Vue Weekly Issue 768 July 8 - 14 2010

2 // UP FRONT

VUEWEEKLY // JUL 8 – JUL 14, 2010

INSIDE

COVER

#768 • Jul 8 – Jul 14, 2010

UP FRONT // 4/ 4 6 8 9

Vuepoint Dyer Straight ZeitGeist Bob the Angry Flower

DISH // 10/ 13 To the Pint

ARTS // 30/ 32 Prairie Artsters

FILM // 34 35 DVD Detective

MUSIC // 39/ 42 Enter Sandor 49 Music Notes 50 New Sounds 51 Old Sounds 51 Quickspins

BACK // 52

7

Crumbling away: is it too late for Edmonton to preserve its architectural legacy?

FILM

MUSIC

34

brings its drone 39 Concealer rock to SOS Fest

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

EVENTS LISTINGS 33 Arts 37 Film 40 Music 53 Events

Michael Hingston reviews Simone Bitton's Rachel

VUEWEEKLY.COM SLIDESHOW // Gobble Gobble

MUSIC

• Slideshow Sled Island slideshows featuring Les Savy Fav, Big Business, the Melvins, Gobble Gobble, Signals and more FILM

• SideVue Running Man: Predators and a brief history of hunting humans DISH

• Dishweekly.ca Restaurant reviews, features, searchable and easy to use Gobble Gobble performs at Sled Island

VUEWEEKLY // JUL 8 – JUL 14, 2010

UP FRONT // 3

EDITORIAL

Vuepoint Expensive speech samantha power

// samantha@vueweekly.com

J

aggi Singh, one of the organizers charged in the connection with the G20 protests, is a familiar face at large scale protests and is familiar with the process of owning up to protest actions, but this time things seem a little different. Prior to surrendering to face the charges— charges that remain illusive in how they connect to each of the 16 protesters actions—Singh stated he was lucky this time they hadn't arrested him before the protest began, and his statements seemed particularly concerned with the idea that he might be facing charges for simply organizing a protest. "I helped people find housing and get transportation to come to a demonstration. That's my conspiracy." He stated to the Toronto Star.

If that is in fact the conspiracy, then activism and free speech in Canada face serious threats. Free speech is more than being able to simply show up at a protest, write a letter, or vote every four years. You can't simply show up to a rally. Rallys, letter writing campaigns, websites full of educational

information don't just happen. They're the product of resources, time and unfortunately money. In order for free speech to occur, a person has to have the knowledge of the problem and the tools to speak up against an issue. That can only happen when activists and organizers—citizens— have the resources of their communities to find their voice. Large protests, letter writing campaigns, teach-ins, lobby campaigns, are led by the "professional protester": grassroots organizers in communities.

The charges against the 16 activists, many of whom were grassroots organizers, is a telling followup to the drastic cuts to many international aid agencies and activist organizations. KAIROS, the Canadian Council for International Cooperation, Womanspace, and the numerous others that suffered funding cuts this past year alone, were organizations directed at not only implementing foreign aid or helping women in need find the skills to be economically self-sufficient, but also at helping Canadians find their political voice. If we don't stop the attacks on the "professional protester," it's a voice that will soon disappear. V

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LISTINGS

INSIDE // FRONT

UP FRONT

6

Dyer Straight

7

Crumbling away

8

ZeitGeist

GRASDAL'S VUE

Letters

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BREAKING THE LAW

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

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Syncrude is guilty in the case of the 5000 ducks found trapped and dying in the company's tailings ponds. What does it mean for the environmental responsibility of corporations in Alberta? And what's the Alberta government's responsibility?

Check vueweekly.com for an exclusive podcast exploring the legal implications of the duck trial on environmental law.

4 // UP FRONT

VUEWEEKLY // JUL 8 – JUL 14, 2010

NEWS // ALBERTA ELECTIONS

New riding, old rules

Provincial commission proposes new riding while lawsuit challenges old rules MIMI WILLIAMS // MIMI@vueweekly.com

T

he final report by the Alberta Electoral Boundaries Commission, released last week, recommends Edmonton receive one additional riding in the next provincial election. The proposed new riding, to be called EdmontonSouthwest, which takes parts of the current Edmonton-Whitemud and Edmonton-McClung ridings and extends west to 215 Street and south to 41 Avenue, will bring the total number of seats in the city to 19.

While the New Democrats applauded the Commission's recommendations, the other opposition parties were less than pleased. Alberta Liberal deputy leader Laurie Blakeman accused the Tory government of gerrymandering constituency boundaries and leaving the province's urban areas underrepresented in the legislature. "The Stelmach administration's sticky fingerprints are all over this report," Blakeman stated in a news release.

She noted that this entire process was compromised because the government

ordered the Commission to add four more constituencies, which the Liberals opposed. "Our position all along has been that constituencies should be redistributed, not added. But the influence of the Premier's office has preserved rural seats solely for the benefit of his party," she alleged. The Liberals have a policy on the books that would give the power to redraw electoral boundaries to the Chief Electoral Officer, who would do so based on demographics and without political interference.

Political interference is exactly the criticism levelled by the Wildrose Alliance upon reviewing the Commission's recommendations. "I would have thought that appointing a majority of members to the Commission would have satisfied this government," says Paul Hinman, Wildrose Acting Legislative Leader and the MLA for Calgary-Glenmore. The Wildrose Alliance remains unconvinced that taxpayer dollars weren’t used by the Tories to make their submission to the Commission last April, after Deputy Premier Doug Horner made the party’s submission using his official govern-

ment letterhead, for which he later apologized to the legislature.

Members of the legislature will vote on the commission's recommendations in the fall, though they could also potentially be hearing the result of a legal challenge alleging numerous irregularities in the last election.

Kevin Taft, the former leader of the Alberta Liberals and MLA for Edmonton Riverview, along with the lobby group Public Interest Alberta, have sought a judicial declaration to push the government to pass new election laws that would eliminate many of the problems that plagued voting day in 2008.

Court documents reveal complaints cited in the action include partisan returning officers, a lack of mobile polling stations on campuses and reserves, people directed to the wrong polling stations and long wait times.

Following the election, which had a record-low 41 percent voter turnout, former Chief Electoral Officer Lorne Gibson made more than 180 recommendations for electoral system reform. He proposed fixed election dates and ways to make it more convenient

for Albertans to vote. The Liberals had previously asked the auditor general to investigate complaints and the former auditor general, Fred Dunn, had declined, but said it might reconsider in the future if the government does not act on Gibson's recommendations. It remains unclear what impact the court challenge may have on any further action Dunn may take.

In court, the government argued that because it had made amendments to the Elections Act, the judge should throw the case out. The amendments introduced in May related only to the establishment of the Electoral Boundaries Commission and, besides, argues Taft, the government needs to be ordered to obey its own rules anyway. "The government claims that because they amended the Elections Act everything will be okay. Well, there was an Elections Act last time and things weren't okay," Taft contends. "The plain fact is that if courts don't sometimes warn governments to follow the rules, the rules get ignored."

ernment than his outspoken predecessor Fred Dunn. Dunn became well known for his criticisms of the Alberta government and used his last report to uncover the massive executive pay benefits in provincial entities.

stated Greepeace tar sands campaigner Mike Hudema.

The CPP investment board has purchased over eight million shares giving it 17 percent equity in the company. Glen Schmidt, President and CEO of Laricina, stated, "the investment is a very important endorsement for Laricina" and that it was a strong statement for the growth poten-

Citing the government's attempts to quash the court case as evidence that

the Tories don't want to address fundamental problems with the electoral system, Bill Moore-Kilgannon, executive director of Public Interest Alberta, accuses the Tories of playing loose with Albertans' democratic rights. "There is a reason that the right to vote is the very first right in the Charter: without free and fair voting, there is no modern democracy," says Moore-Kilgannon.

"This case is about protecting that fundamental right."

Associate Chief Justice Rooke turned down the provincial government's motion to strike down Taft's originating notice, which means the legal case will proceed. "We're not seeking to overturn or make any changes in the last election," explained Grant Dunlop, the former Liberal party president and Edmonton lawyer who has volunteered to take the case. The application seeks a judicial declaration acknowledging the alleged irregularities and recommendations to help guide the government to address what the applicants describe as a democratic deficit. The declaration, if granted, will not be binding on the government. V

News Roundup CUT SUBSIDIES, HELP THE ENVIRONMENT

T

he International Energy Agency has reported that subsidies to energy companies have increased by over $200 million in the last year, despite a commitment by world leaders at the Pittsburgh G20 last year—a commitment that was reaffirmed this year at the G20.

The IEA report states a phase out of subsidies would encourage energy efficiency and the use of other sources of energy. A phase out between 2011 and 2020 would cut primary global energy demand by 5.8 percent by 2020 and cut global oil demand by 6.5 million barrels a day. This reduction would also significantly contribute to cutting CO2 emissions.

Though the Pittsburgh agreement specifically asked for implementation plans from each country to be discussed at the Toronto meeting, only India and Mexico made actual cuts to subsidies

over the last year. Canada brought no new targeted reductions, while the US brought forward 12 recommendations.

Canada proposed the same agreement from Pittsburgh be continued and subsidy reduction strategies on a countryby-country basis be brought forward.

OUTSPOKEN AUDITOR REPLACED

M

erwan N Saher became Alberta's auditor general this past week. As acting auditor general Saher took charge of the workplace safety issues uncovered in the April auditor general's report. The report uncovered the fact that half of the employers who fail to comply with the Occupational Health and Safety Act also continute to hold a valid certificate of recognition, which signifies safe work environments and is required to bid on contracts.

Despite this, Saher is rumoured to be more reserved in his criticisms of gov-

CANADIANS INVEST IN OIL

T

he Canada Pension Plan investment board has caused controversy among environmentalists due its planned investment in Calgary energy company Laricina Energy Ltd, a company with large investments in the tar sands. Though the investment board is searching out new areas of investment to ensure the plan will be able to provide into the future, environmentalists believe the board is looking in the wrong area. Greenpeace was quick to condemn the move. "CPP's investment in the tar sands involves pensioners in a toxic legacy when they should be able to rely on an ethical, sustainable retirement plan."

VUEWEEKLY // JUL 8 – JUL 14, 2010

tial "towards building a leading in situ oil sands company." Larcina produces over 500 000 barrels per day from in situ mining. The company has stated this investment will give them greater flexibility in developing their Germain tar sands project located southwest of Fort McMurray. samantha power

// samantha@vueweekly.com

QUOTE OF THE WEEK "What even a decade ago would have been seen as organizing, discussing openly about ways to protest, is now being seen as a conspiracy."

—Jaggi Singh, Montréal organizer with No One is Illegal Montréal and one of the 16 activists facing charges after the G20.

Media Coop with Dominion News Cooperative

UP FRONT // 5

COMMENT >> WAR CRIMES

Laws of convenience be: he bloody well should have.

Eighty years ago, just after the First World War as the world was rapidly sliding toNormally, private communications wards the next, the French philosopher between the attorney general and the Julien Benda wrote a book called The prime minister would remain secret Treason of the Clerks. Clerks in forever, but the Chilcot inquiry the medieval sense: educated has released them because armen, intellectuals, who, deguments about the legality of spite their high calling, chose the Iraq war have a "unique .com weekly to serve the State rather than status." So there it is at last, e@vue gwynn Truth. They were the ones who in black and white: what Golde n n y w G provided the justification for the smith told Blair before he beDyer trayed the law. wars and made them possible.

Curiously, nobody has ever written Goldsmith knew that Blair wanted a book called The Treason of the Lawyers. to join President George W Bush in the Nobody has ever accused Lord Goldsmith attack on Iraq, and that Bush didn't care of being an intellectual, either. But while a fig for international law. Britain, on the the Law is not exactly the same as the other hand, did, and the attorney general Truth, it is certainly possible to betray it emphasized that Bush did not have a legal in the service of the State. That is what leg to stand on. To invade Iraq without an Goldsmith did, and it ended in a war. explicit UN Security Council resolution auGoldsmith was the attorney general, thorizing it would be an act of aggression the chief law officer of the British govand therefore a war crime. ernment, when then-prime minister Tony On January 30, 2003, only 50 days beBlair chose to join the United States in fore the invasion, Goldsmith wrote to Blair: the invasion of Iraq. The particular law he "In view of your meeting with President betrayed was the most important law of Bush on Friday, I thought you might wish all: the one that outlaws war. The docuto know where I stand on the question of ments that prove it came spilling out last whether a further decision of the [UN] SeWednesday. curity Council is legally required in order to They were released by the Chilcot inquiauthorize the use of force against Iraq." ry, an official investigation into the British UN Security Council Resolution 1441, decision to invade Iraq. The key question passed in November, 2002, demanded was: did Tony Blair understand that this that Iraq open its borders to UN inspecwar was illegal? The answer turns out to tors looking for its alleged "weapons of

R DYEIG HT

STRA

6 // UP FRONT

VUEWEEKLY // JUL 8 – JUL 14, 2010

mass destruction." The Iraqi WMD did not actually exist, but the Bush-Blair line was that they did, and that they justified an invasion.

However, Resolution 1441 did not authorize an invasion. As the US ambassador to the UN, John Negroponte, said at the time, "[T]his resolution contains no 'hidden triggers' and no 'automaticity' with respect to the use of force." If Iraq were not cooperating with the UN inspectors, the matter would return to the Council for further discussions.

Goldsmith told Blair in late January, 2003, that Resolution 1441 was not enough: "My view remains that a further [UN] decision is required." That was certainly not going to happen soon, because the UN arms inspectors in Iraq were not turning up any evidence of banned weapons­—and the United States and Britain had scheduled the invasion for March.

There were half a dozen further written warnings from Lord Goldsmith in the months preceding the invasion, all telling Tony Blair that he must have another Security Council resolution before he could act. Blair would scribble notes like "I just don't understand this" in the margin of Goldsmith's memoranda. Eventually, Goldsmith understood that he was displeasing his master.

Then, with no new evidence to justify

changing his position, Goldsmith did a complete about-turn in only six weeks, and wrote another memo three days before the invasion of Iraq saying that it was lawful even without another UN resolution. He sold out, and he didn't even get paid extra for it.

Why does this matter? Because the law matters. Above all, this law matters. It is the law the United Nations was created to enforce: thou shalt not invade other countries. Not even if they are run by bad people, or claim land that you think should be yours, or pose some real or imaginary danger to your "security." We have fought wars since forever, but now it's over. In fact, it's a crime.

That was the law they made after the Second World War, the worst war in history, which killed up to 50 million people. Like most laws, it isn't about perfect justice, just about making things safer, but it has probably saved tens of millions of lives over the years. Once or twice, when nuclear war threatened, it may have saved us all That is the law that Goldsmith betrayed, even though he took it seriously. His US counterparts didn't even believe in it, so there is no need for an American inquiry to reveal what went wrong in the White House. Just as well, because there wasn't going to be one anyway. V Gwynne Dyer is a London-based independent journalist whose articles are published in 45 countries. His column appears each week in Vue Weekly.

COVER // EDMONTON'S ARCHITECTURAL LEGACY

That's the way the city crumbles Edmonton fails to protect historic architecture David Berry // david@vueweekly.com

W

hen the historic Gem Theatre met the wrecking ball in February of this year, it capped something of an abysmal decade for historic buildings in Edmonton. The subject of a decade-long dispute between the City and the developer who purchased it from them in 1999—a dispute which continues today—the lack of any kind of restoration to the Jasper Ave theatre, originally constructed in 1913, over this time led to it being condemned and ultimately joining the long list of historic landmarks that Edmontonians can now only see at the archives.

This is, unfortunately, nothing new for the city. Edmonton seemed to lose prominent historic buildings by the block throughout much of the last decade, perhaps the most famous being the Arlington Apartments—the city's first apartment building, constructed in 1909—and the northeast corner of Whyte Ave and Calgary Trail, both of which fell to fire, the former to a stillunsolved case of arson.

But while legal snafus and fires are a reminder of the (mostly) unforeseen elements that can rob a city of its architectural legacy, the truth is, for much of our still-short history, Edmonton has not needed any help from caprice to rob itself of its legacy. From the preFirst World War building boom that replaced most of the city's original wood foundations with the brick-and-sandstone structures that now represent the most obvious aspects of our history, through the varied 1950s, '60s and '70s booms that wiped away much of that legacy, to the core renewal that is now threatening that, our city is a place of almost constant reconstruction, an urban centre that seems almost paranoid of letting its buildings reach middleage, never mind beyond.

"I remember a story from the pre-war boom about a group that was trying to save the building where the Edmonton Bulletin was printed, because they thought it was a part of the city's legacy," says Tim Marriot, chair of the City's Historical Board. "But then even Frank Oliver, the owner of the building, the one cranking out his hand-pressed newspaper, said, 'We've got much better buildings now. It's just an old wood-

// Pete Nguyen

en shack, why would you want to save it?' There's this idea that Edmonton just rebuilds itself every so often."

"Basically it comes down to cheapness. The bottom line is what we worship here," Shafraaz Kaba, an architect with local firm Manasc Isaac, points out dejectedly, though he also mentions that that tendency is as much North American as Edmontonian. "It comes down to, when a developer buys a building or piece of land, what's the most inexpensive way to develop it?

Typically it's starting from scratch and building something that doesn't have to fit in a not-so-perfect box."

Examples of this kind of thinking in our past are legion (see sidebar), although it should be noted that, over the last 30 years or so, we have gotten better, largely as a result of growing outcry towards the dissolution of our building legacy. With the passage of the Alberta Heritage Act (now the Alberta Historical Resources Act) in 1973, municipalities were granted the ability to protect some of their notable build-

ings by designating them historically significant. Such a designation is essentially a restriction on development that, theoretically at least, limits the types of improvements and renovations structures can undergo to ensure their historical integrity and makes it impossible to tear a building down, whatever the designs of developers.

Edmonton took this one step further with the creation of its own Historic

currently lists more than 800 buildings that the city would like to see protected under the Historical Resources Act. That these locations are only earmarked for protection, though, illustrates one of the major limits of the Act and its effectiveness: for a building to get designated, the present owner has to be willing to accept the designation.

As Robert Geldart, the city's principal heritage planner and the man responsible for managing both the existing historical resources and the inventory, explains, that's a more or less direct result of the development-first mindset that necessitated the act in the first place.

"When the act was created, the concern was, 'If you put a designation on my building, then I've lost several hundred thousand dollars in development value.' In the act, they call it compensation for a perceived loss of value—that's the way the act is worded, and that was the perception back then," he explains. "[For us], it's all about the owner coming on board. It's very rare for the province or the city to designate against the owner's wishes, and we have carrots instead of sticks."

Though the city does have one of the country's most generous compensation plans for those who choose to designate—up to $75 000 for restoration costs for homeowners and discretionary amounts for commercial and other properties—that can still be a drop in the bucket compared to the deluge that can come from tearing down and developing, which leads to some reticence.

One solution might be to remove the need for owner compliance, and while Geldart is supportive of such a measure, he notes that it isn't a cure-all for

It comes down to, when a developer buys a building or piece of land, what's the most inexpensive way to develop it? Typically it's starting from scratch and building something that doesn't have to fit in a not-so-perfect box Resource Inventory in the mid-'80s.

Originally focused exclusively on downtown before expanding city-wide in 1993—and in a near-constant state of update as more buildings reach the 50year mark that is the usual minimum for consideration for designation—it

VUEWEEKLY // JUL 8 – JUL 14, 2010

the issues his department faces.

"I would like to see the city have that power and to use it sparingly and use it well—you really can't be seen as doing something that's perhaps inappropriate," he says, pointing out that a similar policy instituted in Ontario

has led to some property owners going to extreme measures to protect their perceived financial interests.

"Sometimes the city says they're going to designate a property against the owner's wishes, and shortly after, there's a big fire. And a fire is a heritage planner's worst nightmare."

His concerns are echoed by Kaba, who maintains that it's popular attitude, not municipal jurisdiction, that really needs to change.

"What's required is a greater lesson of historical context, of why this is important," he states unequivocally, "and not just for the building owners, but for the greater public."

In that department, at least, there have been some positive developments. In 2008, Edmonton published its Art of Living 10-year city arts plan, which included multiple recommendations for heritage projects, including the formation of the Heritage Council, whose specific mandate is to help preserve and promulgate the city's legacy. The public outcry in the wake of the Gem Theatre incident is also some indication that Edmontonians are waking up to the necessity of architectural preservation.

Unfortunately, though, that task is getting harder as newer styles of architecture are coming up for designation.

Though the appeals of neo-classical or brick buildings nearing or past the century mark have become obvious, especially because of their rarity, the latest buildings to be considered for designation are often in styles whose significance isn't always immediately recognizable to the layperson.

"A lot of modern buildings are somewhat understated, so the sophistication is in the geometry, the proportion, the material, the form, and many people don't get it, unless they're given a bit of architectural history," points out Kaba, who co-curated the Art Gallery of Alberta's 2007 exhibit Capital Modern: Edmonton Architecture and Urban Design 1940 - 1969 in the hopes of educating city residents on the value of that period of architecture. "We were on the cutting edge in the '50s—in Edmonton— for building tall skyscraper buildings with glass, concrete and steel. Does that make a building worth preservCONTINUED ON PAGE 9 >>

UP FRONT // 7

COMMENT >> INTERNET LAW

Internet borders Geo-blocking is a business problem

The Internet was once viewed as a their Canadian audiences. This explains "borderless" world that had little rewhy Comedy Central streams programs gard for the physical location of users. such as the Daily Show in the US, but That sentiment likely seems outdated Canadian users trying to access those today to many Canadian Internet users streams online are redirected to CTV's who have grown accustomed to Comedy Network site. clicking on links for audio or The same geography-based video services only to be adlicences arise with live sports vised that the content, site programming and music seror service is not available in vices. World Cup matches m o .c ekly vuewe their area. are available on the Intermgeist@ el "Geo-blocking" has become net in countries around the Micha standard practice among world, yet the national broadGeist broadcasters, sports leagues cast rights holder (CBC in Canaand music services that use techda, ABC/ESPN in the US) limits their nologies to identify the likely location streams to a domestic audience. of an Internet user in real-time and Music services and book publishers block the content in some circumface many of the same licencing hurstances. From World Cup broadcasts dles. Apple iTunes arrived in Canada to Hulu.com (a popular US video site) nearly two years after the US edition to Spotify (a European music service), not because of copyright laws, but Canadians often find themselves unrather because a new round of negotiaable to access content and are unsure tions was needed with copyright ownwho is to blame. ers to obtain the necessary approvals.

While some have misleadingly suggested that outdated laws are the These delays continue until today, reason behind the blocking, the realwith Pandora, a hugely popular music ity is that geo-blocking is invariably a service, blocked to Canadian users and business issue, not a legal one. Indeed, Spotify's North American launch the geo-blocking occurs worldwide; US victim of successive delays (Spotify residents are similarly unable to use owners have indicated they would like Spotify and are blocked from accessing to launch the service simultaneously in the CBC’s streaming coverage of the the U.S. and Canada).

World Cup. Canadian Apple iPad owners have Rather than a reaction to older laws, found the same licencing limitations the geo-blocking approach is actually apply to the electronic book market. an attempt to preserve an older busiOwners of the popular device can ness model, namely content licencing choose from among thousands of pubon a country-by-country or market-bylic domain books, but the electronic market approach. book store supported by the major Canadian broadcasters have for years book publishers in the US has been purchased the exclusive rights to air slow to migrate its way north to Canpopular US programming in Canada. ada.

This approach led to the simultaneous While frustrated Canadians may be substitution policies that allow Canainclined to call on the government to dian broadcasters to compel cable and "fix" the problem, the reality is that this satellite companies to replace the US is a business issue. Geo-blocking will broadcast of a particular show with only disappear if the business models the Canadian feed (complete with Cathey support give way to global apnadian commercials). proaches that make the borderless InAs video streaming on the Internet ternet a reality. V emerged as an increasingly popular method of distribution, Canadian Michael Geist holds the Canada Rebroadcasters began bargaining for both search Chair in Internet and E-commerce Law at the University of Ottawa, the over-the-air and Internet rights to Faculty of Law. He can be reached at U.S. programs. With those rights in mgeist@vueweekly.com or online at hand, broadcasters streamed their own michaelgeist.ca. version of the programs exclusively to

ZEIT

GEIST

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VUEWEEKLY // JUL 8 – JUL 14, 2010

EDMONTON'S ARCHITECTURAL LEGACY

BOB THE ANGRY FLOWER

<< CONTINUED FROM PAGE 7

ing? Probably, but without knowing the historical relevance of it, no one seems to take that into account."

Marriot says that this is a big mistake, pointing out that one of the reason's for the paucity of early 20th century architecture is because, at a similar juncture, the city failed to recognize what it had.

Though he laments that loss, he also thinks it's crucial that we don't repeat our mistakes with this new round of historically important buildings.

"We can be upset and regretful that those buildings are gone—and they are gone, and we can't rebuild it—but we've also got a more modern heritage legacy that we can save, if we can get the word out," he says. "There's a lot of history that's still here that people underappreciate. It's a matter of gaining some new eyes to see what's around you, to appreciate that."

Our ability to get together and preserve what we do have left may be the ultimate test of whether or not Edmonton has learned anything as a city about what we lose when our only focus is on the shiny and new. Though some development—especially that

which takes into account new standards of sustainability and densification—is inevitable, and no one wants to encase our city in metaphorical amber, we don't even need to look beyond our own borders to see the value of preserving our architecture. Whyte Avenue benefits from both its historic streetscape and the modern developments that have grown up around it; Westmount has been experiencing a minor renaissance after its stately 1920s homes earned it a historical neighbourhood designation; the recently refurbished Garneau Theatre has managed to attract more business and foot traffic without needing to be torn down and rebuilt; the downtown 104 St district has been transformed by new developments that incorporate the district's rich warehouse history.

In short, some of the most vital areas of the city are so precisely because at some point we honoured their historical value. What's needed now is for us to internalize the lesson that the city can grow around its history, that we needn't always erase our past to realize our future . V

THINGS WE'VE LOST Edmonton has never been a world leader when it comes to preserving our architectural heritage. Though it is easy to lament the loss of the buildings shown here, all of which were built in the city's original, pre-First World War building boom, it's worth remembering that they themselves swept away the buildings that Edmonton's founders built the city in.

Edmonton Courthouse Built in 1911 and opened the following year, the original Edmonton Courthouse stood on 102A Avenue and 100 Street, overlooking what would now be Churchill Square. It was demolished in in 1972 to make way for the current occupant of the space: City Centre Mall.

Secord House Built in 1907 just south of Victoria (now 100) Avenue, Secord House was one of the many mansions that made that then-west-end street one of the city's most presitgious addresses. Its expansive space made it the ideal home for the Edmonton Art Gallery from 1952 to 1967. Currently, an apartment building still bearing this name sits in its place.

View of McDougall Street Now 100 Street, this shot offers a glimpse of three dearly departed buildings. In the foreground is the Imperial Bank of Canada, a little further on is Edmonton's first post office, and at the end of the street you can see the original CN Station, which constituted the outskirts of the city when it was built. The only remnant of any of these buildings is the post office's clock, which was preserved and now sits in front of the entrance of the Westin Hotel, which took over the post office's location.

