Vue Weekly Issue 753 Mar 25 - 31 2010

2 // UP FRONT

VUEWEEKLY // MAR 25 – MAR 31, 2010

INSIDE

COVER

#753 • Mar 25 – Mar 31, 2010

UP FRONT // 4/ 4 Vuepoint 5 ZeitGeist 6 Dyer Straight 7 Issues 9 Well, Well, Well 10 In the Box 10 Bob the Angry Flower

DISH // 12/ 13 Veni, Vidi, Vino

ARTS // 20/ 22 Hopscotch

FILM // 24 25 DVD Detective

MUSIC // 29/ 32 Enter Sandor 42 New Sounds 43 Old Sounds 43 Quickspins

BACK // 44

29

Zion I: The Oakland independent rappers are taking over

FRONT

FILM

44 Free Will Astrology 46 Queermonton 47 Alt.Sex.Column

EVENTS LISTINGS 23 Arts 27 Film 30 Music 45 Events

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24

Canada's Complicity: Yves Engler's new book explores Canada's support for Israel

Atom Egoyan makes his first foray into another's script in Chloe

VUEWEEKLY.COM VUETUBE // Jay Malinowski

MUSIC // SLIDE SHOW

Live show slide show featuring Jay Malinowski, Michael Rault and Kinnie Starr FILM // SIDEVUE

Body Surfing: Brian Gibson looks at the popularity of the action-packed chase movie DISH // DISHWEEKLY.CA

Restaurant reviews, features, searchable and easy to use. dishweekly.ca Jay Malinowski performs live at Vue Weekly

MAR 25 – MAR 31, 2010 // VUEWEEKLY

UP FRONT // 3

EDITORIAL

// samantha@vueweekly.com

A

fter the last election I had pretty much written off the NDP. While the NDP spent the first part of this legislative session complaining about the impact the Wildrose Alliance would have on NDP presence in question period, they seemed to have stepped up in the last few weeks to do some critical, probing work into the impacts Conservative decisions have made— something you would expect an opposition party to do.

With a research team of only two, Rachel Notley has sent Yvonne Fritz chasing down her own bureaucrats this past week. Uncovering documentation proving cuts were being made to foster parents taking care of disabled children, Fritz displayed a quick turn around and quickly found out the bureaucrats responsibile for belaying direct orders from the ministry. Notley and company can sit comfortably with that win.

This builds on the success of last week's report uncovering the abuses still suffered by temporary foreign workers in the province, despite programs implemented a few years ago attempting to help them.

9

Well, Well, Well

10

Bob the Angry Flower

With the Conservatives holding back the meat of the legislative agenda until the fall, there's not been a lot to work with, and Notley seems to have stepped up to make things interesting.

Perhaps it's the threat of the Wildrose Alliance that has turned up the pressure to perform. Whatever it is, I hope they can keep it up. While advocacy groups hold down the progressive opposition and create the most dialogue in the media, the Alberta political scene has been lacking a consistent progressive voice in mainstream party politics, and without a critical voice in the Legislature, the Conservative one-party state can get away with the pretty much everything that they already have. We need the opposition to be this effective everyday for good political dialogue in this province.

A lot has been speculated on the reforming of the Alberta Party as a possible contender for progressive's hearts. Looking closely at the Alberta Party finds more disaffected liberals and Red Tories. And without a seat in the Legislature the job is left to the current opposition. Here's hoping that all the opposition parties can keep their resources focused on critical dialogue. V

IssuE no. 753 // MAR 25 – MAR 31, 2010 // Available at over 1400 locations

Roundup H

RON GARTH // ron@vueweekly.com EDEN MUNRO // eden@vueweekly.com SAMANTHA POWER // samantha@vueweekly.com PAUL BLINOV // paul@vueweekly.com EDEN MUNRO // eden@vueweekly.com BRYAN BIRTLES // bryan@vueweekly.com JEREMY DERKSEN // snowzone@vueweekly.com BRYAN BIRTLES // bryan@vueweekly.com DavID Berry // david@vueweekly.com MICHAEL SIEK // mike@vueweekly.com CHELSEA BOOS // che@vueweekly.com PETE NGUYEN // pete@vueweekly.com LYLE BELL // lyle@vueweekly.com ROB BUTZ // butz@vueweekly.com GLENYS SWITZER // glenys@vueweekly.com

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Issues

GRASDAL'S VUE

Vuepoint Effective opposition Samantha power

INSIDE // FRONT

UP FRONT

7

undreds of students and social workers demonstrated on the steps of the Alberta legislature in two nearly back-to-back rallies last week, calling for renewed social investment in response to the cuts announced in February's provincial budget.

On Thursday, about 500 students, organized through student unions from the province's three largest universities, protested the introduction of so-called "market modifier" fees and hiking of non-instructional fees that would increase the cost of attending university above the increase in the consumer price index—an agreed-upon level found in legislation.

While student protests against rising costs of attending post-secondary education have happened before, what makes this protest different was the ground-up momentum that made it happen. "It was really driven by students who had educated themselves about the problems, and who indicated that they wanted their voices heard, rather than student unions announcing a protest and then trying to get students to participate," said Bev Eastham, VP External of the

University of Alberta Students' Union.

As university boards meet over the next weeks to approve or reject fee increases, Eastham is confident that demands will partially be met, uisng the word "realistic" to describe the impact of their lobbying and rally. "The fees and market modifiers may be reduced but likely won't be totally cancelled," said Eastham.

For now, student unions have been invited by Advanced Education Minister Doug Horner to draft legislation around a regulatory framework that prohibits arbitrary hiking of non-instructional fees, which student representatives believe is the key demand. Duncan Wojtaszek, executive director of the Council of Alberta University Students, said he'd like to see decisions about fees made "as they've traditionally been done, through the mechanism of student referenda. That's the solid way to make a valid judgement on fees."

On Saturday, Join Together Alberta, a broader civil society campaign, rallied a similarly-sized crowd in response to service cuts in Budget 2010. Far from the rallies representing the end of campaigns against cuts, they are likely just the beginning. "Throughout next year, the reality of the budget cuts are going to play out across the province," said Bill Moore-Kilgannon, executive director of Public Interest Alberta. "Cuts to assistance to foster parent care, and

VUEWEEKLY // MAR 25 – MAR 31, 2010

thousands of decisions like it, illustrate what already is happening." Wojtaszek, who attended both the student union rally and Join Together, said concerns over funding cuts and fee hikes are shared across the province. The student fees are "a different face of the same narrative of cuts facing the province as a whole, which is why CAUS we're also part of Join Together Alberta. We're interested in working with any group protecting public services." V Rob butz // Rob@vueweekly.com

SLIDE SHOW

View the full slide show at vueweekly.com

COMMENT >> COPYRIGHT LEGISLATION

FRONT // ISRAEL-PALESTINE

Fair use copyright

Canada's complicity

Yves Engler explores how Canada helped build apartheid in Israel Samantha Power // samantha@vueweekly.com

F

or years the mythical advice to travellers has been to sew a Canadian flag patch to your back pack. The world loves Canadians. We created peacekeeping, we rushed in to save hundreds of thousands in the Second World War, we ... haven't done a lot in the 50 years since any of our grand, celebrated international actions.

Lately Canada has not fared so well.

Stalling tactics at December's Copenhagen Climate Summit, growing international opposition to Canada's tar sands and, recently, a confused position on women's health, to the point that Britain has wondered whether Canada understood British intent to create women's health as a G8 priority.

But this should not come as a surprise to Canadians.

Canadian author Yves Engler's last book opened up the case for Canada's failing status as a world leader as well as complicity with some of the most egregious international crimes, including forced relocation of Colombia's population for Canadian mining projects and support for coups of democratically elected leaders. Canada is not the star many Canadians believe we are on the international stage.

With the debate over Israel and Palestine becoming a growing topic on Canadian campuses and amongst Canadian youth, Engler has returned to shed light on Canada's historical relationship with Israel and how that has led to Israel's ability to continue to suppress Palestinians. His new book, Canada and Israel: Building Apartheid, deconstructs the historical and unilateral support Canada has given Israel over Palestine for decades.

Many Canadians would like to believe we have not taken a side in this international dispute. But the truth is, from the

very beginning, Canada has supported Israel, and that support, with this Conservative government, is only becoming stronger.

Canada's junior foreign minister Peter Kent has publicly stated, "An attack on Israel would be considered an attack on Canada." Harper's Conservative government has also cut $7 million funding to Kairos, a Christian aid agency that has stated they are working toward a "just peace" in Israel and Palestine. And just recently, the federal government cut $15 million in funding to the UN agency for Palestinian refugees. Canada has a position on the conflict, and it clearly supports Israel. And according to Engler, it's been that way since the beginning.

"Despite mythology of Canada as an honest broker, this country has been overwhelmingly supportive of Israel." says Engler, "There are very few institutions that are not supportive of Israeli policies. A handful of unions in this country. That does not reflect the vast majority of people's opinions in Canada. University administrations tend to be quite hostile to Palestinian activists but, increasingly, student bodies and

university professors are increasingly hostile to their insitutions' complicity with Israeli policy."

Engler's new book outlines just how Canada has supported Israel over the years from selling a significant number of weapons—which Israel subsequently used in its attacks on other countries, to abstaining on UN resolutions calling for Israel's withdrawal from occupied territories, to extending millions of dollars in lines of credit and loans to Israel.

Engler believes Canadians should be upset by this.

"The controversy comes from the fact there are some people who do not want to admit the extent to which Israel's reality of a brutal colonial nature that has stolen Palestinian land for basically a century now and continues to steal or disposess Palestinians of the final 22 percent of historic Palestine in the West Bank and Gaza."

In the 2008 Israeli led offensive, over 700 Palestinian civilians lost their lives in Gaza, while three Israeli civilians lost theirs. So while it should never come down to numbers and both sides violated international law, it's perceptions that often rule the day. FAIR (Fairness and Accuracy in Reporting) reports that there is not a straightforward representation of attacks in Western media, but that Hamas was more often given the blame in media reports for the latest round of attacks in Gaza. It's these perceptions that Engler is driving at with his newest book.

"There hasn't been a countervailing political force that rejects Canadian support for Israeli policies. So there has been very little literature produced with solidarity with Palestinians and being critical of Canada's position on Israel."

Even traditionally progressive groups have not taken on the challenge of anaCONTINUED ON PAGE 9 >>

Bill could open door to fair use extension Charlie Angus, the NDP Member of Parlia- send the issue to the House of Commons ment and musician, has a reputation for for discussion. speaking his mind. Last week, he did more than just speak out. Angus While the IPod levy proposal garsingle-handedly shook up the Canered the lion's share of attennadian copyright landscape by tion, Angus' fair dealing motion promoting two reforms: an exmay ultimately have a bigger ly.com tension of the private copying impact. Under Canadian law, eweek u v t@ mgeis levy to audio recording devices fair dealing permits the use l e a Mich such as IPods and greater flexof copyright works without Geist ibility in the fair dealing provision, permission for a limited set of the Canadian equivalent of fair use. purposes, including research, private The IPod levy proposal sparked immedi- study, news reporting, criticism and review. ate controversy. Canada slapped a private Fair dealing is regularly relied upon by copying levy on blank media such as CDs the public—by students when they quote more than 10-years ago. It has generated from texts, journalists in their reporting, hundreds of millions of dollars, but pre- authors writing books or book reviews, vious attempts to extend the levy to de- and scientists engaged in research. Yet vices were struck down by the courts as because the fair dealing categories are outside the scope of the law. limited, the provision does not currently The Angus bill would amend the law by apply to consumers recording television expressly bringing devices within the levy shows, artists creating parodies or satires, scheme. The problem is that few devices or businesses introducing innovative new these days are limited to audio. In a world goods or services. dominated by multipurpose devices that Rather than adopting an exception-by-explay audio and video, run applications ception approach vulnerable to changing and provide phone service, it is next to technologies, the Angus proposal merely impossible to separate the audio func- opens the door to other possible categotionality. In other words, the levy ends up ries of fair dealing. In many respects, it is a potentially covering everything—IPods, made-in-Canada version of the US fair use IPhones, BlackBerrys, Androids, IPads and provision, since it shares similar flexibility, even personal computers. but is grounded in Canadian rules for deCreator groups were quick to express termining what qualifies as fair dealing. their support for the proposal, but the The approach is precisely what thouConservative government made it clear sands of Canadians supported during last it is a non-starter from their perspective. summer's copyright consultation since Industry Minister Tony Clement labelled it seeks to strike a balance by ensuring the plan "non-sensical," while Canadian that uses are fair, not necessarily free.

Heritage Minister James Moore dubbed Interestingly, while Moore and Clement it the iTax, arguing "consumers deserve were outspoken in their criticism of the lower, not higher taxes." levy proposal, they kept mum on the fair Private members' bills rarely become dealing motion, perhaps recognizing that law, but the levy issue seems destined to it is consistent with their stated desire for percolate for the foreseeable future. On a technology-neutral, forward-looking apthe same day Angus tabled his bill, Bloc proach to copyright. V MP Carole Lavallée introduced a Standing Committee on Canadian Heritage Michael Geist holds the Canada Research Committee motion expressing support Chair in Internet and E-commerce Law at for the levy extension. It was supported the University of Ottawa, Faculty of Law.

by NDP and Liberal MPs (as well as the He can reached at mgeist@uottawa.ca or Conservative committee chair), which will online at michaelgeist.ca.

ZEIT

GEIST

FEDERAL BUDGET // ENVIRONMENT

US beats Canada

Pembina Institute reports environment spending greater in the US Mike Angus // mikeangus@vueweekly.com

A

ccording to a new report conducted by the Pembina Institute and Environment Northeast, the United States' federal per capita investment in renewable energy is set to surpass Canada's by a ratio of 8:1 in the coming year.

When comparing Canada's 2010 federal budget to the latest US Congressional Budget Request, Washington plans to spend more than C$27.4 billion (US$26,692 million) on green programs, compared to C$357 million in Ottawa. The reason for such a huge gap, according to the director of renewable energy and efficiency at the Pembina Institute, Tim Weis, "really just comes down to priorities."

"The message we're seeing at a federal level, is that [renewable energy] isn't a priority for the country," says Weis. "It signals that Canada is not interested in taking a leadership role."

While the Obama administration is focused on investing in clean energy and using it as an opportunity to create jobs, the Harper government—which made an election promise to move non-emitting sources of electricity from 77 percent to 90 percent by the year 2020—has released a federal budget with "virtually no significant programs to achieve this goal," the Pembina Institute said in its media release, including the refusal to renew funding for programs that directly support renewable energy development, like ecoENERGY and The Canadian Foundation for Climate and

Atmospheric Sciences.

Industry Minister Jim Prentice's office has come under fire for pulling funding to climate research and clean energy investment, opting instead for regulations to current practices. "Their take has been, 'We don't need to subsidize because we're going to regulate, and that will take care of the problem,'" Weis points out. "That would be great, if it were true, but the fact of the matter is we don't have any regulations in place. We don't even have a draft proposal on the table."

The bigger issue at stake, argues Weis, is Canada's "major opportunity" to capitalize on global investment in renewable energy.

In the US there are state and federal programs that offer public and private incen-

tives for investment in renewable energies like wind and solar power, carbon capture, and mineral and biomass energies. "There really is a hot market being driven both by the states, and the American government at a national level, to create investment," says Weis. "In Canada we are seeing some provinces step up and create programs, but we don't have anywhere near the same types of cohesion between the provinces the federal government."

While some critics might argue that nonrenewable resource-dependant provinces like Alberta will only suffer in the wake of green-energy investment, Weis argues that other provinces like Ontario, which is more coal-reliant than Alberta, has taken aggressive measures to end its dependence on "dirty" energy and is already starting to enjoy outside investment in its green initiatives.

"Ontario has more coal than anyone, yet they have committed to phasing its use out completely in the next three years," remarks Weis. "It has passed one of the most

MAR 25 – MAR 31, 2010 // VUEWEEKLY

aggressive renewable energy policies in North America, and that is going to drive a fair bit of investment in Ontario. In fact, it already has."

That fact alone should comfort critics who worry about Alberta's oil-drenched economy drying up.

"This really is one area where we can make major headway, particularly in Alberta because it has so much coal. It's pretty surprising that we're overlooking the opportunity," marvels Weis. "It's a huge area of growth, from an economic point of view.

"In 2008, there was more money invested globally in renewable energy than in nuclear power, coal, gas, and electricity combined. We're still treating it as a 'boutique' sector, but much of the world is investing in it heavily.

"We still have a big opportunity to not only clean up our act, but also be a part of a quickly-growing part of the global economy, and right now, we're not taking it very seriously." V

UP FRONT // 5

COMMENT >> ISRAEL

Israel holds the whip The very public row over the Israeli promised to kick-start Middle East government's humiliation of US Vicepeace negotiations, but Netanyahu led President Joe Biden has led to a right-wing coalition that would excited speculation that the collapse if he made any major US government might actuconcessions about Jewish setally defy Israel this time. tlements in West Bank. It was Don't hold your breath. ly.com never going to be a comfortk e e w e@vue Joe Biden's visit to Israel able relationship. gwynn e last week was meant to beObama had already got PalGwynn stow Washington's blessing estinian leader Mahmoud AbDyer on "indirect" talks between the bas to agree to new peace talks Israeli government and the Palestinby promising him that Israel would ian Authority: that is, "proximity" talks in stop building new Jewish settlements which the Palestinians and the Israelis, in the occupied territories. That was a both in the same building, would each bottom line for the Palestinians, who talk to American mediators but not dihad watched the Jewish population rectly to each other. It was a clumsy arof the West Bank double to almost rangement, but the best that the White 500,000 people in more than 100 House could do. settlements since the Oslo Accords Binyamin Netanyahu became Israel's (the start of the "peace process") were prime minister again a month after Basigned in 1993. rack Obama took office. Obama had So Obama asked Netanyahu to "freeze"

R DYEIG HT

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further construction in the settlements.

Netanyahu ignored his request for four months, and then offered a "temporary" ten-month halt to new construction in the West Bank—but work would continue on 3000 new housing units already under construction and on infrastructure projects.

This was a far cry from what Obama had requested, but he acknowledged defeat and switched his efforts to forcing the Palestinians to accept less than half a loaf. Mahmoud Abbas could not submit to this rebuff without committing political suicide, and so the direct peace talks Obama had envisaged were downgraded to proximity talks.

This arrangement entirely suited Netanyahu, whose main goal is to avoid a US-backed peace proposal that involves a halt to the current rapid growth of Jewish settlements in the Palestinian occupied territories, or even a retreat from them. So he didn't need the political ambush that wrecked Joe Biden's visit last week, and he probably didn't plan it.

While Biden was still in Israel, the interior ministry announced a decision by a Jerusalem district planning committee to build 1600 new homes for Jews in occupied East Jerusalem. It made both Mahmoud Abbas and Joe Biden look like fools—and even if Netanyahu did not intend the insult, he refused to cancel the plan. He just apologized for the poor timing.

"This was an affront, it was an insult but most importantly it undermined this very fragile effort to bring peace to that region," said David Axelrod, one of President Obama's closest aides. "For this an-

VUEWEEKLY // MAR 25 – MAR 31, 2010

nouncement to come at that time was very destructive." And the Israeli ambassador to Washington, Michael Oren, told consular staff that it is a crisis "of historic proportions" in US-Israeli relations, the worst in 35 years.

Really? So now Obama will start slowing down deliveries of American arms and cash to the Israeli state until Netanyahu comes to heel? Democratic members of Congress, already terrified of their re-election prospects in November, will nevertheless act in ways that bring the wrath of the American Israel Public Affairs Committee (AIPAC), the strongest advocacy group in the country, down on their heads?

Not very likely. After a few days this whole episode will probably be swept under the carpet, Abbas will be hung out to dry, and normal US service to Israel will be resumed. Just as it always is.

Back in 1982, President Ronald Reagan, one of Israel's warmest supporters, worried aloud to Israeli Prime Minister Menachem Begin that some US Congressmen were getting uneasy about Israeli actions in the war in Lebanon. This was the time of the Sabra-Chatila massacres of Palestinians, carried out by Israel's Lebanese Christian allies, apparently with Israeli connivance.

"Don't worry about the Hill, Ron," Begin said. "I'll take care of that." Netanyahu can take care of it, too. V Gwynne Dyer is a London-based independent journalist whose articles are published in 45 countries. His column appears each week in Vue Weekly.

COMMENT >> ROYALTY RATES

Issues

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

Handouts to the wealthy

Royalty restructure will not create the economic stimulus Alberta needs Ricardo Acuña // UALBERTA.CA/PARKLAND

Alberta's worst-kept secret was made official two weeks ago by Premier Ed Stelmach and Energy Minister Ron Liepert.

After months of "research" and closeddoor meetings with the energy industry and the financial sector the government announced the results of their competitiveness review: lower royalties and reduced regulations.

Specifically, the government has done two things with royalties. The first is to make permanent the practice of only charging new oil and gas wells a fivepercent royalty in their first year of operation. The government introduced this last year as a temporary incentive, and has now decided that this is the way it will be permanently.

The second adjustment they have made to royalties was to reduce the maximum royalty rate payable by conventional oil and natural gas producers. The top rate for conventional and unconventional gas will drop from 50 percent to 36 percent, and the top rate for conventional oil will be decreased from 50 percent to 40 percent.

The financial costs, so far, of this latest royalty giveaway will be almost $800 million in the 2012-2013 fiscal year. That's approximately half of what the government had to cut from its public programs and services this year because it claimed its shrinking revenue stream made cuts necessary. Where will the extra $800 million come from? Once again, Albertans are being forced, without input or consultation, to fund hand-outs to an industry that is already more than profitable.

It is important to note that the total cost of the current giveaway is not known yet; the announcement on March 11 only specified the low and high ends of the new royalty structure. What the rates look like in between the two extremes will not be announced until May 31, when the govern-

ment releases the full new royalty curves.

If there was any doubt that the structure of the curves will be even more beneficial for industry, Minister Liepert put that to rest when he told the Calgary Chamber of Commerce "We've committed to work with industry and review what are called the 'curves' and see if there are additional adjustments we should make by the 31st of May." In other words, if industry is less than happy with the new low and high ends, we'll make sure we fix it in the body of the curves.

The government has also promised to work between now and October to reduce "regulatory red tape" and "streamline application processes" for oil and gas drilling in order to make it easier and cheaper for business to invest in Alberta. A special task force has been set up to review existing regulations across departments, identify potential "efficiencies" and report back in three months. As has been the case throughout this process, the task force is made up entirely of industry and government representatives. What could environmental, labour and citizen organizations possibly have to contribute in terms of reviewing and setting up regulatory frameworks for oil and gas companies?

The government's stated reason for all of this is that if we reduce royalties and regulations for the gas and conventional oil industry, they will invest more in Alberta and we will have more jobs and economic benefits. How many more jobs? Well, according to the government's own media kits, the changes to the royalty regime will create 13 000 jobs per year across the entire economy. That might sound impressive, until you look at the recent StatsCan numbers showing that Alberta lost almost 15 000 jobs in February alone. They look even less impressive when you consider the fact that there 62 400 fewer Albertans employed in February 2010 than there were in October 2008.

Is the government right to be concerned about re-stimulating the economy? Absolutely. Is handing over hundreds of millions of dollars to the oil and gas industry the best way to do that? Absolutely not.

First off, royalties are not the only factor slowing down drilling in Alberta. The industry has also backed off because of the extra transportation costs involved in drilling here, the low international price of oil and gas, and that fact that Alberta's reserves are old and dwindling compared to other jurisdictions. Reducing royalties will not change any of those realities, and as such is not likely to bring as much investment back as government would like to think.

More importantly, however, is the fact that, according to data from the provincial government, money invested in oil and gas drilling actually generates fewer jobs across the economy per dollar invested than money invested in public services. In other words, the places with most bang for the buck in terms of job creation are the very places where this government cut more than $1.5 billion in the last budget, and the places with least bang for the buck are the places this government is investing. Again, these are the government's stats—they know this.

What this means is that all this talk of job creation and economic growth is just government spin for the fact that they needed the province's oil and gas industry to like them more than the Wild Rose Alliance. And they are prepared to forego real job creation and economic stimulus in order to achieve that. Where do you fit into this equation? Well, you're paying for this intense back-scratching through foregone revenues and reduced public services.

Thank goodness the government has somebody's back. Too bad it's not yours. V Ricardo Acuña is executive director of the Parkland Institute, a non-partisan public policy research institute based at the University of Alberta.

MAR 25 – MAR 31, 2010 // VUEWEEKLY

UP FRONT // 7

8 // UP FRONT

VUEWEEKLY // MAR 25 – MAR 31, 2010

COMMENT >> HEALTH

Farewell, well, well Final column from Vue's Connie Howard

Having had the privilege of representing the under- to worry their pretty little heads, when they know represented while challenging the messages of the there is reason to worry, and who have assertively powerful in nearly 200 columns since my first in insisted they be heard and that their doctors work June of 2006, I've decided Well, Well, Well's time with them as they pursue all possible avenues: you has expired; this is farewell. have more courage than I. The column has given me the opportunity To those tired of battling obesity, remember to look through the flow of health inforthis: many, after a lifetime of struggle with L , WEL mation with a critical eye and bring contheir weight, discover they are insulin reWELL text, alternatives, and the other side of sistant and that the only solution is to sometimes grossly one-sided health rereduce insulin production. Read Drs Miom .c ly k e e porting. It's been gratifying to challenge chael and Mary Dan Eades, and leave the @vuew health e i n what often resembles corporate spin far grain-based Canada Food Guide behind. n o C d more than health information.

Howar But Vue is an Edmonton paper with a To my vegan readers: I appreciate your constrong local focus, and I've long felt compelled cern for our health and the health of the planet. to focus on some pretty non-local health matters, But you haven't even begun to convince me that so I think it's time to move on. veganism is best for all. Nor have you convinced me Besides, beckoning from the back burner are stacks that agriculture is even the tiniest bit more earthof half-read books, an overflowing office, neglected friendly than is traditional farming that includes the corners of my personal life, and other writing proj- raising of animals. Lierre Keith on the other hand, ects waiting to be tended to. has convinced me that for some at least, veganism But first: a vacation. I've had an exact total of is deadly, and that, politically incorrect as it may be two and a half childless vacations over the past 26 to say, agriculture is destroying the planet, and that years. You don't need to be a health writer to know when you rotate cattle on grass, you put back more that's not enough. And then: an indefinite and pos- than you take. sibly somewhat extended leave from writing altoTo those for whom the cure was worse than the gether. The truth is that freelance writing can be disease, those who have almost lost their lives, or a lonely slog, and while rewarding in many ways, those of a loved one, to treatments for arthritis or also simultaneously draining for the spirit and bad cancer or AIDS or depression or a vaccine: keep tellfor the back. ing your stories.

