vue weekly 784 oct 28 - nov 3 2010

2 // FRONT

VUEWEEKLY // OCT 28 – NOV 3, 2010

COVER

INSIDE

IssuE no. 784 // OCT 28 – NOV 3, 2010

NEW COUNTRY FOR BROLIN //19

UP FRONT // 4/ 4 Vuepoint 7 Dyer Straight 8 In the Box

Josef Braun interviews James Brolin, star of Woody Allen's You Will Meet a Tall Dark Stranger

DISH // 12/ 14 To the Pint

FRONT

MUSIC

ARTS // 15 17 Prairie Artsters

FILM // 19 20 Screen Caps 22 DVD Detective

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

BACK // 37 38 Free Will Astrology 38 Queermonton 38 Lust for Life

EVENTS LISTINGS 18 Arts 23 Film 26 Music 37 Events

7

Controlling the moon

24

Rural Alberta Advantage returns to the province that shaped it

AT VUEWEEKLY.COM MUSIC

• Slideshow Electricity for Everybody!, Field + Stream, No Means No, Ford Pier

FILM

• Sidevue Ghoul Power: Movies keep treating us to supernatural fiends and foes • Review Hereafter: "Neither particularly poignant nor thoughtful about loss or survivors' spiritual striving for meaning, Peter Morgan's script just bobs along."

Read the full two-star review at vueweekly.com/film

DISH

• Dishweekly.ca Restaurant reviews, features, searchable and easy to use

10303 - 108 street, edmonton, AB T5J 1L7 t: 780.426.1996 F: 780.426.2889 E: office@vueweekly.com w: vueweekly.com

IssuE no. 784 // OCT 28 – NOV 3, 2010 // Available at over 1400 locations Editor / Publisher.......................................... RON GARTH // ron@vueweekly.com MANAGING Editor............................................. EDEN MUNRO // eden@vueweekly.com associate mANAGING editor................... BRYAN BIRTLES // bryan@vueweekly.com NEWS Editor........................................................ SAMANTHA POWER // samantha@vueweekly.com Arts / Film Editor........................................... PAUL BLINOV // paul@vueweekly.com Music Editor....................................................... EDEN MUNRO // eden@vueweekly.com Dish Editor........................................................... BRYAN BIRTLES // bryan@vueweekly.com Outdoor Adventure Editor................... JEREMY DERKSEN // snowzone@vueweekly.com Staff writer....................................................... DAvID Berry // david@vueweekly.com creative services manager.................... MICHAEL SIEK // mike@vueweekly.com production.......................................................... CHELSEA BOOS // che@vueweekly.com ART DIRECTOR....................................................... PETE NGUYEN // pete@vueweekly.com Senior graphic designer........................... LYLE BELL // lyle@vueweekly.com WEB/MULTIMEDIA MANAGER........................ ROB BUTZ // butz@vueweekly.com LISTINGS ................................................................ GLENYS SWITZER // glenys@vueweekly.com

CONTRIBUTORS Bobbie, Barbarich, Casey Blais, Josef Braun, Wil Colford, Jason Foster, Amy Fung, Mike Garth, Hart Golbeck, Tamara Gorzalka, James Grasdal, Whitey Houston, Brenda Kerber, Omar Mouallem, Stephen Notley, Mary Christa O'Keefe, Roland Pemberton, LS Vors, Mimi Williams, Colin Wiseman, Kirk Zembal

SALES AND MARKETING MANAGER............ ROB LIGHTFOOT // rob@vueweekly.com LOCAL ADVERTISING.......................................... 780.426.1996 // advertising@vueweekly.com CLASSIFIED ADVERTISING............................... 780.426.1996 // classifieds@vueweekly.com NATIONAL ADVERTISING.................................. DPS MEDIA // 416.413.9291 ADMINISTRATION/DISTRIBUTION............... MIKE GARTH // michael@vueweekly.com ADMINISTRATION/PROMOTIONS................ AARON GETZ // aaron@vueweekly.com

Vue Weekly is available free of charge at well over 1400 locations throughout Edmonton.

We are funded solely through the support of our advertisers. Vue Weekly is a division of 783783 Alberta Ltd. and is published every Thursday. Vue Weekly is available free of charge throughout Greater Edmonton and Northern Alberta, limited to one copy per reader. Vue Weekly may be distributed only by Vue Weekly's authorized independent contractors and employees. No person may, without prior written permission of Vue Weekly, take more than one copy of each Vue Weekly issue. Canada Post Publications Mail Agreement No. 40022989. If undeliverable, return to: Vue Weekly 10303 - 108 Street Edm, AB T5J 1L7

Distribution Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

VUEWEEKLY // OCT 28 – NOV 3, 2010

FRONT // 3

UP FRONT

EDITORIAL

Vuepoint The real criminal

"If we had some ham we could have ham and eggs, if we had some eggs."

DYER STRAIGHT /7

GRASDAL'S VUE

$50 billion to the health-care system.

samantha power // samantha@vueweekly.com

W

ith the start of the legislative session, the Alberta government announced its new priorities.

Among them was an interesting, if somewhat conspicuous, initiative to join three other provinces in suing tobacco companies for health-care costs. Lawsuits in BC and Ontario have already begun with Ontario suing for $50 billion in compensation for its health-care costs.

The $50 billion number is based on health-care costs due to smoking since 1955. That's over 50 years of damage. And while smoking has clearly had an impact on our public health-care systems, and cigarette companies certainly did their share in the '50s and '60s to ensure people felt safe smoking, the education and preventative regulations—no smoking in bars, offices or airplanes, graphic tar-laced lungs gracing cigarette packages—that has gone into ensuring individuals are fully aware of what they are doing to their body when they pick up a cigarette may make it a hard case to argue that it's the tobacco companies who owe this

This may lead to an interesting double standard here in Alberta. The recent conviction of Syncrude's liability in the deaths of over 1500 ducks is a good test case for neglect when it comes to ensuring environmental impacts are mitigated around tar sands projects.

And it also proves the Alberta government is willing to engage in a legal battle when the time comes, though that time only came after massive public outcry and a citizen-launched legal battle had been initiated.

As these court cases begin and wrap up respectively, the Alberta government may want to start looking a little bit more closely at the data collected by Alberta Health Services in 2009 detailing the increased rates of cancer in downstream communities of Fort Chipewyan, and collect the recent data on toxic water pollution found by Dr David Schindler. The government may also want to reconsider its public statements of denial that the tar sands are causing any of these problems because the time may come when they will be facing their own lawsuit and be standing on the other side of the court. V

PODCAST >> LANGUAGE OF POLITICS

YOUR VUE Your Vue is the weekly roundup of all your comments and views of our coverage.

Every week we'll be running your comments from the website, feedback on our weekly web polls and any letters you send our editors.

With the discovery of hundreds more dead and dying birds on Syncrude's tailings ponds, should the premier speed up his promise to shut down wet tailings ponds?

Yes / No Find this webpoll at vueweekly.com and send us your comments.

4 // FRONT

Author and linguist George Lakoff is in town to talk about owning the political debate. Lakoff's book Don't Think of an Elephant was influential in defining and owning values in political campaigning. We interview Lakoff to discuss how his theories fit in Alberta politics.

GO TO VUEWEEKLY.COM where we post new podcasts every second Monday at noon.

VUEWEEKLY // OCT 28 – NOV 3, 2010

Flavourful controversy

Land sale to a potato company strikes debate over biodiversity mimi williams // mimi@vueweekly.com

W

ith a growing chorus condemning the proposed sale of 16Â 000 acres of Crown land to a company that wants to use the land to grow potatoes for food giants like McCains and Frito Lay, Opposition Leader David Swann told the legislature this week that the province has a moral, if not legal, obligation to hold public hearings before selling off the environmentally-sensitive public land.

The tract of native prairie grasslands, located southwest of Medicine Hat near the confluence of the Old Man and Bow Rivers is home to several endangered species listed under the federal government's Species at Risk Act. Both the Alberta Wilderness Association and the Alberta Fish and Game Association, organizations which rarely see eye-to-eye, have come out against the

plan. The groups warn that Alberta's native grasslands have already dwindled to five percent due to human encroachment, and caution that plans by Taber agri-giant SLM Spud Farms place the fragile ecosystem and its wildlife at significant risk.

"Further destruction will help to seal the fate of these species as well as any outdoors enjoyment by future generations," AFGA president Quentin Bochar wrote in a letter to Premier Stelmach.

Sustainable Resources Development Minister Mel Knight maintains that the province has no legal obligation to hold public hearings over the matter, nor is it bound to conduct a competitive bidding process. In an interview, Knight stressed that interested parties have been consulted since this proposal first surfaced in 2006.

viously painted the sale as yet another example of Conservative political patronage. The Elections Alberta website identifies SLM Spud Farms' owner Louis Ypma as a major contributor to the Conservatives.

The AWA agrees the deal doesn't pass the "smell test." Dubbing the matter "potatogate," the group alleges the sale is a blatant example of secret backroom dealings.

"It seems that our public land is up for sale, and not even to the highest bidder," AWA conservation specialist Nigel Douglas said in a release.

Ecojustice warns the buyer might find themselves in a legal quagmire. Staff lawyer Melissa Gorrie concedes nothing can be done to stop the sale, but suggests the buyer could be in for a rough ride.

"Because there's legislation provincially under the Wildlife Act, and federally, that protects these species, harming them is an offence," Gorrie said, noting that in-

dividuals and groups could invoke the Species At Risk Act when SLM goes to develop the land.

Meanwhile, as part of its international obligations as signatory to the UN Convention on Biodiversity, Canada reported last week on progress the federal, territorial and provincial governments have made in reaching stated biodiversity targets. The report indicates that increased stresses are reaching critical thresholds in Canada's grassland ecosystem, affecting bird populations in particular. The section on grasslands reads, "Stressors include invasive non-native species, forest encroachment, fragmentation and intensification of agriculture."

"Between 1986 and 2006 the capacity of agricultural landscapes to provide habitat for wildlife declined significantly across Canada," the report states. "The main causes are the conversion of natural areas to cropland and more intensive use of agricultural land."

Knight says he and the province take their obligations around biodiversity seriously and, regardless of who holds title to the land in question, any species at risk will be protected. "There is no argument with the BioDivCanada report relative to grasslands in Alberta," he said. "We know they are a shrinking ecosystem across the province and we are already looking at opportunities to conserve and protect other native grasslands."

Promising a thorough review of the proposal, Knight says it really doesn't matter who holds the title on a piece of property when it comes to species at risk. "Whether it be an individual, a corporation or the Crown," he said, "Everyone has to act responsibly with respect to the area relative to provincial and federal legislation."

Although unsure when the proposal would come before cabinet, Knight confirmed it will not be this week, as opposition MLAs and others have speculated. V

he Supreme Court has ruled journalists have the right not to reveal confidential sources for the purposes of a civil lawsuit. It was not a blind endorsement, however. The Supreme Court ruled that on a case-by-case basis courts had the responsibility to weigh the balance of the public interest in having the source as a witness to the case, or protecting the rights of whistleblowers and confidential sources.

dropped, thus angering many nations present at the negotiations. The treaty is meant to curb the loss of diversity in plant life, with over 190 nations gathered in Nagoya, Japan to discuss specific targets for 2020. The main opposition stems from the disagreement of the Access and Benefit Sharing protocols that are being negotiated. Earlier this year the Canadian government expressed the desire for a decentralized approach to ABS protocols, which are meant to ensure fair sharing of benefits of genetic resource developments to indigenous cultures.

The UN has declared 2010 the International Year of Biodiversity and is endeavouring to protect the diversity of life on the planet which growing human populations are suppressing.

mental regulations it has in place to prevent environmental disasters such as this. "The technology exits," said Duncan. "What is missing is government will have to prescribe regulatory measures to close the ponds and drive the investment in the long-overdue cleanup. Enough is enough."

Greenpeace campaigner Mike Hudema emphasized the provincial government's responsibility: "There is no such thing as a safe tailings lake. It's time for Alberta Environment Minister Renner to stop being disappointed and instead get mad and rid Alberta of the constant

threat that tailings lakes pose."

With the provincial government just days into its fall session, Environment Minister Rob Renner expressed disappointment at the death of the ducks during a press conference the morning of the findings. "I cannot express how disappointed and frustrated I am that this incident occurred," said Renner. "Albertans deserve answers to why this happened again, and we will do everything we can to get those answers quickly."

BIODIVERSITY NOT RACIAL DIVERSITY

NO END TO THE ISSUE

D

J

Opposition MLAs Brian Mason (NDP) and Paul Hinman (Wildrose) have pre-

News Roundup RIGHTS VIOLATION

O

n October 25, Canadian Omar Khadr plead guilty to charges of war crimes committed as a child. The Canadian Civil Liberties Association is calling on the federal government to finally repatriate Kadhr after seven years in Guantanamo Bay. The CCLA points out the federal government and the US government have failed to protect Khadr. A child at the time he committed the crime, both the US and Canada have signed the UN protocol on the rights of the child which recognizes child soldiers are often conscripted into conflict against their will and that rehabilitation, not prosecution, is the course of action that should be employed when child soldiers are found. The CCLA, and numerous human-rights groups, have called on the federal government to repatriate Khadr and try him in Canadian courts. Secretary of State Hilary Clinton has stated the US would respect any request from the Canadian government to repatriate Khadr. The Canadian government has the option of rejecting Khadr's request if it is believed Khadr poses a threat to Canadian security. But in Janu-

ary of this year the Supreme Court of Canada found that the Canadian government had violated Khadr's charter rights and that it must provide him with an appropriate remedy.

JOURNALISTS HAVE RIGHTS

T

uring UN negotiations on the convention of biodiversity, Canada has moved to drop indigenous groups from being represented in the treaty.

The Canadian delegation put forward a late-night motion this past week to have a reference to indigenous rights

samantha power

// samantha@vueweekly.com

QUOTE OF THE WEEK

ust days after Syncrude received its sentence for the 1600 duck deaths, more dead ducks were found on tailings ponds on Syncrude's Mildred Lake project. Strathcona MP Linda Duncan puts the blame on the federal government for failing to enforce the environ-

VUEWEEKLY // OCT 28 – NOV 3, 2010

"Pity the nation that has to silence its writers for speaking their minds." —Arundhati Roy addressing threats of being arrested for statements she made about the independence of the Kashmir region in India Oct. 26, 2010 OutlookIndia.com

FRONT // 5

6 // FRONT

VUEWEEKLY // OCT 28 – NOV 3, 2010

COMMENT >> SPACE EXPLORATION

Controlling the moon

New discoveries make the moon viable as the US steps back NASA has just released the full data on last year's mission to find out whether there are useable amounts of water on the moon, and the news is good. There is plenty of frozen water on the moon, plus frozen gases like methane, oxygen and hydrogen that would be useful for making rocket fuel. This will be very helpful to the Chinese and the Indians when they start to build their bases on the moon.

The United States is not go.com weekly ing back to the moon. That e@vue gwynn plan died when President e Gwynn Obama cancelled the first new r Dye American launch vehicles in 25 years, the Ares series of rockets, last February. That put an end to NASA's hopes of returning to the Moon by 2020 and building bases there for further manned exploration of the solar system.

Obama promised to support the development of commercial manned spacecraft instead, but those will only in appropriating very large amounts of be capable of low-orbit operations for valuable territory led to English becomthe foreseeable future. General Charles ing the dominant world language. This is Bolden, the current head of NASA, loyneither a good nor a bad outcome, but it ally chimed in with blue-sky talk of a is certainly a significant one, and it has glowing future for the agency. some relevance to the current situation.

"Imagine trips to Mars that take weeks Russia (or rather, the old Soviet Union) instead of nearly a year; people fanning was the first into space, but the United out across the inner solar system, exStates rapidly overtook it, and for sevploring the moon, asteroids and Mars eral decades both countries jointly dominearly simultaneously in a steady stream nated the exploration of near space. But of 'firsts,'" burbled the general. "That is the United States threw its lead away what the president's plan for NASA will in 1973, cancelling the lunar exploration enable, once we develop the new capaprogram when there were still three bilities to make it a reality." Yes, and if we Apollo voyages scheduled, and putting had some ham we could have ham and nothing that would take Americans back eggs, if we had some eggs. into deep space in its place.

Dr Mike Griffin, NASA's former head, In reality, it looks like the United States said of Obama's decision early this year: has already passed its Tordesillas mo"Only once previously has a US president ment (and so has Russia). As is so often recommended to the Congress that this the case, those who start out ahead in nation take a backward step in space. On the race fail in the stretch, and others that occasion, President Nixon cancelled finish first. the Apollo programme, a decision which The Treaty of Tordesillas, signed in will come to be regarded as one of the 1494, two years after Christopher Colummost strategically bankrupt decisions in bus became the first European to land human history. If such a thing is possible, in the Americas, divided the newly disthis decision is even worse." covered lands beyond Europe between The recent confirmation by NASA that Spain and Portugal along a meridian just there is plentiful water as well as hydrowest of the Cape Verde islands. It was gen, methane and ammonia available in immensely arrogant, of course, but there frozen form in the lunar soil means that were no other countries in the business lunar bases are a viable option—and luof maritime exploration at the time. nar bases are essential to any realistic Within a hundred years, the English, the program that aims to go to the other French and the Dutch had piled in too, planets of this system. and Spanish and Portuguese power was You can move beyond traditional rockfalling fast. In the end, England's success et fuels and come up with a fancy new

R DYEIG HT

STRA

system to provide the energy to drive your space ships, but you still have to have reaction mass. That will account for at least 90 percent of the weight of any vessel that ventures beyond near-Earth space, and as long as you have to haul your reaction mass all the way up from Earth's immensely deep gravity well, space flight is going to remain cripplingly expensive.

If you could get it on the moon, on the other hand, you would only be dealing with one-sixth of the Earth's gravity.

What the recent mission showed is that there is not just reaction mass there, but the raw materials with which to make conventional rocket fuels and enough water, the heaviest element in any lifesupport system, to make human bases there a practical possibility.

But they are not likely to be American bases, nor Russian ones either. Both programs have run out of fuel, and are now restricted to near-Earth operations so far as manned trips are concerned.

So are Chinese and Indian operations, so far, but the ambition is there and the money will be. Both China and India have already put unmanned space vehicles into lunar orbit, and China has already carried out manned flights in Earth orbit.

These are probably the countries that own the future in space. V Gwynne Dyer is a London-based journalist whose articles are published in 45 countries. His column appears every week in Vue Weekly.

VUEWEEKLY // OCT 28 – NOV 3, 2010

FRONT // 7

COMMENT >> HOCKEY

Jeer-leaders

Gimme an N! Gimme an O!

We're not even 10 games into the 2010dives, one five-game drought and one 11 season but our Oilers have already seven-game famine. Combined, those treated us to a lengthy losing streak. lengthy losing stretches accounted The team entered last week riding for 32 of the team's 47 regulation two losses in a row (to the Wild losses. Losses are like bacteria. and the Flames) and built on They multiply (then your nose the futile run by adding two runs and you get diarrhea—if home losses to Minnesota you're lucky). DY om eekly.c (4-2) and San Jose (6-1). A w e u v ox@ intheb wild third period in Calgary Somebody else's problem ng & ave You es D Tuesday (from down three Not that I'm a bad person, tl ir B n Brya goals late in the second period but with the Oilers not doing to a shootout loss) breathed a so well as of late, I'll take small— little life into the season. petty, really—comfort in some of our ex-players behaving the way you wish Exciting your ex-girlfriends might. Far from warComing into the season my mantra bling the Jackson 5's "I Want You Back" was, "We're going to lose a lot, but alone at 3 am over the loss of Ethan at least those losses will be exciting."

Moreau and Sheldon Souray, I find myThough the Minnesota and San Jose self singing "My New Girlfriend's Better games might not have fit this bill, the Than You" by C4 & the Jupiter Crash (reshootout loss to the dreaded Flames member them?) loud and proud at the certainly did. If every game all year was thought of their myriad of problems like that one I wouldn't be (that) sad to being somebody else's myriad of probbe in last place again. BB lems now. BB

IN THE

BOX

Losing Streak

With four straight losses, the Oilers are continuing last season's unfortunate run of losing streaks. In 2009-10, the team went on eight different streaks of three games or more of losses. There were four three-game skids, two four-game

8 // FRONT

every week and subject me to fewer long losing streaks. A four-game losing streak is bad but the shootout loss in Calgary kept things just barely within my modest parameters. DY Cheap and foolish

Have you ever been sitting up in the stands, maybe eating some nachos, or perhaps enjoying the particularly potent brew that is on offer at Rexall and said to yourself, "You know what this night could use? A cultural tradition better suited to warm-weather sports imported from our southern neighbours." You haven't? Well me neither!

What's particularly galling about the Oilers announcing that the team will have a cheerleading squad soon—

BOB THE ANGRY FLOWER

Adjust Expectations

At the beginning of the season, I was certainly not expecting big things. Although the lineup has changed quite a bit, the Oilers are still last year's defending losers. My hope this year was to follow a team that could provide a win just about

VUEWEEKLY // OCT 28 – NOV 3, 2010

putting aside the fact that it reinforces imbalanced gender roles in the realm of professional sports, putting aside the fact that who knows where exactly they'd do their routines in an already crowded building, putting aside the fact that it's an absolutely ridiculous idea—is that it's an American import into a Canadian game that doesn't need the help in a hockey-mad city like Edmonton. Sure, in Atlanta cheerleaders might fit the bill.

Maybe in Carolina they provide a service that helps get bums in seats and "grow the game" or whatever claptrap is being spewed to keep teams out of traditional hockey markets like Winnipeg, Quebec City and Hamilton. But there's a reason no other Canadian teams do it—because it's totally cheap and totally foolish. BB Did I mention unnecessary?

The Oilers decided to copy 23 other NHL teams, all American strangely enough, and are beginning tryouts for a cheer

team to perform during games. Bad idea.

Why? For one, it's not necessary. Two, isn't the lowest common denominator pandered to enough? Three, the individual girls that secure the cheer team job will be either ogled by the aforementioned LCD or tut-tutted by those who find it tasteless or tacky (they might be a symptom of a problem but not the cause). Finally, it's tacky. DY Oilers Player of the Week:

Tom Gilbert: maybe not of the week, but credit should be given where credit's due; Gilbert had a spectacular game against Calgary—not counting the second period where no one had a great game. With a goal, a few blocked shots and (mostly) solid defensive play, hopefully Gilbert has found his game. BB Jordan Eberle: two goals, one assist last week. A second goal versus Calgary and a sweeeeet shorthander against the Sharks. DY

SNOW ZONE LIGHT

Nemesis Runs The third annual stokefest // nemesis@vueweekly.com

N

o sissies allowed. Really, that's all the disclaimer necessary for those yearning to progress beyond the safe and familiar.

You have to make a choice to accept the consequences of a world beyond the groomed comfort of mass consumption. Once you've crossed that boundary, all bets are off. You're resigned to a long journey through a world of rocks, frostbite, bushwhacking, late night driving and the poverty and madness of the obsessed.

And somewhere in that opaque unknown, in a blinding swirl of white flakes, you'll come face to face with your nemesis.

Contributing writers: Kirk Zembal (KZ), Bobbi Barbarich (BB), Will Colford (WC), Colin Wiseman (CW), Jeremy Derksen (JD) Whakapapa–Turoa traverse / New Zealand First off—Ruapehu is an active volcano on New Zealand's North Island. It erupts on average every 10 years. In 1953, 151 people died when it erupted and sent a lahar (mudslide) into the Whangaehu River and took out a passenger train bridge. The freaking trail maps clearly delineate which runs are safe refuge from lahars and "volcanic bombs."

In spite of this, the volcano offers the Southern Hemisphere's largest vertical drop and it's home to two ski "fields" on opposite faces—Whakapapa and Turoa—run by a single operator. Thus

it's possible to ski the two in the same day without driving the hour between the two bases.

The easiest route is bootpacking up from Turoa's highest lift to the summit ridge, then traversing across to Whakapapa, skirting the edge of the crater lake that slowly fills until an inevitable eruption destroys the tephra dam and empties it. The crown of Ruapehu is sacred ground to the local Maori— especially on days when the sun rises or sets directly behind Mount Taranaki in the distance. Many have had their ashes scattered into the lake, including a founder of the old ski hill. (Later that day the volcano erupted.)

Working a southern winter at Turoa, the dozen of us living in the house on Lee Street would make plans every few days to follow in Sir Edmond Hillary's footsteps (his love of climbing first sparked by a school trip to Ruapehu at age 16)—or at the very least, drive a groomer as far up as possible before starting the bootpack.

It gave us something to dream about on those days when the hill would be closed due to low visibility and wind pummeling the bald hill (hardy mountain conifers are foreign to Australasia).

All we needed was a shuttle back and the motivation. Alas, I have yet to do the traverse. Regrets, I've had a few. KZ Blast / Whitewater Directly under the dawdling Summit double chair at Whitewater lies a 400metre straight-cut line. Blast—a glorious, cliff-ridden, boulder-strewn technical descent, the first tapped by slobbering

snow bums after a few flakes.

At Blast's midsection, where it's nearly steep enough to spontaneously slide, the chair lurches barely three metres above the run. Heavy pine and fir trees flank its rolling length—impartial refuge from scrutinizing eyes. The trees hide the same toe tipping grade and a few more cliffs—but at least a place to rethink a line. The run-out skirts within 30 metres of the slow moving lift-line.

It's the run you need to nail in front of all the people on the creaking chair— and you'll see them in the pub later.

Avoid the ostentatious opening and no one chides—the steepest and narrowest pitch is where the hoots start. Should you slide out on the steep or get greedy on a carve, silence above means you've done wrong.

Unload at the top as anticipation weakens legs and quickens heartbeats but there's no time to delay on a powder day. Blast in demand means no warm up runs—it's hit or miss. I convince myself I

// Chelsea Boos

Vue staff

CONTINUED ON PAGE 11 >>

Mini-nemes Nelson to Revelstoke via Nakusp Ferry Seems like it's always a bleary drive in the early hours. You mainline the coffee, then make the precipitous, winding climb up and over the mountain down to Galena Bay. At the Shelter Bay landing, you're greeted by fat flakes, snow-covered roads and big sled-pulling 4x4s blasting past. But there's no road trip like it. JD

The Golden real estate office It might be the view. Or the people. Or the snow. Or the hot tub. Or maybe even the air itself. But I've never been on a trip to the mountains without a little shared daydreaming among friends.

Which draws us invariably into the biggest tourist trap on the planet—the real estate office. Would that we could do this every day ... KZ

VUEWEEKLY // OCT 28 – NOV 3, 2010

Skiing Alberta trees If you like skiing in Alberta, never, ever ski Revelstoke's North Bowl.

Wider tree spacing on the other side of the Continental Divide means BC tree runs are rolling, looping, whooping, pillowing adventures. And Alberta tree runs in comparison are most definitely not. Sigh. KZ

SNOWZONE LIGHT // 9

Dancing with La Niña Hart undresses the weather hart golbeck // hart@vueweekly.com

Y

ou like it when I talk weather to you, don't you baby? Well sit back and enjoy because this season I've got one big white blanket to wrap you all up in. Oh yeah. Here it comes.

Oceanographers have dipped their thermocouples (sounds naughty, right?) into the water and this year surface temperatures in the Pacific are cooler than normal. I wonder how Al Gore feels about this. These conditions have a great impact on winter conditions and forecasters are predicting a moderate La Niña winter. We know

At Marmot Basin excitement is mounting. Last week Mother Nature blasted its slopes with 25 centimetres of the white stuff. what it's called but what it means appears to be up for debate.

Typically La Niña years bring more than average snowfalls and cooler temperatures but we don't know how typical this year will be. Joe Bastardi is a long-range weather forecaster for AccuWeather. He rivals the Farmers' Almanac when it comes to predicting temperatures and precipitation. This year he's predicting colder, stormier weather for the northern part of the USA and Canada. Last year he was bang on but just like the Almanac, there's always room for error.

Theodore White, a leading astrometeorologist is calling for a powerful, late arrival of winter along with a slow and very wet departure.

10 // SNOWZONE LIGHT

VUEWEEKLY // OCT 28 – NOV 3, 2010

The Fearless Forecast on the RaysWeather.com page is taking an alternative approach. It has decided to go against the predicted trend and is forecasting less than normal snow and slightly warmer temperatures. One of its criteria is that it has observed less than normal polar ice. Maybe an iceberg or two floated into the pacific and cooled down the surface temperature, creating the La Niña trend.