VUEWEEKLY // JUL 8 – JUL 14, 2010

UP FRONT // 9

INSIDE // DISH

DISH

Online at vueweekly.com >>DISH

12

Restaurant Reviews

Urban China

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

REVUE // AASHIANA RESTAURANT AND SWEETS

Judging a book

Humble southside restaurant produces sublime food LS Vors // vors@vueweekly.com

T

he full moon carries with it much connotation and baggage. The number of dog bites treated in hospital increases, as do suicides. The "crazies" crawl out of the woodwork and the police are busier. It is an intriguing notion, but the lunar effect, as it is known, is greatly exaggerated. Studies to which these phenomena are attributed are often contradictory and, despite the upsurge in movie werewolf popularity, there are scant few significant links between phases of the moon and human behaviour. Rather, a key contribution of the full moon to human existence is aesthetics. The full moon bathes the ordinary in an ethereal, whitesilver light. It is a searchlight in a busy sky, and on one such evening it brightened an otherwise ordinary road that leads to Aashiana Restaurant and Sweets.

The building itself is humble, squeezed between a gas station and a small strip mall. There is a cooler of Punjabi sweets near the doorway and a small buffet table that carries fragrant Indian standards, but the rest of room feels unfinished. Stacks of chairs and tables crowd the back of the room, while heavy, transparent plastic tablecloths cover the tables in use. A mul-

10 // DISH

LESSON LEARNED >> Behind Aashiana's humble facade lies some amazing food titude of vividly-coloured tapestries distract from the monochromatic walls. I am concerned that the menu will emulate the nondescript décor.

My fleeting concern evaporates when I open the menu to reveal a lengthy list of lesser-known dishes.

Incarnations of chick peas, rice and paneer are heavily favoured, while of-

// Bryan Birtles

ferings of meat are few. We are drawn to shahi paneer ($11.99), enticed by the promise of cream, tomatoes and cheese. Additional selections include goat biryani ($10.99) and chole poori ($6.99), the latter a chunky concoction of chick peas served with deepfried flatbread.

After a reasonable wait—not too

VUEWEEKLY // JUL 8 – JUL 14, 2010

short as to suggest slap-dash preparation and not too long as to induce hypoglycemia—our food appears.

The hammered copper serving vessels are a visual treat, the delicately arched handles guiding the eye to the offerings within. The poori are puffed up like balloons, slowly deflating as I tear off a chunk with which to

sample the chole. The poori are devilishly oily, but simultaneously crisp.

The chole is redolent with cilantro, turmeric and minced red onions, providing textural and gustatory contrast to the toothsome legumes. This vibrant cohesion of heat and crunch is a pleasing prelude to the much-anticipated shahi paneer.

By my own admission, I have a positive bias to cheese. Paneer is thus a favoured dish and here it luxuriates in a mellow blush of tomato-cream curry.

The curry itself is slightly reminiscent of a deftly-executed rosé sauce, but with the unmistakable inclusion of cumin, coriander and a whisper of red chilies. Sharing quarters with the ivory cubes of paneer are tidbits of cashew. The summation of these ingredients is nothing short of cheese and cream bliss.

The biryani hides cubes of unusu-

ally mild goat in a hillock of aromatic basmati rice laced with cilantro and gentle spices. Here, the rice drinks in stout meat drippings and coriander seeds provide intermittent bursts of citrus, but a hidden danger lurks in the form of goat bones. The chunks of goat meat are still on the bone and while they undisputedly add great depth of flavour, their sharp edges might surprise the unwitting diner.

The meal ends as a reminder that Indian cuisine includes more than dhal and butter chicken, but also as

a cautionary tale to not presume that ordinary surroundings beget ordinary food. Outside the fabric-shrouded windows, the full moon's purposeful ascent continues, its beams finding neither police chases nor victims of lycanthropy, but rather an evening rescued from the ordinary by copper vessels, coriander and cheese. V Mon – Sun (11 am – 9 pm) Aashiana Restaurant and Sweets 1523 - 50 St, 780.485.5844

TIPS

How to deep fry

Deep-frying isn’t difficult. As with anything else, preparation is the key. Whether you use a deep-fryer or a skillet, it's a satisfying experience that results in pleasurable dining. Below are some tips that can help the process along.

1. Choose your cooking oil carefully. You want to use oils with high smoke temperatures. In other words, you want oils that do not break down at deep frying temperatures. Safflower oil, sunflower oil and canola oil are some good choices.

Olive oil and vegetable oil are OK, but not for prolonged periods of time.

2. Make sure the food you're going to fry is dry. Let it sit on paper towels or coat it in flour or breadcrumbs or whatever dry coating you plan to use. Let the coated

food sit on a wire rack for 20 – 30 minutes so the coating dries and sets.

3. The best temperature for your oil is 350 – 375 F. If you don't have a thermometer, the oil is ready when a oneinch cube of white bread dropped into the oil browns in 60 seconds. Assume the oil temperature is about 365 F at that point.

4. Don't deep-fry too much food at one time. If you add too much food at once, the oil temperature will drop and the food will absorb fat instead of instantly searing.

5. Carefully add the food, leaving lots of space around each piece so the food will cook evenly.

6. Watch the food carefully as it cooks, regulating the heat if necessary to keep

that oil temperature between 350 – 375 F. Again, the hotter the oil, the less is absorbed by the food.

7. When the food is browned according to the time in the recipe, it's done. Remove it with a slotted spoon or a heavy stainless steel sieve with a long handle.

Drop it onto paper towels to drain.

Remember, oil and water don’t mix. Keep water away from the hot oil. If you pour water on the oil, the mixture will explode. If the oil smokes or catches fire, cover it with a pan lid or cookie sheet.

You can use baking soda to put out any grease fires, but be careful that you don't spread the flames around.

Pete Desrochers

// desrochers@vueweekly.com

VUEWEEKLY // JUL 8 – JUL 14, 2010

DISH // 11

REVUE // URBAN CHINA

Urban renewal

Off-the-beaten-path restaurant impresses MARIA KOTOVYCH // MARIA@VUEWEEKLY.COM

I

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

July 7, 2010 Vue

12 // DISH

have a confession: when I want to try a new restaurant, I'll often head outside of the typical Whyte Ave/Downtown restaurant nexus. The places that I've tried over the years have offered good food in unpretentious settings and at even more unpretentious prices. It was during the trek to one of my favourite haunts that I noticed Urban China.

I invited a friend to join me for dinner one weekend evening. A mix of large, circular and smaller tables, Urban China clearly caters to groups of different sizes. Indeed, a few parties of more than 10 people were already sitting in the restaurant when we entered. We were immediately seated at a smaller table.

The server placed two menus in front of us, but we set aside the one with the North-Americanized Chinese food offerings. Last year, when my co-diner and I went to Europe and were faced with menus in German—which neither of us happens to speak—we would order food by opening the menu to any page, pointing to a random item and letting the food surprise us. ("You know that's a calf's heart, don't you?" one server in Innsbruck said to me).

Well, we opted for the same ordering method in this restaurant, as it had led to some pleasant culinary surprises back in Europe—calf's heart, a delicacy in that region of Austria, is really tender.

The server came immediately to take our drink order, a pot of tea ($1) to share, as well as three communal dishes. While we knew what satay honey-fried oysters were ($18.95), we were also intrigued by two other dishes that we hadn't seen before: the pan-friend enoki yee noodles ($12.95) and the crab-meat and fish maw soup ($15.95).

We look around, enjoying the blackand-silver simplicity of the décor. The atmosphere was simultaneously casual and classy, a very nice kind of laid-back elegance. The wall on the far side from the door was bright red, with a painted dragon crawling across the lower half of it. The small accent of colour gently warmed up the room.

The lamps were little chandeliers,

VUEWEEKLY // JUL 8 – JUL 14, 2010

URBANIZATION >> Urban China's laid-back elegance and televisions projected soccer games and Chinese programs from each wall.

A later visit to the washroom revealed small televisions playing hockey games above the sinks, though I find televisions in washrooms as obnoxious as ads in bathroom stalls.

// Bryan Birtles

to the chewy noodles, the mushrooms continued the trend of matching taste and texture, and we had no trouble polishing off the dish.

As good as the other parts of the meal were, the satay honey-fried oysters were a different story. A thick crust covered the oysters themselves, but the The first dish to arrive was the soup, entire dish was overly deep-fried. As a which was served with pepper and result, the oysters' crust was too soggy, red vinegar, if we were so inclined. and at times reminded me of the kind The white soup has a pleasant jellyof Chinese food that you might get at a like consistency—the soft crab meat is mall foodcourt. The oysters within the easy to chew, while thee fish maw has crust somehow managed to avoid the a gummier texture. I tried one bowl external greasefest, but the onions and DINE IN / TAKE OUTtoA BOX plain, and then added some pepper red peppers fried along with the oysmy second ANYTIME, helping. The flavours of the ters certainly didn't. My co-diner and ANYWHERE crab meat and the fish maw blended I couldn't help but imagine how good together without overpowering, and I that dish might taste baked, or at least enjoyed it both plain and with a bit of fried in less oil. Still, we did manage pepper kicking inside. I was also imto finish everything—three dishes is a pressed with the size of the portion— good number for two diners. there was enough for us to have three To top everything off, I swiped some bowls each. While we were enjoying of my co-diner's silky mango pudding the soup's mixture of textures, the serv($3.75). The flavour announced itself ers brought the oyster hot pot and the immediately on my tongue and I can enoki noodles, and their portions were still detect the echo even after I swalas generous as the soup. lowed. It was some good pudding.

Urban China has another winner We left pleased. I can imagine returnwith the pan-fried enoki yee noodles. ing in the winter—that steaming soup One reason why we'd ordered this dish would be just the thing to make me forwas to learn what enoki is, and after get about the cold. V we'd sampled it, the server pointed out MON – SUN (10 AM – 11 PM) that enoki is a type of mushroom. The URBAN CHINA mushrooms' texture is of soft crunchi10604 - 101 ST, 780.758.1888 ness, with their little heads growing on long, stringy stems. A counterpoint

BEER

Organic Malt Balancing an old friend Charlie Flint's Organic Lager Alley Kat Brewing Company, Edmonton, AB $12.99 for a six pack

TO TH

E

PINT

In the beer-writing business, it's easy to overlook the old m ekly.co standards. A new beer arvuewe epint@ th to rival, or a beer with bizarre Jason ingredients or with a quirky Foster story tends to get our attention and, thus, more of the ink. And in part that is perfectly fair. You, the reader, want to know what is new and interesting. You don't want me pontificating on a beer you drink on a regular basis.

However, our fixation with the new can sometimes cause us to miss a story close to home. Case in point: Alley Kat's SOFTER, MORE ROUNDED >> New Charlie Flint's lager. This beer has been characteristics for an old standby // Jason Foster around for yearsâ&#x20AC;&#x201D;it is Alley Kat's staple pale lager. It is a beer I enjoy, but generma. The flavour offers a silky, soft grain ally have overlooked in favour of more malt upfront adding in a moderate bitthe robust Full Moon Pale Ale or Amber terness that dries out the finish. The hop Ale. It has never given me reason to write linger is deep and rounded. The malt is about it. rounded without losing its grainy notes.

A few months ago, however, Alley Kat I remember the old Flint as coming quietly switched Charlie Flint's over to across with a sharp, grainy malt and a bit organic malts, making it Alberta's first thinner body. The hops came out more organic beer. At first, while I appreciated in that version. The new, organic Flint is the gesture (organic is better, after all), I softer and more rounded, coming across paid fairly little attention. But then the as more European. I also think it's more homebrewer in me kicked in. I realized balanced through the bolstered malt overhauling your malt bill the way they presence. did must have some effect on the flavour In short, the old Flint was a decent laof the beer. So I grabbed a six pack to ger, but I think I prefer the new version. find out. And I can honestly attest that For whatever reason, I think the new the beer is quite different than its nonmalts have imparted different qualities organic predecessor. to the beer, almost making it like new.

It doesn't look much different, presentCertainly worthy of a revisit. ing sparkling medium yellow with a rich Who knew I would find a good beer white head forced up by an assertive story in an old local standby? V effervescence. The aroma is my first tip off. I pick up a soft pilsner-like sweetness Jason Foster is the creator of onbeer.org, reminiscent of a barley field at harvest a website devoted to news and views on time. There is also a soft, grassy hop arobeer from the prairies and beyond.

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

DISH // 13

INSIDE // ADVENTURE

ADVENTURES

OUTDOOR

20

24 26

Game Face

Columbia Valley Wild Alberta

DEATH RACE // ENTRY 7

RARE SOUVENIR >> Documenting a successful summit Jeremy Derksen // jeremy@vueweekly.com

D

eath is coming. There's not much time left now, maybe three weeks at best. Night is setting in. Draw closer.

Under the faint light of this single headlamp you can make out shadows and impressions of the trail—boggy swampland; the barren peaks of Flood, Grande and Hamel; open plateaus, hidden forest; and the deep, cavernous gorge of Hell's Gate split by the Smoky River.

But away from the glare, without spotlight or fanfare, Death's minions are hard at work readying for the North Face Canadian Death Race this August long weekend, July 30 – August 2. The burden is largely carried by a small, core group of three people—Dr Death, the Death Warden and the Third Man—with a few others chipping in on an as-needed basis. Their identities are

14 // OUTDOOR ADVENTURES

// Jeremy Derksen

not strictly anonymous but they often prefer to operate in shadows, befitting the race theme, and let the epic nature of the race and the heroes it produces speak for itself.

Yet organizing the race may well be as immense a feat as finishing the race itself. "Whenever we celebrate an accomplishment, we do so quietly, and with a 'Great! Only 999 998 more things to go!'" says the Wardena.

There are permits to secure, insurers to convince ("Um, hi. We need some insurance for the Death Race? Yes, that's right: the Death Race. Hello? Hello?"), sponsorships and other agreements to set in place, registration and timing databases to manage, volunteers to recruit, 125 kilometres of trail to mark and maintain (sometimes with ATVs and chainsaws), training camps to run—the list goes on.

It's a massive undertaking. In all, 1500

souls will travel the course in 2010, more than any previous year. With all the racers, their families, support crews and spectators, Grande Cache's estimated population of 4200 will nearly double.

Every hotel will be flooded for several days before and after the race. (There are already waiting lists.) The streets and the Death Fest grounds will teem. Shops will overflow with paraphernalia and patrons. And on race day, the dead will rise up and walk among the living.

Among residents with a pulse, many will be assisting with the race in one way or another. It takes a minimum of 250 volunteers to staff the event, with a core contingent of locals who return year after year. These people—including folks like Stan Wall and Vic Gross, Doug and Phylis Lyster, Dan Hula, the jetboat crew, Aseniwuche Winewak Nation and the "ladies of Beta Sigma Phi"—operate key

VUEWEEKLY // JUL 8 – JUL 14, 2010

posts on race day.

"Many of our core volunteers pull very long shifts, 24 hours or more," the Warden writes.

Lest it deter prospective volunteers, such extreme commitment is not expected of everyone. The average shift is four hours, or until relief comes. For their sacrifice, volunteers are rewarded with an appreciation package, celebration dinner and other perks. (Perhaps a good word in the hereafter?)

Some volunteers, like the organizers themselves, also work in anonymity, seeking no recognition or reward, like the "Stealth Recycler." The Warden explains: "After the race, everything gets shoved into the garage and it takes us a while to pull it all out and get it sorted, inventoried and back into order.

"We had a huge, growing pile of recycling and garbage, and periodically it would just disappear overnight. Some

kindly soul was picking it up for us and taking it to the recycling centre.

"Turns out it was the husband of one of our loyal community Death Race volunteers, who was quietly passing by and lending a helping hand. He never asked permission or expected thanks, just put his hands in and did what needed to be done."

That the race inspires and attracts this kind of character is a testament to its success. Yet even with a steady push to get volunteers in the months leading up to the race, the Warden comments, "There are always extra hands needed."

Simply, it's a big production. And the Warden, as her title suggests, pretty much oversees it all.

As hard as she works, though, the Warden shies away from any credit, instead praising her co-organizers, volunteers— and her mother for keeping her upright

ON GIANT'S SHOULDERS >> Rounding a switchback on Mt Hamel and seeing her through race weekend.

The elder Ms Warden is nurturer, morale-booster, occasional force-feeder and bodyguard to her daughter as the latter goes through four hectic, sleepless days and nights of intense, round-the-clock organized chaos.

"The first time I did the race, I struggled about whether to bring her here," the Warden recalls. Now, and ever since, she's glad she did. "I couldn't do it without her."

Something in this bond is symbolic of the live-giving force behind the race.

Though the "death" theme captures the imagination, it is life and a way of living that we all seek. The June training camp I attend is full of strong mothers, stories of life and affirmations of the enriching value of the struggle.

Carol Bradbury ran the race for the first time in 2009 to put a prayer flag on Mt Hamel for her daughter, who suffers from a degenerative muscular condition.

Another mother-daughter combo from Athabasca attended the training camp together. The daughter, 16, is quickly becoming one of the province's strongest

// Jeremy Derksen

runners. She is currently entertaining scholarship offers for long-distance running, and regularly places near the top of the pack in 5 Peaks Northern Alberta races. Seeing her mother push through the tougher legs of the course in training camp (including a broken bike dur-

brutally long training day on the Hamel Assault, I arrive at Ambler's Loop and meet the Wussy Wagon. Its role on training weekend is to pick up stragglers and transport them down the final seven or so kilometres of trail from Hamel back to the highway, where everyone's vehi-

ing a portion of one leg), it was clear the daughter's upbringing was integral in moulding her into the strong young woman she is—the youngest ever to participate in a Death Race training camp.

And on it goes. Until, at the end of a

cles are parked.

Given the name, there's an obvious point of pride in trying to beat the Wagon (a big 4x4 pickup) down the mountain.

When caught, some runners will even fight to keep going. But true to her name,

VUEWEEKLY // JUL 8 – JUL 14, 2010

the Warden doesn't admit any escapees.

If the Wagon catches you, you ride the Wagon. On the way down, you share stories with other captives and the Warden.

You learn about pride, humility and the life-sustaining nature of humour. You may even discover, in your fellow runners and organizers, those most redeeming virtues of humanity.

In his essay, On Striving, the sport of running's pre-eminent philosopher Dr George Sheehan writes, "We have been granted prodigious talents, and spectacular sacrifices and fidelity are expected in return.

"We were meant to be heroes."

This is what the race requires of us—every last one, racers, organizers, support crews, volunteers and family members.

After more than 50 km of biking and riding over the course of the day, more than 30 of them straight up and down a mountain peak, my socks are nearly black, I've sucked my hydration pack dry and I am ready for rest. I have, as Sheehan exhorts, "used myself up."

So when the Warden greets me, resplendent in a tutu and pink gumboots, I ride the Wagon. Proudly.

Unbeknownst to Bradbury, at the same time she was planting her prayer flag on Mt Hamel in 2009, another relay team was running the race for her daughter as well. The team, including Jason Bougher, Carley Gering and Graham Glennie, was raising funds for the Children's Wish Foundation. By coincidence, they chose her daughter's wish.

This year, Bougher, Gering and Glennie are running to support a wish for 13-year-old Beau, who has acute lymphoblastic leukemia and received a bone marrow transplant in 2008. For him, receiving his wish means "taking a break" from the side effects of his treatment and making memories with family. He uses up Sheehan's quota of heroism just living; Bougher and his friends take on theirs by running on his behalf.

Other teams have raised funds for charities including the Special Olympics, Canadian Breast Cancer Foundations and ALS. In fact, the Death Race is a non-profit event run under the banner of the non-profit organization, the Cana-

dian Institute of Extreme Racing. Proceeds generated from the race go back into administering the following year's race and ensuring its sustainability, but beyond that many of the organizers' efforts are focused around supporting charitable causes.

"It is the charity aspect which keeps me going, knowing that by putting my heart into it many organizations and individuals receive assistance from fundraising and awareness efforts inspired by the epic feats of human endurance that is the Death Race," the Warden states.

"Otherwise, it's just a bunch of crazies running up and down mountains."

Back at the beginning of the training weekend, Dale Tuck (aka Dr Death) had surveyed an anxious room of runners, some familiar, others not, and said, "You are all giants in this room. But among giants, there are giants."

Along with a group of amazing athletes (including recent Western States 100 champion Tracy Garneau), he then proceeded to lead us through the legendary terrain that surrounds Grande Cache. It is both humbling and elevating to stand among those giants, and look up. V

SHOWING UP If you're racing but you haven't got your own cause, there are still ways to support good causes just by showing up. One way the Death Race supports local charity is through Beta Sigma Phi and its Friday night pre-race pasta supper. Eat well and know that each supper voucher that is traded in puts approximately $10 in Beta Sigma Phi's charitable coffers. Similarly, the Monday morning toonie breakfast and awards ceremony goes to local charitable interests. Or support one of the many racers' charity fundraisers, like Children's Wish.

ON THE WEB childrenswish.ca/deathrace canadiandeathrace.com

OUTDOOR ADVENTURES // 15

FISHING // FORTRESS LAKE RETREAT

Oh so fly

Cast a line at Fortress and you'll end up hooked KIRK ZEMBAL // KzeMBAL@vueweekly.com

W

e'd come to a clearing along the banks of the Athabasca River close to its natural headwaters high up in Jasper National Park when we heard it—the alternative. It was the float plane buzzing overhead with its gleaming pontoons and promise of a smoother ride. It was tracking northeast, towards its home at Hinton having just disembarked supplies and passengers at our eventual destination in the distance— Fortress Lake. We, however, were taking the longer, harder way in.

We were on our bikes, halfway through a 27-kilometre trek from Sunwapta Falls on the Icefields Parkway across the Continental Divide and into British Columbia's Hamber Provincial Park. Surrounded by UNESCO World Heritage beauty, we were losing elevation and loving it; we couldn't quite grasp the appeal of the float plane yet.

We crossed the Athabasca on a suspension bridge and looked to be making great time. An hour later, we were mired in endless rock gardens, cursing every gram in our packs and buying super-light cross-country bikes in our minds. That and the coming fording of the some-

times-treacherous Chaba River crystallized the allure of an aerial ride in.

One thing is certain, however. No matter which of the two (and only two) routes taken in, the journey plays distinct second fiddle to the destination.

I'm not normally prone to boyish gushing, but Fortress Lake is simply gorgeous. Towering peaks dropping avalanches towards a gin-clear mountain lake ringed by a healthy conifer crown will do that to a man.

We came, ostensibly, to try our hand at some fly fishing, but with such landscapes to ogle it was enough just to sit back and take it all in as we were picked up at lake's edge and ferried into camp by the Fortress Lake Retreat boat.

I'm sure operators Dave and Amelia Jensen see the same dumb grin on everybody who crosses their beach.

If they do, they gave no sign of it and thankfully allowed us to prattle away without dampening our enthusiasm.

Instead, they supplied gracious hospitality and enthusiasm of their own for the next day's introduction to the fly fishing world.

We'd need that extra boost because, with the exception of one, we were complete rookies. To say we were like

PULLING ON A LINE >> Byron Thimer casts into Fortress Lake fish out of water would be just a terrible, terrible joke—but apt nonetheless. A quick primer from guide Nick Sliwkanich: "Unlike in spin fishing, the hook is light and it's actually the weight of the line that allows you to cast."

Hence, the wide sweeping back and forth motion of a fly fisherman's rod as they feed more line off their reel into the arcing collection in the air, until they have enough for the length of cast they desire. Watching our resident veteran demonstrate, I got that old gut feeling: "This isn't going to be as easy as it looks."

Perception, focus, balance, repetition: all that jazz is involved in a good cast. And it's like any other esoteric skill, to really progress you have to take great pleasure in your wins, no matter how minor. If you can hold onto the good feelings from a good cast, you can sustain your motivation through a dozen poor ones. Fortunately, the feedback from your rod and line is fairly immediate. You know right away what you did wrong and can (try to) correct accordingly.

Once we got a handle on how not to cast, we could concentrate on, well, fishing. Fortress is famous for its brook trout. Seeing as how they are native to the lakes of Eastern Canada and a rarity in these parts, it makes sense.

Turns out Fortress Lake was stocked in the 1940s and the population has flourished in absence of any competition. As well, the strict catch and release policy

// Kirk Zembal

WIDE ENOUGH FOR YA? >> Sonja Hehli attempts a narrow bridge crossing on the Athabasca // Kirk Zembal means that there are literally plenty of fish in the sea. In some of the shallower waters you can see teeming schools of them just waiting for the hook. Good news too, because I happen to be a terrible fisherman.

AT THE OASIS Off the grid and out in the bush, Fortress Lake Retreat offers what they call "rustic luxury" amid the foreboding wilderness. Accommodations are in canvas roofed cabins with solar LED lights and a little wood stove to take the chill off at night. Delicious meals are cooked and served in my favourite Central Asian form

16 // OUTDOOR ADVENTURES

VUEWEEKLY // JUL 8 – JUL 14, 2010

of shelter—yurts. Throw in a few out buildings including a guide (read: bullshitting) shack, equipment and utility sheds and you have a nice little comfortable operation in the middle of nowhere. Oh, and flush toilets and a hot shower facility. Ah, the wonders of sun-tracking solar power systems and flow-through water heaters. V

I am reasonably certain that I now hold the Fortress Lake camp record for fewest fish caught at a meagre one. I'm sure the veteran fisherman at camp would blame it on my technique or choice of lure, but I personally choose to believe that I burn through my luck in other venues and it comes full circle whenever I've got a fishing rod in my hand.

And that is perfectly fine by me. I'll just sit in the boat enjoying the view and the welcome ache in my bicycling muscles and watch the world go by. V

ON THE WEB flyfishalberta.com/fortresslake/

VUEWEEKLY // JUL 8 – JUL 14, 2010

OUTDOOR ADVENTURES // 17

18 // OUTDOOR ADVENTURES

VUEWEEKLY // JUL 8 – JUL 14, 2010

VUEWEEKLY // JUL 8 – JUL 14, 2010

OUTDOOR ADVENTURES // 19

GAME FACE >> SEAN LA ROSE

Altitude adjustment

Skydiving on a daily basis 'gets the blood flowing' Ask Sean La Rose if he thinks of himself as more intrepid than most and you'll get a fairly ho-hum answer.

"I guess I would consider myself a little bit adventurous," he says. "I like to get the blood flowing." ly.com Considering he jumps out eweek is@vu w le of airplanes mid-flight for Lewisy a living, La Rose's remarks Kell surely rank high in the running for understatement of the year. He works full-time at the Edmonton Skydive Centre just south of Westlock as an instructor—a job that combines work with pleasure like few others.

La Rose estimates he's done about 1600 jumps since he started five years ago and he's never felt like it was work.

The nature of tandem skydiving—the type of dive most first-timers do, in which the rookie is strapped to a veteran THE AIR UP THERE >> A diver comes in for a safe landing at the Skydive Centre // Lewis Kelly and basically along for the ride—helps keep things from becoming too routine does, La Rose sees all sorts of different ter plane and climbing to approximately clipped up and tightened up and ready to for La Rose. responses.

4000 metres often occasions a change go, all of a sudden they just change."

"You'll only get to do your first skydive "Some people are really scared and in disposition in customers.

Still, he's never had a tandem jumper once," he says, "but then you can go do calm and nervous, and then others are "You see people—especially guys—and refuse to get out of the plane, though 500 tandems a year with people that are just loud and screaming all over the on the ground they're very tough and being strapped to an eager and experiexperiencing their first skydive and [feel] place," he says. "And some people start putting on a big bravado," says La Rose. enced diver might have something to do the energy coming off them." out one way and end up the other."