I may even try to find a normal job that involves I've met dissidents of all stripes, and I admire them face-to-face contact with people. Probably not enormously. It takes courage to forge your own though; I'm addicted to health writing. So, some path in the face of a powerful orthodoxy. But disfarewell messages. sidents abound. More and more of us understand To the scientists and doctors and writers who that medical science and the practice of medicine have been honest enough to talk about their dis- has been co-opted by industry, and that achieving senting work on diet, or vaccines and other phar- ever narrower and more microscopic understandmaceuticals, or toxic causes of diseases of all kinds: ings of disease often tells us little about the big picyou've inspired me, and given me hope. Admitting ture, about what actually helps more than it harms. that standard treatments often fall far short and in Existing models often remain in use for many, many many causes ought to be abandoned entirely if our years after the body of scientific literature is replete practice of medicine is going to be based on what with facts that directly counter the premise upon works and what is safe takes courage, and I know it which that model has been built. has cost many their careers to speak the truth.

So thanks to Scott Harris and Ron Garth for giving To those who have written to let me know they me the opportunity back in 2006, and for trusting have drawn comfort from realizing they're not the me and allowing me much leeway. Thanks to my only ones suffering with a disease their doctors can former editor Ross Moroz, who died of suicide, and do little for, and that they have found a measure whose fearless and enthusiastic support for my colof relief and hope and sanity looking outside the umn I will always remember with much appreciamedical orthodoxy: you have re-energized me, over tion. And thanks to you, the reader; your feedback and over again. kept me coming back for more.

To those tired of their doctors telling them not It's been gratifying, and I'm going to miss you. V

WELL

ISRAEL-PALESTINE

<< CONTINUED FROM PAGE 5

lyzing Canada's position on Israel. Just as Michael Ignatieff criticized apartheid weeks across Canada it was revealed he had once stated that the situation of Palestinians in the West Bank were similar to the "bantustans" of South African apartheid.

Engler believes Ignatieff's original statement in 2002 is his personal feeling, but that he has been forced to state a new policy. "His position is reflective of the political culture of this country."

And it's a position the political left in Canada knows well. No major political party has defended Palestine since the Cooperative Commonwealth Federation denounced anti-semitism, but refused to endorse Zionism. But, according to Engler's new book, by 1945 the CCF fully endorsed the creation of a state in Israel.

But Engler believes all that is changing with growing support for Palestinian solidarity.

"Studies show the more Canadians know about the Palestinian issue, the more they're supportive of the Palestinian cause." With the recent controversy over the naming of Israeli Apartheid Weeks across the country Engler believes the solidarity movement is actually gaining ground,

and that Harper's drastic cuts to Palestinian aid groups are actually a sign that Canadians are waking up to the reality of the Palestinian story. "Apartheid week attendance is growing.

Every event has had a growth in attendance ...

Two decades ago groups like Kairos were not particularly pro-Palestinian, these groups have been changing their position on the issue. The backlash—it's a response to the growing Palestinian solidarity movement."

For now, Engler hopes the discussion becomes more balanced, "Part of the discussion with Palestinian solidarity activists [is] just talking about [the fact] that a girl born in Gaza deserves equal rights to a girl born as a Jewish Israeli 25 kms away. Just saying that challenges the political culture in this country. What this book is trying to do—politically speaking—is to make the critique or the challenge to the Canadian establishment a lot more explicit." V Wed, March 31 (4:30 pm) Canada and Israel: Building Apartheid Book Launch Telus Centre room 236 University of Alberta campus

MAR 25 – MAR 31, 2010 // VUEWEEKLY

UP FRONT // 9

COMMENT >> HOCKEY

A brief respite

Things briefly look up for the Oil Last week was an oasis in a sea of shite the team with a promising forward and a for Oiler fans. The Oilers welcomed Desolid d-man. To get that valuable pick, the troit and won 3-2 after a shootout. Then Oilers would have to move somebody of the high-flying San Jose Sharks came substance to Boston. The name comto town and the Oilers beat Joe ing up going to Beantown most Thornton and his gold medal often is Ales Hemsky. Hemmer buddies 5-1. The homestand is pretty much the only Oiler continued with a visit from with enough immediate atVancouver and a 3-2 Oiler om traction to another team to .c ly k e ewe ox@vu win. Read this paragraph give up something of value. intheb Dave again—just for fun!

Even if the rumours are true, Steve Tambellini can't make the Young The 1-2 pick With a number one deal until the season is complete draft pick virtually sewn up the latest and we know what team actually holds pipe dream bouncing around the interthe best draft picks. nets is parlaying a deal with Boston to So, that said, is it time to jettison Hemsecure what could be the number two sky, the perennial almost-made-it-to-fullpick in the draft. The prospect of a 1-2 potential guy? or even 1-3 selection could mean drafting Rebuilding means blowing things up.

Hall or Seguin plus Cam Fowler, leaving Moving the most talented player is

IN THE

BOX

BOB THE ANGRY FLOWER

10 // UP FRONT

VUEWEEKLY // MAR 25 – MAR 31, 2010

gutsy and sends a message. With his age and workable contract the Oilers could shuttle Hemsky out for solid prospects, high draft picks or other building blocks necessary to rebuild. But in the end, trading Hemsky scares me because Murphy's Law says Hemsky will finally have that breakout, stellar season we've been waiting for. And he'll do it for someone else's team. That would hurt.

Second choice With the end of the regular season mercifully looming, I suppose I've got to find some team to follow into the playoffs. Here's the teams I'll be halfheartedly supporting: Phoenix Coyotes – Underdogs always have appeal. Despite being in the upper echelons of the standings, they're still David, not Goliath.

Chicago Blackhawks – It's Chicago's turn. This city has but 3 Cups since 1926 and have witnessed only two playoff appearances since 1998. They've got an exciting young team.

Calgary Flames – Kidding! V

MAR 25 – MAR 31, 2010 // VUEWEEKLY

UP FRONT // 11

INSIDE // DISH

DISH

Online at vueweekly.com >>DISH

13

Restaurant Reviews

Veni, Vidi, Vino

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

REVUE // DADEO RESTAURANT AND BAR

Smooth operator

Dadeo's food and southern hospitality keeps packing 'em in

LIKE STEPPING BACK IN TIME >> 1950s decor and key lime pie define a trip to Whyte Ave's Dadeo PETE DESROCHERS // DESROCHERS@vueweekly.com

D

adeo Restaurant and Bar is more than a fine Cajun restaurant with loads of atmosphere and good food. Indeed, it is a Whyte Avenue institution for those in the know, which has been around for over 17 years. Stepping into Dadeo's is like stepping back into the 1950s, complete with vinyl-covered booths, jukeboxes at each table, Brunswick bowling decor and upbeat music.

People come here to have fun. The energy level is high, as efficient young staff bounce from booths, to tables, to counters,

to booths. They serve, they clean, they flambé, they do whatever needs to be done to serve in the tradition of southern hospitality. Even the owner, herself, is up and down the entire length of the restaurant every few seconds, working her oysters off, welcoming arriving patrons, wiping down tables and bringing out intriguing Cajun dishes. There isn't a chore her staff does that she isn't willing to do as well.

It had been quite a few years since I last reviewed Dadeo, and thought it would be fun to go for a night out with my buddy, Graham. To start off, we ordered the Cajun Calamari ($11) and the Bayou Gumbo ($7).

The calamari here was among the best one

12 // DISH

// Renee Poirier

could hope for. It was marinated in buttermilk, deep-fried and tossed with minced red onion and Cajun spice.

The texture was perfect, the flavor was distinctive and the spicing was lively, but not overbearing. The serving was generous and it is an ideal dish for sharing. To be honest, I can't imagine taking someone there and not having at least one of us ordering the Cajun Calamari.

As for the Bayou Gumbo, the soup had decent portions of andouilli sausage, chicken, shrimp, vegetables and rice. It was also tasty enough but, unfortunately, had been poorly thickened. I could actu-

ally taste the thickening agent, which I'd bet was cornstarch. It was still quite palatable, but hardly what I'd call a gumbo; and it's something that perhaps needs to be addressed.

Having lived in Georgia for a while, I became quite fond of catfish. So for my main course I chose the Blackened Catfish Salad ($15). A large filet of blackened catfish was served over mixed greens, bell peppers, cucumber and mandarin wedges.

The buttermilk basil dressing was a nice bridge that complemented both the salad and the fish. The selection was light, refreshing and satisfying.

VUEWEEKLY // MAR 25 – MAR 31, 2010

Graham tried one of four combos that are offered. If you aren't familiar with a particular restaurant or type of food, I strongly recommend combos. In terms of tasting a wide variety, it gives you the best bang for your buck. Graham chose the Combo YaYa ($16), consisting of blackened shrimp and scallops, the veggie jambalaya, coleslaw and two large fried oysters. They all tasted authentic and reminded me of fare one will find in the southern states. I particularly enjoyed one of the fried oysters.

By the way, one of the neat things about Dadeo is that the menu is so different. It's entertainment just to read it. If you happen to be a mussels or oyster fan, there is a wide range of choices. You no longer need to find an oyster bar to enjoy your ocean delicacies.

For dessert, I had a piece of key-lime pie.

There were other choices, such as flambéed bananas, bread pudding (a southern favourite) and chocolate cake. But after this meal, something light seemed appropriate. The pie and a cup of coffee nicely topped off dinner.

The desserts were all $6 or $7, with the exception of the flambé, which is for two and is a tableside preparation. The cost for that is $14.

Other than the Bayou Gumbo, it was hard to find fault with anything. Undoubtedly that is why the place always seems full of customers and everyone seems to be having a good time.

Dadeo Restaurant and Bar is an excellent eating establishment with something truly different to offer. It is a must for those who consider themselves part of the Edmonton dining elite. V Mon, Tue, Thu – Sat (11:30 am – 11 pm); Sun (12 pm – 10 pm); Closed Wed Dadeo Restaurant and Bar 10548A Whyte Ave, 780.433.0930

WINE

Perfect pair

Wine and cheese go together like, well, wine and cheese When it comes to pairing wine with food, there is perhaps no food more intimidating to match than cheese. Which is easy to understand, as there are hundreds of wines and cheeses to suss out. With that many possible combinations, VIDI it's easy to feel too intimidated VENI, to venture into the seemingly overwhelming world of wine m ekly.co pairing rules, but alas, here vuewe angus@ are a few basic tips to help you mike Mike navigate them.

Angus First, remember that wine and cheese are the original pairing. They complement each other endlessly, since an appreciation for both comes from their complexity and age. They are both versatile as means to opening and closing a meal, as they add invaluable subtleties SO HAPPY TOGETHER >> The pairing is so well-known because wine and cheese thanks to their ability to complement and are perfect together // File contrast with other flavours and textures.

VINO

In short, don't let cheese intimidate you; rather, put it to work for you. Like wine, cheese is more than happy to comply.

Second, a little about cheese. These are three broad categories, and by no means is this an authoritative guide: soft/mild cheeses, like Brie or Havarti, are generally creamy, buttery and relatively low in fragrances and sharp flavours. Hard cheeses like Parmagiano and aged Cheddar can range from salty to savoury to nutty, with subdued aromas to pungent, outrageous flavours. And then there's blue: crumbly or creamy, pungent and stinky, bold and bul-

lying flavours—there are few other foods in the world that divide a crowd. You either love it or hate it, but blue cheeses are not only the centre of attention, they share the spotlight willingly with wine.

Now, matching wines: when serving soft mild cheese, Sauvignon Blanc is an excellent start, with crisp acidity that can balance the buttery textures while its herbaceousness compliments this cow's milk-based beauty. Harder, saltier cheeses do well when contrasted with bigger, dry red wines like Amarone or Ripasso—any

big, dry reds benefit from food pairings, and cheese is no different. As for blues, you want to either confront the boldness with heavy, tannic reds and ports, or cut them off with a sweet Sauternes or ice wine.

One rule that most experts seem to agree on is sparkling wine: bubbly has the complexity, body, boldness and lively mouth feel to engage most cheeses. Whether you're using wine and cheese to welcome guests at the door, or winding down after a delicious feast, cheese and sparkling wine will leave everyone satisfied. V

MAR 25 – MAR 31, 2010 // VUEWEEKLY

DISH // 13

INSIDE // SNOWZONE

SNOWZONE

16

Fall Lines

SKI // BACKCOUNTRY

The Rippel effect

Learning advanced snow safety from a Peak Freak he would load up each season to do the change-over from winter guiding in the north to mountain guiding on Vancouver Island. His skis, his moose meat and Koflack boots all aboard and away he would go."

BOBBI BARBARICH // Bobbi@vueweekly.com

T

im Rippel isn't lucky. There have been serendipitous moments in his life, but luck is not an element he trusts, especially as he treks behind one of his Level Two Avalanche Safety Training students.

Six more of us plod behind Rippel. Nic Tremblay, a general physician from Gaspé, leads our troupe. He pauses on the edge of a steep open slope and looks over his shoulder at Rippel. Tim looks at the trees above us. Tremblay looks at me.

"Where do you think?" Tremblay asks.

It's hard not to defer to Rippel. He's trained hundreds of would-be mountaineers and daytrippers on the slopes around Nelson, BC, for 18 years since he started Peak Freak expeditions with his wife Becky, an international travel guru.

Rippel had spent several years previous to meeting Becky climbing and training for expeditions in the Murray Range near Powder King Ski Resort in BC. Waking at 3 am, Rippel ascended the rocky ridges and skied the gnarly faces in typical northern BC mercury-plunging temperatures. Only then would he start his day leading mountain safety and operations at the remote resort. Some considered these actions worthy of the nickname, Peak Freak, and the name stuck.

"What do you see?" asks Rippel, focusing his attention at our temporary trailbreaker.

"I think there could be an avalanche here," reasons Tremblay as he looks at the sparse trees missing branches on the uphill side. Below us is a gully. Should someone or something release the snow above us as it obviously had in the past, thousands of pounds of fluid powder could easily whisk us into the terrain trap. Conditions at and below tree line are "considerable" today, a middle category in which, according to Rippel, the majority of casualties due to avalanches occur. "Easy" and "moderate" classifications are more stable, therefore less risky. "High" and "extreme" designations usually keep the recreational backcountry tourers at home.

People must use extensive judgment in this considerable grey zone. Our group is spending four days gathering this judgment from Rippel. In his nearly two-decades worth of guiding, Rippel's safety record is impeccable. Considering he goes on five yearly expeditions to 8000-plus metre peaks around the world, and has made eight trips to Everest, including a successful summit, his clean record is exceptional.

He has been dragged down a mountain by an avalanche, however. While heli-ski guiding with Canadian Mountain Holidays, a bold client chose to traipse beyond the safety line Rippel carved with his own skis. The client brought a class-one ava-

HOAR MONGERS >> Students in a Peak Freak class investigate the snowpack up close lanche down on Rippel and the client's eleven-year-old son. Rippel fought free of the flowing slide with a scalp laceration and wrenched knee. The boy was exceptionally frightened as a bloodied Rippel dug him out. The client blamed Rippel for the accident. Yet everyone else in the party noted that Rippel's careful words were not regarded.

14 // SNOW ZONE

"Let's keep five metres between us, no?" suggests Tremblay. Rippel passes the message back and waits until Tremblay has cleared the opening before proceeding.

For Rippel, choosing to live and work in the mountains was part evolution and part conscious decision—in a roundabout sort of way. He chose Okanagan College

// Bobbi Barbarich

because he wanted to play volleyball, and finished with a welding ticket he'd later use to fix chairlifts and his houses.

"When I met Tim he didn't even have a bank account," recounts Becky. "He lived for playing in the mountains and every cent he earned went towards his next road trip. He didn't even have a vehicle when I met him. He had a dirt bike

VUEWEEKLY // MAR 25 – MAR 31, 2010

Rippel is taking ornaments off a Christmas tree in the couple's cabin at the base of Whitewater Road as his class, one of at least four avalanche courses Peak Freaks offers every winter, gathers snow analysis kits—pencils, notebook, saw, magnifying glass, crystal card, rope, ruler and thermometer.

"There's a lot more to riding than snow," he notes, stringing the lights into a circle.

A movement over our heads makes us all glance upward. A block of snow slips off the tin roof past the window beyond the naked Christmas tree.

"I think it heard us talking about it," smiles Rippel.

He's enthusiastic to get outside, moving quickly between a pile of beacons in Ziploc bags, capping dry erase markers and tidying the tree. He shoos us outside into the parking lot to practise multiple beacon searches. With numerous time restraints due to increasingly popular international expeditions, the Rippels have hired guides to work their winter expeditions in Africa and Argentina partly so Tim can continue teaching avalanche courses at home.

Becky attributes increasing backcountry traffic to adventurers looking for a more natural experience, easier availability of gear and increasing education and commercial ventures into the backcountry—and the realization that it's dangerous territory, often spurred by horrific accidents such as when seven students were killed in 2003 by an avalanche in Glacier National Park. Even more so, "We see more people wanting to make their own educated decisions, which we feel is very important and a long time coming. It used to be that one person would have an avalanche course under his belt and backcountry enthusiasts would feel somewhat protected following one person's lead." Now, though, more people want to make their own tracks.

Peter Austen followed Rippel's growing presence in mountaineering in 1989.

Austen needed a lead guide for his 1991 Everest expedition, the first charitable climb in Everest's history. Rippel took Austen and a colleague ice climbing near his winter base in Northern BC, where he managed to intimidate the duo and inadvertently convince them he—above 500 plus applicants—should be the lead guide. Rippel's resume now totals over 40 Himalayan expeditions.

On day four, our test day, we trek into Hummingbird Pass minutes from Rip-

KNOWING SNOW Filing down the layers of a snow pack, snow ranges from new snow to what could simply be described as ice. But have a closer look. These layers each have a story. When read together, these layers tell you whether it's safe to ride.

New snow: fresh delivered from the sky. All snow—which can be classic stellar shape, plates, columns or rounded balls depending on moisture content—has its beginning as relatively light crystals.

THAT'S RUTSCH >> Skier jumps on a column of snow as part of a Rutschblock test pel's cabin. "This looks good, guys," surmises Rippel. He sidesteps up a slope.

After three days with him, we know it's time to dig a pit below the biggest layer of concern—the weak surface hoar—away from the trees, in a somewhat open but safe spot, on a slope similar to what we want to ski.

"If you can link three or more turns within the trees, that's a good place for a slide," advises Rippel as we discuss what lies beneath the powder we want to ride.

We fall into pairs and start heaving snow. Rippel doesn't wear a helmet.

His backpack is sun-faded and full of everything he'd need to spend a night or two outside, from slings and braces to tarps, fire starter and extra clothes.

His most important piece of equipment is a headlamp. Rippel simply prepares not to be buried on every outing—and he spends 11 months of every year on snow-covered mountains.

My pit partner, Kevin Dodge, is a wellread American snow lover who's spent considerable time working in ski resort kitchens to be able to ski. He's now renting a house in Ymir, 30 km south of Nelson, where he and his partner Amy aim to spend more time skiing than working.

Scrutinizing the crystals on his card, Dodge calls Rippel over. "This must be a rain crust, and the surface hoar is 12 cm above," Dodge half-asks Rippel. Rippel leans into the pit with us and examines the card.

"What do you think's happening at that layer, Kevin?"

They discuss temperature change through the pack, warming at one degree per 10 centimetres, a gradient not prone to creating pack-weakening facets. Rippel has a way of verifying what you think you see to enhance your confidence, rather than telling you what it is.

Dodge, obviously comfortable in the backcountry, explains why taking the course is important to him.

"I have done some study on my own and have toured with guides who will always answer questions and demonstrate things, but I felt I needed a solid base of knowledge to move forward. The course is giving me more confidence in my own ability to assess stability, conditions and my touring route. I feel like I can actually push the boundaries further than before because I can really assess a situation rather than back off just because I'm unsure or scared."

Making adequately informed decisions is indeed liberating, a feeling that applies to important choices on the mountain or in your career. In pondering powerful people, there's usually a significant other who manages to balance the individual. Appropriately,

// Bobbi Barbarich

Rippel met his wife through skiing. A friend suggested Rippel stop by the mall in Prince George, BC, to meet a lady working at the ski information centre.

Becky was running her own international ski tour business, Snowbusters.

Rippel later got her attention when he strip-teased to raise money for his first Everest expedition, and Becky was convinced. "I liked what I saw and today I still raise money for Everest for him."

Shortly thereafter, the couple arrived in Tibet. When the team began struggling with travel details, Becky recalls, "I jumped in with my 20 years of travel experience and took care of that aspect of the journey."

"During the expedition we hit a major road block. The road between Tibet and China washed out right before our eyes.

We were stranded, years of work and organizing and training for the climbers. It was at a dead stop! Or rather not when it comes to Tim and I and our passion for challenge. Together we are pretty powerful. It was natural."

After bailing their lead Sherpa out of jail—he was taken by Tibetan police—the team returned to the washout area. It was still spewing boulders from a 300-metre wall above them, but Tim guided their team members through the cascade.

"We all made it through safely except for some abrasions from the debris on some of the climbers legs. This is when we knew we were destined to be leaders in extreme adventures." V

Rounded snow: slightly aged. Heavier than new, small temperature gradients within the snowpack settle and sinter—breaking off the arms of the flake—the snow. This forms strong layers called slabs.

Crust: formed by rain, wind or sun.

Snow is ground into particles by the elements. This crust can create a solid slab, or a strong layer on which a slab can slide.

Faceted snow: square, sugar, or recrystallized snow forms with big temperature changes through the pack.

Heat passing from ground to surface, in a process called kinetic metamorphism, turns flakes into geometric shapes that don't bond to each other, making the layer weak and brittle.

Depth hoar: is faceted snow— large crystal grains with no bonding strength—and found near the ground. These facets shear off each other like broken plates.

Surface hoar: frost or feathery snow that grows on surfaces in calm, humid and clear conditions after a storm cycle. Also a very weak layer, surface hoar persists after new snow has fallen on top of it. This layer of triangle shapes easily collapses under pressure. It's the most common weak layer and causes a huge number of avalanches.

MAR 25 – MAR 31, 2010 // VUEWEEKLY

SNOW ZONE // 15

ALPINE >> NEWS

Canuck glory

Canadians find success all over the place Partenkirchen on the famous Kandhar track.

But he wasn't finished.

The next day he got right back up on the same mountain and won another Super G. With back-to-back Super G wins he vaulted from third place overall to capturing the season Super G title.

This is the first time a Canadian skier has won a World Cup crystal globe since Steve Podborski in 1982.

Paralympic medal haul four bronze.

Canadian Paralympic athletes picked up Forest's personal triumphs included gold, right where the Olympic athletes finished three silver and a bronze and much heronly a few weeks ago, winning three alded cross-country skier Brian McKsilver medals on the second day eever who nearly got to compete including Edmonton's Vivian Forat the Olympics took home est who finished second in the three gold medals. women's slalom for the visually At the top of the heap was m ekly.co impaired.

Canadian skier Lauren Woolvuewe @ rt a h In her first race, together with stencroft who got to hear "Oh Hart k her guide Lindsay Debou, Forest Canada" multiple times beGolbec finished only one second behind cause she captured a winter Parthe gold medal winner. Josh Dueck alympics record five gold medals. took silver in the men's slalom and Colette Bergonje started the ball rolling earlier in Mr Super G the day with a silver medal in the gruelling After personal disappointment with his 10-kilometre sit-ski cross-country race.

Olympic performance, Erik Guay left nothThis was only the beginning and when ing behind in the final week of the year's the games closed last Sunday, Canadian World Cup circuit. He started by winning Paralympic athletes had garnered a record the Super G in Norway. Three days later 19 medals including 10 gold, five silver and he took the downhill bronze in Garmish

FALL

LINES

16 // SNOW ZONE

VUEWEEKLY // MAR 25 â&#x20AC;&#x201C; MAR 31, 2010

BC/DC and the Sunshine bands Once again Sunshine Village is gearing up to play host to an outdoor spring concert series. For the first three weekends in May, bands will be rocking on the slopes and anyone with a lift ticket can come up and dance to the music or just lie back in the snow and take it all in.

First up on May 1 & 2 is the return of country legend George Canyon. The next weekend on May 8 & 9 is the return of Sunshine Redneck Rodeo including the Hubcap Hurl, Horseshoes and Redneck Ropin' and if you want some music, start dancing to the tunes of One More Girl. This Nashville band really consists of two girls named Britt and Cary McKillip and they are looking forward to some Sunshine fun.

The last concert weekend on May 15 will feature hard rockers BC/DC. These guys will certainly get the crowd going and hopefully the avalanche prone snowpack will be stabilized before they light up their guitars. For boarders and skiers the best part is that in between sets, you can go for a cruise. V

ICE RACING // LAC LA BICHE

Zambonis on speed

The thrill of racing old Neons on a frozen lake adam Smith // adam@vueweekly.com

D

riving into the tundra, playing cat and mouse with semi-trucks on the highway and getting stared down by an 18-year-old with stainless steel testicles hanging from the back of his Mercury Topaz, I pondered my choice of destinations.

But I am a driver. I love racing, engines, sliding around empty Wal-Mart parking lots in my car, ghost ridin' the whip and driving like an asshole. For me, driving on ice, the bane of so many drivers, just added to the appeal. The opportunity to go ice racing on frozen Lac La Biche was undeniable.

What I found, to my pleasant surprise, were pristine, largely undisturbed forests, rolling country, and a quaint, energetic town. As I pulled into Lac La Biche, there were people buzzing all over the place: at the outer-space-themed drivein, in the streets, pubs and on the lake.

The Festival of Speed brings in racers of cars, quads, sleds and motorbikes from thousands of kilometres away.

Overhead, choppers and planes were making their entrance to the first annual fly-in, in conjunction with the festival. A huge pond hockey tournament was also in full swing just down the shore. My preconceptions of the area were completely off, though they may be a contributing factor in helping the place maintain its isolated charm.

Ice racing is like most fringe sports.

The friendship and cooperation of the people involved is half the pleasure. As we pulled out onto the lake, the hundreds of cars belonging to spectators and competitors had the appearance of an arctic tailgate party.

People were moseying about, sipping coffee or twisting wrenches and getting their machines tweaked as races ran continuously on the long course track, the oval track for bikes and quads and the sledders' straightaway.

For car-drivers, racing is only a fraction of the sport—a lot of time is spent maintaining the cars. But this is not as prohibitively expensive as one might think. Mostly old Neons and Chevettes populate the races, and they are very cheap to buy used. To get race-equipped and ready to hit the ice, one can invest as little as a couple thousand dollars.

something I had been advised against, and a triple pass on the second.

I was quickly making ground on the sinister Number 7. I could see him several cars ahead, and by the end of the second lap I was on his ass. At this point, things got interesting.

We pulled hard in and out of corners, trying to stay out of the deeper water from the day's sun. The pools creeping onto the course could pull you in and bog you right down.

As we came up on the rear to lap a group of cars, I saw my opportunity. As he pulled out, I made the dicey choice of going inside, planning to weave out through this little triangle of moving obstacles—cars, ice, melt bogs. It could mean contact and collision, or skidding out, but he had been angling me

us we executed at least eight passes.

I had pulled ahead on a hairpin corner to lead by a decent margin for most of the final lap when a bad decision put me in a deep puddle pulling into the straightaway.

He scurried past by about 20 metres to claim the checkered flag while I bogged in for a safe, tragic and painful second—the first loser. I had failed my team, the pit crew, myself, the readers of Vue Weekly, and my hero, Wicket, the Ewok in Star Wars who races his jet cruiser through the forest in Return of The Jedi.