The Farmers Almanac team has released its comprehensive predictions for our Rockies, and if you're a skier or boarder it looks to be a great year. The Almanac is calling for unsettled weather with numerous winter storms and above average precipitation in both the early winter and spring.

Researchers from OnTheSnow.ca are pinning their hopes on the last time La Niña hit our slopes. That year Mt Baker set a record with an incredible snowfall in excess of 25 metres. Fernie did well that winter as well, recording over 10 metres. Unfortunately, Sunshine and Lake Louise somehow didn't find themselves in the same jet stream, suffering through a long, fairly dry winter.

At Marmot Basin excitement is mounting. Last week Mother Nature blasted its slopes with 25 centimetres of the white stuff. If you recall, last year's amazing season was kicked off by a very similar storm. I'm leaning to the stormy winter scenario, meaning that, once again, the new Marmot Basin snow-making system will be used rarely.

The last word this year goes to Ed O'Lenic from the National Weather Service. He says that the expected impact of La Niña will enhance probabilities of above median precipitation in the Pacific Northwest and Northern Rockies.

I ski in the Northern Rockies and I'm getting really excited.

And baby, you are too, aren't you? V

NEMESIS RUNS

<< CONTINUED FROM PAGE 9

won't speed check and that snow is soft, but my ego is softer. I deny my instinct to slide into the trees.

First section down with nary a check.

Congratulatory yelps. Crest Blast's steep waist, tighten my belly and hunker down. Snowboarders get hell for pushing snow with wide lines—I point to the bottom and squat. Holding the bend burns quads for the boulders below the cat track. No speed checks before the flat goes against my survival instinct.

I glance over my shoulder, side cut the final vertical angle and plunge into rolling boulders.

Cat track survived, but I checked. It was short, but I checked. I manage to keep my face out of the snow. But once again, nonstop, unchecked Blast evaded me. BB Pro lines / Lake Louise They were the first thing I saw from the base, the first thing I ogled from Glacier Express, and the only thing I thought about while riding Lake Louise in previous years: the pro-line tables. I've never been that ballsy, but snowboarding is a progressive sport and I found myself confronting the next step. I just wished it wasn't 60 feet.

In 2004, the terrain park at Lake Louise rivalled the best and biggest in North America. The kickers, rails, spines and all manner of bone-crushing terrain were lovingly crafted and designed by the industry's top team. The jumps were designed for zero speed check. In other

words, riders could tuck in confidence.

So there I was, standing alone atop the pro-line run in. I could sense anticipation among the chairlift onlookers. I tucked and hit the story-high cheese wedge with terror, and made the mistake of leaning back instead of committing.

Rolling down the windows, my axis began to tilt. The table disappeared and the landing rushed up. Somehow, the tail, the most minute tip, caught the snow and took most of the fall's bite. My ass took the rest. I bounced, landed face to ice, then slid.

In 2007, after much bruising and battering, RCR banned jumps in their terrain parks (including at the time Kimberley, Fernie, Nakiska and Lake Louise).

Up to that point, Lake Louise's terrain park had ranked as one of the best in North America, an unparalleled product in western Canada. Not until the coast could you find a comparable progression paradise.

At the time, I cried outrage against the decision. But, truthfully, I was secretly relieved that a trip to the Lake wouldn't end in a trip to the hospital.

Then, in 2008, Charlie Locke and his management team returned. To ensure the Lake is "number one in fun," they hired Jeff Patterson, one of the world's premier park designers, to design tables, kickers, spines and quarter pipes that are as tremendous as they are safe. This year, the new park should dovetail nicely with the new boardercross course headed up by Karl Ricker.

Leaving me no choice but to step it up, once again. WC

Gunsights / Mt Baker April of 2010 brought an inordinate amount of snow to the Pacific Northwest.

At Mount Baker, the best storms of the year piled up and dumped copious amounts of spring powder on the mountain—every day was the best day of the year.

And this meant that finally, Gunsights was filling in.

You have to duck two ropes to get to Gunsights—warning ropes that speak of cliffs, avalanche danger and general bodily harm. But I've been riding Baker three years now, and for all three Gunsights has been my nemesis.

I know the way: drop the powder field off the top of Chair 1, skirt around that set of trees, under the ropes. There it is, perfectly filled in under falling snow, a small cornice rimming the entrance and the run-out milky white; a mandatory straight line in the 50-degree range.

Sure, you could jump turn or slip it, but then you will never show your face in the Tap Room again.

Twice I approached it by myself, a first

lap frenzy fading in the distance. Twice I stared into its maw. "Did Dalphy's slide in the run out? Is that a monster death pillow at the exit, or am I just seeing things?"

Twice I turned left, defeated, for the consolation prize of fresh pillows off The Knob.

Next year, maybe next year. CW The Snomad / Roaming It's hard to fight the urge to chuck it all and move to a ski town when friends and acquaintances pull 200- and 300-day ski seasons between the southern and northern hemispheres, then shrug it off like it's no big deal. Lately, I'm happy if I break 30 days.

Of course, for the most part, they haven't got mortgages, families to support, or much ambition beyond indefinitely living the high-alpine life. I shouldn't complain. I love my family, and I love what I do (mostly). But to be on skis—to live on them—day in and day out, I have to imagine would change your ski experience in profound ways.

VUEWEEKLY // OCT 28 – NOV 3, 2010

I yearn to know what that's like, and to test my relationship with skiing at every level. And so this year I've set myself a challenge: ski every day of the season.

There will be sacrifices to make. And to endure I'll have to be creative, given there isn't much vertical where I spend most of my days. But easy isn't the point.

I want to test every preconceived notion I have about skiing, about its meaning in my life and the ways in which I engage in my sport.

It's gonna be a long, hard winter. JD You might argue that not having a nemesis means you're the type of skier who can ski anything, who's achieved unequalled skill. Quite the opposite. If you haven't found it, you're not looking hard enough. Everyone should have a nemesis. These are ours.

Go get your own. V Tell us about your nemesis in 300 words or less at nemesis@vueweekly.com and we'll feature the best stories online.

SNOWZONE LIGHT // 11

DISH

"After making one good beer for more than 20 years, how would Creemore handle a second? I gave one a pour."

TO THE PINT /14

Art and beans

East-central coffee shop brims with character LS Vors

At the Wired Cup, both the location and co-owner Dave Jackson have character

// vors@vueweekly.com

F

ate is a heady brew of happenstance, coincidence and serendipity. Take, for example, a Canadian graphic designer born in Pakistan, an accomplished crafter from Prince Edward Island, a blind date and a recently vacated nook in the mature neighbourhood of Strathearn. Add to the mix a shared love of art and coffee, and the result is the eclectic and ever-evolving Wired Cup. The Wired Cup began as a rough, rectangular room next door to the venerable Red Ox Inn. Husband and wife team, Dave and Ann Jackson, saw it as an opportunity to create a small gallery with space for local artists to consign their wares in addition to making space for the two to create their own works. Faced with a limited budget, the Jacksons renovated the space themselves. Building countertops, assembling shelves and selecting a colour scheme was a significant undertaking, and throughout the renovation process the Jacksons discovered their brainchild assuming a life of its own. "We had an idea of how we wanted it to look," explains Dave, "but it evolved along the way."

A warmly hued room emerged at last; one dressed in gold and brown and brimming with unique objets d'arte.

The Wired Cup, now in its fourth year of existence, is tucked away from ubiquitous franchised cafés and coffee shops but has become a popular

12 // DISH

// Bryan Birtles

spot for knowledgeable locals to enjoy a bracing cup of java. The coffee component was, in fact, secondary.

Ann and Dave realized that it would be a natural addition to their unique assemblage of crafts and paintings, and sought the advice and guidance of Transcend Coffee founder Poul

Mark. With Mark's expert tutelage, the Jacksons entered the world of espresso and cappuccino, and use Transcend's aromatic beans in all of their brews. Ann notes that although they do not use one roast exclusively, they have yet to taste a Transcend roast that they do not like.

VUEWEEKLY // OCT 28 – NOV 3, 2010

Baking and coffee are natural partners. Scones, muffins and so forth are sourced from Fresh Start Bistro in Riverbend Square. The Jacksons also procure baked goods from Vivian's Kitchen, which is a local, home-based business that supplies baked creations to many coffee shops; among them is

Sherwood Park's Café Haven. Fresh, sticky and invitingly warm cinnamon buns appear every Saturday morning.

Whoopie pies, which bear a superficial resemblance to oversized oreos but easily trump these prefabricated biscuits in terms of flavour and texture, are available on Thursdays. For Ann, these deca-

dent treats are nostalgic reminders of her childhood on the eastern seaboard.

Dave observes that locally owned coffee shops tend to accrue a faithful clientele. The Wired Cup developed a diverse and intriguing group of regulars once its existence became common knowledge among lovers of art and coffee. Similar to patrons of pubs, patrons of coffee shops have the propensity to launch into full confessional mode. Both Ann and Dave are continually surprised and bemused at the depth of personal disclosure enthusiastically divulged by many of

Similar to patrons of pubs, patrons of coffee shops have the propensity to launch into full confessional mode.

Both Ann and Dave are continually surprised and bemused at the depth of personal disclosure enthusiastically divulged by many of their customers. their customers. The Jacksons muse that they, as coffee shop owners, are a safe audience in that they are familiar faces to many but do not have a connection to the lives of their customers outside of a very specific setting.

Ann and Dave actively create art concurrent with running the Wired Cup. Dave is, by profession, a graphic artist and Ann's crafty pursuits include knitting. It can be a challenge to balance running a business with art. "We hope our business grows to the point that we can hire more staff," says Ann, who adds that she and Dave are highly adept at working in each other's space. The Jacksons also observe that many new customers are surprised to discover the Cup. While not entirely off the beaten path, Edmonton's eastcentral neighbourhoods—Strathearn, Forest Heights and Capilano—are generally bereft of locally owned, non-franchised cafés. Future changes to the urban landscape, most significantly the southeast extension of the LRT, are liable to funnel a greater volume of customers towards the Cup. In the meantime, Ann and Dave are content to create art as well as purvey the imaginative creations of others—everything from paintings and preserves to children's toys and intentionally mismatched socks. A fateful blind date united the two as life partners, and their shared love of all things delicious and artistic gave rise to a gallery-coffee shop whose quirky gestalt far exceeds its quiet urbanresidential home. V Dave and Ann Jackson The Wired Cup 9418 - 91 St, 780.462.6828

VUEWEEKLY // OCT 28 – NOV 3, 2010

DISH // 13

BEER

Radical change

Famous for its singular beer, Creemore brews a second Traditional Pilsner Creemore Springs Brewery Creemore, On $21.99 for eight 473 ml cans

for more than 20 years, how would Creemore handle a second? I gave one a pour.

Creemore Springs is one of those breweries that does things simply. For 23 years it has produced a single beer (aside from the occasional seasonal): Creemore Premium Lager. It is an admirable beer— accessible and well made. Even getting bought-out by Molson a few years back didn't seem to negatively affect it. Molson had the brains to leave well ly.com eweek enough alone. int@vu tothep Then came the brewery's Jason 20th anniversary in 2007. To Foster mark the occasion it made a special one-time beer—a take on a Bohemian pilsner (the classic version is Pilsner Urquell). The response was strong enough that, recently, Creemore Springs decided to make it a regular product. In other words the brewery decided to deviate from its one beer commitment to sell two beers, a radical departure from its longtime business model.

That beer recently hit Alberta store shelves—in eight-packs of cans—and I thought I would satisfy my curiosity about it. After making one good beer

TO TH

E

14 // DISH

VUEWEEKLY // OCT 28 – NOV 3, 2010

// Chelsea Boos

PINT

It bubbles into my glass with a lively, bright-white head topping pale-gold liquid. It is clear but lacks that fluorescent brilliance I expect from light lagers. The head drops into a consistent thin blanket.

I bring the glass to my nose and detect the classic Bohemian soft-pilsner sweetness which reminds me of hay, wet grass and baking cookies. There is also a moderate spicy-hop aroma that really should be more assertive than it is.

The first sip brings out a grainy sweetness accented by a touch of fruitiness and hint of sulphur. A spicy, floral bitterness builds as the beer works its way back, leaving a distinct sharp-hop flavour in the linger. The hop is harsher than I would like and seems to fight the malt in a distracting fashion. The finish is moderately dry and definitely leaves a grassy coating along the roof and sides of my mouth.

It is a curious beer. On one level it is quite enjoyable and deserving of a second glass. I appreciate its malt qualities quite a bit, although they could be a bit fuller for the style. The hops are in the right range, but don't seem to blend as well as they should.

I am not entirely sure why.

As a Bohemian pilsner it doesn't quite stack up to the world's best. But in a Canadian context it is quite an achievement. Canadians, on the whole, haven't done pilsners well, and this could serve as a strong starting point for the style in our country. Maybe if we give it a few years with this beer, like we did with the its first, the brewery will tweak it to create something truly memorable. In the meantime, I won't mind repeated samples to see how the project is progressing. V

ARTS

"A three-minute pause between acts was needed to set everything up. But the wait was worth it— the rising curtain reveals a Parisian streetscape that appears almost real."

La Bohème Review / Online Exclusive AT VUEWEEKLY.COM

ARTIFACTS

'Round the campfire

lains doing battle through improv, this year featuring the Canada supersquad Alpha Flight versus a smattering of recognizable American costumed crusaders dubbed the Invaders. Want to see someone pretending to be Wolverine, pretending to be a different person person? It'll be the most meta halloween you've ever witnessed. (Varscona Theatre, $10)

Paul Blinov // paul@vueweekly.com

S

aying Sorry Isn't Enough begins, disarmingly enough, with a Popeye cartoon. Its grainy, black-and-white animation pits the sailor against an Indian chief and tribe who do almost nothing to invoke the sailor's spinnach-fueled wraith.

Popeye's the invader, and he conquers when they try to defend.

Then the screen goes dark. The lights don't come up.

They stay down for some time, and never rise to usual theatre levels for the entire show. We're left in creaking, soundsoaked half-darkness as we dimly watch four figures begin to fester and grow onstage, rising up slowly to reveal halfmasked faces and transparent cowels, and start telling stories of aboriginal rights trampled through the ages, from Christopher Columbus right on through to more recent and local Residential schools.

So it's a piece with something to say, but to call Saying Sorry Isn't Enough a "political" play would imply all sorts of things that just don't fit here: there's no finger wagging, no clever anaylsis, no final plea to the audience for change. Instead, we're given a very pure form of storytelling, and the stories that get told are compelling and harrowing. They will gut you in a way that traditional narratives rarely have the power to do.

"It's trying to make you feel," says Steve Pirot, co-artistic producer of Azimuth Theatre and one of the ensemble. "I

Pure storytelling in Saying Sorry Isn't Enough

think it's trying to make you hear the stories from a less rational set of ears, and more a feeling, and an emotional place. To experience more like you're dreaming, with the number of qualities of it that make you unsure of what you're seeing, sometimes.

The show is an Azimuth co-production with Tall Tree Theatre, a company fronted

by Keith Calihoo (who directs here, as well as taking his own, mostly silent place onstage throughout), Pirot's worked with Calihoo before, and after seeing him perform a solo mask show last year, he was intrigued enough to find another project to work on, one more in that vein. And while Sorry is certainly anchored by the show's content of aboriginal plight, Pirot describes the style of 'round the campfire storytelling itself as something he was eager to learn, a different approach to the relationship between the audience and those up on the stage.

"Up until now, I've always thought of the theatre as being analogus to the pulpit, that it's a platform that some people in a congregation get to be on, and some people don't, and there's a certain amount of responsibility and privilege that comes with getting to be the person who's up there on the pulpit, on the altar, choosing the stories that need to be told to the people in front of you," Pirot explains. "But that's a very hierarchal structure—it's a pyramid stricture. And so, that analogy that I have, I think has a different type of expression when it's expressed in something that is more about sharing stories than telling stories to another person." V

Halloween Theatresports / Fri, Oct 29 (11 pm) Rapid Fire Theatre's Halloween improv show always takes a decidedly festive slant—read: eating gross shit—but for the past couple of years, the evening has an added, decidedly comic edge, in a different use of the term: canon defying mash-ups of superheroes and vil-

The Art of the Cheremosh Gala / Sat, Oct 30 (5 pm) Edmonton's known for many things—seven months of winter, a faded-glory hockey team—and while the Cheremosh Ukrainian Dance Company's isn't usually the first to leave an Edmontonian's lips on icy, visible breath, we're on the worldwide dance map partially because of it. The company's renowned far and wide, and celebrating its 40th anniversary this week with The Art of the Cheremosh Gala, packed not just with dancing, but dinner, music, film and visual art all inspired by the dance. And, of course, dancing. (Edmonton EXPO Centre [7515 – 118 ave], $125) —Paul Blinov

Until Sun, Oct 30 (8 pm) Saying Sorry Isn't Enough Directed by Keith Calihoo Featuring Amber Borotsik, Kristi Hansen, Steve Pirot Living Room Playhouse (11315 - 106 AVE)

Night terror

Any Night asks some chilling questions Paul Blinov // paul@vueweekly.com

T

he emphasis on sleepwalking in all the lead-up press for Any Night feels a bit like a red herring in the thereafter.

I don't mean that in terms of plot, as it's certainly a crux, but as to where the most interesting aspects of DualMinds' productions' script lie, the play is most gripping when plugged into questions of trust in the 21st century: in an age when we can have every electrical impulse monitored closely to try and understand what lies in sleeping minds, where do you pull the plug, so to speak? What about the divide between what we do and what we dream we do? Any Night is clever enough to make it more than just a Halloweenseason-appropriate thriller, a work that, while pretty simple, reaches beyond its genre thanks to a couple of chilling fingers on our modern, anxious pulse.

The story follows Anna (Medina Hahn), a dancer, as she moves into her new basement suite residence. She's a sleepwalker, and not the type to just wander around harmlessly: she talks, dances, creeps and finds her way to the knife drawer all while mid-40 winks. That doesn't seem particularly off-putting to Patrick (Daniel Arnold), a helpful fellow tenant who doubles as the building's caretaker.

Romance starts to simmer, but then you start to get the sneaking suspicion that something's amiss in the picture: Anna's ex starts lurking in the background, and what we learn through flashbacks to her time in a sleep lab threaten to derail the developing romance with danger.

Truthfully, the show feels a little slow off the top, but it picks up as Anna and Patrick's relationship does, and Ron Jenkins' direction keeps the rest of Any Night moving swiftly—a feat, consider-

ing the constantly shifting set pieces.

Arnold's Patrick is a little simple off the top, but finds the character's groove, as well as every other character's, while Hahn's Anna is a cleverly layered performance. Dimensions and depth emerge from a pretty standard troubled-girl springboard. And once they do, it's a thoroughly engrossing, creepy thriller to propagate the seasonal mood.

Can't say too much, though: the twist is legitimately unexpected, yet justified. And perfectly creepy, in its own modern way. V Until Sun, Oct 31 (8 pm) Any Night Directed Ron Jenkins Written and Performed by Daniel Arnold, Medina Hahn T ransAlta Arts Barns (Westbury T heatre), $19 – $2 3

VUEWEEKLY // OCT 28 – NOV 3, 2010

ARTS // 15

The Unnamed plagues its protagonist with unknown disease Josef Braun // josef@vueweekly.com

J

oshua Ferris' Then We Came to the End chronicled the life and death of a Chicago advertising firm. Relayed in the first-person plural, it was sharp, witty and insightful about how work informs our lives. It was also a hit, and won Ferris the PEN/Hemingway Award for Best First Novel. Ferris' follow-up, The Unnamed, is more harrowing and more moving. It concerns Tim Farnsworth, a successful lawyer stricken with a bizarre ailment that manifests in compulsive, uncontrollable walking. In the midst of whatever activity Tim can suddenly be carried far away by his own legs, trudging through sometimes punishing weather without appropriate clothing or supplies until he collapses into

sleep whenever and wherever his body finally gives out. His condition gradually eats away at everything he cherishes, including his job and his marriage to Jane, whose genuine devotion to Tim is pushed to its limits. The Unnamed observes its characters' trials with tremendous tenderness. Though fascinating, inventive and at times extremely humorous, it's uncompromising, even brutal in how it follows its central idea to what ultimately feels like its inevitable conclusion. It's one of the most extraordinary and captivating novels I've read this year. Ferris spoke with Vue Weekly while attending the International Festival of Authors in Toronto last week.

VUE WEEKLY: Your first novel took its title from a line in Don DeLillo's Americana.

There's a certain boldness of language

and engagement with vernacular in The Unnamed that occasionally recalls DeLillo as well. Does he remain an important touchstone for you?

JOSHUA FERRIS: DeLillo's a giant. He'll forever be incorruptible for me. His books are woven into my reader's DNA. How that translates into my own writing is very hard for me to say. I think it's important to try to not sound like DeLillo. I'll go out of my way to strike sentences that sound too much like DeLillo or Proust or Hemingway. If I can feel the hovering presence of someone I admire within a sentence, I scratch it out.

VW: Because it gives an undesirable sense of assurance, knowing that your writing conforms to a tested model?

JF: No. It just gives me a sense of anxiety.

I'd rather write a bad sentence that seems to possess authorial intent from me than write a good sentence whose authorial intent can be ascribed to someone else. That may be pride talking, but I think it's also something deeper than that, going back to an Emersonian self-reliance that states that to borrow from someone else is to abdicate your originality. There may in fact be nothing new under the sun, but it's important to try my best to sound like me.

VW: What does it mean to name something? Your novel implies that the difference between having and not having a name is the difference between having a place in the world and being rejected by it.

JF: I think that's accurate. It's also about having a set of attributes that adhere to you. There's a tic you find sometimes in writing. You have a character named John and you're told something is "a very John-like thing to do." It's a shorthand for some writers to convey an entire personality, just using the character's name as a modifier. When you take that name away, you're looking nakedly at the object itselfâ&#x20AC;&#x201D;maybe you're unable to look at it.

The specific referent in the title of The Un-

// Nina Subin

What's in a name?

named is the unnamed disease. You can't make anything of it. Doctors can't rally around it. There can't be a 5K run in benefit of it. So the result of this namelessness is a tremendous loneliness. Adam named the animals for a reasonâ&#x20AC;&#x201D;he was lonely.

By naming the animals he got closer to them. If he'd kept the animals nameless it would have been a much chillier garden.

This goes back to what language can and can't do, how it bridges certain gaps, how it breaks down. The limits of language are something I wanted to explore in the book, especially with respect to subjective experience, how you can or cannot convey to your most intimate loved ones how you're actually feeling. To extend the metaphor, language is like a drawbridge.

Sooner or later it goes up and you can't get to the other side.

Joshua Ferris

VW: Do you relate to Tim and Jane's relationship, to how they attempt to express their feelings to each other?

JF: Yes. I think what they do in a more dramatic way what many married people do, which is come together at a moment in time, find themselves speaking the same language, and then for whatever reason fly apart. Far apart, and for a long time. Then they come back together for inexplicable reasons and do it all over again. My reading of the book is that it's basically a love story.

VW: Has writing this novel strengthened or weakened your faith in the durability of love?

JF: That's tough to say. I don't think that a novel informs or comments upon its writer. The writer had those ideas somewhere in them prior to writing the book. Once written, the book might represent onetenth of the writer's understanding of love.

There's still that other 90 percent of the writer's psyche that hasn't been plumbed.

The Unnamed is one take regarding one couple. It can't really teach me anything.

All I taught myself in writing it was how to write the book. The finished novel is not a textbook for the future writer.

VW: But are you surprised by what you're saying about love as you write, what you seem to believe or hold dear?

JF: Yes, quite often. I'm probably being instructed as I write, getting some clarity as to how I see things. It's like feeling something in the dark and then suddenly shining a light on it. Pretty or not, there it is.

VW: You were saying earlier that you have a poor memory. What makes you say that?

JF: Fiction seems to be made up of three predominant branches, those being memory, imagination and language.

I can do language pretty well. I can do imagination well. But memory seems to be my weak branch. I'm sure there are writers who would want more branches or fewer branches or whatever, but that's how I see it.

VW: The Unnamed lends itself to being read as an allegory, but I'm personally uncomfortable with that term because it seems to imply a one-to-one relationship between the ostensible metaphor and what it represents.

JF: I never in a million years would have written this with the intention of it being seen as allegory. The allegorical readings I've come across have surprised me.

It's obviously a metaphor for sickness because I invented the disease. I wanted to explore sickness without the baggage of a known disease. When I read Kafka, I don't think of Josephine the Mouse as an allegory or metaphor for something else.

I don't read about K's travels in the castle as a metaphor for the terrible bureaucracy that overtook the 20th century and led to the systematic decimation of Jews in the Holocaust. I take it all very literally, and only later think about the allegorical possibilities surrounding the story. That eventually gives you a fuller and more interesting reading, but I think the primary work of the reader is to imagine the actual, literal situation described. That's responsible reading.

The rest is 10th-grade term papers.

VW: There's a current running through The Unnamed that concerns religious belief, and it seems that you've left the door open in the novel's final passage, with Tim suspended in this almost metaphysical space of listening and anticipation.

JF: That was always my intention. Dogmatic fiction, fiction that closes doors on possibilities, isn't exciting for me. To go back to DeLillo, one of the great triumphs of White Noise is that it is excoriating about technology. Technology is something to be dreaded in the book, and there's a real nostalgia for pre-technologCONTINUED ON PAGE 17 >>

16 // ARTS

VUEWEEKLY // OCT 28 â&#x20AC;&#x201C; NOV 3, 2010

COMMENT >> VISUAL ARTS

Amnesiac city

Edmonton needs to stop tearing down history Last Friday, I attended a talk by Kirsten Murreplace it with buildings not suited for the ray, one of the principles of Seattle-based prairies. This boils down to the issue of bearchitectural firm Olson Kundig. Brought in longing, what belongs here and what we

by MADE's Edmonton Design Exposed want to belong here. While pictures of Festival, Murray showed an hour's the old library still break my heart worth of images on projects that and the only sense of history is completely repeated and reiterdown in a soon-to-be-animaated the value of history. tronized Fort Edmonton Park, .com Describing Seattle as a brick the gallery and the probable weekly e u v @ amy and mortar kind of town, one soon-to-be downtown arena Amy that has gone through many will come to represent a new g n Fu booms in its civic history, Murera of urban design in our amneray's main theme was on giving presiac city. Love it or hate it, these buildcedence to the craft, context and collaboraings belong to us, and our history. tive nature of any architectural design.

On the way to the talk, I passed by the The most interesting part of the talk for Gene Dub-led Alberta Hotel reconstrucme was the emphasis on giving value to the tion on Jasper Avenue, which was news to history of a building, from using timeless me that this project existed at all. As one technology like steam-engine hydraulics of a multitude of turn-of-the-20th-century and a pulley system and integrating them buildings that came down in the last 30 into the design and function of everyday years as glass towers shot up, The Alberta spaces. Focusing on concepts of building Hotel was built in 1901 and carefully disboth residential and commercial projects mantled brick by brick in 1984 with the that are appropriate to their land size, or promise of a resurrection. responsive to the site, and acknowledging In one of his always-fascinating articles, a regional architectural aspect in relation Lawrence Herzog in the Edmonton Real Esto building for a year-round climate, Olson tate Weekly goes into detail about the hisKundig's design philosophy was somewhat tory of the hotel, about how it had the city's ironic to hear in the lower level of the first running elevator and how Edmund Grinew AGA: while it's coming up to the galerson, who co-commissioned the hotel, rode lery's first anniversary, we have now seen the publicity of the project into a political the much-contested design shine or fail life and a civic legacy. The concept that we through all four seasons. will have a historical building resurrected in Coming up the steps of the gallery endowntown Edmonton is bittersweet to me, trance for the talk, the surface of the steps as while I am elated to witness such a trehad been freshly torn up. While the reason mendous undertaking of civic pride, there is for the latest facade construction wasn't a hollowness in me when I wonder why we announced, a flashback to last winter recouldn't have just maintained the Alberta called sheets of ice that collected on the Hotel, or the Selkirk or the Tegler, with all smooth cement, and one can only hope this land around us, that we had to destroy and surmise that the landing and stairs are and build over top of what came before us. now being winterized.

