Vue Weekly Issue 754 Apr 1 - 7 2010

Page 1

INSIDE

COVER

#754 • Apr 1 – Apr 7, 2010

UP FRONT // 4/ 4 5 7 8 8 8

Vuepoint Media Links ZeitGeist Dyer Straight In the Box Bob the Angry Flower

DISH // 14/ 18 To the Pint

ARTS // 19/ 23 Prairie Artsters

FILM // 25 26 DVD Detective

MUSIC // 30/ 37 Enter Sandor 38 New Sounds 39 Old Sounds 39 Quickspins

BACK // 40

19

The Erotic Anguish of Don Juan is all set to fill the Roxy.

FILM

MUSIC

25

33

40 Free Will Astrology 42 Queermonton 43 Alt.Sex.Column

EVENTS LISTINGS 24 Arts 29 Film 32 Music 41 Events

Werner Herzog adds Nicholas Cage's Bad Lieutenant to his family

Dillinger Escape Plan plans an E-town escape

VUEWEEKLY.COM VUETUBE // MICHELLE BOUDREAU

MUSIC // CLASSICAL SCORE

A look at opera in cartoons FILM // SIDEVUE

Becoming Islama-Bad. Brian Gibson looks at the how music, movies and religion combine for a muddled, politicized picture of Islam ARTS // REVUE

Find reviews of past theatre, dance and visual arts shows online DISH // DISHWEEKLY.CA

Restaurant reviews, features. Searchable and easy to use. dishweekly.ca Live in the Vue studio

2 // UP FRONT

VUEWEEKLY // APR 1 – APR 7, 2010

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Changing Lives • Growing Community

APR 1 – APR 7, 2010 // VUEWEEKLY

UP FRONT // 3

EDITORIAL

7

ZeitGeist

8

Bob the Angry Flower

dian-ness" of the individual communities targeted.

Bryan Birtles // bryan@vueweekly.com

anada's political climate is stuck in a rut of petty, partisan one-upsmanship that cannot be broken until somebody takes some responsibility for this sorry state and shows true leadership. Short term gains in the polls have trumped any clear vision that the three main national parties may have once had, and the frozen nature of political discourse in this country does a disservice to its citizens. It would be naive to think that politics is simply about "helping people" or any other election-ready platitude, but the fact of the matter is that the very machinations of politics in this country have taken a turn towards contempt for the very people it aims to serve. The practice of breaking down communities into micro-constituencies based on race, religion, ethnicity or language—best represented by Immigration Minister Jason Kenney's nickname "minister for curry in a hurry," as well as Liberal leader Michael Ignatieff's recent condemnation of Israeli Apartheid Week in contradiction of an earlier position he took against Israeli policies towards Palestinians—may provide short term gains electorally, but in the long term is a dangerous practice for national unity, and denies the "Cana-

Fomenting ethnic nationalism within Canada—or anywhere for that matter— is a double-edged sword: while getting ethnic blocks of votes—a dubious concept in and of itself—onside at election time may seem like a victory, the weakening of the Canadian state as a whole over time can do nothing but increase ethnic and regional tensions as groups with disparate goals are rewarded for their refusal to work together. Multiculturalism is a good policy for a country populated largely by immigrants, but its success must be seen in terms of how it serves the individual as well as the Canadian state. Canada is not a "community of communities" as former prime minister Joe Clark once posited: instead, Canada is a community of individuals who have differences but have the ability to work together in order to create something bigger than themselves while not losing their individual natures. This country has flirted with ethnic nationalism before and no doubt will continue to as regional inequalities persist, but it is up to the national government to fight against ethnic nationalism instead of encouraging it in order to ensure unity instead of sowing the seeds of conflict. V

Letters

IssuE no. 754 // APR 1 – APR 7, 2010 // Available at over 1400 locations

LEGITIMATE DISSENT

I

will be buying Yves Engler's latest book today ("Canada's Complicity," Mar 25 – Mar 31, 2010). When people look at a child throwing a rock at an army tank (or bulldozer) that is crushing his/her home, and the world backs Israel and the army tank in blaming the child for aggression, then it is time for everyone to come to their senses. For too long, people have been afraid to speak up, because they know they will be automatically branded as anti-semetic, while the far right in Israel practise their relentless policy of apartheid. Stephen Harper has been the most recent, and the worst prime minister, in siding with Israel. Michael

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Alberta social policy

GRASDAL'S VUE

Vuepoint Seeds of conflict C

INSIDE // FRONT

UP FRONT

6

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Ignatief is almost as bad, but that is not a surprise. Ignatief is an apologist for US foreign policy. It is great news that some Canadian university students are speaking out. Thank you for trying to enlighten we sleeping Canadians, Yves Engler. Thank you Vue for supporting legitimate dissent. Ray Comeau

FOND FAREWELL

E

very Thursday, Connie Howard's Vue Weekly column was my first stop; the second was the letters section. ("Farewell, well, well," Mar 25 – Mar 31, 2010) Her columns always generated the most pro-con discussion—a sign that she had no truck with sides. While

some indie-columnists and editors find safety in conforming to the prevailing standards of voguish non-conformity, Howard's Well, Well, Well consistently challenged either orthodoxy or heterodoxy, trend or iconoclasm. Connie Howard possesses an integrity and a commitment to research too seldom seen in today's journalism. Her resignation leaves Vue and its readers poorer. Hopefully she will surface again soon. Stephen T. Berg

SORELY MISSED

E

dmonton's Vue Weekly has lost an honest, in-depth, and informative writer in Connie Howard. She is a class act and her column will be sorely missed! Karri Stokely

DISH DELIGHTS

J

ust a quick note that I've been meaning to write for a time. I enjoy your Dish section immensely with the various writers that have graced the pages. I love Jan Hostyn's writing flair and have tried many of the recipes she has inserted with the articles. Thanks for the enjoyable reads. Linda B.

4 // UP FRONT

VUEWEEKLY // APR 1 – APR 7, 2010

COMMENT >> MEDIA

FRONT // ALBERTA ECONOMY

New economic order Free the Net

ISPs continue to throttle Internet use

Upcoming conference calls for a shift to thinking locally LAURA COLLISON //LAURA@VUEWEEKLY.COM

W

orth Fighting For: Public Solutions and our Common Future is the name of the 2010 Public Interest Alberta conference, and it's a timely theme considering the public sector in Alberta is facing immense cuts to funding. The sector saw nearly 800 jobs cut in February alone, with Service Alberta losing a quarter of its workforce. Though the cuts are aimed at administration, it is difficult to imagine services will not be affected, and Public Interest Alberta is aiming to get citizens talking about those impacts on Albertans and the alternative economic models the government could be looking at. "The Government of Alberta should be investing, rather than cutting the public service," says PIA executive director Bill Moore-Kilgannon. "Investment in these areas improves quality of life for everyone and strengthens the whole community." Alberta has turned to the non-profit sector to deliver many services that were once delivered publicly, and while MooreKilgannon praised the work of non-profits, he doesn't believe they can do the job without proper government support. "If we're going to work with a community-based non-profit model," he says, "it has to be properly resourced and it has to be developed with long-term commitments." Moore-Kilgannon fears that when government fails to provide services and funding, corporations often step in, and he worries that delivering services privately will bring new problems. "The costs are higher and the quality is lower because the priority is on profits, not service delivery," he explains. "This is seen in everything from childcare to long-term care." The move to private delivery is also part of what keynote speaker David Korten, who left the world of Harvard Business to write his book When Corporations Rule the World, will be speaking on. "The basic problem we face is that we have an economic system that is global in scale that is designed to convert living wealth into financial wealth," says Korten. "It does that very well. It is essentially turning life into money to make rich people richer." Korten's new book, Agenda for a New Economy: From Phantom Wealth to Real Wealth, explains how to move to a community-based economy from a corporate one. "What we desperately need is a new economy that is designed to provide adequate and satisfying livelihoods for all people in balanced relationship to Earth's biosphere for generations to come. The two [economic models] have very little in common." Korten says that across North America, wages have not kept pace with inflation and Alberta is no exception. He believes the move to for-profit delivery is yet another cost-of-living increase. "The larger dynamic is so insidious: the economy puts people in a situation

tions. Clearly the guidelines alone are not enough to ensure that Canadians have open access to the Internet.

where their actual costs of keeping body and soul together keep going up while their income from work goes down," says Korten. "Cutting back on public services is also part of this process. Part of the answer is to restore the things we do based on family and community relationships, and the structure of paid work needs to be such that the benefits of market place activity are properly shared among all of those who contribute to that production." When asked how to go about this, Korten points to the importance of the local, calling for rebuilding local economies through supporting local businesses, rebuilding local food-supply and production systems, and through local financial institutions. All things that he says "operate to serve their members and their communities, rather than to extract as much money as possible from the community." He does not believe making these changes has to involve sacrifice. "The changes that we need to make in order to restore the social and environmental health of society are exactly the same changes that are necessary to achieve what most of the world's people would consider to be the ideal way of living." Though it can be easy to feel overwhelmed in the face of the challenges, Korten points to the dramatic historical changes he has seen in his lifetime. While there is still work to be done, he says, "They are powerful shifts in the direction we need to move. The amount of progress within the last 50 or so years, from a historical perspective, is happening with blinding speed." Here in Alberta, PIA's advocacy is attempting to inform citizens and empower them to fight to keep Alberta socially healthy. Join Together Alberta has organized people from across the province to take on the cuts and demand support for public services. The recent formation and success of the Greater Edmonton Alliance has made local food a political issue in this city, and just this past month University of Alberta students stood up and marched against a proposed $550 fee, on top of tuition levels over $5000 a year, which was then cut by 52 percent. In the end, the fight is worth it, says Korten, because it isn't about making sacrifices—it's about living well. "The work that's involved in creating a new economy and a new human civilization calls us to be our most creative and innovative and it puts us in contact with the world's most wonderful people," he says. "And it is a whole lot more fun and satisfying than allowing oneself to sink into the depths of despair and cynicism. I don't know of any more fun or attractive way to live than doing this work." V

Last month, in both the speech from the and services in this country. As Telecom Throne and release of the budget, the Law expert Michael Geist points out, it's government had a perfect opportunity currently "a decidedly mixed bag" in to address Canada’s deficit in Interterms of how ISP's are reacting to net openness or Net neutrality. the CRTC's new guidelines. Four It should have seized this opof the dominant six providers portunity to present an opencontinue to throttle Internet a use, and two of them do not ness agenda. If the Conservamedia.c c ti ra c demo tives are committed to lifting make it easy to find their trafsteve@ Steve foreign ownership rules for fic management disclosures n o the telecommunication industry, despite the CRTC's transparency Anders as mentioned in their speech, why rule. The transparency guideline aren't they first ensuring that Canadicalls for ISPs to make it known how their ans enjoy open access to all the Internet traffic management practices "will affect has to offer from our current providers? a user's Internet experience, including the Seems like they are putting the cart be- specific impact on speeds." fore the horse, or rather the carriers beWhile Bell and Rogers do reveal their fore the users. practices, albeit with a positive spin, Shaw In what many consider a major victory and Cogeco do not reveal the speeds users for the open-media movement, last fall can expect when they are throttled. This is the CRTC developed new traffic-manage- important because when users experience ment guidelines. However, under these artificial slowness, they often just assume new guidelines, the CRTC will not enforce that it is a problem with the website they its own framework and instead, the onus are using. If users have knowledge of the falls on the consumer to file a complaint speeds that are associated with throttling, and prove that an ISP is unjustly throtthen they will be better equipped to know tling the Internet. It is unfair to force conwhen they have fallen victim to throttling. sumers to somehow obtain the technical It also appears that Rogers and Cogeco and policy expertise to make their case fail to limit their throttling activities to effectively before the CRTC, and to also instances of actual congestion, instead out-maneuver some of most powerful opting for constant throttling of certain businesses in the country. applications and the content that runs Unlike the United States and other coun- through them. Such throttling practices tries, several Internet service providers in are unnecessarily damaging to innovators Canada continue to limit access to content and consumers who use these applica-

MEDIA

LINKS

Unfortunately, the government appears to have once again adopted a do-nothing approach. The government's speech from the throne made no attempt to address Canada's Internet openness deficit, despite overwhelming support for Net neutrality from the other major parties along with a clear majority of Canadians. When asked about Net neutrality in the House of Commons last year, Industry Minister Tony Clement said he is "watching those providers very closely" and does not "want to see a situation where consumers are put at risk in terms of their access to the Internet." Clement should be aware that several dominant ISPs are presently limiting access to bittorent applications and the content that runs through them. This limits consumer choice, and stifles innovation and social change. Clement can stop Internet service providers from controlling our use of the Internet by asking the CRTC to conduct regular compliance audits of ISP traffic management practices. This would effectively make Net neutrality a practical reality in Canada. It should be up to users, not ISPs, to decide which applications and services Canadians use on the Internet. V Steve Anderson is the national coordinator of OpenMedia.ca. Reach him at: steve@openmedia.ca, facebooksteve.com, steveontwitter.com, openmedia.ca/SteveAnderson. Media Links is a syndicated column supported by Common Ground, The Tyee, Rabble.ca, and Vue Weekly.

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APR 1 – APR 7, 2010 // VUEWEEKLY

UP FRONT // 5

FRONT // ALBERTA SOCIAL POLICY

Creating jobs

Social prosperity creates strong economy Laura Collison // laura@vueweekly.com

T

he Alberta College of Social Workers (ACSW) has released a social policy framework (SPF), prepared by the Parkland Institute, which reveals growing economic disparity in Alberta. The framework calls on the government to address this disparity and offers several recommendations, including investment in the public sector and stable funding for the non-profit sector. In 2008, Nova Scotia put in place a social prosperity framework due to the province's recognition of the link between social and economic prosperity and the need to plan for both. Lynn Hartwell, executive director of policy and information management of Nova Scotia's Department of Community Services, explained that when Nova Scotia created an economic planning document in 2006, it became clear that a social planning document was necessary. "While the economy can drive investment in social programs, social prosperity is really the basis of a strong economy," Hartwell said. "The model is based on the premise that the more you invest in people, the more people will be able to attach to the work force and their community, and they are going to create more social and economic benefits." Rather than cut funding to public services, Bob Johnson, president of the ACSW, and Diana Gibson, research director at the Parkland Institute, explained that investment in the public sector will improve the quality of life for Albertans and help stabilize the boom and bust economy. In February of this year, Alberta was the only province in Canada to continue to lose a significant amount of jobs—over 14 800. Investment in the public service would be a major step toward reducing this trend. "The best way to create jobs in this recession is direct government spending," said Gibson. "Public sector employment is the best bang for your buck on stimulus because it's money spent today on jobs today in local communities for middle-income workers who are spending locally. The least effective way to create jobs is what we've been doing: handing off [tax revenues] to large corporations and the top income bracket." In many cases, where government has cut services, the non-profit sector has stepped in to fill the gaps. "[Non-profit] organizations are faced with providing a lot of the services that the public service used to provide," explained Johnson. This is problematic because the funding organizations receive has not increased to match the increase in demand for services. Johnson pointed out that employees in the non-profit sector make considerably less than their public sector counterparts. What were once well-paying, secure and often unionized jobs in the public sector are now lower paying, often contract-based and rarely unionized jobs in the non-profit sector. The report calls for stable, non-competitive

6 // UP FRONT

VUEWEEKLY // APR 1 – APR 7, 2010

funding that would allow non-profits to meet service demands and pay their employees a wage comparable to the public sector. The policies proposed would create a broader tax base, reducing Alberta's dependence on oil and gas revenues and stabilizing the economy. Gibson used Norway as an example, explaining that, unlike Alberta, the country has a wide tax base, and oil and gas revenues are not tied to its social spending. This mitigated the effects of the recession and allowed the country to maintain stability in delivering social services. Hartwell is adamant as to the positive effects a social policy framework had on Nova Scotia's economy: "Having more people in the workforce at higher value jobs means they are paying more tax, and if they're paying more tax we're able to get more people in the workforce. You can't have a strong economy without workers and citizens engaged in their communities, and they don't have the ability to do that unless they have jobs and the supports they need." While Nova Scotia's SPF is silent on the method of delivery—whether it is to be done publicly, privately or

Public sector employment is the best bang for your buck on stimulus because it's money spent today on jobs today in local communities for middle-income workers who are spending locally. through nonprofits—it is clear in stating that these services are essential for a strong economy. Implementing the social policy framework proposed by the ACSW would bring many of the same benefits to Alberta. If the recommendations of the SPF are followed, Gibson suggested, "You actually will see businesses grow as a result of more demand created by middle- and low-income families as they have more disposable income." Gibson challenged the pattern of economists saying during good times that cutting taxes for the wealthy creates jobs, then saying during a recession that this strategy doesn't create enough jobs: "If it doesn't create enough jobs in a recession, it doesn't create enough jobs in a boom." She also pointed out that during this recession mainstream economists from the Conference Board of Canada to the International Monetary Fund have advised against stimulus in the form of tax cuts to the wealthy because it does not create enough jobs, stating, "if money is put in the hands of middle- and low-income workers, they're going to spend it today on goods and services that create jobs in local communities." V

COMMENT >> MEDIA AND INTERNET

Overlooking online TV battle fails to account for Internet

After months of intense lobbying and mar- by the CBC to distribute its content). keting that pitted broadcasters ("Local TV Matters") against cable and satellite compa- The reality of how consumers access nies ("Stop the TV Tax"), the Canadian Radiobroadcast content was surely worth contelevision and Telecommunications Comsidering in the context of a broadcast mission weighed in last week with policy that envisions the possibility its much-anticipated broadcasting of blocking US broadcasts of teleregulatory policy decision. vision shows where a Canadian Broadcasters were generally broadcaster has purchased lom viewed as the short-term wincal rights to the program and ekly.co e w e u v ners, since the CRTC opened failed to negotiate a fee with mgeist@ el the door to negotiations on a cable or satellite company. Micha Geist a new fee for local television In other words, if the Canadian signals, subject to a court ruling broadcaster chooses to negotiate confirming the Commission's jurisdiction for a new fee but fails to reach a deal, it to implement such an approach. That left will have the right to mandate blocking some very unhappy—cable and satellite broadcast of programs from both local and companies warned of increased costs, while foreign sources. the CBC lamented that it was a "dark day" That could result in millions of Canadifor public broadcasters after it was exclud- ans regularly encountering blank screens ed from the proposed negotiating process. instead of expected programs. Given the Two perspectives were largely missing increasing expectation of on-demand from the decision, however. The consumer program viewing, the policy would harm impact was left to a second report, re- both broadcasters and broadcast distribuleased the following day, in which the com- tors, sending more Canadians away from mission admitted that prices would go up, broadcast television to the Internet where but maintained Canadians would continue there are no blackout messages and most to pay based on past experience of steady programs are readily available in both legal price increases imposed by cable and satel- and illegal forms. lite companies. That conclusion prompted This may be precisely what the CRTC is a stinging minority report from Commis- counting on, hoping the blackout option is sioner Michel Morin, who argued the CRTC so unpalatable to both parties that it will was defending "the interests of the indus- force them to reach a deal. Consumers try to the detriment of consumers who, for may not be inclined to wait around for this their part, remain powerless." particular fight to be resolved, however. The second missing perspective was the Given that they now spend more time onfailure to account for the emergence of the line than watching television, the programs Internet as a significant delivery channel for are readily available online and US over-thebroadcast content. Indeed, it seemed appro- air digital signals are freely accessible to a priate that on the day the CRTC released its sizable percentage of the Canadian popudecision, a new study was published that lation, basing a broadcast policy that prefound Canadians now spend more time on- sumes consumers will continue to pay escaline than watching television. lating fees and be willing to settle on forced While the world is increasingly moving program scarcity in a world of abundance online, the CRTC decision acted as if the hardly seems like a recipe for success. V Internet scarcely exists. It mentioned the Internet only once, acknowledging that it is a Michael Geist holds the Canada Research platform for content distribution. Moreover, Chair in Internet and E-commerce Law at the the report did not include any references to University of Ottawa, Faculty of Law. He can streaming, YouTube, podcasts, BitTorrent or reached at mgeist@uottawa.ca or online at peer-to-peer (the technology used in 2008 michaelgeist.ca.

ZEIT

GEIST

APR 1 – APR 7, 2010 // VUEWEEKLY

UP FRONT // 7

COMMENT >> HOCKEY

COMMENT >> CATHOLIC CHURCH

Reprieve from reality It's almost over. Let's go through the motions and recap. The Oilers lost 3-2 at Rexall to Anaheim and 2-1 in St. Louis. The road trip continued with an exciting 5-4 loss to Detroit. That loss determined an important thing: the Oilers have officially clinched last place.

some virtual relief. At least with imaginary video hockey, I had some control over winning or losing. So what compelled me to really geek out and go live with a headset? I blame it on Online Team Play (OTP). Ever since I discovered OTP, it's changed how I play m the game. With OTP, you join o .c ly k ewee ox@vu Next stop, World of Warup with other players online intheb a D ve craft? I've taken an irreversible and control just one player in step closer to geekdom. one position, rather than flipping Young What did I do? And how does it from one player to another as you relate to hockey? would in solo games against the comI bought a Bluetooth headset to use puter. There's something infinitely more during EA Sports NHL 10 online hockey enjoyable about knowing you are playing games. I swore I'd never cross that line alongside and against real people, rather and talk to the great unwashed online. It than an AI-assisted computer drone. always struck me as juvenile. After getting used to OTP, I took the next With this season's dismal "real-life" Oiler big step and joined an EASHL (EA Sports experience, I have to admit I often turned Hockey League) team. I quickly discovered Oiler telecasts off and fired up the PS3 for I was the only one without a headset to

IN THE

BOX

communicate with during play. Curiousity took over and I got the Bluetooth and started chatting to the teammates. It was awkward at first, bordering on creepy. But I now appreciate the interaction. If I make a dumb play, I can apologize. If I make a smart/lucky play, I'll hear a compliment. I'm slowly getting to know the guys on the team. I've learned that at least three of the squad are on some form of disability after work injuries (some of them are online ALL THE TIME) and one of the older guys is dealing with chemotherapy. We've got guys from Ontario and here in Alberta. Fragment by fragment, they are becoming real people. They're still virtually strangers but, come online game time, they're my new teammates. Man, the bloody headset is insidious. Embarassing story: the first night I fired up the headset, my stepson yelled out to me from his room, "Who are you talking to?" For some reason, I couldn’t admit to the boy that I was using a PS3 headset, so I told him I was on the phone. V

BOB THE ANGRY FLOWER

8 // UP FRONT

VUEWEEKLY // APR 1 – APR 7, 2010

Render unto Caesar

The Catholic church needs to follow state law The Biblical formula "Render unto Cae- cades now. What did they do about it? sar the things which are Caesar's, and They hushed it up. They swore the unto God the things that are God's" is child victims and their parents to sigenerally taken to mean that people lence, exploiting their loyalty to the should recognise the authority of the Church. They moved the pedophile state in secular matters, but that is not priests to other schools or institutions necessarily what Jesus meant by it. It is where they generally still had contact certainly not the current practice of the with children. And they didn't report Roman Catholic Church, although them to the police. the rule in modern democraNo bishop, cardinal or pope cies is very clear: the law apever went to prison for his plies equally to everyone, part in this massive cover-up even priests. of grave crimes. This is the m o ly.c eweek It's more than two decades really shocking thing about u v @ e gwynn since evidence of widespread this scandal: the sheer cone n n y w G sexual abuse of children by tempt for "secular" law that Dyer permeates the entire Catholic Roman Catholic clergy began to surface in the United States, Canahierarchy. da and Ireland, and still the revelations At a relatively low level you can see continue. A "tsunami" of allegations it in the ignorant remarks of Monsignor of child abuse in Catholic schools and Maurice Dooly, one of Ireland's leading orphanages is spreading from Ireland experts in canon law, who explained to across the rest of Europe, and at the Irish radio last week why priests did not same time the extent of the cover-up is have to report child abuse to the police. becoming clearer. "Priests are not auxiliary policemen," he Even the Pope was involved. For over said. "They do not have an obligation 20 years he headed the Vatican office to go down to the police." But they do: that deals with pedophile priests, but they are Irish citizens, and that is the he did not order them to be reported law in Ireland. to the police because—as a Vatican Even Pope Benedict XVI doesn't get spokesman explained—Church law it. In 2001, when he was still known "does not envisage automatic penalties" as Cardinal Joseph Ratzinger and servfor child abuse. Evidence emerged this week that in 1996 he did not even anThe decision to cover swer letters from two archbishops asking him to take action against a priest up their crimes was who allegedly abused 200 boys in a a greater crime, school for the deaf in Wisconsin. committed by men The priests who abused and raped the whose main concern children were individuals, and such people exist in other walks of life too. But was protecting the the decision to cover up their crimes reputation of the was a greater crime, committed by men large organization whose main concern was protecting the reputation of the large organization which they served, which they served, the Catholic Church. the Catholic Church. They acted as they did because they genuinely believed, and still believe, that the Church is above the law. No other organization makes this claim. Consider, for example, what ing as head of the Congregation for the would have happened if any other large Doctrine of the Faith, he sent a letter organization had discovered that some to Catholic bishops around the world inof its members were exploiting their po- structing them to report all abuse cases sitions and their power to have sexual to his office at the Vatican for confidenrelations with children. tial handling. The organization in question might This was taken by most bishops as be a welfare department, or a boarding meaning that they should not report school, or a long-term care centre for abuse cases to the police. Vatican severely handicapped children; it could sources now claim that that's not what be in the US or Chile or France. It makes Ratzinger really meant by his letter, but no difference: the response would be what else could it mean? He still doesn't the same. understand that bishops and even cardiThe people in charge would imme- nals must obey the laws of the country diately suspend the individual against they live in. whom the accusation has been made, so As a head of state, Pope Benedict XVI that he or she has no further contact is now truly above the law, so he need with children until the matter has been not fear the policeman's knock at the fully investigated. If there was any ac- door. But there are still many priests tual sexual contact, they would imme- who committed horrendous crimes but diately report it to the police, because have been protected by the Church. that is a criminal offence. Not to report There are also a good many bishops it would be a criminal offence on the who should face trial for covering up part of the managers, and they could go those crimes, but it will never happen. to jail for it. A dog-collar is as good as a get-out-ofjail-free card. V Well, a lot of child sexual abuse has been going on in the Catholic Church, Gwynne Dyer is a London-based indeand offences of this sort have been compendent journalist whose articles are ing to the attention of the abusers’ supublished in 45 countries. His column periors on a quite frequent basis for deappears each week in Vue Weekly.

