2 // UP FRONT
VUEWEEKLY // APR 28 – MAY 4, 2011
COVER
INSIDE
IssuE no. 810 // APR 28 – MAY 4, 2011
UP FRONT // 4/ 4 Vuepoint 5 Political Interference 5 News Roundup 8 Dyer Straight 10 Bob the Angry Flower
DISH // 12/ 18 To the Pint
ARTS // 19 20 Artifacts
FILM // 23 26 DVD Detective
MUSIC // 28/ 33 Music Notes 34 New Sounds 35 Old Sounds 35 Quickspins
WHAT'S WRONG WITH GETTING ALONG? // 6
BACK // 38 38 Queermonton 38 Back Words 38 Free Will Astrology
LISTINGS 22 Arts 27 Film 36 Music 39 Events
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IssuE no. 810 // APR 28 – MAY 4, 2011 // Available at over 1400 locations Editor / Publisher.......................................... RON GARTH // ron@vueweekly.com MANAGING Editor............................................. EDEN MUNRO // eden@vueweekly.com associate mANAGING editor................... BRYAN BIRTLES // bryan@vueweekly.com NEWS Editor........................................................ SAMANTHA POWER // samantha@vueweekly.com Arts / Film Editor........................................... PAUL BLINOV // paul@vueweekly.com Music Editor....................................................... EDEN MUNRO // eden@vueweekly.com Dish Editor........................................................... BRYAN BIRTLES // bryan@vueweekly.com creative services manager.................... MICHAEL SIEK // mike@vueweekly.com production.......................................................... CHELSEA BOOS // che@vueweekly.com ART DIRECTOR....................................................... PETE NGUYEN // pete@vueweekly.com Senior graphic designer........................... LYLE BELL // lyle@vueweekly.com WEB/MULTIMEDIA MANAGER........................ ROB BUTZ // butz@vueweekly.com LISTINGS ................................................................ GLENYS SWITZER // glenys@vueweekly.com
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CONTRIBUTORS Ricardo Acuña, Chelsea Boos, Josef Braun, Rob Brezsny, Alexa DeGagne, Jason Foster, Brian Gibson, James Grasdal, Whitey Houston, Stephen Notley, Mel Priestley, Melissa Stevenson, LS Vors, Mimi Williams Distribution Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish
VUEWEEKLY // APR 28 – MAY 4, 2011
UP FRONT // 3
UP FRONT
vuEpoInT
GRAsdAl's VUE
Electoral reform bRYAN biRTlEs // bRYAN@VUEWEEKlY.COM
M
uch has been made in this election and the last about strategic voting: whole organizations have sprung up around the country touting its benefits, among them Project Democracy, Pair Vote and the Catch 22 Campaign. These organizations campaign for strategic voting on the basis that it is the only way to defeat the Conservatives. The arguments in favour of strategic voting boil down to one platitude: the enemy of my enemy is my friend. In an effort to keep Stephen Harper's party out of government—or at the very least reduce his minority—the campaigns have undertaken detailed analysis of the election at the riding level, identified the non-Conservative frontrunners and advised progressive voters to cast their ballots in their direction. In Edmonton, strategic voting has been touted as what put NDP MP Linda Duncan over the top in Edmonton-Strathcona where a "Liberals for Linda" whisper campaign took root during the last writ period—and, judging by the near-complete absence of Liberal signs in the riding this election, has done so again. In Edmonton-Centre, Liberal candidate Mary
yourVuE
MacDonald's campaign distributed Project Democracy's analysis that endorsed her as the candidate to defeat the Conservative incumbent. But just because it can be effective, doesn't make strategic voting right. The fact that some Canadians feel it necessary to vote against a party they disagree with instead of having the freedom to vote for a party they believe in is a sad reflection of the current dysfunction of our political system in which many votes simply don't count. Strategic voting points to the failure of our first-past-the-post system: because 100 percent of the power goes to the candidate with a plurality of votes, the rest may as well have not happened. It should come as no surprise that some Canadians have taken to the tactic because, in many ridings, a candidate can win while being opposed by more than half the electorate. Such a system is undemocratic and does little to represent Canada's diverse makeup. To create a true democracy in this country, electoral reform is absolutely essential. Replacing our first-past-thepost system with one that more fully expresses the will of Canadian citizens will not only make each person's vote count, it will relegate strategic voting to the dustbin of history where it belongs. 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 ThE MUCh-MAliGNEd sUN TV lAUNChEd This WEEK. PROPONENTs sAY iT bRiNGs sOME bAlANCE TO CANAdA's AiRWAVEs, WhilE OPPONENTs CAll iT "FOx NEWs NORTh." Will YOU bE WATChiNG ThE ChANNEl?
This WEEK's POll
Are you going to vote?
VUEWEEKlY.COM onLInE CoMMEnTS
in response to the April 14 - 20, 2011 webpoll, "do you believe nuclear should be looked at as an environmental alternative to traditional oil and gas in Alberta?" Webpoll results indicate 54 percent approve of nuclear as a good alternative if developed safely. I suggest readers remember this webpoll reached only the Edmonton population, not the province. The Nuclear Waste Management Organization (NWMO) is seeking to store two million high-level radioactive fuel bundles sitting at temporary storage sites in Canada, mostly at the large plants in Ontario, Quebec and New Brunswick, in the Municipal District of Big Lakes, 250 kilometres northwest of Edmonton. CECilY Mills EdMONTON
CORRECTiON
Check out vueweekly.com/yourvue to vote and comment.
4 // UP FRONT
VUEWEEKLY // APR 28 – MAY 4, 2011
In last week's Vue Weekly, the phone number for Battista's Calzone was incorrect. The correct phone number is 780.758.1808. Vue Weekly regrets the error.
COMMENT >> ENERGY POLITICS
Counterattack
Truly rhetorical
NDP focuses on veterans and military
Conservatives create a threat to the tar sands
mimi williams // mimi@vueweekly.com
A
lot of attention during this election has been paid to the billions of dollars Stephen Harper's Conservatives want to spend on Stealth F-35 fighter jets that the country may or may not need and which may or may not come with engines included. With the Liberals and Conservatives' campaigns focused on military procurement, little attention has been paid to the myriad of issues facing the active members of the Canadian Forces and the country's veterans, but it seems the NDP is looking to fill that void. Conventional wisdom has it that soldiers are conservative by nature and electoral results often bear that out, with the Conservatives taking the majority of ridings that could be considered "military" in the last two elections. With members of the military, active and retired alike, understandably tight-lipped when it comes to federal politics, it remains to be seen whether Veterans Ombudsman Pat Stogran’s anti-Harper stance, shared by many of the country’s veterans, will translate into a mass exodus of Conservative support. "Soldiers are nothing more than
With New Democrats surging in the rhetoric is that when held up to examipolls nationally and the Conservatives nation it's simply not true. There has struggling to climb into majority terbeen much sound research published ritory, pollsters have been predicting suggesting that what might be best for that a handful of Edmonton ridings Alberta, and Canada, in terms of jobs are becoming too close to call. and economic and environmental All of a sudden, in an election sustainability over the long that Conservatives claimed term would be a strategic and E well-planned phasing out of nobody wanted, not only C N E R were their prospects of INTERFE tar sands development and om eekly.c @vuew winning back Edmontona focus on renewables and ricardo o Strathcona disappearing, technology. There has also Ricard but they were suddenly faced been research suggesting that Acuña with the very real possibility of tar sands expansion should not losing both Edmonton-Centre and continue until it can be done in a Edmonton-East. way which eliminates significant enviThe reaction was predictable. Conronmental impacts. servative candidates in those three If Canada's politicians were genuinely ridings began cranking up the rhetoric concerned about the long-term wellon the only subject they seem to think being of Canadians and our environwill get them leverage—the tar sands. ment, then these aspects would be enEven Premier Ed Stelmach stepped tering the conversation as part of this into the fray on a couple of occasions election. But, this conversation is not to reinforce their dire warnings. happening, contrary to what Premier Their message, as always, can be Stelmach and some Conservative canboiled down to this: the Liberals, New didates claim. Democrats and Bloc are out to shut down the tar sands and destroy AlThe reason: none of the major parberta. If you value your job, your home ties running in this election are actuand your way of life, they warn, you ally proposing phasing out or shutting must elect a Conservative majority. The only problem with this line of CONTINUED ON PAGE 7 >>
CAL POLITI
Orange is the new black
props for photographs now," laments one veteran, who requested anonymity. Sounding almost ashamed, he tells me that he will not be voting for the Conservatives for the first time in
his life. He recounts the moment he made that decision, watching one of Rick Mercer's rants. "He talked about CONTINUED ON PAGE 11 >>
NewsRoundup
SAMANTHA POWER // samantha@vueweekly.com
YOUNG WORKERS
DEMOCRATIC LAWSUIT
More than one in five employed adolescents works in a prohibited job, according to a new study from the Alberta Federation of Labour. Released last week, the study revealed numerous violations in workplaces employing children and adolescents. In Alberta, children as young as nine can participate in the workforce but are restricted to certain jobs and that's where the main problem lies according to the study. With 26 000 adolescents in the workforce, 21 percent were working in restricted jobs such as janitorial services and work on a golf course. Over 28 percent were in legal occupations such as newspaper delivery and agriculture, while the remaining 50 percent were being paid for yard work and babysitting. The AFL is concerned that Alberta's complaint-driven employment standards are not upholding safe workplaces. "We are calling on Employment Minister Lukaszuk to do three things: first, he should immediately reverse the decision to allow children as young as 12 to work in restaurants; second, the Minister should immediately commit to a continuing program of random, proactive employment standards inspections for employers who are known to employ underage
Avaaz.org, an online activist group, has launched a federal lawsuit in an attempt to force the release of the Auditor General's report on the Canadian G8 summit. Over 82 000 Canadians have signed the petition at Avaaz.org demanding the auditor general release her report during the election. Auditor General Sheila Fraser has compiled a report on spending and
democratic procedures during the G8 and G20 summits that occurred in Ontario last year, but is unable to release the report as Parliament is not in session. Several drafts leaked earlier this month reveal the Conservative government did not adhere to a number of fiscal procedures and has allegedly misspent $50 million on projects for the summits.
QUOTE OF THE WEEK "This is basic stuff, you know: the kind of thing that our political leaders should be saying and not need reminding from a 26-year-old whose entire political career consists of creating a Facebook page." —Edmonton-Strathcona Independent candidate Chris White
worker," says Gil McGowan, president of the AFL. "Third, the Minister needs to make immediate changes to
employment standards enforcement mechanisms and ensure prosecution of employers who break the law."
VUEWEEKLY // APR 28 – MAY 4, 2011
on declaring a run to be prime minister April 18, 2011
UP FRONT // 5
Coalition governments may be Canada's future mon ground; in Canada the divide has taken on a greater presence. "I think in [Harper's] world the NDP is so far left that if the Liberals were to consider forming a coalition it indicates the Liberals are going to be corrupted or led into extremism and can't be trusted," says Adkin. She iterates that a complicating factor is the search for sovereignty by one of the coalition partners. "If a party that supports independence of Quebec is given a position of governance for the nation, [Harper suggests] it would somehow be akin to a foreign power running one's country." That being said, as Bloc Quebecois party leader Gilles Duceppe vociferously points out, Harper was willing to engage in coalition talk with the Bloc in 2004. Britain has had to negotiate the minefield of seperatist sentiment and nationalist movements with Scottish, Welsh
samantha power // samantha@vueweekly.com
I
t was a bold statement: there will be no coalition. Michael Ignatieff declared it defensively and almost angrily during the live debates earlier this month. Whether it was a preconceived policy decision by the campaign team to be announced during the debate or a declaration riled by the one-on-one sparring, the statement was uttered with such conviction that it seemed to end the conversation about coalition governments—at least one led by an Ignatieff Liberal Party. The ferocity of the statement jarred a debate couched in rhetoric. In that moment Conservative party messaging around coalition governments had won. "Harper wants to suggest that there's something dishonest about forming a coalition," says University of Alberta political science professor Laurie Adkin, "but there are no democratic restrictions about why they shouldn't exist." In fact, British Conservative Prime Minister David Cameron owes his job to an official coalition hammered out between two partners. When the results of the 2010 UK election came in, it became clear no party held a majority. The balance of power rested with a third party, and unlikely Conservative ally, the Liberal Democrats. An advocate of social liberalism, progressive taxation and electoral reform, leader Nick Clegg took advantage of his position as kingmaker and attempted negotiations with natural partner Labour party leader Gordon Brown, negotiations which failed to yield majority results. Conservative leader David Cameron picked up the opportunity and combined his 307 seats in the House of Commons with Clegg's 57 to form government. As Adkin says, it was not treated as an outrageous event, it was the solution. "There's a case to be made that they're a more democratic form of representation than the firstpast-the-post system," says Adkin. "They have an agreement on legislation they will bring forward with compromises on both sides. These compromises are negotiated, the advantage is that a lot of people who voted Liberal Democrat have some representation that they would not have had and the government is able to go forward with relative stability and some agenda of legislation." The system worked out between the two parties in Britain is very similar to the 2008 Accord negotiated between the New Democrats and Liberals, with agreement from the Bloc. It was a formalized bid for a coalition with plans
6 // UP FRONT
The word coalition has taken on such a negative connotation that it is comparable to usurping government.
// Pete Nguyen
for cabinet ministers from both parties and a method of attack for creating new policy. If agreed to, Canadians would still be living under a coalition government: the accord's expiration was set for June of this year. Ironically, even though the Accord was avoided through Harper's prorogation of Parliament, Canada has essentially been living under an informal coalition for the past four years. As Carole Aippersbach of the Alberta Legal Resource Centre explains in a recent web post, coalitions
happen any time there is a minority government. "By definition, a minority government cannot win any vote unless it has the support of MPs from other parties. And, on any confidence vote, if there is not a majority, the government falls. That is just how the math works." It's a reminder that all governance is compromise. Adkin points to a referendum set to occur in Britain on electoral reform: proposed by the Liberal Democrats as a condition of their support, "The electoral system on the referendum is not the first
VUEWEEKLY // APR 28 – MAY 4, 2011
preference of the Liberal Democrats, and Conservatives do not want the referendum at all, but they agreed to put forward the referendum." explains Adkin. It's a negotiation that will not be seen in Canada. The word coalition has taken on such a negative connotation that it is comparable to usurping government, says Adkin, "[Harper has] suggested there's some sort of illicit conspiracy." In Britain, the socialist Liberal Democrats and Conservatives have found com-
and Irish nationalist parties present in the House of Commons. Some of the confusion surrounding the undemocratic nature of coalitions might reside in the prevailing sentiment of voting preference. Although the constitution mentions nothing about parties, Canadians are accustomed to voting for their preferred party, when in fact we vote for a member of parliament, and theoretically every member could be an independent that negotiates a system of voting in parliament. "Canadians do not vote for prime minister. Nor do they vote for a government," Aippersbach writes. "The Constitution Act of 1867 does not mention the prime minister or political parties—the focus is on MPs." In that sense the combinations for political coalitions are endless. "This is a problem that will be reproduced until the electoral system changes or the parties adapt their strategy to take into account the electoral realities." With Great Britain, the home of Canada's Westminster parliamentary democracy facing a referendum on electoral change, it's a message that may have been heard by the country's political parties. A message Canada may soon be facing as well. V
POLITICAL INTERFERENCE << CONTINUED FROM PAGE 5
down the tar sands. The Liberals and New Democrats are proposing a capand-trade system for emissions, and the New Democrats have gone a step further to propose ending federal subsidies for the massive development. The fact that these proposals cause great controversy in Alberta says more about the extent of control the oil industry has over our politicians than about the proposals themselves, especially when you look at what the each party's proposal will actually create. The cap-and-trade platform is in line with what is happening around the world, and will have little actual impact on the industry or its bottom lines or growth projections, and the elimination of subsidies only makes sense when you look at the billions and bil-
lions of dollars-worth of profits being generated by the main players in the industry. Neither proposal will result in lost jobs or massive capital flight, and neither proposal actually seeks a shutdown of the industry. At most, they will result in an industry that emits fewer greenhouse gases and isn't dependant on taxpayer dollars for its profit margin. Is that so bad for Alberta? So contrary to the alarmist warnings of the Conservatives, nobody is actually campaigning on a platform to shut down, or even ramp down, the tar sands. But wouldn't it make for better policy and a better long-term plan if someone actually was? V Ricardo AcuĂąa is the executive director of the Parkland Institute a non-partisan, public policy research institute housed at the University of Alberta.
VUEWEEKLY // APR 28 â&#x20AC;&#x201C; MAY 4, 2011
UP FRONT // 7
COMMENT >> WEST AFRICA
Unstable democracy Nigeria's uncertain future
The war in Ivory Coast is over, or so we are told. brink of the pit). Former president Laurent Gbagbo, who clung to For a long time people thought Ivory Coast was the presidency even though he only won 46 perimmune because of its far greater wealth: it was cent of the vote in last year's election, has been the world's biggest cocoa producer and the ecodragged from his bunker after two weeks of nomic centre of French-speaking West Africa. But battle that devastated the capital, Abidjan. the wealth never trickled down very far, and President Alassane Ouattara, who got 54 the ethnic rivalries were the same. Indeed, percent of the votes, is in charge, and they were actually worse, because the Gbagbo is under arrest, and all's well country is almost evenly split between that ends well. Muslims in the north and Christians in m o .c ly week e@vue Except that it didn't end very well, the south. gwynn e did it? Indeed, it probably hasn't ended East along the coast, the curse hasn't Gwynn at all. Ouattara owes a lot to the troops struck yet. Ghana, on Ivory Coast's eastr e y D (the New Forces) that fought for him, and ern border, has seen a few coups, but no they will expect to be paid, mainly in military, massacres, and it is now a flourishing democpolice and government jobs. This will further racy with a respectable growth rate. Togo and alienate Gbagbo's supporters (mostly Christian Dahomey are not so lucky, but they have had no southerners), who already feel they have been ochuge massacres either. And giant Nigeria has done cupied by a northern, Muslim army. It's not even clear that Ouattara ordered the It is the West African offensive that was carried out in his name: the New Forces have about 10 semi-independent comCurse: rampant corruption manders. It's even odds that the victors will simply plus chronic poverty plus overthrow Ouattara and take power themselves ethnic rivalry produce civil in the next year or two. wars and insurgencies that The militias that fought for Ggagbo are not finished, either. It was French firepower that finally last for decades and kill breached Gbagbo's defences, even if New Forces hundreds of thousands soldiers made the actual arrest. And although the of innocent civilians. It French were operating under the United Nations flag, everybody in Ivory Coast knows that Ouathappened in Sierra Leone, it tara has been the preferred candidate of France's happened in Liberia, and it President Nicolas Sarkozy for many years. started to happen in Guinea The French forces have put Ouattara in power, but now they have to withdraw rapidly. It looks last year (although that bad for the former colonial power to boost an Afcountry may have stopped rican regime into power, and the longer they stay on the brink of the pit). the worse it will look. But once they are gone, Ouattara may face resurgent southern militias that are still loyal to Gbagbo. It is the West African Curse: rampant corruption surprisingly well, given that it has all the ingrediplus chronic poverty plus ethnic rivalry produce ents of a classic West African-style disaster. civil wars and insurgencies that last for decades and kill hundreds of thousands of innocent civilNigeria has oil, but most of the money has been ians. It happened in Sierra Leone, it happened in Listolen by a small elite class while the majority of beria, and it started to happen in Guinea last year (although that country may have stopped on the CONTINUED ON PAGE 9 >>
R DYEIG HT
STRA
8 // UP FRONT
VUEWEEKLY // APR 28 â&#x20AC;&#x201C; MAY 4, 2011
UNSTABLE DEMOCRACY << CONTINUED FROM PAGE 8
Nigerians remain poor. It is even more deeply divided than Ivory Coast in ethnic and religious terms. Yet Nigeria never slid over the edge. It has had many coups, and even when "democracy" was restored the elections were shamelessly rigged. The MuslimChristian split dominates national politics, and sometimes leads to local massacres. It is a chaotic, abrasive, almost lawless society but also a highly successful one, with seven percent growth and a functioning if deeply corrupt democracy. It is, in a weird way, a very stable country. The one major threat to its stability is the fact that its elections are getting more honest. When the outcome was decided in advance, the basic northsouth deal was safe: a two-term Muslim president from the north would be followed by a two-term Christian president from the south, and then back again. That way, everybody who mattered in Nigeria could count on getting their turn at the trough. This time, however, the Muslim president died halfway through his first term, and his Christian vice-president, Goodluck Jonathan, took his place. Jonathan likes the job so much that he is running for re-election as president, which enrages the northern, Muslim elite who think it should still be their turn. To make matters more dangerous, this time new election rules and an official who can't be bought mean that the votes will actually be counted. Last weekend's parliamentary elections saw the ruling People's Democratic Party (PDP), the vehicle of both the northern and southern elites, lose ground dramatically to new opposition parties. If Jonathan wins the presidential election this weekend (results are expected by Tuesday or Wednesday), he will face a parliament where the PDP majority is both narrow and fragile. If his leading rival Muhammadu Buhari, another PDP stalwart and a former president, should win, he will face exactly the same situation. The whole elite is losing power, and that can be very dangerous for democracy. Ivory Coast has been going down for some time, and it may not have touched bottom yet. Nigeria's 140 million people are on the way up, but they must still go through a tricky transition, and nobody knows if they are exempt the curse. Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.