It's hard to understand what and who belongs here, when we have so few reminders Shortly after the gallery opened, I had a still left around us. V special guest post on Prairie Artsters by Kristine Nutting, whose main lament was Amy Fung is the author of how we always tear down our history and prairieartsters.com

IE PRASITRERS

ART

JOSHUA FERRIS

<< CONTINUED FROM PAGE 16

ical time. But the same sentences that cause me to arrive at those conclusions are the very same sentences that bring a tremendous Romanticism to technology. Throughout The Unnamed there are philosophical ideas presented concerning the existence of God or the difference between the mind and body. For me to have tried to close the book with clear, absolute conclusions to the explorations of those ideas would have taken the book out of the realm of fiction and into that of the essay. I don't think that's my job. I was always trying to tell the story, to rely on imagination, and where it landed was where it had to land.V Now Available The Unnamed Written by Joshua Ferris Reagan Arthur/Black Bay Books, 320 pp, $15.99

VUEWEEKLY // OCT 28 â&#x20AC;&#x201C; NOV 3, 2010

ARTS // 17

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

DANCE ALBERTA BALLET BmZad]] 9m\algjame /0(&,*0&.0+1 The Sleeping Beauty$ [`gj]g_jYh`q Zq Cajc H]l]jkgf Y^l]j EYjamk H]lahY Nov 5-6 CHEREMOSH UKRAINIAN DANCE COMPANY =\egflgf =PHG ;]flj] /0(&.).&-++- 9jl g^ ;`]j]egk` ?YdY2 9 emdla\ak[ahdafYjq Yjlakla[ Yf\ [mdlmjYd []d]ZjYlagf Oct 30 _YdY8[`]j]egk`]&[Y

FILM DOWNTOWN DOCS KlYfd]q 9& Eadf]j DaZjYjq L`]Ylj]$ / Kaj Oafklgf ;`mj[`add Ki /0(&,1.&/((( Oct 28$ .2+(he FILM DISCUSSION GROUP O`al]em\ DaZjYjq$ ),- O`al]em\ ;jgkkaf_ K`ghhaf_ ;]flj]$ ,*))%)(. Kl /0(&,1.&)0** LYdc YZgml egna]k oal` gl`]j egna] Zm^^k Hj]%j]_akl]j oal` :]f L2 /0(&,1.&)0** =2 ZbYfc]8]hd&[Y FROM BOOKS TO FILM KlYfd]q 9& Eadf]j DaZjYjq$ / Kaj Oafklgf ;`mj[`add Ki /0(&,1.&/((( O]]cdq k`goaf_k g^ Çdek Y\Yhl]\ ^jge Zggck =n]jq >ja Yl *he3 until Dec 17 GET ANIMATED E]ljg ;af]eY$ ;alY\]d L`]Ylj]$ 10*0% )()9 9n] Oct 28$ /he >Yajq LYd]k ^gj 9dd!$ 02+(he F>: F]o J]d]Yk]k Hjg_jYe!3 hdYqdakl Yl F>:&[Y'_]lYfaeYl]\ REEL CHANGE FILM FESTIVAL ;YlYdqkl L`]Ylj]$ 0-*1 ?Yl]oYq :dn\ Oct 28-30$ /2+(he3 I 9 k]kkagf lg ^gddgo - gj )( ^gj Y ^]klanYd hYkk YnYadYZd] Yl l`] \ggj3 hjg[]]\k lg kmhhgjl dg[Yd fgf%hjgÇl gj_YfarYlagfk l`Yl ogjc lg aehjgn] [aj[meklYf[]k ^gj j]^m_]]k Yf\ h]ghd] oal` \akYZadala]k Seeking Refuge3 Oct 28$ /2+(he War Dance$ Oct 29$ /2+(he The Dogwalker3 Oct 30$ /2+(he REMEMBRANCE DAY FILM SERIES KlYfd]q 9& Eadf]j DaZjYjq$ =\egflgf Je /0(&,1.&/((( =n]jq O]\ mflad Nov 10$ *he

GALLERIES + MUSEUMS AGNES BUGERA GALLERY )*+)( BYkh]j 9n] /0(&,0*&*0-, VISIBLE LIGHT2 HYaflaf_k Zq <Yjj]dd Mf\]jk[`mdlr Mflad Nov 12 ALBERTA CRAFT COUNCIL GALLERY )()0.%)(. Kl /0(&,00&..)) Feature Gallery: PRAIRIE EXCELLENCE: until Dec 18 Discovery Gallery: WORDS, WIT, WISDOM, AND WOOL2 9jlogjck Zq EYll ?gmd\3 Nov 6-Dec 243 j][]hlagf2 Nov 13$ *%,he3 hYjl g^ =phgkmj] >]klanYd ART BEAT GALLERY *. Kl 9ff] Kl$ Kl 9dZ]jl /0(&,-1&+./1 OF LOCAL INTEREST: HYaflaf_k Zq :]n :mfc]j Yf\ <gjak ;`Yj]kl until Oct 30 ARTERY 1-+- BYkh]j 9n] 9jl 9llY[c2 ^]Ylmjaf_ @]ddhj]Y[`]j D]l k <Yf[] Fg HjgZd]e 9jl k`go J][]hlagf2 Oct 30, /he3 ZYf\k Yl 1he3 )(' - oal` [gklme]!

ART GALLERY OF ALBERTA (AGA) * Kaj Oafklgf ;`mj[`add Ki /0(&,**&.**+ @]fja EYlakk]2 A CELEBRATION OF LIGHT AND LINE: gh]faf_2 Oct 30-Feb 13 DYmjY Kl& Ha]jj]2 URBAN VERNACULAR: gh]faf_2 Oct 31-Feb 133 Artists in Conversation2 Oct 29$ -he BMO World of Creativity: PLAY ON ARCHITECTURE: ;`ad\j]f k _Ydd]jq Sculpture Terraces: Ogjck Zq H]l]j @a\] Yf\ C]f EY[cdaf HAJ9F=KA¿K HJAKGFK2 9J;@AL=;LMJ= G> MYSTERY AND IMAGINATION3 until Nov 7 REFRAMING A NATION3 until Jan 30 =<O9J< :MJLQFKCQºGAD2 H`glg_jYh`k ZYk]\ gf l`] kmZb][l g^ gad3 until Jan 2 Servus Community Access Night2 ^j]] Y\eakkagf gf l`] dYkl L`m ]n]jq egfl`$ .%1he 9\mdl <jgh%af2 KmZdae]2 OYl]j[gdgmj HYaflaf_2 =phdgj] Edward Burtynsky–Oil2 Oct 28$ /%1he3 )*' )( 9?9 e]eZ]j! Henri Matisse: A Celebration of Light and Line: ;mjYlgj¿k afljg\m[lagfºD]\[gj L`]Ylj]2 BYq E& >ak`]j2 Oct 29$ .he3 *( af[d Y\eakkagf lg l`] j][]hlagf Yl /2+(he!'^j]] 9?9 e]eZ]j!

BOHEMIA )(-/-%)), Kl 9jl#emrYc2 - q]Yj Yffan]jkYjq `Yddgoa[c]\ :9K@3 Oct 30$ 1he CAFÉ HAVEN 1 Kagmp J\$ K`]jogg\ HYjc SHADOW AND LIGHT2 DYf\k[Yh]k Zq A_gj Ogjgfamc Nov 7-Jan 15 Gh]faf_ j][]hlagf2 Nov 7$ )%,he3 Yjlakl af Yll]f\Yf[] CARROT CAFÉ 1+-)%))0 9n] OCT ARTIST OF THE MONTH2 HYaflaf_k Zq :YjZYjY Eal[`]dd CENTRE D’ARTS VISUELS DE L’ALBERTA 1)(+%1- 9n] /0(&,.)&+,*/ SYMBIOSIS2 9jlogjck Zq nYjagmk e]eZ]j Yjlaklk Oct 29-Nov 9 Gh]faf_ j][]hlagf2 Oct 29$ /%02+(he EXPRESSIONZ CAFÉ 11+0%/( 9n] /0(&,+/&+../ 9jlakYf';j]Ylan] :mkaf]kk EYjc]l FINE ARTS BUILDING GALLERY <]hYjle]fl g^ 9jl Yf\ <]ka_f$ M g^ 9$ Je +%10 >af] 9jlk :d\_ /0(&,1*&*(0) 9jlogjck Zq :]f OaddaYekgf WIND FROM THE EAST2 ;gfl]ehgjYjq hjaflk ^jge ;`afY Until Oct 30 FRONT GALLERY )*+)* BYkh]j 9n] /0(&,00&*1-* HYaflaf_k Zq Lgfq :Yc]j L`jgm_` Oct GALLERY AT MILNER KlYfd]q 9& Eadf]j DaZjYjq EYaf >d$ Kaj Oafklgf ;`mj[`add Ki /0(&1,,&-+0+ TUOL SLENG2 H`glg_jYh`k Zq BYkgf F]kk Nov 1-30 GALLERY IS�Red Deer -)*+ ,0 Kl$ 9d]pYf\]j OYq$ J]\ <]]j ,(+&+,)&,.,) COMPUTE THIS2 O]YjYZd] Yjl ha][]k Zq =darYZ]l` >]j[`mc Until Oct 30 HARCOURT HOUSE +j\ >d$ )(*)-%))* Kl /0(&,*.&,)0( Main Space2 9jlakl af J]ka\]f[] =p`aZalagf IF YOU ;9F¿L KLGH$ KEAD= 9K QGM ?G :Q2 HYaflaf_k Zq F]ad E[;d]ddYf\3 until Nov 13 Front Room2 FWIW2 HYaflaf_k Zq dg[Yd Yjlakl <mf[Yf Bg`fkgf3 until Nov 13 HARRIS�WARKE GALLERY�Red Deer Kmfogjck$ ,1*, Jgkk Kl$ J]\ <]]j ,(+&+,.&01+/ THIS IS SOMEWHERE2 >mf\jYak]j$ Yjlogjck ZYk]\ gf l`] hg]e$ This is Somewhere Zq =eadq MjkmdaYc3 Nov 5-19 Gh]faf_2 Nov 5$ .%0he3 j]Y\af_ Zq =eadq MjkmdaYc

18 // ARTS

VUEWEEKLY // OCT 28 – NOV 3, 2010

HUMANITIES AND SOCIAL SCIENCES LIBRARY >gq]j$ Jml`]j^gj\ Kgml`$ M g^ 9 ABOUT BOOKS2 Ogjck Zq l`] ;YfY\aYf :ggcZaf\]jk Yf\ :ggc 9jlaklk ?mad\ 9dZ]jlY Fgjl` ;`Yhl]j Until Oct 31 JEFF ALLEN GALLERY KljYl`[gfY HdY[] K]fagj ;]flj]$ )(0+) Mfan]jkalq 9n] /0(&,++&-0(/ PLANTING SEEDS OF HOPE2 9jlaklk ^jge l`] EmklYj\ K]]\ mf\]j l`] \aj][lagf g^ DYmjY >gkl]j Nov 2-26 JOHNSON GALLERY Southside2 //))%0- Kl3 /0(&,.-&.)/) L`] 9dZ]jlY Gad HYafl]jk3 until Oct 30 Northside2 ))0)/%0( Kl3 /0(&,/1&0,*,3 9jlogjck Zq nYjagmk Yjlaklk3 through Oct JURASSIC FOREST/LEARNING CENTRE )- eafk F g^ =\egflgf g^^ @oq *09$ Lgofk`ah J\ -., =\m[Ylagf%ja[` ]fl]jlYafe]fl ^Y[adalq ^gj Ydd Y_]k KING'S UNIVERSITY COLLEGE eYaf 9ljame$ 1)*-% -( Kl WHEREVER I HANG MY HAT2 Gad hYaflaf_k Zq CjaklafY Kl]afZjaf_ Until Dec 8 KIWANIS GALLERY�Red Deer HmZda[ DaZjYjq IN MY TRAVELS: 9jlogjck Zq EYjaYff] NYf\]jcd]q Through Oct LATITUDE 53 )(*,0%)(. Kl /0(&,*+&-+-+ Main Gallery2 BLAZZAM2 AfklYddYlagf%ZYk]\ ogjck Zq Cjakla EYdacg^^3 until Nov 13; Artist Talk2 Nov 13$ *he ProjEx Room: TO MAIN STREET2 >gmf\ aeY_]k ^jge l`] afl]jf]l Yj] ]fdYj_]\ lg gn]j k]n]f ^]]l `a_`$ Yf\ j][j]Yl]\ lgfYddq oal` dYq]j]\ l]pl ^jge Zdg_k Yf\ kg[aYd e]\aY Zq 9f\j]o :mkr[`Yc3 until Nov 13 LOFT GALLERY 9& B& Gll]o]dd 9jlk ;]flj]$ -1( :jgY\eggj :dn\$ K`]jogg\ HYjc /0(&1**&.+*, WATER!!

WATER!!: 9jlogjck Zq e]eZ]jk g^ l`] 9jl Kg[a]lq g^ KljYl`[gfY ;gmflq Mflad Oct 30 MARJORIE WOOD GALLERY�Red Deer C]jjq Ogg\ FYlmj] ;]flj] ,(+&+,.&*()( =Ykl ;gmd]] LjYn]ddaf_ =p`aZal3 until Nov 4 STILL LIFE AND MINIATURES; Nov 4-Dec 183 gh]faf_ j][]hlagf oal` Yjlaklk2 Nov 4$ /%1he MCMULLEN GALLERY M g^ 9 @gkhalYd$ 0,,(%))* Kl /0(&,(/&/)-* THE CROOKED TREES OF ALTICANE2 HYaflaf_k Zq C]f <Yd_Yjfg Oct 30-Dec 24 Gh]faf_ j][]hlagf2 Nov 4$ /%1he MICHIF CULTURAL AND MÉTIS RESOURCE INSTITUTE 1 Eakkagf 9n]$ Kl 9dZ]jl /0(&.-)&0)/.

9Zgja_afYd N]l]jYfk <akhdYq ?a^l K`gh >af_]j o]Ynaf_ Yf\ kYk` \akhdYq Zq ;]dafY Dgq]j Ongoing MILDWOOD GALLERY ,*.$ ..--%)/0 Kl 9jlogjck Zq nYjagmk Yjlaklk Ongoing MULTICULTURAL CENTRE PUBLIC ART GALLERY (MCPAG) -,))%-) Kl$ Klgfq HdYaf /0(&1.+&11+- L]eh]jY hYaflaf_k Yf\ ]l[`af_k Zq ?]f]nY Eggj] Oct 29-Nov 303 gh]faf_ j][]hlagf2 Nov 7$ )%+2+(he Dining Room Gallery2 HYaflaf_k Zq <Yh`f] ;gl]3 Nov 4-Jan 6 MUSÉE HÉRITAGE MUSEUM - Kl 9ff] Kl$ Kl 9dZ]jl /0(&,-1&)-*0 PATTERNS IN GLASS2 E lak <]ka_f af :]Y\k3 until Jun 2011 NAESS GALLERY�Paint Spot )((+*%0) 9n] /0(&,+*&(*,( IMPRESSIONS IN WAX2 Ogjck Zq Oaeeaf af OYp3 through Oct AfklYddYlagf Zq ;dYaj] M`da[c3 through Nov Free demos2 D]Yjf lg hYafl oal` Gad ZYjk2 Oct 30, ))Ye$ *he OLD STRATHCONA ANTIQUE MALL )(+*+%/0 9n] /0(&,++&(+10 HYaflaf_k Zq MjeadY R\]fcY Through Oct PETER ROBERTSON GALLERY )*+(, BYkh]j 9n] /0(&,--&/,/1 HYaflaf_k Zq <Yna\ 9d]pYf\]j

g^ [gfn]jkYlagfk gf Oct 28, Nov 4, Nov 18, Dec 9$ /%0he3 af l`] L]dmk ;]flj] 9m\algjame

VAAA GALLERY +j\ >d$ )(*)-%))* Kl /0(&,*)&)/+) SHAPE AND FORM2 9jlogjck Zq Daf\Y OaddYj\$ Bmda] 9ff] @Y_]$ Yf\ L]jjY O]\eYf¿k []jYea[ ogjc l`Yl ^g[mk]k gf l`] fmeZ]j l`j]] Yk Y nakmYd \jYo& 9dkg$ ^]Ylmjaf_ nakmYd Yjlakl <]ffak :jgof o`g n]flmj]\ aflg [j]Ylaf_ [gf[]hlmYd aeY_]k ZYk]\ gf Yf a\]Y$ Y ^]]daf_$ Y e]egjq gj ka_fa^a[Yfl da^] ]n]fl Until Nov 13

LITERARY AUDREYS BOOKS )(/(* BYkh]j 9n] /0(&,*+&+,0/ Bg[]dqf :jgof$ l`] f]o Ojal]j%af%J]ka\]f[] Yl 9m\j]qk :ggck ]n]jq Lm] Yf\ O]\ *%-he 9ml`gjk 9ff] KgjZa]$ Yf\ CYl`d]]f OYdd$ j]Y\af_ ^jge l`]aj f]o Zggck3 Oct 28$ /2+(he ROUGE LOUNGE )()))%))/ Kl /0(&1(*&-1(( Hg]ljq ]n]jq Lm] oal` =\egflgf k dg[Yd hg]lk STANLEY A. MILNER LIBRARY / Kaj Oafklgf ;`mj[`add Ki /0(&,1.&/((( Centre for Reading2 >jge :ggck lg >ade3 ]n]jq >ja$ *he Teen Movie Scene2 egna] [dmZ ^gj l]]fk3 )kl Yf\ +j\ L`m ]n]jq egfl` Writers’ Corner2 =HD¿k Ojal]j af J]ka\]f[]3 ^]Ylmjaf_ Y \a^^]j]fl Yml`gj ]Y[` egfl`3 dYkl Kmf ]Y[` egfl` Yl )2+(he ?jYeeYj ?Ydk =pljYnY_YfrY oal` CYj]f NajY_ Yf\ Naj_afaY <mjck]f3 Nov 3$ /he3 ^j]] O?9 Yf\ =9; e]eZ]j!' - fgfe]eZ]j! ojal]jk_mad\&YZ&[Y T.A.L.E.S. STORY CAFÉ Jgka]¿k :Yj$ )(,/-%0( 9n] /0(&1+*&,,(1 Gh]f Eac] ghhgjlmfalq )kl L`m ]Y[` egfl`$ /he . Nov 42 OYj Yf\ H]Y[] UNIVERSITY OF ALBERTA =f_af]]jaf_ L]Y[`af_ 9f\ D]Yjfaf_ ;gehd]p =LD;! Je =)(() >]Ylmjaf_ FgjeYf >afc]dkl]af$ Yml`gj g^ This Time We Went Too Far Oct 29$ /2+(%12+(he )( klm\]fl! ' )- fgf%klm\]fl!

UPPER CRUST CAFÉ )(1(1%0. 9n] /0(&,**&0)/, Kljgdd g^ Hg]lk Kg[a]lq O]]cdq J]Y\af_ K]ja]k2 ]n]jq Egf$ /he

THEATRE THE 4TH GRADERS PRESENT AN UNNAMED LOVE�SUICIDE LjYfkYdlY 9jlk :Yjfk$ Klm\ag : Fgjl`]jf Da_`l L`]Ylj]$ Zq K]Yf ?jYf]q Nov 2-14 ANY NIGHT O]klZmjq L`]Ylj]$ LjYfk9dlY 9jlk :Yjfk )(++(%0, 9n] /0(&,,0&1((( >jaf_] L`]Ylj] 9\n]flmj]k Until Oct 31 *+ Y\mdl!' )1 klm\]fl'k]fagj!

BLITHE SPIRIT E]egjaYd 9jlk ;]flj]$ -*(.%-( Kl$ O]lYkcaoaf /0(&+-*&0+0+ OYl]jogjck HdYq]jkº O]lYkcaoaf L`]Ylj] Kg[a]lq Oct 28-30, Nov 5-7$ 0he )- >ja%KYl!3 +- KYl \aff]j l`]Ylj]! Y\n Yl <j& @]ocg k G^Ç[]$ L`] B]ddq :]Yf$ @go Ko]]l Al Ak CHIMPROV NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] =n]jq KYl Yl ))he fg k`go gf l`] dYkl KYl g^ l`] egfl`! )(' - @a_` K[`ggd Klm\]flk! Yl LAP gf l`] KimYj]$ \ggj DARK STAR: THE LIFE AND TIMES OF ROY ORBISON EYq^a]d\ <aff]j L`]Ylj]$ )..)-%)(1 9n] /0(&,0+&,(-) Until Nov 7 DIE�NASTY NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] /0(&,++&++11 Dan] aehjgnak]\ kgYh gh]jY =n]jq Egf$ /2+(he3 mflad May 30

PICTURE THIS GALLERY 1-1 Gj\r] J\$ K`]jogg\ HYjc /0(&,./&+(+0 9jlogjck Zq nYjagmk Yjlaklk Mflad Oct 30

HALLOWEEN THEATRESPORTS NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] /0(&,++&++11 JYha\ >aj] L`]Ylj] k YffmYd @Yddgo]]f `abafp$ ^]Ylmjaf_ Mf[d] RgeZa] Yf\ Aehjgn K][j]l OYjk Oct 29, ))he )(

PROFILES GALLERY�St Albert )1 H]jjgf Kl$ Kl 9dZ]jl /0(&,.(&,+)( FUN HOUSE2 ;Yjlggfk$ h`glg_jYh`q$ hYaflaf_k$ Yf\ Çde3 mflad Oct 30 YOUR THOUGHTS, LIKE STARS2 AfklYddYlagf Zq =\oYj\ NYf Nda]l3 Nov 4-27; gh]faf_ j][]hlagf2 Nov 4$ /%1he

HIGH SOCIETY ?jYfl EY[=oYf Bg`f D& @YYj L`]Ylj]$ )((,-%)-. Kl EY[=oYf EYaf KlY_] k]Ykgf emka[Yd Oct 29-Nov 6 )- Y\mdl!' )( klm\]fl' k]fagj! Yl LAP gf l`] KimYj]

PROVINCIAL ARCHIVES OF ALBERTA 0--- Jgh]j J\ /0(&,*/&)/-( 9j[`anYd J][gj\k Yf\ ;daeYl] ;`Yf_] =p`aZal Until Dec 18 RED DEER MUSEUM ,-*-%,/9 9n]$ J]\ <]]j ,(+&+(1&0,(- GLASS 2009: 9jlogjck ^jge l`] [gdd][lagf g^ l`] 9dZ]jlY >gmf\Ylagf ^gj l`] 9jlk TOP SECRET: MISSION TOY2 mflad Jan 9 MAGNIFICENT TOYS2 Oct 29-Jan 9 BERT FORS: FqY :Y[c]fºl`] F]o DYf\2 Oct 29-Jan 9 The Cenotaph, d][lmj] oal` Ea[`Y]d <Yo]3 Nov 4$ /he ROYAL ALBERTA MUSEUM )*0,-%)(* 9n] /0(&,-+&1)(( WILDLIFE PHOTOGRAPHER OF THE YEAR3 until Jan 9 THE WONDERFUL WIZARD OF OZ2 DYj_]j l`Yf da^] hgh%mh Zggc ]p`aZalagf3 until Jan 2 FAR, FAR AWAY2 Hgkl[Yj\k ^jge Hj]%J]ngdmlagfYjq McjYaf]3 mflad Nov 7 ST ANDREW’S CENTRE )*/*(%))) 9n] =\egflgf O]Yn]jk ?mad\2 9ffmYd o]Ynaf_$ khaffaf_ Yf\ ÇZj]ogjck k`go Yf\ kYd] Nov 6$ )(Ye%+he + SCOTT GALLERY )(,))%)*, Kl /0(&,00&+.)1 A NEW PAGE: 9jlogjck Zq Egflj]Yd%Zgjf Yjlakl >jYf[af] ?jYn]d Until Nov 2 SNAP GALLERY )()*+%)*) Kl BUILDING BRIDGES2 >]Ylmjaf_ `Yf\ hmdd]\ gja_afYd hjaflk ^jge Y nYja]lq g^ ]klYZdak`]\ Yf\ ]e]j_af_ dg[Yd hjafleYc]jk BIMPE 20102 :a]ffaYd Afl]jfYlagfYd EafaYlmj] Hjafl =p`aZalagf$ k`go[Yk] ^gj keYdd k[Yd] ogjck3 Gh]faf_ j][]hlagf2 Nov 4$ /%)(he SPRUCE GROVE GALLERY E]d[gj ;mdlmjYd ;]flj]$ +-%- 9n]$ Khjm[] ?jgn] /0(&1.*&(.., PAPER PEOPLE2 HYha]j eY[`] Yjlogjck Zq LoqdY E[?Yff Until Nov 6 STOLLERY GALLERY FafY @Y__]jlq ;]flj]$ 1**-% ))0 9n] /0(&,/,&/.)) NIGHT OF THE BEASTS: 9jlogjck Zq CaZ Kj]f_$ JYf\q Kl]ff]k$ Yf\ HYmd :]dd]eYj] Until Nov 1 ;Yc] OYdc2 Kmllgf HdY[] :Yddjgge3 Nov 2$ /he oaf] Yf\ `gjk \¿g]nj]k!$ 0he k`go!3 )(( Yl LAP gf l`] KimYj] TELUS WORLD OF SCIENCE ))*))%),* Kl /0(&,-)&++,, Inventor’s Workshop2 \Yadq )*2+(% ,2+(he WHEELS, WINGS AND WAVES-A LEGO® WORLD OF TRANSPORTATION Mflad Jan 2 TU GALLERY )(/)0%)*, Kl /0(&,-*&1.., HIDDEN TALENT2 9jlogjck Zq )- dg[Yd Yjlaklk Mflad Nov 6 U OF A MUSEUMS’ GALLERY A L]dmk ;]flj]$ 0/ 9n]$ ))) Kl POLAR IMPACT: UNDERSTANDING CHANGE IN THE CIRCUMPOLAR WORLDS: until Nov 20 [dgk]\ Fgn ))%)*! Polar Impact Conversations2 H]jkh][lan]k gf Fgjl`]jf H]ghd]k Yf\ L`]aj =fnajgfe]flk2 k]ja]k

LOVE AND HUMAN REMAINS AND THE TRUE NATURE OF LOVE Laeek ;]flj]$ 0/ 9n]$ ))* Kl$ M g^ 9 Klm\ag L`]Ylj]$ Zq :jY\ >jYk]j Nov 4-13; ka_f dYf_mY_] afl]jhj]lYlagf2 Nov 6$ /2+(he THE MATING SEASON Bg`f D @YYj L`]Ylj]$ ;]flj] ^gj l`] 9jlk Yf\ ;geemfa[Ylagfk$ )((,-%)-- Kl ?jYfl EY[=oYf Mfan]jkalq L`]Ylj] 9jlk Nov 3-7$ /2+(he3 Nov 7 Yl *he 1 Y\n Y\mdl!' / Y\n klm\]fl'k]fagj! Yl LAP gf l`] KimYj]3 )( \ggj Y\mdl!' 0 \ggj klm\]fl'k]fagj!

OH SUSANNA! HALLOWEEN SPECIAL NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n]$ /0(&,++&++11 L`] =mjg%klqd] nYja]lq Kh][lY[d] k kYdml] lg 9dd @Yddgo k =n]$ `gkl]\ Zq KmkYffY HYl[`gmda Oct 30$ ))he STUDIES IN MOTION: THE HAUNTINGS OF EADWEARD MUYBRIDGE ;alY\]d K`g[lgj L`]Ylj]$ 10*0%)() 9 9n] /0(&,*.&,0)) :q C]naf C]jj$ \aj][l]\ Zq Cae ;gdda]j$ [`gj]g_jYh`q Zq ;jqklYd Hal]$ [gehgk]\ Zq HYlja[c H]ff]^Yl`]j& >gj eYlmj] Ym\a]f[]k$ [gfl]fl Yf\ dYf_mY_] eYq fgl Z] kmalYZd] ^gj Ydd hYljgfk3 Ym\a]f[] Y\nakgjq2 fm\alq$ kljgZ] Oct 30-Nov 14 THEATRESPORTS NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] JYha\ >aj] L`]Ylj] k +(l` 9ffan]jkYjq =\alagf =n]jq >ja Yl ))he )( Yl LAP gf l`] KimYj]$ \ggj TOM JONES AND THE TEMPLE OF DOOM BmZadYlagfk <aff]j L`]Ylj]$ 000*%)/( Kl /0(&,0,&*,*, Oct 29-Jan 223 k]Ylaf_2 O]\%KYl2 .2)-%.2,(he3 Kmf2 -he UNDER COVER KlYfd]q 9& Eadf]j DaZjYjq$ / Kaj Oafklgf ;`mj[`add Ki /0(&,+1&+1(- ;gf[j]l] L`]Ylj] <aj][l]\ Zq Ea]cg Gm[`a Oct 29$ )he3 Oct 30$ *he )0 Y\mdl!' ), klm\]fl'k]fagj! Yl LAP gf l`] KimYj] UNIDENTIFIED HUMAN REMAINS Laeek ;]flj]$ ))* Kl$ 0/ 9n] M g^ 9 Klm\ag L`]Ylj] Nov 3-13$ /2+(he3 Nov 11 Yl )*2+( -% *( Yl LAP gf l`] KimYj] UNNAMED LOVE�SUICIDE Klm\ag :$ LjYfk9dlY 9jlk :Yjfk Nov 2-14$ /2+(he *, Y\mdl!' )0 klm\]fl' k]fagj! Yl LAP gf l`] KimYj]3 9[lgjk >mf\ :]f]Çl H]j^gjeYf[]2 Nov 11$ *he hYq%o`Yl%qgm%[Yf \ggj!

