Vue Weekly Issue 755 Apr 8 - 15 2010 by Vue Weekly

BALLOT ON PAGE 14

2 // UP FRONT

VUEWEEKLY // APR 8 – APR 14, 2010

INSIDE

COVER

#755 • Apr 8 – Apr 14, 2010

UP FRONT // 4/ 4 5 6 8 9 9

Vuepoint Issues ZeitGeist Dyer Straight In the Box Bob the Angry Flower

DISH // 11/ 12 Veni, Vidi, Vino

ARTS // 21/ 23 Hopscotch

FILM // 33 36 DVD Detective 38 He Watch Channel Zero

MUSIC // 39/ 42 Enter Sandor 50 New Sounds 51 Old Sounds 51 Quickspins

BACK // 52

Street style: Vue's look at spring fashions for 2010

ARTS

FILM

52 Free Will Astrology 54 Queermonton 55 Alt.Sex.Column

EVENTS LISTINGS 24 Arts 37 Film 40 Music 53 Events

Don Juan offers real magic with its puppetry

Pedro Costa's trio of Fontainhas films finally sees North American Release

VUEWEEKLY.COM SLIDE SHOW // JASON COLLETT

SPRING STYLE // VUETUBE

•Backstage at Western Canada Fashion Week 2010 FILM // SIDEVUE

•Reeling out the undead: Brian Gibson examines the long-buried films that got a second chance at screen-life ARTS // PREVUE

•The Walterdale's The Mail Order Bride finally arrives •Bretta Gerecke's unkillable Frankenstein returns Slide show: Jason Collett, Zeus, Bahamas

APR 8 – APR 14, 2010 // VUEWEEKLY

UP FRONT // 3

EDITORIAL

// samantha@vueweekly.com

y now you've heard of and, if you have the strength, watched the video released by WikiLeaks documenting US military personnel indiscriminately firing and killing civilians and journalists in a patrol around Baghdad in 2007. Citizen response to the video has been disgust, horror and shock at the fact that military personnel misidentified and slaughtered civilians. And while it is a heinous act, it should not be all that shocking: it is war, or some definition of it. This is why citizens have opposed war, not only for its usually internationally disastrous outcomes, but because of war's impact on civilians for generations. What is shocking is the fact that we are seeing this video—the documentation and citizens' ability to view military actions and implications right on our computer screens. It may be a similar shock felt the first time television reports came onto screens across the US during the Vietnam war—images that are largely credited with fueling the anti-war movement in the US and the eventual breakdown of the Vietnam War. And while we may not be at that breaking point just yet, the exis-

tence of the video on Facebook profile pages and Twitter feeds around the world demonstrates the importance of not only sites like Wikileaks but the freedom of the Internet. The video was originally requested by a Freedom of Information Act request and was denied by the Pentagon. It now exists on the Internet because a whistleblower released it into WikiLeaks' hands.The WikiLeaks site exists on a server in Sweden, and aims to host documents that organizations would rather not have found. Its ability to post untraceable documents makes it the perfect site for whistleblowers of all types, and it hosts documents from Chinese dissidents, documentation of mistreatment of Guantanamo Bay prisoners and environmental impact assessments that have been previously prevented from being printed in mainstream newspapers. When we talk about the freedom of the Internet, many think only of the free music one can download, but the freedom of information may be the largest debate the Internet will face and the greatest way technology can assist citizenship and democracy. The freedom of speech to criticize our government is perhaps the most powerful, the most threatened and the most pacified of all. V

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In the Box

Bob the Angry Flower

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4 // UP FRONT

NEWS

IN THE CITY

Editor / Publisher MANAGING Editor associate mANAGING editor NEWS Editor Arts / Film Editor Music Editor Dish Editor Outdoor Adventure Editor Staff writer creative services manager production ART DIRECTOR Senior graphic designer WEB/MULTIMEDIA MANAGER LISTINGS

Dyer Straight

GRASDAL'S VUE

Vuepoint Freedom to view samantha power

INSIDE // FRONT

UP FRONT

he release of the Urban Aboriginal Peoples Study reveals a majority (71 percent) of urban aboriginals living in cities revealed they considered their city of residence home. While 80 percent of participants were "very proud" of their heritage, almost three in four participants believe they are consistently viewed in negative ways. And with one out of every two people surveyed revealing they felt they had "serious involvement with the Canadian justice system" but that only 57 percent felt the justice system had treated the situation fairly, it is not surprising to find that 56 percent supported the idea of creating an aboriginal-only justice system. The UAPS has caused a number of cities to revisit their relationships with Aboriginal communities, participating in further surveys on a municipal level. The survey was conducted by the

Letters

VUEWEEKLY // APR 8 – APR 14, 2010

Environic Insitute whose mandate president Michael Adams describes as to "survey people whose voices Canadians don't hear often." David Newhouse, chair of indigenous studies at Trent University hopes the study achieves the aim of offering a new picture of urban aboriginal realities. "Much of the research is social-service based: it sees these communities through the lens of some problem or need—not as complex, resilient groups. ARCTIC CONTENTIONS

hile foreign ministers of Arctic nations met to discuss the sovereignty of the Arctic region, the Indigenous Environmental Network organized a call to keep Arctic oil in the ground. Circumpolar foreign ministers met to discuss the resource potential of the Arctic and the surrounding area as well as the continuing disputes of overlapping Arctic claims. The Indigenous

Environmental Network, along with the Council of Canadians, raised the issue of the 90 billion barrels of oil and 1670 trillion cubic feet of natural gas in the Arctic region. Clayton Thomas-Muller, tar sands organizer with the IEN, said he was suspicious the circumpolar ministers were meeting outside of the established Arctic Council. The Council was established particularly to encourage discussion and cooperation among actors in the Arctic area including indigenous communities. Thomas-Muller pointed to the absence of indigenous communities at the latest meeting, "Especially when the massive Arctic Oil and Gas reserves and their exploitation are being discussed." The Arctic and its resources have become a greater topic of international conversation with the discovery of energy resources, as well as the conflict over ownership and boundaries. samantha power

// samantha@vueweekly.com

Vue Weekly welcomes reader response, whether critical or complimentary. Send your opinion by mail (Vue Weekly, 10303 - 108 Street, Edmonton AB T5J 1L7), by fax (780.426.2889) or by email (letters@vueweekly.com). Preference is given to feedback about articles in Vue Weekly. We reserve the right to edit for length and clarity.

FRONT // ENVIRONMENTAL DEMOCRACY

A question of democracy

Citizen engagement needed for environmental progress samantha power // samantha@vueweekly.com

n 2008 Robert Lovelace served 104 days in the Central East Correctional Centre for peaceful protest. Lovelace led his community in an informed campaign against a uranium mining company using Ardoch Algonquin First Nation lands in Ontario. When the Ontario courts ruled the corporation had a right to enter the land, Lovelace and his group did not stop fighting and would not cede their right to prevent entry to the corporation and the Ontario government. The issue: Ardoch had never been consulted in the process, a fact the Supreme Court would later recognize and award costs to the Ardoch First Nation. Unfortunately the case of Lovelace and the Ardoch First Nation is not isolated. Lovelace's story is found in a collection of stories about communities that have gone through exactly the same process: education, organization and participation in a democratic process only to be denied the recognition of their right to be heard. And the editors of two new books on environmental justice wanted to make the case for a new approach to democracy. Speaking for Ourselves and Environmental Conflict and Democracy in Canada argue that citizens' rights are currently not being recognized in environmental and industrial decision making. "Environmental conflicts are always about democracy and the processes that need to be democratized." Associate professor and editor of the book Environmental Conflict and Democracy in Canada, Laurie

Adkin had worked in social movements for years and viewed the same process of citizen organization and subsequent frustration with a system that would not recognize their right to participate. "Groups would take on issues, they would call up the MP, tell them there was a problem and expect something to happen. They would start with this assumption that the government was out to look after their interest. And they started to see that there were many obstacles to the government looking out for the public interest." The difference can often start with a definition of democracy and citizenship itself. As Adkin writes in the book, environmentalists and citizen groups are expecting a much broader definition of citizenship, which includes participation in the media, government committees and consultation groups. What is in place now, however, is a very narrow definition—join a political party and vote every four years. Adkin believes it's neo-liberalism that is restricting these definitions, and limiting citizen participation, in order for the primacy of the market to win. These two definitions collide as citizens take on issues affecting their communities. "[Citizens] start to see the processes they're engaged in are constructed in such a way to predetermine the outcomes and it infuriates them." says Adkin. The situation for aboriginal groups can epitomize the problem. As Lovelace writes in his introduction to the book Speaking for Ourselves, corporations and governments "benefit from legislation minted at a time

when aboriginal people were expected to be erased from the Canadian landscape." And although the right to consultation was won as a constitutional guarantee, as demonstrated in Lovelace's case, it's not always a right that governments and corporations follow. But Randolph Haluza-Delay, editor of Speaking for Ourselves believes this does not have to continue to be the way we deal with questions of environmental justice. "Our social institutions are cultural. We've normalized these institutions as the 'right way, the only way.' So when much of Aboriginal law looks at the rights of animals, the environment and values beyond just those of the economy, there is a conflict that is not easily resolved through the Canadian courts or government processes. "We live in a society where the dominant ideology is that progress equals incessant economic growth based on private ownership and gain with large social and economic inequalities." Adkin states, "This system necessarily requires ecological destruction." For many, questions of environmental protection cannot be answered until we look at the systems supporting industrial and corporate development. HaluzaDelay points to the concept of environmental justice. Attempts at environmental justice, a system of not only recognizing environmental rights, but also the economic and societal factors that might prevent their implementation, has been attempted in Scotland, is a growing conversation in the CONTINUED ON PAGE 7 >>

COMMENT >> Party Politics

Issues

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

Tories lose out on good news Party financing proves they've lost touch with Albertans Ricardo Acuña // UALBERTA.CA/PARKLAND

It would not be an exaggeration to suggest that the last few months have been significantly less than stellar for Alberta's governing Conservatives. They lost two of their MLAs to a new start-up that has set up shop in the heart of their traditional base of support. They were subjected to the release of a series of public opinion polls, some with more reliable methods than others, showing that the Wild Rose Alliance is actually closing in on the PC's supremacy in the minds of Albertans. If those numbers were not bad enough, they were exacerbated by the public embarrassment when NDP opposition member Rachel Notley recently demonstrated in the legislature and, by extension showed the province, that she knew more about what the government was doing to foster parents in this province than either the premier or minister responsible. Perhaps it was these actions that led 48 percent of Albertans polled by CTV News/ACCESS to say that they believed

Ed Stelmach was doing a poor job, compared to only five percent who said he was doing a good job and 33 percent who felt he was performing adequately. Given that string of bad press and high profile bad choices it is understandable that Alberta's Conservatives are wandering around looking for something they can spin as a good news story, which is exactly what they tried to do last week. The occasion was the filing by Alberta's provincial parties of their annual financial statements, including their annual fundraising reports and donor lists for 2009. As is always the case, the provincial Conservatives far surpassed all of the other parties in the province. The $2.8 million raised by the Tories in 2009 is more than the fundraising totals of all of the other parties in Alberta combined. Premier Stelmach's chief spokesman Cam Hantiuk told the media "We were very pleased to see, that in a very difficult year, that donors had the confidence in the party as reflected by the level of contributions." A closer look at the report, however, shows that perhaps the donation should

not be seen so much as an endorsement by Albertans of the government's policies, but rather as confirmation of some of the issues that the party's critics have been trying to raise of late. Chief among these is the accusation that the Tories have lost sight of their responsibility for the public interest of Albertans, and instead focus exclusively on the private interests of Alberta's corporate sector as it is the corporate sector's donations that help keep the party in power. A recent letter from the Highwood PC constituency points to Bill 50 as an example of how the government had lost its way. The bill, pushed through by the government last fall, essentially removes the requirements for public hearings in the building of new power lines. It would likely come as no surprise to the Highwood folks to find Altalink, one of the main beneficiaries of Bill 50, on the PC donor list with over $10 000 worth of donations in 2009. Likewise, the well-organized folks in northern Alberta frustrated by the gov-

APR 8 – APR 14, 2010 // VUEWEEKLY

ernment's refusal to look at both sides of the nuclear energy debate might be interested to see that Bruce Power (the company looking to bring nuclear power to Alberta) donated over $4000 to the party last year. Of course, the most blatant example is how much money was donated to the Conservatives by all of those oil and gas companies who spent most of 2009 complaining about how badly their industry was being hurt by the government's royalty regime. Some of the highlights include: Encana at $10 750; Imperial Oil at $10 250; Nexen at $8950; Penn West Petroleum at $10 300; Suncor and Syncrude combined for over $15 000; and virtually every other oil and gas company, big and small, that you can name. Why would these companies, who were supposedly so hard done by government policy, willingly donate so much money to the governing party? Is this the price of Premier Stelmach's new reduced royalty regime and promise to reduce regulations? If it is, it's a heck of a deal: donate a few thousand dollars to the Tories and receive millions of dollars worth of

extra profits in return. The PC donor list is rife with other examples like significant donations by outfits like Dynalife and Extendicare who are benefitting tremendously by the government's ongoing efforts to privatize health care and long-term care in the province. In all of these cases, the ease with which you can draw a direct line from government policy to the PC's list of corporate donors seems to confirm who is benefitting most from the actions of this government. The Tories are trying to spin this as a good news story for them, but the reality is otherwise. The more blatant this connection between donations and policy becomes, the more Albertans will clue to where they stand and finally move to break that link between money and government policy. Hopefully when they do, they will do so forever. And that's the worst news the Tories could get. V Ricardo Acuña is the executive director of the Parkland Institute, a non-partisan public policy research institute housed at the University of Alberta.

UP FRONT // 5

COMMENT >> PRIVACY LAW

Constitutional border-crossing Canada's privacy law framework faces a tough test

Later this month, the Federal Court of State Farm raises several issues in dard is needed since personal data traCanada will hear a case in Halifax that contesting the disclosure demands, but verses provincial boundaries with ease. threatens Canada's privacy law frameit is the constitutional arguments where work. State Farm Mutual Automobile the stakes are the highest. The constiBy creating PIPEDA but enabling provInsurance Co is contesting the constitututional question has dogged Canadian inces to enact their own "substantially tional validity of Canada's private sector privacy law since it was first introduced, similar" legislation (Quebec, Alberta privacy legislation (PIPEDA), arguing it with the federal government arguing and British Columbia have all done oversteps the federal government's juthe Constitution grants it legislative so), the government navigated a comrisdictional power. If successful, authority to make laws in relation promise between the interests of the PIPEDA would no longer apto trade and commerce. The federal and provincial governments. ply to thousands of Canadian trade and commerce power This is not the first time PIPEDA's businesses and new legislacovers both inter-provincial constitutionality has been raised. tion such as the Electronic and international trade as Days before it was scheduled to take m ekly.co Commerce Protection Act well as general trade and effect in 2003, the Quebec governvuewe mgeist@ el (ECPA) would be imperilled. commerce regulation that ment initiated its own constitutiona h c i M The case stems from a disaffect the whole country. al challenge. That case is ongoing Geist pute over an insurance claim From a privacy law perspecbut has remained largely dormant. arising from a March 2005 automobile accident. Gerald Gaudet, the injured party, asked State Farm to provide copState Farm raises several issues in contesting the ies of all names, addresses and phone disclosure demands, but it is the constitutional numbers of anyone to whom it disarguments where the stakes are the highest. closed his personal information (State Farm had used a private investigator to conduct surveillance on Gaudet). After State Farm refused to disclose the information, Gaudet filed a complaint with tive, the government recognized that The Supreme Court of Canada estabthe Privacy Commissioner of Canada. in a world where a typical consumer lished the test for determining validity The Privacy Commissioner proceedtransaction may involve a product of legislation under the trade and comed to launch an investigation into the originating in British Columbia, a remerce clause in a 1989 case involving case, asking State Farm to provide it tailer in Alberta, a credit card proGeneral Motors. The court outlined five with the requested information. The vider in Ontario, a call centre in New indicia to consider: (i) the legislation is insurance company again refused, Brunswick and an order fulfilment part of a general regulatory scheme; (ii) leading to the Federal Court case. provider in Quebec, a national stanthe legislation is continuously moni-

ZEIT

GEIST

6 // UP FRONT

VUEWEEKLY // APR 8 â&#x20AC;&#x201C; APR 14, 2010

tored by a regulatory agency; (iii) the legislation is concerned with trade generally rather than with a particular industry; (iv) the legislation is of a nature that the provinces jointly or severally would be incapable of enacting; and (v) the failure to include one or more provinces within the legislative scheme would jeopardize the successful operation of the law elsewhere. PIPEDA may have been crafted with these five indicia in mind, but there are no guarantees once the law is subjected to Federal Court scrutiny. If State Farm succeeds, PIPEDA would no longer apply within the provinces. Moreover, the government has since relied on the same analysis with other legislative initiatives, notably ECPA, the antispam bill that died with prorogation but could be reintroduced this spring. PIPEDA was viewed as controversial when it was first introduced more than a decade ago. It is now well-entrenched within Canadian law, but the State Farm case presents a tough test that could radically alter privacy protections in Canada. V Michael Geist holds the Canada Research Chair in Internet and E-commerce Law at the University of Ottawa, Faculty of Law. He can reached at mgeist@ uottawa.ca or online at michaelgeist.ca.

ENVIRONMENTAL DEMOCRACY << CONTINUED FROM PAGE 5

US and is a recurring theme at international climate talks. Adkin believes the path to opening our democratic institutions lies with citizens themselves. "These groups become experts on the issues. They read and research. They hire independent experts and they are simply dismissed. They put in a huge amount of energy and resources." Adkin explains we can look at the recommenda-

tions from groups who have been through these processes in order to change them. "We need to look at what recommendations are coming out of these struggles." Groups have recommended everything from a more equal voting system under proportional representation, changing the format of participation in government committees where the membership is not predetermined but more open and where, as Adkin describes, "Stakeholders can't simply be described as property owners." As questions of democracy are often tied

to the economic model, Adkin recommends we need to look at the economic structure of our society and figure out what is preventing citizens from engaging in democratic processes. "What kind of conditions do people need to be active citizens.We have a system that pacifies us in many ways. The model of work does not allow us free time to write up letters to the editor, to organize, to attend meetings." Citizens need the time to participate in the democratic process and Adkin recommends looking at changing the model of

APR 8 â&#x20AC;&#x201C; APR 14, 2010 // VUEWEEKLY

work, universal chidcare and income security to give citizens the time. Ultimately the two books work to point to the disconnect between democracy and environmental decision making. Adkin and Haluza-Delay believe groups working on social justice and issues of poverty and racism need to come together and recognize the democratic deficit preventing their issues from being recognized. "We can't deal with the ecological crisis until we can radicalize deliberative democracy. Liberal democratic institutions are not de-

signed to allow us to transform this economy." As Adkin states, "The question really becomes how do we demonstrate the power that will lead to governments accepting [citizen] processes and outcomes?" V Thu, Apr 8 (7 pm) Book Launch: Environmental Conflict and Democracy in Canada Speaking for Ourselves: Environmental Justice in Canada Greenwoods' Bookshoppe (7925 - 104 St)

UP FRONT // 7

COMMENT >> TERRORISM

Not my enemy

Terrorists across the world are far from unified "Whether you are in a Moscow subway the legal status of independent countries or a London subway or a train in Madrid in a voluntary association, and besides they or an office building in New York, we face were too big to stop. But the "republics" the same enemy," said US Secretary of within Russia itself were a different matter. State Hillary Clinton, responding to the Chechnya, which was conquered by Rustwin suicide bombings on the Moscow sia in the mid-19th century but rebelled metro system that killed 39 commuters every time the Russian government was on Monday. And it's true: the Chechens, weak or distracted, declared its indepenthe enemies of all mankind, are evdence in 1991. Moscow rejected the erywhere these days. declaration on the grounds that No? That’s not what she it did not have the right to semeant? Oh, she really meant cede under the old Soviet conthat Muslims are the comstitution, and that letting it go m o .c kly uewee mon enemy, whether they would create a precedent for v @ e n gwyn are Chechen Muslims in some of the other 20 ethnic wynne G Moscow or British Muslims republics within the Russian Dyer federation to leave as well. of Pakistani descent in London or Moroccan Muslims in Madrid. Moscow tried to reconquer ChechThat's a relief. Then all we have to do to nya in 1994 – '96 in a war that left Grozny, be safe is get rid of all the Muslims. the capital, in ruins, and about 35 000 Hang on a minute! This just in! What Chechen civilians dead. The Chechens she really, really meant was that we all actually defeated the Russian army, and face the same enemy, a shadowy network a ceasefire in 1996 was followed by Rusof Islamist extremists who plot terrorist sian recognition of Chechen indepenattacks against innocent people, mostly dence in 1997. However, Vladimir Putin Christians, all around the world. But they reopened the war in 1999, and Chechnya aren't true Muslims, or they wouldn't do has been back under the Russian heel for such terrible things. (Neither would true Christians, or true Jews, or true Hindus Russia, like Israel, or Buddhists or Sikhs, which is why the world is so peaceful and so just.) has been remarkably OK, I'll stop now, but do you see why successful over it makes me so cross? A terrible event the years in selling happens somewhere, and then we have other countries on to listen to politicians talk pompous nonsense about it. Terrorism cannot be the notion that they our common enemy, because it is only a must maintain a technique. Enemies have to be people— joint front against and the people who use terrorist techniques, though some of them may be our "terrorism," but enemies, have little in common from one the fact is that the place to another. only terrorist threat The Chechens, who are strongly suspected of being behind the Moscow either government bombs, are waging a quite traditional faces is from its own colonial struggle for independence. As subject peoples. they are Muslims, they have increasingly adopted the Islamist ideology that is now fashionable in Muslim revolutionary circles: these days they even talk of the past 10 years. a "North Caucasian Emirate." But in pracNone of this has the slightest relevance tice their sole target remains Russia, the to people outside Russia, nor does the imperial power that oppresses them. anti-Russian terrorist campaign that was There have never been any Chechen the inevitable aftermath of the Chechen bombs on the London underground, or defeat. It is as localized as the Basque teron the commuter rail network in Madrid, rorism that afflicts Spain or the occasional or in office buildings in New York, nor will terrorist killings carried out by breakaway, there ever be. Russia, like Israel, has been diehard Republican groups in Northern Ireremarkably successful over the years in land. And as pointless, for the Chechens, selling other countries on the notion that too, have decisively and permanently lost. they must maintain a joint front against All terrorist attacks on civilians are wick"terrorism," but the fact is that the only ed, because they transgress one of the terrorist threat either government faces few boundaries that we have managed to is from its own subject peoples. place on war. Most wicked of all are atIsrael obviously has a lot at stake in its tacks that are mere vengeance, after all quarrel with the Palestinians, since both hope of victory is gone. peoples claim the same land and there That is what the Moscow metro bombisn't much of it. Russia has land to spare ings are, and therefore they are doubly to for every imaginable purpose, and there be condemned. But they should not be has never been much settlement by ethnic confused with some vast global terrorist Russians in Chechnya and the other small conspiracy, although the Russian governMuslim republics of the northern Cauca- ment naturally pushes that line. Let us sus. They don't have much economic val- hope that Hillary Clinton was just being ue, either, so why not just let them go? polite to her Russian colleague when she took the same line. It would be very bad if The answer you always hear is that it she actually believed it. V would start the unravelling of the Russian Federation itself. Letting the so-called "Union Gwynne Dyer is a London-based indeRepublics" (Ukraine, Latvia, Azerbaijan, etc.) pendent journalist whose articles are go when the Soviet Union broke up in 1991 published in 45 countries. His column apwas inevitable, for they already possessed pears each week in Vue Weekly.