VUEWEEKLY // APR 28 â&#x20AC;&#x201C; MAY 4, 2011
UP FRONT // 9
BOB THE ANGRY FLOWER
10 // UP FRONT
VUEWEEKLY // APR 28 – MAY 4, 2011
COUNTERATTACK
<< CONTINUED FROM PAGE 5
how (Defence Minister Peter) MacKay, under cover of the humanitarian crisis in Haiti last year, quietly cancelled the procurement of armoured vehicles after he used 300 soldiers as a photo backdrop for the huge announcement of the purchase just a few months before," says the vet, calling MacKay’s behaviour, "Like a kick in the gut." It's not just veterans who are questioning their allegiance. One young soldier, again speaking on condition of anonymity, tells me he and his wife, a nurse, will be supporting the NDP for the second time in as many federal elections. The young couple welcomed their first child about a year after he completed his second tour of duty in Afghanistan. They note that only the NDP have remained steadfast in their opposition to Canada's continued participation in the conflict, with both the Liberals and Conservatives agreeing to extend our troops' mission. It was nine years ago this month that the first of 155 Canadian deaths in Afghanistan occurred. Sgt Marc Leger, Cpl Ainsworth Dyer, Pte Nathan Smith, and Pte Richard Green, members of Edmonton's 3rd Battalion Princess Patricia's Canadian Light Infantry, were on a night training exercise near Kandahar on April 18, 2002 when they were hit by a bomb dropped from a US fighter jet, also on a training mission. "We've brought enough of our boys
home in body bags," the soldier tells me. "I’m going to vote for the party that wants to put an end to that." With 68 000 active military personnel, almost 800 000 veterans and their families trying to determine who stands on guard for them, the good men and women in uniform might prove to be a formidable, if silent, force to be reckoned with in this election. V
VUEWEEKLY // APR 28 – MAY 4, 2011
UP FRONT // 11
DISH
ls VORs // VORs@VUEWEEKlY.COM
F
ood heroes undeservedly receive little publicity on a daily basis, since the media favours flash and drama. These heroes include restaurateurs who use local meat and produce, importers of fair-trade coffee, as well as educators and family members who perpetuate unique culinary traditions. In Edmonton, these heroes—consciously or not—help to preserve and propagate the rich heritage of prairie food. Edmonton's national (and international)
12 // dish
image as a culinary locus, however, is still growing. In addition, many people lack an "in" with Alberta's food community, but wish to learn new cooking techniques and become educated in the realm of local food. Local educator and foodie Valerie Lugonja recognized these issues as an opportunity to create a hands-on, all-day conference and Eat Alberta: A Celebration of Our Local Food Heroes was born. Eat Alberta will be held in Edmonton on April 30th, and tickets have sold out quickly. Lugonja explains, "We had room for 60 participants, but hope to
Find a restaurant
onLInE AT dishWEEKlY.CA
include more in subsequent years." Lugonja and a host of other local food bloggers decided to start small and invited a handful of local chefs, farmers, bakers and educators to share their knowledge. "In the end, we settled on 16 sessions and each participant may attend four of them," relates Lugonja. Four of these sessions—including pasta making and home coffee brewing techniques—are hands-on. "Tasting is central to understanding our food," adds Lugonja. Hence, Eat Alberta will feature five sensory sessions; among these are wine and cheese pairing, honey tast-
VUEWEEKLY // APR 28 – MAY 4, 2011
ing and goat cheese tasting. Additional educational sessions include urban foraging and forging personal connections with food sources. "We've been so fortunate to include these skilled presenters and there are so many more that we wanted to include but could not, due to space restrictions," notes Lugonja. She adds that those who cannot attend need not worry: "We don't intend this to be a one time affair," she says. Lugonja hopes that Eat Alberta will provide information about where to source local food. "We want to dispel misconceptions that good local food is
hard to find or is too expensive." In addition, Eat Alberta will provide a significant venue for networking among Alberta's food community. "There is such a strong tradition of food-making on the prairies and we need to preserve it," Lugonja states "I love the fact that we can learn so much from one another— that's what community is all about." V Sat, apR 30 (8:30 aM) EAT AlbERTA VaRiouS locationS, SolD out EatalBERta.ca
VUEWEEKLY // APR 28 – MAY 4, 2011
DISH // 13
14 // DISH
VUEWEEKLY // APR 28 – MAY 4, 2011
A meaty treat
Pampa is not an everyday restaurant, it's an experience Paul Blinov // paul@vueweekly.com
T
he first thing you'll notice when you enter Pampa Brazilian Steakhouse's push-glass doors is the scent. The warm, salty fragrance of cooked creatures great and small lingers over the entire room like a ghostly warning for vegetarians: Venture no further. We don't serve your kind here. And though they do have a surprisingly well-equipped salad bar, the reputation of Pampa is rightly skewed towards the all-you-can-eat meat aspect of its dining. It makes use of a fixed-price dining concept known as "rodizio": for a payment of $45 (lunch is a much cheaper $21, but with less meat selection), you get continuous table service from a fleet of sword-wielding workers peddling 10 different kinds of meat. Hit that salad bar all you like; the meat comes to you, secured by skewers, sawed off at your behest. The dining room has a very open feel, if also a fairly nondescript one: outside of the glass walk-in wine cellar, it mostly consists of simple tables draped in white cloth, though the large windows make for pleasant blasts of natural light. On a Thursday night that was busy, if not teeming, a friend and I were quickly seated near the window-wall. When our server arrived, she explained the process: at our table were two little discs, red on one side, green on the other. Flip them to green and the meat service begins. Flip them to red if you want a break or for the meat to be over. While she was there, I ordered the Caipirinha ($9), a staple Brazilian beverage consisting of Cachaça—a distilled alcohol made from sugarcane juice— sugar and lime. It's sharp and strong and surprisingly sweet, the raw alcohol tempered by the blast of sugar. The lime
A serene-looking Pampa, the calm before the storm
is the least powerful taste here, serving more as flavouring to the sweet/bitter medley of sugar and alcohol. We started at the salad bar's sizeable, buffet-style offering: different leaves, pastas, fruit and veggies alongside dips and sauces, with a few more exotic flavours for good measure. When we returned, our discs were flipped to green. And we waited. A little while, actually, due to our position on the edge, though we were both brought chicken hearts, a savoury, salty snack, and french fries made of manioc, a tu-
ber native to South America. When the meat started making its way past our table, it was worth the wait. Of the 10 or so types, they're all juicy, smoky, well-glazed, spiced or bacon-wrapped as the case may be, all products of the Brazilian charcoal rotisserie. There was a steak glazed with a soft, thick, mouthwatering garlic sauce. Tasty cuts of ribeye. Chicken encased in a bacon sheath proved the saltiest aspect of the servings, whereas the thighs that later arrived at our table were soft and tender. The signature cut of rumpsteak was perfectly rare and
// Melissa Stevenson
dripping with flavour. But what stood out most for both of us was the sausage: a recipe crafted inhouse, the shimmering cylinders had well-deployed cumin to balance out the meatier pork taste perfectly. It all just kept coming. By the time we were doubling up on servings, we flipped our discs to red—the gorge was over. It didn't feel as gluttonous as I thought it might: though the cuts of meat keep coming so long as you desire them, the slices are small enough to encourage responsible eating. You won't suddenly find your plate heap-
VUEWEEKLY // APR 28 – MAY 4, 2011
ing with a pile of meat you couldn't possibly finish, unless you really let it accumulate. Pampa feels like a twice-a-year sort of indulgence for those of the carnivorous persuasion. More than that might be overkill, but kept in moderation, it's the kind of place you'll look forward to eating each time. V Mon – Fri (11:30 am – 1:30 pm & 5 pm – 10 pm); Sat (5 pm – 10 pm) Pampa Brazilian SteakHouse 9927 - 109 St, 780.756.7030
DISH // 15
rESTauraNT LocaTor
onLInE AT dishWEEKlY.CA
If you're hungry don't know where to go, Vue's restaurant locator is just the thing. Broken down by neighbourhood, food type and price—and with links to Vue's vast archive of reviews and profiles—it'll have you full in no time.
sOUl sOUP
KhAzANA
MORiARTY's MRKT
CORsO 32 WildFlOWER GRill
ThE MARC sCAN This FOR MORE >
KhAzANA (10177 - 107 sT)
"Khazana is the kind of place to take your significant other for a nice anniversary lunch or a romantic birthday dinner, and is about as far as you can get from a generic, bland chain eatery."
MRKT (10542 JAsPER AVE)
Originally an innovative lunch place specializing in soup and gourmet sandwiches, MRKT has recently moved into dinner with a selection of charcuterie, main courses and fine beer and wine.
WildFlOWER GRill (10009 - 107 sT)
"Each tender bite of lamb included its sweetened, crisp crust and melted on my tongue. It combined beautifully with the sautéed asparagus and peppers. The slice of nectarine underneath was an unexpected treat."
ThE MARC (9940 - 106 sT)
"Saurette cautions that the Marc is not what most people would think of when they
think of a French restaurant. 'We're not old-school French. We're more innovative, modern, youthful. The only thing French is the food; everything else is comfortable.'"
CORsO 32 (10345 JAsPER AVE)
"Minimalism is a risk: when one pares away all aspects of embellishment, what remains must approach perfection otherwise shortcomings are glaring without the benefit of other distractions. Corso 32 fills such a tall order with ease."
sOUl sOUP (10020 - 101A AVE)
"The soups I sampled were bold and slightly exotic, with a depth you certainly won’t find in a can. Kind of like the comfort foods you are used to, but with a bit of a twist. Brave the parking and seek out Soul Soup—the cornbread alone is definitely worth it. And if you work or live downtown, lucky you."
MORiARTY's (10154 - 100 sT)
"Placing a chic new wine bar beside a beloved pub may seem like a foolhardy move, but I think it works well: Moriarty's is the wine yin to Sherlock Holmes' beer yang, so to speak."
provENaNcE
bRYAN biRTlEs // bRYAN@VUEWEEKlY.COM
Six facts about bacon 1) The word "bacon" comes from the Old High German word "bacho" which means buttocks. 2) "bacon" refers to a number of different things: side bacon is the most familiar—strips of salty, crunchy meat streaked with fat—but in Canada and in other countries, bacon means so much more. Back bacon—referred to as "Canadian bacon" in the United States and
16 // dish
"Irish bacon" in parts of Europe—comes from the loin of the pig, and looks like little round cutlets of ham. Back bacon is the most popular bacon in Europe while side bacon is the most popular in the US and Canada. 3) International bacon Day is an unofficial holiday created by students at the University of Colorado at Boulder in 2004. Now in its fifth year, International Bacon Day is held on the Saturday
VUEWEEKLY // APR 28 – MAY 4, 2011
before US Labor Day. Typically, it is celebrated with bacon. 4) Bacon has recently factored into a slew of novelty products, as well as products that ought to be novelties but, sadly, aren't: chocolate-covered bacon on a stick, baconnaise (baconflavoured mayonnaise), bacon-flavoured salt, bacon-infused whisky, bacon toothpaste, bacon ice cream and Wendy's Baconnator.
5) Most bacon bits—popular in salads and on baked potatoes—aren't made of bacon at all. They're textured vegetable protein and artificial flavouring, suitable for vegetarian diets. 6) A single serving of bacon—three slices—contains 103 calories, 12 percent of a day's recommended fat intake, and 18 percent of a day's recommended sodium intake. V
VUEWEEKLY // APR 28 – MAY 4, 2011
DISH // 17
BEER Molson M Molson Coors, MontrĂŠal, PQ $2.99 for a single can Anybody remember Molson Dry? How about Labatt Ice? Or maybe Labatt Sterling or Molson Red Dog? Probably not. They are all examples of the big boys jumping on a bandwagon .com to produce a beer that will weekly e u v int@ tothep "revolutionize" the industry. Jason Not surprisingly all examples r Foste disappeared within a year or two. (A couple, like Molson Dry, officially still exist, but almost no one drinks the stuff.) You can set your calendar to it. Every few years the big brewers get antsy and feel the need to release a new beer. Fair enough, but for some reason they can't just release one and promote it. They need to turn it into a creation better than sliced bread. The marketing people sink their claws into it and before we know it the beer being advertised bears no resemblance to the product.
TO TH
E
PINT
Molson's latest gambit is as good as its last gambit
A case in point is Molson M, which the company describes as the result of "years of innovation," and possessing the "ideal level of carbonation to deliver all the goodness of the hops and subtle flavours created by the yeast during fermentation." It has recently been released in Alberta. I felt the duty
18 // DISH
VUEWEEKLY // APR 28 â&#x20AC;&#x201C; MAY 4, 2011
to try a can of it so that you may be informed. It is a pale yellow beer with a loose, bright white head. Immediately I notice that the cascade of bubbles expected from beer is subdued. The aroma has a strong malt sweetness, with some candy sugar and only the molecular degree of hops. The flavour has a soft malt with some honey character and a bit of graininess. There is neither bitterness nor hops to speak of. It seems to have an all-barley character but the finish is sugary and cider-like. This is a lifeless and sugary beer. It seems like Molson Canadian left out overnight with a sugar cube. As near as I can tell, microcarbonation means "undercarbonation" resulting in a beer that is too sweet. Now, there might be a real process behind the curtain, but since Molson isn't talking, I am left to hypothesize that "microcarbonated" is just the latest in a long line of overhyped, under-producing novelty beer. Beware big brewing companies carrying flowery adjectives. They are more likely to come from a computer thesaurus than they are the sincere words of a brewer. And rest assured that within a year or two Molson M will be long gone. Unfortunately, it is likely to be replaced by a new fad. Sigh. V Jason Foster is the creator of onbeer.org, a website devoted to news and views on beer from the prairies and beyond.
ARTS
PREVUE // THEATRE
PREVUE // DANCE
Bunburying strips Earnest of structure
What's Cooking mixes dinner with dance
Getting Wilde
Cookin' up fresh moves Mel Priestley // mel@vueweekly.com
K
The importance of being deconstructed Paul Blinov // paul@vueweekly.com
'I
've been obsessed with Oscar Wilde since I was a teenager," states Andrea Beça, adding a dash of self-deprecation. "I was that cool of a teenager." Maybe the Wilde fixation didn't win her any social points back then, but it certainly came in handy in the present day, when the Edmonton-based playwright—whose company, Cowardly Kiss, has pumped out a fringe-load of little hits during its existence—uprooted to Glasgow, Scotland to do her master's in playwriting. Beça was looking for something to anchor her thesis, something theoretical (a requirement of the program). She picked the deconstructionist philosophy—"Something," she notes, "completely unlike anything I've ever done before. I figured I might as well take a leap and do something new with myself." She applied it to the Importance of Being Earnest, exploded any nuances of structure and transformed it into it Bunburying: a destabilized whirligig take on Wilde's classic wherin four actors—aided by Bunbury, the play's famously nonexistent invalid—play four characters, but without consistency to who gets to play who, when. "[Deconstructionism]'s all about flipping things on its head, but a lot of people take that the wrong way and think, 'If I just do things opposite then
This is the second year of What's Cooking; Hillyard explains that last year was a test run for the event. "It actually went really well; we were very pleasantly surprised," she says, "A lot of people came and were very interested in dialoguing with the artists—we were worried peo-
ple wouldn't want to talk about things, but they were really invested, and really into what people were doing—which is really helpful for us as artists, because if you're not saying what you want to say, then what's the point?" Ultimately, What's Cooking aims to present an open, friendly atmosphere for people to enjoy and learn about dance. "It's basically just a meeting place to dialogue about art," states Hillyard. "I think sometimes there's a kind of barrier, and people don't know much about it, or they find it strange. So we just wanted to open up a dialogue so people could say 'I think that's strange.'" V Fri, Apr 29 (5:30 PM) What's Cooking Presented by the Good Women Dance Collective Transalta Arts Barns—PCL studios, (10330 - 84 Ave), admission by donation
// Andrea Beça
itchens are friendly places: they are a site of congregation and interaction at any good party, filled with food, drinks and merriment—and for this reason, the Good Women Dance Collective is hosting a contemporary dance Ceilidh of sorts. "It's just an informal showing of works in progress," explains Ainsley Hillyard of Good Women. "Basically it's just bare bones, straight-up dancing." What's Cooking provides various contemporary dance artists with an opportunity to present and workshop their current pieces with an interactive audience. The event begins with a buffet-style dinner prepared by the ladies at Good Women (with plenty of vegetarian and vegan-friendly options), and proceeds with a showing of eight performances. Each performance
is followed by a five-minute questionand-answer session; written surveys will also be distributed for those who aren't comfortable participating in the discussion. "It's an opportunity for artists to get feedback about their work before they actually present a final, polished piece of choreography," notes Hillyard. "Some people are bringing pieces that are completely finished, but they just want to explore them more. So they would be wanting to ask the audience questions about what is working, what isn't working; what kind of an idea is coming across."
I've deconstructed them.' But [theory founder Jacques Derrida] always makes a clear point of saying, 'Well, you've not deconstructed them, because now you've just switched them, and one is still marginalized." So there are familiar figures and text, if you know Earnest, but the presentation of that is endlessly shifting about. "It's about being in a state of flux all the time," she says. There's also the influence of reality TV: when Beça was overseas, Big Brother was a national obsession airing daily in the UK. While she was completing her master's, the supposedly final season was on. "Those two ideas fell into place," she says. "I started to kind of think about reality TV and the obsessions that we have with all the current sort of societal obsessions with beauty and making ourselves more beautiful and being watched, and that kind of voyeurism, of reality TV. And it wasn't all that different from The Importance of Being Earnest and the obsessions of that time." V Fri, Apr 29 – Sun, May 8 (7:30 pm) Bunburying Written and directed by Andrea Beça Starring Delia Barnett, Sarah Horsman, David Johnston, Ryan McKinley, Zachary Parsons-Lozinski Transalta Arts Barns Studio B (10330 - 84 Ave), $15 – $20
VUEWEEKLY // APR 28 – MAY 4, 2011
ARTS // 19
Thu, Apr 28 – Sat, Apr 30; Thu, May 5 – Sat, May 7; Thu, May 12 – Sat, May 14 (8 pm) Written & directed by Jon Lachlan Stewart Starring Ryland Alexander, Shannon Blanchet, Ben Wheelwright Living Room Playhouse (11315 - 106 Ave), Pay What You Can Nearing the end of Surreal SoReal Theatre's inagural season, co-artistic director Jon Lachlan Stewart hardly has a moment to reflect on the year that's passed. He's busy polishing up the company's final show of the year and looking ahead to the Fringe and beyond, which looks to take a different shape than this year's output.
