Vue Weekly Issue 767 July 1 - 7 2010

2 // UP FRONT

VUEWEEKLY // JUL 1 – JUL 7, 2010

INSIDE

COVER

#767 • Jul 1 – Jul 7, 2010

UP FRONT // 4/ 4 Vuepoint 6 Issues 9 Dyer Straight 10 ZeitGeist 10 Bob the Angry Flower

DISH // 11/ 13 Veni, Vidi, Vino

ARTS // 18/ 19 Hopscotch

FILM // 23 25 DVD Detective

MUSIC // 28/ 32 Enter Sandor 41 Music Notes 42 New Sounds 43 Old Sounds 43 Quickspins

16

Bestest of Edmonton: the city's bestest landmarks revealed

ARTS

MUSIC

18

scissors and 39 Scrapbooker's glue sticks are at the ready

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

EVENTS LISTINGS 22 Arts 27 Film 30 Music 45 Events

Free Will Shakespeare: the Bard returns to Hawrelak Park

VUEWEEKLY.COM SLIDESHOW // Iron Maiden

MUSIC

• Slideshow Iron Maiden, Hank & Lily, Grace Potter & the Nocturnals, Black Mountain, Minus the Bear FILM

• SideVue Mixing race-reality and fantasy: Brian Gibson explores some troubling cases of recent racial casting DISH Iron Maiden performs at Rexall Place

• Dishweekly.ca Restaurant reviews, features, searchable and easy to use

VUEWEEKLY // JUL 1 – JUL 7, 2010

UP FRONT // 3

EDITORIAL

Vuepoint Democratic values samantha power

// samantha@vueweekly.com

'T

he radical protest movement will never bring about change." It's just one of the comments uttered on the Internet in the aftermath of the G20 protests in Toronto, but one that follows every major convergence of activists. With hundreds of arrests, thousands on the streets, smashed windows and burnt cars, the scene on the streets of Toronto was not much different than in Vancouver 1997 during the APEC conference, 2001 in Quebec City or maybe 2007 in Montebello. Each time thousands took to the street and were met with by violent confrontations by police. Tear gas, water cannons, riot gear and billy clubs greet activists every time, so why would citizens continue to engage in such a tactic only to be met with violence?

Protesting is a way to have your voice heard. It is empowering. A citizen can stand in the street and march with thousands of fellow citizens engaging on issues they care about. We're taught that voting every four years is the path

to voicing our values, but we're never taught what happens in between. Protesting is the visible demand on the people we have voted for to hold to the values their citizens believe in. And, as citizens, activists are guaranteed that right under the Charter—to freely assemble to discuss the issues affecting their lives and to do so without the threat of being arrested, detained or threatened with violence—all of which happened this past weekend in the streets of Toronto. And which the Canadian Civil Liberties Association has deemed "unprecedented, disproportionate and, at times, unconstitutional." But it has not stopped the conversation. In fact, far more people than just the thousands on the streets of Toronto are talking about civil liberties and democracy. Conversations across Canada, on social forums, in coffee shops and at the dinner table are happening about civil liberties, the right to protest and to have a conversation. The lesson will not be forgotten, because if a few fiery cop cars and smashed windows get in the way of public demonstration, what is our Charter worth? V

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PETE NGUYEN // pete@vueweekly.com Ricardo Acuña, Steve Anderson, Mike Angus, Josef Braun, Rob Breszny, Jonathan Busch, Jim Dean, Pete Desrochers, Gwynne Dyer, Amy Fung, Michael Geist, Brian Gibson, James Grasdal, Joe Gurba, Whitey Houston, Ted Kerr, Andrea Nemerson, Stephen Notley, Mel Priestley, Jenn Prosser, Steven Sandor, Mari Sasano, LS Vors, Adam Waldron-Blain Todd Broughton, Alan Ching, Barrett DeLaBarre, Mike Garth, Aaron Getz, Raul Gurdian, Justin Shaw, Dale Steinke, Wally Yanish

INSIDE // FRONT

UP FRONT

6

Issues

9

Dyer Straight

10

Bob the Angry Flower

GRASDAL'S VUE

Letters

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.

SLIDESHOW >> G20 Protesters and police standoff at the Justice For our Communities march, after a hearing impaired activist was pulled out of the crowd by police and the crowd attempted to recover him from arrest.

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See more from the G20 meeting in Toronto at vueweekly.com. And check VueWire for a compilation of stories about the G20 and ensuing conversation from alternative and independent news sources.

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VUEWEEKLY // JUL 1 – JUL 7, 2010

FEATURE // LOCAL FOOD

Time is ripe for urban farms

Growing citizen and political support for city-dwelling farmers Jenn Prosser // jenn@vueweekly.com

S

hifting climate patterns, heightened food costs, concerns about agricultural practices and a desire to return to simpler lifestyles are often quoted as reasons for the growing popularity of the urban agriculture devotee. As the notion of, "knowing where your food is from" sees a return to popularity, many feel the need to go beyond the hundred-mile diet,

and truly take matters into their own hands.

Urban agriculture or urban farming are terms used to describe just about any form of urban food production, of which everything from private gardens to cooperative gardens to chicken raising, or even those window sill herb pots, falls under. For many, it redefines their space and gives them an opportunity to feel in control of their consumption patterns, as well as giving them a window to better under-

stand their relationship to food.

In 2006, it was calculated that 80 percent of Canadians live in urban centres. And with 28 percent of Alberta's 2.7 million people living in Edmonton, increased density creates a greater demand on suppliers for basic needs and food is no exception. For many though, the large chain supermarkets are not meeting their need for fresh, locally produced food. They often do not support local farmers, and instead are supplied from large, often heavily

subsidized agricultural operations.

The CCLA is arguing the actions of the G20 protesters and other citizens in the area did not warrant the suspension of the Charter guarantees to freely assemble, freedom of expression and to be free from arbitrary detention and search and seizure.

Over 900 people were arrested by police over 36 hours. Media, human-rights monitors and passersby were rounded up off the streets, and police raided homes and detained protesters across the city in what many are calling an illegal search and seizure.

points out, the size of the joint review panel for Enbridge lacks regional representation.Only three people have been appointed to this review panel, none of whom are from BC. And while the pipeline will affect 64 First Nations communities, only one member is aboriginal, and from Northern Ontario.

"The Enbridge Gateway project arguably poses greater environmental risk when you consider oilsands extraction, the pipeline route and crude oil tanker traffic on BC's North Coast. Despite this, it's not being held up to the same level of scrutiny as the Mackenzie gas project," said Karen Campbell, Staff Counsel for the Pembina Institute said.

The Enbridge pipeline is facing serious opposition from aboriginal and environmental groups, especially the Wet'suwet'en, Haida and Carrier Sekani First Nations and five other First Nations who have come together to oppose the pipeline through their territory.

In Canada, there are about 50 municipal centres that currently allow raising small animals (most often chickens) for self-consumption. Alberta's two most populous municipalities, Edmonton and Calgary, currently do not allow chickens to be raised on property within city boundaries. While other cities in North America do allow this, it is often under strict regulation of spacing and maintenance of coops.

John Wilson from the City of Edmonton's Planning and Development office spoke about the current controversy raised by citizens of Edmonton and articulated through the River City Chicken Collective, a group committed to seeing backyard chickens allowed in the city. While the Collective has requested permission for a small pilot project to allow a "small number of Edmonton families to keep chickens CONTINUED ON PAGE 8 >>

News Roundup

MISSING VOICES AT THE TABLE

A THROWING OUT THE CHARTER

T

he Canadian Civil Liberties Association and concerned Canadians have started to collect information and call for an inquiry into the actions of police during the G20 protests and the arrests afterward. The CCLA have begun collecting incident reports and have called for an inquiry into specific incidents: 1) The dispersal of protesters at the designated demonstration site in Queen's Park on Saturday, June 26.

2) The detention and mass arrest on the Esplanade on the night of Saturday

June 26.

3) The arrests and police actions outside the Eastern Avenue detention centre on the morning of Sunday, June 27.

4) The prolonged detention and mass arrest of individuals at Queen Street West and Spadina Avenue on the evening of Sunday, June 27.

5) And the conditions of detention at the Eastern Avenue detention centre.

They're also calling for the repeal of the public works protection act that allowed temporary power to arrest anyone refusing to provide identification inside the security zone and a withdrawal of any charges made under the act.

boriginal communities are not being consulted on a pipeline project through BC that would affect 64 aboriginal communities. The Enbridge pipeline is over 1100 km and would transport tar sands petroleum between Alberta and BC. The Pembina Institute released the report comparing the treatment of the Mackenzie gas pipeline which will move natural gas between the Northwest Territories and Alberta.

While the Mackenzie Valley project covers four aboriginal territories— the Inuvialuit Settlement Region, the Gwich'in Settlement Area, the Sahtu Settlement Area and the Deh Cho Territory—the pipeline review panel contained seven members, three of which were from aboriginal communities in the area.

However, as the Pembina Institute

WE SAID, THEY SAID "The Iranian people deserve to have their voices heard, without fear of intimidation or violence. Canada condemns the use of force to stifle dissent, and we continue to call on Iran to fully respect all of its human rights obligations, both in law and in practise ... The Government of Canada continues to support freedom, democracy, human rights and the rule of law in Iran."

—Conservative Foreign Affairs Minister, Lawrence Cannon, June 21, 2009 "Using different violent means and techniques to confront a peaceful rally cannot be justified by any norm or criterion and the Canadian government's reaction is a flagrant violation of the citizens' most obvious rights in grounds of the freedom of speech and demonstration," —Iranian Foreign Ministry Spokesman Ramin Mehman-Parast, June 29, 2010 samantha power

// samantha@vueweekly.com

word of the week

Anarchism: n [anarchia, from the Greek, anarchos having no ruler] A political theory holding all forms of governmental authority to be unnecessary and undesireable and advocating a society based on voluntary cooperation and free association of individals and groups.

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UP FRONT // 5

COMMENT >> ALBERTA WATER

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.

Watering down legislation Alberta is poised to create a deregulated water market Ricardo Acuña // ualberta.ca/Parkland

Anyone who has been paying even remote attention to public policy in Alberta over the last 20 years knows at least one thing for certain: there is no public policy issue or problem that cannot be made worse by the marketplace and deregulation. Anyone except for the government, that is.

Despite all evidence to the contrary, our government here in Alberta has continued to plough forward in its blind belief that, whatever the question might be, the correct answer is always "privatize, deregulate and trust the market."

We've seen how successful this approach has been in Alberta in areas like telephone service, natural gas and electricity. In every case, deregulating and supposedly free markets have resulted in higher (and often prohibitive) costs for Albertans, less equal distribution and a large boom for large corporate users at the expense of small business or home users.

Given that stellar track record, we should all be seriously concerned about the fact that the Alberta Government is at it again—looking to commodify and deregulate yet one more resource that Albertans rely and depend on.

In September 2008, as part of the government's Water for Life implementation strategy, Environment Minister Rob Renner announced that his government would be reviewing how Alberta allocates water to various users in the province, and would enshrine any necessary changes in legislation.

There can be no question that Alberta's current "first in time, first in right" system of water allocation is badly in need of an overhaul. Over allocations of many of the province's waterways, an oil and gas industry that is highly dependant on fresh water, and years of drought in the south of the province have all highlighted the weakness of the system in recent years, and resulted in near crises of allocation in some areas. But what does the government have in mind?

As an initial step in the review, the government commissioned reports on water allocation from three committees: the Minister's Advisory Group on Water, the Alberta Water Research Institute (AWRI) and the Alberta Water Council. The first group was composed of appointed economists and oil company execs, AWRI is a quasi-governmental group of business folk and researchers set up by the government and chaired by former Tory environment minister Lorne Cardinal, and the Water Council is a partnership of members from industry, government and NGO's established by the government for the sake of monitoring the implementation of the Water for Life strategy.

Predictably, and in keeping with how the Conservatives gather expert advice, the contents of all three reports were similar. Of greatest concern is the fact that all three reports lean heavily toward the establishment of water markets for the allocation of water, and that none of the three reports makes a strong case for prioritizing water for communities and ecosystems. And in keeping with this government's one-track-mind on solutions, none of the reports provides any

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recommendations which are not market-based.

Aside from commissioning these three reports, however, the Alberta government has not held a single public consultation, nor have they have consulted in depth with First Nations communities on these questions. Instead, the government is writing up draft legislation, and has said that it will be consulting Albertans on the basis of that legislation over the course of the summer so that it can introduce the legislation in the fall.

Given how the legislation has been drafted, it is pretty much a certainty that it will include the creation of a water market to deal with questions of allocation, the elimination of many regulations on water use and withdrawals (which the auditor general recently said were not being enforced by the government), and a focus on higher value uses for water rather than community, ecosystem and traditional native uses.

The marketplace (ie. who has the biggest bank account) may be a great way for determining who gets things like Jaguars and BMWs, because those aren't essential to human and ecosystem survival. It seems absolutely ridiculous, however, that we would seek to distribute water in the same way.

Today, almost none of the water licensees access their full water allocation. If they are now given the ability to sell for a profit whatever they don't use, where is the incentive to conserve water? Won't consumption actually go up? And how will a small farmer fare if his access to water depends on winning a bidding war with a big multi-national oil company? How will First Nations communities who depend on rivers for everything fare when the bituminous sands operation upstream has bought up all of the allocations? Who gets the water in times of drought?

In places like Chile and Australia, water markets have helped increase the wealth of huge corporations at the expense of communities, small farmers and the environment. Water has become one more commodity that the rich can abuse and the poor cannot afford. In Alberta deregulation of gas and electricity have provided huge profits for huge corporations at the expense of small users and individual Albertans.

Somehow, however, the government now seems to think that if you establish a deregulated market place for water it will increase conservation, reduce pollution and help distribute water in a fair and just manner.

The government claims it will consult with Albertans before moving forward with legislation. If we want a water allocation system based on values of fairness, justice and environmental sustainability, then it is critical that Albertans get informed on this issue and have their voices heard in these consultations. If we don't, then what we'll get is a water allocation system based on money, money and more money.

Which would you do better in? V Ricardo Acuña is the Executive Director for the Parkland Institute, a non-partisan public policy research institute housed at the University of Alberta.

COMMENT >> DIGITAL MEDIA

Industry leads consultations The government is in the final days of its efment's approach to digital policy: the marfort to gather input from Canadians about ketplace and industry come first. the country's digital future. On May 10, at This also sheds light on why the governa major conference with tiered levels of acment only began this consultation after cess to leaders in industry and government, getting its marching orders from a series Industry Minister Tony Clement announced of closed-door meetings with industry a 60-day consultation on a digital econogroups. It appears the government bemy strategy. lieves the interests of big business The consultation will run until are synonymous with what's best July 9th, and will inform govfor Canada. The choice to focus ernment policy around key on a digital economy strategy issues such as media ownedia.ca rather than a digital society m c ti ra ership, Internet openness, steve@democ strategy speaks volumes. Does broadband access, cell phone digital policy not have social or Steve n o rates and competition, support cultural implications?

Anders for digital media production and Looking at the questions being much more. Clement's choice to anasked by the consultation brings its innounce the consultation at an industry tended audience into sharp focus: "What conference seems appropriate considerwould a successful digital strategy look like ing what key documents reveal about its for your firm of sector? What would best intended audience. position Canada as a destination of choice According to the government's website, for venture capital and investments in glob"it is business that must lead the charge al R&D and product mandates?" These are and execute the game plan." To frame and not questions targeted to the average Cainform the consultation, the government nadian, and thus fail to tap into a wealth of produced a consultation paper "Improving Canadian passion, aspiration and ingenuity.

Canada's Digital Advantage" that outlines Considering its framing, the tepid response key issues. The paper is narrowly framed in to the consultation is no surprise. Corralthe language of efficiency and competition; ling input behind high ideological fences is the emphasis is on "maximizing reliance on no way to inspire participation. market forces," through protection of the "legitimate interests" of Internet service We've been here before. In 2005 a Teleproviders and other industry players. No communications Policy Review Panel document speaks so clearly to the govern(TPRP) was appointed to make recom-

mendations on some of the same digital policies currently under consideration. The TPRP public consultation process was clearly more inviting to industry groups than citizens: content analysis of the TPRP's submissions reveals that Aboriginal, consumer, women's and community groups represented only 15.5 percent of total submissions, while industry groups accounted for 60.1 percent.

The TPRP's recommendations, which fall in line with the government's current framework, are at least partly responsible for Canada falling behind other OECD countries in terms of Internet access, speed, cost and openness. When the government declares it is "improving our digital advantage," we should be asking "what advantage?" We can't let industry-centric policies continue to slow down the pace of both economic and social innovation.

The policy being developed right now will change Canada forever. The government's approach, which allows for minimal public involvement in this short consultation process, demonstrates the urgent need for a citizen-centered initiative to counter the government's industry-framed consultation. V

VUEWEEKLY // JUL 1 – JUL 7, 2010

MEDIA

LINKS

Steve Anderson is the national coordinator of OpenMedia.ca. Media Links is a syndicated column supported by CommonGround, TheTyee, Rabble.ca, and Vue Weekly

UP FRONT // 7

LOCAL FOOD

<< CONTINUED FROM PAGE 5

in their yards for one year," the city has yet to make a decision on the proposal.

The River City Chicken Collective website explains that, "the proposal outlines a very carefully thought-out set of guidelines that reflect the best practices of municipalities throughout North America that allow chickens."

As it stands right now, the City of Edmonton, under Bylaw 13145, does not allow chickens to be kept at dwellings with an Edmonton municipal address, and according to Wilson, has no plans to change that bylaw in the near future. Similar regulations can also be found in many other municipalities in Alberta.

Urban agriculture specialists and sociologists describe this desire to reconnect as a movement away from the suburban lifestyle where large, closecut lawns and white picket fences, signs of the divorce between land and production, were thought to be a symbols of wealth. The reinterpretation of these same symbols as an anti-social separation of space illustrates that the isolated nuclear family is no longer the dream for many urban dwellers.

The anecdotal evidence from people who do raise chickens and practice other urban farming techniques is abundant. Many believe producing food themselves gives them a better connection to their space, and allows

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them to understand both the limits and the benefits of urban gardening.

The request from the River City Chicken Collective was made in February 2010, and despite the long delay in decision-making, the city has far from forgotten the call from Edmontonians to allow individuals to play a greater role in their own food production.

Edmonton, like many cities, is encouraging this by increasing support for downtown farmers' markets, and cooperatives selling locally produced goods. It is encouraging a stronger bicycle culture, and with more progressive attitudes being elected to city council, there is a stronger push both inside city hall and out.

One of the most significant changes in the way the City of Edmonton and its bureaucracy could approach the issue is the newly developed municipal development plan, termed "The Way We Grow." Having passed its third council reading, the plan is meant to incorporate more progressive attitudes towards urban living, including urban agriculture.

"The plan's section on urban agriculture will provide a roadmap for moving forward on urban agriculture," explains Wilson, "potentially with a food policy group who will meet with stakeholders and advise council."

For many, it is not just raising chickens that are of concern. The very ability for urban dwellers to live sustainably off their own food production is indeed hindered by many of the current city's bylaws. This is aggravated by the conditions common to living in large urban centres. High rates of air pollution, consequences of smog and isolated spaces are major challenges, as is the lack of communal spaces available.

Change may be coming as strong voices and a civic push to more sustainable living and a more progressive attitude toward food security and urban farming. It may just be that in short time, Edmonton's backyards will have a plucky addition. V

COMMENT >> EUROPEAN UNION

Beginning of the end for the Euro Bart de Wever, the Flemish politician who Now consider the present difficulties promises the "evolutionary evaporation" of of the European Union: most urgently Belgium, is now the political king-maker in the crisis of the euro currency, but more Brussels. The bureaucrats and politicians broadly the growing popular resistance of the European Union, who also hang out to any further attempts to "broaden" or in Brussels, will therefore have a ringside "deepen" the EU. seat for the dismantling of the Might this be connected to the Belgian state. They should pay fact that the richer countries of close attention, for their own northern Europe are getting fed turn may be coming. up with the huge transfer of De Wever's New Flemish Al.com resources to southern Europe, ly k e e w e@vue liance won 28 percent of the and in particular with the way gwynn e y vote in Dutch-speaking Flanthat their common currency w G nn ders, the northern half of Belhas been undermined by the fisDyer gium, in the national election on cal irresponsibility of the southern June 14. Elsewhere that would not be members? Of course it is, and it does not an impressive result, but in the highly fragbode well for the future of the EU as curmented Belgian political system it counts rently constituted. as an avalanche.

The architects of the euro half-underA long struggle will now ensue while stood that rich countries like Germany the many Flemish and Walloon parties and France and relatively poor countries struggle to form a coalition with a parlialike Greece and Portugal need to run their mentary majority. It's always a struggle, currencies in different ways. The euro, as a because there is very little by way of one-size-fits-all straitjacket, was therefore shared identity between the Flemish and a problematic currency from the start, the French-speaking Walloons. After the but the elite policy-makers who wanted to 2007 election, it took 200 days to negoti"deepen" European unity were determined ate a coalition, and then there were three to have it anyway. governments in three years. Belgian poliThey tried to erase the north-south dispartics has reached a state of semi-permaity by large transfers of resources from the nent paralysis. rich to the poor countries, but that didn't The project for an independent Flanders really change the economic structures and is no longer a political pipe-dream, but the political habits of the poorer, mostly Medireaction elsewhere is likely to be a loud terranean countriesâ&#x20AC;&#x201D;and it awakened a who cares? So we end up with a separate powerful sense of grievance among the Flanders and a (reluctantly) independent rich. Like the Flemish in Belgium, the northWallonia. We can live with that. However, ern European countries that use the euro the very thing that is destroying Belgium are running out of patience. may also destroy the European Union, or Large transfers of resources between at least drive it back to a much earlier verdifferent regions are possible if people at sion of itself. both ends of the exchange see themselves It is customary, when discussing whatâ&#x20AC;&#x2122;s as part of the same greater enterprise. But wrong with Belgium, to recite a history the Flemish don't see themselves in that lesson about how the French-speaking light, and neither do most ordinary people part, Wallonia, was one of the first indusin the EU. trialised areas in Europe and dominated The "European" identity that has emerged the Belgian state for over a century. The with the growth of the EU in the past halfFlemish always resented their lower stacentury is not a mere fantasy, but it is not a tus, and after the Second World War the deeply rooted, instinctive identity for most shoe moved to the other foot. people either. The sheer foot-dragging reWallonia's smokestack industries were luctance of the German government to dying, while Flanders got all the new finance the bail-out of Greece, even though high-tech industry and grew rich. By the the euro itself was at risk, is a measure of 1980s the Flemish were powerful and how deep the rot has gone. confident enough to demand and get an Greece will probably declare bankruptcy extravagantly federal system, but in two in a couple of years, but the euro currency key areas they failed. The Walloon poas a whole will survive until the next malitical leaders ceded all sorts of powers jor recession. It will probably not survive to the various federal entities, but they beyond that, however, unless the national managed to keep both taxation and social economic policies of EU countries can be spending under the control of the central subordinated to some all-powerful central government. bank. That is very unlikely to happen.

So long as the Flemish politicians must The euro, it turns out, was probably a negotiate with them about how money step too far. Devised as a means of unitis collected and spent, the Walloons can ing Europe, it instead threatens to divide ensure that a big chunk of federal spendit fatally, and all the good that the previing is actually transfers of wealth from ous, more modest version of the EU did rich Flanders to poorer Wallonia (where could be lost. V unemployment is twice as high). After a few decades of subsidizing the Walloons, Gwynne Dyer is a London-based indepenmany of the Flemish have concluded that dent journalist whose articles are published the problem is the central government itin 45 countries. His column appears each self, and that the solution is its abolition. week in Vue Weekly.

R DYEIG HT

STRA

VUEWEEKLY // JUL 1 â&#x20AC;&#x201C; JUL 7, 2010

UP FRONT // 9

BOB THE ANGRY FLOWER

COMMENT >> INTELLECTUAL PROPERTY

More voices

Developing nations need to be heard Many Canadians will be focused on waiting patients. the G8 and G20 meetings this week As the ACTA calls for increased seizure in Huntsville and Toronto, but at the powers by customs officials the prospect same time Canada resumes internaof seized generic medicines could impact tional negotiations on the controversial Canadian pharmaceutical companies as Anti-Counterfeiting Trade Agreement in well, given the success of several generLucerne, Switzerland. In the aftermath ic pharmaceutical companies in serving a of the last round of discussions in New global marketplace.

Zealand, a draft version of the ACTA text Fourth, governments are uncomfortwas publicly released, temporarily quietable with the prospect that ACTA could ing criticism about the lack of transparforce them to allocate new resources ency associated with an agreement that toward intellectual property enforcecurrently touches on all forms of intelment ahead of other important policy lectual property, including patents, concerns. While safeguarding inteltrademark and copyright. lectual property is important, While the transparency conmany developing countries can cerns are no longer in the ill-afford to pull scarce law spotlight, mounting opposienforcement personnel away m ly.co tion to the agreement from from investigating violent eweek u v t@ mgeis the developing world, particcrime in order to track down el a h c i M ularly powerhouse economies purveyors of fake handbags or Geist such as India, China and Brazil, DVDs. is attracting considerable attention.

