have an array of secondary characteristics that range from fruity and floral to earthy and rich. On the palate it is usually dry or slightly off-dry. The majority of sake is filtered so that it is clear, but nigori sake is unfiltered so it retains a creamy white appearance and feels very round, milky and sweet on the palate. It also settles in the bottle so you need to shake it before serving. Traditionally, sake is heated and served at body temperature but all of the pre-
mium sake producers recommend that you serve their products slightly chilled, like white wine. Sake is usually around 15 to 20 percent alcohol, and heating it up only exacerbates the burn and prevents you from smelling and tasting anything other than the booze. Heating it can also mask some of the faults or deficiencies of low-quality sake, however, so it's not a bad thing to do with the cheap stuff. The easiest way to heat sake is to put the bottle in a pot of water on the stove over medium-low heat—make sure you take the cap off the bottle first. Sake is traditionally served in small ceramic cups or saucers. This is fine for the ordinary stuff, but if you're investing in a really nice bottle, I recommend serving it in a wine glass—this will allow you to savour the full range of flavours. It shouldn't be any surprise that sake is fantastic when paired with sushi, or any other seafood/rice-based Japanese dish. In fact, because sake can taste quite strange to neophyte drinkers, it's a good idea to try it the first time with sushi— the food will offset the alcohol content as well as the novel flavours. V
LIQUOR
The skinny on sake Mouldy rice is not usually something grown specifically for this purpose. The to get excited about, but there is one rice must be milled, or polished, which instance in which mouldy rice is acturemoves the coarse outer layer of the ally a good thing: sake, Japan's crowning grain and leaves the pearly, starchy inteachievement in the spirits world. rior. The degree of milling determines Sake is often mistakenly the final quality of the sake, and referred to as "rice wine," the more the better: junmai though it isn't really a form sake is 30 percent milled— of wine at all; though the meaning 70 percent of the .com grain is left—ginjo is 40 persake-making process reweekly e u v of@ sembles beer production, livingpro cent percent milled, and daigMel y injo is 50 to 65 percent milled. it's really not a form of beer e Priestl either. Sake is just its own Look for these terms on the launique breed of liquor. bel to give you an indication of the The origins of sake are unknown. overall quality of that particular bottle. Though it is referenced several times After milling, the rice is washed, soaked in Japan's first written text, the Kojiki, and steamed. The cooked grains are then which dates back to the eighth centusprinkled with koji (Aspergillus oryzae), ry, it's probably safe to say that sake a special type of mould that grows on had been around for quite a while bethe rice for a few days until it is fuzzy, fore that. grey and really gross looking. The koji To make sake, you start with a special secretes an enzyme that converts the type of rice, shuzo kotekimai, which is rice's starch to sugar, which is neces-
LIVING F
PROO
12 // DISH
// Elizabeth Schowalter
Sake is a unique form of liquor
sary for the next step: fermentation. The mouldy grains are mixed with more rice, along with water and yeast, and left to ferment for a couple weeks. Finally, the mash is pressed, filtered, pasteurized, aged and bottled. You might not think something that comes from mouldy rice could be so
VUEWEEKLY // APR 14 – APR 20, 2011
VUEWEEKLY // APR 14 – APR 20, 2011
DISH // 13
PROVENANCE
BRYAN BIRTLES // BRYAN@vueweekly.com
Six gross foods Prairie Oysters
Prairie oysters have nothing to do with the sea: they are bull testicles prepared battered and deep-fried in the American West—where they are referred to as "Rocky Mountain Oysters"—and in a demiglace in Canada. Prairie oysters are often found as a novelty at festivals and even at Colorado Rockies baseball games. Jellied Moose Nose
Tepa
A delicacy of the Yup'ik aboriginals of southwest Alaska, Tepa is also known as "Stinkheads." Fish heads and other parts are buried in a hole in the ground and left to ferment for a few weeks, then dug up and consumed. Balut
This dish is exactly what it sounds like— boiling the head of a moose until you can make a meat jelly out of its parts. It's a two-day process of boiling, slicing and letting the whole thing cool so the jelly can set, but when it's done, you have something that resembles head cheese. Head cheese
An Asian delicacy, balut is a fertilized chicken or duck egg whose embryo is almost mature. Prior to full maturity the egg is boiled and the embryo and yolk are eaten together. Balut is sold as street food throughout much of Asia, and has entered haute cuisine in parts of the Phillipines. Sausage
Known as brawn in the UK, head cheese has a long history of being disgusting. Essentially, the dish is composed of pieces of meat that would normally be cast away, stuck into the natural gelatin rendered from the head of a pig simmered for a long time. A meat jelly similar to head cheese was first described in Le Viandier, a French recipe book from 1395.
14 // DISH
VUEWEEKLY // APR 14 – APR 20, 2011
The saying, "People like sausage but don't want to see how it's made," exists for a reason. Combinations of ground organ meats, spices and fat are encased in intestine or synthetic casings, then cured, dried, smoked or served fresh. V
ARTS
"Backwater will make you sweat, vicariously, for its performers."
Backwater Review /online at Vueweekly.com
ARTIFACTS
PROFILE // SHERRI CHABA
A gentle seduction
PAUL BLINOV // PAUL@vueweekly.com
Sherri Chaba explores the consequences of progress Carolyn Jervis // carolynjervis@vueweekly.com
S
herri Chaba is not an activist. She is not interested in pushing a particular environmentalist, anti-oil industry message. This would be far too simplistic for the practitioner of such a carefully thought out and lovingly nuanced artistic practice centred on what she calls, "The undervalued consequences of progress in the 21st century." Rather than compelling viewers from a brash, assertive, environmental soapbox, Chaba instead gently seduces through the use of familiar but often obsolete antique objects that speak to her family history—a distinctly Albertan one. This Edmonton-based artist, trained in the visual arts through Grant MacEwan College and the University of Alberta, has a treasure trove of unusual objects from which she constructs her surreal, found-object sculptures. Chaba's father is an avid collector of vintage oddities, assorted antiques, and the collection, which fills five buildings, has proved to be excellent fodder for Chaba's art making. In her current exhibition, The Silence of Chaos at the Art Gallery of Alberta, Chaba points to a tiny stuffed bird and an ancient merchant's cabinet as two notable works gleaned from her father's collection. But this connection to relationships in Chaba's work is more than purely material. Conceptually, the artist harnesses the
Chaba's "The Silence of Chaos"
fuzzy familiarity of the odd objects she repurposes in her work to create tension. While discussing the work, Chaba points to artistic duo Jake and Dinos Chapman and their manipulation of familiar objects to spark the conflict of attraction and repulsion as inspiration for the tension between objects that she creates to an environmentalism-tinged end. The artist twists this concept in her current exhibition by taking advantage of the appealing unusual antique tools and unidentifiable things to engage viewers' attention, only to bar access by placing them behind a web of floor to ceiling wire. This again creates the con-
trast the artist describes as significant— the handmade antiques juxtapose the industrial wire. The desire for conflict is so fundamental that you can hear it unwittingly described by Chaba as she talks about her love of wire and the labour of carefully weaving the inflexible material together.
"My work explores the complex relationships our Western culture has constructed relative to nature," reads her artist statement. Chaba sees her work as a "subtle way to envision the future" using the only thing we know—the past. Her environmentalism, she describes, is not through the usual forms of political activism, and her work does not dogmatically preach to its audience. Instead, Chaba has found her own place in the dialogue about environmental stewardship and interdependence. In her artist statement, Chaba explains, "My inquiry is driven by concern for the environment and by my belief that the artist can play a role in conceptualizing and building new frameworks for interaction with the land. I intend my works to be remedial—serving as a vehicle to inform ideologies and behaviours and to elicit new ways of imagining and experiencing the environment." Through dedication to an artistic practice that makes space for rumination about the interdependence of the land, industry, and us, the artist quietly makes a powerful and intelligent contribution to the conversation. V
Although the artist's current mode of creating work was catalyzed by an experience with a pipeline on family land, it is the careful consideration of relationships and tensions between land, family, and industry that is the driving conceptual force in her work.
Until Sun, May 15 The Silence of Chaos Works by Sherri Chaba The Art Gallery of Alberta (2 Sir Winston Churchill Square) Artist Workshop: Sat, Apr 16 (2 pm)
PREVUE // HAMLET
The danish princess
An Indie5 workshop-performance explores a female Hamlet Paul Blinov // paul@vueweekly.com
T
here isn't much sacred in Shakespeare these days. Productions fit his careful pentameters into newer, more rigid historical placements: in Edmonton alone, the past few years have yielded a Second World War Macbeth, a wartime As You Like It, a dystopian Julius Ceasar, another As You Like It in the style of '50s gangsters ... this is, in short, how Shakespeare gets done in the 21st century: by altering the external. But there are some, more internal aspects to the Bard nobody ever toys with— or even questions, really. Things like gender, and not in a cheap 'Let's swap our Romeo and Juliet' sort of way: more an honest look at what changes when a cen-
tral character becomes something other than who we've accepted them to be. "Why, particularly in Shakespeare, when we do all sorts of things to conceptualize it, aren't we taking these really basic things to just go, OK, what's different?" questions Ntara Curry, speaking with pointed excitement beside an untouched mug of tea at a downtown coffee joint. "What's different if Prospero is a woman? People are actively exploring that, but ... what's different if Hamlet is a woman?" Curry, a BFA grad whose work has only recently brought her back to town, is looking at that latter point with her solo take on Hamlet's tragedy, seeing a workshop run this weekend as part of the Indie5 season. It's not a fully fleshed-out take, yet: in
this run Curry's toying with the soliloquies, stringing them together using "surrealistic dance elements," aided by the wise outside eyes of local Laura Raboud. In swapping our danish prince for a princess, Curry's trying to emphasize the subtle changes such a swap brings to the story. Hamlet's fatalistic relationship with Ophelia, for example, takes on a far different tone when they're both women. "I'm not going into it going, 'I'm going to play a guy.' It's [about] what happens if I speak those words honestly," she explains. "Does the story change? And I think it does, which is curious to me." The idea was initially borne of frustration, of being in acting class and seeing her male counterparts get the meatiest
roles Shakespeare cooked up. Roles she felt she could relate to and explore far more than his female figures. "Hamlet is stereotypically a whiny guy who can't take action ... he's not even cool enough to be living in a basement with his mom, he's just sort of ineffectual," she says, "And the incestuous relationship with his mom: these are things that theatre people assume as truth, what those relationships are. And they don't have to be." V
VUEWEEKLY // APR 14 – APR 20, 2011
Thu, Apr 14 – Sun, Apr 17 (8 pm) Hamlet Written by William Shakespeare Directed by LAURA RABOUD Starring NTARA CURRY The OLD CYCLE BUILDING (9141 - 118 AVE), $10
Rearview / Thu, Apr 14 – Sun, Apr 17 (8 pm) Writer/performer Gilles Poulin-Denis calls his introspective one-man show a "road-play," but that seems like underselling it slightly: nominated for a 2010 Governor General's Literary Award, Rearview finds its protagonist Guy lost somewhere on the roads between Ontario and Quebec. He's also stuck somewhere between the past and the present: on the run from something, he's lost in thought, and his mind wanders through his emotional state towards the core of his very being. And while you're there, you can scope out the recently finished phase II expansion of the already-beautiful La Cité Francophone. (La Cité Francophone [8627 - 91 St] $16 – $25), Provincial Archive's Film Night / Fri, Apr 15 (8 pm) Not to be confused with the local folk band. Our actual, institutional provincial archive is putting on its annual film night, culled from rarely seen footage usually locked away in its vaults. The concept this year is to recreate a small-town Alberta movie house circa 1939, giving audiences both feature-length showcases and shorts from the era, including ancient cartoons, a wartime newsreel, some musical selections and Trigger Fingers, "A comedy western featuring Tim McCoy as an undercover FBI agent in a menacing gang of cattle rustlers." Yee-haw. (Metro Cinema [9828 - 101A Ave], $8 – $10)' Les Parfaits Inconnus / until Sun, Aug 17 (8 pm) Fringe Theatre Adventures is bringing in Les Parfaits Inconnus, which calls itself an "unbalancing act," to close out its Family series. The sixstrong group blends a variety of circus styles and use only "a bicycle, a table, a barrel, a board, a ladder and some balls," to construct a dizzying series of acts, all while engaging in an increasingly over-the-top game of circus skill one-upmanship. (TransAlta Arts Barns, Westbury Theatre [10330 – 84 Ave], $14.18 – $19.95)
ARTS // 15
REVUE // THEATRE
Safety in numbers
// David Cooper
The Three Musketeers is well executed but lacks deeper inspiration
Musketeers! Three of them! Mel Priestley // mel@vueweekly.com
S
taging a production that's based on a classic is usually a pretty safe route for a theatre to take, and this certainly proves true with the Citadel Theatre's newest offering, The Three Musketeers. Alexandre Dumas' 1844 novel is familiar enough, if not for the eye-wateringly circuitous plot then certainly for the characters: the mysterious Athos (Kris Joseph), the proselytizing Aramis (Justin Sproule) and the hedonistic Porthos (Ashley Wright), along with their overeager young protégée d'Artagnan
16 // ARTS
(Eric Morin). Tom Wood has crafted an appropriately quick-paced adaptation that crams in most of the plot twists and political intrigue at a breathless pace, punctuated by several rousting fight scenes. Special recognition must be given to Paul Gelineau and Phillip Nero for organizing and choreographing the fights, which range from one-on-one duels to all-out brawls between a dozen characters. This is a story that relies heavily on its villains to provide a foil to the justice-seeking musketeers, and Melissa MacPherson does an amazing job as the unapologetically evil Milady de Winter,
while Wood is smugly confident as the iniquitous Cardinal Richelieu. It is an unfortunate by-product of the elaborate plot that we don't get longer
and cleverly adaptable: Milady and Richelieu plan their exploits quite literally in the dark and hazy shadows, which are then lifted as the scene shifts
This is a story that relies heavily on its villains to provide a foil to the justice-seeking musketeers scene times with these villains; the musketeers are rounded out a little better, but even the overeager d'Artagnan, who has by far the most stage time, still feels a little under-developed at the close. The set design is deceptively simple
VUEWEEKLY // APR 14 – APR 20, 2011
and a parade of smoothly positioned props creates the lavish 17th century bedroom of hilariously flamboyant King Louis (Adrian Proszowski). Shift again and you're looking at the cluttered lodgings of the musketeers. Yet, though this is a well-executed
performance, it just doesn't seem particularly inspired or relevant; indeed, the very concept of musketeers and their stalwart adherence to fraternité feels quaint, or perhaps even outdated. It's an engaging enough production for casual theatre goers, but comes up short for those seeking something more profound. V Until Sun, Apr 24 (7:30 pm) The Three Musketeers Adapted by Tom Wood Directed by Bob Baker Citadel Theatre (9828 - 101A Ave) $50.40 – $71.40
COMMENT >> BOOKS
REVUE // THEATRE
Hopscotch on Hopscotch
Worth a peek
Pervert sly commentary despite broad narrative
Our final books column tackles its namesake novel Where is the first installment of this colwant to read anything: perhaps this brief enumn? It was published three editors ago, in terprise has been of use. the summer of 2006. I can't find it anywhere, neither on paper nor in the ether. The note"It was about that time I realized that pad on which I started it and the computer searching was my symbol, the emblem of on which I finished it have vanished, rethose who go out at night with nothing in tired to some other place. I wanted mind, the motives of a destroyer of to find that first Hopscotch and compasses." review my original statement of purpose (something about I'm a slow reader. I wish I could books), because this is the last .com have married more of these ly k e e ew installment of Hopscotch and hopscotch@vu columns to current events (OK, s I'm eager to know to what dehere's my last shot: want some Jo ef gree I managed not to fail. literary insight into uprisings in the Braun Why a last Hopscotch? Let's just Middle East? Read Kapuscinski's Shah say what everybody knows already: Vue of Shahs, especially that final section, "The Weekly is a lion, but publishing is tougher Dead Flame"). But from the start this colthan ever, budgets are squeezed and space is umn was designed to remain liberated from at a premium; freelancing is running a marathe dictates of trends. (It's all coming back thon in which you never see the finish line, to me now.) I remember something Alberto the sky is always about to burst into thunManguel said to an audience at an autumn derstorms and, somehow, you never get writer's festival (autumn being that time of any exercise (except, perhaps, of the mind year when everyone is supposed to rememor spirit or whatever, which is some consober to read): "Books do not have seasons. lation). If you've read this column, even just Books are not melons." Among a critic's callonce in a blue moon, even just because there ings is to assess a work and, if the work merwas nothing else to read while the barista its it, propose or renew the work's claims to struggles with your foam or the doctor's got posterity (something a writer should avoid 14 patients ahead of you, even just because thinking about at all costs). This is one of the columnists irritate you and you wanted to get reasons why there have been so many "old" riled up about something for three minutes: books featured in this column. Who reads thank you. If you've read this column and it's nothing but the latest books? Why would actually prompted you to read something, anyone want to follow such a program? Art something in particular ... OK, if it's made you and literature are here to remind us that the
// Ian Jackson, EPIC
HOP H C SCOT
What pervs! Paul Blinov // paul@vueweekly.com
'Y
ou must get a lot of weirdos in here," starts one exchange in Pervert, uttered by first-time porn shopper Mike. "No, mostly just people like you," sighs Tim the clerk, contentedly bored, turning the page of his novel, barely looking up. The scene's a little hint, a comic tease of the deeper probing of issues going on in Northern Light's season-ending show. That porn is a polarizing substitute for a healthy sex life is pretty obvious from the outset here, but Stephen Massicotte's script is particularly good at using it for sly commentary: we get to see porn's damaging effects on two couples (and one lonely regular customer) with more subtlety than its name suggests. Tim's oft-repeated line is that he's working the late-night porn shift until something better comes along, but we get the sense, like his fed-up waitress girlfriend Trish (Mary Hulbert) does, that it's merely lip-service to a better existence. "It's the easiest job I've ever had," he'll say elsewhere, waxing eclectic about porn to his most regular customer, Kurt (James Hamilton), a painfully unappealing sort of fellow who thinks of the porn store as his own. Carefully shown in Chinn's disaffected performance, the job has taken its toll: he obsesses over Trish's waitress job, her choice of clothing, her relationships with male co-workers, their intentions towards her. Yet he's seemed to have lost the ability to show his own affections. Outside the store, Mike and his wife Lisa (Jocelyn Ahlf and Doug Mertz, respectively), are having issues of marital bedroom boredom: "Tell me I've
been a bad girl," she coyly asks. "What did you do?" he says, earnestly, looking for a hint of what to say. He ventures to the store first, looking for something to spice up their sex life, but it's Lisa who finds something to connect with. In both cases, Trevor Schmidt's direction does well in giving us couples that don't quite seem doomed, but do seem locked into downward spirals: we see hints of the good that brought them together, the things they're clinging to, now that their relationship's taken a turn for the worst. Trish, who Hulbert plays strong, with a well-felt mix of honesty and growing relationship apprehension throughout, has one of the plays finest moments, confronting Tim in the store itself, has a particularly stinging point that hangs heavy among walls of porn.
past and the present intermingle always. I wanted this column to take the form of a reader's whims, to dart between the latest and the lasting, and, at the risk of making whimsy, however studious, sound heroic, this insistence on writing about whatever seems worth reading was my modest act of defiance against the nearly ubiquitous model of book criticism as a wing (or, as it were, ghetto) of marketing. I'm happy to help out publishers and booksellers. But this was meant for readers. "Everything can be killed except nostalgia for the kingdom, we carry it in the color of our eyes, in every love affair, in everything that deeply torments and unties and tricks." The above quotations are from Julio Cotázar's Hopscotch (Pantheon, $19), that great experimental novel of the 1960s about feeling lost in Paris in the 1950s, about hamburgers and Harold Lloyd, about desire and disappearance, faces and objects, exile and return, a novel that suggests at least two ways of reading it, that has me flipping back and forth, back and forth, without a sense of how far I've gotten in, and which, delightfully, never really seems to end. It's vast and challenging, but it also has rich characters, tremendous, desperate sex, feats of language, jazz, lots of real, dogged heart, and it's something, if I may suggest, that you should really consider reading. V
The dialogue is quick and bantery, though sometimes the narrative itself suffers for it: that spitball style feels lifted from a sitcom on occasion, particularly between the almost too naive Lisa and Mike couple. Pervert ends on an odd thud, a strange petit mort of its own. It's not the most satisfying finish, but, overall, it's still intelligent enough to send you out with a few points well-landed. If the narrative doesn't quite find its way beyond broadness, the social commentary certainly does. V Thu, Apr 7 – Sun, Apr 17 (7:30 pm) Pervert Written by Stephen Massicotte Directed by Trevor Schmidt Starring Jocelyn Ahlf, Jason Chinn, James Hamilton, Mary Hulbert, Doug Mertz Varscona Theatre (10329 - 83 Ave) $15 – $26
VUEWEEKLY // APR 14 – APR 20, 2011
ARTS // 17
REVUE // THEATRE
Short-changed
The Threepenny Opera is full of hit-or-miss performances Bryan Saunders // bryansaunders@vueweekly.com
T
he sign of any good musical, I think, is when the audience leaves with a song in their head. In the case of The Threepenny Opera, that song was "The Ballad of Mack the Knife." Sung by the entire cast, the reprise closes out the show. It was also, unfortunately, one of the few pieces that I heard in its entirety. The Walterdale Theatre isn't wellsuited to musicals. Acoustically, the shape of the theatre is less than ideal. Furthermore, once there are all sorts of soft bodies sitting in soft seats, sound in the theatre doesn't travel very far. I've seen other musicals succeed in the Walterdale (Bash'd and Death: Live! come to mind) but they were either miked or really belted out. The Threepenny Opera was neither and so, while I'm sure the rest of the songs were as lovely as the reprise of "Mack the Knife," I couldn't hear most of them, especially the handful that were delivered exclusively to house left. The script itself, written by Bertolt Brecht in the 1920s, is very particular in how it should be played. The
18 // ARTS
VUEWEEKLY // APR 14 – APR 20, 2011
Threepenny Opera is intended as a scathing parody of capitalism and all of the characters in it are designed as caricatures. As such, the actors really have to exaggerate the traits of their caricatures for the script to have its desired effect. For this reason, it surprises me to say
of the show. Likewise, Mack's Gang (played by Owen Bishop, Kougar Rosetti, Josh Languedoc and Oscar Derkx) provided most of the laughs ("To the happy couple: Yay. Hooray.") Ultimately, The Threepenny Opera was hit or miss. If you do go see it, I recom-
While I'm sure the rest of the songs were as lovely as the reprise of "Mack the Knife," I couldn't hear most of them. that I was indifferent to the main character of Macheath (John Evans), who I expected to ooze ill-character, but who was instead just ... there. At the other end of the spectrum, supporting actor David Johnston embraced the snivelling, submissive nature of his character Filch, and hit much, much closer to the mark. Indeed, the supporting cast and chorus provided many of the highlights in this show. In the second act for instance, Charity G Principe—playing the secondary role of Jenny—delivered what was unquestionably the best solo
mend sitting house left, near the centre aisle. That way, you should be able to hear most of the songs. V Until Apr 16 (8 pm) The Threepenny Opera Book by Bertolt Brecht Music by Kurt Weill Directed by Curtis Knecht Musical Direction by Sally Hunt Starring Gerald Mason, Kristen M Finlay, David Johnston, Kara Chamberlain, John Evans, Bradley Bishop, Lauren Kneteman Walterdale Playhouse (10322 - 83 Ave) $14 – $18
ARTS WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3pm
DANCE KATHLEEN HUGHES DANCE PRODUCTION
9jl ?Ydd]jq g^ 9dZ]jlY$ * Kaj Oafklgf ;`mj[`add KimYj] Eg\]jf <Yf[] H]j^gjeYf[] Apr 15$ /he Yf\ Apr 16$ *he *- Y\mdlk!$ ). klm\]flk' k]fagjk!