// Paul Blinov
Ghosts of wars past and present
our soldiers are doing. "I started talking to a couple of ex-peacekeepers who have gone through accidents and are out of service now and just trying to get a hold of what dangers there are as peacekeepers and what laws there are as peacekeepers. I just started to look at Canada's history of war."
"This year, we lucked out and got three shows in one city," he says. "So next year, I'm aiming to take one show to four cities. Sort of spread ourselves out. At this stage in our company, it's sort of like whatever comes to us is what we get." Capping off the Surreal season is Keeping Peace, a look at the circular movement of war through history, particularly Canada's involvement. It was inspired by a book Lachlan Stewart read, arguing in defense of the Canadian military. "This guy had a lot of conviction in his arguments and I just thought it was kind of funny," Lachlan Stewart says. "But I started to realize I, as a Canadian—and I think a lot of people my age, or not even my age—lack an awareness about what
What he found manifests itself onstage in three characters. Thirty-year-old peacekeeper Clint, who has possibly just committed a war crime. He doesn't remember, but aiding his memory are ghosts from his own past and their own entanglements in war: his mother, at the age of 24, helping Vietnam draft dodgers stay in Canada and his grandfather at 18, nearing the end of the Second World War. Lachlan Stewart notes that part of the appeal was in grappling with the idea of Canadian identity as peacekeepers: when so much history is defined by war, our country's direct stakes in extended combat has been relatively low, tethered to our status as a British colony, never with a war to directly call our own. In that vein, this isn't, he stresses, an old-fashioned war tale. "This isn't necessarily my strong argument, but I think it's important for me to say that I don't consider myself a well-read historian or a politically-active person," he says. "I just want to actually observe the average person's awareness of war. I think it's really telling." PAUL BLINOV
// PAUL@vueweekly.com
True Love Lies
// Ian Jackson, EPIC
Keeping Peace
A family that lies together ...
Until Sun, May 15 (7:30 pm) Presented by the Citadel Theatre Written by Brad Fraser Directed by Ron Jenkins Starring Thomas Barnet, Nicola Elbro David Keeley, Kate Ryan, Frank Zotter Citadel Theatre (9828 - 101A Ave), $50.40 – $71.40 "I want to direct this show," says Ron Jenkins, recalling his own words from back in 2009. He spoke them at the intermission of True Love Lies' Toronto run to Bob Baker, artistic director of the Citadel Theatre and not a guy who just hands out mainstage productions to anyone who asks nicely. "I had no idea that he was in Toronto even seeing the show," Jenkins says, now up to his neck in tech week for the show's Edmonton debut at, yep, Baker's theatre. "Bob was nice enough to go 'All right, here you go then ... I call your bluff,'" he laughs. If there's a director whose whims are worth worth giving a stage to without hesitation, it's Jenkins. Twice nominated for the Siminovich prize for directing, Jenkins has a long and well-established reputation as a director in perpetually hot demand: he directed Bash'd, Chris Craddock and Nathan Cuckow's off-Broadway-by-wayof-Edmonton gay rap opera; he wrote and directed the one-man Extinction Song— starring Ron Pederson—for the Citadel two years back, which took home a pair of Sterlings; he's guest directed at Studio Theatre; and he's handled the immensely
ARTIFACTS
successful Tom Waits-meets-William S Burroughs swipes of The Black Rider. And those are just the recent credits of someone whose been successfully working for decades. What exactly stuck out about True Love Lies, Jenkins doesn't say. It's fun, he notes, but that it was penned by Edmonton-born boundary-pusher Brad Fraser should clue you in that it's far from simple comedy: a sharp look at the modern Canadian nuclear family, True Love Lies digs into and exposes the shifting dynamic and questionable motives of that family structure, when the father's old flame (a man) shows up in their lives. "When Brad was working on the play, he thought that he was writing a new David McMillan play," Jenkins notes, referring to the protagonist of Fraser's career-launching hit, Love and Human Remains, re-staged earlier this year at the Timms. This is a step removed from that, but looks no less pointed. Plus, being shackled to a comedy framework gives it an effective way of landing its jabs of commentary. "It's a comedy in the best sense of the word," Jenkins explains. "It's about this family, and I think the title kind of says it all: true love lies. There's secrets and there's lies and wants and needs. it's about the journey of the family in this play, and how they change." PAUL BLINOV
// PAUL@vueweekly.com
PAUL BLINOV // PAUL@vueweekly.com
tion of Melissa James Gibson's (Sic). The undefined "alternative rules" descriptor is both compelling and curious: if somebody flubs an 'I before E,' well ... just look at the press photo. Looks like they're ready to cut down their list of contestants as need be. (Old Cycle Building [9131 - 118 Ave], $10)
Spelling Bee Fun(d) Raiser / Sat, Apr 30 (2 pm) Dust off on your copy of Roget's and research your Latin root words: Trunk Theatre's "alternative rules" spelling bee is pitting members of Rapid Fire Theatre, Catch the Keys Productions, Azimuth Theatre, Mostly Water Theatre and more against one another to compete for prizes, promising audience participation and voting along the way, in addition to acting as a fundraiser for Trunk's upcoming produc-
20 // ARTS
VUEWEEKLY // APR 28 – MAY 4, 2011
Into the Woods / Wed, Apr 27 – Sat, Apr 30 (7:30 pm) For four nights only, Stephen Sondheim’s Tony-snatching Broadway hit Into the Woods is being staged by ELOPE, one of Edmonton's longest-running musical theatre companies. It deals with the "happily ever after" of such Grimm tales as Little Red Riding Hood, Cinderella and Rapunzel as they find that the "ever after" portion of their happiness is short-lived in the face of the consequences of their actions. (Timms Centre for the Arts [87 Ave & 112 St] $22.50 – $27.50)
REVUE // ThEATRE
REVUE // ThEATRE
Public Speaking builds societal allegory
Boygroove's a fun, nostalgic send up of boyband culture
Reap what you sow Fangirl's delight
art is shallow"), it also uses these big issues as style rather than substance. Critical analysis aside, one thing is for certain: in knowing that Boygroove is an hour-long romp of parodied boyband music, you already know whether you'll love it or hate it. V MEl PRiEsTlEY
// ian Jackson, EPiC
// MEl@VUEWEEKlY.COM
You heard the man bRYAN biRTlEs // bRYAN@VUEWEEKlY.COM
N
eed is at the heart of Chris Craddock's latest one-man play, Public Speaking. Each character is trying to fill one, and how they go about it speaks to the level of humanity they still have within them. The king of self-help at the centre of the show—it's his daughter who is kidnapped and held for ransom—fights his need for alcohol with a need for acclaim and money at all costs. Diane, his daughter, feeds her need for love with sex and cocaine. Her kidnapper, and later protector, Brian, feeds his need for acceptance by society, a need stemming from his gigantism, with heroin. Heroin dealer and kidnapping mastermind Johnny's need for money is filled through violence. It is from these needs and the way they are filled that Craddock builds his allegory for society: the violence with which we fulfil our basic human needs—the rape of the Earth, the enslavement of the developing world—will return to us, he posits, the same way it returns to his king of self-help, the same way it returns to all of his characters. What we sow, so shall we reap.
strength lies. Craddock has referred to the show as a modern-day fairytale and it's all here: the threatened princess, the eventual riches, the moral questions that are answered succinctly. Craddock writes of need and its many facets, allowing it to be applied to one of his characters or outward to society as a whole. V UNTIL SUN, MAY 8 (8 PM) PUbliC sPEAKiNG WRITTEN & PERFORMED BY CHRIS CRADDOCK DIRECTED BY BRADLEY MOSS ROXY THEATRE (10708 - 124 ST), $21 – $50
A
word of caution: it's far too easy to end up feeling like a fangirl/boy over Impulse Theatre's newest production, Boygroove. Deliciously cheesy though they may be, the boys' campy dance moves and catchy singles ("You Make My Hips Buck," "Pushin' & Rockin'") will get in your head and stay there. Part of this is no doubt due to the fact that Boygroove is an exercise in nostalgia. No matter your age, chances are good that there's an era of your youth set to a soundtrack of fluffy pop music (whether or not this was of your own choosing). Boygroove tells the story of the rise and inevitable fall of the eponymous boyband, starting with the audition that brings the four guys together: there's Jon (Byron Martin), the muscular angry one, Lance (Eric Wigston), the talented closeted one, Andrew (Mathew Bittroff), the sensitive humanitarian, and Kevin (Timothy Coo-
per), the financially-motivated ringleader. The show has been significantly altered from its debut on the Fringe circuit in 2002. Renowned Edmonton playwright Chris Craddock updated his script with various pop culture references that date within the last six or so years, while Aaron Macri revised the music to better fit a 21stcentury setting.
UNTIL SAT, APR 30 (7:30 PM) MATINEES SAT, APR 23 & SUN, APR 24 (2 PM) bOYGROOVE WRITTEN BY CHRIS CRADDOCK DIRECTED BY TREVOR SCHMIDT STARRING TIMOTHY COOPER, MATHEW BITTROFF, ERIC WIGSTON, BYRON MARTIN CATALYST THEATRE (8529 GATEWAY BOULEVARD), $15 – $20
it's a lot of fun. In between all the crooning and gyrating there's plenty of Craddock's classic witty banter. The boys' rendition of crass hip hop artist and arch nemesis Hypetastic is particularly hilarious. Boygroove's shortcoming, if indeed it can even be considered as such, lies within the subject itself: this is a shallow tale of the empty lives of vapid people. The audience is invested in the characters only insofar as they are able to ruefully admit their own predilection for such shallowness. And while Craddock's script is unashamedly mocking as it presents a neat deconstruction of the manufactured nature of pop music ("some
Craddock displays a level of proficiency in switching through his various characters that is, at times, otherwordly. His characterizations are full body—Diane's blinking eyes, the giant's meaty hands, Johnny's nervous gait—and they're put on and taken off his frame as easily as a sweater. His use of projections and lighting cues—a tricky beast to program in any show, let alone a one-man affair where the temptation to overdo them could run high—never threaten to overwhelm the story and remain tasteful and non-intrusive throughout, providing subtle reinforcement as well as punch lines. The only stumble—and it's a quibble really—is when Craddock digresses into societal issues in an opaque way, when one of his characters discusses abortion or climate change overtly. These moments, though they often drew a reaction, feel a little too on the nose, swatting the audience with the message instead of trusting them enough to absorb it and taking away from the elegance of the overarching allegory. It's in that elegance that the play's
VUEWEEKLY // APR 28 – MAY 4, 2011
ARTs // 21
ARTS WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3pm
DANCE MILE ZERO DANCE FafY @Y__]jlq ;]flj] ^gj l`] 9jlk$ 1**-%))0 9n] /0(&,*,&)-/+ Afl]jfYlagfYd <Yf[] <Yq2 >afYd hj]k]flYlagf g^ [`gj]g_jYh`a[ k]kkagfk oal` Yjlaklk ^jge l`] []flj] Apr 29 GOOD WOMEN DANCE COLLECTIVE H;D
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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`] Çjkl af l`] f]o 9dZ]jlY =Yjdq EYkl]jk K]ja]k3 until Jun 5 K@=JJA CHABA: THE SILENCE OF CHAOS: until May 15 af l`] J:; F]o Ogjck ?Ydd]jq3 Conversation with the Artist2 K`]jja ;`YZY3 L`m$ May 5$ .he @9A<9 ART: MAPPING 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 )*- LAWREN HARRIS ABSTRACTIONS; until Sep 11 Rethinking Abstraction: D][lmj] Zq Kl]n]f Dg^l af l`] D]\[gj L`]Ylj]3 Kmf$ May 1$ +he3 )-' )( e]eZ]j! Reel Injun; Çde Zq F]ad <aYegf\3 D]\[gj L`]Ylj]3 >ja$ Apr 29$ /he3 ^j]] oal` Y\eakkagf M.A.D.E. in Edmonton2 EYffaf_ @Ydd2 HmZda[ 9jl D][lmj] K]ja]k2 :Ydd%Fg_m]k Klm\ag3 L`m$ Apr 28$ /he3 )(' - E&9&<&=& e]eZ]j'klm\]fl! K]jnmk 9[[]kk Fa_`l2 L`m$ Apr 28$ .%1he3 ^j]] Adult Drop-in2 :]f\2 Oaj] K[mdhlmj]2 L`m$ Apr 28$ /%1he3 )-' )* e]eZ]j! Studio Y Youth Drop-in2 >gd\2 HYh]j ;j]Ylagfk2 >ja$ Apr 29$ +2+(%-2+(he3 )( Film: Winds of Heaven: Emily Carr, Carvers and The Spirits of the Forest; >ja$ May 6$ /he3 D]\[gj L`]Ylj]3 ^j]] oal` Y\eakkagf
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BEAR CLAW GALLERY )(,(+ )*, Kl /0(&,0*&)*(, Z]Yj[dYo_Ydd]jq&[ge =p`aZalaf_2 Dafmk Ogg\k Until Apr 28 COMMON SENSE GALLERY )(-,.%))- Kl /0(&,0*&*.0- [geegfk]fk]_Ydd]jq&[ge SPILL2 Yjlaklk Yj] afnal]\ lg 9n]fm] L`]Ylj] oal` Y ^]o ha][]k g^ ogjc& HYafl Yf\ ]Yk]dk Yj] hjgna\]\ kg l`Yl h]ghd] [Yf eYc] Yjl o`ad] dakl]faf_ lg l`] dan] emka[& L`]j] oadd Z] Y ngl] gf l`] ha][]k Yl l`] l`]Ylj]$ l`] egkl hghmdYj ha][]k oadd Z] k`gof Yl gf] g^ l`] ;geegf K]fk] ?Ydd]ja]k3 2nd Sun each month EXPRESSIONZ CAFÉ 11+0%/( 9n] /0(&,+/&+../ ]phj]kkagfr[Y^]&[ge 9jlogjck Zq dg[Yd Yjlaklk GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq EYaf
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GALLERIE CAVA ;]flj] \¿Yjlk nakm]dk \] d¿9dZ]jlY$ 1)(+%1- 9n]$ /0(&,.)&+,*/ 9jlogjck Zq KYZaf] D][gjj]%Eggj]$ ;Yje]f ?gfrYd]r$ D gfa] Hggd]$ Yf\ HYmdaf] MddaY[ Apr 29-May 10 GALLERY IS�Red Deer -)*+ ,0 Kl$ 9d]pYf\]j OYq$ J]\ <]]j ,(+&+,)&,.,) LEARNED LITTLE LINES2 9jlogjck Zq KmkYf Oggd_Yj3 until Apr 30 CAL;@=F L9DC2 HYaflaf_k \]ha[laf_ Y HjYaja] ^Yeadq af alk \Yq lg \Yq Y[lanalq Zq NanaYf :]ff]ll3 May 2-263 gh]faf_ j][]hlagf2 >ajkl >ja\Yq2 May 6$ .%1he$ Yjlakl af Yll]f\Yf[] oal` dan] emka[Yd Zq kaf_]j'kgf_ojal]j Ea[`]dd] :gm\j]Ym HAGGERTY CENTRE�Stollery Gallery FafY
@Y__]jlq ;]flj] ^gj l`] 9jlk$ 1**-%))0 9n] /0(&,/,&/.)) fafY`Y__]jlqYjl&[Y ART FROM THE HEART2 Aff]j ;alq k[`ggdk YffmYd k`go Yf\ kYd]3 until Apr 303 KYd]2 >ja$ Apr 29$ +2+(%/he3 KYl$ Apr 30$ ))Ye%,he METRO PICTURES: <jYoaf_k Zq EYj[` EmfYf$ Yf\ K[gll :]jjq May 2-20 Gh]f% af_ j][]hlagf2 May 12$ -%/he3 oal` dan] emka[
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HARRIS�WARKE GALLERY�Red Deer Kmfogjck
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JEFF ALLEN GALLERY KljYl`[gfY HdY[] K]fagj
;]flj]$ )(0+) Mfan]jkalq 9n] /0(&,++&-0(/ 9jlogjck Zq Bg`YffY OjYq Yf\ `]j klm\]flk Apr 28-May 26 Gh]f% af_ j][]hlagf2 O]\$ May 11, .2+(%02+(he
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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
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22 // ARTS
VUEWEEKLY // APR 28 – MAY 4, 2011
MICHIF CULTURAL AND MÉTIS RESOURCE
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MILDWOOD GALLERY ,*.$ ..--%)/0 Kl E]d
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@]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
MULTICULTURAL CENTRE PUBLIC ART 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 Until May 11
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PETER ROBERTSON GALLERY )*+(, BYkh]j
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ROSIE’S BAR )(,/-%0( 9n] KLGJQ ;9>z2 L`] )kl L`m g^ l`] egfl` mflad Bmf3 L&9&D&=&K& Klgjq ;Y^ K]ja]k May 52 Wild Women
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 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
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PICTURE THIS GALLERY 1-1 Gj\r] J\$ K`]jogg\ HYjc /0(&,./&+(+0 MASTERPIECES IN MINIATURE: KeYdd Yjlogjck Zq nYjagmk Yjlaklk May 7-26
BOYGROOVE ;YlYdqkl L`]Ylj]$ 0-*1 ?Yl]oYq :gmd]nYj\ eHMDK= L`]Ylj] hj]k]flk2 9 emka[Yd l`Yl ]phdgj]k l`] jak] Yf\ ^Ydd g^ ;YfY\Y¿k ^Yngjal] Zgq%ZYf\ :gq?jggn] ºl`] Ym\alagfk$ j]`]YjkYdk$ Yf\ ]_g ]phdgkagf l`Yl [ge]k oal` ^Ye] *( Y\mdl!' )- klm\]fl'k]fagj! Yl LAP gf l`] KimYj] Mflad Apr 30$ /2+(he$ *2+(he gf Apr 303 fg k`go Egf
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 Until Apr 30 ROYAL ALBERTA MUSEUM )*0,-%)(* 9n]
/0(&,-+&1)(( Wild Alberta Gallery–WILD 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
SCOTT GALLERY )(,))%)*, Kl /0(&,00&+.)1
k[gll_Ydd]jq&[ge ELEMENTAL: 9jlogjck Zq Dqff EYdaf Until May 3
SPRUCE GROVE ART GALLERY E]d[gj ;mdlmjYd ;]flj]$ +-%- 9n]$ Khjm[] ?jgn] /0(&1.*&(.., @a_` K[`ggd =p`aZalagf Yf\ ;geh]lalagf Apr 27-May 7 Gh]faf_ j][]hlagf' YoYj\k2 KYl$ Apr 30$ )%,he TELUS WORLD OF SCIENCE ))*))%),* Kl
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VAAA GALLERY +j\ >d$ )(*)-%))* Kl /0(&,*)&)/+) VOICES2 9jlogjck Zq 9d @]f\]jkgf3 Yf ]phdgjYlagf g^ e]egja]k g^ ;YfY\Y¿k eadalYjq eakkagfk af 9^_`YfaklYf MEMORY IDOL2 9jlogjc Zq Cafr`] ;ma OFF THE WALL2 9jlogjck Zq Cae :jm[] Apr 28-May 28 Gh]faf_ j][]hlagf2 Apr 28$ /%12+(he3 h]j^gjeYf[]2 af l`j]] hYjlk Yl /2+(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\ Until Apr 30 WEST END GALLERY )*+(0 BYkh]j 9n]
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LITERARY AUDREYS BOOKS )(/(* BYkh]j 9n] /0(&,*+&+,0/ 9kljgdg_]j Yf\ [gdmefakl ?]gj_aY Fa[`gdk oal` `]j f]o Zggc$ You and Your Future; Lm]$ May 3$ /2+(he Dg[Yd Yml`gj$ Fa[gd] Dmac]f$ dYmf[`]k `]j f]o qgmf_ Y\mdl fgn]d$ Dreamline; L`m$ May 5$ /2+(he BLUE CHAIR CAFÉ 1.*,%/. 9n] /0(&,.1&0/-- Klgjq KdYe2 *f\ O]\ ]Y[` egfl`
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FILM
