vue weekly 787 nov 18 - nov 24 2010 by Vue Weekly

2 // FRONT

VUEWEEKLY // NOV 18 – NOV 24, 2010

COVER

INSIDE

IssuE no. 787 // NOV 18 – NOV 24, 2010

UP FRONT // 4/ 4 5 7 8

Tear it up

Vuepoint Dyer Straight In the Box Bob the Angry Flower

//6

Margaret Atwood and the Parkland Conference debate Canadian myths

DISH // 15/ 16 Veni, Vidi, Vino

ARTS

MUSIC

ARTS // 18 20 Hopscotch

FILM // 24 25 Screen Caps 28 DVD Detective

MUSIC // 30/ 34 Gutterdance 35 Music Notes 38 New Sounds 39 Old Sounds 39 Quickspins

Hardcore Logo: LIVE

Small Sins

VUETUBE

BACK // 41 42 Free Will Astrology 42 Queermonton 42 Lust for Life

LISTINGS 21 Arts 29 Film 32 Music 41 Events

GRADY VUEWEEKLY.COM/VUETUBE >> Watch the band turn the volume up in Vue Weekly's studio

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IssuE no. 787 // NOV 18 – NOV 24, 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 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

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VUEWEEKLY // NOV 18 – NOV 24, 2010

FRONT // 3

UP FRONT

EDITORIAL

Vuepoint Party of the young samantha power

// samantha@vueweekly.com

lot of talk about the Alberta Party has been warming up the cold Alberta air since their policy convention just last weekend. The convention was used to hammer out debate on policy direction of the party, setting the agenda for where party members want to see Alberta heading. In many political circles it has started to wipe away the perception that the party is a debate club—the nickname it's received from over a year of conducting Big Listens across the province—shifting to something possibly viable in the next election. The convention seems to have inspired numerous new members and organizers willing to take on the formation of constituency associations to run candidates in what it hopes will be every riding by next election. Whether the party will be successful remains to be seen. Buying a membership is much different than forming a constituency association and starting a campaign, not to mention competing with the established parties in each riding and the fast moving Wildrose Alliance, but one issue that hasn't come up in conversations I've heard around the party is just how young its members are.

YOURVUE

GRASDAL'S VUE

Of course there is a wide spectrum of interest from all generations, but the number of younger people involved in higher positions in the party—board members, committee chairs, policy writers, organizers—has to be noted, and, frankly, should be recognized by the other provincial parties. Youth members in the Alberta party are not designated their own committee, fragmented off in their own group, they're not assigned the menial tasks (although I'm sure there are lots of those to do) and they've taken on key leadership roles within the organization. Over half of the current board for the party represents a 20- to 40-year-old age range, and a few are still in university or have just graduated. From my limited outside perspective, it seems evident half of the events the party has put on in the last year would not have been possible without its youth members. We're told youth aren't interested in politics and that young people don't vote. So where did all of these young organizers come from, suddenly motivated to participate in politics? How did the other parties miss capturing these organizers? It's a question I'm sure they'll be asking themselves if this party takes off in time for the next election. V

ONLINE EXCLUSIVE VUEWEEKLY.COM

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.

COMMENTS FROM THE WEB go to vueweekly.com and send us your comments In response to "See what I'm saying" (Nov 11 - Nov 17, 2010) I'm humbled that all four deaf entertainers showed their successes and attempts at successes! It requires risks and ... a certain strength to reflect this kind of vulnerability on screen. Perhaps understanding vulnerability is getting through the heart—especially if it has been closed for one reason or another—only to pierce it open to learn to accept and appreciate the deaf actors as a gain, not a loss. As I watched the movie, See What I'm Saying, I grew proud of our resilient spirit. The acting was fabulous! Believe me, as a deaf person: failure never fazes us! Some of us, anyway! The producer/director, Hilari Scarl, she is our ally! Furthermore, she "makes it better!" —Suzan L. Bedrosian In response to "Dialogue cut short" (Nov 11 - Nov 17, 2010) This was not a complimentary link on the website or something like that, this was the primary point of the "What can I do?" section. Clicked what can I do, and found out what I can do is acknowledge my white privilege when I am 1st generation Canadian and not white. So I felt there is nothing I can do. Also I guess nothing I can do about the racism I faced from non-white people. Only white people have a role. That's what I took from that page. So I guess when you say "we all need to ask ourselves how we're going to fix it" what you mean is "we whites need to ask ourselves how we can help the poor, oppressed, coloured people" because that is the message the website section sent. I'm glad they took the white privilege talk down and replaced it with things people other than the whites can also do to help, as I think the website had lots of other good information otherwise. —Alkas

WEB POLLS go to vueweekly.com and have your say This week: After the recent policy convention, are you more likely to join the Alberta Party? 4 // FRONT

LAST week: Should anti-racism include teachings on the idea of white privilege?

Follow the debate on Canadian principles at the Parkland Conference this weekend.

71% yes / 29% no VUEWEEKLY // NOV 18 – NOV 24, 2010

Follow @samantha_power and go online vueweekly.com/parkland to follow the conversation.

COMMENT >> BURMA

The Lady of Burma

Suu Kyi faces challenges in empowering the powerless People love historical analogies, so it's regime has diplomatic relations with its easy to think of Aung San Suu Kyi's retrading partners in Southeast Asia and a lease from house arrest on Saturday very powerful supporter in China. as Burma's "Mandela moment." Burmese living standards are draWhen Nelson Mandela was matically lower than those in freed from 27 years of imprisneighbouring countries due to onment in 1990, it marked 40 years of corrupt and incomm o ly.c eweek the start of a process that petent military rule, but the u v @ e gwynn e saw the negotiated end of the economy is growing. n n y w G apartheid regime and genuinely And the most important differDyer ence: when South Africa's Presifree elections in only four years. Maybe that sort of thing will now dent FW de Klerk freed Mandela in happen in Burma too. 1990, he already knew that the apartheid That would be nice, but it would be regime was doomed. He wanted to negotiunwise to bet the farm on it. "The Lady," ate a non-violent transition to a democratas everybody in Burma calls her, has the ic system that would preserve a place for same combination of saintly forbearance South Africa's white minority, and Mandela and tough political realism that enabled was the best negotiating partner he could Nelson Mandela to lead the transition to hope for. democracy so successfully in South Africa, but her situation is very different. The regime that has just released Aung Mandela emerged from prison to assume San Suu Kyi, by contrast, does not think the leadership of a powerful, disciplined it has lost, and a transition to a genuinely mass movement, whereas Suu Kyi must democratic system is the last thing on start by picking up the pieces of a party its mind. It has just finished an elaborate that has split and lost focus during her charade of elections (nine-tenths of the seven years of house arrest. Its leaders candidates were government-backed) unare almost all elderly men, and there is no der a new constitution (one-quarter of the younger generation of leaders in sight. parliamentary seats are reserved for the South Africa was utterly isolated politiarmed forces). It already has all the decally, and its economy was crumbling unmocracy it wants. der the impact of sanctions. The Burmese Why did Burma's military rulers even

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bother to construct a pseudo-democratic facade like this? After all, their power really rests on their willingness, demonstrated again only three years ago, to kill unarmed civilian protesters in the streets. They don't care about being loved, so long

ence in the country. Obviously, the regime is betting that it can use "The Lady" in ending sanctions without risking its own hold on power, and perhaps it is right. She faces a hard task in rebuilding her party, which split over the

'The Lady,' as everybody in Burma calls her, has the same combination of saintly forbearance and tough political realism that enabled Nelson Mandela to lead the transition to democracy so successfully in South Africa, but her situation is very different. as they are feared. But they are as concerned about preserving the country's independence as any other Burmese, and that makes it desirable to end Western sanctions against the regime. They are hugely dependent on China as an investor and a market for their raw materials, and that is not a comfortable position for any Burmese to be in. "When China spits, Burma swims," says the old proverb. If Aung Sang Suu Kyi can persuade the Western powers to end sanctions against Burma—and she has already hinted that she will help–then the regime can use better relations with the West to counterbalance China's overweening influ-

question of whether to participate in the recent bogus election. Even if she succeeds, the generals can always arrest her again and lock her away for as many years as they like. Who would stop them? But they could still lose their bet. The citation for Aung San Suu Kyi's Nobel Prize in 1991 called her a shining example of "the power of the powerless," and that power is real. It could be seen in the adoring crowds who came out to see her when she was freed: after seven years of invisibility, her appeal to two generations of Burmese who have lived under the boots of the military regime all their lives is undimmed.

Like Nelson Mandela in apartheid South Africa, or Vaclav Havel in Communist Czechoslovakia or Mohandas Gandhi in colonial India, she is a realist about power and fear. "People have been saying I know nothing of Burmese politics," she said when she was first drawn into politics during the non-violent protest movement of 1988. "The trouble is, I know too much." And the 1988 protests were duly drowned in blood. But she also knows that Mandela and Havel and Gandhi eventually won. They all had to accept that the guilty would go unpunished, for otherwise the outgoing regime would fight until the very last ditch. They also understood that negotiating with the enemy is necessary, and so does she. As she said in 1997: "I would like to set strongly the precedent that you bring about political change through political settlement and not through violence." Despite all that, those other heroes of non-violence got what they were really struggling for in the end: a free and democratic country. And Aung San Suu Kyi could ultimately achieve that too, even though it is hard to see from here the precise route that might lead her to that goal. V Gwynne Dyer is a London-based journalist. His column appears every week in Vue Weekly.

News Roundup AGING ALBERTA

y 2031 the Alberta government estimates one in five Albertans will be a senior. With this growing population in mind the Alberta government has tabled the Aging Population Framework. The framework is meant to assist in the creation of policies to help the booming seniors population, outlining an emphasis on services providing seniors with independence. The framework emphasizes living in home, retaining the ability to drive and encouraging people to save for their retirement. Advocacy group Public Interest Alberta, who counts seniors issues as a main focus, has publicly stated that the framework provides no tangible outcome, only pointing out the numerous areas that need improvement. PROTECTING PARKS

ew legislation tabled by Cindy Ady, Alberta's Minister of Tourism, Parks and Recreation, may bring an end to the explicit protection of parks in Alberta. The legislation removes the different classes of parks— wildland parks, natural areas, ecological reserves and provincial parks—to make zoning at the discretion of the

minister. The changes leave natural areas and protected wildlands at risk of becoming places of commercial tourism which can be developed for motorized vehicle access at any time. Similar legislation was attempted by the provincial government in 2000, but ultimately failed. Environmental groups declared November 15 – 20 "Save Our Parks" week earlier this month in opposition to the proposals in the bill. Conservation groups would like to see Bill 29 dropped and put to a public consultation process with the possibility of reintroduction in the Spring 2011 session. Bill 29 is slated to go to second reading this week in the legislature and, if passed, could become law by the end of the month.

those who are counted as absolute homeless (those who were counted on the street). Since 1999 the numbers have consistently increased, with 2010 being the first year to mark a decrease, but the report notes the numbers for 2010 are 2.9 times higher than in 1999.

HOMELESS IN EDMONTON

COUNTING THE HUNGRY

or the first time the number of homeless counted during Homeward Trust's biennial homeless count actually decreased. Over 300 volunteers hit the streets of Edmonton to interview and determine just how many people in Edmonton live on the streets for the seventh time since 1999. Volunteers counted a total of 2421 homeless. Homeward Trust notes that the number of sheltered homeless declined in greater numbers than

1999:

QUOTE OF THE WEEK “The conditions are being used in a very exaggerated punitive way to simply make the process of being charged the actual punishment.’’

585

2008: 3079

—Montréal activist Jaggi Singh after announcing his constitutional challenge of the G20 charges against him Nov 15, 2010 The Star

2010: 2421 he National Hunger Count also released its annual report. Alberta reported a 60 percent usage increase at food banks and a 10 percent increase in people assisted. The largest increase in users, though, was in Manitoba, which reported a 21 percent increase in people assisted by food banks. The report also came with the recommendations to the federal government to continue the social assistance transfer to provincial, territorial and

First Nations governments, as well as to create a federal housing strategy and a federal poverty reduction and prevention strategy. 50% had to cut back on what they give to each household 35% of food banks ran out of food 12% turned people away samantha power // samantha@vueweekly.com

VUEWEEKLY // NOV 18 – NOV 24, 2010

FRONT // 5

samantha power // samantha@vueweekly.com

t last year's Copenhagen climate conference Canada was perceived in international media as obstructionist procrastinators and was the recipient of not one but two international pranks. The YES Men, pranksters-atlarge, decided Canada wasn't making the right decisions on climate change and made an announcement for Environment Canada, changing national climate policy to curb emissions and start a climate debt fund for the developing world. Meanwhile the international Climate Action Network, composed of over 450 NGOs, decided to award Canada the "Fossil of the Year" for its slow-moving agenda. The perception and international criticism may seem in sharp contrast to those Canadians for whom Lester Pearson's peacekeeping initiatives and hard-fought UN diplomacy form their thoughts on how Canada participates on the international stage. Usually described as a middlepower, Canada was often thought to be the broker of deals, holding just enough weight to help negotiate. But that perception is changing. Within the last year Canada has received moderate praise, but a lot of criticism for its G20 maternal health policy. Debate first circled around Canada's refusal to include abortion procedures and then criticism against the slowly delivered—and not exactly what was promised—funding for the program. But the policy itself was mired in the controversy of Canada's grand expense of the G20 summit itself and the mass arrests that occurred. Most recently, Canada saw its bid for the rotating seat on the UN's Security Council denied in favour of Portugal. With all of the changes in international perception,

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the Parkland Institute decided it was time to start talking about Canadian values and rewrite an image that may no longer be true. "We've noticed there's been a concerted attempt to change the image of what Canada stands for," says director and political economy professor Gordon Laxer. Laxer wanted the annual conference to focus on conversations about what Canada has become, as compared to the ideas Canadians held to be true about themselves. He suggests that most people would describe Canada as having been a peacekeeping, open and multicultural democracy during the '70s and '80s. And for the most part these images are what most Canadians would identify or try to define themselves with. Laxer believes Stephen Harper's government is attempting to change the whole formula, and keynote speaker, author Margaret Atwood, would tend to agree. "Harper is attempting to rewrite Canada," says Atwood, pointing out that the myths Canadians hold to be true have only ever been held by some. "It becomes difficult when you begin to examine what you mean by 'we.' We never know who 'we' is." Defining a national narrative has always been a difficult subject, often resulting in identifying with beer commercials or defining ourselves as "not American," but as our foreign policy begins to align more closely with the United States, even that statement becomes a false descriptor. The recent rejection by the world to Canada's entrance to the Security Council may be the most jarring confirmation that the world's diplo-

matic community does not approve of Canada's current policy directions. But it also may force Canadians to define exactly what it is they want from their national identity—and what they might be missing. "We were never the caring, sharing non-racist society that a lot of us thought Canada was; there certainly were great class differences, poverty and treatment of people," says Laxer. "But the fact that there was a national image there that dealt with what Canada was, at least we could say, 'Hey you're not living up to our

people have had real difficulty going across these divisions, recognizing indigenous people and their rights and how they can develop their life and social positions." Laxer believes a dialogue is needed to recognize the ignored aspects of Canadian identity and principles. "It's a real challenge for progressives to not only recognize diversity but to also make it a common cause," he says, adding, "but a discussion is needed. It's a reality that there is terrific diversity, but [also] continuing racism." Part of the challenge, Laxer believes,

Harper is attempting to rewrite Canada. It becomes difficult when you begin to examine what you mean by 'we.' We never know who 'we' is. ideals as Canadians'—now there is a concerted attempt to change what Canada stands for." The Parkland conference this year lists sessions on internal issues such as indigenizing Canada and the recent debates over criminalizing dissent after the mass arrests of the G20, but also issues Canadians are exporting to the world, says Laxer: "There's a lot of mining companies in Canada that are acting in an imperial way and that is a real concern." "We're always discovering new things," Atwood says of Canadian history, adding that we may not always like what we discover such as residential schools or the third-world conditions in which Aboriginal peoples live in this country. "We have more than one nation in this country," says Laxer. "Progressive

comes with the issues brought forward by the 21st century: "Climate change disasters, the running out of every resource, globalization and then the world economy doing incredibly badly, we've got new problems we have to face, so we have to redefine what this political community called Canada means." Atwood posits that the challenges may lie in leadership: "We don't know the direction the country is headed. World leaders at this moment in time don't know what to do about the economy or the environment." Historically, says Atwood, "they used to pretend they knew." With all of the controversy that could spill out of this year's conference, it's perhaps fitting that Atwood takes the reins as keynote speaker. Familiar to

VUEWEEKLY // NOV 18 – NOV 24, 2010

controversy and debate, Atwood is not afraid to state her mind and face the consequences. "People will always attack you," she says. "People have attacked me for the last 40 years." She's not even sure the Parkland attendees will like what she has to say: "I asked [the organizers]. I said I may not be the one that you'd rather have." Atwood perhaps doesn't fit Parkland's traditional keynote speakers. She doesn't describe herself as left or right, and in a recent Sun editorial she described herself as a "swing voter": "I'd vote for a turnip if it was accountable, transparent, a parliamentary democrat and listened to people," she wrote. But Laxer is confident she's the woman for the job: "National culture is about the stories we tell ourselves and no one has done this more than Margaret Atwood. She's been involved in every decade, the free-trade debates and very much in the climate-change issue. Who better than Margaret Atwood to start this discussion?” Interestingly Atwood doesn't see herself as political, nor does she feel a responsibility to be political—she's just stating the issues that are important to her, which is perhaps the most important role a citizen can play. For a country often mythologized around its politeness, that's a lesson Canada could take away from one of its most famous authors. V Rewriting a Country: Toward a Just and Peaceful Canada Fri, Nov 19 – Sun, Nov 21 University of Alberta (various locations), $90 – $135 parklandinstitute.ca

COMMENT >> HOCKEY

Lessons in humility Road trip provides a few humbling losses

What a crap week. For your weekly Oiley League, both Couturier and Larsers update, hold your nose and read. son's dads were pro hockey players. The team followed a 7-1 loss in Sylvain Couturier played three Carolina with a 6-2 loss in Deseasons with the Kings betroit, a 4-3 overtime loss in tween 1988 and 1992. RobJersey and an 8-2 drubbing in ert Larsson was drafted by New York's Madison Square ly.com the Kings in 1989. Wouldn't k e e w e ox@vu Garden. Humility is good for Sean Couturier make a great intheb young players. Right? addition? How about Larsson Daveg or Nugent-Hopkins? We're on Youn Running the gauntlet the way! With four horrible results in a row, the Oilers are in a funk. Fans are alStats Nerd ready checking out prospect sites to Over the last four games of the Oiler see which players are going to be the CFR-inflicted road trip, the squad was upcoming blue-chippers in the next outscored 25 - 8. Here are some other

IN THE

BOX

Fans are already checking out prospect sites to see which players are going to be the upcoming blue-chippers in the next draft. draft. Why not pull a Chicago and follow drafting one stellar first-rounder with yet another? In 2006 and 2007, they took Jonathan Toews and Patrick Kane. Three years later, a Cup. This didn't come without pain, however. In the 2006-07 season, the team's attendance figures plummeted to an average of just 62 percent of available seats. The Oilers would not survive playing in a building nearly 40 percent empty. That could, however, solve the arena debate.

notable four-game stretches: 1991-92 (Oct 4 – 10) Beaten by Calgary, LA (twice) and St Louis 20-9. 1995-96 (Oct 8 – 10) Smoked by Detroit (twice), St Louis, and Philly 24-5 For balance, here's some good ones: 1981-82 (Nov 23 – 29) Outscored Detroit, LA, Chicago and Winnipeg 37-11. 1983-84 (Nov 18 – 23) Bettered Buffalo, Jersey, Winnipeg and LA 34-13. 1984-85 (Oct 14 – 19) Outmatched Quebec, Boston, Minnesota and Winnipeg 30-13.

Just in case So who are the players being coveted in the upcoming draft (you know, just in case)? Early favourites are Sean Couturier (a 6'3" centre), Ryan NugentHopkins (a smaller centre with a cool name) and Adam Larsson (a Swedish defender). As has seemingly become all too common in the Nepotism Hock-

Great (fictional) moments in (fictional) Oiler history November 19, 1983: The visiting New Jersey Devils, in their second NHL season, are annihilated by the Oilers 13-4. A young upstart, Wayne Gretzky (with a hat trick and five assists), stated that the Devils were a "Mickey Mouse organization," one of the normally classy

legend's few cases of verbal diarrhea. Gretzky later confided to pals that he did not mean to call the team "Mickey Mouse." What he meant to say was Ken Daneyko was "Goofy," the owners were like "Scrooge McDuck" for not spending more on talented players but they could very well be a "Cinderella story" in the making. It just came out differently. And he thought they sucked. Consolation? Last week, the Oilers got embarrassed by Carolina, Detroit and the Rangers. Sandwiched in there was an unfortunate OT loss to Jersey. Those four teams have combined to win almost half (nine of the 19) of the Stanley Cups awarded since the Oilers last won in 1990.

Ladislav Smid For taking a punch from a twit that may help galvanize a team that needs it.

ONLINE EXCLUSIVE

VUEWEEKLY.COM

Follow the debate on Canadian principles at the Parkland Conference this weekend. Follow @samantha_power and go online vueweekly.com/parkland to follow the conversation.

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VUEWEEKLY // NOV 18 – NOV 24, 2010

FRONT // 7

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VUEWEEKLY // NOV 18 – NOV 24, 2010

NOV. 25, 7:30PM - Burn survivor Spencer Beach shares the story of his life from In Case of Fire. (780) 423-3487 10702 Jasper Ave. www.audreys.ca

SNOW ZONE

Flakes and mystery

If snow slides in the valley, does anybody hear? Bobbi Barbarich // bobbi@vueweekly.com

e're standing on the jagged lip of a massive white bowl, its yawn emptying into the valley beneath us. At its base, warm yellow lights from our cabin encourage our final run. Gathering dusk beckons me to slip away from the group to capture their silhouettes in the sunset. I raise my camera to my eye and my partners drop onto the steep slope. A thunderous white haze drags them away and snuffs the waning light below. I'm alone above the maw. Chris Webber is trying, in vain, to organize our group. He's a member of a private backcountry cabin perched quietly on a rocky ledge in the Goat Range north of Kaslo BC. He also has a powerful snowmobile, so Webber has been asked to shuttle us 10 kilometres up the forestry service road near the cabin. I don't think organizing us was on his to-do list, but since he's the one with somewhere else to be, Webber has taken the reins.

Assigning nine excited skiers—with up to seven days of food and ski gear—onto three sleds is not an easy task. Webber hands Matt Lowe a rope so Lowe can be pulled behind the snowmobile. Lowe takes the rope but turns to help Neil Sorochan load skis and bags into a sled. Sorochan leaves the sled to grab a bungee cord from Jon Steinman, who offers Sorochan some trail mix. Sorochan sits on his sled to eat the mix, and offers some to Lowe. Chloe Holgate is doing up Jay Hannley's coat zipper and stops to reach into the trail-mix bag. Neither Holgate nor Hannley has put their gear in a sled. Larry Smith is standing alone, pondering what mountain range is across the valley, his gear on the ground beside him. Tom and Kim Duchastel are chatting with me while their machine sits on the truck trailer. No one has noticed Webber's impatience. "I have gardening to do and I'm leaving," shouts Webber as he revs his snowmobile. Now we're paying attention.