ON THE MOVE =\egflgf K[`ggd g^ :Ydd]l$
0*(- % 1( 9n] /0(&,**&0)(/ ;gf^]j]f[] ^gj _jY\mYlaf_ \Yf[] klm\]flk Yf\ ]e]j_af_ \Yf[] hjg^]kkagfYdk Kmf$ 9hj )/ 02+Ye º +2+(Ye J]_% akl]j Yl `llh2''ooo&\lj[&[Y'egn]ljYfkal']\egflgf& `led [dgk]k 9hj )*! ^j]]
RIVERDANCE BmZad]] 9m\algjame$ )),--%0/ 9n]
:d]f\ g^ emka[$ kgf_$ Yf\ \Yf[] Apr 26-May 1 La[c]lk klYjl Yl -( Yl La[c]lEYkl]j k
FILM CINEMA AT THE CENTRE KlYfd]q 9& Eadf]j
DaZjYjq L`]Ylj]$ / Kaj Oafklgf ;`mj[`add Ki /0(&,1.&/((( ]hd&[Y ;]flj] ^gj J]Y\af_ Yf\ l`] 9jlk k`go[Yk]k dalld]%cfgof ^adek ]n]jq egfl` af l`] DaZjYjq L`]Ylj]
GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq EYaf >d$ Kaj Oafklgf ;`mj[`add Ki /0(&1,,&-+0+ IMAGINE THAT: ?jgmh ]p`aZal Zq 9J;@ Apr 1-30 GALLERY IS�Red Deer -)*+ ,0 Kl$ 9d]pYf\]j
OYq$ J]\ <]]j ,(+&+,)&,.,) LEARNED LITTLE LINES2 9jlogjck Zq KmkYf Oggd_Yj Apr 1-30
GRANT MACEWAN UNIVERSITY ;]flj] ^gj l`] 9jlk Yf\ ;geemfa[Ylagfk$ )kl >d Klm\agk EY[=oYf >af] 9jl ?jY\mYl]k¿ =p`aZalagf Apr 1820$ )*%.he Gh]faf_ j][]hlagf2 Apr 16$ *%-he HAGGERTY CENTRE�Stollery Gallery FafY
@Y__]jlq ;]flj] ^gj l`] 9jlk$ 1**-%))0 9n] /0(&,/,&/.)) fafY`Y__]jlqYjl&[Y =plj]e] E]lYd 9jl =p`aZal hj]k]fl]\ Zq @]Ynq E]lYd gf ;Yehmk Until Apr 18 ART FROM THE HEART2 Aff]j ;alq k[`ggdk YffmYd k`go Yf\ kYd]3 Apr 25-303 KYd]2 >ja$ Apr 29$ +2+(%/he3 KYl$ Apr 30$ ))Ye%,he
HARCOURT HOUSE +j\ >d$ )(*)-%))* Kl
/0(&,*.&,)0( Main Space2 AF TERMATH: 9jlogjck Zq 9jd]f] OYkqdqf[`mc Front Room2 THE SAME MOON: 9jlogjck Zq Fgfa :gqd] Mar 31-Apr 21
HARRIS�WARKE GALLERY�Red Deer Kmf%
ogjck @ge] Yf\ ?Yj\]f Klgj]$ Jgkk Kl$ J]\ <]]j ,(+&+,.&01+/ `YjjakoYjc]_Ydd]jq&[ge UNCONVENTIONAL COMFORTS2 ;]jYea[k Zq BmdaY K[`meY[`]j3 Apr 4-May 63 gh]faf_ j][]hlagf2 May 6$ .%0he
SNAP GALLERY )()*+%)*) Kl /0(&,*+&),1*
THE SPACES BETWEEN...: Hjaflogjck Zq 9eq K[`ea]jZY[` Until Apr 14 @Yf\ hjafl]\ Yl KF9H2 Khjaf_ [Yj\ eYcaf_ ]n]fl Apr 16-17 )- \ggj3 af[dm\]k Ydd eYl]jaYdk!
TELUS WORLD OF SCIENCE ))*))%),*
Kl /0(&,-)&++,, Margaret Zeidler Theatre2 HOLIDAY MUSIC MAGIC2 The Celestial Railroad, The Digital Universe (live show) and Secret of the Cardboard Rocket THE CHRONICLES OF NARNIA: THE EXHIBITION2 until May 1
UNIVERSITY OF ALBERTA )%) >af] 9jlk
:mad\af_$ 01 9n]$ ))* Kl /0(&,1*&*(0) M g^ 9 k ZY[`]dgj g^ \]ka_f hjg_jYe ?jY\ K`go& >]Ylmjaf_ l`] ogjc g^ Ydd l`] klm\]flk _jY\mYlaf_ ^jge l`] hjg_jYe Apr 26-May 7 Gh]faf_ j][]hlagf Apr 28$ /he
VAAA GALLERY +j\ >d$ )(*)-%))* Kl /0(&,*)&)/+) Gallery A: ACCUMULATED PERCEPTION: 9jlogjck Zq JgZ]jl <eqljmc P HGKALAGF2 ]p`aZalagf'^mf\jYak]j3 Mar 31-Apr 21 VOICES2 9jlogjck Zq 9d @]f\]jkgf3 Yf ]phdgjYlagf g^ e]egja]k g^ ;YfY\Y¿k eadalYjq eakkagfk af 9^_`YfaklYf Apr 28-May 28 Gh]faf_ j][]hlagf2 Apr 28$ /%12+(he VASA GALLERY Klm\ag ?Ydd]jq! )) H]jjgf Kl$
Kl 9dZ]jl /0(&,.(&-11+ THE PORTAL, INTO THE SIGNIFICANT LINE2 HYl OY_]fkn]d\3 Apr 7-30
WEST END GALLERY )*+(0 BYkh]j 9n]
JEFF ALLEN GALLERY KljYl`[gfY HdY[] K]fagj
/0(&,00&,01* UP DOWN ALL AROUND: 9jlogjck Zq HYmd Bgj_]fk]f Apr 2-14 :j]fl J& DYq[g[c3 Apr 30-May 12
JUBLIEE AUDITORIUM BUILDING A MYSTERY:
LITERARY
;]flj]$ )(0+) Mfan]jkalq 9n] /0(&,++&-0(/ Ogjck Zq l`] =\egflgf F]]\d] ;jY^l ?mad\ Apr 1-27
9jlogjck Zq 9dZ]jlY Kg[a]lq g^ 9jlaklk3 afkhaj]\ Zq l`] emka[ g^ KYjY` E[DY[`dYf Apr 15-30
JURASSIC FOREST/LEARNING CENTRE )-
eafk F g^ =\egflgf g^^ @oq *09$ Lgofk`ah J\ -., =\m[Ylagf%ja[` ]fl]jlYafe]fl ^Y[adalq ^gj Ydd Y_]k
AUDREYS BOOKS )(/(* BYkh]j 9n]
/0(&,*+&+,0/ Bg[]dqf :jgof$ l`] f]o Ojal]j% af%J]ka\]f[] Yl 9m\j]qk :ggck ]n]jq Lm] Yf\ O]\ *%-he 9ml`gj <Yn] @m_]dk[`Y^^]j g^ One Careless Moment Yf\ Day Into Night kh]Yck3 Apr 17$ )he
FROM BOOKS TO FILM SERIES KlYfd]q 9& Eadf]j DaZjYjq$ EYaf >d$ 9m\ag NakmYd Je K[j]]f% af_k g^ ^adek Y\Yhl]\ ^jge Zggck ]n]jq >ja\Yq Y^l]jfggf hj]k]fl]\ Zq l`] ;]flj] ^gj J]Y\af_ Yf\ l`] 9jlk
KIWANIS GALLERY�Red Deer J]\ <]]j DaZjYjq THE FLOWER’S BEAUTY2 9jlogjck Zq CYl`d]]f Hgdkgf Until May 1
BLUE CHAIR CAFÉ 1.*,%/. 9n] /0(&,.1&0/-- Klgjq KdYe2 *f\ O]\ ]Y[` egfl`
PROVINCIAL ARCHIVES OF ALBERTA FILM NIGHT: HOLLYWOOD TOURS ALBERTA
LATITUDE 53 )(*,0%)(. Kl /0(&,*+&-+-+
dYlalm\]-+&gj_ Main Gallery2 Fgpagmk K][lgj Apr 15-May 14
CAFÉ HAVEN K`]jogg\ HYjc$ 1 Kagmp J\
E]ljg ;af]eY$ ;alY\]d L`]Ylj] :mad\af_$ 10*0 )()9 9n] >]Ylmj]k l`] O]kl]jf ;ge]\q ¼Lja__]j >af_]jk½& L`] H99 oadd Ydkg hj]k]fl Y f]okj]]d ^jge )1+1$ Y [Yjlggf$ Yf\ l`j]] emka[Yd kgmf\a]k )( ^gj 9\mdlk$ 0 ^gj Klm\]flk Yf\ K]fagjk Apr 15$ 0he
GALLERIES + MUSEUMS AGNES BUGERA GALLERY )*+)( BYkh]j 9n] /0(&,0*&*0-, Y_f]kZm_]jY_Ydd]jq&[ge 9jlogjck Zq C]f OYddY[]3 Apr 16-303 gh]faf_ j][]hlagf2 KYl$ Apr 16$ *%,he3 Yjlakl af Yll]f\Yf[]
A. J. OTTEWELL ART CENTRE�Sherwood Park -1( :jgY\eggj :dn\$ K`]jogg\ HYjc
/0(&1**&+)/1 YjlkljYl`[gfY&[ge Khjaf_ K`go Yf\ KYd]2 Ogjck Zq e]eZ]jk g^ l`] 9jl Kg[a]lq g^ KljYl`[gfY ;gmflq Apr 15-17 Gh]faf_ j][]h% lagf2 >ja$ Apr 15$ /%)(he$ Yjlaklk af Yll]f\Yf[]
ALBERTA CRAFT COUNCIL GALLERY
)()0.%)(. Kl /0(&,00&..)) YdZ]jlY[jY^l&YZ&[Y FLOURISH: <][gjYlan] ;]jYea[k Zq ;gffa] Hac]3 Apr 9-May 21 STRENGTH & STILLNESS: Ogjck Zq l]plad] Yjlakl K`Yjgf OaddYk JmZmdaYc3 Apr 9-May 21 Discovery Gallery: IN THE RED2 CREATION FROM DEFICIT2 Ogjck ]phdgj] l`] aehY[l g^ 9dZ]jlY¿k j][]fl Zm\_]lYjq [mlk gf Yf Yjlakl¿k YZadalq lg [j]Yl]3 Apr 2-Jul 5
LOFT GALLERY 9& B& Gll]o]dd 9jl ;]flj]$ -1( :jgY\eggj :dn\$ K`]jogg\ HYjc /0(&1**&.+*, BACK YARDS, BACK ALLEYS AND OUT BACK2 9jlogjck Zq =dYaf] Lo]]\q$ KgfbY EYjafgkc]$ 9m\j]q Bgk]h`kgf$ Yf\ :YjZYjY ;Yjd]%Cgo]d]okca$ e]eZ]jk g^ l`] 9jl Kg[a]lq g^ KljYl`[gfY ;gmflq Until May 8 MCMULLEN GALLERY M g^ 9 @gkhalYd$ 0,,(%
))* Kl /0(&,(/&/)-* THE FOREST2 9jlogjck Zq e]eZ]jk g^ l`] 9dZ]jlY Kg[a]lq g^ 9jlaklk Until May 22
MICHIF CULTURAL AND MÉTIS RESOURCE INSTITUTE 1 Eakkagf 9n]$ Kl 9dZ]jl
RIVERDALE 11)/%0/ Kl ;j]Ylan] Ogj\ BYe =n]jq +j\ Kmf g^ l`] egfl`$ .%)(he
MULTICULTURAL CENTRE PUBLIC ART
ALBERTA SOCIETY OF ARTISTS GALLERY
ARTERY 1-+- BYkh]j 9n] AF TERBIRTH2 Ogjck
MUSÉE HÉRITAGE MUSEUM�ST ALBERT - Kl 9ff] Kl$ Kl 9dZ]jl /0(&,-1&)-*0 PATTERNS IN GLASS2 E lak <]ka_f af :]Y\k3 until Jun 2011 St Albert History Gallery2 >]Ylmjaf_ Yjla^Y[lk \Yl% af_ ZY[c -$((( q]Yjk
OYdl]j\Yd] HdYq`gmk]$ )(+**%0+ 9n] /0(&,+1&*0,- THE THREEPENNY OPERA2 ?jgmh k`go g^ Yjlogjc afkhaj]\ Zq l`] :j][`l'O]add [dYkka[ Apr 6-16
Zq ?YZja]dY Jgk]f\]$ 9f\j]Y D]^]Znj] Yf\ @gj][% rcg Jmkd]j3 ^g[mk gf f]o \aj][lagfk g^ ]phj]kkagf Zq ]Y[` Yjlakl Y^l]j Zajl` VERSATILE2 H`glgk g^ ^Yjeaf_ lggdk'eY[`af]k Zq 9daklYaj @]ffaf_ Apr 1-May 1
ART GALLERY OF ALBERTA (AGA) * Kaj Oafklgf ;`mj[`add Ki /0(&,**&.**+ qgmjY_Y&[Y BRIAN JUNGEN: L`j]] k[mdhlmjYd afklYddYlagfk3 until May 8 Sculpture Terraces: Ogjck Zq H]l]j @a\] Yf\ C]f EY[cdaf BMO World of Creativity: DRAWN OUTSIDE2 ]kh][aYddq ^gj ca\k3 Until Jan 29$ *()* WALTER J. PHILLIP: WATER AND WOODS: OYl]j[gdgmjk Yf\ ogg\[mlk3 l`] ^ajkl af l`] f]o 9dZ]jlY =Yjdq EYkl]jk K]ja]k3 until Jun 5 K@=JJA ;@9:92 L@= KAD=F;= G> CHAOS: until May 15 @9A<9 9JL2 E9HHAF? AN ANCIENT LANGUAGE3 until Jun 5 NATURE AND SPIRIT2 ;gYklYd dYf\k[Yh]k Zq =eadq ;Yjj3 until Jun 5 Art on the Block2 9ffmYd Kad]fl 9jl 9m[lagf Yf\ ;g[clYad HYjlq af kmhhgjl g^ qgmj 9?93 May 12$ /he3 )*- Art for Lunch2 Ravens and Eagles: Haida Art; Apr 21$ )*2)(he3 ^j]] LAWREN HARRIS ABSTRACTIONS; until Sep 11 All Day Sunday2 FYlmj] Yf\ Khajal3 Apr 17$ )*%,he Adult Drop-in Workshops2 Kc]l[`2 =ph]jae]flYd <jYoaf_3 Apr 14$ /%1he3 )-' )* 9?9 e]eZ]jk! Studio Y Youth Drop-In Workshop2 K`Yh]%k`a^l2 9ZkljY[l K[mdhlmj]3 Apr 15$ +2+(%-2+(he3 )( j]_akl]j Yl qgmjY_Y&[Y!
NAESS GALLERY�Paint Spot )((+*%0) 9n]
/0(&,+*&(*,( ALTERED CANVAS2 Ogjck Zq ;Yl`q E[EaddYf3 Apr 4-29
PETER ROBERTSON GALLERY )*+(, BYkh]j 9n] /0(&,--&/,/1 9jl Zq ?j]_gjq @Yj\q Apr 9-23 PICTURE THIS GALLERY 1-1 Gj\r] J\$ K`]jogg\ HYjc /0(&,./&+(+0 NYf[] L`]gj]l Yf\ Bgff =af]jkk]f Khjaf_ 9jl K`go2 Klgf] K[mdhlmj] ogjck Zq NYf[] L`]gj]l Yf\ l`] K]Yk[Yh]k Yf\ DYf\k[Yh]k g^ Bgff =af]jkk]f Apr 7-23 Gh]f% af_ j][]hlagf2 L`m$ Apr 7$ -he PROFILES GALLERY�St Albert )1 H]jjgf
Kl$ Kl 9dZ]jl /0(&,.(&,+)( Yjlk`]jalY_]&[Y ADAPTATION AND ALTERATION2 Ogjck Zq :qjgf E[:ja\] Yf\ JqYf E[;gmjl Apr 7-30
ROBBINS HEALTH LEARNING CENTRE )(1)( % )(, 9n]$ ?jYfl EY[=oYf Mfan]jkalq L`] =d]% e]flk g^ <]ka_f % *()) EY[=oYf <]ka_f Klm\a]k Hgjl^gdag K`go *()) _jY\mYl]k oadd Z] mfn]adaf_ l`]aj ]phdgjYlagf g^ l`] ]d]e]flk g^ \]ka_f >j]] Apr 26$ /%)(he
ROYAL ALBERTA MUSEUM )*0,-%)(* 9n]
ART GALLERY OF ST ALBERT (AGSA)
Hjg^ad]k$ )1 H]jjgf Kl$ Kl 9dZ]jl /0(&,.(&,+)( E[:ja\] Yf\ JqYf E[;gmjl3 Apr 7-30
/0(&,-+&1)(( Wild Alberta GalleryºWILD BY NATURE2 =n]jq KYl Yf\ Kmf$ ))Ye Yf\ *he ILLEGAL KILLER TRADE; until May 1 HEART AND SOUL2 Im]Z][ ^gdc Yjl3 until May 8 BETTER CHOOSE ME2 ;gdd][laf_ Yf\ ;j]Ylaf_ oal` LgZY[[g >YZja[ Fgn]dla]k3 Until May 1
BEAR CLAW GALLERY )(,(+ )*, Kl
SCOTIA PLACE )((.( BYkh]j 9n] OUTSIDE
EXPRESSIONZ CAFÉ 11+0%/( 9n]
SCOTT GALLERY )(,))%)*, Kl /0(&,00&+.)1
/0(&,0*&)*(, Z]Yj[dYo_Ydd]jq&[ge =p`aZalaf_2 Dafmk Ogg\k Apr 16-28
/0(&,+/&+../ ]phj]kkagfr[Y^]&[ge 9jlogjck Zq dg[Yd Yjlaklk
IN THE LANDSCAPE: 9dZ]jlY Gad HYafl]jk Until Apr 23
k[gll_Ydd]jq&[ge ELEMENTAL: 9jlogjck Zq Dqff EYdaf Apr 16-May 3 Gh]faf_ j][]hlagf2 KYl$ Apr 16$ *%,he
SQUABBLES E]egjaYd 9jlk ;]flj]$ -*(.%-(
LITTLE WOMEN, THE MUSICAL ;alY\]d EY[dYZ L`]Ylj]$ 10*0%)() 9 9n] /0(&,*.&,0)) [alY\]dl`]Ylj]&[ge :ggc Zq 9ddYf Cf]]$ dqja[k Zq Eaf\a <a[ckl]af$ emka[ Zq BYkgf @godYf\$ \aj][l]\ Zq :gZ :Yc]j& 9 emka[Yd kmalYZd] ^gj l`gk] )( q]Yjk g^ Y_] Yf\ mh Apr 30-May 22
THEATRESPORTS NYjk[gfY L`]Ylj]$ )(+*1%0+
PERVERT NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] /0(&,/)&)-0. fgjl`]jfda_`ll`]Ylj]&[ge Hj]k]fl% ]\ Zq Fgjl`]jf Da_`l L`]Ylj] 9 _jallq hdYq k]l af Y hgjfg k`gh Zq Kl]h`]f EYkka[gll] Apr 8-19 Hj]na]o2 )- Y\mdl'k]fagj!'^j]] klm\]fl!3 gh]faf_2 *- Y\mdl'klm\]fl'k]fagj$ af[d Gh]faf_ fa_`l j][]hlagf!3 9dd gl`]j h]j^gjeYf[]k2 *( Y\mdl!' )0 klm\]fl'k]fagj! Yl LAP gf l`] KimYj]
THE THREE MUSKETEERS ;alY\]d EY[dYZ L`]Ylj]$ 10*0%)() 9 9n] /0(&,*.&,0)) [alY% \]dl`]Ylj]&[ge 9 f]o Y\YhlYlagf Zq Lge Ogg\$ ZYk]\ gf l`] klgjq Zq 9d]pYf\j] <meYk$ ogjd\ hj]ea]j] \aj][l]\ Zq :gZ :Yc]j Apr 2-24
PUBLIC SPEAKING L`]Ylj] F]logjcºdan] Yl l`]
Jgpq$ )(/(0%)*, Kl /0(&,-+&*,,( l`]Ylj]f]l% ogjc&[Y Ogjd\ Hj]ea]j g^ ;`jak ;jY\\g[c k gf] eYf lgmj%\]%^gj[]$ eYfahmdYlaf_ kgmf\ lg l]dd `ak klgjq& <aj][l]\ Zq :jY\d]q Egkk Apr 19-20 Hj]na]o!$ Apr 21-May 8
REARVIEW DY ;al $ 0.*/ jm] EYja]%9ff]%
?YZgmjq /0(&,.1&0,(( dmfal`]Ylj]&[Y D MfaL` lj] :q ?add]k Hgmdaf%<]fak L` lj] DY Ljgmh] \m Bgmj Apr 14-16$ 0he3 Apr 17$ *he
Kl$ O]lYkcaoaf /0(&+-*&0+0+ OYl]jogjck HdYq]jk%O]lYkcaoaf L`]Ylj] Kg[a]lq L`ak hdYq$ Zq EYjk`Ydd CYjh$ halk Y ^Yl`]j af dYo Y_Yafkl Y egl`]j af Y [ge]\a[ km[[]kkagf g^ kimYZZd]k Apr 28-30, May 5-7$ 0he )- >ja%KYl!3 +- KYl \af% f]j l`]Ylj]3 emkl Z] hmj[`Yk]\ gf] o]]c af Y\n!$ YnYadYZd] Yl <j& @]ocg k G^^a[]$ L`] B]ddq :]Yf$ @go Ko]]l Al Ak
9n] JYha\ >aj] L`]Ylj] k +(l` 9ffan]jkYjq =\alagf =n]jq >ja Yl ))he )( Yl LAP gf l`] KimYj]$ \ggj )( Yl LAP gf l`] KimYj]$ \ggj
THE THREEPENNY OPERA OYdl]j\Yd] L`]Ylj]$ )(+**%0+ 9n] /0(&,+1&*0,- oYdl]j\Yd]hdYq% `gmk]&[ge :ggc Yf\ dqja[k Zq :]jlgdl :j][`l$ hj]k]flaf_ l`] =f_dak` Y\YhlYlagf Zq EYj[ :dalrkl]af& Emka[ Zq Cmjl O]add$ \aj][l]\ Zq ;mjlak Cf][`l oal` emka[ \aj][lagf Zq KYddq @mfl Apr 6-16 La[c]lk Yl LAP gf l`] KimYj] TRUE LOVE LIES ;alY\]d Ja[] L`]Ylj]$ 10*0%)()
9 9n] /0(&,*.&,0)) [alY\]dl`]Ylj]&[ge :q :jY\ >jYk]j$ \aj][l]\ Zq Jgf B]fcafk 9 f]o [ge]\q g^ ZY\ eYff]jk l`Yl k`Yll]jk gmj addmkagfk YZgml l`] ¼h]j^][l½ ;YfY\aYf ^Yeadq Apr 23-May 15
Yf\ gl`]j \goflgof n]fm]k ]\egflgfhg]l% jq^]klanYd&[ge 9 o]]c g^ ogj\k gml dgm\$ ^jge hg]ljq kdYek lg [Y^ j]Y\af_k$ ^jge ogjck`ghk lg oYdcYZgmlk& Hg]lk ^jge Y[jgkk ;YfY\Y oadd [jgkk hYl`k oal` dg[Yd lYd]fl Apr 25-May 1
/0(&1.+&11+- Dining Room Gallery2 HYaflaf_k Zq B]Yf Egf[mj3 until Apr 22
GALLERY–Stony Plain -,))%-) Kl$ Klgfq HdYaf /0(&1.+&11+- HYaflaf_$ k[mdhlmj] Yf\ [gddY_] Zq KmkYf Jg_]jk$ OYf\Y ;jY[cf]dd Yf\ ?Yad EYjk\]f Apr 14-May 11 Gh]faf_ j][]hlagf2 Kmf$ Apr 17
LES PARFAITS INCONNUS O]klZmjq L`]Ylj]$ LjYfk9dlY 9jlk :Yjfk$ )(++(%0, 9n] >jaf_] L`]% Ylj] 9\n]flmj]k2 Y e]\d]q g^ [aj[mk Y[lk$ [ge]\q$ Yf\ emka[& 9je]\ oal` Y Za[q[d]$ Y lYZd]$ Y ZYjj]d$ Y ZgYj\ Yf\ Y dY\\]j$ kap ][[]flja[ [`YjY[l]jk e]]l gf klY_]$ ]Y[` ljqaf_ lg gml\g l`] gl`]j af Y [gf% l]kl g^ af[j]Ykaf_dq gmljY_]gmk Yfla[k Apr 8-17 Apr 8, and 15, /he$ Yf\ Apr 9-10$ Apr 16-17 Yl *he& La[c]lk Yj] )0 ^gj Y\mdlk$ )- ^gj klm\]flk' k]fagjk Yf\ )*&-( ^gj [`ad\j]f hdmk lYp Yf\ ^]]k!$ YnYadYZd] Yl l`] >jaf_] L`]Ylj] :gp G^^a[]
K`g[lgj L`]Ylj]$ 10*0%)() 9 9n] /0(&,*.&,0)) [alY\]dl`]Ylj]&[ge :q <]ffak >ggf$ \aj][l]\ Zq JgZZ HYl]jkgf3 Y EYfalgZY L`]Ylj] ^gj Qgmf_ H]ghd] hjg\m[lagf af hYjlf]jk`ah oal` L`] Ja[c @Yfk]f >gmf\Ylagf& L`ak hdYq lYc]k Y dggc ZY[c lg l`] Z]_affaf_ g^ Ja[c @Yfk]f k klgjq Yf\ l`] eg% e]flk d]Y\af_ mh lg Y da^]%Ydl]jaf_ ]n]fl& KmalYZd] ^gj l`gk] )( q]Yjk g^ Y_] Yf\ mh Apr 2-17
EDMONTON POETRY FESTIVAL L`] 9jl]jq
HAVEN SOCIAL CLUB )-)*( Klgfq HdYaf JgY\ =\egflgf Klgjq KdYe2 >an] jYf\ge Ym\a% ]f[] bm\_]k jYl] Y eYpaeme g^ )( ojal]jk$ o`g [geh]l] ^gj [Yk`& Fg eafgjk Ka_f mh Y^l]j /he& K`go klYjlk Yl /2+(& +j\ O]\ g^ ]n]jq egfl`
MILDWOOD GALLERY ,*.$ ..--%)/0 Kl E]d @]Yl`$ BgYf @]Yd]q$ >jYf @]Yl`$ DYjjYaf] GZ]j_$ L]jjq C]`g]$ <Yjd]f] 9\Yek$ KYf\q ;jgkk Yf\ Na[lgjaY$ Hgll]jq Zq FYZgjg CmZg Yf\ Na[lgj @Yj% jakgf Ongoing
RICK: THE RICK HANSEN STORY ;alY\]d
Kl$ M g^ 9 Hj]k]fl]\ Zq =DGH= Emka[Yd L`]Ylj] Apr 27-30$ /2+(he3 Apr 30$ *he La[c]lk Yl LAP gf l`] KimYj]$ \ggj
/0(&,)/&--*+ [Y^]`Yn]f&[Y Klgjq KdYe af l`] HYjc2 KdYe G^^ºl`] [geh]lalagf ^jge l`] hj]nagmk egfl`k oaff]jk3 Klgjqojal]jk j]Y\'h]j^gje - eafml]$ gja_afYd klgja]k *f\ Lm] g^ l`] egfl` - j]Y\]j j]_akljYlagf3 aflg l`] `Yl ^gj l`] KdYe G^^ !' -
MCPAG–Stony Plain -,))%-) Kl$ Klgfq HdYaf
/0(&.-)&0)/. 9Zgja_afYd N]l]jYfk <akhdYq ?a^l K`gh >af_]j o]Ynaf_ Yf\ kYk` \akhdYq Zq ;]dafY Dgq]j Ongoing
INTO THE WOODS Laeek ;]flj]$ 0/ 9n]$ ))*
ROUGE LOUNGE )()))%))/ Kl /0(&1(*&-1(( Hg]ljq ]n]jq Lm] oal` =\egflgf k dg[Yd hg]lk ROSIE’S BAR )(,/-%0( 9n] KLGJQ ;9>z2 L`] )kl L`m g^ l`] egfl` mflad Bmf
STANLEY A. MILNER LIBRARY / Kaj Oafklgf
;`mj[`add Ki /0(&,1.&/((( Centre for Reading2 >jge :ggck lg >ade3 ]n]jq >ja$ *he Teen Movie Scene2 egna] [dmZ ^gj l]]fk3 )kl Yf\ +j\ L`m ]n]jq egfl` Writers’ Corner2 =HD¿k Ojal]j af J]ka% \]f[]3 ^]Ylmjaf_ Y \a^^]j]fl Yml`gj ]Y[` egfl`3 dYkl Kmf ]Y[` egfl` Yl )2+(he
STRATHCONA COUNTY LIBRARY ,() >]klanYd
DYf]$ K`]jogg\ HYjc /0(&,)(&0.(( -l` 9ffmYd =n]faf_ g^ Hg]ljq HYjl g^ FYlagfYd Hg]ljq Egfl`3 ]n]faf_ g^ j]Y\af_k Zq 9dZ]jlY hg]lk oal` gh]f eac] k]kkagf& Oaf] Yf\ [`]]k] oadd Z] k]jn]\ Apr 21$ .2+(he - \ggj!
UPPER CRUST CAFÉ )(1(1%0. 9n] /0(&,**&0)/, kljgddg^hg]lk&[ge L`] Hg]lk¿ @Yn]f O]]cdq J]Y\af_ K]ja]k2 ]n]jq Egf$ /he hj]k]fl]\ Zq l`] Kljgdd g^ Hg]lk Kg[a]lq3 -
THEATRE THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE EYq^a]d\ <aff]j L`]Ylj]$ )..)-% )(1 9n] /0(&,0+&,(-) eYq^a]d\l`]Ylj]&[Y Apr 19-Jun 19
