vue weekly 783 oct 21 - oct 27 2010

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2 // FRONT

VUEWEEKLY // OCT 21 – OCT 27, 2010

INSIDE

COVER

#783 • Oct 21 – Oct 27, 2010

UP FRONT // 4/ 4 5 7 8 9

Vuepoint Media Links Issues Dyer Straight In the Box

DISH // 10/ 11 Veni, Vidi, Vino

ARTS // 13 15 Hopscotch

FILM // 19 19 DVD Detective 21 Film Capsules

MUSIC // 24/ 28 Gutterdance 34 New Sounds 35 Old Sounds 35 Quickspins

24

Falklands takes new album Think About It from the West Coast to the East Coast and back

ARTS

FILM

13

19

BACK // 36 36 Free Will Astrology 38 Queermonton 39 Lust for Life

EVENTS LISTINGS 18 Arts 23 Film 26 Music 37 Events

Any Night, a thriller about love and somnambulism

Force of Nature: The David Suzuki Movie scratches the surface

VUEWEEKLY.COM VUETUBE // Falklands

MUSIC

• VueTube Falklands ARTS

• Slideshow Student design show Out of the Bag

FILM

Falklands perform live at Vue Weekly

• Sidevue Carbon Missions: are we warming to message-based docs or growing cold to them? • Interview Josef Braun talks to Werner Herzog about My Son, My Son, What Have Ye Done?

VUEWEEKLY // OCT 21 – OCT 27, 2010

FRONT // 3

EDITORIAL

Vuepoint The work begins samantha power

// samantha@vueweekly.com

'I

f you don't vote, you can't complain" was perhaps the most heard phrase running around the Internet mills attempting to encourage people to vote. First off, a note to explain that, you don't actually have to vote to have your voice heard. Many people find voting disingenous, feeling forced to vote for a candidate they believe to be the lesser of two evils. Thankfully enshrined in Edmonton's election bylaw is the right to reject a ballot. Showing up at the polls, you could have spoiled your ballot and then declared it as a rejected ballot (apologies to those who are getting this information too late). Rejected ballots are kept seperately from spoiled ballots to ensure the intent is recognized as not simply making a mistake, but actually registering disagreement and dissent with the choices or the process of voting. Now, for those of you who didn't know this and stayed home rather than voted for a candidate you didn't believe in, you actually still have a right to complain. Nowhere will people hunt you down and take away your right to free

speech or free assembly and in fact, if you were so opposed to the candidates and the process you didn't vote, you might actually have more to say about where this city is going than some people who just sucked it up and voted for someone they may not have believed in. Regardless, the opportunities between elections are often the places for greater interaction, advocacy and change than during the election itself. Many commented that they didn't know council was debating or had made decisions on certain issues. And the Envision Edmonton campaign may demonstrate this the greatest. The airport issue was debated for over six months at city council, which included public meetings and consultations with numerous advocacy and business groups. Council has to notify the public of these opportunities and the public, all of us, has the opportunity to tell council what we think. And we don't have to follow process either. We can create our own advocacy groups, write letters, start petitions and stage protests. Voters, and non-voters, become citizens between elections and it's in fact our civic duty to continue to interact and have our voice heard. V

INSIDE // FRONT

UP FRONT

7

Issues

8

Dyer Straight

9

Bob the Angry Flower

GRASDAL'S VUE

PODCAST >> CANADIANA

IssuE no. 783 // OCT 21 – OCT 27, 2010 // Available at over 1400 locations

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4 // FRONT

Vue talks to author and philospher John Raulston Saul on his biography series on Canadian history. GO TO VUEWEEKLY.COM where we post new podcasts every second Monday at noon.

Letters VUEWEEKLY // OCT 21 – OCT 27, 2010

Vue Weekly welcomes reader response, whether critical or complimentary. Send your opinion by mail (Vue Weekly, 10303 - 108 Street, Edmonton AB T5J 1L7), by fax (780.426.2889) or by email (letters@vueweekly.com). Preference is given to feedback about articles in Vue Weekly. We reserve the right to edit for length and clarity.

COMMENT >> MEDIA

Right before our eyes

Are telecom companies limiting the Internet to benefit TV? It makes sense that many people service Netflix announced its expansion believe that cable and Internet are into Canada, Rogers Communications two separate services, brought to us announced that they would add new usthrough distinct wires. And why age limits on some of their plans. wouldnt we think this, after This move appears to have been all, these services are also a defensive measure, meant in competition for our busito protect the company's ness. The reality is that teleown video services from ena edia.c raticm vision services actually go croachment by Netflix. democ @ e v te through the same wires as s Rogers Communications is Steve Internet services. Why is this derson Canada's biggest cable televin A important? Because it raises sion provider and it operates serious questions about both the a video streaming service similar practice of slowing access (throttling) to Netflix called On Demand Online. to Internet services and the new impoRogers Video On Demand and Pay Per sition of broadband download caps by View offerings, which reach users via Internet Service Providers (ISPs). their televisions, will not be affected by The following exhibits provide evidence the aforementioned caps, even though that telecom companies are exercising Rogers customers receive both Internet preferential treatment toward their TV and television service through the same services over the open Internet. cables. In July, just days after online video Some have argued that the caps are

not discriminatory if they apply to Rogers' online services as well as Netflix. What these commentators fail to realize is that by adding limits to the Internet while keeping TV costs/services constant, Rogers is discriminating against the public Internet and those who use it to deliver competing services.

MEDIA

LINKS

The second example comes from Bell. On August 30, 2010, the CRTC ruled that major telecom companies must allow their independent Internet service competitors to obtain access to the same speeds of broadband as those they offer to their own customers. The incumbent telecom companies are reportedly concerned, not just for fear of increased competition, but also because this will enable independent ISPs to provide fast enough service to facilitate open access to video services

like Netflix. In short, this decision makes it more difficult for big ISPs to freely use download caps or price increases to

CRTC decision. On September 10, Bell Canada Enterprises (BCE) Inc. already Canada's largest communications company, an-

Allowing Internet service providers to own major content assets creates an economic incentive for them to invest in a controlled content distribution infrastructure and to discriminate against the open Internet. discriminate against competing online video services. Independent ISPs like TekSavvy, now in a better position to compete in the market, seem happy to focus on fast and open Internet access, rather than on content distribution. Bell is so threatened that it is calling for cabinet to overturn the landmark

nounced its plan to acquire 100 percent of CTV, the nation's leading broadcaster. Earlier this year, Shaw announced its intention to purchase Global TV's assets, previously owned by the now defunct CanWest. Rogers and Quebecor (owner

sands, and the new federal committee assembled to report on the state of water management in the tar sands. The report will focus on the legal responsibilities as well as the impacts if Ottawa does not move on those responsibilities.

in the future. CUPE, The Public Service Alliance of Canada and the Green Party have called for gradual increases to be implemented for the security of people retiring in the future. An Environics survey commissioned by CUPE reveals three quarters of Canadians would be in favour of this increase. "Canadians are concerned with their capacity to retire in comfort," said John Gordon, National President of PSAC. "If action is not taken now, poverty will become a dire reality for more and more elderly Canadians."

CONTINUED ON PAGE 7 >>

News Roundup PERMANENT DELAY

T

he US government has decided to indefinitely delay the approval and construction of the TransCanada Keystone Pipeline. Worth $12 billion, the pipeline was meant to move 1.5 billion litres of oil daily across the US from Alberta to Houston, Texas, but due to consistent opposition from Aboriginal groups and concerns by US congress about the probability of spills, the project has been delayed. The Indigenous Environmental Network is celebrating the delay, but remains cautious as to how it proceeds from this point. "At this time it is indefinitely delayed, but we will continue this fight until TransCanada pulls its application or the government denies the application for a Presidential Permit," stated Marty Cobenais, IEN organizer. The IEN has been working to bring the numerous indigenous groups who will be affected together on the issue. "Industry has used the divide-and-conquer technique on the tribes and local land owners, but we are all standing together and will fight them with every resource available," said Clayton Thomas-Muller, IEN tar sands campaign organizer.

Advanced Votes

4pm

Total Votes

8948 60 690 152 576

DEBT BE GONE

A

new report by the Canadian Centre for Policy Alternatives reveals Canada may have less of a debt problem than the federal government would lead us to believe. "Big Train Coming: Does Canada Really Have a Deficit and Debt Problem?" examines the impact of further spending cuts in an economy just coming out of recession. The report recommends small tax increases after the recession has ended to address a structural deficit and meet the costs of an ageing population. "Cuts will shrink rather than raise our economic potential. We need to maintain high rates of public and private investment to boost our future

17 658 77 947 196 661 rate of growth," said the study's author, economist Andrew Jackson. LEGAL DUTY

T

he Pembina Institute will be releasing a report presenting the legal role the federal government has in protecting the environment. "Duty Calls: Federal Responsibility in the Oil Sands" is a joint report from Environmental Defence, The Pembina Institute and Equiterre. The report follows the failure of the parliamentary committee on the environment to present a united report on the environmental impacts of the tar

COMFORTABLE RETIREMENT

T

he Canadian Labour Congress is proposing the federal government gradually increase contributions to the Canada Pension Plan to double benefits in the future. The CLC proposes a gradual increase spread over seven years to double the benefits workers will collect

samantha power // samantha@vueweekly.com

QUOTE OF THE WEEK

VUEWEEKLY // OCT 21 – OCT 27, 2010

"Our citizens voted for a more sustainable city, one in which LRT and revitalization of the core are paramount and issues we as a council must focus on." —Stephen Mandel in his victory speech Oct 18, 2010

FRONT // 5

NEWS // ALBERTA LABOUR LAW

Permanent damage to temporary workers mimi Williams // mimi@vueweekly.com

C

riminal charges, lawsuits and jurisdictional confusion have kept the temporary foreign worker program in the news for weeks. The program is such a mess that it needs to be scrapped, says the Alberta Federation of Labour, while the provincial employment and immigration minister would just like everyone to calm down. The Temporary Foreign Worker program was designed by the federal government to help employers fill jobs Canadians didn't want. Modelled on the federal live-in caregiver program, the entry and exit of TFWs falls under federal jurisdiction, with the provinces responsible for governing working conditions and Occupational Health and Safety (OH&S) requirements.

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Nancy Furlong, AFL secretary-treasurer, says the program has evolved into a means by which employers are able to keep wages down, workers face significant exploitation with little protection and both levels of government are incapable of fixing the mess they have created. For the workers, it can be deadly. Last week, Toronto police announced criminal negligence charges against three men whose companies were involved in the deaths of four foreign workers killed last Christmas Eve when a scaffold they were working on collapsed. A fifth worker, who suffered two broken legs and a shattered spine in the 13-storey plunge, has launched a $16.3 million lawsuit against the companies and the Ontario Ministry of Labour, accusing the province of failing to properly enforce the OH&S Act. Furlong

would like to see such aggressive prosecution in Alberta.

The province admits that proceedings against three companies involved in the deaths of temporary foreign workers in Alberta have lagged. Chinese workers Genboa Ge and Hongliang Lui died on April 24, 2007, when the oil tank they were working on near Fort McMurray collapsed. Two other workers were seriously injured and three received minor injuries in the incident. Alberta Occupational Health and Safety spokesman Chris Chodan says the complexity of dealing with a Chinese stateowned corporation is behind the long delay in prosecuting companies over the deaths: it took two years for Canadian Natural Resources Limited (CNRL), Sinopec

VUEWEEKLY // OCT 21 – OCT 27, 2010

Shanghai Engineering Company Ltd and SSEC Canada Ltd to be slapped with a total of 53 charges, including several counts for failing to ensure the health and safety of the workers. Trials for SSEC Canada and CNRL are scheduled for October, 2011, with no court date set for Sinopec due to difficulties in serving legal documents to the company’s directors. Despite these legal entanglements, a branch of the company, Sinopec International Petroleum Exploration and Production Co, received Ottawa's blessing to purchase a $4.65 billion US stake in Syncrude this past June. Chodan acknowledged Syncrude and the feds would have been negotiating with the very same executives on whom the Alberta government was having such a hard time effecting service to prosecute them for the deaths

of the two men. In the meantime, a lawsuit has been filed against Bee Clean Building Maintenance at the University of Alberta. Sukhwant Mahal, a Bee Clean employee since September, 2008, is the sixth employee to come forward alleging he was not paid overtime premiums as required by the province's labour laws. Of the six lawsuits filed on behalf of Bee Clean employees in the past month, three were on behalf of TFWs, says Merryn Edwards of the Service Employees International Union, representing the workers. In a separate complaint filed with the Alberta Labour Relations Board on October 1, it is also alleged that the company illegally terminated long-time employee Tarik Accord because she supported forming a union and claims Bee Clean threatened temporary foreign workers with deportation if they supported the union. According to the provincial government, CONTINUED ON PAGE 7 >>

COMMENT >> ALBERTA POLITICS

Issues

Issues is a forum for individuals and organizations to comment on current events and broader issues of importance to the community. Their commentary is not necessarily the opinion of the organizations they represent or of Vue Weekly.

Back in the fray

It's time to pay close attention to the Legislature again With the municipal elections now over, and the Alberta legislature reconvening on October 25, political geeks the province over are now free to turn their undivided attention to the provincial scene. Two of the biggest items pending for the Tories in this session are their big picture policy reviews in the areas of health care and education. In both cases the government seems determined to move forward with their standard practice of passing broad, vaguely defined enabling legislation in the legislature, then filling in the specifics behind closed doors through orders in council. On education, it is expected that the government will wind up their "Inspiring Education" consultation process with the introduction of a new School Act at some point in the next few months. The process began in 2008 when Education Minister Dave Hancock struck a committee to carry out a broad discussion with Albertans about what our education system would need to look like in 2030 in order to properly serve the public interest, the needs of students and the economy. That commit-

tee's report, which was released last June, was quickly followed up by a discussion paper called "Inspiring Action" written by minister Hancock himself. The discussion paper references the vision expressed in the Inspiring Education report, and makes broad suggestions for directions that provincial policy should take today to achieve that vision. Currently the government is accepting online feedback to Hancock's discussion paper, and has committed itself to introducing new legislation based on that feedback at some point in the near future. What's at stake is a fairly significant re-work of the way the education system in this province operates. Getting the broad language needed for a new School Act through the legislature should be a piece of cake for the government. The challenge for Mr Hancock will be getting the caucus—already worried about the Wild Rose Alliance and their accusations of over-spending—to loosen the purse strings enough to adequately fund movement toward this new vision. Without the funding and political will in place to happen, and regardless of a new School Act, the Inspiring Education process will be another useless and expen-

sive visioning exercise which will take up shelf space next to the Learning Commission Report of 2003 in perpetuity.

ALBERTA LABOUR LAW

MEDIA LINKS

[and] connect with friends on Facebook or Twitter right on your TV." This raises the question: if these services eclipse the use of the public Internet, how will the next Facebook, Google or, for that matter, existing independent services and content providers, reach users? Will they have to make special deals with Telus or Microsoft? If the next generation of access points, found in set-top boxes and wireless devices, restricts the open Internet, there will be a comparable restriction in the open collaboration, participation, expression, and empowerment that the open Internet currently enables. These are the very things that have helped strip away our differences and to more easily connect with each other. These are the things that we should be willing and ready to grow, defend and fight for when threatened by phone and cable companies. We should not let this happen right before our eyes.

Ricardo Acuña // Ualberta.ca/parkland

<< CONTINUED FROM PAGE 6

there are 60 000 TFWs. With unemployment remaining high, many are wondering why the numbers of TFWs continue to rise, given all of the complications arising from the program. The program is beyond repair, says Furlong, and needs to be replaced by a proper program of immigration that respects and protects these workers. Provincial Employment and Immigration Minister Thomas Lukaszuk insists that the review he announced last month will assess the impact the program has on Alberta's workforce and address the problems identified by critics. His parliamentary secretary, Calgary MLA Theresa Woo-Paw will report her findings and recommendations by spring 2011. Statements of claim and complaints to the Alberta Labour Relations Board contain allegations that have not been proven in court. V

<< CONTINUED FROM PAGE 5

of Videotron) already own significant media content assets. If Shaw and Bell complete these purchases, telecom companies will own the majority of Canada's private broadcasters, with the exception of Telus, the only major ISP that isn't heavily invested in media content. Allowing Internet service providers to own major content assets creates an economic incentive for them to invest in a controlled content distribution infrastructure and to discriminate against the open Internet. At the same time as they cap and slow down the public Internet, telecom companies appear to be investing in providing faster and more reliable access to Internet services like Facebook and online gaming via TV. Just check out the Telus/ Microsoft partnership that allows you to "share photos, stream home videos,

On the health care front, the government is expected to move much more quickly and deliberately. MLA Fred Horne's Minister's Advisory Committee on Health reported back with a series of recommendations in September, and it is expected that Minister Zwozdesky will present the government's response to those recommendations by the end of October. No surprises are expected here. As with all things health care in this province, the entire process has been carefully orchestrated by the government to lead to one specific place: the introduction of an Alberta Health Act which will eventually come to replace all existing health care legislation and open up the door for increased privatization of delivery, insurance and seniors' services. The proposed changes are sure to sound pretty and impressive, the follow-up regulations which will fill in the blanks will be unequivocal and specific. As such, if Albertans and the opposition parties are interested in stopping further privatization, their only chance will be during

this session of the legislature while the Health Act is being debated. After that, it will be too late as the process moves behind closed doors. At the same time that the government is trying to navigate lofty goals for education that they don't want to fund, and secret plans for health care that they don't want to reveal, they will also have to find a way to deal with the anticipated report of federal Environment Minister Jim Prentice's panel of water experts looking at the reliability of Alberta's monitoring and research of water quality in the Athabasca. After a summer of high-profile US politicians, movie directors and scientists all taking their turn highlighting the problems with the tar sands and its impact on water, the climate and indigenous communities, the last thing Ed Stelmach wants is to have a political soulmate in Ottawa tell the world that all of these folks were right to express concern, and that the provincial government was wrong. The provincial government has promised immediate action should the report show that its research is flawed and its monitoring inadequate, which will make it difficult for it to handle this with spin instead of

legislation and regulations. Watch for fireworks and a media battle between the feds, the province, the industry and environmental organizations when the report is released. In the end, although the government indicated in the past that major policy initiatives would not be the focus of this sitting, these three issues alone make it imperative that Albertans keep a close eye on what the government is doing (and what it's not doing), and do their best to keep their MLAs on their toes. This, combined with the Wild Rose Alliance clearly moving into election mode, the provincial Liberals scrambling to stay alive, the Alberta Party trying to come up with a platform that will be all things to all people and the New Democrats working hard to cover all the anticipated latenight sittings and committee meetings with just two MLAs, promises to make it a very interesting couple of months in the provincial legislature. V Ricardo Acuña is the executive director of the Parkland Institute, a non-partisan public policy research institute housed at the University of Alberta.

Steve Anderson is the National Coordinator of OpenMedia.ca.

VUEWEEKLY // OCT 21 – OCT 27, 2010

FRONT // 7

COMMENT >> US POLITICS

In the clear

Rough November may clear the way for Obama About eight months ago I was visiting an political point of view there is no new law old friend in San Francisco, and for reasons that he simply must pass before he faces reI couldn't then explain I found myself betelection himself in 2012. Indeed, he stands ting him and his son $100 each that the a very good chance of winning a second Democrats would lose their majority in term in 2012, in large part because of what both houses of Congress in the US midis going to happen this November. term elections this November. It seemed Getting majorities in both houses of Conlike easy money to them then—surely the gress will leave the Republicans nowhere Democrats wouldn't lose the Sento hide on the critical issue of cutting ate—but I think they are going to the huge federal deficit. They have owe me $200. already said that they will not Much is being made of this in raise taxes—even for those the media at the moment: how earning more than $250 000 om eekly.c disappointed Obama's former a year—and they have pledged @vuew e n n y gw supporters are, how angry and not to cut defence spending. e n n Gwy mobilized the Republican "base" What's left? The only other bigr e y D is, how extremely hostile to him ticket items in the budget are enthe new Republican-controlled House titlements: health care and pensions. and Senate will be. How can he be so calm The United States has not yet gone about this? Why doesn't he get out there through the painful debate about how to and fight? tame the deficit that has already happened Well, he has made a few fairly fiery in most European countries, but it will have speeches recently, but basically he knows to do so soon. That poses a particular probspeeches won't do much good. His supportlem for Republicans, because if they will ers are disappointed because it has been a not raise taxes on the rich or cut defence long, grim recession, and for most Amerispending, then they have to support brutal cans it is still not over. Obama couldn't get cuts in health care and pensions or lose all another economic stimulus bill through Congress at this point even if he thought If all of the retired it was a good idea, so he can't hurry the white people vote, recovery up. Some of the people who voted Demoand only the usual cratic in 2008 are also very cross because mid-term proportion Obama has not brought American troops of all the other home from Afghanistan as fast as they demographics does, hoped, or hasn't got any legislation about climate change through Congress, but he then the Democrats can't deliver on those things this year eiwill lose both houses ther. All he actually has at his disposal is of Congress. words, and they won't be enough to remotivate disillusioned Democrats. The Democrats lack all conviction, while the Republican base is filled with passionate intensity. Obama's approval rating of 44 credibility as deficit-cutters. percent is not especially low for a US presiBut cutting entitlements would alienate dent two years into his first term—Ronald the Republicans' own most important deReagan and Bill Clinton were considerably mographic: older white people. They will lower at this point in their presidencies— not risk that. By contrast, the Democrats but most of his supporters won't bother to would not be alienating their own base if vote in this election, while almost all of his they cut defence spending and raise taxes enemies will. on the rich, so they can be coherent and If you really believe that your country has consistent on the topic. A Republican-conbeen hijacked by a Muslim Communist who trolled Congress may well come to be seen was born in Kenya (or a cannibal troll who as an obstacle to fiscal responsibility even was born in Mordor, or whatever), then by many Republicans. you will certainly get out and vote. If all of Make the further, quite reasonable asthe retired white people vote, and only the sumptions that the US economy will be usual mid-term proportion of all the other growing strongly again by 2012, and that demographics does, then the Democrats US troops will be gone from Iraq and on will lose both houses of Congress. So why their way out of Afghanistan, and you have isn't Obama more worried about it? a credible scenario in which the Democrats win back both houses of Congress as well He will certainly regret that so many longas re-electing Barack Obama. serving Democratic senators and congressMeanwhile, Obama can veto any Repubmen are going to lose their seats this aulican attempt to repeal the legislation he tumn, but it really does not much matter has already got through Congress, and he to him who controls the Congress for the will retain a free hand in foreign affairs. He next two years. He can't hope to get any could even try to get new legislation on more legislation even through the current immigration through Congress: it wouldn't Congress since the Democrats lost their pass, but he could thereby lock up the La"super-majority" of 60 seats in the Senate tino vote. No wonder he looks calm. V last January, so what's the difference? Nor does Obama actually have to get Gwynne Dyer is a London-based journalmore legislation through Congress right ist whose articles are published in 45 now. It would be nice to have a tough countries. His column appears every week climate-change bill, no doubt, but from a in Vue Weekly.

R DYEIG HT

STRA

8 // FRONT

VUEWEEKLY // OCT 21 – OCT 27, 2010

BOB THE ANGRY FLOWER

COMMENT >> HOCKEY

Bumpy road

Remember, rookies equal leeway Week Two of Oiler action this season was ing a potent chemistry. DY not quite as robust as the first week. In fact, it was a disappointment. The team Faceoffs played in a couple of Sam Gagner's dad's Holy moley these have got to get better. former NHL cities with a game in MinneIn Saturday's game against Calgary the Oil sota (4-2 loss) and Calgary (5-3 loss). lost 45 draws. Forty-five draws! I would In case you missed it, the loss in have been surprised to hear that a Minny was the 14th straight typical NHL game even had 45 loss in that city against the draws, let alone that we could Wild. That's a letdown—but lose that many. I wonder what om Adam Oates is up to these losing to Calgary? COME eekly.c w e u v ox@ ON!!! Dave and Bryan are days? I think he's younger than intheb oung & disappointed. Yeah. You heard Chris Chelios—maybe it's time Dave Y s e Birtl it. I hope that hurt. for a comeback. BB Bryan

IN THE

BOX

Farewell tour

Say what you will about the "old boys club" atmosphere of the Edmonton Oilers, the organization sure knows how to keep it classy. Instead of just letting Hall of Fame play-byplay man Rod Phillips quietly shuffle out of the broadcast booth, Phillips will be doing a 10-game farewell tour, broadcasting games against classic opponents. His first was at the Saddledome last Saturday, and the next is November 5th when the Oilers host the Red Wings. It's enough to bring a tear to a big lug's eye. BB Radio GaGa

I had to give the radio play-by-play a quick listen on Saturday night. I grew up listening to that voice call many games. I'll miss Rod's golden tones (and yelling and complaining about refs). So, how about the new guy? First off, I was relieved this summer to hear that the Oilers reeled in a new play-by-play voice. Honestly, I was really worried that Bob Stauffer would get the seat. For some reason, being the play-byplay guy is the "glamour position." Bob is a stellar sports radio host. Bob knows sports at an inhuman level. Bob is the best analyst the Oilers ever had, in fact he's possibly the best analyst I've heard call games, on television or radio. But Bob is not a play-byplay guy. By using varied tones of voice and changes in pace and timbre, the best playby-play voices tell a story, create tension and build excitement. Bob doesn't have the vocal tool kit to create tension or build excitement. He has almost no vocal range or flexibility. He's just not that guy. If they had made Stauffer the new Rod Phillips, we'd have had a mediocre play caller and would have lost the privilege of having the best analyst. So, how about the new guy? So far, I like him. He calls plays smoothly, uses pace and tone effectively and also knows his sports trivia. He's no Rod Phillips but Michaels and Stauffer are already develop-

Cheer the Oilers or go to bed

I'm worried about my five-year-old daughter. We've started playing PS3 NHL11 together. It's our special new daddy/daughter activity. I even bought her a pink controller. She's learning about hockey, even has a grasp of the offside rule. But recently, I let her pick her own team and she grew attached to the (hurts to type this) Flames logo and chose that team. Now she's decided her favourite NHL team is the "Hot Cees", as she calls our wee southern rivals. She's cheered for Calgary for both games this season—instead of our hometown Oilers. Luckily, Saturday's game was a late one so I sent her to bed and she missed the Flames eventual win. It was a small victory, but it counts. DY Vintage whites

Watching the Calgary Flames skate around in their vintage red sweaters led me to two conclusions on Saturday night: the first was, "Someone on the Flames should really grow a gigantic moustache," and the second was, "You know what the Oilers need? Vintage white sweaters." In fact, let's not call them "vintage" at all. Let's just quietly go back to blue and orange sweaters and forget that the "pajama-era" of Oilers sweaters ever happened. BB Random Complaints

Win some faceoffs! Get the puck out of our zone! Tighten up the penalty kill! Give Dave a 50/50 win! Stop making Khabibulin work so hard! Get back at Calgary! DY Oilers Player of the Week:

Dustin Penner: this guy has got four goals in four games (if you count the one called back in the first game of the season, WHICH I DO). BB Magnus Paajarvi: got his first goal (and an assist) against Calgary. It wasn't pretty, but he's on the board now. DY

VUEWEEKLY // OCT 21 – OCT 27, 2010

FRONT // 9

INSIDE // DISH

DISH

Online at vueweekly.com >>DISH

12

Restaurant Reviews

Pizzeria Prego

Check out our comprehensive online database of Vue Weekly’s restaurant reviews, searchable by location, price and type.