As I reluctantly handed back the keys, I knew the thirst for speed on ice would draw me back. Next year, Bonnyville, I take no prisoners. V

Lac La Biche

I had pulled ahead on a hairpin corner to lead by a decent margin for most of the final lap when a bad decision put me in a deep puddle pulling into the straightaway.

Dos and Don'ts

out so aggressively, I knew I had to take any opportunity.

I cut through the tight pack and blindly pulled ahead before my wipers cleared the doused windshield.

I was several lengths ahead now but the nasty Number 7 didn't trail by much. My cornering and drifting dominated, but he was better in the water and on straights.

Cake's "Going the Distance" pumped through my mind. Neck and neck we weaved, capturing much attention from the audience. Between the two of

Do: Check out Trucker's, a shady little tavern in the Hotel on the main street. It's a nice, dodgy place that hearkens back to the Saloon that Sam McGee would chill in.

Do: Stay at the Ramada. There's a Waterslide.

Do: Check out the Lake, all year.

Do: Try the onion rings at the V&H Spacedock, the drive-in with the spaceship coming out of the top.

Don't: Play the VLTs at Trucker's.

Don't: Stay at Trucker's for too long.

Don't: Meet your special friend at Trucker's.

MORE INFO classicwheels.org laclabicheregion.com travelalberta.com

Luckily, I wouldn't need even that: a race had been set up for media competitors and I had been provided a car by a generous father-and-son duo from Edmonton. After some practice laps, I felt good, fast, dirty and in control.

When it came time for my main event, I was directed into the last place starting position. This decision had been made after organizers witnessed a rather successful practice run. I would have to make some serious maneuvers to make this work.

My main adversary in the race was a DJ from a Bonnyville radio station. He was gunning for a third consecutive trophy.

I made it my objective to supplant him.

At the close of our pace lap, the flag fell and the game began. I pumped the Neon hard, making a pass on the first corner,

MAR 25 – MAR 31, 2010 // VUEWEEKLY

SNOW ZONE // 17

SKIJORING // CANMORE

Barking mad on skis

Wild mix of nordic skiing and dogsledding intoxicating ADAM SMITH // ADAM@vueweekly.com

A

s a lover of dogs, Scandinavia and sleds, skijoring seemed quite like a logical bark in my direction. Each of these elements is rich in history, and each contributes its own piece to the make-up of the sport.

As described by Wikipedia, skijoring is, "A winter sport where a person on skis is pulled by a horse, a dog (or dogs) or a motor vehicle." At Mad Dogs and Englishmen expeditions, the answer is dogs. And I feel like a goddamn explorer around all this fur, these dogs and the genuine Englishman who is our guide.

Dave the rancher and I have made our way to Canmore to be pulled around on skis by small- to medium-sized mam-

mals and, at this point, we can't even fathom disappointment.

Russell Donald, our guide and host, introduces us to the dogs with a degree of reverence suitable to the introduction of good friends. With a gusto that seems pure and authentic, he asserts that his dogs love their lives. They cruise around in a truck, they go out running with people every day and enjoy much attention and affection from the company and its clients. "A city dog would kill for this life," he says.

As we are gearing up, a load of seniors is gathering at a tour bus parked nearby.

Despite their age, jaws are dropping and blank child-like gazes abound. The men are jealous and the women are giddy.

As they watch us suit up, they have assumed I am some kind of ambassador of

18 // SNOW ZONE

the sport, and I have accepted my role.

They expect a lot from me, and I am not one to let seniors down. As I reign in my mutts, I am gathering my wits.

"Make it or break it," I chant internally, and the beasts lurch into action, jutting me into motion. I wobble back and forth, quickly gathering my balance in the middle of the pendulum. They are pulling like mad dogs. I am moving up and down slopes and careening around corners.

Although I have impressed the seniors' tour bus, I feel a strange sense of guilt, similar to when I ride a rickshaw, as I see the muscular little bodies in front of me tensing and flexing and pumping all their energy into my movement.

They scan back at me periodically as if to check on my strange deadweight, won-

dering why I don't gallop joyously along as they do.

Before long we're back at the staging area and I pass the torch to Dave; he suits up expertly, though his takeoff is much less suave. As the dogs wrench him into action, he careens off the path and slides downhill.

Donald has told me that dogs can be ruined when people go down, that if they lose their trust in the skiers behind them, they go the path of the lame horse. Well, not in the glue vein, actually something more in the vein of a humane retirement villa. I imagine the Florida community where Jerry's parents live on Seinfeld, for skijoring dogs. I chastize Dave, begging him to pull himself together, for the sake of the dogs.

He looks back sheepishly and composes himself, then disappears on a winding mountain path. He manages okay the rest of the way.

The experience is incredible, though too short. I am keen on going further.

Since coming across the pond Donald

VUEWEEKLY // MAR 25 â&#x20AC;&#x201C; MAR 31, 2010

has ventured on extremely long journeys and races through the arctic, all behind his pack of trusty dogs. He has also formed a curious partnership with BATUS, the British Army training facility near Medicine Hat, instructing fourday survival courses with the dogs and the troops as they camp through the mountains. The activity gives soldiers the chance to experience a little of the beauty of the Rockies while providing them with some useful skills if the Brits ever follow through with their plan to finally annex Greenland.

As for me, I prefer the Jack London approach over classic British imperialism.

The dogs, the crisp Canmore air and the yank and tug of a team of trusty little pups made this unique, a teaser of an experience something rather worthy of an epic. V

ON THE WEB maddogsexpeditions.com

MAR 25 – MAR 31, 2010 // VUEWEEKLY

SNOW ZONE // 19

INSIDE // ARTS

ARTS

21

Online at vueweekly.com >>ARTS

Arts Reviews Beyond an Entrance

Find reviews of past theatre, dance and visual arts shows on our website.

PREVUE // ANNIE MAE'S MOVEMENT

Let's get political

Annie Mae's Movement traces the life and death of an aboriginal activist Paul Blinov // paul@vueweekly.com

T

his isn't criticism so much as an observation, but professional theatre tends to be mostly put on and attended by those both middle class and white, something that seems to limit the kinds of stories that get told onstage, and told to who. Linked to that, theatre, even political theatre, then tends to deal with the issues of the majority, presented by that majority for the enjoyment of the same. Audiences walk away having felt catharsis, not challenged. And while, again, there isn't anything inherently wrong with that—the mainstream caters to the mainstream, simple and understandable as that—it does mean that stories of the minority often get left on the sidestages, rarely focused on by the bulk of theatregoers and practitioners, rarely given a chance to make their case with a mainstage run. Particularly anything political.

ACTIVIST >> Annie Mae's Movement gets political // Ed Ellis But in a way, it's not so strange that homebase seems the perfect spot to get Studio Theatre is putting up a politically relevantly political, for a change. charged-up show like Annie Mae's Move"I think the Timm's [Centre] has done ment. Mostly known for programming a good job this year in terms of that's seasons of scripts ranging from classical something they're trying, to reach out to to contemporary, Studio's on-campus new audiences," says Jessica Abdallah.

"For me it's this idea of, well, how do we create a dialogue between two populations that normally just go their own ways and not actually interact?"

"I don't think the issues have changed [in recent years]," adds Ruth Albertyn, the show's designer, of aboriginal-caucasian relations. "I think there's been more awareness of it, and it's been acknowledged a little bit more, but that might also backfire in some ways; 'Oh, you know, we apologized. We're good now.'"

Both are involved with the show as a partial fulfillment of their masters degrees—for Abdallah, in directing, after an undergrad in theatre development, for Albertyn, in design. For creating dialogue, the choice of play is pretty spot-on: Annie Mae was an aboriginal political activist, a Canadian who got involved in the American Indian Movement during times of upheaval—she was present at the Wounded Knee incident, where the AIM seized the town for months, among other major actions—and a woman who was brutally killed in 1975.

It took a long time for her loved ones to see any justice for the crime; the first conviction and trial happened in 2003, almost 30 years after the murder, with

two more suspects currently on the verge of indictment. (In one of those curious life coincidences, one of her purported killers finally went to trial as this Studio show began rehearsals).

The play itself doesn't hide its grim ending, nor does it focus on the tragedy.

Instead, Annie Mae's Movement traces the rise of her political awareness and activism and the kind of daunting hurdles she faced, but fought against.

"There are over 500 aboriginal women in the last 20 years that've gone missing or been murdered, and no one's looked into their deaths,"Abdallah says. "And numbers like that ... at first it hits you, and you're like, 'Oh my God.' But it also, for me, it drives [me] forward, because the story's not about 'let's wallow in this.'

The story's about if we could only communicate and listen to each other, then this stuff can change." V Thu, Mar 25 – Sat, April 3 (7:30 pm) Annie Mae's Movement Written by Yvette Nolan Directed by Jessica Abdallah Starring Renaltta Arluk, Chris Cound Timms Centre for the Arts (87 Ave & 111 St), $10 – $20

REVUE // THE SCIENCE OF DISCONNECTION

GRAPHIC NOVEL // DUCHESS RANCH OF OLD JOHN WARE

Physics 101

Prairie folk hero

The little moments work best in The Science of Disconnection Paul Blinov // paul@vueweekly.com

E

xposition is always a tricky balancing act: the necessary context it gives audiences can tangle the flow of a story with endless interjections into the past, or draw out scenes to a point where momentum just slips away. It causes some drag in The Science of Disconnection, a one-woman show firmly rooted in the real-life history of physicist Lise Meitner. When David Belke's script has her living in the moments— lecturing on the electron make-up of an atom, or nervous on a train from Berlin, trying to avoid SS eyes and suspicions— it’s a magnetic performance and very humanizing look at a woman criminally overshadowed by history and, frequently, her peers. But moments where she serves more as narrator to her own life, looking back with detatchment and pondering events already unfolded, the human tension dissipates.

That’s not to say David Belke’s script is a dulling science lecture. Far from it: he’s been careful to present Meitner as a flesh and blood figure, and does a lovely job of showcasing, in particular, the little human ticks she frequently lets slip—her geeked-up over-excitement of watching an Einstein lecture, the stone-faced, sombre panic of giving

her first lecture of her own. As a whole it compiles a very lifelike image of a woman whose incredible contributions to physics were stolen by or credited to her male counterparts, but who pushed on undaunted.

trolled mood shifts by director John Hudson, and hums along at a decent pace for its 90 minute runtime.

It’s when Derkach is left to narrate Meitner's life, painting us details about the scene without ever truly entering

Watching Lise Meitner's life unfold is fascinating; watching her tell us about it is less so.

Cathy Derkach is a compelling actress, and here pulls a charming character out of history’s forgotten corners and letting scientific passion bleed into every moment. Alone on stage, donning a simple prim dress, her Meitner is a shy, mousey physicist alive with warmth and intelligence, and a brain that’s always on the go, picking away at problems of physics with a sort of workingit-out-as-you-go vibrancy.

Darrin Hagen’s constant musical score, too, sets and maintains the mood right from the get go; the lights come up on him first, half-hidden behind an abstract Electron-layer backdrop, squeezing an accordion and releasing melancholy notes that capture the highs and lulls of her story. The play jumps back and forth in time, with skillfully con-

20 // ARTS

into it, that makes The Science start to drag. That vibrancy of character doesn't translate well to looking at moments with an outsider’s detatchment, instead of reliving that history. Maybe removing herself from the scene makes sense for such an analytical thinker of a figure, but something gets lost when she's searching the recesses of her mind.

Watching Lise Meitner's life unfold is fascinating; watching her tell us about it is less so. V Until Sun, Apr 4 (7:30 pm) The Science of Disconnection Written by David Belke Directed by John Hudson Starring Cathy Derkach Varscona Theatre (10329 - 83 Ave), $10 – $25

Illustrator discovers the importance of making our own legends Paul Blinov // Paul@vueweekly.com

A

lberta doesn't have too many bonafide folk heroes, but you could certainly count John Ware among their smallish ranks. An African-American cowboy in the early 1900s, born a slave in America but freed after the Civil War, he eventually found the dusty trails of the cowboy lifestyle to his liking, helping herd cattle up to the prairies and pioneer the ranching industry in frontier Canada amidst all the turn-of-the-century racism and wild-west frontiering.

You might not have heard of him; neither had Bob Prodor before being given the opportunity to draw the Duchess Ranch of Old John Ware, a graphic novel collecting the frontier stories of Ware's life. But as he notes, there's a certain merit to capturing local legends. After all, few people do.

"I was on a panel with a few other comic book creators once, and one of them was Minister Faust, who is a local writer/DJ," Prodor explains. "One of the things he was saying was that it's important that we make our own legends. You read Spider-Man or any Marvel comics, and they all take place in New York. Every second Hollywood movie ... the aliens always invade in LA."

VUEWEEKLY // MAR 25 – MAR 31, 2010

Prodor's drawings make up one-third of the collaboration which includes himself, writer James Davidge and musician Shawn Canning. Canning has recorded an entire rustic soundtrack to the novel (available for free download at bayeux.com.)

The partnership was so successful, it has spawned another locally-looking project, 13 minutes, focused on Alberta's eugenics program, Dadaist art and the Prairie Hockey League, due out later this year.

And both works have Prodor thinking about crafting a folk-hero character of his own; maybe not one rooted in history, but a homegrown creation regardless.

"I think that's really important to us," Prodor says, "to not only tell the stories of real [local] people that happened, but also make [some] up. Like, 'Hey, wouldn't be it cool if Spiderman grew up in Crestwood, and used to go to Meadowlark mall?'" V Sat, Mar 27 (1 pm) Duchess Ranch of Old John Ware book launch Written by James Davidge Art by Bob Prodor Happy Harbour Comics (10326 - 81 Ave) 104 pp, $10.99

VISUAL ART // DANIELA SCHLÜTER

Symbolic art

At their best, Daniela Schlüter's experimental images are magic Adam Waldron-Blain // adamwb@vueweekly.com

D

aniela Schlüter's work is divided into two groups by its layout at FAB Gallery. The small group of blackand-white prints on the lower floor are a bit of a letdown, but upstairs, Schlüter's large, colourful and more detailed mixed-media works make up for it.

Schlüter's works in Mit offen gelassenen Türen: Beyond an Entrance throw together a whole host of symbolic image techniques. In the large works upstairs, among the wide, roughly brushed-down blocks of colour are hidden bits of photographs, sketched figures, furniture, semi-legible writing in German, agricultural references

and more. In the best of the work, even the jerky lines and shapes which lack specific symbolism seem meaningful: they are accompanied by recognizable forms that seem to share their visual language, including marvellously unclear pixellated shapes which, despite being completely unreadable, seem particularly purposeful—given that everything else in the work seems to be there for a reason, this shape is clearly a something.

Not all of Schlüter's prints are quite so exciting. The downstairs room of the gallery holds a number of black-andwhite images, generally a bit smaller.

Aside from some appealing vertical images, "Memory steles for Venice" particularly, which still lack the detail

and excitement of the upstairs work but are pleasing in their simplicity, the rest of the work here feels opaque.

The image fragments are treated differently: sometimes they are more easily recognizable, being more likely pasted-in photographic or print elements, rather than re-rendered in sketchy lines, and so lacking one level of reinterpretation by the artists they seem less meaningful. The scribbles and blobs surrounding them likewise seem more arbitrary than those upstairs. Schlüter also offers two books of her work on display here, but under glass and away from the reader's touch they really don't give us very much to look at even on the one visible page each is open to.

In the final room of the upstairs level Schlüter is a bit more experimental with her presentation. On the walls she's projected a pair of unfortunately low-resolution videos, of her two favoured agricultural symbols, barley and poppies, blowing in the wind. Although I think I understand her use of these as sort-of magical symbols in her work—she wants to deal with their loss of meaning to our society, which she positions in her statement in a somewhat defeatist manner, preferring not to frame it as a simple change in language caused by urbanization—I am not sure about the function of the videos themselves. With a higher production quality, perhaps, they could call up something pastoral for us as

MAR 25 – MAR 31, 2010 // VUEWEEKLY

we look through the portfolio between them, but there isn't enough here.

The portfolio between them, though, contains a series of her prints, left open for us to leaf through. Some of her best work is in here, which combines the sweep of the biggest images on the walls with some fantastic subtlety and of course the joy of handling the work and turning through it at one's own pace. Some of the most intriguing works here take Schlüter's layering of spaces and symbols further in a restrained way, printing mismatched images all-over the page, atop an embossed by colourless print in a very traditionally-placed rectangle. At its best, it really is magic. V Until Sat, Mar 27 Mit offen gelassenen Türen: Beyond an Entrance Works by Daniela Schlüter FAB Gallery (87 ave & 112 st)

ARTS // 21

HOPSCOTCH >> BRIAN ENO & GLENN GOULD

Sound innovators

A pair of biographies examine two brilliant musical provacateurs There are artists whose contributions to art USAF airbases. Sheppard gives a vivid sense enthrall us even while seemingly urging art of Eno's rather idyllic rural English upbringitself toward some sort of end. Take Brian ing and panoply of early fascinations. It's Eno and the late Glenn Gould, the former fun to read Sheppard's evocations of Eno's a self-described "non-musician" traversing formative art school experiences, his attracthe margins of pop and the avant-garde, tion to John Cage, androgynous clothing, the latter one of history's great virtuosos, audio equipment, the Velvet Underground, working largely within the Western Mondrian, Little Richard and girls. A classical canon. Both avoided vivacious dilettante, Eno's appetite or completely swore off live for diverse forms and subversive appearances in favour of the approaches were matched by m a particular bravado regarding recording studio, where their ekly.co e w e u innovations focused on verti- hopscotch@v his ability to interact with whatcal or textural qualities over ever medium. There is, Sheppard Josef the documentation of perforwrites, "something of a late mediBraun mance or celebration of technique. eval polymath about Brian Eno, albeBoth sought to diminish the centrality it cut with a very mid-20th-century strain of the artist in artistic production, the forof British 'garden shed' amateurism." mer an advocate of self-generating systems, While methodically tracing the develthe latter having pronounced art's eventual opment of Eno's iconoclastic musical apirrelevance altogether. There's something proaches, Sheppard, perhaps unsurprisingly, apocalyptic to such sensibilities. pays closest attention to Eno's tenure with Of course, both Eno and Gould have also Roxy Music, his quartet of watershed rock been pegged as consummate bullshitters. In albums and his 1970s collaborations with his absorbing new biography, On Some Far- Robert Fripp, David Bowie and Talking away Beach: The Life and Times of Brian Heads. Sheppard's study of these periods, as Eno (Orion, $34.95), writer and musician well as Eno's rigorous employment of both David Sheppard describes how being intersystems and accidents, yield countless great viewed taught Eno "to construct a theoreti- stories: co-producer Tony Visconti's fourcal context for his work after the event. He year-old spontaneously "composing" the would subsequently develop a nonpareil fa- opening of Bowie's "Warszawa" during the cility for articulating persuasively plausible Low sessions; Eno convincing David Byrne retrospective concepts for what had simply to jog on the spot to create his breathless been intuitive, or happenstance creativity." delivery on Talking Heads' "Drugs"; or the In Glenn Gould (Penguin, $26), his provoca- transformation of ashtrays, lampshades and tive biographical essay, philosopher Mark wooden flooring into musical instruments.

Kingwell describes Gould's "after-the-fact Sheppard offers an unexpected defense of rationalizations" and the "danger that his Paul McCartney, and suggests that Eno may theorizing will undermine the joy given by bear some responsibility for Phil Collins' his performances." What emerges in both solo career. (Readers are advised to refer to books are portraits of artists whose capac- Sheppard's footnotes, which contain some ity to apply systems or polemic to their art, of his funniest findings, such as Eno's conhowever compelling, must be considered tractual clause that he never be obligated secondary to the art itself. to set foot in Los Angeles, or the time he Eno was born the same year as the LP, signed autographs as Quincy Jones for excitthe hologram and Velcro. As a child in midable Japanese Michael Jackson fans.)

1950s Suffolk he collected fossils, saw a The only real flaw with On Some Faraway UFO and was beguiled by the alien-like Beach is Sheppard's compression of the last sounds of doo-wop emanating from nearby quarter-century of Eno's life into what reads

HOP H C SCOT

like an annotated CV. Apparently, at some point Eno's near-superhuman productivity simply exhausted Sheppard. I can't entirely blame him.

"I have decided to tell Gould's story—really a linked set of ideas about perception, consciousness, time, and silence—not as a story but as a single contested piece considered from a variety of angles." There have been grievances with Kingwell's approach to writing about Gould, one of Canada's most beloved and enigmatic icons, but to be fair Kingwell makes his modus operandi explicit from the start, and it's not like there's any lack of other conventional biographies of Gould available to those who crave a more well-behaved, chronologically-ordered collection of facts. Having said that, Kingwell does court contention, having written a slim volume that isn't quite biography and isn't quite philosophy. Were he to concentrate his energies on fully realizing either of these he'd likely have had to compose something dauntingly bulkier.

Each short chapter pertains to a single idea that connects, however tenuously, to Gould's life and work. Titles include "Memory," "Existence," and, of course, "Genius." The structure is prismatic. Kingwell's observations form stimulating chains of epiphanies.

He writes elegantly about the inherent constraints of disparate artistic forms and the challenges they pose. Whether or not these build toward a satisfying conclusion—conclusion in the argumentative, rather than the musical, sense—is open to debate.

In the end I got a lot out of both books, and found that so many of Kingwell's preoccupations while examining Gould's life and work dovetailed nicely into themes raised

by Eno's life and work. It would be great if Kingwell could apply this same approach to an Eno book. Come to think of it, it would be great if Sheppard could apply his rigorous research and cultural and critical insight to a book about Gould. A trade-off—sounds like one of Eno's Oblique Strategies. What about it, guys? V

VISUAL ARTS // THE GREENHOUSE EFFECT

Works in common

The Greenhouse Effect's scenes of depth lack character Adam Waldron-Blain // adamwb@vueweekly.com

S

NAP is still in process of moving to it's new home at 10123 - 121 St: the gallery is unfinished, lighting only partially installed and the rear section still full of stacks of materials, ladders and more. It is a work in progress.

Derek Besant has a bit in common with the unfinished space: his works also don't really seem to have much character. In The Greenhouse Effect, he plays with depth, staging a scene with a female figure and various props seen in silhouette behind a closed window blind, and the shadows of birds flying in front of the window— although it's hard to be entirely certain what is on top of what. He is clearly very interested in overlap of flat shapes, carrying this from his photographs of this lay-

22 // ARTS

ered stage into its printing on overlapping panels and semi-transparent scrims.

There's a hint of narrative in the series, the woman changing position and the birds continuing to fly overhead, and some implied interaction between the two, through their separation of the window. But they all seem very much the same. The panel images, printed on alternately raised and lowered surfaces in an even, arbitrary way, aren't helped by their drab, flat sense of surface, and the colour palette make this even more plain. Despite all of Besant's efforts to create an interplay between layers of depth, the images are dominated by this sense of plainness, by a lack of depth which breeds lack of interest.

In the middle section of the gallery, another series of images is hung more roughly under glass, bits of double-sided

VUEWEEKLY // MAR 25 – MAR 31, 2010

tape visible holding them to their backing. Although Besant seems not serious enough about these to give them any supporting information, they are more fun to look at. His interest in layering is plain here too, the photographs forming a series once again as a piece of fabric is pulled aside to reveal a very cinematic scene behind, and the fabric is tangled and affected by the two-dimensional/three-dimensional scene behind of a woman falling or leaping into an alleyway. Although the fabric layered on top of the photographs is unsubtle, perhaps tacky at times, these prints at least have something happening in them. V UNTIL SAT, APR 10 The Greenhouse Effect Featuring works by Derek Besant SNAP Gallery (10123 - 121 st)

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

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MAR 25 – MAR 31, 2010 // VUEWEEKLY

ARTS // 23

INSIDE // FILM

FILM

Online at vueweekly.com >> FILM

26

Body Surfing Film Capsules

by Brian Gibson Brian Gibson looks at the popularity of the action-packed chase movie

FILM // CHLOE

REVUE // CHLOE

Moody swings

Sputtering seduction

Atom Egoyan makes his first foray into someone else's script in Chloe David Berry // david@vueweekly.com

A

tom Egoyan did not become an internationally respected auteur by ceding his vision to anyone, which makes his latest, Chloe, unique to his oeuvre for two reasons. Not only is it somewhat rare for the moody and introspective filmmaker to lean on instantly recognizable actors— in this case Julianne Moore, Liam Neeson and the lighter Amanda Seyfried—but Chloe actually marks the first time the acclaimed Canadian director has worked from someone else's script. Egoyan is no stranger to bold choices, but this isn't exactly the same thing.

But Chloe, adapted from the French original Nathalie, does fit in with Egoyan's pet obsessions. An erotically charged tale of Catherine (Moore) who hires call girl Chloe (Seyfried) to prove her suspicions about her husband David's (Neeson) fidelity, its mature thrills feel rather close to something he could have undertaken himself, which goes a long way towards explaining his interest.

"I don't think this is a script that I could have ever written, and yet it felt very personal, so I'm grateful for that," Egoyan explains. "This is something that [screenwriter] Erin [Cressida Wilson] has been working on for a long time, and something we talked about was her own shift from being Chloe to being Catherine. I really think this is a script that

Chloe's characters remain frustratingly unexplored David Berry

is clearly written by a woman, so it was something that I felt really privileged to have had access to."

And that in itself seems like a particular challenge. Told mostly from Catherine's perspective—to the point where the reliability of her judgment becomes one of the film's central tensions—it does not seem immediately accessible to a male sensibility. Though Egoyan credits the script's emotional depth with providing an avenue in.

"That monologue that Catherine gives underneath the awning, where she talks about feeling like she's disappearing, that really struck," he says. "The things she's saying there are just so—yes, they're kind of melodramatic, inasmuch as that's unfiltered emotion, but it's done with such conviction and feeling."

The other challenge, then, becomes imprinting his particular sensibility onto someone else's work, although for Egoyan, that was not a forefront concern: unsurprisingly, he has come to trust his instincts, even in a situation that isn't his normal working condition. "[Trying to put your mark on it], that's not something you do consciously; you really try to erase that, in a way," Egoyan says. "If you chose this material, if you're passionate about it, it will get across anyhow. Anytime you're trying to do that in a conscious way, well, you probably shouldn't be." V

// david@vueweekly.com

Chloe opens with an utterly seductive shot of our eponymous character (Amanda Seyfried) preparing for her day—lingering, luscious and dark glimpses of her draping lingerie over her body, almost arming herself against the cold and repugnant world that will inevitably follow—but that seems to be the most that we will ever learn about this character, despite how important she will be to the events that follow. There are a few problems with Atom Egoyan's first crack at a script he didn't write, but chief among the film's issues are its unwillingness to delve into this particular character, a detriment that gives the whole affair the effect of something leering and tawdry as opposed to emotionally penetrating.

The character at the proper centre of the story is Christine (Julianne Moore), a very successful ob/gyn whose advancing age has nevertheless clouded her mind with doubts. These aren't helped by her husband David's (Liam Neeson) rampant flirtation with young women, not the least of which are with the students he teaches. Finally convinced of some kind of impropriety, Christine hires the young and perky Chloe to seduce him, as though solid proof might put some part of her mind at rest.

This weary suspicion, and indeed Christine's bleak state of mind, are wellexplored, thanks in no small part to

WHO DO YOU LOVE? >> Chloe is full of doubt Julianne Moore, who wears emotional confusion as well as her designer clothes.