AN ALMOST PERFECT THING DY ;al >jYf[g% h`gf]$ /0(&,//&-1-- ]pl +() ogjck`gho]kl&gj_ Hj]k]fl]\ Zq Ogjck`gh O]kl L`]Ylj]$ Zq Fa[gd] Eg]dd]j& 9 ojal]j \][a\]k `] oadd Z] l`] gf] lg _]l l`] klgjq g^ Y qgmf_ _ajd o`g `Yk Z]]f kad]fl kaf[] k`] ]k[Yh]\ Z]af_ `]d\ Y_Yafkl `]j oadd ^gj k]n]f q]Yjk Mar 31-Apr 17, /2+(he$ *he Kmf! CHIMPROV NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] =n]jq KYl Yl ))he fg k`go gf l`] dYkl KYl g^ l`] egfl`! )(' - @a_` K[`ggd Klm\]fl! Yl LAP gf l`] KimYj]$ \ggj DIE�NASTY NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] /0(&,++&++11 \a]%fYklq&[ge Dan] aehjgnak]\ kgYh gh]jY =n]jq Egf$ /2+(he3 mflad May 30 )* Y\n Yl LAP gf l`] KimYj]!$ \ggj
DISNEY’S JUNGLE BOOK KIDS @gjargf KlY_]$ )(() ;YdY`gg J\$ Khjm[] ?jgn] /0(&1.*&011- Emka[Yd hj]k]fl]\ Zq l`] @gjargf HdYq]jk Apr 28-30; May 5-7$ /2+(he3 Apr 30$ *he *( Y\mdl!' )- klm\]fl'k]fagj!' - ]q]?G Yl @gjargf KlY_] Zgp g^^a[]$ La[c]lEYkl]j FESTIVAL THÉÂTRE JEUNESSE DE L’ALBERTA DY ;al $ 0.*/ jm] EYja]%9ff]%?YZgmjq /0(&,.1&0,(( dmfal`]Ylj]&[Y D]k b]mf]k YdZ]j% lYafk ** \alagf Apr 29-30; May 1
VUEWEEKLY // APR 14 – APR 20, 2011
ARTS // 19
FILM
An ode to Mulroney
Larry Weinstein discusses his operatic satire
Rick Miller as our 18th prime minister Paul Blinov // paul@vueweekly.com
L
ike the political figure who lends Mulroney: The Opera its name and story it's certainly filled with ambition: starring two full casts—a crop of Canadian opera talent lending their voices to be lip-synched by actor counterparts, Billed as tongue-in-cheek look at Mulroney's rise and fall, from the early days through his time spent in power, right down to the downfall, and even a bit of legacy-looking. Mulroney: The Opera is actually the 10th comic opera Larry Weinstein has been involved in, though it's the first one that has run longer than a scant few minutes. The rest, a collection of short sketches, animate the mundane moments of relationships—like fighting over who didn't screw the cap on the toothpaste—to operatic heights. Alongside composer Alexina Louie and writer/librettist Dan Redican—a former story editor for Kids in the Hall— Weinstein spent five years developing this full-length satire. He took a morning phonecall with Vue Weekly to discuss the appeal of opera, silence from Brian Mulroney thus far, and the rich history of Canadian political satire. VUE WEEKLY: You must be thrilled an election was called. LARRY WEINSTEIN: Yeah, it's pretty amazing. Our publicist said it's actually a coup that she arranged, but I'm not sure that's how it works [laugh]. Well I
20 // FILM
VUEWEEKLY // APR 14 – APR 20, 2011
mean it's good or bad; people might be sick of all things political. But on the other hand, they might like the idea; the election time is always ... people are fed so many lines, and they don't know which way to turn—well, unless you're in the West. Then you know [laughs]. VW: When it comes to comedy and politics in Canada, what does working in comedy allow you to do? LW: Well, comedy and politics ... it's something that's so ancient. It's [François] Rabelais, it's Jonathan Swift and it's Cervantes. Right up to the political cartoonists from so long back. ... I think the first musical in Canada was called The Ladies in Belleville, which [had] the songs and the melodies Gilbert and Sullivan, and it was this send up of John A MacDonald, this early musical, in his lifetime. I think politicians kind of have to embody themselves. There's a Commedia Dell'arte aspect: they have to define their own characters, and they almost caricature themselves just to be distinct—though I don't think our present leaders are good at that yet. Now it's all a matter of, "Don't say the thing that's going to be the sound bite that gets you in trouble that gets played, again and again." VW: Mulroney's pretty famously litigious. Now that there's a release date and advertising, have you heard anything from the Mulroney camp? LW: No, not directly. I'm feeling his presence; I feel the spectre [laugh]. I don't know if he, by chance, would've
gotten a bootleg copy of this or not. But I actually think that he would sit back and enjoy it. I think he would enjoy the fact that he sings and dances so well. That Mila looks so fantastic—I mean, other than the shopping thing [a song wherein her answer to her husband's problems is to go shopping], which is what she was known for at the time. I know that she's a brilliant woman, and I know that he's a brilliant guy, much moreso than we let on in this. But, I don't know ... there's something lighthearted about it, even with its satirical edge, that is a lot more pleasant than reading the manuscripts of the Schreiber Airbus affair. I think this is far more entertaining than that. Therefore I thought he might be entertained. But there's been so much press about it, and there's the little trailers and cast lists with photographs. ... I mean, I feel bad; you Google "Mulroney" and if I'm not mistaken, Mulroney: The Opera comes up right away. And I can't imagine that Brian Mulroney doesn't Google himself every once in a while. I think he's aware of [his] legacy. Something tells me he is. V Sat, Apr 16 (1 pm) Mulroney: The Opera Directed by Larry Weinstein Composed by Alexina Louie Written by Dan Redican STarring Rick Miller Cineplex theatres
COMMENT >> DVD
Evening voyeurism The Prowler is a noir masterpiece
The opening shot of The Prowler (1951) Webb will briefly inhabit the very same peers in out of the night through the perspective as that first shot while surluminous bedroom window of Susan veying the house's exterior. The identity Gilvray (Evelyn Keyes). We supof the bearer of the eyes through pose we're assuming the which we first leer at Susan reeponymous prowler's pointmains ambiguous. Audaciously of-view, but who exactly is so, considering the film's titled m after this creature-voyeur osthe prowler? Officers Bud o .c ly k uewee Crocker and Webb Garwood dvddetective@v tensibly nestled in the shrubs. (Van Heflin) arrive to check Does he (or she) even exist? Josef for signs of trespassage, the Are we the prowler? Braun latter condescendingly reassurPreviously unavailable on DVD, ing this nervous and attractive wife The Prowler has finally appeared, reof a late-night disc jockey while admiring leased by VCI and gorgeously restored by her affluence and formulating plans to the Film Noir Foundation and the UCLA seduce her. But it's not at all clear that Film and Television Archive. Directed by our heroine's adversary (and soon-to-be Joseph Losey and secretly written by lover) was the opening's peeper, though blacklisted screenwriter Dalton Trumbo,
DVCD TIVE
DETE
The Prowler is brooding yet taut as a timing belt, brimming with lust and petty ambitions yet complicated by a thicket of unarticulated, conflicting emotions. With its overt perversions and premarital sex, it's one of the period's most flamboyant violators of the production code. A broad abstract of its plot promises a retread of Double Indemnity (1944), replacing femme fatale with homme, but there's so much more going on here. Every new sequence renegotiates the story's direction and tone. At times it's a comedy of discomfort, at others commentary on class envy. While moving through Susan's cavernous bungalow it carries the air of a horror picture: there's that monster, and he wants inside. But as we move from Los Angeles suburb to Nevada highway to a desert ghost town, the film's landscapes become increasingly oneiric, the couple's motives increasingly bizarre—yet somehow it all makes an eerie kind of sense.
Scream 4
New decade, some ol' Scream
The cinema's most annoying crank caller returns in this latest installment of Wes Craven's franchise, as does original scripter Kevin Williamson, several original castmembers and that stupid ghost-face mask. After a decade spent licking her wounds, working on her martial arts technique and writing a memoir which apparently consists of nothing but self-help platitudes,
though it's clear she's thinking something. And it's probably a bad idea. Susan's husband—voiced by Trumbo— is heard on the radio during their trysts. That voice assures the adulterers of the husband's absence, yet it also makes him perpetually present, a bodiless chaperone, announcing song titles that read like chapters in the novel of his wife's affair. When Webb kisses Susan the camera swings over toward the radio as if seeking a reaction shot. Susan never describes her husband physically, and that first fleeting moment in which we finally see him is also the last. In this way Losey's film becomes a delicious, rigorous study in what it means to see and to hear in the movies. Everything our senses are given is precise and provocative. "I'll be seeing you, Susan," the husband says each night as he signs off, and we'll be seeing her too: The Prowler is a noir masterpiece, and deserves to be revisited again and again. V
Your Highness execution, the film's immaculately cleansed and powdered zitless nubile babes discussing strategies for genre renovation reduces forward-thinking horror to nothing but infinite variations on "boo" moments, utterly removed from thornier challenges such as the consideration of what lies behind fear, anxiety, dangerous thrills or morbid curiosity. To note the film's inherent preposterousness seems redundant, though the truth is that nothing in Scream 4 seems more improbable than a teenager who can't remember where she left her mobile phone.
Opening Friday Directed by Wes Craven Written by Kevin Williamson Starring Neve Campbell
Oblivious to his own douche-bag menace, Webb is Heflin at his finest: those round, Wellesian eyes that keep glancing backward as he swaggers away from Susan's door, the way he abuses his authority to make himself at home, worming his way in, asking for milk, thumbing the records in search of some Guy Lombardo. Webb and Susan discover they share roots in rural Indiana—they attended the same football dances—and with this tenuous connection Webb commandeers their affair, delighting in toying with Susan's feelings. He tells her he wants to buy a motor court in Nevada. Every time he's in Vegas he drives out just to see if it's still there. At first Susan says she married her older, wealthy husband to get away from guys like Webb, but she still falls for him. Is Susan lonely or mentally ill? Is she genuinely drawn to this creep? The elegance of Keyes' performance lies in its sustained uncertainty. It's often impossible to discern what she's thinking,
final girl Sidney Prescott (Neve Campbell) finds herself back in old Woodsboro, overwhelmingly white and middle-class, with tastefully-tended gardens lining the boulevards, that blander-than-life, fantasy American no-place where killing's just too much fun to keep those rascally, movie-obsessed kids away from. Donning the old mask and wielding the old knife, the mayhem is rebooted and mostly shamelessly rehashed: to say that Scream 4 is more amusing than most youth-oriented contemporary horror is not much of a compliment. At once unlikely in its winky po-mo conceit and half-assed in its
This time out there's a geek who wears a camera on his ear so he can stream his POV on the Internet, adding an ostensible layer to the film's overall hall of mirrors thematic, which includes a sequels-within-sequels prelude. David Arquette drives around frowning as Sheriff Chipmunk while Courtney Cox's journalist-mannequin tries to take the serial killer investigation into her own hands, invoking Sarah Palin in her declaration that she's "going rogue." Supposedly, these two are married. Campbell meanwhile seems at a complete loss, unable to do much besides wince angrily when confronted by yet another attack, yet another strangely listless scene of murder that at best recalls lesser bits from Roadrunner without the laughs. At least Marley Shelton is genuinely cute as a dutiful deputy, and the ending-ending, which is to say the ending that follows the predictably false false-ending, is so loopy it's actually rather winning. Josef Braun
// josef@vueweekly.com
Pass thy bong
Now playing Directed by David Gordon Green Written by Danny McBride, Ben Best Starring Danny McBride, James Franco, Natalie Portman
When the only clever jokes are grammatical—the pot-humour title, Your Highness, and the final words, "Thy End"—there's little in this medieval comedy-quest to slay the funny bone. Instead, it's Animal House Does The Holy Grail; the wit and antics of The Princess Bride are replaced with porn-imagery and swear words. So here come the masturbating knight, the hookah-smoking pervert wizard, the yoked and gagged princess-prisoner (later so stupefied by a spell that she wants a Minotaur penis), the ogled she-warrior (Natalie Portman), the gratuitous nudity of a "booby trap" of women sent by their leader (a nastily effete fat man), and a two-for-one sex-slave and thieving-gypsy joke. High-larious. Danny McBride's Thadeous rehashes his selfish swaggerer from Eastbound and Down (also written by McBride and Ben
VUEWEEKLY // APR 14 – APR 20, 2011
Best), only he's whinier here, as slacker brother to favourite Prince Fabeous (James Franco). Or, as Thadeous puts it, "Everyone in the kingdom wants to suck your dick—no one wants to suck mine." Beyond such lazy writing, the movie can't really be bothered to spoof any elements of the genre. So slumming Thadeous gets off on his fantasies and director David Gordon Green completes his backwards odyssey, devolving from auteur mini-masterpieces to stage-managed stoner-comedy. Brian Gibson
// brian@vueweekly.com
FILM // 21
Still Showing FILM WEEKLY FRI, APR 15, 2011 – THU, APR 21, 2011
Insidious
s
CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749
ARTHUR (PG not recommended for young children) FRI�SAT 7:00, 9:10; SUN�THU 8:00 THE LINCOLN LAWYER (14A) FRI�SAT 7:00, 9:10; SUN�THU 8:00
CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779
The writer/director duo behind the Saw franchise returns with a different shade of horror: the American ghost story. An unassuming family moves into a new house to discover there are sinister spirits swirling around them. It'll make you jump without a splashing even one bucket of gore across the screen.
Of Gods and Men
Princess Theatre (10337 - 82 Ave) Based on a 1996 incident wherein Tibhirine Trappist monks were kidnapped and slaughtered, Xavier Beauvois's film looks beyond the lingering dread, instead ushering us into a realm of carefully nurtured quietude and resolute service in the face of the world's disorder.
Jane Eyre
Princess Theatre (10337 - 82 Ave) This BBC adaptation of Charlotte Brontë’s classic has compelling performances and imagery rich with detail, even if it never quite finds a balance in jumping backwards and forwards in time.
Win Win
Garneau Theatre (8712 - 109 St) Writer/director Tom McCarthy provides a perfectly likeable if belaboured go-forit movie that may very well get him his broadest audience yet. Paul Giamatti stars as a high school wrestling coach who takes a wayward youth into his house only to discover he's a natural on the mat.