Fifth, there are real concerns that The public opposition from those counACTA establishes a dangerous precedent tries (India has threatened to establish a by brushing aside United Nations-based coalition of countries against the treaty) international arenas that offer greater dramatically raise the political stakes transparency and consensus-driven poliand place Canada between a proverbial cies in favour of a closed, non-transparrock and hard place, given its close ties ent negotiation process that intentionto the US and ambition to increase ecoally excludes developing countries. nomic ties with India and China.

India and China formally raised their These concerns should resonate complaints earlier this month at the strongly with Canadian officials hostWorld Trade Organization, where they ing the G20, since just as Canada tries identified five concerns with the agreeto broaden the scope of international ment. economic discussions to include major First, they fear ACTA conflicts with indeveloped and developing countries, ternational trade law and would create ACTA represents a step in the opposite legal uncertainty. direction.

Second, they believe ACTA undermines While some may suggest that the dethe balance of rights, obligations and veloping-world opposition provides eviflexibilities that exist within international dence that ACTA is actually on the right law. This applies to both trade issues and track, the reality is that it is designed to intellectual property matters. For examapply to the very countries that are now ple, both India and Canada are currently preparing to openly oppose it. There is working to implement international intelno mechanism to force these countries lectual property rules within their domesto abide by ACTA standards. Just as Cantic laws (both countries have tabled draft ada has sought to broaden participation copyright bills) and ACTA would create through the G20, the best approach to significant new restrictions that could gaining broader acceptance is to include have an immediate domestic impact. developing countries in the ACTA talks, Third, there is concern that ACTA could not leave them on the outside in the have a dangerous effect on access to hope of later pressuring them to commedicines by disrupting shipment of ply with an agreement from which they goods such as pharmaceuticals. Over the were deliberately excluded. V past few years, European countries have seized generic medicines traveling beMichael Geist holds the Canada Research tween India and Brazil. Stopping delivery Chair in Internet and E-commerce Law at of crucial medicines while in transit crethe University of Ottawa, Faculty of Law. ates potential health risks for countries He can reached at mgeist@uottawa.ca anxious to import them for delivery to or online at michaelgeist.ca.

ZEIT

GEIST

10 // UP FRONT

VUEWEEKLY // JUL 1 â&#x20AC;&#x201C; JUL 7, 2010

INSIDE // DISH

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14 15

Veni, Vidi, Vino

Homefire Grill Provenance

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

PROFILE // EVA SWEET WAFFLES

Sweet as sugar

Belgian waffles causing a stir on the street Mel Priestley // mel@vueweekly.com

E

dmonton's street food scene just got a little classier. If you've noticed a van around the WCB building every morning for the last three weeks, you've witnessed Edmonton's latest addition to its streetfood offering: Eva Sweet, purveyors of authentic Belgian waffles.

Eva Sweet is the creation of Bamir Basha, an Albanian immigrant who lived in Belgium for five years working as a waffle vendor. "It's quite a familiar street food in Belgium," notes Patricia Foufas, Basha's wife. "We decided that we don't have it here, and it might be a good thing for us to take on."

Eva Sweet sells Liege waffles, which are sweeter than Brussels waffles—the standard type of waffle that most North Americans are familiar with. "We have adapted them to more of a Canadian palate," notes Foufas. "When we first started testing it out, we found that people thought they were a little bit too sweet.

So we cut the sugar back just a little bit."

The traditional flavour of Liege waffles is vanilla, though Eva Sweet also sells them in cinnamon and maple. As for toppings, it offers the standard whipped cream, and occasionally ice cream, depending on the weather. "Actually we encourage people to try them by themselves," Foufas notes. "The plain waffles have a lot of flavour to them." Eating

BELGIAN-STYLE >> Bamir Basha in his waffle van // Bryan Birtles them plain also reduces the mess factor, something that's quite important for street food—juggling a plate loaded with waffles, whipped cream and fruit is a little impractical.

One of the features of Liege waffles is the addition of pearl sugar; little crunchy beads of sugar that caramelize as the waffle cooks. Eva Sweet imports its pearl sugar right from Belgium.

Eva Sweet is currently set up in front

of the WCB Building downtown, from about 7 am in the morning to 2 pm in the afternoon. The van will also have a spot at Heritage Days, selling waffles on a limited basis at the Dutch pavilion. It probably won't be at too many other Edmonton festivals this year, however: "We thought as a start-up business, we'll keep it simple and stick with our street food for a while," explains Foufas. "Maybe next year we'll worry about the festivals."

Eva Sweet does have plans for covering more ground, however—the owners plan to add more waffle vans as they are able, and maybe even open a storefront at some point. "Come October, street food in Edmonton comes to a close. By then we hope to be selling to cafés and restaurants." But with the summer only just beginning, you still have ample opportunity to venture downtown and try one of these deli-

cious waffles for yourself.

Of course, one real question remains unanswered: what would a Fat Franks hot dog taste like, served between two crisp Eva Sweet waffles? I dare you to find out. V Eva Sweet Waffles 107 St & 99 Ave evasweet.ca

J6 2C D

"* '! #! "!

VUEWEEKLY // JUL 1 – JUL 7, 2010

DISH // 11

12 // DISH

VUEWEEKLY // JUL 1 – JUL 7, 2010

WINE

Pinot's properties

Pinot Noir's characteristics will seduce you

open seven evenings a week 780.482.7178 10643 123 street thebluepear.com

PINOT NOIR GRAPES >> Showing off its berry-like formation

// File

Pinot Noir, also know as "the hearting acreage equals pricey wine on the break grape," has been described as shelf, but cult followers are numerous everything from hedonistic, seductive and willing to pay for this delicacy. and fickle, to a minx and the devil by In Burgundy, or Bourgogne, Pinot wine critics. Its power to capture and Noir is the signature red wine that enchant its drinker with a velvety has set a benchmark for most soft mouth complemented by Pinot Noir makers worldI D I V VENI, its luscious red fruit, spicey, wide. Pinot Noir tends to floral, herbaceous complexreflect more flavour of the ity, is probably the reason soil than other red grapes, m o .c ly k e vuewe why it produces some of the so terroir is especially perjenn@ finest wines in the world. "Pitinent. The famous Cote Jenn not noir," Matt Kramer writes d'Or, which means golden Fulford in his book New California Wine, hillside, is home to many of the "is a form of madness for both progreat names of Burgundy and is situducer and drinker alike. Both persist ated on a limstone escarpment, which because a great Pinot Noir brings you provides a good base for vineyard soil. as close to God as any wine can."

In good years, Pinot Noir can age up Considered an ancient grape varietal, to 20 years and can develop a meaty, plantings of Pinot Noir date back as far barnyard type of earthiness. as the first century AD to a time when Gaining popularity in the market are ancient Romans cultivated this grape New World countries producing fruitand called it Halvenacia Minor. Its forward, bolder Pinot Noir that can name today literally means pine and make one understand the wine's heblack, which describes the bunches of donistic reputation. New Zealand's Pismall black berries that grow in the not Noir plantings started in the early shape of a pine cone.

1980s and now several winemaking Between the budding and processregions are well-known for their high ing of this fickle grape, there are more quality Pinots such as Central Otago, than 100 different things that can go Marlborough and Waipara. wrong. To start, Pinot Noir's unstable California is also growing Pinot Noirâ&#x20AC;&#x201D; vine and the grape's inability to withover 20 000 acres all over the region stand extreme weather conditions with thanks to proper cloning of the such as rain, heat or cold, may result in grape varietal. Bold and fruit-forward, less-than-juicy wine. Difficulty to grow, these wines can be fuller bodied and low yields and relatively small plantenhanced with French and American

VINO

oak. Notable growing regions include the Sonoma Coast, Russion River Valley and Central Coast AVA. While California Pinot Noir takes up more shelf space in your local wine shop, it's the Oregonians that opened up the world of Pinot Noir to North America. With Pinot Noir as its signature grape, the Willamette Valley in Oregon led the North America wine market to the first Pinot Noir that could stand up against Burgundian wines in 1970. The cooler climates of Oregon, Washington and British Columbia are enabling producers to make wines with those seductive, velvety, Pinot Noir qualities.

Pairing with food is also one of Pinot Noir's charms with its light body and upfront fruit. Pick any kind of fare from tapas to pizza to the classic salmon pairing; lighter meats such as duck, pork and well, pretty much anything tasty and yummy just the like wine itself.

Not only is Pinot Noir a delightful treat, it is also unusually high in resveratrol (a natural chemical compound found in the skin of grapes), which is great for health-conscious folk. Clinical and statistical evidence and laboratory studies have shown that resveratrol boosts the immune system, blocks the formation of some cancers, offers protections against heart disease and even prolongs life. V

VUEWEEKLY // JUL 1 â&#x20AC;&#x201C; JUL 7, 2010

DISH // 13

REVUE // HOMEFIRE GRILL

Keep the Homefire burning

Protein-centric West End restaurant is good prairie-style eating LS VORS // VORS@vueweekly.com

T

he Prairies are defined by space.

Expansive, mind-bending space that sprawls in all directions; a vast causeway for omnipresent winds that chase motes of dust and crinkly seeds to oblivion. Poplar bluffs are islands in a sea of undulating grass and grain. The distant horizon blurs together sky and soil. The spatial extent of the prairies is sharpened by a conspicuous absence of megafauna, namely, the plains bison.

Indeed, at the height of systematic bison slaughter in the late 1800s, between 2000 and 100 000 of these beasts were killed daily. The species has since recovered from the precipice of extinction, thriving in game farms, but no longer roams across the prairies in appreciable numbers.

Bison meat enjoyed a renaissance in the 1990s, as diners gained new appreciation for its robust flavour and remarkably low fat content. Bison now appears on select menus, usually as a novelty. At one eatery, however, it is the central focus. Here, in the vaguely desolate frontier of the West End is the Homefire Grill, which touts itself as contemporary Canadian cuisine.

The dining room is easily one of the most beautiful in the city. The olive, taupe and burgundy walls are sparingly adorned with hammered metal petroglyphs. An open kitchen reveals a focused squadron of chefs and a sizeable dome-shaped wood-fired oven. The center of the dining room is dominated by a fireplace—no ordinary fireplace, but a raised platform that cradles a circle of smooth rocks licked by russet flames. It resembles a campfire made on pebbly ground, and casts gentle light on the surrounding booths. The room is

14 // DISH

THE ROOF, THE ROOF, THE ROOF >> Is on fire // Bryan Birtles packed, and yet volume of multiple conversations is no more than a murmur.

Appetizers include such standards as spinach salad and bruschetta, as well as a Canadian archetype: bannock ($7).

Intrigued, we order a basket. It arrives promptly, the tawny wedges radiating heat from the oven. This quick-bread is reminiscent of a dense scone, and is served with whipped maple butter. The butter melts quickly, the sweet whisper of maple an ideal companion to the dense yet fluffy bannock. The dish is humble but refined, its simplicity well-suited to both an upscale dining room and a lakeside campsite on the chilly boundary between summer and autumn.

Entrées are protein-centric, featuring several incarnations of bison, chicken and salmon. The bison feature chang-

es daily, and tonight it is ribeye steak crowned with crab legs ($32). After a reasonable wait, the steak appears at our table. The six-ounce slab is attractively hatched with grill marks and accompanied by a quartet of gangly crab legs. The roles of vegetable and starch are filled by squash, red pepper, broccolini and mashed potatoes. The golden wedge of squash is buttery and tender, the red pepper assertive and crisp. The broccolini, a slender sibling to broccoli, is peppery and toothsome. The mashed potatoes are delightfully naughty, an ivory purée studded with bacon. The bison itself is fine-grained and delicately marbled. Cooked rare, it easily surrenders to the oversized steak knife. The crab legs, while delicious when dipped in drawn garlic butter, are unwieldy and

VUEWEEKLY // JUL 1 – JUL 7, 2010

rather messy to disassemble. They are superfluous, for the full-bodied bison succeeds on its own.

Pork tenderloin ($19) also stands out.

Three thick medallions are enrobed in a glossy maple glaze that permeates and accentuates. Pork, perhaps more than any other meat, responds to sweetness, be it in the guise of fruit, honey or aforementioned maple. The same vegetables and bacon mashed spuds ride shotgun, but are equally suited to their porcine compatriot.

Desserts have an international slant, including various tortes and crème brûlée. I am drawn to the anomalous sweet potato cheesecake ($9), a dish that evokes the American Deep South.

My friend selects the island delight, opting for the miniature size ($4) in wake of

the generously portioned entrées. The cheesecake presents an auburn wedge that emulates smoother, milder pumpkin pie minus the cinnamon and nutmeg. The island delight includes slices of banana, pineapple and Saskatoon berries crowned with vanilla bean ice cream and anointed with chocolate and caramel drizzle. Both desserts are tasty yet rich, and I am forced to surrender without finishing. I rest in the glow of the indoor campfire, regarding the hypnotic flames with serenity and satiation, imagining an inky, starry prairie sky. V Mon – Sat (11 am – 10 pm) Sun (10:30 am – 10 pm) Homefire Grill 18210 - 100 Ave 780.489.8086

PROVENANCE

RECIPE Avocado Crab Grapefruit Egg Ketchup Salad

History of ketchup Ketchup is the world's number one condiment in terms of sales and consumption. It is usually made from tomatoes or tomato concentrate, vinegar, corn syrup, sugar, salt, celery extracts and various spices, including garlic powder.

The word, "ketchup" (sometimes written catsup) comes from the Amoy dialect of Chinese, where it meant the brine of pickled fish and was pronounced "ketsiap." In the 1500s it made its way to Malaysia where it became kechap and ketjap in Indonesia. In the 1600s Dutch and British seamen brought back this salty pickled fish sauce, which was more like soy, Worcestershire or oyster sauce than the sweet, vinegary substance we call ketchup today.

Variations in both the name and the ingredients quickly developed. Mushrooms were a favourite British additive. They also experimented with anchovies, oysters and walnuts.

The first ketchup recipe was printed in 1727 in Elizabeth Smith's The Compleat Housewife and called for anchovies, shallots, vinegar, white wine, cloves, ginger, mace, nutmeg, pepper and lemon peel. The first North American recipe for ketchup was published in Nova Scotia in 1812

by James Meas. To increase its potential popularity, he wrote that his recipe was influenced by French cuisine, but he was never able to prove that.

Ketchup was sold nationwide in the US by 1837 through the entrepreneurship of Jonas Yerkes, who sold the product in quart and pint bottles. He used the refuse of tomato canningâ&#x20AC;&#x201D; skins, cores, green tomatoes, and lots of sugar and vinegar.

By 1900 there were 100 manufacturers of ketchup. But the cornerstone for the world of ketchup was set down when, in 1872, HJ Heinz added ketchup

Ingredients to his line of pickled products and formally presented it at the Philadelphia fair. The Heinz formula has not changed since, and has become the standard by which other ketchups are rated.

As many recent news articles indicate, ketchup has a real and documentable health benefit. It contains lycopene, an antioxidant associated with decreased cancer risk. The health benefit is probably not enough to cancel out the negative effects of the fries and greasy hamburgers ketchup is often put on, however.

Although tomatoes yield a bunch of health benefits, scientists have discov-

ered there are even more benefits from tomatoes that have been cooked and processed. Tomato paste, tomato sauce, stewed tomatoes and the like are now widely encouraged.

As an amusing side note to all this, a few years after Heinz presented his ketchup in Philadelphia, he launched major advertising initiatives to help make ketchup a household word. The initial advertising phrase was "Blessed relief for Mother and other women in the household!"

Pete Desrochers

// desrochers@vueweekly.com

4 avocados 1 pound crab meat, picked through and diced 1/2 cup pecans 1 cup mayonnaise 2 teaspoons ketchup Dash of Worcestershire sauce Lettuce 1 cup halved grapefruit sections 2 hard-boiled eggs, chopped Black olives

Directions

Cut avocados in half and remove the seeds.

Combine the crab meat with peanuts, mayonnaise, ketchup and Worcestershire sauce.

Spoon into the avocados. You may want to deepen the seed pits by scooping out a little more avocado (optional).

Creatively drizzle a little ketchup on top of the stuffed avocados for aesthetic appeal.

Serve on a bed of crisp lettuce surrounded by grapefruit sections and garnished with chopped hard boiled eggs and black olives.

Serves four

VUEWEEKLY // JUL 1 â&#x20AC;&#x201C; JUL 7, 2010

DISH // 15

16 // BEST OF EDMONTON

VUEWEEKLY // JUL 1 – JUL 7, 2010

Gat e way Pa r k

F ort Edmonto n Pa r k Originally modeled after the 1846 version of Fort Edmonton, Fort Edmonton Park grew to include three other themed streets which reflect different points in Edmonton's history; 1885 Street, 1905 Street and 1920 Street. The original vision for Fort Edmonton Park included a 10-phase plan that would see the park's attractions encompass the history of Edmonton from the dawn of time to the future, but by 1987 this plan was abandoned in favour of the current four areas. The park's location is far removed from the original fort's, which was situated near where the provincial legislature is today.

WAYN E GRET Z KY STAT U E Statues in Edmonton tend to be reserved for dead people or ideals: see Winston Churchill glowering from his plinth in the downtown square that bears his name, or the bronze fireman and small child in Old Strathcona commemorating resue, or Robbie Burns on bended knee in front of the Hotel Macdonald. We break this rule for one man: Wayne Gretzky.

A life-sized bronze replica of the Great One hoists the Stanley Cup outside Rexall Place; a fitting reminder of the magic he brought to Edmonton and the anguish his departure caused. It only gets weird when you consider that the statue was unveiled in 1989—one year after Gretzky was traded, when he was still in the prime of his career and playing for the Los Angeles Kings.

"For many people, prior to the trade, it was inconceivable that he ever would be anything other than an Oiler," says

Terry McConnell, author of I'd Trade Him Again: On Gretzky, Politics, and the Pursuit of the Perfect Deal. The statue was "a way of recognizing the fact that, yeah, he was gone, but he'd left his mark and he wouldn't be forgotten."

Hockey fans certainly needed a way of digesting their anger and despair. When the trade became official in August of 1988, Oiler fans burned then-owner Peter Pocklington in effigy and made death threats. Trading Gretzky, generally regarded as the best player of all time, then at the height of his powers and fresh off leading the Oilers to a fourth Stanley Cup in five years, made Pocklington public enemy number one by a wide margin. McConnell says Oilers fans still struggle with it.

"If you were to ask most people today, they will tell you that it's an awful thing to happen," he says, "it never should have happened, and Peter Pocklington's to blame."

THE HOT EL MAC DONALD Like a crown atop the North Saskatchewan River, the Hotel Macdonald's confident elegance and classic design have anchored Edmonton's architectural heritage on this otherwise bustling, ever-changing Jasper Avenue street corner for almost a century.

Opened 95 years ago this July, the Grand Trunk Pacific Railway hired architects Ross and Macdonald to build the "Mac"—named our first prime minister, Sir John A Macdonald—in the popular 16th-century French chateau-style that can be found in other Canadian cities, such as Winnipeg's Fort Garry Hotel.

Built with Indiana limestone and copper roofing, the seven-story landmark would immediately dominate the young city's underwhelming skyline and bring a sense of refinement and welcome elegance to an otherwise burgeoning hinterland.

To gaze upon Edmonton's crowded downtown core today, you'd be forgiven for overlooking the hotel's diminutive stature amidst boomtown skyrises. But to truly appreciate Edmonton's first landmark, you have to envision the city as it was then: a young provincial capital in a country still finding its footing in the

HIGH LEVEL BR I DG E

British Commonwealth, its citizenry a patchwork of entrepreneurs, opportunists and immigrants all scratching a new life for themselves.

Matthew Francis is the manager of Municipal Heritage Services for Alberta Culture and Community Spirit, and he explains the historical and architectural significance of Edmonton's most enduring and iconic landmark.

"Perched in the place it is, I think it just had so much to do with Edmonton defining itself," he extols. "It was a statement that the city had arrived; Edmonton had already defined itself as the provincial capital ... but it's the most northerly of that whole family of grand hotels in the CPR, so that's making a statement as well: 'This is the last-bastion outpost of luxury going toward the Canadian North, the hinterlands; you aren't going to get the Hotel Mac treatment anywhere north of Edmonton.'"

Throughout the greater part of the 20th century, however, hotel ownership changed hands twice more, all the while slipping slowly into disrepair. "It had fallen on pretty hard years previous to [its designation and restoration in 1983]," Francis notes. "During the Depression era and into World War Two,

Gateway Park, which greets visitors driving north on the Queen Elizabeth 2 Highway, features a replica of Leduc No 1, an oil well that began the Northern Alberta energy boom in 1946.

Edmonton's Princess Theatre, located on Whyte Avenue and 103 Street, has a long and rich history as the first theatre in Old Strathcona.

Here's how it all started: 1880 John Wellington McKernan is born. He is the first child of Robert and Sara McKernan, who moved to the area that in 1978 would become Strathcona. Robert McKernan was a farmer but would later build the grand Dominion Hotel in 1903. He came down with appendicitis and passed away on April 8, 1908, at 62-years-old. His wife lived to be 91 and passed away in 1944.

Fans reacted so strongly, McConnell says, because they felt that Gretzky made Edmonton an exceptional place.

"As long as Wayne Gretzky played here, they felt that they lived in a special town," he says. "People will tie up their own self-identity in their sports teams."

And so to patch up our battered posttrade identity, we performed the curious feat of commemorating a person mid-career. The irony was deepened by the end of the 1989 season when Gretzky's Kings upset the defending champion Oilers in the second round of the playoffs.

McConnell says the changing economics of the sport made trading Gretzky inevitable. Pocklington, millions of dollars in debt, knew he wouldn't be able to meet Gretzky's price when his contract ended in 1989. Rather than lose his franchise player to free agency, Pocklington decided to trade him. It caused a wound in Edmonton's collective identity that

still lingers, 22 years later.

"Most people, I'm sure, have found a measure of peace with it, but at the same time, they don't understand, nor do they want to understand, that they were not going to be able to keep Wayne Gretzky," says McConnell. "They don't care to know that, they don't want to know that, they just think that something should have been done."

Even more difficult to swallow for fans is the idea that Pocklington didn't act as some malevolent, money-loving renegade; trading away the best player ever for the sole purpose of touching the big money. McConnell says both Pocklington and then-coach Glen Sather gave Gretzky the chance to veto the trade before it was made public.

"Was Peter the one responsible?

Yes. Was he solely responsible? No," says McConnell. "It happened because Wayne Gretzky wanted it as well."

it was not used as a luxury hotel for a number of years. Also, not being on the Trans-Canada Highway—like the Banff Springs—it became a little forlorn for a good chunk of the 20th century."

By 1983 the hotel was closed and set for demolition. As a beloved landmark, however, concerned Edmontonians came to its defence, and by 1985 had ensured its designation and protection as a Municipal Historic Resource, thereby saving it from the wrecking ball. "Coming into the '70s and '80s, I think it was a moment where both the City of Edmonton and the province had a sense enough to say, 'OK, there was something really significant here that is more than nostalgia,'" Francis adds. "That's why the designation took place. In a way, I think the Hotel Macdonald is synonymous with Edmonton, in a similar way a lot of the CPR hotels are icons of the cities in which they are located."

Architecturally speaking, the chateau on the river now houses additional suites fit for a queen (previous guests include Elizabeth II and the Rolling Stones), a restaurant and ballroom, a cozy library-style lounge and a beautiful garden overlooking the river valley below. This sense of tradition and timelessness from another era offers Edmonton an architectural link to

its past. "Obviously [its architectural style] is speaking to aspirations of Edmonton at the time it was built," Francis explains. "It wasn't designed with any sort of modernism in mind; it was designed to say that Edmonton had reached a certain status in terms of its place in the West, saying, 'We are a city as much as Winnipeg is a city, as much as Toronto is a city.'"

So what are Edmontonians today supposed to think of this architectural anomaly in a city with a relatively short tolerance and memory for anything older than their own generation? "I think the protection and conservation of the Hotel Macdonald speaks highly of Edmonton's regard for architectural patrimony," Francis defends. "Do we do a good job of saving everything that's important? I think that's very difficult in Alberta generally, just because Alberta has had prosperity in every generation, and when there's that money in every generation, people want to put their own stamp on things, so they build new.

That is the reason why a lot of Alberta's buildings get lost. But for the Hotel Mac, I think it's a good example ... from that era that we saw and had the foresight to protect."

Feb 18, 1919 John W McKernan dies from influenza and Alexander Entwistle takes over management of the theatre.

// MIKEANGUS@vueweekly.com

1999 A second screen, Princess II, opens in the basement of the Princess, with seating capacity for 100.

m u tta r t c o nse rvat o ry

Lewis Kelly

// lewis@vueweekly.com

MIKE ANGUS

N o rt h Sa s kat che wan Rive r

Mar 5, 1913 John W McKernan buys the site where the Princess will be built for $75 000 from local entrepreneur Robert Ritchie. McKernan hires a local contractor to design a grand theatre, the first photoplay house south of the river until 1939, when the Garneau Theatre opens. The Princess is built from locally sourced materials, aside from the British Columbian marble on the façade. The theatre is the first building west of Winnipeg to have a marble front.

Mar 8, 1915 Despite the economic downturn and commencement of the First World War in Europe, the Princess unveils itself as a 660-seat beauty, fit for anything from live vaudeville acts to the silent movies of the time.