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INSIDE // SNOW ZONE

SNOW ZONE

12

Downhill

RED // THE MOUNTAIN PROJECT

Culture chameleon

Red adapts colour karma from its surroundings to build a legend Baggenstoss, a freeskier and master woodcarver from Switzerland. In 2007, the TMP hosted Baggenstoss as its artist in residence, allowing him to develop his alpine-themed art in an inspiring environment. "I thought it was kind of an inspiration for young people, that you could ski and be completely wild but also have this crazy education—coming out of one of the top woodcarving schools in the world—and blend artistry with the mountain," says Bernthal. "He would do these carvings right at the base every afternoon. He'd ski or do what he had to do and then at one o'clock he'd set up shop." In some ways Baggenstoss' art— carving human expression into a natural canvas—works as a metaphor for the broader project. "The first step was working with what's already here," Bernthal continues. "People are ski touring and using this resort to connect to different mountains, so let's bring that element in so that newcomers can access guiding services." From these organic roots the rest of the project would encompass "everything to do with mountain living," says Bernthal, focusing on using local ingredients and green practices for developing real estate, on-hill commodities, food service and so on, to capitalize on and promote the local South Kootenay culture. "Every resort has this uniqueness," says Bernthal, "and that's what makes skiing fun."

jeremy derksen // jeremy@vueweekly.com

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ed is a place preceded by legend. Its link to the dawn of Western skiing and its reputation for powder and terrain has always been a siren song to the devout. This is a place where the anchors from the first ever chairlift in Western Canada have been left intact on the mountain since 1948. Building on such grand mystique can be an intimidating task, but the ownership group that took over in 2005 had a vision for the storied resort. A chance encounter between Red's owner and Robert "Bernie" Bernthal, a 25-year industry veteran, lit the spark. Several years ago, with partners, they launched The Mountain Project, an ambitious catchall encompassing infrastructure development planning, community engagement and on-hill programming. As names go, few could be more audacious. Mountains are grandiose, awe-inspiring, fatalistic places. They also generate their own ecosystems. And Red, with its friendly but intense local contingent, already had one. Still, the TMP concept—engaging the community in the conceptual development of a ski area—is elegant in a way few resort business or marketing plans are. At a place like Red, community sentiment can quickly polarize if developers are seen as aggressive or disrespectful of the town, its tradition and the cherished local environment. The TMP is about respecting that heritage and engaging key people in shaping new legends. "What turned me on about Red was that it was a place that hadn't been fucked up," says Bernthal. "I got hooked on the raw beauty of Red; it hadn't been exploited and hadn't been turned into a cookie cutter mega-resort. "The owner was going to develop but he needed to do it with a certain style, so that's why we created The Mountain Project. If the resort was going to grow, it had to grow mountain culture with it." If you want to gauge progress on a construction project, you watch the frame take shape and fill out. It's a little harder to measure cultural growth, but with the second annual "Gathering" at the resort on April 2 – 4, 2010, Red will assume its place once again at the centre of ski industry lore for at least one weekend. Bernthal describes the event as a "convergence of mountain cognoscenti." Tucked away on a quiet, secondary BC highway, white roads and foggy skies make the drive to Red seem like a mystical journey to another world. Out of the mist, a road sign appears

IF YOU BUILD IT >> The TMP building is a hangout for backcountry, freestyle and ski enthusiasts to indicate the turnoff to the resort. Around the bend a stately mountain villa—the reception office for Red Mountain Condominiums—looms into view. The resort village is modest by current standards: a few condominium low-rises, a couple wood shacks housing admin and rental ops, a ski-patrol building, a gift shop yurt, parking lot and the main lodge. Towering above it all, Red Mountain is shrouded in cloud and downy blankets of snow tousled like a king-size

bed after a good romp, rock and brush exposed in its folds. The Mountain Project office, a wood cabin with a lopsided, angular roof, is but a speck beneath its imposing host and namesake. Inside, though, it's warm and bright. A large stone oven sits central in the building, radiating heat out to the various spaces. The reception area includes a guide desk where locals or visitors can rent out touring gear (beacons, shovels, probes), sign up for courses or get

APR 1 – APR 7, 2010 // VUEWEEKLY

// Jeremy Derksen

conditions reports. Behind the front desk, flat-screen TVs project educational videos and shred flicks into a larger room filled with couches, wooden picnic tables and assorted chairs that, depending on the day, might be a hangout for local freestyle kids, a launch pad for touring skiers or a classroom space for an avalanche skills training course. In one corner, a man's thick-featured face emerges from a four-foot tall pine trunk. This is one of the works of Lars

Yet to date, the project has yet to accumulate substantial mass. For that, Bernthal expresses some disappointment. "Times have been really tough the last couple years. We created this unbelievable entity but the problem is the economy didn't allow us to just spend and invest." Red communications manager Mika Hakkola says that is going to change. Sitting in Rafters Lounge surrounded by black and white images of Red's early days—the first ski lift on opening day in 1948, an Ol' Bastards Ski Club snapshot collage and portraits of a teenage Nancy Greene—he says that growing the TMP is one of his top priorities. While it's taken some time to take root, he acknowledges, part of the intent was for the project to evolve naturally. Hakkola uses various metaphors for the TMP concept, likening it to both a truck stop and mom's home cooking. He believes the emphasis of the project should be to instill a sense of comfort, inspiration and cultural exchange. That's The Gathering, in a nutshell. First launched as an informal gathering CONTINUED ON PAGE 10 >>

SNOW ZONE // 9

ALPINE >> NEWS Heil at Marmot Rockin' in the Sun This Saturday, April 3, Olympic med- Sunshine Village, Rockstar Energy Drinks alist Jenn Heil will be on the slopes and several other sponsors have teamed of Marmot Basin. Enthusiastic fans up for a local music talent search. This and guests are welcome to visit contest has been running for sevJenn at the mid-mountain eral months now and there's Paradise Chalet for autostill time to enter because the graphs. Afterwards you deadline has been pushed to can even join her when she April 12. m ekly.co vuewe goes for a run. Music must be 100 perhart@ Marmot basin has sponcent original and suitable Hart k sored Jenn for several years for all ages. Submissions Golbec now and it's always exciting can be in either video or auwhen she drops by to share her dio formats but entrants must be many accomplishments with family residents of Alberta. If you meet all of and friends. I doubt we'll see her flip- the criteria then get to it and enter at ping through the air, but a few good rockstar.skibanff.com. hard bumps would be nice. Once you've sent your music it's time The sweet conditions at Marmot to rally all of your friends, because this Basin are another reason you may talent show is a bit like American Idol want to head up this weekend. Re- where the voting public and an indepencent snowfalls have really added to dent panel select the winner. The winan already amazing base and condi- ners get a chance to play a show at Suntions look like they'll hold up fabu- shine Village during the Strawberry Jam lously right through to closing day, 2010 party weekends and walk away April 25. with great prizes like four Nokia 6790

FALL

LINES

Surge phones, hoodies and enough soda to keep you hydrated for a year. As well you can expect to hear your music in Sunshine promotional videos and the Shine Guide video report for the 2010 – 11 season. Lake Louise Reunion Have you ever worked at Lake Louise? The Lake Louise Ski Area is hosting a big reunion weekend bash April 16 – 18. If you want to meet some old friends and relive some good times, give them a call and book your tickets. This weekend includes an optional dual slalom race, torchlight parade, live music by the Dudes in the Kokanee Kabin and a huge "Local and Legends" Reunion Party in the Lodge of the Ten Peaks. Tickets for the party, including a Sunday buffet breakfast, are only $40. Transportation to and from Lake Louise hotels is available and lift tickets are greatly reduced for this three-day event. Call 403.522.3555 for more information and to book your tickets. V

THE MOUNTAIN PROJECT << CONTINUED FROM PAGE 9

in March 2009, this year's event retains the largely loose structure of its predecessor. While drawing some of the biggest names in ski culture, including early Verbier legends, Powder Magazine photographers, and videographers, freeskiers, guides and adventurers from across North America and the world, the weekend has, according to Bernthal, "no real fixed agenda aside from three nights of slideshows, movies and music." Tying it all together is a slideshow forum hosted by several generations of Powder Magazine's best photographers. However, like many music enthusiasts are aware from the festival circuit, the real highlights are often in the workshops and collaborative sessions held away from the main spotlight. All day long, says Bernthal, everybody skis and hangs out together, stopping by impromptu parties at the various on-hill lodges—some predating the resort—tucked in different nooks and crannies throughout the resort, where participants can rub shoulders or philosophize with likeminded skiers and adventurers with no distinction between the elite and the everyday skier. The only criterion for participation is to share a passion for mountain culture. Of course, it could hardly be any other way. Passion has always been the deciding factor at Red. It's like a scent that only other initiates can smell. It's instantaneous and it creates sudden and permanent bonds. It can get you invited to a party within minutes of making an introduction. Before you know it, you're in the inner circle and all of a sudden a mountain that seemed big and intimidating becomes intimate and inviting. If the The Mountain Project can capture—and keep—that essence, its work will be done. V

ON THE WEB redresort.com themtnproject.com

10 // SNOW ZONE

VUEWEEKLY // APR 1 – APR 7, 2010

SLED // HIGHMARKING

The highmark mindset Why do sledders risk it all for alpine glory? KIRK ZEMBAL // KIRK@vueweekly.com

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t goes down like this. The first guy will wander around on his $10 000 snowmobile and come up on a nasty, scary, long, steep face or hill. He will shut down his sled at the base of it and stop for a break. Soon, the whole group will arrive at the bottom, eyeing the virgin snow loaded up on the impossibly steep slope. Maybe they'll stop and think about avalanches and run-off areas, maybe not. The more veteran riders will be worried about the trees and rocks off to the sides or what's over the top. The rookies will be worried about everything. There will be a couple riders who won't be worried about anything. It will be one of these latter riders who'll make the first run. Maybe he is young or dumb enough, brave enough or with something to prove, or maybe he quite simply has the money to buy a new sled if he destroys the one he's on. He'll yank his powerful two-stroke engine over and line himself up. The next part is easy: full throttle. He starts climbing, quite literally hanging on for dear life. A more experienced rider will think about turning out, to attempt a 180 to head back down. But not the first guy up. No, he'll climb and climb for the crowd at the bottom. And then he'll get stuck. He'll slide off and survey the situation. He already knows the prognosis but he'll make a few half-hearted attempts at digging himself out. Maybe on a less steep slope somebody could sled up and give him a hand, but not this one. He'll succeed in turning the machine perpendicular to the fall line and then do the only thing he really can do. He'll climb to the high side, put both feet on it and push with all his might. And down the sled will come; fast, rider-less and rolling; hopefully with the hood securely latched; not end over end and not into a tree. This is the game of highmarking. When people talk about sledding in the mountains, this is what they are talking about. It's exciting, loud, fast, dangerous and scary. In British Columbia it goes on in places like Valemount, Revelstoke, Golden, McBride and the small town of Blue River. Places that get a lot of snow and the people who follow that snow.

Often they fight over the same bowls. "There's this one area that Wiegele calls 'Bucket of Paradise'," Robin explains, "but I call it 'Pucker of Paradise' because of the chute that (sledders) have to drop into to get in there." This graphic allusion to the human anatomy is not far off—especially when referring to the downhill portion of mountain snowmobiling. Sleds have brakes, but it's like braking a vehicle without anti-lock brakes. If you hammer the brake lever the track will lock and you will skid. And skid-

Today, you can. There is absolutely no question that the reason increasing and alarming numbers of sledders are getting caught in avalanches is that, now, they can access those dangerous slopes. Fifteen years ago an engine that churned out some 80-horsepower mated to a 3/4-inch-lugged track that was 136-inches long was a top of the line mountain machine. Now? Try 160 horsepower turning a track that is 162 inches long with 2 1/4-inch lugs. These machines are powerful. They can climb and climb and climb. They can

Fifteen years ago an engine that churned out some 80-horsepower mated to a 3/4-inchlugged track that was 136-inches long was a top of the line mountain machine. Now? Try 160 horsepower turning a track that is 162 inches long with 2 1/4-inch lugs. ding when you are heading down a 60-degree slope is bad. This might not have been an issue a decade ago: in those days dropping into chutes like that would have led to a $1000 bill for a helicopter to come rescue your machine—because you wouldn't have been able to get back out.

take you into areas that you shouldn't be in. They can leave you stuck in the most unfortunate places. They pollute and can spook migrating caribou. They can throw you off cliffs, over rocks and into trees. They can break your bones and break down. They can scare the ever-loving life out of you. But, dammit, are they ever fun. V

I'm staying at the Holy Smoke Inn where proprietors Robin and Patti run lodging out of a converted church and Blue Jewel Snowmobile Tours across the street. An entrepreneurial couple, they're about as local as one can get in a town where the population of 150 doubles to 300 in the winter. Some of that increase services the snowmobile crowd, but many work out at what the locals call "Wiegele World." That is to say, Mike Wiegele's main heli-skiing operation. It's a big operation with a big impact on the town and on the tourist sledders. It attracts farflung skiers drawn to the same snow and peaks that draw the snowmobiles.

APR 1 – APR 7, 2010 // VUEWEEKLY

SNOW ZONE // 11

ICE SKATING // DOWNHILL

Blades of gore-y

Downhill ice race carves its niche, names world champions BRYEN DUNN // BRYEN@vueweekly.com

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here's something mystical that happens when a half-kilometre long ice slope is constructed in the middle of an urban centre, and individuals race downward in an attempt to win it all. This is the premise behind the Red Bull Crashed Ice competition that has been taking place annually for the past nine years in Europe and North America, over a total of 14 competitions. The backdrop of this year's North American challenge was once again down the Côte de la Montagne in Quebec City, with the historic Chateau Frontenac as the starting point and the

St Lawrence River below as the finish line. There were 64 men and 16 women who began the run and only one from each category would end up the champion. 2010 marked the first ever world championships, meaning that out of the 19 national teams the individual with the greatest combined points from both the European and North American races would be crowned the overall champion. This year an estimated 120 000 spectators took in the action, not only provided by the racers but by full-on joie de vivre in the streets as well. There was a new "Fan Zone" section where people could purchase a ticket to chill at the finish line amongst 3000 others in an enclosed licensed area with several

12 // SNOW ZONE

large live-action screens, and a performance by Vancouver's Hot Hot Heat. The track runs 554 metres in length with a 60-metre vertical. The first hurdle was a barrel jump, after which speeds of up to 60 km/hr were sometimes reached while navigating a barrage of tightly woven twists and turns being cheered and jeered along the way, as AC/DC's "Highway to Hell" echoed "no stop signs, speed limits" throughout the city. The majority of the racers are hockey players who look at this as an opportunity to break down barriers of the traditional flat ice surface, bending both genres and blades. While there was some jostling for position along the way, most is done in

VUEWEEKLY // APR 1 – APR 7, 2010

good sport. Creating history, Martin Niefnecker of Germany earned the title as the first-ever world champion. He humbly stated, "It's a very big honour to be the first world champion." While finishing second in Quebec, his combined point total from his first place victory in Munich earned him this prestigious honour. Toronto brothers Kyle and Scott Croxall took in first and third spots respectively. Reigning female champion Kerri Muir of Calgary took home first for the second year in a row. She stated, "I'm so happy, but I don't know how I did it. I feel like I blacked out and somehow just stayed on my feet." Second and third place were taken

by Megan Vermillon and Kailee Ryan, both from Alberta as well. The momentum around this sport is certainly building, and some racers have become recognized names, such as six-time champion Jasper Felder from Sweden, along with Alberta's Kevin Olson and Gabriel Andre. The race ended around 10:30 pm but the revelry continued as people made their way to one of the after parties held at bars along the adrenaline-pumped Rue Grande Allée. V

ON THE WEB redbullcrashedice.com

APR 1 – APR 7, 2010 // VUEWEEKLY

SNOW ZONE // 13

INSIDE // DISH

DISH

Online at vueweekly.com >>DISH

18

Restaurant Reviews

To the Pint

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

REVUE // IRIE FOODS CARIBBEAN CUISINE

Spice island

Caribbean food is just the thing to chase away winter's remnants Maria Kotovych // maria@vueweekly.com

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inter is over, and the days are slowly getting longer. As the city emerges from its cocoon, a taste of the Caribbean may be just the thing to kick spring into high gear. Irie Foods Caribbean Cuisine on Whyte, with its colourful sign, beckons me to enter. It's a weekday and my friends and I are meeting here for lunch. As I wait for the others to arrive, the pleasant server brings me a menu and takes my drink order—I order a Caribbean pop ($2.75), and select the pineapple flavour. I'm not usually a pop-drinker, but I'm willing to give this particular one a try. The server brings the bottle and a glass, and I pour the neon-yellow liquid onto ice—not unexpectedly, it's less fizzy and sweet than the brown pops that we frequently see, so this one is preferable. I look at the décor as my lunch companions slowly trickle in. Everything is spotless and minimalist—while a few Caribbean-themed pictures cover the walls, simplicity seems to be the key here. The background music ranges from actual Caribbean tunes to bland Top-40 stuff, although it settles on Caribbean beats for the majority of the meal. When my first lunch guest arrives, he and I decide to start with appetizers. I order the fried broccoli ($8), which sounds good, while my friend orders

ISLAND TIME >> Irie Foods' jerk chicken the beef patties ($3 for two) and a Johnny Cake ($0.75). The appetizers arrive, and we dig in. The beef patties' crust are soft and flaky, and a nice counterpart to the spicy beef within. The fried broccoli is a real win—the top of the vegetable is covered in a brown crust, and the

14 // DISH

// Renee Poirier

entire thing combines sweet, salty and vegetable flavour for a mouthful of fun. Yes, fried broccoli might seem like a paradox—oh, well. My second lunch guest arrives, and we all order entrées, which come with a serving of either a salad or the soup of

VUEWEEKLY // APR 1 – APR 7, 2010

the day, today's being chicken-squash. I order the ackee and saltfish ($18), which also comes with Johnny Cakes. My first companion orders jerk chicken with rice ($16), while my second orders curried goat ($16)—which comes with a boiled banana—and a pineapple-ginger

juice to drink ($3.50). My first companion orders the salad while my second and I both opt for the soup The soup arrives, and I'm happy to take some in. While it tastes a bit CONTINUED ON PAGE 16 >>

PROFILE // CAROL'S QUALITY SWEETS

A better egg hunt

This year, kick Easter up a notch with Carol Logan's help

YOU'LL NEED PLENTY OF HIDING SPOTS >> Carol Logan of Carol's Quality Sweets with some serious candy JAN HOSTYN // JAN@vueweekly.com

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o ahead, eat chocolate. It's good for you. That's coming from someone who should know: Carol Logan, owner of Carol's Quality Sweets. "Women need their chocolate," laughs Logan. "It releases all those wonderful endorphins and chemicals that keep our bodies balanced." There is a caveat, of course; it has to be good-quality chocolate, not the waxy, additive-laden stuff you pick up at the corner store. But that's what Carol's is all about—really good chocolate. The tempting little shop only sells the best, most of which is made in-house. And what isn't made there comes from either Europe or England. "A lot of commercial chocolate is cut with either palm or coconut oil. Ours isn't. The fat in our chocolate comes purely from cocoa butter, and cocoa butter is actually heart smart. It comes from a plant, after all ... " Logan's shop is impressive, carrying what she believes is the largest selection of candy and chocolate in Edmonton. Walk in and watch your head spin. Glass jars line the walls and are filled with every sweet thing imaginable, from gummies to soap candy to chicken bones, and over 75 different kinds of licorice. A stand stretching to the ceiling bursts with colourful, oversized lollipops, and near the back of the store you'll discover a selection of exclusively European chocolate bars and packaged candy. There's more: unique sprinkles

for decorating, tempting flavours of fudge and a whole section dedicated to the store's massive selection of jawbreakers. Another corner is dedicated to sugarfree delights, and a variety of candy sticks have their very own little section. And right now, because it's almost Easter, the front window looks like a virtual bunny habitat, brimming with every type of chocolate bunny imaginable—as well as a few other cute and fluffy creatures—and intricate, handdecorated chocolate Easter eggs. Perhaps the most impressive part of Carol's sits regally behind the glass counters. That's where you'll find all the chocolates the sweet shop so painstakingly makes, and has been making for 30 years. There are 20 kinds of truffles,

// Jan Hostyn

10 kinds of Belgian chocolates and a variety of chocolate and nut clusters. These are no ordinary chocolates. "You always hear people talk about how good the chocolates in Belgium are," explains Logan. "But as long as you have the same ingredients here, you can create chocolates that are just as amazing. That's what we do." The ingredients Logan uses include pure Belgian chocolate and real cream. No artificial flavourings or preservatives are thrown into the mix. "We use only natural flavours, and they all come from Europe. I won't tell you what I use; it's my secret. But I've been using the same things for the past 19 years." Logan describes herself as a traditionalist and says the shop makes the same CONTINUED ON PAGE 16 >>

RECIPE Chocolate Bird Nests 2 cups coating compound chocolate (white, milk or dark, all available at Carol's Quality Sweets) 1 cup of Rice Krispies Jelly Beans Melt the chocolate using a double boiler. First, boil your water in the bottom of the double boiler. Remove that from the stove and put the top of the double boiler on top of it. Dump in a 1/2 cup of the chocolate. Once it has melted, add the next 1/2 cup of chocolate. Continue

until all the chocolate is melted. Add 1 cup of Rice Krispies and stir it all up. Place a sheet of wax paper on a cookie tray. Drop spoonfuls of the chocolate mixture onto the wax paper and gently form the chocolate mounds into nests. The nests can be big or small, whatever you'd like. Add 3 or more jelly beans to each nest. Put the nests in the fridge to cool for 5 minutes. Store at room temperature. You can also use coconut (or any other crunchy ingredient you enjoy) instead of the Rice Krispies. V