22 // FILM
THANK YOU (PG violence) HINDI W/E.S.T. DAILY 1:00, 4:30, 7:50 CATCH ME... I'M IN LOVE (PG) DAILY 1:10, 4:05, 7:10, 9:50 RED RIDING HOOD (PG violence, frightening scenes) DAILY 1:50, 4:15, 7:25, 9:35 JUST GO WITH IT (PG crude content) DAILY 2:00, 4:40, 7:20, 9:55 THE EAGLE (PG violence, not recommended for young children) DAILY 9:45 GNOMEO AND JULIET 3D (G) Digital 3D DAILY 1:30, 4:20, 6:45, 9:00 THE MECHANIC (18A brutal violence) DAILY 1:45, 4:50, 7:30, 10:00 NO STRINGS ATTACHED (14A substance abuse, sexual content, not recommended for children) DAILY 1:15, 3:50, 7:05, 9:40 THE GREEN HORNET 3D (14A violence, coarse language) Digital 3D DAILY 1:20, 4:00, 6:55, 9:30 TRUE GRIT (14A violence) DAILY 1:25, 4:10, 7:00, 9:30 YOGI BEAR (G) DAILY 1:35, 3:45, 6:30 TANGLED (G) DAILY 1:05, 3:30, 6:50 HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (PG frightening scenes, violence, not recommended for young children) DAILY 9:00 THE KING'S SPEECH (PG language may offend) DAILY 1:55, 4:25, 7:15, 10:00
CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236
RIO (G) No Passes FRI�TUE, THU 12:30, 2:50, 5:20, 7:45, 10:10; WED 5:20, 7:45, 10:10; Star & Strollers Screening, No Passes WED 1:00 RIO 3D (G) Digital 3D, No Passes FRI, MON� THU 1:30, 4:00, 6:30, 9:00; SAT�SUN 11:50, 1:30, 4:00, 6:30, 9:00 SCREAM 4 (14A coarse language, gory violence, not recommended for children) Digital Cinema FRI�SAT, MON�THU 12:45, 3:40, 6:40, 9:20; SUN 3:40, 6:40, 9:20 SCREAM 4 (14A coarse language, gory violence, not recommended for children) Ultraavx FRI�SAT, MON�THU 2:10, 5:10, 7:50, 10:30; SUN 2:00, 5:10, 7:50, 10:30 YOUR HIGHNESS (18A crude sexual content, nudity) Digital Cinema DAILY 2:00, 5:00, 8:00, 10:40 HANNA (14A violence) Digital Cinema DAILY 12:40, 3:30, 7:00, 9:50 SOUL SURFER (PG) DAILY 1:10, 4:10, 6:50, 9:15 ARTHUR (PG not recommended for young children) No Passes DAILY 1:00, 4:20, 7:20, 10:00 HOP (G) DAILY 12:10, 2:30, 4:50, 7:10, 9:45 SOURCE CODE (PG coarse language, violence) FRI�TUE, THU 12:20, 3:00, 5:30, 7:55, 10:25; WED 5:30, 7:55, 10:25; Star & Strollers Screening WED 1:00 INSIDIOUS (14A frightening scenes, not recommended for children) DAILY 1:40, 4:40, 7:40, 10:20 DIARY OF A WIMPY KID: RODRICK RULES (G) DAILY 12:50, 3:20 LIMITLESS (14A) DAILY 1:20, 4:15, 6:55, 9:40 PAUL (14A language may offend) DAILY 7:30, 10:15 THE LINCOLN LAWYER (14A) FRI, SUN�THU 12:15, 3:50, 6:45, 9:30; SAT 3:50, 6:45, 9:30 MULRONEY: THE OPERA (PG coarse language) SAT 1:00 ONE FLEW OVER THE CUCKOO'S NEST (STC) SUN 1:00
CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585
RIO (G) No Passes FRI�SUN 12:00, 2:15, 4:30, 7:00, 9:15; MON�THU 1:30, 4:00, 7:00, 9:30 RIO 3D (G) Digital 3D, No Passes FRI�SUN 12:15, 2:30, 4:45, 7:15, 9:30; MON�THU 1:00, 3:15, 6:30, 9:00
SCREAM 4 (14A coarse language, gory violence, not recommended for children) FRI�SAT 12:50, 3:20, 5:55, 8:30, 11:00; SUN 12:00, 2:40, 5:10, 7:45, 10:15; MON�THU 2:00, 4:45, 7:45, 10:15 SCREAM 4 (14A coarse language, gory violence, not recommended for children) Ultraavx FRI� SAT 12:20, 2:50, 5:25, 8:00, 10:30; SUN 12:30, 3:00, 5:25, 8:00, 10:30; MON�THU 1:00, 3:45, 7:20, 9:50 YOUR HIGHNESS (18A crude sexual content, nudity) FRI�SAT 12:45, 3:10, 5:40, 8:25, 11:00; SUN�THU 1:00, 3:20, 5:40, 8:00, 10:20 HANNA (14A violence) Digital Cinema FRI�SAT 12:20, 2:55, 5:30, 8:15, 10:50; SUN�THU 1:30, 4:15, 7:00, 9:45 SOUL SURFER (PG) FRI�SUN 12:15, 2:45, 5:15, 7:50, 10:20; MON�THU 1:25, 4:15, 6:50, 9:30 ARTHUR (PG not recommended for young children) Digital Cinema, No Passes FRI�SAT 12:00, 2:40, 5:15, 8:00, 10:35; SUN 12:00, 2:25, 5:00, 7:35, 10:05; MON 1:00, 4:00, 7:00, 9:40; TUE�WED 1:00, 4:00, 6:40, 9:50; THU 4:00, 6:40, 9:50; Star & Strollers Screening, No Passes THU 1:00 HOP (G) FRI�SUN 12:30, 2:45, 5:00, 7:30, 9:45; MON�THU 1:15, 3:30, 6:45, 9:15 SOURCE CODE (PG coarse language, violence) FRI�SAT 1:15, 3:25, 5:50, 8:20, 10:50; SUN 12:15, 2:50, 5:15, 7:40, 10:10; MON�THU 1:40, 4:20, 7:25, 10:20 INSIDIOUS (14A frightening scenes, not recommended for children) FRI�SAT 1:40, 4:00, 6:20, 8:50, 11:15; SUN 12:10, 2:30, 4:55, 7:20, 10:00; MON�THU 1:45, 4:30, 7:25, 10:00 SUCKER PUNCH (14A violence) FRI�SAT 10:40; SUN 10:30; MON�THU 10:05 LIMITLESS (14A) FRI�SAT 1:00, 3:25, 6:00, 8:45, 11:10; SUN 1:15, 4:30, 7:15, 10:00; MON�THU 1:20, 3:50, 7:10, 10:10 PAUL (14A language may offend) FRI�SUN 12:50, 3:10, 5:30, 7:50; MON�THU 1:30, 4:10, 7:40 THE LINCOLN LAWYER (14A) FRI 12:40, 3:15, 5:50, 8:25, 11:00; SAT 5:50, 8:25, 11:00; SUN 1:20, 4:00, 7:00, 9:35; MON�WED 1:20, 4:05, 6:40, 9:35; THU 4:05, 6:40, 9:35; Star & Strollers Screening THU 1:00 RANGO (PG) Digital Cinema FRI�SAT 12:35, 2:55, 5:20, 7:45, 10:15; SUN 12:05, 2:35, 5:05, 7:30, 9:55; MON 1:45, 4:30; TUE�THU 1:45, 4:30, 7:15, 9:45 THE ADJUSTMENT BUREAU (PG coarse language) DAILY 10:10 HALL PASS (14A nudity, crude sexual content, substance abuse) FRI�SAT 1:00, 3:25, 5:50, 8:15; SUN 12:20, 2:40, 5:00, 7:45; MON�THU 1:40, 4:20, 7:30 MULRONEY: THE OPERA (PG coarse language) SAT 1:00 MORTAL KOMBAT: GAME LAUNCH AND TOURNAMENT (Classification not available) MON 8:00
CITY CENTRE 9 10200-102 Ave, 780.421.7020
HANNA (14A violence) Stadium Seating, Dolby Stereo Digital DAILY 12:25, 3:15, 7:15, 10:15 SCREAM 4 (14A coarse language, gory violence, not recommended for children) Dolby Stereo Digital, Stadium Seating DAILY 12:30, 3:30, 7:00, 10:00 YOUR HIGHNESS (18A crude sexual content, nudity) Dolby Stereo Digital DAILY 12:15, 2:45, 5:15, 7:50, 10:20 INSIDIOUS (14A frightening scenes, not recommended for children) Digital Presentation, Stadium Seating DAILY 12:05, 2:40, 5:25, 8:00, 10:35 HOP (G) DTS Digital, Stadium Seating DAILY 12:20, 2:55, 5:20, 7:45 THE LINCOLN LAWYER (14A) Stadium Seating, DTS Digital DAILY 10:05 LIMITLESS (14A) DTS Digital, Stadium Seating FRI, SUN�THU 12:40, 3:40, 6:40, 9:40; SAT 3:40, 6:40, 9:40 ARTHUR (PG not recommended for young children) No Passes, Stadium Seating, DTS Digital DAILY 12:50, 3:50, 6:45, 9:45 RIO 3D (G) Digital 3D, Stadium Seating DAILY 12:10, 2:50, 5:25, 7:55, 10:30 SOURCE CODE (PG coarse language, violence) Stadium Seating, DTS Digital DAILY 12:00, 2:30, 5:00, 7:30, 9:55 MULRONEY: THE OPERA (PG coarse language) Stadium Seating SAT 1:00
CLAREVIEW 10 4211-139 Ave, 780.472.7600
LIMITLESS (14A) FRI 4:35, 7:10, 9:45; SAT�SUN 1:45, 4:35, 7:10, 9:45; MON�THU 5:10, 8:30 PAUL (14A language may offend) FRI 4:25, 6:55; SAT�SUN 1:25, 4:25, 6:55; MON�THU 5:40
VUEWEEKLY // APR 14 – APR 20, 2011
HOP (G) FRI 4:10, 6:30, 9:00; SAT�SUN 1:40, 4:10, 6:30, 9:00; MON�THU 5:15, 8:00 INSIDIOUS (14A frightening scenes, not recommended for children) FRI 4:40, 7:05, 9:35; SAT� SUN 2:00, 4:40, 7:05, 9:35; MON�THU 5:50, 8:40 HANNA (14A violence) FRI 3:55, 6:40, 9:20; SAT� SUN 1:00, 3:55, 6:40, 9:20; MON�THU 5:35, 8:15 ARTHUR (PG not recommended for young children) Digital Presentation, No Passes FRI 4:15, 6:50, 9:30; SAT�SUN 1:30, 4:15, 6:50, 9:30; MON�THU 5:30, 8:10 YOUR HIGHNESS (18A crude sexual content, nudity) FRI 4:30, 7:15, 9:50; SAT�SUN 1:50, 4:30, 7:15, 9:50; MON�THU 5:45, 8:35 SOUL SURFER (PG) Digital Presentation FRI 3:50, 6:35, 9:15; SAT�SUN 1:15, 3:50, 6:35, 9:15; MON�THU 5:20, 8:05 RIO 3D (G) Digital 3D FRI 4:00, 6:45, 9:10; SAT� SUN 1:20, 4:00, 6:45, 9:10; MON�THU 5:00, 7:50 SCREAM 4 (14A coarse language, gory violence, not recommended for children) FRI 4:20, 7:00, 9:40; SAT�SUN 1:10, 4:20, 7:00, 9:40; MON�THU 5:25, 8:25 SOURCE CODE (PG coarse language, violence) FRI�SUN 9:25; MON�THU 8:20
DUGGAN CINEMA�CAMROSE 6601-48 Ave, Camrose, 780.608.2144
HOP (G) DAILY 7:05, 9:15; SAT�SUN 2:05 RIO (G) DAILY 6:55, 9:10; SAT�SUN 1:55 SCREAM 4 (14A coarse language, gory violence, not recommended for children) DAILY 7:00, 9:20; SAT�SUN 2:00 SOUL SURFER (PG) DAILY 6:50, 9:05; SAT�SUN 1:50 ARTHUR (PG not recommended for young children) DAILY 6:45, 9:00; SAT�SUN 1:45
GALAXY�SHERWOOD PARK 2020 Sherwood Dr, Sherwood Park 780-416-0150
RIO (G) Digital Cinema, No Passes FRI 3:50, 6:40; SAT�SUN 1:30, 3:50, 6:40; MON�THU 6:40 RIO 3D (G) Digital 3D, No Passes FRI 4:40, 7:20, 9:55; SAT�SUN 11:45, 2:10, 4:40, 7:20, 9:55; MON�THU 7:20, 9:55 SCREAM 4 (14A coarse language, gory violence, not recommended for children) FRI 4:20, 7:05, 9:50; SAT�SUN 1:40, 4:20, 7:05, 9:50; MON�THU 7:05, 9:50 YOUR HIGHNESS (18A crude sexual content, nudity) FRI 4:40, 7:30, 10:10; SAT�SUN 1:45, 4:40, 7:30, 10:10; MON�THU 7:30, 10:10 HANNA (14A violence) Digital Cinema FRI 4:10, 7:15, 10:05; SAT�SUN 1:05, 4:10, 7:15, 10:05; MON�THU 7:15, 10:05 SOUL SURFER (PG) FRI 4:00, 6:45, 9:25; SAT� SUN 1:10, 4:00, 6:45, 9:25; MON�THU 6:45, 9:25 ARTHUR (PG not recommended for young children) No Passes FRI 4:05, 7:00, 10:00; SAT�SUN 1:20, 4:05, 7:00, 10:00; MON�THU 7:00, 10:00 HOP (G) FRI 4:15, 6:55, 9:35; SAT�SUN 1:15, 4:15, 6:55, 9:35; MON�THU 6:55, 9:35 SOURCE CODE (PG coarse language, violence) FRI 4:30, 7:10, 9:40; SAT�SUN 1:50, 4:30, 7:10, 9:40; MON�THU 7:10, 9:40 LIMITLESS (14A) FRI 3:45, 6:50, 9:30; SAT�SUN 1:00, 3:45, 6:50, 9:30; MON 10:15; TUE�THU 6:50, 9:30 PAUL (14A language may offend) Digital Cinema DAILY 9:20
GARNEAU 8712-109 St, 780.433.0728
WIN WIN (14A coarse language) DAILY 7:00, 9:10; SAT�SUN 2:00 ROCKY HORROR PICTURE SHOW May 28, tickets on sale now
GRANDIN THEATRE�ST ALBERT Grandin Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822
SCREAM 4 (14A coarse language, gory violence, not recommended for children) DAILY 12:40, 2:45, 4:45, 7:15, 9:20 YOUR HIGHNESS (18A crude sexual content, nudity) DAILY 1:05, 3:05, 5:10, 7:10, 9:15 ARTHUR (PG not recommended for young children) DAILY 12:45, 2:50, 4:50, 7:05, 9:10 RIO (G) DAILY 1:00, 3:00, 5:05, 7:00, 8:55 HOP (G) DAILY 1:20, 3:20, 5:15, 7:20, 9:20
LEDUC CINEMAS Leduc, 780.352.3922
ARTHUR (PG not recommended for young children) DAILY 6:55, 9:30; SAT�SUN 12:55, 3:30 YOUR HIGHNESS (18A crude sexual content, nudity) DAILY 7:05, 9:35; SAT�SUN 1:05, 3:35 RIO 3D (G) Digital 3D DAILY 7:00, 9:25; SAT� SUN 1:00, 3:30 HOP (G) DAILY 7:00; SAT�SUN 1:00, 3:20
INSIDIOUS (14A frightening scenes, not recommended for children) DAILY 9:30
METRO CINEMA 9828-101A Ave, Citadel Theatre, 780.425.9212
PROVINCIAL ARCHIVES OF ALBERTA’S 26TH ANNUAL FILM NIGHT PRESENTS: HOLLYWOOD TOURS ALBERTA (STC) FRI 7:00 THE BISHOP WHO ATE HIS BOOTS (STC) SAT 7:00; MON 9:00 PASSAGE (STC) SAT 9:00 RE�DISCOVERING NORTHERN IMAGES: BRINGING ARCHIVES TO NEW AUDIENCES (STC) SUN 4:00 NANOOK OF THE NORTH (STC) SUN 7:00 SHORTS FROM THE NORTH (STC) MON 7:00 JESUS CHRIST SUPERSTAR (STC) THU 7:00 THE LAST TEMPTATION OF CHRIST (STC) THU 9:00
PARKLAND CINEMA 7 130 Century Crossing, Spruce Grove, 780.972.2332 (Spruce Grove, Stony Plain; Parkland County)
RIO (G) DAILY 7:05, 9:05; SAT�SUN, TUE 1:05, 3:05 SCREAM 4 (14A coarse language, gory violence, not recommended for children) DAILY 6:55, 9:15; SAT�SUN, TUE 12:55, 3:15 SOUL SURFER (PG) DAILY 6:50, 9:25; SAT�SUN, TUE 12:50, 3:25 ARTHUR (PG not recommended for young children) DAILY 7:00, 9:00; SAT�SUN, TUE 1:00, 3:00; Movies for Mommies TUE 1:00 HOP (G) DAILY 7:10, 9:10; SAT�SUN, TUE 1:10, 3:10 PAUL (14A language may offend) DAILY 9:30; SAT�SUN, TUE 3:30 SOURCE CODE (PG coarse language, violence) DAILY 7:15; SAT�SUN, TUE 1:15 INSIDIOUS (14A frightening scenes, not recommended for children) DAILY 6:45, 9:20; SAT�SUN, TUE 12:45, 3:20
PRINCESS 10337-82 Ave, 780.433.0728
JANE EYRE (PG) DAILY 6:50, 9:10; SAT�SUN 2:00 OF GODS AND MEN (14A) DAILY 7:00, 9:20; SAT�SUN 2:30
SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400
RIO 3D (G) Digital 3D, No Passes DAILY 12:00, 2:20, 4:40, 7:10, 9:40 SCREAM 4 (14A coarse language, gory violence, not recommended for children) Ultraavx DAILY 12:00, 2:30, 5:10, 8:00, 10:45 YOUR HIGHNESS (18A crude sexual content, nudity) DAILY 1:30, 4:30, 7:30, 10:20 HANNA (14A violence) Digital Cinema FRI� TUE, THU 12:50, 3:50, 6:50, 9:50; WED 3:50, 6:50, 9:50; Star & Strollers Screening WED 1:00 SOUL SURFER (PG) DAILY 12:40, 3:40, 6:40, 9:20 ARTHUR (PG not recommended for young children) No Passes DAILY 1:10, 4:10, 7:15, 10:00 HOP (G) FRI�TUE, THU 12:30, 3:30, 6:30, 9:10; WED 3:30, 6:30, 9:10; Star & Strollers Screening WED 1:00 SOURCE CODE (PG coarse language, violence) Digital Cinema DAILY 1:20, 4:20, 7:20, 10:10 INSIDIOUS (14A frightening scenes, not recommended for children) DAILY 2:00, 5:00, 7:50, 10:40 SUCKER PUNCH: THE IMAX EXPERIENCE (14A violence) DAILY 1:00, 4:00, 7:00, 9:45 LIMITLESS (14A) Digital Cinema FRI�SUN, TUE�THU 12:20, 3:20, 6:45, 9:30; MON 12:20, 3:20, 9:30 PAUL (14A language may offend) DAILY 1:40, 4:50, 7:40, 10:30 BATTLE LOS ANGELES (14A violence) DAILY 3:10, 7:45, 10:45 RANGO (PG) DAILY 12:10
WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922
ARTHUR (PG not recommended for young children) DAILY 6:55, 9:30; SAT�SUN 12:55, 3:30 SCREAM 4 (14A coarse language, gory violence, not recommended for children) DAILY 7:10, 9:30; SAT�SUN 1:10, 3:30 YOUR HIGHNESS (18A crude sexual content, nudity) DAILY 7:05, 9:35; SAT�SUN 1:05, 3:35 RIO 3D (G) Digital 3D DAILY 7:00, 9:20; SAT� SUN 1:00, 3:20
MUSIC
Whitey Houston
A long time ago ...
Fri, Apr 15 (8 pm) With the Vicious Cycles, the Mitts Pawn Shop Celebrating its 10th anniversary this Friday, Whitey Houston's relentless rock 'n' roll forms a solid, perhaps not-seen-enoughlately backbone of Edmonton's music scene. The two-piece's members—Lyle Bell on bass and the singularly-named Gravy on drums—have been in bands as diverse as Molly's Reach, Slow Fresh Oil, Shout Out Out Out Out and the Get Down. While their importance to Edmonton's music community might never come into question, the group's math skills certainly might. "Actually, technically, it's probably more like the 12th or 13th anniversary," Gravy admits. "Summer of '99 is probably when we did our first couple of shows. Geez, that makes me feel old." When the band started, it bore little re-
semblance to the stripped-down juggernaut it is today. Early jams featured Bell on guitar, a bevy of effects pedals, loops and Gravy playing a keyboard with one hand. Everything changed after an exasperating technical experience. "Lyle had a bazillion pedals and we went to set up and nothing would work," Gravy recounts. "It was so frustrating being onstage and you can't play because nothing's working so we just said, 'Screw it, let's just ditch all the loop stuff, play with a Big Muff pedal, the bass and two amps and we'll just rock it out.' And that's what we did." Transformation is a theme of the band: around the time Whitey Houston was beginning, Gravy took on the nom de guerre he has sported for the last decade, courtesy of Slow Fresh Oil bandmate Brent Oliver. Far from having condiment-loving eccentrics for parents, Gravy—who
FIRSTS, LASTS AND FAVOURITES
Dinosaur Bones
insisted his real name not be printed— earned his nickname the old-fashioned way: ridicule. After an aborted attempt to nickname him "Bacon," "Gravy" stuck like glue. "[Slow Fresh Oil] went to this Mediterranean place but I wanted a burger—I didn't want falafel, I wanted a cheeseburger. There was nothing on the menu and I begrudgingly ate something and by the time we got back to the city it was, 'Oh, hey Gravy, you want some gravy on your gravy?' It just stuck and it's been that way ever since," he recalls. "Before I knew it girlfriends' grandparents are calling me Gravy, it's on all of my business cards, it's essentially the name of my photography business, I've got a gravy boat tattoo, it's crazy. When people call me by my real name now, it's odd. I'm like, 'Who?'" Bryan Birtles
// bryan@vueweekly.com
BRYAN BIRTLES // BRYAN@vueweekly.com
MON, APR 18 (8 pm), STARLITE ROOM, SOLD OUT
Lead vocalist Ben Fox's firsts, lasts and favourites: First Album
I bought Rage Against the Machine's Evil Empire from a pawn shop when I was in Grade 7, and it blew my mind. I can safely attribute any Che Guevara Tshirts I may or may not have owned to that fateful day. First concert Stats:
• Formed in Toronto three years ago • Released its debut full-length, My Divider, in March • Previously toured with the Arkells • Bassist Branko Scekic spent the night in a Halifax drunk tank in 2009 for stealing a street sign with Ben Fox's last name on it.
The first concert I ever went to was Blink 182 and Silverchair at Maple Leaf Gardens in Toronto. I was in Grade 9. It ruled. Last album
The last album I bought was Lisbon by the Walkmen on vinyl.
Last concert
The last show I saw (that we weren't playing) was Karkwa at South by Southwest in Austin Texas. It was my first time seeing them; they were incredible. Favourite album
Favourite album? Wow, that's a big one. Off the top of my head, I'd have to go with either Radiohead Kid A, or Stevie Wonder's Innervisions. Guilty pleasure
My current guilty pleasure has got to be "Single Ladies" by Beyoncé. You know what, I don't even feel guilty. That song is a JAM.