A true, honest American Bill Hicks' brother opens up about the comedian Josef Braun // josef@vueweekly.com
B
ill Hicks' caustic comedy, colossal ambition, triumph over addiction and untimely death at 32 from pancreatic cancer are all featured in American: the Bill Hicks Story, a portrait of the artist that shifts between testimonies from family and friends and archival clips (some quite rare) of Hicks at work. There are terrific anecdotes about the preternaturally talented teenage Hicks sneaking out in an RV piloted by a 14-year-old to make his Houston Comedy Store debut, or about Hicks' first taste of alcohol at 21, when he downed seven margaritas before going on stage (and thrived). What you won't find in American is much analysis or context. Directors Matt Harlock and Paul Thomas remain firmly focused on Hicks the devoted brother, son, and buddy. It seems incomplete as biography, yet, thanks to the unpretentiousness and warm spirit of the participants, what emerges feels nonetheless sincere and heartfelt. Harlock and Thomas employ a problematic wall-to-wall animation technique that awkwardly layers still images, eschewing talking heads and reducing interviewees to pure voice-over. Besides the practical matter of making it occasionally difficult to track who's speaking, it would've been nice to see the interviewees as they remember Hicks, to sense how these memories play over their faces as well as through their words. Among the most touching and frank storytellers in American is Steve Hicks, who, even when rendered as animation, immediately comes across as a thoughtful, generous, humble man in awe of his little brother, gone now these 18 years but far from forgotten. Hicks now lives in Grand Rapids, and was kind enough to spend a portion of his holiday weekend speaking over the phone to me about Bill and the process of working on American. VUE WEEKLY: The narrative path forged in American really hinges on the participation of you and your family. Were you at all nervous about contributing to the project? STEVE HICKS: For years after Bill died, our family was not out in the public very much. To us, Bill was never the iconic comedian; he was the brother, the son, the uncle. But, over time, certain things had taken root in the public consciousness about Bill that weren't right. So me and my mother and sister decided that we're his family, we're what Bill was about, and we needed to be the spokespeople for his legacy. Around that same time, Matt and Paul, the directors, contacted us. It seemed serendipitous how these things converged. It took some time for us to get comfortable with them, but we thought they were in it for the right reasons. The
Red, white and blunt: Bill HIcks
only things that we insisted on were that it had to be done honestly, because Bill's life and work was all about honesty and integrity, and that we weren't going to censor anything. It was tough on my mother to hear all about Bill's drug and alcohol abuse, but that's part of Bill's story. VW: It's a given that a comedian's going to exploit their private life for material, but when you're related to that comedian it's another story. Did you or your parents ever feel exposed or uncomfortable when you were incorporated into Bill's work? SH: We were always flattered if Bill said something about us. My parents thought it was hilarious—it was my parents' friends who couldn't understand it. My parents would always proudly tell everyone when Bill was going to be on TV, but sometimes their friends felt Bill was disrespectful. I suppose we do feel a little exposed in doing this film, because it's our life up there. Not every review of American has been positive and, you know, you take it kind of personally when someone hasn't appreciated it. I work in retail, my sister's a pharmacist, so it's not like we're accustomed to this stuff. You just have to go with the flow, I guess. VW: One of things your brother was most known for was his confrontational political commentary, the way he tried to provoke audiences to question policy. Were there things in Bill's routines that changed how you thought about politics or societal norms? SH: Only in the sense that he'd create jumping-off points for further conversation. Bill and I could have hellacious conversations about our disparate views. I wouldn't necessarily say he changed how I felt, nor would he have thought he could've changed how I felt. But, I'll tell you, he tried pretty hard! [Laughs] There was one time we almost got into a fight. You know, Bill was into yoga and meditation and sensory deprivation tanks. He
came to the house one time and started telling me he'd seen people levitate during meditation. I told him I didn't believe him. I mean, if people could levitate wouldn't we know more about that? Wouldn't we see someone on a talk show saying, "When we come back from commercial we'll see someone levitate?" Things got heated and Bill said, "Are you calling me a liar? I'm telling you I've seen people levitate!" I said, "I'm not calling you a liar, but I'd have to see it for myself." [Laughs] Anyway, Bill opened my eyes to things, that's for sure. He was always exploring things. VW: Bill's routines could sometimes become brutally hostile toward the audience. Does it surprise you that people developed such warm feelings toward Bill despite this? SH: I've always been amazed what comedians get away with. To a point, the audience views it as part of the act. Bill expressed things that if you said them out on the street you'd probably get your butt kicked, but the stage gave him a little license. I also think that when people get into Bill's work they tend to get in really deep, and once you've watched enough of his work the fundamentally humanistic aspect of it becomes so clear. If he was just this acerbic guy getting in the audience's face, I don't think we'd still be talking about him. That quote of Bill's used at the film's end, "I left in love, laughter and truth, and wherever truth, love and laughter abide, I am in spirit": that was written nine days before he died. And it speaks volumes as to what his heart and mind were truly all about. V Thu, Apr 28, Sun, May 1 (7 pm) Sat, Apr 30 (9 pm) American: the Bill Hicks Story Directed by Matt Harlock, Paul Thomas Metro Cinema (9828 - 101A Ave)
VUEWEEKLY // APR 28 – MAY 4, 2011
FILM // 23
Psycho
Psycho's infamous shower scene
Fri, Apr 29; Sat, Apr 30 (7 pm) Thu, Apr 28; Sun, May 1 (9 pm) Directed by Alfred Hitchcock Written by Joseph Stefano, Robert Bloch Starring Anthony Perkins, Janet Leigh, Vera Miles Metro Cinema (9828 - 101 Ave)
Psycho proved groundbreaking—the first "event" movie, it also raised the shower-curtain for the slasher-movie genre—but its eerie breaking of taboos preserves its masterpiece status. It wasn't just shocking at the time for the opening appearance of Marion Crane (Janet Leigh) in underwear, the first flushing of a toilet onscreen, or the mixture of apparent nudity and murder in the killing of the main character 45 minutes in (75 cuts in 160 seconds make it seem Leigh's nude, while the knife seems to penetrate her skin in one frame). The opening POV, of a peeping tom (Michael Powell's similarly groundbreaking but initially ignored Peeping Tom opened in the UK a month before) slipping in under the shades to eavesdrop on Marion and her boyfriend's post-coital conversation in a hotel room, nudges us uneasily into Norman Bates' (Anthony Perkins) way of looking at the world. We follow Marion as, Bonnie without Clyde, she goes on the run after stealing money from her employer—the unrespectable working woman was a startling new criminal.
Who to root for or even identify with? Psycho was the new amorality tale, with plenty of Freudian twists. Femininity itself remains disturbingly powerful— Bates' over-identification with his dead mother, a transvestite Oedipal complex, twists his lust into murder, while Marion's sister (Vera Miles) leads the quest for truth—but it's also constantly punished for its crime-stained lunges at power. The film's motifs— eyes, birds (a crane flying from Phoenix), tomblike rooms and cars—swirl around secrets and yearned-for freedom before draining away into darkness. The technical reasons for the film's masterfulness remain: Hitchcock's perfected thriller pacing, Joseph Stefano's script (adapted from Robert Bloch's novel, loosely based on serial killer Ed Gein), Bernard Herrmann's jagged score, John L Russell's documentary-realism cinematography. And the black-and-white (part of Hitchcock's low-budget approach) helps the film endure, keeping Bates' clothing and his subdued strangeness creepily contemporary. Still, half-a-century later, Psycho lingers in cinema's psyche because its slashing of moral boundaries between characters, and between Us watching Them, ripped down the flimsy illusion of the movie screen as a moral screen. We could no longer pretend we were innocent eyewitnesses. Brian Gibson
// brian@vueweekly.com
Hoodwinked: Too! Hood vs Evil Opening Friday Directed by Mike Disa Written by Disa, Cory Edwards, Todd Edwards, Tony Leech Starring Glenn Close, Joan Cusak, Amy Poehler
Perhaps the most telling moment in Hoodwinked: Too! Hood vs Evil comes when that very title is spoken directly to the camera, in a bemused tone, like it was some sly in-joke of previously shared comedy. As if pointing out that you're aware of the awful movie you're trapped in somehow makes that better. A feeling of entrapment is the general state of affairs for this CGI sequel, which imprisons a lot of funny or talented actors—Amy Poehler, Joan Cusak, Glenn Close— in a very unfunny, very poorlythought out movie, forcing them to utter line after line of sub-Shrek pop culture references and idlyhandled wit, with animated characters that express less than half the emotion of a Pixar short. Mike Disa's direction and editing dwell on nothing in particular during Hoodwinked's 80-minute duration (which drags), keeping everything from jokes to plotting
24 // FILM
VUEWEEKLY // APR 28 – MAY 4, 2011
fast and loose and so completely uninteresting, even though there isn't much in the way of plot to cover: Red (voiced by Hayden Panettiere), a secret agent for the HEA agency—that's short for Happily Ever After—is off at a secret mountain training session while her wisecrackin', slow-minded wolf partner (Patrick Warburton) bungles the rescue of Hansel and Gretel from a witch, and gets Granny (Close) captured, too. To call this all pandering wouldn't be too far off, but calling it lazy, charmless, half-heartedly animated filmmaking would be even closer to the truth. There are scenes where characters' mouth movements very obviously don't match up to their dialogue. It just feels like nobody cared: not the animated characters, their voices, the animators, the writer. This is a paycheque movie and frankly, kids deserve better than that. And maybe kids won't care. Maybe they won't worry about things like "comic timing" and "set up," and merely let the ADD-action onstage wash over them. Maybe they won't question it. But that should never be an excuse. PAUL BLINOV
// PAUL@vueweekly.com
Water for Elephants
A pachydermal romance
Now playing Directed by Francis Lawrence Written by Richard LaGravenese, Sara Gruen Starring Robert Pattinson, Reese Witherspoon, Christoph Waltz
The 1930s circus story Water for Elephants trots out a pachyderm, Rosie, to bring together two people in supposed romance: orphaned veterinary-student Jacob (Robert Pattinson) and animal-rider Marlena (Reese Witherspoon). But when he implores her to run away with him, "Even if you don't love me," he reveals just how non-smouldering they are. It's the beastly ringmaster, Marlena's husband August (Christoph Waltz), who offers the film's only spark. Needy, cruel and frighteningly shrewd, he's the only captivating human around. The rest of the movie—whose plot super-
ficially recalls Chaplin's 1928 bigtop classic The Circus—is solidly unmemorable. Water for Elephants turns out to be Romance for Insomniacs. There's not enough threering atmosphere, little class tension and a ho-hum narrative frame (Jacob, now 90something, reminiscing). Both the dialogue and cinematography offer overstatement and banality, scotching any nuanced look at workers caged in by the Depression. Instead, the movie (adapted from Sara Gruen's 2006 bestseller) keeps disappearing in its tepid love triangle. August's treatment of the elephant seals his fate in a canny, limited we-love-animals way—after all, it's not so natural to put a four-ton African mammal in a boxcar to do a few tricks for some Americans inside a canvas tent. Still, Rosie goes through the motions, much like this movie lumbers through the emotions. Brian Gibson
// brian@vueweekly.com
VUEWEEKLY // APR 28 – MAY 4, 2011
FILM // 25
COMMENT >> DVD
Aural voyeur
Blow Out navigates the divide between authenticity and artifice Jack (John Travolta) is a sound-effects baton-like microphone, he captures not technician, and thus a gifted listener, just wind in the trees, but also a whiswhich might be another way of pering couple, an owl and, fatesaying he's a born aural voyeur, fully, a car skidding off a road if you will. Blow Out (1981), and plunging into the river. Brian De Palma's conspiracy Jack rushes to help. He can't .com save the driver but manages thriller, continues a rich traweekly e u v @ ve dition, following Antonioni's dvddetecti to rescue the driver's lovely Josef Blow-Up (1966), which was young companion (Nancy Alinspired by Cortázar's story len). Later, in Emergency, he's Braun "Las babas del diablo" (1959), and told that the driver was a popuCoppola's The Conversation (1974), in lar presidential candidate. He's also told that it hinges on its protagonist's spethere was no lovely young companion, cial ability to perceive an incriminating or rather, he's told that the companion detail hidden in a recording. The inciting will simply be erased from the official incident: Jack's perched on a bridge in record, just as Jack might excise a single a park at night in search of some good track from a soundscape. Furthermore, wind. Wearing headphones, handling a Jack's told that a certain noise he heard
DVCD TIVE
DETE
26 // FILM
(and recorded) just a second before the accident never occurred, a noise that sounded like a gunshot. Blow Out navigates the elusive bridge that divides authenticity and artifice: a bridge built on technology. This theme is cleverly integrated right into the film's opening sequence, when a screening of an excerpt from Jacks' current project, the exploitation slasher film-within-thefilm, could initially be mistaken for the film itself. It's interrupted only when one of the slasher's naked nubile victims lets out a scream that doesn't sound authentic enough and the producer calls the screening to a halt. (Amusingly, the producer tries to find a more authentic scream by bringing pairs of young women into the studio: one screams into a microphone while the other pulls her hair.) Jack knows the woman was in the car; he knows there were two sharp sounds: first the gunshot, then the blow out. But he has to get someone to believe him, to listen as he listens. We in the audience know there's no ambiguity or paranoia here: we know Jack's telling the truth because, unlike The Conversation, Blow Out doesn't adhere exclusively to its protagonist's subjective experience. De Palma breaks away from Jack on several occasions to follow John Lithgow's
VUEWEEKLY // APR 28 – MAY 4, 2011
What? Where? Why?
misogynistic hired killer with a penchant for strangling his victims with wire. (A playful linguistic doubling: Travolta and Lithgow each possess their own kind of potentially lethal "wire.") Blow Out is the most compelling De Palma film I've seen. Its camerawork, courtesy of Vilmos Zsigmond, is relentlessly inventive; it's heightened red-and-blueall-over production design (perhaps substituting film noir's black and white with a punchier sort of monochromatic palate) makes for weirdly alluring eye candy; and its obsessive replaying of Jack's recording of the assassination, along with its cluttered mechanical milieu of tape, reels and buttons, is fascinating. Still, I have several reservations: Travolta is young,
beautiful, and gives a focused, nuanced performance, yet his character feels inadequately shaded, less implicated in the story's darkness. Yes, Jack's got a guilty conscience about an undercover police gig that went horribly wrong, yet this shadowy past doesn't resonate in his presence. It feels oddly incidental. Meanwhile De Palma's use of split screens, process shots, variable speeds and 360-degree pans become increasingly leaden, and Pino Donaggio's cartoony score thwarts at least as many moments of intimacy or suspense as it enhances. Thing is, thinking about these reservations only makes me want to watch Blow Out again—something that Criterion's velvety-gorgeous new DVD and Blu-ray editions make that much more tempting. V
Still Showing FILM WEEKLY FRI, APR 29, 2011 – THU, MAY 5, 2011
Jane Eyre
s
CHABA THEATRE�JASPER
6094 Connaught Dr, Jasper, 780.852.4749
SOUL SURFER (PG) FRI�SAT 7:00, 9:15; SUN� THU 8:00
FAST FIVE (14A violence) FRI�SAT 6:50 , 9:15; SUN�THU 8:00
CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779
DUM MAARO DUM (14A substance abuse, violence) HINDI W/E.S.T. DAILY 1:05, 4:00, 6:45, 9:25
DHARTI (14A) DAILY 1:15, 4:20, 6:55, 9:20 HOBO WITH A SHOTGUN (R brutal violence)
DAILY 1:45, 4:45, 7:35, 10:00
BATTLE LOS ANGELES (14A violence) DAILY 1:00, 4:05, 7:00, 9:40
RED RIDING HOOD (PG violence, frightening
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.
