2 // UP FRONT
VUEWEEKLY // MAY 5 – MAY 11, 2011
COVER
INSIDE
IssuE no. 811 // MAY 5 – MAY 11, 2011
UP FRONT // 4/ 4 5 6 8
ON BEING A JOHN
Vuepoint News Roundup Dyer Straight Bob the Angry Flower
Chester brown opens up about Paying for it // 11
DISH // 9/ 10 Veni, Vidi, Vino
ARTS // 11 11 Artifacts
FILM // 16 MUSIC // 20/ 24 Music Notes 26 New Sounds 27 Old Sounds 27 Quickspins
BACK // 30 30 Queermonton 30 Back Words 30 Free Will Astrology
LISTINGS 15 19 28 31
Arts Film Music Events
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IssuE no. 811 // MAY 5 – MAY 11, 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
CONTRIBUTORS Chelsea Boos, Brian Gibson, Josef Braun, Rob Brezsny, Gwynne Dyer, Jenn Fulford, Brian Gibson, James Grasdal, Joe Gurba, Whitey Houston, Brenda Kerber, Stephen Notley, Leah Orr, Mel Priestley, Melissa Stevenson, JProcktor, LS Vors, Mimi Williams
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VUEWEEKLY // MAY 5 – MAY 11, 2011
UP FRONT // 3
UP FRONT
VUEPOINT
GRASDAL'S VUE
Majority rule samantha power // samantha@vueweekly.com
'I
've never been in Ottawa with a majority government." CBC's Rosemary Barton tweeted just after the decisive federal election results. There are many on the Hill who have operated the same way. For a country that has taken up elections as our national pastime for six years, there is evidence we may have forgotten how a majority government works. Listening to Jack Layton's first press conference as the leader of the official opposition, it appears he may need some reminding as well. But there is one man in Ottawa who will remember how to govern: in fact, it's possible the thought has never left his mind. This is what Stephen Harper has worked toward for the majority of his political life. His political actions have been motivated around unseating the Liberal Party's "natural-governing party" moniker and, with this past election, it could be said he has presided over the party's defeat. While this is what Harper has been working toward, it's not the direction in which the country has been governed these past six years. Al-
YOURVUE
though Harper's Conservatives have managed to pass, and defeat legislation they have had to manage the demands of the Liberals, NDP and the Bloc. No longer. With 166 seats the Conservatives have free reign of the lower house, and with growing Senate numbers, they have little to worry about getting tossed out. There is no combination of numbers that can oppose Conservative legislation. With only 39 percent of the popular vote, however, the Conservatives, like Liberal majorities of years past, do not have the majority of public support behind them. Sixty-one percent of Canadians voted for someone else. In the past, big-tent parties like the Progressive Conservatives and Liberals tread a fine line and gathered support from as broad a base as possible, but the new Parliament is decidedly split—one extreme or the other (as extreme as Canadian politics gets). It remains to be seen whether the NDP will take on a broader progressive stance to incorporate more liberalleaning individuals, but as it stands, it won't matter. So where do the 61 percent of Canadians who voted for something else go? Hopefully to campaign behind massive electoral reform to see this situation change. 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.
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4 // UP FRONT
VUEWEEKLY // MAY 5 – MAY 11, 2011
Listen at vueweekly.com/podcasts
The threat of spring
Warmer weather brings with it increased street harassment leah orr // leah@vueweekly.com
S
pring is here and with it warmer weather and lighter clothing. But for many women, spring also means ramped-up street harassment. As 28year-old Alison puts it: "Cue the onceovers, look-backs and catcalls." Street harassment is defined by Holly Kearl, author of Stop Street Harassment: Making Public Places Safe and Welcoming for Women, as everything from catcalls and sexual comments to groping, stalking and public masturbation. "Eighty to 100 percent of women worldwide face sexual harassment in public places," says Kearl. It's a statistic that appears to hold true for Edmonton. When local women were asked about their experiences for this article, the most common response was: "Too many times to count." Jessica Valenti, author of He's a Stud, She's a Slut ... and 49 Other Double Standards Every Woman Should Know and executive editor of Feministing.com writes, "I've heard the argument that street harassment is actually a compliment … it's really a super-insidious form of sexism. Not only do perfect strangers think that it's appropriate to be sexual toward any woman they want, but street harassment is also predicated on the idea that you're allowed to say anything to women that you want—
anytime, anywhere." An anonymous respondent in Kearl's 2008 survey put it simply: "Street harassment is a manifestation of the cultural norm that women are either public property and/ or objects in the landscape that should be commented on." Girls as young as 13-year-old Rowan are at the receiving end of public harassment. She describes a recent experience where, "This gross guy was following me and muttering about, 'Drop-dead gorgeous gutterslut goth kids,' and asking me for a kiss. I just sort of kept walking and ignored him until my dad stopped him." Kearl's survey found that for many women, street harassment begins around puberty and that nearly 90 percent of respondents had experienced it by age 19. Says Kearl, "Often it's by older men who are old enough to be their father or grandfather. That's disgusting, that's predatory, and that's wrong." Alison remembers junior high school, after a "Post-summer vacation 'growth spurt,' high school boys would shout at me from their cars as I walked home." As another of Kearl's survey respondents said, "These interactions [especially from a car] are a show of power more than anything because you know the person can't respond to you as you speed off." Thirty-one-year-old Lisa describes an experience on Whyte Ave, "Dressed in
a tank top, zip hoodie and jeans, a guy stared at my chest from about a block away as he approached. Never looked at my face. When he was beside my friend and me he said, 'You can sit on my face anytime.' I wanted to zip my hoodie up to my chin and fold in on myself." As Lisa says, "The worst part is the impression you're not a person—just body parts." The line between a compliment and street harassment is a difficult one to draw. Kearl goes a step further: "It is a form of sexual terrorism because women never know when it might happen, by whom and how far it may escalate. Because of street harassment, women learn that public spaces are male territory. They learn to limit the places they go, they try not to be in public alone (especially at night), and when they are alone, they stay on guard." "Explicitly sexual comments or compliments on sexualized body parts are pretty clearly harassment, but some women might appreciate them," says Lisa. "Another woman might be creeped out by 'You look beautiful.' One key for me is that a compliment is heartfelt and given for the benefit of the person receiving it—not the person giving it." The beauty of Edmonton and its people are easy to enjoy, and many Edmontonians are hoping the appreciation is appropriate and enjoyable to its recipient. V
// Chelsea Boos
NewsRoundup
SAMANTHA POWER // samantha@vueweekly.com
FULL REPRESENTATION Fair Vote Canada has released the results of the federal election if it had occurred under a system of proportional representation. With just under 40 percent of the vote and 167 seats in Parliament under the current system, the Conservatives will form a majority. "The Conservative party increased their vote percentage by less than two points," says Fair Vote Canada (FVC) President Bronwen Bruch, "but this allowed them to win 24 more seats than in 2008, when they were already over-represented. Stephen Harper calls this a 'decisive endorsement,' but we call it a rip-off." According to Fair Vote Canada, under a proportional representation system the Conservatives would have only received 122 seats. And while the Greens are celebrating their first seat in Parliament, they should be entering the 41st session with 13 members. While the Liberal party has traditionally
benefitted from the first-past-the-post system, they were handed a decisive blow, receiving only 34 seats. With proportional representation, the often-termed "natural governing party" should be sitting with 59 seats. The NDP instituted proportional representation within its party election pro-
cesses, but with a majority government the Conservatives hold power within Parliament and it's therefore unlikely any electoral reform would pass in the upcoming session of Parliament, unlike in Britain, the homeland of constitutional democracy, which will go to the polls May 5 to vote on a new electoral system.
EDUCATING MIDWIVES Mount Royal University has announced the first midwifery program in Alberta. The four-year program will prepare midwives in biological and clinical learning, and social and health services. Midwives offer primary care to women in low-risk pregnancies and follow up for the first six weeks after birth. Graduates will be educated under standards developed nationally and will have to write the Canadian Midwifery Registration Examination (CMRE). The demand for midwife services has increased since 2009 when the Alberta government approved public funding for the service. Currently there are only 52 midwives practising in the province and only three degree programs in the West.
GENDER EQUITY Canada has hit a record high percentage of women in Parliament. Twenty-five percent of MPs elected May 2 are women, due in large part to the contingent of NDP members: 40 percent of the NDP caucus is made up
of women. This is due to the NDP's concerted efforts to recruit women as candidates. Equal Voice, an advocacy group involved in encouraging women to run, revealed the Conservatives and Liberal caucuses are
made up of 18 and 17 percent female members, respectively. Equal Voice encouraged Prime Minister Harper to keep gender equity in mind when naming cabinet ministers later this month.
VUEWEEKLY // MAY 5 – MAY 11, 2011
"The program is a real statement about community," Janis Wegerhoff, chair of Mount Royal’s Advanced Specialty Health Studies says. "It's a return from centuries ago when midwives living in the community supported women through their pregnancy—but with all of today's upgraded technology and evidenced-based knowledge that ensures safety." Health Minister Gene Zwozdesky views the program as an extension of the government's five-year Health Action Plan, saying, "This new degree program will result in less stress on the system and on other health care professionals." The program will begin taking applications in May, with accepted students beginning in September of this year.
QUOTE OF THE WEEK "It’s clear that when you look at the Canadian population, it’s made up of young people and older people. The NDP is a good mix that ensures our MPs are really a reflection of the population." —Canada's youngest MP Pierre-Luc Dusseault on criticism of his age. The Globe and Mail May 4, 2011
UP FRONT // 5
COMMENT >> WAR ON TERROR
Long dead
Bin Laden has been irrelevant for years Ding, dong, the witch is dead. Osama bin overreact, even if that plays into the Laden, the author of the 9/11 atrocity in terrorists' hands. The pressure at home the United States and various terrorist for the government to "do something" outrages elsewhere, has been killed by is almost irresistible. American troops in his hideout in NorthThe Bush administration duly overern Pakistan. At last, the world reacted to 9/11 and invaded two can breathe more easily. But Muslim countries, Afghanistan not many people were holdand Iraq, on a futile quest ing their breath anyway. to "stamp out terrorism"— President Barack Obama which was, of course, exactly m o .c ly week e@vue issued the usual warning what bin Laden and his colgwynn e when he announced that leagues wanted the United Gwynn bin Laden had been killed by States to do. Dyer American troops in a compound However, almost 10 years after in the city of Abbottabad: "The death 9/11, it is clear that bin Laden's stratof bin Laden marks the most significant egy has failed even though the United achievement to date in our nation's efStates fell into the trap he had set for it. fort to defeat al-Qaida. Yet his death Muslims everywhere were appalled by does not mark the end of our effort. the suffering inflicted on Afghans and There's no doubt that al-Qaida will conIraqis, and many condemned the United tinue to pursue attacks against us." But States for its actions, but they didn't that wasn't quite right either. turn to the Salafists instead. No doubt attacks will continue to be made in the Arab world in the name of When popular revolutions finally did al-Qaida, but the original organization begin to happen in the Arab world five created by bin Laden has been morimonths ago, they were non-violent afbund for years. Outside the Arab world, fairs seeking the same democracy that there have been no major terrorist assecular countries in the West and elsesaults for about five years now, and where already enjoy. The Salafists have bin Laden's death is unlikely to change become virtually irrelevant. that. The whole enterprise was never Which is not to say that there will what it seemed. never be another terrorist attack on the Bin Laden was a revolutionary before United States. Bin Laden had not been he was a terrorist. His goal was to overin operational control of al-Qaida for throw existing Arab governments and many years, because regular commureplace them with regimes that imposed nication with the outside world would an extreme form of the Salafist (Islahave allowed US forces to track him mist) doctrine on the people instead. down long ago: the compound in AbbotOnce all the Muslims had accepted tabad had neither telephone nor Interthat doctrine, bin Laden believed, they net connections. The real planners and would benefit from God's active supactors are still out there somewhere. port and triumph over the outside forcThe question is: what can the es that held them back. Poverty would Salafists possibly do now that would be vanquished, the humiliations would put their project back on track? And end, and the infidels ("the Zionistthe answer—the only answer—is to Crusader alliance") would be defeated. goad the United States into further viIt was essentially a form of magical olence against Muslims, in retaliation thinking, but his strategic thinking was for some new terrorist atrocity against severely rational. Americans. Successful revolutions bringing There have been no major attempts by Salafist regimes to power were the al-Qaida to attack the United States in key to success, but for the revolutions the past 10 years because it was already to succeed they must win mass supdoing what the terrorists wanted. Why port among Arab and other Muslim risk discrediting President George W populations. Unfortunately, only a very Bush by carrying out another successsmall proportion of Muslims accepted ful terrorist attack, even if they had the Salafist ideas, so some way had to be resources to do so? found to win them over. That's where But the probability of a serious the terrorism came in. Salafist attempt to hit the US again has Terrorism is a classic technique for been rising ever since American troops revolutionaries trying to build popular began to pull out of Iraq, and President support. The objective is to trick the Obama's obvious desire to get out of enemy government, local or foreign, Afghanistan raises it even further. Bin into behaving so badly that it alienates Laden's strategy has not delivered the the population and drives people into goods for the Salafists, but they have the arms of the revolutionaries. Then, no alternative strategy. with mass popular support, the revoBin Laden's death would provide a uselutionaries overthrow the government ful justification for another attempt to and take power. hit the US, but it wouldn't really be the This kind of terrorism has been used reason for it—and it probably wouldn't so often, and the strategy behind it succeed, either. Bin Laden's hopes died is so transparently obvious, that no long before he did. 21st century government should ever fall for it. But if the terrorist attacks Gywnne Dyer is a London-based journalkill enough people, it is very hard for ist. His column appears every week in the government being attacked not to Vue Weekly.