PROFILE // IRVING FARM FRESH

Nicola and Alan Irving have done a lot of sausage eating. You would think that as one of the Edmonton area's most popular pork producers, they would come from a long line of sausage makers, but the Irving couple started from scratch.

Sharman Hnatiuk // sharman@vueweekly.com

// Chelsea Boos

1 lb pork and leek sausages 8 oz diced bacon or pancetta 1 large garlic clove, peeled 8 oz shallots, peeled 300 mls red wine 1 tsp fresh thyme 2 bay leaves 8 oz fresh mushrooms 2 tbsp cranberry or red currant jelly

10 // DISH

Brown the sausages and remove them from the pan. Brown the diced bacon, garlic and shallots. Return the sausages to the pan and add the red wine, thyme and bay leaves. Season lightly and bring to a gentle simmer, lid on, and cook for 30 minutes. Add mushrooms and cook for a further 20 minutes with the lid off. Thicken to taste with a little flour dissolved in cold water. Season to taste with a little dry mustard powder. Stir in cranberry jelly and serve with creamy mashed potatoes. Serves four

VUEWEEKLY // OCT 21 – OCT 27, 2010

"People in England who make sausage keep their recipes a secret," explains Nicola. "You can find out what the ingredients are, but we had to learn by adjusting things until we developed a recipe we liked." After the couple left England and settled in rural Alberta, Nicola knew that she wanted to do something; she just wasn't sure what her degree in agriculture could do for her. When a farm neighbour asked if she wanted to learn how to make wild game sausage, she was in. When they stumbled upon a British couple selling their herd of Berkshire pigs, a high-quality gourmet heritage breed, things just sort of fell into place. After completing a wild-game sausage-making course and months testing things out in the kitchen, Irvings Farm Fresh started production in June 2006. "We started with four kinds of sausage. We had three traditional English varieties and created Canadianinspired maple sausage," describes Nicola. The early days at the markets required lots of sampling to expose and entice Edmontonians to high-quality tasting sausages. "When we started it was British customers that found us and kept us in business," explains Alan. "Then when the Strathcona market offered us a permanent spot, things really started to turn around for us." With more customers and restaurants eager to support local producers, the Irvings Farm Fresh venture became a full-time job for both Nicola and Alan. They make sausage twice a week; on Mondays they replenish the stock from weekend market sales and on Wednesdays they fill orders for local restaurants, including an exclusive sausage for the Hotel MacDonald. In 2007 the Irvings went back to England for a wedding, but the trip yielded some excellent pork research as well. Nicola's best friend was dating a butcher and he shared his secret to

drycure back bacon through a process of hand rubbing with curing salts over three days. In 2008 they launched their drycured back bacon and side bacon to the rave reviews of British and Canadian customers. A major difference between Irvings sausages and the regular grocery store variety is evident when cooking—an Irvings sausage isn't greasy. "Most people in Canada are used to pricking a sausage to help let the grease out," explains Nicola. "But our sausages are very lean and pricking our sausages means you'll let all the flavour and juice out." Though bangers and mash aren't a common meal like back home, Nicola and Alan are convincing customers that sausages aren't just for breakfast. "We're up to 12 varieties now—I don't want to create anymore," laughs Nicola. "The rest of the flavours just evolved, the spicy sausages came at the request of our customers. Many are good for stir-frys, pastas and dinner meals." The Irvings Farm Fresh stand has become a prominent sign at farmers' markets throughout the city and with a growing demand from local restaurants, the Irvings have had to expand production. "Between the sausages, bacon, chops, hams and tenderloin, we've had to source additional pork from a local Hutterite farm," explains Alan. "The pigs are un-intensively raised and we still have full traceability from farm to fork." For many expatriates, a package of Irvings bacon and sausage is a reminder of the finer things from home; comfort food made right. For Nicola and Alan Irving, their speciality pork products have been their ticket into the local food scene—a scene filled with passionate chefs, food connoisseurs and very hungry, pork-loving Canadians. V Nicola and Alan Irving Irvings Farm Fresh irvingsfarmfresh.com

WINE

J'aime les pommes

Visiting Rougement, Quebec—Canada's apple cider capital I recently had the chance to visit Rougemont, Quebec, one of Canada's most prestigious cider-producing regions. With the apple harvest in full swing, the Quebecois—along with American tourists—flock to see not only the vividly coloured leaves falling VIDI VENI, to the ground, but also to celebrate harvest and a tradition m that has been in existence for ekly.co vuewe jenn@ several decades. Cellar masJenn ters and owners are officially ulford F hitting the busiest season known to them. Cider, hard cider and apple cider wine are interchangeable names for the fermented beverage made from apple juice. Although cider is produced in almost every country LOOKIN' ROUGE >> An apple orchard in Rougemont, Quebec throughout the world, the UK leads the pack in production and consumption. Inucts get their lovely bright pink colour creased exposure of the beverage in the from special variations of apples that Canadian market has sparked added inhave red flesh inside. terest and it is now commonplace to see The range of products made from apples cider on tap in bars. is astounding. C'est bien, as they say. SparCider is what the tiny area of Rougekling ciders that taste like apple pie in a mont is known for. Here they grow apples bottle, with refreshing acidity and a slight that are more like wild crab apples than sweetness that makes it just that much the store-bought varieties. These apples easier to drink. Hard liquor is also made are also very rich in tannin content which, called eau de vie and a fortified apple cisome experts say, is one of the key startder that could compete in the port maring points to making great cider. ket. Regular cider to be served on tap at The brick walls of the cellar are lined the bar and finally, a little gem, ice cider. with hundreds of bottles in the dimly lit Festivals are aplenty at this time of room, some ready for drinking while othyear and it’s normal for staff to be run ers are still in the fermentation process. off their feet seven days a week for this The bottling line is humming with activsix-week, annual event. Built on a rolling ity, as sparkling apple cider is corked and hillside, the town of Rougemont is just an readied for shipping. hour's drive from Montréal. Filled with beautiful landscape of orchards, vines After our cellar tour its time to get down and the Appalachian Mountain range in to business, which of course means tastthe background, more scenic country I ing the product. Artisan cider is made in a have not seen. very similar method to wine; fermenting Too little time and way too much to enfruit with yeast and sugar to make alcojoy. Just one word of advice, anglophones: hol. One main difference is that the skins bring your French dictionaries not only for from the apples do not give the rose cider the road signs, but to simply know what its colour like in wine. All rose cider prodyou are ordering for lunch. V

VINO

// File

VUEWEEKLY // OCT 21 – OCT 27, 2010

DISH // 11

REVUE // PIZZERIA PREGO

Pie in the sky

South-side pizza joint makes take-out interesting ranging from the eight-inch mini to the sizeable, 14 inch large. I select an eight-inch pizza from each category, wishing for a broad sample of Prego's wares and anticipating leftovers for late-night snacking.

LS Vors // vors@vueweekly.com

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ake-out food follows one of two scenarios. At its best, it is both a satisfying meal made with diligence as well as a welcome respite from an evening of cooking. At its worst, take-out is a greasy confusion of processed ingredients, manhandled and gobbled in haste. Hamburgers, fried chicken and pizza comprise a trio of dishes well-suited to swift preparation. Of this triad, the first two have the propensity to occupy the second category of take-out food and, as such, are the bane of dietitians and cardiologists. Pizza, conversely, occupies a wider spectrum of quality, given that take-out pizza is available both from franchises and independently owned outlets. Speed, quality and independently owned pizzerias are thus the triumvirate of take-out, and these qualities are embodied by the stalwart, south-side Pizzeria Prego. Pizzeria Prego occupies the northernmost stall in Lendrum Place Mall, sharing the strip with, among others, an upscale grocery store, a florist and a weight-loss clinic. Several tables and chairs which line the long, rectangular room are clearly intended for dine-in

12 // DISH

MAMMA MIA >> Pizzeria Prego in Lendrum Mall customers, though take-out comprises the bulk of Prego's business. Notably, Prego is the only pizzeria in the Capital Region to offer gluten-free pizzas. Kinnikinnick Bakery, Edmonton's eminent gluten-free bakery, produces Prego's crusts and the gluten-free option is available for virtually everything on Prego's menu. Forty types of pizza span three broad

// Bryan Birtles

categories. Classical pizza includes quintessentially North American varieties: pepperoni, Hawaiian and so forth. Gourmet pizza evokes pasta dishes such as chicken Alfredo and Neptune (ie, seafood). Natural pizza is a diverse category, with leanings toward vegetarian options; among them is the aptly named Constant Gardener. All are available in four sizes,

VUEWEEKLY // OCT 21 – OCT 27, 2010

Quattro cheese ($11.49 mini) presents a combination of mozzarella, feta, cheddar and parmesan cheeses atop a judicious layer of herbed tomato sauce. The underlying crust is tender with crisp edges, and possesses the integrity to carry its toppings without sagging in the middle. Mozzarella and parmesan are natural, complementary partners, and the feta imparts a hint of salt to balance the mozzarella's subtle, inherent sweetness. I question the inclusion of cheddar, though. Sharp cheddar is a distinctly delicious entity unto itself, but on pizza it tends to overpower milder cheeses. Pepperoni, mushroom and cheese pizza ($8.49 mini) include slices of earthy, fresh mushrooms and rounds of mild pepperoni veiled in mozzarella and cheddar. Here, cheddar is ideally suited to its strongly flavoured compatriots. Of interest, though not directly relevant to this particular pizza's piquant essence, is that pepperoni

is not Italian. Its name stems from the Italian word for a small hot pepper, peperone, and it is an American interpretation of hot Italian salami known as salame piccante. Basilia ($8.99 mini) shuns tomato sauce in favour of chunky pesto comprised of fresh basil, olive oil, aromatic garlic, crisp pine nuts and aged parmesan. An additional crown of cheese accentuates these ingredients, the combination of which cries out for another bite and then another. It's an admirable creation, and the clear favourite of my chosen three. It is a supreme challenge to create a satisfying take-out meal with both speed and care, but Pizzeria Prego easily succeeds. One may quibble over certain combinations of ingredients, but the care and attention bestowed on Prego's dishes is apparent. Prego's delectable pizzas are a welcome respite from cooking and a reminder that, in a sea of dubious concoctions slapped together in fast food franchises, take-out food may indeed be synonymous with quality. V Mon – Sat (11 am – 9 pm); Sun (12 pm – 8 pm) Pizzeria Prego 5860 - 111 St, 780.439.7734

INSIDE // ARTS

ARTS

15

Hopscotch

16

Andrew Buszchak

17

Richard Yates

Online at vueweekly.com >>ARTS

Slideshow Student design show Out of the Bag

ARTS NOTES

PREVUE // ANY NIGHT

What dreams may come Any Night divides the waking and dreaming world Paul Blinov // paul@vueweekly.com

T

he truth is, we don't know much about our sleeping lives. It's still a mystery, for example, what function a dream has—a random firing of neurons? The brain categorizing information from the day? Messages from the spiritual world? Repressed desires?—or the point of sleepwalking, the strange affliction of rising from bed while still subconscious and physically engaging in activities, some as harmless as wandering the house, or some as deadly, in the case of Ken Parks, as attempted murder. In 1987, Parks got up in the middle of the night, drove to his inlaws house, and attacked them with a kitchen knife, murdering his mother-in-law and wounding his father-in-law. In court, he was found to have been sleepwalking and was acquitted. His story, and another, more local case, form the spine of Any Night, a psychological thriller about love and somnambulism. Director Ron Jenkins remains tightlipped on the details of that other story— "It gives away a bit too much," he explains—but, whatever the case, it's a tale that intrigued him, alongside Edmonton theatre expats Daniel Arnold and Medina Hahn—best known for their breakout Nextfest hit Tuesdays and Sundays—who

NIGHT FRIGHT >> A tale of love and somnambulism approached Jenkins to direct and dramaturg the script. That was in 2007; this actually marks Any Night's third run, (the script has already been published), but Jenkins notes they're still tinkering with the script, getting deeper into the tale of a love that blossoms between a dancer and the boy upstairs upon her arrival to the basement suite below. But strange, violent things start to happen at night, and polarizing conflict is established between the

// Stephanie Hull

waking and sleeping worlds. While the three of them were crafting Any Night, they traveled to UBC's sleep lab to research the causes and effects of the subconscious. "There was a psychiatrist there that we worked with while we were making the play in the early days. We went and saw him and the lab tech there, and spent a day and a half at the sleep lab, learning

the lingo," Jenkins recalls. "He was terrific. It was kind of the bullshit meter for the script, too; we'd go, 'Is this possible?' And he'd go, 'Absolutely. This is absolutely possible.' He ... took us through the mechanics and the logistics of how someone would go to the sleep lab, and what's done there, and what kind of treatment is prescribed afterwards." And after they had the science, Jenkins found that they soon found the hearsay, too: once word got out about what kind of story they were developing, friends started coming forward with their own tales. One told Jenkins about an episode he had on a boat: he woke up on the backboard of the boat, ready to dive off into the Great Barrier Reef in the middle of the night. Another would cook entire meals in his sleep, and then go back to bed. "That kind of shit ... you go, 'What?'" Jenkins says. "So all of these kind of sleepwalking stories, and night terrors, have come out of the woodwork. [In their sleep], they do the most amazing things." V Thu, Oct 21 – Sun, Oct 31, (8 pm) Any Night Directed by Ron Jenkins Written and Performed by Daniel Arnold, Medina Hahn TransAlta Arts Barns (Westbury Theatre), $19 – $23

PREVUE // LA BOHEME

Bohemian like you

Edmonton Opera opens its season with La Bohème Paul Blinov // paul@vueweekly.com

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o say that Edmonton Opera artistic director Brian Deedrick is well versed with Puccini's La Bohème would be underselling it slightly. By his count, he has "six or seven" productions notched into his director's belt; between Deedrick and the members of his current cast, set to launch Edmonton Opera's 2010/2011 season, lie 30-plus Bohèmes. Needless to say, the opera has some enduring pull to it—it's one of the most frequently produced operas in North America, despite being relatively new to the classic opera canon, having received its premier back in 1896. (You might already know it better than you think: '90s broadway hit Rent is a direct adaptation, and Moulin Rouge borrows

elements as ell.) "They talk about the ABCs of opera, and the A is Aida, and then Butterfly / Bohème, going back and forth, and then Carmen," Deedrick says. "In the ballet world, you have your Nutcracker, your Giselle and your Swan Lake; in the theatre world, in Edmonton, you can't have a season without at least one—usually there's several—Christmas Carols. These are these touchstones of Western art that people have to connect with, time and time again as a reminder for everything else that's out there." Deedrick chalks that timelessness up to the story's universal take on first love: set in Paris and following a group of carefree artisans, La Bohème focuses particularly on the blossoming love between poet Rodolfo and the seamstress Mimi.

"It's all about first love, in some case last love, lost love, and what can be more timeless than that?" he laughs. "It's just something about that opportunity of two people meeting, coming together and in that youthful way discovering what it is to be in love. And it's exhaltant and it's glorious, and of course nobody else on planet Earth has ever experienced it like you have," he laughs. "And then, in Bohème, something goes terribly and tragically wrong." Those youthful, lovestruck characters that populate La Bohéme seem to be the reason Deedrick has no trouble returning to the opera time and time again. "I find as a director it's with Bohéme more than anything else, when that group of people walk into the room it becomes a brand new piece, because it is

so brilliantly written character-wise that the characters are so, boy, made manifest through the performers," he says. "I did two [Bohémes] that were back to back, and there were just two cast changes out of the seven [main performers], and those two were enough to change the entire dynamic of the piece. "There is an opera—which shall remain nameless—that I also do quite often, and it is sort of like 'oh, here we go again.' Bohéme is brand-spankin' new every time that bunch of people walks in the room." V

VUEWEEKLY // OCT 21 – OCT 27, 2010

Sat, Oct 23, Tue, Oct 26, Thu, Oct 28 (7:30 pm) La Bohéme Directed by Brian Deedrick Jubilee Auditorium (11455 - 87 ave), $32 – $170

Dead Centre of Town: Dance with the Dead / Wed, Oct 27 (8 pm), Thu, Oct 28 (7 pm) For the past three years, Dead Centre of Town has dug around in Edmonton's historical buildings and emerged with terror tales previously left entombed within their walls: previous years explored The Globe Taphouse and Bar (formerly a mortuary), the ARTery (found on the only streetscape in Edmonton unaltered since the First World War) and the Iron horse (the first railroad station this side of the North Saskatchewan). The show itself is an interactive fright fest, and not something for the squeamish—there's copious amounts of gore and a, umm, "blood cannon"—but its fourth incarnation, looking at the death of vaudeville, continues a far stranger trend: each year, one of the locations DCOT has centered its scripts on has inadvertently and unrelatedly been torn down or abandoned. This year, they went to New City. Be afraid. (New City, $15) Screamfest / Oct 21 – 24, 28 – 31 If Dead Centre of Town is an R-rated interactive horror show, the countrytouring Screamfest is more of a PG-13 carnival of spooky delights: four different haunted houses, with names like "Bates Motel," "Nuclear Nightmare and "Terror Under the Big Top" sit alongside a Hospital-themed maze make up the bulk of the attractions, as well as some hands-on games ("Feed the Demon," "Severed Head Toss") and guest entertainment like Ryan Stock from the Discovery Channel's Guinea Pig, Brianna Belladonna, the last living female sword swallower and Fatt Matt, perhaps better known as "The World's Fattest Contortionist." Be intrigued. (Edmonton Expo Centre, Hall A (7414 – 118 Ave), $20 / screamfest.ca) Pure Speculation / Oct 22 – 24 A veritable playground for people who fall under the banner of geek, Pure Speculation is Edmonton's premier science fiction & fantasty festival, now in its sixth year. Three days marked out with tabletop gaming, author readings, panel discussions like "LARP 101" (that's Live Action Role-Playing, if you didn't know) "Freelancing in the RPG world" and "Costuming on a budget." Log out of World of Warcraft and go interact with some people who did the same. And have your say in what will surely to prove to be the weekend's most heated debate, an hourlong discussion of "What is the Single Greatest Comic Ever?" (Radisson Hotel [4440 Gateway Blvd], one-day admission $17.50, weekend passes $25 in advance, $35 at the door, purespec.org) —Paul Blinov

ARTS // 13

REVUE // STILL / THE WIND FROM THE EAST

Still moments

The paintings in Still reveal little about their artist

STILL MOMENT >> Ben Williamson's "Diver Down" Amy Fung // amy@vueweekly.com

A

s most thesis exhibitions go, the artist at hand attempts to achieve an overarching sense of identity through the show, while trying to demonstrate their range of technical and creative skills. In the first MFA show of the year, Ben Williamson's painting exhibition gets the ball rolling with Still, a show very much about the resonance, and not the content, of moments captured. Painting in a style that is so highly calibrated it falls back between realism and fantasy, Williamson's technical application of oil is notable in detail orientated works such as "Cockpit," but there seems to be some derision between what the artist wants to paint and what he thinks he has to paint. Throughout the show there is a semblance of relationship between the paintings, in how they hang spatially to one another, and to the viewer. The all too-cutesy idea of hanging a painting of a fly on the upper wall is a one-liner, and while the gag does not take away from the show proper, it adds nothing either to a show that already struggles to communicate anything coherent. Trying to find a deeper relationship between the works, or at least something at all that threads together the

14 // ARTS

VUEWEEKLY // OCT 21 – OCT 27, 2010

// Ben Williamson

show, I feel I am left leafing through a disjointed scrapbook of old photographs pulled from news magazines mixed-in with experiments from personal amateur photographers. There is no one common flavour from photo to photo, and I am left uncertain about what connects this portrait of a cat to a moment in the West Bank to paintings of an abstraction of a swimming pool. If it is to reveal the artist, I get no sense of who the artist is and what he is interested in. Falling back on the artist statement, which is always hard to write, let alone read, I remain unconvinced as to the self-explained interest that the painter is invested in the concentrated moments of beauty, violence and the sublime. That's a pretty broad and subjective spectrum of topics, and only explains half of the show. Williamson also tries to apply Roland Barthes' sentiment of the "punctum" (that is, the resonance, the accident within a photograph in Barthes' own words that pricks and bruises him) as what motivates his paintings, but then here is a jump, as we are suddenly talking about photographs, while the subject at hand is painting. While a photograph of a light socket may stir certain unsaid emotions, a painting of that same photograph will illicit a different, layered meaning. I don't mean to dismiss this show

entirely, as Williamson is a very good technical painter, and a few of the works stand up on their own, including the promo image that is unfortunately reproduced in black and white, but as the first MFA show of the year, following an incline of some very strong student exhibitions in the past few years, I expected more introspection than this. Upstairs, The Wind from the East features contemporary Chinese prints from The Guangzhou Academy of Fine Arts, Shenzhen University. As a result of a cultural exchange organized between a group of Chinese print artists and artists from across Canada, the works by the Chinese artists are being exhibited in Canada and works by the Canadian artists are being shown in China. The Chinese portion of this exchange was shown first in Trois-Rivières, Quebec, centre for the internationally recognized exhibition Biennale Internationale d'Estampe Contemporaine, before travelling to Edmonton. V Until Sat, Oct 30 Still Works by Ben Williamson The Wind From The East Works from Shenzhen University Fine Arts Building, (112 St & 89 AvE), University of Alberta

COMMENT >> BOOKS

Eloquent monsters

Mary Shelley's Frankenstein a durable masterpiece There's that moment which occurs near brought into the world by someone all of the halfway point in Mary Shelley's Fran18 years of age. kenstein when Victor Frankenstein is finally reunited with the monster. Frankenstein I'm a lot older than 18 and have only has entered university, dazzled his mentors now finally gotten round to reading Franand, in secret, created his artificial man kenstein, or the Modern Prometheus in a through some unholy marriage handsome hardbound edition (Evof archaic magic and scientific eryman's Library, $21), so you'll method. He's fallen ill following have to forgive my rapture. Obthe completion of his creation, viously, I was perfectly aware of m Frankenstein's immeasurable like a mother weakened by the ekly.co e w e u physical torments of birth. He's hopscotch@v influence, but I somehow failed utterly neglected to determine to anticipate just how fascinatJosef the monster's whereabouts, and ing and strange its structure is, Braun has gradually discovered its capachow evocative and often poetic its ity for murder. He's wracked with guilt language, and how rich and diverse its over having breathed life into the monthemes or motifs, which constitute the rester's piecemeal flesh, yet, foreshadowing gion in which Shelley conveyed her highest all that follows, assumes no responsibillevel of sophistication. ity for the crimes the monster commits, Walton, the Englishman who is ultimately crimes which Frankenstein, one of the the novel's only (perhaps unreliable) narraworst parents in Western literature, could tor, seeks adventure and glory in the Arctic, arguably have prevented. and his letters to his sister speak repeatedly The monster's return is illuminated by about the preciousness and rarity of frienda flash of lightning—the same phenomship—a concern mirrored exactly in the enon at which the 15-year-old Frankenconfessions of Victor Frankenstein, whom stein marveled so fatefully. It approaches he encounters during his arduous travels and, to the great shock of those familiar and whose tale he records. Walton longs with Boris Karloff's famously inarticulate for the companionship of his sister, and this manifestation, it begins to speak. "Do your longing too is mirrored, with more explicit duty towards me," the monster beseeches creepiness, in Frankenstein's story, which his maker, "and I will do mine towards you iterates again and again Frankenstein's abidand the rest of mankind. If you will coming love for his adoptive sister, to whom he's ply with my conditions, I will leave them and you in peace; but if you refuse, I will glut the maw of death, until it be satiated with the blood of your remaining friends ... Remember that I am thy creature; I ought to be thy Adam, but I am rather the fallen angel, whom thou drivest from joy for no misdeed ... I was benevolent and good; misery made me a fiend. Make me happy, and I shall again be virtuous." The monster asks Frankenstein to hear his story, and so begins this landmark novel's most astonishing and moving section, the testament of this eight-foot wretch, who begins his biography by trying to describe the memory of coming into this world fully formed, cognizant and sensitive to basic needs, yet mystified by every new occurrence, and from the start orphaned. He takes to the wilderness, eventually learns to observe and imitate humans, is stirred by music, beauty and familial love, comprehends the importance of interdependence and the inevitability of disappointment in others, and even educates himself into literacy with the help of Milton and Goethe. By the time the monster is able to converse with Frankenstein he's become as eloquent as any character in the novel. This might seem unlikely, even more unlikely than the fact of the monster's creation, given what we now appear capable of producing nearly 200 years later. But eloquence of any sort can seem unlikely when weighed against the savagery that mankind continues to prove capable of. This novel itself seems unlikely, a succinct, surprising and imminently durable masterpiece, whose ostensible flaws obey the logic of dream on which the whole is founded, whose epistolary structure of stories within stories within stories reads as so completely modern, and whose magnificence was

HOP H C SCOT

inescapably betrothed. And in the story of the monster too these same themes dominate: loneliness, and the desire for a lady companion born of the same fault-laden parentage. (I had no idea that right here in Shelley's Frankenstein lie the seeds for Hollywood's Bride of Frankenstein.) So Frankenstein is a story of absent mothers, ineffectual fathers, men without women. But where this gets really interesting is in Frankenstein's own participation in his undoing. The monster is the product of Frankenstein's own hubris, yet it could also be interpreted as a whopper of an excuse for Frankenstein's perpetuating a fearful avoidance of consummation. If Frankenstein fails to fulfill the not entirely unreasonable requests of the monster—to my eyes the novel's most sympathetic character—to produce for him a female counterpart, the monster promises to return to ruin Frankenstein's life precisely on the night of his wedding. What better way to prolong bachelorhood! Frankenstein's anxiety surrounding marriage is subverted by an act of masculine immaculate conception and the brutal and terrifying incidents that accumulate as a result. There are multiple morals to be gained from Shelley's tale, and I wonder if among them is something about the immense power of sheer procrastination, which in the hands of the wrong genius can itself prove monstrous. V