PROM (PG) FRI 4:30, 7:10, 9:40; SAT�SUN 1:30, 4:30,
8:40, 10:50; SUN 12:00, 2:20, 4:40, 7:10, 9:40; MON� WED 1:20, 3:30, 5:45, 8:00, 10:10; THU 3:30, 5:45, 8:00, 10:10; Star & Strollers Screening: THU 1:00
WATER FOR ELEPHANTS (PG violence, not recommended for young children) No passes FRI�SAT 12:00, 2:45, 5:30, 8:10, 10:45; Sun 12:00, 3:00, 6:45, 9:40; MON�TUE, THU 1:10, 3:45, 6:30, 9:15; WED 1:10, 3:45, 7:25, 10:00
RIO (G) FRI�SUN 12:45; MON�THU 1:00; Digital 3d:
FRI�SAT 12:15, 2:30, 4:45, 7:10, 9:30; SUN 12:15, 2:30, 4:45, 7:15, 9:30; MON�WED 1:30, 4:00, 6:35, 8:55; THU 1:30, 4:00, 6:35, 9:00
SCREAM 4 (14A coarse language, gory violence, not recommended for children) FRI�SAT 12:50, 3:20, 5:50, 8:30, 11:00; SUN 1:30, 4:45, 7:45, 10:15; MON� THU 1:00, 3:45, 7:20, 9:50 YOUR HIGHNESS (18A crude sexual content,
JUST GO WITH IT (PG crude content) DAILY 2:00,
ARTHUR (PG not recommended for young children) FRI�SAT 12:00, 2:40, 5:15, 8:00, 10:35; SUN 12:00, 3:00, 10:10; MON�THU 1:15, 4:00, 6:40, 9:25
GNOMEO AND JULIET 3D (G) Digital 3d DAILY JUSTIN BIEBER: NEVER SAY NEVER 3D (G)
Digital 3d DAILY 1:20, 3:55, 6:50, 9:10
THE GREEN HORNET (14A violence, coarse
language) DAILY 1:35, 4:35, 7:05, 9:30
CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236
HOODWINKED TOO!�HOOD VS. EVIL 3D (G) Digital 3d FRI�WED 12:00, 2:10, 4:30, 6:50, 9:00; THU 12:00, 2:10, 4:30, 6:50, 8:55 FAST FIVE (14A violence) Digital Cinema, No passes
RIO 3D (G) Digital 3d DAILY 12:20, 2:45, 5:10, 7:40,
12:40, 3:20, 6:40, 9:20; WED 3:20, 6:40, 9:20; Star & Strollers Screening: WED 1:00
130 Century Crossing, Spruce Grove, 780.972.2332 (Spruce Grove, Stony Plain; Parkland County)
FAST FIVE (14A) DAILY 6:45, 9:30; SAT�SUN, TUE 10:40am; 1:05, 3:30
HOODWINKED TOO!�HOOD VS. EVIL (G)
Presented in 3D DAILY 7:00, 9:00; SAT�SUN 2:00
DAILY 6:55, 8:45; SAT�SUN, TUE 11:05, 12:50, 2:55
RIO (G) DAILY 7:05, 9:15; SAT�SUN 2:05
WATER FOR ELEPHANTS (PG violence, not recommended for young children) DAILY 6:50, 9:20; SAT�SUN, TUE 10:45am, 1:10, 3:40
FAST FIVE (14A violence) DAILY 6:45, 9:25; SAT�SUN 1:45
HOP (G) SAT�SUN 1:50 GALAXY�SHERWOOD PARK 2020 Sherwood Dr, Sherwood Park 780-416-0150
HOODWINKED TOO!�HOOD VS. EVIL 3D (G) Digital 3d FRI 4:35, 7:20, 9:45; SAT�SUN 11:50, 2:10, 4:35, 7:20, 9:45; MON�THU 7:20, 9:45
FAST FIVE (14A violence) No passes FRI 3:15,
SUN 2:05, 4:30, 6:55, 9:20; MON�THU 6:55, 9:20
mended for children) FRI�SAT 3:15, 5:50, 8:50, 11:15; SUN 3:10, 5:35, 8:00, 10:25; MON�THU 4:30, 7:30, 10:00
WATER FOR ELEPHANTS (PG violence, not recommended for young children) No passes FRI 4:00, 6:50, 9:50; SAT�SUN 1:05, 4:00, 6:50, 9:50; MON�THU 6:50, 9:50
LIMITLESS (14A) FRI�SAT 1:00, 3:25, 6:00, 8:45, 11:10; SUN 1:15, 4:30, 7:15, 9:55; MON�THU 1:25, 4:00, 7:15, 9:40
RIO 3D (G) Digital 3d FRI 4:15, 7:00, 9:30; SAT� SUN 1:30, 4:15, 7:00, 9:30; MON�THU 7:00, 9:30
THE LINCOLN LAWYER (14A) FRI�SAT 12:40, 3:15, 5:50, 8:25, 11:00; SUN 1:20, 4:00, 7:15, 9:55; MON�TUE 1:45, 4:45, 7:40, 10:30; WED 1:00, 3:45, 10:30; THU 1:00, 3:45, 7:40, 10:30
SCREAM 4 (14A coarse language, gory violence,
THE METROPOLITAN OPERA: II TROVA� TORE (Classification not available) SAT 11:00
not recommended for children) FRI 4:20, 7:30, 10:05; SAT�SUN 1:40, 4:20, 7:30, 10:05; MON�THU 7:30, 10:05
WWE EXTREME RULES � 2011 (Classification
HANNA (14A violence) Digital Cinema FRI 4:10,
7:15, 10:00; SAT�SUN 1:20, 4:10, 7:15, 10:00; MON� THU 7:15, 10:00
MEMPHIS (PG coarse language) WED 7:00
ARTHUR (PG not recommended for young
THOR (PG, violence, frightening scenes) Midnight,
LIMITLESS (14A) DAILY 7:00, 9:05; SAT�SUN,
TUE 11:10am, 1:00, 3:05; Movies for Mommies: TUE, May 3: 1:00
RIO (G) DAILY 7:05, 9:10; SAT, SUN, TUE 11:10am, 1:15, 3:10
SOUL SURFER (PG) DAILY 8:00; SAT�SUN, TUE 11:00am, 1:00, 3:05
HOP (G) DAILY 7:30; SAT�SUN, TUE 10:45am,
12:45, 3:00
PRINCESS 10337-82 Ave, 780.433.0728
10200-102 Ave, 780.421.7020
Stadium Seating DAILY 12:00, 12:30, 3:00, 3:30, 6:30, 7:00, 9:30, 10:00
WATER FOR ELEPHANTS (PG violence, not rec-
12:25, 3:15, 7:10, 10:10
HOP (G) DTS Digital, Stadium Seating DAILY 12:20,
SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400
HOODWINKED TOO!�HOOD VS. EVIL (G)
FRI�TUE, THU 12:40, 3:10, 6:40, 9:10; WED 3:10, 6:40, 9:10; Star & Strollers Screening: WED 1:00
FAST FIVE (14A violence) Digital Cinema, No
passes FRI�SAT 11:00; THU 9:30; Ultraavx: FRI� WED 1:30, 4:30, 7:30, 10:30; THU 12:30, 3:30, 6:30
PROM (PG) No passes DAILY 1:15, 4:15, 6:50, 9:30 FAST FIVE : THE IMAX EXPERIENCE (14A violence) No passes DAILY 1:00, 4:00, 7:00, 10:00 AFRICAN CATS (G) DAILY 12:45, 3:20, 6:45, 9:20
HOP (G) FRI 3:50, 6:40, 9:15; SAT�SUN 1:15, 3:50, MEMPHIS (PG coarse language) WED 7:00 GARNEAU
SCREAM 4 (14A coarse language, gory violence,
6:40, 9:15; MON�THU 6:40, 9:15
FAST FIVE (14A violence) Dolby Stereo Digital,
THE HIGH COST OF LIVING (14A) DAILY 7:00,
WATER FOR ELEPHANTS (PG violence, not recommended for young children) Digital Cinema, No passes FRI�TUE, THU 1:00, 3:50, 7:10, 10:10; WED 3:50, 7:10, 10:10; Star & Strollers Screening: WED 1:00
children) FRI 4:35, 7:25, 10:15; SAT�SUN 1:35, 4:35, 7:25, 10:15; MON�TUE, THU 7:25, 10:15; WED 10:15
CITY CENTRE 9
HANNA (14A violence) Dolby Stereo Digital DAILY
HANNA (14A violence) Digital Cinema FRI�TUE, THU
PARKLAND CINEMA 7
9:00; SAT�SUN 2:30
10:15
nudity) DAILY 9:15
THU 6:30
AFRICAN CATS (G) FRI 4:30, 6:55, 9:20; SAT�
SCREAM 4 (14A coarse language, gory violence, YOUR HIGHNESS (18A crude sexual content,
INTO THIN AIR: DEATH ON EVEREST (STC)
INSIDIOUS (14A frightening scenes, not recom-
ommended for young children) Dolby Stereo Digital, Stadium Seating DAILY 12:40, 3:40, 7:15, 10:15
not recommended for children) DAILY 1:40, 4:50, 7:50, 10:20
6601-48 Ave, Camrose, 780.608.2144
HOODWINKED TOO!�HOOD VS. EVIL (G)
PSYCHO (STC) THU, SUN 9:00; FRI SAT 7:00
THU 1:45, 4:30, 7:00
No passes THU 12:05
RIO (G) DAILY 12:10
DUGGAN CINEMA�CAMROSE
coarse language, substance abuse) THU, SUN 7:00; SAT 9:00
JANE EYRE (PG) DAILY 6:50, 9:10; SAT�SUN 2:00
PROM (PG) No passes DAILY 1:15, 4:00, 7:15, 10:00
recommended for young children) No passes DAILY 12:50, 3:40, 7:00, 9:50
Screens FRI 3:35, 4:00, 6:30, 7:00, 9:25, 9:55; SAT� SUN 12:45, 1:10, 3:35, 4:00, 6:30, 7:00, 9:25, 9:55; MON�THU 4:45, 5:10, 7:45, 8:10
9828-101A Ave, Citadel Theatre, 780.425.9212
AMERICAN: THE BILL HICKS STORY (14A
HOP (G) FRI�SUN 12:30, 2:45, 5:00, 7:30; MON�
not available) SUN 6:00
WATER FOR ELEPHANTS (PG violence, not
FAST FIVE (14A violence) No passes, On 2
METRO CINEMA
4:00, 6:30, 7:10, 9:35, 10:10; SAT�SUN 12:00, 1:00, 3:15, 4:00, 6:30, 7:10, 9:35, 10:10; MON�THU 6:30, 7:10, 9:35, 10:10
FRI�SAT 12:30, 3:30, 6:30, 9:30, 11:00; SUN�WED 12:30, 3:30, 6:30, 9:30; THU 1:20, 4:20, 7:30, 9:30, 10:30; Ultraavx: FRI�WED 1:20, 4:20, 7:30, 10:30; THU 12:30, 3:30, 6:15
AFRICAN CATS (G) DAILY 1:30, 4:15, 6:45, 8:50
(G) Digital 3d FRI 4:25, 6:40, 9:00; SAT�SUN 2:00, 4:25, 6:40, 9:00; MON�THU 4:50, 7:30
SOUL SURFER (PG) DAILY 6:50, 9:10
10:20; SAT 5:15, 7:50, 10:20; SUN 12:15, 2:45, 5:15, 7:50, 10:20; MON�WED 1:40, 4:40, 7:10, 9:35; THU 4:40, 7:10, 9:35; Star & Strollers Screening: THU 1:00
4:40, 7:20, 9:55
HOODWINKED TOO!�HOOD VS. EVIL 3D
HANNA (14A violence) FRI�SAT 12:20, 2:55, 5:30,
I AM NUMBER FOUR (PG frightening scenes,
not recommended for young children) DAILY 1:10, 4:10, 7:10, 9:50
7:10, 9:40; MON�THU 5:20, 8:05
LIMITLESS (14A) DAILY 6:55, 9:05; SAT�SUN 1:55
SOUL SURFER (PG) FRI 12:10, 2:45, 5:15, 7:50,
guage) DAILY 1:25, 4:30, 7:30, 10:05
ommended for young children) FRI 3:45, 6:50, 9:35; SAT�SUN 1:00, 3:45, 6:50, 9:35; MON�THU 5:30, 8:20
nudity) FRI�SAT 10:30; SUN 9:50; MON�THU 9:30
THE ADJUSTMENT BUREAU (PG coarse lan-
DAILY 1:55, 4:25, 7:15, 9:45
8712-109 St, 780.433.0728
WIN WIN (14A coarse language) DAILY 7:00, 9:10;
RIO 3D (G) Digital 3d DAILY 12:30, 3:30, 6:30, 8:50
not recommended for children) DAILY 10:40
YOUR HIGHNESS (18A crude sexual content,
SAT�SUN 2:00
nudity) DAILY 9:40
ROCKY HORROR PICTURE SHOW May 28,
HANNA (14A violence) Digital Cinema DAILY
tickets on sale now
GRANDIN THEATRE�ST ALBERT
3:00
Grandin Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822
YOUR HIGHNESS (18A crude sexual content,
nudity) DTS Digital, Stadium Seating DAILY 5:30, 8:00, 10:30
DATE OF ISSUE ONLY: THU APR 28
LIMITLESS (14A) DTS Digital, Stadium Seating FRI�
SCREAM 4 (14A coarse language, gory violence,
1:20, 4:20, 7:20, 10:15
HOP (G) DAILY 12:50, 3:40, 6:30 SOURCE CODE (PG coarse language, violence) Digital Cinema FRI�TUE 1:10, 4:10, 7:15, 9:50; WED 1:10, 4:10, 9:50; THU 1:10, 4:10, 7:15, 9:30 INSIDIOUS (14A frightening scenes, not recom-
mended for children) DAILY 2:00, 5:00, 8:00, 10:45
SOUL SURFER (PG) DAILY 12:05
TUE, THU 12:15, 2:55, 6:40, 9:40; WED 12:15, 2:55, 9:40
ARTHUR (PG not recommended for young children)
FRI, SUN�TUE, THU 1:00, 4:10, 7:10, 9:55; SAT, WED 4:10, 7:10, 9:55; Star & Strollers Screening: WED 1:00
SOURCE CODE (PG coarse language, violence) Stadium Seating, DTS Digital DAILY 12:05, 2:30, 5:00, 7:30, 9:55
(G) THU APR 28: 1:05, 5:00, 6:55
DIARY OF A WIMPY KID: RODRICK RULES
THU 1:40, 4:40, 7:40, 10:20; SAT 2:30, 5:00, 7:40, 10:20; SUN 12:30, 10:20; WED 1:00, 4:00, 10:20
HOP (G) DAILY 1:10, 3:50, 6:55
RIO 3D (G) Digital 3d, Stadium Seating DAILY 12:10,
PAUL (14A language may offend) THU APR 28:
LIMITLESS (14A) DAILY 1:50, 4:55, 7:50
2:50, 5:25, 7:55, 10:25
3:05, 8:50
THE METROPOLITAN OPERA: II TROVA�
PROM (PG) DTS Digital, Stadium Seating DAILY
GNOMEO AND JULIET (G) THU APR 28: 12:35,
TORE (Classification not available) SAT 11:00 not available) SUN 6:00
SOURCE CODE (PG coarse language, violence)
DAILY 1:50, 4:45, 7:45, 10:10
not recommended for children) THU APR 28: 12:40, 2:45, 4:45, 7:15, 9:20
INSIDIOUS (14A frightening scenes, not recom-
12:35, 3:10, 6:45, 9:45
2:10, 5:45
3d, Midnight, No passes, Stadium Seating THU 12:01
ARTHUR (PG not recommended for young chil-
LIMITLESS (14A) DAILY 2:20, 4:40, 7:20, 10:05
THOR 3D (PG violence, frightening scenes) Digital CLAREVIEW 10
RIO (G) THU APR 28: 1:00, 3:00, 5:05, 7:00, 8:55
mended for children) DAILY 2:30, 5:00, 8:00, 10:40
THE METROPOLITAN OPERA: II TROVA� TORE (Classification not available) SAT 11:00 THOR 3D (PG violence, frightening scenes) Ultraavx, No passes THU 12:01 CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585
4211-139 Ave, 780.472.7600
HOP (G) FRI 4:15, 6:35; SAT�SUN 1:40, 4:15, 6:35; MON�THU 5:15
INSIDIOUS (14A frightening scenes, not recom-
mended for children) FRI 4:40, 7:15, 9:50; SAT�SUN 1:50, 4:40, 7:15, 9:50; MON�THU 5:50, 8:30
dren) THU APR 28: 3:45, 7:20, 9:20
HOP (G) THU APR 28: 1:20, 3:20, 5:15, 7:15 YOUR HIGHNESS (18A crude sexual content, nudity) THU APR 28: 9:05
LEDUC CINEMAS
Leduc, 780.352.3922
SUCKER PUNCH (14A violence) FRI, MON�TUE,
WWE EXTREME RULES�2011 (Classification MEMPHIS (PG coarse language) WED 7:00
THOR (PG violence, frightening scenes) Ultraavx, No passes THU 12:01 WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922
HOP (G) SAT�SUN 1:05, 3:20
HANNA (14A violence) FRI 3:50, 6:55; SAT�SUN
Digital 3d FRI�SUN 12:00, 2:15, 4:30, 6:45, 9:00; MON� WED 1:00, 3:05, 5:20, 7:45, 9:50; THU 1:00, 3:05, 5:20, 7:45, 9:40
FAST FIVE (14A violence) Midnight Show THU, Apr 28; SAT�SUN 1:00, 3:40; DAILY 7:00, 9:40
ARTHUR (PG not recommended for young chil-
FAST FIVE (14A violence) Midnight Show: THU,
FAST FIVE (14A violence) No passes FRI�SAT
YOUR HIGHNESS (18A crude sexual content,
WATER FOR ELEPHANTS (PG violence, not recommended for young children) DAILY 6:55, 9:30; SAT�SUN 12:55, 3:35 RIO 3D (G) Digital 3D DAILY 7:00, 9:25; SAT�SUN
SOUL SURFER (PG) DAILY 6:55, 9:25; SAT�SUN
HOP (G) DAILY 7:00; SAT�SUN 1:00, 3:20
RIO 3D (G) Digital 3D DAILY 7:00, 9:20; SAT� SUN
HOODWINKED TOO!�HOOD VS. EVIL 3D (G)
1:30, 4:30, 8:00, 10:50; Sun 12:00, 3:00, 6:30, 9:30; MON�TUE, THU 2:30, 5:30, 9:00; WED 2:30, 5:30, 8:55; Digital Cinema: FRI�SAT 12:00, 2:50, 5:40, 8:30, 11:15; SUN 12:30, 3:30, 7:00, 10:00; MON�WED 1:30, 4:30, 7:30, 10:30; THU 1:30, 4:30, 7:30, 10:00, 10:30; Ultraavx: FRI�SAT, MON�TUE 1:00, 4:00, 7:30, 10:30; SUN 1:00, 3:55, 7:30, 10:30; WED 1:00, 4:05, 7:00, 10:00; THU 1:00, 4:00, 6:50
AFRICAN CATS (G) FRI�SAT 12:00, 2:10, 4:20, 6:30,
8:10, 10:40; SUN 1:30, 4:15, 7:00, 9:45; MON�THU 1:30, 4:10, 7:10, 9:45
THE KING'S SPEECH (PG language may offend)
Garneau Theatre (8712 - 109 St) Writer/director Tom McCarthy provides a perfectly likeable if belaboured go-for-it 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.
WATER FOR ELEPHANTS (PG violence, not rec-
10:40; SUN 12:45, 3:05, 5:30, 8:00, 10:25; MON�THU 1:15, 4:00, 7:05, 9:35
scenes) DAILY 1:50, 4:15, 7:25, 9:35
1:30, 4:20, 6:45, 9:00
Win Win
PROM (PG) No passes FRI�SAT 1:10, 3:25, 5:50, 8:20,
12:50, 3:50, 6:55; MON�THU 5:35
dren) FRI�SUN 9:30; MON�THU 8:15
nudity) FRI�SUN 9:15; MON�THU 8:00
RIO 3D (G) Digital 3d FRI 4:10, 6:45, 9:10; SAT�SUN 1:20, 4:10, 6:45, 9:10; MON�THU 5:00, 7:50 SCREAM 4 (14A coarse language, gory violence, not
recommended for children) FRI 4:20, 7:05, 9:45; SAT� SUN 1:15, 4:20, 7:05, 9:45; MON�THU 5:40, 8:25
1:00, 3:30
THE LINCOLN LAWYER (14A) DAILY 9:20 THOR 3D (PG violence, frightening scenes) Midnight Show THU, May 5
VUEWEEKLY // APR 28 – MAY 4, 2011
SOURCE CODE (PG coarse language, violence)
DAILY 7:10, 9:30
Apr 28; SAT�SUN 1:00, 3:40; DAILY 7:00 pm and 9:40
12:55, 3:25 1:00, 3:20
THOR 3D (PG violence, frightening scenes) Mid-
night Show: THU, May 5
FILM // 27
MUSIC Here comes your band Pixies return to Edmonton on the Doolittle tour
Doing a little bit these days Paul Blinov // paul@vueweekly.com
'B
y all theory, we should be doing Trompe Le Monde by now," David Lovering laughs, a few days into the Canadian leg of The Pixies' Doolittle tour that's kept the band tethered to that album for the better part of two years. "When we finished last September ... I thought it was over and done with. I thought all the production and everything was gone." It wasn't. The tour may have been inspired by Doolittle's 20th anniversary, but the demand, it seems, is still there for Lovering, Frank Black/Black Francis, Kim Deal and Joey Santiago to get onstage and shoot out twisted barbs of abrasive pop that defined the Pixies— on Doolittle, perhaps in its finest creative form—but caused a mutilated wave of influence to overtake the next generations of alt-rockers. Plenty have paid homage to the band's quiet/loud dynamics and sharpened pop hooks that really found their footing there, then and with this particular branch of sound. Lovering's a charmer on the phone. His presence seems heightened by the post-Pixies years spent as a professional magician doing shows at LA's acclaimed Magic Castle. He jokes about Doolittle being a great album to tour for him, because it's the easiest to drum at his age. He laughs that on "La La Love You"—the only Pixies song that gives him the lead vocal—the rest of the band hides his "huffing and puffing" while he plays it live. Those are, however, all lines I've read in other interviews he's done. But I don't think he's recycling jokes or lines
28 // MUSIC
VUEWEEKLY // APR 28 – MAY 4, 2011
to be lazy or because he doesn't care— he comes across as genuinely humble and thankful for the opportunity to be living off of music again. It's just that, really, there isn't much going on with the Pixies right now. You could ask about being back together (and receive warm but surface-level answers about how they're all more mature and comfortable with each other) or touring Doolittle again (and get the above jokes about his age/ease of drumming, plus how much he loves the album). He's got his Doolittle answers down pat, because he's been answering the same questions for almost two years now. At this point, The Pixies have been reunited for longer than they were originally together. They've been reembraced with a sense of nostalgia usually reserved for rock-star legends, without anything new to tout aside from perhaps more subduded attitudes (Famously, Black Francis once hucked a guitar at Kim Deal during a show). The reunion tour stretched on and on, beyond where Lovering ever saw it going, despite feeling a little stiffled about Doolittle's original reception. "I remember recording it, I remember mixing it, and I remember thinking, 'Wow, this album's great,'" he says. "It had great songs on it. We were using Gil Norton as a producer and he had it all polished, and I had really high expectations for it. I thought, 'This is it.' And when it came out, it definitely was critically acclaimed, I think it did well. But it didn't do as well as I thought it would. So [if] I think of anything when I look back on it, it's probably how I was shortsighted on how it went, in a way. Or long-sighted. I can't explain."