Hannley is instantly harnessed behind Sorochan's sled. Steinman jumps on the back, Sorochan stuffs the trail mix into his pocket and they leave in a plume of blue smoke. Webber slaps industrial earmuffs on my head and I straddle the back of his ride while Smith and Lowe wrap the rope around their waists, along with a 100-kilogram gear sled. We're around the bend before the Duchastels compose themselves, and slightly before Sorochan's sled belches and dies. Webber stays the course, slugging 10 km uphill. Snow deepens and the valley drops precipitously. Cresting a ridge, Webber slows, unties the sled rope and is gone. We're left in the quietly raging spring sunshine to skin the final four kilometres. It's an hour before the Duchastels limp the stragglers to the end of the road. There are several dozen commercial backcountry cabins in BC and an unknown number of private cabins. Depending on its location, building a private cabin requires a hired helicopter,

or a large number of ATVs and strong backs. With a cabin built for prosperity over profit, there are no cats, no heli rides and no chefs. We coordinate ourselves to melt snow for water, bring ingredients for meals and agree to walk the entire way to the outhouse before stopping to pee. Earning one's turns is an entirely different experience than mechanized drops, successive laps and paid guides in charge of safety. In exchange for every sweat bead and days of lumbar ache, our lines will be based our own judgment. Our turns will be pristine. Steinman is missing, but no one seems concerned. His pack weighs more than 50 kg and, according to Lowe, he's out of shape. Still, I'm unnerved he could be lost in the trees while we chomp on chocolate. I set out to find him. Fifteen minutes from the cabin, Steinman moves slowly. He's shirtless, slowly striding down our skin track, chest and back laden with gear. Taking his smaller

VUEWEEKLY // NOV 18 – NOV 24, 2010

front pack, I ask him if he's alright. He smiles, "I had some lunch." Back at the square, one-room cabin, Tom Duchastel is standing on its small deck overlooking innumerable greyblue peaks. He looks up at the sky and says definitively, "It's time to move." We ready more quickly this time. Duchastel leads us through a saddle and onto a ridge where Howser peak's rugged rock face dominates the range across Kootenay Lake. Duchastel deskins and is ready to ski the north face into a creek bed before we have time to agree. Not that anyone would argue— he and Kim have been silently carving amongst these creeks since 1984. The Powderbound Ski Club pays liability insurance and property tax for the rights, amounting to little more than the cost of two season passes per year. It's easily covered by member dues and, as a non-member, the 20 bucks per night I'm asked to pay. I inherently trust the couple, and follow Kim onto the south side of the ridge. Lowe and I both want to ski through the burn—blackened towers of branchless trees lost to a forest fire two summers ago. Lowe, Kim and I crack choppy sun crust as the dwindling light paints the snow a cool blue hue. Unhappy with the snow, we skin back to the ridge and follow the rest of the troop's path deep into a gully. Managing large ski groups can be a nightmare, but as night creeps up the valley and cools snow crystals into shimmery granules, we all agree it's time to return to the cabin, stoke the sauna and decide where tomorrow will lead us. At 187 centimetres and 80 kilograms, Lowe is a lithe aerobic powerhouse. I've slogged behind him before, so I hang back to bridge the growing gap between him and four others. Lowe tromps down the valley several hundred metres ahead, builds and refills a test pit before we're within shouting distance. With a few touring seasons in his pack and frequent cabin visits, he's our natural leader without the Duchastels. Lowe's tracks crest a treed ridge, and gravity pulls my stomach into my pelvis. The Canadian Avalanche Association warned of high avalanche risk this week. Lowe is a third of his way through a funnel beneath a behemoth CONTINUED ON PAGE 10 >>

SNOW ZONE // 9

FLAKES AND MYSTERY << CONTINUED FROM PAGE 9

ridge. I ignore my gut and a knowledge base comparable to Lowe's, and continue forward. The others' voices echo up the bowl. Lowe is digging a pit 200 metres ahead of us. I hold back midway en route to Lowe, waiting for Holgate and Steinman to take a couple photos of the towering ridge above us. My heartbeat quickens. Smith passes me with a nod. My boards are heavy, my tongue thick. I resist yelling. I avoid turning around. I continue upward. I don't want to worry the others, but I'm unnerved. I quicken to reach Smith and Lowe before Sorochan, Steinman and Holgate. "What are you doing, Matt?" I hiss. Lowe releases an uneasy chuckle. "You better continue. This is a bit of a mouse trap." "No shit," I squeak. "I'm going to that ridge," I point to our left. "Hurry up." Lowe shears the snow, making a column for a shovel test to assess the snow' stability. "It's gonna drop on easy," I mutter. Smith frowns at me. I sneak under the eyelid of the ridge above, hoping it stays closed. My heart is a caged hummingbird. The bowl sliding in my dream fragments cloud my thoughts. Cracks fissure from my boards up the slope. It's easing into a convex angle. I shuffle faster, racing my blood as it moves from heart to lungs to legs. Atop the northeast ridge, I watch the

three stragglers reach Lowe and Smith. They move the trio along. Holgate's bright smile matches the snow. Steinman and Sorochan chat lunch details. I bite my mitts and wait. Lowe is right behind them. "What was it?" I blurt. "It released on one and four," he says nervously. "I'm not skiing that," I reply. "I can't believe we came up there." Smith chimes, "I've skied in conditions like this dozens of times." "It'll be your last," I quip. Holgate's grin diminishes. "What's going on?" "I'm not skiing the bowl." I move toward the trees. Lowe voices agreement. Smith says we can safely ski from our current spot back down the funnel because we've already skinned it. I turn my back to scan for a route over the ridge behind us. "I'm going that way," I assert. Lowe and I scout a safer passage down the valley, on the treed shoulder opposite our up route. Smith puts on his skis. "I'm skiing the bowl." Unexpectedly, Lowe stays with Smith. Steinman, Sorochan, Holgate and I leave them on the ridge. "Coffee, please. Dark with a shot of espresso," I ask the barista. It's Saturday morning in Nelson, four days after the trip. Holgate, Hannley and I had left the cabin the afternoon of our trek. Someone taps me on the shoulder. Steinman's brown eyes blink urgently. "Did you hear what happened to Larry and Matt?" I take my travel mug from the server and walk into warm sunlight with Steinman. Mangled black snow persists on the street, pushed to the curb by the last snowplow a month ago. "They skied into the bowl where we skinned up," he reports, "Then decided to trek all the way up to the ridge." He pauses. I sip. "Larry took two turns and the whole bowl dropped away in front of him." The sun is warm on my hair. My fingers, shaded by my body, are cold. "Are they alive?" I ask. "Larry got pushed around, but managed to somehow stay close to the crown. Matt had waited on the ridge." My coffee is cooling. "You should talk to Matt," Steinman suggests. I find Lowe in a cramped cooler at the local grocery store. "Why did you ski there?" I ask point blank. He stops unloading cases of broccoli. His blue eyes flicker. "I'm not sure, but something made me want to see if what we thought would happen actually would. It was almost class three. " "You knew it would go. It released on the first tap, Matt." Lowe is adamant. "It's valuable to see happen what you think could happen. If a tree falls, you know? We thought it would go, and it did." I leave him in the cooler. V Goat Range Provincial Park: bit.ly/ goatrange The Canadian Avalanche Association: avalanche.ca

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Jibtalkin'

The evolving phenomenon of ski-culture slang CASEY BLAIS // casEy@vueweekly.com

There is definitely no shortage of colourful and imaginative language at the ski hill. New words and phrases are continually coming into usage, just as older terms are dropped or conversely return to usage. Currently, some of the more widely used words include stoke, sick and gnar (short for gnarly), all descriptive of a positive feeling or event. While these words can be used in many different settings and scenarios, there are other words and sayings in use at the hill that are even more specific, including pow, steez, Ullr, gaps, jibbing, ripping corduroy, yard sale, chump jumping and dummy dodging. What makes these latter words important, at least according to skier Andrew Noel, is that the language helps define the culture of skiing and boarding, and the culture is universal around the globe. "These words separate skiing and boarding from everyday life," said Noel, on his way up to Marmot last season. "There's no other culture on earth that talks like that. You could put on a skiing video from South America and it's still the same language." Just what makes a word or phrase stick is more difficult to say. As 28year-old skier Peter Wilson smartly put it, anything goes at the hill so long as it isn't legitimately descriptive. It's about being creative. "Being inarticulate is cool," Wilson said. "Butchering

the language makes it cool." Of course, butchering the language does create problems for anyone who is not in the know. "I don't really know what [sick] means. Is that meant to be good or is that meant to be bad?" Gillian Wilson, Peter's mother, said. "I have to ask. It's definitely a generational thing." While the generation gap is one barrier to communication, there were also words that were exclusively used by guys, but not girls. "Loose" was one such example, clearly dividing people. Someone might say "that's loose" if they saw a friend land a nice trick, and while it is meant to mean awesome or good in this instance, it's one word that has never caught on with the ladies. "I wouldn't use it. It's definitely a Canadian-snowboard-guy saying," said 20-year-old New Zealander Nicola Dymock while working the magic carpet at Marmot Basin. While skiing and snowboarding language may help define the culture and the individual, there are those like snowboarders Hone Rhind and Vit Sarse who feel the language snowboarders and skiers use isn't really that important. What really matters most to the two Marmot employees is the riding. "We'd rather talk about the tricks we're trying to learn and the techniques of doing them," Rhind said. "Sometimes people talk just for the [credibility] and being part of the group, but the riding is more important." V

GLOSSARY chump jumping - Mostly used in the terrain park. To chump jump is to fly

off the side of a jump's take-off, thereby avoiding the jump, wearing down the takeoff at the same time.

dummy dodginG - Skiing through and around large groups of people at a busy ski hill.

puking - Snowing heavily steez - Style with ease. This word might be used when someone makes something that is difficult (a trick, for example) look easy. Useful in the terrain park.

chyeah - Yeah gaps - Used all over the ski hill and is nearly akin to a jump, except that there is a space or gap that is cleared between the take-off and landing.

UllR - Known as the snow god among modern ski culture. If it's just dumped a foot of fresh powder you might say, "Praise Ullr!"

corduroy - Groomed runs jibbing - To hit rails or natural features mach chicken - To go extremely fast

VUEWEEKLY // NOV 18 â&#x20AC;&#x201C; NOV 24, 2010

SNOW ZONE // 11

Boarding the pineapple express

Weather permitting, the turns on Parker Ridge are some of the season's finest Will Colford // will@vueweekly.com

hostly flakes drifting ever downward contrast the violent sucking of my lungs and double-kick pulse of my heart. Looking back, paradoxical expressions of agony and hope mixed on the faces of my friends. Past them was freshly broken trailâ&#x20AC;&#x201D;switching back on itself seven, eight, maybe nine times. Beyond that, rocky faces faded in and out of the ensuing storm as snow-filled clouds hammered through the valley. We were on the northern portion of the Jasper to Banff Ice Fields Parkway, trekking up Parker Ridge in mid-November. Our ascent will be worth it. Every November long

weekend, two things happen: powder hounds pray to the snow gods for the pineapple express, and 15 friends book out the Hummingbird Hostel for a weekend of boozing, bonfires and Risk. Oh, and depending on the weather, they may or may not get the best turns of the season. This particular year, the praying paid off. Distilled, the pineapple express is a yearly storm counted on by early season turn addicts and backcountry buffs. Whenever the jet stream settles into a direct flow across the eastern Pacific, the moisture-laden air gets pushed up by the Rockies, crystallizes, then unleashes a thick duvet of Canadian Champagne. However, because it's the first major snowfall of the year, the

snow pack can be unstable. Avi-gear and the knowledge to use it are musts if heading to the backcountry. The drive to Jasper was dismal. The sun shone, golden leaves fluttered lazily; we cranked the air conditioning. Even in Jasper, potted flowers stood fully bloomed as manicured lawns bristled. Sitting in the brewhouse, we tried to remain optimistic while we waited for Tom, the last of our group to arrive. After Tom arrived with the keys for the Beauty Creek Hostel, we convoyed the remaining 45 minutes down the Ice Fields Parkway to our dark lodgings. Scoping the bare roadside caused more disappointment. This was all capped off by pulling into an equally bare parking lot. We were now 15 minutes

A welcome change in weather

away from Parker Ridge and the snow was still scarce. There was no alarm, no reckless construction noise to wake us. All stagnant air from the room had suddenly been replaced with icy vapors as I stepped outside and drew in the first yawn of the morning. My lungs felt free of the night's soil, replaced instead with a piney mint, straight from the freezer. This new-found freshness recoiled as I stepped back into the room. Like a frog unaware it's been boiling in ever-increasing hot water, I, too, was unaware just how bad 10 men in a cabin could really smell. I opted to leave the door ajar and headed for the kitchen. Some friends were quietly reading, others making oatmeal and cowboy coffee. Little pieces of board games littered the linoleum. Cloudy memories of competitive screams and conquering cheers rushed back into my memory. I think at one point Tom declared he could no longer be friends with us anymore as we wiped him off the Risk board. Just then, a car pulled up and hurried footsteps gained volume as buddies Tal and Dave jumped down the hill towards the hostel. "There's so much snow," Tal said. His jubilation seemed to kick everyone's asses out of bed. The kitchen and decks became busy with bustle and anticipation. Gear was packed, lunches were made and beacon batteries were tested before we jumped in the cars and headed out. It's not as though it snowed overnight, or we had just missed the powder mounds. It's just that 10 minutes down the road, just past the welcome centre for the Athabasca Glacier, the snow sat waiting like a puppy under a Christmas tree. Our cars were the only ones in the parking lot, save for two young boys be-

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// Will Colford

ing dropped off by their mother. "That's just irresponsible," said Tom, who knew enough about Parker's to know it's unwise to just roll up and ride. Tom had full snow-pack reports and wouldn't let anyone come who was going to undermine his knowledge of the ridge and put everyone in danger. As I floundered freely around in my new snowshoes, I was ready to attack the hike. It didn't look so bad from the parking lot. However, not even 10 minutes into the hike the lung sucking began. The boarders were all having a tough time, while the skiers with touring bindings and skins were simply powering up the hill. For some reason, we let the one guy who'd been tree planting all summer set pace. It was murder, but I'd gladly die for those conditions. I only ascended the ridge once that day, mostly content to take fresh tracks from the halfway point with the other out-of-shape boarders. As we glided through the wilderness, grinning and giddy, I felt a connection to the sport that I never knew existed. Before the lifts, the crowds and the lines, the ticket prices, the sponsorship deals and the competitions, people were riding down snow-covered slopes because it was fun. There wasn't a winner or loser, it wasn't about being better than someone else, there was no fame and glory involved. As all of us rediscovered that day, something greater can be attained than victory or fame. Laughing together as we tore turns, hiked lines, consumed lunch and trekked out, everyone took away feelings of pure joy, as though this was what life was supposed to be. Until the timing of the snowstorm lines up again as it did that year, it will forever be one of the best winter, skiing and travel experiences of my life, and I found it just down the road, with friends from just down the street. V

Tales of obsession

Miller is the name of the game, but who's got game now? Jeremy Derksen // jeremy@vueweekly.com

arren Miller, Warren Miller, Warren Miller. After 60 years of filmmaking and one major lawsuit, Warren Miller Entertainment (WME) returns with Wintervention, its 61st annual feature. With the smoke just clearing over last season's controversial Warren Miller/ Level 1 versus WME court battle, WME could have launched a PR blitz on its opponents at its 240-plus North American screenings. Instead, Wintervention carries on in classic Miller tradition, letting the film speak for itself. The name Warren Miller transcends the sport (no matter who owns or appropriates it). Miller essentially invented the action-sport genre with his big, eye-popping action sequences, creative camera angles and tongue-incheek narratives. So naturally, Wintervention follows a certain familiar, breezy formula, with segments covering classic ski history, pioneering expeditions to the farthest corners of the earth, sick freestyle stunts and big mountain lines, all woven together with the thinnest of plots. There's a reason it's known as ski porn after all, and it is, undoubtedly, gratuitously satisfying.

Jonny Moseley in British Columbia

In segments like the dramatic ski mountaineering expedition to Antarctica to bag some of the last first descents in the world, a shoot-the-chutes session in the bright red cliffs of Southern Utah's Wasatch Range or heli-skiing in Gudari, Georgia, scenery almost becomes character. Each location is graced by top talent—such as Andy Mahre, Chris Davenport, Hugo Harrison, Lindsey Vonn, JP Auclair, TJ Schiller and film narrator Jonny Moseley—as well as serious new contenders. Each scene is choreographed to fresh indie, metal and hip-hop beats. In between, the "plot" documents ski-

ers and boarders pursuing obsession to its greatest excess. Though parody, this focus on obsession parallels the debate over WME and its place in ski culture today. Other producers have long since surpassed WME in creativity, authenticity and relevance. Yet the fact remains, Wintervention is perfectly crafted confection, leaving just one question: how much indulgence is too much? V Fri, Nov 19 (8 pm) Wintervention Jubilee Auditorium, $23

VUEWEEKLY // NOV 18 – NOV 24, 2010

SNOW ZONE // 13

FALL LINES

Saddle up, Strawberry

Two new lifts for Marmot Basin

Last week at a joint Marmot Basin and Travel Alberta event, Marmot's President Dave Gibson announced the planned construction of two new lifts at their resort. After many years m o ekly.c of yeoman service, the trusty vuewe @ rt a h old Paradise triple chair will Hart k give way to a modern detachGolbec able high-speed quad. Lift capacity will be dramatically increased and you will no longer have to book it across the flats from Paradise Chalet because the load area will be moved furPrimarily servicing a beginner area, the ther down the hill. Not stopping there, slow-loading feature of a detachable operations didn't want to throw away quad will be ideal for skiers and boarda perfectly good triple, so they will reers. I'm guessing there might be the odd install it in place of the School-House TOlympic logo around as well because Bar. Full government approval has been this chair came from the Vancouver given for both projects and construction Olympics where it hauled visitors across is expected to commence in the spring the slopes at Whistler. of 2011. Hopefully we won't have any

FALL

LINES

Construction started early in the spring and continued at a fevered pace through the summer, but it was all worth it because the new quad chair at Sunshine is rolling. Dubbed the Strawberry Express, this high-speed detachable quad is the ninth super chair in their arsenal.

protesters blocking the removal of one of the last T-bars in our Rockies. It is becoming quite obvious that the new owners of Marmot Basin are not afraid to spend money with hopes of improving the snow-sport experience for both

tourists and locals. They are definitely winning the battle, attracting record numbers last year to ride the new Rocky Mountain Express Quad, but we are all at the mercy of mother-nature and the almighty snowpack measuring stick.

Miller time

Last year Warren Miller Entertainment (WME) sued Level 1 Productions for featuring the real Warren Miller in one of their films. If this sounds slightly confusing, you're not alone. Apparently when Warren Miller sold the company, WME assumed that he could no longer use his own name when hanging out with buddies working on other films. A few weeks ago a Colorado arbitration panel sided with the real Warren Miller saying his Level 1 appearance caused no harm to WME. At the same time the panel re-affirmed Miller's ability to use his name and likeness in anything but ski movies and magazines.

Corb Lund at Castle Mountain Corb Lund & the Hurtin' Albertans are kick starting the ski and snowboard season at Castle Mountain Resort near Pincher Creek, Alberta. The event, slated for Wednesday, December 8, is called Corb Lund Conquers Castle, but it is also part of the bands Losin' Lately Gambler tour. The band will be performing in Edmonton on November 28 at a Grey Cup Tailgate Party, but that event is sold out, so you'll have to catch them down south if you missed out on local tickets. If you want to buy tickets, call Castle Mountain Resort at 1.403.627.5101. It's a licensed event, so you better bring some cash and book a room. â&#x20AC;&#x201D;HART GOLBECK

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As a result he is re-launching Warren Miller Company (WMC). It is expected that Warren Miller himself will tour North America to host open discussions about his uniquely entertaining life experiences, followed by question and answer sessions. It sounds to me like he's going to be pushing the envelope a bit to see what he can get away with. I'm with the real Warren Miller on this one, but a new film by WME called Wintervention is just around the corner on Friday, November 19, and it's a long standing family tradition to be at the Jubilee. The trailer has much more snowboard content than ever before so the kids finally have a reason to go as well.

DISH

Find a restaurant

ONLINE AT DISHWEEKLY.CA

Accidental foodie

Well-known critic Liane Faulder just fell into it which, along with Chef at Home, is a favourite of Faulder's. Faulder holds Jamie Oliver in high regard for his vested interest in social justice and education, as well as for his culinary prowess. Cooking fills a deeper, meditative need beyond the basic requirement for sustenance. "Cooking stills the mind and keeps it from roaring off in all directions," she says. Drawing on her multiplicity of experiences in the world of food, Faulder concludes that "Cooking is a very forgiving art. Anyone can do it. It is very democratic." With that, she ponders her next culinary investigation and subsequent story. Perhaps a deep-fried Mars Bar is in order. V

LS Vors // vors@vueweekly.com

riting about experiences with food, whether cooking or dining, is a powerful device. Like a tour guide of text and paper, a deftly written article guides the reader through methods of preparation, reconstructs the artistic presentation of a meal and, through turn of phrase, breathes life into recollections of flavour and texture. Simply put, food writing tells a story. Liane Faulder, food writer for the Edmonton Journal, loves to tell a story. She assumed this role when long-time Journal food writer Judy Schultz retired. Faulder remarks that she has always loved food and entertaining, though her move to the gastronomic world was not premeditated. In fact, Faulder gave little thought to food writing prior to Schultz's departure. No matter, she muses, for "journalism equips you for many jobs." Faulder's background in journalism, as opposed to one in cooking, is an advantage. It allows her to translate the words of chefs and the nuances of cuisine into a language accessible to the reader. She prefers to take detailed notes when dining or conducting an interview, and later weaves these phrases into a cohesive narrative. "These details," she explains, "are needed to evoke a sense of place and experience." Visiting and writing about restaurants are but one part of Faulder's work life. She updates her blog, Eat My Words, at least four times per week.

BROWNIE PUDDING (Much beloved by Liane's grown-up sons)

// Eden Munro

She visits food-themed events. Her ongoing "celebrity chef" series features prominent public figures who share a deep love of dining and cooking but do not work in the food industry. Faulder marvels at the great diversity of styles and priorities inherent in each of her interviewees, from Edmonton Symphony Orchestra conductor Bill Eddins to Ruth Kelly, the driving force of Venture Publishing. This discovery of personal style is an ever-intriguing side of Faulder's job, and she states, "I like finding out what drives people to

eat and cook the way they do. It's an insight into human behaviour." Culina Mill Creek is one of Faulder's favourite haunts. Coincidentally, Culina Highlands was among her first stories as a food writer. For fancy dining, she prefers the venerable Madison's. Viphalay, which serves Thai and Laotian cuisine, ranks high among Asian restaurants and Faulder relishes the considerable diversity of small, familyrun restaurants in this city. Bibo, a wine bar in the Mill Creek neighbourhood, is another favoured spot and Faulder

notes that "It is as close to Paris as you can get without leaving the city." Faulder does not consider herself a gourmet, but loves to cook at home. Omelettes and healthy soups are often on her personal menu, and she is a great believer in the "Sunday supper" of roast beef and potatoes. She cites her mother as a primary cooking influence, and also admires celebrity chefs Jamie Oliver and David Adjey. The latter is known for his appearances on the television show Restaurant Makeover

VUEWEEKLY // NOV 18 â&#x20AC;&#x201C; NOV 24, 2010

1 cup flour 1 tsp baking powder 1/2 tsp salt 3/4 cup granulated sugar 2 tbsp cocoa powder 1/2 cup milk 1 tsp vanilla 3 tbsp oil or melted butter Mix the above ingredients and spoon into a greased casserole dish. Pour the following mixture over top: 3/4 cup brown sugar, 1/4 cup cocoa, 2 cups boiling water. Bake at 350 degrees Fahrenheit for 40 minutes. Feeds four to six. Serve with vanilla ice cream for extra appeal. V

DISH // 15

COMMENT >> WINE

Argentina's crowned grape Sampling the present-day popular Malbec

Saturday afternoons that never seemed so similar to some form of hedonism. good just got better. The tasting group has Alongside the wine, the various cheeses reunited after two long months withcomplimented the wine to perfection out a session. This time there are and not one of us was without a some serious reds to be tasted: smile or even a giggle. I D I V VENI, seven bottles filled with MalEach of the Cahors wine's bec, including a 1989 vintage, had its own flavours of terall too soon to be empty. Our roir, and overall they were m ekly.co vuewe lineup included Malbec from deliciously complex, although jenn@ New Zealand, Cahors, France a bit less on the fruit-driven Jenn and, of course, Argentina. ExciteFulford side than Argentinian Malbec. ment filled the room as corks were And although the tannins were popped to ready the wine for the glass, inpowerful, they were not overpowerdulgent Saturday's back in action. ing. Overall, these wines starred pretty Since Malbec's present-day popularity damn high with their serious amounts has been derived from the Argentinof character. ians, many folks are unaware of its origin, which is France. Commonly known Most major wine-growing regions in the as one of the six grape varietals used in modern era have Malbec plantings, and blending Bordeaux wine, this has been consumers are drinking them up as fast as Malbec's main use over the decades. they are being made. This is a pretty sigHowever, a small region exists called nificant step for a grape varietal that was Cahors in the southwest of France that once used almost solely for blending. Each makes 100 percent malbec wines. country it seems has their own Malbec Our tasting group was not to be put style, with none, at least that I have come off by the reputation of 100 percent across, that have quite that Argentinian French Malbec—also know as Cot richness of fruit and depth of character. Noir, from Cahors—as being astringent For instance, the New Zealand Malbec we and tannic, and in need of food to cut tasted, although up against tough compethrough it. We devoured with ease a tition, showed beautifully. The wine had a few different bottles of Cahors, includunique complexity on the nose, fragrant ing the 1989 vintage, with a pleasure with more earthy and almost menthol-like