APR 1 – APR 7, 2010 // VUEWEEKLY

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CAROL'S QUALITY SWEETS << CONTINUED FROM PAGE 15

chocolates it has always made. "We don't do the chili pepper thing. For us, it's about traditional flavours. I don't have to convince you that you'll like it; you already know you will. "Our most popular flavour is chocolate, but the lemon is amazing; it's just like eating lemon meringue pie." Aside from the chocolates, Carol's also offers homemade marshmallows. And divine peanut brittle—crafted by her husband, Grant—that isn't impossibly thick. "[He] pours it just thin enough that you get just the right crunch when you bite into it." The chocolates, the marshmallows, the peanut brittle—everything is truly handmade. "We make it and then we sell it, so it's always fresh. It's a continuous process." It's also a very labour-intensive one. The truffles are a good example of exactly how much work goes into making the chocolates. Each and every truffle is hand-scaled, hand-rolled and handdipped. Then each one is put into a little paper cup and, finally, they are boxed. And, because they are all done by hand, each one is a little bit unique. "No, they're not perfectly shaped," smiles Logan. "Sometimes they have

IRIE FOODS CARIBBEAN CUISINE << CONTINUED FROM PAGE 14

watered-down, I must say the chickensquash combo works well. When the salad arrives, I observe the collection of colours on the table: the neon soda, the green salad and the orange soup. Visually, it's all very tantalizing. When the meals arrive, they continue to please me. The ackee in my dish, like a buttery mango, smoothly slides down into my stomach, while the pieces of salted cod offset the fruit's delicate taste. The Johnny Cakes, with their thick, sweet batter, work well as a side to this entrÊe. My companions had been pre-warned that I'd be raiding their plates—for professional inquiry, of course. The spicy

little chocolate tails on them. That's what handmade chocolates are like." You won't find any big, fancy machines in Carol's production facility; everything is made in small batches with the same equipment that you'll find in your own kitchen. "We use a stove and pots," explains Logan. "When you make large batches, it changes the texture and the consistency of everything." Logan is the one who started making chocolates—over 30 years ago now— but over the years it turned into a family affair. Now both she and Grant are skilled in the art of chocolate making, and both have taken an advanced Callebaut chocolate-making course in Belgium. But it's now he who crafts all the chocolates. "I'm just the smile," laughs Logan. She confesses that she still loves the sweet stuff, even after 30 years. But she says that's not the best part of her little family business. "People come in and find candy they haven't seen since they were kids. They're so excited, saying, 'Remember this? Remember that?' "I like to say we sell memories—happy memories." V Carol Logan Carol's Quality Sweets 12519 - 102 Ave, 780.433.8650

jerk chicken kicks my mouth the way jerk chicken should, and the gentler goat curry doesn't disappoint, either. The boiled banana, covered in a thick batter, also offers a pleasing paradox of chewy exterior and delicate interior. By this time, a banana pop ($2.75) has been ordered, introducing another fluorescent shade to the table. The taste of this pop is stronger than that of the pineapple, though. With no room left for dessert, we leave pleased. And I've discovered how I like my broccoli best: fried. V Mon – Wed (11 am – 9 pm); Thu – Sat (11 am – 11 pm); Sun (12 pm – 5 pm) Irie Foods Caribbean Cuisine 10152A - 82 Ave 780.757.2022

Japanese | Vietnamese |Restaurant & Bar

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16 // DISH

VUEWEEKLY // APR 1 – APR 7, 2010

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APR 1 – APR 7, 2010 // VUEWEEKLY

DISH // 17

BEER

Distinct society

When it comes to craft brews, Montréal is definitely different "Quebec is different." These words, which I heard many times, rolled around my brain on the flight back home after a whirlwind few days exploring Montréal and its thriving beer scene. I have been to some of Canada's best beer cities like Vancouver, Halifax and Toronto, but this, my first trip to Montréal, convinced me there is something true in that statement. In Montréal, there was not only an impressive diversity of beer, there was a clearly a different ethos and energy. I left for Montréal armed ly.com with a few facts and a long eweek int@vu tothep wish list. I knew that MonJason tréal had more brewpubs Foster than any other city in Canada with 11 citywide. I knew it was home to some of the most respected craft brewers in the world. And I knew they had a reputation for creative, exacting, uncompromising craft beers. What I didn't know was how original MORE SAMPLES >> Montréal's beer scene has plenty of variety // Jason Foster and exhilarating it would be to immerse myself in their culture. which has a cult following like few brewavoided. Others offer some of the best There are four ways to get delicious eries are ever to have. beer I have tasted in my travels. The secbeer in Montréal; craft breweries, brewBeer bars, which pride themselves on ond thing is the better brewpubs have pubs, beer bars and beer stores. Everylarge selections of beer, are unknown found a way to build niches for themone knows that in Quebec you can buy here, but common in Montréal. I tried selves; they each have a style and charbeer and wine at any corner convenience out a few, but far and away the best acter of their own, so the beer at each is store. Big deal. Who needs Molson Ca- beer bar in Montréal is Vices et Versa. unlike the one down the block. nadian on every corner? However, there Thirty-two tap lines and every single Clearly some places are cashing in on are more than a handful of stores comone a Quebec microbrew—not even Montréal's reputation. Their beer is mitted to providing a more noteworthy Unibroue or McAuslan (two quality, midflavourless, flawed or even contamiselection. Interestingly, imports are hard sized Montréal breweries) are allowed. nated, but they count on tourists not to find. Instead these stores choose It carried a dizzying array of styles, reknowing better. But fear not, there to highlight Quebec brewers, offering gions, brewers and palates. Plus the bar are plenty of high quality pubs to hit whole walls of Quebec micros (because rotates on a regular basis, meaning it to satiate your good-beer needs. My there are 75 or so, they can do that). is possible to go there daily and never first beer stop in Montréal was lunch I stumbled into one such store to find a drink the same beer twice. Now that is at Benelux, near the arts centre. Relasurprise. I knew this blink-and-you-miss- beer heaven. And—luckily for interlop- tively young—open only four years— it convenience store on a nondescript ers such as myself—you can order trays it is housed in the corner of a cold, street had almost 500 beers in stock. of 125 ml samples to help you work your institutional highrise. Once inside, What I didn't know is that Super Marche way through the list more quickly. however, things warm up significantly. Rahman, not unlike our own Sherbrooke The beers are creative and adventurLiquor, also carries its own beer line Then there are the brewpubs. I didn't ous; brown ales aged in oak, double called Paradisiac. This store is among make it to all, but I got a good samIPAs brewed with Saison yeasts and a handful of stores where you can find pling. The first thing you need to know bold interpretations of all the pale ale even the rarest of Quebec beers, includ- is that they are not created equal: some styles. The beer highlights include the ing the recently demised Bieropholie, are clearly substandard and need to be stout (Marge), the Belgian IPA (Congo)

TO TH

E

PINT

18 // DISH

VUEWEEKLY // APR 1 – APR 7, 2010

and the oak-aged brown (Armada). L'Amere a Boire offers a very different, but equally pleasurable experience. This 14-year-old pub has an upscale décor amidst a downtown neighbourhood. It specializes in Czech and German lagers. Co-owner Rene Guindon says, "We want to respect the traditional styles and make beer that is as authentic as possible, that is balanced and easy to drink." The whole line was well made, but my favourites were the Czech Pilsner (Cerena Hora), the Dortmunder (Vollbier) and the Drak (a hoppy Vienna-style). Other mainstays worth visiting are Brutopia, Cheval Blanc and Reservoir. I also hear Brouepub Brouehaha is excellent, even though I couldn't make it. And Dieu du Ciel is a compulsory visit, but I will talk about them more in my next column, when I look at Montréal's craft breweries. V Jason Foster is the creator of onbeer.org, a website devoted to news and views on beer from the prairies and beyond.

INSIDE // ARTS

ARTS

Glass Menagerie

20 21

Annie Mae's Movement

23

Prairie Artsters

Online at vueweekly.com >>ARTS

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

COVER // THE EROTIC ANGUISH OF DON JUAN

The world's greatest lover

The Old Trout Puppet Workshop's Don Juan seeks to seduce the lusty man thinks of his women as literally objects—it's not the easiest task in the world to lust after an inanimate object, as Lang has discovered. "It's quite a challenge to have your focal point not be your fellow actor on stage, but the puppet the actor is holding. You have to express your fascination, your undying love, your lust, if you will, to this inanimate object. But one that has the power to be live if imbued with care from the puppeteer and from my point of view," Lang says. "You have to bring that mask or puppet to life and react to it and play with it, tease it, be tactile with it. Pick a cantaloupe, and OK, how can you bring it to life and pay it respect and turn it into something else. The cantaloupe isn't a perfect image, but it's not that far off the mark." The flip-side to this challenge, though, is the freedom that puppets grant you. Not only can you get decidedly more risqué without shocking people out of the experience when you're presenting puppets in flagrante

David Berry // david@vueweekly.com

D

uval Lang seems to get almost a little giddy when he starts to talk about what attracted him to playing Don Juan, the infamous 17th century libertine who is the predictable centre of the Old Trout Puppet Workshop's latest, The Erotic Anguish of Don Juan. Getting a chance to advertise your manhood with a comically proportioned copper codpiece can do that to a man. "There's some beautiful babes in the audience that he tries to put the make on. That appeals, the interaction with the audience, and to get to be kind of a randy, desperate sexaholic is a unique role," Lang explains with a note of glee over the phone from a hotel in Whitehorse, where the puppet play is continuing a tour that also took it to the Cultural Olympiad in Vancouver. "I got very excited about doing that. It kind of fits in with, not my personality, but my willingness and eagerness to do something and go all out, without any reservations. "Plus the fact he's got this enormous, copper codpiece, or schlong, that is front and centre and his penance for screwing about with the ladies," he adds, chuckling. "Just wearing that and prancing around the stage looked like a delight, and it has been." Lang actually had the rare benefit of getting to see how much fun it would be before taking it on himself. Don Juan actually got its first life a year ago, a co-production between the Old Trouts and Alberta Theatre Projects (their second, after the equally successful Pinocchio). When the original actor couldn't make the current incarnation, Lang jumped at the chance to play the ghost of the notorious lothario, who's given a brief respite from his cell in Hell to present to the audience a play about his life. The purpose, or so he tells his demonic captors, is to show the people the errors of his ways, prove that a life of wanton desire and sexual encounters that number in the thousands is the wrong path. But damned if his old habits don't get the best of them: his lapses into erotic revery are numerous, barely corrected by the watchful Devil, and before the play is over he'll be encouraging the audience to experience the rapture of a transcendental, holy orgy. It is not your typical puppet show, but then the Old Trouts rarely engage in anything of the sort. Their last show to come through town, Famous Puppet Death Scenes (which also showed at the Roxy), was a kind of sweetly macabre, funnily philosophical take on dying, and their other work has brought a similarly wry and canny take on

That scene also seems to sum up a lot of the charm of Old Trout's puppet shows, as well. There is, of course, the visual panache and the dry but sharp humour, but the puppets are also imbued with more than just life: as the "big subjects" imply, the Trouts often have something insightful and poignant to say, and Don Juan, codpiece and all, is no different. Amid his lusting, there is a genuinely conflicted character, one with the convictions of a man who's been told how to act. He is fighting with himself, certainly in an off-kilter, humorous way, but within this we get some interesting questions not only about the proper way to live, but also about the proper way to love. Those questions are embodied by Don Juan, who is equal parts rapscallion and honestly anguished man, and how you see him will more likely be based on your own prejudices than anything the play is trying to tell you. "He is a bit of a rascal. He kind of manipulates even Biblical phrases. When Jesus preaches about unconditional

In terms of Don Juan, he's more interested in lusting after what he really can't get his hands on all the time, that's always moving away from him, and there's a sort of perfect imagery of a man desperate for flesh.

DON JUAN >> Having an allergic reaction life (The Unlikely Birth of Istvan), the Franklin Expedition (The Ice King) and Old English epics (Beowulf), to name a few. Beyond the codpiece, it is this rigour, as evident in the writing as it is in the expansive and expressive sets and puppets they build, that most appeals to Lang. "They don't shy away from taking on large themes, and they wanted to do a play about love. Several of the Trouts had differing opinons on love and fidelity and being in monogamous relationships or not," Lang explains.

// Supplied

"They needed a good lightning rod to stir this debate up and, well, shit, Don Juan would be the guy." That doesn't mean, of course, that working with puppets doesn't present its own unique set of challenges. The Erotic Anguish of Don Juan is somewhat unique in that it puts a live actor into the mix of puppets, a little flesh in among the wood and wires. While it makes our conflicted Don Juan a notch more relatable—to say nothing of working as a nice metaphor for how

APR 1 – APR 7, 2010 // VUEWEEKLY

delecto, as Lang points out, it also allows for more visually imaginative and metaphorically potent scenes than when it's just a randy guy chasing after a buxom lady. "It gives you great liberty to do things on stage that people would be shocked with if there were live actors," Lang explains with another soft laugh. "And you can laugh at it, but still get sucked into it, like, 'Oh my God, this is depraved,' but there's enough distance here that I can enjoy it, and laugh at it, and be here for the next image that will come along. And that's kind of the magic of puppetry: it gets you to buy into the concepts, it draws you in, but there's a bit of safety valve. "But where it gets really freaky and funny and we can have a tremendous amount of liberty is in another section, where there's a Dali-esque collection of body parts—legs and arms and a butt and boobs—and they all come together with three different puppeteers, and I have to interact with all these body parts," he continues. "In terms of Don Juan, he's more interested in lusting after what he really can't get his hands on all the time, that's always moving away from him, and there's a sort of perfect imagery of a man desperate for flesh."

love, he takes that and twists that into his own sensibilities, and changes the spelling of 'lust' to 'love,' and then justifies his actions as best for all of us. If we all followed his free-love practices, the whole world would be better," offers Lang as an explanation for the man and his supposed goal. "But the thing about Don Juan is, at least in my sense, sure he's randy and he's not satisfied with one individual, but when he's with that one individual, my God, he will guarantee that all the love that he has will be focused on that one woman, exclusively, 100 percent if not more. He will guarantee that kind of satisfaction and commitment just for that one night—don't expect him to show up for the next night. "Is he a rogue," asks Lang, "is he a freedom-love fighter, or just a twisted, dirty old man?" V Thu, Apr 1 – Sun, Apr 18 (8 pm; 2 pm Sun matinee) The Erotic Anguish of Don Juan Created by Peter Balkwill, Mercedes Bátiz-Benét, Pityu Kenderes, Judd Palmer, Vanessa Porteous Starring Duval Lang, Pityu Kenderes, Don Brinsmead, Anne Lalancette Roxy Theatre (10708 - 124 St), $23 – $55

ARTS // 19

PREVUE // THE GLASS MENAGERIE

Crystal clear Part of Tennessee Williams' own life is on display in The Glass Menagerie Bryan Saunders // bryansaunders@vueweekly.com

T

ennessee Williams' play The Glass Menagerie has been produced by countless companies and explored from innumerable angles in the process. Despite this fact, there remains to this day an unanswered question in actor Shaun Smyth's mind: who is it exactly that his character, Tom, is speaking to? "I've thought of lots of different things: Is it his own internal voice? Or, is he speaking to a shrink? Are these people witnesses? Maybe he's talking to a jury ... " Smyth lists idea after idea. In the end, he settles on something of a philosophical answer. "I mean, I guess you can insert any one of these scenarios at any given time if it helps

you connect to the audience, you know?" Still, all of this hasn't made the constant interaction that his character has with the audience any easier, Smyth notes. "It's been an interesting thing to work with because usually, as an actor, you have the mask of a character or a costume. You know the audience is there—they're responding to the play—but you don't normally have to look them in the eye. "With this play, it's kind of like you sit down, cross your legs, and say to the audience, 'Hey! How's it going? Here's the story I want to tell you,'" he laughs. The story of The Glass Menagerie, for the uninitiated, follows the life of Tom, a young man left to look after both his mother and young sister (their father has

20 // ARTS

long ago abandoned them). Tom works at a warehouse to try and support his family, but what he really yearns to do is to travel the world and become a writer.

sister in real life. Smyth points out that it's perhaps this autobiographical element to the play that makes it so honest and so relevant

Everyone has got regrets about how they treated people that they love. Of course, to act on this, Tom would have to follow in his father's footsteps and abandon the family himself. The plot, as it happens, is somewhat autobiographical: Tennessee Williams' name—before he became a writer—was actually Thomas Williams. And, as Tom's sister in the play, Laura, suffers from mental illness, so too did Rose, Williams'

VUEWEEKLY // APR 1 – APR 7, 2010

to audiences even today, decades after it was originally written. "Everyone has got regrets about how they treated people that they love. In Tennessee Williams' case, his sister ended up being lobotomized without his knowledge. And she was changed by that—she was never the same person again. And he never got to say goodbye

to her," Smyth explains. "So it's a play, but it's also an apology. It's like he's asking for forgiveness from his sister—particularly for having left her. Even though he got the life that he wanted, he can't really move forward until he finds some sort of gets redemption or resolution from his sister. And I think that's why this play happens: it's a process of redemption." V Until Sun, Apr 18 The Glass Menagerie Directed by Tom Wood Written by Tennessee Williams Starring Fiona Reid and Shaun Smyth Citadel Theatre (9828 - 101A Ave) $40 – $75

REVUE // ANNIE MAE'S MOVEMENT

Political woes

Presentational issues trip up Annie Mae's Movement Paul Blinov // paul@vueweekly.com

N

o-frills political theatre is a rarity around town, and it's heartening to see that a true story like Annie Mae's Movement can find a stage—a fairly prominent mainstage at that—to go up on in Edmonton. Maybe it's an indication that the idea of politics on stage is starting to have some pull with theatre audiences, or at least that local artists are willing to engage with meatier, chargedup ideas. This particular story certainly contains its share of red brisket: Anna Mae Pictou Aquash was murdered in the 1970s, yet only after the turn of the millennium did anyone involved with her killing see a courthouse, or jail time. One of them still hasn't. It's too easy, as she herself says off the top of Movement, to "disappear" people like her. Not much has changed: the issues she faced in the '70s are still issues today, so something needs to alter instead of continuing to get pushed into the corners and cupboards of our minds, out of sight and unacted upon. We need to be challenged, not just at rallies, but on stages by our entertainment until there's a general shift in thinking, not just in the already-politically motivated population, but also in the more passive people. When they start to care, real change can begin.

stead of spilling it out into the audience. Such onstage spaciousness makes it hard to connect with the actors, both of whom seem compelling enough: Renaltta Arluk's quite a physical performer, with little gestures and movements peppering her performance as Annie Mae, and Chris Cound shoulders all of the supporting roles well. His portrayal of the Rugaru spirit is fascinating to watch, but he really gets a moment of gravitas when one of his human characters reveals his own political agenda, and it gives insight into just how the government saw the American Indian Movement. Also, the passionate ending the play builds to does manage to generate some momentum and tug on some heartstrings, largely thanks again to the onstage pair. But many of the quieter

moments lack weight. To its credit, the script never gets overly preachy, or lets Annie Mae wallow against the odds she's facing. The male characters shrug off her suggestions, but she just gives more, and her spirit, more than anything, is on display here. But Annie Mae's Movement never really transcends the stage here to capitalize on its own potency. V Sat, Apr 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

STOP AND LISTEN >> Renaltta Arluk plays activist Annie Mae

// Ed Ellis

Here, we follow Annie Mae's growing involvement with the American Indian Movement, her struggles to deal with being away from her family and dealing with the movement's inner corruption. There are a lot of interesting polticial charges lying around, but hindered by some clunkier issues; the simple-and-pretty but depth-heavy set poses a strange issue for Movement. It seems a bit cavernous and empty for this two-hander filled with little moments; the script is a series of discussions, really, and there isn't much in the way of physical action, which makes the large space seem to swallow up energy in-

APR 1 – APR 7, 2010 // VUEWEEKLY

ARTS // 21

VISUAL ART // WRITER-IN-RESIDENCE

PREVUE // WESTERN CANADA FASHION WEEK

Let's get talking

What's in a name?

Latitude 53 aims to open a dialogue PAUL BLINOV // PAUL@VUEWEEKLY.COM

C

arolyn Jervis wants to talk about art. With you. With anyone who's willing, actually. Latitude 53's inaugural writerin-residence plans to spend her tenure increasing the dialogue the city has with its visual arts scene. "I think it's a more complicated issue than sometimes we realize," she explains. "It's more than just arts reviews; I think a lot of time in Edmonton, we have some art writing that ends up being promotion— which is great, it's important to get the word out—and then we have some other things that end up feeling really, really negative. And I think there's a place in between that needs to be met, where we're able to look at things critically and say, 'Well, this is important, and whether or not I like it I can understand its value,' or also, look at something and really expect more, because I think there are so many great people in this community that there are things that we can reach for." The writer-in-residence position—officially beginning in April, though Jervis has already put up an initial, introductory post on the blog—will have her writing three posts a month about visual arts in the city, which she hopes will help get people talking about art in a constructive manner. Encouraging dialogue, she notes,

22 // ARTS

Edmonton's Fashion Week reboots under a larger moniker

is a running theme throughout her usual work curating various shows around the city; the most recent being the Post Secretlike Love Letters to Feminism, which will be presented in Montréal next month. Jervis doesn't want her blog to be a "little soapbox," however. At least not her own. Ideally, she's looking to see other voices added to her own online. "I want people to engage with [art] and be active participants, and not just feel like they have to be passive viewers," she notes. "At the beginning of this, I’m more interested in asking the questions of this than finding a really solid answer. And I think that I’m really looking forward to talking to people. I would really love if someone booked a time to go see art with me. I want to talk to people about these issues; I don't want this to be my little soapbox. I'm really interested in engaging people, and not just the dialogue being my own, but encouraging dialogue between people." After all, she notes, the only way the art scene will grow is if more people get talking and talking critically about it. "I think the whole idea of a community is that we're there to support each other, but we're also there to push." V Follow Carolyn Jervis' blog posts at blog.latitude53.org/writer.

CAROLINE GAULT // CAROLINE@VUEWEEKLY.COM

E

dmonton Fashion Week is back— but this time under a new, much more appropriate name. Western Canada Fashion Week, as it is now called, is playing host to a broad (and expanding) repertoire of Canadian designers—from Vancouver to Edmonton to Toronto. Showcasing upwards of 40 designers and an onslaught of local salons, hairstylists and makeup artists, the celebrations are sure to be a rich and colorful demonstration of the Canadian arts scene. Despite falling on Easter Weekend, WCFW director Sandra Sing Fernandes hopes for a good turnout at the fashion festivities. "It was a hard decision, because we need eight days in a venue, so we sort of fell right on this Easter Weekend, which is positive for some kids because they have the time off, but there's certain nights where different religious groups won't be able to be there," explains Fernandes. "Fashion week is about the arts, and, as you know, the arts always cross all of these racial borders. It's for everybody. So hopefully each one of the groups that is not [celebrating] on one particular night will come out. We're really hoping that we

VUEWEEKLY // APR 1 – APR 7, 2010

NICE REBOOTS >> Edmonton Fashion Week has a new name have a good turnout. We really need the support this time, because it's a big turning point for us." Along with WCFW's new name and image, the turning point Fernandes speaks of has something to do with the juicy, 88 pages of glossy editorial content WCFW's Phabrik magazine has produced, launched to coincide with this season's fashion week. Phabrik had its debut at the Art Gallery of Alberta earlier in March and Fernandes says the response to the magazine has been "incredible." With two more issues set for release this year, Phabrik has al-

// Supplied

ready garnered interest from a Chicago PR firm that works with Vogue. In line with Fernandes' ultimate goal of providing a pedestal for local designers, WCFW has been working year-round in an array of areas, and the organizers are sorely lacking a little shut-eye because of it. "Oh my goodness, it's 24/7," says Fernandes. "It's pretty crazy, because we are probably the only full-circle fashion week in the world. What we're trying to do CONTINUED ON PAGE 23 >>

WESTERN CANADA FASHION WEEK << CONTINUED FROM PAGE 22

is not only provide the designers a place to show, but a place to sell. We do the sample sale on-site, we do a sample sale after fashion week ... and we work on other showcases throughout the season. Whether it's the Fringe or the Works, we're constantly out there involved in the community and sort of cross promoting with different art festivals. We've been going non-stop. Everybody is exhausted and we haven't even started our week. But we are so excited." Amongst Edmonton's own design-

ers, New York-based designer Michael Kaye and leading-Toronto designer Joeffer Caoc are showing their lines, and viewers can also find Canada's Next Top Model runner-up Linsay Willier walking the runways. Bringing a little glitz and homegrown glamour to E-town over the last six years, Western Canada Fashion Week is certainly making a name for itself. V Thu, Apr 1 – Thu, Apr 8 Western Canada Fashion Week See edmontonfashionweek.com for full schedule TransAlta Arts Barn, $18 – $85

PRAIRIE ARTSTERS >> EDGY WOMEN FESTIVAL

Festival? What festival?