VERY SCARY IMPROV NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] Oct 30$ /2+(he THE VIP KID’S SHOW NYjkgf[Y L`]Ylj]$ )(+*1%0+ 9n] >gj [`ad\j]f3 qgmf_ Yf\ gd\ [Yf ]fbgq Y nYja]lq$ aehjgn Yf\ hmhh]l k`go Oct 30, Nov 6$ ))Ye @Yddgo] ]f K`go2 Oct 30$ \j]kk af qgmj @Yddgo] ]f [gklme] - WOMEN WHO STEAL NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] K`Y\go L`]Ylj]$ Zq ;Yjl]j D]oak Nov 3-21

FILM he characters that populate this group portrait of contemporary London are almost uniformly afflicted with wandering eyes, both literal and existential, unhappy with their current situations and praying for change where they feel incapable of enacting it. There's Alfie (Anthony Hopkins), who's left his wife of so many decades to revive his self-esteem with the aid of an Amazonian prostitute and aspiring actress named Charmaine (Judy Punch).

There's Helen (Gemma Jones), suddenly, devastatingly alone upon Alfie's departure, who seeks consolation in the New Age and the old bottle. There's gallery assistant Sally (Naomi Watts), whose lack of career momentum and marital frustration has her considering adultery with her debonair employer Greg (Antonio Banderas).

Most intriguingly, there's Roy (Josh Brolin), a former medical student turned chauffer who still dreams of that great literary success that's thus far remained elusive. Like everyone in this story, Roy seeks a new lover, but things really become interesting when an unexpected tragedy offers him the opportunity to assume the literary persona of another.

The promise posed in the title of Woody Allen's You Will Meet a Tall Dark Stranger is deliberately worded as a bit of generic fortune teller's hokum, but it also implies threat, a thinly veiled caveat emptor.

Wishing without actually working toward one's goals gets Allen's characters predictably nowhere, but they get there in a manner that becomes more interesting as it grows more complicated. The strange, creepy look on Hopkins' face in his final moment alone is reason enough to stick with the film, which is certainly every bit the work of Woody Allen with all that implies, both good and merely tolerable— see the redundant anonymous narrator.

What's important here isn't the questionable originality of Allen's metaphysical pessimism, nor his observations on the vagaries of desire, nor even his reluctance to end You Will Meet a Tall Dark Stranger with fully resolved conclusions, opting instead for a series of closing notes that, save but one, are enveloped in uncertainty, perhaps tearing a page from the Coen Brothers, whose A Serious Man itself borrowed something from Allen, and fits snugly alongside Allen's numerous bleak comedies of Jewish manners and cosmic incomprehension.

What matters is how all these elements, some a little tired, some inspired, are animated. Allen seems genuinely engaged with the material, his approach pleasingly loose, buoyed by Vilmos Zsigmond's elegant hand-held cinematography. With a few exceptions, such as the cliché, borderline one-dimensional Charmaine, the film is endowed with characters whose psychological needs resonate and bump up against one another, causing a playful and sometimes very funny friction.

Perhaps the most surprising member of the cast is Brolin, whose range hasn't typically included the nervy neurotics we associate with Allen. Brolin's refreshing

"Neither particularly poignant nor thoughtful about loss or survivors' spiritual striving for meaning, Peter Morgan's script just bobs along."

HEREAFTER

Read the full two-star review at vueweekly.com/film

incumbent upon you as an actor to really figure it out. Woody would say to me, 'Y-yyou know, just, I dunno, just make it your own.' I'd say, 'All right.' Then we'd do a take and he'd stop everything and say, 'You said "cannot."' I'd go, 'Yeah.' He goes, 'The script says "can't." You broke the contraction.' I'd say, 'You're not serious, are you?

You told me to make it my own.' He says, 'Yeah, I know. But the script says "can't.""

Josh Brolin on Woody Allen, bad acting and boob jobs Josef Braun // josef@vueweekly.com

approach to Roy, who could be pegged as this year's Woody stand-in, was the central topic of discussion during the roundtable interview Vue participated in during last September's Toronto International Film Festival. Brolin was charming, relaxed, frank, and always peppering his answers with dry humour. You have to have a sense of humour when you do these round tables, though I nearly lost mine while fighting to get a word in during the "zany" and persistent interrogations of some colleague from a morning show wearing an ostentatious helmet outfitted with a spy camera and asking such probing questions as, "Is it true that you were almost Sean Penn's neighbour? Is it true that you told your wife not to get a boob job? Would you rather be a dog named Killer or a cat named Fluffy?"

The son of actor James Brolin, stepson of Barbara Streisand, and husband of actress Diane Lane, Brolin, 42, has had a long and diverse career on stage and screen, yet his almost uniformly excellent and charismatic work, his connections to established stars, and his frequent collaborations with the finest American filmmakers failed to generate much in the way of hype until only recently. In the last three years he's been an integral part of the Coens' No Country For Old Men and Gus Van Sant's Milk—for which he got an Oscar nod— and inhabited the titular roles in Oliver Stone's W. and the comic book adaptation Jonah Hex. This Christmas he'll play Tom Chaney in the Coens' remake of Henry Hathaway's iconic 1969 film True Grit.

When Brolin showed up for TIFF's North

American premiere of You Will Meet a Tall Dark Stranger he'd just come from sitting in on the Coens' editing process.

"I've been very lucky to be given this opportunity," says Brolin, "so I try to keep my mouth shut. But sometimes they'll finish cutting something and look back at me and I'll shrug, and start to say, 'Well, it's good, but, you know ... ' And they'll both say in unison, 'Dude, shut up.' But I'm consistently blown away by their

sive stillness, or the suggestive alterations in facial expression—these items Brolin might refer to as "almost nothing"—are not infrequently highlights of the films he appears in, especially those like No Country, where reticence constitutes one of his character's defining attributes. Yet Brolin has shown equal facility with language, especially with its quirks and detours.

He expresses intentions more through the deployment of accent, breath and the

When you work with great filmmakers you do so not just because they make great films but because they allow bad acting. They see the positive in bad acting, in trying different things out so that you can find the gems. ability to create drama or dynamism out of almost nothing."

That last word could be taken as selfdeprecation on Brolin's part. Brolin confesses that he's rarely satisfied with his own performances. "I don't particularly enjoy the actual act of acting," he explains.

"I remember doing theatre and I'd see an actor come off stage and pump his fist and go, 'Yes!' I've never done that. The process is what I enjoy. When you work with great filmmakers you do so not just because they make great films but because they allow bad acting. They see the positive in bad acting, in trying different things out so that you can find the gems."

The very particular subtleties Brolin typically conveys, the moments of pen-

modulation of speed and tone than he does through mere emphasis or enunciation. He extols his love of pure language, citing his special fondness for Anthony Zube's readings of ee cummings, or his late friend and mentor Roscoe Lee Browne's readings of Lawrence Ferlinghetti, before praising innovations in the capturing or inventing of unique speech patterns by his favourite screenwriters.

"I think of what David Milch achieved in the show Deadwood, for example," explains Brolin. "It was a really inspired move to create, if you'll excuse the bad word, cocksucker vernacular for a turn-ofthe-century milieu. I feel the same about the Coens also, but not as much as I do about Woody. With Woody's words, its

VUEWEEKLY // OCT 28 – NOV 3, 2010

Brolin laughs while recalling this exchange. He explains that what Allen actually means when he asks actors to make his text their own has less to do with improvising lines than it does with behaviour. Allen wants to be surprised and entertained by how eyes, faces and bodies behave when trying to articulate something that may or may not be clear in the words spoken. And Brolin emphasizes Allen's disinterest in seeing other actors ape his own mannerisms.

"When we first met," Brolin says, "Woody and I agreed that I could never possibly pretend to be him. I know some actors have tried to do that. I don't understand why. Woody's acted in so many of his films, and the idea that when he's choosing not to act in one of them means that some other actor is taking his place, that just doesn't make sense to me. I just don't see the point."

When asked about whether he suffers from urges similar to those of Roy and the other characters in You Will Meet a Tall Dark Stranger, Brolin confesses that he's empathetic but doesn't personally relate to the film's motif of people always looking for something other than what they have.

"My marriage is a perfect example," he says. "I don't want to go back out there. I love the machinations and oscillations of being in a marriage. It's drama enough in itself. That's the real ecstasy."

Which, I suppose, brings us back to that question about Diane Lane's breasts.

First of all, Brolin told the guy in the helmet, it's not true that the couple ever had serious discussions about breast implants. "Sure," he continues, "Diane's like any other actress in Hollywood. She worries about there being some ceiling to her career. But I can't imagine a ceiling to my wife's career. I think she's like Gena Rowlands. She'll just be around forever. So yes, I try to help her deal with those moments of vulnerability. Because I have them too."

Brolin then pauses before adding one final comment, as though he just can't help himself. "If you look at my wife's boobs," he says, "you'll see she doesn't need a boob job." There's a round of laughter, and, to the fleeting relief of the rest of us, Helmet seems temporarily stumped. Unfortunately, our time is also up. V Opens Fri, Oct 29 You Will Meet a Tall Dark Stranger Written and directed by Woody Allen Starring Naomi Watts, Josh Brolin, Anthony Hopkins Princess Theatre (10337 - 82 ave)



FILM // 19

SCREEN CAPS Opening Friday Conviction

Directed by Tony Goldwyn Written by Pamela Gray Starring Hilary Swank, Sam Rockwell, Juliette Lewis  In 1983, Kenneth Waters from Ayer, Mass, was convicted of murder. He wasn't even 30, but had already amassed a whopping criminal record that started in childhood, including many breaking and entering charges. When he was 10, it was the home of Kathrina Brow that he broke into. 20 years later Ayer police used the incident to convict Waters, the town scapegoat, of her mysterious murder.

It took almost another two decades to prove his innocence. More extraordinary is the story of the attorney who helped exonerate him—his sister, Betty Anne Waters. After his imprisonment, the single mother got her GED, went to law school and graduated so she could get him out.

It's a tearjerker story. The kind of true, plucked-from-the-headlines tale that must be a script, and the kind of story that just needs a screenwriter to colour in the lines. It's also the type of story that attracts strong actors itching for an opportunity to button-up a plaid shirt and play an astonishing all-American.

The movie's best performance comes from Juliette Lewis, who is unforgettable as Waters ex-girlfriend, a witness to his

20 // FILM

case who, over the years, is squeezed of life until she's a loveless soap operaloving spinster. Her brief appearance is reminiscent of Jane Alexander's eightminute Oscar-nominated role in All the President's Men. Sam Rockwell is excellent as the complicated Kenneth Waters, balancing charm, so that the audience wishes for his innocent, and sordidness to preserve the lingering "what if" until the end. Hilary Swank as his determined sister, however, appears more in control than I'm willing to believe. Her approach to the character is backwards, becoming more calcified—not tattered—with each of the 18 years she spends working part-time, raising teenage boys alone, putting herself through law school and fighting for her brother's freedom. Perhaps her apparent strength is true to the real Betty Anne, but without anyone acknowledging her superhuman un-breakability, it's just unbelievable.

Conviction's director Tony Goldwyn (Ghost) has a simple directing style, which is more focused on the acting than action, and is very appropriate for such a character-driven movie. But his sanitization of the facts, however, is inappropriate. I'm a believer that film adaptations are just that—adaptations, not adoptions—but Goldwyn expunging a tragic capital-F fact from the movie's finale is deceitful. If you want to know how the Kenneth Waters story actually ends, Wikipedia it, because you won't find it here.

Omar Mouallem

// omar@vueweekly.com

Now Playing Paranormal Activity 2

Something spooky makes a housecall in PA 2

Directed by Tod Williams Written by Michael R Perry Starring Sprague Grayden, Brian Boland  Kristi and Dan inhabited their suburban home for a year before a peculiar break-in— the place was vandalized yet nothing was stolen—prompts them to install 24-hour security cameras throughout the house. The objective, disinterested perspectives these cameras provide, along with a substantial archive of recreational camcorder footage, comprise everything we see in Paranormal Activity 2. That so much of this family's domestic life is being recorded leaves us to wonder how such rampant surveillance and video-journal keeping could ever allow anybody to behave un-self-consciously, even when alone. The wired house feels creepy in itself, the implication being that it somehow only increases the family's vulnerability to whatever sinister forces want in. Its subtle critique of upper-middle-class values is one of the reasons why Paranormal Activity 2 functions effectively as horror. We recognize these perfectly ordinary characters enacting what are quickly becoming unconscious modes of behaviour, and part of us wants them to be punished for it, perhaps on our behalf.

Adding to Paranormal Activity 2's build-up of anxieties are the family's fractured foundations. Dan's a widower with a teenage daughter. When the initial, almost comical signs of spooky business emerge—a restless pool cleaning device, inexplicable rum-

VUEWEEKLY // OCT 28 – NOV 3, 2010

blings—the daughter is delighted because she hopes the ostensible ghost could be her mother. The house offers a false sense of security simply by being so big, clean and new, so uniformly beige and bland—so maybe the dead mom is coming back to redecorate. As the family feels increasingly threatened it becomes clear that their spectral intruder is primarily interested in Dan and Kristi's one-year-old boy, whom they've given the deeply ironic name of Hunter. No amount of incense or incantations delivered by the family's Latin nanny seem likely to protect Hunter against what's eventually identified as a demon, one who may or may not be coming to collect payment on a Faustian contract.

Paranormal Activity 2 isn't exactly a sequel or even a "prequel"—its story runs more or less parallel to that of Oren Peli's no-budget hit predecessor of last year. Written by Michael R Perry and directed by Tod Williams, the new film employs the same formula as Peli's—it even speeds up the surveillance footage to instill that eerie silent anticipation

during scenes where nothing more than sleep seems to be happening—yet it does so as a way of expanding the cryptic austerity of the original into some sort of larger mythology.

Josef Braun

// josef@vueweekly.com

Playing at the Metro National Film Board New Releases Program Thu, Oct 28 (8:30 pm), free 

Isolation weighs heavily on the National Film Board of Canada's latest round of animated shorts, screening for free across the country in honour of International Animation Day. As usual, there's a hit-or-miss quality to the program as a whole, though the hits outweigh the misses and even the ones that don't quite land on the mark tend to offer at least some opportunity to get the brain working to piece the often abstract images and vague storylines into

an understandable whole. Throughout the films, isolation crops up repeatedly, though often with differing effects: "The Trenches" uses a soundtrack that crosses from orchestral music to rapid breathing against silence to the clatter of gunfire to harrowing effect, conjuring the isolation of the battlefield; "The Trembling Veil of Bones" offers a digital world with a mysterious package carried by a fearful man, seemingly always with the eyes of others (the film's viewers?) cast upon him through a scratchy lens; "Mamori" finds repetitive, abstract images coupled with field recordings captured at Mamori Lake in Brazil, the complete lack of typical storytelling cues and reliance upon sound forcing viewers into their own sense of isolation as the ears work to decipher the sounds; and "Flawed" is a colourful account of internal conflict told with just a narrator's voice-over and a pair of artful hands.

Some of the films don't quite hold together as well as others, though, with "The BareWolf" offering up the most light-hearted moments in the series but coming across as slightly too frantic, while "The Formation of Clouds" seems particularly heavy handed until a twist at the end that lifts it some, but doesn't overcome the tone of the first three-quarters. Still, shorts like "The Circus," a thoughtful piece capturing the fear and sadness of death from a child's perspective with a heart-wrenching ending, illustrate the NFB's continued willingness to produce films that challenge viewers.

Playing at the Garneau The Girl Who Kicked The Hornet's Nest

Directed by Daniel Alfredson Screenplay by Ulf Rydberg, Jonas Frykberg Starring Michael Nyqvist, Noomi Rapace Garneau Theatre (8712 - 109 St)  As the crowning cap on the Millenium Trilogy, The Girl Who Kicked the Hornet's Nest has a lot to get to. It wastes no time, picking up immediately where The Girl Who Played With Fire ended: hackerturned-framed criminal Lisbeth Salander (Noomi Rapace) is in the hospital recovering from a bullet to the head, the old men responsible for her damaged past are attempting to get to her once and for all and journalist Mikael Blomkvist (Michael Nyqvist) is writing a tell-all exposé that threatens to expose them, their years of corruption and clear Salander's name.

It's a triangle well-established for anyone who's been following the adaptations of the late Stieg Larson's series of books, but for all the thriller plotting and twists that the dynamic lends itself to, Hornet's Nest feels like it's dragging its heels towards climax and denouemont, not racing towards them. The extra weight of wrapping up all the series' loose ends isn't helped by director Daniel Alfredson, who keeps us whizzing along past details and characters and uncovered mysteries with so much speed it's hard to discern what's important and what's not. As a result, in a two-and-a-half-hour movie, not much really stands out: a mid-point assassination attempt on Blomkist is established so suddenly and over so quickly it feels almost completely unimportant. Same goes for a lot of the subplots here: there are so many entangled characters to find resolution between, most don't seem given the weight they deserve, instead resigned to ineffectual amounts of screen time given the apparent weight of their storylines on our protagonist duo.

Performances by Nyqvist and Rapace make Hornet's Nest much more watchable, the latter in particular turning in a spirited, steely-eyed performance as the coldly badass hacker finally forced above ground and into the legal channels of law and order to try and clear her name.

The lack of shared screen time between the two leads is odd, given their clear-cut chemistry.

To his credit, Alfredson manages to keep it from being too much of a dreary courtroom drama. But even outside the judge's chambers, it still lacks much in the way of tension outside of a couple of choice moments. Part of that is the result of being a lengthy movie based on a 602-page novel—though it's about the same running time of the trilogy's previous two movies—and part of that is just lackluster execution. Longtime fans will probably find it all vindicating, but as a stand-alone film, it just doesn't seem to place any weight on its convictions.

Paul blinov

// paul@vueweekly.com

The NFB New Release Program is bundled with a screening of Fairy Tales For All, playing 7 pm at the Metro.

Eden Munro

// eden@vueweekly.com

VUEWEEKLY // OCT 28 – NOV 3, 2010

FILM // 21

COMMENT >> DVD

Use your illusion

Anthony Hopkins channels frustrations through a dummy in Magic When Corky first takes the stage for amateur night he totally bombs. Once this hits home his habitual timidity suddenly falls away and he berates the audience for failing to appreciate his card tricks.

Corky relates this story to his bedridden mentor and revises it as he goes. We see select flashbacks that could verify om or contradict his narrative eekly.c @vuew depending how you figure it, dvddetective and so right from the start Josef Magic (1978) is already playing Braun with misdirection, albeit conservatively so—you get to feeling the movie can't bear to let Corky be truly humiliated. Next time we see Corky perform he's got Fats in tow, and all that rage Corky couldn't keep in check has now been channeled into Fats. This miniature version of Corky redistributes Corky's Anthony Hopkins and Fats in Magic repression, cursing and insulting everyone in the room and having them roaring ingly perverse, chillingly sexy or generwith laughter. With Fats' help Corky now ally psychologically juicy as the Cronengets paid for his tantrums. Fats even berg film, but it's still pretty nifty, if a tad helps Corky win the affections of that overlong. Adapted by William Goldman beauty he loved from afar in high school. from his own novel, directed by Richard You might even say Fats can get away Attenborough before Gandhi (1982), and with murder. Or try, anyway. Magic is starring Hopkins long before Hannibal a little like Dead Ringers (1988) except Lecter, there's a sense that this modest instead of two Jeremy Irons you've got horror picture with the high-grade talAnthony Hopkins and a dummy. ent probably caught most audiences off OK, so Magic isn't nearly as fascinatguard. It left a number of critics sniffy and dismissive, but it's developed something of a cult following and is available on DVD and now Blu-ray from Dark Sky. The dummy really is creepy, but this has much to do with Hopkins' uncanny ability to convey the clot of pettiness nurtured by the damaged child locked inside the beefy adult, something that comes across like lightning every time his face goes from slack to smiling.

Hopkins is very good with the ventriloquism—a practice once suspected of being in league with the devil, and one, we should note, usually mastered before puberty—but the movie is almost better when you can see him move his lips. Burgess Meredith has a terrific supporting role as Corky's manager, bald on top, with glasses and foot-long cigars that make him look like a Vegas Hunter S Thompson. Eschewing camp, he's somehow just about Magic's most sympathetic character, yet his affection for Corky, who he's convinced with be the next Rich Little, is perhaps best not thought about too carefully. Corky's clearly got a screw loose long before Fats starts to nag him like Norman Bates' mother.

DVCD TIVE

DETE

22 // FILM

VUEWEEKLY // OCT 28 – NOV 3, 2010

Victor Kemper's cinematography is lovely and effective, evoking the movie's pervading sadness through diffused light, and often playfully doubling Corky with ostentatious shadows. Breaking away from the epic for a change, Attenborough's strengths here lie with his attention to actors and their business. Besides creating

Magic is a little like Dead Ringers (1988) except instead of two Jeremy Irons you've got Anthony Hopkins and a dummy. the right space for Hopkins to give his very polished but nonetheless remarkable performance, Attenborough also gets terrific work out of even the minor players, such as the cab driver who gives Corky a tour of his home town and looks like Keith Ritchie from The A-Team. But I think Magic's most wonderful surprise is Ann-Margaret— that's right, Anthony Hopkins gets to make out with Ann-Margaret. She's great because she seems to understand that the teenage hottie once desired by every boy in town might grow up to be lonely, lost and a little loopy herself. Her spastic glee upon seeing old Corky do his thing with Fats feels just a little off—most gorgeous women I've known don't usually get so excited about nerds with talking dolls. Of course, we can always fantasize. V

FILM WEEKLY FRI, OCT 29 – THU, NOV 4, 2010 s

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

SECRETARIAT (G) FRI�SAT 7:00, 9:10; SUN�THU 8:00 RED (14A violence) FRI�SAT 7:00, 9:10; SUN�THU 8:00 FILM CLUB NIGHT: SOUL KITCHEN (STC)

THU, NOV 4 7:30

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

GOING THE DISTANCE (14A crude coarse language, sexual content, not recommended for children) DAILY 1:35, 4:35, 7:10, 9:35

THE LAST EXORCISM (14A disturbing content, gory scenes) DAILY 2:00, 4:45, 7:40, 10:00

THE SWITCH (PG mature subject matter, not

recommended for young children) DAILY 1:30, 4:30, 7:20, 9:50

THE EXPENDABLES (18A brutal violence)

DAILY 1:25, 4:15, 7:30, 9:55

EAT PRAY LOVE (PG language may offend) DAILY 1:00, 4:00, 6:50, 9:45 SCOTT PILGRIM VS. THE WORLD (PG

violence) DAILY 1:15, 4:20, 7:00, 9:30

THE OTHER GUYS (PG coarse language, not

recommended for young children, crude sexual content) DAILY 1:20, 4:05, 6:40, 9:10

STEP UP 3 (PG) DAILY 1:55, 4:40, 7:25, 9:50 DINNER FOR SCHMUCKS (14A) DAILY 1:40, 4:10, 6:55, 9:20

8:45, 11:10; SUN�THU 1:10, 3:30, 5:45, 8:00, 10:15

HEREAFTER (PG coarse language, mature subject

matter) FRI�SAT 1:10, 4:00, 7:30, 10:30; SUN�THU 1:15, 4:10, 7:15, 10:10

CONVICTION (14A coarse language) FRI�SAT

1:15, 3:45, 6:15, 8:45, 11:15; SUN�WED 1:30, 4:00, 7:00, 9:30; THU 4:00, 7:00, 9:30; Star & Strollers Screening: THU 1:00

LIFE AS WE KNOW IT (PG, language may offend, substance abuse) FRI�SAT 1:45, 4:45, 7:40, 10:25; SUN�THU 1:45, 4:40, 7:30, 10:20 SECRETARIAT (G) DAILY 1:05, 4:05, 7:05, 10:05 IT'S KIND OF A FUNNY STORY (PG coarse language, mature subject matter) FRI�SAT 10:45; SUN�THU 10:30

THE SOCIAL NETWORK (PG coarse language, substance abuse) FRI�SAT 1:50, 5:00, 7:50, 10:35; SUN� THU 1:10, 4:20, 7:10, 10:10

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG violence, frightening scenes, not recommended for young children) DAILY 1:10

ALPHA AND OMEGA 3D (G) Digital 3d

FRI�SAT 1:05, 3:15, 5:30, 7:45; SUN�THU 1:05, 3:20, 5:30, 7:45

THE TOWN (14A violence, coarse language)

FRI�SAT 2:15, 5:00, 7:45, 10:50; SUN�THU 1:50, 4:35, 7:15, 10:05

EASY A (14A language may offend) FRI�SAT 1:30,

3:40, 6:05, 8:15, 10:25; SUN�THU 1:05, 3:20, 5:30, 7:45, 9:55

INCEPTION (PG violence) FRI�SAT 3:40, 7:10, 10:15; SUN�THU 3:45, 7:10, 10:10

CITY CENTRE 9 10200-102 Ave, 780.421.7020

THE SORCERER'S APPRENTICE (PG vio-

PARANORMAL ACTIVITY 2 (14A frighten-

DESPICABLE ME (G) DAILY 1:05, 3:55, 6:30, 9:00 TOY STORY 3 3D (G) Digital 3d DAILY 1:10,

SAW 3D (R) No passes, Stadium Seating, Dolby Stereo

lence, frightening scenes) DAILY 1:45, 4:25, 7:05, 9:25

3:50, 6:45, 9:15

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

ing scenes) No passes, Stadium Seating, Dolby Stereo Digital DAILY 12:10, 2:35, 5:00, 7:25, 9:55

Digital DAILY 12:30, 2:55, 5:15, 7:45, 10:05

HEREAFTER (PG coarse language, mature subject

matter) No passes, DTS Digital DAILY 12:25, 3:25, 7:10, 10:10

SAW 3D (R) Ultraavx DAILY 1:00, 3:10, 5:30, 8:15, 10:40 THE GIRL WHO KICKED THE HOR� NET'S NEST (14A sexual violence, violence) DAILY

JACKASS (R) Digital 3d, Stadium Seating DAILY

PARANORMAL ACTIVITY 2 (14A frighten-

RED (14A violence) Stadium Seating, DTS Digital

12:10, 3:20, 6:45, 10:00

12:35, 3:00, 5:30, 8:00, 10:25

THE TOWN (14A violence, coarse language) DTS

Digital, Stadium Seating DAILY 12:05, 3:05, 7:05, 10:00

ing scenes) Digital Cinema DAILY 12:40, 3:00, 5:20, 8:00, 10:30

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

SCORE A HOCKEY MUSICAL (PG) DAILY

substance abuse) Stadium Seating, DTS Digital FRI�TUE, THU 12:45, 3:45, 6:45, 9:45; WED 12:45, 9:45

SECRETARIAT (G) DAILY 6:50 9:15; SAT�SUN 1:50 EDMONTON FILM SOCIETY

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

HOW GREEN WAS MY VALLEY (PG) 2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150

SAW 3D (R) Digital 3d FRI 4:45, 7:40, 10:15; SAT�SUN 2:00, 4:45, 7:40, 10:15; MON�THU 7:40, 10:15 ening scenes) 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, 7:10; SAT�SUN 1:35, 4:10, 7:10; MON�THU 7:10

RED (14A violence) FRI 4:20, 7:15, 10:00; SAT�SUN

1:25, 4:20, 7:15, 10:00; MON�THU 7:15, 10:00

JACKASS (R) Digital 3d FRI 4:35, 7:25, 10:05;