VINO

16 // DISH

VUEWEEKLY // NOV 18 – NOV 24, 2010

aromas and flavors. Although a bit lighter on the body, the complexity really kicks in to round out the wine. With our palates generously warmed up, the biggest of the huge wines was ready to be poured. The Argentinian Bodega Reservas came forth to blacken our teeth and stain a memory into our palates. Ah yes, it's hard to forget that distinct fruit-driven aroma, of black fruits more often than not with vanilla oak scents: they are rich and dark —the very reasons we all run out to buy Malbec. Argentina has literally taken over the Malbec varietal as their own, crowning it their national grape. Introduced to the country in the 19th century, Malbec's popularity only started increasing alongside the planted acreage in the 21st century. Now, 90 percent of world production comes from Argentina, and within the Mendoza region itself. Thank-you Miguel Pouget for undertaking the provincial governor's request to bring French Malbec cuttings to Argentina. These wines have brought on a life of their own to the wine market, embraced and sought after by many a fanatic, wine nerd, wino or really, whatever you would like to classify yourself as. V

It takes a Village

Venerable Japanese restaurant's second location hit and miss // Meaghan Baxter

Another Japanese Village Erika Domanski // erika@vueweekly.com

eppanyaki is a style of Japanese cuisine that uses an iron griddle to cook food. The first Teppanyaki-style steakhouse originated in Japan in 1945 and was a huge hit with tourists. These days, most cities will offer restaurants where you can go to enjoy this style of dining. The expectation is that it's more than a meal: it's an entertaining show as well. The chefs are known to be extremely skilled and highly trained at making the whole experience more then just grilling a steak in front of you. Within the last year, Japanese Village has opened up a brand new restaurant on 104 Street, only a few blocks away from the restaurant's original location. Reservations are a must, especially if you're looking for a seat at the Teppan table. Entering the building, you feel as if you're stepping into a special experience. You find yourself in a reception area and are next led through the contemporary and minimally decorated dining room which is filled with large tables with a grill in the centre of each. It's standard practice to share your table with other diners. Our drink order was taken right away, and I couldn't pass up something called a Chocolada ($5.75), made up of pineapple juice, coconut and chocolate liquor. It was just as delicious as it sounds. While waiting for my drink I looked over the fairly straightforward and simple menu. There are a few stand-alone items, but it seemed as if the wiser choice would be to order one of the complete dinners. Might as well get the full, proper experience and do it right! All of these dinners include shabu shabu soup, village salad, the yaki shrimp appetizer, hibachi vegetables, steamed rice, green tea and ice cream for one set price. The entrees themselves consist of grillable meats such as steak, chicken and seafood or combinations of these. I was feeling like going all out, so I ordered the Shogun

Special ($45.95) which the menu claimed was "magnificent" and "the ultimate in Japanese Village cuisine." Filet mignon and lobster is always cause for a little bit of excitement as far as I'm concerned. First the attentive servers brought out the shabu shabu soup. It was nice but there wasn't much to it other then broth. Following that, the salad came out, which was a very simple small green salad with a tasty sesame dressing on it. They were both fine, but nothing special. After the first two courses, it was time for the main event to begin: the chef came out sharpening his knife and the anticipation was building. He started off by giving us each two sauces: one for everything and one for steak, he explained. We were also served steamed rice and the chef recommended putting the steak sauce on the rice as well—a wonderful suggestion. The steak sauce packed a great punch, and I found myself picking up hints of wasabi. The chef has his job cut out for him. Not only is he cooking for 10 people whose dishes need to be completed at roughly the same time, he is also expected to do so with flourish and flair. First on the grill was the appetizer. He skillfully cut the shrimp into chopstick-friendly pieces, and it was great getting a taste of something hot off the grill. By this point, the vegetables—which included mushrooms, onions and zucchini—were already grilling away. Finally the time that we were all waiting for arrived and the meat hit the grill. It all looked beautiful, no matter what you had ordered. The chef asked each person who had ordered steak how they wanted it to be cooked, then went to task, impressively flipping knives all over the place. Our chef did make some mistakes and drop his knife and flipper a few times. I guess not everyone can be perfect, but the expectation does tend to be that your chef is a "master" at what he does. I felt myself

edging towards nervousness as his knife flew around right in front of my face. I ordered my filet to be cooked medium rare and my date ordered his New York steak rare. The chef slathered each steak with a green butter and the grill was alive with mouth-watering sizzles and smells. My steak was cooked to juicy, pink perfection. Unfortunately, my date's was overdone. It seemed as if the chef confused his steak with the gentleman sitting on the other side of me, who ordered his to be medium. The lobster was removed from the shell to cook on the grill and then was put back into the shell to be served, which was a nice touch. It was covered in a special "misonaise" which is a miso-flavoured mayonnaise. It was creamy yet light and didn't overpower the sweet flavours of the lobster, which was grilled perfectly. Overall, I was pleased with my entrée. I couldn't help but notice that with everything cut into small pieces (for the use of chopsticks) the grandeur of the meal gets a little lost, though I realize that there's really no other choice. After the plates were taken away, the green tea and ice cream was served. I was hoping for a nice green-tea or redbean ice cream, but no, just plain vanilla. The whole meal seemed very rushed. We were in and out in roughly over an hour. That's not really how I tend to picture a nice Friday meal out, as I like to savour and enjoy the food, and also take the time to enjoy my dining company. This experience was fun—but very fast and I can't help but feel a little mixed about it, though it's worth experiencing it at least once. V Mon – Fri (11:30 am – 2 pm) & (5 pm – 9 pm); Sat & Sun (4 pm – 9:30 pm) Japanese Village 10238 - 104 St, 780.422.6083

VUEWEEKLY // NOV 18 – NOV 24, 2010

DISH // 17

ARTS

ARTIFACTS

Cabaret / Until Sat, Nov 20 (7:30 pm) As their name implies, Two One-Way Tickets to Broadway Productions have their sights strictly set on bringing the big smashes from New York's biggest stages to Edmonton. Following a production of Rent earlier this year comes Kander and Ebb's Cabaret, a send-up of the seedy nightclub life of 1930s Berlin as the Nazis started to grow their power. Its focus, however, falls to a 19-year-old singer at the club and the tumultuous romance she strikes up with an American novelist looking to write his big novel. It's a romance in song and dance and the looming sense of danger. Just like on the real Broadway! (Catalyst Theatre [8529 Gateway Boulevard], $27.50) Human Drama in Gaza Photo Exhibit / Until Mon, Nov 29 There are 44 photos on display in Human Drama in Gaza, capturing the full arc of before, during and the aftermath of the assault on Gaza. But the featured photographers—all from the Middle East—lent equal precedence to capturing the everyday lives happening before their explosive, politically-charged backdrop, and the similarities to our own everyday lives, sans the danger, should draw some eye-opening parallels. (Gallery Space at Enterprise Square [10230 Jasper Avenue], public reception: Fri, Nov 19, [7 pm]) Refinery / Sat, Nov 20 (9 pm) The AGA's been hosting the Refinery series of late-night art parties since it opened in its new location, with the evening's entertainment coinciding in part with the various exhibits. So, while there's the usual grab-bag of party tricks—a couple of Djs, plus access to the entire gallery during the party—there is also Bodies in O, Mile Zero Dance's interpretation of Edward Burtynsky's Oil exhibition, with "dance portraits based on oil production and consumption." Booze-tipped blends of multiple artistic disciplines should be what more good parties are all about. (The Art Gallery of Alberta, [2 Sir Winston Churchill Square], $18 – 25) Claire Laskin Lecture Series / Sun, Nov 21 (2 pm) Under the title of "Child of the End Times, A Shaman's Vision into the Future," shaman and alchemist Claire Laskin is hosting a series of lectures regarding our responsibility here on the pale blue planet, with the intent to contiue the series until until the much prophesized 2012 is finally upon us. (River Cree Marriott Hotel, $32 – $35) —PAUL BLINOV

18 // ARTS

"Maybe it was about damn time, but finally the secret has been revealed: there are real, live contemporary dancers working between those big dance hubs in Vancouver and Montréal. Like, really living on the plains."

Touring the Prairies /20

THEATRE // PREVUE

Still punk as fuck

Hardcore Logo: LIVE tackles punk bands growing old David Berry // david@vueweekly.com

f course Michael Scholar Jr needs to look pretty punk rock to pull off his dual role as adapter and star of Hardcore Logo: LIVE, but it's apparent very early on that his look—the shaved-and-dyed hair, the leather wrist guards, the band T-shirt—isn't just a costume. He'll go off with ease on bands whose records he still owns—Jawbreaker is his favourite, probably—he speaks in reverent tones about working with Joe "Shithead" Keithley as a musical director and he's ready with a passionate screed about the increasing presence of corporations infiltrating art. Michael Scholar is punk as fuck. "People here, a lot of them have gone through their 'punk phases' and then they grow out of it," the exceedingly gregarious and energetic Scholar explains, maybe a bit disdainfully, on a rehearsal break from his world premiere. "I'm one of those people that didn't grow out of it. I'm still a nerd collector whose got all the vinyl and T-shirts. Now I'm old enough that I can just buy more T-shirts and records." It should come as no surprise, then, that he's wanted to adapt the Hardcore Logo story to his preferred medium of theatre ever since seeing the cult favourite Bruce McDonald film at the Princess back when he was a university student. (He didn't know about Michael Turner's book until he found it at a sidewalk sale at Bonnie Doon mall, though he "devoured it in

the parking lot.") He just assumed there would be a stage treatment, but after poking around and finding nothing official, it was a natural next project for him after finally getting a break from the world-conquering success that is The Black Rider. Hardcore Logo, for the few that aren't aware, follows its titular band on a reunion tour across the Prairies. Though the rhythm section of bassist John Oxenberger and drummer Pipefitter gets its due, it's largely the story of guitarist Billy Tallent and singer Joe Dick, lifelong friends who have survived in the trenches of punk and are coming to a crossroads: Billy wants to be a rock star, while Joe believes in the punk-rock ethos almost to the point of self-destruction. It's that theme, says Scholar, that made Hardcore Logo resonate so strongly with the mid-'90s punk scene. "It's a very complicated subject, trying to be a success without being a sell-out," he points out. "The real internal conflict that was happening in punk bands at the time was maintaining integrity along with playing music that grew up. Now, no one even balks at anyone trying to make it big: have high ticket prices, play big auditoriums, have corporate endorsements. Like, the Vans Warped Tour? Vans? All the bands there are so underground, but Vans is on the name of the tour. It's a different game now, but it was really good at trying to capture that essence." The ethos might have changed some,

// Ian Jackson, Epic

Who the hell does Joe Dick think he is?

but even people who aren't concerned with staying true to their punk roots will be able to find themselves in a lot of the show's undercurrents. At its base Hardcore Logo is a story about getting older, the usual struggles with success and fulfilment wrapped up in blistering punk energy. Capturing that energy is one of the major challenges of the stage adaptation—punk fans don't sit in cushioned seats—but it's one that Scholar has taken seriously. He's not approaching this like a musical, he says, but as a series of punk performances that happen to resonate with the story of a band that's still trying to find its way.

"It's not really a musical, it's not really a play with songs," Scholar enthuses. "It's just a punk-ass show." V Thu, Nov 16 – Sun, Dec 5 (8 pm) HardCore Logo: Live Adapted by Michael Scholar, Jr Based on the book by Michael Turner, film by Bruce McDonald and screenplay by Noel S Baker Directed by Bradley Moss Starring Toby Berner, Clinton Carew, Telly James, Rachael Johnston, Michael Scholar, Jr Roxy Theatre (10708 - 124 st), $23 – $55

THEATRE // PREVUE

The Canadian rift

The House That Faces North turns family drama into cultural allegory Paul Blinov // paul@vueweekly.com

uy Mignault's own history can be found in plenty of corners of Une maison face au Nord (The House That Faces North). It's a co-production between Mignault's own Théâtre français de Toronto and two other francophone theatre companies (Théâtre la Rubrique, and Théâtre du Tandem). Mignault stars alongside Louisette Dussault, a figure of Quebecois theatre with whom he's been friends with since 1974. Plus, the script itself tears into the cultural allegory of our nation, which, despite more than a decade having passed since the last referendum and serious push to separate French and English Canada, is still constructed out of two very divided states of the country.

Jean-Rock Gaudreault's script gives us Henri and Anne-Marie Simard, who Mignault notes are making "a balance sheet of their lives." It's coming up less than satisfactory: their children, grown up and out of the nest, are a pair of materialistic daughters living in Montréal and a son engulfed in financial scandal down in the US. Adding to the growing pile of disappointment is Henri, who was a separatist, trying to coming to terms with the fact that the Canada he desired may never materialize at all. It treads family drama but heads toward deeper allegory, of a nation still divided between its two official languages. "This play can give some parts of the answers to 'what does Quebec want?'" Mignault notes, over the phone from Toronto. After all, Mignault's seen the English/ French rift argued against his own artistic

decisions. When his theatre began running English surtitles for half of their season, "The next day on the radio, I hear that we were selling our soul to the devil." Mignault called the station, got some airtime and defended himself. "I went there and I explained that instead of ghettoizing the French language, I said, 'Let's open up our walls, and let's invite people to come and see what we're doing, and how we're doing it.' And I personally realized, I think this is where we're going. We're going to openness. In French there's an expression called les sprie du clergy, which means 'the parish for the parish', protect everything within the parish. And I think les sprie du clergy should be removed." Une maison explores that divide, one more common and deeper than just Eng-

VUEWEEKLY // NOV 18 – NOV 24, 2010

lish and French—which, to Mignault, means most people can relate to it, even without a francophone connection. "I think the spectators really enjoy and can relate to it. It's strange because it's a story that is set in rural Quebec, [and] I think, even in big cities, like Toronto, where we played it, and Montréal, [the cities] are all divided in small towns. That's why people can relate to the characters." V Thu, Nov 18 – Sat, Nov 20 (8 pm) Sun, Nov 21 (2 pm) The House That Faces North With English Subtitles Written by Jean-Rock Gaudreault Directed by Jacinthe Potvin Starring Louisette Dussault, Guy Mignault La Cité francophone (8627 - 91 St), $16 – $25

VISUAL ARTS // PREVUE

No deeper extraction

Burtynsky's Oil is technically precise, but lacking in deeper meaning Amy Fung // Amy@vueweekly.com

hotographing across the world from Shanghai to Azerbaijan to the industrial sites all over Canada and the United States, Edward Burtynsky has been large-format documenting the physical impact and patterning of heavy metal industry for close to 30 years. Grouped together for an exhibition that traces the life cycle of oil, from extraction to car culture to the landfills and abandoned extraction sites since the late 1990s, Oil takes an even wider angle on the developments of the energy sector of the last 10 years. A Burtynsky photograph is immediately recognizable. Technically perfect and vast, they are emotionally reserved and

boldly confronting representations of beautified intrusions against nature. Always, a Burtynsky is distanced, removed, startling and cold. There is a gasp in blurring what is supposed to be horrific with what is supposed to be beautiful. The bright orange and red sulfuric lines come together and make a pattern, visible only on this type of scale, and they are truly visual wonders of our contemporary culture. And in looking at this content that tie together issues of witnessing, access, beauty and an unstoppable industry, I am left wondering: what is the point of this exhibition? The photographs are technical marvels, and Oil's accompanying book of the same name fittingly won the 2010 And/or Book Awards as the series reads as an ultimate

coffee table book, filled with gorgeous photographs on a topical subject matter. But like most coffee table books, they leave hardly an impression. At first glance, the scope of each photograph carries the weight of wonder. But wonder evaporates into a search for something deeper, and after five years of what seems like the same show over and over again, I am still unsure as to what the artist is trying to say, if he's trying to say anything at all. The pipes and cars and life of each photograph are pristine to the point of abstraction. The scenes cease to inspire thoughts of any depth about the issue of oil beyond consumption. So while we all know oil is a major issue of the day, do these photographs of oil culture—many of them void of people, taken from gas guzzling helicopters—speak to

anything beyond postcard witnessing? I am not confident in describing these images as even bearing witness, as they appear free of any morality-driven impetus which is a marker for witnessing as action. These photographs are clinical, and the world documented is hardly one that is recognizable as inhabited for anything beyond production and consumption. It has taken Burtynsky years to identify with environmentalism, and one can understand his hesitation as his photographs do not necessarily share the same mandate, though readings can certainly apply. The photographs in Oil are not chronologically placed, and so the suggestion of a life cycle of start to finish is only a visual narrative, as in fact, the latest photographs come from the extraction and refinement phase shot mostly here in Alberta. There is a unrelenting persistence in Burtynsky's method that seeks over and over for that composition of such exquisite colour patterns and cinematic lighting that keeps him one of the most recogniz-

able photographers. But more clearly than ever, it is the formal quality of a Burtynsky that rises to the top, and certainly not the subject matter that inspires additional thought or feeling. V As part of The Festival of Ideas, photographer Edward Burtynsky, Tim Flannery, bestselling author of The Weather Makers, and Tom Siddon, former Minister of Fisheries and Oceans, will be discussing how truths can be lost and lies perpetuated on both sides of the oil-versus-water debate. Thu, Nov 18 (7 pm) Oil and Water: Beyond Debate? Citadel Theatre, Shoctor Theatre (9828 - 101A Ave) $18 – $28 festivalofideas.ca until Sun, Jan 2 Oil Works by Edward Burtynsky The Art Gallery of Alberta (2 Sir Winston Churchill Square)

THEATRE // REVUE

Casualties of war

Legion Blues could use some subtext

A veteran has difficulty forgetting in Legion Blues David Berry // david@vueweekly.com

ou either got it or your didn't," Ray (Murray Cullen) intones to his old buddy and fellow veteran Paul (William Banfield) over a late-night glass of whisky. "We're the lucky ones." "Are we?" replies Paul, and the moment lingers just a little too long to leave either man feeling terribly comfortable. That's the basic question of Michael Beamish's Legion Blues, and while it never goes so far as to suggest that anyone would be better off dead, it does explore what happens when society decides that the only casualties of war were the bodies that fell on the battlefield. Set in an unidentified suburb in the '50s boom after the Second World War—a familiar bungalow floor plan is even painted onto the stage—it follows Paul and Ray as they try to figure out how to deal with what they've done without wishing that they'd never made it home. On the surface, Ray is the well-adjusted one, breezing through life with a new convertible and a rotating cast of women. Paul, on the other hand, is always a little too eager to have a drink, and his flashbacks and memory-laced nightmares are starting to take their toll on his family: he can barely even manage to talk to his wife Helen (Rebecca John) without flying off the handle, his interactions with his

son are full or either rage or tears, and he seems to know he's losing it, but can't do anything to stop it. It is a welcome message even if by now it's also a familiar one, but Legion Blues could have injected it with a little more vitality if it wasn't so on the nose. Nothing here is really left to subtext, none of the characters revealed only by their actions: Beamish has every one them explicate what exactly their central problem is, in the case of Paul from a few different angles. It's a technique that annoys both because it's a touch patronizing and because it pulls us out of the troubled suburban world that Beamish actually does a pretty good job of creating. Much of the thanks for that also has to go to Cullen, who gives an affectless and absorbing performance as Ray. He perfectly captures the breezy charm that both endears him to the world and shields him from it without needing a speech that almost tells us exactly that. V Until Sun, Nov 21 (7:30 PM) Legion Blues Written and directed by Michael Beamish Starring William Banfield, Murray Cullen, Rebecca John Living Room Play House (11315 - 106 Ave) $15 – $20, Free for Veterans

VUEWEEKLY // NOV 18 – NOV 24, 2010

ARTS // 19

COMMENT >> BOOKS

DANCE // PREVUE

Touring the prairies

Final rites "Only by identifying her with an unwrittransform such irony into articulated deten, half-written, rewritten difficult book sire it would've been Vladimir Nabokov. could one hope to render at last what I stalled an awfully long time on reading contemporary descriptions of intercourse The Original of Laura (Knopf, $42), feelso seldom convey ... " —from The Original ing that perhaps I should wait until I've of Laura read everything else by Nabokov—still Its weight in your hands approxiworking on that one!—uncertain as mates that of someone's remains. to how this artifact should be apIt contains the unfinished proached. The book came out work of a dying man medione year ago and I'm only now ating on physical things, so finally reporting on it, feeling m .co weekly there's plenty of sex and a silly for my trepidation. It's ace u v @ otch sense of proximity to death hopsc tually a pretty fun, fascinating f e s o J all the more unnerving for its read, and the context provided Braun by the packaging and introduction relentless playfulness. It's one of these posthumously published is all the context anyone needs. It can't puzzles pulled from the fire, but to my be stated too clearly that this represents nose smells nothing like literary betrayal the roughest of, well, not even something nor crass cash-in. Take a look at its thick, we can call a draft, from an author whose largely blank pages: no one could mistake prose is famous for its shining eloquence. this for anything other than what it is—an But, as with say, the Bootleg Series recordart object; an homage; a glorious sketch. It ings of Bob Dylan, this roughness, this leaves us wanting more, as it should. This exposure of process, is partly what's so "novel in fragments" doesn't even hold all interesting to examine. the fragments necessary to make a whole book—not even a third, I'd guess. But what "Learning to use the vigor of the body remains of its narrative ambitions is also for the purpose of its own deletion," a something about fragments, about the wealthy, elderly, fat man considers science, body as Death's construction site, or rather writing and his slow disappearance, as well demolition zone, a place where fragments as his longing for the young woman whose of a person can be stolen or actually willed name rhymes with the one in the title. away, piece by piece, in this case from the Flora recalls Margot from Laughter in the feet up. There's another title, not on the Dark and, quite obviously, the eponymous jacket but inside: Dying is Fun. I'm not sure nymph of Lolita—she's even molested as a if I buy this assertion, but if anyone could child by an older man named Hubert H. Hu-

HOP H C SCOT

bert. Her backstory is arguably the book's most coherent section, and includes a suicide recorded on camera and a fatal stroke occurring in an elevator: "Going up, one would like to surmise." The Original of Laura was the project undertaken by Nabokov during his final, sickly years in Montreux. It was clearly far from completion when he died in 1977, though his son Dmitri offers what seems to me a perfectly convincing case for its survival and publication in his painstakingly Nabakovian introduction, which possesses the faintest echo of Pale Fire, and in its concern with legacy invokes The Real Life of Sebastian Knight. Designed by Chip Kidd, the cover emphasizes themes of disintegration and absence, with words fading to black before their termination. Nabokov's text itself appears as facsimiles of the index cards upon which the author composed his works, the edges of which perforated, encouraging consumers to punch them out and perhaps rearrange them in some new order; though, jarring as many of the transitions may be, it's hard to imagine an arrangement more satisfying than the one presented here. The Original of Laura is fractured and elliptical, a mere hint at something that might have been, peppered with sparks of the old brilliance in search of their final form, mischievously sculpted to make it almost seem intentional, and in precisely this way it's kind of perfect. V

Prairie Dance Circuit brings dancers together Fawnda Mithrush // Fawnda@vueweekly.com

on't let the word "prairie" fool you. This is indeed a Brian Webb Dance Company presentation. It just so happens to feature performers and choreographers from Alberta, Saskatchewan and Manitoba. Maybe it was about damn time, but finally the secret has been revealed: there are real, live contemporary dancers working between those big dance hubs in Vancouver and Montréal. Like, really living on the plains. In Edmonton, we're pretty accustomed to seeing dance imports from far away places—with the exception of local coops that perform their hometowns, you could almost assume that Prairie dancers actually don't get out too much. Take Edmonton's Raena Waddell. A graduate of the Grant MacEwan dance program 10 years ago, the Prairie Dance Circuit marks the first time she's ever toured outside of Alberta. "I think prairie dance might be a little bit ignored, and this is such a great reason to have this tour," Waddell says. "Hopefully it becomes an annual tour, because there are some really creative and hardworking dancers that are living in the prairies and their work is just as valid and exciting as what's going on further east." The cohort she's been travelling with was assembled by a group of artistic directors from across the three armpit provinces last summer. It includes choreographers Andrew Milne from Winnipeg and Calgary's Jason Stroh, along with dancers Hilary Maxwell, Johanna Riley, Sarah Roche and Waddell's dance partner, Vincent Forcier. Though Regina choreographer Joelle Arnusch can't make the Edmonton date, local gals The