"Then you see them in the airplane, a couwith that.

Jumping with first-timers as often as he Packing into the centre's Super Twin Otple thousand feet, you're starting to get "If they don't wanna go, you just kinda

GAME

FACE

20 // OUTDOOR ADVENTURES

VUEWEEKLY // JUL 8 – JUL 14, 2010

back up a little bit and talk to them for a second and then duck your head down and roll out," he laughs. "It's a big door, so they can't really stop you."

Once they exit the plane, howling wind and the sensation of falling at over 200 kilometres per hour can overwhelm a diver to the point that they cannot form a coherent thought past "Whooooooa!"

Strangely, plummeting towards the earth from over two miles doesn't really feel like falling.

Free-falling feels "like you're kind of floating or flying on a cushion of air," says La Rose. "The ground is so far away it's really hard to see it coming at you."

La Rose's love for skydiving runs deep.

When not teaching others how to do it, he practises flying a small parachute at low altitude and high speed, which he does competitively. In the winter, like the birds he shares the skies with, La Rose heads south in search of warmer climes so he can keep diving.

In the summer, he even lives at work in a small trailer. While this eliminates any chance to play hooky, La Rose wouldn't have it any other way.

"The only thing I would ever call in sick to do is go skydive," he says. V

TRAIL // ETIQUETTE

BACKCOUNTRY // HYGIENE

Happy valley

Bush scents

David Berry

Bobbi Barbarich

// David@vueweekly.com

// Bobbi@vueweekly.com

F

W

Rare, minor conflicts are resolved with basic trail etiquette or most of us, the river valley is a kind of outdoor sanctuary, an opportunity to escape into the wilderness—or something like it—in the heart of the city.

With more than 10 million users taking to the nearly 300 kilometres of developed and undeveloped trails each year, though, the green belt is something like a superhighway for recreation, the city's most popular destination for everything from jogging to cross-country skiing, from commuter cycling to mountain biking, from walking the dog to watching the birds.

With all those people engaged in such a variety of activities, conflicts are bound to arise. Multi-use trails try to maximize the experience for everyone, but some uses just aren't compatible with others, and the consequences of disparate users bumping up against one another can range from putting a damper on your day to something much more serious: earlier this season, marathon runner Sandy Jacobson was very nearly killed when she ran into a fishing line that another user had carelessly strung across the trail while cycling near Rundle Park.

Though that's an extreme example, many less serious but still frustrating incidents happen regularly on the valley trails. According to Doug Costigan, director of parks for the city of Edmonton, though, considering the scope of users and uses, it's remarkable how smoothly everyone gets along on the trails.

"Issues do come up, but honestly, 99 percent of the time when people are on the trails, they have a great experience," he points out. As the head of the department that hears about it when people don't, though, he is familiar with the myriad issues that can affect people's experience. "Of that one percent, the issue that it most frequently comes down to is trail etiquette."

That's been the experience of Karly

PEACEFUL CO-EXISTENCE >> Over 10 million users take to the River Valley each year // Jeremy Derksen Coleman, as well. A member of the city's Trails, Paths and Routes advisory committee—a group designed to help advise the city plan the best uses of various multi-use infrastructure, including valley trails—as well as a MEC employee and frequent user of the river valley herself, she rarely has any issues when she's on the trails, a fact she attributes mostly to the courteousness of other users.

"I find as long as you're following the basic rules, whether you're on your bike or hiking or whatever you're doing, mostly you won't have a problem," she explains. "Not everyone knows exactly what the rules are, but even just being considerate when you're out there makes a big difference."

Still, often people can be unaware of what the considerate thing to do is, and as often as not conflicts can arise through

simple ignorance, with users not even aware that they're being improper—the most frequently-cited example is wintertime joggers and walkers who traipse across cross-country skiing trails, often because they're unaware of any difference between regular snow-covered trails and the ones skiers have carved out for themselves. According to Costigan, that's a matter of educating the public, a constant challenge but one that's not insurmountable.

"We're constantly looking for ways to ensure that everyone knows the rules of the trails, from putting up signage to reaching out to the communities and talking about it," points out Costigan.

"The bottom line is, if everyone knows and follows proper trail etiquette, there's going to be less issues, and a better experience for everyone." V

KNOW WITH THE FLOW Much of trail etiquette is common sense, but all of us could use a refresher in the proper way to behave when we take to the trails. The City of Edmonton has the following suggestions for minimizing issues when you decide to get into the river valley.

Respect other trail users Treat all trail users with courtesy and respect regardless of their activity, speed or skill level.

Be aware Look behind and in front before changing trail positions. Warn those in front that you are approaching. If you want to move left or pass someone, check what’s going on behind you. If you travel with ear buds turn the volume

down or wear only one so you can hear what’s going on around you.

Keep trails open If you’re in a group on the trail ensure you leave room on the trail for others to pass you. Stay right and pass on the left. Always look before changing your position on the trail.

Slow down for safety Downhill traffic yields to uphill traffic.

Travel at a safe and controlled speed.

Be especially careful when visibility is limited. All users yield to horseback riders.

Use open trails only If the trail is closed, please stay off it.

Respect all posted signs and barriers.

Leave No Trace Practise low impact trail use. Wet and muddy trails are more vulnerable to damage. When the trail is soft, Please consider other options.

Carry out all litter, including your pet’s waste.

Dogs Dogs are a potential fright for a lot of people. Dogs must be kept on a leash (unless in a sanctioned Off-Leash area) and under control at all times.

Plan ahead Know your equipment, your ability, and the area you are travelling in and plan accordingly. Be self-sufficient at all times. This advice will keep you safe.

VUEWEEKLY // JUL 8 – JUL 14, 2010

Staying clean—and safe—in the backcountry e are at once addicted to scents and repelled by them. A multibillion dollar industry plays on natural instincts and trains our noses to accept some smells as appealing, others as revolting: flowers smell good, poo smells bad. Smearing scents on our bodies to enhance the former and hide the latter is ingrained in our psyche and our nasal passages, and is usually done to attract a mate. But when you’re in the bush, controlling your natural scents might be a matter of sleeping alone … or with a curious animal.

How you choose to maintain an odourless mystique with a potential mate when hiking in the backcountry can be a tricky procedure. Despite the marketing lure of pretty powders and handsome balms, the most important factor is to hike without a trace. The main sources of human odour to either attract a furry critter or keep your partner upwind are your body, influenced by what you eat, your body chemistry and your clothes—laden with laundry detergent, perfumes and deodorants.

If you want to be exceptionally careful, wash the clothes you intend to wear on your hike in unscented detergent and hang them out to dry. Then skip the Axe deodorant spray or ylang ylang-scented face wash. Instead, use scentless antiperspirant or deodorant and soap when you camp. To keep fresh, bring a package of unscented baby wipes and a bottle of unscented hand sanitizer. Resist the lure of “natural” essential oils like lavender and tea tree. Animals may like these smells as much as you.

Another chapter in the hygiene story is what to do when nature actually is calling. Some find it difficult to poo in the wild, others find it about as close to nature as one can get. Unfortunately, the little bacteria that stick around your hands and feet can cause serious gastro issues if not properly culled after the deed. At worst, the smell will beckon a bear.

Poo dos and don’ts, however, are simple. Do not drop near any running water and do bury your poo. Then thoroughly wash your hands. This is a seriously dirty matter easily cleaned with your hand sanitizer. If you spray on your shoes, keep those far from the tent.

Your temporary outhouse should be a distance of at least five metres from any source of water. Bury your remains under at least ten centimetres of soil whenever possible.

With proper precautions, your romantic camping trip can be nasally unapologetic and relatively worry free.

Acknowledge the fact that you both need to go sometime and your relationship will get quickly comfortable. V

COLD VS CLEAN The thought of cold on your nether regions might deter you from washing in a creek. But if you have to be clean, you can keep the goose pimple at bay.

Keep unscented baby wipes in your sleeping bag when you sleep. Your body heat will warm them.

Carry your water in a metal container. Put that directly over the fire for fast heat. It’s small and the stream is direct.

Drink black tea then wash. Warm leaves, or better yet tea bags, are reasonably comfortable in your pits, feet and crotch. The tannins in black tea also give it an antiseptic punch.

THE MENSTRUAL MYTH

To find a link between the monthlies and bear attacks, several researchers combed the circumstances around violent encounters.

One group studied clean and used tampons, and scents, human blood and menstrual blood. While polar bears went for the used ones and seal scents, they ignored human blood. So if you’re menstruating on your way to the North Pole, you might want to schedule another trip.

Black bears however, were no more attracted to Aunt Flow than to clean cotton. In grizzly attacks, researchers found no link between menstrual cycle and curious bears. Garbage, food and surprise were the main culprits to incite a grizzly rage.

Still, for women, it’s best to be safe with your hygiene, especially during your period: 1. Use unscented baby wipes.

2. Use internal tampons, not external pads.

3. Don’t bury your tampons—seal with used baby wipes in double Ziploc baggies and carry your garbage out when you leave.

4. Store garbage away from you— hang on a tree branch at least three metres high and two metres away from the trunk.

5. Alternately, burn tampons in the fire. Allow to burn completely or the odour will linger.

OUTDOOR ADVENTURES // 21

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OUTDOOR ADVENTURES // 23

GOLF // COLUMBIA VALLEY

The grand escape Eat, drink and golf in the Kootenays

Après GOLF >> The luxury surrounding it is often as important as the game Lachlan Mackintosh // lachlan@vueweekly.com

G

olf is a solitary game. It is thought to have originated some 800 years ago with shepherds knocking stones into rabbit holes on the current site of the Old Course at St Andrews, Scotland.

Like all modern sports, golf has grown exponentially over the past century, while the old religion has died. We may trust in God, but we play or watch sports every weekend. Football fans watch the World Cup every day of the week—morning, noon, and night—like pilgrims bent toward the television.

After weeks and weeks of cold rain, I was off to the promised land, aka the Columbia Valley, or the East Kootenays in British Columbia, where the weekend towns and tourist villas of Radium, Invermere, Panorama, Windermere and Fairmont await their May-to-September lovers.

There is an "aha" moment when you drive through the red canyon walls above Radium. The rock walls go straight up on both sides, then the road slips through a crack in the mountains, and the sky opens up. Finally, sunshine.

My assignment: eat, drink, play golf and be merry. Our foursome consisted of a golf magazine publisher from Ed-

24 // OUTDOOR ADVENTURES

// Lachlan Mackintosh

monton, a golf magazine editor from Vancouver Island, an engineer from Calgary and myself, the left-handed freelancer. Ahead of us we had three rounds of golf, two nights in the lap of luxury and one delicious dinner.

After the getaway drive Friday afternoon, we dusted off the cobwebs of a long winter with nine holes at Fairmont Hot Spring's Creekside course.

This little par three track looks great for introducing kids to golf or refining the short game. It was pretty much all nine-irons, wedges and missed putts for our group.

From there we shot south down the highway to the Hoodoo Lounge and Grill, where a roadhouse exterior belies a great menu inside. Later, back at our spacious three-floor chalet, the editor and I retired to the giant man cave (with its own wet bar) for a game of billiards.

Eventually the subject worked around to new clubs. "Man, I can talk about clubs for hours," the editor said.

Our sublime weekend base, The Residences at Fairmont Ridge, was a big part of the resort charm. After a lazy Saturday breakfast, we walked out the door of our unit in flip-flops, crossed the wet wobbly rocks of Fairmont Creek and followed a path for 10 minutes, which climbed to a footbridge that led to the original Fairmont Hot Springs.

Now, I've been to a few natural springs in my day: Banff, Radium, the dripping caverns of Ainsworth Hot Springs near Kaslo and the remote Hot Springs Cove over the hills and far away in Clayoquot Sound. But nothing I've seen could have prepared me for the grand scale of Fairmont Hotsprings.

The huge pools varied from a shallow area closest to the actual source of the spring to a big Olympic style swimming pool. And amazingly, the pools are emptied every night and refilled each morning with natural spring water.

After the hot springs, we were off to one of the Columbia Valley's premiere new courses. Just seven seasons old, Copper Point Golf Club is young and brash as a mountain goat, as golf courses go. The practice putting green was almost as fast as our billiard table. In no time we were on first tee. Three groups, six golf carts, 12 men.

In the hierarchy of our foursome— the publisher, the editor, the freelancer, and the engineer—the publisher tossed a tee in the air to see who would hit first.

And so it begins: the social game where we keep to ourselves. There are few moments in sport as lonely as standing over a golf shot. The golfer is at one with himself.

Then there is a beat, a moment of pure psyche that contains multitudes. You

VUEWEEKLY // JUL 8 – JUL 14, 2010

still your mind and begin your swing.

The more you play, the less you think.

The big words are rhythm and tempo.

You just step up to the ball and hit it.

First there was golf, then there was food. Our foursome was invited to "Cooking in the Mountains"—a fabulous Fairmont culinary experience put on by a different western Canadian chef each summer month. Our chef, Steve Smee from Calgary's Una Pizza and Wine, worked in the kitchen of a gorgeous new show suite at The Residences.

Dinner featured five courses and then some. Highlights were the lemon garlic sautéed prawns flamed with sambuca (by one of the guests), plus plates of veal and pork meatballs baked in a san marzana tomato sauce. The pièce de résistance was without question the grilled AAA Alberta Ribeye with lemon arugala and truffle oil.

Early Sunday morning, with the British Columbia dawn in shades of pale blue, we stood on the first tee at Fairmont's Mountainside course. The red wine still coursed in my blood like an ancient pulse. Thankfully, golf is a game almost made for a hangover. In fact, one of the most beneficent sights on the course is when the beer cart girl appears like a mirage on the horizon.

Twenty years ago, John Updike wrote

in Golf Digest (the magazine of choice amongst dads who weren't reading Playboy): "Everything is better, golf is booming, and yet something has gone from the game—the sweet sensation of being alone, in the tawny buffalo grass rough, with a problem to be solved at your own pace."

Hitting that tiny ball into a coffee-cup sized hole, 400 yards away. Expecting to do it in two smooth swings and a couple steady putts.

This is the game you play when you really want to get away from it all. You might walk a round with your closest friend. But we don't talk about it unless we have to. And with four guys, you never do.

The truth is golf gets inside you. Like your truest self, it knows how well you might do. It knows your potential. And how you fail to reach it. Most days, you walk off the course unsatisfied, craving more. As the engineer put it, "What time do we tee off tomorrow?" V On the web WEB ON THE fairmontridge.ca unapizzeria.com copperpointgolf.com fairmonthotsprings.com ilovefairmonthotsprings.com

VUEWEEKLY // JUL 8 – JUL 14, 2010

OUTDOOR ADVENTURES // 25

BIKE LESSON // RABBIT HILL

Like riding a bike

A little instruction gets riders into the downhill groove Will COLFord // Colford@vueweekly.com

G

rowing up in a small town, mountain biking was all I did. But years away from the sport—and its subsequent progression into "extreme" territory—had made getting back into it seem steadily more intimidating as time passed.

I am of the generation who watched as extreme sports became mainstream and were sold conveniently as a lifestyle choice. Along with sports like rock climbing, snowboarding, kayaking and even skateboarding, mountain biking had mutated from a humble sport, centered on individual progression and expression, into an industry centered on marketing the image of an adventurous and fulfilling life. Pound for pound, today's mountain bikes can cost more than a Ferrari.

However, beyond all the hype, on a recent visit to Rabbit Hill I rediscovered a sport that is as thrilling and traditional as the day I got my first bike. It was chrome blue and held together with tape and wire; I had to guess the correct position when shifting gears; and it had cantilever brakes that failed almost as often as the gearshifts. In fact, I still have a rough scar of stitch marks across the palm of my right hand because of those damn gears.

As much as the sport has progressed

YOU WANT ME TO DO WHAT? >> Some beginners pick up skills quickly with a lesson, but not necessarily this quickly // Will Colford from those days, I was pleasantly surprised to see it hasn't gotten away from itself. For $59—less than a decent round of golf—beginners at Rabbit Hill can get a full equipment rental, lift ticket and lesson to help ease back into the seat.

My class also included a first time mountain biker on borrowed equipment and another rider who had just recently bought himself the equipment and was eager to get the most out of it.

Our instructor Pat started us off with some flat ground exercises. First, we

tested and strengthened some important fundamentals like balance and positioning, with drills like riding onto a wooden deck, then stopping for a split second before continuing off. "This will allow you to stop on the trail, even for a short while in case you need to give way to someone else, or someone has fallen in front of you," said Pat while demonstrating.

Despite some struggles, we eventually decided we were ready for the next step—riding the lift. Truth be told, I was

expecting a sport far removed from the days of my youth, with large crowds of hard core riders all decked out in topline gear, focused and ready for war.

What I could see heading up the lift were families enjoying a day in the sun just as mine had. Young kids enjoying a day away from their parents, just as I had, and a surprising number of girls simply killing it. I don't mean to sound sexist; however my preconceived notions about the sport certainly were skewed.

Don't get me wrong, the first thing that can be seen from the chair are massive dirt mounds lying like sleeping dragons in the bike park. Moreover, pouring down from all sides of the hill are fully geared bikers, gleefully ignoring their brakes. But nothing about this scene felt commercial, or coerced or crowded.

From the chair I saw a snaking side trail, rider's right from the big-boy bike-park.

Before I could even ask, Pat explained "the pump track."

It's an excellent way to learn speed, timing, and cornering. One of the key things we learned was to never brake in the middle of a corner. "If you have to, break just before and feather out, but never in the middle."

Little did I know I would discover first hand why breaking in the middle of a corner is bad.

Off the lift, we turned our pedals and gathered speed. I was terrified. Many times during our first run Pat stopped to lay out the course and indicate good points to look for merging trails and oncoming riders. All I could feel was the scar on my right palm constricting the handle bar. My brakes and I became

best friends, especially on the last steep section before the bottom.

"Feathering" is a misnomer when flying down a large hill. All I could do was just repeating the Pat's words, "lightly squeeze both brakes just until you feel the bike begin to skid." The run left me drained, but hungry for more. Pat served up all we could eat, working us through a few intermediate drops, steep berms, raised wooden courses and tight, technical trees.

We also learned how to "roll" blue and black diamond drops. "Just pick a distant spot, put your weight to the back and roll off," he would say.

We learned to traverse high wooden platforms. I even learned why you shouldn't brake in the middle of a corner, as I went over the bars twice on the same run.

"Don't forget, don't brake in the middle of a corner," Pat would say. I didn't mind the falls too much though; after all, a day without falling is a day without learning.

When it was over, I headed home satisfied. Looking at the scar on my palm I realized the sport had not changed as dramatically as the latest Mountain Dew commercial would have me believe.

After all, I didn't need to drive hours on end; I didn't need an ego or an outfit once I arrived; I never waited in a single line; and the score was tallied in scrapes and smiles. V

ON THE WEB rabbithill.com

ADVENTURE // WILD ALBERTA

Into the wild, Alberta-style Yesterday's labour becomes today's leisure in rural region Lewis Kelly // Lewis@vueweekly.com

A

s a confirmed city slicker with a mortal allergy to manual labour, I associate the rural lifestyle with backbreaking toil, copious perspiration and dirt. I think of farmers as taciturn, flinty-eyed men and women of action with little time for leisure and relaxation; far, far tougher than me and able to fell an oxen with a single blow. But a weekend's work of ad-

26 // OUTDOOR ADVENTURES

venturing around Barrhead, Westlock, Thorhild, Swan Hills and Woodlands County—recently coined the Wild Alberta tourism region—proved the first part of this image, though certainly not the second, somewhat antiquated.

Arriving in Fort Assiniboine, the world's largest wagon wheel and pick ax—over 20 feet in diameter, made of metal and impervious to everything known to man (excepting intoxicated teenagers)—loom into view, a symbolic representation of

all that backbreaking toil.

Sitting on the banks of the mighty Athabasca River, the town’s early history begins with intrepid explorers. Hudson's Bay Company founded Fort Assiniboine in the early 19th century as a way to speed up travel through the harsh landscape.

Over the years, fur traders and trappers in canoes were joined on the river by men with broad-brimmed hats, suspenders, few teeth and gold pans. Gold panning and boating both shifted over

VUEWEEKLY // JUL 8 – JUL 14, 2010

time from economic necessity to recreational diversion.

Today, you can fit both into an evening's entertainment. Re-enacting financial disappointment and lower-back strain via gold panning is a strange experience: swishing wet sand around in a plastic dish in the vague hope of finding flecks of metal makes for an odd past time.

If, like me, you're allergic to hard work, you can even do it with sand guaranteed to contain gold, imported from Monashee Gold Fields in BC. It's difficult not to be overwhelmed by a sense of historical absurdity while swirling the sand around, picturing how we would look to those early pioneers if they could see us—panning for gold as entertainment, a leisurely anthropological curiosity, while back then it

was a source of income and a way of life.

Water travel ages a little better, mostly because technology now lets us travel much, much faster. The Athabasca, slightly narrower than the North Saskatchewan, presents an ideal playground for the small motorboats that buzz up and down it like so many supercharged mallards, terrifying deer and ducks while thrilling passengers and pilots.

Holding about six passengers each, the flat-bottomed motorboats are designed for manoeuvrability on the river. They can get up to around 35 kilometres per hour and sound like a wasp the size of a helicopter.

CONTINUED ON PAGE 27 >>

WILD ALBERTA

<< CONTINUED FROM PAGE 26

Travelling the Athabasca River around the Fort in one of these boats presents the surrounding countryside in a peculiar scenic beauty—the rolling hills seen from a low angle and whipped past at speed.

Blurred by velocity, the water also fascinates, though swallowing some thanks to the wake of another boat can diminish this somewhat.

Blurring the line between work and play extends to activities on land. The legion of retired tractors in the Canadian Tractor Museum in Westlock, or the collection of pre-World War farming equipment on display nearby in the Pioneer Museum again turn a past generation’s labour into a spectacle for our leisure.

The members of this latter collection give the distinct impression of bizarre mechanical fossils; deadly looking remains of an era gone by, in which they had to be regularly fed with gain lest they run amok. The tractors, housing their gearteeth and conveyor belts and jagged edges largely behind metal casing, seem much more gentle by comparison, even adorable. Like so much of rural recreation, Westlock’s museums make play out of what was once work.

Of the activities open to the contemporary, rural recreationalist, skydiving at the Edmonton Skydive Centre near Westlock stands out as the most terrifying. Falling through the air at 200 kilometres per hour sounds like pointing a leaf-blower directly into one's ear at full blast and feels like sticking every finger on both hands into electrical sockets as the “adrenaline” knob in the central nervous system gets cranked to 11. Things calm down somewhat upon deployment, though surprisingly manoeuvrable 'chutes allow for wheeling, graceful corkscrew turns, if requested.

It’s not a cheap past time—a tandem skydive costs $265 to $289 per person depending on group size—but it does renew appreciation for the marvels of our modern world, as well as solid ground under the feet.

Barrhead offers decidedly less expensive entertainment, albeit at slightly lower speeds. A short walk from Main Street takes you to the Barrhead Museum, housing vintage record collections, photographs, wheelchairs of ancient provenance and an astonishing collection of African stuffed animal heads. The incongruous panoply was donated by hunting enthusiasts Albert and Eileen Werner, and includes glass-eyed specimens of impala, zebra, African buffalo, wildebeest and the twisty-horned kudu. Each such discovery was a reminder that though giant pickaxes and wagon wheels may dominate the horizon, there is more to Wild Alberta than meets the eye.

Yet at heart, the region still holds its rural roots close. Down the road, at the Fort Assiniboine Friendship Museum, a more domestic selection of dead animal heads festoons the walls. Bessie Stevens, who works at the museum, was quick to remind me, “This is country living. Don't confuse it with city living.”

No danger of that, ma'am. V

ON THE WEB wildalberta.com

VUEWEEKLY // JUL 8 – JUL 14, 2010

OUTDOOR ADVENTURES // 27

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OUTDOOR ADVENTURES // 29

INSIDE // ARTS

ARTS

Online at vueweekly.com >>ARTS

32

Arts Reviews The Best Little Whorehouse in Texas

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

REVUE // MACBETH

The Eastern European play

Freewill's Macbeth update focuses on the ambience of tragedy Mari Sasano // mari@vueweekly.com

Y

ou can't control the weather, but Freewill's latest incarnation of Macbeth does not lack in atmosphere, rain or shine. Crows! Fog! Thunder! Dischordant gypsy strings!

And though the setting has been changed from Scotland to Eastern Europe of the Cold War-era, the more recent reality of violent power struggles amongst clans or ethnicities make Shakespeare's tale vividly modern for a 21st century audience.

But it wouldn't be the same without the magic. Our three midnight hags (Belinda Cornish, Tess Degenstein and Nicola Elbro) are, in this case, transformed into alluring gypsies, reviled yet sought after for their clairvoyance by the likes of our doomed protagonist. Imagine a trio of Boy Toy-era Madonnas with torn lace dresses and ragged red ribbon woven into teased hair, seducing with hip-thrusting jazz walks and seething glances. Watch as they are never too far from the action, as military nurses or nuns—are they influencing the outcome, or merely enjoying how it's being played out?

Macbeth (James MacDonald) is understandably drawn to them, especially when they prophesy a swift and steep series of political promotions: Thane of

TOUGH SPOT >> Freewill Shakespeare ups the atmosphere outdoors with their production of Macbeth Glamis to Thane of Cawdor to King himself. Macbeth is a reasonable man, but weak: he always sees the right thing to do (let fate take its course), but manages to rationalize a much, much worse strategy (murdering the king), all powered along by his wife (Melissa MacPherson) and her ambition. Throughout the play,

we see this tension between "cannot be ill" and "cannot be good," with the road to immediate gratification leading to Maceth's demise.

Lady Macbeth has her reasons for pushing her husband into the spotlight: here, she is portrayed as a woman of many

// Supplied

frustrations. Maybe she desires power for herself, but is denied it by a patriarchal society. She definitely wishes Macbeth would grow a pair. All this and more, in teetering high-heeled ankle booties! Melissa MacPherson plays her like a bombshell; her Lady M is a siren to poor Macbeth who can't seem to resist

her sexuality, while being unable to completely satisfy her.

In fact, MacDonald seems to be playing his Macbeth as a man who has always played it safe and is befuddled by the sudden irrationality put in front of him.

Macbeth is probably the fastest paced of Shakespeare's tragedies, but Freewill luxuriates in ambience; it's a meditation compared to last year's furious bloodbath, Titus Andronicus. Even the fights seem stylized and slow-motion.

Personally, I prefer my Macbeth to be a little more unraveled, but perhaps this version works well in making terrible decisions seem possible amongst even the most sensible, if the price is right.

An equivocator, as the Porter (Nathan Cuckow, in a crowd-pleasing comic role) drunkenly sermonizes against: though Macbeth is willing to go to insane lengths to reach his goals, his ultimate wish is for safety. An impossibility, for a man who is haunted by his conscience. That and the ghost of the friend he murdered. V Even nights until July 24 (8 pm) Macbeth Part of the Freewill Shakespeare Festival Heritage Amphitheatre, Hawrelak Park, $15 – $22.50, $35 for festival pass PWYC Tue, Sat matinees

PREVUE // MUCH ADO ABOUT NOTHING

Speak low if you speak love

Shakespeare's famous romantic duos grace the Edmonton stage Mari Sasano //mari@vueweekly.com

F

reewill Shakespeare festival's Much Ado About Nothing starts, literally, with bells and whistles: joyously, the cast sings in unison (with handclaps, foot-stomps, and, yes, whistling) to sound designer Matt Skopyk's composition. It's a sugarytwee score for a sweet comedy—one of Shakespeare's most deceptively light plays.