VUEWEEKLY // OCT 21 – OCT 27, 2010

ARTS // 15

PROFILE // ANDREW BUSZCHAK

Information super-highway Andrew Buszchak goes To Main Street Amy Fung // amy@vueweekly.com

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ince moving to Edmonton on the first day of this year, Andrew Buszchak has undergone training to become an apprentice in welding, assumed the volunteer responsibilities for Instant Coffee's Alberta list serve and recently opened his solo exhibition, To Main Street, in the Projex space at Latitude 53. As a series of large wall mosaics using text and images generated from random Internet searches, To Main Street mediates the tension between individuality, DIY practices and standardization in our daily lives. Here is an excerpt of our conversation held in the Latitude gallery space. VUE WEEKLY: What were you doing before you came to Edmonton? ANDREW BUSZCHAK: I was in Halifax attending the Nova Scotia College of Art and Design, and before that, in London, Ontario attending Fanshawe College. In London, I was new to studying art and being interested in contemporary art. I guess I was more enthusiastic about going out and seeing any types of shows, whether I knew the artist or not or whether I'd be interested in the type of work. And at NSCAD, my background is technically in printmaking, but I see my degree as interdisciplinary. I don't want to be stuck in any one medium. If I get an idea of how to make something, I don't want to be stuck if it makes sense to use one material over another. I also don't have a studio space, so being versatile is also about working within limitations. VW: Let's talk about the work. How did you choose the stock images and blog text to make these three large and distinct digitally manipulated mosaics? AB: The source of the text is any kind of blog on the Internet, selected more or less

16 // ARTS

VUEWEEKLY // OCT 21 – OCT 27, 2010

WORTH A THOUSAND WORDS >> An image from To Main Street randomly, and one criteria I was looking for was that it was not written by a corporation, so that it's somebody making use of the Internet, some individual, to express their opinion. Using hundreds of blogs, the choice of colour is a result of the process, an interest in standarization, in the paper size of 8x11, standards and defaults on the programs, like Adobe Illustrator. I just used whatever font and size were set as default, because I was interested in what comes standard. And the photographs aren't stock images necessarily. They come from a range of Internet sources. For example, "Hope, Air, Words, Wind" is a professional photograph of David Cook, one of the past winner's of American Idol, and the other two images are from amateur photographers. I don't know their names or anything about them, but they are distinct because I don't have any intention to make any story or narrative between the three of them. They can be looked at in any order, and there's no order they should be seen in, but they may be representations of something allegorical. VW: Can you explain? AB: I'm reading a bit by Craig Owens,

// Andrew Buszchak

and he wrote a lot about appropriated images and how allegory comes back into postmodern art, but I liked what he said because these images don't read straight across and my use of the images has taken some of their original meaning out and put in new meaning by using random text to make up the images. I guess what I'm saying is that I want to raise an awareness of people using the Internet to express their voices and concerns and opinions and how that all sort of mingles with what's up on the walls. VW: You've mentioned the idea of "repeatability." What is that to you? AB: Our society in general is occupied with mass production. The way people live their lives [focused] on how or what to consume. I'm always looking for something ubiquitous and from there I think something interesting can grow. V until Sat, Nov 13 To Main Street Works by Andrew Buszchak Latitude 53 (10248 - 106 St) Artist talk on Sat, October 23, (2 pm)

REVUE // 03

Unwind the mind 03 a slippery, engrossing novel Michael Hingston // HINGSTON@vueweekly.com

T

old in the form of one long paragraph, all while its nameless teenage narrator stands motionless at a bus stop, waiting to be picked up for school, Jean-Christophe Valtat's 03 is a slippery, engrossing little novel. It picks up with the boy's realization that the girl he's taken to observing at the stop across the street is "slightly retarded," and from there casually winds through everything on his mind—disgust at the small town he lives in, the meaning of his favourite Joy Division song and everything in between—before landing right back where he started. The book moves in a circle; distance is travelled, but your usual forward progression is nowhere to be found. But everything, eventually, comes back to this girl. We're told she has spiky black hair, no curves of any kind and eyes "like those of a heroine in a Japanese cartoon forced open onto the real world." She never notices our narrator, so he's free to gaze upon her from across the road and pontificate at length and in depth about what his attraction to her means, and why he feels it in the first place. Does she remind

him of his own lost childhood? Or is it because her simple-mindedness is the one thing an intelligent mind like his is, ironically, unable to understand? The narrator is precocious even by precocious standards—readers will likely either adore him or want to throw him under the bus he's waiting for. He has an automatic disdain for almost everyone and everything around him, the kind of premature cynic who makes a sport of calling adults on their bullshit and cooks up standard-issue teenage epiphanies like, "Everything in short, was just an elaborate hoax, made up of actors and sets." Sometimes he revels in his own turns of phrase; he describes looking at this girl "across the cold magma frozen into tarmac by the organized disaster called society"—which sounds, alarmingly, like something out of my old high school notebook. The boy is clever, in other words, and smart, but not smart enough to realize the limits of cleverness.

of cultural signifiers. The narrator has some Morrissey in him, but also traces of more troubled figures like Lolita's Humbert Humbert and Dostoevsky's Man from the Underground. Part of his attraction to this girl is that she's far from pretty in the usual sense (see: Humbert's definition of "nymphet"), and part is that he knows he's miles above her intellectually—yet that intellect is also what makes him unable to act. He'd rather overanalyze things in his own head, spinning his wheels in elaborate fashion, instead of going over and saying hello, or even waving. So much is implied, but nothing is fully explained. I've read 03 twice now, and many of the boy's tangential thoughts have already slipped away again. But when they're as eloquent, funny, occasionally frustrating, and incisive as these ones are, you won't mind hearing the teller repeat himself. V Now Available 03

Despite its length, 03 carries with it the intellectual weight of a much-longer book. Valtat is able to both spin an entirely believable world out of his selfabsorbed teenager's inner monologue, as well as connect his story to all kinds

By Jean-Christophe Valtat Translated from the French by Mitzi Angel Farrar, Straus and Giroux 96 pp, $13.95

REVUE // RICHARD YATES

Modem-age minimalism Richard Yates a surprising, disorienting treat Michael Hingston // hingston@vueweekly.com

T

ao Lin's last book ended with a nonsequitur about marine biology. His new novel, Richard Yates, opens with a discussion about a hamster eating its babies. "I wanted to give it a high-five," says a 22-year-old writer named Haley Joel Osment (no relation to the Hollywood child star) over Gmail chat. "But it didn't know what a high-five was." These examples are as good a litmus test as any to determine if you will enjoy Lin's particular brand of emotionally numb, minimalist fiction. If your reaction is "Get on with the plot already," you're in for a disappointment. If, on the other hand, you find this description funny, or strangely accurate—how much of our own lives these days consists of making dumb jokes over the Internet?—you're in for a surprising, disorienting treat. Richard Yates takes the sparse autobiographical style of Lin's 2009 novella Shoplifting from American Apparel and pushes it in newer and far darker directions. Our heroes are Osment and a 16-yearold he meets over the Internet named Dakota Fanning (again, no relation). Both are glib and insecure, but they're drawn to one another all the same. They begin

a covert long-distance relationship that involves Osment making the two-hour commute from New York City to visit Fanning at her mother's house in small-town New Jersey, or vice versa. Most of their interaction takes place via text message and over the Internet. For a while, they make each other happy—they steal clothes and organic vegetables, occasionally have sex, and draw each other pictures in Microsoft Paint. But it's not long before their mutual depression and neuroses get the better of them, and the relationship quickly takes a series of destructive turns. Richard Yates, like much of Lin's work, is fundamentally about disconnection. His protagonists' names don't connect to their characters. Osment and Fanning's respective thoughts don't connect with what they end up saying out loud. Most of the time they don't appear to be in control of their facial expressions, either. Even Lin's sentences are incommunicado with one another—there's hardly a conjunction (but, and, also) to be found. This novel is not a seamlessly constructed tapestry. It's a stack of carpet samples. Beneath the icy style, however, is a meticulously plotted novel that asks all kinds of urgent questions about the world an entire generation of people are

growing up in. Lin's fans and detractors alike will agree that he can strike nerves like few other writers working today. His lack of descriptive flourishes and (as seen through Osment, anyway) general confusion about how to engage with society at large strike me as a challenge to readers on two levels: as readers of literature, and also as citizens of the world. I think some people get angry with Lin because he asks the question so pointedly and nakedly— the people dismissing it are perhaps those most disturbed by it. As the book progresses, Osment becomes steadily less and less likable, lashing out at Fanning for the pettiest things and generally acting less like her boyfriend and more like a bully. Turning your reprehensible behaviour into art doesn't excuse the behaviour, of course, but don't be naïve. Lin knows this, too. If he did these things in real life, he should be ashamed of himself. But the resultant novel, in its frankness, is convincing, chilling, and maybe even a tiny bit brave. V Available now Richard Yates By Tao Lin Melville House 208 pp, $17.95

VUEWEEKLY // OCT 21 – OCT 27, 2010

ARTS // 17

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/0(&,(/&/)-* œ ESSENCE: THE LANGUAGE OF FLOWERS2 HYaflaf_k Yf\ h`glgk Zq 9ddakgf 9j_q :mj_]kk$ K`Yjgf Eggj] >gkl]j$ Yf\ <Yof D]ZdYf[3 until Oct 24 œ THE CROOKED TREES OF ALTICANE2 HYaflaf_k Zq C]f <Yd% _Yjfg3 Oct 30-Dec 243 gh]faf_ j][]hlagf2 Nov 4$ /%1he

MICHIF CULTURAL AND MÉTIS RESOURCE INSTITUTE Âœ 1 Eakkagf 9n]$ Kl 9dZ]jl Âœ /0(&.-)&0)/. Âœ

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MILDWOOD GALLERY œ ,*.$ ..--%)/0 Kl œ E]d @]Yl`$ BgYf @]Yd]q$ >jYf @]Yl`$ DYjjYaf] GZ]j_$ L]jjq C]`g]$ <Yjd]f] 9\Yek$ KYf\q ;jgkk Yf\ Na[lgjaY$ Hgll]jq Zq FYZgjg CmZg Yf\ Na[lgj @Yjjakgf œ Ongoing

MULTICULTURAL CENTRE PUBLIC ART GALLERY

(MCPAG) Âœ -,))%-) Kl$ Klgfq HdYaf Âœ /0(&1.+ 11+- Âœ HYaflaf_ afklYddYlagf Zq AkYZ]ddY Gjr]dkca%Cgfacgokca3 until Oct 27 Âœ HYaflaf_k Zq ?]f]nY Eggj]3 Oct 29-Nov 30 MUSÉE HÉRITAGE MUSEUM Âœ - Kl 9ff] Kl$ Kl 9dZ]jl Âœ /0(&,-1&)-*0 Âœ PATTERNS IN GLASS2 EÂ…lak <]ka_f af :]Y\k3 until Jun 2011

NAESS GALLERYďż˝Paint Spot Âœ )((+*%0) 9n] Âœ

/0(&,+*&(*,( Âœ IMPRESSIONS IN WAX2 Ogjck Zq Oae% eaf af OYp e]eZ]jk Cae :dYaj$ BYf] Egfl_ge]jq$ ;Yl`% ]jaf]$ ArYZ]ddY Gjr]dkca%Cgfacgokca$ Egfa[Y <]jq$ <aYf] HdYkk]Âż$ KajccY CY\Ylr$ 9mj]daY Dm[q KYmf\]jk$ DgjfY >Yq] C]eh$ ;Yl`]jqf K]aa^jal$ ?d]f\Y @gh] D]oak[`3 through Oct Âœ Free demos2 >dma\ 9[jqda[k Yf\ Afc \]eg3 d]Yjf _dYr]k$ dYq]jk Yf\ hgmjaf_3 KYl$ Oct 23$ ))Ye Yf\ *he

OLD STRATHCONA ANTIQUE MALL œ )(+*+%/0 9n] œ /0(&,++&(+10 œ HYaflaf_k Zq MjeadY R\]fcY œ Through Oct

18 // ARTS

PETER ROBERTSON GALLERY œ )*+(, BYkh]j 9n] œ /0(&,--&/,/1 œ HYaflaf_k Zq <Yna\ 9d]pYf\]j

VUEWEEKLY // OCT 21 – OCT 27, 2010

,(+&+(1&0,(- Âœ j]\\]]jemk]me&[ge Âœ GLASS 2009: 9jl% ogjck ^jge l`] [gdd][lagf g^ l`] 9dZ]jlY >gmf\Ylagf ^gj l`] 9jlk Âœ TOP SECREET: MISSION TOY2 Oct 22-Jan 9 Âœ MAGNIFICENT TOYS2 Oct 29-Jan 9 Âœ BERT FORS: FqY :Y[c]fÂşl`] F]o DYf\2 G[l *1%BYf 1

ST ALBERT PLACE œ ,,- Kl 9dZ]jl J\$ Kl 9dZ]jl œ

/0(&1.)&+,.) œ THE WAY I SEE IT: Kl 9dZ]jl HYafl]jk ?mad\ YffmYd ^Ydd k`go œ Oct 22-24 œ Gh]faf_ j][]hlagf2 >ja$ Oct 22$ /he ^gq]j! œ HYaflaf_ \]eg2 >ja Yf\ KYl

SCOTT GALLERY )(,))%)*, Kl œ /0(&,00&+.)1 œ k[gll_Ydd]jq&[ge œ A NEW PAGE: 9jlogjck Zq Egflj]Yd% Zgjf Yjlakl >jYf[af] ?jYn]d œ Until Nov 2 SIDESHOW GALLERY œ 1.(1%0* 9n] œ /0(&,++&),+(

œ ka\]k`go_Ydd]jq&[Y œ WHOLE DAYS IN THE TREES: 9jlogjck Zq <YfY @gdkl Yf\ =kl`]j K[gll%EY[cYq œ Until Oct 23

SNAP GALLERY œ )()*+%)*) Kl œ BUILDING BRIDGES2 >]Ylmjaf_ `Yf\ hmdd]\ gja_afYd hjaflk ^jge Y nYja]lq g^ ]klYZdak`]\ Yf\ ]e]j_af_ dg[Yd hjafleYc]jk

SPRUCE GROVE GALLERY œ E]d[gj ;mdlmjYd ;]flj]$

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STOLLERY GALLERY œ FafY @Y__]jlq ;]flj]$ 1**-%

))0 9n] Âœ /0(&,/,&/.)) Âœ NIGHT OF THE BEASTS: 9jl% ogjck Zq CaZ Kj]f_$ JYf\q Kl]ff]k$ Yf\ HYmd :]dd]eYj] Âœ Until Nov 13 gh]faf_ j][]hlagf2 L`m$ Oct 21$ .%0he Âœ ;Yc] OYdc2 Yl l`] Kmllgf HdY[] :Yddjgge$ )(*+-%)() Kl3 Lm]$ Nov 2$ /he oaf] Yf\ `gjk \Âżg]nj]k!$ 0he k`go!3 )(( Yl LAP gf l`] KimYj]

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TU GALLERY œ )(/)0%)*, Kl œ /0(&,-*&1.., œ lm_Ydd]jq&[Y œ

HIDDEN TALENT2 9jlogjck Zq )- dg[Yd Yjlaklk œ Mflad Fgn .

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9n]$ ))) Kl œ emk]mek&mYdZ]jlY&[Y œ POLAR IMPACT: UNDERSTANDING CHANGE IN THE CIRCUMPOLAR OGJD<K2 œ Mflad Fgn *( [dgk]\ Fgn ))%)*! œ Polar Impact Conversations2 H]jkh][lan]k gf Fgjl`]jf H]ghd]k Yf\ L`]aj =fnajgfe]flk2 k]ja]k g^ [gfn]jkYlagfk gf Oct 28, Nov 4, Nov 18, Dec 9$ /%0he3 af l`] L]dmk ;]flj] 9m\algjame

VAAA GALLERY œ +j\ >d$ )(*)-%))* Kl œ /0(&,*)&)/+)

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WEST END GALLERY œ )*+(0 BYkh]j 9n] œ /0(&,00&,01* œ REFLECTIONS ON ALBERTA: Kgdg ]p`aZalagf g^ f]o Yjlogjck Zq O&@& O]ZZ3 mflad Oct 28

LITERARY AUDREYS BOOKS Âœ )(/(* BYkh]j 9n] Âœ /0(&,*+&+,0/ Âœ Ojal]j af j]ka\]f[]$ CYl` EY[d]Yf3 ]n]jq Lm]%L`m$ )2+(% -he Âœ Dg[Yd hg]l$ :]jl 9degf$ j]Y\af_ k]d][lagfk ^jge Waiting for the Gulf Stream; Kmf$ Oct 24$ *he Âœ 9ml`gjk 9ff] KgjZa]$ Yf\ CYl`d]]f OYdd$ j]Y\af_ ^jge l`]aj f]o Zggck3 L`m$ Oct 28$ /2+(he CARROT CAFÉ Âœ 1+-)%))0 9n] Âœ Yjlkgfl`]Yn]&gj_'l`% ][Yjjgl' Âœ Ojal]j k [aj[d] e]]lk ]n]jq Lm]$ /%1he Âœ ;jalaim] [aj[d] gf l`] dYkl Lm] ]Y[` egfl` GREENWOODS' BOOKSHOPPE Âœ /1*-%)(, Kl Âœ BYq

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LIT FEST œ Eq]j @gjgoalr L`]Ylj]$ Klm\]fl Mfagf :d\_$ M g^ 9 œ dal^]klYdZ]jlY&gj_ œ Until Oct 24 œ )-( ?gd\ HYkk!' -( >]klanYd HYkk$ \g]kf l af[dm\] KYngmja]k$ ?]fm%Oaf] gj :jmf[`!3 KYngmja]k2 /-3 ?]fm%Oaf]2 *-3 9 :jmf[` g^ Ojal]jk2 ,-3 =pljYgj\afYjq ;YfY\aYfk2 *(' )( klm\]fl'\akY\nYflY_]\'_jgmh g^ )(#!3 Gl`]j =n]flk2 )(' - klm\]fl'\akY\nYflY_]\'_jgmh g^ )(#! œ CBC Centre Stage2 Bgk]h` :gq\]f Yf\ Bg`f JYdklgf KYmd 3 L`m$ Oct 21$ )*he œ <Yf ?Yj\f]j Yf\ 9f\j]o Hgll]j gf >ja$ Oct 22$ )*he3 ^j]] œ Stanley Milner Library Theatre2 =pljYgj\afYjq ;YfY\aYfk oal` Bgk]h` :gq\]f$ Yf\ Bg`f JYdklgf KYmd gf L`m$ Oct 21$ /he$ *(' )( Yl LAP gf l`] KimYj] œ 9EH9 EYcaf_ Qgmj Ghafagf EYll]j2 Gf :dg__af_ Yf\ Gh%=\ ;gdmefk Je /$ .l` >d! oal` 9f\j]o Hgll]j gf >ja$ Oct 22$ *he3 )(' - Yl 9dZ]jlY EY_Yraf] HmZdak`]jk 9kkg[aYlagf œ :]]k oal` ;Yf\Y[] KYnY_]3 >ja$ Oct 22$ *he œ ?]l J]Yd oal` 9f\j]o Hgll]j$ <Yf ?Yj\]f]j$ Yf\ 9eq Bg =`eYf3 KYl$ Oct 23$ ,he3 )(' - Yl LAP gf l`] KimYj] œ Kids in the Hall Bistro: ?]fm%Oaf] oal` <Yf ?Yj\]f]j$ ;d]g HYkcYd$ 9f\j]o Hgll]j$ DYoj]f[] K[YfdYf$ Yf\ emka[ oal` <gf :]jf]j gf KYl$ Oct 23$ /he3 *- Yl LAP gf l`] KimYj] œ Sutton Place Hotel NaflY_] Jgge2 9 :jmf[` g^ Ojal]jk oal` 9eq Bg =`eYf$ KYjY` D]Ynall$ ;d]g HYkcYd$ emka[ Zq 9f\j]Y @gmk] Yf\ ;`jak Keal`; Kmf$ Oct 24$ ))Ye3 ,- Yl LAP gf l`] KimYj] RIVERCREE œ +(( =Ykl DYhglY[ :dn\ œ /0(&,0,&*)*) œ BYe]k NYf HjYY_`$ Yml`gj Yf\ [j]Ylgj g^ Ghost Whisperer œ Oct 23

]n]jq Lm] oal` =\egflgf k dg[Yd hg]lk

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THEATRE ALMIGHTY VOICE AND HIS WIFE œ Ogjck`gh O]kl

L`]Ylj] Yf\ 9dZ]jlY 9Zgja_afYd 9jlk œ Ljm] klgjq g^ Y qgmf_ >ajkl FYlagfk eYf$ 9dea_`lq Nga[]$ o`g oYk bYad]\ Zq Egmfla]k af KYkcYl[`]oYf af )01- ^gj k`gglaf_ Y [go$ hgkkaZdq `ak gof& @] ]k[Yh]\$ Yf\ l`] ]fkmaf_ eYf`mfl d]^l ^gmj \]Y\ œ Until Oct 23 œ *- Y\mdl!' *( klm\]fl' k]fagj! Yl LAP gf l`] KimYj]

ANY NIGHT œ O]klZmjq L`]Ylj]$ LjYfk9dlY 9jlk :Yjfk œ

)(++(%0, 9n] œ /0(&,,0&1((( œ ^jaf_]l`]Ylj]&[Y œ >jaf_] L`]Ylj] 9\n]flmj]k œ 9 qgmf_ ogeYf km^^]jaf_ ^jge fa_`l l]jjgjk Yf\ kd]]hoYdcaf_ ak \jYof aflg Y l]f\]j jgeYf[] oal` l`] qgmf_ eYf danaf_ YZgn] `]j& :ml `go \g]k `] cfgo `]j kg o]dd7 HYjl jgeYf[]$ hYjl l`jadd]j$ 9fq Fa_`l ak Yf ]phdgjYlagf g^ l`Yl l`af daf] Z]lo]]f ljmkl Yf\ ^]Yj œ Oct 21-31 œ *+ Y\mdl!' )1 klm\]fl'k]fagj!

BLITHE SPIRIT œ E]egjaYd 9jlk ;]flj]$ -*(.%-( Kl$

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DIEďż˝NASTY Âœ NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] Âœ

/0(&,++&++11 œ \a]%fYklq&[ge œ Dan] aehjgnak]\ kgYh gh]jY œ Mflad May 30

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THE INFINITE SHIVER Âœ NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] Âœ /0(&,++&++11$ ) Âœ L]Yljg DY Imaf\a[afY hj]k]flk emka[Yd Zq ojal]jk Bg[]dqf 9`d^ Yf\ 9f\j]o EY[<gfYd\%Keal`$ dqja[akl >Yjj]f Laegl]g$ Yf\ [gehgk]j JqYf Ka_mj\kgf Âœ Mflad Oct 233 Lm]%KYl /2+(he$ KYl *he Âœ O]\%KYl ]n]faf_k2 *. Y\mdl!' *) klm\]fl'k]fagj! 3 KYl Y^l]jfggf2 )-3 Lm] ]n]faf_k2 HYq%O`Yl%Qgm%;Yf Yl LAP gf l`] KimYj] INTIMATE APPAREL Âœ ;alY\]d K`g[lgj L`]Ylj]$ 10*0% )() 9 9n] Âœ /0(&,*.&,0)) Âœ [alY\]dl`]Ylj]&[ge Âœ :q Dqff FgllY_]$ \aj][l]\ Zq H`adah 9caf3 Yf GZka\aYf L`]Ylj] Hjg\m[lagf& =kl`]j$ Y daf_]ja] k]Yeklj]kk$ dggck ^gj jgeYf[] Yf\ ^mdÇdde]fl Yf\ l`] e]Yfk lg hmjkm] `]j \j]Yek Âœ Until Oct 24 Âœ La[c]lk Yl [alY\]dl`]Ylj]&[ge MUMP AND SMOOT CRACKED Âœ L`]Ylj] F]logjcÂş

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TOM JONES AND THE TEMPLE OF DOOM œ

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UNDER COVER œ KlYfd]q 9& Eadf]j DaZjYjq$ / Kaj Oafklgf ;`mj[`add Ki œ /0(&,+1&+1(- œ [gf[j]l]l`]Ylj]& [Y œ <aj][l]\ Zq Ea]cg Gm[`a Yf\ ^]Ylmj]k 9f\j…Y BgjYokcq$ Ja[`Yj\ D]] @ka$ ;Yje]dY Kakgf Yf\ ?Yj]ll Kh]ddak[q œ ;gf[j]l] L`]Ylj] ]phdgj]k l`] [`Ydd]f_]k ^Y[]\ Zq l]]fY_]jk g^ Ea\\d] =Ykl]jf \]k[]fl af ;YfY\Y l`jgm_` =ddY$ o`g [`ggk]k lg o]Yj l`] `abYZ lg `]j @a_` K[`ggd œ Oct 29$ )he3 Oct 30$ *he œ )0 Y\mdl!' ), klm\]fl'k]fagj! Yl LAP gf l`] KimYj] VERY SCARY IMPROV œ NYjk[gfY L`]Ylj]$ )(+*1%0+

9n] œ Oct 30$ /2+(he

INSIDE // FILM

FILM

20

Film Notes

21

Film Capsules

22

Cool It

Online at vueweekly.com >> FILM Sidevue Carbon Missions: are we warming to message-based docs or growing cold to them? Interview Josef Braun talks to Werner Herzog about My Son, My Son, What Have Ye Done?

REVUE // DAVID SUZUKI: FORCE OF NATURE

The nature of him

Force of Nature gives an intriguing—if incomplete—look at the rock-star scientist ter how much he assimilates, he would be powerless against racism.