Good Women Dance Collective have signed on to help round out this weekend's shows. Waddell notes that on previous stops in small but receptive venues in Winnipeg and Regina, this particular group has found a strong bond not only between each other, but also with their audiences. "It feels warm and inviting, and certainly creative. There's sort of a family vibe I'm getting with the tour. There isn't an element of pretentiousness that you know can happen with contemporary dance." Waddell's piece on this bill isn't a new work: you may have caught the intensity and virtuosic pace of her duet, "The Surrender Method," at Nextfest in 2009, or earlier this year when it was featured in the Expanse Movement Arts Festival. Either way, Waddell explains that the current incarnation of the piece is a culmination of sorts. "When 'Surrender Method' premiered in 2009, I think that was my seventh year doing Nextfest. So it feels like all the years prior, everything from them solidified in this dance. Because it deals with a concept that is really personal and relevant in my life away from the stage, it is something that I feel like I will always work on. I feel like the 'Surrender Method' is a landmark in my life so far, and it will always inspire what I create now and in my future." Being able to hone and craft a piece over two or more years? Now that seems to be a rarity among performers in a province with dwindling arts grant funding. But Waddell now knows something that many dancers from the provinces beyond knew all along: it takes time to grow, and growth is what artists need to reach their potential. "I found that I have become more clear in why I dance, and why I'm so fascinated with emotional connection—that is the reason why I perform. The connection between the performer and audience, and connections between people in general, how people misunderstand each other. Words aren't good, in my opinion. They just don't do the job. It's dance that makes me feel understood and genuine." V Fri, Nov 19 & Sat, Nov 20 (8 pm) Prairie Dance Circuit John L Haar Theatre (10045 - 156 St), $20 – $30

20 // ARTS

VUEWEEKLY // NOV 18 – NOV 24, 2010

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WEST END GALLERY )*+(0 BYkh]j 9n] 780.488.4892 9jlogjck Zq ;dYm\]ll] ;Yklgf_mYq3 until Nov 25 ;Yjgd] 9jfklgf3 Nov 27-Dec 9

LITERARY AUDREYS BOOKS )(/(* BYkh]j 9n] /0(&,*+&+,0/ Bg[]dqf :jgof$ l`] f]o Ojal]j%af% J]ka\]f[] Yl 9m\j]qk :ggck ]n]jq Lm] Yf\ O]\ *%-he Ea[`]d] ?]f]kl j]Y\af_ Yf\ Zggc ka_faf_ g^ `]j [ggcZggc The Boreal Gourmet: Adventures in Northern Cooking Nov 23$ /2+(he CAMPUS SAINT�JEAN HYnaddgf E[EY`gf$ 0,(. EYja]%9ff]%?YZgmjq Kl$ 1) Kl Hj]k]flYlagf2 L`] Ojal]j ;alar]f2 9]kl`]la[k Yf\ Hgdala[k oal` K`Yfa Egglgg2 Nov 26$ 0he3 >j]] e]eZ]j'âjkl%lae] _m]kl!' )( \jgh%af ^gj j]lmjfaf_ _m]kl! Ogjck`gh2 L`] Hgdala[k g^ Ojalaf_ >a[lagf oal` K`Yfa Egglgg2 Nov 27, 12+(Ye%,he CANADIAN AUTHORS ASSOCIATION�Alberta Branch HYnaddgf E[EY`gf$ ;Yehmk KYafl%B]Yf$ Je +%(,$ 0,(. EYja]%9ff]%?YZgmjq Kl The Writer Citizen: Aesthetics and Politics: K`Yfa Egglgg3 Nov 26$ 0he3 ^j]] e]eZ]j'âjkl%lae] _m]kl!' )( j]lmjf% af_ _m]kl! The Politics of Writing Fiction: K`Yfa Egglgg3 Nov 27$ 12+(Ye%,he3 ,( e]eZ]j!' /( fgf%e]eZ]j!3 af[d dmf[`3 hj]%j]_akl]j =2 j]_akljYj8 [YfYml`gjkYdZ]jlY&[Y s9ll]f\]]k Yj] j][gee]f\]\ lg j]Y\ =\oYj\ KYa\ k J]hj]k]flYlagfk g^ l`] Afl]dd][lmYd$ Z] ^YeadaYj oal` Austerlitz$ Yf\ A Natural History of Destruction Zq O? K]ZYd\u GARNEAU THEATRE 0/)*%)(1 Kl EYj_Yj]l 9logg\ k j]Y\af_ Yf\ Zggc ka_faf_ ^gj `]j f]o]kl fgn]d$ The Year of the Flood Nov 20$ *he - Yl ?j]]fogg\k :ggck`ghh] GREENWOODS' BOOKSHOPPE /1*-%)(, Kl /0(&,+1&*((- :YjZYjY <Y[ck$ dYmf[` g^ Alberta En[gj]2 H]ghd]$ HdY[]k$ Yf\ Hg]ljq ^jge D]_Y[q eY_Yraf] Nov 18$ /he HAVEN SOCIAL CLUB )-)*( Klgfq HdYaf J\ /0(&1)-&00.1 =\egflgf Klgjq KdYe$ +j\ O]\ ]n]jq egfl` >gddgo]\ Zq Y emka[ bYe /he ka_f%mh!3 /2+(he k`go! - j]_akl]j ojal]jk! Oaff]j oYdck gml oal` Ydd l`] Ym\a]f[] \gfYlagfk RIVERDALE 11)/%0/ Kl ;j]Ylan] Ogj\ BYe =n]jq +j\ Kmf g^ l`] egfl`$ .%)(he ROUGE LOUNGE )()))%))/ Kl /0(&1(*&-1(( Hg]ljq ]n]jq Lm] oal` =\egflgf k dg[Yd hg]lk STANLEY A. MILNER LIBRARY / Kaj Oafklgf ;`mj[àdd Ki /0(&,1.&/((( Teen Movie Scene: egna] [dmZ ^gj l]]fk3 )kl Yf\ +j\ L`m ]n]jq egfl` UPPER CRUST CAFÉ )(1(1%0. 9n] /0(&,**&0)/, L`] Hg]lk¿ @Yn]f O]]cdq J]Y\af_ K]ja]k2 ]n]jq Egf$ /he hj]k]fl]\ Zq l`] Kljgdd g^ Hg]lk Kg[a]lq >]Ylmjaf_ khgc]f ogj\ Yjlaklk 9dakgf 9c_mf_gj$ Daf\Y <megfl$ B]ffa^]j =Y_d]$ <Yd] @]jjaf_lgf$ Yf\ Daf\Y HYhaf]Ym ;gmlmj]3 Nov 22$ /he3 -

THEATRE ANY NIGHT O]klZmjq L`]Ylj]$ LjYfk9dlY 9jlk :Yjfk$ )(++(%0, 9n] >jaf_] L`]Ylj] Ojall]f Yf\ h]j^gje]\ Zq <Yfa]d 9jfgd\ Yf\ E]\afY @Y`f$ \a% j][l]\ Yf\ \jYeYlmj_]\ Zq Jgf B]fcafk Oct 21-31 THE ASH GIRL ;gf[gj\aY Mfan]jkalq ;gdd]_]$ JgZ% ]jl L]_d]j 9m\algjame$ /+ Kl$ ))) 9n] /0(&,/1&1*/( :q LaeZ]jdYc] O]jl]fZYc]j ^]Ylmjaf_ klm\]fl

VUEWEEKLY // NOV 18 – NOV 24, 2010

ARTS // 21

22 // ARTS

VUEWEEKLY // NOV 18 – NOV 24, 2010

ARTS // 23

FILM

"So, ostensibly serious theme slapped down on the table, we already know we're in a Paul Haggis movie."

THE NEXT THREE DAYS /26

Untangling the web of lies Fair Game a cutting indictment of the Iraq war Brian Gibson // brian@vueweekly.com

edemption isn't possible for the two players on the defensive in Fair Game. Against a backdrop of media mud-slinging, jingoistic name-calling and a war whose pretext was pure fiction, truth gets smeared beyond recognition. And the most Joseph Wilson (Sean Penn) and Valerie Plame Wilson (Naomi Watts) can hope for isn't redemption or vindication or even exoneration, but that their truth will somehow ring out over the Bush Administration's torpedo-attack and the media's turbo-charged spin on the couple's reputation. Redemption of a sort is achieved, though, by Doug Liman. After some frenetic mediocrities (Mr and Mrs Smith, Jumper), he's more than made good on the promise he showed (Swingers, Go, The Bourne Identity). Doing double-duty as director and director of photography, he's alchemized Jez and John-Henry Butterworth's deft adaptation of the couple's books about the scandal into a masterful thriller about the radioactive build-up to the Iraq invasion seeping into the homefront. The film cuts like a scalpel from shakycam shots of CIA operative Plame on ground missions to dinner-table conversations with friends about 9/11, or

A charged-up Sean Penn gets political

from her darkened Langley workplace as Scooter Libby and the White House pressure her team for evidence of Iraq's nuclear program to her ex-ambassador husband, Wilson, touring a sun-bright Niger to see if the country recently shipped yellow-cake uranium to Iraq. The sense of the CIA is, as Wilson wryly notes, "not ... very 007ish." Instead, it's closer to unexciting, carefully built-up

academic research—Plame even notes, "you can't compile intelligence from a single source." Penn plays Wilson as a man brimming with righteous indignation, but the film burns brightest with Watts' turn as a woman of remarkably quiet strength, so tough even her parents can't entirely understand her fortitude. Her loyalties to work and family run deep but sometimes cross.

The toll that Libby and Karl Rove's blowing of Plame's cover (via Richard Armitage and with help from reporter Robert Novak) took on the couple's marriage seeps in like ice water. Plame's shock at realizing her 18-year career's over pulses from the screen when her boss tells her "It's over," then again when this remarkably tough professional finally breaks down in

front of the mirror, before she's haunted by doubt about her marriage while doing dishes at her parents' house. But that toll's been echoed in the Baghdad house of scientist Hamed, where Plame's recruit Dr Zahraa, after doing dishes, asks her brother about the nuclear program. (He's incredulous that the Americans, who destroyed it in their 1991 attack on Iraq, still think it exists.) In a heartbreaking scene, at one opened door, those two homefronts collide. Like The Social Network, Fair Game makes a remarkably taut, tense story out of recent events. But its sense of the 2003 zeitgeist reveals a sad political truth beneath our social reality, when Internal Security's become internalized insecurity. In its thrilling exposure of the web of lies built around the Iraq invasion, it reminds us how much the rhetoric of the "war on terror" invaded all of our homes, depending on us to be doormats. V Opens Fri, Nov 19 Fair Game Written by Jez and John-Henry Butterworth, Joseph Wilson, Valerie Plame Directed by Doug Liman Starring Naomi Watts, Sean Penn Princess Theatre (10337 - 82 ave)



Cultural give and take NFB President Tom Perlmutter wants to talk Paul Blinov // paul@vueweekly.com

f there's one consistent note that National Film Board president Tom Perlmutter has heard ring out on his travels across Canada—he spends a week out of every month travelling and talking to different communities about the NFB to try and cultivate a connection between Canadians and the organization—it's that there's a sense of marginalization in our home and native land. Our country may profess to be a cultural mosaic of many cultures living together in harmony, but the problem with that idealistic view is stitching the pieces together into a cohesive whole, finding a thread to unite us as it celebrates the individual aspects of each piece. "It is a kind of conundrum, and it's different, in a way, from what it used to be, because I think we used to have some notion of a nation as having some

24 // FILM

kind of homogeny, one single point of identity," Perlmutter explains over the phone. "And I think what I'm hearing, and what we're moving to, is something much more interesting: the ability to have a sense of mosaic, but around it—and this is crucial—we still need to be grounded in common democratic civic values, because that's the basis on which we can build the kind of society we all agree we want to live in, whether it's in Alberta or Northern Canada or Atlantic Canada. And I think that's part of the role of a cultural institution like the Film Board: the way you build that common grounding within this kind of diversity is making sure we have ways of exchanging stories. It's kind of the most effective way of understanding others, is through telling stories." In his three years leading the organization, Perlmutter's certainly pushed the Film Board's accessibility to new

heights: he revamped the NFB website to give free access to the Film Board's massive vaults—yes, "The Logdriver's Waltz" and "The Hockey Sweater" are up there, alongside lesser-known and more contemporary works—and introduced an iPhone app that's had over a million views in just under a year. Continuing to make the NFB more engaging to the average Canadian is what these country-crossing talks are about, though he notes that each is "an evening of storytelling" rather than a formal, stuffy lecture. Perlmutter's hoping to hear what kinds of stories matter most to Edmontonians, as well as divulge the ways the NFB is growing and changing to become more vital to even the farther, smaller reaches of Canada, maintaining a cultural give-and-take with even the smallest, most overlooked parts of our home and native land. "People said to me, when we went online at the beginning of 2009, 'It's great

Tom Perlmutter talks to communities about the National Film Board

you're putting all these archives online.' What archives?" Perlmutter exclaims. "These are works of art. You wouldn't call the works of Leonardo Da Vinci Or Michelangelo 'archives,' and when they're pulled off the shelves, and made available, and you can sit down there and watch them at a level of quality that's just superb, they become alive, and they change because what makes a work of art is that constant interaction with its audience, with the viewer,

VUEWEEKLY // NOV 18 – NOV 24, 2010

with the person—whether it's a group of people or one person—with a kind of exchange with that work. That changes us. It enriches our ability to understand and perceive the world." V Mon, Nov 22 (6 pm) A conversation with NFB president Tom Perlmutter TransAlta Arts Barns (10330 - 84 Ave) nfb.ca

SCREENCAPS

THE NEXT THREE DAYS >> 26

Skyline

Now Playing Directed by Colin & Greg Strause Written by Joshua Cordes, Liam O'Donnell Starring Eric Balfour, Donald Faison, Scott Tompson

 They're not all as pointed about it as District 9, but visual-effects-laden Hollywood flicks are usually at least executed professionally enough that they can tap into some kind of oblique point or reflection of their culture. Independence Day was mostly about Will Smith killing aliens, but it also kind of turned the American weapons test that was Desert

Unstoppable Directed by Tony Scott Written by Mark Bomback Starring Denzel Washington, Chris Pine

 Even in Unstoppable's opening scenes of men lazily wandering around train yards, director Tony Scott is setting us up for propulsive action. When Frank Barnes (Denzel Washington) first meets Will Colson (Chris Pine), there isn't much more tension than the fact Will seems like another young, low-salary punk slowly replacing the veteran hands of Frank's ilk, but Scott's camera whizzes and tightens around the men, flitting around parked locomotives with

An Alien invasion's a-brewin' in Skyline

Storm back on itself, showing a vastly technologically superior enemy laying waste to American landmarks. Cloverfield was mostly about pretty people being scared, but it also tapped into post-9/11 fears about an unknown enemy

destroying New York. Skyline has some obvious stylistic parallels with all those films, but they really only serve to slap you in the face and remind you that you could be spending your time in much better ways. A visual

the kineticism that is slowly to come. Everything that makes Unstoppable so watchable is there in those first few scenes, insomuch as this movie basically only has two things going for it: the easy charm of its cast and Scott's energetic shooting style. Trains work because they ride on rails, though, and Unstoppable follows these particular tracks with more dynamic aplomb than you'd really expect from a movie about a runaway train. Using that always-weasly term "inspired by true events," Unstoppable follows a train with a toxic payload that starts barreling down the tracks unmanned and the various efforts to stop it. There's really only one direction to go here, but like its eponymous train Unstoppable goes at it full throttle, throwing up and blowing through

roadblocks and landmarks with Mussoliniesque efficiency. Various people try to stop the train and fail, all well our eventual heroes slowly bond, pulling together to save the day just in the nick of time. Scott doesn't let any of that triteness take away from telling an energetic story, though, and the always-watchable Washington gives the interior of an engine plenty of personality while Pine does a kind of sexy brooding thing, intercut with enough flashy, whizzing shots of trains flying down the rails and concerned citizenry to keep the stakes high. Unstoppable doesn't exactly pull a lot of freight, but there's really not a whole lot more you can ask for from a runaway train movie.

effects resumé masquerading as an actual film—it's directed by highly regarded VFX artists the Brothers Strause, who are far better at making monsters than picking scripts—Skyline is as vacant as a Syfy movie of the week, a fact that's only dragged down by the fact it's utterly inept at all the usual cheap thrills that come along with those. It is bored and bland actors stumbling around hackneyed dialogue in the service of a nonsensical plot, a drab, lifeless blob that can't even stumble into scenes of tension or awe. It opens in Los Angeles, where an alien invasion has begun with the arrival of some unearthly blue lights that seem to hypnotize people into getting abducted. After a brief backstory of our main characters that mostly just serves to remind

us why we shouldn't care about any of them, the aliens are back with massive ships that go about vacuuming up entire city blocks, and also groups of foot soldiers tracking down any humans that manage to escape the big suck, including a small cadre that come after our heroes as they attempt to hole up in a luxury condo building. The film is mostly just a series of attempted escapes thwarted by the peeka-boo aliens, though any and all actual excitement is mercilessly and repeatedly drowned by the artificiality of both the CGI monsters and the actors' attempts at emotion. Vapidity can be forgiven, but there's really no excuse for an apocalyptic alien invasion to be this boring. David Berry

// david@vueweekly.com

“A SMART, GRIPPING, AND IMMENSELY ENTERTAINING

SUSPENSE THRILLER!” Scott Mantz, ACCESS HOLLYWOOD

David Berry

// david@vueweekly.com

Modern Times Now available on DVD Written and directed by Charlie Chaplin Charlie Chaplin had brought a burgeoning sensitivity to the myriad social problems proliferating out from the Depression to Modern Times (1936). Industrial alienation, police brutality, citizens reduced to crime by hunger, hostility toward labour unions and petty micromanagement were all worked deep into the film's fabric through a chain of brilliant comic sequences that endure all the more for their indifference to ideology. One of the most memorable ones features Chaplin's Tramp, leading a parade of protesting workers demanding unionization, touting a red flag no less, and doing so completely unknowingly—he was just trying to flag down a truck. Modern Times is not the story of a worker who discovers politics but a worker who discovers that he's, like so many others, unemployed and hungry. So often he just wants to eat, something anyone can understand without the slightest bit of social context—that's why this is a terrific film for kids. Of course this particular worker is also afflicted with a condition that compels him to wreak a

little havoc everywhere he goes, especially in the places least appropriate, the ones where explosively tempered authority figures loom. This affliction takes its toll on the Tramp. Chaplin had heard about farm boys who'd been sent to work on Ford assembly lines and quickly succumbed to nervous breakdowns. Following the opening sequences that find the Tramp getting literally consumed by a colossal machine and having his body so consumed with repeating the same nut-tightening gesture in rapid succession that he can't stop running around with his wrench trying to screw everything in sight (insert Chaplin-as-pussyhound joke here), the Tramp himself collapses into nervous breakdown and is dismissed. But what I found so arresting in my latest viewing of Modern Times—now available on gorgeously rendered and heavily supplemented DVD and Bluray from Criterion—was the entrance of the film's other central character sometime after the Tramp's hospitalization. The young woman referred to only as the Gamine is first seen cutting and tossing bananas from a cargo ship to some raggedy children on the docks, doing so with a zest that's positively

deranged, not to mention undeniably sexy (and perhaps looks forward to the work of Christina Ricci). It's a stunning entrance, and the camera favours her as it does no one else in the film. This Gamine, who seems game for anything, will come to play a dynamic role in the Tramp's recovery, though their attempts at upward mobility are always endearingly absurd. She's played by Paulette Goddard, and it comes as no surprise to learn that Chaplin's discovery of her as a budding actress, a respected collaborator and a lover, was the other key element in the conception and execution of Modern Times. Unsurprising too, that Chaplin couldn't bear to use his original ending in which the Gamine entered a convent, leaving the Tramp to walk that final dusty stretch of road alone. The image of Chaplin walking away, with Goddard at his side, would be the last we'd ever see of the Tramp, closing the last (largely) silent film from this master filmmaker, which, despite the film's title, was made nearly 10 years after the introduction of sound, yet remains as timeless today as anything the movies have offered us. Josef Braun

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// josef@vueweekly.com

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FILM // 25

SCREENCAPS

<< CONTINUED FROM 25

The Next Three Days Written and directed by Paul Haggis Starring Russell Crowe

 Following a bafflingly superfluous teaser prelude, the first scene proper features two handsome couples of apparent privilege seated round a table in a nice Pittsburg restaurant, getting into a heated—which is to say overcooked—debate about gender roles in the workplace. So, ostensibly serious theme slapped down on the table, we already know we're in a Paul Haggis movie, even if the theme's not entirely obvious relevance to our story seems surprisingly loose for the Crash writer/director's typically hyperactive dramaturgy. What this scene tells us is that Lara Brennan's a woman worth going the limit for, one both smart and amorous—her public cat fight

gets her so aroused she leaps upon her husband as soon as they get to their car. Of course, her husband is Russell Crowe. The following morning Lara finds blood on her coat. Four seconds later cops burst in and arrest her for a murder we just sort of presume she didn't commit. Before you know it, Lara's behind bars and all out of appeals, sentenced to life imprisonment with no chance of avoiding a very bad dye job. Now desperately spouseless and stuck with a morose six-year-old to raise alone, John Brennan's only recourse is bust Lara out. He teaches literature at a community college, so there's a scene where he lectures on Don Quixote, in case we didn't catch on to the fact that he's about a hatch a plan that's positively quixotic! The title of The Next Three Days reads like a fleet thriller, but it actually needs to cover about three years worth of story

Russell Crowe breaks his wife out of jail

before those three days arise. That's a lot to burn through, and the perhaps inevitable result is that each of its central characters, Lara and the little boy most especially, never emerge as anything more than ciphers, mere props in a complicated plot. This isn't such a bad thing if the focus were to stay firmly on the action, but Haggis, working from a 2008 French movie

called Pour Elle, has to have it both ways, so we get scenes like the one where we first see John visit Lara in prison. I'm guessing that Haggis wanted to use the scene to strengthen our sense of the couple's intimacy and John's fathomless devotion— there's not much of a movie here without it—yet their every exchange is almost comical in its slavishness to exposition.

AT T H E U N I V E R S I T Y O F A L B E R TA

What we get is somberness without the satisfaction of emotional depth. What we get is a waste of Brian Dennehy in umpteen scenes where he does nothing but gaze portentously. The other thing we get is a thriller that's 133 minutes long. There's a nice cameo from Liam Neeson and some clever twists. Things are most interesting when John's forced to descend into Pittsburg's underworld to collect the necessary illegal items on his conscientious prison-break check list. He has dangerous run-ins with RZA, a deaf pessimist, and some really nasty dudes in a meth lab whose lives we're to regard as expendable if their termination should facilitate Lara's liberation. You sometimes wonder if there couldn't be something in John's totally insane adventure that might be fun, but that would be in the Tony Scott version, and we already got a new one from him last weekend (see page 25). Josef Braun

// josef@vueweekly.com

“STRONGLY WRITTEN, SMARTLY DIRECTED AND FORCEFULLY ACTED. One of the finest performances of Naomi Watts’ career.” –Kenneth Turan, LOS ANGELES TIMES

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FILM // 27

COMMENT >> DVD

Chaos reigns

Lars Von Trier's confrontational Antichrist revels in its own mess In his segment of the Cannes compendium film Chacun son Cinéma (To Each His Own Cinema), Lars Von Trier shows himself sitting in a tuxedo, enjoying an unknown film on screen. m ekly.co In short order, a boistervuewe ctive@ te e d d v ous fellow filmgoer starts d David disrupting everything, which Berry leads Von Trier to quietly and (relatively) calmly beat him to death with a hammer. Both the dark humour and the blunt approach to audience relations are particularly fitting for Von Trier, who sometimes seems to be interested in nothing but confrontation, destroying whatever shells and screens we bring with us to a film, reveling in the mess while he's creating it. Even for him, though, the response to Antichrist—out in short order on gratuitous if that wasn't exactly the a typically loaded Criterion release— point—but the charges of misogyny, was vociferous and forceful. The comat least, seem a little bit pedantic. That bination of graphic scenes—including charge is one that's dogged Von Trier Willem Dafoe ejaculating blood and a repeatedly through his career, and Anvery close-up view of Charlotte Gainstichrist would seem to be the perfect bourg trimming off her clitoris with tin target: after the death of their child snips—and what many critics charged while they're having sex, Dafoe and was a nasty misogynist streak will do Gainsbourg (who are never named in that, I suppose. the film) retreat to a remote mountain There's no getting around the disgust cabin, actually called "Eden," where he factor—which you could argue was hopes to treat her with psychotherapy. She slowly seems to be getting better, or at least Dafoe thinks until he finds the remains of a thesis on gynocide she was writing in the cabin before. Filled with pictures cut from the Malleus Maleficarum and slowly-degraded scribbling that suggests Gainsbourg has gone from criticizing medieval misogyny to self-identifying as wicked and evil, it's this discovery that really prompts the shit to hit the fan, as it were, and it's not long before Dafoe has his balls smashed with the blunt side of a hatchet and gets a sharpening wheel screwed into his calf.