Compartmentalizing art makes it difficult to decide what goes in what showcase Spending last week in Montréal for the shade of artistic engagement. 17th edition of The Edgy Women Festival, I return home to Edmonton with the Audience development is always of insame question two years in a row: would terest, and always a learning curve when Festival City be open to this type it comes to interdisciplinary work. of festival, and how would The audiences that packed Tanthe works be viewed and gente Theatre in Montréal were contextualized? Last year's a real cross-section of the popfestival favourite Jess Dobulation that could have just as m o .c ly ek vuewe kin returned with her first easily shown up to any art galamy@ full-length piece, "Everything lery, concert or just gone out to Amy I've Got," and speaking as both dinner. There was no framework Fung a critic and organizer who has that the festival was politically and been trying to bring this piece into formally aligning to queer that feminist town, I remain at a loss as to which of our performance works, though was a recurcity's array of festivals her work could ring theme that was neither a given nor a possibly fit in to. It's not just that the per- surprise. This was mostly about a chance formance may be radically queer, which to see more women on stage, and though would align it to new kid on the block, maybe the politics have been taken for Exposure: Edmonton's Queer Arts and granted, they also don't need to be reCulture Festival, or that the work needs peated reassuringly into the marketing to be understood as performance art, strategies—the programming should say which would fit into Visualeyez: Canada's it all. One of the resulting gems of lining Annual Performance Art Festival; or that up mixed nights is that no one art form it needs to be formally staged as a the- can purport to be marginalized, as there atre piece exploring the physical vulner- is a false hierarchy between disciplines abilities of the human body, which would such as theatre, dance, music, film and maybe fit into The Expanse Movement performance art that many artists have Arts Festival. unfortunately lived up to. Dobkin's works, like many contempoArt has been said to be a state of enrary works that are of interest, do not fall counter, one that I read as mutually afneatly or even hardly into any single ar- fecting both artist/performer and auditistic category—and nor should they. The ence in an almost chemical way that is question I am asking is this: if the most also visceral and mental, emotional and innovative works continue to exist out- spiritual. I believe this, and so I wonder side of our predetermined themes, how why we continue to group our intakes of will we ever make room for this type of art into such discrete compartments?. work to be shown here in predetermined While pedantic, disciplines are imporFestival City? tant for distinguishing formal concerns Shannon Cochrane, who founded and and progress, though there has always continues to curate Toronto's 7a-11d In- been constant and vibrant overlap beternational Festival of Performance Art tween the disciplines throughout history gave an exemplary performance of a that push each form to grow and remain work that could exist in various worlds, relevant. Once a discipline has been from white cube-galleries to site-specific named, we as artists, audience and meto black box theatre. Cochrane's work dia need to remember that disciplines are is deeply methodical in its acknowledg- not fixed, but fluid concepts that should ment of its own art history, with a fo- be open for questioning. V cus on intent and transparency. When following performances by old school Reviews from Edgy Women can be found circus theatre and aggressive contempo- on edgywomen.ca rary dance from France, Cochrane was not contextualized nor constrained un- Amy Fung is the author of der a single lens, but existed as another Prairie Artsters.com

IE PRASITRERS

ART

APR 1 – APR 7, 2010 // VUEWEEKLY

ARTS // 23

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VUEWEEKLY // APR 1 – APR 7, 2010

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24 ARTS 2 ////ARTS VUEWEEKLY // FEB 19 � 25, 2009

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INSIDE // FILM

FILM

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Last Train Home

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DVD Detective

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Until The Light Takes Us

Online at vueweekly.com >> FILM

Becoming Islama-Bad

by Brian Gibson Brian Gibson looks at the how music, movies and religion combine for a muddled, politicized picture of Islam

DVD PREVUE // BAD LIEUTENANT: PORT OF CALL: NEW ORLEANS

Karma police

Werner Herzog adds Nicholas Cage's Bad Lieutenant to his family of characters Josef Braun // josef@vueweekly.com

C

all it a twisted little demonstration of the vagaries of karma. Corrupt cop saves guy from drowning and gets saddled with chronic, agonizing back pain for his efforts. Cop is celebrated as a hero while descending deeper into corruption, gambling, gobbling narcotics swiped from the property room, cutting deals with crooks and generally harassing, threatening and soliciting sexual favours from civilians. Plus, he's a total showoff. But then, just when it seems things can't get any worse, that he'll never crawl out of the pit he's dug for himself, everything starts to go his way. Enemies are eliminated. Creditors become pals. Problems disappear. His previously flailing football team even wins a game. We're left with the possibility that he may be reformed, though it's difficult to tell. He remains prone to hallucinatory visions of nature, and the lure of chemical therapy never quite dissipates. Who is Terence McDonagh? He's played by Nicolas Cage, so we already know not to make presumptions. He's the titular antihero of The Bad Lieutenant: Port of Call: New Orleans, which suggests that this sordid tale we're watching unfold is just one of many pit stops along some longer road to perdition. Of course it also suggests the movie's somehow related to Abel Ferrara's cult classic Bad Lieutenant (1992), though connections are limited to their both featuring lieutenants, and the lieutenants are really bad. Perhaps it's most useful to regard Terry as, above all, a Werner Herzog protagonist, a terminally marginal male, enigmatic, ecstatic, tainted with hubris, capable of violence, witness to revelations or mirages, a tormented refugee from the dark wilderness of the subconscious. Of course, this is also a cop movie, with a lot of perfectly corny generic cop movie shenanigans. The weirdest thing about The Bad Lieutenant: Port of Call: New Orleans, even weirder than its absurdly double-coloned mouthful of a title, is that Herzog, author of Aguirre: Wrath of God (1972), Stroszek (1977), Fitzcarradlo (1982) and, more recently, Grizzly Man (2005) and Encounters at the End of the World (2007), directed it at all. Yet the result is a deliciously improbable success, a shotgun marriage of off-Hollywood exploitation and Herzog's eccentric, romantic, doom-laden outsider art. It's also the marriage of Herzog and Cage, who gives one of his most captivating and imaginative performances, steeped in gleeful pathology, seemingly seized by some invisible force that compels him to do things like terrorize a little old lady in a wheelchair with an oxygen tank. He waits for her hidden

GOOD ONE, BAD LIEUTENANT >> Nicholas Cage plays the antihero behind a door, shaving. Herzog and Cage introduced the movie to a very excited capacity crowd at the Ryerson Theatre during last fall's Toronto International Film Festival, where both The Bad Lieutenant and Herzog's My Son, My Son, What Have Ye Done had their Canadian premiere. Cage played it cool while Herzog played the showman, a position to which he's naturally suited. In that unmistakable Bavarian accent, Herzog merrily boasted about how "Herzog delivers the goods!" He explained how he instructed Cage to "turn the pig loose," and Cage dutifully complied. Is Cage the new Klaus Kinski? Is Eva Mendes, who plays Terry's call-girl girlfriend, the new Eva Mattes? Such comparisons do injustice to either party, but it's clear that this new, increasingly almostmultiplex-friendly Herzog has found a fresh and reliable muse for his lessons in darkness, an actor who also just happens to be one of the biggest box office draws in the world. When offered time with Herzog I was thrilled, even though the interview would only run about 25 minutes and would be a roundtable rather than oneon-one. This meant that I'd be sharing Herzog with a handful of other writers, including some who appeared shy of legal driving age and a kindly older lady who had a tendency to interject with questions that had nothing to do with the topic at hand. Herzog was utterly

// Supplied

charming, irreverent, frequently hilarious, playfully aggressive and occasionally evasive. It made for a surprisingly funny group discussion. The first young woman to ask Herzog about The Bad Lieutenant got the ball rolling with an ill-advised question the director eagerly pounced upon. I think he made her a little nervous. "How did you make this remake your own?" she asks. "Explain remake," Herzog counters, his eyes narrow, fixed dead on his subject. His body is motionless. "What is the remake?" "Well it was already ... 'cause, I mean ... " "Explain it." "'Cause, uh ... " "You are the one who is challenged now." "'Cause it's based on a film by Abel Ferrara." "No it is not. Explain that. How is it based on a film by Abel Ferrara?" "'Cause it basically follows a similar ... It's based on a screenplay that was ... " "It is not. What is similar there?" "OK ... yeah ... nothing." "So why do you call it a remake? Why use the term? Because it's floating around somewhere." "OK, I'll ask another question ... " Herzog smiles and sits back and gestures for everyone to relax. "It was just a title that was owned by the producers," he explains. "They hoped to open

APR 1 – APR 7, 2010 // VUEWEEKLY

some sort of franchise. That is the only connection." I get my first chance to pose a question. I try something I'd never normally use as an opener, but the clock's ticking. "I was thinking that the protagonists in both Bad Lieutenant and My Son, My Son, like many of your protagonists, are men who commit terrible transgressions yet are seized by unnerving visions of the natural world. I wonder if you see these visions as somehow being redeeming qualities in these characters, or if these visions are what drew you to these stories." "I don't think in such abstract terms," Herzog replies. "There was a good story in both cases. I didn't really make much choice. The film projects that I do always come like burglars at night. Like a home invasion! I just get them out. It is legitimate that you ask a question like that, but there are much simpler reasons why I do it. Bad Lieutenant, a wonderful opportunity to work with Nicolas Cage. We kept an eye on each other for three decades. It never occurred to either of us that we should work together, and then, almost at the same moment, we thought this was an outrage. We started to try to find out about each other. I stumbled onto this screenplay and that same day I got a call from Australia from Nicolas Cage and within less than 60 seconds we were in business." "Do you feel any personal connection with these characters?"

"I only know that both are welcome new members to my family of characters. They're comfortably seated at the table. Your question is certainly correct even if I don't spontaneously connect to the way of thinking." Another writer asks about Cage, in what way was his performance a revelation? "It's not a revelation," says Herzog. "I just pushed him to his limits. Just by my standing next to the camera and lingering there, he knew he had to go for it. He knew this was not a Boy Scout field trip! But I'm not one who tortures his actors like Kubrick would have done with 120 takes, completely senseless. I shoot two, three times and then it's over." The kindly older lady interjects. "Woody Allen likes one or two shots. He likes to go home at five, he says." "Well, he's a lazy bum," says Herzog. "I'm not finishing my days early because I want to go home by five. I finish it because I know this is the best we could have done." A young fellow asks about William Finkelstein's script for Bad Lieutenant, noting how much it seems like Herzog's work, especially the iguana sequences, and lines like "Do fish dream?" "That's all mine," admits Herzog. "And the entire beginning. I said to Billy Finkelstein that the beginning is boring. In his original screenplay the bad lieutenant rescues someone who is suicidal and jumps on the tracks of an incoming subway train. So what? I said we have to start it completely vile and debased and evil from the first moment, so I invented the flooded prison tract and they're betting over how quickly the forgotten prisoner is going to drown. Also, I wanted to have more substance to the relationship between the young woman and the bad lieutenant, so I wrote the scene with the pirate treasure and the sterling spoon he gives to her as if he were handing over his whole childhood dreams. And of course the iguana and dancing souls, that's all mine. But it was a very nice collaboration. I liked Billy so much I gave him a part as a gangster. He's the one whose soul is dancing, with the pink jacket." "That's a very impressive performance," I mention. "Yes," agrees Herzog. "I make everyone good." Everyone laughs. V For an extended version of this interview, go to vueweekly.com/herzog Available on DVD Apr 6 The Bad Lieutenant: Port of Call: New Orleans Directed by Werner Herzog Written by William M. Finkelstein Starring Nicholas Cage, Eva Mendes

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FILM // LAST TRAIN HOME

Mend the gap

Last Train Home documents a family's attempts to reunite Wjfx!uif nfov!bu uifbsufsz/db

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Jonathan Busch // jonathan@vueweekly.com

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Chinese family, split between a village and the parents' factory jobs in the city, attempts to reunite during the New Year's celebration, the busiest human migration in the world. Lixin Fan's much buzzed-about documentary Last Train Home portrays private struggles against a globally informative backdrop of socio-economic forces, evident in the lives of countless migrant workers as they each make this trek. "The story shows this big migration that is a very unique phenomenon that happens in China," Fan says in describing the prominent issue of the film, "The country is raising from an agricultural past to an industrial future with this great ambition to become the next great superpower. Thirty years of the country's opening up to the world since the economic reform took place. It lured

millions of the labour force to uproot from the countryside to find work in the coastal areas, where thousands upon thousands of factories have been built." The film sees the Zhang family coming together after 16 years, the parents having left their children to live with grandparents and attend school with hopes that by providing them with an education the children will not have to face that same decision. Their reunion is unsettling, as they try to reconnect in the short period of their visit. It is clear that this scenario is an accepted way of life, with a number of silent hardships underlying their exchange of affections. Due to these severe incomebased pressures, the parents do not know their kids as well as they would like to. "After 16 years, their girl grows up to be a young woman and decides to join the second generation of migrant workers," Fan reports of a sudden turn of events in Last Train Home. "That breaks the parent's hearts, because all the sacrifices they had

been making were to keep her in school so that she would have a better future in the city. They try very hard to persuade their daughter to return home." Hence, a mixed bag of issues emerges in the film, where the personal experience of the daughter's new life in the city and her parents' forceful bid to change her mind reveal some difficult and hostile moments. It becomes no longer as much a mere snapshot of one family amongst millions, and instead an individual affair. Last Train Home separates itself from a kind of news reporting by discreetly witnessing its subjects in the separate incident of their own lives. This storytelling effect is also largely due to the film's powerful visual content, where each frame is utilized esthetically to incorporate a number of sensuously perceived elements. The opposing land and CONTINUED ON PAGE 29 >>

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DVD DETECTIVE >> BIGGER THAN LIFE

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Unsteady Eddy

Bigger than Life shows one man's turn from patient to cruel Ed Avery must have come from somewhere reer. Coming after Rebel Without a Cause other than the anonymous suburb where he (1955), it represents the zenith of Ray's exnow lives with his wife and son and teaches plorations in both Technicolor and Cinemasgrade school. He has that mid-Atlantic accope, resulting in expressionistic flourishes cent. He once played football, but of red and orange against a genernow wears bowties. He seems paally muted palate and framing tient with students and friendly that gradually forces the walls with colleagues, but might we of the Avery home to seemom ingly close in on its inhabitants. detect a tone of condescension eekly.c w e u v in his voice? There's a tension dvddetective@ Based on a New Yorker article between his emblematic midby Berton Roueché, to which Josef dle-class Americaness and these the script, written by Cyril Hume Braun hints of Otherness. and Richard Maibaum, with uncredEd moonlights as a taxi dispatcher. ited contributions by Clifford Odets, is He's overworked, and maybe that's why surprisingly faithful, Bigger Than Life also the shooting pains he's been suffering get represents the height of Ray's profound worse until Ed finally collapses, is taken to interest in social problems. The critique of hospital, and following a series of uncompost-war consumerism threaded through fortable tests is told he has a rare inflamthis vivid and continuously unnerving film mation of the arteries which kills those is overt without being chastising: when Ed's afflicted within a year. His only recourse workmate mentions she's having car trouis to take cortisone, a new wonderdrug. ble, Ed immediately suggests she just get a The drug indeed makes Ed feel wonderful, new one; when Ed arrives home from work optimistic, charged with new life. But this the first thing his son Richie does is ask if Ed new life rapidly descends into nightmare. brought him anything; when Ed leaves hosEd becomes moody, flamboyantly arrogant pital, despite increasing worry over medical and short-tempered, cruel to his wife and bills, the first thing he does is take his wife unreasonably demanding with his boy. The Lou out to a fancy dress shop where he Avery home becomes a house under siege. bullies her into elaborate gowns they can But here's the thing about Bigger Than neither afford nor have any practical use Life (1956): I never really believe that Ed's for. Spending money seems the only way behaviour is the fault of the cortisone. for Ed to express his feelings of anguish and Helpless as he is to the threat of pain and exhilaration. That is, until he re-directs his death—that force that always ultimately energies toward an oppressively disciplinarproves to be bigger than life—Ed's pecuian, reactionary vision of pedagogy, which liar rampage feels like the release of some then builds to quasi-religious delusions of long-repressed attitude toward the rest of grandeur. During the film's climax Lou tries the world. Ed the eager-to-assimilate outto remind Ed of God's fundamental forgivesider, perhaps more than his indigenous ness. "God was wrong," Ed tells her. peers, has bought fully into the American Dream, and it may have simply been a matPart of what makes Bigger Than Life so ter of time before it made him crazy. persuasive are its finely tuned performancBigger Than Life, now available from the es. The inspired casting of James Mason, Criterion Collection, is among the finest also the film's producer, provides Ed with achievements of director Nicholas Ray's calayers of neurosis that a more obviously

DVCD TIVE

DETE

26 // FILM

VUEWEEKLY // APR 1 – APR 7, 2010

"average joe" type would never yield. During parent-teacher night Ed holds court, declaring childhood "a congenital disease, and the purpose of education is to cure it." Such audacious outbursts are delivered with a subtly bizarre mixture of conviction and childish provocation, with Mason looking at once oddly oblivious and surveying the room to gauge reactions. At other times Mason's pain and confusion seems chillingly acute, such as in the scene that finds him staring into a fractured mirror after having driven the immensely patient Lou to exasperation. Barbara Rush provides Lou with a heart-rending, if frustrating, inner-conflict between whether to coddle or berate her husband. She's often in a state of terror, desperately calculating how to best pacify Ed. There's also sturdy support from Walter Matthau as the bachelor phys-ed teacher whose relative youth and physical strength threaten Ed. (In one of the disc's best supplements, author Jonathan Lethem makes a case for the Matthau character's hidden homosexuality. Lethem also goes on a very amusing tangent about the pompadour created by James Mason's shadow.) The performances help imbue Bigger Than Life with the balance of identification and strangeness, of urgency and ambiguity, that Ray seemed to be nurturing on every level. The film wears the vestiges of a Douglas Sirk-style melodrama, yet it at times feels like pitch-black comedy, and with its expressionistic shadows and claustrophobic interiors, it comes to resemble a horror movie, complete with a finale in which the monster hasn't died but rather seems to be sleeping, waiting. The desperation with which Ed clutches his family in those last moments is genuinely touching. I truly believe his need and his fear and even his love. It's just that his clutching could so easily erupt into a stranglehold. V

FILM // UNTIL THE LIGHT TAKES US

Illuminating the darkness Until the Light Takes Us lets black metal tell its own story Paul Blinov // paul@vueweekly.com

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ublic perception of black metal has always been more about Satanism and church burning than any kind of musical output. Which is not wholly inaccurate; what was really a tiny, isolated musical scene in Norway became dwarfed by the less-musical, more-volatile actions—the aforementioned church burnings, murder— taken by some of its members which spawned copycats and a demonic public perception that's remained mostly unchanged since the early '90s, overshadowing anything else about the scene. Media coverage that focused on the big, shocking-but-surface-level stories hasn't helped. That's just not the whole truth, though it's the one usually reported. Until the Light Takes Us, then, is both a firsthand overview of the genre, letting black metal's heyday players tell their own story, and a media reboot of sorts, looking past the headlines, to peer at the actual process that led to them. Closely sticking to the accounts of two early, influential scene members, Varg Vikernes, and Gylve "Fenriz" Nagell, with a few other voices added in, it starts at the beginning and presents black metal as it is and was.

Part of the documentary's success is in its style: filmmakers Aaron Aites and Audrey Ewell reserve their own judgements and simply point the camera on their subjects, letting them speak without adding an outsider's viewpoint or an explanatory voice-over. It doesn't skim over the messy parts or excuse its subjects either, which lends a creepy edge of insight into the rationale behind the crimes—the nonchalance with which Vikernes, incarcerated with Norway's maximum prison sentence for murder, relates how the killing happened makes it come across more like an anecdote shared between friends, with little laughs here and there about the little details, than an account of murder. It's chilling, sometimes gory, and always captivating stuff. Vue recently spoke over the phone with filmmakers Aaron Aites and Audrey Ewell to talk black metal, building trust and the perils of filming in prison. Vue Weekly: What first interested you in making a documentary about black metal? Aaron Aites: We were into black metal. It can just be put simply as we were looking for a movie about it, and we just wanted to watch it, and there wasn't one. We're filmmakers, and eventually we just decided to go ahead and make

it ourselves. Audrey Ewell: We don't necessarily come from a metal fan background, per se. Our background's more in experimental, and different kinds of lo-fi. AA: When we first heard [black metal], it took some convincing to get us to check it out, but before we even thought about making a film, we'd been into it for a very long time. AE: We're the kinds of people who tend to get a bit obsessive about new kinds of music or art, whatever it is that we find to be really relevant and that we're into. So we just kind of went full-bore into trying to find everything out about it, besides buying all the records and reading everything we could, online and everywhere. So eventually, it just turned into ... we just felt there was still something left to be explored with [the genre], where the answers to questions we had weren't really out there, so we set out to figure some things out for ourselves. I mean, we would've been happy had there actually just been this movie out there to rent, but it just didn't exist at that time. VW: You go deeper into the whys behind black metal than most media did. Did you have any idea before talking to these guys that they would be this open and intelligent?

“MASTERFUL.����. ” – Roger Ebert, CHICAGO SUN-TIMES

“Irresistible…a very fine film from welcome start to finish.”

AE: Yeah, actually. We had a pretty good idea going in of what we thought the people were going to be like. We did really extensive research before we approached anybody about being in this film, and we really narrowed it down, who we wanted to have in this film, based on several things. Obviously Varg and Fenriz had to be in the film—they were two of the surviving originators of the scene, but they were also really good choices. And it was sort of fortunate because we needed to have them regardless, but we did know going in that they were going to be articulate, and in some ways foils for each other. So yeah, there weren't a lot of surprises there. AA: When we say extensively, literally, we took every single interview that any one of them had ever given, and printed them into books, so we could read like a yellow-pages sized book of all the interviews of Varg. So we pretty much knew what we were in for. But getting their trust, that took longer.

there wasn't going to be any narration in the film, and that there weren't going to be any experts in the film, and that it was going to be a portrait very much from their perspective. I think that some of them were really into that aspect of it, of getting to represent themselves in their own words. VW: Was it difficult, the fact that Varg was in prison? AE: It was shockingly less of a hurdle than you might think. I mean, that was a matter of bureaucracy, of filling out forms. That was not the hard part. AA: The thing that did suck about it was we never got to pick where we shot. It would always be a surprise what location they set aside for us, and usually one that was less cinematic [laugh]. AE: From an esthetic perspective, we might not have chosen a room with the tex-mex window covering. But we didn't have a choice in that sort of thing. V

VW: I was just going to ask if it was difficult to get them to open up. AE: A lot of these guys, after having been through the sort of media stir of it in the '90s, thought that they'd been very much misrepresented. So there was an aspect for everybody, knowing

Fri, Apr 2 & Sun, Apr 4 (9 pm) Sat, Apr 3 & Mon Apr 5 (7 pm) Until the Light Takes Us Written and directed by Aaron Aites and Audrey Ewell Metro Cinema (9828 - 101A Ave)

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“����” -Chris Knight, NATIONAL POST

“BOLD, SENSUOUS... A HYPNOTIC STORY OF SUSPICION AND JEALOUSY.” -Roger Ebert, CHICAGO SUN–TIMES

“A CONTEMPORARY FATAL ATTRACTION.”