Sep 23, 1915 McKernan gets notice from Famous Players, the distribution company he has a contract with to receive two films per week, that the Princess will not be getting any productions for the week: "On account of the boat 'Hesperian' having been torpedoed by a German submarine, it will be necessary to skip two 'Weeklies,'" the bulletin says.

Aug, 1929 The theatre screens the city's first "talkie," The Canary Murder Case.

1930s Spike's Pool Hall opens in the theatre's basement, hurting the already poor Great Depression-era theatre attendance. The theatre is rather fruitlessly making an effort to promote itself by offering tickets in exchange for the tops of cereal boxes, until television becomes widely available and the structure is converted and taken over by a tailor and other local businesses.

1970 Princess is renamed Klondike Theatre after being purchased by Town Cinema. The theatre plays secondrun movies and even screens adult films for a time.

1976 The newly-created Old Strathcona Foundation purchases the theatre, saving it from its impending destruction.

1978 The freshly face-lifted Princess opens it doors once again.

The Princess remains a vital part of Old Strathcona today.

Angela Johnston

READ MORE ONLIN E AT

PRI NCESS THEATR E

// angela@vueweekly.com

VUEWEEKLY // JUL 1 – JUL 7, 2010

BEST OF EDMONTON // 17

INSIDE // ARTS

ARTS

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21

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

The Works

PREVUE // FREEWILL SHAKESPEARE FESTIVAL

Summer bard

Freewill Shakespeare Festival features heroines, hubris could lose her life."

But Copithorne draws on the broader themes of the power of gossip and rumour—and there's plenty we can all relate to there.

"Even 400 years later, what we do have in common is that we have this weakness in our character that allows us to believe in hearsay. That's what I love about Shakespeare; he knows that about human nature."

Mari Sasano // mari@vueweekly.com

S

ummer creates a conundrum for the Edmontonian theatre fan: we want to keep abreast of events, yet at the same time are desperate to enjoy the few, perfect months of long, hot nights. Freewill Shakespeare Festival, thankfully, combines the best of both scenarios, allowing us to consume a bit of culture while being outdoors.

"The outdoor experience is great— Mother Nature helps create the atmosphere," says Marianne Copithorne, artistic director of the festival. "Shakespeare wrote these to be performed outdoors, and there is so much charm in that—to be out at a play while the sun is going down, there's a magic that happens."

Each year, the festival presents one tragedy and one comedy. This year, it's Macbeth starring James MacDonald and Melissa MacPherson as the king and queen of Scotland, and Much Ado About Nothing with John Ullyatt and Belinda Cornish as the sparring love/hate duo Benedick and Beatrice.

If it all seems a little daunting, don't worry about not understanding the po-

WITCH WEATHER >> The Freewill Shakespeare Festival brings the Bard outside etic English of 400 years ago: the programs contain synopses of both plays.

And Copithorne reassures us that you might remember more of your high school English class than you think: "It might take five or 10 minutes to attune the ear to Shakespeare. Our job is to make it as clear as possible, but once you've got it, away you go!"

// Laura O'Connor

What is more difficult to translate sometimes is the culture and morals of the Elizabethan age.

"We're different people now, with different beliefs," says Copithorne, who is the director of Much Ado. "So it was important to set it in a time period when to have a woman's honour put into question had great consequences; she

While Copithorne exploited the commonality between the audiences of the 16th and 21st centuries, for the tragedy, director John Kirkpatrick followed a different tack: setting the Scottish play not in the Highlands, but in the Cold War-era Balkans. Surprised?

"I was trying to find the equivalent for the witches that were in a cultural context where they are believed and have some power. So instead of ugly, old witches, we have young, attractive gypsies. The Communist paranoia—the crumbling of states and the uprising of new ones, that seemed to fit," he says.

"It's still clearly set in Scotland, but it's as if Scotland was located somewhere between Hungary and Yugoslavia."

So aside from cutting the odd refer-

ence to Scotland, the relocation does make sense, and in fact takes ancient themes of overweening ambition, guilt, regret and the isolation that comes from making unhuman choices, and places them in circumstances just barely remote from recent memory, and hints at a warning to any current leaders who might be pushing his luck for an undeserved place in history. Such a leader is damned, and the play's cursed reputation is one sign that Nature herself condemns such hubris.

"The last time we staged it, it stormed every night. We might not get so lucky this time, but there's a mystery to Macbeth that people do respond to. If you want to see Shakespeare's action thriller, done by a crack team of actors, this is it. Let's get it out of the book and away from the ideas from school." V Until Sun, July 25 Freewill Shakespeare Festival MacBeth (even nights), Much Ado About Nothing (odd nights), (8 pm, weekend matinees 2 pm) Heritage Amphitheatre, Hawrelak Park, $15 – $22.50, $35 for festival pass PWYC Tue, Sat matinees

THEATRE // THE STERLING AWARDS

Sterlings round-up Paul Blinov // paul@vueweekly.com

A

show about modern moral courage and a toe-tapping love letter to musical theatre took top honours at the 23rd annual Elizabeth Sterling Haynes Awards on Monday night.

Held at the Mayfield Dinner Theatre, The Citadel Theatre's productions of Courageous and The Drowsy Chaperone respectively won Outstanding Production of a Play and Outstanding Musical Production at the end of the evening's celebration of Edmonton theatre, both co-productions (Courageous with Toronto's Tarragon theatre, Chaperone with Vancouver's Playhouse Theatre Company). Chaperone also saw a Sterling for Outstanding Choreography, though the Citadel's Sweeney Todd, up for more awards than any other production,

18 // ARTS

wasn't awarded a single trophy.

That's indicative of the evening's more even spread: no one company or production took home a staggering amount of trophies, or swept its nominations in totality. The most trophies (four) went to Theatre Network: Marianne Copithorne picked up Outstanding Director for The Woman in Black, and a trio of Sterlings went to The Erotic Anguish of Don Juan, their co-production with The Old Trout Puppet workshop, for Costume Design, Lighting Design, and Outstanding Actor in a Leading Role. The latter went to a giddy, expletive-filled Duval Lang, who admitted he'd long admired the Edmonton theatre scene from Calgary.

"Fuck, I still do," he giggled.

Supporting Actor and Actress Sterlings were given to George Szilagyi for AARRGGHH!! Productions' of Hockey Stories for Boys and Nadine Chu's turn

in the Freewill Players' Titus Andronicus, respectively. Bretta Gerecke took home a statue for her Set Design on Edmonton Opera's Rigoletto, and David Belke's one-woman The Science of Disconnection brought a pair of Sterlings to Shadow Theatre: Outstanding New Play and Outstanding Actress in a Leading Role, for Cathy Derkach's one-woman portrayal of physicist Lise Meitner. Varscona theatre-mates Teatro La Quindicina saw three trophies go their way: Outstanding Score and Outstanding Musical Director, to their end-of-season hit Everybody Goes to Mitzi's!, and playwright Stewart Lemoine picked up Outstanding New Fringe Work for The Oculist's Holiday.

Rounding out the rest of the Fringe awards, Kenneth Brown saw hardware for Outstanding Director on Spiral Dive: Part 2, Edmonton ex-pat Kevin Gillese took the Outstanding Fringe Actor

VUEWEEKLY // JUL 1 – JUL 7, 2010

category for his spoken word/dark rap confessional Wisdom Teeth and the kindred Actress award went to Beth Graham for Victor and Victoria's Terrifying Tale of Terrible Things, which also won Outstanding Fringe Production.

For the second year in a row, The Maggie Tree won Outstanding Independent Production, this time for Folie à Deux, their presentation of Trevor Schmidt's harrowing, based-on-a-true-tale script.

In the theatre for young audiences categories, the Artistic Achievement award went to Project: Whooping Crane (a co-production between Fringe Theatre Adventures and The Green Fools Theatre in Calgary), and Overall Outstanding Production was awarded to Concrete Theatre's Routes.

Catalyst Theatre's Brenda McNicol recieved The Margaret Mooney Award for Outstanding Achievement in Ad-

ministration, while the inaugural Ross Hill Award for Outstanding Achievement in Production was given to recent U of A retiree Alan Walch.

Lemoine also made a heartfelt speech for Tim Ryan, the beloved founding father of Grant MacEwan's Musical theatre program who passed away in early November, post-humously being given the Sterling for Outstanding Contribution to Theatre in Edmonton. Before calling Ryan's daughter and wife onstage to speak themselves, Lemoine spoke with warmth of Ryan's commitment to developing young artists. "When we talk about losing Ryan, I think it's an oxymoron," Lemoine said, noting the immense amount of present talent Ryan had helped bolster in the room.

Host Peter Brown stated that from next year onwards, the Outstanding Production of a musical award would be named in Ryan's honour. V

REVUE // MC ESCHER: MATHEMAGICIAN

Exploring the paradoxical

MC Escher remains removed from 20th century art traditions Adam Waldron-Blain // adamwb@vueweekly.com

M

C Escher is most popular among math and engineering enthusiasts and professionals as well as, more generally, people who are uncomfortable with abstraction but still somewhat interested in art. But he is not so popular among followers of contemporary art and seems to sit outside of the mainstream of 20thcentury traditions: he doesn't fit into any of the readily-identifiable modernist camps contemporary with his work, even though he deals with some of the same material.

Whatever your opinion of his works, however, it's almost shocking how much

better his own prints look compared to the reproductions most of us are familiar with in books and posters. Escher was undoubtedly a masterful printmaker, and the lines and tones of his work almost always possess an astonishing sense of perfection: they are precise and pristine and error free. On real paper, in much larger formats than we see his iconic images in books, the ink and the surface has something significant to add to his explorations of depth and illusion.

The AGA's display of Escher's work is grouped by subject matter and chronology, and although their large timeline display only compares him, inexplicably, to the history of the Warner Bros animation studio, it's very much worth comparing

him to his modernist contemporaries.

Escher began his career in the 1920s, during the flowering of Surrealism and abstraction. In his early prints, especially a group of landscape prints featuring bits of classical architecture, before his embrace of the fantastic in works like "Castle in the Air," the influence of Japanese woodblock images—which had helped to kick off Modernism in Europe a generation before—is plain. So is his technique, as he begins to explore the tension between the image's surface and illusionistic depth with his careful tones and many lines which draw us in even as they create subtle competing perspectives. For a brief time, Escher even devoted himself to an exploration of flatness

which is a cousin to the explorations of Malevich and later various Americans, but his tessellations, inspired by classical Islamic tile art, have an uncertain quality, as they are often framed in ambiguous spaces. Although he doesn't stay in this mode for long, he continues to explore the picture plane with paradoxical images throughout his career.

The tesselation images mark the beginning of a mathematical influence on Escher's work, and perhaps this explains, more than anything, why despite his nods to surrealism in dream-like images and his explorations of abstraction he ultimately seems conservatively opposed to the modern. Artists and

art historians have a high opinion of the crises of esthetics and the churn of avant-gardes over the 20th century, but ours wasn't the only discipline rocked by radical changes to its base assumptions.

Escher's childhood and early career saw the birth and sudden acceptance of theories of Relativity, Quantum Mechanics, the Bohr Model and more, and in 1930, just as Escher was turning towards mathematic subject matter, perhaps the most shocking blow to classical mathematics was struck by Gödel in his repudiation of Alfred Whitehead and Bertrand Russel's Principia Mathematica (Douglas Hofstadter's award-winning book Gödel, CONTINUED ON PAGE 21 >>

COMMENT >> BOOKS

Latin passages Among the most memorable moments in nard" opens the book, followed by "Tlön, Jorge Luis Borges' 1939 melancholy story Uqbar, Orbis Tertius," which describes "Pierre Menard, Author of the Quixote" the contents of the 11th volume of A is the comparative analysis of a passage First Encyclopedia of Tlön, a book left in from Miguel Cervantes' Don Quixote a bar by one Herbert Ashe, a deceased with a like passage from the unEnglish railway engineer. The Enfinished Quixote written by the cyclopedia offers some of the recently deceased Menard, philosophical notions held by a writer who sought not to the inhabitants of Tlön, a preom sumably non-existent planet "compose another Quixote ... eekly.c w e u v h@ but the Quixote itself." The hopscotc that nevertheless boasts soJosef passages in question are, ineviphisticated theories of time, Braun tably, identical—or so it might views metaphysics as a branch appear. Borges notes a "vivid" conof fantastic literature, and believes trast in style. He finds Menard's Quixote that all books are the work of a single "more subtle" than Cervantes'. Each time I atemporal and anonymous author. revisit "Pierre Menard" I laugh at this masThe sequencing of these stories is interstroke of absurdity, yet upon considerspired, since there are fascinating and ation the conceit isn't absurd in the slightprovocative ideas raised in "Tlön"—parest. Borges attests that Menard's quixotic ticularly those concerning literature and desire to re-create Don Quixote enriches authorship—that enrich our reading of the art of reading. Time changes words, "Pierre Menard" retroactively. This tactic context changes the nature of literary seems to backfire however in the placeambition—what Milan Kundera refers to ment of "Borges and I" just before "Evas the "consciousness of continuity"—and erything and Nothing," two pieces whose Borges, a great advocate for re-reading, too-obvious similarities discourage the implies that every reading of a text offers reader from appreciating their disparate us a new text. characters. A relatively minor offense, The durability, or re-readability, of Borgof course, and quickly forgiven once we es' work, not to mention its considerable move onto Everything and Nothing's final foresight with regards to the still-unfoldselections, a pair of lectures taken from ing destinies of art and technology, is the elegant and elegiac late collection surely the central reason why there have Seven Nights. In "Nightmares" he considbeen so many Borges collections, the ers the possibility that dreams are a form latest in English being Everything and of fiction, that life may be a dream and Nothing (New Directions, $12.50), one of we are all each dreaming each other, ND's "Pearl" series of affordable, sturdy that dreams may be our "most ancient paperbacks with clean, modern designs. esthetic activity." In "Blindness" he conEverything and Nothing "collects the siders the secret virtues of the titular best of Borges' highly influential stories affliction, comparing his own blindness and essays," a claim obviously open to with that of other authors throughout dispute—there is no "Aleph" here, no history, as well as other librarians, not"Funes the Memorious"—yet finally uning the irony of his—it turns out, nontroubling, since what matters to me at unique—situation of being appointed dileast is that there remain enticing, accesrector of Argentina's National Library just sible editions of Borges out there to be as he was seriously beginning to lose his discovered by new generations, and for sight. He ends this moving essay with a such purposes Everything and Nothing CONTINUED ON PAGE 20 >> is a welcome new product. "Pierre Me-

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REVUE // PIRANESI'S PRISONS

HOPSCOTCH

Solid foundation

<< CONTINUED FROM PAGE 19

There's a lot going on in Piranesi's architectural fantasies Adam Waldron-Blain // adamwb@vueweekly.com

P

iranesi's Imaginary Prisons are an influential set of architectural fantasies exploring the legacy of classical architecture. Steeped in the neoclassical culture of the 18th century, Piranesi's project was about the glorification of Roman architecture, and as well as creating prints like these, the artist also wrote extensively about classical architecture and in particular the magnificence of ancient Rome and its superiority to the related Greek tradition.

That may not sound very exciting, but there's more going on in these works than an irrelevant historical debate. Piranesi's Prisons were published in two versions—the Art Gallery of Alberta has provided both for some of the images, and the contrast is remarkable— that show a window into his creative process. Not only did Piranesi further emphasize the magnificence of the second set by tightening his sketchy lines, creating more ridiculously overblown architectural backgrounds and adding tonal drama, but his works anticipate the Romantic school that gave us the last show in the AGA's small main-floor

20 // ARTS

gallery space, Goya's Los Caprichos.

There is a lot in common here, even though Piranesi's politics seem considerably less urgent, as he ratchets up the detail of his prisons with gruesome instruments of torture and bound prisoners adding to the excitement of his increased tonal contrast and structures.

The sensationalism of the prints is in fact a little curious, if Piranesi was in fact trying to celebrate the architecture of Rome and the brief background description doesn't give much to fill it in. There are more questions raised by the images themselves, too: in a few cases—"The Drawbridge" and "The Arch with a Shell Ornament" in particular—Piranesi created ambiguous spatial relations that recall the Escher works upstairs, although it's not always as clear how they are meant to be read. They are perhaps clues to the fantasy of the work: the excessive architecture is plainly impossible, and Piranesi indulges in ahistoricity as, in one work, he grafts medieval gothic arches into his imaginary ancient Rome, and uses a broad swathe of historical and mythological references to create a peculiar real/unreal environment. Strange fantasies indeed—but

especially in their improved second versions, fairly compelling images.

The show as it stands is clearly a part of the historically educational part of the AGA's programming, and it certainly presents information on the works, but it's not one of the most exciting out of that group. Compared to the Goya show that recently occupied the same space, or even the Warner Brothers and Escher upstairs, it doesn't have the same pull, and I found myself with nagging questions. Generally, I would have loved a more complete explanation of the works' context, both in terms of immediate material about Piranesi and his Graeco-Roman controversy, and more importantly about his legacy and influence on Romanticism. Piranesi is not, I think, a household name in the same fashion as the other "hits" at the AGA, and really the show doesn't offer much beyond the drama of the images themselves, although that's a firm foundation to build from. V Until Sun, Nov 7 Piranesi's Prisons: Architecture of mystery and imagination Works by Piranesi The Art Gallery of Alberta

VUEWEEKLY // JUL 1 – JUL 7, 2010

phrase from Goethe: "everything near becomes distant." Typically for Borges, with a minimum of words, Goethe's words are ruminated upon in such a way that its application to the condition of blindness balloons outward until each of us seem caught up in this sense of all things slipping out of our grasp, the universe expanding and urging us to never forget that we are on unstable ground and must never cease to reach out for new sources of wonder and warmth.

Speaking of blindness, the Portuguese novelist and controversial polemicist José Saramago died last month, and if the announcement of his departure shocked me it wasn't because of his age—he was 87—but his sheer productivity right up to the end. How many examples in literature do we have of authors who created such a bold, challenging and prolific body of work at an age as advanced as Saramago's? (I'm sure Borges would have an answer.) Like many Anglophone readers I discovered Saramago with his Nobel Prize-winning Blindness, published in translation in 1997 and written when the author was already a septuagenarian.

I've read everything since, which is a lot, and not much that was written beforehand. The novel concerns a plague that renders nearly all of humanity blind, and its sentences that go on for pages, with several exchanges of dialogue mounting atop one another so that it can become difficult to discern who's speaking, struck

me as a brilliant way of making the reader almost feel as blind, in some sense, as the characters. When I first read Blindness I hadn't yet realized that pretty much all of Saramago's fiction is written in the same style. This style lends itself to a seemingly infinite number of uses.

Saramago's prose, exalted in structure, colloquial in word choice, seems simultaneously carved in stone and transcribed from the most intimate conversations. His critique of consumer culture, which was perhaps most eloquent and compelling in The Cave, which will forever change how you look at West Edmonton Mall, was often aligned directly with his mercurial Marxism, and his fantastical conceits were often regarded, or at least marketed, as allegories. Yet Saramago's best stories were far too humane, spontaneous, and mysterious to be neatly summed up in any sort of one-to-one metaphorical framework or reduced to didacticism. My experience with his novels has usually gone like this: I enter immediately engrossed and fascinated; halfway through, the seemingly endless digressions are wearing me out; by the end, the grand conclusion arises as though from a fog, my mind is sufficiently blown, and I treasure every page, even the ones that frustrated me, and feel like I've genuinely been through something, something that has caused me not to feel closer to Saramago's world view, but to rigorously question my own. His contentious, often poetic voice will be missed, but his texts remain, and thanks to the inherent sluggishness of translation, it seems we still have some new ones to look forward to. V

REVUE // THE WORKS

MC ESCHER: MATHEMAGICIAN << CONTINUED FROM PAGE 19

Growth of thought

The Works offers some introspective surprises Amy Fung // amy@vueweekly.com

T

aking the sojourn through downtown Edmonton on opening day, I walked through the 25th edition of The Works Art & Design Festival with little to no expectations. It's been quite a number of years since The Works has offered something of note and intrigue, appearing to grow stale in its mandate of being a summer festival that brings visual art to the downtown public. While the majority of works remain entirely missable if you are not seeking them out, The Works—to nobody's greater surprise than mine— was not an entirely frustrating experience this year.

One reason I may have cringed less was a noticeable increase in artists as curators, from Calgary-based Natali Rodrigues' highlighting of contemporary glass work at the Hotel MacDonald, Shane Golby's selections of works addressing trees in the lower level of the AGA and Lynn Malin's "Earthscapes" exhibition at ArtsHab. Offering small bites of cohesion through an otherwise ramble of works, events and tents, the smaller, curated shows within the overall festival appear to be working; if the festival itself is not going to be cu-

rating such exercises, then it should be a place to facilitate them.

A major notable recurrence with this year's Earth theme was new media, with three stellar works by Olivia Kachman, Bob Lysay and Agnieszka Matejko, and Sandra Vida.

Just north of the Square, Kachman takes over a large section of the big tent by filling it with flat screens, log stumps, and piles of fragrant wood chips. Darkened into a cavelike setting, Kachman, who is also one of several artists featured in this year's Square line-up with strong ties to Grande Prairie (the other two being Laura St Pierre and Tina Martel), presents "Out of the Blue and into the Red," a multiperspective installation on the impact the oil and gas industry on Northern Alberta. Situating perspectives of close to 200 different voices in the round, or around the fire, Kachman immerses her audience immediately into a group dialogue where we are invited to take a seat in nature, or what's left of it, and be mindful of what is actually happening right now to the earth.

Also shedding light on the humanity of industrialization, Vida presents her latest, "Threads" in the Centennial Room down in the lower level of the Stanley A. Milner Library. Continually evolving her

ART CITY >> Part of Kachman's multimedia display at The Works practice as an incredibly active and vital media artist in Calgary for decades, Vida goes beyond her video and sound realms to incorporate elements of soft sculpture with projection to convey a story of both personal and contemporary labour politics. Never comprising the historical narrative in favour of the more personable, Vida rather quite successfully intertwines the two through a methodical rhythm of both image and sound.

// Supplied

formal counterparts, fracturing clarity and complicating the ways in which we communicate with and understand one another.

My consistent dismay of The Works has been a growing concern about its irrelevance as a festival and destination to artists and art audiences and its alienation of art as something that has to be watered down for a general public. While the festival is still doing far too much and spreading itself far too thin, this is the first time in a long time where I left having seen a number of thoughtful works, or at least a handful of works that countered the questionables and the mundane, which is all anyone can ever hope for when they go "see" art. V

Deviating from the theme, but perhaps one of the strongest works this year, Lysay and Matejko's video art installation "The Space Between You and Me" addresses young adults with Tourette Syndrome.

Matejko, who often creates works exploring the sublime, facilitates the expressions of the youth into a multifaceted hall of mixed realities and mirrors. Situated in The Enterprise gallery space, the work as a whole attempts to convey a sense of honesty between the expressions and its

Escher, Bach identifies this moment, although it's an infuriating read for a visual art enthusiast, as Hofstadter is very uncomfortable with abstraction and grossly mischaracterises modernist and post-modernist art). These are big, scandalous events that point towards self reference, multiple contradictory interpretations and the impossibility of true representation of reality—the same issues the art world confronts.

Although his famous late-career work on impossible structures deals very clearly with paradox and ideas of consistency and impossibility, they are grounded not merely in the same careful illusionistic reality of his earlier work, but steeped in references to the solidity of classical theory: his arches, no matter which way they are turned, are artifacts of a greco-roman/renaissance/enlightenment tradition that somehow hold together despite their flaws, supporting the never-ending march of the most traditional of mathemagicians, monks.