R DYEIG HT
STRA
6 // UP FRONT
VUEWEEKLY // MAY 5 – MAY 11, 2011
Unsupported power
New legislation fails to support school boards in new challenges
The Education Act needs to do more according to NDP MLA Rachel Notley mimi williams // mimi@vueweekly.com
E
ducation Minister Dave Hancock introduced Bill 18, the long-anticipated Education Act, into the legislature last week, calling it a step towards enhancing student access to education while empowering local school boards. "Education is foundational to our province's future," Hancock said in a press release. "This new legislation is one more way to enable all the partners in education—students, parents, teachers, schools and school boards—and community groups to focus on their number one priority: student success." Hoping to address Alberta's continuing high drop-out rate, the legislation proposes to increase the age of access to 21, allowing students more time to graduate and raises the age of compulsory attendance from 16 to 17 years old, to encourage more students to complete their high school education. "Many students who drop out of high school return after one or two years, and we want to ensure that finances are not a barrier to completion," Hancock said while introducing the bill in the Legislature. "It’s better for those students and it’s better for our community." The Act also provides for more flexibility and autonomy to school boards, removing restrictions related to trans-
portation funding, for example. It empowers boards to implement new fees, which has the Alberta School Council’s Association, representing parents, concerned that cash-strapped boards might look even more to parents to top off their funding. Likening it to Nero fiddling while Rome burned, NDP education critic Rachel Notley charged that the legislation fails to relieve a resourcestarved system that’s buckling under pressure. "This legislation is little more than window dressing," she said, "It does nothing to address the real challenges facing public education in this province." Pointing to increasing class sizes and impending teacher layoffs, Notley accused the government of giving school boards increased powers and responsibility on paper without providing them with adequate resources to repair a badly broken system. She said as long as the Minister of Education controls funding, boards really have no greater autonomy under the new Act. "As we have seen in health care, it's a means by which the government avoids political accountability," she said. Notley also raised concerns that the bill sets the stage for the expansion of charter schools. Appearing on talk radio earlier this
week, Hancock told host Dave Rutherford that the proposed act responds to changes in technology such as Web 2.0 and its effects on teaching and learning in the 21st century. He also highlighted changes to the Act that will affirm educators' ability to deal with issues such as cyber-bullying. The Education Act will replace the School Act, which currently guides the governance of education in Alberta and saw its last major amendments in 1988. For three years, Alberta Education has initiated several provincewide citizen engagement initiatives which they say has influenced the proposed Education Act. Hancock anticipates that the new Act will receive third reading and be passed in the fall legislative session. Suggesting that the various public consultations have been little more than a public relations exercise, Liberal education critic Kent Hehr doubts the Act will ever be passed into law. "Despite having taken three years it has been thrust onto the order paper at this late date, where it will probably die," he told the Edmonton Journal. It does remain unclear whether the bill might very well be a work in progress given the government has, again, invited Albertans to contribute their feedback to their proposals through a newly launched website, education.alberta.ca/engage. V
VUEWEEKLY // MAY 5 – MAY 11, 2011
UP FRONT // 7
BOB THE ANGRY FLOWER
8 // UP FRONT
VUEWEEKLY // MAY 5 – MAY 11, 2011
DISH
Find a restaurant
ONLINE AT DISHWEEKLY.CA
Niche finds its spot
Jasper Ave eatery part of downtown dining resurgence LS Vors // vors@vueweekly.com
emurely tucked away on the ground floor of Hardwood Plaza, Niche's atmosphere is both sombre and relaxed, the room primarily dressed in dark umber and ebony. A band of shiny tiles bisects an exposed brick wall, adding palpable textural contrast. Various wine goblets and snifters are artfully stacked and backlit behind a sleek, urbane bar, and the upbeat strains of contemporary jazz meander around the black-cushioned booths and chairs. This, so far, is a niche that shuns flamboyance and favours subtle simplicity. The menu is concise, and includes but four appetizers and four entrées. Of the appetizers, which include a charcuterie platter and salad, we are drawn to bison meatballs ($10). Our order disappears into the kitchen and soon a wondrous aroma fills the room: first, the piquant scent of sautéed garlic, then a complex bouquet of herbs and, finally, the robust and sunny essence of ripe tomatoes. The physical summation of these scents is a slightly chunky tomato sauce that gently veils the meatball quintet. The meatballs are finely textured, reminiscent of robust beef and lack any trace of grease. Grated pecorino cheese adds character and a sprinkle of pine nuts imparts crunch. Each bite is a gustatory journey to sun-warmed gardens and gently lit kitchens—elegant comfort food that is entirely unpretentious. We sip glasses of sparkling San Pellegrino ($6.50/bottle) and pour over the menu, punctuated by locally sourced selections. Dining decisions are difficult but, after considerable vacillation, I select Brome Lake duck with mashed potatoes and lemon thyme gravy ($20). Duck meat is dark, devilishly juicy and luxuriates beneath crackling auburn skin. Here, a leg and thigh of duck rests against an ivory hillock of buttery mashed potatoes, sheltering a bundle of long, startlingly green beans. The meat falls off the bones with little more than a touch, the spuds are velvet-smooth, while the beans easily tread the tender-
// Melissa Stevenson
D
Niche's relaxed interior
crisp frontier. The gravy—how I wish there was just a bit more—coaxes additional flavour from each ingredient with the vibrant zip of lemon and herbaceous touch of thyme. The seafood entrée changes frequently, reflecting the ephemeral availability of different piscine species. Tonight, Niche features prawns in a tomato-olive-green bean ragu ($23). The rosy-hued, chubby prawns literally pop with subtle marine sweetness and loll in a roughly hewn bath of tomatoes, black and green olives, and jade green beans. This ragu is a spectrum of textures: toothsome olives, watery-crisp beans and tender tomatoes. A handful of peppery arugula and small slices of dilled potatoes ride shotgun; they are flavourful alone but are content to defer the spotlight to the saucy prawns. Satiated but yearning for dessert, we order coffee ($3) and a Salted Caramel Brownie ($8). This creation, the brainchild of chef Nathan Saurette, is a bru-
nette square topped with a dollop of lemon whipped cream. Lemon and chocolate are not intuitive companions, but this synergistic pairing suggests otherwise. The brownie itself is a riot of flavours. Bittersweet cocoa is enriched by gooey, velveteen caramel that puts forth tiny, crunchy nips of salt. Interspersed with bracing sips of coffee, this brownie imparts a deep sense of chocolate-fueled satisfaction, a sense that will persist for many days to come. Niche is part of a grander resurgence of fine dining along Jasper Avenue, part of an urban succession that will see bold, colonizing restaurants, such as Niche, become cornerstones. Here, in the territory of uncomplicated flavours and sleek mise-en-scène, Niche has clearly found its home. V Mon – Thu (11 am – 12 am); Fri (11 am – 2 am); Sat (4 pm – 2 am) Niche 11011 Jasper Ave, 780.761.1011
VUEWEEKLY // MAY 5 – MAY 11, 2011
DISH // 9
WINE
Viva España Let taste be your guide
With 13 more sleeps until I jet off to in oak, Reserva whites and rosés have to Spain, our recent wine group tasting spend two years in bottle and age at took me right into the heart of some least six months in oak. Gran Reserva red of the finest grape-growing regions in wines typically appear in above-average Spain a couple of weeks before my vintages with the red wines requirdeparture. The country has been ing at least five years aging, 18 at the front of my mind latemonths of which is in oak and a VIDI , I N E V ly—perhaps obviously—and minimum of 36 months in the even if you’re not heading to bottle. Gran Reserva whites om the sunny country, there's no and rosés must be aged for at eekly.c w e u v jenn@ reason not to enjoy its tradileast four years with at least Jenn tional grape varietals and outsix months in oak. standing wine making. Fulford Spain's quality classification sysWines produced in the regions tem, Denominación de Origen (DO), of Rioja and Priorat follow a similar clasworks like this: starting from the lowsification system called Denominación est classification we have Joven, which de Origen Calificada (DOC) which has literally translates into "young" and can longer aging times per category. This albe defined as a wine with no oak. Roble lows for DOC status to be slightly more means oak, which means the wine has esteemed. Rioja wines are Tempranillo spent some time in a barrel. Crianza clasgrape-based and can be blended with losification means that the wine has been cal varietals such as Garnacha, Graciano aged for a minimum of two years with at and Mazuelo. Aging wine is a longstandleast six months in oak. Crianza whites ing tradition in Rioja: in the past, it was and rosés must be aged for at least one not unheard of for vineyards to delay year with at least six months in oak. releasing a vintage for 15 or 20 years, While Reserva red wines are aged for a though more recently the area's wine minimum of three years with at least one producers have been releasing their wares much sooner. The unique soil of Priorat called llicorella, meaning "slate" in Catalan, is the reason behind the mineral qualities in the wines. This south central region focuses on growing the traditional Garnacha, while harvesting Cabernet, Mazuela, Carinena, Syrah and Merlot as well. Rich and luscious in the glass with complex mineral characteristics from the earth really stand out in these showy wines. With tradition, experience and terroir on their side, Spain is offering some of the best value wine on the market. V
VINO
10 // DISH
VUEWEEKLY // MAY 5 – MAY 11, 2011
ARTS
COVER // BOOKS
'Quite different from Archie'
ARTIFACTS PAUL BLINOV // PAUL@vueweekly.com
Chester Brown discusses his comic-strip memoir of becoming a John
Josef Braun // josef@vueweekly.com
P
aying For It begins with a depiction of the author's amicable break-up with his third and what turned out to be final girlfriend, the actress and former VJ SookYin Lee. The year is 1996. Chester Brown was only in his mid-30s. In the subsequent decade and a half, Brown neither became a monk nor decided he preferred his own gender. Rather, after some hesitation, he started visiting sex workers, very gradually arrived at the conviction that what we conventionally call romantic love is bullshit, and that the world's oldest profession is not only acceptable but that its decriminalization was a cause worth fighting for. Brown, who previously authored a celebrated comic-strip biography of the contentious 19th-century Métis leader Louis Riel, is an intelligent, eventempered artist whose work is consistently engaged in issues of individual freedom. Paying For It is an overtly politicized memoir. It's not incidental that Brown has twice run as the Libertarian Party candidate for Toronto's Trinity-Spadina riding. (Monday's election earned him 454 votes, placing him fifth.) Paying For It is a fairly unusual graphical novel. An emblematic panel features Brown, rendered as rail-thin, his opaque spectacles obscuring his eyes, laying on his side, ding-dong dangling, in postcoital conversation. "My stuff's quite different from Archie," he explains to a sex worker curious about his profession. There's much humour in the book, often arising from Brown's politeness and uncertainty regarding etiquette. One chapter finds him visiting a prostitute that continues to watch soaps during the entirety of their transaction. A not atypical line: "She began to lick and suck my balls. Not this again ... " Brown is endearing in his attempts to communicate his needs with respect and clarity, but he insists that he's a fairly typical john, and that the dangers associated with prostitution are grossly exaggerated or misunderstood. While
compelling and entertaining, Paying For It, which features a number of sometimes heated conversations between Brown and his friends about prostitution, as well as a series of exhaustive, informative appendices, is very much a didactic book. That's not a slander—its didacticism is one of the book's strongest attributes. And, once read, I can't think of a single reason why any thoughtful person would dismiss it, regardless of how firm their feelings are on the subject. VUE WEEKLY: What do you think a comic-strip memoir about being a john offers that a strictly prose-based memoir wouldn't? CHESTER BROWN: I'm not sure that there are advantages. In fact, there's a disadvantage in it because of my decision not to show the faces of the women. It might have been easier to protect their identities in a prose work without the disguising device being so intrusive. VW: Let's talk about that. The book's foreword explains how important it was for you to not include any details in Paying For It that might endanger the privacy of the sex workers you've visited. Did you ever consider contacting some of them to ask if you could include their personal stories? CB: In most cases I don't think I would have been able to track them down. I'm not sure I would even know how to go about that. Obviously, I showed the book to the woman I'm currently having sex with. Other than her, there are two prostitutes that I might have been able to get in contact with, but it didn't occur to me to try. Maybe I should have. VW: You're meticulous about facts, very precise about dates. I don't know that people read a literary memoir expecting it to be purely factual, and when you read a memoir in comic-strip form it's that much more obvious that the form itself will impose a certain layer of artifice. CB: You may be right. There was a point
where I was considering doing Paying For It as fiction. But because I really believed in this as a cause, I felt that the message would come across better if I was clearly speaking from personal experience, that creative license was not an option. VW: Paying For It addresses very thoroughly the question of romantic love and whether it holds any inherent value, but something that isn't directly addressed is the idea of seduction. When your sexual activities are pre-arranged and the transaction makes explicit what's expected from both parties, do you ever miss the ambiguity or anticipation of seduction? CB: I never liked that part of romantic love, the uncertainty of what was going to happen. I can see why some people do, but it's not something I responded to. I prefer things this way, where it's clear what's going to happen. Although things don't always happen the way you hope. You can see in the book that in more than one case I ended up not having sex with the woman I'd arranged to see, so there is still some element of uncertainty. VW: The most interesting narrative thread in Paying For It comes from seeing your attitudes toward love and sex shift as you try to sort out your feelings and arguments about being a john. The book closes on a really interesting note, with your relationship with the prostitute "Denise," one that's gone on now for years and seems to be exclusive. Would you describe this relationship as your compromise between conventional romantic love and financially arranged sex? There's the implication that you enjoy a kind of companionship, which some would consider the central benefit of long-term romance. CB: It's certainly a relationship that brings both of us some degree of emotional comfort, though without the disadvantages of what most people consider to be romantic love, what I call possessive monogamy. There's that whole question of what is romantic love. Toward the end
of the book I have several people trying to define it. Depending on your definition, I could characterize my feelings for Denise as feelings of romantic love, but there are surely some people whose definitions would not accommodate our relationship at all. So I'm leaving that a bit open. I have deep feelings for this woman, but because we're not trying to pin it down, because we've made no formal commitment to each other, what we're engaged in is distinct from what a lot of people want from romantic love. VW: I'm personally hoping that you continue to develop autobiographical work. One of the demands of that path is the willingness to keep interrogating some unresolved aspect of your life. Now that you've published Paying For It, do you feel there are any aspects of your private life that will remain off-limits, or is it all up for grabs? CB: Unfortunately, there are things that do have to remain off-limits. We've been talking about Denise. You may recall she has that line where she says that she'd appreciate it if I put her in the book as little as possible. If I'd told the complete truth about our relationship and how it developed, that would have made a much better book. But I can't talk about that stuff. I have to respect her wishes. I can't see her changing her mind about that in the future. So she being a big part of my life means there's a big part of my life I can't talk about. With regards to other aspects, we'll see. There might be some other interesting things that happen to me that I'll be able to write about. I have no idea what they'll be, but hopefully that's part of what will make them relevant when they appear. V
VUEWEEKLY // MAY 5 – MAY 11, 2011
Now available Paying For It: A Comic-strip Memoir About Being a John By Chester Brown Drawn & Quarterly 280 pp, $24.95
Winds of Change / Fri, May 6 (7 pm) Think you know Emily Carr? The AGA's hosting a free showing of Winds of Change, Michael Ostroff's recent documentary on the Group of Seven-associated painter, which aims to debunk the stereotypes about both her and her work by focusing on her later years, and her relationships with the First Nations peoples of Northern BC. Vue did an interview with Ostroff earlier this year that you can check out at bit. ly/vuecarr. But while you're at the AGA, go scope out the Carr exhibit hanging on the gallery walls. It's not what you'd expect. (Art Gallery of Alberta, Free) Tom Green / Thu, May 5 – Sat, May 7 His first name is Michael. Thomas is his middle name, actually, but that fact is about as irrelevant as Tom Green's oddball comedy is irreverent, praised and dismissed with almost equal ferocity. He returns to Edmonton to perform stand-up for the second time in just over a year; if jokes about sex with a moose and references to Freddy Got Fingered are your thing, there's nowhere else you should be this weekend. (The Comic Strip, West Edmonton Mall) Edmonton Pop Culture Fair / Sun, May 8 (10 am – 4:30 pm) The biannual gathering of the local collector community, the Edmonton Pop Culture Fair encompasses anything and everything that could reasonably fall within that pair of words: from old records and comic books to T-shirts and toys, the finest wares from both renowned and basement collectors will be out and available for your perusal. And just remember: if you break it, you buy it. And don't just browse any Mad Magazines you happen upon just for the Spy Vs Spy comics, tempting as it may be. (Alberta Aviation Museum [11410 Kingsway Avenue], $6)
ARTS // 11
Little Women Until Sun, May 22 (7:30 pm) Book by Allan Knee Lyrics by Mindi Dickstein Directed by Bob Baker Citadel Theatre (9828 - 101A Ave), $76 – $102 For all of her big-stage successes—including time spent trodding the boards of Broadway—Susan Gilmour's career began purely of music, with no theatre to speak of. The Edmonton native was living a cosy-though-worldly sort of life as a trained singer-for-hire, travelling abroad with her own bands, taking gigs as diverse as entertaining UN troops in the Middle East and playing local bar mitzvahs, and it was at one of the latter that a professor from her days at Grant MacEwan's jazz vocal program—one Dasha Goody— passed the stage and slipped her a note, asking to meet at intermission.
Gilmour went, and their conversation slowly turned from catching up to discussing a school Goody had opened, called Edmonton Musical Theatre. She invited Gilmor to come by and give it a try. "Oh, I was hooked instantly," she recalls, in a voice like silk. "It was like, 'This is what I want to do.' I can sing, I can act, I can do all the things that I love, that are my passions." She eventually moved to New York for further training—at that time, there was an age restriction on most theatre schools in Canada, with Gilmour falling just outside of it—and she's been working ever since. She played Fantine in Les Mis and Eva Peron in Evita, and worked seasons at the Stratford Festival. And now, back in her old stomping grounds, she's been busy rehearsing two big-production Citadel shows concurrently: the just-closed run of The Three Musketeers, and the about-to-open Little Women.
In that, she plays the matriarchal Marmee March of Louisa May Alcott's sweeping Civil War-time tale—being given the big, season-ending Citadel treatment in its set-to-song Broadway version, featuring the cast of this year's Banff professional program—which follows Marmee's attempts to raise her four daughters in New England while their father is off at war, as well as the girls' individual growing pains: the feisty, I-never-want-to-get-married Jo, family peacemaker Beth, lonely Meg and the youngest, Amy. Gilmour had read the book as a child, and cherished it then. But revisiting the story at an older age gave her a different way if reading the tale. "When I was that young, I saw it through the eyes of Jo March. She's the daughter who wants to bust out of the confines of being a woman of that time and do something extraordinary with her life," Gilmour says. "And of course, that's
// EPIC Photography
PREVUE // THEATRE
The March family
what I dreamed of doing, and lucky for me, I was able to bust out of the normal lifestyle and be an actor and travel the world. I really related to Jo at that time. I've read it since, I've read it for this show, and now I see it through Marmie's
eyes, through the mother's eyes. And that's a whole other perspective that I've been really enjoying discovering and understanding." PAUL BLINOV
// PAUL@vueweekly.com
REVUE // THEATRE
// Paul Blinov
Keeping Peace
Overlapping wars
Thu, May 5 – Sat, May 7; Thu, May 12 – Sat, May 14 (8 pm) Written and directed by Jon Lachlan Stewart Starring Ryland Alexander, Shannon Blanchet, Ben Wheelwright Living Room Playhouse (11315 - 106 Ave), Pay what you can Canadians are proud of their position as peacekeepers around the world; it's seen as a noble, necessary duty. However, the exact details of these duties are not often considered, not to mention the effect that "keeping the peace" has on the minds and lives of the peacekeepers. Written and directed by Jon Lachlan Stewart, Keeping Peace explores what it feels like to be plunked smack-dab into a situation of intense tension and aggression, stuck between opposing forces on the verge of outright war. The protagonist, a Canadian peacekeeper named
12 // ARTS
VUEWEEKLY // MAY 5 – MAY 11, 2011
Clint (Ryland Alexander), attempts to reconcile the ghosts from his past and his drive to help people with the reality of his powerlessness. The script does not follow a straightforward, linear narrative. Overlapping with Clint's story are those of his mother (Shannon Blanchet) and grandfather (Ben Wheelwright), who weave in their own war tales. The play progresses along a series of digressions into each character, snapping back to Clint's increasingly anxious situation. In this way, the script highlights the similarities between seemingly disparate tales of violence, giving a personal background to impersonal events. The script also aims to be uniquely Canadian, and in this respect it mostly succeeds. However, the sentiments it expresses about Canadian identity—that it is defined negatively against what it is not—feel a bit dated.
