vue weekly 786 nov 11 - nov 17 2010 by Vue Weekly

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VUEWEEKLY // NOV 11 – NOV 17, 2010

COVER

INSIDE UP FRONT // 4/ 4 6 8 9

Vuepoint Dyer Straight In the Box Bob the Angry Flower

F&M //32

DISH // 15

Uncorks Edmonton's flavours

18 To the Pint

ARTS // 20

FALL STYLE

24 Prairie Artsters

FILM // 26 29 Screen Caps

MUSIC // 32/ 36 Gutterdance 37 Music Notes 42 New Sounds 43 Old Sounds 43 Quickspins

The classics return

AT VUEWEEKLY.COM

BACK // 45 46 Queermonton 46 Lust for Life 46 Free Will Astrology

EVENTS LISTINGS 25 Arts 31 Film 34 Music 45 Events // Paul Blinov

MUSIC Slideshow: Imaginary Cities

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

IssuE no. 786 // NOV 11 – NOV 17, 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 EDITORIAL INTERN.............................................. Meaghan Baxter // meaghan@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

COVER Photo: Eden Munro

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

CONTRIBUTORS Josef Braun, Kristina de Guzman, Gwynne Dyer, Jason Foster, Amy Fung, Brian Gibson, Tamara Gorzalka, James Grasdal, Jan Hostyn, Whitey Houston, Brenda Kerber, Stephen Notley, Mary Christa O'Keefe, Roland Pemberton, Mel Priestley, LS Vors, Dave Young Distribution Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

VUEWEEKLY // NOV 11 – NOV 17, 2010

FRONT // 3

UP FRONT

EDITORIAL

Vuepoint Dialogue cut short samantha power // samantha@vueweekly.com

hile it was courageous of the Racism Free Edmonton campaign to put the term "white privilege" boldly on their website, it was also naïve, perhaps assuming a base knowledge that doesn't exist. But it has sparked an important dialogue and so it is unfortunate that the rather knee-jerk reaction to remove the phrase from the campaign's web site has occurred after only a couple days of outcry, and not much discussion and dialogue. Using the term white privilege is an opportunity to discuss issues around systems of oppression that exist that are difficult to recognize and even more difficult to come to terms with, but are ultimately necessary to the ending of racism. White privilege is not meant to be an offensive term, though it's definitely difficult to accept that systems may exist to the benefit of some and disadvantage of others, without our even knowing it, or consenting our participation. Unfortunately the disadvantages faced by people in a minority group, of a different colour or religion, are the advantages people in the majority are afforded. So the issues that should be open to all are assump-

GRASDAL'S VUE

tions that simply exist in the everyday lives of people in a majority situation. And that assumption then becomes the norm. Peggy McIntosh, the original author proposing the white privilege theory, puts it in daily terms, acknowledging that as part of a majority you are faced daily with people in leadership positions and in the media of your own colour, and in legal situations race will not work against your case. These are assumptions and norms that come to form a system of belonging and oppression and if we don't acknowledge that these privileges exist, how can we understand what it's like to be in a situation where they're absent? It's a conversation that needs to happen in this city and it's unfortunate that it's been cut short. Hopefully the dialogue and debate will continue. The 13 organizations involved in Racism Free Edmonton acknowledge their courage in initially including this crucial element of anti-racist education and continue the dialogue, because based on the comments section of most antiracism-related articles posted in the last few days, it's pretty evident we have a racism problem in this city and we all need to ask ourselves how we're going to fix it. V

PODCAST >> WOMEN AND POLITICS

YOURVUE 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.

Last week: Should Edmonton This week: Should anti-racism include have held on to the Indy? teachings on the idea of white privilege? 39% Yes 61% No Go to vueweekly.com and send us your comments.

COMMENTS In response to "The courage to learn" (Nov 4 - Nov 10, 2010) Wonderful article Sue. Accountability is key, and following along on Esme's comments, it is important to release the data. All too often people in policy roles, or those that inform policy, abide by the principle, "Don't confuse me with the facts. My mind is made up." We need to listen. We need to look. We need to learn. We need to collectively accept responsibility and address issues of concern. The current educational gaps between aboriginal and non-aboriginal people are unacceptable. So, too, is the inequity in the investment in infrastructure that results in the comment about a paved road. How sad. And gut wrenching is the comment about the rope breaking. We must do better. —Kathryn Burke

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In response to "Elected for change" (Nov 4- Nov 10, 2010) Well researched and insightful article. I was a member of APPEAL so many years ago and managed to survive the Leif Stolee suggestion that parent advocates could not be successful Trustees. I was elected to my first term in 2004 and today embark upon my third term. I will go on record as saying that this current crop of 6 new EPSB Trustees are an outstanding lot who will not be burdened by the past. I encourage our public to ask their Ed. Public Trustee, a year from now, "What has the Board done in the past year?" I am confident the answer will be impressive. Change is in the air and this Board will be leading it. —Dave Colburn, Board Chair Edmonton Public School Board

Canada's international ranking in the status of elected women continues to fall. Currently Parliament is made up of only 22 percent female MPs. Many nations have employed national strategies to encourage women to run for office. We'll talk to Equal Voice about their upcoming panel encouraging young women to run. GO TO VUEWEEKLY.COM where we post new podcasts every second Monday at noon.

VUEWEEKLY // NOV 11 – NOV 17, 2010

Ethical education

Dirty Oil reveals the human and environmental costs of oil

Dirty Oil ain't pretty samantha power // samantha@vueweekly.com

wo months ago when culture minister Lindsay Blackett criticized the film Dirty Oil for receiving government funds, director Leslie Iwerks was more than a little surprised: "I was thinking, "My God, they're the ones approving these things, why aren't they more objective about telling both sides of the issue?'"

Blackett was not one to back down on the issue, stating that he might look into how films receive funding from the government, and according to Premier Stelmach, Blackett is in the process of those reviews. For Iwerks though the issue is somewhat ironic. "What I find interesting is the government can spend $25 million on a prooil-sands cover campaign to make it look good, and yet my film is blasted because much of the truth that they're

trying to cover up," she says. "So if that doesn't tell you about a government, I don't know what does." Based on the subject matter of Dirty Oil, though, perhaps the government criticism of the film, which Iwerks notes they hadn't even seen, shouldn't come as such as shock. The work of Dr John O'Connor features prominently in Iwerks film. O'Connor was the community doctor for Fort Chipewyan who initially asked the question about the health impacts of

the tar sands as it relates to the increased cases of rare cancers occurring in the small community located downstream from the tar sands. O'Connor was quickly accused of creating "undue alarm" in the community, and was threatened with having his medical license revoked by the College of Physicians & Surgeons of Alberta. For asking a question. It was one of the issues Iwerks found most surprising in making the film. "Why wouldn't you try all the options out there?" she wonders. "And government was so quick to disregard it." It was the most recurring and surprising issue she came across when working on the documentary: the government's willingness to ignore environment or health concerns, or work hard to build a better tar sands image. "So much energy is spent on avoiding issues and the environmental truths that are out there," she says. As an American, Iwerks admits there are Canadian politics she may not understand, but ultimately she made the film for American audiences. With recent defenses of the tar sands being launched portraying the projects as ethical in comparison to drilling in war-torn nations, Iwerks believes if Americans actually knew where they got their oil, they would begin to make different de-

cisions. "American audiences are pretty blown away by [the film]," says Iwerks. "I didn't know a lot about it myself and when you dig into it, you realize there's a lot of environmental concerns here. The reality is, OK, so you take the stance that it's better to get our oil from Canada, but the reality is until people start focusing on the ways in which we don't have to consume so much oil, this battle is just going to continue and the victims are the environment and the people living around the oil sands and pipelines." And that's the ultimate conclusion of the film as well: how do we move past the consumption of oil? According to Iwerks it's going to take monumental leadership. “There's nothing ethical about oil anywhere," she says. "It's a dirty chemical, human beings [will be] dependent upon it until we all collectively get on the same page and say it's not right for people to be victims and for the environment to be a victim." V Dirty Oil Fri, Nov 12 7 pm (In attendance: Leslie Iwerks, Dr John O'Connor and Andrew Nikiforuk) sponsored by Public Interest Alberta Sat, Nov 13 (noon) Paramount Theatre

News Roundup QUESTION AND ANSWER

... is the minister aware that financially it is actually less expensive to make an initial investment to bring an individual out of poverty than it is to leave them in poverty?

MLA Dave Taylor

WHO'S THE GREENEST?

he Alberta Liberals announced their new environment policy this week. The Liberal policy includes the no-note loss wetlands policy recently weakened by the Alberta government. The Liberals also advocate against the developments of water markets. In addition, the Alberta Liberals also propose a hard cap on carbon emissions by 2017, where the Conservative government is working toward intensityreduction targets and a 50 percent re-

In a nutshell our poverty reduction strategy is employment. Minister Thomas Lukaszuk duction in carbon emission by 2050. CITY BUDGET

he proposed Edmonton 2011 budget was presented to City Council this past week. The proposal calls for a three percent tax increase for services and a two percent increase for the Great Neighbourhoods Project. City administration calculates the city would need an 8.5 percent increase to support the service and infrastructure needs, but through budget reallocations, service

adjustments and operational efficiences, the tax increase was kept at three percent at council's request. The budget was created to align with The Way We Live, and other 10-year strategic plan documents. The city budget currently relies on taxes for 50 percent of its revenue, with 19 percent coming from user fees, fines and permits. Public hearings on the budget will occur on November 22 and the final tax rate will be approved in the spring of 2011.

uring question period last week, Independent MLA Dave Taylor asked Minister of Employment Thomas Lucaszuk to report on the findings of the standing committee on the economy and their progress on the minimum wage, and of the possibility of the creation of a poverty reduction strategy. Last month standing committee members, while reviewing minimum wage, unanimously approved the idea of a comprehensive poverty reduction strategy. A poverty reduction strategy has been advocated by groups such as the Edmonton Social Planning Council and Public Interest Alberta. A report by the Edmonton Social Planning Council in 2008 recommended government actions beyond increasing minimum wage and job support, listing expanding health and dental plans, reduced childcare costs and assistance to recent immigrants as methods to help Albertans out of poverty. The standing committee on the economy recommended last month that minimum wage increase from $8.80 per hour to $9.05. Lucaszuk stated the full report would be presented to the Legislature.

QUOTE OF THE WEEK

samantha Power

"I thought I was clear on this point — we're not accepting any new proposals." —Minister of Advanced Education Doug Horner confirming post-secondary tuition will be held to CPI increases. Nov 8, 2010 The Gateway

// samantha@vueweekly.com

VUEWEEKLY // NOV 11 – NOV 17, 2010

FRONT // 5

COMMENT >> NUCLEAR TERRORISM

Intelligence games Insight into counter-terrorism You probably noticed reports recently South Ossetia by force in 2008. He about the secret trial in Georgia of will do anything he can do to make two Armenian men who tried himself useful to the American to sell highly enriched uraniintelligence services, and this um (HEU) to a man purportserves that purpose. ing to be an Islamist terrorWhy do the US intelligence om ist. The apparent buyer was services want to emphasize eekly.c w e u v e@ gwynn actually an undercover pothe risk of nuclear material e Gwynn liceman and the whole thing falling into the wrong hands? was a sting operation from Because that would be a bad Dyer start to finish, but it offers some thing, of course, but also to uninteresting insights into the current derline the fact that thwarting nuclear state of play in the world of counterterrorism is entirely a job for the intelterrorism. ligence services. The would-be sellers of the HEU were The alleged threat of nuclear tertwo naive losers, a 63-year-old failed rorism is used to justify the whole businessman called Sumbat Tonoyan US policy of invading countries that who had gambled his money away and might provide "bases" for such terrora 59-year-old physicist named Hrant ist attacks. It was the main (although Obanyan who was chronically ill. utterly false) justification for the US They both wanted to score a big win invasion of Iraq, and it continues to be in order to finance their retirement, used to justify American threats to atand they fell right into the Georgian tack Iran. But what do the intelligence police trap. people want us to conclude from this A petty criminal called Garik Dadaepisode? That the US should invade yan first approached Obanyan in 2002 Armenia? Obviously not. with a packet of metallic powder, askThey want us to conclude that the ing whether it was highly enriched military should not be allowed anyuranium. Obanyan, a scientist at the where near counter-terrorist operaYerevan Physics Institute, confirmed tions, partly because the tools they that it was uranium though he could use—infantry, artillery, etc—are not say how enriched it was—and Daentirely inappropriate for the job, dayan was subsequently arrested tryand partly because invading couning to cross the frontier into Georgia tries tends to radicalize people with 200 grams of HEU. and turn them into your enemies. Dadayan was out of jail again by 2005, so Obanyan knew where to go The little show-and-tell in Georgia when his friend Tonoyan suggested serves the purposes of the more intelthat they could make a fortune by ligent American officers, who know peddling HEU to terrorists. Dadayan that the military must be excluded told them that he had friends in Russia from their operations but have trouwho could supply them with unlimited ble in fending them off. It also helps amounts of HEU, and suggested that to justify their budgets, although the they start by finding a buyer and sellthreat they are seeking to protect us ing him a sample amount of, say, 100 from is smaller than they claim. grams. The poor fools believed him. It is smaller because it is almost inconceivable that terrorists could asIt's almost certain that Dadayan was semble a weapon that would result in working for the Georgian intelligence an actual nuclear explosion. The techservice by this time (how else would nologies needed are just too challenghe get out of jail so fast?). The fact ing, and the amount of highly enriched that in the end he only gave them 18 uranium needed is too large: around grams (half an ounce) of HEU to take 50 kg, or 2500 times the amount that to Georgia reinforces that suspicion. the Armenian pair were trying to sell. And of course it was the Georgian A "dirty bomb" that just spreads rapolice who supplied the "buyer," a dioactive material over some part of a Turkish-speaking undercover policecity is more feasible, but also far less man who said he was in the market for dangerous. It would cause widespread nuclear material on behalf of "serious panic and make that district inaccespeople." sible for a time, but a well-placed Last March the two mugs took the car bomb would probably kill more night train from Yerevan to Tbilisi, people. with the 18 gms of HEU hidden in a Never mind. I'm happy to have them cigarette box that was lined with lead play their intelligence games, because strips to fool the American-supplied rait just might prevent something like diation detectors at the border. When a "dirty bomb" from exploding in an Tonoyan showed up at a Tbilisi hotel American city. If that did happen, the the next day to close the sale (he was popular pressure on President Obama asking $50 000 per gram), the police to invade some other Muslim counfilmed the whole transaction and then try would be well-nigh irresistible. arrested him and his partner-in-crime. That's not what we need right now. V Georgia's motivation in all this is clear. Prime Minister Mikheil Saakashvili is Gywnne Dyer is a London-based jourtrying to rebuild the close relationship nalist whose articles are published in he used to have with the United States 45 countries. His column appears every before his rash failed attempt to seize week in Vue Weekly.

DYER IGHT

STRA

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VUEWEEKLY // NOV 11 – NOV 17, 2010

FRONT // 7

COMMENT >> HOCKEY

Down on the farm A star is shining in the minors

Here's your weekly Oiler update. Oilers vs Minnesota: Wild player Kyle Brodzvs Detroit: 3-1 loss. Oilers in Chicago: iak also scores two goals. Game seven 2-1 win (that's two wins over the Cup in Calgary: Flame Curtis Glencross Champs already). Shawn Horcoff: first scores one goal. Game 10 vs Vancouver: notable Oiler injury (day-to-day Canucklehead Raffi Torres scores leg injury). Oilers in Carolina: a hat trick. Game 11 vs Detroit: 7-1 loss?! Yup. Such is the Red Wing Dan Cleary scores rollercoaster ride you get one goal. Game 12 in Chicago: with a young team. BeatHawk Fernando Pisani scores m o .c kly ing Chicago again gives the the lone Chicago goal. Game uewee v @ x o intheb team a solid grade of B for 13 in Carolina: 'Canes Erik Cole ve a D the week. and Sergei Samsonov score a Young goal apiece in the 7-1 drubbing. "Living well is the best revenge" All of these former Oilers stuck it —17th century clergyman George Herto Edmonton this season. bert Game two vs Florida: Panther Marty "To know the road ahead, ask those Reasoner scores two goals. Game five coming back" —Chinese proverb

IN THE

BOX

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The Oilers are currently in the midst of the annual CFR road trip. The rodeo occupies Rexall/Northlands/Skyreach so the team traditionally goes on a lengthy road swing. Here are some fun facts about the CFR trip (assuming my math was done right): The team is a combined 64-65-3-22 during the November travels. Best one: 4-1 in 83-84 Worst one: 0-3 in 97-98 In nine trips to Boston during this trip, they've only beaten the Bruins once and lost eight times. They haven't been much better in Philly. The team are 3-7 against the Flyers. For stats junkies, here are the upcoming opponents on this year's trip and their

VUEWEEKLY // NOV 11 – NOV 17, 2010

November road trip records: Detroit (3-3) New York Rangers (6-2-1) New Jersey (5-0). Looks good! Great (fictional) moments in (fictional) Oiler history February 20, 2000: A young tough guy named Georges Laraque, known as much for his big heart as his bruising fists, visits a sick child in the hospital. It was not uncommon for Big Georges to devote time to fans. During this visit, the young lad told the hockey player that it would mean a lot if Laraque scored four goals in the next game. Despite wanting to let the boy down gently, the bruiser said, "I'll do it!" On February 21, the Oilers faced the LA Kings and BGL scored a

hat trick! When Georges returned with three pucks for his new friend, the boy refused the gifts. "I wanted four goals," cried the brat. Georges learned two important lessons that day: first, under-promise and over-deliver is a good policy. Second, being a sick child doesn't mean you're a nice person. DY Oiler player of the week Linus Omark: He might be on the farm but he scored five goals for the Oklahoma City Barons against the Toronto Marlies on Sunday. For good measure, he added a shoot-out goal. And just to keep things fair for the baby Leafs, he didn't even start scoring until the second period. V

BOB THE ANGRY FLOWER

VUEWEEKLY // NOV 11 – NOV 17, 2010

FRONT // 9

FALL STYLE Fashion Editor: Bryan Birtles | Photography: Eden Munro and Meaghan Baxter | Text: Meaghan Baxter

Toggle Coats:

Urban Behavior Checked toggle jacket: $99.80

Military Jackets:

Underground Women G-Star Raw New Duty jacket: $280.00

10 // FALL STYLE

VUE WEEKLY'S STYLE GUIDE 2010

In the midst of dwindling daylight and increasingly frigid temperatures is the opportunity to have some fun with fashion. A cold Alberta fall calls for layering, which opens up endless possibilities that weren't available during warm summer months. Classic trends are resurfacing, inspired by vintage fabrics and details while embracing richly decadent colour palettes. Outerwear becomes a dominant focus, as fashion must meet a happy medium with function. After taking cues from Edmontonian street style, we've compiled a few essentials.

The vintage-inspired fastening detail is a great alternative to commonplace button-down coats. Toggles add visual interest to fall outerwear while providing function. They don't have to stay on coats either, as many designers have started adding them to sweaters and hoodies.

H.S. Hugo Boss hooded coat: $1095.00

FCUK Grymel Buckshot Duffle: $248.00

Elements of military dress have surfaced over and over in fashion, and the trend is back in full swing for fall. Combat-inspired jackets are an incredibly popular item, along with skinny cargo pants, tough yet chic boots and a wide range of accessories. To rock this trend, incorporate one military piece into your outfit at a time rather than all at once, or you'll look like you're off to the trenches.

Urban Trade Orb military jacket: $149.99

Urban Trade Element military jacket: $109.99

VUEWEEKLY // NOV 11 â&#x20AC;&#x201C; NOV 17, 2010

continued >> 12

VUEWEEKLY // NOV 11 – NOV 17, 2010

FALL STYLE // 11

FALL STYLE

STYLE GUIDE 2010

10 << continued from

Vests:

Classic suiting pieces do not have to be confined to the office or formal occasions. Vests can be paired with a crisp shirt and denim, or even over a simple tee. Ladies can partake in this trend by layering a vest over a blouse, which could be dressed up with a pencil skirt or kept casual with a flattering pair of jeans.

Forever XXI Men's vest: $28.90

Tweed Jackets:

12 // FALL STYLE

Tristan Men's black vest: $125.00

Tweed jackets have remained a classic fashion staple for dropping temperatures. The fabric, which originated in Scotland to battle harsh winters, is a great choice for those looking for something durable. It remains a timeless fabric, and can be found in a variety of patterns, weaves and colours.

Forever XXI Women's coat: $41.80

Next Exit Soia & Kyo coat: $299.99

Next Exit Billabong peacoat: $89.99

Next Exit Spiewak tan coat: $284.99

VUEWEEKLY // NOV 11 â&#x20AC;&#x201C; NOV 17, 2010

Sew local

The debut collection

// Eden Munro

Malorie Urbanovitch reflects on her first runway show Bryan Birtles // bryan@vueweekly.com

alorie Urbanovitch is an Edmonton-based designer who presented her first collection at this past year's Western Canada Fashion Week. Already working on the next collection, Urbanovitch was kind enough to answer some of Vue Weekly's questions about her involvement in Edmonton's fashion scene. Email malorieshouse@gmail.com for more information, or to make an order. Vue Weekly: Tell us a bit about how you

got involved in fashion?

Malorie Urbanovitch: I started out as Designing woman

// Chelsea Boos

a stylist. I became mostly interested in colour palettes doing that, which led to my desire to choose fabric and turn it

into a design. VW: You presented your debut collection

at WCFW this year. What kind of statement were you looking to make? MU: The first collection seems important. It really sets the tone for your esthetic, which I think should ideally remain consistent in some way. So I guess I wanted to make myself clear in a bold way without compromising wearability. In my opinion, if clothes aren't for the most part wearable, they're not really doing their job. VW: You decided on a limited colour pal-

ette. Can you tell us about that decision? MU: Fabric choice plays a huge part in my designs. I wanted to draw attention to the texture of the garments by making subtle colour transitions. I exaggerated

the texture of some of the pieces by looping thick yarn through the fabric. I think it kind of looks like a drawing. Scribbles.

sewed this collection, so that probably inspired me a lot too.