Escher falls sick in the mid-sixties and dies in 1972, just as the two revolutions that dominate his works iterate once more into the space/information age and postmodernism, and his work will always look to the past. V

Until Wed, July 7

Until Mon, Oct 11

The Works Art & Design Festival

MC Escher: The Mathemagician

Various Locations

The Art Gallery of Alberta (2 Sir Win-

Full details at theworks.ab.ca

ston Churchill Square)

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;`mj[`add Ki /0(&,**&.**+ BMO World of Creativity: PLAY ON ARCHITECTURE: ;`ad\j]f k _Ydd]jq Sculpture Terraces: Ogjck Zq H]l]j @a\] Yf\ C]f EY[cdaf BUILDING ART: =\oYj\ :mjlqfkcq k h`glg_jYh`k g^ l`] Zmad\af_ g^ l`] F]o 9?9 TIMELAND2 *()( 9dZ]jlY :a]ffaYd g^ ;gfl]ehgYjq 9jl3 until Aug 29 THE ART OF WARNER BROS. CARTOONS3 until Oct 11 Animation Week2 ^]Ylmj]k lYdck$ Çdek Yf\ ogjck`ghk l`Yl []d]ZjYl] l`] ogjd\ g^ YfaeYlagf3 Jul 5-11 >j]] Çde k[j]]faf_k2 The Golden Age of Looney Toons$ Tue, Jul 6, 7pm3 Best of Bugs Bunny and Best of Daffy & Porky$ Wed, Jul 7, 7pm; Road Runner versus Wile E. Coyote3 Fri, Jul 9, 7pm L`] 9?9 Hj]k]flk ?Yjq HYfl]j3 Thu, Jul 8, 7pm Animated AGA2 What’s up doc? oal` l`] =\egflgf Klj]]l H]j^gje]jk >]klanYd3 Jul 11 Refinery–late night art party2 Dg[Yd ÇdeeYc]jk$ \]ka_f]jk$ <Bk Yf\ Y[lgjk lYc] gf L`] 9jl g^ OYjf]j :jgk& ;Yjlggfk3 Sat, Jul 10, 8pm-2am3 ,- M.C. ESHCER–THE MATHEMAGICIAN3 until Oct 11 PIRANESI’S PRISONS: ARCHITECTURE OF MYSTERY AND IMAGINATION3 until Nov 7 REFRAMING A NATION3 until Jan 30 OUT ON LIMB2 HYjl g^ l`] *()( Ogjck >]kl3 until Jul 23 Artist Talk: Oal` ?Yjq HYfl]j$ ^gddgo]\ Zq Y hYjlq Yf\ Zggc dYmf[`3 Thu, Jul 8$ /he af l`] D]\[gj L`]Ylj] Yf\ ;alq g^ =\egflgf L]jjY[]3 )('^j]] 9?9 e]eZ]j! RBC New Works Gallery2 FIRE: Ogjck Zq KYf\jY :jged]q3 until Aug 2 All Day Sundays2 *f\ Kmf ]n]jq egfl`$ ))%-he Studio Y – Scape2 ;gfl]ehgjYjq DYf\k[Yh]k3 Fri, Jul 2, 3:30-5:30pm3 -'klm\]fl

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LATITUDE 53 )(*,0%)(. Kl /0(&,*+&-+-+ NATIONAL

PORTRAIT GALLERY: NYjagmk Yjlaklk3 until Jul 17 Rooftop Patio Series2 ;YfY\Y <Yq oal` l`] FYlagfYd HgjljYal ?Ydd]jq gh]f mflad )he gf Thu, Jul 1, 5-9pm; ?dgZYd Nakagfk >ade >]klanYd Yf\ E&9&<&=& af =\egflgf gf Thu, Jul 8, 5-9pm

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eggj :dn\$ K`]jogg\ HYjc /0(&1**&.+*, 9jlogjck Zq e]eZ]jk g^ l`] Kg[a]lq g^ O]kl]jf ;YfY\aYf 9jlaklk Gift Shop2 Al]ek Zq e]eZ]jk g^ l`] 9jl Kg[a]lq g^ KljYl`[gfY ;gmflq Jul 5-313 L`m -%1he$ KYl )(Ye%,he

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OLD STRATHCONA ANTIQUE MALL )(+*+%/0 9n]

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DON WHEATON YMCA )(*))%)(* 9n]$ =Ykl

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DOUGLAS UDELL GALLERY )(++*%)*, Kl

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ENTERPRISE SQUARE )(*+( BYkh]j 9n]

VUEWEEKLY // JUL 1 – JUL 7, 2010

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UNIVERSITY OF ALBERTA MUSEUMS L]dmk ;]f%

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THEATRE

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PETER ROBERTSON GALLERY )*+(, BYkh]j 9n] /0(&,--&/,/1 9jlogjck Zq :YjZYjY @ajkl Until Jul 6

AXIS CAFÉ )(+,1 BYkh]j 9n] /0(&11(&((+)

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22 // ARTS

))) 9n] /0(&/+-&/111 E]rrYfaf] ?Ydd]jq L`] :dm] ;mjn] ?Ydd]jq L`] 9jl Gf L`] Afka\] ?Ydd]jq FOCUS ON FIBRE: >aZj] Yjl Until Jul 2

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ROYAL ALBERTA MUSEUM )*0,-%)(* 9n]

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ka\]k`go_Ydd]jq&[Y 9>L=JOGJCK2 9jlogjck Zq Bm\] ?ja]Z]d Jul 9-Aug 29 Gh]faf_ j][]hlagf2 Jul 9, 7-9pm

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LETTERS FROM BATTLE RIVER: THE ADVENTURES

OF DR. MARY PERCY JACKSON H;D Klm\ag$ LjYfk9dlY 9jlk :Yjfk$ )(++(%0, 9n] `aklgja[]\egflgf&[Y :q <Yna\ ;`]gjgk Yf\ CYj]f Kaegfkgf$ h]j^gje]\ Zq @]Yl`]j <& KoYaf& K]l af )1*1$ l`] klgjq g^ <j& BY[ckgf o`g Yfko]j]\ l`] [Ydd ^gj =f_dak` \g[lgjk Yf\ oYk hdY[]\ af Yf akgdYl]\ \aklja[l af fgjl`o]kl 9dZ]jlY Sat, Jul 10, 3pm >j]]3 HYjl g^ Kh]Yc]jk Klm\ag$ <ggjk Gh]f =\egflgf OH SUSANNA! A SALUTE TO AMERICA! NYjk[g% fY L`]Ylj]$ )(+*1%0+ 9n] /0(&,++&++11 L`] `adYja% gmk =mjg%klqd] nYja]lq kh][lY[d] kYdml]k gmj f]a_`Zgmjk lg l`] Kgml` gf l`] ]n] g^ Af\]h]f\]f[] <Yq @gkl]\ Zq afl]jfYlagfYd _dYegmj%_Yd KmkYffY HYl[`gmda Yf\ =jgk$ ?g\ g^ Dgn] DYm_`k Emka[ ;g[clYadk Sat, Jul 3, 11pm La[c]lk Yl l`] \ggj klYjlaf_ Yl )(2+(he STREET PERFORMERS FESTIVAL =\egflgf%

klj]]l^]kl&[ge Jul 9-18

THEATRESPORTS NYjk[gfY L`]Ylj]$ )(+*1%0+ 9n] /0(&,++&++11 JYha\ >aj] L`]Ylj] ]n]jq >ja until Jul 30, 11pm )( \ggj!' 0 e]eZ]j!

INSIDE // FILM

FILM

25

Film Capsules

25

DVD Detective

26

Mystery Train

Online at vueweekly.com >> FILM

SideVue : Mixing race-reality and fantasy Brian Gibson explores some troubling cases of recent racial casting

REVUE // THE SECRET IN THEIR EYES

More eye than heart

The Secret in Their Eyes more concerned with craft than something deeper each others' lives, though they've been kept apart partly by their own timidity and partly because of the dangers that have come from Esposito's other obsession: the murder and rape of Liliana Coloto. Truthfully, this is more of a love designed to make grandiloquent statements about love lost than it is actually played out, although it doesn't greatly suffer for that, thanks to the simmering performances of Darin and Villamil.

David Berry // david@vueweekly.com

T

he Secret in Their Eyes (El secreto de sus ojos) begins with beginnings, scenes of varied filmic style cut with images of a visibly frustrated Benjamin Esposito (Ricardo Darin) scratching out and pitching another page. Esposito is trying to begin his novel, but it's also an opportunity for writer/director Juan José Campanella to show us exactly what kind of film Secret is going to be: throwing out both the hyper-stylized shots of the first scene and the gritty, blunt realism of the last, he is giving us a very familiar hybrid, the art subsumed into heightening the realism.

Secret's style shares a lot with the film school brats of '70s Hollywood, with its penchant for clearly stated symbolism, virtuosic directorial flourishes and the primacy of acting that features strong characterization but never lets us forget the craft being displayed. Here Campanella proves his talent for casting: though we get the occasional flourish of action—including a pretty stunning single-take chase sequence that starts high above and finishes on the pitch of a packed soccer stadium—mostly this is a dra-

CRIMINAL GAZE >> Eyes seeks out a murderer ma of relationships, Esposito's serene demeanour bouncing off the characters helping him sort out the case at the heart of the story.

The most important of those relationships is with Irene Menendez Hastings (Soledad Villamil), his Ivy Leagueeducated boss at the district attorney

// Supplied

office where he works. She is both the one who helps him through the initial case and is the first person he turns to when he begins writing his book about it, and it's their talks that frame this story as it bounces back between the near-present and the past. We are meant to believe they are the loves of

The case is ostensibly what we're after here, as it is the defining moment of Esposito's life, and the events surrounding it are the subject of his nascent novel. It's a heinous event, and it plays out something like a particularly gritty police procedural, with Esposito and his wry, alcoholic assistant Pablo (Guillermo Francella) slowly piecing together what happens in the face of bureaucratic and managerial malfeasance and few leads. Touched by the obsession of the murdered woman's widower, Ricardo Morales (Pablo Rago), Esposito eventually uncovers the true killer, a shady fellow from her past, but justice is maybe even a messier thing than love, and Esposito's victories are quickly scuttled by the same shady bureaucracy, and he's eventually forced to flee lest he put other people's

lives in danger, ending his slowly budding romance with Irene.

Eventually we are returned firmly to the near-present, where all these threads slowly begin to pay off. This is where The Secret in Their Eyes really starts to show its craftsmanship, although it also reveals itself to be more a product of craft than philosophy or emotion. To a large degree this is just a sentimental love story weaved into a kind of murder mystery, and the careful construction of the full thread is both admirable and kind of sucks away the most potent moments of each. There is still much worthwhile here—it has all the classic pay-offs of pulp and the audience-flattering flourishes of art—but there's still something inherently dissatisfying about a film more concerned with craft than heft. V Opens Fri, Jul 2 The Secret in Their Eyes Written & directed by Juan José Campanella Based on the novel by Eduardo Sacheri Starring Ricardo Darin, Soledad Villamil, Pablo Rago Garneau Theatre (8712 - 109 St)



REVUE // SEVEN BRIDES FOR SEVEN BROTHERS

Soft-shoe salute

Big song-and-dance numbers kick off the Edmonton Film Society's summer David Berry // david@vueweekly.com

I

don't necessarily mean this as a lament, but Hollywood really doesn't make anything like the old musicals anymore. As often as not little but thinly veiled opportunities for songand-dance men/women and elaborate choreography, they're actually kind of oddly refreshing in their unrepentant showcasing, especially compared to star-studded duds like Nine. Notwithstanding the odd Step Up, I think the closest we actually get now is martial arts films: Tony Jaa kicks heads where Gene Kelly soft-shoes, but they're still about finding as many excuses as possible to show off someone's endlessly impressive natural skill.

Seven Brides for Seven Brothers, which kicks off the Edmonton Film Society's Gotta Sing! Gotta Dance!

Summer program, doesn't have much in the way of eminently recognizable screen faces—depending on your position on Howard Keel, I guess—but it does have some pretty tunes and some genuinely fun dance scenes, all of which seem far more important to all involved than the Disney cartoon of a story. Following what happens when a robust, ginger 1850s woodsman (Keel) convinces a proper town girl (Jane Powell) to marry him and help civilize his uncouth brothers so that they too might find brides, it's a little fable that often feels a bit like it's just holding its place until it's time for another number.

As numbers go, though, Seven Brides has a lot of fun with them. The opener, "Bless Your Beautiful Hide," is a folksy little bit that features Keel striding around like the Brawny man has taken to endorsing toothpaste, sizing up women with the kind of unrestrained, musky charm only the '50s could give.

Far better, though, are the dance numbers—two-thirds of the cast were primarily dancers, which kind of shows in the broadness of most of the performances—particularly an incredibly lively bit centered around a barn raising. It's a bit of naive ridiculousness you just couldn't get away with in this day and age, but the cast is full value as they bounce off support beams and flip through a dosey-doe with such bright, gleaming energy it hardly

VUEWEEKLY // JUL 1 – JUL 7, 2010

makes sense when a fight breaks out moments later. It too has a pretty raucous, inimitable energy, though, and flights of fancy always outweigh leaps of logic in old-timey musicals.

You can expect a very similar mood in most of the rest of the films on this bill. Gene Kelly and Frank Sinatra pair up as lusty (for the time) sailors twice, first in Anchors Aweigh, maybe most famous for its dance sequence featuring Kelly and an animated mouse, and then in On the Town, adapted from the Bernstein musical (and featuring the second-most-famous song Sinatra sings, called "New York, New York").

Other highlights include the similarly adapted The Music Man, starring Robert Preston, and Easy to Love, notable

for some of Busby Berkeley's finest work—you can't have a program of old Hollywood musicals, after all, without tipping your hand to the master of the extravagant dance sequence that justifies an entire film. V Mon, Jul 5 (8 pm) Seven Brides for Seven Brothers Directed by Stanley Donen Written by Albert Hackett, Frances Goodrich, Dorothy Kingsley Starring Howard Keel, Jane Powell, Jeff Richards Part of the EFS' Gotta Sing! Gotta Dance! Summer Program Royal Alberta Museum (12845 - 102 Ave), $10



FILM // 23

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VUEWEEKLY // JUL 1 â&#x20AC;&#x201C; JUL 7, 2010

FILM REVIEWS



Grown Ups

Film Capsules

Now Playing Grown Ups

Directed by Dennis Dugan Written by Adam Sandler, Fred Wolf Starring Sandler, Kevin James, Chris Rock  It wouldn't strictly be fair to say that the coasting comedians of Grown Ups are phoning it in, but that's only because, had they literally phoned it in, they wouldn't have had a chance to go hang out at a lake house in New England, which seems to be the only reason this void of a movie got made. And I had plenty of time to search for a point here: they're certainly not trying to distract you with comedy or anything like that, since the script mostly consists of finding one joke per main character and ham-

mering away on it until it becomes a kind of comedic white noise, background noise only distinguishable by whichever increasingly annoying Adam Sandler hanger-on is supposed to be the butt of the joke.

The story, such as it is, concerns a championship youth league basketball team coming together to reminisce about their recently departed coach. Based on the coach's post-championship speech about leaving it all on the court, Grown Ups sets itself up as maybe about how you shouldn't let life pass you by, but none of these guys actually seem to be in any sort of existential crisis about how they're living. Matter of fact, the film barely seems concerned at all with how they're living: minus the opening scenes, which hint at what their lives might be like, they might as well all be calling themselves by their real names for all we learn about their supposed characters and

what they're up to.

That said, there are a few underlying little struggles, the most ridiculous—in the least-funny sense of that word— being Sandler's exasperation with raising his boys. His kids live a pampered lifestyle full of video games and nannies and boyband clothes, but Sandler is either wholly unaware or just completely doesn't care about the irony of a man who has built a career on being an immature jackass—and I say that as someone who still appreciates both Billy Madison and Happy Gilmore— bitching about the selfish, disconnected state of kids today. Thinking that through probably would have taken away from post-shoot BBQ time, though, so it's just tossed out there to slowly fizzle away like everything else in this vacation slide show masquerading as a real movie.

David Berry

// david@vueweekly.com

Knight and Day

Directed by James Mangold Written by Patrick O'Neill Starring Tom Cruise, Cameron Diaz, Peter Sarsgaard  Craving an entertaining little high at the cineplex? Well, Knight and Day, where roguish agent Roy Miller (Tom Cruise) ties up single gal June Havens (Cameron Diaz) in some Bond-age thrills, does offer drug scenes. June's put under by Roy after their first meeting (over an in-flight melée) before waking up at home, then knocked out

by him again; June's given an experimental truth-serum by a Spanish kingpin trying to get the "perpetual energy source" battery Roy has; Roy himself gets put under

by June.

But by that time, the movie itself's slipped in and out of consciousness. Half-aware it's an action flick while trying to breezily amuse, and half-alert to its comic potential while roaring along on a chase or shootout, it staggers along. Knight and Day's potential, as a kind of spy screwball-comedy playing with relationship and thriller clichés, vanishes in the haze of a mundane situation-comedy.

That situation—everyday June dropped into a deadly Ian Fleming scenario—is pretty much repeated throughout, with June passing through the five stages of a spy-game hit-and-run victim: obliviousness; shock; freakout; suspicion; cheerful acceptance. Only one and five prove funny. And by the time—in what's easily the funniest sequence—June's flying high on that truth serum, flirting, and smiling along as Roy guns down the Spaniard's underlings, Knight and Day's nearly ended happily ever after.

Director James Mangold (Walk the Line) and screenwriter Patrick O'Neill (a firsttimer whose spec script got reworked by a half-dozen people) never have much fun with the typically ludicrous set-pieces— American expressway dodge 'em, train pursuit, car chase in narrow European streets, dockside showdown—preferring to revisit the sitcom concept with lots of awkward first-date banter between gunshots. Not much chemistry can get sparked when the

movie's constantly jumping to another action scene, though, and there's no zip to the dialogue, no amusing development of the relationship, and no intriguing touches to the odd couple's characters. The tone also slips away—the comedy needs to be darker if Miller's killing all comers, but it isn't and so, even though the action and intrigue dominate the storyline, they become cartoonish backdrops to Roy and June falling for each other. And Cruise's manically grinning, possibly delusional persona isn't pushed in any interesting direction.

Even allusions land thuddingly: a jumbo jet crash in a cornfield bails out on North

by Northwest, Roy's Speedo strut out of the sea onto a desert island damply echoes Andress' and others' beach-coming scenes from the Bond franchise, and The Third Man rings hollow here among Austrian cobblestone streets and alleys. (One scene, at least, plays cleverly with the movie convention of fake behind-the-car backgrounds.)

The whole exercise seems a lost opportunity. In the hands of a Tony Gilroy (Duplicity), this could've been a smart, snappy re-ordering of 007 for rom-com junkies.

Instead, Q gadgets and exotic locales just pop up, the plot's all connect-the-actionspots, and two hours drag. Little whiz-bang fun gets injected into this action-comedy.

Among Hollywood's stash of summertimeblockbuster drugs, Knight and Day goes down as a disappointing trip.

handicap as he did in Man of The Year. None of the points he's making are really anything new—he offers boilerplate observations about television culture with a profundity that suggests he's never even heard of Neil Postman—and he doesn't have any kind of killer instinct about taking the media or politicians to task, either. Whatever he was setting out to do, in Poliwood Levinson only really succeeds in making the case that we probably should take celebrity political opinions with a grain of salt, or at least exactly as much weight as we give to any other person on the street.

ilized—among other terrible side-effects— by chemicals Dole used to help grow the yellow fruit.

It's really their plight that's at the heart of Bananas!, but I could have done with a lot more of Dominguez. His conversion to political crusader seems a bit too pat, especially with potential billions to be made from the workers' claims. His story—especially since allegations of fraud got the cases documented here thrown out of higher courts— could be a pretty interesting take-off point for questions about the necessity of strange bedfellows when chasing justice, but director Frederik Gertten is more interested in the political outrages, which is more relevant morally but less esthetically.

From that frame, Bananas! is a largely standard leftist documentary about a corporation trying to cover up its own negligence, and at that it's fairly effective. Though, again, Dole has succeeded in getting the cases thrown out of higher courts, it seems pretty obvious that something shady was going on here, and it's more a case of their resources hiding things better than the workers' advocates can uncover them. V

Brian Gibson

// brian@vueweekly.com

CONTINUED ON PAGE 27 >>

COMMENT >> POLIWOOD & BANANAS!

The politics of celebrity

Politics and image collide in a pair of charged-up docs Politics and celebrity are a strange combibut an apologia for celebs who spout their nation, whether it's movie stars wading into political views, a kind of "stop picking on my political debates or the Obamas getting the friends" plea to the masses who dismiss evsuperstar couple treatment on the cover ery instance of political engagement from of US Weekly. In Poliwood, Barry someone they've seen on TV as anLevinson—who has already wadother airhead star yammering on ed into these waters with the about topics they know nothing largely toothless comedianabout. To some degree, that's runs-for-president satire Man ly.com maybe a worthwhile cause: just k e e w vue of the Year and the slightly dvddetective@ because someone makes movies more successful manufacturedor music doesn't mean they can't David war flick Wag the Dog—purports also inform themselves on a topic Berry to explore this odd crossroads by and then maybe use their position following around the Creative Coalition, to stump for what they believe. Levinson a supposedly non-partisan group of celebriclearly shapes a couple sharp jabs at the ties ranging from Anne Hathaway to Alan naysayers by pointing out little-known facts Cumming to Ellen Burstyn, as they visit the like how Richard Dreyfuss is a lecturer on 2008 Democratic and Republican national American history at Oxford, or that former conventions.

Rage Against the Machine guitarist Tom I say purports because there are numerMorello got a poli-sci degree from Harvard. ous times where Poliwood feels like little He scores a better point when he mentions

that, for every celebrity who might stand up for a cause, 10 will never say anything that even tips their hand at a political position, lest they piss off potential audience.

That said, Levinson's sympathies are pretty obvious here, and any attempts he makes to present the other side of the argument feel pretty half-hearted. The only time we get the anti-celebrity view, it comes from a group of Republicans with an obvious bone to pick and few credible arguments (they're vehemence against it is, of course, doubly strange when viewed in light of their lionization of Reagan). Against that, we get a ceaseless series of justifications, as well as some doses of unintentional undermining of the case.

Besides that, Levinson also endeavours to talk about that other thread, the increasing celebrification of politics, but here he suffers from the same missing-the-zeitgeist

VUEWEEKLY // JUL 1 – JUL 7, 2010

DVCD TIVE

DETE

Juan J Dominguez isn't a celebrity, but his line of work seems just as uneasy in the political arena. Dominguez is a lawyer, but not the type who'd stand up for the little guy unless there was a large cash settlement to be had: he's one of those bus bench ad ambulance chasers, a man who promises that he'll get you the biggest settlement he can. His more sympathetic emotions seem to show through when he learns about the plight of some Nicaraguan banana plantation workers, who claim to have been ster-

FILM // 25

DVD REVUE // MYSTERY TRAIN

Going down to Memphis

Mystery Train tracks three interwoven tales of the neglected city Josef Braun // josef@vueweekly.com

M

ystery Train (1989) opens with a sort of image that recurs with almost dreamlike regularity throughout the work of Jim Jarmusch: the world as seen from a moving train. Traveling abroad for the first time, teenage Yokohamans Mitzuko (Youki Kudoh) and Jun (Masatoshi Nagase) are drawing near Memphis. The shape of their window recalls the widescreen aspect ratio. Through it American landscapes pass like some cinematic travelogue. Soon they’ll disembark and, like the protagonists of the fantasy in which some fissure in reality allows one to slip from the audience and into the movie, Mitzuko and Jun will explore the largely abandoned streets of a mythical place.

They’ve come to Memphis as rock 'n' roll pilgrims, dressed for the part, Mitzuko in her black leather jacket with the wonderfully ridiculous "MISTER BABY" emblazoned on the back, the taciturn and flamboyantly affected Jun sporting a vintage rockabilly ensemble topped with immaculate pompadour. They debate whether Elvis or Carl Perkins was the real king. Mitzuko keeps a notebook filled with images that compare Elvis’ visage with those of the Buddha or the Statue of

26 // FILM

VUEWEEKLY // JUL 1 – JUL 7, 2010

RIDIN' THE RAILS >> Mystery Train tracks through Memphis Liberty. As is often the case in Jarmusch’s work, especially the immediately preceding films, American culture attains substance when appropriated by outsiders. Through their eyes Jarmusch’s comic confluence of history, geography, legend and everyday absurdities chug into life.

Mitzuko and Jun’s holiday, in which they taste sexual freedom, confront the eerie indifference of realized desire, and confirm that it is indeed cool to be 18 and far from home and in Memphis, is the first of Mystery Train’s three distinct yet interconnected and chronologically simultaneous episodes—another Jarmusch motif, variations on a theme. In the second tale, Luisa (Nicoletta Braschi, excellent), forced to overnight in Memphis while en route to Italy with her dead husband’s remains in tow, wanders the city and attempts to fend off petty grifters with little success before spending the night with a lonesome chatterbox (Elizabeth Bracco) and a confused ghost (Stephen Jones).

In the third, a drunken Englishman (The Clash’s Joe Strummer), also ostentatiously pompadoured, suffering from the loss of his job and his woman, takes to Memphis’ streets with a workmate (Rick Avilles), a barber (Steve Buscemi) and a gun, eventually getting into some serious trouble and winding up at the nexus where all Mystery Train’s routes converge, a somewhat seedy hotel overseen by a red-suited night clerk (outré R&B singer Screamin’ Jay Hawkins) and his comparatively diminutive bell hop (Cinqué Lee), a vaguely Beckett-like pair whose brief scenes of interaction constitute some of the film’s finest moments of elegantly evoked down-time.

// Supplied

Photographed in Edward Hopper muted tones by Robby Müller, who had already shot Down By Law (1986) for Jarmusch, Mystery Train is a gorgeously composed and carefully coloured film whose dramatic trajectories are in each case essentially a lark, elevating the simplest of conflicts to the level of finely crafted art.