– Manohla Dargis, THE NEW YORK TIMES

-Betsy Sharkey, LOS ANGELES TIMES

“One of Roman Polanski’s best. An addictive thriller. Dazzling.” – Peter Travers, ROLLING STONE

“This will rival ‘Chinatown’! Simply brilliant!” – Nick Nicholson, CNN RADIO

JULIANNE

MOORE

LIAM

AMANDA

NEESON

A FILM BY ATOM

SEYFRIED

EGOYAN

SEXUAL CONTENT, NUDITY MATURE THEME, LANGUAGE MAY OFFEND

© 2010 SUMMIT ENTERTAINMENT, LLC. ALL RIGHTS RESERVED.

RON HALPERN ATOM EGOYAN © 2010 E1 FILMS INC. ALL RIGHTS RESERVED

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APR 1 – APR 7, 2010 // VUEWEEKLY

EMPIRE THEATRES

PARK LANE 8

Fri-Sat 1:30, 4:10, 6:50, 9:10, 11:20 Sun – no 11:20 show FILM // 27

FILM REVIEWS 

IN CORE MACH WA E TAQ TIM UB TT HO E

Film Capsules Now Playing Hot Tub Time Machine

Directed by Steve Pink Written by Josh Heald, Jarrad Paul Starring John Cusack, Rob Cordry, Craig Robinson, Clark Duke



Centreing around the massive life-failures of four man-children who can't seem to move past adolescence, Hot Tub Time Machine is not only one of the funniest movies since last year's surprise hit The Hangover—and the comparisons are welldeserved—it's also a subtle comment on the state of adulthood in the Western world today. If the title didn't already give it away, the story revolves around a quartet of underachievers—the unlovable Adam (John Cusack), the alcoholic party-animal-with-

28 // FILM

VUEWEEKLY // APR 1 – APR 7, 2010

out-a-party Lou (Rob Cordry), the emasculated Nick (Craig Robinson) and Adam's basement-dwelling, video-game-obsessed nephew Jacob (Clark Duke)—as they find themselves transported back through time thanks to a hot tub at a resort that was the scene of many triumphs for the group and where they have returned to in order to recapture some of that old magic. Finding themselves back in 1986, the friends decide to try and change the sorry state of their current lives by messing with the past. What follows could have been a rather plain screwball comedy along the lines of Porky's or Ski School, with a little bit of Back to the Future thrown in as the younger Jacob starts to flicker as the changes the group has wrought start to threaten his very existence. Instead, the movie basks in its surreality and ridiculousness— the greatest example of this is when Nick voices the group's realization that they have been transported back in time, saying, "It must be some sort of ... hot tub time machine," then giving the camera the same blank stare Eddie Murphy perfected in Trading Places—and through deft execution manages to pull the film out of the mire of half-baked funny business and shape it into a film that is the embodiment of post-modern comedy—that is, one that can poke fun at its own genre elements while at the same time exploiting them in a traditional way. The film also attacks the extended adolescence of males in North America by exaggerating its consequences to the point of caricature and making no bones about it: Adam refuses to compromise and it has left him alone, Lou hasn't let go of his party-everyday attitude and it leaves him without friends as they've left him behind, Nick is hen-pecked to the point of accepting his wife's infidelity unquestioningly while Jacob spends all of his time immersed in a virtual life instead of a real one. The film posits that a refusal to grow up, while seemingly desirable, will leave one emotionally vacant. Its solutions may be crass and regressive—mostly based around the idea of "manning up," or, well, travelling back in time—but it does at

least raise the question. And while the movie certainly isn't perfect—it is, after all, a buddy comedy and so almost automatically writes females directly out of the narrative—it does contain the line, "Shotgun to the dick, motherfucker!" and it's just about summer, so what more could you want? Bryan Birtles

// bryan@vueweekly.com

Opening at the Metro Taqwacore

Fri, Apr 2, Sun, Apr 4 (7 pm) Sat, Apr 3, Mon, Apr 5 (9 pm) Directed by Omar Majeed Featuring Michael Muhammed Knight, The Kominas, Vote Hezbollah, Secret Trial Five, Al-Thawra Metro Cinema (9828 - 101A Ave)



Islam, especially in America, is actually one of the few places where the original rebellious spirit of punk still makes a lot of sense. Mainstream society has, for the most part, gotten over getting overtly worked up about rock—especially when it comes from working-class and/or suburban white youth—but at one point in the tour Taqwacore: The Birth of Punk Islam spends half its time documenting, the gaggle of bands play at the Islamic Society of North America conference, a conservativeenough environment that it won't even allow female singers up on stage. The mere presence of Sena Hussain—the openly gay lead singer for all-female Taqwacore group Secret Trial Five—on a stage is enough to elicit open mouths from the teens in the audience and histrionics from the conference organizers, never mind plugging in an electric guitar and singing "Sharia Law in the USA" (whose tune is a Sex Pistols reference). When Michael Muhammed Knight published his book The Taqwacores in 2003, it crystallized the feelings of a lot of Muslim youth who felt the dual rejection of mainstream society and their religious roots, and gave birth to the eponymous scene

FILM REVIEWS

Film Capsules

FILM WEEKLY FRI, APR 2 – THU, APR 8, 2010

THE LAST SONG (PG) no passes FRI�SUN,TUE�WED 12:30, 4:15, 7:00, 9:40; MON 12:30, 3:30, 7:00, 10:30; THU 4:15, 7:00, 9:40; Star & Strollers Screening THU 1:00

s

that this documentary follows. As one band member explains, punk was a natural scene for him to gravitate to as a Muslim youth in Middle America, the one place where his difference wasn't just tolerated, but celebrated: Knight's book—despite being the entirely fictional creation of a white convert trying to deal with his relatively strict new religion bumping up against the punk kids he was hanging out with in college—showed him that he wasn't alone. Taqwacore is at its best when it's talking about what drove these kids to punk, documenting the slings and arrows that come with being even a slightly rebellious Muslim youth in the US: not only do they have to deal with a faith that doesn't even look kindly on music in general, they face almost constant discrimination from the rest of the country—while heading into New York, the green bus they've decorated for their tour gets pulled over by some nervous cops—and navigating this world is no easy task. With that bedrock, their ferocious and snarky songs, the passion that overtakes them while hammering on guitars in a dingy basement, is not only understandable, but hard to resist. But there is less of that than of lessinteresting digressions. A lot of the film is given over to standard bands-behavingbadly antics, and half of its time follows one band, the Kominas, and Knight's trip to Pakistan, where they try to sow some punk roots in the heart of Islam. This part offers a somewhat interesting look at Knight trying to reconcile his past—he became Muslim partly as an act of rebellion against a white-supremacist father, and spent some time at a fairly conservative mosque in Pakistan learning his new faith—but again spends too much time on band behaviour, and not enough examining the cultural milieu they've dropped themselves into. There has to be a reason that not even a punk-like spirit has popped up in Pakistan, and that seems a more interesting question than whether or not the Kominas are going to get anyone out to the rooftop show. David Berry

// david@vueweekly.com

MEND THE GAP

<< CONTINUED FROM PAGE 26

cityscapes that make up the parents' journey suggest the disconnect between locales that have comprised two different sides to their pasts. The country is a lushly rediscovered memory, while the busy city life they momentarily leave behind is what will tempt their daughter to join the same work force. All of this is shared through rich, tiny details that are composed into many expressive shots, which mostly contain sparse dialogue or narration. "The most efficient way is to really show the humanity of this large-scale event. The beauty of the landscape and the big crowd at the station really served well," Fan says in describing the shoot of the film. "But when we have the chance to capture intimate moments with the family, that serves as a connection between the character and audience." V Opening Fri, Apr 2 Last Train Home written and directed by Lixin Fan Princess Theatre (10337 - 82 Ave)



CLASH OF THE TITANS 3D (PG, not rec. for young children, violence) no passes FRI�SUN 11:30, 2:15, 4:50, 7:30, 10:30; MON�THU 12:30, 3:45, 6:45, 9:30;

CHABA THEATRE�JASPER

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes FRI�WED 1:00, 4:00, 6:30, 9:10; THU 4:00, 6:30, 9:10

6094 Connaught Dr, Jasper, 780.852.4749

HOW TO TRAIN YOUR DRAGON (PG, violence) FRI� SAT 7:00 9:00; SUN�THU 8:00; SAT�SUN 1:30

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

ALICE IN WONDERLAND (PG, frightening scenes, not recommended for young children) FRI�SAT 7:00, 9:00; SUN�THU 8:00; SAT�SUN 1:30

HOT TUB TIME MACHINE (18A, crude content, substance abuse) FRI�THU 1:30, 4:45, 8:00, 10:30; star & strollers screening THU 1:00

CINEMA CITY MOVIES 12

CHLOÈ (18A, sexual content) FRI�THU 1:10, 3:50, 7:05, 9:30

5074-130 Ave, 780.472.9779

DIARY OF A WIMPY KID (G) FRI�SUN 11:45, 2:30, 5:00, 7:20, 9:50; MON�THU 1:20, 4:40, 7:20, 9:50

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

REPO MEN (18A, gory scenes, brutal violence) FRI� SUN,TUE�THU 1:40, 4:20, 7:40, 10:25; MON 1:40, 4:20, 10:25

PERCY JACKSON & THE OLYMPIANS: THE LIGHT� NING THIEF (PG, frightening scenes, not rec. for young children) FRI�SAT 1:00, 4:10, 7:15, 9:45, 12:10; SUN�THU 1:00, 4:10, 7:15, 9:45

THE BOUNTY HUNTER (PG, violence, sexual content)

FRI�THU 12:40, 3:45, 7:10, 10:20 SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�WED 12:20, 3:25, 7:15, 10:10; THU 12:20,

FROM PARIS WITH LOVE (14A, coarse language, violence) FRI�SAT 4:35, 9:25, 11:40; SUN�THU 4:35, 9:25

3:25, 10:10

CLASH OF THE TITANS (PG, not rec. for young children, violence) no passes FRI�MON 1:00, 4:00, 6:40, 9:15; TUE� THU 5:45, 8:30

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

DATE OF ISSUE ONLY

(full listings not available at time of issue)

DIARY OF A WIMPY KID NIGHTLY (G) 6:55, 9:05; FRI�TUE 12:55, 3:00

HOW TO TRAIN YOUR DRAGON (PG, violence) DAILY 7:10, 9:10 FRI, SAT, SUN, TUE, THU 2:10

HOW TO TRAIN YOUR DRAGON - 3D (PG, violence) Nightly 6:45, 9:00; FRI�TUE 12:45, 3:00

HOT TUB TIME MACHINE (18A, crude content, substance abuse) DAILY 7:25, 9:25 FRI, SAT, SUN, TUE & THU 2:25

ALICE IN WONDERLAND (PG, frightening scenes, not recommended for young children) not presented in 3D NIGHTLY 7:05, 9:15; FRI�TUE 1:05, 3:15

THE BOUNTY HUNTER (PG violence, sexual content) DAILY 7:15, 9:20 FRI, SAT, SUN, TUE & THU 2:15

HOT TUB TIME MACHINE (18A, crude content, substance abuse) NIGHTLY 7:10, 9:30; FRI�TUE 1:10, 3:30

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

EDGE OF DARKNESS (14A, not recommended for children, brutal violence, gory scenes) FRI�SAT 1:15, 4:40, 7:30, 9:45, 12:10; SUN�THU 1:15, 4:40, 7:30, 9:45

ALICE IN WONDERLAND (PG, violence, frightening scenes) FRI�THU 12:10, 3:10

THE LAST SONG (PG) no passes FRI�MON 1:10, 3:50, 6:50, 9:30; TUE�THU 6:50, 9:30

ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) FRI�THU 12:45, 3:30, 6:45, 9:45

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes FRI�MON 12:20, 3:30, 6:40, 9:10; TUE�THU 6:40, 9:10 HOW TO TRAIN YOUR DRAGON 3D (PG, violence) no passes FRI�MON 11:30, 2:00, 4:30, 7:10, 9:40; TUE�THU 7:10, 9:40

THE SPY NEXT DOOR (PG) FRI�SAT 1:55, 3:50, 6:50, 9:10, 11:40; SUN�THU 1:55, 3:50, 6:50, 9:10

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

THE BOOK OF ELI (14A, brutal violence, not recommended for children) FRI�THU 1:40, 4:15, 7:25, 9:55

AVATAR (PG, not rec. for young children, violence) FRI� SUN 11:30, 3:00, 6:30, 10:30; MON�THU 2:00, 6:30, 10:00

SHERLOCK HOLMES (PG, not rec. for young children,violence) FRI�THU 1:10, 4:00, 7:00, 9:55

THE METROPOLITAN OPERA: TOSCA ENCORE (rating not available) MON 6:30

CITY CENTRE 9

ALVIN AND THE CHIPMUNKS: THE SQUEAKQUEL (G) FRI�SAT 1:25, 4:30, 6:30, 9:00, 11:10; SUN�THU 1:25, 4:30, 6:30, 9:00

10200-102 Ave, 780.421.7020

THE LAST SONG (PG) FRI�THU 12:05, 2:35, 5:10, 7:45, 10:20

OLD DOGS (G) FRI�THU 2:00, 6:40

CLASH OF THE TITANS 3D (PG, not rec. for young children, violence) no passes FRI�THU 12:10, 2:30, 5:00, 7:30, 10:00

THE BLIND SIDE (PG, mature subject matter) FRI�THU 1:20, 4:05, 6:55, 9:50

CINEPLEX ODEON NORTH

HOT TUB TIME MACHINE (18A, crude content, substance abuse) FRI�THU 12:25, 2:55, 5:25, 8:00, 10:35

14231-137 Ave, 780.732.2236

CLASH OF THE TITANS (PG, violence, not recommended for young children) NIGHTLY 6:50, 9:25 FRI�TUE 12:50, 3:25

DIARY OF A WIMPY KID (G) DAILY 7:00, 9:00 FRI, SAT, SUN, TUE & THU 2:00

GREEN ZONE (14A, violence, coarse language) FRI� THURS 12:50, 4:10, 7:25, 10:05

THE LAST STATION (14A) FRI�SAT 1:50, 4:25, 6:45, 9:20, 11:50; SUN�THU 1:50, 4:25, 6:45, 9:20

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

THE LAST SONG (PG) NIGHTLY 7:00, 9:10; FRI�TUE 1:00, 3:10; Movies For Mommies TUE 1:00

WHEN IN ROME (PG) FRI�SAT 1:35, 3:45, 7:10, 9:20, 11:30; SUN�THU 1:35, 3:45, 7:10, 9:20

THE GHOST WRITER (PG, coarse language, violence) FRI-THU 7:10, 10:20

PARKLAND CINEMA 7

ALICE IN WONDERLAND (PG, frightening scenes, not recommended for young children) DAILY 7:05, 9:15 FRI, SAT, SUN, TUE, THU 2:05

CLASH OF THE TITANS (PG, not rec. for young children, violence) no passes FRI�MON 1:20, 4:00, 7:30, 10:15; TUE� THU 7:30, 10:15

TOOTH FAIRY (G) FRI�SAT 1:45, 3:55, 6:45, 9:15, 11:20; SUN�THU 1:45, 3:55, 6:45, 9:15

THE BEST OF MOSTLY WATER VIDEO NIGHT (rating not available) THU 8:00

HOT TUB TIME MACHINE (18A, crude content, substance abuse) FRI�MON 1:50, 4:45, 7:35, 10:10; TUE�THU 7:35, 10:10

THE BOUNTY HUNTER (PG, violence, sexual content)

NIGHTLY 7:15, 9:25; FRI�TUE 1:15, 3:25

GARNEAU 8712-109 St, 780.433.0728

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

PRINCESS 10337-82 Ave, 780.433.0728

CHLOE (18A, sexual content) NIGHTLY 7:00, 9:00; Fri-Mon 2:00 LAST TRAIN HOME (PG) NIGHTLY 7:15, 9:15; Fri-Mon 2:30

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

DIARY OF A WIMPY KID (G) FRI�MON 12:15, 2:30, 5:00, 7:20, 9:45; TUE�THU 7:20, 9:45

CLASH OF THE TITANS (PG, not rec. for young children, violence) no passes FRI�THU 12:45, 3:45, 7:00, 10:00

THE BOUNTY HUNTER (PG, violence, sexual content)

CLASH OF THE TITANS 3D (PG, not rec. for young children, violence) no passes FRI�THU 11:30, 2:15, 5:00, 7:45, 10:30

FRI�MON 1:00, 4:40, 7:15, 10:00; TUE�THU 7:15, 10:00

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�MON 12:45, 4:20, 7:25, 9:50; TUE�THU 7:25, 9:50 GREEN ZONE (14A, violence, coarse language) FRI�MON 12:30, 3:45, 6:30, 9:20; TUE�THU 6:30, 9:20 ALICE IN WONDERLAND (PG, violence, frightening scenes) FRI�MON 1:30, 4:10, 7:05, 9:55; TUE�THU 7:05, 9:55

GRANDIN THEATRE�ST ALBERT

THE LAST SONG (PG) no passes FRI�TUE,THU 12:15, 3:15, 6:45, 9:45; WED 3:30, 6:45, 9:45; star & strollers screening, no passes WED 1:00 HOW TO TRAIN YOUR DRAGON (PG, violence) no passes FRI�THU 12:30, 3:30, 6:30, 9:10 HOW TO TRAIN YOUR DRAGON 3D (PG, violence) no passes FRI�THU 11:45, 2:30, 4:50, 7:30, 10:10

CLASH OF THE TITANS (PG, not rec. for young children, violence) no passes FRI�THU 11:50, 2:20, 5:00, 8:00, 10:30

ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) FRI�THU 12:05, 2:40, 5:15, 7:50, 10:25

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

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

CLASH OF THE TITANS 3D (PG, not rec. for young children, violence) no passes FRI�THU 1:00, 3:45, 7:00, 9:40

SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) FRI�THU 12:35, 3:35, 6:40

(full listings not available at time of issue)

DATE OF ISSUE ONLY

HOW TO TRAIN YOUR DRAGON: AN IMAX 3D EXPERIENCE (PG, violence) no passes FRI�THU 1:30, 4:15, 7:00, 9:30

THE LAST SONG (PG) no passes FRI�THU 12:50, 3:40, 6:45, 9:30

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�THU 9:40

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes FRI�TUE,THU 1:40, 4:10, 6:55, 9:20; WED 4:10, 6:55, 9:20

GREENBERG (14A, substance abuse, sexual content, coarse language) FRI�THU 12:15, 2:50, 5:20, 7:55, 10:30

HOW TO TRAIN YOUR DRAGON 3D (PG, violence) no passes FRI�THU 12:15, 2:45, 5:15, 7:45, 10:15; star & strollers screening, no passes WED 1:00 HOT TUB TIME MACHINE (18A, crude content, substance abuse) FRI�THU 12:20, 3:00, 5:30, 8:10, 10:40

THE GHOST WRITER (PG, coarse language, violence) FRI 6:50, 9:50; SAT�THU 12:45, 3:55, 6:50, 9:50 THE SPY NEXT DOOR (PG) toonie matinee FRI 12:45, 3:55 HOW TO TRAIN YOUR DRAGON 3D (PG, violence) no passes FRI�THU 12:00, 2:20, 5:05, 7:35, 10:05

DIARY OF A WIMPY KID (G) FRI�THU 12:00, 2:10, 4:30, 6:50, 9:10

THE BOUNTY HUNTER (PG, violence, sexual content) FRI�THU 12:55, 3:45, 6:30, 9:10

REPO MEN (18A, gory scenes, brutal violence) FRI�THU 10:10

CLAREVIEW 10

THE BOUNTY HUNTER (PG, violence, sexual content) FRI�THU 1:20, 4:40, 7:20, 10:00

4211-139 Ave, 780.472.7600

ALICE IN WONDERLAND (PG, violence, frightening scenes) FRI�MON 1:20, 4:10, 6:50, 9:30; TUE�THU 5:20, 8:00

REMEMBER ME (PG, coarse language,mature subject matter) FRI�THU 9:00

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�MON 1:50, 4:25, 7:05; TUE�THU 5:40

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�TUE,THU 1:50, 4:50, 7:40, 10:20; WED 4:50, 7:40, 10:20; star & strollers screening WED 1:00 GREEN ZONE (14A, violence, coarse language) FRI� THU1:10, 3:50, 7:30 ALICE IN WONDERLAND (PG, violence, frightening scenes) FRI�THU 12:40, 3:20, 6:30

SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) FRI�THU 12:10, 3:30, 6:40, 9:55

1525-99 St, 780.436.8585

CLASH OF THE TITANS (PG, not rec. for young children, violence) no passes FRI�SUN 1:15, 4:00, 6:40, 9:40; MON� THU 1:15, 4:30, 7:30, 10:15

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 (PG, not rec. for young children, violence) no free admission passes accepted APRIL 1 ONLY 9:25

LEDUC CINEMAS Leduc, 780.352.3922

THE BOUNTY HUNTER (PG, violence, sexual content) FRI�THU 1:00, 3:50, 6:50, 9:40 SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�THU 1:45, 4:45, 7:40, 10:40 ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) FRI�THU 11:30, 2:00, 4:40, 7:20, 10:15 SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) FRI�THU 12:40, 4:00, 7:10, 10:20 AVATAR (PG, not rec. for young children, violence) FRI� THU 12:20, 4:30, 8:30

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

CLASH OF THE TITANS (PG, not rec. for young children, violence) no passes FRI�MON 1:15, 3:50, 6:50, 9:25; TUE� THU 5:30, 8:00

DIARY OF A WIMPY KID (G) FRI�MON 1:25, 3:45, 6:35, 9:10; TUE�THURS 5:25, 8:15

HOT TUB MACHINE (18A, crude content, substance abuse) NIGHTLY 7:00, 9:35; Fri-Mon 1:00, 3:35

THE BOUNTY HUNTER (PG, violence, sexual content) FRI�MON 12:30, 3:15, 7:15, 9:50; TUE�THU 5:10, 8:10

THE BOUNTY HUNTER (PG, violence, sexual content)

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes FRI�MON 1:00, 3:40, 6:35, 9:10; TUE�THU 5:00, 8:30

FRI�MON 1:30, 4:05, 6:45, 9:20; TUE�THU 5:15, 8:45

NIGHTLY 7:05, 9:20; FRI�MON 1:05, 3:20

HOT TUB TIME MACHINE (18A, crude content, substance abuse) FRI�MON 1:45, 4:45, 7:20, 9:50; TUE�THU 5:50, 8:50

CLASH OF THE TITANS (PG, violence, not recommended for young children) THU APR 1 8:00, 10:20; NIGHTLY 7:10, 9:30; Fri-Mon 1:10, 3:30

HOW TO TRAIN YOUR DRAGON (PG, violence) no passes FRI�SUN 1:10, 3:50, 6:30, 9:00; MON 1:10, 3:50, 6:30, 9:00; TUE�THU 5:35, 8:40

CINEPLEX ODEON SOUTH

GREEN ZONE (14A, violence, coarse language) DAILY 5:25, 9:25; No 9:25 show on April 1

DIARY OF A WIMPY KID (G) FRI�TUE,THU 11:40, 2:00, 4:20, 6:40, 9:20; WED 4:20, 6:40, 9:20; star & strollers screening WED 1:00

GREEN ZONE (14A, violence, coarse language) FRI�MON 9:35; TUE�THU 8:25

HOW TO TRAIN YOUR DRAGON 3D (PG, violence) no passes FRI�SUN 2:00, 4:35, 7:00, 9:25; MON 2:00, 4:35, 7:00, 9:25; TUE�THU 5:00, 8:10

AVATAR (PG, not rec. for young children, violence) FRI� THU 12:30, 4:00, 7:50

SHE’S OUT OF MY LEAGUE (14A, coarse language, crude content) DAILY 1:30, 3:30, 7:30;

HOW TO TRAIN YOUR DRAGON IN DIGITAL 3D PG, violence NIGHTLY 6:55, 9:25; MATINEE Fri-Mon 12:55, 3:25

THE BOUNTY HUNTER (PG, violence, sexual content)

ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) FRI�THU 1:30, 4:20, 7:10, 9:50

THE BOUNTY HUNTER (PG, violence, sexual content)