DVCD TIVE

DETE

A simple reading could find a lot of dislike of women here, but this is Von Trier we're dealing with, and he seems more to be throwing various instances of our misogynist tendencies in our face than endorsing them. The overt religious imagery is one pretty strong clue, I think, but there's a lot going on here: just one example is that Von Trier has said he set out to make a horror film, and I think you could also read Gainsbourg as a kind of up-ending of the typical slash-

28 // FILM

VUEWEEKLY // NOV 18 – NOV 24, 2010

Charlotte Gainsbourg in Antichrist

er, in the sense that she's both initially easy to identify with and a woman (has there ever been a female killer in a horror movie?). And Dafoe's character, a pa-

The combination of graphic scenes— including Willem Dafoe ejaculating blood and a very close-up view of Charlotte Gainsbourg trimming off her clitoris with tin snips—and what many critics charged was a nasty misogynist streak will do that, I suppose. tronizing therapist who only seems able to analyze his wife, not empathize with her, hardly gets a ringing endorsement. Beyond shock value, though, Antichrist is also frequently beautiful, with plenty of images that will linger as long as the questions Von Trier hammers away at will. The two most striking are probably a Bosch-style tableau of hands emerging from a tree trunk and a highly unsettling scene with a selfdisemboweling fox who utters what might be the ideal epitaph for Von Trier's career goals: "Chaos Reigns." V

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Brian Gibson celebrates his 100th column by putting together a highlight reel of the Sidevue archives.

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FAIR GAME (PG coarse language) DAILY 7:00, 9:10; SAT�SUN 2:30

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

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

not recommended for young children) No passes DAILY 12:00, 3:30, 7:00, 10:30; DAILY 11:30, 3:00, 6:30, 10:00; Digital Cinema: FRI�SAT 12:30, 1:00, 4:00, 4:30, 7:30, 8:00, 11:00; SUN�TUE 12:30, 1:00, 4:00, 4:30, 7:30, 8:00; WED�THU 1:00, 4:30, 8:00

THE NEXT THREE DAYS (PG violence, coarse language) FRI�TUE, THU 12:40, 3:40, 6:50, 10:10; WED 3:40, 6:50, 10:10; STAR & STROLLER: WED 1:00 UNSTOPPABLE (PG coarse language) DAILY 1:20, 4:20, 7:20, 10:20

RED (14A violence) FRI 4:00, 6:40, 9:15; SAT�SUN

SKYLINE (14A violence) DAILY 1:40, 4:50, 7:45,

SECRETARIAT (G) FRI 3:00, 6:55, 9:45; SAT�SUN

MORNING GLORY (PG mature subject matter,

1:00, 4:00, 6:40, 9:15; MON�TUE 6:40, 9:15

12:15, 3:00, 6:55, 9:45; MON�TUE 6:55, 9:45

BURLESQUE (PG coarse language, not recom-

mended for children) No passes WED�THU 6:50, 9:35

FASTER (14A brutal violence) WED�THU 7:20, 10:05

TANGLED 3D (G) Digital 3d, No passes WED�THU

7:00, 9:40

10:45

coarse language) DAILY 12:20, 3:20, 6:40, 9:45

MEGAMIND (G) Digital Cinema FRI, SUN�TUE 12:45, 3:15, 6:30; SAT 3:15, 6:30

MEGAMIND 3D (G) Digital 3d FRI, SUN�THU

11:45, 2:15, 4:45, 7:10, 9:30; SAT 12:00, 2:15, 4:45, 7:10, 9:30

DUE DATE (14A crude content, substance abuse) DAILY 12:10, 2:40, 5:00, 7:40, 10:40

PARANORMAL ACTIVITY 2 (14A frightening

GARNEAU 8712-109 St, 780.433.0728

INSIDE JOB (PG language may offend) DAILY 7:00, 9:10; SUN 2:00

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

DUE DATE (14A crude content, substance abuse) No passes FRI�TUE 1:20, 3:20, 5:20, 7:15, 9:20

scenes) FRI�SAT, TUE 1:50, 5:10, 7:50, 10:45; SUN 12:00, 2:45, 10:45; MON 1:50, 4:15, 10:45

RED (14A violence) FRI, SUN�TUE 1:10, 4:10, 7:15, 10:15; SAT 4:10, 7:15, 10:15 JACKASS 3D (R) Digital 3d FRI�TUE 9:50 DAS RHEINGOLD (STC) SAT 11:00 WWE SURVIVOR SERIES � 2010 (Classification

not available) SUN 6:00

BURLESQUE (PG coarse language, not recom-

mended for children) Dolby Stereo Digital, Stadium Seating, No Passes WED�THU 12:30, 3:30, 7:30, 10:30

BURLESQUE (PG coarse language, not recom-

mended for children) No passes WED�THU 12:45, 3:05, 5:10, 7:20, 9:30

LOVE AND OTHER DRUGS (18A) Dolby Stereo Digital, No passes WED�THU 12:45, 3:45, 6:45, 9:45

mended for children) Digital Cinema, No passes WED 3:50, 6:45, 9:50; THU 12:50, 3:50, 6:45, 9:50; Star & Strollers: WED 1:00

UNSTOPPABLE (PG coarse language) DAILY 1:35,

FASTER (14A brutal violence) WED�THU 1:50, 5:10,

TANGLED 3D (G) Digital 3d, No passes, Stadium

SKYLINE (14A violence) DAILY 1:40, 3:40, 5:40,

TANGLED (G) Digital 3d, No passes WED�THU

MEGAMIND (G) No passes DAILY 1:00, 3:00, 4:55,

LOVE AND OTHER DRUGS (18A) No passes

Seating WED�THU 12:15, 2:50, 5:20, 7:50, 10:25

CLAREVIEW 10 4211-139 Ave, 780.472.7600

PARANORMAL ACTIVITY 2 (14A frightening

scenes) FRI 4:20, 6:50, 9:20; SAT�SUN 1:40, 4:20, 6:50, 9:20; MON�TUE 5:30, 8:00

MEGAMIND 3D (G) Digital 3d FRI 4:10, 6:40,

9:10; SAT�SUN 1:30, 4:10, 6:40, 9:10; MON�THU 4:50, 7:45

DUE DATE (14A crude content, substance abuse)

FRI 4:40, 7:15, 9:35; SAT�SUN 1:45, 4:40, 7:15, 9:35; MON�THU 5:25, 8:20

MORNING GLORY (PG mature subject matter, coarse language) FRI 4:00, 6:35, 9:15; SAT�SUN 1:00, 4:00, 6:35, 9:15; MON�THU 5:40, 8:30 UNSTOPPABLE (PG coarse language) No passes

FRI 4:15, 7:10, 10:00; No passes SAT�SUN 1:20, 4:15, 7:10, 10:00; MON�THU 5:15, 8:15

SKYLINE (14A violence) FRI 4:50, 7:20, 9:50; SAT� SUN 1:50, 4:50, 7:20, 9:50; MON�THU 5:35, 8:35

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

not recommended for young children) No passes, On 3 Screens: FRI 3:15, 3:45, 4:30, 6:30, 7:00, 7:50, 9:40, 10:15; SAT�SUN 12:00, 12:30, 1:10, 3:15, 3:45, 4:30, 6:30, 7:00, 7:50, 9:40, 10:15; MON�TUE 4:10, 4:40, 5:10, 7:25, 7:50, 8:25; On 2 Screens: WED�THU 4:10, 4:40, 7:25, 7:50

THE NEXT THREE DAYS (PG violence, coarse

language) FRI 3:40, 6:45, 9:45; SAT�SUN 12:40, 3:40, 6:45, 9:45; MON�THU 5:00, 8:10

TANGLED (G) Digital 3d, No passes WED�THU 5:10, 7:40

BURLESQUE (PG coarse language, not recom-

mended for children) No passes WED�THU 5:20, 8:10

3:35, 5:35, 7:35, 9:30 7:30, 9:25

7:00, 8:50

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

not recommended for young children) No passes DAILY 12:55, 3:40, 6:30, 9:10

LEDUC CINEMAS Leduc, 780.352.3922

MORNING GLORY (PG mature subject matter,

coarse language) SAT�SUN 12:55, 3:30; DAILY 6:55, 9:30; WED�THU 9:30

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

not recommended for young children) SAT�SUN 12:40, 3:45; DAILY 6:40, 9:45

UNSTOPPABLE (PG coarse language) DAILY 7:10, 9:35; SAT�SUN 1:10, 3:35

MEGAMIND (G) DAILY 7:00, 9:25; WED�THU 7:00; SAT�SUN 1:00, 3:25

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

ANCIENT LEGEND, WHEN THE SUN WAS GOD (STC) FRI 7:00

DUMA PRO TARASA BULBU (STC) FRI 9:15 THE SOVIET STORY (STC) SAT 7:00 GOLDEN SEPTEMBER (STC) SAT 9:00 ILLUSION OF FEAR (STC) SUN 7:00

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

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

VUEWEEKLY // NOV 18 – NOV 24, 2010

7:50, 10:45

11:40, 2:10, 4:40, 7:15, 9:40

WED�THU 1:10, 4:10, 7:30, 10:15

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

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

not recommended for young children) No passes, Dolby Stereo Digital FRI 6:40, 10:00; SAT�SUN 12:00, 3:20, 6:40, 10:00; MON�THU 5:00, 8:35

SECRETARIAT (G) Dolby Stereo Digital FRI 6:55, 9:45; SAT�SUN 12:30, 3:45, 6:55, 9:45; MON�TUE 5:30, 8:20 THE NEXT THREE DAYS (PG violence, coarse language) DTS Digital FRI 6:30, 9:25; SAT�SUN 12:15, 3:35, 6:30, 9:25; MON�THU 5:15, 8:05 UNSTOPPABLE (PG coarse language) No passes, DTS Digital FRI 7:05, 9:35; SAT�SUN 12:40, 3:10, 7:05, 9:35; MON�THU 5:45, 8:45

FASTER (14A brutal violence) Dolby Stereo Digital WED�THU 5:30, 8:20

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

MEGAMIND (G) DAILY 6:55, 9:25; WED�THU; 7:00; SAT, SUN 12:55, 3:25

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

not recommended for young children) SAT�SUN 12:40, 3:45; DAILY 6:40. 9:45

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

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

FILM // 29

MUSIC

AT VUEWEEKLY.COM

VUETUBE >> Grady

Blowing in the wind

Sparrow took flight without a safety net on latest album

Punk in a field Paul Blinov // paul@vueweekly.com

t's been over a year since Jay Sparrow flew the punk-rock coop, chasing an updraft of roots and folk music that seemed to offer more creative lift than the tough-guy abandon of his previous outfit, Murder City Sparrows. Twelve months on, the shift in direction is one he's all the more resolute to have followed to its conclusions. "I didn't belong there. I feel like I was sort of not entirely truthful to myself or to what I was doing," he explains, over the phone from Toronto. "I think it needed to happen, and it was just strange, y'know, that we all felt that. It wasn't like I left the band. We all just sort of left the band. We did lots of great stuff and we had so much fun and lots of crazy stupid things too, but it just didn't feel like me, so it had to end, at some point." Sparrow isn't the first punk to trade in aggression for acoustics—look to the solo outings of Social Distortion's Mike Ness, or the sometimes punk-rock, sometimes country-twang approach of Seattle's Supersuckers. There's a rather rich lineage linking punk and folk music, which Sparrow sees as being more about differing methods than ideologies. "I think punk music, at its core and at its best, is searching for a truthful statement on our world," he says. "They choose kind of an ugly stance, or sort of an uglier soapbox to stand on, but I think that's the parallel between that and folk music, is that they're both sort of searching for something honest in our society. And in searching for that

30 // MUSIC

truth, the same similar sort of sentiments can come out. That's only going to make sense to me because a lot of punk music seems to be angry young men, and a lot of folk music is, I guess it's sort of the same thing, but it's more intellectualized." From that intellectualized, one-man stance, Sparrow's produced three records in 12 months. In Our Time is his latest and perhaps most well-balanced, a pastiche of rootsy insight, rollicking guitar and singer-songwriter introspection, while still offering hints of the punk-rock kineticism that once propelled him along. Sparrow might do acoustic now, but he does acoustic loud. It's also the solo album he's spent the least amount of time putting together. Instead of going to the studio with a batch of well-rehearsed songs to whittle down into an LP, Sparrow entered with only the intent to write one. "I just decided to go in with nothing,

VUEWEEKLY // NOV 18 – NOV 24, 2010

and try and write it on the spot, and record at its inception, so it kind of had a pure vibe to it," Sparrow says. "It was very frightening. I'm typically the kind of person who always feels like I'm on the right path—like I feel like I'm in control, and I know how to get where I need to go. And for this, I felt totally helpless. I didn't know if I was making something good or not. And in that sense, it was not fun, because, like I said, usually you have an editing process: I'll write 50 songs for a record to get 10. So already, you're not even allowing stuff that might be sub-par to get to the studio. But in this circumstance, I didn't have time to think about it. I wrote it, and then we were hitting the record button. I just had to feel it out as I went." V Sun, Nov 21 (8 pm) Jay Sparrow With Tupelo Honey, Maurice, Looking East Lyve on Whyte, $24

REVUE Jay Sparrow In Our Time (Break Pattern)  Altogether, the nine songs on In Our Time fall under the woodsy foliage of folk, the album's strengths in its diversity and the multiple liberties Jay Sparrow takes with the term. From the

highlight "Run"—a commanding, relentlessly joyous ode to how "We aren't made for 40 years / Of other people's plans"— to "Don't Let the Flag Touch the Ground"'s slow-burning, bluesy guitar wail, Sparrow can still do loud without losing nuance and lyrical cleverness. But the simple bittersweet trio that closes In Our Time covers more introspective ground with an equally lively approach, proof of a songwriter capturing the joyous highs of a creative peak. Paul Blinov

// paul@vueweekly.com

Dimmu Borgir

// Joachim Luetke

Fri, Nov 19 (7pm) With Guests Edmonton Event Centre, $35.75 Norway's symphonic black-metal gods Dimmu Borgir will be hitting the Edmonton Event Centre as part of the band's Darkness Reborn tour in support of its ninth full-length studio album, Abrahadabra. The new album took over 11 months to complete and involved over 100 musicians, including a full symphony and a 38-member choir. While the band took some new risks experimenting with Abrahadabra, the result is punishing, epic and overwhelmingly complete, guitarist Gander explains. "We weren't sure what to expect because it's a little different than the other albums we've put out," he says. "We wanted to experiment more, to make it more epic. We had an orchestra and choir on it, which we've never done before, and a bunch of sample work. The songwriting was really smooth, but it was just a lot of hard work

These Black-metal gods aren't all doom and gloom

putting it all together." Having been formed over 16 years ago by founding members Silenoz and Shagrath, Dimmu Borgir has emerged as one of Europe's most successful black-metal bands— no small feat, explains Galder, given the state of black metal's evolution. "Metal's the same as it's always been; of course there's been some house cleaning, so to speak—it's a bit more mellowedout than what it used to be. There's a lot more experimenting going on, which has opened it up for the main public. You can

see that when we play concerts: there's a more varied group of people in the shows, it's not just the traditional blackmetal [fans]. It's not really that underground anymore. "We're still here," he concludes. "Seventeen years later and still going strong. It's just been a big joy ride, and we've been so fortunate in doing all the stuff we wanted to do—playing Ozzfest, playing alongside all the great bands and touring a lot. It's been fantastic." Mike Angus

// mikeangus@vueweekly.com

VUEWEEKLY // NOV 18 – NOV 24, 2010

MUSIC // 31

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

THU NOV 18 ACCENT EUROPEAN LOUNGE Lyra Brown,

Joel Crichton (Indie/ piano/jazz); 9:30pm11:30pm; no minors; no cover

BLUE CHAIR CAFÉ

Jazz Thu: Karen Porkka Trio; 7:30pm; $8

BOHEMIA No Ego DJs: Paint My Decks

BRIXX BAR Radio Brixx: Steam Whistle Launch, No Witness, Hale Hale, Soundscape; 8pm (door); $10 (door)

CAFÉ HAVEN Erin

Mulcair; 7pm

ENCORE CLUB With

CROWN PUB Crown

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

DUSTER'S PUB Thu

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

DV8 Open mic Thu

hosted by Cameron Penner/ and/or Rebecca Jane

ELECTRIC RODEO� Spruce Grove Open

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

RUSTY REED'S HOUSE OF BLUES Jason Buie;

9:30pm; $5

STARLITE ROOM

The Wheat Pool, The Switchmen; no minors; 7:30pm (door); $12 at TicketMaster

every Thu night; 7-9pm

Wintersleep, Ra Ra Riot, Listening Party; 8pm (door); $25 at TicketMaster, Blackbyrd

FILTHY MCNASTY’S

BRIXX BAR Options: Greg

FLUID LOUNGE Girls

CAFFREY'S Boogie

FUNKY BUDDHA�Whyte Ave Requests with DJ

CARROT Live music Fri:

Punk Rock Bingo with DJ S.W.A.G. Night out

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

HOOLIGANZ Open stage

WILD BILL’S�Red Deer TJ the DJ every Thu

J AND R Classic rock!

WILD WEST SALOON Kory Wlos

electro house spun with PI residents

WUNDERBAR Bill

PLAY NIGHTCLUB

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

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

and Fri; 10pm-close

open jam; 7-11pm

JAMMERS PUB Thu

Bourne, Terry Morrison (Sasquatch Photographic Art Show); 8pm-12

JEFFREY'S CAFÉ David

Classical

Shephard (contemporary jazz); $10

L.B.'S PUB Thu open

CHRISTOPHER'S

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

HAVEN SOCIAL CLUB Mike Plume Trio,

COLAHAN'S Back-porch

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

Osbourne, Halford; all ages; 6:30pm (door)/7:30pm (show); $29.50, $39.50, $59.50, $89.50

SECOND CUP� Varscona Live music

JULIAN'S�Chateau Louis Graham Lawrence

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

REXALL PLACE Ozzy

A Latin Twist: free Salsa Dance Lessons at 9pm

CARROT CAFÉ

Zoomers Thu afternoon Open Mic; 1-4pm

PAWN SHOP Diamond Rings; 8pm; $10 (door)

( jazz piano); 8pm

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

LEVA CAFÉ Tangele Latin Jazz Trio ( jazz); 8-10:30pm no cover

LIVE WIRE BAR Open Stage Thu with Gary Thomas

LYVE ON WHYTE

Whiskeyface, Radioflyer, Heaviside, Zoo Lion; 8-11:30pm

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

WINSPEAR CENTRE

Robbins Lighter Classics: Edmonton Symphony Orchestra Showcase; 8pm

DJs BILLY BOB’S LOUNGE Escapack Entertainment

BLACK DOG FREEHOUSE Big Rock

Thu: DJs on 3 levels– Topwise Soundsystem spin Dub and Reggae in The Underdog

BOHEMIA Paint My

Decks: No Ego DJs and Joe Clarke; 9pm; no minors; free

BRIXX BAR Radio Brixx with Tommy Grimes spinning rock and roll

BUDDY'S Thu Men’s Wet

NAIT Rex Goudie (singersongwriter)

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

NAKED CYBERCAFÉ

CHROME LOUNGE

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

NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers

Every Thu: 123 Ko

CENTURY ROOM

Underground House every Thu with DJ Nic-E

DRUID IRISH PUB

Dublin Thu: DJ every Thu at 9pm

PLANET INDIGO�St Albert Hit It Thu: breaks,

Gameshow every Thu with Patrick and Nathan; 9pm

RENDEZVOUS PUB

Mental Thurzday with org666

SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thu; no cover TAPHOUSE�St Albert Eclectic mix with DJ Dusty Grooves every Thu

UNION HALL 123 Thu:

Hosted by Jersey Shore Star Sammi Sweetheart

FRI NOV 19 ARTERY Frazey Ford (Be

Gory, Eddie Lunchpail; 9pm (door); $5/girls free

Patrol

all ages; 7pm; $5 (door)

CASINO EDMONTON Blackboard Jungle (pop/ rock)

CASINO YELLOWHEAD Whiskey Boys (pop/rock)

CENTURY CASINO

Shanneyganock; 7pm; $29.95 at TicketMaster, Century Casino

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

DV8 This City Defects, Bedside Bombs; 9pm EARLY STAGE SALOON�Stony Plain Dave Lang Band

EDMONTON EVENT

CENTRE Darkness Reborn Tour: Dimmu Borgir, Enslaved, Blood Red Throne, Dawn Of Ashes; all ages; 7pm (door); $28.50 at unionevents.com, Ticketmaster, Blackbyrd ELECTRIC RODEO� Spruce Grove The Tim

Lee Band

ELEPHANT AND CASTLE–Whyte Ave

Open mic every Wed (unless there's an Oilers game); no cover

ENCORE CLUB 4 Play Fri EXPRESSIONZ CAFÉ

Uptown Folk Club Open Stage; 7pm (music), 6:30pm (door); $4 (door)/ free (member)

FESTIVAL PLACE

Good Tanyas), Manraygun; 8pm (door); $15 at Blackbyrd

Battlefield Band (Celtic); 7:30pm; $30-$36 at Festival Place box office

AVENUE THEATRE

FRESH START BISTRO

Breaking the Fourth Wall, guests; all ages

BLUE CHAIR CAFÉ Dana Wylie and the Two-Bob Orchestra; 8pm; $12 BOHEMIA The Bridle Party, Dutch Haywagon, Bonspiel, Zebra Pulse, DJs Christian and Lex; McDonald Family Animal Shelter Fundraiser, all proceeds go to the animal shelter; 9pm; no minors; $6 (door)

Rollanda Lee Jazz Diva; 7pm

HAVEN SOCIAL CLUB The Canyon Rose Outfit, special guests; 7:30pm (door); $10 (door)

IRISH CLUB Jam session; 8pm; no cover

IVORY CLUB Duelling

piano show with Jesse, Shane, Tiffany and Erik and guests

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ACCENT EUROPEAN LOUNGE 8223-104 St, 780.431.0179 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751 BLACK DOG FREEHOUSE 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 BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CAFÉ HAVEN 9 Sioux Rd, Sherwood Park, 780.467.9541 CAFFREY'S 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 Trail CHURCH OF SCIENTOLOGY 10255-97 St, 780.425.3662

32 // MUSIC

COAST TO COAST 5552 Calgary Tr, 780.439.8675 COLAHAN'S 8214-175 St, 780.487.8887 COPPERPOT Capital Place, 101, 9707-110 St, 780.452.7800 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704. CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 DOUBLE D'S 15203 Stony Plain Rd 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�Stony Plain 4911-52 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ELEPHANT AND CASTLE–Whyte Ave 10314 Whyte Ave ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 EXPRESSIONZ CAFÉ 9938-70 Ave, 780.437.3667 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FUNKY BUDDHA 10341-82 Ave,

VUEWEEKLY // NOV 18 – NOV 24, 2010

780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GOOD EARTH COFFEE HOUSE 9942-108 St HALO 10538 Jasper Ave, 780.423. HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILL TOP PUB 8220-106 Ave, 780.490.7359 HOLY TRINITY ANGLICAN CHURCH 10037-84 Ave HOOLIGANZ 10704-124 St, 780.452.1168 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/HYDEAWAY 10209-100 Ave, 780.426.5381 JUNCTION BAR 10242-106 St, 780.756.5667 KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVA CAFÉ 11053-86 Ave LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont MAYFIELD INN 16615-109 Ave

MEAD HALL 10940-166A St MCDOUGALL UNITED CHURCH 10025-101 St MORANGO’S TEK CAFÉ 10118-79 St MUTTART HALL�Alberta College 10050 Macdonald Dr NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORTH GLENORA HALL 13535109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 O'MAILLE'S 398 St Albert Trail, St Albert, 780.458.5700 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 QUEEN ALEXANDRA COMMUNITY HALL 10425 University Ave REDNEX BAR�Morinville 10413100 Ave, Morinville, 780.939.6955 RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602

ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 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 TREASURY 10004 Jasper Ave, 7870.990.1255 UNION HALL 6240-99 St VARSCONA HOTEL Rutherford Rm, 8208-106 St 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