Themes of the misleading significance of familial bonds—Buscemi’s wonderful as the barber thrown for a loop when he discovers his brother-in-law never actually married his sister—and the dangers of living in a city lorded over by ghosts and undercut by racism and poverty provide these stories with just enough gravity to keep them grounded, yet at the bottom Mystery Train is a superb example of a certain strain of deadpan, unhurried comedy over which Jarmusch possesses a singular mastery. It’s also a remarkable document of not only a great and neglected American city, but of several mavericks of cultural importance— Hawkins and Strummer, Tom Waits and Rufus Thomas—coming together to play. This final element of Mystery Train is nicely highlighted on Criterion’s new DVD and Blu-ray packages, which feature excerpts from a documentary about Hawkins and a short film that tracks changes in Memphis from the birth of Sun Studios to the making of Mystery Train and right up to the present. V Now available on dvd Mystery Train Written and directed by Jim Jarmusch Starring Youki Kudoh, Nicoletta Braschi, Joe Strummer

FILM REVIEWS

Film Capsules << CONTINUED FROM PAGE 25

Playing at the Princess City Island

Written and directed by Raymond De Felitta Starring Andy Garcia, Julianna Marguiles, Steven Strait Princess Theatre (10337 - 82 Ave)  The antagonistic family as entertainment is a tough-willed exercise in comedy, drama and closely realized emotional ties—this goes for both the audience and the people making the film. For some, watching Mom and Pop bark at each other before threatening to knock their kids' blocks off is uncomfortable, too close to home, maybe even boring. A few others, however, absorb a somewhat fulfilling connection to these bantering subjects, in which they are able to identify, criticize or fantasize about the familial life of their own.

Well-rehearsed in these scenarios, Andy Garcia stars as Vince, a prison guard who takes in a recently released inmate after discovering he is his son from a pre-marital affair. Without being told the truth about his father, Tony (Steven Strait) then pays witness to a series of conflicts in the likeness of Vince's family—Joyce (Julianna Marguiles), the hostile but nice enough wife and mother, Vince Jr (Ezra Miller), the wisecracking son developing a taste for BBW porn sites, and Vivian (Dominic GarciaLorido, also Garcia's real-life daughter), who lies to her parents about being a student instead of the stripper that she really is.

All of them have secrets, or at least find some to keep from the rest of their family. Joyce, consistently suspicious that her husband is having an affair, finds herself attracted to the new houseguest, who has been hired to build a bathroom out of the backyard woodshed (and does so mostly without a shirt). Their son discovers the secret internet career of a friendly, overweight neighbor, while the daughter frets about all the cash she is missing out on while visiting home. Even Vince has something more to conceal than his whopping past—pretending to be out playing poker, while instead enrolled in evening theatre classes taught by a no-bullshit actor (Alan Arkin).

It's a cozy, entertaining ride in a fascinating setting—City Island is a neck of the New York City Bronx with no more than a few minutes walking distance to water—with a row of strongly felt characters that keep the film engaging enough to its conclusion.

There a few missed opportunities to get more risky with the discreet narrative of these hidden lives, as sex and mistaken infidelity prove to be less interesting than the mere feelings of the human components.

Once the meager life-details-turned raging-suspicions are sooner or later spilled, it feels easier to recall the film's strengths when they were still lying to each other.

This is partly because City Island is largely about the intense performances, not only Garcia but the smouldering Marguiles as a frantic loudmouth. By the end, all of the strong acting is still there, but the conflicts and twists that initially bore them have fallen behind.

Jonathan Busch

// jonathan@vueweekly.com

FILM WEEKLY FRI, JUL 2 – THU, JUL 8, 2010 s

CHABA THEATRE�JASPER

THE TWILIGHT SAGA: ECLIPSE (PG

violence) No passes FRI�TUE, THU 11:30, 12:15, 12:45, 1:15, 2:45, 3:30, 4:00, 4:30, 6:30, 7:00, 7:30, 7:45, 9:45, 10:15, 10:30, 10:45; WED 11:30, 12:15, 12:30, 12:45, 2:45, 3:30, 3:45, 4:00, 6:30, 7:00, 7:30, 7:45, 9:45, 10:15, 10:30, 10:45

GROWN UPS (PG crude content, language

TOY STORY 3 (G) DAILY 1:30, 7:00, 9:05

may offend) FRI�WED 12:20, 1:15, 3:15, 4:45, 6:50, 8:00, 9:40, 10:30; THU 12:20, 3:15, 4:45, 6:50, 8:00, 9:40, 10:30; Strollers Screening: THU 1:00

GROWN UPS (PG crude content, language may

KNIGHT AND DAY (PG violence, coarse

6094 Connaught Dr, Jasper, 780.852.4749

offend) DAILY 1:30, 7:00, 9:05

CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

language) FRI�TUE, THU 12:50, 4:15, 7:40, 10:40; WED 12:10, 3:15, 6:20, 9:30

TOY STORY 3 (G) DAILY 1:00, 4:10

I HATE LUV STORYS (PG coarse language)

TOY STORY 3 3D (G) Digital 3d DAILY

KILLERS (PG violence, coarse language)

THE A�TEAM (PG violence, coarse language,

Hindi W/E.S.T. DAILY 1:00, 4:00, 7:00, 9:55

11:45, 12:30, 3:00, 3:30, 6:30, 7:00, 9:30, 9:50

FRI�SAT 1:45, 4:40, 7:10, 9:25, 11:50; SUN�THU 1:45, 4:40, 7:10, 9:25

not recommended for young children) DAILY 1:10, 4:20, 7:50, 10:40

MARMADUKE (G) FRI�SAT 1:25, 4:05, 6:55, 9:05,

THE KARATE KID (PG violence, not recom-

11:00; SUN�THU 1:25, 4:05, 6:55, 9:05

ROBIN HOOD (14A) DAILY 1:20, 4:15, 7:05, 9:55 LETTERS TO JULIET (PG) FRI�SAT 1:50, 4:25, 7:20, 9:40, 11:55; SUN�THU 1:50, 4:25, 7:20, 9:40

A NIGHTMARE ON ELM STREET (18A gory

mended for young children) DAILY 11:50, 3:10, 6:40, 10:00

GET HIM TO THE GREEK (18A substance

SHREK FOREVER AFTER (PG) DAILY

DATE NIGHT (PG sexual content, language may

offend) FRI�SAT 1:10, 3:55, 7:15, 9:30, 11:45; SUN�THU 1:10, 3:55, 7:15, 9:30

CLASH OF THE TITANS (PG nudity, not recommended for young children) FRI�SAT 1:35, 4:30, 6:45, 9:45, 12:00; SUN�THU 1:35, 4:30, 6:45, 9:45

KNIGHT AND DAY (PG violence, coarse language) THU, JUL 1: 1:55, 6:55, 9:20

THE TWILIGHT SAGA: ECLIPSE (PG violence) THU, JUL 1: 1:45, 6:45, 9:15

TOY STORY 3 (G) THU, JUL 1: 2:00, 7:00, 9:00 EDMONTON FILM SOCIETY Royal Alberta Museum, 102 Ave, 128 St, 780.439.5284

SEVEN BRIDES FOR SEVEN BROTHERS (PG) MON 8:00

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

THE TWILIGHT SAGA: ECLIPSE (PG

FURRY VENGEANCE (PG) DAILY 1:40, 4:20, 6:40

FRI�SAT 9:00, 11:20; SUN�THU 9:00

GROWN UPS (PG crude content, language may offend) THU, JUL 1: 2:05, 7:05, 9:05

THE LAST AIRBENDER (PG) No passes

young children) FRI�TUE, THU 12:10, 3:15, 6:30, 9:20; WED 12:50, 4:15, 10:35

DEATH AT A FUNERAL (14A crude content)

THE LAST AIRBENDER (PG) THU, JUL 1: 1:50,

6:50, 9:10

abuse, crude sexual content) DAILY 7:20, 10:25

violence)

SUN�THU 1:05, 4:35, 7:25, 9:20

6601-48 Ave, Camrose, 780.608.2144

DATE OF ISSUE ONLY: THU, JUL 1

PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for

FRI�SAT 10:00, 12:05; SUN�THU 10:00

OCEANS (G) FRI�SAT 1:05, 4:35, 7:25, 9:20, 11:15;

DUGGAN CINEMA�CAMROSE

12:40, 3:40, 7:05

IRON MAN 2 (PG violence, not recommended for young children) DAILY 9:35

MET SUMMER ENCORE: ROMEO ET JULIETTE (Classification not available) WED 6:30

CITY CENTRE 9 10200-102 Ave, 780.421.7020

DAILY 12:10, 2:45, 6:50, 9:15

violence) No passes DAILY 11:15, 12:00, 2:15, 3:15, 5:30, 6:30, 8:30, 9:30; Digital Cinema: DAILY 1:00, 4:15, 7:15, 10:15

GROWN UPS (PG crude content, language

may offend) DAILY 12:15, 3:10, 7:30, 10:00

KNIGHT AND DAY (PG violence, coarse

THU 12:45, 2:30, 3:30

THE LAST AIRBENDER 3D (PG) DAILY 6:55, 9:05; SAT, SUN, TUE, THU 12:55, 3:05 KNIGHT AND DAY (PG violence, coarse

language) DAILY 7:00, 9:10; SAT�SUN, TUE, THU 1:00, 3:10

GROWN UPS (PG crude content, language may offend) DAILY 7:05, 9:15; SAT�SUN, TUE, THU 1:05, 3:15; Movies for Mommies: TUE 1:00 TOY STORY 3 (G) DAILY 6:45, 9:00; SAT�SUN, TUE, THU 12:45, 3:00; Not Presented In 3D

THE KARATE KID (PG violence, not recom-

mended for young children) DAILY 6:50, 9:25; SAT�SUN, TUE, THU 12:50, 3:25

PRINCESS 10337-82 Ave, 780.433.0728

PLEASE GIVE (14A coarse language, nudity) DAILY 7:15, 9:15; SAT�SUN 1:15

BABIES (PG nudity) SAT�SUN 3:15 CITY ISLAND (PG coarse language, mature subject matter) DAILY 7:00; SAT�SUN 1:00 THE GIRL WITH THE DRAGON TATTOO (18A sexual violence, disturbing content) DAILY 9:00; SAT�SUN 3:00

SCOTIABANK THEATRE WEM WEM, 8882-170 St, 780.444.2400

THE LAST AIRBENDER (PG) Digital 3d, No

passes DAILY 12:45, 3:45, 6:45, 9:40

TOY STORY 3 (G) DAILY 11:30, 2:00, 4:40,

THE TWILIGHT SAGA: ECLIPSE (PG violence) s No passes DAILY 1:00, 1:30, 4:00, 4:30, 7:00, 7:30, 10:00, 10:30; DAILY 12:30, 3:30, 6:30, 9:30

TOY STORY 3 3D (G) Digital 3d DAILY 12:30,

THE TWILIGHT SAGA: ECLIPSE: THE IMAX EXPERIENCE (PG violence) No passes

language) DAILY 12:45, 3:40, 7:10, 9:50

7:20, 9:55

3:30, 6:45, 9:35

DAILY 11:30, 2:20, 5:10, 8:00, 10:45

THE TWILIGHT SAGA: ECLIPSE (PG vio-

THE A�TEAM (PG violence, coarse language,

GROWN UPS (PG crude content, language may offend) DAILY 1:20, 4:20, 7:20, 10:20

THE LAST SONG (PG) DAILY 1:15, 4:00, 6:50

lence) No passes, Dolby Stereo Digital, Stadium Seating DAILY 12:30, 1:00, 3:30, 4:00, 7:00, 7:30, 10:00, 10:30

GROWN UPS (PG crude content, language

THE KARATE KID (PG violence, not recommended for young children) DAILY 11:45, 3:00, 6:40, 9:45

KNIGHT AND DAY (PG violence, coarse

HOW TO TRAIN YOUR DRAGON 3D (PG THE BOUNTY HUNTER (PG violence, sexual

THE LAST AIRBENDER (PG) No passes,

SHREK FOREVER AFTER (PG) DAILY 1:20,

TOY STORY 3 3D (G) Digital 3d DAILY 11:30, 12:15, 2:00, 3:15, 4:45, 6:30, 7:30, 9:15, 10:15

violence) Digital 3d FRI�SAT 1:30, 4:10, 7:00, 9:15, 11:35; SUN�THU 1:30, 4:10, 7:00, 9:15 content) DAILY 1:55, 4:50, 7:30, 10:00

CINEPLEX ODEON NORTH 14231-137 Ave, 780.732.2236

THE LAST AIRBENDER (PG) No passes DAILY 1:30, 4:10, 6:40, 9:10

THE LAST AIRBENDER 3D (PG) Digital 3d, No passes DAILY 12:00, 2:30, 5:10, 7:45, 10:25 THE TWILIGHT SAGA: ECLIPSE (PG violence) No passes DAILY 11:50, 12:30, 1:15, 3:00, 3:40, 4:15, 6:20, 7:15, 7:30, 9:30, 10:15, 10:40; Digital Cinema: DAILY 7:00, 10:00

GROWN UPS (PG crude content, language

may offend) FRI�TUE, THU 12:50, 2:20, 4:00, 5:00, 6:50, 8:00, 9:20, 10:45; WED 2:20, 4:00, 5:00, 6:50, 8:00, 9:20, 10:45; Star & Strollers Screening: WED 1:00

KNIGHT AND DAY (PG violence, coarse language) DAILY 1:20, 4:20, 7:50, 10:30 TOY STORY 3 (G) DAILY 12:20, 3:10, 6:45, 9:15; Digital 3d DAILY 11:30, 1:00, 2:00, 3:50, 4:40, 7:20, 10:10 THE A�TEAM (PG violence, coarse language, not recommended for young children) FRI�TUE, THU 1:40, 4:30, 7:10, 10:20; WED 1:40, 4:30, 10:20 THE KARATE KID (PG violence, not recom-

may offend) No passes, Stadium Seating, DTS Digital DAILY 12:15, 2:50, 5:25, 8:00, 10:35

Dolby Stereo Digital, Stadium Seating DAILY 12:00, 2:35, 5:10, 7:45, 10:20

GET HIM TO THE GREEK (18A substance abuse, crude sexual content) DTS Digital, Stadium Seating DAILY 12:35, 3:25, 6:40, 9:20

THE A�TEAM (PG violence, coarse language,

not recommended for young children) No passes, Stadium Seating DAILY 12:20, 3:50, 7:10

HARRY BROWN (18A, brutal violence,

1525-99 St, 780.436.8585

THE LAST AIRBENDER (PG) No passes DAILY 1:20, 4:15, 7:15, 10:10

THE LAST AIRBENDER 3D (PG) Digital

3d, No passes DAILY 12:00, 3:20, 6:45, 9:40

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

TOY STORY 3 (G) DAILY 1:00, 3:10, 5:20, 7:30,

language) No passes DAILY 12:45, 2:55, 4:55, 7:10, 9:20

TOY STORY 3 (G) Digital 3d, Stadium Seat-

GROWN UPS (PG crude content, language may offend) No passes DAILY 1:30, 3:30, 5:30, 7:40, 9:35

ing, No passes DAILY 12:45, 3:45, 6:50, 9:30

KNIGHT AND DAY (PG violence, coarse language) No passes, Stadium Seating, DTS Digital

DAILY 12:05, 2:45, 5:20, 7:55, 10:40

CLAREVIEW 10 4211-139 Ave, 780.472.7600

THE A�TEAM (PG violence, coarse language,

not recommended for young children) DAILY 7:10, 9:55

THE KARATE KID (PG violence, not recommended for young children) DAILY 12:20, 3:20, 6:35, 9:45

KNIGHT AND DAY (PG violence, coarse

CINEPLEX ODEON SOUTH

violence, coarse language) DAILY 6:45, 9:15; SAT�

SUN 2:00

mended for young children) Dolby Stereo Digital, Stadium Seating DAILY 12:25, 3:35, 6:30, 9:40

PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for

6:30

THE SECRET IN THEIR EYES (18A sexual

KNIGHT AND DAY (PG violence, coarse

TOY STORY 3 3D (G) Reald 3d DAILY 1:40,

MET SUMMER ENCORE: ROMEO ET JULIETTE (Classification not available) WED

8712-109 St, 780.433.0728

THE KARATE KID (PG violence, not recom-

GET HIM TO THE GREEK (18A substance

SHREK FOREVER AFTER (PG) DAILY 11:40

GARNEAU

9:30

TOY STORY 3 (G) DAILY 1:10, 3:50, 6:40, 9:20

young children) DAILY 1:50, 7:40

4:10

substance abuse, coarse language) DTS Digital, Stadium Seating DAILY 10:10

mended for young children) DAILY 12:10, 3:20, 6:30, 9:45 abuse, crude sexual content) DAILY 4:50, 10:35

not recommended for young children) DAILY 7:00, 10:10

4:25, 7:05, 9:40

language) DAILY 12:40, 3:40, 6:45, 9:25

GROWN UPS (PG crude content, language

may offend) No passes FRI�SUN 1:20, 4:10, 7:15, 9:50; MON�THU 1:20, 4:10, 7:15, 9:50

THE TWILIGHT SAGA: ECLIPSE (PG

violence) On 3 Screens, no passes DAILY 12:30, 1:00, 1:30, 3:30, 4:00, 4:30, 6:30, 7:00, 7:20, 9:30, 10:00, 10:15

THE LAST AIRBENDER 3D (PG) Digital 3d, No passes DAILY 1:50, 4:20, 6:50, 9:20 SHREK FOREVER AFTER (PG) DAILY 1:45, 4:40

THE TWILIGHT SAGA: ECLIPSE (PG violence) DAILY 1:45, 4:25, 7:05, 9:25

THE LAST AIRBENDER (PG) No passes DAILY 1:10, 3:15, 5:15, 7:15, 9:15

LEDUC CINEMAS Leduc, 780.352.3922

GROWN UPS (PG crude content, language

may offend) DAILY 1:10, 3:35, 7:10, 9:35

THE LAST AIRBENDER (PG) DAILY 1:05,

3:30, 7:05, 9:30

THE TWILIGHT SAGA: ECLIPSE (PG violence) WED�THU 12:55, 3:40, 6:55, 9:40

TOY STORY 3 (G) DAILY 1:00, 3:25, 7:00, 9:25 THE KARATE KID (PG violence, not recommended for young children) DAILY 12:50, 3:30, 6:50, 9:30 METRO CINEMA 9828-101A Ave, Citadel Theatre, 780.425.9212

MID�AUGUST LUNCH (PG) THU 7:00 RACHEL (STC) THU 9:00 PARKLAND CINEMA 7 130 Century Crossing, Spruce Grove, 780.972.2332 (Spruce Grove, Stony Plain; Parkland County)

THE TWILIGHT SAGA: ECLIPSE (PG

language) FRI�TUE, THU 1:15, 4:15, 7:10, 10:10; WED 4:15, 7:10, 10:10; Star & Strollers Screening: WED 1:00

THE A�TEAM (PG violence, coarse language, not recommended for young children) DAILY 1:40, 4:40, 7:40, 10:40

THE KARATE KID (PG violence, not recommended for young children) DAILY 11:45, 3:00, 6:40, 9:50 GET HIM TO THE GREEK (18A substance abuse, crude sexual content) FRI�WED 1:50, 4:50, 7:50, 10:45; THU 1:20, 4:10, 10:45 PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young children) DAILY 3:50, 6:50, 9:45

SHREK FOREVER AFTER (PG) DAILY 12:00 WESTMOUNT CENTRE 111 Ave, Groat Rd, 780.455.8726

THE TWILIGHT SAGA: ECLIPSE (PG

violence) No passes, Dolby Stereo Digital FRI 7:00, 10:00; SAT�SUN 1:00, 4:00, 7:00, 10:00; MON�THU 5:10, 8:20

THE LAST AIRBENDER (PG) No passes, Dolby Stereo Digital FRI 6:25, 9:15; SAT�SUN 12:30, 3:15, 6:25, 9:15; MON�THU 5:30, 8:00 GROWN UPS (PG crude content, language may offend) No passes, DTS Digital FRI 7:10, 9:45; SAT�SUN 1:10, 3:45, 7:10, 9:45; MON�THU 5:20, 8:30 KNIGHT AND DAY (PG violence, coarse lan-

guage) No passes, DTS Digital FRI 6:40, 9:30; SAT� SUN 12:45, 3:30, 6:40, 9:30; MON�THU 5:00, 8:10

WETASKIWIN CINEMAS Wetaskiwin, 780.352.3922

TOY STORY 3 (G) DAILY 7:00, 9:25; FRI 4:00; SAT, SUN 1:00, 3:25

KNIGHT AND DAY (PG violence, coarse language) DAILY 7:00, 9:25; SAT�SUN 1:05, 3:35

THE LAST AIRBENDER (PG) DAILY 1:05,

3:30, 7:05, 9:30

THE KARATE KID (PG violence, not recommended for young children) DAILY 6:50, 9:30; SAT, SUN 12:50, 3:30 THE TWILIGHT SAGA: ECLIPSE (PG violence) DAILY 12:55, 3:40, 6:55, 9:40

violence) DAILY 6:45, 7:30, 9:30; SAT, SUN, TUE,

VUEWEEKLY // JUL 1 – JUL 7, 2010

FILM // 27

INSIDE // MUSIC

MUSIC

32

Enter Sandor

34

Iron Maiden

39

Scrapbooker

Online at vueweekly.com >>MUSIC Slideshow Iron Maiden, Hank & Lily, Grace Potter & the Nocturnals, Black Mountain, Minus the Bear

SLIDESHOW >> MINUS THE BEAR

PREVUE // DANIEL MOIR

Songs in the key of life Daniel Moir eschews university for a life of music

JProcktor // jprocktor.com

Minus the Bear / Mon, Jun 28 / Starlite Room

SLIDESHOW >> ANTI-POP CONSORTIUM

STRONG AT HEART >> Daniel Moir faces the future head on with Road David Berry // david@vueweekly.com

A

lready having requested the comfortable chairs at a downtown cafe, Daniel Moir doffs his sandals and settles into the red leather cross-legged, sipping his coffee with all the outward calm of a yogi. But then why shouldn't Moir be relaxed: he's here to talk about what it seems like he was born to do. Though barely into his 20s, and some lazy summer scruff away from looking hardly that age, Moir is a veritable vet, having been playing and recording music since he picked up his learner's permit. The way Moir has it, though, there's little else he could possibly be doing.

"I really don't know how else to put it, but music is what makes me fulfilled as a human being," Moir says with a very appropriate casualness.

"I don't really knowâ&#x20AC;&#x201D;like, I never thought there would be any point to going to university or anything. I'd probably just waste my money and flunk out of all my classes. Music is all I can focus on."

So far, that focus is paying off for the young singer-songwriter. His debut EP, Between the Country and the Sea, showcased his bright, earnest and complex folk stylings, and garnered him attention not only across the country but in the United States, too, where one of his songs made it onto television in the form of NBC's

// Supplied

Mercy. Though it retains a lot of its classic folk structure, Road, Moir's debut full-length, strips things down a little bit, musically, while also getting into deeper and more complex sentiments, furthering the precociously mature label that many applied to Between.

Road uses its title as a loose metaphor for change, and many of the songs explore the theme to some degree, documenting stories about picking up and moving along after some kind of hardship.

Despite his age, though, the mood seems less like the optimism of youth than it does the resolution of age, the hard-won knowledge that shit is going to happen and you have to make the most of it and move on. It's an attitude that seems to come quite naturally to the relaxed Moir.

"I think it's just about remaining optimistic, realizing that you're going to go through some things, but that life would be kind of boring if you didn't," he says nonchalantly. "If that's mature, great, but I just think it's a good way to get through the world." V Sat, July 3 (7:30 pm) Daniel Moir With Darren Frank The ARTery, $10

JProcktor // jprocktor.com

Anti Pop Consortium / Tue, Jun 29 / Starlite Room See more of JProcktor's photos on vueweekly. com

28 // MUSIC

VUEWEEKLY // JUL 1 â&#x20AC;&#x201C; JUL 7, 2010

PREVUE // SIGNALS

Signaling a change

New band is a rebirth for three ex-members of the Mae Shi Mike Angus // mike@vueweekly.com

L

ast year three members of the Los Angeles blip-pop band the Mae Shi decided to make a change: cousins Jon and Bill Gray, along with Jacob Cooper, approached Jeff Byron at the start of the band's European tour and told him they were quitting to start the band Signals. And as Cooper explains, they haven't missed a beat since.

"It's been good," he extolls from a tour stop in Boise, Idaho, on their way to a third appearance at Calgary's Sled Island festival. "There hasn't re-

ally been a stop; I guess we've been more focused to keep going instead of taking a hiatus and rethinking everything. We're all pretty motivated by playing live and writing, so it wasn't really difficult to go from one project to another."

This non-stop attitude plays out in the form of countless mixed tapes, a new seven-inch featuring the addictive "What Dreams" and an EP slated for the fall. Recorded with long-time collaborator and producer Brad Breeck (who still moonlights with the Mae Shi), the yet-to-be-named nine-song EP should help realign the

direction of a band that has spent most of the past year finding its legs as a three piece.

"We kind of work backwards just by virtue of how we play live: we don't have a full band, we have a lot of triggered beats and keyboards, so we have to build a whole song before we can deconstruct it and play it live. So we're always writing," Cooper continues. "We came in the studio with six songs that were fully prepared, and then three or four we had second thoughts about. Coming in with Brad, we trust his intuition about where songs should go and he's got

VUEWEEKLY // JUL 1 â&#x20AC;&#x201C; JUL 7, 2010

a great pop sensibility. It was cool to bring ideas in and see what he thought of them."

Now, the goal is to remain committed to touring and refining their live show.

The members of Signals are "old band members with a new band attitude," Cooper laughs, but the new project suits them perfectly with its streamlined process and band chemistry.