This is the last production in Surreal SoReal Theatre's first season. In keeping with their mandate, the show incorporates a good deal of physical theatre and movement, which is used to great effect in highlighting the intensely heightened emotions of the characters when they are thrown into violence. The physicality of this piece is also made all the more commanding by the tiny size of the Living Room Playhouse venue—though the proximity to the stage may seem uncomfortably close at first, it also causes you to become thoroughly engrossed in the play very quickly. War stories are no stranger to the stage, but they run into the danger of being too similar to previous iterations. Keeping Peace, however, stands apart as a refreshing take on old issues. Ultimately, it is a history of Canada as seen through its role in a century of conflict. Mel Priestley
// Mel@vueweekly.com
REVUE // THEATRE
REVUE // THEATRE
Until Sun, May 8 (7:30 pm) Written & 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 We meet the four actors set to vie for our attention in Bunburying while they're ... well, vying for our attention. As the audience files into Studio B the cast is already onstage, dancing to music with large sandwich board-type signs around their necks, embroidered with pitches like "Hire me! I drink tequila shots for breakfast" or "Hire me! I can do weird things with my body." Bunburying, then, gets a little bit meta in its thought and approach to theatre. Andrea Beça's script puts a Big Brother (TV show, not Orwell novel) spin on Oscar Wilde's style while simultaneously viewing it all through the lens of deconstructionism: there are few constants, save the host, Bunbury (and even his state of health seems in perpetual decline). Actors trade costume bits and play different characters in every scene. There's a lot of big ideas getting tossed around here, and, honestly, it all gets a bit messy to watch. The overall arc seems to be about entertainment and society's infatuation with "reality" in the television sense of the term (which is to say, nothing resembling reality at all). But the production doesn't quite find its groove in juggling both its reality TV/Oscar Wilde mash-up commentary and its deconstructionist spin on structure. The script's broken down into vignettes, each separated by blackouts that start to feel draining as the solo method of transitioning from scene to scene (especially when they get stretched so the name of a scene can be scrawled on the blackboard behind the
True Love Lies cast, which doesn't really add anything other than time to the show). Our "contestants," all able actors, don't have much to do outside of try to swap accents when they play each other: they sit around bored waiting for challenges, flirt or play out small scenes "on camera" with more Wildean dialogue, though still, often about boredom. The two layers—of them being on or off camera—aren't easily distinguishable, namely because
There's a lot of big ideas getting tossed around here, and, honestly, it all gets a bit messy to watch. the story itself doesn't seem to propel much action or alter into a rising dramatic arc, instead sticking to scene after scene of those same basic things. There are some winning moments—Sarah Horsman's monologue to the pile of cupcakes she's devouring, or the drunken party scene wherein Ryan McKinley stands equally drunk but quietly off to the side nursing a beer in his own world, or the consumption of candy cigarettes throughout—but they're spread amongst a lot of scenes. Whatever overarching comment Bunburying is aiming for never really moves past the depth of thought that had actors dancing in the moments before the show began: we have a strange fascination in watching people who are aware they're being watched. But if you're interested in the "why" of all that, it will remain elusive here. PAUL BLINOV
// PAUL@vueweekly.com
Until Sun, May 15 (7:30 pm) 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 In numerous interviews, Brad Fraser's paralleled himself with David McMillan, protagonist of a string of his plays—including True Love Lies—noting the character to essentially be facsimile. He's far from hollow, but McMillan is, essentially, a mouthpiece for Fraser's insight and explorations into the worlds he constructs onstage. With Love and Human Remains, McMillan was surrounded by characters frustrated with sex, set in a dangerous, seedy Edmonton—the threat was coming from the external, from opening up and trying to discover the good and ugly of love and lust. True Love Lies, set 20 years on, carries those same thoughts through to a newer progression, and shows Fraser at a more mature stage, though no less attuned to the flimsy tapestry human relationships: it's about the trouble of having opened up at all, and returning to the past. And, still, sex. The script and Ron Jenkin's breakneck direction launch right into the scenario that they'll spend two hours tearing down and sifting through: we're vaulted into a hurried dinner scene to see the normal family dynamic of middle-aged Kane (Frank Zotter), his wife Caroline (Kate Ryan) and their children, the amorous Madison and sardonic Royce (Thomas Barnet). Kane and McMillan were lovers in another time and play, and the latter's moved back to town to open up a restaurant. He didn't go looking for Kane, but rather
VUEWEEKLY // MAY 5 – MAY 11, 2011
Ex-lovers
// EPIC Photography
Bunburying
meets Madison in her own job hunt. The intersection of daughter-of-old flame and modern nuclear family proves explosive, but not because the kids find out Dad was once in love with a guy (though that particular scene is a hoot). It's much deeper. Fraser's script gleefully digs deep into the roots of the modern family and sexuality itself, with characters spanning the full spectrum from sexual disinterest to total horndog in scenes that play out both wickedly funny and occasionally heart-wrenching. Ably up to the task are a crack cast of five, easily keeping the pace Fraser and Jenkins impose while navigating Narda McCarroll's interior decorator set with a kitchen to inspire jealousy in theatre critics. Barnet's and Elbro's mutual knack for timing and sense of character shine, in both of their Citadel debuts—and switch from comic to nuanced drama in moments that are hairpin and effective. Sometimes the script's a little too kinetic for it's own good, but the scenes are short enough, and the script clever enough, to more than feel it out. PAUL BLINOV
// PAUL@vueweekly.com
ARTS // 13
REVUE // VISUAL ARTS
Between science and art
Latitude 53 examines brain activity in a pair of exhibits Carolyn Jervis // carolyn@vueweekly.com
I
n three corners of Latitude 53's main exhibition space, photograph, video, and projection form records of Noxious Sector-member brain waves as each undergoes a different mental, emotional or physical activity. The artist collaboration Noxious Sector, comprised of Ted Hiebert, Doug Jarvis and Jackson 2Bears, is, "Dedicated to the exploration of alternative cognitive function, the paranormal and the absurd." Of Brains and Magnets, a provocative exploration of brain activity as art through the lens of performance and multimedia work, is worth a look for its fusing of scientific technology, curiosity
14 // ARTS
and its quiet discoveries about our sensitive and responsive minds. Each of the three televisions in the front of the gallery features a split screen of one Noxious Sector member watching coverage of horrible devastation from flooding, fires and tidal waves, both fictional and non-fictional. A second member's projected image documents his focused thoughts about Beethoven's Moonlight Sonata, while the final projection features the third artist collaborator manipulating his brain waves by arranging a series of magnets on his head. As a viewer, these three vignettes pose an interesting challenge for viewers, since they must sort through different relationships with a technology widely
understood as a tool for scientific discovery and objective data collection. This is interesting to consider within an art gallery space, in which a viewer's interaction with objects and information is interpretation, rooted in subjectivity. How is one to interpret data which at once reads as factual and as somewhat absurd and inconclusive exercises? The accompanying monograph text by formerly-Calgarybased artist Scott Rogers, whose loosely related words provide no insight or interpretive ways into Of Brains and Magnets, further reinforces the unresolved tension between understandings of scientific inquiry and art interpretation. Currently in Latitude's ProjEx Room is Jinzhe Cui's When Dreams Lighten Reality, an exhibition that also considers brain activity, this time in the form of dreams. Text illustrative of the exhibition's conceit, painted directly on the wall over a half-made bed, reads, "I am dreaming that I am having a beautiful exhibition in a gallery. I draw my dreams of canvas and hang them in front of the lights. The visitors write and draw their dreams on the paper and place them into a jar. This is such a sweet dream." The strength of this exhibition is in the little canvases that chart the dream adven-
VUEWEEKLY // MAY 5 – MAY 11, 2011
tures of the girl with long black hair and striped stockings as she finds herself in a city where cars fall from the sky, cracking buildings and endangering the residents, or dragging a bag filled with a house, bicycle, piano and sleeping boy. These are beautiful drawings rendered in an appealing illustrative style, but the exhibition as a whole cannot match the resolution of its composite small images. The canvases hang from the wall in a haphazard way, and while it is interesting to see these images illuminated from behind, this is done inconsistently in front of harsh fluorescent lighting. Cui's drawings are so lovely
that hopefully the artist will dedicate more time refining installation technique and integration of all exhibition elements, because the lack of polish in this exhibition distracts from the delightful strength of these miniature dream scenes. V Until May 14 Of Brains and Magnets works by Noxious Sector When Dreams Lighten Reality works by Jinzhe Cui Latitude 53 Contemporary Visual Culture (10248 - 106 St)
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0,,(%))* Kl /0(&,(/&/)-* THE FOREST2 9jlogjck Zq e]eZ]jk g^ l`] 9dZ]jlY Kg[a]lq g^ 9jlaklk Until May 22
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- Kl 9ff] Kl$ Kl 9dZ]jl /0(&,-1&)-*0 PATTERNS IN GLASS2 E lak <]ka_f af :]Y\k3 until Jun 2011 St Albert History Gallery2 >]Ylmjaf_ Yjla^Y[lk \Ylaf_ ZY[c -$((( q]Yjk
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HUB ON ROSS ART GALLERY�Red Deer
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K`]jogg\ HYjc /0(&,./&+(+0 MASTERPIECES IN MINIATURE: KeYdd Yjlogjck Zq nYjagmk Yjl% aklk May 7-26
,-*-%,/9 9n] j]\\]]jemk]me&[ge FARM SHOW: 9 k]ja]k g^ ]p`aZalagfk f]odq [j]Yl]\ lg ]phdgj] [gfl]ehgjYjq ^Yjeaf_ akkm]k FARMING OUT OUR FUTURE: ;`Yf_]k l`Yl `Yn] `Y\ Yf aehY[l gf jmjYd da^] af 9dZ]jlY$ )1-( lg hj]k]fl FROM OUR COLLECTION: GZb][lk Yf\ Yjla^Y[lk ^jge ;]fljYd 9dZ]jlY¿k `aklgjq NORTHERN NEIGHBOURS2 Afmal Yjl Yf\ [mdlmj] Through May
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AUDREYS BOOKS )(/(* BYkh]j 9n]
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/0(&,)/&--*+ [Y^]`Yn]f&[Y Klgjq KdYe af l`] HYjc2
VUEWEEKLY // MAY 5 – MAY 11, 2011
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ARTS // 15
FILM
"The medium’s the message, it seems—we have to reconsider how we watch film and what we watch it on, not to mention what our films are about." Sidevue: Trash, Pulp or Green Screen? // online at vueweekly.com
Foraging for opportunities
The Gleaners and I filmmaker as resourceful as her subjects
Josef Braun // josef@vueweekly.com
T
he centerpiece of Metro Cinema's Reel Trash series, Agnès Varda's 2000 essay film The Gleaners and I follows the legendary Left Bank filmmaker's investigation into the history of gleaning, the lives of those who stoop, who pick up what's left behind, who scour the fields (or markets, or back alley trash cans) for needlessly wasted food (or objects) after the harvesters (or grocers, or restaurateurs) have taken what they've deemed worthy or saleable. Grains, fruit and vegetables from the fields, meat and fish from the refuse in urban spaces. Potatoes too large, too small, too oddly shaped, apples less than conventionally photogenic. Meat or dairy products tossed out on their "best before" dates that just a simple, good, critical sniff will tell you are still
16 // FILM
perfectly edible. (Varda is invited into homes to see these foods rescued from rot and prepared for eating, thus certain sequences of the film play out like some marvelous hobo cooking show.) Stoves and refrigerators left in the street are resurrected, if not for their intended use than for the purpose of storage or art. In paintings, such as Millet's 1857 Des glaneuses, which features prominently in the film, gleaners were depicted as working in groups. Yet while she finds gleaning couples and gypsy caravans in her search (which takes her to several regions of rural France, as well as the streets of Paris), many of Varda's modern-day gleaners seem to be solitary, perhaps because the practice has become less and less socially acceptable, and in some cases a punishable offense. More than a decade after its celebrated premiere, The Gleaners and I endures
in part because it remains the definitive cinematic document on its field of study, but also because of the potency and allure of its highly personal, idiosyncratic approach, which stresses the filmmaker's identification with her subjects. The film is dependent on what
capable hands, handheld contributes to the handmade, artisanal quality of The Gleaners and I. Handheld also prompts a literal study of Varda's hands, which reveal her age (she was in her early 70s at the time) in a manner that her curiosity, energy and tirelessly playful atti-
Varda is invited into homes to see these foods rescued from rot and prepared for eating, thus certain sequences of the film play out like some marvelous hobo cooking show. Varda encounters in her search, and what she's able to produce with whatever she's found, which is to say that Varda also gleans, but with a camera, specifically what was then the latest, most lightweight consumer camcorder, which she utilizes brilliantly. In Varda's
VUEWEEKLY // MAY 5 – MAY 11, 2011
tude do not. The so-called "grandmother of the French New Wave" is a mother of invention. Filmmaking is generally an art of deletion, or reduction, and The Gleaners and I is indeed well edited and fleetly paced, yet Varda nonetheless seems always ready to forge something
valuable from what would conventionally seem discardable. (Anyone who's seen the film will remember the wonderful "dance of the lens cap.") She likes it when animals block the country roads, because she invites surprise. "A clock without hands is my kind of thing," she says at one point in her running narration. (The soundtrack also features jazz and Francophone hip hop.) Thus this homage to the marginalized and their resourcefulness reaches the heights that it does because the author of the film herself, while hardly marginal, represents the epitome of resourcefulness. V Wed, May 11 (7 pm) The Gleaners and I Written and directed by Agnès Varda Metro Cinema (9828 - 101A Ave)
Invisible city of refuse
Waste Land unearths stories of the utmost social relevance
Trash turned into art Josef Braun // josef@vueweekly.com
I
t could be one of Italo Calvino’s Invisible Cities, this sprawling landfill (the world’s largest) that lies outside Rio de Janeiro, a place where refuse coats the earth so that earth itself remains unseen (as though refuse is earth, is soil and sediment). Refuse forms the substance of everyday life for Jardim Gramacho’s inhabitants, a population comprised of scavenger birds and human beings, workers sifting through the refuse for items to be resold or reused, from recyclable raw materials, to clothes, to food. These workers are the definition of marginal, surviving off of what the rest of us discard. Waste Land, screening as part of Metro’s Reel Waste program, penetrates the world of Gramacho through the very special lens provided by Vik Muniz, whose series of mammoth portraits of Gramacho workers, crafted in collaboration with his subjects out of the very garbage they work in, constitutes the Brazilian-American artist’s most ambitious and visionary project to date.
The film, co-credited to João Jardim, Karen Harley and Lucy Walker (who recently helmed Countdown to Zero, a chilling documentary about nuclear weapons), is partly about Muniz, his life and methods. As much as is the case with any visual artist, Muniz’s work is tremendously tactile, his in-
al activist platitude (and I wish it didn’t have to be accompanied, which is to say overwhelmed, by Moby’s music). Waste Land is in any case more emphatically about Gramacho, about its diverse people, whose dignity and perseverance in a lifestyle cloaked in shame is intensely moving, and whose individual stories
The film’s unique access to Muniz’s process enriches our response to the work in a unique manner, whether or not we’re able to see it in the flesh. sistence on the alignment of materials and subject matter makes an immeasurable impression on you when you share the same physical space. The experience of seeing the work in two dimensions fails to do it justice. Yet the film’s unique access to Muniz’s process enriches our response to the work in a unique manner, whether or not we’re able to see it in the flesh. I only wish this process wasn’t conveyed at times through stiff, seemingly scripted exchanges, not to mention the occasion-
are of the utmost social relevance. So whatever reservations I have shouldn’t be mistaken for discouragement from watching its truly extraordinary narrative unfold. V Tue, May 10 (9 pm) Waste Land Directed by Lucy Walker, João Jardim, Karen Harley Metro Cinema (9828 - 101A Ave)
VUEWEEKLY // MAY 5 – MAY 11, 2011
FILM // 17
Fast Five Now playing Directed by Justin Lin Written by Chris Morgan, Gary Scott Thompson Starring Vin Diesel, Paul Walker, Jordana Brewster
Five vehicles in, the Fast and Furious franchise spins its wheels through the heist flick down in Brazil. For two hours, it shifts between Dominic's (Vin Diesel) gravel-voiced speeches about being a true family and Diesel's and Dwayne "The Rock" Johnson's staredowns and bicep-offs. Then it gets more directionless, scrapping the long robbery-preparation for a brute-force drive-by instead. At best, action scenes are slick, but the throttling dialogue (cue pounding music, beginning of action scene, and the actors still having to say: "Ready?"
18 // FILM
"I'm ready."), long hard looks, and heist clichés skid on for blocks. (Cars 2 now has the summer's pole position.) All Rio's police are corrupt save one cutie, and only America's super hi-tech, gun-strapped top cops, led by Hobbs (Johnson), can stop fugitives Dominic, Brian (Paul Walker), his pregnant beau Mia (Jordana Brewster), and the rest of this Rio's Eleven. They're ripping off a crimelord controlling a slum, robbing him to save the 'hood. Except they destroy a parking-lot worth of cars and kilometres of Rio streets to do it before taking off with the $100 million. Maybe Fast Five's really a sly metaphor for US hit-and-run wars abroad, where Americans come in, condescend to the natives, destroy much of the place in the name of "freedom," then screech out of there. Brian Gibson
Concentration or constipation?
// brian@vueweekly.com
VUEWEEKLY // MAY 5 – MAY 11, 2011
Still Showing FILM WEEKLY FRI, MAY 6, 2011 – THU, 12, 2011
Jane Eyre
s
CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749
RIO (G) FRI�SAT 7:00, 915; SUN�THU 8:00; SAT� SUN 1:30
FAST FIVE (14A violence) FRI�SAT 6:50 , 9:15; SUN�THU 8:00; SAT�SUN 1:30
CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779
DHARTI (14A) DAILY 1:15, 4:15, 6:55, 9:20 SUCKER PUNCH (14A violence) DAILY 1:35,
4:00, 7:05, 9:25
HOBO WITH A SHOTGUN (R brutal violence) DAILY 1:45, 4:45, 7:35, 10:00
PAUL (14A language may offend) DAILY 1:40, 4:35, 7:40, 10:05
BATTLE LOS ANGELES (14A violence) DAILY
1:00, 4:05, 7:00, 9:40
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.