VUEWEEKLY // APR 14 – APR 20, 2011
MUSIC // 23
Destroyer's Möbius jukebo Dan Bejar's infinite twist of listening and creation
—Mary Christa O'Keefe
D
escribing Destroyer is a Sisyphean task, challenging and futile. Even if one manages to gruntingly roll a boulder of labels up the mountain, a new Destroyer record waits at the crown to kick it away, sending it bouncing down the slope to collapse in a pile of rubble and good intentions. Besides, what use is an accounting of elements without knowing the force that binds them? As Destroyer, Dan Bejar traffics in the cacophony of modernity: hooks that burrow into us to become totemic; rhythms we set our desires to; phrases and textures that harbour our fleets of unsettling moods. His work dismantles the soundtrack of the world as he hears it—its unlikely juxtapositions, kaleidoscopic historical accumulations, aural Proustian undertows—and crafts an id-
24 // MUSIC
iosyncratic response: urgent, fine-boned, sensual and satisfyingly brainy, nimble and precise. A Möbius jukebox infinitely twisting experience and creation, slurring genres, allusions, moments. Bejar frames Destroyer's sonic topography rather more humbly. Of his early recordings, We'll Build Them A Golden Bridge (1996) and the cassette-only Ideas For Songs (1997; lately reissued on vinyl with a wonderful cover image), he says, "Those were just the sound of me singing for the very first time, or playing guitar for the very first time. Those were literally the sound of me learning to open my mouth." He laughs. "Or somehow wanting to. When I started going into the studio, I decided something else had to be added to the equation—it couldn't just
be the sound of me wanting to sing or make noise." Like most new songwriters, Bejar learned from music he admired, but he eschewed its obvious features, and his tastes countered prevailing currents. "I was obsessed with music when I started. It was all, all, all I thought about. It coincided with me getting into English music from the '70s, and Lou Reed, John Cale, stuff like that, which had a very—not 'fabricated' bent to it; not 'dramatic' either—but it was the idea you could take on a voice that might not correspond specifically to your dayto-day voice, which seemed more what indie rock at the time was about, at least American indie rock—you had to keep things really 'authentic.'" Bejar laughs again. "I just didn't bind
VUEWEEKLY // APR 14 – APR 20, 2011
to that idea, you know? I thought authenticity wasn't really the point—the point was to make art that was good." He didn't cleave to the anti-performance/anti-craft esthetic of the mid'90s, but the era had other charms. "Especially with all the lo-fi stuff kicking around and how the bands were in Vancouver, it felt like you could be a part of it," he explains. "It seemed very tangible, you know? When you're 21 or 22, that's attractive to you. You crave community; you crave like-minded souls. Me recording coincided with me becoming a really big music fan, and maybe discovering a community of people I felt I could be a part of—probably for the first time." Several of those people are still in Bejar's
creative orbit, with Destroyer or projects like the New Pornographers or Swan Lake. It'd be difficult to overstate that pocket's influence on West Coast musicmaking then and since (though they'd likely downplay their role). They presaged an explosion of unorthodox sonic exploration at the turn of the century that took its cues from pop forms (the fatter the catalogue the better) rather than the sounds of alienation—cultural dissent minus the ugly, dour, narrow or dire. "Back then, it felt like a weird time to do it for sure, although I look on those times fondly," Bejar admits. "I didn't really feel connected to a lot of the American music going on around me and I was just diving deeper into older records, but trying to find myself in them as well, I guess."
On music and privacy
"Some people are able to pull it off, they just offer up these songs to the world and it's all you really hear from them. And I can romanticize that. There are ways of ditching out on the commerce part of what all this is about. You'd probably have to do other things on the side, but there's no shame in it. I have only admiration for that. I have complete admiration for people who quit all those things that have to do with just not doing it for the sake of going through the motions, or not doing it because you somehow get off on having a public face, or, you know, all that stuff that makes art bad."
On stage presence
"I don't always know what to do when I'm up there. But I'm a little less delicate these days."
On the life of songs
"As a singer, if a song has to be just a sum of its crafted parts, I find it hard to try to sink my fangs into it. There's got to be some room for us to do different things, depending on who's playing it. That's always been my approach. Even in the studio, songs changed vastly from the little shred of chords and vocal melody and lyrics that you bring in. Things always get taken for a ride."
On rehabilitating the sax
ox He adds, "It's kind of been a project that probably stands from City of Daughters to Trouble in Dreams. With this one [Kaputt], for some reason, something happened and now I seem to just be singing and writing in my own speaking voice for the first time since I did early, early demos, you know?" Kaputt is muscular, audacious and one of Bejar's most flagrantly beautiful albums, sonic opulence striated with sudden veins of tenderness. It's also an astonishing elixir of musical moments. "It's weird, because in my mind— aside from a mild fixation with '80sera Brian Ferry, which I've never had before—I thought I was making music that reflected the fact I'd been listening to a lot of instrumental music the last couple years and had lost interest
"I've always loved it! I was listening to tons of jazz records and there's saxophone all over jazz records—and why can't I have a piece of that? We were touring with Andre Ethier after Trouble in Dreams and Joseph [Shabason] was playing saxophone, and every night I was really floored—by the whole band—but I always thought Joseph could really turn it on. It's a tough instrument to have as a lead instrument in a rock band, but I thought the approach could be letting him go wail for an afternoon, and then I go cherry-picking for weird little lines here and there, and it'd turn out OK, and it did. It turned out more than OK."
in 'singer-songwriter' music," Bejar explains. "I was getting more into ambient and classic jazz and soundtracks. And for some reason, when you kind of mash that shit up and sing quietly over them with some real ass-shake beats in the background, it seems to add up to instant-'80s. But it really wasn't my intention. It's like an algorithm I've discovered, after the fact." Bejar's not disingenuous—he hears it; he just doesn't quite grok how it happened. "It's a strange brew; a really music-heavy record, which is funny, seeing how I barely did anything on the album. I have a couple little melodic lines that sound like every other little Destroyer melodic line, but aside from that, most of it's just people going off, and me sitting there with [producers/players] John
[Collins] and Dave [Carswell], combing through things and watching them throw stuff on the computer screen. In fact, my role is pretty curatorial, especially with not that many words on this record, for the most part." Yet Kaputt has roots in the primordial dawn of Bejar's musical consciousness, pre-creator (pre-Destroyer), minus the embalming of sentimentality. "I was thinking a lot about what I liked, what I listened to in my teens in the late '80s when I was just starting to get into music, and not like the '90s when I was starting to think of myself as an involved member in whatever tiny music community," he offers. "I was thinking about stuff I really loved which I just totally put in a box under my bed for 20 years. I've always loved New Order, or el-
ements of English dance music from the '80s, like the Style Council—shit that just wouldn't fly. But I have memories of hearing them as a kid, living in Spain in the summertime, blaring at some ridiculous open-air club or something. Not that I wanted to make a nostalgia record, but I guess I was thinking about music I was into before I became completely defined by music. Defined by writing and music. Because that was my entry point: lyrics. And that wasn't the case when I was a teenager. So it was some way of escaping from the tyranny of the words, and kind of relaxing on that front." And against that formative backdrop, being on the brink of the adult world of history: "Thinking about weird shit I hadn't thought about that totally corresponds to the '80s. There's a Pet Shop
VUEWEEKLY // APR 14 – APR 20, 2011
Boys record I like, Behaviour. And it's a really sad record, and I think it's a record about AIDS. Stuff like that was such a huge part of growing up at that time. Or the end of the Cold War, that very tail-end, that kind of shit." He laughs once again. "But that being said, it was floating back to me in little bits I didn't question. I just accumulated words and melodies and these little reminiscences—like a reminiscing quality, but more like reminiscing in your sickbed, with whatever medication you're on." V Fri, Apr 15 (8 pm) Destroyer With the War on Drugs Starlite Room, $18
MUSIC // 25
SOUNDTRACK
Lynne Hanson
BRYAN BIRTLES // BRYAN@vueweekly.com Sat, Apr 16 (8 pm) / Blue Chair Café, $15
Lynne Hanson is an award-winning songwriter from Ottawa whose latest album, Once the Sun Goes Down, has received rave reviews across Canada, the US and Europe. Her current tour sees her travelling the long distances across Canada's prairies, landing in Edmonton at the Blue Chair Café. She recently sent in a list of albums that soundtrack her life at home and on the road.
On the road
At home Bob Dylan, The Bootleg Series, Vol 8 I can't think of a better way to start a day than to listen to one of the great songwriters of our day. I find it's a wonderful way to get the creative juices going.
Patty Griffin, Living With Ghosts When I'm home I like to go for walks to recharge in the middle of the day and this album was in constant rotation on my iPod.
morning
Lynn Miles, Fall For Beauty I was on tour in Europe with Lynn last May and heard all the tracks on this album performed live before hearing the studio versions. It's one of her best and is a great way start to any road morning.
NOON
Buddy and Julie Miller, Written in Chalk I've had this record on permanent replay in the car while on the road. Keeps my heart light to listen to sad songs away from home.
Gillian Welch, Revival Classic must-listen album to end any day.
NIGHT
DUZHEKNEW Fri, Apr 15 With Cousins, Service Fair, Group Sounds Wunderbar, $5
Duzheknew is the skeletal remains of a pop band. Backbone drumming animates minimalist, watery guitar chords and Adam O'Reilly's stream-of-rant speaksung vocals. In memoriam: it was surely New Wave, once, but the spirit inhabiting these bones is far less fleshy, like if Phoenix chrome-stripped "1901," leaving just a lively whisper of pop sentiment among the rattling structure. Though Halifax-based, the band was formed while O'Reilly lived as an assistant to legendary AA Bronson in New York. He writes extensively about visual art for Interview Magazine, Canadian Art and Bad Day Magazine, among others. On tour through North America but out of phone minutes, O'Reilly emailed Vue Weekly from Portland to talk about his upcoming Edmonton appearance with tourmates Cousins. VUE WEEKLY: How did music become an outlet while out in New York? ADAM O'REILLY: I played music back home, but had never written a song on my own. NY was so expensive, I couldn't really afford a studio to work on larger art projects—so my artwork turned completely web based/digital, and music became an easy creative outlet because all I needed was a guitar. I did some recording with Aron Sanchez (Buke and Gass) and it was really relaxing, working with someone unfamiliar with other things that I have completed. The songs that I recorded with him were almost made up on the spot; actually, the song "It Came Out the Other Side, OK" was completely lyrical improv.
26 // MUSIC
VUEWEEKLY // APR 14 – APR 20, 2011
Jorma Kaukonen, Blue Country Heart Great listening for staying awake on the late-night hauls.
I think I was a little self-conscious to play a certain way in Halifax, because no one else was doing it. [So] it was great working on it for a while and playing, ready to come back and feeling confident enough to do it. VW: Were the New Wave-y influences a conscious choice, or did they emerge naturally? AO: The band was certainly more New Wave-y when we started. I think it stemmed out of the music I was listening to at the time; I really like the bands the Feelies, DNA, the Screamers ... there are definite influences, but it was never a conscious choice. When I write a song, if it starts to sound like something else, I stop and start over. I am really, really not into direct throwback. I actually dislike it. VW: Does visual art factor into how you approach the band, or are music and visual art two completely different forms of expression for you? AO: I have a hard time merging the two elements because I think about them differently. But I approach it by producing zines and books that I sell at the merch table after the show. They are like supplements to the live show. ... As important as the visual element is to me, our live shows are incredibly plain. Visually, we don't dress up, we don't add esthetic elements. I tried it for a while but it felt a little forced at the time. I am really into things coming about naturally. A lot of the songs we play have been formed by jamming; I would never write a song that sounds like some of the ones we play, but they just became what they are because that is how this particular group of musicians work together. PAUL BLINOV
// PAUL@vueweekly.com
VUEWEEKLY // APR 14 – APR 20, 2011
MUSIC // 27
MUSICNOTES
BRYAN BIRTLES // BRYAN@vueweekly.com
Red Shag Carpet / Sat, Apr 16 (9 pm) Edmonton's Red Shag Carpet will be releasing its third album, Down Like a Lion, at Haven Social Club with Seth Anderson opening. (Haven Social Club, $15) Bluebird North / Sun, Apr 17 (8 pm) The second season of the songriters night Bluebird North—modeled after and endorsed by Nashville's famed Bluebird Café—continues with Dana Wylie, Andrea House, Chris Smith and Paul Cresey performing. (Haven Social Club, $15)
Paul van Dyck / Fri, Apr 15 (8 pm) It's the end of classes for University students in this city, so why not go out in style slamming to Paul van Dyck, twice voted the world's number-one DJ by DJ Magazine? (Edmonton Event Centre, $55.35 – $97.35) Classified / Sat, Apr 16 (8 pm) Hot on the heels of his 14th release—yep, 14th— Hand Shakes and Middle Fingers, Nova Scotia-bred rapper Classified will touch down in Edmonton to show off why he's been a fixture on the Canadian hip-hop scene since '95. (Starlite Room, $25) East Coulee Spring Festival / Sat, Apr 16 (12 pm) With 30 acts performing on three stages in the famed Alberta Badlands, East Coulee Spring Festival is not only a fundraiser for the East Coulee School Museum—a provincial historical site—it's a good time for fans of country, bluegrass and blues. (East Coulee, $25) Falklands / Sat, Apr 16 (8 pm) All-ages shows are the lifeblood of any music scene: they're put on by interested parties, they're about the music first and foremost, and they're played at, staffed by and attended by a tight-knit community. So it's imperative that you not break anything, OK? (Idylwyld Hall, $10, All Ages)
Video Games Live / Mon, Apr 18 (7:30 pm) What do you get if you cross music and video games? Well, technically, you get Mario Paint Composer, but you also get Video Games Live, where a full orchestra will be performing well-loved video game themes to your nerdy heart's content. (Jubilee Auditorium $46.90 – $81.40)
VUETUBE
Zachary Lucky / Tue, Apr 19 (8 pm) Saskatchewan's Zachary Lucky is a workhorse—with four releases under his belt and a handful of touring behind him by the age of 22, you might think he'd want to take a break or something. But no, he keeps on keepin' on and will play in Edmonton this week on his way to the West Coast. (Wunderbar, $5) Fri, Apr 15 (8 pm), Haven Social Club, $16
TIM HUS
Canadiana roots/country singer Tim Hus is bringing his story songs to town after a couple of summers spent opening for the king of story songs, Stompin' Tom Connors, while touring from coast to coast in support of his fifth album, Hockeytown.
Watch the video at vueweekly.com/vuetube Edmonton music Collectors Show / Sun, Apr 17 (10 am), $5 – $10
Who will be spending money at the Edmonton Music Collectors show?
MUSIC FANS
28 // MUSIC
VUEWEEKLY // APR 14 – APR 20, 2011
NERDS
EBAY RESELLERS
VUE MUSIC EDITOR EDEN MUNRO
VUEWEEKLY // APR 14 – APR 20, 2011
MUSIC // 29
MUSIC WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3PM
THU APR 14 28 DEGREES Experimental improvisation with Steven Johnson and his 12-string guitar with guest musicians. Bring your instruments every Thu ACCENT EUROPEAN LOUNGE folk/jazz/pop/singer-songwriter live music Thu; F&M and Jenie Thai (Folk-Pop / Jazz); 9:30pm11:30pm; no minors; no cover ARTERY The Awesome Hots Vaudeville Show BLUE CHAIR CAFÉ Low Flying Planes with Cindy Doire; 8pm; $10
BLACK DOG FREEHOUSE Main Floor: Tight Jams: every Thu with Mike B and Brosnake; Wooftop Lounge: various musical flavas including Funk, Indie Dance/ Nu Disco, Breaks, Drum and Bass, House with DJ Gundam; Underdog: Dub, Reggae, Dancehall, Ska, Calypso, and Soca with Topwise Soundsystem CENTURY ROOM Lucky 7: Retro '80s with house DJ every Thu; 7pm-close CHROME LOUNGE 123 Ko every Thu
show); 10pm; $5 or free for the ladies CAFFERY'S IN THE PARK Heather McKenzie Band; 8pm Apr 15-16 CARROT Live music every Fri; all ages; this week with J.P. Mortier 7pm; $5 (door) CASINO EDMONTON Al Barrett; Apr 15-16 CASINO YELLOWHEAD Retrobution; Apr 15-16 CENTRE FOR SPIRITUAL LIVING Martin Kerr; 7:30pm CENTURY CASINO Fernando Varela; 8pm COAST TO COAST Open stage every Fri; 9:30pm DEVANEY'S IRISH PUB Lyle Hobbs; 9pm Apr 15-16 DOUBLE D'S Sohpie and the Shufflehounds Apr 15-16 DV8 Motorhezbollah with Abigail's Cross; 9pm
BLUES ON WHYTE Sonny Rhodes Apr 14-16
THE COMMON So Necessary: Hip hop, classic hip hop, funk, soul, r&b, '80s, oldies and everything in between with Sonny Grimezz, Shortround, Twist every Thu
BRIXX BAR Radio Brixx with Tommy Grimes spinning Rock n Roll; 8pm; no cover
CROWN PUB Bass Head Thursdays: Drum and Bass DJ night, 9pm
EXPRESSIONZ CAFÉ Uptown Folk Club Open Stage; 7:00pm
CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm
DRUID IRISH PUB DJ every Thu; 9pm
THE DOCKS Thu night rock and metal jam
FRESH START BISTRO live music every Fri; this week with Carry Day; 7-10pm; $10
ELECTRIC RODEO�Spruce Grove DJ every Thu
DRUID IRISH PUB DJ every Thu at 9pm
GAS PUMP The Uptown Jammers (house band); every Fri; 5:30-9pm
FILTHY MCNASTY’S Punk Rock Bingo every Thu with DJ S.W.A.G.