"There's less opinions involved," he laughs. "The best part about it is you don't always have to get upset with a real person playing music; you can just take it to the computer and fix

it. I think that's been really good for us since working with people in the past has proven to be an issue and a struggle. The more people you have in a band, the harder it is. With technology and using it the right way, you can really achieve what you want to in a band. Too many people shun involving technology in their music, but we really embrace it."

Sun, Jul 4 (8 pm) Signals With Bayonets!!!, Scrapbooker New City, $12

MUSIC // 29

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

THU JUL 1 BLACK DOG FREEHOUSE Canada Day Wooftop Patio Party: Classics, electronic, Britpop, dub and reggae with DJ Don (Scandals, The Bronx); funk, Indie dance/nu disco, breaks, drum, bass 'n' house with DJ Gundam; starts at 4pm; no cover BLUES ON WHYTE Big Rude Jake BRIXX BAR Radio Brixx Canada Day Party: Rock and Roll with Tommy Grimes; 8pm (music); no cover CENTRAL PARK LOUNGE Charlie Austin (solo piano); 5-7pm; no cover; Edmonton Jazz Festival CHRISTOPHER'S PARTY PUB Open stage hosted by Alberta Crude; 6-10pm CHURCHILL SQUARE Works Fest Street Stage: Mad Dog Blues (noon); Gateway Big Band (1:15pm, 2:30pm); Bix Mix Boys (3:45pm); Crystal Kid (5pm); Scott Cook and the Long Weekends (6:15pm); Jeff Spec and NaRai (7:30pm) COLAHAN'S Back-porch jam with Rock-Steady Freddy and the Bearcat; every Thu 8pmmidnight CROWN PUB Crown Pub Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DUSTER'S PUB Thu open jam hosted by the Assassins of Youth (blues/rock); 9pm; no cover DV8 Open mic Thu hosted

by Cameron Penner/ and/ or Rebecca Jane; Canada Day with The Brixton Robbers, Caught Off Guard, 9pm EDDIE SHORTS Canada Day jam with Saucy Wenches featuring Doug Robb

EDMONTON GARRISON Jefferson Starship, Pretty Kids (1pm), Owl River Band (2:15pm), Trainwreck (3:30pm), Johnny Tornado Lee Ann Colemann and Big Dave Mclean (5pm), Flying Saucers (6:30pm), Carson Cole Band (8pm); 9:30-11pm; fireworks at 11:30pm ELECTRIC RODEO�Spruce Grove Open Stage Thu: 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 Canada Day: Cousin Harley, Ashlee Page Williams; no minors; 7:30pm (door) Cousin Harley w/ Ashlee Page Williams; $13 (adv) at YEG Live HOOLIGANZ Open stage Thu hosted by Phil (Nobody Likes Dwight); 9pm-1:30am J AND R Classic rock! Woo! Open stage, play with the house band every Thu; 9pm

Fiddlers PAWN SHOP Canada Day: Red On Whyte, The Dudes, Whitey Houston, Raptors; 8pm (door); free before 9pm

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

RIC’S GRILL Peter Belec ( jazz); every Thu; 7-10pm RUSTY REED'S HOUSE OF BLUES Post fireworks Rocker: Big Hank and a Fistful of Blues; $5 SECOND CUP�Ellerslie Landing Prairie Cats (country, folk); 2-4pm SECOND CUP�Varscona Live music every Thu night; 7-9pm SPORTMAN'S LOUNGE Hipcheck Trio and guests ( jazz, blues) every Thu; 9pm SPRUCE GROVE COMPOSITE HIGH SCHOOL Jason Blaine; 9pm; free Canada Day concert; followed by fireworks TAPHOUSE�St Albert Western Medicine, Party at the Moontower, Scrapbookers; 9pm UNION HALL Lil Kim; $20 (adv) WILD WEST SALOON Lori Kole

WUNDERBAR Burnin' Sands, One Way State

LIVE WIRE BAR Open Stage Thu with Gary Thomas

YARDBIRD SUITE Peter Van Huffel (8pm and 9:30pm); Jazzworks Collective Ensemble (11pm); part of Jazz Fest

NEW CITY Canada Day Hellride: Six Guns Over Tombstone, Miskatonic, Mean Streak, Oscar Mike; 8pm (door); no minors NORTH GLENORA HALL Jam by Wild Rose Old Time

BLUE CHAIR CAFÉ Diana Stabel Quartet; 8pm; $12 (door, reservations recommended at 780.989.2861); part of Jazz Fest

REDNEX�Morinville Canada Day celebration with Shane Chisholm (roots country); $10 (adv)

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

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

CENTURY ROOM Underground House every Thu with DJ Nic-E THE DRUID IRISH PUB DJ every Thu at 9pm

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

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

First Man; 6:30pm (door); $10 (door); all ages

RED PIANO BAR Canada Day dueling pianos show

WINSPEAR Canada Day Multicultural Concert dance and music from around the world presented by the Edmonton Folk Arts Council; 3pm (door), 4pm (show); free with donation to Edmonton Food Bank

JAMMERS PUB Thu open jam; 7-11pm

BUDDY'S DJ Bobby Beatz; 9pm; no cover before 10pm

DJs BILLY BOB’S LOUNGE Escapack Entertainment BLACK DOG FREEHOUSE Big Rock Thu: DJs on 3 levels–Topwise Soundsystem spin Dub & Reggae in The Underdog

FLUID LOUNGE Girls Night out

BLUES ON WHYTE Big Rude Jake BRIXX BAR Chasing Jones, Needles To Vinyl, Marco Corbo; 9pm (door); $12 (door)

FUNKY BUDDHA�Whyte Ave Requests with DJ Damian

CARROT Live music Fri: all ages; Barry Westerlund; 7pm; $5 (door)

GAS PUMP Ladies Nite: Top 40/dance with DJ Christian

CASINO EDMONTON Souled Out (pop/rock)

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

CASINO YELLOWHEAD The Rum Brothers (show band)

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

CENTRAL PARK LOUNGE Torben Holm-Pederson, Andrew Glover (solo piano); 5-7pm; no cover; Edmonton Jazz Festival

LEVEL 2 LOUNGE Absolut Thu: with DJ NV and Joey Nokturnal; 9:30pm (door); no cover LUCKY 13 Sin Thu with DJ Mike Tomas NEW CITY SUBURBS Bingo at 9:30pm followed by Electroshock Therapy with Dervish Nazz Nomad and Plan B (electro, retro) ON THE ROCKS Salsaholic Thu: Dance lessons at 8pm; Salsa DJ to follow PLANET INDIGO�St Albert Hit It Thu: breaks, electro house spun with PI residents PLAY NIGHTCLUB Game show every Thu with Patrick and Nathan; 9pm PROHIBITION Throwback Thu: old school r&b, hip hop, dance, pop, funk, soul, house and everything retro with DJ Service, Awesome RENDEZVOUS Mental Thurzday with org666 SPORTSWORLD Roller Skating Disco: Thu Retro Nights; 7-10:30pm; sportsworld.ca STOLLI'S Dancehall, hip hop with DJ Footnotes hosted by Elle Dirty and ConScience every Thu; no cover WUNDERBAR DJ Thermos Rump Shakin' Thu: From indie to hip hop, that's cool and has a beat; no cover

FRI JUL 2

BRIXX BAR Radio Brixx with Tommy Grimes spinning rock and roll

180 DEGREES Sexy Fri night

HILL TOP PUB 8220-106 Ave, 780.490.7359 HOOLIGANZ 10704-124 St, 780.452.1168 HOPE LUTHERAN CHURCH 3527 Boulton Rd, 403.991.2928 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 KAS BAR 10444-82 Ave, 780.433.6768 L.B.’S PUB 23 Akins Dr, St Albert, 780.460.9100 LEGENDS PUB 6104-172 St, 780.481.2786 LEVEL 2 LOUNGE 11607 Jasper Ave, 2nd Fl, 780.447.4495 LIVE WIRE 1107 Knotwood Rd. East MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave, Beaumont MORANGO’S TEK CAFÉ 10118-79 St NAKED CYBERCAFÉ 10354 Jasper Ave NEWCASTLE PUB 6108-90 Ave, 780.490.1999 NEW CITY 10081 Jasper Ave, 780.989.5066 NIKKI DIAMONDS 8130

Gateway Blvd, 780.439.8006 NORTH GLENORA HALL 13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766 ON THE ROCKS 11730 Jasper Ave, 780.482.4767 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814 PLANET INDIGO�Jasper Ave 11607 Jasper Ave; St Albert 812 Liberton Dr, St Albert PLAY NIGHTCLUB 10220-103 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave PROHIBITION 11026 Jasper Ave, 780.420.0448 REDNEX�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 University College Campus, 73 St, south of 112 Ave, 780.278.2436 ROSEBOWL/ROUGE LOUNGE 10111-117 St, 780.482.5253 ROSE AND CROWN 10235101 St ROSSDALE COMMUNITY HALL Little Flower School, 10135-96 Ave

AVENUE THEATRE WyClarify, Hit Reply, The J.A.M.S., The

CHURCHILL SQUARE Works Fest Street Stage: Magnetic North (noon); Mary Caroline (1:15pm); John Doefernow Experience (2pm); Jason Thomas (3pm); Crystal Kid (5pm); Elevator Music (6:15pm); Jeff Spec and NaRai (7:30pm) COAST TO COAST Open Stage every Fri; 9:30pm COPPER POT Thea Neuman Quartet DV8 Action News Team, Cocaine Eyes and Whiskey Face; 9pm EDDIE SHORTS Indie reggae with Our Sound Machine ENCORE CLUB 4 Play Fri HAVEN SOCIAL CLUB United Steel Workers of Montreal, By Divine Right, guests; 7:30pm (door); $10 (adv at YEG Live) HYDEAWAY�Jekyll and Hyde Steppin' Off Jasper, Nothing Yet and DJs; 9pm IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JEFFREY'S CAFÉ Anna Beaumont (jazz singer); $15 JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/ rock); 9pm; no cover JULIAN'S�Chateau Louis Graham Lawarence ( jazz piano); 8pm LB'S Tomatoes; 9:30pm-2am

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 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 12464153 St, 780 424 9467 CHATEAU LOUIS 11727 Kingsway, 780 452 7770 CHRISTOPHER’S 2021 Millbourne Rd, 780.462.6565 CHROME LOUNGE 132 Ave, Victoria Trail COAST TO COAST 5552 Calgary Tr, 780.439.8675 COLAHAN'S 8214-175 St, 780.487.8887 CONVOCATION HALL Arts Bldg, U of A, 780.492.3611 COOK COUNTY 8010 Gateway Boulevard; 780.432.2665 COPPERPOT Capital Place, 101, 9707-110 St, 780.452.7800 CROWN AND ANCHOR 15277

30 // MUSIC

Castledowns Rd, 780.472.7696 CROWN PUB 10709-109 St, 780.428.5618 DIESEL ULTRA LOUNGE 11845 Wayne Gretzky Drive, 780.704.

CLUB DEVANEY’S IRISH PUB 9013-88 Ave, 780.465.4834 DRUID 11606 Jasper Ave, 780.454.9928 DUSTER’S PUB 6402-118 Ave, 780.474.5554 DV8 8307-99 St, DV8TAVERN. com EARLY STAGE SALOON 491152 Ave, Stony Plain EDDIE SHORTS 10713-124 St, 780.453.3663 EDMONTON EVENTS CENTRE WEM Phase III, 780.489.SHOW EDMONTON GARRISON Edmonton/Namao Airport ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411 ENCORE CLUB 957 Fir St, Sherwood Park, 780.417.0111 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 HALO 10538 Jasper Ave, 780.423.

HALO HAVEN SOCIAL CLUB 15120A (basement), Stony Plain Rd, 780.756.6010

VUEWEEKLY // JUL 1 – JUL 7, 2010

RUSTY REED'S HOUSE OF BLUES 12402-118 Ave, 780.451.1390 SECOND CUP�Ellerslie Landing 9238 Ellerslie Rd, 780.469.9738; 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 SPRUCE GROVE COMPOSITE HIGH SCHOOL Sports Field, 1000 Calahoo Rd, 780.962.7616, sprucegrove.org/celebrate STARLITE ROOM 10030-102 St, 780.428.1099 STEEPS�College Plaza 11116-82 Ave, 780.988.8105; Old Glenora 12411 Stony Plain Rd, 780.488.1505 STOLLI’S 2nd Fl, 10368-82 Ave, 780.437.2293 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860 WHISTLESTOP LOUNGE 12416-132 Ave, 780. 451.5506 WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Square; 780.28.1414 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,

LEVA CAPPUCCINO BAR Live music every Fri ON THE ROCKS Huge Fakers with DJs

PLAY NIGHTCLUB Pretty People Get Nasty with Peep n Tom, Showboy and rotating guest; DJS; every Fri; 9pm (door)

PAWN SHOP Easy Love Presents: Foamo

REDNEX�Morinville DJ Gravy from the Source 98.5

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

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

RENDEZVOUS Tessitura (CD release), Dam I Am, Disease D Grind

ROUGE LOUNGE Solice Fri

RIVER CREE�THE VENUE Kim Mitchell, Sass Jordan; 8pm; tickets at TicketMaster RUSTY REED'S HOUSE OF BLUES Rault Brothers with Rusty Reed; 9pm-2am; $5 STARLITE ROOM Stereokill, Noisy Colors, Whose the Hero; 9pm STEEPS�Old Glenora Live Music Fri TAPHOUSE�St Albert Daniel Wesley, White Lightning, The Apresnos; 9pm; $15 at TicketMaster/$20 (door) TEMPLE Options: with Greg Gory and Eddie Lunchpail; 9pm

SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca STOLLI’S Top 40, R&B, house with People’s DJ STONEHOUSE PUB Top 40 with DJ Tysin TEMPLE Options Dark Alt Night; Greg Gory and Eddie Lunchpail; 9pm (door); $5 (door) WUNDERBAR Fri with the Pony Girls, DJ Avinder and DJ Toma; no cover

BANK ULTRA LOUNGE Connected Fri: 91.7 The Bounce, Nestor Delano, Luke Morrison BAR�B�BAR DJ James; no cover BAR WILD Bar Wild Fri BLACK DOG FREEHOUSE Fri DJs spin Wooftop and Main Floor: Eclectic jams with Nevine–indie, soul, motown, new wave, electro; Underdog: Perverted Fri: Punk and Ska from the ‘60s ‘70s and ‘80s with Fathead BOOTS Retro Disco: retro dance BUDDY’S DJ Arrow Chaser; 8pm; no cover before 10pm CENTURY ROOM Underground House every Fri with DJ Nic-E CHROME LOUNGE Platinum VIP Fri THE DRUID IRISH PUB DJ at 9pm EMPIRE BALLROOM Rock, hip hop, house, mash up; no minors ESMERELDA'S Ezzies Freakin Frenzy Fri: Playing the best in country FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian GAS PUMP Top 40/dance with DJ Christian LEVEL 2 LOUNGE Formula Fri: 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 Fri House, dance mix with DJ Donovan NEW CITY I Love '80s: Cruel Summer dance party with Blue Jay and Nass Nomad NEW CITY LIKWID LOUNGE DJ Anarchy Adam (punk)

JEFFREY'S CAFÉ Helena Magerowski ( jazz singer) $15

L.B.’S PUB Bob Cook and The Mucho Nada Band; 9:30pm-2am

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

MAYFIELD THEATRE Jack Semple and his band; 8pm (door), 9pm (show); $30 at 780.483.4051

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

SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm

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

Classical

MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm ON THE ROCKS Huge Fakers with DJs

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

BLACK DOG FREEHOUSE Hair of the Dog: (live acoustic music every Sat); 4-6pm; no cover BLUE CHAIR CAFÉ Terry McDade and Harpe Jazz Quartet; 8pm; $15; part of Jazz Fest BLUES ON WHYTE Big Rude Jake BRIXX BAR Cockatoo (Heat Ray 7" release), guest; 9pm CARROT Open mic Sat; 7:3010pm; free CASINO EDMONTON Souled Out (pop/rock) CASINO YELLOWHEAD The Rum Brothers (show band) CHURCHILL SQUARE Works Fest Street Stage: Ruth Purues Smith (noon); John Doefernow Experience (2pm); BEAMS (3pm); Type Monkey Type (5pm); Mary Caroline (6:15pm); Slow Burn (7:30pm); Effect and Cause (8:45pm) COAST TO COAST Live bands every Sat; 9:30pm CROWN PUB Acoustic Open Stage during the day/Electric Open Stage at night with Marshall Lawrence, 1:30pm (sign-up), every Sat, 2-5pm; evening: hosted by Dan and Miguel; 9:30pm-12:30am DV8 Return of The Blame Its, Broadcast Zero, Kroovy Rookers, Punktured; 9pm EDDIE SHORTS House jam with Saucy Wenches; jameoke EMPRESS ALE HOUSE Mark Davis; 4-6pm GAS PUMP Blues Jam/ open stage every Sat 3-6pm, backline provided HAVEN SOCIAL CLUB The Warped '45s, guests; 7:30pm (door); $10 (adv at YEG Live) HILLTOP PUB Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer; 3-5:30pm IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10

ROSSDALE COMMUNITY HALL Little Flower 12th Anniversary Party/open stage; 3-11pm

PAWN SHOP SONiC Presents Live On Site! Anti-Club Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door)

180 DEGREES Dancehall and Reggae night every Sat

AVENUE THEATRE Summer Slaughter's Local Daughter: In the Midst of a Murder, Cleanse Kill, The Fallacy, Capture the Hills, Battleship!, Questions for the Sniper, Stallord, Lucid Skies, Exits and Trails, Desecrate the Gods; 3pm (door); $10; all ages

ORLANDO'S 2 PUB Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm

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

PAWN SHOP C'Mon, Mean Streak

ARTERY Daniel Moir (CD release for Road), Darren Frank; 7:30pm; $10 (door)

AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation

NEW CITY SUBURBS Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay

SAT JUL 3

WILD WEST SALOON Lori Kole

DJs

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

Y AFTERHOURS Foundation Fri

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

YARDBIRD SUITE Tomasz Stanko Quintet (8pm and 9:30pm); John Stowell Quartet (11pm); tickets at TIX on the Square; part of Jazz Fest

NEW CITY LIKWID LOUNGE Punk Rawk Sat with Todd and Alex

OVERTIME Jamaoke: karaoke with a live band featuring Maple Tea

TOUCH OF CLASS�Chateau Louis Joe Lawrence (pop/ rock); 8:30pm

WUNDERBAR Signals, guests

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

RUSTY REED'S HOUSE OF BLUES Sat Jam, 3-6pm; Rault Brothers with Rusty Reed, 9pm-2am, $5 STARLITE ROOM Cygnets, The Blazing Violets, Owls By Nature; 9pm (door) $12 (door) TAPHOUSE�St Albert A Crude Night; 9pm TEMPLE Oh Snap: with Degree, Cobra Commander, Battery, Jake Roberts, Ten-O, Cool Beans, Hotspur Pop and P-Rex; 9pm TOUCH OF CLASS�Chateau Louis Joe Lawrence (pop/ rock); 8:30pm WILD WEST SALOON Lori Kole WUNDERBAR Ronnie Hayward, guests YARDBIRD SUITE Mario Pavone Trio (8pm and 9:30pm); John Stowell Quartet (11pm); $15 (door); Part of Jazz Fest

RENDEZVOUS Survival metal night SPORTSWORLD Roller Skating Disco Sat; 1pm4:30pm and 7-10:30pm STOLLI’S ON WHYTE Top 40, R&B, house with People’s DJ TEMPLE Oh Snap!: Every Sat, Cobra Commander and guests with Degree, Cobra Commander and Battery; 9pm (door); $5 (door) WUNDERBAR Featured DJ and local bands Y AFTERHOURS Release Sat

SUN JUL 4 BEER HUNTER�St Albert Open stage/jam every Sun; 2-6pm BLACK DOG FREEHOUSE Who Made Who–The Rock and Roll Resurrection: The Maykings (revive The Who), The Dirty Dudes (revive AC/ DC); 10pm; no cover BLUE PEAR RESTAURANT Jazz on the Side Sun; $25 if not dining BLUE CHAIR CAFÉ Sun Brunch: Jim Findlay Trio; 10am-2.30pm; donations BLUES ON WHYTE Bluesmyth B�STREET BAR Acousticbased open stage hosted

by Mike "Shufflehound" Chenoweth; every Sun evening

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

CHURCHILL SQUARE Works Fest Street Stage: Ben Sures (noon); Lorrie Matheson (1:15pm); John Doefernow Experience (2pm); BEAMS (3pm); Nadia Kazm (5pm); The Rylas (7:30pm)

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

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

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

DEVANEY’S IRISH PUB Celtic Music Session, hosted by KeriLynne Zwicker, 4-7pm

CENTURY ROOM Underground House every Sat with DJ Nic-E

EDDIE SHORTS Sun open stage hosted by Rob Taylor

DJs

THE DRUID IRISH PUB Sat DJ at 9pm EMPIRE BALLROOM Rock, hip hop, house, mash up ENCORE CLUB So Sweeeeet Sat ESMERALDA’S Super Parties: Every Sat a different theme FLUID LOUNGE Sat Gone Gold Mash-Up: with Harmen B and DJ Kwake FUNKY BUDDHA�Whyte Ave Top tracks, rock, retro with DJ Damian HALO For Those Who Know: house every Sat with DJ Junior Brown, Luke Morrison, Nestor Delano, Ari Rhodes LEVEL 2 LOUNGE Signature Sound Sat: with DJ's Travis Mateeson, Big Daddy, Tweek and Mr Wedge; 9:30pm (door); $3; 780.447.4495 for guestlist NEWCASTLE PUB Top 40 Sat: requests with DJ Sheri

HAVEN SOCIAL CLUB The Cavaliers, Boys Who Say No, guests; 7:30pm (door); $10 (adv at YEG Live) HYDEAWAY Sun Night Songwriter's Stage: hosted by Rhea March J AND R BAR Open jam/stage every Sun hosted by Me Next and the Have-Nots; 3-7pm NEWCASTLE PUB Sun Soul Service (acoustic jam): Willy James and Crawdad Cantera; 3-6:30pm NEW CITY Open Mic Sun hosted by Ben Disaster; 9pm (sign-up); no cover NEW CITY LOUNGE Signals, Scrapbooker, Bayonets; 8pm (door); $12 (door); no minors ON THE ROCKS Lesley Pelletier, Lindsay Walker, Erica Viegas O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am

ROYAL COACH�Chateau Louis Petro Polujin (classical guitar); 5pm RUSTY REED'S HOUSE OF BLUES Blues Jam: Rusty Reed Band; 4-8pm

ROBERT TEGLER STUDENT CENTRE Music for the joy of it: Classic Bronze handbells, Kevin McChesney (conductor); 2pm; free will offering at door

DJs BACKSTAGE TAP AND GRILL Industry Night: with Atomic Improv, Jameoki and DJ Tim BLACK DOG FREEHOUSE Sun Afternoons: Phil, 2-7pm; Main Floor: Got To Give It Up: Funk, Soul, Motown, Disco with DJ Red Dawn BUDDY'S DJ Bobby Beatz; 9pm; Drag Queen Performance; no cover before 10pm FLOW LOUNGE Stylus Sun NEW CITY SUBURBS Get Down Sun: with Neighbourhood Rats PLAY NIGHTCLUB Rotating Drag shows; every Sun; 9pm (door) SAVOY MARTINI LOUNGE Reggae on Whyte: RnR Sun with DJ IceMan; no minors; 9pm; no cover SPORTSWORLD Roller Skating Disco Sun; 1-4:30pm; sports-world.ca WUNDERBAR Sun: DJ Gallatea and XS, guests; no cover

MON JUL 5 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover BLUES ON WHYTE Bluesmyth CHURCHILL SQUARE Works Fest Street Stage: Ben Sures (noon); Lorrie Matheson (1:15pm); U22 (2pm); Cygnets (5pm); Yes Nice (6:15pm); Wool on Wolves (7:30pm); Random Task Collective (7:30pm); Jezibelle (8:45pm) DEVANEY'S IRISH PUB Open stage Mon with Ido Vander Laan and Scott Cook; 8-12 NEW CITY This Will Hurt you Mon: Johnny Neck and his Job present mystery musical guests PLEASANTVIEW COMMUNITY HALL Acoustic instrumental old time fiddle jam hosted by the Wild Rose Old Tyme Fiddlers Society; 7pm PROHIBITION Chicka-DeeJay Mon Night: with Michael Rault ROSE BOWL/ROUGE LOUNGE The Legendary Rose Bowl Mon Jam: hosted by Sean Brewer; 9pm RUSTY REED'S HOUSE OF BLUES Blues Jam: Jammin' with Jimmy; 8:30-12:30

Classical CONVOCATION HALL Canadian Music Competition/Concours de Musique du Canada Gala Concert; 8pm reception to follow; $25 (adult)/$20 (senior)/$15 (student/child)

VUEWEEKLY // JUL 1 – JUL 7, 2010

MUSIC // 31

COMMENT >> MUSIC SALES

Not just a boys' club Women buy music instead of downloading Back in the early '90s, when my recordThey showed that in 2009, the biggest collecting geekdom was at its height, there consumers of recorded music were thirtywas something you couldn't help but something women. notice at each and every indie re"It (the BPI Statistical Handbook cord shop I went into.