SAT�SUN 1:50, 4:35, 7:25, 10:05; MON�THU 7:25, 10:05

HEREAFTER (PG coarse language, mature subject matter) Digital Cinema FRI 3:45, 6:50, 9:50; SAT�SUN 1:00, 3:45, 6:50, 9:50; MON�THU 6:50, 9:50

THE SOCIAL NETWORK (PG coarse lan-

guage, substance abuse) FRI 4:00, 7:00, 9:45; SAT� SUN 1:20, 4:00, 7:00, 9:45; MON�THU 7:00, 9:45

THE TOWN (14A violence, coarse language) FRI�SUN 3:50, 6:40, 9:40; MON�THU 6:40, 9:40

CONVICTION (14A coarse language) FRI�TUE, THU 1:40, 4:30, 7:15, 10:05; WED 4:30, 7:15, 10:05; Star & Strollers Screening: WED 1:00 LIFE AS WE KNOW IT (PG, language may of-

4211-139 Ave, 780.472.7600

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 TOWN (14A violence, coarse language) DAILY 1:10, 4:10, 7:30, 10:15

EASY A (14A language may offend) DAILY 7:10, 9:30 PSYCHO (14A violent scenes) SUN 1:00 CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

SAW 3D (R) Digital 3d: DAILY 10:15; Ultraavx: FRI� SAT 1:00, 3:30, 6:00, 8:15, 10:45; SUN�THU 1:00, 3:30, 6:00, 8:15, 10:30

PARANORMAL ACTIVITY 2 (14A frighten-

ing scenes) FRI�SAT 2:15, 4:30, 6:45, 9:00, 11:15; SUN� THU 2:00, 4:30, 7:00, 9:30; Digital Cinema: FRI�SAT 1:00, 3:15, 5:30, 7:50, 10:15; SUN�THU 1:00, 3:15, 5:30, 7:45, 10:00

SCORE A HOCKEY MUSICAL (PG) FRI�SAT

1:30, 3:45, 6:10, 8:30; SUN�THU 1:00, 3:15, 6:00, 8:20

RED (14A violence) FRI 4:20, 7:05, 9:45; SAT�SUN 1:30, 4:20, 7:05, 9:45; MON�THU 5:35, 8:20

JACKASS (R) Digital 3d FRI 4:50, 7:10, 9:30; SAT�SUN

2:00, 4:50, 7:10, 9:30; MON�THU 5:40, 8:40

6601-48 Ave, Camrose, 780.608.2144

JACKASS (R) DAILY 7:00, 9:00; SAT�SUN 2:00 SAW 3D (R) DAILY 7:15 9:20; SAT�SUN 2:15 PARANORMAL ACTIVITY 2 (14A fright-

RED (14A violence) FRI�SAT 2:00, 5:00, 8:00, 10:30; SUN, TUE�WED 2:10, 4:45, 7:30, 10:15; Mon 7:30, 10:15; THU 4:45, 7:30, 10:15; Digital Cinema: FRI�SAT 1:15, 4:05, 7:00, 10:00; SUN�THU 1:00, 3:45, 6:30, 9:15; Star & Strollers Screening: THU 1:00

ening scenes) DAILY 7:10, 9:10; SAT�SUN 2:10

JACKASS (R) Digital 3d FRI�SAT 1:00, 3:30, 6:00,

RED (14A violence) DAILY 6:45, 9:05; SAT�SUN 1:45

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

ing scenes) DAILY 12:00, 2:30, 5:00, 7:30, 10:30

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

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

4:40, 7:20, 7:50, 10:45

WAITING FOR SUPERMAN (PG) DTS Digital

HEREAFTER (PG coarse language, mature subject matter) DAILY 12:15, 3:30, 6:45, 10:10

THE SOCIAL NETWORK (PG coarse language,

LIFE AS WE KNOW IT (PG, language may offend, substance abuse) DAILY 1:00, 4:00, 7:10, 10:15 coarse language, not recommended for children) Digital 3d DAILY 1:50, 4:50, 7:40, 10:40

LEGEND OF THE GUARDIANS: THE

OWLS OF GA'HOOLE (PG violence, frightening scenes, not recommended for young children) FRI�WED 12:00, 3:00; THU 12:00, 3:00, 7:00, 9:30

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

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 9:20 SAW VII (R) DAILY 7:10, 9:35; SAT�SUN 1:00, 3:35 YOU AGAIN (G) DAILY 7:00; SAT�SUN 12:55, 3:20

ening scenes) No passes THU, OCT 28: 12:50, 2:35, 4:15, 6:00, 7:50, 9:40

JACKASS (R) No passes THU, OCT 28: 1:20, 3:20, 5:20, 7:25, 9:25

LEDUC CINEMAS Leduc, 780.352.3922

scenes) DAILY 7:05, 9:40; SAT�SUN 1:05, 3:40

1:00, 3:20

YOU AGAIN (G) DAILY 7:00, 9:35; SAT�SUN 12:55, 3:35 METRO CINEMA 9828-101A Ave, Citadel Theatre, 780.425.9212

QAPIRANGAJUK: INUIT KNOWLEDGE AND CLIMATE CHANGE (STC) FRI 7:00 TROLL 2 (14A) SAT�SUN, MON 7:00 BEST WORST MOVIE (14A) SAT�SUN, MON

SAW 3D (R) DAILY 7:20, 9:20; SAT�SUN, TUE 1:20, 3:25 PARANORMAL ACTIVITY 2 (14A frighten-

DUGGAN CINEMA�CAMROSE

RED (14A violence) DAILY 12:50, 3:50, 6:50, 9:50 JACKASS (R) Digital 3d DAILY 12:20, 1:40, 3:20,

OCT 28: 1:00, 3:00, 4:55, 6:55, 8:45

PARANORMAL ACTIVITY 2 (14A frightening

SUN 1:00, 4:10, 7:25, 9:50; MON�THU 5:20, 8:30

RED (14A violence) Dolby Stereo Digital FRI 7:00, 9:50;

PARANORMAL ACTIVITY 2 (14A fright-

9:00

SAW 3D (R) Digital 3d FRI 4:10, 7:25, 9:50; SAT�

111 Ave, Groat Rd, 780.455.8726

PARANORMAL ACTIVITY 2 (14A frighten-

guage, substance abuse) No passes THU, OCT 28: 1:45, 4:20, 6:50, 9:10

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 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

WESTMOUNT CENTRE

DATE OF ISSUE ONLY: THU, OCT 28

substance abuse) FRI 4:05, 6:45, 9:25; SAT�SUN 1:20, 4:05, 6:45, 9:25; MON�THU 5:10, 8:15

coarse language, not recommended for children) Digital 3d FRI 3:50, 6:35, 9:10; SAT�SUN 1:10, 3:50, 6:35, 9:10; MON�THU 5:30, 8:25

FRI�WED 7:45, 10:20

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

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG violence, frighten-

MY SOUL TO TAKE (14A gory brutal violence,

RESIDENT EVIL: AFTERLIFE (18A gory scenes)

GRANDIN THEATRE�ST ALBERT

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

ing scenes, not recommended for young children) Digital 3d DAILY 1:15, 3:40, 6:30

TUE, THU 12:40, 3:45, 6:30, 9:20; SUN 12:40, 3:45, 6:25, 9:20; WED 12:40, 3:45, 9:50

DAILY 6:45, 9:30; SAT�SUN 2:00

SECRETARIAT (G) DAILY 12:30, 3:30, 6:50, 9:45 THE SOCIAL NETWORK (PG coarse language,

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

EASY A (14A language may offend) FRI�SAT, MON�

8712-109 St, 780.433.0728

JACKASS (R) DAILY 9:20 RED (14A violence) DAILY 6:55, 9:30; SAT�SUN 12:50, 3:30 STREET DANCE 3D (PG) DAILY 7:10; SAT�SUN

substance abuse) DAILY 1:30, 4:20, 7:20, 10:10

10:00, 10:45

12:30, 3:40, 6:40, 9:40; WED 3:40, 6:40, 9:40; THU 12:30, 3:40, 9:40; Star & Strollers Screening: WED 1:00

THE GIRL WHO KICKED THE HOR� NET'S NEST (14A sexual violence, violence)

PARANORMAL ACTIVITY 2 (14A frightening

substance abuse) FRI 3:45, 6:30, 9:15; SAT�SUN 12:50, 3:45, 6:30, 9:15; MON�THU 5:15, 8:10

SAW 3D (R) Digital 3d DAILY 12:10, 2:45, 5:15, 8:00,

THE TOWN (14A violence, coarse language) FRI�TUE

GARNEAU

THE SOCIAL NETWORK (PG coarse language,

fend, substance abuse) FRI�TUE, THU 1:20, 4:00, 7:00, 9:50; WED 4:00, 7:00, 9:50; Star & Strollers Screening: WED 1:00

WEM, 8882-170 St, 780.444.2400

recommended for young children) FRI�WED 1:30, 4:15, 7:00, 9:30

frightening scenes, not recommended for young children) SAT�SUN 1:30

SCORE A HOCKEY MUSICAL (PG) THU,

CLAREVIEW 10

SCOTIABANK THEATRE WEM

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE�AN IMAX 3D EXPERIENCE (PG violence, frightening scenes, not

EASY A (14A language may offend) DAILY 9:25 LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (PG violence,

BURIED (14A disturbing content, coarse language) Stadium Seating, DTS Digital DAILY 12:20, 2:50, 5:20, 7:50 Seating, DTS Digital DAILY 10:20

children) DAILY 7:15, 9:20; SAT�SUN 2:30

THE SOCIAL NETWORK (PG coarse language, substance abuse) FRI�TUE, THU 1:10, 4:10, 7:15, 10:15; WED 4:10, 7:15, 10:15; Star & Strollers Screening: WED 1:00

JACKASS (R) Digital 3d FRI�SUN 12:20, 2:50, 5:10,

SCORE A HOCKEY MUSICAL (PG) Stadium

YOU WILL MEET A TALL DARK STRANGER (14A) DAILY 7:00, 9:00; SAT�SUN 2:00 NEVER LET ME GO (14A not recommended for

SECRETARIAT (G) FRI 4:05, 6:45, 9:30; SAT� SUN 1:10, 4:05, 6:45, 9:30; MON�THU 6:45, 9:30

offend, substance abuse) FRI 4:15, 6:55, 9:35; SAT� SUN 1:15, 4:15, 6:55, 9:35; MON�THU 6:55, 9:35

THE SOCIAL NETWORK (PG coarse lan-

HEREAFTER (PG coarse language, mature subject matter) DAILY 12:45, 3:45, 6:40, 9:40

10337-82 Ave, 780.433.0728

MY SOUL TO TAKE (14A gory brutal violence,

THE SOCIAL NETWORK (PG coarse language,

7:50, 10:35; MON�THU 12:20, 2:50, 5:10, 7:50, 9:00, 10:35

PRINCESS

LIFE AS WE KNOW IT (PG, language may

RED (14A violence) FRI 6:35, 9:20; SAT�THU 12:50,

substance abuse) Stadium Seating, DTS Digital DAILY 12:15, 3:15, 7:15, 10:15

SECRETARIAT (G) DAILY 6:40, 9:10; SAT�SUN,

TUE 12:30, 3:10

PARANORMAL ACTIVITY 2 (14A fright-

RED (14A violence) THU, OCT 28: 1:05, 3:10, 5:10, 7:10, 9:15

3:50, 6:35, 9:20; Digital Cinema: FRI�SAT, MON�THU 2:00, 4:50, 7:40, 10:20; Digital Cinema: SUN 4:50, 7:40, 10:20

12:50, 3:00

MON 8:00

GALAXY�SHERWOOD PARK

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

1:50, 4:15

ALPHA AND OMEGA 3D (G) SAT�SUN, TUE

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

ing scenes) DAILY 7:00, 9:00; SAT�SUN, TUE 1:10, 3:20

RED (14A violence) DAILY 6:50, 9:00; SAT�SUN, TUE 1:00, 3:45

JACKASS (R) DAILY 7:30, 9:40 LIFE AS WE KNOW IT (PG, language may

offend, substance abuse) DAILY 7:10, 9:30; SAT�SUN, TUE 1:10, 3:40

THE SOCIAL NETWORK (PG coarse language, substance abuse) DAILY 6:45, 9:05; SAT�SUN, TUE 12:40, 3:15

VUEWEEKLY // OCT 28 – NOV 3, 2010

FILM // 23

MUSIC

SLIDESHOW >> Electricity for Everybody!, Field + Stream, No Means No, Ford Pier

AT VUEWEEKLY.COM

COMMENT >> KANYE WEST

Kanye West's pop artifice

The singer will do whatever it takes to get people talking and that may be his downfall Kanye West has always attempted to has made a business of telling us he posit himself as being bigger than the used to be poor but now he's rich and media that he creates. From releasing what the differences between his diveran artfully Auto-tuned R&B album in a gent lifestyles are. This likely informs his commercial climate that hadn't heard awareness of what works for the comanything like it, to getting drunk and mon audience member and why he knew interrupting Taylor Swift during a meanhow to roll out a video for "Runaway" ingless award ceremony, West prides that would make waves. himself on being among the fringes of Luckily for West, he is the only perthe pop world. In promotion of his upson in music who could do something coming album My Beautiful Dark like this and have it matter today.

Twisted Fantasy he has again Long-form music videos like ASH this used to be the domain subverted our expectations.

L ACK His GOOD Friday series has B of Michael Jackson, in a time the distinction of being both when having a music video m o eekly.c underwhelming and overtake up major real estate on @vuew roland wrought. Featuring a laundry Rolanrdton MTV mattered, as evidenced list of collaborators, West has by the recent West rhyme, Pembe been releasing a free song online "The day that you play me will every Friday for the past few months. be the same day MTV play videos."

Ironically, the most fully realized song With the live presentation of "Runaway" was also the first track he leaked via being simulcast on MTV, Much and onTwitter, "See Me Now," a breezy coline, Kanye has rediscovered pop music's production between him, producers Lex event-viewing potential.

Luger and No ID featuring Beyonce as a Filmed in Prague and written by rap perfect counterpoint to West's bravado. video impresario Hype Williams, West, Vanessa Beecroft and Jonathan Lia, the The loose story seems to revolve short film itself is unique for the same reasons West is. It amalgamates a rap (extended shots of the proaround cool images, Kanye looking cool background tagonist driving a MTX Tatra V8 around and foliage, a rare instance of MPC and thinly-veiled extended deer drum programming in a film), an interest in high-brow art (West gave nods to metaphors explaining why what Fellini and Kubrick on the MTV interview that followed the live presentation) and Kanye is doing is cool. a sense of enlightened populism. It uses elements of nine different songs from As scattershot as those releases have My Beautiful Dark Twisted Fantasy in been, the concept is valuable. There isn't creative, enticing ways and presents a even a prompt to buy the product, but camera in love with colour and bizarre then again, why would there be? West images (a marching band pantomimes to

// Pete Nguyen

BLUES

"All of the Lights" while flanking a giant papier-mâché Michael Jackson head).

Unfortunately, "Runaway" also reflects Kanye's poorer traits. It's light on narrative, self-indulgent, pretentious and seems separated from its influences in a way that reflects West's "personal shopping" approach to his artistic discoveries.

Like most of the GOOD Friday songs, the 35-minute "Runaway" is overlong. An exercise in style over substance, another in a line of forced epics (the aforementioned "All of the Lights" features John Legend, The-Dream, Ryan Leslie, Tony Williams, Charlie Wilson, Elly Jackson, Alicia Keys, Fergie, Kid Cudi, Rihanna and Elton John).

He naturally casts the insanely striking Selita Ebanks as his character Griffin's fallen-phoenix love interest. The loose story seems to revolve around cool images, Kanye looking cool and thinly-veiled extended metaphors explaining why what Kanye is doing is cool.

Which is actually fine, considering the product. Clearly, through a feedback loop of our acceptance of his behaviour and reinforcement of his musical brilliance, Kanye will now do anything that will get us talking. It's no small task capturing the imagination of a generation with short attention spans and broadband interests.

This makes "Runaway," and My Beautiful Dark Twisted Fantasy by extension, a potential last glimpse of a star in control of his powers. The Icarian overtones are too obvious to overlook. V Roland Pemberton is a musician and writer, as well as Edmonton's Poet Laureate.

His music column appears in Vue Weekly on the last Thursday of each month.

The Rural Alberta Advantage Fri, Oct 29 (7 pm) The Rural Alberta Advantage With Pepper Rabbit, Imaginary Cities Horowitz Theatre, $20 Hometowns, the Rural Alberta Advantage's equal parts pretty and punishing debut, was a collection of short stories about loss and yearning, heartbreak and reminiscence, distance and regret. And, yes, it told these stories with Alberta as its backdrop: death in Lethbridge, legislature lights and Frank avalanches.

Between that backdrop and the band's name, RAA singer and songwriter Nils Edenloff has managed to tether himself quite closely to his province of origin, and though the group's blossoming success is proof enough that specificity is no impedi-

24 // MUSIC

ment to universal understanding, there may be some worry that it could lead to creative rut, a gimmick as that band always writing about that odd little province.

For Edenloff, though, such concerns aren't concerns at all; as he tells it, his focus is on making music that strikes a personal chord, wherever that inspiration happens to come from.

"The way I've thought about it is, having grown up in Alberta, those things have had an effect on me, and regardless of how long I've been away, those experiences are going to stick with me; they're not going to go away, whether or not the references to Alberta are obvious," he explains. "I enjoy music that's intensely personal, so I think the songs convey a personal moment or feeling or event, so I didn't focus on what

we need to be or not be."

For the follow-up to Hometowns, then—which the band, rounded out by multi-instrumentalist Amy Cole and drummer Paul Banwatt, has already started recording—we can expect another chapter in the life of Nils Edenloff, filtered through his innate knack for pop melody and subtle eye for telling detail. He hasn't yet been able to pinpoint what exactly his latest group of songs is about—he is one of those writers who captures a feeling then finds out what he was thinking about it—but he knows that once again they're dealing with something in his past, something he has needed to digest and consider before he can now let it out in song.

VUEWEEKLY // OCT 28 – NOV 3, 2010

Nils Edenloff, Amy Cole and Paul Banwatt of the Toronto-based Rural Alberta Advantage

"I guess I feel like—I don't know if I could have done this in my early 20s," he admits. "I think I need to miss things, and look back on things I didn't want to realize. I think, especially with our recording style and writing style, it's a

very long and arduous process of reflection and analyzing and reanalyzing, and slowly, slowly cobbling something together. A lot of the songs come from that reflection." V DAVID BERRY // DAVID@vueweekly.com

VUEWEEKLY // OCT 28 – NOV 3, 2010

MUSIC // 25

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

THU OCT 28 ACCENT EUROPEAN LOUNGE Erica Viegas (folk/ pop), Jordan Kodie (folk/pop/ roots); 9:30pm-11:30pm; no minors; no cover

Bring an instrument, jam/ sing with the band, bring your own band, jokes, juggle, magic; 8-12

FUNKY BUDDHA�Whyte Ave Requests with DJ Damian

CASINO YELLOWHEAD Stars Tonight (variety)

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

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

RIC’S GRILL Peter Belec (jazz); every Thu; 7-10pm

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

RUSTY REED'S HOUSE OF BLUES Rault Brothers; 9pm

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

CROWN AND ANCHOR Trick 'n' Treatn' to end hunger Hallowe'en show: Train Wreck; Edmonton Food Bank Benefit

SECOND CUP�Varscona Live music every Thu night; 7-9pm

LUCKY 13 Sin Thu with DJ Mike Tomas

DV8 Axiomatik, Beyond Addiction; 9pm-2am

UNIVERSITY OF ALBERTA Maple Leaf Room, Lister Centre; Edmonton Social Planning Council 70th Anniversary Fundraising Gala: Maria Dun; 6pm

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

EDMONTON EVENT CENTRE Hallowe'en Thriller: Harmon B, DJ Kwake, Easy Love DJs, The Internationals

NEW CITY Deadbolt; 9pm NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers

ENCORE CLUB With A Latin Twist: free Salsa Dance Lessons at 9pm EXPRESSIONZ CAFÉ Al Brant (CD release); 7pm; $15-$20

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

BLUES ON WHYTE Ross Neilsen and the Sufferin’ Bastards

FESTIVAL PLACE Septeto Nacional Ignacio Pineiro; 7:30pm; $40 (table)/$36 (box)/$34 (theatre) at Festival Place box office

YARDBIRD SUITE Rufus Reid "Out Front" Trio; 8pm (door), 9pm (show); $28 (member)/$32 (guest) at TicketMaster

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

HAVEN SOCIAL CLUB Slaid Cleaves, Michael O'Connor; 7:30pm (door); $25 (adv)

CAFÉ HAVEN Jordan Kaminski; 7pm

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

BLUE CHAIR CAFÉ Thu Nite Jazz Series: Celsius Trio; 7:30pm; $8

CARROT CAFÉ Zoomers Thu afternoon Open Mic; 1-4pm COLAHAN'S Back-porch jam with Rock-Steady Freddy and the Bearcat; every Thu 8pmmidnight

J AND R Classic rock! Woo! Open stage, play with the house band every Thu; 9pm JAMMERS PUB Thu open jam; 7-11pm

CHRISTOPHER'S PARTY PUB Open stage hosted by Alberta Crude; 6-10pm

JEFFREY'S CAFÉ Alee Adomoski (country/pop singer); $10

CROWN AND ANCHOR Jake Ian Band, Prairie Nights

JULIAN'S�Chateau Louis Graham Lawrence (jazz piano); 8pm

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 DV8 Open mic Thu hosted

by Cameron Penner/and/ or Rebecca Jane; State of Minefields, Deadhead Catastrophe EDMONTON EVENT CENTRE Atreyu, Bless The Fall, Chiodos, Architects UK, Endless Highway; all ages; 6pm; $28 at TicketMaster, Blackbyrd, Unionevents.com ELECTRIC RODEO�Spruce Grove Open Stage Thu:

L.B.'S PUB Thu open jam with Kenny Skoreyko, Fred Larose and Gordy Mathews; 9pm-1am LEVA CAFÉ Shuffle Hound or Mike Chenoweth (high energy blues); 8-10:30pm no cover LIVE WIRE BAR Open Stage Thu with Gary Thomas LYVE ON WHTYE Five Alarm Funk, Scantily Clad and the Well Dressed Men, Desert Bar Band; 8pm MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm

WILD WEST SALOON Steve Arsenault

Classical JUBILEE AUDITORIUM Puccini–La Bohème: Edmonton Opera Chorus and the Edmonton Symphony Orchestra; sung in Italian with English supertitles; 7:30pm MUTTART HALL Edmonton Recital Society: Martin Kasik (piano); 7:30pm; $30 (adult)/$20 (student/senior) at TIX on the Square

DJs BILLY BOB’S LOUNGE Escapack Entertainment BLACK DOG FREEHOUSE Big Rock Thu: DJs on 3 levels–Topwise Soundsystem spin Dub & Reggae in The Underdog BRIXX BAR Radio Brixx with Tommy Grimes spinning rock and roll BUDDY'S Thu Men’s Wet Underwear Contest with DJ Phon3 Hom3; 9pm (door); no cover before 10pm

ON THE ROCKS Salsaholic Thu: Dance lessons at 8pm; Salsa DJ to follow

FRESH START BISTRO The Miguel Angel Casas Brazilian Jazz Group; 7-10pm

PLAY NIGHTCLUB Gameshow every Thu with Patrick and Nathan; 9pm

GIBBONS HOTEL Mr Lucky (blues/roots)

RENDEZVOUS PUB Mental Thurzday with org666

HAVEN SOCIAL CLUB Hallowe'en Party: Boogie Patrol (blues, funk, soul band), guest; 7:30pm (door); $15 (adv) at YEG Live

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

HORIZON STAGE The Oliver Jones Trio (jazz); 7:30pm; $35 (adult)/$30 (student/senior) at 780.962.8995

FRI OCT 29

IRISH CLUB Jam session; 8pm; no cover

ARDEN Linda Tillery and the Cultural Heritage Choir; 7:30pm

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

ARTERY CR Avery, Low Flying Plans, guests; 8:30pm; $12 (door)

JEFFREY'S CAFÉ Jerrold Dubyk (jazz sax player, and his band); $10

AVENUE THEATRE Raised Fist’s Hallo we'en Massacre: Built on Despondency (CD release), Harmful Effects, Siteline, Vivisect; no minors; 8pm (door)

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

AXIS CAFÉ Don Amero Band (pop/rock); 8pm; $10 BLUE CHAIR CAFÉ Marv Machura Band; donations

CHROME LOUNGE 123 Ko every Thu

BRIXX BAR This Girl That Boy (CD release), Elliot and Tiff Hall Band; 9pm; $12 (door)

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

780.487.8887 CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 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 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FIRST PRESBYTERIAN CHURCH 10025-105 St FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GIBBONS HOTEL 5010-50 Ave, Gibbons, 780.923.2401 GLENORA BISTRO 10139-124 St,

780.482.3531 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 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 LEVA CAFÉ 11053-86 Ave 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 MCDOUGALL UNITED CHURCH 10025-101 St MEAD HALL 10940-166 A St MORANGO’S TEK CAFÉ

FLUID LOUNGE Girls Night out

GLENORA BISTRO Maybe Someday

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

BLUES ON WHYTE Ross Neilsen and the Sufferin’ Bastards

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

ENCORE CLUB 4 Play Fri

PLANET INDIGO�St Albert Hit It Thu: breaks, electro house spun with PI residents

CENTURY ROOM Underground House every Thu with DJ Nic-E

THE DRUID IRISH PUB DJ every Thu at 9pm

ELECTRIC RODEO�Spruce Grove Lester Le Breton

JULIAN'S�Chateau Louis Graham Lawrence (jazz piano); 8pm LYVE ON WHYTE Early show: Hollywood Assassyn, Mars and Venus, Five Years Further; Late show: Mourning Wood MYER HOROWITZ THEATRE The Rural Alberta Advantage, Pepper Rabbit, Imaginary Cities; 7pm (door); $20 at Blackbyrd, Listen, foundationconcerts.com

CARROT Live music Fri: all ages; Daniel Etoroma; 7pm; $5 (door)

NEW CITY I LOVE '80s: Capital City Burlesque Hallo we'en Party; 9pm

CASINO EDMONTON Billy Jive (showband)

ON THE ROCKS Hallowe'en: Bonafide; 9pm; $5

10118-79 St MUTTART HALL Alberta College 10050 MacDonald Dr 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 Street, St Albert, 780.460.6602 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390

ST BASIL’S CULTURAL CENTRE 10819-71 Ave SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave SHADE 105 10148-105 St SHAW CONFERENCE CENTRE 9797 Jasper 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 VINYL RETRO DANCE LOUNGE 10740 Jasper Ave 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 Square; 780.28.1414 WOK BOX 10119 Jasper Ave WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARDEN 5 St Anne St, St Albert 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 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 CHATEAU LOUIS 11727 Kingsway, 780 452 7770 CHRISTOPHER’S 2021 Millbourne Rd, 780.462.6565 CHROME LOUNGE 132 Ave, Victoria Trail CHURCH OF SCIENTOLOGY 10255-97 St, 780.425.3662 COAST TO COAST 5552 Calgary Tr, 780.439.8675 COLAHAN'S 8214-175 St,

26 // MUSIC

VUEWEEKLY // OCT 28 – NOV 3, 2010

PAWN SHOP Sonic Band of the month Hallo we'en Costume Party: The Weekend Kids (Sonic band of the month); Hallowe'en Costume Party; 8pm

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

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm2am

IRON HORSE House in the Horse: Every Fri featuring a different house DJ; 2 Different DJs, 2 Styles of Music, 2 levels

REXALL PLACE Reba, Melissa Peterman; all ages; 6:30pm (door), 7:30pm (show); $49.50, $69.50, $89.50 at TicketMaster

JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm

RUSTY REED'S HOUSE OF BLUES Rusty Reed Band; 9:30pm; $10 ST BASIL’S CULTURAL CENTRE Full Moon Folk Club: Lynn Miles with Keith Glass; 7pm (door), 8pm (show); $17 (adv) at TIX on the Square/$20 (door); child under 12 halfprice (door) SHAW CONFERENCE CENTRE The Bear Hallo we'en Howler: Bret Michaels; 8pm