JEFFREY'S CAFÉ Krystle Dos Santos (R'n'B singer with funky band); $15

BUDDY’S Fri: DJ Arrow

DV8 Utopian Skank, Our

JEKYLL AND HYDE PUB Every Fri: Headwind

CENTURY ROOM

EARLY STAGE SALOON�Stony Plain

(classic pop/rock); 9pm; no cover

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

LYVE ON WHYTE

Early Show: Grounded Star (hardrock), Southroot, Shelbi and Drypht, 7pm (door); Late Show: Cover Set with Chill Factor (rock)

MEAD HALL Acoustic

Acts: Jimmy Zenn, Jim Nowhere, Poison Fantasy, Layne L'heureux

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

Underground House every Fri with DJ Nic-E

CHROME LOUNGE Platinum VIP Fri

DRUID IRISH PUB DJ

every Fri at 9pm

EMPIRE BALLROOM Yoji and Scot Project

ESMERELDA'S Ezzies

Freakin Frenzy Fri: Playing the best in country

FUNKY BUDDHA� Whyte Ave Top tracks,

rock, retro with DJ Damian

O'MAILLE'S Mr Lucky

(blues roots)

GAS PUMP Top 40/dance with DJ Christian

ON THE ROCKS Ratt

IRON HORSE House

Poison; 9pm; $5

RED PIANO BAR

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

RUSTY REED'S HOUSE OF BLUES Rault Brothers;

9:30pm; $10

SPORTSMANS LOUNGE The McGowan

Family Band, Analog Apocalypse; 9:30pm; no cover; no minors

STARLITE ROOM

Jeremy Fisher, Miss Emily Brown; 9pm (door); tickets at TicketMaster, Blackbyrd

STEEPS�Old Glenora Live Music Fri

TAPHOUSE�St Albert The Autumn Effect, Unbalanced

TOUCH OF CLASS�

Chateau Louis Tony Dizion (pop/rock); 8:30pm1230am Friday/Saturday WILD BILL’S�Red Deer TJ the DJ every Thu and Fri; 10pm-close

WILD WEST SALOON Kory Wlos

WOK BOX Fri with Breezy

Brian Gregg; 3:30-5:30pm

YARDBIRD SUITE

Best of Edmonton: Marty Majorowicz Syndicate; 8pm (door), 9pm (show); $12 (member)/$16 (guest) at TicketMaster

Classical MUTTART HALL� Alberta College The

Edmonton Classical Guitar Society: Irina Kulikova; 8pm; $25/$20 (student/ senior/ECGS member) at TIX on the Square, Avenue Guitars, Acoustic Music, ADW Music, door

DJs 180 DEGREES Skinou *Wear*Red* Fri: with Femcee DJ Eden Lixx

AZUCAR PICANTE Every

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

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)

REDNEX�Morinville DJ

Gravy from the Source 98.5

RED STAR Movin’ on Up

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

ROUGE LOUNGE Solice Fri

SPORTSWORLD Roller

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

STOLLI’S Top 40, R&B,

house with People’s DJ

SAT NOV 20

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

BLACK DOG FREEHOUSE Hair of the

Dog: 100 Mile House (live acoustic music every Sat); 4-6pm; no cover

BLUE CHAIR CAFÉ Dave McCann with Charlie Hase; 8pm; $10 BRIXX BAR Ghost Cousin, Drowning Ophelia, A Little Project; 9pm (door); $12 (door) CARROT Open mic Sat; CASINO EDMONTON Blackboard Jungle (pop/ rock)

CASINO YELLOWHEAD Whiskey

BLACK DOG FREEHOUSE Fri DJs spin

COAST TO COAST Live

dance

Lee Band

FILTHY MCNASTYS The Give 'em Hell Boys, guest Victoria Baldwin; 4-6pm; free

GAS PUMP Blues Jam/

open stage every Sat 3-6pm, backline provided

HAVEN SOCIAL CLUB

Jason Collett, Al Tuck; 7:30pm and 9pm (door); $15 at TicketMaster

HILLTOP PUB Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm 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 Lauren Handerek ( jazz tri); $10

JULIAN'S�Chateau Louis Graham Lawrence

( jazz piano); 8pm

L.B.’S PUB Sat Jam with Gator and friends; 5-9pm LYVE ON WHYTE

MEAD HALL Civil Savage, MORANGO'S TEK CAFÉ

Boys (pop/rock)

BOOTS Retro Disco: retro

ELECTRIC RODEO� Spruce Grove The Tim

ALBERTA BEACH HOTEL Open stage with

and Reggae night every Sat

BAR WILD Bar Wild Fri

BLACKSHEEP PUB Fri Bash: DJ spinning retro to rock classics to current

Night in White; $72 at TicketMaster, Foosh (Whyte), Rain Salon (WEM), Shadified Salon (Northgate), Grass Roots (Calgary)

Desecrate Scripture, Within The Ashes; 9pm

7:30-10pm; free

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

Belec (CD release); 8pm (door)/9pm (show); $14 (member)/$18 (guest) at Ticketmaster

BLACK DOG FREEHOUSE Who

180 DEGREES Dancehall

BANK ULTRA LOUNGE

BAR�B�BAR DJ James;

EDMONTON EVENT CENTRE FROST 2010–A

YARDBIRD SUITE Peter

MAYFIELD INN Night of Fire 2: Mama Africa; 7pm (door), 8pm; $25 (adult)/$15 (student) at TIX on the Square

CAFFREY'S Boogie Patrol

no cover

BEER HUNTER�St Albert Open stage/jam

Y AFTERHOURS Foundation Fri

bands every Sat; 9:30pm

CROWN PUB Acoustic Open Stage during the day/Electric Open Stage at night with Marshall Lawrence, 1:30pm (signup), every Sat, 2-5pm; evening: hosted by Dan and Miguel; 9:30pm12:30am DOUBLE D'S Law and

Order (classic rock/blues); 9pm

SUN NOV 21

WILD WEST SALOON

Tupelo Honey (CD release), JFR Project Vinyl Heart and Chasing Jones

DJ Tyco and Ernest Ledi; no line no cover for ladies all night long

TOUCH OF CLASS�

Chateau Louis Tony Dizion (pop/rock); 8:30pm1230am

Marv Machura and the Early Stage Allstars with Derek Anderson (steel guitar)

TREASURY In Style Fri:

Fri: DJ Papi and DJ Latin Sensation

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

Sound Machine; 9pm

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

O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm O'MAILLE'S Mr Lucky (blues roots)

ON THE ROCKS Ratt Poison; 9pm; $5

PAWN SHOP Cygnets

Kory Wlos

Classical HOLY TRINITY ANGLICAN CHURCH

Magnificat: I Coristi Chamber Choir; 7pm (silent auction), 8pm (show); $20 (adult)/$15 (student/senior) at TIX on the Square

MYER HOROWITZ THEATRE Edmonton

Raga-Mala Music Society: Akhilam Madhuram (solo bharathanatyam on Mathura and Vrindavan); 7:30pm; $20/$15 (student/senior)/ Ragamala Patrons free; ramavaidyanathan.com

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

BLACK DOG FREEHOUSE Sat DJs on

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

BLACKSHEEP PUB Sat DJ

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

Underground House every Sat with DJ Nic-E

ENCORE CLUB So

Sweeeeet Sat

ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Sat

Gone Gold Mash-Up: with Harmen B and DJ Kwake

FUNKY BUDDHA� Whyte Ave Top tracks,

rock, retro with DJ Damian

HALO For Those Who

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

JUNCTION BAR LGBT

Community: Rotating DJs Fri and Sat; 10pm

NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri Lounge Sat night DJ

Presents Live On Site! AntiClub Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door)

PLANET INDIGO�Jasper Ave Suggestive Sat: breaks electro house with PI residents

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

PLAY NIGHTCLUB Every Sat with DJ Showboy; 8pm (door)

RENDEZVOUS TerrorFist,

RED STAR Sat indie rock,

RUSTY REED'S HOUSE OF BLUES Rault Brothers;

9:30pm; $10

STARLITE ROOM Piece of Africa, Heritage Fusion: DJ Cleo, Nick Holder, DJ Mpintsh, guests; 9pm (door); $25 (adv)

BLUE PEAR RESTAURANT Jazz on the Side Sun; $25 if not dining

BLUES ON WHYTE Rattle Snake Romeo

B�STREET BAR

Acoustic-based open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening

CHURCH OF SCIENTOLOGY Open

stage; blues and original, all welcome every Sun; 7-9:30pm

CROWN PUB Latin/

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

DEVANEY’S IRISH

PUB Celtic Music Session, hosted by Keri-Lynne Zwicker, 4-7pm DOUBLE D'S Open jam every Sun; 3-8pm

EDDIE SHORTS Sun

FESTIVAL PLACE A Grand Ole Country Xmas; 6:30pm

Rock, hip hop, house, mash up

PAWN SHOP SONiC

RIVER CREE�The Venue Lonestar

Brunch: Jim Findlay Trio; 10am-2.30pm; donations

EMPIRE BALLROOM

QUEEN ALEXANDRA COMMUNITY HALL

Oooze, Dissonance; $8; 8pm (door), 10pm (show)

BLUE CHAIR CAFÉ Sun

acoustic oriented open stage hosted by Rob Taylor

PALACE CASINO Show

RED PIANO BAR

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

DRUID IRISH PUB Sat

DJ at 9pm

(CD release party); 9pm; no cover, free CD

Northern Lights Folk Club: Wise and Weathered: Catherine MacLellan, Raghu Lokanathan, Kim Barlow; 8pm; $18 at TIX on the Square, Acoustic Music, Myhre’s Music

every Sun; 2-6pm

hip hop, and electro with DJ Hot Philly and guests

RENDEZVOUS Survival

metal night

SPORTSWORLD Roller

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

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

Y AFTERHOURS Release

HORIZON STAGE High Heels and Spurs: Tiffany Dowhan and Tim Hus; 2pm

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 HaveNots; 3-7pm

LYVE ON WHYTE

Early Acoustic Show: Tupelo Honey unplugged, Jay Sparrow, Maurice, Looking East; 8pm (door)

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 Sun: Malibu Knights and Wednesday Morning Blues; 9pm; $5

ORLANDO'S 2 PUB

Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm

PAWN SHOP The Small Sins, guests; 8pm (door); $10 (door) RED PIANO Kira

Hladun (CD release); 6pm (door)

ROYAL COACH�

Chateau Louis Petro Polujin (classical guitar); 5pm RUSTY REED'S HOUSE OF BLUES Sun open stage with the Rusty Reed Band; 3-6pm

SECOND CUP� Mountain Equipment Co-op Live music every

Sun; 2-4pm

Sat

VUEWEEKLY // NOV 18 – NOV 24, 2010

MUSIC // 33

COMMENT >> INDEPENDENT PROMOTERS

A toast to our own

Edmonton's independent promoters keep the scene growing When Cecil Frena returns home from GOBWyrd Alberta—bringing together outre BLE GOBBLE's months-long infinitour Edmonton bands and esoteric outsiders to play Aaron Levin's GOBBLE we might not otherwise get to see FEST this Saturday, it will mark (in addition to his fine work on a collaboration of two of the Weird Canada). most important people in EdI'm singling this pair out, but ly.com monton's music scene in the in truth they are two of a small eweek u v @ david past few years. And not becadre of independent promotDavidy cause they both happen to be ers that are the key to the future Berr in pretty good bands. of Edmonton's music scene. The As one half of the Push Pins bookmajor promoters, of course, ensure ing team, Frena was instrumental in the we can see those big touring acts everyone creation of the Hydeaway All Ages Art loves, but without the folks booking the Space, as well as being responsible for halls, dives, basements and soon-to-becountless other shows for Edmonton's shuttered illegal venues that give bands a young up-and-comers and smaller travelchance to find their legs, the idea of local ling acts. GOBBLE FEST will be the third music wouldn't even exist around here. And such night-long musical festival Levin has for that their reward is usually only getting produced—along with Wyrd Fest and to see a great show and making sure the

R GUTTE E

DANC

Classical HOLY TRINITY ANGLICAN CHURCH

Big Horns (tuba quartet), 7:30-10pm; $18 (adult)/$15 (student/senior) at TIX on the Square

MCDOUGALL UNITED CHURCH Voices Unite:

Pro Coro Canada featuring PJ Perry at 2:30pm; PreConcert Lecture: with Marg Daly 1:45-2:15pm (basement)

WINSPEAR CENTRE

Sunday Showcase: Edmonton Symphony Orchestra, William Eddins (solo), David Eggert (cello), Christopher Taylor (bass trombone); 2pm; $20-$65 at Winspear box office

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

SPORTSWORLD

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

MON NOV 22 BLACK DOG FREEHOUSE Sleeman

Mon: live music monthly; no cover

BLUES ON WHYTE Rattle Snake Romeo

BOHEMIA Ramshackle

Day Parade: Comaduster, Band Band, The BangGang, Philip Dickau & Meat Force, and film screening of Thruways; no minors; 7pm; $5 (door)

DEVANEY'S IRISH PUB

SIDELINERS PUB Tue

ROSE BOWL/ROUGE LOUNGE The Legendary

SPORTSMAN'S LOUNGE Open Stage

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

RUSTY REED'S HOUSE OF BLUES

Blue Mon Open Blues Jam with 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

All Star Jam with Alicia Tait and Rickey Sidecar; 8pm

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

STEEPS�Old Glenora

Every Tue Open Mic; 7:309:30pm

YARDBIRD SUITE Tue Night Sessions: Dave Morgan Quintet; 7:30pm (door), 8pm (show); $5

Classical WINSPEAR CENTRE

U of A Music Symphonic Wind Ensemble, U of A Concert Band; 8pm; $20 (adult)/$15 (student/senior) at Dept of Music office, 780.492.0601, door

DJs BLACK DOG FREEHOUSE Main Floor:

CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam

TUE NOV 23

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

BLUES ON WHYTE

BUDDYS Tue with DJ

Rattle Snake Romeo

BRIXX BAR Troubadour

Tue: Ryan Cook, C Squared; host Mark Feduk; 8pm (door); $5 (door)

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, with guest Ambre McLean; 9pm

L.B.’S Tue Jam with Ammar; 9pm-1am

O’BYRNE’S Celtic Jam

with Shannon Johnson and friends

PADMANADI Tue open

Arrow Chaser; free pool all night; 9pm (door); no cover

ESMERALDA’S Retro Tue; no cover with student ID

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

VUEWEEKLY // NOV 18 – NOV 24, 2010

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

EXPRESSIONZ CAFÉ

Wed Open stage; 7-11pm; admission by donation

FIDDLER'S ROOST Little

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

GOOD EARTH COFFEE HOUSE Wed with Breezy

BLACK DOG FREEHOUSE Main Floor:

Glitter Gulch Wed

BLUES ON WHYTE Big Hank Lionheart, Fist Full of Blues

every Wed night: Kelly Alanna; 6-9pm

CROWN PUB Creative

original Jam Wed (no covers): hosted by Dan and Miguel; 9:30pm-12:30am

CHURCH Music Wed at

Noon: Café Musique (flute, cello and piano); 12:1012:50pm; free

WINSPEAR CENTRE

Haydn’s “Surprise” Symphony: Edmonton Symphony Orchestra, Sergei Babayan (piano), Lucas Waldin (conductor); 7:30pm; $20-$65at Winspear box office

DJs BANK ULTRA LOUNGE

Early Show: Sam Baker and Gurf Morlix; 6pm (door); $25 at TicketMaster, Blackbyrd Myoozik; Late Show: Open stage with Jonny Mac, 8:30pm, free

HOOLIGANZ Open stage

Wed: with host Cody Nouta; 9pm

LYVE ON WHYTE Chris

Wynters (Captain Tractor), Colleen Brown, Dana Wylie

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)

RIVER CREE Wed Live

WED NOV 24

MCDOUGALL

Brian Gregg; 12-1pm

RED STAR Tue

Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly

Classical

HAVEN SOCIAL CLUB

Salsa music, dance lessons 8-10pm

SECOND CUP�124

PLEASANTVIEW COMMUNITY HALL

EDDIE SHORTS

Night Live: hosted by dueling piano players; 8pm1am; $5

COPPERPOT RESTAURANT Live jazz

Street Open mic every Tue; 8-10pm

Ryan Cook Trio concert series

RED PIANO BAR Wed

RUSTY REED'S HOUSE OF BLUES Kevin Cook Band; 8:30pm

EARLY STAGE SALOON�Stony Plain

FUNKY BUDDHA� Whyte Ave Latin and

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

stage with Mark Davis; all ages; 7:30-10:30pm

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

Acoustic instrumental old

34 // MUSIC

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

space is clean after it. These kinds of folks are the lifeblood of any scene, but their importance is acute here in Edmonton, with our relative lack of touring bands, strange melange of venues and general reticence to put locals on big bills. I am of the opinion that Edmonton music is on the cusp of a minor renaissance, and every single one of those bands wouldn't be able to do the incredible stuff they've done and soon will do without the indie promoters. Most of them realize this, of course, but all too often the audiences at the show ignore the people behind it. They do more than anyone to make sure we can have bands to call our own, though, so consider this a small bit of the greater recognition they unquestionably deserve. V

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

RUSTY REED'S HOUSE OF BLUES Gord Mathews

Band; 8:30pm

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

STEEPS TEA LOUNGE�College Plaza Open mic every Wed; 8pm

UNION HALL 3rd Annual Rock 4 Santa Charity Concert: Grady; $20 at ticketweb.ca; support the Christmas Bureau of Edmonton

VARSCONA HOTEL

Avenue Guitars presents: guitar workshop w/Gordie Johnson (Grady/Big Sugar); 6-7:30pm; free; info: 780.448.4827

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

IVORY CLUB DJ

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

LEGENDS PUB Hip

hop/R&B with DJ Spincycle

NIKKI DIAMONDS

Punk and ‘80s metal every Wed

PLAY NIGHTCLUB

Movie Night every Wed; 9pm (door)

RED STAR Guest DJs

every Wed

STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm

STOLLI'S Beatparty

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

Y AFTERHOURS Y Not Wed

MUSIC NOTES Fri, Nov 19 (9 pm) / Jeremy Fisher The Canadian folk-pop artist has a do-it-yourself attitude and prefers organic instrumental accompaniment, such as mandolins and ukuleles, over fabricated beats. He's been known to tour countries on his bicycle, and pedalled his way across BC this summer. His new album, Floods, has received critical acclaim, and the twotime Juno nominee also stays busy behind the scenes, directing music videos for himself and the likes of Hawksley Workman, who he collaborated with on his latest album. (Starlite Room, $21.75) Fri, Nov 19 (8 pm) / Irina Kulikova She is recognized as one of the most talented young classical guitar players in the world. Kulikova’s musical career began at the tender age of 12, when she began playing festivals and gala performances in her native Russia as well as abroad. On top of being a critically acclaimed performer and recording artist, she shares her talent through master guitar classes. (Muttart Hall, $25 regular admission/$20 students) Sat, Nov 20 (9 pm) / Cygnets Very few bands would be willing to provide not only free cover, but also a free copy of

their latest album at the door. Edmonton-based Cygnets derives influences from multiple genres, which are seamlessly combined into a sound appealing to a wide range of music fanatics. The release party for the group’s latest album, Bleak Antics promises to be a highenergy, danceable show, and who doesn’t like free stuff? (The Pawn Shop, Free)

Sat, Nov 20 (7 pm) / Jason Collett This singer-songwriter doubles as a member of the incredibly successful Canadian band, Broken Social Scene. He released his fifth solo album, Rat a Tat Tat, earlier this year, followed by Pony Tricks, an intimate acoustic set, in October. Rather than collaborating with a number of artists, Collett makes records that are

GOBBLE FEST

Sat, Nov 20 (6 pm) Featuring GOBBLE GOBBLE, Rich Aucoin, Fist City, more Dinwoodie Lounge Not everyone is ready for the buzzing, blistering, sweating mass of pure dance bliss that is a GOBBLE GOBBLE show. Luckily, frontman and all-around electronic wizard Cecil Frena has secretly hidden solid bits of advice for proper show enjoyment into his cracked glitch-pop gems. Advice like: "The night is deep and so's your age / So peel your body like an orange" ("o Sacred Dandruff")

meant to be performed live, and does so with his backing band, the Dark Horse. (The Haven Social Club, $18.50)

Thu, Nov 25 & Fri, Nov 26 (7:30 pm) / Wil Vancouver-based artist Wil is making a pit stop in Edmonton on his Western Canadian 1975 Tour, which is based on the idea of being a singer-songwriter in a much simpler era. He strives to make honest, original recordings as well as a simple, happy living doing what he loves. (Haven Social Club, $17.50) —Meaghan Baxter

OK, so he's literally talking about skin here, but it wouldn't hurt you to let go of some of your inhibitions and ego along with your dead cells: if you're going to be standing at the back with your arms crossed, just stay at home and play some Enya or whatever. "You should be crawling on the ceilings" ("Seizure to the Metronome") A GOBBLE GOBBLE show is less a dance party than a hardcore mosh pit that's found rhythm. Be prepared to move. A lot. "Take off your clothes!" ("Lawn Knives") All that bumping, writhing flesh in a tight space can ruin your outfit if you're not careful. Best to just ditch the nice shirt before it's soaked through with sweat. —David Berry

PREVUE

grady

Wed, Nov 24 (7 pm) Union Hall, $20 Gordie Johnson is bringing Grady back to town in support of the Canadiangrown, Texas-based trio's latest, Calling All My Demons, a live DVD/CD recorded in Winnipeg last year.

VUEWEEKLY.COM/VUETUBE >> Watch the band turn the volume up in Vue Weekly's studio

VUEWEEKLY // NOV 18 – NOV 24, 2010

MUSIC // 35

Small Sins

Looks like a band, sounds like a band, but is it a band?