Mari Sasano // mari@vueweekly.com

D

avid Suzuki is very close to a rock star: he commands an audience, lifting people to their feet upon arrival and eliciting reverent attention. He is described as "the godfather of the environmental movement" in Canada, and indeed, he has a paternal place in the lives of a generation of young progressives. Force of Nature: The David Suzuki Movie follows Canada's scientist onto the stage of his Legacy lecture, a hypothetical "last speech" he has been giving across Canada. His Edmonton stop was last month, packing the Horowitz Theatre. But it should be a nice surprise even to those who attended the talk that this goes deeper: intercut into excerpts of his lecture, Suzuki takes us into his personal history, from a third-generation Japanese-Canadian kid interred during the Second World War to politicized scientist to media icon. Sturla Gunnarsson has won accolades for his previous documentaries such as Air India 182, and less so for features such as Beowulf and Grendel. In Gunnarsson's hands, Suzuki is revealed to be both heroic and human, but

I CAN'T HEAR YOU >> Suzuki, likely soaking in the adoration it doesn't feel like a complete story. Nevertheless, it's a fascinating look behind the curtain. It's great to see Suzuki addressing his ethnicity. Canada's racist history is usually brushed off as old business—all water under the bridge, right friends? But his sadness about his father's rage and his own experiences with racism marked him for life. Vancouver had a healthy Japanese pop-

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ulation prior to the war, but anti-Asian sentiment was strong. Suzuki was only a boy when Pearl Harbor was attacked, but as a kid who "didn't know [he] was Japanese," it was a turning point. Suzuki's relationship with his heritage was not always easy: growing up in a Slocan, BC internment camp, seeing his grandparents repatriate to Japan (only to perish at Hiroshima a year later) and being forced to move to Ontario taught him that, no mat-

It is especially moving to see Suzuki in his ancestral country, asking a Japanese barber for a haircut in careful, Canadianaccented Japanese, and visiting the Hiroshima memorial. He's not completely at home here, but he has obviously made a tremendous effort to reconnect to his "genetic homeland." A far cry from a "selfloathing" Asian kid who was almost beat up by other Japanese kids for not being able to speak his mother tongue, an outsider among outsiders. He found some sense of belonging in the environmental and counterculture scenes at UBC in the '60s, documented in groovy, grainy films from that era complete with headbands, floral shirts and banana boards. Here, his first marriage breaks down. The issue of his first family is rarely discussed in other biographies and, here, it's similarly circumspect. Suzuki obviously feels some regret, but I'm curious to know what would've happened if the filmmaker pushed a little harder. But as we continue with the "official story, " it is at UBC that he meets Tara Cullis, who has been his wife for 37 years and

the mother of his two activist daughters, Severn and Sarika. Family and the environment become the main focus in a way that it hasn't before, and it is here that he seems to find the true meaning in his life, particularly in his relationship with the anti-logging activists in the Haida Gwaii nation. Seeing him dancing to celebrate the establishment of a nature preserve is pretty cool. Overall, it seems that too much information is crammed into too short a form. The frame of his lecture isn't entirely successful; it interrupts the narrative of the life story. Read the text version of the lecture, when you have time to pay attention to the ideas. Watch the film for an incomplete history of a man who we think we know from TV. V Now Playing Force of Nature: The David Suzuki Movie Directed by Sturla Gunnarsson Screenplay by Gunnarsson Features and lecture written by David Suzuki PRINCESS THEATRE (10337 - 82 AVE)

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COMMENT >> DVD

Problem child

A pair of Criterion releases document transgression Maurice Pialat was already in his 40s when playful and oddly affectionate movie by an he undertook his feature debut, but I like artist whose work most of us should probvery much that, despite his age, he made ably know much more of. the film about what we used to call a I only really became aware of Pialat, "problem child." I understand Pialat who died in 2003, upon reviewwas something of an overgrown ing Loulou (1980) for Metro problem child himself, tempesCinema's screening a few years tuous, demanding, and difficult back. It's haunted me since, as m ly.co to work with. L'enfance nue a defiantly unresolved portrait eweek u v @ e ctiv (1968) shows 10-year-old Fran- dvddete of working class routines and f e s Jo çois (Michel Terrazon) being diserotic self-actualization, as a perBraun formance from Gerard Depardieu missed from one provincial foster home and shuttled off to another in the likes I've which I've never seen, the first 20 minutes, by which point we've and as the closest thing in French cinema seen him throw a cat down several flights to a Bruce Springsteen song. I'd seen Pialat's of stairs. Pialat was not a foster child, yet he Van Gogh (1991) as a teenager and recall repeatedly assured anyone who asked that being impressed by how little it catered to L'enfance nue was a self-portrait. Collabomy notions of the eponymous artist's perrators describe Pialat as having developed sona or what biopics are supposed to do, by abandonment issues early in life, feelings he how immersed I became in the milieux Van could plausibly project upon François. But Gogh quietly slipped through. Pialat's name I wonder if when Pialat said L'enfance nue nonetheless vanished from my thoughts was about him he was actually referring to afterwards, probably because like so many his adult self. This is a story about a shit disof the most gifted post-New Wave filmmakturber. It's also a remarkable and unnerving, ers—like Jean Eustache or Philippe Garrel—

DVCD TIVE

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he failed to gain any significant foothold in North American movie culture. But we're coming around. Criterion's already released Pialat's À nos amours (1983)—a portrait of a beautiful young Sandrine Bonaire as she transitions into adulthood, as well as a Cassavetes-like chronicle of domestic madness—and now offers L'enfance nue for our consideration. L'enfance nue might have been a documentary, and the residue of this early conception remains in its opening images of a street demonstration, but more pointedly in the camera's dexterous responsiveness to the action. Most of the players are nonprofessionals, and several, most memorably Marie-Louise and Rene Thierry, who become François' sexagenarian second set of foster parents, were essentially asked to tell their own stories within the boundaries of Pialat's loose, often elliptical narrative framework. The approach imbues L'enfance nue with an unsentimental yet touching sense of the real. We see François do both terrible and tender things and it's more compelling

that he barely seems cognizant of the difference. We see his face when others aren't watching and he's clearly listening to what's going on around him, yet he doesn't seem to listen with any set expectations as to what response his actions will incite. We see François make discoveries—such as the Polaroid camera or of the mischievous sense of humour belonging to Marie Marc's wonderful, largely bedridden Nana—and in these moments our internal scorecard of François' positive or negative traits falls away while we simply observe him experience a moment fully. He'll eventually experience a wedding, a death and serious punishment for his deeds, and through it all Pialat's knack for letting a scene breathe before abruptly moving on to the next one invites us to simply take it in as we go. It's only after the final fade-to-black that we can begin to comprehend just how much we've been through. Also fresh from Criterion is Nagisa Oshima's Merry Christmas, Mr Lawrence (1983). Based on autobiographical novels by Laurens van der Post, it tells a very strange story of cultural, hierarchical and erotic transgressions set within a Japanese POW camp in Java during the Second World War. Torture and friendship intermingle. Frustrat-

VUEWEEKLY // OCT 21 – OCT 27, 2010

ed desire and confusion stemming from cultural opacity are converted into anger and violence, and homosexual activity is treated in no less complex a manner than would be found in Oshima's later Gohatto (1999). The talent involved in this project was notably diverse. Besides Oshima, by this point already decades into one of the most iconoclastic careers in Japanese cinema, there was a cast including the terrific British actor Tom Conti; Western pop's most enigmatic Japanophile, David Bowie; Japanese music star Ryuichi Sakamoto, who would also compose the film's gorgeous theme music; and an unusually expressive Takeshi Kitano, some years before he'd launch his own distinctive filmmaking career. Putting the whole project together was a feisty young Jeremy Thomas, the producer probably most famous for his adventurous literary adaptations, such as The Sheltering Sky (1990), Naked Lunch (1991) and Crash (1996). This peculiar team and the ways in which they collaborate, the very weird tension that emerges between Bowie and Sakamoto especially, might just be the most fully satisfying aspect of Merry Christmas, which consistently fascinates yet feels a little stilted compared to other Oshima films I've seen and greatly admired. V

FILM // 19

REVUE // JEAN-MICHAEL BASQUIAT: THE RADIANT CHILD

Text on film

The Radiant Child offers a solid introduction to Jean-Michael Basquiat Josef Braun // josef@vueweekly.com

A

mong the elements that distinguished the art of Jean-Michel Basquiat was its merging of text and image, or rather its use of text as image, words crossed-out or repeated until meanings shift or dissolve, often hovering between the cryptic and the forthright. Given that the traditional documentary already embraces the incorporation of on-screen text, it wouldn't seem too great a leap for a film about Basquiat to approach its subject with a like sense of lexicographical adventure. Tamra Davis's Jean-Michel Basquiat: The Radiant Child—kind of a condescending title the more you think about it—does in fact use lots of text—it's a rare documentary that endeavours to give running credits for stills—but does so in a manner that's neither mimetic nor especially enlightening. The Radiant Child is however a solid introduction to the artist, and for that reason should be widely seen. The film was prompted by Davis's re-discovery of video interviews she recorded with Basquiat before grief consigned them to a drawer for 20 years. Davis and Basquiat were friends, and the film was clearly undertaken with tremendous affection, which makes The Radiant Child a

radiAnt face >> Jean-Michel Basquiat in front of one of his creations very moving experience, yet prompts an approach so cautious as to fall short of offering rigorous insight into Basquiat's art, celebrity or private life. Basquiat was prolific, imaginative, wildly ambitious, intelligent, handsome and charismatic, but he died at 27, too young to be expected to comment meaningfully on his own work—not that any artist at any age is required to provide such commentary. So the lost interviews, in which Basquiat seems reticent and a bit self-conscious,

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are not enough to make The Radiant Child a revelation. An overstocked cast of interview subjects are recruited, but they're either cut short or generalize. Poet John Giorno rightly attributes Basquiat's textual innovations to his exposure to William S Burroughs' cut-up technique, yet fails to mention Brion Gysin, who cofounded the technique with Burroughs and was, you know, a painter. No one says much about the implications of Basquiat's transition from street graffiti to

graffiti-infused paintings. Historian Nelson George however does manage to shed some light on the role of racial tensions in Basquiat's work. I don't want to get carried away itemizing what The Radiant Child doesn't do. What it does do is provide a vivid sense of the Lower Manhattan underground art scene of the late 1970s and early 1980s, probably the last time New York really mattered as a cultural vanguard—not coincidentally

this was also the last time any normal person could afford to live there. Davis makes terrific use of archival tapes of Basquiat's noise band Gray, of his appearances on TV Party and of the artist at work. Davis also makes a case for the notion that Basquiat and Andy Warhol were, for a time at least, each other's closest friends. In some only slightly perverse way, Warhol may have been a father figure to Basquiat, whose real father was a middle-class HaitianAmerican living just across the river in Brooklyn, and with whom Basquiat endured an uneasy relationship. Davis only hints at this unease, perhaps out of respect for Basquiat Sr, perhaps out of an unwillingness to psychoanalyze her dead friend. All of which is perfectly respectable, yet leaves The Radiant Child fraught with half-measures, a quality quite different from its subject who, for better or worse, threw himself headlong and devotedly into a truncated life of high art and dizzying fame. V Fri, Oct 22, Sat, Oct 23, Sun, Oct 24 (7 pm); Sat, Oct 23, Sun, Oct 24 (9 pm) Jean-Michel Basquiat: The Radiant Child Written and directed by Tamra Davis Metro Cinema (9828 - 101A Ave)

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FILM NOTES Shorts sighted Josef Braun // josef@vueweekly.com

N

ot so long ago, the quintessential catch-22 facing most aspiring filmmakers—all you want to do is make a feature; all you're able to do is make a short—was binding to all but the independently wealthy or blessedly well-connected. Technology's shifted this paradigm somewhat by making core tools of filmmaking cheaper, yet it's interesting to note just how firmly shorts remain a staple of the industry. (There are myriad reasons for this, enough to easily fill another article.) Few established feature filmmakers continue to produce shorts—the prolific and often micro-budgeted oeuvre of Canada's Guy Maddin offers a memorable exception—while even fewer filmmakers—the Alice Munros of cinema, to use another Cancon example—devote their careers to making shorts exclusively. So the short form remains largely a realm for beginners. This should be exciting in that beginners can offer freshness, vitality and innovation, yet it behooves beginners to carefully consider the dictates of the short form, to regard it as not merely an annoying steppingstone to bigger things, but rather as an opportu-

20 // FILM

VUEWEEKLY // OCT 21 – OCT 27, 2010

nity, one requiring a mode of creative thinking independent of features. This Saturday, the Film and Video Arts Society of Alberta welcomes programmer, filmmaker and filmmaking consultant Roberta Munroe to Edmonton to deliver the unambiguously titled The Best Short Film Workshop Ever. Munroe is the author of How Not to Make a Short Film: Secrets From a Sundance Programmer (Hyperion, $16.95). She also maintains a website (robertamunroe.com) loaded with short filmmaking tips ranging from creating a post-production strategy in advance to hiring a seasoned producer, from staying wary of cliché character types to making sure you read legendary sound/picture editor Walter Murch's In the Blink of an Eye (a book so fascinating I've recommended it to people who have no intention of making films whatsoever). The site boasts glowing testimonies from the likes of Mark Duplass, as well as shout-outs to clients who have benefited from Munroe's tutelage, including Edmonton's own Trevor Anderson, whose latest short, "The High Level Bridge," had its world premiere at this year's Toronto International Film Festival. If all that's not enough to tempt you, Munroe also offers a "100% Money Back Guarantee ... If you don't walk out of this workshop with the tools to succeed with your short film dreams I

will give you your money back!" This lady isn't fooling around! The workshop will unfold over the course of a six-hour day and cover every step of the process from script development through distribution. Workshops promising to teach the supposed secrets of successful feature filmmaking, most especially the structuring and writing of feature film scripts, have been around long enough to constitute their own cottage industry, but what seems most intriguing about Munroe's workshop is its special emphasis. As a critic I've watched more shorts than I care to remember—though not anywhere near as many as Munroe—and the reason they often go wrong isn't just because the filmmakers lack talent, skills, or resources. It's usually because they're trying to make a feature in 10 minutes. With any luck, a day with Roberta will have you using those 10 minutes to tell precisely that story that couldn't ever be told in 90. V Sat, Oct 23 (10 am – 4 pm) The Best Short Film Workshop Ever with Roberta Munroe Location TBA[checking with Trevor tomorrow] $65 (+GST) for Members/ $75 (+GST) for Non-Members Call 780.429.1671 to register

FILM REVIEWS

Score :A

Jackass

hockey

3d

Musical

Film Capsules Now Playing Jackass 3D

Directed by Jeff Tremaine Featuring Johnny Knoxville, Bam Margera, Steve-O  It's stupid to take the Jackass franchise too seriously. (Evidence of the increasing infantilization of our culture? Maybe. A major reason so many boys are dropping out of school? Nah. Another sign of how morally debased pop-culture's become? No more than coverage of that threatened Koran-burning stunt showed how morally debased news has become.) It's also dangerous to not take the Jackass franchise seriously at all—especially since the previous two stunting, gross-out films grossed more than $150-million worldwide. Jackass 3D offers a muddle-ground, a slap-dash bunch of halfass-ness that's Fear Factor meets Whack-A-Crotch. Its couldn't-give-a-shit indifference to the basics of suspense-building and story cohesion is amazing. Its "don't try this" warning seems pointless in our YouTube era, since the movie so amateurishly showcases its stunt-porn. There's little sense or organization—better homemade compilations of groin-slamming and mini-Evel-Knievel flip-outs stream online, compilations at least thematically focused or based on some horrible, can't-not-look concept. Jackass 3D occasionally uses 3D in a new way—to fire a dildo at your eyes or scroll out a fart-blown party-horn at your face. The slo-mo's only impressive if you really need to see, in reduced speed, a portapotty bungee jump from the inside or an excrement volcano. These are party tricks gone sleazy, or frat-versions of science-fair experiments or stampeding-animal ripoffs of the Pamplona bull-run. The Jackassers could've shown a slight interest in the viewer by organizing and titling sections as such, with each section building to the worst prank of the lot (like the sweat-cocktail drinking, which almost made some theatregoers vomit). Instead, there's a smattering of ideas that seem all the more dumb for having no thematic focus or much else. So

a Deliverance-inspired pig-on-fat man sequence or Monty Python fish-slapping have little preamble or build-up, no admission of their inspiration, and no comic point. Slapstick and cringeflinch elements are reduced by shots of the guys laughing afterwards (or throwing up), which seems like slumming Hollywood self-congratulation. And candid-camera pranks involving an old man fall flatter than Wile E Coyote off a cliff. What's left? Plenty of homoeroticism, demystification of the male member (dick baseball, "helicockter") and slo-mo evidence of the human flesh's elastic hittable-ness. This movie's like its high-five gag, where a huge hand whips around and nails a fall guy—or, in what seems sadistically senseless in a post-Todd Bertuzzi, concussion-awareness sports world, its "Rocky" scenes where someone sneaks up behind someone and smacks him in the face with a boxing glove. Jackass 3D's a hit-and-run (to the bank), sucker-punch prank on viewers who've seen better. Brian Gibson

// Brian@vueweekly.com

Waiting for Superman

Directed by Davis Guggenheim Written by Guggenheim, Billy Kimball  In the case of public interest documentaries made for and about Americans, it's no coincidence that we pay such close attention to the issues of a country that supplies much of the rest of our global entertainment. If they can sell us Snooki, meat couture and a 3-D football in the groin, one should hope that a public school lottery for math-loving poor kids will turn a few Canadian heads. Davis Guggenheim, the Oscar-winning director who brought us An Inconvenient Truth and the pilot for the revamped Melrose Place, feels guilty because his kids go to a private school. It's enough to inspire anybody who is friends with Al Gore, especially when one of the most nailbiting documentary money shots is at stake—boys and girls all across the United States denied

the same decent education because of a few grown-ups more concerned with filling their pockets. As a hopeful yet half-assed alternative, different states provide a random assortment of charter schools housed with richly devoted teachers and high student success rates. But the limited enrollment can only accommodate a fraction of tots, and is decided upon by drawing the names of "winners" at random. Waiting For Superman is not unlike the case of a bomb shelter in the wake of a zombie massacre—it's only fair if we draw straws and let a grade point average decide. But there are some willful idealists that hope for a different solution, and won't let any number crunchers or cushy teachers' unions stand in their way. Prolific Harlem educator and activist Geoffrey Canada refuses to believe that underprivilege impacts the ability to learn, while DC school chancellor Michelle Rhee packs a punch after growing fed up with a tenure contract that forgives teachers for literally dunking the heads of students in soiled toilet bowls. Meanwhile, Guggenheim follows a handful of kneehigh wannabe veterinarians and science majors eyeing up the small classroom enrollment like a freshly unwrapped popsicle during a heat wave in the Bronx. It's enough to make us reconsider the misunderstood ideology of Neverland Ranch, at least in the sense that the interests of innocent kids were never impeded by a bureaucrat cash grab. For the most part, anyhow. Not only does Waiting For Superman succeed at raising the stakes, it is also informative of how the partisan divide between capitalist paranoia and fat cat privatization are driving the school bus off the cliff, while Google and Microsoft fret over the shrinking pool of hirable Americans. The quick flash of global statistics will hopefully remind us Canadians how lucky we are, and perhaps also of the fragility of a childhood that stands in the shadow of our pocketbooks at the end of a grumpy work day. Jonathan Busch

// jonathan@vueweekly.com

CONTINUED ON PAGE 23 >>

VUEWEEKLY // OCT 21 – OCT 27, 2010

FILM // 21

REVUE // COOL IT

Thawing a frozen debate Cool It melts climate change's culture of fear

FEELING COOL >> Cool It dcouments a marginalized aspect of the climate debate Sam Power // Samantha@vueweekly.com

I

t's been said the most dangerous thing in the world is an idea, and Bjorn Lomborg manages to demonstrate a real world example. Lomborg, like a lot of people, thought

22 // FILM

VUEWEEKLY // OCT 21 – OCT 27, 2010

// Supplied

he knew all there was to know about global warming and its solutions until he started researching the issues. Cool It follows Lomborg as he breaks down the culture of fear surrounding current advocacy efforts and how it prevents scientific solutions from taking precedence in the debate. Lomborg never denies climate change is happening, but posits that maybe the solutions are not found in large political gatherings like Kyoto and Copenhagen, but in the science being developed around alternative energy sources. Cool It takes off where An Inconvenient Truth left us and the film follows a similar format. Director Ondi Timoner, known for her sociological documentaries, structures Cool It as almost a direct counterbalance to Al Gore's documentary. Following Lomburg first through his childhood motivations to the solutions he's exploring today—there are numerous scenes of Lomburg in front of an audience pointing to slides filled with graphs and photos which document the deconstruction of Gore's arguments—it's a structure that assists in understanding the science Lomborg is drawing from, moving the discussion from fear tactics to debate, which is the exact point Lomborg is trying to bring to legislators and environmentalists:

why aren't we having a rational, science-driven debate about these issues? But after watching the film you're left wondering if it's even possible. Though Lomborg has begun to pull back on some of the more inflammatory statements made in the book version of Cool It, the approach of pure documentation that Timoner takes ensures the discussion within the documentary remains an important contribution to the debate over climate change. The only faults of the film are not to be found in its construction (although the breadth of topics does give the feeling of running a bit long) but perhaps in Lomborg's arguments, failing to touch on the role of established industry in preventing new solutions and the huge political machinations that would need to be enacted to even attempt what he is proposing. Despite this, the film documents a marginalized but necessary aspect of the climate change debate as the world searches for solutions. V Thu, Oct 21 (7 pm) Cool It Directed by Ondi Timoner Metro Cinema (9828 - 101A Ave)

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FILM REVIEWS

Film Capsules

FILM WEEKLY FRI, OCT 22 – THU, OCT 28, 2010 s

<< CONTINUED FROM PAGE 21

Opening Friday Score: A Hockey Musical

Directed by Michael McGowan Starring Noah Reid, Allie MacDonald  There's no avoiding what our perceived national image is—hockey, maple syrup and earnestness, buried under a soft layer of winter snow—but maybe that's the problem with Score: A Hockey Musical. It doesn't even try to go deeper. It doesn't even really go there; general story archetypes populate Score's world, and for all the perks of a grandiose, people-pleasing combination of Glee-meets-the-sportingarena, here the two simply get mashed together to make up the simplest, surface-sheen perception of our home and native land. We have Farley Gordon (Noah Reid), our sheltered 17-year-old protagonist, homeschooled by lefty intellectual parents, gifted in shinny games yet forbidden to play organized sports. There's Eve (Allie MacDonald), the female best friend who harbours secret feelings, their friendship strained when Farley's introduced to the boyish camaraderie of a hockey team. He becomes an overnight sensation, but success turns out to be less sweet then the cereal box his face graces; he's soon at odd with his folks, Eve seems interested in another guy and he loses the respect of the team (and the hockey world) when he refuses to toss off his gloves and fight on the ice. Fold it all into the musical genre, one not exactly known for going deep, and you're skating on thin ice. But even taken as surface-level merriment, it's pretty uneven: there are clunky songs and turns of phrase, ham-handed lines and awkward rhymes that don't help things along (McGowan, who also wrote the script and lyrics, would've been better to farm it out a little). There's some Can-con walk-ons, but George Stroumboulopoulos, Hawksley Workman and Nellie Furtado seem there just to be recognized by the home crowd, and little else (neither of the latter get a tune to themselves). It's worth noting that Noah Reid shows genuine talent on screen, capable of making the unbelievable amounts of earnestness and small-town wide eyed wonder commanded of him seem fresh and real and imminently watchable. He adds some much needed heart. The little, knowing, dribbles of comedy here and there, too, are gems: Theo Fleury appearing to belt out an inspiring verse during our hero's dark night of the soul, with a backing chorus shouting, "Theo Fleury singing / What can't he do, damn it?" or a kitchy ending to "Give it a Shot," acknowledging that by joining the team Farley will be able to advance the film's plot. These little moments suggest a keen eye and sense of genre send-up that, otherwise, seems buried under some deep rink ice. Paul Blinov

// paul@vueweekly.com

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guage, mature subject matter) FRI�SAT 1:00, 3:25, 6:00, 8:30, 10:55; SUN�THU 2:05, 4:30, 7:30, 10:15

JACKASS (R) FRI�SAT 1:00, 2:00, 3:30, 4:30, 6:00, 7:00, 8:45, 10:10, 11:10; SUN�THU 1:00, 2:00, 3:30, 4:30, 5:45, 7:05, 8:00, 9:30, 10:15 LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG violence, frightening scenes, not

scenes) Ultraavx, No passes FRI�SAT 1:00, 3:15; SUN� THU 1:00, 3:15, 5:45, 8:15, 10:45; FRI�SAT 2:15, 4:30, 5:45, 6:45, 8:15, 9:00, 10:45, 11:15; SUN�THU 2:00, 4:30, 7:00, 9:30

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THE EXPENDABLES (18A brutal violence) DAILY 1:25, 4:15, 7:30, 9:55

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SCORE A HOCKEY MUSICAL (PG) FRI�SAT 1:15,

THE OTHER GUYS (PG coarse language, not rec-

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ommended for young children, crude sexual content) DAILY 1:20, 4:00, 6:40, 9:10

SECRETARIAT (G) DAILY 1:05, 4:05, 7:05, 10:05

STEP UP 3 (PG) DAILY 1:55, 4:40, 7:30, 9:50

stance abuse) FRI�SAT 1:50, 5:00, 7:50, 10:35; SUN�THU 1:10, 4:20, 7:10, 10:10

DINNER FOR SCHMUCKS (14A) DAILY 1:40, 4:10,

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SALT (14A) DAILY 4:45, 9:45 THE SORCERER'S APPRENTICE (PG violence, frightening scenes) DAILY 1:45, 4:25, 7:05, 9:25

DESPICABLE ME (G) DAILY 1:05, 3:55, 6:30, 9:00 GROWN UPS (PG crude content, language may offend) DAILY 1:50, 7:25

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MACHETE (18A gory violence) DAILY 1:35, 4:30,

scenes) No passes FRI 4:30, 7:00, 9:20; SAT�SUN 1:40, 4:30, 7:00, 9:20; MON�THU 5:50, 8:45

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THE SOCIAL NETWORK (PG coarse language, subTHE TOWN (14A violence, coarse language) FRI 2:15, 5:00, 7:45, 10:50; SAT 2:15, 5:00, 10:50; SUN�THU 1:50, 4:35, 7:15, 10:05

WALL STREET: MONEY NEVER SLEEPS (PG coarse language) FRI�SAT 10:20; SUN�THU 10:05

THE METROPOLITAN OPERA: BORIS GO� DUNOV (Classification not available) SAT 10:00 WWE BRAGGING RIGHTS�2010 (Classification not available) SUN 6:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

RED (14A violence) Stadium Seating, Dolby Stereo

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

STAGECOACH (PG) MON 8:00 GALAXY�SHERWOOD PARK 2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150