But the preposterousness of the plotting overwhelms any real sense of middleage anxiety. Chloe almost immediately develops a fatal attraction for Christine, and her exceedingly irrational behaviour even drowns a moral message about the dangers of trust in a sort-of cheap eroticism. Her increasing instability hits some familiarly tense notes, but with no real exploration of what's driving her, Chloe just seems like another girl scorned, albeit this time by a woman instead of a man.

We feel none of her pain or anxiety, only

// Supplied

Moore's, and so her sexiness seems designed more to titillate than provoke, and the heaps of drab moodiness that Egoyan brings to the equation do little to elevate a garden-variety thriller. V Opens Fri, Mar 26 Chloe Directed by Adam Egoyan Written by Erin Cressida Wilson, Anne Fontaine Starring Julianne Moore, Liam Neeson, Amanda Seyfried

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FILM // GREENBERG

Not according to plan

A botched interview strangely reflects the films of Noah Baumbach Jonathan Busch // jonathan@vueweekly.com

L

et's face it—I bombed an interview with widely acclaimed yet still somehow underrated director Noah Baumbach, so bad my laptop crapped out and failed to save the 10 sparse minutes of audio. But I was secretly relieved that all the stupid shit I said to a famous person was lost forever.

Firstly, we can cut to the chase. Greenberg, his latest feature starring Ben Stiller as a sociopathic former musician house-sitting in Los Angeles for his much more successful brother, is remarkable, not only for Baumbach fans but also for theatregoers who agree that the first third of 2010 releases has been so far a weak, bloodless term for

cinema. All of the glowing buzz you are bound to hear about the film is likely true, Stiller is pathetic and soulful, and the harrowing theme of depression emerges as chic and funny. If you and your friends want something to talk about, check it out.

That being said, Baumbach had little to say when I tried to ask quite frankly to tell me about Greenberg. Most of the handful of subjects I've spoken to in the past have a rehearsed bit, a succint couple of sentences to provide some usable quotes and give readers a reason to see the film. Instead, he declined the opportunity to share, and said he would be happy to answer any more specific questions, but he really doesn't do that sort of thing.

Honestly, I had nothing else prepared.

24 // FILM

My bad, I know. But, rather counteractively, Baumbach's stubborn response catches the appeal of his body of work— films about artists and thinkers so tired of being confronted by thoughtless and emotionally numb scenarios that they no longer feel compelled to reach out, because when they do, they are only reminded of the vicious circles in which people ask questions to hear the responses they were already thinking.

Although I'm sure it cuts much deeper than that.

Stiller's character in the film, Roger Greenberg, is in the midst of losing his friends because he has reached said point too many times over. Like the writers Jeff Daniels and Nicole Kidman portrayed respectively in Baumbach's previous efforts, The Squid and the Whale and

Margot at the Wedding, Roger has alienated almost all of the people, family and the like, who offer the distinct warmth of having known him the longest. Unlike them, he has no critical success to hold over people's heads to feel significantly intimidating. Recently discharged from a psych institution, all Roger has are friends that worry about him when he loses his temper.

A twisted romantic interest arrives in the form of his brother's assistant Florence (Greta Gerwig), a young, scatterbrained cute-but-not-sexy-blonde trying to make a go of it as a singer in California. She feels for Roger, largely because she sees the private mess of her own life and feels it easy to forgive the one he wears on his sleeve. Eventually, she, too, has a hard time putting up with him.

VUEWEEKLY // MAR 25 – MAR 31, 2010

Realizing Baumbach's distinct approach to relaying his work to the press from an IFC video clip—google it, I had to—I felt better about how he challenged my few questions (or just thought they were dim). Be sure to know I'm not calling him an asshole, and that I've always seen a careful benevolence in how each of his films portrays seemingly despicable people. It works so well in Greenberg that it approaches a head-on kind of post-modern melodrama, and I feel awful for saying that. V

Greenberg

written and directed by Noah Baumbach starring Ben Stiller, Greta Gerwig, Rhys Ifans, Jennifer Jason Leigh



DVD >> THE AFRICAN QUEEN

Hail to the queen

An odd couple syncs up in The African Queen The story goes that the location shoot quence of the First World War breaking for The African Queen was something out in Europe. With the villagers havof a disaster. Director John Ford would ing fled and her reverend brother dead repeatedly take off to go hunting, the from dementia, she has little choice African crew was suspect at best, but to hop on board with Alland almost the entire cast and nut, who intends on waiting crew came down with dysenout the war hidden on the tery from drinking the water, jungle-enclosed river. .com weekly including Katherine Hepburn, Naturally, she has other e u v @ ctive who had to film some of her dvddete plans. Set on doing her part d i v Da scenes with vomit bucket at for the war effort, she conBerry the ready. Supposedly the only vinces Charlie—more like popeople who avoided the disease litely demands, really—to take were Ford and Humphrey Bogart. Their the boat down the highly dangerous secret? They only drank whisky. river and use it to sink a German warship I'm not sure if that's actually true, but that might be blocking the British navy's it would at least partially explain some path. From here it is a fairly classic tale of Bogart's sloppy charm as Charlie All- of an odd couple growing to appreciate nut, the affable but insouciant captain of one another. the titular river boat. This was the role Chief among its strengths, though, is that won Bogart his only Oscar, and it's that most of the film is nothing but Boga textbook case of playing against type: art and Hepburn. Hepburn's practised his normal economic stoicism and wry diction and rigid posture are perfect for cynicism are mostly kept at bay here. the role of a good Christian, and Bogart Allnut is basically a selfish and simple is able to return every volley with his guy—at least before Hepburn's strict aw-shucks demeanour. The scenes after missionary starts to work on him—Rick the inevitable love connection are probBlaine's melancholy and Sam Spade's ably their best work, as their individual piercing intellect buried under scruff traits start to infect each other, and the and familiar manners. effortlessness of their romance starts to make their suicide run seem more like a He is thrown together with Hepburn's pleasure cruise. V missionary Rose Sayer after the Germans raze the village where she's spreading To read David Berry's full review, go to the word of God, some distant conse- vueweekly.com/africanqueen

DVCD TIVE

DETE

MAR 25 – MAR 31, 2010 // VUEWEEKLY

FILM // 25

FILM REVIEWS 



GON DRA OUR IN Y TRA TER TO HUN HOW NTY BOU

THE

Film Capsules Now Playing The Bounty Hunter

Directed by Andy Tenant Written by Sarah Thorp Starring Jennifer Aniston, Gerard Butler



Oh, look: it's another rom-com starring Jennifer Aniston! And it's as flat as all the other films she's starred in over the past few years. Twenty minutes in and you'll be asking yourself why they still make movies like this.

Aniston's character—whose name really doesn't matter, because let's face it, all we ever see is Jennifer Aniston playing herself—is a reporter with a lead on a murder cover-up, and the recent ex-wife to Milo Boyd, Gerard Butler's character. In a bizarre turn of events, Milo the Bounty Hunter is offered $5000 to

throw Aniston in jail for missing a court appearance over a traffic violation—and so the annoying games begin.

Reveling at the chance to get back at his ex, Butler produces an overload of timed one-liners that he struggles to enunciate because he's a Scottish actor playing an American cop. While he's easy on the eyes, his interactions with Aniston are hard to watch. Reminiscent of Aniston's spot in 2006's The Break Up with Vince Vaughn, the two characters' petty arguing just isn't funny. In fact, it's downright irritating. The Bounty Hunter even pulls on the same strings as its Break Up predecessor by forcing the two main characters into an unavoidable "battle of the exes" scenario, but The Break Up does it better, and that isn't saying much.

Not only is their on-screen chemistry lacking, but their attempts at mustering up some emotion from the audience are completely lost in the unnecessarily complicated plot twists. When Aniston starts crying over memories of their honeymoon at Cupid's Cabin, we are distracted by some weak extenuating factors, such as Butler's apparent gambling problem, the blurry murder case and Aniston's bad driving (not to mention her eternally perfect hair and intense tan).

The flakey plot details prove this film an exploitation of its audience and a mere manufactured money-grab for the entertainment industry.

That aside, credit must be given to the supporting cast, who try to lift this film to a bearable level. Christine Baranski, most recently seen on the television series The Good Wife, plays Aniston's dirty mother, delivering promiscuous lines and asking her daughter to take photos of Milo's bare behind. Meanwhile, the always-funny Siobhan Fallon plays a secretary with an amusing lisp, rolling her tongue over some pretty mesmerizing lips. Unfortunately their screen time is short and we're forced to listen to Aniston repeatedly call Butler a "jerk" for kicks. Yup, we've seen it all before, and we hope to never see it again.

Caroline Gault

// caroline@vueweekly.com

26 // FILM

VUEWEEKLY // MAR 25 – MAR 31, 2010

Opening Friday How to Train Your Dragon

Written and directed by Dean DeBlois and Chris Sanders Starring Jay Baruchel, Gerard Butler, Jonah Hill



In Hiccup's world, Viking-era Scotland, you're not much of a citizen unless you can slay a dragon, and you're a standout citizen if you can purge the beast's guts on the earth for all to admire. But teenager Hiccup (voiced by Jay Baruchel) is too skinny to fit in. Too scared, too sarcastic and too smart to live up to the expectations of his dad (Gerard Butler), the village leader. So like so many children's stories, 3-D or not, based upon a best-selling British book series or not, the alien child finds acceptance in an alien friend.

Like E.T. or Lilo and Stitch (the latter was written and directed by the makers of this), How to Train Your Dragon follows that sweet, principled, triedand-tested formula. In this case, Hiccup, only child in a single-parent household (what's with kids movies and one dead parent, anyway?), befriends a dragon of the Nightfury species, the most elusive and dangerous in their Viking folklore.

Although the friendship starts roughly, with Hiccup trying to kill Toothless (it's just a name) to bring his remains to the village, once the dragon's personality comes out, he's more kitten than reptilian fire breather.

Dreamworks' animation team did a stellar job characterizing Toothless through blinks, purrs, moans and rollicking. Without barking an English syllable, the dragon becomes the second-most developed character, whose trials and triumphs are observable and felt. On the other hand, it's kind of a two-man show with Hiccup and Toothless. Despite a cast of stars providing the voices, including Jonah Hill and Craig Ferguson, the supporting characters don't as much support as provide quips and quirks, while America Ferrera's character, As-

FILM REVIEWS

Film Capsules

FILM WEEKLY

stance abuse) DAILY 1:30, 4:45, 8:00, 10:30 GREENBERG (14A, substance abuse, sexual content, coarse language) DAILY 12:15, 3:15, 6:40, 9:45

FRI, MAR 26– THU, APR 1, 2010

CHLOÈ (18A, sexual content) DAILY 1:10, 4:15, 7:30, 10:25 DIARY OF A WIMPY KID (G) FRI�WED 12:00, 2:15, 5:00, 7:20, 9:50; THU 5:00, 7:20, 9:50; Star & Strollers screening THU 1:00

EDMONTON FILM SOCIETY

trid, lends just a modicum of romantic interest to Hiccup's journey.

But while it could use more meaningful characters and fewer one-liners delivered at moments of sentimentalism (a bother noticeable in most Dreamworks animations), the film does deliver. And it deserves credit for challenging its young audience with imperfect consequences, too.

There's never a dull moment in How to Train Your Dragon, a 3-D movie that doesn't rely on its protruding graphics to have its fun. Whether Hiccup is learning to tenderly scratch Toothless in his D-spot or comically trying to maintain his facade as an eager student of dragon slaying, or the Vikings are going into an all-out war, the big adventure thrills but never exhausts audiences.

Omar Mouallem

// omar@vueweekly.com

Royal Alberta Museum, 102 Ave, 128 St, 780.439.5284

MISTER ROBERTS (PG) MON 8:00

REPO MEN (18A, gory scenes, brutal violence) DAILY 1:20, 4:20, 7:40, 10:45

s

CHABA THEATRE�JASPER

THE BOUNTY HUNTER (PG, violence, sexual content) FRI�SAT, MON�WED 12:30, 3:45, 7:30, 10:20; SUN 11:50, 2:25, 7:30, 10:20; THU 3:45, 7:30, 10:20; Star & Strollers screening THU 1:00

6094 Connaught Dr, Jasper, 780.852.4749

SHE'S OUT OF MY LEAGUE (14A, crude content, coarse language) FRI�SAT 7:00, 9:00; SUN�THU 8:00 AVATAR (PG) DAILY 8:00

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�WED 12:20, 3:25, 7:15, 10:10; THU 12:15, 3:25, 7:15, 10:10

YOUNG VICTORIA (PG) Film Club night APRIL 1 ONLY 7:30

GREEN ZONE (14A, violence,coarse language) FRI�SAT, MON�THU 12:50, 4:10, 7:25, 10:05; SUN 12:50, 4:10, 10:05

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

ALICE IN WONDERLAND (PG, violence, frightening scenes) FRI�TUE 1:15, 4:00, 6:40, 9:20

JAWANI ZINDABAD (PG) FRI�SAT 7:45, 11:00; SUN�THU 7:45

ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) FRI�TUE, THU 12:45, 3:30, 6:45, 10:00; WED 12:45, 3:30, 7:40, 10:00

THE WOLFMAN (18A, gory violence) FRI�SAT 1:30, 4:20, 7:05, 9:40, 11:50; SUN�THU 1:30, 4:20, 7:05, 9:40 FROM PARIS WITH LOVE (14A, coarse language, violence) DAILY 2:00, 7:30

EDGE OF DARKNESS (14A, not recommended for children, brutal violence, gory scenes) FRI�SAT 1:15, 4:55, 7:15, 9:55, 12:25; SUN�THU 1:15, 4:55, 7:15, 9:55 TOOTH FAIRY (G) FRI�SAT 1:00, 3:45, 6:45, 9:15, 11:20; SUN�THU 1:00, 3:45, 6:45, 9:15 THE SPY NEXT DOOR (PG) FRI�SAT 1:05, 3:50, 6:35, 9:10, 11:30; SUN�THU 1:05, 3:50, 6:35, 9:10

Cooking with Stella

Directedby Dilip Mehta Written by Dilip Mehta, Deepa Mehta Starring Don McKellar, Seema Biswas, Lisa Ray



SHERLOCK HOLMES (PG, not rec. for young children, violence) FRI�SAT 1:10, 4:00, 6:50, 9:35, 12:10; SUN�THU 1:10, 4:00, 6:50, 9:35 IT'S COMPLICATED (14A) DAILY 4:25, 10:00

Cooking with Stella is Canada's answer to Julie & Julia. We all love to eat, but for foodies, this is hardcore culinary porn. It left me with one clear scribble in my otherwise illegible reviewing notes: "Curry shrimp. Mmm. Make that."

The Canadian comedy (more Officefunny than Corner Gas-funny) takes place in the exotic world of New Delhi, India, within the sterilized confines of a government compound. For chef Michael Laffont, acted by Don McKellar, it's the first of several disappointments about moving East from Canada with his diplomat wife, Maya Chopra (Lisa Ray) and baby daughter. It's not just because he has traded his job satisfaction to be a stay-at-home parent and an India that can hardly be called India; when he asks his cooking servant to be his cooking guru, Stella Elizabeth Mathews—a Christian Indian woman played sublimely by Seema Biswas— initially shuts him down. However, after finally breaking the master-servant relationship and proving himself a warm and attentive Canadian (the opposite of his wife), Stella gives him his groove back and teaches him how to master such dishes as curry shrimp. Suddenly, India's not so bad.

But Cooking with Stella isn't just an animated version of Gourmet magazine. Yes, Stella can be a perfectly cheery cook and helper. She also can be biting and brutally honest, but only when she's not being a complete liar.

From the detached servant's home, she runs a duty-free black market, collecting a few cases of Big Rock for her dealings with locals every time she makes an order on behalf of her Canadian masters. The script at hand, written by Deepa Mehta and brother Dilip, and directed by Dilip, has real dilemmas and textured dynamics between Stella and her at-home male master, her half-Indian and all-Canadian female master and the new nanny, Tannu (Shriya Saran), who might be the CONTINUED ON PAGE 28 >>

OLD DOGS (G) DAILY 1:45, 4:40, 6:40, 9:30 PLANET 51 (G) DAILY 1:55, 4:45 THE BLIND SIDE (PG, mature subject matter) FRI�SAT 1:20, 4:05, 6:55, 9:50, 12:20; SUN�THU 1:20, 4:05, 6:55, 9:50

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes DAILY 11:30, 1:50, 4:20, 7:00, 9:30 HOW TO TRAIN YOUR DRAGON 3D (PG, violence) no passes DAILY 12:15, 2:45, 5:15, 7:45, 10:15 HOT TUB TIME MACHINE (18A, crude content, substance abuse) DAILY 12:20, 3:00, 5:30, 8:10, 10:40 DIARY OF A WIMPY KID (G) DAILY 11:50, 2:10, 4:30, 6:50, 9:10 REPO MEN (18A, gory scenes, brutal violence) DAILY 2:20, 5:00, 7:50, 10:30 THE BOUNTY HUNTER (PG, violence, sexual content) FRI�TUE, THU 1:20, 4:40, 7:30, 10:10; WED 4:40, 7:30, 10:10; Star & Strollers screening WED 1:00 REMEMBER ME (PG, coarse language, mature subject matter) FRI�TUE 1:00, 3:40, 6:45, 9:20 SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) DAILY 1:40, 4:50, 7:40, 10:20 GREEN ZONE (14A, violence, coarse language) FRI,SUN� THU 1:10, 3:50, 7:05, 10:00; SAT 3:50, 7:05, 10:00 ALICE IN WONDERLAND (PG, violence, frightening scenes) DAILY 12:40, 3:20, 6:30, 9:00 ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) DAILY 1:30, 4:10, 7:10, 9:50 THE GHOST WRITER (PG, coarse language, violence) FRI�TUE,THU 12:50, 3:45, 6:40, 9:40; WED 3:45, 6:40, 9:40; Star & Strollers screening WED 1:00 SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) DAILY 12:10, 3:30, 6:55, 10:05 PERCY JACKSON & THE OLYMPIANS: THE LIGHT� NING THIEF (PG, frightening scenes, not rec. for young children) DAILY 11:40 AVATAR 3D (PG, not rec. for young children, violence) FRI�WED 12:30, 4:00, 8:00; THU 12:30, 4:00 THE METROPOLITAN OPERA: HAMLET (Classification Not Available) SAT 11:00 THE LAST SONG (PG) no passes WED�THU 1:00, 3:40, 6:45, 9:20 CLASH OF THE TITANS 3D (STC) no passes THU 8:00, 10:40

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes DAILY 1:00, 4:00, 6:30, 9:10 HOW TO TRAIN YOUR DRAGON 3D (PG, violence) no passes FRI�TUE 11:30, 12:15, 2:00, 2:45, 4:30, 5:15, 7:00, 7:45, 9:30, 10:15; WED 11:30, 12:15, 2:00, 2:45, 4:30, 5:15, 7:00, 9:30, 10:15; THU 11:30, 12:15, 2:00, 2:45, 4:30, 5:15, 7:00, 9:40 HOT TUB TIME MACHINE (18A, crude content, sub-

6601-48 Ave, Camrose, 780.608.2144

ALICE IN WONDERLAND (PG, frightening scenes, not recommended for young children) DAILY 7:05, 9:15 FRI, SAT, SUN, TUE, THU 2:05 DIARY OF A WIMPY KID (G) DAILY 7:00, 9:00 FRI, SAT, SUN, TUE & THU 2:00 HOW TO TRAIN YOUR DRAGON (PG, violence) DAILY 7:10, 9:10 FRI, SAT, SUN, TUE, THU 2:10 HOT TUB TIME MACHINE (18A, crude content, substance abuse) DAILY 7:25, 9:25 FRI, SAT, SUN, TUE & THU 2:25 THE BOUNTY HUNTER (PG violence, sexual content) DAILY 7:15, 9:20 FRI, SAT, SUN, TUE & THU 2:15

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

HOW TO TRAIN YOUR DRAGON 3D (PG, violence) no passes DAILY 11:30, 2:00, 4:30, 7:10, 9:40 HOT TUB TIME MACHINE (18A, crude content, substance abuse) DAILY 1:10, 4:00, 7:30, 10:30

1:10, 3:30 THE LAST SONG (PG) WED + THU 6:50, 9:10; THU 12:50, 3:10 SHUTTER ISLAND (14A coarse language, disturbing content, not recommended for young children) FRI�TUE 9:10 SHES OUT OF MY LEAGUE (14A, coarse language, crude content) No 9:20 Show On April 1st; DAILY 7:15, 9:20; SAT SUN TUE THU 1:15, 3:20 GREEN ZONE (14A, violence, coarse language) No 12:50 Show On March 28th; FRI�TUE 6:50; SAT SUN TUE 12:50, 3:10 ALICE IN WONDERLAND (PG, frightening scenes, not recommended for young children), Not presented in 3D DAILY 7:05, 9:15; SAT SUN TUE THU 1:05, 3:15 DIARY OF A WIMPY KID (G) DAILY 6:55, 9:05; SAT SUN TUE THU 12:55, 3:05 THE BOUNTY HUNTER (PG, violence, sexual content) Movies for Mommies TUE 1:00pm; DAILY 7:00, 9:25 SAT SUN TUE THU 1:00, 3:25

GARNEAU 8712-109 St, 780.433.0728

COOKING WITH STELLA (PG) NIGHTLY 7:00, 9:10; SAT�SUN 2:00

PRINCESS 10337-82 Ave, 780.433.0728

CHLOE (18A, sexual content) NIGHTLY 7:00, 9:00; SAT� SUN 2:00

PERCY JACKSON & THE OLYMPIANS: THE LIGHT� NING THIEF (PG, frightening scenes,not rec. for young children) DAILY 11:45

DIARY OF A WIMPY KID (G) DAILY 12:15, 2:30, 5:00, 7:20, 9:45

AVATAR (PG, violence, not rec. for young children) FRI� MON, WED�THU 2:15, 6:30, 10:00; TUE 2:15

REPO MEN (18A, gory scenes, brutal violence) DAILY 1:30, 4:15, 7:45, 10:15

THE METROPOLITAN OPERA: HAMLET (Classification Not Available) SAT 11:00

THE BOUNTY HUNTER (PG, violence, sexual content) DAILY 1:00, 3:45, 7:05, 9:40

WWE: WRESTLEMANIA XXVI 2010 (Classification Not Available) SUN 5:00

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�MON, WED 12:30, 4:10, 7:15, 10:10; TUE, THU 12:30, 4:10, 7:15

HOW TO TRAIN YOUR DRAGON 3D (PG, violence) no passes DAILY 12:15, 2:45, 5:15, 7:45, 10:15

GREEN ZONE (14A, violence, coarse language) DAILY 1:15, 4:35, 7:40, 10:20

HOT TUB TIME MACHINE (18A, crude content, substance abuse) DAILY 12:00, 2:45, 5:20, 8:00, 10:45

ALICE IN WONDERLAND (PG, violence, frightening scenes) DAILY 12:45, 4:05, 7:00, 9:55

HOW TO TRAIN YOUR DRAGON: AN IMAX 3D EXPERIENCE (PG, violence) no passes DAILY 11:30, 2:00, 4:30, 7:00, 9:30

LIVE (Classification Not Available) TUE 8:30

UP IN THE AIR (14A, coarse language) FRI�SAT 7:00, 9:30, 12:00; SUN�THU 7:00, 9:30

DUGGAN CINEMA�CAMROSE

SHUTTER ISLAND (14A, coarse language,disturbing content,not recommended for children) DAILY 12:05, 3:20, 6:50, 9:55

THE LAST SONG (PG) no passes WED�THU 1:15, 4:10, 7:00, 9:40

THE PRINCESS AND THE FROG (G) DAILY 1:40, 4:10

CLASH OF THE TITANS (STC) no passes THU 8:00, 10:20

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes DAILY 12:20, 3:30, 6:40, 9:10

THE BLACK EYED PEAS: THE E.N.D. WORLD TOUR

ALVIN AND THE CHIPMUNKS: THE SQUEAKQUEL (G) FRI�SAT 1:25, 4:30, 6:30, 9:00, 11:15; SUN�THU 1:25, 4:30, 6:30, 9:00

THE LAST SONG (PG) WED�THU 1:15, 4:15, 6:55, 9:45

THE GHOST WRITER (PG, coarse language, violence)

FRI,SUN�THU 12:40, 4:05, 7:10, 10:15; SAT 4:05, 7:10, 10:15

WHEN IN ROME (PG) FRI�SAT 1:35, 3:55, 7:10, 9:20, 11:25; SUN�THU 1:35, 3:55, 7:10, 9:20

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes FRI 3:50, 6:30, 9:00; SAT�THU 1:10, 3:50, 6:30, 9:00

CLASH OF THE TITANS 3D (STC) no passes THU 8:00, 10:30

CITY CENTRE 9 10200-102 Ave, 780.421.7020

HOT TUB TIME MACHINE (18A, crude content, substance abuse) FRI�TUE 12:15, 2:45, 5:20, 8:00, 10:35; WED�THU 12:15, 2:45, 5:20, 8:00, 10:35 HOW TO TRAIN YOUR DRAGON 3D (PG, violence) Digital 3D, no passes FRI�SAT, MON�THU 12:20, 3:00, 5:30, 8:05, 10:40; SUN 12:20, 3:00, 5:30, 8:05, 10:40 THE BOUNTY HUNTER (PG, violence, sexual content) FRI�TUE 12:05, 2:40, 5:15, 7:50, 10:25; WED�THU 12:05, 2:40, 5:15, 7:50, 10:25 ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) Digital 3D, DAILY 12:00, 2:35, 5:10, 7:45, 10:20 REPO MEN (18A, gory scenes, brutal violence) DAILY 12:40, 3:20, 7:10, 9:55 SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�TUE,THU 12:25, 2:55, 5:25, 7:55, 10:30; WED 12:25, 2:55, 10:30 THE GHOST WRITER (PG, coarse language, violence) FRI�SUN 12:50, 3:45, 7:05, 10:00; MON�THU 7:05, 10:00 SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) FRI�WED 12:35, 3:40, 6:45, 9:50; THU 12:35, 3:40 GREEN ZONE (14A, violence, coarse language) FRI�SUN 12:10, 3:10, 7:25, 10:10; MON�TUE 7:25, 10:10 THE SPY NEXT DOOR (PG) toonie matinee MON�TUE 12:10, 2:35, 4:50; WED�THU 12:10, 2:35, 5:00 ALVIN AND THE CHIPMUNKS: THE SQUEAKQUEL (G) toonie matinee MON�TUE 12:10, 2:30, 4:45 THE LAST SONG (PG) WED�THU 12:10, 3:10, 7:25, 10:10 CLASH OF THE TITANS 3D (STC) no passes THU 8:00, 10:45

CLAREVIEW 10 4211-139 Ave, 780.472.7600

SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) FRI 4:50, 8:00; SAT�WED 1:30, 4:50, 8:00; THU 1:30, 4:50 ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) Digital 3D FRI 4:00, 6:40, 9:20; SAT�THU 1:20, 4:00, 6:40, 9:20 SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI 4:20, 7:05, 9:35; SAT�THU 1:35, 4:20, 7:05, 9:35 GREEN ZONE (14A, violence, coarse language) FRI 4:15, 6:55, 9:45; SAT�TUE 1:15, 4:15, 6:55, 9:45; WED�THU 9:40

SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) FRI�MON 12:00, 3:50, 6:50, 9:50; TUE 12:00, 3:50, 9:50

DIARY OF A WIMPY KID (G) DAILY 11:40, 2:00, 4:20, 6:40, 9:20

THE LAST SONG (PG) no passes WED�THU 12:40, 3:50, 6:50, 9:50

THE BOUNTY HUNTER (PG, violence, sexual content) FRI�TUE,THU 12:50, 3:50, 6:50, 9:45; WED 3:50, 6:50, 9:45; Star & Strollers screening WED 1:00

CLASH OF THE TITANS (STC) no passes THU 10:00

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

THE BOUNTY HUNTER (PG, violence, sexual content) DAILY 12:35, 2:50, 5:05, 7:25, 9:35 SHE’S OUT OF MY LEAGUE (14A, coarse language, crude content) DAILY 1:30, 3:30, 7:30; GREEN ZONE (14A, violence, coarse language) DAILY 5:25, 9:25; No 9:25 show on April 1 ALICE IN WONDERLAND (PG, frightening scenes, not recommended for young children) DAILY 1:10, 3:10, 5:20, 7:20, 9:30 HOW TO TRAIN YOUR DRAGON (PG, violence) no free admission passes accepted DAILY 1:00, 3:00, 5:00, 7:00, 8:55 DIARY OF A WIMPY KID (G) no free admission passes accepted DAILY 1:15, 3:15, 5:15, 7:10, 9:00 CLASH OF THE TITANS (STC) no free admission passes accepted APRIL 1 ONLY 9:25

LEDUC CINEMAS Leduc, 780.352.3922

HOW TO TRAIN YOUR DRAGON (PG, violence) NIGHTLY 6:55, 9:25; SAT 12:55, 3:25 DIARY OF A WIMPY KID (G) NIGHTLY 7:10, 9:20; SAT 1:10, 3:20 HOT TUB MACHINE (18A. crude content, substance abuse) NIGHTLY 7:00, 9:35; SAT 1:00, 3:35 SHE’S OUT OF MY LEAGUE (14A, coarse language, crude content) NIGHTLY 7:05; SAT 1:05 REMEMBER ME (PG, coarse language, mature subject matter) NIGHTLY 9:30; SAT 3:30

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

THE YES MEN FIX THE WORLD (PG) FRI�SUN 7:00; SUN 9:00 NEAR DARK (STC) FRI 9:00

REPO MEN (18A, gory scenes, brutal violence) FRI 4:10, 7:10, 9:40; SAT�TUE 1:00, 4:10, 7:10, 9:40; WED�THU 1:00, 4:10, 7:10

CAMP FEMA: AMERICAN LOCKDOWN (STC) MON 9:00

THE SCARLET EMPRESS (STC) SUN 7:00

THE BOUNTY HUNTER (PG, violence, sexual content)

HOW TO TRAIN YOUR DRAGON 3D (PG, violence) Digital 3D, no passes FRI 4:35, 7:00, 9:25; SAT�THU 2:00, 4:35, 7:00, 9:25

WEM, 8882-170 St, 780.444.2400

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes DAILY 1:15, 3:45, 6:30, 9:10

REPO MEN (18A, gory scenes, brutal violence) DAILY 1:45, 5:00, 7:50, 10:40

MOSTLY WATER PRESENTS: METRO DIGITAL SHORTS CANADA 2010 (STC) SAT 9:00

HOT TUB TIME MACHINE (18A, crude content, substance abuse) FRI 4:40, 7:15, 9:50; SAT�THU 1:45, 4:40, 7:15, 9:50

SCOTIABANK THEATRE WEM

THE BLACK EYED PEAS: THE E.N.D. WORLD TOUR LIVE (Classification Not Available) TUE 8:30

DIARY OF A WIMPY KID (G) FRI 4:25, 6:45, 9:10; SAT� THU 1:40, 4:25, 6:45, 9:10

FRI 4:05, 6:50, 9:30; SAT�THU 1:25, 4:05, 6:50, 9:30

CRAZY HEART (14A, coarse language, substance abuse) NIGHTLY 6:45; SAT�SUN 1:00

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

HOW TO TRAIN YOUR DRAGON (PG, violence) Presented in 3D DAILY 6:45, 9:00; SAT SUN TUE THU 12:45, 3:00

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�TUE,THU 1:30, 4:10, 7:15, 9:50; WED 4:10, 7:15, 9:50; Star & Strollers screening WED 1:00 GREEN ZONE (14A, violence, coarse language) FRI�WED 1:00, 4:00, 7:10, 10:20; THU 1:00, 4:00, 10:20 ALICE IN WONDERLAND (PG, violence, frightening scenes) FRI,MON 12:30, 3:00, 5:30, 8:15, 10:45; SAT, TUE 12:30, 3:00, 5:30; SUN 12:30, 10:45 ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) DAILY 11:45, 2:20, 4:50, 7:30, 10:10 SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) FRI,SUN�THU 12:20, 3:30, 7:20, 10:30; SAT 3:30, 7:20, 10:30 AVATAR 3D (PG, not rec. for young children, violence)

FRI�WED 11:30, 3:00, 6:30, 10:00; THU 11:30, 3:00

THE METROPOLITAN OPERA: HAMLET (Classification Not Available) SAT 11:00 UFC 111: ST�PIERRE VS. HARDY (Classification Not Available) no passes SAT 8:00 WWE: WRESTLEMANIA XXVI 2010 (STC) SUN 5:00 THE BLACK EYED PEAS: THE E.N.D. WORLD TOUR LIVE (Classification Not Available) TUE 8:30 THE LAST SONG (PG) no passes WED�THU 12:30, 3:20, 6:45, 9:40 CLASH OF THE TITANS 3D (STC) no passes THU 8:00, 10:45

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes, dolby stereo digital FRI 6:50, 9:35; SAT�THU 1:15, 3:50, 6:50, 9:35 CRAZY HEART (14A, substance abuse, coarse language) FRI 6:35, 9:20; SAT�THU 12:45, 3:30, 6:35, 9:20 THE BOUNTY HUNTER (PG, violence, sexual content) dts digital FRI 7:15, 9:55; SAT�THU 12:30, 3:15, 7:15, 9:55 DIARY OF A WIMPY KID (G) FRI 7:00, 9:45; SAT-WED 1:00, 3:40, 7:00, 9:45; THU 1:00, 3:40, 7:00 CLASH OF THE TITANS (STC) no passes THU 10:00

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

DIARY OF A WIMPY KID (G) NIGHTLY 7:10, 9:20 SAT� SUN 1:10, 3:20 THE BOUNTY HUNTER (PG, violence, sexual content) NIGHTLY 6:55, 9:30; SAT�SUN 12:55, 3:30 HOW TO TRAIN YOUR DRAGON (PG, violence)

NIGHTLY 7:00, 9:25; SAT�SUN 1:00, 3:25

HOT TUB MACHINE (18A, crude content, substance abuse) NIGHTLY 7:05, 9:35; SAT�SUN 1:05, 3:35

HOT TUB TIME MACHINE (18A, crude content, substance abuse) DAILY 7:10, 9:30; SAT SUN TUE THU

MAR 25 – MAR 31, 2010 // VUEWEEKLY

FILM // 27

FILM REVIEWS

Film Capsules << CONTINUED FROM PAGE 27

only honourable servant in all of Delhi.

Saran and Biswas are really the stars of the movie, and it shows in the Mehtas' layered writing. Each has their great qualities, their flaws and their stupidities. And outside of the compound, the characters flourish.

So while McKellar gives the movie its subtle comedy and Lisa Ray gives little past her cold delivery (her voice is so pronounced it sounds like voice over), the Canadians are somewhat of a red herring. In the sense that this is a cultural comedy, the Laffont's do their part and have their own slim story. As a moral comedy, Tanny and Stella maintain a tug-of-war that's a delight to watch.

But the movie, pleasurable and playful it is, is also very predictable. It's secrets and twists are concealed terribly.

As a dramatist, director Dilip Mehta is too liberal with his visuals, and it leaves a small hole in the enjoyment.

Luckily, though, not too many bites are taken out of this otherwise sweet, tender and satisfying meal of a movie..

LA TEL RLD HS T WO I W HE G T KIN FIX EN COO M  YES THE 

Omar Mouallem

// omar@vueweekly.com

Opening at the Metro The Yes Men Fix The World

Fri, Mar 26, Sat, Mar 27, Mon, Mar 29 (7 pm) Sun, Mar 28 (9pm) Written and directed by Andy Bichlbaum and Mike Bonanno Metro Cinema (9828 - 101A Ave)



The smart-assed pranksters behind a series of big-business sabotage stunts return in a satisfying and enormously entertaining sequel, hatching a commendable thesis to carry activist audiences into the era of the conflicted Obama administration. Change is what Americans were promised, and Andy Bichlbaum and Mike Bonanno attempt to frame their idea of what the "Yes We Can" slogan could really look like if those powerful suits were pressed to do so.

28 // FILM

The film opens with a brief rundown of the previous episode, 2003's hit documentary The Yes Men, which followed the pair convincingly posing as business executives and landing opportunities for subversive and humorous presentations at stuffy conferences and the like. They announce their frustrated comeback as a make-or-break attempt to rid the world of corporate greed and government ignorance once and for all, which results in their riskiest and most widely announced public actions yet.

Pulling together a phony website for Dow Chemicals, Bichlbaum and Bonanno are eventually invited for a BBC

VUEWEEKLY // MAR 25 – MAR 31, 2010

World interview who mistake them for company representatives: they take the chance to broadcast a hoax in which billions of dollars are promised to the victims of the Bhopal Gas Tragedy (a disaster caused by Union Carbide, purchased by Dow in 2001).

The buzz on the airwaves lasts barely over an hour, but creates a remarkable stock market loss and drives up huge media hostility against the perpetrators. It makes an even greater splash, however, with the people of Bhopal, who seem to champion the stunt for its effort in portraying the compensation they arguably deserve. The real Dow's retraction of the offer indirectly proves the company's refusal to take responsibility for the devastating catastrophe.

The infamous troublemakers utilize this conflict to drive the rest of the film, proceeding with stunts including a fake government dedication to postKatrina affordable housing in New Orleans and a grotesque Soylent Greenesque energy solution at a Calgary oil conference. The film is threateningly more engaging than Michael Moore's most recent scattered and overconfident Capitalism: A Love Story, and speaks more directly to its activist audience (the last segment sees them join forces with familiar faces like Lili Taylor and Code Pink's Medea Benjamin).

The Yes Men Fix The World faces the same trouble that any documentary edited for short attention spans may, where the duo's journey sees the streamlining of details and unanswered questions for the sake of a supposed adventure. How are people still falling for these brilliant lies despite their notorious behaviour going consistently viral? What criticisms have they faced on their own end of the liberal stick?

How effective is such audacious political comedy in changing the minds of these money-grubbing conservative bastards?

With these uncertainties, this style of documentary is now essentially its own well-pronounced genre, and the g-word demands that we accept a particular kind of world carved out from the more complicated one we live in. That being said, the rice-and-beans crowd are guaranteed a treat most delightful in this one.

Jonathan Busch

// jonathan@vueweekly.com

INSIDE // MUSIC

MUSIC

37

Jason Collett

The Pointed Sticks

40 44

Online at vueweekly.com >>MUSIC Slide Show: live show slide show featuring Jay Malinowski, Michael Rault and Kinnie Starr Vuetube: Jay Malinowski performs live at Vue Weekly

Helix

A BRIEF, ILLUSTRATED HISTORY OF ZION I

COVER // ZION I

From the ground up

Zion I preaches for social change the same way the duo makes music

1997 The Zion I story actually starts much earlier than here: as one half of the group Metufour, they originally had a contract with Tommy Boy records in the early '90s, although nothing would come of the deal. Relocating to the Bay Area, producer AmpLive and MC Zumbi (who originally went

by Zion), made their initial mark with their independently released, cassette-only debut EP, Enter the Woods.

2000

TAKING OVER >> Zion I have reached their highest heights with their latest, The Takeover David Berry // david@vueweekly.com

I

t wouldn't be quite proper to call Zumbi, the charismatic MC who is one half of Zion I, outspoken. He is not especially fiery or polemical, but rather a man with a simple but meaningful message who makes the most of his opportunities to spread it. He's the type of rapper who often gets labelled conscious, which isn't an inaccurate title, but really says more about a genre that too often gets away with airy nothings: more precisely, he writes lyrics with a point, and can back them up with well-considered opinions about what it means to be black in America.

But times are, of course, changing.

Zion I rose to prominence in the past decade, one of the most tumultuous and frustrating for people of a progressive bent in general, and for those who turn their attention to the condition of urban black America in particular. In some respects, it was easy to point out what was going wrong, simply because there was so much of it. The past year has seen changes—most particularly, of course, Obama and the complications to African-American culture's portrayal that came with it. It's a different world now than when he started, but Zumbi is also careful to point out that symbolic change isn't quite the same thing as actual change.

"I don't think the attitude has necessarily changed," Zumbi considers when asked about the last year and a bit of his experience. "I think that people are more open about how they feel now. It's not politically incorrect anymore to talk about black people. The world changes in increments, obviously. But it's been a

// Supplied

rough transition."

In Zumbi's view, no matter who is in charge, there is still a passivity, or maybe an ignorance, about what individuals can actually do to improve their situation, to work towards the change that so many sought.

"I feel like the people have to realize their own power more ... really it's these organizations and these opportunities in our own neighbourhoods where we're going to see real change," he points out. "I think once most of the people get their mind around it and realize that it's all about the collective action, that they're in charge, we'll start to see change. I think that anything can change, as long as people take their own initiative to assist one another. We can do things for ourselves. And I see that coming."

And Zumbi—as well as his partner, producer AmpLive—knows more than the average person about what it means to put your situation into your own hands.

Maturing in the Bay scene that nurtured such independent all-stars as the Hieroglyphics crew and the Quuanum Collective, DIY is as born-in to Zion I's ethic as any other punk or indie scene.

The group's career has been a lesson in not only how important taking your fate into your own hands is, but the success that can come of it.

Though Zion I has bounced on and off a few independent labels—the duo's full-length debut, Mind Over Matter, came out on the now-defunct Ground Control label, and its latest, The Takeover, found distribution on Gold Dust—most of Zion I's output has been on the group's own LiveUp Records, which hasn't stopped the

duo from gaining worldwide attention. And even those label experiences were not the typical affair: press pushes are rare for Zion I's brand of forward-thinking, thoughtful hip hop, and most of the group's success— including the giant tours that have followed The Takeover, being exposed to more people than ever before—has been old-fashioned word of mouth and work ethic.

To talk to Zumbi, though, he wouldn't have it any other way. When your music isn't pushed into people's faces, isn't getting into video rotations or onto radio station billboards, it lends a more satisfying kind of validation: the kind that comes when you know that people are appreciating what you as an artist, and not the marketing department, are doing. It means that people are responding to the creativity, AmpLive's eclectic production and Zumbi's careful wordplay, and it's obvious that Zion I feels all the more appreciative because of it.

"It's a blessing," says Zumbi, "because in that way we can just be musicians.

We can just go in and focus on what we're doing and try to create something good instead of creating an image of what we're supposed to be. I think we've been doing that our whole career, so it's just something where we have our own lane in that way. [With the response to The Takeover], it's been a very powerful experience. It's organic, the way people found out about it and the appreciation that we're getting for it." V Sat, Mar 27 (9 pm) Zion I With Red 3, Kazmega, DJ Twist Pawnshop, $25

MAR 25 – MAR 31, 2010 // VUEWEEKLY

Though the intervening years would see Zion I release three more follow-up EPs, they finally burst on to the national scene with their debut full-length, Mind Over Matter, in 2000. Amp's forwardthinking production—which blended elements of electronic, world sounds and more traditional hip-hop so well few critics were sure how to classify the album—and Zumbi's flowing, socially aware lyrics set the template for future Zion I recordings, and earned the group a nomination for Best Independent Album of the Year from influential hiphop publication The Source.

2005 With the presence of fellow Bay Area-superstars Del tha Funkee Homosapien and Gift of Gab, as well as conscious/underground legends like Talib Kweli and Aesop Rock, 2005's True and Livin' announced Zion I as official members of the fraternity while also seeing them in a rare moment of settling. Here the directions pointed at on Mind Over Matter and Deep Water Slang feel arrived at, though the maturity is balanced somewhat by a lack of the group's early vitality and verve. It would be followed by the Japan-only release of Break a Dawn in 2006, though, a testament to the group's broadening global popularity.

2008 Zion I's 2006 collaboration with Living Legends MC The Grouch, Heroes in the City of Dope—taking its title from a Too Short song and featuring the group's fullest embracement of the then-burgeoning hyphy Oakland sound—continued garnering the group critical accolades, but made less of an impression on the public at large. Such was not the case with AmpLive's unauthorized Rainydayz Remixes of Radiohead's In Rainbows.

Thanks to a cease-and-desist letter from Warner/Chappell (despite the fact Radiohead famously released the album themselves), Amp's bedroom project turned into a cause celebre against label bullying and a worldwide success.

2009

2003

Zion I ran into all-too-familiar distribution issues leading to their second full-length, Deep Water Slang, getting pushed back a full year, where it was readjusted and tightened, and emerged as Deep Water Slang v2.0. The delay didn't hurt the group's momentum, however, and as album sales started to catch up with critical respect, AmpLive continued to push his production, even including a simple guitar-picked beat on the bonus tracks, while Zumba refined his message and flow, incorporating smarter messages into more outwardly elated club bangers (though, as ever, actually hearing a Zion I song on the dance floor was an elusive experience).

Perhaps reenergized by a very direct reminder of some of what they're up against, Zion I emerged rejuvenated with The Takeover. With wide-ranging production that speaks as much to the roots of African-American music as it does to glitchy, synthetic electronica and Zumba in top form, The Takeover has garnered Zion I more attention—from all corners— than ever before, perhaps in part thanks to the rest of the hip-hop world catching up to their eclectic and involved take. The group has alluded to the fact that heading into The Takeover, they were preparing their masterpiece, and if they never do anything better, they'll still have quite the accomplishment to hang their hat on.

MUSIC // 29

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

THURSDAY ARTERY Big Rock Bluegrass Hour: with The Bix Mix Boys, An Olde Time Bluegrass; Live Podcast; 7pm (door); $5

Pinchin; 7:30pm; $10 (door)

HOOLIGANZ Open stage

Thursdays hosted by Phil (Nobody Likes Dwight); 9pm1:30am

BLUE CHAIR CAFÉ closed BLUES ON WHYTE Twisters

JAMMERS PUB Thursday

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

CROWN AND ANCHOR Ashley Barlow

CROWN PUB Crown Pub Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing THE DRUID IRISH PUB Live

Open Jam Thursdays; 7pm

open jam; 7-11pm

JEFFREYS WyClarify

(acoustic rock); $10

J AND R Classic rock! Woo! Open stage, play with the house band every Thursday; 9pm JULIAN'S�Chateau Louis Graham Lawrence (jazz piano); 8pm

L.B.'S Open jam with Ken Skoreyko; 9pm

music with Darrell Barr; 5:308:30pm, DJ at 9pm

LEVA CAFÉ Alberta

DUSTER'S PUB Thursday

LIVE WIRE BAR Open Stage Thursdays with Gary Thomas

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

Playboys; 8-11pm

MARYBETH'S COFFEE HOUSE�Beaumont Open

DV8 Open mic Thursdays:

Mic Thursday; 7pm

ELECTRIC RODEO�Spruce Grove Open Stage Thursday:

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

Cam Jam, hosted by Cameron Penner/ and/or Rebecca Jane

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

ENCORE CLUB With A

Latin Twist: free Salsa Dance Lessons at 9pm

HAVEN SOCIAL CLUB

Open jam, 6:30pm; Martin Kerr, Robyn Dell’Unto, Sean

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

RIC’S GRILL Peter Belec

Thursdays: with DJ NV and Joey Nokturnal; 9:30pm (door); no cover

SECOND CUP�Varscona

LUCKY 13 Sin Thursdays with DJ Mike Tomas

(jazz); every Thursday; 7-10pm

Live music every Thursday night between 7pm and 9pm

STARLITE ROOM USS, The

HYDEAWAY � Jekyl and Hyde Evolution Solution

for private funtion

dueling piano show featuring the Red Piano Players; 8pm-1am

NORTH GLENORA HALL

Jam by Wild Rose Old Time Fiddlers

PAWN SHOP In the Midst

of a Murder, The Dead Cold, Vivisect, All Else Fails, Guilt on Despondancy, Primal Stance; 8pm (door)

RED PIANO BAR Hottest

LEVEL 2 LOUNGE Absolut

NEW CITY SUBURBS

Stables; 8pm (door); $18.50 at TicketMaster, Blackbyrd, Unionevents.com

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

TAPHOUSE�St Albert

ON THE ROCKS Salsaholic

Columbia, Dirty City Hearts, Solipsism; 8pm; $5

WILD WEST SALOON Robert Rowan

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

PLANET INDIGO�St Albert

Classical

Hit It Thursdays: breaks, electro house spun with PI residents

CONVOCATION HALL

PROHIBITION Throwback

Middle Eastern and North African Music Ensemble, Michael Frishkopf (director); 7:30pm; $10 (adult)/$5 (student)

Thursday: old school r&b, hip hop, dance, pop, funk, soul, house and everything retro with DJ Service, Awesome

DJs

Thurzday with org666

BILLY BOB’S LOUNGE Escapack Entertainment

BLACK DOG FREEHOUSE

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

BUDDY'S DJ Bobby Beatz; 9pm; no cover before 10pm; Shiwana Millionaire Wet Underwear Contest CENTURY ROOM

Underground House every Thursday with DJ Nic-E

RENDEZVOUS PUB Metal SPORTSWORLD Roller

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

STARLITE ROOM Music

1st and The Techno Hippy Crew: Bassnectar, Kush Arora, Shamik and guests; 8pm

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

TEMPLE Surely Temple

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

Thursdays: with DJ Tron, DCD, Optimixx Prime, Miyuru Fernando; 9pm (door); $5 (cover)

FLUID LOUNGE Girls Night

WUNDERBAR DJ Thermos

Out

FUNKY BUDDHA�Whyte Ave Requests with DJ Damian GAS PUMP Ladies Nite: Top 40/dance with DJ Christian

GINGUR SKY Urban

Substance Thursdays

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

Rump Shakin' Thursdays: From indie to hip hop, that's cool and has a beat; no cover

FRIDAY 180 DEGREES Sexy Friday night every Friday ARTERY Kev Corbett, Alice

Kos Quartet; 7pm

AVENUE THEATRE

Bless The Fall, Miss May I, Greeley Estates, Before Their Eyes; all ages; 6pm (door); tickets at unionevents.com, TicketMaster, Blackbyrd

AXIS CAFÉ Alba (Celtic); 8pm;

$10 (door)

BLUE CHAIR CAFÉ Rault Brothers Band; 8pm

BLUES ON WHYTE Twisters CARROT Live music Fridays:

Geoff Wybenga; all ages; 7:309:30pm; $5 (door)

CASINO EDMONTON

Blackboard Jungle (pop/rock)

CASINO YELLOWHEAD Rum Brothers (tribute)

CENTURY CASINO Joey

Molland of Badfinger; $29.95 at TicketMaster

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

CROWN AND ANCHOR Harpdog Brown and the Bloodhounds

THE DRUID IRISH PUB Live music with Darrell Barr; 5:308:30; DJ at 9pm DV8 Hurricane Felix and The Southern Twisters, Preying Saints, Los Diableros (rockabilly); 9pm THE EARLY STAGE SALOON Slowburn; 8PM EDDIE SHORTS The Panty

Ho's

FESTIVAL PLACE Jimmy

Rankin (country); 7:30pm; $36 (table)/$34 (box)/$32 (theatre) at Festival Place box office

FRESH START CAFÉ Live

music Fridays: Evan Johnston, guests; 7-10pm; $7

GLENORA BISTRO Alex

Vissia

HAVEN SOCIAL CLUB

Romi Mayes, Low Flying Planes; 7:30pm (door); $10 at TicketMaster

HYDEAWAY�Jekyll and Hyde's Amnesty International Benefit Concert; 9pm

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 B�STREET BAR 111818-111 Ave 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 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 BUDDY’S 11725B Jasper Ave, 780.488.6636 CASINO EDMONTON 7055 Argylll Rd, 780.463.9467 CASINO YELLOWHEAD 12464-153 St, 780 424 9467 CENTURY ROOM 3975 Calgary Tr. NW, 780.431.0303 CHATEAU LOUIS 11727 Kingsway, 780 452 7770 CHRISTOPHER’S 2021 Millbourne Rd, 780.462.6565 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 COPPERPOT Capital Place, 101, 9707-110 St, 780.452.7800 CROWN AND ANCHOR 15277 Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704.CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 TAVERN 8307-99 St, DV8TAVERN.com EARLY STAGE SALOON 4911-52 Ave, Stony Plain EDMONTON MORAVIAN CHURCH 9540 - 83 Ave EDMONTON BLUES SOCIETY Queen Alexandra Hall 10425 University Ave. EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 EXPRESSIONZ CAFÉ 9938-70 Ave FESTIVAL PLACE 100 Festival Way, Sherwood Park, 780.449.3378, 780.464.2852

30 // MUSIC

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 FOXX DEN 205 Carnegi Drive, St Albert FRESH START CAFÉ Riverbend Sq, 780.433.9623 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GINGUR SKY 15505-118 Ave, 780.913.4312/780.953.3606 HALO 10538 Jasper Ave, 780.423.HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010 HILL TOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ PUB 10704-124 St, 780.452.1168 HYDEAWAY 10209-100 Ave, 780.426.5381 IRON BOAR PUB 4911-51st St, Wetaskiwin IVORY CLUB 2940 Calgary Trail South JAMMERS PUB 11948-127 Ave, 780.451.8779 J AND R 4003-106 St, 780.436.4403 JEFFREY’S CAFÉ 9640 142 St, 780.451.8890 JEKYLL AND HYDE 10209-100 Ave, 780.426.5381 JOHN L. HAAR THEATRE 10045-155 St JOJO’S�LA PIAZZA DASEE 8004 Gateway Blvd, 780.437.5555 JOHN L. HAAR THEATRE Grant MacEwan College, 10045-155 St KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVA CAFÉ 11056-86 Ave, 780.479.5382 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East MACLAB CENTRE�Leduc 4308-50 St, Leduc, 780.980.1866 MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont MCDOUGALL UNITED CHURCH 10025-101 St MORANGO’S TEK CAFÉ 10118-79 St NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY 10081 Jasper Ave, 780.989.5066 NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767

VUEWEEKLY // MAR 25 – MAR 31, 2010

ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PALACE CASINO�WEM 8882-170 St, 780.444.2112 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 PROHIBITION 11026 Jasper Ave, 780.420.0448 QUEEN ALEX HALL10425 University Ave REDNEX BAR�Morinville 10413-100 Ave, Morinville, 780.939.6955, rednex.ca RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602 ROBERT TEGLER STUDENT CENTRE Concordia Campus, 73 St, 112 Ave ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St ROYAL ALBERTA MUSEUM 12845-102 Ave SAWMILL BANQUET CENTRE 3840-76 Ave SECOND CUP�Mountain Equipment 12336-102 Ave, 780.451.7574; Stanley Milner Library 7 Sir Winston Churchill Sq; Varscona, Varscona Hotel, 106 St, Whyte Ave 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 STRETCH�Fort Saskatchewan 10208-99 Ave, Fort Saskatchewan TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 WHISTLESTOP LOUNGE 12416-132 Ave, 780.