2010) found that 43.1 percent Guys outnumbered girls at of the population aged over about the same clip you'd 12 made at least one music ly.com see at Rush shows, comic purchase in 2009, roughly the k e e w @vue steven conventions and Star Trek same as 2008," read the BPI's n Steveor overview. "Women in their thirmovie premieres.

Record collecting was a guy ties are the most active consumSand thing. All the people I knew who ers of music, with 57.5 percent having were into buying Sub Pop rarities or made some kind of purchase in 2009." making sure to buy an English import Now, if the British numbers hold true version of the latest Manchester-band across the board, if those demographics release before it came out domestically are roughly the same in Canada and the were, well, dudes.

United States, then it means the women Sausage parties. And, if you took out of my generation, the ones who weren't some of the record-shop clerks, the malepart of our record-collecting fraternity to-female ratio was increased all that when we were in our early 20s, are now much more. the key demographic for the recording inHeck, we used to joke—my record-coldustry. Not teens. Not hipsters. Not gadget lecting geek friends and I, that is—that a obsessed single men. woman's record collection was large if it So the question is: why is this demographtook up more than a single shelf. ic so strong?

It was a divide. Heck, in Nick Hornby's High The answer, likely, is one of morality.

Fidelity, a book about relationships and record-collecting geeks, he makes it pretty I point to a University of Cape Town clear that obsessing about boxes and boxes study, performed by Jean-Paul Van Belle, worth of vinyl and CDs is, well, a guy thing.

Brandan Macdonald and David Wilson.

So, being a thirtysomething man, I was It looked at the attitudes that influence surprised to read stats recently released by the desire to pirate copyrighted material. the BPI (British Recorded Music Industry).

It found there was a significant difference

ENTER

SAND

DJs BAR WILD Bar Gone Wild Mon: Service Industry Night; no minors; 9pm-2am BLACK DOG FREEHOUSE Main Floor: Eclectic Nonsense, Confederacy of Dunces, Dad Rock, TJ Hookah and Rear Admiral Saunders BUDDY'S DJ Dust 'n' Time; 9pm FILTHY MCNASTY'S Metal Mon: with DJ S.W.A.G. FLUID LOUNGE Mon Mixer LUCKY 13 Industry Night with DJ Chad Cook every Mon NEW CITY LIKWID LOUNGE Daniel and Fowler (eclectic tunes)

TUE JUL 6 BLUES ON WHYTE Bluesmyth BRIXX BAR Troubadour Tue: Darrek Anderson, Ashley Sacha; hosted by Mark Feduk; 8pm CHURCHILL SQUARE Works Fest Street Stage: Plain Janes (noon); Myrol (1:15); U22 (2pm); The Collapse (5pm); Yes Nice (6:15pm); Wool on Wolves (7:30pm); Random Task (8:45pm) CROWN PUB Underground At The Crown: underground, hip hop with DJ Xaolin and Jae Maze; open mic; every Tue; 10pm; $3 DRUID IRISH PUB Open stage with Chris Wynters, this week featuring guest Tatum Williams; 9pm L.B.’S PUB Ammar’s Moosehead Tue open stage; 9pm NEW CITY LIKWID LOUNGE Open Mic; Hosted by Ben Disaster; 9pm

32 // MUSIC

OR

O’BYRNE’S Celtic Jam with Shannon Johnson and friends OVERTIME Tue acoustic jam hosted by Robb Angus RUSTY REED'S HOUSE OF BLUES Acousitc Blues Open Stage hosted by Patsy Amico and Breezy Brian Gregg

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

WED JUL 7 BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed

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

BLUES ON WHYTE Bluesmyth

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

BRIXX BAR Really Good…

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

SIDELINERS PUB Tue All Star Jam with Alicia Tait and Rickey Sidecar; 8pm SPORTSMAN'S LOUNGE Open Stage hosted by Paul McGowan and Gina Cormier; every Tue; 8pm-midnight; no cover STEEPS�Old Glenora Every Tue Open Mic; 7:30-9:30pm UNION HALL Saving Able, We Are the Fallen, Maryland; $15 (adv) at TicketMaster

DJs BLACK DOG FREEHOUSE Main Floor: CJSR’s Eddie Lunchpail; Wooftop: with DJ Gundam BRIXX BAR Troubadour Tue: The Balconies and Sean Brewer, hosted by Mark Feduk; 9pm; $8 BUDDY'S DJ Arrow Chaser; 9pm

CHURCHILL SQUARE Works Fest Street Stage: Michelle Boudreau (noon); 100 Mile House (1:15pm); U22 (2pm); Ben Diaster (4pm); The Juice (U22, 5pm); Cygnets (6:15pm); Greg Wood (7:30pm); Random Task Collective (7:30pm); Jezibelle (8:45pm) COOK COUNTY The Kentucky Headhunters (country rock); $25 COPPERPOT RESTAURANT Live jazz every Wed night CROWN PUB Creative original Jam Wed (no covers): hosted by Dan and Miguel; 9:30pm-12:30am EDDIE SHORTS Goodtime jamboree: Wed open stage hosted by Charlie Scream; 9pm-1am

ESMERALDA’S Retro Tue; no cover with student ID

FESTIVAL PLACE Patio Series: Brooke Trelenberg, Al Brant; 7:30pm $8/$64 (Patio series pass)

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

FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12

NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock, spooky with DJ Vylan Cadaver

HAVEN SOCIAL CLUB Early Show: Alex J. Robinson, guests, 6pm (door), 7pm (show), $10 (door); Open stage with Jonny Mac, 9pm (door), no cover

PROHIBITION Tue Punk Night

VUEWEEKLY // JUL 1 – JUL 7, 2010

between men and women when it comes to illegally file-shared music. "[A] significant gap between males and females is in the music scenario where eight percent of males would probably not pirate compared 18 percent of females who would probably not pirate," reads the study's findings.

Now, if twice as many women as men have sworn off pirating music, it also means women are more likely to pay for music than men. And once people get into their 30s, they usually have more disposable income than they did in their 20s, so, combine morality with money, and you have the female, aged 30 – 39—the target market for the music industry.

For the record, I buy more music than my wife does. But she had a pretty large vinyl collection that she brought into the relationship. Yes, we're both recordcollecting geeks.

She's also got a real good grip of Arsenal's starting 11 and the Major League Soccer schedule.

She even claims to like Star Trek, but I get the feeling she can't name one single rule of acquisition. So I've still got something that's my own — all geeky and male. v Steven Sandor is a former editor-in-chief of Vue Weekly, now an editor and author living in Toronto.

LEVEL 2 LOUNGE Open mic LYVE ON WHYTE 8111-105 St, 780.437.7141 Grand Opening: Jay Sparrow, The Wheat Pool; 8pm NEW CITY Circ-O-RamaLicious: Gypsy and circus fusion spectaculars; last Wed every month OVERTIME Dueling pianos featuring The Ivory Club PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society every Wed evening PROHIBITION Wed with Roland Pemberton III RED PIANO BAR Jazz and Shiraz Wed featuring Dave Babcock and his Jump Trio REXALL PLACE Tool, guests; 6:30pm (door), 7:30pm (show); $39.50, $55, $69.50 at TicketMaster Sold Out

DJs BANK ULTRA LOUNGE Wed Nights: with DJ Harley BLACK DOG FREEHOUSE Main Floor: Blue Jay’s Messy Nest Wed Night: Brit pop, new wave, punk, rock ‘n’ roll with LL Cool Joe BRIXX BAR Really Good... Eats and Beats with DJ Degree and Friends BUDDY'S DJ Dust 'n' Time; 9pm; no cover before 10pm DIESEL ULTRA LOUNGE Windup Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs FLUID LOUNGE Wed Rock This IVORY CLUB DJ every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set LEGENDS PUB Hip hop/R&B with DJ Spincycle

RIVER CREE Wed Live Rock Band hosted by Yukon Jack; 7:30-9pm

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

RUSTY REED'S HOUSE OF BLUES Open stage with Marshall Lawrence

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

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

NIKKI DIAMONDS Punk and ‘80s metal every Wed

STEEPS TEA LOUNGE� College Plaza Open mic every Wed; hosted by Ernie Tersigni; 8pm

PLAY NIGHTCLUB Movie Night every Wed; 9pm (door)

STEEPS TEA LOUNGE�Whyte Ave Open mic every Wed; 8pm

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

TEMPLE Wyld Style Wed: Live hip hop; $5

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

Classical HOPE LUTHERAN CHURCH Il Sono (vocal ensemble); 7:30pm; $10/$5 (student/senior), proceeds to Canadian Lutheran World Relief clwr.org

RED STAR Guest DJs every Wed

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

VUEWEEKLY // JUL 1 – JUL 7, 2010

MUSIC // 33

Back in the village Iron Maiden returns triumphantly

Sat, Jun 26 / Iron Maiden / Rexall Place

In recent years Iron Maiden has been on a bit of a contemplative path, looking back on a recording career that has been running for three decades now, ressurrecting past set pieces and long-forgotten songs on the band's last run through town. This time out, though, a sizable chunk of the setlist came from the three albums released since singer Bruce Dickinson and guitarist Adrian Smith rejoined the band in 1999 after several years and albums away, and the newer material held up nicely amongst older classics like "The Number of the Beast," "Wrathchild" and "Running Free." And that's really what makes Iron Maiden more than just another oldies band touring the casinos of the world: this is a group that still has some fire to it, a desire to cut across new creative paths rather than living on the spoils of the past.

And that fire carried over into a live show that saw Dickinson leaping and

34 // MUSIC

VUEWEEKLY // JUL 1 – JUL 7, 2010

bounding back and forth across the stage while guitarist Janick Gers spun circles and swung his guitar over his shoulder, at the same time as bassist Steve Harris held his signature crouch over the monitors while singing along to the songs. Guitarists Dave Murray and Adrian Smith were less active physically, but they were in fine form on their instruments, while drummer Nicko McBrain was hidden behind a mammoth kit, keeping a thunderous beat throughout the show.

Of course, time has altered the makeup of the band's crowds, with the audience being a welcome mix of genders as well as age groups, with this show being very much a family affair as fathers passed their lighters to sons for the slower parts and even one mother cradling a small, sleeping child—with ear plugs—in her arms at the end. It seems that metal no longer knows any bounds.

Eden Munro

// eden@vueweekly.com

SLIDESHOW >> IRON MAIDEN

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$14.99 or less* Go to vueweekly.com for more of Eden Munro's photos.

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dear god 2.0 & the fire

“The venerable hip-hop band's first effort since joining NBC's late-night lineup delivers all the funk/soul/jazz vibes fans have come to expect” - Entertainment Weekly (*see in store for details)

VUEWEEKLY // JUL 1 – JUL 7, 2010

MUSIC // 35

36 // MUSIC

VUEWEEKLY // JUL 1 – JUL 7, 2010

SLIDESHOW >> GRACE POTTER

Eden Munro // eden@vueweekly.com

Grace Potter & the Nocturnals / Mon, Jun 28 / Rexall Place More photos on vueweekly.com

VUEWEEKLY // JUL 1 – JUL 7, 2010

MUSIC // 37

38 // MUSIC

VUEWEEKLY // JUL 1 – JUL 7, 2010

PREVUE // SCRAPBOOKER

Rough draft

Scrapbooker arranges many influences

SHARP DRESSED MEN >> The girls are crazy 'bout 'em David Berry // david@vueweekly.com

I

f it's true that change is the only constant, then Scrapbooker might be one of the most consistent bands in the city. Whatever you think you might be getting from this trio of sharp-dressed young men, wait a few seconds and it's bound to change: one moment they're bellowing spokenword screeds over stripped-down, post-hardcore punk sounds and the next they're screaming over chaotic and frenetic noise, instruments two steps below bursting into flames. A little bit later, they're somewhere else entirely.

"It's all kind of about throwing things together that don't necessarily seem like they should go together.

Even the band name: 'Scrapbooker' kind of seems like a heavy word, but then when you think about it, it's pretty soft," explains frontman/guitarist Elliott Schleske of the band's ethos. "The way I think about it is sort of like wearing a hoodie with shorts. Are you cold? Why are you wearing shorts, then? What's going on there? That's kind of where it all comes from."

Wearing a hoodie with shorts might have been the origin, but it seems a bit too simple to really capture the essence of Scrapbooker. Wearing a

// Supplied

suit with a barbed wire tie might be a little more accurate, or maybe a crash helmet with nothing else. The band's music is loud and fast and discombobulating, flying from songs inspired by the on-screen suicide of Budd Dwyer to anti-police screeds, and with structures that seem to change their mind as often as their chords.

That's just the way Schleske—who rounds out the band with brothers Sean and Noel Taylor—likes it, he says, pointing out that part of the foundation of the band was as a kind of response to the indie pop that seems to have surrounded him since he was a teenager.

"People spent the last decade listening to indie pop or whatever, and that's great, I'm cool with that, but I feel like the rock was kind of lacking," he says. "A lot of it for me is trying to confront people with ideas that maybe they don't normally come across, and make people uncomfortable a bit. That's one of the reasons I use the noise the way I do, and the lyrics, too.

It's not supposed to sit pretty." V Sat, Jul 3 (9 pm) Scrapbooker With Don Parkin, Rat Tail, A Happy Ending to a Suicide Note Bohemia (10575 - 114 st), $7

VUEWEEKLY // JUL 1 – JUL 7, 2010

MUSIC // 39

40 // MUSIC

VUEWEEKLY // JUL 1 – JUL 7, 2010

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Fri, Jul 2 (7:30 pm) / United Steel Workers of Montreal Like a hootenany with mohawks, United Steel Workers of Montreal will be swinging into Edmonton on its Western Canada tour. Playing mostly folk festivals on the trip, this will be one of the few chances people will have to see the band in a small club where the space contraints could actually make for a more exciting time. Because if you corner a wild animal you'd better be ready for it to bust out and United Steel Workers of Montreal didn't earn a reputation for an out-of-control live show by playing nice. (Haven Social Club, $10) Fri, Jul 2 (8 pm) / Daniel Wesley Hailing from the West Coast city of Vancouver, Daniel Wesley knows how to play to an audience. He first made a name for himself with a song entitled "Ooo Ohh" that turned into a phenomenon on Vancouver rock station the Fox, and on his newest, self-titled album, songs like "Drunk + Stoned" rock that laid-back Vancouver vibe, mixing a bit of reggae with pop and rock. Plus subject matter is important to the people and in Canada, just like in Vancouver, you'd be hard pressed to find someone not in favour of being drunk and stoned. (Taphouse, $15)

Fri, Jul 2 (8 pm & 10 pm) / Tomasz Stańko Quartet Not only has Tomasz Stańko been playing jazz since the mid-'60s, in the '90s he lost his teeth and had to re-learn how to blow into a trumpet. Now that's dedication.

Jun 30 – Jul 3 / Sled Island By now, Sled Island has grown to fill a place in the hearts of people of a certain age and persuasion that is reminiscent of the place that people of an older age and altogether earthier persuasion hold for the Folk Fest. Like Christmas for the skinny-jeans set, Sled Island's arrival heralds the greatest weekend of the summer, filled with all your best pals, all the hippest bands and all the illicit substances you can cram into your body over four heady days. This year's highlight will no doubt be the battle between Les Savy Fav's Tim Harrington and Fucked Up's Pink Eyes for ultimate beard supremacy. Like matter and anti-matter, their beards must be kept separate from each other for the good of the universe. (Calgary) Bryan Birtles // bryan@vueweekly.com

SLIDESHOW >> BLACK MOUNTAIN

Chelsea Boos // che@vueweekly.com

Black Mountain / Fri, Jun 25 / Starlite Room More photos on vueweekly.com

VUEWEEKLY // JUL 1 – JUL 7, 2010

MUSIC // 41

ALBUM REVIEWS

New Sounds

Wolf Parade Expo 86 (Sub Pop) 

David Berry // david@vueweekly.com

E

ven from its relentlessly buzzedabout debut, Wolf Parade has always been the story of two songwriters.

Spencer Krug is the wordy, expansive one, given to lyrical flights of fancy and structures that border on prog-ish levels of unhinged musicality and scope; Dan Boeckner is the Springsteen-esque stomper, more grounded in both his word choice and his penchant for stomping and driving straight for the heart of a song. It makes more sense given the runaway success of their respective major side projects, Sunset Rubdown and Handsome Furs, but long before they could retroactively claim to be a supergroup, people were splitting themselves into camps and debating their merits.

For its part, the band has never much seemed to care which you liked better, which was one of the group's great strengths. Happily trading off songwriting duties with a metronomic consistency, the disparate but surprisingly complimentary styles have only served thus far to give Wolf Parade an exhilirating dynamic that is understandably

absent from either of their solo work, whatever its other considerable merits.

They work so well together seperately that you'd hope they keep it that way.

Expo 86, though, seems to pick up where At Mount Zoomer left off, quite literally in this case: "Kissing the Beehive," the tremendous and properly collaborative song that finished Zoomer, informs a lot of the songwriting on Expo, even if the duo are back to trading off. Krug and Boeckner seem to have infected each other more than ever here, and it's almost always for the positive. Where Zoomer seemed to sag a bit under the weight of first-album hangover, Expo 86 recaptures some of the blistering energy and raw vitality that made Queen Mary such an indie landmark.

The album's openers bear some of their writer's hallmarks, but past that the only reliable clue to who wrote it is who's singing it. "Ghost Pressure" and "Pobody's Nerfect," Boeckner's backto-back stand-outs, benefit as much from importing a bit of Handsome Furs screwy-dance as from a very Krugian expansion, which helps to blow up tales of mere dissatisfaction to epic proportions, confused angst going to existential crisis. Conversely, Krug's "What Did My Lover Say? (It Always Had To Go This Way)" is given a harsh bite by a crunchy, Boeckner-ish guitar riff, his usual melancholy poetry sounding even more world-weary propped up against it, while album highlight "In the Directon of the Moon" is Krug stripped down without losing the excess that defines some of his best work.

There are few bands ever who have boasted a songwriting duo as individually accomplished and disparately complimentary Wolf Parade, and Expo 86 proves that they're only growing more comfortable with each other, more able to exploit what the other adds to their style.V

Buck 65 20 Odd Years Volume One: Avant (Warner)  Avant, the first of a four-part EP series to be released this year, finds Buck 65 commemorating 20 years of making music by casting off the album-spanning concepts of his past few full-lengths, sounding more playful and grounded than he has in a long time. He's collaborating with friends—DJ Buddy Peace, Islands' Nick Thorburn, Neil Osborne of 54-40—and the results here are four scratchy, dustbowl tracks that recall his earlier work, though not in a derivative way: "Red Eyed Son" sounds like a darker, more resigned "Wicked and Weird," and "Gee Whiz" bounces between Buddy Peace's clever record scratches and Buck's wordplay with a controlled, pulling energy. Avant's fleeting at under 15 minutes, but coupled with a DVD of live clips, history and a strangely intimate slide show, its rear-view mirror glances make for an intriguing window into the beginnings of Buck's third decade.

Paul Blinov

// paul@vueweekly.com

Jadea Kelly Eastbound Platform (Independent) 

With warbling lyrics such as "If drinking and pride and trains can take you away from pain, why does everything stay the same?," Jadea Kelly has created a folksy-bluesy country album perfect for a solo Sunday afternoon on the couch with coffee and a good book.

Angela Johnston

// angela@vueweekly.com

Stars The Five Ghosts (Soft Revolution) 

A good formula is no less a formula. The newest effort from Stars sounds deflated: it's a melodramatic assembly of glow pop anthems that, if held apart from past records, would be celebrated by fan and critic alike. Unfortunately, Stars still remains immersed in the after-glow of 2004's Set Yourself on Fire.

Let's give Stars the benefit of the doubt and assume the lyric matter (strictly ghosts) is a genuine fascination and not a sad ignorance of a 2007 vogue the group hasn't realized as being over. Either way, Five Ghosts is towed along by Stars' signature one-liner sensationalism. Perhaps Stars is cursed by its own ghosts, doomed to hide in its own shadow. It might be time for a rebirth.

Joe Gurba

// joe@vueweekly.com

42 // MUSIC

VUEWEEKLY // JUL 1 – JUL 7, 2010

Nina Nastasia Outlaster (FatCat)  Nina Nastasia's new FatCat Records release is a slow, polished collection of delicately boring arrangements that are quite difficult to pay attention to. There is not much here to sink your teeth into besides the everpresent elegance of her every note.

These quiet incantations are truly beautiful though indistinguishable, making for a lovely record to fall asleep or read to. Aside from the noteworthy title track, a handsome and haunting dirge, the album begins to feel like an Aldous Huxley dystopia. Strongly recommended for fans of an Aldous Huxley dystopia.

Joe Gurba

// joe@vueweekly.com

Giraffedactyl Yes We'll Glow (Champion City) 

Anyone who missed Megan James' recent performance at Rutherford House missed Giraffedactyl in its natural habitat: ornate, history-steeped settings where even the smallest movements can resonate with meaning and portent. With a bit of a debt to Joanna Newsom, James crafts incredibly intricate, lushly worded piano songs, almost bracing in their sheer fragility. Most notable is her voice, a delicate, shimmering glass figurine of a thing shaped around her heady but naturalistic metaphors. If she can create this much mood on a simple EP, her full-length is going to be absolutely gutting.

David Berry

// david@vueweekly.com

The Spades Subatomic (Pirate Radio) 

Subatomic is the third album from Peterborough's the Spades, and the first on the band's newly formed indie label, Pirate Radio Records. Produced by the Tragically Hip's Gord Sinclair and mixed by Gordie Johnson, the power trio's new album is as solid as a mighty Canadian Maple.

Simply put, it is garage rock at its finest.

Full of catchy hooks and well-crafted lyrics, Subatomic is well deserving of some play during Canada Day festivities. Go give it a listen, eh!

Jim Dean

// jim@vueweekly.com

ALBUM REVIEWS Talking Heads Naked (Sire)

culture from the whole, the significance of these elements to the culture from which they were borrowed is diminished. When you alter Originally released: 1988 the context of these elements, m ekly.co you also alter their meaning.

In a 1999 New York Times arvuewe @ n a bry Byrne argues, "I would like to ticle entitled "I Hate World Mun a Bry es believe that if I am deeply moved sic," former Talking Heads lead l t r i B by a song originating from some singer David Byrne questioned place other than the need for aumy own hometown, thenticity in music. then I have in some Citing the long hisway shared an expetory of demanding rience with the peothat "world" music ple of that culture." adhere to preconSuch a shared expeceived Western norience lacks context, tions of the "other," however, and withcomplete with cosout context, also tumes and dance lacks meaning. that exist only in This isn't to say that historical memory cultures cannot or but do nothing to should not influence reflect the actual, each other—in fact contemporary culthey do so all the ture the music was time. Popular muborne of, the article NAKED >> That monkey's got no clothes on sic in North America was an indictment would be nothing without the influence of the need to categorize music into the of the blues, which melded the rhythms of "us" of contemporary Western culture and the "them" of everyone else. Such a binary, West Africa with the harmonic structures of European music, but the process by which Byrne argued, "is a distancing mechanism the new form of music was created hapthat too often allows for exploitation and pened over a long period, not a short period racism." Some of the best music, he claims, of intense study and subsequent mimicry. melds cultural forms together instead of Whether or not cultural appropriation seeking to "protect" itself from the influis just is also influenced by the context in ence of other, less worthy cultures. which the art was created. Naked emerged Byrne's opinions on the melding of cultural out of 40 improvised tracks the band musical forms is interesting in the light of worked on in its rehearsal studio before flyTalking Heads' final studio album, 1988's ing to Paris where these tracks were rearNaked, which borrows heavily from Latin ranged and ultimately built into an album. rhythms, furthering the band's propensity Throughout this process, guest musicians for cultural borrowing. Previous albums, were brought into the studio. Amongst such as 1980's Remain in Light, mined the these guest musicians are plenty of Latin African continent for rhythmic cues, while names, people that lent authenticity to the 1985's Little Creatures explored the far corfinal product. And while these musicians ners of America—cultures bearing little remay have shared somewhat in the creative semblance to the Eastern Seaboard upbringprocess, they shared not at all in the moning of the band's members. Byrne's idea that etary benefits of the final product. authenticity is of little consequence allows There's nothing inherently wrong with for the cultural appropriation present on cultural borrowing, but when it drastically 1988's Naked. alters the context of a cultural form it perAuthenticity is not a costume, it's a wealth petuates the power imbalance between a of shared experience. Indeed, that's all that dominant and dominated culture.V culture really is. By divorcing elements of a

OULNDDS

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QUICK

HAIKU Keane Night Train (Universal Island) With less piano And more synthesizer jams I should like this right?

SPINS

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kly.com

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s@v uickspin

Whiteoyn Houst

AM Taxi We Don't Stand a Chance (Virgin/EMI)

It's quite a bummer Punk ages so gracelessly And so does whining

Glory Glory Man United Zombies!!!

(Sound Of Pop)

Breezy Brian Gregg Street (Electronic Busker)

Quickspin confession: I quite prefer fast zombies It's true, plus this rocks!