PARANORMAL ACTIVITY 2 (14A frightening

scenes) No passes FRI 4:30, 7:30, 10:10; Sat-Sun 1:40, 4:30, 7:30, 10:10; MON�THU 7:30, 10:10

SCORE A HOCKEY MUSICAL (PG) FRI 4:10,

6:45, 9:25; SAT�SUN 1:35, 4:10, 6:45, 9:25; MON� THU 6:45, 9:25

RED (14A violence) FRI 4:20, 7:10, 10:00; SAT�SUN

1:25, 4:20, 7:10, 10:00; MON�THU 7:10, 10:00

JACKASS (R) Digital 3d FRI 4:35, 7:25, 10:05; SatSun 1:50, 4:35, 7:25, 10:05; MON�THU 7:25, 10:05 HEREAFTER (PG coarse language, mature subject matter) Digital Cinema, No passes Fri 3:45, 6:50, 9:50; SAT�SUN 12:50, 3:45, 6:50, 9:50; Mon-Thu 6:50, 9:50 LIFE AS WE KNOW IT (PG, language may

THE SOCIAL NETWORK (PG coarse language, substance abuse) FRI 4:00, 6:55, 9:40; SAT�SUN 1:10, 4:00, 6:55, 9:40; MON�THU 6:55, 9:40

THE TOWN (14A violence, coarse language) FRI

RED (14A violence) DAILY 1:00, 3:40, 6:45, 9:30;

THE SOCIAL NETWORK (PG coarse language, substance abuse) Stadium Seating, DTS Digital DAILY 12:10, 3:10, 7:10, 10:10 BURIED (14A disturbing content, coarse language)

EASY A (14A language may offend) DAILY 7:15, 9:40 GARNEAU

Digital 3d FRI�SUN, TUE�THU 12:15, 1:30, 2:30, 4:00, 5:00, 6:15, 7:30, 8:45, 10:20; MON 12:15, 2:30, 5:00, 7:30, 10:20

HEREAFTER (PG coarse language, mature subject matter) No passes FRI�TUE, THU 12:50, 3:45, 6:40, 9:45; WED 3:45, 6:40, 9:45 LIFE AS WE KNOW IT (PG, language may offend,

substance abuse) DAILY 1:40, 4:20, 7:10, 10:00

SECRETARIAT (G) DAILY 12:40, 3:30, 6:50, 9:40 MY SOUL TO TAKE (14A gory brutal violence,

coarse language, not recommended for children) FRI�WED 10:10

THE SOCIAL NETWORK (PG coarse language,

substance abuse) DAILY 1:10, 4:10, 7:20, 10:15

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG violence, frightening scenes, not recommended for young children) Digital 3d FRI� WED 1:20, 3:50, 6:30, 8:50; THU 1:20, 3:50, 6:30 YOU AGAIN (G) FRI 7:15; SAT�WED 1:15, 4:15, 7:15 ALPHA AND OMEGA 3D (G)

FRI�MON, THU 12:10

THE TOWN (14A violence, coarse language)

FRI, SUN�THU 12:20, 3:20, 6:55, 9:50; SAT 3:20, 6:55, 9:50

EASY A (14A language may offend) FRI�MON, THU 2:10, 4:40, 7:00, 9:15; TUE 7:00, 9:15 THE METROPOLITAN OPERA: BORIS GO� DUNOV (Classification not available) SAT 10:00 MOTHER AND CHILD (14A coarse language,

sexual content) Star & Strollers Screening: WED 1:00

SAW 3D (R disturbing content) Digital 3d THU 10:00 CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

ALPHA AND OMEGA 3D (G) DAILY 1:05, 3:50,

5:30, 7:45

EASY A (14A language may offend) FRI�SAT 1:40,

4:00, 6:30, 8:45, 11:00; SUN�THU 1:05, 3:20, 5:30, 7:45, 9:55

HEREAFTER (PG coarse language, mature subject

matter) No passes FRI�SAT 1:00, 4:00, 7:30, 10:30; SUN�THU 1:15, 4:10, 7:15, 10:10

Stadium Seating, DTS Digital FRI�TUE 12:20, 2:50, 5:20, 7:50, 10:20; WED 12:20, 2:50, 10:20; THU 12:15, 2:45, 5:15, 7:45

THE TOWN (14A violence, coarse language) DTS

Digital, Stadium Seating DAILY 12:05, 3:05, 7:05, 10:05

LIFE AS WE KNOW IT (PG, language may offend,

substance abuse) Stadium Seating, DTS Digital DAILY 12:45, 3:45, 6:45, 9:45

SECRETARIAT (G) DAILY 6:40 9:15; SAT�SUN, TUE 12:30, 3:10

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG violence, frightening scenes,

not recommended for young children) DAILY 9:00; SAT�SUN, TUE 12:50

LIFE AS WE KNOW IT (PG, language may of-

fend, substance abuse) DAILY 7:10, 9:40; SAT�SUN, TUE 1:00, 3:30; Movies For Mommies: TUE 1:00

PRINCESS 10337-82 Ave, 780.433.0728

FUBAR II (18A crude content, substance abuse) DAILY 9:15; SAT�SUN 3:00

CATFISH (18A) DAILY 7:15; SAT�SUN 1:00 DAVID SUZUKI FORCE OF NATURE (PG) DAILY 7:00, 9:00; SAT�SUN 2:00

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

PARANORMAL ACTIVITY 2 (14A frightening scenes) No passes DAILY 12:00, 2:30, 5:00, 7:30, 10:30

SCORE A HOCKEY MUSICAL (PG) Digital Cinema FRI�TUE, THU 12:20, 3:20, 6:30, 9:10; WED 3:20, 6:30, 9:10; Star & Strollers Screening: WED 1:00 RED (14A violence) FRI�TUE, THU 12:50, 3:50, 6:50, 9:50; WED 3:50, 6:50, 9:50; Star & Strollers Screening: WED 1:00

HEREAFTER (PG coarse language, mature subject matter) No passes DAILY 12:15, 3:30, 6:45, 10:10

1:00, 3:50, 6:45, 9:30; MON�THU 6:45, 9:30

SCORE A HOCKEY MUSICAL (PG)

JACKASS (R)

THE SOCIAL NETWORK (PG coarse language, substance abuse) DAILY 6:40, 9:15; SAT SUN TUE 12:40, 3:20

SECRETARIAT (G) FRI 3:50, 6:45, 9:30; SAT�SUN

JACKASS (R) No passes, Digital 3d, Stadium Seating FRI�SUN 12:35, 3:00, 8:00, 10:30; MON�THU 12:35, 3:00, 8:00, 10:30

Digital Cinema: DAILY 2:00, 4:50, 7:40, 10:30

1:30, 3:40

JACKASS (R) Digital 3d FRI�WED 12:10, 1:20, 2:45,

Digital DAILY 12:00, 3:20, 6:30, 9:50

FRI�TUE, THU 1:50, 4:30, 7:05, 9:20; WED 4:30, 7:05, 9:20; Star & Strollers Screening: WED 1:00

1:20, 3:45

JACKASS (R) DAILY 7:30, 9:40; SAT-SUN, TUE

offend, substance abuse) Digital Cinema FRI 4:15, 7:00, 9:45; Sat-Sun 1:30, 4:15, 7:00, 9:45; MON�THU 7:00, 9:45

PARANORMAL ACTIVITY 2 (14A frightening

scenes) Ultraavx, No passes DAILY 12:30, 3:00, 5:20, 8:00, 10:40

RED (14A violence) DAILY 7:00, 9:30; SAT�SUN, TUE

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG violence, frightening scenes,

not recommended for young children) FRI 3:30; SAT�SUN 1:05, 3:30

4:05, 7:00, 9:55; SAT�SUN 1:20, 4:05, 7:00, 9:55; MON� THU 7:00, 9:55

8712-109 St, 780.433.0728

ROCKY HORROR PICTURE SHOW (STC) One

Show Only: Midnight OCT 23; Sold Out NEVER LET ME GO (14A not recommended for children) DAILY 7:00, 9:10; SAT�SUN 2:00; No 9:10 show on Thu, Oct 28

GRANDIN THEATRE�ST ALBERT

4:20, 5:15, 7:20, 8:00, 10:00, 10:45; THU 12:10, 1:20, 2:45, 4:20, 5:15, 7:20, 8:00, 10:45

LIFE AS WE KNOW IT (PG language may offend, substance abuse) FRI, SUN�THU 1:00, 4:00, 7:10, 10:15; Sat 12:45, 4:15, 7:10, 10:15

MY SOUL TO TAKE 3D (14A gory brutal violence, coarse language, not recommended for children) Digital 3d FRI�WED 1:40, 4:40, 7:40, 10:45; THU 12:30, 3:30, 6:30 THE SOCIAL NETWORK (PG coarse language, substance abuse) DAILY 1:10, 4:10, 7:15, 10:20 LEGEND OF THE GUARDIANS: THE OWLS

OF GA'HOOLE (PG violence, frightening scenes, not recommended for young children) FRI, MON� TUE, THU 12:00, 2:30, 4:50; Sat 4:50; SUN, WED 12:00, 2:30 DAILY 1:30, 4:15, 7:00, 9:30 THE TOWN (14A violence, coarse language) DAILY 12:30, 3:40, 6:40, 9:40 EASY A (14A language may offend) FRI�SUN, TUE�THU 12:40, 3:45, 6:30, 9:20; MON 12:40, 3:45, 9:45

HEREAFTER (PG coarse language, mature subject matter) No passes, DTS Digital Daily 12:25, 3:25, 7:10, 10:10

RED (14A violence) DAILY 1:05, 3:10, 5:10, 7:10, 9:15

PARANORMAL ACTIVITY 2 (14A frightening

THE SOCIAL NETWORK (PG coarse language, substance abuse) No passes DAILY 1:45, 4:20, 6:50, 9:10

THE METROPOLITAN OPERA: BORIS GO� DUNOV (Classification not available) SAT 10:00

SCORE A HOCKEY MUSICAL (PG) DAILY 1:00, 3:00,

UFC 121: LESNAR VS. VELASQUEZ (Clas-

PARANORMAL ACTIVITY 2 (14A frightening

WWE BRAGGING RIGHTS�2010 (Classifica-

JACKASS (R) No passes DAILY 1:20, 3:20, 5:20, 7:25, 9:25

PHIL COLLINS: GOING BACK, LIVE AT ROSELAND BALLROOM, NYC (Classification

scenes) No passes, Stadium Seating, Dolby Stereo Digital DAILY 12:10, 2:35, 5:00, 7:25, 10:00

SCORE A HOCKEY MUSICAL (PG) Stadium Seating, DTS Digital DAILY 12:30, 2:55, 5:20, 7:45, 10:20

SAW 3D (R disturbing content) No passes, Stadium Seating, Dolby Stereo Digital THU 10:15

CLAREVIEW 10

4211-139 Ave, 780.472.7600

Grandin Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822

4:55, 6:55, 8:45

scenes) No passes DAILY 12:50, 2:35, 4:15, 6:00, 7:50, 9:40

LEDUC CINEMAS

THE TOWN (14A violence, coarse language) FRI 3:50, 6:55; SAT�SUN 1:00, 3:50, 6:55; MON�TUE 5:35

CASE 39 (14A, violence, frightening scenes) FRI 4:40, 7:20, 9:55; SAT�SUN 1:50, 4:40, 7:20, 9:55; MON�THU 5:25, 8:05

THE SOCIAL NETWORK (PG coarse language, sub-

Leduc, 780.352.3922

PARANORMAL ACTIVITY 2 (14A frightening scenes) DAILY 7:05, 9:40; SAT�SUN 1:05, 3:40 JACKASS (R) DAILY 7:10, 9:20; SAT�SUN 1:10, 3:20 RED (14A violence) DAILY 6:55, 9:30; SAT�SUN 12:50,

RESIDENT EVIL: AFTERLIFE (18A gory scenes) FRI, MON�TUE, THU 7:50, 10:40; SUN, WED 10:40

sification not available) SAT 8:00 tion not available) SUN 6:00

not available) WED 7:00

SAW 3D (R disturbing content) Digital 3d THU 10:00

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

RED (14A violence) Dolby Stereo Digital FRI 7:00,

stance abuse) FRI 3:35, 6:30, 9:15; SAT�SUN 12:50, 3:35, 6:30, 9:15; MON�THU 5:15, 8:10

3:30

9:50; SAT�SUN 4:00, 7:00, 9:50; MON�THU 8:05

EASY A (14A language may offend) FRI�SUN 9:50;

SECRETARIAT (G) DAILY 6:55, 9:30; SAT�SUN 12:55, 3:30

SECRETARIAT (G) Dolby Stereo Digital FRI 6:45,

MON�TUE 8:35

SECRETARIAT (G) FRI 4:00, 6:50, 9:40; SAT�SUN 1:15, 4:00, 6:50, 9:40; MON�THU 4:50, 7:50

LIFE AS WE KNOW IT (PG, language may offend, substance abuse) FRI 4:05, 6:45, 9:25; SAT�SUN 1:20, 4:05, 6:45, 9:25; MON�THU 5:10, 8:20

MY SOUL TO TAKE 3D (14A gory brutal violence,

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

JEAN�MICHEL BASQUIAT: THE RADIANT CHILD (14A) FRI 7:00; SAT 7:00, 9:00; SUN 7:00, 9:00 CITIZEN ARCHITECT: SAMUEL MOCKBEE AND THE SPIRIT OF THE RURAL STUDIO (STC) FRI 9:00

coarse language, not recommended for children) Digital 3d FRI 3:45, 6:35, 9:10; SAT�SUN 1:10, 3:45, 6:35, 9:10; MON�THU 5:30, 8:25

sexual content) MON 7:00

RED (14A violence) FRI 4:20, 7:05, 9:45; SAT�SUN 1:30,

NFB FAIRY TALES FOR ALL (STC) THU 7:00

4:20, 7:05, 9:45; MON�THU 5:20, 8:15

JACKASS (R) Digital 3d, No passes Fri 4:50, 7:10, 9:30;

Digital 3d, No passes SAT�SUN 2:00, 4:50, 7:10, 9:30; Digital 3d MON�THU 5:40, 8:40

HEREAFTER (PG coarse language, mature subject matter) No passes FRI 3:40, 6:40, 9:35; Sat-Sun 12:45, 3:40, 6:40, 9:35; MON�THU 5:00, 8:00

ATANARJUAT (THE FAST RUNNER) (14A

NFB NEW RELEASES PROGRAM(STC) THU 8:30pm

PARKLAND CINEMA 7 130 Century Crossing, Spruce Grove, 780.972.2332 (Spruce Grove, Stony Plain; Parkland County)

PARANORMAL ACTIVITY 2 (14A frightening

9:35; SAT�SUN 3:30, 6:45, 9:35; MON�THU 7:30

WAITING FOR SUPERMAN (PG) DTS Digital

FRI 7:10, 10:00; SAT�SUN 4:15, 7:10, 10:00; MON� THU 8:15

THE SOCIAL NETWORK (PG coarse language, substance abuse) DTS Digital FRI 6:35, 9:25; SAT� SUN 3:45, 6:35, 9:25; MON�THU 7:45 WETASKIWIN CINEMAS

Wetaskiwin, 780.352.3922

RED (14A violence) DAILY 6:55, 9:30; SAT�SUN

12:50, 3:30

PARANORMAL ACTIVITY 2 (14A frightening scenes) DAILY 7:05, 9:40; SAT�SUN 1:05, 3:40

JACKASS (R) DAILY 7:10, 9:20; SAT�SUN 1:10,

3:20

SECRETARIAT (G) DAILY 7:00, 9:35; SAT�SUN 12:55, 3:35

scenes) DAILY 7:20, 9:30; SAT�SUN, TUE 1:10, 3:25

VUEWEEKLY // OCT 21 – OCT 27, 2010

FILM // 23

COVER // FALKLANDS

E

From coast TO coast

// Eden Munro

David Berry // david@vueweekly.com

VUETUBE

FALKLANDS

LIVE AT THE VUE WEEKLY STUDIO VUEWEEKLY.COM/VUETUBE

24 // MUSIC

dmonton pop-punk darlings Falklands might be imploring you to Think About It with the release of the band's first full-length, but the real guiding philosophy of the album—and the group—can be found on its first song, "It's Good to See You." It might be a simple idea, but sometimes those can speak loudest and truest, and just about everything the members learned as a band up to this point suggests that it's a sound strategy: appreciate what you've got around you. "It's funny, because that line stems from one of the EP kitchen recording sessions: one of our friends happened to walk in while we were recording, and I just said, 'Good to see you,' and it ended up fitting perfectly into that spot in the song," explains Jason Stevenson, lead singer and co-songwriter, getting nodding approval from guitarist Mark Budd and bassist/ songwriter Lee Klippenstein, who joined him for an interview in a sunny park during a tour stop in Montréal. "It ended up becoming a band mantra. We use that to approach our relationships: when we see each other or people we care about, it's good to see them—we're not taking that for granted." You don't need to look much further than Falklands' recording history to see that. The foursome's—rounded out by drummer Jerf, owner of a moustache worthy of an 1880s miner and a single name worthy of a 1980s pop star—biggest efforts to date have been a pair of EPs, Bastille Day and Spring Break!, that were put together in the most intimate and friendly of settings: in one of their kitchens with friend and punk commu-

INSIDE // MUSIC

MUSIC

nity stalwart James Stewart. For Think About It, the group moved out to Vancouver's more temperate climes, but nowhere is the band among strangers. Calling on a connection forged from a particularly raucous show in St Albert, the members hooked up with Vancouver brethren and cross-country tour mates Plus Perfect for studio space, recording with bassist Jesse Gander at his studio. For the band, it was the best of both worlds: a chance to keep the loose and informal feel that gave the first recordings their blitzing punk energy while also gaining a studio gloss that helps emphasize the group's pop songcraft. "With those ones, we wanted them to sound rough or raw or uncut," explains Budd. "Flawed," offers Stevenson. "Hold on: flawed?" interjects Klippenstein. "Yeah. Life is fucking flawed, man," ripostes Stevenson. "Trip on that for a while. Feed your head with that little bit of wisdom. "Sorry," he adds, deferring again to Budd. "Well, yeah, we wanted to make a record, not just a compilation of songs," Budd finishes his thought. "We wanted to focus our energy and make it a cohesive piece of art." To that end, Think About It succeeds. Though it's still imbued with the spirit of the quartet's first efforts, it also showcases a band that continues to grow together. Tracks like the "major key anthem"—as Budd puts it—"Lonely Soul" and gutter-

30

The Acorn

31 33

Owen Pallett Music Notes

life-affirming "Drunks & Thieves," which have popped up on the EPs, sound tighter and perhaps more anthemic, the kind of tunes that could get an entire bar nodding and fist-pumping along. New tracks like "Hell Is Up" and "Southern Cross," on the other hand, reveal a growing complexity, still well within the pop-punk milieu, but pushing and pulling at its edges, infusing the standard structure with more sonic layers and more lyrical maturity. But still, for the band the music seems almost secondary, an excuse for the players to spend as much time together as possible, whether it's cramming into a van for a cross-country tour or sequestering themselves in a studio for an extended recording session or even just hanging out to jam a few times a week. There is a very real sense that the music will go where it may, developing along just because the guys will always be happy to see each other. "We do a lot of hanging out," says Budd. "We know each other pretty well." "We practise a lot, but when we practise a lot, we don't practise a lot, you know what I mean?" elucidates Stevenson. "We got to practise a lot, but half our practice will be spent on the back step of the jam space, commenting on Jerf's ability to perspire or something like that." "It's never a rehearsal or a practice," agrees Klippenstein. "It's playing music and hanging out with friends." V Sat, Oct 23 (8 pm) Falklands With Plus Perfect, Trent Buhler, Whiskeyface Teddy's

For the past month, the Falklands guys have been documenting the experience of their first cross-Canada tour on vueweekly.com. But not everything makes it onto the official story. Straight from the horse's mouth—or, more accurately, the mouths of guitarist Mark Budd, bassist Lee Klippenstein and singer Jason Stevenson—here are some of the crazier experiences of the Falklands on the road. The tour T-shirt The tour T-shirt was part boys-being-boys hijinks, part offshoot of the Falklands' obsession with backgammon. The idea was Budd and Klippenstein would play a game of backgammon a day; the loser for that day would have to take the stage wearing the "tour T-shirt," a never-to-be-washed shirt. It didn't last long, though. "We forgot it," explains a noticeably dejected Klippenstein. "We left it in a basement in Calgary, two days in." "It was something that sounded funny in theory, but two days in it smelled like a locker room," admits Stevenson. "And I have to stand next to somebody on stage." "It actually got really uncomfortable to wear," adds Budd. "I put on this soaking wet shirt from the night before, because we just stuffed it into Lee's bag after the show." "I didn't want to lose it!" Lee offers in his defense. "And the next night, we leave it

VUEWEEKLY // OCT 21 – OCT 27, 2010

hanging somewhere to dry, and then we take off without it." Lee's limp The day we met in Montréal, the alwaysboisterous Klippenstein had a bit of a limp. Was it from rocking too hard? Some latenight shenanigans? Not exactly. "It was walking down two stairs off the stage in Moncton," he admits ruefully. "I was going to be responsible, too, I was going to take care of business and drive, so I wasn't drinking or anything. Just two steps down the stage, and I blew it and twisted my ankle." "He's not used to taking care of business," offers Stevenson. Sarcasm rules "One thing we've learned is that sometimes people don't know you're kidding and they get upset with you," admits Stevenson knowingly. Their most abject lesson in that

came in Halifax, where an overbooked night that threatened to bump the band off the bill brought out the dry wit of drummer Jerf. "It was 1 am and there were still the two touring bands left to play, so Jerf made an off-hand comment," explains Klippenstein. "He said, 'Am I going to have to fight a fucking band?' That was a poor choice of words, but that was just Jerf being Jerf. "The promoter just exploded," he continues. "He stormed out of the show, gave Jerf and I one of these—" "The ol' double," interjects Stevenson as Killpenstein vigourously outstretches two middle fingers. "Then he called us 'fuckin' douchebags,' told us not to show our face in Halifax and stormed out," finishes Klippenstein. "We managed to sort it out with everyone else, though he's still not talking to us." "He'll get over it though," offers Stevenson. "Silver-tongue Lee will ease it over." V

PREVUE >> JUSTIN RUTLEDGE

PREVUE // NOMEANSNO

NewMeansNew

Man on the rise

Justin Rutledge discusses The Early Widows Vancouver band embracing music's changes Bryan Birtles // bryan@vueweekly.com

T

TURN THE PAGE >> Justin Rutledge's latest grew out of a stage collaboration

// Supplied

Toronto's Justin Rutledge has been ofVW: There was some collaboration goten described as a literary songwriter. It's ing on with a few of the songs on this a label that is suited less for any sort of one. Do you approach songwriting difwordiness on Rutledge's part and more ferently when you're doing that versus because of the careful use of words writing by yourself? within his songs, though he's cerJR: Oh, yeah. I was hesitant to cotainly taken some inspiration write for my previous records, from literary sources: 2008's but for some reason I felt like Man Descending was inspired I had met some people who m ekly.co by a line in a Guy VanderhaeI was comfortable with and vuewe eden@ ghe book of short stories and who understood what I was n e d E 2010's The Early Widows has trying to do with my songs and Munro who seeds rooted in a stage collaboraI could actually work with, tion between Rutledge and Michael because I've had some pretty bad exOndaatje. Rutledge spoke with Vue reperiences co-writing. I felt as though I'd cently about the creative process behind met the right people, so that was kind The Early Widows. of key. And I didn't go into that process really expecting a whole heck of a lot VUE WEEKLY: How long did it take to from it, so it was nice when something make The Early Widows, from the initial really evolved. songwriting through to the end of the recording? VW: Did you bring the songs to the studio JUSTIN RUTLEDGE: It took about two fully formed, or were they sketches that and a half years on and off. I started it were then filled out as a group? about five months before Man DescendJR: I think we only reworked one, but they ing came out, so some of the seeds of the were for the most part done. We had a songs were planted early 2008—like Janlittle bit of pre-production—we had two uary, that year—but I realized I had quite days of pre-production where we got a a substantial amount of time just because rehearsal space and just ran through the I would be putting out Man Descending songs. We didn't etch them in stone, but and then touring that for a couple of we made sure everyone had a good idea years and I wouldn't get into the studio of what was going to happen. for some time. VW: When you were tracking, did you VW: When you sit down to write songs do it all live off the floor or were you do you write the lyrics on their own or do recording instruments one at a time? you write them with a guitar in hand? JR: We did it all off the floor. I prefer JR: A little bit of both. I tend to not do working that way. I mean not all of it most of my writing at home. I tend to kind was off the floor, obviously, but aside of do it elsewhere and without a guitar. I from the vocals and [violinist] Jesse tend to write sort of in my head and when Zubot's stuff, we wanted to get as much I get somewhat of a decent idea I'll go to as we could live, so for the most part the guitar and try to work it out and reit was done that way. I'm of the mind member it from there. That's when I know that that's really the only way to capI've kind of got something: if it sticks. ture a vibe. I mean it depends on what I had 15 or 16 songs ready and then we you're doing, it depends on what kind recorded 12 and then we only used 10, of music you're trying to make, but for but I was happy to take it slowly this time. the most part if you're trying to make The music for me wasn't the issue. It was the kind of music that we are, I think it's kind of the lyrics were the issue this time really important to have that aspect to because I was working closely with Mithe recording. V chael Ondaatje on this project and I really Fri, Oct 22 & Sat, Oct 23 (7:30 pm) wanted the words to be aces, so to speak. Justin Rutledge So the melody and the music were there, With Jenn Grant but I really wanted to take my time with Haven Social Club, $20 the words. I wanted to release the record and know that I did all that I could.