But the real treat is not the sweetness of young love, but the triumph of love over the bitterness of experience.

Maybe you want "too light, too narrow and too blonde" for a first-time crush, but it takes the knowledge of disap-

30 // ARTS

pointment, the consequences of a bad decision, and the ability to choose love (rather than to merely fall into it) in order to gain the wisdom required for a true partnership.

The action is set by the young soldier Claudio, who upon returning from war, sets his sights on the lovely Hero.

Claudio's friend Don Pedro (Chris Bullough) offers to woo the young lady on Claudio's behalf at a masquerade, which nearly backfires when Claudio becomes jealous of Don Pedro, thanks to the whisperings of Don John (Mark Jenkins), Don Pedro's nasty halfbrother. All this before the couple has a chance to sit down together!

And rather than giving Claudio a shake for proposing marriage to some-

one he trusts so little, everyone works very hard to get the couple back together. Why not? It's a romance! And on top of that, they also decide to trick the quarrelsome Benedick and Beatrice into admitting their love for each other, a fact that is obvious to everyone but themselves.

And it's all rather unfair to the ingenues: Claudio (Jamie Cavanaugh) and Hero (Tess Degenstein) are young, pretty, and idealistic, but their youthful love is no match for the feisty passion between the older, cynical Beatrice (Belinda Cornish) and Benedick (John Ullyatt). For once, age before beauty isn't about pity. What's even more unfair is that here, Ullyatt and Cornish are leading man/lady knock-

VUEWEEKLY // JUL 8 – JUL 14, 2010

outs, and they manage the biggest laughs too. (A tip of the hat should also go to Kevin Corey's Inigo Montoya-ish Dogberry.)

No wonder: where the younger couple is reduced to inarticulate swooning, it's the latter's banter that we're here for. After all, who really finds a nice, young couple all that interesting? The fact that they woo by proxies and surrogates for the majority of the time suggests that they're pretty much expendable and interchangeable, anyway. But we need Claudio and Hero, since it's their silly romance that is the frame for the meatier courtship, and to provide some contrast. It's a comedy after all, and we need straight men!

It's too bad, then, that the song-anddance aspects emphasize all that is cute and nice. All that head bobbing and the predominant glockenspiel/ ukulele/melodica sound lays the infantilism on a bit thick, when it's grown-ups we've come to see. Nevertheless, this is a small quibble, considering the sheer enjoyment you get from this production. V Freewill Shakespeare Festival Much Ado About Nothing Odd nights until July 25 8 pm, weekend matinees 2 pm Heritage Amphitheatre, Hawrelak Park, $15 – $22.50, $35 for festival pass PWYC Tue, Sat matinees

REVUE // THE ART OF WARNER BROS CARTOONS

Online at vueweekly.com

That's art, folks?

Bugs Bunny suffers on the gallery wall Amy Fung // amy@vueweekly.com

J

ust because the word "art" is in the title of the exhibition, there shouldn't be a natural assumption that The Art of Warner Bros Cartoons will actually be art. I don't want to dismiss the show entirely, as it's completely enjoyable and it's already becoming a summer favourite for adults and children alike, but still, after taking in the show, I'm left wondering what this exhibition is doing on the walls of an art gallery.

The exhibition has been touring across North America since 2005 and was originally part of a four-month tribute to animation at the Museum of Modern Art in New York City in 1985 that was greatly expanded upon into this current display. Just coming from the Winnipeg Art Gallery, where I heard its bemoans from way over here, I tried to keep an open mind before entering the show about not just what the show is about, but what a gallery could show.

One major criticism I have for the show is that the art of the machine, namely, the Warner Bros brand, is what is raised as artistic impetus and not the names and artisans who collectively worked on the cells and who largely remain anonymous.

The production of animation often raises comparisons to sweat shops and though I'm hoping the working conditions are better, this show does nothing to give insight into the labourious part process of the show, with minor information on production and immense focus on the history of the recognizable favourites such as Porky the Pig and Tweety Bird.

So while I strongly believe animation certainly holds a valuable place in the realm of art history, this show unfortunately focuses too narrowly on just the achievements of Warner Bros the company. Disney of course looms over the exhibition, with minor mention of the conglomerate giant in a competitive light, but I felt that was redundant, as Disney cartoons were fundamental to bringing animation into the minds and hearts of the general public. The main difference between the two are

of course the inherently Americana feel of Warner Bros, which led to a more focused political and social subtext on America. As a Hollywood animation studio that ran for nearly 40 years until its closure in 1969, Warner Bros has certainly received its fair share of mass and critical acclaim, and here is where it becomes muddy why this show is at an art gallery. As a multiple recipient of Academy Awards, Warner Bros is certainly highly regarded for its artistic achievements, but this fact also reinforces that cartoons remain in the realm of motion pictures and a gallery exhibition dealing with them mostly stills falls flat.

My greatest concern with this exhibition is that it simply is not an exhibition that belongs on a wall, no matter how historically important it is to

The Edmonton International Street Performers Festival returns to fill Sir Winston Churchill Square with its acrobats, comedians and otherwise dazzling performers. Read all about it online at vueweekly.com.

My greatest concern with this exhibition is that it simply is not an exhibition that belongs on a wall, no matter how historically important it is to the history of art.

the history of art. I can see how this show may fit into the context of the gallery's museum mandate, but the primary difference is that most film and television museums convey their visual information very differently, namely stretching out a chronology of its development in the medium of the moving image rather than just focusing on facts and diagrams. While there are video stations within the exhibition, the show could have infinitely benefited from far more stations that showed the development of its production in the medium in which it was meant to be seen. V Un t il Mon, Oc t 11 The Art of Warner Bros. C artoons AGA ( 2 Churchill Square)

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

ARTS // 31

PREVUE // THE BEST LITTLE WHOREHOUSE IN TEXAS

But first, the whores!

Walterdale gets randy with The Best Little Whorehouse in Texas David Berry // david@vueweekly.com

A

s a musical that lives up to the gauche grandiosity of its eponymous location, The Best Little Whorehouse in Texas is a pretty ambitious project for Kristen Finlay, artistic director of the Walterdale and director of the production, to take on. Wrangling the 30 or so cast members playing everything from crusading reporters to lawmen to dancing, well, whores, is a challenge even when you're not a community theatre, where balancing everyone's schedules is roughly akin to herding cats.

Fortunately, as Finlay's been find-

ing, the logistical stress of getting her Whorehouse up and running has balanced by the sheer fun of working on a show that's pretty unafraid to go blue, a tendency that has carried over to the cast and crew.

"There's a lot of opportunity for inappropriate comments and innuendo and double entendres, so we're having a lot of fun with that," Finlay explains with a big laugh. "It seems like just about every comment can be taken out of context when you're working on this show."

The colourful behind-the-scenes actions of the Walterdale ensemble should be some kind of indication that it's hard for anyone to resist a bit of randy good times, and it's that ten-

dency that gets everyone in trouble in Whorehouse. Based on the true story of the Chicken Ranch, a widely tolerated Texas brothel that was eventually shut down due to the efforts of a crusading television reporter, it follows the proceedings mostly from the perspective of Miss Mona, the house's proprietor, and Ed Earl Dodd, the local sheriff whose welcoming attitude has helped keep the house open.

"This is a really classy whorehouse," explains Finlay, pausing a bit for laughter. "It is. It's really got the southern values, and right when we meet Miss Mona, she lays down her rules, and they give the job a bit more dignity than it might have otherwise."

Of course, between the song, dance and general sauciness, there is a bit of fun to be had at the expense of moral hypocrites. The reporter, Melvin P. Thorpe, is portrayed in less than flattering terms, but the musical is especially sharp about the politicians who eventually bow to his demagoguery, blustery types whose only real values seem to be ensuring they'll get reelected. It's that attitude, says Finlay, which really helps ground the story, and helps us to relate to the women in an otherwise unsavoury position.

"The only people being honest about who they are and what they do is Miss Mona and the girls in the house," points out Finlay. "All these politicians, there

are allusions that they've frequented the house, but then they're rallying with the popular opinion and taking that moral high ground. The hypocrisy of those kinds of roles, it's really interesting: the people who are the most ethical are the women in the house, because they're telling the truth about what they do." V Thu, Jul 8 – Sat, Jul 17 The Best Little Whorehouse in Texas Directed by Kristen Finlay Book by Larry L. King, Peter Masterson Music and lyrics by Carol Hall Walterdale Playhouse (10322 83 Ave), $14 – $18

COMMENT >> FREE GALLERIES

Viewing freely

Sask galleries offer a freer experience On a recent road trip through Sas- In our own AGA and galleries from katchewan, I had a chance to visit The around the world, I have experienced Mendel Art Gallery in Saskatoon and firsthand, heard troubling accounts and both the Dunlop and Mackenzie witnessed guards ask audiences to galleries in Regina. Varying quiet down, step back, and in in programming, the exhibione case, ask a mother and her tions included an Adrian children to leave because her Stimson solo exhibition kids were getting too excited m o .c ly k e vuewe and the excellent Jen Budabout the art. amy@ ney-curated Innocent Years All of these accounts were Amy group show, featuring renderfrom institutions where you felt Fung ings from three international watched as you walked around, artists' childhoods during significant where guards hovered over you as 20th century shifts. Also up for viewing you were simply looking at art, fearful were the Canadian premiere of Geof- that somehow the art will be desecrated. frey Farmer's Ongoing Time Stabbed Sometimes we accept this lording behavWith A Dagger—his first use of kinet- iour on how to view art as we fall prey to ics that had a world premiere at the Art the elitism of being in a gallery, that there Basel in Miami Beach—ex-Edmontonian must be rules and decorum that govern Sylvia Ziemann's Possible Worlds and how we look and how long we look for. an interesting contrast between James But is that what we're paying for? To be Henderson's historical representations policed on how we view and who gets to of First Nations identity answered back view? I was reminded of this at the Dunwith to be reckoned with ... featuring lop, located in Regina's central library, works such as Nadia Myre's Indian Act where a young man asked to bum a smoke and Ruth Cuthand's Trading. off me on my way into the library. Walking What all of these exhibitions have in around the piece a few times, one of the common, besides being in Saskatchewan, gallery staff came up during a pause and is that they are all free, all the time. offered to discuss the work further if I had There was a cross range of families with any questions at all. The young man from strollers and walkers pointing to things outside had come in by this time and came and talking to one another, young men up to me again, only this time he asked, and women roaming from piece to piece, "Do you think this is art?" I shrugged yes. and a single guard who supervised unobThe gallery facilitator quickly joined the trusively. Grabbing a bite at the gallery conversation that unfolded into tangents café, my travel companion and I each had of inspiration, street art, graffiti, surreala fresh lunch that came under the admisism, collage and kinetics. There was no sion price for most cultural institutions. didacticism or underestimating going on, While the impending future of the Mendel we didn't have to lower our voices, there remains uncertain as a brand new building was simply an open conversation on art is on its horizon, I can only be reminded between three strangers from different that the experience of art in the modern backgrounds, and we all walked away age of galleries and museums has become from the encounter learning something an exclusive one, where admission prices new, if not profound. V and lineups can become headlines and viewership dangerously becomes a class Amy Fung is the author of and income issue.

PrairieArsters.com

IE PRASITRERS

ART

32 // ARTS

VUEWEEKLY // JUL 8 – JUL 14, 2010

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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 <Y% na\ ;`]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 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!

VUEWEEKLY // JUL 8 – JUL 14, 2010

ARTS // 33

INSIDE // FILM

FILM

Online at vueweekly.com >> FILM

36

Running Man

by Brian Gibson

Film Capsules

Predators and a brief history of hunting humans

DOCUMENTARY // RACHEL

Both sides now

Rachel takes a clear-headed look at a polarizing incident The bulldozer operator, as well as the official report issued by the Israeli government, say that Corrie was out of the operator's sightline. The activists, however, insist the opposite. In their eyes, it's at best an act of criminal negligence—an error of judgment and distance. At worst, it's murder.

Michael Hingston // Hingston@vueweekly.com

P

robably the strongest feature of Simone Bitton's documentary about Rachel Corrie, the American activist who was killed by an Israeli bulldozer in the Gaza Strip in March 2003, is that it avoids a lot of the reductive, often-jingoistic rhetoric that clouds the whole Israel-Palestine issue. Instead, Bitton works calmly and from the ground up. She interviews many of the people involved in the incident— Corrie's fellow "internationals," Israeli soldiers and officials, Palestinian civilians and even the doctor who performed the autopsy—and lets them tell their own version of the events, in long, largely unedited takes.

And as Rachel amply demonstrates, at such a personal level, it's hard to definitively assign blame to anyone. After all, the Israeli soldiers were following orders, not dictating policy. The commander who wrote the official report was working from conflicting testimonies and a complete lack of evidence from the scene. And the activists?

They were trying to stop Palestinian houses from being bulldozed—houses that usually contained young children, and which were guilty of nothing but

GOING GAZA >> Rachel offers no easy answers standing within an arbitrarily imposed 800-metre buffer zone from the Egyptian border. In short, everyone has their story, and most of those stories make sense.

Corrie arrived in Gaza in early 2003 as part of a Palestinian-led group of non-violent activists. Her duties mainly consisted of trying to thwart the Israeli army in what it called "land grading

// Supplied

work"—a sinister euphemism for demolishing hundreds of innocent Palestinian homes. Corrie and a group of fellow internationals would link arms and stand in front of the bulldozers on a near-daily basis, yelling through megaphones and hoping that the army would back off in time. On March 16, on a day Rachel happened to be standing there by herself, it did not.

These beliefs are well documented, contradictory though they may be. The biggest thing Bitton's film unearths is the degree to which the Israeli army is covering its own ass—though even this isn't proven indisputably. Her interview with an anonymous Israeli soldier reveals some appalling facts.

The only warning they gave to houses that were about to be demolished was a round of haphazard machine-gun fire; if nobody came outside, they'd assume it was empty, and send in the bulldozer. And "if the commander was laidback," the soldier says, "we could shoot houses for fun."

It's suggested that the soldiers involved in the Corrie incident came up with a joint alibi to clear their own names. But a government audio recording shows the driver's confusion from the very beginning. Without video footage—this point is made by both parties—there's no way for one side to

ever prove the other wrong.

Rachel gets right into the messiness of the situation and if it doesn't come up with a concrete answer, at least it presents a bunch of essential evidence and testimony. Though the activists do come out on top as soon as you see the appalling treatment just one Palestinian civilian has to endure. The Israeli government is irrevocably entered into the "villain" column. Much of the film is guided by the letters Corrie wrote to friends and family back home, and these are witty and clear-eyed (even if having to watch them being read out loud quickly becomes tedious).

All of which adds up to a workmanlike but extremely compelling documentary. Corrie's name continues to be a potent symbol in the ongoing strife in the Middle East, and particularly as it relates to what role, if any, the West has to play. For anyone starting to give this issue serious thought, Rachel is mandatory viewing. V Thu, July 8, Sat, Jul 10 (9 pm) Fri, Jul 9 (7 pm) Metro Cinema Rachel Directed by Simone Bitton

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DRAMA // MID-AUGUST LUNCH

Happy bunch of golden gals

A Mid-August Lunch pleases with its brassy, wig-wearing queens jonathan busch //johnathan@vueweekly.com

T

he simple, event-based tale at the heart of Gomorrah co-writer Gianni Di Gregorio's first feature grows to be more alluring than it may at first seem. Starring as a likely possible version of himself, Gianni ends up host to an apartment full of aged women, heaped upon him by favour-seeking acquaintances because of the tender care they have seen him pay to the mother he already lives with. The result is a celebration of food, memory, and domestic female character, in the closest thing imaginable to Roberto Rossellini directing an episode of The Golden Girls.

Gianni, unemployed but nonetheless a

34 // FILM

busy man about town, finds himself in a financial bind that becomes eased when he agrees to take in the fussy mother of the apartment manager to whom he owes a favour. He also sneaks along his Aunt Maria, who is more shy and gentle but also particular about the proper way to cook a macaroni casserole. While Gianni's own mother, the brassy, wigwearing queen of the household with her life adventures written across her weather-beaten face, has her own slight opinions of their guests' social habits, he nonetheless manages to keep them civil enough to add in the mother of his doctor to the mix as well.

As both a character and vessel travelling between these women for us to observe them, Gianni is an ambiguously fascinating gentleman who stands in

to represent the kind of fellow in every society made responsible for providing that extra bit of care for his mother. It's hardly surprising to see him as the goto guy in a neighbourhood when other old ladies need a place to stay, as he already seems well aware of their collective habits and creature comforts upon their arrival. Even when they reveal traits that he is not quite prepared for, such as when one makes a nighttime escape to a patio bar and he must escort her stubbornly back inside, Gianni is portrayed as empathetic and quick-witted enough to pull together just about any delicate social bind.

In this sense, the film lacks any distinct conflict—for some, that may seem dull or passively conceived. But

VUEWEEKLY // JUL 8 – JUL 14, 2010

in a low-budget European style reminiscent of the more gentle Dogme films, Mid-August Lunch (Pranzo di ferragosto) patiently waits for these gals to make their mark, and serves up some delicious-looking Italian dishes in the meantime. At first, the ladies only seem so unique from one another, maybe because we're still in the habit of grouping senior citizens together as no more than the parents of the younger characters; as the film moves forward, however, their personalities stand out more to have us wonder just what kind of women they were in their earlier years, and how they might have got along had they met up then.

By the end, it is not entirely certain what conclusions we are supposed to draw, seeing the guests merely prepare

to part ways from Gianni's humble pad. It's partly sad and subtly dynamic, where the affect becomes drawn from the possible truth that these women may never see each other again—it reveals that, at under 80 minutes, maybe we're not ready to pack up and go either, though all good parties must come to an end. V Thu, Jul 8, Sat, Jul 10 (7 pm) Fri, Jul 9 (9 pm) Mid-August Lunch Written and directed by Gianni Di Gregorio Starring Di Gregorio, Valeria De Franciscis, Marina Cacciotti Metro Cinema (9828 - 101A Ave)

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DVD>> COLUMBIA FILM NOIR CLASSICS TWO

Into the black

Columbia digs up more forgotten film noir The hero is thick-necked, gravel-voiced, steely-eyed, as it goes along—though all the while, Conte, convinca strapping young veteran who looks imposing yet ingly tormented, keeps calling home to speak with his is passive by nature. He's lonely, in hiding, and comwife, with whom he's trying to adopt an orphan. plains of weariness, yet the most mundane gesture of The contrast between such wonderfully detailed kindness turns him into a boy as bashful as Tobey works as Nightfall and The Brothers Rico and Maguire. There's a scene where he's camping something like Pushover (1954), the aforesomewhere near Moose, Wyoming, with an mentioned Kim Novak vehicle, is striking. older friend, a doctor, graying, fatherly and The story is virtually a series of semakind, and that much more arresting in his phores, a shopping list of all the noir m clichés alluded to above. It even has gentleness for being recognizable as the ekly.co e w e u e@v ten-gallon hat-wearing grotesque who dvddetectiv otherwise straight-laced bachelor Fred Josef flirts with and is robbed by Janet Leigh in MacMurray falling for a blonde in tight Psycho (1960). sweaters who draws him into plotting murBraun The men settle down to lunch over a fire der and theft in a limp resuscitation of Double and the doc gets to explaining how much it means to Indemnity (1944) dynamics. There's not a single mohim that the hero never put the moves on his lovely ment in which MacMurray and Novak's chemistry young wife. This is before they spot the car skidding feels anything more than pure artifice. off the nearby road and go to help and wind up the captives of two bank robbers, one a sadist and the Yet it would be misleading to say that mining the esother Brian Keith. The sequence is strange, haunting sential ingredients of noir in any way negates the posfor its specificity and simplicity that slips so quickly sibility of invention or sheer genre mastery. Human into something like nightmare. It's from a too-littleDesire (1954), directed by Lang—based on a novel known picture called Nightfall (1957), directed by by Émile Zola, which had been adapted previously Jacques Tourneur, based on a novel by David Goodis,

by Jean Renior as Le bête humaine (1938)—features and is emblematic of what makes film noir such genua number of identifiably noir elements yet in no way inely rich terrain. It s not the clichés, which are false depends on them to automatically supply gravity or anyway— there were never half as many detectives in style in and of themselves, partly because Zola wrote trench coats or femme fatales in noir as people seem decades before Dashiell Hammett or James M Cain, to think— but the way these films cloud the frontiers and partly because Lang and his collaborators have of the everyday and the chimerical. crafted a work so deeply immersed in the complexiNightfall is one of the titles available on the new ties of desperation, complacency and, well, desire.

Columbia Pictures Film Noir Classics Two, which Glenn Ford returns from Korea with no greater closely follows the format of its predecessor in that ambition than to return to his earlier life as a small its selections are all from the '50s, its weakest stars town locomotive engineer, but chance deposits him Kim Novak, its most established classic stars Glenn in a lonesome passenger car at night with Gloria GraFord and Gloria Grahame and is directed by Fritz Lang, hame, only moments after Grahame's husband kills and its most curious entry is directed by Irving Lerner a man in a fit of jealous rage. Bathed in industrial and stars Vince Edwards as a compelling yet entirely gloom, Human Desire explores a lot of territory in a unfeeling antihero. Fortunately, for all the similarities short amount of screen time, touching on postwar in the lineups of these box sets, they nonetheless transience and the threat of the newly independent each feature utterly distinctive and almost uniformly woman, on different kinds of marriage and urges sublime works, most of them long unavailable. most of us never even know we have, manifesting in Ford's gripping Grahame's curls with violent pasTourneur, probably most remembered for the ca- sion as they secretly kiss in the shacks of the train nonical Out of the Past (1947), and for Cat People yards. Grahame is especially fascinating, sexy and sad (1942), I Walked with a Zombie (1943) and The here, an object of erotic currency, wanted but never Leopard Man (1943), the first three horror pictures accepted. She seems always to have been cast as the produced by Val Lewton at RKO, was a very special lover of violent men, but in this case we learn things filmmaker, one who seemed intuitively drawn to noir about her past that might explain her choices—only material. His approach was subtle and engrossing thing is, we never really know the truth about her, in a way that causes you to wonder what you did not even in that final, ostensibly explanatory dismal and did not actually see during his films once they're little sequence where she's confronted by her hulking done and you're left to piece them back together husband while Ford rides up front, willfully oblivious in your memory. Throughout Nightfall, trusting the to all of it, dreaming of something safe and banal. high drama of Goodis' narrative to provide forward Last, City of Fear (1958) finds Vince Edwards escapmovement, Tourneur seems attuned to the small, to ing from prison with what he believes is a canister of the behavioural, such as in a second conversational high-grade heroin. It's actually a radioactive substance scene between two men that slyly juxtaposes the called "Cobalt-60" that could spell doom for the enfirst, the one where, in an almost comically inappro- tire city of Los Angeles if not disposed of quickly. priate moment, the sadistic bank robber suddenly Reuniting Edwards with Lerner immediately after really needs to know why Brian Keith doesn't seem the terrific Murder by Contract (1958), City of Fear to like him much. is slightly less a character study, preoccupied as it is Such passages of seemingly non-essential exchanges with a larger civic canvas and authorities in heated also permeate Karlson's The Brothers Rico (1957), debate about whether or not to go public with the threat of contamination and the panic it will surely based on a story by Georges Simenon. It begins and ends with scenes of domesticity and emphasizes pa- incite. Lerner makes inspired use of limited resources ternal and familial concerns—rather aptly, given that with montages of mobilizing city officials and focuses it's basically a gangster picture, and a very, very good on the handful of interesting and entertaining lowone. Richard Conte plays a former mob accountant lifes with whom Edwards meets, not to mention the now running a lucrative laundry business in Florida. fragments of billboard advertising that provide subliminal commentary on the action. Excitingly scored He receives a call from his old benefactor, a two-faced mobster eloquently embodied by the kindly doctor and beautifully photographed by Lucien Ballard, who turns out to be a cold-blooded alien in Invasion of it's the most neo-noir of the noirs here, a little selfthe Body Snatchers (1956), and is sent on an arduous conscious, but playfully so, and just one of four very cross-country errand to find his errant brother, a jour- good reasons to invest in this tour of the obscure peney which becomes only more devastating and violent ripheries of America's sunlit '50s. V

DVCD TIVE

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VUEWEEKLY // JUL 8 – JUL 14, 2010

FILM // 35

FILM REVIEWS 

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E EM E ABL IPS PIC ECL DES HT: ILIG TW

Film Capsules Now Playing The Last Airbender

Written and directed by M Night Shyamalan Starring Noah Ringer, Dev Patel  A lot of the early talk about M Night Shyamalan's adaptation of The Last Airbender focused on the white-washing of the series'/film's main characters, and the relegation of other ethnicities to bad-guy or background roles. One of the small credits you can give Shyamalan for this ill-conceived, plodding mess is that, by the end of it, the ridiculousness of a bunch of white hero-kids running around a world populated entirely by other ethnicities will not even register: there is simply too much else that is incompe-

tently realized to even care about who was cast where, except to maybe feel some sympathy for them.

The Last Airbender is the worst kind of adaptation in a variety of ways. Most importantly, the plotting of the film is very obviously borrowing from the much more expansive TV series, but Shyamalan seems entirely incapable of transferring that to a more condensed format. He seems to have picked his focus based entirely on what he could portray with cool special effects, and so we get extended sequences of questionable validity before incredibly important relationships or motivations get explained away in a bit of wooden voiceover or stilted exposition. The original series' Wikipedia entry is better at establishing interest and emotional connection.

The film basically continues on with this level of narrative tone-deafness—a nearpointless training sequence gets fleshed out, a crucial love interest whose sacrifice helps decide the ultimate outcome gets explained entirely in voiceover— not helped one bit by performances that struggle against the scenery for liveliness.

By the time the big, climactic showdown comes, there is so little to connect to any of the characters, all the CGI in the world can't bring our interest back into it, since we'd basically have no idea what was even at stake if this wasn't a well-worn good versus evil story.

David Berry

// david@vueweekly.com

Twilight: Eclipse

Directed by David Slade Written by Melissa Rosenberg Based on the novel by Stephanie Meyer Starring Kristen Stewart, Robert Pattinson, Taylor Lautner  The critical returns on the third film in the Twilight saga haven't been near as harsh as

36 // FILM

VUEWEEKLY // JUL 8 – JUL 14, 2010

on the first two, but that seems to be a case of lowered expectations more than marked improvement: if the third Transformers cuts out the racist stereotypes and choreographs fights that are halfway coherent, it'll be a better film, too, but let's not get ahead of ourselves here. Twilight: Eclipse has basically all of the problems that the first two do, and a touch more narrative propulsion doesn't compensate for any of that.

The main problem, of course, is the cast.