DAILY 12:35, 2:50, 5:05, 7:25, 9:35

THE LAST SONG (PG) FRI�MON 1:15, 4:20, 6:55, 9:40; TUE�THU 5:30, 8:20 CLASH OF THE TITANS 3D (PG, not rec. for young children, violence) no passes FRI�MON 1:40, 4:30, 7:10, 9:45; TUE�THU 5:10, 7:50

APR 1 – APR 7, 2010 // VUEWEEKLY

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

DOC SOUP: OCTOBER COUNTRY (rating not available) THU 7:00 TAQWACORE: THE BIRTH OF PUNK ISLAM (STC) FRI, SUN 7:00; SAT, MON 9:00 UNTIL THE LIGHT TAKES US (STC) FRI, SUN 9:00; SAT,

MON 7:00;

PICTURE OF LIGHT (STC) WED 8:00

CRAZY HEART (14A, substance abuse, coarse language)

FRI�MON 12:45, 3:30, 7:05, 9:40; TUE�THU 5:20, 8:20

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

CLASH OF THE TITANS (PG, violence, not recommended for young children) THU APR 1 8:00, 10:20; DAILY 1:10, 3:30, 7:10, 9:30 THE BOUNTY HUNTER (PG, violence, sexual content)

DAILY 12:55, 3:30, 6:55, 9:30

HOW TO TRAIN YOUR DRAGON (PG, violence) DAILY 1:00, 3:25, 7:00, 9:25 HOT TUB MACHINE (18A, crude content, substance abuse) DAILY 1:05, 3:35, 7:05, 9:35

FILM // 29

INSIDE // MUSIC

MUSIC

33

Dillinger Escape Plan

Passenger Action

34 37

Enter Sandor

MUSIC // CRITICISM

Tracking music criticism in cyberspace // brian@vueweekly.com

T

he print newspaper's dying, shrouded by the bottom-trawling, everexpanding Net, but parts of the sinking broadsheet have migrated and thrive online. The Classifieds and Help Wanteds have become Craigslist or Kijiji or swapping sites. And reviews? Even while anyone can blog their water-cooler opinion of this TV show or tweet off on that movie, music criticism—in-depth, informed, thoughtful—seems to be thriving in cyberspace. Take Pitchfork, famous for its down-tothe-decimal number grades. It's become awfully tough to gauge a media outlet's popularity when it's all-electronic, but links to Pitchfork on blogs and other music sites, quotes of Pitchfork reviews and Pitchfork's own expanded site, sponsoring of concerts and interviews with major musicians all suggest the music-review site's become more popular and influential. This comeback of music criticism, online, flows from the hyperlinking and streaming of music. A review can offer links to related music or an embedded player with a single from the album. This is no different from music magazines, some of which remain popular, even if they're being shipped from overseas (such as Uncut or Q), because they offer a "free" CD with the issue. But magazines have become less handy than PCs for the iPod generation. Magazines have a certain style, layout and set word limits. Online music reviews offer the appearance of more informal, blog-like writing and can vary more in length. Pitchfork reviews have been accused of self-indulgence and over-emphasis of certain genres (lo-fi and indie), but the B-side of that knock is that they cater to a niche—particularly white hipsters. Since the '90s, music's become more and more thinly sliced into specific niches, with the Net further fragmenting our consumer-culture's reading, listening and writing demographics. Faced with a weekly tsunami of new music, browsers tend to surf sites that reflect their interests, rather than letting one or two newspapers choose the various major new releases to tell them about. Papers like Exclaim! or magazines like Uncut categorize reviews by specific genres, but Pitchfork doesn't make such (often debatable) distinctions. But along with making it easier for people to slip into their familiar listening grooves, the Internet's open-forum quality can make online reviews trickier to parse. Stuart Berman, an editor and music critic for Toronto's Eye Weekly and a regular reviewer for Pitchfork, observes, "the Internet has proven the old

Vuetube: Michelle Boudreau performs at Vue Weekly The Classical Score: a look at opera in cartoons

PREVUE // BROTHER ALI

Sounding off Brian Gibson

Online at vueweekly.com >>MUSIC

adage about opinions and assholes, but whether that multitude of opinions has made music criticism more relevant depends on what you use music criticism for. If you only want reviews to serve as a guide for what albums you should buy or listen to, then all those opinions online basically serve the same function as the comments section on a site like TripAdvisor.com, where you just want to read as many opinions as possible before committing to your purchase. "However," he adds, "the best music criticism provides more than just a consumer-guide function—it forges a deeper connection between the music and listener, and makes you think about the music in a way you never thought of before." With the user-friendly Web, the medium isn't the message so much as the mirror, with the longer-form music criticism listeners read reflecting the depth of their interest or better helping them reflect on their own sense of the disc. "The more passive music fan may just want to stream a track on some blog before making up their mind about whether to buy a song or album," Berman says. "The more involved music fan will want to read something more in-depth. There's room for both modes online, but the abundance of the former can make it harder to appreciate the latter." Nik Kozub, frontman for Edmonton's Shout Out Out Out Out and co-owner of Nrmls Wlcm Records, thinks reviews may now be fading in cyberspace, precisely because of the Net's many listening platforms. "Maybe five years ago or so, music criticism was at its peak and a lot of music fans really depended on music criticism in specific publications and websites to help guide them in their choices," he says. "I do think that with the ease of researching music these days, people are able to seek out music for themselves, listen and make their own choices more concisely—and expansively—now than ever before. Embedded players, blogs and user-driven content are a huge part of this." But fellow Edmonton musician Roland Pemberton, better known as rapper Cadence Weapon and presently the city's poet laureate, felt Pitchfork's influence reverberate when he was reviewing for the site. "The moment I realized how powerful music criticism had become was when I was working for Pitchfork. I reviewed an underground rap album that was particularly lacklustre," he recalls. "I had to do a certain amount of reviews a week and I wasn't really putting as much thought into the job as I could have been at the time. I later got an email from the CEO of that record's label saying it was the

30 // MUSIC

cruellest review he'd ever read and that I killed the record. I didn't really realize how big the site was getting or how seriously people took it. I was affecting people's lives. I feel guilty that I may have negatively altered careers." Berman, though, feels that the multitude of new on-screen venues for musicians has mitigated reviewers' influence. "With few exceptions," he says, "I've never thought of music criticism as something that can 'make' an artist's career, especially now, when there are so many different outlets through which one can be exposed to new bands, whether it's MySpace or an episode of Entourage. The most that music criticism can do for an artist is simply create an awareness—you'll read about a band on Pitchfork, and then a week later you see that band on Letterman, and then you see a friend has posted one of their videos to their Facebook status, and all that cumulative information will inspire you to either investigate the artist's music further or avoid it." Kozub hasn't observed that a critical pitchfork being stuck in a disc is fatal. "From the perspective of the label, good reviews can be the catalyst for general interest and buzz surrounding a release, and this in turn can develop into press and sales," he adds. "A poorly timed bad review can unfortunately kill this buzz, or spark a bandwagon mentality amongst critics, who seem to love to pat each other on the back." A longer review can be maddening, irritating or just doesn't jive with your sense of the disc you just listened to, or the new track you're hearing right below its review. "People love to bitch about Pitchfork," Berman observes, "but it's one of the few outlets left that's preserving the art of the long-form album critique at a time when most print publications—be it weeklies or newstand glossies—have all but forsaken them for quick-bit capsule reviews." Longer critiques can also show more personality, and it may be the sometimes overwritten, overly meditative quality of Pitchfork's reviews or their nasty dismissals that draw readers in day after day, even to Pitch-bitch. These are reviewers, after all, who care about music, who take it to heart, maybe too much so, but can also inspire annoyance, disagreement, eye-rolling and debate, those emotions that used to bring political readers back to black-and-whites' opinion and editorial pages. And fighting words seem to fuel search engines. But can sites' expansion change a critical stance in some cases, like an uncle's grumpiness to a nephew changing in his old age? Non-review parts of a site can seem like they're balancing out tough appraisals. Pitchfork showcases features for bands (such as U2) that include scathing reviews of albums (such as No Line on the Horizon) or offer praising news-notes about and exclusive CONTINUED ON PAGE 35 >>

VUEWEEKLY // APR 1 – APR 7, 2010

Confident man

Rapper holds his own with Public Enemy

BROTHER ALI >> The rapper's latest album is alive with contradicting details CAROLYN NIKODYM // CAROLYN@vueweekly.com

F

or many, Public Enemy is the seminal hip-hop group, and Chuck D its fearless leader. His powerful lyrics captured the attentions of a generation. So when Brother Ali says that he wasn't nervous to perform in front of him, it's a little hard to believe. "No! No! I wasn't … no! I don't know … my wife is making fun of me because I'm supremely confident!" the Minneapolis rapper laughs. "But I mean, I believe in what I do so completely and I know that it's real and I believe that if anybody connects with it, it's because of the realness. "If someone has an adverse reaction to what I do, it's because of some void of comfort and honesty and truth within them—I really, really believe that," he explains. "So for me to perform for Chuck D, it was just a special honour. I was more honoured than shook." Since then, Brother Ali (née Jason Newman) has had the honour of performing with Public Enemy, but the first time Mr D called him out on stage to join in "Fight the Power," Ali couldn't do it. "That I was scared of. But it was because I didn't feel right. When Public Enemy is on stage, I didn't feel like there was anything that I needed to say at all," he admits. "I just hugged him and ran off stage there. I just couldn't do it—even though I know every word." It's not hard to see what Chuck D sees. Brother Ali's lyrics are honest and his best work tells it like it is. His latest album Us, released last September, is full of stories in which Ali bears all of the confusion and contradiction life carries. This isn't woe-is-me nor the-world-isfucked-up-beyond-belief fare. Ali has a

// Julian Murray

wonderful eye for detail and a sense of humour. He also preaches a message of compassion. "It's something that I just had to learn in order to feel comfortable living in the world," he explains. "I haven't been able to choose sides with many things the way that most people do. Most people are very comfortable in life, because they choose a side—with religion, with race, with economics, with social class, with nationality. "You choose these teams and then you're comfortable just being inside your team, and it's easy for you to love everybody on your team and hate everybody who's not," he continues. "I haven't had the blissful ignorance to have been able to live like that. And so I need to, in my mind, be able to accept people for their heart—even if their brain is rotten. I have to say that I know that God put a soul inside you and God didn't make any ugly souls, so I have to be able to relate to people based on that." It might be easy to dissect Ali's life into chunks to try and explain the origins of his world view—"They say that because I'm albino and that may be the beginning of it, but that's really the thing that people grab onto," he says—but that would be oversimplifying the complex variables that define any human life. Sure, Ali's compassion for the world comes from learning to be comfortable in his own skin, but it's a lesson we all have to learn—making his confidence all the more compelling. V Fri, Apr 2 (8 pm) Brother Ali With Fashawn, BK-One Starlite Room, $18

PREVUE // THE DEVIL MAKES THREE

Right at home

Roots band recorded latest album in its living room

ONE, TWO, THREE >> Yup, that's the Devil Makes Three David Berry // david@vueweekly.com

P

ete Bernhard will admit that as he and his bandmates in the Devil Makes Three get closer to the Canadian border they get a little more nervous. They've been up the West Coast States, as they are when I get a hold of him, many times, but they've never actually made the jump across the 49th parallel. It's not our cold weather or our preponderance of donut establishments that keeps them, though: it's the miles of bureaucratic red tape they have to Conan their way through that has left the trio forever in the south, despite their roots-chart-topping albums and crosscontinent appeal. "It's hard to get permits and get everything straight. We're actually trying to figure out how to get permits while we're on our way there," Bernhard admits somewhat sheepishly from a hotel room in Oregon. "It's kind of a bummer, actually: we went to France, and we didn't get work permits when we toured there, and it was really easy. It would be easy if you weren't telling the truth about what you were doing, but we're trying to be honest."

// Supplied

thought it would just capture what we do the best. Sometimes, when you go into the studio you end up—well, it captures the song, but you don't necessarily capture what it's like to see it live. We were trying to get a little bit more of the live energy off the record. "A lot of the records that we were all inspired by were recorded that way. Before there was the technology to overdub everything, almost everything you heard was basically live. That was part of the approach, to try and recre-

ate that," Bernhard continues. "It's not perfect, by any means, but most of the records we love, they're not perfect either. We didn't go for a crisp-sounding record, which we've had some complaints about, but we're all really happy with it." V Fri, Apr 2 (9 pm) The Devil Makes Three With Jake Ian Band Pawn Shop, $10

Ah, dishonesty: the second-best policy. Though it fits with the Devil Makes Three's roots-steeped sound that the band would go with the straight and narrow: its three-piece take—besides Bernhard's guitar and vocals, standup bassist Lucia Turino and guitarist/ banjoist Cooper McBean round out the band—on floorboard-stomping Americana is steeped in an honest appreciation for the old masters, though infused with enough of a rollicking, energetic take to keep things sounding immediate and fresh. It was both of those elements that the band was trying to capture on its latest record, 2009's Do Wrong Right, which led the trio to take the unusual step of pillaging some recording gear from a California studio and setting it up in a living room. Recorded live off the floor and straight to tape, it captures as much that certain classic je ne sais quoi as it does the group's ceaseless triple energy. "We were really excited about the idea of recording it at our house, honestly," Bernhard says with a laugh. "But we

APR 1 – APR 7, 2010 // VUEWEEKLY

MUSIC // 31

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

every Thursday; 7-10pm SECOND CUP�Varscona Live music every Thursday night; 7-9pm SHAW CONFERENCE CENTRE

The Thaw: Korn, Five Finger Death Punch; 6pm; $54.50 at TicketMaster WILD WEST SALOON Coleen Rae

DJs BILLY BOB’S LOUNGE Escapack

THU APR 1

ARTERY Come Jam with

Cam Neufeld: Hosted by Back Porch Swing; 7-11pm; proceeds to Cam BLUE CHAIR CAFÉ Old Man Luedecke; 8 pm BRIXX BAR Cygnets, Blazing Violets, Tommy Grimes; free before 9pm, $8 after CENTURY CASINO Helix; $19.95 CHRISTOPHER'S PARTY PUB

Open stage hosted by Alberta Crude; 6-10pm CROWN AND ANCHOR

Christian Hansen, the Autistics, Michael James Band, This Girl That Boy, Elliott 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 music with Darrell Barr; 5:308:30pm, DJ at 9pm DUSTER'S PUB Thursday open jam hosted by the Assassins of Youth (blues/rock); 9pm; no cover DV8 Open mic Thursdays hosted by Cameron Penner/ and/or Rebecca Jane EDDIE SHORTS Shelbi ELECTRIC RODEO�Spruce Grove Open Stage Thursday:

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

Entertainment

Lessons at 9pm

BLACK DOG FREEHOUSE Big

HAVEN SOCIAL CLUB

Open jam, 6:30pm; Greg MacPherson Band, Audiorocketry; no minors, 7:30pm (door), tickets at Ticketmaster, Blackbyrd, Megatunes, Haven HOOLIGANZ Open stage Thursdays hosted by Phil (Nobody Likes Dwight); 9pm1:30am HYDEAWAY�Jekyl and Hyde

Evolution Solution Open Jam; 7pm JAMMERS PUB Thursday open jam; 7-11pm J AND R Classic rock! Woo! Open stage, play with the house band every Thursday; 9pm L.B.'S PUB Open jam with Ken Skoreyko; 9pm LIVE WIRE BAR Open Stage Thursdays with Gary Thomas MARYBETH'S COFFEE HOUSE�Beaumont Open Mic

Thursday; 7pm

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

Jam by Wild Rose Old Time Fiddlers NEW CITY SUBURBS I Love '80s Danceparty: with Nazz Nomad, Blue Jay; long weekend edition PAWN SHOP Sallys Krackers Last Show Ever? Tippy Agogo A Roots Bazzar RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 8pm-1am RIC’S GRILL Peter Belec (jazz);

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 DRUID Dublin Thursdays DJ; 9pm FILTHY MCNASTY’S Punk Rock Bingo with DJ S.W.A.G. FLUID LOUNGE Girls Night out FUNKY BUDDHA�Whyte Ave

Requests with DJ Damian GAS PUMP Ladies Nite: Top 40/dance with DJ Christian GINGUR SKY Urban Substance Thursdays HALO Thursdays Fo Sho: with Allout DJs DJ Degree, Junior Brown KAS BAR Urban House: with DJ Mark Stevens; 9pm LEVEL 2 LOUNGE Absolut Thursdays: with DJ NV and Joey Nokturnal; 9:30pm (door); no cover LUCKY 13 Sin Thursdays with DJ Mike Tomas NEW CITY SUBURBS Bingo at 9:30pm followed by Electroshock Therapy with Dervish Nazz Nomad and Plan B (electro, retro) ON THE ROCKS Salsaholic Thursdays: Dance lessons at 8pm; Salsa DJ to follow PLANET INDIGO�St Albert Hit It Thursdays: breaks, electro house spun with PI residents PROHIBITION Throwback

Thursday: old school r&b, hip hop, dance, pop, funk, soul, house and everything retro with DJ Service, Awesome RENDEZVOUS PUB Metal Thurzday with org666 SPORTSWORLD Roller Skating Disco: Thursday Retro Nights; 7-10:30pm; sports-world.ca STARLITE ROOM Oh Snap vs Easy Love: Long Weekend Megaparty; (door) 9 pm STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thursday; no cover WUNDERBAR DJ Thermos Rump Shakin' Thursdays: From indie to hip hop, that's cool and has a beat; no cover

FRI APR 2

180 DEGREES Sexy Friday night

every Friday ARTERY Keristan Vaughan CD Release AVENUE THEATRE Light Travels, guests; 8pm (door); no minors; $10 Friday April 2 2010 BLUE CHAIR CAFÉ closed for Good Friday BLUES ON WHYTE Wild T and the Spirit BRIXX BAR Think About Life, Hot Panda; 9pm (door); $10 at TicketMaster, Blackbyrd CARROT Live music Fridays: all ages; 7:30-9:30pm; $5 (door) CASINO EDMONTON Madison Drive (Pop/Rock) April 2 & 3 CASINO YELLOWHEAD

Blackboard Jungle (Pop/Rock) April 2 & 3 CENTURY CASINO Ryan Pelton is Elvis (incl buffet dinner); $49.95 COAST TO COAST Open Stage every Friday; 9:30pm CROWN AND ANCHOR PUB

Slowburn; 9:30pm

THE DRUID IRISH PUB Live

music with Darrell Barr; 5:308:30; DJ at 9pm DV8 Maxxed Out, Bannister Effect; 9pm EDDIE SHORTS System Shit; Messiahlator and Godawful;

ENCORE CLUB 4 Play Fridays FRESH START CAFÉ Live music

Fridays: 7-10pm; $7

HAVEN SOCIAL CLUB The

Consonance With Special Guests

HYDEAWAY The Maddigans

CD Relase

IRISH CLUB Jam session; 8pm;

no cover

IVORY CLUB Duelling piano

show with Jesse, Shane, Tiffany and Erik and guests

JEKYLL AND HYDE PUB Every

Friday: Headwind (classic pop/ rock); 9pm; no cover LEVA CAPPUCCINO BAR Live music every Friday NEW CITY SUBURBS '80s Metal Danceparty: with Nazz Nomad, Peter Ewashko, Dervish NORWOOD LEGION

11150-82 St, 780.436.1554 Uptown Folk Club/U22: Folk–The Next Generation: Kayla Patrick, Jonathan Drachenburg, the Command Sisters; 7:30pm; $12 ON THE ROCKS Ratt Poison PAWN SHOP The Devil Makes Three, guests; $10 (door) RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm2am STARLITE ROOM Brother Ali, Fashawn, BK-One; 8pm (door); $18 at TicketMaster, Blackbyrd STEEPS�Old Glenora Live Music Fridays: Pat and Tom Keenan: Bros Before Hosers Prairie Tour; 8:30-10:30pm WILD WEST SALOON Coleen Rae YARDBIRD SUITE Carlos del Junco and the Blues Mongrels

Classical WINSPEAR CENTRE Pro Coro: Good Friday at the Winspear, Brahms Requiem, Jeremy Spurgeon and Roger Admiral (pianos), Richard Sparks (conductor); 7:30pm; tickets at Winspear box office

DJs AZUCAR PICANTE Every Friday:

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

32 // MUSIC

VUEWEEKLY // APR 1 – APR 7, 2010

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 NORWOOD LEGION 11150-82 St, 780.436.1554 NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766

ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 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

PREVUE // DILLINGER ESCAPE PLAN

Just do it From Facebook to Twitter, Dillinger Escape Plan stays involved Mike Angus // mikeangus@vueweekly.com

I

n the 15 years of the band's existence, math-core work horse Dillinger Escape Plan has seen the rise and decline of the record industry, some of its closest peers and mentors, but also the rise of an Internet-inspired DIYera of music business. Despite being immersed in this sea of changes, plus personal growth and member changes, the reasons for DEP's durability, according to frontman Greg Puciato, has been the band's uncompromising work ethic and hands-on approach to running things as it sees fit. Reflecting back on the band's journey over the last decade and a half, Puciato dissects the process thoughtfully. "We recently tried to assess this question ourselves. There are so many intangible things that [change], and they happen so slowly and gradually, that it's like evolution: you can only see evolution in the fossil record," he notes. "Obviously there are certain markers: the industry is in a different place, the scene, our personal lives, but it's really tough to pinpoint the causes." Case in point: how did a band that started out playing basement shows end up on the lineup for both the Van's 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 BOOTS Retro Disco: retro dance BUDDY’S DJ Arrow Chaser; 8pm; no cover before 10pm CENTURY ROOM 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 Freakin Frenzy Fridays: Playing the best in country FUNKY BUDDHA�Whyte Ave

Top tracks, rock, retro with DJ Damian GAS PUMP Top 40/dance 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 bar for the queer community to open in a decade with DJ's Alexx Brown and Eddie Toonflash; 9pm (door); $5 www.playnightclub.ca REDNEX DJ Gravy from the Source 98.5 RED STAR Movin’ on Up

Warped tour and Coachella? Fresh off the release of its fourth album, Option Paralysis, the band is happily "on the radar" of collaborators like Trent Reznor and Mike Patton, yet it still has basement shows scheduled for its upcoming tour. This is clearly a group that has achieved its success one show at a time, and continues to honour those roots. "It's like the theory of compound interest," Puciato explains. "In the early stages it seams like nothing, but one day you realize you've got a million dollars. It's the same with being a band: when you do something long enough, you become known for a certain thing," he admits matter-of-factly. "We've never had a giant spike—it's always been a slow snowball. "The only thing I can attribute it to," he adds, "is that we've just been doing it for so long without compromising our vision that people are eventually going to take notice." Option Paralysis comes at the end of two chaotic years for the band. A handful of member changes and a shakeup at its record label Relapse could have easily meant the end of the road for DEP; instead, the band stayed the course, started its own label, Partysmasher, and found the right fit

Fridays: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson 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 STONEHOUSE PUB Top 40 with DJ Tysin TEMPLE Options Dark Alt Night; Greg Gory and Eddie Lunchpail; (door) 9pm; $5 WUNDERBAR Fridays with the Pony Girls, DJ Avinder and DJ Toma; no cover Y AFTERHOURS Foundation Fridays

SAT APR 3

180 DEGREES Dancehall and

Reggae night every Saturday

ALBERTA BEACH HOTEL Open

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

AXIS CAFÉ Vixen Voice Revue:

Poetry meets Music in a feisty all woman event; 8pm; $10

BLACK DOG FREEHOUSE

Hair of the Dog: live acoustic music; Every Sat; 4-6pm; no cover BLUE CHAIR CAFÉ Ron Rault Trio with Norm Bishop and Jan Randall; 8pm; $10 BLUES ON WHYTE Saturday Afternoon Jam; Wild T and the Spirit BRIXX BAR Ramblin Ambassadors, Rich Hope, The Benders; 9pm (door); $12 CARROT Open mic Saturdays; 7:30-10pm; free CASINO EDMONTON Madison Drive (Pop/Rock) CASINO YELLOWHEAD

Blackboard Jungle (Pop/Rock) COAST TO COAST Live bands every Saturday; 9:30pm CROWN AND ANCHOR PUB