The eight years that the band has been reunited has yielded just one new song, "Bam Thwok," written for and then discarded from the Shrek 2 soundtrack. Lovering can't recall if they've ever actually played it live or not (he has a vague inkling they might've done it once). The reasons for not adding it to the setlist are pretty obvious to Lovering: people want classic Pixies, though he's also very aware that it probably won't always be the case. "Sooner or later we're definitely going to wear out our welcome and we just can't go out anymore. So we do need some new material, something to keep us alive," he says, "If we don't, we'll be doing the casino tour. I think we'll be playing with Blue Oyster Cult or something. "So I think that's the wise choice," he continues. "We've been talking about it for three or four years, doing new material, and nothing's come to fruition, it's just been talk so far. But we've been playing enough together so long now that it's getting more comfortable. "I think now we've been playing so long, our chops are really good. I think we're playing better than we did in the day right now. And we have the formula, the Pixies formula [Laughs]. I think that we could be creative, because we're all getting along great and, and we know the formula and everything. We've just got to do it. So I have no qualms about it. I have complete faith in it." V Sun, May 1 (6:30 pm) The Pixies With Imaginary Cities Shaw Conference Centre, $67
ON THE RECORD
BRYAN BIRTLES // BRYAN@vueweekly.com
Perma-laugh Face to Face returns
After a breakup, a makeup and a triumphant return, California punk legend Face to Face has a new album, Laugh Now, Laugh Later, the group's first in almost 10 years. Singer, guitarist and founding member Trever Keith talked to Vue about the group's new album. Vue Weekly: How long did it take to make Laugh Now, Laugh Later from the initial
songwriting through to the end of the recording? Trever Keith: Roughly about two months. VW: When you were writing the songs, did you come at them in a particular way? Lyrics first? Music first? TK: Always music first then lyrics. I did something a little different this time with
the lyrics. I came with themes that became titles first and then wrote the body of the lyrics to fit each title.
various overseas and deluxe forms of the record. They are "Staring Back" and "Persona Non Grata."
VW: Did you take the songs to the band fully formed, or were they sketches that were then filled out as a group? TK: Scott [Shiflett, bassist] and I each wrote "sketches" individually and then we came together to form them into songs. Then we brought the songs to the rest of the band.
VW: How did you decide which songs to include on the album? Did you have an idea of what you wanted Laugh Now, Laugh Later to be when you started, or did the finished shape emerge as the writing and recording went along? TK: It was more of a fluid process. We didn't really decide what songs would make the record and in what order until the mixing was completed.
VW: What were the recording sessions like for this album? Did you record as a band live off the floor or did you piece it together one track at a time? Why? TK: We recorded drums, bass and my guitars together. Then Chad laid his guitar tracks over top. Mainly just for convenience. The way the studio was set up and our schedules, it just worked out best that way.
VW: How does having produced Face to Face albums as well as other bands' albums affect the way you record and write? TK: I think it just streamlines the process. It makes it easier for me to be able to get the sounds I have in my head recorded. VW: If you were to trace the musical map that led you to Laugh Now, Laugh Later, what would it look like? TK: A banana going through the hole of a doughnut. V
VW: Were there any other songs written that were left off the album? TK: Yes, they appear as bonus tracks on
VUEWEEKLY // APR 28 â&#x20AC;&#x201C; MAY 4, 2011
Fri, Apr 29 (7 pm) Face to Face With Strung Out, Celebrity Ballzy Starlite Room, $26.50
MUSIC // 29
If I were a carpenter ...
Organ phenom Cameron Carpenter comes to Edmonton Bryan Birtles // bryan@vueweekly.com
D
escribed as the "bad boy" of classical music, Cameron Carpenter is a musician who will not be pigeonholed. A virtuoso of the organ, Carpenter's talent and Swarovski crystal-decorated costumes have brought him attention that most musicians could only dream of. He also drinks a lot of milk—a gallon per day. In between long days of rehearsals, Carpenter took the time to answer a few questions by email about his music, his performance and writing styles and his life. Vue Weekly: Tell us a bit about how you got your start on the organ. Cameron Carpenter: I was first attracted to the organ visually, and that's significant for me since I, to this day, believe so much in the visual element to music-making, music-listening and performance. At the age of four, I saw in an encyclopedia a picture of a silentmovie organist from the 1920s and this was such a glamorous image—the ornately carved organ, the silver screen, the tuxedoed organist—it had nothing at all of the mousiness of the church organ, and because I am from a God-free family, I've had the great benefit of never associating the organ with church. Instead, the instrument and its possibilities always inspire me with a sense of deep anticipation and longing. VW: Tell us about making your own stage costumes. CC: I feel more deeply connected to the act of performance if I feel I've had a hand in as many aspects of its creation as possible. I find that bringing aspects of fashion and style into this arena gives me one more way of offering the audience something with which so many people can connect—and that connection is so important to generate, particularly for musicians like me who, working exclusively in the non-lyrical realm of instrumental music, are without the benefit of the literality of lyrics. In general, I try to stay as connected as possible to the creative impulse, and being dressed in its fruits is one way to help sustain that connection. The organ, being the most mechanical and immobile of all musical instruments, needs all the de-literalisation, needs all the benefit of the ecstatic, that I can possibly give it. And, of course, fashion and style are in themselves aspects of performance: they tell the audience something about the performer's inner life, and there is a transgression and a power in the telling. VW: Your personality and image seem more akin to rock 'n' roll or pop than to the sometimes stuffy confines of classical music. What drew you to classical music? CC: I can't say that I was "drawn to classical music" by any means, because classical music is a construct. I was, and am, drawn to certain music because it
30 // MUSIC
VUEWEEKLY // APR 28 – MAY 4, 2011
[Insert organ joke here]
holds a power or an intellectual attraction for me, for whatever reason. There are also vast swaths of music to which I am not at all attracted and while much of that music is classical, much is not. I suggest here an analogy with people: one is attracted to some physically, some mentally, some we are repelled or intrigued by, others we pass by and still others we never notice or meet. I don't mean to sound overly culturally relativist—indeed I'm not. In fact, dispensing with the idea that all classical music is "great"—a tired, hackneyed concept— is precisely what allows me to include the banal, the violent, the campy in my performances, alongside the profound, the moving, the dynamic, the ecstatic. Music is never merely beautiful, or merely classical, and we shouldn't allow it to seem so, or be marketed so. VW: You break plenty of the "rules" of performance in the classical world. Do you feel your compositions do the same? Tell us about your own original music. CC: Paradoxically—if I break the rules of classical music (what are those rules? Who's enforcing them? Was I read my rights? Do I care?)—my music is actually fairly traditional. I disdain the current trend in under-30 composers for embracing the turntable, the
DJ, the tribal/folk/indie/eminentlymarketable-influence. As a composer I excel in bold statements, strong orchestration, solid and identifiable tonality, and above all clear forms that may from time to time be buoyed along by programmatic concepts. I have no time for titles with lowercase letters, orchestral music that includes hip-hop beats or laptops, or other such pathetic posturings. In this sense I am more like a bearded old man writing music in England between the Wars than anything my appearance would lead you to expect. VW: Tell us about your consumption of milk. It's intense. CC: The milk is easily explained: it's because I have a very fast metabolism. And consequently, it's very difficult to get enough calories each day, since I'm keen on healthy foods and fitness. So milk fills the holes—drinking even half a gallon of milk per day can help to add between 800 and 1500 calories, and contributes to hydration. V Fri, May 6 (8 pm) Cameron Carpenter With the Edmonton Symphony Orchestra Winspear Centre, $20 – $50
VUEWEEKLY // APR 28 – MAY 4, 2011
MUSIC // 31
SOUNDTRACK
BRYAN BIRTLES // BRYAN@vueweekly.com
Jenny Allen & Leslie Alexander
Wed, May 4 (8 pm) / Blue Chair Café
After touring together last year, Jenny Allen and Leslie Alexander are teaming up to tour across Canada again behind a brand new solo CD each—Allen's is called Blanket while Alexander's is Nobody's Baby. While in the midst of their tour—which they've dubbed the Dirty Laundry Dual CD Release Tour 2011, Allen and Alexander took the time to soundtrack their lives at home and on the road.
On the road
At home • CKUA Radio because I hear my friends, and they always play great music and do the thinking for me so I can just drink coffee. (JA) • Carlos Nakai because he chills me out before I start my day. (LA) • Robbie Robertson because I love his writing—it makes me feel good. (JA) • I like to listen to Grant Lawrence's CBC Podcasts, because he introduces me to great Canadian music and makes me feel like I'm part of something. (LA) • Nick Drake because he was brilliant, wistful and melancholy, and his music relaxes me. (JA) • Wilco because their music inspires me to pick up my own instrument. (LA)
morning
• Annie Lennox because she rocks. (JA) • Joni Mitchell, because behind the wheel I have time to think about her lyrics. (LA)
NOON
• Rachelle Van Zanten because she's groovy—a real talent—and she's my friend. (JA) • Ray La Montagne because his music mellows me out in traffic! (LA)
NIGHT
• Daniel Lanois' Acadie keeps me awake—if I was to fall asleep behind the wheel I'd miss something! (JA) • Miles Davis's Kind of Blue because to me it sounds like the night. (LA)
FIRSTS, LASTS AND FAVOURITES
Karl Andriuk
BRYAN BIRTLES // BRYAN@vueweekly.com
Thu, May 5 (8 pm) / Haven Social Club, $10
Last Album
It might have been Two Hours Traffic, Territory or maybe it was Feist, The Reminder. I don't know, I buy recordings in bursts and then have long periods of inactivity. After years spent gigging through country dives, a couple of years in Florida and Boston, and a return to Edmonton, Karl Andriuk's sound is personal, a map by which you could measure his life. He'll release his latest CD, the rootsy, country-tinged One Peace at a Time, this Thursday at the Haven Social Club, and he took a moment to map out some of the musical moments that have shaped his life.
Last Concert
Actually, it was with the same friend that was with me at my first concert! We went and saw John Mellencamp at the Jubilee last Sunday. It was kind of nostalgic for us.
First Album
Growing up, there were a lot of albums around the house, so I had quite an exposure to different genres. It wasn't until Grade 8 that I thought about owning my own albums, so I went and bought Gaucho by Steely Dan. First Concert
Well, I remember being at a "Folk Fest" here in Edmonton (pre-dates the famous festival we have now) when I was about six or seven. I wasn't really interested in the music but the people there were intriguing—I think I was a bit frightened by the dancing. My first real concert was with a friend: we went to see Supertramp at the Coliseum.
32 // MUSIC
VUEWEEKLY // APR 28 – MAY 4, 2011
Favourite Album
Tough one. I don't really have favourites, and things evolve. Ryan Adams' 29 stuck with me, but that was a few years ago. Hounds of Love by Kate Bush was pinnacle in high school.
Guilty Pleasure
I generally don't feel guilty about indulging in any musical outlet. I love old rock videos from the '70s with the tassles and moustaches, and any episode of the Lawrence Welk Show.
MUSICNOTES
BRYAN BIRTLES // BRYAN@vueweekly.com
Dyeing Merchants with his girlfriend Renee Crawford. After playing around the West Coast, the lo-fi texture mongers are bringing the show on the road behind the group's debut self-titled album. (Wunderbar)
Edmonton's Labatt Blues Festival / Sat, Apr 30 Tickets go on sale to one of Edmonton's premier music festivals— and if you know how many music festivals we have, that's saying something— on April 30. This year the festival returns brandishing another in a long line of consistently high-quality lineups, which includes Kim Wilson, Delta Groove Harp Blast, David Gogo, Chubby Carrier and Diunna Greenleaf. (bluesinternationalltd.com) The Dyeing Merchants / Sat, Apr 30 (9 pm) A Calgarian transplanted to Victoria, Jzero Schuurman started the
Obsessions Nonet / Fri, Apr 29 & Sat, Apr 30 (8 pm) Filled with some of Edmonton's jazz superstars, the Obsessions Nonet will be playing the music of one of the greatest tenor sax players of all time, Stan Getz—the guy who popularized bossa nova with his recording of "The Girl From Ipanema." (Yardbird Suite, $18 – $22)
Miracle Fortress Thu, May 5 (8 pm) With Shad Brixx Bar & Grill, $15 Graham Van Pelt's musical output, a body of work steadily growing in volume, presently stems into two heads: with the first, he puts a keyboard spring into the revivalist strut of Montréal synth-poppers Think About Life. But the second, his solo work as Miracle Fortress, is far more introspective, though no lesser in size, swapping '80s flair for Brian Wilson melody and bedroom confessional introspection. "The Miracle Fortress stuff is kind of my natural state: working on music alone," Van Pelt explains. "I've been doing music on the computer since I was 16 on my parent's Windows 95 machine. I know all the tricks and I have lots of techniques to go on ... Collaborating with people is a little more about getting out of my comfort zone." Van Pelt notes that the four year gap between Fortress's first full-length, Five Roses, and its just-released follow-up, Was I the Wave?, was spent as much in tinkering with new arrangements as in touring with Think About Life. "All of the different sounds you hear on the record were developed over time," he says, "and came out of just being creative with samples and experimenting and wanting to have my own palette of sounds that nobody else has, just me. By the time I had gone through that whole process, I wasn't really listening to much music or being influenced by much, [just] reining in all of the ideas that I had that were all over the place,
[Insert banana joke here]
and then some of them were in conflict with each other, and trying to figure out what internal logic the record would have." Was I the Wave? cleaves its content in the A-side/B-side spirit of vinyl: the first 20-some minutes, Van Pelt notes, are more layered, and dancey, while the latter half folds guitar back into the mix, recalling both Five Roses and Caribou's The Milk of Human Kindness in its spacey weaves of sound. "I tried to make two 20-minute collections of tracks that worked and had a kind of sonic resemblance to each other, and covered similar ground," he says. "I guess I was trying to think, formally speaking, of what a record really was: you can just go on forever if you want if you're not thinking about vinyl. You can sort of go wild, and go for 70 minutes or something. I could easily fall into that just with the amount of crap I end up compiling, so I think it's good for me to really impose some kind of limitation." PAUL BLINOV
// PAUL@vueweekly.com
VUEWEEKLY // APR 28 – MAY 4, 2011
MUSIC // 33
NEWSOUNDS Steve Earle, I'll Never Get Out of This World Alive (New West)
As a songwriter, Steve Earle's always been at his best when drawing inspiration from conflicts, be they personal or political, and on I'll Never Get Out Of This World Alive—which shares its title with a famous Hank Williams song and Earle's upcoming debut novel—he mines a number of areas for that unrest, from George W Bush's reign as president to the nature of love itself. The result is a strong set of songs, but the flip side of Earle's success has always been his ability to find the right band for the right set of songs, be they bluegrass (the Del McCoury Band), rock 'n' roll (the Dukes) or even punk (the Supersuckers). Here, though, he turns the control over to T Bone Burnett and the production, while tasteful, comes across as too restrained when the edges could stand to be left a little rougher. It's a good album, but it's possible that, with the help of Earle's long-standing compatriots in the Dukes, it might've been great. Eden Munro
// eden@vueweekly.com
Folk Thief, Love, Heartache & Oblivion (Independent)
The easy strums of mid-afternoon acoustic bar set dominate Love Heartache & Oblivion by Folk Thief (Vancouver's Dave Hadgkiss). He's got some interesting ideas on folk-pop that surface here and there, and all in all seems a more than adequate guitarist, but his songwriting could use some work: there's a surface-level sincerity to how joyfully he sings lines like, "In pools of blood the children play," plus a general feeling of sameness that detracts from the album: once you've heard a handful of songs, there isn't much more to discover here. Backing vocals from Kelly Haigh add a beautiful, Emmylou Harris-like grace to "Broken Record" and "Heartbeat," and the syllabic vocal delivery that comes out of nowhere with "Babble" is clever and endearing. Love, Heartache & Oblivion could benefit from more of these colourful additions to its bare-bones sound: as it stands, the album's skeletal arrangements feel full of potential but yield little on their own.. Paul Blinov
// paul@vueweekly.com
Pour Habit Got Your Back (Fat Wreck Chords)
Time marches on, but Fat Wreck Chords releases still sound pretty much the same. Pour Habit's Got Your Back is a time warp to 1996: think the Offspring and NOFX—hard, driving pop-punk instrumental backed by melodic singing—but mixed with something a little more Propagandhi, harder and darker and firmly fixated on the impacts of war. That's to its credit—the lyrics favour a strictly political charge, and that keeps a wellexplored sound at least somewhat alive and interesting. Paul Blinov
// paul@vueweekly.com
Bass Drum of Death GB City (Fat Possum)
Mississippi's Bass Drum of Death turns out massive body-rocking bangers in the legacy of Pylon and the Fuzztones and the ongoing garage pop revival. Sixties pop vocal melodies are buried alive in distorted axe and the eponymous and deadly bass drum (snare and crash notwithstanding). The operative characteristic of each song is pure relentless fun. Songs like "Young Pros" and "Nerve Jamming" are cases in point. Unfortunately this grows tiring after 11 tracks and the listener is left wanting another dimension, emotionally, musically or otherwise. Nevertheless, when it comes to getting the party started, BDoD cannot be challenged. Joe Gurba
// joe@vueweekly.com
The New Jacobin Club This Treason (Independent)
Production is such a delicate matter: on any album, it's the producers job to capture not only what the instruments sound like, but also the very essence of the band by making sure the tones, the levels and the aural esthetics reflect the reality of the band in the final mix. It's difficult to say whether production or the band itself is to blame for the problems of the New Jacobin Club's latest, This Treason: the lifeless sound has absolutely no dynamics, no clue as to what the most important parts are, and it's so compressed that it sounds somewhat worse than an MP3. The band members are just phoning in the instruments, the singing is as apathetic as a 14-year-old boy at chore time—there's simply no excitement. Bryan Birtles
// bryan@vueweekly.com
34 // MUSIC
VUEWEEKLY // APR 28 – MAY 4, 2011
QUICKSPINS WHITEY HOUSTON
// QUICKSPINS@vueweekly.com
Cass McCombs Wit's End (Domino) Sweet sad lullabies It's more depressing than a Game seven defeat
The Creaking Tree String Quartet Sundogs (Independent) Top drawer old-time jazz Perfect background music for Huge pancake breakfast
OLDSOUNDS EDEN MUNRO // EDEN@vueweekly.com
NEIL YOUNG'S BEST
Neil Young is a songwriter who has long walked a wandering path: at times, he shuffles along what he himself has called the middle of the road, while at others he takes huge strides through the ditch. His career is also dotted by a number of missteps—paths begun but never finished. There are those who might say that some of those trips Young's engaged in were little more than interesting fuck ups that showed his willingness to experiment but which ultimately failed as albums. To be sure, that's certainly the case with a few of the ones he's dropped over the years, but there are a few that belong right up there alongside Tonight's the Night on a list of Young's best.
1) Live at the Fillmore East (2006) One of the releases in Young's Archives series, this set was recorded in 1970 with the original cornerstones of Crazy Horse—guitarist Danny Whitten, bassist Billy Talbot and drummer Ralph Molina—alongside Young and piano player Jack Nitzsche. The music rumbles as Young and Crazy Horse meld into a single, churning beast. It's a sound well-known today, but this album documents the early moments in Young's relationship with Crazy Horse, undertaken at a time when he truly set himself apart from the folk-singer crowd.