THE ADJUSTMENT BUREAU (PG coarse language) DAILY 1:25, 4:30, 7:30, 9:45
JUST GO WITH IT (PG crude content) DAILY GNOMEO AND JULIET 3D (G) Digital 3d DAILY
1:30, 4:20, 6:45, 9:00
JUSTIN BIEBER: NEVER SAY NEVER 3D (G)
Digital 3d DAILY 1:20, 3:55, 6:50, 9:10
recommended for young children) FRI�SAT 12:00, 2:40, 5:30, 8:10, 10:45; SUN 12:00, 3:00, 6:45, 9:45; MON�THU 1:10, 4:00, 7:00, 9:45
SOMETHING BORROWED (PG coarse language,
sexual content) No passes FRI�TUE, THU 1:10, 4:00, 7:15, 10:10; WED 4:00, 7:15, 10:10; Star & Strollers Screening: WED 1:00
HOODWINKED TOO!�HOOD VS. EVIL 3D (G) FRI�TUE, THU 12:10, 2:20, 4:40, 6:50; WED 4:40, 6:50
HOODWINKED TOO!�HOOD VS. EVIL (G) Star & Strollers Screening: WED 1:00
FAST FIVE (14A violence) Digital Cinema, No passes DAILY 12:30, 1:20, 3:30, 4:20, 6:30, 7:30, 9:30, 10:40
PROM (PG) DAILY 1:15, 4:15, 7:05, 9:45 WATER FOR ELEPHANTS (PG violence, not
recommended for young children) DAILY 12:50, 3:45, 7:00, 9:50
RIO (G) DAILY 12:00 RIO 3D (G) Digital 3d DAILY 1:40, 4:10, 6:45, 9:00
sexual content) No passes FRI 4:10, 7:10, 9:50; SAT� SUN 1:20, 4:10, 7:10, 9:50; MON�THU 5:30, 8:25
DUGGAN CINEMA�CAMROSE 6601-48 Ave, Camrose, 780.608.2144
FAST FIVE (14A violence) DAILY 6:45, 9:25; SAT�SUN 1:45
WATER FOR ELEPHANTS (PG violence, not
SCREAM 4 (14A coarse language, gory violence,
SOMETHING BORROWED (PG coarse language,
2:00
7:10, 9:30; SUN 12:00, 2:15, 4:30, 7:00, 9:15; MON� THU 1:00, 3:15, 5:30, 7:45, 10:00 not recommended for children) FRI�SAT 10:15; SUN 9:20; MON�THU 9:50
HANNA (14A violence) FRI�SAT 12:20, 2:55, 5:30, 8:10, 10:40; SUN 4:15, 7:00, 9:45; MON�THU 1:30, 4:10, 7:10, 9:45
recommended for young children) DAILY 6:50 9:20; SAT�SUN 1:50
sexual content) DAILY 7:00, 9:15; SAT�SUN 2:00
HOODWINKED TOO!�HOOD VS. EVIL (G)
Presented in 3D DAILY 7:05, 9:00; SAT�SUN 2:05
GALAXY�SHERWOOD PARK 2020 Sherwood Dr, Sherwood Park 780-416-0150
SOUL SURFER (PG) FRI 1:15, 3:45, 6:05, 8:35,
THOR (PG violence, frightening scenes) No passes
FRI 4:20, 7:20, 10:15; SAT�SUN 1:25, 4:20, 7:20, 10:15; MON�THU 7:20, 10:15
THOR 3D (PG violence, frightening scenes) Digital 3d, No passes FRI 3:45, 6:45, 9:15, 9:40; SAT�SUN 12:45, 3:45, 6:45, 9:15, 9:40; MON 9:15; TUE�THU 6:45, 9:15, 9:40
INSIDIOUS (14A frightening scenes, not recom-
mended for children) FRI�SAT 3:15, 5:50, 8:50, 11:15; SUN 3:10, 5:35, 8:05, 10:35; MON�THU 4:15, 7:30, 10:00
SOMETHING BORROWED (PG coarse language, sexual content) No passes FRI 4:25, 6:55, 9:45; SAT 1:35, 4:25, 6:55, 9:45; SUN 1:35, 4:25, 6:45, 9:45; MON�THU 6:55, 9:45
LIMITLESS (14A) FRI�SAT 12:40, 3:05, 5:35, 8:15, 10:45; SUN 12:20, 2:45, 5:15, 7:45, 10:15; MON� THU 1:25, 3:50, 7:15, 9:40
THE METROPOLITAN OPERA: LE COMTE ORY ENCORE (Classification not available) SAT
passes, Digital 3d: FRI�SAT 12:20, 3:20, 6:40, 9:20, 11:00; SUN�THU 12:20, 3:20, 6:40, 9:20; Ultraavx: DAILY 1:30, 4:30, 7:45, 10:30
SOMETHING BORROWED (PG coarse language,
RIO 3D (G) Digital 3d FRI�SAT 12:15, 2:30, 4:45,
CINEPLEX ODEON NORTH
THOR 3D (PG violence, frightening scenes) No
FRI 3:50, 6:30, 9:15; SAT�SUN 1:00, 3:50, 6:30, 9:15; MON�THU 5:10, 7:50
THOR (PG violence, frightening scenes) Presented in 3D DAILY 6:55 9:30; SAT�SUN 1:55
THE LINCOLN LAWYER (14A) FRI�SUN 5:15, 7:55, 10:35; MON�WED 4:15, 7:00, 9:45; THU 4:15, 9:45
DAILY 1:00, 3:50, 7:10, 10:00
THOR (PG violence, frightening scenes) No passes
RIO (G) FRI�SAT 12:25; SUN 12:45; MON�THU
THE KING'S SPEECH (PG language may offend)
14231-137 Ave, 780.732.2236
3d, No passes FRI 4:15, 7:00, 9:45; SAT�SUN 1:30, 4:15, 7:00, 9:45; MON�THU 5:40, 8:20
WATER FOR ELEPHANTS (PG violence, not
HOP (G) FRI�SAT 12:00, 2:35; SUN 12:00, 2:45; MON�THU 1:45
not recommended for young children) DAILY 1:10, 4:10, 7:10, 9:50
THOR 3D (PG violence, frightening scenes) Digital
3:30, 5:45, 8:00, 10:15
I AM NUMBER FOUR (PG frightening scenes,
substance abuse) DAILY 1:05, 4:15, 7:25, 10:00
THOR (PG violence, frightening scenes) No passes
HOODWINKED TOO!�HOOD VS. EVIL 3D
(G) Digital 3d FRI 4:30, 7:00; SAT�SUN 1:50, 4:30, 7:00; MON�THU 7:00
FAST FIVE (14A violence) No passes FRI 3:30, 4:00, 6:30, 7:10, 9:35, 10:10; SAT�SUN 12:30, 1:00, 3:30, 4:00, 6:30, 7:10, 9:35, 10:10; MON�THU 6:30, 7:10, 9:35, 10:10
11:00
WATER FOR ELEPHANTS (PG violence, not recommended for young children) FRI 4:00, 6:50, 9:50; SAT�SUN 1:05, 4:00, 6:50, 9:50; MON�THU 6:50, 9:50
MEMPHIS (PG coarse language) SUN 1:00; THU 7:00
CITY CENTRE 9
RIO 3D (G) Digital 3d FRI 4:15, 7:05, 9:30; SAT�SUN
10200-102 Ave, 780.421.7020
1:35, 4:15, 7:05, 9:30; MON�THU 7:05, 9:30
THOR 3D (PG violence, frightening scenes) No
HANNA (14A violence) DAILY 6:40, 9:20
passes, Digital 3d, Stadium Seating DAILY 12:00, 12:45, 3:00, 3:45, 7:00, 7:30, 10:00, 10:30
ARTHUR (PG not recommended for young chil-
dren) FRI, SUN 4:35, 7:25, 10:15; SAT 1:30, 4:35, 7:25, 10:15; MON�THU 7:25, 10:15
FAST FIVE (14A violence) No passes, Dolby
Stereo Digital, Stadium Seating, DTS Digital: FRI�SUN 12:30, 12:55, 3:30, 3:55, 6:30, 6:55, 9:30, 9:55; Dolby Stereo Digital, Stadium Seating, DTS Digital: MON�TUE 12:30, 12:55, 3:30, 3:55, 6:30, 6:55, 9:30, 9:55; WED 12:30, 12:55, 3:30, 3:55, 6:30, 6:55, 9:55, 10:05; THU 12:30, 12:55, 3:30, 3:55, 6:30, 6:55, 9:55, 10:15
WATER FOR ELEPHANTS (PG violence, not
recommended for young children) Dolby Stereo Digital FRI�WED 12:15, 3:15, 7:15, 10:15; THU 12:15, 3:15, 10:15
PROM (PG) DTS Digital, Stadium Seating DAILY
HOP (G) FRI 3:50; SAT�SUN 1:15, 3:50 MEMPHIS (PG coarse language) SUN 1:00 GARNEAU 8712-109 St, 780.433.0728
WIN WIN (14A coarse language) DAILY 7:00, 9:10;
RIO 3D (G) Digital 3d, Stadium Seating DAILY
GRANDIN THEATRE�ST ALBERT Grandin Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822
RIO (G) DAILY 1:00, 3:00, 5:05, 6:55, 8:55 SOUL SURFER (PG) DAILY 2:45, 4:50, 7:05, 9:10
ARTHUR (PG not recommended for young chil-
HANNA (14A violence) Dolby Stereo Digital, Stadium Seating DAILY 6:50, 9:50
HOODWINKED TOO!�HOOD VS. EVIL (G)
SOMETHING BORROWED (PG coarse lan-
DAILY 1:05, 2:50, 4:45, 6:45
SOURCE CODE (PG coarse language, violence)
DAILY 2:00, 4:50, 8:00, 10:15
guage, sexual content) No passes, DTS Digital, Stadium Seating DAILY 12:25, 3:25, 6:45, 9:45
DAILY 8:35
INSIDIOUS (14A frightening scenes, not recom-
MEMPHIS BROADWAY MUSICAL (Classifica-
6:45, 9:05
mended for children) DAILY 2:10, 5:00, 7:50, 10:20
LIMITLESS (14A) DAILY 1:50, 4:45, 7:20, 10:05 CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585
THOR 3D (PG violence, frightening scenes) Digital
3d, no passes FRI�SAT 1:45, 4:30, 7:45, 10:30; SUN 1:00, 3:40, 6:45, 9:30; MON�THU 2:30, 5:00, 8:00; Ultraavx: FRI�SAT 12:00, 2:45, 5:30, 8:15, 11:00; SUN 12:00, 2:40, 5:20, 8:00, 10:30; MON�THU 1:00, 4:00, 7:00, 10:00
THOR (PG violence, frightening scenes) No passes FRI�SAT 1:00, 4:00, 7:00, 10:00; SUN 12:20, 4:40, 7:20, 10:00; MON�THU 1:30, 4:30, 7:30, 10:15 SOMETHING BORROWED (PG coarse language, sexual content) No passes FRI�SAT 1:05, 3:35, 6:05, 8:45, 11:15; SUN 12:15, 2:45, 5:15, 7:50, 10:20; MON�WED 1:45, 4:30, 7:00, 9:30; THU 4:30, 7:00, 9:30; Star & Strollers Screening: THU 1:00
HOODWINKED TOO!�HOOD VS. EVIL (G)
FRI�SAT 1:00, 3:10, 5:30, 7:45; SUN 12:00, 2:15, 4:30, 6:45; MON�WED 1:00, 3:05, 5:20, 7:45; THU 3:05, 5:20, 7:45; Star & Strollers Screening: THU 1:00
tion not available) Exclusive Engagement, No passes, Stadium Seating SUN 1:00
FAST FIVE (14A violence) DAILY 1:35, 4:05, THOR (PG violence, frightening scenes) No passes DAILY 12:35, 2:45, 4:50, 7:00, 9:15
LEDUC CINEMAS
CLAREVIEW 10 4211-139 Ave, 780.472.7600
INSIDIOUS (14A frightening scenes, not recommended for children) FRI 4:40, 7:15, 9:55; SAT� SUN 1:50, 4:40, 7:15, 9:55; MON�THU 5:50, 8:30
RIO 3D (G) Digital 3d FRI 4:00, 6:50, 9:10; SAT�
SUN 1:15, 4:00, 6:50, 9:10; MON�THU 5:00, 8:00
WATER FOR ELEPHANTS (PG violence, not
recommended for young children) FRI 3:55, 6:45, 9:30; SAT�SUN 1:10, 3:55, 6:45, 9:30; MON�THU 5:25, 8:15
Leduc, 780.352.3922
FAST FIVE (14A violence) DAILY 7:00, 9:40; SAT� SUN 1:00, 3:40
SOMETHING BORROWED (PG coarse language,
Digital 3d FRI 4:25, 6:35, 8:50; SAT�SUN 2:00, 4:25, 6:35, 8:50; MON�THU 4:50, 7:30
FAST FIVE (14A violence) No passes, On 2
Screens FRI 3:45, 4:30, 6:40, 8:00, 9:35; SAT�SUN 12:50, 1:25, 3:45, 4:30, 6:40, 8:00, 9:35; MON�THU 4:45, 5:15, 7:45, 8:10
REEL WASTE: TASTE THE WASTE (STC)
MON 9:00
REEL WASTE: KENNY THE MOVIE (STC) TUE 7:00
REEL WASTE: WASTE LAND (STC) TUE 9:00 REEL WASTE: THE GLEANERS AND I (STC) WED 7:00
REEL WASTE: GOD'S CHILDREN (STC) WED
9:00
TREK (STC) THU 7:00 ON THE BOWERY (PG Mature Themes)/THE PERFECT TEAM (STC) THU 9:00 PARKLAND CINEMA 7 130 Century Crossing, Spruce Grove, 780.972.2332 (Spruce Grove, Stony Plain; Parkland County)
THOR (PG violence, frightening scenes) Presented in 3D DAILY 6:45, 9:10; SAT�SUN, TUE 10:45am, 1:10, 3:30 SOMETHING BORROWED (PG coarse
language, sexual content) DAILY 7:05, 9:20; SAT�SUN, TUE 11:00am, 1:15, 3:10
FAST FIVE (14A) DAILY 6:55, 9:30; SAT�SUN, TUE 10:30am; 1:00, 3:35
HOODWINKED TOO!�HOOD VS. EVIL (G)
DAILY 6:50, 8:50; SAT�SUN, TUE 10:50, 12:40, 2:45
LIMITLESS (14A) DAILY 7:45; SAT�SUN, TUE 10:40am, 12:50, 2:55 RIO (G) DAILY 7:00, 8:55; SAT, SUN, TUE 10:55am, 12:55, 3:00
SOUL SURFER (PG) DAILY 8:00 HOP (G) SAT�SUN, TUE 10:40am, 12:50, 2:55 PRINCESS 10337-82 Ave, 780.433.0728
JANE EYRE (PG) DAILY 6:50, 9:10; SAT�SUN 2:00 THE HIGH COST OF LIVING (14A) DAILY 7:00; SAT�SUN 1:00 WEST IS WEST (14A coarse language) DAILY 9:00; SAT�SUN 3:00 SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400
THOR (PG violence, frightening scenes) No
passes DAILY 12:30, 3:30, 6:30, 9:30
THOR 3D (PG violence, frightening scenes) No passes Digital 3d: DAILY 1:30, 4:30, 7:30, 10:30; Ultraavx: DAILY 1:00, 4:00, 7:00, 10:00
SOMETHING BORROWED (PG coarse lan-
guage, sexual content) No passes FRI�TUE, THU 1:20, 4:20, 7:20, 10:10; WED 4:20, 7:20, 10:10; Star & Strollers Screening: WED 1:00
HOODWINKED TOO!�HOOD VS. EVIL (G) passes DAILY 1:45, 4:45, 7:45, 10:45
PROM (PG) DAILY 12:50, 3:50, 6:50, 9:40 FAST FIVE: THE IMAX EXPERIENCE (14A violence) No passes DAILY 1:15, 4:15, 7:15, 10:15 WATER FOR ELEPHANTS (PG violence, not
recommended for young children) Digital Cinema DAILY 1:10, 4:10, 7:10, 9:50
RIO 3D (G) Digital 3d DAILY 12:45, 3:40, 6:30, 9:00
HANNA (14A violence) FRI, SUN�TUE, THU
1:40, 4:40, 7:40, 10:40; SAT, WED 4:40, 7:40, 10:40; Star & Strollers Screening: WED 1:00
SOURCE CODE (PG coarse language, violence) FRI�SAT, MON�THU 1:50, 4:50, 7:50, 10:20; SUN 4:50, 7:50, 10:20 INSIDIOUS (14A frightening scenes, not recom-
mended for children) DAILY 2:00, 5:00, 8:00, 10:45
LIMITLESS (14A) DAILY 9:10 THE METROPOLITAN OPERA: LE COMTE ORY ENCORE (Classification not available) SAT 11:00
sexual content) DAILY 7:10, 9:35; SAT�SUN 1:10, 3:35
MEMPHIS (PG coarse language) SUN 1:00
THOR (PG violence, frightening scenes) DAILY
WETASKIWIN CINEMAS
6:55, 9:35; SAT�SUN 12:55, 3:35; Midnight Show: THU, MAY 5
SOUL SURFER (PG) DAILY 1:05, 9:30; SAT�SUN
7:05, 3:30
PROM (PG) FRI 4:20, 7:05, 9:40; SAT�SUN 1:40, 4:20, 7:05, 9:40; MON�THU 5:20, 8:05 HOODWINKED TOO!�HOOD VS. EVIL 3D (G)
MON 7:00
FAST FIVE (14A violence) Digital Cinema, No
12:10, 2:40
SOURCE CODE (PG coarse language, violence)
REEL WASTE: DIRT! THE MOVIE (STC)
ROCKY HORROR PICTURE SHOW May 28,
tickets on sale now
HOP (G) DAILY 12:50
dren) DAILY 9:10
(STC) SUN 8:30
DAILY 12:40, 3:10, 6:40
12:40, 3:20, 7:40, 10:20
SOURCE CODE (PG coarse language, violence) Stadium Seating, DTS Digital FRI�SAT, MON� TUE, THU 12:05, 2:35, 5:05, 7:35, 10:05; SUN 7:35, 10:05; WED 12:05, 2:35, 9:30
REEL WASTE: THE CLEAN BIN PROJECT
SAT�SUN 2:00
HANNA (14A violence) DAILY 12:40, 3:40, 6:55, 9:40
PROM (PG) FRI�SAT 1:10, 3:25, 5:50, 8:20, 10:40; SUN 12:45, 3:05, 5:30, 8:00, 10:25; MON�THU 1:15,
HALL PASS (14A nudity, crude sexual content,
DAILY 1:55, 4:25, 7:15, 9:45
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.