DV8 Acoustic Chaos Thursdays: bring your guitars, basses, drums, whatever and play some tunes; the Afterbeat, Class Action, Third Branch; 9pm
HAVEN SOCIAL CLUB Tim Hus, w/ 100 Mile House, guests; 8pm
FLUID LOUNGE Thirsty Thursdays: Electro breaks Cup; no cover all night
IRISH CLUB Jam session every Fri; 8pm; no cover
EARLY STAGE SALOON Roger Marin Band Apr 15-16
FUNKY BUDDHA�Whyte Ave Requests every Thu with DJ Damian HALO Fo Sho: every Thu with Allout DJs DJ Degree, Junior Brown
EARLY STAGE SALOON Roger Marin Band Apr 15-16
JEFFREY'S CAFÉ Calan and Cole; $15; Sold Out JEKYLL AND HYDE PUB Headwind (classic pop/rock); every Fri; 9pm; no cover
HAVEN SOCIAL CLUB CD Release Show Featuring Kenya Kondo with The Lucky Pennies; $10 (door)
KAS BAR Urban House: every Thu with DJ Mark Stevens; 9pm
J AND R Open jam rock 'n' roll; every Thu; 9pm
LEVEL 2 LOUNGE Funk Bunker Thursdays
NEW CITY LEGION the Intensives, Rock n' Roll Rats, Preying Saints, IED; 9pm; $10; no minors
JEFFREY'S CAFÉ Carol Lynn Quinn; $10
LUCKY 13 Sin Thu with DJ Mike Tomas
ON THE ROCKS Love Junk Apr 15-16
L.B.'S PUB Open jam with Kenny Skoreyko, Fred Larose and Gordy Mathews (Shaved Posse) every Thu; 9pm-1am
ON THE ROCKS Salsaholic: every Thu; dance lessons at 8pm; salsa DJ to follow
PAWN SHOP Whitey Houston with The Vicious Cycles and The Mitts
MARYBETH'S COFFEE HOUSE� Beaumont Open mic every Thu; 7pm NAKED CYBER CAFÉ Open stage every Thu, 9pm; no cover NEST�NAIT Indie Night at the Nest; weekly free show every Thu; 4:30pm NEW CITY LEGION Looking East with Night at the Chelsea and Radioflyer; $10; no minors NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers every Thu RIC’S GRILL Peter Belec ( jazz); most Thursdaysß; 7-10pm RUSTY REED'S HOUSE OF BLUES Pete Turland Band; $5 cover SECOND CUP�Varscona Live music every Thu night; 7-9pm SHERLOCK HOLMES�WEM Stan Gallant Apr 14-15 WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Shannon Smith; Apr 14-16 WUNDERBAR Shiloh Lindsay with The Moanin' After; 9pm; $10
Classical JUBILEE AUDITORIUM Tosca; 7:30pm; $38.00 - $160.00
DJs 180 DEGREES DJ every Thu
30 // MUSIC
OVERTIME�Downtown Thursdays at Eleven: Electronic Techno and Dub Step
LIZARD LOUNGE Rock 'n' roll open mic every Fri; 8:30pm; no cover
RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Fri; 9pm-2am
and at the door JUBILEE AUDITORIUM John Mellencamp; 7pm Apr 15-16
DJs 180 DEGREES DJ every Fri AZUCAR PICANTE DJ Papi and DJ Latin Sensation every Fri BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison every Fri BAR�B�BAR DJ James; every Fri; no cover BLACK DOG FREEHOUSE DJs spin on the main floor every Fri; Underdog, Wooftop BLACKSHEEP PUB Bash: DJ spinning retro to rock classics to current BUDDY’S DJ Arrow Chaser every Fri; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND R U Aware Friday: Featuring Neon Nights CHROME LOUNGE Platinum VIP every Fri THE COMMON Boom The Box: every Fri; nu disco, hip hop, indie, electro, dance with weekly local and visiting DJs on rotation plus residents Echo and Shortround 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
RENDEZVOUS Metal night every Thu
RUSTY REED'S HOUSE OF BLUES Pete Turland Band; $10 cover Apr 15-16
SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca
SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sports-world.ca
SHERLOCK HOLMES�WEM Stan Gallant Apr 14-15
SUEDE LOUNGE Juicy DJ spins every Fri
TAPHOUSE�St Albert Eclectic mix every Thu with DJ Dusty Grooves UNION HALL 123 Thursdays WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close
FRI APR 15 ARDEN THEATRE Bettye LaVette; 7:30; Sold out ARTERY The Sorels album release party, with The Depression and Desert Boots; 8pm; $5; no minors AVENUE THEATRE N$C Presents Benny E w/ Red 3, Chubbs, Yak Dollaz, Ninelivez; 9pm; $10; no minors BLUE CHAIR CAFÉ Dave Babcock and the Nightkeepers; 8pm; $15 BLUES ON WHYTE Sonny Rhodes Apr 14-16 BOHEMIA Dance Party! with DJ Christian, princessme0w!!, soulstiss & more; no minors; 8pm; $3 for members (memberships at door) BRIXX BAR Light Travels and Collective Unconscious (Early show); 7pm; $10 (door) Followed by Options with Greg Gory and Eddie Lunchpail (Late
STARLITE ROOM Destroyer with The War on Drugs; 8pm (doors); $17.50 (adv) unionevents. com, ticketmaster.ca; no minors TRANSALTA ARTS BARNS Les Parfaits Inconnus Apr 15-17 WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD EARTH BAKERY Jordan Kaminski; 8pm
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
BLUE CHAIR CAFÉ Chloe Albert with Lynn Hanson; 8pm; $15 BLUES ON WHYTE Every Sat afternoon: Jam with Back Door Dan; Sonny Rhodes Apr 14-16 BOHEMIA Believe: A Fundraiser in Support of the Canadian Breast Cancer Society, presented by Trancecore; with live vocals by Carla Rae, and DJ sets by Sound Factor, McBain, Bong Water, Nikki Chowie, Opaque vs. Mangladesh, Mira Nova & KP; no minors; 8pm; $10 (door) BRIXX BAR Whiskey Wagon, Noisy Colors, and the Hooks 'Em Revue Burlesque CAFFERY'S IN THE PARK Heather McKenzie Band; 8pm Apr 15-16 CASINO EDMONTON Al Barrett; Apr 15-16 CASINO YELLOWHEAD Retrobution; Apr 15-16 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, every Sat, 12-2am DEVANEY'S IRISH PUB Lyle Hobbs; 9pm Apr 15-16 DOUBLE D'S Sohpie and the Shufflehounds Apr 15-16 DV8 Messiahlator, Tarantuja and Terrorfist; 9pm EDDIE SHORTS Saucy Wenches every Sat FESTIVAL PLACE 54-40 7:30pm FILTHY MCNASTY'S The Consonance; 4pm GAS PUMP Blues jam/open stage every Sat 3:30-7pm HAVEN SOCIAL CLUB Red Shag Carpet with Seth Anderson and Guests; $10 (adv) HILLTOP PUB Open stage every Sat hosted by Blue Goat, 3:30-6:30pm; The Hacks Rock and Roll From the 60s, 70s and 80s HOOLIGANZ Live music every Sat IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 JEFFREY'S CAFÉ Steelwood; $10 J AND R BAR Big and Fearless JULIAN'S�Chateau Louis Zawaski; 7pm MARYBETH'S COFFEE HOUSE � BEAUMONT Martin Kerr; 7pm O’BYRNE’S Live band every Sat, 3-7pm; DJ every Sat, 9:30pm ON THE ROCKS Love Junk Apr 15-16 RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Sat; 9pm-2am RENDEZVOUS One Night Stand featuring High Pressure Low; 8pm (doors), 10:30 (show); $8 cover
Y AFTERHOURS Foundation Fridays
RUSTY REED'S HOUSE OF BLUES Pete Turland Band; $10 cover Apr 15-16
WOK BOX Breezy Brian Gregg every Fri; 3:30-5:30pm
SAT APR 16
WUNDERBAR Duzheknew with Cousins, Service:Fair and Group Sounds; 9pm; $5
ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12
STARLITE ROOM Classified w/ Guests; 8pm; $25 at Ticketmaster; no minors
YARDBIRD SUITE Jaclyn Guillou Quintet; 8pm (doors), 9pm (show); $18 (members), $22 (guests)
ARTERY SpringTime ShakeDown Party; 8pm; $10
WILD WEST SALOON Shannon Smith; Apr 14-16
Classical ALL SAINTS' ANGLICAN CATHEDRAL Greenwood Singers Presents Songs from the Heart; 8pm; $20 for Adults and $18 for Students/Seniors; available from TIX on the Square, 780.420.1757 or tixonthesquare.ca, choir members
AVENUE THEATRE Raised Fist Presents: Obey the Fist (cd release) w/ Hollows Anatomy Grounded Star, and No Witness; 7:30pm; $12 (door); no minors BLACK DOG FREEHOUSE Hair of the Dog: (live acoustic music every Sat); 4-6pm; no cover
TRANSALTA ARTS BARNS Les Parfaits Inconnus Apr 15-17 WILD WEST SALOON Shannon Smith; Apr 14-16 WUNDERBAR Sophmore Jakes with Freshman Years and Oh! Messy Life; 9PM; $4 YARDBIRD SUITE Kirby, Greene, Colligan & Davis Jazz Quartet; 8pm (doors), 9pm (show); $18 (members), $22 (guests)
VUEWEEKLY // APR 14 – APR 20, 2011
Classical JUBILEE AUDITORIUM John Mellencamp; 7pm Apr 15-16 ROBERT TEGLER STUDENT CENTRE Potpourri Featuring BYUIdaho Symphony Band; 7:30pm; $10 (adv) SAINT ANDREW'S UNITED CHURCH Siyacula Featuring A Joyful Noise; 8pm
DJs
BLACKJACK'S ROADHOUSE�Nisku Open mic every Sun hosted by Tim Lovett BLUE CHAIR CAFÉ Sun Brunch: Jim Findlay Trio; 10:30am-2:30pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun 6pm; $25 if not dining CROWN PUB Band War 2011/ Battle of the bands, 6-10pm; Open Stage with host Better Us Than Strangers, 10pm-1am
180 DEGREES Street VIBS: Reggae night every Sat
DEVANEY’S IRISH PUB Celtic open stage every Sun with Keri-Lynne Zwicker; 5:30pm; no cover
AZUCAR PICANTE DJ Touch It, hosted by DJ Papi; every Sat
DOUBLE D'S Open jam every Sun; 3-8pm
BANK ULTRA LOUNGE Sold Out Sat: with DJ Russell James, Mike Tomas; 8pm (door); no line, no cover for ladies before 11pm
EDDIE SHORTS Acoustic jam every Sun; 9pm
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 BUDDY'S Feel the rhythm every Sat with DJ Phon3 Hom3; 8pm (door); no cover before 10pm BUFFALO UNDERGROUND Head Mashed In Saturday: Mashup Night DRUID IRISH PUB DJ every Sat; 9pm 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
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 EXPRESSIONZ CAFÉ Country/ country rock Jam and Dance hosted by Mahkoos Merrier, 2nd Sun every month, 1-5pm, admission by donation; YEG live Sun Night Songwriters Stage; 7-10pm FESTIVAL PLACE Alpha Yaya Diallo (world music); 7:30pm HAVEN SOCIAL CLUB Bluebird North: Where Writers Sing and Tell; $15 at the door or $12 in advance at Tix on the Square (or $12 at the door for S.A.C. members who show their valid card) 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 NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm O’BYRNE’S Open mic every Sun; 9:30pm-1am ON THE ROCKS Seven Strings Sun: Makeshift Innocence with guests ORLANDO'S 2 PUB Open stage jam every Sun; 4pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm
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)
TRANSALTA ARTS BARNS Les Parfaits Inconnus Apr 15-17
OVERTIME�Downtown Saturdays at Eleven: RNB, hip hop, reggae, Old School
Classical
PALACE CASINO Show Lounge DJ every Sat PAWN SHOP Neon Nights : Riot On Whyte RED STAR Indie rock, hip hop, and electro every Sat with DJ Hot Philly and guests SPORTSWORLD Roller Skating Disco every Sat; 1pm-4:30pm and 7-10:30pm SUEDE LOUNGE DJ Nic-E spins every Sat SUITE 69 Every Fri Sat with DJ Randall-A TEMPLE Oh Snap! Oh Snap with Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop and P-Rex; every Sat UNION HALL Celebrity Saturdays: every Sat hosted by Ryan Maier VINYL DANCE LOUNGE Signature Saturdays Y AFTERHOURS Release Saturdays
SUN APR 17 BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm
WUNDERBAR Songwriter Sunday; 7:30pm; no cover
JUBILEE AUDITORIUM Tommy Hunter Tickets; 2pm KNOX�METROPOLITAN UNITED CHURCH Gymanfa Ganu and Afternoon Tea Featuring St. David's Welsh Male Voice Choir; 2pm; no cover RICHIE UNITED CHURCH Kent Sangster Trio; 3:30pm; admission by donation
DJs BACKSTAGE TAP AND GRILL Industry Night: every Sun with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Sunday Funday: with Phil, 2-7pm; Sunday Night: Soul Sundays: '60s and '70s funk, soul, R&B with DJ Zyppy FLOW LOUNGE Stylus Sun SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover SPORTSWORLD Roller Skating Disco Sun; 1-4:30pm; sportsworld.ca
MON APR 18 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover
BLUES ON WHYTE Jason Elmore Apr 18-23
DRUID IRISH PUB Open stage every Tue; with Chris Wynters; 9pm
DEVANEY'S IRISH PUB Singer/songwriter open stage every Mon; 8pm
DV8 The Rotten; 9pm
KELLY'S PUB Open stage every Mon; hosted by Clemcat Hughes; 9pm MEAD HALL Archspire Hits Edmonton plus guests; 8pm PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam every Mon; hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm ROSE BOWL/ROUGE LOUNGE Acoustic open stage every Mon; 9pm STARLITE ROOM Tokyo Police Club with Said the Whale and Dinosaur Bones; 8pm; $22 (adv) no minors Apr 18-19 YARDBIRD SUITE Mike Morriseau Trio; 7:30pm (doors), 8pm (show); $5 (members/guests)
Classical
EDMONTON EVENTS CENTRE Fefe Dobson with guests These Kids Wear Crowns; 7pm (doors); 8:30pm (show) HAVEN SOCIAL CLUB Northcote and Guests L.B.’S Tue Blues Jam with Ammar; 9pm-1am O’BYRNE’S Celtic jam every Tue; with Shannon Johnson and friends; 9:30pm PADMANADI Open stage every Tue; with Mark Davis; all ages; 7:30-10:30pm R PUB Open stage jam every Tue; hosted by Gary and the Facemakers; 8pm RUSTY REED'S HOUSE OF BLUES Big Rock Open Jam Moses Gregg, Grant Stovel with special guests SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm
JUBILEE AUDITORIUM Video Games Live Tickets; 7:30pm
SECOND CUP�Summerwood Open stage/open mic every Tue; 7:30pm; no cover
DJs
SIDELINERS PUB All Star Jam every Tue; with Alicia Tait and Rickey Sidecar; 8pm
BLACK DOG FREEHOUSE Main Floor: Blue Jay’s Messy Nest: every Mon with DJ Blue 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 APR 19 BLUES ON WHYTE Jason Elmore Apr 18-23
SPORTSMAN'S LOUNGE Open stage every Tue; hosted by Paul McGowan; 9pm STARLITE ROOM Tokyo Police Club with Said the Whale and Dinosaur Bones; 8pm; $22 (adv) no minors Apr 18-19
DJs
BLUES ON WHYTE Jason Elmore; Apr 18-23
BLACK DOG FREEHOUSE Main Floor: alternative retro and not-so-retro every Tue; with Eddie Lunchpail; Wooftop: eclectic electronic sounds every Tue; with DJ Mike Duke
BRIXX BAR Really Good… Eats and Beats: DJ Degree, friends every Wed; 6pm; $5
BRIXX BAR Troubadour Tue: hosted by Mark Feduk; 9pm; $8
CROWN PUB Dan Jam/open stage every Wed; 8pm-2am
BUDDYS DJ Arrow Chaser every Tue; free pool all night; 9pm (door); no cover CHROME LOUNGE Bashment Tue: Bomb Squad, The King QB, Rocky; no cover CROWN PUB Underground At The Crown: hip hop; open mic every Tue, 9pm-2am DV8 Creepy Tombsday: Psychobilly, Hallowe'en horrorpunk, deathrock with Abigail Asphixia and Mr Cadaver; every Tue FUNKY BUDDHA�Whyte Ave Latin and Salsa music every Tue; dance lessons 8-10pm GAS PUMP The Great Getaway Karaoke Contest
CENTURY GRILL Century Room Wed Live: featuring The Marco Claveria Project; 8-11pm
DEVANEY'S IRISH PUB Open Mic hosted by Duff Robinson; 8pm EARLY STAGE SALOON The Willy Blizzard Band EDDIE SHORTS Acoustic jam every Wed, 9pm; no cover ELEPHANT AND CASTLE� Whyte Ave Open mic every Wed (unless there's an Oilers game); no cover EXPRESSIONZ CAFÉ Open stage with Randall Walsh; every Wed; 7-11pm; admission by donation FIDDLER'S ROOST Little Flower Open Stage every Wed with Brian Gregg; 8pm-12 GOOD EARTH COFFEE
NEW CITY LEGION High Anxiety Variety Society Bingo vs. karaoke with Ben Disaster, Anonymouse every Tue; no minors; 4pm-3am; no cover
HOUSE Breezy Brian Gregg every Wed; 12-1pm
RED STAR Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly; every Tue
HOOLIGANZ Open stage every Wed with host Cody Nouta; 9pm
WUNDERBAR HOFBRAUHAUS Stuesdays: Wunderbar's only regular DJ night every Tue
WED APR 20
WUNDERBAR HOFBRAUHAUS Stuesdays: Every Tue Wunderbar's only regular DJ night; Tyler Butler CD Release with DoT, Zachary Lucky and Caity Fisher; 9pm; $5
AVENUE THEATRE Electric Avenue featuring Badman Crooks, Yaznil, Motivv; 9pm; $5; no minors
YARDBIRD SUITE Tue Night Sessions: Featuring Mike Morrisseau with Mike Lent and Sandro Dominelli; 7:30pm; $5 (members/nonmembers
BLUE CHAIR CAFE Jim Hepler; 8pm
BLACK DOG FREEHOUSE Main Floor: Glitter Gulch: live music once a month
HAVEN SOCIAL CLUB Open stage every Wed with Jonny Mac, 8:30pm, free
NISKU INN Troubadours and Tales: 1st Wed every month; with Tim Harwill, guests; 8-10pm PAWN SHOP The Pawn Shop presents Canadian Punk Legends Dayglo Abortions with Circle The Wagons and The Dirtbags; 8pm; $12 (adv) or $15 (door) PLAYBACK PUB Open Stage every Wed hosted by JTB; 9pm-1am PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow
pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (non-member) RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm-1am; $5 RIVER CREE Live rock band every Wed hosted by Yukon Jack; 7:30-9pm RUSTY REED'S HOUSE OF BLUES Gordie Matthews Band SECOND CUP�Mountain 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 FREEHOUSE Main Floor: RetroActive Radio Wed: alt '80s and '90s, Post Punk, New Wave, Garage, Brit, Mod, Rock and Roll with LL Cool Joe; Wooftop: Soul/ breaks with Dr Erick BRIXX BAR Really Good... Eats and Beats: every Wed with DJ Degree and Friends BUDDY'S DJ Dust 'n' Time every Wed; 9pm (door); no cover THE COMMON Treehouse Wednesday's DIESEL ULTRA LOUNGE Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs LEGENDS PUB Hip hop/R&B with DJ Spincycle NEW CITY LEGION Wed Pints 4 Punks: with DJ Nick; no minors; 4pm-3am; no cover RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm TEMPLE Wild Style Wed: Hip hop open mic hosted by Kaz and Orv; $5
VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 28 DEGREES 5552 Calgary Tr ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 AREDEN THEATRE 5 Anne St, St. Albert, 780.459.1542 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLIARD CLUB 10505 Whyte Ave, 780.432.0335 BLACK DOG FREEHOUSE 1042582 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 10643123 St, 780.482.7178 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CAFFERY'S IN THE PARK 1-99 Wye Rd, Sherwood Park, 780.449.7468 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CENTRE FOR SPIRITUAL LIVING 7621 101 Ave, 780.469.1909 CENTURY GRILL 3975 Calgary Tr NW, 780.431.0303 CHATEAU LOUIS 11727 Kingsway, 780 452 7770 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary
Tr, 780.439.8675 COMMON LOUNGE 10124-124 St CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704.CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 THE DOCKS 13710 66 St, 780.476.3625 DOW'S SHELL THEATRE�Fort Saskatchewan 8700-84 St, Fort Saskatchewan, 780.992.6400 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St EARLY STAGE SALOON 4911-52 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ELEPHANT AND CASTLE�Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 FESTIVAL PLACE 100 Festival Way, Sherwood Park, 780.464.2852 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10888 Jasper Ave, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841
GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave, 780.423 HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILLTOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.995.7110 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 JUBILEE AUDITORIUM 11455 87 Ave, 780.427.2760 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 KELLY'S PUB 11540 Jasper Ave KNOX�METROPOLITAN UNITED CHURCH 8307 109 St, 780.439.1718 L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIZARD LOUNGE 13160-118 Ave MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont, 780.929.2203 MCDOUGALL UNITED CHURCH 10025-101 St MEAD HALL 10940 -166A St, 780.850.9194 MUTTART HALL Alberta College, 10050 Macdonald Dr NAKED CYBER CAFÉ 10354 Jasper Ave, 780.425.9730
NEST NAIT Main Campus, 11762106 St NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY LEGION 8130 Gateway Boulevard (Red Door) NISKU INN 1101-4 St NORTH GLENORA HALL 13535109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 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 REDNEX BAR�Morinville 10413100 Ave, Morinville, 780.939.6955 RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RITCHIE UNITED CHURCH 9624 74 Ave, 780.439.2442 RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St R PUB 16753-100 St ,
780.457.1266
RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave
SECOND CUP�Sherwood Park 4005 Cloverbar Rd, Sherwood Park, 780.988.1929 ʸ Summerwood Summerwood Centre, Sherwood Park, 780.988.1929 SIDELINERS PUB 11018-127 St, 780.453.6006 SNEAKY PETE'S 12315-118 Ave SPORTSWORLD 13710-104 St SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS TEA LOUNGE�Whyte Ave 11116-82 Ave SUEDE LOUNGE 11806 Jasper Ave, 780.482.0707 SUITE 69 2 Fl, 8232 Gateway
Blvd, 780.439.6969
TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 TRANSALTA ARTS BARNS 10330 84 Ave, 780.448.9000 TREASURY 10004 Jasper Ave, 7870.990.1255, thetreasurey.ca UNCLE GLENNS 7666-156 St, 780.481.3192 VINYL DANCE LOUNGE 10740 Jasper Ave, 780.428.8655, vinylretrolounge.com WHISTLESTOP LOUNGE 12416132 Ave, 780. 451.5506 WILD BILL’S�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer, 403.343.8800 WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com YARDBIRD SUITE 11 Tommy Banks Way, 780.432.0428 YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295
VUEWEEKLY // APR 14 – APR 20, 2011
MUSIC // 31
NEWSOUNDS Classified, Handshakes and Middle Fingers (Sony)
"Intros - Ups & Downs" is an accurate summary of what Classified’s second major-label release has to offer. The Nova Scotia-based rapper spends an entire track being self-deprecating, sulking over his declining freestyle skills, questioning whether or not he is a one-hit wonder, and expressing amazement at having his previous record go platinum—in short, "making it"— after over a decade of being out of the indie limelight. If you’ve heard Self-Explanatory, then you’ll know that Classified has said this all before. What bugs is that he already has years of solid work under his belt, plus solid new tracks like the ominous, trumpet-filled "Danger Bay," which speaks of a place not much different from Sodom and Gomorrah. He never needed a Juno to prove this, so it’s disheartening that Classified still acts like an adolescent with serious self-esteem issues. Kristina de Guzman
// kristina@vueweekly.com
The Martingales, Space & Sound (Independent)
The Martingales do a good job setting the mood on Space & Sound: the album is breathy, its tone is one of desperation, of necessity. Where it falls down is in finding a direction within all of that mood. The album drifts from one idea to another, with nothing drawing them together. The song "Anyway" finds where it needs to go—and is probably the album's standout—but at times on the record it feels like so much time was spent crafting its own world that the band forgot that there needs to be something to draw someone into that world. Space & Sound is good, but could have been great as an EP. Bryan Birtles
// bryan@vueweekly.com
Liam Trimble Ultra Rare EP (Old Ugly)
It opens with Beatlesstyle cello bowing ("18th Floor") but closes with a bumpkin-banjo jamboree that turns into a romantic waltz and back again ("Construction"): Liam Trimble's Ultra Rare EP takes an unpredictable, heartfelt trip through seven songs of romantic guitar pop. Trimble has a clever, confident way of tinkering with song structure, constantly surprising you in the best of ways: standout "Old Yellow Moon" sets its dreamy lyrics to a swooning rock set, while "Long Year" goes from crystalline singer-songwriting introspection to a surprisingly upbeat chorus that doesn't have to sacrifice mood to become so. A truly heartfelt cover of Rhy Davies' "Waterloo Sunset" is just added incentive here: the talent's in his blossoming original arrangements. Paul Blinov
// paul@vueweekly.com
Foo Fighters Wasting Light (Sony)
Dave Grohl leads the Foo Fighters through a set of raging tunes that find the band sounding truly inspired, but which couple with the tightest, most exciting songwriting the band's pulled out in some time. Underneath all the distorted guitars, backbreaking drums and growling vocals are some sharply pointed pop melodies, and the focus serves the record well. Eden Munro
// eden@vueweekly.com
Tyler Butler Winter King (Old Ugly)
Haunting. Agonizing. Even besieged works as a descriptor of what Tyler Butler delivers on Winter King. From the whispered, opening count of "Barghest," a steadying, slowly forward-moving force that anchors the album, to the hushed chords that roll towards the ending of "Sparrow," only to ultimately just sort of tilt and dissipate into nothing, Butler summons an emotional undertow throughout the record, letting loose lyrical paintings that hint at a sunrise somewhere just over the horizon: a slight glow waits just out of reach. There's a sense that the ground is shifting and the ideal is something unachievable here, Butler walking the line between folk and punk by melding the former's quiet instrumentation with the latter's desperation, resulting in an album that plays softly but which cannot be ignored. Eden Munro
// eden@vueweekly.com
Tyler Butler plays Wunderbar on Tuesday, April 19 at 8:30 pm.
32 // MUSIC
VUEWEEKLY // APR 14 – APR 20, 2011
QUICKSPINS WHITEY HOUSTON
// QUICKSPINS@vueweekly.com
.
Battles Gloss Drop (Warp) Another head trip Plus Gary Numan guest track This could not rule more
OLDSOUNDS Paul Blinov
// paul@vueweekly.com
David Bowie Reality (Columbia)
Originally released: 2003
Querkus Spaces between the leaves... (Independent) Like Fukushima Brief exposure can make you Violently ill .
Travis Barker Give The Drummer Some (Interscope) Golden recipe: Surround yourself with talent Add rock drums, get baked .
Okkervil River I Am Very Far (Jagjaguwar) Banging at your door For 13 amazing years You should let them in
Louise Burns Mellow Drama (Light Organ) Angelic lady Hot and talented, you'll get uh... third degree Burns
The Jeff Healy Band Get Me Some (Eagle) Worthy re-issues One thing's for sure, Jeff wouldn't Have seen this coming
At the turn of the millennium, David Bowie seemed to have re-established his footing on the precipice of popular culture. After the mixed reactions to his electronic dabblings in the '90s, 2002's Heathen was touted as a return to relevance that Bowie quickly followed it up with Reality (2003). A world tour kept him busy until 2004, though it was cut short when what was thought to be a pinched nerve turned out to be a dangerously blocked artery. Bowie underwent heart surgery and cancelled the rest of the tour. And then ... nothing. Bowie's popped up occasionally since then, guesting on songs with TV on the Radio, dabbling in acting, playing one-off benefit shows. But for one of pop music's most prolific all-timers, the lack of any new original material's become a heavy, charged-up silence: this is the biggest gap Bowie's ever let fall between albums in five decades of making them. He's never gone more than three years without a new release, actually. It's been almost eight, and, with little in the way of buzz or even rumour, it's beginning to look like that might be it, save the inevitable vault-
LOONIEBIN Snoop Dogg with Willie Nelson "Superman"
Willie starts out with a quick story about surgery leading to a song, and then he strums away while trading verses with Snoop, Mickey Raphael blowing a lonely harp in the background. It seems like a toss-off on first listen, but they manage to pull off an ode to mortality in what amounts to a little country ditty in the middle of a Snoop Dogg record.