VW: Where do you find inspiration? MU: Everything, really. I'm a film studies

here? MU: Making more clothes. I'm really excited to work on a fall/winter collection as it's getting colder. Seasons are a big inspiration too, I guess. V

student, so movies are a big one. But music and architecture and art and people. I watched five seasons of Buffy while I

VUEWEEKLY // NOV 11 â&#x20AC;&#x201C; NOV 17, 2010

VW: Where are you going to go from

FALL STYLE // 13

14 // FALL STYLE

VUEWEEKLY // NOV 11 – NOV 17, 2010

DISH

Find a restaurant

ONLINE AT DISHWEEKLY.CA

Brunch-tastic All-vegan brunch shines

Simply fresh, vegan fare Jan Hostyn // jan@vueweekly.com

admanadi has been open since 2002, but this June the owners closed down the old location and opened up in a new space on 101st Street. Along with the new location came new hours and new menus. Now, in addition to lunch and dinner, Padmanadi also serves brunch on Saturdays and Sundays. Since brunch is a bit of a revered entity for me, that was exactly the impetus I needed to try the intriguing new location. Early one Saturday morning, I recruited a hungry friend and off we went. Parking was a breeze, thanks to the kind folks at 99 Street Market. Padmanadi customers can park in their lot, located just across the street. Never underestimate the power of free and easy parking. After traversing the bustling, rather bleak stretch of 101st Street, escaping into Padmanadi was like entering a mini-oasis. We were greeted by a gorgeous mixture of soothing browns, yellows and greens, spectacular Ashaped chairs and striking vases of soaring bamboo. Clean, simple lines heighten the luxurious atmosphere,

and the overall feeling is one of sumptuous warmth. The quirkiest and perhaps most inviting feature of the room, though, are the pictures—simple pictures of smiling employees and customers—that dot the walls. "Padmanadi smiles," we were told. We breezed in the door just after 9 am. Our waiter, who had been told no one ever came in before 10, was surprised, but very good-natured and friendly. I ordered a Soy Chai Latte ($5) to sip while I inspected the menu, and my dining companion went with a cup of Organic Fair Trade Coffee ($2.75). Our waiter, working his first brunch ever, confessed his latte-making skills were nonexistent, but the cook came to the rescue. I was presented with a very drinkable latte, not overly sweet and rich, but seductively spicy. It was similar to a milk-based latte, but the texture was smoother and the foam was, well, interesting. "Chunky," was the expression my friend used. As for the coffee, it must have been good, judging by the numerous cups that were consumed. The menu is fairly simple, offering a few salads and essential breakfast-y

// Bryan Birtles

components such as cereal, waffles, pancakes, omelettes, eggs benedict, and tofu scrambles. Everything is vegan and organic. My quinoa fetish had me eyeing the brown rice, red quinoa and pear hot cereal, but I decided to be a bit more adventurous and ordered the tom yum

While my dining partner was stealing my grapes, breakfast arrived. I inhaled the spicy aroma rising from my scramble, but my eyes were riveted on my dining partner's plate. His "omelette", veggie ham and Daiya cheese wrapped up in bean curd, did a stellar job of looking like an omelette, but it

My dining partner, who typically doesn't have much use for most root vegetables, allowed me just one beet—the hash was that good. The homemade ketchup made it even better. tofu scramble ($14) and a fruit cup ($5). My dining companion opted for the ham and cheese omelette ($15). My fruit cup arrived first, in a bowl, and was much larger than a cup. It was also a refreshing departure from the suboptimal, pre-cut mixture that so often masquerades as "fresh fruit." Instead it was a very fresh, very impressive, assortment that included blueberries, kiwi and dragon fruit. Everything was also freshly cut and individually arranged.

was the root vegetable hash I coveted. The colourful medley of roasted potatoes, carrots, cassava, purple yam, sweet potatoes and beets, all flecked with tiny crystals of salt, looked impossibly delicious. My dining partner, who typically doesn't have much use for most root vegetables, allowed me just one beet—the hash was that good. The homemade ketchup made it even better. The omelette's filling had a smoky flavour from the veggie ham, and the

VUEWEEKLY // NOV 11 – NOV 17, 2010

Daiya cheese gave it a creamy, almost silky texture. The bean curd itself was slightly chewy, and overall the omelette was deemed "pretty good." My tom yum tofu scramble turned out to be a mass of crumbled tofu mixed together with chunks of tomato, pieces of baby corn, some carrots, peas and mushrooms. Lemongrass, galangal and lime leaf added a blast of flavour, but after a couple of bites the heat became, well, hot. For breakfast, and for me, anyway. Spaghetti squash nestled underneath did provide some relief, though. We enjoyed brunch, but especially appreciated the attention that was paid to the quality of the ingredients and to all the little details. But—and this is my very non-vegan opinion—the most successful dishes were the ones that celebrated the food for what it is, rather than the dishes that tried to imitate other foods. Padmanadi is a nice change, though, even for non-vegans. And I still want try the quinoa cereal. V Mon – Sun (11 am – 2 pm) & (4 pm – 10 pm); Sat & Sun Brunch (9 am – 2 pm) Padmanadi Vegetarian Cuisine 10740 - 101 St, 780.428.8899

DISH // 15

The real thing

Betsy's provides South African cuisine to ex-pats and the curious LS Vors // vors@vueweekly.com

A far away taste

16 // DISH

VUEWEEKLY // NOV 11 â&#x20AC;&#x201C; NOV 17, 2010

// Bryan Birtles

omplaining about city life is an easy conversational default. Incessant traffic and laughably poor driving. Noise and pollution. Questionable urban planning. The cost of living. One or more of these factors are true at any point in time, but this lens of negativity crops out the many benefits of urban life. There are a multiplicity of advantages for those who reside in a city, and for many the supreme benefit is access to a veritable world tour of ethnic restaurants, shops and grocers. Edmonton possesses a great diversity of such businesses. Some cultures, primarily Chinese and Indian, are represented by many businesses while just one or two shops or cafĂŠs represents others. South Africa falls into the latter category, but is admirably represented by Betsy's South African Deli. The rich scent of cured meat wafts from the door to Betsy's, which occupies a spot in a small strip mall south of Whyte Avenue. An enviable selection of sausages, jerkies and meat pies crowds the coolers in this fragrant space. All of these products are archetypes of South African cuisine, but their availability in Canada is limited. This culinary void prompted South African ex-pat Betsy Stoltz to make sausages for her family at home. Betsy could scarcely keep up with demand once word of her culinary prowess spread to other members of Edmonton's South African community. She opened her namesake shop six years ago, and retired in 2009. Fellow South African Yvonne Lennox purchased the business when Betsy retired. Lennox didn't plan for a career in the food industry, but sought this path following the births of her children and the realization that she did not wish to return to her job with

Yvonne Lennox inside Betsy's South African Deli

// Bryan Birtles

computers. Lennox explains that the South African culinary tradition is highly diverse, and that typical cuisine is an amalgamation of Dutch, British, Indian and native African dishes. A cornmeal porridge served with tomatoes, onions and peppers is a staple of many tribes, while sausages, sweets and tea are indicative of European influence. "It's a lot like a mini Canada," states Lennox in reference to South Africa's multicultural population. Barbecue, known as braai in South Africa, is hugely popular. "No braai is complete without boerewors," remarks Lennox. Boerewors is seasoned beef sausage, and is widely considered to be one of South Africa's defining dishes. A dried version is known as droëwors, and is a popular snack item. Biltong, another popular snack, is similar to beef jerky but is dried, rather than smoked. "We season everything with our own custom spice blend," says Lennox, adding that although the recipe is a secret, it contains smoked coriander. Meat pies, a British staple, are also available. This staggering assortment of beef-based goods reflects the vast popularity of beef in South Africa— another characteristic shared with

Canada. Notably, Lennox sources all of her meat from local farmers. Multiple incarnations of South African sweets grace Betsy's shelves. "South Africans have a great love of sweets after a meal, and tea time is not complete without them," laughs Lennox. Much-requested treats include koeksisters, which are sticky, syrupy, deep-fried braids of dough, and melktert, which is a custard tart laced with cinnamon. Typical South African cookies include hertzoggies, which are named after former South African prime minister JBM Hertzog. "We also bake rusks, which are similar to biscotti and very good with coffee," Lennox explains, "as well as fudge, which is harder than Canadian fudge." Betsy's South African Deli gained a significant South African following when it opened, but its products have gained popularity with the general Canadian audience. Lennox noticed an influx of Canadian customers following the 2010 FIFA World Cup. "Many came back from South Africa and after tasting food there, they wanted to buy the same products here," she observes. She laughs and adds, "But we do not sell vuvuzelas!"

Lennox is content with the status of her business: it processes hundreds of pounds of beef on a weekly basis and demand for authentic South African products remains high. She doesn't rule out a future move to a larger location, but is not convinced that upsizing would be the best decision and cautions that "Going bigger can mean a loss of originality." Indeed, there are many interesting, amusing and memorable customers who grace Betsy's on a regular basis and Lennox remarks, "They feel like family." With that, Lennox resumes preparation of biltong and anticipates the diversity of customers that will grace Betsy's South African Deli throughout the course of the day. Here is a great paradox of city life: in spite of the bewildering urban structure and sizeable population, a disparate subgroup of people are repeatedly drawn to the same spot by the promise of locally made food that for some is a taste of home, and for others is a hint of exotic worlds unseen. V Yvonne Lennox Betsy's South African Deli 6928 - 104 St, 780.988.5050

VUEWEEKLY // NOV 11 – NOV 17, 2010

DISH // 17

BEER

Beer pioneer

Edmonton owes Charles Finkel a round The beer world doesn't have a lot of But over our four courses of gourmet superstars. Most brewers are too modfood, prepared by the Manor's Head est and most beer lovers too inherently Chef using Pike beer in the recipes and democratic to create a star system. It is paired with selections from Pike's beer the beer, not the brewer, which tends lineup, I learned much more. The beer to take centre stage. world owes much more to Charles FinBut every rule has its exception. kel than I realized. Allow me to Recently I had the immense offer a couple of examples of good fortune to share a beer what I mean. dinner at the Manor Bistro with a pioneer of the Finkel, I discovered, is .com weekly American craft beer indusalmost single-handedly ret@vue in p e toth try. Now, I am pretty certain sponsible for the resurrecn o Jas that Mr Charles Finkel would tion of the world's first megar e t s o F balk at being called a "superbeer. Porter, a dark brown ale star," so I will refrain from dorelated to stout, was hugely poping so. However, his credentials most ular among the working class in 18th certainly categorize him as one of the century, creating massive fortunes for most important beer personalities in the London brewers who crafted it. the past 25 years. I don't expect you However, by the early 20th century it to know who he is—even many beer had completely disappeared. In recent geeks don't know. decades a number of independent craft Finkel is the founder and owner of brewers have brought back the style, Pike Brewing Company in Seattle, providing it a modest renaissance. But Washington. He formed it in 1989, befew know Finkel's role, at the time opfore almost anyone had heard of "craft erator of that importer I mentioned. beer." That would be enough to label "I knew that this was a beer people him a pioneer, but there's more. Before would like, and so I talked to my friends

TO TH

PINT

we make it

bake

grow

we sell it

Pike is known for its respectful interpretations of traditional styles, with a twist of fun. Their flagship is a golden ale called Naughty Nellie, named after what Finkel calls their "patron saint" Nellie Curtis. Nellie was the madam of a brothel located in the LaSalle Hotel, where Pike was later founded. opening Pike, back in 1978 he started the first beer importing company devoted to introducing Americans to some of the best beer in the world. He was the first to import Belgian trappist beer, classic German lagers and traditional British Ales to North America. That is impressive, without question. I knew this information about Finkel.

Old Strathcona Farmers’ Market OPEN SATURDAYS YEAR ROUND 8 AM - 3 PM 10310 - 83 Ave, Edmonton Free Parking 780-439-1844 www.osfm.ca 18 // DISH

“A touch of the farm in the heart of the city”

VUEWEEKLY // NOV 11 – NOV 17, 2010

at Samuel Smith's because I thought they might be open to it," Finkel says. "I talked them into brewing a porter." He chose porter because of its history and he lamented its loss to beer drinkers. They named the beer Taddy Porter, because Sam Smith's brewery is in Tadcaster, and you can get that beer to this very day.

It is not the only beer he created with Samuel Smith. He also was the brains behind their now famous Oatmeal Stout. "No one had thought about brewing an oatmeal stout before I suggested it," says Finkel. I can think of few stronger ways of proving one's beer chops than by reintroducing two classic styles to the market. Samuel Smith deservedly claims itself as a historic brewery. The brewery itself has been in operation since 1758 and Sam Smith since 1886. Yet some of the historic beer it is now famous for are due to the creative foresight of Finkel. Finkel sprinkles his stories with casual references to beer icons such as Michael Jackson, Garrett Oliver (of Brooklyn Brewing), Sam Maytag (Anchor Brewing) and Jim Koch (Samuel Adams Beer). This isn't name dropping—he truly is long-time friends with these important personalities. Plus he has actively conspired with all of them to build the craft beer movement in North America. Finkel's brewery is likely as unknown as his name to most beer drinkers. Pike Brewing is not a large operation, producing less beer than many midsized Canadian micros. Finkel built the company up from 1989, only to sell it in 1997 to focus on other projects. However, unhappy with the way it was being run, he bought it back again in 2006. "The owner made me an offer I

couldn't refuse. My wife could have refused it, but not me." Pike is known for its respectful interpretations of traditional styles, with a twist of fun. Their flagship is a golden ale called Naughty Nellie, named after what Finkel calls their "patron saint" Nellie Curtis. Nellie was the madam of a brothel located in the LaSalle Hotel, where Pike was later founded. This might give you a hint at Finkel's sense of humour. Other Pike beers include Kilt Lifter, Dry Wit, Monk's Uncle, Auld Acquaintance and Old Bawdy. The names reflect Finkel's lightheartedness and joy of humour. With 13 beers on offer, no one will appreciate all of Pike's offerings. However, I am certain that everyone will find at least a couple they enjoy. A good number are available in Edmonton. You won't be disappointed—and now that you know the history, it will be even more satisfying. V

VUEWEEKLY // NOV 11 – NOV 17, 2010

DISH // 19

ARTS

"One of the resounding points I took away is that Winnipeggers have no desire to turn their city into a world's city, as it is truly a place for the locals."

PRAIRIE ARtsTERS /24

THEATRE // REVUE

Growing pains

The 4th Graders Present an Unnamed Love-Suicide potent Not your average 4th graders

// John Ulan, Epic

Emotional knife-fight

Love and Human Remains's dark comedy holds up decades on David Berry

// Ed Ellis

// david@vueweekly.com

Paul Blinov // paul@vueweekly.com

he most telling moments in The 4th Graders Present an Unnamed Love-Suicide are not when the titular class of kiddos are performing their deceased classmate's final work. They come during an intermission of sorts, where nobody leaves, Rice Krispie squares are served and the children stand around blankly, whimper to themselves and grapple with something far beyond stagefright jitters. We're clearly sitting in the aftermath of what's being shown to us, and here in the present, it's barely been dealt with. It's a disarming sight to witness, something that sticks with you even as, on the whole, 4th Graders remains more subtle than its title implies, at least in the beginning, saving the bulk of its impact for the final 10 minutes. Before that, it plays out like a surreal, almost comic story of elementary school students entangled in all the self-doubt and drama you wouldn't expect to see until high school or beyond. I suppose, in a way, it's a microcosm for the kinds of struggles any group at any age might have—these are the just kinds of romantic entanglements that people end up in when they're together. Johnny, played by another, unnamed child (Cole Humeny), introduces us on a microphone that towers decidedly above his head: the play is the last thing Johnny wrote before killing himself. They're all playing themselves in his little drama—involving overlapping love-triangle problems for Johnny—but the microphone and spotlight appear a few other times too: every child has a confession, it seems, though they're thought-out, world-weary takes on the who they are and the world they're trying to fit in to. It's grim, but intelligent.

20 // ARTS

Adults playing children playing themselves in a play their classmate wrote is strange and a kind of convoluted premise, but it works here in Trevor Schmidt's production. It doesn't come off as "arty." This meshing of adult and kid worlds pushes the show into strange, uncharted territories: they're not on the cusp of adulthood in the usual trope ways, but they're caught between very heavy adult problems and the juvenile lack of ability to deal with their thoughts, actions and the consequences of either. When we arrive at the titular climax, the impact is severe. Marianne Copithorne is a standout as the conniving Brenda, and Jesse Gervais' bully, Mike Rice, nails his grasp of the deeper meanings of who he is, perhaps more than others. Daze-y eyed Cole Humeny plays Johnny with a fitting blankness, and the rest flesh out their tricky roles with finesse. In the end, The 4th Graders Present An Unnamed Love-Suicide leaves you kind of where these children are: jarred, damaged and uncertain of where to go from here, exactly. Maybe Sean Graney's script drifts a little into shock for shock's sake, but it succeeds in unsettling you. And maybe more, but that's a pretty good start. Few pieces of theatre can really move their audiences into strange uncharted territory, and fewer have the gall to just leave them there without full explanation, either. My guess is you won't see anything like this again in Edmonton for a long while. V Until Sun, Nov 14 (7:30 pm)

The 4th Graders Present An Unnamed Love-Suicide Presented by Northern Light Theatre Transalta Arts Barns (Studio B), $18 – $26

nless you've lived an unusually cloistered life, it's hard to imagine that Brad Fraser's Love and Human Remains is still able to shock you. Of course there are still pockets of people who are uncomfortable with sexuality, particularly of the homo variety, but presumably a live theatre audience has by now gotten used to the idea, even if they aren't entirely aware of the vagaries of anonymous hook-up culture. Luckily, though, being provocative was only one of Fraser's tricks when the play first premiered in 1989: he is also possessed of wit as blazingly painful as a cauterizing iron and an uncanny knack for the bluster and desperation of human relationships. That's not to suggest that the world of Love and Human Remains is relentlessly bleak, although the love that seems to bond these things together is at best an ambivalent force: maybe in some sense it is a beautiful thing, a connecting light in a world that can be pretty apathetic about the designs of its inhabitants, but it is also fed with a stew of lust, habit, misguided hope and fear of its alternatives. Love's pull is what allows our characters to orbit each other, but their frustrated realizations of it is also what pushes them to some questionable extremes. There's David (Ben Dextraze), secure enough to be openly gay but so immune to the idea of romantic love he turns it into a game whose main activities are toying with a confused teenager and getting his rocks off with unknown randoms. His roommate Candy (Gianna Vacirca), on the other hand, is maybe all-too-eager to meet a lover, but it gives her intense body issues, and it may not take the form she expects it to. And then there's Bernie (Peter Fernandes), Ben's best friend, whose unease with his sexuality has him acting out violently, repeatedly showing up at David's door drowned in drink and covered in blood. These characters circle one another, slowly coming towards some kind of realization, although by the end they barely seem able to admit they've had one. It took a bit of time for the young actors in Studio Theatre's production to find their footing, and they never seemed to fully inhabit some of Fraser's emotional messiness, but for the most part this is an admirable job by a young cast to tackle some mature material. Their comic ability is particularly sharp: Dextraze has a natural affinity for David's foulmouthed bitchiness, and the glee he takes in mock-

VUEWEEKLY // NOV 11 – NOV 17, 2010

Love mingles with violence at Studio Theatre

ing everyone around him plays well both as comic relief and emotional armour. In one scene involving Candy's relationship issues coming home to roost, he is equal parts comic guide and complete asshole, and he plays what could otherwise just be comedy into a kind of emotional knife-fight, made all the more painful when Vacirca, in her best moment of the night, eviscerates him immediately after. That scene is typical of the twisted world that Fraser creates, and though the Studio cast isn't always on par with his writing, overall they do his classic dark comedy quite proud. V Until Sat, Nov 13 (7:30 pm) Love and Human Remains Written by Brad Fraser Directed by John Kirkpatrick Starring Ben Dextraze, Gianna Vacirca Studio Theatre (Timms Centre, University of Alberta), $10 – $20

THEATRE // PREVUE

Soldier's lament

Wartime heroes deal with what they've done in Legion Blues David Berry // david@vueweekly.com

s a child, war and its effects were never too far from Michael Beamish's mind. Growing up with a grandfather who served in the Second World War and was uncommonly open about his experiences, as well as with a family for whom political discussion was natural, it was always something he had to deal with. So when he started to hear about the effects the recent wars in Afghanistan and Iraq were having on returning veterans, it brought up some old memories for him. "I'd heard a lot of these stories of guys coming back with post-traumatic stress disorder, these tragic tales, and it made me think back to my grandparents' life, and what they experienced with the war and after the war," Beamish explains. "Back then they didn't even have a term for it, people just lived with it and buried it and moved on. It had these effects on them and their kids that people didn't really acknowledge. So I was wondering what they went through." The result of his wondering is Legion Blues, set five years after the Second World War. It follows a family that seems typical, but is still dealing with the effects the war had on its father, Paul (William Banfield). His memories have started taking over his dreams, and his resulting depression and self-medication with alcohol is beginning to take its toll on his wife, Helen (Stacey Lawrence), who is left wondering where the man she married has gone. Present in all of this is Paul's friend Ray (Murray Cullen), a veteran who has found his own way to avoid his problems, namely by becoming the town lothario. Legion Blues explores the blank spaces

where their emotions should go, the emptiness that stood in for open communication about the experience. For Beamish, the Second World War setting also allows him to focus on the personal without hav-

World War II is considered a just war. With Afghanistan, there's so much politics for and against it, and I didn't want to make it a play about whether war was good or not. ing to deal with the political ramifications that follow the modern war. This is, for him, a story about people dealing with things no person should have to. "World War II is considered a just war. With Afghanistan, there's so much politics for and against it, and I didn't want to make it a play about whether war was good or not," he explains. "The fact is war exists and it's part of reality. With WWII, I could just focus on the soldiers' lives. The soldiers truly are considered heroes by everyone around them, but the brutality that they face, the violence they had to do in order to win, left a hole in these people." V Thu, Nov 11 – Sun, Nov 21 (7:30 PM) Legion Blues Written and directed by Michael Beamish Starring William Banfield, Murray Cullen, Stacey Lawrence Living Room Play House (11315 - 106 Ave), $15 – 20