2:00, 5:00, 7:50, 10:45; SUN 12:00, 3:00, 6:30, 9:30; MON�WED 1:45, 5:00, 8:00; THU 1:30, 4:15, 7:00; Digital Cinema: FRI 12:00, 1:00, 2:50, 4:00, 5:40, 7:00, 8:30, 10:00, 11:15; SAT 12:00, 1:00, 2:40, 4:00, 5:40, 7:00, 8:30, 10:00, 11:15; SUN 12:30, 1:30, 3:30, 4:30, 7:00, 7:30, 10:00, 10:30; MON�THU 1:00, 2:15, 4:00, 6:00, 7:00, 9:00, 10:00
11:05; SAT 3:45, 6:05, 8:35, 11:05; SUN 2:15, 4:45, 7:15, 9:50; MON�THU 1:40, 4:40, 7:40, 10:10
2:00, 4:40, 7:20, 9:55
Win Win
FAST FIVE (14A violence) No passes FRI�SAT
METRO CINEMA 9828-101A Ave, Citadel Theatre, 780.425.9212
Wetaskiwin, 780.352.3922
WATER FOR ELEPHANTS (PG violence, not
recommended for young children) DAILY 1:05, 9:35; SAT�SUN 7:05, 3:35
FAST FIVE (14A violence) DAILY 7:00, 9:40; SAT�SUN 1:00, 3:40
HELL DRIVER (STC) / MACHINE GIRL (18A brutal
THOR IN DIGITAL 3D (PG violence, frighten-
BACK TO THE FUTURE (PG) SAT 7:00
SOMETHING BORROWED (PG coarse
violence, gory scenes) DedFest: Splatter Matters Double Bill: FRI 7:00
METRO SHORTS (Live event) Mostly Water Theatre: SAT 9:00
VUEWEEKLY // MAY 5 – MAY 11, 2011
ing scenes) DAILY 6:55, 9:30; SAT�SUN 12:55, 3:30; Midnight Show: MAY 5
language, sexual content) DAILY 7:10, 9:35; SAT�SUN 1:10, 3:35
FILM // 19
MUSIC
Storyteller state of mind Ben Sures reveals the world at large
Twenty years of Ben Sures Paul Blinov // paul@vueweekly.com
B
en Sures seems cut from the finest storyteller's cloth. He's of the ilk that can't help but stare down the world at large, making note of the brilliances and imperfections that hide in its peripheral cracks, ever-careful in how he reveals them through melody and instrument and lyric. Even on a relaxing trip down to Mexico, where Sures is calling from on a 20-minute phone card, he's got his eyes critically attuned to his surroundings. "I'm just having a little kind of family vacation," he says, from two borders south of his Edmonton home. "It's bringing back all the stuff I wrote in 'Columbus Sailed Here,' all of my experiences all those years ago about working on that ship." They aren't the warmest recollections for the Edmontonian, who grew up in Winnipeg and spent time in Toronto among other travels. Those experiences were garnered from his
20 // MUSIC
VUEWEEKLY // MAY 5 – MAY 11, 2011
brief stint on a cruise ship, and are of seeing poverty clouding every idyllic stop, of the Third World poor trying to sell themselves or their children to wealthy First World tourists. "Columbus Sails Here" is the second track on Gone to Bolivia, Sures' fourth album and one that—upon its release next week—marks the milestone 20th anniversary of his musical career. On Bolivia, like the albums before, Sures is folk in his ideals, compelling in his songcraft and restless in his choice of musical styles. His music gets pegged as folk or roots—he's won the latter category of both the John Lennon Songwriting Competition and the International Songwriting Competition—but to him, the terms have found greater musical depth in the modern era. "I have an idea of what folk music once was," he says. "I think for a while folk music was pretty true stories, or historical stories, and songs of common people, and there were also union songs people could get behind to rally
around, and there were the songs people sang as news travelling from town to town. And there were some stylistic things that went along with that: obviously acoustic instruments, and not a lot of frill. It was all about delivering some kind of message, whether it was a love message or a story message or a political message or a tale of an old story. And I think, for a while, there was a sound that was associated with it that was pretty broad: maybe from the '50s to the '70s, there was a very clear [sound] ... it sounded like Woody [Guthrie] or Pete Seeger, and that was the umbrella. And then the celtic side or the bluegrass side, and all that. "I think what's happened is," he continues. "We're such a hodge-podge of influences. ... Maybe folk music is becoming a melting pot of musics, with some of the same ideals. I think I have all the same storytelling elements, and the narrative type of songs—it's just the tones are different. Basically I grew up with the Winnipeg folk festival, everything I heard there—old
blues people, Pete Seeger, Tom Chapin, all those kind of people—and then my mom's record collection, which is Neil Young's Harvest and the Kinks and Thelonious Monk, and Muddy Waters' live, and Robert Johnson, and all that kind of stuff." Bolivia's release stems from a kernel of good luck—Rawlco Radio gave him some financial support he wasn't expecting so soon, allowing him to take 10 months to construct his album and work with an assembly of hand-picked musicians (all of whom get to give themselves a shout out in the album's charming credits track). Sures worked with producer Don Kerr—best known from his days with the Rheostatics—in his home studio in Toronto at a relaxed pace. They toiled in the garden and read excerpts of the book Kerr's wife was putting the finishing touches on, entitled How to be a Bush Pilot: A Guide to Getting Luckier. "It was an 'improve your sex life for
couples' book," he says with a laugh. "We were reading excerpts in between tracking." Although the pacing was relaxed, Sures found his songwriting chops had been honed by time spent producing music for CBC's radio sketch show The Irrelevant Show. Writing for stricter deadlines than in his previous output allowed Sures to pen the bulk of material during the recording process, setting in ink both new and old collected tales: "The Boy Who Walked Backwards" is the true story of a friend's father who managed to escape returning to a residential school after the winter holiday by walking backwards from his house into the the woods (his tracks, left in the fresh snow, baffled them, and he remained undiscovered). "Embrasse Papa, Fais Dodo," sung in French and written for his step-mother, is of her father's time in the French resistance, and her bedtime ritual of kissing his picture goodnight. "High School Steps" finds Sures recalling opening
for Ray Davies a few years back and the early Kinks-era memories that the gig brought with it. Not having to rush Bolivia meant Sures got to fully feel out his approach to those stories, the writing of which proved, surprisingly to Sures, almost as relaxing as the time frame he had to work in. "It's not like anyone was waiting for my next album, or anything like that," Sures says. "I just wrote without any kind of idea about ... I don't know, there seemed to be no expectations. The pressure was off somehow, even though I had a deadline. I would say 90 percent of the songs came out in that period. Some of them were ideas that I'd been carrying around, or pieces. You have your box of bits, and you pull from them and try to make the songs happen." V Thu, May 12 (8 pm) Ben Sures TransALTA Arts Barns, Westbury Theatre (10330 - 84 Ave), $19.75 – $22
VUEWEEKLY // MAY 5 – MAY 11, 2011
MUSIC // 21
Great big me
Séan McCann steps out on his own
Séan McCann keeping out of trouble Bryan Birtles // bryan@vueweekly.com
E
ven after nearly two decades on the road with his band Great Big Sea, the traveling troubadour's life holds a fascination for Séan McCann, who plays a variety of instruments and sings with the group. It's a place he gets some of his best ideas, so he can often be found in the back of the band's tour bus, plucking out songs of his own. A number of songs he wrote on the group's latest tour form Son of a Sailor, McCann's recently released, second solo album. "That's what I do to keep myself out of trouble when I'm on tour with the band, I'll just set aside as much time as I possibly can and write. That kind of keeps me sane, keeps me focused," he says. "When I get home and the kids are asleep I go down to the studio and I pick the songs that I like the best and I'll record those. You do that five or six days in a row and the next thing you know a record starts to form in front of you."
22 // MUSIC
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Starting from about 60 songs and whittling it down to 20 that were worth recording, the album that formed is one that melds two of McCann's favourite sounds together. "What I wanted to do was use Newfoundland traditional music and also
"Great Big Sea started in rooms that size and I guess, over a period of time, we became the hockey rink band or the theatre band or the festival band," he says. "These songs that I write on my solo records, they're a different voice and a different level of intimacy
The tour is forcing McCann to step out of the "Great Big Cocoon" as he has called it. draw on the Nashville old-time country music," he says. "That was my goal, that's how I see Son of a Sailor: it's got songs that are kind of nautical but you can hear Nashville in every note." Writing a solo album not only challenged him to make all his own decisions, but the tour is forcing McCann to step out of the "Great Big Cocoon" as he has called it—from a safe place he's grown accustomed to to the more intimate, and more risky, smaller stages he's playing this spring.
and I don't think they'd work very well on a big stage and I hope they work really well in smaller rooms where I'm only gonna be two feet from the person in front of me and not separated by a crowd divider. I think it's going to be a great learning experience for me." V Fri, MAy 6 (8 pm) Séan McCann With Jeremy Fisher Haven Social Club, $25
VUEWEEKLY // MAY 5 – MAY 11, 2011
MUSIC // 23
MUSICNOTES Luke and Tess Pretty / Fri, May 6 EYE on Music is holding a showcase at the Hydeaway featuring Luke and Tess Pretty, a brother/sister duo that plays rock 'n' roll. The organization is dedicated to providing performance opportunities to musicians under the age of 18, something this city could use more of. (Hydeaway)
Cameron Carpenter / Fri, May 6 (8 pm) Looks like we jumped the gun on this one last week: go to bit.ly/cameroncarpenter for a thorough interview with the bad boy of the organ. (Winspear Centre, $20 – $50) i Coristi Chamber Choir / Sat, May 7 (8 pm) Anticipating spring in this northern burg is always a hit-or-miss proposition, but i Coristi will be doing just that with
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BRYAN BIRTLES // BRYAN@vueweekly.com
its concert, Verdure. (St Timothy's Anglican Church, $16.75 – $21.75)
Architects / Sat, May 7 (7 pm) It seems the UK's Architects never stop touring. Just before the band hits Canada, it will have been through Russia and then its home in the UK. Certain to be tighter than the bolts of the High Level Bridge, these Architects will have their drafting pencils sharpened. I've got more architect puns if you're interested ... no? OK then. (Avenue Theatre, $18) Jess Hill / Tue, May 10 (9 pm) Jess Hill—known for her storytelling ability and captivating murder ballads—has released a new album, Orchards, and will be taking it across the country. (Wunderbar)
Gogol Bordello / Tue, May 10 (6:30 pm) Strap on your fake moustache, or hurry up and grow a real one, because the gypsymoustache-klezmer rock of Gogol Bordello returns to Edmonton, this time at the city's largest venue, supporting System of a Down. (Rexall Place, $25 – $69.50) Chris Lake / Thu, May 12 (9 pm) DJ and producer Chris Lake is recording every show he plays on his current tour and making them available for purchase on USB stick from his website—risingmusic.co.uk—within 24 hours after the show is over. So if you wanna know how the show is going to be, you can always check it out there. (The Bank, $15)
SOUNDTRACK
BRYAN BIRTLES // BRYAN@vueweekly.com
The Provincial Archive
Thu, May 12 (9 pm) / Pawn Shop, $10 – $12
Kicking off a tour with a show at the Pawn Shop—a week after the band will play a private show at its namesake, the Provincial Archives of Alberta—The Provincial Archive's Craig Schram soundtracked his life at home and on the road.
At home Bart van Oort, Chopin's Nocturnes With a cup of coffee in hand, there is nothing quite like Chopin's nightinspired ivory to make you wonder what you missed while your eyes were closed.
Arthur Russell, Instrumentals These instrumentals remind me of the churning downtown machine. As a result, it's a great soundtrack to keep my own personal machine in action.
Royal City, At Rush Hour the Cars The title says it all. For me, this record still turns a bus ride in to a dream, and removes me from the present.
On the road morning
NOON
NIGHT
The Byrds, Sweetheart of the Rodeo As soon as that opening pedal steel line chimes through the van speakers, your coffee will taste better, and your quality of tour life will immediately improve. Try it for yourself, you might experience an odd wave of relief when you're told that, "You ain't going nowhere" as you cruise down the highway into oblivion. Dirty Projectors, Bitte Orca Throwing this Dirty Projectors gem on the stereo is a great way to open your eyes during long drives. The clumsy guitar work is akin to a slap on the back, jarring you awake as you're nodding off toward dreamland. It keeps my mind active, keeps me inspired and never fails to keep my interest. Paul Simon, Graceland Graceland has really experienced a comeback lately. Maybe, for some, it never went away? Whatever the case may be, on a night when you're not performing, Graceland can guide you into the night without resistance, and without looking back.
PREVUE
OLD MAN LUEDECKE Fri, May 6 (8 pm) / Blue Chair Cafe After winning a Juno for his latest release, My Hands are on Fire and Other Love Songs, Old Man Luedecke is hitting the road to tell you about it. In addition, if you head over to his website at oldmanluedecke.com, you can download his first EP, Mole in the Ground, for free.
VUEWEEKLY // MAY 5 – MAY 11, 2011
MUSIC // 25
NEWSOUNDS Spoons, Static in Transmission (Universal)
Spoons was surely Burlington, ON's finest contribution to the New Wave scene when the band formed back in 1979 and subsequently had an '80s heyday (your dad may still remember all the words to "Nova Heart," even). But after 20 years of absence—not counting occasional live shows and a 2007 retrospective—they return, fresh from the studio, with Static in Transmission, an album that seems content to retread that exact slice of sonic territory. Tracks like opener "Breaking In" have big synth verses coupled with even bigger synth choruses, with any trace of modern influence coming from the extra-smooth production. Some songs wouldn't sound out of place on the Killers' next album—at times, Deppe's voice even reaches the same heights as Brandon Flowers'—but the retro-pilfering of younger bands is usually balanced by an attempt to update a sound or juxtapose it with something new. Such is not the case here: Transmission is retrograde synth pop, take it or leave it, that works best on the Horne-sung, melodic "Escape With You," or on the heavy dollop of swooping guitar of "Imprefekt." Slick production prevents it from sounding too dated, but the songwriting's aiming for a time that just isn't there anymore. Paul Blinov
// paul@vueweekly.com
Ben Everyman , Iconoplastic (Independent)
Vancouver's Ben Everyman is a cheeky, rambling folk singer not unlike other Canadian weirdos such as Bob Wiseman, Kim Barlow and Mathias Kom. Everyman's deadpan humour is evidenced by songs like "Jesus Grew Grass" and "Ladeda," the latter with him singing, "All the hipster's dress like cats / ...watch them dance / how they whirl / the long leg dark-haired fairy girls." A few of Everyman's songs sound like Live's "Lightning Crashes" but most of his jams line up with the previously mentioned camp-fire folkies. All in all, the record fluctuates between vulnerable country drawlers and cynical, plaintive talk-sung commentaries, the latter being the most enjoyable. Joe Gurba
// joe@vueweekly.com
Hauschka Salon Des Amateurs (FatCat)
Making a significant departure from the dirge and delicacy of his prior, more cinematic releases, Hauschka's new Salon Des Amateurs is a quick-paced, pulsing dive into a whole new mood. Hauschka continues to employ his deliberately altered "prepared piano," for which he is famous, however his arrangements are no longer the lilting compositions of Ferndorf or Snowflakes and Carwrecks. They've transformed into racing arrangements that burrow into your heartbeat, pressing your consciousness into the recordings. For an artist who's always created such excellent soundtracks for living life to, it's surprising to feel one's attention instead fixated on the music alone. Joe Gurba
// joe@vueweekly.com
Sixx:AM This Is Gonna Hurt (Eleven Seven)
The second release from Sixx:AM is, like the group's debut, a soundtrack to a book by bassist Nikki Sixx. Whereas the first was rooted in the darkness of heroin addiction, this one is all about finding beauty (the book is a document of Sixx's photography). Unfortunately, too many of the songs get bogged down in a heavyhanded, bland wash of slick modernrock production, though singer James Michael's soaring choruses are wellsuited for the subject matter and guitarist DJ Ashba lays down plenty of wailing solos, bending the notes long and hard to match Michael's bombast. The best moment comes on the closer, "Skin," where Michael's accompanies himself on piano, but it's both too little and too late. Eden Munro
// eden@vueweekly.com
Candelora Candelora (Independent)
Ironic posturing in rock 'n' roll is as old as the genre itself, and can get a little tired, so it's interesting to see Candelora bring earnestness to the table. A problem, however: the same way irony can become annoying because no one is saying what they mean, the earnestness of this record can feel too direct, too opaque. The album feels like it wants to be more complicated than it is—and it could benefit from having at least a few more layers. As it is, whatever artistry is present is directed toward convincing the listener of how serious the group is, instead of the personal examination the record purports. Bryan Birtles
// bryan@vueweekly.com
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VUEWEEKLY // MAY 5 – MAY 11, 2011
QUICKSPINS WHITEY HOUSTON
// QUICKSPINS@vueweekly.com
City Center Redeemer (K) Ten grubby loopers Whole disc of same sounding tunes But that one tune rules
Sidney York Apocalyptic Radio Cynic (Independent)
OLDSOUNDS THE PIXIES Opening with film clips of Salvador Dali's "Un Chien Andalou" and a handful of B-sides, the Pixies tore through its 1989 classic Doolittle in full Sunday night at the Shaw. For those more attuned to the Surfer Rosa years, the encore ended with a one-two jab of "Where Is My Mind?" and "Gigantic"—which is exactly how it all felt. Words by Paul Blinov // Photos by JProcktor
VUEWEEKLY.COM/SLIDESHOWS >> for more of JProcktor's photos
Full marks for trying But.. uh.. yeah.. um.. welllll.. it's.. ahh Umm.. Ahem.. *cough*... bad .