Sun, Nov 21 (8 pm) With guests Pawn Shop, $10 For indie pop stalwart Thom D'Arcy (exCarnations/Ladies and Gentlemen), control is what he's used to, he admits. His new band, Small Sins, has released Pot Calls Kettle Black, and while the fivepiece recorded together with engineer/ producer Jon McEntire (Tortoise, Stereolab, Sea and Cake, Broken Social Scene), D'Arcy still steers the project significantly as a loosely-veiled "band." "I'm not used to being collaborative at all, I'm used to making this thing on my own and playing all the instruments," he puts forward. "This one still isn't really five guys writing together—I mean, I had kind of demoed everything very extensively, every part was written and

36 // MUSIC

recorded before we actually went to the studio to basically redo the whole thing. The recording process was less creative and more about finding the right sounds that were supposed to be used." While most bands enter the studio expecting to bask in an environment of creative spontaneity, the joy for Small Sins was in being as true and meticulous to the demo blueprint as possible. McEntire's extensive collection of synths and keyboards allowed for plenty of experimentation, yet still within a framework—and budget—that suited D'Arcy just fine. "I tend to work through things pretty fast, I'm all about instant gratification and hearing what I'm doing immediately, and then thinking about whether that was right or not the next day," he explains. "We'd barrel through the record-

VUEWEEKLY // NOV 18 – NOV 24, 2010

ing process and just do one thing after another after another, and go home and listen to what we did that day and decide whether we liked it or not ... Sometimes even if takes aren't perfect, in the grand scheme of things they can still work into the puzzle in a good way." Luckily for the band, he laughs, they didn't have too much time to overthink it. "And because we were going for an echo of the demo, that didn't really happen," he offers thoughtfully. "I have been guilty of that when I have too much time to deal with something. With this one, because we were limited to a certain amount of time, it makes you take those questions away and have to be confident in what it is, and not think about it too much." Mike Angus

// mikeangus@vueweekly.com

Delhi 2 Dublin Thu, Nov 25 (9 pm) Starlite Room, $19.75

What do you get when you mix Punjabi bhangra, Celtic fiddle and electronic dance rhythms? A dance-worthy sound that shatters moulds and is anything but ordinary. Delhi 2 Dublin, which is comprised of five individuals, comes from a diverse range of ethnic backgrounds, and the group's live shows are just as unmistakable as its multicultural music. This unforgettable stage presence comes from the band's strong focus on delivering high-energy live shows, rather than setting sales goals. "All of it's based on the live performance. We never set a goal of, 'We want to sell 50 000 records,'" says Tarun Nayar, who provides the group's tabla and electronic beats. "It's all about where we want to play." The heavy emphasis on live shows

Diversity in music: mixing traditional with electronic sounds

is a result of the group's origin. What seems like a heavily thought-out band concept came together one evening with what was intended to be a one-off performance. Since then, the Vancou-

ver-based act has accumulated a loyal fan base as well as earning consistent critical acclaim. Delhi 2 Dublin is currently on a crossCanada tour, and the melting pot of

people along the way fits right in with the group. "It's really nice to be home around a multilingual crowd," says Nayar during a pit stop in Montréal. "Tomor-

VUEWEEKLY // NOV 18 – NOV 24, 2010

row we're going to be in Fredericton, which is very much the Maritime experience—it's just really exciting to be constantly meeting and interacting with so many people." Fans' opinions are greatly valued, and all new material is test-driven in front of live audiences before anything gets recorded in order to gauge reactions. The quintet also went on a 10-day writing retreat while preparing its new album, as writing and recording instrumental parts separately for the previous record did not produce results it strived for. "I think a problem with the first album was that it didn't represent very well what we do live," Nayar explains. "On the second album, we decided to make it sound more live and we also wanted it to be a collaborative project in terms of writing it all together." Meaghan Baxter

// meaghan@vueweekly.com

MUSIC // 37

NEWSOUNDS Kanye West My Beautiful Dark Twisted Fantasy (Def Jam) 

Roland Pemberton // roland@vueweekly.com

n the single "Runaway," Kanye West opens his first verse, "Find pictures in my email / I sent this bitch a picture of my dick." In a meta twist, it appears Kanye subsequently leaked a picture of himself posing semi-nude onto the internet in advance of his album release. In this intimate picture intended for the specific private titillation of a single love interest, Kanye West is wearing sunglasses. This turns out to be a great precursor to My Beautiful Dark Twisted Fantasy, an album completely informed by vanity and emotional nudity. On Fantasy, Kanye juxtaposes religious iconography with obsessive sexual perversion, sometimes within a single line ("Pussy and religion is all I need"). It's a complicated perspective, as West has been shown to be conversely megalomaniacal and staggeringly contrite. Like many people with God complexes, he is insecure but extremely confident in certain aspects of his life. Here, we are shown a musician in love with his ideas but in constant conflict with himself. Every song is at least one minute too long. There was clearly no true executive

production behind this album, which is both good and bad. Having someone over Kanye's shoulder may have limited his conceptual scope on a song-to-song basis but it also would've protected the immediacy of the album as a full piece. "Runaway" has been extended to nine torturous minutes. The last three minutes are just Kanye humming distorted Autotune gibberish to himself. It's never been done before, yes, but sometimes there's a reason for that. This album's bloat is what makes and breaks it. There is a superfluous one-minute violin intro to five minute epic "All Of The Lights" (which already features 11 guests). Luckily, the song is completely amazing, an intense synthesis of millennial radio pop standards, Rick Ross's cadence, grime drum programming and baroque orchestration. It takes someone thinking they can make something larger than life to actually do it, however many times they may fail along the way. There is a populist bend to Kanye's production, making Fantasy the first album you could classify as "stadium rap." Where previous effort 808s And Heartbreak sounds comparatively spare and slight, these songs have serious sonic and conceptual depth. The stomping "Hell Of A Life" may cosmetically be about marrying a porn star, but also touches on our society's psychosexual insecurities and comments on the negative connotations draped over interracial relationships. Kanye has finally achieved a balance between championing his affluent lifestyle and appealing to the lives of regular people. These songs are long, partly due to his own egotism but also because he envisions the listening process like few other musicians. You can tell his total control over this album is made with the expectation of people playing this album in their cars or playing it at social gatherings. His understanding of society is far more expansive than his knowledge of self and for that, My Beautiful Dark Twisted Fantasy is an intriguing release. V

Sufjan Stevens The Age of Adz (Asthmatic Kitty)  Sufjan Stevens continues to evolve as an artist that is near impossible to compare. The ever-ambitious genius that gave us sprawling tributes like Michigan, Illinois and The BQE, or the brilliantly-hushed Seven Swans, is back with his first studio LP in five years. Judging by The Age of Adz, five years is obviously too long to keep the genie in the bottle. While Adz is still recognizably "Sufjan," the canvas has completely changed. Charged with bombastic digital beats, bloops, glitches and a startling melodic candidness for the shy, soft-spoken vocalist (see the title track, "I Want to Be Well" or the vocoded lexicon on the 26minute closer "Impossible Soul"), Adz sees Stevens brushing off the burden of all previous expectations and indulging in a newfound playful recklessness that is as stunning as it is confusing. Mike Angus

// mikeangus@vueweekly.com

Truckasauras Quarters (Fourthcity) 

The Seattle-based chiptune quartet is back with their orchestra of toys. Evoking everything a boyhood of the early nineties would naturally conjure, (Frogger, WWF, etc) if you were worried they might take a turn for the serious, rest assured, Quarters could just as easily be called "In Defense of Crunk: an essay on why throwing down can and is a hip thing to do." They've faithfully implemented all the circuit-bent craftsmanship they are known for to pen their danciest jams yet. One can't help but imagine what a totally righteous dynamite cowabunga blast their live show must be. Joe Gurba

// joe@vueweekly.com

Pacifika Supermagique (Six Degrees) 

The second album from the Vancouver pop trio is an enticing, eclectic concoction of ethereal vocals and finely crafted instrumentals. The tracks move effortlessly between English, French and Spanish, with the music itself taking centre stage, rather than the language of the lyrics. Regardless if the lyrics are understood or not, the tracks are a fluid, relaxing escape from the norm. The Latin flare of tracks such as, "Doce Meses" and the languid charm of "Close to Everything" reflect an increasingly global society and create an unmistakable overall sound. Meaghan Baxter

// meaghan@vueweekly.com

38 // MUSIC

VUEWEEKLY // NOV 18 – NOV 24, 2010

KC Accidental Captured Anthems or an Empty Bathtub + Anthems for the Could've Bin Pills (Arts & Crafts)  As the last millennium waned, opening notes of a new one percolated through Toronto's discerning Bohohoser quarters. Long before they filled arty gossip columns and cavernous venues, the nexus of what would blossom into Broken Social Scene already grasped what they were doing and who they were doing it for, or at least that's what a retrospective listen to Kevin Drew and Charles Spearin's freshly re-packaged initial EPs suggests. The keyword in both titles, "anthems," says much about the certainty of their youthful purpose—this was music for their contemporaries and slightly-youngers to latch on to, life preserver-like, as they bobbed on a churning sea of dead-end jobs, manufactured lifestyles, heartless affairs, diminished futures, meaningless rituals and other symptoms of post-Cold War societal calcification. Anthems for this era were largely voiceless (all songs save one, featuring Drew and later bandmate Emily Haines, are nicely realized instrumentals) but cacophonous, built with layers of cultural references and also deconstructions, echoing the breakdowns, multiplicities and profusions that characterized the baffling new millennium. The soul of the Arts & Crafts label has always been a modern sort of romanticism, one forged as much from disappointment as hope, that resisted transcription of unruly emotions into creations of linearity, simplicity or artificiality. As Broken Social Scene, they'd elevate this organizing principle into a philosophy of constant exploration, unafraid of selfcontradiction or repetitiveness, seeking a unity of feeling and craft. Mary Christa o'keefe

// marychrista@vueweekly.com

David Vertesi Cardiography (File Under:Music) 

Vertesi has ventured away from Hey Ocean! to write an album brimming with raw, honest lyrics that unapologetically puts his heart on display, but overall the disc moves at a slightly sluggish pace. His deep, resonating baritone starts to feel monotone in many of the tracks, while some—such as the title song, "Cardiography," a tune about lessons in love, and the indie-pop of "Broadcasting— manage to step it up a notch. He is backed by vocalist Hannah Georgas for the majority of the album, and her sweet soprano allows for some vocal depth, but, in the end, Cardiography falls flat. Meaghan Baxter

OLDSOUNDS

Beck

Mutations (DGC) Originally released: 1998 Conventional wisdom is that it was 2002's Sea Change that saw Beck, that ultimate chameleon ironist, finally shake off his posturing and embrace sincerity. A better way to look at Sea Change, though, is the album where Beck didn't worry about dressing up his bouts of sincere emotion with his usual penchant for genre-hopping, clever sidestepping and esoteric arrangement. His real first step toward the nakedly emotional was on 1998's far superior Mutations, a left-turn follow-up to the smash hit Odelay that, with the hyper-sexed funk of Midnite Vultures, represents not only the man's creative high point, but arguably some of the best music to come out of the '90s. At least part of the reason for that was how well Beck managed to tap into the zeitgeist. Grunge and the slacker college bands are maybe more directly tied to the overall mood, but few were better than the Loser at crystallizing the sarcastic distance that defined most of youth culture and spitting it out into a clean but very weird and expansive pop structure. He was, in a sense, casting crooked glances at almost every

QUICKSPINS

genre of popular music that had come before, puncturing their serious posturing by effortlessly making songs in their vein, like every song was a shrug and a "What's the big deal?" while still just involved enough to suggest the answer. That's played to perfection on Mutations with "Tropicalia," an easy throwback to the Brazilian genre of the same name that nevertheless also manages to fit the slightly-more-serious mood of the rest of the album. That move, actually suggesting he might be serious, was a pretty big deal—Dylan going electric, really, although obviously his fans were much less precious about it. It got less attention here, though, because it was still hidden, buried into his more usual trickery. But on a song like "Nobody's Fault But My Own" with its slow guitar and wide, droning backgrounds, to say nothing of Beck's broke-down delivery and self-reproaching lines like "And on the day you said it's true / Some love holds, some gets used," it's pretty hard to find some kind of wink. It is a simple sad bastard dirge with just enough on the edges to suggest it's self-aware, which kills precisely none of the effect. (Stack it up against anything on Sea Change and you'll see where the directness holds that album back.) "Bottle of Blues" bounces along a bit more, and is similarily futzing with classic blues structure, but its overall sense of weariness is pretty hard to shake, with Beck's usually esoteric wordplay shading strongly into worn-out depression. To be sure, there are still plenty of the shrugged-off gems that Beck made his living on, even if they play off genres normally a bit less energetic than he's capable of (the tweaked country of "Canceled Check," say). But on Mutations Beck proved that he could do emotion without losing any of his cleverness, and it's one of his finest albums for it. V David Berry

// david@vueweekly.com

WHITEY HOUSTON // QUICKSPINS@vueweekly.com

Viva Elvis The Album (RCA)

Joe Cunningham Joe Cunningham (Independent)

Why do they do this? Every five years or so King gets bad facelift

Do you remember When grandpa dropped four tabs and Made a Tom Waits disc?

Gabi Epstein Show Off (Independent)

Girls Girls Girls Hello Sailor..! (Gx3)

Looking for new Babs? Not sure why you'd need to but Gabi is your girl

Can't sing? no problem These guys still make great tunes with Forty tons of sack

V/A Music 4 Cancer: The Cause (Music 4 Cancer)

Marco Claveria Project Essencias (Independent)

Just despicable Compilation for cancer? I'm against cancer!

Edmonton treasure! Makes me want to dance and get Bombed on tequila

// meaghan@vueweekly.com

VUEWEEKLY // NOV 18 – NOV 24, 2010

MUSIC // 39

Kim Barlow Sat Nov 20 (6pm) With Raghu Lokanathan and Catherine MacLellan Queen Alexandra Community Hall, $18

It takes a special type of artist to engage in collaboration. Unlike the fiercely independent songwriters who prefer to hole away by themselves and keep a firm grip on a project, collaborators delight in the dynamics and magic that comes from opening one's own work to the interpretation of others. Whitehorse's folkstress Kim Barlow is one such artist: a natural collaborator who relishes sharing the stage—as much for selfish reasons as for the creative process, the self-described shy banjoplaying singer-songwriter concedes. "I find it hard sometimes to be on stage by myself for a whole night," she explains. "It's nice to have other people to spell off with. I'm finding that musical collaborations are really fulfilling for me." While she's taking a break from two such side projects (Annie Lou and Spring Breakup), she's opted to hit the road in support of her new album Saplings with fellow singer songwriters Raghu Lokanathan and Catherine MacLellan. Having met on the folk-fest workshop circuit, the three will share the stage to treat the audience—and each other—to an intimate evening of creative interplay and mutual admiration. "It's a lot of hard work, learning each other's songs, but it's a really enjoy-

40 // MUSIC

Hitting the road with her banjo

able challenge," Barlow points out. "I like playing on other people's songs. It's a nice break from focusing on my own stuff. "I've done group tours like this before and found that it really works. It's a nice thing to combine a few different

VUEWEEKLY // NOV 18 – NOV 24, 2010

songwriters and see how it unfolds," she notes, before adding with a laugh, "it's purely selfish, to find other musicians whose music I enjoy and then put together a tour so I get to play with them." Mike Angus

// mikeangus@vueweekly.com

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

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PRIDE CENTRE OF EDMONTON 1-,(%))) 9n] /0(&,00&+*+, hja% \][]flj]g^]\egflgf&gj_ Gh]f Lm]%>ja )%)(he$ KYl *%.2+(he D?:L K]fagjk <jgh%af2 ]n]jq Lm]'L`m$ *%,he ;92 L`m /he Kmal Mh Yf\ K`go Mh2 99 Za_ Zggc klm\q _jgmh ]n]jq KYl$ fggf LjYfk =\m[Ylagf' Kmhhgjl ?jgmh e]]l2 )kl'+j\ Kmf$ *%,he3 YdZ]jlYljYfk&gj_ E]f LYdc% af_ oal` Hja\]2 Kmf /he3 ^Y[adalYlgj2 JgZ O]ddk jgZo]ddk/0(8`gleYad& [ge LjYfk_]f\]j$ LjYfkk]pmYd$ Afl]jk]p Yf\ Im]klagfaf_2 =\m[Ylagf$ Y\ng[Y[q Yf\ kmhhgjl ^gj e]f$ oge]f Yf\ qgml` >j]] hjg^]kkagfYd [gmfk]ddaf_ ]n]jq O]\ ]p[]hl )kl O]\ ]Y[` egfl`3 /%)(he Qgml`% KhY[]2 \jgh%af ^gj D?:LI ^gj qgml` mh lg *-3 Lm]%KYl$ +%/he

CHESS FOR STUDENTS Jgnaf_ ;`]kkFmlk LjYafaf_ >Y[adalq$ *(+$ )*()+%/. Kl L2 /0(&,/,&*+)0 D]Yjfaf_ Yf\ hdYqaf_ ghhgjlmfala]k ^gj klm\]flk Caf\]j_Yjl]f l`jgm_` ?jY\] )*3 lgmjfYe]flk$ af[dm\af_ l]Ye eYl[`]k ^gj ]d]e]flYjq k[`ggdk& 9dd d]n]dk EDMONTON ESPERANTO SOCIETY )((*-%)(*9 9n]$ Je )0)*0 /0(&/(*&-))/ =n]jq >ja Yf\ l`] *f\ L`m g^ ]Y[` egfl`3 )*%)he FERTILITY AWARENESS CHARTING CIRCLE ;`Y AkdYf\ L]Y ;g$ )(++*%0) 9n] E]]laf_$ af[dm\] afljg k]kkagfk ^gj f]o[ge]jk Yf\ af\ana\mYd [gfkmdlYlagfk ^gj l`gk] o`g [`Yjl Nov 18$ .2+(%02+(he

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

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

WOMONSPACE /0(&,0*&)/1, ogegfkhY[]&[Y 9 Fgf%hjgÇl d]kZaYf kg[aYd gj_YfarYlagf ^gj =\egflgf Yf\ kmjjgmf\af_ Yj]Y& Egfl`dq Y[lanala]k$ f]okd]ll]j$ j]\m[]\ jYl]k af[dm\]\ oal` e]eZ]jk`ah& ;gfÇ\]flaYdalq Ykkmj]\ WOODYS VIDEO BAR ))/*+ BYkh]j 9n] /0(&,00&.--/ Egf2 9eYl]mj Kljah ;gfl]kl3 hjar]k oal` K`YoYfY Lm]2 Cal[`]f +%))he O]\2 CYjYgc] oal` Larrq /he%)Ye3 Cal[`]f +%))he L`m2 >j]] hggd Ydd fa_`l3 cal[`]f +%))he >ja2 Eg[`g FY[`g >ja2 +he \ggj!$ cal[`]f gh]f +%))he

FULL MOON MEDITATION @]Ydaf_ ;gff][lagfk$ )(-,0%))- Kl /0(&,00&1//1 @aeYdYqYf Qg_Y e]\alYlagf ljY\alagf d]\ Zq KaeY ;`go\`mjq Nov 21$ /2+(%02+(he HOME�Energizing Spiritual Community for Passionate Living ?Yjf]Ym'9k`Zgmjf] 9kkakl]\ Danaf_ HdY[]$ ))),0%0, 9n] Home2 :d]f\k emka[$ \jYeY$ [j]Ylanalq Yf\ j]È][lagf gf kY[j]\ l]plk lg ]f]j_ar] qgm ^gj hYkkagfYl] danaf_ =n]jq Kmf +%-he

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

MAKE IT 9dZ]jlY 9naYlagf Emk]me$ )),)( Caf_koYq 9n] @Yf\eY\] al]ek ^jge mjZYf YjlakYfk Yf\ \]ka_f]jk3 emka[ khmf Zq dg[Yd <Bk Nov 25-28, 11am-5pm - \ggj!'mf\]j )* ^j]]

YOUTH UNDERSTANDING YOUTH qmq]\e&[Y E]]l ]n]jq KYl$ /%1he =2 af^g8qmq]\e&[Y$ L2 /0(&*,0&)1/)

ORGANIZATION FOR BIPOLAR AFFECTIVE DISORDER (OBAD) ?j]q Fmfk @gkhalYd$ Je (.-)$ /0(&,-)&)/--3 ?jgmh e]]lk ]n]jq L`m3 /%1he

SPECIAL EVENTS 5TH ANNUAL HOMES FOR THE HOLIDAYS 2010 TOUR /0(&,++&1/+1 `ge]k^gjl`]`gda\Yqk&[ge Lgmj - ?d]fgjY Yj]Y `ge]k \][gjYl]\ af `gda\Yq \][gj3 `]dh jYak] ^mf\k ^gj Ca\k @]dh H`gf] Yf\ l`] Bmfagj D]Y_m] g^ =\egflgf Nov 19-21

PROFESSIONAL ARTS COALITION OF EDMONTON +j\ KhY[]$ ))-).%)(+ Kl 9?E$ k]YkgfYd j][]hlagf3 hjg^]kkagfYd Yjlaklk Yf\ Yjlk gj_YfarYlagfk oal`af l`] _j]Yl]j =\egflgf Yj]Y Yj] o]d[ge]& JKNH lg /0(&,0-&+(0- Nov 22$ /he

AD AUCTION 2010 ;alY\]d Ja[] L`]Ylj] /0(&,0*&(..1 Zm[qjmk& [ge 9\n]jlakaf_ ;dmZ g^ =\egflgf k Ym[lagf ^gj keYdd Zmkaf]kk]k Yf\ fgf%hjgÇl gj_YfarYlagfk o`g oYfl lg Y\n]jlak] Zml \gf l `Yn] l`] Zm\_]l Nov 18, 6pm

SENIORS UNITED NOW�St Albert Chapter Kl& 9dZ]jl D]_agf$ . LY[`] Kl$ Kl 9dZ]jl /0(&,.(&//+. ?]f]jYd e]]laf_ Yf\ Yf af^gjeYd e]]laf_ oal` l`] f]odq ]d][l]\ ;alq ;gmf[ad Nov 22$ )2+(he

ART AND CRAFT SHOWS Derrick$ +-((%))1 Kl2 Nov 18$ ))Ye%0he3 \gfYlagf lg l`] >gg\ :Yfc Pioneer Meadows ?gd^$ ,(,%+, Kl2 Nov 19%21$ )*%,he Beaumont Senior's Centre$ O g^ ;`mj[` gf -( 9n]$ :]Ymegfl2 9jlaklk 9kkg[aYlagf g^ :]Ymegfl2 Nov 26%28 Carrot Café$ 1+-)%))0 9n]$ /0(&/,)&)-0(2 ;Yjjgl ;`jakleYk 9jlk :YrYYj2 Nov 26%27

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

LECTURES/PRESENTATIONS

BLACK AND WHITE�KEEP ON LAUGHING >]klanYd HdY[]$ )(( >]kla% nYd OYq$ K`]jogg\ HYjc /0(&,.,&*0-* Dan]'kad]fl Ym[lagfk$ [ge]\aYf JgeYf <Yfqdg$ ^mf\jYak]j lg kmhhgjl [geemfalq h]j^gjeaf_ Yjlk Yl >]klanYd HdY[] Nov 20$ -2+(he $125 at Festival Place box office

ASSOCIATION FOR SAFE ALTERNATIVES IN CHILDBIRTH /*)1%)(. Kl$ ka\] \ggj :][geaf_ Y Ea\oa^]3 Nov 24 Hj]%j]_akl]j Yl /0(&,*-&/11+

CALLIGRAPHY DEMONSTRATION 9ddYj\ >Yeadq L`]Ylj]$ CYlr ?jgmh ;]flj] ^gj H`YjeY[q Yf\ @]Ydl` J]k]Yj[` :d\_$ M g^ 9$ 0/ 9n]$ )), Kl >mf\jYakaf_ Ym[lagf oal` <j Kl]n]f 9mf_ Nov 18$ .he *-' *( k]fagj'klm\]fl!

BREAKING THE SILENCE DYo ;]flj] *(/9$ M g^ 9 9ZgmkÇYf 9Z\]d% jYrac lYdck YZgml `ak kap q]Yjk g^ ]pad]$ Yf\ l`] aehY[lk gf `ak da^] g^ Z]af_ ojgf_dq hdY[]\ gf l`] )*./ Yfla%l]jjgjake dakl Nov 20$ / he BUDDHIST LECTURE )),/-%)(. 9n]$ EYaf È Transforming the World by Transforming Yourself: the Life Philosophy of Buddhism; d][lmj] Zq Lgfq E]]jk Nov 18$ /he >j]]

EXPOSURE 2010 ]phgkmj]^]klanYd&[Y Until Nov 21 TransAlta Arts Barns: <mZ hg]l$ ]\m[Ylgj$ Y[lgj Yf\ YoYj\%oaffaf_ hdYqoja_`l$ \¿Za qgmf_3 Nov 19$ /he

CHILD OF THE END TIMES: A SHAMAN’S VISION INTO THE FUTURE Jan]j ;j]] ;Ykafg$ +(( =Ykl DYhglY[ :dn\$ =fg[` D][lmj] Zq ;dYaj] DYkcaf3 Çjkl hj]k]flYlagf g^ Y k]ja]k g^ egfl`dq d][lmj]k gf k`YeYfake$ Yd[`]eq Yf\ kgmd Nov 21$ *he +( Yl LAP gf l`] KimYj]' +- \ggj!

JUST CHRISTMAS 2010 9dZ]jlY 9n]fm] ;geemfalq$ 1*)(%))0 9n] 9dl]jfYlan] ?dgZYd EYjc]l HdY[] Nov 26%27 METIS FEST 2010 KYf\k @gl]d$ )*- 9n]$ >gjl J\ /0(&1)(&+.*- e]lak\Yf[]&[ge >]Ylmjaf_ [mdlmjYd [geh]lalagfk$ ng[Yd [geh]lalagfk$ Yf\ kYk` \Yf[] [`Yehagfk`ahk Yf\ Yf ]n]faf_ g^ \Yf[] Yf\ YoYj\k []j]egfa]k Nov 19-20

DIABILITIES AWARENESS KlYfd]q Eadf]j DaZjYjq$ EYaf È$ ;`mj[`add Ki K]ja]k g^ dmf[`%lae] lYdck YZgml kg[aYd akkm]k Yf\ gj_YfarYlagfk l`Yl `Yn] Yf aehY[l gf gmj [geemfalq Nov 24$ )*%)he >j]]

REFINERY 9jl ?Ydd]jq g^ 9dZ]jlY 9?9!$ Kaj Oafklgf ;`mj[`add Ki 9 dYl] fa_`l Yjl hYjlq afkhaj]\ Zq l`] ]p`aZalagf Edward Burtynsky: Oil Nov 20$ 1he%* Ye *( Y\n!' *- \ggj!