VUEWEEKLY // NOV 11 – NOV 17, 2010

ARTS // 21

THEATRE // REVUE

Parody pair

Composition 101

Studies in Motion cleverly stages a period piece Paul Blinov // paul@vueweekly.com

adweard Muybridge’s photographic accomplishments seems almost criminally passed-over by time—his linked chains of rapid fire shots, documenting the movements of humans and animals, naked or otherwise, were the first of their kind and a precursor to cinema, yet his name and influence linger in the footnotes of history rather than having chapters of his own. As if in response, Vancover’s Electric Company has brought forward a compelling study of the man and his work and life with Studies in Motion: The Hauntings of Eadweard Muybridge. What’s essentially a 19th century period piece gets a futuristic, Tron-like upgrade with its highly developed, clever staging. The plot, of Muybridge’s relationships and studies in photography, is well told, leaping around in time and space, with Kim Collier’s direction smoothly stringing Kevin Kerr’s short, choppy scenes together: from Muybridge’s early work going uncredited, to setting up a new series of experiments, as well as personal relationships with fliratatious wife Blanche, and the crew of young adults who serve as his understudies/models, it all flows There’s a lot of nudity up on the Shoctor stage—most of the cast, at one point or another—but it’s not there for shock, and would’ve been remiss not to include, given the amount of nudity in Muybridge’s studies. That’s not to say it wasn’t dealt with—act one ends with a university donor walking in on the preceedings and chiding Muybridge for “hiding behind the camera,” to which the challenged man responds by stripping himself naked and doing the next series of photographs himself, stark naked. Andrew Wheeler plays Muybridge with the gravitas of Zeus, a billowing white beard and unflinching sternness, capable of shouldering the weight of the man and his ideas. His curmudgeonly exterior seems genuinely lived in;

22 // ARTS

though the script doesn't give us much insight into his mind or actual process, just what he presents to the world. The ensemble that backs him are a strong batch, too, and more than capable of the physical demands of the show. How the photographic works themselves get staged is where the production’s brilliance becomes apparent. Men freeze, scattered across the stage single file, in various stages of completed motion; illuminated one by one, tracing chain of motion and capturing a series of photographs in a truly lively matter is illustrated with confident technichal finesse, a feat of

How the photographic works themselves get staged is where the production’s brilliance becomes apparent.

choreography and directoral ingenuity, and it makes Studies in Motion seem less like straightahead theatre and more like clever performance art strung together with a plot, one that just happens to hold up on its own. The opening sequence introduces the concept in a captivating montage of what's to come. The lighting, too, is notable: comprised of projections and a grid of light, it does clever things like make a river for actors to leap into, or make peepholes in a fence. All in all, Studies in Motion makes a fitting homage to someone who deserves more than his current footnote in photographic history. V Until Sun, Nov 14 (7:30 pm) Studies in Motion: The Hauntings of Eadweard Muybridge Written by Kevin Kerr Directed by Kim Collier Citadel Theatre (9828 - 101 A AVE), $37 – $57

Women Who Steal stuck on broad comedy The booze flows in Women Who Steal

// Walter Tychnowicz

David Berry // david@vueweekly.com

espite some obvious similarities, it doesn't quite feel right to compare Carter Lewis's Women Who Steal to Thelma & Louise, at least insomuch as the film tends to get remembered more for wacky antics than anything. There is an underlying cleverness to Lewis's writing, and though he occasionally slips into "women are like/men are like" comedy, he is also prone to succinct and sharp little observations: an early bit about "yes, but ... " statements is a particularly biting nugget of psychological comedy, and his script pulls out such sharp speeches with regularity. It's that underlying smart streak that makes Shadow Theatre's production of Women Who Steal feel a bit ill-conceived. Director John Hudson has played this too much like a wacky comedy, a move that both makes the funny bits feel like they're trying too hard and the more human bits lose their emotional appeal. It's most evident in the character design: both Peggy (Coralie Cairns) and Karen (Karen Johnson-Diamond) are given broad southern accents and wigs that look like something out of Designing Women, which mires them in the realm of parody, rather than just ever-so-slightly bitter, funny women who have some problems to sort out. The main one is that Karen has slept with Peggy's husband, but that's more of a cover for a lot of other stuff in their backgrounds: Karen's disenchant-

VUEWEEKLY // NOV 11 – NOV 17, 2010

ment with being a sassy single, spurred by her impending 40th birthday, and Peggy's long-standing insecurities about marrying up and being plain (her words). They'll hash this stuff out over an evening that will involve a lot of drinking, some wild car rides, old flames, Meat Loaf and eventually a gun, a series of episodes that are, in theory at least, wildly comic and occasionally touching in how they explore the inner workings of the middleaged female mind. In practice, though, neither actress seems quite comfortable enough to exactly pull any of this off. Their timing isn't sharp enough for the kind of wacky comedy their outfits suggest or the script demands, a fact not helped by some wavering accents and some evident stumbling over lines, leaving a lot of the comedy with too much space to really hit. Jeff Haslam breathes some noticeable energy into the proceedings when he shows up, but even he is needlessly broad much of the time, particularly when playing a good ol' boy that's little but a mumbling bad parody. V Until Sun, Nov 21 (7:30 pm) Women Who Steal Directed by John Hudson Written by Carter Lewis Starring Coralie Cairns, Karen Johnson-Diamond, Jeff Haslam Varscona Theatre (10329 - 83 Ave), $10 – $26

THEATRE // LOUD & QUEER

Developing queer voices

ARTIFACTS

Loud & Queer's 19th return packed with old, new artists Paul Blinov

// Ian Jackson, EPIC

// paul@vueweekly.com

he Loud & Queer cabaret's primary modus operandi has always been one of development, of giving new queer artists a place to stage works. The festival has been a cornerstone for Canadian artists of every stripe, a two-night variety show, now in its 19th year, that remains Western Canada's biggest queer arts fest. And while, as always, there are plenty of new queer artists for whom Loud & Queer is providing the platform to allow their artistic voice to be heard for the first time, there's also substantial repeat interest from those who came before. It celebrates the old as it ratifies the new. "It's certainly a reunion," explains Kristy Harcourt of the annual celebration of queer arts. "A lot of people come back, and it's exciting to chart people's careers and how they've changed and grown over the years. A lot of the actors in the company have performed with us before, some of them are brand new. So certainly, we've been able to follow up with each other like a reunion." As always, the pair of evenings are filled with staged works, drawn from an open script call that pulls in works from artists

Because Meek & Mild didn't have the same ring

all across Canada. Harcourt hosts, alongside local queen/performer/writer Darrin Hagen, as she has for nine years (Or maybe 10—"We are terrible historians," Harcourt admits with a laugh, unable to pinpoint her her exact starting date.) When it started almost two decades back, it was a scarce kind of fest coun-

trywide, showing some sass simply by being located in the country's most conservative province; now, not only has the idea spread outward—Chris Craddock and Nathan Cuckow's off-broadway hit BASH'd had its very first readings here, along with a number of premieres for filmmaker Trevor Anderson, and this year featuring return writers Nick Green and Cristina Starr—it's influence has deepened at home, too: Loud & Queer anchors the Exposure festival, a 10-day celebration of LGBTQ arts, that emerged back in 2007. "It has more company now," Harcourt notes. "When we started, this was one of the only venues to tell our stories." "A lot of the pieces that started as little reading scripts at Loud & Queer went on to be full-length productions. So we've really seen the work grow up, and seen more opportunities for its performance. Some of the people who you'll see performing at Loud & Queer did some of their early writing for our stage, and now have fulllength productions or international tours of work that they first showed us the glimpses of at Loud & Queer." V Fri, Nov 12, Sat, Nov 13 (6:30 pm) Loud & Queer Cabaret La Cité Francophone (8627 - 91 St), $25

VUEWEEKLY // NOV 11 – NOV 17, 2010

The Laramie Project (Until Sat, Nov 13) and The Laramie Project: Ten Years Later (Wed, Nov 17 – Sat, Nov 20) Moises Kaufman's powerful, well-researched slice of theatre—documenting countless interviews with the people of Laramie, Wyoming, whose township was forever darkened in 1998 when Matthew Shepard, an openly-gay college student, was found brutally beaten and left for dead by two of his peers—returns to Edmonton for a weekend courtesy of Pets Productions. It's being followed quickly by the Canadian premiere of its companion piece, The Laramie Project: Ten Years Later, where Kaufman and co returned to the town a decade later to do a follow-up with the community. The infamously hateful Westboro Baptist church is actually planning to protest this all the way in little old Edmonton. Go show some love instead. (PCL Studio, TransAlta Arts Barns, [10330 - 84th Ave], $26.25) Exposure Festival (Fri, Nov 12 – Sun, Nov 21) Exposure is like Loud & Queer's younger, fast-growing little brother. This is its fourth year exploring the rainbow spectrum of LGBTQ and arts, spread out over 10 days, and within that time frame including works like "Lady Fag," a cabaret show courtesy of Elaine Gail, Kristina Harcourt's "Arty Carnival" and the comic stylings of Ian Harvey—saying that Harvey's a per-

sonal favourite of Margaret Cho should tell you everything you need to know. (Various locations / exposurefestival.ca) Festival of Ideas (Tue, Nov 16 – Sun, Nov 21) Under the year's theme of "Truth and Lies: Trust Me," The University of Alberta's helming another six-day mix of discussions and presentations about art and science. The big-draw closer is American satirist David Sedaris, but between then are chances to engage in topics like "Why Science and Faith Matter to Each Other," "The Rap Guide to Evolution" as well as a take in a staged reading of Vern Thiessen's new work The Gallows is Also a Tree. (Various locations / festivalofideas.ca/) Crazyface (Tue, Nov 16 – Sat, Nov 20, 7:30pm) The U of A's Abbedam productions—a combo of BA, BEd and MA students—are donning white greasepaint and red clown noses for Crazyface, a screwy farce by horror writer Clive Barker, featuring a cast of 28 and a plot looking to earn its title involving the Pope, bandits, clowns, European locales and more. Given how much theatre goes on at the university behind closed doors, it's also a good chance to peek in on the proceedings. (Second Playing Space at the Timms Centre for the Arts [87 Ave, 112 St], $8 – $10) —Paul Blinov

ARTS // 23

COMMENT >> VISUAL ARTS

Winnipeg is more than just breathing Some may have forgotten already, but Cultural Capitals by Heritage Canada Edmonton was Canada's Cultural Capital accordingly to population size, they had in 2007. After some controversy in alloput up flags throughout their township cating the prize money into individual that were left to billow years after artist funds rather than supportthe fact. These tattered and fading organizations for heritage ed flags were the only physical or legacy projects, the year emblems left from their descame and went with projects ignation, at least the only ap.com and speakers, and the only parent signs that there was a weekly e u v @ amy visible lasting affect has been sense of culture through the Amy a continuation with supporting empty streets and boardedFung up buildings. Looking back, the a culturally diverse community arts program now under the Edexecution of how a city displays monton Arts Council's granting program. their cultural capital status has proved The designation of a "Cultural Capital" to be the most interesting aspect of means almost nothing, but it's clear it's this federal initiative. all in the action of what you do with your For 2010, Winnipeg was declared a Cultime in the proverbial spotlight. It differs tural Capital of Canada. Long known for across the Prairies, of course. Wandering its fiercely independent arts scene, the through towns like Red Deer and Moose city is now in the early stages of devising Jaw, who have also been designated a cultural plan and developing its water-

IE PRASITRERS

ART

24 // ARTS

front. Organizing a conference to discuss and extrapolate issues of arts and the city, The Winnipeg Art Council and principle organizer Mary Reid (whose day job is the Curator of Contemporary Art and Photography at the Winnipeg Art Gallery), programmed a phenomenally engaging lineup and poignantly titled the four-day symposium, "My City Is Still Breathing." The line is pulled directly from a song by The Weakerthans called "Left and Leaving." The sentiment for someone coming from Edmonton resonated, as the urge to leave and the pull to stay are of constant contemplation. The main difference, however, was one of motivation. The conference was less a networking conference than it was a mighty think tank, pulling in people from around the world who have basically improved some

VUEWEEKLY // NOV 11 â&#x20AC;&#x201C; NOV 17, 2010

aspect of their city and or community through artistic initiatives from the community level to the policy level. The thread throughout the conference could be quickly summarized by its opening guest speaker, John Waters, who without even taking off his coat gave a Vegasstyle stand-up routine that ranged from a lot of things that can't be printed here to the recurring concept of celebrating everything that one hates about their city, or at least everything that tourist officials would try to hide about the city. Highlighting your city's difference from other cities is what keeps the place a place, and not some homogenous cookie-cutter echo of every other place in the world. Winnipeg invested their Cultural Capital funds under the umbrella of ArtsForAll. ca. This included artist-led projects and festivals, but also projects that don't have

an immediate, quantifiable return value like educating through workshops and symposiums. One of the resounding points I took away is that Winnipeggers have no desire to turn their city into a world's city, as it is truly a place for the locals. Winnipeg has no qualms about its status as a small to midsize Prairie city. Its artists fully recognize their isolation and aren't crippled by it. A three-hour modernist architecture tour was enthusiastically led with no signs of lamentation, reinforcing the notion that Winnipegers embrace their city with a love that is not apologetic, but unconditional and blinding. It is also a city that has not gone through an onslaught of development and makeovers, losing a few buildings here and there, but retaining enough of its landmarks for its citizens to remember this place as their home. V Amy Fung is the author of prairieartsters.com

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VUEWEEKLY // NOV 11 – NOV 17, 2010

ARTS // 25

FILM

Sidevue >> Ashes to Ashes

Brian Gibson scatters the ashes of modern comedy cremation scenes

ONLINE EXCLUSIVE VUEWEEKLY.COM

As far as the eye can see

The Global Visions Film Festival collects docs from across the world The Global Visions Film Festival, of all of Edmonton's many fests, is unique in its scope: as the only dedicated documentary festival in town, it brings in a wealth of discussion-widening films from every corner of the globe, from well-known issues to situations you've never even heard of. Vue Weekly's intrepid team of film critics has taken in as many screeners as we could get in advance of the weekend to deliver to you an sneak peek at the spectrum and scope of the finest flicks to grace the 2010 festival. That said though, there's a handful we couldn't see in advance, so be adventurous: it's worth the price of admission to take your chance on an issue that appeals to you, or jumps out from a program description. Reviews by David Berry (DB), Kristina de Guzman (KDG), Mel Priestley (MP), Samantha Power (SP). Global Visions Film Fest runs Thu, Nov 11 – Sun, Nov 14.

A Film Unfinished

Directed by Yael Hersonski Sat, Nov 13 (7 pm), Art Gallery of Alberta

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Marwencol

Directed by Jeff Malmberg Sat, Nov 13 (7 pm), Paramount Theatre Sun, Nov 14 (4 pm), Art Gallery of Alberta

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There's more politics to The Fence than you could imagine

Children of Soldiers

Directed by Claire Corriveau Thu, Nov 11 (8 pm), Fri, Nov 12 (1 pm), Paramount Theatre Sat, Nov 13 (9 pm), Art Gallery of Alberta

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I hope it should surprise no one that Nazi propaganda was something less than an honest depiction of life in the Reich, but director Yael Hersonski's film dissecting an unreleased film about life in the Warsaw Jewish ghetto is nevertheless a fascinating look at not only how propaganda is created, but the effect it can have. The accounts of both contemporary Jews and a Nazi cameraman provide insight into the behind-thescenes business of staging a documentary, but the really moving stuff is the reactions of a few surviving members of the ghetto, an affecting mix of recollection and disgust at how they were forced to live, and the Nazi efforts to whitewash it. DB

For families with loved ones serving in Afghanistan, wives become single mothers while older children become pseudo-parents. One boy admits that things are a little better without dad around, because when dad's home, he's still in military mode and yells too much. Children of Soldiers' major flaws, however, are the lack of criticism towards the military itself and the failure to call out problems for what they are. One teenager admits that she no longer wants to be in the army because she thinks the war in Afghanistan is a lost cause. Now, I don't expect a teenager to have all the answers, but this subtle criticism barely scratches the surface of more complicated matters. KDG

Bhutto

Disorder

Directed by Duane Baughman Fri, Nov 12 (9 pm), Sat, Nov 13 (2 pm), Paramount Theatre

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"The Bhutto family had many elements of a Greek tragedy," notes author Tariq Ali. Despite knowing how it ends for former Pakistani Prime Minister Benazir Bhutto, one can't help but get emotional watching how the socially democratic Pakistan Peoples Party under the Bhutto regime rose and fell—not once, but several times—from one generation to the next amidst tensions abroad, within the country, and even within the Bhutto family. Baughman insightfully provides the cultural and historical context to help viewers understand Pakistan's political landscape. He also convinces us to believe that the Bhutto family, for all their mistakes and failures, truly loved and were committed to their homeland. KDG

26 // FILM

Directed by Huang Weikai Fri, Nov 12 (9 pm), Sun, Nov 14 (Noon), Metro Cinema



Disorder is everywhere in an unnamed Chinese city. Authorities show how unfit they are to deal effectively with urgent matters such as a man threatening suicide. Instead, it becomes quite clear that the police are only out for themselves. Meanwhile, civilians mistreat fellow civilians—a driver insists that the man he ran over isn't really hurt, and offers the victim money in return for not getting the police involved. The black-and-white grainy effect minimizes the horrid conditions, but the theme of disarray is crystal clear. Unfortunately, Disorder goes on for an hour, showing us chaos and not much else. To present a problem without considering any solutions is to edge on lazy observation. KDG

The Fence

Directed by Rory Kennedy Sat, Nov 13 (9 pm), Metro Cinema

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The strength of Rory Kennedy's short about the fence erected along the US-Mexico border to help deal with the illegal immigration problem is that it doesn't take the usual political methods of attack. Though familiar arguments come up, Kennedy is more interested in the border fence as an example of showy, dumb bureaucracy, a half-assed but egregiously expensive attempt to "stop a sucking chest wound with a band-aid," as one of her subjects puts it. The Fence is a catalogue of the project's problems, from the fact it has massive gaps to the environmental effects, and is a highly convincing argument that this was a terrible idea no matter your politics. DB

A Small Act

Directed by Jennifer Arnold Sun, Nov 14 (7 pm), Metro Cinema



To the poverty stricken villages in Kenya, the ability to attend secondary school falls on your ability to pay, and if you can't, your fate is decided. Director Jennifer Arnold follows three school children struggling to gain access to the Hilde Back scholarship. In describing their working and living conditions in the fields of coffee beans, returning to houses of mud and their reactions as they receive word of the scholarship, Arnold achieves a much larger feat than simply following the original donor, Swedish school teacher Hilde Back and the original recipient Chris Mburu, now a UN human rights lawyer. While A Small Act suffers a little in structure portraying the community wide impacts of such a small gift, it also manages to communicate the possibilities of education and the destructive forces waiting for a society that fails to educate its people. SP

VUEWEEKLY // NOV 11 – NOV 17, 2010

It seems hardly believable that photographs of GI Joe and Barbie dolls could provide such an honest, genuine glimpse into the mind of a man whose life was radically altered by an act of shocking violence. But therein lies the beauty of Mark Hogancamp's Marwencol, a miniature First World War-era town that he built in his backyard and populated with his "alter-egos" during his recovery from a severe beating that left him brain-damaged and unable to walk, eat or remember his past. Aside from providing him with a homemade therapy to fine tune his damaged motor skills, Marwencol also gave Hogancamp a creative outlet and a venue for exploring and reconciling the disparate aspects of his self. The film expertly presents Hogancamp's unique story and his relationship with his fictional town; at the same time it highlights and explores the definition and purpose of art as it specifically relates to Hogancamp and his creation. MP

Qimmit: A Clash of Two Truths

Directed by Joelie Sanguya and Ole Gjerstad Sat, Nov 13 (5 pm), Art Gallery of Alberta



Qimmit: A Clash of Two Truths explores an incident in Canada's history that has been largely glossed over: during the 1950s and 1960s, thousands of sled dogs were slaughtered throughout the Arctic region. The film presents two disparate versions of the event: members of the Aboriginal community recall that the white RCMP officers perpetrated the slaughter, while these officers vehemently deny such acts. It is clear from the outset that Qimmit is not attempting to reconcile the two stories; rather, it showcases how a history of miscommunication and persistent colonial power dynamics has left deep wounds throughout the Arctic. The film's shortcomings are largely stylistic; the reenactments feel clumsy and weaken the otherwise strong staging of emotional testimonies and interviews against historical context. MP

The Oath

Directed by Laura Poitras Sat, Nov 13 (5:30 pm), Metro Cinema

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I still don't know how I feel about The Oath, and I've begun to think that this sense of overwhelming ambivalence is

extremely telling in and of itself. The film follows Abu Jandal, former bodyguard to Osama bin Laden, as he goes about his daily life as a jihadist-turned-taxi driver in Yemen. Interwoven amongst Jandal's story is that of Salim Hamdan, former mechanic and driver of bin Laden, and the first defendant of the highly controversial US military tribunals. The Oath succeeds in providing a refreshingly sober view of both jihadis and Al-Qaeda. Where the film runs in to trouble, however, is its lack of a central thesis and its inability to explain the relevance of these figures and events—both Jandal and Hamdan's cases have since been exhaustively reported throughout the world. Though the film hints at several deeper issues, especially Jandal's re-education in prison, it glosses over them just as quickly as they are mentioned, leaving the audience to decipher the purpose of this meandering tableau. MP

On Coal River

Directed by Francine Cavanaugh and Adams Wood Sat, Nov 13 (7 pm) Metro Cinema Sun, Nov 14 (2 pm) Art Gallery of Alberta

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Protests on the six o'clock news can feel very removed; signs waving on streets, blockading industrial sites, cold, concrete hallways of government buildings—an eternal dialogue of environment versus employment. On Coal River breaks the facade and takes us to the conversations over coffee in kitchens of the Appalachia mountains of West Virginia. Documentary directors Francine Cavanaugh and Adams Wood do the job of breaking down the journey of a citizen from concerned parent/farmer/ former coal miner to full-time political advocate and organizer without making it seem overly preachy or one-sided. The stories of community members are told as the large political movement they're involved in is revealed and each minute of the documentary is used economically to document how difficult the political journey is to have community concerns heard. SP

The Socalled Movie

Directed by Garry Beitel Fri, Nov 12 (11:30 pm), Paramount Theatre

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Klezmer-rapper/amateur magician/'50s gay-porn chronicler Josh Dolgin, aka Socalled, is certainly an odd dude, and he has a very nerdy charisma, but Garry Beitel's film never really raises its subject above a curio. We learn a fair bit about Dolgin's unconventional life, but there's very little in the way of context to show us precisely why any of this is important, besides being a bit strange. It might be worthwhile if you happen to share any of Dolgin's obsessions, but oddity isn't enough reason to warrant an hour and a half. DB