2) Time Fades Away (1973) .
Malachai Return to the Ugly Side (Domino) Ethereal pop Zealously chopping shit up Like axe murderers
Pharoahe Monch W.A.R. (We Are Renegades) (Duck Down) This isn't shitty But it's about as fresh as Three-month-old lettuce
Trigger Effect Versitis Maximus (Indica) Sonic destroyers I can't hate a band who writes Songs like "Funder Bay"
While Young has often culled together studio albums from songs recorded over wide spans of time, save for a single song this raw and rambling live album was constructed out of tracks cut during a three-month tour in support of the much more palatable sounds of the previous year's Harvest. Crazy Horse's Danny Whitten died of an OD after Young fired him just prior to the tour, and that loss weighs heavy on the performances, making for an emotional record—even more so because Young nails the songwriting on this one.
3) On the Beach (1974) Culled together from a number of sessions and featuring 12 different players on various tracks, this one is a true trip: it begins with the relatively lightweight "Walk On" and then descends into murkier sounds, culminating with the epic Side B run of "On the Beach," "Motion Pictures" and "Ambulance Blues."
4) Trans (1982) Another lightweight opener with "Little Thing Called Love," but it serves as the gateway into a bizarre computer world where a songwriter like Young would seemingly have no place, except that beneath—or perhaps because of—the vocodered voice and synth-heavy arrangements, the songs are, once again, solid. It may feel somewhat uncomfortable hearing Young in a Kraftwerk-inspired setting, but this is where he's at his best: refusing to back down as he experiments, yet armed with songs that can hold their own with the rest of his catalogue. Plus, the claustrophobic, electronic remake of "Mr Soul" is a brilliant re-envisioning of his past as a possible future.
5) Sleeps With Angels (1994) The Fleshtones Brooklyn Sound Solution (yeproc) Surf rockin' geezers Still trying to ride the wave from 30 years back
Though this record came out during the height of grunge, it's hardly the sound of Young trying to play the part—that's what happened on Mirrorball, his atrocious collaboration with Pearl Jam. Here, though, Young ventures into the darkest musical territory he's ever played with. The guitars are guttural and often sonically disturbing, while the album is unrelenting and exhausting through to the end. It's among Young's most focused efforts. V
VUEWEEKLY // APR 28 – MAY 4, 2011
MUSIC // 35
MUSIC WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM
STARLITE ROOM Face To Face, Strung Out; no minors; 7pm (door), 8pm (show); $26.50 at UnionEvents.com, PrimeBoxOffice.com, Blackbyrd, Freecloud
DEADLINE: FRIDAY AT 3PM
WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close
THU APR 28
WILD WEST SALOON Jo Hikk
28 DEGREES Experimental improvisation with Steven Johnson and his 12-string guitar with guest musicians. Bring your instruments every Thu ACCENT EUROPEAN LOUNGE Jordan Norman (folk rock), Lindsey Walker (folk jazz); 9:30pm11:30pm; no minors; no cover BLUE CHAIR CAFÉ Johnnie Ninety-Nine, Shiloh Lindsey; 2pm; $10 BLUES ON WHYTE John Primer BOHEMIA One Last Chance, The Left Behinds, Fire for Effect, Miek Headache; no minors; 7:30pm; $10 (nonmember)/$9 (member) BRIXX Dex and Gory's Bingo Deathmatch; 10pm; no cover CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm CROWN AND ANCHOR Boom Chucka Boys, River City Rat Band; 9pm (music); no cover THE DOCKS Thu night rock and metal jam DRUID IRISH PUB DJ every Thu at 9pm DV8 Acoustic Chaos Thursdays: bring your guitars, basses, drums, whatever and play some tunes EXPRESSIONZ CAFÉ Dr Blu (original blues, light jazz); 7pm (door), 8pm (music); $10 (presale)/$15 (door) at Expressionz, yeglive.ca J AND R Open jam rock 'n' roll; every Thu; 9pm JEFFREY'S CAFÉ Amy Thiessen (rock/folk singersongwriter); $10 L.B.'S PUB Open jam with Kenny Skoreyko, Fred Larose and Gordy Mathews (Shaved Posse) every Thu; 9pm-1am MARYBETH'S COFFEE HOUSE�Beaumont Open mic every Thu; 7pm 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 Blunt Force Charm, Civil Savage, Boulderfist; no minors; $5 (door)
DJs 180 DEGREES DJ every Thu BLACK DOG FREEHOUSE Main Floor: Tight Jams: every Thu with Mike B and Brosnake; Wooftop Lounge: various musical flavas including Funk, Indie Dance/Nu Disco, Breaks, Drum and Bass, House with DJ Gundam; Underdog: Dub, Reggae, Dancehall, Ska, Calypso, and Soca with Topwise Soundsystem CENTURY ROOM Lucky 7: Retro '80s with house DJ every Thu; 7pm-close CHROME LOUNGE 123 Ko every Thu THE COMMON So Necessary: Hip hop, classic hip hop, funk, soul, r&b, '80s, oldies and everything in between with Sonny Grimezz, Shortround, Twist every Thu CROWN PUB Bass Head Thursdays: Drum and Bass DJ night, 9pm DRUID IRISH PUB DJ every Thu; 9pm ELECTRIC RODEO�Spruce Grove DJ every Thu FILTHY MCNASTY’S Punk Rock Bingo every Thu with DJ S.W.A.G. FLUID LOUNGE Thirsty Thursdays: Electro breaks Cup; no cover all night FUNKY BUDDHA�Whyte Ave Requests every Thu with DJ Damian HALO Fo Sho: every Thu with Allout DJs DJ Degree, Junior Brown KAS BAR Urban House: every Thu with DJ Mark Stevens; 9pm LEVEL 2 LOUNGE Funk Bunker Thursdays LUCKY 13 Sin Thu with DJ Mike Tomas ON THE ROCKS Salsaholic: every Thu; dance lessons at 8pm; salsa DJ to follow OVERTIME�Downtown Thursdays at Eleven: Electronic Techno and Dub Step RENDEZVOUS Metal night every Thu SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca TAPHOUSE�St Albert Eclectic mix every Thu with DJ Dusty Grooves
NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers every Thu
UNION HALL 123 Thursdays: Travis Barker and Mix Master Mike; $20 (adv) at Union Hall
RIC’S GRILL Peter Belec ( jazz); most Thursdaysß; 7-10pm
WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close
REXALL PLACE Lil Wayne, Nicki Minaj, Rick Ross, Travis Barker; all ages; 7pm (door), 8pm (show); tickets at livenation.com
FRI APR 29
RUSTY REED'S HOUSE OF BLUES The Rusty Reed Band; $5 SECOND CUP�Varscona Live music every Thu night; 7-9pm
36 // MUSIC
AVENUE THEATRE Rock to Conquer Cancer: The Collective West, Politic Lives, Scenic Route to Alaska; ; 8pm BLACKJACK'S ROADHOUSE�Nisku Black Gold Rodeo: Duane Steele BLUE CHAIR CAFÉ John
Rutherford; 8pm; $10
BLUES ON WHYTE John Primer BOHEMIA Rippin’ it Doggy Style: Metal Benefit for K9 Cabins with Kryosphere, Enduring the Fall, guests; no minors; 8pm (door), 9pm (show); $10 (door for member); proceeds to the animal shelter BRIXX BAR Early show: Freshman Years, Hale Hale, 7pm; Late show: Options, Greg Gory, Eddie Lunchpail, 10pm CARROT Live music every Fri; all ages; Gary "Wayne" Myers aka Slack Key Slim (acoustic, Hawaiian, roots); 7pm; $5 (door) CASINO EDMONTON Shannon Smith CASINO YELLOWHEAD Colleen Rae and Cornerstone CENTURY CASINO Harlequin; 8pm; $29.95 CHROME LOUNGE 2nd Annual Alberta's Dancehall King and Queen 2011, Invinceable, Spyce, Tnt, Rocky (Voice Of The Vibes), Bless and Jiggy Gyal COAST TO COAST Open stage every Fri; 9:30pm THE COMMON No More Pencils! No More Books; 8pm DV8 Punk Rawk Dan, Slippyfist, Crabs Ain't Cool, Miek Headache; 9pm-2am EARLY STAGE SALOON� Stony Plain The Saloon Posse with Bernie Riegger EXPRESSIONZ CAFÉ REND (original soul rock band), Tiff Hall; 7pm (door), 7:30 (Show); $10 (adv)/$12 (door); Expressionz, yeglive.ca FRESH START BISTRO Helena Magerowski; 7-10pm; $10 GAS PUMP The Uptown Jammers (house band); every Fri; 5:30-9pm HAVEN SOCIAL CLUB JFR Project, Vox Humana, Warning To Avoid (rock); 8pm IRISH CLUB Jam session every Fri; 8pm; no cover JEKYLL AND HYDE PUB Headwind (classic pop/rock); every Fri; 9pm; no cover LEVEL 2 LOUNGE Formula Fridays: Marzetti; 9:30pm LIZARD LOUNGE Rock 'n' roll open mic every Fri; 8:30pm; no cover NEW CITY LEGION Fire Next Time (7” CD release),Whiskey Face, The Fight, Owls By Nature; no minors; $5 (door) ON THE ROCKS GO! PAWN SHOP The Trews (rock); Sonic band of the month: Cygnets RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Fri; 9pm-2am RUSTY REED'S HOUSE OF BLUES The Rusy Reed Band; $10 STARLITE ROOM Face To Face, Strung Out, Cerebral Ballzy; 7pm WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close
YARDBIRD SUITE Kent Sangster’s Obsessions Nonet Performs the music of Stan Getz; 8pm (door), 9pm (show); $18 (member)/$22 (guest)
Classical WEST END CHRISTIAN REFORMED CHURCH UBUNTU, The Edmonton Childrens’ Choir, Guelph Youth Singers, Bethany Ellis (storyteller); 7pm; benefit concert for the Stephen Lewis Foundation; $20 (adult)/$15 (senior/student)/ free (child under 10) at 780.433.6344, door WINSPEAR CENTRE JeanMarie Zeitouni (conductor), Nobuyuki Tsujii (piano); Rachmaninoff ’s Second Piano Concerto; 7:30pm
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 SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca SUEDE LOUNGE Juicy DJ spins every Fri
WILD WEST SALOON Jo Hikk
SUITE 69 Every Fri Sat with DJ Randall-A
WOK BOX Breezy Brian Gregg every Fri; 3:305:30pm
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
HAVEN SOCIAL CLUB Mike Roste, Five Years Further, Kinniburgh Phillips, skidoo32, Darryl Matthews (CD release party)
SAT APR 30
HILLTOP PUB Afternoon: open stage every Sat hosted by Blue Goat, 3:30-6:30pm; Evening: The Prairie Cats Band, 9:30pm-2am
ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12
HOOLIGANZ Sound Salesmen, Drive the Day (rock); no minors; 8pm (door)
ARTERY Edmonton Poetry Festival: Poetry and Jazz for a Spring Afternoon: Beats, music, and poetry from John and Mike Lent, others; 3:305:30pm; $10 (door)
IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10
Y AFTERHOURS Foundation Fridays
BLACK DOG FREEHOUSE Hair of the Dog: Sherry-Lee Wisor's Brand New Happy (live acoustic music every Sat); 4-6pm; no cover BLACKJACK'S ROADHOUSE�Nisku Black Gold Rodeo: The Ride BLUE CHAIR CAFÉ Al Brant Trio; 8pm; $15 BLUES ON WHYTE Every Sat afternoon: Jam with Back Door Dan; John Primer BOHEMIA Ex machina: Asylum Sessions Live with DJ Swindler, DJ Lego, guests; no minors; 9pm; $8 (door, member) BRIXX BAR Dead Eyes Open, The Great Valley, Distant Calm CARROT CAFÉ Sat open mike for poetry, music, comedy; 7-9:30pm; free CASINO EDMONTON Shannon Smith CASINO YELLOWHEAD Colleen Rae and Cornerstone CENTURY CASINO Big River Band ( Johnny Cash tribute); $19.95 (show)/$49.95 (dinner and show) COAST TO COAST Live bands every Sat; 9:30pm THE COMMON Common Edit #2 (A vinyl release party); 9pm 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 DV8 The Remones!! Horror Business, SpartanS; 9-12 EARLY STAGE SALOON� Stony Plain The Ghris Gheran Band (hard edge folk) EDDIE SHORTS Saucy Wenches every Sat EDMONTON EVENT CENTRE The Game, guests; $14.99 (presale), $19.99 (1st Level), $24.99 (2nd Level), $29.99 (3rd Level), $39.99 (VIP Level, incl side stage seating, private bar, express entry , Tour Lanyard) tickets at Shadified Salon (Northgate), Rain Salon (WEM), Soular (WEM), Irie Foods (Whyte Ave), Room 322 (downtown) EMPIRE BALLROOM Illuminaughty Bartending School EXPRESSIONZ CAFÉ Martin Kerr, Brian McLeod; 7pm; $25 at yeglive.ca , 780.469.1615; fundraising concert for Kids with Cancer FILTHY MCNASTY'S The Brewer Family Extravaganza–free; 4-6pm GAS PUMP Blues jam/open stage every Sat 3:30-7pm
VUEWEEKLY // APR 28 – MAY 4, 2011
JEFFREY'S CAFÉ Dr Blu (blues band); $15 LEVEL 2 LOUNGE Kinetic Saturdays: Mr Wedge Birthday Jam; 9:30pm O’BYRNE’S Live band every Sat, 3-7pm; DJ every Sat, 9:30pm ON THE ROCKS GO! PAWN SHOP Transmission Saturdays: Alternative, DJ, punk, rock REDNEX BAR Rob Kaup Band (blues, rock, country); 9pm RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Sat; 9pm-2am RENDEZVOUS PUB Dire Omen, Desecrate Scripture, Druidess; 8pm (door); $8 RIVER CREE�The Venue Air Supply; 8pm; $39.50 RUSTY REED'S HOUSE OF BLUES The Rusy Reed Band; $10 SHAW CONFERENCE CENTRE Sister Gray, White Lightning (BeerFest) STARLITE ROOM Who's the Hero? California Lane Change, Hollows Anatomy, Dead in Memphis STENCEL HALL Northern Bluegrass Circle Music Society: The Lost and Found Bluegrass Band; 7:30 (door), 8pm (show); $20 (NBCMS member)/$25 (non-member)/$10 (student)/free (child 12 and, accompanied by parent) at TIX on the Square WILD WEST SALOON Jo Hikk YARDBIRD SUITE Kent Sangster’s Obsessions Nonet Performs the music of Stan Getz; 8pm (door), 9pm (show); $18 (member)/$22 (guest)
Classical ELLERSLIE BAPTIST CHURCH Edmonton Mustard Seed and Canadian Peacemakers International: One Fine Spring Evening: Corpus Christi Chorale (50 voice male choir) fundraising concert; 7pm; $25 (adult)/$10 (student) at TIX on the Square, door GLORY LUTHERAN CHURCH From Life To Death To Life: Concordia University College Concert Choir, Joy Berg and John Brough (conductors); 7:30pm; tickets at door, TIX on the Square, Concordia Student Accounts WINSPEAR CENTRE JeanMarie Zeitouni (conductor), Nobuyuki Tsujii (piano); Rachmaninoff ’s Second Piano Concerto; 7:30pm WYE HALL May Day Celebration: Renaissance, Baroque and Classical Music; 7-10pm; free, donations for Strathcona Food Bank
DJs
180 DEGREES Street VIBS: Reggae night every Sat AZUCAR PICANTE DJ Touch It, hosted by DJ Papi; every Sat BANK ULTRA LOUNGE Sold Out Sat: with DJ Russell James, Mike Tomas; 8pm (door); no line, no cover for ladies before 11pm BLACK DOG FREEHOUSE DJs on three levels every Sat: Main Floor: Menace Sessions: alt rock/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 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) OVERTIME�Downtown Saturdays at Eleven: RNB, hip hop, reggae, Old School 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 UNION HALL Celebrity Saturdays: every Sat hosted by Ryan Maier VINYL DANCE LOUNGE Signature Saturdays Y AFTERHOURS Release Saturdays
SUN MAY 1 BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm BLACKJACK'S ROADHOUSE�Nisku Open mic every Sun hosted by Tim Lovett BLUE CHAIR CAFÉ Sun Brunch: Will Cramer; 10.30am-2.30pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun: Don Ross-Clarinet; 6pm; $25 if not dining
BLUES ON WHYTE Kyler Schogen Band (CD release party, funky blues/rock); 9pm CROWN PUB Band War 2011/Battle of the bands, 6-10pm; Open Stage with host Better Us Than Strangers, 10pm-1am DEVANEY’S IRISH PUB Celtic open stage every Sun with Keri-Lynne Zwicker; 5:30pm; no cover DOUBLE D'S Open jam every Sun; 3-8pm DV 8 TAVERN MAYDAY: Let's Get Fluoride Out Of Our Tap Water; 6pm EDDIE SHORTS Acoustic jam every Sun; 9pm BALLROOM The Next Big Thing: (vocal/band), Dance showcase; Mixmaster (DJ); hottest talent search every Sun until May 29 EXPRESSIONZ CAFÉ 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 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 Sundays: The Death Eaters Dance Your Pants Off Party: The Consonance, Chasing Jones, Chelsey MacDonald; fundraiser for AB Cancer Foundation ORLANDO'S 2 PUB Open stage jam every Sun; 4pm PLEASANTVIEW COMMUNITY HALL Scott Cook and the Long Weekends (Moonlit Rambles CD release), Jesse Dee, Jacquie B, Myrol, Terry Morrison, John Gorham, Dana Wylie, Mike Dunn, Maurice Jones, Trevor Tchir, The Low Flying Planes, Nadine Kellman, Brian Gregg, The Proper Charlies, Sean Brewer and the Switchmen; 3-11pm; $10; kids free; adv tickets at Permanent Records, Blackbyrd RICHIE UNITED CHURCH Rollanda Lee and the Canadian Hot Stars; 3:30pm; free will offering SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm SHAW CONFERENCE CENTRE Pixies, Imaginary Cities; all ages; 6:30pm (door), 7:30pm (show); $55
Classical FIRST PRESBYTERIAN CHURCH Tom Fettke’s The Majesty and the Glory of Your Name: Concordia Symphony Orchestra and Chorus Concert; 2pm; $12 (adult)/$10 (student/senior) at TIX on the Square WINSPEAR CENTRE Edmonton Youth Orchestra (senior and intermediate); The Thelma Johannes O'Neill Memorial Concert featuring winners of the 30th Northern Alberta Concerto Competition; 2pm; $15 (adult)/$10 (student/senior) at TIX on the Square
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; sports-world.ca
MON MAY 2 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE Lady Bianca DEVANEY'S IRISH PUB Singer/songwriter open stage every Mon; 8pm
LUCKY 13 Industry Night every Mon with DJ Chad Cook NEW CITY LEGION Madhouse Mon: Punk/ metal/etc with DJ Smart Alex
TUE MAY 3 BLUES ON WHYTE Lady Bianca BRIXX Troubadour Tuesdays: Seth Anderson, Lando Kalbreez DRUID IRISH PUB Open stage every Tue; with Chris Wynters; 9pm 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
JUBILEE AUDITORIUM Charley Pride; 7:30pm
RUSTY REED'S HOUSE OF BLUES Big Rock Open Jam with Moses Gregg, Grant Stovel, special guest
KELLY'S PUB Open stage every Mon; hosted by Clemcat Hughes; 9pm
SECOND CUP�124 Street Open mic every Tue; 8-10pm
PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam every Mon; hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm
SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm
ROSE BOWL/ROUGE LOUNGE Acoustic open stage every Mon; 9pm
SIDELINERS PUB All Star Jam every Tue; with Alicia Tait and Rickey Sidecar; 8pm
DJs 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.