R DYEIG HT

STRA

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VUEWEEKLY // APR 8 – APR 14, 2010

COMMENT >> HOCKEY

Mixed nuts For the penultimate week of this mostly The Nuts A more recent non-Oiler rumour forgettable 2009-10 season, the Oilers making the rounds of late is Calgary partplayed three games. A trip to Dallas ing ways with no less than Jarome Iginla resulted in a 6-3 Oiler loss. Dustin for a number one or two pick dependPenner and Ethan Moreau both ing on how the Winsday (on Tuesmanaged to score in the game. day) draft lottery goes. That loss was immediately The Flames without Iginla— followed up with a Phoenix or Iggy playing with any other overtime loss. Dustin Penner ly.com NHL team—seems a bit sureweek ox@vu scored in that game. A home real. I'm duty bound to be intheb Dave game against the Minnesota ignorant to any Flames-based Young Wild ended much better with sentiments but Jarome is a Cala 4-1 Oiler win. Dustin Penner gary Flame. It just fits. Then again, netted two goals in that one. So did I got used to Gretzky in a St Louis jersey Ethan Moreau. and Ryan Smyth in an Islanders/Avalanche/ Kings jersey. At least Stevie Y retired as a The Balls The most exciting day to circle Red Wing. on your Oiler calendar in a long while is certainly Tuesday, April 13. That is the The Pen-ner With a handful of goals reNHL Draft Lottery. The Oilers will either cently, it's nice to see Dustin Penner quibe assured the first overall pick or the etly continue a strong season. After being balls will tumble out of favour and the lambasted by fans for a less than auspiOilers will have the second pick. It's the cious debut after being offered a hefty most exciting night of watching balls contract (and giving up draft picks) the tumble since Don Wittman hosting the former Duck and Stanley Cup winner has old Winsday draw. Behave. had an impressive season. He's managed 31

IN THE

BOX

goals already with three games left. This should leave Penner squeaking into the top 20 goal scorers in the league. Good on ya, Penner. The Sack It's nice to see Ethan Moreau score a few goals recently. With all the hoopla surrounding the upcoming Hall/ Seguin coronation, Jordan Eberle, Linus Omark, Magnus Paajarvi-Svensson, new players like Ryan Whitney and Ryan Potulny and other futures, the old vets we used to support are slowly being replaced. No matter what happens to Moreau or Horcoff, I've created a mental block when I picture these guys. You can throw Fernando Pisani in the mix, too. I've already written them off. The Flames A magical combination of a Tuesday night Flames loss and Avalanche shootout win has mathematically eliminated Calgary from the playoffs. However, considering the year Edmonton has had, gloating about it is like standing in the middle of a pile of shit, covered in sewage, pointing at someone and saying, "Eeew, you've got something on your shirt!" Nonetheless, thanks to the Avs, Canucks and Sharks for finishing them off. V

BOB THE ANGRY FLOWER

APR 8 – APR 14, 2010 // VUEWEEKLY

UP FRONT // 9

10 // UP FRONT

VUEWEEKLY // APR 8 – APR 14, 2010

INSIDE // DISH

DISH

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PREVUE // RAW FOOD DINNER

Eating raw

Refresh Organic Bistro's organic, raw-vegan dinners delight ANGIE ROOS // angie@vueweekly.com

he concept of a raw-food diet may be interesting to some simply because it promotes eating healthy, fresh, unprocessed foods. A raw-vegan diet consists of eating foods in their most natural, uncooked and unprocessed state. It is based on a diet mainly of fresh fruits, nuts, vegetables, seeds, sprouted legumes and grains, and dehydrated breads and crackers that have not been heated above 46 C. Proponents of the raw-food movement also generally believe that the greater percentage of raw food in the diet, the greater the health benefits because raw foods generally contain more nutrients and antioxidants and digestive enzymes. I was intrigued when I heard of Refresh Organic Bistro's five-course, raw-vegan dinner; it's the kind of food that I know I should be eating more of, but it just seems like a lot of work. A friend and I arrived at Refresh Organic Bistro promptly at 5:30 pm for this twice-a-month event. We had prepaid the $35 to hold our reserved spot—this is a must as seating is limited and the event is quite popular. Refresh is a small shop on Whyte Avenue selling health foods and natural products in addition to housing a café that makes delicious and healthy lunches, snacks, dips, smoothies, desserts and coffee as well. The halfdozen tables were pretty much full so we pulled up two chairs and sat down with some regulars who, as it turns out, have all been eating a raw-vegan diet for quite some time. In fact, most of them seemed

DELIGHTS INSIDE >> Refresh Organic Bistro's raw-vegan dinner awaits // Bryan Birtles to know one another and we soon discovered that most were members of Raw Vegan Edmonton, which describes itself as "a group that meets regularly to enjoy and discuss the raw food lifestyle." Our first course began with a sparkling mint and blueberries drink which served as a nice start to the dinner. It was light and fresh, basically blueberries and mint blended with mineral water and gar-

nished with a pea shoot and an orange slice. Our next course was the celery and zucchini chowder. The chowder is served cold of course, and lacks any milk or cream associated with traditional chowders, but I was blown away by this fresh and delicious soup, like a winter gazpacho: chunks of zucchini, celery and tomatoes with nuts and seeds to thicken it up a little and blended for a creamy consistency. It was drizzled with

APR 8 – APR 14, 2010 // VUEWEEKLY

a sesame seed and garlic sauce and it was quite delicious. So far so good. While we waited for our next course, I took the opportunity to grill my co-diners on the raw-vegan diet. "Don't you miss eating bread? What about rice? Do you drink alcohol?" I ask. The answers, by the way, were no, no and no. Everyone was friendly and eager to discuss their diets while we enjoyed the next: marinated broccoli and corn on spinach leaves and red on-

ion with a garlic and sesame dressing. Marinating the broccoli and corn rather than cooking them softens these veggies up just enough while retaining their crunch—it was hard to believe that the julienned broccoli stems hadn't been cooked. After all, this is the part of the broccoli that most people throw away. Our neighbors told us that once you start to eat only fresh corn, you can never go back to the cooked stuff. I am starting to see their point; the salad, it turned out, was my favourite part of the meal. Next up is the pizza with pesto and cashew sauce. I love the idea of a "raw" pizza, but you really do need to forget about any previous association with regular pizza. My co-diners explained that the pizza crust is likely made of buckwheat and flax, sprouted, then blended and dehydrated for several days in a very low temperature oven or a food dehydrator. This may not sound appealing or simple to make, but it sure tastes great, not unlike a regular cracker or pita bread. The crust is then covered with fresh spinach, tomatoes, pea shoots and cashew sauce with "parmesan cheese" sprinkled on top. The parmesan is really, from what I can tell, brazil nuts and salt, ground up until crumbly. Altogether it was delicious, but I did find the crust and the parmesan to be quite salty and I was grateful for the vegetables to balance it all out. Our fifth and final course was a bananaberry sorbet with carob-almond fudge garnished with dried cranberries and CONTINUED ON PAGE 13 >>

DISH // 11

WINE

California dreamin'

California one of the most recognized wine regions in the world North America is proudly the home of one of the most recognized wine regions in the world: California. It is officially the fourth-largest grape-growing region in the world, following Italy, France and Spain, with close to 3000 wineries situated within it. This level of proliferation was not always the case, however, as it's only been since 1976—when California wines outranked French wines in a global competition—that California VIDI VENI, wines were put on the map. California's reliably warm weather, moderated by the m ekly.co vuewe vast Pacific Ocean, along with jenn@ the geographical diversity Jenn of the land itself has assisted Fulford winemakers in growing everything from New-World styles of Zinfandel and Pinot Noir to Old-World grape varietals such as Sangiovese and Grenache. While there may be a whole group of Californian winemakers that dedicate their abilities to recreating Old-World styles of wine—they call themselves the Rhone Rangers—in general, the style of Californian wine that has won over the taste buds of so many a wino is the ripe, fruit-driven, New-World style. The majority of wine regions in California are found between the Pacific Coast and Central Valley. Within these wine regions, microclimates in every valley help explain character differences within wines made with the same grape. Add to this a long growing season and plenty of sunshine and Californian weather becomes a combination that most grape varietals love. Because there are so many different kinds of varietals grown here, here are few highI'D BE SAFE AND WARM >> California's climate produces some top-notch wines lights of what California really does best.

VINO

Chardonnay remains the most popular varietal in the United States and is the most widely planted grape in California. These white wines come in a range of styles, from crisp and fresh with citrus and apple flavours to big rich buttery, oaky wines with undertones of what once was the fruit. Although Chardonnay is still in the forefront for white wine, lovely alternatives include Sauvignon Blanc, Pinot Blanc and Riesling. The most widely planted of the red grape varietals is Cabernet Sauvignon with its current and cassis fruit, big body and structure to match, toasty oak and hints of herbaceousness really make this wine stand out. Planted widely across the state, Napa, Sonoma and San Joaquin contain the most. Napa Cabernet is iconic around the globe today. Syrah has gained popularity in the last decade, but the Rhone Rangers are shining through with rich, fruit-driven wines as well as leaner, more peppery styles.

12 // DISH

VUEWEEKLY // APR 8 – APR 14, 2010

Syrah makes up only a small fraction of the Californian wine industry, but a great one at that. Syrah can also be thanked for making a great kid called Petit Sirah by crossing itself with a grape called Peloursin. Petit Sirah, also known as Durif, counts on its small berries to make concentrated, dense wines with blackberry fruit character, peppery spice and lots of tannin. Rich and full-bodied, these wines are ready for some age in the cellar, or ready to drink with barbecue. Zinfandel, also known as Primitivo in Italy, is grown almost solely in California. Full-bodied Zinfandel with jammy fruits from Amador County differs from the complex wines of the Santa Cruz mountains. And then of course there's the juicy Sonoma County Zin's with spice and even eucalyptus scents and flavours from the surrounding bushes. Tough to grow, prone to genetic variation, cult followings—we must be talking about the infamous Pinot Noir. Whether

// File

you love it or hate it, certain expressions of this varietal will blow the socks off your palate. Although the huge spike in planting has levelled off in the last couple of years, Pinot Noir is still grown widely throughout the state with some specialty areas in the Monterey and Sonoma Counties. The delicate nature of this varietal shines through in every way possible from the intense and complex nose to the fruit driven, spicy, herbaceousness of the palate that will melt in your mouth with its velvety texture: not tannic, not acidic, just right. V A vast variety of regions and grapes varietals will be available to sample and discover at this year's California Wine Fair taking place on Thursday, April 8 at the Shaw Conference Centre at 7 pm. Not only will there be hundreds of wines to sample, many of the winemakers themselves will be there with in-depth knowledge of the business.

PROVENANCE

History of Champagne The history of Champagne is over a million years old, and still not widely known. Wild grape vines flourished in what is now known as the Champagne region of France, near Epernay, as this is the world’s most intense region for natural chalk in the landscape. Early Romans cultivated wine, but also quarried hillsides as deep as 300 feet looking for blocks of chalk. Many of these chalk pits still exist, and are present-day cellars for millions of bottles of the world’s best Champagne. Ironically, the Roman Emperor, Domitian, outlawed the production of wine from the Champagne region around 92 AD because it competed too favourably with Italian wines. While many vines were uprooted or destroyed, many survived due to a covert but notso-subtle wine making movement that went largely unchallenged until the Champagne prohibition was rescinded 200 years later. The region of Champagne competed fiercely with the more famous vineyards of Burgundy in the 16th and 17th centuries, but never quite equaled its main competitor. Red wine fell just short of the great Burgundies, and white or rosé wines were not nearly as popular. Voltaire and AM de Saint-Evremont—courtier to Louis XIV— helped raise the popularity of the white and rosé wines, however, which became the basis for Champagne. Sparkling wines were the result of an accident. As they were shipped young, and often in warm temperatures, some wines underwent a second fermentation right in their bottles. When opened, there was an amusing effervescence that customers enjoyed. The first to deliberately create and refine the effervescence process were Dom Pierre Pérignon and Frère Jean Oudart, who were cellar masters for two prominent monasteries of the 1700’s. For the next hundred years no attempt was made to change that process, which was successful, but time consuming. As demand increased, other methods were attempted. In 1836, a pharmacist from Châlons

RAW FOOD DINNER

<< CONTINUED FROM PAGE 11

fresh mint. While the banana sorbet speaks for itself, the fudge, I am guessing, is made of ground almonds and carob (a naturally sweet chocolate substitute) with a hint of cinnamon. It tasted both healthy and decadent, and my friend declared it his favourite part of the meal. We took a walk around the store, still open to customers, and chatted with a few people about the evening and the food. My friend thought the dinner was quite good, but found it a little expensive. I think the price reflects the quality of the ingredients and also the fact that all that sprouting and dehydrating takes time. The only downside to this experience, I think, is that you are eating this great food in a grocery store, so the atmosphere isn't as relaxing as one might hope. It might be nice to start the event after the store is closed, so at least the lights could be dimmed and music could be played. That said, the food is delicious and healthy; we left feeling full

ACCIDENTAL SUCCESS >> Signature bubbles the result of a mistake sur Marnes named François discovered that riper, sweeter grapes created more alcohol. From this he determined the effect of various amounts of sugar on increased alcohol. Ultimately he developed the “Réduction François” for creating the right carbon dioxide and atmospheric conditions within a Champagne bottle. Eventually, this became known as the méthod Champenois. French champagne is normally a blend of Chardonnay, Pinot Noir, or Pinot

// File

Blanc grapes. Even with modern technology, the Méthod Champenois still requires over 100 manual operations and is the single-most labor-intensive wine-making operation in existence. By French law, no sparkling wine may be called Champagne if it does not come from the Champagne region and undergone the méthod Champenois. V PETE DESROCHERS

// DESROCHERS@vueweekly.com

and content—not full in that heavy kind of way, but just right. In addition to their café and twicemonthly raw-vegan dinners, Refresh has a stall at the Strathcona Farmers' Market where you can purchase tortilla chips, dips, salads and delicious carob balls made with dates and nut butter. They make eating dessert feel virtuous. Raw Vegan Edmonton meets once a month for potlucks and discussion, if you are interested in attending an event, contact rawveganedmonton@gmail.com. To attend an organic, five-course, raw-vegan dinner, contact Refresh Organic Bistro and pre-register, as these events sell out. The dinner happens every two weeks, with the next two happening on Thursday, April 8th and Thursday, April 22. V Thu, Apr 8 (5:30 pm); Continues every second Thursday Refresh Organic Bistro's Five-Course, Raw-Vegan Dinner 10151 - 82 Avenue 780.722.4740 refreshorganic.com

APR 8 – APR 14, 2010 // VUEWEEKLY

DISH // 13

14 // DISH

VUEWEEKLY // APR 8 – APR 14, 2010

PROFILE // TREE STONE BAKERY

Steady as she goes

Tree Stone's new owners keep the bakery's specialties, add extras use the same processes," Chartrand assures. "It will still be Tree Stone, but with my touch." V

Jan Hostyn // jan@vueweekly.com

K, bread-lovers, you can let out a big sigh of relief. Yvan Chartrand and his wife Ritsuko, the new owners of Edmonton's legendary Tree Stone Bakery, aren't in a hurry to change anything. "Why would I change a good thing?" smiles Chartrand. The Chartrand family took over Tree Stone back in December and all the lovely loaves of bread you've grown to know and love—rustic, artisanal loaves like maslin, rye/raisin and walnut and the wildly popular baguettes—can still be found nestled on Tree Stone's shelves. And yes, the recipes they use are still the same ones that former owner Nancy Rubuliak developed over the years. In fact, Rubuliak spent the better part of a month at Tree Stone after the Chartrands took ownership, guiding and mentoring them, before making her quiet exit. So yes, the bread is essentially the same. It is still traditional European artisanal bread. Grains, most of which are locally sourced and organic, are still milled onsite. Levain, a wild yeast culture, is still an integral part of the bread. And you still won't find any preservatives or stabilizers in anything. Still, Chartrand cautions that things may not taste exactly the same. "Nancy was a talented baker who had been baking the same bread for 10 years. Me, I've been baking that bread for three months." He does have plenty of experience baking other bread, however; he used to own a couple of bakeries in Japan and has studied baking all over the world. Aside from the new recipes, working with organic grains presents its own set of challenges. "Every new batch of grains triggers its own learning curve. We received a new shipment recently, and that changes the bread," explains Chartrand. Different shipments have different protein contents, and that impacts how much water the dough needs and the

Yvan & Ritsuko Chartrand Tree Stone Bakery 8612 - 99 St, 780.433.5924

RECIPE The Best Homemade Pizza (courtesy of Yvan Chartrand)

NEW ADDITIONS >> Yvan Chartrand has a few tricks up his sleeve length of time it needs to rise. "Nature doesn't do consistent, so you should expect some change," laughs Chartrand. Tree Stone is now Chartrand's bakery, however, and he does have his own plans for it. "You won't see major changes. There will be small but steady ones, though." Those changes have already begun. Chartrand isn't getting rid of any of the old breads, but he's adding new ones— gradually. "Mondays are my play-around days. The bakery is closed, but I come in and test out new breads." Look for more breads with seeds and more sweets—scones, danishes and even doughnuts. "Yes, doughnuts; really good custardcream ones." Buttery croissants and decadent pain au chocolat are already making appearances on a daily basis. On Saturdays you'll also find a seeded rye and a 3.2 kg old-fashioned miche. "Miche is a dense

// Bryan Birtles

traditional rye. In France, villagers used to get together once a week and bake bread in a communal oven—huge loaves with a beautiful crust and tender crumb. It was meant to last all week. That's what our miche is like." Then again, most of the new loaves Chartrand is hoping to introduce will be quite hefty. He thinks the chemistry that makes up a bigger loaf is much better than what you'll find in a smaller loaf. "Bigger loaves rise slower, and that changes everything. There's nothing wrong with buns, but if you want a good, crusty bread, size definitely matters." And we can't forget about the bagels Chartrand is introducing—you might even be lucky enough to find some on the shelves now. "I'm hoping to make 12 different kinds; everything from garlic to multigrain." For now those bagels are going to be baked in Tree Stone's stone oven, but Chartrand is planning on putting in a wooden one, hopefully sometime with-

APR 8 – APR 14, 2010 // VUEWEEKLY

in the next year. "The stone oven makes a great bagel, but a wooden one will give the bagels a hint of smokiness." He has even taken a traditional masonry course and is hoping to make the oven himself, or at least most of it. And unless you like getting up early on Saturdays to line up for bread, Chartrand is sure you'll like this change. "We've just about doubled the amount of bread we make on Saturdays, and we're actually making three times as many baguettes. Now you can pop in later in the day and still find bread on the shelves. Before you had to be here bright and early." So go ahead, hit the snooze button. He's also toying with the idea of opening the bakery a bit earlier in the day so hungry commuters can stop in and pick up croissants for breakfast on their way to work. Yes, there will be changes, but it's still a local, family-owned bakery, committed to the neighbourhood and the community. "I think the same way Nancy did, and I

The most important part of a pizza is the crust. If the crust isn't good, it doesn't matter what you top it with. So start with a good quality crust like the one we sell at Tree Stone. Tree Stone pizza crust starts with the right mix of flour (unbleached white, whole wheat and rye), a little sea salt, some yeast and bit of dough that has been fermented overnight. The dough is then frozen in individual bags. To make a bakery-quality pizza, pick up a bag of frozen pizza dough. It can be defrosted a number of different ways, but defrosting it slowly works the best, so plan ahead. Take the dough out of the freezer and put it in the fridge for 12 hours or overnight. The dough will rise slightly. Flour your counter and gently roll the pizza dough into a 12- to 14-inch circle. Put it on a pizza plate and cover it with a slightly damp towel. Take a break, have a glass of wine and let the dough rest for 20 to 30 minutes. Resist the urge to top the dough right away—it needs to rest. Preheat your oven to 450 degrees. After 30 minutes, spread on a good quality sauce and toppings of your choice. Use a good quality mozzarella (the kind you buy in water), and always use fresh herbs, not dried ones. Bake on the lower level of the oven for 10 to 15 minutes. Enjoy. V

DISH // 15

EXPANSION // WHITEWATER

A fine balance

Resort expansion juggles people, profit, powder and habitats BOBBI Barbarich // BOBBI@vueweekly.com

idden in the southern reaches of British Columbia's Selkirk Mountain range, Whitewater Ski Resort has remained relatively untouched compared to expanding and new resorts—Revelstoke, Big White, Kicking Horse—throughout BC. Owned by Mike and Shelly Adams, nearby Nelson locals, for the majority of its existence, Whitewater's tiny lodge and two 700-metre double chairs— salvaged decades ago from Whistler's growing britches—has mostly serviced locals' fresh tracks. Bob Hall, Nelson Daily News contributing editor, echoes common Whitewater sentiments in a recent editorial: "Having grown up on the people-packed slopes of Alberta's big resorts, the quaint atmosphere and deep powder at Whitewater was foreign. One Tuesday morning in January 1995 is particularly vivid. It snowed all night and I arrived just after 9 am ... I spent the next four hours cutting fresh tracks all over the lift-accessed terrain. I was pretty much by myself." But in the past five years, with dwindling snow at other resorts and more skiers looking for less-crowded lift lines, Whitewater's well-kept stashes are up for grabs by anyone willing to venture up the nether regions of Highway 3A. Judging from the 20-minute line to board the double Summit chair, Whitewater is no longer able to provide a serene skiing experience on a weekend trip. Whitewater's new owner, Knee Deep Development from Calgary, wants to keep Whitewater unique, despite a planned 90-million-dollar expansion. Says general manager Brian Cusack, "I think this is the best ski town in North America. It has the most sincere following in Canada." Over one-third of Nelson's population buys a season ticket every year. "We've got the local support, but what we need to get now is a 15 to 20 percent increase in numbers of tourists." A

moderate desire by corporate expansion standards. When Knee Deep's owners—Dean Prodan, Mitch Putnam and Andrew Kyle—looked at Whitewater in 2008, they envisioned 200 housing units for the proposed six new lifts they hoped to build. Visits would theoretically increase from 85 000 per year to 110 000, enough to maintain and upgrade the runs without raising daily and seasonal rates astronomically. Available land, however, is tight at Whitewater's ninehectare base and, according to Cusack, 200 units would inevitably overcrowd the ski hill—a highly undesirable prospect. "We felt, in order to blend well with the environment, we had to spread the buildings out and make them blend with what you see [in nature], and not be crowded like all of the other ski areas," said Cusack, whilst unveiling the Master Plan at a Feburary public meeting. "We don't want to be big, we just want to function." Despite its humble tone, the comment has been met with mixed feelings— relief at not maximizing potential, but caution at trusting a corporate, albeit small, development. The depth and breadth of Whitewater's "wish list" includes 127 units of housing and six new lifts servicing expanded and increased runs—all supported by up to $75 million in real estate at the base.

In Downhill Slide, a book examining the impact of corporate involvement in the ski industry, Hal Clifford writes, "Skiing is no longer an end in itself for those looking to make a profit from it; instead, skiing has been transformed into a come-hither amenity to sell real estate. This is a fundamental shift away from the roots of the sport and its development, one that is deeply disturbing to many people." Disturbance is definitely present among Whitewater locals. An avid skier since he could walk, Nelson-born James Perchie reflects on how growth will change his hill. "I think expanding the hill is necessary. People already go where they're expanding because there are too many people here, and the terrain is wicked. But building a village at the base when there's an awesome town 15 km away is ridiculous." Yet Hall feels real estate is the key to a healthy bottom line in the current ski industry. Clifford notes this has been the trend since Snowmass and Vail built their villages in the '60s. Resorts are expensive to operate and highly dependent on exceptionally unpredictable factors: weather and disposable income. Real estate lessens economic risk. "Whitewater is about all of us," remarks Hall. "It helps make our fragile

FOGGY FORAYS >> Resort expansions like Whitewater's regularly generate debate and concerns

16 // SNOW ZONE

CONTINUED ON PAGE 17 >>

// Jeremy Derksen

VUEWEEKLY // APR 8 – APR 14, 2010

INSIDE // SNOW ZONE

SNOW ZONE

Backcountry safety

ALPINE >> NEWS Fernival fever four-ever! cause on Sunday the same course will If you're anywhere near Fernie April 17 – be re-opened for skiers only. Registra18 be sure to drive up to the village for tion for skiers will be through Sunshine. its second annual "Fernival" spring event Check the Sunshine web page for more featuring live music. For locals and Fer- information on the ski event. nie staff it's just another good excuse for a party. Here you'll find live music, DJ's Spring formal and all kinds of wacky, innovative and fun April 24 – 25 is also the last weekend events for skiers and snowboardMarmot Basin is open and what ers of all ages to enjoy, includbetter way to finish off the year ing a winter gear swap, best then to come up for the Spring Sasquatch mating call and Strip 'n' Rip. Retro attire is ensnow volleyball. Live music couraged, so you better dig m ekly.co vuewe will be provided by Sweet out the baby blue-and-orange hart@ Potato in the beer gardens one-piece that's been collectHart k and fiddler Ashley MacIsaac. ing dust in the closet. Golbec Paradise Chalet will be wild with Snow bunnies, slopestyle and beer tunes, sun pits and back-door burgFor the first time ever on April 24 – 25, ers. This would be a good time to dig out the Coors Light U Look Good Riders Cup the Marmot Basin two-for-one voucher is coming to Sunshine. This high-energy you picked up at Warren Miller because slopestyle event is surrounded by DJs, they're valid again. demos, parties and the famous Coors Light Snow Bunnies. Go online at you- Party on lookgood.ca, if you want to register. Down at the Kokanee Kabin at Lake LouIf you're not a rider don't despair be- ise on April 24 – 25, yet more action will

FALL

LINES

take place with the Spring Music Session. Groove to the sounds of the Todd Sellecks, who are described as soul-topped funk rock with electro jam and jazz hands. Sunshine, suds and good friends will soon rock the deck. There's even a 30-minute break between sets so that you can go make some turns. What a winter The sun is much higher, the snow is melting and another amazing season is winding down. Spring skiing is in full swing in our Rockies and instead of powder stashes, sun pits are what you'll be looking for. It sure was great that the snow came early and plentiful because January and February were pretty lean on the freshstuff front. March was much better and weather forecasts for April are looking really good. Spring is looking hot, so load up on sun block, swap your goggles for cool shades and head up for one more cruise on the white stuff. V

WHITEWATER

<< CONTINUED FROM PAGE 16

little economy tick in the winter. It brings in tourist dollars to help fuel local businesses. Without it, Nelson would be like so many other struggling small communities across Canada." The strongest opposition comes from the West Kootenay EcoSociety (WKES). On the backside of Catch Basin bowl, the Qua Creek Basin is an area of wellrecognized early- and late-winter habitat for red-listed mountain caribou. A longer recreational season could infringe on grizzly bear spring habitat in the Whitewater valley and the Apex drainage, where the proposed housing is planned. Sewage and water flows are also a concern. WKES member Suzy Hamilton just wants to make sure expansion is done right. "Of course we want to see Whitewater continue to be an important recreational opportunity and economic driver in the West Kootenays," she agrees. "We want them to be a success, but we want to ensure that the expansion is environmentally sound." Although the BC government's recovery plan for mountain caribou had declared the area off-limits to logging, said Hamilton, recreational development may be allowed. Caught between the caribou and a creek, Knee Deep maintains they will proceed on a phase-by-phase basis— there are four potential stages—and the Qua Basin development may not even happen. "And if only a portion of it actually gets built, well, if the community is happy with that portion and we're comfortable with our financial situation, it could easily stop at any given time," Cusack said. "And that is what we feel is the most important thing the community understand: this is a wish list and ... it all doesn't necessarily have to happen." If this indeed proves to be the case— that Whitewater Ski Resort remains accountable to the needs of local and destination skiers, mountain caribou and grizzly bears, the owners' hopeful pockets and palpable Whitewater charm, then Knee Deep Development will be a refreshing departure from the ski industry's expanded, beaten piste. V

APR 8 – APR 14, 2010 // VUEWEEKLY

SNOW ZONE // 17

SNOW // GLOBAL WARMING

The future of snow

winter starts to be compromised, for skiers and boarders that has emotional relevance."

The sobering reality of climate change impacts on our sport jeremy derksen // jeremy@vueweekly.com

ow will you live in a land without snow? When the last trickle of spring melt evaporates, the mud bakes into hardened earth and the yellow grass and rotting deadfall dry into combustible tinder under a scorching sun? In the post-global warming world of the near future, this could be the skier's apocalypse. Consider these facts from TGR's short film Generations: In 2003, the world's highest elevation ski area closed permanently due to lack of snow. Presently, Glacier National Park has only 27 glaciers, down from 150 in 1909. In its

heyday, Vermont had 81 operating ski areas—today, only 22. Here in Western Canada, winter has been largely generous in 2009 – '10. Heavy early snowfalls and favourable temperatures for snowmaking gave regional ski areas reasonably good bases to work with. According to ski-industry research, the greatest factor determining skier visits is snow. When snow is good, we flock to the hills. And when you're making face-blower turns, it's easy to develop skier's amnesia and forget about climate change altogether or, given the late-2009 controversy over the UN's Climate Research Unit, call the science into question. But Steve Jones, TGR producer and the director of Generations,

18 // SNOW ZONE

dismisses such talk. "A big thing with climate change is weather patterns have gotten a lot more erratic," says Jones. "Yeah, when it's snowing like crazy and it's this winter wonderland, there are always going to be people saying, 'Ah, that's bullshit.' But [global warming] is happening all over the place." Skiers and boarders are at the forefront of climate change as glaciers and regional snowpacks recede from under our feet. Literally. So, the logic goes, we ought to do something about it. This was the motivation behind making Generations. "It's a way to appeal to the more emotional side of people instead of just scientific fact," Jones explains. "When

VUEWEEKLY // APR 8 – APR 14, 2010

For pro boarder Jeremy Jones, Steve's brother, saving winter has turned into a mission with his Protect Our Winters foundation, a non-profit organization that champions environmental causes. With the backing of Jeremy Jones and TGR, POW brings heavyweights to the table including The North Face, Burton and O'Neill, among others. Since its inception in 2007, POW has funded grassroots projects in solar, wind, hydroelectric and diesel power, supported climate change study and led awareness initiatives including the Generations film, POW Riders Alliance and POW Kids educational program. Of course, an effort spearheaded by an international snowboarding star and a ski-film production company that has produced over 20 films, with all the jet fuel and support resources that effort commands, it's easy to turn around and

accuse the Jones and their ilk as prime contributors. But not so fast. In 2008, the POW-produced feature My Own Two Feet became the first "human-powered" ski film, in which Jeremy and some of his friends and colleagues bagged and filmed every single line by hiking rather than motorized access. As a company TGR is also doing what it can to reduce its footprint, says Steve Jones. "Obviously, for what we do, the health of the environment is key," he says. "We're trying to use environmentally responsible materials with all of our merchandise now—all our cotton is organic, we're using recycled plastic with our fleece, our packaging for DVDs and for our films as a whole ... we're working to offset our entire footprint. We calculate the driving, air travel, things like that, and we buy credits to offset our carbon footprint." So if we point fingers, we should be pointing them at ourselves. Locally, Marmot Basin is celebrating a record

year for both visitor numbers and snow. While that's great for the resort, it also means that collectively as patrons we're likely going to leave a greater impact this season than the previous year. The challenge, without reducing time spent in the mountains, is to reduce impact. Otherwise, the bounty we are so accustomed to may not be there for future generations, or in future seasons. As we scramble for those last few turns before the season ends, it's a good time to consider our choices and the impact they have. Every season that passes by without us doing something, as a culture, is one step closer to the brink, and that's the message Steve Jones is hoping will spread. V

EM-POW-ER protectourwinters.org Join POW, find tips for reducing your impact and support its programs. tetongravity.com/generations View or download Generations for free.