Outsider's guide to an Inside Job Charles Ferguson clearly lays out his take on the recession Josef Braun // josef@vueweekly.com

erhaps it takes one to know one when we're talking about buckets of money. Charles Ferguson made a bundle selling Vermeer Technologies to Microsoft in the mid-90s, and thereafter opted for research, writing, entrepreneurship and finally filmmaking, over expanding his yacht collection or trying his hand at arms manufacturing. He last gave us the highly valuable No End in Sight: The American Occupation of Iraq, but I think Inside Job might be the movie he was destined to make, a wideranging analysis of the 2008 economic collapse that opens with a title card that declares: "This is how it happened." I'm in no position to verify Ferguson's ballsy assertion, but it would be my pleasure to direct you to the theatre where he's laying it all out for your scrutiny. If you're as essentially ignorant about the finer points of financial swindling as I am, rest assured that Inside Job functions as a solid crash course in how markets crash, while those responsible walk away from the disaster in only cozier positions of power and influence. Ferguson's investigation into the roots of deregulation under Reagan and how it was merrily maintained by every presidency from

Inside Job a lucid indictment of recession

then on is sufficiently thorough as to reawaken one's indignation over just how low Wall Street accountability has fallen over the last 30 years. Darting between a few dozen talking heads representing just about every point on the political spectrum—including disgraced former New York attorney general and governor Eliot Spitzer, the altogether enlightening subject of another new documentary called Client 9, which we'll hopefully see turning up soon—Ferguson conjures an insane parade of predatory loans, $1000 an hour prostitutes, multi-million dollar bonuses, lobbyists making colossal campaign contributions, Alan Greenspan getting paid

$40 000 for a letter of support for Charles Keating's dodging of the Federal Home Loan Bank's 10 percent rule—that being just one of countless examples of such advocacy—and, as we steer toward the aftermath, President Obama's failure to do anything about any of it.

have discouraged a different sort of filmmaker, but Ferguson turns it into a running joke. Not a cheap joke, mind you. Ferguson strives to engage and entertain by infuriation, but he isn't interested in Michael Moore's shenanigans or sweeping ideological condemnations, which means that Inside Job is a vastly more lucid indictment of American greed than Capitalism: A Love Story. Ferguson's cinematic style is slick, sometimes excessively so. Architecture emerges as his favoured storytelling device, the fortress-like skyscrapers that symbolize inaccessibility and decadence, the helicopter overhead shots of cities that incite vertigo. It's a workable and kinetic if not especially original convention. It shows his visual imagination to be stronger than that brought to the movie's soundscape. Matt Damon supplies a pleasingly sober narration, but Alex Heffes' score alternately invokes boilerplate corporate thrillers and gladiator movies and in any case occasionally spills over the top. This

weightiness is somewhat balanced by familiar frat rock classics like "Big Time," "New York Groove" and the almost obligatory "Takin' Care of Business." At times you wonder if a 90-miute movie is really the best way to present this material, yet the format can arguably reach audiences who are by now glazing over news and magazine pieces on the recession. Ferguson, to his credit, takes care not to snow layman viewers. He surely had to fight the temptation to pile on more data since he's so obviously better versed in the nitty-grit than most of us. Bottom line: Inside Job gets your attention, and ultimately rewards it. The question is: what happens next? V Opening Fri, Nov 12 Inside Job Written and directed by Charles Ferguson Narrated by Matt Damon Garneau Theatre (8712 - 109 st)

For all those who opted to appear in Inside Job there are numerous conspicuous absentees, such as AIG's Joseph Cassano, Lehman Brothers' Richard Fuld, former Goldman Sachs CEO and Treasury Secretary Hank Paulson and, obviously, Greenspan. The refusal of so many lowdown higher-ups to be interviewed could

ONLINE EXCLUSIVE

VUEWEEKLY.COM He Watch Channel Zero >>

Roland Pemberton charts the loveable idiot character from the Three Stooges to its modern incarnations.

DVD Detective >>

Unmasking Johnny Handsome’s hidden face.

VUEWEEKLY.COM

VUEWEEKLY // NOV 11 – NOV 17, 2010

FILM // 27

28 // FILM

VUEWEEKLY // NOV 11 – NOV 17, 2010

SCREENCAPS

Due Date

Now playing Written by Alan R Cohen, Alan Freedland, Adam Sztykiel, Todd Phillips Directed by Todd Phillips Starring Robert Downey Jr, Zach Galifianakis

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A comic road trip that doesn't quite outrace the genre's basic clichés or its occasional overdrives into broad sitcom-ness, Due Date is best as a series of rest stops. As an overall journey, the movie disappoints, but as a collection of scenes, it's funnier than most comedies these days. When Todd Phillips' picture slows down, its character-driven moments—fuelled by Robert Downey Jr's performance as a stubbled, worked-up urbanite and Zach Galifianikis' turn as a dopey but proud wanna-be actor—are usually a winning mixture of the absurd, insensitive and poignant. Downey Jr is Peter Highman, a busy architect returning to LA from Atlanta for the birth of his first child. But he's put on the no-fly list after getting tangled up at the airport with scarf-wearing, pug-holding Ethan Tremblay (Galifianikis). Walletless, he agrees to Ethan's offer to drive them both to LA in a rental car. For every cartoonish situation—tripping out on pot, a crazy crash, an outlandish highway chase—there are two or three complex, character-conflict scenes and a steady undercurrent of father-child melancholy. Peter's last name is stupidly cartoonish (and sets up an obvious joke later on), but he's an expectant dad still haunted by his father abandoning him when he was young, and he's not so kid-friendly yet. He scares a pot dealer's kids silent and tries desperately to cope with the immature, dim-witted, but wellmeaning Ethan. The pair's clashes are undercut by Ethan's loneliness (his father recently died) and so driven by the older man's world-weary stress and the younger's chin-up strut towards the future that most of the usual gags—a masturbation scene, a mix-up over cremation ashes, puking on someone—feel fresh. There's a bit of a bad taste to the comedy around other characters, though—Mexican border guards, Peter's wife—that curdles into racism with Ethan and Peter's paranoia that his black friend (Jamie Foxx) slept with his wife, which would result in a "zebra baby." Where this flick's obvious father, Planes, Trains and Automobiles (first alluded to by the station-wagon Ethan takes to the airport), offered a little wackier but more wistful '80s take on two working-men, Due Date, with its bromance between a super-wired highflier and a rootless, shrugging dreamer, is decidedly 21st-century. Driving flatout on the misinformation highway, Ethan's obtuseness—he thinks Shakespeare's "a famous pirate" and says he has a "photogenic memory"—screeches out that the American Dream's based on wide-eyed ignorance.

Morning Glory

Now Playing Directed by Roger Mitchell Written by Aline Brosh McKenna Starring Rachel McAdams, Diane Keaton and Harrison Ford



If moviegoers are looking for something cheery in the wake of Halloween bloodand-guts horror movies, Morning Glory is their remedy, though a somewhat stale one. The comedy follows Becky Fuller (Rachel McAdams), a plucky news producer with a "do whatever it takes" attitude, who unexpectedly gets canned from her position at a New Jersey morning show.

SEE WHAT I'M SAYING / MONSTERS >> 30 What follows a barrage of frantic phone calls is a job offer for the executive producer position at Daybreak, a bottom-of-thebarrel morning show in desperate need of a saviour. The network's head of news (Jeff Goldblum) has no expectations for Fuller to succeed, since no producer has stuck around long enough to revive the show, which makes her all the more determined. McAdams' character, who she plays with endearing sincerity, has had aspirations of being on The Today Show since the age of eight, is a chronic news junkie and has sacrificed any sort of personal life for her career. Adding the required romantic element to the quintessential chick-flick formula is journalist Adam Bennett (Patrick Wilson). Their relationship is filled with awkwardly charming moments, but falls flat with a stale plot. Adding to Fuller's challenges at work is

Mike Pomeroy (Harrison Ford), a legendary news anchor who she manages to sucker into Daybreak through a loophole in his network contract. Ford does an admirable job portraying the character, and his gruffness lends some dimension to a fairly vapid story. His co-anchor, Colleen Peck (Dianne Keaton), is a has-been beauty queen in need

of a career change, and the pair provides the majority of the film's comedic flare, but their egotistical newsroom banter is all too familiar. Despite its A-list cast, Morning Glory is yet another sweetly predictable feel-good comedy. Meaghan Baxter

// meaghan@vueweekly.com

Brian Gibson

// brian@vueweekly.com

VUEWEEKLY // NOV 11 – NOV 17, 2010

FILM // 29

SCREENCAPS

See What I'm Saying

Sat, Nov 13 (1 pm) Directed by Hilari Scarl Garneau Theatre (8712 - 109 St) Starring: C.J. Jones, Robert DeMayo and TL Forsberg

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"What are talented deaf actors supposed to do when they grow up?" signs Robert DeMayo, he himself belonging to the group of impaired entertainers he's waxing frustration about. See What I'm Saying certainly underlines his point that the mainstream entertainment industry, difficult enough to ascend when all five senses are intact, is an even harder climb when you're hard of hearing or flat-out deaf. It follows a handful of artists, ranging

<< CONTINUED FROM 29 from DeMayo, a struggling actor who spends more time teaching or doing live ASL interpretation than he does performing, to black comic CJ Jones, hard-of-hearing musician TL Forsberg—who has trouble fitting into either community, given she has partial hearing—and full-on, '80s-style deaf rock band Beethoven's Nightmare, as they attempt to perform their art in the public world. Though it occasionally lingers on the unavoidable-but-obvious arguments of "c'mon, give them a chance," director Hilari's smart enough to mostly stick to their specific stories and varying degrees of success and failure, more than pedantic finger wags of what us hearing audiences are afraid of engaging with. Indeed, without having to beat us over the head with it, what stands out most in See What I'm Saying is how unwilling most promoters and audiences are to take a chance

on acts like this. Mainstream artists in whatever field usually try desperately to escape that m-word and be "risqué" or whatever, while most minority groups making art are actively seeking to be recognized as exactly that, not to pander or generify their works, but to have a real, regular group of people to engage with and validate what they do. The ones profiled here seem more than capable and deserving—the comic timing and performance quality of DeMayo and Jones's work makes up for any loss of energy you'd lose without speech, and Forsberg's Evanescence-y take on rock seems snug within the genre. And it gives some insight into the deaf performance community unlikely to be seen anywhere else to date. So, See What I'm Saying's strength lies in giving you reason to care about each individual and their refusal to give up.

cast into a frenzy of adlibbing, went home to cobble and insert copious CGI and delivered the final product for under $500 000. Good, even great movies have been born of such reckless confidence, but one shouldn't assume Edwards' bravado was matched by any blessed combination of talent, intelligence or luck. Though it already has its champions, not to mention six BAFTA nominations, Monsters offers a solid case study in what happens when you don't plan much: with way more coverage than actual inspiration or purpose, your story winds up sliding into cliché at nearly every turn. A cynical US photojournalist (Scoot McNairy) is ordered to escort his wealthy publisher's idealistic daughter (Whitney Able) out of Mexico, an enormous chunk of which is "infected" with giant prawns from outer space—presumably the same galaxy as the quarantined aliens in District 9. So Monsters might be a border-crossing parable if it had any real ideas to it, or any real surprises. Yes, the couple meet-cute, the photographer resents his mission, but the girl speaks better Spanish, which comes in handy when they encounter all that Mexican monster bait. Getting back

to America proves tricky, and they come to depend on each other, maybe even fall in love, blah, blah, blah. The plot twists itself into pretzels to keep them together, even going so far as to contrive a prostitute who steals a passport from the photographer's bedroom yet somehow doesn't think to steal his $3000 camera, which, by the way, you'd have to be an idiot to keep dangling around your neck while traversing rural Mexico anyway. But then Edwards' Mexico isn't the same one familiar to most Earthlings. Apparently the northern deserts have been replaced by jungle, and somebody moved Tepoztlán up toward the US border when nobody was looking. There are numerous such cultural and geographical oddities in Monsters, all of which could be forgiven if the movie had energy or ingenuity, instead of dopey scenes of dumb white kids looking out on Mayan ruins, abandoned suburbs or alien convoys and uttering what amounts to a unanimous "Wow." Maybe it's true what they say about Americans not travelling enough.

Paul Blinov

// paul@vueweekly.com

Monsters Opening Fri, Nov 12 Written and directed by Gareth Edwards Starring Whitney Able, Scoot McNairy



The story goes that Gareth Edwards pitched the idea for his monster movie set in a world where the aliens have been quarantined, got green-lit without a script, went into production with a skeleton crew, shot guerilla style, worked his largely impromptu

30 // FILM

VUEWEEKLY // NOV 11 – NOV 17, 2010

Josef Braun

// josef@vueweekly.com

Still Showing FILM WEEKLY

FRI, NOV 12 – THU, NOV 18, 2010

Stone 

GLOBAL VISIONS FILM FEST Paramount Theatre, 10275 Jasper Ave

CHILDREN OF SOLDIERS /FUTURE VISIONS 2010 (STC) FRI 1:00 DIRTY OIL (STC) FRI 7:00; SAT 12:00 BHUTTO (STC) FRI 9:00; SAT 2:00 THE SOCALLED MOVIE (STC) FRI 11:30

12TH AND DELAWARE /LETTER TO BETHIELE (STC) SAT 4:30

MARWENCOL/THE HIGH LEVEL BRIDGE (STC)

SAT 7:00

SINS OF MY FATHER (STC) SAT 9:00

Edward Norton and Robert De Niro square off about spirituality as convicted arsonist Gerald "Stone" Creeson and parole officer Jack Mabry, respectively. It’s a difficult flick to pin down, but maintains its intrigue the whole way through.

Megamind 

Maybe Will Ferrell was destined to work in the animated medium. His mugging is ideal for subverting the usual superhero story—here, of a bad guy going good—which has more interesting interplay between superhero/villain idealism than you might expect.

You Will Meet A Tall Dark Stranger 

Metro Cinema

12TH AND DELAWARE/LETTER TO BETHIELE (STC) FRI 7:00

CHINA'S UNNATURAL DISASTER: THE TEARS OF SICHUAN PROVINCE/DISORDER (STC) FRI 9:00;

SUN 7:00, 12:00 THE OATH (STC) SAT 5:30 ON COAL RIVER (STC) SAT 7:00 BUDRUS/THE FENCE (STC) SAT 9:00 ENEMIES OF THE PEOPLE (STC) SUN 4:00 WASTE LAND (STC) SUN 2:00

Art Gallery of Alberta Theatre, 2 Sir Winston Churchill Square

INTO ETERNITY (STC) SAT 12:00 THE 4TH REVOLUTION /THE STINKING SHIP (STC) SAT 2:30 QIMMIT: A CLASH OF TWO TRUTHS (STC) SAT 5:00 A FILM UNFINISHED (STC) SAT 7:00 CHILDREN OF SOLDIERS/THE TRENCHES (STC) SAT 9:00 DIVERSITY OF TACTICS�DEMOCRACY PANEL DISCUSSION (STC) SUN 12:00 ON COAL RIVER (STC) SUN 2:00 MARWENCOL/THE HIGH LEVEL BRIDGE (STC)

SUN 4:00

LAST ADDRESS/THE CANAL STREET MADAM (STC) SUN 7:00

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

MEGAMIND (G) FRI�SAT 7:00, 9:00; SUN�THU 8:00;

SAT�SUN 1:30 PARANORMAL ACTIVITY 2 (14A frightening scenes) FRI�SAT 7:00, 9:00; SUN�THU 8:00; SAT�SUN 1:30

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

GOLMAAL 3 (PG violence) DAILY 1:15, 4:25, 7:30 ACTION REPLAY (PG) Hindi W/E.S.T. DAILY 1:20,

4:10, 7:05, 9:50

SCORE A HOCKEY MUSICAL (PG) FRI�SAT, MON� THU 1:40, 4:40, 7:10; SUN 1:40, 4:20, 7:10

LET ME IN (14A gory scenes, not recommended for

Princess Theatre (10337 – 82 Ave) This big-cast-driven comedy sits well alongside Woody Allen’s other works of winking psychological pessimism.

ONLINE EXCLUSIVE

VUEWEEKLY.COM Sidevue >> Ashes to Ashes

children, brutal violence) DAILY 1:45, 4:35, 7:25, 10:00 WALL STREET: MONEY NEVER SLEEPS (PG coarse language) DAILY 1:15, 3:50, 6:40, 9:30 EASY A (14A, language may offend) DAILY 1:55, 4:45, 7:35, 9:55 THE AMERICAN (14A sexual content, nudity) FRI�SAT, MON�THU 1:50, 4:20, 6:45, 9:40; SUN 1:50, 4:40, 6:45, 9:40 THE SWITCH (PG mature subject matter, not recommended for young children) DAILY 1:35, 4:30, 7:20, 9:50 THE EXPENDABLES (18A brutal violence) DAILY 1:25, 4:15, 7:15, 9:55 EAT PRAY LOVE (PG language may offend) DAILY 1:05, 4:00, 6:50, 9:45 THE OTHER GUYS (PG coarse language, not recommended for young children, crude sexual content) DAILY 9:15 DESPICABLE ME (G) Digital 3d: DAILY 1:30, 3:55, 6:30, 9:00 TOY STORY 3 3D (G) DAILY 1:10, 3:45, 6:55, 9:20

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

UNSTOPPABLE (PG coarse language) Digital Cinema, No passes: FRI�SAT 10:50; Ultraavx: DAILY 1:30, 4:10, 6:50, 9:20

SKYLINE (14A violence) DAILY 12:50, 3:10, 5:30, 8:10,

10:40

Brian Gibson scatters the ashes of modern comedy cremation scenes

VUEWEEKLY.COM

MORNING GLORY (PG mature subject matter, coarse language) No passes: FRI�TUE, THU 1:15, 4:00, 7:20, 10:05; WED 4:00, 7:20, 10:05; Star & Strollers Screening: WED 1:00 MEGAMIND (G) No passes: DAILY 12:00, 2:30, 5:00, 7:30, 10:00 MEGAMIND 3D (G) Digital 3d, No passes: FRI, SUN�THU 1:10, 3:50, 6:20, 8:45; SAT 11:30, 1:10, 3:50, 6:20, 8:45 DUE DATE (14A crude content, substance abuse) DAILY 12:15, 2:45, 5:10, 7:40, 10:10; Digital Cinema: FRI�SAT 1:20, 3:40, 6:10, 8:30, 10:45; SUN�TUE, THU 1:20, 3:40, 6:10, 8:30; WED 3:40, 6:10, 8:30; Star & Strollers Screening: WED 1:00 SAW 3D (R) Digital 3d: FRI�WED 2:00, 4:40, 7:45, 10:15; THU 2:00, 4:40, 10:45 PARANORMAL ACTIVITY 2 (14A frightening scenes) FRI, SUN�THU 12:30, 2:50, 5:20, 8:00, 10:30; SAT 2:50, 5:20, 8:00, 10:30 RED (14A violence) DAILY 1:40, 4:30, 7:10, 9:55

JACKASS 3D (R) Digital 3d: FRI�TUE 1:50, 4:50, 7:50, 10:20; WED 1:50, 4:50, 10:20; THU 1:50, 4:50, 7:10, 9:30 HEREAFTER (PG coarse language, mature subject matter) DAILY 6:30 CONVICTION (14A coarse language) DAILY 12:40, 3:30, 6:40, 9:15 LIFE AS WE KNOW IT (PG, language may offend, substance abuse) DAILY 1:00, 3:45, 7:00, 9:45 THE TOWN (14A violence, coarse language) DAILY 12:20, 3:20, 9:30 THE METROPOLITAN OPERA: DON PASQUALE (Classification not available) SAT 11:00 THE MALTESE FALCON (STC) WED 7:00

HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (PG frightening scenes, violence, not recommended for young children) No passes: THU 12:02; Ultraavx: THU 12:01

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

UNSTOPPABLE (PG coarse language) No passes: FRI

12:30, 1:40, 3:05, 4:00, 5:30, 6:20, 8:00, 8:50, 10:20, 11:15; SAT 12:30, 1:25, 3:05, 3:50, 5:30, 6:15, 8:00, 8:50, 10:20; SUN�THU 1:25, 1:50, 3:50, 4:10, 6:15, 7:20, 8:50, 9:50 SKYLINE (14A violence) Ultraavx: FRI�SAT 12:15, 2:45, 5:15, 7:45, 10:30; SUN�THU 1:15, 4:00, 7:00, 9:30 MONSTERS (14A) FRI�SAT 1:40, 4:00, 6:20, 8:40, 11:00; SUN�THU 2:00, 4:45, 7:50, 10:25 MORNING GLORY (PG mature subject matter, coarse language) No passes: FRI�SAT 1:40, 4:40, 7:15, 9:40; SUN 1:30, 4:40, 7:10, 9:40; MON�THU 1:45, 4:40, 7:10, 9:40 MEGAMIND (G) No passes: FRI�SAT 1:20, 3:45, 7:00, 9:20; SUN�WED 1:20, 3:45, 6:45, 9:15; THU 3:45, 6:45, 9:15 MEGAMIND 3D (G) Digital 3d, No passes: FRI�SAT 12:00, 12:45, 2:30, 3:15, 5:00, 5:45, 7:30, 8:15, 9:50; SUN� WED 1:00, 1:40, 3:30, 4:15, 5:50, 7:25, 8:15, 10:30; THU 1:00, 1:40, 3:30, 4:15, 5:50, 7:05, 8:45 DUE DATE (14A crude content, substance abuse) FRI� SAT 12:30, 3:00, 5:30, 8:00, 8:45, 10:30, 11:15; SUN�WED 1:00, 3:30, 5:40, 8:10, 10:45; THU 3:30, 5:40, 8:10, 10:45; Digital Cinema: FRI�SAT 1:15, 3:45, 6:15; SUN�WED 1:30, 4:20, 7:15, 9:45; THU 1:30, 4:20, 7:00, 9:25; Star & Strollers Screening: THU 1:00 SAW 3D (R) Digital 3d: FRI�SAT 1:00, 3:30, 6:00, 8:25, 10:50; SUN�WED 1:30, 4:30, 7:40, 10:15; THU 1:30, 4:30, 7:40, 9:55 PARANORMAL ACTIVITY 2 (14A frightening scenes) FRI 1:00, 3:20, 5:30, 8:20, 10:45; SAT 5:30, 8:20, 10:45; SUN, TUE�THU 2:00, 4:40, 7:45, 10:15; MON 4:40, 7:45, 10:15 RED (14A violence) FRI�SAT 12:00, 2:25, 4:55, 7:30, 10:15; SUN�THU 1:10, 4:30, 7:35, 10:20 JACKASS 3D (R) Digital 3d: FRI�SAT 10:35; SUN�WED 10:00; THU 9:30 HEREAFTER (PG coarse language, mature subject matter) DAILY 10:20 STONE (18A sexual content) FRI�SAT 12:50, 3:20, 5:40, 8:25, 11:00; SUN�THU 2:00, 5:00, 8:00, 10:40 LIFE AS WE KNOW IT (PG, language may offend, substance abuse) DAILY 1:45, 4:40, 7:30 THE SOCIAL NETWORK (PG coarse language, substance abuse) FRI�SAT, MON�THU 1:10, 4:20, 7:10, 10:10; SUN 1:10, 7:10, 10:10