ON TH

here are a myriad of options available for releasing music these days. Compact discs continue to hold as the top choice for releasing music, though their influence is waning. Nowadays, it seems it's all about vinyl and kooky ways to get MP3s into the earbuds of fans: flash drives, download cards, streaming websites, iTunes—the opportunities are limited only by the imagination. As a band that has never been one to sell plenty of albums, Rob Wright, drummer for Vancouver-based NoMeansNo, explains that the new way of doing things suits his band just fine. Instead of putting out a fulllength and touring behind it, the group is

putting out a series of four tour-only seveninches, with flash drives and downloads available for those not lucky enough to snap up one of the limited-run slabs of wax. "We decided for something different that we would release four songs at a time," he says of the decision to change the way the group gets its music to its fans. "We've never been a big seller. We rely on our live shows and touring. This is not just about putting out our next release as an ordinary thing, more now it's about how you package it up and sell it. The old-fashioned CDs and record labels and distribution and all that has disintegrated to some degree." And though this may change the way that the music gets out—in dribs and drabs

as opposed to a whole bunch of songs at once—it doesn't change the way NoMeansNo thinks of its music or the way it brings it to the public. "I think for us it's not a huge difference— we've never relied on record sales to survive as musicians. We've always been very independent, and even our record deal with Alternative Tentacles—and we were with them for 14 years—there was never any sort of a contract: it was just album to album and we always owned it," says Wright of the music industry's new reality. "Basically our fan base was built on live performances and doing lots and lots of touring and that's still there for us, people still come out to see live music. So from our perspective it's always been about doing it yourself." V Fri, Oct 22 (8 pm) NoMeansNo with Ford Pier Pawn Shop, $20

E

D RECOR

VUEWEEKLY // OCT 21 – OCT 27, 2010

MUSIC // 25

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

THU OCT 21

DV8 Open mic Thu hosted by Cameron Penner/ and/or Rebecca Jane

ACCENT EUROPEAN LOUNGE Live Music Thu:

EDMONTON EVENT CENTRE Far East Movement,

Jordan Norman (alt acoustic folk), Jenie Thai (indie blues folk); 9:30-11:30pm; no cover

ARDEN Barney Bentall and the Grand Cariboo Opry (original and reinterpreted classics); 7:30pm

AVENUE THEATRE Prisoner Cinema, Treelines, Colour in Conflict; no minors; 8pm (door); $10

BLUE CHAIR CAFÉ Thu Nite Jazz Series: Charlie Austin Trio; 7.30pm; $8

Harman B and DJ Kwake (dance/electronic); 8:30pm; tickets at Ticketmaster, Rain Salon, Foosh

ELECTRIC RODEO�Spruce Grove Open Stage Thu:

LYVE ON WHYE

Sweatshop Union, Apresnos, Lounge Pistol

MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm

NAKED CYBERCAFÉ

Open stage every Thu; bring your own instruments, fully equipped stage; 8pm equipped stage; 8pm

NORTH GLENORA HALL

Jam by Wild Rose Old Time Fiddlers

RIC’S GRILL Peter Belec

(jazz); every Thu; 7-10pm

RUSTY REED'S HOUSE OF BLUES Rusty Reed Band; 9pm

Good The Bad and The Ugly: Dahlmers Realm, The Swine, No Witness; 8pm; $8

ENCORE CLUB With A

WILD BILL’S�Red Deer

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

Thu afternoon Open Mic; 1-4pm

Stanfields, and Birthday Boys, guests; no minors; 7:30pm (door); tickets at the door

(Vocal Improvisation Network of Edmonton) Performance with Estheranna Stäuble and flautist Herb Stanley; 8pm; admission by donation

HOOLIGANZ Open stage

WINSPEAR CENTRE

Thu hosted by Phil (Nobody Likes Dwight); 9pm-1:30am

HYDEAWAY Always on Top,

Symphonic Wind Ensemble; 8pm; $20 (adult)/$15 (student/ senior)

Thu: 123 Ko

Attention To the Wounded; 7pm

DJs

COLAHAN'S Back-porch

J AND R Classic rock! Woo!

BILLY BOB’S LOUNGE

CHROME LOUNGE Every

jam with Rock-Steady Freddy and the Bearcat; every Thu 8pm-midnight

CHRISTOPHER'S PARTY PUB Open stage hosted by

Alberta Crude; 6-10pm

CROWN PUB Crown Pub

Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing

DUSTER'S PUB Thu open

jam hosted by the Assassins of Youth (blues/rock); 9pm; no cover

GAS PUMP Ladies Nite: Top 40/dance with DJ Christian

HALO Thu Fo Sho: with

Allout DJs DJ Degree, Junior Brown

KAS BAR Urban House: with DJ Mark Stevens; 9pm LEVEL 2 LOUNGE TGIB

Mike Tomas

NEW CITY SUBURBS

Bingo at 9:30pm followed by Electroshock Therapy with Dervish Nazz Nomad and Plan B (electro, retro)

ON THE ROCKS Salsaholic

Classical

HAVEN SOCIAL CLUB The

CARROT CAFÉ Zoomers

Damian

PLANET INDIGO�St Albert Hit It Thu: breaks,

BRIXX BAR Radio Brixx: rock and roll with Tommy Grimes; 8pm Sundry; 7pm

BRIXX BAR Short of Able,

WILD WEST SALOON Foxx

GARNEAU CHAPEL V.I.N.E.

CAFÉ HAVEN All and

FUNKY BUDDHA�Whyte Ave Requests with DJ

Night out

Thu: Dance lessons at 8pm; Salsa DJ to follow

GAS PUMP Sophie and the Shufflehounds (blues roots)

BOHEMIA Ramshackle Day

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

LUCKY 13 Sin Thu with DJ

present Paint My Decks; 8pm

BOHEMIA No Ego DJs

FLUID LOUNGE Girls

STARLITE ROOM The

Worthee

Incognito

BLUES ON WHYTE

Live music every Thu night; 7-9pm

UNION HALL Aleesia; 7pm

FESTIVAL PLACE The

FILTHY MCNASTY’S Punk

Thu: Dreadnought, B3n Ladin, Rude D, guests; no cover

Celtic Tenors; 7:30pm; $34-$40 at Festival Place box office, TicketMaster

BLUES ON WHYTE

BLUE CHAIR CAFÉ Le

every Thu at 9pm

SECOND CUP�Varscona

Bring an instrument, jam/ sing with the band, bring your own band, jokes, juggle, magic; 8-12 Latin Twist: free Salsa Dance Lessons at 9pm

THE DRUID IRISH PUB DJ

electro house spun with PI residents

PLAY NIGHTCLUB

Gameshow every Thu with Patrick and Nathan; 9pm

RENDEZVOUS PUB Mental Thurzday with org666

SPORTSWORLD Roller

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

STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thu; no cover

Open stage, play with the house band every Thu; 9pm

Escapack Entertainment

JAMMERS PUB Thu open

Big Rock Thu: DJs on 3 levels– Topwise Soundsystem spin Dub & Reggae in The Underdog

FRI OCT 22

BRIXX BAR Radio Brixx with

Voices, Paper Lions, Bend Sinister; all ages; 8pm (door); $13 at Blackbyrd, Listen, foundationconcerts.com

jam; 7-11pm

JEFFREY'S CAFÉ Kathleen

BLACK DOG FREEHOUSE

Kelly (indie pop/rock singer/ songwriter); $10

Tommy Grimes spinning rock and roll

L.B.'S PUB Thu open jam

BUDDY'S Thu Men’s Wet

AVENUE THEATRE Library

with Kenny Skoreyko, Fred Larose and Gordy Mathews; 9pm-1am

Underwear Contest with DJ Phon3 Hom3; 9pm (door); no cover before 10pm

AXIS CAFÉ Nadia von

LIVE WIRE BAR Open Stage Thu with Gary Thomas

CENTURY ROOM

BLACKJACK'S ROADHOUSE�Nisku

Underground House every Thu with DJ Nic-E

Hahn (pop), Alanna Clarke; 8pm; $10

October Fest: traditional Oompapa band

Fuzz; $15

Incognito

Parade; 7pm (show); $5 (door)

The British Columbians, Dalicious; no minors; 9pm; $12 (door)

CARROT Live music Fri: all

ages; Douglas Mitchell; 7pm; $5 (door)

CASINO EDMONTON Stars

Tonight (Variety)

CASINO YELLOWHEAD The X-Band (Latin)

CENTRAL LIONS SENIORS RECREATION CENTRE

Gospel Jam: Delroy Parr, Cherry Riffin, Estello, Rend and others; 5:30pm (door); $25 at Safron's, Blessings Christian Marketplace

CHATEAU LOUIS HOTEL

Tony Dizion; 8:30pm-12:30am

COAST TO COAST Open Stage every Fri; 9:30pm

DINWOODIE LOUNGE Party

With A Purpose: Music Is A Weapon, Boogie Patrol (bluesfunk), Artist Response Team and more; 7pm; info/tickets E: info@musicisaweapon.ca

DOW CENTRE'S�FORT

SASKATCHEWAN Barney Bentall and the Grand Cariboo Opry; 8pm; $39 (adult)/$36 (senior/youth)/$5 eyeGO DV8 The Southern Pink, The Mitts, Brain Sauce; 9pm ELECTRIC RODEO�Spruce

Grove The Heather McKenzie Band

ENCORE CLUB 4 Play Fri FRESH START BISTRO

Helena Magerowski Trio; 7-10pm

HAVEN SOCIAL CLUB Justin Rutledge, Jenn Grant; 7:30pm (door); $20 at Blackbyrd, Listen, foundationconcerts.com

IRISH CLUB Jam session; 8pm; no cover

IVORY CLUB Duelling piano

show with Jesse, Shane, Tiffany and Erik and guests

JEFFREY'S CAFÉ Rollanda Lee (jazz classics); $15

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ALL SAINTS' ANGLICAN CATHEDRAL 10035-103 St ARDEN 5 St. Anne St, 780.459.1542 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 1042582 Ave, 780.439.1082 BLACKJACK'S ROADHOUSE� Nisku 2110 Sparrow Dr, Nisku BLACKSHEEP PUB 11026 Jasper Ave, 780.420.0448 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CAFÉ HAVEN 9 Sioux Rd, Sherwood Park, 780.467.9541 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464153 St, 780 424 9467 CENTRAL LIONS SENIORS RECREATION CENTRE 11113113 St CHRISTOPHER’S 2021 Millbourne Rd, 780.462.6565 CHROME LOUNGE 132 Ave,

26 // MUSIC

Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 COLAHAN'S 8214-175 St, 780.487.8887 COPPERPOT Capital Place, 101, 9707-110 St, 780.452.7800 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704. CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 DOW CENTRE'S�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, DV8TAVERN. com 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 ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 EXPRESSIONZ CAFÉ 9938-70 Ave FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GARNEAU CHAPEL 11148-84 Ave GAS PUMP 10166-114 St,

VUEWEEKLY // OCT 21 – OCT 27, 2010

780.488.4841 GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave, 780.423. HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILL TOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.452.1168 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 JUBILEE AUDITORIUM 11455-87 Ave, 780.429.1000 JUNCTION BAR AND EATERY 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 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 LIVE WIRE 1107 Knotwood Rd. East MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont MAYFIELD INN 16615-109 Ave MCDOUGALL UNITED CHURCH 10025-101 St MORANGO’S TEK CAFÉ

10118-79 St MUTTART HALL 10050 MacDonald Dr MYER HOROWITZ THEATRE U of A SUB, 8900-114 St NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY 10081 Jasper Ave, 780.989.5066 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORTH GLENORA HALL 13535109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLANET INDIGO�Jasper Ave 11607 Jasper Ave; St Albert 812 Liberton Dr, St Albert PLAY NIGHTCLUB 10220-103 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave REDNEX BAR�Morinville 10413100 Ave, Morinville, 780.939.6955, rednex.ca 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 St, St Albert, 780.460.6602 ROBERTSON�WESLEY UNITED CHURCH 10209-123 St, 780.467.6531 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253

ROSE AND CROWN 10235-101 St ROYAL ALBERTA MUSEUM THEATRE 12845-102 Ave RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave 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�College Plaza 11116-82 Ave, 780.988.8105; Old Glenora 12411 Stony Plain Rd, 780.488.1505 STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 TAYLOR COLLEGE AND SEMINARY STENCIL HALL 11525-23 Ave Northern WHISTLESTOP LOUNGE 12416132 Ave, 780. 451.5506 WILD BILL’S�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Sq, 780.28.1414 WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295

JEKYLL AND HYDE PUB

EMPIRE BALLROOM Rock,

DV8 Seven Story Redhead, Hellfire Special, White Beauty; 9pm

LYVE ON WHYE Early

ESMERELDA'S Ezzies

ELECTRIC RODEO� Spruce Grove The Heather

Every Fri: Headwind (classic pop/rock); 9pm; no cover Show: Darrek Anderson and the Guaranteed, Owls By Nature, Hailey Primrose; 8pm (door)

MEAD HALL EBW

Entertainment Night–Round 2; 8pm

NEW CITY LOUNGE Brash Tax, Zero Cool, Party Martyrs NEW CITY SUBURBS The

hip hop, house, mash up; no minors

Freakin Frenzy Fri: Playing the best in country

FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian

GAS PUMP Top 40/dance

with DJ Christian

IRON HORSE House in the

Horse: Every Fri featuring a different house DJ; 2 Different DJs, 2 Styles of Music, 2 levels

Mahones, Hook Em’ Revue Burlesque, Audio/Rocketry, The Press Gang

JUNCTION BAR AND

ON THE ROCKS Mustard

EATERY LGBT Community:

Smile; 9pm; $5

PAWN SHOP Nomeansno, Ford Peir; $20 at Freecloud, Blackbyrd, Listen, foundationconcerts.com

RED PIANO BAR Hottest

Rotating DJs Fri and Sat; 10pm

LEVEL 2 LOUNGE Formula

Fris: Hirshee, David Stone, DJ Neebz, MissDVS; $5 (before 11pm)/$10 (after 11pm)

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

NEWCASTLE PUB Fri House, dance mix with DJ Donovan

ROSE AND CROWN Mr Lucky (blues roots)

NEW CITY LIKWID LOUNGE DJ Anarchy Adam

RUSTY REED'S HOUSE OF BLUES The Johnny V Band;

PLAY NIGHTCLUB Pretty

9:30pm; $10

STARLITE ROOM Quietus, Randy Graves, Mares of Thrace; 9pm STEEPS�Old Glenora Live

Music Fri

TAPHOUSE�St Albert The

(Punk)

X�WRECKS Big and Fearless (classic rock); 8-12

YARDBIRD SUITE

International Polish Jazz Group; 8pm (door)/9pm (show); $22 (member)/$26 (guest) at Ticketmaster.ca

Classical MUTTART HALL Anthony

Flynn and Shannon Hiebert (opera and German lieder); 7:30pm ; $25 (door)

DJs 180 DEGREES

Skinout*Wear*Red*Fri: with Femcee DJ Eden Lixx

AZUCAR PICANTE Every

Fri: DJ Papi and DJ Latin Sensation

BANK ULTRA LOUNGE

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

Reddick and the Sidemen; 7:30pm; $30-$36

FILTHY MCNASTY'S Ky Babyn; 4pm; free show

GAS PUMP Blues Jam/ open stage every Sat 3-6pm, backline provided HAVEN SOCIAL CLUB

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

SPORTSWORLD Roller

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

STOLLI’S Top 40, R&B, house with People’s DJ

TEMPLE Options Dark Alt

Night; Greg Gory and Eddie Lunchpail; 9pm (door); $5 (door)

Y AFTERHOURS Foundation

Fri

SAT OCT 23

Dawson (R 'n' B, jazz); $10

L.B.’S PUB Sat afternoon

BLACKSHEEP PUB Sat DJ BUDDY'S Sat: Feel the

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

Everybody (CD release), Field and Stream, Sans Aids; $13 (door)/$10 (adv)

BLACK DOG FREEHOUSE

hip hop, house, mash up

Parties: Every Sat a different theme

Night Lyve: Huge Fakers (modern rock to '70s classics)

Sat

ESMERALDA’S Super

FLUID LOUNGE Sat Gone

MARYBETH'S�Beaumont

Gold Mash-Up: with Harmen B and DJ Kwake

MAYFIELD INN Night of

FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro

Adam Holm; no cover

Fire: Mama Africa; 7pm; $25 (adult)/$15 (student) at TIX on the Square

MORANGO'S TEK CAFÉ

Sat open stage: hosted by Dr. Oxide; 7-10pm

O’BYRNE’S Live band Sat

ARTERY Electricty for

EMPIRE BALLROOM Rock,

LYVE ON WHYTE Saturday

ALBERTA BEACH HOTEL

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

DJ at 9pm

ENCORE CLUB So Sweeeeet

NEW CITY LOUNGE Class Action, Feast Or Famine, Abigail's Cross 3-7pm; DJ 9:30pm

ON THE ROCKS Mustard Smile; 9pm; $5

PAWN SHOP EASY CLUB:

with DJ Damian

B�STREET BAR Acousticbased open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening

CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DEVANEY’S IRISH PUB

Celtic Music Session, hosted by Keri-Lynne Zwicker, 4-7pm

EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm LEVEL 2 LOUNGE Kinetic

Sat: JayForce, Josh EP, Micky Sasso, The ol' Kid; $5 (before 11pm)/$10 (after 11pm)

NEWCASTLE PUB Top 40

RED PIANO BAR Hottest

NEW CITY LIKWID

Sat: requests with DJ Sheri

BLUE CHAIR CAFÉ Prairie

ROSE AND CROWN Mr

NEW CITY SUBURBS

CARROT Open mic Sat; 7:3010pm; free

CASINO EDMONTON Stars

Tonight (Variety)

CASINO YELLOWHEAD The X-Band (Latin)

CHATEAU LOUIS HOTEL COAST TO COAST Live bands every Sat; 9:30pm

CROWN PUB Acoustic Open Stage during the day/Electric Open Stage at night with Marshall Lawrence, 1:30pm (sign-up), every Sat, 2-5pm; evening: hosted by Dan and Miguel; 9:30pm-12:30am

LOUNGE Punk Rawk Sat

RUSTY REED'S HOUSE OF BLUES The Johnny V Band;

Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay

PALACE CASINO Show Lounge Sat night DJ

Acorn, Leif Vollebekk; 9pm (door); $15 at Ticketmaster, Blackbyrd, unionevents.com

TAPHOUSE�St Albert

Raptors, Red Ram and the Boudoirs; 8pm

TAYLOR COLLEGE AND SEMINARY STENCIL HALL Northern Bluegrass

Circle Music Society: Restless Lester; 8pm; $20 (NBCMS member)/$25 (non-member) adv at TIX on the Square

WILD WEST SALOON Foxx Worthee

WUNDERBAR Eldorado,

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

NEW CITY Open Mic Sun hosted by Ben Disaster; 9pm (sign-up); no cover O’BYRNE’S Open mic Sun

JUNCTION BAR AND

with Todd and Alex

Er Done Tour with Star Eyes, Roxy Cottontail, B Traits, Jubilee, Bitchin, Betti Forde, Riviera; 9pm

NEWCASTLE PUB Sun Soul

ON THE ROCKS Seven Strings Sun:Fire Next Time, Whisky Wagon and Elliott; 9pm; $5

Ghramzilla; Soni Band of the Month: The Weekend Kids

Lucky (blues roots)

J AND R BAR Open jam/stage every Sun hosted by Me Next and the Have-Nots; 3-7pm

with Robb Angus (Wheat Pool); 9:30pm-1am

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

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

Oyster's Russell deCarle; 8pm; $20

Stage: Old time and country rock jam/dance: 2nd Sun each month; 1-5pm; Nov 14

HALO For Those Who Know:

Hair of the Dog: The Boom Chucka Boys (live acoustic music every Sat); 4-6pm; no cover

Tony Dizion; 8:30pm-12:30am

THE DRUID IRISH PUB DJ

BLACK DOG FREEHOUSE

open jam with Gator and friends, 5-9pm; Bob Cook and Mucho Nada Party

180 DEGREES Dancehall and Reggae night every Sat

BUDDY’S Fri: DJ Arrow

every Fri at 9pm

Sat: DJ Touch It, hosted by DJ Papi

JEFFREY'S CAFÉ Louise

CENTURY CASINO Big River (triute to Johnny Cash)

Platinum VIP Fri

Jazz on the Side Sun: Joel Gray; $25 if not dining

BLUE PEAR RESTAURANT

RED STAR Movin’ on Up

BOOTS Retro Disco: retro

CHROME LOUNGE

DJs

EXPRESSIONZ CAFÉ Open

STARLITE ROOM The

Underground House every Fri with DJ Nic-E

BLUE CHAIR CAFÉ Sun Brunch: Jim Findlay Trio; 10am-2:30pm; donations

THE DRUID IRISH PUB Sat

9:30pm

CENTURY ROOM

Who Made Who–The Rock and Roll Resurrection: The Maykings (revive The Who), The Dirty Dudes (revive AC/ DC); 10pm; no cover

JAMMERS PUB Sat open jam, 3-7:30pm; country/rock band 9pm-2am

BRIXX BAR Oh Snap: Get

Chaser; 8pm (door); no cover before 10pm

BLACK DOG FREEHOUSE

REDNEX�Morinville DJ Gravy from the Source 98.5

Incognito

dance

Open stage/jam every Sun; 2-6pm

Dr Ping-Shan Liao in recital; 7pm; $15 (adult)/$12 (child 12 years and under) at TIX on the Square

Sat DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered

BAR WILD Bar Wild Fri

DJ spinning retro to rock classics to current

MYER HOROWITZ THEATRE Playful Melodies:

HILLTOP PUB Open stage/ mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm

BLUES ON WHYTE

BLACKSHEEP PUB Fri Bash:

BEER HUNTER�St Albert

Puccini–La Bohème: Edmonton Opera Chorus and the Edmonton Symphony Orchestra; sung in Italian with English supertitles; 7:30pm

AZUCAR PICANTE Every

BAR�B�BAR DJ James; no

Fri DJs spin Wooftop and Main Floor: Eclectic jams with Nevine–indie, soul, motown, new wave, electro; Underdog: Perverted Fri: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead

JUBILEE AUDITORIUM

Justin Rutledge, Jenn Grant (2nd show); 7:30pm (door); $20 at Blackbyrd, Listen, foundationconcerts.com

cover

BLACK DOG FREEHOUSE

SUN OCT 24

EDDIE SHORTS Sun acoustic oriented open stage hosted by Rob Taylor

ROUGE LOUNGE Solice Fri

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

FESTIVAL PLACE Paul

Society; 8pm; free

Underground House every Sat with DJ Nic-E

WILD BILL’S�Red Deer

Worthee

Northern Lights Folk Club: Ron Hynes; 8pm; $18 (adv at TIX on the Square)

Y AFTERHOURS Release Sat

CENTURY ROOM

Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson

WILD WEST SALOON Foxx

EXPRESSIONZ CAFÉ

ALL SAINTS' ANGLICAN CATHEDRAL Tonus Vivus

TEMPLE Oh Snap! every Sat:

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

People Get Nasty with Peep n Tom, Showboy and rotating guest; DJS; every Fri; 9pm (door)

Stanfields and the Birthday Boys; 8pm

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

McKenzie Band

Classical

PAWN SHOP SONiC Presents Live On Site! AntiClub Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door) PLANET INDIGO�Jasper

Ave Suggestive Sat: breaks electro house with PI residents PLAY NIGHTCLUB Every

Sat with DJ Showboy; 8pm (door)

RED STAR Sat indie rock,

hip hop, and electro with DJ Hot Philly and guests

RENDEZVOUS Survival

ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm ROYAL ALBERTA MUSEUM THEATRE

Changing Lives 2010– Edzimkulu: Kokopelli; 6pm (door), 7pm (concert); $35 at TIX on the Square

RUSTY REED'S HOUSE OF BLUES Mighty Insomnia Open Blues Jam; 8pm

SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm

Classical ROBERTSON�WESLEY

UNITED CHURCH Alberta Baroque Ensemble: Haydn and Company: Elizabeth Koch (flute), Allene Hackleman (horn); 3pm; $25 (adult)/$20 (senior/student) at the Gramophone, TIX on the Square, door

DJs BACKSTAGE TAP AND

GRILL Industry Night: with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE

Sun Afternoons: Phil, 2-7pm; Main Floor: Got To Give It Up: Funk, Soul, Motown, Disco with DJ Red Dawn

Shiloh Lindsey, Sean Brewer and the Switchmen

metal night

FLOW LOUNGE Stylus Sun

YARDBIRD SUITE

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

NEW CITY SUBURBS

International Jazz Series: Jean-Michel Pilc; 8pm (door)/9pm (show); $16 (member)/$22 (guest) at TicketMaster

STOLLI’S ON WHYTE

Top 40, R&B, house with People’s DJ

Get Down Sun: with Neighbourhood Rats

PLAY NIGHTCLUB Rotating Drag shows; every Sun; 9pm (door)

VUEWEEKLY // OCT 21 – OCT 27, 2010

MUSIC // 27

COMMENT >> local music

The Electric Lucifer

Stones Throw compilation revives the legend of Bruce Haack An interesting bit of Edmonton's musical Faraday—an electronic voice modulahistory has recently come back into the tor that's essentially a precursor to the spotlight thanks to the folks at Stones vocoder. He had a way with electronics, Throw (who you may know as the label and put together most of the synths and behind Madlib, J Dilla and MF tape machines he used to make DOOM). Bruce Haack was techhis music, a kind of melange nically born and raised around of psych, rock and electronic Rocky Mountain House, and dance, most of which came his major contributions out in the 1970s. m o .c ly k e vuewe to the music world would Haack's music—particularly david@ come while he lived in New his spacey, religious-infused Davidy York, but his formative musiconcept albums Electric Lucifer Berr cal experience was right here in and Electric Lucifer Book II—is good ol' our town: he attended the probably more interesting than the now-defunct Edmonton University after man himself, which is saying something. getting rejected from the U of A's music The Stones Throw compilation, Farad: program, and while here he did musical The Electric Voice, is a solid intro for direction for a few plays and played in a anyone who wants to delve into one of cover band called the Swing Tones. Edmonton's most oblique but important Haack is a pretty underappreciated contributions to music history, collectfigure outside select circles, but he's es- ing tracks from Electric Lucifer through sentially one of the creative forces be- to Bite, an utterly trippy album that feahind electronic music: he invented the tures, among other things, extensive use Farad—named for the physicist Michael of a 13-year-old boy singing. Crazy stuff.

R GUTTE E

DANC

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

SPORTSWORLD Roller

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

MON OCT 25 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover

BLUES ON WHYTE Ross Neilsen and the Sufferin’ Bastards

DEVANEY'S IRISH PUB

Open stage Mon with Ido Vander Laan and Scott Cook; 8-12

NEW CITY This Will Hurt you Mon: Johnny Neck and his Job present mystery musical guests PLEASANTVIEW COMMUNITY HALL

Shikari, Haste The Day, Sleeping With Sirens, Mswhite, Lights Go Blue; all ages; 6pm (door); $16 at TicketMaster, Blackbyrd, and Unionevents.com

BLUES ON WHYTE Ross Neilsen and the Sufferin’ Bastards

BRIXX BAR Troubadour

Tue: JD Edwards Band, Hailey Primrose. Host Mark Feduk; 8pm

CROWN PUB Underground

At The Crown: underground, hip hop with DJ Xaolin and Jae Maze; open mic; every Tue; 10pm; $3

DRUID IRISH PUB Open stage with Chris Wynters; 9pm

BAR WILD Bar Gone Wild

Mon: Service Industry Night; no minors; 9pm-2am

BLACK DOG FREEHOUSE Main Floor: Eclectic Nonsense, Confederacy of Dunces, Dad Rock, TJ Hookah and Rear Admiral Saunders

FILTHY MCNASTY'S Metal Mon: with DJ S.W.A.G.