451.5506 WESTWOOD UNITARIAN CHURCH 11135-65 Ave WILD WEST SALOON 12912-50 St, 780.476.3388 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

IRISH CLUB Jam session;

Freakin Frenzy Fridays: Playing the best in country

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

FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro

with DJ Damian

JEFFREY'S The Civil Suits

GAS PUMP Top 40/dance

8pm; no cover

(rockin' blues); $10

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

JOHN L. HAAR THEATRE

Composition Concert; 7:30pm; $7 (adult)/$5 (student/senior) at TIX on the Square

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

LEVA Live music every Friday MACLAB THEATRE�Leduc

Samantha King; 8pm; $27 (adult)/$22 (student/seniors) at TIX on the Square

with DJ Christian

GINGUR Flossin’ Fridays: with Bomb Squad, DJ Solja, weekly guest DJs

LEVEL 2 LOUNGE Formula

Fridays: with rotating residents DJ's Groovy Cuvy, Touretto, David Stone, DJ Neebz and Tianna J; 9:30pm (door); 780.447.4495 for guestlist

NEWCASTLE PUB Fridays House, dance mix with DJ Donovan

NEW CITY LIKWID LOUNGE DJ Anarchy Adam (Punk)

PLAY NIGHTCLUB The first

ON THE ROCKS 80-D; 9pm

bar for the queer community to open in a decade with DJ's Alexx Brown and Eddie Toonflash; 9pm (door); $5 www.playnightclub.ca

PAWN SHOP Sonic Band Of

REDNEX DJ Gravy from the

NEW CITY SUBURBS

Pointed Sticks, A Bunch of Marys, Geister

The Month: The Old Wives, The Get Down; 8pm (door)

Source 98.5

RED PIANO BAR Hottest

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

dueling piano show featuring the Red Piano Players; 9pm2am

RIVER CREE Cheap Trick; 8pm

ROSE AND CROWN Marline

Blues Band

SAWMILL BANQUET CENTRE The Classics (dance);

RED STAR Movin’ on Up

ROUGE LOUNGE Solice Fridays

SPORTSWORLD Roller

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

STOLLI’S Top 40, R&B, house

with People’s DJ

7pm (door), 8pm-12; $15 (adv at 780.468.4115/$20 (door)

STONEHOUSE PUB Top 40

STRETCH�Fort Saskatchewan Mr Lucky;

TEMPLE T.G.I Psydays; 9pm

9:30pm-1:30am; no cover

STARLITE ROOM Oh

Snap: Expression Festival: DJ Nu-Mark, Gaff, Degree, guests; 9pm (door); $20 (adv) at TicketMaster, Foosh, Blackbyrd

TOUCH OF CLASS� Chateau Louis Dwayne

Cannan (country, '50s/'60s, roots, originals); 8:30pm-12:30am

WILD WEST SALOON Robert Rowan

YARDBIRD SUITE Lew

Tabackin Trio; 8pm (door); 9pm (show); $22 (member)/ $26 (guest) at TicketMaster

with DJ Tysin

WUNDERBAR Fridays with the Pony Girls, DJ Avinder and DJ Toma; no cover Y AFTERHOURS Foundation

Fridays

SATURDAY 180 DEGREES Dancehall and Reggae night every Saturday ALBERTA BEACH HOTEL

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

AVENUE THEATRE

Classical

Lionheart, Continuance, Messages Via Carrier Pigeon, MOB, From Within, Amber Alert; all ages; 6:30pm (door); $10 (adv)/$12 (day of )

CONVOCATION HALL

BEER HUNTER Get Bent; free

Indian Music Ensemble, Sharmila Mathur, (director); 7:30pm; $10 (adult)/$5 (student)

WINSPEAR CENTRE

Vivaldi's Guitar Concerto: Edmonton Symphony Orchestra, William Eddins (conductor), Manuel Barrueco, (guitar); 7:30pm

DJs AZUCAR PICANTE Every

Friday: DJ Papi and DJ Latin Sensation

BANK ULTRA LOUNGE

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

BAR�B�BAR DJ James; no cover

BAR WILD Bar Wild Fridays BLACK DOG FREEHOUSE

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

BLACK DOG FREEHOUSE

Hair of the Dog: live acoustic music every Saturday afternoon; this week Paul Bellows; 4-6pm; no cover

BLUE CHAIR CAFÉ Christina, 8pm

BLUES ON WHYTE Saturday Afternoon Jam; Twisters CARROT Open mic Saturdays; 7:30-10pm; free

CASINO EDMONTON

Blackboard Jungle (pop/rock)

CASINO YELLOWHEAD Rum Brothers (tribute)

COAST TO COAST Live bands every Saturday; 9:30pm CROWN AND ANCHOR Harpdog Brown and the Bloodhounds

CROWN PUB Acoustic Open Stage during the day/Electric Open Stage at night with Marshall Lawrence, 1:30pm (sign-up), every Saturday, 2-5pm; evening: hosted by Dan and Miguel; 9:30pm12:30am

BOOTS Retro Disco: retro

DV8 Second Hand Smoke, Dawn In The City (blues/funk)

BUDDY’S DJ Arrow Chaser;

EARLY STAGE SALOON� Stony Plain Saturday Live

dance

8pm; no cover before 10pm

Music

CENTURY ROOM

EDDIE SHORTS The Panty

Underground House every Friday with DJ Nic-E

CHROME LOUNGE Platinum

VIP Fridays

EMPIRE BALLROOM Rock, hip hop, house, mash up; no minors ESMERELDA'S Ezzies

Ho's

THE EDMONTON BLUES SOCIETY Slowburn; 8PM EXPRESSIONZ CAFÉ Open stage every Sat, 12-6pm

FESTIVAL PLACE Janis Ian (singer, songwriter); 7:30pm;

$38 (table)//$36 (box), $34 (theatre) at Festival Place box office

AZUCAR PICANTE Every

HAVEN SOCIAL CLUB Toast

BLACK DOG FREEHOUSE

CD Release Party With We Are The City, and Aidan Knight; 7:30pm (door); $10 (door)

HILLTOP PUB Open stage/

Saturday: DJ Touch It, hosted

by DJ Papi

Saturday DJs on three levels.

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

mic Saturday: hosted by Sally's Krackers Sean Brewer; 3-5:30pm

BUDDY'S DJ Earth Shiver 'n' Quake; 8pm; no cover before 10pm

HYDEAWAY�Jekyll and Hyde The Electra Complex,

CENTURY ROOM

IRON BOAR PUB Jazz in

EDMONTON MORAVIAN CHURCH Take 6 (from Los

Friends; 8pm

Wetaskiwin featuring jazz trios the 1st Saturday each month; $10

IVORY CLUB Duelling piano

Underground House every Saturday with DJ Nic-E

Angeles); 7:30pm; Adults $15 Students with ID $10

EMPIRE BALLROOM Rock,

show with Jesse, Shane, Tiffany and Erik and guests

hip hop, house, mash up

JAMMERS PUB Saturday

Saturdays

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

JEFFREY'S Devin Hart

(contemporary jazz); $10

JOHN L. HAAR THEATRE

Composition Concert; 7:30pm

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

L.B.’S PUB Molsons Saturday afternoon opens stage hosted

by Lenny and The Cats; 5pm

MORANGO'S TEK CAFÉ

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

O’BYRNE’S Live Band

Saturday 3-7pm; DJ 9:30pm

ON THE ROCKS 80-D; 9pm OVERTIME Jamaoke: karaoke with a live band featuring Maple Tea

PALACE CASINO�WEM Chuck Brown

PAWN SHOP Zion I, Red 3, Kazmega, DJ Twist; $25 (adv) at TicketMaster, Blackbyrd, Foosh, FS, Soular QUEEN ALEX HALL Slowburn; 9pm

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm2am RENDEZVOUS Sawed Off, Awkward Silence, BTR Sat mar 27

ENCORE CLUB So Sweeeeet ESMERALDA’S Super

Parties: Every Saturday a different theme

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

FUNKY BUDDHA�Whyte

Ave Top tracks, rock, retro with DJ Damian GINGUR SKY Soulout

Saturdays

HALO For Those Who Know: house every Saturday with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes LEVEL 2 LOUNGE Signature Sound Saturdays: with DJ's Travis Mateeson, Big Daddy, Tweek and Mr Wedge; 9:30pm (door); $3; 780.447.4495 for guestlist NEWCASTLE PUB Saturdays: Top 40, requests with DJ Sheri

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

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

RENDEZVOUS Survival metal

ni=ght

SPORTSWORLD Roller

Skating Disco Saturdays; 1pm-4:30pm and 7-10:30pm; sports-world.ca

STOLLI’S ON WHYTE Top

40, R&B, house with People’s DJ

TEMPLE Oh Snap!: Every

TOUCH OF CLASS� Chateau Louis Dwayne

Saturday, Cobra Commander and guests with Degree, Cobra Commander and Battery; 9pm (door); $5 (door)

WESTWOOD UNITARIAN CHURCH Cape Breton Square

and local bands

Cannan (pop/rock); 8:30pm

Dance: Ian MacDougall (Cape Breton fiddler); 7:30pm (pre-dance instruction), 9pm (dance); $10 (door)/child 12 and under free

WILD WEST SALOON Robert Rowan

WUNDERBAR Give 'Em Hell

Boys, Whiskey Wagon; 9pm; $8

YARDBIRD SUITE Lew Tabackin Trio 70th Birthday Celebration; 8pm (door); 9pm (show); $22 (member)/$26 (guest) at TicketMaster

Classical CONVOCATION HALL West

African Music Ensemble, Robert Kpogo (director); 7:30pm; $10 (adult)/$5 (student)

WINSPEAR CENTRE

Vivaldi's Guitar Concerto: Edmonton Symphony Orchestra, William Eddins (conductor), Manuel Barrueco, (guitar); 8pm

DJs

JOHN L. HAAR THEATRE

Percussion Concert; 7:30pm; $7 (adult)/$5 (student/senior) at TIX on the Square

JOJO’S�La Piazza Dasee House concert; 2-4pm

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

NEW CITY Open Mic Sunday hosted by Ben Disaster; 9pm (sign-up); no cover

O’BYRNE’S Open mic Sunday with Robb Angus (Wheat Pool); 9:30pm-1am

ON THE ROCKS On the

Rocks 7 Strings Sundays with Jordan Lee, Jeff Morris; 9pm

ORLANDO'S 2 PUB Sundays Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm ROYAL COACH�Chateau Louis Petro Polujin (pop/ rock); 5pm

SECOND CUP�Mountain Equipment Co-op Live music

every Sunday; 2-4pm

STARLITE ROOM Soulfly, Prong, Incite, Rotting Corpse; 8pm (door); $28 at TicketMaster, Blackbyrd

ALL SAINTS' ANGLICAN CATHEDRAL The University

RED STAR Saturdays indie rock, hip hop, and electro with DJ Hot Philly and guests

Demonika’s Symphony of Horrors 5: Orgy of the Undead with Greg Gory, guests; 9pm (door), 10pm (show); $20 (adv) at Brixx, Blackbyrd

stage every Sunday hosted by Me Next and the Have-Nots; 3-7pm

NEW CITY SUBURBS Black

ROYAL ALBERTA MUSEUM

STARLITE ROOM

hosted by Rhea March; 7pm

J AND R BAR Open jam/

Classical

Saturdays with Todd and Alex

breaks electro house with PI residents

Northern Bluegrass Circle Music Society: The Spinney Brothers, Blue Grass Orphans; 7:30pm (door), 8pm (show); $20 (NBCMS member)/$25 (non-member) at tixontheSq. ca, Acoustic Music, Myhre’s Music, door

HYDEAWAY�Jekyll and Hyde Songwriter's Stage

NEW CITY LIKWID LOUNGE Punk Rawk

ROSE AND CROWN Marline

Blues Band

Anderson–A Night With The Legend; 7:30pm; $40 (cabaret seating, table)/$38 (cabaret seating, box)/$34 (cabaret seating, theatre) at Festival Place box office 780.449.3378

WUNDERBAR Featured DJ Y AFTERHOURS Release

Saturday

SUNDAY BEER HUNTER�St Albert

Open stage/jam every Sunday; 2-6pm

BLUE CHAIR CAFÉ Brunch:

Jim Findlay; Mike Lent 6-9pm

B�STREET BAR Acousticbased open stage hosted

by Mike "Shufflehound" Chenoweth; every Sunday evening

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

Celtic Music Session, hosted

by Keri-Lynne Zwicker, 4-7pm

EDDIE SHORTS Sunday

acoustic oriented open stage hosted by Uncle Jimmy; all gear provided; 9pm-1am

FESTIVAL PLACE Bill

of Alberta Madrigal Singers, Leonard Ratzlaff (conductor); 8pm; $15 (adult)/$10 (student/ senior)

CONVOCATION HALL Songs of Central Europe: Vocal arts recital; 2pm

ROBERT TEGLER STUDENT CENTRE Concordia University

College of Alberta School of Music: Concordia Community Chorus; 7pm; $12 (adult )/$10 (student/senior) at TIX on the Square

DJs BACKSTAGE TAP AND GRILL Industry Night: with

Atomic Improv, Jameoki and DJ Tim

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

BUDDY'S DJ Bobby Beatz; 9pm; Drag Queen Performance; no cover before 10pm FLOW LOUNGE Stylus Sundays

GINGUR Ladies Industry Sundays

NEW CITY SUBURBS

Get Down Sundays with Neighbourhood Rats

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

SPORTSWORLD Roller

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

WUNDERBAR Sundays DJ Gallatea and XS, guests; no cover

MONDAY BLACK DOG FREEHOUSE

Sleeman Mondays: live music monthly; no cover

BLUE CHAIR CAFÉ BLUES ON WHYTE CARROT Alberta Playboys Mike Chenoweth

DEVANEY'S IRISH PUB

MAR 25 – MAR 31, 2010 // VUEWEEKLY

MUSIC // 31

COMMENT >> PINK FLOYD

No brick without The Wall Pink Floyd's victory will still help record companies By now, the music world is digesting the Pink Floyd's surviving members have preliminary decision of the British court, scored points for artistic integrity over marwhich sided with Pink Floyd in its lawsuit keting ploys. (We won't mention all those with EMI. cash-grabbing, 30th anniversary Dark Side Right now, EMI is only out US $100 000 of the Moon sets, or the Dark Side of the for legal costs, but more damages Moon reissues ... cough cough). will be coming. The issue? Pink No, there is money at play here.

Floyd, one of the rock world's And Pink Floyd may be doing greatest producers of concept the recording industry it took albums, from Dark Side of the to court a massive favour by m o ly.c Moon to The Wall, were agwinning. The industry knows eweek u v @ n steve grieved that consumers could that the sales of online sinn e v e t S buy single tracks from these r gles can't make up for lost Sando albums; if a consumer decides albums through digital services like ITunes. According to their old to cherry-pick one single from an deal with EMI, which was never updated album rather than buy the whole thing, when online retailers came onto the 'Net, the business is receiving just a small perthe band members were promised that centage of what it could potentially earn. the label would protect their recordings Even a huge spike in sales of singles can't as works of art—that is, it wouldn't sell make up for the lost album sales.

"Comfortably Numb" outside of The Wall.

But the business side already knows EMI's argument that the deal couldn't from the spike in vinyl sales that retro possibly be applied to the new 99 cents collectors' sets are huge. A 40th anniver– $1.29-per-single world of ITunes. After sary edition of the Beatles' Abbey Road all, ITunes shoppers don't buy albums, helped push the album's profile to the they buy songs. So far, efforts to spur point where it topped the vinyl sales people to buy entire albums online have charts. And those records aren't cheap. been failures. But the judge didn't buy It's not a perfect example, as the Beatles it—and said the deal stuck. So, it's a vicdon't make their songs available digitally, tory for art, right? where Pink Floyd does. But it shows the That's the way it's been couched so far. potential of retro.

ENTER

SAND

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

FESTIVAL PLACE Bill

Anderson–A Night With The Legend; 7:30pm; $40 (cabaret seating, table)/$38 (cabaret seating, box)/$34 (cabaret seating, theatre) at Festival Place box office 780.449.3378

REXALL PLACE Muse,

DJs BAR WILD Bar Gone Wild

Mondays: 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

BUDDY'S DJ Dust 'n' Time;

Silversun Pickups; all ages; 6pm (door), 7pm (show); $45, $59.50 at TicketMaster

9pm

SHAW CONFERENCE CENTRE Hedley, Boys Like

FLUID LOUNGE Mondays

Girls, Stereos, Fefe Dobson; all ages; 5:30pm (door), 6:30pm (show); $42.50 at TicketMaster

NEW CITY This Will Hurt

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

LUCKY 13 Industry Night

with DJ Chad Cook every Monday

you Mondays: Johnny Neck and his Job present mystery musical guests

NEW CITY LIKWID LOUNGE Daniel and Fowler

PLEASANTVIEW COMMUNITY HALL

TUESDAY

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

PROHIBITION Chicka-Dee-

Jay Monday Night: Soul, R&B, British Invasion, Ska, Rocksteady, and more with Michael Rault

REXALL PLACE Muse,

Silversun Pickups; all ages; 6pm (door)/7pm (show); $45, $59.50 at TicketMaster

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

SHAW CONFERENCE CENTRE Hedley, Boys Like Girls, Stereos, Fefe Dobson; 6:30pm; all ages; $42.50 at TicketMaster

TAPHOUSE Battle of the Bands: Alberta Last Band Standing

Classical CONVOCATION HALL

Monday Noon Music: U of A Music students; 12pm; free

WINSPEAR CENTRE U of A Symphonic Wind Ensemble, Angela Schroeder (conductor), U of C Wind Ensemble; 8pm

32 // MUSIC

OR

(eclectic tunes)

CROWN PUB Underground

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

THE DRUID IRISH PUB Open stage with Chris Wynters; 9pm

L.B.’S PUB Ammar’s

Moosehead Tuesday night open stage; 9pm-1am; featuring guests; hosted by Mark Ammar and Noel (Big Cat) Mackenzie

NEW CITY LIQWID LOUNGE Every Tuesday open

stage: Hosted by Ben Disaster; 9pm; short waiting time for performers

O’BYRNE’S Celtic Jam with

Shannon Johnson and friends

OVERTIME Tuesday acoustic

jam hosted by Robb Angus

PAWN SHOP Natalie

Portman's Shaved Head, Topless Gay Love Tekno Party, Mass Choir; 9pm

SECOND CUP�124 Street Open mic every Tuesday; 8-10pm

SECOND CUP�Stanley Milner Library Open mic

Star Jam with Alicia Tait and Rickey Sidecar; 8pm

SPORTSMAN'S LOUNGE

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

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

EDDIE SHORTS Wednesday open stage, band oriented, hosted by Chuck Rainville; 9pm-1am

STEEPS�Old Glenora

EDMONTON EVENT CENTRE Pitbull; 9pm

Every Tuesday Open Mic; 7:30-9:30pm

TAPHOUSE�St Albert

Alberta Last Band Standing

YARDBIRD SUITE Tuesday

Session: Aaron Leaney 3: Aaron Leaney (sax), Thom Golub (bass), Chris Dadge (drums); 7:30pm (door), 8pm (show); $5

DJs BLACK DOG FREEHOUSE Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam

BUDDY'S DJ Arrow Chaser;

9pm

ESMERALDA’S Retro every Tuesday; no cover with student ID

FUNKY BUDDHA�Whyte Ave Latin and Salsa music,

dance lessons 8-10pm

GINGUR SKY Bashment Tuesdays: Reggae music; no cover NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock,

spooky with DJ Vylan Cadaver

PROHIBITION Tuesday Punk

Night

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

WEDNESDAY BLACK DOG FREEHOUSE

Main Floor: Glitter Gulch Wednesdays: live music once a month

BRIXX Really Good… Eats

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

COPPERPOT RESTAURANT

every Tuesday; 7-9pm

Don Berner (jazz); 6-9pm

SIDELINERS PUB Tuesday All

CROWN PUB Creative

VUEWEEKLY // MAR 25 – MAR 31, 2010

And, ahem, we are rocketing toward March 2013. What's that date? Well, it's the 40th anniversary of the release of Dark Side of the Moon. I sense a box set. And a full digital release. Same will go for Wish You Were Here and The Wall.

And what better way to capitalize to ensure that online consumers have to buy the entire packages, not a song here and a song there?

According to a feature in the Guardian from 2005, Pink Floyd guitarist David Gilmour was, at the time, worth somewhere in the neighbourhood of 75 million pounds. He's one of the world's wealthiest musicians. It's not like that all appeared overnight. He's got as much business savvy as he has great guitar licks.

In the way that Pink Floyd won the lawsuit, it has music fans around the world saying "good for them!" and overjoyed that somehow these rockers have stuck it to the man. But, as much as this was a victory for art, the band has conditioned a generation of online music buyers that albums, not singles, are the way that music should be bought.

EMI might be fighting Pink Floyd now.

In a decade, the shareholders may all have framed photos of the band on their mantles. V

FIDDLER'S ROOST

Little Flower Open Stage Wednesdays with Brian Gregg; 8pm-12

HAVEN SOCIAL Open stage with Jonny Mac; 8:30pm; no cover

LEVEL 2 LOUNGE Open mic NEW CITY Circ-O-Rama-

TEMPLE Wyld Style

Wednesday: Live hip hop; $5

Classical MCDOUGALL UNITED CHURCH Music Wednesdays at Noon: Duo Majoya (piano four hands); 12:10-12:50pm; free; 780.468.4964

DJs BANK ULTRA LOUNGE

Wednesday Nights: with DJ Harley

BLACK DOG FREEHOUSE

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

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

BUDDY'S DJ Dust 'n' Time; 9pm; no cover before 10pm

OVERTIME Dueling pianos

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

featuring The Ivory Club

PAWN SHOP The Bonfire Ball Revue, Jason Collett, Zeus, Bahamas; 9pm PLEASANTVIEW COMMUNITY HALL

Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society every Wednesday evening

PROHIBITION Wednesdays

with Roland Pemberton III

RED PIANO BAR Jazz and Shiraz Wednesdays featuring Dave Babcock and his Jump Trio RIVER CREE Wednesdays Live Rock Band hosted by Yukon Jack; 7:30-9pm

SECOND CUP�Mountain Equipment Open Mic every

Wednesday, 8-10pm

STARLITE ROOM Snocore

2010: Protest The Hero, Hawthorne Heights, TheSet, Elias; 6pm (door); $25 (adv) at TicketMaster, Blackbyrd

STEEPS TEA LOUNGE� College Plaza Open mic

every Wednesday; hosted by Ernie Tersigni; 8pm

STEEPS TEA LOUNGE� Whyte Ave Open mic every

Wednesday; 8pm

TAPHOUSE�St Albert

Alberta Last Band Standing

DIESEL ULTRA LOUNGE

FLUID LOUNGE Wednesdays Rock This

IVORY CLUB DJ ongoing

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

LEGENDS PUB Hip hop/R&B with DJ Spincycle

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

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

NIKKI DIAMONDS Punk and ‘80s metal every Wednesday

RED STAR Guest DJs every

Wednesday

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

STOLLI'S Beatparty

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

WUNDERBAR Wednesdays with new DJ; no cover Y AFTERHOURS Y Not

Wednesday

MAR 25 – MAR 31, 2010 // VUEWEEKLY

MUSIC // 33

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VUEWEEKLY // MAR 25 – MAR 31, 2010

PREVUE // AIDAN KNIGHT

Long time coming

Aidan Knight's Versicolour two years in making BRYAN BIRTLES // BRYAN@vueweekly.com

K

nown as a helpful side man in plenty of local bands around his hometown of Victoria, BC, Aidan Knight recently stepped out on his own with the dense and melancholy Versicolour. On it, he and producer Jonathan Anderson played nearly all of the instruments, going so far as to sleep on the floor of the studio where the album was recorded to fully immerse themselves in the project. To flesh out the sound, Knight invited Toronto's The O'Darling to play additional instruments and add harmonies. Vue Weekly recently had the opportunity to converse over email with the affable Knight about the making of Versicolour.

Vue Weekly: You've described making Versicolour as a long process of recording whenever you could scrape together the money. Can you tell me about that process?

Aidan Knight: I spent a little over two years putting together Versicolour. It started out as a way to record four or five new songs, before I had played them live or really finished the songs. I had a very basic understanding of the forms, usually with only a few verses and a "that'll do" chorus idea. Jon Anderson and I spent three days experimenting with the arrangements and came up with some-

thing very unexpected. I had no notion of how things should be or what anything would sound like. In the summer of 2009, the O'Darling came through Vancouver and I invited them out to Langley for the final four days of tracking. In total, Versicolour was recorded over 10 days, over two years.

VW: Did the disconnected recording sessions affect the album's cohesion in your mind?

AK: It certainly shaped it into something much less affected. I had the ability to step back and listen: to hear the parts that I liked and the parts that didn't quite capture me. I have bizarre things that get my attention, and a lot of those things might sound like mistakes or very unassuming moments in the music. That's what I love about recording—the moment that the hi-hat falls over in time with the song or when the telephone recording fits right into the instrumental pause. Exciting!

VW: You describe the recording process as a collaboration between you and producer Jonathan Anderson. Can you talk a bit about how that worked and what roles each of you fell into?

AK: Jon and I work in such a tandem way.

I'm not sure if we're studio soulmates or if he simply changed his work process for me, but he's a great collaborator. A brilliant musician in his own respect, we

played nearly every instrument in his studio at one point or another. His steel playing on "Jasper" was a real highlight; he really gets the ideas that I was going for and spins them in the absolute best direction.

VW: Would you record the same way— bit by bit, building it up—in the future?

AK: I've done that now, I feel like it was a great experience and now I'm ready to put together a little more structure for the next one. I'll probably add one more track for everyone who thought Versicolour was too short. I like Revolver a lot, so it's not a bad thing when your album is only 38 minutes long.

VW: Are there any themes in the lyric writing you found yourself returning to?

AK: I'd hate to give away my lyrical crutches, but I find myself writing more and more with religious imagery. In the same way that Daniel Lanois or David Bazan writes about the light and dark portions of faith, I love exploring those metaphors and characters. John the Baptist is an indirect protaganist in a new song of mine.

And then, of course, girls. I have a terrific one in my life right now. V Sat, Mar 27 (7:30 pm) Aidan Knight With Toast, We Are The City Haven Social Club, $10

MAR 25 – MAR 31, 2010 // VUEWEEKLY

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VUEWEEKLY // MAR 25 – MAR 31, 2010

PREVUE // JASON COLLETT

Great Zeus

Jason Collett gets help from his backing band on Rat a Tat Tat Mike Angus // Mikeangus@vueweekly.com

F

or Jason Collett, the writing of his new album Rat a Tat Tat was "business as usual." But while choosing to record with his long-time backing band Zeus may seem equally formulaic, to hear him talk about the recording process, one senses he's excited to be turning a corner in some ways. On listening to it, Rat a Tat Tat is a fine collection of vintage pop grooves and giddy sonic explorations, but for Collett and Zeus, the recording process was actually one big experiment in spontaneous musical ideas, inspired by Zeus "hitting its stride" as one of the best live bands in the country.