Fucked Up "The Other Shoe"
For fans of the orchestral and complicated side of Fucked Up, "The Other Shoe" is like smack to a junkie, cake to a fat kid, bronzer to a bro. A look inside the band's forthcoming concept album, David Comes to Life, this track is like the first time you got a boner: it's awesome, a little confusing out of con-
emptying exercises (the scrapped 2001 album Toy leaked online last week). So, if Reality is Bowie's final album, what has he left us with? It's easy to read into Reality's lyrics for hints of intended goodbye—"Let's face the music and dance" from "New Killer Star," or the more blatant "Close me in the dark / Let me disappear / Soon there'll be nothing left of me" of album closer "Bring Me the Head of the Disco King," a jazzy album outro reminiscent of "Aladdin Sane"—but far more prevalent and worthwhile is the sense of confidence that Reality exudes. Bowie sounds comfortable in his elder-statesman-ofrock status, but unlike other acts of the same pedigree, he hasn't let himself go and bank on lasting reputation. Reality doesn't push any sonic boundaries, but it's good pop music nonetheless. Comparisons have been made between this album and Scary Monsters: sonically, it pulls from the same well of shimmering dramatic rock 'n' roll, but Monsters' sense of despair gets revised and written-over by something more positive. For a career fraught with high drama in songs—even Heathen had a far darker infatuation with death and endings—it seems strangely confident and assured as it gazes into the unknown. It has its darker moments—the piano-led inner turmoil of "The Loneliest Guy," or the lyrical goodbye of "Disco King"—but they're sandwiched between more upbeat rock 'n' roll that pulls from the past with a sense of reinvention. If Reality is really how Bowie's chosen to go out, it's not a bad finish to a five-decade career. It isn't a burn-out-in-a-blazeof-glory album, nor a fade away. The silence following it is an abrupt one: it's like Bowie's just stepped back, out of frame, to decide on what comes next. Whether that's retirement or a lengthy reassessment is yet to be determined. And until then, we have Reality. V
VUE STAFF
text and could be the first step towards the most fun you'll ever have.
J Mascis "Several Shades of Why"
The Dinosaur Jr frontman unplugs his electric and reveals the weary heart that hides behind face-melting power solos. "I'm not sayin' much / I just try hard / That's all I do / Tried and waited / Then got tired," he sighs over an acoustic riff— yes, it's still a riff—but with with genuine, weathered emotion. Quieting down actually suits the old slacker quite nicely.
Dee Snider "It Was a Very Good Year"
Twisted Sister's Dee Snider wails over an old Sinatra tune, churning up the noise and turning it into a mass of bombastic cheese.
VUEWEEKLY // APR 14 – APR 20, 2011
MUSIC // 33
COMMENT >> LGBTQ
A history of violence
Sexual safety a growing problem at York University Valerie Bustros is a 24-year-old student at Toronto's than business as usual at York University. After all, the York University. Last week she was using the bathroom Keele campus has been a playground of sexual vioat the Absinthe Pub on campus when a man opened lence over the last few years. the door, swore at her and told her she was York first made news in 2007 when two men in the wrong washroom—she was meant gained access to a locked dormitory during to be in the men's. Bustros informed her Frosh Week and raped two women in their helpful advisor that she was a woman rooms. It turned out that one of the men and a lesbian. When she came out she had graduated from York the year before. m o .c ekly vuewe found the man, now joined by two of In 2009 a male student sexually assaulted tam@ a his buddies, as he continued to exchange a female student in the campus library and Tamar ka in 2010 a woman was assaulted near campus l a more angry words with her. Then she says, z r o G they attacked. The assailants punched her to and sent to the hospital with serious injuries. the floor and repeatedly kicked her face. She fought Students pressured the university into conducting back until bar staff intervened and the men took off. a safety audit on campus and the results unsurprisThe Keele campus bar is only open to students and ingly found a third of respondents felt unsafe or very their guests, visitors have to sign-in. unsafe on campus. The Metropolitan Action CommitDid Bustros's assailants victimize her for being a tee on Violence Against Women and Children report butch women or for viewing her as a man in the lahighlights a lengthy list of security deficiencies, from dies room? Did they see themselves as just protectors low staffing, lack of emergency phones and poor of the real women on campus? Even if the victim had morale to having "no policy or procedure to address been male and using a women's washroom, why was sexual assault." their first response to brutalize such a person? BusIn the audit, some York Security Services persontros herself seems unsure what motivated the attack. nel described their roles as "professional witness[es]," "I just remember I was telling him over and over again citing their non-intervention policy. The report links that I was a girl and it didn't seem to sink in," she said. this security technique to the lack of confidence Trans folk and those with different gender presentareported by students, "Feeling responsible for their tion still run the risk of beat downs and humiliation own safety, women student respondents discussed for simply trying to go pee. Bathroom anxiety has the various ways they attempt to manage security become such an obvious problem for transgender for themselves." people that many organizations are working to inIn the end it doesn't matter if Bustros' attackers stall gender-neutral bathrooms wherever possible. S thought her a man or a lesbian, whether the attack Bear Bergman nicknames the issue "tranny bladder," was homophobic or transphobic. Bustros is hoping the denoting the forced skill many trans people develop incident results in some sort of action from the Uniin which they can go lengthy periods of time without versity. She's quick to point out the underlying issues having to visit a washroom. of prejudice and ignorance that created the situation, sharing mixed feelings about her attackers. "Yeah, I'm Perhaps the attackers are to be forgiven for thinking mad at them. I'm angry but I also feel sorry for them. that a gender-motivated assault was anything other Clearly they're not educated enough." V
EERN Q UN TO MO
backwords It takes a village to raise a city. It is everyone's civic duty to be engaged and contribute to the overall quality of life of those that dwell in that city. Trevor Boddy, a Vancouver-based architect and an Edmonton ex-pat said, "Edmonton needs to do this—needs to talk and think. Sometimes, you just do it. You take over your city and you do what you need to do." He was part of an event titled Designing Downtown: Between Two Cities presented by MADE in Edmonton at the AGA on April 6. A good example of the kind of intervention Boddy is talking about can be found at the empty lot on Whyte Avenue and 105 street. An ad hoc group known only as the Weekly Collective has installed a chalkboard with the words "I wish this was ... " painted on it, beckoning the public to become their own city planners and fill in the blanks with the coloured chalk provided. Less than a day after it went up, answers ranging from a kissing booth to a community garden covered every inch of it. In some ways, the blank slate is more inspiring than all the art or architecture in the world, not to mention intimidating. The open-ended potential inherent in absence challenges us to consider what we truly want and need. As Vancouver architect Matthew Soules observed, "When I came to Edmonton last summer, honestly I found it so refreshing, because there was an absence of a total designed environment." He spoke about the advantages and disadvantages of Vancouver's example: "The livability model from my vantage point, in the end, prefaces the desires and aspirations of a relatively narrow strata of society. It's driven by yuppie lifestyle preoccupations, and because of that it actually flattens out the kind of gritty, messy vitality that for centuries, we as a human civilization held so dear to what a city is. A place in which you collide with different actors in different ways and you learn something new about yourself." Soules' suggestion for Edmonton would resonate with the kind of people who make public interventions like the Weekly Collective. "There are other models and other ways ... Instead of saying that this
chelsea boos // che@vueweekly.com
space will be this way and plan it all the down to the paving detail, we say, 'Actually what we're going to do is small-scale tactical insertions ... throughout the city, and those will be coral reef moments that attract fish and generate this kind of unforeseen, unpredictable social activity. We don't know what that is and that's a good thing." We are on the cusp of something great, Edmonton. If we can harness the unique vision and creativity of those that dwell in this place, we can preserve some of the messy vitality that makes this city vibrant before it is master-planned to death by developers, sucking the life out of what we've worked so hard to build. A warning from Trevor Boddy: "You are able to shape and make the best downtown possible. Don't blow it. This is your last chance." V
FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) In her blog, Jane at janebook.tumblr.com answers questions from readers such as: "Who would win in a steel cage match, Santa Claus or the Easter Bunny?" Jane said, "Easter Bunny, no question; he has those big-ass teeth." But I'm not so sure. My sources say that Santa has more raw wizardry at his disposal than the Bunny. Likewise, Aries, I'm guessing you will have a similar edge in upcoming steel cage matches—or any other competitions in which you're involved. These days you've simply got too much mojo to be defeated. TAURUS (Apr 20 – May 20) "Dear Rob: Last January you predicted that 2011 might be the best year ever for us Bulls to commune with the invisible realms and get closer to the Source of All Life and since then I have been enjoying the most amazing dreams ever. I've had several strong telepathic experiences and have even had conversations with the spirit of my dead grandmother. But that God character remains achingly elusive. Can't I just have a face-to-face chat with his/her Royal Highness? —Impatient Taurus." Dear Taurus: The coming weeks will be one of the potentially best times in your life to get up close and personal with the Divine Wow. For best results, empty your mind of what that would be like. GEMINI (May 21 – Jun 20) I was reading about how fantasy writer Terry Pratchett made his
34 // BACK
own sword using "thunderbolt iron" from a meteorite. It made me think how that would be an excellent thing for you to do. Not that you will need it to fight off dragons or literal bad guys. Rather, I suspect that creating your own sword from a meteorite would strengthen your mental toughness. It would inspire you to cut away trivial wishes and soul-sucking influences that may seem interesting but aren't. It might even lead you to rouse in yourself the zeal of a knight on a noble quest—just in time for the arrival of an invitation to go on a noble quest. CANCER ( Jun 21 – Jul 22) Over the years I have stood at a highway exit ramp with a handmade cardboard sign that reads, "I love to help; I need to give; please take some money." I flash a wad of bills, and offer a few dollars to drivers whose curiosity impels them to stop and engage me. I've always been surprised at how many people hesitate to accept my gift. Some assume I have a hidden agenda; others think I'm crazy. Some are even angry. If a comparable experience comes your way anytime soon, Cancerian, I urge you to lower your suspicions. Consider the possibility that a blessing is being offered to you with no strings attached. LEO ( Jul 23 – Aug 22) "Nearly all men can stand adversity," said Abraham Lincoln, "but if you want to test a man's character, give him power." According to my analysis of the astrological omens, that thought will have extra meaning
ROB BREZSNY // FREEWILL@vueweekly.com for you in the coming weeks. So far in 2011, you have gotten passing grades on the tests that adversity has brought you. But now come the trickier trials and tribulations. Will your integrity and impeccability stand up strong in the face of your waxing clout and influence? VIRGO (Aug 23 – Sep 22) It would be a good week for you to assemble a big pile of old TVs you bought for $5 a piece at a thrift store and run over them with a bulldozer. It would also be a favorable time to start a blazing fire in a fireplace and throw in the photos of all the supposedly attractive people you used to be infatuated with. In other words, Virgo, it is a perfect moment to destroy symbols of things that have drained your energy and held you back. There's an excellent chance this will provide a jolt of deliverance that will prime further liberations in the coming weeks. LIBRA (Sep 23 – Oct 22) The style of dance known as the samba seems to have its origins in the semba, an old Angolan dance in which partners rub their navels together. In the African Kimbundu language, semba also means "pleasing, enchanting," and in the Kikongo tongue it denotes "honoring, revering." I invite you to bring the spirit of semba to your life. Use your imagination as you dream up ways to infuse your intimate exchanges with belly-tobelly reverence and enchantment. Be serpentine and worshipful. Be wild and sublime. Be-
VUEWEEKLY // APR 14 – APR 20, 2011
stow your respectful care with all your slinky wiles unfurled. SCORPIO (Oct 23 – Nov 21) In the Philippines, there is a geographic anomaly: a volcanic island in a lake that's on a volcanic island in a lake that's on an island. Can you picture that? Vulcan Point is an island in Crater Lake, and Crater Lake is on Volcano Island, and Volcano Island is in Lake Taal, and Lake Taal is on the island of Luzon. It's confusing—just as your currently convoluted state is perplexing, both to you and those around you. You could be aptly described as fiery earth within cool water within fiery earth within cool water within fiery earth. Whether that'll be a problem, I don't know yet. Are you OK with containing so much paradox? SAGITTARIUS (Nov 22 – Dec 21) For the Navajo, the quality of your life isn't measured by your wealth or status, but by whether you "walk in beauty." It's an excellent time, astrologically speaking, for you to evaluate yourself from that perspective. Do you stop to admire a flock of sparrows swirling toward a tangerine cloud at dusk? Are you skilled at giving gifts that surprise and delight others? Have you learned what your body needs to feel healthy? Have you ever kissed a holy animal or crazy wise person or magic stone? CAPRICORN (Dec 22 – Jan 19) "He who wants to do good knocks at the gate," says Bengali
poet Rabindranath Tagore in one of his "Stray Bird" poems, while "he who loves finds the gate open." I agree completely. That's why I advise you, as you get ready to head off to your next assignment, not to be burning with a no-nonsense intention to fix things. Rather, be flowing with the desire to offer whatever gifts and blessings are most needed. AQUARIUS ( Jan 20 – Feb 18) "Once bread becomes toast, it can never become bread again." Today I saw that piece of wisdom scrawled on the wall of a cafe's restroom. I immediately thought of you. You're thinking about dropping some slices in the toaster, even though you're not actually ready to eat yet. If it were up to me, you would wait a while before transforming the bread into toast. The problem is, if you make the toast now, it'll be unappetizing by the time your appetite reaches its optimum levels. That's why I suggest: Put the bread back in the bag. PISCES (Feb 19 – Mar 20) Don't try so hard, Pisces. Give up the struggle. As soon as you really relax, your subconscious mind will provide you with simple, graceful suggestions about how to outwit the riddle. Notice I just said you will be able to "outwit the riddle." I didn't say you will "solve the riddle." Big difference. Outwitting the riddle means you won't have to solve it, because you will no longer allow it to define the questions you're asking or the answers you're seeking.
EVENTS WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3 PM
COMEDY BROOKLYN'S LOUNGE 1*).%+, 9n]
/0(&**)&-..* Lm] Fa_`l Dan] Yl :jggcdqf k2 Gh]f Ea[ ;ge]\q fa_`l3 YeYl]mjk Yf\ hjgk o]d[ge] =n]jq Lm]3 02+(he Fg [gn]j
CEILI'S )(++0%)(1 Kl$ /0(&,*.&---- ;ge]\q Fa_`l2 ]n]jq Lm]$ 12+(he Fg [gn]j CENTURY CASINO )+)(+ >gjl J\ /0(&,0)&10-/ K`gok klYjl Yl 0he L`m%KYl Yf\ dYl] k`go Yl )(2+(he gf >ja%KYl )* L`m!' )1 >ja'KYl!
COMEDY FACTORY ?Yl]oYq =fl]jlYafe]fl
;]flj]$ +, 9n]$ ;Yd_Yjq Lj L`m$ 02+(he3 KYl$ 0he Yf\ )(he ?]f] J]f^jg]$ Apr 14-16 :gZ 9f_]da$ Apr 21-23
COMIC STRIP :gmjZgf Kl$ O=E /0(&,0+&-111 O]\%>ja$ Kmf 0he3 >ja%KYl )(2+(he 9\Ye Ja[`% egf\3 Apr 13-17 Eac] N][[`agf]3 Apr 20-24 DRUID )).(. BYkh]j 9n] /0(&/)(&*))1 ;ge]\q fa_`l gh]f klY_] `gkl]\ Zq DYjk ;Ydda]gm =n]jq Kmf$ 1he
MACLAB CENTRE �Leduc ,+(0%-( Kl$ D]\m[ L`] 9jjg_Yfl Ogjek La[c]lk Yl LAP gf l`] KimYj]
WOMEN IN BLACK Af >jgfl g^ l`] Gd\ KljYl`%
[gfY >Yje]jk EYjc]l Kad]fl na_ad l`] )kl Yf\ +j\ KYl$ )(%))Ye$ ]Y[` egfl`$ klYf\ af kad]f[] ^gj Y ogjd\ oal`gml nagd]f[]
Y TOASTMASTERS CLUB =\egflgf >]\]jY%
lagf g^ ;geemfalq D]Y_m]k$ /)(+%)(- Kl qlgYkl% eYkl]j[dmZ&[Y )kl Yf\ +j\ Lm]$ /%1he3 ]n]jq egfl`
LECTURES/PRESENTATIONS DUKE ELLINGTON LECTURE SERIES KljYl`[gfY ;gmflq DaZjYjq$ ,() >]klanYd DYf]$ K`]jogg\ HYjc /0(&,)(&0.(( Emka[ `aklgjaYf Ea[`Y]d Jg]\]j d][lmj]k gf l`] da^] Yf\ emka[ `aklgjq g^ <mc] 9ddaf_lgf Apr 17$ *he )( \ggj! CANADIAN DEPT. OF PEACE INITIATIVE
KljYl`[gfY DaZjYjq$ 0++) )(, Kl A^ qgm kYq fg lg >%+-¿k$ fg lg fm[d]Yj o]Yhgfk Yf\ q]k lg Z]ll]j \ahdgeYla[ ^gj]a_f hgda[q Apr 17$ )he nakalaf_!$ )2+(he e]]laf_!
LAW DAY DYo ;gmjlk :d\_$ )9 Kaj Oafklgf
;`mj[`add Ki /0(&,*0&)*+( Gh]f `gmk] Yl l`] ;gmjl`gmk] Apr 16$ 12,-Ye%+2+(he >j]]3 ^gg\ ZYfc \gfYlagfk
PERCOLATE. BREWING IDEAS WITH… EYljap @gl]d$ )(.,(%)(( 9n] h]j[gdYl]q]_&lmeZdj&[ge Kh]Yc]j k]ja]k2 9f ]phdgjYlagf g^ kmklYafYZad% alq af l`] Ç]d\k g^ 9jlk$ @]jalY_] Yf\ ;mdlmjYd EYfY_]e]fl& Apr 14, May 19, .2+(he \ggj! >j]] la[c]lk Yl LAP gf l`] KimYj]$ Apr 14: Creative Futures2 B]^^ E]dYfkgf \ak[mkk]k [gfn]flagfYd Yf\ mf[gfn]flagfYd hYjlf]jk`ah ghhgjlmfala]k3 ^g[mkaf_ gf ]e]j_af_ Zmkaf]kk eg\]dk Yf\ f]o YhhjgY[`]k lg ^mf\jYakaf_& Apr 14$ .2+(he \ggj! I 9 ^gddgok hj]k]flYlagf
QUEER
AIKIKAI AIKIDO CLUB )()+1%0/ 9n]$ Gd\ KljYl`[gfY ;geemfalq D]Y_m] BYhYf]k] EYjlaYd 9jl g^ 9aca\g =n]jq Lm] /2+(%12+(he3 L`m .%0he
BUDDYS NITE CLUB ))/*-: BYkh]j 9n] /0(&,00&..+. Lm] oal` <B 9jjgo ;`Yk]j$ ^j]] hggd Ydd fa_`l3 1he \ggj!3 fg [gn]j O]\ oal` <B <mkl¿f Lae]3 1he \ggj!3 fg [gn]j L`m2 E]f¿k O]l Mf% \]jo]Yj ;gfl]kl$ oaf hjar]k$ `gkl]\ Zq <jY_ Im]]f <B H`gf+ @ge+3 1he \ggj!3 fg [gn]j Z]^gj] )(he >ja <Yf[] HYjlq oal` <B 9jjgo ;`Yk]j3 0he \ggj!3 fg [gn]j Z]^gj] )(he KYl2 >]]d l`] j`ql`e oal` <B H`gf+ @ge+3 0he \ggj!3 fg [gn]j Z]^gj] )(he
AWA 12�STEP SUPPORT GROUP :jY]ka\]
EDMONTON PRIME TIMERS (EPT) MfalYjaYf
WUNDERBAR 0)*( )() Kl ;ge]\q Oal` Bgf
Ea[c Apr 18$ 0he
GROUPS/CLUBS/MEETINGS
Hj]kZql]jaYf ;`mj[` Zkel$ F& \ggj$ . :]jfYj\ <j$ :ak`gh Kl$ Kaj Oafklgf ;`mj[`add 9n]$ Kl 9dZ]jl >gj Y\mdl [`ad\j]f g^ Yd[g`gda[ Yf\ \qk^mf[lagfYd ^Yeada]k =n]jq Egf /2+(he
BRAIN TUMOUR PEER SUPPORT GROUP
Ogg\[jg^l :jYf[` DaZjYjq$ )+,*(%)), 9n] ZjYaflmegmj&[Y )&0((&*.-&-)(. ]pl *+, Kmhhgjl _jgmh ^gj ZjYaf lmegmj kmjnangjk Yf\ l`]aj ^Yeada]k Yf\ [Yj]_an]jk& Emkl Z] )0 gj gn]j +j\ Lm] ]n]jq egfl`3 /%02,-he >j]]
CHESS FOR STUDENTS Jgnaf_ ;`]kkFmlk LjYafaf_ >Y[adalq$ *(+$ )*()+%/. Kl /0(&,/,&*+)0 D]Yjfaf_ Yf\ hdYqaf_ ghhgjlmfala]k ^gj klm\]flk Caf\]j_Yjl]f l`jgm_` ?jY\] )*3 lgmjfYe]flk$ af[dm\af_ l]Ye eYl[`]k ^gj ]d]e]flYjq k[`ggdk& 9dd d]n]dk3 =2 kg[a]lqg^[`]kkcfa_`lk8k`Yo&[Y EDMONTON ESPERANTO SOCIETY )((*-% )(*9 9n]$ Je )0)*0 /0(&/(*&-))/ =n]jq >ja Yf\ l`] *f\ L`m g^ ]Y[` egfl`3 )*%)he FAIR VOTE ALBERTA KljYl`[gfY DaZjYjq$ ;ge%
emfalq Je mhklYajk! ^Yajngl]YdZ]jlY&gj_ Egfl`dq e]]laf_ *f\ L`m ]Y[` egfl`3 /he
FOOD ADDICTS Kl Dmc] k 9f_da[Yf ;`mj[`$
0,*,%1- 9n] /0(&,.-&*()1'/0(&.+,&--*. >gg\ 9\\a[lk af J][gn]jq 9fgfqegmk >9!$ ^j]] )*%Kl]h j][gn]jq hjg_jYe ^gj Yfqgf] km^^]jaf_ ^jge ^gg\ gZk]kkagf$ gn]j]Ylaf_$ mf\]j%]Ylaf_$ Yf\ ZmdaeaY E]]laf_k ]n]jq L`m$ /he
HOME�Energizing Spiritual Community for Passionate Living ?Yjf]Ym'9k`Zgmjf] 9kkakl]\
Danaf_ HdY[]$ ))),0%0, 9n] Home2 :d]f\k emka[$ \jYeY$ [j]Ylanalq Yf\ j]È][lagf gf kY[j]\ l]plk lg ]f]j_ar] qgm ^gj hYkkagfYl] danaf_ =n]jq Kmf +%-he
LOTUS QIGONG /0(&,//&(.0+ <goflgof HjY[la[] _jgmh e]]lk ]n]jq O]\
MEDITATION Strathcona Library$ 0++)%)(,
Kl3 e]\alYlagf]\egflgf&gj_3 <jgh%af ]n]jq L`m /%02+(he3 Sherwood Park Library2 <jgh%af ]n]jq Mon, /%02+(he
NORTHERN ALBERTA WOOD CARVERS AS� SOCIATION <m__Yf ;geemfalq @Ydd$ +/*0%)(.