APR 8 â&#x20AC;&#x201C; APR 14, 2010 // VUEWEEKLY

SNOW ZONE // 19

SPRING // BACKCOUNTRY

Get after it

It doesn't have to be over just because the lifts stop spinning BOBBI barbarich // bobbi@vueweekly.com

pring is coming. But before you trade your goggles for sunglasses and a bike, look up—way up. While lower coverage thins, higher elevations are still packed with snow. It'll take a couple hours and some serious sweat to get there, but big mountain riding is growing in popularity for good reason. Exploring the backcountry is challenging, serene and unerringly breathtaking. But be warned. Avalanches create more victims than any other natural disaster. Your best bet is to avoid avalanches at all costs, but if you are involved in one you must know how to use your equipment efficiently and quickly—which takes practise. When the snow slides, it does so faster than you can ride. If you're fortunate enough to find yourself head-up when the snow stops, or if the snow ripping into your nose and mouth hasn't choked you to death, you'll quickly be trapped in quick cement thanks to the slide's kinetic energy. And that's when you depend on your buddies to get you out. On my first backcountry ride, we were testing our beacons at the Kicking Horse testing site below the Stairway to Heaven chairlift. Our guide insisted we could not get on the chair to access the backside, out of bounds area of the resort until we

20 // SNOW ZONE

VUEWEEKLY // APR 8 – APR 14, 2010

had all found the test beacons buried several feet below the surface. We set our beacons to "search." Emitting a grating chirp, the frequency of the beeps increased as I walked closer to the buried beacon. Once within a metre, the chirping became a nearly flat-line beep—

to waste any time. Carry your gear with you and be prepared to use it. You'll need a large daypack in which to include every possible item for every possible scenario. Shovel, beacon with new batteries, probe and a helmet. Make sure your gear is in perfect working order and bring tools to

Your best bet is to avoid avalanches at all costs, but if you are involved in one you must know how to use your equipment efficiently and quickly—which takes practise. hauntingly reminding me that could be a heartbeat, or lack thereof, if it took me too long to find the buried beacon. Although it was only a test, my heart was racing. I thrust the probe into the spot where I thought the buried beacon would be and felt nothing. Again and again, I stabbed the snow. My beacon maintained its constant reminder I had not found the goal. I got down on my hands and knees and dug with my mitts. The chirp continued. A foot of snow pushed aside, I found the plastic cover under which the test beacon was buried. It took just under two minutes—a long time to search, much less be without oxygen. In a real rescue situation, you don't want

fix problems that arise on the trail. Bring food and a thermos of hot liquid, a big down jacket and an extra set of underlayers—you could be stuck out overnight. Tell your loved ones exactly where you're going and when you'll be back—they'll need to tell search and rescue exactly where to go to find you. I am trying to terrify you. I am not however, trying to discourage you. If you're smart, the rewards of backcountry riding outweigh the risks. Take an avalanche course (avalanche. ca). Respect your insignificance. And only ride with others who have the same respect for nature's brutal force as you do. All scenarios anticipated and respected, backcountry riding will be the best ride of your life. V

INSIDE // ARTS

ARTS

Speech and Debate

22 23

Sins | Songs Hopscotch

Online at vueweekly.com >>ARTS Prevue The Walterdale's The Mail Order Bride finally arrives Prevue Catalyst's unkillable Frankenstein returns

REVUE // THE EROTIC ANGUISH OF DON JUAN

Bodily delights The Erotic Anguish of Don Juan surprises in the best of ways Paul Blinov // paul@vueweekly.com

t's a rare occasion that both "titillating" and "puppetry" appear together in the same sentence, but The Erotic Anguish of Don Juan makes it seem so right, like it could—and should—happen more often. Not in a weird way. The Old Trout Puppetry Company's latest production is a fantastic exploration of lust and love, and how easy it is to mix the two, in the kind of onstage world where there are unexpected twists, not in content but in form: puppetry with the Trouts is hardly ever marionettes on strings, and even if Don Juan marks a far more human-driven work than its predecessor, Famous Puppet Death Scenes, it's still packed to the gills with onstage magic and hand-crafted creations. This tale of flagrante delicto begins long after Don Juan's has ended—he's roasting in hell for his boastful love of a thousand women. But the demons' constant prodding has shown him the errors of his ways and they've agreed to let him show us the morality play he's written, he says, to help us avoid

the same fate of such a sinful life. He's not as repentant as he's led on, of course, his white powdery face grinning above the giant metal codpiece that hides his "pen-nis," another plan glinting in his eye. In the role, Duval Lang finds a good balance between sleazy old man and misguided fool capable of convincing himself of anything to satiate his urges; he plays himself from cradle to grave, chats up the beautiful women he can see in the audience, and generally shoulders the script with unquenchable thirst for love. His accompanying demons, too, are all of quality, with only one actual Old Trout present onstage (the compelling, highly entertaining Pityu Kenderes). Still, the puppets and puppetry itself are the real magic. Here, they can be as little as a womanly shawl and wooden face and a hand, a giant eye replacing an actor's head (it blinks, of course), or singing set-piece cherubs, all manipulated in beautiful, believable ways. There's a demon-headed lust-cycle sort of thing that circles the stage as a then-

Nothing about this is regular theatre; there's a layer of meta, as Don eyes up the audience and demands we begin a "holy orgy"; a heavy dose of fully realized imagination—the first time Juan has sex out of wedlock, we see him floating up to heaven, replete with clouds and a sun. Later, when he makes his real journey to the great beyond, the whole set transforms—and an extended scene that happens without words, set only to George Fenwick's impeccably crafted score and the laughter of Don Juan and the spirit of his deadbeat father hitting the town, chasing down lovely ladies and causing a ruckus. It's a show that will surprise you—constantly and in the best of ways, and in theatre, what more could you ever ask for? V MASTER OF PUPPETS >> Don Juan delights

// Jason Stang

chaste Don tries to battle it away. Jesus pops up at some point, too. And when the three puppeteers come together to make a single being—one controlling head, one the arms, and one legs and, uh, breasts—its movements are strangely wondrous to watch, eyes half

on the form they make and half on the puppeteers themselves. The set, three giant cabinets of unnatural curiosities, is teeming with hidden wonders. The puppeteers aren't hidden, but worked into the show as the demons sent to help him show us this tale.

Until 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

REVUE // THE GLASS MENAGERIE

Shatterproof The Glass Menagerie is as potent today as ever of nostalgia. Later on, romantic lighting and sultry sounds are used to reveal a sexual side of Laura that diverges from her presumed delicate nature.

Kristina de Guzman // kristina@vueweekly.com

here is a reason why The Glass Menagerie is a staple in both American theatre and high school English classes: illusions and insecurities continue to plague people into feeling that they've led unfulfilled lives. Despite its setting in 1937 St Louis, Missouri, the Citadel's production of Tennessee Williams' semiautobiographical play will resonate just as strongly with audiences today. The Glass Menagerie is not so much a tragedy because of plot circumstances, but because of the characters' mindsets. Tom Wingfield (Shaun Smyth) yearns to be freed from his mundane warehouse job so that he can become a writer. However, he is conflicted, because doing so means deserting both his sister and mother, thus mimicking the ways of his father who has long since abandoned the family. Meanwhile, Tom's mother, Amanda (Fiona Reid), and sister, Laura (Jennifer Mawhinney) both suffer from obsessions and delusions. The former attempts to live vicariously through her

DESIRE VS RESPONSIBILITY >> Tom Wigfield struggles with the choice daughter and is obsessed with finding a gentleman caller for her; the latter is obsessed with maintaining her glass menagerie, a collection of tiny glass animals that she keeps which are just as fragile as she is.

// Supplied

Subtle and dramatic changes in music and lighting contribute greatly to the performance. As Tom converses with the audience to set the stage for the story he is about to tell, the lighting is dark and piano melody conjures up feelings

APR 8 – APR 14, 2010 // VUEWEEKLY

While the play's themes are dark, humour is on equal footing with tragedy, as could be heard by the audience's laughter throughout the course of the evening. Reid, who was the reason behind most of the laughter, makes Amanda both a nuisance and a great comedic relief. Contrary to Reid, Smyth gives the character of Tom a sense of balanced presence despite the inner battle he's faced with. When Reid and Smyth are in a scene together, however, they have no reservations in displaying explosive family dysfunction. After one particular blowup between mother and son, comedy ensues with shifty movements and clearing of the throats as neither are willing to give up their pride to say, "I'm sorry" just yet. More humour occurs when Jim (Christopher Schultz), the gentleman caller (also Laura's high school crush), comes over to the Wingfields for dinner. Up to this point, Mawhinney has painted

Laura as only being mildly shy. With Jim present, however, Laura is so painfully shy that she becomes immobile, and Mawhinney somehow makes this appear natural. The exchange between Laura and Jim nearly tricks one into believing that there will be a happily-ever-after in store as Jim, in one conversation, is able to chip away parts of Laura's shell and make her see how her defects are more suspect than real. The ending, of course, is not a happy one, but the image of mother comforting daughter as Tom delivers with passion and regret his final farewell is powerful. If that scene doesn't make you leave the theatre feeling sombre, it'll at least leave you feeling unsettled. V Until Sun, Apr 18 The Glass Menagerie Directed by Tom Wood Written by Tennessee Williams Starring Fiona Reid, Shaun Smyth, Jennifer Mawhinney, Christopher Schultz Citadel Theatre (Shoctor Theatre, 9828 101A Ave) $40 – $65

ARTS // 21

PREVUE // SPEECH AND DEBATE

Debate team

Speech and Debate caps off NLT's season of teens Fawnda Mithrush // fawnda@vueweekly.com

hen Northern Light Theatre announced its 2009/2010 season last year, no one expected what artistic director Trevor Schmidt had in store: plays laced with adolescent characters, high school settings and various Internet capers. It seemed as though Schmidt, an outspoken director of rather harsh character studies in recent years (Neil Labute's Fat Pig and Some Girls are just two examples), had surprisingly taken a turn for the softy, lesson-instilling world of the late John Hughes. Now that the NLT season is about to wrap up with Stephen Karam's Speech

and Debate, another play featuring high schoolers trying to fit in and grow up, Schmidt looks back on his year of working with young, emerging talents very fondly. "I was really dreading it to be honest," he says. "But Victoria Martin (Math Team Queen, which opened NLT's season) and this show have both been so much fun for me this season. Young actors take things so seriously, and they work so hard. It's interesting, because you hear so much about how kids are lazy these days and have no ambition and all that kind of stuff, and I just find that they're so eager to work and so energetic—and it makes me feel tired," he laughs. "They're so sweet, they warm up everyday. I try not to laugh at them. I think, 'Give yourself six years and you

won't be doing that anymore!'" Speech and Debate's setting brings us to a Salem, Oregon high school wherein three teen misfits join the debate team. Actually, they're using the team as a preparatory platform for their eventual plan to expose their pervy drama teacher, who has been preying on students over the Internet, to the school board at the annual debate competition. Each misfit, of course, has their own ulterior motives for the witch-hunt: you've got the musical theatre geek (Kayla Gorman) who's bitter about not being cast in anything, the aspiring reporter (Matthew McKinney) who's looking to break a big story and the openly gay transfer student (Geoffrey Brown) who's actually got the

proof that the teacher is up to no good. "It's all from a very dark point of view," says Schmidt. "Everyone has a secret, and everyone has a public agenda but also a private self. There's that difference between what's public and private." The show interrogates the idea of the adult world crashing in on those who may not be ready for it, says Schmidt. "These kids are on the cusp of adolescence and adulthood. Does one birthday make a difference? Does being legal mean you're an adult suddenly just because you turned 18?" As for his fresh-faced young cast, all of whom are recently out of college themselves, Schmidt says he's always been eager to give emerging actors juicy roles. "I don't want to do Beverly Hills 90210 with 35-year-old teenagers. I don't have

a huge issue with casting people older than their age, but there's something great about being able to have three new people in this," he says. "It's really important to me to cast new people. I cast at least one new person in every show I do. I think that's important in terms of continuing the growth of our theatre community." V Thu, Apr 8 – Sun, Apr 18 (7:30 pm) Speech AND Debate Directed by Trevor Schmidt Written by Stephen Karam Starring Matthew McKinney, Kayla Gorman, Geoffrey Brown, Linda Grass Varscona Theatre (10329 - 83 Ave), $15 – $25, PWYC matinee on Saturdays

DANCE // SINS | SONGS

PREVUE // MOLIÈRE'S DOCTORS

Dead men collaborating

House calls

Dance and opera blend into something new with Sins | Songs

The French Shakespeare's doctor plays arrive David Berry

Fawnda Mithrush

// david@vueweekly.com

// Fawnda@vueweekly.com

hen it comes to the big, old guns of the artistic world—think ballet, opera and 500-years-dead painters—some assume that there's not a lot of "new" stuff happening. Not true, of course. It's when those ol' guns get together that some pretty newfangled stuff turns out. A few years back, Alberta Ballet decided to infuse their season with new choreographies that would be accompanied by live vocal performances. In the Ballet's 2007 season, Emily Molnar set a cycle of dancers moving through Orff's Carmina Burana in collaboration with a cast of Pro Coro singers. As the mixeddisciplinary spirit grew into a regular thing with the Ballet, they eventually teamed up with Edmonton Opera, last year producing Mozart's Requiem as a feature of both company's seasons. This time around, Molnar has choreographed to Gustav Mahler's Songs of A Wayfarer (along with a few more of his ditties), with the help of Edmonton Opera's artistic director Brian Deedrick as a staging consultant. Mezzo soprano Allyson McHardy guides five couples (that's 10 dancers) through the piece. "Sometimes it's daunting when you hear such a beautiful score—you think, 'Wow, how am I ever going to match that with movement?' I was very inspired by the music, and thought, 'OK, I'm at a point in my career right now where I'll dare to try and use that,'" explains Molnar, who is now the permanent artistic director over at Ballet BC (which is doing much better than it was in the bleak, financially-strapped days when the company was forced to close its doors just a couple years ago). "In the North American system we struggle trying to create budgets we can afford, so it's always a joy and a privilege when we have the opportunity to work together. I love being able to collaborate

Kick it >> Sins | Songs mixes dance and song // Charles Hope with a team of people, because when the lead in Requiem last year, notes that you put a bunch of different creative his piece hammers on the comedic bits minds together you always get a more (gotta love that Brechtian wit). layered work," she says. "It was interest"I tried to make it entertaining, just ing watching the two disciplines worklike a musical—singing, dancing, flashy ing together and what they notice about costumes, lots of humour," Hattori says. each other. You see the similarities and "Gluttony is pretty funny, lots of laughs also the differences between two profesthere. In the gluttony song she becomes sions in the way they train. Dancers do a dancer, so her family sings about how a lot of repetition and a lot of rehearsal she can't eat anything—if she gains even whereas singers have to be careful of one pound no one will hire her." See, it's that because of their voices—they do good to know some things about the balmore marking to get to a certain place let will never change. V whereas dancers always go full out." Rounding out the show is Yukichi Hattori's take on Kurt Weil and Bertolt Brecht's The Seven Deadly Sins, which follows a young girl, Anna, through each evil deed in song. Hattori, who danced

22 // ARTS

Fri, Apr 8 & Sat, Apr 9 (7:30 pm) Sins | Songs Featuring Songs of A Wayfarer and The Seven Deadly Sins Jubilee Auditorium (11455 - 87 Ave), $24 – $89

VUEWEEKLY // APR 8 – APR 14, 2010

olière is generally thought of as the French Shakespeare, and so is rightly treated with a certain amount of reverence and respect, but none of that used to matter to JeanStephane Roy. It wasn't that long ago that the director, who is seeing his production of Les médicins de Molière (Molière's Doctors)—an omnibus of two of Molière's many doctor-themed plays, Le Médicin volant (The Flying Doctor) and Le Médicin malgré lui (A Doctor in Spite of Himself)—tour the country, never even wanted to see a Molière script, much less direct one. "I really hated Molière before. I never wanted to work on him," Roy admits with congenial frankness. But he admits he was slightly misinformed: thanks to some of the French playwright's more controversial opinions of the Church, for a long time in Quebec his work was filtered through the less than liberal sensibilities of Catholicism. "The tradition of Molière here was based on what the Church taught Molière was. It was like if you put Molière into the bleach, so there was no perfume, no flavours, no taste—all the sexuality was thrown out. It was treated like it was a poem: it was really boring. But the first time I worked on Molière, I thought, 'I've never saw that before.' Since, I've really tried to explore Molière like he was a new writer, and ignore the tradition." He's continuing that with Les médicins— now his sixth production of the playwright since first taking him on a few years ago—which passes over some of Molière's classics in favour of a couple of broad farces aimed at one of Molière's favourite targets: doctors. He was no fan of the profession—Le Médicin malgré lui features one of the more damning (and hilarious) speeches about doctors ever committed to paper—and while both

OPEN wide >> Let Molière's Doctors take a look // Supplied these plays are also traditional love stories involving mistaken identity and trickster lovers, they get a lot of their comedy from puncturing the pompous shield of the medical profession. "In France, the doctors were trained animals. The patient doesn't count: it's the illness that counts. The more the patient is sick, that's better, so we can study the illness, instead of healing people," Roy points out, though he's also quick to add that, for his production, love conquers any concerns about quacks. "I didn't try to do a big statement about it: it's just a colour, a perfume. The most principled thing in the play is still a love story." V Thu, Apr 8 – Sun, Apr 11 Les médicins de Molière (Molière's Doctors) Featuring Le Médicin volant (The Flying Doctor), Le Médicin malgré lui (A Doctor in Spite of Himself) Directed by Jean-Stephane Roy La Cité francophone (8627 - 91 St) $15 – $24, English Subtitles

HOPSCOTCH >> ISOBEL AND EMILE

The one who left Edmonton ex-pat Alan Reed returns to launch his debut novel The novel started as a pair of short sto- calling Beckett, whom Reed cites as an ries, "A Letter to the One who Left" and "A influence. Moments are described with Letter to the One who Stayed," the former the trained objectivity of a court stewritten before Alan Reed left Edmonton, nographer. Struggling with inertia, the the latter once he'd arrived in England to central characters possess a rigidity akin study writing at Dartington College of Arts. to Emile's marionettes, though there are The titles alone constitute DNA strands of minor characters, such as the flirtatious the larger work they'd eventually yield, redhead eager to support Emile's an account of young lovers who work, who imbue the story's marpart when one leaves the town gins with vivacity. for the city to pursue his pupReed's previous publication, petry while the other inhabits For Love of the City, was a colm .co the room he vacated, taking a lection of poetry. He describes weekly h@vue job in a grocery store and dis- hopscotc the move from poetry to the Josef tance from her family. For Reed, novel as a way of safeguarding raun B Isobel and Emile (Coach House, against his writing "toppling all $18.95) was an exploration of writthe way into absurdity and meaninging as a way of remembering. lessness." Yet perhaps in accordance with An Edmonton native, Reed worked at poetry's attendance to things typically neAudreys Books for 10 years before studies glected, Reed's prose is the sort that takes took him abroad. He returns to Edmonton little for granted. This approach, with its and to Audreys this Friday evening for careful evocations of familiar things, urges a hometown launch of his debut novel. the reader to a place of heightened sensiReed will also join in the Literary Saloon's tivity, so that each event, however minute, "My Hometown" Story Slam on Thursday becomes punctured with significance. evening at the ARTery. Isobel and Emile Reed participated in an email interview doesn't unfold in Edmonton, or Darting- with Vue over the long weekend. ton, or Montréal, where Reed currently resides. Its stark rooms and unspecified VUE WEEKLY: There's a striking rigour in settings are emblematic of its skeletal your prose. Was this present in your writtone, its avoidance of devices that might ing before Isobel and Emile? distract from its present-tense emotional ALAN REED: It may be a strange thing for simplicity. The dearth of adjectives or a writer to say, but I've always been fascicontractions and repetition of actions nated by the failure of language. My writing or phrases can seem oddly comical, re- revolves around an ideal of silence—that

HOP H C SCOT

words are useful only insofar as they prepare for their absence. It's kind of like I write in order to point out a still place beyond the reach of what can be written. So yes, this kind of broken-down minimalism is something I've been working towards for a while now. VW: Were there other poems or novels, or perhaps puppet shows, that helped you in your work? AR: The barren quality of Samuel Beckett's writing is a crucial influence, especially his later work, as is the work of a pair of French novelists—Marie Redonnet and Agota Kristof. What I've read of their writing is as starkly minimalist as Beckett's, but it's warmer, sort of like there is still a little bit of room for hope and warmth in the worlds they imagine. There are a lot of technical tricks I picked up from the New Novelists, especially the critical writing of Alain Robbe-Grillet and Nathalie Sarraute, and my transition into writing as a novelist was helped along by Maurice Blanchot's The Space of Literature. I don't think these influences are as visible, though. And puppets. The way that the Brothers Quay tell stories helped a lot in figuring out how to make Emile's puppetry work. Neil Gaiman and Dave McKean did a graphic novel together, Mr. Punch, which is kind of what I imagine Emile's puppets looking like.

Isobel's private thoughts through her letters to Emile. We gain a somewhat similar exposure to Emile's inner world through your descriptions of his films. The book feels painstakingly balanced between the titular protagonists, but did you find over the course of writing that one character and their story eclipsed the other? AR: Actually, my favourite character in the book is Mr. Koch, the storekeeper Isobel works for. Between Isobel and Emile, my affections are balanced. I think Isobel is the more interesting character. Emile never quite figures out what to do with himself and he bottoms out in a kind of despairing retreat into his imagination. Isobel is the one with any amount of hope—she's the one who actually does something in the end. VW: Part of what transpires in your novel concerns the reasons that finally help someone resolve to leave one place for another. Could you say something about your own reasons for leaving Edmonton? AR: I left to study at Dartington. They have a truly amazing experimental writ-

ing program there, and it was the closest thing I could find to the direction my own writing was leading me. When I was ready to come back to Canada, Edmonton was suffering through the worst of the boom. The cost of living was going way up, some of my friends were having their rent go up by hundreds of dollars from one month to the next and, well, the arts is not exactly lucrative. In order to have time to write, I need to be able to get by on as little as possible. I couldn't afford to come back to Edmonton. And because Quebec is a socialist utopia compared to the rest of North America, Montréal is a weirdly easy city to get by in. That's it, really. I miss Edmonton. I have a lot of really good friends here and I wish I could spend more time with them than I do, but if I am going to write then I can't live here. V Thu, Apr 8, (7 pm) The ARTery Literary Saloon featuring Alan Reed and others The ARTery, (9535 Jasper Avenue), $5

VW: We're able to catch glimpses into

APR 8 – APR 14, 2010 // VUEWEEKLY

ARTS // 23

ARTS WEEKLY

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VUEWEEKLY // APR 8 â&#x20AC;&#x201C; APR 14, 2010

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24 // ARTS

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HI WELCOME TO VUE WEEKLY'S

STREET STYLE: SPRING 2010

PHOTGRAPHY Francis Tetrault | GUEST STYLIST Shelly Solarz MODELS Kim and Andrew from Mode Models HAIR & MAKEUP Bonnie from The Cutting Room | STYLE EDITOR Bryan Birtles Apr 2010 How do I spend my one free hour a day? Browsing through the 50 or so style blogs that I have bookmarked on my computer. Style blogs today—like the Sartorialist, Sea of Shoes and Facehunter—have now become the style guide for the fashion obsessed. Bloggers are catching street fashion on the streets or in improptu fashion shoots in their backyards, showing off their own style. The lure of blog style is a sense of personality and individuality, and a message that there are no rules. Shelly Solarz Guest Stylist Editor-in-chief of Parlour Magazine parlourlife.com Kim Shoes - Nine West Dress - Shell Segul Bracelet - Hex Cuff Andrew Shoes NDC Tie - Filippa K Belt - Paul Smith Pants - Rag & Bone Shirt - Band of Outsiders Trench Coat - Wings & Horns See page 32 for where to buy

APR 8 – APR 14, 2010 // VUEWEEKLY

SPRING STYLE 2010 // 25

26 // SPRING STYLE 2010

VUEWEEKLY // APR 8 – APR 14, 2010

STREET STYLE: SPRING 2010

Andrew Shoes - CLAE Shirt - Supreme Being Pants - WESC See page 32 for where to buy

Kim Jacket - Levi's Dress - Yumi Shoes - Vic Purse - Matt & Nat Glasses - Caroline Abram See page 32 for where to buy

APR 8 â&#x20AC;&#x201C; APR 14, 2010 // VUEWEEKLY

SPRING STYLE 2010 // 27

LOCAL FASHION

STREET STYLE: SPRING 2010

Kim Shoes - Sam Edelman Shirt - Gypsy Shorts - Adriano Goldschmied Bag - Matt & Nat Jewellery - Biko

Kim

See page 32 for where to buy

Raincoat - Kelly Madden Glasses - Spivvy

Andrew

See page 32 for where to buy

Shirt - Robert Geller Shorts - Wings & Horns

Bryan Birtles // bryan@vueweekly.com

See page 32 for where to buy

Kelly Madden is a local fashion designer whose work tends to lean towards the feminine and romantic. After graduating from Marvel College with a diploma in Fashion Design and Apparel, Madden set to work creating her own line of clothing and over the last two years has carved out a niche in Edmonton's tight-knit fashion community. Her work can be found online at kellymaddenclothing.com, at Jasper Avenue's Black & Bold and around town at local markets. VUE WEEKLY: How did you get involved in fashion? KELLY MADDEN: Fashion was just something that I had always been interested in. Every aspect of showcasing it as well: the makeup, the hair, the stlying, photography—even the set design. Anything visually stimulating really piqued my interest. I have no link to design or even sewing through my family—no one sews— so it wasn't something that came from influence, and being that I grew up in a tiny, northern Alberta town, there wasn't much for inspiration either! But I made clothes for my dolls and altered clothing for myself. I would spend hours looking through fashion magazines and sketching pictures. Once I hit junior high and took home-ec classes I started to hone my sewing skills—at that point I knew there was nothing I would rather do, so taking fashion design in my post-secondary was my only option. VW: What inspires your work? KM: I don't generally find an inspiration and use it to build a collection, even though that is something you are taught to do for the sake of keeping things cohesive. I just like to keep things feminine and structured for the most part. I enjoy putting opposites together: hard and soft, girly and powerful. I think it keeps things interesting and adds an edge to something that is quite classic. I also like to make my garments fairly transitional from season to season and tend to lean away from over-produced or "out there" trends. VW: Can you describe the advantages and disadvantages of being a designer in Edmonton? KM: It's tough. In a city that loves their jeans and T-shirts it is really hard to get enough of a following that yearns for tailoring and more of an "after five" feel. The actual process of designing is tough as well simply because there is a lack of resources, only a few fabric and notion stores to choose from. On the plus side, Edmonton really is like the largest small town, which means that everyone seems to know everyone. It makes networking a little easier, but can get a little redundant at times. There are a few great markets that focus on handmade items (Handmade Mafia, Make It) which is nice and WCFW (Western Canada Fashion Week) is really great at helping young designers showcase their work. V

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APR 8 – APR 14, 2010 // VUEWEEKLY

SPRING STYLE 2010 // 29

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VUEWEEKLY // APR 8 – APR 14, 2010

STREET STYLE: SPRING 2010

Kim

Andrew

Capris - 7 For All Mankind Pink Tank Top - Free People Purse - Sienna Ray & Co White Tank - Alexander Wang

Shorts - Paul Smith Shirt - Rag & Bone Bag - Fred Perry Sunglasses - Paul Frank

See page 32 for where to buy

Kim Shoes - Frye Shorts - We The Free Shirt - Free People Watch - Stylist's own Andrew Shoes - Sperry Topsiders Belt - Paul Smith Sunglasses - Cheap Monday Pants - Riviera Club Shirt - Riviera Club Jacket - Levi's See page 32 for where to buy

VUETUBE

MORE ... Western Canada Fashion Week recently wrapped up at the Arts Barns. Vue Weekly was there to catch some backstage action. Go to vueweekly.com/vuetube to check it out.