THE METROPOLITAN OPERA: DON PASQUALE (Classification not available) SAT 11:00 THE TEMPEST (STC) SUN 4:00

HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (PG frightening scenes, violence, not recom-

mended for young children) Digital Cinema, No passes: THU 12:05; Ultraavx: THU 12:05 MEGAMIND (G) Star & Strollers Screening, No passes: THU 1:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

DUE DATE (14A crude content, substance abuse) Dolby

Stereo Digital, Stadium Seating, No passes DAILY 12:20, 2:45, 5:10, 7:35, 10:00 UNSTOPPABLE (PG coarse language) Dolby Stereo Digital, Stadium Seating, No passes DAILY 12:15, 2:55, 5:25, 8:00, 10:30 MORNING GLORY (PG mature subject matter, coarse language) Dolby Stereo Digital DAILY 12:45, 3:45, 7:05, 9:55 MEGAMIND 3D (G) Digital 3d, Dolby Stereo Digital, Stadium Seating, No passes DAILY 12:05, 2:40, 5:20, 7:55, 10:25 HEREAFTER (PG coarse language, mature subject matter) Dolby Stereo Digital, Stadium Seating DAILY 12:05 PARANORMAL ACTIVITY 2 (14A frightening scenes) Stadium Seating, DTS Digital DAILY 3:10, 7:25, 9:50 RED (14A violence) Stadium Seating, DTS Digital DAILY 12:00, 3:30, 7:00, 9:45 THE SOCIAL NETWORK (PG coarse language, substance abuse) Stadium Seating, DTS Digital DAILY 12:30, 3:20, 7:15, 10:15 JACKASS 3D (R) Digital 3d, Stadium Seating DAILY 12:35, 3:00, 5:30, 8:05, 10:35 SKYLINE (14A violence) DTS Digital, Stadium Seating DAILY 12:25, 2:50, 5:15, 7:40, 10:05

HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (PG frightening scenes, violence, not recommended for young children) Dolby Stereo Digital, No passes, Stadium Seating THU 11:59

CLAREVIEW 10 4211-139 Ave, 780.472.7600

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

substance abuse) FRI 3:50, 6:35; SAT�SUN 1:00, 3:50, 6:35; MON�THU 5:25 RED (14A violence) FRI 4:20, 7:05, 9:45; SAT�SUN 1:35, 4:20, 7:05, 9:45; MON�THU 5:35, 8:20 JACKASS 3D (R) Digital 3d FRI 4:50, 7:25, 9:55; SAT� SUN 2:00, 4:50, 7:25, 9:55; MON�THU 5:40, 8:40

HEREAFTER (PG coarse language, mature subject matter) FRI�SUN 9:30; MON�THU 8:00 PARANORMAL ACTIVITY 2 (14A frightening scenes) FRI 4:35, 7:00, 9:20; SAT�SUN 1:40, 4:35, 7:00, 9:20; MON�THU 5:50, 8:35 SAW 3D (R) Digital 3d FRI 4:45, 7:30, 9:50; SAT�SUN 1:10, 4:45, 7:30, 9:50; MON�THU 5:20, 8:45 MEGAMIND 3D (G) Digital 3d, No passes FRI 4:10, 6:40, 9:10; SAT�SUN 1:30, 4:10, 6:40, 9:10; MON�THU 4:50, 7:50 DUE DATE (14A crude content, substance abuse) No passes FRI 4:40, 7:10, 9:35; SAT�SUN 1:50, 4:40, 7:10, 9:35; MON�THU 5:30, 8:25 MORNING GLORY (PG mature subject matter, coarse language) FRI 4:00, 6:50, 9:35; SAT�SUN 1:15, 4:00, 6:50, 9:35; MON�THU 5:10, 8:05 UNSTOPPABLE (PG coarse language) No passes FRI 4:15, 6:45, 9:25; SAT�SUN 1:20, 4:15, 6:45, 9:25; MON� THU 5:15, 8:15 SKYLINE (14A violence) FRI 4:30, 7:20, 9:40; SAT�SUN 2:10, 4:30, 7:20, 9:40; MON�THU 5:00, 8:10

DUGGAN CINEMA�CAMROSE 6601-48 Ave, Camrose, 780.608.2144

MEGAMIND (G) Presented In 3d DAILY 7:05, 9:15; SAT�SUN 2:05

UNSTOPPABLE (PG coarse language) DAILY 7:15, 9:20; SAT�SUN 2:15

SKYLINE (14A violence) DAILY 7:10, 9:10; SAT�SUN

2:10

DUE DATE (14A crude content, substance abuse) DAILY 7:00, 9:00; SAT�SUN 2:00

RED (14A violence) DAILY 6:45; SAT�SUN 1:45 PARANORMAL ACTIVITY 2 (14A frightening scenes)

DAILY 9:05

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

SKYLINE (14A violence) DAILY 7:30, 9:40; FRI, SAT, SUN, MON, TUE 130-340

UNSTOPPABLE (PG coarse language) DAILY 7:20,

9:35; FRI, SAT, SUN, MON, TUE 12:50, 3:20 MORNING GLORY (PG mature subject matter, coarse language) DAILY 6:50, 9:20; FRI, SAT, SUN, MON, TUE 12:40, 3:10 MEGAMIND 3D (G) DAILY 6:30, 8:50; FRI, SAT, SUN, MON, TUE 12:30, 3:00 DUE DATE (14A crude content, substance abuse) DAILY 7:10, 9:30; FRI, SAT, SUN, MON, TUE 1:00, 3:30 MEGAMIND 2D (G) DAILY 7:00, 9:10; FRI, SAT, SUN, MON, TUE 1:10, 3:50 PARANORMAL ACTIVITY 2 (14A frightening scenes) DAILY 9:00; FRI, SAT, SUN, MON, TUE 3:45 RED (14A violence) DAILY 6:40; FRI, SAT, SUN, MON, TUE 1:20

PRINCESS 10337-82 Ave, 780.433.0728

THE GIRL WHO KICKED THE HORNET'S NEST (14A sexual violence, violence) DAILY 6:45, 9:30; SAT�SUN 2:00

YOU WILL MEET A TALL DARK STRANGER

(14A) DAILY 7:00; SAT�SUN 1:00 JACK GOES BOATING (14A sexual content, coarse language, substance abuse) DAILY 9:10; SAT�SUN 3:00

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

GALAXY�SHERWOOD PARK 2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150

UNSTOPPABLE (PG coarse language) No passes: FRI�

SUN 12:45, 3:30, 7:20, 10:00; MON�THU 7:20, 10:00 SKYLINE (14A violence) FRI�SUN 1:15, 3:45, 7:30, 9:55; MON�THU 7:30, 9:55 MORNING GLORY (PG mature subject matter, coarse language) No passes: FRI�SUN 12:30, 3:20, 7:10, 9:45; MON�THU 7:10, 9:45 MEGAMIND 3D (G) Digital 3d, No passes: FRI�SUN 12:00, 2:15, 4:45, 7:15, 9:50; MON�THU 7:15, 9:50 DUE DATE (14A crude content, substance abuse) FRI� SUN 11:45, 2:00, 4:30, 7:00, 9:30; MON�THU 7:00, 9:30 PARANORMAL ACTIVITY 2 (14A frightening scenes) FRI�SUN 1:20, 4:10, 7:30, 10:15; MON�THU 7:30, 10:15 RED (14A violence) FRI�SUN 1:00, 4:00, 6:40, 9:15; MON� THU 6:40, 9:15 JACKASS 3D (R) Digital 3d: FRI�SUN 1:10, 3:40, 7:35, 10:10; MON�THU 7:35, 10:10 HEREAFTER (PG coarse language, mature subject matter) Digital Cinema: FRI�SUN 3:50, 9:40; MON�THU 9:40 LIFE AS WE KNOW IT (PG, language may offend, substance abuse) Digital Cinema: FRI�SUN 1:05, 6:50; MON�THU 6:50 SECRETARIAT (G) FRI�SUN 12:15, 3:00, 6:45, 9:25; MON�THU 6:45, 9:25

GARNEAU

8712-109 St, 780.433.0728

INSIDE JOB (PG language may offend) DAILY 7:00, 9:10; SAT�SUN 3:00

SEE WHAT I’M SAYING (PG, coarse language) SAT

1:00

GRANDIN THEATRE�ST ALBERT Grandin Mall, Sir Winston Churchill Ave, St Albert, 780.458.9822

UNSTOPPABLE (PG coarse language) No passes DAILY

1:35, 3:35, 5:35, 7:35, 9:30 SKYLINE (14A violence) DAILY 1:40, 3:40, 5:40, 7:30, 9:25 SECRETARIAT (G) DAILY 1:15 PARANORMAL ACTIVITY 2 (14A frightening scenes) DAILY 3:30, 7:40, 9:25 RED (14A violence) DAILY 5:30 DUE DATE (14A crude content, substance abuse) No passes DAILY 1:20, 3:20, 5:20, 7:20, 9:20 MEGAMIND (G) No passes DAILY 1:00, 3:00, 4:55, 7:00, 8:50

LEDUC CINEMAS Leduc, 780.352.3922

MORNING GLORY (PG mature subject matter, coarse language) FRI, SAT, SUN 12:55, 3:30; DAILY 6:55, 9:30 DUE DATE (14A crude content, substance abuse) DAILY 7:05. 9:40; SAT�SUN 1:05, 3:40 UNSTOPPABLE (PG coarse language) DAILY 7:10, 9:35; FRI, SAT, SUN 1:10, 3:35 MEGAMIND (G) DAILY 7:00, 9:25; FRI, SAT, SUN 1:00, 3:25

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

12TH AND DELAWARE (STC) FRI 7:00 DISORDER W/CHINA’S UNNATURAL DISASTER: THE TEARS OF SICHUAN PROVINCE (STC) FRI 9:00; SUN 12:00

THE OATH (STC) SAT 5:30 ON COAL RIVER (STC) SAT 7:00 BUDRUS WITH THE FENCE (STC) SAT 9:00 WASTE LAND (STC) SUN 2:00 ENEMIES OF THE PEOPLE (STC) SUN 4:00 A SMALL ACT WITH MADAGASCAR: CARNET DE VOYAGE (STC) SUN 8:00

VUEWEEKLY // NOV 11 – NOV 17, 2010

PARKLAND CINEMA 7

UNSTOPPABLE (PG coarse language) No passes:

FRI�TUE, THU 1:10, 4:20, 7:20, 10:20; WED 4:20, 7:20, 10:20; Star & Strollers Screening: WED 1:00 SKYLINE (14A violence) DAILY 12:15, 2:45, 5:20, 8:00, 10:30 MORNING GLORY (PG mature subject matter, coarse language) No passes: FRI�WED 1:00, 3:50, 6:30, 9:20; THU 1:00, 3:50, 6:30, 9:00 MEGAMIND (G) Digital Cinema, No passes: FRI�TUE, THU 12:45, 3:15, 6:30, 9:00; WED 3:15, 6:30, 9:00 MEGAMIND 3D (G) Digital 3d, No passes: DAILY 12:00, 2:30, 5:00, 7:30, 10:00 DUE DATE (14A crude content, substance abuse) DAILY 12:30, 2:50, 5:10, 7:50, 10:15 MEGAMIND : AN IMAX 3D EXPERIENCE (G) No passes: FRI, MON�WED 1:30, 4:15, 7:00, 9:30; SAT�SUN 11:30, 2:00, 4:30, 7:00, 9:30 SAW 3D (R) Digital 3d: FRI�SUN, TUE�THU 1:50, 4:50, 7:45, 10:45; MON 1:50, 4:00, 10:45 PARANORMAL ACTIVITY 2 (14A frightening scenes) DAILY 12:10, 2:40, 5:15, 8:00, 10:45 RED (14A violence) DAILY 12:50, 4:00, 6:50, 9:50 JACKASS 3D (R) Digital 3d: DAILY 1:40, 4:40, 7:40, 10:40 HEREAFTER (PG coarse language, mature subject matter) DAILY 10:10 LIFE AS WE KNOW IT (PG, language may offend, substance abuse) FRI�WED 1:20, 4:10, 7:10; THU 1:20, 4:10 THE SOCIAL NETWORK (PG coarse language, substance abuse) DAILY 9:40 THE TOWN (14A violence, coarse language) FRI, SUN�THU 12:40, 3:40, 6:40; SAT 3:40, 6:40

THE METROPOLITAN OPERA: DON PASQUALE (Classification not available) SAT 11:00

MEGAMIND (G) Star & Strollers Screening, No passes: WED 1:00

HARRY POTTER AND THE DEATHLY HAL� LOWS: PART 1 (PG frightening scenes, violence,

not recommended for young children) Midnight, No passes: THU 12:01, 12:05

HARRY POTTER AND THE DEATHLY HAL� LOWS PART 1: THE IMAX EXPERIENCE (PG

frightening scenes, violence, not recommended for young children) Midnight, No passes: THU 12:01

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

UNSTOPPABLE (PG coarse language) No passes,

Dolby Stereo Digital FRI 7:00, 9:45; SAT�SUN 4:00, 7:00, 9:45; MON�THU 8:00 SECRETARIAT (G) Dolby Stereo Digital FRI 6:45, 9:35; SAT�SUN 3:30, 6:45, 9:35; MON�THU 7:30 DUE DATE (14A crude content, substance abuse) No passes, DTS Digital: FRI 7:15, 9:55; SAT�SUN 4:15, 7:15, 9:55; MON�THU 8:15 RED (14A violence) 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

MEGAMIND (G) DAILY 6:55, 9:25; FRI, SAT, SUN 12:55, 3:25

DUE DATE (14A crude content, substance abuse) DAILY 7:10, 9:35; FRI, SAT, SUN 1:10, 3:35

UNSTOPPABLE (PG coarse language) DAILY 7:05, 9:30; FRI, SAT, SUN 1:05, 3:30

SKYLINE (14A violence) DAILY 6:50, 9:20; FRI, SAT, SUN 12:55, 3:20

HARRY POTTER AND THE DEATHLY HAL� LOWS: PART 1 (PG frightening scenes, violence,

not recommended for young children) THU, Nov 18: Midnight Show

FILM // 31

MUSIC

AT VUEWEEKLY.COM

SLIDESHOW >> Imaginary Cities

Settling in at home with the wine list at BiBo.

Singers get it right

F&M looks to channel Edmonton on its latest album by byBryan BryanBirtles Birtles////bryan@vueweekly.com bryan@vueweekly.com

// Eden Munro

t's not an odd thing for a band to have a favourite bar, or even to compare itself to the feel of a favourite bar. Alcohol and music go hand in hand, after all: the consumption of it helps fuel the reverie of live performance, the creativity of rehearsal, the relaxation afterwards. In addition, bars are the classic venues of performance, places where the mood created in the space plays off the mood created by the band, reflected by the audience, permeating the night. What is a little odd is for F & M cofounders—and married couple—Becky and Ryan Anderson to point to BiBO as the group's spiritual match. Almost literally a hole in the wall, BiBO sits only 10 people inside its richly-hued walls. An intimate, largely unassuming space, it doesn't suggest a feeling of "rock god" to anyone—but that's just fine with the intimate, unassuming band. "We're not some big brash bar like one of those bars on Whyte Ave or Jasper. We're a tiny little one that warms up your heart, brings you in," explains Ryan, adding with a laugh, "We're like home—it's a homey little place and that's what we are. It's not for everyone, but it's certainly for those who are brilliantly smart and have amazing taste."

32 // MUSIC

The duo conspicuously brings the 'What is it that makes Edmonton cool?' conversation around to the tiny wine I'm still not sure what it is; maybe the bar throughout our interview as a quiet reflectiveness, the stark beauty." way of thrusting the hidden gems of Edmonton to the forefront of the conTo capture that stark beauty, the band versation, a theme F & M pushes on went about recording in a way that difits latest album, fered significantSincerely, F & M. ly from previous The songs—quiefforts: instead AT VUEWEEKLY.COM et and riddled as of building up they are with themes of leaving, returnthe songs one person at a time, track by ing and winter—reflect the members' track over the course of months, F & M view of the city that houses them. Even went into the studio with producer Brythe artwork reflects an earthy, local, an Reichert for just a few weeks, capwild vibe. turing a more off-the-cuff sound. "Jason Wallin, who is the illustrator "I very much like holing ourselves and did all of the designs, I actually saw away and just getting it done—our last his work in Notebook Magazine and fell couple of records took eight months, in love with it and thought, 'I have to this one took a few weeks," explains remember this guy,'" explains Becky of Ryan. the album's visual esthetic. "He had just "In this one we'd all be in the same the right elements of a little bit creepy room instead of someone going into and stark and haunting, but I think he the studio and recording track by track just gets that Alberta wilderness feel in and giving a few alternatives and us the illustrations he did." picking," continues Becky. "This way "We've always said that we're pretty we, as a group, we could choose what connected to the environment that worked and what didn't. I think it gave we're in, and it's a cold, stark place ... us a more cohesive sound." we wanted to make a distinctly EdmonThe cohesive sound, its very togethton record," continues Ryan. "We sat erness, is another theme present on back with a bunch of people and said, the album, which the Andersons titled

VUETUBE >> F&M

VUEWEEKLY // NOV 11 – NOV 17, 2010

Sincerely, F & M for a reason: with all of the weight our popular culture puts on saying one thing and meaning another, F & M set out to write an album that spoke about love not from a distance, but from within its warm clutches. "I'm declaring irony to be dead. I'm a bit tired of it, and people will agree or disagree, but I'm tired of everything being so ironic. I'm OK with clever and I'm OK with intelligent, but mean what you say sometimes," rails Ryan. "This is us saying, 'We're putting it on the line: we like romance, we like love,' and it's a taboo in this indie-college rock-art rock thing to talk about love and we're like, 'Why not?'" "We're getting more mature—just in age—and I think there has to be a point where we're happy with who we are and that authenticity, we need to let that come out," continues Becky. "I'm happy with who I am, I'm content with what I'm becoming, what I am. I don't have to pretend to be someone else. That's what happens when you hit 30—you know what you like." Knowing what you like and where you come from, acknowledging the milieu that makes you who you are and push-

ing to popularize its better elements, these are the parts that make up the whole of F & M. The band strives to be fully experiential, going so far as to offer wine pairings for each song on the record. But even that choice is not simply what it seems: it connects to the bands roots, where it comes from. "Brian Epp, who is the sommelier on the record goes way back to our hobby band—he used to play mandolin and bass for us and then he went to Vancouver and went on this adventure of learning about wine," explains Becky. "I think it's just that going back to our roots, he was a big part of what we became." "We're proud of where we come from— it's a great city or else we wouldn't be here," says Ryan. "We have great culture, a whole bunch of things going on—we just need to grab a hold of it. We're trying to be a band for Edmonton; we're not a brash in your face band from LA. Edmonton is kind of a quiet, subdued place, as is F & M. We're homey." V Fri, Nov 12 (7:30 pm) F&M With Greg Amundson Haven Social Club, $10

Halford

Halford's all-out metal

Thu, Nov 18 (6:30 pm) With Ozzy Osbourne Rexall Place, $29.50 – $89.50 Rob Halford's been singing of metal gods for years as the frontman of Judas Priest, ascending to that throne himself at some point during the last 30 years. There was a period where he split from Priest and started another band called Fight, engaged in an industrial project with guitarist John Lowery (now known as John 5 for his work with Marilyn Manson and Rob Zombie) and then launching another group under the moniker Halford. While he's back in place at the front of Judas Priest these days, there's also a new Halford album, Made of Metal, out on the streets. The singer recently spoke with Vue in advance of his upcoming date with Ozzy Osbourne. VUE WEEKLY: You've said that this is the most personal solo release you've done. ROB HALFORD: Yeah, I suppose what I'm trying to say is that there are a number of songs that are really kind of close to my heart, and those are the opportunities that I get with my solo activities, that I can be a little bit more intimate and a little bit more personal with my feelings, talking about incidents that have happened to me or just observations on things in life that touch me ... I generally have been known forever with Priest, especially, as well as for writing with Glen [Tipton] and KK [Downing]. But you can do those things in a little bit more of a private way on your solo endeavours. VW: You've always been known as someone who collaborates on the songwriting, but you wrote half of this album by yourself. How did it come about that you wrote so many of the songs on your own this time? RH: It was extraordinary, really, because I haven't done that for a very, very long time. I do enjoy the experience of collaboration, I think that can be really exciting. It's like electric sparks jumping from person to person when you're writing music. But when you

have a creative burst of ideas and you're feeling good about it and what's coming out of you is pretty decent, that's a good feeling, and I was explaining that to Roy [Z, Halford guitarist and producer] and he said, "You should keep going if you've kind of found the touchstone, so to speak, that most of us get." I came up with a decent chunk of ideas and obviously even at that point I'm very open-minded to criticism and I'm very openminded to giving what's best for any given song. I think you have to be able to do that as a musician, even if you're writing in the single sense. As it turned, of course, I was tremendously encouraged and felt great that I was able to do something like this. VW: Are you someone who writes all the time? RH: No, I'm not. Actually, I'm very lazy. You know that Stephen King right now is at his computer rattling away several hours a day, but I don't do that. I think that may be common for a lot of musicians and creative people: when the ideas are ready to arrive they arrive and you have to be ready for that. Sometimes a phrase or an idea can pop into your head and you have to jot it down quickly or do a voice memo, and sometimes it's just like turning the tap on, and that's