Rob Szabo Rob Szabo (Independent) Social tongue-clucking From privileged white fucktard: I want to punch you .
Bell X1 Bloodless Coup (YepRoc) Tom Tom mallet beat A blight on a great record Like hot girl herpes
Matt Epp & The Amorian Assembly At Dawn (Independent) Low expectations One dude looks just like Yanni But, this is quite sweet
The Details Lost Art (Parliament of Trees) Well-crafted pop songs With vocals soaring so high You'll get a nosebleed
VUEWEEKLY // MAY 5 – MAY 11, 2011
MUSIC // 27
MUSIC WEEKLY FAX YOUR FREE LISTINGS TO 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM DEADLINE: FRIDAY AT 3PM
THU MAY 5 28 DEGREES Experimental improvisation with Steven Johnson and his 12-string guitar with guest musicians. Bring your instruments every Thu ACCENT EUROPEAN LOUNGE Kaley Bird (folk), The Lions (rock); 9:30pm11:30pm; no minors; no cover BLUES ON WHYTE Lady Bianca BOHEMIA Brycel LaLonde and his APC-40; no minors; 8pm (door), 9pm (show); $10 (door) BRIXX Shad (rap), Miracle Fortress, Transit; no minors; 8pm (door); $15 at PrimeBoxOffice.com, UnionEvents.com, Brixx, Blackbyrd CARROT CAFÉ Zoomers Thu afternoon open mic; 1-4pm THE COMMON Andy Pockett Going Away Party, Chester Fields; 8pm CROWN AND ANCHOR Sean Burns Trio; 9pm; no cover
WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Billy Ringo WUNDERBAR Brooke Wylie and the Coyotes (country), Cowpuncher, Give 'em Hell Boys; 8pm
Classical WINSPEAR CENTRE A Night of Inspiration: Singing the Classics–Saving the Children featuring Danielle Lowe (country) en Gillis, and Allee; 7:30pm; $30 (concert only)/ $75 (VIP, incl private reception and silent auction at 5:30pm)
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
DIESEL ULTRA LOUNGE Beenie Man; 9pm
CENTURY ROOM Lucky 7: Retro '80s with house DJ every Thu; 7pm-close
THE DOCKS Thu night rock and metal jam
CHROME LOUNGE 123 Ko every Thu
DRUID IRISH PUB DJ every Thu at 9pm
THE COMMON So Necessary: Hip hop, classic hip hop, funk, soul, r&b, '80s, oldies and everything in between with Sonny Grimezz, Shortround, Twist every Thu
DV8 Acoustic Chaos Thursdays: bring your guitars, basses, drums, whatever and play some tunes; Cinco De Mayo, W/ N.N, Suicidal Cop, War Lust, Pez Heads at 9pm
TAPHOUSE�St Albert Eclectic mix every Thu with DJ Dusty Grooves UNION HALL 123 Thursdays WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close
FRI MAY 6 ARTERY Lords Kitchner, Noisy Colours, guests; licensed all ages event; 8pm (door) $10 (at Blackbyrd, theartery.ca)/$12 (door) BLACKJACKS ROADHOUSE� Nisku The Marv Machura Band; 8:30pm BLUE CHAIR CAFÉ Old Man Luedecke, Ladies of the Canyon; 8pm; $20 BLUES ON WHYTE Lady Bianca CAFFREY'S IN THE PARK Chill Factor (rock); 9:30pm CARROT Live music every Fri; all ages; Carrie Day (contemporary/pop/folk); 7pm; $5 (door) CASINO EDMONTON Robin Kelly CASINO YELLOWHEAD Catalyst CENTURY CASINO Outside the Wall (Pink Floyd tribute band) COAST TO COAST Open stage every Fri; 9:30pm THE COMMON Boom The Box: Omar Elfar, Girls Club, Allout DJs; 8pm CROWN AND ANCHOR Sean Burns Trio; 9pm; no cover DEVANEY'S Doug Stroud (country/pop/rock); 8pm DV8 Endprogram, BDFM, guests; 9pm EARLY STAGE SALOON� Stony Plain Kyler Schogen Band; 8pm EDDIE SHORTS River City Roosters (blues/R&B/rock); 9pm
RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Fri; 9pm-2am
NEWCASTLE PUB House, dance mix every Fri with DJ Donovan
DV8 Gunsmoke, The Rock 'n' Roll Rats, Ritchie Paul and The Giant Child; 9pm
RUSTY REED'S HOUSE OF BLUES Russell Jackson; $10
OVERTIME�Downtown Fridays at Eleven: Rock Hip hop country, Top forty, Techno
EDDIE SHORTS Saucy Wenches every Sat
SAWMILL BANQUET CENTRE Friday Nights at the Sawmill: The Classics; 8pm-12am; $15 (adv at 780.468.4115)/$20 (door)
THE PALACE Crush The Beat: DJs, Sun Fuel (electronic music event), Adam Weimann, Brandon Wu; 8pm (door); 16+ event; $20 (adv)/$25 (door)
STARLITE ROOM First Aid Kit, Treeburning and Old World Sparrows; 9pm; $12 (door)
REDNEX�Morinville DJ Gravy from the Source 98.5 every Fri
TRANSALTA ARTS BARNS Northern Lights Folk Club: UHF (Shari Ulrich, Bill Henderson, Roy Forbes); $25 WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD EARTH BAKERY Raphaël Freynet (pop/ folk/ rock); 8pm WILD WEST SALOON Billy Ringo WOK BOX Breezy Brian Gregg every Fri; 3:30-5:30pm WUNDERBAR Freshman Years (pop/punk); 9pm YARDBIRD SUITE Jim Head, Josh McHan Group; 8pm (door), 9pm (show); $12 (member)/$16 (guest)
Classical FIRST PRESBYTERIAN CHURCH Early Music Alberta Festival: Opening concert: Brian Asawa, choral/workshop: Jolaine Kerley, Josephine van Lier, Gilbert Martinez; 8pm ROYAL GLENORA CLUB Night on Broadway: Edmonton Columbian Choirs; dinner and cabaret with MC Colin MacLean; 6pm (cocktails), 6:30pm (dinner and show); tickets at 780.430.6808 WINSPEAR CENTRE The ESO presents Cameron Carpenter (organ), William Eddins (conductor); 8pm; $20-$50
DJs 180 DEGREES DJ every Fri
DRUID IRISH PUB DJ every Thu; 9pm
EXPRESSIONZ CAFÉ Uptown Folk Club: open stage at 7pm, sign-up at 6:30pm; followed by a mini-concert featuring Loose Ends at 8pm; open stage continues after 9pm
ELECTRIC RODEO�Spruce Grove DJ every Thu
FRESH START BISTRO Adam Johnston; 7-10pm; $10
FILTHY MCNASTY’S Punk Rock Bingo every Thu with DJ S.W.A.G.
GAS PUMP The Uptown Jammers (house band); every Fri; 5:30-9pm
FLOW LOUNGE Temptation Thursdays: Ladies nite, Grand Opening Vibez: Hiphop, R 'n' B, Reggae, Old Skool, Soca with Invinceable, Bomb Squad, Tnt, The King Qb, Rocky (Voice Of The Vibe)
GIBBONS HOTEL C2C (pop/ rock); 9pm
BLACK DOG FREEHOUSE DJs spin on the main floor every Fri; Underdog, Wooftop
GRINDHOUSE Mosaic of Music: Live bands and DJs; 8pm (door); $15 (adv)/$18 (door)
BLACKSHEEP PUB Bash: DJ spinning retro to rock classics to current
FLUID LOUNGE Thirsty Thursdays: Electro breaks Cup; no cover all night
HAVEN SOCIAL CLUB Jeremy Fisher (solo), Sean McCann (Great Big Sea); 8pm
MARYBETH'S COFFEE HOUSE�Beaumont Open mic every Thu; 7pm
FUNKY BUDDHA�Whyte Ave Requests every Thu with DJ Damian
IRISH CLUB Jam session every Fri; 8pm; no cover
BUFFALO UNDERGROUND R U Aware Friday: Featuring Neon Nights
NAKED CYBER CAFÉ Open stage every Thu, 9pm; no cover
HALO Fo Sho: every Thu with Allout DJs DJ Degree, Junior Brown
JEFFREY'S CAFÉ Paul Ledding (jazz singer); $10
CHROME LOUNGE Platinum VIP every Fri
NEW CITY LEGION Tzadeka, The Jay Gilday Band, Hellpreacher; no minors; $10 (door)
KAS BAR Urban House: every Thu with DJ Mark Stevens; 9pm
JEKYLL AND HYDE PUB Headwind (classic pop/rock); every Fri; 9pm; no cover L.B.'s PUB Oil City Sound Machine, Alberta's Dance Band; 9:30pm-2am
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
LEVEL 2 LOUNGE Formula Fridays: Nueva Nights Label Party; 9:30pm
THE DRUID IRISH PUB DJ every Fri; 9pm
EMPIRE BALLROOM Miles Dyson, Cold Blank HAVEN SOCIAL CLUB Karl Andriuk (CD release party for One Peace at a Time), Jess an the Rest, guests; 8pm (door); $10 (adv)/$12 (door) J AND R Open jam rock 'n' roll; every Thu; 9pm JEFFREY'S CAFÉ Paul Hookham Trio (modern jazz, funk, Latin); $10 L.B.'S PUB Songwriters acoustic showcase every Thu; 9pm-1am LEVEL 2 LOUNGE Stickybuds; 9pm
NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers every Thu RED PIANO Cinco de Mayo; 5-9pm (dinner), 8pm (show) RIC’S GRILL Peter Belec ( jazz); most Thu; 7-10pm
CROWN PUB Bass Head Thursdays: Drum and Bass DJ night, 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
RUSTY REED'S HOUSE OF BLUES Russell Jackson; $5
OVERTIME�Downtown Thursdays at Eleven: Electronic Techno and Dub Step
SECOND CUP�Varscona Live music every Thu night; 7-9pm
RENDEZVOUS Metal night every Thu
THAT'S AROMA Open stage hosted by Carrie Day, and Kyler Schogen; 7-9pm
28 // MUSIC
SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca
LIZARD LOUNGE Rock 'n' roll open mic every Fri; 8:30pm; no cover NEW CITY LEGION Ivory Cell; no minors O'MAILLE'S Mr Lucky (blue/ roots) ON THE ROCKS Mourning Wood PAWN SHOP Acronycal, DualSide, Desert Bar
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
BUDDY’S DJ Arrow Chaser every Fri; 8pm (door); no cover before 10pm
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
RED STAR Movin’ on Up: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson; every Fri ROUGE LOUNGE Solice Fri SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca SUEDE LOUNGE Juicy DJ spins every Fri SUITE 69 Every Fri Sat with DJ Randall-A TEMPLE Options with Greg Gory and Eddie Lunchpail; every Fri TREASURY In Style Fri: DJ Tyco and Ernest Ledi; no line no cover for ladies all night long UNION HALL Ladies Night every Fri VINYL DANCE LOUNGE Connected Las Vegas Fridays Y AFTERHOURS Foundation Fridays
SAT MAY 7 ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 ARTERY Fire For Effect, Kay There House Builder, Souvs; no minors; $10 (door) AVENUE THEATRE Architects UK, Dead and Divine, Fall City Fall, Counterparts; all ages event; 7pm (door); tickets at Blackbyrd BLACK DOG FREEHOUSE Hair of the Dog: The Boom Chucka Boys (country/rock); (live acoustic music every Sat); 4-6pm; no cover BLACKJACK'S ROADHOUSE�Nisku Beaumont Blues Festival Launch Party and fundraiser; 6pm; beaumontblues.net BLUE CHAIR CAFÉ Bobby Cameron; 8pm; $20 BLUES ON WHYTE Every Sat afternoon: Jam with Back Door Dan; Evening: Lady Bianca BOHEMIA Solidarity Rock: featuring Flint, The Fucking Lottery, Ben Disaster, Matt McKeen; no minors; 8pm (door), 9pm (show) BRIXX BAR Atlas Shrug (contemporary/alt/hard rock/ rock), Keep 6, The Equation; 9pm CAFFREY'S IN THE PARK Chill Factor (rock); 9:30pm CASINO EDMONTON Robin Kelly CASINO YELLOWHEAD Catalyst CENTURY CASINO Outside the Wall (Pink Floyd tribute band) COAST TO COAST Live bands every Sat; 9:30pm THE COMMON Three's Company....Four's a Party!; 9pm CROWN AND ANCHOR Sean Burns Trio; 9pm; no cover CROWN PUB Acoustic blues open stage with Marshall Lawrence, every Sat, 2-6pm; Laid Back Saturday African Dance Party with Dj Collio, every Sat, 12-2am DEVANEY'S Doug Stroud (country/pop/rock); 8pm
VUEWEEKLY // MAY 5 – MAY 11, 2011
FILTHY MCNASTY'S One Way State, Strange Planes; 4pm; no cover GAS PUMP Blues jam/open stage every Sat 3:30-7pm HAVEN SOCIAL CLUB The Sumner Brothers, Fire Next Time, Dub Vulture (Blues / Country / Folk); 8pm HILLTOP PUB Open stage every Sat hosted by Blue Goat, 3:30-6:30pm HOOLIGANZ Live music every Sat IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 JEFFREY'S CAFÉ Doug Towle (Flamenco and Spanish guitar); $10 KARMA'S FAMILY RESTAURANT AND LOUNGE Mother's Day Celebration buffet: The Eric Allison Jazz Trio; 7-10pm; reservations recommended L.B.'s PUB Jimmy Guiboche and friends; 9:30pm-2am MEAD HALL Colin Osterman Project, Truck!, Amifera; 8pm O’BYRNE’S Live band every Sat, 3-7pm; DJ every Sat, 9:30pm O'MAILLE'S Mr Lucky (blue/ roots) ON THE ROCKS Mourning Wood PAWN SHOP Transmission Saturdays RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players every Sat; 9pm-2am RUSTY REED'S HOUSE OF BLUES Russell Jackson; $10 STARLITE ROOM Raygun Cowboys, Scorched Banditos, Preying Saints; no minors; 9pm; $12 (adv at Redemption Boutique, Brixx) WILD WEST SALOON Billy Ringo YARDBIRD SUITE Cross Border Jazz, Tunnel Six; 8pm (door), 9pm (show); $18 (member)/$22 (guest)
Classical AL SHAMAL SHRINE CENTRE Joys of Julie Andrews: A Sing-Along Cabaret with Edmonton Metropolitan Chorus; 7:30pm (door); $20 at TIX on the Square FIRST PRESBYTERIAN CHURCH Early Music Alberta Festival: Reading Session: Jen Hoyer (recorder) 9:30am; String Instrument workshop/ lecture: Ross Hill (Luthier) 11:15am; Ornamentation and Improvisation in the Baroque Era: George Andrix (Baroque violin) 2pm; Marnie Giesbrecht (concert), George Andrix, Josephine van Lier 4pm; Brian Asawa, voice masterclass 8pm; Harpsichord Concert: Gilbert Martinez, Josephine van Lier 8pm ROYAL GLENORA CLUB Night on Broadway: Edmonton Columbian Choirs; dinner and cabaret with MC Colin MacLean; 6pm (cocktails), 6:30pm (dinner and show); tickets at 780.430.6808
Raga-Mala Music Society: Pandit Sanjeev Abhyankar (Hindustani Classical Vocal Maestro), with Rohit Mujumdar (tabla), Tanmoy Deochake (Harmonium); 7pm (door); $20/$15 (student/ senior)/free (Raga-Mala members) at 780.445.7771
WINSPEAR CENTRE Al Simmons' Symphony for Kids: Lucas Waldin (conductor); 2pm; $21-$29 (adult)/$13$17(child)
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
SUN MAY 8 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 Mother's Day brunch: Jim Findlay Trio; 10am-2:30pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun: Don Berner (jazz); 6pm; $25 if not dining CASINO YELLOWHEAD Keith Baker (Mother's Day dinner and show ticketed event) 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 EDDIE SHORTS Acoustic jam every Sun; 9pm BALLROOM The Next Big Thing: (vocal/band), Dance showcase; Mixmaster (DJ); hottest talent search every Sun EXPRESSIONZ CAFÉ YEG live Sun Night Songwriters Stage; 7-10pm EXPRESSIONZ CAFÉ Country/country rock Jam and Dance hosted by Mahkoos Merrier, 2nd Sun every month, 1-5pm, admission by donation; YEG live Sun Night Songwriters Stage; 7-10pm HORIZON STAGE Honens International Piano Presents Katherine Chi; 2pm; $16 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
JUNCTION BAR AND
NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm
EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm
O’BYRNE’S Open mic every Sun; 9:30pm-1am
NEWCASTLE PUB Top 40 requests every Sat with DJ Sheri
ON THE ROCKS Seven Strings Sun: Acronycal Acoustic Show
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; 1pm4:30pm and 7-10:30pm SUEDE LOUNGE DJ Nic-E spins every Sat SUITE 69 Every Fri Sat with DJ Randall-A TEMPLE Oh Snap! Oh Snap with Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop and P-Rex; every Sat
SAINT TIMOTHY’S ANGLICAN CHURCH Verdure: I Coristi Chamber Choir; 8pm; $20 (adult)/$15 (student/ senior) at TIX on the Square
UNION HALL Celebrity Saturdays: every Sat hosted by Ryan Maier
STANLEY MILNER LIBRARY THEATRE Edmonton
Y AFTERHOURS Release Saturdays
VINYL DANCE LOUNGE Signature Saturdays
ORLANDO'S 2 PUB Open stage jam every Sun; 4pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm WUNDERBAR Jordan Klassen (folk), Boreal Sons and Simon Hoskyn; 8pm
Classical AL SHAMAL SHRINE CENTRE Joys of Julie Andrews: A Sing-Along Cabaret with Edmonton Metropolitan Chorus; 2:30pm (door); $20 at TIX on the Square HOLY TRINITY ANGLICAN CHURCH Early Music Alberta Festival: Harpsichord and Chamber Music Masterclass: Gilbert Martinez 1pm; Final Concert: Scona Chamber Singers, Brian Asawa, Jolaine Kerley, Strathcona String Quartet 8pm TRINITY CHRISTIAN REFORMED CHURCH Teen Challenge Choir; 6:30pm
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
FILTHY MCNASTY'S Metal Mon: with DJ S.W.A.G. LUCKY 13 Industry Night every Mon with DJ Chad Cook
SPORTSWORLD Roller Skating Disco Sun; 1-4:30pm; sports-world.ca
NEW CITY LEGION Madhouse Mon: Punk/metal/ etc with DJ Smart Alex
MON MAY 9
TUE MAY 10
BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover
BLUES ON WHYTE Funkafeelya