Kl /0(&,-0&.+-*$ /0(&,./&.(1+ fYo[Y&[Y E]]l ]n]jq O]\$ .2+(he
ORGANIZATION FOR BIPOLAR AFFECTIVE DISORDER (OBAD) K[`argh`j]faY Kg[a]lq g^
9dZ]jlY$ *(($ )(.*)%)(( 9n]$ /0(&,-*&,..)3 Kmhhgjl _jgmh e]]lk )kl Yf\ +j\ Lm] ]Y[` egfl`$ /%1he ?j]q Fmfk @gkhalYd$ Je (.-)$ /0(&,-)&)/--3 ?jgmh e]]lk ]n]jq L`m3 /%1he
SENIORS UNITED NOW Kl& 9dZ]jl D]_agf$ . LY[`] Kl /0(&,.(&//+. Kmf Hj]ka\]fl ?gj\gf Ngl` Yf\ =p][mlan] <aj][lgj Bg`f EY[<gfYd\ =p][mlan] =d][lagfk lg Z] `]d\ Apr 18$ )2+(he SUGARSWING DANCE CLUB GjYf_] @Ydd$ )(++-%0, 9n] gj Hd]YkYflna]o @Ydd$ )(0.(%-/ 9n] /0(&.(,&/-/* Koaf_ <Yf[] Yl Km_Yj >ggl Klgeh2 Z]_aff]j d]kkgf ^gddgo]\ Zq \Yf[] ]n]jq KYl$ 0he \ggj! Yl GjYf_] @Ydd gj Hd]YkYflna]o @Ydd
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
ILLUSIONS SOCIAL CLUB L`] Bmf[lagf$ )(*,*%
)(. Kl$ /0(&+0/&++,+ ;jgkk\j]kk]jk e]]l 02+(he gf l`] *f\ >ja g^ l`] egfl` Af^g2 _jgmhk&qY`gg&[ge' _jgmh']\egflgfWaddmkagfk
INSIDE/OUT M g^ 9 ;Yehmk ;Yehmk%ZYk]\
gj_YfarYlagf ^gj d]kZaYf$ _Yq$ Zak]pmYd$ ljYfk% a\]flaÇ]\ Yf\ im]]j D?:LI! ^Y[mdlq$ _jY\mYl] klm\]fl$ Y[Y\]ea[$ kljYa_`l Ydda]k Yf\ kmhhgjl klY^^ +j\ L`m ]Y[` egfl` ^Ydd'oafl]j l]jek!2 Kh]Yc]jk K]ja]k& =2 co]ddk8mYdZ]jlY&[Y
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
LIVING POSITIVE ,(,$ )(,(0%)*, Kl ]\e% danaf_hgkalan]&[Y )&0//&1/-&1,,0'/0(&,00&-/.0 ;gfÇ\]flaYd h]]j kmhhgjl lg h]ghd] danaf_ oal` @AN Lm]$ /%1he2 Kmhhgjl _jgmh <Yadq \jgh%af$ h]]j [gmfk]ddaf_ MAKING WAVES SWIMMING CLUB _]g[ala]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
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 Scenes, monologues, one-acts on mental illness. All genres accepted. Humour appreciated. Deadline: Apr 30. rabidmarmot.ca Any artist, musician, or performance artist interested in being featured at the Local Art Showcase @ Old Strathcona Antique Mall, E: Jenn@oldstrathconamall.com
WOMONSPACE /0(&,0*&)/1, ogegfkhY[]&
Top acting training Apply today! www.topactingschool.ca
[Y$ ogegfkhY[]8_eYad&[ge 9 Fgf%hjgÇl d]kZaYf kg[aYd gj_YfarYlagf ^gj =\egflgf Yf\ kmjjgmf\af_ Yj]Y& Egfl`dq Y[lanala]k$ f]okd]ll]j$ j]\m[]\ jYl]k af[dm\]\ oal` e]eZ]jk`ah& ;gfÇ\]flaYdalq Ykkmj]\
HELP WANTED
WOODYS VIDEO BAR ))/*+ BYkh]j 9n]
Change your life! Travel, Teach English: We train you to teach. 1000’s of jobs around the world. Next in-class or ONLINE by correspondence. Jobs guaranteed. 7712-104 St. Call for info pack 1.888.270.2941
MUSICAL INSTRUCTION
YOUTH INTERVENTION AND OUTREACH WORKER aKEKK$ M g^ 9 /0(&*,0&)1/) Hjgna\]k
MODAL MUSIC INC. 780.221.3116 Quality music instruction since 1981. Guitarist. Educator. Graduate of GMCC music program
YOUTH UNDERSTANDING YOUTH qmq]\e& [Y E]]lk ]n]jq KYl$ /%1he =2 af^g8qmq]\e&[Y$ L2 /0(&*,0&)1/)
SALES/TRADE
SPECIAL EVENTS
Trade your art for an antique drawing table. Beautiful antique sloped top drawing table willing to trade for a piece of your art work. Approx. 100 years old and made of oak. 30" deep, 60" wide and 42" high. The sloped top makes it perfect for drawing. Please e-mail: rthorne@thornesmanufacturing.com
EDMONTON VOLUNTEER FAIR O]kl =\egf%
lgf EYdd$ Dgo]j D]n]d KlY_]$ H`Yk] ) ngdmfl]]j]\% egflgf&[ge >]Ylmjaf_ )(( \a^^]j]fl fgfhjgÇl gj_YfarYlagfk hj]k]flaf_ l`]aj ngdmfl]]j ghhgjlmfa% la]k Apr 16$ ))Ye%,he
NHCP BAZAAR � A HANDMADE MARKET� PLACE & TRADESHOW O]klaf$ )()+- )((l` Kl$ KYkcYl[`]oYf'EYfalgZY :Yddjgge 9 _j]Yl eap g^ `Yf\eY\] al]ek$ Ydgf_ oal` l`] ]kk]flaYdk ^gj fYlm% jYd `]Ydl` º eYkkY_] Yf\ egj]$ o`]l`]j h]jkgfYd gj hjg^]kkagfYd Apr 16 >j]]
BIKE & BAKE SALE :ac]Ogjck )((,/%0( Yn% ]fm] ]fljYf[] naY Ydd]q! /0(&,++&*,-+ ;]d]ZjYlaf_ khjaf_ KYl$ Apr 23$ )%-he CHILD HAVEN E]ja\aYf :Yfim]l$ ,0*(%/. 9n] /0(&,-,&.*). [`ad\`Yn]f&[Y 1l` 9ffmYd <aff]j2 =Ykl Af\aYf Zm^^]l \aff]j$ kad]fl Ym[lagf ^]Ylmjaf_ F]hYda Yf\ Af\aYf Yjla^Y[lk$ Af\aYf \Yf[af_$ E]f\`a$ hj]k]flYlagf gf l`] ;`ad\ @Yn]f `ge]k af Af\aY$ F]hYd$ :Yf_dY\]k`$ Yf\ LaZ]l KYl$ Apr 16$ .%)(he ,-' )* [`ad\ -%)*qj!'^j]] ,qj Yf\ mf\]j!
Run for four weeks - started on Apr 7 issue
ARTIST TO ARTIST
ʸ ʸ ʸ ʸ ʸ ʸ ʸ ʸ ARTIST/NON PROFIT CLASSIFIEDS
Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing. Free ads must be submitted in writing, in person or by fax. Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m listings@vueweekly. com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space
EAST COULEE SPRING FESTIVAL =Ykl
;gmd]] )- eafk = g^ <jme`]dd]j! ,(+ 0*+ 0-.( ][kem]me&[Y ;gmfljq$ Zdm]k$ Zdm]_jYkk$ bYrrº+( h]j^gjeYf[]k gf + klY_]k Apr 16$ fggf%)* *- Y\n!' +( \ggj! ^mf\jYak]j ^gj l`] =Ykl ;gmd]] K[`ggd Emk]me
KIWANIS MUSIC FESTIVAL ?jYfl EY[=oYf
;gdd]_] 9dZ]jlY ;gdd]_] ;Yehmk!$ l`] ;gkeghgdalYf Emka[ Kg[a]lq$ E[<gm_Ydd Mfal]\;`mj[`$ ;gf[gj\aY Mfan]jkalq ;gdd]_]$ Kl& L]j]kY =d]e]flYjq K[`ggd$ ?agnYffa Emka[ Af[dm\]k emka[Yd l`]Ylj] h]j^gj% eYf[]k& Hjg_jYek Yl =\egflgf emka[ klgj]k Yf\ 9dZ]jlY ;gdd]_] je )()! Apr 18-May 5 >j]]
ARTIST TO ARTIST
Mar 10 2011 Open Jury Photography Exhibit at Jubilee; Deadline: Jun 2; Application: http://visualartsalberta.com/blog/?page_id=17335 EAC: Valley Zoo and Wander Public Art Project; Deadline: Mon, May 2, 4:30pm; http://publicart. edmontonarts.ca/calls/ Rock The Square Festival 2011. Winston Churchill Square. Edmonton and area bands, singers. To participate as a band, volunteer, non-profit exposition or sponsor visit http://rockthesquare.com EAC: Kingsway LRT Station Public Art Project Deadline: Mon, May 2, 4:30pm; http://publicart. edmontonarts.ca/calls/
ART IN THE ANNEX! L`] 9ff]p$ )(*))%))* Kl
/0(&,*.&,)0( `Yj[gmjl`gmk]&YZ&[Y Gja_afYd Yjl ogjck oadd Z] Ym[lagf]\ g^^ lg l`] `a_`]kl Za\\]j af Y kad]fl Ym[lagf& Kljgdd l`jgm_` l`] 9ff]p Yf\ nakal oal` Yjlaklk af l`]aj klm\agk Apr 16$ .2+( \ggjk! )- af Y\nYf[] Yf\ *( Yl l`] \ggj
SHOP THE WALK: 2011 SPRING GALLERY
WALK 9_f]k :m_]jY ?Ydd]jq$ :]Yj[dYo ?Ydd]jq$ H]l]j JgZ]jlkgf ?Ydd]jq$ K[gll ?Ydd]jq$ KF9H ?Ydd]jq$ O]kl =f\ ?Ydd]jq Kap _Ydd]ja]k gf l`] oYdc o`a[` Yj] ]Ykadq Y[[]kkaZd] oal`af Y lo]dn] Zdg[c oYdcaf_ \aklYf[] Apr 16-17
hotmail.com for time, place and cost Artist Residency in Wood Buffalo: W: woodbuffalo.ab.ca/ artist; T: Connor Buchanan, 780.788.4335 Movement artist with piece to develop? Good Women would love to show your work at ‘What’s Cooking’ on Apr 29; Ainsley goodwomen@live.ca; 780.752.5956
/0(&,+.&)--- H]ghd] g^ Ydd k]pmYd gja]flYlagfk Yj] o]d[ge] =n]jq Kmf )(Ye ogjk`ah!
kmhhgjl Yf\ Y\ng[Y[q lg im]]j qgml` )*%*-3 qgm \gf l f]]\ lg Z] Ydgf]
egflgf&[Y Badminton, Co-ed: Kl& L`geYk Eggj] K[`ggd$ 1.)(%).- Kl$ [g]\ZY\eaflgf8l]Ye]\egf% lgf&[Y Badminton, Women's Drop-In Recreational: Gdan]j K[`ggd ?qe$ )(**/%))0 Kl3 ZY\eaflgf8 l]Ye]\egflgf&[Y Co-ed Bellydancing: Z]ddq\Yf[% af_8l]Ye]\egflgf&[Y Bootcamp: Dqffogg\ =d]e]flYjq K[`ggd Yl )-,-)%0, 9n]3 Egf$ /%0he3 Zggl[Yeh8l]Ye]\egflgf&[Y Bowling: =\ k J][ ;]flj]$ O]kl =\egflgf EYdd$ Lm] .2,-he Curling: ?jYfal] ;mjdaf_ ;dmZ3 /0(&,.+&-1,* Running: =n]jq Kmf egjfaf_3 jmffaf_8l]Ye]\egflgf&[Y Spinning: EY[=oYf ;]flj]$ )(1 Klj]]l Yf\ )(, 9n]3 khaf8l]Ye]\egflgf&[Y Swimming: F9AL hggd$ ))/.*%)(. Kl3 koaeeaf_8l]Ye]\egflgf& [Y Volleyball: Egl`]j L]j]kY =d]e]flYjq K[`ggd Yl 1((0%)(-93 9eakcaoY[aq 9[Y\]eq$ )() 9ajhgjl J\3 j][ngdd]qZYdd8l]Ye]\egflgf&[Y3 ngdd]qZYdd8 l]Ye]\egflgf&[Y QG?9 @Yl`Y!2 >j]] Qg_Y ]n]jq Kmf$ *%+2+(he3 Cgj]rgf] >alf]kk$ *(+$ )(-/-%))- Kl$ qg_Y8l]Ye]\egflgf&[Y
BUSINESS OPPORTUNITIES
EDUCATIONAL
G.L.B.T.Q, AFRICAN GROUP Hja\] ;]flj]$
GLBT SPORTS AND RECREATION l]Ye]\%
FOUR LINES: $20 EXTRAS (BOLDING, CAPS, EXTRA LINE, BOX WORD AD, SYMBOLS): $4 EACH FORMS OF PAYMENT: CASH, CHEQUE, VISA, MASTERCARD DEADLINE: FRIDAY AT 3 PM PHONE: 780.426.1996 FROM 9 � 4, MON � FRI EMAIL: ROB�VUEWEEKLY.COM NOT FOR PROFIT LISTINGS: FREE FAX: 780.426.2889 OR EMAIL: LISTINGS@VUEWEEKLY.COM
ST PAUL'S UNITED CHURCH ))-*.%/. 9n]
/0(&,00&.--/ Egf2 9eYl]mj Kljah ;gfl]kl3 hjar]k oal` K`YoYfY Lm]2 Cal[`]f +%))he O]\2 CYjYgc] oal` Larrq /he%)Ye3 Cal[`]f +%))he L`m2 >j]] hggd Ydd fa_`l3 cal[`]f +%))he >ja2 Eg[`g FY[`g >ja2 +he \ggj!$ cal[`]f gh]f +%))he
1-,(%))) 9n] /0(&,00&+*+, E]]lk *f\ L`m ]n]jq egfl`$ .he
CLASSIFIEDS
ROBERTSON�WESLEY UNITED CHURCH )(*(1%)*+ Kl /0(&,0*&)-0/ Kgmd GMLaf_2 Yf D?:L%^g[mk]\ Ydl]jfYlan] ogjk`ah *f\ Kmf ]n]jq egfl`$ /he3 ogjk`ah Kmf$ )(2+(Ye3 h]ghd] g^ Ydd k]pmYd gja]flYlagfk o]d[ge]& D?:L egfl`dq Zggc [dmZ Yf\ Çde fa_`l& =2 bjYn]fk[jg^l8jom[&gj_
;`mj[` g^ =\egflgf$ )(0(,%))1 Kl 9 _jgmh g^ gd\]j _Yq e]f o`g `Yn] [geegf afl]j]klk e]]l l`] *f\ Kmf$ *2+(he$ ^gj Y kg[aYd h]jag\$ k`gjl e]]laf_ Yf\ _m]kl kh]Yc]j$ \ak[mkkagf hYf]d gj hgldm[c kmhh]j& Kh][aYd afl]j]kl _jgmhk e]]l ^gj gl`]j kg[aYd Y[lanala]k l`jgm_`gml l`] egfl`& =2 ]\egflgfhl8 qY`gg&[Y
PRIDE CENTRE OF EDMONTON 1-,(%))) 9n]$
Fgjogg\ :dn\ /0(&,00&+*+, <Yadq2 Qgml`KhY[] Qgml` <jgh%af!2 Lm]%>ja2 +%/he3 KYl2 *%.2+(he3 b]kk8hja\][]flj]g^]\egflgf&gj_ E]f LYdcaf_ oal` Hja\]2 Kmhhgjl _jgmh ^gj _Yq$ Zak]pmYd Yf\ ljYfk_]f\]j]\ e]f lg \ak[mkk [mjj]fl akkm]k3 Kmf2 /%1he3 jgZo]ddk/0(8`gleYad&[ge @AN Kmhhgjl ?jgmh2 ^gj h]ghd] danaf_ oal` @AN'9A<K3 *f\ Egf ]Y[` egfl`$ /%1he3 `m_]k8k`Yo&[Y K]fagjk <jgh% Af2 Kg[aYd'kmhhgjl _jgmh ^gj k]fagjk g^ Ydd _]f\]jk Yf\ k]pmYdala]k lg lYdc$ Yf\ `Yn] l]Y3 ]n]jq Lm] Yf\ L`m$ )%,he3 lm^^8k`Yo&[Y LLAI2 =\m[Ylagf Yf\ kmhhgjl _jgmh ^gj ljYfk_]f\]j$ ljYfkk]pmYd$ afl]j% k]p]\ Yf\ im]klagfaf_ h]ghd]$ l`]aj ^ja]f\k$ ^Yeada]k Yf\ Ydda]k3 *f\ Lm] ]Y[` egfl`$ /2+(%12+(he3 Y\eaf8hja\][]flj]g^]\egflgf&gj_ ;geemfalq Hgldm[c2 >gj e]eZ]jk g^ l`] D?:LI [geemfalq3 dYkl Lm] ]Y[` egfl`$ .%1he3 lm^^8k`Yo&[Y ;gmf% k]ddaf_2 >j]]$ k`gjl%l]je$ kgdmlagf%^g[mk]\ [gmfk]d% daf_$ hjgna\]\ Zq hjg^]kkagfYddq ljYaf]\ [gmfk]ddgjk]% n]jq O]\$ .%1he3 Y\eaf8hja\][]flj]g^]\egflgf& gj_ KL< L]klaf_2 DYkl L`m ]n]jq egfl`$ +%.he3 ^j]]3 Y\eaf8hja\][]flj]g^]\egflgf&gj_ Qgml` Egna]2 =n]jq L`m$ .2+(%02+(he3 b]kk8hja\][]f% lj]g^]\egflgf&gj_ Hjae] Lae]jk ?Ye]k Fa_`l2 ?Ye]k fa_`l ^gj e]f Y_] --#3 *f\ Yf\ dYkl >ja ]n]jq egfl`3 /%)(he3 lm^^8k`Yo&[Y 9jl ?jgmh2 <jYoaf_ Yf\ kc]l[`af_ _jgmh ^gj Ydd Y_]k Yf\ YZadala]k3 ]n]jq KYl$ ))Ye%*he3 lm^^8k`Yo&[Y Kmal Mh Yf\ K`go Mh2 99 :a_ :ggc Klm\q2 <ak[mkkagf'kmhhgjl _jgmh ^gj l`gk] kljm__daf_ oal` Yf Yd[g`gd Y\\a[lagf gj k]]caf_ kmhhgjl af klYqaf_ kgZ]j3 Y\eaf8hja\]% []flj]g^]\egflgf&gj_3 ]n]jq KYl$ )*%)he Qgml` Mf\]jklYf\af_ Qgml`2 D?:LI qgml` mf\]j *-3 =n]jq KYl$ /%1he3 qmq]\e&[Y$ qmq8k`Yo&[Y
National Stiltwalkers of Canada are celebrating 10 years. Ever stiltwalked? Want to learn? NSC offers workshops. For more info www.stiltcanada.ca Energize Exhibition (part of The Works Festival programming); Deadline: Wed, May 4, 11am; http://visualartsalberta.com/blog/?page_id=17335
VUEWEEKLY // APR 14 – APR 20, 2011
Male pianist wanted. Must have studio and be able to play song in higher note. Contact sheri_mcnaught@
MUSICIANS
Entry level singer looking for band with good sound and equipment, willing to practice rock through to metal T: 780.434.0124 Rock/country/blues duo seeks serious, ambitious, kick-ass keyboardist. Contact via facebook.com/ SaraIsabelMusic Seeking mature keyboard player, rhythm guitar player, or steel guitar player, for a corporate function cover band, with a focus on country music. (Back-up vocals a definite asset.) View Upstreet Band at bandmix.ca/ georgem, or call George at 780.499.185421 issue1 Modern rock band FTGU seeks talented bass player and drummer. Jam space preferable. Contact SID: ftgusinger@hotmail.com Feb 10 2011 Electric ukulele player seeking rockabilly/alternative, country or indie-pop band. Contact Luke at 780.919.1395 Feb 10 2011 Might go on past 8 weeks Vocalist wanted – Progressive/Industrial/metal; age 17-21. Contact justinroyjr@gmail.com
COSMOPOLITAN MUSIC SOCIETY Opportunity for amateur adult musicians and singers to learn and perform concert band and choral music under professional music direction. Contact Darlene at 780.432.9333; generalmanager@ cosmopolitanmusic.org
VOLUNTEER Volunteer website for youth 14-24 years old. youthvolunteer.ca Flower Fest 2011 Jul 15-17 telusplanet.net/public/ bzgregg/flowerfest.html; Flower Fest volunteer performers T: 780.429.3624 for time spot in the program Glamorous Grads program: Drop-off new/gently worn cocktail dresses, gowns, shoes, handbags (all sizes) to Londonderry Mall's customer service. until Apr 30 Do you remember someone who believed in you when you were a child? Be that person in a child's life today. All it takes is one hour a week, which may not be much to you but will make all the difference in the life of a child. Be a Big Brother or Big Sister! Be a Mentor! Call Big Brother Big Sister today. 780.424.8181 The Support Network: Volunteer today to be a Distress Line Listener. Apply on line thesupportnetwork.com or call 780.732.6648 The Heart and Stroke Foundation: looking for Volunteers With Heart; W: heartandstroke.ab.ca S.C.A.R.S.: Second Chance Animal Rescue Society. Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled. scarscare.org Volunteer at ElderCare Edmonton: help out with day programs with things like crafts, card games and socializing. Call Renée for info at 780.434.4747 Ext 4
SUPPORT YOUR LOCAL FOOD BANK
ADULT STEAMWORKS GAY & BI MENS BATHHOUSE. 24/7 11745 JASPER AVE. 780.451.5554 WWW.STEAMWORKSEDMONTON.COM
BACK // 35
36 // BACK
VUEWEEKLY // APR 14 – APR 20, 2011