Diamond Rings Thu, Nov 18 (8 pm) With Guests Pawn Shop, $10 When John O'Regan—better known as glammy Canuck rocker Diamond Rings— picks up his phone, he's in a street market in London, UK. "We're hunting down some Moroccan food," he explains over the background bustle. "It's tasty." It's also a long way from Toronto, where his other band, rockers the D'Ubervilles, are based and where his Diamond Rings sideproject got started. On the strength of a couple of singles, it's taken him strutting across the globe since its inception in the summer of 2009, and his just-released debut album, Special Affections, is poised to keep him travelling: its collection of synthy gems feel unusually restrained for dance music, their particular shimmer coming from pairing casually emotive glitter-rock with an all-out dance party. It's a distant twinkle from the project's initial trajectory—Diamond Rings

// Norman Wong

was envisioned as an acoustic project, at first—but O'Regan's found that this more multi-faceted approach made for a more interesting milleux to explore. "When I wanted to bring it to a wider audience, and to reach more people in

how it was with me. I think that obviously when you have obligations to commit to, when you have a cycle of releases that need to be taken care of you do have to say, "OK, we're going to start writing a record on this day" I would use the band that leads me in everything as an example, Judas Priest. If, for example, I know I'm going to start writing with Glen and KK, we'll meet at a designated place at a designated time and we'll start work. And more often than not we'll start with nothing and then you see what comes out of a day of noodling on guitars and doing whatever you need to do, so it's either there or it's not, basically. You can't really switch it on and off like a power switch. You can't do that. Sometimes there's an overload of voltage and sometimes there's no juice whatsoever. And that's what I love about it, personally. I love that you can walk away at the end of the day and you're stunned because you've got absolutely nothing and you go, "I've been doing this for 35 years, why don't I have a note?" And it's kind of funny, really. You can't really push it. It's the proverbial leadthe-horse-to-water type of deal: if it's gonna happen, it's gonna happen, if it ain't, it ain't. Eden Munro

// eden@vueweekly.com

an effective way, it was kind of a logical transition for me to move to something more theatrical and something that was a little louder," he says. "It's not just, like, some guy strumming a guitar onstage, whining about his girlfriend or whatever. It's taking risks, and being bold and innovative, and incorporated design and fashion and all these different artistic elements into a project, and doing it in a way that's coherent and unified." But O'Regan notes that the flashy image that goes along with the moniker— rainbow eye liner, nail polish, studded denim—is something that comes together after the songs do. "I write them on acoustic guitar and piano; from there, I make sure I have a good song, and then I find a way to build it into something more elaborate," he says. "I don't write imagining myself putting on purple eyeshadow as opposed to red, or something. The look is separate from the music; they come together onstage. They come together when I'm out in public, performing Diamond Rings." V paul blinov

// paul@vueweekly.com

VUEWEEKLY // NOV 11 – NOV 17, 2010

MUSIC // 33

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

THU NOV 11

FESTIVAL PLACE Raised on Songs and Stories I: John McDermott (Celtic); 7:30pm

BLUES ON WHYTE Jack De Keyzer

GAS PUMP Mr Lucky (blues roots)

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

HAVEN SOCIAL CLUB Ruth Moody (Wailin' Jennys), Erica Viegas, guests

CARROT CAFÉ Zoomers Thu afternoon Open Mic; 1-4pm

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

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

CHRISTOPHER'S PARTY PUB Open stage hosted by Alberta Crude; 6-10pm CROWN PUB Crown Pub Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing COOK COUNTY One More Girl; 7pm (door); $20 (adv) DUSTER'S PUB Thu open jam hosted by the Assassins of Youth (blues/rock); 9pm; no cover DV8 Punktured, Beware Thy Neighbor, The 5 String Revolution; 9pm EDMONTON EVENT CENTRE 33oh!3; Streets Of Gold Tour: Down, Webster, Hellogoodbye; 7pm (door); $27.50 at unionevents.com, TicketMaster ELECTRIC RODEO�Spruce Grove Open Stage Thu: Bring an instrument, jam/ sing with the band, bring your own band, jokes, juggle, magic; 8-12

JAMMERS PUB Thu open jam; 7-11pm JEFFREY'S CAFÉ Joal Kamps (acoustic indie rock singersongwriter); $10 JULIAN'S�Chateau Louis Graham Lawrence ( jazz piano); 8pm L.B.'S PUB Thu open jam with Kenny Skoreyko, Fred Larose and Gordy Mathews; 9pm-1am LEVA CAFÉ Burro, Dan Smith LIVE WIRE BAR Open Stage Thu with Gary Thomas LYVE ON WHYTE Early show: Feast or Famine (CD release), The Old Sins, The Weekend Kids; 7-11:30pm MARYBETH'S COFFEE HOUSE�Beaumont Open Mic Thu; 7pm NAKED CYBERCAFÉ Open stage every Thu; bring your own instruments, fully equipped stage; 8pm

EMPIRE BALLROOM Shake Teen Party

NEW CITY SUBURBS The Creepshow, The Afterbeat, Scorched Banditos; Final concert at this location

ENCORE CLUB With A Latin Twist: free Salsa Dance Lessons at 9pm

NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers

PAWN SHOP Woodhands, Mass Choir, Maylee Todd; no minors; 8pm $10 at Blackbyrd, Listen

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

DV8 The Old Sins, Fire Next Time, Rum Runner's Spencer Jo; 9pm

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

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

RUSTY REED'S HOUSE OF BLUES Rusty Reed Band

RENDEZVOUS PUB Mental Thurzday with org666

EARLY STAGE SALOON Big Band R&B, the Dangerous Guise featuring Gary "soulman" Hinton

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

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

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

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

YARDBIRD SUITE All Canadian Yardbird Jazz Festival featuring: Sinistrio; 7:30pm (door)/8pm (show); $14 (member)/$18 (guest) at TicketMaster

TAPHOUSE�St Albert An eclectic mix every Thu with DJ Dusty Grooves

DJs

ARDEN THEATRE The Trews; 8pm; $30 (adv) at foundationconcerts.com

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 CHROME LOUNGE Every Thu: 123 Ko CENTURY ROOM Underground House every Thu with DJ Nic-E THE DRUID IRISH PUB DJ every Thu at 9pm FILTHY MCNASTY’S Punk Rock Bingo with DJ S.W.A.G. FLUID LOUNGE Girls Night out FUNKY BUDDHA�Whyte Ave Requests with DJ Damian GAS PUMP Ladies Nite: Top 40/dance with DJ Christian HALO Thu Fo Sho: with Allout DJs DJ Degree, Junior Brown KAS BAR Urban House: with DJ Mark Stevens; 9pm LUCKY 13 Sin Thu with DJ Mike Tomas ON THE ROCKS Salsaholic Thu: Dance lessons at 8pm; Salsa DJ to follow

FRI NOV 12 ARTERY Caity Fisher (Only the Wind, CD release), Jom Comyn, the Mandemic; no minors; 9pm (door) AXIS CAFÉ The Boudoirs Rock, World with Axiomatik; 8pm; $10 BLUE CHAIR CAFÉ Joel Fafard; 8pm; $15 BLUES ON WHYTE Jack De Keyzer BOHEMIA Downtempo discotheque; 8pm; no cover, donation for Foodbank BRIXX BAR Early show: Slick Idiot vs. Mona Mur En Esch, Psykkle at 7pm; Late show: Type Monkey Type, Canyon Rose Outfit, Jake Ian Band at 10pm

ELECTRIC RODEO�Spruce Grove Amber Haydey EMPIRE BALLROOM Mustard Pimp SENCORE CLUB 4 Play Fri FESTIVAL PLACE Jim Byrnes, Steve Dawson (blues); 7:30pm; $36 (table)/$34 (box)/$30 (theatre) at the Festival Place Box Office FRESH START BISTRO Maria Manna (jazz); 7pm GLENORA BISTRO Brandon Baker Trio HAVEN SOCIAL CLUB Sincerely, F&M (CD release), Greg Amundson, hosted by Tara Brodin HOOLIGANZ PUB Corruption Carnival: Corrupt Creatures Burlesque, music by Hellpreacher, The Give 'Em Hell Boys; comedy by Drew Behm and Kristin 'Snooki' Ashmore HORIZON STAGE International Guitar Night: Clive Carroll, Alexandre Gismonti, Pino Forastiere, and Brian Gore; 7:30pm; $25 (adult)/$20 (student/ senior) at Horizon box office 780.962.8995 IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests

CAFFREY'S Chad Lodge, Red Dirt Road

JEFFREY'S CAFÉ Anna Beaumont (jazz); $15

CARROT Live music Fri: all ages; Skye Wallace; 7pm; $5 (door)

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

CASINO EDMONTON JoHikk (country)

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

CASINO YELLOWHEAD Shannon Smith (country)

LB'S Barry Campbell Band

CENTURY CASINO Ed Kowalczyk (LIVE); $39.95/$44.95 at TicketMaster, Century Casino

LYVE ON WHYTE Early show: Marco Claveria (CD release), Jason Kodie; 7-11:30pm

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

MEAD HALL Experimental Show: Dead As December, Tessitura, Pre-School Shooting, Breathe Knives

CROWN AND ANCHOR PUB Slowburn; 9:30pm-1:30am

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 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 BERNARD SNELL AUDITORIUM FOYER Walter Mackenzie Health Sciences Center, 112 St entrance, 1st Fl BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 10425-82 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 BONNIE DOON HALL 9420-93 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 CAFFREY'S IRISH HOUSE 1-99 Wye Rd, Sherwood Park, 780.449.7468 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 Tr CHURCH OF SCIENTOLOGY 10255-97 St, 780.425.3662 COAST TO COAST 5552 Calgary Tr, 780.439.8675 COLAHAN'S 8214-175 St,

34 // MUSIC

780.487.8887 CONCORDIA UNIVERSITY COLLEGE Robert Tegler Student Centre, 73 St 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, DV8TAVERN. com EARLY STAGE SALOON 491152 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667, expressionzcafe.com FESTIVAL PLACE 100 Festival Way, Sherwood Park, 780.449.3378 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GLENORA BISTRO 10139 124 St, 780.482.3531

VUEWEEKLY // NOV 11 – NOV 17, 2010

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 HORIZON STAGE 1001 Calahoo Rd, Spruce Grove, 780.962.8995 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 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LION’S DEN PUB�Red Deer Quality Inn North Hill, 7150-50 Ave, Red Deer LIVE WIRE 1107 Knotwood Rd. East MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont MATCHBOX�Red Deer 110, 5301-43 St, Red Deer MCCLURE UNITED CHURCH 13708-74 St MCDOUGALL UNITED

CHURCH 10025-101 St MEAD HALL 10940-166A St MORANGO’S TEK CAFÉ 10118-79 St MUTTART HALL Alberta College, 10050 McDonald Dr NAKED CYBERCAFÉ 10354 Jasper Ave NANCY APPLEBY THEATRE� Athabasca 4720-48 St, Athabasca 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 ROBERTSON WESLEY UNITED CHURCH 10209-123 St 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 SHELL THEATRE–Fort Saskatchewan 8700-84 St, Fort Saskatchewan 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 VARSCONA HOTEL�Rutherford Rm 8208-106 St, 780.448.4872 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

ON THE ROCKS Huge Fakers; 9pm; $5

CHROME LOUNGE Platinum VIP Fri

PAWN SHOP PK / Oh Snap: Beats Antique DJ with guest Eskmo; 9pm; no minors

THE DRUID IRISH PUB DJ every Fri at 9pm

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am ROSE AND CROWN Sophie and the Shufflehounds (blues, roots) RUSTY REED'S HOUSE OF BLUES Studebaker John; 9:30pm; $10 ST BASIL’S CULTURAL CENTRE Full Moon Folk Club: Bluegrass Double Bill Special: John Reischman and the Jaybirds with The Bix Mix Boys; 7pm (door), 8pm (show); $17 (adv) at TIX on the Square/$20 (door); child under 12 half-price at door STARLITE ROOM The Matadors, Preying Saints, The Grave Mistakes; 9pm STEEPS�Old Glenora Live Music Fri TAPHOUSE�St Albert Crash Karma, Desperate Union, Long Way Down; 8pm; $18 TOUCH OF CLASS� Chateau Louis Barry Paetz (pop/rock); 8:30pm-12:30am WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close WILD WEST SALOON Shane Chisholm WOK BOX Fri with Breezy Brian Gregg; 3:30-5:30pm YARDBIRD SUITE All Canadian Yardbird Jazz Festival featuring: Jazzlab; 8pm (door)/9pm (show); $24 (member)/$28 (guest) at TicketMaster

Classical MUTTART HALL Edmonton Korean Community Centre Foundation, Autumn Concert: Michelle Yelin Nam (classical piano), Yejin Go (traditional Korean music); 7pm; $32.50 at TIX on the Square; fundraiser for the South West MultiCultural Centre WINSPEAR Mendelssohn’s Violin Concerto: Elmar Oliveira, William Eddins, Lidia Khaner (oboe); 7:30pm; Afterthoughts: post-concert discussion in the Main Lobby with Bill Eddins, Elmar Oliveira, John Estacio, Malcolm Forsyth; $20-$71 at Winspear box office

DJs 180 DEGREES Skinou *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 BOHEMIA Downtempo Dump: EQ Tweaker, DJ Monkey Mode, Equatorial; no minors; 8pm; no cover 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

EMPIRE BALLROOM Rock, hip hop, house, mash up; no minors ESMERELDA'S Ezzies Freakin Frenzy Fri: Playing the best in country FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian GAS PUMP Top 40/dance with DJ Christian IRON HORSE House in the Horse: Every Fri featuring a different house DJ; 2 Different DJs, 2 Styles of Music, 2 levels JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm

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 DV8 Vox Humana, guests; 10pm EARLY STAGE SALOON� Stony Plain Marv Machura and the Early Stage Allstars with guitarist Bernie Riegger

WILD WEST SALOON Shane Chisholm YARDBIRD SUITE All Canadian Yardbird Jazz Festival featuring: Double Bill: Tony Wilson Sextet with ABtrio; 8pm (door)/9pm (show); $20 (member)/$24 (guest)

Classical MCCLURE UNITED CHURCH Odyssey: Kokopelli and Òran Choirs, Ihana; 7pm; sold out

EDMONTON EVENT CENTRE Tracy Lawrence (country folk); 8pm; no minors

WINSPEAR Mendelssohn’s Violin Concerto: Elmar Oliveira, William Eddins, Lidia Khaner (oboe); Sat Symphony Prelude: D.T. Baker, John Estacio, Malcolm Forsyth; 7:15pm in the Upper Circle; $20-$71 at Winspear box office

ELECTRIC RODEO�Spruce Grove Amber Haydey

DJs

FESTIVAL PLACE Zachary Richard (singer-songwriter); 7:30pm; $40 (table)/$36 (box)/$34 (theatre)

AZUCAR PICANTE Every Sat: DJ Touch It, hosted by DJ Papi

EDDIE SHORTS Sat Nights: The Saucy Wenches, Doug Robb

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

FORT EDMONTON� Blatchford Airﬁeld Hanger Rock and Roll Society of Edmonton Shakes it Up: Big Hank and Fist Full of Blues, Sounds Familiar, Self Evolution, DRT; $25 at edrocks.ca

BUDDY'S Sat: Feel the rhythm with DJ Phon3 Hom3; 8pm (door); no cover before 10pm

REDNEX�Morinville DJ Gravy from the Source 98.5

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

CENTURY ROOM Underground House every Sat with DJ Nic-E

RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson

HAVEN SOCIAL CLUB Daniel Huscroft,The Boogieman Jordan Daniel, Ian La Rue and The Condor; 7:30pm

THE DRUID IRISH PUB Sat DJ at 9pm

ROUGE LOUNGE Solice Fri

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

NEWCASTLE PUB Fri House, dance mix with DJ Donovan PLAY NIGHTCLUB Pretty People Get Nasty with Peep n Tom, Showboy and rotating guest; DJS; every Fri; 9pm (door)

SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca STOLLI’S Top 40, R&B, house with People’s DJ TEMPLE Options Dark Alt Night; Greg Gory and Eddie Lunchpail; 9pm (door); $5 (door) Y AFTERHOURS Foundation Fri s

SAT NOV 13

IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 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 Bruce and Lori Mohacsy (jazz); $10

180 DEGREES Dancehall and Reggae night every Sat

JULIAN'S�Chateau Louis Dennis Begoray (jazz piano); 8pm

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

L.B.’S PUB Sat Jam with Gator and friends; 5-9pm; Late show: Barry Campbell Band

ARDEN THEATRE Montreal Guitar Trio, California Guitar Trio; 7:30pm

LYVE ON WHYTE Early show: Vis Vitalis (CD release), guests; 7-11:30pm

ARTERY Electricity for Everybody (CD release party), Field and Stream, Sans AIDS

MATCHBOX�Red Deer Maura Shaftoe (D release), Michael Lent (bass), Ben Sures (guitar); tickets at ticketleap.com

AVENUE THEATRE Lady Fag (An evening of Queer performance); no minors; 7pm (door); BLACK DOG FREEHOUSE Hair of the Dog: Prairie Nights; (live acoustic music every Sat); 4-6pm; no cover BLUE CHAIR CAFÉ Dr Blu; 8pm; $12 BLUES ON WHYTE Jack De Keyzer BOHEMIA Wide-Open Mic: hosted by Chester Field; no minors; 8pm; no cover BONNIE DOON HALL May Day Concert: The Notre Dame des Bananes, Maria Dunn; 7pm (door), 7:30pm (show) BRIXX BAR Oh Snap: with Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, John Ohms, PRex; 9pm CAFFREY'S Chad Lodge, Red Dirt Road CARROT Open mic Sat; 7:30-10pm; free CASINO EDMONTON JoHikk (country) CASINO YELLOWHEAD Shannon Smith (country) COAST TO COAST Live bands every Sat; 9:30pm CROWN AND ANCHOR PUB Slowburn; 9:30pm-1:30am

MCDOUGALL UNITED CHURCH Ruthie Foster, David Jacobs-Strain; all ages; 7pm (door); $39.50 at Blackbyrd, Acoustic Music Shop MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm ON THE ROCKS Huge Fakers; 9pm; $5 PAWN SHOP Shadowblade (Frozen Serenity CD release), Viathyn, Samandriel, Oooze; 9pm RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm2am ROSE AND CROWN Sophie and the Shufflehounds (blues, roots)

BLACKSHEEP PUB Sat DJ

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 JEKYLL AND HYDE PUB The Kids are OK: mod, garage, psych, ska and britpop every Sat; $5 (after 10pm) JUNCTION BAR AND EATERY LGBT Community: Rotating DJs Fri and Sat; 10pm NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri 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 SPORTSWORLD Roller Skating Disco Sat; 1pm-4:30pm and 7-10:30pm STOLLI’S ON WHYTE Top 40, R&B, house with People’s DJ TEMPLE Oh Snap! every Sat Y AFTERHOURS Release Sat

SUN NOV 14

RUSTY REED'S HOUSE OF BLUES Studebaker John; 9:30pm; $10

ARTERY Maura Shaftoe (folk, jazz singer-songwriter), Michael Lent (bass); 7:30pm

STARLITE ROOM Shout Out Out Out Out, Christian Hansen and the Autistics, The Whitsundays; no minors; 9pm (door)

BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm

TAPHOUSE�St Albert IMHO We Care: The Apresnos, guests TOUCH OF CLASS�Chateau Louis Barry Paetz (pop/rock); 8:30pm-12:30am

BLACK DOG FREEHOUSE Who Made Who–The Rock and Roll Resurrection: The Maykings (revive The Who), The Dirty Dudes (revive AC/DC); 10pm; no cover BLUE CHAIR CAFÉ Sun Brunch: PM Bossa; 10am-2.30pm; donations

BLUE PEAR RESTAURANT Jazz on the Side Sun: Don Berner (sax); $25 if not dining BLUES ON WHYTE Jack De Keyzer B�STREET BAR Acousticbased 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 Keri-Lynne Zwicker, 4-7pm EDDIE SHORTS Sun acoustic oriented open stage EXPRESSIONZ CAFÉ Old Time and Country Rock Jam / Dance: 2nd Sun each month; 1-5pm 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 NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ON THE ROCKS Seven Strings Anniversary Party: Feast or Famine, Makeshift Innocense, Matt Blais; 9pm; $5 ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm PAWN SHOP Hollerado, Free Energy, Foxy Shazam, The Reason; no minors; 7:30pm (door); $13.50 at TicketMaster, UnionEvents. com, Blackbyrd ROYAL COACH�Chateau Louis Petro Polujin (classical guitar); 5pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm

Classical CONCORDIA UNIVERSITY COLLEGE Concordia Symphony Orchestra concert, Anni Yu (violin); 2pm; $12 (adult)/$10 (student/senior) at TIX on the Square FESTIVAL PLACE Daniel Taylor (classical singer); 7:30pm; $24 (table)/$22 (box)/$18 (theatre) at Festival Place box office MUTTART HALL Chopin for Three: Polish Culture Society; 3pm; $35 (adult)/$30 (student/ senior/member) at TIX on the Square; part of the Festival of Polish Culture ROBERTSON WESLEY UNITED CHURCH Baroque Chamber Music Treasures: Alberta Baroque Ensemble; 3pm; $25 (adult)/$20 (student/ senior) at TIX on the Square, Gramophone

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 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

VUEWEEKLY // NOV 11 – NOV 17, 2010

MUSIC // 35

COMMENT >> THE LOCAL SCENE

Undercover of the night

Original music fights to be heard over the cover-band din A previous work engagement kept me from and '70s, when DJ gear wasn't really around, popping down to the Doug Hoyer release but what possesses someone to go out and until about 10:30 last Saturday, and hear mediocre renditions of radio hits I arrived just in the nick of time, when you could hear the real thing as Doug's band was starting with a CD and a PA? I've heard awfully early for a Saturday the argument about the "live night. I couldn't figure it out experience" before, but if that's m o .c ly ek vuewe until I noticed the sign adverso important to you, why not @ id v a d tising a cover band that would give your money to someone Davidy be ending out the night. who's got the gumption to put Berr This isn't intended as a criticism their own work out there for your of Lyve on Whyte—which, by from all attention? There are plenty of bands the musicians I've talked to, treat their acts working in this city in any number of styles, quite well—who are just trying to fill the and even going to see a band that wants to bar, but man: what kind of a person wants be the next Nickelback is at least rewarding to go see a cover band in this day and age? people willing to do more than just downPresumably someone who's too lazy to load a tab chart. take five whole minutes to look up where It's not as though there's some horde of the real bands are playing that night. cover bands out there, but still, every dolLook, I get their purpose in, say, the '60s lar they get is a dollar that could be sup-