GAS PUMP Top 40/dance with DJ Christian

NEWCASTLE PUB Fri House, dance mix with DJ Donovan

GIBBONS HOTEL Mr Lucky (blues/roots)

NEW CITY LIKWID LOUNGE DJ Anarchy Adam (Punk)

HAVEN SOCIAL CLUB Po' Girl, JT Nero; 7:30pm (door); $20 (adv) at Blackbyrd, Listen, foundationconcerts.com

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

STEEPS�Old Glenora Live Music Fri

ROUGE LOUNGE Solice Fri

WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Steve Arsenault WOK BOX Fri with Breezy Brian Gregg; 3:30-5:30pm YARDBIRD SUITE Karin Plato, John Roney; 8pm (door)/9pm (show); $16 (member)/$20 (guest) at TicketMaster

Classical WINSPEAR CENTRE Mysterioso: Music, Magic, Mayhem, and Mirth: Jack Everly (conductor), Joseph Gabriel (magician, illusionist), Les Arnold and Dazzle (comedy magic), Christina Bianco (vocals), David and Dania (magic), Steve Hanna (drums); 8pm; $24-$81

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 BAR�B�BAR DJ James; no cover BAR WILD Bar Wild Fri BLACK DOG FREEHOUSE 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 BLACKSHEEP PUB Fri Bash: DJ spinning retro to rock classics to current BOOTS Retro Disco: retro dance BUDDY’S Fri: DJ Arrow Chaser; 8pm (door); no cover before 10pm CENTURY ROOM Underground House every Fri with DJ Nic-E CHROME LOUNGE Platinum VIP Fri THE DRUID IRISH PUB DJ every Fri at 9pm EMPIRE BALLROOM Rock, hip hop, house, mash up; no minors ESMERELDA'S Ezzies Freakin Frenzy Fri: Playing the best in country

EDMONTON EVENT CENTRE Monster Mash Hallo we'en Bash: with DJ David Stone, DJ Flash; 9pm (door); $25 at TicketMaster, Foosh, Rain (WEM), Shadified (North) ELECTRIC RODEO�Spruce Grove Souljah Fyah; 10pm

REDNEX�Morinville DJ Gravy from the Source 98.5

UNION HALL Hallo we'en Ladies Night: Michael Jackson Thriller Tribute performance

DV8 Scrapbooker, Organized Sports, National Security Council; 9pm-2am

LEVEL 2 LOUNGE Formula Fri: Tianna J (CD release party); Vampire Theme Party: with DJ TZ, David Stone, Groovy Cuvy; free CD with paid cover $5 (before 11pm)/$10 (after 11pm)

STARLITE ROOM Dead Jesus, Necronaut, Terror Fist, Desacrate The Gods; no minors; 9pm; $12 (adv) /$15 (door)

TOUCH OF CLASS�Chateau Louis Lyle Hobbs; 8:30pm12:30am

DOW�SHELL THEATRE The Oliver Jones Trio (jazz); 8pm; $37 (adult)/$34 (student/senior) at 780.992.6400

RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson 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) VINYL RETRO DANCE LOUNGE The Mansion Hallo we'en (dance); no minors; 8pm; $10 Y AFTERHOURS Foundation Fri

SAT OCT 30 180 DEGREES Dancehall and Reggae night every Sat ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 ARDEN Linda Tillery and the Cultural Heritage Choir; 2pm ARTERY Art Attack: Hellpreacher Let's Dance, No Problem art show; reception at 7pm; 9pm (bands); $5 (with costume)/$10 (no costume) AVENUE THEATRE Super Fantastic Hallo we'en Extravaganza: The Death of Gabbo: White Lightning, Dark Sand, Dawn in the City, guests; $15 (adv at Theatre Garage, band members, deathofgabbo. com)/$20 (door) BLACK DOG FREEHOUSE Hair of the Dog: Joey Shithead Keithley (of DOA), (live acoustic music every Sat); 4-6pm; no cover BLUES ON WHYTE Ross Neilsen and the Sufferin’ Bastards

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

HILLTOP PUB Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm HYDEAWAY St Pariah and friends; 8pm IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 IRON HORSE Heaven and Hell Hallo we'en Party; $10 (adv)/$15 (door) IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JAMMERS PUB Sat open jam, 3-7:30pm; country/rock band 9pm-2am JEFFREY'S CAFÉ Andrew Glover, Bob Tildesley (preview of songs from his new CD); $15

MCDOUGALL UNITED CHURCH Josh Ritter, The Royal City Band, Basia Bulat; $27.50 at Blackbyrd, Listen, foundationconcerts.com MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm NEW CITY Great New City Hallo we'en Bash with DJs Blue Jay, Dervish, The Gothfather, Anonymouse; 9pm; $10 O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm ON THE ROCKS Hallowe'en: Bonafide; 9pm; $5

BRIXX BAR Dirt bags, Fuquored, Joey Moss; no minors; 9pm; $12 (door)

RED PIANO BAR Masquerade Ball: dueling piano show at 9pm; $10

CARROT Open mic Sat; 7:3010pm; free CASINO EDMONTON Billy Jive (showband)

RENDEZVOUS Fear of City, Suburban Syndrome, Soundscape Devils (costume party); $8

CASINO YELLOWHEAD Stars Tonight (variety)

RIVER CREE�The Venue Kris Kristofferson

COAST TO COAST Live bands every Sat; 9:30pm

RUSTY REED'S HOUSE OF BLUES Rusty Reed Band; 9:30pm; $10

REDNEX�Morinville Hallowe'en Bash: Colleen Rae; $15

STARLITE ROOM Oh Snap: Hallo we'en Massive: Klever, Freq Nasty, Emotionz, Degree, guests; no minors; 9pm; $20 at Foosh, Blackbyrd, Room 322, TicketMaster TAPHOUSE�St Albert Hallo we'en Party: 80-D and Stone Iris; 7pm; prizes for best costumes; $10, $12 (door)

VINYL RETRO DANCE

WINSPEAR Stars, Young Galaxy; 7pm; $32.50 at Winspear box office

Y AFTERHOURS Release Sat

Classical

ARDEN Judy Collins, guests; 7:30pm; $37.50 at TicketMaster

FIRST PRESBYTERIAN CHURCH Richard Eaton Singers, Leonard Ratzlaff (conductor), Jeremy Spurgeon (organ), Memorial Composite High School Mixed Ensemble; 8pm; $25 (adult)/$20 (student/ senior) at TIX on the Square WINSPEAR CENTRE Mysterioso: Music, Magic, Mayhem, and Mirth: Jack Everly (conductor), Joseph Gabriel (magician, illusionist), Les Arnold and Dazzle (comedy magic), Christina Bianco (vocals), David and Dania (magic), Steve Hanna (drums); 8pm; $24-$81

DJs AZUCAR PICANTE Every Sat: DJ Touch It, hosted by DJ Papi THE BANK Join the Circus Hallo we'en: DJ Russell James, Mike Tomas (Hot 107); no minors; 8pm; $10 BLACK DOG FREEHOUSE Sat DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered BLACKSHEEP PUB Sat DJ BUDDY'S Sat: Feel the rhythm with DJ Phon3 Hom3; 8pm (door); no cover before 10pm

THE DRUID IRISH PUB Sat DJ at 9pm

LYVE ON WHYTE Nashville Pussy, Civet, Jezibelle; 8pm; tickets at TicketMaster, Blackbyrd

TEMPLE Oh Snap! every Sat: LOUNGE Orange Hallo we'en Glow Party; no minors; 8pm

JULIAN'S�Chateau Louis Graham Lawrence (jazz piano); 8pm L.B.’S PUB Sat afternoon open jam with Gator and friends, 5-9pm; extended Jam with Kenny Skoreyko, Mark Ammar

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

WILD WEST SALOON Steve Arsenault

CENTURY ROOM Underground House every Sat with DJ Nic-E

PAWN SHOP Headbanging Hallowe'en: DioStriker, Motorhezbollah, Binge n' Purge; 8pm

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

UNION HALL Hallo we'en Horror Night; $13 (adv)

JUBILEE AUDITORIUM Great Big Sea, guests; all ages; 7:30pm (show); sold out

BOHEMIA Art+Muzak: 5th Anniversary, Hallo we'en Edition; free (member); free memberships at door; costume contest, monster mash danceoff, music; 8:30pm (door), 9pm (show)

CROWN AND ANCHOR Trick 'n' Treatn' to end hunger Hallowe'en show: Train Wreck; Edmonton Food Bank Benefit

TOUCH OF CLASS�Chateau Louis Lyle Hobbs; 8:30pm12:30am

EMPIRE BALLROOM Rock, hip hop, house, mash up ENCORE CLUB So Sweeeeet Sat ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Sat Gone Gold Mash-Up: with Harmen B and DJ Kwake FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm LEVEL 2 LOUNGE Kinetic Sat: with Micky Sasso, Josh EP NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri NEW CITY LIKWID LOUNGE Punk Rawk Sat with Todd and Alex NEW CITY SUBURBS Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay PALACE CASINO Show Lounge Sat night DJ PAWN SHOP SONiC Presents Live On Site! Anti-Club 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 metal night SHADE 105 Hallowe'en DJ; 7pm-2am; no minors; costumes; $20 SPORTSWORLD Roller Skating Disco Sat; 1pm4:30pm and 7-10:30pm

SUN OCT 31 BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm BLACK DOG FREEHOUSE Dead Rockstar costume party: Jam and karaoke with Maple Tea; no cover BLUE CHAIR CAFÉ Sun Brunch: Tangele; 10am2:30pm; donations BLUE PEAR RESTAURANT Jazz on the Side Sun: Don Berner; $25 if not dining BLUES ON WHYTE Ross Neilsen and the Sufferin’ Bastards B�STREET BAR Acoustic-based open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening CHURCH OF SCIENTOLOGY Open stage; blues and original, all welcome every Sun; 7-9:30pm 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 KeriLynne Zwicker, 4-7pm DV8 The New Jacobin Club: The Hand that cradles the ROCK: (death rock) with a member of The Angry Teeth Freakshow, The Preying Saints with Rod Rookers (set as "Horror Business"), Grimm Hymn and the Horrors, The Swamp Monsters; $10 EDDIE SHORTS Sun acoustic oriented open stage hosted by Rob Taylor HAVEN SOCIAL CLUB Winter Gloves, Violent Kin, guests; 7:30pm HYDEAWAY Sun Night Songwriter's Stage: hosted by Rhea March J AND R BAR Open jam/stage every Sun hosted by Me Next and the Have-Nots; 3-7pm MEAD HALL Hallo we'en Night: No Other Way (rock/ metal), Demon Republic, Fringe; no minors; 8pm (door); $8 NEWCASTLE PUB Sun Soul 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 NEW CITY SUBURBS Queers Never Die: The Fabulous Hallo we'en Extravaganza; 9pm O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ON THE ROCKS Seven Strings Sun: King Muskafa; 9pm; $5 ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm RENDEZVOUS Auturic Hello we'en bash costume party aftermath: Reverend Kill,Dead as December; $8 ROYAL COACH�Chateau Louis Petro Polujin (classical guitar); 5pm RUSTY REED'S HOUSE OF BLUES Mighty Insomnia Open Blues Jam; 8pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm SHADE 105 Fear and Loathing Hallowe'en; rock, heavy metal; no minors; 8pm; costume; $20

VUEWEEKLY // OCT 28 – NOV 3, 2010

MUSIC // 27

COMMENT >> LOCAL COVERAGE

It's not always greener

A bigger city doesn't necessarily mean more local music coverage Being gainfully employed by an alt ter at this than Montréal is, or Toronto weekly, I'm inordinately interested in itself ever was in the past). The idea what other cities' magazines of a band like Falklands getting have to offer and generally on the cover, as happened make a point of picking up here just last week, would as many as I can get my be insane. (And, I mean, hell, hands on whenever I travel. there was an 11-year period m o ekly.c vuewe Having just returned from when the Village Voice didn't david@ a couple weeks in Montréput a single band on their Davidy al, Ottawa and Toronto, I'm cover, and I hear New York has Berr freshly inundated with what a few interesting ones.) other papers are doing, and man, I Now, there are some reasonable have to say, the next time an Edmon- explanations. Both Toronto and Monton musician wants to complain about tréal are major cities, obviously, and our lack of local coverage, they should get a frequency of quality touring acts take a quick survey of what other pa- that Edmonton can barely even wave pers in the land do. at. Still, though: they're the centres In both Toronto and Montréal, it of a Canadian indie scene that has beseems almost impossible for a local come one of the world's most vibrant. to even get their show mentioned in I'm sure Arcade Fire and Broken Social a brief or get an album review, never Scene have no trouble getting covermind something crazy like getting a age, but you'd think that those bands full-on show preview (though admit- would also serve as examples of what tedly Toronto seems to be getting bet- their respective cities can produce, and

R GUTTE E

DANC

STARLITE ROOM Hallowe'en 2010: Bands as Bands, DJs as DJs Hallo we'en Party; 7pm; $10 limited through Bands, $15 (adv) at Blackbyrd, Listen, Freecloud, Brixx/$20 (door) UNION HALL Hallowe'en Night hosted by the Mike Situation; sounds by Harman B, DJ Kwake, Johnny Infamous; costumes mandatory; $29.95 WINSPEAR Stars, Young Galaxy; 7pm; all ages; $34.50 (adv)/$38.50 (day of )

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 FLOW LOUNGE Stylus Sun NEW CITY SUBURBS Get Down Sun: with Neighbourhood Rats PLAY NIGHTCLUB Rotating Drag shows; every Sun; 9pm (door) SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover SPORTSWORLD Roller Skating Disco Sun; 1-4:30pm; sportsworld.ca

MON NOV 1 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE Trevor Finlay DEVANEY'S IRISH PUB Open stage Mon with Ido Vander Laan and Scott Cook; 8-12

Classical CONVOCATION HALL The Enterprise String Quartet, Janet Scott Hoyt; 8pm; $20 (adult)/$15 (student/senior)

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

WINSPEAR CENTRE Chantal Kreviazuk, Lucas Waldin (conductor), Chantal Kreviazuk (vocals); 7:30pm; $20-$71 at Winspear box office

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

DJs

WINSPEAR CENTRE Henderscheetz and Friends: Born in the Barn Band, MC Chris Scheetz; 7pm

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 NOV 2 BLUES ON WHYTE Trevor Finlay BRIXX BAR Troubadour Tue 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

L.B.'S Cherry Riffin

L.B.’S PUB Tue Jam with Ammar; 9pm-1am

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

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

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

O’BYRNE’S Celtic Jam with Shannon Johnson and friends

ROSE BOWL/ROUGE LOUNGE The Legendary Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm

28 // MUSIC

RUSTY REED'S HOUSE OF BLUES Blue Mon Open Blues Jam with Jim Guiboche; 8pm

PADMANADI Tue open stage with Mark Davis; 7:3010:30pm RUSTY REED'S HOUSE OF BLUES Live music; 8:30 p.m.

VUEWEEKLY // OCT 28 – NOV 3, 2010

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

YARDBIRD SUITE Tue Night Sessions: Dave Babcock Quartet

DJs BLACK DOG FREEHOUSE Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam BRIXX BAR Troubadour Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8 BUDDYS Tue with DJ Arrow Chaser; free pool all night; 9pm (door); no cover

their local weeklies would be more eager to find that stuff before everyone else figures it out, too.

I think the reasons for doing so goes beyond just moral arguments about supporting the local, too. The one advantage alt weeklies have over other forms of media that have been hurt by the web is their relatively local focus.

Publications with a national or international mandate are obviously competing against a much broader field; why would I read the Journal's world news section, say, when I can read the BBC or the New York Times who have way more resources? The same principle basically applies to bigger bands: there is no shortage of information out there on Radiohead.

An up-and-coming band in your own city, though? That's basically a monopoly you can exploit, and if and when they break, you're essentially the only source of information on them. Local coverage just makes sense for us little guys. V

COPPERPOT RESTAURANT Live jazz every Wed night: P. J. Perry; 6-9pm CROWN PUB Creative original Jam Wed (no covers): hosted

by Dan and Miguel; 9:30pm12:30am EDDIE SHORTS Goodtime jamboree Wed open stage hosted by Charlie Scream; 9pm-1am EXPRESSIONZ CAFÉ Wed Open stage hosted by Randall Walsh: focus on original material; all-age venue; 7-11pm; admission by donation FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12 GOOD EARTH COFFEE HOUSE Wed with Breezy Brian Gregg; 12-1pm HAVEN SOCIAL Open stage with Jonny Mac, 8:30pm, free LYVE ON WHYTE The Frolics, Bad News, Utopian Skank NEW CITY Circ-O-RamaLicious: Gypsy and circus fusion spectaculars; last Wed every month

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: Greg Zawaski (solo piano); 12:10-12:50pm; free; 780.468.4964

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 FLUID LOUNGE Wed Rock This

PAWN SHOP Two Hours Traffic, The Jezabels; 8pm; $15 (adv) at Blackbyrd, Listen, foundationconcerts.com

IVORY CLUB DJ ongoing every Wed; open DJ night; 9pmclose; all DJs welcome to spin a short set LEGENDS PUB Hip hop/R&B with DJ Spincycle

RED STAR Tue Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly

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)

WED NOV 3

RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm-1am; $5

ESMERALDA’S Retro Tue; no cover with student ID FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock, spooky with DJ Vylan Cadaver

ARDEN THEATRE Lunch At Allen's (alt rock); 7:30pm BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed BLUE CHAIR CAFÉ Trevor Tchir, Matthew Hornell and the Diamond Minds; 8pm; $10 BLUES ON WHYTE Trevor Finlay BRIXX BAR Really Good… Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no cover

RIVER CREE Wed Live Rock Band hosted by Yukon Jack; 7:30-9pm RUSTY REED'S HOUSE OF BLUES Gord Mathews Band; 8:30pm SECOND CUP�Mountain Equipment Open Mic every Wed; 8-10pm STEEPS TEA LOUNGE� College Plaza Open mic every Wed; hosted by Ernie Tersigni; 8pm

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: Hip-Hop; 9pm STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; beatparty.net Y AFTERHOURS Y Not Wed

MUSIC NOTES Slow Beef / Thu, Oct 28 Yearning on the Prairies is not an unknown emotion, but Trevor Rutley's latest project, Slow Beef, captures well the feeling of not quite fitting into one thing and not quite feeling fulfilled by another, whether it's girls, jobs or places. And the raggedy lo-fi of his home recordings adds to the rockyvoiced perfection. (Wunderbar) Scrapbooker / Fri, Oct 29 (9 pm) & Sat, Oct 30 (9 pm) With an Internet-only album in its collective grubby mitts, Scrapbooker will be laying down its noisy drama-core at two shows this weekend, the first of which, at the Hydeaway, will be all ages. Grab a copy of the new album, called Live Sex! From the Senate Floor when you can. (The Hydeaway, DV8 Tavern) Oliver Jones / Fri, Oct 29 (7:30) & Sat, Oct 30 (8 pm) It would take two lifetimes for any mere mortal to cram as much achievement into their life as Oliver Jones has, which is why it's no surprise the jazz pianist was awarded the Governor General's Award for Lifetime Achievement in 2005. A child prodigy from the age of two, Jones began performing regularly at nine and has been performing for 71 years, so

you can be assured he'll have practised for his upcoming gigs. (Horizon Stage, Spruce Grove & Shell Theatre-Dow Centennial Centre, Fort Saskatchewan, $30 – $37)

time for choral music: there's something about the power of human voice coupled with the power of nature to remind us that we're merely one small bit of a much larger whole. The fall concert of the Richard Eaton

Dead Jesus / Fri, Oct 29 (9 pm) No word yet on what changes shall be wrought on All Hallows' Eve—the most evil night of a Satanist's busy schedule—but bassist Lord Bedingfield IV has said that longtime metal gods Dead Jesus will unveil a new lineup of the venerable group at a Halloween show this Friday. (Starlite Room, $10)

Singers will help remind you of your place in the world while singing crowd favourites such as Cantique de Jean Racine, Beibl's Ave Maria and O magnum mysterium. (First Presbyterian Church, $20 – $25)

Richard Eaton Singers / Sat, Oct 30 (8 pm) Changing seasons are always a great

The Dead Cold / Sun, Oct 31 (8 pm) Truly, could there be a better name for a metal band from Edmonton than the Dead Cold? Have you seen it outside lately? (Shade 105, $10) —BRYAN BIRTLES

Marv Machura / Fri, Oct 29 (8 pm) Marv Machura's hair is in a death battle with Corb Lund's for Alberta roots' greatest ever coif—and I think Marv's is winning. (Blue Chair Café, by donation)— BRYAN BIRTLES

SLIDESHOW

No Means No

JProcktor // jprocktor.com

Fri, Oct 22 / Starlite Room VUEWEEKLY.COM/SLIDESHOWS >> more of JProcktor photos

VUEWEEKLY // OCT 28 – NOV 3, 2010

MUSIC // 29

PO' GIRL Sat, Oct 30 (8 pm) Po' Girl Haven Social Club, $20 // Jeff Steinmetz

of play it the way we play it and try and capture that as faithfully as possible."

Having a number of records under the band's collective belt also helped the latest session go more smoothly than it might have a few years ago, she explains. By this point, the members of Po' Girl are used to the way they all work and are no longer strangers to the recording studio.

"This one is our sixth studio album so we're getting more relaxed and better at recording and not intimidated by the fact that you're recording, which I think in the early days happened to us a lot where we felt like there was all this pressure and we were unnatural because of it," she says. "There was none of that—we were just really enjoying laying the songs down and playing together.

Obviously we enjoy playing together or we wouldn't be touring this much." V BRYAN BIRTLES // BRYAN@vueweekly.com

Stars brings The Five Ghosts to the Edmonton stage on Halloween. Pretty spooky.

Stars Sun, Oct 31 (7 pm) Stars With Young Galaxy Winspear Centre, $32.50 Stars is a band of what you might call ecstatic ambiguity: the group wants you to feel intensely, it's just not expressly interested in exactly how that's supposed to be. The songs are often melodramatic, but floating between one of any number of emotions: for instance, is the band's best-known song "Your Ex-Lover is Dead" a pissed-off kiss-off, or a melancholy lament for a space that now exists between two people?

The willingness to exist in that in-between space is one of the band's great strengths, and it's in full effect on its latest release, The Five Ghosts. Full of, as you might expect, stories of the past weighing over the lives of people, it is as pop-operatic as anything the band's done, but nowhere is it exactly clear whether these are ghosts we should fear or welcome, spectres of past regret or fading memories of things we once loved.

That's quite by design, explains Stars

30 // MUSIC

VUEWEEKLY // OCT 28 – NOV 3, 2010

// Norman Wong

When a band tours 280 days out of the year, there isn't much time to write new songs, let alone lay down a new album. So when Po' Girl—a band whose members live all across North America when not cooped up in a tour vehicle—needed to make its sixth album, Follow Your Bliss, time was of the essence. But, explains singer and multiinstrumentalist Allison Russell, the lack of time suited the band just fine.

"It was just great—we kind of did the Neil Young method of doing three takes and if it didn't happen in three takes we moved on," she says. "The songs were all ready to go because we've been touring so much—we did about 280 days each year the last couple of years—and we're writing so much on the road and the songs were starting to be introduced to audiences, so they were ready to go.

We've never had the luxury of using the studio as a writing tool, this was just kind

frontman Torquil Campbell, because, for him, ghosts have taken on a very ambivalent meaning of late.

"I was always fascinated by the idea of ghosts: they frightened me and titillated me and did all the things they do to everyone else," he explains from a stop on Stars' latest tour. "And then I lost my dad, and it was the first time in my life that I lost someone that close to me, and all of a sudden the idea of ghosts became something that I hoped very deeply existed. That's where I'm at now: if ghosts don't exist, that's a terrifying outcome."

That ambivalence is used to beautiful effect on The Five Ghosts, because, as Campbell explains, it addresses a theme that has always been near the forefront of Stars' art: the persistence of the past. "[Ghosts] are all those things you left behind, they're all those things you did and all those things you said that you thought you could walk away from, but they're never going to be gone," he explains. "That seems to me a pretty Stars theme, it seems to circle back on what we've always really been talking about, which is the past, and how the past has this hold on us in our lives." V DAVID BERRY // DAVID@vueweekly.com

VUEWEEKLY // OCT 28 – NOV 3, 2010

MUSIC // 31

32 // MUSIC

VUEWEEKLY // OCT 28 – NOV 3, 2010

Judy Collins Five things about Judy Collins Mary Christa O'Keefe // marychrista@vueweekly.com

Sun, Oct 31 (7:30 pm) Judy Collins Arden Theatre, $37.50 Why is Judy Collins largely overlooked by crate-digging neo-tastemakers who specialize in competitive rediscovery, unearthing LPs to evangelize aspects of forgotten genius in blogs, mixtapes,

podcasts and local weeklies? Perhaps because the 71-year old was never defined by the cheap glamour of tragedy (though she's braved sorrows) and remains a cheery powerhouse with a career encompassing writing (kid's book, novel, memoirs) and running her Wildflower label in addition to activism, performing and recording (Paradise, She's influential. Collins habitually gave fellow artists—like Leonard Cohen—toeholds in the industry, popularizing their work and performing with them. Watch them sing "Suzanne" in 1976: http://bit.ly/judyc1 She's fun. Those of a Certain Age remember Collins' unpretentious gusto in her Muppet Show appearance: http://bit.ly/judyc2

her 35th album, dropped in June). Maybe the folk trill is perceived as overly mannered next to the raucous howls of blues and rock. Or perhaps folkieutopianism failed so badly, it's difficult to listen without hearing a history of promises broken. Nevertheless, here are five reasons music-lovers should reconsider Collins: She's sexy. Stephen Sills immortalized her otherworldly peepers in "Suite: Judy Blue Eyes," an elegy of their hotly tortured affair: http://bit.ly/judyc4 She's a geek. Christies recently auctioned some of her instruments, and her reminiscences were passionately technical: http://bit.ly/judyc5

She's idealistic. Her Chicago Seven Trial testimony (http://bit. ly/judyc3) and foreword to Steve Turner's Amazing Grace: The Story of America's Most Beloved Song voice her unwavering advocacy of peace and beauty.

VUEWEEKLY // OCT 28 – NOV 3, 2010

MUSIC // 33

NEW SOUNDS Waka Flocka Flame Flockaveli (1017 Brick Squad) 

Roland Pemberton // roland@vueweekly.com

T

aken at face value, Waka Flocka Flame's Flockaveli appears to have no redeeming characteristics and barely passes as having the qualities typically associated with music. Six different songs begin with real or simulated gunfire. Somehow, four of them are sequenced back-to-back.

Opening track and single "Bustin' at Em" is about shooting people. It has gunshots for percussion and Waka making gun sounds with his mouth in place of backup vocals. This is not conscious rap.

So why the three stars? How is it that a rap album expressly about gang warfare and murder can be considered uncompromising or groundbreaking in 2010?

Because major record labels aren't putting out albums like this anymore. There are no more risks. Even Gucci Mane, frequently jailed mentor and label mate, sounds comparatively neutered by incarceration and commercial aspiration when placed next to the glowing ignorance of Waka Flocka. The closest thing to a song for the ladies here is a stripper anthem called "No Hands" that has a nasal, mellifluous hook and restrained, stylish verses from guests

Wale and Roscoe Dash. Everything else is pure thug rap.

Dude is seriously hard-headed, the kind of guy who might name the last track on his debut album "Fuck This Industry." He's got personality though.

Waka has a weird habit of screaming his name at length. More than once on this album, he eschews rapping or traditional verse structure to shriek panning iterations of "WAKA FLOCKA WAKA FLOCKA WACKA FLOCKA FLAAAAAAAAAME," for a minute at a time. This actually feels like a new kind of hook and is really effective.

This music is mood-altering, designed for drunken screaming and not for intense analysis. Waka's world is paradoxically vibrant and dark, hypermasculine and cartoonishly aggressive. It's the sound of a guy watching Scarface and thinking, "This is a fair and balanced account of entrepreneurial life. How can I turn this into music?"

This album is primarily produced by the hilariously named Lex Luger and this is quite obvious: most of the songs sound haltingly similar to each other. This monotony makes the little differences stand out: the minor Zellers Halloween synth and syncopated slot machine hi-hats of "Bricksquad" or the genuinely epic horn rush of single "Hard In Da Paint." You can't help but admire the singularity, which helps the album form a pleasantly indistinguishable haze of sub bass and anthemic fake string sections.