Slowburn; 9:30pm 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 DV8 Punk Rock with The Piss Offs from Calgary, The Rotten; 9pm EARLY STAGE SALOON�Stony Plain Saturday Live Music EDDIE SHORTS Eamon

McGrath

EXPRESSIONZ CAFÉ Open stage every Sat, 12-6pm FESTIVAL PLACE Doug Andrew and The Circus in Flames; 7:30 pm: $18 HAVEN SOCIAL CLUB Whisker Kiss With Special Guests Yes Nice, The Balconies, and The Translators HILLTOP PUB Open stage/ mic Saturday: hosted by Sally's Krackers Sean Brewer; 3-5:30pm IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Saturday each month; $10 IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JAMMERS PUB Saturday open jam, 3-7:30pm; country/rock band 9pm-2am JEFFREY'S Billie Zizi and the Gypsy Jive (eclectic folk/jazz group); $15 L.B.’S PUB Molsons Saturday afternoon open 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 Ratt Poison OVERTIME Jamaoke: karaoke with a live band featuring Maple Tea PAWN SHOP Passanger Action, Black Mastif & AboutMusic QUEEN ALEXANDRA COMMUNITY HALL

10425 Universtiy Ave Northern Light Folk Club: Michael Jerome Brown; $18 at TIX on the Square; $20 (door) RED PIANO BAR Hottest dueling piano show featuring

with new drummer Billy Rymer. "Bill came in [to audition] and he was more impressive when he fucked up than the other people when they got it right, because of his confidence and energy, and we knew right away he was gonna be the guy," Puciato enthuses. "It actually ended up hitting some creative artery, because we wrote the entire record in a five-month block, which has never happened before." Now in their 30s and looking ahead, DEP are still investing heavily in what they call "sweat equity," something they've always done, notes Puciato. "People are shocked that we don't have a manager, that we're hands on with our booking agent, we do our own Facebook and Twitter, and I'm like, 'What do you mean? Why wouldn't we do that?' We didn't come from a point where we were some band that signed a record deal and had all these people wiping our ass for us," he charges. "We continue to operate like we're small and protective over this thing, even though I guess we're not that small any more." V Wed, Apr 7 (7 pm) Dillinger Escape Plan WITH Darkest Hour, Animals as Leaders Starlite Room, $22

the Red Piano Players; 9pm2am WILD WEST SALOON Coleen Rae YARDBIRD SUITE Carlos del Junco and the Blues Mongrels

DJs AZUCAR PICANTE Every Saturday: DJ Touch It, hosted by DJ Papi BLACK DOG FREEHOUSE

Saturday DJs on three levels. Main Floor: Menace Sessions: alt rock/electro/trash with Miss Mannered BUDDY'S DJ Earth Shiver 'n' Quake; 8pm; no cover before 10pm CENTURY ROOM Underground House every Saturday with DJ Nic-E EMPIRE BALLROOM Rock, hip hop, house, mash up ENCORE CLUB So Sweeeeet Saturdays 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 NEW CITY LIKWID LOUNGE

Punk Rawk Saturdays with Todd and Alex NEW CITY SUBURBS Black Polished Chrome Saturdays: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay PAWN SHOP SONiC Presents Live On Site! Anti-Club Saturdays: rock, indie, punk,

rock, dance, retro rock; 8pm (door) PLANET INDIGO�Jasper Ave

Suggestive Saturdays: breaks electro house with PI residents RED STAR Saturdays indie rock, hip hop, and electro with DJ Hot Philly and guests RENDEZVOUS Survival metal night SPORTSWORLD Roller Skating Disco Saturdays; 1pm-4:30pm and 7-10:30pm; sportsworld.ca STARLITE ROOM Dim Mak Easter Egg Hunt with Harvard Bass, Sound of Stereo and Congo Rock STOLLI’S ON WHYTE Top 40, R&B, house with People’s DJ TEMPLE Oh Snap!: Every Saturday, Cobra Commander and guests with Degree, Cobra Commander and Battery; 9pm (door); $5 (door) WUNDERBAR Featured DJ and local bands Y AFTERHOURS Release Saturday

SUN APR 4

BEER HUNTER�St Albert Open

stage/jam every Sunday; 2-6pm

BLACK DOG FREEHOUSE

WHO MADE WHO: The Rock Yf\ Jgdd J]kmjj][lagf L`] Maykings revive The Who The Dirty Dudes revive AC/DC; 10pm; Free BLUE PEAR RESTAURANT Jazz on the Side Sundays: Don Berner BLUE CHAIR CAFÉ Jamie Philp with Brett Miles; donations B�STREET BAR Acoustic-based 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 KeriLynne Zwicker, 4-7pm EDDIE SHORTS Ballgag;

APR 1 – APR 7, 2010 // VUEWEEKLY

MUSIC // 33

PREVUE // PASSENGER ACTION

European action

Passenger Action heads outta town—way outta town Bryan Birtles // bryan@vueweekly.com

W

hile spring means a time to buy a golf membership and wax water skis for many, Edmonton's Passenger Action is kicking the season off with an extensive tour of Europe. Over the course of 37 shows in 14 countries, the foursome—which includes Clay Shea, Shawn Moncreiff, Allan Harding and newest member Tristan Helgason— will bring its special brand of rock 'n' roll diplomacy to the people of the European Union. An invitation from the hardcore vets in This Is a Standoff sparked the decision to fly halfway around the world to play shows, but though the task might seem daunting to mere mortals, the members of Passenger Action are touring vets with plenty of experience and are unfazed by the trip's length or breadth. "We're going in total renegade style; we don't really know what to expect, but having toured Canada I know we all love to do it and I know we all thrive out there on the road," explains lead guitarist Allan Harding. "After a few weeks you get that real gang mentalChaingang JEKYLL AND HYDE'S� HYDEAWAY Sunday Night

Songwriter's Stage: hosted by Rhea March J AND R BAR Open jam/stage every Sunday hosted by Me Next and the Have-Nots; 3-7pm 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 Ratt Poison ORLANDO'S 2 PUB Sundays Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm REXALL PLACE John Mayer, Michael Franti, Spearhead; all ages; 7pm (door), 8pm (show); $40.50, $66, $86 at TicketMaster April 4 SECOND CUP�Mountain Equipment Co-op Live music

every Sunday; 2-4pm

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

34 // MUSIC

ity where you'd do anything for each other and nothing can get in your way. I think we'll just take that over there and try and have fun." The past year has been an eventful one for the band; in addition to heading out on tour with both Moneen and Propaghandi, Passenger Action had to deal with a lineup shake up as Edmonton music-scene mainstay Ryan Podlubny—affectionately known as "Pud"—decided to leave the band to pursue an education. Instead of replacing him with a new guitarist, however, Harding moved from drums to guitar and Tristan Helgeson—or T-Bag—of the now-defunct Regina-based band Ghosts of Modern Man came in. "T-Bag is just all about drums, and since he was 13 he was going to [Moncrieff and Shea's former band] Choke shows and he's been friends with Sean and Clay forever. He's come on tour with us just to get in a van, just for fun—he's a legitimate friend of ours," explains Harding of the genesis of the idea. "When Pud left we didn't even hesitate, we didn't even discuss any other options. It was like, 'Well, I'll move to guitar and we'll get T-Bag,'

MON APR 5 BLACK DOG FREEHOUSE

Sleeman Mondays: live music monthly; no cover BLUES ON WHYTE Sam Cockrell DEVANEY'S IRISH PUB Open stage Mondays with Ido Vander Laan and Scott Cook; 8-12 DV8 Psychobilly, The Phantom Creeps, Smokestack Jacks NEW CITY This Will Hurt you Mondays: Johnny Neck and his Job present mystery musical guests PLEASANTVIEW COMMUNITY HALL Acoustic instrumental

old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm PROHIBITION Chicka-DeeJay Monday Night: Soul, R&B, British Invasion, Ska, Rocksteady, and more with Michael Rault REXALL PLACE Samantha King; 7:30pm ROSE BOWL/ROUGE LOUNGE

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

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; 9pm FILTHY MCNASTY'S Metal Mondays: with DJ S.W.A.G. FLUID LOUNGE Mondays Mixer LUCKY 13 Industry Night with DJ Chad Cook every Monday NEW CITY LIKWID LOUNGE

Daniel and Fowler (eclectic tunes)

TUE APR 6 BLUES ON WHYTE Sam

Cockrell

BRIXX BAR AND GRILL Lullabye

Arkestra, My Sister Ocean and Triple Exposure; 9 pm; $15 CROWN PUB Underground

VUEWEEKLY // APR 1 – APR 7, 2010

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 HAVEN SOCIAL CLUB Matthew Barber; 8pm 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 LIKWID LOUNGE

Every Tuesday open stage: Hosted by BenDisaster; 9pm O’BYRNE’S Celtic Jam with Shannon Johnson and friends OVERTIME Tuesday acoustic jam hosted by Robb Angus SECOND CUP�124 Street Open mic every Tuesday; 8-10pm SECOND CUP�Stanley Milner Library Open mic every

Tuesday; 7-9pm

SIDELINERS PUB Tuesday All

Star Jam with Alicia Tait and Rickey Sidecar; 8pm

SPORTSMAN'S LOUNGE

Open Stage hosted by Paul McGowan and Gina Cormier; every Tuesday, 8pm-midnight; no cover STEEPS�Old Glenora Every Tuesday Open Mic; 7:309:30pm YARDBIRD SUITE Tuesday Session: Craig Magill 70th Birthday Memorial Jam; 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

and that's exactly what we did." The shift wasn't too difficult for Helgeson—who, Harding says, was able to step in without missing a beat because of his familiarity with the songs—but Harding admits that it was odd to hear the songs he had helped write from a radically different perspective. "I was so familiar with them that I did just naturally know what to play but there is some getting used to playing your own songs that way—it's like you're in the ultimate cover band," he laughs. "The songs sound different to me, mostly because on drums I was much more aggressive. You're pounding, you're driving the rhythm, but Pud's guitar playing is a lot of texture and soundscapes and pedals and effects, so totally abandoning the rhythm section and going into this spacy thing made the songs completely different to me. It's definitely the most bizarre musical experience I've ever had." V Sat, Apr 3 (9 pm) Passenger Action With Black MastifF, About Music Pawn Shop, $10

RED STAR Tuesdays:

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

WED APR 7 BLACK DOG FREEHOUSE

Main Floor: Glitter Gulch Wednesdays: live music once a month BLUES ON WHYTE Sam Cockrell BRIXX Really Good… Eats and Beats: DJ Degree every Wed, Edmonton’s Bassline Community; 6pm (music); no [gn]j Oad\ Klqd] O]\3 )) he3 $5 (door) COPPERPOT RESTAURANT Live jazz every Wednesday night; Bob Tildesley; 6-9pm CROWN PUB Creative original Jam Wednesdays (no covers): hosted by Dan and Miguel; 9:30pm-12:30am EDDIE SHORTS Wednesday open stage, band oriented, hosted by Chuck Rainville; 9pm-1am FIDDLER'S ROOST Little Flower Open Stage Wednesdays with Brian Gregg; 8pm-12 HAVEN SOCIAL Open stage with Jonny Mac; 8:30pm; fg [gn]j =Yjdq k`go2 ;`jak Velann; 1% for the planet tour; 7pm LEVEL 2 LOUNGE Open mic NEW CITY Circ-O-RamaLicious: Gypsy and circus fusion spectaculars; last Wednesday every month OVERTIME Dueling pianos featuring The Ivory Club 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 The Dillinger

Escape Plan, Darkest Hour, Animals as Leaders; 8pm (door); $22 at TicketMaster, Blackbyrd, Unionevents.com STEEPS TEA LOUNGE�College Plaza Open mic every

Wednesday; hosted by Ernie Tersigni; 8pm

STEEPS TEA LOUNGE� Whyte Ave Open mic every

Wednesday; 8pm TEMPLE Wyld Style Wednesday: Live hip hop; $5

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 BUDDY'S DJ Dust 'n' Time; 9pm; no cover before 10pm DIESEL ULTRA LOUNGE Windup Wednesdays: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs 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

CRITICISM

<< CONTINUED FROM PAGE 30

performances by bands on its Pitchfork. tv platform (such as Nine Inch Nails) that its critics seem to be warming to (a strong review of The Slip). Even we here at Vue roll out a welcome mat to local and travelling bands with live, in-studio footage of musicians performing, then turn around and review their releases. Or is it all little different from a paper running an ad for an album they review or an interview with the band whose disc they judge the next day? For his part, Pemberton (who also writes monthly music and television columns—and album reviews—for Vue) prefers Pitchfork's expanded base and isn't so sure the site's personality hasn't unintentionally peer-pressured a lot of readers. "I think Pitchfork is a great news source, a good place to find about new music and arguably the highest quality music video network available with Pitchfork.tv, but I do not read the website for reviews. It's a good aggregator for music in general but I feel numerical ratings should be abolished," he says. "I think the reviews are too powerful and have subverted people's personal taste too strongly. People won't even download an album if it gets trashed by Pitchfork now—people are incapable of developing their own musical identities because this website comprehensively builds your persona for you." Kozub feels most fans are wise enough to tell when a critique is fair. "Music criticism is clearly something that is entirely subjective, and all we can hope for is that the critic's subjectivity is as well informed as possible. What I mean by this is that someone who knows nothing about electronic music or black metal should not be reviewing electronic music or black metal, because their subjective tastes within those styles are not well enough informed to really comment. It becomes quite obvious to a reader who is informed and well researched in their musical tastes." But Kozub's also noticed, from his onstage perspective, that "many reviews [of our releases] that have been way off base, obviously missing the point entirely—quite often to the point that it is clear that the album was not listened to beyond a very cursory scan.

"I only really see well-written, thoughtful criticism from experienced writers with a long-standing musical background," he adds, "often in long-established 'big' magazines, and in the odd, decidedly focused music blogs." Pemberton thinks, though, that music criticism's influence stretches beyond readers to the studio. "The relationship is unique now because music is becoming made in response to criticism for the first time," he says. "Historically, if somebody canned your record, the artist might strike back within the content of the next one or something. But now, music critics have more control than musicians. It seems as if people who make music are taking cues from the critics before they create the content that will eventually be criticized. People make an album with Pitchfork in mind. I think that's dangerous to the overall integrity and freedom of music." Although the relationship between creativity and criticism is teetering differently in the cyberplayground, musician and critic keep returning to the seesaw, one acting and the other reacting. "For all the talk about the death of music journalism—and certainly, as a longterm, salaried career option, the future is grim—musicians will always want to be written about," Berman says. "And I don't think the demand for music criticism will ever completely die; it may not be enough to sustain countless national glossy magazines like it did in the '90s, but there will be a handful of savvy publications (be they print or online) who will nurture and cultivate a loyal audience, in the same way some local indiemusic stores are thriving while the chain stores are dying." Frontman Kozub remains a reluctant reader. "When I do read a review of an album where the author understands the music, offers insight, or at the very least has actually listened closely and has formed a thorough opinion, I am surprised and grateful." Generally, he muses, "I really do find music criticism to be entirely frustrating to read, and not just when it is something that relates to a project I'm involved in. I suppose that in a way, though, I should be grateful to be at a level where anyone would care enough about the music I make to even comment publicly on whether it is worthwhile or stinky." V

April is Gibson Guitar Month at all Long & McQuade stores across Canada

NOW IT’S EASIER THAN EVER TO OWN A GIBSON! Ask our staff how, for a limited time, you can own the guitar of your dreams for as little as $18 bi-weekly. With every Gibson or Epiphone instrument purchase receive a Limited Edition Gibson t-shirt.

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10204 - 107th Ave., 780.423.4448 9219 - 28th Ave. NW, 780.432.0102 APR 1 – APR 7, 2010 // VUEWEEKLY

MUSIC // 35

36 // MUSIC

VUEWEEKLY // APR 1 – APR 7, 2010

COMMENT >> CASSETTES

Mixed with love Chances are you've tossed away a fortune, or a cassette, adding effects? Well that takes at least some solid beer money. You've done time and effort. There is a process, a ritual it. I've done it. Tossed away unused, stillthe mixtape maker needs to go through. It's sealed blank cassette tapes. After all, no one a commitment of time, of thought, and it's a wants them anymore: it's a dead technology. work of art. Side one may be the hard side, Go ahead. Plunk "blank cassette" into an while side two is the come-down side. eBay search. You'll find that sealed, highAnd cassettes don't allow for a blunder. On quality blank cassettes are worth a hell of a a digital mix, all the listener has to do is hit lot to a new generation of music fans who a skip button if she doesn't like the fact you want to revive the format. backed the Velvet Underground's "Heroin" I found a TDK sealed MA-XG 90 casinto the Reverend Horton Heat's "Bales sette (remember the high-quality of Cocaine." But fast-forwarding a "metal" tape?) selling for US$50 cassette takes work. It isn't easy on eBay. One cassette. Not a or convenient. So you have to pack eight. get the mix just right. .com A pack of 20 Maxell XLII-S I'm not trying to turn this into weekly e u v @ steven 60-minute tapes, was going for a High Fidelity-inspired rant, but, Steveonr when I was a teen, making a mixUS$130.50—it already had bids. d San And, you'll find a heck of a lot of tape for a girl was about the same lower-quality sealed tapes for three or as giving her a foot rub. There was no four bucks apiece. more obvious way to tell her "I don't know Just as the huge spikes in vinyl sales are how to say this in English class, but having showing that there's a portion of the public sex with you is on my mind all the time." that would rather have a physical product Don't know if the same can be said about than downloads, the sudden revival in cas- "check out this iPod mix." No time, no effort. settes is showing that there's another arm to And I guess I am not some old fogey pratthe rebellion against iPods. tling on about this. Judging by the massive The backlash had to come. Vinyl is easy to underground network of vintage blank-casexplain. Big packaging, and it's still the format sette resellers, a guy who now makes a mixwe think of when we look back at the history tape for a girl is not only pouring out his soul, of recorded music. No one ever got a gold he's not only spending a full evening dubbing cassette or a platinum iPod. the songs: he's probably spending about the For the person who wants to rebel against same amount of money he'd use on a real Apple and the iPod, or MP3s in general, the nice dinner. Or flowers. V cassette is a mighty format. It has become all too easy to burn CDs or make iPod play- Steven Sandor is a former editor-in-chief lists; you can make a mix without even re- of Vue Weekly, now an editor and author ally having to think it through. But dubbing living in Toronto.

ENTER

SAND

OR

APR 1 – APR 7, 2010 // VUEWEEKLY

MUSIC // 37

ALBUM REVIEWS

New Sounds

Love Is All Two Thousand and Ten Injuries (Polyvinyl Recording Co) 

DAVID BERRY // DAVID@VUEWEEKLY.COM

A

s the naïvely optimisitic name might imply, there is something refreshingly childlike in the way Love Is All makes music. Partly that manifests itself as a kind of happy tweeness— choruses that ring with harmonized "bah bah bah"s and music that resists hard edges in favour of bright, sunny hooks. But there's more to it than that: for starters, sonically they like to engage in a tuneful cacophony, angular, early'00s guitars smashing into a baseline, bottom-flirting rhythm section and frequently chaotic saxophone (an instrument the group uses well enough to make you question its relative dearth in pop music). And though Love Is All has the standard pretty-music obsession with love, it confronts it with a bluntness that is not exactly tactless but certainly unashamedly bold. All that's on evidence from the first song on the group's third full-length, Two Thousand and Ten Injuries. "Bigger, Bolder" opens with a cleaner version of the guitar line from "Last Nite," but it's quickly bouyed by saxaphone bleats and a bouncy bass, with a hint of classic electric organ by the time singer Josephine Olausson busts in with her sweetly snotty vocals. She vacillates

Hellsongs Hymns in the Key of 666 (Aporia) 

between lines that could work as the motto for the Sex Olympics—"Hotter, wetter / Larger, longer"—and a bald admission, "There's no sense in trying to make this smart / I simply hate every minute that we're apart," the music following the raw sexiness all the way. "Less Than Thrilled" ventures into more emotionally complex territory, Olausson running into an old flame that she dumped whose life has turned out just fine. With guitar flicking in the back, a playful bass and rising synth textures, Olausson tries to prove that she's grown, but her initial reluctant admission "I guess I'm glad you're OK," quickly turns, in the face of an attractive girlfriend, to the tempered-buttruthful "I didn't expect you to be here / And now I don't know what to say / I'm less than thrilled you're OK," the last line chanted in a call-and-response before the song abruptly ends. That two-minute burst stands as Two Thousand and Ten Injuries' highlight, but there are little gems sprinkled throughout. "Never Now"'s guitar flits around like a branch in the wind while Olausson pleads to "slow down, hit the brakes" like someone genuinely scared of ruining a good thing. "The Birds Were Singing With All Their Might" channels mid-career Talking Heads drums into a recollection of a fantastic day. "A Side in a Bed" is another highlight; sounding sort of like the xx on a sunny summer day, Olausson begins by sighing out a list of romantically specific wishes—a side in a bed, a place in somebody's head, her head resting on an arm—before crying out for them, joined by a chorus of "ah"s. It is not the most artful expression of such, but damned if "I want to be somebody's favourite / I have to be somebody's favourite" doesn't have a way of hitting your emotions right in the stomach. And again, it's that sort of emotional simplicity bumping up against freespirited music, that's much of Love Is All's charm. We maybe don't have a lot to learn from children, but acting like them every so often is an awfully nice catharsis. V

Gentle tapping holds a steady beat as a foreboding acoustic guitar enters the scene, ascending and descending again. Then, Harriet Ohlsson sings softly, "You'll take my life, I'll take yours too / You'll fire your musket but I'll run you through / So when you're waiting for the next attack / You'd better stand there's no turning back," reinterpreting Iron Maiden's "The Trooper" as something that creeps out of the shadows, burrowing beneath the skin. The next track finds Hellsongs turning Megadeth's "Symphony of Destruction" into something more rollicking than the original and the shift in mood seems out of place right after the opener. Elsewhere, though, the band nails its material, turning Twisted Sister's "We're Not Gonna Take It" into an inspiring folk number, while Black Sabbath's "Paranoid" finds a touch of hope buried inside a melancholy take. While it's debatable how long Hellsongs can keep up with its metal-gone-soft approach, the band has a solid album under its belt with Hymns in the Key of 666. (Hymns is actually a 2008 release just now seeing shelves in Canada, and in that time Ohlsson has left the band following, Pieces of Heaven, a Glimpse of Hell, an EP that also debuts the band's new vocalist, Siri Bergnéhr.)