R GUTTE E

DANC

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

MON NOV 15 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover DEVANEY'S IRISH PUB Open stage Mon with Ido Vander Laan and Scott Cook; 8-12 NANCY APPLEBY THEATRE� Athabasca Maura Shaftoe (folk/ jazz singer -songwriter), Michael Lent (bass); 7:30-10pm PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm ROSE BOWL/ROUGE LOUNGE The Legendary Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm RUSTY REED'S HOUSE OF BLUES Blue Mon Open Blues Jam: Jim Guiboche; 8pm

DJs 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

TUE NOV 16 BRIXX BAR Troubadour Tue: Sleeping Girl and Casey Barkley;

36 // MUSIC

host Mark Feduk; 8pm

CROWN PUB Underground At The Crown: underground, hip hop with DJ Xaolin and Jae Maze; open mic; every Tue; 10pm; $3 DRUID IRISH PUB Open stage with Chris Wynters; 9pm L.B.’S Tue Jam with Mark Ammar; 9pm-1am MYER HOROWITZ THEATRE Dan Mangan, The Burning Hell; 7:30pm (door); all ages; tickets at TicketMaster, Blackbyrd O’BYRNE’S Celtic Jam with Shannon Johnson and friends PADMANADI Tue open stage with Mark Davis; all ages; 7:3010:30pm RUSTY REED'S HOUSE OF BLUES Kevin Cook Band; 8:30pm SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm SHELL THEATRE– Fort Saskatchewan International Guitar Night; 7:30pm; $28.50 (adult)/$25.50 (senior/youth)/$5 (eyeGo to the Arts) SIDELINERS PUB Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE Open Stage hosted by Paul McGowan and Gina Cormier; every Tue; 8pm-midnight; no cover STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm YARDBIRD SUITE Tue Night Sessions: Karen Porkka Quartet; 7:30pm (door), 8pm (show); $5

VUEWEEKLY // NOV 11 – NOV 17, 2010

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

porting someone who's actually trying to share their experience of the world, not just trying to bask in someone else's reflective limelight. Support real live music, folks: it's better for all of us. Cold, cold world On a personal note, someone apparently decided that my black overcoat was just their style, and swiped it from its perch at the Pawn Shop on Saturday at the Field + Stream/Whitsundays/Sans AIDS show. Just in time for a turn in the weather, too. I'm willing to forgive and forget if someone wants to come drop it off at the Vue office. In the meantime, though, and because I know I'm not the only person to whom this has happened at a show: don't steal coats, people. More so than being illegal, it's just a real shitty thing to do on a cold night. V

by donation

solo recital; 5pm; free

FESTIVAL PLACE Cafe Series: Archie Fisher (folk); 7:30pm; $18

MCDOUGALL CHURCH Music Wed at Noon: Suzanne Langor, Hiromi Takahashi, Jeremy Spurgeon (horn, oboe, piano); 12:10-12:50pm; free 780.468.4964

FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12 GOOD EARTH COFFEE HOUSE Wed with Breezy Brian Gregg; 12-1pm

BUDDYS Tue with DJ Arrow Chaser; free pool all night; 9pm (door); no cover

HAVEN SOCIAL Open stage with Jonny Mac, 8:30pm, free

ESMERALDA’S Retro Tue; no cover with student ID

LYVE ON WHYTE Sweet Thing, guests; 8-11:30pm

FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm

PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society; Slow pitch for beginners on the 1st and 3rd Wed prior to regular jam every Wed, 6.30pm; $2 (member)/$4 (non-member)

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

WED NOV 17 BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed BOHEMIA Wasted Wednesday: Princess Me0w, Soulstiss, Supastar Craig; no minors; 8pm; no cover, donation to foodbank BRIXX BAR Really Good… Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no cover COPPERPOT RESTAURANT Live jazz every Wed night: Harpe Jazz 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; 7-11pm; admission

RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm-1am; $5 RIVER CREE Wed Live Rock Band hosted by Yukon Jack; 7:30-9pm

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

RUSTY REED'S HOUSE OF BLUES Gord Mathews; 8:30pm

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

SECOND CUP�Mountain Equipment Open Mic every Wed; 8-10pm

LEGENDS PUB Hip hop/R&B with DJ Spincycle

STEEPS TEA LOUNGE� College Plaza Open mic every Wed; 8pm TEMPLE Wyld Style Wed: Live hip hop; $5 VARSCONA HOTEL� Rutherford Room Thom Fowle, presented by Avenue Guitars; 7-9pm; no cover

Classical BERNARD SNELL AUDITORIUM FOYER Hear’s to your Health: David Eggert (cello)

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; 9pm2am; beatparty.net Y AFTERHOURS Y Not Wed

MUSIC NOTES catch him again at Jeffrey's Cafe and Grill on November 27. (Lyve on Whyte, $7 advance/$10 at the door) International Guitar Night / Fri, Nov 12 and Tue, Nov 16 (7:30 pm) This must-see event for any guitar enthusiast features the likes of Brian Gore and Clive Carroll, who has been named one of Total Guitar's Top 10 Acoustic Guitarists of All Time. (Horizon Stage, Spruce Grove [Nov 12], Shell Theatre, Fort Saskatchewan [Nov 16], $20 – $25) Jim Byrnes / Fri, Nov 12 (7:30 pm) He may have been raised South of the border, but multi Juno-award-winning, 30-year industry veteran Jim Byrnes has made a place for himself as a legendary figure in the Canadian blues scene. October 12 marked the release of his new album, Everywhere West, and Byrnes is sure to bring this new material to fans when he hits Sherwood Park with musician and producer Steve Dawson. (Festival Place, $33.25 – $39.25) Marco Claveria / Fri, Nov 12 (8 pm) Claveria brings his Latin jazz flare to Lyve on Whyte to celebrate the release of his new album. If you miss this show,

the Boudoirs

Tribute to Garry McDonall / Sun, Nov 14 (4 pm) Garry McDonall was the founding member of one of Edmonton's most legendary rock bands, the Nomads. The group opened for the likes of Roy Orbison in the 1960s and drew audiences spanning generations. The musical pioneer also worked his magic behind the scenes as manager of Damon recording studio. "Garry was happiest when he was in the studio on a recording session," says Bill Maxim, who worked with McDonall for over 40 years. "He was a gifted musician himself, was a friend to everyone in the industry, and will be very much missed personally and professionally." (Sawmill Banquet Centre)

Daniel Taylor / Sun, Nov 14 (7:30 pm) The Maine native is bringing his multi-genre show to Edmonton. Daniel Taylor taught himself guitar, drums, bass and keyboard before forming his first band at age 13. He draws inspiration from James Blunt and the Goo Goo Dolls, creating a sound reminiscent of '90s rock, with emphasis on lyrical expression. (Festival Place, $17.25 – $23) Hollerado / Sun, Nov 14 (7:30 pm) The fun-loving rock quartet will be bringing its antics to what is sure to be a high energy and unforgettable live show. (Pawn Shop, $18.25) Dan Mangan / Tue, Nov 16 (8 pm) Hard work and relentless touring has paid off for this Vancouverite. Dan Mangan has solidified himself as a favourite among Canada's independent music scene. His track "Robots" was named Best Song and Best Vocals of 2009 by CBC and his critical acclaim continues to rise. His latest album, Nice, Nice, Very Nice, sat atop the Canadian iTunes singer-songwriter chart for six months, and transcends genres to create a truly impeccable record. (Myer Horowitz Theatre, $24) — Meaghan Baxter

Don't let the name fool you

Fri, Nov 12 (8 pm) Metro Room (Axis Cafe), $10 All ages Frontman Yvan Sheremetieff is determined to give audiences a show they won't soon forget. Despite the demure name, The Boudoirs serve up aggressive, in-your-face rock with a blend of club genres, ranging from dubstep to trip-hop. "I think the most important thing is, despite the fact we have this very busy, eclectic sound to our music, we emphasize the melody," he says. "There's a strong emphasis on songwriting and the melody of the lyrics. There's also a big world beat element." Even the inspiration for the group's name, which traditionally refers to a

lady's bed chamber, is reflective of their multifaceted melodies. "It highlights the contrast in the music where there's the sensual, melodic

side with the trip-hop and the trance," Sheremetieff explains. "But there's also the heavy rock riffs, the butch side of it.” —Meaghan Baxter

SLIDESHOW

Imaginary Cities

// Paul Blinov

Mon, Nov 8 / The Black Dog VUEWEEKLY.COM/SLIDESHOWS >> more of Paul Blinov's photos

VUEWEEKLY // NOV 11 – NOV 17, 2010

MUSIC // 37

38 // MUSIC

VUEWEEKLY // NOV 11 – NOV 17, 2010

Eskmo Fri, Nov 12 (9 pm) With Beats Antique Pawn Shop, $23 On the eve of his first trip to Japan, Brendan Angelides sounds just as excited to see the bamboo groves and ancient temples than the clubs and cities he'll be playing in. He notes a strange draw to that aspect of the culture, and it's fitting; his electronica-tinged work as Eskmo reflects those Zen-like interests far more than the usual dancehall maxims. Though his roots are in the bass-y throb of dance music—and previous releases by Angelides were far more geared towards that—his Eskmo debut branches out into blossoms of serenity: stayed, reflective tracks that slip and flow more than they do adhere to usual bouncing DJ-friendly structures. Vocals, unusually, are prominent throughout, but musically, the calm doesn't come before the storm, it encompasses it, channels its energy and makes what could be forgettable bounce into a more subdued brand of good vibration. Avoiding the usual dancefloor structure was the point of Eskmo. Angelides' been down that road before, and it's less in line with his current artistic impulses. "There's a certain laid-back quality to the album that I hadn't released on much music as Eskmo before," he explains, the day before crossing the Pacific. "There's an element of sitting back a little bit, and letting certain things unfold and the story really come out, instead of studio trickery—which I think is really important. I want to set the stage for that being a very key element of what I'm doing, and not just having it be 'oh my God, that's the craziest bass sound I've ever heard' type of scenario. That's not very fulfilling, that kind of mentality. "I didn't want to release an album of stuff that people had been used to for the past couple years," he continues. "I definitely could've just regurgitated

Dancehall meets zen

// Trevor Traynor

those kinds of things and put them onto an album. I really kind of wanted it to tell a story and have a personal vision behind it, and be less focused on trying to blow people's minds with techniques or any of that kind of stuff. Signing to legendary label Ninjatune helped put Angelides in a position for make his full-length creative exploration. It's a major indie label with the resources to let an artist dig deep into themselves; that, and after 10 years of Eskmo, it just felt like "the right time, right place kind of thing." "I think it just kind of came together. Adding more vocals, and stepping away from dancefloor structure, and, just having a body of work. I just really felt like I was ready to do that. Before, when I released certain releases, I put that kind of focus into the releases, and it felt like it made sense at the time, and this one I was kind of just following a driving force just to do it. I actually didn't think about it too much, I just knew I needed to do it." V Paul blinov

//paul@vueweekly.com

VUEWEEKLY // NOV 11 – NOV 17, 2010

MUSIC // 39

Touch

Fri, Nov 12 (9 pm) with DJ Nato, Babylon Warchild, Hobos Banditos Crown Pub, $5 Touch is old enough to remember a time when the local rap scene was impenetrable. "I've been in the scene since the '90s and the main thing that's changed is the availability of studios, producers and beats. I can't even keep up with the beats people offer," says the emcee, DJ and producer who was part of the Dangerous Goods Collective back then. "You couldn't buy a beat, you had to know somebody." Now, in the lubed-up hip-hop market, Touch has also benefited. In the 21st cen-

40 // MUSIC

VUEWEEKLY // NOV 11 – NOV 17, 2010

tury, he's released three albums, including 2006's collaboration with DJ Nato (as the Representatives) that topped U.S. college charts. On Friday at the Crown Pub, he releases his fourth, Alienated, on experimental hip-hop label Neferiu. Acknowledging the modern ways, Neferiu is only printing 200 CDs and using Bandcamp to make it infinitely available. "Alienated is 21st century hip hop with 20th century values and ethics. Alienated is really about the Canadian hip hop scene and its diversity. There is a great line up of top-notch producers that are all Canadian, and this album is dedicated to them. None of the songs are alike, so you are bound to be alienated at one point, and completely at home at other

points," he says. It also features top-notch rappers, including New York's cult-favourite Ill Bill, a collaboration made possible with 21st century tools—Paypal and Yousendit. com—and solid connections, showing how Touch walks that line between old and new attitudes. "I still use an Atari from '88 to make beats [and] I still sample without giving a second thought to clearance. Those are very different attributes compared to the synthy, no-cuts, industry-standard hip hop that has flooded the market," he says. "This album is filled with like minded individuals so the title is definitely ironic." V Omar mouallem

//omar@vueweekly.com

Ra Ra Riot Thu, Nov 18 (7 pm) With wintersleep Edmonton Event Centre, $32.25 Playing live is what most bands live for. Performing live gives the valuable feedback about what songs work, what parts get the desired response and how the band can best shape the mood of the performance to best reflect whatever message it's trying to convey. Road testing a batch of new songs is a great way to learn if the newest material will have the impact the band hopes it will before putting it down for posterity in a studio. But when Syracuse, New York's Ra Ra Riot prepared to release its latest album, The Orchard, the band made the conscious decision to hold back on playing the newest songs live. The plan was to make the album's release that much more special, to build the anticipation for it as much as possible, something that, as the group's cellist Alexandra Lawn explains, isn't always possible in the age of Internet leaks. "We just wanted to keep it a secret if possible so that there really is an excitement. I think it's harder and harder these days to release an album and still have fans really itching to hear it and not getting it before its released," she says. "It keeps it more in that special realm and really keeps up the enthusiasm and also the nervousness for it. It was definitely nerve wracking to hold out as long as we did." The sometimes driving, sometimes ethereal chamber pop of The Orchard

On the verge of a riot

was recorded over a few months in a farmhouse on a peach orchard in upstate New York. The short recording period, mixed with the beautiful location, made for some of the band's most focused music yet, and a different feel from the group's previous record, 2008's The Rhumb Line. "The Rhumb Line was kind of a culmination of a lot of different time periods and different things that went on in our lives but The Orchard was maybe one year and mostly one or two months of our lives," says Lawn. "I think its a bit more current with where everyone was at musically, creatively. Also, us playing for almost five years together now that adds a whole other dimension to it as well. We understand each other and we really got to feed off of that. And being such a beautiful environ-

ment was really inspiring so everyone was feeling really creative." The band is far from being a "studio band," however. In fact, in order to capture the band's truest sound, Ra Ra Riot tapped the group's sound man Andrew Maury to help produce The Orchard because of his intimate knowledge of the group's sound. "We've been touring with Andrew as our sound guy for a few years now so when we decided to produce the album ourselves we thought who better to produce it with us than Andrew who is extremely talented and knows our music really really well," says Lawn. "It's a good way of adding a familiar perspective with him knowing the band and who we are and also another talented opinion to the mix." V Bryan Birtles

// bryan@vueweekly.com

VUEWEEKLY // NOV 11 â&#x20AC;&#x201C; NOV 17, 2010

MUSIC // 41

NEWSOUNDS Cee-Lo Green The Lady Killer (Elektra) 

David Berry // david@vueweekly.com

f it wasn't Cee-Lo Green behind it, "Fuck You!" would be the kind of song that would overwhelm a career. And, well, fair enough. Maybe it got a bit of a boost from the gleeful and prominent profanity, but it's just a goddamn fine pop song that plays right into the ebullient neo-soul man's strengths: his soaring voice, which effortlessly strikes a balance between sincerity and cat-with-a-bird-in-its-mouth rascal pride, classic soul sounds pumped up with a hip-hop beat and structure that demands to record over your brain tape for a week at least. That it's a hilariously blunt take on a damn near universal experience—and maybe the best break-up song for shaking your ass ever—is just icing. The man's spent the last few years pumping out nothing but earworms with Gnarls Barkley, though, and a decade before that indulging his inner weirdo with Goodie Mob, so as-is "Fuck You!" just overwhelms the rest of his third solo effort, and first since 2004's Cee-Lo Green... is the Soul Machine, The

Lady Killer. The record opens with a spoken-word intro where Cee-Lo explains that "he does what he wants," and the rest of the album basically sets out to prove as much. For a man with his instincts, that's generally a pretty good idea, although Lady Killer's slickness could benefit a bit from giving his quirks a little more space. Because as skillful a pop musician as he is, Cee-Lo can be a bit content to rest on his charisma. "Bright Lights Bigger City," the first proper song, for instance, is just a bit too easy, riding a "Billie Jean" backbeat and some of Cee-Lo's familiar tricks—straight belting, basically—into something that tries to sound like it has more energy than it actually does. "Wildflower," too, while actually a fabulous performance from the man, has production that hugs a bit too close to the line between swirling romantic ballad and cheesy-but-catchy pandering without actually going over. When he starts getting fully indulgent, though, things pick up considerably. The back-to-back duo of "Bodies" and "Love Gun" feel unrestrained, the former a just-creepy-enough-to-staysexy number about bedding an involved women and the latter a cinematic-funk number that could serve as the title music for a porno parody of James Bond (in the best possible sense). "I Want You" is the rare Cee-Lo song performed with the utmost sincerity— although its presence on an album full of love-and-leave-'em give-and-take is sly—and throwing his full weight into it pushes it to something boisterously romantic, with its mouthful of clever wordplay keeping it grounded. Even if at times its a bit too straightforward, there's no denying Cee-Lo's talent as a pop musician, and even his missteps make for frequently compelling listening. Not everything's "Fuck You!," but the plateaus aren't too far away from the peak. V

Electricity for Everybody! This Was the Future (Independent)  The fuzzy, languid sounds of the '90s college-slackers continues to wash over some of the best music coming out of our town, though Electricity for Everybody!'s debut expands on it a fair deal, soaking up some alt-country spacious atmosphere and some frayed-pop edges to push it somewhere beyond mere revival. The band is at its best when it lets loose some of its crackle, as on "The Ox in Fox" and "From The Banks Of Jimmy Baker To The Shores Of Tammy Faye," although album-closer "Autobahn" also shows that they can revel in expansive ambling that still feels propulsive and explorative. This is definitely a band that can do more with more. David Berry

// david@vueweekly.com

Teengirl Fantasy 7 AM (True Panter) 

They may be lumped in with the other various chillwave projects shooting out of the blogosphere, but Teengirl Fantasy separate themselves by writing music firmly based in history. Originally meeting at Oberlin College in Ohio, the group use cheap, dated drum machine kits and vaguely familiar samples to evoke the bygone spirit of proto-house and early Detroit techno in a contemporary way. They take the formerly immediate, such as the repurposed vocals from Love Committee's "Cheaters Never Win" on standout "Cheaters," and transform these sounds into patient, expansive moments of mushrooming intensity. Roland Pemberton

//roland@vueweekly.com

Brooke Fraser Flags (Sony)  Ranging from cheery, alt-pop songs to lengthy, melancholic ba llads , Brook e Fraser's breathy soprano is backed by an overwhelming mashup of instrumentals spanning from whistles to violas. The opening track, "Something in the Water," sets a tone of sappy, idealistic love. This is quickly replaced by a much more subdued theme, before a drawn-out and monotonous string of ballads takes over. Fraser concludes by returning to the earlier state of idealism with the chummy "Here's to You" and the title track, which offers an uplifting spin on the faults of humanity. Meaghan Baxter

//meaghan@vueweekly.com

42 // MUSIC

VUEWEEKLY // NOV 11 – NOV 17, 2010

OLDSOUNDS

KT Tunstall Tiger Suit (Virgin)  KT Tunstall's fourth album is an infectious mix of finelycrafted alt pop. Each track has a complex blend of instrumentals, many of which are provided by Tunstall, topped with her signature raspy alto. The tracks were all written either solely by Tunstall, or in collaboration with the likes of Linda Perry. From the upbeat melodies of "Come On, Get It," which is reminiscent of her smash hit, "Black Horse & the Cherry Tree," to the charmingly self-depreciating "(Still a)Weirdo," Tiger Suits is anything but a run-of-the-mill pop album. Meaghan Baxter

//meaghan@vueweekly.com

Jen Lane For the Night (Independent)  Saskatoon-based Jen Lane's sophomore album under her own name (only still her in twenties, she's been a nearlifelong musician) is a remarkably solid collection of straightforward, easy-on-the-ears, country-roots pleasers that deserves the wider audience she's so clearly seeking. Lane's thrown her lot in with the kind of ambitious, old-fashioned, well-crafted, band-oriented songwriting that has attracted a young generation of contemporary practitioners (like the Joshes Ritter and Rouse and Haligonian Jenn Grant) who nonetheless have an independent streak. For The Night summons all the textures of Lane's heartland home, from breezy singalongs you can picture blaring from a battered pick-up bouncing along a secondary highway in the crystalline Prairie sun to the effortless melancholy of slide guitar-punctuated tearwringers evoking an expansive leaden sky sitting heavily on bleached undulating grasses. The record could've benefited from editing a weaker song or two, and she's not a startlingly revealing or poetic lyricist (more depth may come in time) but those are small qualms that do not take away from what is an outstanding effort. Above all, Lane has managed the non-trivial feat of creating an album that is impeccably made while still feeling entirely unforced. Mary Christa O'Keefe

// marychrista@vueweekly.com

David Bowie Baal EP (RCA)

Originally released: 1981 In 1981, David Bowie was coming out of the dark period he'd been engulfed in for much of the late 70s. Moving to Berlin to kick cocaine had given him his Berlin Trilogy— that's Low, "Heroes" and Lodger—which still stands as artistic high points for their darker explorations, and the period that followed transitioned back from that private darkness into public extroversion. That transition was most compellingly documented on Scary Monsters, but the transient period also yielded the Baal EP, a curio, even for Bowie. It a recording he made after playing the title role in Berlot Brecht's Baal on a televised BBC production of the play. Baal came well before Brecht's had perfected his politically charged style of epic theatre, was written in 1918 and detailed a sexually promiscuous waif of a poet who ends up in a downward spiral of sex and murder. Given the lows Bowie had been battling his way through, he might've felt some relation to the title character: an artistic lad in over his head, musing on about the weary darkness consuming him as it did just that. When the BBC performance was finished, Bowie retreated back to Germany with