You either love it or you hate it. When Waka boasts, "We the new Wu Tang / The new No Limit / The new NWA!", he actually explains way more than he probably means to. There is a strange discipline to his nihilism that recalls the uncompromising nature of the aforementioned bands. They were not always accepted in the mainstream but their appeal was a willingness to be themselves and play by their own rules. By those tenets, Waka Flocka Flame succeeds. V

The Extra Lens Undercard (Merge)  Any collaboration between thoughtful, inventive songwriters is welcome, but when they're also veteran craftsman-eccentrics who share a history of plunging into the murkiest, choppiest waters of human experience, expectations run high.

Franklin Bruno's band, Nothing Painted Blue, coalesced around the same time as the Pixies, and in a fairer world, NPB would've eclipsed them. Bruno's work is marked by sharp lyricism, eggheadish affinities and rigorous construction, all while it roars with life. His new band's 2007 debut (The Human Hearts, Civics) shows he remains a beguiling combination of precise and elemental.

John Darnielle is, with various helping hands, the Mountain Goats. Few current American musicians are willing to stand before us as revealed as Darnielle, reflecting our common palette of tangled, flickering emotions and motivations.

His confessionalism is transfigured by disciplined storytelling and musicianship, animated by curiosity and warmth, and informed by an urgent hunger for knowing in every kind of way.

They started playing and recording together sporadically in the '90s as the Extra Glenns (their shared middle name suggesting the moniker), offering the full-length Martial Arts Weekend in 2002. While prior collaborations consisted of refugee songs that didn't fit their catalogues, Undercard, the pearl of their new consonant-thinned incarnation, is a more proper partnership.

Each wrote specifically for the album; Darnielle sang and played guitar while Bruno did the rest. It's an inspired labour split: Bruno's voice is smoother, but Darnielle brings wrenching conviction to a song; Darnielle's arrangements are oddly soulful, but Bruno's have a delightful theatrical ingenuity.

Artists with distinct authorships are often handicapped collaborators, but rather than a creational tug-of-war, Undercard feels like a cross between a playground romp and meaty conversation—exhilaration whistles through the album, tuning its moods, yet Darnielle and Bruno's observational acuity and zeal for meaning assure its weight. The album glimmers with twinkling piano, brassy guitar ripples, chattering acoustic strings and other glorious aural opulence, placed with restraint and often devotion, with faultlessly attentive production.

Undercard's themes—yearning, wonder, conflict, connection, dread—aren't unusual for these two, even as they venture further from the poles of their respective bodies of work. Longtime listeners will pick out habitual quirks, although there's overlap: both are fond of repurposing clichés to make them rumble with resonances, mapping internal on external geographies and merciless wordplay. Together, they double the wider experiential and intellectual rangelands that are the consolations of aging, but neither should stop making their own records; their unexpected symmetry demands both space and time.

Mary Christa O'Keefe

// marychrista@vueweekly.com

34 // MUSIC

VUEWEEKLY // OCT 28 – NOV 3, 2010

Hot Panda How Come I'm Dead?

(Mint)  The recording industry is a different place today then it was 20 years ago: now it's a fairly simple thing for a band to jump straight into a release from a standstill, which can work out fabulously, but also holds the prospect of documenting a few warts. For Hot Panda, the first step was an EP that bottled the fiery energy and tight songwriting that the Edmonton group brimmed with from its very first show. Things got a little shaky after that, with a couple of member changes on either side of a full-length that felt a little more tentative then was comfortable.

The now-settled quartet's new record, though, finds Hot Panda back on top of its game, although it's not exactly a fulfilling of expectations: How Come I'm Dead?, rather than being the album that early fans were hoping the band would make, feels more like the album that Hot Panda had to make.

New bassist Catherine Hiltz's presence is felt immediately in the music; no slight to former four-stringer Keith Olson, who was there when the band first fanned its musical flames, but the new blood seems to have been just the kick the band needed, the chemistry audible as Hot Panda steers its way through adventurous new twists and turns like the screaming guitars careening throughout "1995," the ethereal groaning on "Membership Fees (Intro)" and the hallucinatory repetitions and departures on "Clever Fox." All in all the new album feels like both a recovery and a leap forward for the band.

Eden Munro

// eden@vueweekly.com

Brian Eno Small Craft on a Milk Sea (Warp) 

Brian Eno's never had trouble making a soundscape worth listening to—tracks that don't just set a mood, but carve a genuine world out of the selected instrumentation—and Small Craft on a Milk Sea, his latest, bobs along those same tried and true waters.

Beginning with the dreamy "Emerald and Lime," the album slips into darker, rougher territory—after "Complex Heaven"'s soft but melancholy ambience, "2 Forms Of Anger" shifts from tribal drums to a blistering-but-controlled guitar frenzy about halfway through, and "Dust Shuffle" carries echoes of '90s techno in its stuttering synth—before returning to calmer streams with the gorgeous piano-led "Emerald and Stone" and seven-minute closer "Late Anthropocene." It's a trip best undertaken with the lights down and the volume up, and that's not a bad thing at all.

Paul Blinov

// paul@vueweekly.com

ALBUM REVIEWS Steely Dan Gaucho (MCA)

contained the same number of songs as Aja, seven. It would be the first of many comparisons that nearly all Originally released: 1980 concluded that it was simply trying too hard to show up its Steely Dan released an alpredecessor. .com bum a year for six consecuThrough the '70s, the group weekly e u v l@ michae tive years in the 1970s. Each garnered a rep for drugs (both e k Mi h was met with critical acclaim lyrically and in the studio), and Gart and contained at least one Topfull-on didn't give a fuck at this 40 track, culminating in the 1977 point, singing, "Tonight when I chase masterpiece Aja. the dragon / The water The gap between that will turn to cherry wine one and the group's / The silver will change next release may not to gold / Time out of seem entirely out of mind" on "Time Out of place in this day and Mind." Arguably the age, but at the time it best track, "Glamour was an eternity, three Profession," seemed and a half years passlike a day in the band's ing before the next LP whirlwind life, and you would see the light of were along for the ride, day. Regardless of high living the high life of expectations brought the late '70s/early '80s, on by its heralded making calls from the predecessor, Gaucho car phone like a big would have been any musician's ultimate shot, all the while not being able to keep uphill battle and personal hell. your feet, or teeth, still to a sound that was For all the successes of Steely Dan's decidedly not disco. Nor was it fusion, but previous work—and the beautiful album rather now trademark arrangements of that Gaucho would turn out to be—trijazz hooks and phrases, thrown overtop of als were to be had: an intern sound encatchy rock 'n' roll. gineer accidentally erased the master of The remaining songs reflect a matuthe lead single (the song then scrapped rity over previous works: the female entirely); songwriter Walter Becker's background vocalists are dead-on and girlfriend OD'd on heroin; Becker was the horns are tight, crisp and fall exactly struck by a car and hospitalized; and rewhere needed. By the end of the album, cord-label politicking stalled the release the listener is left in a pensive state; it's a for years. Discouraged and exhausted, different feeling, yet just as moving as Aja. Steely Dan released Gaucho in late 1980; Thirty years on, Gaucho is still an alseveral months later, they were successbum that sharply divides Steely Dan fully sued for plagiarism. fans. It's recognized as either a conThe Dan was and always has been a sistent, polished effort that caps off relentlessly picky two-piece, consisting a decade of work, or as the lacklustre of Donald Fagen, Walter Becker and a result of a creative burnout. Despite shitload of the finest session musicians the trials, Gaucho stood up to an adin the biz at the time. As previously, the verse production climate and holds its duo wrote and performed the tunes, own in the group's catalogue of polalongside a grand total of 40 others ished, meticulously produced albums. that would comprise the soundscape of The ordeal, however, would result in Gaucho (up from 37 on Aja). Critics were a full two decades before the band's quick to point out that the album next release. V

OULNDDS

SO

HAIKU No Age Everything in Between (Sub Pop)

QUICK

SPINS

.com weekly

s@vue

in quicksp

Breathe Owl Breathe

Whiteoyn Magic Central (Home Tapes) Houst

Straddles the fine line In between pure genius and Sort of annoying

Great modern beard pop Made in rustic log cabin With whittled guitars

Nymph Nymph (The Social Registry)

Kelley Stoltz To Dreamers (Sub Pop)

Bangin' and screamin' Like Zorn's Naked City or Date with Dan Carlyle

Perfect basment jams Not too heavy, not too light It's Goldilocks rock

Callers Life Of Love (Western Vinyl)

Secondhand Serenade Hear Me Now (Glassnote)

Quavering lady With Neville-esque tremoloes Well ... it's not boring

A grown man whining Can't take 5 minutes of this Sonic ipecac

VUEWEEKLY // OCT 28 – NOV 3, 2010

MUSIC // 35

JOSH RITTER Sat, Oct 30 (7 pm) Josh Ritter and the Royal City Band With Basia Bulat McDougall United Church, $27.50 Josh Ritter's latest album, the dark and brooding So Runs the World Away, wasn't written on some sunny afternoon, popping out of his mouth and strumming hand fully formed, like a missive from far away, channelled through the Idaho-born musician. Instead, the album came after a long period of writer's block, preceded by what the longtime musician calls a feeling of dread, an insecurity that hit him after a decade of performing.

"It's hard to put into words: suddenly you've been doing this for 10 years and you wonder, 'Do I have anything else to say? Is there anything I can add to what I've done? Do I have anything new to say?' I don't want it to be people coming to dinner and having nothing new to

36 // MUSIC

Josh Ritter fought the good fight against writer's block and came out the other side with a new album.

say," he says. "I threw everything down the well, hoping for something. I took guitar lessons. I wrote a ton of songs but none of them were good and I knew they weren't good. I read. I tried not writing.

VUEWEEKLY // OCT 28 – NOV 3, 2010

I tried writing every day. Nothing was working; I would finish a song and I felt like it was fake."

Eventually—and not through lack of trying—a flurry of inspiration would over-

take Ritter, allowing him to break out of his writers block and not only pen the new album, but a novel set to be released next year. And though writing So Runs the World Away may have felt like pulling teeth, recording it was anything but.

Ritter's latest marks the second time he's recorded with bandmate Sam Kassirer at the helm and, as Ritter explains, there's a reason he returned to Kassirer.

"I found that there's so much that you can talk about with music but only so much that you can communicate by use of shorthand language. If you've been on tour with somebody and you're good friends with them, you can describe things in ways that are much closer to the bone than you can with somebody you're just meeting for the first time," he says. "I feel that that's more important to me than anything else is: being able to work with somebody I know closely. That's been an amazing thing working with Sam—we've known each other and played together for about nine years." V BRYAN BIRTLES // BRYAN@vueweekly.com

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

COMEDY BROOKLYN'S LOUNGE 1*).%+, 9n] /0(&**)&-..* Lm] Fa_`l Dan] Yl :jggcdqf k2 Gh]f Ea[ ;ge]\q fa_`l3 YeYl]mjk Yf\ hjgk o]d[ge] =n]jq Lm]3 02+(he Fg [gn]j

ALBERTA COUNCIL FOR ENVIRONMENTAL EDUCATION 9dZ]jlY

=fnajgfe]fl$ EYaf È$ GpZja\_] HdY[]$ 10*(%)(. Kl Klj]f_l`]faf_ qgmj gj_Y% farYlagfk afl]jfYd hgda[a]k Yf\ Z]kl hjY[la[]k lg ]fkmj] ]^^][lan]f]kk >ja$ Oct 29$ 1Ye%,he >j]]ºhj]%j]_akljYlagf j]imaj]\3 =2 af^g8YZ[]]&gj_

FILM =\m[Ylagf Fgjl` :d\_ Je *%))- K`goaf_ g^ \g[me]flYjq$

Reel Injun; Oct 28$ ,2+(he KainayssiniImanistaisiwa: The People Go On, hj]k]fl]\ Zq <oYqf] <gfYd\3 Nov 4$ ,2+(he

QUEER

PLANNING ACADEMY ;alq @Ydd$ @]jalY_] Je$ ;`mj[`add Ki

BUDDYS NITE CLUB ))/*-: BYkh]j 9n] /0(&,00&..+. Lm] oal` <B 9jjgo ;`Yk]j$ ^j]] hggd Ydd fa_`l3 1he \ggj!3 fg [gn]j O]\ oal` <B <mkl¿f Lae]3 1he \ggj!3 fg [gn]j L`m2 E]f¿k O]l Mf\]jo]Yj ;gfl]kl$ oaf hjar]k `gkl]\ Zq <jY_ Im]]f <B H`gf+ @ge+3 1he \ggj!3 fg [gn]j Z]^gj] )(he >ja <Yf[] HYjlq oal` <B 9jjgo ;`Yk]j3 0he \ggj!3 fg [gn]j Z]^gj] )(he KYl2 >]]d l`] j`ql`e oal` <B H`gf+ @ge+3 0he \ggj!3 fg [gn]j Z]^gj] )(he

ALLEN BALL�BACK FROM THE DESERT ;Yehmk KYafl%B]Yf Ym\algjame$

/0(&,1.&.(-/ ]\egflgf&[Y'[alqW_gn]jfe]fl'hdYffaf_W\]n]dghe]fl' hdYffaf_%Y[Y\]eq&Ykhp ;ge] HdYf oal` Mk2 Mkaf_ Qgmj Nga[]3 Sat, Oct 30$ 12+(Ye%,2+(he3 +- MjZYf <]ka_f =d][lan]3 KYl$ Nov 6$ 12+(Ye% ,2+(he3 *-% +-

CREATIVE ON THE MOVE ;]fljYd Dagfk J][j]Ylagf ;]flj]$ ))))+%))+ Kl

POLAR IMPACT CONVERSATIONS L]dmk ;]flj] 9m\algjame$ 0/ 9n]$ ))) Kl$ M g^ 9 /0(&,1*&-0+, emk]mek&mYdZ]jlY&[Y$ mYdZ]jlY&[Y'hgdYj Our Changing Arctic: Environmental and Social impacts oal` eg\]jYlgj =\ Kljmrac Yf\ kh]Yc]jk DarY Hah]j Yf\ Bg`f ?Yegf Oct 28$ /%0he

0,(. EYja]%9ff] ?YZgmjq Kl 1) Kl! 9dd]f oadd Z] lYdcaf_ YZgml `ak lae] af l`] KafYa oal` l`] ;YfY\aYf >gj[]k 9jlakl Hjg_jYe& Khgfkgj]\ Zq l`] 9K9 =\egflgf KYl$ Nov 6$ *he >j]]

>YZmdgmk 8 -( =ph]ja]f[] Yf\ EYjlafa HYjlq2 >gj Ea\\d]%Y_]\ _Ydk$ ^]Ylmjaf_ kh]Yc]jk gf `]Ydl`$ Z]Ymlq$ fmljalagf$ oaf]$ Yjlaklk$ ]fl]jlYaf]jk$ Yf\ Zmkc]jk KYl$ Nov 6$ )(Ye%-he )- gj * ^gj *( Yl LAP gf l`] KimYj]

EVENING OF HEALTH AND SUCCESS =feYp @Ydd$ Oafkh]Yj ;]flj]

QAPIRANGAJUK: INUIT KNOWLEDGE AND CLIMATE CHANGE

HUMAN RIGHTS CAFÉ SERIES L`j]] :YfYfYk ;Y^ $ ;`mj[`add Ki$

RETHINKING CHRISTMAS Hjgna\]f[] J]f]oYd ;]flj]$ +((-%))1 Kl Egnaf_ LgoYj\ KmklYafYZd] Kaehda[alq KYl$ Oct 30$ )(Ye%+he *-

>]Ylmjaf_ BY[c ;Yf^a]d\ Yf\ <j >YZjarag EYf[afa Oct 28$ /he -/%0/ Yl Oafkh]Yj Zgp g^^a[]

11)0%)(* 9n] b`[]flj]&gj_ )kl Kmf ]Y[` egfl` \aYdg_m] gf `meYf ja_`lk akkm]k >j]]

E]ljg ;af]eY$ ;alY\]d L`]Ylj]$ 10*0 % )()9 9n] >ade k[j]]faf_ >ja$ Oct 29$ /%12+(he )( Y\mdl!' 0 klm\]fl!

ST ANDREW'S UNITED CHURCH QUILTING GROUP Kl& 9f\j]o k

CENTURY CASINO )+)(+ >gjl J\ /0(&,0)&10-/ K`gok

klYjl Yl 0he L`m%KYl Yf\ dYl] k`go Yl )(2+(he gf >ja%KYl3 )* L`m!' )1 >ja'KYl!

COMEDY FACTORY ?Yl]oYq =fl]jlYafe]fl ;]flj]$ +, 9n]$

GLBT SPORTS AND RECREATION l]Ye]\egflgf&[Y Badmin-

ton, Co-ed: Kl& L`geYk Eggj] K[`ggd$ 1.)(%).- Kl$ [g]\ZY\eaflgf8 l]Ye]\egflgf&[Y Badminton, Women's Drop-In Recreational: Gdan]j K[`ggd ?qe$ )(**/%))0 Kl3 ZY\eaflgf8l]Ye]\egflgf&[Y Co-ed Bellydancing: Z]ddq\Yf[af_8l]Ye]\egflgf&[Y Bootcamp: Dqffogg\ =d]e]flYjq K[`ggd Yl )-,-)%0, 9n]3 Egf$ /%0he3 Zggl% [Yeh8l]Ye]\egflgf&[Y Bowling: =\ k J][ ;]flj]$ O]kl =\egflgf EYdd$ Lm] .2,-he Curling: ?jYfal] ;mjdaf_ ;dmZ3 /0(&,.+&-1,* Running: =n]jq Kmf egjfaf_3 jmffaf_8l]Ye]\egflgf&[Y Spinning: EY[=oYf ;]flj]$ )(1 Klj]]l Yf\ )(, 9n]3 khaf8l]Ye]\egflgf&[Y Swimming: F9AL hggd$ ))/.*%)(. Kl3 koaeeaf_8l]Ye]\egflgf& [Y Volleyball: Egl`]j L]j]kY =d]e]flYjq K[`ggd Yl 1((0%)(-93 9eakcaoY[aq 9[Y\]eq$ )() 9ajhgjl J\3 j][ngdd]qZYdd8l]Ye]\egflgf& [Y3 ngdd]qZYdd8l]Ye]\egflgf&[Y QG?9 @Yl`Y!2 >j]] Qg_Y ]n]jq Kmf$ *%+2+(he3 Cgj]rgf] >alf]kk$ *(+$ )(-/-%))- Kl

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

;Yd_Yjq Lj L`m$ 02+(he3 KYl$ 0he Yf\ )(he <]ZZa] CYkh]j3 Oct 28-30 GdanaY 9dd]f%9jjaf_lgf3 Nov 4-6

COMIC STRIP :gmjZgf Kl$ O=E /0(&,0+&-111 O]\%>ja$ Kmf 0he3 >ja%KYl )(2+(he B ;`jak F]oZ]j_3 mflad Oct 31

LIVING POSITIVE ,(,$ )(,(0%)*, Kl ]\edanaf_hgkalan]&[Y

)&0//&1/-&1,,0'/0(&,00&-/.0 ;gfÇ\]flaYd h]]j kmhhgjl lg h]ghd] danaf_ oal` @AN Lm]$ /%1he2 Kmhhgjl _jgmh <Yadq \jgh%af$ h]]j [gmfk]ddaf_

DRUID )).(. BYkh]j 9n] /0(&/)(&*))1 ;ge]\q fa_`l gh]f klY_] `gkl]\ Zq DYjk ;Ydda]gm =n]jq Kmf$ 1he

HYDEAWAY�Jekyll and Hyde )(*(1%)(( 9n] /0(&,*.&-+0)

MAKING WAVES SWIMMING CLUB _]g[ala]k&[ge'eYcaf_%

NEWCITY LIQUID LOUNGE )((0) BYkh]j 9n] F]o[alq MhklYajk

PRIDE CENTRE OF EDMONTON 1-,(%))) 9n] /0(&,00&+*+, hja\][]flj]g^]\egflgf&gj_ Gh]f Lm]%>ja )%)(he$ KYl *%.2+(he D?:L K]fagjk <jgh%af2 =n]jq Lm]'L`m$ *%,he ;92 L`m /he Kmal Mh Yf\ K`go Mh2 99 Za_ Zggc klm\q _jgmh ]n]jq KYl$ fggf OgegfkhY[]2 e]]l )kl Kmf ]Y[` egfl`$ )(2+(Ye%)*2+(he LjYfk =\m[Ylagf'Kmhhgjl ?jgmh e]]l2 )kl'+j\ Kmf$ *%,he$ ]Y[` egfl`3 YdZ]jlYljYfk&gj_ E]f LYdcaf_ oal` Hja\]2 Kmf /he3 ^Y[adalYlgj2 JgZ O]ddk jgZo]ddk/0(8`gleYad&[ge Qgml`KhY[]2 \jgh%af ^gj D?:LI ^gj qgml` mh lg *-3 Lm]%KYl$ +%/he

oYn]kW]\e J][j]YlagfYd'[geh]lalan] koaeeaf_& Kg[aYdaraf_ Y^l]j hjY[la[]k =n]jq Lm]'L`m

Kmh]j 9o]kge] ;ge]\q hj]k]flk2 Oa^] :]Yl]j [ge]\q fa_`l - \ggj! Dan] [ge]\q ]n]jq Lm]

Mf\]j_jgmf\ ;ge]\q Fa_`l hj]k]flk2 da]k l`] klYl] lgd\ qgm2 <ak]k% lYZdak`e]flYjaYfake [ge]\q fa_`l )kl Lm] ]n]jq egfl`$ 1he

RIVER CREE +(( =Ykl DYhglY[ :dn\ /0(&,0,&*)*) <gf :mjf% kla[ >ja$ Nov 5$ 0he k`go! *,&-(

WINSPEAR CENTRE Bmkl >gj DYm_`k2 B]j]eq @glr$ >jYfc KhY%

\gf]$ JgZ]jl C]ddq$ JqYf @Yeadlgf KYl$ Nov 5$ /he

GROUPS/CLUBS/MEETINGS

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

AIKIKAI AIKIDO CLUB )()+1%0/ 9n]$ Gd\ KljYl`[gfY

WOMONSPACE /0(&,0*&)/1, ogegfkhY[]&[Y$ ogegfkhY[]8 _eYad&[ge 9 Fgf%hjgÇl d]kZaYf kg[aYd gj_YfarYlagf ^gj =\egflgf Yf\ kmjjgmf\af_ Yj]Y& Egfl`dq Y[lanala]k$ f]okd]ll]j$ j]\m[]\ jYl]k af[dm\]\ oal` e]eZ]jk`ah& ;gfÇ\]flaYdalq Ykkmj]\

;geemfalq D]Y_m] BYhYf]k] EYjlaYd 9jl g^ 9aca\g =n]jq Lm] /2+(%12+(he3 L`m .%0he

AWA 12�STEP SUPPORT GROUP :jY]ka\] Hj]kZql]jaYf ;`mj[` Zkel$ F& \ggj$ . :]jfYj\ <j$ :ak`gh Kl$ Kaj Oafklgf ;`mj[`add 9n]$ Kl 9dZ]jl >gj Y\mdl [`ad\j]f g^ Yd[g`gda[ Yf\ \qk^mf[lagfYd ^Yeada]k =n]jq Egf /2+(he

WOODYS VIDEO BAR ))/*+ BYkh]j 9n] /0(&,00&.--/ Egf 9e% Yl]mj Kljah ;gfl]kl oal` K`YoYfY Lm] Cal[`]f +%))he O]\ CYjYgc] oal` Larrq /he%)Ye3 Cal[`]f +%))he L`m ^j]] hggd Ydd fa_`l3 cal[`]f +%))he >ja Eg[`g FY[`g +he \ggj!$ cal[`]f gh]f +%))he

BUDDHUST CENTRE )(*+*%)(+ Kl Everyone's on the

Boardwalk: Drop-in yoga/meditation classes, all levels welcome, 16 qjk# =n]jq Thu /2+(%1he3 Sun )(2+(Ye%)* )(3 hj]%j]_akl]j Yl /0(&1(1&1+--$ Z]o]ddkgdmlagfk*((,_eYad&[ge

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

CANADIAN MENTAL HEALTH ASSOCIATION Kmal] 0(($

YOUTH UNDERSTANDING YOUTH qmq]\e&[Y E]]lk ]n]jq KYl$

)((,-%))) Kl /0(&,),&.+)) >Yeadq kmhhgjl \jgh%af _jgmh ^gj l`gk] o`g Yj] kmhhgjlaf_ Yf Y\mdl ^Yeadq e]eZ]j danaf_ oal` Y e]flYd addf]kk3 ]n]jq O]\$ .2+(%02+(he K9< Fg Egj]7 J][gn]jq ak hgkkaZd]2 hj]k]flYlagf gf K]YkgfYd 9^^][lan] <akgj\]j Yf\ J][gn]jq oal` <j& L]\ BYZdgfkca3 O]\$ Nov 3$ fggf

/%1he =2 af^g8qmq]\e&[Y$ L2 /0(&*,0&)1/)

SPECIAL EVENTS

CHESS FOR STUDENTS Jgnaf_ ;`]kkFmlk LjYafaf_ >Y[adalq$

CAKE WALK Kmllgf HdY[] @gl]d :Ydd Je$ )(*+-%)() Kl >mf\%

CREATIVE ATTENTION [g%[j]Ylaf_&[Y'[mjj]fl%]n]flk Bogani

EDMONTON SOCIAL PLANNING EYhd] D]Y^ Je$ M g^ 9 Dakl]j

EDMONTON ESPERANTO SOCIETY )((*-%)(*9 9n]$ Je )0)*0 /0(&/(*&-))/ =n]jq >ja Yf\ l`] *f\ L`m g^ ]Y[` egfl`3 )*%)he

FABULOUS AT 50 EXPERIENCE Dagfk J][j]Ylagf ;]flj]$ ))))+%

jYak]j af kmhhgjl g^ l`] FafY @Y__]jlq ;]flj] ^gj l`] 9jlk3 ;Yc] OYdc ?g]k ?Y?Yº[]d]ZjYlaf_ l`] \anYk g^ hghmdYj emka[ oal` <Yj% jaf @Y_]f¿k ?mqk af <ak_mak] Lm]$ Nov 2$ /he )(( af[d oaf]$ `gjk \¿g]nj]k$ ]fl]jlYafe]flYl! Yl LAP gf l`] KimYj]

*(+$ )*()+%/. Kl =2 kg[a]lqg^[`]kkcfa_`lk8k`Yo&[Y L2 /0(&,/,&*+)0 D]Yjfaf_ Yf\ hdYqaf_ ghhgjlmfala]k ^gj klm\]flk Caf\]j_Yjl]f l`jgm_` ?jY\] )*3 lgmjfYe]flk$ af[dm\af_ l]Ye eYl[`]k ^gj ]d]e]flYjq k[`ggdk& 9dd d]n]dk

;]flj] /0(&,*+&*(+) ]\egflgfkg[aYdhdYffaf_&[Y 9ffan]jkYjq ?YdY Yf\ Kad]fl 9m[lagf ^]Ylmjaf_ kh]Yc]j Ea[`Y]d H`Yaj$ Yf\ _m]klk JgZ JYaf]j$ EYjaY <mff L`m$ Oct 28$ .he

Café3 /0(&,.-&)/*)3 Gml G^ L`] :gp ;Y^ K]ja]k2 >an] k]kkagf keYdd _jgmh [gY[`af_ [gddYZgjYlagf ZYk]\ gf 9jZaf_]j Afklalml]¿k D]Y\]j% k`ah Yf\ K]d^%<][]hlagf3 klYjlk L`m$ Oct 28

))+ Kl Oge]f¿k eYjlafa hYjlq$ ljY\] ^Yaj ^gj ea\\d]%Y_]\ oge]f ^]Ylmjaf_ ]p`aZalgjk$ kh]Yc]jk Yf\ ]fl]jlYaf]jk KYl$ Nov 6$ )(Ye%-he )- \ggj! ' *( log Y\n Yl LAP gf l`] KimYj]

FOOD ADDICTS Kl Dmc] k 9f_da[Yf ;`mj[`$ 0,*,%1- 9n]

/0(&,.-&*()1'/0(&,-(&.)/1 >gg\ 9\\a[lk af J][gn]jq 9fgfqegmk >9!$ ^j]] )*%Kl]h j][gn]jq hjg_jYe ^gj Yfqgf] km^^]jaf_ ^jge ^gg\ gZk]kkagf$ gn]j]Ylaf_$ mf\]j%]Ylaf_$ Yf\ ZmdaeaY E]]laf_k ]n]jq L`m$ /he

FESTIVAL OF POLISH CULTURE NYjagmk dg[Ylagfk [`ghaf*()(& [Y ;]d]ZjYlaf_ ;`ghaf oal` >ade Yf\ Emka[2 9 nYja]lq g^ ]n]flk `a_`da_`l l`] [gehgk]j¿k da^] Yf\ ogjc Until Nov 14

HOME�Energizing Spiritual Community for Passionate Living ?Yjf]Ym'9k`Zgmjf] 9kkakl]\ Danaf_ HdY[]$ ))),0%0,

9n] Home2 :d]f\k emka[$ \jYeY$ [j]Ylanalq Yf\ j]^d][lagf gf kY[j]\ l]plk lg ]f]j_ar] qgm ^gj hYkkagfYl] danaf_ =n]jq Kmf +%-he

HALLOWE'EN MURDER MYSTERY Jml`]j^gj\ @gmk]$ KYkcYl[`]oYf <j$ M g^ 9 ;Yehmk jml`]j^gj\`gmk]&[Y Murder at the Manor Hotel2 =n]faf_ oal` \aff]j$ aflja_maf_ \aff]j _m]klk Yf\ emj\]jgmk eqkl]jq Oct 30$ .2+(he -(3 j]k]jn] Yl /0(&,**&*.1/3 hjg[]]\k kmhhgjl l`] >ja]f\k g^ Jml`]j^gj\ @gmk] Kg[a]lq

THE JUNG FORUM ASSOCIATION ;`Yh]d Yl Ljafalq Dml`]jYf ;`mj[`$ )((),%0) 9n] Bmf_2 L`] EYf$ @ak Ogjc$ @ak da^]2 HYjl g^ Y k]ja]k g^ Zag_jYh`a[Yd ege]flk af l`] da^] g^ ;& ?& Bmf_ Oct 29$ /he3 im]klagf Yf\ Yfko]j h]jag\ lg ^gddgo )- e]eZ]j!' *( Fgf%e]eZ]j!' )( k]fagj'klm\]fl!