FLUID LOUNGE Mon Mixer LUCKY 13 Industry Night with DJ Chad Cook every Mon NEW CITY LIKWID LOUNGE Daniel and Fowler

(eclectic tunes)

TUE OCT 26

JUBILEE AUDITORIUM

Puccini –La Bohème: Edmonton Opera Chorus and the Edmonton Symphony Orchestra; sung in Italian with English supertitles; 7:30pm

Live jazz every Wed night: Don Berner

CROWN PUB Creative original

Jam Wed (no covers): hosted by Dan and Miguel; 9:30pm12:30am

DV8 The Great Sabatini,

Necrobiosis, Kriticos, Bat L'eth

EDDIE SHORTS Goodtime

DJs

jamboree Wed open stage hosted by Charlie Scream; 9pm-1am

BLACK DOG FREEHOUSE

EXPRESSIONZ CAFÉ Wed

Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam

BRIXX BAR Troubadour

Open stage hosted by Randall Walsh: focus on original material; all-age venue; 7-11pm; admission by donation

FESTIVAL PLACE Café

BUDDYS Tue with DJ Arrow

FIDDLER'S ROOST Little

L.B.’S PUB Tue Jam with

ESMERALDA’S Retro Tue;

GOOD EARTH COFFEE HOUSE Wed with Breezy Brian

ROSE BOWL/ROUGE

DJs

Classical

COPPERPOT RESTAURANT

Maize of The Skydiggers, Michael Johnston, guests; 7:30pm; $10 (door)

(formerly Final Fantasy), guests; all ages; 7pm (door); $20 at TicketMaster, UnionEvents.com, Blackbyrd

Open Blues Jam with Jim Guiboche; 8pm

Sessions: Marty Majorowicz Quartet; 7:30pm (door) , 8pm (show); $5

Series: Susan Werner (singer songwriter); 7:30pm; $18

HAVEN SOCIAL CLUB Andy

Ammar; 9pm-1am

RUSTY REED'S HOUSE OF BLUES Blue Mon

YARDBIRD SUITE Tue Night

Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8

Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm

LOUNGE The Legendary Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm

28 // MUSIC

AVENUE THEATRE Enter

Nice problem if you can have it I'm currently on vacation in Montréal, and while discussions with a few expat musicians reveal it's still a fabulous place to be an independent musician, troubles are emerging. Community leaders in the Plateau—arguably the city's/country's most vibrant district, home of St Laurent street and fantastic small venues like Casa del Popolo and Le Divan Orange—have recently begun handing out hefty noise violation tickets with spurious reasoning. The goals of such actions seem a bit nebulous, but the usual platitudes about problems associated with nightlife are getting trotted out. That people who can't deal with the relatively minor negatives of a vibrant nightlife could just move to one of many quieter districts is, of course, never mentioned. Anyway, just something to keep in mind next time people 'round these parts start complaining about Whyte Ave. V

MYER HOROWITZ THEATRE Owen Pallett

Chaser; free pool all night; 9pm (door); no cover no cover with student ID

FUNKY BUDDHA�Whyte

HAVEN SOCIAL Open stage

LEVEL 2 LOUNGE Double Up Tue: Urban Elite DJs

NEW CITY Circ-O-Rama-

NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock,

O’BYRNE’S Celtic Jam with

RED STAR Tue Experimental

Shannon Johnson and friends

PADMANADI Tue open stage with Mark Davis; 7:3010:30pm RUSTY REED'S HOUSE OF BLUES CKUA Host Lionel Rault on guitar; 8:30pm

SECOND CUP�124 Street

Open mic every Tue; 8-10pm

SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm

SIDELINERS PUB Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE

Open Stage hosted by Paul McGowan and Gina Cormier; every Tue; 8pm-midnight; no cover

STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm

VUEWEEKLY // OCT 21 – OCT 27, 2010

Gregg; 12-1pm

Ave Latin and Salsa music, dance lessons 8-10pm

NEW CITY LIKWID LOUNGE Open Mic; Hosted by Ben Disaster; 9pm

Flower Open Stage Wed with Brian Gregg; 8pm-12

spooky with DJ Vylan Cadaver Indie Rock, Hip Hop, Electro with DJ Hot Philly

WED OCT 27 BLACK DOG FREEHOUSE

Main Floor: Glitter Gulch Wed: Leeroy Stagger and the Wildflowers

BLUE CHAIR CAFÉ Pork

Belly Futures; 8pm; $15 (adv)/$20 (day of )

BLUES ON WHYTE Ross

Neilsen and the Sufferin’ Bastards

BOHEMIA Krang, Cygnus,

Falsehood, The Great Sabatini; all ages; 7pm (door); $8 (door)

BRIXX BAR Really Good…

Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no cover

with Jonny Mac, 8:30pm, free

STEEPS TEA LOUNGE� Whyte Ave Open mic every

Wed; 8pm

TEMPLE Wyld Style Wed: Live hip hop; $5

Classical MCDOUGALL CHURCH

Music Wed at Noon: Leanne Regehr and Janna Olson (piano, four hands); 12:10-12:50pm; free

DJs BANK ULTRA LOUNGE Wed

Nights: with DJ Harley

BLACK DOG FREEHOUSE

Main Floor: Blue Jay’s Messy Nest Wed Night: Brit pop, new wave, punk, rock ‘n’ roll with LL Cool Joe

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

BUDDY'S Wed: DJ Dust 'n' Time; 9pm (door); no cover

DIESEL ULTRA LOUNGE

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

Licious: Gypsy and circus fusion spectaculars; last Wed every month

FLUID LOUNGE Wed Rock

PAWN SHOP SPARK Blacklight Halloween Party; 9pm

Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set

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 Wed Live Rock Band hosted by Yukon Jack; 7:30-9pm

RUSTY REED'S HOUSE OF BLUES Gord Mathews; 8:30pm SECOND CUP�Mountain Equipment Open Mic every

This

IVORY CLUB DJ ongoing every

LEGENDS PUB Hip hop/R&B with DJ Spincycle

NEW CITY LIKWID LOUNGE DJ Roxxi Slade (indie, punk and metal)

NEW CITY SUBURBS Shake It: with Greg Gory and Eddie Lunchpail; no minors; 9pm (door)

NIKKI DIAMONDS Punk and ‘80s metal every Wed

PLAY NIGHTCLUB Movie

Night every Wed; 9pm (door)

RED STAR Guest DJs every Wed STARLITE ROOM Wild Style

Wed; 8-10pm

Wed: Hip-Hop; 9pm

STEEPS TEA LOUNGE� College Plaza Open mic every

STOLLI'S Beatparty Wed:

Wed; hosted by Ernie Tersigni; 8pm

House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; beatparty.net

VUEWEEKLY // OCT 21 – OCT 27, 2010

MUSIC // 29

PREVUE // THE ACORN

Remix this

The Acorn's indie-folk songwriter Klausener cuts a mean rug David Berry // david@vueweekly.com

A

bout the last thing I would have expected to take Rolf Klausener away from, besides maybe giving his unicorn a rainbow bath, was working on some dance remixes for other Canadian folk acts. Klausener's much-lauded Ottawa band, the Acorn, has built its reputation on an expansive—and, sure, sometimes quite upbeat—indie folk sound, one that feels equally at home borrowing from the West African rhythms of his heritage as the more driving melodies of highway-driving Neil Young. Rarely, though, does it dip into dance. Lo and behold, though, Klausener has

30 // MUSIC

been at the remix game since finally taking a break from touring the band's last brilliant full-length, Glory Hope Mountain, and says his dance roots go

music when I was growing up, and when I was a surly teenager, I was a total club kid, and would go to dance routines in clubs," he explains, utterly sincerely.

I was a dance-music fan before I was a folk-music fan: my parents listened to a lot of West African dance music when I was growing up, and when I was a surly teenager, I was a total club kid, and would go to dance routines in clubs. THE ACORN >> Ottawa folkies get a little raucous on their latest much further back than that. "Well, I mean, I was a dance-music fan before I was a folk-music fan: my parents listened to a lot of West African dance

"We did air-band competitions across the city, and we were featured on YTV in choreographed dance routines and stuff like that. Yeah: dance routines."

VUEWEEKLY // OCT 21 – OCT 27, 2010

As much as it's a part of some hidden, and possibly mildly embarrassing, past, though, Klausener's forays into dance is indicative of a musical creativity that pays little heed to boundaries of genre or influence. That's particularly evident on the Acorn's latest, No Ghost: drifting away from the careful arrangements and structure of Glory Hope Mountain, it is a more raucous and loose affair, pulling its touchstones from all over the musical map and wearing its locked-themselves-ina-cabin creation on its ragged sleeve. For that, too, Klausener sites and influence that might not be readily apparent from the music itself, but is spiritually connected: legendary New

// Ben Welland

York avant-garde cellist/dance composer Arthur Russell. "I definitely feel a kinship with how he approached music as a pure entity, and never felt bound by class or genre of music, and joyfully dabbled in everything from folk to dance to improvised music," explains Klausener. "It was really amazing discovering it, because I've always felt that exact same freedom with music. I really feel a kinship in the undiscriminating way of working." V Sat, Oct 23 (8 pm) The Acorn With Leif Vollebekk Starlite Room, $15

PREVUE // OWEN PALLETT

Ch-ch-ch-ch-changes

But Owen Pallett still sounds just like Final Fantasy it, the response to his name change has sometimes been one of confusion. "I guess for those of us that are on the Internet a few hours a day and keep up with music news it's big news and we can say a lot of ink has been spilled but a lot of people out there are still a little unfamiliar," he says. "At the time I didn't think it was a big deal but over time I've realized that it is a big deal. Every night I run into people who go, 'Oh this sounds like Final Fantasy,' and I go, 'Uh, yeah. It does. Because that's what it is.'" V Tue, Oct 26 (7 pm) Owen Pallett Horowitz Theatre, $25.75

FINAL FANTASY >> Er ... Owen Pallett

// Supplied

Bryan Birtles // bryan@vueweekly.com

I

t's been a year of changes for Torontobased Owen Pallett. The composer and musician, who had a big hand in ushering in the renaissance of Canadian indie music, decided that with the release of his latest album, Heartland, he would no longer go under the moniker of "Final Fantasy," a name he had used for his solo recordings since his debut in 2005, instead choosing to continue on under his own name. Whereas the decision to release records under his own name might have seemed a relatively insignificant change to those that were always aware that there was a man named Owen Pallett behind the moniker "Final Fantasy"— more on that later—the biggest change, it could be argued, has been Pallett's decision to play together with another musician onstage—multi-instrumentalist Thomas Gill—something Pallett has rarely done, preferring to rely on his looping rig to fill the sound in for him. "I wanted to expand—I've been playing so long solo and the crowds are getting large enough that I've been feeling a little uncomfortable being the only one onstage," he says of his decision to double the touring band. "I got Thomas involved—he plays guitar and bass, some percussion and backing vocals— and it's been fantastic. He's also a better musician than I am, and cuter, so it works out." Having released Heartland to much critical acclaim early this year, Pallett found himself sitting on a number of extra songs he'd written for that album but which, he felt, needed to be re-imagined in order to work. That re-imagining process has led to the A Swedish Love Story

EP, a collection whose tone is closer to a party record than to the solitary orchestrations of Heartland. "Most of the time when I'm making albums I'm aiming towards a very particular listening experience, stuff that you would listen to on your own, an experience by yourself in your bedroom or while you're washing dishes or whatever. With A Swedish Love Story I consciously thought, 'I don't want people to feel uncomfortable when this comes on at the party,'" Pallett explains.

Most of the time when I'm making albums I'm aiming towards a very particular listening experience, stuff that you would listen to on your own, an experience by yourself in your bedroom or while you're washing dishes or whatever. "All these songs I recorded separately and there are Heartland versions that exist with the orchestra and stuff like that, but if they were worth listening to I would have released them." And though continuing to experiment with various moods and adding another person to his onstage setup have been big changes, the one that keeps coming up is the name change. While Pallett explains that he thought it'd be no big deal when he decided to go with

VUEWEEKLY // OCT 21 – OCT 27, 2010

MUSIC // 31

32 // MUSIC

VUEWEEKLY // OCT 21 – OCT 27, 2010

MUSIC NOTES But fear not, scarcity will not exist forever, as the group will release This Was the Future, its newest album, this weekend. (The ARTery, $13) Joseph Lai / Sun, Oct 24 (3 pm) Composer, performer and Supertramp fan Joseph Lai will perform in the world premiere of his latest work, entitled Sonata for Bassoon and Piano Op 10. Joining him on the bassoon will be Matt Howatt. (Holy Trinity Anglican Church, admission by donation)

The Stanfields / Thu, Oct 21 (7:30 pm) In a country like Canada, there's no better way to get attention than to name your band after the company whose name has become synonymous with long underwear. Blasting out of Halifax, the Stanfields have picked up a number of nominations for the Nova Scotia Music Awards, and were voted "Best Band" and, more importantly, "Best Band to get Trashed to" by Halifax's independent weekly, The Coast. (Haven Social Club, $10) Electricity for Everybody! / Sat, Oct 23 (8 pm) There's a driving urgency to the music made by Edmonton's Electricity for Everybody! that comes blasting through on the scant recordings that are available on the group's MySpace page.

Ross Neilsen & the Sufferin' Bastards / Oct 25 – Oct 31 (10 pm) If the name didn't give it away, blues rocker Ross Neilsen and his band are gluttons for punishment, it seems. Having already traversed the whole of Canada once this year, Ross Neilsen & the Sufferin' Bastards are gearing up to do it again. The Trans-Canada Highway is 7777 kilometres long, not to mention all the detours the band will likely take. That's a lot of Sufferin'. Poor bastards. (Blues on Whyte)

Slaid Cleaves / Thu, Oct 28 (7:30 pm) Slaid Cleaves writes honest, straightforward country songs about love, loss and longing. One of his biggest fans is Stephen King—yeah, that Stephen King— who famously penned the liner notes to Cleaves' 2009 album Everything You Love Will Be Taken Away. (Haven Social Club, $25) —Bryan Birtles

Al Brant / Thu, Oct 28 (7 pm) Wide Open, the new album that Al Brant will release this Thursday, almost didn't get made. Having been a touring musician for over 16 years, juggling various family and work commitments just to keep going, Brant considered quitting music altogether. What brought him back was working at the U of A Hospital as part of the Artists on the Wards program, which saw him singing and playing music for patients. That re-energized spirit will be on display as Brant takes the stage to share his new work. (Expressionz Cafe, $15 – $20) —Bryan Birtles

ATREYU

With Bless the Fall, Chiodos, Architects Thu, Oct 28 (6 pm) / Edmonton Event Centre, $28

VUEWEEKLY // OCT 21 – OCT 27, 2010

MUSIC // 33

ALBUM REVIEWS

New Sounds

Bob Dylan The Witmark Demos: 1962 – 1964 (Columbia) 

Eden Munro // eden@vueweekly.com

B

ob Dylan is not exactly looking backwards at this stage of his now very lengthy career—he's still releasing albums that make people at least stop and have a listen—but he's also not an artist who's afraid to peer over his shoulder at the days gone by. That's been the case since Good as I Been to You and World Gone Wrong, a pair of albums delivered in the early '90s when the songwriter pulled out new interpretations of old folk songs just before kicking off a run of original material that's often been hailed as a late-career resurgence. The Bootleg Series—now up to volume nine with this latest release—has been aptly named, seeing as most of the material that finds its way to one of these releases has already been out there floating around amongst the wide circle of bootleg collectors, the official releases pull everything together in an impressively cohesive way, and The Witmark Demos is no different: together here, a cluster of 47 tracks recorded over a two-year period and with little regard for creating a whole al-

bum—many of these were song demos meant to capture the material in a form that the publisher could then hawk to other recording artists—becomes a map across a short span of time that saw Dylan's voice becoming more and more assured with every new song he laid down. Not that there were many auditory hints that Dylan lacked confidence at any point on these recordings, but there were more toss-offs near the 1962 starting point then the 1964 close out of the sessions: while Dylan delivers a couple of early talking blues tunes ("Talking Bear Mountain Picnic Massacre Blues" and "Talkin' John Birch Paranoid Blues") or the rolling "Baby, I'm in the Mood for You" without hesitation, he sounds like he wrote and recorded those songs because he had the words, whereas later tracks like "Bob Dylan's Dream," "Only a Hobo" and "The Times They Are A-Changin'" sound like songs that he simply had to write, more forces of nature than words meant for paper. Taken as a whole, the two discs here do nothing to diminish the myth that has long surrounded Dylan concerning his abilities as a songwriter: the tunes tumble one after another, the man seemingly conjuring them from nothing. Any hardships Dylan may have endured in putting words to melody are invisible here, the recordings often peppered with off-the-cuff remarks ("That's my calypso-type number," he laughs as the last chords of "I'd Hate to be You on that Dreadful Day" ring out) as he puts the tunes to tape without flinching. The sonic quality on The Witmark Demos varies fairly wildly, but the hiss of the tape and occasionally muddled sound sits comfortably with the album's nature as a time capsule, and ultimately this set is just as valuable as many of Dylan's best as a glimpse into a very particular slice of his life as a songwriter. V

Rodney DeCroo Queen Mary Trash (Northern Electric)  BC songwriter Rodney DeCroo takes a serious risk with his latest album, stretching it out into a double set. It works, though, as DeCroo delves deep into a well-worn genre based in rock 'n' roll and country and comes out the other side sounding fresh and alive, if a little beaten down. Wood's contributions can't be undervalued here, as he consistently finds ways of incorporating sonic subtleties into DeCroo's tumbling songs, be it on a delicate acoustic number like the title track, the ghostly soundscape of "Mist in the Valley" or the spit and snarl of "You Ain't No One." Queen Mary Trash is a sprawling effort that threatens to run away due to the sheer scope, but DeCroo, Wood and the rest of the players remain locked in step throughout, deftly manoeuvring across the songs as Carolyn Mark adds gentle harmonies behind DeCroo's own ragged voice, creating a precarious balance that suits the music well and serves to increase the depth of the sound with a strong sense of contrast. The double album is a beast wrought with peril, but DeCroo tackles it well, turning in the best album of his career yet. Eden Munro

// eden@vueweekly.com

Jaded Hipster Choir Pill Weekend (Old Ugly) 

When I first received Pill Weekend, it was attached to an extended missive that immediately deconstructed the mystery behind the album. It included a story about U of A undergrad girls having pharmaceutical parties and a self-deprecating explanation of how the sounds were stapled together. It all seemed superfluous, especially when actually in the presence of the album. Hazy, jagged samples are strung with undulating washes of colour and light, jerky, disembodied vocals jump in and out of focus. Everything seems purposefully out of step. Certainly, Thomas Michael’s album is aptly titled: no accompanying message was necessary. Recalling chillwave, early Squarepusher, Owen Pallett and the more electronic experiments of Anticon, JHC is set apart by a charming resistance to form. Featuring help from a small group of cohorts (including local wunderkind Kumon Plaza), it’s refreshing to hear new lo-fi pop music that is actually confrontational. Challenging at first, Pill Weekend reveals itself as an accomplished debut. Roland Pemberton

// roland@vueweekly.com

34 // MUSIC

VUEWEEKLY // OCT 21 – OCT 27, 2010

The Orb Featuring David Gilmour Metallic Spheres (Columbia)  The Orb Featuring David Gilmour sounds an awful lot like what you might imagine Pink Floyd playing someplace like Lush back in the day might: trance-like music with Gilmour's very identifiable guitar and vocals popping up throughout. The sound effects aren't very far away from what Pink Floyd used to incorporate into its albums in the '70s, with the main difference being that Gilmour seems to have lost all sense of restraint, the effects piling up one on top of the other without concern for actually building towards any sort of musical climax. And that points to an overall problem here: there's very little focus at all on this nearly 50minute album made up of two tracks with five movements each. There are intriguing bits and pieces, but it doesn't add up to much in the end. Still, one's enjoyment of this album probably depends to a large degree upon how much they enjoy tripping out with headphones on. Eden Munro

// eden@vueweekly.com

Baptized in Blood Baptized in Blood (Roadrunner) 

Between Baptized in Blood's independent full-length Gutterbound and the new Roadrunner-released self-titled full-length someone in the band broke up with his girlfriend— at least that seems to be what the lyrics about never calling someone back and never respecting someone anyway reveal. Regardless the technical skill behind this metalcore band is sufficient for some great classic-style thrash metal. And the screamed vocals in the style of Motorhead or earlier Megadeth make it so you can gloss right over the rather classless lyrics. But if you want some great Canadian metal check out Baptized in Blood's Gutterbound.

ALBUM REVIEWS Bruce Springsteen Nebraska (Columbia)

However, this didn't stop the record label from trying to lure the E Street Band to make a rock album. Rumours Originally released: 1982 have risen that fully arranged versions of material from Nebraska Caught on grainy live concert were recorded, but in the end, .com it was Springsteen's own perfootage from 1990, Springsteen weekly e u v @ gus opens a song saying, "I did an al- mikean sistent impression that these Mikes songs—these raw, unmastered bum, Nebraska ... I really didn't Angu demos—were best left untouched, think what its political implications were until I read about it in the unaltered and unimpeded in their disnewspapers ... but quieting sense of something I was loss and isolation. feeling moved me As depicted on to write all these the cover, Nebrassongs at that time, ka's straight, grey where people lose highways evoke their connections the tone of the to their friends album perfectly: and their families though many and their jobs, and of Springsteen's their countries and characters are at their lives don't turning points in make sense to their stories, the them no more, and feeling of endless, the rules go out empty aloneness the window." is embodied in And with that, the inevitable, the harmonica unbending highwails away, tearing us—spiraling out to way. As seen through the windshield, the Bruce Springsteen's America as he felt painted line only serves to direct you farit in 1982. In an upside down version of ther from home. Lost in the New America. "This Land Is Your Land" he invents a new And the album never lets the listener American mythology, re-interpreting in from the cold. It's an atmosphere that Guthrie: "From the town of Lincoln, Necaptures your guts and strangles any braska / With a sawed-off .410 on my lap chance at resolution. The songs that fol/ Through to the Badlands of Wyoming / low are tales of young lovers in a death I killed everything in my path." parade, highway murder, strained famDespite this unrelenting darkness, there's ily relations, all with the grim dawn of an undeniable success on Nebraska, a stark economic meltdown in the American simplicity that conquers—to this day—any Midwest as the backdrop. As dreary and thought of reinvention or revisiting these senseless as the cover suggests. tracks as Springsteen recorded them. On an Driving home a genre that is now what's amateur four-track recorder in his kitchen known firmly as Americana, Springsteen he captured a multitude of song ideas for a stands tall in the proudest of traditions demo—an acoustic version of "Born in the carried forward by his contemporaries— USA" included—that, from their inception, Steve Earle, Townes Van Zandt, Bob Dyhave relentlessly proven themselves perfect lan, Neil Young—and the topical sensibilas they are: stark, unblinking, and hushed. ities of predecessors like Woody Guthrie As Springsteen explained it in an interand Pete Seeger. But in all these comview in Rolling Stone magazine, "I was parisons, Springsteen's Nebraska stands just doing songs for the next rock album out on its own merit as demo cassette ... It was just gonna be a demo ... Finally, tape that was never meant to be, and in we realized, 'Uh-oh, that's the album.'" that regard, still holds no equal. V

OULNDDS

SO

HAIKU Apocalyptica 7th Symphony (Sony)

QUICK

SPINS ins@

quicksp

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ekly.c vuewe

Whiteoyn Houst

Hooded Fang Album (Hooded Fang)

// samantha@vueweekly.com

Perfect soundtrack for Slow motion gun fight scene at The gothic orgy

Halford Made of Metal (Metal God) 

Lunch at Allen's More Lunch at Allen's (Linus)

Maximum Balloon Maximum Balloon (DGC)

Rootsy royalty Sweet guitars, mandolins and Oxygen bottles

An amazing disc No need for boner jokes here Its that fucking good

Samantha Power

Rob Halford is made of metal. Seriously. The album says so. The voice says so. Don't argue the point. Not every track is a winner on his latest, but overall it kicks some pretty impressive metal ass. Eden Munro

// eden@vueweekly.com

.

Sunshiney pop gold More hooks than a meat locker Can't love this enough

Mice Parade What it Means to be Left-Handed (Fat Cat)

Bedouin Soundclash Light the Horizon (Pirate's Blend)

Frenetic drumming Layers of pure coolness like Swamp water slurpee

The jury was out But now these guys are guilty ...of being awesome

VUEWEEKLY // OCT 21 – OCT 27, 2010

MUSIC // 35

PREVUE // LIBRARY VOICES

Listen up

Regina's Library Voices finds success with Denim on Denim Mike Angus // mikeangus@vueweekly.com

L

ife lessons for a band are always complicated, and they often correlate proportionally to the number of band members. So for Regina's Library Voices, tact and honesty are (offstage) two important tools to the band's success. And success is exactly what the well-orchestrated eight-piece pop collective has achieved. After releasing 2008's Hunting Ghosts & Other Collected Shorts, it was embraced quickly by Canada's independent scene, vaulted by no less than Spin magazine in the US and a coveted CBC Bucky Award. As guitarist Michael Dawson explains, out of this sudden chaos came 2010's Denim on Denim, an unconventional recording that, despite the experimentation in the studio, has earned the band a nomination for independent album of the year at this year's Western Canadian Music Awards. "[The last year] just flew by," the wellspoken gang leader admits. "We knew we needed to get Denim on Denim out as quickly as possible, and it took a lot longer than we wanted, but in that time it's been non-stop touring—I think we've played 100 shows in each of the last two

BUILDING BLOCKS >> All of Library Voices years, and trying to keep writing new material—it's become a full-time job on top of our full-time jobs." For a band thats objective is "documenting spacious and concise pop songs," the album is still teeming with keys, horns, synths and shimmering tremolo guitars over fuzzed out feedback loops—the result of a very patient and well-thought out plan for the studio this time around. "We fumbled through [Hunting Ghosts]—it was still the first six songs we'd written after two weeks of being together," he reveals. "This time around we wanted to investigate the process of making a record more than just recording an

// Supplied

album live off the floor. We were curious how to work best together and with the amount of instrumentation we wanted. So most of it was completed in the studio, a process that was pretty arduous that was fulfilling on most levels. "As a result, we learned how to write songs as a band and as people. Obviously we're overwhelmed with the way people have received it, but it's definitely a building block for us." V Fri, Oct 22 (8 pm) Library Voices With Paper Lions and guests Avenue Theatre, $13

HOROSCOPE ARIES (Mar 21 – Apr 19)

tually I moved away and lost touch. Since "There's one ultimate goal during sex," then I've wondered if she suffered the fate says Cosmopolitan magazine: "to be as that befalls too many gorgeous women: sensually stimulated as possible." I don't relying so entirely on her looks to make quite agree with that assessment. Having her way in the world that she never deemotionally pleasing fun should also be veloped many skills. But recently I tracked an important consideration. But sensual Calley down via Google and discovered stimulation is good, too. So what, that she has carved out a career in the view of Cosmopolitan, is as an activist bringing first-rate the key to cultivating maxieducation to poor children. My Y mum bliss? "Having lots of question to you is this, Gemini: G LO steamy info at your disposal." A S T R O Are there any qualities you om .c ly k e we That's definitely sound advice regarded as assets earlier in l@vue il w e e fr right now. You're in a favouryour life but that eventually Rob y able phase for finding out more turned into liabilities? And what Brezsn about everything that will enare you doing to adjust? It's a good hance your access to delight, includtime to address these themes. ing the sexual kind.