DOES THE INTERNET LIE? EYhd] D]Y^ Je$ Dakl]j ;]flj]$ M g^ 9$ 0/ 9n]$ ))/ Kl <j ?]g^^j]q Jg[co]dd Yf\ gl`]j hYf]ddaklk \ak[mkk l`] oYqk af o`a[` l][`fgdg_q ak [`Yf_af_ `go o] l]dd ljml`k Yf\ da]k YZgml gmj `aklgja]k Yf\ dal]jYlmj]k& HYjl g^ >]klanYd g^ A\]Yk Nov 23$ +he >j]]

ROLLER DERBY Gad ;alq ?jaf\`gmk]$ ),,*(%))* Kl gad[alq\]jZq% _ajdk&[Y Kc0eYj] :]^gj] PeYk2 >]Ylmjaf_ kcYl]jk ^jge 9dZ]jlY Yf\ KYkcYl[`]oYf af Yf Y\nYf[]\ Yf\ jggca] _Ye] Nov 20, .he \ggj! )( Y\n!' )- \ggj!3 Ydd Y_]k da[]fk]\ ]n]fl

EDMONTON NATURE CLUB JgqYd 9dZ]jlY Emk]me Egfl`dq e]]laf_ ^]Ylmjaf_ lYdc2 The Beaver Hills Initiative A collaborative approach to protecting biodiversity and landscape character in Alberta Zq kh]Yc]j <j ?mq Koaff]jlgf Nov 18$ /he [g^^]]!$ /2+(he hj]k]flY% lagf! 9\eakkagf Zq \gfYlagf

WAKE UP YOUR BRAIN TO NEW CELLS, BODY AND LIFE Mfalq ;`mj[` g^ =\egflgf$ )+0*(%)(19 9n] 9_f]k CjYo][c hj]k]flYlagf gf k]]af_ ]f]j_q Ç]d\k Yjgmf\ danaf_ gZb][lk mkaf_ CajdaYf H`glg_jYh`q Yf\ Yf 9mjY E]l]j Nov 23$ /%1he *(

INSIDE/OUT M g^ 9 ;Yehmk ;Yehmk%ZYk]\ gj_YfarYlagf ^gj d]kZaYf$ _Yq$ Zak]pmYd$ ljYfk%a\]flaÇ]\ Yf\ im]]j D?:LI! ^Y[mdlq$ _jY\mYl] klm\]fl$ Y[Y\]ea[$ kljYa_`l Ydda]k Yf\ kmhhgjl klY^^ +j\ L`m ]Y[` egfl` ^Ydd'oafl]j l]jek!2 Kh]Yc]jk K]ja]k& =2 co]ddk8mYdZ]jlY&[Y

COMIC STRIP :gmjZgf Kl$ O=E /0(&,0+&-111 O]\%>ja$ Kmf 0he3 >ja%KYl )(2+(he <Yffq :]nafk$ O]dZq KYflgk$ C]ddq <Ycmk3 mflad Nov 21 @al gj Eakk Egf2 Nov 22 :jgof gf :gmjZgf2 Nov 23 Baeeq K`mZ]jl$ DYjk ;Ydda]gm3 Nov 24-27

EVERYONE'S DOWNSTREAM IV: DEVELOPING LOCALLY, EXPANDING GLOBALLY =f_af]]jaf_ L]Y[`af_ Yf\ D]Yjfaf_ ;gehd]p =LD;!$ M g^ 9 GadKYf\kLjml`&gj_ =LD; )%((/2 Akkm] dYmf[` g^ hmZda[Ylagf$ Beyond Parts Per Million: voices from the frontlines of Climate Justice3 Nov 25$ .he =LD; )%((/2 HYf]d \ak[mk% kagf2 =fnajgfe]flYd F?Gk2 K][j]l \]Ydk$ lgh \gof \][akagfeYcaf_$ Yf\ Zmad\af_ Ydl]jfYlan]k3 Nov 26$ .he =LD; )%((+2 ;geemfalq J]hgjlk2 Stories from Ground Zeros Near and Far3 Nov 27$ 1Ye%-he =LD; )%((+2 <ak[mkkagf Yf\ HYf]dk2 From Cochabamba to Cancun and back to Calgary: The Outlook for Climate Justice Movements in 20113 Nov 28$ 1Ye%-he

Canada$ Nov 21$ )(Ye3 Changing the Mosaic$ Nov 21$ ))2+(Ye3 Worth Fighting For2 Kg[aYd bmkla[] Yf\ l`] nYdm] g^ hmZda[ k]jna[]k$ Nov 21$ *he3 O`Yl Real Democracy Dggck Dac]$ Nov 21$ *he3 L`] Beauty of Struggle Yf\ L`] Kljm__d] ^gj :]Ymlq$ Nov 21$ +2+(he

SPIRITS OF THE SEASON�WINTER WINE FESTIVAL LjYfk9dlY 9jlk :Yjfk$ )(++(%0, 9n] /0(&00-&-1,/ Oaf] ^]klanYd Yf\ kad]fl Ym[lagf ^mf\jYak]j ^gj hjg_jYek Yl l`] Gd\ KljYl`[gfY Qgml` Kg[a]lq Nov 24 +- kaf_d]!' .( \gmZd]! Yl \ggj $ Gd\ KljYl`[gfY Qgml` Kg[a]lq NEW LEADERSHIP PROGRAM ;j]Ylaf_ H]ghd] Hgo]j$ 1/-(%-) 9n] /0(&,.-&)/*) [g%[j]Ylaf_&[Y'[mjj]fl%]n]flk +%\Yq hjg_jYe lg d]Yjf `go lg j]ojal] l`] jmd]k af qgmj Zmkaf]kk gj gj_YfarYlagf l`Yl l`jglld] [j]Ylanalq Yf\ afalaY% lan] Nov 23-25 NFB PRESIDENT TOM PERLMUTTER LjYfk 9dlY 9jlk :Yjf$ )(++(%0, 9n] 9f aflaeYl] ]n]faf_ g^ ]p[`Yf_] Yf\ klgjql]ddaf_3 \ak[gn]j `go l`] F>: [Yf Z] hYjl g^ qgmj [geemfalq Nov 22$ .he OUR FIRST SWIM, DRINK, AND FISH Dakl]j ;gf^]j]f[] ;]flj]$ 9mjgjY Je$ M g^ 9$ 0/ 9n]$ )). Kl kYkcjan]jc]]h]j&[Y Afljg\m[lagf g^ l`] Fgjl` KYkcYl[`]oYf Jan]jc]]h]jk2 Hj]k]flYlagf Zq Ea[`Y]d ?& KmddanYf Nov 25$ /%1he >j]]

Zaf$ Bgq[] ?j]]f$ Daf\Y E[ImYa_$ ?]gj_] =ddagl ;dYjc] Yf\ gl`]jk Nov 19-21 >ja ]n]faf_ c]qfgl]2 E]q]j @gjgoalr L`]Ylj] KYl%Kmf2 EYa]j D]Yjfaf_ ;]flj]$ =LD;$ =f_af]]jaf_ L]Y[`af_ Yf\ D]Yjfaf_ ;]flj]$ eYaf È KYl ]n]faf_2 <]o]q k Dgmf_]$ Fgjl` Hgo]j HdYfl Meyer Horowitz Theatre2 Gf Kad]f[]2 EYj_Yj]l 9logg\$ Nov 19$ /2+(%1he ETLC Bldg: L`] Conservative Remake g^ ;YfY\Y2 9e]ja[YfarYlagf gj @ge]%_jgof2 EYj[a E[<gfYd\$ ?gj\gf DYaj\$ Nov 20$ 12+(Ye3 Gross Exports2 ;YfY\Y af l`] Afl]jfYlagfYd ;geemfalq$ Nov 20$ ))Ye3 En Solidaire2 L`] j]dYlagf% k`ah Z]lo]]f Im]Z][ Yf\ =f_dak`%kh]Ycaf_ ;YfY\Y$ Nov 20$ )2)-he3 Big Brother Still–;YfY\aYf Kgn]j]a_flq af l`] GZYeY =jY$ Nov 20$ *2,-he3 Criminalizing Dissent$ Nov 20$ *2,-he3 L`] Trouble With Billionaires$ Nov 20$ ,2)-he3 Indigenizing

VUEWEEKLY // NOV 18 – NOV 24, 2010

TRANSGENDER DAY OF REMEMBRANCE =fl]jhjak] Ki$ )(*+( BYkh]j 9n] J]e]eZjYf[] g^ l`] LjYfk h]ghd] o`g `Yn] Z]]f cadd]\ Z][Ymk] g^ ljYfk%h`gZaY Nov 20$ ,%.he VAAA BAY N999 ?Ydd]jq$ +j\ >d @Yj[gmjl @gmk]$ )(*)-%))* Kl /0(&,*)&)/+) N999 ^mf\jYak]j2 HYaflaf_k Yf\ al]ek l`Yl [Yf Z] Za\ gf Z]lo]]f Nov 25-Dec 16 Hj]na]o2 Nov 25$ .2+(%1he WHATNOT GIFT SHOP CHRISTMAS SALE Jml`]j^gj\ @gmk]$ )))-+ KYkcYl[`]oYf <j Nov 20$ ))Ye%-he HjgÇlk lg l`] >ja]f\k g^ Jml`]j^gj\ @gmk] Kg[a]lq

BACK // 41

COMMENT >> LGBTQ

COMMENT >> ALT SEX

Opening religion

Obsessed with fakery

Lampman Chapel is narrow space within the hallowed request to be ministered to. As one guy shares, nothing halls of Union Theological Seminary School—part of gets an unwanted hand off your thigh faster than, "I am Columbia University on Manhattan's Upper West Side. not sure how my seminary advisor would feel about All design considerations in the tight room are in honthis." Everyone laughs. our of the altar at the front of the room. Tonight a little table is tucked in near the altar and is packed with In time, business arises. Consensus is queer caucus snacks. There are 14 of us sitting in an elongated circle, service was a success. Stories are shared of students ensome of us with our backs to the altar. One of joying the inclusion of secular modern pop music the facilitators calls the meeting to order with (Lady Gaga) and the dance party vibe. Upsetthe promise that tonight will be a little less ting though was how some Union people business, a little more fun. Everyone agrees openly refused to come to service because this is a good idea. it was hosted by Queer Caucus. For some m o .c kly uewee Like other post-secondary schools Union of the Queer Caucus members this highted@v has student groups, which they call caulights how open hostility towards LGBT Ted cuses. Caucuses host at least one of the daily people, in a way that is no longer accepted Kerr Chapel Services a year—a chance for caucuses towards other communities, is still part of the to share their vision of Church with the rest of the Union culture and the larger religious world. Last student body. Queer caucus hosted last week. Part of week Rev Gene Robinson, the first openly gay Bishop the meeting tonight will be to talk about how it went. in the Episcopal Church announced in the face of death I am at the meeting because as part of my residency threats and unrelenting pressure since he was elected at Union's Institute for Art, Religion and Social Justice I he would be retiring. An underpinning of tonight's conwant to get involved and get a sense of queerness at a versations seems to be queer theologians are isolated religious—albeit notoriously progressive—institution. within their selected vocation, in some cases their callThe meeting being "a little more fun" allows for coning, for being queer, and then marginalized within queer versation to flow freely. At one point it meanders to communities for belonging to religion. While there is a Union history. In the 1960s there was a letter sent from lot of work being done to better queer theology, there a prominent community member asking for all gay stuis a long road ahead and an even larger road from the dents to be outed and expelled from the school. Tenpast to contend with. sions were high. People were scared. In response all the For all the ground breaking faculty, wise students and faculty signed an open letter stating that if the request decades of progressive milestones, Union is governed went forward they would resign. Proverbial chests puff by the larger oppressive, heterosexist, structures of out around the circle as the story is told. People feel academia, church, America and western culture that, proud of their brave academic linage. Later the converin part, keep us all down. Thinking about this I realize sation steers to the everyday—the hassle of having to that Union is a place where being LGBT is still a queer come out as a theological student. Almost everyone thing to be. has a story about chatting up a potential date when the Up until now I have conflated religion with conservaunavoidable question of "what do you do?" comes up. tism and oppression (for good reason). The time has Some stall, others disclose quickly. All agree reactions come for me to unbraid this narrow view of religion. Be are the same: drinks become hidden, swearing disapmore open. It seems that beyond faith, Union has a lot pears, and in some cases what was a flirt turns into a to teach me. V

Why are we so fascinated with the idea of faking orturns your partner on or because your partner likes to gasms? From Seinfeld to Sex and the City to that inhear it, that's not faking it: that's being a fun and givfamous scene in When Harry Met Sally, fake orgasms ing partner. Real sex is so much more complicated, and are everywhere in pop culture. Google "fake orgasm" so much more fun, than the researchers and the meand you'll get over three million results, including an dia make it out to be. What is the difference between abundance of sites offering instructions on how to do it. talking dirty because it turns you or your partner on, You'll also find numerous references to the latest addirole-playing or faking it? Most of us do some or all of tion to fake orgasm-mania, a study published this these things at some point in time for a variety summer in the Archives of Sexual Behavior. of reasons and the lines between them get reIn the study by British researchers Gail ally blurry. When does having a good time Brewer and Colin Hendrie, 80 percent of on purpose become faking it? When does 71 women surveyed reported that they making a noise become telling a lie? m o .c ly eek @vuew "forced vocalizations" like screams and Which brings me back to why it matters brenda moans in about half of their sexual enso much in the first place. In all of the TV Brendear counters. Is anyone surprised by this? We examples, the men are crushed to Kerb findandoutmovie all know that women do this. Heck, let's be that the women they were with may honest, most of us have done it in one way or anhave been faking orgasms. In one Seinfeld episode, other at some point in time. Did we need yet another George is so pre-occupied by the thought that he can't study telling us that we do it? To me the question is enjoy sex with his very vocal partner, thinking that not whether we fake it, or even why we do it, but why she's putting on a show. I wonder how often this obseswe are so interested in it and how faking it is perceived sion with authentic orgasm has that result. Could our in our culture. dogged determination to distinguish between real and The headlines on stories related to the study really say fake orgasms cause us to view a loud and boisterous something about our views on sex. They include such partner with suspicion rather than lust and appreciastatements as "Sorry guys, up to 80 percent of women tion? Are we so concerned about whether we're doing admit to faking it," "Moans and screams: another way to it right that we can't just enjoy the process instead of manipulate men," and "Is faking it fair game?". wondering if it will end the right way? Of the women in the study who said they made Maybe this is the very cause of fake orgasms in the "conscious vocalizations" during sex, 90 percent of first place. If we were less obsessed with the proper way them said that they did it to boost their partner's selfto have sex, if we didn't believe that an orgasm caused esteem. Yet these headlines make them out to be liars, directly by our partner's actions was the one and only cheaters and manipulators. How did they get to be the indication of good sex, if we could really connect with bad guy when all they were trying to do was make their ourselves and our partners, orgasm or not, maybe none partners feel good? of us would feel the need to fake anything anymore. But then what would the researchers write about? V I did my own scientific study (a comprehensive poll of my Facebook friends), and found that many people— Brenda Kerber is a sexual health educator who has well, many of my friends—think that if you make worked with local not-for-profits since 1995. She is the noises or say things during sex, not so much because owner of the Edmonton-based sex-positive adult-toy of spontaneous excitement but because you know it boutique, The Traveling Tickle Trunk.

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HOROSCOPE ARIES (Mar 21 – Apr 19) "You don't want to be as you move forward, Gemini. In recent weeks, the best of the best," said Grateful Dead guitaryou have helped untie a knot that once seemed ist Jerry Garcia. "You just want to be the only impossibly tangled, and you deserve kudos for one who does what you do." You're entering a that. But your job isn't done yet. Your next task phase when competing with other people will is to work on loosening the snarls and smoothget you nowhere fast. What will get ing the kinks that still linger in the imagiyou somewhere fast is nurturing nations of everyone involved. your unique talents and proclivities. Do you know exactly what CANCER ( Jun 21 – Jul 22) In the 1925 they are? If you're even a little silent film The Gold Rush, Charlie m o .c ly k wee l@vue fuzzy, make it your quest to get Chaplin plays a prospector during il w e e fr very clear. the Alaska Gold Rush. After a seRob y ries of adventures, he finds himself Brezsn TAURUS (Apr 20 – May 20) What is stuck in a remote cabin on Thanksgivthe "soul," anyway? Is it a ghostly blob of ing Day with a ruffian named Big Jim. They're magic stuff within us that keeps us connected out of food, so Charlie gets resourceful, boilto the world of dreams and the divine realms? ing his right shoe in a big pot and serving it up Is it a myth people entertain to believe there's steaming hot. What the audience doesn't know more to them than just their physical bodies? is that the movie prop is made of sweet licorice, Here's what I think: The soul is a perspective not leather. So while it may seem that dinner is that pushes us to go deeper and see further a hardship, the actors actually had no trouble and live wilder. It's what drives our imaginapolishing off their meal. I see a similar scenario tion to flesh out our raw experience, transin your near future, Cancerian: something like forming that chaotic stuff into rich storylines eating a "shoe" that's made of candy. that animate our love of life. With the gently propulsive force of the soul, we probe beyond LEO ( Jul 23 – Aug 22) Lots of toddlers in Indonethe surface level of things, working to find the sia smoke cigarettes, not just the chain-smokhidden meaning and truer feeling. I'm bringing ing two-year-old in the famous Youtube video. this up, Taurus, because it is Celebrate the Soul But don't you dare let your inner child get Week for you. started on a similar habit any time soon, Leo. Make sure that sweet young thing is exposed GEMINI (May 21 – Jun 20) "Nothing changes until to only the very best influences; feed him or it's changed in everyone's memories," said poet her only the healthiest food, air, water, sounds Alice Notley. I urge you to keep that in mind and stories. The innocent, wide-eyed part of

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you is entering a phase when rapid growth is going to happen, one way or another. It's your job to guarantee that the growth goes in the right direction. VIRGO (Aug 23 – Sep 22) "We grow sometimes in one dimension, and not in another; unevenly," wrote Anais Nin. "We are mature in one realm, childish in another." In you, Virgo, the discrepancies have been especially apparent lately. For example, your brainy insightfulness has been on a hot streak, while your gut wisdom has not. But my reading of the astrological omens suggests that your emotional intelligence is set to thrive. It will be fine if you concentrate on that phenomenon with all your heart, even if it means investing a little less energy in being an analytical whiz. LIBRA (Sep 23 – Oct 22) In the old Looney Tunes cartoons, Wile E Coyote is constantly chasing after the Road Runner, a long-legged bird that prefers running to flying. Presumably, Coyote would eat the Road Runner if he ever caught him, but he never does; the bird's too fast and smart. In one recurring motif, the Road Runner dashes into the entrance of a cave that's cut into a wall of sheer rock. When Coyote tries to follow him, he smashes into the rock, and it's revealed that the cave entrance is just a very realistic painting. I suspect that you're going to have the Road Runner's power in the coming week: an ability to find and use doors that are inaccessible to other people.

SCORPIO (Oct 23 – Nov 21) I recently discovered a blues-gospel artist named Famous L Renfro, who is also known as "The Flying Sweet Angel of Joy." His soaring, gritty music seemed to say to me, "You have the power to change your life in the exact way you want to change your life." Your assignment, Scorpio, is to find a new source of music or art or literature or film that has a similar effect on you: a flying sweet angel of joy that inspires you to do what has been hard for you to do. According to my reading of the astrological omens, such an influence is within your reach right now. SAGITTARIUS (Nov 22 – Dec 21) Your old self is the fuel you will use to burn your old self to the ground. This bonfire will liberate your new self, which has been trapped in a gnarly snarl deep inside your old self. At first that you'll feel freaked out by the flames only to find a sense of relief and release will predominate. Then, as the new you makes its way to freedom, escaping its cramped quarters and flexing its vital force, you will be blessed with a foreshadowing of your future. The intoxication that follows will bring you clarity and peace of mind. CAPRICORN (Dec 22 – Jan 19) "Do we love Heaven more than God?" asks poet Paula Cisewski in her book Ghost Fargo. I think that's the kind of cryptic question you Capricorns would benefit from mulling over in the coming weeks. Your mind needs to get its cus-

VUEWEEKLY // NOV 18 – NOV 24, 2010

tomary categories shaken up and rearranged. Let me offer a few queries to get you started: Do we love love itself more than we love the people we say we love? Do we fear failure so much that we interfere with our cultivation of success? AQUARIUS ( Jan 20 – Feb 18) The Sanskrit word buddhi refers to the part of us that adores the truth. It's good at distinguishing between what's real and what's false, and is passionately attracted to liberation. Although it may go into long periods of dormancy in some of us, buddhi never falls asleep completely. It's always ready to jump into action if we call on it. According to my reading of the astrological omens, Aquarius, the buddhi aspect of your psyche will be extra special big strong and bright in the coming week. In my opinion, that's better than winning the lottery. PISCES (Feb 19 – Mar 20) I like how snowboarder Graham Watanabe described his experiences at last February's Winter Olympics. Not content with making a generic comment like "It was awesome!", he got florid and specific: "Try to imagine Pegasus mating with a unicorn and the creature that they birth. I somehow tame it and ride it into the sky in the clouds and sunshine and rainbows. That’s what it feels like." As you break through your previous limits in the coming weeks, Pisces, I'd love to hear you summon some bursts of articulate jubilation akin to Watanbe's.

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who live away and are not able to be home for Christmas. Info: edmontonsingingchristmastree.com

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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

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Musicalmania! needs a strong tenor with musical theatre experience. Paid position, some touring involved. Call 780-460-2937

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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

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The Friends of University Hospitals: search for fresh, uplifting artwork for the Mazankowski Alberta Heart Institute, MAHI, The Quiet Rooms. Deadline: Fri, Nov 12, 4pm; info: Don Trembath at don.trembath@ albertahealthservices.ca

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

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Stage Struck! 2011, Call for entrants. Submissions for ADFA/Edmonton one-act play festival, Feb 25/26, accepted until Dec 13, 2010. Info/registration package from Mary-Ellen, 780.481.3716, mperley@shaw.ca.

MODAL MUSIC INC. 780.221.3116 Quality music instruction since 1981. Guitarist. Educator. Graduate of GMCC music program

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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 Deep Freeze: A Byzantine Winter Festival, Jan 8-9, Alberta Ave, looking for art to feature in the gallery and artisans for the art market. Submission deadline: Nov 31. Info at deepfreezefest.ca

Night 32 Productions Inc. seeks a qualified screen writer for a TV pilot titled “Dogs 'n Snakes and Innocent Women”, a comedy set at the Blues on Whyte, Sat afternoon jam. The first draft has been written. Contact us with contact info and sample of work. Kevin Sisk, Associate Producer, drsiskphddd@msn.com 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 Mon-Fri, 9am-12pm, 11am-2pm, 1-4pm, and evening shifts for special concert events (Wed-Sun 6-10pm)

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Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: elaine.elrod@telus.net

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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 John Humphrey Centre for Peace and Human Rights and Racism Free Edmonton: Nov 26-27 Racism Free Edmonton Youth Advocates volunteer program; 780.453.2638; jhcentre.org/our-projects/racism-free-edmonton/913-2/

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

Volunteers needed for Buy Nothing Day–Free Exchange Event at St Paul's United Church, Upper Hall, 11526-76 Ave. Help needed with supervising the event, set-up on Fri, Nov 26; take-down/clean-up on Sat, Nov 27, people and vehicles to transport leftover items. T: 780.240.2551

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

Deep Freeze: A Byzantine Winter Festival, Jan 8-9 and experience the arts on 118th Ave. Info on volunteer opportunities E: deepfreezevolunteers@gmail.com

If we choose to notice, there is a surprising amount of art all around us. Take this painting, part of a mural in a parking lot next to a convenience store on 95 Street and 112 Avenue, a desperate corner of Edmonton. The ﬁrst time I saw it—the hand lettering, the graphic style, the distorted perspective, the beautiful decay—I was in awe. It's a brilliant and quirky piece of com-

mercial art that has unbelievably survived years of neglect, extreme weather, wrecking balls and taggers relatively unscathed. Now I pass the Stadium Drug and Food Mart every day and sadly, I take it for granted. This column is the ﬁrst in a series conceived to sensitize us to poesis in unexpected places and think differently about the city we dwell in. Send me word of your sightings. V

Hook'em Revue Berlesque is holding auditions. Contact Sally at 780.902.6468 or e-mail hookemrevue@hotmail.com Auditions for the New Works Festival 2011! Nov 29-30, 5pm at FAB 2-46, U of A. An Audition sign-up sheet is on the notice board outside the Drama Department Office, 3rd Fl, U of A Musicalmania! needs experienced violinist w/strong acting/communication skills for upcoming musical theatre production. Call 780.460.2937 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 The Edmonton Singing Christmas Tree 2010: Home For Christmas Contest: Edmontonians are invited to submit their stories by Nov 26, about family members or friends

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

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