More from Street Style: Spring 2010 online at vueweekly.com

APR 8 â&#x20AC;&#x201C; APR 14, 2010 // VUEWEEKLY

SPRING STYLE 2010 // 31

STREET where STYLE: to SPRING 2010

buy

PAGE 25 Kim Shoes - Nine West Dress - Shell Segul Bracelet - Hex Cuff (from Bella Maas) Andrew Shoes - NDC (from Gravity Pope) Tie - Filippa K Belt - Paul Smith Pants - Rag & Bone Shirt - Band of Outsiders Trench Coat - Wings & Horns (from Gravity Pope Tailored Goods)

PAGE 27 Andrew Shoes - CLAE Shirt - Supreme Being Pants - WESC (from Foosh) Kim Jacket - Levi's Dress - Yumi (From Red Ribbon) Shoes - Vic (from Gravity Pope) Purse - Matt & Nat (from Bamboo Ballroom) Glasses - Caroline Abram (from The Observatory)

PAGE 28 (LEFT) Kim Shoes - Sam Edelman Shirt - Gypsy Shorts - Adriano Goldschmied Bag - Matt & Nat Jewellery - Biko (from Bella Maas) Andrew Shirt - Robert Geller Shorts - Wings & Horns (from Gravity Pope Tailored Goods)

PAGE 28 (RIGHT) Kim Raincoat - Kelly Madden (from kellymaddenclothing.com) Glasses - Spivvy (from The Observatory)

PAGE 31 (LEFT) Kim Capris - 7 For All Mankind Pink Tank Top - Free People Purse - Sienna Ray & Co (from Bamboo Ballroom) White Tank - Alexander Wang (from Gravity Pope Tailored Goods) Andrew Shorts - Paul Smith Shirt - Rag & Bone Bag - Fred Perry (from Gravity Pope Tailored Goods) Sunglasses - Paul Frank (from The Observatory)

PAGE 31 (RIGHT) Kim Shoes - Frye (from Gravity Pope) Shorts - We The Free Shirt - Free People (from Red Ribbon) Andrew Shoes - Sperry Topsiders (from Gravity Pope) Belt - Paul Smith (from Gravity Pope Tailored Goods) Sunglasses - Cheap Monday (from Gravity Pope Tailored Goods) Pants - Riviera Club Shirt - Riviera Club Jacket - Levi's (from Red Ribbon)

32 // SPRING STYLE 2010

VUEWEEKLY // APR 8 â&#x20AC;&#x201C; APR 14, 2010

INSIDE // FILM

FILM

DVD Detective

36 38

Reel Femme

He Watch Channel Zero

Online at vueweekly.com >> FILM

Reeling out the undead

by Brian Gibson Brian Gibson examines the long-buried films that got a second chance at screen-life

FILM // PEDRO COSTA

Film as portraiture Pedro Costa's trio of Fontaínhas films finally sees North American release Josef Braun // josef@vueweekly.com

his is one of the great stories of 21st century cinema, how Pedro Costa returned to Portugal after making his second feature in Cabo Verde, with messages and gifts in tow, how he was asked to deliver these items to Cabo Verdeans living in the ramshackle labyrinth of Lisbon's Fontaínhas and discovered the place where he would forge something new. He was still making films within the conventional means of production, with generators, lights, crews and craft services, and by the time he'd wrapped Ossos (1997), he'd had enough. That film, which traces the paths of several characters in and out of Fontaínhas, including one who endeavours to sell his newborn child, is haunting, funky, appalling, deadpan funny, at times perplexing and gorgeously crafted. But Ossos didn't convey the Fontaínhas Costa wanted to know. After Ossos Costa started going back to Fontaínhas every day with just his DV camera, using the minimal available light to create chiaroscuro chambers of domestic activity, patiently working through hundreds of hours of tape, trying to get closer to the actual flow of life through this place that was now being demolished by the municipality. In Vanda's Room (2000) documents a world undergoing its private apocalypse, three hours of people in tiny rooms, waking up, taking drugs, selling things, coughing and talking, while the bulldozers rumble just outside. This led to Colossal Youth (2006) in which Costa returns to Fontaínhas to find a world largely vanished, relegated to memory, in which the oracular Ventura, a man with ghostly eyes and stiffened limbs, pays visits to several individuals he claims are his children. The landscape he traverses is largely white, vertical and featureless, loomed over by the housing projects erected in the wake of Fontaínhas' collapse. Old Fontaínhas survives as one last hovel, occupied by a woman named Bete. At one point Bete and Ventura sit on her floor, marveling at the things they can read in the gloom of Bete's crumbling, well-lived-in walls, things they'll see once they're relocated to the white towers. A motif running through Costa's films is a kind of portraiture, the camera holding enigmatically upon a face. This speaks to Costa's formal rigour as well as his fundamental interest in people. It's this investment in individuals, rather than some vague "social problem," that makes In Vanda's Room as powerful as it is. Of course these films can be difficult in ways that mirror the arduousness of their genesis. They're long and

MAN ABOUT TOWN >> Pedro Costa captures the people of Fontaínhas on film slow, and conspicuously low on context. The best method of understanding and enjoying them is to simply spend time with them, to sense how the whole ambitious project fits together. Thankfully, after years of international acclaim and virtually no opportunities for anyone other than festival attendees and major centre cinematheque-goers to see this work, Criterion has just released Letters From Fontaínhas: Three Films by Pedro Costa, which collects Ossos, In Vanda's Room and Colossal Youth, along with a wealth of illuminating supplements. Costa spoke to Vue Weekly from his home in Lisbon. VUE WEEKLY: Could you talk about where you were at in your life when you began work on Ossos? PEDRO COSTA: I had a period of five or six years as assistant director on lots of films. Those years gave me a very bad feeling of things to come. Filmmaking seemed to mirror the worst relations in our society. It was only on my second film, Casa de lava, that I started taking measures to change this. It shot it in Cabo Verde, the islands from where all the people I'm working with now come from. I grabbed a camera, two or three technicians and a crew, and shot what I wanted. This gave the film a very strange form. You can see it in the acting. I'd written that this girl is lost, this

// Supplied

guy's in a coma, that one's crazy, and I did everything possible to ensure they became really crazy and lost and in a coma. [laughs] By the time I went to make Ossos it was clear that Fontaínhas could be a studio for me, like in the old days. I had the actors, the set, the props. In a sense I had screenwriters writing all the time. In the place, life is in charge. VW: Was this process of discovering the inner margins of Portugal via its outer margins was important in itself ? PC: I think the answer to that exists a little bit in Colossal Youth, and is starting to reveal itself more in the film I'm starting now. It's getting to a point where the levels of the political and the religious—where all levels are balanced. There was a revolution in my country in 1974. I was 13, very young, but I was conscious. For three years I was involved, everybody was. Before there was fascism and now there was some kind of freedom. I was discovering politics—and film and music and books. Everything was mixed. It was the punk rock movement. When you have the streets filled with people and you walk into a cinema showing a Godard film, or even a John Ford film, I think you see it differently. I wasn't just a cinephile locked in a cinematheque. These films had a correspondence in the streets, in our lives. The aim was

APR 8 – APR 14, 2010 // VUEWEEKLY

to do films that were everything, that could be tragic and funny and political, and serious and strong and beautiful. What I was not willing to do was discover these films I wanted to make alone in my room, facing a blank page and writing stuff. That's something I can't understand, even today. This probably isn't answering your question, but it was important that my approach to Fontaínhas was not pre-conceived. It didn't come from searching for poverty or a reason to say something or defend something. I confess I was absolutely fascinated by appearances, by surface, by colours, smells, sounds. I discovered an aesthetic world to which I could relate, finally. So I had to think a little bit about that. How to go beyond this fascination. And it was mutual I think, because they were fascinated by me.

sense of place informed your approach? PC: That's something I've been discovering. I'm a product of, how do you call it, a dysfunctional family? I'm a product of divorced parents, of a small city, but one with all the weaknesses of my social class. Everything that I'm trying to destroy, to dynamite, comes from my place in the world, my geographical or mental place. My city, the place I was born, is the antithesis of emotional strength, its people are ill-prepared to live with other human beings, this petit bourgeoisie that regards money as something very dirty, that you keep to yourself. These are things I've been trying to destroy because I found the opposite by working among people that lack everything, that lose everything, lose more with each day, these people who I've roped into my project.

VW: What about you fascinated them? PC: We still talk about that. I've been there for years now, we're brothers and sisters. The way they talk about meeting me is like the way I talk about them. "We saw this white guy coming alone, trying to be cool"—because I was afraid—"to speak his rudimentary Creole ... " They saw me falling into this seductive trap they'd put on me. It was a spell. Their fascination was: "What does he want from us?" That was the preparation for Ossos. There wasn't a script. There weren't ideas. There were feelings. I remember hearing stories, reading things in the paper while taking the bus from my house to their place. I'd read something about a baby being sold, and then started trying to bring out ideas from the neighbourhood guys I was working with. But it's still a very controlled film. I was doing everything according to the rules of cinema. It took time to get rid of that. During the shooting of Ossos I had no time to know them, and that's the painful thing, the old mistake. You don't have time to know people, or you know them only very superficially. Often your experience of discovering something is so much more interesting than the result.

VW: If you hadn't discovered Fontaínhas, do you think you would have stayed in Lisbon? PC: I don't know. I was told by a producer, several times, to go home, write and bring in something bigger, but in the same style as the previous film. That's what 90 percent of filmmakers do. You can feel that with Ossos, that if the director behaves he can probably just keep doing that same sort of thing for the rest of his life. So I'd be doing that, probably having a slightly more comfortable existence, with more chances to do films with more money and more quickly. Or maybe I'd have gone into anthropological work, historical work, because I did history in university. I'd be very into the past and stones and people living in deserts. But I saw this chance for me and, this sounds pretentious, but for them too, how this could be great for this girl or this junky guy, and of course when you think of one in those places you think of everybody. The films are a bit like that, choosing one to speak for all. I think we're almost succeeding with Ventura in Colossal Youth. The most beautiful compliment I ever heard about my films was in Fontaínhas, after a screening. Two or three of the young guys, the rappers, the activists, they left the theatre, walked straight up to Ventura and said: "This is amazing, Ventura. For 25 years we've seen you in Fontaínhas, drunk. A bum. Crazy. Saying stupid things. Drooling. Falling apart. And then we see you like this in this film ... How!?" That was great. For me, for them, for Ventura. For everybody. V

VW: You're weighing the values of process over product, but one of the extraordinary things about this body of work is that we see the process of one film reflected in its predecessor. We see In Vanda's Room reflected in Ossos, Colossal Youth reflected in Vanda. PC: Yeah. For the first time in my life, working in that place with those guys and girls, sometimes I get a glimpse of something collective, something that happens because we took a lot of time. VW: These films reflect a complex sense of place, an idea of home. How has your own

For an extended interview with Pedro Costa, go to vueweekly.com/pedro Now on DVD Letters From Fontaínhas: Three Films by Pedro Costa

FILM // 33

FILM REVIEWS 



everything from hacksaws to hammers used to eviscerate someone in your way. We're supposed to believe that Remy, an ex-army vet and now slaughterer with a tin heart, is a writer leaving behind a cautionary tale for his son. But it's a plot point as stand-in for story, anemically transfusing sentiment instead of transmitting sense. Our eyes, with no credit-paid optical enhancement necessary, can tell the truth— both the repo man and Repo Men are sorely lacking wisdom, wit or feeling.

a Tit the of sh ays Cla aw Run The

Brian Gibson

// brian@vueweekly.com

Clash of the Titans

Film Capsules Opening Friday The Runaways

Written & directed by Floria Sigismondi Based on a book by Cherie Currie Starring Kristen Stewart, Dakota Fanning, Michael Shannon  As the first all-girl proto-punk group, The Runaways may have been a unique idea, but the biopic of the same name suffers from a lack of them. A kind of hybrid between your standard rock 'n' roll fall from grace and a coming-of-age tale, The Runaways fits too comfortably into the standard tropes off both kinds of stories to feel anywhere near as lively as the music at one time did. And when you're dealing with a group of teenage rock stars who spiral downwards thanks to a combination of drugs and an insane impresario, it takes something to make it seem as boring as it does here. The film's faults can probably best be summed up in a scene where Cherie Currie (Dakota Fanning) gets her first taste of the drugs that would eventually consume here. After she pops a few pills backstage, director/adapter Floria Sigismondi tilts the camera, and then sends us off on a blurry, looping tour of Currie's hazy state of mind. Drug trips maybe aren't the easiest thing to capture from the point of view of the user, but that's a trope tired enough that Mr. Show managed to puncture it pretty deftly, and that was 15 years ago, in a sketch based on '70s films. You could argue it's homage, perhaps—and, truthfully, the scuzzy '70s LA vibe is one of the things the film does right—but surrounded by the film's other by-the-numbers executions, it just feels unimaginative. That said, part of the other problem here is that Currie is really the only Runaway we get a whole lot of perspective on. Granted, the film was based on her own memoir, and didn't even get permission to use the stories of two of the band's five members, but still, it is billed as the group's story. All we learn of Joan Jett (Kristen Stewart), though, is that she loves rock 'n' roll, which I believe was covered in a song she sang a few years back. The rest of the band might as well be cassettes, for all the relevance they have to the proceedings. The film's saving grace comes in the form of manager Kim Fowley (Michael Shannon), the producer/dirt bag who svengalied the group into existence.

Played with a refreshing recklessness by Shannon, Fowley has more personality than the entirety of the band combined. It is a little odd that the film seems largely mute on just how crafted this band was— it shows it happening, but doesn't seem to question what it means for a punk band to get tips on rocking out from their older, creepy manager—but that fades to the background through Shannon's sheer vitality. Watching him put the band through heckler practice—hurling invective and beer bottles at their faces while they rehearse—or encourage a bunch of teenage girls to start thinking with their dicks is the closest this film gets to capturing the experience of rock 'n' roll. David Berry

// david@vueweekly.com

Opening Friday Diary of a Wimpy Kid

Directed by Thor Freudenthal Written by Jackie Filgo, Jeff Filgo, Gabe Sachs, Jeff Judah, Jeff Kinney Starring Zachary Gordon, Robert Capron  For a while, Diary of a Wimpy Kid is a loopy, rough-and-tumble comic look at middle school—Malcolm in the Middle meets The Wonder Years for the newest demographic, tweens: those kids who've left parental supervision behind but aren't yet drowning in the hormone deep-end. But as the movie shambles along, its title creeps up on it, wedgielike. The "diary" episodic-ness becomes uncomfortable and, more painfully, the main kid's defining trait turns out to be much worse than wimpiness. It's the first weeks of middle school for Greg (Zachary Gordon), who's stuck at home between potty-training brother Manny and teenaged bully brother Rodrick but, at school, is determined to move up the social-status ladder to "class favourite." His genial, cool-clueless buddy Rowley Jefferson (Robert Capron), though, could hold him back. Like Greg's cartoon drawings, Diary of a Wimpy Kid paints people as caricatures. There's not enough lampooning of middle school's strange rituals and perverse educators—the boys' gym teacher is, with a hilarious germ of truth, an affable sadist, pitting big bruisers against little guys or using his assistant coach as a tackling-bag to show wrestling moves. (For those of

34 // FILM

us who survived '80s school-life, there's a hilarious educational film reel, "It's Awesome To Be Me!", featuring break-dancing and bad, bright fashion.) Kids with accents, from foreign exchange students to classmate Chirag Gupta, are left as token strangeness. Super-misfit Fregley ends up abandoned to future freakdom. And as no-worries, being-himself Rowley (Capron's the stand-out here) becomes more popular than Greg, we start to realize what a banal jerk the main character is. Greg's obsessed with schemes for becoming popular, though he never bothers to actually make more friends. He ill-uses Rowley and lies serially. The voiceover makes Greg even more delusionally egocentric. And his refusal to ever openly recognize his selfishness is compounded by the movie's pushing of his egomania to its limit before a huge but hollow selfscapegoating (although, to the end, Rowley takes all the physical punishment). Rowley and Mrs Jefferson bust out to Beastie Boys' "Intergalactic" at a motherson dance, but Greg shies away from anything so effeminate. He doesn't like the word "diary," doesn't even want to talk to friendly Angie (Chloe Moretz), is ashamed his voice is still soprano, and the movie sees women as uptight (feminism's cartoonishly reduced to the grrl power of shrill triumph on the wrestling-mat or maternal scolding of Rodrick for his bikerchick magazine). So Greg's not wimpy—he fears being a pussy. This apparently gives him licence to be a total dickhead. His diary's a fiction of self-aggrandizement and by the time he talks about his biggest lie in third-person, the movie should be retitled Diary of a Sociopathic Kid. No consideration for others, success at any cost, arrogant assumptions of superiority—it reminds me of my middle-school wonder years, the '80s, when pathological lack of kindness wasn't just a playground problem but a political state of mind. In its main character, Diary of a Wimpy Kid offers a cynical, shrugging view of today's tweens. Maybe 10-year-olds do want a Holden Caulahfuckitfield out of some Catch-her in the ... why? book, but my inner optimist suspects they want, and deserve, better. Brian Gibson

// brian@vueweekly.com

Repo Men

Directed by Miguel Sapochnik Written by Eric Garcia, Garrett Lerner Starring Jude Law, Alice Braga, Forest Whitaker  It's hard to know what Repo Men's saying

VUEWEEKLY // APR 8 – APR 14, 2010

about Canada's biggest city by casting it as the nameless stand-in for a gloomy dystopia where people get their artificial organs repossessed. Can Canada's ego-bubble of strained politeness and surface multiculturalism so easily become a muddling-pot of venality and corruption? Is the TTC the perfect shiny-subway-gone-to-seed of futuristic transit? Does being remade as the dingy den of body-hunters mark the zenith of temporally transplanted Toronto as the go-to Everycity for a cosmetic scenery-minded, bottom-line Hollywood? But then, it's hard to know what Repo Men's saying about much, what with its shapeless sense of the future, humdrum story and fairly routine plot mechanics. Jude Law does his best to bring some stark-eyed gravitas to his role as Remy, organ repo-man for The Union, but from his wife's cold shoulder to his partner Jake's jokey machismo, this flick mostly recycles old action-movie parts. There are a few sparkling exceptions. The twist of the scalpel's that Remy gets more of a heart when, post-accident, he has an artificial one inserted: his newfound sense of empathy means he can't bring himself to take down blood-debtors and bring their unpaid organs back to the company. And his own borrowed heart will soon be ripped out of his chest, since he's not making any money to pay it off. His heart's already been stolen (metaphorically) by Beth (Alice Braga), a nearly all-artificial singer down and out in the slums. Braga brings some soulful grit to the role. Their most sexual scene actually outstrips Cronenberg's Crash for a few disturbing minutes. And the story torques back nicely on itself near the end, tricking us with the homosocial revenge-fantasies of the genre and crushing us under the tyrannical body-politics of this near future. The movie, though, never delves into that future, which could be frighteningly resonant, what with its credit-crunch and health-care concerns. Instead, this dystopia is darkness without any illuminating light, or any heart—even synthetic— beating at its centre. Who runs the government? Why does The Union have so much control (even though its corporate centre seems more like a branch-office out of Glengarry Glen Ross)? Why do so many people need artificial organs? The future's mostly set-decoration for the showdown between Remy and Jake (Forest Whitaker). Repo Men never manages to be bilious, either—its only moment of black comedy seems to be when we see how young an underground surgeon is, though the point's unclear. Children's innocence being squandered? But innocence is impossible in a world this brutal, with the movie itself embracing a cold sociopathy in its fight scenes: bodies cut open, throats slashed,

Directed by Louis Leterrier Written by Travis Beacham, Phil Hay, Matt Manfredi, Beverley Cross Starring Sam Worthington, Gemma Arterton, Liam Neeson  Poor Perseus. He just got turned into a 21st-century American teen with a new father (Poseidon) to kick off the poor boy's Harry Potter franchise, Percy Jackson and the Olympians. Now he's got his old father (Zeus) and demi-god adult-form back, but he's stuck in an even gloomier world than post-Obama-hopeistan USA—a digitized, theatrical Mediterranean with plummyvoiced British actors and giant, roaring monsters (or is that plummy-voiced monsters and giant, roaring British actors?). It's back to the future-ized past with Clash of the Titans, an update of the 1981 flick (cheesier than feta). This version, saturated in the many hues of coal black, is a super-serious odyssey. Perseus (Sam Worthington) is all grim-faced and vengeance-burning; the gods are all bad-business, especially Hades (Ralph Fiennes), suffering from one of the worst cases of dastardly-guy-bent-back-andraspy Voice Disease ever crouched and growled out on screen. The plot's one of those restless beasts that closes its eyes during stretches of dialogue only to lurch awake for a battle scene. Fisherman Perseus' adoptive family's killed by Hades after his demons swoop in to slaughter Argos soldiers who toppled a statue of Zeus. Then we're off to Argos, whose King and Queen see their declared age of man last about a second before Hades tells them he'll unleash the Kraken (relocated from its Norse-myth habitat) unless they reverently sacrifice daughter Andromeda. So then Perseus is off with battlemates to fight a giant scorpion, see three witches—not seers or prophetesses, but then, also anachronistically, Andromeda apparently acts like a "missionary" and Zeus (Liam Neeson) wears glinting plate-armour—and head off to the Underworld to decapitate Medusa, then fight a Hades-twisted King Acrisius, then back to Argos on Pegasus to face down the Kraken and get his vengeful shot at Hades. Call this theme-park ride "Around the Ancient World in 80 Minutes." The scorpion fight has thrills and the desert-spirit Djinns (though one is, in an antiMuslim touch, made a suicide bomber) are much more memorable than the bland Argonauts. But the classical notion of Fate's blown off. Perseus rejects the gods' favours (they really are assholes, so why should we want their order restored?) but the movie puts him on a pedestal while pretending to offer a good-guys-stick-together ideal. We hardly learn a character's name before he's killed. Creatures get ridiculously larger CONTINUED ON PAGE 35 >>

FILM REVIEWS

Film Capsules << CONTINUED FROM PAGE 34

and deadlier as action-scenes advance to the next video-game level. Like Medusa's coif of writhing snakes, the film's modern rejection of the divine gets tangled up with a Christian emphasis on the scheming, Devil-like Hades and the gods' hissy-fit for attention (Zeus says they need humans' love; Hades says they only need humans' fear). As in the myths, women are often violated or sacrificed by gods and men, but the movie adds a Madonna-whore complex, so radiant Io (Gemma Arterton) is a guardian angel forever by Perseus' side while Medusa, though we're told she was raped by Poseidon, is reduced to a "bitch." Flashbacks to the original's stop-motion effects and campiness would be welcome, just to relieve the dull, grey spiritlessness (there's precisely one joke). By Jove, where's Bacchus and a good oldfashioned orgy when we need one? Brian Gibson

// brian@vueweekly.com

Opening at the Metro L'Enger d'Henri-Georges Clouzot Fri, Apr 9 (7 pm, 9 pm) Sun, Apr 11 (9 pm) Mon, Apr 12 (7 pm, 9 pm) Directed by Serge Bromberg, Ruxandra Medrea Featurying Romy Schneider, HenriGeorge Clouzot, Serge Reggiani Metro Cinema (9828 - 101A Ave) 

Henri-Georges Clouzot had endured dismissal from the German film industry for his Jewish associations, dismissal from the French film industry for his Nazi associations and a bout of tuberculosis between. Upon resuming filmmaking in 1947 he directed some of the greatest French films of the postwar era, such as The Wages of Fear, and Les Diaboliques. The latter was adapted from Boileau-Narcejac's novel, a property hotly desired by Alfred Hitchcock, CONTINUED ON PAGE 37 >>

APR 8 – APR 14, 2010 // VUEWEEKLY

FILM // 35

DVD DETECTIVE >> THE BAADER MEINHOF COMPLEX

Revolutionary rock Political action and youthful rebelliousness prove difficult to separate in The Baader Meinhof Complex I think the closest analogue to the The Baader Meinhof Complex is probably Bonnie and Clyde, but there's one key difference between two films that follow historical dashing rebels on the run from the law: here, the violence is political. I'm not sure if that implicates the audience more or less: most of our cinematic violence is at least presented m ekly.co vuewe apolitically, but here we get ctive@ dvddete would-be revolutionaries with David very clear and forceful goals, Berry people all-too-willing to go to extremes in the pursuit of their politics. I suspect your response might depend on your own leanings: right-wingers should be able to dismiss the lot of these folks as immoral and misguided; left-leaners REBEL PAUSE >> Baader & Meinhof consider revolution // Supplied will have a harder go of it all, the motives of the terrorists a bit closer to heart. care, whaddya-got rebelliousness that's pointed reply "Fucking and shooting are Not that BMC is by any means an enfound a convenient outlet. At times the the same thing!" dorsement of terrorism. Like Bonnie and film suggests that the former is almost Clyde, it is willing to admit that people impossible to separate from the latter, And that's kind of the group in a nutwho willfully flaunt society's rules posthat they are a kind of superego and id shell, at least as the film has it. On the sess a certain charisma, but, unlike most to what we'd consider the ego of normal one hand, they are a repository of lefty films of any political stripe, it's also willpolitical engagement. critiques of West German life, very clearing to show how much frailty and faults I am perhaps a little ahead of myself ly coloured with both the revolutionary factor in to our worldview. For every achere. The Baader Meinhof Complex fol- zeal that was finding many outlets across tion that seems born of a very reasonlows the formation and early actions of the world—the film makes explicit referable objection to gross political injustice, the Red Army Faction, a group of left- ence to Vietnam protests, but you could there is an underlying spirit of devil-may- wing terrorists (arguing the semantics see the same thing happening in France, of that term would be unfairly boring to though they were a bit quicker to make a movie with a very restless energy) ac- films about it—and the fascism that had tive in West Germany in the late '60s and not so long ago snuck up and turned Gerearly '70s. Growing out of the student many into the world's pariah. They startmovement, it attracted people as diverse ed off doing things like protesting the as the heady and reserved journalist Ul- Shah of Iran's visit to their country, but rike Meinhof (Martina Gedeck), whose repeated injustices pushed them further communist-influenced screeds would and further down a revolutionary path. slowly see her become the group's voice, On the other, though, they are the first and Andreas Baader (Moritz Bleibtreu), children of Che, romantic revolutionara leather-jacketed, violent idealist thor- ies who seem unable to separate the oughly caught up in the revolutionary heightened emotions and thrills of youth tenor of the time. Bank heists and fire- from their political ends. When they firebombings gradually grew to outright bomb a department store, it's as much assassinations and the highjacking of an a thrill as it is a point—actually a stillairliner, and their actions directly contrib- relevant one about consumption withuted to a martial-law style crackdown in out thought, but they lay it out smartly West Germany in the '70s. enough in the film—and one gets the An example of the ambivalent way feeling that, with less political zeal, in anthe film handles its conflicted and con- other era, perhaps the worst they would flicting main characters is found in the do is joyride through German streets group's reaction to the heightened secu- blasting "My Generation," as they do at rity. "It's a police state!" one enthuses to one point here. Meinhof, "Just like you said!" completely Regardless, it's a mark of the film itself ignorant of how their own radically vio- that it not only manages to capture this lent actions have helped bring it about. interconnected dual spirit, but do it while Another is found during their training in incorporating the groin-level pleasure of a Palestinian fighters camp. The strict an action film and the brain-prodding inMuslim overseers don't take too kindly tellectualism of a Marxist critique. Take to the group's liberal ways with sex, but it how you will, really: there's enough Baader rebukes them with the casual but here to satisfy any temperament. V