SECOND CUP� Summerwood Open stage/open mic every Tue; 7:30pm; no cover
SPORTSMAN'S LOUNGE Open stage every Tue; hosted by Paul McGowan; 9pm WUNDERBAR HOFBRAUHAUS Stuesdays: Every Tue Wunderbar's only regular DJ night YARDBIRD SUITE Tue Night Sessions: Paul Wilde Memorial Session; 7:30pm (door), 8pm (show); $5
DJs 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 Troubadour Tue: hosted by Mark Feduk; 9pm; $8 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, 9pm2am DV8 Creepy Tombsday: Psychobilly, Hallowe'en horrorpunk, deathrock with Abigail Asphixia and Mr Cadaver; every Tue FUNKY BUDDHA�Whyte Ave Latin and Salsa music every Tue; dance lessons 8-10pm NEW CITY LEGION High Anxiety Variety Society Bingo vs. karaoke with Ben Disaster, Anonymouse every Tue; no minors; 4pm-3am; no cover RED STAR Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly; every Tue WUNDERBAR HOFBRAUHAUS Stuesdays: Wunderbar's only regular DJ night every Tue
CENTURY GRILL Century Room Wed Live: featuring The Marco Claveria Project; 8-11pm CROWN PUB Dan Jam/ open stage every Wed; 8pm-2am DIESEL Invinceable, Bomb Squad, Tnt, Ali.Ze and Rocky (Voice Of The Vibe), Hothead Squad, E-Town Legends and Roc-A-Tella and Snipa; Video By: Hi-Rollerz. Com and Nex-Century; $30 (first 300, more after) at tnttickets.ca, Diesel 780.604.2582, Safron's, Irie Foods (Whyte Ave, Millwoods), Alexis, Soular, Room 322, Restricted Elite (Kingsway, Londondary Mall) 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; every Wed; 7-11pm; admission by donation take out Randall Walsh FIDDLER'S ROOST Little Flower Open Stage every Wed with Brian Gregg; 8pm-12 GOOD EARTH COFFEE HOUSE Breezy Brian Gregg every Wed; 12-1pm HAVEN SOCIAL CLUB Open stage every Wed with Jonny Mac, 8:30pm, free HOOLIGANZ Open stage every Wed with host Cody Nouta; 9pm
WED MAY 4
NISKU INN Troubadours and Tales: 1st Wed every month; featuring Tim Harwill with guest Terry Morrison; 8-10pm
BLACK DOG FREEHOUSE Main Floor: Glitter Gulch: live music once a month
PLAYBACK PUB Open Stage every Wed hosted by JTB; 9pm-1am
BLUE CHAIR CAFÉ Jenny Allen, Leslie Alexander (CD release); 8pm
BRIXX BAR Really Good… Eats and Beats: DJ Degree, friends every Wed; 6pm; $5
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
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 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 KELLY'S PUB 11540 Jasper Ave L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIZARD LOUNGE 13160-118 Ave MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont, 780.929.2203 MCDOUGALL UNITED CHURCH 10025-101 St MUTTART HALL Alberta College, 10050 Macdonald Dr NAKED CYBER CAFÉ 10354 Jasper Ave, 780.425.9730 NEST NAIT Main Campus, 11762-106 St NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY LEGION 8130 Gateway Boulevard (Red Door) NISKU INN 1101-4 St NORTH GLENORA HALL
13535-109A 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 10413-100 Ave, Morinville, 780.939.6955 RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 RICHIE UNITED CHURCH 9624-74 Ave ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St R PUB 16753-100 St, 780.457.1266 RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SECOND CUP�Sherwood Park 4005 Cloverbar Rd, Sherwood Park, 780.988.1929 Summerwood Summerwood
BLUES ON WHYTE Lady Bianca
(member)/$4 (non-member)
RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm1am; $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 LEVEL 2 LOUNGE Wing It Wednesdays: DJ Competion; 9:30pm; every Wed until Mar 30 NEW CITY LEGION Wed Pints 4 Punks: with DJ Nick; no minors; 4pm-3am; no cover NIKKI DIAMONDS Punk and ‘80s metal every Wed RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm
VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 28 DEGREES 5552 Calgary Tr ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLIARD CLUB 10505 Whyte Ave, 780.432.0335 BLACK DOG FREEHOUSE 10425-82 Ave, 780.439.1082 BLACKJACK'S ROADHOUSE� Nisku 2110 Sparrow Drive, Nisku, 780.986.8522 BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUE PEAR RESTAURANT 10643-123 St, 780.482.7178 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464-153 St, 780 424 9467 CENTURY GRILL 3975 Calgary Tr NW, 780.431.0303 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 COMMON LOUNGE 10124124 St CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704.
CLUB DEVANEY’S IRISH PUB 901388 Ave, 780.465.4834 THE DOCKS 13710 66 St, 780.476.3625 DOW'S SHELL THEATRE�Fort Saskatchewan 8700-84 St, Fort Saskatchewan, 780.992.6400 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St EARLY STAGE SALOON�Stony Plain 4911-52 Ave, Stony Plain, 780.963.0120 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 ELLERSLIE BAPTIST CHURCH 10603 Ellerslie Rd EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FIRST PRESBYTERIAN CHURCH 10025-105 St 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 GLORY LUTHERAN CHURCH Yellowhead Tr, Hwy 21, Sherwood Park GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave, 780.423.HALO
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 STENCEL HALL Taylor College and Seminary 11525-23 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 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 WEST END CHRISTIAN REFORMED CHURCH 10015149 St WHISTLESTOP LOUNGE 12416-132 Ave, 780. 451.5506 WILD BILL’S�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer, 403.343.8800 WILD WEST SALOON 1291250 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 WYE HALL SE corner of Wye Rd, Hwy 21, 780.449.6286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295
VUEWEEKLY // APR 28 – MAY 4, 2011
MUSIC // 37
COMMENT >> LGBTQ
Surrounded by freaks
backwords
chelsea boos // che@vueweekly.com
Conservatives campaign to the average Canadian For one of his first campaign media opportunicrime. Any other concerns are classified as special ties, Conservative leader Stephen Harper went interest liberal whining. to the Winnipeg house of 10-year-old Maria Aragon. Stephen and his wife Laureen sat beside By focusing all attention on his fabricated "avMaria, who is apparently a YouTube sensation, as erage Canadian" Harper is consciously abdicatshe sang Lady Gaga's "Born This Way." This ing a foundational function of democratic contrived publicity moment became esgovernance: to acknowledge that certain pecially awkward when Maria sang the members of our society are experienc"No matter gay, straight or bi, lesbian, ing inequality and oppression and that transgendered life, I'm on the right these groups require government acm ekly.co track, baby, I was born to survive" lyric knowledgement, aid and support. This vuewe @ a x le a from Gaga's song. Watching the video, disdain for equality is reflected in his a x e Al I cringed in disbelief. ne move to cripple Statistics Canada by DeGag During Harper's five years in power he cutting the long-form census. With a lack has unleashed part of an agenda to demonof statistics, he can and will claim that we ize and silence the freaks of our society who simply do not exist. dare voice their unique and critical opinions and Rest assured, Harper has an agenda for Canada's concerns including environmentalists, intellecLGBTQ, feminist and artist communities, and tuals and academics in the sciences and the hushould he reach his treasured majority governmanities, artists, transgender people, pro-choice ment we will feel the full scope of his plans to activists and women in general, immigrants and muzzle and regulate all of us freaky queer, femirefugees, criminals and G20 protesters. These nist, artsy dissenters. groups are more than a pesky thorn in Harper's Here in Alberta it serves Harper's average charside as they represent progressive and at times acterization to paint Alberta with one blue brush. divisive politics. He claims that Alberta is a conservative province, This plurality challenges Harper's assertion that filled with good and loyal conservative Canadians. his party represents the "average Canadian," most We will capitulate to that status if we believe that often characterized as a middle-class worker with our ridings are unwinnable battles and if we don't an opposite-sex spouse, two children and the take action on May 2. Edmonton, and Alberta, are dream of suburban home-ownership. According to brimming with progressive citizens and organizaHarper's campaign focus the "average Canadian" tions and its time to let Harper know he is suris concerned with two things: the economy and rounded by freaks. V
EERN Q UN TO MO
Our city is unique in the harmonious coexistence between the natural and artificial. Even Randall Stout, architect of the Art Gallery of Alberta, was inspired by the urban grid and how it follows the geography of the North Saskatchewan River. The terrain of the prairies and the river valley is so much a part of our identity that sometimes it takes an outsider to recognize it. Such is the case with Benjamin Ball and Gaston Nogues of Ball-Nogues Studio. One of their considerations when developing Talus Dome, their public art commission for the Edmonton Arts Council, was the city’s marriage to its landscape. As the artists state, "Talus Dome is one possible outcome when contemplating the natural surroundings along the North Saskatchewan River and our relationship to it when travelling along [Whitemud] Drive ...
The elegant form of Talus Dome can be understood as a porous, mirrored, semi-transparent dome. However, if one observes it through the lens of mimesis, it can be understood as a hybrid between nature and culture, one manifestation of a 'culturally' constructed landscape that is one with the 'natural' world." When it is completed in 2012, it will be a beacon of contemporary artwork in an unconventional location. Nestled like a wasp’s nest in the retaining wall along a busy freeway cutting through the river valley, commuters will have the opportunity to experience a world-class piece of art on a daily basis. To tide you over until then, MADE in Edmonton and the Edmonton Design Committee are bringing the artists to Edmonton to give a lecture on Thursday, April 28 at the Art Gallery of Alberta. Go to madeinedmonton.org for more information. V
FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) To convey my vision of how best to proceed in the coming week, I'll offer the following metaphorical scenario: imagine that you are not a professional chef, but you do have a modicum of cooking skills. Your task is to create a hearty, tasty soup from scratch without the benefit of a recipe. You will need a variety of ingredients, but on the other hand you don't want to just throw in a welter of mismatched ingredients without regard for how they will all work together. To some degree you will have to use a trial-and-error approach, sampling the concoction as it brews. You will also want to keep an open mind about the possibility of adding new ingredients in the latter stages of the process. One more thing: the final product must not just appeal to you. You should keep in mind what others would like, too. TAURUS (Apr 20 – May 20) Many artists want "to aim for the biggest, most obvious target, and hit it smack in the bull's eye," says Brian Eno, a Taurus genius renowned for his innovative music. He prefers a different approach. He'd rather "shoot his arrow" wherever his creative spirit feels called to shoot it, then paint the target around the place where it lands. That's why his compositions don't resemble anyone else's or fit into any traditional genre—it's Brian Eno-like music. Can I talk you into trying a similar strategy in the coming weeks and months, Taurus? I'd love to see you create a niche for yourself that's tailored to your specific talents and needs. GEMINI (May 21 – Jun 20) When the First World War ended in 1918, the victorious na-
38 // BACK
ROB BREZSNY // FREEWILL@vueweekly.com
tions demanded crushing financial reparations from the loser, Germany. It took 92 years, but the remaining $94 million of the debt was finally paid last October. I hope this story serves as an inspiration to you, Gemini. If entities as notoriously inflexible as governments can resolve their mouldering karma, so can you. In the next few weeks, I'd love to see you finally clean up any messes left over from your old personal conflicts.
ture soul whose ego is a greedy, monstrous thing. Evolved Leos, on the other hand, are very different. Are you one? If so, you do a lot of hard work on your ego. You make sure that in addition to it being strong, it's beautiful and elegant. It's not just forceful; it's warm and generous. It gets things done, but in ways that bless those who come in contact with it. For you evolved Leos, this is Celebrate Your Ego Week.
CANCER ( Jun 21 – Jul 22) I know how secretive you Cancerians can be because I'm one of your tribe. Sometimes the secrecy is a bit neurotic, but more often it serves the purpose of sheltering your vulnerable areas. I'm also aware of how important it is for you to be self-protective. No one is better than you at guarding your goodies, ensuring your safety and taking care of your well-being. I would never shame you for expressing these talents and I would never ask you to downplay them. Having said that, though, I want to make sure that in the coming weeks they don't interfere with you getting the blessings you deserve. It's crucial that you allow yourself to be loved to the hilt. You simply must let people in far enough so they can do that.
VIRGO (Aug 23 – Sep 22) Seventy-five percent of all adults confess they would like to have sex in the woods at least once in their lives, and yet only 16 percent say they have actually enjoyed that thrill. If you're one of the 59 percent who would like to but haven't, the coming weeks will be an excellent time to make it happen. Your capacity for pleasure in wild places will be at a peak, as will your courage for exotic adventures. In fact, I suggest that between now and May 21 you consider carrying out three fantasies that have been marinating in your imagination for many moons.
LEO ( Jul 23 – Aug 22) With a fortune of $27 billion, business tycoon Larry Ellison is the sixth-richest person in the world. His monumental sense of self-importance is legendary. One of his colleagues says, "The difference between God and Larry is that God does not believe he is Larry." Ellison seems to be what astrologers call an unevolved Leo—an imma-
LIBRA (Sep 23 – Oct 22) It's time for the Big Squeeze. All the contradictions in your life are coming up for review. You will be asked to deal more forthrightly with enigmas you've been avoiding, and you will be invited to try, try again to unravel riddles you've been unable to solve. Does all that sound a bit daunting? It could be. But the end result should be evocative, highly educational and maybe even exhilarating. The scintillating play of opposites may caress you with such intensity that you'll experience what we could refer to as a meta-
VUEWEEKLY // APR 28 – MAY 4, 2011
physical orgasm. SCORPIO (Oct 23 – Nov 21) In the coming weeks, I would love to see you get excited about many different people, places, animals and experiences. And I hope you will shower them with your smartest, most interesting blessings. Do you think you can handle that big an outpouring of well-crafted passion? Are you up for the possibility that you might blow your cover, lose your dignity and show how much you care? In my opinion, the answer is yes. You are definitely ready to go further than ever before in plumbing the depths of your adoration for the privilege of being alive. SAGITTARIUS (Nov 22 – Dec 21) Here's poet James Schuyler: "It's time again. Tear up the violets and plant something more difficult to grow." In my opinion, that's almost the right advice for you these days. I'd prefer it if you didn't actually rip out the violets to make room for the harder-to-grow blooms. Would it be possible to find a new planting area that will allow you to keep what you already have in the original planting area? One way or another, I think you really should give yourself a challenging new assignment. CAPRICORN (Dec 22 – Jan 19) "Dear Dr Brezsny: For five years my wife and I have been married but still have made no children. We have consulted uncountable physicians with no satisfying result. Please predict a happy outcome for our troubles. When will the stars align with her womb and my manhood? She: born December 31, 1983 in Chakdaha, India.
Me: born January 7, 1984 in Mathabhanga, India—Desperate for Babies." Dear Desperate: I'm happy to report that you Capricorns have entered a highly fertile period. It's already going strong, and will culminate between May 16 to May 23. I suggest you jump on this sexy opportunity. You couldn't ask for a better time to germinate, burgeon and multiply. AQUARIUS ( Jan 20 – Feb 18) "Welcome home, beautiful!" I hope you hear those words or at least experience those feelings very soon. In my astrological opinion, you need to intensify your sense of belonging to a special place or community. You've got to grow deeper roots or build a stronger foundation or surround yourself with more nurturing—or all of the above. And that's not all. As you bask and thrive in your enhanced support system, you also deserve to feel better appreciated for the wonderful qualities you're working so hard to develop in yourself. Ask and you shall receive. PISCES (Feb 19 – Mar 20) Whatever you have been trying to say, it's time to say it stronger and clearer. You can no longer afford to hope people will read your mind or guess what you mean. Your communications must be impeccable and irresistible. A similar principle holds true for the connections and alliances you've been working to ripen. It's time to raise your intensity level—to do everything you can to activate their full potentials. Starting today, you'd be crazy to tolerate shaky commitments, either from yourself or others. Be sharp and focused and unswerving, Pisces—keen and candid and to the point.
EVENTS WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3 PM
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EAC: Kingsway LRT Station Public Art Project Deadline: Mon, May 2, 4:30pm; publicart.edmontonarts. ca/calls/ Energize Exhibition (part of The Works Festival programming); Deadline: Wed, May 4, 11am; visualartsalberta. com/blog/?page_id=17335
FEMINIST GENDER JAM AND SILENT AUCTION
Open Jury Photography Exhibit at Jubilee; Deadline: Jun 2; Application: visualartsalberta.com/blog/?page_ id=17335
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Rock The Square Festival–Winston Churchill Square. Edmonton and area bands, singers. To participate as a band, volunteer, non-profit exposition or sponsor visit rockthesquare.com
FREE COMIC BOOK DAY @Yhhq @YjZgj ;gea[k ngd& )$ )***. BYkh]j 9n]3 @Yhhq @YjZgj ;gea[k ngd& *$ )0( EYffaf_ ;jgkkaf_ 9 oYq lg afljg\m[] f]o j]Y\]jk lg l`] klgja]k Yf\ _]fj]k g^^]j]\ af [gea[ Zggck& 9f ghhgjlmfalq lg oaf ZY[c ^gje]j j]Y\]jk Yf\ l`Yfc [mjj]fl [gea[ Zggc ^Yfk May 7
National Stiltwalkers of Canada are celebrating 10 years. Ever stiltwalked? Want to learn? NSC offers workshops. For more info stiltcanada.ca
OUR GEOGRAPHY OF HOPE 9kh]f ?Yj\]fk
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
Artist Residency in Wood Buffalo: W: woodbuffalo.ab.ca/ artist; T: Connor Buchanan, 780.788.4335
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EAC: Valley Zoo and Wander Public Art Project; Deadline: Mon, May 2, 4:30pm; publicart.edmontonarts. ca/calls/
EDMONTON INTERNATIONAL BEERFEST K`Yo
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BUSINESS OPPORTUNITIES
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VUEWEEKLY // APR 28 – MAY 4, 2011
EDUCATIONAL Top acting training Apply today! www.topactingschool.ca
HELP WANTED Do you have a sense of humour, patience, excellent support/mentoring/guiding skills? Can you provide supports within your family environment to an interesting young man with a developmental disability? Background check and references required. Questions? Contact Corinne at Clfahfa@gmail.com or 780.477.8697 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 MODAL MUSIC INC. 780.221.3116 Quality music instruction since 1981. Guitarist. Educator. Graduate of GMCC music program
SALES/TRADE
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
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
ARTIST TO ARTIST
Scenes, monologues, one-acts on mental illness. All genres accepted. Humour appreciated. Deadline: Apr 30. rabidmarmot.ca
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 Any artist, musician, or performance artist interested in being featured at the Local Art Showcase @ Old Strathcona Antique Mall, E: Jenn@oldstrathconamall.com
MUSICIANS
Vocal Improvisation Network of Edmonton (V.I.N.E.) is building a choir of voices who wish to learn to improvise. Meeting: Mon, May 2, 7:30-8:30pm; $10; A 7-week program begins May 9 Drummer looking to join metal or hard rock band. 12 yrs exp, 8 yrs in Edmt indie band, 7 albums, 250 live shows, good stage presence, dedicated, catch on quick, no kids, hard drug free. 780.916.2155 Male pianist wanted. Must have studio and be able to play song in higher note. Contact sheri_mcnaught@ hotmail.com for time, place and cost Entry level singer looking for band with good sound and equipment, willing to practice rock through to metal T: 780.434.0124 Seeking mature keyboard player, rhythm guitar player, or steel guitar player, for 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 Glamorous Grads program: Drop-off new/gently worn cocktail dresses, gowns, shoes, handbags (all sizes) to Londonderry Mall's customer service. until Apr 30 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
ADULT STEAMWORKS GAY & BI MENS BATHHOUSE. 24/7 11745 JASPER AVE. 780.451.5554 WWW STEAMWORKSEDMONTON.COM WWW.
bACK // 39
40 // BACK
VUEWEEKLY // APR 28 – MAY 4, 2011