HAUNTED HOUSE FUNDRAISER Eadd Ogg\k Lgof ;]flj]

EYdd$ *++)%.. Kl eo^j[&gj_ <g qgm `Yn] o`Yl al lYc]k lg Z] Y ?`gkl LjY[c]j7 >mf\jYak]j lg kmhhgjl fg%[gkl'dgo%[gkl hjg_jYek Yf\ ^j]] ]n]flk af l`] [geemfalq Oct 30-31$ fggf%-he + af\ana\mYd!' . ^Yeadq mh lg , h]ghd]!

LOTUS QIGONG /0(&,//&(.0+ <goflgof HjY[la[] _jgmh

HAUNTED PUMPKIN FESTIVAL HjYaja] ?Yj\]fk 9\n]flmj] >Yje$ -.+)) Dadq DYc] J\$ :gf 9[[gj\ O]]c]f\k af G[l$ ))Ye%-he

MEDITATION e]\alYlagf]\egflgf&gj_ KljYl`[gfY DaZjYjq$

HOMEFEST 2010 LjYfk9dlY 9jlk :Yjfk Nga[] @]Yj\$ Nga[]k

ORGANIZATION FOR BIPOLAR AFFECTIVE DISORDER (OBAD) K[`argh`j]faY Kg[a]lq g^ 9dZ]jlY$ *(($ )(.*)%)((

REBOOTALBERTA 3.0 <]dlY =\egflgf Kgml` j]ZgglYdZ]jlY&

e]]lk ]n]jq O]\

JYak]\2 >mf\jYak]j ^]Ylmjaf_ nYjgmk emka[aYfk Kmf$ Nov 7$ fggf% -he )- Y\mdlk!'[`ad\ mf\]j )* ^j]]

0++)%)(, Kl2 L`m /%02+(he ?d]f 9ddYf J][ ;lj$ K`]jogg\ HYjc2 Lm] 02+(%12+(he

gj_ O`Yl Yj] kge] g^ l`] k]jagmk akkm]k o] f]]\ lg \]Yd oal` af 9dZ]jl Nov 5-6

9n]$ /0(&,-*&,..)3 Kmhhgjl _jgmh e]]lk )kl Yf\ +j\ Lm] ]Y[` egfl`$ /%1he ?j]q Fmfk @gkhalYd$ Je (.-)$ /0(&,-)&)/--3 ?jgmh e]]lk ]n]jq L`m3 /%1he

SHIN JI TAEKWONDO CLUB 9j[` :ak`gh G¿D]Yjq$ 0/.(%)+*

SALSADDICTION Fgjl`_Yl] Dagfk ;]flj]$ /-*,%)+1 9n] KYdkY% ^j]Yck$ RmeZY^j]Yck @Yddgo]]f HYjlq2 9 DYlaf @Yddgo]]f HYjlq oal` d]kkgfk Yf\ \Yf[] lg ^gddgo& >mf\jYak]j ^gj Ca\k oal` ;Yf[]j Kg[a]lq Yf\ L`] =\egflgf @akhYfa[ ;mdlmjYd Kg[a]lq Oct 30$ 0he$ )(he \Yf[]! )- Yl LAP gf l`] KimYj]3 ca\k mf\]j ). Yj] ^j]]

SOCIETY OF EDMONTON ATHEISTS KlYfd]q Eadf]j

SCREAMFEST =\egflgf =phg ;]flj]$ @Ydd 9$ /,*, º ))0 9n]

9n] 9dZ]jlY A;L> LY]cogf\g Hjgnaf[aYd ;`Yehagfk`ah Lgmj% fYe]fl *()( Oct 30 $ 12+(Ye

k[j]Ye^]kl&[Y Kl& 9ff]¿k @gkhalYd eYr]$ :Yl]k Egl]d$ eY_a[aYfk$ Çj] khaff]jk Yf\ kladl oYdc]jk Yf\ egj] Oct 28-31$ .he% ea\fa_`l *( Yl La[c]lEYkl]j

DaZjYjq$ Je .%/ E]]l l`] )kl Lm] ]n]jq egfl`$ /2)-he

SUGARSWING DANCE CLUB GjYf_] @Ydd$ )(++-%0, 9n] gj Hd]YkYflna]o @Ydd$ )(0.(%-/ 9n] /0(&.(,&/-/* Koaf_ <Yf[] Yl Km_Yj >ggl Klgeh2 Z]_aff]j d]kkgf ^gddgo]\ Zq \Yf[] ]n]jq KYl$ 0he \ggj! Yl GjYf_] @Ydd gj Hd]YkYflna]o @Ydd

SEBAFEST KYoja\_] Aff$ ,*+- ?Yl]oYq :dn\ =fl]jlYafe]fl Zq :jq%

Yf >afdYq >j]] Zq JKNH Yl k]ZYgfdaf]&[Y e]eZ]j!' - e]eZ]j! \ggj!3 )- Zq JKNH Yl k]ZYgfdaf]&[Y fgf%e]eZ]j!' *( fgf%e]eZ]j! \ggj

TOURETTE SYNDROME 9[Y\]eq$ Caf_ =\oYj\$ 0-*-%)()

Kl$ FO \ggj )&0..&0*,&1/., Kmhhgjl e]]laf_k ^gj LK Y\mdlk Yf\ hYj]flk g^ LK ca\k )kl O]\ ]Y[` egfl`$ /he3 Oct-Jun

THE WAY WE GREEN PUBLIC FORUM ;alq @Ydd$ ;alq Je

l`]oYqo]_j]]f&[Y Nov 3$ ,%02+(he3 Nov 4$ /2+(Ye%.he >j]]

WOMEN IN BLACK Af >jgfl g^ l`] Gd\ KljYl`[gfY >Yje]jk EYjc]l Kad]fl na_ad l`] )kl Yf\ +j\ KYl$ )(%))Ye$ ]Y[` egfl`$ klYf\ af kad]f[] ^gj Y ogjd\ oal`gml nagd]f[]

LECTURES/PRESENTATIONS ABORIGINAL LANGUAGES AND FILM H]eZafY @Ydd Je *%(.

RY[`YjaYk Cmfmc$ ;`jaklgh`]j ;gp$ Kl]d]e]l`]l =l`]d :& ?Yj\f]j$ :j]f\Y Cggl]fYq$ 9d]pak FYcglY L`m$ Oct 28$ +2+(%-he3 ^gddgo]\ Zq Y ljY\alagfYd ^]Ykl af H]eZafY @Ydd )%+)

ISRAEL AND PALESTINE: PAST, PRESENT AND FUTURE =f_af]]j%

af_ L]Y[`af_ 9f\ D]Yjfaf_ ;gehd]p =LD;!$ Je =)(()$ M g^ 9 FgjeYf >afc]dkl]af$ oadd kh]Yc gf `ak j][]fl ogjc$ This Time We Went Too Far$ o`a[` \]Ydk oal` AkjY]d k ZjmlYd *((1 YkkYmdl gf ?YrY >ja$ Oct 29$ /2+(%1% 2+(he )( klm\]fl!' )- fgf%klm\]fl!

NATURAL SELECTIONS JgqYd 9dZ]jlY Emk]me I 9 YZgml 9dZ]jlY FYlmj]2 Digging in the dark: caves & Ice Age fossils in western North America oal` <j ;`jak BYkk Nov 2$ /he THE OTHER FILM SERIES�EXPLORING CULTURES THROUGH

Mfal]\ ;`mj[`$ 11)-%),0 Kl /0(&,-*&,,-, >Ydd Imadl KYd]$ `Yf\%eY\] imadlk$ [ge^gjl]jk$ Y^_`Yfk$ Yf\ gl`]j al]ek Nov 6$ )%,he Hjg[]]\k \gfYl]\ lg [`Yjalq

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 WINSPEAR CENTRE =n]faf_ g^ @]Ydl` Yf\ Km[[]kk oal` BY[c ;Yf^a]d\$ Yf\ <j >YZjarag EYf[afa Oct 28$ /he -/% 0/ Yl Oafkh]Yj Zgp g^^a[]

VUEWEEKLY // OCT 28 – NOV 3, 2010

SEEING IT DIFFERENTLY… 9jl ?Ydd]jq g^ 9dZ]jlY /0(&,/1&)/-/ F9:AK$ :jYaf Afbmjq Kg[a]lq$ ;`YehY_f] ?9D9 j][]hlagf ^gj Afbmjq Hj]n]flagf oal` bYrr haYfakl OYqf] >]k[`mc$ `gjk \¿g]mnj]k$ dan] Ym[lagf L`m$ Nov 4$ /%)(he )*- Zq h`gf] gj Yl fYZak&YZ&[Y3 k]ea%^gjeYd TAKE A CHANCE FOR KIDS LjYfk9dlY 9jlk :Yjfk$ )(++(%0, 9n] ca\kmh^jgfl]\egflgf&[ge ;Ykafg ^mf\jYak]j ^]Ylmjaf_ L`] O`]Yl Hggd3 o]Yj qgmj ^Yngmjal] \]fae KYl$ Nov 6$ /he \ggj!

TRICK OR (TR)EAT�FOOD DRIVE E]]l Yl =LD; :d\_$ M g^ 9 /0(&,++&*,-+ >gg\ \jan] ^gj l`] M g^ 9 ;Yehmk >gg\ :Yfc Kmf$ Oct 31$ ,2+(%1he VOICES FOR HOSPICE Oafkh]Yj ;]flj] >mf\jYak]j ^]Ylmj% af_ 9\Ye ?j]_gjq Nov 6$ /he +)&-- Yl Eqj`] k$ LAP gf l`] KimYj]$ =Yjl` k ?]f]jYd Klgj]

BACK // 37

COMMENT >> LGBTQ

Lesbian sex!

COMMENT >> ALT SEX

Thanks to the Edmonton Sun, I get to dedicate a whole from whatever fantasy Hicks has dreamed up. I think it's column to lesbian sex! A reader tip pointed me in the more likely that he flipped through the station schedule direction of last Thursday's Edmonton Sun and Graand picked something he knew he could make an easy ham Hicks' column. In it Hicks' listed radio station CJSR joke about, given his commentary, demeaning tone and as "University of Alberta campus radio. Sometimes overt racism toward other stations in the city." strange, especially that show about lesbian sex."

But before you get too excited, CJSR does not The racism Thomarat refers to is from the rest actually have its own program dedicated to of Hicks' piece. While his comments towards girl-on-girl action. Hicks was talking about CJSR are uninformed, some of his jibes are Gaywire, the station's weekly queer news downright bigoted. "Aboriginal Voice Radio. .com and culture show.

Haven't a clue."; "CFWE FM, The Native Perly k e e vuew tam@ Hicks' piece of writing is divided into spective: Sorry, don't speak the languages."; a r a Tam three parts: a listing and critique of Edmonand the real highlight "World FM: Sorry, no ka speaka da languages." ton FM radio stations, information on an upGorzal coming charitable silent auction and some sort Pithy and shrewd commentary there. His bizarre of bizarre joke about the recession. joke above the list also uses the word hooker repeatMaybe Hicks caught the show one night, heard menedly, not a term I would expect to see on the sixth page tion of queer stuff and identified female-bodied people of one of Edmonton's major newspapers. talking and drew his own conclusions. Perhaps he was What does Gaywire have if not buckets and buckets referring to a different CJSR show like Adamant Eve of lesbian sex? "Insights into amazing local art and musince everyone knows feminists are always pissed off, sic, radical queer perspectives on current events, and sex-obsessed gay women. Maybe he got confused and some cool tunes," says Thomarat. actually meant Urban Sex, one of CJSW's (Calgary's Gaywire is hoping to create a response by teaming up campus-based radio station) queer-positive news with another CJSR show in the near feature and it's likeshows. Or maybe Hicks just got really, really mixed up ly to be a light-hearted take on the situation. One can while listening to Katy Perry. only hope that Hicks' comments lead to more listeners, Full disclosure, I got my start in media on Gaywire and that the ones who fiendishly locate the channel and when I was hosting and producing the show it was only to discover there is no show devoted to sex don't almost never about sex. And at the same time, maybe leave too disappointed. it was also totally about sex. Discussions on queer Thomarat points out that Hicks is a lone voice themes and gay content will always feature some amongst an audience of dedicated listeners. "While amount of inherent sexuality, but graphic depictions of Hicks' comments work to belittle the hard work done said sexuality, they usually are not. by an amazingly devoted group of volunteers at CJSR, Michelle Thomarat, a producer and host at Gaywire, we get a lot of great feedback. And those are the doesn't think that Hicks was trying to make any kind of people we do it for." real commentary on the subjects they cover: "I doubt, Gaywire airs every week on Thursday night from 6 to some extent, that his perception of the show as a to 7 pm on 88.5 FM and on CJSR.com. More info on show about 'lesbian sex' had anything to do with the the show can be found at gaywire.tumblr.com. And this content. But we would not shy away from talking week's program happens to take place during CJSR's about lesbian sex, when relevant. I'm sure the ways in FunDrive, so you can also donate to keep lesbian sex which we would talk about it would differ substantially on the airwaves. V

EERN Q UN TO MO

Symptom or the problem?

Pornland, by Gail Dines, is a new book of the effects act out what they're viewing. But if this were true, of pornography on our culture, and it's getting a ton with the sheer numbers of people who view pornogof media attention lately. Dines claims that pornography on a regular basis, and the astronomical jump raphy today is more extreme and violent than it ever in the amount of it available, we should be seeing a has been, influencing a generation of men to be violent major increase in sexually violent crimes. The fact is and callous towards women. It sounds pretty scary, that we're not. but we've heard this many times before. In the 1980s, movies like Not a Love Story and antiThere's no doubt that there's some pretty porn activists like Andrea Dworkin sounded disturbing stuff out there in the world of the same warnings, and yet it's hard to arporn. I had a look at one of the slide shows gue that their dire warnings ever materialon Dines' sister site "Stop Porn Culture." It's kly.com e e w e @vu brenda ized. I have to question if the current alarm hard not to have a gut reaction to these a d Bren er depictions of violence and abuse. Contrary bells are warranted.

Kerb I talked to Dr Marty Klein, certified sex to what Dines says in Pornland, these types therapist, educator and author of America's War of videos and sites are only one segment of the on Sex. "There is absolutely no evidence to support the industry, but this stuff is out there and it's not hard to idea that consumers of pornography engage in sexual access. If we know that it doesn't have a concrete imviolence any more often than non-consumers of porpact on behaviour, is there any reason, beyond our own nography," he said. He pointed to the Meese commisdiscomfort with it, to be concerned? sion, the most extensive study on the social effects Klein thinks so: "We ought to be concerned about of pornography, which, in spite of actually seeking to the sexual images that our young people consume and prove that porn was dangerous, could find no connecto focus on pornography as the main source of those tion to sexually aggressive behaviour. sexual images is shockingly naive." He believes that porBut the Meese commission was 34 years ago. Surely nography is only one of the sources of sexual imagery things are very different today. Klein agrees that things that influence both children and adults, and a small one are different, but not in the way that Dines contends. at that.

"The year 2000 began a very interesting social experiI have to agree. If if we simply ban pornography or rement in the US," he said. "The year 2000 meant [because fuse to watch it, as Dines advocates, would it really solve of the availability of broadband Internet] that Americans the problem? Misogyny and sexual violence would still of all socio-economic backgrounds could have free, highexist, as they did in the hundreds and thousands of quality pornography in their own homes. So what has years that preceded Internet porn. Isn't it possible that happened in the last 10 years? According to the federal rather than the source of our attitudes and behaviours, government, the rate of divorce has gone down, the rate violent and misogynistic porn is a mirror of them? The of suicide has gone down, the rate of sexual violence anti-porn rallying cry is a seductive one. Extreme and has gone down, the rate of child molestation has gone violent porn is an easy target, but is it the right one? Is down. So anybody who says that pornography drives it the symptom rather than the disease? V any of those four things, we have the data now and we know what happened in the last 10 years."

Brenda Kerber has been a social worker and sexual Dines argues that men who view any kind of porhealth educator in Edmonton not-for-profits for the past nography will always be drawn to harder and more 11 years. She is the owner of the Edmonton-based sexviolent porn and that this causes them to eventually positive adult toy boutique, The Traveling Tickle Trunk.

LUST E LIF

FOR

HOROSCOPE ARIES (Mar 21 – Apr 19)

GEMINI (May 21 – Jun 20)

In the Chinese province of Fujian, there were Have you ever seen the edible fungi known as people who believed if they slept on the grave truffles? They are bulbous, warty clumps. In of the person they wished to reach, their parts of Europe their taste is so highly prized dreams during the night might lead to a meetthat they can sell for up to $6000 per pound. ing with the spirit of the departed. I propose In my opinion, the truffle should be your metathat you consider something similar. Accordphor of the month this November. I expect that ing to my reading of the astrological you will be in the hunt for an ugly but omens, you would benefit from delectable treasure, or some kind of communing with your anceslovable monster. Halloween costors. If you can't actually spend tume suggestion: a Frankensteinian the night near their final resting beauty queen or underwear model, .com ly k e e w l@vue place, find another way to cona rhino in a prom dress, a birthday freewil tact them in dreams. Put their cake made of lunchmeat.

Rob y photos under your pillow, maybe, Brezsn or hold one of their beloved objects CANCER (Jun 21 – Jul 22) as you sleep. Halloween costume suggesDon't try harder, Cancerian; try easier. Don't tion: the ancestor whose influence you need turn your focus into a white-hot beam of piercing most right now. intensity; relax your focus into a soft-eyed enjoyment of playing around with the possibilities.

TAURUS (Apr 20 – May 20) Send waves of tenderness through your body, In an exhibition at New York's Museum of Modopen your heart to the experiment of blending ern Art, performance artist Marina Abramovic your energy with life's unpredictable flow, and stared into the eyes of a succession of different marvel at the surprising revelations and invitastrangers for 700 hours. Actresses Marisa Tomei tions that are constantly flowing your way. Haland Isabella Rossellini were among those who loween costume suggestions: Mr Smooth, Ms received her visual probes, as well as 1400 less Velvet, Dr Groovalicious. famous folks. I think it would be fun for you to do a variation on her ritual, Taurus. In your case, you LEO (Jul 23 – Aug 22) wouldn't do it to show off or to prove an artistic "I wanted to change the world," said writer Alpoint, but rather to get closer to the allies with dous Huxley. "But I have found that the only thing whom you'd like to develop a deeper bond. Halone can be sure of changing is oneself." I suggest loween costume suggestion: a mystic seer; a god you adopt that as your operative hypothesis, or goddess with a third eye.

Leo. Maybe in a few weeks it'll make sense for

ILL FREEW GY

AS

38 // BACK

TROLO

you to shower your loved ones with advice, and maybe you'll eventually get re-inspired to save humanity from its foolish ways. But for now your assignment is to fix, refine and recalibrate your own beautifully imperfect self. Halloween costume suggestion: hermit, anarchist, keeper of a gorgeous diary, do-it-yourself brain surgeon.

VIRGO (Aug 23 – Sep 22)

In last May's national election, none of Britain's three political parties got a majority. Eventually, the rightwing Conservatives and the leftwing Liberal Democrats formed a weird coalition, making Conservative David Cameron the Prime Minister. Some people had mixed feelings about the deal. "I said it was like a cross between a bulldog and chihuahua," London's mayor announced, "but what I meant is it will have a fantastic hybrid vigor." I suspect that a certain merger you have in the works, Virgo, could yield similar feelings. Halloween costume suggestion: half-bulldog, halfchihuahua; part hummingbird, part-crocodile; equal mix of Gandhi and Napoleon.

LIBRA (Sep 23 – Oct 22)

Five white tigers at a Chinese wild animal park became way too tame for their own good. One of their essential instincts atrophied. A zookeeper put live chickens into their habitats, hoping they would pounce and devour, but instead they retreated as if unnerved. Since then the zoo officials have been taking measures to boost the big cats' bravado. I bring this to your attention, Libra, because I'm worried you might

VUEWEEKLY // OCT 28 – NOV 3, 2010

be headed in the tigers' direction. Undomesticate thyself! Halloween costume suggestion: a big fierce creature.

SCORPIO (Oct 23 – Nov 21)

You could really use your own personal doorman or doorwoman—someone who would accompany you everywhere you go and help you gain entrance through the portals you encounter. He or she would find secret camouflaged doors for you, and do the equivalent of uttering Ali Baba's magic words "Open Sesame!" He or she would even create doors for you, allowing you to penetrate obstacles. If you can't find anyone to fulfill this role for you, do it yourself. Halloween costume suggestion: a doorman or doorwoman; a gatekeeper from a fairy tale.

SAGITTARIUS (Nov 22 – Dec 21)

Is the highest form of courage embodied in a soldier fighting during a war? Irish poet William Butler Yeats didn't think so. He said that entering into the abyss of one's deep self is equally daring. By my astrological reckoning, that will be the location of your greatest heroism in the days ahead. Your most illuminating and productive adventures will be the wrestling matches you have with the convulsive, beautiful darkness you find inside yourself. Halloween costume suggestion: a peaceful warrior.

CAPRICORN (Dec 22 – Jan 19)

The average spammer sends out 12 414 000 emails before snagging the money of just one

gullible dupe. Fortunately all you have to do is purify your intentions. So please check in with your deep self and make sure that your gift or idea or product or service has impeccable integrity. Halloween costume suggestion: a holy salesperson; an angel hawking real estate in paradise; a TV infomercial spokesperson for free cake.

AQUARIUS (Jan 20 – Feb 18)

Sunlight may smell spicy or musky to you these days. The hum of the earth as it turns may sound like a symphony you heard once in a dream. Your body? Electric. Your soul? Sinewy. In other words, Aquarius magic is afoot.

Your feet will touch sacred ground far more than usual. Halloween costume suggestion: a character from a film that changed your life for the better.

PISCES (Feb 19 – Mar 20)

In the middle of the last century, avant-garde filmmaker Kenneth Anger threw a masquerade party called "Come as Your Madness." One of the invited guests was the Piscean writer Anais Nin. She appeared as the ancient fertility goddess Astarte, but with an unexpected wrinkle: She wore a birdcage over her head. This Halloween I urge you to be inspired by Nin's decision to portray her madness as a goddess, but reject Nin's decision to cage the head of her mad goddess.

Find a disguise that allows you to embody the best and most beautiful part of your craziness, and let it roam free. V

CLASSIFIEDS

FOUR LINES: $20 EXTRAS: $4 FORMS OF PAYMENT CASH, CHEQUE, VISA, MASTERCARD DEADLINE: FRIDAY AT 3 PM PHONE: 780.426.1996 FROM 9 � 4, MON � FRI EMAIL: ROB�VUEWEEKLY.COM NOT FOR PROFIT LISTINGS ARE FREE! FAX: 780.426.2889 OR EMAIL LISTINGS@VUEWEEKLY.COM

BUSINESS OPPORTUNITIES

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/ 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

EDUCATIONAL Top acting training Apply today! www.topactingschool.ca

HELP WANTED Change your life! Travel, Teach English: We train you to teach. 1000’s of jobs around the world. Next in-class or ONLINE by correspondence. Jobs guaranteed. 7712-104 St. Call for info pack 1.888.270.2941 The Cutting Room is looking for Assistants and Stylists Please drop off your resume at 10536-124 Street

MUSICAL INSTRUCTION MODAL MUSIC INC. 780.221.3116 Quality music instruction since 1981.

Guitarist. Educator.

Graduate of GMCC music program

ARTIST TO ARTIST

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

Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing. Free ads must be submitted in writing, in person or by fax. Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m listings@vueweekly. com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space Wufniks Magazine is looking for short fiction and poetry submissions. wufniks.com Send us your scribblings. submissions@wufniks.com Stage Struck! 2011, Call for entrants. Submissions for ADFA/Edmonton one-act play festival, Feb 25/26, accepted until Dec 13, 2010. Info/registration package from Mary-Ellen, 780.481.3716, mperley@ shaw.ca.

Free art demos: Learn to paint with oil bars; Sat, Oct 30, 11am and 2pm; Naess Gallery–Paint Spot, 10032-81 Ave, 780.432.0240 Profiles Art Gallery–St Albert are looking for functional and decorative pieces and are interested in hearing from fibre artists and artists working in wood and glass. E: jennyw@artsheritage.ca for info Harcourt House artist run centre: Call for Submissions 2011/2012 Gallery Exhibition Programming Deadline: Nov 30 Info: harcourthouse.ab.ca> Muttart Conservatory–call for art submissions–juried exhibition; deadline: Nov 22; Info: Muttartconservatory.ca 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

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 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 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 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 horror-cop 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

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

VOLUNTEER

VOLUNTEER

Volunteer at The Deep Freeze Festival, Jan 8-9 and experience the arts on 118th Ave. Info on volunteer opportunities E: deepfreezevolunteers@gmail.com

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

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

The Support Network: Volunteer today to be a Distress Line Listener. Apply on line thesupportnetwork.com or call 780.732.6648

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

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

S-Anon: 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 Sexual Assault Centre is recruiting volunteers for the 24 hours crisis line. Are you empathetic, caring, nonjudgmental, want to gain experience in the helping field, want to make change in your community? Contact Joy T: 780.423.4102, E: joys@sace.ab.ca for info 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 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 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 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

SERVICES Depressed? Anxious? Emotions Anonymous: 12 step support group to help people learn emotional wellness, to live with unsolved problems, to help people cope better with life's issues; call Ruth 780.436.2951

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 Had Enough? Cocaine Anonymous 780.425.2715 IS DRINKING A PROBLEM? A.A. CAN HELP! 780.424.5900 Jewish Family Services Edmonton/TASIS (Transforming Acculturative Stress Into Success): Free program aimed at minimizing culture shock and displacement for trained professional immigrant women. T: Svetlana 780.454.1194

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 pre-requisite 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 smallscale, 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 seniors 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

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 Volunteer website for youth 14-24 years old. youthvolunteer.ca

YOUR BEST

ADULT

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

PICKUP LINE LOCAL CHAT. TRY IT FREE : code 2315

780.413.7122

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

1.900.451.2853 (75 min/$2495) www.cruiseline.ca Purchase time online now!

18+

VUEWEEKLY // OCT 28 – NOV 3, 2010

BACK // 39

40 // BACK

VUEWEEKLY // OCT 28 – NOV 3, 2010