This being an adolescent girl fantasy—and, honestly, considering how much of our pop culture is dominated by adolescent boy fantasies, I think it's time we either get over that or burn down Star Wars— vast swaths of the film are given over to emotional melodrama and conversation, neither of which could count as a strength for anyone here. By far the worst case is Taylor Lautner as werewolf/second fiddle Jacob: his brow is in a permanent furrow that makes him look roughly like someone took a Neanderthal to a personal trainer, not aided by the fact his face is capable of registering roughly as many emotions as his abs, which get almost as much screen time. Only mildly more engaging are Robert Pattinson and Kristen Stewart, who seem to be under the impression that undying love is portrayed in roughly the same manner as indigestion.

The whole lack of any kind of dynamic really kills the idea that this is a love story that would help patch up centuries-old feuds or stir up new, apocalypse-level rivalries. So much time is spent on it, though, that nothing else really gets to grow: any tension that might be built for the final battle, for instance, is squashed by the endless, tepid asides to the love triangle and the resulting clash—between the alliance of the Cullens and the werewolves and a new brood of youngsters whipped up by old nemesis Victoria to try and get revenge, although damned if this films seems to give a flying fuck about any of it until it comes time to force the plot forward—it is so lifeless and anticlimactic it hardly seems worth even the fleeting worries that everyone seemed to have about it.

Having never read the books, I can't speak to what, exactly, made them so popular, but I cannot fathom Twilight being the cultural

FILM REVIEWS

Film Capsules

FILM WEEKLY FRI, JUL 9 – THU, JUL 15, 2010 s

sensation it is if they were as lifeless and dull as the films.

David Berry

// David@vueweekly.com

Opening Wide Despicable Me

Directed by Pierre Coffin, Chris Renaud Written by Ken Daurio, Sergio Pablos, Cinco Paul Starring Steve Carell, Jason Segel  I'm beginning to think that all other computer animation studios should start giving Pixar a few months' berth on release dates: the competition has (mostly) come a long way from the time where the films seemed like an excuse to stick familiar voices into another round of fart-jokey cute things, but there are still basically no other examples of films that rise beyond children's entertainment and into something deeper and a little more worthy.

Despicable Me is both a fun and funny little diversion, and certainly cute enough to keep the kids giddy and distracted for a summer afternoon, but after being gutted by Toy Story 3, cute just seems like it's aiming a bit low these days.

Like some of its unfortunate predecessors, Despicable Me does feel more like a movie that was built up out of crowdpleasing elements—a funny Steve Carell voice, some adorable little moppets, quirky little Spanish-gibberish speaking yellow minions and a hammy, broad antagonist—than conceived whole cloth, though it at least distinguishes itself by combining those elements in a breezy and engaging way. Gru (Carell) is a perfectly capable and reasonably devious supervillain who stocks his home with medieval weapons and a monster-like dog thing, and stocks his lair with some of his greatest capers, including the Times Square Jumbotron and the Las Vegas versions of several famous monuments. He's left feeling a bit pointless with the arrival of Vector (Jason Segel), though, a hotshot new kid whose gadgets and exploits, including stealing a pyramid, are a little flashier, and who's frustrating Gru's latest big caper: trying to steal the moon.

Gru's plan to get his evil back on track involves adopting a trio of orphans to help him sneak into Vector's lair, but things start to go a little awry when the doeeyed kids get into his heart. It's a pretty simple bit of sentimentality, not really helped by the fact that Gru isn't really all that bad to begin with, but for the most part Despicable Me has a lot of fun bouncing its rambunctious kids off of Gru's bitter demeanour, and with a senile mad scientist accomplice and plenty of little yellow minions to either get abused or mook around, everything is funny enough to not get too treacly. It would be kind of nice if Despicable Me managed to take its fun into slightly higher places—it certainly seems like it has potential—but I guess the main goal of a kids' film is to entertain kids, and on that count at least, this bad guy story is all good.

David Berry

// David@vueweekly.com

CHABA THEATRE�JASPER 6094 Connaught Dr, Jasper, 780.852.4749

THE TWILIGHT SAGA: ECLIPSE (PG vio-

lence) DAILY 1:30, 6:50, 9:10

GROWN UPS (PG crude content, language may offend) DAILY 1:30, 7:00, 9:10 CINEMA CITY MOVIES 12 5074-130 Ave, 780.472.9779

MILENGE MILENGE (PG mature theme) Hindi

THE LAST AIRBENDER 3D (PG) Digital 3d FRI�TUE 12:00, 3:20, 6:45, 9:40; WED�THU 12:10, 3:20, 6:45, 9:40

DESPICABLE ME 3D (G) No passes DAILY

THE TWILIGHT SAGA: ECLIPSE (PG vio-

violence, frightening scenes) No passes WED�THU 12:50, 4:20, 7:00, 9:40

lence) No passes FRI�TUE 11:30, 12:15, 12:45, 1:15, 2:45, 3:40, 4:10, 4:30, 6:30, 7:00, 7:30, 7:45, 9:45, 10:15, 10:30, 10:45; WED�THU 11:30, 12:15, 1:15, 2:45, 3:40, 4:30, 6:30, 7:00, 7:45, 9:45, 10:15, 10:45

THE TWILIGHT SAGA: ECLIPSE (PG vio-

language) DAILY 12:50, 4:15, 7:35, 10:40

TOY STORY 3 (G) FRI�SUN, TUE�THU 11:45,

4:05, 7:25, 9:45

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

MARMADUKE (G) DAILY 1:25, 4:35, 6:50, 9:00 SEX AND THE CITY 2 (14A sexual content, not recommended for children) DAILY 1:05, 4:05, 7:00, 10:00 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

THE GIRL WITH THE DRAGON TATTOO (18A sexual violence, disturbing content) FRI�SAT 2:00, 5:00, 8:00, 11:15; SUN�THU 2:00, 5:00, 8:00

DATE NIGHT (PG sexual content, language may

offend) FRI�SAT 1:10, 3:55, 7:15, 9:20, 11:30; SUN�THU 1:10, 3:55, 7:15, 9:20

CLASH OF THE TITANS (PG nudity, not recom-

THE SORCERER'S APPRENTICE (PG

TUE�THU 12:40, 3:45, 7:15, 10:20; MON 11:45, 2:50,

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

THE KARATE KID (PG violence, not recom-

mended for young children) DAILY 11:50, 3:10, 6:40, 10:05

GET HIM TO THE GREEK (18A substance

abuse, crude sexual content) FRI�TUE, THU 1:05, 3:50, 7:20, 10:25; WED 1:05, 3:50, 10:25

PRINCE OF PERSIA: THE SANDS OF TIME (PG violence, not recommended for young THE SORCERER'S APPRENTICE (PG violence, frightening scenes) No passes WED�THU 12:00, 3:30, 7:00, 10:15 INCEPTION (PG violence) Midnight, No passes THU 12:05

THE LAST AIRBENDER (PG) Star & Strollers

Screening: THU 1:00

CITY CENTRE 9 10200-102 Ave, 780.421.7020

THE TWILIGHT SAGA: ECLIPSE (PG

THE LAST AIRBENDER (PG) No passes,

DESPICABLE ME (G) No passes DAILY 12:40,

3:10, 5:30, 8:00, 10:25

DESPICABLE ME 3D (G) Digital 3d, No passes DAILY 11:40, 2:00, 4:30, 7:05, 9:30

PREDATORS (18A gory violence) No passes

GROWN UPS (PG crude content, language may offend) DAILY 7:05, 9:10; SAT�SUN, TUE, THU 2:05 EDMONTON FILM SOCIETY Royal Alberta Museum, 102 Ave, 128 St, 780.439.5284

MOON OVER MIAMI (PG) MON 8:00 GALAXY�SHERWOOD PARK 2020 Sherwood Dr, 780.416.0150 Sherwood Park 780-416-0150

THE LAST AIRBENDER (PG) DAILY 1:30, 4:00,

THE A�TEAM (PG violence, coarse language,

not recommended for young children) Stadium Seating DAILY 9:10

KNIGHT AND DAY (PG violence, coarse

language) Stadium Seating, DTS Digital FRI�TUE 12:25, 3:00, 6:35, 9:20; WED�THU 12:25, 3:00, 6:45, 9:20

GROWN UPS (PG crude content, language may offend) DAILY 12:15, 3:10, 7:30, 10:00 KNIGHT AND DAY (PG violence, coarse language) DAILY 12:45, 3:40, 7:10, 9:50

9:55

3:30, 6:45, 9:35

THE KARATE KID (PG violence, not recommended for young children) DAILY 11:45, 3:00, 6:40, 9:45 THE SORCERER'S APPRENTICE (PG violence, frightening scenes) No passes WED�THU 1:30, 4:25, 7:10, 9:55 GARNEAU

8712-109 St, 780.433.0728

CYRUS (14A coarse language) DAILY 7:00, 9:00; SAT�SUN 2:00

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

1:10, 3:15, 5:15, 7:15, 9:15

TOY STORY 3 (G) DAILY 12:50, 3:30, 6:45, 9:20 TOY STORY 3 3D (G) Digital 3d DAILY 11:30, 2:10, 4:45, 7:30, 10:10

THE A�TEAM (PG violence, coarse language, not

recommended for young children) DAILY 1:40, 4:20, 7:10, 10:00

THE KARATE KID (PG violence, not recommended for young children) DAILY 12:10, 3:20, 6:30, 9:45 THE SORCERER'S APPRENTICE (PG vio-

lence, frightening scenes) No passes WED�THU 1:10, 4:15, 7:20, 10:15

INCEPTION (PG violence) Midnight, No passes THU 12:01

CINEPLEX ODEON SOUTH 1525-99 St, 780.436.8585

DESPICABLE ME (G) No passes DAILY 12:30,

3:00, 6:30, 9:20

DESPICABLE ME 3D (G) Digital 3d, No passes DAILY 11:40, 2:15, 5:00, 7:40, 10:20

lence, frightening scenes) No passes, DTS Digital, Stadium Seating WED�THU 12:15, 3:15, 6:30, 9:10

CLAREVIEW 10 4211-139 Ave, 780.472.7600

THE A�TEAM (PG violence, coarse language,

not recommended for young children) DAILY 9:40

THE KARATE KID (PG violence, not recom-

mended for young children) DAILY 12:20, 3:20, 6:35

TOY STORY 3 (G) FRI�TUE 12:50, 4:40

THE LAST AIRBENDER 3D (PG) Digital 3d,

No passes FRI 1:10, 3:50, 6:45, 9:20; SAT�THU 1:10, 3:50, 6:45, 9:20

THE LAST AIRBENDER (PG) FRI�WED 1:20,

PREDATORS (18A gory violence) No passes

4:15, 7:15, 10:10; THU 4:15, 7:15, 10:10

DAILY 1:30, 4:30, 7:10, 9:45

PRINCESS 10337-82 Ave, 780.433.0728

THE SECRET IN THEIR EYES (18A sexual vio-

lence, coarse language) DAILY 6:50, 9:20; SAT�SUN 2:30

THE GIRL WHO PLAYED WITH FIRE (18A,

brutal violence, disturbing content) DAILY 6:45, 9:15;

SAT�SUN 2:00

WEM, 8882-170 St, 780.444.2400

DAILY 11:45, 2:15, 4:40, 7:15, 9:45

1:40, 4:30, 7:40, 10:40

DAILY 12:50, 3:50, 6:50, 9:50

THE TWILIGHT SAGA: ECLIPSE (PG violence) No passes FRI�TUE 12:30, 1:00, 1:30, 3:30, 4:00, 4:30, 6:30, 7:00, 7:30, 9:30, 10:00, 10:30; WED 12:30, 3:30, 4:30, 6:30, 7:30, 9:30, 10:30; THU 12:30, 1:30, 3:30, 4:30, 6:30, 7:30, 9:30, 10:30; Star & Strollers Screening: WED 1:00 THE TWILIGHT SAGA: ECLIPSE: THE IMAX EXPERIENCE (PG violence) No passes FRI�WED 11:30, 2:20, 5:10, 8:00, 10:45; THU 11:30,

2:20, 5:10

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

KNIGHT AND DAY (PG violence, coarse language) DAILY 12:40, 3:40, 6:40, 9:20

TOY STORY 3 3D (G) Digital 3d DAILY 11:30,

2:00, 4:45, 7:30, 10:10

THE A�TEAM (PG violence, coarse language, not

recommended for young children) DAILY 1:10, 4:10, 7:10, 10:15

THE KARATE KID (PG violence, not recommended for young children) DAILY 12:00, 3:15, 6:30, 9:40

GET HIM TO THE GREEK (18A substance abuse, crude sexual content) FRI�TUE, THU 1:50, 4:50, 7:50, 10:45; WED 1:10, 3:45, 10:45

THE SORCERER'S APPRENTICE (PG vio-

INCEPTION: THE IMAX EXPERIENCE (PG

THE TWILIGHT SAGA: ECLIPSE (PG vio-

WESTMOUNT CENTRE

lence, frightening scenes) No passes WED�THU 1:15, 3:25, 5:30, 7:35, 9:35 lence) DAILY 1:45, 4:25, 7:05, 9:25

DESPICABLE ME 3D (G) No passes DAILY 12:45, 2:45, 4:50, 6:45, 8:40

LEDUC CINEMAS Leduc, 780.352.3922

GROWN UPS (PG crude content, language may

THE LAST AIRBENDER (PG) DAILY 1:05, 3:30,

violence) FRI�TUE 12:30, 1:00, 3:30, 4:00, 6:30, 7:05, 8:00, 9:25, 9:50; WED�THU 12:30, 1:00, 3:30, 4:00, 6:30, 7:05, 9:25, 9:50

DAILY 6:50, 9:30; FRI�TUE 7:30; SAT�SUN 12:50, 2:30, 3:30; TUE, THU 12:50, 3:30; Movies for Mommies: TUE 1:00

INCEPTION (PG violence) Midnight, No passes

GROWN UPS (PG crude content, language THE TWILIGHT SAGA: ECLIPSE (PG

THU 12:50, 3:05; Not Presented In 3D

THE TWILIGHT SAGA: ECLIPSE (PG violence)

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

lence) DAILY 12:55, 3:40, 6:55, 9:40

may offend) DAILY 1:45, 4:25, 6:55, 9:35

TOY STORY 3 (G) DAILY 6:50, 9:05; SAT�SUN, TUE,

THE SORCERER'S APPRENTICE (PG violence, frightening scenes) No passes WED 1:00, 4:00, 7:00, 10:00; THU 1:00, 4:00, 6:45, 9:30

KNIGHT AND DAY (PG violence, coarse language) DAILY 12:40, 3:40, 7:15, 9:55

GROWN UPS (PG crude content, language may offend) DAILY 6:55, 9:15; SAT�SUN, TUE, THU 12:55, 3:15; Movies for Mommies: TUE 1:00

THE LAST AIRBENDER (PG) No passes DAILY

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

PREDATORS (18A gory violence) No passes DAILY 1:00, 4:00, 7:10, 10:00

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

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

4:10, 6:50, 9:30

DAILY 7:00, 9:20; SAT�SUN, TUE, THU 1:00, 3:20

THE LAST AIRBENDER 3D (PG) Digital 3d

lence) No passes DAILY 12:00, 1:00, 3:15, 4:15, 6:30, 7:15, 9:30, 10:15

GROWN UPS (PG crude content, language

THE SORCERER'S APPRENTICE (PG vio-

KNIGHT AND DAY (PG violence, coarse language)

THE TWILIGHT SAGA: ECLIPSE (PG vio-

GROWN UPS (PG crude content, language may language) FRI�TUE, THU 1:20, 4:10, 7:40, 10:20; WED 4:10, 7:40, 10:20; Star & Strollers Screening WED 1:00

THE LAST AIRBENDER 3D (PG) DAILY 6:45, 9:00; SAT, SUN, TUE, THU 12:45, 3:00

PREDATORS (18A gory violence) No passes DAILY

6:50, 9:15

9:30

may offend) Stadium Seating, DTS Digital DAILY 12:05, 2:35, 5:10, 7:40, 10:10

frightening scenes) WED THU 6:50, 9:25; THU 12:50, 3:25

THE LAST AIRBENDER (PG) DAILY 12:10, 2:45,

DAILY 1:20, 4:30, 7:25, 10:10

TOY STORY 3 3D (G) Digital 3d, Stadium Seating, No passes DAILY 12:55, 3:35, 7:10, 9:50

KNIGHT AND DAY (PG violence, coarse

SUN, TUE, THU 12:55, 3:10

THE SORCERER'S APPRENTICE (PG violence,

DESPICABLE ME 3D (G) Digital 3d, No passes

THE TWILIGHT SAGA: ECLIPSE (PG violence) No passes FRI�TUE 11:50, 12:30, 1:15, 3:00, 3:45, 4:15, 6:20, 6:50, 7:15, 9:15, 9:50, 10:15; WED�THU 11:50, 12:30, 3:00, 3:45, 6:20, 6:50, 9:15, 9:50 offend) DAILY 12:50, 3:50, 7:00, 9:40

DESPICABLE ME 3D (G) DAILY 6:55, 9:10; SAT,

PREDATORS (18A gory violence) No passes

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

GET HIM TO THE GREEK (18A substance

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

SCOTIABANK THEATRE WEM

DAILY 11:15, 1:45, 4:30, 7:00, 9:25

PREDATORS (18A gory violence) DTS Digital, Stadium Seating, No passes DAILY 1:00, 3:55, 7:00, 9:40 DESPICABLE ME 3D (G) Dolby Stereo Digital, Stadium Seating, No passes, Reald 3d DAILY 12:00, 2:25, 5:00, 7:25, 10:00

PARKLAND CINEMA 7

DESPICABLE ME 3D (G) Digital 3d, No passes

TOY STORY 3 (G) FRI�TUE 11:30, 2:00, 4:40, 7:20,

abuse, crude sexual content) DTS Digital, Stadium Seating DAILY 12:35, 3:25, 6:30

THE LAST AIRBENDER 3D (PG) Digital 3d FRI�TUE, THU 12:00, 2:30, 5:10, 7:45, 10:30; WED 2:30, 5:10, 7:45, 10:30

DESPICABLE ME (G) DAILY 7:10, 9:20; SAT, SUN,

TUE, THU 2:10

Dolby Stereo Digital, Stadium Seating DAILY 12:10, 2:45, 5:20, 7:55, 10:30

DAILY 1:50, 4:50, 7:50, 10:40

6:40, 9:10

violence, frightening scenes) Starts Wed Jul 14; WED� THU 6:55 9:00; THU 1:55

children) FRI�SUN, TUE�THU 9:30; MON 10:20

HOW TO TRAIN YOUR DRAGON 3D (PG

14231-137 Ave, 780.732.2236

TOY STORY 3 (G) DAILY 7:00, 9:00; SAT, SUN,

TOY STORY 3 3D (G) Digital 3d FRI�SUN,

mended for young children) FRI�SAT 1:35, 4:30, 6:45, 9:15, 12:00; SUN�THU 1:35, 4:30, 6:45, 9:15

CINEPLEX ODEON NORTH

lence) DAILY 6:45, 9:15; SAT�SUN, TUE, THU 1:45 TUE 2:00

violence) Dolby Stereo Digital, Stadium Seating FRI�TUE 12:15, 12:45, 3:15, 3:45, 6:45, 7:15, 9:45, 10:15; WED�THU 12:45, 3:45, 7:15, 10:15

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

SAT�SUN, TUE, THU 1:50

2:50, 6:35; MON 12:45, 3:45, 7:15

THE A�TEAM (PG violence, coarse language,

KILLERS (PG violence, coarse language) FRI�SAT

6601-48 Ave, Camrose, 780.608.2144

KNIGHT AND DAY (PG violence, coarse

may offend) DAILY 12:20, 3:15, 6:50, 9:40

I HATE LUV STORYS (PG coarse language) FRI�SAT 1:55, 4:05, 7:25, 9:45, 12:05; SUN�THU 1:55,

DUGGAN CINEMA�CAMROSE

THE LAST AIRBENDER (PG) DAILY 6:50 9:05;

6:35, 9:30

SPLICE (18A, disturbing content, sexual content)

THE SORCERER'S APPRENTICE (PG

GROWN UPS (PG crude content, language

W/E.S.T. DAILY 1:15, 4:20, 6:55, 9:35

Hindi W/E.S.T. DAILY 1:00, 4:05, 6:40, 9:50

1:20, 4:15, 6:40, 9:00

THE TWILIGHT SAGA: ECLIPSE (PG vio-

TOY STORY 3 (G) DAILY 1:00, 3:25, 7:00, 9:25 7:05, 9:30

THU 12:01

violence) Midnight, No passes THU 12:01 111 Ave, Groat Rd, 780.455.8726

THE TWILIGHT SAGA: ECLIPSE (PG violence)

No passes, Dolby Stereo Digital FRI 6:25, 9:20; SAT�SUN 12:30, 3:25, 6:25, 9:20; Dolby Stereo Digital MON�THU 5:00, 8:00

THE LAST AIRBENDER (PG) No passes, Dolby

Stereo Digital FRI 7:10, 9:50; SAT 1:00, 4:00, 7:10, 9:50; SUN 1:00, 4:00, 7:10, 9:50; MON�THU 5:20, 8:20

DESPICABLE ME 3D (G) No passes, DTS Digital FRI 6:55, 9:30; SAT�SUN 1:15, 3:45, 6:55, 9:30; MON� THU 5:30, 8:30

KNIGHT AND DAY (PG violence, coarse language) DTS Digital FRI 6:40, 9:40; SAT�SUN 12:45, 3:35, 6:40, 9:40; MON�THU 5:10, 8:10 WETASKIWIN CINEMAS

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

MID�AUGUST LUNCH (STC) FRI 9:00; SAT 7:00

RACHEL (STC) FRI 7:00; SAT 9:00 JOURNEY FROM ZANSKAR: A MONK'S VOW TO CHILDREN (STC) THU 7:00, 9:00

Wetaskiwin, 780.352.3922

DESPICABLE ME (G) DAILY 1:00, 3:25, 7:00, 9:25 GROWN UPS (PG crude content, language may offend) DAILY 1:10, 3:35, 7:10, 9:35

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

THE LAST AIRBENDER (PG) DAILY 1:05, 3:30, 7:05, 9:30

VUEWEEKLY // JUL 8 – JUL 14, 2010

FILM // 37

COMMENT >> THE WORLD CUP

Perfect pitch

The World Cup's responsible nationalism baby, which is the point.

When the Internet first came out, perhaps due to being only experienced enough By the same future imperfect standard, with media to know the difference the fact that I watched the GhanaUruguay match streaming shakily between a plumber in red and a HE H radical hedgehog, I saw no practifrom my computer on a moving WATC cal application for it. It was too train is indictive of the way slow, got cut off every time my our media has changed but om eekly.c Grandma called and had only the World Cup has not. The w e u v @ roland World Cup is the last truly basic, text-based communicad n a l o R tion that seemed impersonal. rton uniting world sporting event, Pembe It's hard to remember that the fueven if our country's only entry turistic Star Trek stuff of present day was in 1986 and we never scored a goal (polite to the end). has really only been in our midst for six or seven years. I walk into another room in And, yes, even more so than the Olympics. my apartment and can see my roommates The Winter Olympics have the uncomfortvideo-chatting with a relative who is thou- able socio-economic barrier related to the sands of miles away. Though occasionally cost of locally growing athletes in sports stuttering, you can still see her newborn that require expensive equipment, train-

NEL C H AENR O Z

ing and, uhhh, snow. The Summer Olympics have a grip on more nations but feel tainted by doping and are also somewhat cost prohibitive. But anyone can play soccer. The only difference between me and Lionel Messi on the pitch is creativity, athleticism, Dustin Hoffman's facial features and a few million dollars. I never get the feeling I could play in the NBA based on my blacktop history, but something about football feels directly intuitive and human.

It's a populist sport that highlights our similarities and differences in a positive way, without resorting to stereotype.

This is highlighted by celebration. Ghana, the sentimental favourite for being the last African nation left in the quarterfinal round (and potentially for being the cradle of civilization), were prone to dancing after goals.

Germany's striker Miroslav Klose does a front flip and then fist pumps when he lands. Argentinians hug and look each other in the eyes. Americans are all "YEAH!" This also gets covered by the smaller

tenets of the sport: the varying response to the anthems, the religious overtones (Argentinian coach Diego Maradona has a rosary wrapped around his hand for entire matches), the colloquial team names (England are called the Three Lions, for instance). Organized football is highly codified and orthodox in its periphery but completely fluid and extemporaneous within the confines of the game and this curious juxtaposition is what drives international interest.

The big controversy of this World Cup has been related to the refereeing. There have been several dubious cards and there have been at least three mistakes that have affected scoring outcomes of games.

People have been clamouring for goal-line technology and referee access to video replay. There is anxiety about adding these concepts in fear of losing the fluidity of the sport to stoppage and cost barriers involved with installing the new measures

in poorer nations that may host the World Cup in the future.

While I think some changes should be implemented, I find FIFA's stubborn refusal to bend to the will of the new electronic world charming and also representative of the game being flesh and blood, a stabilizing force in an ever-changing world. Unlike the Olympics or G20, the World Cup is probably the only larger-than-life entity that doesn't force the local inhabitants to be displaced. "The beautiful game" is inherently welcoming.

The World Cup is remarkably social and, most importantly, impervious to technological shifts. There is no performanceenhancing drug that can make you more creative. I find solace in the fact that when I'm watching the final this Sunday, I'll be tapped into a network bigger than the World Wide Web (the collective consciousness) and it won't be in response to the whim of a few world leaders. It's something we can all share. V

THRILLER // THE GIRL WHO PLAYED WITH FIRE

Self-immolation

Trilogy's second part misses the style and substance of its first David Berry // David@vueweekly.com

O

ur first glimpse of Lisbeth Salander (Noomi Rapace) seems more dream than reality for Steig Larsson's gaunt, punk hero. Her ferocious dragon tattoo is now resting on a tanned back, her severe buzzcut has grown into something downright demure and she's surrounded by light, flooding in through the window into her white bedroom. This won't last long, of course—even Lisbeth's actual dreams are polluted with images of her brutal past—although only in the psychological sense: the brightness will remain in director Daniel Alfredson's pallete, a lightening of style if not necessarily of mood.

Clearing things up visually is not the only change that Alfredson has made from Niels Arden Oplev's stylish kick-off of Larsson's Millenium series, The Girl With the Dragon Tattoo. Also gone is Oplev's willingness to embrace the barely-concealed themes of Larsson's work, Alfredson choosing instead to excise more heady stuff in favour of a lean, more traditionally plotted detective story. This shouldn't be counted as a wise move: Dragon Tattoo wasn't always the most propulsive film, but the wider point was both essential to Larsson's sometimes-didactic vision, and also helped cover up some of these character's basic flaws. Whatever Lisbeth's eponymous status—and however sharply portrayed by Rapace—she still feels a lot like a middle-aged man's interpretation of one of those goth-punks he saw around, and she works better as something of a symbol, an avenging angel for the rampant misogyny Larsson saw in Swedish culture. (Never mind the wish-fulfillment aspects of Larsson's cipher, investigative journalist Mikael Blomqvist, flatly but ably portrayed by Michael Nyqvist).

Although perhaps Alfredson and

38 // FILM

VUEWEEKLY // JUL 8 – JUL 14, 2010

THE GIRL >> Steig Larsson's punk anti-hero Lisbeth Salander returns writer Jonas Frykberg thought The Girl Who Played With Fire's story didn't need any help getting its point across: working apart except for Lisbeth's occasional hacking into Blomqvist's computer, our intrepid pair are after some girl-trafficking scum who murdered a reporter close to exposing their operation and clients.