DVCD TIVE

DETE

36 // FILM

VUEWEEKLY // APR 8 – APR 14, 2010

FILM REVIEWS

Film Capsules << CONTINUED FROM PAGE 35

FILM WEEKLY

HOW TO TRAIN YOUR DRAGON 3D (PG, violence)

DAILY 12:15, 2:45, 5:15, 7:45, 10:15

FRI, APR 9 – THU, APR 15, 2010

HOT TUB TIME MACHINE (18A, crude content, substance abuse) FRI�SAT, MON�THU 1:30, 4:45, 8:00, 10:30; SUN 1:30, 4:00, 8:00, 10:30

CHLOE (18A, sexual content) DAILY 1:10, 3:50, 7:05, 9:25

CHABA THEATRE�JASPER

DIARY OF A WIMPY KID (G) DAILY 1:20, 4:40, 7:20, 9:50

6094 Connaught Dr, Jasper, 780.852.4749

who would come to greatly admire Clouzot's realization. The Clouzot-Hitchcock connection is curious. Both specialized in nerve-rattling thrillers permeated with nastiness and mental instability. Both were exacting in their craft, famed for their meticulous storyboards, which were followed with such precision that Hitchcock had suggested only half-jokingly that he needn't show up on set. But the influential critics who would soon become France's leading filmmakers ostracized Clouzot as resolutely as they revered Hitchcock, and by the end of the '50s Clouzot might have felt his own relevance slipping away under the force of the New Wave. He sought to refurbish his art, was immensely taken with the formal and erotic innovations in Fellini's 8 1/2, and set out to create a film that would plumb his own anxieties. L'Enfer would demolish Clouzot's reputation as an antique. It would be a story of sexual obsession, a radically subjective descent into the debilitating jealousy felt by a less-than-attractive older provincial hotel manager (Serge Reggiani) toward his luscious younger wife (Romy Schneider). But it fell into the familiar trap: too much money, too much ego and a virtual absence of anyone who might challenge the director's authority. L'Enfer was never completed, though a tremendous amount of material was shot, not enough for a reconstruction, but more than enough to create a documentary about the project's development and catastrophic collapse. Directed by Serge Bromberg and Ruxandra Medrea, L'Enfer d'Henri-Georges Clouzot uses interviews with Clouzot's associates and collaborators and workshop performances of scenes never filmed to provide context and flesh out Clouzot's narrative respectively. Yet nothing in this making-of-a-movie-never-made is half as compelling as watching Clouzot's archival footage set against Gilbert Amy's alternately brooding and abstract acoustic-electro score. Clouzot dug out everything save the kitchen sink to assemble a stockade of poppy, kaleidoscopic images, grotesque distortions, colour manipulations and cock-teasing shots of Schneider, scantily clad or even naked, water-skiing or suggestively smoking cigarettes. One image shows her tied to train tracks, breasts heaving in fear as a charging locomotive approaches. Whether this material could have amounted to more than an assembly of fascinating, arousing and well made, if dated, imagery is difficult to determine, but as the promise of something lost it's utterly seductive. L'Enfer d'Henri-Georges Clouzot is otherwise sturdy but pedestrian, something we can be grateful for having even if it isn't exactly great in itself. Even on the level of providing pertinent historical facts it's a little light, with an abrupt ending that gives little sense of the production's aftermath, and no mention whatsoever of the 1994 Chabrol film made from Clouzot's script. There certainly isn't any insight into what might have saved L'Enfer, even of the most fanciful sort. My dream version of the film? A complete re-shoot in which Reggiani is replaced by Clouzot himself, puffing away on his pipe, trapped in the sun-soaked erotic nightmare he himself created. Josef Braun

// josef@vueweekly.com

ALICE IN WONDERLAND (PG, frightening scenes not rec. for young children) FRI�SAT 7:00, 9:00; SUN�THU 8:00 CLASH OF THE TITANS (PG, violence not rec. for young children) FRI�SAT 7:00, 9:00; SUN�THU 8:00

CINEMA CITY MOVIES 12

THE BOUNTY HUNTER (PG, violence, sexual content)

DAILY 12:40, 3:45, 7:10, 10:25

SHE'S OUT OF MY LEAGUE (14A, coarse language,crude content) FRI,SUN,TUE�WED 12:25, 3:25, 7:15, 10:10; SAT 4:00, 7:15, 10:10; MON 12:25, 3:25; THU3:25, 7:15, 10:10; star & strollers screening THU 1:00 GREEN ZONE (14A, violence, coarse language) DAILY 12:50, 4:10, 7:25, 10:05

5074-130 Ave, 780.472.9779

THE CRAZIES (18A, gory violence) FRI�SAT 1:50, 4:35, 7:10, 9:30, 11:55; SUN�THU 1:50, 4:35, 7:10, 9:30 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 VALENTINE'S DAY (PG, language may offend) DAILY 1:05, 4:20, 7:05, 9:50 DEAR JOHN (PG) FRI,SUN�THU 1:30, 4:25, 6:50, 9:15; SAT 1:30, 4:25, 6:50, 9:15, 11:40 WHEN IN ROME (PG) FRI�SAT 1:35, 3:45, 6:40, 9:20, 11:50; SUN�THU 1:35, 3:45, 6:40, 9:20 EDGE OF DARKNESS (14A, not recommended for children, brutal violence, gory scenes) FRI 1:15, 4:40, 7:20, 9:35, 11:40, 12:05; SAT 1:15, 4:40, 7:20, 9:35, 12:05; SUN�THU 1:15, 4:40, 7:20, 9:35

THE WIGGLES: BIG BIG SHOW IN THE ROUND (G) SAT 1:00; SUN 4:00 AIDA (VERDI) METROPOLITAN OPERA � ENCORE PERFORMANCE (rating not available) MON 6:30 KICK�ASS (18A, brutal violence) advanced preview THU 10:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

THE LAST SONG (PG) DAILY 12:35, 3:20, 7:00, 9:35 GREENBERG (14A, coarse language, substance abuse, sexual content) FRI�TUE 12:40, 3:30, 6:40, 9:20; WED 12:40, 3:30, 9:20; THU 12:40, 3:30, 6:40 A SHINE OF RAINBOWS (STC) DAILY 12:05, 2:40, 5:10, 7:40, 10:15 HOW TO TRAIN YOUR DRAGON 3D (PG, violence) no passes DAILY 12:00, 2:25, 5:05, 7:35, 10:10

14231-137 Ave, 780.732.2236

THE RUNAWAYS (14A, sexual content, coarse language, substance abuse) DAILY 12:50, 3:40, 6:30, 9:10

DATE NIGHT (PG, sexual content, language may offend) no passes FRI�TUE,THU 12:10, 1:20, 2:30, 3:40, 4:50, 6:15, 7:10, 8:30, 9:30, 10:45; WED 12:10, 2:30, 3:40, 4:50, 6:15, 7:10, 8:30, 9:30, 10:45; star & strollers screening, no passes WED 1:00

THE WIGGLES: BIG BIG SHOW IN THE ROUND (G)

SAT�SUN 10:00

CLASH OF THE TITANS (PG, not rec. for young children, violence) no passes DAILY 11:50, 2:20, 5:00, 7:50, 10:30 CLASH OF THE TITANS 3D (PG, not rec. for young children, violence) no passes DAILY 1:00, 3:50, 7:00, 9:40

KICK�ASS (18A, brutal violence) THU 10:00

CLAREVIEW 10 4211-139 Ave, 780.472.7600

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

THE LAST SONG (PG) FRI�TUE,THU 12:50, 3:30, 6:45, 9:20; WED 3:30, 6:45, 9:20 star & strollers screening, WED 1:00

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI�SUN 9:10; MON�THU 8:15

HOW TO TRAIN YOUR DRAGON (PG, violence) FRI� WED 1:40, 4:10, 6:40, 9:00; THU 1:40, 4:10, 6:40

DIARY OF A WIMPY KID (G) FRI 3:45, 6:35; SAT�SUN 1:25, 3:45, 6:35; MON�THU 5:25

HOW TO TRAIN YOUR DRAGON 3D (PG, violence) DAILY 12:15, 2:40, 5:10, 7:40, 10:10

THE BOUNTY HUNTER (PG, sexual content, violence)

HOT TUB TIME MACHINE (18A, crude content, substance abuse) DAILY 12:20, 3:00, 5:30, 8:10, 10:40

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

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

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

THE BOUNTY HUNTER (PG, violence, sexual content) DAILY 1:10, 4:40, 7:15, 9:50

HOW TO TRAIN YOUR DRAGON 3D (PG, violence) FRI 4:35, 7:05, 9:25; SAT�SUN 2:00, 4:35, 7:05, 9:25; MON�THU 5:00, 8:10

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) DAILY 1:50, 4:45, 7:30, 10:20

HOW TO TRAIN YOUR DRAGON (PG, VIOLENCE) FRI 3:50, 6:30, 9:00; SAT�SUN 1:10, 3:50, 6:30, 9:00; MON�THU 5:35, 8:40

ALICE IN WONDERLAND (PG, violence,frightening scenes) DAILY 12:40, 3:20 ALICE IN WONDERLAND 3D (PG, violence,frightening scenes) DAILY 1:30, 4:20, 7:20, 10:00

THE LAST SONG (PG) FRI 4:20, 6:55, 9:40; SAT�SUN 1:15, 4:20, 6:55, 9:40; MON�THU 5:30, 8:20

SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) DAILY 6:30, 9:45 AVATAR (PG, not rec. for young children, violence) DAILY 12:30, 4:00, 8:00 KICK�ASS (18A, brutal violence) advanced preview THU 10:00

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

DATE NIGHT (PG, sexual content, language may offend) no passes FRI�WED 12:10, 1:00, 2:30, 3:40, 5:00, 7:00, 7:40, 9:20, 10:15; THU12:10, 2:30, 3:40, 5:00, 7:00, 7:40, 9:20, 10:15; star & strollers screening, no passes THU 1:00 CLASH OF THE TITANS (PG, not rec. for young children,violence) no passes FRI�SUN,TUE�THU 1:15, 4:30, 7:30, 10:20; MON 1:15, 4:00, 7:30, 10:20 CLASH OF THE TITANS 3D (PG, not rec. for young children,violence) no passes DAILY 12:30, 3:45, 6:45, 9:30 THE LAST SONG (PG) DAILY 12:20, 4:15, 7:00, 9:40 HOW TO TRAIN YOUR DRAGON (PG, violence) FRI� WED 1:00, 4:00, 6:30, 9:15; THU 1:00, 4:00, 6:30

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

DATE NIGHT (PG, sexual content, language may offend) no passes FRI 4:20, 7:00, 9:45; SAT�SUN 1:45, 4:20, 7:00, 9:45; MON�THU 7:00, 9:45

HOW TO TRAIN YOUR DRAGON (PG, violence) FRI� SAT 3:30, 6:40, 9:10; SUN 12:20, 6:40, 9:10; MON�WED 6:40, 9:10; THU 6:40

ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) DAILY 12:30, 3:10, 6:50, 9:25

CINEPLEX ODEON NORTH

Royal Alberta Museum, 102 Ave, 128 St, 780.439.5284

THE FLIGHT OF THE PHOENIX (PG) Mon 8:00

AVATAR (PG, not rec. for young children, violence) DAILY 2:00, 6:30, 10:00

HOT TUB TIME MACHINE (18A, crude content, substance abuse) DAILY 12:15, 2:45, 5:15, 7:45, 10:20

THE BLIND SIDE (PG, mature subject matter) DAILY 1:20, 4:05, 6:55, 9:40

EDMONTON FILM SOCIETY

THE LAST SONG (PG) FRI 3:50, 6:50, 9:30; SAT 12:20, 3:50, 6:50, 9:30; SUN 1:10, 3:50, 6:50, 9:30; MON�THU 6:50, 9:30

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

ALVIN AND THE CHIPMUNKS: THE SQUEAKQUEL (G) DAILY 1:25, 4:30, 6:30

THE LAST SONG (PG) DAILY 7:05, 9:20; SAT, SUN, TUE 1:05, 3:20

SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) FRI�SAT, MON� THU 12:05, 3:20, 6:40, 9:55; SUN 12:05, 6:40, 9:55

THE LAST STATION (14A) FRI�SAT 9:00, 11:25; SUN�THU 9:00

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

1:00;

ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) DAILY 12:45, 3:30, 6:50, 9:45

DATE NIGHT (PG, sexual content, language may offend) DAILY 12:20, 2:35, 5:20, 7:50, 10:05

THE BOOK OF ELI (14A, brutal violence, not recommended for children) DAILY 1:40, 4:15, 7:25, 10:00

Mommies TUE 1:00

CLASH OF THE TITANS (PG, not rec. for young children, violence) no passes FRI 4:00, 7:30, 10:10; SAT 1:10, 4:00, 7:30, 10:10; SUN 1:20, 5:15, 7:30, 10:10; MON�THU 7:30, 10:10

TOOTH FAIRY (G) FRI�SAT 1:45, 3:55, 6:35, 9:05, 11:20; SUN�THU 1:45, 3:55, 6:35, 9:05

THE SPY NEXT DOOR (PG) FRI�SAT 1:55, 3:50, 6:45, 9:10, 11:40; SUN�THU 1:55, 3:50, 6:45, 9:10

DATE NIGHT (PG, sexual content, language may offend)

DAILY 7:00 9:00; SAT�SUN 2:00; Movies for Mommies FRI

CLASH OF THE TITANS 3D (PG, not rec. for young children, violence) no passes FRI 4:30, 7:10, 9:45; no passes, SAT�SUN 1:40, 4:30, 7:10, 9:45; MON�THU 5:10, 7:50 CLASH OF THE TITANS (PG, not rec. for young children, violence) no passes FRI 4:00, 6:40, 9:15; no passes SAT� SUN 1:00, 4:00, 6:40, 9:15; MON�THU 5:45, 8:30 DATE NIGHT (PG, sexual content, language may offend) FRI 4:25, 7:00, 9:35; SAT�SUN 1:50, 4:25, 7:00, 9:35; MON� THU 5:40, 8:25

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

HOW TO TRAIN YOUR DRAGON 3D (PG, violence)

FRI 4:30, 7:10, 9:40; SAT�SUN 11:30, 2:00, 4:30, 7:10, 9:40; MON�THU 7:10, 9:40

HOT TUB TIME MACHINE (18A, crude content, substance abuse) FRI 4:45, 7:35, 10:05; SAT�SUN 1:50, 4:45, 7:35, 10:05; MON�THU 7:35, 10:05 DIARY OF A WIMPY KID (G) FRI 5:00, 7:20; SAT�SUN 12:15, 2:30, 5:00, 7:20; MON�THU 7:20 THE BOUNTY HUNTER (PG, violence, sexual content)

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

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) FRI 4:05, 7:25, 9:55; SAT�SUN 12:45, 4:05, 7:25, 9:55; MON�THU 7:25, 9:55 GREEN ZONE (14A, violence, coarse language) DAILY 9:50

APR 8 – APR 14, 2010 // VUEWEEKLY

THE BOUNTY HUNTER (PG Violence, Sexual Content) DAILY 7:15, 9:25; SAT, SUN TUE 1:15, 3:25

PRINCESS 10337-82 Ave, 780.433.0728

CHLOE (18A, sexual content) DAILY 6:50, 9:00; SAT�SUN 2:00 NEW YORK I LOVE YOU (14A, sexual content) DAILY 7:00; Sat-Sun 1:00 LAST TRAIN HOME (PG, coarse language) DAILY 9:10; SAT�SUN 3:30

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

DATE NIGHT (PG, sexual content, language may offend) no passes FRI�TUE,THU 11:50, 2:30, 4:50, 7:20, 9:50; WED 4:50, 7:20, 9:50; star & strollers screening, no passes WED 1:00 CLASH OF THE TITANS (PG, not rec. for young children, violence) no passes DAILY 12:45, 3:45, 7:00, 10:00 CLASH OF THE TITANS 3D (PG, not rec. for young children, violence) no passes DAILY 11:30, 2:15, 5:00, 7:40, 10:30 THE LAST SONG (PG) DAILY 12:10, 3:10, 6:40, 9:20

DAILY 11:40, 2:20, 4:45, 7:40, 10:10

KICK�ASS (18A, brutal violence) THU 10:00

HOT TUB TIME MACHINE (18A, crude content, substance abuse) DAILY 1:15, 4:20, 8:00, 10:50

HOW TO TRAIN YOUR DRAGON 3D (PG, violence)

HOW TO TRAIN YOUR DRAGON: AN IMAX 3D EXPERIENCE (PG, violence) DAILY 1:30, 4:15, 7:00, 9:30

GARNEAU 8712-109 St, 780.433.0728

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

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

DATE NIGHT (PG, sexual content, language may offend) DAILY 1:45, 4:05, 6:00, 7:45, 9:30 ALICE IN WONDERLAND (PG, frightening scenes, not recommended for young children) DAILY 1:10, 3:10, 5:20, 7:20, 9:20 DIARY OF A WIMPY KID (G) DAILY 1:15, 3:15, 5:15, 7:10, 9:00 HOW TO TRAIN YOUR DRAGON (PG, violence) DAILY 1:00, 3:00, 5:00, 7:00, 8:55 CLASH OF THE TITANS (PG, violence, not recommended for young children) no passs DAILY 1:25, 3:25, 5:25, 7:25, 9:25

LEDUC CINEMAS Leduc, 780.352.3922

HOW TO TRAIN YOUR DRAGON IN DIGITAL 3D (PG, violence) DAILY 6:55, 9:25; SAT�SUN 12:55, 3:25 DATE NIGHT (PG, sexual content, language may offend) DAILY 6:55, 9:15; SAT�SUN 12:55, 3:15 THE BOUNTY HUNTER (PG, violence, sexual content) DAILY 7:05, 9:20; SAT�SUN 1:05, 3:20 CLASH OF THE TITANS (PG, violence, not recommended for young children) DAILY 7:10, 9:30; SAT�SUN 1:10 , 3:30

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

L’ENFER D’HENRI GEORGES CLOUZOT (STC) FRI, MON 7:00; FRI, SUN, MON 9:00 CANADIAN SHORTS (Part of Reel Femme) (rating not available) SAT 7:00

DIARY OF A WIMPY KID (G) DAILY 12:00, 2:40, 5:10 THE BOUNTY HUNTER (PG, violence, sexual content)

DAILY 1:00, 3:50, 6:50, 9:40

SHE'S OUT OF MY LEAGUE (14A, coarse language, crude content) DAILY 7:50, 10:40 ALICE IN WONDERLAND 3D (PG, violence, frightening scenes) DAILY 11:30, 2:00, 4:40, 7:30, 10:15 SHUTTER ISLAND (14A, coarse language, disturbing content, not recommended for children) FRI�WED 12:40, 4:00, 7:10, 10:20; THU 12:40, 4:00, 10:20 AVATAR (PG, not rec. for young children, violence) DAILY 12:20, 4:30, 8:30 THE WIGGLES: BIG BIG SHOW IN THE ROUND (G) SAT 1:00; SUN 4:00; star & strollers screening WED 1:00 KICK�ASS (18A, brutal violence) advanced preview THU 10:00

WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

CLASH OF THE TITANS (PG, not rec. for young children,violence) no passes FRI 7:15, 9:55; no passes SAT� SUN 12:45, 3:20, 7:15, 9:55; MON�THU 5:30, 8:20 HOW TO TRAIN YOUR DRAGON (PG, violence) FRI 7:05; SAT�SUN 1:00, 3:40, 7:05; MON�THU 5:10 CRAZY HEART (14A, coarse language, substance abuse) FRI�SUN 9:45; MON�THU 8:10 DATE NIGHT (PG, sexual content, language may offend)

FRI 6:50, 9:25; SAT�SUN 1:15, 3:50, 6:50, 9:25; MON�THU

5:20, 8:30

THE GHOST WRITER (PG, coarse language, violence) FRI 6:35, 9:35; SAT�SUN 12:30, 3:30, 6:35, 9:35; MON�THU 5:00, 8:00 THE WIGGLES: BIG BIG SHOW IN THE ROUND (G) no passes SAT�SUN 10:00

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

CRACKIE (Part of Reel Femme) (STC) SAT 9:00

CLASH OF THE TITANS (PG, violence, not recommended for young children) DAILY 7:10, 9:30; FRI�SUN 1:10, 3:30

NFB FILM CLUB

DATE NIGHT (PG, sexual content, language may offend) DAILY 6:55, 9:20; FRI�SUN 12:55, 3:20

Stanley A. Milner Library Theatre, 7 Sir Winston Churchill Sq, 780.496.7070

THIS LAND (STC) Thu

THE BOUNTY HUNTER (PG, violence, sexual content)

HOT TUB TIME MACHINE (Rated: 18A, crude content, substance abuse) DAILY 7:10, 9:15; SAT, SUN, TUE 1:10, 3:15

THE WIGGLES: BIG BIG SHOW IN THE ROUND (G) SAT 1:00; SUN 3:55

DIARY OF A WIMPY KID (G) FRI�SUN 2:25

DAILY 7:15 9:20; FRI�SUN 2:15

CLASH OF THE TITANS (PG, violence, not recommended for young children) DAILY 6:50, 9:10; SAT, SUN, TUE 12:50, 3:10

HOW TO TRAIN YOUR DRAGON (PG, violence) FRI 12:30, 3:30, 6:30, 9:10; SAT 3:30, 6:30, 9:10; SUN 12:30, 6:30, 9:10; MON 12:30, 3:30, 9:30; TUE 12:30, 3:30, 6:30, 9:05; WED 3:30, 9:30; THU 12:30, 3:30

FINDING FARLEY (STC) Thu 6:30

HOT TUB TIME MACHINE (18A, crude content, substance abuse) DAILY 7:25 9:25

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

ALICE IN WONDERLAND (PG, violence, frightening scenes) FRI 4:10, 7:05, 9:55; SAT�SUN 1:30, 4:10, 7:05, 9:55; MON�THU 7:05, 9:55

CLASH OF THE TITANS (PG, violence, not recommended for young children) DAILY 7:05 9:15 Fri-Sun 2:05 HOW TO TRAIN YOUR DRAGON (PG, Violence) DAILY 7:10 9:10; FRI�SUN 2:10

DIARY OF A WIMPY KID (G) DAILY 6:55, 9:05; SAT, SUN, TUE 12:55, 3:05

HOW TO TRAIN YOUR DRAGON (PG, violence) DAILY 7:00, 9:25; FRI�SUN 1:00, 3:25 HOT TUB MACHINE (18A, crude content, substance abuse) DAILY 7:05, 9:35; FRI�SUN1:05, 3:35

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

DATE NIGHT (PG Sexual Content, Language May Offend) DAILY 7:00, 9:30; SAT, SUN, TUE 1:00, 3:30; Movies For

FILM // 37

COMMENT >> TELEVISION

Fortune favours the bold Chances are I'll never win the lottery. vision manipulating our emotions for its For instance, based on the Lotto 649 own benefit. format of randomly generating six numAds for the lottery frequently feature bers from a set of 49, you have a one smiling people, occasionally doing gymin 13 983 816 chance of hitting the nastics or hanging out by a pool. big jackpot. With odds like those, But like the alcohol industry is HE H why even try? By the same toobligated to do, there is also WATC ken, with its randomized conthe presentation of Internet testant selection process and and phone help lines and a m o .c ekly its multi-tier event system, plea to enjoy responsibly. vuewe @ d n rola d why do so many people travel This is the conceit of comn a l Ro ton to be on The Price Is Right? It mercial culture: ad companies ember P seems as if the mosaic of regional sell you on getting lucky (figuraT-shirts, college kids, patriotic octotively and literally), but only tacitly genarians and army reservists that make mention the negative potential effects. up the live studio audience have come College basketball is a similarly misrepfrom every corner of earth to converge resented crapshoot. NCAA March Madon the big possibility. It's a show that ness is certainly very exciting. Young playstill subscribes to the American dream, ers and bigger opportunities lead to more regardless of the sudden exclusivity of passionate, tense games. You get to folthat old axiom. low a player in the embryonic period as he Watching this show recently, along with makes it to the next level, like on Ameriother standbys like Wheel of Fortune, I can Idol. Still, I can't help but feel guilty was taken aback at how these contests for being entertained by the collapse of present themselves in today's economic hundreds of other dreams, and that isn't climate. Gameshow money used to be where it ends. Only one percent of the gravy, but now it takes on the feel of players from the 64 teams that make it necessity. Recent Price host Drew Carey into the NCAA tournament every year will uses "need" instead of "want" when referplay in the NBA. They even call the proring to the products being bid on. The cess of selecting players a draft lottery. intense disappointment registered on an older woman's face when she just misses Yet the foundation of their school exwinning both prize packages during the perience is predicated on the potential Showcase Showdown is that of somefor making it big. And in the background, one who expected a savior on the other the machine churns. Coaches makes milend of the highway. What she needs is lions, companies put in ad money to get a game show that erases her phone bill their credit cards and deodorant in front or raises her credit rating. She does not of a young audience, TV networks get need a boat. This is an example of teleguaranteed ratings. But the people doing

NEL C H AENR O Z

the most physical and mental damage to themselves in the process are the only ones not earning from it. Sure, a scholarship is worthwhile, but success with the team is obviously the main concern. There have been controversies about players accepting gifts from random benefactors or having their SAT written by someone else, all owing to the administration's desire for national exposure. Classic documentary Hoop Dreams is famous for illuminating the realities of the college recruiting process. These kids have every school in the nation clamouring over them and promising them the future but discard them as soon as they are no longer beneficial to the system. If you don't win the lottery, it's unlikely that you studied your major enough to make do with a career in the real world. I recently watched the Spike Lee ESPN basketball documentary Kobe Doin' Work, an inside look at superstar Kobe Bryant's process. While the title was representative of the content (watching basketball broken down so deeply unflatteringly exposes the workmanlike, premeditated nature of the game), Kobe makes an interesting point about how he plays. After an opposing player takes a three-pointer, Kobe expresses he is complicit in letting him take that shot because he knows he has a low shooting percentage and is willing to hedge his bets on probability. This is at the root of luck: you take the shots you think you can make, but some people are just better gamblers than others. V

FILM // REEL FEMME

Women behind the camera Reel Femme lets female filmmakers showcase their works David Berry // david@vueweekly.com

ne of the enduring curiosities of the film world is the gender disparity among directors. It's not necessarily something you can pin on the big Hollywood system, either: look over any independent festival's roster, and odds are better than not men will outnumber women, and it's rarely by a small margin. The recent Oscar win by Kathryn Bigelow is being held up as a kind of breakthrough for women filmmakers, but it's worth noting that it's 2010 and we're just now breaking that barrier, and it's not as though Bigelow had a lot of fellow female competition in her category. It's a question that puzzles Collette Slevinsky, director of the Edmonton Women's Film Society, which is set to unveil the seventh incarnation of its annual Reel Femme festival, devoted to displaying women's voices up on screen. "There's still a disparity of women filmmakers. You'll find a lot of documentary filmmakers that are women—at Global Visions, about half of all the films are made by women.