Busking, now on disc Recorded live on the street Minus urine smell

Bishop Morocco Bishop Morocco (Hand Drawn Dracula)

The Realist Hate Speech (Mutimusic)

These guys have nailed it 80's influenced pop with Heart, brains and four balls

HDR photos The WORST trend of the decade Nicely fits this band

VUEWEEKLY // JUL 1 – JUL 7, 2010

MUSIC // 43

PREVUE // JAY AYMAR

Everything is rosey Musician gets approval from Don Cherry mike angus // mikeangus@vueweekly.com

'I

've written two letters in my life: one was to Don Cherry and the other was to Ian Tyson," Jay Aymar admits over the phone from the highway somewhere in Manitoba. With that, we both agree with a laugh, the Toronto folk-singer/songwriter has written his career. Literally.

The first letter to Cherry was to get the hockey icon's permission to record the song "My Cherry Coloured Rose," a song written in the first person about Cherry's grief over the loss of his wife Rose. Aymar's girlfriend at the time mailed a copy of it to the CBC and within a month, Aymar got a phone call.

"Don called me about a month later, and I told him to f-off. I thought it was my buddy putting me on.

"He laughed and said, 'No, it's actually me and we're really moved by the song.' So he gave me his permission to record it.

"Then about a year after that, I was reading about Tyson in The Globe and Mail, his life being a legendary songwriter and inspiration to a lot of [artists] out there. I wrote him a letter, just a few lines saying he's a Canadian hero, and gave him a homemade CD. He called me on my 40th birthday and said he liked

HE SHOOTS, HE SCORES >> Don Cherry's love for his wife inspired Jay Aymar to write // Supplied the song, and asked if he could record the song."

Aymar is on tour supporting his newest album, Halfway Home, a concise 10song folk record from a versatile and prolific songwriter known for expansive albums that can cover rock, blues, country and folk.

"I was right in the middle of deciding

which songs would go on the record and recording them when I had the call from Ian to record 'My Cherry Coloured Rose'.

Through that connection I was put in touch with publicist Richard Flohil, and he became involved in listening to my songs and guiding me gently, saying, 'This is what you should be focusing on, a more concise record with very similar sounding songs—to make a folk record, because generally my previous releases would have been all over the map: a rock song next to a folk song. I'm just finished up a new record as we speak, and the songs are in a very different vein.

But this one is very folk-driven."

Originally from Sault St Marie, ON, the unpretentious performer continues to be inspired by his fellow folk icons Gordon Lightfoot, Murray McLauchlan, Fred Eaglesmith and Bob Dylan. Like his predecessors, a quick glance at his tour schedule reveals Aymar's relentless work ethic, reaching out to fans the oldfashioned way: one at a time.

"This CD is doing really well for me, I've already sold 1300 units off the stage— 'the hard way,'" he laughs. "It's doing well and I'm getting really great response and I couldn't be happier. It's been a very exciting year, I'm just loving it." V Jay Aymar Fri, Jul 2 (8:30 pm) Early Stage Saloon (Stony Plain) Sat, Jul 3 (8:30 pm) Glenora Bistro

HOROSCOPE ARIES (Mar 21 – Apr 19)

you've ever been in your entire life, and at How well are you capitalizing on this year's least 20 percent better organized and disciunique opportunities, Aries? I'm hoping plined. I hope that you have outgrown one you're well underway in the heroic task of of your amateur approaches and claimed a conquering your past. It has been and will new professional privilege. Now write the continue to be prime time for you to wean following questions on a slip of paper that yourself from unresolvable energy drains. you will leave taped to your mirror for the Exorcise irksome ghosts! Pay off ancient next six months: "1. How can I get closer debts! Free yourself from memories to making my job and my vocation the that don't serve you! You're fisame thing? 2. What am I doing to nally ready to graduate from become an even more robust and lessons you've had to learn confident version of myself?"

GY and re-learn and re-re-learn.

O L O R The coming months will bring A S T .com CANCER (Jun 21 – Jul 22) weekly l@vue il w e you even more opportunities Let's do a check-in on your e fr Rob y to finish up old business that progress so far in 2010, Canhas demanded too much of your cerian. I'm wondering if you've Brezsn time and energy. been cashing in on the unique invitations that life has been sending your TAURUS (Apr 20 – May 20) way. The way I understand it, you've been We're midway through 2010 and it's time summoned to emerge from your hiding to assess how well you're taking advan- place and go wandering around in exotic tage of this year's good fortune. So let me and unfamiliar places. Events that in the ask you, Taurus: have you been expand- past may have turned you inward toward ing your web of connections? Have you thoughts of safety have in recent months honed and deepened your networking nudged you out in the direction of the skills? Have you taken bold steps to refine Great Unknown. Have you been honest your influence over the way your team or enough with yourself to recognize the call crew or gang is evolving? The first half of to adventure? If not, I suggest you find it the year has been full of encouragement in yourself to do so. The next six months in these areas, and the coming months will be prime time to head out on a gloriwill be even more so. ous quest.

FREEW

GEMINI (May 21 – Jun 20)

How well have you been attending to 2010's major themes, Gemini? Since we're midway through the year, let's do a checkin. I hope that by now you are at least 15 percent sturdier, stronger and braver than

44 // BACK

ILL

LEO ( Jul 23 – Aug 22)

The year's half over, Leo. Consider these questions: Has the quality of your intimate alliances become especially intense, invigorating, and catalytic in recent months?

Have you been willing to risk more to get

the most out of togetherness, even if it means dealing with shadowy stuff that makes you uncomfortable? If there has been anything missing from your efforts in these heroic tasks, get to work. Between now and January 2011, you'll have a mandate to go even deeper than you have since January 2010.

VIRGO (Aug 23 – Sep 22)

So how is 2010 going for you so far, Virgo?

Have you been taking advantage of life's offers to help you move into a dynamic new phase of your relationship life? Have you been brave about overcoming the past traumas and hurts that scared you into accepting less than the very best alliances you could seek? I hope you've been pursuing these improvements, because this is the best year in over a decade to accomplish them.

LIBRA (Sep 23 – Oct 22)

Have you been doing a lot of sweating and grunting from sheer exertion in 2010?

Have you thrown yourself conscientiously into the hardest, smartest labor you've ever enjoyed? I hope so, because that would suggest you're in rapt alignment with this year's cosmic rhythms. It would mean that you have been cashing in on the rather sublime opportunities you're being offered to diligently prove how much you love your life. The next six months will provide you with even more and better prods, Libra, so please find even deeper reserves of determination. Intensify your commitment to mastering the work you came to this planet to do.

VUEWEEKLY // JUL 1 – JUL 7, 2010

SCORPIO (Oct 23 – Nov 21)

How's that project coming, Scorpio? You know, that assignment the universe gave you at the beginning of 2010 to loosen up, play more, and periodically laugh like a tipsy Sagittarius. Have you been taking a sabbatical from the seething complications that in most other years are your rightful specialty? Are you dancing more frequently? I hope you've been attending to all of this crucial work, and I trust that you're primed to do even more of it during the next six months. To take maximum advantage of your appointments with relief and release, you'll have to be even sweeter and lighter.

SAGITTARIUS (Nov 22 – Dec 21)

Are you a dynamic bastion of stability yet, Sagittarius? Are you continuing to build your self-mastery as you draw abundant sustenance from the mother lode? You're halfway through 2010, the year when these wonders should be unfolding with majestic drama. The best is yet to come, so I recommend that you declare your intention to make the next six months a time when you come all the way home.

CAPRICORN (Dec 22 – Jan 19)

What are the toughest pairs of opposites in your life, Capricorn? What are the polarities whose different sides rarely resonate with each other and too often threaten to split you in half? One of the distinguishing characteristics of 2010 is the fact that you are getting unprecedented chances to bring them together

in ringing harmony, or at least a more interesting tension. What have you learned so far about how to work that magic?

And how can you apply it in even craftier ways during the next six months?

AQUARIUS ( Jan 20 – Feb 18)

You may still be gnawed by a longing for your life to be different from what it is.

But I've been analyzing the big picture of your destiny, Aquarius, and here's what I see: This year you're being offered the chance to be pretty satisfied with the messy, ambiguous, fantastically rich set of circumstances that you've actually been blessed with. The first half of 2010 should have inspired you to flirt with this surprising truth. The second half will drive it home with the force of a pile of gifts left anonymously on your doorstep.

PISCES (Feb 19 – Mar 20)

The journal Nature recently marked the tenth anniversary of a great scientific triumph: the complete mapping of the human genome. There was a cloud over the celebration, however, because few practical health benefits have yet to come out of this revolutionary accomplishment. I offer this situation as a cautionary tale for you, Pisces. The first part of 2010 has brought you several important discoveries and breakthroughs. In the coming months, even as the novelties continue to flow, it'll be your sacred duty to put them to use in ways that will permanently improve your day-to-day life. Unlike the case of the human genome, your work should meet with success. V

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[]d]ZjYl] Festival stage$ ;gehgkal] @a_` K[`ggd Khgjlk >a]d\$ )((( ;YdY`gg J\3 BYkgf :dYaf]$ ^j]] gml\ggj [gf[]jl3 Thu, Jul 1, 9pm

VUEWEEKLY // JUL 1 – JUL 7, 2010

BACK // 45

COMMENT >> LGBT

All ages

In 1979 Boots n' Saddles opened and bein the window and good old gays looking came one of Canada's longest running gay to grab a beer, or a conversation are left bars. Boots, as it came to be known, became to find another place. Some have done the the home for Edmonton's Bears, a comonce unthinkable and started going to munity typified by big-bodied furry Woody's, the gay pub above Budmen, as well as older gentlemen dy's on Jasper and 117th. It's not and their admirers. that there is anything wrong On March 13 of this year with Woody's, more that a turf Boots majority owner Jim Schawar is alive in Edmonton's gay ly.com k e e w ue fer passed away. A large, loud watering hole communities. ted@v Ted and sometimes cantankerous To cross the threshold of a figure, Jim also had a sweetness competitor's doorway is a transKerr about him that shone through when gression that speaks more of the he wanted it to. Since his death, rumors need for companionship than it does of have been circulating about who received realigned loyalty.

Jim's stake in the businesses (Boots as well Others not able or willing to make the as the neighboring Garage Burger). Is it eastern trek have relocated a few blocks Jim's long time business partner? His recent from Boots to Prism on 101 Street and 105 boyfriend? Did Jim have a will? For many, Avenue, coincidentally a stone's throw from at the end of the day it does not matter.

Mila's Pub, what may have almost been EdThe doors are closed, "for lease" signs hang monton's first gay space. Known primarily

EERN Q UN TO MO

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

BUSINESS OPPORTUNITIES

EDUCATIONAL 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

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

MUSICAL INSTRUCTION MODAL MUSIC INC. 780.221.3116 Quality music instruction since 1981.

Guitarist. Educator.

Graduate of GMCC music program

ARTIST TO ARTIST

ʸ ʸ ʸ ʸ ʸ ʸ ʸ ʸ ARTIST/NON PROFIT CLASSIFIEDS

SUPPORT YOUR LOCAL FOOD BANK

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Need a volunteer? Forming an acting troupe? Want someone to jam with? Place up to 20 words FREE, providing the ad is non-profit. Ads of more than 20 words subject to regular price or cruel editing. Free ads must be submitted in writing, in person or by fax. Free ads will run for four weeks, if you want to renew or cancel please phone Glenys at 780.426.1996/fax 780.426.2889/e-m listings@vueweekly. com or drop it off at 10303-108 St. Deadline is noon the Tuesday before publication. Placement will depend upon available space

as a lesbian bar, Prism has the same sort of earthy, regulars-based vibe that Boots had.

The seemingly inconsequential dilemma of where to drink may register as small, but for men who found friendship, community and validation at Boots it can be a serious issue. Many of these men grew up pre-Stonewall where the idea of gay acceptance was never something they considered, let alone have fully embraced.

Some have families, ex-wives and children that may not talk to them, others may have lost life partners and/or groups of friends to AIDS, and others could see their friends now dealing with other health issues and no longer be around. All of this can be isolating—complicated by society's heterosexism and ageism, which is often intensified within the gay community.

While I am not one to be a bleeding heart

for able-bodied white gay men in light of the poor quality of life facing many queers of color, those living with disabilities and trans folks, the fact is old age is the great bitch-slap of injustice, especially if you do not have money or status. Having a place to go and belong can mean the difference between life and death.

In 2008 the Government of Canada released a health survey in which they found "People who are socially isolated and have few ties to other individuals are more likely to suffer form poor physical and mental health and to die prematurely."

For a regular at a bar the people that sit in the stool beside you become your family, bartenders become trusted confidants and anyone new who walks in becomes a possible future friend—all of it working together to stave off social isolation, providing something to look forward to, a

ARTIST TO ARTIST

Pro level trio require experienced drummer. Please be able to rehearse at least once/wk and have an upbeat attitude.

T: 780.299.7503

M.A.D.E. in Edmonton, Annual Street Furniture Competition: Jul 3, 2010 in Churchill Square. For teams of three or fewer use the materials provided to create pieces of furniture. register with M.A.D.E. at info@ madeinedmonton.org, $20 deposit required

Edmonton Mennonite Centre for Newcomers, need volunteers to help immigrant children and youth of all ages–volunteer in a homework club. Phillip Deng at 780.423.9516, pdeng@emcn.ab.ca

Wanted, a few good men; Musicalmania needs strong male soloist (tenor) and chorus members for Fringe production. T: 780.460.2937

Movements Dance is accepting applications for Dance Instructor for its 2010/2011 season. Applicants should have an extensive background in West African and Caribbean dance with a min of 5 yrs experience.

For info call 780.415.5211 Old Strathcona Antique Mall: Any artist or musician interested in hanging art or performing in monthly showcases contact Jenn@oldstrathconamall.com; visual art will showcase for one month Call for entries: 2011 Dreamspeakers; Deadline: Mar 31, 2011; Info E: info@dreamspeakers.org. Send entries to: Attn: Executive Director, Dreamspeakers Festival Society, 8726-112 Ave, Edmonton, AB, T5B 0G6 Expressionz Café, 9938-70 Ave, looking for visual artists and artisans for weekly art market and rotating gallery space. T: 780.437.3667; W: expressionzcafe. com Allied Arts Council/Spruce Grove Art Gallery: call for Alberta artists 55 and over to participate in the 2010 Senior Art Show. Deadline: Sep 17. 780.962.0664, E: alliedac@shaw.ca Actors to meet monthly to work on scenes and monologues with optional coaching from professional director and actor. email: elaine.elrod@telus.net

MUSICIANS

Professional metal band seeks dedicated guitarist and bass player. No coke heads etc Call Rob 780.952.4927 Harmonica player, vocalist, percussionist, front man.

30 yrs experience. Available for live sessions or road work. Serious inquiries only, please. J.B. 780.668.8665 We are a party / wedding band that already has over 10 gigs booked. Looking for a lead guitarist to fill out our sound. Call 780.271.0030 today!

VUEWEEKLY // JUL 1 – JUL 7, 2010

VOLUNTEER

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

reason get up and take care of one's self.

When a bar closes this can all disappear.

In general Edmonton has become more hospitable for gays and lesbians since Boots opened up more than 30 years ago.

But just because the times have changed, it does not mean that the lived reality for many individuals has. If we as a city are to continue to evolve there needs to be meaningful ways for LGBTQ seniors to participate, engage and feel apart of communities. This means groups need to become more open for people of all ages to participate, communities need to work to eradicate ageism, venue owners and event planners have to consider both physical and cultural accessibility and more intentional, safe and welcoming places need to open up. If we are lucky we will all grow old; let's think about the kind of world we will want. V

COMMENT >> ALT SEX

One for the ladies

Dear Readers, vomiting and loss of consciousness. And Ah, flibanserin, we hardly knew ye. there we left it, except for flibanserin.

The US Food and Drug AdministraAKA Girosa! The next great hope tion's (FDA) Reproductive Health for women suffering from hypoDrugs Advisory Committee active sexual desire disorder voted 10 to 1 on June 18 that (HSSD), AKA: "I'd rather just flibanserin, 100 mg (Girosa; watch Colbert" disease. "We'll om .c ly k e vuewe Boehringer Ingelheim), was be back with an update," we altsex@ not significantly better than Andresaon promised. "Hell, if we can get placebo for hypoactive sexual our hands on some we'll even Nemer desire disorder (HSDD); they also try it for you. Stay tuned." voted unanimously that the benefits What was new and intriguing about did not compensate for its adverse effects. this one was that it purported to affect, (Medscape, June 21) not the nitric oxide cycle/smooth muscle Bah. tissue/circulation like Viagra et al, but the Sometime last fall my friend Yvonne and emotions, via our old neurotransmitter I stood in front of a sex information class, friends dopamine, norepinephrine and sesystematically dismissing once-promising rotonin. Now that sounded promising. sex-enhancing drugs. This one works for We've already established (here, last men, but not for women;. this one doesn't week, I believe, as well as all over the work at all; this one may work but causes place recently) that women's routes to

ALT.

SEX

VOLUNTEER Volunteer website for youth 14-24 years old. youthvolunteer.ca SOS Fest (sosfest.ca): volunteers needed! Jul 9-11; Whyte Ave. eclectic music festival; 90 performers 22 venues. E: volunteers@sosfest.ca The Edmonton Immigrant Services Association is looking for volunteers to help with its New Neighbours, Host/Mentorship, Language Bank, and Youth Programs.

Contact Alexandru Caldararu (Volunteer Coordinator) at 780-474-8445 or visit www.eisa-edmonton.org <http:// www.eisa-edmonton.org> for more detail.

The Great White North Triathlon requests volunteers for the 19th edition on Jul 4 as lifeguards, kayakers, transition marshals, security, course marshals, set-up and tear down.

LeRoy at royal.legend99@gmail.com; lwilliam@telus.net; 780.478.1388 Join the Freewill Shakespeare Festival as a volunteer for its 22nd season, until Jul 25. Troy O’Donnell 780.425.8086, E: volunteer@freewillshakespeare.com Edmonton International Fringe Theatre Festival is looking for volunteers for the 2010 Fringe, Aug 12-22; Info: fringetheatre.ca/volunteer Grow a Row with Edmonton Meals on Wheels; local gardeners and farmers to donate their fresh produce 780.429.2020 for info; Katherine Dalusong E: katherine. dalusong@mealsonwheelsedmonton.org Edmonton Immigrant Services Association: looking for volunteers to help with Youth Tutoring & Mentorship, New Neighbours, Language Bank, and Host/Mentorship programs. Contact Alexandru Caldararu 780.474.8445; W: eisa-edmonton.org Mechanics needed: The Edmonton Bicyle Commuters' Society operates a volunteer-run community bike workshop called BikeWorks, 10047-80 Ave (back alley), also accepting bicycle donations; E: volunteer@edmontonbikes.ca; W: edmontonbikes.ca The Candora Society of Edmonton–Board Recruiting; candorasociety.com; promotes positive growth in the lives of women, children/families in Rundle/Abbotsfield communities. Info: Elaine Dunnigan E: edunnigan@shaw.ca Mediation & Restorative Justice Centre Edmonton: Vol Facilitator Recruitment 2010; mrjc.ca/mediation/ volunteering/complete a volunteer application form; 780.423.0896 ext. 201 Volunteers instructors needed–Tap Dancing, Line Dancing and Calligraphy. Wed: kitchen helper, Fri: dining room servers; Wed evening dinners: dishwashers, kitchen prep and servers. Mary 780.433.5807 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 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 Volunteer with Strathcona County RCMP Victim

HELP SUPPORT THE YOUTH EMERGENCY SHELTER SOCIETY Programs for youth; 780.468.7070; yess.org

Services Unit and assist victims of crime and trauma.

Call Katie at 780.449.0183

and experiences of sexual desire can be far more different from men's than would be convenient. It's nice to say that women and men are more similar than they are different, and in many, many ways, including anatomy as well as the more obvious intellect and so on, we are pretty much identical. But more and more research seems to turn up differences in things like spacial processing, verbal ability, sensitivity to others' emotional states and, fairly recently, how we experience desire and arousal. We are, apparently, different enough to make heterosexuality appear, upon close inspection, not only goofy-looking but something of an unnatural act.

For instance, did you know that a number of studies have turned up the startling fact that women can experience arousal without, well, noticing? If you happen to

The Support Network: Volunteer today to be a Distress Line Listener. Apply at thesupportnetwork. com T: 780.732.6648

U of A is seeking major depression sufferers interested in participating in a research study. Call 780.407.3906; E: UofADep@gmail.com

Are you an International Medical Graduate seeking licensure? The Alberta International Medical Graduates Association is here to help. Support, study groups, volunteer opportunities–all while creating change for tomorrow. aimga.ca

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

A clinical trial of flibanserin presented last year in 1378 premenopausal women found that after 24 weeks, the frequency of satisfying sexual events increased significantly in women taking flibanserin 100 mg, from 2.8mg at baseline to 4.5 mg at study end, compared with placebo, which was 2.7 mg at baseline and increased to 3.7 mg at the study end. Women taking flibanserin also demonstrated improved sexual desire versus placebo as measured by a daily electronic diary and the Female Sexual Function Index desire domain. 4.5 versus 3.7 "satisfying sexual events" per month for the placebo is not chopped liver.

I'm bummed, that there's as yet nothing out there for the millions of women who are, for whatever reason, just not feeling it. Personally I think those reasons include but go so far beyond biology and chemistry, into sociology, history and politics ... well, I hope you brought a magazine, it's going to be a hell of a wait.

Love, Andrea

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Volunteers required for studies at UofA. Call 780.407.3906; E: UofADep@gmail.com. Reimbursement provided

The Support Network: Volunteer today to be a Distress Line Listener. Apply on line thesupportnetwork.com or call 780.732.6648

be the sort of person who enjoys wiring people up with sensors and having them watch porn, you will find that men respond, by and large, to what they said they were into, while women respond to ... everything. Hetero, gay, lesbo ... women's genitals will do what women's genitals like to do, while their owners fail to detect anything unusual. Which is cool (the genital Unitarianism) and a little disconcerting (the total obliviousness), but not entirely surprising. Partly, it's the obvious: men can hardly fail to be aware of their own arousal. Women's is more oblique but it isn't just the internality of our physical responses; it's that women tend to have to want to be turned on in order to experience their turn-on. And that desire to feel desire is proving elusive to those who would design and patent the next female edition Viagra.

To be fair, flibanserin did not in fact completely flunk the test, it just didn't do well enough to impress a scientifically conservative voting panel at the FDA.

Break the Code! Help an adult to read and write. Call Jordan Centre for Family Literacy 780.421.732; famlit.ca

Meals on WheelsºNgdmfl]]jk f]]\]\ Lg \]dan]j fmljatious meals (vehicle required) Weekdays 10:45am-1pm Lg Ykkakl af l`] cal[`]f O]]c\Yqk .Ye Yf\ *he3 k`a^l lae]k Yj] È]paZd] /0(&,*1&*(*( 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 to give support and assist with paperwork. Thu, 10:30am-2:30pm.

Transportation not required. 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

SERVICES 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 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

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

Are you an International Medical Graduate seeking licensure? The Alberta International Medical Graduates Association is here to help. Support, study groups, volunteer opportunities–all while creating change for tomorrow. aimga.ca

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

HAD ENOUGH? COCAINE ANONYMOUS 780.425.2715

Canadian Mental Health Association, cmha-edmonton. ab.ca Education Program offer workshops to give skills to intervene with people who may be at risk for suicide.

Follow the links to ASIST or call 780.414.6300 Volunteer with your Pet, The Chimo Animal Assisted Therapy Project uses animals in therapy sessions with trained therapists to help the clients achieve specific goals. Info: chimoproject.ca; E: volunteer@chimoproject.ca, T: 780.452.2452 Keiskamma Art Project: women and men from the villages of South Africa’s Eastern Cape province need donations of fabrics to create felted and embroidered goods. Need: fine, open weave cottons, silks (silk ponge, silk chiffon, silk gauze), rayon, viscose; fabric pieces larger than a 2" square. Deliver to 13604-108 Ave before Jul 15. Info E: wendy4keiskamma@yahoo.com

ADULT ALL HOT SEXY BABES Try it FREE! 18+ 780.665.0808 403.313.3330

STEAMWORKS GAY & BI MENS BATHHOUSE. 24/7 11745 JASPER AVE. 780.451.5554 WWW.STEAMWORKSEDMONTON.COM S100S

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

OF HOT LOCAL SINGLES It's FREE to try! 18+ 780.669.2323 403.770.0990

#1 SEXIEST CHAT! Call now! FREE to try! 18+ 780.665.6565 403.313.3311 THE NIGHT EXCHANGE Private Erotic Talk.

Enjoy hours of explicit chat with sexy locals.

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YOUR BEST PICKUP LINE

Want to stop smoking? Nicotine Anonymous meetings: 7pm, every Wed, Ebenezer United Church Hall, 106 Ave, 163 St. Contact Gwyn 780.443.3020

LOCAL CHAT. TRY IT FREE : code 2315

780.413.7122

Jewish Family Services Edmonton/TASIS (Transforming Acculturative Stress Into Success): A free program aimed at minimizing culture shock and displacement for trained professional immigrant women. T: Svetlana 780.454.1194

1.900.451.2853 (75 min/$2495) www.cruiseline.ca Purchase time online now!

SUPPORT YOUR LOCAL FOOD BANK

VUEWEEKLY // JUL 1 – JUL 7, 2010

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VUEWEEKLY // JUL 1 – JUL 7, 2010