The key wrench is that whoever is behind this has managed to frame Lisbeth for the crime, and so they must work to clear her name as they close in on the surprisingly close suspects.

As with Dragon Tattoo, some of the problems here are ones brought in from the source. The villians in this particular tale are practically Bond-like, particularly a hulking behemoth of a fixer who evidently can't feel pain: Dragon Tattoo's closetNazis seemed like a heavy-handed way to make a point, but these new villians tip the story into something almost cartoonish, and exposes the pulpy roots of the series far more. Still, though, Oplev managed a moody, dark air that, for its debts to David Fincher's Zodiac, gave the film a more

// Supplied

menacing quality, especially when combined with its slightly more philosophical leanings. Alfredson's bright cinematography suggests nothing of the dark, festering world his heroes are surrounded by, and he stages fights and sex with a kind of stand-offish air, casually observing where Oplev forced the audience to confront the brutality of the situation.

As noted, plot-wise Fire is more to-thepoint, and is at least more kinetic, for those that found Dragon Tattoo too mired in its larger points. But without the helpings of style and substance of the first, Larsson's work has to stand on its own flawed feet, and our girl doesn't seem nearly as compelling the second time around. V Opens Fri, Jul 9 The Girl Who Played With Fire Directed by Daniel Alfredson Written by Jonas Frykberg Based on the novel by Steig Larsson Starring Noomi Rapace, Michael Nyqvist



INSIDE // MUSIC

MUSIC

42

46 49

Enter Sandor

Tarantuja Music Notes

Online at vueweekly.com >>MUSIC

Slideshow: Sled Island slideshows featuring Les Savy Fav, Big Business, the Melvins, Gobble Gobble, Signals and more

PREVUE // CONCEALER

Well hidden

Concealer's dark bombast continues to develop

VUEWEEKLY.COM/VUETUBE

JOYFUL NOISE >> Concealer stirs up the darkness Tom Murray // tom@vueweekly.com

G

ather round, kiddies, and hearken to this sordid tale of horticulture, cheap keyboards and forbidden love.

"It's a pretty good relationship," supplies keyboardist Sean Picard, aka DJ Miss Mannered, about Concealer, his musical collaboration with singer-songwriter Mark Davis. "We practise in the basement and then we go out to his backyard and work on the garden. Or, rather, I drink and smoke while he gardens."

On the face of it one of the stranger musical partnerships to have ever risen from the Edmonton music scene, Concealer actually makes a great deal of sense on closer perusal. Known more as a writer of emotionally naked folk music with a dusting of noise, Davis has always shown an interest in keyboard and guitar effects in his solo career, and as one of the front men for

// Eden Munro

on-again, off-again country rockers Old Reliable. Picard is a novice player at least as much in love with image as he is in actual musicianship. His taste lies more in sleazy rock 'n' roll and proto-punk, especially Alan Vega and Suicide, his flamboyant persona seemingly at odds with the legendary Davis stoicism, but actually making for a good stage fit.

Picard didn't know it would turn out this way, of course. His interests were equally prurient as well as musical, and when Davis finally assented a year and a half after being drunkenly propositioned by Picard with, "We need to fuck up Edmonton and start a band together," he was thrilled.

"Being alone with Mark in his basement seemed like a great idea to me, because I was really, really attracted to him."

Attraction does not always yield mu-

sical chemistry, but in this case Picard was willing to let go of his crush after the initial practice was successful. With an ancient drum machine providing the beats, Davis on vocals and treated bass, Picard supplying one fingered drones and dial-twisting Casio shrieks, the emerging Concealer sound surprised both members.

The closest analogue for many would be Manchester, circa '79—Joy Division spilling over into New Order— but Picard and Davis prefers "Heavy Dance-Pop Gothic Psychedelia for the Nouveau Horticultural Generation." However you want to bracket them, Concealer is a compelling band to watch and listen to. A recent Empress Ale House show had a very drunk Picard swaying over his two keyboards, sometimes posing, sometimes coaxing noises and keyboard blips over a static electro drum beat while Davis sang with eyes closed,

VUEWEEKLY // JUL 8 – JUL 14, 2010

lost to the audience. By the middle of the set a number of people were dancing, something that normally does not occur at a Mark Davis show.

"I honestly thought that when we first got together we would sound closer to how Mark does when he's doing his solo thing," admits Picard, "but it turned out to be darker and heavier. None of it was deliberate, though; it's not like we sat down and came up with a plan. I don't think either of us thought that it would resonate so well, or that so many people would love what we're doing."

The developing fan base will have to wait, however. With Davis releasing his newest solo album this summer, plus corresponding shows across the country, Concealer appearances will be few and far between. The two are also still figuring out the evolving sound of the band, and even though their trusty rhythm machine gave

them a bit of a scare a few weeks back they have no plans to bring in a real drummer.

"We've talked about it," Picard confesses. "Thing is, we think it's essential to our sound, so we don't want to change that. I've been thinking about playing some roto toms over the keyboards, and we've talked about switching instruments as well."

"That would mean I'd have to learn bass, though, and I really should learn to play the keyboard first." V Sat, Jul 10 (9 pm) Concealer As part of SOS Fest With Cygnets, Artisan Loyalist, Pre/Post TransAlta Arts Barns SOS wristbands are $30, available from yeglive.ca and Blackbird Myoozik individual tickets are also available at the door

MUSIC // 39

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

THU JUL 8 ARTERY Mongol Rally Fundraiser: Burnin' Sands, Call Before You Dig, Fleeting Arms, and others; 8pm; $10 (adv)/$12 (door) BLUE CHAIR CAFÉ Thu Nite Jazz Series: Jim Findlay Trio; 7:30pm; $8

Adomoski (Indie pop/rock singer/songwriter); $10 JULIAN'S�Chateau Louis Graham Lawrence (jazz piano); 8pm

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

NAKED CYBERCAFÉ Open stage every Thu; bring your own instruments, fully equipped stage; 8pm NEW CITY LOUNGE The Seven Gates, Auroch, Titans Eve, Sonorus Odium

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

NORTH GLENORA HALL Jam by Wild Rose Old Time Fiddlers

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

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

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 JAMMERS Thu open jam; 7-11pm JEFFREY'S CAFÉ Alexandra

FLUID LOUNGE Girls Night out FUNKY BUDDHA�Whyte Ave Requests with DJ Damian GAS PUMP Ladies Nite: Top 40/dance with DJ Christian HALO Thu Fo Sho: with Allout DJs DJ Degree, Junior Brown

LEVEL 2 LOUNGE Absolut Thu: with DJ NV and Joey Nokturnal; 9:30pm (door); no cover

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

HAVEN SOCIAL CLUB Alex J. Robinson, Tequila Mockingbird Orchestra, guests; 6pm (door); $10 (adv)

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

LIVE WIRE BAR Open Stage Thu with Gary Thomas

BRIXX BAR Radio Brixx: rock and roll with Tommy Grimes; 8pm

ENCORE With A Latin Twist: free Salsa Dance Lessons at 9pm

DRUID IRISH PUB DJ every Thu at 9pm

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

BLUES ON WHYTE Lex Justice and Raspect

DV8 Open mic Thu hosted

by Cameron Penner/ and/or Rebecca Jane

CENTURY ROOM Underground House every Thu with DJ Nic-E

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

LYVE ON WHYTE Short of Able, Jason Zerbin, WyClarify; 8pm

COLAHAN'S Back-porch jam with Rock-Steady Freddy and the Bearcat; every Thu 8pmmidnight

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

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

SPORTMAN'S LOUNGE Hipcheck Trio and guests (jazz, blues) every Thu; 9pm TAPHOUSE�St Albert Shred Kelly, Soundscape, The Boudiors; 9pm WILD WEST SALOON Diezel WUNDERBAR Tequila Mockingbird Orchestra

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 BRIXX BAR Radio Brixx with Tommy Grimes spinning rock and roll

LUCKY 13 Sin Thu with DJ Mike Tomas

Nomade Trio, Fools Tongue (alt folk/rock), Ariane Mahryke Lemire (adult contemporary blues, folk, pop/rock); 9pm; part of SOS Fest ARTERY sKiN + DJs; tunes

by Jason Dublanko and Tim Rechner (closing reception of Tramps Like Us); 8pm

ENCORE 4 Play Fri

BILLIARD CLUB Sherry-Lee Wisor Trio (alt country), 100 mile house (folk/rock), Darrek Anderson and the Guaranteed (country); 7pm; part of SOS Fest

HOOLIGANZ Rock 4 Santa summer series 2: Them Damn Coyotes, Self Evolution, LookingEast; 8:30pm

BLACK DOG FREEHOUSE Forestry (adult pop/folk/rock), The Fight, Slates (new age, punk); 8pm; part of SOS Fest BLACKJACK'S�Nisku 2110 Sparrow Dr, Nisku Mr Lucky (blues/roots); 9pm1am; no cover BLUE CHAIR CAFÉ The Frog Princes; 8pm; donations

ON THE ROCKS Salsaholic Thu: Dance lessons at 8pm; Salsa DJ to follow

BONNIE DOON HALL Old Wives, Feast or Famine, Old Sins, Whiskey Wagon

PLANET INDIGO�St Albert Hit It Thu: breaks, electro house spun with PI residents

BRIXX BAR Sekston Slang and Monceros at 7pm; Late show: Options with Greg Gory and Eddie Lunchpail at 10:30pm

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 9 180 DEGREES Sexy Fri night ACCENT EUROPEAN LOUNGE LOUNGE Salva

EMPRESS ALE HOUSE Jody Shenkarek, Fear and Worry, Viking Fell, Women; 10pm; $10 (door)/$30 (SOS Fest wristband to all SOS events)

AVENUE THEATRE Rezza Reckt (CD release party), DJ Akademic, Proper P, JReds, Scrill-Z, Last Breath; 7pm (door); no minors; $15 (door)

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

PLAY NIGHTCLUB Game show every Thu with Patrick and Nathan; 9pm

Kichula, Ben Disaster, Rebecca Jane at 7-10pm; Late show: The Epitomees, Joey Moss; 10:30pm

BLUES ON WHYTE Lex Justice and Raspect ; 8pm; part of SOS Fest

B SCENE STUDIOS Rebecca Lappa (folk), Andrew Perri (alt new age), Valley (alt pop/ rock), Tanner Gordon and the Unfortunates (alt/folk); 7pm; part of SOS Fest CARROT Live music Fri: all ages; De Menor a Mayor; 7pm; $5 (door) CASINO EDMONTON The Classics (nostalgia) CASINO YELLOWHEAD The X-Band (Latin) Century Casino May schedule as of Mon, 05/03/2010 CENTURY CASINO Kenny Shields, Streetheart; 8pm; $34.95 COAST TO COAST Open Stage every Fri; 9:30pm COOK COUNTY Myrol (country/folk); Captain Tractor (folk/pop/rock); 7pm; part of SOS Fest DV8 Early show: Chad

HAVEN SOCIAL CLUB Jesse Winchester, Neema; 7pm; $25 (adv)

HYDEAWAY�Jekyll and Hyde Detroit, Terrofist, Death Toll Raising, Lucifer Project, Messiahlator; 5pm IRISH CLUB Jam session; 8pm; no cover IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JEFFREY'S CAFÉ Lorna Lampman ( jazz singer); $10 JEKYLL AND HYDE PUB Every Fri: Headwind (classic pop/rock); 9pm; no cover JULIAN'S�Chateau Louis Graham Lawrence ( jazz piano); 8pm LYVE ON WHYTE Mustard Smile (punk rock); 8pm MURRIETA'S BAR Andrew Glover with Shelley Jones ( jazz); 9pm; part of SOS Fest NEW CITY LOUNGE Mod Club: Travy D , Blue Jay NEW CITY SUBURBS Raygun Cowboys (10th anniversary), Rock 'n' Roll Rats, Meanstreak; 9pm (door); no minors OLD STRATHCONA PERFORMING ARTS CENTRE Daniel Moir (folk/pop), Carrie Hryniw, Bill Bourne (alt folk); 8pm; part of SOS Fest ON THE ROCKS Heather McKenzie Band with DJs PAWN SHOP Randy Graves (rock), Volcanoless in Canada (country, dance, folk, pop, rock), Ten Second Epic (rock), Raptors (punk/rock); 10pm; part of SOS Fest RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm-2am

VENUE GUIDE 180 DEGREES 10730-107 St, 780.414.0233

ACCENT EUROPEAN LOUNGE LOUNGE 8223-104 St,

780.431.0179 ARTERY 9535 Jasper Ave AVENUE THEATRE 9030-118 Ave, 780.477.2149 AXIS CAFÉ 10349 Jasper Ave, 780.990.0031 BANK ULTRA LOUNGE 10765 Jasper Ave, 780.420.9098 BILLIARD CLUB 2 Fl, 10505 Whyte Ave, 780.432.0335 BILLY BOB’S Continental Inn, 16625 Stony Plain Rd, 780.484.7751

BLACK DOG FREEHOUSE

10425-82 Ave, 780.439.1082 BLACKJACK'S 2110 Sparrow Driv, Nisku, 780.955.2336 BLUE CHAIR CAFÉ 9624-76 Ave, 780.989.2861 BLUES ON WHYTE 10329-82 Ave, 780.439.3981 BOHEMIA 10575-114 St BONNIE DOON HALL 9240-93 St BOOTS 10242-106 St, 780.423.5014 BRIXX BAR 10030-102 St (downstairs), 780.428.1099 B SCENE STUDIOS 8212-104 St, 780.432.0234 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,

40 // MUSIC

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 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

ELECTRIC RODEO�Spruce Grove 121-1 Ave, Spruce Grove, 780.962.1411

EMPRESS 9912-82 Ave ENCORE CLUB 957 Fir St,

Sherwood Park, 780.417.0111 FIDDLER’S ROOST 8906-99 St FILTHY MCNASTY’S 10511-82 Ave, 780.916.1557/780.432.5224 FLOW LOUNGE 11815 Wayne Gretzky Dr, 780.604.CLUB FLUID LOUNGE 10105-109 St, 780.429.0700 FRESH START CAFÉ Riverbend Sq, 780.433.9623 FUNKY BUDDHA 10341-82 Ave, 780.433.9676 GAS PUMP 10166-114 St, 780.488.4841 GAZEBO PARK Off Whyte Ave HALO 10538 Jasper Ave, 780.423.

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

VUEWEEKLY // JUL 8 – JUL 14, 2010

780.756.6010

HILL TOP PUB 8220-106 Ave, 780.490.7359

HOOLIGANZ 10704-124 St,

780.452.1168

HYDEAWAY 10209-100 Ave, 780.426.5381

IRON BOAR PUB 4911-51st St,

Wetaskiwin

IRONHORSE 8101 Gateway Blvd, 780.438.1907

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 JULIO'S BARRIO 10450 Whyte Ave, 780.431.0774 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 LYVE ON WHYTE 8111-105 St

MARYBETH'S COFFEE HOUSE–Beaumont 5001-30 Ave,

Beaumont

MEGATUNES 10355 Whyte Ave,

780.434.6342

MORANGO’S TEK CAFÉ 10118-79 St

MURRIETA'S 10612 Whyte Ave, 780.438.4100

NAKED CYBERCAFÉ 10354

Jasper Ave

NEWCASTLE PUB 6108-90 Ave, 780.490.1999

NEW CITY 10081 Jasper Ave, 780.989.5066

NIKKI DIAMONDS 8130 Gateway Blvd, 780.439.8006 NORWOOD LEGION 11150-82 St, 780.436.1554 NORTH GLENORA HALL

13535-109A Ave O’BYRNE’S 10616-82 Ave, 780.414.6766

OLD STRATHCONA PERFORMING ARTS CENTRE

8426 Gateway Blvd, 780.436.6606 ON THE ROCKS 11730 Jasper Ave, 780.482.4767

ORIGINAL JOE'S�Varsity Row

8404-109 St, 780.988.5800 ORLANDO'S 1 15163-121 St OVERTIME Whitemud Crossing, 4211-106 St, 780.485.1717 PAWN SHOP 10551-82 Ave, Upstairs, 780.432.0814

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 SOS FEST STREET PARTY�103 St and 104 St Bandstands Whyte Ave

SPORTSWORLD 13710-104 St SPORTSMANS LOUNGE 8170-50 St

SQUIRES PUB 10505 Whyte Ave, 780.439.8594

STARLITE ROOM 10030-102 St,

780.428.1099

STEEPS�College Plaza

Liberton Dr, St Albert

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

780.420.0448

CHURCH 8318-104 St, 780.439.3654 TAPHOUSE 9020 McKenney Ave, St Albert, 780.458.0860

103 St

10330-84 Ave, 780.448.9000

PLANET INDIGO�Jasper Ave 11607 Jasper Ave; St Albert 812

PLAY NIGHTCLUB 10220-103 St PLEASANTVIEW COMMUNITY HALL 10860-57 Ave PROHIBITION 11026 Jasper Ave, RAILROAD PARK Whyte Ave, REDNEX BAR�Morinville 10413-

100 Ave, Morinville, 780.939.6955, rednex.ca RED PIANO BAR 1638 Bourbon St, WEM, 8882-170 St, 780.486.7722 RED STAR 10538 Jasper Ave, 780.428.0825 RENDEZVOUS 10108-149 St RIC’S GRILL 24 Perron Street, St Albert, 780.460.6602

ROSEBOWL/ROUGE LOUNGE

10111-117 St, 780.482.5253 ROSE AND CROWN 10235-101 St

RUSTY REED'S HOUSE OF BLUES 12402-118 Ave,

780.451.1390 SAVOY 10401 Whyte Ave, 780.438.0373

SECOND CUP�Mountain

STRATHCONA BAPTIST

TRANSALTA ARTS BARNS UNITY CHURCH OF EDMONTON Westmount

Presbyterian, 13820-109A Ave, 780.913.6466/780.477.5351

WHISTLESTOP LOUNGE

12416-132 Ave, 780. 451.5506 WILD WEST SALOON 12912-50 St, 780.476.3388 WINSPEAR CENTRE 4 Sir Winston Churchill Sq; 780.28.1414 WOOLY BULLY'S 8230 Gateway Blvd, 780.435.2886 WUNDERBAR 8120-101 St, 780.436.2286 Y AFTERHOURS 10028-102 St, 780.994.3256, yafterhours.com YESTERDAYS PUB 112, 205 Carnegie Dr, St Albert, 780.459.0295

SAVOY Boy and GurL (pop/ rock), Manuela (pop/R&B), Krystle Dos Santos (pop, electronic, jazz, R&B); 8pm; part of SOS Fest SHAW CONFERENCE CENTRE Deadmau5 SPORTSMANS LOUNGE The McGowan Family Band; 9pm; no cover SQUIRES The Chop Shop (electronic/rap), Brothers Grim, (rap), Touch and Nato (rap), Politic Live (rap); 9pm; part of SOS Fest STARLITE ROOM OK GO; 8pm; $19.50 at TicketMaster STEEPS�Old Glenora Live Music Fri STRATHCONA BAPTIST CHURCH Terry Morrison (folk), Andrea House, Ann Vriend (pop, alt folk); 7pm; part of SOS Fest TAPHOUSE�St Albert The Hook 'Em Revue, Grave Mistakes, Dayz Past Aggression TOUCH OF CLASS�Chateau Louis Dan Coady (pop/rock); 8:30pm TRANSALTA ARTS BARNS Lorrie Matheson (pop), Foam Lake (alt rock), Shuyler Jansen (country rock); 8pm; part of SOS Fest WILD WEST SALOON Diezel WOOLY BULLY'S The Southern Pink (rock), Type Monkey Type (alt electronic rock), Frankie McQueen (new age, rock) Bigger Fish Than Guns (pop/ rock); 10pm; part of SOS Fest WUNDERBAR A Bunch of Marys, Jill Pollock, Mark Feduk and more; 10pm; part of SOS Fest

DJs AZUCAR PICANTE Every Fri: DJ Papi and DJ Latin Sensation 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 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 LIKWID LOUNGE DJ Anarchy Adam (Punk) PLAY NIGHTCLUB Pretty People Get Nasty with Peep n Tom, Showboy and rotating guest; DJS; every Fri; 9pm (door) REDNEX�Morinville DJ Gravy from the Source 98.5 RED STAR Movin’ on Up Fri: indie, rock, funk, soul, hip hop with DJ Gatto, DJ Mega Wattson ROUGE LOUNGE Solice Fri

SPORTSWORLD Roller Skating Disco Fri Nights; 7-10:30pm; sports-world.ca STOLLI’S Top 40, R&B, house with People’s DJ STONEHOUSE 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 Y AFTERHOURS Foundation Fri

SAT JUL 10 180 DEGREES Dancehall and Reggae night every Sat ACCENT EUROPEAN LOUNGE LOUNGE Samara Von Rad (folk/rock singersongwriter), Mayer-Neeland Duo (classical), Ido van der Laan (folk singer-songwriter), Natacha Homerodean (adult contemporary), Jenie Thai (alt blues/folk), Barobliq (folk); 1-11pm; part of SOS Fest ALBERTA BEACH HOTEL Open stage with Trace Jordan 1st and 3rd Sat; 7pm-12 AVENUE THEATRE Hip Hop vs. Hardcore 2.0: Jreds and Big Nick, Brothers Grim, Essence and Rome Angel, Saint, Lucid Skies, Built On Despondency; all ages; 6pm (door); $10 AXIS CAFÉ�Metro Room Geoff Wybenga (folk/punk), Silent Storm; 8pm; $10 BILLIARD CLUB Chris Winters (rock); F & M (folk pop), Wool On Wolves (pop rock), Wheat Pool (country, folk rock); 9pm; part of SOS Fest BLACK DOG FREEHOUSE Field and Stream, Ayla Brook (folk), Provincial Archive (folk), Manraygun (pop/alt), Ramblin' Ambassadors (rock); 4pm; part of SOS Fest BLUE CHAIR CAFÉ Slide Divas: Rachelle Van Zanten, Ellen McIlwaine; 8pm; $20 BLUES ON WHYTE Lex Justice and Raspect BONNIE DOON HALL Who Misses Old School Hall Shows: Parachute Penguin, Michael James Band, Wednesday Morning Blues, Falklands; 8pm; tickets at yeglive.ca, Blackbyrd BRIXX BAR Troubadour Tue: Sleeping in Airplanes, Budiman. hosted by Mark Feduk at 8pm Oh Snap: Emalkay, Knight Riderz, guests at 9:30pm B SCENE STUDIOS Robert Mulder (adult pop, alt/folk), The Apresnos (rock), Samantha Schultz (blues/folk), The Juice (pop/rock); 7pm; part of SOS Fest CARROT Open mic Sat; 7:3010pm; free CASINO EDMONTON The Classics (nostalgia) CASINO YELLOWHEAD The X-Band (Latin) COAST TO COAST Live bands every Sat; 9:30pm COLAHAN''S Mr Lucky (blues/ roots); 9pm-1am; no cover COOK COUNTY Bobby Cameron, The Proper Charlies; 7-11:30pm; $25 (Fest wristbands available at YegLive)/$10 (show only, door); part of SOS Fest

to all SOS events)

folk); 7pm; part of SOS Fest

FILTHY MCNASTY'S Dub Vulture (rock), Michael Rault (blues/rock), Still Within (alt pop rock), Needles to Vinyl (alt pop rock); 2pm; part of SOS Fest

STARLITE ROOM High On Fire, Russian Circles, Skeltonwitch; 8pm (door); no minors; $18.50 at TicketMaster, Blackbyrd, Unionevents.com

GAS PUMP Blues Jam/open stage every Sat 3-6pm, backline provided GAZEBO PARK Music is a Weapon, Alexander Chemist, Audio Rocketry, Define the Line, Lily Wansink, The Frank; part of SOS Fest HAVEN SOCIAL CLUB Greg Amundson (CD release party), Light Travels, Call Before You Dig; 7:30pm; $10 (adv) HILLTOP PUB Open stage/mic Sat: hosted by Sally's Krackers Sean Brewer at 3-5:30pm; Evening: The Wireman (original blues ); no cover IRON BOAR PUB Jazz in Wetaskiwin featuring jazz trios the 1st Sat each month; $10 IRONHORSE Sweetheart, Souljah Fyah (reggae); 9pm; part of SOS Fest IVORY CLUB Duelling piano show with Jesse, Shane, Tiffany and Erik and guests JAMMERS PUB Sat open jam, 3-7:30pm; country/rock band 9pm-2am JULIAN'S�Chateau Louis Graham Lawrence (jazz piano); 8pm JULIO'S BARRIO Bossa (jazz/ Latin); 2pm; part of SOS Fest LYVE ON WHYTE Mustard Smile (punk rock); 8pm; part of SOS Fest MEGATUNES Ellery Lane (pop rock) The Fails (punk), Jazz (pop/ alt), Mt. Analog (pop, alt punk), Timecopz (punk/rock), Dead Ghosts (punk), Peace (alt pop); 3pm; part of SOS Fest MORANGO'S TEK CAFÉ Sat open stage: hosted by Dr. Oxide; 7-10pm MURRIETA'S Andrew Glover, Helena Magerowski (jazz); 9pm; part of SOS Fest NEW CITY LOUNGE The Epitiomees, Joey Moss, guests NEW CITY SUBURBS Black Polished Chrome: DJs Blue Jay, Dervish, Anonymouse (electro/ alt/industrial) O’BYRNE’S Live band Sat 3-7pm; DJ 9:30pm OLD STRATHCONA PERFORMING ARTS CENTRE Kumon Plaza (pop), Liam Trimble, Tyler Butler (folk), Jessica Jalbert (folk), Caity Fisher (blues/folk), Doug Hoyer (folk/ pop), Deon Blyan (pop), Darren Frank (folk/pop), Michael Bernard Fitzgerald; 1pm; part of SOS Fest ON THE ROCKS Heather McKenzie Band with DJs ORIGINAL JOE'S�Varsity Row Lyra Brown, Samantha Schultz; 7pm; part of SOS Fest OVERTIME Jamaoke: karaoke with a live band featuring Maple Tea PAWN SHOP Wilfred N and the Grown Men (pop/rock), The Paronomasiac (dance/ electronic), Brett Miles and Magilla Funk Conduit (R&B), Cadence Weapon (rap); 10pm; part of SOS Fest RAILROAD PARK People Powered Party featuring Define the Line and others; 11am; part of SOS Fest

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

RED PIANO BAR Hottest dueling piano show featuring the Red Piano Players; 9pm2am

DV8 Tighten Up! volume IV (proper reggae and soul) 9pm-2am

RUSTY REED'S HOUSE OF BLUES Sat Jam; 3-6pm

EDDIE SHORTS Gaye Delorme, Chuck Rainville; $10 EMPRESS ALE HOUSE Early show: Jeff Morris at 3pm; The Falklands at 4pm; Late show: Toy Singers at 10pm; Foonyap and The Roar at 11pm; Woodpigeon at 12am; $10 (door)/$30 (SOS Fest wristband

RENDEZVOUS Atlas Shrug, Portal, The Equation

SAVOY Jessica Marsh and the Whiskey Pissers, (country folk), The August Arrival (folk rock), Noel Johnson (folk), Kevin Dorin (alt blues/folk), Ariane Mahryke Lemire, Joe Nolan (blues); 3pm; part of SOS Fest SQUIRES PUB Kevin Cook (blues/gospel), Audio/Rocketry (folk punk), Katie Rox (pop