QUICKSPINS

PAUL BLINOV

// PAUL@vueweekly.com

WHITEY HOUSTON // QUICKSPINS@vueweekly.com

Bocce Disambiguation (Dadmobile)

Grass Widow Past Time (Kill Rock Stars)

Awesome synth rockers They play with large heavy balls Just like their namesake

Remember Plumtree? Well I do. Sweet sweet girl rock Rules my brain again

Dirty Projectors No Intention + Bitte Orca: Disc 2 (Domino)

The Vampire Diaries OST (Virgin)

Dainty and precious Sonic equivalent of Anne Geddes photo

Like Jenna James at A popsicle convention Nothing could suck more

producer Tony Visconti—who'd seen him through the Berlin Trilogy—set up in the studio where Brecht's later partner Kurt Weill had worked, arranged a German theatre band in a semi-circle (as later used in his video for "Wild is the Wind"), had Visconti strap on a bass and put the five songs he'd sung on television to tape. It's an odd pairing of forces, one barely representative of either Bowie or Brecht's canon of works. The musical arrangements, by Ralph Manheim and John Willett, are orchestral but very restrained: horns, accordion, woodwinds and sparse guitar strums kept tightly reigned, and the lyrics stick to Baal's sexual conquests and the effects his trysts had on his partners, almost all left worse for the wear. It's strange to hear Bowie left at the mercy of a far weaker, more traditional lyricist, especially on something like "The Dirty Song" featuring such come-hither lines as: "If a woman's hips are ample/ Then I want her in the hay/ Skirt and stocking all a-rample/ Cheerfully/ For that's my way" is what he has to work for. It's certainly ground he's tread before, but in far more coy allusions of his own creation, which cast a pretty tall shadow over Brecht's almost comical march towards promiscuity. I get that it was setting up a stage character's motives and all, but still. Conversely, hearing Bowie's emotional croon carry the other tracks, sustained over the spartan instrumentation, instead of getting used as a cosmetic addition his own melodies, is worh it. He does best with Brecht's darker especially "The Drowned Girl," deeply eerie and akin to his haunting cover of Jacques Brel's "My Death." The Baal EP was Bowie's final release on RCA record; his next, on EMI, was Let's Dance, a furthering of Bowie returning to his previous limelight heights after years of a more restrained, introspective approach. Baal is only a footnote in that transformation, but a curious one worth looking into. V

TWRP Poised To Dominate (Independent)

Joey Wright Hatch (Black Hen Music)

Skilled dance infused jams Take E, put on ELP Practise scales, scales, scales

It's so sunshiney Makes me want to punch something Hard, twice, in the neck

VUEWEEKLY // NOV 11 – NOV 17, 2010

MUSIC // 43

Caity Fisher Fri, Nov 12 (9 pm) With Jom Comyn and the Mandemic The ARTery, $10

Meeting Caity Fisher is a bit of an incongruous experience. Her voice, especially when she's singing, is an old and lived-in thing, something that lilts and cracks like it's coming off a warped 78, an impression only aided by her slowfolk strumming that recalls the dusty air of the '50s originals. Her face, though, is a cherubic thing that seems barely out if its tweens, never mind teens, easy to smirk and smile. She's an old soul hidden behind an innocent. That's also an accurate way to describe the songs on her new full-length, Only the Wind. There is both a wide-eyed kind of exploration in her songwriting, though one that's heavily tempered by the kind of worldly wisdom we tend to associate with creaking bones. The re-

Happy on the outside

sult is more often than not something spaciously melancholy, music for the last warm day of fall. "It's all melancholy; I don't have any really upbeat songs," Fisher admits with a shrug. "But music is such a personal thing for me ... it's things you're thinking and feeling about the world. It just comes out naturally, like any other bodily function that you have to do, really. It's not like you decide, 'Oh, I drank a bunch of a

coffee and I have to pee.' That's a really good metaphor. But yeah, I'm just out in the world living and then I write a song." She doesn't seem the particularly melancholy type in person, but maybe that's just because she's channelling it all into her songs. And as long as they come out this blessedly broke-down, she's making the right choice. V

shied away from using it during live performances. So with his latest, Cluck Old Hen, Fafard has turned in a set of old cover tunes featuring both his guitar playing and his singing. He spoke with Vue recently about the making of the record.

before I got together with Richard (Moody, on violin and viola) and Gilles (Founier on double bass), but when you are playing with good musicians things change and blossom and I think you should always go with that.

VUE WEEKLY: You've put out a number of instrumental albums in recent years, but this one features you singing. Why did you take that approach on this record? .com JOËL FAFARD: It just felt like weekly e u v @ eden time. I was really starting to Eden enjoy singing again, my voice has Munro developed into something it was not before and I thought it would be cool to take these old blues and southern roots songs, blur the lines a little and play them with my musical style. Roots guitarist Joël Fafard's been picking instrumental songs on record for some VW: Did you have your interpretations of time now—three albums since the beginthe songs in place when you went into the ning of the decade—but he's far from a studio, or were they sketches that were strict instrumentalist: Fafard's voice was in then filled out as a group? fine form on earlier albums and he's never JF: I pretty much had the songs interpreted

VW: What were the recording sessions like for this album? JF: I am a live-off-the-floor guy: I don't like stopping and doing overdubs for this kind of music. If you lay down the groove and have fun, the vibe will come. I sang and played at the same time while Richard, Gilles and I fed off each other.

Joël Fafard Fri, Nov 12 (8 pm) Blue Chair Café, $15

ON TH

D RECOR

44 // MUSIC

VUEWEEKLY // NOV 11 – NOV 17, 2010

DAvid berry

// david@vueweekly.com

VW: Did you have an idea of what you wanted Cluck Old Hen to be when you started, or did the finished shape emerge as the recording went along? JF: I knew what I wanted the album to be, of course it always changes a little along the way. I suppose my audience has had some input on this because I have been trying most of these tunes out on them for a few years. V

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RAOUL HEINRICH FRANCÉ AND EARLY 20TH CENTURY CENTRAL EUROPEAN BIOCENTRISM *%*( >af] 9jl :d\_$ M g^ 9 9jl `aklgjq d][lmj] presented by Oliver Botar Nov 19$ -%.2+(he

REWRITING A COUNTRY: TOWARD A JUST AND PEACEFUL CANADA

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BACK // 45

COMMENT >> LGBTQ

COMMENT >> ALT SEX

Transitions

Sex and death

Nowadays, almost everyone knows at least one pernot bottom surgery? son who identifies as gay. But outside of the queer J: For me, the outcome of top surgery is worth the risks community, and even sometimes inside it, many peothat come along with it. As for the current bottom surple may still not have a relationship with someone geries available, the potential outcomes aren't worth who's openly transidentified. the risks of those surgeries. I feel that everyone needs I asked a friend of mine, James, to keep track of his to make this choice in their own way and for their own transition for me so that I could share his transformareasons though. Personally, having an average-sized petion with readers. James came to realize that he was nis that isn't erotically sensate and cannot get spontanetrans at 30, in the spring of 2009. Immediately ous erections from arousal (phalloplasty) has no he began coming out to a select few and by appeal and when you factor in the huge physithe winter, he'd told almost everyone he cal risks, it's even less attractive an option. A cared about. He then got his referral to Dr micro penis which is erotically sensate and Warneke, the Edmonton gender specialist. can get spontaneous erections from arousal m o ekly.c In June he had his appointment and got a (metoidioplasty) is more appealing, but vuewe @ m ta a referral for hormone injections. Around this the only difference (for my personal needs) Tamar time he came out to his work and to his two ka between this option and simply staying with Gorzal kids, both of which resulted in tons of support. the micro penis you get from clitoral growth of James is now waiting for his top surgery and evenbeing on testosterone, is the ability to stand while tually getting a hysterectomy. urinating, and whether it looks passable or not. Because James was transitioning so quickly it gave his friends a view of the overall process as he updated us VW: Do you wish that you'd been born physically male? at each milestone. His mother is helping him pick a new J: I don't necessarily see myself as a guy who was "supname and a note went out to all his colleagues at the posed" to be born into a male body and instead was born national media organization that he works for asking his into a female body. Rather, I feel that my being a trans co-workers to call him by his new name and showing guy and going through this transition is itself a big part full support and understanding. For Transgender Day of my journey. of Rememberance, which starts this weekend, James and I chatted about how his process is going. VW: How did your kids react? J: My six-year-old has taken to it like a fish to water, and VUE WEEKLY: Has transitioning been harder or easier it seems to just be normal to her. My 10-year-old had a than you expected? bit of a harder time understanding, but we've had some JAMES: Much easier. I expected a lot less acceptance great talks about it and she really seems to be comfortand support, a lot more of an uphill battle. That's not able with it now and is very supportive. to say that it hasn't been challenging, but those chalWhen it comes down to what's really important, both lenges have provided me with a lot of opportunity for of my daug hters still love me and know that I'll always growth, and the positive and fulfilling moments have love them no matter what, though we'll have challenges outweighed the harder ones. during the next few stages of my transition I'm sure, I'm confident they'll adapt and we'll continue to grow closer VW: Why is it important for you to get top surgery and as a family. V

When I saw that Brad Fraser's play Love and Human lies" is an echoing refrain throughout the play. Having Remains was being staged at the University of Alberta, many unsolved murders of sex trade workers in our I jumped at the chance to finally see the stage version. city, and knowing that many of the people responsible Twenty years ago, I had just finished my bachelor's defor these horrible acts of violence are somewhere living gree at a private college and decided, somewhat naively, their lives just like the characters in the play makes the to forego graduate school to come up to Edmonton to production disturbingly real. work in the inner-city. Beyond those immediate themes is an even deeper At that time, Brad Fraser was the "It" boy. one that I found as challenging today as it ever Everyone was talking about this Edmontonhas been. Now, perhaps even more than in born wunderkind and his cutting edge 1989, it's common and acceptable to have work. This was the early '90s, the height casual sexual connections. Physical intimacy om of the AIDS crisis. People had been forced seems so much easier than emotional ineekly.c w e u v @ brenda to make a connection between sex and timacy. We can have sex, but can we love? a death that was new and scary. Fraser, with Truly loving someone else, means allowing Brender his gritty, dark and provocative plays seemed ourselves to be loved and that means exposing Kerb to be the spokesperson for the era. those hidden and secret parts of ourselves—even Flash-forward to 2010 and AIDS is not taking lives those parts that we don't understand and don't accept— in quite the same way, at least not in Edmonton. I am perhaps even parts of ourselves that frighten us. This is 20 years older, no longer young and naïve. I've been a much more challenging theme than any of the sex and dealing with sex, death and some of the darker asviolence on stage. pects of human existence for many years. I wondered The handbill for the play contains excerpts from an inif Love and Human Remains would still be shocking all terview with Fraser in which he says "It [theatre] should these years later, and more importantly, would it be be much more emotional and we should be provoking relevant in 2010? reactions from people and we should be always chalIn a word, yes. lenging them because so much of our other media Is it any more or less shocking than it would have been does nothing but reinforce the status quo and reassure in 1989? No. But full nudity and actors simulating sexual people." He's certainly achieved his purpose and continpositions on stage is something we don't often see in ues to do so 20 years later. Love and Human Remains is theatre. It certainly caught me off guard to see young anything but reassuring. actors so willing to commit to such raw and real porThe production runs until Saturday, November 13 at trayals. It's something I think we are still not comfortthe Timms Centre. Do yourself a favour and go see it. able with and in that sense, yes, it is a bit shocking. The Citadel is also mounting a production of Fraser's Is it relevant? Yes, it is, in a whole new way that took newest play, True Love Lies in the spring. I won't miss me by surprise. A story written in 1989 about the serial the chance to catch this one. V murder of women in Edmonton is eerily prophetic and connects the theme of sex and death in a different and Brenda Kerber has been a social worker and sexual very disconcerting way. Fraser questions whether we health educator in Edmonton not-for-profits for the ever truly know anyone, suggesting that we all have sepast 11 years. She is the owner of Edmonton-based sexcrets we keep hidden, even from ourselves. "Everyone positive adult toy boutique, The Traveling Tickle Trunk.

One local experience in gender transitioning

EERN Q UN TO MO

Love and Human Remains provides raw portraits

LUST E LIF

FOR

HOROSCOPE ARIES (Mar 21 – Apr 19) Where I live, 35 perlife. Did that make him a liar? He did not feel a cent of all high school students confess (or liar. He was a man of two truths." Whether you brag) that they have engaged in binge drinking, deserve the generosity of that interpretation which is defined as imbibing five or more alstill remains to be seen, Gemini. It is possible coholic drinks in a two-hour period. Your inner that your version of doubleness will be rooted teenager may soon be longing to flirt with in deceit or delusion rather than sincere that kind of intense and total release. and honest duality. Of course I'm rootAs much as I sympathize with the ing for the latter. Please do all you younger you's need to escape the can to ensure that you're being aunumbing effects of the daily grind, thentic, not manipulative. .com I'm asking the adult you to step in weekly e u v l@ freewil and assert your authority. Try to CANCER ( Jun 21 – Jul 22)My friend Rob y Ariel's six-year-old daughter Juno find a more constructive approach n s Brez to liberation. doesn't understand why anyone would build streets that run in a straight TAURUS (Apr 20 – May 20) Why did feathered line. Isn't it more fun if the highways and bydinosaurs evolve wings? The head researcher ways are crooked and curvy? That's where the at the University of Manchester speculates best action is, says Juno, and I agree: in the "maybe they ran around with their arms outtweak, in the twirl, in the winding way -- not in stretched to show off how pretty their feaththe beeline route that leaves no room for imers were." Eventually those forearms became provisation. That's especially true for you right wings that came in handy for flying. In other now, my fellow Cancerian. words, the power of flight did not originate from the urge to fly but rather from the urge LEO ( Jul 23 – Aug 22) Would you be delighted to be attractive. Oddly enough, Taurus, this apif I arranged to get an offshore oil-drilling rig proach to understanding evolution would be named after you? Probably not. Would you useful for you to meditate on in the coming celebrate if you won a prestigious all-expensweeks—you could develop some interesting es-paid vacation to the hottest war zones in new capacities as you work to enhance your Afghanistan? I doubt it. So don't accept dubiappeal to people who matter. ous honors and gifts like those, Leo. Be clear that you're not interested in ego strokes that GEMINI (May 21 – Jun 20) are irrelevant to your long-term dreams. If you On the subject of being divided, novelist Iris hope to get the prize you're aiming for, you will Murdoch wrote the following: "He led a double have to say a definitive no to supposedly good

ILL FREEWLOGY

ASTR

46 // BACK

things that you don't really want. VIRGO (Aug 23 – Sep 22) The nature of the game is changing. Do you know which game I'm referring to? I mean the one that everyone's playing but no one's acknowledging they're playing. But now even the game's rewards are in the process of metamorphosing. My advice? You don't necessarily need to splash a big dose of raw candor all over the place, but I do recommend that you at least tell yourself the truth about what's going on. LIBRA (Sep 23 – Oct 22) My Facebook friend Robert Goldberg has come up with terms for you Libras that puts a more positive spin on your reputation as a fence-sitter. He suggests "fence dancer" or "fence warrior." You don't always deserve those titles, of course. Sometimes you really do molder there, paralyzed by indecision and unable to do what's in the best interests of anyone. But on other occasions— like now—you have the power to use your inbetween status dynamically, coordinating the opposing interests to work as a whole that's greater than the sum of the parts. SCORPIO (Oct 23 – Nov 21) "I cannot seem to feel alive unless I am alert," wrote author Charles Bowden, "and I cannot feel alert unless I push past the point where I have control." That's a pretty extreme approach. But I suggest that you consider trying it out in the coming week. If you hope to seize even one of the multiple opportunities that are swirling in your

VUEWEEKLY // NOV 11 – NOV 17, 2010

vicinity, you will need both supreme focus and a loosey-goosey willingness to respond to novelty. Use your sixth sense to find the groove, and relax into it. SAGITTARIUS (Nov 22 – Dec 21) "Democracy is the worst form of government except for all those others that have been tried," said Winston Churchill. He was defending his favourite political system, asserting that its imperfections are superior to the flaws of monarchy, plutocracy, anarchy, theocracy and the rest. I invite you to use a similar gauge as you evaluate the belief system that's at the centre of your life. Does it sometimes lead you astray, cause you to see things that aren't really there, and fill you with confusion—but in ways that are more life-enhancing than any other belief system you know of? Or is your belief system actually kind of toxic? Should you consider replacing it with another set of organizing principles? If it's the latter, now would be a good time to begin making a change. CAPRICORN (Dec 22 – Jan 19) Connie Post, my beloved former editor at the Dayton Daily News, sent me a haiku-like poem that I'd like you to ponder: "November trees / which are living? / which are dead?" I'm hoping this will put you in the mood to mull over an even bigger question, namely: What parts of your own life are withering and what parts are thriving? In my astrological opinion, it's very important that you know the difference, and act accordingly.

AQUARIUS ( Jan 20 – Feb 18) Numerologists say the number 10 signifies completion, wholeness, totality. It could rightly serve as your lucky number in the coming weeks—a symbol of your power to draw long-term processes to a climax on your own terms. But you might also want to consider using 11 as your emblem of good mojo. That number denotes the drive to surpass the success you've earned before—to transcend easy triumphs and conventional wisdom so as to reach for a more challenging conquest. Either way, Aquarius, I think you'll be flying high for the foreseeable future, so there's no need to worry about which way you should go. If you do choose 11, the risks will be somewhat greater and the rewards more interesting. PISCES (Feb 19 – Mar 20) In Moby Dick, Herman Melville suggested that ideally a person should be a "patriot to heaven." Seminal environmentalist Edward Abbey said, "My loyalties will not be bound by national borders ... I pledge my allegiance to the damned human race, and my everlasting love to the green hills of Earth, and my intimations of glory to the singing stars, to the very end of space and time." I recommend you experiment with this perspective in the coming weeks, Pisces. You don't have to tone down your love for your tribe or country. Just see if you can expand your sense of belonging extend the borders of your comfort zone, and feel at home everywhere you go.

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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 CALL FOR ARTIST SUBMISSIONS: New art wanted. The Colart Collection is now accepting painting submissions. Deadline: Nov 24 E: info@colartcollection.com; Info: colartcollection.com Want to be part of Edmonton's New Art community collective? Send info ASAP to d_art_man@hotmail. com for jury in upcoming show Expressionz Café: looking for family friendly performers and presenters for the monthly marketplace at 9938-70 Ave. Info E: expressionzcafe@gmail.com Expressionz Café: looking for visual artists and creative business/wellness, green vendors for the Monthly Marketplace. Located south of Whyte Ave, 9938-70 Ave. Info/book vendor space E: expressionzcafe@gmail.com Free art demo Saturdays: 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

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 Expressionz Café is looking for café and special concert events volunteers. T: 780.437.3667. General kitchen help: front of house, food prep, baking, etc. Shifts available MonFri, 9am-12pm, 11am-2pm, 1-4pm, and evening shifts for special concert events (Wed-Sun 6-10pm) 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 Avenue Guitars presents Thom Fowle from the Gibson Guitar Custom Shop; Wed, Nov 17, 7-9pm at the Varscona Hotel Rutherford Rm; free; info call 780.448.4872 Musician available: Experienced upright bassist w/ strong music reading skills available. Adept improviser within most genres, esp. folk, roots, country, and bluegrass. Steve 780.718.2269 Bluebird North: Where Writers Sing and Tell: Sun, Nov 28 at The Haven Social Club with Brian McLeod, Kim Wempe, Dave Newberry, Karyn Ellis; MC Ann Vriend; $15 at door or TIX on the Square/$12 (door for S.A.C. member) Singer-songwriter, playwriter, dancer, R&B funk, director, voice actor, actor stuntman, ready for anything, Katz 587.785.4481; OKatz33@telus.blackberry.net

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

COSMOPOLITAN MUSIC SOCIETY Opportunity for

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

VOLUNTEER Volunteer website for youth 14-24 years old. youthvolunteer.ca Deep Freeze: A Byzantine Winter Festival, Jan 8-9 and experience the arts on 118th Ave. Info on volunteer opportunities E: deepfreezevolunteers@gmail.com Edmonton Meals On Wheels Needs Christmas Elves: There are plenty of ways the community can help from volunteering in the kitchen to collecting gifts for seniors to assisting in the gift assembly workshop; Info: 780.429.2020 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 Sexual Assault Centre: recruiting volunteers for the 24 hours crisis line. If you're empathetic, caring, non-judgmental, want to gain experience contact Joy T: 780.423.4102, E: joys@sace.ab.ca for info

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

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 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-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 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

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

Had Enough? Cocaine Anonymous 780.425.2715

Mediation & Restorative Justice Centre Edmonton: Vol Facilitator Recruitment 2010; mrjc.ca/mediation/ volunteering/complete a volunteer application form; 780.423.0896 ext. 200

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

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

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 The Support Network: Volunteer today to be a Distress Line Listener. Apply on line thesupportnetwork.com or call 780.732.6648 S.C.A.R.S.: Second Chance Animal Rescue Society. Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled. scarscare.org Volunteer 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

SHARE THE WARMTH WINTER LIGHT

Warm socks, mittens, parkas, scarves and toques are redistributed to people in need, and to agencies that serve the inner city community Items should be clean and warm. Wool socks are particularly useful Donations for Share the Warmth will be accepted at the Winter Light office adn festival sites, and at Snow Valley. To donate used clothing before the festival starts, The United Way will take them through their Coats For Kids program. Drop-off your new or used coats at any Page the Cleaner location www.coatsforkids.ca

The Candora Society of Edmonton–Board Recruiting; candorasociety.com; promotes positive growth in the lives of women, children/families in Rundle/ Abbottsfield communities. Info: Elaine Dunnigan E: edunnigan@shaw.ca Volunteer Meal Deliverer/Driver: "Life is a Highway" why not volunteer to be in the driver's seat? Come make a difference every day. Volunteer with Meals on Wheels as a driver. Call 780.429.2020 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 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 small-scale, long running theatre in Downtown Edmonton. E: volunteer.azimuth@gmail.com T: 780.233.5778 Edmonton Immigrant Services Association: looking for volunteers to help with Youth Tutoring & Mentorship, New Neighbours, Language Bank, and Host/Mentorship programs. Contact Alexandru Caldararu 780.474.8445; W: eisa-edmonton.org

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