"The production [of Rat a Tat Tat], with Zeus behind the wheel, was really me plugging into an energy that they've made themselves the centre of," he offers up generously. As his backing band for the last two years, Zeus' familiarity inspired Collett to enter the studio blindly, exposing them to his new material point-blank. It was his intention, Collett admits, to avoid pre-production and see how Zeus would react when put on the spot—a plan that suited the Zeus style quite well, he adds.

"I really wanted to have things super fresh. The band didn't hear the bulk of the songs before going into the studio, then we were recording within 10 minutes of them having heard them," he reveals. "A lot of the rough-and-tumble scruffiness of the record comes out of that. I was really happy to embrace that change—it's actually far more reflective of how we've been playing live for quite some time."

For an artist who has been a lightening rod for community building and supergroup collaborations, Collett is modest and complimentary about his band, who

ON THE SCENE >> Jason Collett is no stranger to musical collaboration

// Matt Barnes

are now label mates in their own right on Arts&Crafts.

"From the very first day I started playing with them, there's a work ethic that they have that I've always admired, and a playfulness and a fearlessness," he explains.

"I've learned a few things over the years about making records, and the most important things I've learned is, 'there are no rules.' The trick is to get all the intent and calculation and intellectualization out of the room; that's where the real magic is.

"Fortunately, those guys are so fast on their feet," he adds. "They have great instincts, and that's what you want to capture with any good musician: their gut reaction to what you throw at them."

Taking to the road with Zeus and Afie Jurvanen, aka Bahamas, the Bonfire Ball Revue will see all three bands sharing the entire evening, rather than the standard three-band/three-set night.

"I don't want people coming out to the

show later, just expecting to see me, and then getting confused," he warns.

"Quite likely, I could be the first guy to walk out and play a few songs on my own, and then hand it over for a few of the songs before coming back out.

"The three bands have enough history and chemistry together that we can do a revue-style: one big set, maybe with an intermission, that brings a show to a whole other level where you get that cross-pollinating live on stage between musicians. We'll play as one band that will expand and contract all night long, reflecting three different bands. I think it will be more interesting, and I'm very excited." V

it live, you go to second base naturally—'this is what I would have done if I had more time in the studio.' So there's some of that that goes on, and you have to leave space for that or the band starts to feel like there's no new life in the songs."

in a community makes you better. It's like the Group of Seven, say. Your peers become your best critics, they become a support network, they tell you when you're full of shit—which is important to know as an artist, when you're going off the rails. It's just a healthy environment to be in, and since then, I've just instinctively been drawn to that. Not to mention when a member of your community does a standout piece of work, it reflects on you. It forces you to stretch further, it inspires you."

Wed, Mar 31 (8pm) Jason Collett With Zeus, Bahamas StarliTE Room, $18

RAVE ON SAD SONGS Jason Collett weighs in on the challenge of translating a record to a live show, Toronto's social scene and how Rat a Tat Tat compares to his discography.

RE-CREATING "THIS MONSTER YOU'VE MADE" "If you're four or five guys in the studio and you've layered on a number of guitar parts, horns and Jason Tait doing a lot of vibes on this record—trying to recreate that mess you've made live— they're just two different worlds. We don't worry about having to figure it out later, because if you do, once again, you're just limiting yourself.

You rise to the challenge. I've always felt that recording is one thing, and playing live is a whole other thing. The songs aren't static in their interpretations, what we record was just what happened that day. Songs have a life of their own, and they can go on to be re-interpreted again. So I think we're doing a good job at re-creating the record in rehearsals. The way we recorded this, it was the first time someone had played that part, sometimes that's a difficult thing to learn, that initial inspiration. And then when you play

CENTRE OF THE TORONTO SCENE "In 2001 I started Radio Monday series, which became a thing for musicians in Toronto to go and play at or watch their peers play. Part of the reason for doing it was seeing there's strength in a community of peers validating each other's work. I started doing this at a time when there was a real void in the music industry. It was the turn of the century, the record industry as we knew it was fucked up, there were lawsuits for Napster, labels amalgamating, A&R guys losing their jobs—this was the climate that Broken Social Scene and Wavelength Series was born out of, and Radio Mondays was born out of that, too. It was a community turning inwards to validate itself because there was no official industry to do that anymore. The important lesson learned in all that was working

RAT A TAT TAT: HIS STRONGEST WORK? "I feel it's my strongest work, partly because of the energy that's there, and that I was able to catch Zeus at their stride. The songs are that much stronger. I haven't tried to articulate this yet, but in my gut I feel really confident about it as a piece of work.

I feel fortunate that I feel like I'm still learning, it keeps me a little wide-eyed about what I'm doing. At this point in my career, I've developed an instinct to know when it's a good piece of work.

And that's the feeling I have about the entire record." V

MAR 25 – MAR 31, 2010 // VUEWEEKLY

MUSIC // 37

PREVUE // PROTEST THE HERO

Phantom of the opera

Music trumps lyrics on Protest the Hero's latest MIKE ANGUS // mikeangus@vueweekly.com

P

rotest the Hero's vocalist Rody Walker hesitates to guess how the band has retained all five original members since high school. "I met most of these guys in the first grade. I met Arif [Mirabdolbaghi, bassist] in the sixth grade, and we started a band in the eighth grade," he mentions casually. "And here we are, young men. With bad beards."

Walker's humour and casualness about his band is deceiving, however, because its new album Fortress is a serious mash of shredding, melody, technical tastefulness and aggressive riffs. Rounded out by guitarists Tim Millar and Luke Hoskin, and drummer Moe Carlson, Protest the Hero attributes the members' like-mindedness

WHAT DO WE WANT? >> More attention paid to our musicality! as one of the keys to its success. After the release of the band's previous record Kezia, the group came at Fortress with two very different approaches.

"Kezia took us almost two years to

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// Supplied

write, whereas Fortress took us eight months," Walker points out. "For us, [writing for Fortress] was a strange creative process ... it was very much an individual-based process, where everyone

came up with their shit separately. It was a little complicated, because it was time-consuming and destructive, but it works for us somehow.

"The best way to explain it is, we have ADD when it comes to music. If we write boring music, we're gonna be sick of it in two minutes."

The other need was to get away from Kezia's "rigid concept"â&#x20AC;&#x201D;an intense storyline that had some fans focusing so intently on the story that the band felt its musicality was being lost. "[With Fortress] I think we're trying to avoid that same kind of thing. We didn't want people to listen so much to the message at the expense of the music," Walker states. "People were listening more to the words [of Kezia] than the music, so at some point we had to say, 'We're not going to make another opera out of this,'" he offers diplomatically. "We wanted to try and balance out the difference of the [lyrics and music], and the importance of each one, so they can be appreciated separately and together."

VUEWEEKLY // MAR 25 â&#x20AC;&#x201C; MAR 31, 2010

As a result, Fortress is less of a concept album and more a thematic symphony, with songs breaking down into movements, beautiful moments to counter the collective ADD offensive that flows throughout.

Touted as a "headphones" album, Walker explains the depth of the final product that resulted from the recording process.

"Once we finished recording what we had written, we were like, 'There's so much shit going on here that we didn't even realize we were creating'," Walker laughs. "[Producer Julius Butty] was having a bitch of a time mixing it all, to get everything heard, and that's when we realized that these aren't just songs that you blast on your radio, these are songs that you have to sit down and pay attention to, or you're going to miss something." V Wed, Mar 31 (6 pm) Protest the Hero As part of Snocore 2010 with Hawthorne Heights, Elias, The Set StarliTE Room, $25

ALBUM >> SOULFLY

PREVUE // DEMONIKA

Reading the Omen

Max Cavalera gets deep into Soulfly's latest Max Cavalera has been hammering out the metal for a long time now, beginning with Sepultura's 1986 debut, Morbid Visions.

Since splitting with that band after 1996's Roots, Cavalera has released six albums with Soulfly and one with Cavalera Conspiracy. Cavalera spoke to Vue Weekly recently about Soulfly's upcoming seventh album, Omen.

needed for the album?

MC: Yeah, I did write more than I need, so there are a couple things left that I've been thinking I might use for Cavalera Conspiracy.

I've got to listen to them again and make sure they fit Cavalera Conspiracy, and if they do I'll probably use it.

ON TH

E

D RECOR

VW: When you're writing, do you know right away that a VUE WEEKLY: How long did it song is going to be for a parly.com k e e w vue eden@ take to make Omen? ticular band? n Ede MAX CAVALERA: Probably MC: Sometimes, and sometimes about a year and a half all togethMunro I listen to them again and I can actuer, but the studio time was about a ally change them so they fit the other month in the studio for everything. Record- band. So they can fit Cavalera Conspiracy if ing time was about 17 days that we used to I change them a little bit knowing how Igor record everything and then the rest was [Cavalera, brother and drummer in Cavalera used to mix, so I did it in pretty good time.

Conspiracy] plays, because Igor plays different. It's pretty easy to do, actually changing VW: Do you like to work quickly? the song to fit Cavalera Conspiracy.

MC: Yeah, I do. I like a lot of the original ideas. I don't like to change the stuff too VW: You recorded some covers for Bmuch 'cause I think you ruin the song when sides with Omen. How did you decide on you start changing it too much and when the songs? you start thinking too much about it. I think MC: Those were picked by my sons because the original idea gets lost in the process, so they played drums on them. Zyon, my oldest a lot of the stuff that you hear in the Soulfly son, picked "Refuse/Resist" by Sepultura, and record, it's the original idea, so it's very close Igor, my youngest son, picked Excel, "Your to where it first originated, when the riff first Life, My Life", a hardcore band from Venice came out. We like to keep it like that, and that he likes—pretty underground stuff. that's why our recording is a little bit faster It was their choice and it was kind of cool than other bands. that I didn't have to choose them because I've been choosing cover songs my whole life VW: It's like capturing that moment in the and it was good to take a break. band's life, then?

MC: Yeah, it's that moment of the album.

VW: Was this your first time recording with The style that the album represents is where your sons? the band is at the moment, and it's fine with MC: In the studio, yeah. It was great, it was me because I look back at the older albums, really exciting and they delivered. They all the way from Sepultura to Soulfly, and I knew the songs, they practised, so they can see where my head was at the time and were ready for it. And just being in the stuwhere the band was. Back a long time ago dio with them was really a great moment. we used to take a little longer time in the They don't have bands or anything yet, they studio and that just fucked everything up, just play drums because they like drums. ruining the song to the point that we didn't Both of them picked up drums—I don't like the song anymore, and that was a drag. know why one of them didn't pick a differI learned from the early days not to do that ent instrument so they could be in a band anymore: if the original idea is good, is excit- together. But they both picked up drums so ing, keep it and go with the flow and just I recorded with both of them playing drums move it along. on different songs.

VW: Did you hit a point where you said, "OK, it's time to make a new album," and then start writing songs or did you have anything from the past that you dug up for this?

MC: I dug up a little bit from the past. Maybe 20 percent of Omen was material from before and then the rest was all new that I went and recorded knowing that it was going to be for the Omen record.

I was just writing and writing and writing non-stop until I knew I had enough stuff, and I just stopped writing at that point and went into the studio with the material and turned everything into songs. Normally how I do this is I write the original riffs on a fourtrack with a drum machine so they're almost like songs. They're almost complete songs with all different parts and stuff and then the band learns those and from those fourtracks each one of those songs becomes a song on the album and we just change a little bit more, like we add bridges and add solos and choruses and things like that, but the actual song is created on this four-track.

The four-track spirit is actually very important to making the album: it's where the feel of the album is going to come from.

VW: Did you write more songs than you

Sat, Mar 27 (9 pm) / Demonika's Symphony of Horrors 5: Orgy of the Undead / Starlite Room / $20 Billing itself as the "Greatest Show Unearthed," Demonika's fifth Symphony of Horrors will no doubt live up to its subtitle as an orgy of the undead.

Featuring contortionists, zombies, burlesque, rubber, avant-garde fashion and prizes for the sexiest outfits, those with an interest in PVC dresses, nipple clamps and braaaaaaiiins will want to show up. V

VW: You've always invited guests to record with you. What is it about collaborating with people outside of the band that draws you to that approach?

MC: I like it a lot. I always liked it back from the Sepultura days. Collaboration was always a huge thing and it's just something that brings another level to the song, and you get to hear the artist in a different way than you normally do. For example this album you get to hear Greg [Puciato] from Dillinger Escape Plan singing in a normal structured song, not a chaotic structure like Dillinger Escape Plan, so it's kind of cool to hear his voice in the normal setting of a song.

VW: Magic can happen when you take people who are not used to playing with each other every day and throw them together.

MC: That's exactly right. One of the reasons that I do it is a lot of great things come out of that. It's unexpected, like this is really exciting. V Sun, Mar 28 (8 pm) Soulfly With Prong, Incite, Rotting Corpse Starlite Room, $28

MAR 25 – MAR 31, 2010 // VUEWEEKLY

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PREVUE // BLESSTHEFALL

From the chrysalis

blessthefall finds new life with a new singer Mike Angus // Mikeangus@vueweekly.com

T

he cover of blessthefall's new album, Witness, shows a butterfly, hinting at the usual metaphors of change and rebirth, and with obvious reason.

When the post-hardcore five-piece from Phoenix (literally), Arizona had a nasty falling out with their previous lead singer in 2008, the future looked dim. After an agonizing nine-month search for a new lead singer, Beau Bokan, former front man for Take the Crown, stepped in, and the band emerged stronger and better, as Bokan explains.

"I think being able to come back from what the band went through—nine months of looking for a new singer, and my old band breaking up—we all went

through really tough times where we thought we might not make music anymore," he explains. "The reality of that was such a bum out. To be able to come back from that and get back into the focus of being in a band, and the camaraderie is so good, and to write such a good record, we take a lot of pride in this."

Having averted disaster, Bokan and company immediately turned to writing new material for 2009's Witness, all the while learning to grow together and find their legs.

"Right when I joined, we started writing right away, and for the first how many months we were really plugging away to see how we worked together, to see if it was the right thing. And it worked out great," he chatters excitedly. "Since then, we've been busy tour-

CAN I GET A WITNESS? >> If you buy blessthefall's new album, sure ing, and writing, writing, writing—even while we were on tour with Silverstein last year. This whole year's been so busy, it's gone by so fast."

Which is maybe a blessing in disguise for the new singer, who didn't have time to worry how he might be received by blessthefall faithful. "I didn't have

// Supplied

time to think, 'Okay, I'm the new singer now.' I had to just bear down and do it," he explains.

The recording of Witness was the final key, solidifying the band's chemistry while taking their time in Elvis Baskette's beachfront studio in Virginia

to foster the final stages of its metamorphosis.

"It was a good collective effort, and working with Elvis Baskette was awesome; we had the time of our lives. It was so relaxed. Any pressure I may have had was completely gone when I went in to record with him," Bokan enthuses.

Nerves and butterflies aside, blessthefall can now focus on what the band does best.

"I'm just gonna get up there with my best friends—I know they've got my back, and we'll just kill it. We just think positively and put on the best show of our lives. I've never had to think, 'What would the old singer do?'" he laughs.

"I'm just gonna do what I do, and so far all the reaction has been awesome." V Fri, Mar 26 (6 pm) blessthefall With Miss May I, Greeley Estates, Before Their Eyes Avenue Theatre, $15

PREVUE // THE POINTED STICKS

Just like old times

The Pointed Sticks are back, 30 years later

MAKING A RIGHT >> The Pointed Sticks pick up where the band left off on its second album, which was 30 years in the making // Supplied David Berry // david@vueweekly.com

B

and reunions have reached the point where even the indie titans are cashing in—watch for Pavement nowhere near you this summer—but even still, the coming together of the Pointed Sticks kind of, well, sticks out. Though the band left an indelible mark on Vancouver's (and Canada's) pop-punk scene in the early '80s with its album Perfect Youth, Pointed Sticks was never exactly a stadium-filler, and that one notable album and a handful of singles represents the total of the original band's recorded output. So it would have been easy for the members to just quietly keep the band as a kind-of trophy on their shelves, and continue on with their adult lives.

But life doesn't always work like that, and when an enterprising promoter came to them with the idea of an all-expensespaid Japanese tour, it just seemed like too much fun to pass up, according to bassist Tony Bardach.

"To be honest, at first it just kind of sounded like a laugh," Bardach admits over the phone for Vancouver, where the Sticks are gearing up for its first jaunt over the mountains since reformation.

"But the more he kept bringing it up, the

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VUEWEEKLY // MAR 25 – MAR 31, 2010

harder it was for all of us to refuse."

And the band has a lot to thank him for.

The reunion has gone well enough that, besides once again taking the stage in Canada, the Pointed Sticks has put together its very-long-in-coming second full-length, Three Lefts Make a Right. Surprisingly after a pretty long layover, it picks up a lot of the fun and energy of their debut, something Bardach attributes less to a pre-planned idea and more to the fact that, when you get old friends together, a familiar vibe just seems inescapable.

"I don't think there was necessarily any intent to try to capture anything, we were just sort of doing what we naturally do," he shrugs. "When you find yourselves with your mates from long ago, you kind of go back a little bit to thinking of things in the sorts of terms that you would at the time. That's the same as when you get together with your brother or sister or something: you can't stop giggling at the table even though you're both 30." V Fri, Mar 26 (9 pm) The Pointed Sticks With A Bunch of Marys, Geister New City Suburbs, $17

COMMENT >> DEATH

Dying for popularity Death since the Internet took over

Forget about coming out of the closet Landy in the '70s. Like Guru, Wilson was or reuniting your band. The best way to at odds with his former collaborators. Wilspring back into the spotlight is to die. son got off illicit drugs (and onto psychoSeveral groundbreaking artists have at- logically accepted ones) through Dr Landy's tempted this technique to varying degrees therapy; Solar is rumoured to have helped of success. Kurt Cobain's suicide lionized Guru deal with alcohol abuse issues. Both him. Dying worked perfectly into Andy partnerships outwardly present a paraKaufman's schtick. I'm of the opinsitic picture. Rap music, in my opinion that Tupac is currently slurpion, has the highest potential of H S A ing a drink out of a coconut on B A C K L any genre for experimentation an undisclosed island, but his because its foundation is based perceived deadness has paid on recontextualizing other ly.com eweek u v @ d rolan dividends. Now that the Intergenres of music into a different d n a Rol rton framework. Yet the people who net has made it possible to find Pembe out practically everything about make it almost uniformly seem to living things, it's only natural that we hold conservative social values and have the inside track on expiration too. But hardline traditionalist stances. to me, it's during the times where we jump Most recently, Solar leaked a "new" Guru the gun that we actually achieve a glimpse song (unlikely to be recorded post-heart at the way media has changed and how dif- attack) he produced called "Mr. Gangstarr" ferent musical movements choose to deal that sounds incomplete and has the weak, with the life status of artists. patchwork nature of your average posthuEarlier this month, the hip-hop commu- mous release. Except he isn't dead yet. And nity was inundated by Twitters and blogs that almost seems to disappoint the Gangclaiming Guru, rapper from the legendary starr massive, who either wish he died so old-school rap group Gangstarr, had fallen they can own his memory through a partial into a coma as a result of a heart attack discography that excludes the Solar comand was close to death. Rumours spread positions or selfishly want him to return to rapidly through social media. Well-wishers a life that seems to have failed him. If Guru came in droves, sprinkling the Internet was gay, many rap fans would feel uncomwith YouTube videos and album uploads in fortable having ever supported him. If he's honour of his greatest hits, as if already in merely weak-willed, those same rap fans memoriam. Over time it was revealed that would rather not reflect that affectation the heart attack happened but was not as by listening to him either. extreme as originally presented and that Guru was alive and well.

With indie rock, fans respond too far into Yet, for some reason, Guru is not allowing the other extreme. Juxtapose this situation his family to visit him at the hospital. This was with that of the similarly-aged Alex Chilton, illuminated by a YouTube video (http://www. who actually died of a heart attack last youtube.com/watch?v=CqnCNsQd68A) week, preceding a performance with the of his nephew, Justin Nicholas Elam-Ruff, newly reunited Big Star at the South By choking back tears and speaking about fam- Southwest Music Festival in Austin, Texas. ily members being denied access by a man For the modern online music fan, the incalled Solar. I was unfamiliar with his name, stant impulse is to post a YouTube video to but eventually realized that Solar has been a social networking site or quote a lyric as a producing the last few unremarkable Guru way of coping, but gestures like these feel solo releases since the permanent hiatus so kneejerk and disingenuous that I'm no of Gangstarr and has somehow enacted a longer comfortable expressing my sadness Rasputin-esque control over all of Guru's in situations like this publicly. personal affairs.

Guru fans went from championing his best In his desire to expand beyond his role achievements to wondering about his life as music collaborator and manage every choices to, in some cases, outright vilifying aspect of Guru's recuperation, Solar (who him for the potential of rumours to be true. commonly attaches the prefix Superpro- Grieving for artists has been streamlined ducer to his nom de plume) has taken and now seems like just a part of the news on the appearance of a svengali, an evil cycle that we rapidly refer the findings of. overseer steering a brainwashed individuThe Chilton death was broken by a loal into oblivion. And as this has come to cal newspaper (Memphis's Commercial light under the muckraking gaze of our Appeal), which now seems to be a more post-Tiger Woods media environment, plausible source than the big national the tweetlings of the unedited mire we companies clamouring to get a jump on call the Internet have taken to observ- the Internet. Gordon Lightfoot's "near ing their relationship as being potentially death experience" (the biggest game of sexually motivated as well. telephone ever played by respected news This is based on a couple unassuming pic- outlets lobbying to outweb the web) is an tures of them together and the admittedly argument against Twitter and the total one-sided control aspect to their partner- decentralization of news media. Without ship. Jumping to the sexual conclusion says local news and traditional news aggregamore about how hip-hop culture deals with tors like the Associated Press, there will be homosexuality than it does with the actual no authority on the truth, however flawed extent of Guru and Solar's relationship. Ever the old system might be in other ways. the arena for masculine posturing, one-upOur current state of constant nostalgia manship and aggression, the possibility of no longer allows us to absorb or reference a former hip-hop hero being into men is so anything with the present in mind. Instead unappealing that some message board den- of jumping to memorialize our heroes by izens threaten to "erase the Gangstarr from spreading their work around for free and their hard drives" if it's ever confirmed. using knowledge of their oeuvre as social Why isn't it possible that Guru is just a cachet after they've shuffled off, perhaps weak-willed individual? This situation re- we should stop to appreciate and supminds me of the one between the Beach port the work of artists while they're still Boys' Brian Wilson and his therapist Eugene around to be helped by it. V

BLUES

MAR 25 â&#x20AC;&#x201C; MAR 31, 2010 // VUEWEEKLY

MUSIC // 41

ALBUM REVIEWS

New Sounds

jj n° 3 (Secretly Canadian) 

David Berry // david@vueweekly.com

A

s I am reminded every time my mother puts on the Antony and the Johnsons record that makes up the sum total of the music she's picked up from my iTunes library, there's a fine line between challenging indie pop and sedate adult contemporary (not that I come to bury Antony). Both go for a certain sensitive (and sometimes sentimental) emotional pull, both trade almost exclusively in sounds traditionally pleasing if not outright pleasant, both have a tendency towards incorporating a certain set of worldly sounds, both tend to get elevated or dragged down on the strength of their singer, their musical arrangements generally traditional. The easy distinction could just be made between what crowd the particular artists run in, but we have enough simple stereotypes in the world, and we shouldn't let people off the hook just because they dress nice or are on the same label as Broken Social Scene.

The album that brought jj to the attention of the world, n° 2, did a pretty sharp job of staying on the right side of that line. Their music there was a bit like a warm sea breeze blowing over a power line, certainly not anything that was

going to kickstart hearts or dance parties, exactly, but nothing that would really kill that vibe. Their relatively rapid follow-up, released a mere nine months after, n° 3, on the other hand, has at least one song that sounds like Enya covering Sting's "Fields of Gold" ("Let Go"), and for the most part wouldn't distract from light dinner conversation in a downtown condo.

It starts promising enough. "My Life" opens with a melancholy piano that fits rather nicely with Elin Kastlander exasperatedly weary vocals. "What the hell am I doing right?" she sighs before adding a blase take on the chorus from ATC's "It Goes Around the World": it suggests the universality of young ennui as much as trying to shake off the hangover at a beach resort bar. Third track "Into The Light" also brings a spacey vibe and a welcome cool dance spirit, but not much manages to capture a similarily ambiguous or lively mood.

It's not fabulously easy to pinpoint exactly where n° 3 goes wrong as compared to its predecessor. Maybe it's just that this one wasn't given enough time to stew in its own juices: Kastlander's lilting a/b rhymes were endearing before, but here too many of them just feel vapid and ill-thought-out, even when they're not referencing radio pop, like they were placeholders and the post-it reminding them to change it fell off the lyric sheet. "I don't care what people say / I'm gonna get it anyway" Kastlander sings on "Voi Parlate, Io Gioco," though you could point to almost any of the nine songs here for equally immature sentiments and constructions.

Though it could just be that the music doesn't as readily bail her out, too. The whistling that encroaches on "Light" is about the most dynamic thing of the whole song, though it's not enough to wake up Kastlander's humming, a drowsily-picked guitar and synth textures that could have been sampled from an acupunturist's cool-down mix. That sort of vibe is not especially out of place throughout the album's running time. V

Greg MacPherson Mr. Invitation (Smallman)  Reverberating, staccato chords kick in over the opening drums on "First Class," the opening track of Winnipeg songwriter Greg MacPherson's latest album since 2006's Sun Beats Down. A second, math-y guitar starts spinning needly lines over top and the song immediately feels ragged but right, MacPherson laying out a lyric that questions the world around him, never satisfied but always looking. Elsewhere, the title track abandons the nearly claustrophobic chopping of the opener in favour of wide open, slow and chugging verses coupled with a soaring chorus, while "Big Skies" channels a little Blue Rodeo (but steeled with a punk edge) and the six-minute "Visitor" brings the record down and out with more contemplations delivered over an airy series of arpeggiated chords that are left raw and exposed with the buzzing of MacPherson's guitar providing subtle accompaniment in the background. All told, the album is loose and meditative, but riddled with a sense of urgency that comes partly from MacPherson's edgy delivery and partly from the solid batch of songs that he's turned in.

Eden Munro

// eden@vueweekly.com

Greg MacPherson plays the Haven Social Club on April 1.

Scott Lanaway Mergers & Acquisitions (Independent)  Toronto's Scott Lanaway has the inside track on that laidback but densely worded, Tears For Fears-esque kind of jam that couldn't exactly find a place in a club but is perfect for gathering around a turntable in your parents' basement with a few friends.