STRATHCONA BAPTIST CHURCH Greg Zawaski (classical/jazz), Erika Vogel (classical/Latin), Brian McLeod (folk/jazz), Erica Viegas (folk/ pop), Lisa Nicole Grace (folk/ pop), Jessica Heine (pop/rock); 3pm; part of SOS Fest TAPHOUSE�St Albert Alex J. Robinson, Jessica Marsh, Leah Durelle; 9:30pm TOUCH OF CLASS�Chateau Louis Dan Coady (pop/rock); 8:30pm TRANSALTA ARTS BARNS Pre/Post, Artisan Loyalist, Concealer, Cygnets; 7pm; part of SOS Fest WEM�Newcap Stage Canadian Country Music Association (CCMA): local, up-and-coming country music artists (RBC Emerging Artists Project); 2pm; every Sat until Sep 11 WILD WEST SALOON Diezel WINSPEAR CENTRE Hip Hop for Hope 7; 7pm WOOLY BULLY'S Prairie Nights, Darryl Matthews, Mars and Venus, Jezibelle, Order of Chaos, Kobra and the Lotus (Cynically Wasted Tour), Quartered; 4pm; part of SOS Fest WUNDERBAR Touch It and You Will Say Ow, sKIN, Plain Clothes, Rappers Are People, Racoon Suit, Jaded Hipster Choir, Mikey Maybe, The Joe, Illfit Outfit; part of SOS Fest

Classical UNITY CHURCH OF EDMONTON David Hickey Concert of Sounds of the Solar System; 7pm; $25

hop, and electro with DJ Hot Philly and guests RENDEZVOUS Survival metal night SPORTSWORLD Roller Skating Disco Sat; 1pm-4:30pm 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 11 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 CHAIR CAFÉ Sun Brunch: Jim Findlay Trio; 10am-2:30pm; donations BLUE PEAR Don Berner (sax); 6-9pm; $25 (if not dining) BLUES ON WHYTE The Normals BOHEMIA Turntable Tutorial; free B�STREET BAR Acoustic-based open stage hosted by Mike "Shufflehound" Chenoweth; every Sun evening CROWN PUB Latin/world fusion jam hosted by Marko Cerda; musicians from other musical backgrounds are invited to jam; 7pm-closing DEVANEY’S IRISH PUB Celtic Music Session, hosted by KeriLynne Zwicker, 4-7pm

DJs

DV8 The Unwanted; 9pm

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

EDDIE SHORTS Sun open stage hosted by Rob Taylor

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

HYDEAWAY Sun Night Songwriter's Stage: hosted by Rhea March

BUDDY'S DJ Earth Shiver 'n' Quake; 8pm; no cover before 10pm CENTURY ROOM Underground House every Sat with DJ Nic-E THE DRUID IRISH PUB Sat DJ at 9pm EMPIRE BALLROOM Rock, hip hop, house, mash up ENCORE 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 NEW CITY LIKWID LOUNGE Punk Rawk Sat with Todd and Alex NEW CITY SUBURBS Black Polished Chrome Sat: industrial, Electro and alt with Dervish, Anonymouse, Blue Jay PAWN SHOP SONiC Presents Live On Site! Anti-Club Sat: rock, indie, punk, rock, dance, retro rock; 8pm (door) PLANET INDIGO�Jasper Ave Suggestive Sat: breaks electro house with PI residents PLAY NIGHTCLUB Every Sat with DJ Showboy; 8pm (door) RED STAR Sat indie rock, hip

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 O’BYRNE’S Open mic Sun with Robb Angus (Wheat Pool); 9:30pm-1am ON THE ROCKS Manuela, Rebecca Jane, Chanda Cooper ORLANDO'S 2 Sun Open Stage Jam hosted by The Vindicators (blues/rock); 3-8pm ROYAL COACH�Chateau Louis Petro Poluji (classical guitar); 5pm RUSTY REED'S HOUSE OF BLUES Blues jam; 4-8pm SECOND CUP�Mountain Equipment Co-op Live music every Sun; 2-4pm SOS FEST STREET PARTY�103 St Bandstand The Swiftys (bluegrass country), many others; noon-7:45pm; sosfest.ca SOS FEST STREET PARTY�105 St Bandstand Yardbird Suite Jazz Revue (jazz), and many others; noon-5pm; sosfest.ca WUNDERBAR Whiskey Wagon, Give Em Hell, Boys

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

VUEWEEKLY // JUL 8 – JUL 14, 2010

MUSIC // 41

COMMENT >> HIP FACTOR

Band brands mix mainstream Exclusivity for music merch as far as the nearest Foot Locker A couple of weeks back, my wife and I kid to get to a show, where he or she were shopping in just another Foot can buy the T-shirt? And what about Locker store in just another subthe young buyers who might not be old enough for credit cards, urban shopping mall.

And, while looking for a which restricts their ability to completely unrelated item, shop online?

I came across something I Getting merchandise into m o .c ly eek @vuew didn't expect to see in the mainstream retailers in shopsteven racks filled with Adidas and Steveonr ping malls is an interesting Nike shirts. solution. The retailer gets a bit Sand A black Deadmau5 shirt. In fact, of a hip factor for having the stuff a series of Deadmau5 merchandise, on its shelves and the artist creates a right there amongst all the Michael Jor- new revenue stream dan and NHL gear.

Yes, music merchandise at an athletic Remember that at a live show an artstore. ist will have to kick back money to the Interesting branding, don't you think? venue for allowing the act to sell merCheck out a certain retail chain's web- chandise at show. Think of it as retail site, and you will find three Deadmau5 rental space, and the artist pays a pershirts, all labeled as being available "ex- centage of the proceeds as a fee. So, if a band sells $1000 worth of shirts at a clusively at Foot Locker."

Obviously, as music sales continue show, it will have to pay some of that to wane, artists have to lean more and money to the venue. A rate of 15 percent more on merchandising and live appear- is about right. (It's also one of the factors ances to earn cash. That's especially that contributes to that high T-shirt cost true for electronic music artists like at shows).

Deadmau5, who are more likely to put But going into mainstream retail gives their own mixes on the Internet for free the artist some different options. The download in order to generate interest store buys the merchandise at a wholesale price and the transaction is done. for their live DJ sets.

Now, Deadmau5 is the perfect example But, what if its hard for the suburban

ENTER

SAND

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; sportsworld.ca WUNDERBAR Sun: DJ Gallatea and XS, guests; no cover

MON JUL 12 BLACK DOG FREEHOUSE Sleeman Mon: live music monthly; no cover DEVANEY'S IRISH PUB Open stage Mon with Ido Vander Laan and Scott Cook; 8-12

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 13 BRIXX BAR Troubadour Tue 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, 9pm

DV8 Automan; 9pm

L.B.’S PUB Ammar’s Moosehead Tue open stage; 9pm

NEW CITY This Will Hurt you Mon: Johnny Neck and his Job present mystery musical guests

NEW CITY LIKWID LOUNGE Open Mic; Hosted by Ben Disaster; 9pm

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

O’BYRNE’S Celtic Jam with Shannon Johnson and friends

PROHIBITION Chicka-Dee-Jay 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 Monday Blues jam; 8-12pm

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

42 // MUSIC

OR

OVERTIME Tue acoustic jam hosted by Robb Angus RUSTY REED'S HOUSE OF BLUES Tue acoustic jam with Marshall Lawrence; 4-8pm SECOND CUP�124 Street Open mic every Tue; 8-10pm SECOND CUP�Stanley Milner Library Open mic every Tue; 7-9pm 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

VUEWEEKLY // JUL 8 – JUL 14, 2010

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 ESMERALDA’S Retro Tue; no cover with student ID FUNKY BUDDHA�Whyte Ave Latin and Salsa music, dance lessons 8-10pm NEW CITY LIKWID LOUNGE ‘abilly, Ghoul-rock, spooky with DJ Vylan Cadaver PROHIBITION Tue Punk Night RED STAR Tue Experimental Indie Rock, Hip Hop, Electro with DJ Hot Philly

WED JUL 14 ARTERY Bill Bourne, Indio Saravanja, Scott Cook; 8pm BLACK DOG FREEHOUSE Main Floor: Glitter Gulch Wed

of an artist who can cross over into retail.

Why? He has an awesome logo—a brand.

That oversized neon mouse head with the crossed out eyes can appeal to kids who have never heard "Ghosts 'n' Stuff."

So, my advice to all young bands? The logo is a big deal. Your branding is a big deal. It may be the difference between making a few bucks at this game or not.

Need inspiration? Iron Maiden had Eddie, its famous monstrous mascot. Actually, back in the '80s, the one thing metal and hip-hop acts had over everyone else was the branding. There was Public Enemy's crosshairs logo. Heck, the stylized wings on Van Halen's VH logo were so famous, that when Weezer used it as the inspiration for its own stylized W logo, everybody got the joke—a generation later.

But the branding gets better. Deadmau5 actually performed a set live last week at one of Foot Locker's flagship stores, on Toronto's famous Queen Street West strip—an avenue once known for hipster shops, now better known for G20 protesters run amok. V Steven Sandor is a former editor-in-chief of Vue Weekly, now an editor and author living in Toronto.

FIDDLER'S ROOST Little Flower Open Stage Wed with Brian Gregg; 8pm-12 HAVEN SOCIAL Jessica Marsh (CD release) at 7pm; followed

by Open stage with Jonny Mac, 8:30pm, free LEVEL 2 LOUNGE Open mic LYVE ON WHYTE Neural Manifest, Organic Orbit, guests; 8pm NEW CITY Circ-O-RamaLicious: Gypsy and circus fusion spectaculars; last Wed every month NEW CITY SUBURBS Punk Rock Pub Wed OVERTIME Dueling pianos featuring The Ivory Club PLEASANTVIEW COMMUNITY HALL Acoustic Bluegrass jam presented by the Northern Bluegrass Circle Music Society every Wed evening

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 Wind-up Wed: R&B, hiphop, reggae, old skool, reggaeton with InVinceable, Touch It, weekly guest DJs FLUID LOUNGE Wed Rock This IVORY CLUB DJ ongoing every Wed; open DJ night; 9pm-close; all DJs welcome to spin a short set

PROHIBITION Wed with Roland Pemberton III

LEGENDS PUB Hip hop/R&B with DJ Spincycle

RED PIANO BAR Wed Night Live: hosted by dueling piano players; 8pm-1am; $5; runs through the summer

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

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

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

RUSTY REED'S HOUSE OF BLUES Danny Coady Band

NIKKI DIAMONDS Punk and ‘80s metal every Wed

COPPERPOT RESTAURANT Live jazz every Wed night: Ben Bishop Trio

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

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

CROWN PUB Creative original Jam Wed (no covers): hosted

by Dan and Miguel; 9:30pm12:30am

STARLITE ROOM Fear Factory: 36 Crazyfists, After The Burial, Divine Heresy, Baptized in Blood; 7pm; $29.50 at TicketMaster, Blackbyrd, Unionevents.com; no minors

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

EMPRESS ALE HOUSE Fat Dave; 9pm EDDIE SHORTS Goodtime jamboree: Wed open stage hosted by Charlie Scream; 9pm-1am FESTIVAL PLACE Patio Series: Manraygun; Calum Graham (U22); 7:30pm $8

STEEPS TEA LOUNGE�College Plaza Open mic every Wed; hosted by Ernie Tersigni; 8pm STEEPS TEA LOUNGE�Whyte Ave Open mic every Wed; 8pm TEMPLE Wyld Style Wed: Live hip hop; $5

RED STAR Guest DJs every Wed STARLITE ROOM Wild Style Wed: Hip-Hop; 9pm STOLLI'S Beatparty Wed: House, progressive and electronica with Rudy Electro, DJ Rystar, Space Age and weekly guests; 9pm-2am; beatparty.net WUNDERBAR Wed with new DJ; no cover Y AFTERHOURS Y Not Wed

VUEWEEKLY // JUL 8 – JUL 14, 2010

MUSIC // 43

PREVUE // GREG AMUNDSON

Breaking free

Hector Fector's Amundson on his own

ONE MAN STANDS >> Greg Amundson releases his solo debut, White White David Berry // david@vueweekly.com

F

or the last four years, Greg Amundson's been plying his fractured, dreamy take on pop as the frontman for Hector Fector, a weird kind of hybrid project that quickly went from a solo bedroom vehicle to a full foursome, and an accomplished one at that. But when he sat down to start writing the songs that became White White—his latest album and de facto debut under his own name—he couldn't shake the feeling that it might be best to go it alone.

"I just didn't want to do a band record.

I didn't want to do those things that bands do, the compromises," explains Amundson, sounding a bit like he just woke up from a nap (a mood, it should be pointed out, entirely appropriate to the feeling of White White). "It can be really good, really productive, but it can also be about compromises and stressing out. It's like any relationship: it's easier to call your own shots, with nothing in the way. I just knew what I wanted to do, and I needed to do my own thing."

The result isn't a grand departure from his work with Hector Fector, but it's definitely something that reflects more of an insularity of mood. Drifting away from his more direct pop roots, White White sounds like the non-dance parts

44 // MUSIC

VUEWEEKLY // JUL 8 – JUL 14, 2010

// Supplied

of Kid A-era Radiohead played while the dawn burns off a heavy fog, a sonic headspace somewhere between satisfied-sleepy and welcomely hungover.

Sparse in its choices but lush in their implementation, it blends Amundson's impressionistic lyrics and ethereal falsetto with minimal electro-cabaret, an intoxicating mix that Amundson even has a hard time pinning down, a result of him getting to narrow his focus while also fighting against the desire to get everything out.

"It's definitely heading towards something a bit more experimental," he explains. "It felt a little post-apocalyptic, but at the same time, spiritual.

I felt it might be this kind of noir, gospel record, but it took on maybe something nihilistic.

"I don't know, I don't want to get too wordy," he adds, pausing for reflection, "but it's hard to explain that headspace, especially since it was so intense and done in such a short time. It took on almost a conceptalbum kind of feel, because it was so compressed. The last album kind of felt like a best-of-the-last-seven-years feel, but this was more intense." V Sat, Jul 10 (7:30 pm) Greg Amundson With Light Travels, Call Before You Dig Haven Social Club, $10

PREVUE // NORTH, MY LOVE

Musical direction

Heady music and heady interview from North, My Love Bryan Birtles // bryan@vueweekly.com

M

ontréal experimental band North, My Love is made up of seven or more women playing accordions, strings and all manner of percussive instruments. The sound the group makes could be compared to the wind—at times it blusters and swoops, while at others it blows over gently, a fleeting experience. The group's self-titled debut album has recently been released as a cassette and a download, and three of the band's members will be making up a touring ensemble that will roll through the ARTery next Tuesday. Over email, Vue discussed the group's album and ideas with band member and Edmonton expat Arwen Fleming.

Vue Weekly: Tell me about the process of writing your songs, especially a very minimal one like "Springtime in Fallujah"—how do you know it's done?

Arwen Fleming: There's a city made of steel rods, cement, broken tiles, coloured glass and shells in the Watts district of LA. It was made completely by hand by a man named Sabato Rodia. He was an Italian immigrant who worked in the tile factory. He collected all these discarded things from the factory and paid the kids in the neighbourhood to bring back the broken bottles and shells from the beach.

He had a fence around his yard and his neighbours suddenly noticed this bizarre, multi-coloured tower rising above the fence. Then there was another tower, and another. He worked on it for 33 years straight, then gave the key to his place to his neighbour and moved on. How did he know it

was done? Songs are like this. They can be very spacious or cluttered; our songs in particular have a tendency to grow and grow and grow ... but once a space has started inhabiting you, it really is time. This can take the space of a few seconds, or thousands.

VW: You mentioned in a previous email that the band members are shy, can you tell me about that?

AF: We aren't so much shy as we are gripped by a crippling terror.

VW: The act of live performance by shy people is interesting. How and why are you compelled to do so?

AF: It is written that the sound of the reed is the sound that resides closest to death. Pulled from the mud and dried out to play, it depends on the one who ripped it out to bring it to life again. It's such a grief-stricken sound that it can be difficult to listen to ...

But it has that tidal force that comes from that imbalance. Some actions trigger a massively unequal reaction.

We are extremely imbalanced people. Combined, we play roughly 1160 reeds. It's a terrifying number. Where is that terror coming from? We have no idea, but it's definitely not outside. So it's inside somewhere. This is the situation of the reed. Of course sometimes we wish we could defy death—but there's a lot more hope out there than that. There is so much hope in live performance. So much that sometimes a room of 30 people can suddenly feel like hundreds, spanning a long time ... but it's not claustrophobic at all, you can breathe it in. The great architects of churches, mosques, temples, they understood this kind of synesthesia, always with that vast sense of time around it. This

is harder to find now—so much has been compressed. But you keep looking, you can't help it.

VW: The Earth is an influence, both in terms of songs about place and a seeming obsession with direction— can you tell me about that?

AF: Well, we are all going in all directions, all of the time. Gravitational forces, magnetic forces, probably isotopic forces we shouldn't really describe right now. Right now, we're actually standing next to a gas station.

One of us has a big red cardboard tube and is using it to point at the gas station—she is pointing at the flock of seagulls sitting on the roof, right at the edge. They are all sitting about a foot apart and they are all looking in the same direction, which is out.

But what's interesting is the seagull that's sitting on the far side of the roof, a good 20 feet apart from the rest of the seagulls. He's looking in the same direction too, but it would seem that he is looking at something else completely, probably at you. Now, of course, most of us are looking up at the roof of the gas station, watching the seagulls, and one of us is making a sandwich. And there must be some kind of music going on because another one of us seems to be dancing.

It's all very multi-directional. That's what hydrophonics are all about.

When whales are singing, they're not just scoping out the other whales, they are scoping out the entirety of the ocean, and the continents, drifting all over the place. V Tue, Jul 13 (8 pm) North, My Love The Artery, $10

VUEWEEKLY // JUL 8 – JUL 14, 2010

MUSIC // 45

PREVUE // TARANTUJA

Overnight success

Local punk band is bound to 'tear-inTO ya' Mike ANgus // mikeangus@vueweekly.com

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resh off a weekend at Calgary's Sled Island festival with his other band Let's Dance, Thomas Lubinsky-Mast is now excitedly preparing for his punk/thrash band Tarantuja (pronounced "tear-inTOya") debut LP/CD release of "Do Not Resuscitate" this Friday at the Hydeaway.

This last year was a whrilwind of activity and accomplishment for the cagey four-piece, which recently signed to Edmonton's Unrest Records. The band members, rounded out by Matt Hurel, James Guiltner and Byron Kerkhoff, have been friends since junior high, and after years of slugging it out in punk bands are excited to finally have some recognition and success, both here in Canada and south of the border.

"We were approached by them," Lubinsky-Mast explains of the signing to Unrest. "It was more of an unrealistic goal, so we thought. But they came up to us late last year and asked us when we'd be ready to record. We said money-wise, we wouldn't be ready for another year. And they said, 'all right, pack your stuff. Next month you're going to Vancouver [to record].' It was crazy.

"Since then, we've gone on two tours right after we recorded: one three-week tour of Canada, and then shortly after we got home Unrest sent us on the road with DFA and we went all the way down the West Coast to LA," he enthuses. "The label also has thrash bands from back in the day like Discharge, some of my favourite bands of all time. Now it's so inspiring to get to play with them."

Recorded at the Factory Studios in Van-

ONE DAY AT A TIME >> Tarantuja sees the light of success after years of hard work couver with producer Rob Shallcross (aka Chicken), "Do Not Resuscitate" found its footing and live energy comfortably in the same space where Motley Crue and Kiss have recorded, as well as more recent acts like Billy Talent and Marilyn Manson.

"Yeah, Motley Crue recorded Dr Feel Good there. We put in 13-hour days and banged it out in three days, which is probably how long it took Motley Crue just to mic the drums," he chuckles. "[Chicken] really helped us get our energy together, and I think the collaboration between us being so excited to finally record something and Chicken's experience, I think we really captured the energy in the recording."

While it is rare to see overnight success in Canada, this certainly seems like a breakout year for another of Edmonton's hardworking bands.

"Absolutely," Lubinksy-Mast confirms.

"The last year's been hectic, but we've al-

// Supplied

ways been playing in bands, working to this. There's no overnight success in Canada—Edmonton especially—we've always just worked our asses off for so long, and someone finally is believing in us, to send us into the studio and out on the road."

The nicest surprises over the last year, he continues, has been the response playing to new audiences. "Over the years it has been hard, you play for two people some places. But being on the record label and having exposure that way, the crowds we've been playing for have been great.

The turnout's been awesome, the tour we did with Unrest to LA and getting to play for 200 people in a packed venue is insane.

It's unbelievable." V Fri, Jul 9 (7 pm) Tarantuja With No Problem, Wastoids, Detroit, Raptor Strike, Spastic Panthers Hydeaway, $10

PREVUE // CHAD KICHULA

Slow and steady

Taking time to record precisely is worth it Mike angus // mikeangus@vueweekly.com

'T

he biggest surprise was that we were just going to demo these songs and then take them to a studio," Chad Kichula explains of his recordin-the works, tentatively called Killers.

"But the demos started sounding really good—too good to take to the studio and start over again."

The Regina-based singer songwriter, quick to list influences like Steve Earle and Springsteen, has been writing and recording music non-stop for the last four years, culminating with last year's Runners in the Night—a loose compilation of his band's best roots rock and quieter one-offs. While Kichula was happy to get those songs to tape, he immediately turned to writing material that would end up on the next album.

"I started writing [Killers] the mo-

46 // MUSIC

VUEWEEKLY // JUL 8 – JUL 14, 2010

ment we finished Runners, and we started recording it when Runners was released, so there's just so many huge differences between them," he explains when asked to describe the time spent writing between the two. "Songs on Runners were well received, but it didn't really catch on, where I think I needed to address that with Killers— that you can't just have the songs; it's more about the album."

Kichula explains that Killers, slated for release this fall, is a more full, "grittier" recording, but "the biggest difference is purely in the songwriting. Everything was written specifically for the album," he points out. "It was strategically put together, whereas Runners was a bunch of songs that went well together. It's such a concise record, put together song by song. I think [the two records] are night and day from each other."

This refined, intentional writing/recording process was fleshed out with fellow bandmember and co-producer Matt Kaip, who is yin to Kichula's yang.

"Runners was so rushed, that's why I brought in Matt to help produce it, because he stretched things out so much.

It took 17 months, but really picking things apart was really what it needed.

"If you cut me loose on my own, I can get something done really quick," he laughs. "The harder you work, the faster it gets done and you get paid, but you can't really apply that to music. That's what I learned after Runners: even after you put in the hours in the studio, and you bang songs out and cut corners to get things to move faster, in the end you notice it.

"I can't believe how incredible this record turned out. I'm so excited to get it out."

Fri, Jul 9 (10 pm) Chad Kichula With Ben Disaster Dv8 Tavern, free

SLIDESHOW >> SLED ISLAND

JProcktor / jprocktor.com

!!! / Sat, Jul 3 / Sled Island See more photos of Sled Island on vueweekly.com

VUEWEEKLY // JUL 8 – JUL 14, 2010

MUSIC // 47

PREVUE // BAPTIZED IN BLOOD

Baptized in beer

London metal heads get serious, start boozin' LEWIS KELLY //LEWIS@vueweekly.com

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or a band signed to the same label as Dream Theater, Rob Zombie and Megadeth, Baptized in Blood springs from casual origins. According to lead guitarist Josh Torrance, the band's founding took place around a patio table in 2004.

"It was just basically a few of us dudes who were sitting around on the patio, talking about it, and it's like 'OK, you're in the band, you're in the band,'" he explains. "Johl [Fendly, lead singer] wants to do vocals—he'd never been in a band before—so that's cool.

Our other buddy Adam [Trakinskas]

48 // MUSIC

said he wanted to do vocals, so we're just like, 'Fuck it, we'll have both of them do vocals.'"

That whimsical approach lasted until the band's debut show in its hometown of London, Ontario. The hype surrounding the show and the audience's feedback made band members switch Baptized in Blood from side project to main ambition, says Torrance.

Baptized's roster changed a little over time, dropping Trakinskas and shrinking from seven to five. The added attention from its members eventually paid off when the band signed to metal specialist Roadrunner Records in late 2009. Currently, the band tours with travelling thrash-metal cir-

OH THOSE PATIO LANTERNS >> Baptized in Blood was the first to thrash cus Fear Campaign 2010 while putting the finishing touches on an as-yet unnamed Roadrunner debut album.

VUEWEEKLY // JUL 8 – JUL 14, 2010

// Supplied

The band might consider naming the record Tons of Empties, given the nature of its recording. Over one month of recording at Planet Z Studio in Massachusetts, the band downed over 11w00 beers. Torrance says the libations were inspired by an urge to break Planet Z's previous high-lager mark of 700, set by Shadows Fall during an earlier recording session.

"It was kind of a goal for us to annihilate that one," he says with a laugh.

Still, the band didn't record under the influence, says Torrance, which is just as well since thrash metal is one of the most technically demanding types of rock. In

fact, the challenge of playing thrash is part of what drew Torrance to the band.

"As you get better at your instrument, you kind of want to naturally progress with it, play up to your abilities," he says. "That was something that, myself, I wasn't really doing in my [previous] band because it wasn't really called for." V Wed, Jul 14 (7 pm) Baptized in Blood With Fear Factory, 36 Crazyfists, Divine Heresy, After the Burial Starlite Room, $29.50

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"My falsetto came back," he explains excitedly. "I lost it for years, maybe because I was screaming too much. I thought it was gone forever, but the instant it came back, I knew I had to use it."

In the context of Royal Canoe's debut CO-OP Mode, that means employing it in the service of bombastic, percussive, white-soul numbers, songs somewhere between Queen and Spoon on the sonic spectrum that explore everything from Deep Blue's secret love for Kasparov to songs about remaining devoted to your partner's money.

"The subject of the songs just kind of come from wherever," Peters admits. "For the Kasparov one, we were literally just looking at a chessboard, and started writing a song about that.

A couple others were based on paintings we found at Value Village, where we just tried to come up with the story behind them. It's a fun way to write songs."

S

Fri, Jun 9 (8 pm) / Ok Go You know that YouTube video where those guys lip synch to that song and do a crazy dance by hopping from one treadmill to the next? Did you know they actually wrote that song? And other ones too?

No longer simply known as the "treadmill video band," Chicago's Ok Go is rolling full steam ahead, changing stuff up at a rapid pace. The group's latest album—this year's Of the Blue Colour of the Sky—was based on an historical book of pseudoscience written by an obscure American Civil War General.

I don't know that it gets much more odd than that as far as concept albums go. Anyways, the group is in town to support the album this week—you should make sure to check it out.

(Starlite Room, $19.50)

—David Berry

—Bryan Birtles

Sat, Jul 10 (9 pm) / Royal Canoe By his own admission, Matt Peters started Royal Canoe without much direction in mind, more a chance to explore some freewheeling ideas outside his usual gig with Winnipeg's Waking Eyes than a proper band in its own right. Much like puberty, though, he knew something important was happening as soon as his voice changed.