FREEW

TAURUS (Apr 20 – May 20)

When the tide is coming in, the creek I live next to flows vigorously toward the south. When the tide's going out, the water reverses its course and heads swiftly north. Every day, there's an in-between time when the creek seems confused. Some currents creep south and others slink north, while here and there eddies whirl in circles. According to my understanding of the astrological omens, Taurus, you are temporarily in a phase that resembles my creek's time of contrary flows. It's a perfectly natural place to be.

GEMINI (May 21 – Jun 20)

In fifth grade I was in love with Calley, the prettiest girl in the school. Sadly, she didn't return my affection, so I had to be content with adoring her from afar. Even-

36 // BACK

ILL

CANCER ( Jun 21 – Jul 22)

Think back to the last half of 1998. What was going on in your life back then? According to my astrological projections, you were probably carrying out experiments in a wild frontier ... or getting your mind rearranged by rousing teachings and provocative revelations ... or all of the above. Now you've come around again to a similar phase of your grand cycle. Are you ready for action? If you'd like to gather up all the grace flowing in your vicinity, start having fun with escapes, experiments, and expansions.

LEO ( Jul 23 – Aug 22)

"I wish I treated my feet with the same tender loving care as I do my face," wrote Catherine Saint Louis in The New York Times. She quotes a study that says more than half of all women are embarrassed

about their feet. You Leos can't afford to be under this spell right now. Even more than usual, it's crucial for you to be well-grounded. So I suggest you maneuver yourself into a state of mind where earthiness is beautiful and appealing to you. Find ways to celebrate your body and improve your relationship with it. How to start? Love your feet better.

VIRGO (Aug 23 – Sep 22)

At this phase of my life my struggle for social and environmental justice is waged primarily through the power of my writing. I subscribe to the attitude of author Ingrid Bengis, who said, "Words are a form of action, capable of influencing change." In the coming weeks, I suggest you increase your awareness of how you could transform your world with the power of your language. Is it possible to increase your clout through the way you communicate?

LIBRA (Sep 23 – Oct 22)

In the weeks ahead, Libra, you're going to be tested on your follow-through. People will want you to work harder on what has previously come fairly easily. You will be pressured to make good on your promises. As much as you might be tempted to slip away and fly off in pursuit of things that are more fun, I encourage you to stick with the program. You can't imagine how important it is for you to learn how to be a more committed builder.

SCORPIO (Oct 23 – Nov 21)

"If you're strong enough there are no precedents," said novelist F Scott Fitzger-

VUEWEEKLY // OCT 21 – OCT 27, 2010

ald. I think that describes you in the immediate future, Scorpio. I bet you won't have to answer to ghosts or pay homage to the way things have always been done. You'll be free to ignore icons that the conventional wisdom idolizes, and there'll be no need for you to give undeserved respect to experts who have stopped being relevant. By my astrological reckoning, you will be so smart and plucky and energetic that you can work wonders simply by emptying your mind, starting from scratch, and making things up as you go along.

SAGITTARIUS (Nov 22 – Dec 21)

Scientists have discovered an exotic animal that feeds on the bones of dead whales lying on the ocean floor. It looks like a frilly pink plume growing up out of sheer bone. Believe it or not, Sagittarius, you could take a cue from this creature in the coming weeks. It will be a favorable time for you to draw sustenance from the skeletal remains of big things that were once vital.

CAPRICORN (Dec 22 – Jan 19)

What is the wild and instinctual nature? Radiance magazine posed that question to storyteller Clarissa Pinkola Estes. Here's her reply: "to establish territory, to find one's pack, to be in one's body with certainty and pride regardless of the body's gifts and limitations, to be aware, alert, to draw on the innate feminine powers of intuition and sensing, to come into one's cycles, to find what one belongs to." I would love to see you spe-

cialize in these wild and instinctual arts in the coming weeks, Capricorn. According to my analysis of the astrological omens, you are ready to tap into the deeper reserves of your animal intelligence. Your body is primed to make you very smart about what you need and how to get what you need.

AQUARIUS ( Jan 20 – Feb 18)

When I think of the extraordinary feats of strength you will be capable of in the coming weeks, my mind turns to a Chinese martial artist named Dong Changsheng. Last May, he attached one end of a rope to his eyelids and the other end to a small airplane, then pulled the thousandpound load 15 feet in a minute. I don't think your demonstration of power will be as literal as his, and I suspect it will be more useful and meaningful. But in certain respects it could be just as amazing.

PISCES (Feb 19 – Mar 20)

Scottish scientists decided to see if they could find evidence of the Loch Ness monster. They took a research submarine down into the murky depths, scanning with sonar. The prehistoric creature was nowhere in sight, but a surprising discovery emerged: Thousands of golf balls litter the bottom of the loch, presumably because the place has been used as an unofficial driving range for years. I predict that you will soon experience a reverse version of this sequence, Pisces: You will go in search of your personal equivalent of lost golf balls but on the way you will have a brush with a living myth. V

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TIME TRAVELLERS LECTURE SERIES JgqYd 9dZ]jlY Emk]me L`]Ylj]$ )*0,-%)(* 9n] /0(&,-+&1)(( On the Origins and Spread of Mediterranean Farming: Keystone Species, Co-evolutionary Relationships and Human Technologies$ d][lmj] Zq <j >jYf[Y :gY_ Oct 28$ /he 0

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VUEWEEKLY // OCT 21 – OCT 27, 2010

mYdZ]jlY&[Y'kYo&[^e :][ge] egj] YoYj] g^ kmklYafYZadalq akkm]k$ d]Yjf egj] YZgml [Yehmk kmklYafYZadalq Yf\ \]n]dgh kmklYafYZadalq kcaddk Mflad Oct 23 ETLC Engineering$ =LD; )%((/2 Ghhgjlmfala]k af Y ?j]]f =[gfgeq ;Yj]]j >gjme3 =f_af]]jaf_2 Oct 21$ ,2+(%.2+(he Triffo Hall3 Je *%)/2 ?j]]f :d\_ Lgmj3 Oct 21$ ))Ye%)*2*(he Myer Horowitz Theatre KM:2 Nga[]k g^ FYlmj] ;gf[]jl3 Oct 21$ /%1he General Services Bldg$ Je *))2 Danaf_ ?j]]fº@go lg ;d]Yf ?j]]f2 Oct 22$ )%*2+(he Dinwoodie Lounge$ KM:2 >Yje]jk Eafa EYjc]l2 Oct 22$ )(Ye%+he3 >gg\ Klm^^ <g%Al%Qgmjk]d^2 Oct 22$ )(2+(Ye%+he3 KmklYafYZd] <aff]j$ HYjlq oal` Y Hmjhgk]2 Oct 22$ .%/2+(he \aff]j!$ 0he Za[q[d]% hgo]j]\ [gf[]jl3 )- \aff]j Yf\ [gf[]jl!' )( \aff]j gj [gf[]jl! Yl ;Yehmk KmklYafYZadalq ;gYdalagf$ =;GK g^Ç[]$ Af^gDafc KM:$ @M:$ ;9:$ =LD;!$ =Yjl` k ?]f]jYd Klgj]

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BACK // 37

COMMENT >> LGBTQ

Letting sex circulate Sitting there at the back of the bar a text screen, waiting by the door but he few years ago watching the dancing, the didn't want to go with out saying 'Hi,' nor music more of an echo than a pulse, the without saying something he had wanted solitude of being alone with everyto for a while. With his hand on one was broken as he slid across my leg, I reached for my drink, the booth next to me. His thick securing my lips against the denim-clad thigh was quickly straw as I moved in. The front against mine. He smelled the of his face saddled up to the .com ly k e e uew same brutish way he had 10 side of mine. With the brush ted@v years ago. The throw of the of his stubble against the Ted gyrating dance floor lights cast top of my jaw, his warm beer Kerr hypnotically against his familiar breath awash across my ear, he face—wrinkles falling into shadows whispered slowly "We should have had highlighting dimples. There was no need more sex," stretching out each syllable, "I for the theatrics of catching up or being would have gone–further." surprised. We smiled. Even after it all just His bottom lip touched my earlobe on faded away years ago we were still happy his last word. My breath gave out, I swalto see each other. They were about to lowed hard, choking on my ginger ale, letleave, he said gesturing towards some ting the hard plastic cup find its own way hot young guy, face illuminated by his back to the table top nearby as ice flew

R QUEE N MONT

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38 // BACK

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

across our laps. I pulled back to face him. His eyes were a bit drunk but focused. He held eye contact as he slid away. With his hands beneath him he lifted himself up to go, his shoulders coming together, his button-up shirt went slack exposing the top of his chest. It looked different, less perfect, more inviting. The tattoo above his heart was obscured by hair I couldn't remember being there. Before he turned and walked away he cocked his head and dialed his smile up a few watts, his eyebrows arching to the heavens. All of it had worked. He had won. I sat there feeling wide-eyed, slightly winded, hot with desire, regret and wonder. It had not just faded away years ago as I liked to tell myself. I had killed it—tormented by what I wanted, and obsessed with not being one of "those gays" who let sex run their lives,

I was too afraid of my own body and desires to let go. I watched him leave, desperately wanting sex to run my life.

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

Expressionz Café–The School of Life 9938-70 Ave is a centre for the arts. Looking for visual artists and artisan/wellness vendors for the rotating gallery space and monthly market; and for performers, presenters that are family friendly to compliment the monthly market; t: 780.437.3667; e: expressionzcafe@gmail.com

ARTIST TO ARTIST

Voice actors needed for work on video game based graphic novels. Interested? Check outfrostmore. com for lists of characters. Then E: Ike at lobitec@ hotmail.com

Wufniks Magazine is looking for short fiction and poetry submissions. wufniks.com Send us your scribblings. submissions@wufniks.com WINTERSCAPES: Urban or Rural–Open call for all artists/ Deliver art: Dec 1-4; exhibit: Dec 10-Jan 30; $10 entry fee. The Paint Spot, T: 780.432.0240 E: info@ paintspot.ca Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Dogs 'n Snakes and Innocent Women”, a comedy set at the Blues on Whyte, Sat afternoon jam. The first draft has been written. Contact us with contact info and sample of work. Kevin Sisk, Associate Producer, drsiskphddd@msn.com Arts on the Ave and Arts Hab: Looking for tenants for the Old Cycle Building 9141-118 Ave– As- Is space for 2011. Building walk-through Nov 6, noon and 4pm; Nov 8, noon, 4pm and 730pm artshav.com and artsontheave.org The Friends of University Hospitals: search for fresh, uplifting artwork for the Mazankowski Alberta Heart Institute, MAHI, The Quiet Rooms. Deadline: Fri, Nov 12, 4pm; info: Don Trembath at don.trembath@ albertahealthservices.ca Bohemia Café, variety venue, 10575-114 St. Call for participants in Oct art show (Sat Oct 30). Hoping to book artists, musicians, performers, volunteers for the Arty Party. Info at W: artmuzak.ca/events/ Free art demos: Fluid Acrylics and Ink demo; learn glazes, layers and pouring; Sat, Oct 23, 11am and 2pm; Naess Gallery–Paint Spot, 10032-81 Ave, 780.432.0240 Movements Dance is accepting applications for Dance Instructor for its 2010/2011 season. Applicants should have an extensive background in West African and Caribbean dance with a min of 5 yrs experience. Info: 780.415.5211 Any artist, musician, or performance artist interested in being featured for the Local Art Showcase @The Old Strathcona Antique Mall, please be inspired to contact Jenn@oldstrathconamall.com

VUEWEEKLY // OCT 21 – OCT 27, 2010

I left the bar, letting the Edmonton autumn night air bite at, and then numb my ears as I walked down Jasper Avenue alone, remembering how I use to revel in watching other people walk towards parked cars, waiting cabs or the bathhouse, imagining what they would do to each other as soon they could. I would halt my growing excitement with judgment, consoling myself into thinking going home alone was the right thing to do, choosing to forget my fear of taking off my shirt or how I would let my dread and desire of what might happen stop me from indulging. Even now, again, years later, walking

Call for entries: 2011 Dreamspeakers; Deadline: Mar 31, 2011; Info E: info@dreamspeakers.org. Send entries to: Attn: Executive Director, Dreamspeakers Festival Society, 8726-112 Ave, Edmonton, AB, T5B 0G6

home from the bar, Gaga echoing in the ether, Britney and Xtina busy with babies and Jasper Ave more alive than I ever, I pass the Macs on 113th and the glow of the telephone booth out front reminds the more things change, the more they stay the same. Sex and shame remain together. For all the leaps forward I make, or advances the gay rights movement puts forward as success, the most radical and enduring thing I can do is own my sex. Barrelling through my 30s memories of what could have been pile up in the recess of my mind: I don't want to get stuck. I want to let go, move forward, not be afraid of being "one of those gays" but rather enjoy being the queer man that I am. I think this means opening up, letting go, letting sex in and ensuring that sex circulates. V Call to local artists, musicians, performers for Yuk Yuk's new "Thursday Night Variety Show". Call 780.481.9857 and ask for Chas or email: chaz_ beau@hotmail.com for info Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: elaine.elrod@ telus.net Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Ghostwater” a horrorcop drama. The first draft has been written. Please contact Kevin Sisk, Associate Producer at drsiskphddd@msn.com with contact info and sample of your work

COMMENT >> ALT SEX

Shed the fear

Own your sexuality instead of being afraid No harm can come to you. This is the It seems like a radical, even reckless phrase that has been stuck in my head idea. Whether we get it from our schools, for the last four days, after having our parents, our church, the media a chance to sit down and chat or even our peers, the message with Jennifer Skrukwa, sex edwe hear over and over is that ucator and feature presenter great harm can come to you at the Taboo Sex Show this when you act on your sexual m ly.co eweek weekend. Jennifer describes feelings. What about infecu v @ a brend herself as a "sex activist on tions? What about disease? a d n e r B a mission to initiate change." What about pregnancy? Kerber "There's a lot of reason to hold I asked her how she defines sex activism: "It's giving permission for back," Skrukwa said, "but there's every person to accept themselves and more reason to say, 'Show me a reason to follow their passions. It's getting the why I shouldn't.' Most of the reasons message out and the message is that why people don't say things and why no harm can come to you when you are they don't do things is fear." authentic in your sexuality." No harm can And, according to Skrukwa, it's not the come to you. fear of infection or pregnancy, it's the

fear of exposing who we really are, and the fear of what someone else might think and, most of all, it's the fear of embracing our own sexual power.

The Learning Centre Literacy Association: Seeking volunteer tutors to help adults develop reading, writing, math skills. Require High School reading, writing, and/or math skills; openness to tutor and learn with adults with various life experiences, including homelessness. Locations: Boyle Street Community Services and Abbottsfield Mall. Contact: Denis Lapierre, DowntownCentre, 780.429.0675, E: dl.learningcentre@ shaw.ca; Susan Skaret, Abbottsfield Mall Centre, 780.471.2598, E: sskaret@telus.net

Volunteer with Strathcona County RCMP Victim Services Unit and assist victims of crime and trauma. Call Katie at 780.449.0183

LUST E LIF

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MUSICIANS Singer-songwriter, playwriter, dancer, R&B funk, director, voice actor, actor stuntman, ready for anything, Katz 587.785.4481 – OKatz33@telus. blackberry.net Morango's Tek Café is looking for bands and musicians for shows on Friday nights....contact Dr. Oxide at .....doctoroxide@shaw.ca Latin/Gypsy/jazz guitarist, bassist and percussionist wanted for original band. Practice twice/wk, music theory a must. Songs are ready. Alin 780.237.2546 Drummer and bass player needed for new indie-rock band (ex-members of Cassidy) in the vein of Temper Trap, Coldplay, Snow Patrol. Serious inq only; shows are being booked. Vocals a plus. Sean 780.863.5315 Blues band needs a keyboard/vocalist. Mature, with writing capabilities, a believer, and gear. 780.686.9178 or E: cam@drblu.ca. W: drblu.ca Vocalist wanted – Progressive/Industrial/metal; age 17-21. Contact justinroyjr@gmail.com Bass player needed asap for modern rock trio. Please call 780.999.5124 Lead singer looking for band to jam with. Covers and originals. Paul 780.270.4886 or 780.761.2721 Looking for a bass player/co-writer for full original rock trio. Please txt or call 299.7503

COSMOPOLITAN MUSIC SOCIETY Opportunity

for amateur adult musicians and singers to learn and perform concert band and choral music under professional music direction. Contact Darlene at 780.432.9333; generalmanager@cosmopolitanmusic. org

VOLUNTEER Team Leaders Needed–Christmas Bureau For individuals who have worked with community charities and enjoy working with the public. Info on this and the Christmas Bureau’s other volunteer opportunities contact Darlene at 780.414.7682, christmasbureau.ca Operation Fruit Rescue Edmonton: Do you have a fruit tree that you can't harvest? Or, more berries than you can handle, OFRE will send volunteers to your house at your convenience to pick your fruit or berries. 1/3 goes to you, 1/3 goes to Edmonton’s Food Bank, 1/3 goes to the volunteers. E: ofre. edmonton@gmail.com; W: ofre.wordpress.com Exposure is looking for volunqueers to assist with this year's festival. Email: volunteer@exposurefestival.ca for more information. Volunteer website for youth 14-24 years old. youthvolunteer.ca The Candora Society of Edmonton–Board Recruiting; candorasociety.com; promotes positive growth in the lives of women, children/families in Rundle/ Abbottsfield communities. Info: Elaine Dunnigan E: edunnigan@shaw.ca Volunteer Meal Deliverer/Driver: "Life is a Highway" why not volunteer to be in the driver's seat? Come make a difference every day. Volunteer with Meals on Wheels as a driver. Call 780.429.2020

Cityfarm Growing Assistants: Volunteer with children and see their fascination with plants, seeds and soil; help a teacher/leader feel successful in growing plants indoors. Green thumb is not a prerequisite but gardening experience and a passion for children and youth are an asset. E: claudia@ city-farm.org The Azimuth Theatre seeks general volunteers for the upcoming 2010-2011 season. Come be part of the best small-scale, long running theatre in Downtown Edmonton. E: volunteer.azimuth@gmail.com T: 780.233.5778 Edmonton Immigrant Services Association: looking for volunteers to help with Youth Tutoring & Mentorship, New Neighbours, Language Bank, and Host/Mentorship programs. Contact Alexandru Caldararu 780.474.8445; W: eisa-edmonton.org

SEEKING SENIORS FOR PAID STUDY: Seeking se-

niors to participate in a paid study on investments. Participants will be paid $20 for 1 hr to complete a survey and will not be “sold” anything. T: Dr. Jennifer Boisvert at 780.436.8987; E: jenniferboisvert@hotmail.com Carrot Café seeks volunteers: baristas to serve coffee, tea and carrot muffins; full training given on making specialty coffees and teas. Also need volunteer to clean daily from 7:30am, Tue-Fri, or once a week on Sun. For info contact Irene Yauck at Irene@ehenri.ca, 780.471.1580 Edmonton Mennonite Centre for Newcomers, need volunteers to help immigrant children and youth of all ages–volunteer in a homework club. Phillip Deng at 780.423.9516, pdeng@emcn.ab.ca Do you remember someone who believed in you when you were a child? Be that person in a child's life today. All it takes is one hour a week, which may not be much to you but will make all the difference in the life of a child. Be a Big Brother or Big Sister! Be a Mentor! Call Big Brother Big Sister today. 780.424.8181 Mechanics needed: The Edmonton Bicyle Commuters' Society operates a volunteer-run community bike workshop called BikeWorks, 10047-80 Ave (back alley), also accepting bicycle donations; E: volunteer@ edmontonbikes.ca; W: edmontonbikes.ca Mediation & Restorative Justice Centre Edmonton: Vol Facilitator Recruitment 2010; mrjc.ca/mediation/ volunteering/complete a volunteer application form; 780.423.0896 ext. 200 Volunteers instructors needed–Tap Dancing, Line Dancing. Wed: kitchen helper, Fri: dining room servers; Wed evening dinners: dishwashers, kitchen prep and servers. Mary 780.433.5807 S.C.A.R.S.: Second Chance Animal Rescue Society. Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled. scarscare.org

With these words repeating in my head, I came home from the show and turned on the television. There it was, the fear. In a commercial for HPV vaccine, there are clips of three different women explaining why they don't need the vaccine. These women sound like they know themselves and are taking care of themselves: one always uses condoms, one is monogamous. But, suddenly, ominous music cuts in and a scary, blurry patch appears over the women's crotches, as if some invisible ghost is haunting their vulvas. "Are you

sure?" The narration intones. There it is. The fear. The message that great harm can come to you. You may be taking great care of yourself but still, are you so sure you're safe? There is some unseen horrible threat out to get you no matter how careful you might be. I wonder, how would that message be different if we believed that no harm can come to us if we are authentic in our sexuality? Instead of being haunted by crotch ghosts, these lovely women could talk about their great sex lives and their great choices, and perhaps one of those great choices was to get an HPV vaccine. They could talk about how they chose to take care of themselves so that they could relax and enjoy their sexuality. What would our world look like if instead of being afraid, we believed that we had the power to take care of ourselves, if we believe that if we take care of that, no harm can come to us by being sexual and expressing our sexuality?

Brenda Kerber has been a social worker and sexual health educator in Edmonton not-for-profits for the past 11 years. She is the owner of Edmonton-based sex-positive adult toy boutique, The Traveling Tickle Trunk.

Volunteer at ElderCare Edmonton: help out with day programs with things like crafts, card games and socializing. Call Renée for info at 780.434.4747 Ext 4 People between 18-55, suffering from depression or who have never suffered from depression are needed as research volunteers, should not be taking medication, smoking, or undergoing psychotherapy and not have a history of cardiovascular disease. Monetary compensation provided for participation. 780.407.3906 The Nina Haggerty Centre for the Arts: looking for artists to provide mentorship to our artists with developmental disabilities. Share your talents and passion while gaining work experience. Info: volunteer@ninahaggertyart.ca Volunteers required for studies at UofA. Call 780.407.3906; E: UofADep@gmail.com. Reimbursement provided U of A is seeking major depression sufferers interested in participating in a research study. Call 780.407.3906; E: UofADep@gmail.com The Support Network: Volunteer today to be a Distress Line Listener. Apply on line thesupportnetwork. com or call 780.732.6648 CNIB's Friendly Visitor Program needs volunteers to help and be a sighted guide with a friendly voice. Help someone with vision loss. W: cnib.ca; T: 780.453.8304 Bicycle Mechanic volunteers for Bissell Centre community homeless or near homeless members on Mon, Wed, Fri, 9am-12pm. Contact Linda 780.423.2285 ext 134

SERVICES NARCOTICS ANONYMOUS Help Line 24 Hours a Day–7 Days a Week If you want to stop using, we can help Local: 780.421.4429/Toll free: 1.877.463.3537

Want to stop smoking? Nicotine Anonymous meetings: 7pm, every Wed, Ebenezer United Church Hall, 106 Ave, 163 St. Contact Gwyn 780.443.3020

ADULT STEAMWORKS GAY & BI MENS BATHHOUSE. 24/7 11745 JASPER AVE. 780.451.5554 WWW.STEAMWORKSEDMONTON.COM

Have you been affected by another person's sexual behaviour? S-Anon is a 12-Step fellowship for the family members and friends of sex addicts. Call 780.988.4411 for Edmonton area meeting locations and info, sanon.org

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

SACE–Public Education Program: Sexual Assault Centre of Edmonton (sace.ab.ca) provides crisis intervention, info, counseling, public education. T: 780.423.4102/F: 780.421.8734/E: info@sace.ab.ca; sace.ab.ca/24-hour Crisis Line: 780.423.4121 Are you an International Medical Graduate seeking licensure? The Alberta International Medical Graduates Association is here to help. Support, study groups, volunteer opportunities–all while creating change for tomorrow. aimga.ca

YOUR BEST

HAD ENOUGH? COCAINE ANONYMOUS 780.425.2715

PICKUP LINE

IS DRINKING A PROBLEM? A.A. CAN HELP! 780.424.5900

LOCAL CHAT. TRY IT FREE : code 2315

780.413.7122

Jewish Family Services Edmonton/TASIS (Transforming Acculturative Stress Into Success): A free program aimed at minimizing culture shock and displacement for trained professional immigrant women. T: Svetlana 780.454.1194

1.900.451.2853 (75 min/$2495) www.cruiseline.ca

HELP SUPPORT THE YOUTH EMERGENCY SHELTER SOCIETY Programs for youth; 780.468.7070; yess.org

Would we still feel the need, as so many of us do, to hide our true identities and desires? Would we feel free to openly seek out the things that excite us instead of doing it in secretive and dangerous ways that so often end up hurting us and those around us? Would exposing our true sexual identities still pose such a threat that suicide might seem the only option? There's something not only radical, but also very powerful and healing in that message. It makes me wonder whether the potential for harm lies not in embracing our sexuality and acting on our desires, but rather in allowing fear to prevent us from doing so. V

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