Lanaway doesn't stop there, infusing his music with rocksteady and some subtle doo-wop sounds. It's a record that floats all over the place in terms of rhythms but is grounded by its tones, both musical and vocal, which carry with them a kind of seriousness that underpins even the album's most ridiculous track, the islandinfluenced "Oprah, God Wants You To Have a Private Jet." Bryan Birtles

// bryan@vueweekly.com

Tom Keenan Romantic Fitness (Independent)  The esthetics versus the lyrics of this album are almost too much for me. While the music sounds like something that might find a place on Yo Gabba Gabba, the message is about sniffing glue, getting into fights and looking at porn on the computers in the library.

It's funny, but not a joke, and it's one of the most amazing things I've heard, ever.

Bryan Birtles

// bryan@vueweekly.com

42 // MUSIC

VUEWEEKLY // MAR 25 – MAR 31, 2010

Shearwater The Golden Archipelago (Matador)  Generously packaging their sixth album with a 50page minibook, Texas indie-rockers Shearwater warn us that their latest release is undoubtedly a layered experience. The music boasts little irony in both sound and lyrics—sweeping yet meditative bass and guitars shadow themselves over Jonathan Meiburg's vocals in songs largely about islands and birds. All in all, The Golden Archipelago stands out because it demands the kind of revisited attention one might pay to a lengthy volume of poetry, even while it still might sound pretty running in the background. It’s worth making some time for.

Jonathan Busch

// jonathan@vueweekly.com

Gorillaz Plastic Beach (EMI)  Whatever lingering influence Damon Albarn’s Blur years had over the early development of Gorillaz, it was always twisted by the revolving-door cast of guest musicians and his own growing interest in more worldly musical influences. But even with that in mind, Plastic Island takes the band’s collaborative spirit further than ever, with Albarn acting more as producer than frontman, mostly relinquishing the mic to others (he does sing a couple of hooks here) and focusing instead on giving his guests creeping slabs of fuzzy electronica to carve up, tinged with (mostly) hip hop, dub production and orchestral string rustles. The guest list is top notch and diverse—Snoop Dogg, the remaining members of the Clash, Lou Reed and the National Orchestra For Arabic Music all appear here—and resultingly, Plastic Beach plays out like a gloriously strange electro-world-hip hop mix tape.

Paul Blinov

// paul@vueweekly.com

These New Puritans Hidden (Domino)  Art-rock isn't a sure thing anymore, especially when it gets this listenable.

On their number two release, British quartet These New Puritans veer between a darker Massive Attack, sing-songy Bjork balladry, and Brian Eno's mid-'80s organicsounding tape loops, all of which we never dreamed could accomodate an afternoon stroll. Hidden packs together choirs, horn sections and solid "arethey-or-aren't-they-in-house" beats, for a front-to-back hearty album experience that mood enthusiasts would do best to not overlook.

Jonathan Busch

ALBUM REVIEWS Leonard Cohen Death of a Ladies' Man (Columbia)

geoning megalomania, Spector banned Cohen from the studio control room by way of gun in order to mix the album alone. At some point, om .c ly k e e @vuew Cohen was also threatened roland with a crossbow.

Roland

OULNDDS

Originally released: 1977

SO

The role of the producer rton is often improperly defined.

Pembe This unique situation denied Neither a mystic shaman coaxing magic out Cohen the opportunity to of machines nor an audio scienperfect his votist preoccucals.

Weirdly enough, the pied with knobs and microphone studio tension resulted placement, a producer's priin pleasantly mary role is to unhinged takes from Cohen, deliver a finished product. several of which were originally When you think of a movie proonly intended ducer, you conas "guiding vocals" to be sider someone who finds the dubbed over later.

"Memoright cast for the film and COHEN >> The spectre of Spector ries" both reraises money calls the setting and methodology of erstwhile for the completion of the project.

A music producer is more akin to a high school horniness with sonic and verbal references to Frankie Laine director of films: he has the responand incredulous yet charming comesibility of shaping a product through the source material of a band and deons: "I walked up to the tallest and veloping it to its utmost potential. By the blondest girl / I said, 'Look, you that token, Phil Spector did a terrible don't know me now / But very soon you will!'" job of producing Death of a Ladies' Why one would put up with a guy Man, Leonard Cohen's polarizing fifth album. who once got dressed up as a surgeon Firstly, this album was a huge deparand shot through the studio ceiling ture for Cohen, known mostly for pois obvious if you've heard his work, etry in the home country, but equally which also includes The Beatles' Let it Be, Lennon's Imagine, George Haracclaimed for his confessional, spare folk songwriting worldwide. Ladies' rison's All Things Must Pass and Ike Man drew from a wide array of inand Tina Turner's River Deep – Mounfluences, from country to electronic tain High. Spector's application of music to funk to the kind of expansive impenetrably dense layers of instrumental overdubs to the typical emo'50s pop that Spector was famous for, but the recording process was fraught tional nudity of Cohen's vocals was a with difficulty. masterstroke that was actually just Spector's history of eccentric viotoo ambitious for the period it came lence was just gearing up around this out in. The product may have been unsaleable at the time and delivered time. He had yet to hold the Ramones at gunpoint during the recording in an extremely bizarre manner, but of End of the Century, but was just the music was certainly worthwhile following up his disappearance with and shaped creatively as well. So perthe session tapes from John Lennon's haps Spector deserves a reappraisal Rock 'n' Roll. In line with his buron this whole producer thing. V

HAIKU Irene Atman New York Rendezvous (Independent) Relaxing old jazz Pour yourself a gin fizz and Take out your dentures

QUICK

SPINS

quic

om

eekly.c

vuew kspins@

Whiteoyn Houst

Run With The Kittens Myth In The Sky (Independent)

Short and sweet EP like actual kittens it's Fuzzy, delicious

Seven Project Seven Project (Moondata)

Nigeria Special #2 1970-76 Modern Highlife & Nigerian Blues (Sound Way)

An epic album With musical music and Anthemic anthems

Poor folks clankin' blues Made with pure trash yet still sounds Like a million bucks

Burning Star Core Papercuts Theatre (No Quarter)

Bettie Serveert Pharmacy of Love (Second Motion)

Chaotic noise jams Confusing your brain like a Drunken wake-up call

I hate the '90s But they were were a pop nugget Lodged in the big coil

// jonathan@vueweekly.com

MAR 25 – MAR 31, 2010 // VUEWEEKLY

MUSIC // 43

PREVUE // HELIX

Back on a razor's edge

Helix gets its original lineup back together for Vagabond Bones samantha power // samantha@vueweekly.com

'W

e've always done party music.

We're very up people; I hope that's not a bad thing." Brian Vollmer laughs as he explains Vagabond Bones, the 14th and newest album from Canadian metal band Helix. And you can tell from Vollmer's genial nature that the band is glad to be creating music again.

"I don't think I could do it without new material. For me it's writing new songs, having a good time, and enjoying being a performer."

Helix has gone through consistent line-up changes since the mid-90s, but just last summer the original members who made Helix the Canadian metal icon it is got back together, and Vagabond Bones is their first album back together.

"We went through a lot, spent fifteen years of our lives together," Vollmer explains, expressing the trust in a band that knows each other. "There's only one way to do it. Everyone knows the protocol and what it takes to be successful."

And it's a formula that worked well for them before. Touring with the likes of Alice Cooper, Motley Crue and Motörhead made the band some of

METAL BONES >> Yes, it's all five original members of Helix

// Supplied

Canada's most prominent metalheads.

But it wasn't always great times. After Vollmer started the group as part of battle of the bands, touring consisted of the cheapest way to travel "We lived on 40 bucks a week, travelled on a Ford Galaxy with snow tires in the middle of summer," Vollmer recalls. "It's a lot more comfortable now."

Vollmer, who has taken on the responsibilities of management, in addition to running his own Bel Canto vocal coach-

ing school, is obviously excited to be back on the road with a new album, under slightly cozier circumstances.

"We just broke top-30 with 'Make Em Dance,' and the video has had 12 000 hits so far," he exclaims. "So it's going well." V

coming weeks. You can find it at tinyurl. com/ycx6p34 or tinyurl.com/ycvkkdz.

bowski, a close advisor to the last king of Poland. Someday I'll make a pilgrimage over there, photocopy that family heirloom, bring it back to America, and have it translated into English. The task I envision for you in the coming weeks, Capricorn, has a certain resemblance to mine. I think you will have the chance to uncover a wealth of material about where you came from, but it'll take a lot of footwork and reinterpretation.

Thu, Apr 1 (7 pm) Helix Century Casino, $19.95

HOROSCOPE ARIES (Mar 21 – Apr 19)

they nor you are aware of it yet. You're All but one of our planet's mountain also likely to brush up against a tribe or ranges have been mapped: the Gamburt- team you could benefit from knowing sev Mountains, which are buried under more about. That's why I'm counseling you 2.5 miles of ice in Antarctica. Recent ef- to be extra open to meeting people you forts to get a read on this craggy land- don't know. Talk to strangers. Ask your scape, aided by a network of seismic friends to introduce you to their friends. instruments, have revealed some initial And consider the possibility of skipping details about it, including its role in over the customary social formalities forming the East Antarctic Ice so you can reveal some of the Sheet. I recommend that you core truths about who you are regard the Gamburtsevs as an Y right from the start. iconic metaphor in the comOLOG m R T S .co ing months, Aries. They'll be A CANCER (Jun 21 – Jul 22) weekly l@vue freewil an apt symbol for one of your Sci-fi author Neil Gaiman Rob y sometimes invites his readers life's featured themes: the ezsn to get involved in his creative r B discovery and exploration of a massive unknown territory that has process. While working on the story been hidden from view.

"Metamorpho," for example, he Twittered, "Trying to decide if broccoli is funnier than TAURUS (Apr 20 – May 20) kohlrabi in a list of vegetables." When a It's my opinion that everyone has a duty number of fans suggested "rutabaga" into periodically check in with themselves stead, he took their suggestion. (Thanks to to make sure they still are who they say The New Yorker for that report.) I'd like to they are. Over time, there's a tendency for borrow Gaiman's approach, as you're enterall of us to fall into the habit of believ- ing a phase of your astrological cycle when ing our own hype. We get entranced by you'll have maximum power to shape your the persona we project. We're tempted own destiny. So here's my question: What to keep capitalizing on our past accom- accomplishment would you like your horoplishments in ways that lull us into com- scope to say you will complete by May 15? placency and give us unconscious permis- Email me at Truthrooster@gmail.com. sion to stop growing. You, Taurus, are in no worse danger of doing this than any of LEO (Jul 23 – Aug 22) the rest of us. But the coming weeks will From the 9th to the 15th century, the be an excellent time, astrologically speak- Khmer empire thrived in what is now ing, for you to do an intensive check-in.

Cambodia. Its rulers were regarded as deities who had privileges that common folk GEMINI (May 21 – Jun 20) didn't have—as well as special responsiThe odds are higher than usual that you'll bilities. For example, each god-king was exencounter a future soul brother or soul pected, according to custom, to engage in sister in the coming weeks. Potential allies sexual relations with a sacred nine-headed are gravitating toward you, even if neither serpent every single night, whether he was

FREEW

ILL

44 // BACK

in the mood or not. (An actual human being usually served as a proxy for the magic snake.) I suspect you may get an inkling of the god-king's double-edged situation in the coming week, Leo. On the one hand, you're likely to be presented with the possibility of experiencing uncommonly interesting pleasure. On the other hand, there may be an obligatory quality to it—a slightly oppressive pressure that is fully blended with the bliss.

VIRGO (Aug 23 – Sep 22)

According to the oracular priestess at the ancient Greek shrine of Delphi, whom I consulted in my dream last night, your code phrases for the week are "luminous shadow" and "hidden light." That was the gist of her entire message; she didn't provide any more practical clues. But here are some ways I might interpret her prophecy if I were you: what dark place in your life might soon shine forth with a new radiance? Or: what secret beauty is aching to be found? Or: what odd asset have you been concealing for no good reason?

LIBRA (Sep 23 – Oct 22)

In my role as moral sentinel, I strongly urge you not to watch "Telephone," the music video by Lady Gaga and Beyoncé. It epitomizes everything that's crazy-making about our culture: brilliantly executed, gorgeous to behold, and perversely seductive, even though its subject matter is degrading, demoralizing, and devoid of meaning. In my role as a kick-ass educator, however, I encourage you to watch the video at least once. I think you'd benefit from seeing such an explicit embodiment of the crazy-making pressures you'll be wise to avoid exposing yourself to in the

SCORPIO (Oct 23 – Nov 21)

"Most of the time, life does not talk to you," writes Robert T. Kiyosaki in his book Rich Dad, Poor Dad. "It just sort of pushes you around. Each push is life saying, 'Wake up. There's something I want you to learn.'"

Different people respond in different ways, Kiyosaki says. "Some just let life push them around. Others get angry and push back.

But they push back against their boss, or their job, or their husband or wife. They do not know it's life that's pushing." I'm here to tell you, Scorpio, that what he says is particularly apropos for you right now.

And I hope that you will neither allow yourself to get pushed around nor blame the wrong source for the push. Instead, make yourself available to learn the lesson that life's nudging you to pay attention to.

SAGITTARIUS (Nov 22 – Dec 21)

NASA scientist Richard Gross believes that the recent 8.8 earthquake in Chile was so strong that it shifted the planet's axis and shortened the length of the day.

The amounts were relatively small— three inches and 1.26 microseconds—but it was enough to make "the Earth ring like a bell." I predict a somewhat comparable seismic shift for you in the coming weeks.

The main difference is that yours will not be generated by a painful jolt but rather by a breakthrough that's half smart and half lucky.

CAPRICORN (Dec 22 – Jan 19)

In a library in Warsaw, there is a 1000+page memoir written by my great-greatgreat-great grandfather, Leon Dem-

VUEWEEKLY // MAR 25 – MAR 31, 2010

AQUARIUS (Jan 20 – Feb 18)

There's no need for you to get a T-shirt that says, "Oh no, not another learning experience." According to my analysis of the astrological omens, you are not about to have an embarrassing stumble that could in retrospect be euphemistically referred to as a "learning experience." On the contrary, the educational events you'll be communing with will be pretty pleasurable, and will more closely resemble a hop, skip, and a jump than a stumble.

PISCES (Feb 19 – Mar 20)

I'm inclined to prophesize that in the days to come you may be able to read the minds of people whose actions are critical to your success. I also suspect that you will know exactly what to do in order to banish a minor health problem. I'm even tempted to believe that when you gaze into the mirror you will be more intrigued than you've been in a while. Have you ever heard a bird sing a song just for you? Did you ever find a small treasure you assumed was lost forever? Developments like those are in the works. There's only one catch: to get the most out of this grace period, you will have to summon more faith in yourself than you usually do. V

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MAR 25 – MAR 31, 2010 // VUEWEEKLY

BACK // 45

COMMENT >> LBGT

Not invited to the dance Prom a microcosm for the queer struggle in society Our tale starts with The Itawamba Agri- told, they could be thrown out. Sounds like cultural High School prom being sched- a real fun time, doesn't it? uled for April. Constance McMillen, It truly is a terrible story. Constance's went to her vice principal to ask if treatment is unfair and unjust. she could attend with her girlBut why the hell are we so surfriend. He told her no. In Januprised? Do all these folks in ary, she returned to the same such an uproar live in some m ly.co administrator and asked if other North America, one that eweek u v @ tam she could wear a tuxedo. He, has high schools with safe and a r Tama again, said no and told her she inclusive environments created a k l a Gorz would not be allowed in if she for queer students and everyone did, adding "I know it's not a big deal else to enjoy? for a girl to wear a tux but if a guy shows According to studies conducted in the USA up in a dress, I'm not letting a guy in with by the Gay, Lesbian and Straight Education a dress on.”

Network (GLSEN), 90 percent of students It got worse. Constance was informed that report hearing homophobic language at the girls could attend, if they arrived sepa- their school. 87 percent of LGBTQ students rately. They could not hold hands, they could reported being verbally harassed due to not kiss and they could not slow dance. If it their sexual orientation or gender expresmade someone uncomfortable, she was sion. It's easy to look down on Mississippi,

but if we do, we ignore our own problems.

What's odd is how long this fight has been going on. In 1980, a Rhode Island student by the name of Aaron Fricke sued and, rather shockingly for the time, won the right to attend prom with a male companion.

A Utah girl and the ACLU used the Fricke case in 2004 to win the right to dance with her girlfriend at the ceremony. 8 years ago Marc Hall from Oshawa, Ontario sued his school to be allowed to bring his boyfriend to prom. The Durham Catholic School Board argued their right to religious freedom. Hall won, but these kind of costly, tiresome and emotional fights are a burden a teenager could live without.

The ACLU created a Facebook page for Constance that has so far garnered 400 000 fans and her profile has attracted an incredible 300 000 friend requests. An

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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 office@ vueweekly.com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication.

Placement will depend upon available space Seeking visual artists and artisans to display work in Kaleido Festival's Art Market and Gallery, Sept 10-12; E: kaleidoprogram@gmail.com, artsontheave.org Call to all youth artists (12-24). Art show to showcase during National Victims of Crime Awareness Week Apr 19-20; Info: everyvictimmmatters. blogspot.com orfacebook.com/home.php#!/

group.php?gid=315268533543&ref=ts

Models wanted, strong faces needed for photography portrait series. Free photographs b/w, colour given to models. contact@gerryyaum.com, gerryyaum.blogspot.com Pro Coro auditions for 2010-2011: Mar 27, 10am3:30; Mar 29, 5-8pm; Mar 30, 5-8pm. Singers, book audition at thechoir@procoro.ab.ca or 780.420.1247

online campaign was initiated to try to get Ellen Degeneres to host a prom for Constance in Mississippi. Surprisingly, the politically-phobic Ellen of late, the one that's the housewife's gay Oprah, actually heeded the call. Constance was invited on Ellen's show and offered to put on the event, but the girl turned it down, stating all she wanted was the school to allow her and her girlfriend to go to the official one. The clip ended with Ellen presenting a $30k scholarship from Tonic.com, money which had been raised by donors, and informed her that she would be offered a summer internship with them in NYC. Not quite a happy ending yet, but getting there.

Other prom offers came rolling in. A hotel owner in New Orleans offered an inclusive prom to McMillen's school and included paying for their transport. The school turned it down. Instead, an alternate event, which Constance is not invited to, will be held at a furniture store in Tupelo.

High school is just a reflection of the rest of society, all magnified with copious amounts ever. Sorry if I corrupted you with my evil music.

Give glory to God and forgive me Professional metal band is seeking a dedicated guitar and bass player. Please, no cokeheads, etc.

Contact Rob at 780.952.4927 Singer-guitarist available for freelance work. Can double on bass or electronic keyboard. Hundreds of MIDI files if needed. Country, old R&R, have played almost anything but Rap and Metal. No bad habits. Call 780.634.9713

McMullen Gallery seeking proposals for May 2011-Apr 2012. Deadline: Mar 31, 4pm; info: Diana Young Kennedy 780.407.7152; diana.youngkennedy@albertahealthservices.ca Musicalmania! is looking for strong, preferably older, tenor for production at Arden Theatre in Apr. Paid position. 780.460.2937 Influx Jewellery Gallery, 2nd Fl, Art Central; T: 403.266.7527; E: info@influxgallery.com; Deadline: Apr 6 Male swing dancer seeks to practice West Coast Swing. tdickins@ualberta.ca Display/sell work, and/or facilitate an art workshop at the Heart of the City Festival, June 5 & 6. E: rambow.anna@gmail.com Seeking musicians, buskers, dance groups, installation artists to help shape an avant-garde extravaganza during Kaleido Festival, Sept 10-12 E: kaleidoprogram@gmail.com/artsontheave.org

MUSICIANS

Experienced & educated upright bassist w/strong music reading skills for notation/charts available for gigs, recording, studio work. Adept improviser in most genres, specialize in folk, roots, country, bluegrass. Steve 780.718.2269 Alien Shape Shifters looking for an alien singer; experience strongly preferred for rock and beyond. Call 780.995.6660 I, Hart Bachmier, officially end my band Disciples of Power. There will be no more CD's or shows

BACK 246// //FRONT VUEWEEKLY // FEB 19 � 25, 2009VUEWEEKLY // MAR 25 – MAR 31, 2010

Metalcore band seeks serious vocalist and bass player, an open mind, commitment and proper gear (100+ watts) is a must. Contact Aaron at 780.974.8804

of hormones. In this world, where's the surprise that same-sex couples aren't welcome at graduation? Constance can't get married in Mississippi, she can't adopt with her partner, she can't expect equal health care, she can't serve in the military and she isn't protected from harassment. Prom is really kind of a lesser concern.

GLSEN and the ACLU are directing supports to a bill now pending in Congress.

The Student Non-Discrimination Act would prohibit LGBT discrimination in K-12 public schools and leave easier recourse if administration took action like they did against Constance.

For now, a hearing has been set this week between Constance and the school district.

The ACLU suit alleges that her freedom of expression rights have been violated. I hope she wins. I truly am in awe of 18 year old Constance McMillen, stronger than a hell of a lot of gays I know. I just hope we can step-off the left-wing pedestal long enough to really see the real fight, instead of directing our horror at the backwaters. It happens here, too. V

ADVICE >> SEX

It's okay to play Dear Andrea: Dear All: My really sweet and nice new boyfriend Wow, I feel faintly reprimanded for ever is into S&M and I'm not sure I even calling anything "play" which wasn't understand the attraction. I can an organized sport or a dramatic get behind the sensation aspresentation. But then again, I pect (we have fooled around a am kind of immature—it keeps little with it and I get it) but I us young, don't you know—so om have some moral and feminist what do I care? eekly.c w e u v altsex@ objections and he insists that In response to what I expect a e r d An son are your political and feminist it's just a way to play, and it r e Nem doesn't sound like play to me. objections, I think many if not From what I read people seem to most nice, progressive, egalitarian take it pretty seriously. Plus calling it play types such as (I presume) yourself, and also ("pain play" "play-dates" "play partners") myself, initially have this reaction when isn't really convincing me that it's all in presented with S&M iconography and tergood fun. You're going to think this is ridic- minology. Isn't it time to move beyond rigid ulous but honestly all the talk about "play" hierarchies? Doesn't all this black leather sounds immature to me. We are 30 and 33 look a little SS-ish? Would we even have years old! Do we really need to spend our such a concept as "top" and "bottom," let free time "playing?" Convince me. alone "master" and "slave," if we didn't have Love, this wretched history of the strong subAll Play And No Work ... jugating the weak, century after century,

ALT.

SEX

MUSICIANS

WANTED: JAMMERS for open public monthly jam on the 2nd Sun of the month at 9119-128A Ave. Rock, country & old time music. Ph. 780.973.5593, randyglen@JumpUpDj.com

VOLUNTEER

Provocative, unique, innovative volunteers needed for Northern Light Theatre's upcoming events. Ellen Chorley, 780.471.1586; nlt.publicity@telusplanet. net

Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled. scarscare.org CNIB's Friendly Visitor Program needs volunteers to help and be a sighted guide with a friendly voice. If you can help someone with vision loss visit cnib.ca or call 780. 453.8304 Bicycle Mechanic Volunteers for Bissell Centre community homeless or near homeless members on Mon, Wed, Fri, 9am-12pm. Contact Linda 780.423.2285 ext 134

Volunteer at ElderCare Edmonton: help out with day programs with things like crafts, card games and socializing. Call Renée for info at 780.434.4747 Ext 4

The Learning Centre Literacy Association: seeking an artist or arts & crafts person who would be willing to commit 2 hrs weekly to the instruction of their passion to adult literacy learners in the inner city. Denis Lapierre 780.429.0675, dl.learningcentre@shaw.ca

The Nina Haggerty Centre for the Arts: looking for artists to provide mentorship to our artists with developmental disabilities. Share your talents and passion while gaining work experience. Info: Anna at volunteer@ninahaggertyart.ca

Dr.’s Appointment Buddy–Accompany new refugee immigrants to their medical appointments to give support and assist with paperwork. Thu, 10:30am-2:30pm. Transportation not required.

Leslie 780.432.1137, ext 357

Meals on WheelsºNgdmfl]]jk f]]\]\ Lg \]dan]j nutritious meals (vehicle required) Weekdays )(2,-Ye%)he Lg Ykkakl af l`] cal[`]f O]]c\Yqk .Ye Yf\ *he3 k`a^l lae]k Yj] È]paZd] /0(&,*1&*(*(

P.A.L.S. Project Adult Literacy Society needs volunteers to work with adult students in the ESL English as a Second Language Program. Call 780.424.5514; training and materials are provided

Canadian Mental Health Association/Board Recruiting 2009 Learn about our community work: cmha-edmonton.ab.ca

BISSELL CENTRE Community in need of basic daily items, please bring: coffee, sugar, powdered creamer, diapers, baby formula to Bissell Centre East, 10527-96 St, Mon-Fri, 8:30am-4:30pm

culture after culture? Would people born on Planet Liberty and Justice For All ever come up with S&M, and if they wouldn't, should we? And isn't it unhealthy for both genders to have women kneeling at men's feet, or recapitulating scenes which in real life would be examples of brute patriarchy at work (all those abused school girls, corrected parlour maids and so on?) And I say unto you, what makes you think it's always or even usually women doing the kneeling, or that all those parlour maids are female?

And I also point out that in the absence of a Planet Liberty And Justice to use as a control, we have no idea if people would play power games or not in the absence of oppression and inequality.

As for your (implied) definition of maturity: taking responsibility for your actions, not whining, not blaming others for your own mistakes—there are lots of qualities I would ascribe to the mature human.

"Doesn't play" is not one of them. It's true that in the majority of the animal kingdom, the young play as a means of gaining neces-

sary adult skills, and the adults buckle down to mating, hunting, migrating, or what have you. But humans are neotenous—hanging onto aspects of infancy long past physical maturity—and it's entirely possible that our flexibility, creativity and ability to learn and grow as adults is down to that built-in childishness. Mature adults play all the time, anyway, in sports, outdoor adventuring, Civil War reenactment, Burning Man, MMORPGs and so on. None of these activities are necessary to our survival as grown-ups. We just do them for fun. And some of us do similarly with adults-only indoor sports.

Here's where I am honest with you and admit that I find the use of "play" in some sexual contexts a little icky as well. Conversely, I always feel a little nauseated when I encounter "play-silks," which are just a bunch of scarves sold as dress-up for kids but sound so insinuating. I recoil every time I read about those adult kindergarten games events. I also have some trouble with the innocent "play-date" now, as a mom, after years in the perv trenches.

However. These objections are mostly

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esthetic, and mostly my problem. The use of "play-date" for a kids' get-together is not besmirched by the concurrent use of "playdate" for a Saturday night with whips and chains. And there is nothing wrong with any of those non-sexual adult play situations, either, at least not as long as the participants are quite clear that they are not, in reality, Klingons, airship mechanics or Johnny Reb. S&M is an adults-only activity that can recapitulate childhood, and I'm not talking about role-playing childhood abuse or even about all-in-fun age-play, the kind with the very big diapers. I just mean that fullon, unembarrassed, un-self-censored play can put us back in touch with that heady, giddy, utterly transported feeling we had when, at seven, we climbed up that big rock, proclaimed it our castle, or pirate ship, or Wild West stockade, and defended it to the death against the marauding hordes of other seven-year-olds. If you don't want to play, don't, but if you want to do it, don't sweat the semantics.

Love, Andrea

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