EDEN MUNRO

// EDEN@VUEWEEKLY.COM

www.amia.ca

INFO SERIES

Building your career in the Music Industry

DEFINING SUCCESS Get the scoop from artists along the way! Tuesday, April 6, 2010 The Hydeaway 10209-100 Ave. Doors 6:00, Session 7:00

GUEST PANELISTS: Andrew Usenik Ten Second Epic

Logan Jacobs Social Code

Alfie Zappacosta All ages, ID required if 18+ Members - Free Non Members - $5.00 For more information on this, or other upcoming events, contact the Alberta Music Industry Association at 780.428.3372 or www.amia.ca

38 // MUSIC

VUEWEEKLY // APR 1 – APR 7, 2010

Making it in the Business Ad - April 6.indd 13/29/2010 11:56:45 AM

Frightened Rabbit The Winter of Mixed Drinks (Fat Cat) ď‚Ťď‚Ťď‚Ť As you might expect from a bunch of glass-half-empty Glaswegians making wall-of-sound anthems for last call, Frightened Rabbit has put a bit too much of a good thing into The Winter of Mixed Drinks. Heavy layers of shoegaze guitars match bittersweet, anthemic ‘Oh whoa oh oh oh’ choruses, on almost every track. As a whole they lose some power—one anthem after another kind of makes them all blur together, as does the arena-sized production—but individually, the songs on The Winter of Mixed Drinks put a sing-able updraft on melancholy sentiments. Paul Blinov

// PAUL@vueweekly.com

Sharon Jones & the Dap-Kings I Learned the Hard Way (Daptone)  If the album's title track is to be believed—"I learned the hard way / That your love is cruel"— Sharon Jones is on a first-name basis with bad times, and it shows in the 12 songs on this album. Vocally Jones kills it from end to end here, but what really lights the fire on the record is the musical contribution—it can hardly be called backing, given just how essential the many subtleties are—from the DapKings. The mix is alive and kicking, with every instrument finding its own little place, pushing up against the others and then pulling back. This soul is as good as it gets, and that's pretty damn good. Eden Munro

// eden@vueweekly.com

Happy Birthday Happy Birthday (Sub Pop) ď‚Ťď‚Ťď‚Ť Happy Birthday frolics in the juvenile genius of the ‘90s lo-fi alt-rock scene: scratchy, snarky basement recordings of whatever ideas hit the four-track first, almost all of which—on this album—are welldeveloped beneath their ramshackle production. Prince-style harmonies ring out over gritty rock ‘n’ roll shouts and messy guitar riffs, making for a gloriously hazy mess of fun; even the more heartfelt teenage lyrics get delivered with knowing, audible grins each time. Happy Birthday’s perhaps best encapsulated in “Maxine the Teenage Eskimo,â€? a harmonized, bittersweet ode to the girl who everybody wants, but nobody can have, and who “Stays out late with the wolf pack.â€? It’s kind of silly but kind of sincere too, and Happy Birthday reminds you that marrying the two can actually work quite nicely. Paul Blinov

ALBUM REVIEWS Madvillain Madvillainy (Stones Throw)

verses sometimes his jaw twitches; sometimes he rhymes quick, sometimes he rhyme slow. His flow is drowned in Originally released: 2004 Lowry seasoning, but with m o .c ly k e vuewe the microphone he's sound Not to take anything away david@ and right reasoning. from Madlib—his work here Davidy Sometimes he sounds like is so butter you need to peep Berr he's on a fast track to half inthe slow cutter, and the comsane, but it's not bination of him terribly hard to and DOOM has figure out why. more soul than Wild guess? You a sock with a could say he stay hole—but for sedated. DOOM me Madvillainy is known to is basically a smoke a whole Wild Westmountain of style fest for hash to the ash. MF DOOM. The But while it acmetal-faced Vilcounts for some lain's got more of the rapid-fire lyrics than the mixed imagery, church's got it also helps the "Ooh Lords"; collaboration: when he has the beat conthe mic it's like ductor smokes the place gets MAD STYLES >> DOOM does it all here twenty-four/seven, too, and being the all "Ah yeah!," and even his collaboramost blunted on the map puts them on tors elevate their lyrical game. I could the same wavelength. DOOM can flip probably waste the entire review just it like Mad Lib does the old jazz stanquoting my favourite lyrics, and it dard, and the result is more than simwould hardly come sloppy on a reply smashing in a fashion that's timely: tarded hard copy. DOOM—just remember all caps Madvillain is dashing in a beat/rhyme crime spree. when you spell the man's name—has Granted, this might mean Madvillainy got a breadwinner style to give an inner isn't for everyone. It might take a few child a thinner smile. The Villain's been minutes to convince the average bug-aspitting enough lightning to rock shock the Boogie Down to Brighton. He's no boo. DOOM can get offsides like how Worf rides with Starfleet—a lot of left back now-schooler trying to sound bitches think he's overly chauvinistic. cooler: on the microphone he's known But looky here, it's just the way the as the crown ruler. Just off the refercookie tear: play it in your stereo and ences in lead song "Accordian" alone, I your crew'll go apeshit. mean, egads, he's got enough styles to Basically, he's truly the worsest, with start three fads. enough rhymes to spread throughout After an uncharacteristic four-year the boundless universes; DOOM on break after Operation: Doomsday, the microphone is known as the crown DOOM got back in the game like Jack ruler. He's the best, and any who proLalanne with his two Viktor Vaughan fess will be remanded. I almost don't releases, MM.. Food and this collaborathink we can handle a style so rancid. tion, which did a lot to establish him as Yeah, y'all, you could say its an earful. one of the decade's best MCs, though But that which is perfect is finished. The ever since he was a minor kids considperfect man is no exception to the rule. ered him some kind of Einstein. His is Just don't let him find out who tried to a hard style to pin down, but basically bite: they're better off going to fly a kite he's so nasty that it's probably somein a firefight. V what of a travesty. He spits so many

HAIKU Dino Dominelli Faith In You (Independent) Easy listening jazz Covering Cyndi Lauper Elevator smooth

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The Sheepdogs "Learn & Burn" (Independent)

Saskatoon hippies Like a road trip to Woodstock In a hot-box bus

Usher Raymond v Raymond (Sony)

Lifehouse Smoke & Mirrors (Geffen)

Usher looks inward Living, laughing, learning and Of course still boning

Big hit in '01 Still hanging by that moment Now Daughtry's here too

Artist vs Poet Favorite Fix (Fearless)

Drink Up Buttercup Born and Thrown on a Hook (Yep Roc)

Stop the violence! Artist vs poet means Everyone loses

Drink up buttercup Beatles vocals survive love With some Sabbath bass

// paul@vueweekly.com

APR 1 – APR 7, 2010 // VUEWEEKLY

MUSIC // 39

PREVUE // MICHELLE BOUDREAU

Sharing the light

Michelle Boudreau handpicked the performers for Vixen Voices Mike Angus // mikeangus@vueweekly.com

A

s a singer-songwriter, poet, mother and avid gardner, Edmonton-born Michelle Boudreau has surrounded herself with her life's passions. Now living in Lacombe with her husband, poet and spoken-word artist Jadon Rempel, Boudreau is currently working on a new album, while in the meantime organizing Vixen Voices Revue, an evening of fiery female music and spoken-word performers. Since taking some time away from music to focus on raising her two children, Boudreau has since returned with a new energy and focus, surrounding herself this time with some of her favourite fellow female artists for the Revue: singer songwriter Jasmine Whenham and poets Laurie Macfayden and Mary Pinkoski of Raving Poets. "I wanted to have an opportunity to share the stage with them," she explains of the handpicked line-up. "Also, I tried to find as much fire behind a person as possible. It's going to be a very energetic night. Jasmine's just an amazing musician. Mary Pinkoski is really a very exciting poet, she does a lot of energetic spoken word poetry. Laurie Macfayden has a lot of strong, dark work, but she's just an incredible writer. There's a really nice variety between the music and the writing."

VUETUBE // Michelle Boudreau // VUEWEEKLY.COM

WRITE WHAT YOU KNOW >> Michelle Boudreau is transforming her experiences in northern Alberta into a 10-song album // Eden Munro Meanwhile, Boudreau and Rempel will continue to work on a new album already five years in the making, about the couple's time spent in northern Alberta and Canada while touring and working. "The new album is going to be huge," Boudreau extols. "It's going to be based on northern Canada and Alberta. It's called Northern Cantos, a 10 song CD comprised of original material, written by myself and my husband Jadon Rempel. "Both Jadon and I have been travelling up north, playing Fort McMurray and Yellowknife, and we got to meet a lot of people first hand, and get a lot of stories and experiences," she explains. "We discovered it's a place of beauty and horror, a

modern-day Deadwood. It's been through its gold rush, the boom and the bust. It's so worthy of writing about—all of Canada needs to know about this. "I think with everything we've seen over the last couple of years with the bust, I think that it's about time that people can start listening to the art that was produced from that time up north, the happy and the sad." V

ply be like red jello from a possum—with no superhero costume, and no marshmallows, gumdrops or chocolate kisses.

enjoys as she's preparing for a runway show. That means getting five stylists to work for hours every day perfecting every aspect of your physical appearance. Please make sure they apply no less than 20 layers of makeup to your butt. APRIL FOOL! I lied. The omens say this is not a good time to obsess on your outer beauty. They do suggest, however, that attending to your inner beauty would be smart. So please do the equivalent of getting 20 layers of makeup applied to your soul's butt.

Sat, Apr 3 (8 pm) Michelle Boudreau With Jasmine Whenham, Laurie Macfayden, Mary Pinkoski Axis Café, $10

HOROSCOPE ARIES (Mar 21 – Apr 19)

are thought to be haunted by supernatural I'm worried about your ability to sneak entities. One commercial for the show urges and fake and dissemble. These skills seem us, the viewers, to "Get fluent in fear!" That to have atrophied in you. To quote Homer exhortation happens to be perfect advice Simpson, "You couldn't fool your own for you, Gemini. APRIL FOOL! I lied. This is mother on the foolingest day of your life not at all a good time for you to get fluent in with an electrified fooling machine!" Please, fear. But more than that. It's actually a moAries, jump back into the game-playing, BS- mentous time to get un-fluent in fear. You dispensing routine the rest of us are have an unprecedented opportunity to caught up in. APRIL FOOL! Everystop casually exposing yourself to thing I just said was a filthy lie. anxiety-inducing influences. You In fact, I admire the candor and Y have amazing power to shut straightforwardness you've OLOG m down that place in your imagiR T S .co been cultivating. My only cri- A nation where you generate your weekly l@vue freewil tique is that maybe you could scary fantasies. The conquest of Rob y your fears could be at hand! take some of the edge off it. Try ezsn r B telling the raw truth with more relaxed grace. CANCER (Jun 21 – Jul 22) Your gambling chakra is conspiring with TAURUS (Apr 20 – May 20) your inner roughneck to pull a fast one on You'll probably dream of falling off a cliff, your dignity chakra and your inner wuss. If or plunging out of a hot-air balloon, or they get away with their scheme you may skydiving without a parachute. I'm very find yourself having ridiculous yet holy fun disappointed in your unconscious mind's in high places. And I wouldn't be surprised decision to expose yourself to such un- if in the course of these hijinks, your spirit pleasant experiences, even if they are pre- guides channeled some holistic karma into tend. APRIL FOOL! I told you a half-truth. the part of your psychic anatomy that we While it is likely that you will dream of div- in the consciousness business call your ing off a mountain-top or tumbling out of "spiritual orgy button." APRIL FOOL! Sorry a hot-air balloon or flying through the big if that sounded a bit esoteric. I was invoksky without a parachute, your unconscious ing some faux shamanic jargon in the hope mind has arranged it so that you will land of bypassing your rational mind and tricksoftly and safely in a giant pile of foam pad- ing you into experiencing a fizzy, buoyant ding and feathers next to a waterfall whose altered state, which would be an excellent roaring flow is singing your name. Despite tonic for both your mental and physical the apparent inconvenience in the first part health. of the dream, you will be taken care of by the end. LEO (Jul 23 – Aug 22) "I eat pressure for breakfast," says Leo-born GEMINI (May 21 – Jun 20) James Cameron, director of Avatar and TiOn the Ghost Hunters TV program, para- tanic, the two highest grossing films ever normal researchers investigate places that made. Like many in your tribe, he has a very

FREEW

ILL

40 // BACK

high opinion of himself. "Anybody can be a father or a husband," he told his fourth wife Linda Hamilton. "There are only five people in the world who can do what I do, and I'm going for that." He's your role model. APRIL FOOL! I lied. While I do urge you to focus intensely on the quality or talent that's most special about you, I strongly discourage you from neglecting your more ordinary roles. In Cameron's case, I'd advise him to start working on his next fantastic project but also spiff up his skills as a husband and father.

VIRGO (Aug 23 – Sep 22)

Do NOT, under any circumstances, express your anger at the mainstream media by taking a baseball bat into a superstore full of electronic gear and smashing 32 TV sets. Keep it to a minimum of 15 sets, please! APRIL FOOL! I lied. I definitely don't recommend that you smash any TVs with a baseball bat. However, you do have permission to bash and smash things in your imagination. In fact I encourage it. Engaging in a fantasy of breaking inanimate objects that symbolize what oppresses you will shatter a certain mental block that desperately needs shattering.

LIBRA (Sep 23 – Oct 22)

As I studied your astrological data, a curious vision popped into my mind's eye. I saw a scene of a perky possum in a superhero costume giving you a tray of red Jell-O covered with marshmallows, gumdrops and chocolate kisses. And I knew immediately that it was a prime metaphor for your destiny right now. APRIL FOOL! I lied, sort of. Your imminent future may feature an unlikely offering from an unexpected source, but that offering will sim-

VUEWEEKLY // APR 1 – APR 7, 2010

SCORPIO (Oct 23 – Nov 21)

I sincerely hope that 2010 will be the year you stop worshiping Satan for good. Luckily, the coming weeks will be an excellent time to get that worthy project in gear. Despite the odd pleasures your twisted devotion to the Evil One seems to bring you, it actually undermines your ability to get what you want. The ironic fact of the matter is that pure unrepentant selfishness— the kind that Satan celebrates—is the worst possible way to achieve your selfish goals. APRIL FOOL! I know you don't really worship Satan. I was just hoping to jolt you into considering my real desire for you, which is to achieve your selfish goals by cultivating more unselfishness.

SAGITTARIUS (Nov 22 – Dec 21)

According to Uncyclopedia.com, Riding the Snake is a book co-authored by Oscar Wilde and Jesus Christ in 1429 BC. If you can find a copy, I strongly suggest you read it. You could really use some help in taming the unruly kundalini that has been whipping you around. APRIL FOOL! I lied. There is no such ancient book. But that doesn't change the fact that you'd really benefit from getting more control over your instinctual energy. I'd love to see your libidinous power be more thoroughly harnessed in behalf of your creative expression.

CAPRICORN (Dec 22 – Jan 19)

Supermodel Selita Ebanks is your role model. In accordance with the astrological omens, I recommend that you arrange for the kind of special treatment she

AQUARIUS (Jan 20 – Feb 18)

Would it be a wise idea for you to stage your own kidnapping and demand ransom money for your release? Should you appear on a reality TV show that will expose your intimate secrets to millions of viewers? APRIL FOOL! The questions I just posed were terrible! They were irrelevant to the destiny you should be shaping for yourself. But they were provocative, and may therefore be the nudge you need to get smarter about formulating your choices. It has never been more important than it is right now for you to ask yourself good questions.

PISCES (Feb 19 – Mar 20)

It's an excellent time to demonstrate how strong and brave and indomitable you are. I suggest you carry out some heroic feat, like lying on a bed of nails while someone puts heavy concrete blocks all over your body. APRIL FOOL! What I just said is only half true. While it's an excellent time to prove your mettle, there are far more constructive ways to do it. For example, you could try shaking off a bad influence that chronically saps your energy. V

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EDMONTON PRIME TIMERS (EPT) MfalYjaYf

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APR 1 – APR 7, 2010 // VUEWEEKLY

BACK // 41

COMMENT >> LBGT

Radicalizing food In the film Vital Signs: Crip Culture Talks of real burgers, thereby miming the idea of Back, disability theorist Harvey Hahn sug- "original" bodies and genders. Or, as David gests that fast food is the official food of Mehnert suggests in a Slate article, tofu disability culture, owing to the inacces- dogs are queer because they're trying to sibility of many "sit-down" eateries. We "pass"—an act of "drag!" And, much queer can take Hahn's hyperbole with a grain rhetoric reads like a grocery list: Twinkies. of salt, but he raises an interesting Ding-Dongs and Sno-Balls. Trix and question for radical fractions of teabags. Meatless wieners, varisubcultural communities: if a ous tacos, bearded clams and common gastronomic lifestyle fudge all packed up for tomoris part of what makes a culture row, next to the cigarettes and m o .c ly k e vuewe hang together, how might we chocolate milk. These are just a lucas@ reckon with the delicious quescouple ways that metaphorical Lucas rd food saturates queer lexicons. tion of what might constitute Crawfo "queer food?" The veritable pantheon of gay chefs We can imagine some easy answers that on television is another gauge, from Elizamight offer a queer punch of kitsch. Hot- beth Falkner to Cat Cora and Anita Lo. (And dogs, sausage, zucchini and other ostensi- who wouldn't be gay for the chocolate soup bly phallic foods operate on our collective dumplings she serves at Rickshaw?) queer unconscious. Brunch straddles catBut, as the song goes, is that all there is? egories, calling into question all binary sysThe concept of "decadence" evokes a tems. McDonald's burgers are a simulacrum more interesting answer, as the word—

EERN Q UN TO MO

CLASSIFIEDS

Smaller Than A Breadbox Exhibit: no piece larger than 3"x3"x6"; Works Festival: June 25-July 7; deadline: Mon, May 1; info at theworks.ab.ca

HELP WANTED

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

Display/sell work, and/or facilitate an art workshop at the Heart of the City Festival, June 5 & 6. E: rambow.anna@gmail.com

ARTIST TO ARTIST

Learn to Act for the Camera with the Best! L.A. Director Tom Logan. In Edmonton May 7, 8, & 9 Call to register (780) 975.7022 www.tomlogan.com

ʸ ʸ ʸ ʸ ʸ ʸ ʸ ʸ ARTIST/NON PROFIT CLASSIFIEDS Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing. Free ads must be submitted in writing, in person or by fax. Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m office@ vueweekly.com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space The Allied Arts Council of Spruce Grove welcomes all Alberta Artists to submit a proposal as a Feature Artist for a solo or group show to be held at the Spruce Grove Art Gallery. The deadline for submission is June 30, 2010. For more information call (780) 962-0664 or go on our website: www. alliedartscouncil.com

42 // BACK

Musicalmania! is looking for strong, preferably older, tenor for production at Arden Theatre in Apr. Paid position. 780.460.2937

Male swing dancer seeks to practice West Coast Swing. tdickins@ualberta.ca

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

FILM AND TV ACTING Learn from pro's how to act in Film and TV Full-time training. 1.866.231.8232 www.vadastudios.com

Models wanted, strong faces needed for photography portrait series. Free photographs b/w, colour given to models. contact@gerryyaum.com, gerryyaum.blogspot.com

Influx Jewellery Gallery, 2nd Fl, Art Central; T: 403.266.7527; E: info@influxgallery.com; Deadline: Apr 6

MUSICAL INSTRUCTION

EDUCATIONAL

What foods might help? Recently, I sat alone in an experimental restaurant on New York's lower east side. From peanut butter pasta to cuttlefish with rootbeer gelee, and from pine needle udon to bagel-flavoured ice cream, this eatery redefines what is appropriate to put in our mouths. I ate a 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

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

BUSINESS OPPORTUNITIES

literally meaning deterioration or decay— refers both to food and to a period of artistic production, largely associated with late 19th-century Europe. Through Oscar Wilde, the meanings are more obviously linked: an interest in arts and culture, pleasure and a certain focus on personal style comes to stand in as a sign of "degeneracy" itself—a concept that was basically synonymous with "homosexual." "Decadent" art—to oversimplify—was concerned with artifice instead of nature, sensual experience instead of discipline, and experimentation. Queering food, then, might mean thinking through our history as a community that practices various politics of excess and took pride in our hard-won capacities for pleasure—not for discipline and assimilation.

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 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

VUEWEEKLY // APR 1 – APR 7, 2010

melon-sized portion of ice cream, which had been aerated, blown up, tenfold. My mouth was confused, as what felt like ice cream in the space of my mouth didn't obey that dessert's usual temporality, filling my mouth but melting to nothing before my tongue knew it. I became more and more aware that "eating habits" isn't just a utilitarian phrase. On a queerer register, it can also refer to the complex choreographies of food, from how our tongues get trained, to how our lips know when and why to move. Attribute that interpretation to my happiness upon finding a spot and a snack in a city where a fat tranny eating alone while grinning isn't worth ogling. Or perhaps to a hot first date and kiss I count myself lucky and charmed to have shared in Madison Park just before dinner. Either way, I left the restaurant thinking about how mouths work and feeling sad that the wide world of taste is so tamed in our fat-phobic culture. I wondered about the role our experiences of food have to play in queering the body and in puncturing the banality of our everyday habits of body docility. Perhaps that

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 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 WANTED: JAMMERS for open public monthly jam on the 2nd Sun of the month at 9119128A Ave. Rock, country & old time music. Ph. 780.973.5593, randyglen@JumpUpDj.com

last phrase might serve as a provisional, if rather open, definition of how we might think about queer food as that which disrupts the myriad practices and ideas our bodies have learned to take for granted. With the rigorous link our culture makes between food hyper-discipline and morality consider queer writer Eve Kosofsky Sedgwick's reminder that a woman in our culture who says that she's "good" is most likely talking about obeying a diet—the stakes of considering food in new and radical ways is crucial. Many decades after Wilde's post-imprisonment death, anti-queer morality is still summed up and thrown around in gastronomic metaphors of tastelessness and of being in poor taste. Somewhere between our legacies of being decadent cultural tastemakers and the current rush to make pride celebrations (for instance) "tasteful," we will find ways to keep being tasteless in all the right ways. How will food help us be insatiable rather than content with the status quo—radical rather than yoptimal? V

ADVICE >> SEX

Lusty spring fever

Dear Andrea: from our smaller, furrier cousins at our peril. It's spring! Even though I live in California It doesn't take a modern laboratory to note where winter isn't really so bad, it's excit- that mammals and most other creatures, not ing when spring comes. I mean literto mention the entire plant kingdom ally exciting, as in, it makes me (and honestly I just don't know very horny. All winter I was like "Eh, much about fungi) respond to the dating" and now I'm all like lengthening days and the return "OMG boys! Lemme at them." of the sun by, depending on m o .c ly k e vuewe This happens every year, physiology, sprouting, producaltsex@ whether I have a boyfriend or Andresaon ing warm juicy sap, nest-building not. Right now I don't, which and/or taking off their clothes. Nemer makes it worse. I know everyone That's what spring is for. talks about spring fever and it's hardly We may not like to think of ourselves just me being weird, but is there something as programmed to quite the degree of, say, that actually happens to our brains in the the famous Siberian hamsters who were spring? Are there spring hormones? found to have libidos entirely regulated I'm a girl, by the way. by the cutely-named neuropeptide kissLove, peptin, production of which simply shuts Spring Fever off in the winter. But we kind of are. Obviously, we also respond to things like warm Dear Feev: sun on our shoulders, longer afternoons Indeed there are, at least among the smaller, in which to take leisurely runs and build furrier mammals, and we separate ourselves up sleek sexy muscle and vital endurance,

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and the relative naked-osity of our fellow humans as they shed bulky coats and long, wooly trousers in favour of of warm, visible, touchable, responsive skin. It's skin season, baby. If you think about it, springtime isn't actually mating season for most creatures. Spring is for gamboling little lambsies, conceived in the fall and born once the worst of winter's privations have passed. What peaks in the spring, it seems, is energy. Being humans, what we do with all that energy is pretty much up to us. "We may have more energy in springtime, but it won't necessarily play itself out in the bedroom," say Michael Smolensky, a researcher quoted in a WebMD article I pulled up, "When we look at couples who have kept diaries of sexual encounters and single males who have kept their own data, sexual activity is really rather low in the spring. The peak is in the fall." Testosterone levels peak in summer and autumn, say Smolensky, not in springtime. "More women conceive in late summer and early autumn than in spring," he says. He also

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mentions that more people are diagnosed with STDs in the fall and early winter. No, you're not the only one who noticed that women's levels of desire and sexual activity are missing from the testosterone-peak explanation. It's possible that our own testosterone levels are also season-driven, but I don't know if anyone's looked into that. Another article, this one from Scientific American references something else I found really interesting: historical shifts in seasonal sexiness patterns. Historically there have been more births in the spring. In the late 16th century birth rates typically spiked to 20 percent above the average in March—meaning the babies were conceived in June—but over the past 400 years rates have flattened to about 10 percent above the average, according to research done by David Lam at the University of Michigan's Population Studies Centre in Ann Arbor. So perhaps we came to think of spring as particularly feverish during a time in our history when we really were doing a lot of our mooning and spooning in June.

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So here's what I think: yes, our hormones and neurowhatses do respond to the seasons as they go round and round. We are still tied to this planet and its rhythms, as well we should be. Increased energy and optimism plus being outside more, where other people are also feeling happier and healthier, makes everyone feel hornier. If you live anywhere with a proper summer, you'll want to get your oats sown now, though, because the same research finds that we start to feel sluggish again as soon as it gets much over room temperature out there. Maybe we are all meant to live in San Diego, or in shopping malls. But I don't think so. And now I have Julie Andrews singing "The Lusty Month of May" stuck in my head ("That lovely month when ev'ryone goes blissfully astray"). If there is anything less sexy than Julie Andrews singing Lerner and Loewe I can't think of it right now. But I'm quite certain that should you venture out now in a cute outfit and kicky new sandals and gambol about like a little lambsy divey, you will find some takers. Love, Andrea

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