38 // FILM

VUEWEEKLY // APR 8 – APR 14, 2010

But getting to the next step, feature films, that's rare," muses Slevinsky, who points out the technical demands of film, an area that tends to be male-dominated, has some effect, but couldn't explain it all. "But

At Global Visions, about half of all the films are made by women. But getting to the next step, feature films, that's rare. still, every year doing this, we get people asking to be involved, and we got more and more submissions. So there are artists out there, and they are making films, and we need to showcase that." Reel Femme's mandate has always been just that, and has manifested itself in everything from the screenings you'd expect to talks from visiting artists in the hopes of inspiring more women filmmakers, the effects

of which are evident in surveying the slowly but steadly increasing number of female filmmakers taking up the camera in our city. This year is a bit more modest than years past—something Slevinsky credits, as it were, to the increasing difficulties of finding funding in our province—but no less vibrant. Besides a selection of Canadian shorts curated with a local audience in mind, Reel Femme will also include the very topical Poto Mitan: Haitian Women, Pillars of the Global Economy, a documentary shot before the recent earthquake that will be followed with a discussion on the role of women in the rebuilding of the country. Also showing will be Sherry White's Crackie, a Newfoundland-set dramedy featuring legendary comedienne Mary Walsh in a far different context, as a grandmother helping raise her abandoned granddaughter. V Sat, Apr 10 Reel Femme '10 Featuring Poto Mitan, Canadian Shorts, Crackie Metro Cinema & Stanley A Milner Library ewfs.ca for full details

INSIDE // MUSIC

MUSIC

In-Flight Safety

Amon Amarth

The Molestics

Online at vueweekly.com >>MUSIC Slide Show: Jason Collett, Zeus, Bahamas The Classical Score: highlights of the week's classical performances

MUSIC // THE PRICE OF A SONG

Cheaper than coffee The 99-cent-per-song business model is hardly fair to artists Steven Sandor // steven@vueweekly.com

ow much have you spent on coffee today? This week? An extra large at Tim Hortons sets a person back less than two bucks a pop. And, if you go to Starbucks and get a latte with all the requisite delicious creams and sugary sauces, well, that's somewhere in the neighbourhood of four or five bones. What's the relevance to the recording industry? Well, chances are you didn't give a second thought to what you spent on coffee—or tea—today. Or yesterday. Or last week. But, at 99 cents, the average iTunes single costs well less than any cup of coffee you'd buy this week. Yes, there are singles you can find on iTunes that hit the $1.29 mark, but that's still less than a cup at Tims. And that won't even get you a flavour shot at Starbucks. Late last year, Anita Elberse, an associate professor at Harvard Business School, released the findings of her study on the viability of the online music business model, based on years of looking at purchasing patterns. She found that one of the key problems the modern record business faces is that the price of the average download is horribly undervalued. At least that's the case when it comes to hit singles. With so many online users choosing to pay 99 cents to $1.29 for one song rather than $9.99 or more for albums, she found that even selling a large number of singles doesn't make up for losing sales of the bigger-ticket albums. Basically, you need to sell about 10 songs to make up one lost album sale. " ... The study's results provide strong evidence of the negative consequences of a shift to mixed bundling ['mixed bundling' is commercespeak for the practice of selling singles individually and as part of albums—'bundling' is business jargon for the archaic practice of putting songs together in what we old fogeys refer to as 'albums'] in digital channels for the recorded-music business, given the existing pricing levels," she wrote. "Specifically, I find strong support for the hypothesis that revenues for mixed bundles substantially decrease as music is increasingly consumed digitally. While the demand for individual songs is growing at a faster rate than the demand for albums is declining, the dollar amounts gained through new song sales remain far below the level needed to offset the revenues lost due to lower album sales ... the unbundling of music online poses a significant risk to record labels which, over time, will probably see a further

erosion of revenues." Basically, with singles priced at 99 cents, there's no way they can support the loss of album sales. But, just two months after Elberse's study went public, the record industry was rocked by what was a dormant antitrust lawsuit that the courts revived in the United States. The suit, brought forward by angry consumers, accused major labels of fixing prices of songs at 70 cents or more. Really? Seventy cents per song? And that's price fixing? The 2nd US Circuit Court of Appeals found that, because major labels sell their music for much lower prices on subscription services like eMusic, that there is reason to investigate why those lower prices don't exist in online stores like iTunes and Amazon's MP3 store. The problem with both Elberse and the New York courts is that they don't place the artists or small labels into the equation. And Elberse doesn't take the competition—which, in the lawless world of the Internet, is free file sharing—into consideration. "It's really hard to have this discussion when so many people are downloading music for free," said Shauna de Cartier, the Edmonton-raised founder of Toronto's Six Shooter Records, the indie label that's home to the likes of Justin Rutledge and Wendy McNeill. "No, 99 cents is not fair compensation when you think of the effort that's put into the song and the lasting enjoyment you get from it. It's about the price of a can of pop. But in the Wild West of the Internet, which is still in its adolescence, we know things aren't the way they should be." And that's what makes this such an uncomfortable question for the industry. Raise the price—drive listeners back to free downloads. Don't raise the price, and artists get royalties that are, well, pennies a download. "It's amazing the amount of artists who 10 years ago used to tell me 'Music should be free' that are now saying, 'Can't anyone pay me just $10 for my CD?' It's really tough for artists," said de Cartier. She said it would be impossible to coach musicians to divorce themselves from the idea of putting out music in the form of an album. After all, a band writes music, then gets the studio time to lay it all down. It's not like a musician ever writes a song, puts it out, goes back, writes another song, puts it out. They can't worry about an economist telling them albums aren't cost-efficient ways to put out music in a world where con-

// Pete Nguyen

sumers cherry-pick songs for less than a dollar each. Jody Glenham, a Vancouver-based chanteuse whose new album, Focus Pull, is available on iTunes, where you can buy it in pieces at 99 cents a song, doesn't really see how increasing online pricing is going to help the bottom line. "I don't think 30 cents [more per download] is going to make a difference when there are so few people paying for downloads—more and more though it seems, which is good," she said. "It doesn't seem right to once again tax those who are already doing the right thing. The recording business has been unsustainable for years ... but when one chooses a career in arts ... it comes with a much greater reward then one that is financial. Artists by nature are not rich—some surplus of credit and image in the '80s gave us this idea that great fame and financial gain was the norm: it is not. Neither is it sustainable for the most part. Many novelists do other things then write novels. Many teach. Same goes for visual artists, a field where most great creators are not even recognized until after they pass on. "I guess what I'm trying to say and what I'm coming to terms with is; what's wrong with having a real job? I may have to sell shoes for 20 years, but I can still tour. I still write. I still go to shows. I'm working towards having a fulfilled life, both professionally and personally. An extra 30 cents won't make any difference." But, there's more at play than simple economics: there's an issue of trust.

APR 8 – APR 14, 2010 // VUEWEEKLY

Both musicians and fans look at many of the major labels as unfeeling arms of giant corporations. There's very little sympathy generated when they cry poor. And, well, smaller labels are pulled into the undertow of negativity. "I believe that it is the majors who are crying wolf on this one and for all the essentially craptastic music that the majors are responsible for spewing out every day, and for the manipulation of the market by promoting the fuck out of shit like the Jonas Brothers, Justin Bieber, Lady Gaga, whatever, they can totally stick it," says Edmonton ex-pat, and current Victoria, BC musician Lane Arndt—whose work with AA Sound System can be found on iTunes. "I for one will raise a cold and frosty one on the day that the last major label finally closes its doors and takes their shitty music with them! The good music will still be abundant and the market will open up and flourish as people finally realize that by investing a little bit of time into deciding what you actually like, instead of getting spoon-fed by the media, they can hear music that is better than they ever could have imagined." And Dennis Lenarduzzi, of Edmonton's Manraygun, whose new album, Everything is Temporary, is available digitally for, you guessed it, 99 cents a track, echoes Arndt's mistrust of the business. "People will line up daily and pay a lot more for a cup of coffee than for a recorded tune," he said. "I think adding 30 cents to the cost will still keep it below the threshhold. Unfortunately, it's not the artists that will see that money, especially not indie artists ... We want our

music heard. That's why we make it and that's why it's OK with so many of us that the music is shared legally or illegally. "So yes, the traditional record business is unsustainable. It should be sustainable when you consider it's probably cheaper than ever to record and, with digital downloads, hard costs should be nil. However it takes a lot to feed the machine and the machine keeps getting bigger and greedier. And there a lot of free and legal ways to get your music fix. I listen to a lot of music on YouTube: it's gratifyingly pervasive and fast. "If you're smart, you can eke out a living. But you have to be really creative at the business side and you have to work your ass off. That's why someone like [Ontario-based country rocker] Fred Eaglesmith will retire a wealthy man. He fully owns tons of assets whose destiny he retains complete control of. He sells the music from his stage at full retail and he sells the rest of "Fred" at the merch table. Nothing goes for 99 cents. Smart artists considers the tunes themselves as the assets, not the recordings of those tunes. You never know where they'll land. For Fred, one landed even on a Toby Keith album. Bingo." When you hear what independent musicians have to say, it's clear that many of them have divorced themselves from the notions that there's money to be made in a world of online music. There are other revenue streams that they see. And maybe Elberse will have to write another report—of a world where new music is made by musicians who care very little for any economic model at all. V

MUSIC // 39

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

LUCKY 13 Sin Thursdays with DJ Mike Tomas

RIC’S GRILL Peter Belec

NEW CITY SUBURBS

(jazz); every Thursday; 7-10pm

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

TAPHOUSE ST ALBERT Callahan, All Else Fails & Guests; 8pm; $5

ARTERY Open Mic; 7:30pm

Open jam, 6:30pm; no minors, Billy Manzik With Andrew Cotter; doors 7:30pm, $10

BLUE CHAIR CAFÉ Dave

HOOLIGANZ Open stage

THU APR 8

the Red Piano Players; 8pm-1am

WILD WEST SALOON Shannon Smith

DJs BILLY BOB’S LOUNGE Escapack Entertainment

BLUES ON WHYTE Sam

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

BRIXX BAR Feast or Famine

HYDEAWAY�Jekyl and Hyde Evolution Solution Open Jam; 7pm

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

CHRISTOPHER'S PARTY PUB Open stage hosted by

JAMMERS PUB Thursday

BRIXX BAR AND GRILL

Babcock Trio; 7:30pm; $8 Cockrell

CD Release; 7:30pm; $10

Alberta Crude; 6-10pm

CROWN PUB Crown Pub

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

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 The Shelbi

Band; Student Night

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 Lessons at 9pm

HAVEN SOCIAL CLUB

open jam; 7-11pm

J AND R Classic rock! Woo! Open stage, play with the house band every Thursday; 9pm JEFFREY'S Lauren Gillis $10 L.B.'S PUB Open jam with Ken Skoreyko; 9pm

BLACK DOG FREEHOUSE

Radio Brixx with Tommy Grimes spinning rock and roll

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

LIVE WIRE BAR Open Stage Thursdays with Gary Thomas

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

MARYBETH'S COFFEE HOUSE�Beaumont Open

FLUID LOUNGE Girls Night

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 LIKWID LOUNGE Ronnie Artur, Jim Vaughan PAWN SHOP Paul Anthony, Soulfix, Mike Tomas, Peep'n Tom, Tyco, Usual Suspects

RED PIANO BAR Hottest

dueling piano show featuring

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

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

Quest; 8pm; $15

BLUES ON WHYTE Sam Cockrell

CARROT Darren Frank; Live music Fridays: all ages; 7:309:30pm; $5 (door)

CASINO EDMONTON V.I.P. (Pop/Rock)

CASINO YELLOWHEAD The

PLANET INDIGO�St Albert

X-Band (latin band)

PROHIBITION Throwback

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

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

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; sportsworld.ca

STOLLI'S Dancehall, hip hop

CENTURY CASINO Tommy Cash; 7pm; $29.95/$39.95

CONVOCATION HALL

Concert Choir, Evelyn Pfeifer, Conductor; 8pm; $15 adult/$10 students and seniors

CROWN PUB Acoustic Open Stage With Marshall Lawrence, Host Willy James; 2pm-5pm THE DRUID IRISH PUB Live music with Darrell Barr; 5:308:30; DJ at 9pm

with DJ Footnotes hosted by Elle Dirty and ConScience every Thursday; no cover

DV8 The Party Martyrs with Brazilian Money and Ladykillers; $6

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

EDDIE SHORTS The Frolics

FRI APR 9

ENCORE CLUB 4 Play Fridays

EARLY STAGE SALOON

Stove Coffey and the Lokels; 8pm

FRESH START CAFÉ Live

180 DEGREES Sexy Friday

music Fridays: 7-10pm; $7

ALBERTA COLLEGE MUTTART HALL The Rosette

FULL MOON FOLK CLUB

ARDEN THEATRE

HAVEN SOCIAL CLUB

night every Friday

Guitar Duo; 8:00pm; $20

Samarabalouf 7:30pm; $32

ARTERY Edmonton Rocks for

Iraq II; Sunset Trip, Krang, The Southern Pink, Keep Me Safe; 9pm; $15

AVENUE THEATRE

The Bills, The Good Lovelies; 7pm Matthew Barber, solo, with Zachary Lucky, and Amy Seeley; 7:30; $15

HYDEAWAY Young

Songwriters Festival; 4pm

IRISH CLUB Jam session; 8pm; no cover

Edmonton’s Common Ground Arts Society Presents: The Edmonton Show II; 8pm; No Minors; donations

show with Jesse, Shane, Tiffany and Erik and guests

BLUE CHAIR CAFÉ Allez

JEFFREY'S Jeff Hendrick; $10

IVORY CLUB Duelling piano

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 FIDDLER’S ROOST 8906-99 St

40 // MUSIC

VUEWEEKLY // APR 8 – APR 14, 2010

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 O'MAILLE'S 398 St Albert Trail St Albert

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

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

LEVA CAPPUCCINO BAR Live music every Friday

NEW CITY SUBURBS

You Say Party! We Say Die!, Makeout Videotape, The Cygnets

NEW CITY LIKWID LOUNGE The Molestics NORTHERN ALBERTA JUBILEE AUDITORIUM

Mahler/Weill’s Songs of a Wayfarer/Seven Deadly Sins 7.30pm

O'MAILLE'S Mister Lucky;

8:30pm; free

ON THE ROCKS Heather

Mckenzie Band; 9pm

PAWN SHOP DATA with DJ

Tron, Optimixx Prime, Miyuru Fernando

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm2am ROBERT TEGLER STUDENT CENTRE Concordia Ringers and Bella Voce Concordia; 7:30; $12 adults/$10 students and seniors

SAWMILL BANQUET CENTRE The Classics; $15

advance, $20 door

STARLITE ROOM Living

Illusion CD Release, Portal and Grounded Star; 9pm; $12

ST BASIL’S CULTURAL CENTRE Full Moon Folk Club;

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

WUNDERBAR Greg Wood Project; 7pm; $8 X�WRECKS Big & Fearless; 8pm

Classical MCDOUGALL UNITED CHURCH I hear a song

featuring Morten Lauridsen's Lux Aeterna; $20

CONVOCATION HALL

Concert Choir, Evelyn Pfeifer (conductor); 8pm; $15 (adult)/$10 (senior/student)

DJs AZUCAR PICANTE Every

Friday: DJ Papi and DJ Latin Sensation

BANK ULTRA LOUNGE

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

BAR�B�BAR DJ James; no cover

BAR WILD Bar Wild Fridays BLACK DOG FREEHOUSE

Electro); $10 Adv; $20 door

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 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

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

Jam; Saturdays 4-6pm

GRANT MACEWAN College

Night; Greg Gory and Eddie Lunchpail; (door) 9pm; $5

Y AFTERHOURS Foundation

Fridays

SAT APR 10 180 DEGREES Dancehall and

Reggae night every Saturday

ALBERTA BEACH HOTEL

Parties: Every Saturday a different theme

Lightning w/ Savanah Bosch; 9pm; $10

Songwriters Festival; 4pm

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 Lauren Busheiken

$10

L.B.’S PUB Molsons Saturday afternoon open stage hosted by Lenny and The Cats; 5pm

MORANGO'S TEK CAFÉ

Vox Humana, Zero Something

NORTHERN ALBERTA JUBILEE AUDITORIUM

Mahler/Weill’s Songs of a Wayfarer/Seven Deadly Sins 7.30pm

O’BYRNE’S Live Band

Saturday 3-7pm; DJ 9:30pm

O'MAILLE'S Mister Lucky;

8:30pm; free

ON THE ROCKS Heather

Mckenzie Band; 9pm

OVERTIME Jamaoke: karaoke with a live band featuring Maple Tea

PALACE CASINO Red Hotz

AVENUE THEATRE The

PAWN SHOP Mapping the

Edmonton Show II; 8pm; No Minors; donations

Escape, The Wheatpool, The Skylife; $12 door

AXIS CAFÉ Aspen Switzer

QUEEN ALEXANDRA COMMUNITY HALL

Hair of the Dog: live acoustic music; Every Sat; 4-6pm; no cover

BLUE CHAIR CAFÉ Jack

Semple and Bob Evans; 8pm; $20

BLUES ON WHYTE Sam Cockrell

BRIXX BAR The Signal, The

RED PIANO BAR Hottest

dueling piano show featuring the Red Piano Players; 9pm2am

ROYAL ALBERTA MUSEUM Ustad Shahid Parvez (Sitar) accompanied by Subhajyoti Guha; 7:30pm; $20 General , $15 Seniors/Students

ST. TIMOTHY’S ANGLICAN CHURCH Meghan Rayment;

Gypsys and One Way State; 9pm; $12

2pm; Free admission

BUNKER'S SPORTS BAR

STARLITE ROOM Striker CD

Get Bentt

CARROT Open mic Saturdays; 7:30-10pm; free

Release, Kobra & The Lotus and HROM; 9pm; $12

TAPHOUSE ST ALBERT

CASINO EDMONTON V.I.P.

Wednesday Morning Blues CD Release Party

CASINO YELLOWHEAD The

WILD WEST SALOON

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

YARDBIRD SUITE Brian Hughes Quintet; 8pm; Members $24, Guests $28

(Pop/Rock)

Music at Convocation Hall ; 8:00 pm; $20 adult, $15 senior, $10 student

Shannon Smith

Classical CONVOCATION HALL

Music of Today: Guillaume Tardif (violin), William Street (saxophones), Roger Admiral (piano); 8pm; $20 (adult)/$15 (senior)/$10 (student)

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; 9:30pm-12:30am

DJs

DV8 Punk Rock with Calgarys

AZUCAR PICANTE Every

EARLY STAGE SALOON� Stony Plain Saturday Live

BLACK DOG FREEHOUSE

Deadneck Fury and The Gaze; $6

Music

EDDIE SHORTS Tomas Marsh

hip hop, house, mash up

HAVEN SOCIAL CLUB White

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

BLACK DOG FREEHOUSE

EMPIRE BALLROOM Rock, ENCORE CLUB So Sweeeeet

STONEHOUSE PUB Top 40 with DJ Tysin

Underground House every Saturday with DJ Nic-E

Songwriters’ Concert 7:30pm; $7 Adults $5 Students and Seniors

NEW CITY LIKWID LOUNGE The Shakedowns,

with People’s DJ

CONVOCATION HALL

8pm; no cover before 10pm

GAS PUMP Acoustic Open

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

BOOTS Retro Disco: retro

CENTURY ROOM

EDMONTON EVENTS CENTRE Angels & Airwaves

STOLLI’S Top 40, R&B, house

X-Band (latin band)

BUDDY’S DJ Arrow Chaser;

CENTURY ROOM

stage every Sat, 12-6pm

HYDEAWAY Young

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 dance

EXPRESSIONZ CAFÉ Open

(Punk)

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

YARDBIRD SUITE Brian Hughes Quintet; 8pm; Members $24, Guests $28

EDDIE SHORTS Sunday acoustic oriented open stage hosted by Uncle Jimmy

PAWNSHOP DATA (Paris

STEEPS�Old Glenora Live

Shannon Smith

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

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

TEMPLE Options Dark Alt

WILD WEST SALOON

Stove Coffey and the Lokels; 8pm

NEW CITY LIKWID LOUNGE DJ Anarchy Adam

The Bills (with opening act the Good Lovelies); 8pm; $17 advance/$20 door

Music Fridays:

EARLY STAGE SALOON

Saturday: DJ Touch It, hosted by DJ Papi

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

Saturdays

ESMERALDA’S Super

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

with Say Anything; 7pm; $32.50

GRANT MACEWAN COLLEGE Guitar Concert;

7:30pm; $7 adults, $5 students and seniors

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

HALO For Those Who Know: house every Saturday with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes

NEW CITY Open Mic Sunday

LEVEL 2 LOUNGE Signature

with Robb Angus (Wheat Pool); 9:30pm-1am

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

hosted by Ben Disaster; 9pm (sign-up); no cover

O’BYRNE’S Open mic Sunday

ON THE ROCKS Jeff Moris; 9pm

ORLANDO'S 2 PUB Sundays

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

SECOND CUP�Mountain Equipment Co-op Live music

Saturdays with Todd and Alex

every Sunday; 2-4pm

NEW CITY SUBURBS Black

TAPHOUSE ST ALBERT

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

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

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; sports-world.ca

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

These Three Cities (Toronto) & Guests

Classical CONVOACTION HALL

Concert Band, Wendy Grasdahl (conductor); 2 pm; $15 (adult)/$10 (senior/student)

WINSPEAR CENTRE

Cragvore Music Society and Edmonton & District Pipe Band, Simon Fraser University Pipe Band; 2pm; $37.50

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

and local bands

Sundays

Y AFTERHOURS Release

GINGUR Ladies Industry

Saturday

Sundays

SUN APR 11

NEW CITY SUBURBS

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

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

BLUE PEAR RESTAURANT

WUNDERBAR Sundays DJ Gallatea and XS, guests; no cover

BLUE CHAIR CAFÉ

MON APR 12

Jazz on the Side Sundays: John Taylor; 6pm Sunday Diner; Jim Findaly; 6:30pm-9:30pm; Will Cramer; donations

BLUES ON WHYTE Megan Lane

BLACK DOG FREEHOUSE

Sleeman Mondays: live music monthly; no cover

BLUES ON WHYTE Megan

B�STREET BAR Acoustic-

Lane

based open stage hosted by Mike "Shufflehound" Chenoweth; every Sunday evening

DEVANEY'S IRISH PUB

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

GRANT MACEWAN COLLEGE Big Band Concert;

DEVANEY’S IRISH PUB

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

Celtic Music Session, hosted by Keri-Lynne Zwicker, 4-7pm

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

7:30pm; $7 adults, $5 students and seniors

NEW CITY This Will Hurt

APR 8 – APR 14, 2010 // VUEWEEKLY

MUSIC // 41

COMMENT >> VIDEOS

The artistic merits of videos

In the Internet age, it's about art just as much as selling a song A couple of weeks ago, a friend sent me video, not TV. a link to check NME's website, which had I remember when music videos were still a sneak preview of the new video for the the thing that made MTV and MuchMusic Flaming Lips' "Watching the Planets." tick; CBC had video shows, as did a lot of Now, if you've seen the movie the local stations across Canada. Videos were band made in front-man Wayne Coyne's made to promote songs; they weren't backyard, Christmas on Mars, you know meant to necessarily be about art. that the Flaming Lips are as adventurBack in 1982, Golden Earring had a ous when in front of the camera as top-10 hit with "Twilight Zone." Rock they are in the studio. Basically, video was still in its infancy, and 'Watching the Planets" has a the band stirred it up, as the whole bunch of naked exvideo tried to tell some kind tras lolling around and ridof weird James Bond spy ing bikes in the countryside. story. The video had breasts ly.com k e e w @vue steven There's a giant furry ball in it, and a scene in which n in a field, with vaginal lips. Steveor the spy hero, being tortured Coyne comes out. He hangs for information, has a vision of Sand out with the naked people. He women dancing in bondage gear. strips down. Then, the vid finishes off Now, Golden Earring was a Dutch band, with a game of "quick, everyone into so this was just another day in Amsterthe vagina!" dam to the group, but the resulting furor I haven't been so sure that a video had over the video only helped to propel the no chance of airplay on any major chan- song up the charts. nel or network since I first saw what And Madonna's "Justify My Love," the Mercury Rev did for the "Something for black-and-white video released in 1990, Joey" single back in 1995. Let's just say tried to put sexuality front and centre: that video had a few porn stars in it. sex, sex and more sex. It was the mostBut things have changed a lot. Really, talked about video since Michael Jackwhile I know that "Watching the Planets" son's "Thriller." will never see play on MuchMusic or any of its sister outlets, and likely not Because TV programmers controlled be seen on AUX (I say "likely," because I what the public did and didn't see, these hold out some hope that it could get a videos became hot points of conversaplay at 2 am), that's not the point. The tion. Now that bands understand that Internet is now the realm of the music videos are seen by the Internet, they

ENTER

SAND

PLEASANTVIEW COMMUNITY HALL

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

PAWNSHOP Fat Wreckords

Tour: The Flatliners, Broadway Calls & Cobraskulls

PROHIBITION ChickaDee-Jay Monday Night: with Michael Rault ROSE BOWL/ROUGE LOUNGE The Legendary Rose Bowl Monday Jam: hosted by Sean Brewer; 9pm

STANLEY MILNER LIBRARY THEATRE Tribute

to Stu Davis featuring Dwayne Stweart, Harry Rusk and more; 1-5:30pm

DJs BAR WILD Bar Gone Wild Mondays: Service Industry Night; no minors; 9pm-2am BLACK DOG FREEHOUSE

BLACK DOG FREEHOUSE

THE DRUID IRISH PUB

Troubadour Tuesdays ft The Balconies and Sean Brewer. Host Mark Feduk; 9pm; $8

Fallen, Dommin and Drive-A; 7:30pm; $36.00

BUDDY'S DJ Arrow Chaser;

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

Open stage with Chris Wynters; 9pm

HAVEN SOCIAL CLUB Jah

Mixer

LUCKY 13 Industry Night with DJ Chad Cook every Monday

FUNKY BUDDHA�Whyte

LEVEL 2 LOUNGE Open mic

Ave Latin and Salsa music, dance lessons 8-10pm

NEW CITY LIKWID LOUNGE

GINGUR SKY Bashment

Tuesdays: Reggae music; free

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

O’BYRNE’S Celtic Jam with

NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock,

NORTHERN ALBERTA JUBILEE AUDITORIUM

Shannon Johnson and friends

spooky with DJ Vylan Cadaver

OVERTIME Tuesday acoustic

PROHIBITION Tuesday Punk

Open Mic; Hosted by Ben Disaster; 9pm

jam hosted by Robb Angus

Night

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

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

SECOND CUP�Stanley Milner Library Open mic

WED APR 14 BLACK DOG FREEHOUSE

Star Jam with Alicia Tait and Rickey Sidecar; 8pm

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

SPORTSMAN'S LOUNGE

BLUE CHAIR CAFÉ Closed

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

STEEPS�Old Glenora

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

for private function

BLUES ON WHYTE Big

Hank Lionhart And A Fist Full Of Blues

BRIXX Really Good… Eats

Miles Quartet

TUE APR 13

Classical

COPPERPOT RESTAURANT

BRIXX BAR AND GRILL

Troubadour Tuesdays; with The Balconies and Shawn Brewer. Hosted by Mark Feduk

FIDDLER'S ROOST

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

(eclectic tunes)

Lane

Wednesday Nights: with DJ Harley

HAVEN SOCIAL Open stage

YARDBIRD SUITE Brett

BLUES ON WHYTE Megan

EDMONTON EVENTS CENTER HIM, We Are The

Tuesday; no cover with student ID

ESMERALDA’S Retro every

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

NEW CITY LIKWID LOUNGE Daniel and Fowler

DJs

L.B.’S PUB Ammar’s

SIDELINERS PUB Tuesday All

FLUID LOUNGE Mondays

BRIXX BAR AND GRILL

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

9pm

BUDDY'S DJ Dust 'n' Time;

Mondays: with DJ S.W.A.G.

Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam

Cutta and Eastwave Radio With Special Guests

every Tuesday; 7-9pm

FILTHY MCNASTY'S Metal

Steven Sandor is a former editor-in-chief of Vue Weekly, now an editor and author living in Toronto.

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

Main Floor: Eclectic Nonsense, Confederacy of Dunces, Dad Rock, TJ Hookah and Rear Admiral Saunders 9pm

42 // MUSIC

can push the envelope. There are no stories about how shocked people are over the amount of cocks in the Flaming Lips' video. In 2008, French techno duo Justice released the video for "Stress." The promo didn't feature the band. Rather, it showed a bunch of street kids, with jackets bearing the band's cross logo, going on a spree of violence and vandalism. It's six minutes of unapologetic violence. It's unforgettable, taking from classic films like A Clockwork Orange and The Warriors, but it's not easy to watch. Yes, it was controversial, but that controversy was almost entirely limited to the Internet, as that was the only place where you could find the video in the first place. The debate missed the mainstream media. And the band didn't have to worry about a backlash. Justice the and the Flaming Lips are just a couple of examples of what the Internet has done to the music video: it's no longer about promotion, it's about giving your established fans, people who go onto the Net to look for more stuff the band has put out, something to see. They can be a lot more about art and a lot less about commerce. So, give us more vaginas, please. V

FRANCIS WINSPEAR CENTRE FOR MUSIC Sandi

Patty perform Hymns of Faith & Songs of Inspiration; 7:30pm

DJs

VUEWEEKLY // APR 8 – APR 14, 2010

Live jazz every Wed night; This week: Peter Belec; 6-9pm

CROWN PUB Creative original Jam Wednesdays (no covers): hosted by Dan and Miguel; 9:30pm-12:30am EDDIE SHORTS Wednesday

with Jonny Mac; 8:30pm; free

NEW CITY Circ-O-Rama-

Barenaked Ladies with Joel Plaskett; 8pm; $48.50, $62.50

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

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

BANK ULTRA LOUNGE

BLACK DOG FREEHOUSE

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

BRIXX BAR AND GRILL

Really Good... Eats and Beats with DJ Degree and Friends

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

Wind-up 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

APR 8 – APR 14, 2010 // VUEWEEKLY

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PREVUE // IN-FLIGHT SAFETY

Falling into stride

In-Flight Safety is picking up speed as it tours its latest album Eden Munro // eden@vueweekly.com

alifax indie-rock band In-Flight Safety has been working the highways to get its music out since the group's 2004 debut EP. There's been an upswing of late, with the band landing songs in the TV shows Chuck and The Vampire Diaries, but the hard work continues as In-Flight Safety wraps up a short tour in Eastern Canada with Said the Whale and then drives across the country to the West Coast to hook up with Yukon Blonde for another run of dates. Singer John Mullane spoke to Vue Weekly as the band set out westward. Here are some of the highlights of the conversation. VUE WEEKLY: The band collaborates on the music and you write the lyrics. Are you someone who writes all the time? JOHN MULLANE: I write down lyrics all the time and then when I'm writing for the band I'm trying to come up with a really good, convincing lyric or two while we're writing in the room that will sort of reveal itself as to what the song is going to be about, and I work off of that. I work backwards from that key lyric that I find inspires me when we're writing music, and then the challenge there and now is

that if we have really great music I still have to have a great melody or we have to shelve that piece of music. So that's the frustrating part for me, because I can be the one to not take a song over the edge, I can be the one to not come up with a good enough melody or good enough lyrics and just kind of go, "This is not happening." And that sucks for everyone because there are always some nice pieces of music that no one gets to hear because really in the end they're not songs, they're just riffs. VW: It's been a year since the last album came out. Are you looking ahead to the next one? JM: We're always working on new songs, it's just because we're such a small label it takes a long time for us to spread the word about our record. It usually takes about a year before we start to get busy again, and we're at that point where we're busy again, because we don't have any way to really release the dove out of the gate. We just kind of tour a lot and then people start to gradually go, 'Oh, yeah, In-Flight has a new record,' and so by the time that happens here we are a year later and just sort of getting a bit of a stride now. Hopefully we'll change that some day by being more organized or something—I'm not sure

what it is, to be honest it eludes me—but it does take a while to get the word out. VW: Do you write just enough songs for a record, or do you come up with more and pick and choose? JM: This record that we're thinking about doing, I don't think we even have a record yet. We have songs, but I don't feel inspired enough by the songs we have yet to make a record, and so until we have written the songs whose presence is required on a record, we don't really have any plans to make a record until those songs are there. Because every band knows how much it takes to get a record done, so you've really got to have the material, and given the competition of how good bands are today and how quickly people digest stuff and spit it out, you better damn well have the best nine or 10 songs that people have ever heard or you should maybe just not do it, just do it for fun on the side. So we'll wait until we have nine or 10 zingers until we put another record out. V Thu, Apr 15 (7:30 pm) In-Flight Safety With Yukon Blonde, Axiomatik Haven Social Club, $10 All ages

PREVUE // SPOON RIVER

A family affair

Tavis Triance and his wife come together in Spoon River Justin Shaw // justin@vueweekly.com

ouring the country playing rock 'n' roll has a tendency to keep musicians away from their loved ones for ever increasing amounts of time and distance, though Tavis Triance, the lead singer and songwriter of Vancouver's Spoon River, may tell you otherwise. In the band alongside his wife, singer and pianist Rachel Horkenheimer, the two are spending more time together than apart while working, writing and touring, making Spoon River a family affair. "We like travelling," Triance admits. "And especially with your wife in the band there's no reason not to [tour] because you're going on an adventure together. It's inspiring and there's lots of negotiating and wrangling and working things out and we just live like that, so I'm definitely writing about her and writing about us and drawing from that." While recording the recent Kingdom of the Burned the group made a conscious effort to capture a sound long abandoned in mainstream music. "We paid very little for a space and a two-inch-tape machine" Triance explains, "and we had a board that was pretty old, 12 channels, and we recorded most of this album live off the floor, everyone in one room with baffles set up and acoustic piano in a different room. It was a good way to do it. Not everything's totally lined up and auto tuned but I hate that sound anyway". The resulting album kicks up a dusty,

LOOK INTO MY EYES >> Tavis Triance is the man at the heart of Spoon River ragged sound that calls to mind the likes of Neil Young and the Rolling Stones; the style is a natural fit for Triance. "My father was an English teacher and really into country-infected rock 'n' roll, and I was raised with it so that's where my songwriting goes," recalls Triance. "He drowned unexpectedly in Mexico in 2001, so at the time I went back into his music and had a conversation with it and with him, and that definitely nudged me in this direction. My mom sang with us all the time and got me into singing and playing piano. My dad got me into the music and she got me into being musical." Aside from inheriting his parent's taste in music, Triance is also a substitute English Literature teacher. It's a title he also shares with his wife, granting them great flexibility when needing time for the

// Supplied

road. Add that to that the fact they have two strong sets of musicians to support them on tour, one on either side of the country, it is clear the couple leads a lifestyle of freedom. "We're gonna keep playing—it's a life long plan. We do it together so it's something we can sustain. We don't need to be hugely successful; it's not necessarily the goal. Once you are then it's just a job like anything else. Of course we want lots of people to listen to our music, but not at the expense of the rest of our lives or our happiness." V Sat, Apr 10 (4 pm) Spoon River With Rodney DeCroo Black Dog, free

APR 8 – APR 14, 2010 // VUEWEEKLY

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PREVUE // HIM

Who?

HIM, that's who Mike Angus // mikeangus@vueweekly.com

or Finland's most popular metal band HIM, the release of its seventh record is business as usual. As frontman Ville Valo explains over the phone from his hotel in Montréal, an exhausting tour of Australia and Europe, combined with the release of a brand new record, are all the necessary steps in one more set of achievements on the band's rise to success. "The life of the band has been filled with many happy, lucky accidents," he offers lightly. "Our first album was a breakthrough in our own country, the second was a breakthrough in Europe, then Love Metal got us recognition in the UK," he explains. "Dark Light was the first to be recognized in the US, so it's not like there's been one album that suddenly changed everything." The latest album, Screamworks: Love in Practice and Theory, was recorded with American producer Matt Squire in California, and it saw the band take a chance, change the rules and give itself a fresh challenge. "It's our seventh album, so it's not a drastic change: it's still melancholy, yet upbeat rock music," Valo points out. "What does matter is obviously the

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VUEWEEKLY // APR 8 – APR 14, 2010

actual studio and producer, which we felt was time for a change. We had been working with the same producer for many records, which was good, but we felt we needed a challenge, something fresh. "We met with a couple of people, and we hit it off straight away with Matt. A lot of our musical reference points were exactly the same: he grew up listening to Depeche Mode and Guns N' Roses and the Cult, so he knew basically what I was talking about when it came to making the record." The relationship with a producer is an important key to the recording process, especially when the band "didn't want to leave any stone unturned" when it came to arrangement ideas in rehearsing for the studio, says Valo. "We wanted to rehearse a lot. We'd never spent that much time at the rehearsal space before, recording demos and changing things around—we really worked on the arrangements," he explains, before offering, "It's pretty natural, we have this dualistic nature with the band. We have the tendency of recording melancholy, yet uplifting, rock albums. But because every record is a leap from the last, we couldn't have just started with Screamworks—it took all that time to make those records in the past to get this far." V Wed, Apr 14 (7:30pm) HIM With We are the Fallen, Dommin, Drive A Edmonton Event Centre, $47.25

PREVUE // STRIKER

Lucky strikes

Serendipity led Striker to a new sound and label interest Bryan Birtles // bryan@vueweekly.com

fter finding a fair amount of success with their first EP—2009's Road Warrior—the Edmonton metalheads who make up Striker decided to do what any band seeking fame and fortune would do when faced with a growing fanbase both in Canada and overseas: do everything differently. After being released on Germany's Iron Kodex records, Road Warrior's monstrous riffs became a hit in Europe and the band decided that a full-length album was in order. Instead of building on the success of its past release however, things took a bit of an odd turn when it came to start recording a followup, as guitarist Chris Segger explains. "We were booked to go into the same studio that we recorded our EP at [but] we weren't quite prepared for it and Dan [Cleary], our singer, got the idea that maybe he could buy a bunch of equipment and record it himself. We all told him, 'No way. That's a terrible idea,' but he convinced us and bought a bunch of equipment," he laughs. "In that process we ended up being referred to a guy by the name of Cam MacLeod who used to play in a band called White Wolf in the '80s. He's got a studio here so he gave

Germany and a number of surrounding countries, comes mainly from serendipity: a friend who had some demos of an earlier band that some of the members of Striker were in showed it to the right people at a metal festival. "[He] had the demo we'd recorded on his MP3 player which he thought was awesome but we didn't think was very good, so we weren't overly happy when he was showing it to people. It turned out that he showed it to some of the

right people who liked it and a couple weeks later we had three or four emails from record labels in Germany that were interested in releasing our albums," Segger laughs. "That was pretty much it." V Sat, Apr 10 (9 pm) Striker With Kobra & the Lotus, HROM Starlite Room, $12

STRIKER >> Edmonton metalheads on their way to Germany for a tour // Supplied us a lot of tips and we actually decided to record it in Dan's basement and have [MacLeod] mix it." That process, which took longer than the band expected, resulted in Striker's forthcoming full-length Eyes in the Night, the release of which the band will celebrate with a show at the Starlite Room this Saturday. As Segger notes, the band is happy with the results of its experiment. "Our first goal was to have better sound quality—the first EP we liked the sound of it at first but the more we listened to it the more we realized that

it sounds like a really good demo but not like a pro CD, so that was one of our first goals when we set out to record the new one," he says, before discussing the differences between crafting an EP and crafting a full-length. "When you do the full-length it's a different thought process behind it—you have to get everything set up right so that it feels like an album, not just a collection of songs." Striker's success in Europe, where the band will travel later this month to participate in the Keep it True festival before heading out on a tour throughout

PREVUE // AMON AMARTH

A long time ago

Prodigious memory comes in handy for Amon Amarth Bryan Birtles // bryan@vueweekly.com

t's not a new idea to play an album in its entirety live on stage, but it is one that's gaining steam as bands and labels search for new ways to market music. Bands like the Buzzcocks and the Decemberists have taken a shine to the idea, and Sweden's Viking-metal legend Amon Amarth made the decision to revisit some older material in a series of special shows that would see the band play its earliest albums in their entirety, with a view to rerelease the older material coupled with the live recording as a way to introduce new fans to the band's back catalogue. The fourth and final release, Versus the World, came out late last year, but the shows which featured the music happened over the course of four nights in late 2008. That process, explains vocalist Johan Hegg, was a weird one, because relearning so much older music in such a short period was a challenge. "For us it was cramming a lot of music into our heads. It's amazing we were able to pull it off—in four days we played 65 different songs. It was hard to keep everything in mind but it worked out very well for us," he explains over the phone as the band prepares for an extensive North American tour. "Playing the albums front to back actually worked better than I had anticipated, but then again it sort of comes naturally because you have a song order on the album that you picked for a certain reason because that's the way you

CROSSED ARMS >> Ancient Viking symbol for "ready to rock" // Supplied think it works best, so I guess it's not so strange after all." Compounding the problem of keeping 65 songs at the ready was the fact that they all had to be relearned in the first place— something that Hegg admits wasn't easy when some songs hadn't been played in 10 years—and some of them the band had never even attempted to play live. "It was hard to remember how you wrote it and how you felt while you were singing it," he explains. "We don't write notes, we just play it, so if you don't remember it you have to really listen to it to get it right. It was interesting to go back and revisit the older material, and it also opened up our eyes to some of the older material that we've tried to bring into the regular live set." And while the upcoming show in Edmonton will focus on the last two Amon Amarth albums, a few gems from the recent reissue series may make it into the setlist. And though they're excited to be

on the road, what the band members are really looking forward to as they make their way across the continent is having a bit more of a luxurious ride than on previous North American tours. "We've done a lot of shitty tours, ones we drove ourselves around in a van in North America. I know a lot of bands do that all the time but I don't understand how they make it. They do it all the time and that's something that I really respect a lot because that's tough going—these bands travel around in vans and sleep in shitty hotels or maybe not even in hotels but sleep in the van and still they pull off great shows," Hegg says. "We get to have a nicer time." V Thu, Apr 15 (7 pm) Amon Amarth With Eluveitie Edmonton Event Centre, $29.50 All ages

APR 8 – APR 14, 2010 // VUEWEEKLY

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VUEWEEKLY // APR 8 – APR 14, 2010

ALBUM >> MATTHEW BARBER

The truth is out there And Matthew Barber is a True Believer Singer-songwriter Matthew Barber is out on the road promoting, True Believer, his fourth full-length album. The record is jangly at times, full of subdued nuances at others, but always focused on Barber's gentle, contemplative voice. Barber recently spoke to Vue Weekly about the process of making True Believer.

songs remained intact. VW: What were the recording sessions like for this album? Did you record as a band live off the floor or did you piece it together one track at a time? MB: Most of the songs feature live bed tracks of drums and guitar, or drums, bass guitar and vocals, and then we would overdub other parts at [producer] Howie Beck's home studio.

ON TH

VW: Were there any other songs written that were left off the album? MB: Yes, there is a whole other album's worth of songs. ly.com

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VUE WEEKLY: How long did it take to make True Believer, from the initial songwriting through to the end of the recording? MATTHEW BARBER: About a year and a half VW: When you were writing the songs, did you come at them in a particular way? MB: Usually music first. Sometimes they emerge at the same time. VW: How did you choose the other players on the album? Are they people you play with regularly, or were they brought in specifically for the album? MB: They were all people I know, and most of them I've worked with in the past. VW: Did you bring the songs to the studio fully formed, or were they sketches that were then filled out as a group? MB: The songs were fully formed before we started recording themâ&#x20AC;&#x201D;I had recorded demos of everything. Sometimes the production approach would change from the demo, or some sections would be shortened, but the essence of the

VW: How did you decide which songs to include on the album? Did you have an idea of what you wanted True Believer to be when you started, or did the finished shape emerge as the writing and recording went along? MB: Howie and I each picked our top 10 songs out of the demos I gave him and whichever ones we both picked were definitely on the album. Beyond that we would push for why other songs should be included.

MATHEW BARBER >> The singer-songwriter just released his fourth album

// Supplied

VW: What did producer Howie Beck bring to the album? MB: Howie brought a pop sensibility to the album, great drumming and bass playing, and he was a fun guy to work with. VW: If you were to trace the musical map that led you to True Believer, what would it look like? MB: I think it's a natural extension of where I was going on my last record, Ghost Notes. Maybe a bit less folk than I thought it might be when I started writing it. V Fri, Apr 9 (7:30 pm) Matthew Barber With Zachary Lucky, Amy Seeley Haven Social Club, $15 All ages

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ALBUM REVIEWS

New Sounds

Erykah Badu New Amerykah Part Two (MCA) 

Roland Pemberton // roland@vueweekly.com

hough recorded simultaneously with the previous chapter, New Amerykah Part One (4th World War), Erykah Badu has still crafted a project that is less overtly progressive but still a creative statement. The songs are less obtuse and more in line with her earlier, more organic work, yet still strongly rooted in subverting tradition and twisting familiarity. It's bugged out how easy it all feels. That's the law of the referential: point towards something but not directly at it. The Puff Daddy model almost killed sampling with the idea that the source material was more important than the new composition that utilized it. Everything in the '90s seemed to be in service of nostalgia, casting a big fishnet over North American radio that screamed, "Remember this chorus?" Sampling is not solely a reductive process, as Badu has proved by previously teasing Akinyele and Dr Dre with their own beats on 2000's Mama's Gun. She continues this by recontexualizing multiple songs at once, such as on "Turn Me Away (Get Munny)." This song takes the tone and concept from the Notorious BIG-fostered group Junior MAFIA's "Get Money," which it-

self samples "You Can't Turn Me Away" by Sylvia Striplin. Her cloyingly infectious mewls scrape all sides of the honeycomb while her band composes an interpolation of the original sample source. This new piece combines both aforementioned songs and adds completely original elements to form an altogether unique composition. This seems to be indicative of her process, a romantically down-to-earth mixtape ethos merged with experimental thinking. When listening to the super obvious primary sample ("Intimate Friends" by Eddie Kendricks) on "Fall In Love (Your Funeral)," you can't help but think of Badu washing dishes, listening to the chords and coming up with another thing to sing over it. Her music is hip hop through a magnifying glass, isolating core elements and expanding on them without being exploitative. Again returning to the gospel of Biggie, her cribbing of "Slow singing and flower bringing / If my burglar alarm starts ringing" spins a fearsome threat into a more defensive position when applied to relationships. She takes because it makes sense, not because she needs to. Her completely original compositions hold their own too. The epic "Out My Mind, Just In Time" is equally touching and funny, managing to swing punchlines out of exaggerated devotion ("Crochet for you / Make it from scratch for you ... My love for you / Chop and screw for you"), while single "Window Seat" sounds as timeless and ephemeral as a Southern church spiritual. That song in particular has garnered a lot of hype for its video, which features a naked Badu getting gunned down near the Grassy Knoll in Dallas, Texas. She sells it as a condemnation of "groupthink," not some well-placed sensationalist ad for her album. I don't see it as YouTube manipulation—I mean, just listen to the song. Anyone can relate to wanting the window seat on a plane. Badu operates through comfort. As you can imagine, the right seat obviously means a lot to someone like her. V

Slash Slash (Dik Hayd)  Swapping singers out from song to song is a tough way to build an album that has any sort of cohesiveness to it, but if anyone's going to do it, Slash is a decent candidate to pull it off. Since his '80s debut with Guns N' Roses he's always had a distinctive sound to his playing: when Slash plays on a song, no matter who it's with, it always sounds like Slash That's still the case for the most part on his solo debut, but the album also illustrates just how important it is to have a band that works as a unit. To his credit, Slash did rely on drummer Josh Freese and bassist Chris Chaney to support him throughout the record, but stylistically the disc is all over the map. Of course, that's sort of the point when using so many different singers (12 on the CD, plus more on the iTunes bonus tracks), but it dilutes the strength of the album and turns it into a singles collection, and one that is a mixed bag when it comes to success. Off the bat, "Ghost" reunites Slash with one-time GNR co-guitarist Izzy Stradlin in a stunningly unspectacular song featuring the Cult's Ian Astbury on vocals. Where Slash and Stradlin intertwined their guitars in GNR, here Stradlin offers a typically barebones rhythm guitar behind some unmemorable Velvet Revolver-style riffing from Slash. In other places it seems as though Slash is playing make-believe in a series of bands: the Ozzy Osbourne collaboration, "Crucify the Dead," wouldn't be out of place on a recent Osbourne album, and "Promise," with Chris Cornell, calls to mind a grungier sound than Slash is known for. Unfortunately, neither of those are particularly impressive songs, sliding fast into forgettable riffs that are buoyed only by Slash's soloing. In fact, it's the solos that offer the only real continuity on the record, especially when tracks like "Gotten," a middling power ballad with Maroon 5's Adam Levine, and the Led Zeppelin-esque riffing of "By the Sword," with Wolfmother's Andrew Stockdale, are stacked alongside each other: other than Slash's playing, there's little that ties these songs together and they hardly seem comfortable on the same album. All that said, there are certainly some highlights to be found here: Slash seems comfortable working with Alter Bridge's Myles Kennedy for a couple of songs and it shows in his playing; songs with Lemmy Kilmister and Iggy Pop (and the bonus track with Alice Cooper) all find Slash living out the rock 'n' roll dreams of his youth in fine form; and "Nothing to Say" finds him stretching out nicely with Avenged Sevenfold's M Shadows. It is possible that any complaints about the variety in singers are actually rooted in the fact that Slash's songwriting itself is often underwhelming. While in GNR the guitarist brought some killer riffs to the table, but they were sprinkled amongst the offerings of his bandmates in true collaborative fashion. Left to his own devices, Slash has a difficult time sustaining a song from beginnning to end. Eden Munro

// EDEN@vueweekly.com

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Chin D'Tach (Sparks )  A very personal album from Chin Injeti, D'Tach is probably not what most fans will expect from the man who's been working with the likes of 50 Cent, Dr Dre and Clipse these days, though there are occasional snippets of rap and beat-boxing. Injeti has in the past described D'Tach as an "urban folk" album. One can only suppose that he means that most of the songs in this collection feature generous helpings of acoustic guitar, campfire choruses and West Coast influences. (Case in point: "Fiya Fiya.") Injeti's Indian heritage is also showcased throughout the album and the influence of having worked with artists such as Zaki Ibrahim and K'Naan in the past is well evident—in fact, for a track apiece, both K'Naan and Ibrahim make an appearance. The end result? A culturally and emotionally rich collection of songs that are always warm and fuzzy and only sometimes cheesy. Bryan Saunders

// bryansaunders@vueweekly.com

Archie Bronson Outfit Coconut (Domino)  Archie Bronson Outfit's Coconut has a heaviness to it that doesn't come from distortion-drenched guitars or pounding double bass, but from a relentless energy that offers no illusions of letting up anytime soon. It's like having a fat lip on a summer's day: there's something really leaden about it and yet everything's still OK. The sound is like a neurotic on Ativan, curiously relaxed but with a tension that bubbles close to the surface and threatens to spiral into chaos once the drugs run out. It's barely under control and I like it. Bryan Birtles

// bryan@vueweekly.com

Alkaline Trio This Addiction (Heart & Skull)  For a band that's seen almost 15 years of action, The Alkaline Trio still sound like a bunch of 20-somethings in the heyday of pop-punk's frontline charge. That's both good and bad: This Addiction's songs blast along with energy, particularly the title track and "The American Scream." They also come with the nagging sense that you've probably heard these riffs and songs somewhere before, or ones just like them. Paul Blinov

ALBUM REVIEWS Nirvana "You Know You're Right" (Geffen)

a video partially consisting of live clips fashioned together to make it look like Cobain was singing the song. Originally released: 2002 Its immediate chart success m o .c ly k e vuewe certainly had something to This week marked the 16th paul@ anniversary of Kurt Cobain's do with the natural hype of an Paul v suicide—April 5, 1994—and the unreleased Nirvana song and the lino B band's still-powerful influence, but ended career of one of pop music's then-biggest music had started to move on: nüand most uncomfortable stars. metal evolved The mainstream out of grunge and took its place success he and Nirvana found as the rock style of the time. Yet with Nevermind, and then tried "You Know You're to scorn with In Right" pushed passed all its Utero, always seemed to make contemporaries to reach number him squirm more than it did bring one on the rock him any peace of charts. It's not the most mind, or help him battle his personalluring Nirvana single; Cobain al demons. After his death, TEN YEARS AFTER >> Cobain was right had written betthe major players in and surrounding ter melodies—bigger, brasher, hookier, lovelier. It's not technically spectacular: Nirvana drifted onward: bassist Krist Novoselic meandered, playing in a few Novoselic's repeating, hypnotic bass line chugs along, simplifying at the chorus lesser-known bands, engaging in Seattle but essentially remaining unchanged; politics and eventually writing a book, but for the most part remained removed Grohl's drums go from quiet to explofrom the mainstream eye. Dave Grohl sive, a step away from the loud verse/ traded drumsticks for a guitar and with quiet chorus sound the band had popularized (and admittedly nicked from the Foo Fighters sailed to the top of the the Pixies); the whole song creeps up charts again, albeit in a far more fun vein of music than Nirvana's ever was. Coto an almost voicelessly hoarse scream bain's wife Courtney Love and her band from Cobain, then spends the rest of its Hole were forever cast in her husband's length in a retreat as he repeats the title looming shadow, though they received a over and over, band drifting down to a simple drumline and then nothing. huge hit of publicity alonside his death— their debut Live Through This hit stores But almost 10 years after being laid to just days after Cobain's body was found. tape it sounded modern. His contempoBut interest in Nirvana remained steady, raries had almost a full decade of musiand far before its official release, "You cal shift and change and yet "You Know You're Right" was still a more dynamic and Know You're Right" was popping up here and there—a live recording existed as a invigorating sound than any of the styles bootleg, and Hole covered the song on that the rock acts of the time were mintheir appearance on MTV Unplugged (bit. ing. Though given the title "the king of ly/blJXfK). Love seemed particularly hung grunge" Cobain was first and foremost a songwriter with an incomparable knack up on the track, fighting a legal battle for years over the rights to release it with the for pop hooks, which is why Nirvana rerest of Nirvana. But then in 2002 the studio mains relevant 10 years and more after recording of "You Know You're Right" was his death: even a decade on, he was still front-loaded onto a greatest-hits package ahead of the generations that followed in and released, leaping up the charts with his footsteps. V

OULNDDS

HAIKU Eluvium Similes (Temporary Residence) Perfect relax tunes Like having a bubble bath While in a hammock!