Sat, Jul 10 (8 pm) / High on Fire Listening to High on Fire for even 10 seconds—especially if it's the opening riff of "Snakes for the Divine," the title track on the group's newest album—you'll know why the band members named themselves after something so dangerous yet so intriguing. (Starlite Room, $18.50) —Bryan Birtles

Sat, Jul 10 (11 am) / People Powered Party Running a concert via 10 bicycle-powered generators isn't simply for defining the calf muscles of 10 soon-tobe-very-tired people: it's also a way to highlight the importance of sustainable energy. Featuring the likes of Lily Wansink, Alexander Chemist, Audio Rocketry, the Frank and Define the Line, the People Powered Party will likely be the city's first bicyle-generator powered event. Also featured is this city's most sustainable-energy-minded councillor, Don "Dreamboat" Iveson, seen here demonstrating that wind power is no match for his pomade. (Railroad Park [103 St & 82 Ave], Free) —Bryan Birtles

TIMELINE >> JESSE WINCHESTER For nearly four decades, Jesse Winchester has charmed audiences and contemporaries alike with his effortless yet influential folk, country, bluegrass, blues and gospel gems. His songs have been covered and praised by everyone from Elvis Costello and Ronnie Hawkins to Reba McIntyre and Emmylou Harris.

Since his most prolific years—seven albums in the 1970s—his output has slowed significantly, although he continues to tour steadily, and he now calls Virginia home. Currently on tour promoting his latest album Love Filling Station, you can catch a rare glimpse of this living legend live in Edmonton this weekend.

May 17, 1944 Born in Louisiana as James Ridout Winchester, Winchester was raised in Memphis, Tennessee, studying piano and playing in rock bands until studying in Connecticut and living in Germany after graduation.

1967 Winchester receives his draft notice to

Vietnam, and decides instead to relocate to Montréal. He begins his career as a solo singer songwriter, touring Eastern Canada. He becomes a Canadian citizen in 1973 and remains in Canada until 2002.

1969 Winchester meets Robbie Robertson, who produces Jesse’s self-titled debut album the next year. This album features some of Winchester’s most well-known songs, including the homesick “Yankee Lady,” “Biloxi,” “Brand New Tennessee Waltz,” and “Payday.”

1972 – '78 His most prolific period. Third Down, 110 to Go (1972), Learn to Love It (1974), Let the Rough Side Drag (1976), Nothing But a Breeze (1977) and A Touch on the Rainy Side (1978).

1977 President Carter grants American draft defiers amnesty, and for the first time Winchester is finally able to tour the US. It is often thought that these crucial years abroad hindered his ability to break

through in the US like his contemporaries; nonetheless, Winchester records his own Top 40 hit with "Say What" in 1981.

1988 After a long break from recording, Winchester releases Humour Me, and again lays low until 1999‘s Gentleman of Leisure. He also releases a much-anticipated Live at Mountain Stage in 2001.

2002 Winchester moves back to the US for the first time in 35 years, and continues to tour steadily, releasing a second live album in 2005, simply titled Live.

2009 Love Filling Station is released to critical acclaim.

—Mike Angus

Fri, Jul 9 (8pm) Jesse Winchester With NEeMA Haven Social Club, $25

VUEWEEKLY // JUL 8 – JUL 14, 2010

MUSIC // 49

ALBUM REVIEWS

New Sounds

Danger Mouse and Sparklehorse Dark Night of the Soul (EMI) 

David Berry // david@vueweekly.com

M

ark Linkous, best known as the creative force behind Sparklehorse, was never a rampant optimist, so even when Dark Night of the Soul got its Internet-only self-release last year, it was impossible to not read his scratchy, troubled soul-searching as something deeper than the cinematic laments they appear on their surface. Art is inescapable from context though, so listening to the album upon it's full release a year later, a few months after Linkous decided to end his own life, these songs take on even more portentuous meanings, cracked windows into an obviously troubled soul; like Nirvana's Unplugged record, it has gone from something merely soulful and wounded to a kind of sombre summation of a man's doomed worldview.

That feeling isn't mitigated at all by the presence of Danger Mouse, with whom this was a co-production, nor from the extensive and impressive roster of collaborators, including the Flaming Lips, David Lynch, the Cardigan's Nina Persson and Grandaddy's Jason Lytle, most

of whom take on vocal duties in place of Linkous. Particularly in the case of Danger Mouse, it's hard to imagine the carefree producer having quite the same outlook as Linkous, but he's nevertheless an accomplished-enough musical polymath to be able to tap into the mood regardless. He fills the backdrop of Linkous's stormy consciousness with controlled-chaos electronic noise, something like the harshly opaque world encroaching on Linkous' studied but withdrawn depression-pop.

The music often takes center stage here, but it is forever illuminating Linkous's dark view. It is rarely bleaker than it is on opening track "Revenge," but then there's little place for it to go after lines like "Once we become the thing we dread / There's no way to stop," sung in plaintive tones over sad-soul piano by Wayne Coyne.

This album is almost solely populated by people all too aware of the harsher realities of life, whether it's experiencing them or trying to deal with them, although it tends to get better when they are a little more equivocal about what they might mean. Highlight "Everytime I'm With You" uses Jason Lytle to simply explore a relationship that's both gratifying and destructive, and lines like "Everytime I'm with you / I'm fucked up and you are too / Well what the hell else are we supposed to do?" sound as helpless as they are uncaring. Likewise in the Persson-featuring "Daddy's Gone," which uses its closing chorus "I woke up and all my yesterdays were gone" as both triumph and tragedy, and a cap to a song that constantly challenges its own resolutness in the face of harsh reality.

It's that dual nature that is maybe the most heartbreaking thing about Dark Night: for all his dourness, Linkous was also a man who had some steel in him, and the evident fact that that has since rusted and disintegrated is its own special kind of tragedy. V

Seu Jorge and Almaz Seu Jorge and Almaz (Now-Again)  Seu Jorge, last seen wearing an array of awesome hats and belting out David Bowie covers in The Life Aquatic, strikes again with this selftitled release. This time supported by a three-piece backing band and a grabbag of sensual rhythms, Jorge delivers a scintillating slice of samba. Occasional, bizarre foyers from Portuguese into English (singing in the latter often makes Jorge sound like a cross between Arnold Schwarzenegger and Barry White) will make you scratch your head, but they don't mar the great soul-samba elsewhere on the record.

Lewis Kelly

// lewis@vueweekly.com

The Reckoners ... And the Sky Opened Up ...

(Independent) 

This debut six-song EP is the first for Canadian indiefolk partners the Reckoners. Hailing from Vancouver, the duo's two-part harmony retains a wholesome vibe, Ricardo Khatte’s leading notes seeming to echo for miles while Christina Simpson’s feminine vocals and whimsical guitar rifts are peppered lightly throughout each track. There is little complexity in this album, but the simple sounds provide an enjoyably minimal soundscape. This is the type of EP that will either really empress your girlfriend with or have her calling you a sissy for owning it.

Kirsta Franke

// kirsta@vueweekly.com

Pearly Gate Music Pearly Gate Music (Barsuk) 

The new self-titled album from Zach Tillman (that's right, J Tillman's brother) is not unlike a warm summer night. The meandering compositions on Pearly Gate Music will smoothly transform from minimal ballads into grand arrangements not unlike the songs of Andrew Bird. And Tillman's voice is a lovely vessel for his lovely lyrics, often spiritual and deeply evoking. When the album opens with the slow croon: "When you turned your friends into lovers and your lovers — they are all gone ... ," the stage is set for an album that will carry you through to the dawn.

Joe Gurba

// joe@vueweekly.com

50 // MUSIC

VUEWEEKLY // JUL 8 – JUL 14, 2010

The Gaslight Anthem American Slang (SideOneDummy)  If past writings on the Gaslight Anthem are to be believed, then this is a band that's emerged in the last few years from the land of Bruce Springsteen, both physically—in their shared home state of New Jersey—and metaphorically—in the band's penchant for working-class storylines that conjure images of a youthful Springsteen leading the E Street Band on epic, late-night journeys on Jersey stages. But while there is no doubt that Springsteen's influence weighs heavily on this band, so do the years of the last decade—a time during which the staccato chords and slinky guitar lines of the Strokes infilitrated the collective conciousness—at least where rock 'n' roll is concerned. Not that the Gaslight Anthem sounds like either of those acts, though; rather, the band simply picks up on the parts that work—and, certainly, there's far more here than just Springsteen and the Strokes—and rolls them into a sound that is urgent in its sense of desperation and hope. The past weighs heavily on the characters in the band's songs—"The Queen of Lower Chelsea," "We Did It When We Were Young" and others all cast an eye on what's come before—but so does the hope for the future (quite often fueled by times gone by: on "Orphans" frontman Brian Fallon sings, "And now I'm trying to keep it straight, learning all the streets and the alleyways / And learning where they lead me when I'm left alone to drive."). It's that push and pull between the past and future, with a thoroughfare through the present, that pumps the blood so vibrantly through American Slang's veins. It's perhaps one of Fallon's lines in "Old Haunts" that sums the band up best: "Old haunts are for forgotten ghosts." This is an album for today and tomorrow, but it's the past that makes us the people we are today.

Eden Munro

// eden@vueweekly.com

The Kissaway Trail Sleep Mountain (Bella Union) 

Sleep Mountain is a highly standardized modern indie album—the sort of disc you would expect from Coldplay or Snow Patrol.

There is nothing to reproach in this gorgeous disc except the aching void where some defining individuality should be, something to set the Danish group apart from the other ensembles of its likeness. The songwriting and musical skill is certainly present on Sleep Mountain but the Kissaway Trail is going to need to awaken its own contribution to the genre if the band is to remain relevant.

Joe Gurba

// joe@vueweekly.com

ALBUM REVIEWS Paul Simon Graceland (Warner)

The idea of stealing other ideas is older than dirt, and Graceland certainly wasn't the first album to consciously, Originally released: 1986 overtly appropriate the works of other musicians. But with In the pages of Rolling Stone in multiplatinum sales and two 1986, Rob Tannenbaum wrote Grammy wins, the album ranks kly.com e e w e vu lewis@ that the unique sound of the among the most famous to do s i Lew y recently-released Graceland "is so. And the timing of its release, Kell not a westernized hybrid; it's domijust over a decade before Moby nated by mbaqankicked off the ga."

Mbaqanga: modern mashup urbanized electroera by squishing folk born in the blues and elecblack townships tronica together of apartheid South on 1999's Play, Africa.

Tannenmakes Graceland baum recognized as logical a place that the inimitable, as any to point to astonishing appeal when looking for of Paul Simon's the origin of the achievement did mashup. not rest on Simon For my money, consciously althe best mashup lowing a moderartist working ate amount of today is Girl Talk, mbaqanga influand his best alence in his music. bum, Feed the REASON TO BELIEVE >> We'll all be recieved Rather, Graceland Animals, takes unabashedly, lovingly ripped off South AfriSimon's proclivity for borrowing and runs can musical tradition, enriched the history of with it around the world. Where Graceland popular music in the process, and paved the explores the fusion of pop and mbaqanga way for modern mashup culture. for an entire album (excepting the zydecoSimon didn't limit his appropriation to Afriflavoured final track) Feed the Animals can sources, either: American Chicano-rockcan't stick to a single combination for more ers Los Lobos, who appear on Graceland on than one song. Girl Talk never lingers on a the album-closing "All Around The World or single beat for more than 30 seconds or so, the Myth of Fingerprints," claim Simon outand often includes upwards of 20 samples in a single song. This ADD-approach results and-out stole the song from them. Plagiain a frantic, schizophrenic sound that transrism always rankles. forms every 30 seconds from one you like Yet Simon's use of mbaqanga and other Afto one you love. The album's success, inrican traditions like the a cappella Zulu singcluding praise from Rolling Stone, Pitchfork ing on "Homeless" does just that: Simon's and the number two spot on Blender's best trademark choirboy voice and artfully twistof 2008 list, testifies to Girl Talk's genius ed lyrics take a backseat to the intoxicating and the attention span of the modern murhythms and rich vocal harmonies of South sic consumer.

Africa. Graceland stands as a world-beat alYet for all its unstoppable catchiness, at no bum with a veneer of American pop. The alpoint does Feed the Animals approach the bum cover, of course, only credits the name uniquely captivating combination of Paul of Paul Simon. Not that Simon doesn't deSimon and the sounds of South Africa. If serve praise: the lyrics on Graceland match Graceland contains some nascent version anything else he ever wrote, and the idea to of the modern mashup within it, Paul Simon mix American chart fare with South African did it first—and best. V folk was a stroke of musical genius.

OULNDDS

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HAIKU Arabesque Nuclear Ambition (Skin I'm In)

SPINS

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Sitars and huge beats Here's one Arab I don't mind Droppin' massive bombs

kly.com

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s@v uickspin

Whiteoyn Houst

The John Butler Trio April Uprising (Jarrah)

Combines Counting Crows Jack Johnson and Third Eye Blind Pure shit amalgam

Dearly Beloved They Will Take Up Serpents (Anthem)

Pieta Brown One and All (Red House)

A quick blast of fun Slightly bubblegum but with Moments of brilliance

Hate the term "songstress" It gives me the shivers like Ice cubes down my pants

Brent Mah - Alex Goodman Convergence (Independent)

Oceana Birtheater / Cleanhead (Distort)

Love it when jazz guys Aren't so up their own asses And can have some fun

I cannot stand this This is no longer music It's masochism

VUEWEEKLY // JUL 8 – JUL 14, 2010

MUSIC // 51

PREVUE // RAYGUN COWBOYS

Ten years after

Local psychobilly band celebrates anniversary Angela Johnston // angela@vueweekly.com

A

fter a decade of dedication, Edmonton's Raygun Cowboys may finally be hitting its prime.

Following the addition of Mike Johnson on trumpet and Nathan Conelly on trombone, the band put out its self-titled sophomore album in 2008 on Canadian label Stumble Records. Johnson and Conelly, transplants from Mad Bomber Society, joined the band in 2007, and Jon Christopherson, guitarist and vocalist, says the horns really changed the band's sound.

"I think it gave us a pretty unique sound for our genre," Christopherson said. "The standard psychobilly kind of sound is three-piece [with] drums, upright bass, guitar, and having added the horn section really kind of gave us a different, unique sound from most other bands out there."

The band's sound has evolved quite a bit since its inception in 2000. Originally, Christopherson and drummer Derek Thieson played psychobilly covers with then-bassist Mal Suydam on vocals.

Christopherson didn't start to consistently write original songs until Suydam moved to LA and Oakland Valleau, previously a member of Wednesday Night Heroes, joined the band on upright bass.

HORN-Y DUDES >> A horn section sets Raygun Cowboys apart from the psychobilly pack Together, with Thieson's input, Christopherson and Valleau wrote all the original songs for the 2006 freshman release Underworld Boogie.

The band has played at least one music festival per summer for the past three years, and it headlined the 2009 North Country Fair, which Christopherson remembers fondly. "It was probably my favourite gig that we've done," he says. "I really enjoyed it. It was a big crowd, and we played last, so it was the middle of the night and it was a lot of fun."

// Supplied

In addition to the 10-year-anniversary show, the band is looking forward to its first European tour this September. The tour will be about 18 days long, with dates confirmed in Germany and Holland so far.

Christopherson is excited for the band's prospects during and after the tour.

"Things just seem to be looking up for us." V Fri, Jul 9 (9 pm) Raygun Cowboys New City, $10

HOROSCOPE ARIES (Mar 21 – Apr 19)

barrassed or secretive about it. That's Have you added some bulk and stabilespecially true for you these days. So ity to your foundation any time recentget out there and sell yourself, Gemini. ly, Aries? Have you grown your roots With brazen innocence and relaxed endeeper and asked for more from your joyment, show the world who you are traditional sources? I hope so, because and why you matter. this is a perfect time to strengthen your link to everything that susCANCER ( Jun 21 – Jul 22) tains you. You have a sacred Have you ever observed the risduty to push harder for acing moon with such a steady Y cess to the stuff that builds gaze that you've actually G LO your emotional intelligence A S T R O seen it move? This resemom .c ly k e we and fuels your long-range bles a slow-motion burst of l@vue il w e e fr plans. graceful growth unfolding in Rob y your own sphere. I hope you Brezsn have the patience to give it your TAURUS (Apr 20 – May 20) I like the way you've been contrafull attention, as it's more likely to dicting yourself, Taurus. I appreciate express its complete potential slowly. your ability to be inconsistent, para- To enhance your chances of nurturdoxical and upside-down. It has al- ing the subtle magic, remember and lowed you to wriggle free of the rut ruminate on the images your nightly you had been stuck in. It's true that dreams give you. you have also sown a bit of confusion in a situation that had formerly been LEO ( Jul 23 – Aug 22) clear and concise, but in my opinion, I'm not necessarily saying that you have this is a fertile, healthy confusion that superhuman levels of courage these will ultimately lead to an unexpected days, Leo, but you do have more than breakthrough. usual. What's even more important for the task at hand is the fact that you GEMINI (May 21 – Jun 20) have an exceptional capacity for iden"We're all in 'sales,' selling our per- tifying the fantasies that frighten you sonalities, our accomplishments, our and finding fresh and practical ways to charms." That's a quote from Richard deal with them. That's why I say that Grossinger's new book 2013. I share his you now have an excellent opportuniview of human nature. Is there any in- ty to achieve a major victory over your teraction between people that doesn't fears—to outwit them, outflank them involve a bit of hustling? Given the and even dissolve them. To get started fact that this is a ubiquitous phenom- on this glorious quest, chant the folenon, there's no need to be shy or em- lowing ten times: "I am a crafty, com-

ILL FREEW

52 // BACK

passionate warrior who finds amusement in every challenge."

VIRGO (Aug 23 – Sep 22)

One of my Virgo readers, Mariann Grace, is conducting a research project: "Interpret absolutely everything that happens as a favourable omen."

This would be an excellent game for you to play in the coming week, Virgo.

Synchronicities are about to rain down upon you, flood toward you and bubble up from below. Judging from the astrological configurations, I'd say it really does make sense to regard every one of them as meaningful, useful and invigorating.

LIBRA (Sep 23 – Oct 22)

It's high time to banish the excuses you think you have for not doing your best. There is no longer any valid reason to hide from your true calling or deny yourself more profound happiness. You are ready to see that the supposed "obstacles" to your success are actually instrumental to your success. Why is this happening now? It's because a force working behind the scenes, you can imagine it as God or destiny or karma if you like, is clearing away the illusions that have held you in thrall to false ideas about who you are. If I were you, I'd shout "hallelujah!" as I pinch myself in the butt and pat myself on the head.

SCORPIO (Oct 23 – Nov 21)

For the foreseeable future, it's fine

VUEWEEKLY // JUL 8 – JUL 14, 2010

with God (and with Nature, too) if you put all your eggs in one basket—as long as the basket is well-woven and beautiful to behold. You've also got cosmic permission to forget about all but one of the tempting targets in your field of vision—as long as the bull's eye you choose is very worthy of your sacred longing. To sum up, Scorpio, be single-mindedly focused almost to the point of manic obsession; as long as you're reasonably sure that the object of your devotion is your personal version of the Holy Grail.

SAGITTARIUS (Nov 22 – Dec 21)

In the next few weeks, the odds are higher than usual that you'll win a Dutch lottery, find a diamond ring on the sidewalk, or be picked to star in a new reality TV show, "How Would You Use a Gift of Ten Million Dollars?" But what's far more likely than any of those possibilities is that you will be able to capitalize on a legacy whose cash value is hard to estimate.

Is there any birthright you've been neglecting to exploit? Any part of your heritage that may be ready to bring you a boost?

CAPRICORN (Dec 22 – Jan 19)

So it turns out that the blemish is actually essential to the beauty. The wrong turn was crucial to you getting you back on the path with heart.

I have rarely seen a better example of happy accidents, Capricorn. You may

not realize it quite yet, but you have been the beneficiary of a tricky form of divine intervention. One good way of expressing your gratitude is to share with friends the tale of how you came to see that the imperfections were perfect.

AQUARIUS ( Jan 20 – Feb 18)

Your anger is potentially a valuable resource. It can be a motivating force that gives you the clarity and stamina you need to make constructive changes.

But how can you make sure that your anger serves your generous urges?

Here's one thing you can do: express your rage very selectively. Cultivate loads of empathy, joy and appreciation for beauty, then when you do unleash your rage, it will be conditioned by love. Now would be an excellent time to try out these ideas.

PISCES (Feb 19 – Mar 20)

Have you fallen in omnidirectional love these past few weeks? Are you swooning with such reckless splendor that at times you feel like you're swimming in mid-air? By my reckoning, you have an urgent need to be caught up in a vortex of free-form affection. Your receptivity to being tickled and spun around by an almost insane outpouring of libidinous empathy is crucial to your education. If for some reason this has not been the case, please find out what you've been doing to obstruct the boisterously tender feelings the cosmos is aching to fill you up with. V

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VUEWEEKLY // JUL 8 – JUL 14, 2010

BACK // 53

COMMENT >> LGBT

Just a kiss

kiss as I walked home. I wondered what I walked my girlfriend to the bus stop and gave her a kiss. Something I've done and the woman standing with us had thought.

Had the bus driver noticed? The will do many more times. I've been passengers? It struck me then: kissing girls in public places since I was 16. I remember the giving my girlfriend an affecfirst time: the fairgrounds at tionate peck as she went to Klondike Days. My date ranwork was a rebellious act. m o ekly.c vuewe I was reminded of this as we domly pecked me and one tam@ a watched a Margaret Cho DVD. of my best friends responded Tamar ka Near the end of her Revolution with a scream. An actual, horGorzal rified shriek; she quickly shut show, Cho explains her issue with being ignored by a response of "too up, embarrassed. Perhaps this event much information" from someone who should have been more traumatic, but my friend was clearly the person out of believes she's oversharing. She explains place in the scenario. Later on, we held that minorities have a need to reveal hands while strolling the fairgrounds. I themselves wholly to create visibility. "Silence equals non-existence. If I don't give remember feeling the energy of the act, too much information, if I don't go there, something outrageous around all those families and children. it's like I was never there in the first place," she says.

Back at the bus stop I ruminated on the

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When I told my girlfriend of the pondering I'd done, she looked at me strange. "I just thought it was a kiss," she said. And of course, it was. But it was also a political statement. Straight people get PDAs all the time. I can't imagine an average heterosexual couple pausing to second guess a loving gesture, unless perhaps they were of mixed race.

I noticed the feeling again later, last weekend. We marched in the G20 policing protest and I held her hand, while I looked around me at many pink- and black-clad activists, colours denoting which of the crowd were queer. We blocked streets as we moved, we fielded stares and confused motorists. It all felt perfectly normal. It was afterwards as she and I headed to lunch, still holding hands, that I felt weird. Some guy we crossed paths with

Common Law Copyright Notice CNN – 195011217004BFF All rights reserved re; common-law copyright of tradename/trademark, LARRY EDGAR ZACHOW© as well as any all derivatives and variations in spelling of said trade-names/trademarks – Copyright 1950 Larry-Edgar: Zachow. Unauthorized use of LARRY EDGAR ZACHOW© is strictly prohibited and is so indemnified and held harmless by Debtor, i.e. “LARRY EDGAR ZACHOW ©” in Hold-harmless and Indemnity Agreement No. 195011217004BFF.

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

VUEWEEKLY // JUL 8 – JUL 14, 2010

muttered something bitter and disgusted in our direction. There we were being totally average and we stood out.

It's rare that others would have to consider their safety when they kiss their partner, or that it might make someone around you uncomfortable, maybe even your partner.

I sometimes fault other gays for not being activists and for being complacent with the current situation of queers in society. But this ignores the power in what they do as they bend the norm. Queer and trans people are challenging traditional society by being. Our very existence is political, which is something that very few other communities can say.

Living out and openly is as important as working the legislative system. A conserAllied 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

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vative person may not understand why queers deserve acceptance and equality if all they see is the pride parades and protest marches. It's a lot harder to ignore, to not empathize with and understand, when the person is living closer to home.

When a son, doctor, boss, dog walker or massage therapist is upfront and casual about their queer or trans status, it forces the intolerant person to recognize reality.

To acknowledge that we are no different and that we are everywhere.

Cho finishes her film with a call to action. "If racial minorities, sexual minorities, feminists both male and female, hell all liberals got together and had this big 'too much information, go there' voice, that would equal power. And that power would equal change. And that change would equal a revolution." V

COMMENT >> ALT SEX

Don't go in there

tion has the possibility of causing cramps Dear Andrea: As long as I can remember, I've had a fasor other pain, but I am anxious and willing to experiment with this aspect of cination with gyno play and playing such play. My concern is safety. doctor. I had never acted upon it until meeting my current boyAny information? friend. We've begun experiLove, menting with speculums and Stretch me m o .c ekly vuewe various insertible objects. We altsex@ are always very careful to be Andresaon Dear Stretch: sterile and safe.

Questions like this always reNemer I've grown more and more intermind me of a children's science show I used to watch, starring the ested in the idea of cervical dilation/ performance artist Paul Zaloom. In one insertions, but have been unable to find any literature on the subject. Apparently, episode Paul was in the middle of explainI am the only human alive with such a fasing how to grow a particularly odorifercination. I have looked online and found ous bacteria colony in an old tennis shoe when he broke off mid-sentence, looked several varieties of uterine sounds, but directly into the camera, and said, "Don't always in context of urethral play, not cervical stretching. even do this." That's how I feel when people ask me about certain extreme, posI understand that any cervical penetra-

ALT.

SEX

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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

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reason. Unlike the longer and hardier male version, the female urethra is only a few inches long and kind of fragile. It's a very short trip to the bladder, which doesn't want you dragging in dirt all over its nice clean floor. So while I generally counsel people, especially beginners, to leave the urethra alone and go play someplace safe, like the vagina, I'm going to suggest the urethra as a slightly safer alternative if you absolutely must go poking in places where you're not invited. At least you can sort-of resanitize it by peeing afterwards.

You may also feel free to be cranked open with a speculum and prodded about the cervix with a gloved finger. It is possible to create some quite intensely painful sensations in that region without ever attempting entry. I can't, in good conscience, support your friend playing doctor in the sanctum sanctorum there. I just can't.

Love, Andrea

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It isn't true that there's absolutely no information on this out there–there's just very little of it. There's probably something in BME, the "body modification ezine," although you may have to join to get to some of their more esoteric content. I imagine the "extreme" practitioner C.M. Hurt knows something about cervical play if anyone does, but the closest thing I could find among her writings was an article (on dungeonmagic.com) about female catheterization play that you might enjoy. A place called Eros Boutique carries every conceivable type of catheter and medical books and sites with instructions for inserting an IUD could walk you through the steps necessary to prepare for messing with your cervix. That's all I've got.

This is very strange for me–up until now whenever someone has asked me about inserting things into the female urethra I've said, in a word, "don't," and for good

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sibly harmless, but potentially a little bit fatal practices. Do something else. Don't even do this.

Cervical stretching and sounding are, of course, accomplished every day in thousands of gynecologists' offices, and with no lasting harm to the patient. That's how you get IUDs in and unwanted tissues out, provided, of course, that "you" are a trained medical professional. It isn't the pain that worries me. I understand you're up for that, although having been the recipient of several antepartum "internals" I can assure you that the sensation is ... let's call it "challenging" and leave it at that.

So yes, cervical stretching hurts, but that's not our concern here. I'm afraid of you perforating something, introducing outside-world bacteria to your insides, or both. I don't need to tell you how badly that could go for you, and only you can decide if it's worth the risk.

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

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