BLUES ON WHYTE Funkafeelya DEVANEY'S IRISH PUB Singer/songwriter open stage every Mon; 8pm JUBILEE AUDITORIUM Daniel O'Donnell; 7pm; $50-$95 KELLY'S PUB Open stage every Mon; hosted by Clemcat Hughes; 9pm POURHOUSE BIER BISTRO Lanterns of Hope: Edmonton Musicians in Support of Japan: Booming Tree (world), Paul Bellows, Andrea House, Chris Smith, friends; 6pm PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam every Mon; hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm ROSE BOWL/ROUGE LOUNGE Acoustic open stage every Mon; 9pm WUNDERBAR Abigail Lapell (folk), Julie Jonas, Natacha Homerodean; 8pm
Classical WINSPEAR CENTRE The Peking Acrobats, Lucas Waldin, (conductor); 7:30pm; $40-$50 (adult)/$25-$35 (child)
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
BRIXX BAR Troubadour Tue: hosted by Mark Feduk; 9pm; this week featuring Megan Kemshead (folk), Scott Cook, Mark Feduk 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 REXALL PLACE System Of A Down, Gogol Bordello; 6:30pm (door), 7:30pm (show); $25, $45.50, $69.50 RUSTY REED'S HOUSE OF BLUES Big Rock Open Jam: Moses Gregg, Grant Stovel, guest SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm SECOND CUP� Summerwood Open stage/ open mic every Tue; 7:30pm; no cover SIDELINERS PUB All Star Jam every Tue; with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE Open stage every Tue; hosted by Paul McGowan; 9pm WUNDERBAR HOFBRAUHAUS Stuesdays: Every Tue Wunderbar's only
regular DJ night
YARDBIRD SUITE Tue Night Sessions: Stefan Kijek Quartet ( jazz); 7:30pm (door), 8pm (show); $5
Classical WINSPEAR CENTRE The Peking Acrobats, Lucas Waldin, (conductor); 7:30pm; $40-$50 (adult)/$25-$35 (child)
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 BUDDYS DJ Arrow Chaser every Tue; free pool all night; 9pm (door); no cover CHROME LOUNGE Bashment Tue: Bomb Squad, The King QB, Rocky; no cover CROWN PUB Underground At The Crown: hip hop; open mic every Tue, 9pm-2am DV8 Creepy Tombsday: Psychobilly, Hallowe'en horrorpunk, deathrock with Abigail Asphixia and Mr Cadaver; every Tue FUNKY BUDDHA�Whyte Ave Latin and Salsa music every Tue; dance lessons 8-10pm 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
WED MAY 11 BLACK DOG FREEHOUSE Main Floor: Glitter Gulch: live music once a month BLUES ON WHYTE Funkafeelya BRIXX BAR Really Good…
Eats and Beats: DJ Degree, friends every Wed; 6pm; $5
CENTURY GRILL Century Room Wed Live: featuring The Marco Claveria Project; 8-11pm CROWN PUB Dan Jam/open stage every Wed; 8pm-2am EDDIE SHORTS Acoustic jam every Wed, 9pm; no cover ELEPHANT AND CASTLE� Whyte Ave Open mic every Wed (unless there's an Oilers game); no cover EXPRESSIONZ CAFÉ Open stage with Randall Walsh; every Wed; 7-11pm; admission by donation FIDDLER'S ROOST Little Flower Open Stage every Wed with Brian Gregg; 8pm-12 GOOD EARTH COFFEE 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 MEAD HALL Weapon, Rudra; 8pm NISKU INN Troubadours and Tales: 1st Wed every month; with Tim Harwill, guests; 8-10pm PLAYBACK PUB Open Stage every Wed hosted by JTB; 9pm-1am PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (non-member) RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm-1am; $5 RIVER CREE Live rock band every Wed hosted by Yukon Jack; 7:30-9pm
RUSTY REED'S HOUSE OF BLUES Gordie Matthews Band SECOND CUP�Mountain Equipment Open mic every Wed; 8-10pm WUNDERBAR HOFBRAUHAUS Open mic every Wed, 9pm
Classical PLANET ZE DESIGN CENTRE Mercury Opera: Sendin’ the Clowns to Toronto to Meet the Dragons; 7pm (door); 8pm (show); tickets at TIX on the Square
DJs BANK ULTRA LOUNGE Rev'd Up Wed: with DJ Mike Tomas upstairs; 8pm BLACK DOG FREEHOUSE Main Floor: RetroActive Radio Wed: alt '80s and '90s, Post Punk, New Wave, Garage, Brit, Mod, Rock and Roll with LL Cool Joe; Wooftop: Soul/breaks with Dr Erick BRIXX BAR Really Good... Eats and Beats: every Wed with DJ Degree and Friends BUDDY'S DJ Dust 'n' Time every Wed; 9pm (door); no cover THE COMMON Treehouse Wednesday's DIESEL ULTRA LOUNGE Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs LEGENDS PUB Hip hop/R&B with DJ Spincycle NEW CITY LEGION Wed Pints 4 Punks: with DJ Nick; no minors; 4pm-3am; no cover NIKKI DIAMONDS Punk and ‘80s metal every Wed RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm TEMPLE Wild Style Wed: Hip hop open mic hosted by Kaz and Orv; $5
VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 28 DEGREES 5552 Calgary Tr ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 AL SHAMAL SHRINE CENTRE 14510-142 St 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 Dr, 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 CAFFREY'S IN THE PARK 1-99 Wye Rd Sherwood Park 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 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 491152 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ELEPHANT AND CASTLE� Whyte Ave 10314 Whyte Ave EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FIRST PRESBYTERIAN CHURCH 10025-105 St, 780.422.2937 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10888 Jasper Ave, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GOOD EARTH COFFEE HOUSE 9942-108 St GIBBONS HOTEL 5006-50 Ave, Gibbons GRINDHOUSE 14420-112 St HALO 10538 Jasper Ave, 780.423.HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILLTOP PUB 8220-106 Ave,
780.490.7359 HOLY TRINITY ANGLICAN CHURCH 10037-84 Ave, 780.433.5530 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 KARMA'S RESTAURANT AND LOUNGE�Sylvan Lake 117 Lakeway Blvd, 403.887.1808 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 NAKED CYBER CAFÉ 10354 Jasper Ave, 780.425.9730 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 O'MAILLE'S 398 St Albert Tr, 780.458.5700 ON THE ROCKS 11730 Jasper
Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME�Downtown 10304111 St, 780.465.6800 OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLANET ZE DESIGN CENTRE 10055-80 Ave, 780.637.5829 PLAYBACK PUB 594 Hermitage Rd, 130 Ave, 40 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave POURHOUSE BIER BISTRO 10354 Whyte Ave REDNEX BAR�Morinville 10413-100 Ave, Morinville, 780.939.6955 RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St ROYAL GLENORA CLUB 11160 River Valley Rd R PUB 16753-100 St, 780.457.1266 RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SAINT TIMOTHY’S ANGLICAN CHURCH 8420-145 St SAWMILL BANQUET CENTRE 3840-76 Ave SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SECOND CUP�Sherwood Park 4005 Cloverbar Rd,
Sherwood Park, 780.988.1929 ʸ Summerwood Summerwood Centre, Sherwood Park, 780.988.1929 SIDELINERS PUB 11018-127 St, 780.453.6006 SPORTSWORLD 13710-104 St SPORTSMAN'S LOUNGE 8170-50 St STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS TEA LOUNGE�Whyte Ave 11116-82 Ave SUEDE LOUNGE 11806 Jasper Ave, 780.482.0707 SUITE 69 2 Fl, 8232 Gateway Blvd, 780.439.6969 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 THAT'S AROMA 11010-101 St, 780.425.7335 TRANSALTA ARTS BARNS 10330-84 Ave TREASURY 10004 Jasper Ave, 7870.990.1255, thetreasurey.ca TRINITY CHRISTIAN REFORMED CHURCH 1342757 St VINYL DANCE LOUNGE 10740 Jasper Ave, 780.428.8655, vinylretrolounge.com 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 EARTH BAKERY 890299 St WILD WEST SALOON 1291250 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Sq, 780.28.1414 WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295
VUEWEEKLY // MAY 5 – MAY 11, 2011
MUSIC // 29
backwords
COMMENT >> ALT SEX
On your own
chelsea boos // che@vueweekly.com
Masturbation too controversial for sex-ed programs Happy National Masturbation Month! Don't worry: Self pleasure is an issue that kids in Grade 6 have if you weren't aware that May is National Masturbabeen thinking about, and most of them have probtion Month, you're not alone. Even though it began ably been doing for years already, but some people in the USA in 1995, National Masturbation Month is think they are too young to get some explanation still something most people have never heard of. and clarification in school. The awareness campaign began shortly after When McGuinty called a halt on the program, he then-US surgeon general Jocelyn Elders was said that it was for reasons of consultation about forced to resign her position due to controversy the program as it was developed. He promised over her position on masturbation. In 1994 that this process would take place and the Elders, in response to a question from the program, perhaps revised, would be implepress, expressed that she thought masmented in time. So where are we now, a turbation should perhaps be taught. year later? In March, Education Minister While Elders had been criticized for Leona Dombrowsky stated during quesm o .c eekly @vuew many controversial positions before tion period that the Ministry of Educabrenda a d this turned out to be too much. A huge tion is looking at its process for consultn e r B firestorm of media and public outrage erber ing parents. In other words, absolutely K erupted and former president Bill Clinton nothing has been done. Perhaps it's easier to asked Elders to resign. talk about talking to parents than it is to actually Good Vibrations sex toy store in San Francisco talk to kids. subsequently launched a campaign to promote the With all the controversy it looks like National health benefits of self-love and to encourage peoMasturbation Month is just as relevant now as it ple to talk about, and practise, masturbation. Thus was 16 years ago. If children aren't going to hear Masturbation Month was born. about masturbation in school, isn't it up to us to Fifteen years later, on April 22, 2010, Dalton make sure that they hear about it elsewhere? McGuinty, premier of Ontario, announced that he This natural, and very healthy, mode of sexual was pulling the plug on the Ontario School Board's self-expression, which is usually every child's first new sex-education curriculum. The curriculum was a sexual experience, should be applauded rather than comprehensive program developed over two years shamed. Maybe a month-long public awareness by leaders in education and curriculum research. campaign is just what we need. V When news of the program was released to the media, a small number of parents objected, threatBrenda Kerber is a sexual health educator who has ening to pull their children out of school. Among worked with local not-for-profits since 1995. She is the parts of the program they singled out as unacthe owner of the Edmonton-based, sex-positive adult ceptable: discussing masturbation in grade six. toy boutique the Traveling Tickle Trunk.
LUST E LIF
FOR
Beauty in the buff The season has come to start spring cleaning. People are out in full force, primping and preening the streets. In their path, one stumbles upon these little patches of paint, like inadvertent colour field paintings that could have jumped from the pages of a book called
"The History of Modern Art." A clever artist might even take a roller and a few cans of paint to a wall of their choice and make some art à la Marion Nicoll or Mark Rothko. Who knows, maybe there are already monochromatic masterworks in our midst. V
FREEWILL ASTROLOGY ARIES (Mar 21 – Apr 19) Imagine this scene, as described by Seattle-based video artist Michael Douglas. "Sometimes a tree falls down in a field of cows, and the cows walk over to it and stare at it. There's something different in the field and the cows start to hang out around the tree and watch it, attracted to the rupture in the order of things. They gather around it for months, even after they completely forget why they started doing it." I think there's a comparable scene going on in your life right now. People you care about are seemingly hypnotized by a certain "rupture in the order of things" that took place some time ago. In my opinion, it's your task to wake them up, gently if possible, and motivate them to move on.
this make sense so far? It all seemed perfectly reasonable and helpful in my dream. "Sneak a gift to your bad self. Dissolve the ties that bind you to hollow intelligence." That's it: my dream of your horoscope. If you can align yourself with its spirit, I bet you'll be primed for the waking-life opportunities that are headed your way.
TAURUS (Apr 20 – May 20) Your vitality is heading toward peak levels, and your body is as smart as it gets. If you were ever going to act as if every move you make is a dance, now would be the time to do it. Give yourself permission to be a fluid bolt of ingenious fun. Play hard and sweet, with sublime ferocity.
CANCER ( Jun 21 – Jul 22) Writing in the Journal of Medical Ethics, psychologist Richard Bentall proposed that happiness be reclassified as a "psychiatric disorder." "Happiness is statistically abnormal," he argued. It "consists of a discrete cluster of symptoms, is associated with a range of cognitive abnormalities, and probably reflects the abnormal functioning of the central nervous system." If he's correct, you may have a problem. According to my reading of the astrological omens, you're about to be besieged by a massive influx of good feelings. It may be hard for you to fend off surges of unreasonable joy, well-being, and gratitude. So let me ask you: Are you prepared to enter into rebel mode as you flaunt your abnormal bliss?
GEMINI (May 21 – Jun 20) "Make the invisible dark force beautiful." That was the first line of the horoscope I wrote for you in my dream last night. "Create a song out of your moans. Brag about your wounds. Dance reverently on the graves of your enemies." Does any of
LEO ( Jul 23 – Aug 22) Two British men, Jack Jones and Chris Cuddihy, pulled off an epic deed in 2009. They ran seven marathons in seven consecutive days on seven continents. Each marathon was over 31 miles. I'm not recommending that you try something as ridiculously
30 // BACK
ROB BREZSNY // FREEWILL@vueweekly.com
excessive as they did, but I do want to note that you're now in a phase when your capacity for amazing feats is bigger than usual. Do you have any ideas about what you could accomplish that's beyond your expectations? VIRGO (Aug 23 – Sep 22) What have you had to relinquish in the past 10 months, Virgo? Whatever it is, I predict you will be compensated for it over the course of the next 12 months. And the process begins soon. It's not likely that the incoming blessing will bring an exact replacement for the dream that got away. Rather, you will be awakened to an unexpected new source of excitement, thereby dissolving the lingering sense of loss and liberating you to rise again. LIBRA (Sep 23 – Oct 22) If given the choice between having our lives change or keeping our lives the same, many of us would choose the status quo. We tend to feel that even if the current state of things is uncomfortable, it's still preferable to having to deal with the uncertainty and fear that come from transformation. But I don't think you fit this description right now, Libra. Of all the signs of the zodiac, you're the one that's most receptive to shifting the mood and experimenting with the rules. It's easier than usual for you to imagine different ways of doing things. Take advantage of this superpower.