QUICK

SPINS

quic

eekly.c

vuew kspins@

Whiteoyn Houst

Omega Crom Blood, Steel & Fire (Reversed)

Making old metal With full castrato vocals Takes a lot of balls

Lightspeed Champion Life is Sweet! Nice to meet you (Domino)

The Cottars Feast (Rounder)

Dude is pretty sly He sort of oozes coolness The way that cheese sweats

Amazing talent Let's raise a glass and toast to Celtic Eugenics

Huron Huron (Latent)

Beach House Teen Dream (SubPop)

Neil Young on acid Recording with BTO ... I wish that happened

Just like bran muffins It quickly goes right through you Sometimes it moves you

// paul@vueweekly.com

APR 8 – APR 14, 2010 // VUEWEEKLY

MUSIC // 51

PREVUE // THE MOLESTICS

Art for art's sake

Mike Soret revives the Molestics for some more Hokum Eden Munro // eden@vueweekly.com

hange isn't always easy. Sometimes, even when a past life has been left far behind, the artistic tendencies that fueled those earlier times begin to boil under the skin until there's no denying that they still exist. Such is the story of Mike Soret, frontman once and now again of the Molestics. Now living the life of a sous chef on the Rocky Mountaineer—a train running through the Rocky Mountains—Soret first revisited his past in a book, Confessions of a Local Celebrity: A Tale of Rags to No Rags. Then he put together a new group of Molestics for something of a demonstration gig to show what it used to be like. "That actually went pretty good," he recalls. "And then I kind of noticed that there hasn't really been anything to replace it in all this time that we've been away, and we had such a weird act, such a strange set of contradictions that all came together, and even though I've got this entirely different life now—I'm thoroughly engrossed in my day job—still, somehow the artism kind of got back to me and I found myself needing to do this again. "It's not for cash," he adds with a laugh, "because I barely break even on these things. And it's not for fame, because there are only so many enthusiasts for

this strange mix of things that we do, but it really seems like an art-for-art's-sake kind of a thing." With the future in mind, Soret has put together an archival Molestics release. But while A Farewell to Hokum is made up of material from several sessions that the original band did years ago, Soret sees it as both an ending and possibly a new be-

you're playing all the time, which is really good for your chops, you don't get to really develop something and change things as much as you would so that you can give something different. But with all this artistic time on my hands I'm able to a little more. Dreams of fame and glory may be far from the front of his mind these days, but Soret is determined to make the Moles-

Art didn't used to be about mass producing: it used to be about something special. ginning—one that may even lead to new material down the road. In the meantime, though, Soret plans to put on the best live show he can come up with. "I've got some wacky ideas for the show," he confesses. "There's some kind of vaudeville adage about you have to have 10 interesting things happen to make it a memorable night. I don't know if I ever got up to 10, but I always try to make it more than just a bunch of guys on a stage playing songs. "You want to make each night unique, and, in a sense, doing this only some of the time now is better, because then you've got the chance to do that, to make each show unique," he continues. "When

tics count for as much as possible in the here and now. "Art didn't used to be about mass producing: it used to be about something special," he states. "Not something that's the most popular and has its sharp edges taken off so it can be generically appreciated, but something that can be particular, and particular for that evening and particular for those people, and in this context I suddenly like playing for a few people that like the thing because you feel like you can really communicate with them." V

SCORPIO (Oct 23 – Nov 21)

plete. To dive in now would be like eating a chocolate cake that has only been baking in the oven for 10 minutes. In conclusion, Capricorn, strike a balance between practicing watchful patience and cultivating protective excitement.

Fri, Apr 9 The Molestics New City

HOROSCOPE ARIES (Mar 21 – Apr 19)

college dorm room, wanting to discuss an It would be a good week for you to perfect essay she'd been assigned for her History your ability to crow like a rooster, Aries. of Modern Art class. She really liked it, I also recommend that you practice your but there were some points she wanted skill at leaping out of bed in the morn- to understand better, and she thought my ing fully refreshed, with your imagination input might help. The essay? The "Surreprimed and ready to immediately begin alistic Manifesto," formulated in 1924 by making creative moves. Other suggested the writer André Breton. Years ago, it was exercises: being on the alert for a crucial document in my own dewhat's being born; holding a vivelopment as a young poet. The sion of the dawn in your heart opportunity to share its heady Y brew with the beloved child I throughout the day; and huG O L O morously strutting around A S T R m used to push on a swing was ekly.co vuewe l@ il like you own whatever place startlingly blissful. I predict w free you're in. a similar event for you in the Rob y coming days, Gemini: the fruiBrezsn TAURUS (Apr 20 – May 20) tion of a life-long dream you didn't I got a spam email containing supposed even know you had. words of wisdom from the Dalai Lama. "We spend more, but have less," it said. "We have CANCER (Jun 21 – Jul 22) more conveniences, but less time; more ex- It's probably true for a lot of celebrities perts, yet more problems." It went on like that their public personas are not accurate this for a while. I was suspicious. It seemed reflections of their private lives. One strikto contain too many pop platitudes to ing example is actress Megan Fox, who's have been uttered by the Dalai Lama. With famous for being a sex goddess. But the Google's help, I did some research and dis- fact is, she told Harper's Bazaar magazine, covered that the passage was actually the she has only slept with two men in her handiwork of pastor Bob Moorehead, who life, and it makes her ill to even contemresigned from his Seattle church under a plate having sex with someone she doesn't cloud of allegations about misconduct. I love. While it may not bother her to have urge you to make similar investigations a reputation that's so different from of the ostensible truths you receive this her inner world, I wouldn't say the same week, Taurus. You may find discrepancies about you—especially now. I urge you to as major as the differences between the do what you can to create more harmony Dalai Lama and Bob Moorehead. between the version of yourself that you project outward and the version of yourGEMINI (May 21 – Jun 20) self you actually live in. A life-long dream of mine came true recently, and I didn't even know it was a LEO (Jul 23 – Aug 22) life-long dream until it happened. It struck In her poem "The Gift," Chinese poet Shu unexpectedly on a Tuesday afternoon. My Ting writes, "I dream the dream of a pond daughter called on the phone from her who lives not just to mirror the sky but

FREEW

ILL

52 // BACK

to let willow trees on the bank drink me up." This would be an excellent dream for you to dream in the coming week, Leo. It would also be empowering for you to render its themes in your waking life. I think you will derive great pleasure and sound teaching from mirroring a soaring archetype and feeding an intimate primal force. (Shu Ting's poem was translated by Tony Barnstone and Newton Liu.)

VIRGO (Aug 23 – Sep 22)

Are you an athlete? If so, I suspect that you will soon make an adjustment in your training or technique that will improve your game. Are you an artist, musician, writer, performer or dancer? I bet you will get a sweet insight about the creative process that could revolutionize your work in the months to come. Are you a pilgrim on a meandering long-distance quest to a promised land whose location you're not exactly sure of? Any minute now, you'll uncover a clue that will dramatically narrow down the possibilities of where the promised land is.

LIBRA (Sep 23 – Oct 22)

There may be times in the coming week when you will in a sense be dreaming while standing up. On other occasions, you may be hard at work while lying down. In fact, I suspect that the law of reversals will be in full bloom. Things that have been last will, at least temporarily, be first, and influences that have calmed you down will rile you up. What has been crazy may be quite sane, and what has been in the shadows will come into the light. Tight squeezes may turn into expansive releases and heavy-duty commitments will get a dose of slack—and vice versa. Always vice versa.

VUEWEEKLY // APR 8 – APR 14, 2010

Every one of us in engaged in some ongoing battle with ourselves. Maybe there's a conflict between our heart and head. Maybe we're trying to stop expressing some behavior that we know is self-destructive but seems all too natural and easy to do. Maybe we feel guilty about or resentful toward some event from the past, and are constantly fighting with its after-image. Whatever your version of the civil war might be, Scorpio, the coming weeks will be an excellent time to reduce the heat of the strife. But you'll have to be ingenious as you reframe the way you think about the situation, and you'll have to locate a reservoir of willpower that has been hidden in your depths.

SAGITTARIUS (Nov 22 – Dec 21)

This would be an excellent time for you to take inventory of what brings you pleasure. According to my reading of the astrological omens, you're due for an update and upgrade. Some of your triedand-true strategies for generating joys and thrills are fraying at the edges. You should consider refurbishing them, even as you also think about going in quest of fresh sources of delight. For extra credit, see if you can gain access to an experience that could accurately be described as "a blessed state of bliss."

CAPRICORN (Dec 22 – Jan 19)

It would be smart for you to whet your appetite, but please don't go too far and spoil your appetite. Imagine and plan for the feast to come; make sure the evolution of the feast is on track; but don't try to actually enjoy the entire feast yet. It's not ready, you see. The "cooking" isn't com-

AQUARIUS (Jan 20 – Feb 18)

Your key word for the week is "fulcrum." It's derived from a Latin verb meaning "to prop up, support," and its definitions include the following: 1) the stable point on which a lever pivots; 2) the crux of a percussionist's grip as he or she holds a drumstick; 3) an agent through which vital powers are exercised. I suggest you meditate on where the metaphorical fulcrums are in your life, and then take creative measures to give them extra care and enhance their strength.

PISCES (Feb 19 – Mar 20)

I'm wearing a replica of an ancient Egyptian atef, a white crown surmounted by two ostrich feathers. My white cashmere robe, decorated with Qabalistic sigils, was sewn for me by a Wiccan priestess. My wand is shaped like the head of a Kalao bird and once belonged to a shaman from Burkina Faso. Aided by these accessories, I gaze into my magic mirror and conjure the spirit of my deceased great-uncle Felix, a successful businessman born under the sign of Pisces. He has always been a reliable source of inside info for me in the past. "Dear ancestor," I murmur, "do you have an oracular revelation for my Piscean readers?" And he replies: "Tell them their money mojo is stronger than usual. Urge them to bargain aggressively and make sure they get a percentage of the gross, not just of the net profits." V

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APR 8 â&#x20AC;&#x201C; APR 14, 2010 // VUEWEEKLY

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COMMENT >> LBGT

Protesting Pride engages diversity There was a time when Edmonton's Pride bers and sponsorship dollars. Festivities were not sanctioned by City Hall. As part of 2009's Edmonton Pride there For many this reduced the legitimacy of the were three separate acts of peaceful protest events, the ease with which Pride could at- at the parade, and following, facilitated by tract a strong audience, sponsorship, pool of queer groups. The first, the Queer Liberation volunteers and diminished its ability to secure Army marched in the parade with placards a sustainable future. This of course did that read "My Pride is Not for Sale" in not stop members of Edmonton's protest to the parade's naming rights LGBT communities from putting being given over to TD Canada on and attending Pride all the Trust and the overt commercialwhile also lobbying Edmonton ization of the event. The second City Hall to reconsider. Under action, also part of the parade, .com ly k e e uew ted@v threat of a human rights comwas walking entry partners ExTed plaint, former Mayor Bill Smith posure: Edmonton's Queer Arts Kerr begrudgingly granted Edmonton's and Culture Festival (of which I Pride celebration a proclamation in am a member) and Mile Zero Dance's 2003. The year after, then-new mayor Ste- various improvised movements such as diephen Mandel fully supported Pride by pro- ins in protest, and in front of, the manned viding the proclamation as well as partaking military tank entered into the parade by in the parade. Since 2004, under the hard Edmonton Police Service. The groups queswork of committed volunteers and one paid tioned the involvement of such an aggressive staff, Pride has grown into a more legitimized weapon as part of an LGBT event. The last event attracting thousands in audience num- act of civil disobedience was the placard and

EERN Q UN TO MO

CLASSIFIEDS

Auditions for the Heart of the City Festival (June 5 & 6) take place April 22, 24, 25. At least 50% of musical act must live, work, volunteer, or go to school within our boundaries: North of the river, South of Yellowhead Trail, East of 124 street, and West of Wayne Gretzky Drive. Email: heartcitymusic@gmail.com

HELP WANTED Do you want to spend a summer in the Canadian rocky mountains? Freewheel Cycle in beautiful Jasper Alberta is looking for experienced bike mechanics and floor sales people. Competitive wages, incredible perks, fun friendly staff and a guaranteed good time makes this job right for you! Please forward a resume to freewheelderek@gmail.com or call 780-852-3898 and ask for Wendy! We are waiting for you!

ASA Gallery at Walterdale Playhouse seeks proposals for art exhibitions. Info at www.artists-society.ab.ca Deadline May 31st, 2010

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

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 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

Musicalmania! is looking for strong, preferably older, tenor for production at end of May. Paid position. 780.460.2937

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@

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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

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

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

ARTIST TO ARTIST

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

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

MUSICAL INSTRUCTION EDUCATIONAL

Last month Pride Toronto, in preparation for 2010 Pride, as well as thinking about World Pride 2014, which Toronto will be hosting, announced that all signs in the Pride parade must be vetted by a Pride Toronto ethics committee to, "ensure that messages support the theme of the 2010 festival." In reaction to the attempt to curb freedom of speech, "Social media exploded" writes XTRA. ca's Marcus McCann who summarized what happened in a great article entitled "How a Queer Protest Pushed Pride Toronto to vueweekly.com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space

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megaphone interruption of Progressive Conservative MLA Heather Klimchuk's speech by the Queer Allied Network during the celebrations after the Parade due to the PC party's delisting of sexual reassignment surgery and passing of Bill 44, which at once finally and tardily enshrined sexual minorities into Alberta's human rights legislation while limiting the ways in which Alberta teachers can teach important topics such as sexuality.

Male swing dancer seeks to practice West Coast Swing. tdickins@ualberta.ca Display/sell work, and/or facilitate an art workshop at the Heart of the City Festival, June 5 & 6. E: rambow.anna@gmail.com Seeking musicians, buskers, dance groups, installation artists to help shape an avant-garde extravaganza during Kaleido Festival, Sept 10-12 E: kaleidoprogram@gmail.com/artsontheave.org

VUEWEEKLY // APR 8 – APR 14, 2010

Withdraw its Censorship Policy." Facebook groups were started, letter writing began and Twitter was used all resulting in Pride Toronto rescinding the idea. Above the tact or content of the protests in Edmonton and Toronto, the fact they exist is a sign of progress and a direct link to Pride's riot roots. In the past the act of producing Pride in Edmonton was a form of activism as a result to the hostility from the City of Edmonton. Once the City provided it with its seal of approval activist energy, as experienced in 2009, could shift from a united front to have Pride happen to spread to multiple focuses that serve to question Pride as well as see Pride as a site for bigger conversations that affect queer people. Moving forward protests of Pride are important because they provide an example of the ways in which we, who it can be argued have shared and/or overlapping identities (LGBT and Queer people), can oppose each other, have conversations with each other

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

and articulate our important differences. For me this is an important realization. More and more I find myself disengaged by the current gay and lesbian groups and movement that in some ways are typified by the existing incarnation of Pride. I feel that much of the work being done in terms of gay rights is coming at the expense of segments of society and limit true gains for everyone. I feel that by virtue of being same sex attracted I am lumped into these conversations and provided a point of view I don't agree with in the same way people walk away from Pride thinking that being gay is just about hot boys in booty shorts and biker ladies with no bras. In thinking about a queer future I think Pride is a perfect shared site to dismantle ideas of a homogenous homosexual community. For me it is also a good time to engage in dialogue on the ways queer identities are disappeared, misused, and assumed within the larger LGBT context, how our queer consent has been assumed or misappropriated to push ideals we may not believe in. The act of questioning and pushing forward is at the heart of Pride. Lest we forget Stonewall '69: Pride was born a protest. V

ADVICE >> SEX

Dizzy spell

Dear Andrea: Dear Head: You've written occasionally about infatu- I have written about infatuation, yes, but ation, but is it really such a bad thing? I never without mentioning the word's etyknow it when I feel it. Is it something to be mology, which never fails to charm me, wary of? if not as deeply and enduringly as I am The object of my desire lives far away, charmed by the source of "bugger," which and infrequent visits keep the natural is a corruption of "Bulgarian," or "herpes," relationship progression at bay. It's which shares a root with "herpetolalways exciting to see each other, ogy," the study of reptiles, or and many of the normal daily "things that creep." "Infatuation," annoyances and issues of relaof course, means "to make fooltionships don't arise. ish," and shares a root with m o .c ly ek vuewe Here's the rub though, "fatuous." Aren't you glad you altsex@ while I'm convinced I'm Andresaon asked? What? You didn't ask? in love and confident in his feelI don't know what definition Nemer ings as well, I fear that making your Psych 101 teacher gave but huge decisions and life changes (he's I'll assume that you're thinking of inthinking about selling his house, for infatuation as the dizzy, dopey first flush stance) may be rash based on infatuation, of attraction which has no time for those and the distance seems to make it near aspects of love which take time, by which impossible to gauge. I don't mean marriage and baby carriage as Love, much as putting the other person's needs Cloud Head and comfort first, or at least on a level with

ALT.

SEX

Professional metal band is seeking a dedicated guitar and bass player. Please, no cokeheads, etc. Contact Rob at 780.952.4927 Singer-guitarist available for freelance work. Can double on bass or electronic keyboard. Hundreds of MIDI files if needed. Country, old R&R, have played almost anything but Rap and Metal. No bad habits. Call 780.634.9713 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

VOLUNTEER Volunteer Edmonton is looking for Edmonton Festivals to participate in the third annual Festival Volunteer Fair on Wednesday, May 12 at the City Room in City Hall. Call 780.732.6649 Volunteers Needed: Instructors – Tap Dancing, Line Dancing and Calligraphy. Wednesday – kitchen helper, Friday – dining room servers, Wednesday evening dinners – dishwashers, kitchen preparation and servers. Call Mary at 433-5807 Provocative, unique, innovative volunteers needed for Northern Light Theatre's upcoming events. Ellen Chorley, 780.471.1586; nlt.publicity@ telusplanet.net Volunteer at ElderCare Edmonton: help out with day programs with things like crafts, card games and socializing. Call Renée for info at 780.434.4747 Ext 4 The Nina Haggerty Centre for the Arts: looking for artists to provide mentorship to our artists with developmental disabilities. Share your talents and passion while gaining work experience. Info: Anna at volunteer@ninahaggertyart.ca Meals on WheelsºNgdmfl]]jk f]]\]\ Lg deliver nutritious meals (vehicle required) O]]c\Yqk )(2,-Ye%)he Lg Ykkakl af l`] cal[`]f O]]c\Yqk .Ye Yf\ *he3 k`a^l lae]k Yj] È]paZd] 780.429.2020 Canadian Mental Health Association/Board Recruiting 2009 Learn about our community work: cmha-edmonton.ab.ca S.C.A.R.S.: Second Chance Animal Rescue Society. Our dogs are TV stars! Watch Global TV every Sat at 9:45 AM where new, wonderful dogs will be profiled. scarscare.org CNIB's Friendly Visitor Program needs volunteers to help and be a sighted guide with a friendly voice. If you can help someone with vision loss visit cnib.ca or call 780. 453.8304 Bicycle Mechanic Volunteers for Bissell Centre community homeless or near homeless members on Mon, Wed, Fri, 9am-12pm. Contact Linda 780.423.2285 ext 134

The Learning Centre Literacy Association: seeking an artist or arts & crafts person who would be willing to commit 2 hrs weekly to the instruction of their passion to adult literacy learners in the inner city. Denis Lapierre 780.429.0675, dl.learningcentre@shaw.ca Dr.’s Appointment Buddy–Accompany new refugee immigrants to their medical appointments lg _an] kmhhgjl Yf\ Ykkakl oal` hYh]jogjc& L`m$ )(2+(Ye%*2+(he& LjYfkhgjlYlagf fgl j]imaj]\& Leslie 780.432.1137, ext 357 P.A.L.S. Project Adult Literacy Society needs volunteers to work with adult students in the ESL English as a Second Language Program. Call 780.424.5514; training and materials are provided BISSELL CENTRE Community in need of basic daily items, please bring: coffee, sugar, powdered creamer, diapers, baby formula to Bissell Centre East, 10527-96 St, Mon-Fri, 8:30am-4:30pm

one's own, and being made happy by the other's happiness, plus trust, commitment, and mutual support. These latter qualities get something of a bad rap—they're the nice, dull things you earn in compensation for the sexy, shiny part wearing off—but of course they are no such thing. You can have trust, commitment and an investment in each other's happiness and still want to see each other nekkid. Neither of these is to be confused with limerence, a word which did not exist until the '70s, when a psychologist, Dorothy Tennov, saw fit to coin it. Unlike infatuation and herpes, limerence shares a root with exactly nothing. It's rather a lovely sound, though, and seems fitting for that transcendent sensation, that sense that since you and your "limerent" object met or connected, the world has been utterly transformed—surely others can see it! If they can't see it, it's only because they're not as sensitive as you are, they could never understand the exquisite torture that is your special, special love. Limerence is not love—it's "being in love"

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(without infatuation's connotations of foolishness and brevity): the intrusive thoughts to the point of obsession, the feeling of "walking on air," the mad longing, the way that every touch, every word, every glance from the beloved is imbued with meaning, and the palpable pain ("heartache") of separation or lack of reciprocity. Without limerence all popular music would be either "The Itsy-Bitsy Spider" or "Kill You," nothing in-between. The Rodgers and Hart song "This Can't Be Love," which has been playing in my head since the XM radio in the kids' room got stuck on the show tunes station, ought to have been called "This Can't Be Limerence," but it just doesn't scan as well: This can't be love, because I feel so well, No sobs, no sorrows, no sighs. This can't be love; I get no dizzy spells, My head is not in the skies. My heart does not stand still, just hear it beat. This is too sweet to be love. Limerence does not become love as much

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as it can leave you and the limerant object ideally positioned to find love together. You ask, is this really love, or merely infatuation? I answer, it's limerence, and better yet, requited limerence; enjoy it. You ask, "But isn't the attraction real?" and I say, of course it's real. Limerence causes a certain type of temporary insanity but you still know what you feel. And finally, should the two of you throw all caution and real estate to the winds and throw in together, despite not really knowing each other that well? Um. This is pretty wishy-washy (limerence is never wishy-washy), but ... sort of? How about you wait a year? How about travelling together a little first? Sharing a vacation house? Those situations are not real life but they do involve real stressors. I'd agree that this can't be love but I won't say it can't get there. Let him see you without make-up. Find out what he's like when you're lost and hot and cranky on a road trip. Head in the clouds? Easy. How about shaving scum in the sink? Love, Andrea

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People between 18-55, suffering from depression or who have never suffered from depression are needed as research volunteers, should not be taking medication, smoking, or undergoing psychotherapy and not have a history of cardiovascular disease. Monetary compensation provided for participation. 780.407.3906 HEALTHY VOLUNTEERS required for studies at UofA. Call 780.407.3906; E: UofADep@gmail. com. Reimbursement provided U of A is seeking major depression sufferers interested in participating in a research study. Call 780.407.3906; E: UofADep@gmail.com L`] Kmhhgjl F]logjc2 Ngdmfl]]j lg\Yq lg Z] Y Distress Line Listener. Apply on line thesupportnetwork.com or call 780.732.6648

Volunteer with Edmonton Mennonite Centre for Newcomers, help immigrant Children and youth of all ages–volunteer in a homework club. Contact Phillip Deng at 780.423.9516 or pdeng@emcn.ab.ca

SERVICES

Volunteer with the Aboriginal Health Group. Plan events (like Aboriginal Health Week, Speaker Series). Promote healthy habits to high school students. Set up events. E: abhealthgroup@gmail. com; aboriginalhealthgroup.org

NARCOTICS ANONYMOUS HELP LINE 24 Hours a Day–7 Days a Week If you want to stop using, we can help Local: 780.421.4429/Toll free: 1.877.463.3537

Canadian Mental Health Association, cmhaedmonton.ab.ca Education Program offer workshops to give skills to intervene with people who may be at risk for suicide. Follow the links to 9KAKL gj [Ydd /0(&,),&.+((

SACRED Edmonton Society; sacredeatingdisorders.com; An Eating Disorder Intensive Recovery Program for those with anorexia or with bulimia. =2 kY[j]\.8l]dmk&f]l3 L2 /0(&,*1&++0(

Have you been affected by another person's sexual behaviour? S-Anon is a 12-Step fellowship for the family members and friends of sex addicts. Call 780.988.4411 for Edmonton area meeting locations and info, sanon.org SACE–Public Education Program: Sexual Assault Centre of Edmonton (sace.ab.ca) provides crisis intervention, info, counseling, public education. T: 780.423.4102/F: 780.421.8734/E: info@sace.ab.ca; sace.ab.ca/24-hour Crisis Line: 780.423.4121 Are you an International Medical Graduate seekaf_ da[]fkmj]7 L`] 9dZ]jlY Afl]jfYlagfYd E]\a[Yd Graduates Association is here to help. Support, study groups, volunteer opportunities–all while creating change for tomorrow. aimga.ca Volunteer website for youth 14-24 years old. youthvolunteer.ca

B]oak` >Yeadq K]jna[]k =\egflgf'L9KAK LjYfkforming Acculturative Stress Into Success): A free program aimed at minimizing culture shock and displacement for trained professional immigrant oge]f& L2 Kn]ldYfY /0(&,-,&))1, Do you remember someone who believed in you when you were a child? Be that person in a child's life today. All it takes is one hour a week, which may not be much to you but will make all the difference in the life of a child. Be a Big Brother or Big Sister! Be a Mentor! Call Big Brother Big Sister today. 780.424.8181 Volunteer drivers and kitchen help urgently needed. If you’re available weekdays, 10am-1pm call Meals on Wheels. 780.429.2020

APR 8 – APR 14, 2010 // VUEWEEKLY

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VUEWEEKLY // APR 8 – APR 14, 2010