VUEWEEKLY // MAY 5 – MAY 11, 2011
SCORPIO (Oct 23 – Nov 21) Hugo Chavez is the socialist president of Venezuela, not an astronomer. Yet he recently speculated that the planet Mars once had a thriving civilization that met its doom because its resources were drained off and poisoned by the excesses of capitalism. I applaud Chavez's improvisation. May I suggest you indulge in your own version of this art form? According to my reading of the astrological omens, it would be downright healthy for you to unveil some unpredictable self-expressions to anyone and everyone who think they have you all figured out. SAGITTARIUS (Nov 22 – Dec 21) Symmetry and equilibrium are not all that valuable right now. In fact, I recommend that you cultivate a jaunty knack for stylish lopsidedness. Appreciate the beauty of irregularity. Be alert for the way incongruous details reveal fresh, hot truths that provide you with exactly what you need. Even so-called flaws and mistakes may lead to lucky accidents. CAPRICORN (Dec 22 – Jan 19) "It was better for me when I could imagine greatness in others, even if it wasn't always there," said Charles Bukowski. According to my analysis of the astrological omens, this strategy will also work wonders for you in the coming days. Trying to see what's great about other people will tend to activate your own dormant greatness. So
ask yourself: What's beautiful, smart, interesting, and successful about the people you know? Fantasize aggressively. AQUARIUS ( Jan 20 – Feb 18) The income gap between the richest and poorest sections of society has always been large, but in recent years it has grown absurdly, grotesquely humongous. As journalist Les Leopold notes, there are hedge-fund gamblers who rake in more money in an hour than a middle-class wage-earner makes in 47 years. From an astrological perspective, Aquarius, it's an excellent time for you to raise your voice against this inequity. Furthermore, you'd be wise to dramatically shrink the discrepancy between the haves and have-nots in your own personal sphere, where you can actually have an immediate effect. You might start the healing by asking yourself how the rich aspects of your psyche steal from the poor parts. PISCES (Feb 19 – Mar 20) There's a good chance you will soon utter the smartest words you have ever said in your life. That's how in tune I expect you to be with your inner sources of wisdom. And that's how closely aligned you'll be with the Divine Intelligence formerly known as God. Now here's the surprise ending to my message for you, Pisces: Your brilliant insights and cogent statements may tempt you to be wilder and freer than you've been in a long time.
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LECTURES/PRESENTATIONS CHILDBIRTH: RESEARCH MATTERS Caf_¿k
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DIALOGUE ON DEMOCRACY: SHOULD VOTING BE COMPULSORY? ?dY[a]j Je$ Dakl]j ;gf^]j]f[]
;]flj]$ 0/ 9n]$ )). Kl$ M g^ 9 ,(+&*,,&.... ?]Ylmjaf_ kh]Yc]jk <Yf K`Yhajg$ ;`Yjdgll] Caf_klgf$ Kl]n] HYll]f May 11$ /%1he >j]]
EMERGENCY PREPAREDNESS DAY: GET READY IN THE PARK @Yoj]dYc HYjc$ 1++( ?jgYl J\ ;daeZ
aflg l`] [g[chal g^ Y `]da[ghl]j$ kal af Yf YeZmdYf[]$ k]] k]Yj[` Yf\ j]k[m] \g_k af Y[lagf$ Yf\ d]Yjf `go lg mk] Y Çj] ]plaf_mak`]j May 7$ )(Ye%,he >j]]
GET PUBLISHING 2011: AT THE EDGE OF PRINT JgZZafk @]Ydl` D]Yjfaf_ ;]flj]$ ?jYfl
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GREAT EXPEDITIONS @gkl]ddaf_ Afl]jfYlagfYd$ )(.,/%0) 9n] /0(&,-,&.*).'/0(&,+-&.,(. @gkl]d ljYn]d kda\] hj]k]flYlagf2 9j_]flafY *((1!$ hj]k]flYlagf Zq KqdnaY Cjg_` May 9, /2+(he
HUMAN RIGHTS ;gfng[Ylagf @Ydd$ Gd\ 9jlk :d\_$ M g^ 9 Global Health and Human Rights: Working with the 20th Century Legacy oal` Kgdgegf :]fYlYj May 10$ /2+(he >j]] ILL�LITERACY KlYfd]q 9& Eadf]j DaZjYjq$ =\egflgf Je A^ qgm [Yf¿l j]Y\ [Yf qgm Z] `]Ydl`q7$ oal` Dgmak >jYf[]k[mlla$ Yf\ JYb K`]jeYf May 11$ /%1he$ .he \ggj! 9\eakkagf Zq \gfYlagf PEDRO REYES >9: ?Ydd]jq$ *%*($ M g^ 9 D][lmj]$ Zq E]pa[g ;alq k H]\jg J]q]k$ nakmYd Yjlakl Yf\ \]ka_f]j May 5$ -%.2+(he WHAT’S THE BOTTOM LINE? A CHRISTIAN CRITIQUE OF OUR ECONOMY Kl Bgk]h`¿k
@a_` K[`ggd$ )(0+(%)(1 Kl ;gfn]jkYlagf oal` Hjg^]kkgjk OaddaYe ;YnYfYm_`$ Yf\ EYjc 9fa]dkca$ oal` gl`]jk& ;gff][laf_ ;`jaklaYf >Yal` oal` e]Yfaf_^md Y[lagf ^gj ][gfgea[ bmkla[] May 13-14
FAIR VOTE ALBERTA KljYl`[gfY DaZjYjq$ ;ge%
AFFIRM SUNNYBROOK�Red Deer KmffqZjggc Mfal]\ ;`mj[`$ J]\ <]]j ,(+&+,/&.(/+ 9^Çje o]d[ge] D?:LI h]ghd] Yf\ l`]aj ^ja]f\k$ ^Yeadq$ Yf\ Ydda]k e]]l *f\ Lm]$ /he$ ]Y[` egfl`
emfalq Je mhklYajk! Egfl`dq e]]laf_ *f\ L`m ]Y[` egfl`3 /he May 12$ /he
FOOD ADDICTS Kl Dmc] k 9f_da[Yf ;`mj[`$
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HOME�Energizing Spiritual Community for Passionate Living ?Yjf]Ym'9k`Zgmjf] 9kkakl]\
Danaf_ HdY[]$ ))),0%0, 9n] Home2 :d]f\k emka[$ \jYeY$ [j]Ylanalq Yf\ j]È][lagf gf kY[j]\ l]plk lg ]f]j_ar] qgm ^gj hYkkagfYl] danaf_ =n]jq Kmf +%-he
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9n] /0(&,,)&.1.. Kg[aYdar]$ \ak[mkk$ e]]l h]ghd] o`g lo]]laf_ YZgml l`] Yjlk af =\egflgf May 5$ /he -
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NORTHERN ALBERTA WOOD CARVERS AS� SOCIATION <m__Yf ;geemfalq @Ydd$ +/*0%)(. Kl
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ORGANIZATION FOR BIPOLAR AFFECTIVE DISORDER (OBAD) ?j]q Fmfk @gkhalYd$ Je
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SONS OF NORWAY <ml[` ;YfY\aYf ;]flj]$ )++)*%),* Kl Kqll]f\] EYa ;]d]ZjYlagf May 14 \aff]j ]n]fl!3 *- )+qjk%Y\mdl!' )( .%)*qj!'^j]] mf\]j -! Y\n gfdq$ =dYaf] /0(&,+,&.-+* May 17$ )Ye ÈY_ jYakaf_! SPRING LABYRINTH WALK Jan]j\Yd] @Ydd$ 1*+)%
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VEGETARIANS OF ALBERTA :gffa] <ggf ;ge%
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WOMEN IN BLACK Af >jgfl g^ l`] Gd\ KljYl`% [gfY >Yje]jk EYjc]l Kad]fl na_ad2 )kl Yf\ +j\ KYl$ )(%))Ye$ ]Y[` egfl`$ klYf\ af kad]f[] ^gj Y ogjd\ oal`gml nagd]f[]
BISEXUAL WOMEN'S COFFEE GROUP 9 kg[aYd _jgmh ^gj Za%[mjagmk Yf\ Zak]pmYd oge]f ]n]jq *f\ Lm] ]Y[` egfl`$ 0he _jgmhk&qY`gg&[ge'_jgmh' Zo]\egflgf BUDDYS NITE CLUB ))/*-: BYkh]j 9n]
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EDMONTON PRIME TIMERS (EPT) MfalYjaYf
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G.L.B.T.Q, AFRICAN GROUP Hja\] ;]flj]$ 1-,(%))) 9n] /0(&,00&+*+, E]]lk *f\ L`m ]n]jq egfl`$ .he GLBT SPORTS AND RECREATION l]Ye]\egf%
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G.L.B.T.Q SENIORS GROUP K&9&?&= :d\_$ ;jY^l
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ILLUSIONS SOCIAL CLUB Bmf[lagf$ )(*,*% )(. Kl /0(&+0/&++,+ ;jgkk\j]kk]jk e]]l l`] *f\ >ja g^ l`] egfl`$ 02+(he
THE JUNCTION BAR )(*,*%)(. Kl /0(&/-.&-../
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LIVING POSITIVE ,(,$ )(,(0%)*, Kl /0(&,00&-/.0
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MAKING WAVES SWIMMING CLUB _]g[ala]k& [ge'eYcaf_oYn]kW]\e J][j]YlagfYd'[geh]lalan]
ARTIST TO ARTIST
Playful people!!! Interested participating in Movement-Theatre Street Performance for Fringe? E: Kristinajacob@yahoo.se Open Jury Photography Exhibit at Jubilee; Deadline: Jun 2; Application: visualartsalberta.com/blog/?page_ id=17335 Harcourt House Arts Centre is currently accepting submissions for their 2011/2012 Artist in Residence (AIR); submissions postmarked by May 31 to: Harcourt House Artist Run Centre, 3rd Fl, 10215-112 St, Edmonton, AB, T5K 1M7
/0(&,00&.--/ Egf2 9eYl]mj Kljah ;gfl]kl3 hjar]k oal` K`YoYfY Lm]2 Cal[`]f +%))he O]\2 CYjY% gc] oal` Larrq /he%)Ye3 Cal[`]f +%))he L`m2 >j]] hggd Ydd fa_`l3 cal[`]f +%))he >ja2 Eg[`g FY[`g >ja2 +he \ggj!$ cal[`]f gh]f +%))he
EDUCATIONAL
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Top acting training Apply today! www.topactingschool.ca
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HELP WANTED Queen of Tarts Bakery and Bistro seeks food loving, experienced and creative chef for our bistro. Full time, competitive wage, plus benefits. Apply in person at 10129 104 Street, or by email to queenoftarts@telus.net
3RD ANNUAL SALVATION ARMY Kaj Oafklgf
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2011 ARTISTS FOR LIFE ;YlYdqkl L`]Ylj]
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
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BEAUTY AND THE PLEATS DMP :]Ymlq :gmlaim]$ )*-+)%)(* 9n] /0(&,-)&),*+ Kad]fl Ym[lagf Z]Ymlq% fYfrY Z]f]Çlaf_ =\egflgf k Kmal Qgmjk]d^ May 15$ ))%-he )( Yf\ \gfYlagf g^ mfmk]\ lgad]lja]k!
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DECADENT DESSERT GALA AND AUCTION
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LEGAL NOTICES
FAIR TRADE EARTH DAY =Yjl` k ?]f]jYd Klgj]$
1.(-%0* 9n] 9 _Yl`]jaf_ g^ =[g _jgmhk2 =Yjl` k ?]f]jYd Klgj]$ N]_Yfk Yf\ N]_]lYjaYfk g^ 9dZ]jlY$ =\egflgf :a[q[d] ;geeml]jk¿ Kg[a]lq$ Ka]jjY ;dmZ g^ ;YfY\YºHjYaja] ;`Yhl]j$ ?j]]fh]Y[]$ <]hYjle]fl g^ H]Y[]$ Yf\ gl`]jk May 8$ )*%,he
FOR WHAT IT’S WORTH Gd\ KljYl`[gfY 9flaim] EYdd$ )(+*+%/0 9n] 9flaim] 9hhjYakYdk2 :jaf_ qgmj Yflaim]k$ naflY_] al]ek Yf\ [gdd][laZd]k lg j][]an] Y ojall]f YhhjYakYd May 7$ )%,he )( eaf \gfYlagf
Notice: the following individuals have recorded their Secured Party Creditor documents at the Washington State UCC office Timothy Mark Mason, Larry Edgar Zachow, Gregory Lawrence Brodeur, Marvin Hugh Winch Notice: Bruce Robert Templeman and Valerie Gail MearnsTempleman have filed their Secured Party Creditor documents in Washington State UCC office Notice: Eugene Jacob Korbut and Joane Irene Korbut have filed their Secured Party Creditor documents in Washington State UCC office
h]j al]e! FREE COMIC BOOK DAY @Yhhq @YjZgj ;gea[k ngd& )$ )***. BYkh]j 9n]3 @Yhhq @YjZgj ;ge% a[k ngd& *$ )0( EYffaf_ ;jgkkaf_ May 7$ )(Ye%-he EYljap @gl]d , [gmjk] e]Yd$ kad]fl Ym[lagf$ jY^^d]k$ \Yf[]$ \jYeYla[ khgc]f na_f]ll]k$ _m]kl kh]Yc]jk$ Yf\ `qhfglakl ;gdaf ;`jaklgh`]j¿k EYp Hgo]j =ph]ja]f[] May 8$ -he gh]fk!$ .he \aff]j!
MODAL MUSIC INC. 780.221.3116 Quality music instruction since 1981. Guitarist. Educator. Graduate of GMCC music program
MAKE IT! THE HANDMADE REVOLUTION
SALES/TRADE
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SALVATION ARMY ANNUAL LUNCHEON
The Paint Spot: Free Intro Demo: Block Printing: Transfer images onto lino; Sat, May 7, 1:30pm; paintspot.ca, 780.432.0240 Add to the theme of creative use of space through participation in Kaleido Festival’s 24 hour DECK OUT A LAMPPOST contest on September 10 and 11. Contest details and application form E: kaleidoprogram@gmail. com. Deadline: May 25 National Stiltwalkers of Canada are celebrating 10 years. Ever stiltwalked? Want to learn? NSC offers workshops. For more info stiltcanada.ca Artist Residency in Wood Buffalo: W: woodbuffalo.ab.ca/ artist; T: Connor Buchanan, 780.788.4335 Want to be part of Edmonton's New Art community collective? Send info ASAP to d_art_man@hotmail.com for jury in upcoming show Expressionz Café: looking for family friendly performers and presenters for the monthly marketplace E: expressionzcafe@gmail.com Gallery at Milner The Edmonton Public Library looking for artists working in any two-dimensional medium to submit proposals to show art work. Deadline: extended to May 7; W: epl.ca/call-for-submissions; 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 Call for Edmonton’s fourth Poet Laureate. Deadline for nominations: Fri, May 20, 4:30pm. Nomination forms at the Edmonton Arts Council Website: edmontonarts.ca/eac_projects/poet_laureate GeriActors and Friends: for adults 55+. Looking for singers and musicians to form a Rock Choir led by Paul Morgan Donald. Weds, May 18-Jun 8, 1:15-3:30pm at Foote Theatre School, Citadel Theatre; $25; 780.952.3492
MUSICAL INSTRUCTION
HEART�MOTHER’S DAY CHARITY GALA
Kaj Oafklgf ;`mj[`add Ki =\egflgf Kqeh`gfq Gj[`]kljY May 9-10
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
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SPECIAL EVENTS
QUEER
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ST PAUL'S UNITED CHURCH ))-*.%/. 9n] /0(&,+.&)--- H]ghd] g^ Ydd k]pmYd gja]flYlagfk Yj] o]d[ge] =n]jq Kmf )(Ye ogjk`ah!
WHAT SHOULD IT BE, AND HOW DO WE ACHIEVE IT? Egjafnadd] K]fagjk J]f\]r%Ngmk
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ROBERTSON�WESLEY UNITED CHURCH )(*(1%)*+ Kl /0(&,0*&)-0/ Kgmd GMLaf_2 D?:L% ^g[mk]\ Ydl]jfYlan] ogjk`ah3 *f\ Kmf ]Y[` egfl`$ /he3 ogjk`ah Kmf$ )(2+(Ye3 h]ghd] g^ Ydd k]pmYd gja]flYlagfk o]d[ge] D?:L egfl`dq Zggc [dmZ Yf\ Çde fa_`l& =2 bjYn]fk[jg^l8jom[&gj_
YOUTH UNDERSTANDING YOUTH E]]lk ]n]jq KYl$ /%1he =2 af^g8qmq]\e&[Y$ L2 /0(&*,0&)1/)
EDMONTON ESPERANTO SOCIETY )((*-%)(*9
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WHAT'S YOUR ISSUE? :g`]eaY$ )(-/-%)), Kl HmZda[ \ak[mkkagf May 7$ ,%.he ;]flj]$ 11*)+%)(, Kl$ Egjafnadd] ,(+&*,,&.... @gkl]\ Zq K`]d\gf ;`meaj$ oal` kh]Yc]jk <Yna\ Caf_$ >jYfc H]l]jk$ Daf\Y E[CYq%HYfgk$ \ak[mkkagf lg ^gddgo May 5$ /%1he >j]]
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CLASSIFIEDS
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PRIDE CENTRE OF EDMONTON 1-,(%))) 9n]$
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
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VUEWEEKLY // MAY 5 – MAY 11, 2011
ARTIST TO ARTIST
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MUSICIANS
THE ACCIDENT WILL gigging rock band seeks guitar or bass player. Own gear req'd. Call Ryan 780.975.6209. www.theaccidentwill.com Drummer looking to join metal or hard rock band. Double kick, 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, female considered. Must be able to play in higher note. Studio proviede. sheri_mcnaught@ hotmail.com for time, cost. My time is flexible 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
ADULT STEAMWORKS GAY & BI MENS BATHHOUSE. 24/7 11745 JASPER AVE. 780.451.5554 WWW.STEAMWORKSEDMONTON.COM
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VUEWEEKLY // MAY 5 – MAY 11, 2011